Brands now realise our connection with audiences is better than celebrities: Dolly Singh

Content creator Dolly Singh has been one of the earliest starters of micro dramas in India, even before OTT platforms began experimenting with vertical-format storytelling. Dolly launched her COVID Love Story mini-series during the pandemic on Instagram Reels, which surprisingly gained traction with audiences, averaging 2k viewers per episode. Yet, despite the format’s success, she admits that bringing brands on board for such unconventional projects remains one of her toughest early challenges.

When Dolly first cut long-form stories into bite-sized episodes in 2018–19, the idea of micro dramas was unheard of.

“When I started, there were no OTT platforms doing micro dramas. There was nothing to show brands. And we did two seasons just because the audience wanted season two. We didn’t have money then—it was on a very small budget, purely to see if it would work. It was an experiment,” she said in an exclusive e4m interview.

Talking about her current work, Dolly, who is streaming the third season of her popular series The Best Worst Date, said brand integrations are crucial to sustaining high-quality micro dramas—but they require extensive negotiation and patience. 

View this post on Instagram

A post shared by Dolly Singh (@dollysingh)

“Usually, the briefs that brands send are the standard ones that everyone gets. With these projects, we have to work differently. There are longer briefs. It takes months. I want to finish season two, season three very quickly—but it doesn’t happen like that. It takes six to eight months to bring everything together. Talk to everyone. Make everyone understand. Brief them. Share the synopsis. Decide the story. How it will play out. It takes time.”

Dolly says things are changing fast. “I think now brands are very open to these things. Micro drama is already becoming a big thing. OTT platforms—everyone is updating to vertical format. And so many new creators have tried this. I think brands will also be more open now, and responses will come faster.”

The Brand Balancing Act

While micro dramas entertain, they rely heavily on brand partnerships for sustenance. Dolly has integrated clothing, skincare, and lifestyle brands into her storytelling, experimenting with how naturally they fit into the plot.

“In the first season, the audience said there was too much branding in 90 seconds. We took that feedback and, in season two, made integrations more organic and subtle,” she explained.

Season one of The Best Worst Date featured St. Ives India and Myntra Beauty, followed by Jockey Women in season two. The latest season, shot in scenic Nainital, saw partnerships with TresemMe shampoo and Safari Bags.

Dolly highlights the difference this time: “Sometimes brands can be very naggy, but this time they loved the story and supported the project fully. Without them, it wouldn’t be possible—because making a polished micro drama requires serious investment.”

Apart from her skits and micro drama series under the handle @dollywoodfilum, she is also known for her Colgate Visible White O2 ad.

View this post on Instagram

A post shared by Dolly Singh (@dollysingh)

Dolly has 1.6 million Instagram followers, blending humour with relatable storytelling. Beyond social media, she has acted in projects like Thank You For Coming and Netflix’s Bhaag Beanie Bhaag. Her posts average 18k likes, with reels drawing 639k average views and an estimated reach of 224,100, resulting in an engagement rate of 1.17%.

On YouTube, her channel @dollysinghofficial has 812,000 subscribers, with 307 videos averaging 39,700 views, 1,800 likes, and 104 comments per upload.

Her core influence remains rooted in lifestyle and entertainment content. Data shows 53.68% of her content is beauty-focused, 30.53% arts and entertainment, 27.89% movies, and 12.63% skincare, alongside niches like fashion (3.68%), education (2.64%), health and fitness (2.11%), and sports (2.1%). This positions her as a high-impact collaborator for beauty, personal care, and entertainment brands, while her storytelling versatility extends to wider lifestyle audiences.

Unlike most female creators with predominantly male followers, nearly 78% of her audience is female, making her a natural fit for beauty, fashion, and lifestyle brands targeting women. Her strongest segment is 25–34, with Delhi and Maharashtra as her top markets. With an audience credibility score above 80%, she has collaborated with leading names like Nykaa, Olay, Ajio, Westside, Myntra Beauty, and Balaji Motion Pictures.

