Real Fact #6001: This is one loopy campaign. 

Deutsch pours on the silly for Snapple in new ads that breathe life into those numbered bits of (dubious) information printed inside the brand's bottle caps.

Thankfully, this isn't one of those "aspirational" campaigns that feels like a stretch for the product. There's no lofty message or deep dive for insight. There are, however, actors dressed in bee costumes, buzzing into a maternity ward for a very special delivery:



There's also a dolphin nosing around a perfume counter. Ah, the sweet scent of absurdity!



"This type of approach works because it's simple and lighthearted," Guto Araki, group creative director at Deutsch, tells AdFreak. "It still surprises people when a commercial can make them laugh. People are tired of brands asking them to do or be something."

One thing you really don't want to do is dance during the National Anthem in Massachusetts, especially when there's a legal eagle around to make a bust: 



"We start every spot with the pop of the Snapple cap," Araki says. "From that point on, it's like we are unleashing the genie from the bottle. It's a sneak peak into the character's imagination, which is always a mix of what they're thinking and the reality they know—the way a nurse imagines a bee being born, or how a waitress sees a king of hearts being teased by the other kings."

Yeah, you gotta hand it to those kings. They're real cards: 



"The kings stayed in character the whole day—even when we weren't shooting," Araki recalls. "Many of the lines from the spot were improvised by the talent. They came in ready with card jokes—'The deck is stacked,' 'Shuffle on back, it's not a full house without you.' It was pretty entertaining."

Finally, to illustrate the "fact" that the first spam was sent by telegraph in 1864, the team, led by Hungry Man director Dave Laden, went all out to painstakingly recreate an age where a $20 million windfall meant "Horses for everyone!" 



"We actually hired a professional to 'age' the set," Araki says. "The person's entire job is to make the set look authentic to the 1800s." 

Nice work if you can get it.

The campaign, tagged "Make time for Snapple," really satisfies. The spots are odd enough to capture and hold your attention, and the "fact" reveals are pretty cool payoffs (though the telegraph office is perhaps a tad too busy to take everything in at a single viewing—keep it simple, guys!). 

"Even the product shots were fun to make," says Araki. "I remember seeing the puppeteer caressing a Snapple bottle with a dolphin fin and thinking how lucky we all are to work in this business."

The commercials will run through the summer, mainly on cable TV, with additional bizarro video content online from The Richards Group featuring the same characters. Check out a few of those spots below. That dolphin runway walk will haunt your nightmares! Quick, throw it back!

CREDITS

Snapple:
EVP, Chief Commercial Officer: Jim Trebilcock
SVP, Core 5/Noncarbonated Marketing: Regan Ebert  
VP, Core Flavors and Snapple: Dave Falk 
Director, Core Flavors: Brent Chism
Senior Brand Manager, Snapple:  Kevin Brandvold
Director, Creative Content Marketing: Nita Sherrard 
   
Deutsch:
Chief Creative Officer, North America: Pete Favat
Executive Creative Director: Bob Cianfrone   
Group Creative Director: Guto Araki
Art Director: Curtis Petraglia
Copywriter: Andrew Kong  
Director of Integrated Production: Vic Palumbo
Executive Integrated Producer: Megan Meloth   
Senior Integrated Producer: Ali Issari   
Music Director: Dave Rocco
Music Producer: Eryk Rich
Senior Concept Producer: Sam Barbera

Group Account Director: Adam Graves   
Account Director: Christi Johnson
Account Supervisor: Taylor Reid
Associate Account Executive: Jonathan King   
Exectuive Planning Director: Jeffrey Blish
Group Planning Director: Mitch Polatin
Associate Planning Director: Jessica Friedman
Account Planner: Sabena Suri    
Director of Integrated Business Affairs: Abilino Guillermo
Senior Business Affairs Manager: Denise Wright  
Director or Broadcast Traffic: Carie Bonillo
Broadcast Traffic Manager: Terence Dowling
  
CEO, North America: Mike Sheldon
President, Los Angeles: Kim Getty

Live Action Production Company: Hungry Man
Director: Dave Laden
Executive Producer: Kevin Byrne
Executive Producer/Director of Sales: Dan Duffy
Line Producer: Dave Bernstein
    
Editorial Company: Cosmo Street
Editors: Tessa Davis, Lawrence Young
Assistant Editor: Habib Semaan
Executive Producer: Yvette Cobarrubias-Sears
Producer: Gigi May

Post Facility/Color: MPC LA     
Executive Producer: Meghan Lang     
Executive Producer: Rebecca Boorsma    
Colorist: Ricky Gausis
Color assist: Dimitri Rajapakse     

Post/VFX: a52
VFX Supervisor: Andy McKenna
Head of CG: Kirk Shintani
Producer: Stacey Kessler-Aungst
Executive Producer: Patrick Nugent
Head of Production: Kim Christensen

Audio Post Company: 740 Sound
Executive Producer: Geena Richard
Mixer: Larry Winer

The restaurant business in Brussels has been suffering tremendously since the terrorist attacks of March 22. The bankruptcy rate of eateries in the city has increased by 1500 percent since then, according to ad agency Famous—with a nation of gourmands frequently staying home instead of enjoying dinner out.

Famous decided to do something about this. So it teamed up with De Tijd and L'Echo, the leading national business newspapers in Belgium, for a social campaign called #DiningforBrussels.



The campaign called for two simple things from Belgians: 1) Go have dinner in Brussels. Take a picture of your finished plate with your cutlery placed in a peace sign. 2) Share the photo with #DiningForBrussels on Instagram, Facebook or Twitter.

People who did so had a chance to win dinner for two in a starred restaurant in Brussels. Great, simple, useful work with lovely visual insight at its core. 

Here's a fun if punishing way to get people to think about the ingredients in your beer.

Heineken, the official beer of the UEFA Champions League, with help from Publicis Italy, put up hundreds of outdoor ads around Milan recently featuring a gargantuan 100-character hashtag (that's the most allowed by Twitter). People were encouraged to share the hashtag in social for a chance to win tickets for the UCL Final.

So, what does the hashtag say? Roughly it translates to:

#WaterBarleyHopsAndHorizontal
FermentationAreTheSecretsOf
HeinekenSince1873TweetItRight
ToWinTheUCLFinal

The campaign, called "The Final Hashtag," is a bit of a cheesy way to force people to tweet your brand message. But as the agency says, it's a decently memorable way for the brand to "quickly talk about its credentials while reinforcing its image as the main sponsor of the UEFA Champions League." 

