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The Super Bowl is a lot of things. NFL title game. Pop concert. Cultural institution. Its also The Only Day People Care About Ads. That last one is worth a lot of money to the brands who decide to advertise during the big game. Back in 2000, E-Trade used its Super Bowl ad to joke about how much money it spent. A chimp hits play on a tape deck, climbs up on a lawn chair, and proceeds to clap and dance for 30 seconds. The tagline? Well, we just wasted $2,000,000. But how much does a Super Bowl commercial really cost? Weve all probably seen headlines about the outrageous costs of a single 30-second spot, which, this year, is nearing about $8 million. And if we scroll back a decade, the cost in 2015 was about $4.5 million. Hold on, though. Thats for only 30 seconds of air time. Many brands have ads that are at least 60 seconds, sometimes even 90 seconds, and still others have multiple ads throughout the game. Back in 2018, in one of the greatest Super Bowl campaigns ever, Tide ran six ads. And again, thats just the air time during the game and doesnt include David Harbours cut. So how much does a Super Bowl ad really cost . . . what kind of numbers are we talking here? Lets dig into it. By the numbers I spoke to sources who have worked on multiple Super Bowl campaigns for years and are familiar with the costs for this years game. They agreed to talk on background and outline the costs based on their experience across more than 10 Super Bowl campaigns, including this year. Heres how it breaks down: Agency costsLets start where most of these commercial ideas dothe ad agencies. The bulk of Super Bowl ads are created by ad agencies, whether on annual retainer or working on the big game ad as a one-off. According to my sources, the ad agency costs for Super Bowl work can range from $3 million on up to about $6 million dollars. Production costsOnce the idea is decided on, you have to make it. Film production costs for these average about $3 million to $4 million. Then there is post-productionediting, sound, visual effects, that kind of stuffwhich hits about $1 million. The talentNow, who is in your commercial? According to iSpot.tv, celebrities have starred in around 70% of the ads in every Super Bowl since 2020. While a non-celebrity might run you about $250,000, even a B-list celebrity would cost about $1 million to cast. More realistically, say my sources, that number is about $3.5 to $5 million. Now think about all the ads youve seen already this year with multiple celebsUber Eats and Pringles, anyone? The musicOkay, now what about a soundtrack? Plenty of ads have featured well-known songs. Budweiser loves a good tune. Last year, its ad featured The Weight by The Band, and this years spot has The Bellamy Brotherss classic Let Your Love Flow.” Licensing to use a popular song can range from $1 million to about $3 million. Meanwhile, Mountain Dew turned Seal into a seal and his 1994 hit Kiss From a Rose into a soda jingle Kiss From a Lime. Okay, so what’s our total for a 30-second spot so far? Lets say, $4.5 million for the agency, $3.5 million for film production, $1 million for post-production, $8 million for two celebs (at $4 mil apiece), $2 million for a great song, and of course, the $8 million for the 30-seconds of airtime. Thats a grand total of $27 million. And we’re not done yet . . . You need to spend more on digital and social media ads, plus any other activations, which could add between $3 million and $10 million to the final cost. Oh, and another thing: In order to even have the privilege of buying that 30 seconds of ad space for $8 million, the Fox network requires advertisers to commit to another $8 million in media commercial time throughout the rest of the year. That means your original $8 million is really $16 million. After adding about $5 million for advertising and promoting your ad everywhere else, plus the extra $8 million of advertising commitment to Fox, weve come to our final destination: $40 million. So, what does it all mean? Could it possibly be worth it? A source close to Dunkin’ told CNN last year that Dunkin’ sold more donuts the day after the Super Bowl than any other day in its history. The crypto exchange Coinbases lo-fi spot in 2022 attracted so much interest that its app crashed because so many people went to download it all at the same time. Americans are expected to legally bet $1.39 billion on the Super Bowl this year, but theyre not the only ones taking a gamble. No matter how hard the commercials are trying to make you laugh, for the brands spending this kind of money, the big game is no joke.
