iWorld
Amit Malhotra appointed managing director for HBO Max in Southeast Asia, India
New Delhi: WarnerMedia on Friday announced the appointment of Amit Malhotra as managing director for HBO Max in Southeast Asia and India.
Malhotra most recently served as regional lead for Disney+ in Southeast Asia, where he was responsible for overseeing the launch and operations of Disney’s streaming services in the region, including Disney+, Disney+ Hotstar and Hotstar.
He will join WarnerMedia later this month and report to HBO Max International head, Johannes Larcher. Malhotra will be responsible for the rollout and management of WarnerMedia’s direct-to-consumer platform in Southeast Asia. He will immediately assume responsibility for the management of HBO GO, WarnerMedia’s existing OTT streaming service available in eight territories across Southeast Asia. In the future, he will spearhead the introduction of HBO Max in these territories and will lead WarnerMedia’s exploration of future opportunities to launch the streaming platform in additional markets, as well as a potential future launch in India, said the company on Friday.
At Disney, Malhotra also led the content sales and distribution division as part of The Walt Disney Company’s Direct-to Consumer & International (DTCI) business in South APAC and Middle East, pivoting Disney’s linear business in the region to streaming by working closely with local telcos and MVPDs, creating localized payment strategies and developing deep content studio relationships throughout Southeast Asia.
Johannes Larcher said, “With our upcoming launch across Latin America on 29 June and our plans for Europe on the horizon, we turn our sights toward Asia, where we have an incredible opportunity to bring HBO Max to millions of new fans who are just as excited about streaming as our audiences in the U.S. Amit’s experience launching streaming services in both mature and emerging markets across Southeast Asia and the surrounding region make him the ideal leader to plan and oversee the rollout of HBO Max and its expanded content offering and platform experience.”
David Simonsen, who has played an important role in the growth of HBO GO in Southeast Asia to date, will continue to make a significant contribution to WarnerMedia’s direct-to-consumer efforts in the region, and will work closely with Amit as part of his executive leadership team.
Amit Malhotra said, “I am delighted to be part of the incredible team at WarnerMedia in Asia as we look at bringing HBO Max to this region. WarnerMedia’s brands including DC Universe, HBO and Cartoon Network are extremely popular with passionate fans and audiences across this region. With a focus on consumers our goal will be to bring all of these brands and content together in an exciting new world class streaming experience as we move into the future with HBO Max.”
Under Malhotra’s leadership, WarnerMedia expects to launch HBO Max in Hong Kong, Indonesia, Malaysia, the Philippines, Singapore, Taiwan, Thailand, and Vietnam in the future, including an expanded content offering for the entire family and a premium new platform that would be hosted on HBO Max’s tech stack, providing a more stable and consistent streaming experience than HBO GO. Malhotra will also be responsible for exploring possible opportunities to launch HBO Max in new and fast-growing Asian streaming markets such as India.
HBO Max has witnessed significant success since launching in May last year, adding 11.1 million HBO/HBO Max subscribers in the U.S. as of the end of Q1 2021. The platform will roll out in 39 territories across Latin America and the Caribbean on 29 June, and HBO’s existing OTT services in Europe are scheduled to be upgraded to HBO Max later this year. By the end of 2021, HBO Max is expected to be available in 61 global markets, said the company.
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.
