iWorld
Vodafone Sports: Changing the sports viewing landscape
MUMBAI: What do you get when one of the leading telecom players in the country joins forces with one of the biggest television network? The result is uninterrupted, curated and the best delivery of sports content on the go.
The partnership between Star India and Vodafone India will make available to consumers a first-of-its-kind service that brings the best on track, on court and on field action to feature phones as well as smart phones.
Star India COO Sanjay Gupta says: “Sports is something the network truly believes in, and we have put our money where our mouth is time and again.”
Vodafone Sports powered by starsports.com will offer customers premium live and curated in-depth content built around some of the most popular sports in India such as cricket, football, tennis, hockey, golf and motorsport. The portal (live.vodafone.in/sports) will feature cricket, football and hockey and will cover other major sports like F1, tennis, etc.
Star India head digital Ajit Mohan says: “Since the launch of starsports.com in June 2013, we have witnessed good traction among sports fans and have become the YouTube of sports in India.”
Launched in June 2013, starsports.com has become the go-to destination for following the best of international sports. It has in a way redefined the sports experience through a revolutionary video timeline that is a first of its kind in the world of sports, and allows the viewer to keep track of live sports as well as catch up on games with ease.
The company has also built an advanced technology infrastructure that enables HD quality streaming across multiple devices. It will now bring the power of the proposition to the most important screen in the country – the mobile, for Vodafone consumers.
“The fact that the content available on Vodafone Sports will be generated from starsports.com works well for the network as we will be able to reach the homes where TV sets and internet facility is not easily accessible,” Mohan explains.
Recent studies have shown that there are more mobile handsets in the country than TV sets in homes. With this strategic partnership with Vodafone, Star India has certainly played an ace card. It would now be able to propagate its message of supporting the growth of sports in the nation even better; reaching out to the millions of Vodafone subscribers and delivering live as well as curated content at an economical price.
“Our core business has always been services and after the success of Vodafone Music, we were looking at taking things to a whole new level,” expounds Vodafone CCO Vivek Mathur on the reason for partnering with Star India.
“India in many ways is in the forefront as far as mobile internet consumption is concerned. We are only second to Germany and we truly believe that mobile internet is the future. We were on the lookout for a partner with some terrific content to deliver and we are glad to have found that partner in Star India,” Mathur adds.
As a result of the tie-up with Star, customers using Vodafone Sports will have access to an exhaustive array of legal, unadulterated content at their fingertips, including all the latest news, trivia, scores and results, instant access to live matches, interactive video scorecards, exclusive insight and analysis, columns, photos and wallpapers across sports.
The interactive video scorecard, for example, will allow users to watch the fall of a wicket or replay individual innings highlights for a particular player right from the scorecard, so if you miss a pivotal, game-changing moment in a game, or a match-winning knock, you can replay it at the touch of a button. Apart from live games, customers will also be able to sample additional archived video content, such as the best of M.S. Dhoni’s sixes or Sachin’s straight drives, created from over 10,000 hours of cricket footage.
Gupta says: “Our aim is to change the way sports is perceived in the country. We need to change the mindset of people who feel that sports is a waste of time and resource and will not benefit in anyway. We continue to stay committed to building all sports and the best way to encourage young adults to play sports is to increase the consumption of sports.”
The service will be available exclusively to Vodafone consumers in attractive packages. The ‘Snack Pricing Plan’ will allow consumers to watch a single match for a minimal price of Rs 10 or 20; a curated video clip for Rs 3 or Rs 5 and also give them an opportunity to download wallpapers at as low a price of Rs 3.
The ‘All You Can Eat Plan’ will give the consumer a chance to sign up to enjoy watching a series and the price ranges between Rs 49, Rs 99 and Rs 150. This plan also allows the subscriber to enjoy archival videos of some of the best shots or sixes by a cricketer for Rs 30 or Rs 50 depending on the length of the clips.
And there is also an option to subscribe on a day-to-day and monthly basis at Rs 5 and Rs 150 respectively. Mathur says: “We want to encourage our customers to consume as much of sport as they wish to and thus we have tried to keep the prices very reasonable.”
This is certainly a giant step taken by the Star network in continuing to deliver on its promise of delivering the best in sports, but does it also plan to get its other properties on the digital platform in a big way?. Gupta clarifies: “We do have plans of taking a lot of our other properties on the digital platform in the near future, but currently we are focusing on sports as we as a network truly believe it has struck a chord with the youth of the nation and we will continue to deliver on our promise.”
The road ahead certainly looks very rosy for Indian sports fans and Star Sports as a network is certainly making a statement with such bold moves. Guess it’s time for other broadcasters to wake up and smell the coffee.
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.
