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Breaking News in Advertising, Media and Technology

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    Hornbach is the world's most outrageous home-improvement advertiser. Every few months, the German chain releases a bizarre new commercial, usually showing the main character experiencing the rush of do-it-yourself construction projects as some kind of extravagant sensory explosion. Its recent epic spots have included one with a deck builder wielding a hammer of the gods, and another in which the very sounds of home improvement are beautifully symphonic to their many-eared practitioners. (And let's not even get into the awesomeness of the brand's surreal short film "The Infinite House.") So, now, Hornbach is out with its latest spot—as always, it's from ad agency Heimat—which is on a par with the previous work, although this time with even more of a creepy edge to it. Suffice it to say, the lead character here is intimately attuned to the condition of his home, even from a distance, and feels any sign of weakness like a Jedi would a disturbance in the Force. Shot with irrestistible cinematic gloom by director Martin Krejci—and with a sudden tonal shift at the end that's actually quite hilarious—it's a worthy new chapter in Hornbach's own quirky ongoing construction project: that of crafting the world's craziest home-improvement ads. Credits after the jump.

    Client: Hornbach
    Agency: Heimat Werbeagentur GmbH
    Executive Creative Director: Guido Heffels
    Creatives: Mirjam Kundt, Susanna Fill
    Client: Hornbach Baumarkt AG
    Head of Marketing Communications: Frank Sahler

    Production Company: STINK
    Executive Producer: Jan Dressler
    Director: Martin Krejci
    Director of Photography: Stepan Kucera

    Postproduction: Tom Sparks, NHB; Berlin
    Editor: Filip Malasek / Nils Landmark
    Music Composer: Rudi Moser

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    Do you wear a lot of plaid, dance on top of cars, swim in your clothes, buy real records and hone the perfect bed head? Then does Simon Cowell have a set of headphones for you, you lovely young thang. A partnership between the acerbic star-maker and Sony Electronics has birthed yet another entry into the jam-packed overpriced-headphones category, this one called X Brand. Expect to see the product become as ubiquitous on The X Factor, Fox's second-season talent show, for which Cowell is creator-producer-judge, as the Coca-Cola cups (and competitor Beats headphones) are on American Idol. A pair of ads from Omelet Los Angeles and production company Foundation Content will launch the $300 X Brands, clearly aimed at the hip kids who "live music." Cowell, for his part, promises that the product is the best on the market, because, of course, he'd like to see them wrapped around the noggins of myriad millennials. The ads, initially slated for in-store airings at Best Buy and other retailers, will start popping up on broadcast and cable TV and on the Jumbotron in Times Square. Brace yourself for the onslaught of mousse, skinny jeans and meticulously cultivated cool.

    Second spot and credits below.

    Client: Sony Electronics / X Brand
    Agency: Omelet, Los Angeles
    Production Company: Foundation Content

    "Soul and Science"
    Director — James Levon
    Editor — James Levon
    Producer — Stacy Paris, Erin Sullivan
    Color — Ryan Stemple
    2nd Unit Photography — Weird Days

    Directors — Focus Creeps (Ben Chappell and Aaron Brown)
    Editor — Anna Patel
    Producer  — Stacy Paris
    Color — Ryan Stempel

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    It's become customary for brands to celebrate milestone fan counts on Facebook with oversized stunts—the bigger the better, to match the swelling number of drooling followers. Old Navy hit 5 million fans on Tuesday night, and marked the occasion with a truly larger-than-life photo post—showing a giant 120-by-60-foot coupon, shot from the sky, comprised of several hundred humans, props, text and a bar code made of 88 placards. The bar code is completely scannable, and will get you 30 percent off your entire purchase at Old Navy stores in the U.S. and Canada this Friday, Saturday and Sunday. "Because of awesome Facebook fans like you, we've reached 5 MILLION strong. And now it's time to say thanks. Let's bring out the big deal! Oldnavy.com/5million," the brand wrote in its celebratory post, which linked to the video below. Pretty nice work by Crispin Porter + Bogusky. And the best part? It's not a QR code.

