eNews
Anil Kumble to be Brand Ambassador of CricketNext
MUMBAI: News18’s CricketNext.com has appointed former India captain and head coach Anil Kumble as its brand ambassador. Popularly known as ‘Jumbo’, Kumble is one of the most respected figures in the world game. He will bring his unique perspective in the form of video analysis, expert columns and fan interactions for their audience on the platform. Kumble’s association begins with a special show airing on CNN-News 18 at 11:30am on Saturday (December 1) to preview India’s all-important tour of Australia.
The complete show will immediately be available on CricketNext for the audience to view online and repeats on Sunday (December 2) at 11:30pm on CNN-News 18.
One of the greatest cricketers of all time, Kumble is among a select group of players to have rubbed shoulders with three generations of cricketers since his debut in 1990 until his retirement in 2008. Kumble holds the record for the most wicket taken by an Indian in Tests (619) and ODIs 337. He is also only one of two bowlers in history to have claimed all 10 wickets in a Test innings, a feat he achieved against Pakistan in New Delhi in 1999.
The digital platform’s existing pool of world-class cricket analysts has been amplified with Anil Kumble being on board to share his expert views on the sport. Through the association, the platform intends to enhance its bouquet of quality, original and exclusive content featuring a cricket legend, for its audience.
Talking about the association, Gaurav Kalra, Group Editor (Sports) – Network18 said, “Anil Kumble is one of the most respected figures in the world cricket. Apart from his outstanding achievements as a player, he is one of the most erudite and thoughtful cricketers of our time with a deep understanding of the game. I am thrilled that Anil will be sharing his thoughts and analysis on the burning issues in the game, across formats, on CricketNext. I am sure our audience will be eagerly awaiting his inputs and in-depth insights on the sport.”
Kumble’s association coincides with the introduction of the all-new CricketNext app, now available for download. It has a revamped interface, with a dashboard-style, visual live match scorecard featured on the home screen. Apart from live scores, ball by ball commentary and fixtures, the app has a brand new, in-depth statistics section, powered by 141 years of cricket data. Users can start by exploring one of the curated lists of statistics, and then dig deeper into cricket history by filtering the results to find exactly what they’re looking for.
The app has every past, present and upcoming series, going all the way back to the first Ashes played in 1877. Users can explore matches in detail; summary, quick scorecard, full scorecard, pitch report, squad lists, top performers of each team, head to head analysis, SWOT analysis, as well as batting, bowling and fielding stats. Going beyond the numbers, users can explore the match through interactive graphs.
CricketNext prides itself in offering the sharpest opinion, incisive analysis, as well as a unique perspective, brought to you by a team of veteran cricket writers and analysts, including Ayaz Memon, Prem Panicker, Siddhartha Vaidyanathan, Amit Varma and several others. The app features news, photos, videos, podcasts, quizzes, polls, live blogs, and player and team profiles.
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
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.
