Here's your curious advertising case study of the day. Food-delivery app Eat24 has written a lengthy blog post detailing, from start to finish, why and how it went "where no marketing team has gone before. Well, at least not without clearing their browser history afterward."

Eat24, which apparently had something of a following among porn stars already, decided to advertise on adult websites. Its rationale? Almost no mainstream brands want anything to do with the XXX world. And yet the traffic figures are through the roof, and the CPMs are low. What's not to like?

Below are a few excerpts from the case study. Here's the whole thing. Via @hollybrocks.

The idea:
"If you ever take two seconds out of your naughty time to glance at the ads on porn sites, you'll notice that 99% of them are for more porn. It's a world where no one besides male enhancement pills and adult friend finders have dared to go. Not a single mainstream brand advertising there. We could be that 1%."

The creative:
"We wanted to make a connection between the pleasure you feel when eating a bacon double cheeseburger, and the pleasure of having sex. Everyone knows nothing makes people want to order food more than pictures of food, but we had to be careful with our dish selection. The sight of a seductive salmon skin roll next to a naughty nurse video might enhance the whole experience, while a hearty plate of chicken tikka masala might turn you off entirely, except in certain fetish categories. We need food that puts you in the mood."

The results:
"No matter what metric you want to use to define success, our campaign kicked ass all the way across the board. Impressions? Our porn banner ads saw three times the impressions of ads we ran on Google, Twitter and Facebook combined. Click through? Tens of thousands of horngry Americans clicked our ads. Yeah, but did they convert? Psshhh, please. We saw a huge spike in orders and app downloads during the time our ads were live, especially late at night when that insatiable desire for DP (double pepperoni) is at its most intense.
     Did we mention the cost? We did? Well, it bears repeating. We were able to achieve the stellar metrics mentioned above all for the low low price of 90% less than what the big guys charge per 1,000 impressions. That's right, we saved 90%. Nine zero."

Robert De Niro narrates this new spot for the National September 11 Memorial & Museum, encouraging viewers to "take a day to remember" that morning 12 years ago, when thousands of men and women died in the heart of New York City—and "to honor the best in humanity that overcame the worst." The spot, created pro bono by BBDO, New York, will air on donated media throughout the week. The campaign also includes print, outdoor, digital and video advertising and points to 911memorial.org to learn more. Credits below.

CREDITS
Client: The National September 11 Memorial & Museum
Spot: "Day to Remember"

Agency: BBDO, New York
Chief Creative Officer: David Lubars
Executive Creative Directors: Greg Hahn, Mike Smith
Associate Creative Director, Art Director: Marcel Yunes
Associate Creative Director, Copywriter: Rick Williams

Group Executive Producer: Julian Katz
Senior Integrated Producer: Neely Lisk
Executive Music Producer: Rani Vaz

Account Director: Neil Onsdorff
Account Executive: Jennifer Sullivan

Production Company: Brand New School
Executive Creative Director: Jonathan Notaro
Managing Partner: Devin Brook
Head of Production: Julie Shevach
Art Director: Kris Wong
Animators: Morten Christensen, Peter Harp, Jim Forster
Flame Artist: Mark French
Producer: Joe Balint

Music: AKM Productions
Recording Studio: The Kitchen
Mixing Engineer: Corey Bauman

The full run of Breaking Bad is coming out on Blu-ray soon after the AMC series wraps up. And if you're enough of a fan to spring for the special-edition box set, it's packaged in a replica money barrel. Not only that, it comes with a Los Pollos Hermanos apron and enough special features—a documentary on making the last season, commentaries on every episode, etc.—to choke Jane Margolis. You can pre-order the set on Amazon, but be warned: It costs at least half a money barrel right now.

After getting bombarded with hate tweets for about an hour this afternoon, AT&T removed an image from Twitter that had been meant as a 9/11 tribute—a photo showing a hand holding a phone up in front of the Tribute in Light searchlights. "We apologize to anyone who felt our post was in poor taste. The image was solely meant to pay respect to those affected by the 9/11 tragedy," the company wrote in a follow-up tweet. (As of this writing, the photo remained up on AT&T's Facebook page.)

The episode highlights yet again the difficult task of doing any corporate messaging around 9/11. For AT&T, Wednesday's reaction on Twitter was an especially stinging rebuke, considering the company posted quite a similar style of photo last year on 9/11—and got much better feedback.