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    Unless you're Mike Bloomberg, taking on big soda is not easy. And while soft-drink makers may have lost in the Big Apple, nutrition advocates are well aware that was only one battle. Now, the Center for Science in the Public Interest has turned to a familiar advertising icon, the Coca-Cola polar bears, as inspiration for a new three-and-a-half-minute animated music video aimed at exposing the unhappy health consequences of chugging a lot of sugary drinks.
         CSPI enlisted top-notch ad talent, including Alex Bogusky, for the spot, which juxtaposes a happy, animated feel with a dark message. As an upbeat original song from Grammy-winning singer-songwriter Jason Mraz plays in the background, The Real Bears (as they're called in the video's title) slug soft drinks, get fatter, develop diabetes, shoot insulin, suffer erectile dysfunction, and lose their teeth before realizing it's time to dump the soda in the ocean. "Coke and Pepsi have skillfully cultivated incredibly strong emotional bonds with consumers around the world even though their products actually cause quite a bit of misery," says Michael Jacobson, CSPI's executive director. "We don't have their budgets, but we do have the truth. And the truth is that soda equals sadness."
         For now, CSPI is hoping the video will go far and wide on social media, but the organization hasn't ruled out traditional media in the future. Credits below.

    Client: Center for Science in the Public Interest
    Spot: "The Real Bears"
    Agencies: Common, Boulder, Colo.; The Butler Bros., Austin, Texas
    Executive Creative Director: Alex Bogusky
    Executive Producers: Marty and Adam Butler
    Writers: Ronny Northrop, Ryan Kutscher
    Art Director: Stefanie Hermsdorf
    Account Director: Mark Ekhardt
    Producer: Amanda Fox
    Director/Designer/Animator: Lucas Zanotto
    Music: Jason Mraz
    Guitar and Mix: Bill Bell
    Horn Parts: Grooveline Horns
    Offline/Online Editor: Travis Wurges
    Sound Design: Nikolai von Sallwitz
    Mix: Travis Wurges
    Web Design: Cyrus Clemesen

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    We've written before about print ads that don't just sit there looking pretty. Here's the latest one: a Lexus ad in the Oct. 15 Sports Illustrated that suddenly becomes animated—the engine revs, the headlights flash, the wheels spin and the background pulses with color, all to a blaring musical soundtrack—when you place the ad over an iPad that has the Web page Lexus.com/stunning loaded. (It also works with a special Lexus video inside the iPad edition of SI.) You can get an idea of the experience in the clip below, although the real thing is surely more impressive. Critics say it's just a glorified video, but it isn't—it's the play of the light through the printed page that's novel and delightful. In a way, it's almost like a print version of projection mapping, minus the 3-D aspect. Projecting light on (or in this case, through) a tangible surface creates an effect neither medium can accomplish on its own. The most impressive, and in many ways the simplest, example of this was the great solar-powered print ad from green-energy company Shikun & Binui Solaria—featuring a black-and-white sketch that, when held up to sunlight, blossomed into full color. (No iPad necessary!) In terms of bells and whistles, though, the Lexus ad more than delivers.
         Working with ad agency Team One, Lexus developed a special technology for this that it's calling "CinePrint." "Most traditional mashups feature print ads that redirect to a digital experience away from the printed page," the automaker says. "CinePrint technology flips that on its head, creating a tactile and visceral connection that brings one closer to the printed page with a multi-sensory experience that combines sight, sound and touch."
         Lexus is pretty into funky print ads, having utilized Near Field Communication technology in an ad for Wired's April issue that allowed users to transfer video and other content from the ad to their smartphones. On the publishing side, Time Inc. is consistently welcoming tech-friendly print ads, too, having already embedded a live Twitter feed for the CW in Entertainment Weekly.

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    Even when it doesn't involve cockroaches and death, competitive eating is sort of gross. That may explain why food marketers are sometimes reluctant to get involved with it (Nathan's hot dogs and Pepto-Bismol notwithstanding). But Jell-O, which has become quite the playfully experimental brand with ad agency Crispin Porter + Bogusky, is going whole hog with its new Jell-O Pudding Prix campaign. The brand invited five of Major League Eating's top competitors to wolf down Jell-O Chocolate Pudding on camera, and is urging you at home to do the same—and challenge the pros by sending in your own videos. (Yes, Major League Eating is a thing.) Three videos have been posted so far, with only "Megatoad" and "Deep-Fried Diva" still to come. And the clips are, as expected, sort of gross. They're also super low-fi, which adds to the mildly trashy vibe. (Just wait for the consumer entries.) CP+B has done some great social-media stuff for Jell-O Pudding, including the Pudding Face Mood Meter on Twitter and the related outdoor billboard. This new work, though—less appetizing.

