What Does the Future Hold for Branded Entertainment?

In 2011, the practice of producing branded entertainment is hardly dying down. Companies are funneling even more of their money into entertainment than ever before.  Last year branded web series became a more than half-billion dollar industry (Ad Age). Incorporating brands directly into programming facilitates a positive brand experience that does not come off as pushy. Branded entertainment now encompass’ event marketing, social networking apps, product integrations, web series, and more.

Media plans used to be fairly straightforward for every company. Typically consisting of TV, radio, outdoor and print ads. Now it is more up for the brand to decide, choosing whatever kind of distribution they believe will best reach their target market.

A prediction for the future of branded entertainment is an increase in digital brand integration. Advertising will continue to become part of the content itself, preventing the inattention that traditional advertising brings. Online branding will become more personalized. Technology will soon help decide which advertisement will be shown based on viewer demographics. A 34 year-old male will be shown an entirely different automobile commercial than one targeted to the 34 year-old female. This personalization will allow for more value to be placed upon the advertising. We will also see an increase in the amount of interactive content. Interactive content requires users to experience real-time viewing and not skip through an advertisement, thus providing more engagement. This increase in consumer engagement increases the advertising’s value because it leads to brand recognition. Traditional commercials are not expected to disappear completely, but instead will likely be reformatted. Think interactive commercials that allow viewers to play online games in conjunction with the advertising.  Social media will only begin to play a larger role in engaging consumers online and helping move branded content forward. By brands interacting with consumers and responding to them, it will help build brand equity.  

The popularity of this branded entertainment is going to lead to an increase in media companies, talent agencies, and independent consultants. It is imperative that advertisers keep up with the changes in entertainment delivery in the future. As advertisers continue to shift their budgets, they must prioritize which media are going to be most successful and continually decide on the most creative way to reach their market. 

Ad Age Saff (10 January 2011). The Year Ahead: 2011 Predictions for Media. Ad Age. Retrieved from: http://adage.com/article/mediaworks/year-ahead-2011-predictions-media/148081/

Baharav, Roy (1 February 2011). The New Math: (Content x Advertisement) = Contentment. Media Post. Retrieved from: http://www.mediapost.com/publications/?fa=Articles.showArticle&art_aid=144097

Rowland, Alex (10 May 2010). The Future of Branded Entertainment is Social. SparkSheet. Retrieved from: http://sparksheet.com/the-future-of-branded-entertainment-is-social/

What Exactly is Branded Entertainment?

I realized that I have covered multiple examples of branded entertainment, without ever really specifying what it is. So what is branded entertainment, and what does it do?

Branded Entertainment is defined in Advertising & Integrated Brand Promotion as, “the blending of advertising and integrated brand promotion with entertainment, primarily film, music, and television programming.” But as I have shown it can reach much further than those main platforms, out to books, mobile applications, video games, sporting events, and even online videos and webisodes. At the center of branded entertainment is product placement. But what was once only there to enhance the realism of the story, products now play an active role in it. A product is intended to be linked into the entertainment so seamlessly that viewers do not recognize it as an advertisement. The brand is not simply a player in the story, but the star of the program. When creating branded entertainment the goal is to write a story where the brand is hero, it should play a significant part in the development and execution of the plot. If a viewer recalls a movie or television episode where a brand played a positive role and it left them with a good feeling towards the brand, then that case of branded entertainment was successful. Never forget viewers are also consumers, and when they are out shopping, the purpose of branded entertainment is that the brand will now hold a higher position in their mind, hopefully gaining brand preference.

