Тематические отраслевые материалы СМИ ЕСО>ИСО, продолжение… Начало публикации
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Сегодня, пока только два тематических видео:
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CHILLS: Trump Drops FINAL Ad Of 2024, Breaks The Internet: 'This Is Our Last Battle!'
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Kamala Vs Trump Closing Ads: OPPOSITE Victory Theories
Далее, пример того, как Google (Youtube) игнорируют материалы о Трампе.
Исчезают не только материалы в выдаче, но и ссылки на видео в старых статьях.
Вот шестидневная статья в «The Independent» после цензуры от Google (Youtube).
Там где отточие должны быть примеры, ссылки на которые удалил Google (Youtube):
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The best, worst and ugliest campaign ads of the 2024 election
From ‘little silver spoon boy Donald Trump’ to ‘Kamala is for they/them’, Eric Garcia breaks down the most ostentatious ads from the final weeks of the US election
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With less than a week to go, campaigns have inundated any state or district with a competitive election with television ads to make their closing argument. This can be especially aggravating, especially after a long day of work where the average voter might just want to watch some mindless reality television or some football.
But in truth, campaigns needs to run ads there to meet voters where they are. This might be why we are seeing more ostentatious ads this election cycle than ever before.
While in her speeches, Vice President Kamala Harris has focused on the danger of Donald Trump’s rhetoric — even going so far as to call him a “petty tyrant” — most of her ads have gone all-in on the economy.
Meanwhile, Republicans, led by Trump, have done a slew of anti-transgender ads, focusing largely on the issue of transgender women in men’s sports.
Elsewhere, Republicans downballot have focused heavily on the US-Mexico border, while Democrats hope the Dobbs effect hasn’t faded and that they can focus heavily on abortion rights.
Here’s The Independent’s breakdown of the best, worst, the most absurd and the downright weirdest ads of 2024 in the final week of the campaign.
Sports and trash talk
Much has been made of Harris’s approach to winning back white male voters who previously voted for the Democratic Party, but have since run into Trump’s arms. Her selection of Tim Walz, the Minnesota governor who once represented a rural district, emphasized this push.
During the Pittsburgh Steelers’ game, her campaign ran an ad that featured a maintenance man by the name of Chris, a purported fan of the Black and Gold.
“Donald Trump does not care about the working man whatsoever,” Chris said in the ad, with “Fight for Your Right” by The Beastie Boys, who notoriously do not license music for ads, playing in the background.
“He’s a little rich kid, too,” Chris continues. “He ain’t me. Little silver spoon boy Donald Trump. How is he relatable to me whatsoever?”
………… Google (Youtube) …………….
On the other side of Pennsylvania, Harris’s campaign ran an ad featuring Trump saying, “Bad things happen in Philadelphia” before invoking the famous slogan about the City of Brotherly Love from Eagles legend — and Taylor Swift’s potential future brother-in-law — Jason Kelce: “No one likes us. We don’t care.”
………… Google (Youtube) …………….
“We’re Philly: F**kin’ Philly, and when you fight us, we fight back,” the ad says, before showing clips of Rocky Balboa.
In Detroit, Harris campaign invoked Trump saying, “Our whole country will end up being like Detroit,” before the narrator states “that he should be so goddamn lucky.”
In Milwaukee, Harris recruited Bucks head coach Doc Rivers to narrate an ad pushing back on Trump calling Milwaukee a “horrible city.” Not unlike the Democrats with Harris, the Bucks changed their coach mid-season last year to bring in the NBA championship-winning coach.
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Trump — and Republicans — zero in on trans people
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During his sole debate with Harris, Trump infamously claimed: “She wants to do transgender operations on illegal aliens that are in prison.”
Republicans have gone all-in on attacking Democrats when it comes to transgender people, not just on providing gender-affirming care for people in prison, but also when it comes to allowing transgender women to compete in women’s sports.
In one ad, the Trump campaign highlights Charlamagne Tha God, who recently interviewed Harris, saying, “Kamala supports taxpayer-funded sex changes for prisoners,” before adding: “Hell no, I don’t want my taxpayer dollars going to that.”
The ad continues by claiming: “Kamala even supports letting biological men compete against our girls.” It ends by saying “Kamala is for They/Them” while “President Trump is for you.”
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But Trump is not the only candidate to run anti-trans ads. Senator Ted Cruz, who is in a surprisingly difficult fight for re-election in Texas, has gone all-in on an ad saying his opponent, Democratic Representative Colin Allred, voted to allow “boys in girls’ sports.”
Despite the avalanche of anti-trans ads on the Republican side, there is little evidence that anti-trans ads move the needle — and if anything, voters deeply dislike them.
Democrats bring up abortion
………… Google (Youtube) …………….
In 2022, Democrats staved off a red wave because of the Supreme Court’s Dobbs v Jackson decision that overturned Roe v Wade and put abortion rights in peril. Democrats hope that focusing heavily on abortion rights will save their Senate majority and help them flip the House of Representatives.
In Nevada, Senator Jacky Rosen, who is running far ahead of Republican Sam Brown, accuses him of backpedaling on his previous hardline stance on abortion.
In Wisconsin, Senator Tammy Baldwin, who is running neck-and-neck with Republican Eric Hovde, has emphasized the story of a woman who left Wisconsin to receive an abortion after she found out her baby would have fetal abnormalities.
………… Google (Youtube) …………….
Perhaps the biggest wildcard this year has been Dan Osborn, an independent who is running neck-and-neck with Deb Fischer, the two-term Republican Senator from Nebraska. While Democrats would love to see Fischer lose, it’s not clear how Osborn would vote or if he would even caucus with them.
He’s focused heavily on unions in his ads. But he’s also creating distance from Republicans, particuarly by showing his hawkish attitude on one of the biggest hobby horses of the GOP: the US-Mexico border.
Indeed, in one ad, he even features himself with a blowtorch saying: “If Trump needs help building the wall, well, I'm pretty handy.”
P.S.
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С сожалением и понятными пожеланиями, Dimitriy.
Тематические отраслевые материалы СМИ ЕСО>ИСО, продолжение… Начало публикации
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Trump Drops BOMBSHELL Final Ad on ELECTION DAY to Swing INDEPENDENT Voters!
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2024 Pro-Trump 'Make Peace Possible' Ad
A pro-Trump political-action committee is airing this advertisement in the Detroit area in a final effort to sway swing-state Michigan’s sizable Middle Eastern population towards the former president. The ad is a final effort to sway swing-state Michigan’s sizable Middle Eastern population.
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2024 Harris 'Different' Ad
This ad from the Harris campaign contrasts the January 6, 2021 speech by Donald Trump with Harris in the exact same location in front of the White House.
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WATCH: Trump Vs Kamala CLOSING ADS! | The Kyle Kulinski Show
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Political Experts React to Kamala Harris and Donald Trump’s Final 2024 Election Ads
Google accused of election interference after showing Americans maps of where they 'can vote for Harris' - but not Trump
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Google has been accused of election interference for showing voters where they can vote for Kamala Harris - but not for Donald Trump.
Elon Musk sounded the alarm on X on Tuesday after followers complained.
When a voter on their phone typed into Google: 'Where can I vote for Kamala Harris?', Google responded with a map showing the nearest polling station.
But when searching 'Where can I vote for Donald Trump?', no such map appeared, prompting the user to enter their full address.
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Others echoed his comments and said it was proof of left-leaning big tech interfering with the outcome of the nail-biter election.
Google, however, has said that the 'Where to vote' panel is appearing on some specific searches because there is a county named 'Harris' in Texas.
The company said shortly after that the issue had been fixed.
Musk acknowledged Google's explanation, and replied: 'Thanks for the clarification.'
However, the apparent error by Google was enough evidence for many Trump supporters that the tech giant was trying to influence the presidential election.
Google, however, has said that the 'Where to vote' panel is appearing on some specific searches because there is a county named 'Harris in Texas
The company said shortly after that the issue had been fixed
The popular conservative X account End Wokeness said: 'Google is interfering in the election to help Kamala Harris. Try this yourself.'
Conservative X user Robby Starbuck added: 'Google will likely say it's a glitch but these 'glitches' always go in one direction.
'No one believes it's not intentional.'
In every swing state, Trump and Harris are tied, according to latest polling.
Trump himself conceded that his team does not expect an election result tonight.
Harris and Trump are tied in every swing state in what forecasters say is one of the tightest races in history
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But Republicans have blasted major TV networks for giving Kamala and her camp more airtime.
She appeared on SNL on Saturday - and her VP pick, Tim Walz, was on CBS's Stephen Colbert last night.
Many say it amounts to a breach of the equal air-time rule.
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Polymarket Paid US Social Media Influencers for Election Content
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The predictions-betting platform Polymarket has been paying US-based social media influencers to promote election betting on the site — even though it’s barred from letting anyone in the country use the tool to place wagers, including on Tuesday’s presidential race.
