#comediansofinstagram

[laurafaritos]

HDMS017. What a Marketing CEO Taught Me About Selling Comedy Shows

Soooooo, my world has turned upside down since I started this Harvard digital marketing course. Module 1 took me 35 hours, and I wrote 15 reflection essays along the way. I’m 20 hours into Module 2, only halfway through, and realizing this course is basically a full-time job.

If this were any other year, I’d be beating myself up for taking so long. For eight years, I convinced myself that next time, I’d finish things “on time.” That if I just tried harder, I’d magically function like everyone else. And every time I failed, I thought I was the problem.

But I’m done with that.

The difference between then and now is a diagnosis. I am not broken—I have two disabilities that affect how I learn, and I’m doing all of this in another language. So if it takes me four times longer to study, then it takes me four times longer. What matters is that I’m learning.

One of the biggest game-changers so far? The GAMMA Strategy. I can physically feel it rewiring my brain chemistry. I cannot look at my comedy shows the same way. And honestly? I don’t understand why comedy schools and media programs don’t teach this.

But I think I know why—those programs train us to be employees, not self-employed creatives. And GAMMA? It’s a fundamental concept for anyone trying to run their own career like a business.

I’ve been in entertainment for 12+ years and a comedian since 2016, and this is the first time I’m hearing about this.

So in this post, I’ll break down what the GAMMA Strategy is and how it’s making me rethink everything about my comedy career. If you’re struggling to sell out shows, this post is for you.

I’m not the same comedian I was before this module, and I can’t wait to see who I’ll be when this course is over. Hope this changes your life too.

I. What is the GAMMA Strategy? (And Why Didn’t I Learn This Sooner?)

The GAMMA Strategy is a framework for marketing planning, and once you learn it, you can’t unsee it. It breaks marketing down into five essential parts: setting clear goals, defining your audience, crafting the right messaging, tracking what works, and optimizing for success. It’s a simple system, but the way it reframes business decisions is a game-changer.

It made me realize how often comedians, including myself, approach marketing completely backward. We don’t think about who we’re trying to reach, why they should care, or how we’re positioning ourselves. We assume that if we’re funny enough, the right people will find us, buy tickets, and spread the word. But that’s not how it works.

Comedy doesn’t operate in a vacuum. The biggest comedians aren’t just talented—they understand how to sell their brand. They know their audience inside and out, they test different ways to market themselves, and when they find what works, they double down. They’re not just throwing random promo posts on Instagram and hoping for the best. They’re following a strategy, whether they realize it or not.

I used to think talent was enough. It’s not. If you don’t treat your comedy like a business, you will always struggle to make a living. GAMMA is the business plan nobody teaches you in comedy school—and once I saw it, I couldn’t go back.

II. How I'm Applying the GAMMA Strategy to my Comedy Business

Once I understood the GAMMA framework, I realized that most comedians—including myself—have been flying blind when it comes to promoting our work. We think marketing means posting a flyer on Instagram, asking people to come to our show, and hoping for the best. But that’s not a strategy—that’s just wishful thinking.

Here’s how the GAMMA framework applies directly to comedy:

1️⃣ Goals & Strategy – Most comedians say they want to "get more people at shows" or "grow an audience," but those aren’t clear goals. A real goal is specific: Do you want to double your ticket sales in six months? Get 10K followers on Instagram to increase your booking potential? Sell out one show a quarter? Your strategy has to match your goal.

2️⃣ Audience & Targeting – Who are you actually trying to reach? Are you marketing to casual comedy fans, hardcore stand-up lovers, young professionals looking for a night out, or niche communities that connect with your material? I used to assume that my audience was “anyone who likes comedy,” but that’s way too broad. The better you define your audience, the easier it is to reach them.

3️⃣ Messaging & Creative – What makes your show different? If your promo is just “Hey, come to this comedy show,” it’s not enough. People need a reason to care. Are you the only Brazilian comedian doing a show about immigration? Is your event focused on horror comedy? Are you known for a specific style of humor? Your messaging needs to highlight what makes you unique.

4️⃣ Measurement, Testing & Learning – This is where most comedians fail. If a show does well, we celebrate. If it flops, we assume "people just weren’t interested." But did we actually track what worked? What kind of promo got the most engagement? What ticket price led to the most sales? Which social media platform converted best? If you’re not measuring, you’re guessing.

5️⃣ Acceleration & Optimization – Once you know what works, double down. If Facebook ads bring in more ticket sales than Instagram posts, invest more in Facebook. If a certain type of promo video converts better than others, make more like it. This step is about taking what’s working and scaling it up instead of starting from scratch every time.

For years, I thought selling tickets was just about being funny. But now I see it’s about building a system. GAMMA gave me a structure for marketing my shows, and it’s already changing the way I approach comedy as a business.

