The demise of Sora indicates a shift in the way AI video will influence marketing. Leaders discuss the trajectory of AI video, its role in advertising workflows, and the growing concerns regarding deepfakes and IP as OpenAI shuts down Sora. Let's go to February 2024 again. At the time, text-to-image models were dominating the AI conversation. Surreal images crafted from a few lines of text were flooding social media with tools like Midjourney and DALLE. Tools for making videos already existed. AI-generated clips had begun to be tested on platforms like Runway. However, the scope and quality of the demonstration that OpenAI presented on February 16, 2024, shifted the discussion. From simple instructions, Sora could make short movies. From a few sentences entered into a prompt box, complex camera movements, realistic lighting, layered scenes, and characters could emerge. The model's capabilities were put to the test on the internet within hours of its announcement. Users were encouraged to submit prompts and watch them turn into moving images. The outcomes were imaginative as well as bizarre. A bicycle race across the ocean featuring animals as athletes. On top of a mountain, two dogs host a podcast. A grandmother reinvented herself as a social media influencer who demonstrated to viewers how to make gnocchi at home. Woolly mammoths roaming snow-covered mountains.
These clips were less about storytelling and more about demonstrating what the model could do. However, they also gave hints at something larger. It suggested that video production, which has historically been one of the most resource-intensive advertising formats, might soon become significantly more accessible for marketers and advertisers. The technology quickly became the subject of brand experiments. Toys "R" Us was a notable example because it used Sora to make a short brand film that reenacted the founder's childhood fantasies. The video showed a scene that looked like a dream in which a young Lazarus imagines a world full of toys before the brand finally comes to life. At the time, numerous experts suggested that tools like Sora could lower the cost and complexity of creating visual narratives, democratize video production, and reshape advertising storytelling. That narrative has taken a different turn two years later. From breakthrough to shutdown
In March 2026, OpenAI announced that it would shut down Sora, including the standalone app launched in September 2025 that allowed users to generate and share AI videos. In addition, the move put an end to a $1 billion partnership between OpenAI and Disney that would have allowed Sora to make videos with Disney characters. OpenAI shifted its focus to enterprise tools, coding products, and research on artificial general intelligence, according to a Reuters report. Internal resources were being reportedly put under strain by the compute-intensive infrastructure required to operate a consumer video generation platform. For many observers, the decision did not necessarily signal the end of generative video but rather the beginning of a more pragmatic phase.
According to Rajni Daswani, Chief Growth Officer at SoCheers, it is still challenging to justify the economics of tools like Sora on a large scale. “The ROI for a tool like Sora is notoriously lopsided and becomes a liability rather than an asset. She asserts, "The infrastructure is simply not prepared for this platform with a billion users." “It is essentially a maturing moment for those of us in advertising; we are moving away from the era of experimental magic and into a phase in which the industry is figuring out how to make these tools sustainable and safe for long-term brand use,” says the author. The closure, according to Madison Media's VP of Digital Vishal Kumar, demonstrates the rapid development of the AI video ecosystem. "The shutdown of Sora demonstrates, at the very least, how quickly this industry has become competitive and evolving. New models are already pushing quality, formats, and speed far beyond early benchmarks, reinforcing that the trajectory of generative video is accelerating, not stalling,” he says.
The occurrence, according to Gozoop Creative Group Director Jyoti Chugh Bhatia, is a component of a broader reality check for the sector. “Honestly, this feels less like a setback and more like a reality check on where generative video really is today. She states, "The promise is still exciting with faster production, lower costs, and more room for experimentation; however, it is not yet at a point where it can take over core storytelling." Both the excitement and the limitations of the space were reflected in Sora's own development. The standalone app saw strong early adoption, crossing a million downloads within days of launch and peaking at over three million downloads globally. But maintaining engagement proved harder, and the platform faced growing scrutiny over copyright, deepfakes, and the misuse of public figures.
AI video in marketing: efficiency meets experimentation Even though Sora is no longer in business, generative video tools are already having an impact on how brands approach production workflows. Instead of replacing traditional production entirely, agencies are increasingly using AI video to accelerate parts of the creative process.
According to Kumar, "Today, brands are already using AI video meaningfully within production workflows, not to replace big creative ideas, but rather to unlock scale through faster versioning, resizing, and platform-specific adaptations." He adds that as audience targeting becomes more restricted across digital platforms, the ability to create multiple creative variations quickly is becoming a performance advantage for marketers.