CREDITS
Client: Heineken
Agency: Publicis Milan, Italy
Executive Creative Director, Western Europe, CEO: Bruno Bertelli
Executive Creative Director, Italy: Cristiana Boccassini
Executive Creative Directors, Milan: Luca Cinquepalmi, Marco Venturelli
Associate Creative Director: Alessandro Candito
Art Director: Andrea Raia
Copywriter: Matteo Gatto
Strategic Planner: James Moore
Account Team: Lorenza Montorfano, Maria Elena Gaglianese, Veronica Stellato
Photographer: Michele Gastl
Post Production: Studio Ros

Snickers has dreamed up one of the cooler online/offline advertising-meets-point-of-sale hybrid campaigns of the year, introducing a "Hungerithm" that gauges the mood of the Internet and adjusts the price of its candy bars in 7-Eleven stores accordingly, in real time. 

The angrier the Internet, the cheaper the candy—to make everyone a bit happier. 

It seems like a pretty robust and responsive system, too. Created by Clemenger BBDO Melbourne, the Hungerithm—rolling out first in Australia—is built on a 3,000-word lexicon and analyzes around 14,000 social posts a day. It even understands slang and sarcasm, the brand claims.

The in-store Snickers price at 7-Elevens nationwide is updated more than 140 times a day. And it can drop as low as 82 percent off. ("For example," the brand says, "if Donald Trump receives Republican Party endorsement, the price of a Snickers could plummet to 50 cents.")

Check out the case study below, which explains a bit more about how to lock in a price at any time using your smartphone. 



The campaign is another inspired addition to the brand's "You're Not You When You're Hungry" positioning. And considering how enraged the Internet, and the world, have been getting lately, a campaign that promises to ease anger is particularly timely now. 



Indeed, Snickers is already hinting at taking the Hungerithm beyond Australia (where the campaign, which includes video, digital, outdoor, PR and social, runs through June 27). 

"We're hoping this shows consumers that Snickers is on their side during trying times, and we plan to satisfy even more hungry consumers by rolling the Hungerithm out globally in 2017," says Renee Lewington, Snickers marketing manager at Mars Australia. 



"Considering how quickly the Internet can swing from a place of sharing and enlightenment to one of incredible vitriol, we felt this was the perfect way to bring the, 'You're Not You When You're Hungry' platform to life," adds Clemenger BBDO Melbourne executive creative director Ant Keogh. "A data-led idea that changes the price of a global FMCG brand is an amazing opportunity. To launch it at scale through 7-Eleven is something else again."



CREDITS

Client: Mars Chocolate Australia
Marketing Director: Matthew Graham
Brand Manager: Renee Lewington
Assistant Brand Manager: Heidi Keller
National Sales Manager – Retail: Shaun Thomas

Agency: Clemenger BBDO Melbourne
Executive Creative Director: Ant Keogh

Creative Directors: Evan Roberts and Stephen de Wolf
Digital Creative Director: Ben Keenan
Art Director: Jackson Harper
Copywriters: Shannon Crowe and Jim Robbins
Regional Director: Jennifer Chin
Group Account Director: Bryce Coombe
Senior Account Manager: Sam Ayre
PR Director: Nichola Patterson
Planning Director: Michael Derepas
Senior Planner: Matt Pearce
Executive Producer: Sonia von Bibra
Head of Interactive Production: Christian Russell
Community Manager: Will Barber
Senior Digital Producers: Nathan VanderByl and Ben Crowe
Digital Producer: Allan Ngo
Senior Digital Designer: Adam Hengstberger

Senior Developer: Andrew McLagan
Senior Full Stack Developer: Sylvain Simao
Frontend & Backend Development: Omar Mashaal (CHE Proximity)
Backend Development: Andrey Sidorov and Alex Best (CHE Proximity)
Technical Director: Bob Watts (CHE Proximity)
Project Delivery Lead: Adam Burnell (CHE Proximity)

Undoubtedly eager to take a break from stuffing ground-up meat into sausage casings all day long, employees at Johnsonville try their hand at creating commercials in a new campaign from Droga5 tagged, appropriately enough, "Made the Johnsonville Way."

"Over the past three months, we interviewed almost 100 Johnsonville members, the people making the sausage, and had them pitch ideas," Scott Bell, agency group creative director, tells Adweek. "Then we narrowed it down to three and put the full production budget behind them."

The spot below sets up the premise, complete with an employee brainstorming session in which a Johnsonville dude named Brett proposes—what else?—a sizzling "sausage meets car chase" concept:



Next, we see Brett's crazy highway hijinks brought to life, complete with semi trucks, bikers, grannies on scooters and an explosive cookout climax:



"I think we get a little jaded to the point that flying out to L.A. to do a shoot can just feel like a job," says Bell. "But the members brought a whole different energy to the set. As soon as Brett saw the motorcycles flying through the air and landing in front of a huge car chase he yelled out, 'This is exactly how I envisioned it!' It was good to know he approved."

In the next ad, Jeff, who's been with the company for two decades, goes the anthropomorphic animals route, starring in a trippy woodland tale:



Whoa, what are they smoking those sausages with? (And who needs a bear with Jeff on the scene. We love ya, big guy!)

"Each commercial is reflective of the member who came up with it, and so they were very different from one another," says Bell. "It was like jumping through movie genres. We really wanted to treat these ideas with the same respect we would give any script we shoot, so we put a lot of pressure on ourselves to get them right."

The third spot, a horror movie spoof, drops next month. That work is previewed in the campaign trailer below, along with other hot ideas that could hit the grill as the campaign evolves:



That airborne sausage truck has Cannes Gold Lion written all over it! (Wait, we watched it again—it actually just says "Johnsonville." Sorry.)

Now, coming from agency pros, such silly concepts would have seemed clichéd, playing out like your standard forced wackiness from Madison Avenue. Coming from amateurs, however, the spots seem downright endearing. (Though when you think about it, the Johnsonville folks were clearly "inspired" by standard media tropes like chase scenes and talking animals, anyway.)

Of course, Droga5 has become well known for crafting commercial "parodies" that serve as actual ads for real clients, and amusing campaigns that self-consciously use marketing itself as a plot point. The Johnsonville push feels especially meta, with the employees actually presenting their own ads in each video. (So, we get an ad-within-an-ad kind of vibe.)

That could have been a tad confusing, but Arts & Sciences directors Adam Brodie and Dave Derewlany cook up an appetizing atmosphere, so the central conceit isn't too tough to swallow.

"The campaign works for Johnsonville because it's earnest and it's true and it's tightly linked to the DNA of their company," which prides itself on being one big brat-lovin' family, says Droga5 group strategy director Aaron Wiggan.

