feed2list lesezeichen · · · · · ·
website Adweek : Advertising & Branding
Adweek.com - Top News

Advertisers have been doing clever stuff with preroll ads for a while. We had Geico's unstoppable prerolls. And now, we have a health clinic that made incredibly boring preroll ads-in an effort to stop the videos after them from going viral.

What's the point? MedExpress stops viral infections at its urgent-care clinics. So, it wants to stop popular videos from going viral on the Internet, too. Yes, it's a bit of a stretch-but a fun enough idea from ad agency Fitzgerald & Co.

Check out the case study below to see how it worked-along with some of the prerolls themselves. The only downside, of course, is that people might not take too kindly to boring, irritating ads-however clever the concept might be.

The case study:

Adweek responsive video player used on /video.

The prerolls:

Client: MedExpress
CMO: Julie Penn
VP Marketing: Steven Sarfin
Brand Manager: Belinda Carter

Agency: Fitzgerald & CO
CCO: Noel Cottrell
GCD/CW: Mitch Bennett
GCD/AD: Wes Whitener
Director of Production: Christine Sigety
Account Director: Helen Bautista

Production Company: Holiday Films /Arts & Sciences/ Nimble Content
Directors: Adam & Dave
Executive Producer: Mal Ward
Executive Producer: Derek Sewell
Producer: Andrew Lynch
DP: Vinit Borison

Editorial: 83 Pictures
Editor: Matt Kloske
Producer: Andrew Lynch
Assistant Editor: Peter Hatch
Colorist: Brett Blackwell

With Memorial Day on Monday, here's a look at a sad and remarkable ad campaign from Crispin Porter + Bogusky for Mission 22, an initiative the agency started to raise awareness of veteran suicide.

Mission 22 is named after a horrible statistic-that 22 veterans commit suicide every day in the U.S., often in their own homes. This is a real war being waged far from the field of battle, and so CP+B enlisted war photographer David Guttenfelder for the new campaign-to take photos of the homes where veterans died.

The images are haunting and heartbreaking, and powerfully communicate the grief that comes from war. The photos are running on print ads in Fortune, Money and Esquire, and on outdoor boards in four of the cities that these veterans called home.

Also check out the website and the video above, which explains the project.

Mission 22's goal is to both raise awareness of the issue and to give veterans an idea of where to get help-with a list of vetted organizations on the website.

We know them better than we know some of our own peers. We've admired their work. We've watched them present. We've seen them build an agency. We've also witnessed them create problems, fail miserably and fight among themselves.

So if your creative department could hire only one character from Mad Men, who would it be: Don Draper, Peggy Olson or Joan Holloway? I posed that question on Facebook this week, and creative directors and agency executives wasted no time weighing in.

Yes, there's a winner, and (spoiler alert) no, it's not Don. But what's perhaps more interesting is the fact that despite all the changes our industry has lived through, we still admire and need many of the qualities Don, Peggy and Joan brought to the office everyday.

Don's ability to sell, read a room, and come up with the big idea still matters. At least to those willing to overlook his shortcomings. Peggy's scrappiness, work ethic and the ability to evolve, earn her lots of admirers, both women and men. Joan's radar and sensible approach to problem solving won over people who value "getting shit done."

Here's whom creative directors and executives would like in their creative departments.

• "Don. He swings for the fences."
-Joe Grimaldi, chairman of Mullen/Lowe
• "Don because he can create and sell. Creatives often forget that creating means nothing if you can't sell your idea."
-Roger Baldacci, former ECD and svp, Arnold Worldwide
• "Don reads rooms better than any of them and can instinctively shift between vision, execution, and client wrangling, all without losing his advantage. Unless, of course, he's loaded."
-Chris Wooster, executive creative director, T3
• "Don. Agencies feed off those key figures with the big, charismatic personalities. Those types are rare. They draw talent and attract clients."
-Tim Cawley, founder and chief creative officer, Sleek Machine
• "Definitely Don. For Ideasicle, a virtual ideation model, he could be drunk and banging chicks all he wants at home, so long as he takes a nanosecond here and there to post a genius idea."
-Will Burns, founder of the expert sourcing platform Ideasicle.

