Never underestimate the promotional power of feel-good fan service.

More than 100 fans were featured out of a whopping 1,500 total submissions for this Pitch Perfect 2 promo. Together they created a worldwide dance party as the premiere for Ester Dean's song "Crazy Youngsters," an original song that appears in the movie.

The video also functions as a fun game of Spot the Social Media Celebrity, pairing YouTube stars alongside cast members, and Vine stars alongside DJs. All told, more than 20 influencers are in the video. See if you can spot DJ Flula, Brittany Snow, Anna Camp, the Gregory Brothers, Sami Slimani, Lana McKissack, Carly Cristman, the Wassabi Brothers, Gabrial Valenciano, Will Pecarro, Kyle Hatch, Jamie Pine, MikeJerry and Vine stars Princess Lauren and AmyMarie.



The nearly four-minute music video was created by Portal A. It's a lot of good, clean fun for a sequel whose inciting incident is flashing Rebel Wilson's vagina at the president of the United States.

CREDITS
Client: Universal Pictures
Created by Portal A
Director: Kai Hasson
Executive Producers: Zach Blume, Kai Hasson, Nate Houghteling
Producers: Jacob Motz
Associate Producer: Jenny Leaf
Project Manager: Kalli Sandberg
Editor: Arturo Morales

On Tuesday, Domino's flooded its Twitter feed with a heap of tweets written almost completely in pizza emojis. They looked like sentences. They were even punctuated. Not only that, but Domino's had the gusto to respond to people curious about the stunt with—what else?—pizza emoji-filled tweets.

Perplexing? Sure. Annoying? A little. A promotion? Of course.

Starting May 20, Domino's customers will be able to order pizza via Twitter. You can hook up your Twitter to your online Domino's account, and with a quick pizza emoji tweet at the brand, you'll have an order on the way.

So, what better way to promote this than to confuse one's consumers? Lots of people seemed to get into it, though, and JCPenney even briefly joined in the emoji-only banter.



"We wanted to start a conversation about why Domino's has gone emoji crazy in the lead-up to the emoji announcement," says Matt Talbot, vp and creative director of Crispin Porter + Bogusky, the agency that handles Domino's creative business. He explained that the tweets were modeled after real tweets the brand usually sends to customers.  

"There's no decoder machine to work back to the true answer of the text, though," he said. 

Check out more from the the pizza emoji takeover below.

If you don't have time to watch this whole new commercial for Volkswagen Trucks, you can just skip to the end for a quickie version—no matter where you are in the story—and it will still make sense.

Go here to check it out.

It's a merciful approach that all brands should probably mimic in all commercials, given this is the age of skip-happy Internet viewers. But Brazilian agency AlmapBBDO created the ad specifically to reinforce VW's claim that its rigs, like the ad, are themselves customizable. In that context, the video slider at the bottom of the website might be the best part—it takes the shape of a truck that just keeps getting longer and longer.

The story itself—spoilers ahead—is about a young truck driver who runs into an ex-girlfriend at a market. Told in a stilted monologue, it's a bit like a Mad Lib with a single punch line—structured into clauses so you can jump to the last scene at any point, by clicking a button in the lower right hand corner. But the last words are always "My grand-aunt."

That makes for some odd combinations, like "I satisfied my hunger eating… a taco made by… my grand-aunt." It also makes for some surprisingly dark outcomes for a big advertiser—like skipping the part about the taco and delving straight into ancestral cannibalism. There's at least one notable hidden variation—hit the button at certain times, and the grand-aunt is a goateed, shirtless young man, instead of a little old lady.

Overall, it's an intriguing approach, but maybe a little too eager to be inventive, with a takeaway that seems more about the copywriting team's ability to write a cascading script than about the product's benefits. It was nice for them to include an eject lever, but if the idea is to get the message in quickly, and extend the entertainment for those who want it—Geico's simpler approach takes the cake.

Plus, it has a better dog.

Via PSFK.

The striped patterns on dresses, shirts, tunics and sweaters become prison bars—with small, sad faces peeking through—in this Brazilian campaign against child labor.

Lew'Lara\TBWA created the print ads for the Abrinq Foundation, which is affiliated with Save the Children, in the style of high-fashion magazine spreads. Each one features a single line of copy, such as, "A dress shouldn't cost a childhood." Brazilian model Caroline Ribeiro appears in some of the ads, which were shot by top fashion photographers.

#Dress4Good is the hashtag, and the public is encouraged to post "positive fashion-foward images" on Instagram. According to the agency, the initiative is not intended as an attack on the fashion industry per se, but is designed to spread the message that "child labor crimes are closer to the consumer than they might think."

The work is similar in theme and execution to "What's Behind," a recent public-service effort from Brazilian human-rights group Cepia (though Abrinq's use of stripes—note how the kids' fingers clutch at them in desperation—really drives the point home).

Ultimately, both campaigns do a fine job of encouraging consumers to dig beneath the surface and find out what's really going on.

