A guy named Ed stalks past the glum cubicles of a nondescript office suite, raises his gun and fires a single shot at a middle-aged managerial type, narrowly missing his target. He then begins the laborious process of cleaning and reloading his musket-style weapon—the type of firearm widely used when the Second Amendment to the U.S. Constitution was ratified—giving everyone in the room time to flee. The chilling spot, from States United to Prevent Gun Violence and Grey New York, closes with the lines: "Guns have changed. Shouldn't our gun laws?"

Moms Demand Action and Grey Toronto take a simpler approach with "How Many More Rounds?" That clip shows shells ejecting in slow motion as an assault weapon is fired, with each casing representing a high-profile shooting: Newtown, Aurora, Virginia Tech, Columbine. As the tragedies pile up, the ad asks, "How many more rounds are we going to let this go for?" The same client-agency team also crafted print ads (posted after the jump) that show two kids standing or sitting side by side, each holding a different item, one of which has been banned by federal or local authorities to protect youngsters. The banned items include a version of Little Red Riding Hood, Kinder Surprise chocolate eggs and dodge balls. In each case, the contrasting item is an assault-style AK-15 rifle.

All three efforts are restrained and thoughtful, and each makes a point in a memorable way without seeming gratuitous. That the cause inspires impassioned and noteworthy creative work is no surprise. It's just a shame this particular ad category has to exist at all.

CREDITS (top spot)
Client: States United to Prevent Gun Violence
Spot: "Ed—A Petition for Stronger Gun Laws"
Agency: Grey, New York
President, Chief Creative Officer: Tor Myhren
Executive Creative Directors: Steve Krauss, Ari Halper
Creative Director, Art Director: Eric Schutte
Associate Creative Director, Copywriter: Rob Carducci
Copywriter: Richard Bullock
Creative Reputation Manager: Rachel West
Vice President, Account Director: Elizabeth Gilchrist
Assistant Account Executive: Cassie Novick
Executive Vice President, Director of Broadcast Production: Bennett McCarroll
Producer: Floyd Russ
Associate Producer: Sam Howard
Production Company: Harvest
Director: Adam Goldstein
Executive Producers: Bonnie Goldfarb, Rob Sexton
Line Producer: Francie Moore
Director of Photography: Roman Jakobi
Editorial: Mackenzie Cutler
Editor: Gavin Cutler
Assistant Editor: Ryan Steele
Producer: Sasha Hirschfeld
Visual Effects: Method Studios
Lead Flame Artist: Jay Hawkins
Matte Painter: Stella Ampatci
Visual Effects Producer: Jenn Dewey
Sound Design: Vision Post
Sound Designer: Ryan Hobler
Producer: Lindsay Brzowski
Music: G&E Music

The world's most famous spokespitcher, the Kool-Aid Man, just got a glassy makeover to help promote the brand's new sugar-free liquid drink mix. The Kool-Aid Man, who's been around since 1954, was made over by Saatchi & Saatchi in New York and VSA Partners of Chicago. At 59 years old, he's now completely CGI, appears a bit slimmer, has a new voice—including an "expanded vocabulary and developed personality" (!)—and of course his own brand-new Facebook page.

Thankfully, he will still say, "Oh, yeah!" and burst through walls. But in the new commercials, he's also seen working out at the gym, buying flowers and wondering which of his 22 fabulous flavor "outfits" to wear. (Hey, is the Kool-Aid Man gay now, too? If so, that's kool with me—give him a big equals sign over his midsection and make it his new profile pic.) In June, Kool-Aid will also launch a Kool-Aid Man PhotoBomb mobile app, which will allow fans to superimpose images of Kool-Aid Man into their own photos.

"This is one of those fun projects we love to work on: Bring Kool-Aid Man back, better than ever," says Saatchi New York chief creative officer Con Williamson. "When we set out to do that, when we really dug in, we discovered that there's a lot to love in the evolution of this iconic character. We wanted people to get to know him a bit more. Kool-Aid and Kool-Aid Man are undeniably fun and positively bold. We wanted that happiness to shine through in his personality and attitude."

North Korean strongman lardass Kim Jong-un should take some advice from New York Sports Clubs: "Exercise reduces aggression and makes you more attractive to others. Join today." The gym franchise, known for its snarky promos tied to current events, on Monday placed an ad in the New York City edition of the Metro newspaper inviting the portly potentate to use its facilities for a workout. Copy starts, "Kim Jong-un, with a great bod, you don't need a big missile." That particular bit of low-hanging humor will likely fall flat for the rotund ruler, since the whole missile thing's proven pretty useful for him so far. Still, he'll burn more calories pumping iron than he will by pressing the button.

