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Breaking News in Advertising, Media and Technology

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    Today's toy ads aren't perfect—the one for Kackel Dackel is disturbing in its own way—but at least they don't give you nightmares. The one below, for Remco's 1971 toy Baby Laugh-a-Lot, is not something your kids ever need to see. The horror-movie style editing and the deranged voiceover certainly don't help. In fact, the only thing more frightening than Baby Laugh-a-Lot might be Baby Laugh-a-Lot with her batteries running low.

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    Saturday Night Live alumnus Bill Hader has teamed up with T-Mobile to become the brand's first spokesperson in several years not to wear a bright pink dress. The spots, directed by Adam & Dave of Arts & Sciences, advertise a new program called Jump, which does away with the crazy multi-year wait times for phone upgrades—a $10-a-month fee lets you upgrade twice a year. The spots, created by Publicis, show Hader in unfortunate but familiar situations like dropping his phone in a urinal, trying to dry it out in some rice, getting one-upped by someone with a better phone, having it squished by a large mustachioed man, and getting stuck with a phone that won't hold a charge. Hader is funny, but even funnier is Brian Huskey of Swagger Wagon and Sonic commercial fame, who delivers his usual awkward deadpan brilliance.

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    The premise of Ikea's "One Room Paradise" music video seems straightforward: As a little girl plays with her dollhouse (doll apartment complex, to be precise), the dolls come to life and give us a glimpse of their happy existence in a small but perfectly (Ikea-furnished) single-room home. But before you can say "Ektorp," the girl's fantasy world becomes infinitely more complicated.

    After initially appearing to be a sort of Barbie Dream Apartment situation—a pretty plastic doll wakes up in the morning, opens her closet full of trendy shoes, gets dressed in a pink tracksuit—the story veers, intentionally or not, into social commentary. Instead of giving us a single gal or typical nuclear family, the main players reveal themselves to be a single mother and her son (and, occasionally, grandmother). While it's refreshing (and commendable) that Ikea's version of a family doesn't necessitate a happily married mom and dad, there's something unquestionably off-putting about the entire narrative—especially considering it's supposedly taking place in a child's imagination.

    For one thing, the story is set to a song about creating a "one-room paradise" with "the man I love." In that context, the very close mother-son relationship—he dabs her tears when she cries at a movie, and cooks her breakfast in bed after she comes home drunk from a late night of partying—starts to look a tad unhealthy. (It's probably safe to assume Aretha Franklin wasn't singing about her child in the original version.) And the image of a mother doll stumbling through the door after having a few too many drinks will probably raise a few eyebrows, too. (No judgment when it comes to human mothers, but have you ever seen Barbie under the influence?)

    Most unsettling of all is the unavoidable uncanny-valley aspect that comes from having the dolls portrayed not by toys shot in stop-motion, but by actors wearing doll masks. The plastic-faced human bodies, contorted into doll-like positions—fingers stuck permanently together, elbows slightly bent—are more creepy than playful. (For an extra dose of creep, watch the "behind the scenes" tour of the apartment, in which the mother doll is voiced by a gruff-voiced man.)

    On the bright side, if you can get over the initial feeling of unease, there are some great organizational tips in there!

    Client: Ikea
    Agency: Mother, London
    Director: Megaforce
    Production Company: Riff Raff
    Producer: Cathy Hood
    Agency Producer: Ellie Gibb
    Colour Grading: Paul Harrison
    Flame: Judy Roberts
    Post Producer: Justine White
    VFX: Finish & Mathematic
    Editor: Joe Guest @ Final Cut

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    David Fincher's Calvin Klein commercial starring Rooney Mara exists in a dreary, dreamless dimension beyond banality and cliché. It occupies a zone so soullessly stylized that "style" loses all meaning … a wasteland so unironic that irony screams for release, only to go unheard. This 60-second black-and-white spot introducing CK's Downtown fragrance plays like an unfunny parody of its putrid genre—yet it's very real, which makes irony scream all the more. In other words, it's like every other pretentious, faux-artsy perfume and fashion commercial. Maybe more so. Fincher previously directed Mara in The Girl With the Dragon Tattoo and The Social Network. "Runaway" by the Yeah Yeah Yeahs plays on the soundtrack. The ad features puppies, buses, rain, subways, earbuds and a press conference. A lot of stuff happens in slow motion. Mara cracks a smile, which The Huffington Post seems to think is a big deal. I'm not sold on the name of the perfume, either. How does downtown usually smell? In my experience, it stinks. Print ad below the video.

