PromotionLINK News

As always, music will be a big part of Super Bowl XLVI. Madonna is doing the halftime show, of course, and musicians will appear in a number of ads—from Elton John and Melanie Amaro for Pepsi, to Mötley Crüe for Kia, to the Pussycat Dolls for Go Daddy. Our sister magazine Billboard is keeping tabs on the night's music, so check out their collection of stories: Super Bowl XLVI: The Music Behind the Big Game.

Chevrolet "2012" - 2012 Super Bowl

Hewlett-Packard expects to make an agency selection for its worldwide personal computing unit by the end of March, as outside consultants Pile and Co. now reach out to agencies.

The company said roster shops Twofifteen McCann and BBDO have been invited to participate in the review. The computer giant is not disclosing which other agencies are being asked to participate in the search process.

Global ad spending could not be determined. However, HP’s computing division in the U.S. spent $127.4 million in 2011 measured media through September of last year, according to the latest data available from Nielsen. (That amount doesn't include Internet or business-to-business advertising.) In full-year 2010, the unit spent $132.4 million.

In November, HP parted ways with long-time agency Goodby Silverstein & Partners, which resigned the business. Twofifteen McCann has been handling the account since then. BBDO works on HP’s corporate marketing and printing and imaging assignment.

The current review is for the worldwide strategy for the PC unit; HP will continue to work with local agencies for in-market execution. Eric Keshin, the HP senior vp of marketing and strategy who joined HP last March after three decades at McCann Erickson, is overseeing the review.

During GS&P’s 16-year working relationship with HP, the company created iconic campaigns like “The Computer Is Personal Again.”
 

JCPenney wants to keep it simple.

The retail giant is out with a string of ads from one of its new agencies, Peterson Milla Hooks, espousing its promise to offer "fair and square" prices (a pun on its new logo) without complicated sales gimmicks. Visually speaking, the spots feel a lot like PMH's work for its last mega-retail client, Target—bright, engaging, playful. But the JCPenney spots clearly home in on the brand's new strategic positioning, illustrating its argument through accessible, mildly humorous scenes.

One new commercial shows a lighthearted, sunny backyard scene. A young girl holds up a hula hoop as a dog in a birthday hat leaps back and forth through it—more or less the only action in the entire 30-second commercial. "No more jumping through hoops," explains the copy. "No coupon clipping. No door busting. Just great prices from the start." Other ads feature a rapid-fire auctioneer soliciting underbids, to make the case for "no more pricing games," and an older sister tricking her younger brother into a bout of dizziness that lays him out flat, for "no more making your head spin."

The spots are sharply detailed and fun to watch, with clear takeaways. They have the added benefit of shedding some light, in retrospect, on Mother's somewhat more abstruse, defiant scream-fest teaser ad (since removed from YouTube) for the brand's big new rollout. Another spot in the new PMH campaign, meanwhile, appears to run a little contrary to the rest of the messaging, complicating things by inviting consumers to come in on the first and third Friday of every month for the "best prices." (Nooooooo!)

The "Fair and Square" spots were all directed by Rocky Morton. The lone ad from a different director, a February-themed piece by Gaysorn Thavat, ends up being the most charming. A montage of amusing winter scenes set to Billie Holiday's "I've Got My Love to Keep Me Warm," it's also the least sales-driven.













CREDITS
Client: JCPenney
Agency: Peterson Milla Hooks, Minneapolis

"Fair and Square" spots
Director: Rocky Morton
Production Company: MJZ
Producer: Donald Taylor
Director of Photography: Sal Totino
Production Designer: Julian Laverdiere
Wardrobe Stylist: Marie Sylvie Deveau
Editor ("Pin the Tail"): Brett Astor, Channel Z
Editor ("Auctioneer," "Hoops"): Jim Stanger, Channel Z
Telecine: Pixel Farm
Colorist: Oscar Oboza
Post: Pixel Farm
Lead Artist: Kurt Angell
Original Music: Brahmstedt White Noise, Minneapolis

