Laughlin Constable (LC), an independent agency based in Chicago and Milwaukee, has hired Lisa Bennett as its chief creative officer. Bennett comes over from TM Advertising In Dallas where she spent the past three years as CCO. Prior to her tenure at TM, she was North American creative lead for DDB Worldwide and CCO of DDB San Francisco.
Over the years, Bennett’s work has been recognized at international award shows including Cannes Lions, One Show, Clio Awards, Webby Awards, Effie Awards and D&AD. Bennett has led the creative charge on a diverse group of iconic brands such as McDonald’s, Heinz, Delta Airlines, Coca-Cola, The Clorox Company, ConAgra Foods, STP, Armor All, Intel, e.l.f Cosmetics, Yahoo and Universal Orlando Resort. She has deep expertise across a broad range of industries including consumer packaged goods, entertainment, travel, healthcare, beauty, auto, retail and technology.
Bennett joins LC during a growth streak. In the last two years, the agency has been awarded AOR responsibilities for nine clients including Yuengling, Milwaukee Bucks, Fleet Farm, World Finance and ASPCA. “The last few years have been exciting for LC as we broke through on the national scene,” said Mat Lignel, CEO and president of Laughlin Constable. “Lisa is the perfect CCO to take us further on that journey. She is a rare creative leader that combines an intellectual agility with the ability to transform brands through big, business-building ideas.”
The move to LC is a homecoming of sorts for Bennett. She spent the first 14 years of her career in Chicago at Leo Burnett where she had creative oversight for clients such as McDonald’s, Heinz, Disneyland and Delta Airlines.
“Laughlin Constable is the best kept secret in our industry,” said Bennett. “Under Mat’s leadership, they have been quietly building a force to be reckoned with. From LC Lab–an innovation engine that delivers technology-based solutions for brands, to The Hive–a full service in-house content production studio, to an integrated team of incredibly nice, hard-working people.”
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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