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    In this strange ad by Made Movement for Stonyfield, a woman with an Oompa-Loopa-ish complexion and a deeply annoying voice asks her lunchroom friend if she ever wonders about pesticides. Stonyfield fans like myself will recognize that a similar question is contained inside every yogurt container. But our protagonist gives it a good ponder anyway, and we are transported into her mind's eye. A farmer and his son are seen petting a cow, when three neon-colored dweebs wearing costumes that say "Pesticide" hop the fence to cause trouble. So, the Stonyfield farmer breaks out his kung-fu and defeats his brightly colored enemies by employing more cowbell. According to the release, "While most opt for a slick, stylish approach and keep verbiage vague such as 'Pure' or 'Natural,' this high-energy, color-saturated spot highlights Stonyfield's commitment." Indeed, it does look like someone vomited highlighters on it. And it does stand out in a category full of real cows in realistically colored fields. I guess Stoneyfield is finally going for the stoner crowd.

    Client: Stonyfield

    Agency: Made Movement
    Chief Creative Officer/Partner: Dave Schiff
    Chief Design Officer/Partner: John Kieselhorst
    Chief Digital Officer/Partner: Scott Prindle
    Creative Director: Claire Wyckoff
    Cheif Strategy Officer: Graham Furlong
    Art Director: Marybeth Ledesma
    Writers: David Satterfield, Claire Wyckoff
    Consulting Head Of Integrated Production: Chris Kyriakos
    Junior Integrated Producer: Isaac Karsen
    Visual Effects Company & City: Ingenuity Engine, Hollywood CA
    Music Company & City: Beacon Street Studios, Venice, CA
    Composer: Andrew Feltenstein, John Nau
    Sound Design Company & City: Soundelux
    Editorial Company & City: NO6, Santa Monica

    Business Manager: Jennifer DeCastro
    Vp Account Production: Rachael Donaldson
    Production Company: Hungry Man
    Director: Jim Hosking
    Executive Producers: Kevin Byrne, Dan Duffy
    Line Producer: Leora Glass
    Director Of Photography: Marten Tedin

    Editor: Dan Aronin
    Assitant Editor: Doug Scott
    Executive Producer (Editorial Co): Crissy DeSimone

    Lead Flame: David Lebensfeld
    Visual Effects Producer: Oliver Taylor
    Telecine: Company 3
    Colorist: Siggy Ferstl

    Sound Designer: Harry Cohen
    Audio Finishing: Lime Studios
    Audio Engineer: Sam Casas

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    Here's an airport stunt from Heineken that truly embodies the brand's adventurous spirit. Twice this week, Wieden + Kennedy in New York set up a board at JFK's Terminal 8 and dared travelers to play "Departure Roulette"—changing their destination to a more exotic location with the press of a button. They had to agree to drop their existing travel plans—without knowing the new destination first—and immediately board a flight to the new place.

    On Tuesday, a man played the game and ended up going to Cyprus instead of Vienna. (He had been planning a six-week visit with his grandparents, but soon learned he would be headed to Cyprus on a 9:55 p.m. flight. Heineken gave him $2,000 to cover expenses and booked him into a hotel for two nights.) W+K set up the board again on Thursday, and brought cameras along to document the gameplay. The game is inspired by "Dropped," the new Heineken campaign that launched a month ago from W+K Amsterdam in which four men are sent to remote destinations and film their adventures. We should have footage from Thursday's event next week. For now, Heineken should set this up in the Moscow airport. There's a guy there who would welcome any chance to fly to oblivion.

