iWorld
Hotstar innovates; to explore 3D virtual reality with Kabaddi World Cup
MUMBAI: The Twenty First Century Fox owned video streaming platform is setting new benchmarks. First, it announced that it had become the most downloaded video app in India with the figure at about 90 million. Then it announced that it was looking at a watch time of a billion minutes a day. And then it made it possible for users to download its portfolio of local TV shows, movies and sports highlights to the phone Now it has announced that it will be streaming the upcoming Kabaddi World Cup in Ahmedabad from 7-22 October in stereoscopic 3 D virtual reality, something which has been rarely attempted in more developed streaming markets.
All that viewers have to do to enjoy the 3D VR experience on is don the Samsung VR headsets and Google Cardboard devices while watching the action on both IoS and Android handsets. The VR experience will allow sports fans to get a complete panoramic view of the game and the stadium using touch and gyroscope. Fans will also be able to switch between different cameras in a 360 degree experience, thereby taking full control of their experience
“We owe our loyal and growing platform users the very best video experience in the world,” says Hotstar CEO Ajit Mohan. “Fans in India look to Hotstar to set the benchmark for video streaming. We are excited to bring a dramatic new live experience to sports fans.”
To enable this dramatic new experience, the Kabaddi World Cup games are being shot in stereoscopic 3D using two camera pods (in addition to the multi camera setup of the traditional production) including 12 cameras per pod, which allows for an immersive production and stereoscopic capture. Users of Samsung Gear VR will have access to the Hotstar app on the Oculus store, another groundbreaking initiative from the video streaming service.
The live VR stream for the Kabaddi World Cup will be available to fans in two formats: a personalized, 2D user-controlled experience for viewers without headsets, and in full stereoscopic, TrueVRTM for Google Cardboard and Gear VR headsets. It is the first time VR content from a live event of this magnitude will be available on multiple headsets and mobile operating systems.
Hotstar users will be able access the live TrueVR feed by either selecting the Google Cardboard feature in Hotstar’s iOS and Android apps or by downloading the Hotstar Gear VR app from the Oculus Store.
The Kabaddi World Cup will see 12 National teams participating from across the globe. These teams have been divided into two groups, namely A and B. Group A comprises of India, Bangladesh, South Korea, Australia, England and Argentina, while Iran, Thailand, Japan, the US, Poland and Kenya are placed in Group B. Tournament favourites India begin their tournament journey with the first match against South Korea on 7 October , 8 pm IST onwards.
The Kabaddi World Cup, meawhile, has managed to attract five sponsors among which figure Patanjali Special Chawanprash as co-presenting sponsor, Volini, Thums Up, Indo-Nissin as partners with the fifth sponsor being Syska LEDs. Star has made the telecast of the Cup available in four languages: while Star Sports 1 and 2 will provide English commentary. Star Sports 2 and 3 will provide the Hindi feed and Suvarna Plus and Maa Movies will telecast in Kannada and Telugu respectively
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.