III. Managing This Process with AuDHD

Learning and applying the GAMMA strategy is one thing—but doing it while navigating AuDHD is a whole other challenge. For most of my life, I either beat myself up for struggling to keep up or I’d set delusional goals, thinking I could “just be more disciplined” if I tried hard enough. Neither of those approaches worked. What’s different now is that I understand how my brain works, and instead of forcing myself to work like a neurotypical person, I’m building systems that work for me.

Here’s how I’m managing this process in a way that actually supports my AuDHD brain:

1️⃣ Body-doubling & external deadlines – I don’t just set goals like "promote the show." I set external deadlines and social accountability. If I need to post about ticket sales, I’ll tell a friend I’m doing it by 3 PM so they check in. If I have to edit a promo video, I’ll book a coworking session with someone so I actually sit down and do it.

2️⃣ Working with momentum instead of against it – AuDHD means my energy levels are inconsistent. Some days I can work for 12 hours straight; other days, my brain refuses to engage. Instead of shaming myself, I plan around it. If I’m hyperfocused, I batch-create content so I have a backlog ready. If I know I’m low-energy, I schedule low-demand tasks like scheduling posts, updating my show calendar, or answering emails.

3️⃣ Automation & templates – Repeating the same task over and over drains me. So I’m creating plug-and-play systems:

A pre-made promo calendar so I don’t have to decide what to post every day.

Email templates for reaching out to venues, sponsors, and press.

A marketing checklist for every show so I don’t forget crucial steps (because I will forget).

4️⃣ Embracing "good enough" instead of perfectionism – Before, I’d get stuck trying to make the perfect promo video and end up posting nothing at all. Now, I remind myself: done is better than perfect. If a post isn’t flawless, it’s still better than silence.

For years, I thought my struggles with marketing were a personal failure—that I just wasn’t “disciplined enough.” Now, I see that my brain just needs a different approach, and forcing myself into a system that wasn’t built for me was never going to work.

By aligning my business strategy with how my brain actually functions, I’m finally breaking out of the cycle of burnout, avoidance, and shame. And honestly? This is the most sustainable I’ve ever felt in my comedy career.

IV. The Comedian I’m Becoming

Before this module, I thought marketing was just about promoting my shows. Now, I see that marketing is the strategy that makes the entire show possible. It’s not just about getting people in the door—it’s about making sure my comedy career is sustainable long-term.

For years, I relied on word-of-mouth and assumed that talent alone would be enough. Now, I’m treating my comedy like a business, because that’s what it is. Learning about the GAMMA strategy, audience targeting, and value propositions has completely changed how I approach my work.

I’m not the same comedian I was a month ago. And I can’t wait to see who I’ll be by the end of this course.

V. TL;DR & Final Thoughts

So, here’s the big takeaway: marketing isn’t just about promotion—it’s the foundation of a sustainable comedy career. Without a clear strategy, I was stuck relying on last-minute ticket pushes, hoping people showed up. Now, I’m building a system where every show, every project, and every piece of content works together to support my long-term goals.

This Harvard course is pushing me to think beyond just being funny on stage. It’s forcing me to step into my role as a producer, business owner, and strategist. And honestly? I love it. I’m not the same comedian I was before starting this module, and I know that by the time I finish this course, my entire approach to comedy will be transformed.

If you’re a comedian struggling to get people in the door, start thinking like a business. Your talent deserves an audience, but they won’t just appear—you have to bring them in. I hope what I’m learning here helps you, too.

Tchau, tchau!!!

[the-crow-caws-witch]

"I'm hung, but not as hung as you're about to be"

[sethshead]

h/t stanzi potenza

[dankcharnley]

OVERSLEPT #sleep #sleepy #comediansofinstagram #dannycharnley #standup #comic #dank #charnley #comedian #danny #whohurtyou #comedy #tour #laugh #share #meme #memes😂 #memeoftheday #dankmemes #dankmemez #saturday #studio #style #fashion #love https://www.instagram.com/p/Ce_Jl9buHgZ/?igshid=NGJjMDIxMWI=

[ecuafriki]

Solo les recuerdo que no hay vacuna para los efectos destructivos de una relación tormentosa. Un abrazo y tomen agüita! #elmagomeme #standupcomedyecuador · · · · · · #comedia #comedy #comediante #memeslatinos #memes #instameme #teatro #comediantes #ecuador #420 #comediansofinstagram #momos #humornegro #toptags #comedianlife #instagram #memesdank #memesitos #cuencacity #memesdiarios #momazo #alv #vacúnate https://www.instagram.com/p/CRgzJoWFSyh/?utm_medium=tumblr

[laurafaritos]

HDMS015. Wrapping Up My First Module – Marketing in the Digital Era

Sooooo I just finished Module 1: Marketing in the Digital Era from Harvard’s Digital Marketing Strategy course, and let me tell you—I am not the same person who started this course.

When I enrolled, my only goal was to sell more tickets to my comedy shows. I thought I just needed to learn a few marketing tricks—maybe how to run better Instagram ads, or how to get people hyped about my live events.

What I didn’t expect? A complete mindset shift.

I started seeing comedy as a business, not just an art form. I realized that marketing isn’t just about selling—it’s about building relationships, crafting experiences, and turning casual audiences into loyal fans.