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    Here's a customer-service story that will be music to your ears. Someone on the Spotify team created a custom playlist yesterday thanking user Jelena Woehr for some positive feedback she gave the music service. The titles of the songs spelled out the message "Jelena/You Are Awesome/Thanks a Lot/For These Words/It Helps Me/Impress/The Management." The gesture was a big hit with Woehr, a community manager for Yahoo's Contributor Network. "Oh my god," she wrote on Facebook with a screenshot of the playlist. "Spotify customer care is ADORABLE." It's hard to tell whether this is a common thank-you trick for the Spotify team, but it's especially impressive in this case considering her first name isn't exactly common. "I'm still just mindboggled they found a song titled 'Jelena,' with the J and everything," she says. It's yet another example of how small gestures to customers can go a long way these days, whether you're fixing a broken cheeseburger for a girl with autism or replacing a boy's missing ninja.

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    The fur flew, painfully, in Lowe Roche's recent street promo for Toronto's Fuzz Wax Bar. A guy almost completely covered in wax strips walked around town and invited people to tear them from his skin. Cartoon smiley or frowny faces on the strips indicated the level of pain the guy would feel. They were also emblazoned with copy such as "From bear arms to bare arms" and "We'll take the monkey of your back," along with the salon's slogan, "So good, it hurts." Yeee-ouch! Each strip could be redeemed for a 25 percent discount at Fuzz Wax. (Personally, I'd want to keep mine as a hairy, sweat-stained waxvertising souvenir.) Last year, the zany madcaps at Lowe Roche photographed a local dealership's Porsches in people's driveways to create ads targeting those very homes. That was clever, but this body-hair stunt was less creepy and provided an oddly memorable product demo. Congrats to the agency for pulling it off. More photos and credits below.

    Project: Street Waxing
    Client: Fuzz Wax Bar
    Agency: Lowe Roche
    Executive Creative Director: Sean Ohlenkamp
    Copywriters: Jeremy Richard, Eli Joseph 
    Art Directors: Ryan Speziale, Kunaal Jagtianey
    Producer: Shannon Farrell
    Makeup: Alyssa McCarthy
    Account Director: Frederic Morin
    Director: Dean Vargas
    Postproduction: Motion Pantry

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    Old Spice had a couple of hits back in April with its "Shower" and "Watermelon" ads for its Fiji Bar Soap. Now, the brand's Swagger Bar Soap gets some play in this amusing spot from Wieden + Kennedy called "Architect." Again, it's a parody of '80s bar-soap commercials, complete with cheese-spirational song lyrics and meaningful brow-sweat-wiping moments … and a comically sideswiping ending. Nice slippy product shot at the end, too.

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    George Zimmer, who founded Men's Wearhouse in 1973 and served as its CEO and ad spokesman until two years ago, was fired in June by the company's board of directors from his new role as executive chairman because of disagreements over the retailer's future. Zimmer, of course, was a fixture on TV with his gravelly voiced tagline, "You're going to like the way you look. I guarantee it." Below is the first post-Zimmer spot. It's only 15 seconds long, and it has a charity angle, so it's atypical for the company. Yet you feel Zimmer's absence palpably. That's because, without him, there's no real brand voice left at all, literally or figuratively. Zimmer's ads weren't very special, but he was unapologetic about that. "I apologize to those … who are going into the advertising or marketing business," he told BusinessMakers last year, "but what really drives success, in my experience, is repetition and consistency, not creativity. I think people who are in the [ad] business tend to get more hung up on the creative aspects. They start to think of themselves more as artists and less as businessmen. We have the same problem with tailors, by the way."

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    Ads about technology can leave you cold, particularly when they try to explain what the technology does. Often, humanity gets lost in the equation, and you end up feeling disconnected from the message.

    So, the degree of difficulty was high as Lowe Campbell Ewald set out to advertise General Motors' OnStar car-monitoring system. It could have been a dull affair, but through quick-cutting visuals and an animated voice, the four online ads are surprisingly engaging.

    One ad, "Sandman," shows dad wondering if his far-away car is locked as his kids bury him in sand on a beach. An OnStar remote control on his key chain allays his mild concern. Another ad, "Crash," shows a woman swerving into a ditch and getting an audio call from OnStar just a few seconds later. Speed is the message there, as it is in "Joyride," where OnStar helps track a stolen Chevy Silverado and sends a signal to slow the speed of the truck as police move in. 

    Director Angus Wall of Elastic leavens the action with cutaways to dogs, a yawning cat, a falcon, even a crab. Visually, he also spells out just how messages get passed back and forth from humans to cars. The images are playful and compliment the voiceover, from actor Rich Sommer, aka Harry Crane on Mad Men.

