iWorld
Branded content drives Viu
MUMBAI: Within two years of launch, over-the-top (OTT) service Viu has created a unique value proposition of fresh and localised regional and local premium TV shows, movies and originals for its consumers every day.
While digital shows are becoming increasingly popular among the masses, brand marketers are exploring innovative ways in which they can garner interest for their brand by strategically incorporating branded content. In 2017, a number of brands jumped on to the AFP bandwagon, making it a wonderful year for branded content.
Viu India head monetisation & distribution Sameer Gogate said, “Our constant focus is to ensure that there is a strong story, and content becomes the hero along with seamless integration of the brand. We have been able to make content a surrogate for advertising, and we believe this model is here to stay. McDowells No.1 Yaari and Nicotex presents I Can You Can were win-win AFP partnerships which saw the delivery of great original content by integrating the essence of the partner brands in a creative and frictionless way. It reinforced our belief in AFP being a viable revenue stream as part of our overall monetisation model. I think it sets the tone for us to explore more such successful branded content partnerships in the coming year.”
Viu India country manager Vishal Maheshwari said, “Our strategy is deeply anchored in technology and consumer insights. Research affirms that regional content on OTT will command close to 30 per cent of the overall share in the years to come. Indian language internet users will drive the next phase of internet adoption in India. This new generation of users will come on board from tier 2 and tier 3 cities and with this potential increase in consumer base, there will be an immense demand for intriguing regional content. With Viu, we have always been about global expertise and local execution and that’s why we are focused on entertaining this new generation with content in languages with which they are familiar.”
Year 2017 was full of colors for Viu. It launched the first bilingual digital show in Hindi and Telugu – Social. It started with cricket comedy chat shows like What the Duck and Virender Sehwag’s micro-original Viru ke Funde, which has now evolved to a roster of nearly 12 premium shows and more in the pipeline (a combination of long form and short form). It tied up with Vikram Bhatt for multiple long form shows in Hindi such as Gehraiyaan and Spotlight. Spotlight 2 and Memories are also in the pipeline, which have roped in best talents for the show. In association with Annapurna Studios, the platform launched two long form shows titled Pill-A and Pelli Gola. Viu is catering to the growing demand for regional content by creating intriguing and contemporary digital shows such as No 1 Yaari and Munching with Mahathalli.
A key strength of Viu’s global strategy is to form strong partnerships, whether they be Samsung, Micromax, Vikram Bhatt’s Loneranger Productions or Annapurna Studios. Content house Shemaroo Entertainment has inked a licensing deal with Viu. Through this deal, a handpicked catalogue of Shemaroo’s full length Hindi movies can be accessed by its subscribers.
Viu’s primary focus for the year 2018 is ramping up content library by three times. The OTT platform is planning to foray in the Tamil market by associating with content creators. Similar to the expansion plans in India, Viu will also be expanding its content base internationally. It is planning to launch multiple bilingual shows as the next step and additionally looking to explore other regions as well. This year, Viu will be launching Spotlight 2, Memories, Trysexual (yet to be titled), Kaushiki, Unafraid and many more small and big format web series.
Today Viu reaches more than 26 million total monthly active users across markets with 3,000 hours of compelling original content in Asia.
As of October 2017, its India downloads were 9.5 million. Its monthly active users graph goes up to six million and the global average hours per user for the month was 14 hours whereas in India the average hours per user was 34.5 hours. However, the reach of Viu is wide globally, which reached to 150 million video views, whereas total video views in India was 18 million.
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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
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.