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    Welcome back, iPod advertising. You remember iPod ads, right? They had energy and fun colors and other things that weren't fingers sliding lazily across iPhone screens. All the old iPod energy is back in spades with the new spot, "Bounce," from TBWA\Media Arts Lab and the animators at Psyop, pushing the seventh-gen Nano and fifth iteration of the iPod Touch. Apple debuted the ad at a September media event, but it hit YouTube and TV on Wednesday to correspond with the first shipments of the new Touch. The track is "Yeah Yeah" by New Zealand artist Willy Moon. Credits below.

    Client: Apple
    Agency: TBWA\Media Arts Lab
    Chief Creative Officer: Duncan Milner
    Executive Creative Director: Eric Grunbaum
    Creative Directors: Demian Oliveira, Jesse Gazzuolo
    Art Directors: Parker Grant, Shawn Schrader
    Executive Producer: Mike Refuerzo
    Agency Producers: Rob Saxon, Stephanie Gocke, Zane Miller
    Production Company: Psyop
    Director: Laurent Ledru
    Editor: Brett Nicoletti
    Flame Artist: Kim Stevenson
    Lead Animator: Daniel Vislocky

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    With underemployed millennials buying a lot fewer cars today than kids in the '80s did, auto blog Jalopnik came up with a bold solution: Sell them vans. The reasoning is that today's young people value privacy more than performance. "If someone doesn't care much about driving or speed or freedom of mobility, I can't sell them a car," writes Jalopnik contributor Jason Torchinksy, author of the book Ad Nauseam: A Survivor's Guide to American Consumer Culture. "But I sure as hell can sell someone who lives either with their parents or a crapload of roommates in a big-city apartment a bit of personal space." He proposes a modernized van that maximizes interior room while turning the exterior into an interchangeable design surface, in the vein of Toyota's Scion xB and the Nissan Cube. On the off chance automakers buy into Torchinksy's idea of a van renaissance, they're going to need some great ads to get the attention of those media-saturated millennials. So, we decided to dig up some of history's most memorable, enjoying and straight-up bizarre van ads. See our slideshow here:

    Video Gallery: 10 Ads That Make Vans Look Badass

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    Which came first: the chicken or the tiny Welsh choir singing stridently about online supermarket shopping? The eggs in this loony new British TV spot are well past their sell-by date—to the point where they're singing songs to the tune of the Welsh standard "Men of Harlech." Someone needs to empty the fridge more often. The spot, by CHI & Partners, featuring face-on-food animation in the style of Annoying Orange, promotes mySupermarket—an Internet supermarket shopping and comparison website, of which the eggs are supremely enamored. "Since launching in 2006, we have seen fantastic growth with more and more people using us to be as savvy as possible with their grocery shopping," a client rep tells Campaign. "Now that we have established ourselves, we're heading offline to capture people's imaginations and take the mySupermarket proposition to a much wider audience, in a witty, charming and memorable way." These eggs should get together with Tabasco's pepperoni barbershop quartet and go on tour.

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    Wendy is growing up, just a little. Fast-food chain Wendy's on Thursday unveiled a new logo—its first refresh since 1983—giving the iconic redheaded pigtailed girl (based on founder Dave Thomas's daughter) a slightly older appearance, rendering the Wendy's text in a less blocky typeface, and removing the reference to "Old fashioned hamburgers" altogether. The company tells the Associated Press that three key elements had to be preserved—the girl, the color red, and the way the Wendy's font swerves up, which executives call "the wave." CMO Craig Bahner adds that having Wendy's pigtails overlap the oval frame brings her forward and makes her more dynamic. My feeling is, the whole thing has gotten softer and more cartoony—and may not do much to bolster the fast-food chain against more sophisticated-seeming chains like Chipotle and Panera. What's your reaction?

    UPDATE: Design firm Tesser in San Francisco did the new logo.

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    Here's a new definition for wasting time: pinning Gucci ads online. The marketer has begun sticking "Pin it" buttons on its fall/winter 2012 Web banners. Clicking through reveals larger ad images and product photos to share via Pinterest. Who wouldn't want to share branded footwear and accessories shots with everyone they know? There's no better use for 60 seconds of your life, right? Sure, some people will actually click and pin—the same folks who shell out big bucks to have their arches wrecked by torture devices marketed as shoes. Then again, I traipse around in Silly Slippeez all day, so what do I know?

