ZEE Network recently launched their new campaign ‘Dilfluencers’ which emphasises that its most loved TV characters are far more than just social media stars but are a daily companion to the millions of viewers whose hearts they touch on a daily basis, therefore dubbing them as ‘Dilfluencers’.
In a conversation with Marketing Mind, Ashish Sehgal, Chief Growth Officer for Digital and Broadcast Revenue at ZEE, and Kartik Mahadev, Chief Marketing Officer, Content SBU at ZEE, emphasized that the network leverages hyperlocal digital communities anchored in the trusted appeal of television. This approach creates unique opportunities for brands to establish lasting emotional connections by tapping into the trust and loyalty inspired by ZEE’s iconic characters.
Sehgal highlighted that the philosophy behind the concept of Dilfluencers stems from the unique trust and emotional connection television characters have cultivated with consumers. These characters, present in households daily, have become an integral part of people’s lives through relatable storytelling that mirrors the audience’s way of life. This bond creates a sense of familiarity and trust, making these characters more influential than any external entity.
“In the current influencer economy, we are not introducing something entirely new but rather rebranding these trusted TV characters as Dilfluencers. The term itself highlights how these characters connect deeply with audiences, influencing both hearts and minds. Over time, they evolve into trusted companions, much like friends whose recommendations hold more weight than those of strangers or even experts, whose advice might be perceived as having ulterior motives,” he added.
Furthermore, Sehgal emphasised that unlike niche influencers who specialise in specific domains, be it technology, food, or beauty, TV characters transcend these boundaries. Their influence is broad and relatable, making their endorsements more emotionally resonant. This higher level of emotional connection translates into greater trust in the products they propagate.
“The Dilfluencer campaign is designed to position TV characters as ideal partners for brands and advertisers. While consumers already recognise this connection, the campaign aims to communicate this value more effectively to businesses. By leveraging the trust and relatability of TV characters, advertisers can create deeper, more impactful relationships with their audiences,” he added.
Similarly, Mahadev explained that the idea behind the Dilfluencers campaign was born from a strategic decision to ensure that television content, shows, and stories transcend platforms, aligning with the reality of video consumption happening across multiple spaces.
“The goal was to make our stories accessible wherever the audience is, be it on television, digital platforms, or social media. This led to a journey of building a strong presence across digital platforms, repurposing our content to ensure it resonates effectively with the nuances of each platform, and crafting content that feels truly native to the environment it is consumed in,” he said.
Furthermore, Mahadev went on to say that over the years, this has evolved into an institutionalised capability across all their markets. They’ve noticed exceptional organic traction whenever they share key character moments from television shows on social and video platforms. These moments resonate deeply, generating empathy and engagement from the audiences.
“Traditionally, we’ve explored numerous brand integration strategies- ranging from in-show product placements and branded content to innovative solutions. However, with Dilfluencers, the vision is to scale empathy, offering brands a unique opportunity to leverage the authentic, daily connection our characters share with their viewers. These characters are not just relatable but also aspirational and, at times, deeply inspirational, forming a genuine bond with the audience at home,” Mahadev said.
“By extending this connection to digital platforms, we provide brands with the flexibility to tailor their messaging to specific markets and address distinct consumer challenges. Through this partnership, our characters become true Dilfluencers, touching millions of hearts while offering brands a powerful way to connect authentically with their audience,” he added.
Sehgal mentioned that this campaign leans more towards a B2B approach since, from a B2C perspective, the characters already connect with consumers through TV channels, promotions, and other marketing efforts. The concept of Dilfluencers serves primarily as a pre-marketing strategy.
“To effectively engage the B2B audience, we will leverage platforms such as LinkedIn and other social media channels, conduct one-on-one presentations with advertisers, organize community forums, and participate in press activities,” he added.
Meanwhile, Mahadev explained how the Dilfluencers campaign is going beyond the conventional influencer marketing. He mentioned that influencer marketing often thrives on creating a sense of virality around a campaign, and that’s one of its key use cases. While there are other applications, such as performance-driven influencer marketing, campaignable virality remains a significant aspect.
“In our case, with Dillfluencers, the focus is on targeting specific markets where Zee characters hold substantial influence. These characters, who resonate deeply with audiences, are strategically activated across five key markets. The approach allows for storytelling where a brand’s philosophy and values align seamlessly with the attributes of these characters, resulting in an organic and culturally rooted connection,” he said.
Mahadev explained that this strategy goes beyond the usual one-off viral video or product-focused influencer posts. It’s about creating a sustained engagement that addresses specific brand challenges or aims to shift consumer behavior in a particular market. By consistently building messaging over time, brands can foster habit changes and behaviour shifts in isolated markets, ensuring measurable and meaningful outcomes.
“I believe two key strategies are crucial here. First is the focus on storytelling that seamlessly travels across screens and platforms. Television continues to be the mainstay, reaching 890 million viewers, with about 45-50% of them also engaging on digital platforms. The challenge lies in enabling content discovery and access across these mediums,” he said.
Audiences today consume content in diverse ways, whether at home, on the go, or out of home, making it essential to ensure availability across screens and platforms.
“The second strategy is centered on consumer intimacy and innovation. As consumer realities evolve, the question is whether we can reflect these changes in our content by delivering a wider range of stories, more diverse narratives, and content that feels truly native to cultural nuances. For instance, if we consider Maharashtra as a region of Marathi-speaking audiences in Mumbai or Pune, the goal is to innovate in storytelling by crafting culturally resonant narratives. This also involves refreshing our shows at a faster pace to keep the content dynamic and relevant,” Mahadev added.
When asked about the differing levels of brand interest between reality TV shows and fiction programs, as well as the unique benefits brands gain from associating with each, Sehgal explained that the key difference between a reality show and a fiction show lies in the nature of their content and the opportunities they provide for brand integration. Fiction typically reflects everyday household scenarios, allowing for subtle brand participation that aligns with the narrative but remains limited in scope. In contrast, non-fiction or reality shows offer more dynamic and aggressive brand involvement.
“Since these shows are time-bound and curated to include various elements, there are ample opportunities for brands to embed their messages seamlessly into the content. Talent hunts and reality shows, in particular, often feature brands as integral characters, enhancing their visibility and impact. While fiction relies on everyday integration, reality shows drive higher engagement through more pronounced brand presence,” he added.
In conclusion, Sehgal highlighted that the television industry currently presents a mixed scenario. In the general entertainment genre, the Hindi segment is experiencing a slight de-growth. However, the regional markets, particularly in the South, are witnessing growth. Sports content has shown positive momentum, and news has seen an uptick in the first half of the year, likely driven by the elections. This trend suggests that news could see further growth.
Overall, while the total adex for TV may remain stagnant, there are specific pockets of growth within the industry.
He also emphasised, “Our primary business approach now places the consumer at the core of everything we do. While content, customer focus, and distribution remain integral, we are closely examining these areas to ensure our offerings reach consumers seamlessly across all their preferred consumption channels. The strategy revolves around creating platform-agnostic content and developing monetisation opportunities that span across screens.”
