????今年超級碗大賽的廣告盛宴中，最有“超級碗風味”的或許是一段星光熠熠的百威淡啤(Bud Light)長廣告：唐?錢德爾、阿諾德?施瓦辛格和一個共和國樂隊(One Republic)等名流悉數(shù)亮相，目的都是為了讓一位二十來歲的曼哈頓兄弟度過一個經(jīng)過精心設(shè)計的驚喜之夜。

????盡管贏得了滿堂彩，但這種類型或許不再是未來超級碗大賽的廣告標準。過去一年中，最受歡迎的廣告往往帶有催人淚下的橋段，比如一群古老的克萊茲馬和一只小狗出演的百威啤酒(Budweiser)廣告，以及一段講述父女兩人交換早餐桌故事的麥片(Cheerios)廣告。在這樣的背景下，以多力多滋(Doritos)為代表的嬉笑打鬧式廣告顯得格格不入，不合時宜。

????不過，超過一半的比賽插播廣告都帶有一定的幽默感。無論是斯蒂芬?科爾伯特的腦袋出現(xiàn)在一枚開心果之中，還是提姆?提博從一棟燃燒的建筑物中救出幾只小狗，它們都是為了博你一笑。

????但大家將從今年的冬季奧運廣告中獲得完全不同的情緒感受。“這主要跟受眾群體有關(guān)，”深度聚焦公司(Deep Focus)CEO伊恩?謝弗說。“超級碗廣告試圖吸引男性的注意，往往極具沖擊力，幽默感十足。奧運廣告則恪守傳統(tǒng)，更多地考慮女性受眾。”

????寶潔公司(Procter & Gamble)正在采用這種廣告手法，以期贏得母親們的注意。據(jù)社交視頻公司Unruly介紹，寶潔的“把他們扶起來”(Pick Them Back Up)宣傳短片已經(jīng)成為有史以來被分享次數(shù)最多的冬奧會廣告。（當然，這得益于不斷倍增的社交媒體平臺和視頻觀看設(shè)備。）這則主打情感牌的廣告在YouTube獲得了1,400萬次的瀏覽量，它并沒有什么令人爆笑不止的地方：一位位母親不斷扶起她們跌倒的孩子，在母親的一路呵護下，這些孩子從嬰兒茁壯成長為青少年，最終成長為奧運健兒。兩年前的倫敦夏季奧運會期間，寶潔公司使用了相同的廣告策略：這段名為“最佳工作”(Best Job)的廣告描述了母親含辛茹苦撫養(yǎng)運動員的艱辛歷程，同樣獲得很好的反響。

????事實上，在寶潔、維薩信用卡(Visa)和莫爾森(Molson)等品牌在冬奧會前夕發(fā)布，到目前為止被分享次數(shù)最多的前20則奧運廣告中，沒有一條走的是滑稽搞笑路線。Unruly公司正在追蹤傳播速度最快的索契冬奧會廣告。這家公司的總裁理查德?科辛斯基認為，觀眾在奧運會期間尋求的情感與超級碗大賽截然不同。Unruly公司審視了驅(qū)動人們分享視頻廣告的兩大因素：首先是心理反應(yīng)。“美國人喜歡搞笑，”科辛斯基說。“如果你看看美國的頂級心理反應(yīng)標準，你就會發(fā)現(xiàn)，歡鬧是最能夠引發(fā)共鳴的要素之一，但在巴西，振奮是頂級心理反應(yīng)。”因此，即使那些在美國播出的廣告，也開始回應(yīng)全球口味。奧運會是一個備受敬重的世界性現(xiàn)象——在這種場合，或許不適合播放一則放響屁的亨氏(Heinz)番茄醬瓶廣告。分享廣告的第二個原因是社交動機。科辛斯基說，目前的主要動機是共享的激情或時代精神。“奧運會是時代精神的絕佳例證，是我們這個時代的大事件。”

????如果一個品牌的廣告沒有反映時代精神，它就不得不寄望于人們能夠出于其他某個原因來分享它——或熱鬧非凡，或令人震撼，或富有爭議。僅僅吸引人們?yōu)g覽視頻是不夠的；廣告商渴望獲得社交媒體的共享熱潮。最重要的不是點擊，而是參與。本著這種精神，杰西潘尼公司(J.C. Penney)在超級碗期間發(fā)布了幾條充滿拼寫錯誤的微博——“海鷹隊觸地得分！西雅圖是否將獲得壓倒性勝利？”——試圖贏得一些關(guān)注。比賽臨近結(jié)束時，這個Twitter賬戶透露說，這一切其實全是事先計劃的花樣，目的是推廣該公司出售的美國索契冬奧會代表團手套：“對不起，打錯字了。我們#發(fā)微博時戴著手套。”在Twitter上，這條留言贏得了很多笑容，但也有不少嘲笑聲。

