iWorld
Asia Pacific region leads in Netflix Q3 2024 results
MUMBAI: The Asia Pacific region is shining for Netflix. At least as far as net subscribers additions (net paid adds) are concerned. The region at 2.28 million net adds in Q3 calendar year 2024 was the topmost contributor. It was followed by 2.17 million net adds in Europe, middle east and Africa (EMEA) and 0.69 million net adds in the US and Canada. Latin America saw a shaving off of 0.07 million net adds during the period. This was revealed by the global streaming giant in its latest financial performance report on Thursday in the US.
Overall, that totted up to five million net paid sub adds in the latest quarter, giving the streamer 282.7 million subscribers globally. It also helped increase its revenue to $9.8 billion – a 15 per cent rise over the corresponding quarter of the previous year. Net income also showed improved to $2.3 billion.
The company said it was working on improving its product/market fit in APAC and it had a strong local content slate in Japan, Korea, Thailand and India in Q3. As a result, its revenue growth rate in APAC (19 per cent growth year on year) led all regions. The revenue growth figures for the other regions were: US & Canada and EMEA (16 per cent – 10 per cent growth in average paid members and five per cent growth in average revenue per member) and Latin America (nine per cent).
“..(We are)…increasingly seeing a steady drumbeat of hit titles from countries around the world,” said Netflix co-CEO, president & director Gregory Peters, during an earnings call with investment analysts. “…you’ve got Japan. You’ve got Korea. You’ve got Thailand. You’ve got India. This represents, again, that decade-plus investment in those creative communities, working with local storytellers there and making sure that they have the capability to tell their stories in a compelling way. So that’s super exciting and we expect to see more of that.”
Among the shows and films from APAC which did well in the quarter included: Tokyo Swindlers from Japan (10.5 million views) and Culinary Class Wars from South Korea (11.0 million views), Officer Black Belt (South Korea, 32.8 million views), and Maharaja (India, 22.6 million views).
Netflix revealed that it streams around 200 billion hours of content yearly and that engagement continues to be healthy at about two hours per day per paid membership on average, despite the impact of paid sharing. That is only expected to go up with the push into live streaming of the WWE for 52 weeks, the Mike Tyson-Jake Paul fight (15 November), and the NFL in December.
Peters said that “it’s worth noting that our share of viewership in even our biggest countries is still less than 10 per cent of TV time. So we look at this as there’s a huge opportunity to grow that share by.. invest (ing) more in our slate, continue (ing) to improve the variety and quality of our offering.”
Additionally, it is continuing its push into the ad based free subscription service which grew 35 per cent in term of number viewers getting into it. This is being done through refining the tech in its back end platform , increasing the number of viewers signng up for it and coming up with new formats for advertising.
On the content front , Netflix Ted Sarandos said that Q3 had some big hits: Perfect Couple, Monsters: The Lyle and Erik Menendez Story, and Nobody Wants This.
He added that “we’re really excited about our Q4 slate because it’s filled with great big titles from the U.S., from Brazil, from Korea, from the U.K., from Germany…. Carry-On, Piano Lesson, Spellbound, Six Triple Eight, Emilia Pérez. So when we look forward into 2025 and beyond, we want to build on that success So our 2025 slate, I look at that as another ambitious step towards this push to make us even greater for our members.
So looking into 2025, you’ve got new seasons of our biggest shows: Wednesday, Squid Games, Stranger Things, on top of new shows from Shonda Rhimes and Ryan Murphy, a new Knives Out film from Ryan Johnson, Guillermo del Toro’s Frankenstein, even the return of Happy Gilmore. So we could not be more excited about where we sit right now and where we’re heading.”
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.
