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Coca-Cola kicks off barbeque season with a set of fresh and festive Coke cans. Each is red with the silver silhouette of something summery -- sunglasses, a grill, a beach ball -- and the logo, either peeking out of the image or interacting with it some other way.
The one at left looks kind of like Diet Coke masquerading as Coca-Cola Classic. (We'll leave you to make the aspartame-laced-wolf-in-sheep's-clothing jokes.) But this is infinitely less gauche than the limited-edition Ramadan cans.
Provided your definition of "happy" is yellow and zesty.
With help from Euro RSCG/NY, French's -- which is apparently over a hundred years old -- kicks off its latest campaign with "Happy Starts Here" -- a tribute to how each bottle of French's now comes with 40% MORE FREE!.
Air New Zealand promotes its no-hidden-fees policy with an ad where pilots, flight attendants and baggage jockeys sport nothing but paint in lieu of uniforms.
Maybe for morale's sake, CEO Rob Fyfe of Air New Zealand stars as one of the baggage lackeys/air traffic controllers. (He recently attested to being "absolutely flattered" after winning Hottest Businessman in a New Zealand BusinessDay poll.)
This poll was sparked by an Amnesty International effort where a woman is smushed into transparent luggage to illustrate the cause of sex trafficking.
Compare with PETA's 2008 Covent Garden stunt, where a naked mom is put on display in a plea for pigs.
Granted, the causes are different -- sex trafficking versus animal rights -- but when are these types of tactics okay? Whether you do/don't have a problem with them, we wanna hear you. =P
- Dollplay for Dollhouse, ARG-style.
- Sprint's YouTube-tastic human clock. (Saucy.)
- Calling all yelpers. No, not the hipster elitist resto-reviewers.
- Yahoo Sideline is an app that lets you keep track of Twitter searches you make often, updates them in real-time, and lets you skim them in tandem. Think TweetDeck for the buzz-thirsty. (More thoughts at Mashable.)
Who needs Disney when you've got the California Milk Processor Board? Watch with conviction renewed how two princes-to-be win royal mates.
The car salesman-cum-lounge-singer is the personification of class.
Once you're all classed-out, logic follows that you'll compulsively go, "Shit, I'm getting an Audi Q5."
Sainsbury's takes responsibility for every awesome thing that's ever happened to us in its latest ad, "140," a tribute to how long it's been around.
An example of its modest achievements include:
- Making good food affordable to all
- Hiring women before the men were ready
- Incorporating green thinking into packaging
- Making reusable bags sexy
Don't get us wrong, though. That piano melody and the overall Hovis-y vibe? Very charming. By Abbott Mead Vickers BBDO.
Sainsbury's '140 ad' by Abbott Mead Vickers BBDO
Nicole Kidman revisits her Moulin Rouge days in a Schweppes ad where both innocence (personified by a smiling Indian girl) and sexuality (personified by a beguiled house-hubby) vie for her attention.
Ultimately, the fizzy water wins.
Whatever, man. The piece fell into our laps via @tamega, and marks an odd departure from Schweppes' previous focus points: sophisticated cowboys and gluttons for Commander Whitehead.
Diggin' this surreal and totally retro spot for Matthew Williamson's H&M line, which Jeremy Dante was kind enough to throw into our periphery.
It's mod, loungey and aesthetic. Focus on the clothes while your eyes feast on imagery that feeds off '80s decadence (the supermodel heyday), the nouvelle vague, The Shining (--unsettling triplets!), and possibly Puppet Master. (Seriously. That little puppet woman was creepy creepy.)
What's neat is that the ad traverses the tightrope of kitsch without falling over. There's this ridic Prince-meets-Thriller moment where Williamson rises out of the earth, like a self-righteous vampire king, and wins the fawning attention of all the defecting change-seeking femmes. (Compelling. Is it possible Williamson's a Russian military vet?)
The ambient music, We Need a Change, was composed exclusively for the spot by Malcolm Pardon and Fredrik Rinman with lyricist Johan Renck.