iWorld
Amazon’s Jeff Bezos tells Bollywood content is Prime motive
MUMBAI: Jeff Bezos is used to thinking big. He is also used to controversies. So even as his plan to invest a billion dollars in Amazon’s India operation got a lot of press and protests and a snub from commerce minister Piyush Goyal (at a time when the competition commission is investigating "predatory pricing"), the billionaire sat down with Indian superstar Shahrukh Khan and Zoya Akhtar for a half hour tete-a-tete around his prime video service in Mumbai during an event where the crème de la crème of Bollywood was invited.
And what he said must have sent a lot of flutters in the hearts of the creative talent that is seeking to put their films and originals on the Prime Video platform.
“It''s a vehicle to make fantastic content and from a business point of view, it works for us as well. Prime Video is doing well all over the world – Germany, Japan, America, everywhere,” he admitted to Shahrukh. “But nowhere is it doing as well as it is in India where our watch times have grown over six times in two years.”
With that kind of growth, he has been more than encouraged to double down investment in original content.
“The whole world is witnessing ‘a golden age of television.’ When you look at TV series today, they are really good in terms of quality. They're as good as the very best movies have ever been. And now we're getting the best storytellers and actors to come and do TV,” he disclosed.
"This is one of those businesses where the viewer is always looking for something fresh. And so you can never find a formula because as soon as you find the formula, it's not fresh anymore. So it really takes human ingenuity… I want Amazon Studios to be all over the world."
He further highlighted that he wants Amazon Studios to be "the most talent friendly studio in the world.”
"One of the hardest things that humans do is tell riveting, engaging, inspiring stories. When you get it right, it's a lever that can change the world," he pointed out.
The Prime Video India team used the ocassion to showcase seven new shows which are to make their debut on the streaming service: "Dilli", "Bandish Bandits", "Paatal Lok", "Gormint", "Mumbai Diaries-26/11", "The Last Hour" and "Sons of Soil- Jaipur Pink Panthers”. Additionally, new seasons of Mirzapur, Four More Shots Please, Breathe, The Family Man, and Inside Edge were also announced.
Prime Video’s original team is headed internationally by James Farell, while Vijay Subramaniam heads the India piece and has been driving most of the shows which have found traction with audiences as well as from critics.
The Prime service is subscription driven and is priced at Rs 999 a year in India promising acess to the streaming service as well as overnight delivery of products from the ecommerce platform. In the US, it’s upwards of $100 a year or $12.99 a month. It has, in recent times, launched a free advertising video on demand service ImdbTV, offering its originals and movies to viewers who don’t mind watching TVCs.
Among those who attended the Mumbai event included: Kamal Haasan, Kabir Khan and his wife Mini Mathur, Farhan Akhtar with Shibhani Dandekar, Ritesh Sidhwani with his wife Dolly, AR Rahman (who later performed), Riteish and Genelia Deshmukh, actor Pankaj Tripathi, Vidya Balan and Siddharth Roy Kapur, Rajkumar Rao, Richa Chadda, Manoj Bajpai, and Vivek Oberoi.
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.