CREDITS
Agency: Lew'Lara\TBWA
Client: Abrinq Foundation - Save the Children
Campaign Title:
CCO: Manir Fadel
Executive Chief Creative: Felipe Luchi
Copywriter: Gabriel Sotero
Art director: Rodolfo Fernandes
Art Buyer: Ale Sarilho, Sabino and Caio Lobo
Image treatment: Arms Image
Photographers: Jacques Dequeker, Jayro Goldflus, Henrique Gendre, Daniel Klajimic and Gil Inoue
PR: Bia Ribeiro
Client: Victor Alcântara da Graça, Yeda Mariana Rocha de M. Pereira e Denise Maria Cesario

Bobblehead Bret Michaels sure drives a hard bargain. Must be the frozen stare and the defiant stance. You should probably take him along on your next car-buying venture. You want the leopard-print steering wheel cover, don't you?

The former Poison frontman trots out his cheeky sense of humor, along with his ceramic mini-doppelganger, for a digital video series promoting Nissan's commercial vehicles. The shorts are a follow-up to a campaign that launched last summer featuring Michaels in the Arizona desert surrounded by Nissan trucks, pyrotechnics, bandana-clad crash test dummies and hot chicks.

The work, from TBWA\Chiat\Day, also introduced the look-alike bobblehead that has since become a fan favorite. The agency, responding to Twitter and Facebook requests, just launched five "BobbleBret" videos, taking the doll off the dashboard. Michaels' power ballad version of the sappy Lionel Richie/Diana Ross duet "Endless Love" returns as the melodramatic soundtrack.

Among other unlikely scenarios, the new snippets show BobbleBret's silent negotiating skills at a Nissan dealership and his rock-star-sized tantrum in a green room. No brown M&Ms, he said!

Find all the videos at NissanToughLove.com.

CREDITS
Client: Nissan
Marketing Manager: Casey Kilmer
Senior Marketing Manager: Terri Welch
Agency: TBWA\Chiat\Day
Executive Digital Producer: Brian Jarmon
Creative Directors: Liz Levy, Jason Locey
Director: Nick Spooner
Production Company: The Sweet Shop
Managing Director: Laura Thoel
Head of Production: Preston Garrett
Line Producer: Breigh Kenley
Editorial: Jump LA
Editor: Patrick Griffin
Editorial Producer: Callie Beckmann
Executive Editorial Producer: Betsy Beale
Director of Photography: Adam Santelli

Lifetime has brought a neat out-of-home advertising trick to the U.S. for the first time to promote its upcoming miniseries The Secret Life of Marilyn Monroe, starring Kelli Garner.

Garner began appearing Monday on digital ads in eight New York City subway stations. The ads are audio-activated, and whenever a train arrives in those stations, Garner's skirt blows around, as though windswept by the train (a reference, of course, to the famous images of Monroe with her skirt blowing around in The Seven Year Itch—also caused by a draft from a New York subway train).

Lifetime says it's the first marketer in the U.S. to use this audio-sensory technology in the MTA subway. It is reminiscent, of course, of the well-known Swedish subway ads for hair-care brand Apolosophy.

The ads are up in the Grand Central, Union Square, West 4th Street, 86th Street, 14th Street/7th Avenue, Brooklyn Bridge, Fulton Center and 68th Street-Hunter College stations. Lifetime worked on the project with Horizon Media, Control Group and New Tradition.

We spoke to Tracy Lenhart, vp of consumer marketing at Lifetime, about the project.

Where did you get the idea for this? Were you inspired by the Apolosophy ads?
The core of the idea is a fundamental shift in our media strategy. Lifetime is increasingly looking at the utilization of new OOH technologies to bring our creative and campaigns more to life. We were looking for a new, never-done-before [in the U.S.] placement that will shout "premium and popular," and make people stop and take notice and extend their excitement about the campaign onto social media.

Can you explain how the technology works?
The screens are programmed to trigger creative when sound exceeds a pre-set decibel. The initial decibel will be set at 100 dB, a level that would likely only be triggered by a train, considering the environment. We will tune the content so that it works as intended in the field and ensures that the experience is a success.

It ties in quite nicely to the original image of Monroe's skirt being blown around by a New York subway train, doesn't it?
The idea was not necessarily to replicate or capture the original source material, but rather evoke the historic and indelible impression Marilyn Monroe has made on American pop culture.  It was just a matter of finding the right placement and technology.
 
How do expect people will react to the ads?
Shock, surprise and share! We believe this unique experience will get people talking and sharing photos and videos across their social platforms, and, ultimately, excite viewers for The Secret Life of Marilyn Monroe.

Adult movies have suddenly become the hot place to put cancer PSAs.

M&C Saatchi in Sydney worked with adult film studio Digital Playground and the Nonprofit Blue Ball Foundation to place an unexpected testicular-cancer PSA inside Game of Balls, an X-rated Game of Thrones parody, last month.

During one of the flick's steamy scenes, actress Eva Lovia—who really should try harder with her porn name—briefly breaks character (such as it is) to demonstrate a cancer check on a male member of the cast. She also tells viewers to visit PlayWithYourself.org for more information. It's stroke of genius, I'd say! (But I say lots of silly things.)

Check out the case study below, which is not explicit but might be a bit NSFW anyway.



