iWorld
LinkedIn says ‘Namaste,’ launches in Hindi
Mumbai: Professional network LinkedIn has marked a new milestone with the launch of Hindi, the first Indian regional language on the platform, with the goal to support 600 million Hindi language speakers globally.
With this launch, LinkedIn aims to break down language barriers, providing greater access to professional and networking opportunities to Hindi speakers in India and around the world. With the launch of Hindi, the networking platform now supports 25 languages globally, said the statement.
Starting 2 December, as part of the first phase roll-out of LinkedIn in Hindi, members will be able to access their feed, profile, jobs, messaging, and create content in the language on desktop, and on their Android and iOS phones, the company announced.
As the next step, LinkedIn will work towards widening the range of job opportunities available for Hindi-speaking professionals across industries, including more banking, and government jobs. The platform will also continue to add more Hindi publishers and creators in the coming weeks to boost member engagement and conversations in the language.
India is a core market for growth at LinkedIn and the second-largest market in terms of members after the US, accounting for 82 million members as part of a global community of 800 million members. India’s member base has grown by 20+ million in the past three years (15 per cent year-over-year growth) and it has witnessed a spike in engagement and conversations on the platform since the pandemic.
“In India, LinkedIn has been mission-critical to helping people connect, learn, grow, and get hired during the pandemic and in this new world of work we are in. With the launch of Hindi, now more members and customers can unlock greater value from the platform through content, jobs, and networking, and express themselves in a language that they feel comfortable in,” said LinkedIn India Country Manager Ashutosh Gupta.
“We have witnessed high engagement and member growth in the last year, and it is at this exciting inflection point that we are strengthening our vision to create economic opportunity for ‘every’ member of the workforce, and taking down language barriers for Hindi speakers across the world,” he added.
LinkedIn in Hindi is now available to all members globally on desktop and Android, and will gradually roll out to all iOS users in the coming days, the company stated.
With the launch of Hindi, members also have the advantage of creating their LinkedIn profile in Hindi and making it easier for Hindi-speaking members and recruiters to find them for relevant opportunities. To display their existing profile in Hindi, members will need to create a secondary language profile in the same language as their existing profile. This will prompt them to choose a preferred language for their existing profile from a drop-down list of 25 languages, which now includes Hindi.
The launch of LinkedIn in Hindi saw LinkedIn Influencers such as international life coach Gaur Gopal Das, monk-turned-entrepreneur Dr Vivek Bindra, and nearbuy.com founder Ankur Warikoo share their first Hindi posts on their LinkedIn profiles.
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.