In September, Polymarket’s senior director of growth, Armand Saramout, canvassed for sponsorship deals with US influencers, according to outreach messages seen by Bloomberg News.
Over the last few weeks, Instagram pages with large followings have been posting Polymarket-sponsored content under hashtags such as #PMPartner and #PolymarketPartner. The majority are meme pages with account names like @moist, @hoodclips, and @historyinmemes, while others are personal finance influencers such as Eric Pan of @ericnomics.
A Polymarket spokesman confirmed US outreach, but said it was not intended to spark trades from US visitors. “We’ve reached out to influencers on both sides of the aisle to promote our data and drive traffic and eyeballs to polymarket.com, where 99% of visitors consume news and never place a trade,” he said in a statement. But some US trades are nevertheless getting through — a behavior encouraged by the influencers.
Xavi Fahard, based in California, helps runs Instagram meme page @sarcasm_only. The account, which has 16.6 million followers, reaches a majority millennial female audience, Fahard said. A few weeks ago, they were connected to Polymarket through agencies and have since entered into a multi-post deal with the betting platform.
“An ad is always going to have substantially less engagement than our actual organic posts,” Fahard said. “But compared to other ads, the Polymarket ones perform around the same, if not better.”
In October, Polymarket was in the process of conducting fresh checks to verify that big spenders on its website are based outside of the US, according to a person familiar with the matter. US traders aren’t allowed to use the platform, which has seen a surge in bets favoring Donald Trump to win the presidential election.
Polymarket blocked US traders following a $1.4 million settlement with the Commodity Futures Trading Commission, which said it was operating without the correct licensing.
Scrutiny of Polymarket’s US political markets rose significantly in October, thanks to a handful of accounts that spent millions of dollars worth of crypto on bets in favor of Trump’s return to the White House. A company spokesperson said they had investigated and did not believe the owner of the accounts was attempting to manipulate the market, but that they had agreed not to open more of them.
The person behind the US-based Instagram account @trustfundterry, who asked not to disclose his real name to avoid harming his relationships, said he had worked with Polymarket for years. The company often shared a Google Drive with suggested content which he regularly posted in return for a fee.
Polymarket never told him that the content should be tailored for a non-US audience, or asked that he mention that trades shouldn’t take place in the US, he said. Few of the sponsored content posts from other accounts include such disclaimers.
On Monday, a day before the election, @trustfundterry posted a picture of Trump with a 60.5% share against Harris, with a map of the majority of US states painted Republican red. “@Polymarket traders have Trump with an edge to win it. He’s leading in PA which is the key to the election ... Who do you think takes it?” The post included graphics showing a Trump lead in six key swing states.
Polymarket encouraged him to add memes to the posts, including the one on Monday, according to the account owner. “They just want engagement and conversation — the goal is to get eyeballs,” he said.
Election polls, meanwhile, show Trump and Kamala Harris in a tight race with no obvious winner.
Polymarket has sought to position itself as a more reliable alternative to the polls, marketing itself as “the most accurate way to track & forecast the election” in Facebook ads. But the company’s crypto-trader-heavy user base — a Trump-friendly demographic — could be skewing its results.
In addition to partnering with US-based influencers, Polymarket owner Blockratize Inc. spent an estimated $269,875 on election ads targeting millions of people in the US on Facebook and Instagram over the past seven days, according to Meta’s ad library.
The ads asked viewers whether they were voting for Trump or Harris, telling viewers: “don’t trust the polls — trust the markets.”
Of those 47 advertisements, 22 depicted Trump alone, showing odds for the former President’s win shooting ahead of his rival. One asked: “Did serving French fries win Trump the election?”
Where Trump and Harris are shown together in ads, Trump was shown to be ahead. None of the advertisements showed Harris alone.
A spokesman disputed a Trump leaning. “Any suggestion that Polymarket caters to a single party or demographic hasn’t been paying attention to the rapidly shifting market odds over the course of this campaign or to our distinctly nonpartisan and transparent approach to prediction markets,” he said in a statement.
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С интересом и понятными ожиданиями, Dimitriy.
Беспорядки футбольных фанатов это одно, а использование таких беспорядков, как инструмента Политической Рекламы фашистским правительством Израиля, совсем другое:
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Violence in Amsterdam as Israeli football fans ambushed and chased through the streets
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Israeli football fans clash with protesters in Amsterdam
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Amsterdam: Israeli Football Fans Attacked, Netanyahu Takes Action | First Sports With Rupha Ramani
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Israeli football fans attacked in Amsterdam, officials say | BBC News
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Netanyahu Orders 'Mossad Protection' For Israelis After Amsterdam Riot, Video Shows Anti-Arab Taunts
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Jewish football fans attack is a pogrom. It's shameful Israelis are having to hide in hotel rooms
Вопросов к большинству болельщиков Израиля у а.п. нет, но есть вопросы к фанатам и ультрас.
И конечно есть большие вопросы к фашистскому руководству Израиля, которое совершено явно провоцировало ситуацию, стремясь поживиться на Политической Рекламе, подобно тому, как оно поступило прежде, используя тему заложников для оправдания геноцида народа Палестины.
Чего стоят одни только расистские СМС, которые спецслужбы Израиля рассылали своим подданным?
К стати, а почему руководство страны не вызвало посла Израиля на ковёр и мэр досточтимого Амстердама, запретивший накануне акцию на стадионе, до сих пор не подал в суд на фашистское руководство Израиля, оскорбившее своим нацистским поведением честь и достоинство граждан города и страны, которым он служит?
Откровенное мемориальное сутенерство преступных политиков Израиля, в очередной раз оправдывающихся памятью о холокосте второй мировой, подобно попрошайничеству бесстыжих украинцев, давно монетизировавших голодомор и торгующим приватизированной памятью павших налево и направо.
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'You live in a bubble': Gabor Maté answers question from Israeli audience member
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Israeli Fans Cause Chaos In Amsterdam
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С отвращением и понятными пожеланиями, Dimitriy.
Несколько слов о статье The Times о том, что Киев может быстро разработать примитивное оружие, подобное тому, что было сброшено на Нагасаки в 1945 году, чтобы остановить Россию, если США сократят военную помощь
▪️В документе, подготовленном для МО Украины сказано, как я и писал еще месяц назад, что бомба с использованием плутония, извлеченного из отработанных топливных стержней украинских ядерных реакторов, по типу «Толстяка», которой США били по Нагасаки, может быть создана быстро.
▪️В докладе (его автор — Алексей Ижак, завотделом Нацинститута стратегических исследований, который консультирует правительство Украины) сообщается, что Украина по-прежнему имеет опытных специалистов, контролирует девять действующих реакторов, а суммарный вес реакторного плутония, имеющегося у Украины, оценен в семь тонн, и этого достаточно для сотен боеголовок с тактической мощностью в несколько килотонн. Напомню, что минимальный размер плутониевого заряда, который приводит к реакции деления — взрыву — чуть больше яблока в размере. То есть плутония надо совсем мало. В разы меньше, чем урана.
▪️Потенциальная украинская бомба будет иметь мощность примерно в одну десятую от мощности «Толстяка», который имел мощность, эквивалентную 21 килотонны тротила, то есть около 2,1 килотонны. Добавлю от себя, что это нижний предел мощности тактического оружия, хотя точная мощность ядерного заряда будет непредсказуемой, поскольку в нем будут использованы не достаточно чистый оружейный плутоний, а отходы ядерного топлива. А в нем, помимо оружейного плутония, много различных нестойких изотопов. Из-за этого взрыв будет не очень эффективный. То есть реакция деления не успеет охватить весь заряд и значительная его часть будет разнесена взрывом. Для получения достаточно чистого оружейного плутония изготавливаются специальные реакторы, цель которых состоит только в этом. Таких реакторов на Украине нет. Но то, что заряд не состоит из чистого оружейного плутония повлияет на мощность взрыва, но это все равно ядерный взрыв. Именно поэтому мощность прогнозируемого взрыва — нижний предел тактического оружия. Но здесь важна не поражающая способность заряда, а политический резонанс, который в связи с этим произойдет.
▪️Алексей Ижак пишет, что взрывать плутоний необходимо с помощью «сложной традиционной взрывной конструкции, которая должна происходить с высокой скоростью детонационной волны одновременно по всей поверхности плутониевой сферы», что сложно, но в пределах компетенции Украины.
▪️По словам Ижака, «этого было бы достаточно, чтобы уничтожить целую российскую авиабазу или сосредоточенные военные, промышленные или логистические объекты». Но это не так важно, важен будет сам прецедент использования Украиной тактического ядерного оружия.
▪️Согласно докладу, порогом для разработки программы ядерного перевооружения станет достижение ВС РФ города Павлоград в Днепропетровская область, военно-промышленного центра. Если ждать дальше, то возникнет риск того, что некоторые из крупнейших городов Украины, такие как Днепропетровск (в Желтых водах, как я писал, находятся одни из самых крупных месторождений урановый руды) и Харьков (где, опять же, как я писал, делают гироскопы, которые нужны для наведения ракет, плюс научная школа), падут еще до того, как оружие будет разработано.