    In telling stories each lasting less than a minute, Wall, who has won Oscars for film editing (on The Girl With the Dragon Tattoo and The Social Network) and Emmys for title sequencing (on Game of Thrones and Carnivale), is clearly in his element.

    The "Connected by OnStar" campaign, which also includes radio and print ads and social-media outreach, will run through December. It marks the first campaign for OnStar since 2010, when brand spending exceeded $70 million, according to Nielsen.

    Client: OnStar
    Director of Insights and Brand, OnStar/Global Connected Consumer: John McFarland
    Advertising Manager, OnStar/Global Connected Consumer: Kelly Shon

    Agency: Lowe Campbell Ewald
    Creative Director: Michael Stelmaszek
    ACDs: Jim Millis, Nancy Wellinger, Kevin Omans
    Account:  Laura Thornton and Jeff Bratton (leads), Amy Raubolt, Bryan Bush, Crystal Czupinski
    Planning: Anne Feighan
    Production: Mary Ellen Krawczyk

    Production Company: Elastic
    Director: Angus Wall
    Director of Photography: Eric Tremmel
    Live Action Producer: Melinda Nugent
    Designers: Ekin Aklin
    Executive Producer: Jennifer Sofio Hall

    VFX Studio: a52
    2D  Lead VFX Artists: Andy Bate, Andy Barrios
    2D Artists: Matt Sousa, Brendan Crockett
    Colorist: Paul Yacono
    Executive Producer: Jennifer Sofio Hall, Megan Meloth
    Producer: Jamie McBriety

    Editorial Company: Rock Paper Scissors
    Editor:  David Brodie
    Assistant Editor: Niles Howard
    Executive Producer: Carol Lynn Weaver
    Producer: Esther Gonzales


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    It looks like Rebecca Black finally decided which seat to take—a seat in a Honda. The "Friday" singer just popped up in a Vine video from the automaker—part of a campaign by RPA that sends personalized Vines to Honda fans on Twitter who use the hashtag #wantnewcar.

    "We were promised flying cars. I don’t see any… #wantnewcar," wrote Nick Miners. To which @Honda replied: "Hey @nickminers, we don't have those at the Honda Summer Clearance Event. But we have @MsRebeccaBlack!" In the Vine, Black suggests visiting a Honda dealer on Friday—"or whenever."

    Check out more of the Honda Vines here.

    In addition to the Vine promotion, the campaign features TV spots in which Honda dealers humorously respond to real tweets. The "Super Fan" spot replies an actual tweet from actor Neil Patrick Harris, who asked for advice on selecting a minivan. Check out those ads, and some print work, below.

    Client: Honda
    Agency: RPA

    EVP, Chief Creative Officer: Joe Baratelli
    SVP, Executive Creative Director: Jason Sperling
    SVP, Executive Producer, Content: Gary Paticoff
    VP, Creative Director: Chuck Blackwell
    Creative Director/Copy: Ken Pappanduros
    Art Director: Ariel Shukert
    Copywriter: Jen Winston
    Senior Producer: Fran Wall
    Production Coordinator: Grace Wang

    Production Company: Recommended Media
    Director: Chris Woods
    Founder/CEO: Stephen Dickstein
    Partner/Executive Producer: Phillip Detchmendy
    Partner/Executive Producer: Jeff Rohrer
    Producer: Darrin Ball

    Editing Company: The Reel Thing
    Editor: Lance Pereira
    Editor: Val Thrasher
    Flame Artist: Moody Glasgow
    Executive Producer: Doug Kleckner

    Telecine: The Mill
    Colorist: Adam Scott

    Audio Post: Lime Studios
    Mixer: Dave Wagg
    Music: Wojahn Brothers

    First insertion date: July 15, 2013

    Agency: RPA
    EVP, CCO: Joe Baratelli
    SVP, ECD: Jason Sperling
    CDs: Ken Pappanduros & Chuck Blackwell
    Art Director: Suzie Yeranosyan
    Copywriter: Jen Winston
    Photographers: Civic: Joe Carlson, CR-V: Tony LaBruno, Accord: Springbox, Pilot: RPA CGi, Odyssey: Fulvio Bonavia
    Art Buyer: Ginnie Assenza
    Production Manager: Stephanie Speights