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    Justin Bieber's new anti-cyberbullying PSA may have been mandated by a plea deal to bail his manager out of reckless endangerment charges, but it's still surprisingly heartfelt. And judging by some of the comments on Bieber's YouTube videos, it's familiar territory for him. The video, posted to stopbullyingli.org, runs a bit long at 11 minutes, but it does offer the unintentional hilarity of Bieber looking kind of like Sally Jessy Raphael. I think it's worth sitting through just for that.

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  • 10/11/12--12:04: Ad of the Day: Costa Coffee
  • Do you love coffee? Probably not as much as your average barista at Costa Coffee, the U.K.'s biggest coffeehouse chain (and the world's second largest, behind Starbucks). According to this crazy new spot from London ad agency Karmarama, Costa employees boast a borderline unhealthy obsession with coffee beans that sometimes manifests itself in the form of imaginary musical productions.

    The minute-long spot, directed by Sam Brown of Rogue Films, opens with curtains pulling back to reveal a bunch of disembodied heads bobbing in a sea of coffee beans, all singing along to the opening chords of "I Was Made for Lovin' You" by Kiss. These dozens of heads, arranged in the shape of a heart, display a remarkable passion for sharing their love of coffee through song. They are also really creepy—especially when the occasional fist pump emerges from the flood of beans, like a zombie arm breaking free of its earthly tomb. (One could also argue it's virtually impossible to sing the words "I want to give it all to you/In the darkness/There's so much I want to do" without being creepy, zombie hands or no.)

    But it turns out this is all just a fever-dream taking place in the mind of one highly imaginative Costa Coffee barista. Luckily, his customer seems to be too busy looking at her phone to notice that her server has just zoned out for an entire minute.

    The moral of this story? Don't overdo it with the caffeine.

    Client: Costa Coffee
    Agency: Karmarama, London
    Creative Directors: Sam Walker, Joe de Souza
    Agency Producer: Emma Johnston
    Planner: Will Hodge
    Director: Sam Brown
    Director of Photography: Alex Barber
    Production Company: Rogue
    Production Producer: James Howland
    Editor: Amanda James
    Postproduction Company: The Mill
    Post producer: Chris Batten
    Visual Effects Shoot: Andy Dill
    Telecine Artist: Seamus O’Kane
    Flame Lead Artist: Barnsley
    Audio: Ben Leeves, Grand Central
    Music: Major Tom

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  • 10/11/12--14:06: Scrap Value
  • Ric Van Sickle’s an ad man who bleeds gasoline.

    This weekend, he and a handful of his employees at Chicago agency Plan B will put their pedal to the metal in the low-budget junk car endurance race 24 Hours of LeMons, which Van Sickle hopes will boost the agency in the eyes of its automotive clients and within the vertical as a whole. 

    The race spoofing the French sports car endurance competition 24 Hours of Le Mans requires entrants to build a racecar for no more than $500, excluding safety equipment. Within the concept, Van Sickle see a fitting metaphor for his business.

    “It’s not about who has the most money; it’s about who’s the most creative,” he said. “The teamwork involved is about problem-solving and innovation. I realized the LeMons race series was about the same thing we were all about.”

    He said both LeMons and Plan B share the philosophy “that you can both have fun and outsmart the competition instead of outspending them.”

    With a nod to legendary ad man Bill Bernbach and his “Lemon” Volkswagen campaign, Van Sickle said that a lemon isn’t always a sour deal. In fact, his particular lemon has already netted him a multimillion-dollar ad account.

    Last month, he ran a simple half-page ad in an auto industry trade pub in which he was pictured standing in front of his Plan B’s racecar, a 1973 Volkswagen Fastback, with copy that read: “Our CEO’s company car.”

    “It’s a beater, it cost less than what many ad agencies would spend on lunch,” he said. “It is proof that being budget-minded and being high-performance aren’t mutually exclusive. I tied our involvement with LeMons into a statement about our agency.”

