"Not criticism, but entertainment"
Mona Vetsch hosts the most amazing commercials from around the world on SF 1
Mona Vetsch hosts the most amazing commercials from around the world on SF 1Last Wednesday, the new program "Top Spots" started on SF 1. On the former "Ventil" program slot, DRS 3, "Oops!" and until recently "Weekend Music" host Mona Vetsch (25) presents the most outlandish commercials from around the world in twelve episodes. More than 250 offbeat short stories are supposed to give the lame TV Wednesday better ratings. Mona Vetsch, how did you get involved with this show? Have you taken the precaution of looking around for new formats for the post-"Oops!" era?
Mona Vetsch: No, that was more of a coincidence. Anyone who knows me knows that I tend to work too much rather than too little at the moment. After the summer break, I set myself a limit: I didn't want to have three jobs at the same time anymore and decided against "Weekend Music" because the other two could be combined better. My boss and producer Yvonne Söhner made me the offer to host the commercial format, which suits me because only 12 shows are planned for the time being. And that doesn't put so much strain on me because we record them in blocks.
What fascinates you about advertising?
Vetsch: Especially the coding of the message from 'I want to tell you something' to 'But you shouldn't notice that I want to tell you something so directly'. From my perspective, advertising is not about wanting to sell something, but about communication. And that's my job, too. I actually do nothing but advertising all day (laughs), for DRS 3, for "Oops!" and for all the programs on our station. Even during my HSG studies, I was planning to go in the direction of political science or marketing.
As a critical journalist, doesn't it bother you to be harnessed by commercial communications?
Vetsch: "Top Spots" is not about this aspect at all. We never ask how successful a campaign was, how big the budget was, or which brand was advertised. It's all about entertainment. That's where the critical aspect is preserved again, in that really only the best spots are included.
That sounds like a light editorial corset that the show will wear.
Vetsch: That is also the case. What has to be said clearly: It's not a broadcast format that SF DRS has reinvented and that will last for a long time. It was taken over from an English program. Realistically, it would be proportional nonsense for the 25-minute show if we were to revise topics, show making-ofs or invite guests. "Top Spots" works for us that way, too, because it offers very good entertainment.
Advertisers and creatives have seen a lot, if not everything, when it comes to advertising. Do Cannes reel habitués still get their money's worth in your show?
Vetsch: To be honest, I have no idea, because I am neither such a habituée myself, nor do I know such people.
Where do you see the target audience for "Top Spots"?
Vetsch: We're not making a show for advertisers and experts, but one for the general public, who are bombarded with commercials every day and actually have enough of them, but will find that commercials could look different. We appeal to younger people who like entertaining shows like "Ventil" or "Viktors Spätprogramm.
So Swiss advertising comes off badly in "Top Spots. What share does it have in the show?
Vetsch: Swiss spots are not represented in the first three broadcasts. But that's not just because of their quality, but also because it's an English format with international spots.
Sat 1 and RTL 2 have similar formats in similarly weak program slots. Why is the public broadcaster SF 1 now following suit with a plagiarism?
Vetsch: SF DRS has shown commercials as fillers before. What's new, of course, is that SF DRS is presenting this format with Swiss presenters and its own studio. We get the same good slot for this format as "Viktor's Late Program. Before that, these slots were filled with bought-in series. That's why I think "Top Spots" is the better solution.
You don't feel like a stopgap?
Vetsch: It's my job to fill a gap with this show. But that's not the same as filling a gap. I don't think it's bad to host a show that isn't scheduled for three years. On the contrary, I couldn't have taken it at all.
Recently, you yourself advertised "Top Spots" in an interview. With your favorite strip, in which a naked young man does push-ups with his penis. What criteria are used to select the spots?
Vetsch: When I was asked in the interview about the commercial I mentioned, I only said that I thought it was funny. No more. (laughs) From the English blocks we receive, we select spots based on whether they also work as a single means of a campaign and are original. Otherwise, they're grouped by content or presentation categories.
Eye-catching commercials like to break through ethical or moral taboo boundaries, and often do so. Are there any spots you'll never see on your show?
Vetsch: I don't think we'll cross a pain threshold. Also because that's not the goal of advertising per se. All the spots shown are very ironic and funny, and the aim is not to trigger something in a stupid way. For example, we have a controversial condom spot where the Pope can't tear open the package. There are certainly people who have trouble with that, but few who turn it into a worldview. But our format is not designed to hurt anyone, but to entertain humorously.
Which Swiss campaign recently caught your eye in a positive way?
Vetsch: I like the Tages-Anzeiger's enigmatic headline campaign. I've found that I respond well to campaigns that evolve. Otherwise, I like the cool approach and implementation, unfortunately not a Swiss creation, the Sprite campaign.
How many advertising agencies have you seen from the inside?