"February"
Director: Gaysorn Thavat
Production Company: Grand Large
Producer: Mark Allen
Director of Photography: Tobias Schliessler
Production Designer: Kristen Vallow
Wardrobe Stylist: Jen Rade
Editor: Brett Astor, Channel Z
Telecine: Pixel Farm
Colorist: Oscar Oboza
Post: Pixel Farm
Lead Artist: Tom Jacobsen
Music: Billie Holiday's 1937 recording of Irving Berlin's "I've Got My Love to Keep Me Warm"

Imagine all the trailers for this week's opening movies condensed into a minute-long sequence. Look up. There it is. And now look down. Why, there's rumination on the content of Hollywood's finest produce of the week adduced exclusively from promotional materials and trailers.

Imagine what would happen if a group of regular kids developed superpowers, just like in the funnies? And imagine how they would record that discovery on their own personal video recorders in a chronicle of events? Imagine the moral dilemmas—what happens when real people lose their grip on their superpowers? When the outside world finds out about them? Imagine the previous few sentences had been written in 2002. That would have been an awesome movie. Chronicle comes out this week, some considerable time after the TV shows Heroes and Misfits, and the movies Kick Ass, Defendor, Super 8 and The Blair Witch Project. Nevertheless, this trailer still has a boneheaded, maybe-worth-a-look charm to it. As does the Lego version.



The Chemical Brothers' Don't Think, "un film de Adam Smith," does not seem to be terribly different from what you might imagine a state-of-the-art feature-length music video from the guys who made the music for the Matrix movies might look like. Or how one feels after bad seafood. Repetitive thudding noises, random images of Japanese kids pulling odd faces as multicolored lights strobe across their faces, giant toy robots, lasers, clowns … What else? Oh yeah, some trees at night, lots of neon and a rising sense of nausea. In either case, best to take as many drugs as you can get your hands on.



The Woman in Black is an English horror novel very much in the MR James tradition (and with an overt nod to Wilkie Collins), though it was actually written and published in the early 1980s. The book became a memorable BBC TV adaptation and then a theater production that has delighted the London stage since 1989, the longevity chiefly due to a couple of stunt effects. Hammer, the vintage British horror movie producers recently back from the dead with Let Me In and the overlooked but rather brilliant Wake Wood, now takes the story to the big screen. The trailer, heavily featuring star Daniel Radcliffe (Twitter has already dubbed the film Scary Harry Potter 9), promises all the necessary ghostly beats of a glamorously dilapidated house, scary toys and a children's voiceover, until it crescendos nicely with an understated shocker at the end. Boo.



You've seen that Gregory Brothers video "Can't Hug Every Cat"? The one with the girl making the video for eHarmony who can't talk about cats without crying? Here, allow me. Big Miracle is the exact same thing, only the girl is Drew Barrymore and instead of cats you have whales. It also stars Kristen Bell, who recently demonstrated not dissimilar reactions when confronted with a sloth. Ahoy captain, splice the Kleenex. And for those who care a damn, since the whales are called Fred, Wilma and Bam Bam, what the hell happened to Pebbles? And Barney and Wilma, Bam Bam's parents, for that matter? Did the other whales eat them?



If you ever fancied cashing in and moving to CT to fix up a hotel, the trailer for The Innkeepers may be the perfect antidote. Knowingly trading on a couple of obvious horror tropes (as the voiceover breathes, "You mustn't go down into the basement," the heroine tiptoes down into the basement), it nevertheless does a clever and rare thing. While showing off the cute indie-looking cast and credible reasons why the story is being told, it doesn't quite give the game away, and indeed it actually whets your appetite for more. In part, this is because it looks like an extended version of that party scene in The Shining, and in part it's because of the sound. As the brilliant Spanish movie El Orfanato showed, once you set up the idea of equipment designed to record ghosts, you can mess crazily with the audiences ears, even in a trailer. And, you know, Kelly McGillis.



