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Breaking News in Advertising, Media and Technology

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    Fifty-two years after she appeared, as a 3-year-old, in the most famous political campaign commercial ever made, Monique Luiz is back—and the subject once again is nuclear weapons.

    Luiz was the star of 1964's "Daisy" ad for Lyndon B. Johnson, in which she was seen picking the petals off a daisy as an ominous countdown was heard. The spot ended with a nuclear explosion, implying that Barry Goldwater was too dangerous to be president.

    Created by Doyle Dane Bernbach and media consultant Tony Schwartz, it was credited with helping LBJ crush Goldwater at the polls.

    Now, Luiz is back in the new Hillary Clinton ad below, which has a similar mission—characterizing Donald Trump as too dangerous, even reckless, for the presidency.

    "This was me in 1964," Luiz says over footage of the classic spot. "The fear of nuclear war that we had as children, I never thought our children would ever have to deal with that again. And to see that coming forward in this election is really scary." 

    This isn't the first flashback to 1964 in this election. Last winter, another old LBJ ad went viral online—"Confessions of a Republican," which featured an actor expressing the conflicted feelings that many Republicans had at the time with the ultra-conservative GOP candidate Goldwater.

    Trump campaign spokesman Jason Miller told CNN on Monday morning that the new Clinton spot with Luiz was a "sad and a desperate attempt" to distract voters from Democratic candidate's latest trouble with the FBI investigating her use of a private email server while secretary of state. 

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    Wonderful Halos seedless mandarin oranges, or a couple of bad seeds. Which would you choose?

    Those are your options in one of four oddball ads dropping today from Wonderful's in-house team and Hungry Man's Wayne McClammy (the director who turned Geico's trash-rummaging raccoons into stars).

    "He's one of the few comedic directors who also has an awe-inspiring sense of cinematic storytelling," Wonderful Agency president Michael Perdigao tells Adweek. 

    McClammy deftly walks the line between farcical and fearful throughout the campaign, which urges kids and their parents to make wise snacking choices. Take, for example, these two sinister sisters and their malevolent mansion full of freaky figurines:

    So, which twin is the evil one? Looks like both! So … goodbye, dollies!

    Actually, those aren't twins. Just one actress and a bit of high-tech hocus-pocus.

    "We auditioned hundreds of sets of twins, and ultimately we decided on the young girl featured in the spot who actually isn't a twin," Perdigao says. "During her audition, she displayed the right kind of tone we needed for that part, so we used the magic of Hollywood to create her twin."

    As for the 250 dolls on set, McClammy's assistant spent weeks procuring them from eBay, Craigslist, swap meets, thrift stores and antique shops. "At one point, there was a creepy clown doll in the background," Perdigao recalls, "but it didn't make the cut."

    In the next ad, a wacky witch tries to cast a tempting spell with a tart-tongued apple:

    "Our 'Apples and Oranges' set was initially destroyed and production was shut down for a few weeks because of fires in the Riverside, Calif., area in August," Perdigao says. "When production was back up, we went back to the same area because the look of the forest destroyed by the fire was the exact feeling and vibe we wanted to capture in the spot."

    Meanwhile, pint-sized construction-site trespassers get their comeuppance in this spot:

    Way to go, gents. Enjoy the view from juvy!

    Finally, a story set under the big top. Whatever you do, don't look down:

    What, a circus without Wonderful's Ernie the Elephant? Perhaps the precocious pachyderm was at the concession stand procuring some pistachios.

    "We drew our inspiration from the classic fairy-tale structure, where heroes are tempted by evil but then are guided by their pure values and intelligence to make the right decisions," Perdigao says.

    Ultimately, he adds, the goal was to create work that would "educate consumers about our product and cause the viewer to do a double-take about what he or she has just seen and heard."

    Client: Wonderful Halos

    Agency: Wonderful Agency
    Mike Perdigao – President
    Steve Krauss – Chief Creative Officer
    Darren Moran – Executive Creative Director
    Jennifer Young– Creative Director
    Alan Snider  - ACD/Copywriter
    Colin Jahn – Sr. Art Director
    Alex Harman – Art Director
    Anne Kurtzman – Head of Broadcast Production/Producer
    Matthew Conrad - Producer 

    Production Company: Hungry Man
    Wayne McClammy – Director
    Mino Jarjoura – Executive Producer
    Dan Duffy Executive Producer/Director of Sales
    Dave Bernstein – Producer
    Rodney Anderson – Production Supervisor

    Editorial: Rock Paper Scissors
    Christjan Jordan – Editor -
    Pieter Viljoen – Asst. Editor
    Helena Lee – Executive Producer
    Dani DuHadway – Producer

    MPC - Visual Effects
    Paul O'Shea – Creative Director/VFX Supervisor
    Karen Anderson – Executive Producer
    Jamie Loudon – Sr. Producer
    Ryan McDougal – CG Supervisor
    Benji Davidson - VFX supervisor

    Music/Sound Design
    Beacon Street Music
    Composers - Andrew Feltenstein, John Nau
    Executive Producer - Adrea Lavezzoli
    Associate Producer - Lindsey Lerman 

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    Ready to do a little indiscriminate rodent killing on Facebook Live today? Then Tomcat pest control has a campaign for you. 

    Barton F. Graf created a fake trailer, along with fake posters, for the special Halloween livestream, in which Facebook users will be able to vote on what kind of gruesome deaths will befall a bunch of rodents (actually, already-dead rodent puppets), who are just trying to enjoy life as clueless teenagers on a summer cabin getaway.

    Adweek responsive video player used on /video.

    It's a cleverly timed stunt, but most winsome as a sendup of circa-'90s slasher films, and the astonishing inability of their supporting characters—the ones scripted to be exterminated—to sense and avoid danger (in this case, Tomcat mousetraps).

    "Spoiler: They All Die," reads one of the print ads. In the video, there's the obligatory nod to The Shining, with a warning scrawled in red on a mirror. And try not to laugh when the supers declare, with absurd melodrama, "A weekend of fun becomes a weekend of death, and the killer is … you."

    That's not to mention the name itself. "Facebook Not Live," reads the trailer's tagline. "On account of all the dead mice." 

