Ooo. How retro. How...dare we say...surprising? So here we have what appears to be your average car commercial during which the vehicle - in this case, a Peugot 3008 - makes its way through some stormy weather. Then the music begins to play. The car's features are highlighted. A woman looks dreamily out the window. It's haunting beautiful. As if it were the pre-crash portion of a horrific drive safe commercial.
The black surface on which the car drives...turns out to be, well, just watch. We don't want to ruin the reveal. OK, it's not going to be life altering but still.
You, little dish-fitter. You bring us ... Pets Do the Funniest Things. In HD!"
We love the sobering Braveheart feel of "Bowtime," in which downtrodden blue collar men are reminded of their crucial contributions to Life as We Know It -- and the reward that follows once they've rolled their daily millstone uphill.
So the whole Susan Boyle Britain's Got Talent thing has been peripheral to us and for good reason. We already have American Idol fever right? And besides, the whole thing was yet another indication all we care about is what people look like and not what's inside them or what sort of talent they may have.
This frumpy looking woman walks on stage and she's instantly judged some sort of loser because she's not beautiful and young and perfect. But as soon as she opened her mouth, everyone had to eat their cynicism and come to the realization we place way too much importance on exterior appearances.
When Shirley Temple was around four years old, she participated in this series of shorts called "Baby Burlesques." In one, she poses as a bar maid while scrappy boys dressed like seedy men court her with progressively larger lollipops.
That's pretty much the idea behind "Maracas," a festive Axe/Lynx ad that seizes upon one of the more prominent songs from the Beetlejuice soundtrack as ambiance for hot afternoon maracas-shaking. In this case though, everyone's safely over the age of 18.
The lesson to learn: he who wields the biggest maracas, whatever his other merits, always gets the girl. And Axe will give you mighty fucking huge ones.
Creative for the Smuin Ballet Company is all over BART right now, and every time we come across one of the pieces we can't help but stop and stare for awhile.
One of the biggest problems with ballet is it's traditionally classified as a "high culture" pursuit, which gives the dance some cachet, but also shuts potentially innovative new young audiences out.
Hoping to level this barrier, agency Evolution Bureau positioned Smuin as a ballet group that dances on the razor's edge. Each piece has its own tagline, beginning with "Ballet but...", and the ballerinas are double-exposed over some human element of pop culture manifested in their dancing.
Even before sparks start flying out of their heads and orifices, there's something unsettling but unnamable about the four attentively-groomed men (or are they boys?) in "Two Weeks."
"Two Weeks" is the first single off Grizzly Bear's new album Veckatimest, and it's circulating the blogosphere to drum up promotional love for the band's music. The track has a dreamlike nostalgic quality, Jens Lekman-esque, which heightens the surreal appearance of the men before you: are their eyes just a smidge too big? What is it about their hair that seems disturbingly unnatural? And is it just me, or are their smiles ever so slightly psychotic?
"Shaped for nothing else" is the premise behind this Pringles campaign, illustrated by Grey/Hong Kong with print imagery of objects bent into the shape of a Pringles crisp. In addition to the warped ping-pong table at left, feast your eyes on an unplayable vinyl record and a rubbery china dish.
"Simple, efficace!" gushes one commenter on fubiz. No better way to say it than that.
You know what's neat about Pringles? Its brand persona may be a little square, but it never mistakes itself for young flashy frat brands like Doritos. When all else fails ad-wise, it falls back on old faithful: its unique shape, which is part of the fun of eating them, one after the other, until your lips sting from the seasoning and you mildly hate yourself, because hey, you just ate a gigantic tube of chips.
There are no women wearing bikinis in this commercial. There are no guys doing stupid tricks. No one is throwing a phone. There is no mud wrestling. No giant cheese wheel. No horses. No room-sized refrigerators.
Figured it out yet? Not a beer commercial, right? Wrong.
It is a beer commercial and it's the first for Blue Moon. Created by Denver-based Integer group, the commercial is devoid of all stereotypical beer ad ploys. The result? A relaxing, soothing, easy to grasp piece of creative that doesn't insult your intelligence.
- Real housewives of intervention. =P
- What "Psycho Killer" can teach you (yes, YOU!) about social media.
- in:fluencia, a French ad/media/trends rag that used to send us awesome overseas campaigns (1, 2, 3), returns from a long hiatus with a snappy redesign. Even if you can't read French, the thumbnails alone are click-candy.
- Twitter reality show.
- Getty + Flickr: a match made in ... (Via y via.)
Jack in the Box's mini sirloin burgers ad has compelled at least two of our local friends to actually try the wee bready buggers. Every time it hits the TV, somebody within proximity has a cuteness explosion and shrieks something to the effect of "The COWS are MINI! Because the BURGERS are MINI!", their pupils all dilated and whatnot.
It's weird. But we conveyed a similar reaction when we watched South Park's "Fun with Veal."
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