We don’t like to sit still here at B&T. And so, while our Campaign of the Month format was held in high regard by the industry, we’ve decided to refresh it, bringing our friends from System1 and some top-level adlanders along for the ride.
Moving forward, rather than picking one campaign as our winner, we’re picking three and letting System1’s smarts and some of the industry’s best creatives and strategists split the hairs between the work to decide which is best.
In July, we loved three campaigns above all others: Google’s smart, funny and distinctly Aussie ad featuring none other than Sharon Strzelecki spruiking its Ads platform; NRMA Insurance’s blockbuster “A Help Company” brand repositioning ad; and Movember’s first fully in-house effort — and what a tear-jerker it was.
Below, you’ll see the ads, a brief explainer; then performance data and analysis from System1 and some laser-sharp insights and appraisals from creatives and strategists. So, first up, it’s Sharon.
Google, “Sharon’s Google Ads Story”
Emotive created this Google ad and it saw Strzelecki showcase the Google’s Ads tools and how easy it is for businesses to set up and use them to find new customers. It seems so easy that even an accident-prone indoor leg-spinner and small business owner from Fountain Lakes can do it.
“Shaz is a very special character, and I wanted to ensure that her evolution into a business owner was true to her spirit as an everyday Aussie who is giving it her best crack. Working with Emotive and Google across long-form content ensured that we could tell an authentic story. The fact that Shaz is helping her fellow entre-prenuers … well I think that’s exactly the type of person she is!” said Magda Szubanski, the actress who plays Strzelecki.
The campaign features a mini mockumentary film and 60s, 30s, and 15s ads complemented by an in-depth’ how-to’ video in which Strzeleckiwalks us through the steps of setting up Google Ads. There’s even a cameo from ex-Australian cricket legend Adam Gilchrist. System1 used the entire mockumentary in its assessment.
“This ad stands well above the one-star norm for B2B advertising, where 75 per cent of ads only achieve a one-star rating. It effectively leverages humour, characters with agency, and human connections—such as implicit communication, dialogue, and physical touch—to drive emotional engagement. These are key ‘right-brain’ features, as outlined by Orlando Wood in his books Lemon and Look Out and are known drivers of engagement and attention,” System1 told us.
“Amusement, one of the most impactful forms of happiness for long-term business success, is rarely utilised in B2B advertising. Yet, Google is significantly over-indexing in this area. However, the ad’s length poses a challenge; emotional engagement plateaus at 1 minute 30 seconds and steadily declines afterward. A shorter version of the ad would likely enhance its overall emotional appeal, addressing the current dip in engagement and neutral or negative feelings.”
Emily Taylor, strategy founder, Bureau of Everything added that while the ad wasn’t “particularly original” it was a hoot.
“This is certainly not the first time a brand has tapped into the equity built up with Kath & Kim’s Sharon Strzelecki. So whilst it isn’t particularly original, I think it’s a lot of fun and does a good job of communicating a pretty dry topic,” she said.
Given it is effectively a product demo wrapped in entertainment and some great one-liners, it’s a smart move. It also works well in long form but cuts down beautifully, so it’s a hard-working asset for Google.”
Michael McConville, CEO, Cummins&Partners, added:
“Aaahhhh, I see what they did there. Ya see? It’s not the classically titled and utterly brilliant Bold and the Beautiful that featured the incredible characters Stephanie, Ridge and many other wonderfully hirsute individuals. No, this is about a different type of hairdo altogether, presented by none other than Sharon from another program of a little while back. This is really nicely executed, mockumentary style and gives off a good ol’ degree of sitcom vibe. But it’s gotta be your bag. Because it’s really playing off this existing character and where you feel it’s likely to take you. It does surprise, but you’ve got to be willing.
“I couldn’t really pick holes at this execution as it’s wonderfully done. The idea stacks up too. I know I’m unlikely to be the target audience although I know the character and schtick well. I just had to stick with this for the major payoff/s. Maybe I just hoped for a deeper form of surprise with my minutes, and made me hope there was soon to be another hirsute character in the series that could surprise me further. Ya know, like Stephanie and Ridge from the legit B&B.”
NRMA Insurance, “A Help Company”
This ad was the first iteration of a big new brand repositioning from NRMA Insurance. Developed with Accenture Song, the campaign was accompanied by a new, differentiated visual identity, being rolled out across all customer touchpoints. It also tied in with NRMA Insurance’s sponsorship of Channel Nine’s Olympics and Paralympics coverage.
“When we met and saw the idea, it didn’t start with the ad,” NRMA Insurance’s chief customer and marketing officer Michelle Klein told B&T.