    Tune in at 2 p.m. ET: 


    Client: Tomcat
    VP, General Manager: Tim Martin
    Marketing Director: Katherine Schoessel
    VP, Chief Digital & Marketing Services Officer: Patricia Ziegler
    Digital Content Director: Bill Litfin
    Integrated Marketing Manager: Christopher Aaron

    Agency: Barton F. Graf
    Chief Creative Officer / Founder: Gerry Graf Executive
    Executive Creative Director / Partner: Ian Reichenthal
    Creative Director: Nick Kaplan
    Copywriters: Nicolas Labbe, Mark Bielik, Ross Fletcher, Joey Ianno
    Art Director: Jesse Brown
    Producer: Zack Grant
    Head of Integrated Production: Josh Morse
    Designer/Art Department: Christine Allen
    Account Director: Yvette Ames
    Account Manager: Kirsten Quinn
    Strategy Director: Deepa Sen
    Social Strategist: Lynn Chu

    Production Company: Barton F. Graf Productions
    Line Producer / Assistant Director: Zack Grant
    Head of Production: Josh Morse
    Director of Photography: Nathan Podshadley
    Set Design: Nix + Gerber Studio
    Editor: Matt Slamowitz

    Visual Effects: My Active Driveway

    Mix: Heard City
    Engineers: Evan Mangianele, Eric Warzecha

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    Happy Halloween!

    Agencies and brands are always fond of scare tactics at this time of year. We've been tracking some of 2016's better Halloween pranks—check them out below.

    We'll be updating this post as the day goes on. 


    This very cute spot from Saatchi & Saatchi London shows a young werewolf who wants to be something else for Halloween—a zombie-skeleton-glow-in-the-dark-Frankenstein-ninja.

    Boost Mobile

    Get some 360-degree scares from Boost Mobile with this video footage, which the brand claims was "found on a Boost Mobile phone on October 29, 2016." Agency: 1 Trick Pony.

    Burger King

    As we noted last week, a BK in Queens (with help from ad agency David Miami) dressed up as McDonald's for Halloween—the most frightening costume it could imagine.


    Content company Denizen and its entertainment division, Hello Denizen, had a hit with their "Tiny Hamsters Eating Tiny Burritos" video. In this new episode, hamsters rise from the grave and turn into a frenzied gang of furry, flesh eating zombies.

    El Jimador Tequila

    Grey Canada created this digital campaign to help el Jimador tequila celebrate Day of the Dead, the multi-day Mexican holiday that starts Nov. 1 and honors relatives who have died. The stop-motion ads feature fun-loving skeletons who aren't ready to stop celebrating the annual holiday.


    This U.K. mobile provider urges you to "end the nightmare" of two-year contracts in this impressive spot, in which a woman is stuck in a series of frightening horror tropes. The spot was created in-house, with Tom Rainsford of Riff Raff Films directing.

    Kit Kat

    The candy brand has made a few Halloween ads this year. One shows you how to fend off a homicidal maniac in the forest. Another had Chance the Rapper doing a little Halloween candy shopping—and doing his version of the 30-year-old jingle.


    Everyone at the agency dressed up as CEO Bob Greenberg today.

    State Farm

    DDB New York made a spooky pair of Halloween ads for State Farm The "Scary Right" campaign will make your heart beat fast, and your palms sweat … until a State Farm representative is there to help.


    The vodka brand launched a campaign depicting the most horrific things that could happen to a millennial during the Halloween season. Agency: Bensimon Byrne.


    The pest control company is doing a Facebook Live at 2 p.m. ET on Halloween, in which users will be able to choose how to kill a bunch of (already dead) rodents.

    Adweek responsive video player used on /video.


    As we mentioned earlier, WD-40 and agency BIMM did a great campaign centered on an app that makes your doors creakier for Halloween.

    Wieden + Kennedy Amsterdam

    W+K Amsterdam has created Bitmap Banshees, a VR thriller game installation housed inside the agency's public gallery space. Bitmap Banshees is set inside a future dystopian Amsterdam, where a gang of biker banshees have taken over the city and are out to get you. You sit on a custom Mad-Max-style bike (which acts as the gaming interface) and navigate a psychedelic-science-fiction-slash-B-grade-horror-frogger reality, and try to survive the banshees as long as possible. The game will also be available online in the coming months.

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    Quite a few amateur costume designers have already appeared in Halloween listicles this year for costumes inspired by the supernatural Netflix smash Stranger Things.

    But who thought anyone could bring The Upside Down to life ... inside a pumpkin? 

    The annual carving contest held by IPG agency Jack Morton is a reliable source for All Hallow's Eve inspiration, with last year's edition ending in a tie between Kim K. and Jack Shit. This year, a team led by art director Chris Maroney wowed viewers with a two-sided squash depicting a collision between the increasingly paranoid reality of Stranger Things' Joyce Byers (Winona Ryder) with the dark universe inhabited by Eleven and her less charming acquaintances.

    "Jack Morton's annual pumpkin carving competition is taken very seriously, so teams had to live up to the agency's purpose of 'Do something extraordinary,' " the shop's vp of brand marketing, Peter Sun, tells AdFreak. "The winning concept, led by our art director Chris Maroney, shows the two separate worlds from Stranger Things—the real world and the upside down—within the same pumpkin. The winning team has previously won Emmys for our broadcast set design work, so it was brilliant to see them just as determined to win this competition!" 

    Now, which Jack-Morton-O-Lantern will take the cake next year? (Before you ask, "Trumpkin" was an entry last year.) 

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    A week out from Election Day, Twitter is launching a big out-of-home ad campaign that uses visual hashtags—i.e., the hashtag symbol paired with images—to position the site as the place where conversations are happening about the real issues at stake on Nov. 8.

    The first ad in the series actually launched a few weeks back near the Lincoln Tunnel in New Jersey, targeting commuters driving into New York City. That ad showed hashtags along with Big Brother-like shots of Hillary Clinton and Donald Trump's eyes, along with the Twitter logo.

    Now, almost two dozen more ads are rolling out. But in stark contrast to the first ad, the new ones show photos relating to the issues in the election, not just the people running for president. Those issues range from the Black Lives Matter movement to the Syrian crisis to guns, marijuana, the environment, gay rights, gender issues and more.

    See a few of the executions here (and many more below):

    Adweek spoke to Jayanta Jenkins, Twitter's new (and first-ever) global group creative director, on Monday about the campaign. He said the minimalist approach, including the visual hashtag, is meant to "humanize and giving depth to the conversations" happening on Twitter.

