Which brand will take home the 2024 Super Clio for the best Super Bowl commercial? We’ll find out on Feb. 12.

KEN JEONG: You’re unfreezing me. That means…

SCIENTIST: Yes, there’s a better chicken wing: Popeyes.

KEN JEONG: The sailor man?

SCIENTIST: No, the chicken place.

Ken’s awfully chill in the eatery’s first Super Bowl commercial. He emerges from 52 years of cryogenic sleep to savor five types of wings, coping with modern wonders (horrors?) like delivery drones, robo-vacs and Goldendoodles along the way.

“Two dogs in one? Impossible!”

Not at all, funnyman/MD. It’s how we roll in the go-go digital age.

“The Super Bowl is the biggest day for wings consumption, and over 100 million people watch the Super Bowl, so it felt like the right moment for us to highlight our new wings and encourage trial,” Popeyes CMO Jeff Klein tells Muse. 

Jeong brings his trademark brand of sweet, spicy comic sauce to the table. Ken’s familiar, manic-everyman schtick works in any context. It scores here, and seems well-suited to a brand seeking to tickle funny bones in the most mainstream venue imaginable.

Looks like they let Ken be Ken. Wise move. Dude’s overexposed, but he’s hilarious no matter what he says or does. It’s a wonder that doggo—Mocha, Ken’s real BFF—didn’t roll over and play dead from laughter.

“His humor and infectious energy helped bring the storyline to life in an entertaining way,  making this commercial a lot of fun to watch,” says Klein. “Beyond that, Ken has a personal connection to Popeyes. He did his medical residency in New Orleans, where Popeyes was born, and would spend late nights after a shift treating himself to Popeyes.”

Jeong’s ad-libbing skills made it into the spot.

“Towards the end of the 60-second spot, you’ll see Ken spontaneously belt out the Popeyes jingle,” Klein recalls. “That wasn’t scripted or planned. We loved it so much that we decided to keep it in the final cut. Ken’s dog, Mocha, makes a cameo in the spot as well, marking the first time they’ll be featured on screen together.”

Grammy winner Calmatic directed the spot, which was developed with McKinney. A 30-second edit will run in the game.

CLICK HERE to watch all of this year’s Super Bowl commercials as they’re released. 

“A fast-food restaurant selling friend chicken that takes 12 hours to marinate? That makes no sense,” she continues. “But it does make delicious. The best recipe for big flavor ain’t about logic—because you know magic when you see it, or when you taste it.”

Well, the ad’s not exactly magical—but it’s upbeat and inviting, with a distinct point of view and sense of pride. Images of NOLA’s diversity and panache play across the screen in the style of a tourism teaser. Young’s performance shines. Bright and sassy, the California transplant would make a perfect Mardi Gras host or French Quarter lunch companion.

The commercial sells New Orleans as much as Popeyes. Maybe that’s the idea. They’re synonymous—marinated in the same spices, as it were—ready to meet, great and feed us all.

Press materials explain the strategy: “Popeyes birthplace provides the perfect backdrop to tell its heritage story and highlight its food quality, culinary credibility and great taste. Essentially, New Orleans is the brand’s spokesperson.”

The work rolls out across digital in May with OOH and TV in the mix later on. (If it doesn’t open some eyes, this outing from Popeyes France surely will.)

CREDITS

Creative Agency: McKinney

Chief Creative Officer: Jonathan Cude
Executive Creative Director: Lyle Yetman
Head of Art and Design: Will Dean
Group Creative Director: Scott Clark 
Associate Creative Director: Paul Feldmann
Copywriter: Cooper Bowman
Managing Director: Walt Barron
Group Client Director: Diane Myers
Account Director: Melanie Wallace 
Account Manager: Karah Smith 
Chief Strategy Officer: Jasmine Dadlani
Director of Strategy: Ole Pederson
Strategy Director, Social Platforms: Laken Faccio
Strategist: Lexie Brown
Social Strategist: Kyane Epps
Associate Strategist: Jared Reed
Project Management Supervisor: Hartlee Grice
Project Manager: Izzy Piedmonte

Production Agency: CYLNDR

Director of Production: Kara O’Halloran
Senior Producer: Emily Jaslove
Producer: Bill Abbots
Production Coordinator: Seylon Edmundson
Line Producer: David Ledwith
Director (Food): Tomislav Lazarevicj
Director of Business Affairs: Laura Gearino
Business Affairs Manager: Kelly Beatty
Business Affairs Associate: Lana Greer

