As subscriber growth wanes, OTTs tap fiction shows for brand partnerships

Binaca Geetmala. Closeup Antakshari. Bournvita Quiz Contest. These legacy TV shows are inseparable from their title sponsors — so deeply tied together that the brand names became part of cultural memory. Now, OTT platforms and advertisers are attempting to recreate a similar level of recall for fiction programming.

As streamers look to diversify revenue, title sponsorships for scripted shows are emerging as a new avenue. JioHotstar’s Search: The Naina Murder Case carries Vimal and Denver as title sponsors, while The Trial: Season 2 is backed by Cera and Vimal. Zee5’s Bhagwat is “co-powered” by Lux Inferno, with Asian Paints, Philips and Envy as special partners.

The model typically guarantees brand visibility on show posters within the app, along with mentions in social media vignettes and other promotional materials. These brands may or may not be integrated into the storyline; for AVoD viewers, they may appear during ad breaks.

What do brands gain?

According to a JioStar spokesperson, the benefit is twofold. First, brands gain visibility in an uncluttered, brand-safe environment with high recall among premium, engaged audiences. Second, consistent association with a show builds emotional connection.

“The idea is to align the brand with relatable narratives and everyday cultural contexts, amplifying relevance and impact. Sponsor brands have seen 30–40% higher brand KPI growth compared to inventory-only brands. Bottom-funnel metrics like Brand Preference and Purchase Intent see the highest incremental impact.”

While traditional ad formats rely on straightforward metrics, narrative-driven content provides richer insights. “With advanced analytics, brand recall studies, and content-performance tools, we can now measure impact more effectively than ever,” the spokesperson adds.

Dabur Red Paste, a sponsor for JioStar’s Salaakar, features in the show’s intervals. According to Binit Kumar, AGM Marketing – Oral Care, Dabur India, the key benefit is the ability to reach unique audiences, particularly cord-cutters, and build stronger attention. OTT content naturally delivers higher attention thresholds than linear TV, driven by immersive storytelling.

For Dabur, OTT strengthens an already wide media mix. Large brands, with nationwide distribution and larger budgets, use TV for mass reach and then layer OTT for incremental audiences. Smaller or challenger brands, however, may rely more heavily on OTT because it delivers higher attention value relative to cost.

For example, Dabur’s herbal activated charcoal toothpaste, a premium metro-focused product, sponsored several Hotstar specials. Brand studies showed high attention and strong awareness gains, validating the investment.

A mixed approach to sponsorship

Platforms like JioHotstar and Zee5 are leading the adoption of title sponsorships, but others are experimenting too. Hoichoi has brought in Horlicks for Chhota Byomkesh, while aha has partnered with Bru for Madurai Paiyanum Chennai Ponnum.

Soumya Mukherjee, COO, Hoichoi, says most sponsorship models suit ad-led platforms. Hoichoi’s approach, however, is content-first: the brand informs the theme, not the other way around.

“When we speak to brands, we highlight our reach and premium paying audience. Then we offer to tell a fictionalised version of the brand, woven naturally into the story. In Chhota Byomkesh, Horlicks fits seamlessly. We never state the message outright, but you’ll see him drinking Horlicks in morning scenes. It’s subtle and organic.”

However, many shows feature brands only on the poster. Once a viewer enters the show, the branded thumbnail disappears.

In Salaakar, for instance, Dabur Red Paste appears on the poster but not in the story. Kumar says the challenge lies in uncertainty: at the scripting stage, brands don’t know if a show will gain traction. Delays, cast changes or weak reception make upfront integrations risky.

“Because of this lack of clarity, brands often shy away from committing to in-story integrations. Once a show is well-received, advertisers become interested, but by then, the opportunity has mostly passed,” he says.

Certain genres, especially action, crime and thrillers (ACT), naturally limit brand placements, says Kavitha Jaubin, head of content and strategy, aha. Unlike soap operas, which offer clean, positive moments, most OTT content falls within the ACT category, where integrations may feel forced or inappropriate.

“So we’re now focusing on securing title sponsors for major IPs. Even if the brand isn’t integrated into the content itself, it can still sponsor the property. This helps us grow revenue without forcing brands into places they don’t fit.”

For broadcaster-backed OTTs, some sponsorships are bundled with TV deals. “If a brand is signing a multi-crore TV deal, they may request digital impressions as an add-on. The main objective remains television; digital is supplementary,” an industry expert notes.

Will OTT title sponsors achieve strong recall?

DLF IPL, Amul Voice of India or Airtel Satyamev Jayate became virtually inseparable from their sponsors. Can OTT replicate this?

Viewing behaviour today is very different. In the past, the entire country watched the same programme at the same time. Repetition created recall. On OTT, viewers don’t return to the hero image, and fragmentation makes recall harder.

Even so, Jaubin believes recall can grow over time. “When the same brand sponsors multiple seasons, the association becomes the title itself. That’s the direction we’re looking at.”

Harikrishnan Pillai, CEO and co-founder of TheSmallBigIdea, agrees that the model is evolving. “This is the beginning, not the final form. It may not be perfect today, but it will be transformative in five years,” he says.

Kumar, however, is sceptical. With today’s media clutter and minimal attention spans, deep associations are difficult. Earlier, fewer shows meant higher visibility. Today, attributing recall to one element is far more challenging.

“In formats like Binaca Geetmala, recall was strong because the sponsor was referenced repeatedly. That consistency encoded the brand in people’s minds,” he notes.

Why platforms are pushing partnerships

The interest in sponsorship comes as OTT growth tapers. India now has 601 million OTT viewers and 148 million active paid subscriptions, according to The Ormax OTT Audience Report 2025. Growth from 2024 to 2025 stands at 9.9% — down from 13%+ in the previous two years.

Pillai says international OTT platforms overestimated India’s willingness to pay for subscription-only models. “We’re a market used to free entertainment. TV still dominates. During Covid, people moved to digital, but the core behaviour didn’t change: entertainment is the habit, not the platform.”

He notes that ad-supported models have scaled faster than subscription-led ones. Even platforms that were once subscription-only now carry ads, including for paying users.

“This is the future. OTT shows will increasingly have brands woven into them because the audience numbers justify it. Brands will play a very important role going forward.”

OTT’s trajectory mirrors television’s: build content, build audience, then monetise through ads. Over time, TV expanded into logo placements, sponsorships and integrations. OTT is following the same playbook — with two key differences: contextual placements and data.

If a product appears in an episode, OTT platforms can serve aligned ads around that moment. And because delivery is digital, brands know exactly who watched the integration and can retarget them for months.

“So the fundamentals are the same as TV. The real edge OTT brings is contextualisation,” Pillai says.

Mukherjee adds that monetisation is becoming tougher. “Growth isn’t what it was in 2022–23 — it has flattened. Content costs are rising. So either you charge customers more, or you find new ways to monetise.”

Jaubin notes that platforms increasingly see brand integrations as a crucial revenue stream. “We’re thinking about creating properties specifically for brands — stories designed around a brand’s world or message. That work is already underway.”