The difference? Last year's image showed the Freedom Tower, and the headline read, "Standing tall." It was simply a more forward-looking, patriotic execution. The Tribute in Light is a more sacred image, and this year's headline, "Never forget," is incompatible with any hint of a sales message, even one as simple as the image of a phone.

In the end, 9/11 may not be totally off limits to brands, but you'd better be careful.

We apologize to anyone who felt our post was in poor taste. The image was solely meant to pay respect to those affected by the 9/11 tragedy.

— AT&T (@ATT) September 11, 2013

Fresh from his U.S. Open triumph, Rafael Nadal comes on like the candy man in ESPN's latest tongue-in-cheek SportsCenter spot from Wieden + Kennedy in New York. Network personalities John Anderson and Bram Weinstein just can't figure out why Rafa is such a chick magnet around the ESPN offices. Could it be his tan? His dimples? Keep your shirts on, gentlemen, because the answer comes at the end, when we learn that it's the sweet, sweet stuff in Nadal's big, shiny cup that keeps them coming back for more. Roger Federer's commercial performances, even when he's pimping Lindt chocolates, are never as tasty.

BETC and Canal+ together produced one of the most beloved ads of recent years in "The Bear," a hilarious and impeccably produced spot that won the Film Craft Grand Prix at Cannes in 2012. The French agency and client are now back with their latest commercial—an intriguingly odd production starring a bunch of dwarf clowns.

Why dwarf clowns? The spot promotes a new Canal+ channel, launching this month, that's fully dedicated to TV series. The great thing about TV series is you're always dying to see what happens next. Likewise, in watching this ad, the viewer has no idea who these dwarf clowns are, or what they're going to do next. And then, at the end, it turns out, rather absurdly, that they've been subjected to a cliffhanger themselves, which explains their peripatetic behavior.

"The idea was to make an intriguing film that creates suspense—you can't wait to find out how it ends. Just like when you watch a good series," says Stéphane Xiberras, president and chief creative officer of BETC Paris. "This was one of the reasons we chose dwarf clowns; in great series there's often something a bit odd about the unusual characters that makes you become attached to them—a cop serial killer, a depressed mafioso, a family of undertakers."

The spot was shot in Vancouver this summer. It was directed by Steve Rogers and will be followed by an outdoor campaign all over France. Credits below.

CREDITS
Client: Canal+
Client Management: Alice Holzman, Elodie Bassinet, Anne-Gaëlle Petri, Coline André
Agency: BETC Paris
Agency Management: Bertille Toledano, Guillaume Espinet, Alix de Luze, Pauline Filippi, Marius Chiumino
Executive Creative Director: Stephane Xiberras
Copywriter: Jean-Christophe Royer
Art Director: Eric Astorgue
Assistant Art Director: Damien Binello
Strategic Planning: Clarisse Lacarrau, Vianney Vaute
Traffic: Coralie Chasset
TV Producer: Isabelle Menard
Production Company: Wanda
Producers: Jérôme Denis
Sound Production: Kouz
Director: Steve Rogers

After years of the hard sell, some regional and national retailers are actually trying to build brands. Last month, Men's Warehouse jettisoned its bearded chairman from its advertising (after jettisoning him from the company) in favor of a music-driven approach. And last week, Sleepy's put its first outside agency to work with playful new ads. Now, Burlington gets a brand makeover in a character-driven campaign from Silver + Partners.

Directed by Harold Einstein, TV ads feature adults in public spaces oddly voicing their internal thoughts about their clothes and what they represent. And while the clothes don't make the man (or woman), they may reflect his or her personality—at least according to the campaign. Each ad segues from a series of verbal thought balloons to pop-up images of clothes and a male voice that says, "Style says it all." Oh, and there's a bit of hard sell via on-screen copy that notes, "Up to 65% off department store prices every day." The tagline is, "Style is everything."

The effort broke this week and follows a similar push by the retailer for back-to-school clothes in ads featuring kids speaking their minds—via internal voices, this time—as they view themselves (and their clothes) in the mirror. Best of that bunch: a boy in a striped shirt and jeans who thinks, "I'm about to go Ninja in here," before he strikes a karate pose.

