Chris Staples is a partner with Rethink in Vancouver

Money was tight.

Worry was rampant.

Everyone blamed the lack of innovative work on 9/11.

Nobody blamed the lack of innovative scripts.

Good ideas were killed by focus groups.

Bad ideas were blessed by focus groups.

It was still possible to be awed (Ikea’s ‘crazy’ lamp spot),

And surprised. (Bensimon’s CFL spots),

And disappointed (Zellers’ ‘Better and better’).

The jingle stayed dead,

Everywhere except Sleep Country Canada.

Canadian creatives continued to lament the lack of fresh new Canadian directors.

Canadian creatives continued to give their big-budget spots to Americans.

Business in Vancouver was still tough.

PJ and BFS were still strong.

Once again agencies wondered why it was impossible to shoot a simple commercial for under $70,000.

Once again production companies refused to contemplate a radically more efficient model.

Taxi kicked ass,

Again.

Ad Standards Canada had great spots pulled off the air, often with one complaint.

Ad Standards Canada finally began consultations on reform.

Hundreds of writers and art directors waited with bated breath.

There were fresh takes on tired formulas (Lotto Super 7’s spin on home-shopping channels).

And great music tracks in lame commercials (Pringles and Basement Jaxx).

Celebrity endorsements stayed dead.

The Maytag Repairman stayed alive.

Breakout characters emerged (the Special K lady, the Campbell’s Soup Neanderthal).

Tired characters were allowed to return (the Pillsbury Doughboy, Mr. Clean).

There was a dawning realization that people zap ads they find formulaic.

And don’t zap ads they find entertaining.

And that the era of TiVo was almost upon us.

Humor came to PSAs (Zig’s funny new breast cancer work).

Production companies still clung to the old 3/4-inch format for reels.

Agencies repaired their ancient 3/4 machines ‘one last time.’

Awards still mattered too much.

Canadians felt more distinctly Canadian than ever.

American multinationals continued to replace Canadian ads with ‘head office’ creative.

There were good days.

There were bad days.

In the end, it was still just a commercial.