Moreover, Wiggan believes consumers will continue to enjoy self-referential advertising that skewers itself, "especially if you have some fun and give them something honest."



CREDITS

Client: Johnsonville Sausage, LLC
Campaign: "Made the Johnsonville Way"
Agency: Droga5 NY
Creative Chairman: David Droga
Chief Creative Officer: Ted Royer
Group Creative Director: Scott Bell
Senior Copywriter: Chris Colliton
Senior Art Director: Kevin Weir
Junior Copywriter: Gabe Sherman
Junior Art Director: Gage Young
Executive Design Director: Rob Trostle
Design Director: Rich Greco
Designer: April Pascua
Chief Creation Officer: Sally-Ann Dale
Head of Broadcast Production: Ben Davies
Executive Broadcast Producer: Scott Chinn
Executive Broadcast Producer: Adam Perloff
Global Chief Strategy Officer: Jonny Bauer
Group Strategy Director: Aaron Wiggan
Senior Strategist: Marc Iserlis
Data Strategy Director: Lily Ng
Group Communications Strategy Director: Brian Nguyen
Communications Strategist: Kevin Wilkerson
Group Account Director: Julia Albu
Account Director: Dave Murphy
Account Supervisor: Kate Tyler Monroe
Associate Account Manager: Rebecca Warren
Project Manager: Rayna Lucier
Client: Johnsonville Sausage, LLC
Vice President, Marketing: Ryan Pociask
Group Marketing Director, General Manager: Jim Mueller
Integrated Marketing Director: Jamie Schmelzer
Senior Brand Manager: Ron Schroder
Senior Brand Manager: Kimberly Keller
Associate Brand Manager: Steve Bembinista
Marketing Associate: Catherine Swick
Production Company: Arts & Sciences
Director: Adam & Dave
DOP: Toby Irwin
Executive Producer: Marc Marrie
Producer: Pat Harris
Editorial: MackCut
Editor: Ryan Steele
Assistant Editor: Maria Lee
Executive Producer: Sasha Hirschfeld
Post Production: MPC
Executive Producer: Elexis Stearn
Producer: Nicole Saccardi
Lead Artist (Flame): Andy Bate
2D Artists: Steven Miller, Mahendra Natha Reddy
3D Artists: Masahito Yoshioka, Ted Abeyta
Colorist: Mark Gethin
Color Assistant: Kris Smale
Executive Producer/Color: Meghan Lang
Producer/Color: Rebecca Boorsma
Production Coordinator: Valentina Cokonis
Assistant Line Producer: Neela Kumuda Parankusham
Sound: MackCut
Mixer: Sam Shaffer

Can discordant screaming sell ice cream?

Snickers sure hopes so, because that's the angle it's going with this new spot for Snickers ice cream bars. Playing on the "I scream, you scream" rhyme, the ad shows a mom and son, a crab, a tattooed bodybuilder, his tattoo and the boardwalk caricature of a married couple all screaming at one of those ice cream trolleys you see around the beach.



"What the hell is this? This is so surreal," says YouTube user SaltyStuff, which sums this ad up pretty well. It also covers all its bases with the audience, whether they like the product or (for some reason) loathe it.

CREDITS
Client: Snickers
Title: "Scream"

Creative Agency: BBDO New York
David Lubars: Chief Creative Officer, BBDO Worldwide
Greg Hahn: Chief Creative Officer, BBDO New York
Gianfranco Arena: Executive Creative Director
Peter Kain: Executive Creative Director
Eli Terry: Creative Director
Jessica Coulter: Creative Director
Amy Wertheimer: Group Executive Producer
Tara Leinwohl: Executive Producer
Kirsten Flanik: Managing Director
Susannah Keller: Global Account Director
Joshua Steinman: Account Director
Tani Corbacho: Account Manager
Annemarie Norris: Group Planning Director
Alaina Crystal: Senior Planner

Production Company: Gifted Youth
Fatal Farm: Director
Charles Papert: Director of Photography
Dal Wolf: EP / Managing Director
Anthony Ficalora: EP of Production / HOP
Alistair Walford: Staff Producer
Alana Mitnick: Producer

Editorial: Rock Paper Scissors
Helena Lee: Executive Producer
Leah Carnahan: Post Producer
Christjan Jordan: Editor
Pieter Viljoen: Assistant Editor

Post-Production Effects: MPC
Camila De Biaggi: Executive Producer
Alan Bibby: Creative Director
Ed Chapman: VFX Supervisor
Seif Boutella; Technical Director
Dorian Douglass: Producer
Marcus Wood: Head of 2D
John Shafto: Flame Artist

Mix Studio: Lime Studios
Joel Waters: Engineer
Susie Boyajan: Producer

Time was, McDonald's put toys in their Happy Meals to promote movies. Now they just dye their burgers, we guess. McDonald's China is making chicken and pork sandwiches with special red and green buns in advance of the Angry Birds Movie, and they're hardly a welcoming sight.

Why, McDonalds? It's already weird that a movie about birds is being promoted with a chicken sandwich, but there's no way anyone would look at the "Naughty Green" burger (which frankly looks moldy) or "Angry Red" burger and want to eat either one.



If they're just trying to provoke internet chatter, fine, but the general response has been a mix of "That looks disgusting" and "I'm really glad they didn't try that here." So, that didn't go well for them, either.

On the other hand, if the goal was to set our expectations for how bad the movie's probably going to be, mission accomplished.

Joining the trend in town with @AngryBirds Super Red @McDonalds Burger. pic.twitter.com/8zRaN7yWkz

— Khaw Han Chung (@dinastik) May 20, 2016

If you were on the fence about whether to become a pro surfer this summer, Coors Light is out with a new campaign that might make you wonder why you ever hesitated.

The ads, created by 72andSunny, combine a couple of themes that are currently popular among marketers—appealing directly to millennials' perceived appetite for adventure, and the use of 360° video.

In the first ad, pop on a virtual reality headset (or just spin around with your cursor on the video's desktop version) for a stunning view of the ocean, shot at surfing hot spot Ship Stern Bluff in Tasmania, Australia, from the perspective of a dude or dudette catching a huge wave. Twist the camera to see the water towering above—imposing enough to be thrilling, beautiful enough to put a smile on your face.

Naturally, there's a cold beer waiting for you onshore.

"Every climb deserves a refreshing finish," reads the copy. "We all have mountains to climb; what's yours?" This is welcome clarification for a mixed-sporting metaphor that would've felt wonky if the footage weren't so charming. 