A huge advantage to branded entertainment is not running into a consumer’s resistance to advertising. Advertising has become so ubiquitous that as soon as consumers recognize it, they immediately tune it out. People are bombarded with so many different ads daily that they no longer even read them. We flip through channels during commercials, or use or Tivo’s to fast forward straight through them. By inserting the brand into the story we are telling, people are much less likely to ignore it. Another pro to branded entertainment is it is considered artistic speech, not commercial speech like traditional advertising. This allows a brand to be depicted however they want, without as many regulations and disclaimers. Branded entertainment also gains mass exposure. Placing your product in a popular television show or movie ensures that a great numbers of people will see it. An additional benefit of building your brand into the plot is more explicit communication. When the plot revolves around a product, characters will not only talk about its benefits, they will also provide product demonstrations for viewers. After listening to a discussion on a brand, people will come away with more understanding of it. 

Branded entertainment is a very broad category that is ever-changing. Brands can now place themselves into essentially any form of entertainment. While our understanding of branded entertainment continues to grow, I believe its popularity and prevalence will only increase as well. What the future holds, I’m not quite sure. But I do know that brands will find a way to put themselves in the front and center of whatever it is. 

Brown, Millwary (2007). Branded Content:More than Just Showing Up. Retrieved from: http://www.dynamiclogic.com/na/research/whitepapers/docs/Millward_Brown_POV_Branded_Content_Feb07.pdf


O'Guinn, Allen, Semenik (2009). Advertising and Integrated Brand Promotion. South-Western: Mason, OH. 

Utilize Branded Applications

It seems that in the world today cell phones trump just about everything else of importance in your day-to-day life. Your cell phone is a highly valued and personal object. Walking around a college campus it is hard to spot someone who isn’t walking head down with their face focused on that tiny screen, or who doesn’t have their headphones plugged into it. It seems that we just cannot get through the day without using some of these extremely handy applications that make our lives simpler.

Branded applications are one of the newest ways brands are trying to reach people and give them something useful that subsequently ties in with their product. People want to be engaged.  Designing a useful application that is the perfect alignment of consumer and marketing interests is what helps make it successful.  This creates direct and targeted exposure for consumers and builds brand awareness. People enjoy applications that are simple, useful, and save time.

Branded applications can fall under the categories of either entertainment or utility. Each category has pros and cons to it. For the entertainment functioning applications, their benefit is that they usually have a significant number of downloads, and are engaging. The downside of this is that although large numbers engage in downloading and using the app, it does not hold much brand recall. Users of entertainment applications also do not tend to keep up an ongoing interaction, and soon the novelty wears off. It is even found that 95% of downloaded applications are not used 30 days after being downloaded (Shah). This is why the best approach is to create an application that has a utility feature so that users can continue coming back to time and time again to fulfill a need.  Utility applications usually have a slower build to popularity and download growth, but it evolves and grows with the brand and its audiences. Typically a utility app will reflect the brand direction or related features. The disadvantage of these applications is that they must continually evolve their information to keep it up-to-date and useful to the consumer, otherwise they will have no interest in returning to it.

What is needed to make a branded mobile application successful? First the brand must provide marketing support. Other advertising need to be employed to gain exposure and help generate a large number of downloads. If an application can make it into the iTunes top 100 then it gains a 40% higher chance of being downloaded (Shah). They also need to make sure to create an insightful user experience. If an application relates highly to its brand, people will respond to that. Thirdly, social sharing is highly important. People enjoy being able to talk and connect with others. If your application is connected in to other social media sites, your brand will be present in a larger space. Finally, it needs to be customized. If an application is like none other out there and is fine tuned to your specific brand and consumer needs, people will be fulfilled by it. This will ensure that they are downloading only your application for use in that utility category.

