The above commercial by 180:Amsterdam for Amstel beer had many negative reviews. Viewers thought it was boring and did not understand the message. It takes place in a laboratory where the bottle is being tested in a vacuum. The beer's reaction produces a small bubble that explodes and reshapes the top of the bottle. According the narrative, this is how the New Amstel beer changed the bottle's shape. It follows the campaign which was launched to promote the company's new beer. A print ad in this campaign says:

"Brewed in the same way since 1870 - until last year when we completely changed it."

I suppose the commercial above demonstrates how they changed the bottle. The tv shot has a 1970s feel to it and intended to speak to Amstels past. The exciting (?) twist in the commercial when the bottle reacts represents the new Amstel. When compared to the work 180:Amsterdam has done for MTV and Adidas, this commercial cannot compare.

It is also important to note that the tone of the new campaign is much drier than the poking-fun-at-beer-drinkin'-men commericals that preceded it. They were more on par with DDB's Budweiser ads.

Goodby Silverstein & Partners of San Francisco must have a menagerie in their production studio. From the cows, weasels, frogs, and now chickens, animals have been important for their casting.

Super Bowls are an ideal time for clients to introduce a new product or service with a huge audience across the States. Denny's restaurant was no exception in the 2010 Superbowl when they reintroduced their Free Grand Slam breakfast for anyone on their birthday. The commercial shows a terrified, screaming chicken while a middle-aged woman blows out her birthday candles. The chicken is no doubt concerned about the quantity of eggs it will need to produce for the hoards of people coming on their birthdays expecting a Grand Slam breakfast. The ad's concept does not require an Economist savvy audience to understand, and can speak to a broad range of people watching the super bowl.

TBWA has had a reputation for great creativity, and the above personified genitals confirm that. First, I was shocked to see the explicit material and had a difficult time taking it seriously. I could only think about Super Bad. But in reference to Aids, the creative concept is appropriate and the execution is really well done. The creative team did a phenomenal job to give the penis a personality that can be likened to a human actor - same goes for the variety of female representatives. And the choice of music was a good marriage to the narrative. The tempo was in sync with the actions. And the bathroom setting is one to which everyone can relate. I wonder though about the message. On the surface it makes sense: use a condom. But the last scene shows the male part having sex with a multitude of vaginas. What happened to the integrity of a single partner? And isn't this the best way to prevent Aids? In addition to this consideration, it is interesting that TBWA's Paris office created this commercial instead of its L.A. or NYC offices. This point helps prove the notion that Europe's tolerance/acceptance is greater for these more racy subjects and advertisements.

I'm not only astounded that DDB: Brazil would create this print ad for WWF, but that WWF would allow it to be published. The image is of many airplanes flying toward the twin towers of 9/11, in an attempt to state that this horror is the equivalent of an earthquake and would kill 100 times as many people as 9/11 did. While I do like the image (it's powerful), the comparison is inappropriate on an emotional level and contextually. As if WWF's funding could stop an earthquake? The message is foggy. This ad ran once and was then pulled. Reasonably so. It is interesting that DDB's Brazil office did this work. Maybe they believed their relation to America's tragedy was far enough removed to make this work acceptable.

For Northface, this ad by Saatchi & Saatchi is an illustration of the gross monster that "city" can be in opposition to nature. A dinosaur-like monster is created entirely of city material and it dwarfs a small person to the lower left who represents the man looking for the natural outdoors (Northface). I really like the use of black ink only. This simplicity is needed with such a complicated illustration. The illustration engages the viewer on a level similar to the Navia ad below. However, I'm not so sure how appropriate the ad is for the target. The target audience may appreciate and respond better to a simple, direct ad like the Jeep one - also below.

Most ads only demand a split-second glance to communicate an idea. And while this ad for Navia (navigation system) by TBWA explains the product quickly, it will most likely engage the viewer longer. The illustration is a detailed arial view of Venice and it's similar to looking at an amusement park map. People will want to search for the points of interest and see where the roads lead. This is the kind of print ad that should replace band posters in dorm rooms. The tag reads, "Lose yourself in Venice."

The Jeep ad above inventively uses the combined shapes of a camel and husky dog to create a Jeep form. The combination also creates a statement: Jeep combines the endurance of a camel and strength of a husky. Both animals are examples of extreme climates and terrain. The choice of two transparent colors to create a third mixed color helps make a direct statment. The visual subjects also reference road sign language. Ad is by BBDO Proximity, Malaysia.