MetService.com, a weather site in New Zealand, recently put up this empty (but nonetheless branded!) billboard frame in Auckland, through which it offered "real-time weather reports." Ha. As a gimmick, I suppose it's amusing enough. Of course, it's hard to tell the temperature from looking at the sky—and that's the major thing people check real-time weather reports for. Fun idea—but just not as clever as they think it is. Agency: Y&R. Check out the case-study video below. Via Adland.

CC Sabathia is a large man, but he's not technically wearing a fat suit. That latter fact—and not just his slimming New York Yankee pinstripes—gives Sabathia the advantage over the horizontally striped (and comically fat-suited) Scott Van Pelt in ESPN's new This Is SportsCenter commercial from Wieden + Kennedy in New York. Now, if they can combine a fat suit and a mullet, they'll really be breaking new ground.

Gno one really gnows how hard it is to make this kind of ad. It's gnot an easy task, obviously, but in my experience, almost gnothing can keep a viewer's attention on a YouTube ad for more than a minute. Yet Mother in London has really gnocked this one out of the park for Ikea with a two-minute lawn war between a happy couple just trying to redecorate their patio and the forces of lawn-ornament evil.

For some reason, I feel like "In the Hall of the Mountain King" from Peer Gynt should be playing behind this—possibly the version David Fincher used for The Social Gnetwork, which was (I believe) arranged by Trent Reznor of Gnine Inch Gnails.

As with many international spots, this one avoids using dialogue to drive the action and simply shows us … well, shows us a horror movie, honestly. We see the innocuous little creatures reacting violently as gnewer, gnicer lawn furniture arrives, and then their anger at rejection turns to utter rage.

I will say, as gnifty as the shots of the little dwarves running at our persecuted couple are, the really great moments here are the static shots. The surrealism of the one guy frozen in fury with an outstretched leg next to a kicked-over chair is going to be my desktop wallpaper from now on. I sort of hoped the whole thing would take place with no one except the humans moving, but that may be my love for Doctor Who clouding my judgment. The establishing shot over the ominous little red hat is awesome, as is the overhead take of the one bearded miscreant bellowing his grief at the sky, à la Platoon.

Overall, a great spot, with a great moral: Beware of those little garden, uh, things. The dwarf guys with the beards and the hats. The guys you steal and take pictures of in front of the Eiffel Tower. Elves? Gnope, that's gnot it. Fairies? Gnuts. It's right gnext to the word I'm thinking of.

CREDITS
Client: Ikea

Agency: Mother, London
Producer: Anna Murray
Creative Director: Tim & Freddie

Production Company: Biscuit Films
Director: Mike Maguire
Executive Producer: Orlando Wood

Editing Company: Final Cut
Editor: Ed Cheeseman

Postproduction, Visual Effects Company: The Mill
Visual Effects Producer: Tom Johnson
Shoot Supervisor: Peter Smith
2-D Lead Artists: Hugo Guerra, Gianluca Di Marco
2-D Artists: Gianluca Di Marco, Hugo Guerra, Kirti Daves, Sebastian Loven, Shizuka Fukuda, Greg Howe-Davies, Ola Roselind, Robert Granger, Simon Richardson
Colorist: Luke Morrison
2-D Supervisor: Hugo Guerra

This self-promotional clip from The Ungar Group, a boutique agency in Chicago, shows what might happen if you crossed Mad Men with The Walking Dead. You'd get a dapper, cigar-smoking, brandy-sipping, scab-faced ghoul who warns, "If you're looking for an advertising agency and don't meet with The Ungar Group, you'll regret it for the rest of your lives." Major props for infusing the initial pitch with a threatening tone and aura of hopelessness and decay. Such elements usually take at least a week to permeate agency-client relationships. Actually, lots of ad guys look like the withered zombie in this video. Pitching new business sucks the life right out of them.

LG is making a splash with bathroom humor in its latest piece of prankvertising. Marketing shop SuperHeroes installed ultra-wide LG IPS 21:9 monitors at eye level above urinals in a men's room at Amsterdam's World Fashion Centre. When guys showed up to use the facilities, the screens sprang to life with crisp images of sexy female models, who appeared to be appraising the men's … plumbing. The images were so lifelike, as seen in the hidden-camera footage, that most guys got stage fright—with many suffering a delay before they could urinate, and 25 percent failing to pee altogether.