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    Draftfcb stages a spirited, brand-centric schoolyard game of "Yo Mama" to tout Kmart's free back-to-school layaway plan in this new commercial. "Yo mama get that hoodie at Kmart?" "Yeah, dawg." "Well, yo mama must have cavities, 'cuz that hoodie is sweeeeeeeet!" "Oh yeah, well, yo mama's like a tasty cheese plate, 'cuz she saved a bunch of cheddar on them Kmart jeans!" Etc. Some commenters claim the spot perpetuates stereotypes, or else they object to the street slang. I don't think this ad merits that level of sociological scrutiny. Unlike Kmart's previous silly spots, "Ship My Pants" and "Big Gas Savings," this new effort doesn't seem destined to generate millions of YouTube views. (It's topped 80,000 in its first week.) Still, the kids earn high marks for their enormous energy and over-the-top line deliveries. They elevate material that might have flunked out otherwise. "Ship My Pants." Ha! That never gets old!

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    This isn't the first time hot naked women have been painted like objects in advertising. It isn't even the first time hot naked women have been painted like cars. But this ad for the Fiat 500 Abarth Cabrio involves hot naked women, so we'll talk about it anyway. This little stunt by The Richards Group involved a whole tribe of naked circus performers, dancers and contortionists, along with one heck of a good body painter. Mashable thinks some people might consider it another example of objectification of women. Well, yes. It turns women into an object. And yet, it flows seamlessly from the Fiat brand promise and the other work The Richards Group has done for the automaker. Remember the great Super Bowl spot where they personified a Fiat by turning it into a tempestuous Italian woman? Now they turned a bunch of women into a Fiat, suggesting, in keeping with the same subtext of a bazillion other car ads, that buying the car will get you hot, naked women. At least they did it with far more style and art than slapping a woman on there like a hood ornament. I should also give them credit for the tagline, "Made of pure muscle," which suggests, at least in some way, that these ladies are actually to be admired for their strength more than their beauty. And that almost, kinda elevates it.

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    You're sitting at home, trying to unwind in front of the tube after a long day at your challenging white-collar job, and you hear a voiceover. "This is water." But it's not exactly David Foster Wallace's metaphor for adult life.

    It's a new commercial for Rust-Oleum's NeverWet, in which all liquid behaves, according to the copy, like "you've never seen." That is, unless you've already watched the brand's gone-viral infomercial, which features viscous substances like mustard and chocolate sauce rolling off a white T-shirt without leaving a spot behind.

    The TV spot, from mcgarrybowen in Chicago, brings more traditional advertising melodrama, and much higher production values, to the same jaw-dropping visual effects seen in the low-budget product demo—but somehow with less impact. Directed by Backyard's Nick Piper, the ad goes to great lengths to show juice sliding in slow motion off a wooden table, and mud slipping in slow motion off a leather boot—all thanks to the spray-on product's "hydrophobic" qualities. And, no doubt to the client's delight, it uses the product name like a hammer, pounding away at the viewer's consciousness, in the hopes of being the one thing that does stick. "NeverWet … NeverWet … NeverWet …"

    Despite the agency polish, the spot, with fewer than 1,000 YouTube views, feels less convincing than the more awkward yet more authentic online commercial, which has racked up some 4 million. Given the highly dubious nature of the product's proposition—science defying nature in a way that seems like snake oil, even if it's not—the nonchalance of the chemists in the viral ad is more powerful than the refined, heavier-handed sales pitch of the :30. Perhaps they should have cut a 20-second version of the infomercial, added a URL at the end, and used the extra money to buy more airtime.

    As it is, the TV spot's message might just slide right off the audience.