    "The less you say, the more you convey," he said. "We started with the candidates. It was a really nice way to kick off this work, which is now about the issues. If you think about the news cycle that's been happening around the election, it's all been about the personalities. It's been Clinton this, or Trump that. A little bit of what's been taken from us is just the conversation around the issues that we're actually voting for."

    This election is a key moment for Twitter in its attempts to position itself as the world's premiere live news service—and a preferred destination for commentary about that news. After all, the Clinton-Trump battle has been perhaps unmatched in political history in terms of generating big news and conversation around both the candidates and the issues.

    "It's a huge cycle for us," Jenkins said.

    Out-of-home, he added, was the perfect medium to engage with people this way.

    "Just think of all the brands that have used out-of-home in a really powerful way at big moments for those brands," Jenkins said. "Think about Apple when they did the 'Think Different' work. I think the out-of-home medium is a really beautiful and powerful way to humanize tech brands. Out-of-home, for us, is a great way to get people to look up, off their devices, and remind them of the conversation that's happening on Twitter. You can use less to say more."

    In a blog post, Jenkins adds: "The election is playing out live on Twitter, where people can hear directly from the candidates, their supporters, the media and everyone in between. Because Twitter is open, it's the place for people to see and discuss the issues from every perspective. This campaign highlights the top issues being discussed on Twitter—it reflects different sides and doesn't take sides. As they always do on Twitter, people will bring their own point of view to the images that can be seen today around NYC." 

    The billboards are going up in New York, Los Angeles and San Francisco. See much more of the creative below. 

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    Cats on Christmas Day, capering beneath an impeccably trimmed tree among the presents, sparkly lights and festive food. Sounds cute and cuddly, right?

    Nah, the aww's turn to argh's as those Santa claws and paws make with the slashing, smashing and thrashing. There's bashing and gnashing, too. Plus, plenty of crashing. And soon, the feline horde lays waste to the holiday in a holocaust of epic proportions.

    Gifts are gnawed and pulled apart. Wrapping paper litters the carpet in sorry shreds. The tree topples, its broken branches trampled beneath little cat feet. It can happen, people! (Especially if you're breeding an army of cats for some reason.)

    Now, wouldn't it be great if something could keep those beasts in line and curb their destructive tendencies? Temptations, the maker of delectable cat treats, believes it has the solution. Check out the video below, created by adam&eveDDB in London, for a tip on how to keep your yuletide purring along:

    Like the commercial says, if you keep them busy, and "Treat them too," maybe, just maybe, the hellacious hairballs won't wreck the place.

    "The internet is full of cats being cute and fluffy, but in reality cats are incredibly mischievous," client marketing director Denise Truelove tells AdFreak. "That tension led to something quite fun in this Temptations holiday video and campaign."

    Staged with great energy and expert pacing by Sam Brown of Rogue Films, the holiday wonderland set took five days to build. Twenty-two cats and kittens trained for three weeks, and were filmed for three days tearing the set apart.

    The cats' entrance and exit scenes proved complicated and time consuming, as the team had to create individual lanes of travel for each cat to take, says Truelove. Plus, "working with cats requires almost total silence and stillness on set while filming, so they don't get distracted," she says.

    Damn shaggy divas! (Except for the freaky hairless one with the bulgy eyes, of course.)

    Luckily, Brown had lots of experience setting up complex, challenging shoots."He has this weird, incredibly cool aesthetic," says agency executive creative director Rick Brim, "and he gets humor without trying to overplay it too much."

    Sure, 22 cats—that's not overplaying it at all.

    Mars Petcare U.S.
    Brand: Temptations
    Project name: "Keep Them Busy"
    Denise Truelove – Marketing Director
    Arren Beach – Brand Manager
    Agency: adam&eveDDB
    Chief Creative Officer: Ben Priest
    Executive Creative Directors: Ben Tollett, Richard Brim
    Creative Team: Alex Lucas, Jon Farley
    Agency Producer: Patrick Cahill
    Planner: Jessica Lovell
    Managing Partner: Fiona McArthur
    Account Director: Jaimee Kerr
    Interactive Partner: Simon Adamson
    Social Media Strategist: Jessica Taylor
    Media agency: MediaCom/Starcom U.S.
    Production company: Rogue Films
    Executive Producer: James Howland
    Producer: Jess Wylie
    Director: Sam Brown
    Cinematographer: Alex Barber
    D.O.P: Alex Barber
    Editing Company: Final Cut
    Editor: James Rosen
    Post Production: The Mill
    Post Producer: Tom Manton
    VFX Supervisor: Jonathan Westley
    Colourist: Seamus O'Kane
    Music Supervisor: Tom Stanford
    Audio Post Production: Factory
    Soundtrack name and composer: "Deck The Halls," Smith & Western Music/Sydney 

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    A county council in England has come up with a clever and discreet way of combatting sexual violence and abuse.

    A photo posted to Twitter (and retweeted almost 30,000 times) shows a poster in the women's bathroom at a bar in Lincolnshire that advises anyone who is feeling unsafe on a date to ask the bar staff for "Angela"—a code word alerting the staff that someone is in need of help.

    The copy reads: "Are you on a date that isn't working out? Is your Tinder or POF [Plenty of Fish] date not who they said they were on their profile? Do you feel like you're not in a safe situation? Does it all feel a bit weird? If you go to the bar and ask for 'Angela,' the bar staff will know you need help getting out of your situation and will call you a taxi or help you out discreetly—without too much fuss."

    The idea of being helped discreetly is the most compelling part about the campaign. Fear of causing a scene or being wrong can be paralyzing for people in an unnerving situation.

    Hayley Child, substance misuse and sexual violence and abuse strategy coordinator for Lincolnshire County Council, tells the Independent:"The 'Ask for Angela' posters are part of our wider #NoMore campaign which aims to promote a culture change in relation to sexual violence and abuse, promote services in Lincolnshire and empower victims to make a decision on whether to report incidents."

    She adds: "Sexual abuse and violence is an national issue, and all councils have a responsibility to tackle abuse. This was Lincolnshire Community Safety Partnership's first awareness raising campaign on this issue."

    The only problem we see is that the #NoMore hashtag is a bit lost among many #NoMore hashtags on social media. But overall, it's a great effort toward fixing a major problem. 

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    A Krispy Kreme box has quite the Pavlovian effect on the donut-crazed populace.

    This is demonstrated in novel fashion by North Carolina agency Baldwin& in its latest effort for the brand, in which it put hidden cameras inside a bunch of Krispy Kreme boxes and carted them around—to offices, elevators, a yoga class, a kids' ballet studio, a football tailgate party and more.

