Political correctness is a curse

Nokia has a new billboard that ain’t right. See if you can spot the fatal flaw.

It is selling – as shown by the small words in the corner – LONG BATTERY LIFE. And to do so, its stopper headline is "HEY, IT’S GRANDPA. GOT A SECOND?"

Class, what is wrong with this picture? Correct. The billboard is using the wrong gender. (Years ago, we would have said "the wrong sex", but that is, of course, a dirty word.)

The implication of the ad is that you will need a powerful battery because Grandpa is going to talk your ear off. However, this is not true. Grandpa does not talk your ear off. Grandpa sits quietly over there watching Bowling for Dollars. It is GrandMA who talks your ear off.

I will bet most of my carefully accumulated fortune that the Nokia board came out of the Creative Department saying "Grandma". And I will further bet that 42 seconds later, somebody wagged a finger at it and said, "No no no nononono. Talkative elderly women is a stereotype. Lest we get a nasty letter from the League of Loquacious Ladies, make it Grandpa. He won’t bitch."

God damn, political correctness is a curse. It either creates excess timidity, or it runs over to the other side and creates Howard Sterns, who flaunt their lack of political correctness along with their lack of wit, taste, and verbal "off" switch.

As in so many areas, there ought to be a middle ground. I may get myself in trouble here, but I submit that stereotypes abut human groups get to be stereotypes because they start with an element of truth. (Ask my liver if my friends named Thomas Rooney and Brian O’Leary like to drink.) But you’d better be very, very careful if you want to find humour in one.

Years back, there was a truly breakthrough campaign in the U.S. beer business. It was lusty, it was irreverent, it was macho, it was funny. It centred around retired jocks in bar scenes, arguing about whether they drank Miller Lite because "it tastes great" or because "it’s less filling."

The campaign worked because it captured the way guys talk in bars – with no censor listening. And then it fell upon political correctness.

They produced a commercial featuring ex-hockey player Pete Stankowski. The set-up was, Pete was going to tell a Polish joke. And the whole bar – and the whole TV audience – did that very human approach-avoidance thing, where on the one hand you’re afraid it’s going to be tasteless, and on the other, you can’t wait to hear it. So Stankowski proceeded to tell a joke. In Polish. It was a surprise, and the stunned, let-down reaction of the crowd made it very funny.

Within two weeks, the spot was off the air. Yes, there had been complaints, from the Polish Don’t-Do-That Society, or some such. Never mind that the commercial made the Polish guy the hero, nor that it got us to maybe-for-a-moment examine our attitudes about Polish jokes. Nope. Bad commercial. Bad, bad commercial. Go to your room.

The Miller Lite campaign sort of shriveled up and died a while after that. Maybe its time had come, but maybe also it got too careful. It had always been on the edge, at least for its era, and when it started to overthink itself, it lost its vitality.

That would be the end of the story, and it would be unhappy enough, if it weren’t for this unfortunate fact. The Miller Lite campaign is back.

It is back in the same setting – the bar scene – and it has the same creative strategy, taste versus fillingness. However, it has been carefully updated for our modern era.

Instead of testosterous old jocks, it has wise-ass wannabes like Norm MacDonald, playing against supermodels. Immediately, all surprise is gone. Because once you set up the situation that way, there is only one politically correct way you can play it. The woman has to win.

So we sit through a few tired putdowns, then the gorgeous supermodel displays greater sports knowledge than the horny hapless couch potato, then, well, I’m not sure I’ve ever got to the end, I’ve had to check another channel.

Somebody has said, political correctness is fascism masquerading as liberalism. I like that…and it’s boring besides. Anybody want to argue with me? Call me a sexist pig? Send me some nice p.c. examples? I think I’ll stay with this subject awhile.

John Burghardt’s checkered resumé includes the presidency of a national agency, several films for the Shah’s government in Iran, collaboration with Jim Henson to create the Cookie Monster, and a Cannes Gold Lion. The letterhead of his thriving business now reads "STRATEGIC PLANNING • CREATIVE THINKING". He can be reached by phone at (416) 693-5072, by fax at (416) 693-5100 or by e-mail at burgwarp@aol.com

Cannes Lions 2025: Canadians nab more medals on final festival day

Strategy is on the ground in Cannes, bringing you the latest news, wins and conference highlights all week long. Catch all the coverage here.

Friday’s batch of Silver and Bronze winners included the oldest category at the Cannes festival, Film, as well as Sustainable Development Goals, Dan Wieden Titanium, Glass: The Lion for Change and Grand Prix for Good. Canadians were recognized with four Lions today: two Silver and a Bronze in Film, as well as a Bronze in Sustainable Development Goals.

FCB Toronto was given yet another nod for its work, “The Count,” for SickKids, bringing the medal count for that campaign to four, including a Gold for Health & Wellness. Another Canadian agency recognized on the final day of the festival was Klick Health Toronto, which earned a Silver in Film for its work “Love Captured” for Human Trafficking Awareness and a Bronze for “18 Months” for Second Nurture. And over in Sustainable Development Goals, the Bronze went to Publicis Canada and its “Wildfire Watchtowers” work for Rogers.

Another massive win for Canada included not one, but two Young Lions (pictured above) taking home medals in the annual competition. In Design, the Gold Young Lion was awarded to Rethink’s senior motion designer Jesse Shaw and ACD Zoë Boudreau. The second, a Bronze in Media, went to Cossette Media’s business intelligence analyst Samuel David-Durocher and product development supervisor Tristan Bonnot-Parent.

Film (2 Silver, 1 Bronze)

1 SILVER: “The  Count” by FCB Toronto for SickKids Foundation

“The Count,” a striking campaign from FCB Toronto for SickKids Foundation, has earned 1 Gold, 2 Bronze and now 1 Silver for Film at Cannes. If you watch it, it’s easy to see why. The collaboration between brand and agency honoured the hospital’s “VS” platform, while steering it in a new direction from its initial development by previous AOR Cossette. The creative celebrates childhood cancer patients who have to fight for every birthday, while honouring the hospital’s own milestone – 150 years and counting.

 

1 Silver: “Love Captured” by Klick Health Toronto for The Exodus Road

Klick Health Toronto added to its medal tally with a Silver in Film for it’s work “Love Captured” for The Exodus Road. The creative features a romantic getaway that isn’t what it seems in an experiential short film for the global anti-trafficking organization. The experience takes viewers through a tragic and twisting experience of exploitation.

 

1 BRONZE: “18 Months” by Klick Health Toronto for Second Nurture

Klick Health Toronto also won a Bronze in the Film category for its work, “18 Months,” done for the charity organization Second Nurture. The animated film is based on a real-life story in which a same-sex couple adopts a baby found in a subway station, and the 18-month journey into a story of hope.

Sustainable Development Goals (1 Bronze)

1 BRONZE: “Wildfire Watchtowers” by Publicis Canada for Rogers

Publicis Canada landed on the winners board for its work, “Wildfire Watchtowers,” for Rogers. The Canadian-developed wildfire-detection tech – which has been billed as “a fire alarm in the forest” – uses AI-powered sensors installed on 5G towers to monitor vast remote areas in real time. By scanning, identifying and reporting early signs of wildfires (up to 16 minutes faster than other systems), the technology helped prevent 54 fires in 2024 alone.

Catch the Gold winners later today when they’re revealed at the gala in Cannes.