Back in June, we noted The Hills babe Audrina Patridge would soon make her debut in a Carl's Jr. commercial. That day has arrived. In the commercial, we get to hear how Audrina has to give up "like everything" to look as hot as she does in a bikini. But the one thing she won't give up is the Carl's Jr. Teriyaki Burger with which she's "totally obsessed" and cuz, ya know, she has to be "a little bad."
While Barbara Lippert says she "appreciate(s) that it's a somewhat more natural setup than having Paris Hilton hose down a luxury car while sucking and licking the burger on all fours," we still think the Paris Hilton spot was the best Carl's Jr. commercial ever. Bikini + soapy water + famous socialite in her prime = gold.
Maybe it's our short attention span. Maybe it's our overly simplistic mind. Maybe it's our aversion to creative full of distracting hack job jumble cuts and irrelevant metaphors. Whatever it is, we had to watch these two DDB West-created, Epoch Films-produced Wells Fargo commercials a few times before we realized they touted the organization's online banking services and automatic savings programs.
Come one Epoch! You guys did that awesome JCPenney commercial. Granted you submitted it illegally to Cannes last year but still. Who got their hands on this Wells Fargo work? Your interns?
Hopping right on the "we'll do anything to increase ad revenue" bus, Entertainment Weekly is out with Andy's Richter Scale, an advertorial on the magazine's Must List page pimping the Conan O'Brien show, Andy Richter himself and HBO's True Blood. Wait, what's this ad for again?
Whatever the ad may be for, we love the riff on vampires which ends with, "And have you ever noticed that their real-life fans are ust renaissance fair types with substance abuse problems?"
As advertorials go, it's a good one. So good, it took us three days to realize it wasn't just an editorial sidebar to the Must List. But one wonders. Is that a good thing or a bad thing?
Well, at least it isn't a stupid sunglass toss. This new Cutwater-created work for Ray Ban borrows significantly from Sony Paint but, aside from that, we do like the colorific, Matrix-like style slomotasticness of it. Don't blink though or you'll miss the Never Hide tagline at the end.
But, really. Who cares about that anymore? After all, we can't make ads that looks like ads anymore, right? Only cool stuff that tries really hard not to be advertising and that pretends to be something else while at the same time making every effort to make sure everyone actually does realize it's advertising while hiding the fact it...oh we could go on forever explaining this tactic.
Just watch and enjoy.
OK, so Chicago Lake liquors is an "urban" liquor store with low prices. Why? Because "urban" people can't afford higher prices? Because suburban white people are cheap and have no problem traveling to "urban" space to get their freak on? Because you can never get enough Crystal or Hennessy?
Aside from all those potential cause group-style alarm bells, this campaign for Chicago Lake Liquors from Brew is not afraid to go all Vanilla Ice on us with every over-done white-guy-goes-black tactic in the book.
New York Pizza, which is not in New York, is out with another strange commercial just in time to be compared to the recent Miller commercial, featuring Sopranos actor Frank Vincent, which was derided for perpetuating Italian stereotypes. In the commercial, we see the stereotypical mafioso type who's "got other businesses" envision a "Damn Hot" promotion that, in the end, doesn't go so well.
After surprising a little boy, pleasing dad and shocking mom, New York Pizza's Rollergirl gets lost, hangs with prostitutes and ultimately gets arrested. At which time our mafioso character concludes, "Eh, bad idea" and realizes all that matters is a "damn tasty pizza and a damn cheap price."
Yup. The whole flashmob/spontaneous dance party thing has jumped the shark. Actually, it jumped the shark long, long ago but T-Mobile is confirming every last shark has been jumped with its Tree Rave.
In Tree Rave, unsuspecting park dwellers are assaulted by hired freaks who, upon placement of a boom box (they still make those?), break out into a really bad tree dance causing onlookers to offer up classic WTF looks as they wonder whether or not they should grab their kids and run far, far away from these tree hugging wackos
"The big, fat, silver torpedo that is the Chipotle burrito is as iconic (in this city, anyway) as an Absolut bottle or a Converse shoe," lauds the Denver Egotist, bringing to mind billboards that have taken us by surprise more than once.
"So what better way to start off a brand new campaign than to ditch the thing you're most famous for in favor of a bland, new Taco Bell-styled menu and some insipid value statements that are saturating the market in this shitty economy. Oh, and how about a new logo, too? Something that could sit nicely on the shelf at Target with the other Archer Farms produce?"
Created 15 months ago by Weiden + Kennedy and directed by Buck Production, this "epic rock opera" for Coke Zero features "a singing bear, candy-pooping birds, an elk with sausage antlers, g-string wearing antelopes and honeycomb encrusted sheep."
And after a long 15 months, the spot has finally aired. In Brazil. Because awesomeness like this never makes its way to America.
This is drive safely commercial for Auckland's Rodney District is an amazing piece of work. Truly amazing. Not as technically amazing as Honda Cog or as emotionally charged as the classic The Faster the Speed The Bigger the Mess (which you can view here) but still, amazing.
Saatchi New Zealand, working with production company Flying Fish and a demolitions engineer, blew up a car with ten grenades and then reassembled the vehicle, piece by piece, creating a work of art. The finished piece is stunning. And the music. Well, that works too.
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