Looks like Stayfree is trying to emulate the success of the Old Spice guy with a new series of online ads that put three different sweet-talking hardbodied hunks in front of the camera. It may seem an original idea to have men sell maxi pads, but the spots are a hot mess of cliches and stereotypes borrowed straight from the “Porn for Women” books.
The videos are all shot from the woman’s point of view at the start of a hot date. There is Brad, tall dark and handsome, cooking up a ”rosemary sunflower risotto” just for you; Ryan is in the middle of making toys “for underprivileged kids overseas” when you show up; and blond-haired Trevor, who has a wall covered with his medical degrees, is busily vacuuming (“I hate a messy home!”). In each sketch, your date finds a reason to take off his shirt and, ultimately, to demonstrate the absorbency of various maxi pad brands. (Lord knows that’s how my dream date would end.) At one point, Ryan gushes, ”It’s not fair that you should have to experience this every month,” he says, looking off into the distance with affected sensitivity and depth, ala Chris Klein. “It’s just not fair.”
Hey Stayfree, know what’s unfair? Constantly being subjected to pop cultural ephemera that treats female desire as either nonexistent or an absurd punch-line. Come up with a pad that can soak up all that junk and then maybe we can talk.
Several months ago, a 45-year-old ad executive drove home in his roomy, fuel-efficient SUV, anticipating the watery beer that awaited in his fridge, and thought, “Dammit, I used to be cool. Cool like Lloyd Dobler.” And then he went on to create the ads for the 2012 Super Bowl. Nostalgic much, Gen-X?
Sure, this year’s crop of ads featured hot babes, cute kids, funny animals and Doritos, but they were also heavily tinged with one overwhelming message: Hey, you. Yeah you, the one who once thought your band was going to be the next Love & Rockets. Can we sell you a car? Herewith, Salon’s picks for the Super Bowl’s best, the worst, and the most likely to make John Hughes roll over in his grave.
The Good
H&M: David Beckham
Tattoos. Abs. And the Animals. That’s right, world, there’s more to Super Bowl sex objects than Victoria’s Secret models. More yes please.
Samsung: Thing Called Love
You guys! Samsung has revolutionized communication by inventing … a stylus! But somehow, trotting out every possible celebratory, flash-mob cliché from the gospel choir to the marching band, all to the infectious strains of The Darkness, makes for impossibly giddy fun.
Volkswagen: The Dog Strikes Back
Shameless, yes. But what does the Internet run on? Dogs and “Star Wars”! What does Volkswagen give us? Dogs and “Star Wars”! While it lacks the charm of last year’s Darth Vader kid spot, it’s still a confident, breezy delight.
Skechers: Mr. Quiggly
Why? It helps that the Tone Loc fits in with the whole ’80s theme, but mostly because whoever thought to name the dog Mr. Quiggly is a GENIUS.
“The Voice”: Vocal Kombat
Cheesy as hell. But imagining the likes of Christina Aguilera and Adam Levine as furniture-smashing, ass-kicking action stars, battling it out over an unseen vocal powerhouse, is funny. That the mystery voice turns out to be the ubiquitous, forever awesome Betty White is adorable.
Chevy Sonic: Stunt Anthem
If you’re looking for a vehicle that will go skydiving, kick flipping and bungee jumping, this is definitely, jaw-droppingly, the one. Weirdly, the car also boasts of starring in an OK Go video, though the Super Bowl clip preferred Fun’s anthemic “We Are Young.” Sonic: the good-time car that will cheat on you.
Acura: Transactions
Oh Lordy, who’d have thought there was still comedy to be milked from the Soup Nazi? But casting Jerry Seinfeld as desperate enough to offer up sock puppets and holographic monkeys for a chance to be the first to drive the new Acura – and Leno as the jerk who robs him of the dream – somehow comes off as absurd enough to be fresh.
The Bad
TaxACT: Free to Pee
Accountancy for people who urinate in the pool. If ever there were a metaphor for the 1 percent this was it.
Teleflora: Adriana Lima
Adriana Lima slinks into a pair of stockings, tousles her hair and prowls past an “XOXO”-festooned floral arrangement. “Guys, Valentine’s Day is not that complicated,” she purrs. “Give. And you shall receive.” Hint: She is not talking about a free simonizing. For perpetuating the notion that $29.99 worth of roses and pink carnations entitles a man to a blow job, Teleflora, you win most ridiculous, sexist ad of the night.
Fiat: Seduction
You may be smart enough to know that a lousy bouquet won’t get you laid by a beautiful woman with a foreign accent, but are you dumb enough to try to make out with a car? The Fiat will slap you and drink your latte — and you will love it, you helpless, helpless slave to your penis.