According to Daswani, early-stage creative work is already seeing measurable time savings for agencies. She asserts, "At the agency level, we are already seeing AI reduce storyboarding and pre-vis time by 40–50%." “The cost has, however, shifted from production crews to prompt engineering and heavy post-production refinement. Additionally, a human eye is still required to ensure that the physics do not go awry. She adds that the real efficiency gains will likely appear in the middle stages of marketing campaigns, particularly in scaling variations of content across different formats and platforms.
However, there have also been new concerns raised by the expanding use of AI-generated video. The same technology that allows marketers to produce content quickly can also enable deepfakes, misinformation and unauthorised use of intellectual property.
Ironically, OpenAI had published a blog detailing the safety features of Sora, such as guardrails, content moderation systems, and watermarking, a day before the shutdown was announced. These features were intended to stop harmful or misleading content from being produced. Even with these protections, concerns around authenticity continue to shape how marketers approach AI-driven content.
Trust, creators and the limits of automation
Trust is emerging as one of the greatest obstacles in AI-generated media's development. Audiences still have more faith in content that is led by humans, according to research. Beyond Metros: The Real Story of Bharat's Next 500 Million, a report by Rukam Capital, states that creator recommendations have an impact on 23% of consumers in non-metro India's digital discovery. Trust levels also shift when AI enters the equation. A Nielsen study found that while 87% of respondents expressed moderate to high trust in AI tools overall, awareness of AI’s role in content and advertising drops to 69%. Discomfort increases when audiences learn that the content is created by AI. Around 55% say they feel uncomfortable on websites heavily reliant on AI-generated articles, while 48% report they do not trust brands advertising on such platforms.
This tension between automation and authenticity is shaping how brands deploy AI video tools today.
Bhatia says most marketers are currently using the technology for smaller, experimental applications rather than flagship campaigns.
“Most brands right now are using it for quick content, testing ideas or personalisation rather than big, high-impact films,” she says. "There are also real worries about deepfakes, copyright, and misinformation, which are making marketers a little more cautious." Kumar notes that these concerns are reinforcing the value of creator-led storytelling.
Growing anxieties around deepfakes and misinformation, he says, are strengthening the role of influencers and creators whose authenticity audiences recognise.
He states, "AI-generated video will become essential infrastructure for marketing in the future, increasing creativity and efficiency while genuine human insight and emotion remain irreplaceable." Conflicts over licensing and a disjointed future Given the intellectual property concerns in shaping the generative video debate, Disney had attempted to address this by collaborating with OpenAI rather than opposing it. The proposed deal would have allowed Sora to generate content using Disney’s characters under controlled licensing agreements.
However, the partnership came to an end before it could materialize due to Sora's shutdown. “The collapse of the Sora–Disney deal is a huge warning that licensing and its execution is incredibly messy,” says Daswani. “Brands are rightfully scared of their IP ending up in some AI slop or worse, being hallucinated into a controversial deepfake that they can’t pull back.”
She adds that the shutdown may push marketers to rethink how they approach AI tools.
Instead of relying on a single platform, the ecosystem is likely to fragment into specialised tools designed for different types of production. For professional-grade visual assets, platforms like Runway are being used, while social-first content creation platforms like Pika are emerging. According to Daswani, this fragmentation reflects a broader shift in how the technology will evolve.
“OpenAI pulling back actually forces us to stop waiting for a single tool and start looking for specialised niche ecosystems that are actually delivering,” she says. Sora’s rise and shutdown unfolded in less than two years. In that time, it demonstrated how quickly AI can reshape creative possibilities while also exposing the challenges that accompany rapid technological change.
For the marketing and advertising industry, the lesson may not be about the failure of a single tool. Instead, it draws attention to the gap that exists between technological capability and the legal, economic, and moral frameworks that are necessary to support it. Related Articles
Read the following article. How Himesh Reshammiya's brand revival is fueled by nostalgia Nostalgia is bringing Himesh Reshammiya back into the spotlight. Experts discuss how brands are taking advantage of his cultural recall to increase engagement and break through the noise. author-image
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Himesh Reshammiya
Himesh Reshammiya is not a distant pop culture reference for someone who grew up in the early 2000s. He’s a set of very specific memories. Ringtones blaring 'Aashiq Banaya Aapne' on almost every phone around me, back when I didn’t even know what ‘trending’ meant, only that this was everywhere. The hook of 'Tandoori Nights', the cap, the voice, the sheer theatricality of it all. That memory faded into the background for a while, occasionally surfacing as internet satire or nostalgia bait. Cut to 2025-26, and that same voice, that same theatrical intensity, is back, but this time, it’s showing up between doomscrolling sessions. Not in a comeback album, but in ads.