Interestingly, only one woman voted for Draper: Kala Horvitz, a planner and principal at Public Detective. Overall, more people preferred Peggy, despite BBDO CD Paul Laffy's criticism that "she always swings for the infield." But the hard working copywriter garnered 40 percent more votes than Don in my straw poll:

• "Peggy. She's got grit and wit. And hard work will always get you to better ideas faster than highballs."
-Rob Schwartz, CEO of TBWA/Chiat Day New York
• "Peggy. She is the only character that has talent plus a good work ethic."
-Kat Gordon, creative director and founder of The 3% Conference
• "Peggy for sure. She's brilliant. She's scrappy. She learns and evolves. And the with the industry changing daily I want someone like that on my team."
-Liz Doten, freelance creative director
• "Peggy. Work needs to get done and Don doesn't do any."
-Tim Leake, svp of growth and innovation, RPA
• "Peggy. I think high-work-ethic/medium-talent beats medium-work-ethic/high-talent."
-Luke Sullivan, author of Hey Whipple, Squeeze This and chair of the advertising department at SCAD

Joan was the outlier. I included her as a creative when it became apparent in the closing scenes of the finale that she's on her way to becoming a producer. And my guess is she'll be a damn good one. A few folks agreed:

• "Joan. She brings a whole different set of perspectives and life experiences from the rest of the creative department and is exceptionally creative about how she tackles and solves problems."
-Cindy Gallop, former chair and president of BBH U.S.
• "Joan is the undiscovered talent. The one who comes in through the back door without a portfolio. Then, slowly over time, you realize that every time you're in a meeting she says something smart. She solves problems. She has fantastic ideas. She can sell. And she gets shit done."
-Liz Gumbiner, creative director, entrepreneur, founder of Cool Mom Picks
• "Joan. I love the stealth employees. The ones you'd never even think of stopping in the hallway to get her opinion on an idea. She's just a secretary. She's just a project manager. She's not creative. What does she know? But she knows a ton. Probably more than you."
-Ernie Schenck, creative director, writer, contributing editor for Communication Arts

Personally, I'm for Joan, too. Given that a big challenge for creative departments these days is getting all the moving parts to work together I have no doubt Joan can pull it off. And probably throw in a good idea now and then, too.

Then again, if none of these makes your list, you could always listen to Hill, Holiday CCO Lance Jensen. "Matthew Weiner. It's all about the stories."

So, who would be your pick?

Edward Boches is a professor of advertising at Boston University and former partner/CCO at Mullen. Follow him on Twitter at @edwardboches.

GE claims to look at the world askew, turning it on its head in search of new perspectives that hopefully lead to new solutions. So, its latest commercial from BBDO, titled "Time Upon a Once," does the same.

Much of the spot-from the visuals to the narration-is upside down, backwards and generally topsy-turvy. This approach embodies the ad's claim that GE operates very much that way-innovating through creative thinking. And it makes for a pretty delightful and very rewatchable ad.

"Time upon a once, people approached problems the way same-always start at the starting, and questions the same asking," says our protagonist as he float-walks through a surreal version of GE's offices-and wisely leaving us a few seconds between lines to process what we've heard.

"But that only resulted in improvements small. So we step a took back, and problems turned these inside up down to approach them newly. And that's when we it solved."

It's a pleasantly offbeat journey, and must have been fun to write. And it's getting an inspired media placement, too. It will run break this weekend in cinemas ahead of showings of Tomorrowland-a movie that's also about imagination and surprise-continuing through the end of June. It will also run on TV and online from now until next year.

It's nice to see an inventive spot light this-which doesn't hold the viewer's hand-get green-lighted. But you will notice the sentences about GE solutions (from about 0:33 to 0:47) are the only ones that aren't garbled. Apparently that was the compromise.