It's masterfully paced, with a slow crescendo in both the visuals and the soundtrack, building to a clear, splashy high point and making otherwise boring sports footage come across as surprisingly satisfying. 

Two more clips—one for whitewater kayaking, shot at Behana Gorge in Wooroonoran National Park in Queensland; the other for downhill biking in nearby Cairns—offer similarly fun rides, though the cycling spot is probably the weakest of the three (a precipitous drop in the kayaking clip, meanwhile, is simply too good). 

The campaign genuinely capitalizes on the 360° perespective. Many of the moments are exciting from any direction, making this a far better application of the technology than, say, inviting viewers to turn and face a Holiday Inn shower head just to avoid looking at Rob Riggle yammering in a yellow raincoat.

Other marketers have illustrated how VR footage can be useful for populations that can't be where they want to, for reasons ranging from illness or work obligations. But Coors Light's treatment captures how, for a broader audience, the technology can be a window into new experiences.

Whether that's enough to sell more seltzer beer to twentysomethings isn't clear, but there are worse ways for a brand to package its lifestyle. And while spurring adventure might be its purported goal, the approach also promises that, soon enough, nobody will ever have to go anywhere or do anything for kicks. 

Popping on a VR headset is way easier—and much dryer—than actually learning to ride waves.

CREDITS

Client: Coors Light
Chief Executive Officer: Gavin Hattersley
Chief Marketing Officer: David Kroll
Senior Director Marketing: Elina Vives
Director of Marketing: Ryan Marek and Brendan Noonan
Associate Marketing Manager: Jen Naye Herrmann

Agency: 72andSunny
Chief Executive Officer, Founder: John Boiler
Chief Creative Officer, Co-Founder: Glenn Cole
Executive Creative Director, Partner: Bryan Rowles
Executive Creative Director, Partner: Jason Norcross
Creative Director: Jed Cohen
Creative Director: Galen Graham
Lead Designer: Anthony Alvarez
Sr. Writer: Alberto Garcia Orte
Jr. Designer: Chris Ruh
Jr. Writer: Matt Fink
Executive Film Producer: Jim Haight
Sr. Film Producer: Perrin Rausch
Jr. Film Producer: Jamie Glass
Group Brand Director: James Stephens
Brand Director: Andrew Krensky
Brand Coordinator: Anthony Fernandez
Business Affairs Director: Christina Rust
Jr. Business Affairs Manager: Noah Winter
Group Strategy Director: Matt Johnson
Strategist: Eddie Moraga

Production: Unit 9
Executive Producer Unit 9: Luca Delaurentiis

Production/Editorial/Visual Effects: Rapid VR
Director: Dave Klaiber
Executive Producer: Susannah Dilallo
Producer: Rita Gagliardi
VR Technician: Dan White
VR Assistant: Bek Hawkey

Music: South Music
Executive Producer: Ann Haugen
Head of Production, Partner: Dan Pritikin

Jonathan Goldsmith's Most Interesting Man in the World might have said adios (and flown off to Mars), but Dos Equis is hardly finished with its "Most Interesting" theme.

The Heineken brand just released two new ads, starring sportscaster Erin Andrews and actor Luis Guzmán, who are not the most interesting people in the world—but rather, the 5,008th and 8,507th most interesting, at least according to the comic spots. 

The 15-second ads, by Havas Worldwide New York, point to DosEquis.com, which in turn points to the "Dos Equis Interesting Index," an algorithm built for Facebook that lets fans gauge their own interestingness, based on their social posts.

As part of the summer campaign, and in preparation for the brand's 120th anniversary, Dos Equis has also refreshed its logo and packaging, prominently featuring a coin evoking the Centenario, a Mexican coin first minted in 1921 to commemorate the 100th anniversary of Mexico's independence.

And yes, it seems we will eventually meet Goldsmith's replacement, as the new ads "build toward the announcement of Dos Equis' next "Most Interesting Man in the World," according to the brand. 

Here's a nifty bit of tech-fueled out-of-home advertising from Snickers and BBDO New York, extending the candy bar's Marilyn Monroe-themed Super Bowl campaign.

In April, the agency set up a digital board in New York City showing the famed actress with her skirt blowing over a subway grate—a reference to the famous scene from 1955's The Seven Year Itch, which was also the theme of the brand's Super Bowl spot in February.

But this billboard also had a sneaky facial recognition camera to gauge the reaction from passersby. And we all know it's rude to stare, right? Check out the video to see what happened when folks lingered a bit too long:



It's a fun interactive execution, even if, conceptually, it's a bit at odds with what the whole "You're Not You When You're Hungry" campaign is about. (Here, Marilyn gets grumpy at being gawked at, not because she's hungry.)

It's timely, too. Monroe, who died in 1962 at age 36, would have turned 90 on Wednesday. 

CREDITS
Client: Snickers

Agency: BBDO New York
David Lubars: Chief Creative Officer, BBDO Worldwide
Greg Hahn: Chief Creative Officer, BBDO New York
Gianfranco Arena: Executive Creative Director
Peter Kain: Executive Creative Director
Scott Mahoney: Creative Director
Dan Oliva: Creative Director
Joey Henson: Copywriter
Jimmy Morrissey: Art Director
David Rolfe: Director of Integrated Production
Amy Wertheimer: Group Executive Producer
Alex Gianni: Executive Broadcast Producer
Neely Lisk: Executive Producer
Koji Yahagi: Director of Photography
Jeff Reagan: Production Assistant

Kirsten Flanik: Managing Director
Susannah Keller: Global Account Director
Joshua Steinman: Account Director
Tani Corbacho: Account Manager
Jocelyn Choi: Account Executive
Annemarie Norris: Group Planning Director
Alaina Crystal: Planning Director
Sean Stogner: Senior Communications Planner

Celebrity Talent and IP Rights Acquisition: Brad Sheehan, The Marketing Arm

Experiential Production Company: Pearl Media
Anthony Petrillo: Executive Producer
Daniel Odham: Producer
Jennifer Ohs: Creative Technologist

Editorial/Post Production: EG+
Renee Haar: Director of Post Production
Amy Feldman: Post Producer
Tim Jansen: Editor
Harry Nelson: Assistant Editor
John Cabrera: Audio Engineer

In the U.S., grocery store sales are a $600 billion industry. With a few key players offering essentially the same product, the industry is dominated by the brands that know how to endear themselves to consumers. In a new study released exclusively to Adweek, Boston-based consultancy C Space homed in on consumer loyalty among the big players, attempting to flesh out some insights about what makes shoppers come back. "The grocery industry is an increasingly crowded space, and every new innovation brings consumers more choices. This data proves that, rather than relying on short-term tactics like discounts and reward programs, building loyalty depends on a grocery retailer's capacity to intuitively "get" its customers," said Charles Trevail, CEO of C Space. "The ones that are positioned for long-term growth are those retailers that are partnering with and drawing inspiration from their customers, delivering products and experiences that align and evolve with their values and priorities."

