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Launched in September, Overdrive, has taken an unconventional approach to harm reduction. Founded by Brian Bordainick, who also started emergency contraception company Julie and acne patch company Starface, the company has used its playbook of taking a fun, edgier branding approach to drugstore productsin this case testing kits for fentanyl and for seeing if a drink has been spiked to appeal to a newer generation of consumers. Unlike sterile, medical-looking drug testing kits, Overdrives are designed to stand out with industrial-themed packaging that resembles a cigarette carton. Its all in the service of turning lifesaving testing into less of a buzzkill on a night out. The company’s branding helped make it one of Fast Company‘s 10 Most Innovative Companies in consumer goods this year. Beyond encouraging testing, Overdrive is also interested in demystifying just how fentanyl gets into drugs. This week, the company released The Plug, a YouTube documentary and collaboration with photographer and director Sam Hayes (a former opioid user himself), aimed at highlighting the dangers of fentanyl and the importance of testing drugs given the widespread use of fentanyl to augment them. Ryan Weaver, the companys creative director and branding mastermind, talked to Most Innovative Companies host Yasmin Gagne about the documentary, the companys messaging around drug safety, and his personal journey with drugs in his younger days. This interview has been edited and condensed. Before Overdrive, you had experience in working on creative and business development. What did you learn from working on digitally native brands and channels? After doing some independent production, I was at YouTube channels Full Send and Nelk Boys for a while and they were creator-driven channels that were doing banger numbers with prank stuff. These kids that were running it were supersmart and had no playbook for how YouTube channels are supposed to run. If somebody was trying to do a brand deal with them, they’d say, Fuck off, we’re going to do our own product. Everybody else in media, my whole life was like, well, there’s advertisers and there’s content creators. These guys did product development and put on a great show. They created this whole ecosystem where consumers could engage with both. In hindsight, its so obvious and smart. How did you connect with your cofounder, Brian Bordainick? Ive been working with him for three years. He shared his vision for where content was heading that brands dont need to do just advertisements, they can do storytelling with shared value sets around what the product stands for. Though that you can build an audience and fidelity. He also has really strong retail relationships and is really good at product development. You started working with Bordainick at his emergency contraception company Julie. What attracted you to the project? Julie was headed into launch and they wanted me to produce a hero asset. I came in to help produce their first commercial where two women were at a drugstore shelf shitting on their boyfriends and talking about how badly they needed the product. It did well and people were psyched about it. From there I got to understand how CPG worked. [Photo: Overdrive] Why did you want to build a brand around testing recreational drugs? This inclination in the background to do something in the drug safety space had been percolating for Brian for some time and certain retailers had hit him up and said this is an important space. He has a grasp on how to tackle difficult topics. When he was ready to push play on this build, he brought me over from Julie to help spearhead the creative and design side of what the brand Overdrive would become. I wanted permission to be intense and gnarly; you have to be aggressive and you have to stand out. With Overdrive, the market didnt really exist and social platforms arent especially stoked about us selling these products. So creatively you get to make different decisions because those platforms rules are so intense around what youre doing. From a creative standpoint, you’re looking at a project that has real stakes. You’re selling an actually helpful product, and you’re also able to not really focus on the product and focus on ethos because the product is so policed. Then you get to be a bit of an instigator because the brand isnt squeaky clean, you need a troublemaker attitude behind it. Why did you feel the need to approach the project with that kind of attitude? Youre appealing to people who might be in a situation where there is fentanyl. Theyre trying to get into the mosh pit versus watching from the sidelines. I have an addictive personality. Previously, in my 20s, I did hard drugs, so for me there was a lived experience access point. I didnt have to create a character to create the brand. I can speak to a version of myself and try to think of things I would have listened to or paid attention to from a safety perspective