W.E. went out briefly on an award-baiting release in December, at which time … no one and nothing will give this film a break, not even its own trailer. As Wallis Simpson, a radiant Andrea Riseborough is here surrounded by decorative interiors, decorative men and endlessly perambulating cameras, oiled castors seemingly welded to their undersides. Yet for all this glamour and motion, it does rather plod along. This may have to do with the super-expository dialogue, which seems to require every cast member to state exactly what is going on at any given point. If Winston Churchill popped up in the film and said, "I'm going to drink a large Scotch and then write a rousing speech in my bath," you would not be surprised.



If you happened to visit a cinema to watch Kevin Smith: Live From Behind, then you will have witnessed a moment of some historical importance in the development of interactive media—and, no doubt, a bunch of marijuana and Bruce Willis jokes, some thoughts on the rehabilitation of Jason Mewes, and possibly some consideration of promise unfulfilled. Either way it is intriguing that the event was promoted as a sort of cartoon. C'mon Kevin. Make a great movie. You've got one in you.



There's a fine tradition of entertainments about making the beneficiaries of wills do things they don't really want to do in order to reap the rewards—The Heart She Hollers being a recent, extremely enjoyable and utterly deranged one. Dysfunctional Friends is seemingly a more traditional affair. A group of old friends whose lives have taken different paths are forced to live together and review their relationships in order to benefit from a fortune left them by the one pal who made his money using the contemporary method of "investing in social networks." Seems to have a lot of sex jokes but maybe some hugs, too. And George Clooney's new arm love, Stacey Keibler, is in the mix, which certainly lends the trailer that curiosity factor.



Doc of the week Windfall shows what happens when big corporate money finds a reason to move into a small town, buys the approval of half the population, sets them against the rest, and reaps the rewards, caring nothing for the carnage left behind. In this case, the town is Meredith in the Catskills, and the big corporate money is in green technology. A group of people fully prepared to do their bit to help wean America off oil dependency, and, er, to earn a little cash, find themselves the stooges of wind-farm manufacturers. "It's not green energy," says one resident, "it's greed." (He should have said, "it's greenbacks," that would have been funnier, but you get the idea.)  Evidently beautifully shot and seemingly carefully told, this is as much about the process of carpetbagging as it is about the perils of having ranks of 600,000-pound windmills in your 'hood.



The other doc this week is an undeveloped world problem: Splinters is ostensibly about a surfing competition in Papua New Guinea. Back in the '80s, so a card tells us at the beginning, "a pilot left a surfboard in a remote seaside village in Papua New Guinea," and thus began a local passion for the sport. At this point, you're expecting a glamorous tale of a local surfer all set to take on the best of the world. But what the trailer actually teases is a grim tail of a deeply frustrated group of young men desperate to exit their tiny corner of the world. "I want to surf like the white man," says one, and for all the thrills and sheer joy taken in the sport, to some that board is a ticket off the island, and no price is too high to get it.



As they came to power, the spoiled toffs recently elected to run the United Kingdom added to their catalog of crimes the destruction of the U.K. Film Council. Having had their error pointed out to them by the entire international film industry, they backpedaled like crazy and with untypical wisdom appointed Labour Peer and former Arts Minister Chris Smith to oversee a review of British Film Policy. Just before its publication, David Cameron talked some ill-considered rot about wanting to use lottery cash to support commercial films, presumably in preference to the anti-commercial films British film makers strive so hard to make. The grand and lovely Smith then calmed the waters by distancing himself from Tory philistinism with the line, "We are not trying to dictate an artistic vision here," and introduced 56 recommendations largely approved of by film people, who, for once, know what they're talking about. Phew. Which is all by way of saying that without the U.K. Film Council, you would never have the trailer for Kill List, about the most thrilling and mind-boggling trailer for a British film since Shane Meadows's Dead Man's Shoes. One can only hope it's half as good. A baby-faced guy patrols neglected corners of the U.K. to kill people. You have lots of serious gargoyle faces, innocent kids, some very clever camerawork, a handful of quotes from overwhelmed critics, and then at the end a shift of gear into something far more mysterious and compelling. Absolutely one of those movies you want to know nothing about until you sit down and watch it at the cinema, at least according to this trailer.



