Dr Ashish Kaul
A decade ago, long before the emergence of comedians like Samay Raina and Ranveer Allahbadia, Indian society, politicians, and policymakers remained silent as our own film industry laid the groundwork for a cultural shift-one that blurred the lines between free speech and moral responsibility. It was exactly ten years ago that a structured erosion of linguistic and social boundaries began, led by none other than Bollywood’s elite.
It all started with a statement from filmmaker Karan Johar: “Let the filth begin.” With these words, the stage was set for an event that would leave deep scars on our collective social fabric. The so-called “humor show” took place on January 28 of that year, yet its impact was still being debated well into late February-a testament to the controversy it ignited.
The AIB Roast: A New Low in Indian Comedy
The event in question was a live comedy show organized by All India Bakchod (AIB), a group of stand-up comedians who sought to introduce India to a Westernized, unfiltered form of humor known as “roast comedy.” However, what unfolded was not humor, but an audacious spectacle of crude insults, vulgar language, and below-the-belt jokes, all wrapped in the guise of entertainment.
Tickets for the event reportedly cost between Rs 4,000 to Rs 8,000, with an audience of approximately 4,000 attendees-predominantly members of Mumbai’s elite and Page 3 celebrities. Those present at the show were not merely spectators; they were participants in a display that pushed the boundaries of acceptable discourse in public entertainment.
This event was not just an abuse of free speech; it was an outright assault on it. In an era where individuals and nations are fighting for genuine freedom of expression, AIB took this privilege and turned it into a license for verbal debauchery. Their brand of “insult comedy” relied on offensive, obscene, and demeaning remarks aimed at individuals, body parts, and cultural identities.
The Digital Aftershock
The controversy did not end within the walls of the auditorium. AIB uploaded the event on YouTube, where it quickly gained traction. By the time legal intervention forced its removal, the video had already amassed 4.4 million views. This widespread reach presented a new challenge: how does one control the narrative when content of this nature is so easily accessible?
The implications were particularly alarming given India’s demographic reality. With the country ranking as the second-largest internet user base in the world, and over 460 million , that is nearly 46% of young adults accessing the internet via mobile devices, the AIB Roast became a defining moment in shaping the digital consumption patterns of an entire generation.
Teenagers, drawn by curiosity and peer influence, watched the show in secrecy, ensuring their parents remained unaware of the content they were consuming. The nature of the video itself demanded this level of discretion-an ironic contrast to the so-called “openness” and “liberation” it claimed to champion.
Bollywood’s Role: Defenders or Enablers?
In the aftermath of the controversy, Bollywood wasted no time in justifying the event. Industry figures defended it under the banner of free speech, arguing that the audience was well aware of what they had signed up for. The organizers pointed to disclaimers that warned viewers of the explicit nature of the content. However, these justifications ignored a fundamental issue: the power of influence.
Entertainment is not consumed in isolation. When an influential segment of society legitimizes crude and offensive humor, it creates a ripple effect, normalizing the use of such language in everyday life. What begins as “comedy” in a controlled setting inevitably trickles into mainstream culture, shaping societal attitudes and behaviors.
If we accept that such humor is harmless, then how do we prevent it from becoming common street language? How do we stop it from being used against our own women, our own families? At a time when law enforcement is already struggling to maintain social order, are we not adding to the chaos by allowing such content to flourish?
The Threat to Moral Values
For those defending the AIB Roast as harmless fun, it is crucial to recognize the deeper implications. Comedy should be an art that brings people together, not one that thrives on humiliation and degradation. Yes, we all understand biological realities, but does that mean we discuss them in crude terms at family gatherings? There is a reason why certain topics are handled with care-because they carry weight and meaning in our social construct.
The audience at the AIB Roast may have laughed, but was it at the cost of societal decency? By endorsing this form of entertainment, are we inadvertently setting a precedent for the kind of moral compass we want future generations to follow? The show did not just push boundaries-it attempted to erase them entirely.
The Bigger Question
My question has remained unanswered for the last 10 years, Should we allow this filth to begin again? Does Self-regulation hold the key or do we allow Babu’s to hold the banton ?
The controversy surrounding Samay Raina and Ranveer Allahbadia should not be viewed in isolation. They are merely the latest figures in a long chain of individuals who have contributed to the dilution of cultural values under the guise of humor. The responsibility does not lie with them alone; it extends to the pioneers of this trend, including those from Bollywood who enabled and encouraged such content.
If we fail to address this now, we risk setting a dangerous precedent-one where social values are eroded in the name of entertainment, where disrespect is mistaken for bravery, and where the essence of humor is lost to vulgarity. It is not just about one show or one group of comedians; it is about the kind of society we are shaping for the future.
It is time to ask ourselves: Do we really want our children to grow up in a world where degradation is celebrated as comedy. Until then the Joke was and will always be on us as a society that has remained silent on convenient morality.
(The author is a media veteran, advocacy columnist, PhD in Mass Media, and Senior Fellow, CCRT – Ministry of Culture.)
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