31 December,2025 03:55 PM IST | Mumbai | Athulya Nambiar
Neeraj Udhwani
In today's entertainment landscape, writing is no longer just about creativity, it's also about caution. For writers Neeraj Udhwani and Ishita Moitra, the act of putting pen to paper, especially in comedy, comes with an unavoidable layer of second-guessing, legal scrutiny, and self-censorship that defines the times we live in.
"People get offended very easily now," Moitra admits talking to mid-day. What once ended with a joke being written and refined has evolved into a far more layered process. Today, jokes are read aloud to peers, filtered through multiple opinions, and eventually scrutinised by the legal departments of production houses and streaming platforms. "Every production house or platform has a legal team now. That is the reality of our times," she says, adding that there is, ironically, a certain comedy even in navigating these constraints.
Comedy writers, Moitra explains, are constantly manipulating situations - finding ways to remain funny or biting without crossing invisible lines. And while social commentary has always been integral to humour, she believes comedy doesn't always need to make a statement. "Sometimes it's a comment on society, sometimes it's just silly," she says. "Fun for the sake of fun." According to her , that brand of zany, carefree humour is something audiences are increasingly missing today.
The challenge, however, isn't limited to comedy alone. Udhwani who recently co-created Single Papa with Moitra points out that writers across genres - be it drama, horror or mythological storytelling - are grappling with the same anxieties. "It's not just comedy writing that's become hard because people get easily offended. Writing in general has become hard," he says. With sensitivities varying across states, regions, and communities, creators are often left wondering what might trigger backlash and where.
This uncertainty has led to a culture of constant self-censorship. Writers and filmmakers find themselves questioning their own work repeatedly, worried not just about creative reception but about legal consequences. "We're always worried - ki yaar koi case nahi kar rahe hain," Udhwani says, echoing a concern that has become commonplace within creative circles.
Legal vetting, he explains, is now a standard part of the filmmaking and OTT process. Every dialogue, scene and episode passes through lawyers who flag anything that could potentially invite litigation. Final cuts are reviewed by legal teams, not just for major red flags, but sometimes for the most seemingly trivial details. The reason, Udhwani says, is simple: precaution.
"There have been occasions where people have filed cases for really frivolous causes," he notes. As a result, producers and platforms operate in a state of heightened alert. In fact, legal trouble is no longer seen as a rare risk, it's budgeted for. "Producers actually keep aside a certain part of the budget for litigation," Udhwani reveals, describing it as a speculative but necessary expense.
Yet, despite these pressures, Udhwani believes there is still room for creative balance. Writers are learning to work within the system, sometimes bending it, sometimes outsmarting it to tell stories that entertain without inviting unnecessary trouble. And when given the space, as he notes in his recent work, there's still an opportunity to blend sharp commentary with unapologetic silliness.