From Experiment to Industry Trend

Today, other creators making waves in micro dramas include Party of Two (Nidhi Bhanushali, Sunakshi Grover), Shantanu Rangnekar’s Bhavki (Marathi) and Pushtaini (Hindi). Emerging creators like Arpit Gangwal (Zindagi Vertical) showcase short, relatable stories, highlighting the growing demand for authentic, culturally rich digital storytelling. Even OTT platforms like Amazon TV, Zee, and Jiostar are pushing vertical dramas. Dolly believes micro dramas are on the verge of becoming mainstream.

“I think now brands are very open to these things. OTT is already experimenting in vertical format. Soon, the turnaround time for approvals will get faster.”

One of Dolly’s biggest differentiators is treating her viewers as collaborators. For past finales, she has shot alternate endings and let audiences vote on the conclusion. “They don’t just drop superficial comments. They’re invested. They suggest tracks they want me to explore. That keeps it rooted and relatable.”

The first season of The Best Worst Date revolved around a blind date gone wrong, while the second explored a love triangle—heart versus mind.

Season three is a grounded take on modern dating for young adults. This time, the narrative is less about fleeting encounters and more about deeper questions: Is this relationship built to last? Can fun and spontaneity stand the test of compatibility and stability? Shot in scenic Nainital, the latest season blends rom-com elements with the backdrop of a trip, which Dolly described as “char Chand type”—fun, vibrant, yet laced with real emotions.

On Gender Pay Gap in Content Creation

Beyond brand deals, Dolly reflected on industry economics, especially the gender pay gap.

“Our profession is such that nobody really talks about money. I don’t know how much my neighbour earns, so I cannot compare. But given the society we live in, I’m sure there’s a gap somewhere. Brands and people who pay must know where that gap is. We don’t.”

Still, she feels content creation is fairer than most industries. “Here, your following and the foundation you’ve built matter more. It feels merit-based, which I appreciate.”

Dolly’s journey wasn’t linear. “It’s very unique. I started with a fashion blog—writing about trends, how to try them. Reading back, we used to say, ‘This is amazing!’ Now, it feels like a distant past.” She later shifted to YouTube before her comedy sketches exploded during her time with iDiva. “Comedy happened by accident. I didn’t know I could do it. Then I got an audience from there.”

Early days weren’t easy.

“Initially, there were no brands. Explaining to people—how to monetise content—was difficult. Slowly, brands saw the opportunity. They realised the connection we have with audiences is unique. It’s even better than celebrities because we can directly reach them, answer questions, and talk to them.”

That connection, Dolly believes, convinced brands to come on board.

Building Strong Female Characters

Reflecting on sketches like Raju Ki Mummy, Zeenat Baaji, and Guddi Bhabhi, Dolly said she always built characters with backstories. “I especially love my female characters. I made sure they were strong because I wanted young girls to watch them and get inspired.”

From exaggerated personas like Guddi to her Wednesday parody, experimenting with personalities gave her creative satisfaction. “As an actor, you get to explore so many personalities. These characters were unique. I’ve never met them, but I’ve seen such people somewhere. That comes out in the work. I enjoy it a lot, even if now the audience wants something else.”

Her Wednesday parody, reposted recently, went viral again. “I posted that three years back, and recently I just reposted it because I didn’t have anything else—and it worked. People loved it again. So now I’m taking it seriously. Maybe I’ll do a Bhudwar season 2,” she laughed. 

https://www.instagram.com/reel/DOppnMwDGLv/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

Dolly Teases What’s Next

When asked about her next big step, Dolly was clear: “I’ll do my best here. Hollywood is far away. Right now, I want more micro dramas and storytelling projects, which I’m enjoying. If auditions come for acting in Hollywood, that would be good. But first, I want to hold my ground here.”

She also reflected on the grind behind the glamour. “I got four auditions in two years. When I did my first Netflix show, I thought my life would change overnight. But nothing like that happens. Life doesn’t change in a day—you have to keep working hard. The cycle continues.”