iWorld
ZEE5 celebrates creating yourself, one story at a time
Mumbai: ZEE5, one of India’s largest home-grown video streaming platforms, today unveiled its content brand manifesto through a thought-provoking film that reflects the underlying change in the mindset of today’s viewers. As opposed to a linear quest for a singular goalpost of ‘settling down’, the film captures and celebrates the fluidity with which people have begun to make life choices; unravelling new dimensions within themselves and exploring uncharted territories as they journey through life.
The campaign film, ‘Roz Kuch Naya Bante Raho’ uses the device of a sculptor to showcase this philosophy. In the course of the film, we see him mould, shape, chisel and recreate a piece of art using different materials, styles and textures. We see him create an array of busts which are inherently the same, yet strikingly different. This visually powerful metaphor represents the multiplicity within each of us and the constant evolution of a work-in-progress generation. Viewers are urged to embrace this fluidity through inspiring lines like “Behte Raho, Aakaar Lete Raho, Roz Kuch Naya Bante Raho”. The film ends with a poignant question – “Aaj Kya Banoge?”
The visual metaphor is further enhanced by actor Manoj Bajpayee’s evocative narration. His delivery adds character to the film as he truly embodies the spirit of multiplicity. From being a theatre actor to taking on diverse film roles that explore his sheer range as an artiste and now his latest turn as a producer, he has transcended the confines of familiarity and pushed the boundaries of creative expression. Strengthening the connection with the artist further, the film opens with the manifesto line penned in Manoj’s very own handwriting.
Bajpayee said, “As a platform that has its finger on the pulse of the viewer, ZEE5 is sending out a very relevant and critical message through its new content brand manifesto. At a time when people don’t want to be bound by labels and wish to stay unfinished rather than settling down, ZEE5 endeavours to tell stories that will serve as a springboard to its viewers’ aspirations, fuelling their path of self-discovery. As an artiste, the diverse roles I’ve had the opportunity to play have helped me explore the different facets of my personality. As someone who has been a part of some of the platform’s finest content, I was more than pleased to be the voice that delivers such a pertinent message.”
ZEE5 India CBO Manish Kalra said, “We, at ZEE5, believe that our customers are our key priority and all our teams focus on delivering to meet their expectations. Be it storytelling, technology or business initiatives, they must stem from a profound understanding of our consumers’ lives, their desires, need-states and beliefs. Our content brand manifesto will serve us as a compass that guides the brand’s journey over the years, aligning all stakeholders, content partners to craft an experience that truly resonates with our audience.”
ZEE CMO – content SBU Kartik Mahadev said, “Today’s youth are seekers, explorers; a work-in-progress generation. As believers and cheerleaders of this new mindset, ZEE5, through its content, invites everyone to explore the countless dimensions and versions of themselves; to keep creating themselves, one story at a time. From immersive dramas to documentaries, from comedies to thrillers, from India and around the world, ZEE5’s rich and varied range of offerings have the potential to unlock, inspire and shape ideas, dreams, beliefs, possibilities and behaviour.”
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.
