iWorld
HOOQ targets tier I Indian cities as early adopters; plans original series
MUMBAI: Come June and India will witness its first subscription based video-on-demand platform HOOQ.
As was reported earlier by Indiantelevision.com, the platform will compete with over the top (OTT) players like Hotstar and Ditto TV amongst others. As a major differentiating factor, HOOQ will be providing content that has not been available before to Indian consumers and intends to target tier I cities in the country as early adopters. However, the app will be available to all smart phone users nationally. The service also offers content for all age groups.
The OTT player is in the Indian market for the long haul. With a view to gather substantial number of users in the coming years, HOOQ is also looking at starting its own original series, a la Netflix, which had launched its exclusive made-for-web series House of Cards.
In a conversation with this website about its readiness to improve the platform, HOOQ India head Krishnan Rajagopalan said, “We are constantly going to be evolving the product and the content based on user feedback. This is very much a company philosophy and it’s really up to the user to give us feedback. The better feedback you give, the better the product will be.”
When queried whether the Indian audience is ready for a particular genre, which has more traction Rajagopalan said, “We are going to have different categories. The app will have all Indian languages and feeds and by the time we launch it will be more Indianised. It will be much more relevant, have genres that matter, top action, top rom-com; we will have it all.”
Talking about the Indian market, Rajagopalan said that since India was a fascinating market, there are bound to be challenges. “This is a first product in its category. I don’t think there is anybody doing what we are doing, which is to offer premium content that is not there on ad supported platforms. So we are spending a lot of money, tens of millions on marketing, content and technology. A major challenge is that there will be a lot of consumer education required in the early days and we clearly need to have the right content. We need to have the right distribution partnerships to make it as convenient to the consumer as possible. Not necessarily a challenge, but there are steps that we need to take before we become ubiquitous.”
While the company has not yet chalked out its marketing strategy, plans are to take ‘Go To Market’ (GTM) marketing route when the service’s commercial launch takes place in June.
Speaking about Warner Bros’ association with HOOQ, Warner Bros general manager N Muthuram said, “Singtel will have a strategic presence in the Indian market with their partnership with Airtel. While we are licensed to HOOQ, we also have other local partners and we have been providing content to others as well. The deal with HOOQ is to have access to all of the content that is relevant to the consumer.”
As reported earlier, the platform will have 10,000 movies and series from Hollywood, Bollywood and regional content for just Rs 199 a month. HOOQ is a joint venture with Singtel, Sony Pictures Television and Warner Bros. It will provide content from international as well as local players and has already partnered with 60 local partners.
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
CALIFORNIA, 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.