"The film was shot … with actual visitors of the centre," SuperHeroes creative director Rogier Vijverberg tells AdFreak. "We spent a full day in the adjacent toilet filming the reactions of unsuspecting men. As a backup, we'd hired a handful of extras. Nobody knew they were filmed beforehand, not even the extras."

The video is on track to top 1 million YouTube views in little more than two days. And though invasive, this prank seems more playful and less upsetting than some other recent ones, including the last hair-raising SuperHeroes-LG collaboration—the one with the monitors lining the elevator floor. The guys at the urinals seem mildy miffed, but those elevator riders were truly shafted.

April 15 is best known as the date for everyone's least favorite federal obligation. But it also marks a significantly more upbeat occasion—the anniversary of Jackie Robinson's opening day with the Brooklyn Dodgers, which Major League Baseball marks each year by celebrating Jackie Robinson Day. With the Robinson biopic 42 hitting theaters at the same time, the player's legacy is getting extra attention this year.

Adding to the buzz is "First Changes Everything," a new ad campaign from baseball cap purveyor New Era and agency Pereira & O'Dell that honors Robinson's achievements (while presumably inspiring sales of a few $35 Brooklyn Dodgers hats at the same time). It also includes a social-media component: New Era is promoting the #FirstChangesEverything hashtag, which has already been tweeted out by a slew of baseball teams and players. 

The minute-long TV spot, shot in black and white, shows people on a New York City street tipping their caps (or hard hats or fire helmets) as an unseen stroller passes by in slow motion.

"Here's to first," a voiceover says. "To making history instead of quietly going into it. To sacrificing everything so those behind you can stand on your shoulders for a better view." The object of the bystanders' regard is revealed to be a boy wearing a vivid blue Dodgers hat and Jackie Robinson T-shirt who stops to tip his own cap as he enters Brooklyn's Jackie Robinson Playground.

The ad manages to be quietly powerful instead of cloying, maybe because it attempts to illustrate Robinson's enduring legacy in the present day rather than using archival footage of the player's past.

And, of course, using a really cute kid always helps.

CREDITS
Client: New Era
Agency: Pereira & O'Dell, New York
Production Company: Rooster

Specs
Who (l. to r.) Mike Braue, director of client services, consumer brands; Michael McIntyre, president; Christianne Brooks, group creative director; and Kevin Aratari, evp, entertainment
What Entertainment advertising, marketing, branding and production company
Where West Los Angeles offices

Originally a movie trailer company, mOcean has since expanded into other areas including brand strategy, content and design. The agency has a new consumer brands unit which has worked with marketers like Bare Escentuals, Dish Network and ReNew Life’s Fiber Smart, but maintains a strong focus on children. Last year, it created Disney’s educational website for the movie Lincoln and launched Nabi, a kids’ tablet from Fuhu.
 

A disproportionate number of car ads—usually unapproved, never officially released, sometimes ultimately revealed as hoaxes—have focused on suicide. Inhaling car-exhaust fumes has been the most popular method of attempted demise in these spots, with such efforts failing because the vehicles involved are low-emission models. That's the joke. I use the term loosely. Hyundai joins the dead pool with this apparently European commercial for its iX35 "100 percent water-emissions" model. The clip shows a middle-aged guy trying unsuccessfully to off himself in his garage. It's getting popular online. Neither Hyundai nor ad agency Innocean responded to queries. The creative approach is similar to earlier spots for other nameplates, notably Citroen and Audi. The death-wish commercials featuring those cars are superior, with Citroen's use of stylish dark humor really bringing the suicide theme to life. As for Hyundai, well, personally I wouldn't be caught dead in one.

Evian's babies are back, and they look more familiar than usual.

The infants, introduced by BETC Paris in 1998 with the beloved French spot "Water Babies," and made famous a decade later by the global "Roller Babies" spot (one of the most-watched ads ever on YouTube), return this week with the film below, called "Baby & Me." Once again, they represent your gleeful inner child, but this time they want to dance with you.

The agency's executive creative director, Rémi Babinet, spoke to Adweek about how the new campaign came about. "With 'Baby & Me,' the brand seeks to stay fresh by renewing the 'Live Young' concept of the preceding work," he says. "In the last campaign, 'Baby Inside,' we used a simple creative mechanism, a T-shirt, to bring to life the baby inside all of us. With 'Baby & Me', the adult and baby selves actually meet for the first time."

