iWorld
TVF launches new series ‘Cubicles’ in association with DSP Mutual Fund
MUMBAI: Walking its talk to launch new innovative shows, pioneers in digital content and entertainment, The Viral Fever along with leading asset management company, DSP Investment Managers Private Limited is all set to add a new original to its repertoire with the release of TVF Originals ‘Cubicles’. Set in a modern day context, Cubicles is a fresh take on the life of millennials who are ready to dive into the corporate world and their experiences of the many firsts during this journey. The 5-episode series will release on weekly on TVFPlay and TVF’s YouTube Channel starting 10th December.
Cubicles is an episodic series centred around the life of Piyush, a fresh entrant into the corporate world. The show depicts this work life and moments including his very first salary, working over weekends, failures and successes that are a part of anyone’s corporate journey. Simultaneously, the series seamlessly integrates fundamental concepts on investing and mutual funds through the story. Created by Amit Golani and Directed by Chaitanya Kumbhakonum the series stars Abhishek Chauhan, Nidhi Bisht, Arnav Bhasin, Shivankit Singh Parihar, Badri Chavan among others.
Further elaborating the association, TVF Originals Chief Content Officer and Head Sameer Saxena said, “On being one of India’s foremost storyteller in the digital domain, at TVF, we have always used creativity and our reach for stories that our audiences can garner value from. Cubicles in association with DSP Mutual Fund, once again has given the opportunity to connect with millennials and educate them about the need and importance of early investing as well as about Mutual Funds as a concept. Having understood the perceptions associated with Mutual Funds in general amongst millennials, through a story telling format, Cubicles sheds light on good investing principles such as investing early & regularly for the long term, diversifying appropriately, the importance of remaining rational, how to get good investment advice etc. Being one of India’s leading Mutual Fund companies, it was only apt that TVF partners with DSP Mutual Fund for this series. We are certain that millennials will not only enjoy the series but will also benefit from it.”
Speaking on the association with The Viral Fever, DSP Investment Managers consumer marketing head Abhik Sanyal said, ‘Investing seems fun and easy when you get the results in your favour- after all, who doesn’t want to get rich! But without having at least a basic idea of the fundamental principles of good investing, one would be dependent simply on luck to do well and will not have a sense of control over their decision-making. When we spoke with the team at TVF, Cubicles emerged as a great fit for us to showcase these fundamental concepts, but in a relatable, entertaining and slice-of-life manner. Just a reflection of the lives of regular, 9-5 salaried, working professionals: no extra drama, no extra tragedy, no extra chaos- just real life, the way it is. ‘Cubicles’ is our first foray into a web-series partnership and fits in perfectly with DSP Mutual Fund’s communication credo of making finance fun. We hope this contemporary, new-age way of engaging with millennials excites them while helping them understand some good investing principles too.’
Having established itself as as India’s largest digital entertainment platform with a number of hit shows under its belt, The Viral Fever continues to strengthen its content play as well as its associations with brands in India.
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.
