“Cue lights. Ready camera 1. Standby for host entrance. Ready camera 2. Standby audio. Standby graphics. Let’s roll the opening title sequence in 3, 2, 1—cue video. We’re live!”

This might remind you of a TV studio or control room. Picture the flurry of people with headsets directing cameras as screens pop to life with that unmistakable video magic.

Now, picture all of that taking place within the confines of an ad agency. 

Welcome to MOSHO: the live, hour-long TV show we produce every few months to celebrate our agency’s people, culture and accomplishments—filmed with a studio audience and broadcast live to our global offices. Internally, MOSHO is known for celebrating our Klicksters, philanthropic efforts, engagement activities, agency wins, cultural highlights and achievements. 

We used to host quarterly Mojo meetings with the same mission, each one led by our Toronto, New York or Philly offices and streamed across Zoom.

Unfortunately, not everyone was feeling the love. At the start of 2024, agency execs Dave Holmes and Glenn Zujew saw that our Zoom viewers weren’t feeling the same energy as our live audience members.

Dave and Glenn brought me into the fold to help figure out how we might leap from running a Zoom meeting to producing a broadcast-level show. I knew we had the technical chops to rise to the occasion. However, creating a shared “Klickified” global experience would take a village, so we gathered our various specialty teams. We challenged ourselves to make sure every Klickster felt connected and deliver:

• The same energy to both in-person and remote audiences;
• Dynamic content that is memorable and people-first (goodbye, slides!)
• The feeling of intimate connection despite having a global audience of 1,500 across North America, Europe, Latin America and Asia Pacific.

Dave and Glenn also called our attention to the best-in-class live shows that achieve all three of these promises. Oprah and Jimmy Kimmel make us feel like we’re in the room, no matter where we’re watching from.

We developed a live TV talk-show formula with a high-energy host, engaging segments, guest appearances, a slick graphics package/sequence and plenty of surprises. We created a four-camera setup, live audio mix and all the bells and whistles you’d expect on your favorite talk show. We transformed our large Toronto Café into a live TV studio with theater-style seating, a set, displays for video packages and professional lighting. On show day, we filled the audience with Klicksters, sharing an immersive, fun and exciting experience.

We kept our audience grounded in a classic talk format while ensuring the unique Klick magic shone through:

• We cut slides entirely and put our people first and at the heart of the show.
• We produced moments celebrating our people. 
• We cut together “slice-of-life” montages, like a segment of Klicksters’ families hilariously answering the question “What do you do for work?”
• We also created segments that share behind-the-scenes stories from our most recent work.

To amplify the energy, we produced a dual-screen experience for our remote audience with Slack to ensure key information was received and retained. We appointed a live Slack correspondent to prompt our audience and further curate their experience. We incorporated live hits from other offices, synchronized moments where multiple offices were part of the broadcast, and even hosted viewing parties in our international workspaces. We also rewarded participation, starting with a free takeaway lunch for our studio audiences.

We’ve broadcast two MOSHOs so far with more in the works. And if there’s one thing we’ve learned it’s that MOSHO isn’t just a show; it’s a testament to our relentless pursuit of culture and connection. It’s about turning ordinary meetings into extraordinary experiences, bringing us closer despite the distances. MOSHO is proof that when creativity meets innovation, magic happens.

Tim has led creative departments in South Africa, Europe, New York, and, most recently, in the U.K. as ECD of Klick Health EMEA.

We spent two minutes with Tim to learn more about his background, his creative inspirations and recent work he’s admired.

Tim, tell us …

Where you grew up, and where you live now. 

I grew up in Gqeberha (Nelson Mandela Bay) in South Africa, and now I live in the North West of England.

How you first got interested in health. 

I worked on a direct mail campaign for Africa Health Placements, a charity in South Africa that helped to place international doctors in rural hospitals, and it changed my entire outlook. I saw how creativity and innovation could have a real impact on people’s lives. 

One of your favorite projects you’ve ever worked on.