    The reactions, compiled into 30- and 60-second videos, are uniformly positive, to say the least, and range from wide eyes to arched eyebrows to one kid's ebullient "Yesss!"—which happens to be the only dialogue in the spot. There are a bunch of fun GIFs, too.

    "The Effect Is Real" campaign targets adults 18–44, past QSR purchasers and location-based mobile and desktop within 10 miles of Krispy Kreme stores. Additional paid social advertising will run on YouTube, Twitter and Facebook.


    Client: Krispy Kreme
    Client Creative Leaders: Jackie Woodward, Alison Holder, Martin Davidson, Stephanie Nelson, Kelley O'Brien

    Agency: Baldwin&
    ECDs: David Baldwin, Bob Ranew
    CD/AD/Dir.: Dino Valentini
    CD/CW: Lisa Shimotakahara
    Editor: Lisa Olshanski
    Agency Producer: Liz Stovall
    Dir. Account Management: Jerry Bodrie
    Account Director: Grace Tarrant
    Media Director: David Dykes
    Digital Media Strategist: Holly Sigler

    Production Co/Post.: &Also, Raleigh
    D.P.: Harvey Robinson

    Sound: Acoustech, Atlanta
    Engineer: Gopal Swamy
    Production Coordinator: Olivia Griego Martin

    Music (needledrop): Tumbleweed Wanderers 

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    Tienes tequila?

    Jeff Goodby may be best known as the guy who dreamed up "Got milk?"—one of the truly legendary advertising taglines of all time. But lately he's been obsessed with a very different kind of beverage.

    For the past few years, the Goodby Silverstein & Partners co-founder has been helping to produce, design, brand and market a high-end Mexican tequila called Tears of Llorona—a side business completely separate from his work at his San Francisco agency. 

    Goodby got into the liquor business with his old advertising partner Andy Berlin, who was also a co-founder of what was originally Goodby, Berlin & Silverstein (and later a co-founder of Berlin Cameron). At first they were interested in making a rum. But then a mutual friend, Martin Pazzani, introduced them to Germán Gonzalez—a master tequila distiller in Mexico and a direct descendant of Gen. Manuel Gonzalez, the country's president from 1880 to 1884.

    Jeff Goodby

    Gonzalez, already a renowned figure in the tequila business, had just created a new ultra-exclusive "extra añejo" tequila, which is aged five years. Goodby and Berlin were intrigued, though at first, Gonzalez wasn't planning to sell the stuff at all. 

    "He said 'I'm not going to sell this. I don't have that much of it,'" Goodby recalls. "And we said, 'That's actually cool, not to have enough of it. People might find that interesting.'"

    Soon, they were in business together. The partners include Gonzalez, Goodby, Berlin, Pazzani, Goodby's brother Scott (a onetime top executive at Liberty Mutual) and Larry Siskind (a college friend who was on the Harvard Lampoon with Goodby in the '70s). 

    Goodby and Berlin's main job, unsurprisingly, is the branding and marketing. Among other tasks, they had to name the product, design the bottle and steer the advertising. 

    A haunting name, a hand-written bottle
    The name came fairly quickly. Goodby and Berlin were aware of the legend of La Llorona. In Latin American folklore, she is the ghost of a woman who had drowned her children as revenge after her husband left her for a younger woman—and who is forced to wander the earth weeping. 

    "She's a little spooky, and she cries looking for her children," Goodby says.

    Designing the bottle was trickier.

    "I got a designer friend involved, and the things he was cranking out were really gorgeous, and expensive to make," says Goodby. "We did a little focus group where people said it looked like a high-end tequila. But it didn't somehow capture the handmade quality of the thing." 

    Around this time, Goodby happened to go to Auction Napa Valley, a celebrated wine event. On the winning bottle, "a guy had actually taken what looked to be one of those silver Magic Markers and had written his name on the bottle," Goodby recalls. "And I thought, 'That looks great!' "

    Instead of a really ornate bottle, Goodby and Berlin chose an almost off-the-shelf bottle and just put some interesting handwriting on it. Goodby wrote a little story about tequila, which appears in English on one side of the bottle and in Spanish on the other side. Berlin did the actual handwriting in his distinctive scrawl. 

    "It looks very handmade," Goodby says. "Compared to the really beautifully designed ones, this one just killed. It was much more interesting to people."

    From there, it was a matter of distribution and marketing.

    "We've learned to make the bottles in Mexico. We have our own casting of the bottle," Goodby says. "We've learned how to get the bottle printed and silkscreened in Mexico, and then filled and sent across the border. There's a lot that goes into a little thing like this." 

    Balancing connoisseurs and consumers
    In terms of marketing, the brand leans heavily into social media. It's a sipping tequila, and a very expensive one at that—a one-liter bottle goes for $225 on Caskers.com. ("It's not that stuff that makes your head slap back when you drink it," Goodby says with a laugh.) And so, they promote it by building excitement among tequila aficionados in social, with almost no paid media. 

    "We've done little promotional things," Goodby says. "We sent Donald Trump a bottle after he said he wanted to build a wall in Mexico. And we had Germán say, 'Mr. Trump, I think I have a little something that will change your mind about Mexico.' We had fun with that. People went back and forth and talked about it." 

    The marketing challenge is to move beyond the aficionados. But that's easier said than done, and keeping the core fans happy is job one. 

    "This is never going to be Jose Cuervo," Goodby says. "Social media is so important to this kind of thing—to make Germán into a known commodity. People follow him and know him in the inner circles of tequila. He's like a music composer and people are looking for his next album, and this is it."

    A simple social post can draw incredible attention to even the smallest of brand moves. 

    "We have a couple pallets of tequila coming across the border right now," Goodby says. "And we'll put a picture of that online, and people will be like, 'Oh my god.' "

    Goodby has even indulged the obsessiveness of the fans with Easter eggs on the packaging.

    "People notice little changes on the label that indicate that it's a new barreling—we're on our third barreling of it," he says. "This sounds really nerdy, but I've changed the little icon on the label each time to indicate that it's a new barreling. There was a star, and I made it into a pineapple. And people notice those things, and they go, 'Have you tasted the pineapple barreling yet?' It's crazy."

    What creatives learn by becoming the client
    The whole experience has been fun and interesting, Goodby says, and healthy creatively to pursue something outside of advertising for a change. 

