Tuesday, January 31, 2023

Inside Neutrogena’s TikTok reality dating show


“It would have been a total missed opportunity to not have someone like Boman and these other creators—when this is their bread and butter—not help us with that script,” Herren said. “When working with influencers, especially on TikTok, if it’s very clear that this is not something they would normally say or do, it’s just not going to perform or resonate with audiences at all.”

TikTok users, for their part, have eagerly embraced the series. Two teaser videos offering previews of “Hydro House” received 9.7 million and 10.7 million views, respectively, and the series’s seven episodes amassed over 25.7 million collective views. Neutrogena also gained thousands of new TikTok followers during the two weeks the brand was releasing episodes to its channel, a brand spokesperson said. 

But the most notable metric of the campaign’s success for Herren has been the overwhelmingly positive response Neutrogena has received from TikTok users in comments on each of the videos, many of them stating they enjoyed the various episodes despite knowing they were ads. “This is the first time I’ve willingly watched an ad!” user @jaybaebay commented on one of the series’s trailers. On another video, @hellenkellers0nlyfanz’s comment “now this is an ad,” received over 19,000 likes. 



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Ozzy at the office / Teaser Super Bowl LVII (2023) :15 (USA) Adland®


Black Sabbath frontman Ozzy Osbourne has gotten an office job. Wearing a white shirt like the rest of the bores, but still in eyemakeup, the other workers gossip about him. He swings around and asks “Which one of you wants a piercing?”

This 15 second teaser is for the first appearance of software company Workaday in Super Bowl LVII.



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Apple’s MLS streaming service doesn’t include ad guarantees


MLS Season Pass, which debuts Feb. 1, marks Apple’s first major push into the $68 billion US TV ad market. The company reached a 10-year deal last year to stream the men’s professional soccer league, which aired previously on ESPN, Fox and Univision, in a deal worth at least $250 million annually. Fans can buy MLS Season Pass for $15 a month, or $99 per season, through the Apple TV app.

Apple’s sports ambitions have been growing. Last year, the company streamed Major League Baseball on Friday nights, but MLB sold the ads to those games. For MLS, Apple assembled its own sales team, led by Todd Teresi, the company’s vice president of advertising platforms, and has spent weeks meeting with ad buyers about sponsorships. 

Apple didn’t respond to requests for comment. Fox Corp. is also airing some MLS games this year.

MLS has not been a particularly big draw on television. Its regular season audience on ABC and ESPN averaged 343,000 viewers per game last year. But live sports, especially soccer, have been attracting new subscribers to streaming services. 

Apple has been selling three MLS sponsorship packages. The most expensive, called “Gold,” costs about $4 million per season and includes the playoffs and integrations, like sponsoring a “Player of the Match,” the people said. Less expensive packages, called “Silver” and “Bronze,” cost about $3 million and $1.5 million per season.

The company has told media buyers that it would allow ads from categories such as credit cards, alcohol and car rentals, one person said. It’s not unusual for a tech giant to be selective about who can advertise on its platform. Amazon.com, for example, wasn’t accepting commercials from beer companies during Thursday Night Football this past season.



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Camp Lucky Welcomes Producer Alex Bonner Adland®


Camp Lucky gives a warm welcome to producer Alex Bronner, a longtime friend and industry colleague who has officially joined the creative production and post studio. Alex has been on the production side of the creative process for over a decade, working alongside major brands and agencies. His producing experience includes projects for Yeti, Whataburger, Salvation Army, Levi’s, Garmin, Samsung, Orvis and many others.

Alex first became acquainted with Camp Lucky through director Jeff Bednarz for whom he produced numerous projects both in collaboration with Camp Lucky and in conjunction with Rabbit Foot. These projects, along with a continuum of crew makes this an organic and seamless next step.

“Having known many of the folks for some time, and having worked in the same community for many years, this is a very happy marriage that unites us formally and with shared passions and interests,” Alex explains. “Camp Lucky has a massively talented team and it is wonderful to be immersed in a community that cares deeply about creating quality content.”

“Alex is a producer who time and time again delivers on-time and on-budget – without sacrificing creative integrity or production value along the way,” says Brandon Tapp, Executive Producer, Camp Lucky. “His insight and experience with branded content, and direct-to-client storytelling with an outdoor lifestyle focus, is unparalleled. Not to mention, his enthusiasm and thoughtfulness makes every collaboration with him a dream.”

Alex is an Austin native who studied Commercial Planning and Development at University of Texas, ultimately applying many of the same tenants and understanding to the world of filmmaking and production. Having worked his way up from Production Manager and Coordinator before becoming a Producer, Alex has a deep understanding and appreciation for the collective process of creating content.



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Snap making changes to direct response advertising business


The company posted a net loss of $288.5 million, or 18 cents a share, including $34 million in charges from its workforce restructuring. That compared to a profit of $23 million, or one cent, a year earlier.

Snap ended the fourth quarter with 375 million daily users, a 17% increase. In the first three months of the year, the company estimates 382 million to 384 million people will use its platform daily.

Snap has become a bellwether for other digital advertising companies. Last year, it was the first to raise concerns about the slowdown in marketer spending online and to fire a significant number of employees—20% of its workforce—to cut costs in the face of falling revenue.

The company has spent the last two quarters refocusing the organization, cutting projects that don’t contribute to user and revenue growth.

In the first quarter, Snap expects the environment to “remain challenging as we expect the headwinds we have faced over the past year to persist.”

Investors will get additional information about the state of the digital ad market when Meta and Alphabet report earnings later this week.

—Bloomberg News



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Publicis Groupe ‘takes its own medicine’ and pays for Super Bowl slot to air new Cancer Pledge film


A Super Bowl ad is a big statement for any brand, which makes it all the more remarkable that Publicis Groupe has paid for its own air time in (probably) the world’s most expensive media space.

But CEO Arthur Sadoun, himself recovering from cancer, wants his Cancer Pledge initiative to change lives.

The campaign’s aim is to erase the stigma of cancer and change workplace culture for the better. Carla Serrano, CSO for Publicis Groupe and CEO of Publicis New York, said: “We chose the Super Bowl because we wanted a moment that would galvanise everybody. We wanted to do this properly and to create a cultural accelerant – this is a case of us taking our own medicine, following the advice we give to clients.”

The film is mainly the creation of Marco Venturelli, chief creative officer of Publicis France, whom Sadoun personally tasked with the project. Venturelli said: “This was by far the most intense film I’ve ever produced, not only because Arthur was the client, but also because cancer is such an incredibly universal thing that touches everyone.”

He added: “I wanted to really give a glimpse of the kind of odyssey people who have cancer go through. I didn’t want to sugar coat it – the film needed to be tough – because once you’ve been touched by cancer it never leaves completely.”

Sadoun intends for the campaign to be ongoing, and after the first wave, to pass the baton to another organisation to take it forwards. Publicis Groupe has already signed up an impressive list of supporters, including many of the world’s largest companies, but is aiming high with a target of 1,000 signatories.



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McDonald’s to open 1,900 locations this year


More than 400 of the new restaurants opening this year will be split between the U.S., Australia and a handful of European countries that include Germany, Italy, Spain and France. About 900 will be in China, and the remaining locations will be in other global markets.

More on McDonald’s: Ads as tipsy as late-night customers

McDonald’s hasn’t grown its restaurant count in the U.S. since 2014, CEO Chris Kempczinski told analysts this morning.

“We haven’t added new units in the U.S. in eight years,” he said. “We have been focused largely on our remodeling program, and in that same period of time, I think everybody would agree our U.S. business is in significantly better shape today than it was back then.”

The new growth strategy builds on McDonald’s 2020 “Accelerating the Arches” plan, which will also create new leadership roles, push out more innovation and stop or reprioritize certain initiatives, which could result in job cuts. McDonald’s said in early January that those decisions will be finalized by April 3.