Client: GE
Spot: "Time Upon a Once"

Agency: BBDO New York
Chief Creative Officer, Worldwide: David Lubars
Chief Creative Officer, New York: Greg Hahn
Executive Creative Director: Michael Aimette
Creative Director/Copywriter: Tim Roan
Creative Director/Copywriter: Levi Slavin
Director of Integrated Production: David Rolfe
Group Executive Producer: Diane Hill
Executive Producer: George Sholley
Head of Music Production: Rani Vaz

Worldwide Senior Director: Brandon Fowler
Senior Director: Peter McCallum
Account Director: Lindsey Conklin
Assistant Account Executive: Joslyn Dunn
Group Planning Director: Tom Naughton

Production Company: Biscuit Filmworks
Director: Andreas Nilsson
Executive Producer: Shawn Lacy
Executive Producer: Colleen O'Donnell
Executive Producer: Holly Vega
Line Producer: Vincent Landay

Editorial: Rock Paper Scissors
Executive Producer: Eve Kornblum
Post Producer: Jen Milano
Editor: Mikkel E.G. Nielsen

Visual Effects: A52
Executive Producer: Patrick Nugent
Producer: Heather Johann
VFX Supervisor: Andy Rafael Barrios

Mix House: Heard City
Executive Producer: Gloria Pitagorsky
Producer: Sasha Awn
Sound Design/Mixer: Mike Vitacco
Mixer: Keith Reynaud

Music: The Ski Team
Composers: The Ski Team

Animation: Renegade Animation

Why should the players in packaged goods, financial services and cosmetics have all the fun?

The automakers Volkswagen Group and BMW are now part of Mediapalooza 2015, an unprecedented year of media reviews with spending exceeding $8.3 billion-and counting.

VW's review is global and encompasses all of the group's brands-Volkswagen, Audi and Porsche-according to sources. Collectively, those brands spend more than $1 billion in media annually worldwide, including $600 million in the U.S.

VW Group employs several media agencies around the world, but its primary shop is WPP Group's MediaCom, which is expected to defend. The process will most likely extend into late fall. MediaCom declined to comment, and VW could not immediately be reached.

BMW's media search, which has yet to begin, is for the U.S. market, where spending exceeds $150 million. One source expects it to start in August. Interpublic Group's UM is the incumbent.

UM did not return messages. A BMW representative reached by email said, "We don't currently have an agency review underway for our media buying."

Asked if the company planned a review since its last media search took place many years ago, the rep said, "It is a standard BMW process to put all contracts up for review every few years. I cannot speak to when we will conduct that review."

UM landed the account in 2009, beating out four other finalists. At the time, the business shifted from then incumbent GSD&M.

During this year's Super Bowl, BMW aired a 60-second ad from Kirshenbaum Bond Senecal + Partners that featured Katie Couric and Bryant Gumble marveling at the technology behind the BMW i3. "Newfangled Idea" was released online six days before the game, racking up more than 3.8 million views in five days.

Here's another look at that ad:

This interactive outdoor campaign by Lew'Lara\TBWA is a real yawner-which is exactly what the Brazilian agency intended.

The shop set up a digital panel equipped with a motion sensor at São Paulo's busy Fradique Coutinho subway station at morning rush hour. When commuters approached the sign, the face on the panel would yawn. Naturally, many of the commuters themselves also began yawning-yawning being notoriously contagious, after all-at which point the screen made a product pitch.

In case the sign wasn't enough of a wake-up call, perky glamor gals arrive on the scene with some product samples. (Watch the clip to savor the big reveal.)

That last bit-the glamor gals-might strike some viewers as gratuitous, but otherwise this a prime example of what prankverising has been morphing into over the past few years.

Shocking stunts have by and large been replaced by a fusion of technology and street theater as brands create positive real-world experiences designed for subsequent media consumption. Of late, they've run the gamut from fun to moving to doggone adorable.

As long as such campaigns remain clever and inclusive, it will be along time before the public tires of this approach.

Via Ads of the World.

