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Where Advertising Can’t, Content Can: Vinit Karnik National Director, Sports and Live Events of GroupM ESP
Marketers for brands, consumer products, retail chains, media and entertainment are struggling to redefine and reinvent “advertising” for a new generation of empowered consumers.
Media proliferation and fragmentation is making it harder to reach consumers with traditional formats of “interruption” advertising. New technologies, media platforms and consumer behaviors are affecting every aspect of traditional marketing and thereby dramatically impacting marketing effectiveness.
There is a strong need to create “engagement” advertising models with digital at the core which will facilitate more sophisticated, powerful and profitable connections between brands, content creators and their target audiences….
There is a strong need to create “engagement” advertising models with digital at the core which will facilitate more sophisticated, powerful and profitable connections between brands, content creators and their target audiences.
Internationally, the content-commerce partnership evolution is gathering momentum. Brand entertainment partnerships are changing the rules of developing creative campaigns, marketing and advertising planning and production.
In response to these challenges, GroupM India launched GroupM ESP to help brands harness the power of content based solutions by activating the power of movies, music, sports, live, celebrities and characters.
GroupM ESP specialises in evaluating, negotiating, developing, activating and measuring strategic content platforms and partnerships around movies, music, sports, celebrities and characters. Uniquely positioned at the intersection of the media and the sports and entertainment industries, the ESP teams focus on developing innovative content strategies and solutions with a digital core that embed advertiser’s brands in consumer passion points using multimedia leverage and multifaceted partnerships.
GroupM ESP also works closely as a high end consultant with clients and rights owners to help create and own multi-media content assets of long term value and their exploitation through media distribution, marketing, licensing and retailing to build deeper and more valuable connections with consumers.
The Indian entertainment and sports market, the largest in the world by size, offers advertisers and their brands, unique and multiple passion points to reach and engage target audiences with profitable and proven content solutions, embracing all the learnings from traditional media and advertising. New technologies and new channels incorporating licensing need to be harnessed creatively using insights with marketing ROI rigorously quantified.
The Indian entertainment and sports market, the largest in the world by size, offers advertisers and their brands, unique and multiple passion points to reach and engage target audiences…
The GroupM ESP content team comprises more than 50+ specialists (the largest for any advertising or media agency in India) has been providing end-to-end solutions for over a decade now. Known for its transparent dealings, easy and preferred access to content and talent (International, National and Regional), GroupM ESP is also able to seamlessly deliver the benefits of parent GroupM media volumes, relationships and specialist units backed by robust systems and processes. All this has been recognised through more than 50 awards at various industry and company platforms.
Through its high profile alliances and partnerships with content creators, rights owners and talent across every domain and geography, the GroupM ESP team is able to offer expanded capacity and capability to handle complex projects smoothly.
As we move from a decade of “Airing” to “Sharing”, digital needs to be at the core of any marketing program and the GroupM ESP team is adequately equipped to impart a strong digital dimension in all its projects. An in-house ESP digital team backed by the parent GroupM resources ensures that solutions are digitally centered and executed.
More than 100 advertisers in India have benefited from their association with GroupM ESP.
MUMBAI: 2025 will be remembered as the year India’s OTT industry stopped chasing scale for its own sake and began reckoning with how audiences actually consume content. Completion rates fell, patience wore thin and the limits of long-form excess became impossible to ignore. In this guest column, Pratap Jain, founder and CEO of ChanaJor, traces how micro-drama moved from the fringes to the centre of viewing behaviour, why short-form fiction emerged as a retention engine rather than a trend, and how platforms that respected time, habit and emotional payoff were the ones that truly grew up in 2025.
If there is one thing 2025 will be remembered for in the Indian OTT industry, it’s this: the industry finally stopped pretending.
Stopped pretending that bigger automatically meant better.
Stopped pretending that viewers had endless time.
Stopped pretending that scale without retention was success.
What began as a quiet reset in 2023 and a cautious correction in 2024 turned into a very visible shift in 2025. Business models matured. Content strategies tightened. And most importantly, platforms started aligning themselves with how Indians actually watch content, not how the industry wished they would.
At the centre of this shift was micro-drama—not as a trend, but as a behavioural inevitability.
When OTT finally understood the time problem
For years, long episodes were treated as a marker of seriousness. A 45–60 minute runtime was almost a badge of credibility. Shorter formats were pushed to the margins, labelled as “snack content” or “mobile-only.”
That belief quietly collapsed in 2025.
What platform data showed very clearly was not a drop in interest—but a drop in patience. Viewers weren’t rejecting stories. They were rejecting commitment.
