What drives brands to advertise on Bigg Boss?

Now in its 16th season, the Viacom18 show still attracts a slew of brands and is among the most expensive properties to advertise on television.

“Pooja, what is this behavior?” “Tuada Kutta Tommy Sada Kutta Kutta” “Speak to my hand.” These are lines that are all too familiar today. And one may not have watched Bigg Boss, where these lines were first spoken, but one may be well aware of its context. This really assumes the popularity of the reality show. Although it started as a TV show in 2006 and is now also available on OTT, its popularity has skyrocketed on social media thanks to its viral memes and videos.

Now in its 16th season, the show still attracts a slew of brands and is among the most expensive properties to advertise on television.

According to Pavithra KR, Head of Revenue, Colors, Viacom18, this is because the show offers customized solutions for brands across all categories.

“No show like Bigg Boss lends itself so well to interactivity with brands. It drives deep engagement for at least 107 days of the year. Whether it’s a personal care brand or a a short video application, we find a solution for each category. They are independent platforms – TV, OTT or social media. It is one of the most expensive shows in the GEC space. There is a certain premium that one pays to be associated with the show,” she says.

Paritosh Joshi, an independent media and communications consultant, says brands are always looking to scripted reality as a good way to break up the clutter.

“Over the past decade, the sheer number of brands competing for the consumer have made on-brand integrations, placements, and content in various forms a marketing imperative. They need ways to break up the clutter. With in-content placements, there’s no other competitor. It’s not in a commercial break. People can’t tear themselves away from it because the brand communication happens during the actual story” , he said.

Joshi says the show’s stiffness also makes it an ideal platform for brands that have a complex message.

“The format demands a repeat audience. There is a high proportion of loyal users. This allows advertisers to address different facets of the brand they are promoting. For example, they want to show a product in use and describe its features. If done in one shot, it will look like a branded documentary. But in the series, it can be done over four episodes, ”he explains.

This year the show has chained TRESemme, Chings, MyGlamm, Priyagold Hunk, L’Oréal, Hershey’s India, Samsung and Happilo as sponsors. These brands have been integrated into the show in an interesting way.

The show has incorporated MyGlamm as a makeup partner this year. Each week, one contestant is chosen as the “Glamm Face of the Week”. “We are thrilled to collaborate with Bigg Boss for the ‘Face of the Season’. On Bigg Boss, every contestant can glam like a star and the lucky winner will get the chance to feature in our next ad with actress Shradha Kapoor said Sukhleen Aneja, CEO of Good Glamm Group.

For his collaboration with Dark Fantasy and Licious, he opened a ‘Greed Corner’. “Bigg Boss talks a lot about food and the lack of it. So to gamify it, we open this corner as we feel we can offer something exciting to contestants. For example, it can open in one go to satisfy all the contestants’ fantasies by offering dark chocolate cookies, or it can open up and offer Licious chicken wings,” says Pavithra.

Similarly, TRESemme offers a hair spa to candidates.

According to industry sources, a commercial on the show costs around Rs 3 lacs.

“Bigg Boss is one of the highest rated reality shows and has maximum reach. It sets the tone for the channel and brings a lot of these brands to the channel. The very nature of BB allows us to incorporate brand engagements which are far and truly beyond any other content on Indian TV.These brands then remain to advertise on our other fiction shows as well.The popularity of the show is such that it sells out year after year,” she adds.

Bigg Boss’s popularity with audiences lies in its ability to allow viewers to satisfy their voyeuristic urge with legitimacy. The same desire that makes many people want to stop on the road to watch two drivers argue over an accident.

As these contestants yell, argue, or patiently deal with various situations when placed in a house for a long duration, it can be cathartic for viewers, Joshi says.

“The platform turns voyeurism into a massive programming format. The reality is that people are basically voyeurs. Society expects us to live moderately. But thanks to this content, people can live vicariously. They can vent their pent up emotions and deal with human frailties like anger, jealousy, lust,” he says.

But does this nature of the content raise concerns among advertisers? Linu John, vice president of Zenith, says brands have expressed reservations because of the type of content the properties represent.

“There are some brands in the industry that completely refrain from considering showmanship,” she says.

When a show has been on the air for so many years, audiences can get tired of it. After a certain point, familiarity can lead to monotony.

Joshi says TV shows must continue to “recruit” new viewers season after season. “The same story can be told over and over, but it must be told differently. You have to find the right contemporary verbal vocabulary,” he says.

The show continues to try something different every three years to entertain audiences.

“We break patterns and change the grammar of the show, otherwise the predictability becomes too monotonous for the audience and even the suitors behave a certain way because they know what gets the most attention,” she says. .

He also made several changes this season. Now there are four bedrooms instead of one to create more conversations. The house is more compact, which leads to more uncomfortable situations. Weekend episodes with Salman Khan are now from Friday to Saturday and he walks into the house instead of behind a screen. Sunday episodes are live and there is a third presenter who brings in information from the outside world.

Adapted from the international show Big Brother, Bigg Boss is now created in multiple languages ​​including Tamil, Kannada, Malayalam and Marathi on various platforms. However, Pavithra says he doesn’t cannibalize Bigg Boss’ Hindi audience.

“Each of the languages ​​are in very different markets and there’s no overlap there,” she says.

Last year, a separate Bigg Boss launched on OTT with Karan Johar as host. However, Voot discontinued it this year and only the TV show airs on the platform. “The TV show is so important that we might as well capitalize on it,” she says.

Pavithra says OTT viewing is adjacent to TV. “We see audiences coming in and out of these platforms. Those who watch the show on TV and want to dive deeper experience it on OTT. OTT complements TV. It’s not TV versus OTT, it’s TV more OTT. All of our shows are now platform-agnostic,” she says.

Linu says that due to the nature of the content, there is an increase in consumption of the show on Voot. “Bigg Boss is a family show for a portion of the audience and has a steady following. As there are limits to watching this type of content in single-TV households, consumption on Voot has seen an upsurge,” it adds. -she.

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