Somewhere along the way, I got so into it that I dyed my hair blue. Not because of a breakdown (though let’s be real, marketing will do that to you), but because I feel like I’m stepping into a new era of my career.

If Module 1 has already changed the way I think about comedy, I can’t wait to see who I’ll be by the end of this course.

I. What Module I Taught Me About Marketing In The Digital Era

Before I started this module, I thought of marketing as a necessary evil—something you do to get people in the door so you can do the real work: performing. Now, I see marketing as part of the experience itself. It’s not just about filling seats; it’s about building a brand, fostering community, and creating an emotional connection before people even walk into the venue.

One of the biggest lessons I took away from this module is how Direct-to-Consumer (DTC) marketing has completely changed the way brands interact with their audiences. Companies like Glossier, Dollar Shave Club, and Warby Parker disrupted traditional marketing by skipping the middleman and speaking directly to their customers. Instead of relying on expensive TV ads or major retail stores, they built loyal communities online, proving that marketing isn’t just about selling—it’s about storytelling.

Another thing that stood out to me is how the customer experience defines a brand. People don’t just buy products; they buy how those products make them feel. L’Oréal isn’t just selling foundation—they’re selling luxury, confidence, and self-expression. The same applies to comedy. Audiences aren’t just buying a ticket; they’re investing in a night out, an escape, a memory. What makes a show memorable isn’t just the lineup—it’s the entire experience, from the way they first hear about it to how they feel when they walk through the door.

This module also made me realize how digital-first branding isn’t just for companies—it’s the future for performers, too. DTC brands win because they own their audience. Instead of relying on traditional distribution, they build direct relationships through social media, email lists, and content marketing. Comedians can’t just depend on being booked for shows and hoping people show up. They need to think like creators with an audience to nurture, not just performers waiting for opportunities.

Perhaps the biggest shift in my mindset is understanding that marketing isn’t a one-time effort—it’s a long game. You can’t just post about a show once and expect a sold-out crowd. You have to show up consistently, build trust, and give people a reason to care before you ever ask them to buy a ticket. Content, community, and consistency—that’s what makes a brand grow.

II. How This Changed My Approach to Comedy

Before taking this module, I thought of my comedy career as a series of individual events—each show, each set, each project standing on its own. But studying marketing in the digital era has completely reframed how I see it. Instead of viewing my shows as isolated gigs, I now see them as part of a larger ecosystem—one that requires strategy, branding, and audience engagement beyond the stage.

One of the biggest mindset shifts for me was realizing that, in comedy, the audience isn’t just “who shows up.” The audience is something you build. Just like DTC brands bypass traditional retail channels and go straight to consumers, comedians can bypass traditional industry gatekeepers and build a direct connection with their fans. Social media isn’t just for promoting shows—it’s for nurturing an audience, keeping them engaged, and making them feel like they’re part of something.

Marketing is storytelling. That’s why some comedians, despite being hilarious, struggle to sell tickets while others build massive followings and sell out theaters. It’s not just about talent; it’s about how you package and present that talent. This module taught me that I can’t just rely on my ability to perform—I need to be intentional about how I position my shows, how I communicate my brand, and how I engage with my audience on a deeper level.

I’ve also started thinking about the entire customer experience—not just the moment when someone buys a ticket. How does someone first discover my show? What makes them decide to buy a ticket? How do they feel when they walk in? What makes them want to come back? Every touchpoint matters. The marketing doesn’t stop once they buy a ticket—it extends to the show itself, the follow-up, and how I continue that relationship after the night is over.

This module also changed how I view ticket sales. I used to think of marketing as “convincing people to come.” Now, I see it as creating demand. Brands like Supreme don’t beg people to buy—they create an aura of exclusivity, community, and urgency. Comedy should be the same. The best shows aren’t the ones with the most aggressive promotion—they’re the ones that make people feel like they need to be there.

Another game-changer for me? The realization that growth is a long-term strategy, not a one-time effort. Just like DTC brands invest in building a loyal customer base, I need to invest in building a loyal audience. One viral clip won’t sustain a career, just like one sold-out show won’t sustain a business. The key is consistency—showing up regularly, offering value beyond just selling tickets, and making sure people feel connected to what I’m creating.

This whole module has forced me to ask bigger questions: What is my brand as a comedian? What is the experience I’m offering, beyond just stand-up? How do I make my shows something people look forward to and talk about afterward? The answers to those questions will define how I move forward.

III. How I’m Making This Work With AuDHD

Studying marketing at this level while managing my comedy career—and doing it all with AuDHD—has been both exhilarating and overwhelming. There were days when I hyperfocused so intensely on this course that I forgot to eat, and other days when the executive dysfunction hit so hard that even opening the module felt impossible. But this process has taught me how to work with my brain instead of against it, and that’s been just as valuable as the marketing knowledge itself.