(Trailer Mash edit by Max Blecker.)

General Motors is airing three 60-second spots for Chevrolet during the Super Bowl. We had already seen two of them—"Stunt Anthem" for the Sonic, and the "Happy Grad" consumer-generated ad for the Camaro (which drags a bit compared to the :30, but apparently GM didn't think so). This morning, GM unveiled the third Chevy :60 for the game—an end-of-the-world spot by Goodby, Silverstein & Partners for the Silverado in which the Mayan apocalypse, scheduled for this year, has happened, and only Chevy truck owners have survived. (Ford owners never stood a chance.) The spot is a bit reminiscent of Goodby's old E*Trade ad from a decade ago, with the monkey wandering around the post-dot-com-bubble wasteland. Twinkies make a humorous appearance at the end of the Silverado spot—cockroach-like in their ability to withstand the apocalypse. The damn box doesn't even have any dust on it. Hostess should feel insulted, but they'll take what they can get at this point.

And here's your 60-second Pepsi spot that will air during the Super Bowl. It features The X Factor winner Melanie Amaro impressing, and then exiling, the evil king Elton John (who's wearing some serious platform boots) with her stained-glass-shattering rendition of Aretha Franklin's "Respect." What do you think—aside from being annoyed at all the full spots being released this year?

See Adweek's full Super Bowl coverage here.

It's been quite amazing how many finished Super Bowl spots, not just teasers, have been released online before this year's game. This morning we have two more 30-second spots—E*Trade's "Fatherhood" spot from Grey, New York, and Century 21's "Smarter. Bolder. Faster" from Red Tettemer + Partners in Philadelphia. The E*Trade spot focuses on a new father's financial anxieties, and includes one of the E*Trade baby's depraved toddler friends literally robbing the cradle. The Century 21 spot, nicely paced and produced, fits a lot into its 30 seconds, with Donald Trump, Deion Sanders and Apolo Ohno starring.

See Adweek's full Super Bowl coverage here.

Isaiah who? Suave Old Spice pitchman Mustafa is just a fading memory when manic spokesfreak Terry Crews is in the house. In fun new spots from Wieden + Kennedy, Crews cuts through the clutter with wall-wrecking, all-capped ferocity, crashing staid commercials for Procter & Gamble sister brands Charmin and Bounce to deliver lines like, "OLD SPICE BODY SPRAY MAKES YOU SMELL LIKE POWERRRR! IT'S SO POWERFUL, IT SELLS ITSELF IN OTHER PEOPLE'S COMMERCIALS!" Whoa. In a third spot (after the jump) not co-branded with another P&G product, Crews uses his powerful magic breath to turn a skinny nerd into a skinny nerd-pharaoh, then into a vending machine, before smashing his fist through the glass to grab some potato chips. Watch these "Smell Is Power" clips at maximum volume for a few minutes and you could lose your mind, much as Terry did in his last Old Spice outing. Such awesome wackiness restores my faith that there really is a god out there somewhere and—HE SMELLS LIKE POWERRRR!

Jesus Christ, it never ends. Jack in the Box takes America's (literally) unhealthy bacon obsession to the next level with its "Marry Bacon" TV commercial from Secret Weapon Marketing, which turns out to be only one component in the campaign for the chain's BLT Burger. The campaign's website offers animated .gifs, a Tumblr account (big surprise there), a photo uploading game that lets consumers make "bacon babies" (which conjures up all sorts of unpleasant images), and information about the chain's limited-offer bacon milkshake. And here I thought the Baconator song contest was taking things too far. This is what we all get for letting hipsters and nerds decide when things are funny.

You might think you've already seen most of the commercials from this Sunday's Super Bowl. And you wouldn't be wrong. It has been a year of teasers gone berserk. But why not watch the ads again—this time during the game, with live commentary from Adweek and our special guests.

Join us at adweek.com/super-bowl after 6 p.m. ET on Sunday, as we break down the commercials, pod by pod, animal by animal, monkey by monkey, crotch blow by crotch blow. I will be hosting, joined by a bunch of Adweek writers, and special guests including the ones below. It will be fun to critique the spots—or rather, it will be fun again.