It has been mentioned in a steady stream of brand-related work. As a dramatic political figure in Swiggy Instamart’s New Year campaign, he leaned into exaggerated, meme-ready theatrics
In Crocs’ campaign, he was recast as a self-aware symbol of confidence.
In KFC India’s ad, he reappeared as the hyper-theatrical Ravi Kumar. Foxtale reworked 'Tandoori Nights' into a skincare metaphor, while Meta leaned into internet-native storytelling formats, using his persona.
Beyond films, the recall has extended into experiences. Myntra built a live concert-led engagement around his music, turning what could have been a digital-first association into something more physical.
There are also instances that are unrelated to campaigns at all. Reshammiya used the well-known Vicks brand slogan "Vicks ki goli lo, khich khich door karo" in the middle of a live performance without formally incorporating it. These occurrences, taken as a whole, point to something that lasts longer than a passing trend. N. According to Chandramouli, CEO of TRA Research, this is part of a larger trend in which brands are using personalities like Himesh as "repeatable cultural shorthand for nostalgia-led recall," and they are doing so through "attention-led collaborations." The question is not just why Himesh Reshammiya is visible again, but why this particular mix of nostalgia, self-awareness and theatricality is working for brands right now.
Cultural recall over celebrity polish
For marketers, the appeal begins with what Himesh represents in a feed-driven world: distinctiveness.
According to Chandramouli, "the recent endorsements of Himesh Reshammiya clearly show a shift toward high-engagement, mass-premium, and digital-first brands that are looking to cut through the clutter with cultural recall." “These are attention-led collaborations, where the brand borrows his distinct persona, voice, and nostalgia value to drive memorability and shareability. He is increasingly being used as a cultural icon, not just a face.”
That is very much in line with the way brands think. According to Swiggy Instamart's Marketing Head Abhishek Shetty, the decision was based on straightforward but significant cultural insight. He says, “Consumers today are drawn to what feels real, unfiltered and a little self-aware, rather than perfectly curated celebrity images. Himesh has a unique place in pop culture where nostalgia, individuality and a certain unapologetic authenticity come together. That made him a very natural fit for our tone, which often leans into everyday relatability with a layer of humour and self-awareness.”
At Crocs, the thinking mirrors this, though through a global brand lens. “The core insight was rooted in how culture shows up today, confidence is no longer about fitting in; it’s about showing up exactly as you are. Himesh represents a kind of cultural presence that feels rare and authentic. He’s iconic, instantly recognisable, and unapologetically himself,” says Yann Le Bozec.
The collaboration was successful for the brand because it leaned into a personality whose relevance comes from remaining true to his identity rather than feeling constructed or trend-led. “Himesh naturally embodies the idea of effortless confidence- which became the heart of the story we wanted to tell,” Bozec adds.
Brands are shifting away from aspirational polish and toward personalities that feel culturally integrated across categories. Participatory culture vs. nostalgic culture Reminiscence is becoming more and more interactive, whereas it was previously a passive emotion. Chandramouli identifies this as a key driver. "There are three distinct signals driving this relevance," he states. First, nostalgia has become participatory. Today's campaigns are remixing the past as well as making references to it. The "Tandoori Nights" era of Himesh is ideal for this format. This shift is being capitalized on by brands. Shetty points out that Himesh Reshammiya’s association with Swiggy Instamart unlocked a more participative form of engagement for the brand.
“People were not just watching the campaign, they were reacting to it, sharing it and adding their own cultural context to it. That is difficult to achieve with more conventional celebrity choices,” Shetty adds.
Crocs observed a similar pattern, where the engagement moved beyond passive consumption into active participation.
"His association unlocked genuine cultural engagement, not just visibility," according to Bozec. The response was more than just opinions or impressions. Audiences leaned in-through comments, shares, memes, and conversations. The film became something people reacted to and participated in, rather than simply watched. That’s a unique strength Himesh brings. He bridges nostalgia and internet culture in a way that feels organic, allowing the brand to connect across generations while staying rooted in the present.”
This shift, from passive consumption to participatory engagement, is what defines the current phase of nostalgia-led marketing.
“Irony has matured into affection,” Chandramouli observes regarding this development. His recent work with brands like Crocs India and KFC India shows that what was once meme-driven is now confidently mainstream.”
If earlier campaigns invited audiences to laugh at the reference, today they invite them to engage with it, often on their own terms.
Bridging generations without trying too hard
One of the more unusual aspects of Himesh Reshammiya’s resurgence is his cross-generational pull.