Client: Café Pelé
Agency: Lew'Lara\TBWA, Brazil
Chief Creative Officer: Manir Fadel
Executive Chief Creative: Felipe Luchi
Copywriter: Lucas Veloso
Art directors: André Mezzomo, Digo Souto

A fresh look. That's what Keds is hoping for as it approaches its centennial, and the sneakermaker has tapped Kirshenbaum Bond Senecal + Partners in New York to provide it.

The MDC Partners shop won the business after a review. Sources said that Pereira & O'Dell in San Francisco and Grey in New York were among finalists for the business, which includes strategy, creative, digital and retail and was previously handled in-house.

"Keds is going to be celebrating its centennial in 2016," said Chris Lindner, president of Keds. "With that we have a real opportunity to look back at where the brand came from and articulate where we are going in a compelling way. We've charged kbs+ with giving us a modern voice as we take our brand into next century."

Keds' media spending totaled $5 million last year, according to Kantar Media.

"Keds is, in many ways, an iconic American brand," said Ed Brojerdi, CEO of kbs+ in New York. "What we want to do is to put a fresh look, perspective and feel to make Keds appropriate for today's culture and modern world."

The agency's top accounts include BMW, Vanguard and Harman.

Tennessee is set to unveil a new state logo, and some Tennesseans are volunteering that they're not too pleased with it.

It's a simple logo, "TN" on a red square over a blue bar, which will replace several others in an effort to unify the state's branding, Gov. Bill Haslam's office told WSVM, the NBC affiliate in Nashville.

The logo was developed by the Nashville agency GS&F at a cost of $46,000, the station reported. That price tag, coupled with the logo's simplicity, is prompting criticism.

Chris Butler, of TennesseeWatchdog.org, initially reported on the new logo based on an application with the U.S. Patent and Trademark Office. He launched a tongue-in-cheek campaign on his Twitter feed to find a better logo.

In a later tweet, Butler offered a $50 Amazon gift card to the winning entry.

"As part of the redesign of tn.gov, there will be a new visual identity tied to that," David Smith, press secretary to Gov. Haslam, said in a statement emailed to Adweek, noting that the site hasn't been updated in two years. "For consistency, the visual identity that is part of the redesign of tn.gov will be used throughout state government (departments, divisions)."

Smith didn't comment on the thinking behind the new logo, and the agency declined to comment, directing Adweek back to the governor's office.

At least one branding expert thinks Tennessee got good work for its money.

"I like it," said Greg Klassen, principal at Twenty31 Tourism Consulting and a former top official with the Canadian Tourism Commission. "It feels very future-oriented. As my daughter would say, it's got the abbrevs."

Klassen gives Tennessee officials credit for "thinking differently about how the want to be perceived," noting the effective regional branding is important for not just tourism but also investment and employment. But he also suggests the process should have been more inclusive, so people weren't surprised by the new logo.

"A logo means nothing unless it's backed up by emotion, by research," he said. "I would hope for $46,000 a lot of that science went into this."

Twitter commenters, however, mostly shared Butler's negative views.

See more tweets on the new Tennessee logo here.

One down, one to go.

As the retailer Marshalls selected Leo Burnett as its new lead agency, sister stores Sears and Kmart continued to mull three holding company teams to handle all of their marketing services.

Meetings continue in the Sears/Kmart search, which began six months ago and isn't expected to conclude before August. In fact, agency teams from Publicis Groupe, Interpublic Group and Havas are slated to make final pitches in late July, according to a source.

DigitasLBi is leading the charge for Publicis Groupe, FCB for Interpublic and Havas Worldwide for Havas. The assignment includes traditional and digital advertising and media planning and buying. Total revenue is estimated at $20 million, and collectively Sears and Kmart spend about $560 million in media annually.

To win Marshalls, Leo Burnett outstripped Arnold in Boston. Crispin Porter + Bogusky also contended in an earlier stage. Marshalls spends around $95 million in media annually.

Leo Burnett and Droga5 were among the top North American winners at Thursday's 2015 D&AD Awards ceremony in London-with Burnett winning both a Black Pencil and a White Pencil for its Always "Like a Girl" campaign, and Droga taking home a White Pencil for Honey Maid "This Is Wholesome."

