iWorld
Hoichoi gives a glimpse of its 2021 content slate
KOLKATA: Bengali streaming giant Hoichoi today unveiled its content line-up for, 2021, which includes 18 powerful and irresistible stories. Apart from its impressive March line-up, the OTT also plans to add more shows and movies this year than it did in the past years.
Hoichoi has roped in top talents of the industry, such as Rahul Bose, Dev, Anirban Bhattacharya, Prosenjit Chatterjee, Srabanti, Soham, Swastika Mukherjee, Sohini Sarkar, Monami Ghosh, Saswata Chatterjee, Anirban Chakrabarti, Arjun Chakraborty, Anindita Bose, Tridha Choudhury debutants Soumya Mukherjee, Sweta Mishra, Susmita Chatterjee, Debasish Mondal. Along with Bangladesh sensations like Mosharraf Karim, Badhon, Shamol Mawla and more; creators Srijit Mukherji, Kamaleswar Mukherjee, Anindya Chattopadhyay, Anjan Dutt, Sahana Dutta, Mainak Bhaumik, Anirban Bhattacharya’s directorial debut will also join its vast library.
In a statement, Hoichoi co-founder Vishnu Mohta said, “At Hoichoi, we aim to bring distinct stories for our diverse audiences with variant taste. Our upcoming line-up is a reflection of that idea; each one of which is a gripping story of human emotions, filled with suspense, comedy, love, drama, thrill and longing. Every season we try to reinvent ourselves, with content from the brightest and newest creators of the region. So, #NotunGolpoHoyejak?”
The exciting line-up is as follows:
1. Maradonar Juto – Directed by Mainak Bhaumik, this romantic comedy with a fresh casting, filled with the spice of family drama talks about neighbouring families, residing in North Kolkata (Dutta family & Chowdhury family), who have a generational feud about a pair of shoes, which belongs to the great football legend, Maradona.
2. Dujone – A thriller, not a love story, Dujone marks the digital debut of much-loved on-screen pair, Soham and Srabanti, which talks about a wife’s dilemma to decipher her husband’s true personality.
3. Mohomaya – Helmed by Sahana Dutta, Mohomaya is a unique tale of a boy, jilted by his traumatic past, involving his mother, essayed by National Award-Winning actress Ananya Chatterjee, at a tender age, finds affection he longed for all his life in his friend's mother, played by powerhouse actress Swastika Mukherjee. National Award-Winning director Kamaleswar Mukherjee marks his digital directorial debut with the series.
4. Mohanagar – The story revolves around three characters and a pair of police officers whose lives get connected due to an incident that changes them and their belief in the system. Mohanagar marks the hoichoi debut of Bangladesh superstar Mosharraf Karim.
5. Srikanto – A modern day take of the cult novel in & within the matrix of childhood simplicity, adolescent innocence to complex neo-liberal social & interpersonal predicament of human existence. Will star a young talent Rishav Basu, in the lead.
6. Mandaar – Created and directed by Anirban Bhattacharya, Mandaar will be the first among ‘hoichoi World Classics’ segment that will bring Shakespeare's literary classic, Macbeth, to screen, featuring Debashish Mondal, Sohini Sarkar and Anirban Bhattacharya himself in the lead.
7. Mouchaak – A dark comedy, which will mark the digital debut of television personality, Monami Ghosh, Mouchaak chronicles a series of funny unfortunate events surrounding a housewife under house arrest, a series of guests and a lottery ticket.
8. Robindronath Ekhane Kawkhono Khete Aashenni – An adaptation from the popular Bangladesh novel of the same name by Mohammad Nazim Uddin, which will mark Srijit Mukherji’s first series on hoichoi starring the dynamic Rahul Bose as the detective who reaches a famed restaurant to uncover the truth behind its mysterious owner, Muskaan Zuberi, essayed by Bangladesh sensation, Azmari Haque Badhon.
9. Murder in the Hills – The suspicions death of a Bengali film star of the 90s unravels to expose the seedy underbelly of Darjeeling’s pasts. Written, directed and acted by Anjan Dutt, the series is well balanced with a slew of casts, such as Arjun Chakraborty, Anindita Bose, Rajdeep Gupta, Sandipta Sen, Sourav Chakraborty, Suprobhat Das amongst others.
10. Shei Je Holud Pakhi 2 – The much-awaited series returns with its second season which will culminate the popular musical-drama about Vaidehi’s death. Saswata Chatterjee and Tridha Choudhury are reprising their roles in this season.
11. Paap 2 – with Puja Banerjee & Rahul Banerjee as the lead, the mysteries of season 1 will unravel in season 2 with another set of deaths and unexpected deaths.
12. Eken Babu S5 – Anirban Chakrabarti will reprise the role of Eken Babu as the much-loved crime-thriller returns for its fifth season with a new mystery that unfolds itself.
13. Byomkesh S7 – Starring the very versatile Anirban Bhattacharya as Byomkesh, along with Suprobhat Das as Ajit, and Ridhima Ghosh as Satyabati, our popular detective will return with a new mystery based on Byomkesh Bakshi created by Sharadindu Bandyopadhyay.
14. Tangra Blues World Premiere – A story of a failed musician and a band on a verge of oblivion with Tangra – the most notorious slums in Kolkata as a backdrop, the film will see the fresh pairing of Parambrata Chattopadhyay and Madhumita for the first time.
15. Prem Tame World Premiere – It's a story of a revolution, within a young heart, inside a home, and in society. The film brings together the fresh casting of Soumya Mukherjee, Sweta Mishra and Susmita Chatterjee.
16. Kakababur Protyaborton World Premiere – Audience's beloved Kakababu, aka Raja Roychowdhury, essayed by Bengal’s industry himself – Prosenjit Chatterjee, returns for the third instalment of this popular franchise with his nephew, Shantu, this time traversing the dangerous terrains of Africa. This time, the film is based on Jongoler Moddhe Ek Hotel by Sunil Gangopadhyay.
17. Psycho World Premiere – Anirban Bhattacharya and Birsa Dasgupta return to team up for a thriller that is about a psychiatrist-turned-resident criminologist who teams up with the top-rank officials of law enforcement to hunt down a psychopath.
18. Golondaaj World Premiere – A biographical sports drama directed by Dhrubo Banerjee, starring superstar Dev in the lead, is the story of a pioneer in Indian football, named Nagendra Prasad Sarbadhikari.
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.
