Newsweek’s Tina Brown flags Mad Men revival with retro ads fest

January 13, 2012

Creatives, sharpen your pencils. Tina Brown, editor of Newsweek and The Daily Beast, has a new challenge for you.

Well, not “new” perhaps; more “retro”. It’s a once-in-a-lifetime opportunity to hone those copy skills which you might, if you were extremely lucky, have learned at the knee of David Abbott or, very distantly indeed, Bill Bernbach (ob.1982).

The brief? To turn a whole edition of Newsweek into a celebration of Mad Men’s fifth season premiere, on March 25th, with 60’s-themed ads.

It’s difficult to know who’s been commercially cuter here, with this “life imitating art” fest: Brown, who needs to boost flagging Newsweek ad revenue; or Matthew Weiner, creator and executive producer of the critically acclaimed but hardly money-spinning Lionsgate TV series, who needs to give the long-delayed fifth series the best uplift possible.

It’s nearly a year and a half now since Don Draper and his chums last graced our screens, mainly thanks to a protracted dispute between Weiner and Mad Men’s TV sponsor, AMC Network. Last March, Weiner eventually emerged with a new $30m contract which, reportedly, will guarantee us another 3 series.

For Brown, the hope is that the March 19th Mad Men edition will provide the crowning glory to a low-profile turnaround for Newsweek. Ad pages dropped 17% in 2011, but the magazine has experienced a steady quarterly recovery since her well-received redesign, launched on March 14th last year.

Of course, that’s not what she’s saying in public:

Newsweek was very much on the cultural forefront at the time of the show. It covered the events that are so much of the background for the show’s drama — the burgeoning civil rights movement, the women’s rights movement, the Vietnam War. That was Newsweek’s cutting-edge beat and its flourishing journalistic subject. So it seemed like a wonderful marriage in a sense to take that and apply it to the magazine, to make the magazine an homage to the period.

As opposed to today when the magazine does… what exactly? Maybe it’s not such a smart idea to remind people of its past glories after all.

No matter. Here’s a great opportunity to dust down those copywriting skills. And this, by way of inspiration, is what you’ll be up against. A bit of Bernbach’s immortal VW Beetle advertising. And, from the same agency DDB, the scarcely less famous “We try harder” for Avis. No tobacco advertising, though. Historical authenticity doesn’t stretch to allowing parodies of a Lucky Strike campaign.

Alas, most of us in Blighty are going to have to bide our time with Mad Men Mark V. The BBC has lost the screening rights to: – subscriber-only Sky Atlantic. Roll on the series DVD, retailed by Amazon.

Why Don Draper won the Dove brief

August 3, 2010

Unilever has come up with a cute but controversial “hommage within an hommage” advertising blitz – featuring six of its power brands – in the latest series of Mad Men, which is now airing in the USA.

Like the series itself, the ads recreate a fictional early Sixties hot shop; in this case SmithWinterMitchell. Each episode stars two of its principals, copywriter Phil Smith and art director Tad Winter, wrestling with a campaign brief for, in succession, Dove, Breyers, Hellman’s, Klondike, Suave and Vaseline.

Neat, eh? And there’s more. The ads (devised by WPP’s Mindshare Entertainment) subtly underline the deep brand heritage. “The featured brands are prominent today and were popular in the 1960s, when Mad Men is set,” suggests a Unilever spokewoman, quoted in Ad Age.

So far, so good. The controversial bit is that viewers and the blogosphere don’t seem to like them very much. Some have deprecated the prelapsarian style of the pitch – and contrasted the first ad, featuring Dove, unfavourably with the cutting-edge modernity of the Real Women theme. Others have juxtaposed the “fake” production values of the ad mini-series with the exquisite realism of the content surrounding it.

It’s true, the ads are corny compared with the programme they mimic. But somehow I don’t think anyone at Unilever, Mindshare, or indeed AMC (the cable station that broadcasts Mad Men) will be losing sleep over the criticisms. The big irony of the ad soap opera – featuring Don Draper, Roger Sterling and sundry curvaceous size-16 “role models” – is that it doesn’t attract much advertising. In 2009, it earned under $2m ad revenue – according to Kantar – a performance barely exceeded in the previous two seasons. But then, it’s a highbrow drama that doesn’t attract much of an audience either. Some 2.4 million people tuned into the fourth-season premiere on July 25; and that’s a lot better than previous seasons’ viewing figures. Then again, each of the 12 or 13 episodes apparently costs over $3m to produce. In short, if Sterling Cooper Draper Pryce really were an ad agency – rather than a lovingly recreated fictional prism of WASP society before the Fall – it would have gone bust by now.

All of which rather misses the point of the programme’s existence and what Unilever is doing advertising in it. For AMC, it’s a halo product, a loss leader that encourages advertisers to buy into the schlock inventory that attracts mass audiences. For Unilever, it’s a cut-price opportunity to get itself talked about by America’s chattering classes. Sadly for Unilever, we in the UK will never be able to judge how much of an adornment or annoyance the ads really are. TV rights over here are held by the BBC.

Here’s a link to the Dove campaign. I particularly like the bit at the end, where the two admen – having been given the brief on a platter by their “Peggy Olson” secretary – reward themselves with a round of golf. Now that really is a period touch.

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