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2014: A year of improved subscriber numbers
The year 2014 has been better than the previous year, in terms of the share of numbers for all direct to home (DTH) players. Subscriber additions were higher and there was more stability in the overall industry. In terms of price discounting, people were more rational through the year. Overall, it has been a much better year than 2013.
Increased subscriber numbers and ARPU
Overall additions in subscribers, for all the DTH players, were higher in the magnitude of 25-30 per cent than the previous year.
That apart, the churn came down substantially, not only for Dish TV, but for all the other DTH players as well.
2014 also saw a rise in the Average Revenue Per User (ARPU). But there are still problems, since the whole cable TV system hasn’t stabilised and gross billing hasn’t been fully implemented. Though, we do see some encouraging signs, in terms of people getting down to doing that now.
DTH has been able to take price increases through the year. There was a price increase which took place in April, at the magnitude of 8-9 per cent. But the big collection from the ground will happen only once cable TV gets its act together.
Different people calculate ARPU differently. For example, Dish TV calculates it on subscriber revenue, whereas Airtel Digital TV, as per its published figures, looks at gross numbers, and so do others. So there is no common matrix being used across the industry for definition of ARPU. But having said that, at the consumer level, the consumer prices are in the average price range of Rs 250-275.
Challenges in 2014
One of the major challenges that we continue to present to both the state and central government is on the high level of taxation on DTH. Apart from the taxation element which we have been presenting, we are the only industry which is subject to service tax and entertainment tax. While we were hoping for some relief in the last budget, we didn’t get that, we hope we will get some relief in the coming year.
Secondly, there is no clarity on the licence fee issue, even though the Telecom Regulatory Authority of India (TRAI) issued a recommendation, there has been no action on that front.
So while we lived in continued uncertainty in 2014, we hope that the government will take some steps in 2015. People have invested more than Rs 25000 crore in the industry, so at least we have the right to know what the law of the land will be going forward.
The new launch Zing
It has been an extremely successful product in all the geographies we launched. The specific proposition that we had, which was regional first and targeting the entire product mix around consumption has clicked very well with the customers. So we are very pleased with the way things have come.
Highs and lows of 2014
For Dish TV, it has been a fairly stable year. We regained our share leadership for about last three to four quarters. We launched a significant and tactical product in Zing which has helped us capitalize on the phase III and IV areas. The high point has been that we have been able to, post the balance sheet adjustment that we did last year, been able to get back on the growth path, which is what we have always said and we achieved that in 2014.
The low point is at two levels: At one level, the whole issue of taxation and licence fee kept dragging for the whole year. Secondly, we expected the cable TV and broadcaster system to stabilize the whole regime. The whole issue of getting proper addressability and customers to actually choose and compare products has still not happened.
Delayed Digitisation
First and foremost, the manner of digitisation needs to be addressed. What has happened in the first two phases is simply the change of pipe. This has not been supported by addressability and that is the reason there has been no or marginal change in the revenue flow.
Until and unless these issues are addressed, a non-addressable digitisation is of no help to anybody, neither to the government nor the stakeholders. We hope that by the time they get down to it, we will have some better roadmap of how to achieve that.
(These are purely personal views of Dish TV CEO R C Venkateish and indiantelevision.com does not necessarily subscribe to these views)
MUMBAI: 2025 will be remembered as the year India’s OTT industry stopped chasing scale for its own sake and began reckoning with how audiences actually consume content. Completion rates fell, patience wore thin and the limits of long-form excess became impossible to ignore. In this guest column, Pratap Jain, founder and CEO of ChanaJor, traces how micro-drama moved from the fringes to the centre of viewing behaviour, why short-form fiction emerged as a retention engine rather than a trend, and how platforms that respected time, habit and emotional payoff were the ones that truly grew up in 2025.
If there is one thing 2025 will be remembered for in the Indian OTT industry, it’s this: the industry finally stopped pretending.
Stopped pretending that bigger automatically meant better.
Stopped pretending that viewers had endless time.
Stopped pretending that scale without retention was success.
What began as a quiet reset in 2023 and a cautious correction in 2024 turned into a very visible shift in 2025. Business models matured. Content strategies tightened. And most importantly, platforms started aligning themselves with how Indians actually watch content, not how the industry wished they would.
At the centre of this shift was micro-drama—not as a trend, but as a behavioural inevitability.
When OTT finally understood the time problem
For years, long episodes were treated as a marker of seriousness. A 45–60 minute runtime was almost a badge of credibility. Shorter formats were pushed to the margins, labelled as “snack content” or “mobile-only.”
That belief quietly collapsed in 2025.
What platform data showed very clearly was not a drop in interest—but a drop in patience. Viewers weren’t rejecting stories. They were rejecting commitment.