    Client: Rust-Oleum
    Spot: "Never Seen This"
    Agency: mcgarrybowen, Chicago
    Creative Directors: Ned Crowley, William Cannon, David Claus
    Head of Production: Lisa Snyder
    Agency Producer: Tracy Tran
    Production Company: Backyard Productions, Venice, Calif., New York
    Director: Nick Piper
    Director of Photography: Neil Shapiro
    Producer: Anton Maillie
    Executive Producer: Kris Mathur
    Editorial Company: Optimus, Chicago,
    Editor: Aaron Porzel
    Editorial Producer: Tracy Spera
    Postproduction: Chemical Effects, Santa Monica, Calif.
    Postproducer: Jennifer Mersis

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    The new man-in-a-furry-suit-and-big-ass-jeans incarnation of Smokey Bear is all about huggin' and lovin' strangers he meets in the woods. These days, who isn't? (Well, OK, Purity Bear for one.) Draftfcb in Los Angeles created this integrated Smokey campaign for the Ad Council and the U.S. Forest Service, and as always, the goal is conveying information on how to prevent forest fires. There are TV and radio spots, as well as print, outdoor and digital elements, including the hashtag #SmokeyBearHugs. Past versions of the iconic bear—and there have been many since the character was introduced in 1944—would cry,nag, lecture or simply stare down campers while brandishing a shovel to make a point about fire safety. (The recent CGI Smokey was a preachy douche.) Now, Huggy Smokey Bear literally embraces those who act responsibly, holding them lovingly in his ursine arms. At least he doesn't grin and bare it. The hugees mostly look uncomfortable and make weird faces. Perhaps they're mortified to be in such goofy PSAs.

    Campaign: Smokey Bear/Wildfire Prevention

    Client: The Advertising Council
    Senior Vice President, Group Campaign Director: Michelle Hillman
    Vice President, Campaign Director: Amy Gibson-Grant
    Campaign Manager: Ricki Kaplan
    Assistant Campaign Manager: Kristin Ellis

    Client: U.S. Forest Service
    Fire Prevention Program Manager: Helene Cleveland
    Acting Fire Prevention Program Manager: Gwen Beavans

    Client: National Association of State Foresters
    Director of Communications: Genevieve O’Sullivan

    Agency: Draftfcb, Los Angeles
    Chief Creative Officer: Eric Springer
    Executive Vice President, Executive Creative Director: Michael Bryce
    Senior Vice President, Group Creative Director: Jeff Maerov
    Copywriter: Nick Micale
    Art Director: Patrick Moore
    Vice President, Executive Producer: Thomas Anderson
    Producer: Jeffrey Perino
    Executive Vice President, Group Management Director: Yolanda Cassity
    Vice President, Management Director: Leila Cesario
    Account Executive: Jennifer Levin

    Production: Park Pictures
    Directors: Terri Timely (Ian Kibbey, Corey Creasy)
    Creative Consultant: Lance Acord
    Executive Producer, Owner: Jackie Kelman Bisbee
    Executive Producer: Mary Ann Marino
    Head of Production: Anne Bobroff
    Producer: Valerie Romer

    Editing: Butcher
    Editor: Teddy Gersten
    Assistant Editor: Leah Turner
    Producer: Chrissy Hamilton
    Executive Producer: Rob Van

    Effects: D Train (Smokey)
    Creative Director: Ben Gibbs
    Effects Supervisor: Jan Cillers
    Producer: Shelby Wong
    Coordinator: Chelsea Brewer

    Effects: Alterian (Smokey)
    Creature Effects, Smokey Suit Designer: Tony Gardner

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    Pretty much out of nowhere, Dick's Sporting Goods has suddenly been coming up with some of the most impressive sports-related commercials, uh ... I'm going to go with "ever," actually.

    This new football commercial, and the previous baseball spot, both made by Anomaly and director Derek Cianfrance, are little masterpieces of between-play tension that use only the space most other sports ads leave out.

    The point is blindingly obvious, but only once it's made: This is where the teamwork happens. The quarterback calling the plays. The coach sending players in and out. The furious guard on the offensive team shouting at his defensive counterpart, "Next play! Next play!" It's reminiscent of the actual process of playing football in a way that few ads—hell, few movies—really are. And it reminds you what's so much fun about the whole process: the rush you get right before you try to do something you've been planning for a while; the nervous high of hearing somebody yell for the snap. It's most of what we actually remember from the sport, as opposed to the long runs or the great kicks.

