Last night (2/12) in Glendale, Arizona, the Kansas City Chiefs defeated the Philadelphia Eagles in a tight game and Tubi’s “Rabbit Holes” from agency Mischief @ No Fixed Address beat out a tough crowd to win the 2023 Super Clio Award, a special honor given out by the Clio Awards for the most creative commercial to air during the Super Bowl. On advertising’s biggest night, many brands leaned into nostalgia and famous faces to win over consumers, but “Rabbit Hole”–directed by Tom Kuntz of MJZ–stood out for its slightly subversive and dark humor, engaging storytelling and impeccable craft.
The Super Sunday commercial followed the everyday lives of various people who are unexpectedly plucked out of the real world by oversized rabbits and dropped into the magical world of Tubi’s library of content where options for entertainment and escapism are virtually limitless.
Being thrown down what amounts to an entertainment rabbit hole is quite the eye opener. The ad’s parting super reads, “Find rabbit holes you didn’t know you were looking for.”
The concept behind the literal tossing of unsuspecting people into rabbit holes is the metaphorical expression of rabbit holes that Tubi fans can comfortably fall into when exploring the depth and range of content on the platform. Every rabbit hole that opens is unique to the person; their clicks threading together their very own experience of what comes next.
The Super Clio was introduced in 2015 in collaboration with WPP’s global chief creative officer, Rob Reilly. He has served as the competition’s non-voting commissioner since its inception and was on hand this year to announce the winner on NBC “TODAY” with hosts Al Roker, Sheinelle Jones, Craig Melvin and Dylan Dreyer. Reilly and Clio Awards CEO Nicole Purcell recognized a need to highlight the revolutionary work that’s introduced during the Super Bowl with an honor selected by the people who make ads and understand the nuances of producing a groundbreaking commercial for the big game.
The lineup of judges who determined the Super Clio winner for Super Bowl LVII consisted of:
- Amy Ferguson, CCO, TBWA/Chiat/Day New York
- Brian Monaco, president, global chief marketing officer, Sony Music Publishing
- Caleb Jensen, executive creative director, Wieden+Kennedy
- Danny Robinson, CCO, The Martin Agency
- David Lubars, chairman/CCO, BBDO
- Glenn Cole, founder/chairman, 72andSunny
- JJ Lim, creative director, R/GA
- Josh Fell, partner, CCO, Anomaly LA
- Judy John, global CCO, Edelman
- Katherine O’Brien, group creative director, VaynerMedia
- Kathleen Hall, chief brand pfficer, Microsoft
- Liz Taylor, global CCO, Ogilvy
- Michael McIntyre, CEO, MOCEAN
- Selman Careaga, president, The Coca-Cola Company
- Shana Barry, head of celebrity, entertainment, and influencers, Anheuser-Busch
- Sharon Otterman, CMO, Caesar’s Digital
- Sherman Winfield, executive creative director, VMLY&R
- Susan Credle, global CCO, FCB
- Vida Cornelious, VP, creative, The New York Times
“So many creative aspects go into making a great Super Bowl ad that most people wouldn’t know are happening behind the scenes,” said Purcell. “At a time when consumers are really engaged with the bold ideas that brands and advertisers are putting out, we just love to capture that energy and use our platform to celebrate the community with a special award made to match the iconic nature of the game itself.”
The Super Clio trophy, which towers above a standard Clio at 22 inches, matching the height and look of the Lombardi trophy, will be inscribed and presented to Mischief @ No Fixed Address this week.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More