Vetsch: I confess: not a single one. But it's also good that I'm not a professional, so I can look at the commercials from an unbiased perspective.
What would you never advertise?
Vetsch: I would be happy if someone would finally make good advertising for tampons, washing-up liquid or other "women-specific" goods, because outdated clichés are still being invoked here. Interview: Luca Aloisi
Mona Vetsch: No, that was more of a coincidence. Anyone who knows me knows that I tend to work too much rather than too little at the moment. After the summer break, I set myself a limit: I didn't want to have three jobs at the same time anymore and decided against "Weekend Music" because the other two could be combined better. My boss and producer Yvonne Söhner made me the offer to host the commercial format, which suits me because only 12 shows are planned for the time being. And that doesn't put so much strain on me because we record them in blocks.
What fascinates you about advertising?
Vetsch: Especially the coding of the message from 'I want to tell you something' to 'But you shouldn't notice that I want to tell you something so directly'. From my perspective, advertising is not about wanting to sell something, but about communication. And that's my job, too. I actually do nothing but advertising all day (laughs), for DRS 3, for "Oops!" and for all the programs on our station. Even during my HSG studies, I was planning to go in the direction of political science or marketing.
As a critical journalist, doesn't it bother you to be harnessed by commercial communications?
Vetsch: "Top Spots" is not about this aspect at all. We never ask how successful a campaign was, how big the budget was, or which brand was advertised. It's all about entertainment. That's where the critical aspect is preserved again, in that really only the best spots are included.
That sounds like a light editorial corset that the show will wear.
Vetsch: That is also the case. What has to be said clearly: It's not a broadcast format that SF DRS has reinvented and that will last for a long time. It was taken over from an English program. Realistically, it would be proportional nonsense for the 25-minute show if we were to revise topics, show making-ofs or invite guests. "Top Spots" works for us that way, too, because it offers very good entertainment.
Advertisers and creatives have seen a lot, if not everything, when it comes to advertising. Do Cannes reel habitués still get their money's worth in your show?
Vetsch: To be honest, I have no idea, because I am neither such a habituée myself, nor do I know such people.
Where do you see the target audience for "Top Spots"?
Vetsch: We're not making a show for advertisers and experts, but one for the general public, who are bombarded with commercials every day and actually have enough of them, but will find that commercials could look different. We appeal to younger people who like entertaining shows like "Ventil" or "Viktors Spätprogramm.
So Swiss advertising comes off badly in "Top Spots. What share does it have in the show?
Vetsch: Swiss spots are not represented in the first three broadcasts. But that's not just because of their quality, but also because it's an English format with international spots.
Sat 1 and RTL 2 have similar formats in similarly weak program slots. Why is the public broadcaster SF 1 now following suit with a plagiarism?
Vetsch: SF DRS has shown commercials as fillers before. What's new, of course, is that SF DRS is presenting this format with Swiss presenters and its own studio. We get the same good slot for this format as "Viktor's Late Program. Before that, these slots were filled with bought-in series. That's why I think "Top Spots" is the better solution.
You don't feel like a stopgap?
Vetsch: It's my job to fill a gap with this show. But that's not the same as filling a gap. I don't think it's bad to host a show that isn't scheduled for three years. On the contrary, I couldn't have taken it at all.
Recently, you yourself advertised "Top Spots" in an interview. With your favorite strip, in which a naked young man does push-ups with his penis. What criteria are used to select the spots?
Vetsch: When I was asked in the interview about the commercial I mentioned, I only said that I thought it was funny. No more. (laughs) From the English blocks we receive, we select spots based on whether they also work as a single means of a campaign and are original. Otherwise, they're grouped by content or presentation categories.
Eye-catching commercials like to break through ethical or moral taboo boundaries, and often do so. Are there any spots you'll never see on your show?
Vetsch: I don't think we'll cross a pain threshold. Also because that's not the goal of advertising per se. All the spots shown are very ironic and funny, and the aim is not to trigger something in a stupid way. For example, we have a controversial condom spot where the Pope can't tear open the package. There are certainly people who have trouble with that, but few who turn it into a worldview. But our format is not designed to hurt anyone, but to entertain humorously.
Which Swiss campaign recently caught your eye in a positive way?
Vetsch: I like the Tages-Anzeiger's enigmatic headline campaign. I've found that I respond well to campaigns that evolve. Otherwise, I like the cool approach and implementation, unfortunately not a Swiss creation, the Sprite campaign.
How many advertising agencies have you seen from the inside?
Vetsch: I confess: not a single one. But it's also good that I'm not a professional, so I can look at the commercials from an unbiased perspective.
What would you never advertise?
Vetsch: I would be happy if someone would finally make good advertising for tampons, washing-up liquid or other "women-specific" goods, because outdated clichés are still being invoked here. Interview: Luca Aloisi
