eNews
Times Network, Britannia, and Mindshare launch content hub ‘Cheeseitup.in’
Mumbai: Times Network, a broadcast and digital network has partnered with Britannia The Laughing Cow Cheese, a renowned cheese brand and Mindshare to launch ‘Cheeseitup.in’, an innovative content destination to enhance cheese awareness in India and provide culinary inspiration.
‘Cheeseitup.in’ is designed to build a vibrant community for cheese lovers, offering insightful information on various types of cheese, recipes, health benefits, DIY videos, blogs, and more. Through multiple touchpoints across the website and social media, ‘Cheeseitup.in’ offers easy and snackable content that makes everyday meals tastier by incorporating different types of cheese from Britannia The Laughing Cow Cheese. Whether you want quick snack ideas or gourmet recipes, the platform offers engaging, user-friendly content, ensuring that the recipes are easy to follow. Users can easily save and download recipes that are tailored to their preferences and specially curated by food influencers and chefs across India.
Developed by Times Network Digital, this digital encyclopaedia for cheese will leverage the network’s expertise in content creation, organic user acquisition, and e-commerce to enhance brand visibility and user engagement. Targeting a wider reach within a year through content integrations & promotions across various platforms of Times Network, including TimesFoodie.com, TimesNow.in, TimesNowNavbharat.com, and ZoomTV.com, this industry-first initiative is strategically promoted by Mindshare, showcasing an innovative approach to brand promotion.
Britannia Dairy CEO Britannia Bel Foods and CBO Abhishek Sinha said, “CheeseItUp.in is Britannia The Laughing Cow Cheese’s effort for all cheese enthusiasts and novices who are constantly looking to gather knowledge about the product category. After the joint venture between Britannia and Bel group, we began the journey of creating awareness about the category benefits, with borrowed learnings and expertise from the French conglomerate. We realised that as a nascent category in India, the awareness about cheese, its benefits, and its usage is still limited and fragmented. We took up this challenge with our partners – Times Network and Mindshare to build an inclusive platform which could cater to this gap for all Indians.”
Commenting on the partnership, ZENL & BCCL(TV Division) CEO Rohit Gopakumar said, “Our endeavour is always to provide a balanced platform for both our audience and clients. The satisfaction of achieving brand objectives through targeted content offerings excites our team. Britannia has consistently led the way in creating cutting-edge communication ideas for its various products. This partnership between Britannia The Laughing Cow Cheese and Times Network Digital platforms will undoubtedly break new ground in the cheese category. Collaborating with Britannia and Mindshare to introduce a new and innovative concept that marries content with brand thought leadership is the way forward for deep audience engagement. It’s time to CHEESEITUP!”
Speaking on the partnership, Times Network president & COO – Digital Rohit Chadda said, “Content-driven commerce strategically integrates content into the shopping process to provide customers with the highest quality experience. Times Network Digital has the largest base of premium, influential audiences in the country across news & lifestyle categories. Our brand TimesFoodie.com, an industry-leading platform in food content, is the perfect partner to create such a food destination for Britannia. The idea of ‘CheeseItUp.in’ is to instil product knowledge and usage, while also taking an innovative approach to e-commerce that directly drives revenue for the brand.”
Mindshare CEO Amin Lakhani shared, “CheeseItUp.in isn’t just a platform, it’s your fun and flavourful culinary playground! We want to make cheese a delicious and healthy part of everyday meal planning. We use real consumer data to craft healthy and inspiring recipes with Britannia The Laughing Cow cheese. It’s connected commerce powered by content. Mindshare has architected a partnership between Britannia Bel Foods and Times News Network. Get ready to experience a whole new world of cheese-based creations! We are excited to see how this platform will revolutionise the way people enjoy Britannia The Laughing Cow cheese in their daily lives.”
Additionally, the integration of a quick commerce platform with ‘Cheeseitup.in’ allows consumers to purchase cheese in a few clicks, seamlessly transitioning from CheeseItUp.in to savouring The Britannia Laughing Cow cheese delights.
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.