Post Production: 

Senior Editor: Tyrone Rhabb
Editor: Sam Martin
Post Producer: Banu Debre, Brian Keegan
Color Grade: Erik Nuenighoff
Animation: Sydney Hirsch

Production Company: Iconoclast

Director: David Helman
Head of Production: Joanna Nelson
Executive Producer: Caroline Pham
Line Producer: Magalie Selosse-Bishop
Photographer: Akasha Rabut

Audio: Lime Studios

What were you before?

I was director of the Mary Lou Williams Center for Black Culture at Duke University, which required a whole lot of juggling: leading a team, engaging students and supporting them through their collegiate experience, cultivating relationships with alumni and community members, creating and curating programs, overseeing art exhibitions and jazz performances, assisting with styling a culturally resonant environment (including the relocation and renovation of a Julian Abele space), design building, serving on university-wide committees, facilitating trainings, acquiring art, books, games and other resources for public consumption … you name it.

What triggered your reinvention?

A desire for personal growth and professional development. I wanted to go out and experience life more fully, something my many students would return to tell me about. I wanted to enlarge my territory, sharpen my skills, and elevate my advocacy.

What did the first steps look like?

The first step was trying to wrap my head around the very idea that people would and could change jobs in the middle of a global pandemic.

When the pandemic began, I was just holding on, thinking about what might be possible once we got through it. I couldn’t imagine reinventing myself in the midst of it. Then a light came on! As I was winding up another academic year—this time without being able to bask in the glow of my students’ brilliance—I turned to the same advice I surely offered to more than one of them: “Go and live boldly, beyond your wildest imagination, and allow God to use you as you align with the purpose and process of realizing the potential that he placed inside of you.”

What was one hard obstacle to overcome?

Knowing what was next, what might be possible, where to start, and how to navigate a job search process after being in a role for 15 years.  

What was easier than you thought?

The virtual interview process was similar to what I experienced pre-pandemic, so that was good. And not having to walk in heels all day, which I might have if the interviews were in person. Nothing about reinvention is easy, but life situations can make it necessary, and everything worth having is worth working for.

What’s something you learned along the way that other people, hoping to do something similar, should know?

Quotes and clichés are surprisingly helpful. They can keep you motivated: “Just do it.” “The journey of 1,000 miles begins with one step.” “Why not you, why not now?” “If God brings you to it, you will get through it.” “I never lose, I either win or learn.” “Your past can only define you if you let it.” “Seize the day.”

Did anyone or anything inspire you along the way?

• The people I love and who love me, and who show me not just in words but in deeds.
• Special colleagues that served as references, and who’ve been consistent in their support over the years.
• My little puppy dog friend Max, who allowed me to rub on him when I got nervous or doubtful.
• Post-it notes on the bathroom mirror—with affirmations.
• Gospel music.
• My mindfulness practice—yes, to the Calm app!
• Taking walks outside, communing with nature.

Inspiration abounds and begins inside. Believing I deserved something different and new, in this next phase of my life, made me want to stay in the process to see what the end would bring.

What has this fundamentally changed for you?

Nothing has fundamentally changed. I am grateful for the character I’ve developed and the nurturance I’ve received throughout my life. I believe in myself a little more. I trust that God will move on my behalf, and the only fear that really has room to fester is the one stoked by self-doubt and inaction. 

Do you think you could go back/do you want to?

I am grateful for the light and peace that I now know in my life. I want only the very best for the Mary Lou Williams Center for Black Culture, those whose lives I was able to touch, and those lives that touched mine. 

I believe in Black culture centers and the vital role they can play in the lives of college students and the entire university community. The labor of those who nurture such centers should never be taken for granted or underestimated. It would be a privilege to work in such an institution again at some point in my life. For now, though, I want to continue to explore this new realm that is giving me life.

Tell us your reinvention song.

“Changed” by Tramaine Hawkins
“Thank You for It All” by Marvin Sapp

How would you define yourself now?