• Tim Nudd and the rest of the Adweek editorial team
• John Butler, excutive creative director at Butler, Shine, Stern & Partners
• Jason Elm, group creative director at Deutsch LA
• Rebecca Cullers, copywriter at JWT Atlanta and AdFreak blogger
• David Gianatasio, AdFreak blogger
• David Griner, social-media director at Luckie & Co. and AdFreak blogger
• Barbara Lippert, curator of popular culture at Goodby, Silverstein & Partners
• Patrick O'Neill, executive creative director at TBWA\Chiat\Day, Los Angeles
• Ben Popken, freelance journalist and former managing editor of Consumerist.com
• Matt Van Hoven, communications director at Vitro New York, former ad industry blogger
• Rob Walker, author of Buying In and a contributor the The New York Times Magazine

Rebranding a product is usually the least heartwarming process in the world, which is what makes this news from Britain so refreshing. Grocery chain Sainsbury's has announced it will change the name of its Tiger Bread to Giraffe Bread thanks to an online campaign that began with a 3-year-old's letter. Last year, Lily Robinson (with help from her mom) wrote to Sainsbury's and asked: "Why is Tiger Bread called Tiger Bread? It should be called Giraffe Bread." The store responded with a nice note and a gift card, which Lily's mother posted on Facebook. That set in motion a chain reaction that saw thousands of Likes and shares on Facebook, along with news coverage around the world. This week, the store made the change official: "In response to overwhelming customer feedback that our Tiger Bread has more resemblance to a giraffe, from today we will be changing our Tiger Bread to Giraffe Bread and seeing how that goes." It's a coup for common sense, customer service and budding brand planners everywhere.

See also: A 5-Year-Old's First Impressions of Brand Logos

Specs
Who Peter King
Age 54
Accomplishments Sports Illustrated senior NFL writer; insider reporter on NBC’s Football Night in America; author of six books, including Monday Morning Quarterback: A Fully Caffeinated Guide to Everything You Need to Know About the NFL
Base New York City

What’s the first information you consume in the morning?
The New York Times is at my doorstep in the morning. If I have time, I also look at the New York Post and the New York Daily News. I read the sports first, and then I rifle through the front sections. Morning Edition on NPR is on in the house.

Where do you get your sports news?
If there’s anything interesting to read, you’ll find it on Twitter. About 95 percent of the people in my world of information tweet, and they’re all trying to be first. I follow around 400 accounts, like ESPN’s Adam Schefter and Chris Mortensen, NBC’s ProFootballTalk, guys from Sports Illustrated and the networks, and beat writers covering NFL teams. I also interact a lot with my followers. It helps me feel the pulse of what people are interested in reading about.

What occupies your mind in the car, on the subway, train or bus?
When I take the train to the new NBC Sports network studios in Stamford [Conn.], I usually go online, surf a little bit or maybe do some writing. I have a wireless DSL card.

Are you a TV junkie, or on an airtime-restricted diet?
Because I travel quite a bit, I don’t have much of a regular TV habit. When possible, I watch The Office or Seinfeld reruns. Most nights, I watch The Daily Show With Jon Stewart, and I try to watch one of the network evening news shows—usually Brian Williams. I also watch SportsCenter and NFL Live on ESPN, and NFL All Access on the NFL Network.

Before bed, do you bite into a novel, graze on Twitter or fast until morning?
I’m usually so tired that I just go to sleep, but I try as much as I can to read. I just read The Art of Fielding by Chad Harbach, which was really, really good. I was excited to read it for the baseball, but about halfway through, I became more interested in the characters.

Give us the skinny on your favorite app.
The National Weather Service app is good, especially in the summer—I go to NFL training camps and I like to know what I’m getting into. And I use a lot of sports apps, like ESPN and Sports Illustrated, when I’m traveling.

What’s your biggest digital indulgence?
I probably spend too much time on Twitter. There’s something addictive about having 400 people—many of whom are out in the field—tweeting what they know.