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E-Commerce
Observing Greenland from a helicopter, the main problem is one of comprehending scale. I have thought we were skimming low over the waves of a fjord, before noticing the tiny shadow of a seabird far below and realizing what I suspected were floating shards of ice were in fact icebergs the size of office blocks. I have thought we were hovering high in the sky over a featureless icy plane below, before bumping down gently onto ice only a few meters below us. Crevassescracks in the surface of glaciersare the epitome of this baffling range of scales. Formed by stresses at the surface, their direction and size tell us how the ice sheet is flowing toward the ocean. Inland, far away from the fast-flowing glaciers that discharge hundreds of gigatonnes of icebergs a year into fjords, crevasses can be tiny cracks only millimeters wide. [Photo: Tom Chudley] As the ice speeds up, they can be meters in diameter, sometimes covered by deceptive snow bridges that require suitable safety equipment and rescue training to traverse. Finally, where the ice meets the ocean and no scientist would ever dare to stand, they can be monsters more than 100 meters from wall to wall. And across Greenland, they are growing. It shouldnt be particularly surprising to scientists that crevasses are getting larger across Greenland. As the ocean warms, the ice sheet has sped up in response, increasing the stresses acting upon its surface. However, observations from satellites and in-person fieldwork are so poor that to date, we had no idea how extensively or quickly this process has been occurring. Cracks you could fly a helicopter through [Photo: Tom Chudley] Mapping cracks In a new study, my colleagues and I mapped crevasses across the entirety of the Greenland ice sheet in 2016 and 2021. To do this, we used the ArcticDEM: three-dimensional surface maps of the polar regions based on high-resolution satellite images. By applying image-processing techniques to more than 8,000 maps, we could estimate how much water, snow or air would be needed to fill each crevasse across the ice sheet. This enabled us to calculate their depth and volume, and examine how they evolved. We found that from 2016 to 2021, there were significant increases in crevasse volume across fast-flowing sectors of the Greenland ice sheet. In the southeast of the ice sheet, an area that has been particularly vulnerable to ocean-induced acceleration and retreat in the past few years, crevasse volume increased by over 25%. In most Greenland glaciers that flow into the ocean, scientists found crevasses are increasing in size and depth. [Image: Chudley et al./Nature Geoscience] However, against our expectations, crevasse volume across the whole ice sheet increased by only 4.3%. Thats much closer to an overall balance than the extremes observed in certain sectors. What had happened? In fact, the significant increases elsewhere were being offset by a single source: an outlet glacier known as Sermeq Kujalleq (Danish: Jakobshavn Isbr). Sermeq Kujalleq is the fastest-flowing glacier on the planet, reaching speeds of nearly 50 meters a day and providing an outsized proportion of Greenlands total sea-level rise contribution. In 2016, responding to an influx of cold water from the north Atlantic ocean, the glacier slowed and thickened. As it did this, the crevasses on the surface began to closeoffsetting increases across the rest of the ice sheet. This slowdown was short-lived. Since 2018, Sermeq Kujalleq has once again reverted to acceleration and thinning in response to ongoing warming. We wont be able to rely on it to offset ice-sheet-wide increases in crevassing in the future. Cracks grow into icebergs Crevasses play an integral part in the life cycle of glaciers, and as they grow they hold the potential to further accelerate ice-sheet loss. They deliver surface meltwater into the belly of the ice sheet: once inside, water can act to warm the ice or lubricate the bed that the glacier slides over, both of which can make the ice sheet flow faster into the ocean. Meanwhile, where the ice meets the sea, crevasses form the initial fractures from which icebergs can break off, increasing the output of icebergs into the ocean. In short, crevasses underpin the dynamic processes that occur across Greenland and Antarctica. However, these processes are very poorly understood, and their future evolution is the single largest uncertainty in our predictions of sea-level rise. Together, the increased discharge of ice holds the potential to add up to 10 meters of additional sea-level rise by 2300 (75% of all cities with more than 5 million inhabitants exist less than 10m above sea level). We need to better understand these processesincluding crevassesso that informed sea-level projections can form the basis of our responses to the global challenges thatclimate change presents. Since 2023, an international coalition of polar scientists has been urging the world to limit warming to 1.5 degrees Celsius to avoid the most catastrophic melt scenarios for global glaciers and ice sheets. Last month, the EUs Copernicus Climate Change Service confirmed that 2024 was the first year in which average global temperatures exceeded this threshold. Every fraction of a degree matters. We may still be able to save ourselves from the worst of the damage the climate change will bringbut we are desperately running out of time. Tom Chudley is a Leverhulme Early Career Fellow at the Department of Geography at Durham University. This article is republished from The Conversation under a Creative Commons license. Read the original article.