The company expects about 4% unit growth from the 1,500 net new restaurants set to open this year, said Chief Financial Officer Ian Borden. Along with the more than 700 restaurants that opened in 2022, the new locations are expected to contribute 1.5% to systemwide sales growth. McDonald’s plans to spend between $2.3 billion and $2.4 billion on capital expenditures, about half of which will go toward new openings, Borden said.

For comparison, the company opened 1,494 restaurants and closed 661 in 2021, up from 977 openings and 643 closings in 2020. At the end of 2021, the chain operated more than 40,000 restaurants worldwide, more than 13,400 of which were in the U.S.



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Watch the newest commercials from VW, Hyundai, Crown Royal and more


Foo Fighters frontman Dave Grohl stars in a Crown Royal Super Bowl ad teaser.



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Monday, January 30, 2023

Snapchat – "Wait’ll You See This" (2023) :60 (USA)


Telecom & Dotcoms
A caveat, I hate Snapchat. But the kids like it. So this is not targeted at me.



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Contact

Home Blog Contact Get in touch if you would like to discuss a project. Name* Email* Phone Message* Start Now Bobs SEO300 S 4th St Ste 820Las Vegas, NV 89101(702) 722-9275Mon-Fri 8 am-6 pmSat 8 am-2 pm

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Super Bowl 2023 commercials released so far


Ahead of Super Bowl 2023, several brands will release their Big Game commercials. Bookmark this page to stay up to date on new releases up until kickoff on Feb. 12, when the Philadelphia Eagles and Kansas City Chiefs face off on Fox.

For even more pre-game viewing, catch up here on teasers from brands as well as other brand plans for the Super Bowl.



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Wonderhood gets the HRH Princess of Wales seal of approval for early childhood campaign


Wonderhood Studios have been moving in exalted circles: last year, HRH the Princess of Wales became a client when the agency won a pitch for her Royal Foundation Centre for Early Learning.

A few visits to Kensington Palace and Windsor Castle later, Wonderhood has come up with this claymation film, designed to raise awareness of the importance of the first five years for children’s development. It will appear in Piccadilly Circus and in cinemas across the UK from Friday.

HRH said: “By focusing our collective time, energy, and resources to build a supportive, nurturing world around the youngest members of our society and those caring for them, we can make a huge difference to the health and happiness of generations to come.

“We are all responsible for building a more compassionate world in which our children can grow, learn and live. In these difficult times, it is more important than ever to help support parents and caregivers provide loving, safe and secure homes for their babies and young children to thrive.”

The film is the first step in the “Shaping Us” campaign to raise awareness of the foundation and get people talking. The Centre for Early Learning’s activity includes commissioning research as well as working with the public and private sectors to change the way we think about early childhood development.

Its first research project shows that around 36% of adults report knowing little or nothing about how children develop in their early childhood.

HRH has also used her influence to bring in an interesting range of “champions” for her cause. These are DJ and TV presenter Fearne Cotton, DJ Jax Jones, blogger Giovanna Fletcher, Love Island’s Zara McDemormott, rugby player Ugo Monye and England football captain Leah Williamson.



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Hey wonderful welcomes director Matteo Mosterts Adland®


Hey Wonderful has signed award-winning filmmaker Matteo Mosterts for commercial representation. A storyteller whose work combines comedy, film craft and performances with a lot of heart, Mosterts has directed campaigns for Amazon and Cisco, as well standout short films such as Afternoon Delightan entertaining twist on an afternoon dalliance, Faith, a drama which suggests faith works in unexpected ways, and Wally’s Will, a dark comedy about an eccentric millionairess starring Linda Gray. The news was announced today by Michael Di Girolamo, Founder & Managing Partner, Hey Wonderful. 

 

“Michael and I met in the beginning of my advertising career and he’s been a mentor on my directing path,” Mosterts said. “From my first short all the way up to me joining Hey Wonderful, he’s been a fan, as I’ve been of him and the company. I also worked with his partner Sarah McMurray previously and was thrilled they teamed up. Our objectives are to find projects that have potential, that can benefit from my sensibility as well as Hey Wonderful’s firepower. There’s a lot of ambition to make amazing work, and I’m excited to see what this year will bring.”

 

“Matteo and I have had a long history in the business and I’m thrilled that we finally get to work together at Hey Wonderful,” Di Girolamo said. “When he shared his first short film, Wally’s Will with Linda Gray, I knew he had what it takes to go the distance. To me, his short films offer glimpses of early works from Italian film greats like Sorrentino and Guadagnino, and I love seeing that visual storytelling, exceptional performance and humor in his commercial campaigns for Amazon. I’m excited to help him continue to grow his career as a director to watch in advertising.”

 

Mosterts’ work for Amazon is relatable and effortlessly funny, with the brand’s various products fitting seamlessly into the narrative. Among his other recent work is a campaign for Cisco he both produced and directed, featuring a series of meticulously art directed spots that are among the most unique for the brand. 

 

“I think a sophisticated visual sensibility and comedy aren’t mutually exclusive,” Mosterts said. “In fact, I love exploring technical executions that enhance narrative and humor. There’s nothing better than speculating on chiaroscuro and convoluted transitions to tell jokes.”

 



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How music videos create brand connection

Sunday, January 29, 2023

Cartier Tank Française: Behind the Scenes (2023) (France)


Uncategorized
Behind the Scenes on the movie set with Rami Malek, Catherine Deneuve and Guy Ritchie.



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Cartier Tank Française: Guy Ritchie Interview (2023) (France)


Uncategorized



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Cartier and Publicis Luxe Pay Homage to the French New Wave with Rami Malek, Catherine Deneuve and Guy Ritchie Adland®


CREDITS

Director: Guy Ritchie (Reset / 75 productions)

Print assets film : Greg Williams

Print stills & portés : Charles Nègre
Post-production film: Mikros

Post-production music : Clément Bonnet (Prodigious)

Business Affairs music : Camille Masse (Prodigious)

Business Affairs figurants & inspirations films : Catherine Oger (Prodigious)
Post-production digital assets : Mass Corporations

BRAND : CARTIER INTERNATIONAL
Sr Vice President Chief Marketing Officer: Arnaud Carrez

International Creative Communications Director : Emmanuelle Guillon

Creative Product Content Director : Marco Terroni

Creative Content Group Manager : Charlotte Temam

Creative Content Project Manager : Bettina Ghinozzi

Creative Product Content Post-Producer : Valentine Karas

AGENCY : PUBLICIS LUXE
Creation : Antoine Bonodot

Creation Film, Digital & Print : Adrien Cussonneau, Alexandre Jean-Marie, Gaël Cornet
Commercial: Amandine Ribeiro, Iris Decoux, Sofia Silva Rodrigues, Laurence Levy
TV production: Christine Bouffort

Art buying : Emma Boutami



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Publicis Groupe Benelux recruits Web 3.0 talent with giant red telephone in the Metaverse. Adland®


If you find and pick up the Metaphone, it can land you a job at Publicis Groupe.

Somewhere in the Metaverse, a giant red telephone is ringing right now. Anyone who picks it up, could end up working at Publicis Groupe Benelux, in the real world. The Metaphone is a new way of recruiting scarce web 3.0 talent. “The talent that will shape the Metaverse, is already inside it,” explains Eduardo Marques, CCO of Publicis Groupe Benelux.
The Metaverse has existed in the gaming industry for over 20 years, but today it’s where a new generation of creative talent is coming to play, discover and create. A world in which our digital and physical lives are starting to converge. And the perfect spot to find talent that understands the Metaverse. By using outdated technology – an old-school rotary telephone – Publicis Groupe are enticing them to leave the virtual world for an instant to show their talent in the real world.
According to Eva Devos, Co-CEO at Publicis Groupe Belgium, it’s the responsibility of marketeers and agencies to deserve people’s attention every time they communicate. The Metaverse is no exception: “Brands and agencies will play a vital role in the transition from the real to the virtual world, but only if they understand what moves people there. The Metaphone is a bridge between worlds and a bold new way to approach creative talent that understands the Metaverse and can help us build it. All they have to do, is pick up the Metaphone.”

