Movies with Advertising, Marketing or PR Themes

Please note: most of the following blurbs were written for movie databases such as www.imdb.com, and are not original to me. Where possible I will gradually add citations & attributions, but if you plan to make use of this site you can do the same by performing a Web search on a phrase and locating the source; the most likely suspect will generally be imdb.com, with amazon.com another good bet. I regret I was working too quickly to capture sources as I collected this information. Films are listed in chronological order. I would greatly appreciate suggestions for other films that belong on this list: email me at altonmiller@mail.com.

See also results of a search on the Turner Classic Movies website

  • Search term "Public relations"
  • Search term "Advertising"
  • Search term "Marketing"

    HISTORICAL FILMS TO RESEARCH:

    Cohen's Advertising Scheme (1904)
    Advertising for Mamma (1911)
    Does Advertising Pay? (1913)
    Advertising Did It (1915)
    How to Please the Public (1928)

    THE EASIEST WAY (1931)

    Poor hardworking Laura Murdock, is discovered by Brockton Advertising agency, while in a department store. Now a model for Brockton, she is able to support her family. Everything isn't as rosey as it seems. Laura is forced to become Mr. Brockton's mistress. Laura's family disowns her. She soon meets the man of her dreams rich, John Madison. But he leaves to Argentina. Laura alone returns to Brockton - Brockton wants nothing to do with her. Laura is left in loneliness.

    BOMBSHELL (1933)

    Lola Burns (Jean Harlow) is at the top of the pile in Hollywood. But life ain't easy, what with her father and brother always hanging around for handouts, and devious studio publicity honcho Space Hanlon cooking up endless lurid newspaper stories. Makes a girl want to give up pictures. From a user comment on imdb.com: "Hilarious! This is one of those quick-witted pre-code comedies with juicy dialogue that hold up to this day. The depression era was, well, depressing enough. Why did censorship have to rob the audience of one of their few joys? Jean Harlow's performance is a pure delight. This may even be her best performance."

    EX-LADY (1933)

    Commercial artist Helen Bauer believes marriage kills romance. She lives with advertising writer Don Peterson. He convinces her to marry him. He later carries on with client Peggy Smith; Helen takes up with Don's competitor Nick Malvyn. In the end, the couple agree to give marriage another chance.

    THE TRAVELING SALESLADY (1935)

    Rufus K. Twitchell is an old-school industrial magnate who doesn't believe he needs to advertise to sell his product, the market leader in toothpaste. He arrogantly refuses to meet with an inventor who wants to market "cocktail toothpaste" -- flavored like scotch, or rum punch, or a martini. His plucky daughter (Joan Blondell) sees an opportunity to show her father she has a business sense as good as any man's.

    MR DEEDS GOES TO TOWN (1936)

    The heir of wealthy, deceased Martin Semple proves surprisingly to be one Longfellow Deeds of Mandrake Falls, Vermont. The bemused lawyers in the land of taciturn Yankees find Deeds a simple- hearted greeting card poet, his favorite pastime playing the tuba. Will he be any match for city slickers, embezzlers, moochers, fundraisers, and phonies? Enter brash reporter Babe Bennett, who (for a story) gains Deeds' friendship and seems to be on his side. With friends like these...

    NO OTHER ONE (1936)

    Hal Kemp and his orchestra play the title tune with singer Skinnay Ennis and a Bouncing Ball. Animated sequence: Two billboard hangers put up a series of signs parodying advertising styles of the time.

    THE FOOTLOOSE HEIRESS (1937)

    A spoiled rich girl (Ann Sheridan) tries to elope with a ne'er-do- well, but they are stopped by a charming hobo (Craig Reynolds), who thwarts the mismatch. The girl's father, an embattled ad executive, rewards the hobo with temporary room and board. It turns out the stranger is no hobo after all, but an educated young man who then comes to his host's rescue by composing a hit advertising slogan. The girl resents the stranger at first, but eventually she realizes she has fallen in love with him.

    MEN ARE SUCH FOOLS (1938)

    Linda Lawrence rises from secretary to account executive in an advertising agency. She falls in love with ex-football star Jimmy Hall and marries him. Radio man Harry Galleon will push her career further if she will just be "nice" to him and, when Jimmy gets jealous, she quits in favor of life as a suburban housewife. But her career still calls to her.

