If you’re a regular consumer of cable TV news, you’re also a consumer of all the ads the news channels run in a constant, mind-numbing cycle. Big Pharma and Big Insurance own the bulk of the real estate; at least, that’s how it feels inside my head. Big Pharma’s “slice-of-life” ads beg to be satirized, especially the part of each ad where — as we watch our characters living their best lives (now that they’re cured!) — a Voice O’ God narrator speed reads a list of the “cure’s worse than the disease” side effects. See how happy these formerly afflicted people are now? They wouldn’t be so happy if any of this drug’s side effects ever kicked in. While Big Pharma stokes our fear of getting sick, Big Insurance stokes our fear of every other bad thing that could ever happen to us: car accidents, natural disasters, death (especially death). Living life each day, it turns out, carries the risk that something bad or expensive could ruin all our hopes and dreams. What’s that old joke about how to make God laugh by telling “him” your plans?
Big Insurance wants to inflame every latent fear cowering in the shadows of your mind — and, like an arsonist who’s also a fire fighter, their whole deal is to step forward as the loving savior who’s got your back!
For a price, of course.
Insurance is an essential concept to our capitalistic way of life. But, talking about insurance — geez, could anything be more “middle aged” and dull? The insurance industry is run by bean counters to whom the green eyeshade look is “a look”. And their product, essential as it is, is boring. For a long time, insurance companies took an entirely “adults in the room” approach to marketing their product to the unwashed and uninsured masses. Nationwide was “on your side”, You were “In Good Hands” with Allstate. If something bad happens, “Like A Good Neighbor State Form is there”. According to the New York Times, that all changed in 1999 when the Martin Agency created the Geico Gecko “to both reinforce Geico’s name and help the public figure out how to pronounce it”. The Gecko clicked however. He was funny and strangely human. An audience that didn’t care about insurance stopped to watch the ads not because fifteen minutes would change our lives but because we wanted to know more about the guy pitching it at us (lizard though he may be).
Before too long, Progressive Insurance — who no one even knew existed — created Flo (and her team), Allstate created Mayhem, Farmer’s Insurance rolled out J. K. Simmons as Professor Burke and Liberty Mutual created the LiMu Emu and his partner/friend/wing man Doug.
What all these insurance companies did was create IP (intellectual property) — characters who, they hoped, would encompass essential elements of their “franchise” within it. When you see the character, you’ll think of that insurance company. If the character made you laugh — in a good way — you’ll not only remember the insurance company, you’ll remember them fondly. If that’s all that happens, the insurance company is already ahead. Branding is a massive undertaking. But, if you end up buying insurance too? Back up the Brinks truck.
Now, I can claim a little bit of real world expertise when it comes to marketing and creating a franchise character. I’ve written and produced TV and feature films within certain franchises. My first produced TV show script was for “Freddy’s Nightmares: The Nightmare On Elm Street TV Series”. I’ve put words into Freddy Krueger’s mouth. I’ve also written and executive produced “The Outer Limits” for Showtime. OL’s franchise is more thoughtful than Nightmare On Elm Street’s. The “Control Voice” was always the weakest franchise character among all the anthology series that ever succeeded. I mean, who is he? What is he? I wrote and executive produced that show for two whole seasons and I still don’t get that character.
I also reinvented “Tales From The Crypt’s” Crypt Keeper when I took over running Tales going into its third season on HBO. Here’s a muuuuuuuuch younger version of me in the middle of a writing session with the dude. Love-hate. Yup. That was us.
When I took over writing the Crypt Keeper, Kevin Yeagher (Kevin created the CK) had gone as far as he could with his amazing puppet (run by six puppeteers) as the Crypt Keeper sat in the same chair wearing the same burlap sack outfit cracking the same painful puns for 25 episodes. In fact, when my partner Gil Adler and I took over at TFTC, it was supposed to be the show’s final season. We were caretakers wheeling the body to the TV show graveyard. Except that’s not what happened. Gil and I reinvigorated the show, I reinvigorated the Crypt Keeper and HBO went on to order four more seasons, Universal ordered three Tales feature films, the Crypt Keeper got merchandised and co-branded with Budweiser beer (among other products) and the Crypt Keeper even got a kids’ show. Not bad for a literal “dying concern”.
The question I asked — it’s what got me hired — was “What does the Crypt Keeper do when he’s not being the Crypt Keeper?”
What does he do when he punches the clock and goes home? What are his hobbies? What does he like to eat and drink? Who are his friends? What does he think about? Giving the Crypt Keeper an interior life gave him a life. Having a life made him more viscerally real to the audience who embraced him as they hadn’t before.
That’s my operating principle. It’s the bar characters have to clear (in my mind) to be “successful”. If we measure success by durability, that some characters endure while others don’t — that’s a good enough yardstick for me. Once you create a good character however, the real hard work begins: casting. Get it right, you’ll create a magical feedback loop that continually builds upon itself and its own invention. Get it wrong and begin to plan on getting fired.
In the current TV ad environment, these characters are succeeding because of superb casting: Geico’s Gecko succeeded beyond every expectation in large part because actor Jake Wood imparts so much humanity to his character. The CGI people gave the Gecko great eyes. Jake Wood makes every emotion the CGI guys invoke play for real inside our heads. That’s way harder than it looks. Bravo, everyone involved, bravo!
