Comedy & Brands: Goldmine or PR Disaster

Ranveer Allahbadia’s recent remarks on Samay Raina’s ‘India’s Got Latent’ (IGL) have sent shockwaves across the internet, possibly causing the end of Latent, uniting both the Left and Right in calling out the controversial incest jokes. The show—arguably India’s hottest digital property—had been racking up millions of views and securing lucrative brand deals before the episode in question was swiftly taken down. Now, a storm brews over whether such platforms are truly suitable for brands to align with. And more broadly, it begs the question: in the pursuit of content, have we gone too far? Yet, if history has shown us anything, it’s that humans have always craved entertainment. Since the dawn of civilisation, we have sought solace in plays, books, music, films, and now, digital media. From Shakespeare’s Globe Theatre to short-form videos and long-form podcasts, the medium has evolved, but our hunger for being entertained remains unchanged. Genres shift, formats rise and fall, but one thing is certain—we will always seek entertainment. But again, what exactly is entertainment these days?
The recent incident on ‘India’s Got Latent’ didn’t just attract police complaints—it also sparked a wave of sharp criticism. Azazul Haque from Creativeland Asia took to LinkedIn to question the direction modern influencers are taking in their pursuit of being ‘cool’. He even raised an important point: should brands be associating themselves with shows like these?
Sharing the sentiment, Shivakant Menon, Creative Director, Decision Pinnacle, responds that brands with a clear philosophy, defined persona, and strong brand book don’t need digital comedy platforms like IGL—those chasing overnight attention at any cost risk potential pitfalls. He adds, “I see zero need for any brand to sponsor or collaborate with IGL despite its huge viewership because the platform is all about total freedom of speech and uncensored conversations. Why should a brand ever join in there? What value does it add or gain? IGL being a space that allows for crass sexual innuendos and brutal roasting of participants, has no defined boundaries that cannot be crossed. Ranveer has not crossed any because none exist.”
But not everyone has the same views. Yash Kulshrestha, Co-founder and Chief Creative Officer, ^atom, shares that the sensibilities on the internet are always shifting, and what works today might be flagged tomorrow, but brands that play it too safe risk invisibility because staying relevant in youth culture means embracing controlled chaos. “We cannot miss out on the attention economy altogether while assessing potential risks. What you need to ensure is that your brand’s core is not dependent on one episode and other mediums are there to strengthen your core to avoid total damage. If not, a great idea is the only cure to a bad one,” he explains.
In India, we are seeing a content revolution brewing, with so many new artists and art forms taking centre stage. Be it rap or standup comedy, a lot of spaces are seeing phenomenal growth. But what’s even better is that now artists can directly interact with their audiences through social media and streaming platforms, without necessarily being backed by a label, production house or broadcaster. Which is why so many creators are starting their own shows and podcasts. The absence of labels and the liberties of Digital are also supporting creators to come up with raw and uncensored content.
While expert opinions may differ, there’s no denying the massive reach and almost cult-like following of these platforms today. Collaborations come with their fair share of risks, but the potential rewards can be just as significant. For newer brands, they offer a unique opportunity to make an instant impact. Ultimately, content creation is in the hands of the creators, and while not every risk pays off, some certainly do.

