El Eternauta (The Eternaut) is a hit on Netflix, and it has become an example of how brands can take part in cultural narratives — without breaking the story, without forcing their presence, and in many cases, adding value.
In this article, we analyze product placement, the legal implications of integrating brands into an audiovisual production, and the impact this strategy can have on audiences — through the lens of intellectual property, of course.
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Brand integration vs. product placement: being there or being part of it?
Showing a brand is not the same as integrating it into the narrative.
Classic product placement is functional: a bottle of soda on the table with the label perfectly facing the camera. Its goal is visibility, but it neither affects nor enriches the story.
Brand integration, on the other hand, is when a product, a company, or a logo is an organic part of the story. In other words, it appears because it makes sense in that world.
In El Eternauta, we see brand integration. For example, “Quilmes,” “Arcor,” “YPF,” and “Banco Nación” are brands that appear on signs, wrappers, and in the everyday spaces of the series’ characters. They are not winks to the audience; they are part of a cultural construction that helps viewers say, “This is Argentina.”
These are brands that, besides reinforcing a particular setting, create a connection with the audience. They are not just products: they are symbols of an era, a place, a country.
Looking at this series, we can say that the brands do not interrupt. They appear subtly, often in the background, reinforcing that we are in a place we recognize: Argentina.
The conclusion is that a brand can ground a story in a place, evoke an era, and build an atmosphere. Watch a movie from the ’90s, and if a silver can of Pepsi shows up… it places us, moves us, and anchors us in a time and place.
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The challenge behind the scenes: licenses, permissions, and intellectual property
From a legal standpoint, using registered trademarks in a series or film is no small matter. Any recognizable appearance of a trademark must be backed by express authorization from the trademark owner. This involves license agreements, limited-use grants, and in many cases, negotiating how, where, and how many times the brand will appear. It takes more than a simple verbal “yes.”
In Argentina and the rest of South America, the legal framework that protects trademarks requires audiovisual producers to handle this work seriously and with great care, because the legal risk is high. Using a trademark without authorization can lead to lawsuits, claims for misuse, or actions for harm to the brand’s image or reputation.
And this care is not limited to current brands. Authorization is also needed to use older versions of logos or designs, because those variants are often still registered as someone’s intellectual property.
That is why the role of intellectual property professionals is key: it takes a strategic vision that combines the legal and the creative.
We should also point out that some brands are especially careful about their exposure. They evaluate the content of the script, the tone of the film or series, and even whether the characters’ values are consistent with the brand’s identity.
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What does a brand gain by appearing in a series like El Eternauta?
– Visibility: a global platform like Netflix allows certain brands to reach far beyond their usual markets.
– Recall and impact: seeing an Arcor ad on Instagram is not the same as watching a character sheltering in a devastated Buenos Aires eat a candy we all know. That small gesture has an impact. It makes the scene real, and therefore memorable for the viewer.
– Cultural alignment: the brands that took part in El Eternauta did not do so in just any story. They appeared in a story of resistance, identity, and community, and that communicates something more.
That said, the effectiveness of these strategies clearly depends on how familiar the audience is with those brands. Some can work globally, such as “YPF” in oil-industry contexts. Others will simply add “color” or contribute to the “Argentine folklore.”
Conclusion
El Eternauta shows that brands are no longer looking only for visibility: they want to be part of meaningful stories. Integrating into a cultural narrative without forcing their presence takes strategy, sensitivity, and professional management that understands both the legal and the symbolic side.
When marketing aligns with the story and intellectual property supports that crossover, brands stop being accessories. They become part of the world the characters inhabit — and the audience, too. And that is where they truly endure.
We can say that today, brands seek to be part of the story
For us, as intellectual property professionals, the audiovisual world is an increasingly challenging field, one where creativity and legal strategy must work hand in hand.
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