eNews
66pc Indians polled access pirated content, consumer education vital: Irdeto
MUMBAI: A new online consumer survey from Irdeto, the world leader in digital platform security, found that 71% of Indian consumers polled are aware that producing or sharing pirated video content is illegal, and 64% know that streaming or downloading pirated content is illegal. Despite this high level of awareness, 66% of respondents still choose to watch pirated content. However, the survey also found that over half (56%) of Indian consumers who watch pirated content could be convinced to pirate less, or even stop watching, when told that piracy could hinder studio investment and cause a drop in the quality of content. The online research was conducted in partnership with YouGov and polled over 500 Indian adults aged 18+.
The research found that one in three consumers (30%) who watch pirated content in India are most interested in watching movies that are currently being shown in the cinema, followed by TV series (23%), and live sports (13%) and Blu-ray edition of movies (13%). Interestingly, only 6% of consumers who watch pirated content are interested in viewing digital service movies or TV programmes from content providers like Netflix, Hulu, etc. This reflects the state of video consumption in India, which is still rooted in a preference for local content but increasingly demonstrating an appetite for Hollywood content and more regional films.
“India’s OTT market holds huge potential for operators and content providers, especially with the rise of 129 million urban mass consumers who will drive India’s consumer story. Demand for content on any device will only grow – but so will piracy if it is not adequately addressed,” said Irdeto country manager – India Sanjiv Kainth. “Piracy not only damages revenue streams, but also deters content creators from investing in new content. It impacts the creative process and could provide consumers with less choice. It is important that consumers are aware of the long term impact of this behavior, and that content providers have a 360-degree approach to security and anti-piracy that can prevent pirates from stealing additional market share.”
In regard to the most popular devices used to consume pirated video content, Irdeto’s survey found that 48% of Indian consumers who watch pirate content use their laptops and computers most to watch this content while 25% use their smartphones. Streaming sites and devices were among the least popular channels to watch pirated content, standing at 1% each, while smart TVs, Google Chromecast and Android set-top boxes are used by a mere 3-4% of consumers, among those who watch pirated content.
“Pirate businesses will continue to capitalize on increased demand for content, but innovative operators are making headway in the fight against piracy,” said Irdeto vice president of services Rory O’Connor. “Consumer education, a compelling legal video service and a robust security and anti-piracy program are the best ways to mitigate online and streaming piracy. A comprehensive anti-piracy strategy that includes watermarking, detection and enforcement can prevent pirates from stealing market share.”
Methodology
The research was commissioned by Irdeto and conducted online from January 11, 2017 – January 18, 2017 by YouGov. Total sample size was 502 Indian adults (aged 18+). The figures have been weighted and are representative of the urban population of adults in India (aged 18+).
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.
