LOS ANGELES — US theme park SeaWorld announced Monday that it planned to phase out its signature orca show, which has come under intense criticism in recent years.

The company said the orca show at its second biggest park in San Diego would be replaced in 2017 with a new “informative” attraction in a more natural setting.

“We are not limited to any one animal, to any one show, to any one attraction,” CEO Joel Manby said in making the announcement to investors, at an event that was Webcast.

“We are listening to our guests; we’re evolving as a company; we’re always changing.”

SeaWorld suffered a backlash and saw attendance plummet at its 11 parks, particularly in California, in the wake of the critically-acclaimed 2013 documentary Blackfish, which spotlighted the impact of captivity on orcas.

It has since endeavored to reverse its misfortunes with a new marketing campaign and discount offers.

On Monday, Mr. Manby unveiled to investors a five-point plan to boost the company’s image and declining attendance, including building awareness around the brand, bringing in new talent, and launching new attractions.

“The issue is, we need to break through the noise,” said Jill Kermes, senior corporate affairs officer.

“We need to get the information flow to a net positive.”

But, People for the Ethical Treatment of Animals, which has long clashed with the Miami-based marine tourist attraction, said SeaWorld’s announcement on the orca show did not go far enough.

Jared Goodman, director of animal law at PETA, said while it was necessary for SeaWorld to end the “tawdry circle-style shows,” the company needed to stop keeping orcas in captivity.

“This move is like no longer whipping lions in a circus act, but keeping them locked inside cages for life; or no longer beating dogs, but never letting them out of crates,” he said.

Last week, California lawmaker Adam Schiff said he planned to introduce a new bill that would phase out the captivity of orcas and prohibit their breeding, measures that would effectively spell the end of SeaWorld’s whale shows.

“The evidence is very strong that the psychological and physical harm done to these magnificent animals far outweighs any benefits reaped from their display,” Mr. Schiff said.

“We cannot be responsible stewards of our natural environment and propagate messages about the importance of animal welfare when our behaviors do not reflect our principles.”

He said the bill — the Orca Responsibility and Care Advancement (ORCA) Act — will ensure that this will be the last generation of orcas who live in captivity.

SeaWorld responded by saying that it treated its animals with dignity and that it had not captured a whale in the wild in 35 years.

“While efforts to phase out whales in human care may strike an emotional chord, SeaWorld and other science-based organizations are part of the solution, not the problem,” it said. — AFP

ADS & ENDS

NANETTE FRANCO-DIYCO

THE DUO first appeared on TV only 4 months ago. It’s been called a phenomenon, the way they have almost instantly captivated the minds and hearts of young adults and older. The degree of near fanaticism among their fans cannot be denied, as dramatized on television, magazines, and social media.

Within that period, one after the other, top advertisers have gotten Alden Richards and Yaya Dub (Maine Mendoza) to endorse their products — playing their exact TV roles, a fictional couple courting each other and in love.

Two of the six commercials that have been produced and telecast as of this writing have delighted me in their simplicity and connection to the advertised brands. Of course, both of the stories of Bear Brand Adult Plus TVC and McDonald’s TVC revolve around the duo’s loving relationship. These two advertisers have most successfully exploited the AlDub hype.

Nestlé’s Bear Brand Adult Plus material is more expansive as advertising agency Publicis Manila revolves around the message that Bear Brand Adult Plus visibly strengthens you for all sorts of work.

Hence, we see Alden Richards acting in various work settings as foreman, supermarket bagger, elegant limousine driver, and barber. Yaya Dub, on the other side of the split screen, acts her own roles as compassionate caregiver, mag-gugulay (vegetable vendor), makeup artist, and comedian.

This commercial makes use of the TV program Eat Bulaga’s unique presentation device, the split screen. This, of course, titillates the fans into an instant identification of what is now their favorite noontime TV program, carrying the Kalyeserye (street series) segment of Alden and Yaya Dub.

Publicis Manila is able somehow to subtly bring the value of working energetically and well for the family’s daily sustenance into the consciousness of the viewers.

This is akin to the said Eat Bulaga segment where, every day, values of respect, obedience, and traditional caring and love in courtship are laudably projected, while retaining the segment’s comedic and entertainment values.

McDonald’s as of this writing has produced two commercials that successfully heighten the kilig (thrill) factor of AlDub fans while the duo separately enjoy McDonald’s varied offerings.

Both Leo Burnett’s McDo 30-seconders make use of romantic songs, while Yaya Dub fondly opens the heart-shaped locket around her neck and views her beloved Alden on one side and herself on the other side.

Alden, in parallel, opens his wallet and rolls out numerous photos of Yaya Dub. He heartily sings to her in the photos.

Leo Burnett’s writers remain faithful to the program’s episodes where the two at first do not meet or have direct personal interchanges.

The second McDo TVC brings in the three lolas towards the end of the commercial, a great stinger, you might say. I like the gloss of both of the McDo materials, and the slow singing and pacing add to the viewers’ immense thrill.

In the forthcoming weeks and months, I am sure there will be a slew of other commercial productions starring the same endorsers and similar springboards to other brands of other product categories. Both Bear Brand Plus and McDonald’s commercials, however, have merited a hard-to-achieve memorability, not only for their creativity, but also for their on-their-toes speed in production. Take a bow, Publicis Manila and Leo Burnett.

Credits: Bear Brand Plus. Agency: Publicis Manila. Matec Villanueva, chairwoman; Alistair Wood, chief creative officer. Creatives — Paolo Fabregas, creative director; Angela Mendoza, senior copywriter; Rei Santos, senior art director; Josef Olaybal, Art Director. Accounts — Marlen Del Rosario, division head; Meg Racho, account director; Christina Melchor-Toledo, senior account manager. Strategic Planning — Malou Betco, strategic planning director; Mark Dehesa, strategic planner.

Production: Just Add Water. Mavic Martin and Danise Talaba, producers; Carlo Directo, director; Jun King Austria, assistant director; Ade Leung, production design.

Production House: Pabrika.

“Locket”. Client: Golden Arches Development Corp. Brand: McDonald’s Chicken Savers. Kenneth Yang, president and CEO; Margot Torres, executive vice-president for marketing / deputy managing director; Kring Lao, marketing director; Ada Almendras, senior product manager; Roan Tanafranca, brand assistant.

Agency: Leo Burnett Manila. Raoul Panes, Carl Urgino, Noel San Juan, Toby Amigo, Momon Villanueva, and Ryan Giron, creative team; Donny Dingcong, Judy Buenviaje, Maik Alturas,  and Mary Pahati, accounts team.

Production House: Filmex. Jenny Lao-Pastor, director; Steve Vesagas and Tria Sordan (Slingshot Manila), producers; Gino Cruz (Loudbox), music; Rico Gonzalez (Hit Productions), audio production.

Post-Production: Post Manila.

NANETTE FRANCO-DIYCO ended her 15^th year advertising career as Vice-President of JWT, segueing into the world of academe, currently teaching communications at the Ateneo de Manila University. nanettediyco131@gmail.com