    Just two days ago, Van Sickle said he signed a contract with the tow truck and wrecker company Jerr-Dan, which provides towing and rescue vehicles for Nascar races. “They’re the biggest player in that category in the world,” he said. “We went there not knowing that this ad had anything to do with us being there....They spent 20 to 30 minutes in the meeting talking about our LeMons effort. They just loved that we were doing grassroots racing.”

    What may seem at first like an unusual corporate team-building exercise has helped the integrated shop Plan B evolve from a general agency to a niche contender. A longtime auto restoration hobbyist, Van Sickle said that was only a part of the reason Plan B began homing in on the automotive vertical just as the industry began to fall apart in the early 2000s.

    “We also happen to have a couple of employees who came on early from Detroit, from the auto industry, who brought some insights about how that industry worked,” he said. “It brought to light the things Chicago was missing out on. We’re adjacent to Detroit, and there was all that flux in the auto industry… I said ‘It looks like they need a Plan B.’ The industry failed and has now come back and I feel we represent part of the industry’s comeback, if you will.”

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  • 10/12/12--05:59: Ad of the Day: Fred
  • Sugar sure is taking its lumps this week.

    "Sugar Is Killing Us," the title of this short animated film made in-house by bottled-water vendor Fred, should provide a clue about where the creators are coming from. The best element is the engaging animation by Arthur Jones and Karl Ackermann. Their style recalls vintage Sesame Street: It's both educational and entertaining, creating the perfect atmosphere—childlike, but never childish. (They're shoo-ins to win the prize for cutest cartoon pancreas of 2012!)

    Kudos also for focusing on the cause and not diluting the message with a watered-down sales pitch or quick cut-away to the corporate logo. "We created this video because the topic is a personal passion," Fred co-founder Ariel Broggi tells Adweek. "We aren't pushing Fred in the video because we want the message about limiting sugar to be construed as a general health message and not a brand message. But we are not hiding the fact that the creators of the video are also the creators of Fred."

    Broggi, an ad-agency veteran, wrote the script, which does a good job of telling a complex story quickly, without jargon, with a light enough touch to make its predictable (though scientifically grounded) polemics palatable. "The end game for the 'Sugar Is Killing Us' video is being achieved as we speak," Broggi says. "It is sparking conversation and creating awareness about the potentially devastating effects of sugar. It benefits Fred because it promotes making healthier choices. Fred is a healthier choice."

    My biggest complaint—and this might just be the Twinkies talking—is that the work offers nothing especially new to entice fructose fiends like yours truly into any serious self-examination. As for the clip's contention that folks can be convinced en masse to change their eating habits and "force the food industry to produce healthier food and stop adding sugar," well, it's a sweet idea. Good luck with that.

    Produced by Fred
    Written by Ariel Broggi
    Directed by Ariel Broggi, Arthur Jones and Karl Ackermann
    Animated by Arthur Jones and Karl Ackermann
    Voiceover by Starlee Kine
    Original Music by Dave Fischoff

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    This week, DDB hijacked the #FirstWorldProblems hashtag for a good cause, polar bears wanted you to skip the Coca-Cola, and your family could never love you as much as HBO Go does.

    Many of the hundreds of TV commercials that air each day are just blips on the radar, having little impact on the psyche of the American consumer, who is constantly bombarded by advertising messages.

    These aren't those commercials.

    Adweek and AdFreak have brought together the most innovative and well-executed spots of the week, commercials that will make you laugh, smile, cry, think—and maybe buy.

    Video Gallery: Top 10 Commercials, Oct. 5-12

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    Mercedes-Benz pulled off a choose-your-own-adventure TV commercial last weekend in the U.K. as part of its interactive #YOUDRIVE campaign. The ad, which followed a young pop star riding out to an illegal gig, was split into three parts and allowed viewers to vote via Twitter on how key moments in the story would play out from spot to spot. I'm surprised it took this long for someone to make this kind of TV campaign, really. It's the perfect use for Twitter, and if ads are going to run longer, they might as well give viewers the superficial illusion of choice, especially during an election year. Most important, it would finally let the rest of us know exactly how many douchebags out there really do want Calculon to double-check his paperwork. The experience is replicated over on YouTube, but for some reason it works only on the Mercedes channel itself—it can't be embedded around the Web. Via PSFK.

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    Call it the umbilical cord syndrome. The New York office of London-based Bartle Bogle Hegarty continues to rely on home turf clients like Diageo and Unilever and mostly imported CEOs, including Cindy Gallop, Gwyn Jones and Emma Cookson.