in my life. I wasnt guessing or relying on a case study. Fentanyl wasnt as much of a problem when you were doing drugs, right? No joke, I think about that all the time. Im really lucky that in my 20s that wasn’t something I had to worry about because the reality is most people don’t when they’re trying to have a good time and get lit. It’s really scary. [Still: Overdrive] Tell me about the documentary Overdrive is releasing this month. Its a YouTube video we made with this awesome guy, Sam Hayes. I had this interest in fentanyl being this kind of gray area and a bogeyman that youre supposed to be scared of, but you dont know what it is. So Sam meets with people in recovery centers, actual drug dealers, and actual users. It shows you where you get fentanyl and how the dark web comes into it. Theres this one shot of a drug dealer grinding stuff up in a Vitamix, and when you look at the Vitamix . . . its not clean. You get a look at the process of creating these unregulated things. Who is your target customer? I try to think more psychographic than demographic. What’s the psychographic of someone using hard drugs? We try to look at places where thrill and danger intersect. This can be gnarly or louder forms of music or extreme action sports like skating or motocross. And then the thing that happens if it doesn’t go is a life or death stakes. There’s a tendency for that to be more gender- or age- or location- specific, but for us, we felt pretty confident that if we just talk to that psychographic of people that are looking for an extreme release from a hostile world. How are you expanding your user base? We want to broaden so that we’re speaking to the people around the user as much as the user. Some current parts of the brand will go away and there will be an emphasis on education over the next year or so. I think it’s cool that the DNA of the brand is representative of the user, but we’re going to start broadening things out so that it will feel a little bit more classic CPG product shot or an Instagram ad. The ads will provide an access point to more white collar people or parents. We want to target people that are caretakers and live in certain parts of the country. How do you balance the edgier branding of Overdrive with a more education-first approach? Last year we indexed really high on the edgier branding. The logic was that if we can create something somebody’s comfortable carrying around in situations [where they might have access to drugs], we’re already winning because our competitors aren’t. Theyre sterile and overly medical. An example of that could be the way our test strips come in packaging that looks like a pack of cigarettes. Youre not carrying a white box around. So you dont look like a narc. Exactly, because then it’s like, get the fuck out of here. We don’t want to fuck with this person. I think we did a really good job at that. The education piece, its almost easier to do. It’s like, this is what the product looks like and heres a stat about how many people this weekend will be exposed to fentanyl and a five-minute testing process can protect you or your loved ones. Its taking a step back from the lifestyle aspect of the space and creating more of a billboard with a few key pieces of information. What inspired the design of the products? We looked at companies that behaved like media companies but that didnt see themselves that way. Monster Energy is as much a media company as it is a product-driven company. When we were figuring out comps that made sense, a lot of it was power tools, action sports, cigarette companies, and beer ads. All of these companies have connective tissue to the partying and drug experience. Because the no-fly zones as fair as what they can claim and how they can advertise were kind of gnarly, those were the places we gravitated to really quickly. These are also areas that have higher fidelity. Some people’s favorite brand is Monster or Marlboro. We used a lot of higher contrast and bold designs. I think Ed Hardys cool. Minimal branding or this kind of flat design has been done. What was the messaging strategy behind your products?Something I would say to people was, someone about to go in a UFC fight knows they’re about to get the shit beat out of them. You don’t need to tell them, This is dangerous. Not only do they know that, but that’s the last thing they want going through their head before they go fight. What we can say is, When you do this UFC fight, if you wear this mouth guard, you might not suffer serious brain damage. My fundamental belief is that if you make the mouth guard look cool, like if it was chrome or had monster teeth or grills, that medical component can start to become aspirational and they might be excited to bring it with them. We can’t be a brand saying Don’t do drugs. You lose so many people out the gate telling them not to. We want Overdrive to feel like part of the experiencenot a scary reminder of the things our customer is trying to escape, like mortality.