    "It's liberating and good for your creative head to have something else to think about as you're falling asleep at night," he says. "But the really important thing is that it makes you draw in artistic impulses from other places. I always think advertising people look to other advertising for their inspiration way too often. Rich [Silverstein] and I really try hard to look in places other than advertising—in film, in magazines, in news, in popular culture." 

    Along with forcing you to seek new inspiration, any entrepreneurial venture is valuable in another way, too: "It makes you understand what it feels like to be on the other side of the desk—to be a client," says Goodby. "And that's good, because as advertising people, we can get pretty bratty about stuff and forget that other people have a lot of skin in the game, too." 

    GS&P doesn't actually have a liquor client at the moment, but Tears of Llorona is pretty good practice for if and when they do. (Goodby says he can't imagine his involvement in such a "dinky" luxury brand would be seen as a conflict by any of the major liquor marketers, hardly any of whom deal in such ultra-high-end stuff.) 

    For those of you who want to try Tears of Llorona but don't have $225 lying around, you may be in luck. The brand just made a smaller bottle it will be importing soon that will be less expensive. Says Goodby: "It's funny how much excitement there is about having a product that's finally under $100."

    Goodby himself will always have a soft spot for milk, of course. But as he rightly points out, "tequila goes a lot better with cigars." 

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    Pour out a 40 and loop the video repeatedly until you scroll away for Vine.

    Twitter announced last week that it's discontinuing the mobile app, which allowed people to shoot and instantly share short videos, but will maintain the app and website so the content won't disappear forever. You just won't be able to create new video or continue engaging with what's there.

    Vine was introduced in 2013 and was purchased by Twitter before it even officially launched. Those were the days before Snapchat, Periscope and Facebook Live, when social video was still very experimental and the app was, at the time, pretty revolutionary. It never really caught on with the mainstream audience, though, eventually becoming a place for a core group of talented and eccentric creators to share funny and sometimes informative videos.

    A study from just a few months ago showed over half the app's users who had more than 15,000 followers had abandoned it for other platforms like Snapchat. While there were certainly hints that the future was not bright for Vine, Twitter was still innovating on the app as of just a few months ago, making changes to the time limit of video, which made the shutdown feel somewhat sudden.

    Brand publishers had similarly experimented with Vine in the months following its launch, largely as a way to get headlines, though their efforts either tailed off over time or were redirected to working with influencers instead of producing content themselves.

    As usual, movie studios were among the first to play around with marketing their movies on Vine, making headlines while doing so. Just two months after the app launched, 20th Century Fox debuted a teaser for the trailer for The Wolverine, Hugh Jackman's second solo outing as the fan-favorite X-Men character. That was notable not just because of the use of the brand-new platform but because "teasers for trailers" wasn't a widespread tactic at that point, though we're all too used to it now.

    Unfortunately, Hollywood's approach to Vine was epitomized by that execution. The Vine account for the movie still has just that one video on it. Nothing more for The Wolverine and nothing for Logan, the upcoming third part of the trilogy. While it's hard to find specific examples of which movies did or didn't execute on Vine, it's easy to extrapolate based on how studios have approached their brand accounts.

    Paramount Pictures: Three total posts, including two in May 2013, when it appears they were going to use it to provide a behind-the-scenes look at the studio. Nothing since a February 2015 video for the latest Spongebob Squarepants movie.

    20th Century Fox: Six posts, all from June or July 2015 and almost all from either the red carpet event for the Melissa McCarthy comedy Spy or from Hitman: Agent 47's San Diego Comic-Con activation. 

    Warner Bros. Pictures: 21 posts, beginning in February 2014 and actually going all the way up to April of this year, with a video promoting Keanu. A good chunk of these come from December 2015 as director Ron Howard took over the account to promote In The Heart of The Sea.

    Sony Pictures: 17 posts and very infrequent. Most recently (April 2015) there were promo videos for the Paul Blart sequel, but before that there were sporadic posts for Hotel Transylvania, Fury and the Annie remake.

    MGM: Nothing, but hey, they racked up almost 36,000 followers without doing a single thing.

    Universal Pictures: Again, nothing here, but an even more impressive ROI for no effort, accumulating 93,000 followers.

    Smaller studios took different and more innovative approaches to the platform. Independent distributor Oscilloscope Laboratories, which not only promoted their David Cross-starring coming It's a Disaster on Vine in 2013 but released the whole movie there in six-second bursts, which is certainly an interesting way to watch an entire feature film. And just a few months ago, the independent movie FML, an independent film starring well-known Vine talent, all about the culture of chasing Likes and Followers, usually in the pursuit of either romance or sponsorship dollars, was released.

    Vine's final chapter is one of a lot of potential that was just never tapped. It's also notable that while Twitter as a whole comes under increased fire for the hateful and abusive speech leveled by some of its users toward women and people of color, those are the same groups that found a home in Vine's creative community.

    For many brands, it just never fit in well with their overall content marketing mix, requiring too many resources to really make an impression. That potential will now never be fully realized. 

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    A powerful new Canadian ad campaign presents the most commonly Googled questions about Down syndrome—and has people living with Down syndrome answer them in a collection of some 40 videos.

    Titled "Down Syndrome Answers," the series covers everything from physical and intellectual development to the cause of the condition and life expectancy of those who have it.

    Overall, the clips proceed to explain—and illustrate—how people with Down syndrome can ride bicycles, read, play sports, hold down a job, cook, drive and do much more—even if those things might, in some cases, take longer to learn.

    The nonprofit Canadian Down Syndrome Society created the ads with agency FCB Canada largely to help parents who are seeking information after learning their unborn child has been diagnosed with the genetic anomaly. Naturally, the clips will pop up whenever someone Googles those questions.

    Even for viewers who aren't expecting a child with Down syndrome—or in the terrible position of weighing whether or not to continue a pregnancy on account of it—the videos are more than worth the few minutes it takes to browse through them. They offer a simple, humanizing and often heartwarming window into a population that's largely underrepresented in mass media, and often misunderstood.

    This week is Canadian Down Syndrome Awareness Week. One in 781 children born in Canada have Down syndrome. One in 691 children born in the U.S. have it. Most cases are caused by an extra chromosome in the 21st pair of the DNA sequence, originating in an abnormal cell division in an egg or sperm before or during the early stages of fetal development. It is not inherited, and cannot be cured, but speech and physical therapy can help with developmental disabilities.

