iWorld
Now ‘Watch’ original videos & shows on Facebook
MUMBAI: FB is excited to see how creators and publishers use shows to connect with their fans and community. Watching video on Facebook has the incredible power to connect people, spark conversation, and foster community. On Facebook, videos are discovered through friends and bring communities together.
As more and more people enjoy this experience, FB has learned that people like the serendipity of discovering videos in News Feed, but they also want a dedicated place they can go to watch videos. That’s why last year FB launched the Video tab in the U.S., which offered a predictable place to find videos on Facebook. Now FB wants to make it even easier to catch up with shows you love.
FB will be introducing Watch to a limited group of people in the U.S. and plan to bring the experience to more people soon. Similarly, FB will be opening up Shows to a limited group of creators and plan to roll out to all soon.
Introducing Watch
FB is introducing Watch, a new platform for shows on Facebook. Watch will be available on mobile, on desktop and laptop, and in our TV apps. Shows are made up of episodes — live or recorded — and follow a theme or storyline. To help you keep up with the shows you follow, Watch has a Watchlist so you never miss out on the latest episodes.
Watch is personalized to help you discover new shows, organized around what your friends and communities are watching. For example, you’ll find sections like “Most Talked About,” which highlights shows that spark conversation, “What’s Making People Laugh,” which includes shows where many people have used the “Haha” reaction, and “What Friends Are Watching,” which helps you connect with friends about shows they too are following.
FB has learned from Facebook Live that people’s comments and reactions to a video are often as much a part of the experience as the video itself. So when you watch a show, you can see comments and connect with friends and other viewers while watching, or participate in a dedicated Facebook Group for the show.
A Platform for Shows
Watch is a platform for all creators and publishers to find an audience, build a community of passionate fans, and earn money for their work. FB thinks a wide variety of Facebook shows can be successful, particularly:
Shows that engage fans and community. Nas Daily publishes a daily show where he makes videos together with his fans from around the world. The Watchlist makes it easy for fans to catch every day’s new episode.
Live shows that connect directly with fans. Gabby Bernstein, a New York Times bestselling author, motivational speaker, and life coach, uses a combination of recorded and live episodes to connect with her fans and answer questions in real time.
Shows that follow a narrative arc or have a consistent theme. Tastemade’s Kitchen Little is a funny show about kids who watch a how-to video of a recipe, then instruct professional chefs on how to make it. Each episode features a new child, a new chef, and a new recipe. Unsurprisingly, the food doesn’t always turn out as expected.
Live events that bring communities together. Major League Baseball is broadcasting a game a week on Facebook, enabling people to watch live baseball while connecting with friends and fellow fans on the platform.
FB thinks Watch will be home to a wide range of shows, from reality to comedy to live sports. To help inspire creators and seed the ecosystem, FB has also funded some shows that are examples of community-oriented and episodic video series. For example, Returning the Favor is a series hosted by Mike Rowe where he finds people doing something extraordinary for their community, tells the world about it, and in turn does something extraordinary for them. Candidates are nominated by Mike’s fans on Facebook.
Addressing Cloaking
FB has always been working to combat the spread of misinformation and the financially-motivated bad actors who create misleading experiences for people. FB is now sharing additional steps FB ’ve taken to remove even more of them from Facebook, so that what people see after clicking an ad or post matches their expectations.
Some of the worst offenders use a technique known as “cloaking” to circumvent Facebook’s review processes and show content to people that violates Facebook’s Community Standards and Advertising Policies. Here, these bad actors disguise the true destination of an ad or post, or the real content of the destination page, in order to bypass Facebook’s review processes. For example, they will set up web pages so that when a Facebook reviewer clicks a link to check whether it’s consistent with our policies, they are taken to a different web page than when someone using the Facebook app clicks that same link. Cloaked destination pages, which frequently include diet pills, pornography and muscle building scams, create negative and disruptive experiences for people.
Since cloaking exists across many of today’s digital platforms, we will also be collaborating closely with other companies in the industry to find new ways to combat it and punish bad actors. Over the past few months FB have been ramping up our enforcement across ads, posts and Pages, and have strengthened our policies to explicitly call out this practice. FB will ban advertisers or Pages found to be cloaking from the platform.
How FB Identifies Cloaking
FB is utilizing artificial intelligence and have expanded our human review processes to help us identify, capture, and verify cloaking. FB can now better observe differences in the type of content served to people using our apps compared to our own internal systems.
In the past few months these new steps have resulted in us taking down thousands of these offenders and disrupting their economic incentives for misleading people.
How Will This Impact My Page?
FB sees cloaking as deliberate and deceptive, and will not tolerate it on Facebook. FB will remove Pages that engage in cloaking. Otherwise Pages should not see changes to their referral traffic.
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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.