One of the biggest lessons from this module is that structure and systems are essential—not just for businesses but for brains like mine. DTC brands succeed because they create seamless, repeatable systems for marketing, customer experience, and distribution. That’s exactly what I need in my own work. Instead of relying on random bursts of motivation, I’ve started designing systems that keep me consistent, even when my brain wants to do anything but sit down and focus.

Here’s what’s been working for me:

Batching and Automation: Instead of relying on daily decision-making (which drains my mental energy), I batch tasks. I plan content, marketing, and outreach in chunks so that I don’t have to constantly switch gears. Just like DTC brands use automated email sequences to nurture customers, I’m figuring out ways to automate parts of my comedy business—like setting up email templates, show promotion workflows, and social media scheduling.

Creating a Sensory-Friendly Work Environment: One of the reasons traditional marketing advice never resonated with me is because it assumes everyone can just “hustle” in the same way. But for me, environment makes or breaks my ability to focus. I’ve started experimenting with lighting, noise levels, and work locations to optimize my productivity. Some days I need total silence; other days, I work best with ambient noise or music. If I need to stim while studying, I let myself. Small changes like this make a huge difference in how much information I retain.

Embracing Visual and Tactile Learning: The way I process information is different from neurotypical learners, so I’ve adapted the Harvard course to fit my learning style. Instead of just reading the material, I take handwritten notes, sketch out mind maps, and use color coding to help with retention. If a concept feels abstract, I find a way to make it tangible—whether that’s turning marketing principles into metaphors about stand-up or literally writing things out on index cards to rearrange them like puzzle pieces.

Energy Management Over Time Management: Traditional productivity advice is all about scheduling, but for AuDHD brains, energy is the real currency. Instead of forcing myself to work at specific times, I track my energy patterns and match tasks to when I’m naturally most focused. Deep strategy work happens in my high-energy phases, while admin tasks and emails get saved for low-energy moments.

Breaking Big Tasks into Dopamine-Friendly Micro-Wins: Marketing is an overwhelming beast. If I sit down thinking “I need to plan my entire content strategy,” my brain short-circuits. But if I tell myself “I just need to write one idea,” I can trick myself into starting. Once I’m in motion, the dopamine kicks in, and I can keep going. This is how I approach everything now—marketing, writing, booking shows—small, achievable steps that snowball into bigger progress.

Through all of this, I’ve realized that my AuDHD isn’t a weakness in this field—it’s actually an advantage. My ability to hyperfocus lets me deep-dive into marketing strategies and see patterns others might miss. My creativity means I can approach branding in a way that feels fresh. My tendency to connect seemingly unrelated ideas is exactly what makes for effective storytelling in both comedy and marketing.

This module didn’t just teach me about DTC marketing—it taught me how to structure my creativity in a way that works for my brain. I don’t need to do things the neurotypical way. I just need to build systems that support my way of working.

IV. TL;DR & Final Thoughts

When I started this Harvard Digital Marketing course, I thought I was just learning about branding, advertising, and selling products online. I didn’t realize I was also going to learn so much about myself.

Over the past several weeks, I’ve gone from someone who vaguely understood marketing to someone who sees everything—from comedy shows to audience engagement—as a direct application of these strategies. The way DTC brands build community, nurture relationships, and create experiences? That’s exactly what comedians do. Whether we realize it or not, every comedian is a brand, every joke is a product, and every audience interaction is marketing.

But this module also taught me something deeper: That marketing isn’t just about selling. It’s about understanding people. What they want. What makes them care. Why they choose one thing over another. And once you understand that, you can apply it to anything—whether it’s selling out a show, growing a fanbase, or even just figuring out how to present yourself in the most you way possible.

I am not the same person I was when I started this module. Hell, I even dyed a section of my hair blue—because apparently, I’m in my Digital Marketing Girl Era™. But beyond that, I’ve changed in how I think, how I work, and how I approach my own creativity. I’ve gone from winging it to actually having systems that work for me.

And if I’ve changed this much in one module, I can’t wait to see who I’ll be by the time I finish this course.

Because at the end of the day, this isn’t just about learning marketing. It’s about learning how to build something real. And I’m just getting started.

I’m officially wrapping up Module 1: Marketing in the Digital Era—but this journey isn’t over. Next, I’ll be diving into Module 2: Creating Winning Digital Strategies, where I’ll be breaking down how to actually execute these marketing principles in real life.

I also decided to start a Substack! More on that later.

Tchau, tchau!!!