    AFFAIRS OF JIMMY VALENTINE, THE (1942)

    Mike Jason (Dennis O'Keefe), idea man for the Bullard Advertising Agency, and Cleo Arden (Gloria Dickson), director of the Jimmy Valentine radio program, based on the exploits of the old-time safe cracker, fear their jobs are in jeopardy when the sponsor decides to switch his show to another agency. Mike suggests that a $10,000 prize be offered to anyone who can locate the real Jimmy Valentine. Mike and Mousey (George E. Stone), a little chiseler who has attached himself to Mike, follow a clue to a small town. Unknown to Mike, Mousey is out for revenge and kills two innocent men before they learn the identity of the real Jimmy Valentine (Roman Bohnen). Mousey tries to kill Valentine but he himself is killed in the scuffle. Mike refuses to identify Valentine, claiming that one of the murdered men was the real Jimmy Valentine.

    TAKE A LETTER, DARLING (1942)

    Tom Verney is dubious about his new duties as "secretary" to advertiser A.M. 'Mac' MacGregor, which include escorting her socially to confound amorous clients and jealous wives. After an abortive pass, Tom is almost convinced that Mac means (only) business. But attitudes change when Tom is pursued by pretty Ethel Caldwell and Mac by her rich brother Jonathan.

    THE HUCKSTERS (1947)

    Victor Norman (Clark Gable) is just out of the Service and is looking for a job in advertizing. By playing hard to get, he figures that he can get a good job and a large salary. The first thing he has to do is get a war widow to endorse Beautee Soap - a client of the Kimberly Agency. He meets with Kay Dorrance (Deborah Kerr) and gets the endorsement and Mr. Evans (Sydney Greenstreet), the head of Beautee Soap is temporarily happy. Victor's job is now to work with Mr. Evans, a man who is a strict and demanding client. Everything should be rosy, but Victor, a bachelor, finds himself more attracted to Kay, a widow, than young single Jean Ogilvie (Ava Gardner).

    DAISY KENYON (1947)

    Commercial artist Daisy Kenyon is involved with married lawyer Dan O'Mara, and hopes someday to marry him, if he ever divorces his wife Lucille. She meets returning veteran Peter, a decent and caring man, whom she does not love, but who offers her love and a more hopeful relationship. She marries him... just as Dan gets a divorce. imdb.com user gregcouture comments: "This one may seem quite turgid to a modern audience's sensibilities but, for its time, it was fairly strong stuff, with solid performances by its three leads, Crawford, Fonda and Andrews, under Otto Preminger's brisk direction. Dana, who never really achieved the recognition he deserved for the subtlety of his work, in an extremely difficult role, gives it all the shadings one could wish for. Nice production values and one of the talented David Raksin's best scores enhance a very watchable story with an outcome that isn't as predictable as it seems, come the final clinch."

    WHEN A GIRL'S BEAUTIFUL (1947)

    An advertising man has to come with "the perfect woman" for an ad campaign. He puts together a picture of a woman from a composite of several photos, to get an idea of the kind of woman he should look for. His boss sees it, thinks that it is an actual woman, and orders him to find her and use her in the campaign.

    AN INNOCENT AFFAIR (1948)

    Paula Doane (Madeleine Carroll) believes her husband, Vincent (Fred MacMurray), is having an affair but instead he is only trying to land an account for the advertising agency which he works for. Yet, Vincent is hiding something from Paula-his client is actually his former girlfriend, but, he believes that if Paula knew this, she'd misinterpret everything. In the meantime, Paula thinks the only way to rekindle their romance is to make Vincent jealous. She goes to the Burke Agency to hire an actor to flirt with her while she and Vincent dine at a nightclub restaurant. However, Mr. Burke "tips off" Vincent about his wife's plan. He now thinks he "holds all the cards", and will play along with the joke. Yet, the joke is actually on Vincent, when the seating arrangements for the actor are switched, and in his place is seated Claude Kimball, the tycoon tabacco owner. Now the fun truly begins.

    LET'S LIVE A LITTLE (1948)

    A harried, overworked advertising executive is being pursued romantically by one of his clients, a successful perfume magnate ... and his former fianc‚e. The latest client of the agency is a psychiatrist and author of a new book. When the executive goes over to discuss the ad campaign, the psychiatrist turns out to be a woman. But what does he really need? Romance? Or analysis?

