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“A holistic viewing experience with VAS will enlist consumer loyalty, moving forward”
MUMBAI: Having spent nearly 25 years in this industry, if there is one thing that has been constant over these years is the fact that there has never been a single dull moment! It’s a memorable journey which I live, learn and grow with every passing day.
Whilst I have actively represented many genres in entertainment what comes naturally to me is movies, and so to be part of an iconic brand like HBO, is not only an honour but a dream come true! The path-breaking work HBO has done globally is truly a benchmark we aspire to match and go beyond in this part of the world as well.
With growing fragmentation of this genre in India coupled with the tall challenge of not having much content differentiation between one channel and the other, it clearly calls out the need to bring something different to the consumer. In fact, the harsh reality of the day is that if one were to put their hand on the logo of a movie channel, one would never know which channel they were watching! Hence, I strongly believe that in the current context where lines of consumer loyalty are blurring, offering a holistic viewing experience with value added services would most certainly enlist consumer loyalty, moving forward. And this is exactly what we at HBO are currently doing and possibly paving a way for others to follow as well.
Over the years, HBO has graduated from being a leading ‘Hollywood channel’ to one of the most celebrated ‘Premium Entertainment Experiences’. HBO has redefined television viewing in India through its latest offering of two 100% ad-free Premium Channels- HBO Defined and HBO Hits. Our vision is to create a cinema-like experience in the comfort of your home. In terms of content, we at HBO aim to strike a fine balance between blockbuster titles that rate year after year and our “differentiators” – critically acclaimed ‘HBO Original’ shows and movies. Now with innovative services like ‘HBO on demand’, the subscription video on demand (SVOD) service offered for free exclusively to subscribers of the HBO Premium Channels- HBO Defined and HBO Hits- on Tata Sky, we are taking the premium experience a step further. ‘HBO on demand’ provides flexibility, choice, and convenience to subscribers, putting them in complete control of what they watch, when they watch, and how they watch. ‘HBO on demand’ will give HBO Premium Subscribers access to a wide selection of HBO original content with the convenience to watch what they like, when they like. Indian audiences no longer want to be limited to viewing content at specific times and want great flexibility and choice. The HBO Premium offering is aiming to fill that need.
Having said that, we have to also admit that unfortunately, it’s not such a walk in the park and in hindsight, I guess it was never meant to be! Whilst digitisation has paved the way for players like us to come out with new revenue models, the on-ground reality with the cable fraternity leaves much to be desired. Until the marriage of MSOs and LCOs doesn’t get sorted in an amicable way, it would be testing our strengths for making these revenue models work. The need of the hour is for digital cable platforms to adopt learnings from DTH platforms and apply the same to fix some of the on-ground challenges. There definitely exists an opportunity for all platforms to address their growth against the backdrop of the ARPU challenge and I think, we all believe revenue-sharing models can be one of the ways forward. However, to make that happen, we need some tangible steps taken on the ground.
Being an eternal optimist and seeing the glass always half full, I sincerely hope that these problems will fade away soon and I do see some baby steps being taken in that direction which will surely pave the way forward.
If I had a genie asking me two wishes; firstly, I would ask for DTH platforms to have more bandwidth and secondly, I would ask for digital cable platforms to be more technology-ready and have a stronger customer value proposition.
Some may argue that genies don’t exist so these wishes may not come true, but I believe the bottle has been opened and it’s just a matter of time before he comes out and grants me these wishes!
(Monica Tata, managing director of HBO South Asia, was the Guest Editor Of the Day at Indiantelevision.com and the views expressed are her own.)
MUMBAI: 2025 will be remembered as the year India’s OTT industry stopped chasing scale for its own sake and began reckoning with how audiences actually consume content. Completion rates fell, patience wore thin and the limits of long-form excess became impossible to ignore. In this guest column, Pratap Jain, founder and CEO of ChanaJor, traces how micro-drama moved from the fringes to the centre of viewing behaviour, why short-form fiction emerged as a retention engine rather than a trend, and how platforms that respected time, habit and emotional payoff were the ones that truly grew up in 2025.
If there is one thing 2025 will be remembered for in the Indian OTT industry, it’s this: the industry finally stopped pretending.
Stopped pretending that bigger automatically meant better.
Stopped pretending that viewers had endless time.
Stopped pretending that scale without retention was success.
What began as a quiet reset in 2023 and a cautious correction in 2024 turned into a very visible shift in 2025. Business models matured. Content strategies tightened. And most importantly, platforms started aligning themselves with how Indians actually watch content, not how the industry wished they would.
At the centre of this shift was micro-drama—not as a trend, but as a behavioural inevitability.
When OTT finally understood the time problem
For years, long episodes were treated as a marker of seriousness. A 45–60 minute runtime was almost a badge of credibility. Shorter formats were pushed to the margins, labelled as “snack content” or “mobile-only.”
That belief quietly collapsed in 2025.
