Apple apologizes for iPad 'Crush' ad that 'missed the mark'
Apple’s “Crush” commercial for the new iPad Pro — showing a hydraulic press destroying instruments, art supplies, toys and other creative tools into a single tablet — sparked wide backlash for feeling dystopian and anti‑human, especially amid current fears that tech and AI are displacing artists. Many commenters say the intended message (“all these tools in one thin device”) was clear but disastrously executed, contrasting it with Apple’s earlier humanistic branding under Steve Jobs and noting cultural objections in Japan where destroying tools is seen as spiritually disrespectful. Others argue the outrage is overblown or even useful to Apple as free publicity, while pointing out the ad’s resemblance to an older LG spot and suggesting a reversed or less destructive concept would have conveyed the same idea without alienating core creative users.
Overall reaction to the ‘Crush’ ad
- Many commenters found the ad disturbing or “soul‑crushing”: slow‑motion destruction of instruments, art supplies, toys and cultural objects felt gratuitous, wasteful, and emotionally painful to watch.
- Others thought it was fine or even “great”: a clever visual metaphor that all those tools are “compressed” into a thin iPad, or just a slick variant of viral hydraulic‑press videos.
- Several said they only learned a new iPad existed because of the controversy, suggesting the ad “worked” in terms of awareness.
Symbolism, timing, and AI context
- Critics argue the imagery accidentally nails a widespread fear: tech and AI will crush human creativity and culture into a black box controlled by big companies.
- In that reading, the ad looks like Apple celebrating the destruction of analog, tactile, multi‑generational crafts in favor of a disposable, locked‑down slab.
- Supporters counter that people are over‑interpreting a simple compression metaphor and projecting broader anxieties onto one spot.
Impact on artists and Apple’s core audience
- Musicians, visual artists, and other creatives in the thread describe strong emotional attachment to their tools; watching pianos, trumpets, guitars, cameras and paint obliterated felt like an attack on their identity and discipline.
- Many note Apple has long marketed itself as the ally of creatives; this feels off‑brand and more like “we replace you” than “we empower you.”
- Others dismiss this as oversensitivity or “performative outrage,” arguing destruction-as-visual-trope is common in movies, music videos, and ads.
Cultural and global angle (Japan)
- Multiple comments highlight Japanese backlash: in Shinto‑inflected culture, tools can be seen as having spirit; wanton destruction of instruments and work tools is viewed as arrogant and disrespectful.
- Concepts like tsukumogami and mottainai (wastefulness as moral wrong) are cited; some speculate this market‑specific reaction helped trigger the public apology.
Creative direction, plagiarism, and alternatives
- Several note the concept closely resembles an older LG phone ad and a Nintendo spot, making it feel unoriginal on top of tone‑deaf.
- Many say simply reversing the ad (iPad expands and unleashes the tools) or “magically shrinking” them without violent crushing would have conveyed the same message with a positive, on‑brand tone.
Marketing strategy and apology
- Some believe the apology is pure PR/“earned media” theater, especially since the ad remained online.
- Others argue it’s rational marketing: when an ad alienates a primary audience, you walk it back.
- There’s disagreement on “never apologize” vs. “this shows Apple is out of touch”; several see it as another data point in Apple’s post‑Jobs drift toward a risk‑averse, vaguely anti‑human megacorp.