iWorld
Manoj Bajpayee’s Ghooskhor Pandat faces FIR after caste backlash, makers remove promos
Mumbai: A teaser meant to build buzz has instead landed Netflix’s upcoming film Ghooskhor Pandat in legal and political trouble. Uttar Pradesh authorities have ordered an FIR against the film’s director and creative team after protests alleging caste insults and a threat to social harmony.
The case was registered at Hazratganj police station after clips from the Manoj Bajpayee-starrer went viral and were flagged for allegedly containing objectionable caste-based and religious remarks. Police said the FIR was filed by Hazratganj SHO Vikram Singh on the direction of chief minister Yogi Adityanath.
The filmmakers have been booked under sections 196 (promoting enmity between groups on grounds of religion, race or caste), 299 (deliberate and malicious acts intended to outrage religious feelings) and 352 (apprehension of breach of peace) of the Bharatiya Nyaya Sanhita, along with section 66 of the IT Act. Officials said the move aligns with the state’s “zero-tolerance” stance on threats to communal harmony.
The controversy centres on the film’s title and scenes that critics say portray “Pandit” as a bribe-taker. Members of the Brahmin community have staged protests across several places, demanding a ban.
Political voices have amplified the outrage. BSP chief Mayawati called the title disrespectful and urged the Centre to halt the film’s release. In a post on X, she said the depiction was unacceptable and had angered the community. Former Babri Masjid litigant Iqbal Ansari labelled the title “highly objectionable” and sought legal action.
The National Human Rights Commission has also stepped in, issuing a notice to the information and broadcasting ministry on a complaint that the film promotes negative stereotypes and could fuel caste-based hostility.
Facing mounting pressure, the filmmakers moved quickly to contain the fallout. Neeraj Pandey said Ghooskhor Pandat is a fictional cop drama and that “Pandat” is merely a casual character name, not a caste reference. The team has temporarily withdrawn all promotional material.
“We understand that the title has caused hurt to some viewers, and we acknowledge those feelings,” Pandey wrote on Instagram, adding that the story focuses on an individual’s actions, not any community.
Bajpayee also responded, saying he “respects the emotions and concerns people have shared” and views them seriously. He described his role as that of “a flawed individual and his journey of self-realisation” and said it was never meant as commentary on any community. He added that working with Pandey has always reflected seriousness and responsibility, and that pulling down promotions showed the concerns were being taken seriously.
Part of Netflix India’s 2026 slate, the film marks another collaboration between the platform and Pandey after Khakee: The Bihar Chapter. It is directed by Ritesh Shah and Neeraj Pandey and features Nushrratt Bharuccha, Shraddha Das and Kiku Sharda in key roles.
For now, the film’s biggest drama is off-screen — where law, politics and sentiment are colliding faster than any scripted plot.
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.