Carlos Monteiro

This story first appeared in the June 6, 2016 issue of Adweek magazine.
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In the U.S., the same six chemical companies that make pesticides (aka "The Big Six") also control 63 percent of the seed market. That's f*cked up, according to the charismatic animated organic seed who narrates this punchy and amusing short film about the virtues of organic seed over the chemically dependent alternatives. 

The film, "Mr. Seed," is a production of the Clif Bar Family Foundation and was made by The Butler Bros., a brand design studio in Austin, and directed by animation company Buck. It stars a foul-mouthed organic seed who offers his bleeped-out thoughts about GMO seeds—which the client says have led to a nutrient decline of 43 crops, more than $15 billion in human health costs in 2005 alone from agricultural pesticide exposure, and an overall food system that is unsustainable. 

Despite his bad language, Mr. Seed—voiced by comedian Pete Holmes—is actually a good seed, hoping to challenge the narrative from the big agrichemical companies that only they can feed the world. 

"Is this what America wants to eat?" he asks. "Unlike those GMO bros, organic seeds like me can feed the world without ruining it because we keep it clean. We don't dirty ourselves with all those pesticides." 

"Organic seed needed a voice that couldn't be ignored so its advantages could be shared broadly," says Adam Butler, founder and strategic chief of The Butler Bros. "Mr. Seed was born to be that voice, and now it is thanks to an ambitious script, a brave client and an epic collaboration with Buck."

The film points to SeedMatters.org for more information.

"With Mr. Seed, we hope to raise interest and awareness in organic seed and increase conversations about changing our chemically dependent food system," says Matthew Dillon, director of the Seed Matters campaign. "We want to show people that there are alternatives, that they have a choice and a role to play in the solution."

"The Butler Bros. were fantastic partners," adds Buck creative director Ryan Honey. "They conceived of the idea of Mr. Seed and brought Pete Holmes to the table, who is an amazing comic talent, but they also supported our creative vision. It was great to have a partner that saw our passion for the project and worked with us creatively to make a better film."

CREDITS
Client: Clif Bar Family Foundation
Project Title: Mr. Seed

Concept by The Butler Bros.
Creative Directors: Adam Butler, Marty Butler
Art Directors: Allie Nordstrom, Marty Butler
Copywriters: Jeremy Spencer, Ryan Honey, Erik Enberg, Adam Butler
Designers: Craig Crutchfield, Hoang Nguyen
Producers: Vincent Calderon, Bridget Liddy, Christine Lopez

Directed by Buck
Executive Creative Director: Ryan Honey
Executive Producer: Maurie Enochson
Creative Director: Joe Mullen
Head of CG: Doug Wilkinson
Producer: Emily Rickard
Production Coordinator: Kaitlyn Mahoney
Art Director: Laura Yilmaz
Character Design: Joe Mullen, Kenesha Sneed
Storyboards: Laura Yilmaz, Kendra Ryan, Craig Yamamoto
Concept Art and Matte Paintings: Laura Yilmaz, Scott Huntsman, Susan Yung
Design: Laura Yilmaz, Joe Mullen, Susan Yung, Scott Huntsman, Audrey Lee, Rasmus Bak,
Xoana Herrera, Vincent Tsui, Jenny Ko, Kenesha Sneed
CG Lead: Alex Dingfelder
Modeling: Eric Pagtaconan, Wing Sze Lee, Michele Herrera, John Niehuss, Mingoo Park, Jens
Lindgren, Eyad Hussein, Alex Dingfelder, Arvid Volz, Brice Linane, Rie Ito
Look Development Lead: Alex Dingfelder
Look Development: Wing Sze Lee, Eric Pagtaconan, Michele Herrera, Jens Lindgren, John
Niehuss, Mingoo Park
Rigging TD: Ernesto Ruiz Velasco
Character TD: Eyad Hussein, Ernesto Ruiz Velasco
Pipeline and FX TD: Albert Omoss
Additional Rigging: Lee Wolland
Animation Director: Alessandro Ceglia
3D Animation: Alessandro Ceglia, Tyler Lancaster, Dony Permedi, Adam Floeck
2D Screen Animation: Vincent Tsui, Debora Cruchon, Rafael Araujo, Nicole Stafford
Lighting Direction: Alex Dingfelder
Lighting: Wing Sze Lee, Jens Lindgren, Alex Dingfelder, Eric Pagtaconan, Michele Herrera
Compositing Lead: Alex Dingfelder
Compositing: Wing Sze Lee

Pharm Foods Commercial:
Design: Gunnar Pettersson
Animation Director: Laura Yilmaz
Animation: Laura Yilmaz, Kendra Ryan, Nick Petley, Vincent Tsui, Rafael Araujo, Debora
Cruchon, Nicole Stafford

End Credits:
Associate Creative Director: Kevin Walker
Design: Rasmus Bak
Animation: Rasmus Bak, Esteban Esquivo
Music and Sound Design: Antfood
Voice of Mr Seed: Pete Holmes

What if you had the perfect excuse to watch the UEFA Champions League Final at an epic Heineken party ... without your girlfriend?

That's the setup in Heineken's latest stunt for soccer fans. One week before the UEFA Champions League Final in Milan, Heineken targeted a handful of guys out at dinner in São Paulo with their girlfriends. When the guys opened the menus, they were met with a surprising message:

Would you like to be free to watch the UEFA Champions League Final at a Heineken party? Gift your lady a weekend at this spa.

What follows is a long, comic silence, after which the guys try adapting the message for their skeptical girlfriends as if they'd planned it all along. One lays it on thick, claiming he did a huge amount of research. 

"You want to get rid of me?" a girlfriend asks incredulously.

"Look how stressed you are," her dude responds. "You need some time for you!" 

It's classic, in keeping with the kinds of stunts and messaging Heineken has become known for—surprising and rewarding mostly male soccer fans to build on the idea that Heineken is your own personal beer buddy, as keen on the sport as you are. 

