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Sports partnerships in the era of streaming services – Optimising Digital and Offline Marketing
Mumbai: In India’s fast-paced digital economy, the sports sector is going through a major upheaval, mostly as a result of the emergence of live-streaming services. Sports fans are increasingly preferring the digital way to consume sports content, limiting the scope of traditional distribution channels thus, limiting the scope for brands to effectively advertise their cause. This digital transformation presents opportunities as well as challenges for brands keen on investing in sports.
Traditionally, television has dominated the viewership in the realm of sports. In India, just a decade ago, the influx of the internet was far less pervasive than it is today. Live sports streaming on OTT platforms was not affordable and accessible and, thus, was not the norm, and fan engagement strategies were confined to offline channels. However, as the internet began to gain momentum and accessibility across India, a gradual shift occurred. The coming of the digital age brought up the emergence of online streaming services and digitally created content for fans across the globe. Fans started to enjoy the freedom to access their favourite sport and sport-related content regardless of the region, breaking free from traditional television schedules. This shift marked the beginning of a digital revolution.
People today are more connected than ever before, thanks to the internet era. Thus sports leagues, sports tournaments, athletes, and the sports industry in general have also started to connect with their fans via digital platforms. Today, live sports broadcasts and live sports consumption have majorly shifted to OTT platforms to make it accessible for fans to engage with sports. Additionally, the emergence of social media platforms and the presence of fans on these platforms have made it all the more imperative for sports to take the digital route. Interestingly, the emergence of these digital platforms, may it be OTT streaming or social media, has made it possible for previously unattainable ideas, material, and opinions to be shared. The digital route that sports today across the world is taking is affecting the brands positively as it gives them access to more accurate data about their target audience and also opens a new mode of communication, especially with the new generation. This has also led to brands partnering with specific sports tournaments and organizations and curating customized material that is specific to the audience and the platform on which it is being placed.
This makes us question if offline marketing still holds its value. Though digital means have a worldwide reach, they lack two crucial components that prevail in all walks of life: trust and credibility. Trust, credibility, personal touch, and camaraderie are what make offline marketing, especially in sports, significant. In face-to-face encounters, whether at live sports events, sponsor activations, or community initiatives, there exists a tangible sense of reliability and authenticity that can be orchestrated with the fans present at the moment.
Online marketing is very good at drawing in new customers since it primarily targets a large audience. With online content, brands have more scope to explore creativity with captivating imagery and narrative to engage potential customers. In order to appeal to certain demographics, interests, and behaviours that resonate with the target audience, brands, and organizations also get the opportunity to customize their message and creative assets. On the other hand, offline marketing initiatives effectively target local geographies and demographic audiences. Companies and brands have the ability to target certain regions, organize events, and choose the material that appeals to the local population in those locations. Sports is one such area that offers brands the opportunity to leverage both of these ways of marketing. Brands investing in local sports by organizing or partnering with local sports tournaments or promoting local talent by supporting their journey can help the brand create a stronger bond with the community. Brands can take the digital route or a more traditional offline marketing route; sports offers a 360-degree advertising opportunity with the added advantage of positive brand building and long-term connection with the community.
‘Decathlon’, one of the leading sports brands in India, is a great example of how companies may interact with their audience by combining offline and internet marketing techniques. With multiple digital campaigns such as ‘Play Your Own Way’ or ‘HERoes of Decathlon,’ they promote the idea of sports and inclusivity within sports effectively while hosting sports tournaments, partnering with local sports events and sports communities to establish real connections with customers and provide them with an in-person opportunity to interact with the brand and test out new items.
In order to survive in this fast-paced world where consumers have easy access to thousands of brands, it is crucial to blend online and offline marketing strategies. The development of the digital age has created many fan engagement options, ranging from interactive social media marketing to immersive stadium experiences. Brands must choose the right opportunity and leverage the growing sports community in India.
This article has been authored by SportVot co-founder, CMO Shubhangi Gupta.
eNews
How short, addictive story videos quietly colonised the Indian smartphone
A landmark Meta-Ormax study of 2,000 viewers reveals a format that is growing fast, paying slowly and consumed almost entirely in secret
MUMBAI: India has a new entertainment habit, and it arrived without anyone really noticing. Micro dramas, those short, cliffhanger-driven episodic stories built for the smartphone screen, have quietly embedded themselves into the daily routines of millions of Indians, discovered not by design but by algorithmic accident, watched not in living rooms but in bedrooms, on commutes and in the five minutes before sleep.