“Most Beautiful Sound” was one of the most difficult and rewarding projects I’ve ever worked on, both personally and professionally. Huge shoutout to my team who hustled relentlessly to make it a reality. 

A recent project you’re proud of.

“American Cancer Story” is a special film for me. After seeing the terrifying CDC stats about gun violence being the leading cause of death for children in America, I knew we needed to bring it to life in an emotive way. We wrote the script with Change the Ref, the gun violence awareness organization founded by Manuel and Patricia Oliver, parents of Joaquin Oliver. We worked with Hollywood director José Padilha (Narcos, Robocop) and Maroon 5’s James Valentine. Special props to Douglas Costa at Taking Over Films N.Y., Rich Levy and Bernardo Romero for being the best partners.

One thing about how health is evolving that you’re excited about. 

AI. 

Someone else’s work, in health or beyond, that you admired lately. 

I wish I had done the WoMen’s Football campaign. It’s simply brilliant. 

A book, movie, TV show, or podcast you recently found inspiring. 

The zen-like cinematography of Perfect Days, the movie by Wim Wenders, and the unique art direction of The Zone Of Interest  by Jonathan Glazer. 

A visual artist or band/musician you admire. 

I’m always inspired by my good friend Pola Maneli. He’s an incredibly talented illustrator and artist. 

Your favorite fictional character. 

Uzumaki Naruto from the Naruto manga series, created by Masashi Kishimoto. I grew up reading this manga and watching the anime. The style of the illustration and the overall story were so mesmerizing. I related to Naruto’s character in such a profound way. 

Someone worth following on social media. 

Officialspikelee

Your main strength as a marketer/creative. 

Stupidity. 

Your biggest weakness. 

Caring too much.

Something people would find surprising about you.

I love plants. 

What you’d be doing if you weren’t in health. 

Writer/director in the film industry.

With over 16 years of experience leading strategic creative development for health and wellness brands, Andrea is currently vice president and group creative director at Klick Health.

We spent two minutes with Andrea to learn more about her background, her creative inspirations and recent work she’s admired.

Andrea, tell us …

Where you grew up, and where you live now. 

I grew up in Central New York, and now live in Northern Westchester. 

How you first got interested in health. 

After college, I interviewed for 11 jobs before deciding on healthcare. The decision had nothing to do with health, and everything to do with the fact that the job was located in Manhattan. 

One of your favorite projects you’ve ever worked on.

“Thirst,” by far, because it is the type of work I want to see more of in this world. As a woman, courage is required to pursue pleasure, sexual or otherwise. What a sad truth. We hope the film inspires more courage. 

One thing about how health is evolving that you’re excited about. 

Health is everywhere. There is unlimited potential, and that is exciting.

Someone else’s work, in health or beyond, that you admired lately. 

My daughter’s drawings. Watching a child draw from their imagination, without fear or self-doubt, is so incredibly beautiful. 

A book, movie, TV show, or podcast you recently found inspiring. 

I am obsessed with The Anna Delvey Show. She is so unapologetically authentic. 

A visual artist or band/musician you admire. 

I have been in love with Taylor Hanson of Hanson since I was 11. Yes: Mmmbop. Give me all of the sweetest pop music! 

Your favorite fictional character. 

Sisu from Raya and the Last Dragon. My daughter and I recently watched this together, and it’s a beautiful story about the meaning of trust. 

Someone worth following on social media.

I love good health content on social. @mindfulmft always makes me take pause and reflect. I recently had the pleasure of meeting @dr.avivaromm and have read her book Hormone Intelligence cover to cover. 

Your main strength as a marketer/creative. 

I have an insatiable desire to learn. 

Your biggest weakness.

Good chocolate chip cookies. 

Something people would find surprising about you. 

I almost left the industry in 2017 to start my own stationery business. 

What you’d be doing if you weren’t in health.

Is it sappy to say that I can’t imagine being anywhere other than right here, right now?

Klick created the channel in 2020 to help its team navigate the challenges of the pandemic, and it serves as a powerful “productivity and positivity tool,” says chief creative officer Rich Levy.