Doritos: Man’s Best Friend
If you’re the kind of dog who kills and buries cats, or the kind of man who can be bought off for some neon orange snack food, have I got a nacho for you.
The End of Days
Hyundai: Cheetah
In a race between a man, a car and a deadly feline, the car will take off and the man will be mauled to death. Epic automobile win, I guess.
Chrysler: Halftime in America
Only 236 years to go, USA! Because Clint Eastwood would like to growl at you that it is “halftime in America.” “We’re all scared, because this isn’t a game.” Somehow, however, we will rally “because that’s what we do.” It seems to involve firemen and dropping the kids off at school. It’s supposed to be hopeful, but when Dirty Harry says, “The world’s going to hear the roar of our engines … yeah,” I just want to hide under my bed and cry till the smoke clears.
Chevy: 2012
When that Mayan apocalypse hits and the world starts looking like a Cormac McCarthy novel, you know what will be left of civilization? Twinkies, Silverados and Barry Manilow music. Better hope you’re one of the raptured.
The Reagan
MetLife: Everyone
So what’s your death and dismemberment plan looking like these days? Is it as good as He-Man and Fat Albert’s?
Honda: Matthew’s Day Off
In a droll spot filled with cinematic Easter eggs (that Red Wings jersey!) and “Oh yeaaaahs,” Honda would like to remind you of that carefree, rebellious scamp Ferris Bueller. But the fact that now he’s a middle-age movie star playing hooky from his overpaid career, not to mention a man who in 1987 was the driver in a head-on collision that killed two people, makes this spot about as easy to watch as your dad jamming in the garage with his buddies. Oh nooooo.
Kia: Dream Car
Keeping up the theme of ’80s icons who’ve killed people with their cars selling you cars, Kia deployed Vince Neil for a spot that assumes that while ladies dream of rainbows and horseback riding with puffy-shirted Fabio wannabes, dudes even slumber awesomely. Guy dreams, you see, employ Chuck Liddell and Adriana Lima, rhino riding and Motley Crue. And big sandwiches. Yet props to Kia for having its hero bust out of his bikini-babe-saturated reverie to grab his wife from her dream, and speed off into the sunset together.
Audi: Vampire Party
A bunch of bloodsuckers are having a teeth-baring, tree-climbing shindig in the woods, until some yahoo comes along and kills off the guest list with his bright-as-day headlights. Cute, but the big reveal was its use of Echo and the freaking Bunnymen’s “The Killing Moon.”
Budweiser: Eternal Optimism
And for the kids who were a little less emo, Budweiser takes on a stroll through modern history, in a mashup that combines Flo Rida’s “Good Feeling” with the Cult’s classic “She Sells Sanctuary.” The ’70s disco party with the horse was ridiculous, but the fact that a grungy mosh pit is now a sentimental touchstone in a beer ad should definitely drive you to drink.
“If God manifested himself to us, he would do so in the form of a product advertised on TV.” –Philip K. Dick
So how did you like this year’s Super Bowl ads? You know, the ones that haven’t aired yet? The ones that have been teased, previewed, screened, deconstructed and parodied days and — in some instances, weeks — before their broadcast “premiere” during Sunday’s big game?
Which dancing and/or talking, cute, furry piece of CGI wizardry did you like best? Which retro-celebrity comeback performance? Which piece of brilliantly choreographed boomer nostalgia or crowd-sourced slapstick? What offended you more, the GoDaddy boobs or the boobs that represented the prototypical salt, trans-fat, hops-barley-and-corn-obsessed American male, circa 2012?
We once experienced events as they happened and we were surprised or delighted, nonplussed or disgusted, in real time. But now, in a hyper-accelerated world where 4G is just waiting for 5G to supplant it, the speed of light is too slow, and even the sense of immediacy somehow feels inadequate; we prefer to experience our events, particularly the enormous ones, well before they happen.
Trailers for next summer’s blockbuster begin running in December, filled with the funniest gags and the sexiest innuendo, making it feel as if we’ve seen the film before it ever happens. Reviewers give spoiler alerts to preserve the sanctity of a plot, yes, but also to alert the alphas of a future-tense culture that they’ll know what happened before it happens
So it only makes sense that we see the ads for the most-watched television event of the year well before they debut, right? As advertisers profess, extending the customer interaction is a great way to maximize the impact of a $3.5 million, 30-second media buy. Pre-premiering a spot online gives a brand the chance to garner substantial incremental YouTube views (9 million and counting – not including the new extendedversion! — for Honda’s new “Ferris Bueller” homage). Plus, previewing the same spot on an entertainment show such as “Entertainment Tonight” or “The Insider” further adds to the cumulative number of eyeballs that will see their message. When else can a brand get Billy Bush to dish about its product? Add to this the extensive, ongoing social media engagement campaigns attached to almost every commercial featured in this year’s game and the $3.5 million investment almost seems justified.