We're all for boys just wanting to have fun, but for women, the asymmetry can be irritating. (Why couldn't they just tell them?) That irritation builds as the ladies take the bait and our trio of heroes skip off to party town, where a cheering crowd, a big-screen TV and beers await them. The guys cozy up under a #ChampionTheMatch banner, clinking glasses in celebration of their little caper.

But the ad ain't over yet.



The guys faces are priceless as they absorb the surprise, followed by the moral of this little Aesop's fable: "Have you ever considered that she might like football as much as you do?" (You know this already, but soccer is actually football elsewhere in the world.) 

The guys clap to their own dupe, sportsmanlike to the end. And in exchange for being such loveable cads, the women tell them to peep under their seats. Aww... tickets to Champions League 2017. This time they'll all go together. 

Created by Publicis, "The Cliché" provides a different kind of gratification that reflects an evolution in couples culture as-seen-on-TV, one in which both partners win in equal measure, and no single sex is so easily had. And while we take it for granted that there's stuff our dudes would rather do without us (and vice versa), the ad's real message is that these divides don't have to be determined by blanket cultural stereotypes about what your partner will or won't enjoy. 

Those divides go both ways. We're pretty sure that, after discovering their kick-ass soccer weekend has been grossly overshadowed by their girlfriends', our fallen-from-grace protagonists would be open to a spa treatment, if only to massage away all that pwnage.

CREDITS

Cliente: Heineken
Agência: Publicis
Direção de criação: Hugo Rodrigues, Kevin Zung e Alexandre (Xã) Vilela
Direção de arte: Henrique Mattos, Cícero Souza, Guto Kono
Redação: Pedro Lazera, Mariana Albuquerque, Samuel Normando
Atendimento: Danilo Ken, Daniel Batista e Marina Roge
Planejamento: Eduardo Lorenzi, Alexandra Varassin, Rafael Fiorito e Leonardo Andrade
Social strategist: Tiago Martinez
Mídia: Gracieli Beraldi, Giuliana Barletta e Nicolas Lana
RTVC: Tato Bono, Dani Toda
Produtora: Hungry Man
Diretor: Caio Rubini e Fabio Pinheiro
Managing Partner: Alex Mehedff
Produtor executivo: Rodrigo Castello e Renata Corrêa
Line Producer: Mariana Marinho
Diretor de fotografia: Felipe Meneghel
Equipe de produção: Hungry Man
Supervisor de Pós-Produção: Rodrigo Oliveira
Pós-Produção: Efecktor
Montador: Thiago Ceruti
Color Granding: Psycho N'Look
Produtora de áudio: Jamute

Is Todd Gurley actually vegetarian?

You have to wonder after watching this Carl's Jr. commercial starring the Los Angeles Rams running back. The spot shows Gurley supposedly biting into the California Classic Double Cheeseburger, but it's blatantly obvious that the burger isn't real—it's a digitally inserted photo that isn't fooling anyone.

Check out the YouTube comments—almost every one is mocking. "That CGI burger is as inflated as your prices," says one. Says another: "Feel free to send me some burgers at my email. Thank you. Also save them in photoshop so I can eat them at a higher res! Thanks!"

The ad has 92 likes and 700 dislikes on YouTube, as of this writing.

PetaPixel says the same burger photo was even used in separate shots in the ad:



We've reached out to Carl's Jr. for comment on this, and will update if we hear back. In the meantime, Gurley has taken over Carl's Jr.'s Instagram for a couple of days, where he continues to have lots of fun not eating the chain's food. 



UPDATE: Carl's Jr. has now tweeted about the controversy, and included a GIF showing Gurley munching on burger after burger while filming the shot in question. Guess the burger just didn't look good enough in that footage. 

Most fast-food chains have drive-throughs. Not many offer fly-throughs. 

To illustrate how quickly customers can pre-order and pick up their balanced breakfasts with a new app, Dunkin' Donuts enlisted the help of wingsuit base jumper Ellen Brennan, who grabs a suspended paper bag of donuts midway through her descent from 8,346 feet ... at 120 miles per hour. 

And yet gliding at speeds that most doughy, nebbishy humans would find synonymous with certain death wasn't impressive enough. She also threaded herself through a tiny needle at the same time, in a stunt the marketer says is the first time anyone has successfully grabbed an object during a wingsuit flight. 



To be fair, Brennan had a little help. Velcro on the arms of her synthetic flying squirrel suit grabbed onto the special bag, sparing her the trouble of having to coordinate her thumbs (or distract her from her more important mission of staying airborne). But that's hardly the kind of cheat anyone is going to hold against her.

A 360° video shot by one of Brennan's airborne cameramen offers a different perspective on the gorgeous scenery, the Aiguille de Varan in Chamonix, France: 



The behind-the-scenes video is an especially fun trip, mostly because it reveals just how hard it was to pull the stunt off. The effort is all the more impressive for the fact that Brennan came so close to hitting the target but failed multiple many times, honing in again and again on a tiny window, rather than just nailing it once. 



In contrast, the 60-second commercial, created along with the rest of the campaign by DigitasLBi, almost makes it seem too easy. 

As hyperbolic marketing goes, this is on the more entertaining and memorable end of the spectrum (if not as heart-stopping as Felix Baumgartner's base jump from outer space for Red Bull in 2012). It does, though, set the bar awfully high for other Dunkin' customers, especially in terms of style points, as well as for the kind of service the brand's locations will provide to passersby.

Then again, more prosaic consumers will probably have an easier time enjoying their coffee and donuts, as they continue on their respective trajectories, than Brennan did as she hurtled toward the ground. 

CREDITS

Client: Dunkin' Donuts
Chief Digital Officer: Scott Hudler
VP, Digital Marketing & Innovation Marketing: Sherrill Kaplan
Senior Director, Advertising & Customer Exp.: Linda SanGiacomo
Senior Manager, Advertising: Christopher Beijar
Advertising Manager: Courtney Clayton
Director of Digital & Innovation Marketing: Paul Murray
Interactive Marketing Manager: Eileen Cawley

Agency: DigitasLBi, Boston

Creative:
Chief Creative Officer:  Ronald Ng
Executive Creative Director: Doug Schiff
SVP Creative: Jamie Ferreira
Group Creative Director/Art Director: Mark Chamberlain
Group Creative Director/Copywriter: Marc Gottesman
Associate Creative Director: Mike Egan
Art Director: Brian Noyes
Copywriter: Jason Kaplan
Designer: Jimmy Alleman
VP, Exec. Producer:  Ben Raynes

Account:
SVP, Account Director:  Julie Blanche
Account Manager:  Shayna Lederman

Social:
Lindsay Sutton, Caitlin Hurley

Business Affairs
Executive Director, Business Affairs & Talent: Dan Simonetti
Associate Dir, Business Affairs: Sarra Angelou

Integrated Production:
Kendra Schindler, Andre Ferla, Shayna Lederman

Production Company:
Seven Twenty

Directors:
Guido Perrini
Mark Chamberlain

Cinematographers:
Adrien Nisan
Lauri Aapro
Toby Bradley

Post Production:
DigitasLBi, Boston
VP, Editor: Toar Winter
Editor/Motion Graphics:  Annie Lefley

Accomplice, Boston
Editor:  Kevin Moore

Mr. Bronx, New York
Soundtrack Boston

Athletes:                                                                                                                                   
Ellen Brennan
Laurent Frat

Finnish probiotics brand Gefilus is so good at building up healthy bacteria in your gut—thereby strengthening your immune system—that you could lick a pay phone in Moscow and not get sick.

