# data[].attributes.attachment_link.title
Boots Christmas TV Advert 2018 #GiftsThatGetThem

# data[].attributes.attachment_link.title
However you do Christmas | Tesco #EveryonesWelcome

# data[].attributes.attachment_link.title
Christmas 2018 Ad | Concert | Waitrose & Partners

# data[].attributes.attachment_link.title
Do a bit of Debenhams: do a bit of you-know-you-did-good | Christmas advert 2018

# data[].attributes.attachment_link.title
This is not a Brick. It’s their wildest wishes - LEGO

# data[].attributes.attachment_link.title
Lidl Christmas ad 2018 |  Hortus Oriental Spiced Gin

# data[].attributes.attachment_link.title
Argos Christmas TV ad 2018 – The Christmas Fool

# data[].attributes.attachment_link.readable_text
The Space Station is only about 250 miles from Earth, and astronauts are never alone there, yet it remains a perfect modern metaphor for isolation. The reason is simple: It's the ultimate mental image of being separated from our loved ones.

Earlier this year, Ronald McDonald House and Canadian agency Cossette used the image allegorically, illustrating a mom's feeling of not being able to visit her child in the hospital.

Now, for the holiday season, Macy's and agency BBDO New York take to orbit for a more literal story of a family separated at Christmas while mom is serving solo on a spacecraft. Through a series of brief and potent scenes, we watch from both the Earth and space as the holidays near and hopes for a family reunion dwindle.

But luckily, her daughter planned ahead for just such a contingency:

Admittedly, NASA purists might find the whole scenario a bit silly, partly because it takes place aboard a fictional solo spacecraft that's quite a bit lonelier than the real International Space Station.

One might picture Canadian astronaut Chris Hadfield's eerily lonesome video playing David Bowie's "Space Oddity," but in fact he's said serving in space was actually a very different experience: "On board the space station, we were there with five good friends most of the time, and we could see the whole world out the window, see the entire planet over and over again," he told U.S. News and World Reports. "And we're constantly talking to mission control, we had email, I could phone my wife and I could communicate via social media. So I have never felt more connected with everybody on Earth."

And, of course, NASA engineers would be apoplectic at the idea of countless tiny bits of styrofoam floating about the carefully controlled cabin.

But setting aside such fetters of reality, one has to admit Macy's found a lovely and memorable image for the holidays-while also quietly celebrating women in STEM careers (BBDO also being the agency behind Barbie's recent push to empower girls in fields like science and math).

Plus, who hasn't wanted to live in a snow globe at some point? Except for all those people who worked at St. Elsewhere?
CREDITS:
Agency: BBDO
Worldwide Chief Creative Officer: David Lubars
Chief Creative Officer New York: Greg Hahn
EVP, Executive Creative Director: Danilo Boer
EVP, Executive Creative Director: Marcos Kotlhar
SVP, Senior Creative Director: Tom Kraemer
SVP, Senior Creative Director: Peter Alsante
VP, Creative Director: Bianca Guimaraes
Senior Project Manager: Noreen Masih
VP, Group Executive Producer: Dan Blaney
Executive Producer: Katie Porter
Associate Producer: Corie Rosenblatt
Business Affairs Manager: Nancy Espinal
SVP, Director of Music: Rani Vaz
Music Producer: Julia Millison
SVP, Group Planning Director: Yin Chung
VP, Planning Director: Liz Simons
EVP, Senior Director: Corey Cirillo
Account Director: Justin Perrelli
Account Executive: Charlie Kunze
Account Executive: Clare Driggs

Production: Epoch Films
Director: Martin De Thurah
EP: Melissa Culligan
Line Producer: Michaela Johnson
DP: Chayse Irvin

Editorial: Work Editorial
Executive Producer: Erica Thompson
Sr Producer: Jamie Lynn Perritt
Producer: Chris Delarenal
Editor: Rich Orrick
Assistant Editor: Theo Mercado

VFX: Blacksmith
VFX Supervisor / Lead Compositor: Daniel Morris
VFX Supervisor: Iwan Zwarts
VFX/CG Supervisor: Olivier Varteressian
Executive Producer: Charlotte Arnold
VFX Producer: Bindy St. Leger
CG Artist: Tuna Unalan, Michael Marsek, Casey Reuter, Vitaliy Burov
CG FX Artist: Rick Walia
Compositors: Robert Bruce, Tim Reagan, Nick Tanner, Jacob Slutsky, Yebin Ahn
Matte Painter: Sue Jang

Music: Soundtree Music
Executive Producer: Jay James

Music title: HOME
Composed by Joel Hartman for Soundtree Music
Published by Soundtree Music Publishing
Head of Music Production: Luis Almau
MD/Producer: Jay James

Continue Reading

# data[].attributes.attachment_link.title
Macy's Holiday Ad Is a Touching Tale of Being Apart From Those We Love at Christmas

# data[].attributes.attachment_link.description
The Space Station is only about 250 miles from Earth, and astronauts are never alone there, yet it remains a perfect modern metaphor for isolation. The reason is simple: It's the ultimate mental image of being separated from our loved ones.

# data[].attributes.attachment_link.readable_text
Post-midterm America is undoubtedly a divisive place, and it appears that things aren't so different over in Europe. Between Brexit negotiations and the rise of far-right, anti-immigration parties in Germany, Italy and Sweden, many Europeans are feeling as though their countries are as divided as ever.

With Christmas just around the corner, online European fashion retailer Zalando has released a holiday ad that pushes a message of inclusion and acceptance during these tense times.

The ad features a pan-European choir singing the words to 'Silent Night' in five different languages. What's more, the chorus is made up of everyone from one-year-olds to centenarians, most of whom the agency said were found via street casting, community choirs, singing groups and even retirement homes.

In the ad, each choir member's age is expressed in the form of how many Christmases they've experienced (i.e., 44th Christmas). While their ages and languages vary, the one-minute spot hopes to remind people that Christmas is a time of year that brings people together despite their differences.

"We spent a lot of time with our consumers, and they told us there's more that unites us than divides us," said Jonny Ng, Zalando's director of marketing strategy and campaigns. "Christmas and the festive season is a time of year where we all truly come together; different generations, different backgrounds, and different styles. Festive fashion makes us feel special, sparks conversations and adds to the magic."