Chandramouli shared TRA Research's sentiment analysis, which shows a strong positive combination of nostalgia, humour, and familiarity. Millennials remain his emotional core, but Gen Z engagement is where the shift becomes significant.
He makes the observation that "Millennials, typically between the late 20s and early 40s, remain his emotional core." They recognise the references and respond to his kind of nostalgia.”
The distinct ways in which each cohort interacts with the same persona is what makes this dynamic work. "Generation Z engagement is the most interesting part of the shift. Campaigns with brands like Swiggy Instamart and Meta indicate that younger audiences are not just aware of him, they are actively engaging with the persona in a remix culture format. “He is highly adaptable across age groups because he benefits from being both self-aware and self-consistent,” Chandramouli adds. Both brands echo this duality, albeit in different ways.
For Swiggy Instamart, this translated into a perceptual shift, from utility to cultural relevance.
“The biggest shift we saw was in how the brand was talked about. It moved from being seen as just functional to something that is culturally in tune and entertaining,” says Abhishek Shetty.
At Crocs, the association helped unlock a new audience segment, those deeply engaged in music and pop culture, who value nostalgia and authenticity.
“Post the association, conversations moved more naturally from Crocs as a product to Crocs as a form of self-expression, with more humour, personality and cultural referencing. For us, that organic cultural presence was the real indicator that the storytelling had landed,” adds Bozec.
This cross-generational resonance is not accidental, it is built on a persona that can be remembered, rediscovered and remixed in equal measure.
Which is also what makes his resurgence indicative of a broader shift in celebrity marketing.
The rise of the ‘imperfect’ endorser
Himesh Reshammiya’s current brand run also signals a broader shift in celebrity marketing.
The era of the polished, aspirational, and frequently interchangeable "perfect endorser" is being replaced by personalities with quirks, edges, and cultural baggage. In a content-saturated environment, these imperfections are not liabilities; they are differentiators.
As Shetty points out, what consumers are drawn to today is not perfection, but self-awareness. That aligns with how brands like Crocs are thinking about relevance as well, less about fitting in, and more about staying true to an identity, even if it feels unconventional.
Himesh Reshammiya’s resurgence is not an isolated trend, it is a reflection of how advertising itself is evolving. messaging to memeability, remix to recall, celebrity to cultural currency, and so on. As a result, his increasing presence in campaigns is less about nostalgia and more about its practicality. Not functional utility, but cultural utility, the ability to spark, travel and sustain conversation.
And in today’s attention economy, that may well be the most valuable currency a brand can borrow.
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What really drives stadium advertising rates?
Brands now spend up to 15% of ad budgets on in-stadium advertising, with marquee venues commanding premiums up to 6x over tier-2 competitors.
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stadium advertising rates
Stadium advertising is no longer confined to static billboards and printed brand signage. With LED boards, live digital displays, branded scoreboards, and sponsorship placements woven into every part of the venue, the modern stadium has become a fully integrated advertising canvas. From the stands to the sidelines, nearly every visible surface now serves as potential inventory for brands.
At a time when television and mobile continue to capture larger audiences and bigger advertising budgets, in-stadium advertising might seem like a legacy format. But its longevity in sports marketing suggests otherwise. The real question is not whether it still matters, but how it fits into a sports advertising ecosystem now shaped by digital-first consumption.
That shift becomes clearer when looking at how stadium inventory is priced today. A perimeter LED package at India’s top cricket venues can command up to six times the cost of similar inventory at smaller grounds. The gap isn't just about how many seats there are or how many people show up in person. Instead, it is influenced by the visibility of the broadcast, the context of the match, and how much exposure a venue gives to cameras. In a media landscape where every on-ground moment is amplified across television and digital streams, the value of in-stadium advertising is increasingly determined not by how many people are in the stands, but by how often and how prominently a brand appears on screen.
From static to dynamic
The evolution of in-stadium advertising mirrors this shift from physical presence to mediated visibility.
Mudramax's SVP and Head of Business, Deleise Ross, cites this as the most significant category shift. “In India, in-stadium advertising was largely static a decade ago, consisting of perimeter boards, standees, and painted hoardings that changed seasonally. The change has been significant. High-resolution LED perimeter systems, digital scoreboards, and in-bowl screens can now be found in stadiums like the Narendra Modi Stadium and Wankhede, allowing brands to run dynamic, contextual ads in real time. She adds that the real inflexion point has been flexibility and responsiveness. “The real game-changer has been programmatic-ready LED inventory — brands can now swap creatives between overs, react to match moments, or run geo-targeted messaging to different camera-facing zones.”