“It’s been really interesting and a lot of fun seeing the #Klick-Happy channel evolve and become a daily ritual for the Klicksters. Many tell us it’s the first place they go each morning because it makes them smile,” Levy says. 

Klick’s yuletide videos have become an agency tradition. This year, witnessing the joy and optimism in employee Slack posts, the company decided to craft a special festive story.

Lucky staffers received goodies ranging from skydiving classes and in-home chefs to NYC shopping sprees and a trip to see Liverpool F.C. play in the U.K.

Such holiday videos shine a light on Klick’s culture, says chief people officer Glen Zujew. “They’ve turned out to be a great recruiting tool. Many candidates mention them in interviews because the videos give them a glimpse into who we are,” says Zujew.

Klick is also contributing to the Make-A-Wish Foundation this holiday season.

Bernardo Romero is the 2023 Clio Health Awards Craft Jury President. The show takes place in NYC on June 15. Tickets are on sale here.

Picture yourself at a barbecue, standing by the grill surrounded by friends of friends. You find yourself engaged in an awkward conversation with someone you’ve never spoken with before. You rattle through the typical small-talk topics: weather, sports or the latest shows you’re binging. But do you remember a time when great advertising was part of these conversations? For me, back in Rio de Janeiro—known for its unparalleled creativity—our barbecue chats would include Havaianas flip flops’ latest spot, or Guaraná soda’s unforgettable new jingle.

Advertising was once celebrated culturally, and it held a place in casual conversations around the world. But sadly, the younger generation, including my 7-year-old son, will grow up without exposure to those classic commercials. In fact, he has never seen a single one. Advertising is no longer relevant enough to spark discussions at barbecues. And this is a huge problem for the entire ad industry.

On top of this, traditional pharma advertising has never managed to capture cultural relevance—except in jokes by stand-up comedians, SNL parodies and assorted mockery. This is partly why we don’t think of doctors and patients beyond healthcare. We  refuse to acknowledge them as folks who appreciate entertaining messages on pertinent topics. We still regard wellness marketing as different from consumer advertising.

All this being said, I believe there has never been a better time to be in healthcare advertising. Gen Z-ers see the category differently. They want to experience healthier lives with more balance and purpose, especially since the pandemic. The entire landscape of advertising is transforming out of sheer necessity, and that’s a good thing.

Healthcare marketers must work even harder and concentrate on what matters—capturing the most valuable asset in the world, people’s attention. Healthcare has the most impactful and emotionally charged stories imaginable. Let’s ask ourselves if we are telling these stories in the best way possible and at the same level as streaming and gaming.

Consider The Father, the Academy Award-winning feature film about Alzheimer’s disease that cost $6 million to make and grossed over $37 million worldwide. If this film had been produced by a pharmaceutical company, not only would their message have reached millions, but they would have also earned a very healthy return on their investment. Sounds like an incredible opportunity for any brand—pharma included—doesn’t it?

Long story longer, I’m rooting for you. I’m rooting for us. Instead of being driven by ego and attempting to dim down the work of competing agencies, let’s stand for innovative solutions and exceptional thinking that tackle age-old problems. Let’s celebrate one another. Why? Because the better and more culturally attuned the work, the more relevant it becomes.

I want to see us all pass the ultimate litmus test of cultural relevance—the barbecue test. This would mean increased revenue, elevated efficacy and more value placed on creativity in healthcare than ever before. Most importantly, it could also translate to saving and improving more lives.

The 11-track album will be accessible on Lifesaving Radio, an A.I. station launched to support the effort.

“We’ve heard surgeons say that music is as important as the instruments they operate with, so we hope that ‘Highway to Heal’ can be another tool they use to optimize patient outcomes,” says Klick Health group creative director Ryan Murphy.

The full album drops in April along with a customizable version of Lifesaving Radio. This month, three tracks were released, timed to honor AC/DC’s 50th anniversary. The process of song rewriting began in January.