    That would be understandable for a startup, but BBH New York opened 14 years ago last month. In that sense, it has broken the cardinal rule of agencies entering foreign markets: hire local leaders with proven track records and get out of the way. The U.S., after all, is a daunting market, particularly when you drop anchor in New York.

    Now, in the wake of a 25 percent staff cut that shrank New York’s staff to 95 and yet another reshuffling at the top—Cookson has taken the reins again after the exit of CEO Greg Andersen—former BBH New York execs are questioning the agency’s casting, strategy and culture. In short, they think BBH has misread American marketers, overrelied on its mothership and let its strongly held beliefs interfere with becoming a big player in the U.S.

    BBH, for example, generally rallies behind a single campaign idea for marketers rather than present multiple options and disdains presenting speculative creative work in new business pitches. The New York office has bent on both principals, but in the case of spec creative, it took years for the shop to change.

    “BBH has a set of beliefs and behaviors that are revered in the company, and they really tried to transfer that culture to every office in the network,” said one former BBH exec. “That’s a strength, but it’s also a weakness. It’s a double-edged sword because it can lead to inflexibility. And if you’re inflexible and you don’t adapt to local culture, you have a harder time.”

    That’s not to say that BBH has floundered in the U.S. Hardly. Its provocative ads for Axe and emotive work for Google have garnered awards and further burnished BBH’s global creative reputation.

    Also, through the years, New York has punched above its weight class, winning big accounts like Miller Lite, Cadillac, Ally Bank and Levi’s. Each account has left, however, creating the impression of a shop that’s had as many downs as ups.

    Gwyn Jones, who’s now global CEO, could not be reached last week. Three weeks ago, though, he attributed the business swings of the New York office to the vicissitudes of the U.S. market. “It’s much more of a roller-coaster ride. The highs are higher and the lows are sort of big blows,” he told Adweek.

    Another former exec blamed the stumbles on poor casting at the top. “Many of those [hiring] decisions have been flawed. It’s in part because they’re leaning ...way toward British people,” said the ex-exec, who added that successful shops “have somebody in their management team who is adept at [managing marketer] relationships, and BBH has overlooked that aspect of life.”

    That said, yet another ex-exec remains bullish that BBH will eventually break through in the U.S. “I bet you any amount of money that they crack it,” said this exec, though he admitted, “It might take a bit longer” than expected.

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    Call me Dr. No, because I'm dissing this James Bond-style short from Saatchi & Saatchi in New York touting Lenovo's IdeaPad Yoga, a "bendable" laptop/tablet hybrid that can be configured in various ways. Shot in Hungary by two-time Bond director Martin Campbell, "The Pursuit" follows a sexy female spy on a mission as she breathlessly runs, jumps, pivots, twirls, jet-skis, changes clothes, walks briskly, etc. It's an extended quick-cut chase, appropriately cinematic, but as tiresome and uninvolving as any big-budget, cookie-cutter action feature film made in the past 15 years. "The Pursuit" feels twice as long as its running time—that would make it 007 minutes—and I was anticipating some kind of clever twist or tongue-in-cheek payoff. But the clip fails to deliver. Also, it works hard to toss in product attributes (there are lots of shots of the Yoga assuming various positions), and what stodgy ad-reviewing cuss would want to see such stuff in a high-octane spy-themed laptop promo? Next time, just bake cupcakes!

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    The newly christened Snoop Lion, the artist formerly known as Snoop Dogg, is back and has remixed his 2004 hit song "Drop It Like It's Hot" into "Pocket Like It's Hot" for none other than Hot Pockets. The three-minute video from Threshold Interactive also stars YouTube sensation DeStorm Power, comedian/man-child Andy Milonakis, WWE superstar Brodus Clay, and Herbie Hot Pocket. It's billed as the hottest music video around, which isn't true, but they did put the pocket girls in hot pants and gave Herbie a smokin' hot leopard-print cape. It's also nice to see Hot Pockets embrace their status not only as the No. 1 microwave meat sock of stoners, but as the sort of food that causes you to run to the toilet and drop it like it's hot. Now, they just have to create limited-edition pimp pockets with a leopard-print microwave sleeve and pocket-size sunglasses.


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