????大家可能會認為，自己的品牌在社交媒體上受到冷嘲熱諷無傷大雅——只要能被人們反復(fù)提及就好——但并非總是如此。“哦，我覺得，這件事很重要，”謝弗說。“超級碗大賽期間，有幾家公司認認真真地做廣告，試圖打響知名度，銷售卡車全天候襯墊的Weathertech公司就是其中一家。但如果你已經(jīng)家喻戶曉，比如說你是克萊斯勒公司(Chrysler)，正嘗試著進一步鞏固你在人們的考慮集(consideration set)中的地位。在這種情況下，要是你遭遇負面評價，你就不會進入人們的考慮集。”事實上，菲亞特公司(Fiat)旗下品牌克萊斯勒和瑪莎拉蒂(Maserati)都發(fā)布了以愛國主義和驅(qū)動力為主題的嚴肅廣告。謝弗分析稱，鮑勃?迪倫出演的克萊斯勒廣告“希望能吊起人們的胃口，但由于采用了情景劇形式，它并沒有產(chǎn)生這種效果。”瑪莎拉蒂則啟用了10歲的女演員奎文贊妮?瓦利斯，讓Twitter上的媒體人非常懊惱。“迪倫在賣車，普林斯出演情景喜劇，來自《南國野獸》(Beasts of the Southern Wild)的小女孩出現(xiàn)在了一段瑪莎拉蒂廣告之中。你們肯定非常郁悶，”@davepell留言稱。

????Perhaps the most "Super Bowly" ad of this year's Super Bowl was a lengthy Bud Light spot that packed in celebrities like Don Cheadle and Arnold Schwarzenegger with the band One Republic, all part of an elaborate surprise night out for a non-celebrity Manhattan bro in his twenties.

????That kind of ad, successful though it was, may no longer be the norm for Super Bowls in the future. In a year when the most popular ads were a tearjerker from Budweiser starring its age-old Clydesdale horses and a puppy, along with a Cheerios ad showing a breakfast-table exchange between father and daughter, slapstick ads like those from Doritos felt out of place and dated.

????Still, over half of the ads that ran during the game were in some form humorous. From Stephen Colbert's head inside a pistachio to Tim Tebow rescuing dogs from a burning building, they wanted to make you laugh.

????The vibe you'll get from this year's Olympics advertising couldn't be more different. "It has to do with the audience," says Ian Schafer, CEO of the agency Deep Focus. "Super Bowl ads try to appeal to the male id and do things filled with shock value, lots of humor. Olympics ads are pretty traditional. And they're definitively more female-oriented."

????Procter & Gamble (PG) is following that recipe by appealing to mothers. Its "Pick Them Back Up"campaign, according to social video marketing company Unruly, is already the most shared Winter Games campaign of all time. (Of course, that's thanks to the ever-multiplying array of social media platforms and devices on which we watch video.) There's nothing very funny about the emotional ad -- which has had 14 million YouTube views -- in which mothers repeatedly pick up their children when they fall, helping them grow from babies to teens to Olympic athletes. P&G took the same tack two years ago at the London Olympics with "Best Job," a campaign about the hard work mothers do to raise an athlete. It worked then, too.

????In fact, of the top 20 most shared Olympics ads so far, released in advance of the Games by brands like P&G, Visa (V), and Molson, not one is funny. Richard Kosinski, president of Unruly, which is tracking the most viral Sochi ads, says the emotion viewers seek during the Olympics is starkly different from the Super Bowl. Unruly examines two qualities that drive someone to share a video ad: The first is psychological response. "Americans love funny," says Kosinski. "If you look at the U.S. norm for the top psychological response, hilarity is one of the things that resonates best. But in Brazil, exhilaration is the top psychological response." Thus the ads, even those that run in the U.S., are responding to global tastes. The Olympics are a worldwide phenomenon treated with somber respect -- perhaps not the place for, say, a Heinz ketchup bottle making a fart noise. The second reason to share an ad is social motivation. Kosinski says the primary motivation these days is shared passion or zeitgeist: "The Olympics are a perfect example of zeitgeist, an event that is of our current time."

????If a brand's spot doesn't reflect the zeitgeist, it has to hope people will share it for some other reason -- it's hilarious, or shocking, or controversial. It isn't enough anymore for a person to merely view a video; advertisers crave social media shares. Engagement, not clicks, is what counts. In that vein, J.C. Penney (JCP) attempted to get some play during the Super Bowl by sending out tweets laced with typos. ("Toughdown Seadawks! Is sSeattle going toa runaway wit h this???") Later in the game, the account revealed it had all been a planned stunt to promote its own Sochi product, Team USA gloves: "Sorry for the typos. We were #TweetingWithMittens." On Twitter, that met with a lot of laughs, but also a lot of jeers.

????You might think having your brand mocked on social media doesn't matter -- that any press is good press -- but that may not always be the case. "Oh, I think it matters," says Schafer. "There are a couple of brands that advertise in the Super Bowl strictly to help their unaided awareness. So, the company that sells weather-liners for trucks [Weathertech]. But if you've already got name awareness, if you're already Chrysler, you're trying to cement yourself within somebody's consideration set. You're not going to get put in someone's consideration set if you're being talked about negatively." Indeed, Chrysler and Maserati, both owned by Fiat, went with serious ads focused on themes of patriotism and drive, and both felt flat. Chrysler's spot with Bob Dylan, in Schafer's analysis, "aimed to do something provocative but it blew up in their faces a little bit because of the melodrama." Maserati utilized 10-year-old actress Quvenzhane Wallis, much to the chagrin of media folks on Twitter: "Dylan selling cars, Prince on a sitcom, and the little girl from 'Beasts of the Southern Wild' in a Maserati ad. So ya, you're depressed," tweeted @davepell.