CREDITS
Client: Burlington
Campaign: Style Says it For You

Agency: Silver + Partners
Chief Creative Director: Eric Silver
Creative Director, Copywriter: Ashley Marshall
Creative Director, Art Director: Jaclyn Rink Crowley
Managing Director: Michael Stefanski
Account Director: Lauren Pollare
Senior Producer: Chris Thielo
Senior Producer: Terry Brogan

Production Company: Station Film
Director: Harold Einstein
Managing Partner: Stephen Orent
Executive Producer: Eric Liney

Editorial: The Now Corporation
Editor: Jesse Reisner
Executive Producer: Nancy Finn

Post/Finishing: Suspect
Managing Partner: Rob Appelblatt, Tim Crean
Director: Hoon Chong
Creative Director: Colin McGreal
DP/Photography: Evan Cohen
Producers: Tsiliana Jolson, Kevin Daly, Alexander Decaneas
Lead Animator: Damien Cho
Lead Flame Artist: Brendan O'Neil

Telecine: Co3
Colorist: Tim Masick

Contradiction is the key to this brilliantly graphic online spot for Poo-Pourri, a toilet spray that eliminates odor. They took a beautiful woman with a refined British accent and gave her a complete potty mouth. From the moment she admits she just "birthed a creamy behemoth from [her] cavernous bowels," I was glued to my seat. In fact, the PooPourri girl spent two days sitting on that toilet for the spot, discussing her tenacious skid marks and being licked by cows. But it's not all shits and giggles. She also dumps a steaming load of information on us, with explanatory poop-related animation. It needs it, because Poo-Pourri (yes, it's a real product) is the only toilet spray that you use before you pinch a loaf—a difficult concept for those of us used to aerosol sprays and old-fashioned matches. The spot, which has topped 1.5 million YouTube views in three days, is courtesy of the Harmon Brothers, two guys who launched their own product, Orabrush, before moving on to handle PooPourri's marketing with even more style. Smart move. PooPourri will come out smelling like roses if the product is half as winning as the PooPourri girl. Credits below.

CREDITS
Directed by Joel Ackerman
Written by Joel Ackerman
Additional writing by Daniel Harmon
Additional writing by Jeffrey Harmon
Producer: Tess Kelly
Director of Photography: Tel Stewart
PooPourri Girl: Bethany Woodruff
Boyfriend: Jordan Hunter
Editor: Tel Stewart
Artwork: Daniel Harmon and Nicole Story
Animation: Tel Stewart
Dress Created by: Nicole Story (amazing PooPourri employee!)
Makeup and hair by Michelle Miles
Gaffers: Tyler Stevens and Kelsie Moore
Set Construction: Jonas Sappington and Dallin Blankenship

BBH London expands its "We Own the Weekend" campaign for the Guardian and Observer's Saturday and Sunday newspapers with a pair of dark-humored spots that focus on the "Tech Monthly" and "Cook" supplements. In one spot, a guy is unable to control the destructive force of his high-tech "MegaGlove"; in the other, a woman's hosted luncheon ends poorly for all involved. Ah well, if it bleeds, it leads.

"If our initial campaign was designed to inform the public that the Guardian and the Observer own their weekend, this follow up dramatizes the repercussions of resistance," says David Kolbusz, deputy executive creative director at BBH London. "When you try to own your own weekend, things can turn out very badly. Frankly, I feel sorry for anyone who doesn't buy their papers."

The work maintains the high quality of the three-minute January launch film starring Hugh Grant. Still, I can't help feeling it's all for naught. No matter how smart its marketing gets, the newspaper business long ago got "owned" by digital media—every day of the week.

Credits below.

CREDITS
Client: Guardian and Observer
Richard Furness: Director of Brand & Engagement
Toby Hollis: Head of Marketing and Engagement
Charlotte Emmerson: Product Marketing Manager

Agency: BBH London
Creative Team: Gary McCreadie & Wesley Hawes, Matt Fitch & Mark Lewis
Deputy Executive Creative Director: David Kolbusz
Producer: Chris Watling
Strategic Business Lead: Ngaio Pardon
Strategy Director: Agathe Guerrier
Strategist: Alana King
Team Director: Jon Barnes
Team Managers: Fiona Buddery, Jonny Price

Production Company: Biscuit
Director: Jeff Low
Executive Producer: Orlando Woods
Producer: Kwok Yau
DoP: Ed Wild
Post Production: The Mill
Editor/Editing House: Final Cut - Ed Cheeseman
Sound: Factory
Sound Engineer: Sam Robson

Actress and comedian Rebel Wilson is a quirky rule breaker, so why should she adhere to some old-school network-TV model for promoting a sitcom? She shouldn't, ya hear? Regular 30-second promo spots? Pshaw.