▪️Доклад был передан заместителю министра обороны Украины и должен быть представлен на некой конференции, в которой примут участие министры обороны и стратегических отраслей Украины.
Хочу подчеркнуть, что в своих постах ранее я точно описал и саму возможность получения Украиной ЯО, и метод, которым на Украине будут пытаться его изготовить. Все, кто писал о невозможности изготовления Украиной ЯО и о том, что Украина способна произвести лишь грязную бомбу, писали чушь. Добавлю, что это не последняя утечка, касающаяся производства ЯО Украиной.
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Создаст ли Украина ядерную бомбу,фронтовая «сауна» для Зеленского,Трамп готовит спецпосланника.13.11
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«Украина не разрабатывает ядерное оружие». МИД Украины отреагировал на статью Times
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МИД Украины откликнулся на статью британской газеты Times о перспективах Киева обзавестись ядерным оружием, заявив, что Украина не разрабатывает и не собирается разрабатывать такое оружие.
«Украина тесно сотрудничает с МАГАТЭ и является полностью прозрачной для его мониторинга, что исключает применение ядерных материалов в военных целях», — цитирует украинская пресса пресс-секретаря МИД Украины Георгия Тихого.
Times в статье под заголовком «Ядерный вариант Зеленского: Украина в нескольких месяцах от обладания бомбой» и не утверждает, что Украина создает или собирается создать ядерное оружие.
Газета лишь пересказывает несекретную докладную записку для Министерства обороны Украины, в которой говорится, что Украина теоретически в случае прекращения военных поставок от США могла бы довольно быстро создать относительно простую плутониевую ядерную боеголовку, взяв материал из отработанного топлива со своих атомных электростанций.
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Could Zelensky use nuclear bombs? Ukraine’s options explained.
Kyiv could rapidly develop a rudimentary weapon similar to that dropped on Nagasaki in 1945 to stop Russia if the US cuts military aid
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С сожалением и понятными пожеланиями, Dimitriy.
Вот а.п. сотрудники и методы ТЦК напоминают опричнину Ивана IV.
Помните по какому поводу Иван Васильевич опричнину создал?
«Фронда бояр» и неудачи на Ливонской войне…
Похоже, весьма похоже.
Семь лет (с 1565 по 1572) прожила опричнина Грозного и стала для страны трагедией.
Зеленский не царь, а шут, по тому и опричнина у него шутовская.
Шутовская да кровавая, хоть и фарс, да всё трагедия.
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«Царь»
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В ролях: Пётр Мамонов, Олег Янковский, Рамиля Искандер, Александр Домогаров, Настя Донцова, Александр Ильин, Вилле Хаапасало, Алексей Франдетти, Иван Охлобыстин, Юрий Кузнецов, Алексей Макаров, Александр Негодайлов, Анвар Халилулаев, Андрей Невраев, Андрей Бронников, Максим Денеш, Алексей Ильин, Александр Лобанов, Александр Макаров, Игорь Марычев, Тимур Савин, Олег Соколов, Юрий Соколов, Виктор Стрельченко, Эдуард Федашко
Режиссер: Павел Лунгин
Год 2009
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Иван Грозный 1 серия (драма, реж. Сергей Эйзенштейн, 1944 г.)
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Иван Грозный 2 серия (драма, реж. Сергей Эйзенштейн, 1945 г.)
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С сожалением и историческими ассоциациями, Dimitriy.
«Мой дед боролся за то, что бы не было бедных, а мой внук борется за то, что бы не стало богатых».
В прочем ничего удивительного в словах Сергея Валерьевича нет.
В конце 80-х на радиостанции Конгресса США, блистал известный писатель, литературовед, журналист, рижанин - [url=https://ru.wikipedia.org/wiki/Генис,_Александр_Александрович]Александр Генис[/url].
Среди много прочего, чем он был славен, особую радость и удовольствие доставляли его эссе.
Так вот, среди многих разных эссе, было у него одно посвященное «коллективной судьбе».
Было такое понятие – «коллективная судьба».
Не абстракция, не условность, а реальная мыслеформа социалистического сознание, изо всех сил пытавшаяся определить советским гражданам их бытие.
Из Теории Рекламы нам известно о противоположных подходах к личности в Системах двух разных преобладаний.
Если для ЕСО>ИСО, личность – триумф индивидуализма, эгоизма, персонификации и как следствие тотального профессионализма, то для ИСО>ЕСО, любая и всякая личность - неразрывная часть единого целого, личное воплощение коллективных общественных чувств и общности судеб.
По этому, для патриотически настроенного чиновника, служителя Систем Распределения ИСО>ЕСО, личный Подвиг одного человека только отражение Подвигов многих других людей, по тому, что, по мнению чиновника, одного без другого, не бывает.
И трудно их за это осуждать.
Такова их системная природа.
Таково их системное назначение.
Как это сказано у классика?
Цитата:
«Мастер и Маргарита». М.А. Булгаков. Фрагмент.
Дорогой Сергей Валерьевич, вторая свежесть, как и коллективный Подвиг - это вздор!
Свежесть, Сергей Валерьевич, как и Подвиг, бывает только одна – первая, она же последняя.
А если Подвиг коллективный – другой свежести, то это означает, что это не Подвиг, а Предательство.
Неужели Вы полагаете, что добровольный отказ от новогодних торжеств в тылу воодушевит война на передовой на новые Подвиги?
Неужто Вы надеетесь, что доморощенное праздничное Предательство граждан, можно заменить промышленным Предательством в исполнении чиновников обслуживающих Системы ИСО>ЕСО?
Если это так, то Вы ошибаетесь!
Никакие экономии и усердия патриотически настроенных чиновников Систем ИСО>ЕСО не способны заменить бойцу на передовой радость праздника его дома, смех и веселье его родных и близких.
Единственно, кто возрадуется торжеству Вашей инициативы это англосаксы, НАТО и ВСУ.
От того, как, кому что, а для них станет большим праздником, если Вы по доброй воле превратите дни и ночи торжества в политический пост.
По тому, что с точки зрения либерального политика, обслуживающего Систему ЕСО>ИСО, добровольно-принудительный отказ от обрядов, традиций и культуры своего народа, в пользу сомнительной идеологической инициативы, это именно то, что ему нужно в его с Вами борьбе.
_________________
С пониманием и отраслевыми пожеланиями, Dimitriy.
Не хотел писать на эту тему пост, но так получилось, что подвернулся колоритный редакционный материал.
Разумеется, нам в этой работе видится другое.
И правильно видится.
Но, им до нашей меры отраслевой рефлексии очень далеко.
Тем интереснее суждения наших импортных коллег.
Предмет оценки:
Цитата:
John Lewis Christmas ad shows search for perfect gift
Цитата:
What the Industry Thought of the John Lewis Christmas Ad
18/11/2024
The John Lewis Christmas ad is the definitive ‘moment’ for adland during the festive season. Christmas ads existed before, sure, but in 2011 – when John Lewis premiered ‘The Long Wait’ – the paradigm shifted once and for all. A cultural bar was set and all Christmas ads began to aspire to the conditions created by the British department store.
That’s a high bar for the brand (and its agency – formerly adam&eveDDB, now Saatchi & Saatchi) to not only reach but surpass year after year. This season, we didn’t just get one ad – we got a trilogy that culminated in a ‘The Gifting Hour’, a retail-focused odyssey of two sisters’ relationship as one searches for the perfect gift. There’s no fuzzy creature, no saccharine cover; instead The Verve’s ‘Sonnet’ soundtracks the meticulously crafted scenes as the quest for the perfect gift unfolds.
System1 found it to be the brand’s most effective and recognisable ad this decade, scoring a 4.6-Star Rating (on a 5.9-Star scale) through its Test Your Ad platform.
We wanted to know what adland’s leaders and experts made of this tonal pivot. Below are their thoughts.
VJ Anand
Executive creative director at VaynerMedia EMEA
It’s magical, it hits the right emotions, it has a great song. There’s a lot of immediate positives. Knowing where to look is a damn solid end line too. Thinking about what someone would like, tapping into all of your shared memories with them, that’s powerful. It is beautifully filmed. A Christopher Nolan-esque approach that makes life feel like it’s a dream.
That is all my opinion, of course. Every year, I can’t shake the feeling that these ads are made for the industry. Will the public like it as much? Will the new generation of kids? Crucially, will people remember it?
In keeping with the Nolan vibe, we don’t actually see the gift. It leaves that to our imaginations. The focus is on knowing where to look. Hopefully for John Lewis, enough people believe that is in their store this Christmas.
Lynne Deason
Head of creative excellence at Kantar
People might think festive ads appear too early, but creating momentum in the run up to Christmas is so important to performance during this crucial trading period. With some tough economic headwinds, the battle for shopper spend will be fierce.