Apply now?

The Metaphone is a giant red telephone in Decentraland that rings day and night, waiting for the right talent to pick up the phone. When they do, a personal message will invite them to leave their details behind and answer with a message of their own.
Looking for a job or just curious? Visit the Metaphone here.



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All you need is a heart-shaped crisp: #LoveFromWalkers offers £100k reward


Here’s a Valentine’s-themed campaign that replaces sentimentality with a bit of fun and some cold hard cash. Walkers is giving away £100,000 to whoever finds the best heart-shaped crisp between now and 12th February.

VCCP’s “Love From Walkers” competition is promoted with a series of guerrilla-style reward posters, which are going up in major cities including London, Manchester, Birmingham and Leeds as well as on trains.

Rachael Smith, senior marketing manager at Walkers, said: “January is a notoriously dreary month for many, so we wanted to bring a little joy and levity to people’s lives to start the year. Through our hunt for the best heart shaped crisp we aim to do exactly that, by sharing some of the love that we receive as the nation’s most-loved crisps.”

To enter, anyone who finds a heart shaped crisp in their packet of Walkers must post a picture of it on Twitter or Instagram, tagged #LoveFromWalkers.



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RSA Films Signs Bona Fide Multi-hyphenate Talent James Morosini, Director/Writer/Star of Hit Comedy I LOVE MY DAD Adland®


Ridley Scott’s RSA Films has signed multi-hyphenate talent James Morosini for representation in commercials and branded content in the U.S. Morosini wrote, directed and starred in the 2022 indie hit I Love My Dad – also with Patton Oswalt, Claudia Sulewski, Rachel Dratch and Lil Rel Howery – which one critic aptly called “an absolute triumph of twisted humor and love.” It also landed him on Variety’s prestigious 2022 Comedy Impact Report alongside Judd Apatow, Paul Feig and Mindy Kaling. Based on a true story, I Love My Dad had its world premiere at SXSW winning both the Narrative Feature Grand Jury Award and Audience Award, and is available on Hulu after a theatrical run last summer.

“When I watched I Love My Dad, I was laughing hysterically and squirming at the same time,” said Luke Ricci, President, RSA Films U.S. “James hit all the notes to deliver a hilarious, twisted comedy. From amazing performances – including his own – to writing and directing a story that kept me on the edge of my seat. I’m excited to bring him great opportunities in commercials and introduce such an exciting talent to our industry.”

“I’ve heard amazing things about RSA over the years,” Morosini said. “Ridley Scott is one of my favorite directors of all time and Scott Free has produced some of my favorite narrative work. And then I met with Luke and just really connected with him. I’m excited to create work that sticks in people’s minds and leaves a lasting impression.”

Morosini gravitates toward stories that come from the gut, and in the case of I Love My Dad, he tackled something cringe worthy he had personal experience with, “catfishing” or setting up a fake profile online to trick someone. Casting Patton Oswalt to play his dad in the film “felt like the perfect fit,” Morosini said. “Patton’s obviously someone who’s very funny but has tremendous heart and brings a lot of levity to dark subject matter.

“I love stories where somebody’s doing the wrong thing for the right reasons,” Morosini continued. “I basically made the movie as a love letter to my dad. The story is about forgiving people and seeing one another as incomplete human beings and loving one another regardless.”

Morosini’s screenplay for I Love My Dad won the Grand Prize of Screencraft’s screenplay competition, selected out of 2,300 entries. The film is currently enjoying a tremendous reception and more wins on the festivals circuit. Another screenplay from Morosini, POP, about a kid who blackmails his favorite pop star into being his best friend, made the 2022 edition of the prestigious Black List.

Morosini made his first feature, Threesomething in 2018, a romantic comedy which he also wrote, directed, produced, edited and starred in. He’s had major acting roles in FX’s “American Horror Story” and “Feud,” “Lethal Weapon” (a Fox reboot) and most recently on Mindy Kaling’s “The Sex Lives of College Girls” for HBO. He’s also directed many short films. As a multi-disciplined talent, Morosini said he is excited to spend his time behind the camera at RSA, and to contribute as a writer when projects warrant.



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Friday, January 27, 2023

Fishwife enters Whole Foods: DTC tinned fish brand CEO discusses growth


Fishwife’s attention-grabbing brand design differentiates it from canned competitors, such as Bumble Bee and StarKist, possibly allowing it to spend less on marketing.

Fishwife sells its three-pack of “Wild-Caught Smoked Albacore Tuna” for $27 on its website, where there’s an implication that consumers are paying for quality and sustainability—the product description includes phrases such as “each fish is caught by one fishing pole, one at a time, to minimize bycatch and maximize quality control,” and “hand-packed, and canned in British Columbia.”

A three-pack of Bumble Bee “chunk light tuna in water,” for comparison, doesn’t come with any of those upscale descriptors—but it’s also only $3 and change from Walmart.

Fishwife started experimenting with paid marketing in July 2022. During the experimental phase, it was spending around $2,000 per month on Google Shopping and Facebook, Millstein said. 

Paid spend is “extremely insignificant in terms of where our customer acquisition comes from,” Millstein said, although she did not share exact figures. But spending could grow as Fishwife’s sales targets evolve, Millstein said. 

“Not to brag, but we basically did 2X higher than we had projected for our highest projection for Q4. So we were already working very, very hard on the operational side to keep up with the demand that we were getting during the holiday season. We could have invested more, but there was no need,” Millstein said. 

What the experts say

Kendall Dickieson, the founder of Flexible Creative who has worked with other DTC brands in Whole Foods such as Graza, said Fishwife had “a whole lot” to do with the tinned fish category’s recent uptick in popularity. Fishwife has loyal followers who would make a journey to Whole Foods just because the brand is there, Dickieson said.

That’s partly because Fishwife “stays close” to its customers through “surveys that are so overlooked by so many brands,” said Grace Clarke, who founded GGC Consulting and has also worked on brands such as Graza.

“They phrase their [survey] questions in such a way that they actually get real qualitative answers. … They truly want to understand what is motivating their customer deep down,” she continued. Additionally, “DTC brands on the shelf actually elevate existing categories that are slowing down,” Clarke explained.

People going to the canned fish aisle specifically to buy Fishwife probably haven’t visited that section ever before, so there’s potential to increase cart value for that whole section—as well as actually move foot traffic around a store, which could bolster other categories too, per Clarke.

“I think they also understand that the people who are in their community don’t need to be a buyer just yet,” Clarke added. 

What’s next

Fishwife will continue expanding into more Whole Foods regions as the year goes on. The next rollout, according to Millstein, will be Northern California this summer. It will also use the Whole Foods marketing engine for ad support such as in-store signage and on-premise events. 

For instance, Fishwife and Whole Foods are planning to host a Whole Foods event at a still-to-be-determined Southern California location.

“It’s going to be a huge anchovy-centric bash,” she explained—and what could be more Fishwife than that?



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Super Bowl 2023 auto ad spend trends down, Kia is in


Long-term play

Kia, which plugged its electric EV6 in last year’s game, for this year’s ad will highlight its gas-powered 2023 Telluride X-Pro, said Kia America Marketing VP Russell Wager. He did not disclose creative details on the ad from agency David&Goliath. Kia was one of a few brands to increase market share last year and is riding a hot streak after posting sales records for December and the fourth quarter, as reported by Automotive News.