So far, 200,000 people have visited the site, and total video views have passed 1.5 million, according to the video. "We're overwhelmed with the amount of feedback we've been getting, from emails to Facebook messages to phone calls from all over the world," says Blue Balls founder Jamie Morgan.

This isn't the first ballsy way of generating exposure for the cause. McCann Lima and PornHub recently dispatched adult performer Charlotte Stokely—now that's a porn-star name!—to show men how to perform self-examinations, and Cancer Research U.K. went all-in with last year's selfie-sock campaign. (There was also DDB Bolivia's breast-check adult clip, though Pornhub has questioned that case study's claims of success.)

In any case, hopefully some of the messaging will rub off on the intended audience.

CREDITS
Client: The Blue Ball Foundation
Jamie Morgan: Founder
Agency: M&C Saatchi
Ben Welsh: ECD
Ant Melder: CD
Josh Bryer: Writer
David Jackson: Art Director
Matt Porter: M&C Saatchi: PR Manager
Jaimes Leggett: M&C Saatchi: CEO
Justin Graham: M&C Saatchi: CSO
PR: Bang PR
Annalise Brown: Managing Director
Peta Frost: Account Manager
Zoe Finlayson: Account Executive
Production: Digital Playground
Jeanette Li: Marketing & PR Coordinator
Jakodema: Director

Any road-safety campaign that uses actual victims in its advertising is bound to be difficult for the families involved. This latest, from Y&R New Zealand, is no exception. Indeed, it's crushingly sad—even if it's also starkly beautiful.

The road-safety charity Brake partnered with Y&R for the campaign, timed to National Road Safety Week in New Zealand. To get people to think about the potential cost of their decisions on the road, the agency took photographs of five crash victims, and using a forensic age-progression specialist, created incredible 3-D models of what they might look like in 2015, years after they died.



Forensic specialist Kevin Darch worked off childhood and family photos to create a current-day artistic impression of each child. Weta Digital then digitally sculpted a 3-D portrait model, with fine detail such as eyelashes, eyebrows, skin tone and texture. The portraits were then photographed for print ads.

The point of the "Living Memories" project, of course, is to physically illustrate exactly what was lost—each person's entire future. It must have been terribly sad for the families to see these models, even though the case study shows them being more intrigued than freshly devastated.

"Meeting the families and presenting them the portraits was a profoundly moving experience, and I hope that this campaign will touch people in a meaningful way," says Lisa Dupre, senior art director at Y&R NZ.

"Road crashes have devastating consequences for families and the effects last a lifetime," adds Caroline Perry, development director at Brake. "The aim with this campaign is to look not only at lost lives, but also lost potential and lost futures. Living Memories has given these five families an opportunity to see what their child might have looked like, and demonstrates to the rest of us the lasting impact that crashes have."

CREDITS
Client: Brake
Development Director: Caroline Perry

Agency: Y&R NZ
CCO / CEO: Josh Moore
Creative Director: Scott Henderson, Seymour Pope
Senior Art Director: Lisa Dupre
Head Producer: Christina Hazard
Account Director: Claire Dooney
Account Manager: Chelsea Dowling
Senior Media Planner: Kylee Davidson-Corrin
Designers: James Wendelborn, Kate Whitley
Executive Digital Producer: Bruce Murray
Digital Producer: Pat Co
Head of Motion Graphics: Michael Frogley
National Ideas Director: Jason Wells
General Manager: Grant Maxwell
Managing Director – Wgtn Tim Ellis

Production
Digital production company: Weta Digital
Editor: James (Squid) Kelly, Pat O'Sullivan
DOP: Will Moore

Partners
Forensic specialist: Kevin Darch
TVNZ: Joanne Mitchell, Briar McCormack
Researcher: Alison Horwood
Freelance reporter: Amanda Miller

Hearing brings a world of joy to people, but it's a sense not everyone is lucky enough to have.

Spotify recently took a trip to Puerto Princesa, Philippines, with hearing aid manufacturer Starkey Hearing Foundation, to deliver hearing aids and free music to poor communities. This emotional spot from Night Agency and Tool director Alec Helm highlights a few of those stories.

The four-minute video introduces us to three different deaf people by showing short snippets from their everyday lives. While the stories differ, the common theme through all of them is family.

First, we meet Eugene, a 28-year old who has been deaf since he was a baby. Then there's Isagani, a father of three children who play music he wishes he could hear. And teenager Jessa Mae is the daughter of a fisherman, but has never heard the ocean.

The ad takes a sappy turn once Spotify and Starkey Hearing Foundation hook the three up with hearing aids. And then the music kicks in to show how it makes life more enjoyable.

"Make music change _________," reads the tagline at the end—with the blank filled by phrases, one after another, like "dancing with your friends," "time with your kids," etc.

While the ad clearly plugs Spotify, it's also a nice reminder how deafness affects a wide range of people. As part of the partnership with Starkey Hearing Foundation, people can also donate money online. For every $100 donated, one person receives hearing care.

CREDITS
Client: Spotify
Agency: Night Agency
Production Company: Tool
Director: Alec Helm

For those who couldn't get enough of Kristen Bell and Dax Shepard in their hit Samsung Galaxy Tab S holiday ad, the hyper-cute Hollywood couple—married in real-life—have returned for an encore, this time plugging the company's high-tech home appliances.

