India’s first brush with reality shows was in the form of a quiz show in 1992, the ‘Bournvita Quiz Contest’ hosted by Derek O’Brien. It would soon become part and parcel of growing up in the 90s. Little did we know then, that in the years to come, the business of being “real” would go through many transformations, and enjoy a central position in pop culture. It is amazing how reality TV shows still hold the power to allure the masses. We have seen mediums evolve; even the proverbial ‘idiot’ box is now getting smart. However, the love for reality shows has remained constant over the years. We have also witnessed the regional adaptation of these popular shows during this transitional period; with the evolving media and consumer preferences, reality shows such as ‘Bigg Boss’ now have OTT versions. Amid all these growing trends and new changes, another phenomenon remains consistent— big bucks from advertisers.
Ad game
Data by TAM Media Research indicates that the ad volume for reality TV shows grew by 58% month-on-month in 2024 compared to 2022, following a 37% month-on-month increase in 2023. Industry experts also note that the ad rates on premier properties such as ‘Bigg Boss’, ‘Kaun Banega Crorepati,’ and ‘Khatron Ke Khiladi’ have not fallen over the years.
Painting a positive picture, Dev Shenoy, Head - Entertainment Ad Sales and Strategy, Disney Star Audience states that interest and engagement with reality shows have only grown over the years, and this year is expected to be no different. While talking about the advertisers on his channel he adds, “On TV we’ve had prominent advertisers associated with our reality shows including Hindustan Unilever, P&G, Maruti Suzuki, Mondelez, Colgate, Coca-Cola, Dabur, Reckitt Benckiser, AMFI, Haier, and Atomberg. These reality tentpoles capture the attention of large national advertisers, and attract huge interest from local retail brands & businesses across multiple categories.”
TAM Media Research’s data highlights that in the last two years, food and beverages, personal care, hair care, services, and household categories advertised the most on non-fiction properties. Industry professionals assert that big and medium brands continue to shell heavy on these impact properties. However, it’s also true that the advertising rates for these shows are high, making it difficult for many brands to afford a campaign or placement.
Emergence of Digital
The emergence of Digital has made advertising more accessible for smaller brands and for those seeking to avoid spillage. It also helps viewership by aiding to attract new and younger eye-balls. While last year’s OTT version of ‘Bigg Boss’ accumulated over 10 crore viewers, the TV version of the show recorded over 16 crore viewers. Hence, big broadcasters like Viacom 18 and Disney Star have embraced multi-platform solutions.
Mahesh Shetty, Head of Network Sales, Viacom18 points out that after embracing the change, his company now offers comprehensive, multi-platform solutions. “All our properties are platform-agnostic and multi-screen. We recognise that consumers today choose the screen that’s most convenient for them, whether it’s linear TV, connected TV or mobile phones. Our approach to ad rates and volumes reflects the evolving viewing habits of our audience. The goal is to ensure that our content is accessible wherever our audience prefers to watch,” he adds.
In addition to being a cheaper alternative, Digital has equipped us with better tools to measure viewership patterns. Industry experts also observe that we are now heading towards more qualitative parameters.
Elucidating further, Namrata Soni, Director – Media Planning & Buying, Dentsu Creative India shares, “With various measurement tools, we can sharply define the audience persona and cohort the viewers into clearly defined affinity segments. Decisions which were once taken considering TRP and GRP have moved to more qualitative parameters, thanks to the advent of digital.”
Regional Focus
At the same time, when we are witnessing the growth of regional content, digitisation has also enabled content creators to cater to audiences in their preferred languages. Over the years, we have also seen adaptions of famous non-fiction shows like ‘Bigg Boss’ and ‘Sa Re Ga Ma Pa’ gain popularity. Quoting reports, Soni and other experts bring to our attention that the percentage of regional language usage on OTT platforms will cross 50% of the total revenue by 2025.
Echoing a similar sentiment, Manish Kalra, Chief Business Officer, ZEE5 notes, “Regional content consumption at ZEE5 is almost equalling Hindi content consumption. We are currently in a 45:55 range, and anticipate regional content taking over soon. After making considerable investments in this area, our focus now lies on regional content. Furthermore, we find that regional viewers are very rewarding because they possess a high appetite for watching content in their language.”
While it is quite normal to assume that growth of regional might be reducing the viewership of the Hindi Speaking Market (HSM), it is not necessarily true. Rishi Negi, Group COO, Endemol Shine India and Banijay Asia, the group behind shows like ‘Bigg Boss,’ ‘Khatron Ke Khiladi’, and ‘MasterChef’, says that India is a hub of different languages, cultures and even content.
