iWorld
JioCinema Premium to launch intense murder mystery series, ‘Gaanth’ on 11 June
Mumbai: Post the astounding success of Ranneeti: Balakot & Beyond and Murder in Mahim, JioCinema Premium is set to add another gripping original series, Gaanth, to its diverse repertoire of original content. Gaanth, premiering on 11 June, stars Manav Vij, Monika Panwar and Saloni Batra in key roles. The series is premised on an unsolvable and bone chilling case that blurs the lines between reality and perspective.
Gaanth takes viewers to the eerie streets of East Delhi, where a strange case of mass suicide captures both media and police attention. As the 40-year-old disgraced Police Inspector Gadar Singh (played by Manav Vij) gets the charge of the gritty case, he is determined to get to the root of the crime and find the truth. The mystery deepens with the introduction of a psychiatric intern Sakshi Murmu (played by Monika Panwar), who possesses a unique gift for perceiving patterns invisible to the human eye. Singh and Murmu form an unlikely partnership to unravel the mystery of the peculiar crime scene- seven bodies hanging from seven ropes in a cramped, hazy corner of a house. While the world perceives the situation differently, these two sleuths, in their quest for the truth, uncover a crypt buried in the past, leading them deeper into a web of crimes spanning decades. Together they uncover layers of the case intertwined with media sensationalism, religious beliefs, superstitions, and social psychosis. A Tipping Point series, Gaanth is produced by Ajit Andhare, created by Soham Bhattacharya, and directed by Kanishk Verma.
Manav Vij said, “I have always been a fan of psychological thrillers. They make you think deeply, transforming you into an investigator as you unravel the mystery in your mind. When I was offered Gaanth, I realized it wasn’t just about playing a cop in a crime thriller; the character had intricate nuances. Gadar Singh is profoundly layered, struggling with inner demons while pursuing the ultimate truth behind the eerie crime. After filming, it took some time for me to detach from the character. Despite the challenges, playing such complex roles is immensely rewarding.”
Monika Panwar shared, “It’s always exciting to be part of stories that are different and also give you a chance to think and experiment. Gaanth is special as I play a caring psychologist in a dark thriller. I feel my character brings much-needed positivity to the show. Life has been slightly unfair to her, and she willingly gets involved in a murder investigation while discovering sides of herself that were long hidden.”
Actor Saloni Batra also added, “Being in a uniform automatically instils a sense of responsibility in your mind, especially, for a show like Gaanth which entirely circles around the investigation of a brutal crime. After reading the script, I was extremely excited to get into the skin of the character, since it was completely different from what I had done before. I had to work on the body language, the tone, her relationship with seniors and colleagues around and most importantly, her back story. I had a great time working on these nuances. Manav sir’s presence enhanced and got to life every moment for me because of his sincerely beautiful energy and the camaraderie we shared, which let me be my most vulnerable. He helped me a lot with his insights and experiences.”
Unlock the web of crimes with, ‘Gaanth’, premiering on 11 June on JioCinema Premium.
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.
