iWorld
44% adults used Internet TV via STBS in the last 12 months: Ofcom
MUMBAI: Close to 44 per cent (over four in ten) adults in the UK had used an internet connected TV – most via set-top boxes such as TiVo or Sky – in the last 12 months. Some 34 per cent had watched catch-up TV services via connected TVs or set-top boxes.
Moreover, Ofcom’s research into UK audience attitudes to content on TV and radio showed that households surveyed owned two TV sets on average.
This research covered what people find offensive on TV and radio, their awareness of and attitudes towards regulation and their understanding of advertising and product placement.
The report also includes research on consumers’ access to and views on internet ‘connected devices’, which are used to watch services like the BBC iPlayer, 4oD, ITV Player, YouTube and Netflix.
The research further found that nearly half (49 per cent) of adult TV viewers felt the quality of TV programmes had stayed the same in the past year, three in ten (30 per cent) felt they had got worse, and around 16 per cent said TV had improved.
Among those who thought programmes had got worse, the top reasons were repeats (57 per cent), a lack of variety (43 per cent), a general lack of quality (32 per cent) and too many reality shows (30 per cent). Among those who said programmes had improved, the top reasons were a wider range of shows (50 per cent), improved quality (48 per cent), more entertaining shows (37 per cent) and better dramas (33 per cent).
Offensive material on TV
Close to 79 per cent people had not been offended by anything on TV in the past year. However, one in five had found something offensive, rising to a third (33 per cent) for people aged 65 and over. Those aged between 16 and 24 were least likely to be offended (nine per cent compared with 33 per cent of over 65s).
Of those who had been offended, bad language (44 per cent), violence (41 per cent) and sexual content (41 per cent) were the top concerns. Adults below 45 years old were more likely to say they had been offended by some type of discrimination (29 per cent compared with 19 per cent of over-45s).
On average, about half of all people thought current levels of sex (57 per cent), violence (47 per cent) and swearing (52 per cent) on TV were acceptable. Four in ten felt there was too much violence (43 per cent) and swearing (40 per cent), while nearly three in ten (28 per cent) said there was too much sex.
Attitudes differed by age: younger adults were more likely to feel there is an acceptable amount of violence, swearing and sex, while older adults tended to feel there is too much.
High awareness of regulation
The vast majority of adult TV viewers (90 per cent) knew about the 9 pm watershed, with over half (57 per cent) saying about 9 pm was the right time while around a quarter (27 per cent) said the watershed should be later.
The report found a clear understanding about what broadcast content is regulated, with over eight in ten (82 per cent) adults aware that TV is regulated. Most adults felt the current levels of TV and radio regulation were about right (61 per cent), or did not have an opinion (18 per cent for TV and 33 per cent for radio).
The research showed that 14 per cent of adult TV viewers could identify the ‘P’ symbol, which is designed to let viewers know the channel, or the programme-maker, has been paid to include products in that programme.
Protecting viewers
Ofcom has a duty to protect viewers from harmful and offensive material on TV and radio, as well as ‘TV like’ content on internet connected devices. When broadcasters break the rules, Ofcom takes robust enforcement action and has issued guidance to broadcasters on how they should enforce the watershed.
The majority of viewing today is live on the TV and many of the programmes delivered over the internet to connected devices in the UK were first aired on TV; because of this, they are subject to Ofcom’s rules.
However, people now watch programmes in a variety of ways, and on different devices, which poses challenges for parents and regulators. Hence, Ofcom is working with government, other regulators and industry to bring about a common framework for media standards.
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.
