M&M’s: Space Heroes Bookmarklet

M&M’s: Space Heroes Bookmarklet

BBDO Denmark created a fun bookmarklet for M&M’s Space Heroes. You drag a little spaceship into your bookmarks bar, then visit any website and start blasting the page content with M&M’s.

A bookmarklet is a small script saved as a browser bookmark, so it can “overlay” an experience on top of whatever page you are currently viewing.

A tiny install that turns the whole web into a playground

The mechanic is deliberately low-friction. No sign-up, no download, no destination site required after setup. The “media” is any page you are already on, and the brand turns up as an interactive layer you can trigger on demand.

In consumer digital marketing, lightweight browser mechanics can create disproportionate delight because they hijack familiar environments without asking people to change habits.

Why this lands

This works because it feels like you discovered a secret feature of the internet. The brand is not interrupting your attention. It is giving you a tool you can deploy when you want, which makes it read as play rather than advertising. The real question is how to make branded play feel user-invited instead of ad-delivered.

Extractable takeaway: If you want interactivity to spread, reduce setup to a single gesture, then let people apply the experience to their own context so every use feels personal and share-worthy.

What the brand is really doing

M&M’s is associating itself with quick, mischievous fun. This is a stronger engagement model than a one-and-done microsite because the user decides when the brand shows up. The bookmarklet format also extends session time without demanding it. People keep it around and trigger it repeatedly, which creates a very different relationship than a one-time campaign visit.

What to borrow from this bookmarklet pattern

  • Make activation instant. One simple action to start the experience beats a long funnel.
  • Let people choose the stage. “Any website” turns the audience into co-creators.
  • Keep it visibly harmless. Stress relief works when it feels playful, not destructive.
  • Offer a clear entry point. A single URL that explains and delivers the tool removes hesitation.

A few fast answers before you act

What is M&M’s Space Heroes?

It’s a bookmarklet-based browser toy that lets you overlay a simple “shooting” interaction on top of any webpage, themed around M&M’s Space Heroes.

How do you use a bookmarklet like this?

You drag the provided item into your bookmarks bar, then click it while viewing any website to launch the experience on that page.

Why does this format work for advertising?

It feels optional and playful. People choose to activate it, which reduces resistance and increases repeat use.

What’s the main risk if you copy this pattern?

Browser support and security perceptions. If the setup feels confusing or sketchy, people will not install it.

How do you measure success for a bookmarklet campaign?

Installs, repeat activations per user, average session time, sharing or screen-recording volume, and downstream brand lift.

Jung von Matt: Trojan Art Director

Jung von Matt: Trojan Art Director

Jung von Matt is looking for talent again, this time art directors. Staying true to its creative reputation, the agency devised a cheeky way of recruiting from the same places competitors recruit from.

This time the “Trojan horses” were 15 well-known photographers whose work is regularly shown to top creative agencies in Germany. Here, “Trojan horses” means recruitment messages hidden inside portfolio work that creative departments already review. Jung von Matt’s job message was integrated into the photographers’ portfolios. An inscription on a bus. A graffiti on a wall. A stitchery on a pullover. The job ad appears inside the work, right where art directors and creatives are already paying attention.

Recruitment as a stealth placement inside creative culture

The mechanism is elegant. Instead of pushing job ads outward, the agency inserts them into a trusted distribution channel. Photographers’ portfolios are already a legitimate reason to visit creative departments. By embedding the hiring message into those images, the job ad arrives with credibility and surprise built in.

In agency recruitment, the most effective messages often travel through peer-to-peer channels where creative people already look for inspiration.

Why it lands

It respects the audience. Art directors do not want HR language. They want ideas. The recruitment message shows up as an idea. The “spot it” moment also creates a small status game. If you notice it, you feel like an insider, which is exactly the emotion you want associated with joining a top creative shop. This is a smart recruitment idea because it proves the agency’s creative standard in the act of recruiting.

Extractable takeaway: If you recruit creative talent, do not only describe the culture. Deliver the culture as a recruiting experience. The medium should prove the message.

What Jung von Matt is really doing here

Beyond hiring, this is reputation maintenance. The campaign reinforces the belief that the agency thinks differently, even about recruitment. The real question is whether your recruiting message proves the kind of culture and craft the role promises. It also targets a very specific context. The moment when competitors are reviewing portfolios and looking for talent. That is when the message is most likely to be acted on.

