“A Message from Unilever,” posted to YouTube on October 19, 2007 responds to the Dove video “Onslaught” from the Dove real beauty campaign, posted on October 1, 2007. The comments for “A Message from Unilever” state that Rye Clifton is the creator, inspired by Chris Wodja, who blogged on Dove’s marketing prior to and after Clifton posted the response video to YouTube. Many commentaries and additional response videos are available online, but Clifton’s video is especially interesting not only because it features a remixing of existing content—a common and copyright-safe method of media creation, as noted by the Internet-famous video explaining copyright using clips from Disney—but also because it uses the corporate drive to inundate a market with materials, preserving and proliferating their marketing propaganda, against it. Clifton’s corporate archive remix, combining Unilever’s other images within “Onslaught’s” frame provides a powerful counterargument because it is delivered in the same form as the original and in the same venue, enabling it to ride the tide of popularity created by “Onslaught,” co-opting that momentum. Based on the YouTube rankings for both “A Message from Unilever” and “Onslaught,” it may seem as though Dove has easily won the viewing battle claiming over a million views as compared to over 100,000 for Clifton’s counterargument. However, the disparity between the actual numbers—1,333,628 to 114,924 views by March 18, 2008—shows the power of Clifton’s “Message” as it captures nearly ten percent of the audience share as Dove, a feat for any independent form in comparison to its corporate parallel. Of course, “Message” won’t be played regularly on television, even though it did make CNN (a clip of which is also archived and linked to the other videos). “Message” informs not only Dove’s marketing contradictions as part of Unilever, but also the changed state of satire in the age of the digital archive. Massive data storage, soon to teach popular media a new word in “petabytes,” promises to maintain accessible digital archives, providing the raw material for research and response. The Daily Show with John Stewart and The Colbert Report already use clips from the present and the past together to show what happens to satire in the age of the archive. Yet, what happens to the archive when the controlling finding aids are reshaped through timely interpretation? Contemporaneous access to corporate, academic, governmental, non-profit, and personal archives change the nature of the archives themselves, but like all technologies the ends to which their new affordances lead are open to their users.