In a minute-long spot, the actors—known for Parenthood (Shepard) and House of Lies (Bell), among other projects—are planning a big dinner party. And naturally, Samsung's refrigerators, ranges, dishwashers, washing machines and vacuum bots prove invaluable. A 30-second commercial focuses on their efforts to clean an infant's toy bunny using Samsung's Activewash Top Load Washer.

McKinney created the ads, and Tucker Gates directs in a suitably off-the-cuff, relaxed style.

Bell and Shepard also appear in a nearly 10-minute behind-the-scenes/interview clip. That's right—10 minutes! Highlights come when Bell says Samsung ovens are "almost like Transformers" because of their dual-temperature functionality (sorry, Optimus Prime) and Shepard briefly discusses his involvement in the upcoming feature-film reboot of '70s highway-cop series "CHiPS" (give Erik Estrada a cameo!).

Throughout the campaign, Bell and Shepard are adorably affable, showing off the time-and-labor-saving technology with effortless élan, perfectly cast as bubbly brand ambassadors for the millennial generation.

The 90-second version of their holiday spot got 13 million YouTube views, so clearly the work is connecting with its audience. Still, the couple's cuteness is, at times, so overwhelmingly insufferable that I kind of wanted to stick my head inside that snazzy Samsung fridge and bash my brains in with the door.

Last summer, Russia imposed a full embargo on food imports from the European Union (as well as the U.S.) in retaliation for sanctions over Ukraine. This left authentic European food merchants in Moscow in a bit of a bind.

But one Italian grocery store there, Don Giulio Salumeria, kept selling its real Italian food—and came up with a bizarre out-of-home stunt to advertise to consumers without tipping off the police.

With help from agency The 23, the store developed a unique outdoor ad that could recognize police uniforms. Whenever the cops would appear, the ad would cycle out of its rotating display—in essence, physically hiding from the authorities.



The agency insists this was a real stunt. And if so, it is clever and amusingly weird. After emailing the case study all over the world, though, I'd think twice about answering the door when the Moscow police come knocking.

CREDITS
Client: Don Giulio Salumeria, Moscow
Owner: Giulio Zompi
Marketing Director: Anna Ipatova
Agency: The 23, Krasnogorsk
Creative director: Evgeniy Shinyaev
Creative director: Mikhail Tkachenko
Technology Director: Alexander Selifonov
Account Supervisor: Vera Kriulets
Director Of Photography: Nikolay Shinkarenko
Technical Assistant: Valeriy Oreshnikov

Boy, howdy, have things changed."

That's Colonel Hardland Sanders, 35 years after his death at age 90—but reincarnated in the form of ex-SNL star Darrell Hammond—weighing in on modern culture in Wieden + Kennedy's first advertising for KFC, on its 75th anniversary.

The Colonel, the face of the chicken chain and always a valuable asset, is front and center in the major new campaign. He places the needle on an old LP in the introductory spot, which tells you exactly where this is going: The old Colonel is here to riff on the differences between the old days and this crazy new world of millennials—in ads frequently punctuated by an exaggerated chuckle that Hammond has come up with.



It's an interesting approach, getting a comedic actor to play your most classic icon. And the first spots are notable not just because of the Colonel's return but because of the concerted oddness of the execution.

In the minute-long "Bucket in My Hand," the Colonel walks down a clogged highway, around an empty baseball stadium and up to a swimming pool lifeguard—handing out chicken and singing an off-kilter anthem with lyrics that frequently don't rhyme. In the 15-second "America's Favorite Music" ad, he raves about mandolin music.



The goofy humor is clearly meant to drag the Colonel into the modern age, without completely sacrificing his legacy. Even Hammond's stock quotes are a mix of reverent and tongue-in-cheek.

"In my line of work I've been able to do impressions of a lot of interesting people. But Colonel Sanders? He was a really fascinating guy," Hammond says in a statement. "His lifelong entrepreneurial spirit and integrity are two things that drew me to him. He never gave up. It's an honor to bring to life such an iconic figure … and it doesn't hurt that KFC is paying me in chicken (which, at the time sounded like a good idea, because I was very hungry that day)."



The TV spots will break next Monday. The campaign extends to web, social media and in-store experiences. The digital work includes a new KFC.com and ColonelSanders.com (the latter includes the Hall of Colonels, an interactive digital experience that tells Sanders' life story). There will also be new menu items, packaging and store designs.

"The Colonel has always been at the core of everything we do here at Kentucky Fried Chicken," says Kevin Hochman, KFC's U.S. CMO. "The 75th anniversary is the perfect time to give him back to the people and remind everyone of what we're all about."

Packaging:

 
Store design, exterior:

 
Store design, interior:

 
CREDITS
Client: KFC
Agency: Wieden + Kennedy, Portland, Ore.

