iWorld
realme launched India’s biggest campus concerts, realme Sundowners
MUMBAI: realme, the fastest growing smartphone brand in India that resonates with the young generation, has announced a series of events for the youth to kick-start the seasonal festivities. The brand will be hosting “realme Sundowner” with celebrities like Guru Randhawa and Divine in 4 cities, Campus Star Program across 40 colleges, and 11 campus fests at leading colleges like IIT Delhi. Initiated in major metropolitan cities like Delhi, Mumbai, and Chennai to name a few, realme, plans to provide a platform for the youth to take a leap and explore their passion.
Speaking about the multi-city campus campaigns, Mr. Madhav Sheth, CEO, realme India said, “We are a young brand with young people who connect with the youth of India. We understand the importance of ‘breaking free’ from the daily routine not just to break monotony but to experience new things. As a brand, we have always been closely associated with our fan community that includes students. To engage them further we have launched the multi city-campus campaign, where we will bring Bollywood sensations to the campuses and also help students realize their passion in different fields. By 2020 we aim to collaborate with over 100 colleges for such events.”
Its first-ever multi-city music concert, ‘realme Sundowners’, will feature music sensations Guru Randhawa and Divine so that music lovers can experience world-class music and their favorite music artists in their own campuses. Guru Randhawa will be performing on October 10 and 17 in Lovely Professional University, Jalandhar and in IIT Bombay, Mumbai. While Divine will be rapping in Vellore Institute of Technology, Chennai and Royal Global University, Guwahati on October 13 and 23.
In July this year, realme also launched the ‘realme Campus Star’ program – an initiative for students to showcase their talent, receive national exposure, and win exciting prizes. 40 college student societies such as Photography, Theatre, Music, and Dance participated in a competitive campaign themed ‘Dare to Leap’. The winners will be announced on October 15, 2019, and will be awarded realme smartphones, goodies and accessories along with a sponsorship worth INR 3 lakh for the winning society.
realme has partnered with multiple colleges across the country for their annual Campus Fests. Recently, the brand supported IIT Delhi’s fest, Rendezvous, where ace music composer and singer Amit Trivedi to rocked the stage. It has also partnered with Mumbai’s Sophia College, IIT – Kanpur, IIT – Ropar, BITS Pilani and NIT Trichy for their annual fests that are happening throughout October. In addition, the brand will also conduct and promote offline events/activities on the campus.
realme, which provides high- quality products for the youth of the country, has always been closely connected with the student community. They have launched multiple devices on college campuses like realme 2 Pro in Amity University, Noida and realme 3 Pro in Delhi University, North Campus. The brand is known to offer a wide range of sophisticated and advanced products for the youth at the best price-points. And over a short time-span has established an unbreakable bond with its users making them, true brand ambassadors. These youth initiatives for students aims to showcase their talent, receive national exposure, and win exciting prizes.
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.
