eNews
Microsoft enables video calling on Android with Office 365 in 19 languages
MUMBAI: Microsoft Corp. on Tuesday announced the general availability of Microsoft Teams, the company’s new chat-based workspace in Office 365. The new tool for team collaboration is now available to Office 365 business customers in 181 markets and 19 languages.
Customers worldwide are choosing Microsoft Teams to enable collaboration within their organizations. Since announcing the preview in November, more than 50,000 organizations have started using Microsoft Teams, including Alaska Airlines, ConocoPhillips, Deloitte, Expedia, J.B. Hunt, J. Walter Thompson, Hendrick Motorsports, Sage, Trek Bicycle and Three UK.
“In a world where information is abundant and human time and attention remain scarce, we aspire to help people and groups of people be more productive, wherever they are,” said Microsoft CEO Satya Nadella. “Office 365 is the broadest platform and universal toolkit for creation, collaboration and communication. Today we are adding a new tool to Office 365 with Microsoft Teams, a chat-based workspace designed to empower the art of teams.”
Office 365 is designed to meet the unique workstyle of every group with purpose-built, integrated applications: Outlook for enterprise-grade email; SharePoint for intelligent content management; Yammer for networking across the organization; Skype for Business as the backbone for enterprise voice and video; and now, Microsoft Teams.
According to Trek Bicycle vice president of global customer service Laurie Koch, “Microsoft Teams is already streamlining the company’s work by providing assets and tasks in context: “Across Trek’s global teams, the integrated collection of Office 365 apps serves up a common toolset to collaboratively drive the business forward. We see Microsoft Teams as the project hub of Office 365 where everybody knows where to find the latest documents, notes and tasks, all in line with team conversations for complete context. Teams is quickly becoming a key part of Trek’s get-things-done-fast culture.”
Microsoft has introduced more than 100 new features to Teams since November, including: an enhanced meeting experience, with scheduling capabilities; mobile audio calling, with video calling on Android now and coming soon to iOS and Windows Phone; email integration; and new security and compliance capabilities. The company has also delivered new features to make Microsoft Teams accessible, such as support for screen readers, high contrast and keyboard-only navigation. Guest access capabilities and deeper integration with Outlook, and a richer developer platform are targeted for June of this year.
Microsoft Teams brings together people, conversations and content, along with the tools that teams need. It’s integrated with familiar Office applications and is built from the ground up on Office 365 and Microsoft’s global, secured cloud. Microsoft Teams is built on four core promises:
· Chat for today’s teams. Microsoft Teams provides a modern conversations experience, with threaded, persistent chat to keep everyone engaged. Team conversations can be either private or visible to the entire team, and users can access multiple teams, making it easy to switch between projects.
· A hub for teamwork. The Office applications and services that teams use every day — Word, Excel, PowerPoint, SharePoint, OneNote and PowerBI— are all built-in, so people have the information and tools they need.
·Customization for every team. Microsoft Teams offers the ability to customize work spaces with tabs, connectors and bots from third-party partners as well as familiar Microsoft tools like Microsoft Planner and Visual Studio Team Services. Today, more than 150 integrations are available or coming soon, with companies like SAP, Trello, Hipmunk, Growbot and ModuleQ building on the platform.
· Security teams trust. Microsoft Teams is built on the hyper-scale, enterprise-grade Office 365 cloud, delivering the advanced security and compliance capabilities our customers expect. Teams supports global standards including SOC 1, SOC 2, EU Model Clauses, ISO27001 and HIPAA.
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
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.
