iWorld
FilterCopy and Maruti Suzuki WagonR present ‘Bada Sheher Choti Family’
Mumbai: Pocket Aces, a leading digital entertainment media company, announced a fresh new mini-series, “Bada Sheher Choti Family,” under their creative studio, FilterCopy in collaboration with Maruti Suzuki WagonR. The three-episode series, with each episode ranging from 8 to 10 minutes, offers a delightful and relatable portrayal of a middle-class family embarking on a life-changing journey.
“Bada Sheher Choti Family“, starring Nakuul Mehta and Erica Fernandes, unfolds the charming tale of Shruti, Kartik, and their adorable daughter, Navya (Navu), as they transition from their quaint hometown of Indore to the vibrant metropolis of Mumbai. Through their eyes, viewers are taken on a rollercoaster of emotions, experiencing the thrills and challenges of adapting to a new city, the quest for belonging, and the comforting embrace of unwavering family love.
Maruti Suzuki WagonR emerges as a star in this series, epitomising the quintessential family car with its roomy design and outstanding mileage. As Kartik and his family navigate their new life in Mumbai, the car becomes a sanctuary of comfort and dependability, seamlessly integrating into their daily adventures and reinforcing the pivotal role of family values. Each episode draws perfect parallels between life and the car’s features, like the spacious seating that embraces the entire family, the intuitive auto gear shift that mirrors the evolving dynamics of family life, and the smartphone navigation system that guides them through the unfamiliar streets of Mumbai, ensuring they always find their way home.
This collaboration between FilterCopy and Maruti Suzuki masterfully intertwines storytelling with brand synergy, crafting a heartwarming narrative that highlights the power of family and resilience. Maruti Suzuki WagonR enriches the storyline, presenting itself as the ultimate companion for families embracing the challenges of a new city.
Pocket Aces D2C head Vishwanath Shetty expresses, “We are incredibly excited to present ‘Bada Sheher Choti Family’ on FilterCopy. Pocket Aces has always been at the forefront when it comes to D2C content, whether it’s fiction or non-fiction. As part of our strategy this year, we are focused on creating more fiction mini-series on FilterCopy, and this association with Maruti Suzuki WagonR is a significant step in that direction. This mini-series has been carefully crafted to showcase how Maruti Suzuki WagonR is the perfect fit for a family car. With its spacious design and impressive features, it complements the journey of our characters as they navigate life in a big city. We hope to continue this association with Maruti Suzuki and bring you more heartfelt stories in the future.”
“Maruti Suzuki India Limited is proud to partner with Pocket Aces for ‘Bada Sheher Choti Family.’ This mini-series aligns perfectly with the values that Maruti Suzuki stands for – family, reliability, and resilience. Maruti Suzuki WagonR is more than just a car; it’s a trusted companion for families navigating the journey of life. We hope this series resonates with audiences and reinforces the importance of family bonds,” says Maruti Suzuki India Ltd.
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.