Wager, in an interview with Ad Age, acknowledged that some supply issues remain. “We still can’t make enough to meet the demand,” he said. But making Super Bowl decisions based on today’s supply is “a short-term game,” he said. “We’re doing it to keep our [brand] top of mind, to keep people putting us onto their consideration list three, six, 12 months down the road.”

Kia had the same conversation last year when it opted to highlight the EV6 in the Super Bowl. While Kia “sold over 20,000 of them, you don’t go into the Super Bowl sell 20,000 cars,” he said. “You go into the Super Bowl to say, ‘Hey, we are a serious competitor when you think about electrified vehicles.’”

Hyundai—which has not advertised in the Super Bowl since 2020—is opting to highlight one of its EVs with ads running during this weekend’s AFC and NFC championship games, rather than in the Big Game.

The brand will pay about one-third the cost of a Super Bowl ad (which this year is running as high as $7 million for 30 seconds), but still get in front of a huge audience, said Angela Zepeda, chief marketing officer at Hyundai Motor America. (Last year’s championship games averaged 49 million viewers, while the Super Bowl drew about 100 million.)

Hyundai’s campaign features its electric Ioniq 6 and stars actor Kevin Bacon and his daughter, Sosie Bacon. One ad, called “Your Dad Is Going Electric,” is meant to normalize eclectic vehicles, even for dads who might not be as technologically savvy as their kids. It comes from creative agency Innocean with Canvas handling the media buys.



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McCann Global CCO Alex Lopez to depart amid larger reorganization


McCann Worldgroup’s agency brands include McCann, MRM, Weber Shandwick, McCann Health, Momentum, Craft, UM, and FutureBrand.

The reorganization follows news first reported by Campaign that McCann’s Chairman-CEO Chris MacDonald is stepping down from his role. In a LinkedIn post, MacDonald said he stepped down to return to the U.K.

As part of the shift, Suzanne Powers, previously global chief strategy officer for McCann Worldgroup, will become global chief product officer for the network, a new post. She is also being named chair of FutureBrand.

Taking over her prior role is Harjot Singh; the Worldgroup global chief strategy officer position will be combined with his current role of chief strategy officer for McCann. Kate MacNevin is being elevated to chief operating officer of McCann Worldgroup and will retain her post as global chair and CEO of MRM. McCann Worldgroup Global Chief Client Officer Nannette Dufour will be adding the title of global chief sustainability officer to her remit.

Lee confirmed that there will be room for more leadership changes in the future, including at the regional chief creative officer level for McCann Worldgroup. “Where there are McCann CCOs, they will be the first in line for that joint position if they want it,” Lee said.

Related: R/GA global media head Ellie Bamford departs 

Simplicity and collaboration

The goal for the restructuring, Lee said, is to foster more “collaboration” among the network’s various agency brands, by making sure that each of the agency brand leaders wears a “McCann Worldgroup hat.”

He said he wants the agencies in the network to “think about how we come together as a team for our client’s best interests as a connected solution,” said Lee. “That is the thing that was missing, because people were either Worldgroup or they were MRM, and now they’re both.”

Beyond changing titles, Lee has also changed the bonus structure for executives at the Worldgroup level all the way to regional leaders within the network’s top 14 markets.

Under the new structure, 50% of an executive’s bonus will be tied to McCann Worldgroup’s performance and the other 50% will be tied to the individual agency brand the executive works for.

“[Now] there’s not a question of, ‘If I’m at MRM and there’s an opportunity that I think is right for McCann but doesn’t really help my P&L, I don’t bring it up,’” said Lee.



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New commercials: Macy’s, Allspring Global Investments, Hulu, The Leukemia & Lymphoma Society


A few highlights: Allspring Global Investments (the former asset management unit of Wells Fargo that was spun off in 2021) says, “We dissect the market from every angle, helping to build portfolios that redefine what’s possible.” Macy’s hypes its Big Home Sale, on now through Feb. 14. And Hulu promotes “Killing County,” a new three-part docuseries from ABC News Studios and Executive Producer Colin Kaepernick that looks into police corruption in Bakersfield, California.



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Molson Coors and DraftKings partner for Super Bowl ad


Molson Coors is breaking a 33-year freezeout from in-game Super Bowl advertising now that Anheuser-Busch InBev surrendered its exclusive Super Bowl ad rights in the alcohol category. Molson Coors officials said as far back as last summer that it would run a Super Bowl ad but tried to make the identity of the brand a topic of pre-game speculation hype. 

The company kicked off the guessing game with a full-page ad in the New York Times on Jan. 17, in which both brands made their case to appear in the 30-second spot.

The partnership with DraftKings takes the predictions several steps further and comes as online betting gains popularity among fans. The American Gaming Association reported that almost 50 million Americans were expected to bet on the NFL this season, Molson Coors said.

DraftKings also plans to run a separate ad starring comedian Kevin Hart. And its top competitor, FanDuel, is also in the game with its own gimmick—a live ad showing  Rob Gronkowski attempting a 25-yard field goal. FanDuel is promoting the stunt with ads on TV, social media and other digital channels in a move to drive FanDuel subscriptions ahead of what is the biggest gambling day of the year.



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Burger King’s ‘Whopper Whopper’—OKRP on BK’s catchy jingle


“We were talking, like, ‘Wouldn’t it be funny if people just sang about Burger King, super simple, with a catchy jingle?’” Powell told Ad Age. “We freestyled a couple of lines. We went into a meeting at the agency and said, ‘We’re either going to look crazy or it’s going to work.’ And it worked. We knew we had something that was going to pop.”

They couldn’t have known it would pop this much. But they did painstakingly craft the song, whose melody comes from the “Have It Your Way” jingle from the ’70s, modernized with more of a rap style.

“We knew we wanted something that wasn’t too heavy on the instrumentation, so the words could be the star,” said Powell. “We probably did 150 demos—different beats, voices, arrangements—until we landed on the one. It didn’t feel too much like one genre or one sound. We wanted to leave it open, so people could take it and have fun and do different interpretations of it.”

The client loved it and collaborated with the agency on the rollout last fall. Beacon Street handled the music.

Related: BK reimagines ‘Have it Your Way’ jingle in OKRP campaign

“It’s been awesome to see how much it’s gone off. People have really reacted to it,” said Ben Pfutzenreuter, group creative director, OKRP. “In the last week or two, it’s really burst at the seams in other parts of the internet where we spend time. We’re tracking it because it’s our job, but also just as human beings out in the world. You can’t help but trip over this thing everywhere.”



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Burberry ad shocks with a double mastectomy for Valentine’s Day


Fashion brands love to be provocative, and perhaps Burberry has had enough of creating beautiful, award-winning ads like last year’s “Open spaces” which everyone agreed was stunning, including the Cannes Lions judges. For Valentine’s Day, the British fashion brand is going for something much more controversial. Its new campaign includes a striking image of a …

The post Burberry ad shocks with a double mastectomy for Valentine’s Day first appeared on More About Advertising.



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Thursday, January 26, 2023

Disney’s data clean room, measurement and streaming commerce strategies—takeaways from its tech and data showcase


During Disney’s Tech & Data Showcase livestream yesterday, one theme was especially prevalent: changes brought on by the streaming era, whether in automation, privacy or democratization, are happening faster than predicted. As the first stop on Disney’s “52-week road to upfront,” the media giant flaunted the ins and outs of its innovations in measurement, data and ad products. 

“This is not a concept, it’s a reality at Disney,” said Christine Chung, director of advanced analytics and clean room solutions, after showcasing one of these innovations—a reminder of the very different TV industry that will present during this spring’s upfront, which will take place on May 16 at New York’s North Javits Center.

This year’s Tech & Data Showcase came over a month sooner than 2022’s, as the company is “seeing the marketplace move earlier,” said Rita Ferro, Disney’s president of ad sales, during a LinkedIn teaser for the showcase earlier in the week, also noting that Disney hosted 120 meetings with clients in the first week of January.

