The “Tsunami” print and video ads created by DDB Brasil for the World Wildlife Fund (WWF)–which triggered controversy not only for their content but also for allegedly being unqualified award show entries–have now resulted in the One Club instituting a stringent “fake ads” policy for the One Show beginning in 2010.
The “Tsunami” print ad garnered a Merit honor from the One Show earlier this year but DDB Brasil has since said its entry of the work into the competition was a mistake. The One Club then stripped DDB Brasil of the Merit kudo.
Reportedly both the print and video ads were also submitted to this year’s Cannes Lions International Advertising Festival, but made no headway with judges.
The ads depict multiple planes approaching the World Trade Center towers in Manhattan. This scene is coupled with the observation that the tsunami (presumably the one that struck southern Asia in Dec. ’04) killed 100 times as many people as those who perished during 9/11.
DDB Brasil issued an apology for the ads on its website from agency president Sergio Valente.
Valente wrote, “While the work was developed by a team of young creatives seeking to make the point that nature is a powerful force, the work should never have been approved at the agency, let alone have run anywhere or been submitted for awards.
“The work, which ran just once locally in print and on cable, and the attention, concern and offense it has caused, has underscored the point that today no ad is truly local,” continued Valente. “I emphasize this work does not reflect our thoughts and our beliefs about 9/11. On behalf of all of DDB Brasil, I offer my most sincere apologies and regrets to those who were offended by this work.”
Definition and implementation
In light of the “Tsunami” ads, the One Club has taken it upon itself to define “fake ads” and initiate punishment for their entry into the One Show.
The One Club defines “fake ads” as: ads created for nonexistent clients or made and run without a client’s approval, or ads created expressly for award shows that are run once to meet the requirements of a tear sheet.
Thus starting in 2010, the One Show will be adopting the following new rules and penalties.
o An agency or regional office of an agency network that enters an ad made for nonexistent clients, or made and run without a client’s approval, will be banned from entering the One Show for five years.
o The entire team credited on the “fake” entries will be banned from entering the One Show for five years.
o And an agency or regional office of an agency network that enters an ad that has run once, on late night TV, or has only run because the agency produced a single ad and paid to run it themselves, will be banned from entering The One Show for three years. (The One Club reserves the right to review “late-night, ran-once” and launch versions, at The One Club’s discretion. If it is determined that the ad was created expressly for award show entry, the penalty will hold.)
“The One Club exists to champion excellence in advertising and design in all its forms,” stated Kevin Swanepoel, president of The One Club. “We will stringently enforce these rules and penalties to ensure that The One Show remains the pinnacle of advertising and design created for marketers and brands. The One Show encourages other international award shows to follow suit with similar policies. In addition, we are in the process of developing an initiative in the agency and creative communities, in which individuals and agencies will be called upon to monitor and eliminate ‘fake’ ads at their source. A detailed guidelines will appear in the 2010 One Show call for entry.”
Review: Director Bong Joon Ho’s “Mickey 17” Starring Robert Pattinson
So you think YOUR job is bad?
Sorry if we seem to be lacking empathy here. But however crummy you think your 9-5 routine is, it'll never be as bad as Robert Pattinson's in Bong Joon Ho's "Mickey 17" — nor will any job, on Earth or any planet, approach this level of misery.
Mickey, you see, is an "Expendable," and by this we don't mean he's a cast member in yet another sequel to Sylvester Stallone's tired band of mercenaries ("Expend17ables"?). No, even worse! He's literally expendable, in that his job description requires that he die, over and over, in the worst possible ways, only to be "reprinted" once again as the next Mickey.
And from here stems the good news, besides the excellent Pattinson, whom we hope got hazard pay, about Bong's hotly anticipated follow-up to "Parasite." There's creativity to spare, and much of it surrounds the ways he finds for his lead character to expire — again and again.
The bad news, besides, well, all the death, is that much of this film devolves into narrative chaos, bloat and excess. In so many ways, the always inventive Bong just doesn't know where to stop. It hardly seems a surprise that the sci-fi novel, by Edward Ashton, he's adapting here is called "Mickey7" — Bong decided to add 10 more Mickeys.
The first act, though, is crackling. We begin with Mickey lying alone at the bottom of a crevasse, having barely survived a fall. It is the year 2058, and he's part of a colonizing expedition from Earth to a far-off planet. He's surely about to die. In fact, the outcome is so expected that his friend Timo (Steven Yeun), staring down the crevasse, asks casually: "Haven't you died yet?"
How did Mickey get here? We flash back to Earth, where Mickey and Timo ran afoul of a villainous loan... Read More