iWorld
“At SociallKnot, we understand that every client is unique, with distinct needs and goals”: Shweta Tanwar Mukherjee
Mumbai: Engaging content is essential for capturing and retaining audience attention. SociallKnot crafts interactive content strategies that resonate with the target demographic, driving meaningful interactions and conversations.
The agency specializes in offering a wide range of services customized to meet each client’s unique vision and goals.
In today’s fragmented media landscape, maintaining consistent messaging across various channels is paramount. By synchronizing efforts across social media, traditional media, and other touchpoints, the agency ensures a unified brand experience that resonates with consumers wherever they may be.
Indiantelevision.com reached out to SociallKnot’s partner/head – social media, content & PR Shweta Tanwar Mukherjee, where she briefed upon the agency’s roles in creating strategies for content and more…
Edited excerpts
On SociallKnot setting apart from other agencies in the industry
At SociallKnot, we pride ourselves on being an Integrated Marketing & Social Media Agency based in Gurgaon. What sets us apart is our relentless dedication to tying together the challenges hindering your business growth and crafting the perfect knot of Experiential Marketing, Content, and Strategy. Our mission is to deliver top-tier marketing solutions to businesses of any size, organisation, or cause. We specialise in providing timely and scalable solutions for your marketing challenges, enhancing your brand value along the way.
On SociallKnot’s approach to integrated marketing and social media strategies helping businesses overcome their growth challenges
Our approach at SociallKnot towards integrated marketing and social media strategies is rooted in understanding and addressing the unique growth challenges faced by businesses. We combine creative experiential marketing solutions, concept-based events, and pragmatic Go-To-Market strategies to empower brands to reach their full potential.
On some examples of successful experiential marketing campaigns or events that SociallKnot has executed in the past
Ans. Over the years, SociallKnot has executed numerous successful experiential marketing campaigns and events. From immersive brand experiences to engaging activations, we’ve helped our clients leave a lasting impact on their target audience. Our focus remains on creating memorable experiences that resonate with consumers and drive brand affinity.
On SociallKnot ensuring that its marketing solutions are tailored to the specific needs and goals of each client
Ans. At SociallKnot, we understand that every client is unique, with distinct needs and goals. That’s why we ensure that our marketing solutions are tailored precisely to meet those specific requirements. We take the time to thoroughly understand your business objectives, target audience, and market dynamics, allowing us to develop customized strategies that deliver tangible results.
On SociallKnot aiming to boost brand visibility and integrity for its clients, and what metrics do you use to measure success
Our primary goal at SociallKnot is to boost brand visibility and integrity for our clients through innovative marketing strategies. We achieve this by developing insightful, creative, and unique ideas that effectively convey your brand message. Additionally, we curate quality content that resonates with your audience and adopts your brand voice, ensuring consistency across all channels. To measure success, we utilize a range of metrics, including brand awareness, engagement rates, lead generation, and ultimately, ROI.
Last one, we will also work very diligently on receiving feedback from the clients from our target audience when we do an event so we understand if we are doing it in a particular market or an area we do you know do a little bit in terms of research R & D and generate some data through sampling and all okay how was the event received by the audience if it’s an activity in some specific area so we do a post activity survey kind of a thing you know to understand what surveys they do to gather feedback on R&D efforts and digital feedback forms. Our focus is not solely on social media metrics like leads and engagement, but also on on-ground activities. We use feedback to enhance our learnings.
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.
