iWorld
Regional OTT aha to double subscriber base with launch of Tamil service
Mumbai: Regional OTT platform aha announced the launch of its Tamil slate of content at an event held in Chennai on Thursday. The platform, which offers Telugu content, has launched a new service aha Tamil that is targeted at the Tamil-speaking audience. Speaking exclusively with IndianTelevision.com, CEO Ajit Thakur said aha, which has a subscriber base of two million, aims to double up current number with the launch of this new service.
“India’s SVOD subscribers are at 42 million and the share of these two markets (Telugu and Tamil) will be six-eight million. We are aiming for a 25 per cent share in each language,” Thakur stated. “The internet penetration in Tamil Nadu is one of the highest in the country and there are a great bunch of storytellers working in Tamil cinema. There is an excellent opportunity in terms of available audience for subscription-driven OTT. At the same time, it is also a challenge because the content preferences are dissimilar from any other part of the country and the benchmark is high.”
The launch event was graced by Tamil Nadu chief minister Muthuvel Karunanidhi Stalin and was joined by actor Silambarasan and music composer Anirudh Ravichander who were announced as the brand ambassadors for aha Tamil. aha Tamil announced the launch of the film “Thattina Tamil Mattume” which stars the brand ambassadors.
When queried why aha Tamil was launched as a separate service from aha Telugu, Thakur explained, “We have always believed that there is no homogenous South audience. When we started aha Telugu, we observed that people were watching everything from Tamil, Telugu and Malayalam on OTT but there was still a native language preference within a large part of the audience. 100 per cent local positioning was our core strategy no matter the language. If we put all languages under one service then we would lose that differentiation and that’s why we had to launch aha Tamil as a separate service.”
While the backend i.e., app, website to access aha Telugu and aha Tamil is the same, the two services will have separate content, marketing and teams managing the operation. The platform offers two plans to access Tamil content, a quarterly plan priced at Rs 149 and a yearly plan priced at Rs 365.
Speaking about the wallet share of consumers in the Tamil market, Thakur noted, “It holds true that subscribers in Tamil and Telugu markets on average subscribe to two paid platforms from a consumer habit point of view. A lot of national OTT players are fighting for this pie with multilanguage global scale content. However, we are uniquely placed in these two markets, where nobody is offering local language content at our scale.”
aha Tamil has a library of 150-200 films and 10 web originals at the time of launch. By the end of the year, the count of originals should increase to 40-60 with a commitment to release four originals per month. Thakur was not able to share details about the expansion of the film library as theatrical releases are still fluid all over the country owing to the effects of the pandemic.”
“People don’t pay for the content library, they pay for new premieres,” said Thakur, commenting on what will drive subscriptions. “Initially, a lot of our library will be available for streaming for free so that audiences can sample our content. What will drive subscriptions are the new pieces of content that we’ll add every week. The library will help consumers spend more time on the app.”
In the coming months, aha Tamil will offer theatrical films including “Selfie” featuring GV Prakash Kumar and Gautam Menon, “Sardaar” featuring Karthi, Venkat Prabhu’s “Manmadha Leelai” starring Ashok Selvan. The content slate also includes director Vetrimaaran’s “Pettakaalai” along with a host of originals such as “Bhamakalaapam” featuring Priyamani, “Ammuchi 2,” and “Ramany vs Ramany 3.”
“We at aha are constantly working towards catering to all demographics through our diverse and relatable content offerings,” said aha promoter Ram Jupally in a statement. “The reveal of our Tamil slate today on the occasion of Tamil New Year is a reflection of the belief that entertainment and stories are best told and enjoyed in one’s local language. After its success in Telugu, aha is aiming to provide quality content in Tamil with diverse genres to fulfill the interest and demands of different age groups. A majority of our Tamil slate is original content and I believe it is only prudent for the platform to associate with content creators who can complement us in meeting our vision”.
“We are excited to present our Tamil slate that has been developed locally with creators from Tamil Nadu,” said aha promoter Allu Arvind. “It is a collection of diverse stories and genres, told through web series and movies. Today, aha will disrupt the Tamil industry with phenomenal content, bringing the best Tamil talent to the fore and showcasing their artistry globally.”
aha was launched in 2020 as a Telugu OTT service with original programming such as web series and films.
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.