Created by Wieden + Kennedy Amsterdam, the ad rings similar to Coca-Cola's 2014 'It's Beautiful' spot, which aired again before last year's Super Bowl. In the Coca-Cola ad, a diverse group people sing the lyrics to 'America the Beautiful' in languages including English, Spanish, Hindi, Tagalog and Hebrew.

According to Zalando, this is the first campaign the company's executed in partnership with Wieden + Kennedy Amsterdam. The effort, titled "Never Out Of Fashion," spans TV, digital, print and out-of-home in 17 European countries.
CREDITS:
Wieden + Kennedy Amsterdam
Executive Creative Directors: Eric Quennoy, Mark Bernath
Creative Directors: Daniel Schaefer, Szymon Rose, Irene Kugelmann
Art Director: Güney Soykan, Cassandre Gouraud
Copywriter: Mohamed Diaa, Tim Coleman, Ben Harris
Head of Broadcast Production: Joe Togneri
Broadcast Producer: Endy Hedman
Assistant Producer: Eline de Roo
Group Account Director: Kirk Johnsen
Account Directors: Aimée Betancourt, Louise Rahman
Account Manager: Isabelle Udall
Account Executives: Madison Inman, Abderrahim El Khouani
Head of Planning: Martin Weigel
Senior Planner: Nusara Chinnaphasaen
Head of Comms & Digital Strategy: Danielle Pak
Comms Strategist: Jocelyn Reist
Art Buyer: Kate Barrett
Head of Design: Joe Burrin
Studio Director: Lizzie Murray
Studio Artist: Noa Redero
Project Manager: Eline de Roo
Business Affairs: Michael Graves

Production Company: Cherry
Director: Jake Nava
Director of Photography: Mathieu Plainfosse
Executive Producer: Benedict Cooper

Editorial: Work Editorial
Editor: Julia Knight
Executive Producer: Julian Marshall

Music Supervision and Production: MassiveMusic
Audio Mixing: Factory
Mixer: Anthony Moore
Executive Producer: Lou Allen

Post Production: MPC
Lead Flame Artist: Mat Elin
Flame Artist: Ricky Weissman
Colourists: Jean-Clement Soret, Matthieu Toullet
Producer: Thomas Cole
Executive Producer: Lauren Loftus
Design Supervisor: Donal O'Keefe
Motion Designer: Daena Lorne, Ingrid Tsy

Print Production Company: Rosco Production
Executive Producer: Laura Oughton
Photographer: Hill & Aubrey
Retouching: Deeptone

# data[].attributes.attachment_link.title
This Touching Holiday Ad Reminds Us There's More That Unites Than Divides

# data[].attributes.attachment_link.description
Post-midterm America is undoubtedly a divisive place, and it appears that things aren't so different over in Europe. Between Brexit negotiations and the rise of far-right, anti-immigration parties in Germany, Italy and Sweden, many Europeans are feeling as though their countries are as divided as ever.

# data[].attributes.attachment_link.readable_text
Not many retailers would base an ad on the idea that you might get trapped indefinitely in one of its elevators. But then again, especially when it comes to advertising, there are no other brands like Ikea.

Ikea's global marketing has been firing on all cylinders in recent years, and one of the best side effects has been the wide array of countries and agencies represented in the Swedish retailer's creative work.

This time around, Italian agency stv DDB is the shop behind the work worth watching. In "The Lift," two strangers meet in an elevator while rushing home for the holidays with their purchases in tow.

However, when the lift stops working-and eventually goes dark-the men must decide how to react. With their phones apparently not getting any signal, they decide to take matters into their own hands:

Does it make literal sense? Not at all. Is it a charming metaphor for the holiday spirit, especially when you can't be with the ones you love? Absolutely.

If you've ever had to spend a holiday, especially Christmas, with people who aren't your close family, the ad is likely to remind you of the bond that forms between you and those you're stuck with.

The ad closes by noting that seven out of 10 people spend Christmas at home, meaning, of course, that three out of 10 don't. But the ad shows that such a scenario doesn't have to be all bad. Maybe you'll make a new friend for life-even if it means a lifelong paranoia about freight elevators.

# data[].attributes.attachment_link.title
Ikea Shoppers Turn a Broken Elevator Into a Cozy Christmas Spot in This Charming Ad

# data[].attributes.attachment_link.description
Not many retailers would base an ad on the idea that you might get trapped indefinitely in one of its elevators. But then again, especially when it comes to advertising, there are no other brands like Ikea.

# data[].attributes.attachment_link.title
Do you Pod? Walk off The Earth Shows You How! – Ariel

# data[].attributes.attachment_link.readable_text
Why on earth would you click on a banner ad promising you one Snickers for the price of two?

The real answer is probably just an errant click, or perhaps simple curiosity. But Snickers is convinced that it's probably a sign you're too hungry to be making sense.

Continuing their longstanding and admirably versatile "You're Not You When You're Hungry" campaign, Snickers and agency BBDO New York are circulating a banner ad offering to let you "Get one for the price of two!"

Clearly that's a bad deal, and clicking on the sparks a video message from a comforting life coach who's frankly worried about why you'd be interested in such an offer.

Luckily, after our sweater-wearing, vaguely John Denver-meets-Mark-Hamill interventionist checks in with you, he also offers a slightly better deal: $1 off when you buy two.

The cheeky and meta banner idea is reminiscent of a 2017 Ikea campaign that, before sending you off to a mobile landing page for the retailer, politely asked if you really meant to click the ad or just accidentally brushed it with your frustratingly fat thumb.