    CALLAWAY WENT THATAWAY (1951)

    Two smart marketing people resurrect some old films starring cowboy Smoky Callaway and put them on television. The films are a big hit and the star is in demand. Unfortunately no one can find him. When a lookalike sends in a photo, the marketing team hires him to impersonate Callaway. Things get sticky when the real Callaway eventually shows up.

    "I LED THREE LIVES" (1953)

    Philbrick is a Boston advertising executive used by the U.S. government to spy on the Communist Party USA. It was all blatant anti-left propaganda. The scripts were actually reviewed by J. Edgar Hoover's FBI and played on the paranoia of the McCarthy era.

    IT SHOULD HAPPEN TO YOU (1954)

    Gladys Glover (Judy Holliday) has just lost her modelling job when she meets filmmaker Pete Sheppard (Jack Lemon) shooting a documentary in Central Park. For Pete it's love at first sight, but Gladys has her mind on other things -- like making a name for herself. Through a fluke of advertising she winds up with her name plastered over 10 billboards throughout city. Suddenly all of New York is clamoring for Gladys Glover without knowing why and playboy Evan Adams III is making a play for Gladys that even Pete knows will be hard to beat.

    THE TOY TIGER (1956)

    Advertising executive Gwen Taylor sends her art director Rick Todd on a mission to bring an artist back to the commercial fold. Meanwhile, Gwen's fatherless son Timmie, at a remote boys' school, is riding for a fall by manufacturing evidence of his "explorer father." By an amazing coincidence, Rick steps off the bus at just the right moment for Timmie to recruit him as "father" without his knowledge. With no intention of collaborating, the befuddled Rick is carried along by the sweep of events. Who can predict the outcome?

    FUNNY FACE (1957)

    Jo Stockton can only get to Paris to meet with the beatnik founder of "empathicalism" (a rejection of all material things) if she agrees to model a line of ultra-chic fashions for photographer Dick Avery. Paris provides the backdrop for this wonderful blend of Gershwin music and Givenchy fashions.

    WILL SUCCESS SPOIL ROCK HUNTER? (1957)

    In this spoof of the TV advertising industry, Rockwell Hunter (Tony Randall) is the low man on the totem pole at the advertising company where he works. That is, until he finds the perfect spokesmodel for Stay-Put lipstick, the famous actress with the oh- so-kissable lips, Rita Marlowe (Jayne Mansfield). Unfortunately, in exchange, Rock has to act publicly as Rita's "Loverboy", and Rock's fianc‚e Jenny isn't too happy about it either.

    SWEET SMELL OF SUCCESS (1957)

    A classic of the late 1950s, this film looks at the string-pulling behind-the-scenes action between a desperate press agent and the ultimate power broker in show-biz Manhattan, the gossip columnist (based on the brutal and power-mad Walter Winchell). Shooting on location mostly at night, the filmmakers capture this New York demimonde in silky black and white, in which neon and shadows share a scarily symbiotic relationship--a near-match for the poisonous give-and-take between the edgy Tony Curtis and the dismissive Burt Lancaster.

    KYOJIN TO GANGU (1958)

    Nishi is an advertising executive for a caramel company that is planning to launch a new product, in fierce competition with two other companies. His boss builds up Kyoko, a vivacious girl with bad teeth, as their mascot. Kyoko is smitten with Nishi when he is assigned to look after her. Meanwhile Nishi is trying to extract information about his competitors advertising campaigns, from his girlfriend, who works for one rival, and his old college friend, who works for the other rival company.

    THE BEST OF EVERYTHING (1959)

    Three young women who work in the steno pool at Fabian Publishing Company move in together to save money. Caroline has her sites set on becoming an editor, but Miss Farrow stands in her way. Gregg wants to be an actress but can't seem to get a part. April just wants to find a good man. All three have bad encounters with men, encounters that will either strengthen or ruin them.

    LOVER COME BACK (1961)

    Jerry Webster (Rock Hudson) and Carol Templeton (Doris Day) are both in the advertising business, but for different agencies. Annoyed by Jerry's methods of using alcohol and women to ensure contracts for his agency, Carol tries to get him thrown out of his profession. To avoid this Jerry bribes the girl who'd testify against him, by starring her in a TV commercial for a product named VIP that he's just made up. By accident these commercials are broadcasted and to keep his job, Jerry has to come up with VIP for which he enlists the help of Doctor Linus Tyler. Carol goes to see the Doctor to try and get the VIP account, but because she and Jerry have never met, she mistakes Jerry for the Doctor. Jerry then takes advantage of this situation to win her.

