How Droga5's Streaker Spot Nailed 50 Years of SBS Audacity

In its most daring campaign to date, Australia’s Special Broadcasting Service (SBS) has launched a 60-second spot featuring full-frontal nudity, exclusively available on the broadcaster’s own channels.

Developed by Droga5 to celebrate SBS’s 50th anniversary, ‘The Ad That Can Only Be Seen On SBS’ plays on the network’s reputation for boundary-pushing content while reinforcing its commitment to diversity.

By limiting the uncensored version to its own content platforms, SBS transforms regulatory constraints into a unique selling point, embodying the ethos of the ‘We Go There’ platform.

Droga5 ANZ ACDs Lennie Galloway and Thomas Gledhill, co-CCO Barbara Humphries, and senior producer Elliot Liebermann spoke to LBB about the playful execution and its PG understudy. They explain how the campaign’s reinforcement of SBS as Australia’s most audacious broadcaster is a striking statement in an era of risk-aversion.

LBB> What inspired the metaphor of a streaker to represent SBS’s boldness, and were there other concepts considered that didn’t make the cut?

Thomas> SBS is like no other channel, so we knew we had to do something no other channel could. For every idea, we asked, ‘Could another channel do this?’ and naturally, that filtered concepts out.

For us, the streaker represents the SBS audience -- the type of viewer who wants to see more of the world and get a good thrill out of it.

LBB> How did you navigate potential sensitivities around full-frontal nudity while ensuring the ad remained playful rather than provocative?

Barbara> SBS’ mantra is to provoke with purpose. So, the nudity was always carefully framed to feel purposeful, adding to the story, not just for the sake of nudity. Our director, Damien Shatford, said it well during the pre-prod process, “We’re not making a penis ad, we’re making an ad that happens to have penis in it. Let’s make his nudity the least interesting thing.”

With that lens, the ad showcased the boldest content you’ll find on SBS -- like childbirth, death, and passion. We also ensured that our audience received a clear warning message at the beginning of the spot, as that is the polite thing to do.

LBB> Were there any legal or regulatory hurdles in airing an uncensored ad, and how did you prepare for potential backlash?

Lennie> Due to the ballsy nature of the ad, there were limitations on when and where it could be played. For On Demand viewers, you had to sign in and be over the age of 15, and for broadcast, it could only play after 8:30pm and after 10pm during sports coverage.

When it came to complaints, the SBS team was accustomed to pushing the boundaries and eliciting reactions from their audience, and their social team was fully prepared for any scenario. The response so far has been great. Turns out people love a streaker.

LBB> The campaign leans into SBS’ "sex before soccer" reputation -- was there any internal debate about reinforcing that association?

Thomas> SBS really leaned into the idea across the whole organisation. They’re proud of their boundary-pushing content and don’t shy away from the association. It’s what sets them apart from the sea of sameness.

LBB> What was the most surprising reaction from audience testing, and did it lead to any changes?

Barbara> The work wasn’t tested before it went to air in the traditional sense, but SBS held ‘Meet the Audience’ sessions to help influence their roll out, like the time of day it should run on broadcast.

Their reaction was fantastic. They immediately knew the intention behind the ad and felt it captured the unique spirit of SBS. The campaign was also presented in the SBS Upfronts to get internal alignment and buy-in across the business before going live.

LBB> How does restricting the ad to SBS-only viewing align with the overall marketing strategy?

Lennie> We needed to remind Australia that no one airs content that pushes boundaries like SBS. So rather than just saying it, we decided to prove it by making an ad so provocative and interesting that it can only be shown on SBS.

But we still had a media buy, and we had to tell people about the ad, so we created a series of teasers and social reaction videos that let people know what they were missing and more importantly led people to SBS On Demand -- where they could see our spot as a playable piece of content.

LBB> The talent casting process sounds unique -- what were the “right questions” you asked to ensure the nudity didn’t overshadow the message?

Elliot> The casting process was different to anything we’d ever done and was new to everyone. We were incredibly lucky to find someone with less inhibitions than most, who had the right cheeky demeanour. It was essential that people focused on him and his message, so we needed someone who possessed character and charm. Someone the audience could instantly warm to and feel comfortable with, regardless of whether they were wearing clothes or not.

One significant consideration was that, due to the very strict parameters outlined in the Stage and Screen Intimacy Guidelines, we were unable to see our lead talent completely naked until we arrived on set for the first shoot day. The process, therefore, included a few pointed questions and an array of ‘modesty garments’.

LBB> SBS has a legacy of diverse content -- how do you see this campaign influencing its future programming or brand identity?

Thomas> The campaign is both a summary of their legacy of diverse content and a commitment to staying on that path. Going forward, the brand line ‘We Go There’ serves as a reminder of the SBS mission, both internally and externally, so we can expect even more audaciousness, not just in programming but also in advertising.

LBB> What advice would you give based on this experience to creatives working on similarly bold ideas?

Lennie> Present that crazy idea. Creatives often engage in self-censorship, saying ‘the client will never buy that’ and holding back work. It’s also important to stay close to your team -- it takes everyone to sell in bold work; strategy, account managers, creative directors, the ECD and CCO, and as always, an incredibly determined producer.