“In fact, we didn’t see it until quite late in the process. It started with a universal platform, experiences, interfaces, technology and physical ideas. That is what they brought to us when we met with David Droga, Nick Law, Neil Heymann, Mark Green and Barbara Humphries.”
System1 praised the ad for its strong fluency but said it could seem a bit gloomy.
“This ad effectively showcases the power of a melodic, recognisable soundtrack in driving emotion. The introduction of the Beatles’ ‘Help'” significantly boosts positive emotions and shifts the tone from one of fear and ambiguity to one of hope and optimism. However, the opening scenes may focus too heavily on doom and gloom, featuring dark and abstract imagery that limits engagement early on. This makes it more challenging for the ad to resolve negative emotions,” said the body.
“Then navigating emotional topics like insurance and finance, it’s crucial for brands to highlight the positive impact they can make from the outset. Failing to do so risks tapping into audiences’ fears and anxieties, ultimately limiting the ad’s potential for long-term brand building.”
Taylor said the ad’s execution was “a bit lacklustre”.
“‘Help Company’ feels so close to the original NRMA Help platform that at first it feels a bit obvious. But reading up on the initiatives beyond the ad, it makes more sense. I find this actual execution a bit lacklustre though, it’s pretty rational stuff. The unnecessarily high rotation of the ad in the Olympics didn’t help. Personally, I would have kept up the emotion we expect from NRMA and skipped the greenwash-y bit with the climate scientists.”
McConville, meanwhile, said it was “a really smart flip” and “reframing” of the category.
“This is classically Australian and warm with characters that pleasantly surprise without getting too deep beneath the surface. The range of Help is what this is all about so it chops between scenarios with care, so it’s not quite the executed mood-film it could’ve been in lesser hands. And hey, if you can afford one of the most recognisable tracks of all time that sings your proposition, then why not. I probably would.
“But while the proposition and claim are really strong, I bet everyone spent ages trying to work on exactly what the right articulation of the line could be. ‘A Help Company’ is nice. But there’s enough explanation through the ad that it would have been great to land on a line that didn’t need to restate what we’ve just spent a minute with. But damn, I’m being harsh. This is smart. Dial NRMA for HELP.”
Movember, “The Real Face Of Men’s Health”
This ad was Movember’s first fully in-house created and produced effort and the charity described the campaign as a “bold departure” for the brand.
Comprising of a hero film featuring an array of faces and a lifecycle of moments impacted by men’s health – both the good and the bad – the campaign is supported by a series of content films that tell the stories of real Movember community members, and the profound impact men’s health has on their family and loved ones.
“Charities and non-profits often struggle with long-term brand building due to an over-emphasis on the cause of their existence,” said System1.
“In this ad, the opening scenes featuring smiling characters and positive family moments initially drive strong positive emotion. However, this quickly diminishes when the message about mental health is introduced.
“A key strategy for brands is to use negative emotion sparingly and early on—beginning with the problem before showcasing how the brand is actively supporting and overcoming the challenge. Featuring relatable, real people is another effective approach, which Movember successfully employs in this campaign. However, the ad could benefit from reordering the narrative flow to maximise long-term potential. Introducing the brand’s message about mental health earlier would not only bolster engagement but also strengthen brand recognition, making the connection between the moustache and mental health more evident and powerful.”
Taylor said that the ad was simply too busy to really cut through.
“There is too much going on here. In trying to establish that men’s mental health affects everyone in men’s lives with different perspectives and overlapping storylines it’s become disjointed.
“Some stories feel like they make the point, others detract from it. It is always hard working with real interviews and footage, stitching it together meaningfully is quite an art. Lucky for Movember, the individual stories in this campaign work better. Plus, as they have strong awareness, the branding alone will nudge many into action.”
McConville, said the ad was certainly memorable but the execution could have been slightly improved.
“The foundation has a long history of great work. From funny, to kick you in the feels, to creative conceits to just playing it as straight and emotionally as it is. This is the latter and it’s very good for it. It covers a lot of ground with a lot of snippets/stories. Enough that everybody should be able to relate to at least part of it. And that’s important to engage people and get them to act.
“If pushed, perhaps I would have maybe liked a bit more of one story or a faster beat across more of them. It’ll stick with many people, but for others, it might be overwhelming as the viewer dips in and out of a series of soundbites. The emotion gets stirred to the point that I guess I bend, but deep down, I kinda want to go beyond bending, to breaking. Make we weep. But it gets me in the most important way; I’ll remember this. And it’ll probably be enough for me to shave down the bad-beard I’m carrying, and start afresh with a Mo this Movember. Sorry for all who have to observe.”
