iWorld
Airtel digital TV revenue up 16.9% in Q4
MUMBAI: Bharti Airtel on Monday posted its fourth quarter results for the fourth quarter of financial year 2019-20. While revenue was up seven per cent at Rs 23,723 crore on a quarter-on-quarter basis, it has registered a consolidated loss of Rs 5,237 crore year-on-year. Mobile services revenue has increased 21.8 per cent YoY and 16 per cent quarter to quarter.
Airtel's journey as a digital business continued strongly in Q4’20. The company has over 160 million Monthly Active Users across digital assets – Airtel Thanks, Wynk and X Stream. It has over 1.1 million retailers transacting and making payments every day on our Mitra App.
Today over 60 per cent of its entire business goes through digital channels, and with share of AirtelThanks platform growing strongly to now become the second largest platforms for user payments online.
Digital TV revenue witnessed strong growth of 16.9 per cent YoY on an underlying basis, on the back of strong customer additions.
While overall customer base stood at 423 million across 16 countries, EBITDA stood at Rs 10,326 crore, up 51.7 per cent YoY.
Voice usage per customer increased to 965 million against 898 million for the telecom service operator, showing an increase of 7.5 per cent quarter to quarter.
The mobile ARPU in India business was at Rs 154 against Rs 135 QoQ, a growth of 14 per cent.
The company had posted a profit of Rs 107.2 crore in the same period a year ago. It registered a consolidated revenue of Rs 23,722.7 crore during the reported quarter against Rs 20,602.2 crore in the corresponding quarter of 2018-19.
The company has undertaken a capex investment of Rs 25,359 crore on a consolidated basis during the year to ensure superior customer experience besides front ending some investment to ensure seamless services during the ongoing pandemic.
Airtel Business witnessed a double digit revenue growth of 12.4 per cent YoY led by increased focus on connecting large enterprises, SMEs besides providing innovative solutions. Homes business continues to remain resilient and shows significant long-term promise in the wake of the new normal of work from home and social distancing established post the Covid2019 situation.
Gopal Vittal, MD-CEO, India & South Asia, said: “These are unprecedented times for every one across the world as we battle the impact of Covid2019 and its consequent impact on livelihoods. Even in this difficult time, it is our investments in network technologies coupled with our culture of customer obsession that has allowed us to keep the nation connected and serve our customers. It is abundantly clear today that telecom has played an essential role in keeping the country going. We are therefore hopeful that the government will implement the recommendations of the TRAI and the intent of the New Telecom Policy and bring down the high levels of regulatory levies and taxes that the sector is subjected to. The quarter gone by saw healthy revenue growth of 14.4 per cent YoY with mobile business growing at 21.8 per cent. This was driven by two factors – sustained momentum of 4G customer additions of over 12.5 million coupled with improved tariffs. We continue to witness strong data traffic growth of 74.1 per cent YoY. Going forward we remain committed to delivering a best in class customer experience even as we leverage our platform to build new revenue streams.”
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.