The first executive director for diversity, equity, and inclusion at McKinney. I am a JEDI: A justice- and equity-loving professional who sees the need for diversity, inclusion and belonging—always and in all ways—if we are each to do good work in the service of humanity, and to live the highest, fullest expression of ourselves through our interactions with others in the pursuit of freedom for all. I am a thought leader and partner, assisting with recruiting, retention and capacity building. I am an advocate for supplier diversity, a creative work champion, brand ambassador, and innovator of the next big DEI idea in advertising.

On Monday, the Alabama Crimson Tide and the Ohio State Buckeyes meet in NCAA football’s championship game.

Amid the pandemic, that contest no doubt takes on special significance for countless fans, marking a celebration of the American spirit and cultural continuity in the face of long, deadly odds.

Set to a stirring orchestral interpretation of Eminem’s track “Not Afraid,” this minute-long ESPN spot below, hyping the network’s broadcast of ALA vs. OSU, acknowledges that Covid-19 utterly rewrote the 2020 playbook as it reshaped society in ways we’ve yet to fully understand.

“We all know this season was different,” the voiceover begins. “And who knows, maybe it will always be remembered that way. But if it is, it will be a memory of excellence, not exception.”

Along with gridiron footage of the two teams, telling images, some brought with apprehension and unease, slide across the screen. We watch players huffing and puffing through their protective masks at practice. Cheerleaders, their faces likewise covered, work pom-poms in empty stands.

“This champion will have done more than defeat opponents on the field,” the narrator continues. “They’ll be the one team skilled enough, mentally tough enough, and flat-out stubborn enough to remain standing in the season that almost didn’t happen.”

“On a Monday night, in a new year, we’ll crown a champion we’ll never forget, of the season we’ll always remember.”

The approach resonates because it taps into our shared psyche, reminding us that despite all the travails of 2020, there’s still plenty of time on the clock and a whole lot left to play for.

“We were very intentional in the footage we chose,” McKinney group creative director Lyle Yetman tells Muse. “We wanted to highlight some of the challenges and differences that set this season apart for the two remaining teams. We also wanted to show some of the iconic moments that got these teams to this point. We felt that the season warranted a more raw, elevated and truthful visual approach.”

The new spot jibes with McKinney’s other recent takes for ESPN, which likewise strove to capture the heartache and glory that seemingly reverberated with every down.

“The teams who were able to navigate the season and all the additional obstacles to get to the national championship game—they traveled more miles than anyone has ever before,” Yetman says. “Every year is worthy of crowning a champion, but this year it’s going to be that much sweeter.”

CREDITS

Agency: McKinney
Client: ESPN College Football Playoff

Agency:
Chief Creative Officer: Jonathan Cude
Group Creative Director: Lyle Yetman    
Creative Director: David Sloan
Creative Director: Jordan Eakin
Art Director: Jamie Steentofte
Copywriter: Parth Raval
Group Client Director: Ryan Gardiner
Account Supervisor: Maggie Dietz
Account Manager: Meghan Moloney
Strategy Director: Kevin Murray
Broadcast Producer: Eric Voegele
Production Coordinator: Lana Jordan
Business Affairs Manager: Miriam Hughes

Editorial: McKinney
Editor: Nick Adcock

Post Production: Carbon VFX
Sr. Producer: Krystle Timm
Colorist: Milan Boncich
Flame Artist: Matt Reilly

Mix: Heard NYC
Audio Engineer/Mixer: Evan Mangiamele
Producer: Andi Lewis

ESPN Music Supervision:
Music Director: Kevin Wilson (Monday, Nat Champ)

Production Company:
Stept Studios (Monday, Nat Champ)
Director: Nick J. Martini
DP: Charlie Owens
Head of Production: Mac Hedges
EP: Laura Cushing
Line Producer: Axi Mines

Sylvain Tron is managing director of McKinney LA, formed in 2019 when the North Carolina-based agency acquired Operam Creative Group, an entertainment shop Tron had co-founded two years earlier.

Prior to Operam, Tron was head of content for Havas North America, where he led the network’s content agency, Studio 6. He was a content producer at R/GA before that. Along the way, he’s worked with clients including Dos Equis, Nike, Google, Netflix, Amazon Studios Orion and Picturehouse.

Earlier in his career, Sylvain founded Visit Films in NYC, a film production and international sales company focused on auteur-driven cinema seen at film festivals like Cannes, Sundance and SXSW. He’s also an avid photographer and active member of the Chinati Contemporary Council at the Chinati Foundation in Marfa, Texas.