Examples of several highly successful utility brand applications are as follows. The Kraft iFood Assistant has been highly profitable. It offers 2000 recipes, many of which conveniently include Kraft products. It also has deals, coupons , and a built-in shopping list all to help motivate use.  By having these features it remains engaging and 60% of the users that downloaded the 99cent app continue to use it (Shah). The Nike+ app is also flourishing.  It brings together users and creates an experience around running. It can track a users run, including distance and time, and allows them to compare that with other users on the site. It also is connected to the web to encourage purchases of Nike shoes. Another illustration is the TimeOut iPhone application from Smirnoff. Smirnoff wanted to build off of their “Be There” campaign when they created this location-based app filled with relevant content. It has geo-location technology that when applied shows recommended activities in reference to their current location, this happens within seconds and includes event previews. With up-to-the-minute event information and recommendations users are also allowed to forward the information on to friends. You can even save your favorite restaurants, cinemas, and venues so that you can get upcoming information regarding them in the future. This directly connects consumers with their product experience, and 50% of people that downloaded it reportedly use it every day, making it extremely successful (Grill).  Finally, my favorite idea for a utility application that Charmin sponsors is SitOrSquat. This app is fully dedicated to helping people find clean restrooms. The list is user-generated and is full of recommendations for sanitary bathrooms across the country.  It has grossed over 400,000 downloads, and even made it to Forbes list of top 10 mobile applications (Burkitt).  

All of these branded applications were a sensation because they followed four basic principles; they tied the app in with their advertising, related the information to their customer needs, recognized the importance of social sharing, and created something unique that people would love and pass on to their friends. Each brand found a relevant and meaningful way to promote their brand name. 

Burkitt, Laurie (23 November 2009). Killer Apps: Best Branded Mobile Applications. Forbes. Retrieved from: http://www.forbes.com/2009/11/23/best-worst-apps-cmo-network-branded-mobile-apps.html

Grill, Andrew (10 January 2010). Branded Applications Will Drive Mobile Advertising in 2010. London Calling. Retrieved from: http://londoncalling.co/2010/01/branded-applications-will-drive-mobile-advertising-in-2010/

Lazerow, Michael (8 December 2008). Branded Applications: Holy Grail or Graveyard? iMedia Connection. Retrieved from: http://blogs.imediaconnection.com/blog/2008/12/08/branded-applications-holy-grail-or-graveyard/

O'Neill, Nick (3 September 2008). The Booming Branded Applications Industry. Social Times. Retrieved from: http://www.socialtimes.com/2008/09/the-booming-branded-applications-industry/

Sihah, Jinal (7 March 2011). Best Practices: Branded Mobile Applications. Retrieved from: http://jinalshah.com/2011/03/07/best-practices-branded-mobile-applications/

Stewart, Ryan (14 October 2007). Branded Applications as the New Advertising Medium. ZD Net. Retrieved from: http://www.zdnet.com/blog/stewart/branded-applications-as-the-new-advertising-medium/579

Junk Food Brands Write Children's Books

Advertising today now seems to be reaching into every corner of our day-to-day lives. Now it is even affecting how we teach our children. Books used to be a way for kids to take a break from television commercials and product placement. Although I am a branded entertainment enthusiast and find it to be a creative way to reach an audience, I do not approve of what some brands are doing to single out and attract young children.

Many very popular candy and junk food brands are now writing their own children’s books to educate kids.  Examples of such are:

• Skittles Riddles Math, by Barbara Barbieri McGrath, Roger Glass
• The Cheerios Counting Book, by Rob Bolster
• The Oreo Cookie Counting Book by Catherine Lukas
• The Hershey's Milk Chocolate Bar Fractions Book, by Jerry Pallotta
• The Hershey's Kisses Addition Book, by Jerry Pallotta, Rob Bolster
• More M&M's Brand Chocolate Candies Math, by Barbara Barbieri
• The M&M's Brand Counting Book, by Barbara Barbieri McGrath
• Twizzlers Percentages Bookby Jerry Pallotta, Rob Bolster
• Reese's Pieces: Count by Fives, by Jerry Pallotta, Rob Bolster

Now what is immoral with this you ask? Considering children in America are now 20% more obese than they were in 1990, I ask how can this be good for them (Diabetes in Control)?

These books persuade learning and make math interactive--through consumption.  Children are already hard-wired to desire candy more than the average adult, and often beg their parents to purchase it for them. Yet now they are becoming only more susceptible to developing eating problems and becoming obese because these already high-revenue generating companies want to further establish their brand name into kid’s lives. 