The Black Pencil is the ad awards show's ultimate creative accolade, given to work that is ground-breaking in its field. Only a few are given out each year. The White Pencil, also a rare prize, is awarded to work that demonstrates the power to affect real and positive change in the world through creative thinking.

Five Black Pencils were given out Thursday:

• The "#LikeAGirl" campaign for P&G's Always by Leo Burnett Toronto, London, Chicago, and Holler (Canada, U.S., U.K.)
• 4creative's "Film4 Idents" for Channel 4 in the U.K.
• Made Thought's branding identity scheme for G.F. Smith in the U.K.
• Marcel Worldwide's "Inglorious Fruits & Vegetables" for Intermarché in France
• Colenso BBDO's "K9FM" radio campaign for Mars in New Zealand

Five White Pencils were awarded:

• The "#LikeAGirl" campaign for P&G's Always by Leo Burnett Toronto, London, Chicago, and Holler (Canada, U.S., U.K.)
• Don't Panic's "LEGO: Everything is NOT awesome" campaign for Greenpeace
• Droga5's "This Is Wholesome" campaign for Honey Maid
• Constanze Spross's "Nazis Against Nazis-Germany's Most Involuntary Charity Walk" campaign for ZDK Gesellschaft Demokratische Kultur
• Lowe China's "Human Traffic Sign" campaign for Shanghai General Motors

R/GA was the most awarded agency, with two Yellow Pencils (equivalent of a gold award) for Hammerhead Navigation and a number of Graphite and Wood Pencils (aka, silver and bronze) for Beats By Dre, Google, Hammerhead and Equinox, among other clients.

By country, the U.K. topped the list with 229 Pencils, including seven Yellow Pencils and two Black Pencils. The U.S. was second place, including one Black Pencil and seven Yellows.

Lea Brisell of Droga5 with the White Pencil for "This Is Wholesome"

See all the 2015 winners here.

We've certainly never had Olive Garden on our weekly list of best spots, but Grey New York changed that this week with a soulful ode to family. Pizza Hut and Coca-Cola also join this week's list, along with sunglasses brand Tens and Delta for its latest loony safety video. See all the spots below, and vote for your favorite.

Here's everything you need to know about the last 24 hours in advertising, in case you blinked.

Buzzing on Adweek:

Why Mad Men ended with that Coke ad
Mad Men creator Matthew Weiner finally revealed why he ended the show with Coke's famous "Hilltop" ad. (Adweek)

6 ways to reach Gen Z
Marketers need to start thinking about the younger set of millennials, Generation Z. Here are six tips for marketing to Gen Z. (Adweek)

Olive Garden's new ad surprises
A new spot from Grey New York for Olive Garden made an uncharacteristic move for the restaurant chain. It's focused on family moments, not the typical food shot. (Adweek)

Tinder partners with Zedd
Tinder teamed up with musician Zedd and will exclusively sell the artist's new album for a price of $3.99. (Adweek)

Coke uses babies to get a viral hit
The "Choose to Smile" campaign from Coca-Cola combined clips of babies laughing from the Internet with some fresh footage and scored 6 million views on YouTube. (Adweek)

Around the Web:

Failed brands make a comeback
A number of entrepreneurs have started a trend of buying up failed retailers, including Delia's, and relaunching them as smaller online shops. (The Wall Street Journal)

Shake Shack may add chicken to the menu
Shake Shack filed for an application to trademark for Chicken Shack last month. With a new location in the works, some people think the restaurant may add chicken to the menu. (Bloomberg)

CVS buys Omnicare
CVS Health plans to purchase Omnicare, a pharmaceutical distributor, for an estimated $10.4 billion. (The Washington Post)

Video ad spend keeps growing
This graphic shows how much video ad spending has grown in the past few years, and how it will continue to grow into 2016 and 2017. (Mashable)

Google makes YouTube ads shoppable
Google announced plans to make ads on YouTube shoppable by placing "Buy" buttons within ads on mobile. (Re/code)

Industry Shake-Ups:

GoDaddy launches a review
GoDaddy launched a global review, searching for a global brand agency partner. (Agency Spy)

Marshalls has found a new lead agency.

