iWorld
India, US lead in VoD subs as global viewing increased 34 per cent
MUMBAI: Millennial consumers worldwide lead the growth of online video consumption, according to a research report from Limelight Networks, a leader in digital content delivery.
Taking a close look at consumers’ changing viewing habits, the annual report shows that the average global viewer watches online video five hours, 45 minutes each week and subscribes to one or more video on-demand (VoD) services.
The report is based on a survey of 4,000 consumers ranging in age, gender, and education in France, Germany, India, Philippines, Singapore, South Korea, the UK, and the US.
The increasing shift to online viewing video is a global trend with viewers in India, Singapore, and the US spending the most time watching online videos, averaging seven hours, seven minutes; six hours, 37 minutes; and six hours, 35 minutes per week, respectively. Germany had the lowest rate of online video viewership at four hours, 14 minutes, and nearly half of respondents watching only one to two hours per week.
“With the proliferation of online video content, viewers are moving away from traditional broadcast television viewing and have increasing expectations for broadcast-quality experiences,” said Limelight Networks senior director Michael Milligan.
“Our research over time has shown a clear increase in expectations and decreasing patience with poor quality experiences.”
Additional insight from the report includes:
Millennials watch the most online video: Younger people watch the most online video, with viewers 18-25 averaging seven hours, 18 minutes per week and people 26-35 watching six hours, 53 minutes per week. Viewers 60 and older only watch three hours, 46 minutes per week.
Growth of eSports: Although traditional sports programming was the third most watched type of online video content by men, males 18-25 watch more eSports and online video gaming than traditional sports programming.
Consumers won’t waste time on a poor experience: Rebuffering (when a video pauses during playback to load more content) is the top frustration when viewing videos online – surpassing poor video quality and limited device access. If a video rebuffers twice, more than 61 per cent of viewers will stop watching. Only 15 per cent will continue watching after rebuffering happens for a third time.
Smartphones gain popularity for viewing: Although computers and laptops are the primary online video viewing device globally, smartphones are the preferred device in India and South Korea. Smartphones are also the preferred device for millennials.
Cable subs keep the cord, go further over-the-top: Despite cord-cutting concerns, the report uncovered that people subscribing to cable have twice as many over-the-top subscription services than those without cable.
US and India lead subscriptions to online video streaming services: Consumers globally are signing on to streaming with 30 per cent of viewers noting they subscribe to two or more services. Subscription rates are highest in the U.S. and India, where 50.8 per cent and 46.8 per cent, respectively, subscribe to two or more services. In comparison, only 16.7 per cent of respondents in France subscribe to two or more services.
Movies and TV shows lead online viewing: Globally, viewers spend more time online watching movies than any other type of content. However, viewers in South Korea and the U.K. watch TV shows most often. When viewed by gender, men prefer movies, while women prefer TV shows.
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.
