Modern PSAs Shock or Amuse Where Classics Only Preached

The format can help jumpstart creatives' careers

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Imagine you're watching an X-rated version of Game of Thrones (you don't have to admit that out loud), and all of a sudden, up pops a message about testicular cancer.

Believe it or not, it actually happened. In the scene, porn star Eva Lovia takes a moment out of an act near her partner's privates to demonstrate a cancer check, then directs the viewer to a website,, for more information. After that brief but masterful stroke, Lovia and her cohorts return to a story that was most definitely not written by George R.R. Martin and does not take place in Westeros.

The partnership incorporating the movie (Game of Balls), cooked up by Sydney's M&C Saatchi for the Australian nonprofit Blue Balls Foundation, isn't even the first adult-entertainment link with a public-health issue. It likely won't be the last.

But there's something bigger going on. The campaign points to the fact that public-service announcements—one of the most enduring forms of advertising—have been modernized in every way, from their cinematic look and sometimes cheeky attitude to their digitally savvy distribution. For example, a recent hit PSA for the Consumer Healthcare Products Association and the Partnership for Drug-Free Kids from Tribal Worldwide that starred projectile-vomiting robots came by way of an app targeted to at-risk youths.

Far from being relegated to the fringes of media (think dead-of-night TV airings), PSAs are setting digital viewing records, and have even landed in advertising's most visible showcase, the Super Bowl. Still, the messages, now having splintered into subgenres like parodies, gut checks, tear jerkers and social experiments, remain at their core calls to action. The only difference is, they're now going viral, and reaching more consumers than ever.

"They're a simple way to communicate a message—a bare-bones, straightforward approach—and that's why PSAs have stood the test of time," says Tim Staples, co-founder of Shareability, which recently produced a mock PSA about the "dangers" of selfie sticks for Pizza Hut. "But it really takes something extra to break through now because so many people are using this format."

The first PSAs were introduced in the 1940s by the nonprofit Ad Council and were all about propping up the war effort with slogans like "Loose lips sink ships" and "America at war needs women at work." The group went on to launch some of the most identifiable ad campaigns in history, created pro bono by the country's top agencies and financed by brands. They include Smokey the Bear and his "Only you can prevent forest fires" tagline, the United Negro College Fund's "A mind is a terrible thing to waste" and the U.S. Department of Transportation's "Friends don't let friends drive drunk."

One recent campaign, dubbed "Love Has No Labels," has turned out to be one of the most measurably popular. The campaign promoting acceptance and inclusion—created by R/GA and backed by major marketers including Coca-Cola and Procter & Gamble along with associations like the Anti-Defamation League and the AARP—has amassed more than 110 million views via social media. In a crafty distribution move, the Ad Council launched the PSA exclusively on do-gooder site Upworthy, where it almost immediately started breaking the Internet.

The video, capturing a live outdoor stunt, placed individuals two by two behind a giant X-ray screen in Santa Monica, Calif. As the pairs danced, hugged and interacted, all that passersby on the other side of the screen could see was a couple of skeletons. The big reveal: Participants were old, young, straight, gay and representing different colors, ethnicities and religions. The aim was to get viewers to confront their biases, conscious or otherwise.

"It's shot in a documentary style using real people, so you as a viewer feel like you are experiencing it—you're close to what's happening," explains Lisa Sherman, president and CEO of the Ad Council. "Those are the most effective PSAs for me. Those are the ones that can evoke a lot of emotion."

Nick Law, R/GA's chief creative officer, says his team let the simple PSA format guide a stripped-down idea and uncomplicated execution. "It's hard for ad creatives to get out of the habit of reaching for the metaphor," he says. "But we decided to demonstrate the power of inclusion by showing inclusive couples. It was honest, and it didn't use techniques that would've made it look like a 30-second spot."

While the project confirmed for Law that a well-crafted tagline never hurts, casting everyday people rather than actors was vital to its success.

It's no wonder spots for nonprofits and worthy causes are among the most memorable campaigns being produced today, says Wendy Melillo, a professor at American University and author of the book How McGruff and the Crying Indian Changed America: A History of Iconic Ad Council Campaigns. "In a typical advertising career, you're spending your life selling people things they don't need—it's hard to get that worked up when you're selling laundry detergent," she explains. "But working on a great PSA could be a career high. PSAs give you a chance to make a difference and engage in something more meaningful."

Of course, it is no easy feat finding the right balance between creating high art and delivering a message that moves consumers to action. Some of the classic PSAs of years past—like Sally Struthers' infamous appeal on behalf of starving children—have tended to overwhelm viewers, notes Susan Credle, chief creative officer, North America at Leo Burnett. That has given rise to a new, less shocking form of PSA that breaks down problems in more addressable ways.

"When it's just too horrifying, people block it out," Credle notes. "What we're seeing now are messages that make you self-evaluate but don't scare you to death. They're showing you ways that you can make a change. They're accessible."

Markets outside the U.S. are not as apt to shy away from the more visceral and disturbing imagery of PSAs, however. Take Ogilvy Beijing's in-theater stunt warning against the dangers of texting and driving. Moviegoers witnessed a horrific crash splashed across a 30-foot screen right after checking their smartphones for a mass text from Volkswagen. Meanwhile, patrons of a British pub got a serious fright in the form of a bloody head crashing through a bathroom mirror, simulating the effect of a body thrown into a car windshield, as part of an anti-drunk driving campaign.

That said, this country has seen its share of stark and shocking—the forerunner being the award-winning anti-smoking "Truth" PSAs from Crispin Porter + Bogusky. A more recent safe-driving campaign from The Tombras Group for the National Highway Traffic Safety Administration showed, in brutal slow-motion, what can happen when teens text and drive. And recent work from Women in Distress and Bravo/Y&R created fake Tinder profiles of men who went from nice to nasty—eventually throwing punches—as a way to spotlight domestic violence.

PSAs can certainly be serious, but current trends are steering away from the exploitative, overwrought images of the past. Even Sarah McLachlan has admitted how hard it is to watch her achingly sad PSAs for the American Society for the Prevention of Cruelty to Animals to the strains of her melodramatic tune "Angel."

@TLStanleyLA T.L. Stanley is a senior editor at Adweek, where she specializes in consumer trends, cannabis marketing, meat alternatives, pop culture, challenger brands and creativity.
Publish date: June 1, 2015 © 2020 Adweek, LLC. - All Rights Reserved and NOT FOR REPRINT