The value of the medium has been fundamentally altered as a result. “In-stadium is now more than just a visibility play; it is also a high-impact, content-integrated medium that provides broadcast amplification on a large scale. At an IPL fixture that has sold out, every LED board is, in effect, a broadcast asset that tens of millions of people, not just the 100,000 people inside the venue, can see on television and digital streams. That assessment is echoed by media veteran Anita Nayyar, who emphasizes how the medium has evolved from a simple on-ground visibility to a digitally enabled extension of live broadcasting. “In-stadium advertising has moved from static visibility to dynamic, digitally enabled broadcast-amplified media, where LED and virtual overlays turn every match into a real-time marketing platform. With these, brands can now align messaging with live moments and optimize visibility in real time. Additionally, this has resulted in a shift in brand perceptions of the medium. Rosette Soares, GREW Solar's Head of Corporate Branding, “In-stadium advertising has fundamentally changed how brands show up. It was straightforward a decade ago. Hoardings, the presence of perimeter boards was largely static and often peripheral. Today, that model feels almost outdated. Stadiums aren't just venues anymore; they're alive. Between the LED ribbons, the digital displays, and ad systems that update in real time, the messaging moves with the moment.”
And to crack this medium, she advises that it is important to understand brand relevance.
“What used to be about being seen is now about being relevant, contextual, and timely. And that shift is important. Advertising in this environment is now more about participating in the experience than just occupying space. Ads that shift with the match, the crowd, the time of day - that's not just efficiency, that's relevance,” adds Soares.
Why some stadiums are worth six times more The sharp pricing gap between venues is best understood through broadcast economics.
Ross explains that this gap is rooted in broadcast economics rather than physical scale. “Broadcast economics, not just physical scale, justifies the significant rate difference between Tier I and Tier II cricket venues. A perimeter LED package at the Narendra Modi Stadium during an IPL season can command rates that are 4 to 6 times higher than comparable inventory at the Ekana Cricket Stadium in Lucknow.”
She attributes this to a number of factors all at once. “The Narendra Modi Stadium, a regular host of high-profile bilateral and IPL fixtures, offers unparalleled broadcast visibility, global audience exposure, and the prestige multiplier that brands pay a premium for.”
This is echoed by Nayyar, who points out that marquee venues get their premium from demand and visibility. “Venues like Narendra Modi Stadium command a premium due to marquee matches and higher broadcast demand, often 1.5x-3x higher than mid-tier venues like Ekana Stadium, where value is more efficiency-driven. Ultimately, stadium advertising is shifting from presence to performance—measured by attention, not just attendance.”
Soares highlights that the distinction is less about hierarchy and more about intent. “Narendra Modi Stadium brings something few venues in the world can match. The scale, the broadcast reach, the sheer weight of being there. For a brand, that kind of presence signals something. It says: we're serious, we're here, we're playing at this level.
In addition, Tier II venues provide a different value. According to Ross, "Ekana, while a quality venue and the home of LSG, operates in a different tier: the broadcast audience is more regional, the match frequency during the IPL is limited to the home game roster, and the brand cachet is developing rather than being established." That positioning, however, works in their favour for certain objectives. “For national or regional brands with a specific market activation objective in the state and adjacent markets, Tier 2 venues present a compelling case. When the campaign's goal is regional penetration rather than national brand building, these venues' cost-effectiveness and highly engaged local fan base can provide substantial value,” Ross adds. Soares reinforces this view. However, Ekana possesses its own form of power. Smaller, more focused, more regional - and sometimes that intimacy is exactly what a campaign needs. The question was never really which one - it's always been what for. Chasing national visibility? Go big. Building relevance in a specific market? Smaller venues can do that better.”
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Does size matter anymore?
As pricing becomes more closely tied to media value, capacity alone has become a less reliable indicator of worth.
Ross says, “Capacity is a factor, but it is rarely the primary pricing driver. A stadium holding 130,000 spectators matters far less than whether that stadium is a broadcast venue.”
She points to a different set of variables that define pricing today. “The pricing hierarchy is largely determined by: broadcast frequency and reach (how many matches are held here, and are they televised nationally or globally?); the tournament or league context (an IPL game at any venue commands a premium over a Ranji Trophy match at a larger ground); camera-facing real estate (perimeter boards visible to the broadcast camera throughout the match command a significant premium over mid-tier or non-broadcast-facing inventory); and exclusivity of the category (first-mover or category-exclusive deals are priced at a premium).”