Disney’s hour-long event covered an excess of updates—keep reading to catch up on the highlights.



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Top 5 food and beverage campaigns: Jan. 26, 2023


The spot, from Wonderful Agency, LA, is airing now and will continue to air across syndication, digital streaming platforms, cable outlets, and on social media throughout 2023.

4. Tire change

One of the venerable names of the craft beer movement has been retooled for a new generation. New Belgium Brewing has introduced a new formula for its iconic Fat Tire beer, along with a new label designed to attract new beer fans and allies in the company’s commitment to fight climate issues (Fat Tire calls itself America’s first carbon-neutral beer). Brewers describe Fat Tire’s new formulation as a crisper, brighter and easier-drinking version of the 32-year-old American amber ale it is succeeding.



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Super Bowl commercials update for Jan. 26, 2023


The pregame hype winner is … 

When it comes to sheer attention, there is no doubt M&M’s is winning the early Super Bowl ad hype game. As documented by Ad Age this week, the brand’s move to sideline its spokescandies in favor of comedian and actress Maya Rudolph has netted headlines in publications ranging from The Hollywood Reporter to Time. Most of the coverage is fixated on the “wokeism” of the brand’s move last year to recast its characters in a more progressive light—and conservative figures such as Tucker Carlson have taken a prominent role in that sideshow.

In a tacit acknowledgment that the Rudolph stunt is maybe being taken a little too seriously by some outlets, the Mars brand on Wednesday issued a statement that, “rest assured, the characters are still our official spokescandies.” As if there was any doubt … 

For a behind-the-scenes look at Super Bowl ad planning, check out Ad Age’s Super Bowl Playbook event on Feb. 7. It will feature brand leaders and agency execs behind the ads. Register here for the virtual event.



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Renata Maia, Wunderman Thompson Health’s new CCO: 5 questions


You spent much of your career on the consumer side of advertising. What made you shift into health in 2019?

I had this enormous desire to bring creativity to the pharma and health and wellness industry, and I knew I was going to be touching something so powerful working in a category that will really help people’s lives. We’re talking about oncology or a product that could give the possibility of people having a better life. That is incredibly powerful. It also became very clear to me that health is an important subject for every brand. It’s not an option anymore. If you’re not someone who is starting to think about specializing in that way, you will be left behind.

How does DE&I intersect with health and the way you work?

The core of DE&I is about diversity. It’s about equity, it’s about inclusion. Health is not only about science. I grew up in Brazil, my brother’s German, my sister’s Brazilian, my grandfather’s British and the other grandfather’s Portuguese. When Wunderman Thompson Health hired me, they said to me, ‘Renata, you have worked worldwide, you come from an eclectic family. We want that.’ It’s so important when you have a different background to be open-minded and understand different points of view. It’s about collaboration. WPP has always seen that.

Where do you see the landscape of advertising in the health sector changing in 2023?

There are a few. One is the drastic increase in the importance of mental health. Another is a huge trend from the use of AI in healthcare, which is so exciting and offers us a way to reduce the disparity in healthcare. Technology overall is pushing our industry to break boundaries and change by the second. It’s pretty clear we are in a new age of collaboration and innovation. When you bring the knowledge, innovation and the power of storytelling, I think the future of health has never been so bright.



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Avocados From Mexico brings ChatGPT to Super Bowl commercial


Produce marketer Avocados From Mexico is leveraging ChatGPT as part of its Super Bowl campaign, with plans to include a QR code in its 30-second spot. 

The QR code will link to a landing page integrated with the popular generative AI tool, according to Ivonne Kinser, Avocados From Mexico’s VP of marketing and innovation. 

Once on the landing page, users will be asked to press a button to generate a tweet. On the backend, this information will be fed into ChatGPT, and the bot’s response will appear as text on the landing page. The user will then be encouraged to tweet text during the game. Such guardrails have been put in place in order to keep the interaction relevant to the brand and ad, said Kinser.



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New commercials: eBay, Daily Harvest, Burger King, Abbott, Breathe Right


A few highlights: Daily Harvest says, “We speak your food language.” Burger King hypes its limited-time-only International Original Chicken Sandwich, available in American, Italian and Mexican versions. And Ray Magliozzi of NPR “Car Talk” fame says that eBay Motors “has the right parts at the right prices.”



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Wednesday, January 25, 2023

Watch the newest commercials from Planet Fitness, M&M’s, Panera and more


Panera Bread wants you to know that it donates more than $80 million worth of unsold baked goods each year.



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Trump’s Facebook, Instagram accounts reinstated after two-year ban


Trump, who announced last November he’s running again for president in 2024 and used Facebook extensively during his last two campaigns, had asked Zuckerberg and other company officials to reinstate his access, saying that keeping him off the platform is interfering with the political process.

The former president also said in a Jan. 5 Truth Social post that Meta “has been doing very poorly” and “become very boring” since suspending him. He also said removing him and changing the company’s name to Meta from Facebook “will go down in the Business Hall of Fame for two of the worst decisions in Business History!”

Trump also had access to his Twitter account restored in November after new owner Elon Musk reversed a ban. Trump has yet to post, saying he’ll stick with posting on Truth Social, his own social media platform.

But Trump’s reach on Truth Social is dwarfed by what he had with Facebook and Twitter. He has 4.8 million followers on Truth Social compared with 87.7 million on his old Twitter account and 34 million on his former official Facebook page.

Senators support suspension

Lawmakers, including Democratic U.S. Senator Sheldon Whitehouse of Rhode Island and U.S. Representative Adam Schiff of California, sent a letter to Clegg last month urging Meta to continue Trump’s suspension and to “maintain its commitment to keeping dangerous election denial content off its platform.”

The lawmakers said Trump continues to post “harmful election content” and amplify QAnon sites on Truth Social that would likely violate Meta’s policies. “We have every reason to believe he would bring similar conspiratorial rhetoric back to Facebook, if given the chance,” they said in the letter.

The letter noted that Trump has posted false claims about election rigging in Arizona and other states in the midterms. The former president shared Truth Social posts earlier this month repeating debunked conspiracies about Georgia election worker Ruby Freeman and others “stuffing the ballot boxes” in 2020.

Freeman and her daughter gave emotional testimony last year to the House committee investigating the Jan. 6 insurrection about how they received death threats and didn’t want to venture out in public because of Trump’s baseless attacks on them.

The former president has continued to advertise and raise money on Facebook through his Save America leadership political action committee. Last year, Save America placed almost 10,000 ads on Facebook for almost $655,000, according to AdImpact.

—Bloomberg News



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Super Bowl 2023: M&M’s spokescandies remain despite stunt


Charles Taylor, a professor of marketing at Villanova University was more circumspect, saying he tends to advise brands to steer away from political controversy. “It’s a tricky position to be in from my standpoint,” Talyor said.

Kimberly Whitler, associate professor of business administration at the University of Virginia’s Darden School of Business, said she feels M&M’s aren’t courting “controversy” as much as “conversation and engagement,” noting that if Carlson’s remarks were actually harming the brand, it would be more likely move on without announcing a pause.

“We tend to like to think in binary terms—good or bad,” Whitler said. “In reality, there is a spectrum.”

While the M&M’s move may remind some of Planters’ move to kill off its “Mr. Peanut” character in the runup to the 2020 Super Bowl, Harris said a better comparison would be Nike’s 2018 Colin Kaepernick ad, a controversial spot that wound up leading to sales and stock gains for Nike, in spite of boycott threats.

M&M’s said Maya Rudolph would stand in for the candies in the forthcoming Super Bowl ad. In a teaser spot that has been running on TV this week, Rudolph herself played to the controversy, saying “I love M&M’s, and you and I love me,” while pointing to a pie chart showing “People Who Love Maya” dominating a tiny sliver representing “Other.” Rudolph’s face has been printed on M&M’s.