We spoke with Sylvain for our Backstory series, where we chat with folks in the entertainment industry about their creative inspirations and more.

Sylvain, tell us…

Where you were born, and where you live now.

I was born in France, in a town called Gap. It’s on the southern side of the Alps. After living in New York City for 18 years, I’ve been in Los Angeles for three years. 

Your first job in the industry.

I was a production assistant on a lot of various New York-based productions in the early 2000s, but one that really stands out is working as Lauren Bacall’s assistant on reshoots for the film Birth.

A breakthrough moment in your career.

I also worked as the assistant to Shawn Levy (Night at the Museum, Stranger Things) and I was doing well, so his agents started trying to find me another director to work for. I interviewed with a few and was about to accept a job that was shooting in Vancouver for 12 months. To this day, I still can’t quite explain why, but my gut was telling me something about it wasn’t right. I ended up trusting my instincts, turned down the job, and stayed in New York to work at a small production company, where I was able to learn about all aspects of the business. This turned out to be the catalyst for me in starting my own production and sales company a couple of years later, and it continues to inform my thinking on running the McKinney LA office with a production mindset. 

Three movies you couldn’t do without.

Pulp Fiction, Quentin Tarantino. I must have been 12 or 13 when I saw it for the first time, and my mind was blown. But when my parents watched it for themselves, they immediately confiscated my VHS copy. I ended up getting my hands on another copy, and it seems like I watched it every single day for an entire year after that. There’s something so fascinating about the way the story is told and the culture it depicts. It’s not an overstatement to say it’s the film that got me dreaming at a pretty young age about moving to the U.S.

The Red Circle, Jean-Pierre Melville. It has, hands down, the best heist sequence of all time—20 minutes of absolute silence. It’s incredible. 

Point Break, Kathryn Bigelow. You asked about movies I couldn’t do without, and Point Break is just too much fun to watch over and over again not to include here. 

Your favorite movie quote.

“Roads? Where we’re going, we don’t need roads.” —Dr. Emmett Brown, Back to the Future.

Your favorite movie trailer or poster.

The trailer for Logan. It always comes to mind when someone asks me that question. Using “Hurt” by Johnny Cash was such a great idea, and it gives the trailer an emotional arc that few other trailers are able to achieve.

A classic TV show and a recent TV show that you loved.

Breaking Bad is brilliant—every single episode of that show is better than most movies. Needless to say, I also like Better Call Saul. On a completely different note, I just finished Schitt’s Creek and I really enjoyed it. It was fun to see them do so well at the Emmys this year.

A recent project you’re proud of.

McKinney just finished working with Picturehouse on Fatima, a historical drama that is having a lot of success in theaters and PVOD. The film was originally supposed to come out on April 24, but due to the lockdown its release was pushed to Aug. 28. This created an additional challenge for us—sustaining interest for fans already excited about the film while increasing awareness for new audiences. One approach we took was creating a virtual pilgrimage to Fátima on Facebook Premiere, which had great appeal to viewers from around the world. We followed that with additional monthly events and an increased social rotation. It was also really exciting to have a hand in relaunching such an iconic company as Picturehouse.

Someone else’s project that you admired recently.

Josh Gad’s YouTube series “Reunited Apart” was really fun to watch during lockdown. Seizing that very specific moment in time to bring those actors and filmmakers together on Zoom brought a lot of joy into people’s lives—something that’s been in short supply. Not only that, from a marketing standpoint, I think there’s a lot to learn in what he did with this simple idea, and it demonstrates another way to add more great content surrounding something people already love.

One thing about how entertainment marketing is evolving that you’re excited about.

More and more, marketers are realizing they can reach people in very personal ways by being really targeted with their messaging. This leads to smarter, more specific campaigns that can grow the audience for a film or TV show. If you’re able to pair that targeted approach with an exciting content series or digital experiences, you can really evolve the entertainment marketing model away from traditional campaign thinking to something with more immediacy and impact.

What would you be doing if you weren’t in entertainment marketing.

I’d probably own a wine store.

To promote safe firearm storage and help prevent suicides, the Ad Council, McKinney and nonprofit Brady: United Against Gun Violence devised a 30-second PSA that puts viewers inside a nightmare scenario.
 