CREDITS:
Client: Mars Chocolate North America
Josh Olken Brand Director, Snickers Brand
Michael Italia Sr. Brand Manager, Snickers Brand

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
Scott Mahoney, Creative Director
Dan Oliva, Creative Director
David Rolfe, EVP, Director of Integrated Production
Amy Wertheimer, EVP, Group Executive Director
Anthony Curti, Executive Producer
James Young, Executive Producer
Stuart Miller, Senior Producer
Jimmy Mcgee, QA Manager
Ray McGale, Senior Production Artist
John Cardoso, Developer
Kirsten Flanik, CEO & President, BBDO New York
Susannah Keller, Global Account Director
Lisa Piliguian, SVP, Account Director
Carrie White, VP, Account Director
Blake Maraoui, Account Manager
Danee Fields, Account Executive
Amy Orgel, Senior Project Manager
Paul Cisco Business Manager
Annemarie Norris, SVP, Group Planning Director
Christina Stoddard, Planning Director
Brian Brydon, Communications Planning Director
Michael Schonfeld, Planner
Dexter Blumenthal, Planner

Production: JHF Prod/World War Seven
David Shafei, Director

Editorial: MACKCUT
Brendan Hogan, Editor
Gina Pagano, Exec. Producer
Color: CO3
Tim Masick, Colorist

Mix: MACKCUT
Sam Shaifer, Sound Engineer

Conform: MACKCUT
Jim Hayhow, Flame Artist

# data[].attributes.attachment_link.title
If You Click on the Idiotic Offer in Snickers' New Banner Ad, the Brand Asks If You're OK

# data[].attributes.attachment_link.description
Why on earth would you click on a banner ad promising you one Snickers for the price of two? The real answer is probably just an errant click, or perhaps simple curiosity. But Snickers is convinced that it's probably a sign you're too hungry to be making sense.

# data[].attributes.attachment_link.title
Doritos "Finger Lick" Super Bowl 45 Commercial 2011

# data[].attributes.attachment_link.readable_text
"The Whopper lives in a bun mansion-just like you."

Unless you're Sir Mix-a-Lot, that's probably not literally true. But hey, when your ad's copywriter is an artificial intelligence, you have to give it some credit for trying to connect with us weirdo organ-sack humans.

Burger King's newest TV ad campaign claims each spot was "created by artificial intelligence," an explanation that precedes some truly bizarre voice-overs, such as, "Bed of lettuce for you to sleep on, bed of mayonnaise for extra sleep," and, "Burger King logo's chicken is the new potato."

In a statement announcing the campaign-which will air during prime time on cable networks including MTV, History, TBS, Adult Swim and E!-the brand refers to as the creation of "a new deep learning algorithm that could give a glimpse into what the future of marketing and communications could look like."

Is that true? No. It's all one big joke at AI's expense. But the laughs are real:

"AI, bots, machine learning, deep learning algorithms, blockchain, among others-these are all topical as we explore our future in marketing," says Marcelo Pascoa, Burger King's global head of brand marketing. "But we need to avoid getting lost in the sea of technology innovation and buzzwords and forget what really matters. And that's the idea. Artificial intelligence is not a substitute for a great creative idea coming from a real person."

The real people behind the ad are the creatives at agency David Miami, the shop behind several of Burger King's most popular marketing stunts, including "Whopper Neutrality" and "Google Home of the Whopper."

Congratulations, humans of David. You've staved off marketing's machine uprising for at least a few more days. Use your time wisely, for when the robots come, they will not remember you fondly.
CREDITS:
Agency: DAVID/Miami
Managing Director / Global COO: Paulo Fogaça
Executive Creative Director: Ricardo Casal
Executive Creative Director: Juan Javier Peña Plaza
Senior Art Director: Jean Zamprogno
Senior Copywriter: Fernando Pellizzaro
Art Director: Andy Tamayo
Copywriter: Alexander Allen
Copywriter: Nellie Santee
Creative Coordinator: Cristina Cornejo Ayala
Head of Global Production: Veronica Beach
Producer: Kelly Allen
Senior Business Affairs Manager: Barbara Karalis
Head of Account Management: Carmen Rodriguez
Account Director: Stefane Rosa

CLIENT: Burger King
Global Chief Marketing Officer: Fernando Machado
Head of Global Brand Marketing: Marcelo Pascoa
Sr. Brand Manager of Global Marketing: Rogelio Magaña
Marketing Communications Lead for North America: Renato Rossi, Diego Suarez,
Nicole Alevizos, Flavia Guetter.

PR: ALISON BROD MARKETING + COMMUNICATIONS
Senior Vice President: Brooke Scher Mogan
Director: Adrianna Lauricella

DIGITAL: MULLENLOWE
Kerry McKibbin, Alison Whisenant, Jimmy George,

MEDIA: HORIZON
Stephanie DeFlora

# data[].attributes.attachment_link.title
Burger King Mocks the Creative Power of AI With These Wonderfully Ridiculous Commercials

# data[].attributes.attachment_link.description
"The Whopper lives in a bun mansion-just like you." Unless you're Sir Mix-a-Lot, that's probably not literally true. But hey, when your ad's copywriter is an artificial intelligence, you have to give it some credit for trying to connect with us weirdo organ-sack humans.

# data[].attributes.attachment_link.title
Russian Commercial (Funny) - Car Insurance claim

# data[].attributes.attachment_link.readable_text
Uber is putting its image repair campaign in the rearview mirror as it launches the biggest campaign in its history in an attempt to strike a more uplifting tone.

The campaign by 72andSunny Los Angeles is called "Doors Are Always Opening." It will debut on TV Sunday night during NBC's broadcast of the New York Giant-Dallas Cowboys game, as part of a major media investment by the ride-hailing marketer.

One ad shows people taking Ubers to a range of activities, including major life events, like to the hospital to give birth. One scene shows a gay couple taking an Uber to meet one of the partner's parents. Another shot shows an older couple heading to a dance club. It is backed by a message that borders on a motivational speech: "Whatever your ambition, whatever your drive, whatever you are chasing, opportunity is everywhere...All you have to do to find it is get out here."

The approach veers from the more serious and rational tone taken in the previous campaign, called "Moving Forward." Those ads included shots of CEO Dara Khosrowshahi pledging that Uber has a "new culture," and that one of its core values is to "always do the right thing." That campaign, which was created in-house, debuted earlier this year in the wake of negative publicity stemming from allegations of sexual harassment and gender discrimination that led to the departure of co-founder Travis Kalanick in June 2017.

Paulie Dery, Uber's executive creative director, confirmed the ads starring Khosrowshahi would be coming off the air as the new campaign begins. "Moving Forward" was about "the company we wanted to be and the work we were doing to get there." Uber put Khosrowshahi in the ads because he is "a big proofpoint we are changing. He is a new leader, and he's got a new vision." Other ads plugged new safety features like tools in the app meant to make it easier to verify that a rider is getting in the right car.

