Reality TV, the local television news, song lyrics or the lack thereof, mean-spiritedness that passes for acerbic wit–the list goes on and on of those factors that both spur on and/or are symptomatic of a dumbed down society.
But true to the grammatical and mathematical proposition that two negatives can make a positive, there’s something quite smart about DumbDumb, the digital content and production studio led by comedic actors/writers Jason Bateman and Will Arnett. The shop creates and produces brand-inspired entertainment that reaches audiences across social, digital and traditional media. Earlier this year, DumbDumb’s Dirty Shorts—The Prom Date for Orbit chewing gum won a Gold Pencil at the One Club’s One Show Entertainment Awards. And in this week’s lead story, SHOOT connected with Arnett to get his take on the branded content landscape as well as DumbDumb’s web celeb talk show, Always Open, for Denny’s.
While branded entertainment has become a buzz phrase that can occasionally ring hollow, cited in order to seem contemporary, Always Open has a strategic underpinning that dovetails nicely with Denny’s branding objectives. And it’s not so much Arnett’s comments–which are worth checking out for their big-picture perspective–but rather those of Marty Orzio, chief creative officer of Gotham, agency for Denny’s, which underscore the value of content that connects for a reason.
Orzio observed that Always Open–hosted by comedian/improv performer David Koechner and featuring such guests as Bateman, Arnett, Sarah Silverman, Will Forte, Amy Poehler and Kristen Bell–represents the perfect branding message for his client whose slogan is “America’s diner is always open.” The talk show is a one-on-one chat between Koechner and his guest over a meal in a Denny’s booth.
“The word ‘open’ was a way for us to give consumers something they already knew about Denny’s [open 24/7],” said Orzio. “But this series gave us something to build upon. We could turn the word ‘open’ to mean much more–‘openness.’ Being at a diner, sitting in a booth and shooting the shit with somebody–it’s comfortable.”
Furthermore, Always Open potentially opens up a new audience for Denny’s which has a strong standing with an older demographic but, related Orzio, “doesn’t have a following with younger people the way it should. This series appeals to a younger audience. We’re early on in the process but the preliminary results are encouraging. The show is being passed around, there’s a lot of activity with people between the ages of 18 and 34. The first episode with Jason Bateman has gotten 800,000 hits so far.”
Arnett related, “When we set up DumbDumb, we were open to trying anything–sketches, web series, all forms of content. We wanted to engage with people who were funny, and let brands come over to see if a marriage made sense. It can be a win-win for everybody. Gotham and Denny’s had a playbook with a lot of room for new ideas. We didn’t want to hit people over the head with the brand. But having a conversation at a Denny’s booth was a natural choice. We’re all struggling to find the place where art and commerce can live on the Internet. This show does that.”
Utah Leaders and Locals Rally To Keep Sundance Film Festival In The State
With the 2025 Sundance Film Festival underway, Utah leaders, locals and longtime attendees are making a final push — one that could include paying millions of dollars — to keep the world-renowned film festival as its directors consider uprooting.
Thousands of festivalgoers affixed bright yellow stickers to their winter coats that read "Keep Sundance in Utah" in a last-ditch effort to convince festival leadership and state officials to keep it in Park City, its home of 41 years.
Gov. Spencer Cox said previously that Utah would not throw as much money at the festival as other states hoping to lure it away. Now his office is urging the Legislature to carve out $3 million for Sundance in the state budget, weeks before the independent film festival is expected to pick a home for the next decade.
It could retain a small presence in picturesque Park City and center itself in nearby Salt Lake City, or move to another finalist — Cincinnati, Ohio, or Boulder, Colorado — beginning in 2027.
"Sundance is Utah, and Utah is Sundance. You can't really separate those two," Cox said. "This is your home, and we desperately hope it will be your home forever."
Last year's festival generated about $132 million for the state of Utah, according to Sundance's 2024 economic impact report.
Festival Director Eugene Hernandez told reporters last week that they had not made a final decision. An announcement is expected this year by early spring.
Colorado is trying to further sweeten its offer. The state is considering legislation giving up to $34 million in tax incentives to film festivals like Sundance through 2036 — on top of the $1.5 million in funds already approved to lure the Utah festival to its neighboring... Read More