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Is your green my green? Probably not. What appears as pure green to me will likely look a bit yellowish or blueish to you. This is because visual systems vary from person to person. Moreover, an objects color may appear differently against different backgrounds or under different lighting. These facts might naturally lead you to think that colors are subjective. That, unlike features such as length and temperature, colors are not objective features. Either nothing has a true color, or colors are relative to observers and their viewing conditions. But perceptual variation has misled you. We are philosophers who study colors, objectivity, and science, and we argue in our book The Metaphysics of Colors that colors are as objective as length and temperature. Perceptual variation There is a surprising amount of variation in how people perceive the world. If you offer a group of people a spectrum of color chips ranging from chartreuse to purple and asked them to pick the unique green chipthe chip with no yellow or blue in ittheir choices would vary considerably. Indeed, there wouldnt be a single chip that most observers would agree is unique green. Generally, an objects background can result in dramatic changes in how you perceive its colors. If you place a gray object against a lighter background, it will appear darker than if you place it against a darker background. This variation in perception is perhaps most striking when viewing an object under different lighting, where a red apple could look green or blue. Of course, that you experience something differently does not prove that what is experienced is not objective. Water that feels cold to one person may not feel cold to another. And although we do not know who is feeling the water correctly, or whether that question even makes sense, we can know the temperature of the water and presume that this temperature is independent of your experience. Similarly, that you can change the appearance of somethings color is not the same as changing its color. You can make an apple look green or blue, but that is not evidence that the apple is not red. Under different lighting conditions, objects take on different colors. [Photo: Liia Galimzianova/Getty Images] For comparison, the moon appears larger when its on the horizon than when it appears near its zenith. But the size of the moon has not changed, only its appearance. Hence, that the appearance of an objects color or size varies is, by itself, no reason to think that its color and size are not objective features of the object. In other words, the properties of an object are independent of how they appear to you. That said, given that there is so much variation in how objects appear, how do you determine what color something actually is? Is there a way to determine the color of something despite the many different experiences you might have of it? Matching colors Perhaps determining the color of something is to determine whether it is red or blue. But we suggest a different approach. Notice that squares that appear to be the same shade of pink against different backgrounds look different against the same background. The smaller squares may appear to be the same color, but if you compare them with the strip of squares at the bottom, theyre actually different shades. [Photo: Shobdohin/Wikimedia Commons, CC BY-SA] Its easy to assume that to prove colors are objective would require knowing which observers, lighting conditions and backgrounds are the best, or normal. But determining the right observers and viewing conditions is not required for determining the very specific color of an object, regardless of its name. And it is not required to determine whether two objects have the same color. To determine whether two objects have the same color, an observer would need to view the objects side by side against the same background and under various lighting conditions. If you painted part of a room and find that you dont have enough paint, for instance, finding a match might be very tricky. A color match requires that no observer under any lighting condition will see a difference between the new paint and the old. That two people can determine whether two objects have the same color even if they dont agree on exactly what that color isjust as a pool of water can have a particular temperature without feeling the same to me and youseems like compelling evidence to us that colors are objective features of our world. Colors, science, and indispensability Everyday interactions with colorssuch as matching paint samples, determining whether your shirt and pants clash, and even your ability to interpret works of artare hard to explain if colors are not objective features of objects. But if you turn to science and look at the many ways that researchers think about colors, it becomes harder still. For example, in the field of color science, scientific laws are used to explain how objects and light affect perception and the colors of other objects. Such laws, for instance, predict what happens when you mix colored pigments, when you view contrasting colors simultaneously or successively, and when you look at colored objects in various lighting conditions. The philosophers Hilary Putnam and Willard van Orman Quine made famous what is known as the indispensability argument. The basic idea is that if something is indispensable to science, then it must be real and objectiveotherwise, science wouldnt work as well as it does. For example, you may wonder whether unobservable entities such as electrons and electromagnetic fields really exist. But, so the argument goes, the best scientific explanations assume the existence of such entities and so they must exist. Similarly, because mathematics is indispensable to contemporary science, some philosophers argue that this means mathematical objects are objective and exist independently of a persons mind. The bright colors of this granular poison frog signal a warning to predators of its toxicity. [Photo: Wikipedia, CC BY-SA] Likewise, we suggest that color plays an indispensable role in evolutionary biology. For example, researchers have argued that aposematismthe use of colors to signal a warning for predatorsalso benefits an animals ability to gather resources. Here, an animals coloration works directly to expand its food-gathering niche insofar as it informs potential predators that the animal is poisonous or venomous. In fact, animals can exploit the fact that the same color pattern can be perceived differently by different perceivers. For instance, some damselfish have ultraviolet face patterns that help them be recognized by other members of their species and communicate with potential mates while remaining largely hidden to predators unable to perceive ultraviolet colors. In sum, our ability to determine whether objects are colored the same or differently and the indispensable roles they play in science suggest that colors are as real and objective as length and temperature. Elay Shech is a professor of philosophy at Auburn University. Michael Watkins is a professor of philosophy at Auburn University. This article is republished from The Conversation under a Creative Commons license. Read the original article.