The new campaign operates on a purely emotional level.

"What we are really saying is opportunity happens everywhere if you are willing to move," Dery says. "You know what happens when you sit still? Nothing. And I think that is a great Uber story. We've always had a certain amount of hustle and belief that movement creates something better for everybody, and that's really at the center of the idea."

Uber representatives declined to reveal spending figures but described the campaign as the biggest one in the history of the nine-year-old company. The campaign includes digital spending and out-of-home ads planned for major U.S. cities. The Sunday night TV ad alone will cost several thousand dollars. Last year, a 30-second ad on NBC's "Sunday Night Football" ran for $699,602, ranking it as the most expensive slot on TV, according to Ad Age's annual TV pricing chart.

Uber is breaking the new campaign in the wake of a significant visual branding overhaul. The change, announced last week, includes replacing the Uber app logo that appears on smartphones. The old design was just a symbol, showing a square contained inside a circle. It drew backlash for omitting the brand's distinguishable "U."

The new design spells out the word Uber. "We want absolute simplicity and legibility," Dery says. "Uber is a verb. It's a household name. So we wanted to go back to that and use that equity we'd earned with the name."

Below, Uber's logo evolution. The new one is at top. It replaced the symbol at lower right which came after the 'U' logo at lower left.

# data[].attributes.attachment_link.title
Fresh off logo overhaul, Uber breaks biggest campaign in its history

# data[].attributes.attachment_link.description
Uber is putting its image repair campaign in the rearview mirror as it launches the biggest campaign in its history in an attempt to strike a more uplifting tone. The campaign by 72andSunny Los Angeles is called "Doors Are Always Opening."

# data[].attributes.attachment_link.title
Ikea Serves Breakfast in Bed to Londoners in a Pop-Up Cafe

# data[].attributes.attachment_link.description
Customers Enjoy Swedish Treats While They Lie Back in Ikea Beds

# data[].attributes.attachment_link.description
Fall is all about pumpkin spice at just about every restaurant and coffee shop, and Ihop is no exception. The pancake chain has essentially gone away from its Ihob burger promo and is now promoting a beer to accompany its Pumpkin Pancakes.

# data[].attributes.attachment_link.readable_text
Chicken chain KFC has sought to draw a line under a week of biting headlines spurred by a nationwide chicken shortage by issuing a full-page apology to its customers, team members and franchise partners in today's (23 February) issues of Metro and The Sun.

Having a little fun with its own three letter acronym branding in the process, the fast food giant acknowledged that a dearth of fried chicken was hard to stomach but that its new delivery partner was on the case - winning praise for its crisis management from Frank PR founder Andrew Bloch in the process.

KFC apologises with a full page ad in today's Metro. A masterclass in PR crisis management.#KFCCrisis pic.twitter.com/ZF4SfAuHl5

- Andrew Bloch (@AndrewBloch) February 23, 2018

KFC wrote: "A chicken restaurant without any chicken. It's not ideal. Huge apologies to our customers, especially those who travelled out of their way to find we're closed.

"It's been a hell of a week, but we're making progress, and every day more and more fresh chicken is being delivered to our restaurants. Thank you for bearing with us."

The creative was developed by its creative agency Mother.

An emergency website has been set up providing regular updates to customers on which KFC restaurants are currently open following scenes of frustration outside shuttered outlets.

# data[].attributes.attachment_link.title
KFC says 'FCK' in responsive print ad after restaurants kick the bucket

# data[].attributes.attachment_link.description
Chicken chain KFC has sought to draw a line under a week of biting headlines spurred by a nationwide chicken shortage by issuing a full-page apology to its customers, team members and franchise partners in today's (23 February) issues of Metro and The Sun.

# data[].attributes.attachment_link.readable_text
Remember that time when the International House of Pancakes decided to shock the world and changed its named to the International House of Burgers?

At the time, you may have been one of the many skeptical souls wondering whether the stunt actually helped the International House of Pancakes dive into the burger business. Well, the company has proved the haters wrong.

"The IHOb campaign greatly exceeded all of our expectations. The creative strategy behind it was to convince the public that we take our burgers as seriously as we take our pancakes so, to convey that, we had to make a big statement in a disruptive way. And it worked," said Brad Haley, chief marketing officer, IHOP.

In the first three weeks after the announcement hit, IHOP said it sold four times more burgers and that burger sales have "remained stable" in the weeks following. The brand reported that even in the last three weeks of the second quarter, IHOP saw a 0.7 percent increase in same-restaurant sales for Q2.

"This was one of the most visible marketing campaigns in IHOP's history, earning us the first, second and fourth trending spots on Twitter-all at the same time-on the day we announced our new Ultimate Steakburgers," Haley added.

The campaign itself, done in partnership with agency Droga5, also pulled in some impressive social media numbers. In the first 10 days following the IHOb news, there were over 1.2 million tweets about the brand and its burgers and over 2.1 million social media conversations about IHOb. The brand scored 25,000 stories and 41 billion earned impressions, with over 100 brands and celebrities joining in

"IHOP is the pancake place people love, but we knew consumers didn't believe IHOP could also do a great burger. We needed consumers to take these burgers seriously, so we had to prove IHOP took burgers seriously. Creatively that strategy came to life as a temporary name change to IHOb," said Jonny Bauer, global chief strategy officer, Droga5. "Burgers have always been on the IHOP menu, and after the IHOb launch, orders of burgers quadrupled. There's also been a significant uptick in lunch and dinner day parts, which was our ultimate business objective."

# data[].attributes.attachment_link.title
Burger Sales Quadrupled After IHOP Became IHOB

# data[].attributes.attachment_link.description
Remember that time when the International House of Pancakes decided to shock the world and changed its named to the International House of Burgers? At the time, you may have been one of the many skeptical souls wondering whether the stunt actually helped the International House of Pancakes dive into the burger business.

# data[].attributes.attachment_link.readable_text
Established in 1950 with a single store in Quincy, MA, Dunkin' Donuts is the world's biggest baked goods and coffee chain with more than 11,300 restaurants worldwide - 8,500-plus in the U.S., 3,200-plus across 36 countries. This week, the company announced it would be changing its name to Dunkin', dropping the Donuts part. For the record, it will still sell donuts. A new identity has been designed by Jones Knowles Ritchie, as part of Dunkin's new agency appointments along with BBDO New York and Arc Worldwide.

