iWorld
Eros Now to launch original regional web series by early 2019
MUMBAI: Eros Now, the digital arm of Eros International announced its foray into the original content space with its first series Side Hero, with all episodes available for binge-viewing from 24 September 2018. Directed by Rohan Sippy and produced by Ramesh Sippy entertainment productions, Side Hero stars Kunaal Roy Kapur as a fictionalised version of himself, trying to become a lead hero and prove that acting is not just a hobby.
The web series consists of eight episodes with duration of 25-30 minutes. According to Eros Group chief content officer Ridhima Lulla, all the shows Eros Now intends to create are multi-seasonal. The OTT platform plans to roll out one to two originals a month. “We don’t want to restrict ourselves in the genres we want to create. This one is comedy, you will also see in drama, thriller, mythology or fantasy,” she added.
The show’s quirky tagline ‘IskoKaunDekhega’ takes a dig at Kunaal Roy Kapur’s character showcasing Side Hero’s self-deprecating humour.
Eros Digital chief operating officer Ali Hussein said, “The platform is planning to launch regional content in early 2019. All our short form content is free and long form content is behind the pay-wall. Currently, we are trying to figure out how to work with the advertisers not just in the short form but also in the long form space. We won’t be like a traditional AVOD brand. We are in conversation with top 10 brands in the country like Cadbury, Fevicol, Nivia, Myntra, Diageo and they have all reached out to us.”
Lulla mentioned that there will be regional focus too as Eros doesn’t want to only look at Hindi content. “First few months we will focus on Hindi but in the next couple of months we will be kicking off a lot of regional content as well,” she said.
The digital entertainment platform plans to strategically encompass marketing elements such as on-air promotions, creating social media buzz, on-ground association, outdoor campaigns, radio spots and various PR tools, making it an impactful campaign. Side Hero will be extensively promoted on major broadcast channels through a 15-day long campaign alongside aggressive promotions on leading radio stations in Mumbai, Delhi and Bangalore. Eros Now will also tactically use outdoor medium for promotions at 100+ sites in Mumbai.
“We have got our partners like Google, Apple and many more doing something interesting for us. I think the surrounding noise of it is bigger than what Netflix and Amazon can potentially do because we are not necessarily dependent on a third party medium. Media value of our budget will be bigger than Amazon and Netflix because of our partnerships,” Hussein added.
As of August 2018, Eros Now enjoys viewership from 100+ countries and is further strengthening its global presence. Eros Now will leverage its partnerships with leading international brands like Xiaomi Mi TV, Dialog Axiata and more to present its original content across Asia and beyond.
“We are launching in at least 4-5 new countries in terms of specific alliance and partnerships in the next 3-4 months. We are already present to localise partners in key NRI markets around the world,” he concluded.
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.
