iWorld
Prime Video’s new campaign says it all: laugh, cry, love, repeat
MUMBAI: Prime Video is wearing its heart on its sleeve. In a snazzy new brand campaign titled ‘Every kind of emotion. It’s on Amazon Prime’, the streaming giant is trading in genres for gut punches, spotlighting its diverse catalogue through the lens of pure feeling.
The campaign features two punchy ad films—one with national treasure Manoj Bajpayee and another with South sensation Samantha—each crafted for specific markets. But the message is universal: Prime Video isn’t just about what you watch, it’s about what you feel.
Comedy that’s awkward or absurd, love that’s unspoken or unrequited, thrills that sneak or strike—this is entertainment that sticks. The campaign taps into the viewer insight that when audiences scroll for genres, they’re actually hunting for emotional hits—those little jolts of joy, nostalgia, suspense, or heartbreak.
Gone are the days of slotting stories into neat boxes. Prime Video is throwing open the doors to content that’s as layered as life itself—across languages, formats, and cultures.
“At Prime Video, we believe entertainment isn’t about ticking genre boxes—it’s about delivering experiences that emotionally connect with customers,” said Sonal Kabi, director & head of marketing, Prime Video, India. “This campaign showcases our commitment to delivering a wide range of stories that capture a gamut of feelings that our viewers can relate to. ‘Every kind of emotion. It’s on Amazon Prime’ isn’t just a line—it’s a promise we deliver, day-in and day-out through our series and movies. Great stories can come from anywhere — and our goal is to ensure audiences don’t just watch them but truly feel and connect with them. We’re proud to be a service that reflects the full spectrum of human emotions.”
Bajpayee said, “The beauty of entertainment today is that it mirrors our own complexity. Just as my character Srikant Tiwari balances national security with family life in The Family Man, Prime Video masterfully balances the full spectrum of human emotions. One moment you’re craving a thriller that keeps you on the edge, the next you’re seeking the warmth of a heartfelt story. That’s what drew me to this campaign – it captures how we truly experience and consume entertainment in our lives. It’s smart, it’s emotional, it’s completely relatable and it beautifully showcases how Prime Video has become a destination where every emotion finds its perfect match. It was fun to play a version of Srikant Tiwari who is catching feelings instead of catching bad guys for once!”
Samantha said, “Every role is an emotional journey. From embodying the intensity of Raji in The Family Man to exploring the complexities of a covert operative in Citadel: Honey Bunny – each character has pushed my boundaries in unique ways. What fascinates me is how this mirrors our own viewing habits. We don’t just watch shows; we seek emotions that resonate with our moment. Sometimes it’s the adrenaline rush of a thriller, other times it’s revisiting that one scene that touched our soul. That’s the magic Prime Video has captured – understanding that stories aren’t just about genres, they’re about the feelings they evoke. Every story has its own emotional fingerprint, and there’s something beautiful about having a service like Prime Video that celebrates every shade of human experience.”
Created by Manja, the campaign will be deployed through a rollout across digital, social, and outdoors. Suyash Barve, Head of Creative, Manja said, “As more and more content gets added to our screens, our classical understanding of genres has become too vague. There is no action on one side and romance on the other. Now, every movie and TV show is a multi-hyphenate. An action-dramedy or a political-espionage-thriller or a political-espionage-action-dramedy. Now, you can choose between comedies that make you laugh out loud, or ones that make you chuckle. Horror movies that make your heart stop, or just ones that creep you out. We used this rephrasing of genre to tell our story of range. There’s just so much to watch on Prime Video, that you simply have to be more specific. The perfect sutradhars for this journey were of course, our Family Man, Manoj Bajpayee and the star of Citadel: Honey Bunny and The Family Man antagonist, Samantha – both of whom turn a simple discussion on what to watch into a days-long crusade to prove that there’s more than one kind of funny and more than one kind of thriller.”
It’s a slick, slice-of-life sell, reinforcing Prime Video’s pitch as India’s most beloved binge-spot. From belly laughs to big sobs, it’s all on tap—and just a click away.
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.