    ONE, TWO, THREE (1961)

    MacNamara is a managing director for Coca Cola in West Berlin in 1961, just before the Wall is put up. When Scarlett, the daughter of his boss, comes to West Berlin, MacNamara has to look after her, but this turns out to be a difficult task. After MacNamara has found out that Scarlett is seeing an East German communist named Otto, he goes to extreme lengths trying to conceal this from the girl's father in order to save his job.

    MADISON AVENUE (1962)

    Dana Andrews is ad-man Clint Lorimer in this uneven drama, the last feature film by director Bruce Humberstone, released several years after it was completed. Clint is fired from his job working for a big ad agency, and he is determined to prove himself better than his former bosses. He has two romantic liaisons, one with Peggy Shannon (Jeanne Crain) and another with Anne Temaine (Eleanor Parker). Anne works as the advertising agent for a milk company run by a weirdo exec (Eddie Albert) who plays with toy airplanes in his office, but as time passes he becomes Machiavellian and ego-maniacal. Anne herself changes from a frump to a tough and glossy businesswoman, perhaps making Clint's choice of a future bride easier. (BB)

    HAVING A WILD WEEKEND (1965)

    Dinah is a model whose face appears in an ad campaign for meat. While shooting a TV commercial, she and Steve, one of the stunt men, run off together. The advertising executives use their disappearance to generate more publicity for... meat.

    HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (1967)

    J. Pierpont Finch, a young but bright window-cleaner buys a book - "How To Succeed In Business Without Really Trying." and following it's advice joins the multi-national but poorly-connected "World- Wide Wicket Company". Starting from the mail-room he rises to Vice-President in Charge Of Advertising using sneaky and dubious ways so that the person above him gets either fired or moved to another section of the company. He also starts slowly falling in love with secretary Rosemary Pilkington. Meanwhile, the president of the WWWC, J.B. Biggley, tries to have an affair with drop-dead gorgeous bubble-head Hedy LaRue, but she becomes a weapon used both by Finch and Bud Frump, Biggley's brattish and annoying nephew who believe that he should get all the breaks and not Finch. Can Finch rise to the top or will it all go down in flames...

    I'LL NEVER FORGET WHAT'S 'IS NAME (1967)

    Advertising golden boy Andrew Quint is fed up with his fabulously successful life. In very dramatic fashion, he quits his job to return to writing for a small literary magazine. He wants to leave his former life behind, going as far as saying good-bye to his wife and mistresses. He finds, however, that it's not so easy to escape the past.

    PUTNEY SWOPE (1969)

    Dark satire in which the token black man on the executive board of an advertising firm is accidentally put in charge. Renaming the business "Truth and Soul, Inc.", he replaces the tight regime of monied white ad men with his militant brothers. Soon afterwards, however, the power that comes with its position takes its toll on Putney...

    EVERY HOME SHOULD HAVE ONE (1970)

    Teddy (Marty Feldman) works for a large advertising company. Given the seemingly impossible task of selling frozen porridge, he decides to produce commercials which make the product seem sexy. This leads him into confrontation with the "Keep Television Clean" movement, of which his wife is a senior member. Further problems ensue when the family take on Swedish nanny Inga Giltenburg (Julie Ege).

    NETWORK (1976)

    Paddy Chayefsky's scathing satire about the uses and abuses of network television. A veteran network anchorman (played by Peter Finch) hasbeen fired because of low ratings. So he announces he'll kill himself on live TV two weeks hence – which sends the ratings skyrocketing. The anchorman's descent into insanity includes what becomes his trademark now-famous cry of rage: "I'm as mad as hell,
    and I'm not gonna take it anymore!" Faye Dunaway plays the frigid, ratings-obsessed producer who pursues success with cold-blooded zeal

    EUROPE AFTER THE RAIN (1978)

    Dada came out of the craziness of World War One. "The birth of Dada was not the beginning of art but of disgust." Surrealism tried to systematize Dada's anarchy into an artistic blend of Freudian psychoanalysis and Marxist provocation. In the interests of conquering the irrational, Salvador Dali opened exhibitions dressed in a diving suit, Marcel Duchamp turned himself into woman, Benjamin Peret assaulted priests, and Yves Tanguy ate spiders. Andre Breton, nicknamed "the Pope of Surrealism", led an inspired gang of artists, lunatics and writers. By the 1950s they were denouncing each other for betraying the movement, but their ideas had infected Hollywood, advertising agencies and were turning up as TV humor and album covers.

