iWorld
How Digital India will foster VoD growth: Spuul Global CEO
MUMBAI: India is a market with enormous potential for digital services, and it is expected to continue to grow with a very rapid speed and much higher than many other markets in the world, as far as data traffic is concerned. In fact, some estimates suggest while the rest of the world will grow 10-12 times maximum when it comes to data traffic, India will grow 17 times.
In the West, people went from a single TV to multiple TVs and then to the mobile, but India seems to be jumping directly from TVs to watching content on their smartphones, leaning on improving mobile internet to consume digital content. TV is becoming a static screen in your living room, while consumers are looking forcustomized viewing experiences.
With a number of video on demand platforms coming together the Indian consumer is all set to enjoy a wide variety of video content as each VOD platform has something unique to offer to its viewers.
Having said that,the online video space provides a fantastic platform for experimenting with various content formats. It isn’t constrained by the economics of satellite television. A show prepared for the web, doesn’t necessarily need to be in ~30 minute slots. It could be a few minutes or a few hours. This has allowed content creators to experiment with multiple formats.
At the same time there is a clutch of factors that could play spoilsport in the near future. Despite falling costs of technology and production, producing content is prohibitive and added to that distribution costs too are significant. The state of the broadband speed remainsspotty.
A July report by Akamai, a US-based content delivery and cloud services provider, suggests that India had an average 3.5 Mbps Internet speed. Yet, it was the lowest average Internet speed in the Asia Pacific region.
On consumption of data, the report said the country is on the cusp of significant growth in data traffic driven by rising data users as well as growing data usage per user.For 2016, the number of smartphone users in India is estimated to reach 204.1 million, with the number of smartphone users worldwide forecast to exceed 2 billion users by that time.
Watching a movie of 2-3 hours could take up about 200-250 MB of data, which costs around INR 40-50. For VOD platforms to succeed in India costs of 4G have to come down drastically.The Telecom Regulatory Authority of India (TRAI) said that there are 1.06 billion wireless telecom subscribers in the country. The Cellular Operators Association of India, said, the number of 3G users in India is expected to more than double (to 330 million) and 4G to grow by over 10 times (to 42 million) from 2015 base till 2017. 4G will be a game changer in the way video is being consumed in the country.
The way consumers consume information and entertainment will change from TV to video on demand over multiple devices, but one thing that won’t is that content will continue to be king. Because how the content is consumed depends on ease, convenience of the video on demand platforms and ultimately technology will decide who gets the most viewership. India though has room for many video on demand services to survive and thrive because preferences and tastes of viewers vary from region to region.
 The writer of this article is Subin Subaiah. The views expressed here are personal, and Indiantelevision.com need not necessarily subscribe to them |
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.