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Video: Inside Workday’s first Super Bowl commercial


Workday, the enterprise software company used at many Fortune 500 companies, will be a newcomer to the Super Bowl ad game this year, with plans to air its first Big Game commercial. This comes as the way people work continues to evolve nearly three years since the beginning of the COVID-19 pandemic.

Workday saw an opportunity to reach a broader audience beyond its business clients. It plans to air a 60-second spot in the third quarter of the game and worked with Ogilvy on the creative.

Workday tapped “rockstars” for the campaign, with the first two teasers featuring Ozzy Osbourne and Gary Clark Jr. in an office setting. A third rockstar, Joan Jett, will also appear in the Super Bowl campaign. 

Schlampp joins Remotely to give a sneak peek of the spot and discuss how Workday is using the Super Bowl to evolve the conversation around the future of work.



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Twitter gives brands tools to measure offensive content around ads


Advertisers have fled Twitter in recent months. In December, Twitter’s ad revenue dropped 71% compared to the prior year, according to new data from Standard Media Index, which tracks spending from a basket of the top advertising agencies. Standard Media Index does not track every ad dollar that Twitter makes, but it follows a pool of most of the biggest spenders in digital advertising. While Twitter’s year-over-year ad revenue dropped 71% in December, TikTok’s ad revenue increased 13%, according to Standard Media Index. As for the entire social media ad market that Standard Media Index tracks, year-over-year ad sales dropped 15%, suggesting that the market faces broader troubles.

In place in time for the Super Bowl

Since November, the Global Alliance for Responsible Media, an industry working group that develops standards and content ratings on social media, has been working with Musk and Twitter to reach an accord around brand safety controls. Prior to Musk, Twitter had been an enthusiastic contributor to GARM. In 2020, Twitter promised it would give brands reporting mechanisms to independently verify that ads ran in safe settings. The new services from DoubleVerify and Integral Ad Science are a first step, and mimic similar tools they built for TikTok, which is owned by Chinese-based ByteDance.

“We’re focused on marketers that want more transparency into the adjacencies where their ads are running,” said Craig Ziegler, senior VP of product at Integral Ad Science.

Integral Ad Science and DoubleVerify will be able to analyze ad campaigns that run in the Twitter timeline, which is the main feed that users scroll on the site. The tools do not cover promoted tweets that appear when users scroll through tweets served in search and within individual profiles, a blind spot that could be the next category to cover in updates to the program.

Also, the verification firms will only be able to see one tweet above an ad, and one tweet below an ad, analyzing those for any objectionable content that falls outside a brand’s suitability guidelines. That means two tweets away, there could still be content that goes undetected.

Twitter’s new brand safety levers are open to thousands of advertisers who work either with DoubleVerify or Integral Ad Science. The tools will be operational during the Super Bowl, an important advertiser moment on Twitter when the conversation on the site is most active.

“The timing is no coincidence, right,” Zagorski said. “We know that social interactions around major events, and Super Bowl is one of them, obviously increases. So, I think now is great timing for advertisers who want to engage during the Super Bowl on Twitter to know that there is a brand safety and suitability tool that can help them measure and verify the success of their campaign.”

“We are excited to offer advertisers the ability to leverage DoubleVerify’s independent measurement to verify brand safety and suitability on Twitter’s Home Timeline,” AJ Brown, Twitter’s head of brand safety, said in a statement for DoubleVerify’s announcement. “DV was chosen due to its industry-leading technology, depth of media quality measurement expertise, and the overall strength of our existing partnership.”



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Unilever and Mindshare test Disney’s cookie alternative with Trade Desk


“We are excited to be on the front lines of this future-fit partnership between Disney and The Trade Desk, so we can continue learning about holistic reach and frequency in a privacy-safe environment,” said Aaron Sobol, head of media investment and partnership for Unilever.

Sobol didn’t elaborate on exactly what or how Unilever is testing or the extent to which it’s bringing its own first-party consumer data into the clean room. In its statement, Disney described the capabilities of the integration as “creating an audience match reliant on high-fidelity first-party data vs. more traditional means of matching based on cookies or pixels.” The idea is for advertisers to know not only if, but how, they reach key audiences at a scale needed to increase incremental reach across linear, connected TV and digital media, according to the statement.



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Los York Films signs Sharon Chetrit Adland®


Los York Films, the film discipline of the pioneering creative studio Los York, has signed Sharon (pronounced Shar-rone) Chetrit to its roster of award-winning film and commercial directors. Previously, Chetrit was the in-house creative director and writer/director at creative technology company Artlist, overseeing the brand’s prolific campaigns from concept to execution, including such celebrated and imaginative work as Merman, Moon Landing, Take It To The Max and Be The Best. A multi-talented artist and filmmaker, Chetrit’s work is characterized by bold and often surreal experimentation with live action, design, conceptual art and the latest cutting-edge AI technologies, creating stories that break through.

“Los York’s superpower is mixed media, so we’ve been looking for someone with exactly Sharon’s skillset,” said Seth Epstein, Los York Founder/ECD. “His work is spectacular and inventive, as well as playful and irreverent. He has a global vision and a European style, working fluidly with live action, design and animation, seeing his projects through the entire creation, production and post production process, an approach that is also in our wheelhouse. He’s a perfect fit. We are ready to make some magic together.”

“We love how Sharon experiments with different media,” said Leticia Gurjao, Executive Producer and Head of Film at Los York Films. “He blurs the boundaries between them while combining his wide range of skillset which ultimately creates very unique visuals and memorable stories.”

Originally from Tel Aviv and now based in Los Angeles, Chetrit wrote, directed and produced the highly acclaimed short film Soup, which premiered at the 2017 Cannes Film Festival and Aesthetica Short Film Festival (BAFTA-qualifying). Soup was subsequently sold to Shorts TV US channel making it available to 25 million households worldwide via platforms including iTunes, Google Play, Amazon, and Delta Airlines. Prior to his position at Artlist, Chetrit was a creative and film director with the Tel Aviv based Rabel Films producing international commercial campaigns for brands such as Schweppes, Nestlé and Häagen-Dazs, among many others.

“Los York’s work shares the same DNA with the work I’ve been creating throughout my career,” said Chetrit. “They have a high cinematic approach, and immense passion about the stories they tell and how fully invested they are in the entire creative process. I’m very happy to join the Los York family. As a creative lab, Los York is the perfect place for me to continue my journey as an artist. Together we can go bigger and make an impact for brands.”

An award winning creative laboratory, Los York is a place where designers, writers, artists, and directors collaborate to dissolve the boundaries between ideation and creation, and produce culture-defining campaigns for the world’s best brands and agencies. We combine creative, production and post under the direction of a Three Headed Llama, which is a brain trust that combines unique disciplines under one roof



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Disney outlines measurement strategy for streaming TV future


“Through our expanded relationship with EDO, we are bringing insights to brands based on the largest and most leaned-in audiences in live sports and events to show the impact of an ad exposure in streaming on cross-screen digital behavior like search and site visits,” said Danielle Brown, senior VP of data enablement and category strategy for Disney Advertising, in a statement.

“This partnership helps build a solid foundation for industry adoption of new outcome-based measurement metrics that allow us to understand convergent TV ad performance,” added Michael Piner,  executive VP of advanced advertising at Mediahub Worldwide.

Disney also announced it would expand its multi-year relationship with Samba TV, one of the measurement alternatives climbing the ranks since Nielsen’s loss of accreditation in 2021. Last year, Disney conducted a 100-advertiser study with Samba TV, which utilizes first-party data collected from device-embedded software, to report reach and frequency across multiple screens.