When it comes to modern comedy, we started off with Vir Das, All India Bakchod (AIB) and East India Comedy (EIC), but today, there are numerous artists within the comedy space that have started their own IP’s. From Tanmay Bhat to Samay Raina to Ashish Solanki to Kenny Sebastian to Azeem Banatwalla, most of the creators have their own show running. While each caters to a different audience segment, the big ones like Samay and Tanmay are topping the charts as far as viewership numbers are concerned, amassing millions of views per video.
As we are talking about these alternative digital properties, most of the viewers fall in the Gen Z and Millennials segment. Hence, a lot of young-age, digital-first brands such as iQOO, POP UPI, Spinny and Boldcare are leveraging such properties. What is even better is how uniquely these integrations are being done.
Hari Krishnan, MD and Head, Publicis Content, reckons that integrations in these IP’s don’t feel like ads at all. “It’s not about throwing all the brand info at you in one go. Instead, they start with, ‘Wait, who is this brand?’ And then hook you with fun or clever moments that stick. It’s less about scripted messaging and more about speaking in a way that feels natural to the audience. That little moment of curiosity and humour does the job without making it look like a hard sell,” he adds.
Experts find that people come to these platforms to be entertained, and brands have figured out how to join the fun. Instead of feeling like a traditional ad, these collaborations work because they naturally weave products or messages into the content. It’s also seen that people tend to form positive associations when the content of the show is not being compromised for the sake of integration.
Manish Solanki, COO and Co-Founder, TheSmallBigIdea, notes that brands are increasingly associating with such properties for three primary reasons—higher authentic audience engagement, niche targeting, and relatable storytelling. “Creator-led IPs offer authentic engagement, precise targeting of niche audiences, and relatable storytelling. By tapping into loyal fan bases and casual, no-filter vibes, brands can become meme-worthy and unforgettable, reaching exactly who they want with meaningful, organic connections,” he adds.
Tanmay Bhat has been doing reaction videos for years now, each garnering millions of views. If you look at his last 20 reaction videos, the views will be in the range of 2.6-9.1 million. He has been consistent with views and often even highlights the initiatives of the brands that he makes ads for and the brands he has invested in. Similarly, there are many other creators like Rohan Joshi, Varun Thakur, Azeem Banatwalla and Ronaq Rajanai, who have continued to work on an IP for years.
But then there are newcomers like Samay Raina and Ashish Solanki, who took the world by storm with their shows. Samay’s ‘India’s Got Latent’ has released around 18 videos, and each sees around 15-40 million views. Which is why brands are actively relying on this new avenue of advertising.
Talking about the ad rates in the space, Manjul Wadhwa, CEO & Founder Anagram Media Labs and Inflyx, says that there’s no fixed cost for sponsoring these properties; rates vary based on the sponsorship opportunity and the IP’s reach. “Integrating a brand into an episode of ‘India’s Got Lalent’ can cost between INR 35-50 lakh, while sponsoring an entire series of ‘Tanmay Reacts’ would be significantly higher. These initiatives offer a more authentic approach to advertising, integrating brands into the content in a way that feels natural and less intrusive.”
Similarly, Gaurav Arora, Co-Founder, Social Panga, calculates, “The ad spend depends on the show’s reach and niche. For top-tier properties like ‘Tanmay Reacts’ or ‘India’s Got Latent,’ you’re looking at INR 10–50 lakh per episode, or more, for exclusive placements. Mid-tier influencers or smaller shows might cost around INR 2–10 lakh per feature.”
What is being seen is that a lot of young and new-age brands like Spinny and POP UPI are using these properties. It is not only being done to target the young and digital-savvy, but these shows also help younger brands like them to make a mark too soon. Experts note that where traditional advertising approaches can take 3-6 months to get the wheels turning, tapping in to this segment of influencer marketing can fetch instant results.

Bhargav Errangi, Founder, POP, reveals that using these alternative digital properties has fetched him immediate results. “We’re rapidly gaining attention, with crores of eyeballs on us in a short span, thanks to trusted influencers. We’re already among the top 30 UPI apps and are set to break into the top 10 soon, handling millions of transactions monthly. This was achieved through a non-linear approach, not a step-by-step process. For context, a video by Samay garnered around 25 million views, Tanmay’s videos brought 6-7 million views, and Dhruv Rathee added another 19 million. Collectively, that’s 45-50 million views—nearly 5 crore people watching us,” he adds.
There are multiple creators with a high viewership and a strong IP. It’s up to the brands what kind of show they want to choose. While the focus is obviously on youngsters, even within the space of comedy, there are multiple formats and genres that are floating around— be it roasts, quizzing, sports or gaming.
Nipun Marya, CEO, iQOO India, highlights that they focus on engaging the Gen Z audience—digitally native individuals with diverse interests—by leveraging a range of platforms and initiatives tailored to their preferences. He says, “At iQOO, our collaborations are driven by a deep understanding of our target audience (18–25 years) and the rapidly evolving digital landscape. We’ve also created unique campaigns like ‘Raid Nights,’ where comedians and influencers like Tanmay Bhat, Samay Raina and Gamerfleet amplified the visibility of emerging gamers, showcasing iQOO’s role as a supporter of grassroots talent.”
But again, it is being seen that more of the younger and new-age brands are using this avenue. There are not a lot of legacy brands that are using this avenue, primarily because of how informal and raw these shows are. And that’s how such content will work, without any shackles and guidelines.
Taking this further, Roshan Abbas, Founder, Kommune, remarks that such content can only thrive without filters. “Brave, young, and entrepreneurial brands embrace this approach, while legacy brands, with large teams and more constraints, often can’t. Established brands carry baggage, making them cautious. For example, I saw Lancôme using a lip reader for something fun, like reading Taylor Swift’s lips—that’s fine. But if another brand tried it, they might face legal issues. Young brands are bolder, adopting ‘a move fast, break things’ mentality, willing to take risks and adapt as they go,” he adds.
Just like a traditional campaign, advertising on these properties is also quite expensive. But there are many differences between the two approaches. Gaurav and other experts observe that traditional campaigns often rely on clear CTAs or coupon codes to track conversions, common in D2C skincare or personal care brands focused on direct results. In contrast, he believes that these IP integrations aim to build brand love and visibility, creating digital buzz for an instant attention spike while generating content.
At the end of the day, entertainment is ever-evolving, and brands have to decide where they fit in. The risk-reward balance is tricky—play it too safe, and you risk irrelevance; go too bold, and you might face backlash. But one thing’s clear: the lines between content and advertising are blurring, and those who can strike the right balance will win over audiences in this digital-first world.