That's the rough premise of a 22-minute (!) ad from dairy conglomerate Valio.

To illustrate the effectiveness of its product, the marketer hired travel television host Ian Wright, known for his willingness to eat just about anything, to bounce around the globe with a germ-measuring meter. 

Along the way, he slides his tongue across the filthiest surfaces he can find while maintaining a steady Gefilus diet to boost his body's internal defenses.

It's a strong contender for the grossest ad of 2016, with Wright taking on some truly rancid challenges. To his credit, he draws the line at the handle of a public bathroom stall in Moscow, though it's not really clear that would be worse than some of the other surfaces he's willing to taste.

Horror-gaping aside, it actually manages to be surprisingly entertaining, and perhaps even informative. The documentary-style ad, charmingly if goofily titled "The Lick-Hikers Guide to Inner Strength" and created by Hasan and Partners Helsinki, features interviews with doctors and academics, and cute little animations on Valio's vision of the science of probiotics.



Licking dirty things is pretty rare—though not unheard of—as an advertising theme, and no wonder. Still, Wright's humor about the dubious sanity of the undertaking makes him endearing, even as he samples filthy river water in Helsinki, or the flush button in a train bathroom.

Ultimately, the highest concentration of germs he finds is in his home kitchen sink—though as the credits roll, he measures a certain part of his own person that, perhaps unsurprisingly, is not far behind.

Whether Gefilus can really turn your gut into an iron fortress is another question; it goes almost without saying that Wright's tests aren't exactly a convincing experiment. But one thing is for sure: Don't try this at home. Not that you'd want to.

If you're not one of the 5,000 food fans attending this year's sold-out Food & Wine Classic in Aspen, KitchenAid is bringing the culinary world's preeminent event to you.

This afternoon, the home appliance brand, which has a 30-year relationship with the annual festival, will launch "Have Dinner With Us," employing Facebook Live and other social content to enable anyone to follow along with cooking demos by headlining chefs in Aspen and to get additional information about recipes, techniques and shopping. This is the first time live video has been produced at the event, founded in 1983.

Beyond Facebook, content can be found at the websites of KitchenAid and Food & Wine and via both brands' other social channels. Food & Wine and KitchenAid have a potent social following, with more than 2 million total fans on Facebook and 1.5 million via Instagram.

The activation is in partnership with Chris Cosentino, winner of Top Chef Masters, a frequent guest on Iron Chef America and chef/owner of Cockscomb in San Francisco.

"This is the quintessential food event in the world," Bill Beck, vp, brand marketing at KitchenAid, told Adweek at the Classic. "When you look at the top events, whether the Super Bowl or the Indianapolis 500, this is the event you want to be attending, not just from a brand perspective or a chef's perspective but from a consumer's perspective."

Participants pony up $5,000 to attend the Food & Wine Classic, which typically sells out. The event hosts celebrity chefs, journalists and brand marketers from around the world. Aside from KitchenAid, brand partners of this year's event include American Express, Celebrity Cruises, All-Clad, Lexus and Patrón.
 

CANNES, France—Y&R New Zealand's cheeky recipe for the "McWhopper"—a sandwich that Burger King proposed to collaborate on with McDonald's, but which didn't actually happen—won the Grand Prix in the Print & Publishing competition at the Cannes Lions Festival here tonight.

Last August, BK purchased a full-page ad in The New York Times and the Chicago Tribune, inviting McDonald's to create the cross-brand burger in honor of Peace Day on Sept. 21.

 

"We know we've had our petty differences," the copy said, "but how about we call a ceasefire on these so called 'burger wars'? … We'd like to propose a one-off collaboration between Burger King and McDonald's to create something special—something that gets the world talking about Peace Day. The McWhopper. All the tastiest bits of your Big Mac and our Whopper, united in one delicious, peace-loving burger."

BK suggested selling the item for one day only (Sept. 21) in one location, with all proceeds benefiting nonprofit group Peace One Day. The ad concluded with the line, "Let's end the beef, with beef."

McDonald's CEO Steve Easterbrook, however, chose to maintain corporate hostilities, nixing the notion of such a team-up. (While rejecting the McWhopper, he said the chains should join in some sort of "meaningful global effort" to support peace, but that never materialized either.)

BK agencies Code & Theory, Alison Brod Public Relations, David, Rock Orange, Turner Duckworth and Horizon contributed to the effort, which captured the public's attention and generated scads of publicity.

In April, the campaign won the Grandy, the highest honor at the International Andy Awards, and Y&R staffers from around the globe celebrated by creating their own versions of the McWhopper and immortalizing their culinary efforts in a fun video.

Like another Grand Prix winner tonight—REI's #OptOutside, which scored the top honor in Promo & Activation—"McWhopper" ranked among the campaigns favorited to win Lions at Cannes. Print & Publishing jury president Joji Jacob, group executive creative director at DDB Singapore, said he instructed the judges to look for print work that could pass a few simple tests.

"We looked for a print ad that would keep me from sneaking a look at my smartphone every five minutes," he said. "Can a print ad engage us long enough to not look at our phones? The other thing was: Could a print ad be as engaging as my social media feeds? Does it tell me more than my Facebook feed, or my Twitter feed? If I put it on the internet, would it take off and become viral?"

The winner passed both tests with flying colors.

"It's a very simple piece of print work. But it's print work at its most powerful," Jacob said. "It was a piece of print which set off a whole chain of a marketing ecosystem. It's a print ad which was hijacked by the net, which is awesome. It got spoken about all over the world, and it became a viral sensation in itself."