[sadisticscribbler]

Reposted from @bizarredoctor Bombs Away. . Created by BBH Ad Agency ฿Ɇ₴₮ ł₦ ฿łⱫ₳ⱤⱤɆ ₣ØⱠⱠØ₩ @bizarredoctor . . . Comments. Tag a friend who likes fireworks #bombsaway #rockets #rocketsredglare #fireworks💥 #firework #fireworks_lovers #hysterical #comical #lolpost #funnystuff #laughing #laughinggas #toofunny #comedians #comediansofinstagram https://www.instagram.com/p/CPgX8oglH23/?utm_medium=tumblr

[theonlybritishbombshell]

I’m an absolute fool 😂😩😂 cash app me though 😜😜😜 I do not own rights to this music!!! @candice 🔥🔥🔥🔥 #cashapp #quarantineandcashapp #candicecashappchallenge #cashappbae #cashappme #cashappmeplease #quarantinelife #quarantineandchill #funnymemes #viralvideos #oldgrandma #shakedat #model #actress #personality #influencer #comedian #funnyvideos #comediansofinstagram #comedians #funnyshit #stayhome #stayhealthy #dance #dancechallenge #dancersofinstagram https://www.instagram.com/p/B-nPyd8n0YM/?igshid=1xr0hrry0sbkj

[dankcharnley]

DROP #dank #meme #standup #comediansofinstagram #comedy #comic #dannycharnley #dankmemes #comedian #standupcomedy #laugh #vape #vapelife #weed #pot #dankmemez #memes😂 #memeoftheday #jokeoftheday #jokes #love #life #cars #repair #viral https://www.instagram.com/p/CefnFIuOo3a/?igshid=NGJjMDIxMWI=

[theminutewithkirknoland]

In this world of madness and chaos you have to remember the important things in life. Everybody is Beautiful is a song created by @DavidSantoMusic. I listen to it every day. It is an anthem for the Zeitgeist. A reminder of who we are and that we need each other. In a world constantly trying to force people to become something that they’re not. EBB reminds me each day that in the insanity of it all. We are all beautiful just the way we are. Well at least most of us are. 😂Some of you are gonna still need to keep wearing those mask long after the pandemic. 😳 Click Like Follow I LOVE ❤️ YOU My Tribe! #THEBOX #covid19 #pandemic2020 #comediansofinstagram #detroit #wakeup #truth #mytruths #K2.0 #THENEXTBIGIDEA #STORYTELLING #DETROIT #THEWORLD #HUMANITY #EVERYONESBEAUTIFUL⁣ ⁣#KirkNoland #videoproducer #instagram #follow #interviews #detroitartist #detroitdirector #creativedirector #THEBOX #comedian #The Box #mentalhealthawareness #suicideprevention #pandemic2020 #quarantinelife #coronavirus #quarantinelife #THETRUTHSTANDSALONE @davidsantomusic https://www.instagram.com/p/CD4Vk37jlxc/?igshid=11hwxn8e1jk7i

[troyweekesjr]

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#fun #times jumping on @kerwin_claiborne #tiktok like....#laugh #laughter #laughing #comedy #comedian #comedians #comediansofinstagram #funny #funnyvideos #funnyshit #funnyaf #create #trend #explore #follow #look #mensfashion #menstyle #menfashion #hair #haircolorist #haircolor #locs #coloredlocs #dreads #dreadlocks #dreadstyles https://www.instagram.com/p/CCG-zx2JXTV/?igshid=caucy58z9j9o

[realillwill]

Uncle Tony just can't go to the gas station @bigg_sheem #uncletony #biggsheem #comediansofinstagram #comedians #comedy #funny #baltimorecomedy #baltimore #justcomedy #viral #viralvideo #trending #explore #justjokes #justfunny Reposted from @bigg_sheem #CaliRealWill #ThisIsMeCali209 https://www.instagram.com/p/CExs-_BHLre9RbpcvrSyt-Wq5et3QtI-1kZQkk0/?igshid=lsg7ing1x4q8

[laurafaritos]

HDMS010. DTC Brands: A Short-Lived Fad or a Permanent Shift in Marketing?

For the past few weeks, I’ve been deep-diving into Harvard’s Digital Marketing Strategy course and breaking down everything I’ve learned—from a comedian and creative producer’s perspective.

So far, we’ve covered:

Why I took this course (Spoiler: The business of creativity is brutal, and I needed a strategy.)

The rise of Direct-to-Consumer (DTC) brands and why they’ve completely changed marketing.

How DTC brands use customer insights, product design, manufacturing, and distribution to operate with agility.

The power of digital marketing and brand storytelling in growing an audience.

How comedians and creatives can steal these strategies to build sustainable careers.

Now that we’ve broken down each step of the DTC Value Chain, the big question remains:

🔥 Are DTC brands the future, or were they just a passing trend?

Some argue that DTC was a bubble—an experiment that worked well when digital ads were cheap but now struggles under rising costs and market saturation. Others believe that DTC brands permanently changed marketing and that companies must adapt or die.

This post is the conclusion of Module 1—where we reflect on whether DTC brands are a temporary trend or a long-term shift in how businesses operate.

And, of course, how comedians and creatives can apply these insights to their own careers.

I. The Case Against DTC: Was It Just a Fad?

While DTC brands shook up marketing, many argue that they were a short-lived trend rather than a sustainable business model. Here’s why:

1. Rising Customer Acquisition Costs (CAC)

When DTC brands first emerged, Facebook and Google ads were cheap. A brand could launch with a small budget and scale fast. But as more companies flooded digital advertising, costs skyrocketed. Today, CAC is so high that many DTC brands struggle to turn a profit.

