Panel: Launching The Power of Entertainment
Central to the study is to uncover how play and storytelling shape our identity, social connections and expectations of brand involvement in entertainment culture. Over bagels and coffee, we shared the most striking takeouts of the study with our audience of brand delegates, followed by a more detailed panel discussion with senior representatives from O2, Sony Interactive Entertainment, Ticketmaster as well as a leading Neuroscientist from UCL.
The beauty of being fully immersed in an entertainment experience is how our brain reacts to stimuli, whether this being a film, a song or a game. As Dr. Harry Farmer from the Research Associate Institute of Cognitive Neuroscience at UCL, puts it: “What is really interesting with entertainment of all sorts, is that our mental network gets slightly shut down or suppressed. It quietens down our ‘boring’ bit - the monologue.” When we are engrossed in a flow of activity and captivated in the moment, brands are tapping into a very emotional space. As a result, it's essential for brands to manage the relationship with consumers in the entertainment sector correctly.
Paul Shulver, Head of Music Sponsorship at O2, highlights: “It’s not about detracting from the core reason somebody goes to the gig because that’s seeing the artist. The role we’re focusing on is trying to help and add value where we can.” Fans don’t appreciate any disruption from their connection with the artist during an event. Therefore, brands such as O2 identify where there is a role for them to play and then elevate pain points throughout the different stages, from purchase to post-event. Ultimately, their aim is to help fans to enjoy their experience as much as possible and the branding itself becomes secondary, if not much more natural.
Joanna Young, Ticketmaster’s Associate Director of International Marketing Services, agrees and draws attention to what kind of brands are working within the entertainment space now vs. a few years ago: “What’s really nice to see is a wider proliferation of brands, the smaller brands which don’t have mega million pound budgets every year, coming in, doing really small but meaningful things, on festival sites, in venues but actually even outside of this space.”
The evolution of technology in particular has enabled brands with smaller budgets to get involved within the entertainment industry; a change that is also palpable within the gaming sector. Apart from catering to a wider range of audiences, technology has become a lot more accessible, according to Adam Merret, European Communications Manager at Sony Interactive Entertainment. He emphasises the growing remit of partnership opportunities within gaming and also how it has become easier for brands to start a partnership and explore interesting avenues together. However, when dealing with the generally more sceptical gaming audience, sincerity is crucial: “Authenticity is the most important thing within gaming because these guys are cynical but if you convince them they will be sold. You have to read your community audience very carefully, they’re the voice and if you don’t listen to them, then they turn away.”
This is something all brands should take to heart, really. As Joanna reiterates: “It’s about finding balance and making sure it’s all about serving the fan. This is where brands can come in and help and make everything a nicer experience."
Lastly, contemplating the future, it is still unknown how much further we can drive the emotional power of our experiences. We are only just starting to understand the possibilities of combining entertainment with data and innovative technologies and as a result, are gaining a better understanding of the needs and behaviour of consumers. It is inspiring to see brands and experiences grow and adapt while we all play a part in the evolution of entertainment.
The report engaged with neuroscientists, industry experts, leading brand practioners and passionate music, film & TV and gaming fans. You can read a preview of the report HERE.