    Like the baseball ad, this spot is done in a single, Robert Altman-style take, with volume coming up on the players as they pan in from the right, yelling encouragement at each other and threats at the other team. Unlike the baseball spot, it's louder, it's busier, and best of all, it contains absolutely no music. The closest thing we get to a dominant sound, in fact, is the QB screaming for the snap at the end and then the empty noise over the branding.

    Kudos to agency director. This here is a 40-yard pass.

    Client: Dick's Sporting Goods

    Agency: Anomaly
    Chief Creative Officer, Partner: Mike Byrne
    Creative Director: Seth Jacobs
    Creative: Taylor Twist, Mike Warzin
    Executive Producer, Head of Production: Andrew Loevenguth
    Producer: Matt Flaherty
    Business Director: Damien Reid
    Account Supervisor: Ji You

    Production Company: Radical
    Director: Derek Cianfrance
    Executive Producers: Frank Scherma, Donna Portaro, Tommy Turtle
    Head of Production: Cathy Dunn
    Production Supervisor: Rebecca Deelo
    Director of Photography: Peter Deming
    First Assistant Director: Mark Frishman
    Art Director: Timmy Hills
    Costume Designer: Jim Mancusso
    Casting, Football Supervisor: Mike Fischer

    Editorial: Rock Paper Scissors
    Editor: Biff Butler
    Executive Producer: Eve Kornblum
    Producer: Melanie Gagliano

    Postproduction: Company 3
    Telecine: Tom Poole
    Executive Producer: Tara Dowd
    Visual Effects, Flame: Framestore
    Executive Producer: James Razzall
    Senior Producer: Graham Dunglinson
    Visual Effects Supervisor: Alex Thomas
    Visual Effects, Comp Supervisor: Sharron Marcussen
    Computer Graphics Supervisor: James Dick
    Flame Artists: Raul Ortego, Tom Leckie

    Sound Design: Trinitite
    Sound Designer: Brian Emrich

    Sound Mix: Sound Lounge
    Mixer: Rob Sayers

    Music: Soup Music
    Music Composer: Andy Huckvale
    Track Name: "Sawtooth"

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    Thirteen, a PBS station in New York City, continues to insist that its programming is better than the dreck you find elsewhere on cable—by inventing more bogus ads for reality shows that don't exist. Back in May, the NYC office of CHI & Partners rolled out posters for three such shows. And now, it's got three more for your guilty pleasure—Clam Kings, Long Island Landscapers and Meet the Tanners. I'd probably watch all of them, or at least pause, intrigued, on my way up the dial. "The fact you thought this was a real TV show says a lot about the state of TV," the promo say abruptly, just as you're getting drawn in. The tagline is, "Support quality programming," and the campaign is using the hashtag #TVgonewrong.

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    The only thing scarier than a 12-foot-tall Colin Firth in a British lake is a 40-foot-long dragon skull washed up on a British beach. Beachgoers in Dorset were surprised to come across the latter on Monday—as a skull the size of a London bus suddenly appeared on Charmouth beach, part of Dorset's Jurassic coast, famous for its dinosaur fossils.

    Alas, it's not a real dragon skull—it's an ad from movie and TV streaming service BlinkBox, which is celebrating the arrival this week of the third season of HBO's epic Game of Thrones on its site. It took a team of three sculptors more than two months to design, construct and paint the skull, which was dreamed up by Taylor Herring, the same PR company that built the giant Mr. Darcy earlier this summer.

    The skull—perhaps the coolest Game of Thrones-related marketing since the dragon-shadow newspaper ad—was inspired by the scene in the series when Arya Stark discovers a dragon skull in the dungeons of King's Landing, the capital of the Seven Kingdoms.

    More images below and here. Via Copyranter.

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    StockLogos recently suggested that Wendy's sneakily put the word "mom" in the Wendy character's collar in the chain's new logo—to subliminally associate the brand with motherly cooking and the "safe and loving environment" of home. In short, Wendy's says nope. "We are aware of this and find it interesting," Denny Lynch, the company's svp of communications, tells the Huffington Post."We can assure you it was unintentional." That's all well and good … but her hair still looks like a grassy knoll, and I could swear those freckles spell out "Paul is dead," more or less, if you look at the logo while jumping up and down and squinting. Her eyes kind of follow you around, too, all menacing and killy. That's it—I'm switching to Burger King.


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