iWorld
Trai institutes mechanism for speedy implementation of its recommendations by DoT, MIB
Mumbai: The Telecom Regulatory Authority of India (Trai) has released its annual report for the year 2020-21. The report contains an overview of the broadcasting sector and a summary of the key initiatives of Trai on regulatory matters with specific reference to the functions mandated to it under the Act.
Over the last few years, Trai has sent a number of recommendations to the department of telecommunications (DoT) and the ministry of information and broadcasting (MIB) on important issues concerning the growth of broadcasting and cable services in the country. A number of these recommendations have been accepted during the period. “However, many of the important recommendations are still pending for decision/implementation by DoT and MIB which if implemented would have a significant positive impact on the sector,” the telecom regulator said.
Important recommendations that have been accepted by MIB during the year 2020-21 and their likely impact on the sector are detailed below:
(i) Recommendations on “Issues related to New DTH Licenses” were forwarded to the government on 23 July 2014. The implementation of these recommendations will ensure certainty and continuity of business and orderly growth of the DTH sector and will promote a level playing field. After acceptance of these recommendations by MIB, the amendments to DTH License guidelines were issued on 30 December 2020.
(ii) Recommendations on “KYC of DTH Set Top Boxes” forwarded to the government on 24 October 2019 addressed the security concerns for use of DTH boxes outside the country as satellites have footprints beyond geographical boundaries. The acceptance and implementation of these Recommendations will result in standardisation of the verification process and will ensure installation of DTH connection at the address mentioned in CAF and will not load the industry/customer with unnecessary additional requirements and costs.
(iii) Recommendations on “Platform Services offered by DTH Operators” forwarded to the government on 13 November 2019 addressed the issues of bringing platform services under a regulatory framework and providing transparent information to consumers about platform services. Amendments to DTH License guidelines have been issued by MIB on 30 December 2020 whereby DTH operators are permitted to operate platform services channels to a maximum of five per cent of their total channel carrying capacity.
Recommendations forwarded to MIB that are still pending with the government as of 31 March 2021 are as follows:
1. Recommendations on restrictions on certain entities from entering the business of broadcasting and distribution of TV channels.
2. Recommendations on Issues related to radio audience measurement and ratings in India.
3. Recommendations on issues related to digital terrestrial broadcasting (DTT) in India.
4. Recommendations on sharing infrastructure in the TV broadcasting distribution sector.
5. Recommendations on issues related to digital radio broadcasting in India.
6. Recommendations on issues relating to uplinking and downlinking of television channels in India.
7. Recommendations on reserve price for auction of FM radio channels in new cities.
8. Recommendations on interoperability of set-top box.
9. Recommendations on review of television audience measurement and rating system in India.
10. Recommendations on a regulatory framework for platform services (PS) for MSO.
The Trai felt that a periodic review of the implementation status of all recommendations of the authority should be done at the highest level. With an objective to put in place a mechanism whereby there is a periodic review of the implementation of pending recommendations of Trai in DoT/MIB and to create a central repository for real-time tracking of the status of all recommendations, the regulator has developed a recommendation status portal which can be accessed jointly by Trai, DoT, and MIB.
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.