With such a bloated media universe, how do you cut out the fat?
I follow quite a few players on Twitter, and you quickly find out who is a waste of time—it’s not very valuable to know that a safety for the Arizona Cardinals is going to McDonald’s—or who’s got the PR guy writing for them. Then you cut as needed.

If you've watched her wave a flag for five hours and still need more Adriana Lima, here's her Telefora ad that's airing Sunday on the Super Bowl. Her advice to men for Valentine's Day? Give flowers, get sex in return. The talking-flowers commercials from recent Super Bowls were pretty amusing, but clearly this company is done trying to be clever and will now just give men a concrete reason for making a romantic gesture. Kia and Teleflora could both owe Lima a giant bouquet of flowers after Sunday.

See Adweek's full Super Bowl coverage here.

USA Today has long had a stranglehold on ranking the Super Bowl spots through its Ad Meter. But last year's total fail by the paper's 282 volunteers (Bud Light's "Dogsitter" and Doritos' "Pug Attack" tied for first place, with the eventual Emmy winner, Chrysler's "Born of Fire," deemed to be the 44th best out of 61 spots) has people eagerly seeking an alternative. They may well find it in YouTube's Ad Blitz, which is asking viewers to vote for their favorite spots after the final whistle is blown. Voting will continue through Feb. 13, and the winning spot will be featured on the YouTube homepage on Feb. 18. So, let's recap. With Ad Blitz, you have hundreds of thousands of visitors to the world's top video site voting over the course of a week. With the Ad Meter, you get knee-jerk reactions from a couple hundred people who wouldn't know a good ad if it hit them in the crotch like a can of PepsiMAX. Your choice.

See Adweek's full Super Bowl coverage here.

The four agencies vying to succeed Mullen as Panera Bread’s new lead creative agency vary in size, but they have one thing in common: none are in New York.

That’s by design because the St. Louis-based Panera expressed a desire to work with an agency outside of advertising’s largest market, as it did in the past. The Boston-based Mullen has worked on the brand since 2005. Also, most Panera cafes are outside of Manhattan. 

Mullen is not defending. The sandwich chain’s media spending totaled $25 million last year, roughly the same as in 2010, according to Nielsen. Those figures don’t include online spending.

AAR Partners, the New York consultancy managing the search, identified the contenders as GSD&M in Austin, Texas; Young & Rubicam in Chicago; Olson in Minneapolis; and Cramer-Krasselt in Chicago. The shops emerged from a broader field of about eight agencies.

Panera executives briefed the finalists today and work sessions are planned for later in the month. Final presentations will take place in late March at Panera’s offices in Boston.

Panera’s media business is not in play and remains at Maxus in New York. Maxus landed that account in 2009 after a review. AAR Partners handled that search as well.

The Aruba Tourism Authority has privatized and installed new leaders. Could new agencies be far behind?

The tourism authority is in the midst of two reviews: one for its advertising business and another for public relations efforts. Each is down to a handful of finalists, with a decision expected next month, according to AAR Partners, the New York consultancy managing the reviews.

On the ad piece, account revenue and annual media spending is relatively small: around $1 million for the former and about $8 million for the latter. Given like-minded marketing executives, however, an island tourism account represents an opportunity for an agency to flex its creative muscles.

A leader at one contending agency described Aruba as “a sexy object,” adding, “It’s a cool island with really nice people.”

In the fall, ATA unveiled its plans to shift from a publicly to privately funded operation. Also last year, the tourism authority also named its first CEO: Ronella Tjin Asjoe-Croes, who in September signaled a desire to rethink the island’s marketing strategy. 

The ad business includes both creative and media efforts, both of which are now handled by Deutsch in New York. (Deutsch inherited the business from fellow Interpublic Group shop Lowe when the two merged in 2009.)

This week, Deutsch exited the review, leaving three teams contending for the ad piece. The remaining teams are led by The Concept Farm, SapientNitro and People, Ideas & Culture. PI&C, for example, is partnering with digital shop Profero and media agency Horizon Media.