    FM (1978)

    Q-SKY is the #1 radio station in Los Angeles mainly because of the music they play, and running the station the way they want to. It has led them to a ratings success. The interesting radio personalities include: Jeff Dugan, rebellious head of the radio station; Mother, who is burned out from being a DJ; Eric Swan, a self centered romantic who wants more than just being a DJ; The Prince of Darkness, the hip night DJ; and Laura Coe, the easy- going type. The movie focuses on the battle between Jeff and his corporate bosses, who want more advertising and less music.

    THE ELECTRIC HORSEMAN (1979)

    Sonny Steele used to be a rodeo star, but his next appearance is to be on a Las Vegas stage, wearing a suit covered in lights, advertising a breakfast cereal. When he finds out they are going drug the horse in case its too frisky, he rides off into the desert...

    C.O.D. (1981)

    Albert Zack is a struggling, bumbling, advertising salesman hired to save the Beaver Bra Company from impending doom. He is charged with signing five specific, world-famous, busty woman as endorsers for the bra line. Silly antics and situations occur as he tries, mostly in various costumes, to get close enough to these women to make his pitch for their signature. Working against him are two board members who stand to gain if the company fails. As he circles the globe in search of these signatures, he is faced with a variety of challenges, one of which is a relationship with his own secretary.

    BEER (1985)

    An advertising firm, desperate to keep an account from a financially-ailing brewery, concocts a macho ad campaign centering on three losers who inadvertently prevent a robbery at a bar.

    BLISS (1985)

    An advertising executive dies and goes to hell... except nothing changes. Well, his daughter is buying drugs with sexual favours from her brother, and the number of cancer-causing products is on the increase. But the notes he writes to himself to prove he hasn't gone insane are getting more disjointed, and he runs off with an ex-prostitute called Honey Barbera.

    HOW TO GET AHEAD IN ADVERTISING (1989)

    Dennis Dimbleby Bagley (Richard E. Grant) is a brilliant young advertising executive who can't come up with a slogan to sell a revolutionary new pimple cream. His obsessive worrying affects not only his relationship with his wife, his friends and his boss, but also his own body - graphically demonstrated when he grows a large stress-related boil on his shoulder. But when the boil grows eyes and a mouth and starts talking, Bagley really begins to think he's lost his mind. But has he?

    CRAZY PEOPLE (1990)

    Emory (Dudley Moore) works in advertising, and is beginning to crack up. His latest idea is honesty, e.g. "Volvos, Yes they are boxy, but they're safe". This doesn't go down too well with the boss, so Emory is sent to a psychiatric hospital to 'recover'. Meanwhile, back at the office, Emory's work is accidentally sent to the printers. His ads are a huge success. But now Emory has fallen for Kathy (another patient) and so doesn't want to leave.

    A SHOCK TO THE SYSTEM (1990)

    Graham Marshall (Michael Caine) already celebrates his anxiously awaited promotion in an advertising company, when he learns that Roger Banham (Peter Riegert), one of his subordinates, will be promoted instead of him. Frustrated that his hated life will never change, he starts a cunning ploy to take bloody revenge on everyone who humiliated him - starting with his unnerving wife (Swoosie Kurtz).

    BOB ROBERTS (1992)

    Mock documentary about an upstart candidate for the U.S. Senate, is smart, funny, and scarily prescient in its foreshadowing of the Republican revolution of 1994. Bob Roberts is a folksinger whose songs of protest target welfare chiselers, liberal whining, and the like. The film gives needle-sharp insight into the way candidates manipulate the media, and captures the chilly insincerity of right-wing populism and airhead TV news anchors.
          -- from Marshall Fine's comments on Amazon.com

    BOOMERANG (1992)

    Marcus (Eddie Murphy) is a successful advertising executive who woos and beds women almost at will. After a company merger he finds that his new boss, the ravishing Jacqueline, is treating him in exactly the same way. Completely traumatised by this, his work goes badly downhill. But then Jacqueline's more quietly attractive assistant Angela, who has been dating Marcus' best friend, shows herself more than a little concerned by his parlous state.