“Luckily, we have different languages, cultures, and viewing habits. While the regional markets are growing, they don’t cater to the Hindi market per se. Like my Tamil ‘Bigg Boss’ viewer is a Tamil ‘Bigg Boss’ viewer; he’s not a Hindi viewer. The only two markets where we see an overlap are the Marathi market and the Bengali market,” he adds.
Impact of IPL and other sports
Non-fiction shows have continued to assert dominance, be it in terms of viewership or advertisements. However, there is one property that is said to have overtaken reality shows—The Indian Premier League (IPL). The Cricket World Cups and IPLs have the potential to chew in spends share of other impact properties, however other sports don’t hold a similar power in India. Industry professionals also note that in today’s time, the first half of the year sees most of the ad spends on IPL, and the second half is when these reality shows dominate.
Breaking it down, Hema Malik, CIO, IPG Mediabrands India remarks, “What has happened is that with the IPL now taking place in the first half of the year, most of the reality format TV shows have stopped featuring during that period. But when it comes to other sports, there is a lack of similar advertising attention.”
Along similar lines, Navin Kathuria, EVP - Integrated Media, MudraMax voices, “Sporting events other than Cricket neither affect the viewership of impact properties significantly nor alter the media spends for brands on conventional high impact properties. ‘Bigg Boss’, ‘KBC’, and ‘Khatron Ke Khiladi’ fall in the second half and extend well into the festive season. Most advertisers preserve and plan their festive spends much in advance, since it is the most critical period for their annual sales cycle.”
Experts put forward that ad rates of properties like Bigg Boss can touch around Rs 2.5 lakhs for 10 seconds during weekends, but ad rates of IPL can go up to Rs 15 lakhs for 10 seconds. This is the impact cricket has on the advertising landscape in India.
Some Comparisons
This year was exceptional, as the Cricket World Cup, IPL, and General Elections all took place in the first half. In contrast, the second half of last year saw a surge in advertising expenditure due to the Cricket World Cup coinciding with the festive season, which in turn affected spending on reality TV shows. This situation has led to speculation about how H2 will fare for these non-fiction properties, which are predominantly scheduled for the second half of the year.
Experts like Malik believe that H2 of this year might not see much of a jump in terms of ad spends if we compare it with the first half of this year, and even H2 of 2023. But when it comes to spends on these non-fiction shows, an upward movement is expected. Be it Warner Bros or Viacom 18, the broadcasters say that the second half will fare much better than last year.
Speaking in this direction, Shetty voices, “Viacom18 is gearing up for an exciting lineup of big-ticket non-fiction properties across our channels, perfectly timed with the festive season. We anticipate significant growth in viewership for our shows this year. Last year’s festive season featured the ICC World Cup, the biggest sporting event of the year. This year, with a relatively clear calendar, we expect increased viewership and higher ad spends across all our properties.”
Similarly, Sai Abhishek, Head of Factual and Lifestyle Cluster, Warner Bros Discovery South Asia, is also positive about the second half of the year. “The festive period is when many products get launched and where maximum ad dollars get spent in the media industry; especially on the factual infotainment side. Naturally, a lot of a big-budget, flashy new reality shows are all lined up for H2. The second half is fully packed for us, with many of the advertisers having already lined up,” he says.
Adjustments
Reality shows stand strong in terms of ad spends and viewership, but to fit better in this ever-evolving media landscape, the broadcasters have to constantly be on their toes. From content to advertising, a lot has to be catered to. Therefore, we not only see these shows experimenting with content, but also witness relaxations being introduced with regards to ad slots.
Throwing light on the new relaxations, Malik states, “It is more flexible to sponsor these shows now. Earlier, it was mandated to have 60 to 80 seconds per episode for all 70 episodes and, therefore, the entry cost became a big barrier. However, with the softness in the market right now, and the client’s not very open to making long-term commitments or large commitments. The packages have become far more flexible, and broadcasters are also open to customisations.”
When it comes to content, broadcasters and producers are realising the importance of improvising and constantly evolving. It is also being noted that in today’s time, people have started to look beyond the conventional dance and singing reality shows.
Delving into this further, Negi puts forward, “In my opinion, reality shows that are holding their ground are the ones that go beyond the conventional dance and signing format. Audience today is looking beyond what traditionally for us were unscripted shows of song and dance. If you look at all the tentpoles which are really worki ng for us, it’s ‘Bigg Boss,’ ‘Fear Factor,’ ‘MasterChef,’ and ‘Shark Tank’.”
Looking ahead, the resilience and adaptability of reality shows underscore their significance in the entertainment ecosystem. With digital platforms amplifying their reach, and regional adaptations enriching content diversity, the genre continues to captivate diverse audiences. As advertisers leverage these platforms for impactful engagement, reality TV remains a powerful conduit for brand storytelling. The future of reality shows, intertwined with evolving viewer preferences and technological advancements, promises an exciting journey of innovation and sustained popularity.