Wilson, who stars in, writes and co-executive produces ABC's upcoming series Super Fun Night, conceived the idea of a full-length music video to hype the show. The Aussie, who broke out to U.S. audiences in Pitch Perfect and Bridesmaids, wanted to show her vocal chops and give a snapshot of the lovable nerdiness of the fall comedy, which isn't, in fact, a musical. It is, however, self-deprecating in the extreme, with Wilson coining the term "eye broccoli" to describe herself and her pals in the pilot.

The music vid, from Stun Creative, a Los Angeles marketing and promo shop that's now producing its own original content, uses Queen's anthemic "Don't Stop Me Now" to let Wilson and co-stars strut, sing, pose and perhaps stand out from the pack of new TV series debuting in the coming weeks.

Super Fun Night revolves around Wilson, a Manhattan office worker sporting an American accent, and her longstanding weekly date nights with her two geeky besties. Catch the awkward hilarity starting Oct. 2.

McDonald's and Burrell Communications update a classic Super Bowl spot from 1993, pitting Joe Flacco of the Baltimore Ravens and Colin Kaepernick of the San Francisco 49ers, the opposing quarterbacks from the big game back in February, against each other in a contest for the chain's Mighty Wings. Their competition features improbable passes through distant goalposts. First one to miss watches the winner eat.

The original commercial starred Larry Bird and Michael Jordan playing a game of Horse for a Big Mac. Their increasingly crazy contest took them from a basketball arena to the top of Chicago's Sears Tower as Jordan called a fantastical shot: "Off the expressway, over the river, off the billboard, through the window, off the wall …"

That tale was self-contained, and fittingly, there was no winner, giving the impression that the two titans would battle for all eternity, ultimately bouncing balls off the moon and stars in their quest for a burger. (Luckily, McDonald's food would still be in decent condition no matter how long they played.) The reboot has two parts. The first 30-second installment (posted below) breaks on TV tonight and ends on a cliffhanger, as a power failure throws the quarterbacks into darkness—"Oh man, not again!"—and someone apparently tries to make off with their box of wings. Who could it be? Jordan and/or Bird? Tim Tebow? Miley Cyrus? (OK, we know it's not Tebow.) The revelation comes in part two, set to air Oct. 6.

Marlena Peleo-Lazar, chief creative officer at McDonald's USA, calls the remake"a fresh take on an idea our customers have loved, but in a sport they haven't seen us do it with." That's all well and good, and the effort is certainly getting buzz. Still, a remake with stars from a different sport was hardly necessary. And regardless of the big reveal, and even with original director, Joe Pytka, back behind the camera, it was doomed to pale by comparison with the original commercial.

Don't get me wrong. The new ad is well-made and amusing … but Bird and Jordan, in this context, cannot be replaced. They were more than great athletes. They were transcendent figures who helped define the popular culture of their generation. Flacco and Kaepernick are gifted on-field performers, and seem like nice enough guys, but they lack the stature and quite frankly, the charisma of their predecessors. The 1993 spot felt right because you really could picture Larry and Michael playing a little one-on-one for their personal edification, sans cameras, ribbing each other for each missed shot. Flacco and Kaepernick, well, I guess they'd have a throwing contest if McDonald's paid them lots of money to do it in a commercial.

Plus, the blackout, echoing the one that stopped Super Bowl XLVII for 30 minutes, and the "To be continued" aspect feel like cutesy gimmicks added to compensate for the new spot's inability to match up to its inspiration.

If Bird and Jordan don't make an encore appearance in part two, it would be disappointing, because that's what the setup demands. If they do, it could seem pat and predictable. The original was nothing but net. So far, the remake feels like an incomplete pass.

Grey New York and MJZ director Nicolai Fuglsig's "Inspired" spot for Canon won the 2013 Emmy Award for Outstanding Commercial on Sunday at the 65th Annual Creative Arts Emmys. The win ended a streak of four straight victories for ads created by Wieden + Kennedy. W+K has a horse in this year's race, too—Nike's "Jogger." The two other nominees this year were Google Chrome "Jess Time" by BBH and Google Creative Lab and Grey Poupon's "The Chase" by Crispin Porter + Bogusky.

See the Canon spot below and the other three ads here.

Virgin Mobile has been retraining your brain for a while. Now, it wants to borrow your eyes.