Leo Burnett in Chicago has landed the retailer's creative business, succeeding GSD&M in Austin, Texas. The assignment includes both traditional and digital creative responsibilities.

Marshalls' media spending totalled $95 million last year, according to Kantar Media.

The shift came after a review in which Arnold in Boston was the other finalist, according to sources. GSD&M did not defend and an earlier contender, Crispin Porter + Bogusky, exited before final pitches, which took place this week, sources said. Pile + Co. in Boston managed the process.

GSD&M had worked on the business since 2008.

In a statement, Louisa Milligan, vp of marketing at Marshalls, cited Burnett's experience with "some of America's most well-known brands." Top accounts at the Publicis Groupe agency include Kellogg and McDonald's.

Burnett North American CEO Rich Stoddart said he looked foward to creating work for Marshalls that both communicates its value and impacts its bottom line.

Media responsibilities were not in play and remain at Hill Holliday in Boston.

Brand reputation matters. At least that's what workers' rights advocates were hoping when they kicked off efforts earlier this week to get sponsors of FIFA-including Adidas, Kia, Hyundai, Gazprom, Budweiser, Coca-Cola, McDonald's and Visa-to speak out against the appalling working conditions in Qatar, where new sports facilities are being built for the 2022 World Cup.

The plan, which includes using traditional media outlets as well as social media and letter-writing campaigns, seems to be gaining traction. Coca-Cola, Visa and Adidas have issued statements expressing concern about labor conditions there and urging FIFA, world soccer's governing body, and Qatar to make changes.

But, supportive statements aren't enough, say the activists. They're now focusing on the brands based in the U.S.-Coca-Cola, Budweiser, Visa and McDonald's-where the ongoing controversy hasn't been as prominently covered.

"We wanted to kick the campaign off in London where [the controversy] is front of mind," said Jaimie Fuller, chairman of sports clothing company Skins and a leader of the protestors. "Now, I'm here in the U.S. to speak with traditional media outlets to apply as much pressure as possible." The group is also hoping to get consumers to use social media to put pressure on the brands to push for changes.

"If you undermine the product the brands are sponsoring, you can create a kickback to their sensitivities," said Stephen Russell, coordinator of the advocacy group Playfair Qatar. "It's not just that we're targeting the brands themselves; we're pointing out to the brands that the product they're sponsoring is not what they signed up for."

The "horrific" working conditions in Qatar haven't changed, according to Sharan Burrow, general secretary of the International Trade Union Confederation, who noted that her group initially tried to work with FIFA to improve them.

Burrow said activists will contact the brands that have issued statements "indicating the reputational risks associated" with FIFA sponsorship. "We'll follow up with them and ask what they are going to do," she said. "After three years, we've seen no change. What's their time frame in demanding change? At what point will they decide to withdraw as sponsors?"

Another tactic the activists are using is targeting the brands' CEOs and releasing their email addresses on Playfair Qatar's website.

"I've said I don't want to call a boycott," Fuller said. "The objective of this campaign is to not call a boycott, but if push comes to shove and they ignore us, if they don't do anything about it, that's probably next."

Timing is key to the campaign. By launching it so close to FIFA's May 29 presidential election, the activists hope FIFA sponsors might push for reform within the organization.

"Qatar is a slave state," Burrow said. "FIFA knows it is a slave state. The sponsors know it is a slave state. So they have a choice: Do they want to be associated with that, or don't they? That's the proposition we're putting forth to them."

When it comes to creating the sensation of being inside a Coca-Cola while it's being poured over ice, sound is everything.

That's why JWT Brazil partnered with Dolby for a new cinema ad featuring Coke, and the resulting spot will soon be featured in place of the sound system's usual pre-movie promo.