The first page of The Oero Cookie Counting Book says, “Ten little Oreos all in a line.” Then beside an illustration of a children’s hand reaching toward a row of cookies, it continues, “ Dunk one in a glass of milk and now there are nine.” The back cover insists, “Children will love to count down as 10 little Oeros are dunked, nibbled and snacked until there are none!” Reflecting on the fact that 10 Oeros have over 20 grams of fat and 500 calories, I believe that there is a much more healthy approach we should be taking to teach our children (Jahness). The basic eating habits that a child learns when they are young is what they will continue doing for the rest of their life. If we allow candy brands to enter the market of educating our children, it will only reinforce their already burning desire to consume a much more than recommended amount of food.

In my opinion, these brands are beginning to cross some ethical lines. Although they seem to want to teach children basic mathematical skills, it is apparent that encouraging more candy consumption by kids is also on the agenda. It seems that the only way to learn from these books is to buy the specific junk food as well to coincide with the learning. Although this kind of advertising may be successful at increasing some sales, I find their approach to be wrong. When a brand begins to create media for the sole purpose of generating revenue without regards to the health and safety of their consumer, then their branded entertainment is no longer a success in my book.

Diabetes in Control (14 November 2006). Children's Belly Fat Increases More Than 65% Since 1990's. University of  Rochester Medical Center. Retrieved from: http://www.diabetesincontrol.com/component/content/article/4317-

Jahness (March 2005). M&M Math for Fat Kids: Candy-Counting Books are Teaching Children to Pack on the Pounds. Assata Shakur Forums. Retrieved from: http://www.assatashakur.org/forum/afrikan-wholistic-health/19257-m-m-math-fat-kids.html

Neer, Katherine (22 March 2011). How Product Placement Works. HowStuffWorks.com. Retrieved from: http://money.howstuffworks.com/product-placement.htm>  22 March 2011.

Cast Away: A Very Long Commercial

From the beginning to the very end of the film Cast Away, Federal Express has express placement throughout. The opening scene shows a FedEx truck delivering a package, specially marked with angel wings. Then we proceed to see Tom Hanks, whose character is a FedEx inspector, unloading the company truck. In the background viewers can see authentic FedEx airplanes, logos, packages, and signs. Scenes from the motion picture were shot on the actual Memphis FedEx headquarters, as well as their facilities in Moscow and Los Angeles. FedEx was so highly involved in this movie that some of their real employees appear as extras and Federal Express CEO Fred Smith even has a cameo in the end. At first FedEx was hesitant about the idea of their company airplane being involved in a crash, the loss of much of their cargo, and the unauthorized opening of personal packages. Overall they decided that the brand had a positive presence in the film and committed to making their placement in the movie as authentic as possible. All FedEx employees are shown in a flattering light, being portrayed as hard working and efficient. There even is a jab or two made in reference to the United Parcel Service. Hanks' character is such an intensely dedicated employee that after being rescued, his first order of action is to give a welcome home greeting and public speech on behalf of FedEx. In the end he even delivers the last remaining FedEx package from his wrecked flight, the distinct one with the angel wings. Cast Away is ultimate way to create national brand exposure. Product placement in films is also ideal because it is reaching a much larger audience. A movie is ensured to have a longer shelf life than other branded entertainment because it is not just in theaters, it will also be released on DVD and played on television. By allowing their brand to be featured throughout this motion picture in a storyline that represented it so professionally, Federal Express was ensuring that they would be placing themselves into the heart and mind of every person that saw it.

Brown, Sawyer. Cast Away: The World's Longest Commercial. Magellan's Log. Retrieved from: http://www.texaschapbookpress.com/magellanslog30/castaway.htm

Finnigan, David (4 December 2000). FedEx Won't Go Postal on Cast Away; Pepsi Returns for Oscars, Sans Refill. The CBS Interactive Business Network. Retrieved from: http://findarticles.com/p/articles/mi_m0BDW/is_47_41/ai_67716804/

Lehu, Jean-Marc (2007). Branded Entertainment: Product Placement & Brand Strategy in the Entertainment Business. Philadelphia, PA: Kogan Page Limited. 