—Spot: "State of Kentucky Fried Chicken Address" :45

Agency: W+K Portland
Creative Directors: Karl Liberman, Eric Baldwin
Copywriter: Karl Liberman
Art Director: Eric Baldwin
Producer: Hayley Goggin,
Production Assistant: Nicole Kaptur
Interactive Strategy: Mike Davidson, Teresa Lai
Social Strategy: Matt Hisamoto
Strategic Planning: Britton Taylor, Lizzie Hanner
Media/Comms Planning: Alex Barwick
Account Team: Jess Monsey, Jesse Johnson, Kristin Postill, Alexina Shaber
Business Affaires: Alicia Willet/Karen Crossley
Project Management: Chenney Gruber
Executive Creative Directors: Joe Staples / Mark Fitzloff
Head of Production: Ben Grylewicz

Production Company: Joint
Director: Karl Lieberman + Eric Baldwin
Executive Producer: Patty Brebner
Line Producer: Shelli Jury
Director of Photography: Eric Edwards

Editorial Company: Joint Editorial
Editor: Nick Davis
Post Executive Producer: Leslie Carthy

VFX Company: Joint
Exec Producer, VFX: Alex Thiesen
Nuke Artist : Zack Jacobs
Smoke Artist: David Jahns
Executive Producer, Color: Thatcher Peterson
Color Producer : Antonio Hardy
Color Coordinator: Diane Valera
Colorist: David Ludlum

Music+Sound Company: Walker
Composer: N/A
Sound Designer: Noah Woodburn
Song (if applicable):  'Keep on the Sunny Side'
Producer: Abbey Hickman + Sara Matarazzo

Mix Company: Joint
Mixer: Noah Woodburn
Producer: Sarah Fink

—Spots: "Bucket in My Hand" :60, "Pool Dip" :15, "Traffic" :30, "Baseball No Hitter" :30, "Baseball-Talkin About" :15

Agency: W+K Portland
Creative Directors: Karl Liberman, Eric Baldwin
Copywriter: Matt Mulvey
Art Director: Lawrence Melilli
Producer: Hayley Goggin,
Production Assistant: Nicole Kaptur
Interactive Strategy: Mike Davidson, Teresa Lai
Social Strategy: Matt Hisamoto
Strategic Planning: Britton Taylor, Lizzie Hanner
Media/Comms Planning: Alex Barwick
Account Team: Jess Monsey, Ken Smith, Jesse Johnson, Kristin Postill, Alexina Shaber
Business Affaires: Karen Crossley
Project Management: Chenney Gruber
Executive Creative Directors: Joe Staples / Mark Fitzloff
Head of Production: Ben Grylewicz

Production Company: Imperial Woodpecker
Director: Stacy Wall
Executive Producer: Doug Halbert
Line Producer: Andrew Travelstead
Director of Photography: Tim Hudson

Editorial Company: Joint Editorial
Editor: Steve Sprinkel
Post Producer: Lauren Pullano
Post Executive Producer: Alex Thiesen

VFX Company: The Mill
Exec Producer, VFX: Sue Troyan
Sr. VFX Producer: Dan Roberts
Production Coordinator: Mary Hayden
VFX Supervisor: Phil Crowe
Lead Flame Artist : James Allen
2D Artists: Tim Davies, Jason Bergman, Steve Cokonis, Andy Dill, Kevin Flores, Gareth Parr, Tim Robbins, Lisa Ryan, Stefan Smith, Glyn Tebbutt
Matte Painters: Gillian George, Itai Muller, Lynn Yang
Executive Producer, Color: Thatcher Peterson
Color Producer : Antonio Hardy
Color Coordinator: Diane Valera
Colorist: David Ludlum

Music+Sound Company: Walker Music
Composer: N/A
Sound Designer: Walker Music  on Bucket In My Hand :60/:30 ONLY
Song (if applicable): Bucket In My Hand (re-record of Ivor Cutler 'Donut in my hand') All other spots, 'Keep on the Sunny Side' production performance from Mandolin Band on set day of shoot
Producer: Abbey Hickman + Sara Matarazzo

Mix Company: Lime Studios
Mixer: Sam Casas + Matt Miller
Producer: Susie Boyajan

—Spot: Mandolin Spots

Agency: W+K Portland
Creative Directors: Karl Liberman, Eric Baldwin
Copywriter: Matt Mulvey
Art Director: Lawrence Melilli
Producer: Hayley Goggin,
Production Assistant: Nicole Kaptur
Interactive Strategy: Mike Davidson, Teresa Lai
Social Strategy: Matt Hisamoto
Strategic Planning: Britton Taylor, Lizzie Hanner
Media/Comms Planning: Alex Barwick
Account Team: Jess Monsey, Ken Smith, Jesse Johnson, Kristin Postill, Alexina Shaber
Business Affaires: Karen Crossley
Project Management: Chenney Gruber
Executive Creative Directors: Joe Staples / Mark Fitzloff
Head of Production: Ben Grylewicz

Production Company: Imperial Woodpecker
Director: Stacy Wall
Executive Producer: Doug Halbert
Line Producer: Andrew Travelstead
Director of Photography: Tim Hudson

Editorial Company: Joint Editorial
Editor: Steve Sprinkel
Post Producer: Lauren Pullano
Post Executive Producer: Alex Thiesen