The results determined Disney’s effectiveness in showing advertising to audiences only once across multi-screen viewing. In some cases, a campaign delivered as high as 56% incremental reach, meaning over half of the viewers for Disney’s digital channels didn’t see the same ad on linear. The company shared these results as evidence of Samba TV’s validity for the new era of measurement, which requires the expansion of traditional metrics.



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Tuesday, January 24, 2023

Work & Co lays off 8% of staff


Work & Co has laid off 8% of its staff, or around 45-50 employees, the agency confirmed.

“The worsening of already unfavorable macroeconomic conditions in the first quarter led to a staff reduction,” the company wrote in a statement to Ad Age. “Like most companies, we’re navigating through this challenging moment. And we’re focused on supporting our team.” 



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Top UK and Canadian Creative Studios – FutureDeluxe and Tendril


Two of the marketing industry’s most respected creative content studios have struck a transatlantic deal to launch a new powerhouse called ‘Forever’: an organisation that will reimagine the future of design, moving image and creative technology on a global scale.

London-based FutureDeluxe (known for its experimental and innovative approaches to design, technology and moving image on such projects as Google Morphing Clay) is coming together with Canada-based Tendril (the design, animation and technology specialists behind groundbreaking brand expressions like Microsoft Future Vision) to co-invest in a new organisation called Forever: a global design offering that is greater than the sum of its parts.

What does this mean for international brand partnerships? Forever’s new venture promises to broaden global offerings by bridging the roster of talent from both studios, across offices in the U.S., UK, Canada, Brazil and Australia.

The two companies will continue to work independently and contribute their unique creative voices to the marketplace under their respective banners, but will aggregate curated teams to scale fluently as new opportunities arise.

Forever is the result of both companies’ belief in a need to design a new future-focused platform for growth that would allow the most creative minds to work together to achieve results that would not have been otherwise possible. The collective will have a focus on industry leading design, moving image and emerging technology.

Forever’s co-founders are quick to point out their mission is as much about creating a dynamic new business model as it is about cultivating a unique network of amazing humans. The goal is to foster an ecosystem of passionate studios and attract a community of like-minded clients.

FutureDeluxe & Forever’s CEO, James Callahan, said: “Forever gives us the opportunity to better serve our clients needs by growing our community of world class collaborators and adding skill sets that complement each other, to reach new heights.”

Tendril & Forever’s COO, Kate Bate, added: “Forever will bridge the talent and vision of our studios, bringing together a brainstrust that will think about and execute on innovation in design, technology and moving image, with a particular focus on empowering our people and creating an open minded, sustainable workplace that is future facing.

FutureDeluxe & Forever’s Co-CCO, Andrew Jones, continued: “Through Forever, we can reimagine how we work, play and innovate with both our teams and clients alike. A unique collaborative environment with some of the best creative minds globally”.

Tendril & Forever’s Co-CCO, Chris Bahry, said: “It’s a dream come true to be sitting here with our two studios ready to take this on. FutureDeluxe and Tendril are incredible teams, both individually and together. We look forward to the opportunity to challenge the everyday through the lens of our collective imaginations.”

Contact:

Helen Down @ Treacle PR (07986 117 277 / helen@treaclepr.co.uk)

US PR:
olia ougrik
R A C O N T E U R

About FutureDeluxe: FutureDeluxe is a global creative studio with offices in London, LA and Sydney combining design, technology and moving image to craft aspirational visual experiences for future facing brands. A diverse group of artists, directors, designers and creative technologists with experimentation and innovation at its core. From concept through to final delivery, FutureDeluxe collaborates with brands to explore, imagine and define their future vision. It has created aspirational content for brands including Apple, Microsoft, Converse, Sony Playstation, Sonos and Nike. https://ift.tt/DCspeZ3

About Tendril Studio: Headquartered in Toronto, with a satellite studio in São Paulo, Tendril is an industry leading design and animation studio that thrives at the intersection of art, technology and visual storytelling. Pioneering brands and agencies seek out Tendril to help bring their vision of the future to life and create paradigm shifting design work across a wide range of visual mediums. Tendril has been awarded globally by leaders in the fields of design, communication, interactive arts, and motion graphics by such governing bodies as Cannes, the YDA, the ADCCs, the FWA, AIGA, and many others. https://tendril.studio/



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Twitter, Meta, big tech layoffs threaten DE&I jobs progress


Recent years have seen a diversity and inclusion hiring boom. After Black Lives Matter protests in 2020, organizations of all stripes made promises to boost gender and racial diversity in their ranks. Dozens brought in their first-ever Chief Diversity and Inclusion Officers. In the three months after George Floyd’s murder, DE&I job postings jumped 123%, according to data from jobs site Indeed.

Now, just as tech companies had started to make progress, they’re scaling back those teams before fully meeting goals or creating workforces that look like the broader US population. Meta Chief Diversity Officer Maxine Williams warned last fall that cost-cutting would slow its diversity hiring efforts. 

“Cutting DE&I-oriented staff now, unless you’ve made really progress and can say ‘mission accomplished’ is not a good look,” said Angie Kamath, dean at the NYU School of Professional Studies, who focuses on workforce development. “There are some real risks.”

In some cases, companies might even backslide, said Monne Williams, an Atlanta-based partner at McKinsey & Company.

Workers are more likely to leave companies where equity efforts aren’t a priority. Nearly one in five female leaders have left a job in the past two years because of a company’s lack of commitment to DE&I, according to an October report from McKinsey and LeanIn.org. In a 2019 survey of 2,000 workers, McKinsey found that 39% decided against pursuing or accepting a job because of a perceived lack of inclusion at a company. 

“Diversity, equity and inclusion can’t be a thing that you only do when times are good,” Williams said. “If it becomes a flavor of the week, then companies will lose out on talent.”



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Nike challenges Revive Farming ‘Just Hemp It’ trademark application


Athletic gear giant Nike, whose trademark phrase is “Just Do It,” filed a challenge against a Texas hemp farmer’s application to trademark the phrase “Just Hemp It.”

The Oregon-based sports company owns the rights granted via federal registrations and common law rights for “JUST DO IT.” In the opposition filed last week, Nike noted that it has successfully sued many other companies for trying to use some version of the Just Do It phrase.

Texas-based Revive Farming Technologies filed its application for JUST HEMP IT on Dec. 16, 2019, and provided a laundry list of ways the company wants to use the phrase. The items included hemp paper products, clothing, ashtrays, boxes, vape cartridges, and various form factors of hemp.

But Nike isn’t having it. “JUST DO IT Mark, which has been in use in commerce for more than thirty years, and registered for more than twenty-five years, is famous within the meaning of Lanham Act Section 43(c), 15 USC § 1125(c),” the company wrote in its opposition filing, adding that allowing the Texas hemp company to use the phrase will create confusion.

Nike asked the Patent and Trademark Office and Trademark Trial and Appeal Board to deny the application by Revive Farming.



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Filipino agency Gigil expands to the US and Canada


The agency’s New York and L.A. offices are being overseen by U.S. Partners Jessy Daing and JV Valino, working with art director Jesse Castro. The partners did not disclose clients for New York or Los Angeles but said the agency is in various discussions and has already worked on one New York-based project that remains confidential. 

The Gigil Toronto office is being led by Rain Pengson, a Filipino advertising creative who relocated to Canada five years ago. That office will house the metaverse division, which already has ongoing projects. This includes work with telco Smart for the FIBA Basketball World Cup, and collaborations with the likes of Filipino doodle/illustration group WeeWillDoodle, comedy podcasters Kool Pals and NFT artist Punk Zappa for various NFT-related projects.

In L.A., the agency is keen to tap into the large Filipino-American community, said Gigil founding partner Badong Abesamis. However, it does not want to confine itself only to brands with Filipino heritage. “Of course, Filipinos are everywhere, so we felt it might be something that we could pull off,” he said. “But we also feel we have something of value to offer in terms of ideas and creativity, that has the stamp of Filipinos all over it.” 