Across platforms, the same patterns appeared:
* First-episode drop-offs on long-form shows kept increasing
* Completion rates continued to slide
* Viewers were sampling more titles but finishing fewer
At the same time, shows with episodes in the six to 10 minute range started showing the opposite behaviour: higher completion, higher repeat viewing, and stronger daily habit formation.
Micro-drama didn’t win because it was short. It won because it respected time.
Micro-Drama didn’t arrive loudly. It took over quietly.
There was no single moment when micro-drama “launched” in India. It crept in through dashboards and retention charts.
By mid-2025, it was clear that viewers were happy watching four, five, sometimes six short episodes in one sitting—even when they wouldn’t finish a single long episode. Romance, relationship drama, slice-of-life conflict, and grounded comedy worked especially well.
This wasn’t disposable content. It was compressed storytelling.
In shorter formats, there was no room for indulgence. Every episode had to move the story forward. Weak writing was punished faster. Strong writing was rewarded immediately.
Micro-drama raised the bar instead of lowering it.
Where ChanaJor naturally fit into this shift
ChanaJor didn’t pivot to micro-drama in 2025 because the market demanded it. In many ways, the platform was already built around the same viewing behaviour.
From the beginning, ChanaJor focused on short-to-mid-length fictional stories that felt close to everyday Indian life—hostels, rented flats, office romances, small-town relationships, young people figuring things out. Stories that didn’t need heavy context or cinematic scale to connect.
What worked in ChanaJor’s favour in 2025 was clarity:
* A clearly defined audience
* Tight episode lengths
* Storytelling that prioritised emotion and pace over spectacle
While several platforms rushed to copy global micro-drama formats, ChanaJor stayed rooted in familiar Indian settings and conflicts. That familiarity mattered. Viewers didn’t have to “enter” the world of the show—it already felt like theirs.
Why audiences started responding differently
One of the biggest misconceptions going into 2025 was that audiences wanted shorter content because their attention spans had reduced. That wasn’t entirely true.
What viewers actually wanted was meaningful payoff per minute.
On platforms like ChanaJor, episodes didn’t waste time setting the mood for ten minutes. Conflicts arrived early. Characters were recognisable within moments. Emotional hooks landed fast.
A typical consumption pattern looked like real life:
* One episode during a break
* Two more before sleeping
* A few the next day
This is how viewing habits are built—not through marketing spends, but through comfort and consistency.
Viewers came back not because every show was a blockbuster, but because they knew what kind of experience to expect.
2025 was also the year OTT faced business reality
The other big change in 2025 was on the business side. Subscriber growth slowed. Discounts stopped hiding churn. Customer acquisition costs rose.
Platforms were forced to ask harder questions:
* Are viewers finishing what they start?
* Are they returning without reminders?
* Is this content worth what we’re spending on it?
This is where micro-drama began outperforming expectations. A well-written short series could deliver sustained engagement without massive budgets. It didn’t peak for one weekend and disappear—it stayed alive through repeat viewing.
Platforms like ChanaJor benefited because they weren’t chasing inflated launch numbers. The focus was on consistency and retention, not noise.
Failures Became Visible Faster
2025 also exposed weaknesses brutally.
Several platforms assumed micro-drama was a shortcut—short episodes, quick shoots, instant traction. What they discovered was that bad writing fails faster in short formats than in long ones.
Viewers dropped off within minutes. Episodes were abandoned mid-way. Weak stories had nowhere to hide.
Micro-drama didn’t forgive laziness. It amplified it.
The platforms that survived were the ones that treated short storytelling with the same seriousness as long-form—sometimes more.
OTT Stopped Chasing Prestige and Started Chasing Habit
Perhaps the most important shift in 2025 wasn’t technical or creative—it was psychological.
OTT stopped trying to look like cinema. It stopped chasing validation through scale and awards alone. It began behaving like what it actually is in people’s lives: a daily companion.
Platforms like ChanaJor found their space here because that mindset was already baked in. The goal wasn’t to dominate a weekend launch. It was to quietly become part of someone’s everyday viewing routine.
That shift changed everything—from release strategies to how success was measured.
What 2025 Ultimately Taught the Industry
By the end of the year, three truths were impossible to ignore:
* Time is the most valuable thing a viewer gives you
* Retention matters more than reach
* Format must follow behaviour, not ego
Micro-drama didn’t take over because it was fashionable. It took over because it fit real life.
Looking Ahead
Micro-drama is not replacing long-form storytelling. It is redefining the baseline of engagement.
Longer shows will survive—but only when they earn their length. Short-form fiction will continue to evolve, becoming sharper, more emotionally confident, and better written.
Platforms like ChanaJor have shown that it’s possible to grow without shouting—by understanding the audience, respecting their time, and telling stories that feel real.
2025 wasn’t the year OTT became smaller. It was the year it became smarter.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
