iWorld
WhatsApp emerges as key commerce channel in India: Meta report
Whitepaper shows 77 per cent of purchases influenced by social media and shoppers spend 2.5 times more across channels
MUMBAI: If shopping once meant a stroll down the high street, today it begins with a scroll on a smartphone. India’s retail journey is being rewritten in real time, as consumers glide between Instagram Reels, WhatsApp chats and physical stores with barely a pause for thought. A new whitepaper by Meta in collaboration with the Retailers Association of India argues that this shift is not cosmetic but structural, powered by artificial intelligence, short form video, creators and conversational commerce.
The numbers underline the scale of the change.
Social media now influences 77 per cent of retail purchase decisions in India, with Meta’s platforms accounting for 96 per cent of social driven discovery. Discovery itself is increasingly passive and visual rather than deliberate and search led. As much as 97 per cent of consumers watch short form video daily, and 60 per cent of time spent on Facebook and Instagram is devoted to video content.
In other words, the shop window has moved to the feed.
The report highlights the growing dominance of the omnichannel shopper, a consumer who researches and buys fluidly across online and offline environments. More than 50 per cent of retail consumers research products online before purchasing in store. Equally, over 50 per cent browse in store before completing their purchase online.
This blended behaviour is lucrative. Shoppers who buy across channels spend 2.5 times more than single channel shoppers. When customers engage across multiple touchpoints, spending rises by as much as 73 per cent. For retailers, unified commerce is no longer a strategy slide. It is a revenue imperative.
Meta India director of E commerce and retail Meghna Apparao, urged brands to focus on three pillars: Reels and creators for authentic storytelling, omnichannel performance marketing to connect platforms, and WhatsApp as a personalised commerce channel. Hitesh Bhatt of RAI noted that the challenge is no longer adopting digital tools but integrating them to deliver measurable outcomes.
Artificial intelligence sits at the heart of this integration. Indian retailers using Meta’s omnichannel optimisation have recorded more than fourfold improvements in omnichannel return on ad spend. Businesses that integrated in store sales data through Meta’s Conversions API have reported Roas uplift ranging from 2 times to 5 times or more, alongside incremental sales growth of up to 9 times depending on category and market.
Integrated data strategies have also delivered revenue growth of up to 15 per cent, suggesting that when digital signals are tied to offline outcomes, marketing efficiency sharpens considerably.
Retailers are already putting this into practice. Reliance Digital has leaned into a Reels first strategy, working with regional creators to drive engagement and measurable business impact. Croma says Meta’s AI powered tools have enabled it to integrate offline data and activate performance marketing across touchpoints, strengthening both footfall and revenue across online and physical stores.
Trust is increasingly creator led. The report finds that 71 per cent of consumers make a purchase within a couple of days of seeing creator content on Meta’s technologies. Campaigns that leverage reels and creators have delivered 71 per cent higher brand intent lift and 19 per cent lower acquisition costs.
Micro and nano creators, in particular, are accelerating purchase decisions by embedding products into relatable, local narratives. Influence is no longer confined to celebrity endorsements. It is distributed, conversational and continuous.
If Instagram and Facebook drive discovery, WhatsApp is emerging as the conversion engine. According to the report, 72 per cent of product discovery now happens on WhatsApp. Retailers using business messaging and click to WhatsApp campaigns are seeing a 61 per cent average improvement in return on ad spend, a 62 per cent increase in leads and 22 per cent higher order values.
The implication is clear. Commerce is shifting from clicks to conversations. Discovery, purchase and post purchase support increasingly unfold within a single chat thread.
The whitepaper argues that omnichannel maturity will define competitiveness in Indian retail. Consumers no longer toggle between online and offline modes. They operate across both simultaneously, often within the same buying journey.
For brands, the task is no longer about being present on digital platforms. It is about stitching together discovery, data, conversation and store experience into a unified loop that can be measured in footfall, revenue and repeat purchase.
As India’s shoppers continue to scroll before they stroll, the retailers who align AI, creators and messaging into one seamless experience may find that the path to growth is less about adding new channels and more about connecting the ones they already have.
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.
