A deodorant company with a product called "Smell No Mo" pits two rival ad agencies in a race to come up with a campaign for a new-fangled sanitary napkin called Vorcan. The advertising satire follows the New York firm of Cranston & Co. as they fight rival Hoffman & Partners. Cranston fires his creative director which puts a young copywriter with a literature degree on the front line, even though he doesn't want to be. The contest comes down to a schmaltzy campaign by Hoffman with music by Air Supply that uses the tagline "Vorcan: your own personal air supply." or a more down to earth campaign from Cranston of "The pad ain't bad!"
Eric Weber
Director
Robert Klein
Tom Cranston
Larry Pine
Peter Haverford
Paul Lazar
Mitchell Mitnick
Randy Pearlstein
Ken Tuttle
Ingrid Rogers
Anita Tanner
James Villemaire
Doug Humphrey
Mark Lake
Harson Covington
Joelle Carter
Heidi Wilson
Eben Moore
Rodney De Mole
Tony Hendra
George Parkyn
Steve Carell
United Standards 2
A refreshing twist is that all the kids’ powers are…kind of useless. There’s a kid who can only move in slow motion, a kid who has every power in the world but can only use them randomly, and our main character Missy who has no powers at all. The thesis of the film seems to be that it doesn’t matter what kind of powers you have, its the way you use them, which is good for the warm and fuzzies.
The Mandolorian has a more nuanced and commentative take on masculinity that refrains from praising the toxic traits associated with the social category, while also showing a more positive and transformative representation of masculine characters.
Diana’s spirit has taken off, ‘No right, no wrong, no rules for me.’ And in that moment, as she runs on the screen, she gets it, her ‘Let It Go’ moment.
For the entirety of Raiders of the Lost Ark, Marion remains in full control of both her body and her personality, a rarity for female characters at the time of the film’s release. She’s granted depth with personal demons from her past and emotional vulnerability when the situation deems it appropriate for her to grow alongside Indy. She avidly rejects the notion of being anything other than a sassy, humane rebel, and Indy’s equal in every way. This she does while still maintaining her femininity.
While it is more than established that Halston’s life is far from a fairytale, the narrative suffers as a result of the decision to revolve more around sex and drugs than his artistry, it likely does a disservice to his cultural impact by pulling focus from his achievements.
Americans love the British monarchy. This may seem confusing because only a few short hundred years ago they were our worst enemies, and every year we celebrate our independence from them. The Crown humanizes the monarchy, which might explain its popularity.