Apple has yanked yet another ad campaign. Why?
You could even argue that the company's ad campaigns are as well-known as its products: Think Different. Dancers with iPods. And, of course, the 1984 Super Bowl ad for the Mac.
But now, for some reason, Apple is developing a different reputation in adland: the company that pays for ad campaigns and then pulls them.
Last year, Apple rolled out an ad for its iPad Pro and then apologized and yanked it, after online complainers complained that the vibes were off.
Earlier this spring, Apple axed an ad promoting an AI-powered version of Siri, once it became clear that version of Siri wasn't going to be available for some time.
And now Apple has disappeared another ad campaign, though I don't have any idea why.
This one features Martin Herlihy, the "Saturday Night Live" writer and actor — he's part of the " Please Don't Destroy" troupe that specializes in pre-recorded videos, like this one with Taylor Swift. And the premise is that he's going to teach kids how to convince their parents to buy them a Mac for college. The campaign also came with a kinda clever " Parent Presentation," which you could theoretically download as a PowerPoint and customize in order to close the sale with mom and dad.
The ad went up on YouTube and Apple's site last week, and then disappeared in the last few days.
But you can still see it, for some reason, on the site we used to call Twitter.
Apple just released a 7 minute video and an 81 slide presentation on how to convince your parents to buy you a Mac for college.
The presentation is available on Apple's website as a Keynote, PowerPoint, and Google Slides file. pic.twitter.com/aMQwvBJntR
— Aaron (@aaronp613) June 20, 2025
I've now watched this thing a few times, and I can't imagine what part of the ad offended or worried someone in or outside of Apple. (And yes, I've asked the company.)
If you love conspiracy theories, you could imagine that maybe this is actually a galaxy-brained viral campaign, and that Apple pulled the ad so typers like me would give them free publicity by typing about it. The way some political campaigns will make an incendiary ad that's designed to generate coverage, even if it only runs once.
But I'm not a big conspiracy theory person — the truth is usually much dumber than the theory. And in any case, this doesn't seem like Apple's style, at all.
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Los Angeles Times
15 minutes ago
- Los Angeles Times
They built their careers in network TV. Then they started a production company for the influencer age
Jeff Kmiotek, Michael Zinman and Andrew Watnick have been in unscripted TV production for decades. Kmiotek became a producer after working in a variety of unscripted formats including game and cooking shows and garnered an Emmy nomination for his work on 'The Masked Singer.' Zinman has a background in visual design and creative producing and also received an Emmy nomination in 2014. Watnick got his start in casting before moving to development and eventually producing on shows like 'The Masked Singer' and 'The Amazing Race.' But a September 2024 encounter in Las Vegas led the three to take on a different kind of gamble than the city is known for: to break away from their careers in traditional TV and use their cumulative media production knowledge to create their own production company for online content. The three observed a changing tide in unscripted TV production over the last few years. 'Budgets are getting slashed, costs are getting slashed, and schedules are getting slashed,' Kmiotek said. Meanwhile, online platforms like YouTube have experienced an accelerated rise in popularity. 'I'd watch YouTube and there's such amazing content,' Kmiotek added. 'They don't have to go through the process that we had to go through on network TV with all the different cooks in the kitchen and executives and notes.' YouTube is experiencing a massive growth in revenue for creators who post videos on the platform. A recent ad revenue forecast by WPP Media found that online creator-driven revenue is up 20% from 2024 and is expected to double next year, while TV revenue is expected to increase by only 1%. YouTube also reached a 44.8% viewership share in May 2025, according to Nielsen, passing the figures for cable and broadcast TV for the first time. YouTube offers a lucrative benefit not available to those who work in network TV: the ability to own the rights to their own shows and exercise complete creative control. 'Working a hundred hours a week for a television show … you could be up at 3 in the morning and you're doing this for someone else. But when you're doing it for yourself, there's no bitterness,' Kmiotek said. Zinman owned an existing production studio in Downtown L.A., which was designed to do motion capture and virtual production for TV. That established space — dubbed Lulu Studios — became the home of Elixir, the trio's production company. They funded the venture with their own money, and Kmiotek quit his job as a TV producer to run the company full-time. Three weeks after that initial meeting in Vegas, the team was shooting its first shows. Elixir enters a booming space in the YouTube marketplace: online dating shows. Companies like Jubilee, nectar and Cut have built followings in the tens of millions across social media platforms with their unscripted content. Episodes easily reach view counts in the millions, sometimes surpassing the Nielsen ratings for recent seasons of 'The Bachelor.' And in January, the popular YouTube show 'Pop the Balloon' was even parodied on 'Saturday Night Live.' While scripted shows often require large budgets made possible by major entertainment companies, unscripted content can be filmed with pared-down resources and easily posted online. The Elixir team saw a gap in this growing market that their expertise in TV production could fill. 