Such content is low risk, partially funded upfront and comes with built-in distribution from the sponsoring company itself. The challenge for them, though, is to convince audiences of the authenticity and credibility of titles backed by brands.
“Brand-sponsored content continues to play a vital role. It offers OTT platforms and producers an additional monetization stream while giving brands an organic, less intrusive way to reach audiences,” said Ujjwal Mahajan, co-founder of Chaupal, a platform specializing in Punjabi, Haryanvi and Bhojpuri content. “Unlike traditional ads, sponsorships and integrations blend naturally into storytelling, enhancing authenticity and audience acceptance. This dual value makes it highly appealing to both platforms and content studios.”
The trend is visible in the rise of branded content shows, mini-series and seamless product placements, as well as the growing use of brand integration in non-fiction and reality programming, Mahajan added. For platforms, it reduces dependence on ads or subscriptions, while for brands, it creates deeper engagement by aligning with audience interests.
Pookiea four-episode microdrama by storytelling platform Terribly Tiny Tales released in September, is “powered” by Maybelline New York and its lipsticks are integrated into the show. Jessica Rode, general manager of Maybelline New York India, said the show was the perfect opportunity to be part of a story that felt authentic to its consumers and relevant.
“The emerging format of microdramas really helped us engage with young audiences in a way that went beyond traditional campaigns and established a real connection between the brand and the audience,” Rode said.
A lifeline
When platforms cut budgets, branded content becomes both a financial and creative lifeline, agreed Siddharth Devnani, co-founder and chief operating officer at digital agency SoCheers. It allows studios to maintain production values without shouldering the full cost, while giving brands direct access to engaged audiences. The key is to be authentic where audiences should never feel a hard sell of products. Hybrid deals are the future, according to Devnani.
AVoD (advertising video-on-demand) gives reach, and SVoD (subscription video-on-demand) gives stability, but both are under pressure, according to Ganesh Pareek, partner, executive producer and creative director at First December Films, an advertising production house.
“Brand-sponsored content is becoming the third leg of the stool, the stabilizer. For platforms, it shares cost at a time when ad rates and subscriptions are volatile. For producers, it means scripts that would have stayed in Excel finally get made. For brands, it’s cultural equity. Instead of shouting for 30 seconds, they sit at the audience’s table for hours. The appeal is clear: platforms stretch budgets, studios keep creating, and brands embed themselves into culture,” Pareek said.
Creating brand-sponsored content has become more accessible and efficient with the rise of digital content creation companies in India, experts said. Rajat Agrawal, chief operating officer and director of Ultra Media & Entertainment Group, said these companies offer comprehensive services, including social media management, video production, and influencer marketing, making it easier for brands to produce high-quality content.
Digital content creation companies specialize in written content, offering dedicated content managers and advanced analytics. They also connect brands with top content creators, providing AI-driven content recommendations. Additionally, they offer innovative digital campaigns, video production and influencer collaborations.
Making branded content would cost a company not more than ₹5-6 crore, depending on the show, according to studio heads and platform executives.
Budgets, challenges
To be sure, there are challenges. Harikrishnan Pillai, chief executive officer (CEO) and co-founder of TheSmallBigIdea, a digital agency, said companies that are consumer-first and part of daily life tend to be more interested in branded content. Funding the entire show is rare since production is expensive. Usually, companies support a portion of the content. Ultimately, it comes down to who has the budget within a category—not every brand can afford this format.
“As for monetization, platforms may provide value-adds like actors shooting ancillary content, which can then be pushed in performance marketing, or integrating ad displays contextually with the show. Subscription-linked monetization is still very nascent, but it’s a potential opportunity,” Pillai said.
Further, according to Chandrashekar Mantha, partner, media and entertainment sector leader at Deloitte India, for branded content to be effective, it must seamlessly align with the brand’s ethos and persona—a challenge that makes finding the perfect narrative match difficult.
This complexity often makes companies reluctant to invest heavily in sponsored content, as monetization tends to hinge on the entertainment value rather than direct promotional impact. Consequently, branded content is not yet the foremost choice for most advertisers in the Indian market, Mantha added.
Anuj Gosalia, founder and CEO of Terribly Tiny Tales, pointed out that audiences can spot forced brand integration instantly, so the writing and production have to be sharp enough for the story to stand on its own.
“That said, more brands are opening up to the idea because they’ve seen it work. We’ve had campaigns where a short, branded film performed on par with organic fiction content in terms of engagement. Monetization is feasible if the focus is on creating something watchable first, and branded second. If the content resonates, the returns for both brand and platform follow naturally,” Gosalia added.