Ross explains that capacity plays a smaller role. When the footfall-to-activation ratio is important, such as for gate branding, experiential zones, or on-the-ground sampling, capacity is important. But for pure broadcast visibility, a packed 40,000-seat venue hosting an IPL playoff is a more valuable media asset than a half-empty 80,000-seat ground hosting a low-stakes bilateral game.”
Nayyar echoes this shift away from size-led valuation. “Stadium size is no longer the key driver. Broadcast visibility and match context, team popularity are some of the key factors that determine value.”
Soares, too, sees capacity as only the starting point. “Capacity is a starting point, not a conclusion. I’ve seen a sold-out 50,000 do more for a brand than a half-filled 100,000, because the energy in the room, and on screen, tells a completely different story.”
She adds that recall is developed in other places. “The things that actually matter, how much the crowd cares, how big the moment feels, how many times your brand shows up in a live broadcast frame, those are what create memory. Not a head count. How it fits into the media mix: in-stadium Even as its role evolves, in-stadium advertising remains a relatively small but impactful part of overall sports marketing spends.
Ross mentions that allocations vary according to category and objective. “For campaigns anchored around marquee cricket properties - IPL, bilateral series, or major tournaments - we typically see in-stadium spends ranging between 10% and 20% of the total sports marketing budget, depending on the brand's objective. That number could rise even higher in categories like beverages, fintech, and automotive where real-time brand visibility during broadcast is crucial. She further adds that this share is expected to grow, with the broadcast amplification multiplier getting harder to ignore.
“With IPL digital viewership crossing 600 mn reach on JioCinema in 2023, every second of in-stadium brand exposure is simultaneously being consumed by a massive digital and TV audience. When viewed from a broadcast perspective rather than a sole footfall perspective, the cost-per-eyeball economics become increasingly compelling. Additionally, as measurement tools around brand recall, share of screen, and broadcast visibility analytics mature, the justification for in-stadium investment becomes more data-backed and easier to defend for clients,” says Ross.
Nayyar places the current allocation slightly lower, while also noting that future growth is likely to be measured rather than dramatic. Brands currently devote between 5 and 15 percent of sports spending to stadium media. As measurement gets better and campaigns integrate across TV and digital, this will grow selectively. She further adds that this will grow selectively as measurement improves and campaigns integrate across TV and digital. Adding a note of caution, Nayyar says, “Expect a gradual increase to ~10-20% for premium events but not a wholesale shift,” citing constraints such as limited inventory and fragmented standardisation.
From a brand standpoint, Soares sees in-stadium advertising as a format whose emotional impact often outweighs its budget share. “In-stadium advertising has never taken up a huge slice of the budget; somewhere between 5 and 15% for most campaigns. But the impact it punches above that number is real.”
Sharing how it makes for a more impactful medium, Soares says, “Brand recall, emotional salience, the feeling of being present in a moment, that's hard to replicate elsewhere. I do think that share will grow. Not across the board, but selectively, and for good reason. Live sport is one of the last spaces where you have someone's genuine, undivided attention. And increasingly, what happens in the stadium doesn't stay there - it flows into broadcast, into social, into conversations. The lines are blurring in the best way.”
Who is spending?
The categories most drawn to in-stadium advertising tend to be those that benefit from high emotional engagement, mass visibility, and premium contextual association.
According to Ross, the pattern in India is constant. “FMCG and beverages lead because of their mass reach, high frequency of consumption, and emotional connection to cricket. Fintech platforms have been among the most aggressive investors over the last four to five years, driven by the young, high-intent audience profile that cricket delivers.
She adds that telecom, consumer electronics, and automotive brands also see strong alignment with the medium, while newer entrants are using it as a credibility lever. “What we are increasingly seeing is D2C and new-age brands using in-stadium presence as a credibility signal - the association with a high-visibility, premium sporting context accelerates brand trust in a way that performance media alone cannot replicate.”
Similarly, Nayyar believes the biggest investors are categories that thrive in high-impact, high-emotion environments. “Categories like BFSI, auto, consumer tech, beverages, and automobiles (gaming earlier) dominate because they benefit most from high-impact, high-emotion environments.”
Ergo, the economics of stadium advertising are no longer defined by capacity alone. Broadcast visibility, match context, and camera-facing inventory now determine value, often creating sharp pricing gaps between venues.
A packed stadium still matters in that equation. But a broadcast-heavy one commands the premium.
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IPL 2026 to see a more disciplined approach, ad spends up ~20-30% YoY
With fresh advertisers stepping in and smarter strategies, IPL 2026 ad spends are set to rise, reflecting a maturing market where brands are focusing on outcomes, precision, and strategic engagement.
