Saatchi & Saatchi New York has elevated Daniel Lobatón from executive creative director to chief creative officer. This promotion is the first CCO appointment from inside the agency.
Since joining Saatchi New York as a creative director in 2017, Lobatón has been a part of developing groundbreaking work for Tide, including the “It’s A Tide Ad,” “Thursday Night Tide Ad,” #LaundryNight and #LaundryLater campaigns. Lobatón has also been instrumental on Olay as well as other key client business over the course of his tenure.
Prior to his time at Saatchi New York, Lobatón held copywriting and creative director positions at VML, LatinWorks and Young & Rubicam. He holds a bachelor’s degree in Advertising and Media from the University of Lima and a Master’s in Marketing and Product Management from IAE Gustave Eiffel School of Management in Paris, France.
In his new role, Lobatón will report directly to CEO Andrea Diquez and will partner with the agency’s creative leaders across the portfolio. In addition to his leadership duties, Lobatón will continue to play an integral role on the Tide team as it continues to push creative boundaries.
Lobatón shared, “Over the past three years at Saatchi I’ve seen Andrea create an environment where ideas thrive, which I think is even more critical in this context. Ideas are what have always set Saatchi aside and have given it a great legacy. Many great creatives I admire have captained this office. It’s a huge responsibility, a big challenge and I’m thankful for the opportunity.”
Diquez stated, “In this time of uncertainty, it is imperative that our clients are confident that we have a strong creative leader at the helm. Daniel has proven himself time and time again as someone who can inspire teams to overcome challenges and deliver for clients despite incredible odds. While we had planned to make this announcement under better circumstances, we are proud to have him as our chief creative officer as we navigate a new reality.”
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
The one rule to follow is that... Read More