Example: Casper (the mattress brand) went from an exciting DTC startup to struggling with profitability as digital ads became too expensive.

2. Easy to Copy, Hard to Defend

Most DTC brands don’t have proprietary technology or unique patents. Unlike legacy brands with years of R&D investment, many DTC brands just slap a logo on a generic product, market it well, and sell direct to consumers. The problem? Anyone can do the same thing.

Example: There are now hundreds of DTC razor brands, but none have been able to match Dollar Shave Club’s original success.

3. The Scaling Struggle

Starting a DTC brand is easy. Scaling it is hard. Many DTC companies hit a growth ceiling—they can reach $50-$100 million in revenue, but very few have grown into billion-dollar businesses like Nike or Apple.

Example: Warby Parker, Allbirds, and Glossier were once seen as the future of retail. But as they tried to scale, they struggled with profitability, forcing them to shift strategies.

4. The "Path to Profitability" Problem

Many DTC brands aren’t built to be profitable. They rely on venture capital funding to grow quickly, hoping to either:

Be acquired by a larger company (like Unilever buying Dollar Shave Club).

Go public and cash out before financial struggles catch up.

But for every success story, there are countless DTC brands that burned through millions in investor money and collapsed before turning a profit.

Example: Away Luggage was once the "future of travel," but behind the scenes, it struggled with mismanagement and unsustainable growth.

5. The DTC Bubble Burst?

A wave of DTC brand failures, layoffs, and acquisitions in recent years has led some experts to call the whole movement a bubble that has popped.

So… is that it? Was the DTC revolution just a temporary marketing trend that worked until digital ads got too expensive?

Not quite. Because while some DTC brands failed, others adapted and thrived.

Next, we look at the case for why DTC is here to stay—and how it has permanently changed marketing.

II. The Case for DTC: A Permanent Disruption in Marketing

Despite the struggles, DTC brands have changed the marketing landscape forever. Even if some fail, the principles behind them aren’t going anywhere. Here’s why:

1. Consumer Behavior Has Permanently Shifted

Customers are no longer brand-loyal in the way previous generations were. Instead, they seek out brands that feel: ✅ Authentic (not corporate giants pretending to care) ✅ Personalized (they want products made for them, not the masses) ✅ Community-Driven (they engage with brands like fandoms, not just buyers)

DTC brands understand this shift, while legacy brands are still playing catch-up.

Example: Glossier didn’t just sell beauty products—it created an online beauty movement, where customers shaped the brand’s identity. Even after its struggles, Glossier still represents what modern branding looks like.

2. The Lower Barrier to Entry Is Here to Stay

Launching a business once required millions in capital for production, advertising, and distribution. Now?

Shopify lets anyone build an online store in a day.

Amazon FBA allows brands to sell globally with zero inventory.

Facebook & Google Ads help brands reach their exact audience.

This means entrepreneurs no longer need a massive budget to compete—they just need a smart brand, a niche audience, and the ability to pivot fast.

Example: Pattern Brands turned their creative agency into a DTC powerhouse by building multiple niche brands, proving you don’t need a billion-dollar business to succeed.

3. The Retail Gatekeepers Have Lost Power

For decades, retail chains controlled who got to sell products. If Walmart, Target, or Macy’s didn’t want your brand on shelves, your business was doomed.

DTC broke that system by making it possible to: ✅ Bypass retail entirely (sell straight to consumers online). ✅ Control the brand experience (no need to fit into a retailer’s standards). ✅ Own the customer relationship (instead of letting Target collect all the data).

Even big legacy brands have noticed this shift and started selling directly to consumers.

Example: Nike cut ties with many retail partners to focus on its own DTC e-commerce strategy, proving that even global giants see the writing on the wall.

4. The Future of Marketing Is Personalization

Traditional brands rely on mass marketing (TV commercials, billboards, print ads). But DTC brands built their success on hyper-targeted, digital-first marketing.

This level of personalization and direct engagement is now the industry standard.

Subscription models (FabFitFun, BarkBox, Empress Mimi) create recurring revenue and personalized experiences.

Influencer & UGC marketing (Glossier, Perfect Diary) makes advertising feel organic.

Community-driven branding (Warby Parker, Allbirds) turns customers into ambassadors.

Even big brands now try to mimic this—but DTC brands do it best because it’s built into their DNA.

5. Legacy Brands Are Being Forced to Adapt

DTC isn’t just a trend—it’s a wake-up call to legacy brands that their old playbooks no longer work.

✅ DTC brands forced traditional companies to rethink marketing. ✅ DTC brands changed how customers interact with brands. ✅ DTC brands proved that authenticity and direct engagement matter.

Even if some DTC brands fail, the industry has been permanently transformed. The question now is how brands—big and small—adapt to this new reality.

III. The Future of DTC: Smaller, Niche-Driven, and Community-Led

If the early 2010s were about building billion-dollar DTC unicorns, the future is looking more like a landscape of smaller, hyper-targeted brands that thrive on community and personal connection.

