iWorld
Shailesh Amonkar and Darshan Gangakhedkar join Planet Marathi as strategic advisors
Mumbai: Vistas Media Capital Company’s Planet Marathi OTT announced its leadership expansion with veteran experts in media, marketing, and business. The OTT platform has onboarded Shailesh Amonkar and Darshan Gangakhedkar in the roles of strategic advisors. They will assume the responsibilities of mentoring and guiding the team on monetisation and strategy for the fast-expanding company and its various departments.
To develop exemplary capabilities, the focus is on appointing effective mentors who will steer and back pivotal decisions with their in-depth insight and command developed through years of market experience.
With three decades of core experience in revenue generation and brand building, Shailesh Amonkar considers himself both a marketing and a sales person at heart. Having worked with media conglomerates like The Times of India Group and Sakal Media Group, Amonkar has also worked in new media and new product development. His specialities include the building and monetisation of audiences and communities. Amonkar is an entrepreneur who runs Kemistry Media Solutions, a media consulting firm.
Commenting on his appointment, Amonkar said, “Planet Marathi OTT has surpassed expectations with its spectacular performance and ingenious ideas in concept and marketing. It will be an honour to guide as well as learn from these great minds, both fresh and experienced, all of whom are brimming with ideas for the firm.”
Darshan Gangakhedkar, a media sales expert, is an entrepreneur and media professional. He comes with 20 years of extensive experience and has won many accolades in the media sales space throughout his time in the industry. He has worked with prominent regional media businesses, including Hindi language media houses, Nava Bharat and Raj Express, and the leading Marathi language daily Sakal from the prestigious Sakal Media Group.
Gangakhedkar’s comprehensive knowledge of the language industry and exceptional skills in active media sales make him a great mentor asset. Speaking on his appointment, he said, “It is always great to be surrounded by teams who are willing to push boundaries. I have been following Planet Marathi OTT’s outstanding trajectory closely and it will be exciting to work on developing this business further, taking it to newer heights.”
Planet Marathi OTT founder and head Akshay Bardapurkar shared, “We are happy to announce that we will have the guidance of two exceptional names in the fields of media, branding and sales, both Shailesh Amonkar and Darshan Gangakhedkar. Planet Marathi OTT needs the expertise of these talents to draw out bigger goals and set out in the right direction to achieve them. Our teams will work to develop products, revenue streams, branding and audience engagement in the OTT space under the guidance of these professionals.”
Founded and helmed by national award winner, Akshay Bardapurkar who is known as a game-changing icon in the industry, Planet Marathi OTT has made a mark for itself in a short span of one year. Since its inception in August 2021, the OTT platform has seen a phenomenal spike of 500 per cent in its subscriber base due to its path-breaking content slate and genius marketing efforts.
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.
