Marketing communications agency Campbell Ewald has promoted Laura Rogers to executive creative director. Previously group creative director, Rogers will continue to oversee creative for OnStar, Cadillac Magazine and Chevrolet New Roads Magazine, plus content specific programs for clients including Valero and Meritage Homes. She will report directly to Jo Shoesmith, chief creative officer.
“With 25-plus years of content development, CRM and digital media experience, Laura has been a pioneer in modern content marketing,” said Shoesmith. “She is a proven leader and mentor, and has contributed to the success of the agency in a significant way.”
A 22-year veteran of Campbell Ewald, Rogers joined the agency as an art director and meticulously grew her talent. She has developed award-winning content for assorted clients, contributed to new business efforts and has dedicated much of her time to providing mentorship and career development opportunities amongst her peers.
“There was a very vivid moment in my career when I recognized the important difference between doing great work and leading great work. A moment that made me realize the more minds that are able to bring an idea to life, the better the idea becomes,” said Rogers. “Since that ‘a-ha’ moment, I challenge myself to continually find ways to help people embrace collaboration, to see things differently, and to distinguish their unique talents. As a result, I am humbled and grateful of the talent that surrounds me every day.”
Throughout her career at Campbell Ewald, Rogers has also worked on leading brands including United States Postal Service, Kaiser Permanente, U.S. Navy and USAA.
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.
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