iWorld
Flag Telecom founder to establish Indian Ocean subsea cable
MUMBAI: A new subsea cable will connect Singapore to Mumbai on India’s west coast. Apart from this one, cable entrepreneur Sunil Tagare recently announced another new subsea cable project, designed to connect Marseille to New York directly.
Without giving funding details, Tagare, in LinkedIn posts, stated that his company Sing-India-Sing Cable would bypass India’s Reference Interconnection Offer (RIO) rules. It would land in an open cable station in Mumbai where the RIO charges would be zero and any carrier would be able to access the cable landing station, he added.
On the Mumbai-Singapore cable, Tagare said that he would sell only full fibre pairs, but on the Marseille-New York cable you could buy a full, half or a quarter fibre pair and have complete control over upgrades and your equipment.
And, Tagare, who has a record in cable projects, stated that Open India would also be an internet exchange where customers could freely choose the carriers and create real competition on the ground.
In 1989, Tagare began the privately financed Fiber Optic Link Around the Global (Flag), which Verizon sold to Reliance Communications; now called as Global Cloud Xchange. Tagare, who quit Flag Telecom in 1996, later founded Project Oxygen cable project unrelated to the current Google operation of a similar name. He later established BuySellBandwidth capacity trading business.
Tagare’s NY project will be called Brexit-1, he declared. It would connect over a dozen cables landing in Marseille from the Middle East, India and Asia to New York bypassing the United Kingdom, he added.
It would be the lowest latency cable between Marseille and New York, he professed, adding, with the chaos around Brexit, it was virtually impossible to know how it would shake out over the next few years. The best bet right now was to avoid the UK totally.
Brexit-1 cable has been designed to run through the Straits of Gibraltar, a decision that has set off a discussion online. Tagare said that route diversity was a critical element of network planning. Almost half a dozen cables already traversed the Straits of Gibraltar. Burying the cable would also enhance security.
In his blog, Tagare stated:
“The first cable will be a direct cable linking Mumbai, India to Tuas, Singapore called Sing-India-Sing. The second cable is called Brexit-1.
I believe that India represents the biggest opportunity for new submarine cable deployment. The only reason it has lagged behind the rest of the world is the arcane RIO (Reference Interconnection Offer) regulations that enabled carriers to charge atrocious access charges. This was reflected in IP Transit rates more than an order of magnitude higher than those in Europe and the US — thereby significantly hurting businesses in India.
So, recently, TRAI won a court case filed by Tata Communications and Bharti Airtel which now will force the carriers to drop their RIO charges by 90%. And TRAI is not done. It wants to pursue this further and get the carriers to drop the RIO charges by 98%.
But as anyone who has done business in India knows, RIO is just one problem faced by customers. Basically, it is almost impossible to move between carriers for lack of Internet Exchanges. So you end up with having no choice from a practical perspective.
It is quite possible you may not need a full fiber pair to India right now but if the price you are paying for a full fiber pair is equivalent to a handful of 100G circuits today, what difference does it make? The minimum speed per fiber pair will be 10 Tbps.”
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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.
