The next generation Xfinity 10G Network is here. And who better to kick its tires and dream of all that it will help us accomplish than the next generation itself: kids.
That’s the premise of Xfinity and Goodby Silverstein and Partners’ new launch anthem touting the Xfinity 10G Network. Directed by Lance Acord of Park Pictures and featuring music by Mark Mothersbaugh, “Bring Your Kid To Work Day” imagines a day at Xfinity headquarters where the children of employees playfully encourage the adults to push the network to its limits.
“How about the best network ever–can someone invent that?” asks one kid.
“‘Cause we don’t have time for lag or buffering,” says another.
“I mean, who doesn’t want Internet that can help A.I. do your homework even faster?” provokes another.
Little do these kids know, the adults have got this more than covered. In fact, the Xfinity 10G Network can do more than we even know possible, and it’s only getting better.
“It was hilarious inventing specific characters for each of these kids,” said director Acord. “Having a great script written by the creative team at GS&P, we could then play around with different performance ideas, and, even more surprising than the fact that the adult actors ran with the concept, the kids we cast really ran with it.”
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Credits
Client Comcast/Xfinity Agency Goodby Silverstein & Partners Margaret Johnson, chief creative officer; Jim Elliott, executive creative director; Jon Wolanske, Jon Wyville, creative directors; Anthony DiMichele, Sean Smith, associate creative directors; Ryan Self, design director; Bonnie Wan, partner, head of brand strategy; Christine Chen, partner, head of communication strategy; Kelly Evans-Pfeifer, deputy director of brand strategy; Adam Arola, group strategy director; Nick Reggars, group content strategy director; Jim Haight, director of production; James Horner, executive producer; Kateri McLucas, sr. producer; Senait Hailemariam, associate producer. Production Park Pictures Lance Acord, director/DP; Jackie Kelman Bisbee, founding partner/exec producer; Scott Howard, exec producer; Caroline Kousidonis, line producer; Philip Messina, production designer. Editorial Exile Edit Matt Murphy, editor; Lee Bacak, assistant editor; CL Kumpata, managing partner; Jennifer Locke, exec producer; Chris Meadows, post producer. Sound Lime Studios Rohan Young, sound designer/audio engineer; Jeremy Nichols, assistant mixer; Susie Boyajan, exec producer; Cassie Underwood, producer. Music Mutato Muzika Mark Mothersbaugh, composer. Music Supervision Songs for Film & TV David Fisher VFX Pariah Pat Murphy, VFX supervisor; Michael Steinmann, head of production; Mark Tobin, managing director/EP; Gladys Bernadac, Jenny Bright, VFX producer; Russell Fell, Flame artist; Mike Wynd, CG supervisor; Pete Jensen, Mitchell Jaeger, Elizabeth Hammer, CG artists; Jonathan Ficcadenti, After Effects artist. Color Trafik Mark Gethin, colorist; Nate Seymour, color assistant; Greer Bratschie, color producer; Meghan Lang Bice, exec producer.
Blinkink has unveiled this richly imaginative stop-motion film for Dior titled A Ride of the Moon, directed by Nina Gantz and Renee Zhan, and voiced by 070 Shake. Conceived as a collaborative triumph of human craft, the film stands as a poetic reminder of the value of handmade artistry in an era increasingly shaped by automation and AI.
Inspired by classical cinema--most notably Georges Méliès’ Voyage dans la Lune--the film for Dior’s Lunar New Year campaign is a baroque-infused journey that blends cinematic language with theatrical illusion. Set within an ornate 18th-century French theatre, it unfolds as a modern fairy tale told through flamboyant design, charming stop-motion animation and playful surrealism.
The film builds around a Lunar New Year story, where a brave little horse’s showdown with a powerful, sassy adversary plays out. While cinematic and ambitious in scope, the film never takes itself too seriously, finding humor in exaggerated performances and clever theatrical tricks.
The horse character is modelled after the Dior horse charm, assembled from sewing components and brought to life through meticulous stop-motion craftsmanship. The Moon appears as a Marie Antoinette-esque figure, who brings humor through an over-the-top performance.
The production embraces old-school theatre mechanics to enhance its sense of wonder. Strings holding up clouds are deliberately visible, trapdoors open in the stage floor and sheets of translucent fabric become shimmering fountains. These visible illusions celebrate the joy of theatrical ingenuity and handmade problem-solving.
The sets were entirely hand-painted and constructed, combining flat, painted backdrops with half-2D, half-3D elements. Layered sets,... Read More