The spot, filmed in Buenos Aires and Paris, features adults and kids who were cast because they looked like each other. From there, thanks to some CGI, they mirror each other's dance moves.

Agency and client both pointed out that the babies aren't just an advertising gimmick. They're rooted in the brand's history. "The babies are true to our story and heritage," Laurent Houel, global brand director for Evian, tells Adweek. "The love affair of the brand with babies started in France in 1935, when Evian was first recommended as a perfect water for babies. It is still today the No. 1 water used by mothers for their babies [thanks to its pH-neutral mineral composition]. So fundamentally, there is a true link, it is not a marketing trick."

Houel adds: "BETC had the idea to go beyond this, and leverage the babies into a powerful symbol of purity and youth. This baby is a symbol of you and how you feel when you experience Evian, and a symbol of the purity of our water."

The music on the new spot is Ini Kamoze's "Here Comes the Hotstepper," remixed by French electro artist Yuksek.

Besides the film, the campaign will include an outdoor campaign that will bring the baby-and-adult mirrored-dancing concept to life on digital posters. (Look for cameos by tennis champion Maria Sharapova and the golfer Melissa Reid.) There will also be an app that allows you to "babify" yourself thanks to facial recognition software.

CREDITS
Client: Evian
Brand Management: Michael Aidan, Laurent Houel, Cécile Turkel, Alexis Thobellem, Benoit Radenne
Agency: BETC, Paris
Agency Management: Marielle Durandet, Estelle Colas, Gaelle Gicqueau, Isabelle Picot, Charlotte Bals
Executive Creative Director: Rémi Babinet
Art Director: Agnès Cavard
Assistant Art Director: Félix Falzon
Copywriter: Valérie Chidlovsky
Traffic: Elise Herfort
Media Strategy Director: Martine Picard
Media Agency: Havas Media International
TV Producer: Fabrice Brovelli
Production Company: Iconoclast
Directors: We Are From LA
Music: BETC Music
Music Creative Director: Christophe Caurret
Music Production: Gum
Track/Artist: "Home Come the Hotstepper," Yuksek
Rights Negotiation: Catherine Philippe
Media Plan
International campaign: TV, cinema, web, points of sale and events (France, Belgium, Switzerland, Germany, United Kingdom, United States, Canada, Russia, Ukraine, China, Korea, Singapore, Taiwan, Japan)

PRINT
Photographer: Benni Valsson
Art Buyer: Nathalie Gruselle
Production: RITA Production / Isabelle Severi
Print Producers: Sarah Belhadj, Annick Audoux

DIGITAL OUTDOOR
Agency Management: Karine Dargeou, Stéphanie Mayer, Jonathan Casseron
Creative Director: Ivan Beczkowski
Art Director: Sokphea Pes
Copywriter: Emmanuelle Labbe
Technology Thibault Dargeou

Progressive takes a swipe at "rate suckers" in this odd spot depicting bad drivers who cause price increases for everyone else as zombies who leap onto your car and suck on its surfaces with their gaping mouths. They hang on tenaciously in traffic, and continue sucking even after the driver stops and chats with a pitchlady (not Flo) about Progressive's Snapshot travel monitoring device (which, FYI, has raised some privacy concerns among consumer groups). The suck-action, for lack of a better term, is damn disconcerting, and such a distraction that it detracts from the overall message. Stop drooling on the hood, you freaks! It's strange there's no Flo. She's sucked for years.

Dove's "Real Beauty Sketches" quickly became a viral phenomenon. But as it blazed past 1 million views on YouTube, the video has racked up its fair share of critics, too. The Ogilvy-produced clip, which shows a police sketch artist drawing women as they perceive themselves versus how strangers see them, has been praised by thousands of women as a heartwarming wake-up call for women to stop being so hard on themselves. But some feel the video actually reinforces beauty stereotypes by depicting one sketch as "uglier" than the other. Below, we catalog a few of the specific complaints about the campaign that have been bouncing around the Web this week.

1. It features too many traditionally attractive white women.
Jazz Brice on Tumblr:"When it comes to the diversity of the main participants: all four are Caucasian, three are blonde with blue eyes, all are thin, and all are young (the oldest appears to be 40). The majority of the non-featured participants are thin, young white women as well. … Out of 6:36 minutes of footage, people of color are onscreen for less than 10 seconds."

