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 products—in 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, Overdrive’s are designed to stand out with industrial-themed packaging that resembles a cigarette carton. It’s 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 company’s creative director and branding mastermind, talked to Most Innovative Companies host Yasmin Gagne about the documentary, the company’s 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, it’s so obvious and smart.
How did you connect with your cofounder, Brian Bordainick?
I’ve been working with him for three years. He shared his vision for where content was heading that brands don’t 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.
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 didn’t really exist and social platforms aren’t especially stoked about us selling these products. So creatively you get to make different decisions because those platforms’ rules are so intense around what you’re 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 isn’t squeaky clean, you need a troublemaker attitude behind it.
Why did you feel the need to approach the project with that kind of attitude?
You’re appealing to people who might be in a situation where there is fentanyl. They’re 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 didn’t 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 wasn’t guessing or relying on a case study.
Fentanyl wasn’t as much of a problem when you were doing drugs, right?
No joke, I think about that all the time. I’m 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.
Tell me about the documentary Overdrive is releasing this month.
It’s 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 you’re supposed to be scared of, but you don’t 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. There’s this one shot of a drug dealer grinding stuff up in a Vitamix, and when you look at the Vitamix . . . it’s 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. They’re 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. You’re not carrying a white box around.
So you don’t 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, it’s almost easier to do. It’s like, this is what the product looks like and here’s 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. It’s 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 didn’t 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 Hardy’s 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 experience—not a scary reminder of the things our customer is trying to escape, like mortality.