iWorld
Brands engage with Twitter influencers to reach out
MUMBAI: According to the Internet and Mobile Association of India (IAMAI), as of March 2013, Twitter had 33 million users across the country. An Economic Times report said that Twitter is eyeing India’s over 500 million mobile consumers as potential users, given that its service can be used on feature phones.
With statistics like that, no wonder brands are milking the popularity and reach of the micro-blogging site, albeit through people called ‘influencers’.
Earlier this month, a national dairy brand created a Twitter splash with the help of 50 influencers, with the campaign being the most talked about at the time. Similarly, Mahindra has identified an ‘influencer’ for its SuPer Milo in actress Gul Panag, who connects with the brand at many levels and campaigns regularly on Twitter.
So, who are these influencers whom brands are increasingly seeking out in order to grow their consumer base and widen their reach?
Social Wavelength joint CEO Sanjay Mehta says that there are three types of influencers. Firstly, the celebrity kinds, who may generate influence across many different areas and people; secondly, subject matter influencers, who are domain specialists and wield influence in specific categories such as automobiles or gadgets or fashion; and thirdly, peer influencers, who may not fall in the first two categories but have good influence over a sizeable group of tweeple (people on Twitter) who interact with them.
Mehta points out that of late, several brands have been engaging with influencers, in big or small ways; be it getting influencers to talk about their new mobile phone or getting them to initiate a tweetinar (a seminar on Twitter) on a topic of relevance. “At the end of the day of course, it is about getting engagement with the influencers, and through such engagement, managing to get an amplification of the brand via the wider network reach of the said influence,” Mehta explains.
A common perception among social media enthusiasts is that Twitter influencers are those who have a huge follower base. While FoxyMoron co-founder, director – new business Pratik Gupta, is of the view that while this is a crucial criterion and an influencer must have at least 1,500 followers, other factors too need to be taken into consideration. “The brand must select an influencer whose opinion and tone is in sync with the brand philosophy. The content tweeted must be consistently of good quality and at the same time, be memorable and valuable. Also from a brand perspective, it is important to ensure that the chosen influencer has not endorsed a competitor in the past. The final criterion one must look out for is dedication; the influencer must regularly and religiously tweet in order to keep his/her followers intrigued,” says Gupta.
For instance, for Maybelline New York India, Foxymoron identified a core group of influencers and called them the ‘Beauty Brigade’. This was done in order to create better products and a unique identity in a highly competitive market. Members of the brigade were the first to receive product samples and hear about contests. They played a major role in promoting brand awareness and product loyalty.
Gupta says that these days, brands engage with influencers in different ways including product sampling, reviews on blogs and DIY YouTube tutorials. Influencers give their opinions in the form of reviews and connect with their followers on a personal level. So, they tend to gain the trust of their followers apart from adding advocacy to brand campaigns. “They support the brand by enabling it to tap into their own fan base. Every consumer then becomes a potential word-of-mouth marketer, which is one of the biggest benefits to the brand. This becomes a win-win situation for the brand and the consumers”, explains Gupta.
That said, most brands are not very open about engaging with influencers on social media. And still, part of the success of the brand on Twitter campaigns definitely goes to its influencers!
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.