To deliver the heightened sound of fizzing soda and crackling ice, JWT worked closely with Dolby and its latest system (Dolby 7.1 Surround Sound), which, of course, is a powerful differentiator between seeing movies in theaters and at home.

Beyond marketing Coke, the ad was intended to illustrate the all-enveloping power of Dolby's system and capture the best aspects of theater-going. That's a lot of heavy lifting for a 60-second piece of film.

Here's what they ended up with:

The agency and a sound producer cracked VHS tapes with pliers and crushed plastic cups to mimic ice cracking and bubbles fizzing, respectively, said Ricardo John, chief creative officer at JWT Brazil. Then they'd send recordings of the sounds to Dolby's San Francisco-based engineers, who, in turn, would make suggestions and send them back.

The verisimilitude of the final piece hinged on attention to such details. All told, it took about eight months to complete.

In a video about the making of the ad, Coca-Cola Brazil marketing director Macelo Pascoa said the goal was to trigger sense memories that in turn would drive movie goers to the concession stand. "The sound inside the experience of drinking Coca-Cola is one of the most important triggers to bring up people's effective memories," Pascoa said.

The rich colors and extreme close-ups of Coke being poured over ice were shot from the perspective of a Coke bubble.

Coke is "doing a lot of efforts about the contour (of its logo), doing some beautiful ads about it. But for me, sound-it's a very iconic aspect of Coke as well," John told Adweek. "And the best way to highlight sound is in the movies, in the cinemas, because we would never reach the kind of experience you would want without the ritual of the cinemas."

The extreme close-ups of cracking, glistening ice and the reverberation of fizz are bound to make even hardened movie goers thirsty.

To place the ad, Coke bought time from four theater chains. The spot will start running next week in more than 1,100 theaters and continue through late July, according to a JWT representative. That total represents about half the theaters in Brazil, and Coke is talking to other chains about expanding the reach.

Here a look at how they made the ad:


Agency: JWT Brazil
Client: Coca-Cola
Title: Dolby
Chief Creative Officer: Ricardo John
CIO: Mauro Cavalletti
Head of Art: Fabio Simões
Creative Directors: Enoch Lan, Santiago Dulce
Art Directors: Rodolfo Garcia, Pablo Lobo, Marcelo Monzillo
Copywriters: Fernando Duarte, Hiroito Gomes
Producers (ArtBuyer, RTV, Graphic, Digital): Márcia Lacaze, Daniele Pizzo
Account Managers: Felipe Giacon, Stefano Paduan
Project Managers: Thiago Segundo, Daniel Rybak
Media: Stella Lopes, Beatriz Luna, Ligia Mattos
Planning: Fernand Alphen, Gisele Bambace
Client approval: Javier Meza, Adriana Knackfuss, Marcelo Pascoa, Paloma Azulay, Juliana Assad
Composition: Ruriá Duprat
Music production: Ruriá Duprat, Eduardo Santos
Dolby's team: Carlos Watanabe, Alex Sobral
Film Producer: CLAN vfx
Sound Producer: Banda Sonora
Mix and Recording: Eduardo Santos, Marina Santana, Márcio Amaral
Account: Rosária Santana, Dudu Santos
Sound Producer: Estúdio JLS & UpMix
Producers: José Luiz Sasso, Ricardo Bertran, Toco Cerqueira
Account Production: Bia Ambrogi
Guidon's team: Guto Guidon, Tabida Barrionuevo, Edielson Aureliano, Eduardo Rocha, Pedro Jafet, Giovanni Asselta, Nick Viana

For Back to the Future fans, there are few things more delightful than seeing Christopher Lloyd doing his best (and most paranoid) Doc Brown.

Thankfully Lego got the actor to reprise his iconic role in a new spot for Lego Dimensions-where Doc Brown will now live on as a Lego character-and the resulting spot has made Lloyd a trending national topic today on Facebook.

The ad follows up on the success of an earlier installment starring Community's Joel McHale and a cluster of toy characters including Gandalf and Batman.

