iWorld
Cyrus Oshidar launches youth centric digital venture 101India.com
MUMBAI: Digital ventures are mushrooming in the country nineteen to a dozen. With the big daddys of Indian media and entertainment like Raghav Bahl and Ronnie Screwvala leading from the front in the space with new ideas and bags full of investment, it doesn’t take much to figure that digital is where the future lies. And another such media personality, who is putting his money where the mouth is, is the former MTV man Cyrus Oshidar.
When it comes to interacting with the youth in India, there’s no bigger name than Oshidar. Under his supervision at MTV India, iconic creative series targeted at the youth were launched, which successfully managed to garner the TG’s attention. Be it Roadies, or the musical voyage in Sound Trippin, uniqueness was forever visible in each and every concept.
The man who played a pivotal role in establishing youth market in India with multiple innovations, is now set to connect with the youth yet again and this time with the digital portal 101India.com. The portal was launched a month ago with the aim of providing unique and differentiated content for young Indians. What’s more, his team’s unique skill sets were also used to create deeper and more relevant brand solutions. With 101India, Oshidar and his team aim to lead the digital content movement in India.
Speaking exclusively to Indiantelevision.com, 101India.com MD and chief creative officer Oshidar says, “It was at the 2012 Cannes’ first branded content and entertainment contest that the concept of 101digital.com came into my mind. It’s time for the movement to begin. We need to talk to the youth in a creative manner, which they will acknowledge and then eventually interact with.”
Combining adverts in a subtle manner with content on the platform is how the portal will look at making an impact on the youth’s mind. Oshidar says, “We are not a million hits platform and hence we are not going to go pitching to advertisers with promises to millions in return for their crores. We know how to speak to the youth of the country and that’s all we will do. Gone are the days of putting ads in between content. Now we have to fit the brand in the content itself and that’s what we will do in 101India.com.”
The content publishing platform will target educated metro youth aged between 21 – 25 years and hence majority of the marketing and promotional activities to promote the venture will revolve around social media.
Broadband speed in the country is poised to get a major fillip what with Airtel 4G already hitting the market and Reliance Jio impending launch by year end. Oshidar is of the opinion that these rollouts will enhance the infrastructure and bridge the gap between quality streaming and content.
While internationally acclaimed over the top (OTT) venture Netflix is speculated to start its India operation in 2016, another player HOOQ has already launched its India ops. The space is getting cluttered by the day with the addition of Indian OTT players like Ditto TV, Hotstar and Eros Now amongst others. There’s cut-throat competition in the market and established ventures can often overpower startups. However, Oshidar believes that quality content will always sustain. “Game Of Thrones will remain Game Of Thrones and people will consume it irrespective of the platform. So we need to have premium content to sustain in the long run,” he asserts.
101India.com will soon launch an app to reach out to more mobile customers. In terms of content, the venture has created a documentary on the issue of transgenders in association with Times of India’s online venture Indiatimes.com. Also in the pipeline are a series of fiction shows along with a few short movies.
The entire production is taken care of by the in-house team at 101India.com. “We are blessed to have a group of creative talents, who have worked closely with me at MTV and we execute the production all among ourselves,” Oshidar concludes.
More digital power to Oshidar we say!
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.
