iWorld
Tata Communications, Comcast, others collectively win MEF Excellence Award for Third Network PoC Innovation
MUMBAI: Comcast Business, ECI, Sparkle, Tata Communications and Viavi Solutions have collectively won one of two 2016 MEF Excellence Award for its Third Network Proof of Concept innovation. The companies collaborated on an orchestrated, multi-carrier, multi-platform demonstration as part of the Proof of Concept (PoC) Showcase at MEF16, in Baltimore, Maryland.
Recognizing that enterprises today have diverse requirements; the Third Network combines the performance and security assurances together with the agility and ubiquity of the Internet and brings a new network experience to millions of new users.
This award-winning collaboration was designed to showcase how a customer could gain access to flexible bandwidth and applications on-demand without human intervention – enabling unprecedented levels of network control for new and evolving types of cloud-centric applications, for network connectivity services within current network architectures as well as emerging SDN and NFV implementations. For service providers, additional upsides include the drastic reduction of service turn-up time.
During the PoC, the joint innovation simulated the delivery of Ethernet services through the three different network service providers, via an orchestrated environment with flexible bandwidth deployed on demand and connectivity bursting to Amazon Web Services (AWS) when needed.
“The Proof of Concept Showcase allowed MEF16 attendees to witness, first-hand, leading-edge implementations of agile/dynamic, assured, and orchestrated Third Network services powered by LSO, SDN, NFV, and CE 2.0,” said Nan Chen, president of MEF. “We congratulate Comcast Business, Sparkle, Tata Communications, ECI, and Viavi on winning a coveted Proof of Concept Award for demonstrating the ability to provision on-demand Carrier Ethernet services across multiple network operators and multiple technology platforms.”
The PoC showcased how a CE 2.0 E-Line service with a bandwidth on-demand requirement can be provisioned and orchestrated across multiple service and cloud providers using the MEF LSO Reference Architecture. Comcast Business, Tata Communications and Sparkle provided the originating network, the intermediate network and the direct connection into the cloud, respectively. ECI’s EPIC platform with fulfillment functionality developed as part of the OpenLSO fulfillment project provided the means to seamlessly connect these disparate domains. Viavi’s VNF-based service acceptance and testing technology verified the newly created service meets previously defined SLA requirements. The EPIC open source platform works towards a “vendor-agnostic” vision to deliver real-time control and assure network performance across carriers.
MEF is the driving force enabling Third Network services for the digital economy and the hyper-connected world. Comcast Business offers Ethernet, Internet, Wi-Fi, Voice, TV and Managed Enterprise Solutions to help organizations of all sizes transform their business. ECI is a global provider of ELASTIC network solutions to CSPs, critical infrastructures as well as data center operators. Sparkle is the wholly owned subsidiary of Telecom Italia Group (NYSE: TI) with the mission to develop and consolidate the Italian telco’s international services business.
Tata Communications along with its subsidiaries is a leading global provider of A New World of Communications™. With a leadership position in emerging markets, Tata Communications leverages its advanced solutions capabilities and domain expertise across its global and pan-India network to deliver managed solutions to multi-national enterprises, service providers and Indian consumers.
Viavi is a global provider of network test, monitoring and assurance solutions to communications service providers, enterprises and their ecosystems, supported by a worldwide channel community including Viavi Velocity Solution Partners.
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.
