Lilly Singh on Culture, Courage and Claiming Space: 'I'm Not Chasing Virality'

There is a promise embedded in Lilly Singh’s voice, a cadence that has always carried per deep sense of purpose. Even at the height of her YouTube-era virality, she never rode the wave of fame without redirecting its force. To watch her now is to witness an artist doubling down on the old-fashioned, unfashionable idea of responsibility: that if you have a platform, you’d better use it like it matters.

Season three of her podcast, Shame Less with Lilly Singh, was conceived with the same gumption that once fuelled her comedy sketches. There's an insistence on conversations that refuse the soft cushions of politeness or the cheap thrill of outrage. Singh moves through the world like someone allergic to performative allyship; she prefers the messier business of embedding herself where culture is actually made, in rooms where girls are dreaming new dreams and in industries where women are still expected to shrink themselves for comfort.

Her latest on-screen venture, Doing' It, which won an award at SXSW, is a project she co-wrote, stars in and produced out of sheer necessity. It’s a reminder that representation requires labour. It’s showing up early even when the world runs late. And it’s putting your body, your bankroll, and your name on the line for stories that won’t get made otherwise.

In a landscape cluttered with voices who speak loudly but risk little, the multi-hyphenate feels like a throwback to the rare, endangered species of artists who actually mean what they say.

In India to work on a few of her projects, Singh finds time to chat with us for an exclusive interview. Edited excerpts from a conversation:

Q: I want to start with your podcast; season three feels bigger, braver and more intentional than what came before. What sparked this return, especially in a space so cluttered with “men with mics”?

Lily Singh: I'm a huge believer in gender equity. From my earliest YouTube videos till now, my work has always centered girls and women. A lot of my activism has been about raising money, visiting schools in rural India, helping build infrastructure—all of which matter. But I’ve also learned that one of the main things holding girls and women back is culture—how we speak about them, how we treat them. Culture doesn’t always shift with money or buildings.

Whenever I go to rural schools and ask kids what they watch or what their parents watch, they say Bollywood, movies, TV. That’s how culture is shaped. So I think it’s important to have deep conversations with people who are influential—Bollywood stars, athletes, public figures—because what they say carries weight and creates a ripple effect.

India is close to my heart. I wasn’t born or raised here, but I’m of Indian descent, and I see the incredible talent, especially among young girls. I want them to have every opportunity they deserve.

Q: India can be tricky terrain because of how many things we consider taboo. You’re deliberately entering those spaces in the podcast. How do you keep it safe and authentic without tipping into sensationalism—because virality often comes from that “gotcha” moment?

Singh: The difference is: I’m not chasing virality. And I say this humbly, but I’ve already gone viral—videos with millions of views, clickbaity headlines… I’ve done all of that.

For this podcast, the goal isn’t inaccurate YouTube titles or trending snippets. I want real conversations where people feel safe, seen, and heard in ways they’re not elsewhere. One of my superpowers is that people tend to open up with me. Everyone I’ve interviewed so far has said, “I’ve never been asked that” or “I’ve never said that out loud.”

I’m not here to put anyone on the spot or shame opinions—sometimes I even disagree with my guests. I’m here to bridge gaps and positively impact culture.

Q: Are there themes that make you nervous to put out?

Singh: Definitely. I’m very aware that I wasn’t raised in India. My parents were, and I’ve visited often, but I can't pretend to fully understand the nuance of growing up as a girl here. So I’m cautious about the way I frame questions or opinions.

I always remind myself: my way isn’t the right way. My knowledge isn’t complete. I need to stay open-minded to other experiences. That makes me nervous because the last thing I want is to come across like I have it all figured out—I don’t. And North America has its own issues. So the goal is to show up as an equal, not with a holier-than-thou mindset.

Q: Why base this season in India specifically? And has it been a logistical nightmare?

Singh: Oh, it’s absolutely been a logistical nightmare. I’m very Type A—if I say I’ll be somewhere at 8, I’m there at 7:50. India is more relaxed about time, and that’s not wrong, just different from how I operate in LA.

Plus, my team and I don’t know the geography, the crews, the protocols—we’re learning everything on the go.

But the reason we’re here is simple: the people we want to talk to are here. And if you’re discussing culture, it matters to embed yourself in it. It wouldn’t hit the same if I were sitting in LA trying to guess what life is like in India.

I also visit the schools I support in UP during these trips. Seeing the girls over the years shows you how the times are changing. I remember asking them years ago about their dreams—they all said “become a doctor.” Last year, the same question got answers like “go to a BTS concert.” They’re dreaming differently now, dreaming for joy. Being here helps me track that evolution.

Q: What themes can you share from this season?

Singh: We’re talking about subjects people find uncomfortable—sex, feminism, equal pay, regret around speaking

out. I want to explore these things in a safe way. I’m still shooting, so we’ll see what else emerges, but we’ve already had some incredibly vulnerable and honest moments.

Q: Let’s talk about your film Doing' It. You’re the lead actor, co-writer and producer. That’s a massive load to carry; why take on all three roles?

Singh: Trust me, making this as an independent feature wasn’t my dream method. If a studio had offered me a million dollars to do it, I would've taken it! But in LA, telling diverse stories is extremely hard. So I wrote it and produced it out of necessity.

I love writing and acting. Producing… not so much. But if I didn’t take it on, the story wouldn’t get told properly.

In India, when you’re on a set, most people are Indian—they understand the culture. In LA, I’m often the only desi person on set. If I’m not a producer, the cultural details fall apart. Otherwise, you end up with scenes where there’s an “Indian wedding” and instead of a horse, someone’s riding a cow because they don’t know the difference. I have to be part of every decision.

Q: There’s also the representation debate about who gets to tell what stories. Do you ever feel caught in the in-between—neither Indian enough nor American enough?

Singh: Honestly, no. I’m not trying to tell a universal “Indian story.” I’m telling my story, based on what I went through.

Every once in a while, Indians in India drag me—but usually for my jewellery! (laughs) I swear, NRIs have a different fashion sense. Every time I wear Indian jewelry, someone from India comments, “Why would you wear that?” And I’m like: this is what’s trending for us in North America! That’s the only time I’ve felt that disconnect.

Otherwise, I feel supported. Maybe some people think I’m too Indian or not Indian enough, but I’ve outgrown letting that bother me.

Q: The film got rave reviews at SXSW. Do you worry the themes might be too edgy for India?

Singh: Yes, I do. There’s a full-frontal nude scene of a man, so I’m aware a theatrical release may require edits. But nothing in the film is there just to be edgy. It’s all serving an important conversation. If someone has an issue with it, the question becomes: why does a story about a woman owning her sexuality make you uncomfortable?

Q: Censorship is a battle we're fighting everyday. Would you be okay if the film doesn’t release here as is?

Singh: If the only cut needed is a few seconds of male nudity, sure—I can live with that. It doesn’t affect the story. But if anything related to women’s empowerment or sexuality had to go, that would be a problem. Also, practically speaking, editing a movie again is expensive; I’m not even sure we could afford to recut it for censorship.