iWorld
After dip in revenue, ALTBalaji offers cashbacks on subscription
KOLKATA: ALTBalaji has teamed up with payment gateways Paytm and Amazon Pay to offer consumers up to Rs 300 cashback on the first Paytm wallet or Paytm UPI transaction on subscribing to the OTT platform. On the other hand, consumers can opt for Amazon Pay and get a cashback between Rs 10 to 250. Both the offers will be valid for Android, and web only from 1 December to 31 December 2020.
The offer comes on the back of the streaming service registering marginal degrowth in subscriber revenue in Q2, down to Rs 12.2 crore from Rs 12.9 crore in the preceding quarter. The company attributed this to downtrend to the Unlock phase, as customers returned “back to work and social commitments." In the same period, however, the platform clocked four million subscribers and an ARPU of around Rs 140–150.
To avail the offer through Paytm and Amazon Pay, the audience needs to buy an ALTBalaji subscription for Rs 100 or more. These offers can be availed only once, during the campaign validity. Once the whole amount is paid from Paytm wallet or UPI, cashback will be credited to the user's bank account linked to their Paytm UPI ID. For Amazon Pay users, it will be credited as Amazon Pay balance within three working days.
ALTBalaji CEO and Balaji Telefilms group COO Nachiket Pantvaidya said, “Since the launch, our main focus has been on offering quality content which is also affordable. Available to stream at 0.80 paise per day today, we are one of the most affordable OTT platforms in the country. Our association with key payment gateways like Paytm and Amazon Pay is in sync with our objective of keeping our consumers at the very core and going deeper into the Hindi heartlands.”
For the upcoming festive season, ALTBalaji has an exciting pipeline consisting of multiple shows. The festive month of November started with Mum Bhai, followed by Bicchoo Ka Khel and Dark7White. Coming up next are Paurashpur, LSD, Class of 2020 Season 2, Who’s Your Daddy Season 2, and Crashh, to name a few. Each of these new shows is high-octane dramas, which the audience can binge-watch through the festive season.
With an extensive library of 68 Indian originals across genres that cater to all kinds of audiences, the shows at ALTBalaji are a mix of thriller, drama, romance, youth drama, horror, comedy, amongst others. Romantic dramas like Kehne Ko Humsafar Hain, Karrle Tu Bhi Mohabbat, It Happened in Calcutta, Baarish, Dil Hi To hai etc enjoy a growing fandom amongst women in the 25-45 years TG. While on the other hand, thrillers like Apharan, Fixxer, Boss, Ragini MMS, Code M are consumed by men in the 22- 45 age bracket. In addition to the above, shows such as Mentalhood, The Test Case, MOM: Mission Over Mars, Bose: Dead/ Alive, The Verdict – State v/s Nanavati are being consumed extensively by the urban audience across all age groups.
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.