The new branding conveys the company's focus on serving great coffee fast, while embracing Dunkin's heritage by retaining its familiar pink and orange colors and iconic font, introduced in 1973. Beginning the first of the year, the new branding will appear on packaging, as well as the company's advertising, website and social channels. Going forward, the new "Dunkin'" logo will also be featured on exterior and interior signage on all new and remodeled stores in the U.S. and, eventually, internationally. The brand tested the new logo extensively, including on exterior signage at Dunkin' locations featuring its next generation design concept over the past year.

Logo.

Retaining the familiar pink and orange colors and iconic font that were introduced in 1973, the new branding will appear on packaging, as well as the company's advertising, website, and social channels. The new Dunkin' logo will also be featured on exterior and interior signage on all new and remodeled locations in the U.S. and, eventually, internationally.

Jones Knowles Ritchie provided text

I'm taking a not-too-wild guess that one of the key drivers of this change was the popularity of Dunkin's coffee offering and avoiding any possible confusion to new customers as to whether only donuts are served. They remedied this in the early 2000s when they annexed a coffee cup to the wordmark but it has always looked like an unfortunate appendage to what is otherwise a new-classic American logo. Now there is no more coffee cup. And no more "Donuts". Just Dunkin'. The biggest update to the logo is making the apostrophe pink in keeping with the well-known color palette. Any major changes - made at the same time as dropping "Donuts" - would have probably yielded catastrophic backlash. So, all things considered, this new logo is pretty great. The challenge is wrapping one's head about the name change.

Unlike yesterday's WW Weight Watchers post - where "WW" is a name no one calls Weight Watchers - there is plenty of precedent for "Dunkin' Donuts" being called "Dunkin'", starting with its well known slogan, "America Runs on Dunkin'", which was introduced in 2006 and, although, I don't frequent Dunkin' Donutseses, or hang around an office where donuts are brought in on the regular, I have heard enough references to Dunkin' Donuts as Dunkin' - and even in my head I've referred to it as that - so it's in no way a stretch. They are simply making it official. It's probably also a benefit in the minds of health-conscious consumers who might feel wrong about getting coffee from a place where 300-plus-calorie goods are sold, it's as if the coffee will fatten you by extension. No donuts, no calories. Win win.

Posters/ads.

Cups.

Your browser does not support the video tag.

More cups.

Where they might be pushing their luck is shortening Dunkin' to DNKN'. I kind of like the boldness of it and it's undeniably recognizable but I wonder if it somehow hurts the brand at this point - like, what else is going to go missing? They lost not just "Donuts" but also all the vowels? I'll admit, though, those cups look great.

Packaging.

A store in Lebanon has the scoop of the new cups IRL.

The rest of the packaging and graphics are not a drastic change but instead build on the rounded sans serif visual language that has been in play for many years and they now double down on it with a little more simplicity. The instances where the type goes at a 45-degree angle in a pattern are really nice. Overall, this update positions Dunkin' somewhere between the higher-end aesthetics of Starbucks and the accessibility of McDonald's - if you ask me, that's a pretty sweet spot to be in. Adopting a single-word name will increase the brand's flexibility as it continues to dominate its market and, probably sooner than you think, will most like spawn lifestyle-ish apparel and other covetable items that I don't think would have been possible with "Donuts" weighing it down.

Thanks to Mitch for the tip.

# data[].attributes.attachment_link.description
Established in 1950 with a single store in Quincy, MA, Dunkin' Donuts is the world's biggest baked goods and coffee chain with more than 11,300 restaurants worldwide - 8,500-plus in the U.S., 3,200-plus across 36 countries. This week, the company announced it would be changing its name to Dunkin', dropping the Donuts part.

# data[].attributes.attachment_link.readable_text
OkCupid is DTF, but not like that.

The dating site rethinks that blunt old acronym, originally meaning "down to fuck," by making it the centerpiece of a new campaign from Wieden + Kennedy New York-with the F word replaced by dozens of enlightened alternatives, leading to phrases like "down to feel fabulous," "down to forget our baggage" and "down to fight about the president."

The point being: Dating can and should be about more than hookups. The tagline is, "Dating deserves better."

The headlines are matched with fun, brightly colored photographs. Several of the ads also have a political message, adding to the already provocative use of "DTF" as a theme. It's a highly artistic campaign, too-W+K worked with artist Maurizio Cattelan and photographer Pierpaolo Ferrari, the creators of Toilet Paper magazine, on the ads.

The campaign marks the latest attack on dating culture, which has come to seem dehumanized in the binary, swipe-left-or-right age of Tinder. (Other dating apps, including Hinge, have also based recent ads around fostering deeper connections between users.)

OkCupid CMO Melissa Hobley tells AdFreak that the new campaign signals the brand's commitment to being focused on substance and depth, while also reflecting the issues and passions that people care about.

"In the current political and social climate, we felt a responsibility and saw an opportunity to play a part in changing the conversation about dating culture and empowering each individual to reclaim the meaning of DTF and make it theirs," she says.

OkCupid aims to achieve substance and depth through the app's features. It asks users more than a dozen questions while setting up a profile and recently launched OkCupid Discovery, which lets users search by passions and interests. It aims to achieve relevance through the brand voice, having found traction by leaning into politics over the past year-including adding a "Trump Filter" to its list of questions.

"The response to this blew us away, and most importantly, signaled how important it was for people to be able to talk politics in dating," Hobley says. "We do this better than anyone, and regularly add political questions into the OkCupid experience."

The focus on politics is readily apparent in several of the new ads:

The ads are aimed at anyone who wants to bring their full selves to dating. But Hobley says they may resonate especially with women, who are "aware that the phrase DTF was used historically in a negative way. There's power in taking that back and making it yours."

In terms of craft, the W+K creatives said the campaign is meant to feel playful and positive, as a counterpoint to where so much of the dating scene is headed.

"We set out to really explore what happened to chivalry and courtship and how modern-day dating seemed to be on a bad trajectory," says copywriter Ian Hart. "When we say dating deserves better, what we're really saying is people who date deserve better. Because I mean, they really do. Modern dating treats emotions like a disposable commodity. Anyone who's been single knows this. It's an aspiration to treating people like people."