Consistency pays in advertising, and it’s good to see retailers like Marks & Spencer and Aldi using their campaigns to build on familiar ideas and characters to cement their place in consumers’ minds. Sticking with the same creative approach often makes it easier for people to know which brand is being advertised. It can build a sense of nostalgia too, adding to the entertainment factor.
Above all else, brands cannot risk getting lost in a sea of sameness this Christmas. There have been too many past attempts to emulate John Lewis’ powerful, emotive storylines, but brands are starting to invest in more unique and original ideas that tap into the zeitgeist. Waitrose, for example, is entertaining audiences with its fresh ‘whodunnit’ style campaign, creating a conversation beyond the ad itself and anticipation for the next instalment.
As brands compete for our attention – and our festive pounds – using advertising to reinforce what makes them different in a way that’s relevant and meaningful will be key to justifying prices and growing in the long run.
Andre (Dede) Laurentino
Chief creative officer at Ogilvy UK
Thumbs up! It's a wonderful story of sisterly love and, as a father of two teenage girls, I was personally touched by the ups and downs of their relationship. It could have been a bit more balanced (too skewed towards happy moments?), but it's Christmas, I get it. To the nerdy adland crowd of which I'm also a part, it's a nice nod to ‘Always a Woman’, which ignited the whole John Lewis emotional ad journey. In that sense, too, it's a full circle story. I also liked the lovely ambiguity of the endline. Touching. Great craft, as ever.
Ian Heartfield
Chief creative officer and founder at New Commercial Arts
Very John Lewis. Great production values. Excellent track. As the ad industry is proving over and over again right now, music definitely peaked in the late 90s/early 2000s. It took me a second viewing to really ‘get it’, and when I did, I enjoyed it. So, I’m either a bit slow, or it does take a little bit of focus from the viewer. It’ll be interesting to see how it comes across in ad breaks, I have a feeling the relatively complex story telling might get a bit chewy in shorter time lengths like some of the other Christmas offerings this year. But it’s good and it has all the feels. Will it get talked about and stick in the memory for years to come? I’m not so sure. Anyway, who cares what us ‘industry experts’ think. It’s the great British public’s opinion that matters. So over to them now.
Beth Anderton-Allen
Creative director at Amplify
I’m not going to lie, I was a little confused after watching the John Lewis ad for the first time. The pace was so fast that I thought she was talking to her younger self, having a moment of internal self-reflection or dealing with some sort of trauma. After a second watch, the whimsical chaos started to make a bit more sense but, ideally, the story should have landed on that first viewing. This year, I feel like the classic magic of a John Lewis ad was lost – the slowed-down ballad and that special magical moment that warms your heart. This one didn’t even have a specific gift as part of the story; it felt more like it was just about shopping. Next time, I’d hope for a bit more Christmassy escapism. That said, ‘Sonnet’ by The Verve was a great song choice, and it did make me feel nostalgic.
Yan Elliott
Chief creative officer, UK at Weber Shandwick
Ah, writing the new John Lewis ad. The most enviable yet horrendous gig in ad land. It’s a poisoned chalice. Do they sell those?
So, what about this one?
There are some lovely moments in this ad, but where it really succeeds is in reminding us of the long-lost art of getting the audience to think. Yes, we must think with this one.
It’s a well-crafted ad that employs storytelling and filmmaking techniques. It commands our attention and invites us to follow a story. Follow an actual story! It’s as if they realise that the same people who watch ads also watch films and TV dramas. Amazing. Hallelujah. Thank you.
So perhaps the biggest gift from John Lewis is to us. To create work that challenges our audience. That gives us something to think about, follow, and be rewarded by.
I didn’t even know I wanted this for Christmas. Silly me, I should have known where to look.
Jaime Fleming
Head of copy at Purple Creative
It feels like this year there's an unexpected explosion of nostalgia running through a lot of the ads, particularly the big hitters like John Lewis, Sainsbury's, Tesco, and Cadbury's. With the world seemingly lurching from crisis to crisis, and a bad news story at every every turn, most ads seem to be harking back to a simpler age with evocative and emotional tales that capture a sense of childhood and wonder. References to Roald Dahl characters, Grimm's Fairy Tales, and Narnia abound.
They're not really trying to make us laugh or dance or forget our worries or put on sequins or flash the cash – that's too shallow – they're more asking us to celebrate the little things, be more thoughtful and kind and connect with loved ones on a deeper level (something small, a shared activity, a memory). The overriding thought is that it's not about spending a load of money, it's about putting your heart into it to recapture that sense of magic that we used to feel. The gesture above the greed.
Dan Walsh
The Business Side
It’s a lovely ad and does what John Lewis does so well. In terms of the creative, the idea of circulating around life moments is lovely and really leans into Christmas. Let’s be honest, John Lewis isn’t the cheapest but they deliver their wholesome message in a beautiful way. They’ve not messed with the formula, they’ve not gone gimmicky, which other retailers are guilty of. They’ve stuck by their principles and have delivered a campaign that most people can relate to. It's still a difficult economic landscape for lots of people so I really think that tone is critical and I think John Lewis has managed to strike that balance between tone and content in a way that doesn’t feel out of reach.
Final thought, whereas a lot of the other retailers have gone for gimmick, this feels raw, honest and in line with the brand values despite the challenges being faced by the world. Brave.
Jamie Peate
Global head of insights at McCann Worldgroup
It's a return to form for John Lewis, ,who invented modern Christmas advertising.
This I think is John Lewis moving back to the heart of what their brand is: thoughtful giving.
There's a truth at the heart of this and it's that it's better to give than receive.
It's very retail and has nice touches, the acting is good and I like the way she has David Tennant's Dr Who coat - the music works and it's beautifully made.
It's all about thoughtful giving and full of Christmas nostalgia and reflection.
Times are tough for the retail sector so it’s no surprise they are showcasing their stores and ranges in all they Christmas glory – maybe they missed a trick not including some of their merch from the past like Monty the Penguin.
Claire Lambell
Managing director at Southpaw
The latest John Lewis Christmas ad hits the perfect blend of festive warmth and heartfelt storytelling, reminding us why it’s the most anticipated Christmas ad of the year.
This year, we follow a relatable story centred on the quiet magic of human connection, woven with touches of humour and poignancy that I think strikes right at the heart of the season.
The soundtrack, as always, is spot-on, adding a nostalgic yet fresh layer to the narrative. It’s a reminder that Christmas is about the little acts of kindness that bring us together, sparking just the right mix of joy and a touch of Christmas sentimentality. John Lewis has once again managed to capture the spirit of Christmas with grace and charm, leaving us all just a little more ready for the season ahead.
Joe Bruce
Executive creative director at Above+Beyond
Anyone who has made a Christmas ad for a major brand will know that it’s a fucking nerve-wracking, all-consuming experience. It’s the only time the industry and public actively seek out ads to watch, and suddenly everyone is an expert on emotion, craft and storytelling. Hats off to any team who got a Christmas film out into the world this year. Especially the John Lewis gang. Drop your shoulders, you’ve earned your mince pies.
Adam Morrison
Founder at 2050 London
Christmas is here and John Lewis lands a typically well-crafted and thought through execution – a familial premium style. A return to family storytelling putting sisters at the forefront of it makes sense. And the heightened reality is a cool aspect that adds arresting touches to a simple story. Will it be remembered for years to come? Not sure it will. Christmas is that time of year where brand advertising reminds us what it can do by impacting popular culture with a national conversation. I don’t think JL has quite done that. Has any brand got close to doing that? The little Disney octopus was very cool and Tesco’s was a pretty bonkers take on the rituals that are really important to some at this time of year. Brands seem to be opting for fantastical styles this year transporting the imagination to a magical world. I don’t know if it’s because AI has helped with creating some of it at speed for less but it's wonderful, feel good stuff.
Rikke Wichmann-Bruun
Managing director, client service at Cheil UK
It has all the signature tear-jerking hallmarks we’ve come to anticipate from John Lewis: those universally relatable moments and scenarios that tug at the heartstrings, paired with a perfectly curated soundtrack, stunning cinematography, and just the right sprinkle of magic. This year, though, they’ve gone a step further. There’s a palpable infusion of the John Lewis experience woven into the narrative — we begin and end in the store itself, grounding the ad in their brand identity in a way that feels refreshingly distinctive from previous campaigns.
The closing line, “Knowing where to look,” is nothing short of genius. It’s a message that resonates broadly, brimming with longevity and potential to evolve into an enduring tagline. It certainly speaks to our wider population, but does it speak to the TikTok generation? I’m not entirely sure. The more pertinent question, though, is: does it need to?
Elliott Starr
Creative director at Impero
There's an emotional and intellectual seduction to being critical. Saying you think something is crap requires no vulnerability. It might even convince those listening that you're a bit clever. With that in mind, let's look at this new John Lewis Christmas ad...