What to borrow from this recruitment play

  • Place your message in a trusted channel. Borrow the legitimacy of a format your audience already values.
  • Integrate, do not interrupt. Embedding the ad inside the creative work makes it feel like discovery, not spam.
  • Make the message audience-native. Speak in the language of the craft, not corporate templates.
  • Target the decision moment. Put the offer where hiring intent already exists.
  • Keep it simple. One clear role, one clear next step, no clutter.

A few fast answers before you act

What is the “Trojan Art Director” idea in one sentence?

It is a recruitment tactic where Jung von Matt embeds job messages inside photographers’ portfolio images that are regularly shown to top agencies, reaching art directors in-context.

Why are photographers’ portfolios a powerful distribution channel?

Because they are already viewed by creative departments and talent decision-makers. The audience is qualified and attention is high.

What makes this feel credible rather than gimmicky?

The message is integrated into real creative work and appears in a context where creativity is the currency. That makes the format match the audience expectation.

What is the main risk with stealth recruiting?

It can be perceived as hostile or disrespectful by peers if the tone is too aggressive. The balance is “cheeky” rather than “petty.”

How do you measure success for a recruitment stunt like this?

Qualified applications for the specific role, referral volume from the creative community, and whether employer brand perception improves among the target talent pool.

Honda Jazz Interactive TV Ad

Honda Jazz Interactive TV Ad

You watch the Honda Jazz “This Unpredictable Life” TV spot. At the same time, you open a companion iPhone app and literally “grab” what is happening in the ad. A character jumps onto your phone in the exact moment it appears on TV. Then you take that character with you and keep playing after the commercial ends.

Wieden + Kennedy London is behind this interactive TV campaign for the new Honda Jazz. The idea is simple and sharp. Use the iPhone as a second screen that syncs to the broadcast and turns a passive spot into a real-time experience. Here, “second screen” means the phone becomes the companion interface while TV stays the primary video canvas.

What the iPhone app does while the ad plays

The mechanic is “screen hopping.” The iPhone app recognises the sound from the TV ad and matches it to predefined audio fingerprints. That timing tells the app exactly which character or moment is live in the commercial, so it can surface the right interactive content on your phone in real time. Because the sync is driven by the ad’s audio, the handoff can happen on the exact beat the viewer sees on TV, which is what makes the interaction feel seamless.

In European consumer-brand marketing teams, this pattern matters most when broadcast reach and mobile engagement are owned and designed as one experience.

The real question is whether your second-screen sync can stay instant and obvious enough to feel like part of the spot, not a separate product.

What happens after you “grab” a character

Once a character lands on your iPhone, you interact with it away from the TV. You can trigger behaviours and mini-interactions, including singing into the phone to make characters react and dance. The TV spot becomes the gateway. The mobile experience becomes the engagement layer you keep.

Why this matters for interactive advertising

This is a clear step toward campaigns that treat broadcast as the launchpad and mobile as the control surface. When the second screen is tightly synchronised, you can design moments that feel native to the content people are already watching, rather than forcing a separate “go online later” call-to-action. This is worth doing when the sync is instant and the post-spot interaction is fun enough to continue without the TV.

Extractable takeaway: If you want broadcast to create action, design the mobile handoff so it happens on the same beat the viewer sees on TV, then give the phone a simple loop that keeps going after the spot ends.

This is also not the first time an iPhone engagement model starts to bridge media and action. A related example uses a similar iPhone-led interaction pattern for coupons and augmented reality: location based augmented reality coupons.

Design cues to reuse from this campaign

  • Anchor everything on a single trigger. Let the TV spot be the trigger, and let the phone pick up the same moment without delay.
  • Make the interaction obvious in one move. “Grab a character” is a clean mental model that needs almost no instructions.
  • Carry the payoff beyond the broadcast window. Treat the spot as the gateway and the phone as the layer that continues after the ad ends.
  • Keep the experience playful, not feature-heavy. Simple behaviours and reactions beat complex menus when timing is the point.

A few fast answers before you act

What is “screen hopping” in advertising?

Screen hopping is when content “jumps” from one screen to another during a live experience. Here, the TV spot triggers synchronized content on an iPhone so viewers can capture and interact with elements of the ad.

How does the Honda Jazz app sync to the TV commercial?

The app uses audio recognition. It matches the ad’s sound to predefined audio patterns so it knows what is playing at any moment and can show the right character or interaction on the phone.

What is the value of a second-screen experience like this?

It extends a short broadcast moment into a longer engagement loop. The ad becomes a gateway. The phone becomes the interactive layer that continues before, during, and after the spot.

What should a brand get right to make this work?

Timing and simplicity. The sync must feel instant, the interaction must be obvious, and the “reward” for participating must be fun enough to carry beyond the TV moment.