iWorld
Oliver Kahn discusses leadership in ‘Duologue with Barun Das S2E2 CTV premiere
Mumbai: The second episode of ‘Duologue with Barun Das’ Season 2 premiered on India’s only 24×7 digital English CTV news stream News9 Live, at 9 pm on 25 May 2024. Episode 2 features the serial disrupter of the news media landscape engaging in an in-depth conversation with legendary German goalkeeper, Oliver Kahn. The webisode dives into Kahn’s unparalleled career, his insights into leadership, and his reflections on the essence of the beautiful game.
Barun Das, the MD and CEO of TV9 Network, kicks off the conversation by expressing his overwhelming admiration for Oliver Kahn, acknowledging him as a true legend and the “G.O.A.T.” (Greatest of All Time). Delving into the challenges of being a goalkeeper, the two men share experiences about the loneliness at the top and the immense responsibility of serving as the last line of defence – on the pitch or in an organisation.
In a never-seen-before revelation of the secrets to his success, Kahn shares intimate details of his journey, reflecting on the three key levers of leadership. The conversation navigates the delicate balance between physical prowess and mental fortitude in the realm of sports, with Kahn reflecting on how sheer hard work compensated for his perceived lack of natural talent in his early days of football.
In a walk down memory lane, Kahn recalls the reasons for his interest in the art of goalkeeping, and the two men who shaped the destiny of the legend he would go on to become. Retracing the ups and downs of his career, he finds common ground with Barun Das in their approach towards adversity, leadership and responsibility.
While on the subject of the latter, Kahn bares an uncharacteristically vulnerable side to himself, talking about the importance of learning to deal with loss in a sport where, as he puts it, “the winner takes it all”.
One of Kahn’s most defining moments, both as a player and as a person, took place during the crucial, final minutes of the 2002 World Cup final, when Germany conceded a second goal to Brazil, with Oliver Kahn in the post. What was learned only later, however, was that Kahn played on even with torn ligaments in his right hand.
“That’s what you have to do as a leader. There are no excuses. You are responsible”, he says, talking about the ill-fated match. Refusing, even today, to let the injury be cited as the reason for his concession of the goals, he says, “I was the goalkeeper. I made the mistake… And I have to take responsibility for that mistake. There are no excuses for that”.
Ever the goalkeeper at heart, Kahn also shares his appreciation for the keeping chops of the player on the Argentine side who he believes to be the true, underrated star of the 2023 World Cup.
Having plenty of managerial experience as former CEO of Bayern Munich, Kahn also shares his thoughts on the future of football in India, emphasizing three crucial boxes that he believes need ticking for India to take its soccer teams to global turfs.
The conversation, between one legendary CEO and a legendary player-turned-CEO, will be followed by an episode featuring the renowned author and alternative medicine advocate Dr. Deepak Chopra, on Saturday the 1 June 2024, only on News9 Live.
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.