Cattelan and Ferrari were the perfect collaborators in bringing this positive message to life.

"Originally when we began crafting the idea, we were thinking it'd be cool to explore bold simple typography," says W+K art director Jessica Shriftman. "But the head of art production introduced us to Toilet Paper magazine, and immediately we thought that a ballsy style of photography would compliment the work even more and show couples engaged in fun activities."

Hart says the campaign "is a celebration of who we are as individuals in the dating sphere-DTF celebrates what makes each of us unique. We needed the visuals to reflect this. Basically it's sort of this 'Imagine if dating were...' thought that's very playful and joyful. I think Maurizio and Pierpaolo's work creates visuals that are, by very their nature, optimistic and pleasant, which allows the content matter to venture into a more surrealistic world without losing its positive message."

The creatives Skyped with Cattelan and Ferrari a lot in the early stages, "which was different for us," says Shriftman. "They were very collaborative-I know the c-word is overused, but it's true-and showed tons of mood reference for each concept while being super open to our ideas and feedback."

The creatives came up with scores of ideas for individual executions, but discarded most of them. "There are no Don Draper insta-done scenarios happening over here," says Hart. "We simply came up with a ton of scenarios, pressure tested them, found out 90 percent are trash, rinsed, washed and repeated until we had our campaign."

For most of the executions, the W+K came up with the line of copy first-and then developed the visual in collaboration with Cattelan and Ferrari. But in a few cases, it was the opposite.

"Maurizio and Pierpaolo work super fast and have so many ideas," says Shriftman. "They originally presented a visual of a paper bag with eyes on it to us during one of our Skype calls. And while it wasn't right for one of our approved concepts, we loved it and knew we could write to it, so 'Forget our baggage' actually came out of that."

The trick for most of the ads was to find a balance between being too literal on the one hand, and too esoteric on the other.

"We were thankful to Maurizio and Pierpaolo for always providing us with options," Shriftman says. "I think the photographers' strength is that they'll never play it too safe and there always needs to be a visual twist to make it interesting."

Hobley says she is most excited about the campaign because "every image feels like a work of art" and many of them make a significant statement.

"For example, the DTFall Head Over Heels is beautiful," she says. "It doesn't actually matter if our users are straight or fall under one of the 13 sexual orientation options. Our ecosystem cares that we have a great experience for so many communities, and that's partly what this image symbolizes."

Hobley adds: "I also love the political executions because it speaks to how OkCupid is one of the only places where folks can connect on politics and the issues that matter to them. And next to each other, these images are incredible and very powerful."

CREDITS
Client: OkCupid
Melissa Hobley - Chief Marketing Officer
Bernadette Libonate - Senior Marketing Manager
Devin Colleran - Brand Manager
Dana Davis - Communications / Graphic Designer
​​
Agency: Wieden + Kennedy New York
Executive Creative Directors - Karl Lieberman
Copywriter - Ian Hart
Art Director - Jessica Shriftman
Art Director (social / banners) - Nathan Wigglesworth
Head of Art Buying - Deb Rosen
Senior Art Buyer - Ali Berk
Strategist - Brian Ritter
Social Director - Jessica Breslin
Account Team - Jacqueline Steele, Sydney Gayner
Head of Business Affairs - Patrick ODonoghue
Business Affairs - Carla Curry
Traffic Coordinator - Andy Hume
Project Manager - Ava Rant
Head of Creative Services - Chris Whalley
Studio - Laura Paulino, Leigh Ann Dykes, David Niblick, Nathan Delessandro, Jill Kearton, Napoleon Nicdao
Design - Justin Flood, Robert Engvall, Frank DeRose, James Hughes, Meredith Marino

Joint / Motion Graphics
Producer - Brian Schimpf
Motion Graphics ​- ​ Damian Riddell

Photographers and Production Team
Photographers - Maurizio Cattelan & Pierpaolo Ferrari
Production Company - Pro Service Production
Executive Producer - Federico Delle Piane
Production Coordinator - Giulia Venturini
Production Assistant - Stefania Biliato
Digital Capture - Silvano Banfi
RetoucherBenedetta Ferrari
Art Director - Micol Talso
Set Designer - Michela Natella
Wardrobe Stylist - Elisa Zaccanti
Hair Stylist - Gabriele Trezzi
Makeup Stylist - Lorenzo Zavatta
Videographer - Caterina Vigano`

# data[].attributes.attachment_link.title
OkCupid Redefines 'DTF' in Striking Ads That Are Like Little Works of Art

# data[].attributes.attachment_link.description
OkCupid is DTF, but not like that. The dating site rethinks that blunt old acronym, originally meaning "down to fuck," by making it the centerpiece of a new campaign from Wieden + Kennedy New York-with the F word replaced by dozens of enlightened alternatives, leading to phrases like "down to feel fabulous," "down to forget our baggage" and "down to fight about the president."

# data[].attributes.attachment_link.readable_text
With a quirky new ad campaign, protein bar marketer RXBar is putting a new spin on a line that's been part of its mission since the beginning: No B.S.

The phrase was on labels the Chicago-based marketer stuck on by hand, featuring other wording such as "As prescribed by nature," when it started out selling the chewy bars directly to gyms. And, yes, CEO Peter Rahal admits he "fired" his mom (she wasn't actually being paid) because she didn't put the labels on just right.

Fast-forward a few years, and the bars, made with main ingredients including egg whites, nuts and dates, were so hot that Kellogg Co. last fall bought the company for about $600 million in a deal that signaled how seriously "Big Food" is paying attention to more nimble startups.

"We're in the big leagues now," says Rahal, sitting in a conference room at the headquarters his company moved into last spring. The company, for now, still has the name Chicago Bar Co. But it's best known as its product name, RXBar.

With sales on track to double this year, Rahal says, and as distribution has increased, the time seems right for its biggest ever marketing push. The line now includes nut butter and bars for kids, but, for now, the focus in the ads remains on the flagship bars. RXBar executives say they've maintained their freedom since Kellogg bought the company, even though the cereal giant -- which scooped up RXBar when its annual sales were hovering around $120 million -- keeps a distant eye on things.