VFX Company: The Mill
Exec Producer, VFX:: Sue Troyan
Sr. VFX Producer: Dan Roberts
Production Coordinator : Mary Hayden
VFX Supervisor: Phil Crowe
Lead Flame Artist : James Allen
2D Artists: Tim Davies, Jason Bergman, Steve Cokonis, Andy Dill, Kevin Flores, Gareth Parr, Tim Robbins, Lisa Ryan, Stefan Smith, Glyn Tebbutt
Matte Painters: Gillian George, Itai Muller, Lynn Yang
Executive Producer, Color: Thatcher Peterson
Color Producer : Antonio Hardy
Color Coordinator: Diane Valera
Colorist: David Ludlum

Music+Sound Company: Walker Music
Composer: N/A
Sound Designer: Walker Music  on $5 Dollar Phillip  :30 + :15
Song (if applicable): Down By the Bay  ($5 Dollar Phillip :30 + :15)
Producer: Abbey Hickman + Sara Matarazzo

Mix Company: Lime Studios
Mixer: Sam Casas + Matt Miller
Producer: Susie Boyajan

If you watch the ad below and conclude there's nothing new under the sun, you're half right.

Sunny Delight rollerblades into '90s nostalgia with this delightfully deft parody of its own goofy, iconic (some might say moronic) commercial from the first Twin Peaks era.

Created by ad agency Grenadier, and targeting millennials with fond memories of SunnyD advertising from two decades ago, the new spot presents grown-up versions of the kids from the original. They're not portrayed by the same actors, but they are still blading through suburbia and crowding into Mrs. B.'s kitchen for some vitamin-enriched, orange-flavored refreshment. Of course, they've all gained a few pounds, and the guys have lost some hair.



"Look, I can't do this anymore," the now-elderly Mrs. B. laments. "You and your friends have been doing this for 20 years. You're 36. You need a job."

"As a brand, we try not to take ourselves too seriously and to act with self-awareness," says SunnyD marketing director Dave Zellen. Grenadier partner Rob Hofferman adds: "For people who grew up with that spot—who are now millennial parents or a little older—it's a great way to give them a fun touchstone to that time that they can now share and pass on to their kids."

With shimmering analog synths in the background, and splendid comic panache, the reboot is just as "radical" as the original—though I hope that "purple stuff" hasn't been fermenting in the fridge all this time. One sip could trigger some wild flashbacks.

The ad is airing on TV is Sacramento, Indianapolis and Charlotte, and online everywhere.

And here's the original spot, created by Gumpertz/Bentley/Fried in 1991:

CREDITS
Client: Sunny Delight
Spot: "SunnyD 2015 Rollerblade"
Agency: Grenadier
Creative Director/Art Director: Randy Rogers
Creative Directors/Writers: Wade Paschall, Mark St. Amant
Associate Creative Director/Art Director: Grant Minnis
Executive Producer: Keith Dezen
Production Company: Community Films
Director: Clay Williams
Executive Producer (Production Co): Lizzy Schwartz
Producer (Production Co): Helen Hollien
Line Producer: Helen Hollien
Director of Photography: Guyla Pados
Editorial Company: HutchCo Technologies
Editor: Jim Hutchins
Music Company: JSM Music
Visual Effects Company: Brickyard VFX
Visual Effects Editor: Patrick Poulatian
Visual Effects Producer: Linda Jackson
CG Lead: David Blumenfeld
Account Service Lead: Becky Herman
Account Service Supervisor: Ryan Smith
Planner: Elisa Cantero

Sex sells, particularly when you're selling lingerie and sex toys. And now, two of Britain's top creatives have teamed up to make one of the most extravagant erotic brand films ever—a frenetic two-and-a-half-minute film for London adult retailer Coco de Mer.

TBWA\London's Walter Campbell and renowned photographer/director Rankin provided the creative vision for the film, which packs in a huge number of sexual images and vignettes, along with some other odd imagery.

It's basically an art film with the Coco de Mer logo thrown on the end. But Campbell and Rankin are immensely proud of the spot, which will run online and in cinemas.



Rankin, whose résumé includes a ton of top-notch fashion films, tells Campaign that the ad is "definitely the best thing that I have done in film. … It has layers of meaning, and to get that in advertising is rare."

He adds: "Doing something like this is about creating an experience. We're putting it on a different level. Putting it on a level with enjoying a film. People call it content marketing, but it's just about making something people want to watch."

Campbell said: "The erotic doesn't get the same overt attention as everything else on the cultural menu, so we created a film to surprise, excite and most importantly, encourage people to delve that little bit deeper into their fantasies—to reignite that connection."

Several other directors also worked on the film, including Vicky Lawton, Trisha Ward and David Allain. The production company was Rankin Film. Postproduction was done by MPC.

Have you taken a selfie lately? If the answer is yes, then you're the target audience for this new over-the-top parody PSA from Pizza Hut.

The brand wants to warn you about the dangers of the selfie stick—a device that creates the unfortunate illusion for the user that (gasp!) other people, places and objects exist.

The spot is delightfully cheeky, and the spokeswoman brings the right mixture of faux-fear and faux-anger—she almost seems to be doing a homage to the former host of Unsolved Mysteries. It isn't until the end that you realize it is, in fact, an ad.