That, in essence, is the finding of a sweeping new audience study released by Meta and media insights firm Ormax Media at Meta’s inaugural Marketing Summit: Micro-Drama Edition. Titled “Micro Dramas: The India Story” and based on 2,000 personal interviews and 50 depth interviews conducted between November 2025 and January 2026 across 14 states, it is the most comprehensive study of the category in India to date, and its findings are striking.
Sixty-five per cent of viewers discovered micro dramas within the last year. Of those, 89 per cent stumbled upon the format through social media feeds, primarily Instagram and Facebook, without ever searching for it. The algorithm did the heavy lifting. Discovery, as the report puts it bluntly, is algorithm-led, not intent-led.
The typical viewer journey begins with accidental exposure while scrolling, moves through a cliffhanger-driven incompletion hook that makes stopping feel unfinished, and is reinforced by algorithmic repetition until habitual consumption sets in. Only then, when a platform asks for an app download or a payment, does the viewer pause. Trust, not content quality, determines what happens next, and many simply return to the free feed rather than pay. It is a funnel with a wide mouth and a narrow neck.
The numbers on consumption tell their own story. Viewers spend a median of 3.5 hours per week watching micro dramas, spread across seven to eight sessions of roughly 30 minutes each, peaking sharply between 8pm and midnight. Daytime viewing is snackable and low-commitment, squeezed into morning commutes, work breaks and coffee pauses. Night-time is where the format truly lives: private, uninterrupted and, for many viewers, socially invisible. Ninety per cent watch alone, compared to just 43 per cent for long-form OTT content. Half the audience watches during their commute, well above the 37 per cent figure for streaming platforms, a direct reflection of the format’s low time investment advantage.
The audience itself breaks into three segments. Incidental viewers, comprising 39 per cent of the total, are passive consumers who stumble in and rarely seek content actively. Intent-building viewers, the largest group at 43 per cent, are beginning to form habits and seek out episodes but remain cautious. High-intent viewers, just 18 per cent, are the ones who download apps, tolerate ads and occasionally pay: skewing male, younger and urban.
What audiences want from the content is revealing. The top three genres are romance at 72 per cent, family drama at 64 per cent and comedy at 63 per cent, precisely the same top three as Hindi general entertainment television. The format rewards emotional familiarity over complexity. Romance in particular thrives because it demands low cognitive investment, needs no elaborate world-building and plays naturally into the private, pre-sleep viewing window where inhibitions lower and emotional intimacy feels safe.
The most-recalled shows, led by Kuku TV titles such as The Lady Boss Returns, The Billionaire Husband and Kiss My Luck, share a common narrative DNA: rich-poor conflict, hidden identities, power imbalances, melodrama and cliffhangers that make stopping feel physically uncomfortable. Predictability, the research warns, is fatal. Each episode must re-earn attention from scratch.
The terminology question is telling. Despite the industry’s embrace of the phrase “micro drama,” viewers have not adopted it. They call the content “short story videos,” “short dramas,” “reels with stories” or simply “serials.” One respondent from Chennai said bluntly that “micro sounds like a scientific word.” The category is at the stage that OTT occupied in 2019 and podcasts in the same year: widely consumed, poorly named and not yet crystallised in the public imagination.
Platform awareness remains alarmingly thin. Only three platforms, Kuku TV at 78 per cent, Story TV at 46 per cent and Quick TV at 28 per cent, have crossed the 20 per cent awareness threshold. The rest languish in single digits. This creates a trust deficit that directly throttles monetisation: viewers who cannot remember which app they used are hardly primed to enter their payment details.
Yet the appetite is clearly there. Sixty-five per cent of viewers watch only Indian content, drawn by the TV-serial familiarity of the storytelling, the comfort of Hindi as a shared language and the sight of actors they half-recognise from decades of television. South languages are rising fast: Tamil, Telugu and Kannada together account for 24 per cent of first-choice viewing. And AI-generated content, still a novelty, has landed better than expected: 47 per cent of viewers call it creative and unique, with only 6 per cent actively rejecting it.
Shweta Bajpai, director, media and entertainment (India) at Meta, called micro drama “a category that is rewriting the rules of Indian entertainment,” adding that the discovery engine being social distinguishes this wave from previous content formats. Shailesh Kapoor, founder and chief executive of Ormax Media, was characteristically measured: the format, he said, is showing “the early signs of becoming a distinct content category” and, given how closely it aligns with natural mobile behaviour, “has the potential to scale very quickly.”
The format’s fundamental mechanics are working. It enters lives quietly, through boredom and a scrolling thumb, and burrows in through incompletion and habit. The challenge now is monetisation: converting a category of highly engaged but deeply anonymous viewers into paying customers who trust the platform enough to hand over their UPI credentials. The story, as any micro-drama writer knows, is only as good as the next cliffhanger. India’s platforms had better have one ready.
