iWorld
Rooter acquires media rights to Skyesports’ IPs for one year
Mumbai: In what is said to be one of the largest media rights deals in e-sports, homegrown game streaming platform Rooter has acquired the media rights for all of Skyesports’ IP for the next one year.
As one of the biggest e-sports tournament organisers in South Asia, Skyesports conducts competitions under its self-owned IPs. Going forward, all of Skyesports’ original competitions will be broadcast exclusively on Rooter. The tournaments will be streamed in several languages which include Hindi, English, Tamil, Bengali, Kannada, Malayalam and Telugu.
Last year, Skyesports generated more than 200 million viewers across all its tournaments and achieved a peak concurrent viewership record of 221,000 during the Skyesports Championship 3.0 BGMI finals, said the statement.
In January, Rooter raised $25 million in its series A funding round led by Lightbox, March Gaming, and Duane Park Ventures. Last week, the company also teamed up with the dominant BGMI team, OR Esports, as its official broadcast partner.
“Skyesports is renowned for hosting some of the major esports tournaments in the country,” said Rooter co-founder and COO Dipesh Agarwal. “Teaming up with a platform redefining Indian e-sports, this comes as a landmark deal for both entities. Rooter is the fastest growing gaming platform in India and we will help Skyesports reach millions of fans who will get the best e-sports content exclusively on Rooter. We also look forward to working with Shiva and the rest of the team to provide multiple engagement opportunities for fans with e-sports teams on Rooter’s platform.”
“Our goal has always been to make Skyesports’ IPs, which have been homegrown in India, more accessible,” said Skyesports founder and CEO Shiva Nandy. “I am sure that our e-sports content will feel right at home on Rooter’s platform. Additionally, by distributing the media rights, we are empowering Rooter to implement strategies to further engage our already large audience. We look forward to closely working with them throughout the year to enhance the watching experience for the viewers while building e-sports from the grassroots level and launching more premium IPs.”
“With Skyesports, we envisioned the creation of a closely-knit e-sports ecosystem at the grassroots level. It’s a pleasure to have Rooter join us as a partner and we look forward to working together with them to be able to accelerate our growth in terms of viewership in India,” said JetSynthesys founder and CEO Rajan Navani.
Earlier this month, Skyesports unveiled its roadmap for 2022 with more than $530,000 in prize money up for grabs across several competitions.
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.
