iWorld
Eros Investments partners with Stability Ai
Mumbai: Eros Investments and Stability Ai announced a strategic partnership to form a joint venture for the South Asian geography.
Stability Ai is dedicated to designing and implementing solutions in various sectors of life that are accessible to all through collective intelligence and augmented technology.
Their solutions affect a range of sectors, from entertainment to business, health, and other social initiatives.
Eros Investments chairman Kishore Lulla said, “Emad and the fabulous team at Stability.ai have developed this visionary technology with the capability of super-computing that is amongst the top 10 in the world. Users now have an opportunity for creative expression at a pace that didn’t exist before.”
He further added, “We also plan to deploy this technology across Eros Investment’s affiliate company, Eros Now, which has access to a registered community of over 200 million users. In addition to this, there are use cases for the technology across the metaverse and the creator economy for mass adoption. Deep AI technology will be the future of product differentiation, and we are excited to lead this revolution.”
Eros Investments will use Stability Ai’s “Stable Diffusion” model, which includes open-source image generation, to manifest ideas and dreams as flawless art pieces using words.
Stability Ai battles the norm set by big tech companies by using this form of image generation to challenge the barriers that prevent people from accessing artificial intelligence and its benefits.
Eros and Stability are working to bring this technology that was only privileged to a few, to every Indian to reflect their creativity and imagination.
Eros Investments intends to use this technology for its subsidiary Xfinite, which has access to a 12,000+ movie asset library, to launch generative NFT and make the tool available to creators for self-expression on Mzaalo, Xfinite’s watch to earn blockchain platform.
Satbility.ai founder & chief executive officer Emad Mostaquesaid, “India is a fascinating digital market with over 600+ million users and immense creative capability across users. Our vision for this technology is to provide the base layer to the sectors of entertainment, education, healthcare and others and to allow for innovation by the users and peers from business. Eros is the perfect partner for this technology as premium experiences at mass adoption and innovation is core to their ethos of the group. This partnership will help transform not only how we deliver personalization to consumers but also re-orient our lifestyle between the offline and online world.”
Deep Ai technology and its applications extend far beyond the realm of entertainment, and this joint venture will concentrate on three key areas of collaboration with industry sectors and other partners.
Generative Meta-Humans: This technology’s evolution is suited to developing 3D rendering of individual avatars, with use cases in immersive AR/VR content, gaming, and the Metaverse. This collaboration will enable the creation of fictional content as well as dynamic individual identities on a daily basis.
Education: This sector will be a stepping stone in the transformation, with each child learning at their own pace in the language of their choice. For progressive learning at scale, the AI model will allow each student to customise content based on their adoption of the materials.
Healthcare: This AI model will be tailored to each individual, allowing them to identify their current health vitals, methods for improvement, and track them on a regular basis.
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.
