iWorld
Netflix: 46% of streaming couples cheat & watch ahead of partners
MUMBAI: No relationship is safe. According to a new study (also covering India) released on 13 February by Netflix, nearly half (46%) of streaming couples around the world have “cheated” on their significant other, but it’s not what you think.
Defined as watching a TV show ahead of your significant other, Netflix cheating was first uncovered in a study in the U.S. in 2013. Four years later, cheating has increased three times[1] and has become a common behavior around the world. This behavior only continues to grow with 60% of consumers saying they’d cheat more if they knew they’d get away with it. And once you cheat, you can’t stop: 81% of cheaters are repeat offenders and 44% have cheated 3+ times.
In a binge-watching world where it’s easy to say ‘just one more,’ Netflix cheating has quickly become the new normal…
Where is cheating happening? (Everywhere)
Cheating happens all over the world….though it varies a bit by country. The most cheaters are in Brazil and Mexico where 57%-58% of streaming couples have cheated, respectively. The most loyal viewers are in Netherlands (73% have not cheated), Germany (65%) and Poland (60%).
What shows are we cheating on? (All of them)
While no show is off limits, top cheating temptations are The Walking Dead, Breaking Bad, American Horror Story, House of Cards, Orange Is The New Black, Narcos, and Stranger Things.
Why do we cheat? (We just can’t help it)
Most don’t plan to cheat…it just happens: 80% of cheating is unplanned. The trigger for the growing trend in cheating? Two-thirds (66%) of cheaters said that “the shows are just so good we can’t stop bingeing.”
How do we cheat? (Any way that we can)
Sleep with one eye open: 25% of cheating happens when one partner falls asleep. But whether this is even cheating is hotly debated. Half say “sleep cheating” doesn’t count (53%), but the morality of “sleep cheating” varies across the globe. Chileans think it’s no big deal, Japan sees it as unforgivable. Many are still cheating in secret: 45% never admit to their indiscretions.
Is cheating so bad? (Depends on where you live)
If you stray, don’t beat yourself up about it. Cheating has become more socially acceptable, with 46% saying it’s “not bad at all.” Unless of course you live in Hong Kong, where 40% think watching ahead of your partner is worse than having an actual affair.
Is my partner a cheat? (Spoiler alert: Most likely)
Cheating comes in many forms. Netflix has created a series of assets to help explain the phenomenon. Cheating Profiles highlight the most common types of offenders lurking in households around the world. This infographic illustrates cheating motivations and behaviors, and reaction GIFs help couples work through their indiscretions so they can protect their relationship…or keep on cheating.
Methodology
*The survey was conducted by SurveyMonkey from December 20-31, 2016 and based on 30,267 responses. The sample was balanced by age and gender and representative of an adult online population who watch TV shows via streaming services as a couple in The United States, Canada, UK, Australia, New Zealand, Philippines, Singapore, India, Japan, Taiwan, South Korea, Hong Kong, UAE, Mexico, Chile, Colombia, Brazil, Argentina, Spain, Portugal, Turkey, Poland, Italy, Germany, France, Sweden, Norway, The Netherlands, and Denmark.
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.