First off, I'm offended it talks about shopping, and not about how John Lewis is saving moles in Peru. Or how it's switched from using plastic number one to plastic number two. Someone has dared to do an actual 'ad', with characters, and a story that has a sense of life, time, space, and depth. Sacrilege.
They also had the audacity to show me the shop they want me to shop in. A proper 'ad'. How dare they? No one does 'ads' anymore – they're not cool.
In that vein, let's turn to the timeless principles of making 'ads'. Would it grab my attention? I trust it would. Would it hold my attention? Indeed, it might. It's quick to force my investment in the sister's relationship. Is there an insight? Gee-whiz, there is. Is there an actual idea, earth-wired into the brand? Not in a totally ownable way, but I buy the claim far more of John Lewis than its competitors.
That line's not bad, either, is it? Besides, let's turn our minds to all the beautiful work creatives have written for that brand. That's a scary brief to receive. The bar is unforgivably high. Given that, this is a rather commendable effort in my book. (Which you'll find in the bargain bucket of all good Waterstones.)
Louise Canham
Associate creative director at House 337
As a fan of The Verve, hearing those first few notes, I immediately sensed this was something different from the perhaps ‘lost years’ of recent John Lewis festive offerings. Inviting others to record their own version of ‘Sonnet’ is a nice touch, even if the connection feels a bit tenuous.
Setting scenes in the actual store? Brilliant choice—own it! The nostalgia for my own childhood hits perfectly. I also appreciated the nod to the less-than-perfect family moments (even if it’s set in a massive house!). Is mum still around? Perhaps not. Am I spending enough time with my own parents? Perhaps not. That struck a chord, intended or not.
It’s beautifully crafted—a familiar enough story that still gives us room to connect in our own way. Heartfelt but not overly sentimental. Sure, it didn’t leave me in tears, but maybe that’s because I have a younger brother (a whole different story!)?
Damon Collins
Founder at Joint
Doing something fresh for Christmas is getting harder and harder. Doing something cheap seems impossible. Almost as impossible as doing something short. The longest commercial this year tops a whopping four minutes.
Christmas is about many things. Celebration, togetherness, caring for those less fortunate than ourselves, but above all else demonstrating to those you love that you love them.
The Big Cheese, the Don, the numero uno honcho of which, for at least a decade, being John Lewis.
Their ‘Best place to get gifts for those you love’ positioning is not unique. By any means. But John Lewis continues to carve out a space for itself as a ‘nice’ place to buy ‘nice’ things.
This year, in both their neat ‘Jumper’ spot and now the latest ‘Lion, witch and clothes rail’ film they demonstrate their understanding of their customer through delicate use of insight and well wrought storytelling that manages to skim the fine line between vomit inducing and ‘ahhh’ inducing.
Exquisite production values help in an increasingly production values heavy set of ads. But their trick is somehow demonstrating that they ‘just get people’. A fine art at any time of year. But especially at Christmas.
Nichola Elgie
Senior account director at Drummond Central
Did it make me cry and reach for the tissues, or leave me with a lump in my throat, no. Did it make me smile and think 'well played, John Lewis', yes.
Although admittedly, it did take me some time to fully get what the ad was saying, but isn’t that the point of all great storylines? Who is the girl and what is she so frantically looking for? Well if you look close enough and pay attention from the beginning, it's all there. The tannoy that mentions John Lewis - who are synonymous with thoughtful gifting – the books with 'SISTERS' written in glitter pen, to name a few of the details throughout.
Will everyone, including my mam, get it? Perhaps not. Are we as people in the industry bigger critics than anyone? Absolutely. But does it make you think longer and harder about finding that perfect gift for your sister, brother, nan, best friend or husband? Yes, yes it does.
All that being said, I was expecting a little lump in my throat, which I didn't get. But it did make me think of my sister, Laura, and what the perfect gift for her this year could be. Might make a trip to John Lewis.
Barney McCann
Head of creative at Born Social
The John Lewis Christmas ads have become such an anticipated cultural 'moment' that this year they leaked their own film to mailing list subscribers before its official release. And given how much they've spent on a beautifully shot TV ad, I can see why they're keen to maximise the hype.
The campaign isn't limited to a cinematic centrepiece, so I’m especially interested to see how the TikTok talent search rolls out.
Layering high production, brand-out TV spots with social-first, engaged, and community-focused executions is something we’re seeing a lot this year. GAP, Asda, and Sports Direct have set the bar for multi-platform storytelling and world building.
The lesson John Lewis could take from these campaigns is the craft of bringing these multichannel pieces of content together, creating cohesive worlds for Christmas that flow seamlessly between the small screen in your pocket and the big one facing the sofa.
Rani Patel
Founder and managing director at CALLING
We all know the high street is struggling – including John Lewis. So it's smart that their ad is set in a store. The end line is clever too.
Tim Hyland
Creative director, EMEA at Whalar
It’s great to see John Lewis back in form. Growing up in advertising, it was hard to escape the Christmas ad battle between Sainsbury’s, Waitrose, John Lewis, and others. Just yesterday, I was talking to a colleague, and both of us were longing for the wistful days of Dougal Wilson directing another John Lewis masterpiece for the season. This year’s ad feels like it belongs in the same universe as the ‘She’s Always a Woman' ad (not a Christmas ad, but amazing all the same) from 2010, taking us on a room-by-room coming-of-age story that tugs at heartstrings across all ages.
It’s interesting to see the TV commercial resonating as a piece of shareable YouTube content, far from the world where it started – playing before prime-time TV spots. Now, I find myself catching the new Christmas ads in articles or on LinkedIn, unlike the old days when I’d be sobbing into a Cadbury’s bar on the sofa. Thank goodness that perennial storytelling can transcend the context of where you watch it – so brace yourself if you’re seeing this one on the bus, the train, or in an Uber after the Christmas party.
Steph Thomas
Head of retail experience at VCCP
The essence of this Christmas ad is anchored in an underlying truth for many at this time of year; the pressure, time and thought required to find a simple yet meaningful gift for someone special. For a retail specialist, the true celebration of the department store in the John Lewis ad is beautifully captured – with gifts big or small, there's something for any age, interest, style or life stage. A smart and emotive story told to drive footfall to a space that has the solution, as captured in the endline, 'knowing where to look'. With fewer department stores left to celebrate in the UK, there's a wonderful focus on the fun and dance around the experience of gift shopping at this time of year – a time when the retail market saw an £85 billion spend in 2023 and John Lewis has already reported an 18% YoY uplift in Christmas sales.
This ad is an ode to the magic of an in-store retail experience – one that is particularly special at this time of year; when many do get tempted away from their screens and onto the high street. The celebration of exploring in the John Lewis ad is special. John Lewis has invested (through Christmas pop-ups with QPR, and a variety of beauty experiences including one with Clarins, to the new inclusion of Waterstone's concessions) to create 'outstanding in-store experience'. With a retail-first approach, John Lewis opened its first large pop-up in Exeter last month offering fashion, beauty, home and electronics. Dedicated to immersive experiences in-store that cater to all, I think the celebration of this through the variety of scenes, settings and characters in their Christmas ad, is brilliantly told.
Robin Shek
Founder at Brave Spark
I think it’s a lovely spot. A bit of a departure from the fantasy or animated approaches we’ve seen in recent years and back to the emotional depth that first made the John Lewis ads the talk of the industry. Setting the ad in an actual store feels a bit different and adds to the authenticity, too.
I think playing on the last minute panic of finding the perfect gift is something we can all relate to, and the nostalgia is expertly pitched. Everyone will recognise at least some of the cherished memories and moments on display, and the ‘90s song choice with Richard Ashcroft’s ‘Sonnet’ will surely resonate with the target set who grew up with this music.
Calvin Innes
General manager and creative director at JvM NERD London
It’s that time of year again when we see a host of Christmas adverts aiming to pull on the heart-strings and talk to audiences who have generally become tired of the endless consumerism and forced messaging. So many fail to hit the mark, but every now and again, there are those who get it right.
John Lewis is, of course, the one that people wait for every year, and for the most part they manage to deliver something that works to some degree. This year’s ad is well shot, it’s emotional and, importantly, it’s quite long. Timing is everything and the advert has time to build a real emotional message. It avoids leaning into consumerism and focuses on the emotional message, and the shared memories of loved ones, which is powerful.
While I don’t think it’s a classic, I do think it does the job pretty well.
On the other hand, Disney’s Taika Waititi-directed tale of a boy and his octopus pal is stunning. It’s heartwarming, it’s cute, it’s unexpected and it’s humorous… It feels like a big, emotional story. It has everything you would expect from such a powerful creative team, and for me, adam&eveDDB have created one of the all time great Christmas adverts.
Graeme Noble
Chief creative officer at TMW (part of Accenture Song)
I like that it starts in a store, with someone actually shopping for a present. Who would have thought—someone buying presents in a Christmas ad? Combining this with the John Lewis warm and fuzzy feel works.