Lifesaving Radio has its own dedicated A.I. DJ—named for AC/DC guitarist Angus Young—designed to customize the audio experience.

Between songs, “Angus speaks directly to the surgical teams, offering encouragement and amping up the energy, since he knows who’s in the room and what kind of procedure they’re performing,” says Oliver Trower, also a Klick GCD. 

The effort uses ChatGPT to generate fresh scripts. So each time a surgical team listens to Lifesaving Radio, the content is customized and varied. 

The tracks were recorded by noted tribute artists. 

“Iván Gac and Michael Vincent are, hands down, the best vocal channelers of [AC/DC singers] Brian Johnson and Bon Scott in the world,” says Murphy. “And Fil Olivieri, our guitar player and mad musical mastermind, was the driving force who helped make our music nearly indistinguishable from the original AC/DC songs.” Two members of Alice Cooper’s band, drummer Glen Sobel and vocalist Tommy Henriksen, also perform.

Klick created a limited edition version of the album on scrub-colored vinyl for last week’s inaugural NextMed Health event, which served as a VIP preview of Lifesaving Radio for hundreds of healthcare professionals, scientists and public health experts. Attendees were also given “World Tour Rock Scrubs”—surgical scrubs designed to look like an AC/DC tour t-shirt.

“We’ve known the Klick Health team for many years and when they told us how they were bringing the study results to life with Lifesaving Radio and ‘Highway to Heal,’ we thought it would help set the perfect tone to kick off our inaugural event and create more awareness about the convergence of technology, A.I., music and its role in human performance in the OR, in healthcare and beyond,” says NextMed Health founder and chair Daniel Kraft, M.D. “This is just the beginning, with implications and applications far beyond the OR, to enhance clinician and patient experience, and most importantly contribute to better health and results in a meaningful way.”

CREDITS

Client
NextMed Health

Klick Health
Rich Levy – Chief Creative Officer
Ryan Murphy – Group Creative Director
Oliver Trower – Group Creative Director
Samantha Dolin – Executive Creative Director
Bernardo Romero – Maker
Brian Umali – Associate Creative Director
Laura Denham – SVP, Executive Creative Producer
Jim Chestnutt – Supervising Creative Producer
Bailey Babins – Associate Director, Creative Producer
Kelly Gray – Senior Director, Print & Studio Production
Adrian Morris – Motion Graphic Designer
Spencer Brown – Video/Editing
Tamika Knight – VP, Business Affairs
Sheryl Steinberg – SVP, Communications
Marisa McWilliams – Senior Manager, Communications
Amanda Ferguson – Manager, Communications
Catherine MacInnis – General Counsel
Brianne Cail – Marketing and Social Strategy Manager

Music
Iván Gac – Lead Vocals
Michael Vincent – Lead & Backing Vocals
Fil Olivieri – Guitar, Bass, Backing Vocals
Dries Pottevijn – Guitar
Kris Reaville – Guitar
Tommy Henriksen – Backing Vocals
Glen Sobel – Drums
Brian Rumsey – Drums, Sound Engineering

Vendors
1stAveMachine – AI & Web Design 
Lightfarm Studios – CGI & Animation
The Inlaws Audio House – Sound Design

The holidays can be a lonely and isolating time for folks living in long-term care facilities. Three-quarters of residents don’t receive any visitors during the holidays, so Klick Health decided to “light the way” for those living at the Tony Stacey Centre for Veterans Care (TSCVC).

The agency decorated the center with more than 25,000 lights, provided live music, and best of all, throngs of visitors.

“We arranged a live event for the residents, a synchronized light show for the center and surrounding neighborhood, and—of course—a live-action, reality-based video shoot,” says Rich Levy, CCO of Klick Health. “We wanted everything to be fun and inspiring for the residents and staff. We also knew, if we did our job properly, the shoot would feel invisible to all who attended.”

The three-minute video is a sappy one. It starts with footage of residents at TSCVC, a drone shot of the facility and sobering stats that remind those of us with family and friends just how isolating and sad the holiday season can be when you’re alone.

