eNews
Copyright Force finally here to fight online piracy
NEW DELHI: The Copyright Force is finally here to fight online content piracy, which has been bleeding the Indian content companies, from film, music and TV world, billions of rupees in revenues as pirates have been making hay.
It seems in co-ordinated movements by the Indian government and the industry, plans have been initiated to seriously fight the online piracy menace. While the Department of Industrial Policy and Promotion (DIPP), under Commerce Ministry, earlier this week discussed the copyright and piracy issues with stakeholders, industry body FICCI sent out notes to stakeholders to be part of Copyright Force, a unique cross-industry coalition.
Globally online piracy of content costs trillions of dollars that have prompted several industry organisations to focus specifically on arresting online piracy. According to Dubai-based GO-Gulf, there are $12.5 billion in economic losses each year due to piracy in the music industry alone; 71,060 jobs are lost in the United States every year due to piracy and $2.7 billion in workers’ earnings are lost each year due to online piracy. Interestingly, according to the research, India is ranked 5th (60 per cent) in the Top 10 countries with online piracy, while China tops the list with 91 per cent piracy.
The DIPP meeting of stakeholders, including producers from film and TV industry, was held to discuss issues related to copyright infringement and ways to tackle online piracy. The meeting, chaired DIPP joint secretary Rajiv Aggarwal, not only appreciated efforts being initiated by the Telangana Intellectual Property Crime Unit or TIPCU to curb piracy of copyright protected material, but expressed the need to adopt this model by other states also to check the menace within their respective jurisdiction.
Incidentally, TIPCU is a motivated version of Police Intellectual Property Crime Unit (PIPCU), funded by the Intellectual Property Office of the UK and run by the City of London Police with a special focus on offences committed online.
The industry initiative, helmed by FICCI, is on the lines of discussions at DIPP — to facilitate exchange of global best practices, support platforms that encourage B2G and G2B dialogue and encourage initiatives to promote and protect copyright and possibly take action against offenders, along with law enforcement agencies.
While highlighting the need for a robust copyright eco-system and acknowledging the National IPR Policy was as a step in the right direction, FICCI outlined the objectives of the Copyright Force:
# Highlight vital role that copyright plays in fostering creativity and culture, stimulating investmentsand economic growth, while serving to enhance the competitiveness of industry and business
# Encourage innovation and improved consumer experience through legitimate content delivery platforms
#Address the challenge of piracy that undermines the growth potential of this sector.
The Copyright Force, which will bring together leaders in the fields of film, television, music, media, Internet, technology and OTT content delivery platforms, likely to have its first formal meeting sometime in January 2017. Some of the biggest broadcasting companies in India have been part of initial discussion on the formation of Copyright Force.
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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
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.