    EL LADO OSCURO DEL CORAZON (1992)

    Oliveiro is a young poet living in Buenos Aires where sometimes he has to sale his ideas to an advertising agency to make a living or exchange his poems for a steak. In Montevideo, he met a prostitute, Ana, with whom he fell in love. Back in Buenos Aires, he accepts a contract with a publicity agency to get the money for three days of love with her. Will he get what he's searching for when his ideal of love's pleasure is literally going in levitation while making love?

    WAYNE'S WORLD (1992)

    Wayne is still living at home. He has a world class collection of name tags from jobs he's tried, but he does have his own public access TV show. A local station decides to hire him and his sidekick, Garth, to do their show professionally and Wayne & Garth find that it is no longer the same. Wayne falls for a bass guitarist and uses his and Garth's Video contacts to help her career along, knowing that Ben Oliver, the sleazy advertising guy who is ruining their show will probably take her away from him if they fail.

    EVEN COWGIRLS GET THE BLUES (1993)

    Sissy Hankshaw is born with enormous thumbs that help her hitchhiking through the US from a young age. She becomes a model in advertising and her NY agent 'the Countess' sends her to his ranch in CA to shoot a commercial, set against the background of mating whooping cranes. There, she befriends Bonanza Jellybean, one of the cowgirls at the beauty-ranch. The cowgirls take command of the ranch from the Countess and 'drug' the cranes with 'peyote'. The police besiege the ranch.

    PUBLIC ACCESS (1993)

    Brewster seems to be an almost too perfect example of idyllic small-town America, with everyone living in peace and harmony. So when newcomer Whiley Pritcher (Ron Marquette) starts up his own local cable TV show with the question "what's wrong with Brewster?", there surely can't be any deep dark secrets in the town that are just waiting to come to the surface - or can there? And when the question becomes "who's wrong with Brewster?" things start getting seriously nasty.

    DROP SQUAD (1994)

    Political satire about an underground militant group that kidnaps African-Americans who have sold out their race. The story follows as the group led Curtis-Hall and Rhames kidnaps an advertising executive (La Salle) who has been providing advertising programs that belittles blacks and women. One advertisement features Spike Lee endorsing Gospelpak Fried Chicken which comes in a bucket with the Confederate flag draped all over it.

    HUDSUCKER PROXY (1994)

    When Waring Hudsucker, head of hugely successful Hudsucker Industries, commits suicide, his board of directors, led by Sidney Mussberger, comes up with a brilliant plan to make a lot of money: appoint a moron to run the company. When the stock falls low enough, Sidney and friends can buy it up for pennies on the dollar, take over the company, and restore its fortunes. They choose idealistic Norville Barnes, who just started in the mail room. Norville is whacky enough to drive any company to ruin, but soon, tough reporter Amy Archer smells a rat and begins an undercover investigation of Hudsucker Industries.

    RENAISSANCE MAN (1994)

    Danny DeVito plays an advertising man who is slowly sliding downhill. When he is fired from his job in Detroit, he signs up for unemployment. One day they find him a job; Teaching thinking skills to Army recruits. He arrives on base to find that there is no structure set up for the class. He begins by having them write and summarize books and magazines they are reading. When one of them asks him to describe what he is reading, he gives a National Enquirer's view of _Hamlet_, (Incest, murder, intrigue.) They ask to read it with him and the structure of the class is born; They will read _Hamlet_ and critically analize it.

    AD AND THE EGO (Documentary, 1997)

    Intercutting thousands of contemporary and classic television commercials with insights by Stuart Ewen, Jean Kilbourne, Sut JhalIy and others, this film scrutinizes late 20th century American society and its prime inhabitant, Consumer Man. You will never look at an ad the same way again after viewing what critics are calling "the first comprehensive documentary on the cultural impact of advertising in America".

    SLIDING DOORS (1998)

    Young Helen (Gwyneth Paltrow) is fired from her job at a PR company, and when the sliding doors of the tube car close on her, we start to see what would have happened if she'd made the train, and if she hadn't.

