iWorld
‘Value proposition’: Why OTT platforms are here to stay
KOLKATA: The Covid2019-induced lockdown was boom time for over-the-top (OTT) players. Making obvious gains at the expense of shut theatres and lack of fresh content on television, SVoD services drew in millions of subscribers who were more than willing to pay for their entertainment, which is why experts believe that there will be no significant churn post-pandemic, thanks to the value proposition offered by OTT platforms.
Consequently, the pressure has been on the streaming services to provide more content and ensure they keep delivering to users, pointed out Disney+Hotstar president Sunil Rayan. However, the streamer has taken multiple bets like launching direct-to-digital movies as multiplexes were closed. Although it has been a hectic nine months, it has led to the point where it’s normal for people to come to OTT platforms for most of their entertainment needs.
“Leaving aside the concerns for OTTs, this platform has grown in clarity and prominence. It has been a great opportunity for talented people in the country, huge opportunity for actors, singers, musicians and technicians to present their skills,” ministry of information & broadcasting (MIB) joint secretary Vikram Sahay said at Confederation of Indian Industry’s (CII) ninth edition of the Big Picture Summit 2020.
Amazon Prime Video country general manager Gaurav Gandhi mentioned that the sector has already seen huge interest in the last few years and the last few months have only accelerated the change. According to him, customer habits are transforming rapidly, and for good. Moreover, users haven’t missed the fact that streaming services are trying to bring a very different premium quality content experience for them – after all, the Indian consumer is very value-conscious, quipped Gandhi. Hence, this adoption is not short term and there would not be a significant churn after people go back to their normal lives, he added.
One of the trends that OTT platforms have seen is a shift towards watching in the living room as opposed to mobile device viewing, highlighted Rayan. “So that has helped us prepare for more traffic, higher bit rates and all. Will these trends continue? Maybe, maybe not, but the good news is it helps us deal with multiple behaviours. Predominantly a lot of people used to watch OTT on mobile devices and now they are moving to living rooms. Maybe they will come back to mobile devices, though the good news for OTT is that it is accessible on all these different platforms,” he remarked.
Gandhi also agreed, but qualified this observation by mentioning that mobile viewing is also going deeper. As Amazon Prime Video has subscribers in over 4,300 cities, it indicates subscription service is not confined to a limited part of the country, he noted.
Overall subscription has seen higher adoption during this period, especially as users have become more accustomed to online payment. “While our ad revenue based business was looking very well, it (SVoD) was completely challenging for us because it was a service that was born in the pandemic. We could map how users migrated from free service to subscription service and that acceleration was significantly higher than we thought,” Viacom18 digital ventures COO Gourav Rakshit shared.
While investment in OTT content is at its peak right now, the comparatively smaller players believe staying true to their value propositions will help them to create a viable business model, Shemaroo Entertainment CEO Hiren Gada said. Eros Digital general counsel and legal head Bishwarup Chakrabarti echoed the sentiment, adding that it’s not about choosing X or Y, but going for “and.” According to him, consumers are trying to get a feel for what they have access to.
However, amid the rapid growth of OTT platforms, the fear of censorship has also risen online content has been brought under the ambit of the MIB. Allaying concerns, Sahay stated that there shouldn’t be scepticism around the government’s decision. But he averred that certain sensibilities, especially of children, need to be protected. “Therefore, we will continue to be in touch with the industry to work out a (regulatory) model which is acceptable to all of us, so that nobody can say India has a large amount of content which it cannot be proud of,” he concluded.
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.
