iWorld
The top shows on AVOD services
MUMBAI: It’s been raining premium originals on streaming services such as ZEE5, Hotstar, Netflix, Hoichoi, Arre, ALTBalaji and MX Player. The genres have been varied, but what makes the shows stand out is the quality of storytelling, production values, and casting. The good ones have a cinematic quality about them. Some of them hide behind pay walls and some are on free services, dependent on advertising. But there’s no doubt they are generating buzz amongst subscribers and viewers – some more than the other.
What’s also working well on a handful of broadcaster-linked streaming services is the catch-up shows which either debut on their OTTs or on television. Some of these get larger audiences and watch times than do the premium originals made for OTT.
They also serve to bring viewers back almost daily to watch the release of new episodes or catch up with the ones they have missed. Most of the top notch premium originals are on SVOD services, which release data when they want to.
Choosing the most popular ones without any metrics or data to rely on is therefore a challenge. However, we at indiantelevision.com took a shot at drawing up a list of shows on advertising video on demand (AVoD) platforms that we think made an impression and were a favourite amongst the OTT-bingers.
The list is not definitive, is in random order, and it is subjective without any malice intended towards those who do not feature in it. Read on to find out.
Kumkum Bhagya :
Kumkum Bhagya is a ZEE TV drama series about a star-crossed couple Abhi and Pragya, who are now separated. Ranbeer falls in love with their daughter Prachi, while their other daughter Rhea vies for his attention. The show with a very high BARC rating has been running for the past five years on television, but it attracts viewers on Zee TV’s ZEE5 service as well.
Thinkistan:
Made by Rajnish Lall of Jigsaw Pictures, it is the story of the Indian advertising world in an era when the industry was just beginning to stand out. Created and written by Paddy, set in an ad agency in the 1990s, it chronicles the journey of two advertising professionals in an entertaining manner. It also touches upon one of the most prevalent problems which was deep-rooted in the industry – inherent bias against languages other than English. India’s answer to Mad Men has already launched its second season too.
Kundali Bhagya:
Kundali Bhagya is a ZEE TV drama television series starring Shraddha Arya, Dheeraj Dhoopar and Manjit Joura. The story revolves around the two sisters of Pragya, from Kumkum Bhagya. Her sisters are Preeta and Shrishti who discover the existence of their mother Sarla and sister Pragya, after their father’s death. The sisters try to unite with their mother and sister.
Big Boss:
The saga of friendship, betrayal, love, bonding, feud, laugher, tears in a house full of celebrities – the formula to keep the audience glued to a show even in its thirteenth edition. Big Boss changed the meaning of reality shows in the country since its first season. The star-studded contestant list, and the association of Salman Khan with the show for more than a decade have favoured it to sustain the excitement, engagement among its fans. While the 100-day reality show is being aired on Colors, it gets millions of viewers on Viacom18’s digital arm VOOT as well.
Sembaruthi:
Sembaruthi is a ZEE Tamil romantic drama TV series about circumstances that force Parvathy and Aditya, the son of an affluent woman, Akhilandeshwari, to get married secretly. But will the shrewd Akhilandeshwari, who has high hopes for her son, learn their secret? If you are not able to watch it on TV, you can definitely go to ZEE5 to find the answer.
Queen:
The MX Player original Queen has really ruled the web-entertainment space after it was launched in December. Shakti Seshadri, the central character of the web-series, bears strong resemblances to the late Tamil Nadu Chief Minister J Jayalalithaa. In the course of portraying a majestic political leader, the narrative does not glorify the character. The realistic emotional tonality of the story makes viewers connect to it. Along with a strong storyline, Queen offers a brilliant screenplay to from its writers.
Fuh se Fantasy:
Fuh se Fantasy , the VOOT original is about the delight in modern relationships that dare to explore their deepest, quirkiest and most exciting desires. The 10-episode series which started streaming on VOOT last year features popular faces such as Karan Wahi, Plabita Borthakur,Naveen Kasturia, Anshuman Malhotra , Gaurav Pandey and Anupriya Goenka. The millennial audience will certainly connect to the anthology as it takes a look at the tabooed and unsaid desires.
Feet up with the Stars:
You may like to peep into the lives of your favourite celebrity but all the quintessential interviews make you wane. VOOT has a brilliant alternative, Feet up with the Stars – a chat show which has caught word of mouth for its intimate and personal conversation. The celebrities here talk more about themselves in a personal and cosy set up rather than taking a dig on others in the B-town. After its first season cut through the clutter of chat shows, the one of its kind chat show came back with the second season last year.
Agga Bai Sasubai:
Agga Bai Sasubai on ZEE Marathi tells the story of the loving bond Asawari shares with her daughter-in-law, Shubhra. The women stick together during good times and bad and help each other face the challenges life throws at them. A refreshing and unique take on saas-bahu relationships is also available anytime anywhere on ZEE5.
Rani Rashmoni:
Rani Rashmoni is a Bengali television period drama series starring Ditipriya Roy in the lead. The show on Zee Bangla revolves around the life and struggle of Rani Rashmoni, widow of Babu Rajachandra Das of Janbazar, Kolkata. She took charge of the zamindari and business, after her husband's death and proved herself as an effective leader. The show has created a buzz in the Bengali market and has become a part of daily routine in many Bengali households. If you are keen to look back at the life of a fierce lady of the colonial era, it can be watched on ZEE5 as well.
Kalyana Vaibhogam:
Kalyana Vaibhogam is a ZEE Telugu drama television series that also lures viewers to ZEE5 platform too. The Suryadevara Family is cursed and the first wife of all their first sons are bound to be chomped by the jaws of death. While Nithya and Jai, the current heir of the family, fall in love, Nithya’s mother is aware of the curse and replaces her daughter with a lookalike, Manga, an innocent village girl. How things fall in place between Jai, Manga and Nithya forms the crux of the story.
Hello Mini:
Someone has been watching, following every move of a girl living alone in Mumbai. Does it sound terrifying? MX Player’s thriller drama series Hello Mini revolves around her life. The protagonist Rivanah Bannerjee who moved from Kolkata to Mumbai seems to have everything at the place in the beginning – a good job, loving boyfriend but as the story goes on her life also goes topsy-turvy. The mystery around the stalker, however, prevails throughout the series making it binge-worthy.
Gattimela:
Gattimela is a drama television series on ZEE Kannada starring Sudha Narasimharaju, Rakshith Gowda and others. The story revolves around Vedanth and Amulya, 2 people with contradicting personalities, who are constantly at loggerheads whenever they meet. Whether both of them will turn their sour relationship into a loving one forms the rest of the story. The local users love sampling the show on ZEE5 also.
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.
