Branded entertainment: the big brand show is worth 853 million

‘I want you’ – in other words, we’re looking for you, once again. In an era of widespread warfare, the famous slogan with its finger pointed at the viewer – it was 1917 when Uncle Sam appeared on American posters to recruit soldiers – becomes entertainment and is replicated across a thousand screens. With ‘Field Tested’, the US Army – that is, the land component of the US armed forces – brings military recruitment into three films shot with real soldiers during actual training exercises. Drones, geospatial systems and teamwork. The communication places less emphasis on the weapon itself and more on training. Handheld cameras, smartphones and drones showcase less combat and more preparation. It is the latest chapter in a media history spanning more than a century: from posters to television, which in 1981 transformed the ‘Be all you can be’ recruitment campaign into a national phenomenon, Today, however, the distribution of the product does indeed encompass television, with Paramount at the forefront, but now also includes YouTube, Twitch, Reddit, the Meta ecosystem and the most popular gaming platforms. This is the new frontier of branded entertainment, in America as well as in Italia: the hybrid battle for attention is now shifting from the small screen of the traditional broadcast era to a multitude of miniaturised screens, within an increasingly multi-platform framework, encompassing cinema and Out-of-Home advertising.

Digital systems, algorithms, content creators and artificial intelligence are reshaping the content journey and how content reaches increasingly fragmented audiences. This marks a further shift from brand integration (where a brand is incorporated into content produced by others) to brand origination (where companies directly conceive, produce and distribute original stories). This is what is happening in the Italian market for branded entertainment, which is set to reach 853 million euros in 2026 with an estimated growth of +6 per cent on the previous year, according to data from the OBE (Branded Entertainment Observatory) previewed in *Il Sole 24 Ore*. Last year, the figure was already positive at €805 million, representing a 10 per cent increase. “The figures highlight a market that is growing and maturing. Companies are increasingly viewing branded entertainment as a strategic avenue for building relevance, distinctiveness and brand value. Meanwhile, new formats and platforms are expanding the investment opportunities for an integrated communications strategy, helping to increase its overall value”, says Erik Rollini, OBE Board Member and Executive Director at WPP Media.

TV is no longer the permanent centre of gravity for Italian consumers. Or rather, it is vying for the top spot with a multitude of other screens in an increasingly sophisticated battle for attention. ‘TV retains a central role, and 34 per cent confirm its strength in terms of reach, authority and the ability to create recognisable programmes. But the 66 per cent spread across other channels tells us something more. Branded entertainment is now a true ecosystem in which TV, social media, events and podcasts fulfil different and complementary functions. The paradigm shift lies precisely here: starting with the relationship we wish to build with the audience and choosing the most effective channels and forms of expression,” emphasises Rollini. The brand can become the direct producer, publisher and distributor of its own entertainment: short films, documentaries, series, podcasts, creator content, gaming experiences. ‘Content is no longer designed merely to be watched, but increasingly to be experienced, shared and reinterpreted. The audience takes on a more active role, but participation does not mean chasing engagement at any cost,’ Rollini points out.

The food & beverage sector remains the leading one at 24 per cent, but behind it the market is much more evenly distributed. “Banks, technology, the automotive industry, fashion, energy and services also use it to make complex issues accessible and relevant. There is no one-size-fits-all format. Effectiveness stems from the intersection between what a brand can convey authentically and the public’s genuine interest,” says Rollini. Ceres, with “Per il bere della squadra”, transforms football from a mere sponsorship arena into an entertainment experience. Coop, with “La materia nascosta”, becomes a publisher: it brings sex and relationship education into the public sphere. Reale Mutua, with ‘Back in the Game’, chooses sport and personal stories to create a talk show broadcast across TV, digital and social media. The Coordown association places people with Down’s syndrome squarely at the centre, transforming cinematic quality and storytelling into tools to amplify their voices.

Outside Italia, Adidas has produced a five-minute short film entitled ‘Backyard Legends’, featuring football stars of yesterday and today. Coca-Cola Zero Sugar, meanwhile, has ventured into The Duc Ngo’s real kitchen to experiment with the ‘documentary plus’ format: real people, food and settings become the stuff of storytelling, pushing the boundaries of ‘real entertainment’. Diesel’s “Be brave” is coming to cinemas: the documentary on Renzo Rosso, presented at the Venice Film Festival, weaves together archive footage, personal accounts and artificial intelligence, transforming heritage into a cultural product.