Tag Archives: brand surgery

Brands Being Human

Subaru is doing great work for the SyFy’s  Being Human.  Here’s one example:

This is an insider ad.  You have to know the show to get what’s happening.  These are werewolves.  They’ve gone into the woods to “turn.”  The brand has found the spirit of the show and “had a little fun with it.”  Romantic feeling is imposed on something that will shortly turn nasty and violent.  Clever.  And this is absolutely in the spirit of Being Human which plays with genre expectation constantly and well.

Here is Being Human in action.  In this scene, Sally, the ghost, discovers that her house is up for sale and she decides to discourage home buyers with a ghostly trick.  Ooooooooooo!  In this scene, remember, she is invisible.

Generally speaking, Subaru has done a great job claiming a nest of companionable, cozy, domestic meanings for the brand.  It has attached itself to “family” as well as any brand in the biz.  (And that’s saying something, considering that so many brands are trying to make this connection.) Recall the Subaru ads that feature dogs aging and kids practicing for their driver’s license.  This is great work but it may leave the Subaru brand defined as something perhaps a little too domestic and of-this-world.

The Being Human work manages this problem beautifully.  A brand that verges on the humble and everyday becomes suddenly exotic and even daring.  The Subaru meanings expand wonderfully.

Notice how elegantly this is accomplished.  The Being Human work is site-specific and exists, in effect, only for the Being Human audience.  There is no danger  that the broader Subaru market will see this work and no danger that it will transform their “cosy” associations with the brand.  This is brand surgery.

Another thing I like about this approach is that it is the opposite of product placement.  Instead of jamming the product into the show, the show is allowed to find its way into the “brandscape,” to use John Sherry’s term.  And both the show and the brand profit.

Product placement is often an absolute tax on a show.  You know that moment when the appearance of the product suspends your suspension of disbelief.  You might as well stop watching and thousands no doubt do.  I don’t care how much the show makes from product placement.  In many cases, the artistic price is too high.  Plus, as a strategy, this is just plain dumb.  It says in effect, “People aren’t watching our ads! Ok, so let’s force them to look at the product!  We’ll make them watch us!”  You’ll make them watch you?  This is your idea of persuasion.  This is your idea of managing meanings? Really?

There’s another Subaru ad for Being Human that feels, to me, less successful.  It shows three actors acting like characters from the show.  See it here:

This execution feels wrong to me and it serves I think as a useful test of where this strategy can work and where it fails.  When the ad is merely leveraging the creative original, it feels like a pale imitation and it provokes, I think, a relative loss of value.  By which I mean, more is taken from the show than is returned to it.  The brand is merely exploiting the dramatic riches of Being Human and not taking possession of them for larger creative play.  In the immortal words of T.S. Eliot, “bad poets borrow, good poets steal.” This spot borrows where the first one steals.  This is not as bad as product placement but it isn’t a lot better.

Carmichael Lynch, the agency in question, has done great things for Subaru.  There is a cultural sensitivity at work here that really is exceptional.  And our opening “werewolf” ad breaks new ground.  Letting the brand out to play in an ad, in this way, is to let the brand out to play in the world.  And this is one of those cases, where brand and ad are working together, borrowing meanings from one another, to their mutual benefit.   Both brand and show get bigger, richer, and more interesting.

But what might be more remarkable is the fact that the Carmichael Lynch work takes Subaru almost no other automotive brand is prepared to go.  This is daring.  It is clever.  It participates in popular culture.  It makes the brand a living, breathing presence in the life of the consumer and our culture.  It takes the brand a little closer to being human.


Dean Evans, CMO, Subaru

I am hoping Carmichael Lynch will send me names of the creative team so that I can give them a mention for this really exemplary work.  Watch this space.