iWorld
TeamViewer onboards Sojung Lee as new president for Asia-Pacific
Mumbai: TeamViewer, a global SaaS provider of remote connectivity and workplace digitalisation solutions, has announced that Sojung Lee joins the company as president for the Asia-Pacific region including China, Japan, India, Australia, and New Zealand (APAC) at the beginning of December. In this role, she will also join TeamViewer’s global senior leadership team.
“The appointment of a president for APAC, a new position within TeamViewer’s organisational structure, is the main pillar of the company’s new setup for the region and Lee will be driving TeamViewer’s growth in core APAC markets with a clear focus on enterprise solutions,” said the company in a statement on Wednesday.
Lee is an experienced senior executive with a proven capability in building and leading high-impact teams. Her responsibility encompasses all go-to-market activities in APAC, including direct sales as well as developing an ecosystem of strong alliances such as channel partners, distributors and resellers. Among other measures, Lee will put an emphasis on leveraging the potential of TeamViewer’s existing sports partnerships with Manchester United and the Mercedes-AMG Petronas Formula One team. Based in Singapore, she will build a regional APAC sales hub for TeamViewer, in addition to the existing strong local presence in Japan, China, India, and Australia.
“We are very excited to welcome Sojung Lee on board,” stated TeamViewer’s CEO Oliver Steil. “With her strong track record of generating extraordinary business growth, her proven leadership skills, and her extensive know-how of the market requirements in the region, she will play an integral role in bringing our new setup for APAC to life.”
Lee brings comprehensive experience in sales leadership, demand generation, business growth, and digital strategy in the enterprise IT and services industry across the APAC region. In her previous role at SolarWinds, she succeeded as vice president of Asia Pacific and Japan sales, driving business development, partnerships, and overseeing the APAC sales team to strengthen the brand and extend its market position. Prior to SolarWinds, Lee spent over eight years with IBM Asia Pacific in different positions, most recent being a sales executive/director. Before her tenure at IBM, she built a strong reputation as a business development executive in Korea and China.
“TeamViewer is a great company with value-creating products, a global footprint and a compelling narrative. I am excited to join this truly international and diverse workforce sharing strong company values,” said Sojung Lee on her new assignment. “Supporting clients in digitally transforming their businesses and optimising their processes along the entire value chain is a very attractive task I want to bring forward together with the teams we have in place across the region and a strong APAC partner network.”
Lee holds a bachelor’s degree in international law and legal studies from Yonsei University in Seoul, a Master of Business Administration from Fudan University in Shanghai, and a Master of Advanced Management from Yale University.
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.
