Eb Yusuf
As a content junkie, I’m subscribed to just about everything.
I need Stan for RuPaul’s Drag Race, Apple TV+ for Severance, Foxtel for my express movie releases (and my husband’s sport obsession), Netflix for the occasional viral TV series, Disney+ for my Searchlight fix, heck, I even subscribe to Viki to watch K-Drama and Crunchyroll for Anime. And yeah, I have Prime Video and YouTube Premium too… just in case.
Now, with the news of Max launching in Australia and a cost-of-living crisis on our hands, it’s left me wondering if I’ll ever be able to afford to go on a family holiday again - the firstest of first world problems.
I’m not alone, as a nation, streaming is one of those things we’re unwilling to sacrifice. In the 12 months up until June 30, 2024, Aussies spent $3.5 billion on streaming services, even after 13 consecutive interest rate hikes since 2022.
While some have opted for cheaper ad-supported models, the expansion of these services means we’re subscribing to more and therefore spending more, just to make sure we don’t miss out on anything.
Category spend now averages $50 per month (up 16% YoY), with an average of 3.6 services per household.
So, with all of this stuff to watch, what does it mean for advertisers? Sure, the ad-supported tiers can help you reach around 32% of the streaming audience, but what about the other 17 million+ people who are bypassing ads and injecting that sweet, sweet content juice directly into their veins?
And what’s the impact of a 30-second pre-roll spot versus good old-fashioned sponsorship and content integration or appearing Super Bowl-style in a big, broad shared viewing occasion?
Well, to answer all these questions, we need to go back to basics. Maybe every single viewing occasion isn’t an advertising occasion… Unless of course it can add value and enrich the experience. Here are three ways to do it and do it well:
Shared viewing occasions are fewer and farther between, but they still exist
And let’s be real, these are mostly sports. We can lean on the major networks here as they still own most of the broadcast rights, and although these environments can become cluttered, there is still opportunity to find some clear space and a distinctive point of view; or to consider emerging sports where being the first to the party can really count for something.
CommBank was a champion of women's sports for years, and this paid off in a big way when the Matildas made it to the Women’s World Cup semifinals and attracted more than 11 million viewers across Australia. They’ve since credited the Matildas with helping them to become a "globally iconic brand”.
With Netflix buying up more and more live sports broadcast rights and DAZN entering the market with the acquisition of Foxtel, there is plenty of opportunity to tap into the diverse and thriving world of sports.
Integration is harder in the streaming world, but not impossible
A thought struck me as I fired up the critically acclaimed horror film Smile 2 on the Foxtel box. It wasn’t a thought as much as it was a craving. A craving for some cool, crisp, Norwegian spring water from an expensive and distinctive glass bottle with the name VOSS plastered across it. And the reason for this was because the central character of the film, a fictional pop star and recovering drug addict by the name of Skye Riley, chugged down a bottle of VOSS each time she felt compelled to slip into her old habits.
The bottle featured no less than 45 times throughout the film - or at least it felt that way to me. And if you check the reviews on Letterboxd, approximately 40% of them mention VOSS. Sure, product placement is a classic, but if done well, it can make your customer thirsty for more! But how can Aussie brands achieve this you ask?
Well, the studios are always up for international set visits and collaborations if the price is right. But beyond this, all the streamers are now interested in localised production, and dare I say, local content has become more vibrant and interesting than ever.
Netflix’s recent Apple Cider Vinegar as well as Prime’s Deadloch (2023) are testament to the elevating quality of Aussie content. So, reach out to your local streamer and see if you can take some of the heavy lifting out of the production costs to incorporate your brand in a meaningful way.
Be part of the appointment viewing conversation
Much to my delight, water cooler TV is back. If I miss an episode of Severance or The White Lotus, I try to avoid social media for at least 24 hours after because the internet is rife with spoilers and fan theories.
Severance season 2 fueled a 126% increase in Apple TV+ subscribers with audiences demonstrating they want high quality, original content and that they’re willing to tune in to it in real time. Other streamers are sure to take heed (I’m positive that writers’ rooms are brimming with ideas as we speak).
It’s not always easy to predict ahead of time if a show is going to be a hit and get on board in the early stages of production, but if you play your cards right and stay on top of the cultural pulse, you can ride the coattails of streamer programming success - especially if it’s contextually relevant to your brand.
You can simply be wherever the conversation is, whether it’s on Bluesky, X, or Reddit with conversationally relevant creative. Or even better, you can work with streamers to integrate into episode promos, take this brilliant example from Apple, collaborating with its very own Severance featuring Tim Cook taking the iconic Lumon Industries elevator to the severed floor.
Fragmented viewing is not going anywhere, but moments that shape culture are here to stay. If we want to keep in step with real consumers, we need to not only pay attention to what they’re watching now and how they’re watching it, but we need to be able to forecast what they’ll want to watch next. This is how we can keep connecting with them in meaningful ways.
So, as I enjoy my icy cold bottle of VOSS, I leave you with this, what’s the next big thing and how will you be a part of it?
Eb Yusuf is head of strategy at Yango.