At its core, it’s rooted in a real human truth: when we truly care about someone, we do try and get a gift that is just right for them. Although, speaking from personal experience, as Christmas Eve draws to a close and the shops are about to shut, I find myself relating more to her occasional moments of blind panic than to her nostalgic reflections on cherished memories.
Kim Martin
Executive creative director at Flourish Direct Marketing
So, the John Lewis Christmas ad has landed… and our industry goes into overdrive. Every element is discussed, dissected, judged; how does it make you feel? Have they got the tone right for the times? What do you think of the song? Is it a great ad?
My honest answer is I haven’t got a scooby. I mean, I can tell you I liked it. Much more than many of the Christmas ads I’ve seen this year. And I can tell you that likeability is hugely important. But that’s about it connecting with me personally and emotionally, rather than it being a great ad.
I mean, it looks beautiful, and I was engaged by the premise. I like a bit of magic realism at this time of year. And the bittersweet moment when she sees (presumably) her mum, struck a chord with me. But so what? These are just my opinions. They’re subjective, not facts. You may respect my opinion. Equally you might not give a monkey’s what I think. The truth is I cannot categorically tell you that the John Lewis ad is either good or bad. No one can. Yet.
Ultimately there’s only one way to be objective about creative work. Results. Does it achieve what it’s set out to achieve? As a specialist CRM agency, Flourish has been obsessing about the results we achieve for our clients for over twenty years. Don’t get me wrong, we still pride ourselves on our creativity, but we’re pragmatists. We know that creative is just one element that makes up a successful campaign. Data, strategy, channels, timing – these are equally important.
Agencies will tell you that brand ads are different; that it’s only about making you feel a certain way and it’s all down to the creative. Fair enough. But the intention is still to influence viewers to feel warm towards John Lewis, with the aim of increasing sales over the crucial festive period. The objective of the ad is still to drive sales, or else why bother?
It’s not like people aren’t already aware that John Lewis sells stuff – and that you might find a gift for a loved one there. I’ve always been intrigued with what would happen if John Lewis didn’t run an ad at Christmas. Or better still they could A/B test it with audiences – ad versus no ad, just to see if it’s all actually all worth it.
But I digress. As for this year’s offering. If it drives the sales the Marketing Director wants it’s a good ad. If it smashes them, it’s a brilliant ad. Ultimately that’s all there is.
Georgina Kelly
Marketing and PR executive at Imagination
‘The Gifting Hour’ feels like a gift in itself. It’s as if John Lewis has taken a deep, cosy breath and wrapped us in the comfort of nostalgia that so many of us crave at this time of year – leaving the quirky operatic flytraps behind. They’ve doubled down on what they do best: stirring up warmth and togetherness, just in time for the holiday season.
With the tagline, ‘The secret to finding the perfect gift? Knowing where to look,’ it’s clear Saatchi & Saatchi has channelled a little Christmas magic, looking back to traditions and the brand's heritage to make us feel at home. Sure, it’s not ground-breaking and it’s far from provocative, but sometimes familiarity and the power of human connection is the best gift of all. (Oh and if you’re lucky, you might just spot one of Sally’s woolly jumpers under the tree.)
Mat Goff
Founder at ARK Agency
There’s so much actual shopping in actual shops going on in this year’s batch of festive offerings. In John Lewis, (similar to Tesco) it bookends the tale either side of a loft (serious conversion potential) and a little red box of memories that takes us on a magical mystery tour through the rollercoaster of eternal sisterly love. A handsomely crafted, ambitiously told waltz through the mind and lives of JL heartland. Spotless.
Knowing where to look for a thought to build an original JL Christmas campaign around is just about the biggest challenge any of us lucky enough to be in these jobs can face. It’s refreshing that the team at Saatchi have found a new stage on which to tell their tale. It’s a fresh, new chapter in the long-running catalogue of JL Christmas hits.
Zanya Fahy
Head of strategy at Toaster
When watching the ad, I could almost hear the boardroom directive: ‘feature our stores to save our stores’. For me, the real strength of this ad lies in how the team embraced that (assumed) creative constraint. By weaving in the festive nostalgia of Narnia, they cleverly rooted the narrative in-store, using ‘portals’ to transition between memories.
This approach allowed for more relatable 'in-home' moments, staying true to the style of previous John Lewis ads while enabling a richer, time-travelling story. I appreciate how the ad captures the effort it takes to delve deep into our memories to find a meaningful gift—and most importantly, how it uses this insight to reinforce the store's role at Christmas.
Helen Anderson
Managing director at thenetworkone
John Lewis is the big one everyone waits for and they never fail to disappoint, the 2024 advert has warmth, strong narrative, heart-warming and cleverly cut and coloured production and a splash of the John Lewis cooperative magic and a CTA tag line. I have a sister, so the impact resonates with me. But the sceptic in me wonders if the creative team here has stripped it back to basics enough to resonate with all consumers or just the ones that are likely to spend the most this year. Is Waitrose the rejected middle sister, perhaps, and therefore they’ve had to try harder with their whodunnit full 360 story, as that series of super smart ads with clever casting trumps the John Lewis one for me this year! Happy Christmas to all.
Seb Hill
Executive creative director at bbd Perfect Storm
Well, it’s definitely a John Lewis ad, but not in the way we’ve come to expect. Less about the abstract analogy formula of the past campaigns and more that it’s based in a John Lewis store and, wait for it... it’s about shopping. In this outing, products replace plants, penguins or any other animal, monster, animation or inanimate object. I’m pretty sure getting a branding moment in the first few seconds was mandatory in the brief. Anyway, what can you say about it? We’re taken on a gift buying journey with a touch of nostalgia and a nod to Narnia. It’s a nice warm story, nicely told with some nice moments, all played out to nice music. So I guess I’m saying, it’s nice! It’s been a long wait since 2011 when, for me, they truly captured the spirit of Christmas. It still makes me cry. Sadly, the wait goes on.
Jack Smedley
Creative director at AMV BBDO
Christmas is when brands dust off the party poppers, loosen their belts and let themselves go a little. This year is no exception with many big retailers slugging it out with tinsel-tinged CGI extravaganzas. Amidst the feast of animated carrots, gnomes and singing oven gloves, John Lewis bucked the trend in favour of more grounded fayre. The tale of two sisters is on a par with the masterful Tesco spot in terms of emotional payload, but the Christmas crown this year has to go to Waitrose for inspired casting and some taut dialogue.
Louise Rudaizky
Managing director at Atomic London
Overall I loved it. A brilliant balance of magic, emotion, nostalgia and reality. Not easy to do.
As both a sister and a mother of daughters, I thought the relationship over the ages felt real and relatable, maybe a little too much love but a good dose of upset too. I liked the added Christmas magic from Narnia and perhaps a touch of ‘A Christmas Carol’.
The music is an exceptional choice. It is a great way to lean into nostalgia with a band that is having a big resurgence but, for me, the really clever bit is how they intend to use social media to create the cover. The TV does feel fairly narrow in terms of who it is speaking to but hopefully the social campaign will allow them to resonate a bit more broadly. Lovely work, John Lewis and Saatchi & Saatchi.
Прошлогодний опус:
Цитата:
Watch the 2023 John Lewis Christmas advert
_________________
С пониманием и отраслевыми пожеланиями, Dimitriy.
Заявление пресс-службы РФС в ответ на высказывания губернатора Самарской области.
"РФС последовательно выступает за соблюдение правил честной игры в футболе. Об этом свидетельствует первое уголовное дело в истории России о договорных матчах, инициированное РФС, которое в 2022 году привело к наказанию и отстранению от футбола нескольких арбитров и футбольных функционеров.
Мы находимся в контакте с руководством Самарской области. Считаем, что изложенные в заявлении губернатора факты о просьбе предоставления финансирования на коррупционные цели являются поводом для обращения в правоохранительные органы. РФС со своей стороны готов оказать полное содействие следствию для установления истины", говорится в заявлении пресс-службы РФС.
Цитата:
Самарский губернатор Федорищев заявил о коррупции в футбольном судейском корпусе. Он рассказал историю, связанную с долгом местной команды "Крылья Советов" в 36 млн рублей перед "преступниками".
«Ко мне два месяца назад пришел один из функционеров клуба "Крылья Советов" и сказал: "Вячеслав Андреевич, Вы там долги пересчитываете за "Крылья", у нас есть еще один долг - это порядка 36 миллионов рублей". Я у него спросил: "А на что?" Он сказал: "Вы знаете, я не могу Вам сказать. Почему? Потому что преступление, вам знать не надо".
В конце концов он мне рассказал и выяснилось, что "Крылья Советов" должны 36 миллионов неназванным, судя по всему, преступникам, которые занимаются коррупцией в судейском корпусе российского футбола», заявил губернатор.
Федорищев добавил, что такая система работает в судейском корпусе последние несколько лет и "все условно с ней согласились".
