iWorld
Viacom18 launches its AVOD platform VOOT; to move its entire content library
MUMBAI: Finally setting to rest about when it would launch its OTT platform, Viacom18 launched its digital VOD platform VOOT. VOOT will be an advertising led VOD platform and will be available for free on iOS, Android and web.
In a major move aimed at curating the largest repository of kids’ characters in the Indian OTT space, VOOT will house popular characters from across networks – from Nick characters like Dora, Spongebob, Motu Patlu to external popular characters like Chhota Bheem and Pokemon. In what it claims to be another first for an Indian OTT player, VOOT has launched with the largest repository of original content. VOOT Originals will roll out shows in both long and short formats across genres like comedy and drama. Bollywood actors Gulshan Grover, Baba Sehgal, Alok Nath and a host of celebrity scriptwriters and directors will be front-lining these shows. Furthermore, Viacom18 will move its entire content library, including COLORS, MTV and Nick, to be digitally available only on VOOT.
Commenting on the launch, Viacom18 group CEO Sudhanshu Vats said, “India is at the cusp of a digital boom with over 400 million (20 crore) internet users and 200 million plus (20 crore plus)smart phone users spending significant amount of time online with entertainment and allied content being the prime driver. As more people move towards consuming content online, it is time for Viacom18 to move into the world of connected screens. Hence VOOT.”
VOOT’s target audience strategy is in line with Viacom18’s larger strategy – it is a one stop destination for tots to adults. And this is where VOOT brings its unique proposition. Explaining further, Vats added, “With Kids’ content and our entire VOOT Originals line-up, the focus was to get people addicted to happiness. Through our content strategy, that is what we have held true. Our television channels also provide a very robust content bank that we will build upon, for the digital consumers. VOOT will be Viacom18’s singular gateway to quality and differentiated content, in the digital medium.”
Echoing his CEO’s enthusiasm, Viacom18 Digital Ventures COO Gaurav Gandhi explained further, “As a network we are a content powerhouse, be it through our television channels or through our film studio. Our content strategy for VOOT is true to Viacom18’s philosophy of inclusive entertainment. Between VOOT Originals, VOOT Kids, our network content and content-around-content created exclusively for the platform, the idea is to peddle happiness to the ‘always wanting’ India, racing to go digital. Our marketing campaign, set to kick off in the next few days, also highlights this brand philosophy that is at the core of VOOT. ”
With digital advertising led video-on-demand category set to develop into a $1 billion business opportunity, Viacom18 has lined up an aggressive mix of business, content and marketing strategies. “From a business standpoint, we are following the advertising led VOD model. As the market matures in the next 12-24 months, we will be evaluating both freemium and subscription led models,” explained Gandhi.
The VOOT bouquet of offerings will include fresh, new content mix, keeping in mind the varied demands of the consumer base. VOOT has planned six originals through its launch phase, and is all set to introduce India’s first mockumentary – Badman. Written and directed by Soumik Sen and co-written by stand-up comedian Anubhav Pal; this 4-part film has Gulshan Grover playing himself. Soadies, a comic spin off of the ever popular Roadies, was also unveiled at the launch. With Baba Sehgal in the lead role, the web sit-com produced by Frames has all his trademark antics to laugh your guts out.
Comedy rules the roost on VOOT. With a web series ‘Chinese Bhassad’ written by Raahil Qaazi (Co-writer of Do Dooni Chaar) and directed and produced by Saurabh Tewari and a talk show with a ‘twist; called’Sinskari’ starring Alok Nath and produced by Monozygotic is all set to keep you in splits this April!
In the ‘Content around content’ category, there will be specially curated and platform exclusive shows, exploring never before seen footage and storylines to get you hooked. Rounding up the VOOT content mix, will be all of Viacom18’s channels’ shows. The OTT platform will offer a personalised experience and intuitive product features to engage the always on generation. With VOOT Viacom18 continues to enrich the lives of every Indian with something for everyone.
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.
