When Tanvi Chaudhary Inglay and Rohan Inglay began creating couple content in 2022, they were documenting a life they already shared. They ran an interior design business, travelled together and started making videos about their experiences. Over time, their audience followed them through marriage, work, travel and parenthood.
Some of their most successful videos focus on family dynamics rather than conventional declarations of romance. In one, Rohan gives Tanvi a gift and then gives his mother a similar one. Tanvi estimates that the video has generated between 60 million and 70 million views. Their prank videos and challenges have also crossed 50 million views.
She believes the appeal lies in the audience’s ability to recognise itself in the relationship. “Be it the silly arguments, the care, the differences in how two people think,” Tanvi told TCI, describing the everyday interactions that viewers recognise.
For the Inglays, that familiarity is not incidental to their content strategy. It is the strategy. “We brainstorm ideas that way, like, will someone relate to this, and will they want to send it to their partner,” Tanvi said. “Whether the video is coming as just love, laughter or little nostalgia.”
The question is increasingly relevant to the creator economy. Couple accounts offer brands two personalities, an ongoing story, and ready-made context for products tied to relationships: jewellery, gifting, fashion, travel, food, home furnishings, and family life. Yet the business depends on something you can’t manufacture indefinitely: the impression that viewers are watching a real relationship rather than a performance designed for them.
The appeal of “this is so us”
Hemant Gholve and Aayushi Parekh, who create videos together, believe humour attracts attention, but relatability gives content staying power. “The best couple content comes from real, everyday moments that people see themselves in,” they told TCI. “Humour grabs more attention, but relatability and authenticity create a direct connection with our audience.”
They try to make videos that prompt viewers to think, “This is so us,” and then share them with their partners. The aim is to create something that feels less like a performance and more like a relationship unfolding naturally.
That helps explain the format’s unusual social function. A viewer can send a joke about a partner’s habits without explaining it. A video about an anniversary surprise can become an idea for a future celebration. A skit about how two people approach getting ready can become a private joke between friends.
Couple content works both as recognition and aspiration. Viewers may see their own relationships reflected in the jokes, or imagine a relationship they would like to have.
Deepak Kumar and Aarzoo Padhyay started with Deepak’s individual content before gradually moving into couple videos. “Couple content makes it easier to approach brands while brands feel safer,” they said. They also described its aspirational appeal as the ‘I want that’ feeling.”
For brands, that combination can be useful. A product doesn’t have to interrupt a couple’s story if it can plausibly become part of it: a piece of jewellery in an anniversary surprise, an outfit worn on a date, a restaurant featured during a celebration, or a home product appearing in a shared domestic routine.
But a relatable video is not automatically an effective advertisement. Its commercial value depends on whether audiences trust the creators, whether the product fits their lives and whether the collaboration gives viewers a reason to act.
What the data says about couple content
The clearest recent India-specific evidence comes from Qoruz, a creator intelligence and influencer marketing platform. In a report covered by ETBrandEquity, Qoruz analysed Valentine’s Day content published from February 5 to 14 across Instagram, YouTube, Facebook and X over three years: 2023, 2024 and 2025.
Qoruz estimates that Valentine’s influencer spend grew 40–45% a year from 2023 to 2026, from ₹20–25 crore to a projected ₹60–75 crore. The analysis also found that couple-focused romantic content accounted for 35 per cent of Valentine’s posts and recorded an average engagement rate of 3.5 per cent. Content centred on singles and self-love accounted for 37 per cent of posts and had a higher average engagement rate of 5.4 per cent.
The report also found that the number of influencers participating in Valentine’s content increased from 32,000 in 2023 to 59,000 in 2025, while total engagement rose from 102 million in 2023 to 215 million in 2024 before falling to 180 million in 2025.
For Tanvi, celebrations do attract attention. “In four years, I have definitely noticed one thing: celebrations are something that gets a lot of engagement on Instagram,” she said. Anniversaries and grand gestures can prompt viewers to admire the moment or look for ideas for their own partners.
Still, broader Valentine’s data suggests couple creators compete not only with other couples but also with solo creators, entertainment accounts, gift guides, and self-love content. A romantic occasion can create demand for content without guaranteeing that a particular format will capture it.
Why a share is different from a like
The instinct to send a couple creator video to another person may be one of the format’s most commercially interesting qualities.
A like indicates approval, amusement or appreciation. A direct message can make the content part of a conversation between two people. The sender may tease a partner, suggest a gift, share an inside joke, or signal something difficult to say directly.
Instagram has acknowledged the importance of sharing in content distribution. In January 2025, Adam Mosseri, the platform’s head, identified watch time, likes and sends among the important signals used to rank content. He said sends were slightly more important for reaching people who did not already follow an account, while likes mattered slightly more for reaching existing followers.
That does not mean shares guarantee virality or that a high number of sends necessarily produces brand sales. It does help explain why creators make videos with an identifiable recipient in mind.