What platform data showed very clearly was not a drop in interest—but a drop in patience. Viewers weren’t rejecting stories. They were rejecting commitment.
Across platforms, the same patterns appeared:
* First-episode drop-offs on long-form shows kept increasing
* Completion rates continued to slide
* Viewers were sampling more titles but finishing fewer
At the same time, shows with episodes in the six to 10 minute range started showing the opposite behaviour: higher completion, higher repeat viewing, and stronger daily habit formation.
Micro-drama didn’t win because it was short. It won because it respected time.
Micro-Drama didn’t arrive loudly. It took over quietly.
There was no single moment when micro-drama “launched” in India. It crept in through dashboards and retention charts.
By mid-2025, it was clear that viewers were happy watching four, five, sometimes six short episodes in one sitting—even when they wouldn’t finish a single long episode. Romance, relationship drama, slice-of-life conflict, and grounded comedy worked especially well.
This wasn’t disposable content. It was compressed storytelling.
In shorter formats, there was no room for indulgence. Every episode had to move the story forward. Weak writing was punished faster. Strong writing was rewarded immediately.
Micro-drama raised the bar instead of lowering it.
Where ChanaJor naturally fit into this shift
ChanaJor didn’t pivot to micro-drama in 2025 because the market demanded it. In many ways, the platform was already built around the same viewing behaviour.
From the beginning, ChanaJor focused on short-to-mid-length fictional stories that felt close to everyday Indian life—hostels, rented flats, office romances, small-town relationships, young people figuring things out. Stories that didn’t need heavy context or cinematic scale to connect.
What worked in ChanaJor’s favour in 2025 was clarity:
* A clearly defined audience
* Tight episode lengths
* Storytelling that prioritised emotion and pace over spectacle
While several platforms rushed to copy global micro-drama formats, ChanaJor stayed rooted in familiar Indian settings and conflicts. That familiarity mattered. Viewers didn’t have to “enter” the world of the show—it already felt like theirs.
Why audiences started responding differently
One of the biggest misconceptions going into 2025 was that audiences wanted shorter content because their attention spans had reduced. That wasn’t entirely true.
What viewers actually wanted was meaningful payoff per minute.
On platforms like ChanaJor, episodes didn’t waste time setting the mood for ten minutes. Conflicts arrived early. Characters were recognisable within moments. Emotional hooks landed fast.
A typical consumption pattern looked like real life:
* One episode during a break
* Two more before sleeping
* A few the next day
This is how viewing habits are built—not through marketing spends, but through comfort and consistency.
Viewers came back not because every show was a blockbuster, but because they knew what kind of experience to expect.
2025 was also the year OTT faced business reality
The other big change in 2025 was on the business side. Subscriber growth slowed. Discounts stopped hiding churn. Customer acquisition costs rose.
Platforms were forced to ask harder questions:
* Are viewers finishing what they start?
* Are they returning without reminders?
* Is this content worth what we’re spending on it?
This is where micro-drama began outperforming expectations. A well-written short series could deliver sustained engagement without massive budgets. It didn’t peak for one weekend and disappear—it stayed alive through repeat viewing.
Platforms like ChanaJor benefited because they weren’t chasing inflated launch numbers. The focus was on consistency and retention, not noise.
Failures Became Visible Faster
2025 also exposed weaknesses brutally.
Several platforms assumed micro-drama was a shortcut—short episodes, quick shoots, instant traction. What they discovered was that bad writing fails faster in short formats than in long ones.
Viewers dropped off within minutes. Episodes were abandoned mid-way. Weak stories had nowhere to hide.
Micro-drama didn’t forgive laziness. It amplified it.
The platforms that survived were the ones that treated short storytelling with the same seriousness as long-form—sometimes more.
OTT Stopped Chasing Prestige and Started Chasing Habit
Perhaps the most important shift in 2025 wasn’t technical or creative—it was psychological.
OTT stopped trying to look like cinema. It stopped chasing validation through scale and awards alone. It began behaving like what it actually is in people’s lives: a daily companion.
Platforms like ChanaJor found their space here because that mindset was already baked in. The goal wasn’t to dominate a weekend launch. It was to quietly become part of someone’s everyday viewing routine.
That shift changed everything—from release strategies to how success was measured.
What 2025 Ultimately Taught the Industry
By the end of the year, three truths were impossible to ignore:
* Time is the most valuable thing a viewer gives you
* Retention matters more than reach
* Format must follow behaviour, not ego
Micro-drama didn’t take over because it was fashionable. It took over because it fit real life.
Looking Ahead
Micro-drama is not replacing long-form storytelling. It is redefining the baseline of engagement.
Longer shows will survive—but only when they earn their length. Short-form fiction will continue to evolve, becoming sharper, more emotionally confident, and better written.
Platforms like ChanaJor have shown that it’s possible to grow without shouting—by understanding the audience, respecting their time, and telling stories that feel real.
2025 wasn’t the year OTT became smaller. It was the year it became smarter.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