    "The majority of prospective parents know very little about Down syndrome," says Kirk Crowther, national executive director at the Canadian Down Syndrome Society. "Doctors do their best, and there are lots of websites offering the medical perspective, but they typically use very clinical terms that don't capture the emotional and human side of the Down syndrome story. We wanted to change that with 'Down Syndrome Answers.' "

    Adds Nancy Crimi-Lamanna, chief creative officer at FCB Canada, "When parents get a diagnosis, they always have questions even after speaking with their doctor. At that point, they inevitably turn to Google looking for answers. When we met with CDSS, we realized that people with Down syndrome are most qualified to provide those answers, but without a good search strategy, there's no guarantee people will find them."

    Continues Jeff Hilts, also chief creative officer at the agency: "Just by casting real people with Down syndrome, we start to dispel some misconceptions about the developmental disability. But what will really make this campaign effective is ensuring people find the videos first when they turn to Google looking for answers."


    Client: Canadian Down Syndrome Society
    National Executive Director: Kirk Crowther
    Treasurer: Ed Casagrande
    Board member: Ben Tarr
    Communications Manager: Kaitlyn Pecson

    Agency: FCB Canada
    CEO: Tyler Turnbull
    Chief Creative Officer: Jon Flannery
    Chief Creative Officer: Jeff Hilts
    Chief Creative Officer: Nancy Crimi-Lamanna
    ACD, Art Director: Simon Tuplin
    ACD, Copywriter: Pete Gardiner
    Producer: Judy Hamilton
    Editor: David Rodriguez
    Group Account Director: Anabella Mandel
    Account Manager: Joline Christiani
    Senior Strategist: Eryn LeMesurier
    Digital Strategist: Shelagh Hartford

    Director: Elias Campbell
    Director of Photography: Stephen McLouglin
    Casting: Shasta Lutz, Jigsaw Casting

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    Heading into the holiday season, Starbucks wants Americans to feel united again after a brutal election season. But Americans clearly just aren't ready for that. They want to fight—over the color of a cup.

    The coffee chain on Tuesday unveiled a limited-edition green cup, designed by artist Shogo Ota (below), who used a single line to draw a series of connected characters—"a coffee farmer, a family, a barista, friends embracing" and more, the brand says.

    The point was to "represent shared humanity and connection, serving as a symbol for stitching people together as a united community."

    "The green cup and the design represent the connections Starbucks has as a community with its partners (employees) and customers. During a divisive time in our county, Starbucks wanted to create a symbol of unity as a reminder of our shared values, and the need to be good to each other," Howard Schultz, Starbucks chairman and CEO, said in a blog post.

    To which more than a few people replied: What a bunch of crap. And they let the coffee chain know about in on Twitter:

    One problem is that people assumed the green cups were meant to be the official holiday cups spanning the next two months—in place of the traditional red cups, which were already under fire last year for not being Christmassy enough. (Which wasn't, by the way, Starbucks' first PR problem with a cup.)

    They're not. They're a limited batch before, almost certainly, the red cups will return.

    The other problem is that, a week before the most bitter presidential race in memory concludes with Election Day, trying to get people to even consider putting aside their differences seems like wishful thinking at best—and, at worst, an aggressive political stance all its own. Unity is unthinkable this week, even on something as silly as a coffee cup.

    On the other hand, it is a lovely notion. And some people do seem capable of rising above the anger of the times and even appear to be enjoying this mass-produced, corporately expressed utopia. (See below.) 

    Either way, unlike you, Starbucks is happy. 

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    If Thomas Burberry, the founder of the eponymous fashion label, were to star in an early 19th century biopic, it would be a dazzling tale of love, adventure, war and ambition.

    It would all revolve around a brooding genius with a vivid imagination and the weight of the world on his shoulders. And naturally, he'd have the kind of dapper charm that couldn't help but make even the most brave and beautiful of women swoon.

    At least, that's the upshot of Burberry's shiny, lush, three-minute Christmas ad, which might be better described as a trailer for a superbly casted, if perhaps a bit jumbled, movie that doesn't—and probably won't ever—exist.

    First, for the roles. As the Guardian reports, actor Domhnall Gleeson (who played General Hux in Star Wars: The Force Awakens and Billy Weasley in the Harry Potter films) stars as Burberry. Sienna Miller (of American Sniper and The Girl) supports as his wife.

    Lily James (of Cinderella and, aptly, Downton Abbey) plays a fictional pilot based on the real-life Betty Kirby-Green, who in 1937 flew alongside A.E. Clouston on a record-breaking trip from England to Cape Town and back, wearing Burberry clothing in a plane sponsored by the company. (James' character manages to get embroiled in a love triangle with Mr. and Mrs. Burberry, because this wouldn't be much of a soap opera otherwise.)

    Dominic West (of The Wire and The Affair) plays Ernest Shackleton, the legendary explorer, who traversed the Antarctic also while dressed in Burberry. World War I also features heavily in the film. Burberry outfitted some half a million soldiers during the war with trench coats, the light and water-resistant outerwear named for the Western Front's infamous death pits.

    Documentary filmmaker Asif Kapadia directed the ad. The production values are gorgeous—table stakes for a luxury marketer—and the company is smart to draw on its history, which lends some real significance to the narrative (and polishes the brand's sheen), even as the story tries to cram in every conceivable trope in its rush to lionize its namesake.

    His invention of gabardine—the tightly woven textile—referenced in the film, is cause enough in itself to celebrate him. Then again, you'll probably never get to meet the real Thomas Burberry, so you'll have to just settle for this cinematic glimpse of him… not entirely convincing as it may be. 

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    We've seen a lot of intentionallysillypress releases over the years. But this one, sent out by Colle+McVoy for client Cub Cadet, is not kidding around.

    The Minneapolis agency recently helped the industrial brand launch a new line of Cub Cadet PRO Z commercial riding mowers. These are seriously badass machines. They have the only Triple 7-gauge steel deck on the market—the thickest, strongest steel deck in the industry. Landscapers apparently love the stuff, as it lets them clear rugged ground without worrying about destroying the mower.

    So, what kind of press release does such a Terminator-style mower deserve? One that's also made out of Triple 7-gauge steel, of course.

    You can see more photos of the thing below, which was sent to consumer and trade media. It weighs 14 pounds, 13 ounces, the agency tells us. It's the standard 8.5-by-11 inches, but its 0.625-inch thickness is impressive. 