For the Inglays, the test is whether a viewer might want to send the video to a partner or use it as inspiration. Their audience has also followed their life beyond the relationship itself. Tanvi said viewers ask how the couple manages work, family and business, and that the account’s evolution into parenthood has become part of its appeal. “People are inspired seeing that,” she said of their journey.
That continuity gives viewers more than an isolated joke. They can return to see what happens next, watch a family milestone or follow the couple’s progress. It also creates opportunities for brands to work with the same creators across different life stages, rather than relying on a single seasonal post.
Two people, one commercial account
The apparent simplicity of couple content conceals a complicated division of labour. Someone has to develop the idea, organise the shoot, edit the footage, communicate with the brand, negotiate the fee and decide which account publishes the final video.
Hemant and Aayushi said Instagram is their primary platform, with brand collaborations as their main revenue streams. “We negotiate rates based on engagement, deliverables, and usage rights,” they said. They divide responsibilities according to their strengths, from ideation and shooting to editing and brand communication.
Deepak and Aarzoo have formalised another part of the arrangement: how much it costs to feature one partner in the other’s content. “Brands approach us as couple creators,” they said. “We have kept separate fees for featuring each other in content, and it also depends on which account they wish for the content to be posted on.”
Hence, each arrangement has different production requirements, audience access and usage rights.
Tanvi said that, at their current scale, a brand could pay between ₹2.5 lakh and ₹3.5 lakh for an Instagram collaboration. The figure is her estimate of their own market rate, not a standard fee for couple creators.
The couple’s primary income, however, still comes from their interior design firm. She advises creators to treat content as a secondary income source and build their own business while their audience grows.
Her concern is not only whether views will fall. She also pointed to payment delays. Brands may expect scripts and videos within days, while creators can wait 60 or 90 days for payment. “The credit period is way too long,” she said, describing the mismatch between production timelines and cash flow.
For a couple account, those pressures can affect two people at once. They may share income, but they also share the time spent filming, the work required to keep publishing, and the risk of irregular brand partnerships.
When authenticity becomes work
The central promise of couple content is that it feels personal. That promise is harder to maintain when your personal life also generates income.
The Inglays said they have boundaries around what they show. They avoid publishing intimate moments and try to ensure their content doesn’t humiliate either partner. Tanvi said that when they disagree about a video, they sometimes shoot both versions and decide together which works better on camera.
“We mutually agree on what is going to look better, what turns out good, and that is what goes public,” she said. The same principle applies when they choose brand collaborations. Tanvi said they have declined offers involving betting apps, even when the proposed payments were attractive, because they did not want to promote products they believed could harm their audience.
They also aim to keep their videos family-friendly, as the account’s audience has expanded beyond couples. “We always think about, is this something that is, you know, people will like to watch,” she said, describing how they consider whether a video crosses a boundary.
Deepak and Aarzoo similarly said they do not film content in the middle of a fight. “When we are fighting, we don’t make content,” they explained, because they want their videos to reflect their everyday lives without turning a difficult moment into public entertainment.
That is a form of editorial judgment. A couple decides what is funny enough to share, what belongs only to them and what could damage the trust they have built with viewers. For Gholve and Parekh, maintaining that connection also helps them navigate competition. “Trends are going to come and go,” they said, “but if the audience feels related to you, that’s all that matters.”
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The limits of being relatable
Rishabh Holani, who creates content with his partner, Sakshi Maheswari, said the couple niche has become increasingly competitive. Their identity as a short-height couple gives them a distinctive perspective, but they do not want their entire account to revolve around their height. Their A-to-Z dating series helped them reach more people, he said, while they continue experimenting with humour, challenges and relatable reels.
“We’ve experienced this ourselves,” Holani said, referring to the uncertainty of earning a living through content. Despite building a community of more than 300,000 Instagram followers, the couple still wonders why brand collaborations and invitations to industry events are not more consistent. They have also faced trolling about their appearance.
“The love and support we receive from our audience motivate us to keep going,” they said.
Their experience underlines the difference between an audience and a stable business. A creator may have strong view counts and a recognisable identity without securing enough repeat collaborations to make income predictable. Long-term partnerships, affiliate marketing, platform monetisation and independent businesses can help reduce that dependence on individual campaigns.
The Inglays have also seen the format change since they began. Tanvi believes newer creators need to experiment with more natural, less scripted videos and remain consistent rather than expecting immediate results.
“It has taken us four years to be where we are today,” she said. “You have to be consistent.”
The business of couple content therefore rests on more than the chemistry between two people. It requires understanding the audience, a recognisable point of view, the ability to work with brands, and a willingness to keep parts of a relationship from public consumption.
The most shareable moments may look spontaneous, but the business behind them is anything but that. A couple must keep finding experiences viewers recognise, while ensuring the pursuit of reach doesn’t dictate every interaction. The relationship draws people in; whether that attention becomes a sustainable career depends on what the audience doesn’t necessarily see.
