iWorld
Zee5 partners with BBC to expand its premium content offerings
Mumbai: Video streaming platform Zee5 has announced a partnership with BBC Studios India. The two top entertainment companies will work to build a robust content slate of new Zee5 originals in Hindi across genres exclusively for Zee5 viewers.
With this partnership, Zee5 aims to further bolster its existing premium content offerings with captivating and diverse stories based on successful British formats.
The first Hindi project introduced as part of this ongoing partnership is an original drama series titled “The Broken News,” which also marks actor Sonali Bendre’s debut on OTT.
In line with the theme of the new series; to generate excitement amongst the news viewers, Zee5 will announce the release of “The Broken News” in the primetime slot across prominent news channels on 11 May.
It is an adaptation of the popular British series “Press,” directed by award-winning director Vinay Waikul with a stellar star cast featuring theatrical favourites like Jaideep Ahlawat, Shriya Pilgaonkar, Indraneil Sengupta, Taaruk Raina, Aakash Khurana, Kiran Kumar, amongst others. The plot of the show features two rival news channels based in Mumbai – Awaaz Bharati, an independent, ethical news channel, and Josh 24/7 News, which offers sensationalist and invasive journalism, and what transpires between the main characters in their quest for news.
Commenting on the partnership, Zee5 India chief business officer Manish Kalra said, “This year we have a fantastic line-up with many big titles announced in the first quarter of the year.”
“The focus for 2022 is to bring premium quality content across genres and languages. Zee5, in addition to bolstering its portfolio of Hindi originals, is simultaneously working on curating a list of unique stories across formats and languages to build a platform of varied choices for its viewers,” he explained.
“With ‘The Broken News’ we are marking the beginning of another partnership with a reputed content studio to bring interesting and unique story narratives for our audiences. This partnership is in line with Zee5’s strategy to build a portfolio of unique and compelling content for an enhanced value from the services. We are sure our audiences will enjoy and love it as much as they have loved our content so far. Zee5 has been working with the best talent in the creative ecosystem to create a riveting slate of originals, in line with our content strategy of keeping the viewers at the centre of the business,” added Kalra.
On the announcement of the new title, Zee5 Hindi originals chief content officer Nimisha Pandey said, “’The Broken News’ is an extremely relevant story for the times we live in. We are glad to partner with BBC Studios India and director Vinay Waikul to bring this story to life.”
“It is a riveting drama depicting the nuances of the media houses and the daily hustle-bustle of a newsroom. The story revolves around the ideological differences of the protagonists, beautifully played by Shriya Pilgaonkar and Jaideep Ahlawat. The story has a strong, contemporary and compelling narrative making it a perfect addition to our content bouquet,” she added.
Speaking on the partnership, BBC Studios India general manager Sameer Gogate commented, “We are thrilled to join forces with Zee5 as part of this partnership to produce this riveting BBC Studios format, set in the fascinating world of TV news journalism. The strength of our formats lies in their ability to transcend across cultural boundaries and languages. We are honoured that Jaideep Alhawat, Sonali Bendre and Shriya Pilgaonkar will be a part of this journey directed by Vinay Wiakul and we hope Zee5’s Hindi audience will enjoy the gripping personal and professional dramas facing the characters under the pressure of a 24-hour news cycle.”
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.