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E-Commerce
Growing up in Omaha, Nebraska, the Joslyn Art Museum was a hub of culture for surrounding Midwestern towns. No matter how much or how little you knew about fine art, it was the place you could go to see works that you might not otherwise be able to access outside of the coasts. Decades after leaving Omaha, I returned this past December, and while visiting my mothers house, I noticed a brochure for the Joslyn in her mail pile. It was unusually striking and had a look and feel that was vastly different from the Joslyns original brand identity. The old logotype, locked up with a pictorial mark, was traditional and respectable, but also very much tied to the past. The new brand consisted of a bespoke typographic system, with an angular logotype and a color scheme that made the brochure stand out from the mail pile. Weeks later, I saw Pentagrams Instagram post about its work for the Joslyn. Pentagrams Eddie Opara, whose team won the workcompeting against multiple design studios, some in Nebraskaled the strategic and visual rebrand. The rebrand launched shortly after a new extension of the museum was completed by the famed architecture firm Snhetta, who partnered with Omaha-based Alley Poyner Macchietto Architecture. [Photo: courtesy Pentagram] The museum’s glow-up is a notable investment in a region whose cultural contributions are often overlooked. As Dusty Davidson, Vice Chair of Joslyns Board of Governors, explained in the rational for hiring top tier design talent: Great cities have world-class art institutions, he says. Snhetta brought world-class architecture to Omaha, and we wanted a brand design that could be world-class. Past with present Opening in 1931, the Joslyn Memorial as it was originally called, was designed by father-son architects John & Alan McDonald, whose work for the Joslyn landed the building on a list of the finest buildings in the United States in 1938. When I saw it the first time, way back in the ’80s, I was gobsmacked by it, says Snhetta partner Craig Dykers of the original building. [Photo: courtesy Pentagram] In 1994 came an expansion, known as the Scott Pavilion, designed by British architect Norman Foster. Boxy in its look and feel, it’s well lit from almost any angle thanks to the large glass atrium with a 45-foot-high ceiling. Then, in fall 2024, the Rhonda & Howard Hawks Pavilion opened. The 42,000-square-foot expansion, led by Snhetta, was the impetus for rethinking the Joslyn’s entire identity. [Photo: courtesy Pentagram] This architecture proved to be a rich source of inspiration for Opara and his team as they worked on the visual identity. I remember on their first visit, we lost track of Eddie for a moment. He was at the top of the grand steps, seeing this lettering that is carved into the building in this really unique typeface and he was up taking photographs of it, recalls Amy Rummel, the Joslyn’s director of marketing & public relations. Later he told us, that was a real a moment, this building has a typeface that could be a seed for something new. [Photo: courtesy Pentagram] The Joslyns resulting type system, designed by Pentagram alongside Berlin’s ABC Dinamo foundry, is multifaceted, connecting architecture, art, history, and culture. The bespoke typeface essentially functions as the museum’s core identity, in lieu of a solitary logo. The design is sharp yet elegant, and pulls the past and present together. We looked at the different periods of art that the Joslyn has, says Opara. And we looked at the anatomy of the architecture to make display type, relating it to the Umóho (Omaha) and related Indigenous languages spoken in the region. [Photo: courtesy Pentagram] Opara’s goal was to fuse those architectural designs with a rebrand that would speak to Omaha citizens who know and love the Joslyn. To do so, he and his team set out to understand the importance of the Joslyn to Nebraska and the neighboring states. We really went to town in regards to having a conversation with not only the key stakeholders and the board, but also the community, he says. We did different surveys with Nebraska and neighboring states, to understand how the Joslyn is a magnet, and from a branding perspective it has lost its magnetism. What does it need to bring its magnetism back? [Photo: courtesy Pentagram] Part of the answer is the shot in the arm effect that investing in top-tier design can have. The other is ensuring that bringing in outside talent doesn’t lose track of what has always mattered to local institution: its community. In Omaha, in particular, you have a lot of people who generationally have the Joslyn as part of their families, says Rummel. They have personal experiences here such as, I was married here, or, I saw my first work of art at the Joslyn. People are really invested in this particular museum.
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