iWorld
Planet Marathi founder launches ‘Planet Goem’ for exclusive Konkani content
Mumbai: Planet Marathi founder Akshay Bardapurkar has revealed his new venture, Planet Goem, which is an exclusive Konkani content OTT. The entity aims at boosting Goa’s media, entertainment, and cultural economy and was launched by the Goa chief minister Dr. Pramod Sawant. The app’s brand ambassador, renowned actress Sonalee Kulkarni, was also present at the grand unveiling launch.
Planet Goem, an over-the-top (OTT) service, will offer exclusive Konkani language content in the form of movies, web series, chat shows, plays, short-format videos, music, news, and much more.
It will be possible to access this over-the-top platform on any Android, iOS, or TV device. Beyond just being an OTT, Planet Goem wants to establish Goa as a top spot for media and entertainment needs. Accordingly, a film institute will be built in the state and affiliated with a reputable international university.
To educate students for the impending digital era, some courses will be provided in animation, web 3.0 technologies, gaming, and blockchain. To improve the employability of young people and individuals across India, this skill centre will provide diploma, degree, and certificate courses as well as masterclasses from top teachers. To further this along, a partnership with multinational firms like There Digital, Unreal Engine, and Kingdom Technologies will be formed. These firms will be brought to Goa to set up studio services that would entice top-tier performers and filmmakers to work there.
With an emphasis on talent, education, entertainment, and technology, Akshay now hopes to reform and revitalise Goa’s media and entertainment sector. Akshay Bardapurkar met with the Goa chief minister earlier this year to explore the prospects and potential of the industry, and he has since revealed his vision.
During the launch, Goa chief minister Dr Pramod Sawant said, “Our state welcomes Planet Goem with open arms. The various offerings, including OTT, the film institute, and the skill centre, are a welcome boost to our economy, which will benefit from being diversified from its dependence on tourism. Our rich cultural heritage and language will now get an organised web platform aimed at increasing the recognition and popularity of our humble Konkani industry. We are confident about Akshay Bardapurkar’s vision for the industry, careers, and facilities and will extend our support towards initiatives meant for the betterment of Goa.”
Planet Marathi OTT and Planet Goem founder & CEO Akshay Bardapurkar said, “Regional industries are an untapped gold mine of immense potential and power. Planet Marathi OTT has seen a great run in Goa and has earned eager audiences who have given Marathi content so much love. Goa’s entertainment sector remains unexplored, and we wish to put the spotlight on the capabilities of this industry and its talent. Our focus will be to advance opportunities for the state of Goa by creating varied opportunities through web content, learning and training avenues and by creating Goa’s very own film city.”
Planet Goem aims to take Goa beyond being a tourist destination and entice professionals to the state’s entertainment industry.
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.