Not every great character can be “filled in” with great detail. Allstate’s Mayhem — like Farmers’ Professor Burke — is a good running joke but not really a character. Dean Winters, the actor who plays Mayhem is always fun to watch and the spots are usually clever. But, does Mayhem have a family? What must a family of Mayhems be like? Uh oh… am I about to make somebody rich?
Similarly, J.K. Simmons’ Professor Burke is a great comic conceit more than a character. I’m not sure this character’s inner life is crying out for further exploration; I’m not sure this character has a meaningful interior life. In order for his home life to be interesting, Professor Burke would have to be something completely different in his off hours. Like a sex addict or a serial killer.
That brings us to Flo v Doug.
It’s not a fair fight; Flo and her crew win hands down. I’m not sure if Flo’s creators — copywriter John Park and art director Steve Reepmeyer, at the Boston-based agency Arnold Worldwide — anticipated how successful their creation would be. In 2008, in that very first ad, It’s just Flo, incredibly upbeat and super helpful.
The team at Arnold got it spot on when they hired Groundling alum Stephanie Courtney. Courtney has an improv player’s ability to make every environment believable simply by how she’s “being”. How she’s “being” creates the environment for the audience. Courtney sells Flo’s hyper-realness by believing in it so utterly herself that we do too. That’s how improv works: the actor literally wills the world in their head into ours. Being a good improv player, Courtney also fills her character with inner life (to justify how the outer life should look and sound).
Here’s the Flo character’s first appearance —
You get the feeling she really, really lives to work.
It took a while for the Flo character to move from the retail floor to the corporate offices, for her crew to arrive and become distinctive characters unto themselves (the character Jamie especially). To its credit, the creative team at Arnold didn’t quit at Flo. Each and every member of Flo’s team is a distinct character with a distinct inner life; each time we get a glimpse, it makes sense — even when it’s completely surprising as it is with the Jamie character. Improv can only flourish in a “Yes, and!” environment. If I begin a scene by asking my scene partner “Do you like my hat?” She better say something like “Why, yes — I do! And I love the tropical birds! What are their names?” That will keep the improv going whereas if she says “What? You’re not wearing a hat”, the whole thing will die right there, on the spot. Progressive has “yes, and-ed” Flo into a whole believably organic world.
Over time, Progressive would sell itself by extending Flo’s world — including Flo’s family (Courtney usually plays the whole clan herself). There’s a Thanksgiving spot that gives the concept plenty of room to run around in.
A believable inner life. That’s the key to a great franchise character.
Before we shift to Liberty Mutual’s Doug, I want to give a shout out to another great Progressive character with a deep (I’d even say “profound”) inner life — the “Motaur” — half man, half motorcycle —
Throw in the Dr. Rick character (the guy trying to teach people not to turn into their parents) and you have a whole network’s worth of great characters.
By contrast, Liberty Mutual sure does try hard. Their various spots include the “Park With A View Of The Statue Of Liberty” world (it’s like a half-baked idea generator) and the Doug-Emu teaming. Goodby Silverstein & Partners developed Doug and the LiMu Emu. Per Liberty Mutual’s own web site: “The humorous and over-the-top duo who appear on the scene to share their knowledge and help protect people from paying too much for insurance coverage. LiMu Emu and Doug bring a new twist to the classic buddy-cop duo – partners guided by the notion that it’s a crime to pay for things you don’t need – going above and beyond to ensure they do their duty.”
Okay — a simple enough concept but… oy, if you have to work that hard to sell or explain “funny”, it means the thing you’re selling probably isn’t. It’s not that the idea of a solid blue collar guy being partnered with an emu isn’t side-splittingly hilarious… oh, wait — maybe that’s the problem. Doug and his Emu partner are amusing. They’re a single funny thought. A sketch with a solid if unremarkable guffaw in it — and that’s all. The idea simply can’t support much more than that. This isn’t a casting issue. Not at all. David Hoffman does everything he can with the character. He works wonders with very little meat on his character’s undernourished bones.
Giving Doug and Emu girlfriends was cute. Clever even. They’re awkward and awkward is funny. But even awkward needs somewhere to go. What makes an awkward scene funny is that we, the audience, wouldn’t want to be in such a scene because even just watching it is cringey-funny. In the commercial below, the series achieves something remarkable.: a moment of genuine humor that works within the concept but also points to the concept’s limitations. It occurs at the end, when Doug offers Emu some food…
The awkwardness of Doug offering Emu chicken is terrific because it’s real. It points to how inorganic all the other awkwardness is. It’s a testament to Hoffman’s acting chops that he gets a great underplayed moment from an overplayed character.
By contrast, the Progressive ads are a master class in squeezing every last drop of painful humor from awkwardness. Jim Cashman’s Jamie is a fabulous creation with a completely unexpected off-stage life. It’s the contrast between an awkward character and a secure, confident inner life that makes Jamie compelling and infinitely watchable.
Now that that’s off my chest, I can turn back to MSNBC. Hey, look! A Big Pharma ad’s on! And I am grateful as can be that I don’t (think I) have any of the diseases those characters have. And, damn if the side effects don’t sound horrifying enough to make even the Crypt Keeper fear for the worst.