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E-Commerce
Social media users have been having a field day with Waymos autonomous vehicles, sharing videos that poke fun at the driverless cars getting stuck, acting unpredictably, or simply navigating the world a little too awkwardly. The latest wave of posts follows Waymos recent expansion into Austin, where users are already documenting bizarre and frustrating experiences with the service. TikTok user Becky Levin Navarro posted a video on April 20 claiming a Waymo car trapped her and her fellow passengers on the side of a highway after heading in the wrong direction. This is the most insane thing. Were in a Waymo, here, under Mopac, she said. It was going the wrong way, we called customer support, it stopped us right here and wouldnt let us out of the car. @beckypearlatx Zero stars for waymo. When we pulled up next to Deep Eddy Cabaret and the waymo didnt let us out and instead kept going the wrong direction towards downtown we said please let us out here it wouldnt let us out so it headed east, turned around back towards deep eddy cabaret and then STOPPED in a horrible spot to stop. We kept asking for it to move and customer service refused. #waymo #tiktok original sound – Becky Levin Navarro The video shows passengers speaking to customer support through the cars intercom. The agent explains the car can’t be moved manually, and asks for a physical address to relocate the vehicle. A Waymo spokesperson later responded: Waymo riders always have the ability to pause their ride and exit the vehicle when desired. Passengers can exit the vehicle by pulling the handle twiceonce to unlock and another to open the door. From being called drunk robots to causing traffic jams in the middle of the night, Waymo has become a regular subject of online trolling. Viral clips include Waymos honking at each other in the early morning hours, jamming up intersections, and getting stuck in drive-throughs. Some show police and parking enforcement stepping in to deal with wayward vehicles. @bluenote727 Waymo Self Driving Car Big Malfunction original sound – Blue Note A video from San Francisco shows a Waymo going the wrong way during a Warriors game as officials try to redirect it. Its not funny. This is a very serious matter, a police officer jokes to bystanders. The vehicle eventually backs up, awkwardly swerving to avoid a pickup truck. See, it worked!” the officer says with a shrug. “Still a little weird. I wouldnt have went that way, but . . . @travellingnepali When a Waymo driverless car goes the wrong way during a Warriors game in SF and the cops + parking enforcement have to teach it a lesson. Waymo: processing processing Finally it gets the memo and turns back! #Waymo #bayareacheck WaymorivingStruggles #SanFrancisco #WarriorsGame #driverlesscar #nepali original sound – Anil & Mansha Waymos fleet has more than tripled on California roads over the past year. A DMV report from April 11 cites 30 autonomous vehicle incidents in 2024. Still, Waymo reports 81% fewer injury-causing crashes and 64% fewer airbag deployments compared to human drivers in San Francisco and Phoenix. Despite its safety claims, the company remains a favorite online target. As Waymo expands into more citiesincluding a recent launch in Tokyothe internet doesnt seem ready to let the driverless cars off the hook.
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