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ad spending in IPL 2026 The Indian Premier League continues to dominate India’s advertising landscape, but 2026 marks a subtle yet significant shift in how brands are engaging with it. While the tournament remains one of the most valuable media properties in the country, industry reports suggest a phase of stabilisation in spends, driven less by budget constraints and more by sharper, outcome-led planning.
Media reports underline the scale of the property. With a reach of over 1.19 billion viewers across platforms and performance in both advertising and subscription revenues, IPL 2025 has emerged as the most monetised sporting event in Indian history.
Advertising revenues for IPL 2026 are expected to be between 4,900 and 5,200 crore, indicating steady growth at the top line despite competing forces such as category exits, new demand drivers, and geopolitical uncertainties influencing the final outcome. The broader advertising momentum, however, remains intact. “IPL 2026 is estimated to see a ~20-30% YoY growth in total ad spends, with momentum further amplified by the halo effect of India’s win at the ICC Men's T20 World Cup,” says Jinit Shah, VP - Media & Partnerships, PivotRoots, underscoring how demand tends to find new avenues even as certain categories pull back.
While headline ad spends point to growth, the real story lies beneath the surface. Brands are increasingly moving from instinctive visibility buys to deliberate, outcome-driven planning, marking a clear evolution in how the IPL’s advertising ecosystem operates. This shift sets the stage for what many are calling the tournament’s ‘maturity phase.’
While headline ad spends show growth, a more intriguing question this year is whether the IPL is merely hitting a plateau, or evolving into a more disciplined, outcomes-driven market.
Plateau or precision?
From Rs 82,700 crore in 2024 and Rs 92,500 crore in 2023, Men's IPL's valuation has decreased for two years in a row, falling to Rs 76,100 crore in 2025. Yet industry experts suggest that this dip doesn’t signal stagnation but rather a shift in how brands approach the league.
Rima Sen, Director Media Planning & Buying, RepIndia, frames this transition as a natural evolution of a property that has long dominated the media calendar.
Sen says, “It’s more maturity than stagnation. IPL is still the single biggest annual media event in India, which hasn’t changed. What has changed is how brands are approaching it.”
Her point reflects a broader recalibration, where IPL is no longer treated as a default visibility buy, but as a strategic lever within a larger funnel.
This is expanded upon by Deepshika Bharadwaj, Schbang's National Media Strategy Lead, who advocates a more outcomes-driven strategy. “The era of just ‘spend more to be seen more’ is over. Brands are now asking tougher questions around impact, not just presence. IPL is no longer a land grab; it’s a precision play,” she says.
The way the advertiser mix is changing is the most obvious sign of this strategic sharpening. As IPL enters its maturity phase, regulatory changes and market forces are reshaping who sponsors the tournament and how they invest.
Category shake-up
Regulatory changes around online gaming have significantly altered the IPL’s advertiser landscape this year. The Promotion & Regulation of Online Gaming Act, 2025, has effectively pushed fantasy gaming and other real-money gaming (RMG) players out of mainstream sports advertising and sponsorship, removing a substantial chunk of spend from the ecosystem.
According to industry estimates, broadcasters, the league, and franchises all suffered as a result of the elimination of annual IPL-related advertising worth anywhere from 2,000 crore to 1,500 crore. Dream11’s exit from the Indian team jersey sponsorship, valued at ₹358 crore, has been among the most visible signals of this broader pullback.
Shah notes, “The exit of Real-Money Gaming (RMG) which once accounted for nearly 20% of the budget, has created new opportunities that are being filled by a broader mix of brands.”
Sen expands on how this gap is being redistributed, “The gaming pullback has definitely opened up inventory, and we’re seeing a wider mix step in Auto, Fintech, FMCG, QSR, and even home improvement and consumer durables.”
This shift is perhaps most evident at the team level, where franchises have rapidly sought out new primary sponsors from non-fantasy gaming industries. Chennai Super Kings have partnered with Etihad Airways, Mumbai Indians are backed by Lauritz Knudsen (part of Schneider Electric’s global ecosystem), and Royal Challengers Bengaluru have tied up with Nothing, appealing to younger, tech-savvy audiences. Kolkata Knight Riders have gone with VIDA, Hero MotoCorp’s EV brand, signalling the league’s growing alignment with sustainability, while Delhi Capitals continue with Hero FinCorp, and Gujarat Titans are backed by Birla Estates.