But at some point this strategy is doomed to backfire. Doesn’t every sneak peek and online preview undermine the wonder and spontaneity of an event viewed by 110 million viewers, more than half of whom, according to a study conducted by the advertising agency Venable and Partners, are watching primarily for the commercials? Why mess with one of the last DVR-proof pieces of broadcast content? The reason NBC can charge $116,000 per second is because on the 364 days a year that are not Super Bowl Sunday, we’ll do whatever we can to avoid television commercials. Perhaps one year it will take its toll on the ratings and the impact of the ads. Perhaps it will seem so very 2012 to race our friends to first post a soon-to-be buzzed-about ad on Facebook. But curiously, this Occupy-influenced culture is also being convinced to fetishize consumerism this week — to know the back stories, the interesting production facts, even the details about ads that were too controversial to make the cut.
I used to hypothesize that the Super Bowl ads of a given year were a reflection of the zeitgeist, a sort of ideological barometer. For instance, the 1999 E*Trade dancing monkeys that captured the brio (“We just wasted $2 million!) of the pre-Internet bubble burst or, conversely, the 2002 White House PSAs that ominously linked smoking marijuana to, among other things, terrorism. But now more than ever the commercials aren’t as much a reflection of the zeitgeist as they are a reflection of a desperate media reality and the degree to which advertisers and their agencies are asked to exceed the massive expectations of an increasingly brand-savvy, post-ironic culture that is almost impossible to surprise.
Despite all this, most of this year’s ads, on first viewing, do surprise. As a group they are as consistently entertaining and smart as any I’ve seen. Makes me eager to see the 2013 Super Bowl ads when they’re released next week.
James P. Othmer is the author of the novel “The Futurist,” the memoir “Adland: Searching for the Meaning of Life on a Branded Planet” and the forthcoming thriller, “The Last Trade,” written as James Conway. More James P. Othmer
The Super Bowl is all about tradition. The chili and beer-soaked parties. The interminable, annoying half-time show. The parade of sexed-up, flesh-flaunting ads. But this year, there’s a twist. This Super Bowl comes with a slice of beefcake. In a surprising move toward righting the gender scales, two of the most already-buzzed about Super Bowl ads feature dudes who are not pouring Doritos down their gullets or smirking as they speed around a racetrack. They’re being sex objects.
For starters, there’s Mr. Posh Spice, aka David Beckham, promoting his new line of bodywear for H&M. He flexes his numerous tattooed muscles to the tune of “Please Don’t Let Me Be Misunderstood,” glowers in an “I mean business here” way that’s remarkably persuasive, and uh, I forget what I was talking about. To quote Emma Stone in “Crazy Stupid Love,” SERIOUSLY? Just watch.
The notion of a hot, barely clad body that happens to be male in a Super Bowl ad has been, until now, nearly unheard of. But far more subversive than the Beckham spot is a Toyota one that really flips sex appeal expectations. In the spot, the car company boasts that after it reinvented the Camry, it decided to reinvent a few other things. Among its creations: a traffic cop who hands out speeding tickets but also invigorating massages, a motor-vehicles department where you can play pinball and get soft-serve ice cream, a blender that plays Lionel Richie, and of course, curtains made of out of pizza. But the real showstopper is Toyota’s “reinvented couch.” A nebbishy man opens his front door to discover his furniture has been transformed into a row of bikini-clad beauties, no doubt just waiting for him to park his rear upon their collective lap. It’s your typical ad-agency-concocted dude fantasy, until the scene changes to a replica row — this time of seven six-pack toting guys and the announcement that “It also comes in male” — prompting the surprised homeowner to give a little shrug of approval.
Just two years ago, Super Bowl ads had been a slew of female-alienating, flat-out hostile spots that chided men for being pussywhipped and defiantly declared “Man’s Last Stand.” (Spoiler: They involved driving fast and not wearing pants.) But last year, the ads began to take on a decidedly less misogynistic tone. The most patently sexist ad back then was a Pepsi spot featuring an abusive female.
Make no mistake, there will still be plenty of old-fashioned T&A to go around during Sunday’s commercial breaks. And you can always count on GoDaddy to be the company that asks the question, “Who won’t notice a hot model in body paint?” But it seems that at last sponsors are catching on to the fact that nearly 46 percent of Super Bowl viewers are female, and that plenty of the game’s male viewers are more inclined to be moved by a shirtless man than Danica Patrick. Sure, it’s still objectification even if a guy is the object, but it does suggest our yearly parade of hormone-driven ads is tilting toward gender equity. Or as Toyota might express it: It’s still the Super Bowl ad, but reinvented.
