iWorld
The Twitter-Elon Musk tussle: To be ‘bot’ or not to be
Mumbai: The Twitter acquisition drama has been playing out- where else but on Twitter- on a daily basis (or hourly, if you go by Musk’s tweets) for the last several weeks. The latest in the Elon Musk-Twitter saga is that the Twitter Inc board has decided to go ahead and enforce its $44 billion agreement to be bought by Elon Musk. The board’s statement comes on the back of multiple tweets from Musk in the last several days that seem to indicate that the billionaire appears to be rethinking the whole deal.
“We intend to close the transaction and enforce the merger agreement,” the board said on Tuesday in a statement, adding, “the transaction is in the best interest of all shareholders.”
Prior to this, the board voted to unanimously recommend that shareholders approve Musk’s $54.20 per share offer.
Earlier on Tuesday, Elon Musk intensified his very public dispute with the Twitter CEO on the matter of bots or fake accounts on the platform, saying his acquisition of the social media company “cannot move forward” until he sees more information about the prevalence of spam accounts.
“20% fake/spam accounts, while 4 times what Twitter claims, could be *much* higher. My offer was based on Twitter’s SEC filings being accurate. Yesterday, Twitter’s CEO publicly refused to show proof of <5%. This deal cannot move forward until he does,” Musk tweeted, citing an article by Teslarati, (which, by the way, is a media company and a publisher of news on Tesla, SpaceX, and ventures, affiliated with Musk himself!) that said, “Elon Musk may be looking for a better Twitter deal as $44 billion seems too high with 20% of users being fake or spam accounts.”
The article suggested Twitter’s filings with the Securities and Exchange Commission were misleading. The company has maintained that less than five per cent of its daily active users are spam accounts.
In yet another twist in the proposed acquisition, earlier on Friday, Musk had tweeted that his planned $44 billion purchase of Twitter is “temporarily on hold” pending details on spam and fake accounts on the social media platform.
The proposed takeover includes a $ one billion breakup fee for each party, which means Musk will have to pay the said amount if he ends the deal or fails to deliver the acquisition funding as promised. Musk might be exempted from that requirement only if he can show a material change in the company’s situation or the information it has provided.
This is just the latest in a series of twists and U-turns that have been doing the rounds on the platform, regarding the company’s take over by Musk amid increasing signs of internal turmoil between the two parties.
In fact, ever since the billionaire grandly announced his offer to buy out the micro blogging platform on 14 April, the platform has been abuzz with new speculations on the acquisition front, mostly triggered by the Tesla founder himself. Musk has been highly active on the platform even before that, and became more so vocal about the site’s alleged shortcomings when he started building his stake in the company and became an active investor in April this year.
This led to speculations on Musk being keen to join the company’s board, further amplified by the Twitter CEO’s own tweet on 5 April welcoming Musk onboard, where Agrawal wrote about the billionaire: “He’s both a passionate believer and intense critic of the service which is exactly what we need on @Twitter, and in the boardroom, to make us stronger in the long-term.”
However, Musk surprised everyone- most of all, the Twitter management- by rejecting the company’s offer to join its board, instead offering to buy out the company itself!
With Twitter now committed to completing the sale even as Musk continues to drag his feet over it, it remains to be seen how the rest of this very public saga plays out!
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.
