Introduction This paper is a case study of transmedia storytelling through the reality brand, Big Brother Africa . Created by Underdog productions (a subsidiary of Transmedia entertainment – a large South African media group), the brand (mainly) appeals to young people (Routledge 1). In South Africa, the creators of the Big Brother brand did so using a ground-up approach. Indeed, as opposed to designing the product to fit in only one media platform, the creators enabled the brand to work on multiple platforms. This approach is part of a larger philosophy pursued by Underdog , which assumes the holistic advantages of creating the product, as opposed to different components of the same brand (Routledge 1). This way, Big Brother Africa does not depend on the available media platforms; instead, the media platforms depend on the brand. This transmedia approach led Routledge to say, Big Brother Africa “… is a property that has been created specifically to be exploited across several media in a cohesive and integrated manner” (1). This paper shows the transmedia elements associated with the brand – Big Brother Africa . In line with this strategy, this paper underscores how different audiences engage with one another using transmedia storytelling options. Similarly, this paper explains how expanding the narrative over a variety of platforms would extend the brand. This analysis is important not only in comprehending how Big Brother has become popular among young people in Africa, but also around the world. Transmedia Elements used to tell the Story of the Brand By replicating the format of other Big Brother brands, in other parts of the world, Big Brother Africa drew a lot of attention in Africa. The larger Big Brother franchise works by putting different contestants in one house and watching their interactions through strategically placed cameras. Using this technology, viewers can stream (live) what is going on in the Big Brother house. Endemol is the official company that manages different interactive platforms in Big Brother Africa because it closely monitors SMSs, online chats and all incoming and outgoing emails (Routledge 2). The purpose of managing these interactive platforms, in real time, is to give the show a new twist that would keep the audience engaged (Routledge 2). These interactive platforms are essential for the proper functioning of the Big Brother Africa brand because without them, it would be difficult to maintain the brand’s popularity. In line with this advantage, Routledge says, “There is a strategy that aims to create an audience loop that pushes people from TV to telephony, to iTV to the Internet, and back to TV” (3). Big Brother Africa has several transmedia elements, including “websites, webcams, interactive television, telephony (through interactive voice response), and short message services (SMS)” (Routledge 2). Different media platforms serve different purposes. For example, the SMS platform allows fans to vote for their favorite contestants during eviction shows. Viewers can also use the same platform to send their views about live television shows. Usually, their messages scroll at the bottom of the television screen when live television shows h