Volunteers soon arrive to add the lights, three LED trees, 230 lighting fixtures, a light tunnel, an oversized Santa chair and a hot chocolate stand. More than 200 people attended the event. The video is set to Taylor Ashton’s “Light the Way,” and for every share on YouTube, Klick Health will donate $1 to Tony Stacey Centre for Veterans Care.

“We hope our video will serve as a reminder for everyone to visit seniors, and shine a light on the important work that long-term care homes do each and every day,” Laura Denham, Klick Health’s executive creative producer, tells Muse.

CREDITS: 

Agency: Klick Health
Chief Creative Officer: Rich Levy
SVP, Executive Creative Producer: Laura Denham
Group Art Supervisor: Kate Maldjian
Group Copy Supervisor: Kristine Brown
Maker: Bernardo dePaulo Romero
VP, Supervising Creative Producer: Jim Chestnutt
Associate Director, Creative Producer: Bailey Babins
Creative Producer: Lauren Ashton
Post Producer: Nadia Blake
Senior Director, Creative Video Production: Colin O’Young
Manager, Creative Video Production: Spencer Brown
VP, Business Affairs: Tamika Knight
Business Affairs Coordinator: Samantha Subryan

Production Company: Noble Content
Lighting & AV Company (Building): Phase 3 AV
Lighting Company (Vignettes): Fortis Consulting

Post-Production Editor: Victor Cohen
Post-Production Color Company: Color Collective
Music: “December” by Taylor Ashton
Music Post-Production: Quiet City Music + Sound

Sexual wellness brands and educators have a challenging time promoting themselves on social media, where content is heavily moderated. An adult store in Iceland went so far as to hide sex toys in a real-estate listing.

Klick Health created a new four-minute video for PodHER (formerly EmpowHer), a female, Latina-run organization behind 2020’s “The Call,” which outlined unconscious bias in healthcare. This time, the company tackles sexual inequality, female pleasure and self-exploration, and cleverly avoids social media algorithms in the process.

In “Thirst,” water and music are the main metaphors. There’s a woman in a bathtub, a dripping faucet, shots of the woman in social settings, but seemingly her mind is elsewhere. Music softly plays. She’s at a pool, an aquarium, at a lake, passing by signs that say don’t touch, or no swimming.

The woman runs into the woods as the tub fills with water. The music gets louder, the beats get harder. She plays with the bathwater and runs to the top of a cliff. She jumps. Waves crash, she’s underwater. Happy. She resurfaces in the ocean and in the bathtub. As the tub runneth over, copy appears on screen: “For too long, women have been denied the freedom to fearlessly pursue pleasure. Help us change that.”

We spoke with Andrea Bistany and Amy Fortunato, creative directors at Klick Health, about the film, its purpose and why social media algorithms need to change.

Muse: What’s the goal of the film?

Andrea Bistany and Amy Fortunato: First, we set out to ignite conversation around sexual health inequality and the overlooked role pleasure plays in both individual and public health. Second, to drive to our petition fighting social media’s discriminatory algorithms that prevent the platform from being the powerful educational tool in closing the pleasure gap it has the potential to be.

In the healthcare advertising industry, there are few, if any, conversations around female pleasure. This needs to change. Integrating pleasure into sex education can increase people’s knowledge about sexual communication, consent, and safer sex behaviors—all crucial aspects of sexual and public health. Our message of sexual health equality feels even more important now in a time when our very own bodily autonomy is challenged.

Explain how you came up with a way to avoid social media algorithms.

Our film outsmarts the social media censorship algorithms using metaphors that would not be flagged or hidden by A.I. We used water as a visual metaphor for the physical sensation of female pleasure to show a woman on a journey of self-exploration as she seeks what previously felt out of reach. “Thirst” is a film meant to make viewers feel the craving and desire women experience in pursuit of sexual equity and sexual pleasure. The film itself follows the rhythm of the sensation of pleasure and the building of a climax.