'Most of those shows are [filmed against] white stark backgrounds… But as a way to differentiate we said OK, what if we do those fun simple concepts… But we're giving it a better aesthetic,' Kmiotek said. That aesthetic shift is toward creating eye-catching visuals for their shows, whether that be romantic digital backdrops for their show 'Red Flag, Green Flag' or building a giant table for contestants to stick their heads through for 'Date on a Plate.' The company's goal: leaning into the weird and silly to create attention-grabbing content with a unique visual style to set them apart from competitors. At the heart of Elixir's goal is making shows that have a unique look. Their marquee series is 'Date on a Plate,' an idea that Watnick says comes from his pitch for a TV show that never made it to air. The visual of a dinner cart being wheeled out with three heads under cloches was transformed into an online dating show where contestants can only see each other's heads and compete in challenges. Unlike most YouTube shows, 'Date on a Plate' has embraced traditional media alongside online promotion. The trailer for the show premiered on 'Access Hollywood' and the team went on the show and had host Mario Lopez try out the concept. 'Date on a Plate' — and many of Elixir's shows — are also differentiated from most YouTube offerings by having professional hosts. For 'Date on a Plate' they have Nicky Paris, a longtime stand-up comedian and TV host. 'I prefer produced things,' Paris said. 'Anyone could hold a phone and [film], but in some ways I still enjoy the fantasy of when things are packaged and polished.' Elixir has a core team of roughly six people with additional crew members who come in for shoot days when the team films anywhere from two to seven episodes of a show. The company then slowly releases the episodes it films over the course of several months. 'Everybody wants to pivot to digital, but no one knows how to, and we're in [a] sense learning as well,' Zinman said. So the team is relying on feedback from Gen Z colleagues and learning the nuances of growing an audience on YouTube, like the key to a great video title or thumbnail that can make or break a video's success. 'We're at the mercy of YouTube getting us in the algorithm and you never know what can happen on these sites,' Kmiotek said. 'Our shows are developed in a way they can have life outside of social media platforms.' Another major motivating factor for the creation of Elixir was the current slowdown of film and TV productions in Los Angeles. The topic has been the subject of heavy coverage in the wake of the recent fires that exacerbated the need for the city's production workers to find stable jobs. 'In Los Angeles right now, the past three [or] four years, the landscape has certainly changed in television if you're anybody from a carpenter that's on a stage versus a showrunner. Work is leaving,' Zinman said. A major source of the decline is in unscripted productions, which are moving to other states and countries with more lucrative tax incentives since California's film and TV tax credit does not currently apply to unscripted TV. To help combat the decline, Television City has started an initiative to partner with online content creators to use the city's soundstages, which are currently experiencing record vacancy rates. Elixir is also seeking to put more production personnel to work in Los Angeles. The company's team and studio space can be contracted by other online content creators. 'If someone with a platform or with the following wants to do a show and they don't have a studio, come do it [here,]' Kmiotek said. 'Show up and we'll make your show and then we can work together to get it out there… [I can] make a bespoke show about you that looks really high-end with a professional crew.' The trio's backgrounds in traditional TV production give them a level of legitimacy to start forging relationships with influencers and expanding the company's mission. But they are able to take the lessons forged in network TV and apply it to a more focused group of projects. 'There being a company like Elixir, [creators' ideas] could really become the sole focus and become a priority to get it off the ground at the beginning, which is kind of exciting [to be] building something from the ground up,' Paris said. 'We're not necessarily making YouTube videos, we're making shows for YouTube,' is how Kmiotek described the team's approach to the company. Zinman said that they produce their YouTube videos with the same level of skill and scope that they used to produce network TV. But without network TV production budgets, the team is more resourceful with how they spend their money for the self-funded venture. They're choosing to invest in the physical space, quality props and craftspeople so Elixir's shows have a professional-looking quality. 'Part of our TV background helps because we were able to literally get the prop team from 'The Masked Singer' to build the table [for 'Date on a Plate'] for us,' Kmiotek said. The Elixir team is a part of a major shift in entertainment away from traditional mega corporations and toward a media landscape fueled by individuals and small teams creating their own content. And from conversations with former network TV colleagues, they are not alone in noticing the trends. 'High-ranking executives are calling us to say 'Hey, my contract is up this year, can I come do what you're doing?'' Kmiotek said. 'There were network executives leaving the network eight years ago to go to YouTube and you'd be like 'Huh?' Now you're like, these are the smartest people in the world,' Zinman added. Elixir has the same goal as any successful media company: to be able to innovate. The team is developing a live version of 'Date on a Plate' that they can tour, at a time when tours led by online content creators and podcasters have sold out major performance venues. They also are expanding beyond just dating shows and hope to create more content centered around comedy and game shows. Elixir is entering a market that has already proved its value. The start-up took the temperature of the media landscape and saw that online content creation is where audiences and advertisers are moving toward. The pressure is now on traditional TV and media companies to either adapt or face even sharper revenue and viewership losses. 'There's still a lot of network executives that probably think YouTube's a fad … the numbers are coming out and the data is showing that it's not true, so they're gonna have to catch up,' Kmiotek said. 'It's not going away.'