    SUITS (1999)

    A deodorant company with a product called "Smell No Mo" pits two rival ad agencies in a race to come up with a campaign for a new- fangled sanitary napkin called Vorcan. The advertising satire follows the New York firm of Cranston & Co. as they fight rival Hoffman & Partners. Cranston (Robert Klein) fires his creative director (Tony Hendra) which puts a young copywriter (Randy Pearlstein) with a literature degree on the front line, even though he doesn't want to be. The contest comes down to a schmaltzy campaign by Hoffman with music by Air Supply that uses the tagline "Vorcan: your own personal air supply." or a more down to earth campaign from Cranston of "The pad ain't bad!"

    BAMBOOZLED (2000)

    Dark, biting satire of the television industry, focusing on an Ivy-League educated black writer at a major network. Frustrated that his ideas for a "Cosby Show"-esque take on the black family has been rejected by network brass, he devises an outlandish scheme: reviving the minstrel show. The hook: instead of white actors in black face, the show stars black actors in even blacker face. The show becomes an instant smash, but with the success also comes repercussions for all involved.

    WHAT WOMEN WANT (2000)

    Nick Marshall, Playboy and Hot Shot in advertising, thinks he's God's gift to women. After a little accident, he discovers that he is suddenly able to hear what women really think. First, Nick is pretty disappointed when he discovers that his beloved macho behaviour does not exactly contribute to being desired. Then, his upcoming dream position in the company is being given to a new team member: Darcy, not only a woman, but a man-eating one, also is a very talented ad expert. So, Nick decides to sabotage his new boss by reading her thoughts and selling her ideas as his own. Unfortunately, love gets in his way.

    99 FRANCS (2007)

    (verbatim from Wikipedia entry) By French director Jan Kounen based on a novel with the same title written by Frédéric Beigbeder, the film is a satire on the modern advertisement business. The plot mainly concerns the story of a commercial advertisement designer, Octave Parango (Jean Dujardin), who has an easy-going, highly paid job, and an active free life mainly consisting of drugs and random one-time sexual relationships. However, he starts growing weary of his job, and after having his first ever long-time relationship with fellow worker Sophie (Vahina Giocante) fail miserably, he organises a revolt against the advertisement business.

    Television

    BEWITCHED (1964) (TV series)

    Samantha, a powerful member of the society of witches that has lived apart from (and disdained) humanity for many centuries, falls in love with a mortal, Darrin Stephens. Much to the disgust of most of her family, she vows to give up witchcraft and become an ordinary suburban housewife, raising a family (bearing Tabitha and Adam). Never able to give up her heritage completely, the friction between the matriarchal, moneyless society of her birth and the patriarchal, capitalist society of modern advertising drives the comedy over eight seasons and 256 episodes, from 1964 to 1971.

    BOSOM BUDDIES (1980) (TV series)

    Henry (Peter Scolari) and Kip (Tom Hanks) are two advertising designers who had a real problem with finding a place to live. At the beginning, the sole place they could afford was condemned, but they only found out when the wrecking ball was smashing up the place while they were sleeping. A female friend suggested they stay at her building, but the snag is that the place is for women only. In desperation, they assume the identities of the women Hildegard and Buffy in order to rent a room. Now as they pursue their dream of success in the ad business, they also struggle to keep their deception at the apartment building so they won't be evicted, but the beautiful neighbours they have are a constant temptation.

    CAMPAIGN (1988) (mini-series)

    A six-part drama series set in an advertising agency. It focuses on Sarah Copeland, a rising copywriter who is pitching for a prestigious account. This series is one of a number documenting the unique social and economic conditions in south-east England during the 1980s economic boom.

    THE DON RICKLES SHOW (1972) (TV series)

    Acerbic Don Robinson (Don Rickles) was an advertising executive with the New York firm of Kingston, Cohen & Vanderpool, where he became constantly frustrated with the red tape, delays and problems associated with a fast-track society. He sometimes took out his frustrations on his wife Barbara, young daughter Janie or his neighbors, the Benedicts.

    ON OUR OWN (1977) (TV series)

    Maria Bonino and Julia Peters are two secretaries in a high- powered New York advertising agency. They are promoted to art director and copywriter and begin their new careers with enthusiasm. Other people in the agency are J.M. Bedford, chairman of the board; Toni McBain, the President; April Baxter, a copywriter; Eddie Barnes, a TV commercial producer, and Craig Boatwright, a salesman.