OTT-only Shark Tank India helps Sony LIV double tier-2 presence

From Sanchor to Samastipur, Vadodara to Raipur, Shark Tank India 4 is witnessing a new wave of entrepreneurial ambition—and its audience is evolving alongside it. This season, a striking shift in viewership trends has emerged, with more eyes tuning in from tier-2 cities than ever before.

Aman Srivastava, head of marketing at Sony LIV, shares that for Season 4, the platform prioritised deeper market penetration in these growing hubs. The result was a 100% surge in viewership and subscriptions across 42 tier-2 markets.

“While we always gain subscribers from new markets, tier-1 cities and metros typically perform best. However, by the fourth week of this season, viewership in 42 tier-2 markets had doubled. This data shows that interest in the show is spreading across a wider range of markets, a notable shift from previous seasons,” he says.

Similarly, MasterChef India has seen a high female skew, with females driving 43% of the show's viewership. The show has also witnessed an overall 13% user growth and a 26% increase in viewership on the streaming platform. 

This season, the two shows have swapped platforms. MasterChef India, which was exclusive to OTT last year, is now airing on television as well, while Shark Tank India has moved to a Sony LIV exclusive. Along with this shift, the marketing strategy has also taken a new approach.

“This time, we played our cards close, revealing just enough at the right moments,” he says.

The key difference this season was in media execution. Instead of the traditional brand spot approach, the platform began promotions closer to the launch, prioritising interviews over the initial promos. 

This allowed it to address audience curiosity directly, creating engagement from the outset. People were eager to hear from the sharks, and the responses drove strong interest in the season.

Last year, in the run-up to the third season’s release, the platform released a promo, Corporate Bidaai. In 2022, the platform also released a campaign where it showed how even a vegetable vendor understands his business’ valuation. However, this year, there were no promos to promote the show’s new season. 

Srivastava says this year, with strong content, it decided to hold back on a traditional campaign. Instead, it focused on making the sample bigger and better.

“Corporate Bidaai was conceived when the market pulse aligned with the idea. In the first two years, our focus was on establishing Shark Tank as a concept—since the show’s format doesn’t change, we needed a lateral yet brand-aligned approach. If we keep repeating formulaic strategies, they lose impact,” he says.

Will there be a brand campaign next year? He says that depends on market dynamics and consumer sentiment. “If something compelling emerges, we’ll pursue it.”

Content-wise, it let the sharks highlight what made this season special. The addition of new sharks also sparked buzz, setting the momentum early on.

MasterChef India, too, has taken a different route. This season explores how celebrities, known for their usual domains, adapt to the world of cooking. The audience is intrigued whether they have the skills, and the intrigue has translated into strong numbers.

“Our strategy focused on optimising content appeal. While celebrity interest is always present, it remains subliminal unless they do something different. This season, we featured personalities from diverse backgrounds, bringing in audiences beyond Sony LIV’s usual originals and formats,” he adds.

This has resulted in a strong growth in daily subscriptions. Since all episodes are currently behind a paywall, the platform’s primary focus is on driving subscriptions. These influencers attract well-paying audiences, and it has leveraged their follower base to expand the platform’s reach.

Influencer strategy

Sony has been using influencers to expand the reach of its reality shows. Recently, Tanmay Bhat, Kamya Jani, Samay Raina, and Bhuvan Bam appeared in a special episode of Kaun Banega Crorepati. Gaurav Taneja, aka Flying Beast, appeared as a pitcher on Shark Tank India. 

Srivastava says it’s not about attracting an entirely new audience but about deepening interest. When fans see their favourite personalities in unexpected situations, they keep coming back, eager to know what’s next. For example, Samay Raina has his own dedicated followers, but they may not be regular KBC viewers. However, his presence bridges that gap, making the show more appealing to younger audiences.

“Influencers are typically known for specific content—whether it's movie reviews, dance trends, or unique formats. But placing them in unfamiliar scenarios, like on KBC’s hot seat or at a MasterChef table, offers audiences something fresh. Their followers aren’t used to seeing them in these roles, which builds curiosity and engagement,” he says.

Srivastava calls it a ‘symbiotic strategy’. The 18–24 demographic is highly dynamic—they crave novelty. Bringing influencers into these formats keeps them engaged while also introducing them to established shows. In turn, influencers likely gain new followers from these collaborations.

“Choosing the right influencers at the right time is key to keeping the audience engaged,” he says.

Regional content

Regional content has strengthened Sony LIV’s efforts to bring in diverse audiences from different languages. It not only helps the platform expand its audience base but also in consumer retention. 

The web series Shantit Kranti brought in Marathi audiences, while Manvat Murders reinforced their trust in its ability to deliver compelling stories. Lampan further enriched this space. Manvat Murders also offered crime fans a fresh perspective. Similarly, Brinda wasn’t just for Telugu viewers—it catered to thriller and crime investigation fans across languages.

Malayalam films also consistently expand the platform’s audience while driving repeat subscriptions. “Pani opened new possibilities for us, and we’re betting big on Marco, which released on December 20 but didn’t get its full box office run due to Pushpa,” he adds. 

The coming year will build on this momentum, with Tamil and Telugu originals lined up. Meanwhile, in Malayalam, while it has a slate of originals ready, acquisitions will also play a key role in balancing movies and original content.

“Our focus will be on Tamil and Telugu originals. In Malayalam, we aim to build a consumer base with a balanced mix of movie and original content viewers,” he adds.