CNET
15 minutes ago
- CNET
iPhones Running iOS 26 Will Get These Emoji Next Year
The Unicode Consortium is a nonprofit devoted to developing, maintaining and promoting software standards and data, and it also releases new emoji once a year. On July 17, also known as World Emoji Day, Unicode announced that the newest emoji will debut this September as part of Unicode 17.0. That means iPhones with iOS 26 and Android devices will get these emoji sometime next spring. Here are the new emoji you can expect to see later this year and on your device next year. Trombone Treasure chest Distorted face Hairy creature (Sasquatch) Fight cloud Apple core Orca Ballet dancers Landslide "These new emoji have long-standing symbolic meanings, are visually distinctive and contain multitudes of expression," the Unicode Consortium wrote online. These new emoji were proposed in November 2024. According to Unicode, the data files for these emoji will be made available this fall as part of Unicode 17.0. Then, the emoji will likely appear on your device in spring 2026. Emojipedia, an online encyclopedia of emoji managed by people who research emoji, announced on World Emoji Day that the distorted face emoji won the award for Most Anticipated Emoji 2025. In 2024, the Unicode Consortium debuted new emoji in September 2024, including the face with bags under eyes and the splatter emoji. You can find those emoji now on your Android and iPhone devices, as well as across the internet. Correction, July 18: An earlier version of this story incorrectly listed the number of emoji that had been approved for the Unicode 17.0 update. Unicode has since confirmed that nine emoji have been approved, including the Landslide emoji. For more on emoji, here's all the emoji award winners for 2025, the favorite emoji among the CNET staff and how to decipher every emoji.


CNET
15 minutes ago
- CNET
You Can Track Your Sun Exposure With This New App. Here's How to Do It
If you're facing down the heat wave this summer, there's a new beta app for iPhones from the founder of Twitter, Jack Dorsey, for tracking your exposure to the sun. The Sun Day app is free to testers and so far contains information like sunrise, sunset and UV index in order to assess your potential burn-limit time and, as the app description says, "track your Vitamin D from the sun." Dorsey is currently testing UI updates and a solar noon notification, according to the app notes. In the app, you can describe the type of clothing you're wearing, such as shorts and T-shirts or swimwear, and your Fitzpatrick skin type, which classifies how quickly you'll burn. The iOS app asks permission to connect to some Apple Health data when the app is installed. Dorsey also recently released Bitchat, a private messaging client that uses Bluetooth as its communication platform. Although it's meant to be a secure, private app, some users have flagged Bitchat for potential security flaws that are still being tested. How to try out Sun Day For iOS users, using Sun Day involves downloading the TestFlight app from the App Store and then following the link to the app for Sun Day to join the beta test. The effectiveness of an app such as Sun Day depends on giving it accurate information about your skin type and clothing, and while vitamin D levels are one way to gauge UV exposure, it's not foolproof given that some people also take vitamin D supplements. "Jack Dorsey's new app Sun Day is exciting, not to detect vitamin D levels but really to help us understand our UV index which is so important in sun safety," said Tanya Kormeili, an LA-based dermatologist. "The app does have an interesting promise as far as I am concerned, in that using the UV index can show you the risk for the level of UV exposure." The risks of too much sun exposure include sunburns, aging skin and skin cancer. Tracking UV levels is one way to help mitigate those risks. People tend to think about sun exposure and protections like sunscreen most during the summer, when the sun is strongest and the days are long, and when you're heading to the beach or out gardening, golfing or otherwise getting in quality sun time. But there is always a risk of sun damage to your skin while you're outside -- year round. "Sometimes it is hard for patients to be convinced that there can be an excessive UV risk on a cloudy day," Kormeili says. "The app would provide an objective measure of that UV index and guide you in safer sun practices." The dermatologist suggests that Dorsey putting the app out for public consumption without medical experts endorsing it might be a missed opportunity. "I am surprised that they have not involved actual dermatologists in pointing out the true value and limitations of this app," she said.