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Sportskeeda gears up for T20 World Cup 2021 coverage
Mumbai: One of the biggest and most exciting cricket tournaments, the ICC Men’s T20 World Cup is here and fans couldn’t be more excited. Sports platform Sportskeeda too, is all geared up with a ton of exclusive content and coverage to add to the World Cup T20 excitement.
Indiantelevision.com got into a conversation with Sportskeeda head of content marketing and video Shantanu Pusalkar and business head Kanav Sud on how they’re adding to the fire for both fans and brands looking to make the most of the tournament. Excerpts:
1. The whole sports industry, and especially the fans are super excited about the World Cup. What does Sportskeeda bring to the table that’s new and fun?
Shantanu P – Well apart from the staple ball-by-ball commentary, live scores, match preview and reviews, and fantasy league content, this time around our team has put in special efforts to bring forward a whole host of exclusive stories and fun banter on video and articles with the likes of Shoaib Akhtar, Harbhajan Singh, Danny Morrison, Lendl Simmons, and many others.
2. Could you tell us a bit more about the different formats and stories you’re bringing for the customer?
Shantanu P – Certainly, two of our marquee properties will be:
‘Masters of the Game’: Our behind the scenes series is being launched with an exclusive look at Pakistan Captain Babar Azam’s journey into International cricket
‘SK Tales Bhajji-Shoaib Uncensored’: This segment is a free-flowing no-holds-barred banter show where Harbhajan Singh, Shoaib Akhtar, and Danny Morrison talk everything cricket on and off the field, guaranteed to tickle your funny bone and bring forward unheard incidents for fans.
We also have exclusive Interviews of Shakib-Al-Hasan and Lendl Simmons who talk about how they are preparing for the T20 World Cup. Along with that, we are bringing ‘SK Yorked’, our preview segment to the matches coming up. It will include Key battles, Expected XI, Predictions, etc. to bring both the facts and stories that resonate with cricket fans all over the world.
Kanav S – I’d also like to add that we have already seen a lot of excitement coming in from brands looking to capitalise on the World Cup, and we have managed to get a good set of brand sponsorships and partnerships for some of our exclusives lined up.
3. Kanav, could you tell us some more about how you integrate content with the brands and what other solutions you offer?
Kanav S – Brands are signing up as main and support sponsors for a lot of our exclusives that Shantanu spoke of with Bhajji and Shoaib Akhtar, with in-content brand integration and mentions. We also have the capability to create exclusive and relevant content from scratch for brands based on their proposition, to fit into the World cup conversation more seamlessly, something we believe is more effective than just running ads and gives a brand 360 presence and relevance on our platforms.
We have a host of food delivery, BFSI, fantasy cricket advertisers working with us for this world cup. Overall, we are extremely excited to put our best foot forward for the fans and the brands this world cup season and are gearing up for a good response on both fronts.
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.