Across platforms, the same patterns appeared:
* First-episode drop-offs on long-form shows kept increasing
* Completion rates continued to slide
* Viewers were sampling more titles but finishing fewer
At the same time, shows with episodes in the six to 10 minute range started showing the opposite behaviour: higher completion, higher repeat viewing, and stronger daily habit formation.
Micro-drama didn’t win because it was short. It won because it respected time.
Micro-Drama didn’t arrive loudly. It took over quietly.
There was no single moment when micro-drama “launched” in India. It crept in through dashboards and retention charts.
By mid-2025, it was clear that viewers were happy watching four, five, sometimes six short episodes in one sitting—even when they wouldn’t finish a single long episode. Romance, relationship drama, slice-of-life conflict, and grounded comedy worked especially well.
This wasn’t disposable content. It was compressed storytelling.
In shorter formats, there was no room for indulgence. Every episode had to move the story forward. Weak writing was punished faster. Strong writing was rewarded immediately.
Micro-drama raised the bar instead of lowering it.
Where ChanaJor naturally fit into this shift
ChanaJor didn’t pivot to micro-drama in 2025 because the market demanded it. In many ways, the platform was already built around the same viewing behaviour.
From the beginning, ChanaJor focused on short-to-mid-length fictional stories that felt close to everyday Indian life—hostels, rented flats, office romances, small-town relationships, young people figuring things out. Stories that didn’t need heavy context or cinematic scale to connect.
What worked in ChanaJor’s favour in 2025 was clarity:
* A clearly defined audience
* Tight episode lengths
* Storytelling that prioritised emotion and pace over spectacle
While several platforms rushed to copy global micro-drama formats, ChanaJor stayed rooted in familiar Indian settings and conflicts. That familiarity mattered. Viewers didn’t have to “enter” the world of the show—it already felt like theirs.
Why audiences started responding differently
One of the biggest misconceptions going into 2025 was that audiences wanted shorter content because their attention spans had reduced. That wasn’t entirely true.
What viewers actually wanted was meaningful payoff per minute.
On platforms like ChanaJor, episodes didn’t waste time setting the mood for ten minutes. Conflicts arrived early. Characters were recognisable within moments. Emotional hooks landed fast.
A typical consumption pattern looked like real life:
* One episode during a break
* Two more before sleeping
* A few the next day
This is how viewing habits are built—not through marketing spends, but through comfort and consistency.
Viewers came back not because every show was a blockbuster, but because they knew what kind of experience to expect.
2025 was also the year OTT faced business reality
The other big change in 2025 was on the business side. Subscriber growth slowed. Discounts stopped hiding churn. Customer acquisition costs rose.
Platforms were forced to ask harder questions:
* Are viewers finishing what they start?
* Are they returning without reminders?
* Is this content worth what we’re spending on it?
This is where micro-drama began outperforming expectations. A well-written short series could deliver sustained engagement without massive budgets. It didn’t peak for one weekend and disappear—it stayed alive through repeat viewing.
Platforms like ChanaJor benefited because they weren’t chasing inflated launch numbers. The focus was on consistency and retention, not noise.
Failures Became Visible Faster
2025 also exposed weaknesses brutally.
Several platforms assumed micro-drama was a shortcut—short episodes, quick shoots, instant traction. What they discovered was that bad writing fails faster in short formats than in long ones.
Viewers dropped off within minutes. Episodes were abandoned mid-way. Weak stories had nowhere to hide.
Micro-drama didn’t forgive laziness. It amplified it.
The platforms that survived were the ones that treated short storytelling with the same seriousness as long-form—sometimes more.
OTT Stopped Chasing Prestige and Started Chasing Habit
Perhaps the most important shift in 2025 wasn’t technical or creative—it was psychological.
OTT stopped trying to look like cinema. It stopped chasing validation through scale and awards alone. It began behaving like what it actually is in people’s lives: a daily companion.
Platforms like ChanaJor found their space here because that mindset was already baked in. The goal wasn’t to dominate a weekend launch. It was to quietly become part of someone’s everyday viewing routine.
That shift changed everything—from release strategies to how success was measured.
What 2025 Ultimately Taught the Industry
By the end of the year, three truths were impossible to ignore:
* Time is the most valuable thing a viewer gives you
* Retention matters more than reach
* Format must follow behaviour, not ego
Micro-drama didn’t take over because it was fashionable. It took over because it fit real life.
Looking Ahead
Micro-drama is not replacing long-form storytelling. It is redefining the baseline of engagement.
Longer shows will survive—but only when they earn their length. Short-form fiction will continue to evolve, becoming sharper, more emotionally confident, and better written.
Platforms like ChanaJor have shown that it’s possible to grow without shouting—by understanding the audience, respecting their time, and telling stories that feel real.
2025 wasn’t the year OTT became smaller. It was the year it became smarter.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