Clearly, RXBar's marketing department is calling its own shots. Most Kellogg brands wouldn't center a campaign around the words "No B.S." appearing on screens and some sarcastic lines being uttered by rapper and actor Ice-T. In one spot, his only line is "Hi, I'm famous, and this is a commercial."

He's not the most likely choice, perhaps. And, of course, that's the point.

"He's such an unconventional voice in the space," says Charlie Hart, whose title at RXBar is director of masterbrand.

Plus, the rapper/actor/producer, who appears in many, but not all, of RXBar's new ads, may help the brand appeal to a broad range of potential customers. He's recognizable to those who recall raps from the 1980s and 1990s and those who recognize him as Fin Tutuola from "Law & Order: SVU" on NBC and in seemingly constant cable reruns.

'Rat race'

In five years, RXBar has gone from a protein bar concocted in a kitchen to appeal to CrossFit devotees to gaining shelf space at retailers such as Trader Joe's, Walmart and Whole Foods, along with doing steady sales sales online through its own site and others including Amazon.

Rahal says he feels like "there's a rat race going on" among the smaller food makers eager to win over shoppers with better-for-you items, while the bigger manufacturers have been a bit slower to make their own similar products in ways that appeal to today's changing tastes. Instead, many have started incubators and investment arms to find the right products. After all, Kellogg makes plenty of its own better-for-you snack bars, but paid a pretty sum to buy RXBar. And weeks after that deal was announced, Mars grabbed a minority stake in Kind, one of RXBar's competitors.

As Rahal says, "RXBar is a dumbass idea." The product's premise is "so aggressively simple," he says that's exactly why it isn't the kind of thing a big food maker's R&D lab would come up with.

In 2015, RXBar updated to sleeker, often brighter labels that highlight the main ingredients in the bars. The new packaging was featured in a TV spot created in-house that ran from November through April, according to iSpot. It's also been seen in plenty of influencer posts, which has helped the company immensely, Rahal and Hart say.

Now, RXBar is running a series of ads from creative agency, Wieden & Kennedy Portland. Media is still done in-house. The ad plans include podcasts, out-of-home in Chicago, New York and Los Angeles, banners, search, social media and upcoming sponsored content with Reddit and Uproxx.

The brand's new office has the feel of a booming startup in some ways, with indoor and outdoor space for meetings, lounging (and the occasional yoga class), plenty of chilled LaCroix on hand and, of course, lots of RXBars. And since it's owned by Kellogg, there's plenty of cereal in the breakrooms.

RXBar's milestones are easy to spot in the building. The chair Rahal used to sit in, a relic of a dining set with a somewhat uncomfortable wooden back, made the move to the modern space. And while Rahal sports a pair of Nobull training high-tops with the RXBar logo, others who were given their own pairs last year don't really wear them, he says.

Rahal and Hart want the ads to stand out from the more traditional spots for protein snacks.

Hart says he doesn't want RXBar to rely on common snack cues, like visions of almonds and chocolate being thrown together. To be clear, that in-house ad that aired for a few months did feature some ingredients including apples, berries, chocolate, eggs and nuts on display.

But the new ads are focused more on the brand itself, even if the name isn't uttered in some of them. That packaging is the cue he wants people to recall.

Ice-T shot a number of ads in which the phrase "No B.S." appears in large letters on the screen, next to an RXBar package "door" he pops out of. In one spot, he mentions the product but isn't exactly the most convincing spokesman. Which, of course, is kind of the point.

An online ad starts, as the TV spots do, with a squeaky door sound, followed by Ice-T saying what many people think when they watch quick online ads: "This really wasn't worth turning your sound on for."

Kellogg has been the kind of parent that keeps its distance, Rahal says. Still, he wants to make sure the big food maker over in Michigan knows what's up. In July, Rahal texted one of the ads to Kellogg CEO Steve Cahillane.

"I love it!!!" Cahillane replied.

# data[].attributes.attachment_link.title
'I'm famous and this is a commercial': Ice-T tells it like it is in protein bar ad

# data[].attributes.attachment_link.description
With a quirky new ad campaign, protein bar marketer RXBar is putting a new spin on a line that's been part of its mission since the beginning: No B.S.

# data[].attributes.attachment_link.title
Flash Ah-ah Dog #FlashDog 2016 Advert | P&G UK and Ireland

# data[].attributes.attachment_link.title
MINI spoils your favorite TV shows so you can get off your butt and drive

# data[].attributes.attachment_link.description
Social work from Pereira & O'Dell doesn't leave viewers hanging

# data[].attributes.attachment_link.title
Ten-year-old cancer girl's hard-hitting 'C-word' video goes viral

# data[].attributes.attachment_link.title
Sifu Winfried mal anders Southern Comfort Shampoo Whatever s Comfortable

# data[].attributes.attachment_link.title
Yes Sir, I WILL boogie in the Office - New Cadbury Dairy Milk TV advert

# data[].attributes.attachment_link.title
Art Of Villainy With Tom Hiddleston - Jaguar Ad

# data[].attributes.attachment_link.readable_text
As part of Ad Age's latest annual Awards Report tabulating the most creatively celebrated companies and personalities of the year, we asked winning marketers and agencies about their campaigns.
Imagine selling the "Beauty Inside" original social film to a chief marketing officer. "It's about this guy Alex who's in love with this antique shop girl, but every day he wakes up with as a different person. And he never knows who he'll be until he looks in the mirror -- maybe a bald middle-aged man, maybe an elderly Asian lady. But he can't stop trying to reach the girl. And each day he chronicles every new 'person' on his Intel-powered Toshiba laptop. We'll call it 'Beauty Inside', as in the beauty inside the ever-changing Alex and inside the laptop. Get it?"

That was the job of Billie Goldman, Intel partner marketing manager, although it didn't play out exactly like that. "Beauty Inside" - the recipient of 23 awards including a daytime Emmy and two top Cannes Lions - was the second social film created with agency partner Pereira & O'Dell for Intel and Toshiba. The initial success helped pave the way for a third film, "Power Inside," that ran this summer.

