The Deadpan Dunker is at it again, traveling back in time for two new spots with his faux-DeLorean Kia Optima. In this latest series from David&Goliath, Blake Griffin targets his younger self in 2006 and 2002 to impart wisdom on lifting weights and wearing sunblock. He listens to a little Sean Paul. And he wears the genius red jumpsuit with the griffin logo.

One of the best campaigns on TV continues with more quality spots. Most athletes can’t act, but Blake’s straight-faced delivery and self-deprecation puts him ahead of every competitor out there. He also listens to Eiffel 65 and used to wear jean shorts, so there’s that. And if you need proof of commitment to the brand, he won the 2010 NBA Slam Dunk Contest by dunking over a Kia Optima as a gospel choir serenaded the crowd. Cliff Paul’s mustache can’t compete with that. Credits and the second ad after the jump.

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Love ‘em or hate ‘em, but Kia’s break-dancing over-sized hamsters must actually be selling units of the Soul. How else do you explain this nonsensical 90-second spot from David&Goliath, which looks like it cost an awful lot of money to make (probably the equivalent of thousands of Kia Souls).

In the announce, we’re told, “The commercial – “Bringing Down the House” – highlights the emergence of electronic music, which has quickly found its way into the mainstream and some of today’s biggest musical acts. This, combined with a trend where young artists are increasingly incorporating classical music and instrumentation into their music, comes together to create a modern-day remix of new and old.” I don’t quite know how clearly that message will come across to the average consumer, or if it really needs to. In fact, I would argue you could send the hamsters back to almost any time period with the same effect.

But, it seems that D&G is sticking by the old mantra, “If it ain’t broke, don’t fix it.” Sure, it’s stupid, but it’s working. So, you can hate on the hamsters as much as you want, or you can join them in dancing to Axwell’s remix of Ivan Gough and Feenixpawl’s “In My Mind.” It’s no LMFAO, but it’ll do. Credits after the jump.

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Advertising the lottery isn’t a huge challenge. Simply create far-fetched fantasies and convince people that it could all be theirs if they just spend $1.00 on one ticket. Or create an ad that serves as a smiling, twinkly-eyed friend saying, “Hey, you never know.” Either way, the lottery is an easy sell. It’s inexpensive, readily available, and tempting to try.

In David & Goliath’s new campaign for the California Lottery, a set of “unforgettable characters” convey the adventures that are suddenly possible when a lucky scratcher strikes it rich.

A 30-second TV spot introduces the first of these characters, an average man and his mutt, Corny. But lo! This man’s lottery card is lucky and he transforms instantly into a debonair British man with a twirly mustache. Corny becomes Cornelius the Genius (he invented long division and wears a suit), and they all fly away in a hot air balloon. The campaign also includes an interactive rich media banner in which users can outfit the fortunate gambler and his pampered pup.

While slightly fun, this campaign misses its chance to be creative. Ridiculous luxury and life-changing moments are tried and true lottery schticks. Maybe I’m biased by my home state, but I much prefer the Oregon Lottery’s old, low-fi ad from Boarders Perrin and Norrander. I find the plodding mattress man more of a charming character than Cornelius and his good-old-boy owner.

Credits after the jump.

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In an outdoor marketing stunt more creative and inspired than the last three Transformers movies combined, Universal Studios and agency David&Goliath morphed L.A.’s Staples Center into a scene of intergalactic destruction.

Publicizing Universal Studios’ new attraction, “Transformers: The Ride 3D” (which officially opened on Friday), David&Goliath’s team gave the Staples Center a drastic makeover in early April. Considering no one ever goes near downtown L.A. at night, it’s entirely possible that no one noticed people painting an 80-foot Deceptacon hole in the side of the building. As an added bonus, the chaotic scene even featured sandwich board-toting crazy people shouting about the end of days, adding an air of authenticity to the whole thing.

So, is the ride any good? According to Universal Studios park director Molly Orr, who was quoted in a story about the event on L.A.’s CBS affiliate, “Michael Bay, who directed the Transformer films, was one of the creative consultants on this ride.” In other words, though it may look cool, the ride lacks substance, much of a storyline, and is a punching bag for critics nationwide. In any case, expect explosions, and plenty of them.  D&G credits after the jump.

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For the all screenshots I’d seen of a scantily-clad Adriana Lima holding a checkered racing flag, I didn’t have very high expectations for Kia’s Super Bowl spot. But, I was wrong, and David&Goliath definitely delivered on this :90 vacation to a fantasy world driven by the Optima.

What happens when a man is accidentally given access to the sweetest of sweet dreams? He enters a world of super models, Mötley Crüe, giant sandwiches, fire, rhinoceros rodeos, MMA fighting (featuring a cameo from Chuck Lidell) and, of course, fast cars. But, even a perfect world can’t stand in the way of this hero and his significant other. With his Optima, he breaks into his lady’s dream, “rescuing” her from a white horse-riding hunk who looks dull compared to our protagonist. It’s the kind of “manly” everyman story that beer brands somehow continue to fail at telling with each new ad campaign.

Going into the Super Bowl, the majority of hype is undoubtedly surrounding VW’s sequel to last year’s “The Force” and Honda’s homage to Ferris Bueller’s Day Off. After the big game, we hope to see Kia and D&G receive due credit for producing a commercial better than those from their more talked-about competitors. Credits after the jump.

Update: For a play-by-play on how this spot came to life, see D&G copywriter Justin Bajan’s blog post on Adpulp.

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Well, looks like Neilan Tyree’s somewhat brief run at David&Goliath has come to an end as the agency’s chief marketing officer/new business head has been replaced by Claudia Caplan, who previously had two stints at Mendelsohn Zien, first as a CD/partner for several years before returning as CMO. During her ad career, Caplan worked on accounts including BMW, Fox Digital Entertainment, Peter Pan Peanut Butter and Carl’s Jr.

Joining Caplan at D&G is Brian Dunbar, who’ll take on the post of managing partner, director of client services. Dunbar spent 10 years at DDB, eventually moving up to group account director before joining Goodby, Silverstein & Partners as associate partner/GAD from 2000-2008. While there, Dunbar led the development of campaigns for clients including Saturn, E*Trade, eBay, Adobe and Doritos.