_________________
С интересом и понятными ожиданиями, Dimitriy.
EXCLUSIVEIconic butchers say 'it is sad for London and a nightmare for us' as historic meat market is set to close after 900 years
Butchers at Smithfield Market told of their devastation today as City bosses took the decision to close the world's oldest meat market after 900 years at the heart of London life.
Traders at the iconic English institution, which will close along with Billingsgate fish market - itself established in 1850 - described the move as a 'sad day' for the capital and a 'nightmare' for them personally.
Butcher Joe Howgate, 25, told MailOnline: 'It’s been here for 800 or 900 years, it’s not nice the corporation has said "it’s done''. It’s sad for London, there is a lot of history here, it’s a long time and for them to say '‘that’s it, we’re going to call it a day’' is sad and unusual.'
The current site was designed by architect Sir Horace Jones in the mid-19th century and will now become the home of the new London Museum - previously called the Museum of London.
There had been plans to relocate the market and Billingsgate to a new £1billion development in Dagenham, east London, but the City of London Corporation put these plans on hold this month and yesterday voted to end them altogether.
The closure of Smithfield, which comes at a time Britons are eating less meat, will require the Corporation to provide more than £300million worth of compensation to traders. The site of Billingsgate in Canary Wharf is set to be turned into housing and shops.
Butcher Joe Howgate, 25, pictured, has been in the trade for 10 years and said the decision is a sad one for the city
However, Ian Wilson, pictured, a butcher for 26 years, said the art of the trade is in being able to adapt and if owners are willing to plan then they will do well
Mr Howgate said: 'It’s been here for 800 or 900 years, it’s not nice the corporation has said "it’s done’"
Traders will be able to continue their operations at the markets until at least 2028, the corporation added.
Mr Howgate told MailOnline: 'It’s going to be a nightmare for some of the butchers in London as some will have to travel across London to go elsewhere.
'It’s difficult but we’ll carry on elsewhere, you just have to work your way through and things change so we’ll see.
'We have always said that five years is a long time in this job and a lot can change. I think they’re saying that in 2028 or 2029 it’s got to go, a lot can happen in that time.'
The 25-year-old added that the changes will mean some traders will 'call it a day' while some may be able to continue to work.
Jordan McCarthy, 24, who helps with packing the meat for customers said: 'It might be disappointing for those people who have been here for a long time, 15 to 20 years plus and I think for them it’s home and they don’t want to give it up.
'Even if they have enough money they come here for the sense of pride and team of carrying the family business.
'A lot of them might come with that and they have a lot of pride in what they have done.'
However, Ian Wilson, a butcher for 26 years, said the art of the trade is in being able to adapt and if owners are willing to plan then they will do well.
He said: 'The impact to your business is about how you adapt and plan, if you do it well like any business then you’ll be fine, if you stick to your old ways and try to carry on then you’re in for a tough life.
'I think there is an archaic element to some of the workers up here. No one likes change but they’ve always done it this way and no one likes to have to change things.
'I have had to change, with Covid, and even since I started I have always been aware of evolving. You either adapt or you die.'
A worker rests a carcass on his head at Smithfield Market, 1988
Butchers among hanging pork at Smithfield meat market in London, circa 1935
The current market site was built in 1868, designed by architect Sir Horace Jones
Mr Howgate added: 'It’s difficult but we’ll carry on elsewhere, you just have to work your way through and things change so we’ll see.
Jordan McCarthy, 24, pictured, said: 'It might be disappointing for those people who have been here for a long time, 15 to 20 years plus and I think for them it’s home and they don’t want to give it up'
in 1546 during the reign of King Henry VIII, Protestant preacher Anne Askew was burnt at the stake at Smithfield as a huge crowd of people looked on.
A drawing of Smithfield cattle market, London in 1848
A meat porter pulls his loaded barrow at Smithfield Market in 1988
Members of the Armed Forces seen carrying meat in place of striking workers at Smithfield Market, 1947
A bill will be tabled in Parliament today to absolve the City of London Corporation of responsibility for running the market.
Members of the corporation's council blamed the decision to axe its relocation plans on a sharp rise in construction costs and wider inflation, which 'made the move unaffordable'.
Chris Hayward, policy chairman of the City of London Corporation, previously said: 'This decision represents a positive new chapter for Smithfield and Billingsgate markets in that it empowers traders to build a sustainable future in premises that align with their long-term business goals.
'By stepping back from direct market operations, we will help to create opportunities for these businesses to thrive independently.
'We've worked closely with the traders and thank them for their input and understanding.
'We're committed to making sure they have the financial support and guidance they need to transition seamlessly and successfully to new locations.'
Dominic Twomey, leader of Barking and Dagenham Council, said: 'While this is disappointing news, we understand the financial pressures that key investment projects are facing with soaring inflation in recent years.
'We are committed to continue working with the City of London Corporation to unlock the huge potential of the Dagenham Dock site to bring new employment uses and high quality jobs for local people.'
However, Ian Wilson, a butcher for 26 years, said the art of the trade is in being able to adapt and if owners are willing to plan then they will do well
The 25-year-old added that the changes will mean some traders will 'call it a day' while some may be able to continue to work
The UK's largest inland fish market, Billingsgate, was moved to its current site in Canary Wharf in 1982
Circa 1870: Smithfield Market taken from a high vantage point, showing the many horses and carriages parked outside
Author Charles Dickens depicted Smithfield Market in his celebrated novel Oliver Twist. He described it as a place where 'filth and mire' rose 'nearly ankle-deep', as the 'reeking bodies of cattle' massed all around.
Another Victorian writer branded it a hub of 'cruelty, filth, effluvia, pestilence, impiety, horrid language, danger, disgusting and shuddering sights, and every obnoxious item that can be imagined.'
In 1174, Smithfield was described by William Fitzstephen, clerk to Thomas Becket, as 'a smooth field where every Friday there is a celebrated rendezvous of fine horses to be sold, and in another quarter are placed vendibles of the peasant, swine with their deep flanks, and cows and oxen of immense bulk.'
Under King Edward III in 1327, the City of London Corporation was given the right to run it and other wholesale food markets.
But from the early 13th century, Smithfield was also used as an execution site.
Wallace - whose death was famously depicted in Mel Gibson's film Braveheart - was hanged, drawn and quartered there in 1305 after being dragged naked through the streets.
In 1381, Wat Tyler, the leader of the failed Peasants' Revolt, was beheaded at Smithfield.
And, in 1546 during the reign of King Henry VIII, Protestant preacher Anne Askew was burnt at the stake at Smithfield as a huge crowd of people looked on.
Demolishing a tower in Smithfield Market which was unsafe after it had been damaged by a German bomb, 1941
Market workers at Smithfield meat market in London in 1912. The Court of Common Council, the City of London Corporation's decision-making body, has now agreed its preferred site for all three original markets is Barking Reach in east London
Horses and carts used for transporting goods pull up outside London's Smithfield Market, December 1888
A union boss addresses crowds of workers at Smithfield Market during a strike in 1936
She was just one of dozens of people burned in the same place throughout the Tudor period.
The market and the surrounding area would go on to emerge unscathed from the 1666 Great Fire of London, which devastated much of the rest of the capital.
In 1945, as the Second World War neared its conclusion, a German V2 rocket that struck nearby caused an explosion which tore through the market buildings and caused more than 100 deaths.
And in 1958, two firefighters were killed tackling a blaze that broke out in a cold storage firm's premises in the market.
The fire burned for three days and is regarded as one of the worst in London since the Blitz in 1940.
Smithfield Market has received several royal visitors. In 1926, the future King Edward VIII spent 90 minutes inspecting stalls.
Nearly 80 years later, in 1980, King Charles enjoyed himself at the market.
The then Prince of Wales was cheered and clapped as he tested the weight of a barrow laden with meat.
A salesman holds up a Turkey at Smithfield Market, as prospective customers look on
The Queen Mother during her final visit to Smithfield Market in 1997
In 1980, King Charles, who was then the Prince of Wales, was cheered and clapped as he tested the weight of a barrow laden with meat
Traders at Smithfield Market in 1990. The operation had by then reduced in size as supermarkets bought directly from suppliers
The Queen Mother made several visits to the market, including for the current set-up's centenary in 1968 and in 1997.
The current market site was built in 1868, designed by architect Sir Horace Jones.
By then, the site had shifted from being a livestock hub to a wholesale meat market, as traders sought to accommodate the appetite of London's booming population.
Jones, who had designed Tower Bridge, developed a complex of sophisticated buildings. Among them was the Central Meat Market, the General Market and the Poultry Market.
One of the most revolutionary features of the site was the railway that ran underneath the site, bringing the freight trains laden with supplies of meat.
The market would be open at night, so that traders had time to prepare their meat for sale a few hours later.
However, from 1945 onwards, Smithfield became less busy as supermarkets began buying directly from suppliers.
Как следует из британской истории, торговля первые возникла на этом месте в 12 веке.