    Oh, and this "press release on steroids" was also shipped in a custom crate with a crowbar. Because you can always use an extra crowbar.

    Client – Cub Cadet
    Agency – Colle+McVoy
    Rolled steel press release – Cub Cadet
    Crate - Woodchuck

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    Did you think you'd heard the last of Jimmy McMillan, hirsute founder of the Rent Is Too Damn High party?

    Just because he "retired" late last year, calling New York voters "brainwashed," doesn't mean the failed politician and self-styled karate expert is gone for good. As it turns out, he's sold his trademark (price undisclosed) to a German car-rental giant for its first ad campaign in the U.S. It seems the two have the same budget-conscious message, and at least one of them is in on the joke.

    Sixt, known for pushing boundaries in its European ads by using images of Prince Charles, Angela Merkel and other public figures, is latching onto erstwhile activist McMillan in new digital spots. The company, a budget franchise with about 70 U.S. locations, is also coat-tailing on the presidential race between Hillary Clinton and Donald Trump.

    "We wanted to get Sixt into the political discussion in this last week of the election, but we didn't want to get sued for using Trump or Clinton because that could be really expensive," says Georg Baur, managing creative director of ad agency Thjnk. "The brand is brave, but not that brave."

    Since McMillan announced last December that his trademark was essentially up for grabs, execs at Sixt and Thjnk realized they didn't have to start from scratch (think: Bud Light's underwhelming whistle-stop-themed ads). So they've co-opted McMillan's political agenda and his musical mantra. They rejiggered his hip-hop anthem and added journalist Cenk Uygur of the Young Turks and rapper The Fat Jew for a mock press conference. 

    Wackiness ensues.

    "This election is so intense that we just wanted to give people a break," said Baur, whose agency roster also includes Ikea, Audi, McDonald's and others. "Even if it's a commercial break, people need to laugh."

    In this meme-heavy world, it's vital to capture someone at the height of his popularity. Red sweater-clad Ken Bone shilling for Uber, for instance. But McMillan still has juice, Baur said, with folks on the street treating him like "a local hero" during shooting in New York. And the agency team tried to make the ad as absurd as possible so that "it should be funny even if you don't remember him."

    The ad launched Wednesday morning on the Young Turks' Facebook page, as well as on YouTube and other social media. 

    Client: Sixt
    President, Sixt USA: Johannes Boeinghoff
    Senior Marketing Manager USA: Amy Ostermayr
    Head of Social Media: Matthias Stock
    Agency: thjnk New York
    Managing Creative Directors: Torben Otten, Georg Baur
    Creative Art: Suzanne Levesque
    Account Director: Julia Kottowski
    Junior Account Manager: Henrik Jonsson
    Client Services Director: Gilles Guilbert
    Agency Producer: Ralph Teichmann
    Film Production: The Collective @ LAIR
    Director/Writer: Brad Hasse
    Director of Photography: Evan Jake Cohen
    Executive Producer: Mark Aji & Theresa Loguercio
    Associate Producer: Lara Geis
    Editor: Jeremy Baumann
    Assitant Editor: Julio Alvia
    Casting: Side Car Casting

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    Down-ballot races have been contentious this political season, as none of the contenders really know how the bitterly contested presidential race will affect them. So candidates are getting creative. And for us, that means better than average political ads. 

    The millennial-pleasing, '80s homage below is my favorite dance-based political promotion of the season. It stars Bay Area legends Joe Montana, MC Hammer and Ronnie Lott, as well Jaleel White (aka Urkel) and former Congressman Barney Frank jamming out to a cover of the Huey Lewis and News track "Hip to Be Square." All in an attempt to elect Democrat Scott Wiener, a candidate for California State Senate. 

    Portal A, the agency behind the video, has practically cornered the market on fun, celebrity-filled dance videos shot in multiple locations with MC Hammer. That's why they keep getting tapped for YouTube's annual Rewind video. But my heart has always had a unique appreciation for low-budget versions of the art form. There's something innately human about barely recognizing a celebrity as they dance poorly but excitedly in front of a green screen to a bad song cover.

    Let's also take a moment to appreciate this political ad as the sort of thing that could only run in California, in this day and age. Not only is it set in a gay household with two great gay dads, but the candidate, Mr. Wiener, appears at 1:22 wearing a leather vest and tie, presumably attending "the grand daddy of all leather events," the San Francisco Folsom Street Fair, as leather pride flags wave behind him. The fact that it's cool to be this openly gay in a political ad is pretty rad.

    Speaking of totally radical things, you can also tell the producers have been watching Stranger Things and really wanted to try out their '80s costuming skills, popping backwards caps and jean jackets on the kids, grabbing their best Cosby sweaters for the two dads, and outfitting the sax player in aerobics sweatbands.

    Altogether, it signals a strange new world for political promotion videos, where it's no longer enough to invite the cameras into your house and put on a flag pin. Standing out is the new fitting in when it comes to political ads. And we have actual agencies like Portal A to thank for helping move the genre from a nod-off to a dance-off.

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    Like most of its brick-and-mortar brethren, Macy's has struggled to keep pace in the era of e-commerce, suffering sales slumps that have forced the iconic chain to shutter many of its stores. And the year-end gifting season, which traditionally has given retailers a boost, was a huge bust for Macy's in 2015.

    Can advertising spark consumer interest in spending some bucks at Macy's over the coming weeks? How about advertising that leverages Macy's place in popular culture by celebrating the 90th anniversary of its Thanksgiving Day Parade, televised on NBC since 1952?

    BBH New York floats just such a concept in "Old Friends," a 90-second film about a very unusual relationship.

    The spot opens in presumably pre-World War II Manhattan. A giant, smiley Santa Claus balloon winks down at a little rascal who's attending the parade with his parents. Through the decades that follow, leading up to present times, the lad returns to the event as he ages, renewing his acquaintance with Big Santa.

    Until one year, the guy doesn't show, and the balloon breaks free of its tethers and flies off in search of its human friend.

    Whoa! Huge Helium Santa, please don't ever show up suddenly at our window like that. You'll give us a heart attack!

    "Everyone loves the Macy's Thanksgiving Day Parade," says BBH creative director Hemant Anant Jain. "It has been an enduring part of American culture and memory for a long time now. So, to celebrate its 90th anniversary, we wrote a fable that tries to capture the magic of the parade and what it has meant to people over all these years."