There's very little branding, except for the pizza delivery guy. Pizza Hut spokesman Doug Terfehr said that's because it's meant to be entertaining first and branded second. 

The product being advertised, the two-foot-long Big Flavor Dipper pizza, "is so big that a regular out-stretched hand just won't do it. If you want to snap a photo of it, with you in it, you're going to need a bigger stick," Terfehr says. "It was a fun, lighthearted way to communicate that message."

The spot was created by Shareability, whose cofounder, Tim Staples, adds: "A lot of brands say they want to create shareable content but really what they want to do is make a traditional commercial go viral. That type of mind-set is a recipe for almost certain failure.

"Smart brands understand that you need to give the audience a valuable piece of content and then attach their brand in a clever and subtle way. Pizza Hut is a smart brand. The goal of this video is to start a conversation, not beat people over the head with a product message."

Gatorade really does love sweat.

Last year, the brand's hidden-camera ads with Peyton Manning and Cam Newton required customers at a convenience store to "sweat it to get it." If would-be consumers couldn't show visible signs of a workout, they couldn't buy Gatorade.

Now, an epic new spot—created by TBWA\Chiat\Day and voiced by Michael Jordan—makes it clear that "not all sweat is created equal." In other words, if your sweat isn't the intense kind, spilled in pursuit of sporting glory, then your sweat is pretty boring, and you should probably try harder. (That way, you'll sweat more, and need more Gatorade.)



It's a well put-together, if slightly obvious play—featuring celebrities like Serena Williams, April Ross and Usain Bolt, and released on the heels of the brand's revival of its famous "Be Like Mike" campaign. The new ad does have at least one YouTube commenter a little nervous about the contents of the sports drink, though.

Delta claims to have made the "Internetest in-flight safety video on the Internet." And by Keyboard Cat, I think they're right. Where else, after all, will you see a cat in a shark suit on a Roomba on a plane?

The video, from Wieden + Kennedy in New York, will begin running on Delta's fleet starting May 25, but you can already witness this meme-sterpiece online with an impressive array of additional remixed content with the "Will It Blend?" guy from Blendtec.

In case you're worried you didn't catch all the cameos from Internet stars, there's a time-coded list in the comments on YouTube. And you can see even more uncredited faces at 1:43 when they all get up to do the meme-iest Harlem Shake ever filmed on a plane.

They even included Deltalina, the famous flight attendant from the 2008 Delta safety video who started this whole trend of goofy safety videos with nothing more than some sassy finger wagging and a carefully placed smile ding.



I can only imagine what future civilizations will think when they look back on these videos and wonder, in particular, what is happening with the Internetest one. In fact, I imagine there will be a number of present-day Delta flyers who will view this inexplicable collection of references to other references—divorced entirely from their original contexts and remade into a postmodern bricolage—as a strange and otherworldly piece of surrealist art that would have given Dali pause.

But for those of us who love the Internet in all its Internety goodness, this is the best thing we've seen today. It's like a double rainbow, all the way across the sky. So intense.

CREDITS
Client: Delta Air Lines

—Project: "Pay Attention": The Internetest Safety Video

Agency: Wieden + Kennedy, New York
Executive Creative Directors: Susan Hoffman, David Kolbusz, Jaime Robinson
Creative Directors: Sean McLaughlin, John Parker
Copywriter: Ian Hart
Art Director: Perry Morton
Head of Content Production: Nick Setounski
Broadcast Producers: Cheryl Warbook, Luiza Naritomi
Interactive Producer: Jen Vladimirsky
Brand Strategists: Sam Matthews, Meranne Behrends
Account Team: Liz Taylor, Meghan Mullen, Lauren Smith
Project Manager: Lauren Amato
Business Affairs: Sara Jagielski, Keri Rommel
Traffic: Sonia Bisono, Rylee Millerd

Production Company: Arts & Sciences
Director: Matt Aselton
Managing Director: Mal Ward
Executive Producer: Marc Marrie
Producer: Zoe Odlum
Director of Photography: Corey Walter

Editing Company: Final Cut
Editors: J.D. Smyth, Jeff Buchanan
Post Producer: Mackenzie Alexander
Executive Post Producer: Lauren Bleiweiss
Editing Assistant: Betty Jo

Visual Effects Company: MPC
Visual Effects Lead Flame: Marcus Wood
Visual Effects Supervisor: Marcus Wood
Compositors: Jonathan McKee, Eric Conception, Carl Fong, Marcus White
Computer Graphics Artists: Bill Dorais, Andres Weber, Angela Carafas, Charlotte Bae, Grae Revell, Jacob Fradkin, Michael Nieves, Ty Coyle
Art Director: Diana Park
Designers, Animators: Colin Hess, Denis Moran, Leland Goodman, Tyler Gibb, Kim Dulane
Senior Producer: Matthew Loranger

