iWorld
GUEST ARTICLE: Experiential marketing to thrive in the post-pandemic world
Mumbai: The immersive experience was popular earlier, but the Covid-19 pandemic accelerated its application by several companies, making it take centre stage rather than being offered as an add-on. Let’s see how the dynamics changed during the pandemic and the way forward.
The world is seeing the light on the other side of the tunnel. The Covid-19 pandemic’s effect has weakened now and after two years of struggle and adversity, the world is slowly paving its way back to normalcy. As the world starts connecting in person once again, experiential marketing is seeing an uptick in demand from consumers. Before the pandemic hit, experiential marketing was well perceived by consumers, with marketers seeing the potential of immersive brand experiences and events. With a locked-down lifestyle of over two years, the demand for real-life experiences has now grown exponentially.
Live events, which were seen in their element after a hiatus of over two years, got all the more creative and we could see they are now heavy on technology to bring out the personalised impact. Intimate experiences are what consumers in the modern day are striving for, and after the upheaval of the pandemic, wherein the uncertainty surged suddenly, people now want to live it to the fullest with their dear ones.
Weddings have evolved to be upbeat and intimate. For that matter, destination weddings are slowly gaining standard status in India across all economic classes. From event companies to branded hotel chains, everyone has tailored their offerings to thrive in this space by providing exhilarating experiences at bespoke destinations with breathtaking natural views in the background. Customers are now looking beyond just what is basic. They want all that with their close ones, and ideally, only close ones will witness it all. The one big event inviting multiple people is not what patrons are looking at for multiple reasons, with the Covid-safe environment taking centre stage.
People have been striving to immerse themselves in human interactions and in-person events for the longest time. Covid-19 kept them away from each other. Yet, the world somehow found ways to connect, though virtually. Events were being hosted online. Live events and destinations have started hosting virtual tours through the internet. Be it concerts, corporate events, car and bike expos, or destination conventions and trade shows, the brand value was kept alive online, but people longed to witness them again in person. Hence, marketers redefined how customers experience these events with an added value. For example, a tour and travel firm, during the Covid times, introduced a subscription-based VR experience to showcase to customers how they can sense various destinations. If they liked the appeal of a close-to-real experience, the customer could engage in a valuable package to travel to the destination once the lockdown was lifted.
Real-life experiences create happy memories for the customers, and that has been shown to contribute a lot to increased conversions or sales. In the foodservice industry, many upbeat events saw drastic closures during the pandemic. Hotels turned into quarantine centres, and their restaurants remained confined to receiving delivery orders only. However, they conceived things differently. Instead of sending just the end products, hotels reimagined the live-kitchen experience of their award-winning restaurants at the patron’s home. Hence, the concept of DIY signature dishes was born. The hotel sent individual ingredients for the signature dishes, and patrons were guided on how to make the dish via a note or virtual live guidance from the executive chef. The results were lip-smacking. The hotels that practised this approach expressed an increase in customers visiting them currently who wanted to experience the signature dishes at the hotel in the ambience provided by the hotel.
Experiential marketing has come a long way, and digitization has certainly helped people remain connected all the time. People are finding newer ways to stay connected, and experiential marketers are trying their best to make a point of how the patron is as immersed in the product or service as possible. While 4D in cinema dates back several years, the application of virtual reality and augmented reality has come a long way in the events sector too. From headphones-based beach parties to VR gaming zones, experiential marketing has revolutionised how people looked at events previously.
The crux of the success of experiential marketing remains the feeling of ownership that it creates. People love taking control of things and using them for the best according to themselves, so experiential marketing creates just the environment. For example, the new-age apparel stores online are coming up with features wherein one can see how they will look in a particular outfit even before deciding to buy it. They sense how they would look in it and how it’d feel to own it. This can lead the customers to buy or choose another outfit. So, the feeling of ownership even before making the sale has led to the success of experiential marketing. In the case of events, people love to witness how their prospective event will look through a virtual environment. A virtual walkthrough of the event’s flow helps the customer visualise how their event will look before the day.
Experiential marketing has come a long way in these years where it originally came as an ancillary service but has become a crucial element of the marketing mix for many corporates. It is in line with the evolving needs of customers, who are now savvy and demand more from brands and are well over the age-old advertising tactics.
The author of the article is Hubble Entertainment co-founder and managing partner Hafiz Khan.
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.