Special Delivery for Robinson Crusoe: Dreamworks Sells out Cinema with FedEx Corporate Love Song. Movie 666: Herald of Apocalyptic Media. Retrieved from: http://www.movie666.com/castaway-movie-fedex

Drive a Nissan Sentra in Second Life

Second Life is a video game that is played using customized avatars that exist in a virtual world. With over 2 million active participants, it's no surprise brands are attracted to this world. Real commerce takes place here and users can "own" things that they buy with their Linen dollars. One such brand that has extended their advertising into Second Life is Nissan. Nissan created an enormous and realistically functioning vending machine that can dispense customizable Sentras. The digital renderings of the vehicles are lifelike representations of the product, including in the interior, plus a few extra features added. Additionally the color choices for your car in the game are the same options you would get on an actual Sentra.These custom cars can be driven around by the avatars. On the Nissan island is a test track with a vertical loop, so you can go test out your driving skills. You can even choose to drive in different conditions, either road course driving or open space driving.  Nissan is taking this opportunity to reach a captive audience and show the features of their product as well as build a brand loyalty among Second Life users.

Adlab (24 October 2006). Nissan Puts Sentra Into Second Life. Retrieved from: http://adverlab.blogspot.com/2006/10/nissan-puts-sentra-into-second-life.html 

Streigal, Jason (26 July 2007). Brands in Second Life. Blogcadre. Retrieved from: http://www.blogcadre.com/blog/jason_striegel/brands_in_second_life_2007_07_26_11_56_52

O'Guinn, T., & Allen, C., Semenick, R. (2009). Advertising and Integrated Brand Promotion. New York: South-Western. 

HP Features Product with Live Improv

Hewlett-Packard took a new approach to branded entertainment when they executed the event "HP ePrint Live," a live-streamed improv comedy show that featured their newest product and engaged people from all over the country.Well-known comedian Rob Riggle hosted the improv show which was shown in real time on YouTube as well as the HP Facebook page; he stood beside a HP ePrint printer pulling out suggestions as they were being sent in by real viewers.

Most improvisational comedy is done with the help of the audience to form cues and suggestions for skits. The basis of this show is that the virtual viewing audience could email in their suggestions to the web-connected HP printers on stage. If their suggestion was chosen, viewers won themselves a free ePrint printer, added to the benefit of seeing the Upright Citizens Brigade perform their idea in front of thousands of people. The creation of this branded content was an innovative way to bring to life the benefit of a product's new technology, the ability to print from anywhere. This branded entertainment campaign was an entertaining way of doing a product demonstration, and it was extremely successful. By featuring the show online, it allowed for a broad audience to view the show and essentially tune in to see how the product works and find out themselves the benefits of printing from anywhere. This interaction between the brand and consumers was overwhelmingly successful because viewers enjoy being able to provide inspiration for the improv, and see how their ideas are played out.

 Porter Novelli, which worked with Hewlett-Packard to develop the show, reports that "during the live event emails with improv ideas were being submitted at a rate of 25 per minute, and nearly 5,000 were received throughout the entire event." They also state that after the show HP gained more than 32,000 additional Twitter followers, proving that their campaign successfully attracted many people's attention. This set a whole new standard for creativity, delivery, and effectiveness of branded content. 

http://www.youtube.com/watch?v=lszHJB6aqok

Sizzlin' T-bone Barbecue- ePrint Live

Video

http://www.youtube.com/watch?v=mBrJyuStymU

The Real King Arthur Story- ePrint Live

Video 

Mashable (17 January 2011). HP Launches Live Improv Comedy Show on YouTube. Retrieved from: http://mashable.com/2011/01/17/hp-eprint-live/

Porter Novelli (18 February 2011). HP ePrint Live. Retrieved from: http://www.porternovelli.com/news-room/hp-eprint-live/