    On one hand, the spot—directed with great élan and a potent sense of nostalgia, and sans dialogue, by Noam Murro—accomplishes that mission. It tugs at the heartstrings and will surely remind some folks of their own Turkey Day associations with the parade and, by extension, its corporate sponsor.

    That said, there's a certain wistful quality that cuts a tad too close to home.

    We wish a new fresh-faced lad (or lass) had ultimately shown up with the guy on the parade route. Then, we'd have a grandfather passing down a beloved tradition to the next generation.

    As it stands, the story feels rooted in the rituals of the past. The balloon's journey to seek out its old friend—while touching—could make the brand seem adrift, pining for a bygone era, buffeted by the winds of change.

    Mostly, and despite the best intentions, the spot reminds us that no tradition lasts forever. That goes for parades—and one day, perhaps, shopping at department stores.

    Client: Macy's

    Agency: BBH New York
    BBH Creative Chairman: John Patroulis
    BBH Chief Creative Officer: Ari Weiss 
    BBH Copywriter/Creative Director: Hemant Anant Jain
    BBH Creative Director: Shannon McGlothin
    BBH Head of Content Production: Kate Morrison   
    BBH Executive Content Producer: Abbie Noon
    BBH Head of Business Affairs: Sean McGee
    BBH Global Chief Strategy Officer: Sarah Watson
    BBH Group Strategy Director: Samantha Cescau
    BBH Global Business Director: Jill Cavanagh
    BBH Account Director: Jennifer Sunberg

    Film Credits
    Production Company: Biscuit Filmworks
    Director: Noam Murro
    DP: Simon Duggan
    Executive Producer: Rick Jarjoura
    Producer: Charlotte Woodhead
    Head of Production: Shawn Lacy

    Editing House: Work Editorial
    Executive Producer: Erica Thompson
    Producer: Sari Resnick
    Editor: Stewart Reeves
    Editor Assistant: Adam Witten

    Sound Design: Henry Boy

    Sound Mixing: Sound Lounge
    Engineer: Tom Jucarone

    Music Company: Woodwork Music
    Composer: Philip Kay
    Music Producer: Andy Oskwarek

    VFX House: MPC NY
    Managing Director: Justin Bruckman
    Executive Producer: Camila De Biaggi
    Senior Producer: Brendan Kahn
    VFX Supervisor: Ashley Bernes
    2D Lead Artist: Amanda Amalfi
    3D Lead Artist: Andrew Cohen
    Colorist: Mark Gethin

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    We don't know whether the Chicago Cubs or the Cleveland Indians will emerge victorious in tonight's historic World Series Game 7. But we can predict one winner in advance—the bronzed bloke from Apple's latest iPhone 7 commercial, set to air on the telecast. 

    He's a bit like the Southern Comfort guy—if he got himself together and took an interest in sports instead of just slumming on the beach. He has a similar tan and wordless swagger, as he sets up his iPhone 7 to play some epic trumpet music ("La Virgen de la Macarena") and ascends a diving platform for a display of manly (and a little goofy) performance.

    Check out the spot here:

    As you can see, the spot promotes another specific iPhone 7 product feature, the stereo speakers—following previous "Practically Magic" ads touting the device's improved camera to shoot in low light; its water resistance; and its expressive messaging options.

    The spot will break Wednesday on TV during Fox's telecast of Game 7 of the World Series. Ad slots on Game 7 are said to be going for some $500,000 for 30 seconds—a hefty price, particularly if you've got a :60. 

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    Timing is everything. It was true early Thursday morning for the Chicago Cubs, who are World Series champions after 108 years of futility. And it was true for Nike, which used the first ad slot after the final out of Game 7 to air the spot below from Wieden + Kennedy—a lovely, quiet salute to the positive spirit of the team during its 2016 playoff run.

    Nike has been rallying the city of Chicago all week long with a "Make Someday Today" campaign featuring "living" out-of-home ads, including billboards that reacted to actual game action. Kudos to W+K and Nike for a great merging of creative and media celebrating a historic moment in sports.

    In some ways, the spot echoes the "Worth the Wait" ad that Nike made when the Cleveland Cavaliers won the NBA title in June. You have to wonder what the Indians spot looked like that Nike surely made for tonight, too.

    Client: Nike

    Agency: Wieden + Kennedy, Portland, Ore.
    North America Creative Directors: Antony Goldstein, Chris Groom, Stuart Brown
    Copywriter: Nick Morrissey
    Art Director: Jon Kubik 
    Director of Integrated Production: Matt Hunnicutt
    Senior Integrated Producer: Molly Tait Tanen
    Integrated Producer: Mauricio Granado
    Digital Producer: Keith Rice
    Art Production: Krystle Mortimore
    Project Management: Andrea Nelsen
    Studio Design Manager: Matt Blum
    Studio Designer: Randall Garcia
    Strategic Planning: Andy Lindblade, Reid Schilperoort, Zack Kaplan, Tom Suharto
    Media, Communications Planning: Danny Sheniak, Reme DeBisschop, Alex Dobson, Emily Graham, Anthony Holton
    Account Team: Chris Willingham, Alyssa Ramsey, Hannah Hewitt, Corey Woodson, Tobin Kittoe, Carlyle Williamson
    Business Affairs: Dusty Slowik, Brian Cook
    Broadcast Traffic: Andrea Sierra, Stephanie Goodell.

    Production Companies: Somesuch; Anonymous Content
    Director: Daniel Wolfe
    Executive Producers: Eric Stern (Anonymous Content); Tim Nash, Sally Campbell (Somesuch)
    Line Producer: Natalie Jacobson
    Director of Photography: Tom Townend
    Production Designer: Andrew Clark

    Editorial Companies: Joint; Trim
    Editors: Peter Wiedensmith, Tom Lindsay
    Assistant Editors: Kevin Alfoldy, J.B. Jacobs
    Post Producer: Catherine Liu
    Executive Post Producer: Leslie Carthy

    Visual Effects Company: Joint
    2-D Artists: Katrina Slicrup, Robert Murdock
    Executive Producer: Alex Thiesen
    Producers: Rebekah Koerbel, Nathanael Horton
    Colorist: David Jahns
    Color Producers: Rebekah Koerbel, Nathanael Horton

    Music, Sound, Mix Company: Joint
    Audio Mixer: Noah Woodburn
    Executive Producer: Natalie Huizenga
    Producer: Sara Fink
    Sound Designer: Noah Woodburn
    Song: Willie Nelson, "Funny How Time Slips Away"



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