Telecine Company: Company 3
Colorist: Tim Masick

Mix Company: Heard City
Mixer: Cory Melious
Producer: Natasha Alden

Music Company: Black Iris
Song: Clean Teef

—Project: "Pay Attention": The Internetest Safety Video – "Will It Blend" videos

Agency: Wieden + Kennedy, New York
Executive Creative Directors: David Kolbusz, Jaime Robinson
Creative Directors: Sean McLaughlin, John Parker
Copywriter: Ian Hart
Art Director: Perry Morton
Head of Content Production: Nick Setounski
Broadcast Producer: Luiza Naritomi
Interactive Producer: Jen Vladimirsky
Brand Strategist: Sam Matthews
Account Team: Liz Taylor, Meghan Mullen, Lauren Smith, Cait Collette
Project Manager: Lauren Amato
Business Affairs: Sara Jagielski, Keri Rommel

Production Company: Joint
Director of Photography: Chris Teague
Second Camera: Zelmira Gainz
Line Producer: Mahalia Cohen

Editing Company: Final Cut
Editor: Betty Jo Moore

Visual Effects Company: Significant Others
Motion Graphic Designer: Phil Brooks
Flame Artist: Betty Cameron

Mix Company: Significant Others
Mixer: Terressa Tate

Olive Garden's advertising has long been distinguished by its unlimited blandness, which some might argue is a decent representation of the food there. But during NBC's Red Nose Day telethon Thursday night, viewers will get a very different look at the Olive Garden brand promise, via this 60-second spot from Grey New York.

It's about as far from your typical Olive Garden spot as you could get. Instead of the overly produced, food-shot-heavy clip, we get a montage of home-movie footage all based around the idea of family.

The restaurant chain has used the line "We're all family here" since 2013, but its communication of the concept has been far from inspired. Here, though, there's real life and real emotion. And it's hard to imagine a brand that could use a jolt like that more urgently.



Focusing on real moments is quite a leap for Olive Garden. And whether or not people buy into it—an emotionally rich ad isn't going to change the food, after all—it does suggest the marketer is willing to go outside its comfort zone and loosen its grip on the kind of safe but forgettable messaging for which it's known.

Even the in-restaurant footage at the end is remarkably low-fi and unadorned. That's impressive for such a manicured brand, and suggests that Olive Garden knows something about real families and real moments, not just TV ones—and hosts them daily.

The amateur version of Edward Sharpe and the Magnetic Zeros track "Home" pulls it all together—a song full of emotion, rendered simply. That's the vibe of the whole ad. Whether it signals a real change for Olive Garden remains to be seen. (Grey New York has been churning out the more genetic stuff—like this, just a couple of weeks ago—for Olive Garden since 1984.) But this could be a pleasantly surprising first step.

CREDITS
Client: Olive Garden
Spot: "Home"
Agency: Grey NY
Worldwide Chief Creative Officer: Tor Myhren
Chief Creative Officer: Andreas Dahlqvist
Chief Marketing Officer: Jane Reiss
President, Grey Activation/PR: Amy Tunick
Executive Creative Director: Ari Halper
Executive Creative Director: Stephen Krauss
Executive Creative Director: Jan Egan
Executive Creative Director: Ron Castillo
Creative Director: Brad Mancuso
Creative Director: Susan LaScala Wood
Art Director: Jonathan Hsu
Copywriter: Gail Barlow & Paul Elicker
VP Executive Producers (Agency): Seth Gorenstein & Adam Seely
SVP Account Director: Nadine Falco
VP Account Directors: Christina Pantina & Jamie Shiembob
Strategy: Dominic Hanley
Editor (person & company): Cindy Nielsen & Charlie Cusumano, Vision Post
Assistant Casting Director: Brian Safuto
EVP Director of Music (Agency): Josh Rabinowitz
VP Director of Music Licensing (Agency): Amy Rosen
Project Manager: Jasmine Mangana

ZocDoc knows how much it sucks trying to deal with doctors over the phone. Now, the online medical-care scheduling service positions itself as the cure for such headaches in a pair of humorous spots from Goodby Silverstein & Partners in New York.

In one ad, an office worker whispers her embarrassing symptoms  into a handset at her desk, hoping not to be overheard by her colleagues. The other commercial presents a different woman, seeking an appointment ASAP, who might be overstating her condition ever so slightly.

"Get better better" is the tagline. The campaign also includes radio, print, out-of-home and digital elements. It's the first major ad push for the 7-year-old service, and it follows Richard Fine's arrival as marketing chief as the year began.

"We're all at the mercy of a broken healthcare system in which many of us can relate to an experience that is absurd and Kafka-esque," he tells Fast Company.

"Our campaign finds humor in that shared experience. It makes light of these unnecessarily painful parts of the healthcare system. Technology has changed every part of our lives. How about—finally—healthcare?"



The campaign reunites Fine with Goodby's Nathan Frank, who serves as creative director. In 2008, the pair co-founded OTC drug company Help Remedies, which is known for its own crazy ads. David Shane directed the ZocDoc commercials.

Shane's expert comic touch—he directed HBO Go's "Awkward Family Viewing" ads, and won an Emmy a few years back for Bud Light's "Swear Jar"—is just what the doctor ordered. Here, his approach is appealingly offbeat, but also upbeat and empowering. That's probably the perfect prescription for a healthcare platform reaching out in ads for the first time.

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.