eNews
Food for thought Feeding India serves 23 crore meals and counting
MUMBAI: Hunger may be stubborn, but Feeding India is proving it is not unbeatable. The not-for-profit has served more than 23 crore meals over the past seven years, turning nourishment into a nationwide movement that now spans over 150 cities, according to its Annual Report for FY 2024–25.
Titled A Year of Nourishing Dreams, the report captures a year in which the organisation sharpened its focus from simply filling plates to shaping futures. At the heart of its work is the fight against child malnutrition, with Feeding India now supporting over 1.4 lakh children every day through its partner network.
Its daily feeding programme has grown into a vast ecosystem, covering 1,097 partner schools and 726 Anganwadi centres. These include 275 formal schools, 720 informal learning centres, 58 schools for children with disabilities, and 32 orphan homes. Menus are tailored to local tastes, from rajma chawal in the North to idli sambhar in the South, ensuring meals are nutritious, culturally familiar and widely accepted. Food is provided through a mix of on-site kitchens and centralised cooking facilities.
Recognising that malnutrition often begins long before children enter classrooms, Feeding India has stepped deeper into early childhood care. Across districts such as Gurugram, Kushinagar and Varanasi, the organisation has worked with 726 Anganwadi centres, impacting around 27,000 children aged 0–6 years. More than 30 Anganwadis have been upgraded using Building as Learning Aid concepts, creating brighter, safer and more child-friendly spaces. In Varanasi, a pilot programme now provides full breakfast and lunch meals, a significant shift from the usual supplementary snacks.
The year also tested the organisation’s ability to respond in crisis. During 2024–25, Feeding India distributed nearly 2,000 ration kits following floods in Assam and landslides in Kerala, and served over 1.9 lakh hot meals after the Uttarakhand cloudburst. Relief operations extended to Bihar, Andhra Pradesh and Tamil Nadu in the wake of Cyclone Fengal.
Community participation remains central to the model. Events such as the Zomato Feeding India Concert, featuring Dua Lipa, brought together 28,000 people in 2024, while initiatives like Poshan Potli nutrition kits supported tuberculosis patients during recovery in Varanasi.
Funding patterns underline the power of platforms. Zomato users contributed nearly 80 per cent of total funds, amounting to Rs 74 crore, while Blinkit customers added 15 per cent, or Rs 14 crore. The remaining around 5 per cent came from institutional donors, employees and direct website contributions. Donors can track their impact directly via the Zomato or Blinkit apps, seeing how many meals they have funded and where those meals were served.
The report also highlights tangible outcomes. At the Malvi Educational and Charitable Trust in Gujarat, students recorded an average BMI improvement of 9.50 per cent after daily nutritious meals were introduced.
“Every meal represents hope, dignity and opportunity for a child who might otherwise go hungry,” a Feeding India spokesperson said, adding that the focus remains on nourishing potential through nutrition, infrastructure and care.
As the numbers grow, the message is simple but powerful, feeding a child today is an investment in tomorrow, and Feeding India is determined to keep that promise alive, one meal at a time.
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
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.
