Andreas Dahlqvist, who’s served as executive creative director/managing partner at DDB Stockholm since 2004, is joining McCann New York as vice chairman, executive creative director, a new post at the agency.
At DDB Stockholm, which recently was named the Gunn Report’s Digital Agency of the Year, Dahlqvist was responsible for the agency’s creative and strategic product and drove such highly lauded work as the “Fun Theory” campaign for Volkswagen and print and integrated work for McDonald’s, as well as a ground-breaking digital campaign for Swedish Armed Forces. Other creatively high profile clients, spanning multiple categories, include Telia, Adidas, Skoda, The Royal Opera, RSA’s Trygg-Hansa/Codan (insurance companies), Microsoft, Tropicana and international creative work for Vattenfalls, the Swedish energy company.
Earlier, Dahlqvist was creative director of DDB’s predecessor agency in Sweden, Paradiset, and from 1999-2003 he was creative director and founder of The Bearded Lady, a hybrid, interactive agency with a client roster that included Royal Mail, Spendrups beer, Telia, JC, Brothers and Stockholm Records. He began his career as an art director in his native Sweden.
Dahlqvist’s creative honors include 10 Cannes Lions, six One Show Pencils, 14 Clios, four London International Awards, as well as over 70 other top international and local festival award show honors.
Linus Karlsson, chairman/chief creative officer of McCann New York and London, said that Dahlqvist “will be responsible for hands-on oversight of the creative work for all New York agency clients and for leading the transformation of McCann’s N.Y. flagship agency into a creatively driven organization.”
Review: Director Michael Morris’ “Bridget Jones: Mad About the Boy”
It is a truth universally acknowledged, as Bridget Jones herself might write in her diary, that at the end of any Bridget Jones movie, our heroine has triumphed over all doubts and obstacles and is finally happy.
With a man. Well, so far, with one particular man: Mark Darcy, the stuffy-yet-dashing man of her dreams.
This, dear viewer, is not a spoiler for the new fourth movie, "Bridget Jones: Mad About the Boy." In fact, if you've seen the trailer, you'll know that Bridget (Renée Zellweger, still pretty delightful), who finally married Mark at the end of the third film, is now a widow.
We're not supposed to divulge exactly what happens next. But remember, folks, this is a classic romantic comedy franchise. Rom-coms can be sad and deep, but they still need to be romantic.
What makes "Bridget Jones: Mad About the Boy" especially enjoyable, then — and the best since the 2001 original — is not that Bridget finds a way yet again to triumph over doubts and obstacles. It's that she still makes us care so darned much.
How does she do it after all these years? All I know is, I was rooting harder for her at the end of this film than I was with the others, even the original where she's kissing Mark in the snowy street in underwear and sneakers.
There are various possible explanations. One is Zellweger herself, who has brought her character gracefully into her 50s, retaining Bridget's goofiness and deep-set optimism while reflecting hard-won life experience.
And there are subtle changes to the equation. The relationships in this latest film are more interesting — old ones and new.
Bridget's relationship with herself is more interesting, too — and healthier. Sure, she can swig a full bottle of Chardonnay on a bad... Read More