2. It seems to define beauty as being thin and young.
Kate Fridkis on PsychologyToday.com:"Looking at the two portraits of herself, one woman described the one meant to be prettier as looking 'much younger,' which seemed to be true of all of them. The more 'beautiful' facial representations seemed to all be thinner and younger-looking. If that is the crux of beauty, then I guess we're all pretty screwed by that obnoxiously inexorable bastard called time."

3. It positions beauty as the yardstick by which women measure themselves.
Stacy Bias on StacyBias.net:"Is the pinnacle of success always beauty? Believing that others see us as beautiful? Believing that we are beautiful? I want people to question their negative self-perceptions, sure. But I would love for that to happen in a context where beauty doesn't always end up valorized. This is a mindfuck—'everyone is beautiful, so you are beautiful, too!' still reinforces beauty as an aspirational value."

4. It shows women as their own enemies rather than victims of a sexist society.
Erin Keane on Salon.com:"All of that body image baggage is internalized by growing up in a society that enforces rigid beauty standards, and since the target demographic for this ad is clearly women over 35 with access to library cards (which is to say, women who have had some time to figure this reality out), it is baffling that Dove can continue to garner raves for its pandering, soft-focus fake empowerment ads."

5. It is hypocritical because it comes from Unilever, which also makes Axe, Slim-Fast and more.
Charlotte Hannah on Twirlit.com:"[Dove's] long-running Real Beauty campaign has shed light on some important truths about the media's unrealistic portrayals of women, but given the fact that Dove is owned by Unilever, which also owns Axe (ugh) and the company that produces Fair & Lovely skin lightening cream (double ugh), the campaign comes across as hypocritical and patronizing—a way for the company to pander to women for sales while practicing the very evil it preaches against."

What arguments have we missed? Let us know your thoughts or share links to other reactions in the comments.

Related stories:
• Dove Hires Criminal Sketch Artist to Draw Women as They See Themselves and as Others See Them
• Low Self-Esteem Is Not a Problem in Dove's Real Beauty Sketches … for Men

Specs
Who Barbara Yolles
New gig CMO, Campbell Ewald
Old gig chief growth officer, North America, McCann
Age 46

What has been your impact on Campbell Ewald since you started last year?
Whenever client prospects or journalists come into CE, they’re stunned by the depth and breadth of the resources. It’s an amazing agency that just needed to gain awareness. All I’ve done is crafted a narrative to reposition the agency, given it a new look, tone, feel, and infected it with my obsession with fashion and shoes.

Why CMO and not say, growth officer?
An agency needs to be a marketer and a brand, too. That’s why we combined two departments into one. Growth and Marketing/Communications. My job is to grow the CE brand to drive reputation and develop our business. In this role, I can have impact internally and externally.

Let’s get this out of the way­—what can you tell us about the Cadillac review?
Any questions you have about Cadillac, you’ll have to call Cadillac.

OK, then, tell us about some wins.
I can share that we won Zipcar, Edward Jones, FDA anti-tobacco, University of Michigan global brand, Dow Chemical and had huge organic growth on several accounts. The rest are in contract, and I’m not able to share at this time.

What is the biggest misperception about Detroit?
People focus on it being an automotive town with blight. In reality, it’s a thriving, sophisticated, cultural, creative hotbed. Forbes called it the best place to start a new business. Art Basel called it one of the four next art meccas of the world. It’s a town that has creativity and invention at its core with amazing resilience and determination. It’s like no other city I’ve ever worked in.

How is that reflected in CE?
The inventiveness of the agency. We were first to do click to video via mobile. CE also created one of the first branded YouTube channels for the Navy, and today it is ranked in the top 15-20 channels. And we were the first to turn a coffee tumbler into a Starbucks gift card. That’s how we think.

What has the agency been up to in the social space?
We created Navy for Moms. It’s a great example of how to leverage a strong insight and bringing people together to achieve a business goal—in this case, meeting recruitment goals—in the social space. The No. 1 barrier for a recruit to the Navy is mom. We started with 72 moms who had kids in the Navy to talk to other moms whose kids are contemplating joining the Navy. Today we have over 80,000 moms talking to one another, and a new mom joins every 30 minutes.

What is the industry buzzword you are most sick of hearing?
I’d say “digital” We hear clients saying they want digital all the time, but I’m not sure what that really means. Is it mobile? Social? Advertising? Websites? And there are hundreds of layers beneath each one of those. Have you ever Googled “digital advertising”? If you do, you’ll get 2.2 billion hits. If you Google “advertising,” which you’d think would be bigger, you only get 700 million hits.