While high-growth sectors like e-commerce, BFSI, fintech, and auto (especially EVs) continue to remain aggressive, Shah points out a more cautious approach from others. "On the other hand, edtech, select D2C/startups, and telecom are taking a more measured approach, prioritizing profitability, optimizing spends, and focusing on targeted, performance-led visibility rather than large-scale splash investments," he states. The result is a more diversified advertiser mix, less dependent on a single high-spending category, and more reflective of how different sectors are using the IPL for very different business outcomes.
While the shift in domestic categories is clear, the story isn’t confined to India. Escalating geopolitical tensions in the Middle East have introduced a layer of uncertainty, disrupting business environments and mobility across parts of the region. While the human and economic toll of ongoing geopolitical tensions is profound, its ripple effects are beginning to reflect in advertising decisions as well.
Over the years, the region has become an important part of the IPL’s advertising ecosystem, with brands across aviation, tourism, and energy actively associating with the tournament. Airlines such as Emirates, Etihad Airways, Turkish Airlines, and Qatar Airways have partnered with teams, while entities like the Saudi Tourism Authority and Saudi Aramco have built visibility through central sponsorships and on-ground integrations. For now, media reports suggest that some of this participation may slow as brands navigate uncertainty in their home markets.
“Petrochemical and energy-linked brands may tone down or temporarily pause spends due to volatility linked to the ongoing Middle East tensions,” says Yuvrraj Agarwaal, Chief Strategy Officer, Laqshya Media Group.
Amid these shifts, evolving audience behaviour is prompting brands to rethink not just who they advertise to, but how they engage across screens. This has given rise to integrated, hybrid strategies that blend television, OTT, connected TV, and social, ensuring campaigns are both targeted and contextually relevant.
Hybrid viewing, integrated playbooks
The biggest shift in IPL 2026 lies not just in how audiences consume the tournament, but also in how brands are recalibrating their strategies around that behaviour.
Highlighting the scale of digital, Shah says, “Digital viewership is estimated to cross 600 million, consistently outperforming linear TV in pure numbers.”
Sen echoes this evolution, noting that IPL is “no longer just a TV property, it’s a full ecosystem now,” with accessibility expanding well beyond urban centres, aided by affordable data and widespread smartphone penetration.
The role of each platform has also been redefined as a result of this fragmentation of attention. According to Bharadwaj, "TV still delivers the big-bang moment," "streaming captures the younger audience that is choice-driven," and "social fuels real-time culture and conversations." For advertisers, this has effectively closed the chapter on the long-standing TV versus digital debate. The focus now is on integration.
Shah provides the following explanation: "Brands are largely opting for a 60/40 or 70/30 split, favoring digital while using TV for top-of-funnel reach." Sen reinforces that budgets are now being assigned based on function rather than format. “TV continues to take a large share when the objective is mass reach quickly. Brands are increasing their investment in digital, particularly OTT and social, in order to improve their targeting, measurement, and flexibility. “The mix has become intent-led, not channel-led,” says Bharadwaj, pointing to a shift where platform decisions are increasingly being driven by the role each touchpoint plays in the consumer journey, rather than legacy preferences. Now, what matters is how these parts fit together to provide precision and scale. As a result, the IPL today operates less like a single media property and more like an interconnected ecosystem, spanning television, OTT, connected TV, and social, each shaping a different part of the consumer journey. What becomes necessary is to ensure the right message reaches the right audience at the right time and in the right context.
Strategy over spend
With IPL inventory and audience touchpoints multiplying across TV, OTT, CTV, and social, brands can no longer rely on mere presence.
Brands are 100% dealing with difficulties like frequency control, ad clutter, and attribution as inventory and touchpoints grow. The challenge today isn’t access, it’s orchestration. Too many brands are still solving for presence, while the smarter ones are solving for precision, sequencing, and meaningful exposure.
- Deepshika Bharadwaj
As brands navigate rising costs and fragmented attention spans, strategic planning is becoming the real differentiator.
“Brands don’t overpay for IPL; they overpay for poor planning. The ones that win aren’t just buying spots; they’re buying context, integration, and cultural relevance. IPL rewards strategy, not just spend,” adds Bharadwaj.
This ties back to how success is defined not by how much a brand spends, but how intelligently it deploys that spend across moments, platforms, and audiences.
IPL 2026 isn’t about bigger budgets; it’s about better decisions.
The tournament has developed into a complex marketing ecosystem as digital continues to scale, categories rebalance, and audiences fragment across screens. The brands that will stand out are not the loudest, but the smartest, those that understand when to show up, where to engage, and how to stay relevant beyond the match.
In a property built on spectacle, strategy has become the real game-changer.