A new advertisement by Apple Inc. (NASDAQ:AAPL) has sparked a significant backlash. The ad, which was unveiled during the launch of the new iPad, has been criticized for its portrayal of creative tools being crushed and replaced by the new iPad.
What Happened: The ad, titled “Crush!” was unveiled during the virtual launch of the new iPads. It features a studio filled with various creative tools such as musical instruments, a record player, and cans of paint, which are then physically crushed by a giant compressor.
When the compressor is lifted, only the new iPad remains. The ad, which emphasizes the thinness of the iPad, has been criticized for its portrayal of the destruction of creative tools. Some critics see it as a symbol of Apple’s power and the potential replacement of human creativity by artificial intelligence.
For years, Apple has stood out as a creative and influential force in corporate advertising, unveiling countless campaigns that are celebrated both within the industry and in mainstream culture. Co-founder Steve Jobs played a hands-on role in several of the company’s most iconic campaigns, notably the “Think Different” initiative that debuted following Jobs’s comeback to Apple.
"The destruction of the human experience. Courtesy of Silicon Valley," actor Hugh Grant posted on X.
Despite the criticism, Apple has continued to promote its new iPads, which feature the new M4 chip, said to enhance the device’s artificial intelligence capabilities.
Apple did not immediately respond to Benzinga's request for comment.
Despite the new features, some industry experts, such as tech analyst Gene Munster, have noted that the iPad’s fundamental nature remains unchanged, regardless of its increased power.
Meanwhile, Apple’s CEO, Tim Cook, has been emphasizing the company’s Vision Pro during public events, indicating a strong focus on AI. This has led to speculation about Apple’s AI ambitions, particularly with the introduction of the M4 chip.
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This content was partially produced with the help of Benzinga Neuro and was reviewed and published by Benzinga editors.
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