iWorld
Eros International raises $30 million for Eros Now
MUMBAI: Indian Bollywood major Eros International is getting hotter on OTT. It announced this morning that two of its existing top 10 institutional shareholders have increased their holdings in the company through a private placement and are pumping in approximately $30 million. The proceeds of the allotment will be primarily used to fund the further expansion of Eros Now, its OTT platform.
Eros International group CEO & MD Jyoti Deshpande commented: “Our vision to transform Eros from a leading film studio to a leading digital company with a global footprint is well underway with Eros Now, our OTT platform crossing one million paid subscribers as of 30 June 2016. Our ownership of content and our strong balance sheet should provide tailwinds to grow the Eros Now subscriber base from one million to ten million and eventually hundred million within the next decade.”
Eros Now is Eros International Plc’s leading on-demand Bollywood entertainment network accessible anytime, anywhere, on nearly any Internet-connected screen. Eros Now offers users across 135 countries a large library of films (Eros Now has rights to over 5,000 films), as well as premium television shows, music videos and audio tracks.
Eros Now is also working on launching compelling original drama series for its viewers. It also has compelling product features such as offline viewing where premium subscribers can download the content and view it when not connected to the Internet make Eros Now a unique offering with focus on user experience.
Available on Apple and Android platforms, Eros Now has integration deals with Airtel, Idea and Reliance Jio and several other operators internationally. A crucial deal was struck with Reliance Jio, the 4G player that has rolled out the most aggressive plan for digital India. In its platform-agnostic strategy, Eros has struck deals with OEMs and telecom operators such as Micromax, Airtel, Idea, LeEco, and Maxis.
Through the Eros-Jio partnership, new and old movies including Bajirao Mastaani, Bajrangi Bhaijaan, Prem Ratan Dhan Payo and Tanu Weds Manu Returns, will be available on the JioOnDemand app. With 30 HD channels, Jio is offering live streaming of over 300 TV channels 10 genres and 15 languages.
Available on Amazon Fire TV, Apple TV, and pre-installed in Android TV, Eros Now crossed over 50 million registered users worldwide across WAP, APP, and Web, as of 30 June 2016. It has already crossed over 1.1 million active unique paying subscribers who have paid for at least one month.
Eros released 14 films in Q1 FY17 of which three were high, two were medium and nine were low-budget films. Sardaar Gabbar Singh (Telugu),Housefull 3 (Hindi), 24 (Tamil), Marudhu (Tamil) and Ki and Ka (Hindi) were the main revenue earning films during the quarter. Eros Now is planning to acquire 10,000 additional films to add to its strong library.
Eros Now, in October 2015, partnered with Ortel, an MSO (multi system operator) and ISP, to offer a subscription-based movie streaming service. Eros had, in August last year, also negotiated a partnership with Airtel to offer video and movie content on Wynk. Eros Now tied up with WeChat in June 2015 so as to allow users to watch videos, listen to music, and get Bollywood gossip and news. Eros Now, in the same month, inked a content acquisition deal with Hum TV of Pakistan.
Eros Now has a five-year worldwide target of at least 15-20 million subscribers with a blended annual ARPU of $30 internationally and $5 from India. Trinity Pictures, owned by Eros International is building its franchises with two Sino-Indian co-productions, with a scheduled FY 2018 release.
Eros Now hopes to achieve at least two million paying subscribers by the end of FY 2017 and five million paying subscribers by the end of FY-18.
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.