It’s early January, and with ritual New Year’s resolutions following the ritual holiday gorging, everyone is dealing with a heaping portion of fat shame. But this year, the real finger-wagging is aimed at our kids.
In an attention-getting series of ads sponsored by Children’s Healthcare of Atlanta, grim youngsters stare at us with accusatory eyes. “Warning,” reads one message under a photo of Tina, a chubby female. “It’s hard to be a little girl if you’re not.” In a YouTube spot, Tina admits that “I don’t like going to school, because all the other kids pick on me. It hurts my feelings.” The tag line reads, “Being fat takes the fun out of being a kid.” In another ad, overweight Bobby confronts his plus-size mother. “Mom, why am I fat?” he asks. When we live in a country in which children can be taken from their parents for the “medical neglect” of obesity, maybe it’s time to start looking hard for answers.
When the $50 million Strong 4 Life campaign launched last summer, it was a project born from a genuine and increasingly pressing healthcare crisis. Georgia has the second-highest childhood obesity rate in the nation, and where there’s obesity, there are serious, long-term health repercussions — diabetes, heart disease. But in recent days, fueled by a ramped-up billboard and television presence, the campaign has gained international attention – and criticism.
The obesity epidemic challenges parents and caregivers at every turn. How do we help our children make healthy choices when so many adults are struggling themselves? How do we encourage nutrition when our own government caves to the food industry’s push for cheap, empty fare in our school cafeterias? Children who eat school lunch now stand a 29 percent greater chance of being obese than those who don’t. Phys-ed classes are disappearing, and as many as 40 percent of our schools have done away with recess in the past few years. And at home, Strong 4 Life says that “50 percent of people surveyed did not recognize childhood obesity as a problem and 75 percent of parents with overweight or obese kids did not see their children as having a weight issue.” How can we fix a problem that isn’t just daunting, it’s still barely even acknowledged?
The Strong 4 Life campaign at least confronts the issue head-on. Despite our cultural obsession with weight problems, we still chafe at identifying individuals – especially children — who have them. Calling someone obese is considered a cruel taunt rather than a statement of fact. The unusually frank public service announcements demystify fatness. It’s not a condition reserved for the pathetic, anonymous “creatures” of People of WalMart — it’s an issue our children face in playground jeers today, and with joint problems and sleep apnea tomorrow. As Strong 4 Life’s pitch explains, “We must open our eyes and look around: Kids are now suffering from diseases once seen only in adults. … We must come together as a community and talk about it.”
But what kind of talk? As Marsha Davis, a researcher at the University of Georgia’s College of Public Health, told the Atlanta Journal-Constitution this week, “In terms of the social stigma about weight — it might actually make people feel worse.”
Children’s Healthcare’s Linda Matzigkeit says a new phase of the ad campaign is rolling out soon, but right now it’s just a series of feel-bad messages to “Stop sugarcoating it, Georgia.” Strong 4 Life does include tips for healthier living on its site, but the main thrust of the campaign is stil a horribly misguided focus on what a bummer it is to be fat. Shouldn’t we encourage our kids that being healthy is a positive thing on its own, and not just because “it’s hard to be a little girl” who’s fat? There’s absolutely nothing in a message like that other than the idea that girls are supposed to be “little.” It implies that the teasing young Tina now endures will melt away when she sheds a few pounds. Maybe. But change so you won’t get picked on? That’s a terrible philosophy, especially for the less ectomorphically inclined. Some kids will always be big, even if they’re perfectly healthy. As a Facebook commenter beautifully explained, “Just wanted you to know that you’re doing a horrible thing. Fat kids shouldn’t stop being fat because they get bullied. It’s the bullies that should be stopped.”
We cannot promote health in a culture that reduces human beings – especially very young ones – into stereotypes of big is bad. That is not healthy, productive or loving. We all want our kids to live long, strong lives, fueled on fresh air and nutritious food. But those things are products of accepting who our kids are now and who they can become, at every point on the body-mass index. Because as Marsha Davis told the Atlanta newspaper, “We need to fight obesity, not obese people.”
On Saturday, Dec. 17, 2011, traveling on his train, Kim Jong Il, president of North Korea and star of advertising world died. Here are some highlights of his advertising career.
Salon is proud to feature content from Imprint, the fastest-growing design community on the web. Brought to you by Print magazine, America’s oldest and most trusted design voice, Imprint features some of the biggest names in the industry covering visual culture from every angle. Imprint advances and expands the design conversation, providing fresh daily content to the community (and now to salon.com!), sparking conversation, competition, criticism, and passion among its members.