iWorld
Lionsgate set to bring Twitter story on TV
MUMBAI: Lionsgate, a leading global entertainment company, has optioned the rights to Nick Bilton’s New York Times best seller Hatching Twitter: A True Story of Money, Power, Friendship, and Betrayal, with Allison Shearmur set as executive producer. Bilton, a columnist and reporter for the New York Times, will write the screenplay and serve as the producer. The announcement was made on 18 December by Lionsgate Television Group chairman Kevin Beggs.
Hatching Twitter presents a fascinating behind-the-scenes account of the creation of the social media service by four friends and its evolution into worldwide phenomena that has changed the accession of digital communication. Bilton sheds light on the relationships, battles, power grabs and betrayals along the way in one of the most talked-about books of the year.
Published by Penguin/Portfolio on 5 November, 2013, Hatching Twitter is a New York Times Best Seller that debuted at number 14 on the E-Book Nonfiction list and number five on the Wall Street Journal’s Hardcover Business list. The readers of the Wall Street Journal named it the Best Book of 2013. It has also made it to the “best of year” lists in a number of other outlets, including The Economist, Gizmodo, Bookish and Mashable and was an Amazon Best Book of the month in November.
“Twitter has transformed almost every aspect of our lives from politics to business to friendship, and I can’t think of a more compelling story to adapt for television right now,” said Beggs in a release. “Nick’s book has all the elements of a great drama with its complex characters, high-stakes power struggles and betrayed friendships, and we’re extremely fortunate to have Alli Shearmur onboard as executive producer,” he added.
“Hatching Twitter will go behind the scenes of a groundbreaking Silicon Valley company in a way that’s never been captured before on television,” said Shearmur. “The Social Network was a perfect film, and this series will be different, providing a longer view of the work life changes, gamesmanship and personal sacrifices made by a group of individuals who are building a company that will change the way that people communicate,” he added.
“I am thrilled to work with Allison Shearmur and Lionsgate to adapt my book about the power, betrayal and billions of dollars that swirl through Silicon Valley,” said Bilton. “The story of Hatching Twitter really speaks to a generation that has searched for friendship through technology and it will be very exciting to see it brought to life on screen,” he said. He further added on his website that, “I’m thrilled to announce that Hatching Twitter has been optioned by Lionsgate and we will be starting development of a TV series.”
Lionsgate has enjoyed great success with book adaptations, including its blockbuster movie franchises Hunger Games and Twilight, which have collectively grossed more than $4 billion at the box office worldwide. Hunger Games’ Indian release of its latest installment, The Hunger Games: Catching Fire has garnered a three-day collection in India of approximately – Rs 21 crore.
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.