In a fun stunt called BlinkWashing from Mother New York and rehabstudio, the mobile carrier makes its sales pitch in 25 separate but linked YouTube videos—which you control simply by blinking. (The site uses your webcam to find your eyes, and then accurately detect your blinks.) The best part is, all the videos are time-coded and "smart cached," so that when you blink, the next video's dialogue picks up where the previous one left off. In other words, blink and you won't miss it.

The videos themselves offer an impressive assortment of oddball characters and scenes. There are even Mother employees featured in the spots: Gabriel Blido, sporting his astounding mustache, and Debra Dean, who shows off her hip-hop dancing skills.

Give it a spin over at Virgin Mobile's YouTube page.

Some precocious Maori children in New Zealand argue about whose dad is more irresponsible in this curiously amusing PSA about driving while stoned—the latest in a string of such ads from Clemenger BBDO for the New Zealand Transport Agency. Jalopnik promised that I would feel "all sorts of feels" while watching the ad—and I probably would if I could understand more than one-third of what the kids are saying. Still, the approach is interesting. Using humor and a light touch is certainly preferable to shock tactics like hitting little girls with cars. This spot was shot on 35-millimeter black-and-white film by Taika Waititi, whose short film Two Cars, One Night also featured kids chatting in cars. Below, check out another recent ad in the series featuring shopkeepers complaining about customers who come in high.

Two shows left, bitches!

AMC's Breaking Bad airs its last episode on Sept. 29, and the network whipped up this print ad promoting the series finale to thank the cast and crew for their efforts over the five seasons of the landmark series. The copy reads, "It was all in the chemistry. Thanks to everyone who made Bad so good." The ad shows the RV where Walter White and Jesse Pinkman cooked meth in the early days. Remember the episode where they couldn't get the clunker started and ended up stranded way out in the desert and nearly died? Yeah, that was a barrel of fun. Appropriately, in this ad, the sun is low in the sky. Indeed, once the series ends, the TV spectrum will be just a bit dimmer.

As for fans who can't let Breaking Bad go, well, they'd better call Saul.

Via THR.

Apple has always been all or nothing when it comes to color. "1984" was all doom and gloom with just a flash of red running shorts. "Think Different" was mostly black and white. The TV work, from "Switchers" to "Get a Mac" to most iPhone demos, has been lots of stark white. And yet Apple loves color—from the five hues of the original iMac through all the gloriously vibrant iPod advertising. Now, Apple can celebrate color again, with the iPhone 5C (the C itself stands for color), and here's the first commercial for it—a trippy, drippy little production that visually enlivens a brand that's seemed quite ashen of late. Seemingly taking its cues from candy advertising, the spot shows the phones solidifying into shape out of flowing liquid—in footage that would make Nestlé proud. Perhaps this is why the phone is priced lower. In a pinch, you could try eating it.

Looking for a tear-jerker today? Thai mobile company TrueMove has got you covered with this story of a noodle seller whose generous act toward a young boy with a sick mother brings unexpected rewards 30 years later.

With almost 6 million hits in just a few days, the ad is getting lots of press. The tagline is, "Giving is the best communication." It's not entirely clear (at least in the ad) how that relates to a mobile company, but frankly, it doesn't need to. The buzz (and the vague hope that it will encourage random acts of kindness among viewers) is all that really matters.

Oddly, instead of focusing on the story, a bunch of bloggers have latched onto the ad and are using it to start a flame war with American advertisers about why we can't come up with ads this moving and cinematic. Way to generalize, guys. I didn't see you talking about awesome Thai ads when they punked you last month with the hot chick who was a dude.

I guess that was a different kind of crying game.

Even though more than a century has passed since the Titanic sank, it's still too soon to joke about it in ads. Red Bull got in trouble for this ad hinting that the more than 1,500 people who drowned in April 1912 could have survived if they'd had the renowned energy drink aboard—because it "gives you wings." Don't worry. In Britain, the Ad Standards Authority was alerted, as 79 complaints have been lodged against the ad, including one from the Titanic Heritage Trust. Red Bull's slogan is OK—it's better than the more truthful "Red Bull tastes like mouthwash"—but maybe they shouldn't apply it to real historical disasters anymore. Go ahead and crumple up those Hindenburg sketches, fellas.

JetBlue Airways is launching a big new ad campaign from Mullen with the theme "Air on the Side of Humanity." But its big star isn't even human—he's a pigeon.