The video-game-style spot below is the showpiece of a national campaign breaking today. It takes place in a typical suburban home, with Dad bursting in to discover his gun missing from its drawer, and troubled teen Cameron locked in the bathroom:

The team placed “heads up display” visual elements on screen to evoke a gaming environment. Plus, the chat-box acts as built-in subtitles on social, where folks might watch with the sound off.

“By using the style of first-person-shooter–style video games, we could best reach our audience with a visual language they understand and a construct in which they’re uncharacteristically open to tough conversations,” McKinney group strategy director C.J. Franzitta tells Muse.

The work drops today, timed to National Suicide Prevention Awareness Month, and strives to deliver this message: “When you secure every gun in your home, you might just be saving your loved ones from the most lethal method of suicide in America—and giving them a second chance to live a full life,” Franzitta says. “In what corner of American life is the idea of second chances—i.e., ‘extra lives’—more common than in gaming?”

Though some might find them distracting, those video-game visuals don’t really detract from the narrative, and the harrowing tale should hit home even for viewers who don’t regularly indulge in FPS combat.

The team avoided specific cues around age, race and gender (hence the name Cameron) to maximize the spot’s appeal and help viewers imagine themselves, family members or friends living through such an ordeal, say McKinney group creative directors Jenny Nicholson and Alex Shulhafer.

According to the U.S. Centers for Disease Control and Prevention, 61 percent of all gun deaths in America are suicides. That’s more than homicides and unintentional shootings combined. Last year, more than 23,000 Americans died by firearms suicide (about 60 every day).

Here in 2020, Covid-19 pressures have amplified the risk. According to the CDC, more than 10 percent of Americans have seriously considered suicide since the pandemic began. And the FBI says firearm purchases have risen sharply in recent months, with many first-time gun owners in the mix.

“Our audience buys guns to protect themselves and their loved ones, but the real danger may be much closer to home, inside their own minds: the very real danger of gun suicide,” Franzitta says.

“By raising awareness of the risks posed by guns in the home and how gun owners can mitigate risk by safely securing their firearms—that means locking their guns, unloaded, with ammunition stored separately—we can save lives,” adds Brady president Kris Brown.
 
Along with TV and social videos, the push includes gripping radio spots with the voices of real people who lost loved ones to gun suicide:

Print, digital and out-of-home elements employ shell casings to illustrate grim statistics:

“We found a huge audience of gun owners out there doing nearly everything right—but also keeping at least one loaded gun at hand, thereby leaving their family vulnerable to the unique agony of gun suicide,” Franzitta says. “By ensuring every firearm is properly secured, they can protect against that outcome.”

All campaign components drive users to EndFamilyFire.org for tips and resources. The work marks an evolution of the “End Friendly Fire” push that launched two years ago. During that period, parents in households with guns who are aware of the work were twice as likely to seek information about safe gun storage, the Ad Council says.

Last week, to strike another blow in the war on suicide, and also leveraging the popularity of video games, the organization unveiled an extension of its integration with Guild Wars 2, encouraging young people to check in on friends’ mental health.

CREDITS

Agency: McKinney
Client: Ad Council, Brady
Campaign: No Extra Life – End Family Fire

Chief Creative Officer: Jonathan Cude
Group Creative Director: Alex Shulhafer, Jenny Nicholson
ACD/Art Director: Tyler Wriston (Print/Radio)
ACD/Copywriter:  Robert George (Print/Radio)
Art Director: Jade Song
Copywriter: Chase Condrone
Account Supervisor: Melanie Wallace
Account Manager: Jaclyn Campbell
Project Manager: Elide Marks
Group Strategy Director: CJ Franzitta
Director, Data Strategy: Brian LoPiccolo
Data Strategist: Brianna Calderon-Roman
Executive Broadcast Producer: Naomi Newman
Associate Broadcast Producer: Taylor Osborne
Print Producer: Carolyn Petty
Integrated Producer: Kara O’Halloran
Digital Producer: Maggie Baker
Developer: Will Knowles
Digital Generalist: Alec Kunkel