Gigil was founded in 2017 and made its name with its outrageous ads for RC Cola, an underdog soda brand that was previously known primarily for its value. It attracted the spotlight when the agency debuted a wacky campaign targeted at Gen Z, in which a teenager’s unusual “condition” consisted of four drinking glasses growing out of his back.



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Monday, January 23, 2023

Watch Bud Light’s first ad from Anomaly, as the beer moves away from humor


Bud Light’s new brand voice—fewer jokes, more dignity—debuted during Sunday’s NFL playoffs, giving a taste of what’s ahead for a Super Bowl ad from America’s best-selling beer.

The ad, entitled “Handful,” shows a woman confidently navigating her way through a crowded bar while holding five pint glasses of Bud Light in her hands as “Hypnotize” by the Notorious B.I.G. plays. She dodges a pool cue, a disappointed man holding his beers on a tray, and a large bouncer, winking as she arrives at a table of friends without having spilled a drop. The ad includes the brand’s new tagline “Easy to drink. Easy to enjoy.”



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Apple TV+ adds Dentsu Creative to U.S. roster


Apple TV+ has named Dentsu Creative to its U.S. creative roster, handing it some work that had been historically done by TBWA\Media Arts Lab, TBWA Worldwide’s bespoke agency dedicated to its Apple account. The move is significant given that TBWA has been associated with Apple’s advertising since 1997.

Four people close to the situation said that Dentsu will be handling social media for the streaming service. 

TBWA\MAL referred calls to the client, which did not respond for comment. Dentsu declined to comment.



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‘Woke’ M&M’s impact brand’s Super Bowl strategy


This morning’s Twitter post drew 5 million views and nearly 3,000 replies in a matter of hours, proving the spokescandies can still draw a crowd. So don’t expect them to stay away for good.

Indeed, the announcement—which is suggestive of a Super Bowl PR stunt—suggests the brand is comfortable leaning into culture wars. It has already captured the attention of publications ranging from the New York Times to TMZ, whose headline blared “Melting down spokescandies over ‘woke’ uproar.”

“While we can’t say much more now, fans should keep an eye on M&M’s social media channels and MMS.com to see more of Maya’s journey, and we will share more on the spokescandies new pursuits over the next few weeks.”



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New commercials: Honda, TaylorMade, Caesars Slots, Keepsake Frames


A few highlights: Honda calls the 2023 Pilot TrailSport “the most off-road-capable Honda SUV ever.” Tiger Woods, Rory McIlroy and Collin Morikawa help hype TaylorMade’s Stealth 2 golf club. And Ty Pennington is really excited about Playtika’s mobile game Caesars Slots.



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Best Places to Work 2023: Winners


The best practices at the Best Places to Work turn out to be pretty straightforward:

Fair pay. Solid benefits.

Recruit and retain a diverse workforce. Keep staffing levels adequate so team members and teams can do their best work.

Provide good training and keep employees in the loop on how the business is doing. Tilt work-life balance a bit more toward life.

Easy to say—and hard to do. Ad Age Best Places to Work 2023 honors 50 companies for a job well done last year amid the challenges of a tight talent pool, uncertain economy and ongoing effects of the pandemic.

The winners—top companies with more than 200 employees and top companies with 200 or fewer employees—reflect the highest overall scores based on an analysis of questionnaires submitted by employers and survey responses from employees.

The winning companies outscored other workplaces in factors ranging from pay and benefits to corporate culture and leadership.

Perceptions about pay and benefits are a key differentiator.

Employees at winning companies felt better about their overall compensation package than did employees at companies in the competition that didn’t make the ranking.

The best places over-indexed on the employee survey’s two most basic statements on pay and benefits:

The winners outperformed on specific offerings such as employee satisfaction with tuition reimbursement benefits and health care coverage.

The Ad Age Best Places to Work 2023 ranking was produced by Best Companies Group, a research firm specializing in identifying and recognizing great places to work.

Best Companies Group conducted the surveys, analyzed the data and determined the winners.

Who made the grade

The 50 winners include a strong showing of ad tech ventures (12), digital agencies (eight), marketing agencies (eight), ad agencies (seven) and media agencies (six).

The winners tally also includes four health care agencies, two event/experiential marketing agencies, two public relations agencies and one branding agency.

Among the 50 winners, nearly a third—16—have their headquarters in the New York metro area (13 in Manhattan, one in Brooklyn, two in Fairfield County, Connecticut).

Dallas-Fort Worth, the Los Angeles metro area and the Philadelphia metro area each are home to four winners.

How employees rate their employers

The employee engagement and satisfaction survey included a set of statements that employees responded to (from “strongly disagree” to “strongly agree”) along with some open-ended and demographic questions. This made up 75% of the overall score.

Beyond positive perceptions about pay and benefits, employees at winning workplaces gave their companies high marks on key points including:

  • “Staffing levels are adequate to provide quality products/services.”
  • “I have a good understanding of how this organization is doing financially.”
  • “This organization provided as much initial training as I needed.”
  • “This organization provides as much ongoing training as I need.”
  • “If I do good work, I will be rewarded.”
  • “Deadlines at this organization are realistic.”
  • “This organization effectively communicates its progress towards meeting departmental goals.”
  • “Changes that may affect me are communicated to me prior to implementation.”
  • “I believe my job is secure.”

The statement about adequate staffing levels was a significant differentiator in the employee survey, scoring the biggest difference in positive responses between staffers who worked at winning companies and staffers who worked at companies that didn’t make the ranking.

The employee survey covered pay and benefits and seven other core focus areas. The best companies did better than the rest in all of these areas.

Two areas—pay and benefits; training, development and resources—proved to be the biggest differentiators based on employee responses, with a nearly 5-point advantage in the percentage of positive responses for winners versus companies in the competition that didn’t make the ranking.

The best places outscored other workplaces by about 4 percentage points in four areas based on employee responses: corporate culture and communications, leadership, role satisfaction and overall engagement.

The two remaining areas—work environment and relationship with supervisor—were smaller differentiators for the best companies versus others.

How employers get the job done

The employer questionnaire covered a company’s policies, practices, benefits and demographics. This made up 25% of the overall score.

On this questionnaire, the winning companies outscored other entrants in such areas as:

Pay and benefits:

  • Paid sabbaticals.
  • Tuition reimbursement.
  • Allowing employees additional paid time off for community service activities or volunteer work.

Diversity:

  • Diversity and inclusion programs (90% of the winners have a diversity and inclusion task force or committee).
  • Ongoing diversity training.

Recruitment, training and development:

  • Recruitment and retention programs for older workers, veterans, employees who may require accommodations for mental or physical limitations and employees of varying ethnic and cultural backgrounds.
  • Formalized programs/practices for succession planning.
  • Productivity or time management workshops, seminars or classes.

Work-life balance:

  • Financial education workshops, seminars or classes.
  • On-site personal development and/or stress management workshops, seminars or classes.
  • Fitness and/or wellness programs or practices within the workplace.
  • Option to work flexible hours or a compressed work week.

Virtually all of the winning companies offer telecommuting options for employees. But that’s not a differentiator—nearly all companies that entered the competition have telecommuting options.

On average, about 88% of employees at Best Places winners were telecommuting in 2022, down from 100% after the COVID-19 pandemic began in March 2020 but far above the pre-pandemic telecommuting level of 22%.

About Ad Age Best Places to Work 2023

The Ad Age Best Places to Work 2023 competition was open to agencies, ad tech firms, brand or corporate marketing departments or groups and in-house agencies of marketers.

To be eligible, a company must have headquarters in North America, or have a North America headquarters or main office if world headquarters is outside of North America; a minimum of 15 full-time employees; and be in business a minimum of one year.

Learn more: Bestplacestoworkadage.com

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