Coming in September to PS4, PS3, Xbox One, Xbox 360, and Wii U gaming platforms Lego Dimensions lets fans use real-world toys in the virtual game world. Lego Dimensions also fuses various fictional universes together, including DC Comics, The Lord of the Rings, The LEGO Movie, The Wizard of Oz, Back to the Future and more.

In the new ad, Doc Brown discovers a portal to the Lego world and worries about (what else?) the space-time continuum:

When a meteor exploded over Russia with 20 times the force of Hiroshima's atom bomb, many around the world saw the footage from the same perspective: through a windshield.

The 2013 blast became a cultural tipping point for the dashcam, a device that seemed odd to many observers but has since entered the international zeitgeist as one of the most common ways to experience news first-hand.

Of course, capturing news and unbelievable accidents isn't the primary goal of a dashcam, which most motorists purchase to protect themselves from insurance scammers who pretend to have been hit by the car. Another reason for the device's early popularity in Russia was the widespread concern with police corruption.

For a fascinating look at how the dashcam phenomenon came about and quickly became a popular option for drivers around the world, check out the infographic below from British site CarFinance247:

Via Automoblog.net.

Mullen Lowe L.A.'s office manager just needed some advice on how to spruce up the agency's men's room for a client visit. She had no idea she was creating an Internet sensation that would reach the front page of Reddit.

"I have a most important question," Paige Arrington, also the agency's chief recruiter, wrote in a staff email. "I place an orchid in the women's restroom when clients visit. What is appropriate for the men's room?"

She received more than 50 suggestions from the staff including a shark tank, a fish tank in the toilets and a target in the urinals.

"The two main comments were 'We will stand for nothing less than an attendant,' and 'Guys, I know she's getting us a shark tank,'" Arrington told Adweek.

The following Monday, she delivered. The men of Mullen Lowe found a bathroom attendant-well, a cardboard cutout of a Mullen Lowe staffer dressed as a Leprechaun-offering mints, cologne and candy cigarettes. She also put what she called a "shark tank," a jar filled with toy sharks, by the sink.

"I think they were all surprised," Arrington said. "But I see them coming out of the bathroom, and they're eating a mint or have a candy cigarette in their mouth."

That's when Eli Kallison, a strategic analyst at Mullen Lowe L.A. with the Reddit username MilkAndRelish, posted this bit of toilet humor to the site. So far, his post has garnered more than 2.2 million views and more than 870 comments.

"Immediately after I posted it-within a minute-I had seven up votes," Kallison said. "I checked an hour later, and I had close to 1,000. I wasn't stunned, but it was pretty sweet to see something you posted hit the front of r/all."

So many taglines, so little time to remember what they were selling.

Taglines are a great way for a brand to let its personality shine through. There are just so many out there that it's often hard to remember which brand actually said it. Some argue taglines are no longer vital for a brand's survival, especially in an era where a logo can better communicate a company's identity overseas.

Many campaigns still rely on the tagline, though, and it's easy to see why when you think about the many that have stuck around in our cultural vocabulary.

So now's the time to test your knowledge of marketing's memorable taglines.

Take the quiz below and find out how many taglines you can match with the correct brand:

Coca-Cola unveiled its first work from Ogilvy Amsterdam a couple of weeks ago-a rousing, visually rich pan-European anthem that tried to raise some political issues and surely cost a ton to make. It did OK, with about 400,000 views on YouTube.

But if you really want to make a splash, you have to go simpler. You find an esoteric stat about babies, gather up some UGC footage of them smiling and laughing, shoot a bit of new footage, record a cute song to go with it, and boom-6 million views. See, making a Coke ad isn't as much of a slog as it's made out to be. (And let's agree to forget about kids, soda and childhood obesity for a minute or so.)

Volkwagen did something similar a couple of years ago, with both kids and adults. You'll probably recognize many of the kids in the Coke commercial-particularly the boy at the end, Micah, whose original 2011 YouTube video, "Baby Laughing Hysterically at Ripping Paper (Original)," has 78 million views of its own.

Check out the behind-the-scenes below.