What do you hope viewers take away from the film? 

We hope that viewers, especially women and vulva owners, feel empowered to pursue their own pleasure! Because we live in a culture of over-privileging male sexuality and overvaluing penetrative sex, many women don’t feel empowered to explore their bodies or prioritize their own pleasure.

CREDITS

Creative Directors:
Andrea Bistany
Amy Fortunato
Bernardo Romero
Rich Levy

Producers:
Jen Martin
Tamika Knight

Production Company: The Youth
Direction and story: YUCA

Music production company: Jamute 
Musical production: James Pedrozo Pinto and Marcos Vaz

Original music: I wish I knew how it would feel to be free – Nina Simone

Kristine Brown and Kate Maldjian are group copy supervisor and group art supervisor, respectively, at Klick Health.

Kristine, or as many people call her “KB,” started her creative career as an interior designer in Los Angeles, working on high-end residential and commercial projects. She discovered her love of writing and all things “adlife” at Savannah College of Art and Design (SCAD), but it was her creative roles at FCB Health, Hill Holliday Health, and now Klick Health that have allowed her true passion to flourish—helping people. 

Kate attended FIT, where she majored in ad design. Shortly after graduating, she began working in healthcare advertising and hasn’t looked back since. Prior to joining Klick Health, Kate worked at FCB Health New York and Hill Holiday Health.

We spent two minutes with Kristine and Kate to learn more about their background, their creative inspirations, and recent work they’ve admired.

Kristine and Kate, tell us…

Where you grew up, and where you live now.

• Kristine: I grew up in Ventura, California, but currently living in NYC—Brooklyn, to be exact. 
• Kate: I grew up in a small beach town in New Jersey and now … I live about 30 minutes north of that town. In New Jersey. Impressive, I know.

How you first realized you were creative.

• Kristine: I was in kindergarten, and it was during the great “splatter paint movement.” I felt like my flowers needed a little extra something, but “my technique” created a trend. Which got me in trouble, only confusing me, because it looked cool—and I didn’t see the issue.
• Kate: I cannot pinpoint a specific moment, but I do remember as a kid I was constantly flipping over placemats to draw all over the backs of them. Shoutout to my mom for always having crayons handy. 

A person you idolized creatively early on.

• Kristine: I have been blessed with the best women mentors in advertising. I’ve idolized them all from the start, and always will. 
• Kate: Keith Haring.

A moment from high school or college that changed your life.

• Kristine: I have an art background, and planned on being an art director. So, when my Savannah College of Art and Design professors challenged me to explore my writing side, it changed everything for me.
• Kate: The first day I met my viscomm teacher Ms. Sobko, because she told me it wasn’t crazy for me to think I could make a living with art.

A visual artist or band/musician you admire.

• Kristine: Complete Taylor Swift “stan” as a brand and a creative. She’s so bold, and I love how she recreates herself. I also really admire Rupi Kaur, and how she merges her poems and art together.
• Kate: I recently saw SG Goodman’s album release at Mercury Lounge, and while her lyrics always blow me away, it was her stage presence and storytelling that night that were unexpectedly inspiring.

A book, movie, TV show or podcast you recently found inspiring.

• Kristine: I’m a Gemini; gimme all the topics. Podcast-wise: Smartless, Dear Chelsea, Busy Phillips is Doing Her Best and Giggly Squad are all on heavy rotation.
• Kate: Essentialism: The Disciplined Pursuit of Less by Greg McKeown is a quick and … hate to say it but “essential” read for anyone in or outside the creative industry. I also really enjoyed the character design in Disney’s Turning Red … when it wasn’t making me cry.  

Your favorite fictional character.

• Kristine: Currently, June Osborne from The Handmaid’s Tale.
• Kate: Rufio from Hook—his triple mohawk?! Come on!

Someone or something worth following on social media.

• Kristine: Follow GoodFuckingDesignAdvice @gfda.co for just pure creative empowerment. 
  Also highly recommend @busyphilipps. She makes talking about mental health OK, and just keeps it real in these “unreal times,” and I really admire that.
• Kate: Muralist/illustrator Kim Sielbeck (@kimsielbeck) is a constant explosion of color and creativity and I just love following her.

