The Baby Campaign Nobody Outgrew
The evian baby ads earned their place in cultural memory honestly. The Rolling Babies clip hit something genuinely strange in people—not cute-baby-content strange, but something more unsettling, like a glitch in the mirror. Then Baby & Me pushed the concept further: adults catching their own infant reflection, dancing in the street, briefly losing their minds with joy. 135 million views in 2013, which is the kind of number that means it stopped being advertising and became something else—a shared hallucination about regression and delight.
The follow-up drops Spider-Man into that same hall of mirrors, letting Peter Parker swing through New York alongside a tiny version of himself. It works better than it should, partly because superhero mythology already leans on the inner-child premise—the bite, the accident, the moment a teenager discovers what his body can suddenly do—and partly because The Amazing Spider-Man 2 has a cast worth watching even when they’re not bouncing off CGI infants. Emma Stone is still the best thing in those films. Foxx as Electro looked genuinely unhinged in the trailers. Garfield’s Parker has a specific beautiful-idiot energy that suits the character.
Whether the film earns all that goodwill is another question. The ad at least commits to its own absurdity without blinking. That counts for something.