The incumbent on the PR business, M. Silver Associates in New York, is defending against The Zimmerman Agency in Tallahassee, Fla., Edelman in New York and Zeno Group in New York, AAR confirmed.

Next week, ATA executives will visit the contenders for a round of work sessions. Final presentations in both reviews are slated for mid-March in Aruba.

Jack in the Box thinks consumers will love its new BLT Cheeseburger so much they’ll want to marry it—at least that’s the premise of the quick-service restaurant chain’s regional Super Bowl ad and corresponding campaign.

The 30-second spot opens with a young guy telling his mother that he’s getting married. When she asks who’s the girl, he replies, “It’s not a girl; it’s bacon.” The camera then pans to the man planning the wedding and, inevitably, at the altar with a veil-and-tiara-adorned BLT Cheeseburger. “You may now eat the bride,” says the priest.

Joanne O’Brien, group account director at Jack in the Box’s creative agency Secret Weapon Marketing, said the concept was borne out of “this whole idea of talking the way kids [speak] with one another and say, ‘Well, if you love it so much, why don’t you marry it?’”

Consumers across 30 markets in 20 Western and Southern U.S. states—including California, Texas, North Carolina and Indiana—will see the spot’s debut during the game, but members of the Jack’s Secret Society email list will receive a note linking to the full ad on Friday (Feb. 2). Jack in the Box will run the spot through April.

As with many Super Bowl advertisers, Jack in the Box’s promotion isn’t limited to the TV spot. The ad will promote the Twitter hashtag #marrybacon and drive consumers to a dedicated microsite, Marrybacon.com—with the site experience varying depending on how consumers access it. Desktop users will be able to upload their photos to see what their baby would look like if bacon were the other parent. Mobile and tablet users will be able to press their thumb on the touchscreen to gauge their love of bacon. Both sets of users will be able to view the TV ad on the microsite.

John Gross, strategist and account director at Jack in the Box’s newly hired digital agency StruckAxiom, said the digital campaign focuses on extending the TV ad’s story line beyond the wedding, pointing to the Bacon Baby Web app as an example.

Nick Fletcher, dvp of marketing communications at Jack in the Box, added the chain chose a digital heavy rollout because it is trying to attract younger fast-food consumers while also hopefully improving its social communications with consumers.

“Our founder Jack…has a very popular Facebook page and Twitter following, but we’ve not been very good at two-way conversation,” said Fletcher. “So we wanted to have a lot of opportunities for people who go to the sites to share things. This is the first time we’ve really done a lot of that.”

Consumers will be able to share to Facebook or Twitter content such as Bacon Baby images, bacon love meter results and animated GIFs created by StruckAxiom.

Jack in the Box will house the TV spot on its YouTube channel and will be supporting the campaign with out-of-home and online display ads. Fletcher declined to state the campaign’s cost.
 

We've been focusing on the U.S. Super Bowl ads this week, but here's a good one that will air on the Canadian broadcast. Filmmakers told two recreational hockey teams in Port Credit, Ontario, that they were filming a hockey documentary—but it was actually Budweiser Canada, who surprised the amateurs by filling their empty stadium with cheering fans, cheerleaders and sportscasters, giving the feel of a pro game. As you can see in the clip, the players were stunned. Flash mobs—I guess they're still good for something. Nice work by Anomaly.

See Adweek's full Super Bowl coverage here.

Kia's first Super Bowl teaser this year was a 15-second clip of supermodel Adriana Lima waving a checkered flag. Now, the automaker has unveiled a companion piece—a five-hour video of supermodel Adriana Lima waving a checkered flag. It's all in super slo mo, so it's kind of cheating. But Lima's fans don't seem to mind. "Need this in 1080p," says the the top comment on YouTube. (The person who emailed us the clip opined: "It might be the greatest thing on the interweb.") It certainly is the longest Super Bowl teaser in a year of long teasers. Lima appears with half of the Western world in Kia's actual Super Bowl ad—see the extended cut here.

See Adweek's full Super Bowl coverage here.