iWorld
Mitron TV strengthens leadership team with two senior hires
KOLKATA: In yet another bullish move, Indian short-format video app Mitron TV has announced the expansion of its leadership team with two senior hires. Former Bytedance executive Shyamanga Barooah has on board as head of content strategy and senior journalist Biswarup Gooptu, who spent 10 years at the Economic Times, has joined as head of partnerships & policy.
In his new role, Barooah will be responsible for developing and optimizing a tailored content strategy, whilst driving the best content practices for internal and external stakeholders. Gooptu will focus on driving public policy for the company and building government alliances.
Barooah is a seasoned media professional with over 20 years of experience in journalism, content creation and management. Prior to his current role, he was the content operation head of Helo and chief editor of News Republic, which is part of ByteDance Inc, the parent company of TikTok. He has also worked for global firms like Cheetah Mobile and leading media houses like India Today, Times Internet and Hindustan Times. A former member of a blues band, he continues to follow his passion for music.
An alumnus of Cardiff University UK, Gooptu is a media veteran with over 15 years of experience in journalism. During his stint at the Economic Times, Gooptu covered the Indian start-up ecosystem, private equity and venture capital funding amongst other beats. He has also worked with Reuters and Telegraph.
Mitron co-founder and CEO Shivank Agarwal said: “The impact of short-video consumption and digital entertainment is growing at a rapid pace, making this sector one of the most exciting in present times. At Mitron, we are in a robust growth phase and continuing to reinvent ourselves. With Shyamanga and Biswarup’s expertise, we look forward to further strengthening our proposition and scale the business to the next level.”
Mitron content strategy head Shyamanga Barooah said: "It's great to be part of Mitron's amazing journey in the short-format video space in India. I feel there is a lot of opportunity within this dynamic space, especially in a storytelling and vibrant nation like India.”
“I am delighted to be joining the company’s leadership team at such a pivotal time in its growth. This is an exciting time for Indian technology landscape and we are poised to become one of the leading short-video social media application,” Mitron partnerships and policy head Biswarup Gooptu said.
In just seven months, Mitron app has crossed 39 million-plus downloads on Android Play Store. As part of its efforts to support the government’s initiative of ‘Vocal for Local’, Mitron recently launched Atmanirbhar Apps, a one of its kind discovery platform for Indian applications. Currently, the platform hosts more than 100 apps and plans to bring 500 apps by the end of this year. Mitron was also the first in the space to launch categories to build vibrant communities of like-minded audiences. This particular initiative enabled users to discover the content of their interest and creators to engage with like-minded followers.
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.