Zoic Studios
Director: Chris Jones
Creative Director: Julien Brami
Executive Producer: Jason Cohon
Senior Producer: Sabrina Harrison
Associate Producer: Ivan Barahona
CG Supervisor: Christina Murguia
Compositing Supervisor: Andrew Bardusk
Lead Animator: Dave Funston
Previs: Delano Athias
Layout Artist: Laura Cosner
Model/Texture: Shamus McGlynn, Renato Eiras
Senior Lighter: Bill Spradlin
Lighters: Pascal Polic, Peter Scott

Trailblazer Studios  
Senior Engineer, Sound Designer-Director of Audio Post: Willie Elias, CAS

Antonio De Lucci Studio
Photography: Antonio De Lucci

Thinking like this seems so simple and obvious, but it’s something we should have been doing all along. Other ways to reimagine boosting digital releases, as well as eventual traditional film releases, could take the form of innovative press tours involving fans with Q&A sessions and panel discussions. And filmmakers themselves need to seize the reins, getting their voices and perspectives out there by writing about their work and releasing content to tease their films. 

One thing is clear: It doesn’t make any sense to play it safe and wait this pandemic out. Where we can afford to, we should promote our films robustly. Where money is tight, we should find ways to shine a bright light on a shoestring. As I pointed out with Fatima, it’s possible to make a splash with minimal spend. People will continue to crave content and conversation about the film world, and that makes this the safest time to advertise. Letting people know you’re still here is the best way to make sure you reconnect as the industry regains strength.

Finally, as we continue to navigate our altered version of normal, marketers, studios and filmmakers alike have to lead the way in reimagining the future of the industry we all love. We have the opportunity to expand the world of film by doing more than producing easily consumable entertainment. We can create social/digital/stunt/surprise/personal experiences that will invite people into our world as never before. And if we do, those audiences will want to stick around for the second half of the proverbial double feature.

Give us one-line bio of yourselves.

Lyle: I’m a group creative director at McKinney and the second best second grade teacher in this house. 

Ashley: Partner and head of strategy at Baldwin&, currently revising my résumé to include early childhood educator, part-time chef and housekeeper.

Where are you living right now, and who’s with you?

Both: We are living in Durham, N.C., with our sons Finn and Bixby (8 and 5), and Ashley’s sister Carly (35).

What’s your work situation like at the moment?

Lyle: Busy. Timelines have shrunk. The importance of every project has grown. And I’m just talking about my second grader’s math homework. When you factor in that my clients are busier than ever, it makes for a pretty packed day. That I get to live over and over and over again.

Ashley: I’m working full time from home while also homeschooling two kids. Zero issues. Smooth sailing. Dressed, showered and ready to tackle each day! The kids are doing great! For proof, please reference Baldwin&’s “Take Your Kids to Work Day” video.

Describe your socializing strategy.

Both: Outside of work we’re doing Zoom calls with family. Every so often we mix in an in-person, anxiety-inducing hang with friends in our driveway, from six feet apart. But mostly it’s just the five of us. 

How are you dealing with childcare?

Both: Um … YouTube? Kidding. Sort of. We have gotten in an hourly rotational schedule. Somebody works, somebody colors the Tree Frog mask with Bixby, and somebody else helps Finn write his latest Cinquain (look it up, we had to). Rinse, repeat.

What are you reading?

Lyle: I’m reading Shadow of the Wind by Carlos Luis Zafrón.

Ashley: The Alice Network and Untamed. I’m definitely having an empowered women moment. 

What are you watching?

Both: Thus far in quarantine, we’ve watched Cheer and Jack Ryan, and now we’re in the midst of the Jordan documentary The Last Dance.

What are you listening to?

Both: We’ve been consistently adding to our family “Apoclomix.” It includes hits like “I Want to Break Free” by Queen, “Rainbow” by Kacey Musgraves (for the feels) and “This Will All Make Sense When I Am Older,” by Olaf the Snowman. 

How are you staying fit?

Lyle: I’ve been blasting my quads on the Peloton bike. I’m also choking down a really heinous vegetable smoothie for lunch every day. Eye of the Tiger stuff.

Ashley: One silver lining of this mess is that I’m working out, basically, for the first time since we had our kids. I’m mixing up team cardio workouts with Peloton rides. Cody Rigsby, love you boo.

Have you taken up a hobby?

Lyle: Hilarious. No.

Ashley: Hilarious. No.

Any tips for getting necessities?