1. The Era of the "Mega-Brand" Is Fading

For decades, companies like Procter & Gamble and Unilever built massive, category-dominating brands—think Tide, Gillette, and Dove.

But in the DTC era, niche is the new scale. Instead of trying to appeal to everyone, brands now thrive by owning a specific identity and catering to a deeply engaged audience.

✅ Glossier built a minimalist beauty movement. ✅ Allbirds built a sneaker brand for eco-conscious millennials. ✅ BarkBox built an entire subscription economy around dog owners.

This shift isn’t just about product—it’s about culture. Consumers want brands that align with their values, aesthetics, and identity, not just solve a functional need.

This is a lesson for creators, too. You don’t need to go viral or appeal to millions—you just need to build a deeply engaged niche that feels seen by you.

2. The Rise of the Multi-Brand Portfolio

Instead of one company trying to dominate an industry, the next evolution of DTC looks more like a collection of smaller, targeted brands under one umbrella.

💡 Think of it as a “DTC House of Brands.”

Example: Pattern Brands didn’t just launch one DTC business—they built a portfolio of brands designed around “home enjoyment” (kitchenware, bath, home organization).

Why this works: ✅ Diversifies risk – If one brand slows down, others pick up the slack. ✅ Easier scaling – Smaller brands have lower overhead and can adapt faster. ✅ Built-in cross-selling – A customer who buys one product can easily be introduced to others.

For creatives, this model makes sense, too. Instead of focusing on one platform, one show, or one revenue stream, the goal is to build an ecosystem of creative products and offerings that serve a shared audience.

3. Marketplaces & Community-Driven Commerce

Another shift? Some DTC brands are no longer just selling their own products—they’re curating entire marketplaces.

💡 Instead of being just a brand, they’re becoming a platform.

✅ Amazon FBA → Brands use Amazon’s infrastructure for logistics. ✅ The Drop (Amazon) → Limited-edition fashion launches based on customer demand. ✅ Instagram Shops & TikTok Shopping → Social commerce blends content + buying in real time.

For independent creators and comedians, this shift is huge. It means you don’t just have to sell yourself—you can build a platform where your audience interacts, contributes, and even sells their own stuff.

4. The Future Is Omni-Channel

DTC brands started as digital-only businesses, but the ones that survive long-term are the ones expanding beyond digital.

✅ Warby Parker opened stores. ✅ Casper went into Target. ✅ Glossier (before its struggles) launched pop-ups and retail spaces.

💡 The best strategy is not just “DTC vs. Retail.” It’s BOTH.

For comedians and creatives, this is a lesson: It’s not just about being online or IRL—it’s about using both to fuel each other.

📍Your audience finds you online → but deepens their relationship with you through real-life experiences. 📍Your online content builds a following → but in-person experiences make people lifelong fans.

5. The Real Takeaway: DTC = The Creator Economy’s Playbook

The rise of DTC brands isn’t just about products—it’s about what the internet has made possible for small, independent businesses.

And that includes creators, comedians, and independent artists.

✅ Build direct relationships with your audience. ✅ Focus on authenticity & storytelling, not just sales. ✅ Create community-driven experiences that make people feel part of something. ✅ Monetize multiple revenue streams, not just one. ✅ Use digital-first marketing but don’t forget the power of in-person connection.

DTC brands proved that you don’t need a massive corporation behind you to build a business. The same is true for creative careers.

You are the brand. Your audience is your community. Your creative work is the product.

And the way you engage, build trust, and grow? That’s your marketing strategy.

IV. How I’m Making This Work Even with AuDHD

Let’s be real: this course is intense. The modules are dense, the case studies are complex, and Harvard doesn’t care that my AuDHD brain needs to take the scenic route through every concept before I fully absorb it.

So how am I making this work? By working with my brain, not against it.

1. My Study System: Structured Chaos 📚

Most people can read the material, take notes, and move on. I, however, need five tabs open, two highlighters in hand, and a YouTube video playing in the background just to get started.

Here’s how I’ve structured my study process to actually retain the information:

✅ Layered Learning – Instead of reading everything in one go, I skim first, then deep dive in multiple rounds. ✅ Pattern Recognition – I highlight themes across different lessons to connect the dots rather than memorizing isolated facts. ✅ Multi-Modal Input – I watch lectures, read case studies, and rewrite key concepts in my own words so my brain absorbs the material in different formats. ✅ Intentional Breaks – My brain does not do uninterrupted work marathons. So I batch my study sessions in 30-45 minute sprints to avoid burnout.

I’ve learned the hard way that forcing myself into “traditional” study methods is a disaster. The more I adapt the material to fit my learning style, the better I retain it.

2. Keeping My Dopamine Tank Full

AuDHD means if I’m not engaged, I’m not learning—it’s that simple. If the information isn’t interesting, urgent, or novel, my brain will not hold onto it.