How Covid-19 changed your life, personally or professionally.

• Kristine: I’m immunocompromised, and the pandemic has forced me to learn how to speak up and advocate for myself in a whole new way that I’m very grateful for. 
• Kate: Well, in the beginning of the pandemic I moved back home for six months with my parents, four brothers and sisters, significant others, and three dogs. My family hadn’t all lived under one roof in over 10 years. I slowed down for what felt like the first time in forever, and garnered a newfound appreciation for getting to do stuff all together … like sunset surf sessions, long walks, and late-night dinners. It made me grateful for little moments like that.

One of your favorite creative projects you’ve ever worked on. 

• Both: Last year, we created the two-time Clio-winning children’s book The Curious Eye to help diagnose color blindness—clinically known as color vision deficiency, or CVD—with executive creative director Mike Bonilla. We learned that even though color blindness is extremely common, most people don’t find out they have it until they’re teenagers or older. So, we set out to change that by turning the over 100-year-old clinical Ishihara test into the world’s first color blind interactive storybook to help diagnose CVD in kids earlier and easier.

• Kristine: It was very important to keep kids engaged, that’s why the story is entirely written in rhyme. Which was so much fun, but it also had to be strategic since it served both as the narrator and guide through the book’s journey. But my favorite part is the overall message of the book. We aimed to celebrate the unique way we all see, by closing the book with the line “never forget the one thing that’s true: how you see is special to you.” 
• Kate: I designed the main eyeball character “Curious,” and worked with the illustrator, ophthalmologists, and print production to develop a color palette that ensured the color accuracy of the book while being visually engaging for all children. From beginning to end, it was an experience I’ll never forget. 

A recent project you’re proud of.

• Kristine: I would say “Community Unity,” a PSA video series we produced with the Vaccine Confidence Project at the London School of Hygiene and Tropical Medicine and YouTube. I got to be pure KB, really dig into insights and create fascinating characters—all while exploring different script styles. I grew so much during that time, It was a really special, one-of-a-kind project! 
• Kate: I would also have to say the “Community Unity” video series with Vaccine Confidence Project and YouTube. Throughout the 12 videos I got to utilize my love of drawing, collage, and character creation. We created the 12 videos for the series in just two months … so for me it was also a great experience in collaboration with other art directors and video editors to help bring this vision to life. 

Someone else’s work that inspired you years ago.

• Kristine: Recently I rebought A Light in the Attic and Where the Sidewalks Ends by Shel Silverstein, and they brought back such a happy feeling. 
• Kate: MANY years ago, I remember being very excited to run and grab the paper in the morning and check what the latest Peanuts cartoon was. Even then I loved the clever copy in combination with fun, simple illustrations.

Someone else’s work you admired lately.

• Kristine: I recently saw the Jean-Michel Basquiat “King Pleasure” exhibit, and it really inspired me in an unexpected way. A must if you’re in NYC this year.
• Kate: I still love when I find campaigns using unique, simple and creative illustrations to represent their brand. Many subway ads have been leveraging this, but the Casper ads were the first ones I remember seeing and feeling inspired. I’m always admiring the new ways brands take up that little space above our heads when we’re going from stop to stop.  

Your main strength as a creative person.

• Kristine: I am passionately authentic, in copy and life. 
• Kate: I like to think I bring a lighthearted spin to anything I’m working on. I try to incorporate my own doodles and a bit of my own personality into everything I create. 

Your biggest weakness.

• Kristine: Patience …
• Kate: Not being loud enough!!! 

One thing that always makes you happy.

• Kristine: Laughing so hard my stomach hurts.
• Kate: Impromptu dance parties.

One thing that always makes you sad.

• Kristine: Injustice in any form; it’s my Achilles’ heel.
• Kate: Lack of impromptu dance parties.

What you’d be doing if you weren’t in advertising.