Both: Tips? Just this: Don’t forget to unload a package of frozen shrimp from the trunk of your new car only to discover it two days later. It does nothing to improve the shrimp or the car.

An awkward moment since all this started.

Lyle: Besides our kids interrupting every other Zoom call with a question or to announce they “need to go potty”? No, not really.

Ashley: After a month of solitary in her 600-square-foot New York apartment, my sister understandably needed human companionship. When she got to our house, it was the first time ever that we couldn’t run and hug our “Auntie Car.” That one stung.

Best work email you got since all this started.

Lyle: My partner, Will Dean, and I exchange faux messages of affirmation each morning. We’re both pretty cynical and we don’t believe them, which is what makes them funny. “Time to flaunt your sparkle!” “Today give the gift of You!”

Ashley: We have started a (non-cynical, see above) gratitude email chain at work. One person feels all the love, each day. It’s been a good reminder that each person on this planet matters so, so much.

An aha! moment since all this started.

Both: Teachers are underpaid? But in all seriousness, it does force us to recognize that schedules can be flexible for both moms and dads, family can be a priority, and humans are doing a number on our planet.

What’s your theory on how this is going to play out?

Lyle: My theory is we’re going to be doing this for a while, off and on.

Ashley: Boy, would I love to have that crystal ball. I think this is going to be the ultimate test of human patience and selflessness. This is bigger than us, and I sincerely hope we can learn from it. Follow the rules, people. 

See the full #WFH Diaries series here.

Give us a one-line bio of yourself. 

Chief creative officer McKinney, semi-professional self-isolator. 

Where are you living right now, and who’s with you? 

Durham, North Carolina. My wife and daughter. And cat.

What’s your work situation like at the moment? 

My work situation: teaching my daughter how to read, Zoom calls, story time, emails, number games like “Race to 15 cents,” intense Slack messaging, the occasional client call, nature scavenger hunts to fill out worksheets, and arguing with my full time working wife.

Describe your socializing strategy. 

I try to stay away from people. I will say, crowded grocery stores are not the best for social distancing.

How are you dealing with childcare? 

See work situation above. We have a daily babysitter during normal times, but her husband is 70 and has underlying health issues so we haven’t seen her in a few weeks. We are climbing this mountain on our own. Can’t imagine trying to do it as a single parent. However, as an agency we have a Zoom story time at 1:30 every day for all the kids. Different people from the agency or their partners take turns reading stories to the kids.

What are you reading? 

Nothing, really. But I have started meditating. I had started before this but have had the chance to finish the online course I was taking. I recommend it. Flow Meditation (Vedic meditation). Taught by a guy named James Brown, a former ad guy in San Francisco. Seemed like a good time to dive in.

What are you watching?

Generally I only watch sports and news. So that balance has gotten WAY out of balance. But I have been watching a series on Netflix called Dirty Money. Not exactly an escape from the real world but interesting. I am all caught up on Billions, etc.

What are you listening to? 

Western Stars by Bruce Springsteen.

How are you staying fit?

I am walking and doing FaceTime workout sessions with my trainer at the gym.

Have you taken up a hobby? 

Yes, I am an unqualified part-time kindergarten teacher.

Any tips for getting necessities?

Get in the car and go get them? If you want to see a video, which is a bit daunting and scary, about how to buy groceries and takeout, I recommend this one.

An awkward moment since all this started.

This is all awkward. 

Best work email you got since all this started.

A note from a client saying they fully supported us and had no intention of changing any of their plans going forward.

An aha! moment since all this started.

Not sure there’s been an a-ha moment. This has been like a slow-motion train derailment for a while. But I will say that when I see people out in public, over the last 10 days or so, the mood has changed. People were not taking this as seriously as they should have. That’s changed, from what I can tell. When people look back on this in history, they will have Adam Silver, the commissioner of the NBA, to thank for helping to truly wake up the country. Canceling the NBA season was the shock a lot of people needed.

What’s your theory on how this is going to play out?

I think it will last a lot longer than people want it to. I think it will come back next year (without ever fully going away) and I hope there is a vaccine by that point. This will be harder to come back from than 9/11 and 2008. It will more profoundly affect our sense of who we are and how life is lived going forward in big ways and small. Will we go back to shaking hands? Will we travel as much? 

See the full #WFH Diaries series here.