So instead of fighting my need for novelty, I make the course as engaging as possible:

✅ Gamification – I turn modules into challenges, checklists, and milestones so I get small dopamine hits when I complete them. ✅ Storytelling Over Studying – Instead of rote memorization, I reframe everything as a narrative. Who are the key players? What were the stakes? How did they adapt? ✅ Sensory Stimulation – I study with music, fidget tools, and color-coded notes to make learning more immersive. ✅ Externalized Processing – I use voice notes and writing (like these posts!) to talk through concepts rather than just passively consuming them.

This isn’t just about making learning more fun—it’s about tricking my brain into retention.

3. Why I’m Taking My Time (and Not Feeling Guilty About It)

Harvard estimates 10 hours per module. I’ve spent 35+ hours on a single module so far.

Old me would’ve panicked, called myself slow, and spiraled into self-doubt. But I know now: that’s just not how my brain works.

💡 Depth over speed. If it takes me 3x longer to truly absorb the material, that’s fine. 💡 Sustainability over burnout. If I cram, I won’t retain anything. If I pace myself, I’ll actually use this knowledge long-term. 💡 Efficiency in my own way. Some people can memorize concepts fast, but I rebuild them from the ground up in my mind so I can apply them later.

I’d rather take my time and absorb the material fully than rush through it and remember nothing.

4. Translating This Into My Own Business & Creative Work

Studying this course through an AuDHD lens has made me hyper-aware of how I structure my own creative business.

✅ I design my marketing & content workflows to be dopamine-friendly. ✅ I create systems that work with my brain, not against it. ✅ I build flexibility into my schedules so I don’t set myself up for failure.

And most importantly? I’m learning to trust my own way of processing information. Just because my learning pace looks different from others doesn’t mean it’s wrong—it just means I’m building a stronger, deeper foundation.

This course is forcing me to rewire how I think about learning, productivity, and business strategy—and that’s a lesson I’ll carry with me long after I’ve finished these modules.

V. What I’ve Learned & How It’s Changing Me

If you had told me a year ago that I’d be taking a Harvard digital marketing course, breaking down business models, and applying these lessons to comedy, I would have laughed. Loudly.

Yet here I am, not only surviving but thriving in this intense course—despite every AuDHD struggle, every late-night deep dive, and every overcomplicated note-taking method.

This isn’t just about learning marketing. It’s about redefining how I approach my work, my business, and my creative life.

🔹 What I’ve Learned from This Module

✅ DTC brands have permanently changed marketing by cutting out middlemen and building direct customer relationships. ✅ Traditional brands still hold power, but they’re struggling to adapt to digital-first strategies. ✅ The DTC model is scalable, but only when done right—too many brands fail because they don’t know how to grow beyond the startup phase. ✅ Brand-building is about connection. Whether you’re selling razors, running a comedy show, or marketing yourself as an artist, your audience relationships are everything.

🔹 How This Has Changed Me as a Comedian & Creative

💡 I no longer see marketing as a “business thing” that’s separate from creativity. Marketing is storytelling. Marketing is connection. Marketing is art. 💡 I’ve started thinking like a DTC brand. I’m building my audience the way a startup would—directly, personally, with full ownership of my brand. 💡 I’ve restructured my business approach to work with my AuDHD brain, not against it. The strategies I’m learning aren’t just business hacks—they’re helping me build sustainable creative workflows.

I’m not just learning from this course—I’m actively applying it to my career in real time. And that? That’s pretty damn exciting.

🔹 Catch Up on the Full Series

In case you missed my previous posts, here’s what I’ve covered so far in this Harvard deep dive:

📌 Why I Signed Up for a Harvard Digital Marketing Course as a Comedian 📌 The Rise of DTC Brands: What Harvard Taught Me About Selling Directly to Audiences 📌 DTC Brands: A Trend or the Future? Harvard’s Take on Business Longevity 📌 Customer Insights: How the Best Brands REALLY Know Their Audience 📌 R&D & Product Design: What Comedians & Creators Can Learn from DTC Brands 📌 Manufacturing & Production: Why Comedians Should Think Like a Startup 📌 Marketing 101: Performance Marketing vs. Brand Building 📌 Distribution Strategies: What Comedy & DTC Brands Have in Common 📌 Customer Experience: Selling an Emotion, Not Just a Product 📌 You’re here! 🎉

🔹 What’s Next?

Next up, I’ll be diving into how traditional brands are adapting (or failing to adapt) to this DTC disruption—and what lessons creatives and comedians can take from it.

If you’ve been enjoying these breakdowns, follow me for more insights on business, comedy, and the wild intersection of the two. And if you’re in Toronto, come see me LIVE at one of my upcoming shows!

🎟️ Haunted Comedians – Spooky comedy, ghost stories & hilarious hauntings 🎟️ Failed by Sex Ed – Comedy meets relationships, dating fails & what we should have learned in school 🎟️ Foreigner Diaries – Comedy about immigration, culture clashes & the joys of being “the foreigner”

Let’s keep learning, laughing, and figuring this all out together. 🚀

Tchau, tchau!!