iWorld
ZEE5 LAUNCHES KHAAR, A DOCUDRAMA ON THE ICONIC DANDI MARCH
Mumbai, 26th September 2018: After the success of recent originals like Karenjit Kaur – The Untold Story of Sunny Leone, Lockdown, Akoori, Lal Bahadur Shastri’s Death – An Unfinished Story among others, ZEE5 – India’s largest and most comprehensive digital entertainment platform for language content is set to stream Khaar. A docudrama on Mahatma Gandhi’s significant Dandi March to Dandi, Khaar will premiere on 2nd October exclusively on ZEE5.
Watch the trailer here:
While a lot has been said about Mahatma Gandhi’s contribution to India’s independence, not too many people know that he often had to face opposition even from his close aides from the Indian National Congress. The idea for the salt satyagraha had been his brain child and one that changed the course of our independence struggle; yet it didn’t have the popular support within the Congress. But, Gandhiji pressed on with the belief that he was on the right path. Khaar unfolds the many challenges that Gandhiji faced before initiating the Dandi March, and triggering the most dramatic chain of events that led to India’s independence.
The docudrama features Surendra Rajan as Mahatma Gandhi, Sanjay Gurbaxani as Nehru, Amit Singh Thakur as Sardar Vallabhbhai Patel, Tarakesh Chauhan as Maulana Azad. To give the audience an immersive experience, the show has Annu Kapoor lending his voice as a narrator.
Commenting on his association with ZEE5 and as the narrator of Khaar, Annu Kapoor said, “The Dandi March initiated by Gandhiji was an iconic movement against the British and a milestone in India’s movement for freedom. Today’s youth are hardly aware of the real story behind the movement and what better than a digital medium like ZEE5 to reach out to them with the truth behind the mission. I am extremely proud to lend my voice to this docudrama and thankful to ZEE5 for taking the initiative to recreate the story in an engaging way.”
Manish Aggarwal, Business Head, ZEE5 India commented, “We take pride in announcing Khaar as our latest offering to the audience on Gandhi Jayanti. Docudramas have been well received on the platform, we launched Lal Bahadur Shastri’s Death – An Unfinished Story on Independence Day and Khaar is another effort in that direction. The well-researched story dives deeper into the other side of history and Gandhiji’s ideology, with a gripping storyline backed by Annu Kapoor’s spellbinding narration. We are certain that Khaar will not only entertain audiences but also give them an opportunity to learn about unknown facts of the Dandi March.”
With over 3500 films, 500+ TV shows, 4000+ music videos, 35+ theatre plays and 90+ LIVE TV Channels across 12 languages, ZEE5 truly presents a blend of unrivalled content offering for its viewers across the nation and worldwide. With ZEE5, the global content of Zindagi as a brand, which was widely appreciated across the country, has also been brought back for its loyal viewers.
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.