Are you a car person?
Well, I’ve gotten four speeding tickets in the last year. And that’s driving my soccer-Mom SUV. I’d rather be driving a hot coupe.

So if you could drive any car for a day, what would it be?
If I could drive any car from the past, it would be a split-window ‘63 Vette or Gullwing Mercedes.

Dude's got the right stuff! Talk about a payload specialist! No "Houston, we've got a problem" for this rocket jockey! Etc.! BBH London and Blink director Tom Tagholm score with its latest, interestingly shot "Nothing beats an astronaut" spot for Axe's Apollo and Deep Space body washes, thanks to playful morning-after imagery. A woman's clothing and underwear are strewn around an apartment, along with astronaut gear like boots, a helmet and a spacesuit. She wakes up looking supremely satisfied, while her lusty inner-space traveler showers with Axe, all systems presumably "go" for re-entry. Remember to practice safe sex, people, and keep your helmet on! Credits below.

CREDITS
Client: Axe
Agency: Bartle Bogle Hegarty, London
Creative Director: David Kolbusz
Creative: Gary McCreadie, Wesley Hawes
TV Producer: Ruben Mercadal
Production Company: Blink
Director: Tom Tagholm
Producer: Bruce Williamson
Executive Producer: James Bland
Photography: Vincent Warin
Production Designer: Andy Kelly
Production Manager: Ellie Britton
Postproduction: Framestore
Editing House: Stitch
Editor: Tim Hardy
Audio: Wave
Sound Designer: Aaron Reynolds
Music Production: Beacon Street Studios

In keeping with current trends, Brazilian modeling agency Star Models is using illustrations to address body image issues. But its effort is more grim and cautionary than Dove's hotly debatedReal Beauty Sketches. The Star Models ads, from agency Revolution Brasil, are meant to fight anorexia by comparing fashion illustrations to images of "real" models Photoshopped to have the same measurements as the drawings. The results are downright ghoulish. The models look more like David Johansen than anything recognizably human, leaving me to wonder if campaigns like these are meant more for the fashion industry than the general public. The problems of unnecessary digital retouching and overemphasis on skinny bodies are awfully relevant to the runway these days. More images below.

Every now and then, you get a provocative church ad, like Florida's "Come get hammered" billboard or pretty much anything New Zealand's St. Matthew-in-the-City puts out. Catholic ads are typically more staid, but the Catholic Diocese of Brooklyn recently launched ads that speak directly to that borough's natives in a language they understand—by referring to Jesus as "the original hipster." The ad doesn't explain this statement other than to suggest Jesus wore robes and was probably somewhat dirty a lot of the time—also (in a bit of clear revisionism) that he wore Converse sneakers. The point is rather that he was incredibly cool, though not seen by many as such, and certainly misunderstood in his time. There is also no record that he ever actually turned water into PBR. The ads point to the "All Faces" section of diocese's website, showing the diversity of its worshippers. Via Animal New York.

Nike placed this ad in Sunday's Los Angeles Times (and in social media), honoring Kobe Bryant following his season-ending injury. It's classic Nike—simple, rhythmic, inspirational. It's also sly. It reads like a career retrospective, until the last line, when it's revealed to be anything but. From Tiger Woods to Bryant, you can always count on Nike never to be boring. Full text of the ad below.

Thank you @nike for this surprise spread in the paper this am. It touched me beyond words. #showuIwillinstagram.com/p/YX3oQxxNr8/

— Kobe Bryant (@kobebryant) April 21, 2013

"You showed us that an 18-year-old could play with the best.
You showed us that a championship, an exhibition game and a charity event are all must-wins.
You showed us how to play chess while others played checkers.
You showed us how to hit game winner after game winner.
You showed us that an 81-point game is a real thing.
You showed us that gold still matters.
You showed us how to take an ice bath.
You showed us how to score 30 points in a quarter, twice.
You showed us the Mamba Face.
You showed us how to demand perfection and demand it of everyone.
You showed us how to put big-boy pants on.
You showed us that you were never out of it. Ever.
You showed us how inspirational a pair of free throws could be.

Now, show us again."

More goofiness from Old Spice and Wieden + Kennedy—a scratch-and-sniff banner ad, which of course they're calling the world's first. It's running over on The Onion's sports section. Clicking on it takes you to a form you fill out—after which they'll send you something in the mail that will let you "smell the Internet." It lacks the immediacy of real scratch-and-sniff gimmicks, perhaps, but spares you from looking like an idiot at the office with your nose to the computer screen. It promotes the Wolfthorn line of products.