Google’s new campaign features the beloved character Sharon Strzelecki (Magda Szubanski), showcasing how AI-powered tools can help Australian businesses grow by simplifying digital advertising.
The campaign includes a humorous mini mockumentary and various ad formats, demonstrating how Sharon uses Google’s tools for her ‘Bowled & Beautiful’ hairdressing business.
This approach demonstrates the ease and effectiveness of integrating AI into their marketing efforts.
Zane Pearson, director at Emotive, reveals the creative journey behind the campaign.
Speaking to LBB’s Tom Loudon, he unpacks the choice of mockumentary format, the combination of AI-powered tools, and the importance of ensuring authenticity and engagement.
LBB> How did you decide to use Sharon Strzelecki, and how does her character affect the campaign’s effectiveness?
Zane> It’s worth saying that since the beginning, Emotive has had a production unit focusing on high-quality film production.
What’s cool about that, and maybe slightly different, is that it generally allows for directorial and production collaboration during that creative process.
So I worked with the creative team in the ideation for this campaign and helped come up with it all, which is not necessarily how it always goes because sometimes you’ll just be pitching on a script and bringing that directorial lens to it at that point.
In contrast, I was part of that entire ideation process, so I can tell you how the decision to include Sharon was made.
With the concept, the team knew that we were looking for a character loved by Australian audiences. The character would be really funny and also known for being a little bit out of their depth in most situations.
LBB, can you elaborate on the creative process behind the mini mockumentary and how it complements traditional ad formats?
Zane> With the mockumentary approach, we wanted the campaign to feel authentic to Sharon and Google, and the mockumentary felt right.
We wanted to tap into that format and have a bit of a knowing self-parody that it wasn’t having a go at Google’s past campaigns. Instead, we gave us a bit of licence to use a fictional character as we’d typically use a real-life Google Ads user to showcase their success and tell their story.
Sharon’s style has always been really earnest, and her comedy has always been fly on the wall. Over the years, audiences have become used to watching her get into trouble in a mockumentary style, in things like ‘Kath & Kim’.
This also had the critical effect of having the story told by Sharon and not by Google.
LBB> How did you ensure the campaign remained authentic to Sharon’s character while promoting Google’s new tools?
Zane> Leading into the production, once we’d proposed the idea and Magda had expressed interest, we discussed it with her at length.
She’s lived with the character for a very long time. She’s very close to her heart, and I think she describes her as an alter ego with whom she walks through life.
So we touched base early in the project, talked about the business we were proposing, ‘Bowled & Beautiful’ beauty salon, and the sorts of scenarios that we were thinking of, and then got her input.
We had a few really robust sessions with her about where it could all go, and they all basically degenerated into laughing fits—which honestly is ideal. It was no trial to do deep dives into ‘Kath & Kim’ and watch a lot of the past material.
LBB> What inspired the decision to feature a mix of content formats, including a cameo from Adam Gilchrist and an appearance on ‘Kochie’s Business Builders’?
Zane> We were always looking for a cameo, so we went back and forth on it a bit. But fundamentally, we were looking for something or someone who, narratively, would be a great indicator of success for the Sharon character in a big way. That needed to ring true to the character, and Gilly was perfect for that, in the sense that to Sharon herself, Gilly coming in to get a haircut is the ultimate indicator of success.
I think ‘KBB’, or ‘Kochie’s Business Builders’, was something we wanted to extend the mock narrative, blurring the lines between fiction and reality and allowing the world of Fountain Lakes and Sharon to come back as big as possible. So, it was an excellent opportunity to get to some Aussie icons.
LBB> Can you discuss the collaboration process between Emotive and Google in creating this campaign?
Zane> The Google team was super enthusiastic about the idea from the beginning and genuinely fans of Sharon. They understood the concept every step of the way, particularly our proposal of the mockumentary format, and were forthcoming with ideas, contributing even on a narrative level. The collaboration was about more than just the product or the brand; it was also about the joy of creating this spot and working together to bring Sharon’s character back.
We worked together through every process step, from ideation through production and post-production, with everyone remaining aligned. It’s worth mentioning that we wanted to avoid a straightforward celebrity endorsement. The team was keen on ensuring the campaign stayed true to their communication style and target demographic. They were instrumental in shaping how Sharon interacted with the product, ensuring it never felt like a hard sell or an overly complex tech demo. Instead, it always felt authentic to how Sharon would engage with and use the product.
Throughout the campaign, the Google team was enthusiastic and collaborative and provided invaluable guidance on how regular people engage with the product.
LBB> What were the most surprising insights or reactions you received during the campaign’s testing or early rollout?
Zane> During the early rollout and testing phase, I was relieved that the campaign’s message was coming through clearly, though that was more a relief than a surprise. The absolute delight has been the positive response from audiences, especially those who already love Magda and her character, Sharon. Seeing them accept the campaign as part of Sharon’s ongoing story has been incredibly gratifying.
At the same time, recognising the Google Ads message coming through has been very important. It’s not enough for people to just love the ad and find it funny; the ad also needs to communicate the Google Ads message effectively. From the comments I’ve read, we’ve succeeded in breaking down barriers and delivering the message.
People have taken the message on board, accepted Sharon’s return, and even called for more content. This kind of reaction is the best you can hope for when releasing an ad — people want to engage more and ask for additional content. It’s the greatest compliment and a strong indicator of success.