• Kristine: I used to be an Interior designer, and always wanted to get into product design and have my own furniture and fabric line. 
• Kate: Oh boy! I truly have no clue. I’d probably be a relatively unqualified and slightly unhinged art teacher. 

A simple online search about Covid-19 vaccines can send anyone down a path rife with misinformation sandwiched between useful knowledge.

YouTube teamed up with the Vaccine Confidence Project (VCP) and agency Klick Health to create Community Unity, a video series that answers the most popular Googled questions about Covid-19 vaccines.

The first three episodes launched today: an intro to the series, an explanation about vaccines affecting fertility, and Covid-19 vaccines vs. variants.

Episodes range from 90 seconds to two minutes and target 18- to 29-year-olds who are vaccine hesitant. Twelve videos were created and will launch between now and Christmas.

“The Vaccine Confidence Project has been at the frontlines tackling misinformation and vaccine hesitancy for years, and they have been an essential resource for healthcare organizations all over the world in supporting the rollout of Covid-19 vaccines,” says Dr. Garth Graham, director and global head of healthcare and public health partnerships at YouTube. 

“This video series from VCP meets young people where they are, in the language that is most engaging and accessible to them. It’s smart public health tactics, brought to YouTube’s scale.”

Future videos tackle vaccine safety, side effects, ingredients and vaccinating young kids.

“We used Google Trends and the company’s special Covid tool to search by country and languages to see what people are searching for to determine what topics we would discuss in the videos,” Brandi Bank, VP of policy and public health at Klick Health, tells Muse.

In a video that discusses vaccines and fertility, a woman is seen having a two-way conversation with her twin: one is informed and one is indecisive.

“Our goal is to be the most authentic content out there,” adds Kristine Brown, group copy supervisor at Klick Health. “Two-way conversations are happening all over social media so we did that for the pregnancy video. We even said ‘alien baby.’ “

The agency planned on making one video about vaccines and pregnancy and wound up making three.

“Any small amount of information that moves the ball forward is a good thing,” says David Bowen, head of policy and advocacy at Klick Health. “We want to counteract misinformation and give medically accurate info so people can make health-conscious decisions.” 

CREDITS
“COMMUNITY UNITY”

STRATEGIC PARTNERS: The Vaccine Confidence Project at the London School of Hygiene and Tropical Medicine, YouTube, Klick Health

AGENCY: KLICK HEALTH
Strategy 
David Bowen – Senior Vice President, Policy & Advocacy. Partnership Founder.
Brandi Hight Bank – Vice President, Policy & Public Health. Public Health Lead
Heidi Forman – Senior Vice President, Managing Director
Mark McConaghy -Senior Vice President, Strategy
Jason Valdez – VP, Delivery & Project Management
Besart Alajbegu – Program Manager

Creative
Sam Dolin – Executive Creative Director
Ryan Murphy – Group Creative Director
Kate Maldjian – Group Art Supervisor
Kristine Brown – Group Copy Supervisor 
Amanda Schain – Art Director (videos 2, 3,4,5,7,8,10-12)
Kristy Korevaar – Jr. Art Director (videos 3, 4, 5, 7,8,10-12)
Victor Phothisuk – Art Supervisor (videos 1,9)
Jasson Powell – Jr. Art Director (videos 6,9)
Julia Agard – Jr. Copywriter (video 11) 

Production
Laura Denham – Executive Producer
Natalie Castellino – Producer
Janet Dean – Business Affairs Manager
Samantha Subryan – Business Affairs, Coordinator
Patrick Eugster – Art Buyer

Animation:
Colin O’Young – Senior Director, Video Production
Jes Frigon – Senior Motion Designer / Video Editor

Communications & PR
Sheryl Steinberg – SVP, Communications & PR
Marisa McWilliams – Manager, Communications & PR

ANIMATION (videos 4,7,9-12): The Editorial Factory
Ben Spergel – Animator

VOICE CASTING AND SOUND PRODUCTION: dB Audio Inc.