The 60-second launch spot is a documentary-style piece in which the pigeon—that most frequent of frequent fliers, and most underappreciated of birds—talks about how he flies in crowded spaces, gets crumbs for snacks and is generally ignored. Thus, he's a stand-in for the masses who, with ruffled feathers, shuffle onto rival planes and experience the worst of air travel. "There's got to be a way to fly with a little respect. You know?" our hero asks at the end, as the tagline appears on screen.

The campaign breaks first in Boston, where JetBlue has the most daily nonstop flights of any carrier, and includes TV spots (running in 39 prime-time season premieres), online advertising, microsites, mobile, social, experiential and out-of-home advertising. Most intriguingly, JetBlue is also partnering with Mobile Theory on a voice activation unit that will teach consumers "how to speak pigeon on their smartphones."

There's also a digital experience and social hub called Central Perch, where you can send messages to friend through virtual carrier pigeons on Facebook. Meanwhile, check out the launch spot and credits below.

CREDITS
Client: JetBlue Airways
Spot: "Air on the Side of Humanity"
Agency: Mullen
Chief Creative Officer: Mark Wenneker
EVP, Group Creative Director/Art: Tim Vaccarino
EVP, Group Creative Director/Copy: Dave Weist
SVP, Creative Director/Art: Dylan Bernd
Writers: Jack Collier, Evelynne Scholnick, Nick Olish
Sr Art Directors: Dan Madsen
Designers: Scott Petrichko Jay Spahr, Mauricio Perez, Kara Noble
SVP, Creative Technologist: Christian Madden
Creative Technologists: Dave Lee, Stefan Harris, Joe Palasek
Executive Director of Integrated Production: Liza Near
SVP, Director of Broadcast Production: Zeke Bowman
Associate Producer: Vera Everson
Sr Digital Producer: Kim Ryan
Digital Producer: Heidi Laidlaw Charley Perkins
Experience Designer: Hoon Oh
Group Account Director: Drayton Martin
Account Director: Jill Rugani
Account Supervisor: Hannah Moore Cece Wedel
Senior Account Executive: Molly Barag
Assistant Account Executive: Vish Chandawarkar
Animation Designer: Veronica Padilla
QA: Ryan Nelson
Copy Editors: Ashley Rumery, Eric Maus, Rebecca Rehbein
Strategic Digital Analysts: Steve Sandiford May Liu
Sr Computer Artist: Kathryn Lane
Project Manager: Niha Reddy
Production Supervisor: Mark Gardner
SVP Group Media Director: Keith Lusby
VP Associate Media Director: Chris McLaughlin
Senior Media Planner: Lauren Atkins
Assistant Media Planner: Charlie Weickert
VP Group Digital Media Director: Jade Watts
Associated Digital Media Director: Rachel Allen
Digital Media Supervisor: Erin Kelly
Digital Media Planner: Caroline Caterine
Account Director PR: Jaclyn Ruelle
Account Supervisor PR: Christina Simmons
Account Executive PR: Arianna Rubinstein
SVP, Group Strategy Director: Fredrik Sarnblad
Senior Planning Analyst: Chris Plating
Senior Brand Strategist: Lirra Schiebler
Production: Hungry Man
Director: Hank Perlman
Executive Producer: Kevin Byrne
Executive Producer: Dan Duffy
Producer Martha: English
Production Supervisor: Lucy Sheridan
Editorial: P.S. 260
Senior Producer: Laura Lamb Patterson
Editor: JJ Lask
Assistant Editor: Colin Reilly
VFX: Brickyard
Executive Producer: Kirsten Andersen
Lead VFX Artist: Geoff McAuliffe
Animation Director: Anders Beer

Keyboard Cat, Snoop, Psy, the Winklevoss twins and Snooki were all in on the joke. Can the same be said for Dennis Rodman and the Prancercise lady? Oh sure, it's just the Wonderful Pistachios campaign revving up another round of zeitgeist-tapping absurdity. There's no apparent end to the reality-TV, pop-culture, animated and sports figures who will make themselves available for these ads. In fact, if this marketer doesn't ask how or why you do it—eat pistachios, that is—then you must not be very important. Rodman? He does it "because he's nuts," says the newest spot, in which the former NBA player turned diplomat appears with a less doughy version of Kim Jong-un (a look-alike) to hawk the healthy snack. And the Prancercise lady? Who can get enough of her spindly, energetic dancing? Next, somebody will have to twerk.