Did you ever second-guess yourself on the idea?
It was actually our second social film. The first, a year before, was a scary thriller concept but when we heard the idea [from the agency], we weren't sure it matched our brand voice... so we asked the agency to go back and come up with ideas in other genres. They came back with six concepts and 'Beauty Inside' was one of them, and we fell in love. But we ended up deciding that for our first feature film we would move forward with the thriller concept, and said if we ever had the opportunity to do a second social film, the 'Beauty Inside' would be it. ... To tell you the truth it was supposed to be a romantic comedy, but the comedy never came through. That was the choice of the director, who really steered how it went.

Why didn't you do the 'Beauty Inside' idea first?
At the time we felt a thriller was the right way to go to a more techie audience, versus a romantic direction.

What kind of guts or fortitude did it take to go in with this unconventional marketing idea?
Bravery, I think is what it takes (laughs). And a desire for risk, and a passion for innovation. Fortunately, Intel has that passion for innovation. We are awarded money to do marketing activities based on the level of innovation. And luckily we have a great partner in Toshiba that was willing to take the risk with us.

What do you mean by awarded money?
Intel has different ways of funding activities. Some of the dollars we had to play with were based on innovation and without that high level of innovation, we would not have received that bucket of money to do what we did.

So the higher ups were already interested in innovation, but how did you get the buy in for this specific idea?
[The challenge] was selling it around the world. We had the opportunity to do a worldwide marketing summit with Toshiba and bring [everyone] together to get as many countries on board. What we [could offer] from Intel HQ was the investment in the production, so their investment would be in the media space instead of the production space. That really helped sell in the concept.

What advice would you offer on how to push the creative envelope but still get results and show return on investment?
It all comes down to the exchange of value with the audience. If you're giving them something of value, then it's a winner. Also taking risks is a good thing. We need to do more of that - the audience rewards you for it. ... If you're having a hard time selling in something big, start small. We did that with the first film, starting with the U.S. and then growing beyond that. If the concept is scalable and repeatable, that also helps with long-term success.

# data[].attributes.attachment_link.title
What's Inside Intel/Toshiba's 'Beauty Inside'

# data[].attributes.attachment_link.description
As part of Ad Age's latest annual Awards Report tabulating the most creatively celebrated companies and personalities of the year, we asked winning marketers and agencies about their campaigns. Imagine selling the "Beauty Inside" original social film to a chief marketing officer.

# data[].attributes.attachment_link.title
United Colors of Benetton - One Faith | #UnitedByPlay

# data[].attributes.attachment_link.title
Vallformosa cava wants Belgians to make more babies

# data[].attributes.attachment_link.readable_text
Yes, it is quite easy to sit back and relax. Or, you could get up off that couch and transform yourself. That's the theme running through Apple's latest ad promoting the fourth iteration of the Apple Watch. It's not so much a product ad outlining features-it's more of a rallying cry from the brand to get on out there.

In the ad, a man chills on his couch watching TV (Apple TV, perhaps?) only to see a twin of himself sitting beside him with a knowing smile. The watch then alerts the duo to stand up.

Next, they see another doppelgänger outside. And another. And then even more. Next thing we know, there are five of the same guy taking his fitness seriously, ultimately running to the beach, where yet another clone races into the water as the others give chase.

The 60-second ad, "Better You," is a nice bit of promotion, showing the watch's many features, including its water resistance, that have evolved substantially over the years. The Apple Watch Series 4 is a far cry from the original and includes better heart-rate sensors and built-in electrocardiogram and heart-rhythm monitors.

Though not intended to be a replacement for a visit to a cardiologist, the FDA-approved watch can help alert the wearer to the warning signs of an irregular heartbeat.

According to Men's Health, the new additions to the watch were based on customer feedback, and in looking at the features on the face of the new device, it's easy to see that Apple is putting a great deal of emphasis on health and fitness.

In the meantime, it's always a good time to get up and start moving, as the ad implores. And now, you have another critical piece of technology to help you be your very best.

# data[].attributes.attachment_link.title
Apple Reminds You That There's a 'Better You' Out There in Its New Ad

# data[].attributes.attachment_link.description
Yes, it is quite easy to sit back and relax. Or, you could get up off that couch and transform yourself. That's the theme running through Apple's latest ad promoting the fourth iteration of the Apple Watch. It's not so much a product ad outlining features-it's more of a rallying cry from the brand to get on out there.

# data[].attributes.attachment_link.title
Iceland’s Banned TV Christmas Advert... Say hello to Rang-tan. #NoPalmOilChristmas

# data[].attributes.attachment_link.title
10 year old Isabella shouldn't know The 'C' Word #LyttleFight

# data[].attributes.attachment_link.readable_text
PopSugar is putting random black dots at the end of sentences, and they're not the usual period. Doner, in partnership with PopSugar and Melanoma Know More, is hacking the ubiquitous end-of-sentence period as an innovative awareness effort to help save lives.

From now through September 30, readers who roll over the periods in health and wellness articles, as well as beauty-tip stories, on lifestyle platform PopSugar, will see them transform into reminders about skin cancer awareness that link to educational materials on Melanoma Know More's website about how to detect suspicious skin spots, which the organization calls the ABCDEs of early detection.

As summer winds down and skin cancer awareness efforts start to taper off, Doner ECD Brad Emmett and ACD Mark Adler - both skin cancer survivors at a young age - wanted to do more to help make melanoma screening a year-round conversation, especially among a younger generation. Their personal experiences taught them that early melanoma detection often doesn't come at the doctor's office, but rather, when a loved one notices a suspicious spot that may have otherwise gone unnoticed.

With one in five Americans now developing skin cancer in their lifetimes, according to Melanoma Know More, and the incidence rate of melanoma increasing more than any other type of cancer, the Doner team was inspired to help extend the conversation beyond the summer months on PopSugar, which reaches one in two millennial women in the United States. The goal is to help more people understand what to look for, and when to seek screening, testing and treatment.

In addition, Doner has offered to make the technology available to any brand or media company that wants to hack their periods to help spread the message.

# data[].attributes.attachment_link.title
PopSugar and Doner team up to put a period on melanoma and remind people to get checked

# data[].attributes.attachment_link.description
PopSugar is putting random black dots at the end of sentences, and they're not the usual period. Doner, in partnership with PopSugar and Melanoma Know More, is hacking the ubiquitous end-of-sentence period as an innovative awareness effort to help save lives.