Jacob conceded that some other entries were better crafted, and better written. "But a single print ad that could get picked up by TV, that could get picked up by the internet—it was the idea behind it," he said. "And we think this is the future of print. It's not just an isolated piece. It's a piece that creates a conversation, and gets hijacked by the socially dominant media and starts spreading the word around. And it became the lynchpin of a massive campaign."

The U.S. won just two Lions in Print & Publishing. The Community in Miami—a unit of SapientNitro—scored a pair of silver for its latest playful ads promoting the public bicycle system in the city of Buenos Aires. Those illustrated efforts delivered the message, "Don't act like a pedestrian when you're on wheels." (That agency-client team won the Grand Prix and two Gold Lions last year in this category, which used to be known as the Press Lions.)

Oh, for the good old days of breakfast cereal. If you're of a certain age, chances are you can hum Kellogg's "Two scoops of raisins" jingle, imitate Tony the Tiger growling how "Grrreat!" Frosted Flakes were, and perhaps even remember when Bruce Jenner adorned a Wheaties box. There was a time, not too long ago, that ready-to-eat cereals accounted for 38 percent of the breakfast food eaten by Americans—many of them kids, who got their daily sugar fix from brands like Cap'n Crunch, Trix, and Fruity Pebbles.

But those days are over. Cereal sales have been circling the drain for over a decade now. According to Nielsen data, Americans still spent $8.75 billion on ready-to-eat cereal last year—but as recently as 2012 that figure was $9.6 billion. And even though March 7th was National Cereal Day, the two dominant players in the category—General Mills and Kellogg's—have found little to celebrate. But as Americans turn to breakfast alternatives in increasing numbers, it's worth looking at how these companies are responding to an eroding market. Below, a snapshot of their strategies.

Kellogg's
Kellogg's is the world's largest maker of cereals. That's no small boasting point—at least, until you consider that cold cereal ain't so hot anymore. While 90 percent of households still buy box cereal, younger Americans are leaving it behind for alternatives like yogurt or portable options such as breakfast bars. Already declining for years, the retail volume of breakfast cereals slipped another 2 percent in 2015, per Euromonitor. Faced with those soggy prospects, Kellogg's has adopted an interesting tactic: It's using the name recognition of its many breakfast cereals to launch new products that might be for breakfast, but aren't cereal. For example, debuting in May were Kellogg's Raisin Bran Granola, designed for eating on the go, and Special K Crustless Quiche, "an entirely new breakfast option," according to headquarters. These products came on the heels of a December 2015 initiative that encouraged Americans to "reimagine their breakfast" and "think outside the cereal box" by using cold cereals as a key ingredient in new dishes curated by celeb chef Christina Tosi. These included Raisin Bran Carrot Cake and Corn Flakes Chilaquiles. Meanwhile, Kellogg's has also been modifying its famous cereals into "portable" form with products like Special K Breakfast Medley Sandwiches and Chewy Nut Bars that "fit the way many people eat breakfast today." So how's all this working? While Kellogg's said it "continued to make progress" in the "cereal category share," Q1 2016 sales in its morning foods division still slipped 1.2 percent.

General Mills
Faced with the slow but steady decline of breakfast cereals, General Mills has responded by increasing its investment in them. "Our top priority in U.S. retail this year is to drive growth in cereal," General Mills CEO Ken Powell told analysts late last year. And how to do that? Big G cereals (the General Mills division that represents 22 percent of company sales) is out to spruce up cold cereal's reputation by eliminating the high fructose and artificial ingredients that have characterized—and, in recent years, tarnished—its many famous brands, especially sugar-laden granddaddies like Cocoa Puffs and Lucky Charms. As of this year, Big G had reformulated three-quarters of its lineup, including Trix, Cocoa Puffs and Golden Grahams, and rolled out a new spot called "Love Cereal Again." "We want people to be able to … feel better about what they are eating and serving their families," General Mills' R&D manager Kate Gallager said in a statement. Meanwhile, earlier this month, Big G doubled down on its strategy by launching Tiny Toast, its first new cereal brand in 15 years. Unfortunately, Wall Street didn't feel as good as General Mills, whose stock took a dip on the day of the announcement. Skeptics contend that the cereal category is already laden with too many brands and doubt that time-starved, mad-dashing Americans can be lured back to the leisurely breakfasts they enjoyed a generation ago. Still, General Mills' retail segment did post a 4 percent sales increase for Q1 2016—and that's a start.

This story first appeared in the June 20, 2016 issue of Adweek magazine.
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CANNES, France—In a decision that takes the category well beyond its traditional parameters, the Outdoor Lions jury handed its Grand Prix award to Colenso BBDO here tonight for its ingenious campaign to create a clean-burning, conflict-free biofuel from the yeast left over from the brewing process of client DB Export's beer.

The campaign, which narrowly missed taking home the Grand Prix in the Promo & Activation category on Monday (it was edged out by REI's #OptOutside), was framed in the advertising with an irresistible appeal to beer lovers: Drink enough beer, and you could save the world.

"When you speak about outdoor work, your mindset is ready to see a billboard," said jury president Ricardo John, chief creative officer of J. Walter Thompson Brazil. "That's no longer true. Our Grand Prix solves a real business problem for a big brand. This is a Grand Prix that will make the category go even larger."



John was even blown away on a personal level by the campaign.

"How can you make people drink more beer? It's easy for me to drink more beer. But how do you give them a relevant excuse that's good marketing to you, but is also good to your whole family, your whole ecosystem, your stakeholders? And how do you use media to do that?" he said. "These guys, this agency, they managed to do this. They managed to claim that if you drink more beer, you'll save the world. That's the highest proposal that I've ever seen in my career in advertising. And it's my favorite one, because I do love beer!"

—U.S. Outdoor Lion winners
U.S. agencies won three Gold Lions in Outdoor: TBWA\Chiat\Day New York won a gold, as well as a silver, for its Airbnb "Animals" campaign. (The "Octopus" execution from that campaign also individually won a bronze.) Wing New York won gold for a Jorge Castañeda campaign. And Leo Burnett Chicago won gold for the Art Institute Of Chicago's "Van Gogh BnB."

Three other U.S. agencies won silver: McCann New York for Lockheed Martin's "The Field Trip To Mars"; TBWA\Media Arts Lab for Apple's "Color Bars"; and FCB Chicago for a Boeing campaign.

Grey New York won three Bronze Lions, two for Canon and one for States United To Prevent Gun Violence. Single bronze winners from the U.S. were: 360i New York for Canon; 180LA Santa Monica for Expedia; FCB Chicago for Contours Strollers; Energy BBDO Chicago for S.C. Johnson; and David Miami for Burger King.