С 13 века, по мимо собственно торговли, на этом месте начинают казнить людей.
Со временем казней становится все больше, а торговли все меньше.
Самая известная из казнённых - поэтесса и протестантка Анна Аскью (Anne Askew).
Как это было заведено у островитян с женщинами (Жанна д’Арк, например), её казнили по ложному обвинению в колдовстве.
Её сожгли в возрасте 25 лет на площади, которую сейчас занимает этот рынок 16 июля 1546 года.
Примечательно, что из всего многообразия товаров торгуемых на ярмарках, рынках, базарах, на этом месте, сохранилась только торговля мясом.
Цитата:
Цитата:
Anne Askew | Stretched on the rack until her tendons snapped
Цитата:
Anne Askew Tower of London: A Trial of Terror
_________________
С интересом и понятными пожеланиями, Dimitriy.
New Target Emerges in Russia’s Attacks on Ukraine’s Grid: Nuclear Facilities
Russia has increasingly hit critical substations linked to nuclear power plants in an effort to disconnect them. The assaults risk a disaster, experts said.
Repairing a power line on Friday outside Odesa, Ukraine, after a Russian drone strike.Credit...Nina Liashonok/Reuters
Russia hit critical electricity transmission facilities linked to nuclear power plants during its latest assault on Ukraine’s power grid on Thursday, the International Atomic Energy Agency reported. It was the third such attack in roughly as many months, heightening concerns among experts about the potential for a nuclear disaster.
The agency said that the Russian strikes had hit electrical substations crucial for Ukraine’s three operational nuclear plants to transmit and receive power. While no direct damage to reactors was reported, all of them reduced output as a precautionary measure and one was disconnected from the grid.
“Ukraine’s energy infrastructure is extremely fragile and vulnerable, putting nuclear safety at great risk,” Rafael Mariano Grossi, the head of the agency, the I.A.E.A., said in a statement released late Thursday.
Russia has targeted Ukraine’s energy infrastructure since the war’s first winter two years ago, in an effort to collapse its grid and make life miserable for its citizens. For most of that time, attacks focused on thermal and hydroelectric plants, along with their transmission facilities, causing widespread blackouts across the country.
Still, Ukraine’s grid did not collapse, mainly because much of its power generation relies on nuclear plants, which had been largely spared from air assaults.
Russia’s strategy of destroying substations connected to nuclear power plants is newer and appears intended to collapse Ukraine’s last major power generation capacity, experts say. The attacks against the substations began in late August, the I.A.E.A. reported.
The substations are essential because they distribute power from the reactors to the rest of the country. Ukraine’s three operational nuclear plants, a total of nine reactors, provide about two-thirds of the country’s power generation capacity today, according Shaun Burnie, a nuclear expert at Greenpeace Ukraine. A fourth nuclear plant, near the southern city of Zaporizhzhia, was captured by the Russian forces at the beginning of the war.
The substations also have a second, no less critical function: They deliver electricity to the nuclear plants that is needed to cool the reactors and spent fuel. “Loss of cooling function at one or more reactors would inevitably lead to nuclear fuel melt and large-scale radiological release,” Greenpeace warned in a note shared with The New York Times.
Workers in a power plant that has been repeatedly targeted by Russian missiles at an undisclosed location in Ukraine on Thursday, as photographed on a media tour organized by the energy company.Credit...Mauricio Lima for The New York Times
United Nations experts issued a similar warning in a statement released on Monday. They said that “further damage to Ukraine’s electricity system could lead to an electricity blackout which would increase the risk of operating nuclear reactors losing access to the grid for powering their safety systems.” Such an event, the statement said, could lead to a serious nuclear disaster.
The Ukrainian authorities have tried to highlight the new threat in recent months. President Volodymyr Zelensky told the United Nations General Assembly in September that Russia was planning potential catastrophic attacks on Ukraine’s “nuclear power plants and the infrastructure, aiming to disconnect the plants from the power grid.”
In response, the Ukrainian government agreed with the I.A.E.A. in September to deploy monitoring missions to substations linked to nuclear plants, to assess the damage and try to prevent further attacks. The agency visited seven substations this fall, documenting “extensive damage” and concluding that the grid’s ability “to provide a reliable off-site power supply” to nuclear plants had been “significantly reduced.”
The Ukrainian authorities would like the I.A.E.A. to deploy personnel frequently, or even permanently, to inspect the substations, hoping their presence might deter further Russian attacks. Greenpeace said in its note that “the Russian government needs the active support of the I.A.E.A. to support its global nuclear power ambitions and therefore cannot risk the safety of I.A.E.A. personnel in their ongoing efforts to destroy Ukraine’s electricity system.”
But so far, as highlighted by the U.N. experts, the agency has conducted only one monitoring mission, with no additional visits announced.
On Friday, Ukraine continued grappling with the aftermath of Russia’s large attack on its grid the day before. Ukrenergo, the national electricity operator, has introduced intermittent shutdowns nationwide to reduce strain on the system. Some areas, like the southern regions of Kherson and Mykolaiv, have also been mostly cut off from power because of the attacks, local officials said.
A cashier in a restaurant with no electricity during a partial blackout in Kyiv, Ukraine, on Thursday.Credit...Roman Pilipey/Agence France-Presse — Getty Images
The Ukrainian authorities reported that Russia used cluster munitions — weapons that break apart midair, scattering smaller bomblets over a wide area — to attack the grid. These munitions sometimes fail to detonate immediately, posing a lingering threat and hindering the work of energy workers sent to repair damaged facilities who have to wait until the area is cleared of unexploded ordnance. Ukraine has also used cluster munitions in the war.
“The use of these cluster elements significantly complicates the work of our rescuers and power engineers in mitigating the damage, marking yet another vile escalation in Russia’s terrorist tactics,” Mr. Zelensky said on Thursday.
Despite the risks, some energy workers stay on site at the power plants during attacks to operate critical equipment. Oleksandr, the head of production management at a thermal power plant run by DTEK, Ukraine’s biggest private energy company, said he was at work during a recent attack.
“There were two of us working at the station’s central control point,” said Oleksandr, whose surname could not be disclosed for security reasons. “I managed to shout ‘Get down!’ to my colleague and instantly everything went dark: Dust rose, plaster flew. The explosion occurred in the turbine area 150 meters away just as we were falling to the floor.”
Но, почему, когда 8 лет обстреливали Донецк и Луганск, когда ВСУ утюжили Запорожскую АЭС таких статей не было, а тут Россия взялась за Украину и понеслось?
Действительно, почему россиян можно, а украинцев нельзя?
Да, по тому, что англосаксы украинцам
разрешили
.
Нет-нет, они не сочли украинцев равными.
Джонсон упаси.
Судьба украинцев – сложить свои головы за чужую славу.
Тут ничего не изменилось.
Просто англосаксы считают их людьми.
А россиян людьми они не считают.
В своих репортажах англосаксонские журналисты о россиянах, как о людях, почти не говорят.
Для них россияне существуют только в образцах лидеров и отдельных политиков страны, у нас и в «людских зоопарках либеральной оппозиции», у них дома.
Русский народ для англосаксонских СМИ – абстракция.
А какое к абстракции сострадание?
Соответственно.
По этому они не способны нас понять.
Хотя мы понимаем их без затруднений.
Но, мы понимаем, по тому, что способны любить.
А они ни любить, ни понять нас не в состоянии.
Они в состоянии нас только бояться.
А жаль.
_________________
С сожалением и очевидными ожиданиями, Dimitriy.
Уровень доступа: Вы не можете начинать темы, Вы не можете отвечать на сообщения, Вы не можете редактировать свои сообщения, Вы не можете удалять свои сообщения, Вы не можете голосовать в опросах
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Чего не хватает радио, чтобы увеличить свою долю на рекламном рынке? Аудиопиратство: угроза или возможности для отрасли? Каковы первые результаты общероссийской кампании по продвижению индустриального радиоплеера? Эти и другие вопросы были рассмотрены на конференции «Радио в глобальной медиаконкуренции», спикерами и участниками которой стали эксперты ГПМ Радио.
Деловая программа 28-й международной специализированной выставки технологий и услуг для производителей и заказчиков рекламы «Реклама-2021» открылась десятым юбилейным форумом «Матрица рекламы». Его организовали КВК «Империя» и «Экспоцентр».
28 марта в Центральном доме художника состоялась 25-ая выставка маркетинговых коммуникаций «Дизайн и реклама NEXT». Одним из самых ярких её событий стал День социальной рекламы, который организовала Ассоциация директоров по коммуникациям и корпоративным медиа России (АКМР) совместно с АНО «Лаборатория социальной рекламы» и оргкомитетом LIME.
На VII Международном форуме «Матрица рекламы», прошедшем в ЦВК «Экспоцентр» в рамках международной выставки «Реклама-2018», большой интерес у профессиональной аудитории вызвала VI Конференция «Интернет-реклама».
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