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Entertainment convention Frames 2003 from 14 March
MUMBAI: Frames 2003, billed as Asia’s biggest convention on the business of entertainment, will reflect on the future direction for the mantra of corporatisation and convergence. The Federation of Indian Chambers of Commerce and Industry (FICCI) sponsored convention will be held between14-16 March 2003. It will aim to protect and enhance the true potential of India’s entertainment industry and its international dimensions.
A statement issued on 29 January 2003 states that the I&B minister will inaugurate Frames 2003 followed by special addresses by the Maharashtra chief minister Sushilkumar Shinde and BJP part general secretary Pramod Mahajan.
Frames 203 will offer a platform for discussions, debates on broadcasting changes and opportunities for conducting business confabulations. The speakers include UK government secretary of state (cabinet rank), department for culture, media and sports Rt hon Tessa Jowell MP;
CNN president Chris Cramer; Columbia Tristar International Television president Michael Grindon; UK Film Council CEO John Woodward; Turner Broadcasting president Steve Marcopoto; BBC MD Dr Patrick Cross; Little Bird UK MD Jonathan Cavendish; Motion Picture Association International, HK V P & director Michael.C Ellis; Robert Turner; and Hyde Park Entertainment chairman Ashok Amritraj amongst others.
At the convention curtain raiser held in Mumbai on 29 January 2003, FICCI Frames 2003 chairman Yash Chopra stated that the 2003 convention had been extended by a day as “it has become bigger and bigger with every passing year”. The organising committee will probe opportunities in new markets in South East Asia.
The convention will have its share of glamour with local and global stars such as Aamir Khan, Shahrukh Khan, Kamal Haasan, Bernando Betrolucci and Dev Anand addressing the inaugural session.
The highlights of Frames 2003 are as follows:
* Biggest global convention in Asia covering the entire gamut of entertainment industry.
* The only of its kind in India, one of the fastest growing markets for the entertainment industry.
* All global conglomerates like Sony, AOL – Time Warner, News Corp, Vivendi- Universal, Viacom with presence in India have participated at FRAMES.
* Thoughtfully structured interactive plenary and business sessions with the best minds from global and the Indian entertainment industry.
* Participation by Indian and global entertainment conglomerates.
* Country specific business delegations from UK, USA, France, Australia, New Zealand, Germany, Canada, Hong Kong, South Africa, Italy, Fiji, China.
* Presence of large numbers of financial institutions, banks, equity investors, VCs, facilitating fructification of ideas.
* Opportunity to meet and discuss policy issues with the key government officials.
* Research reports on industry status, alternative financing options and legal framework.
* Exhibition and showcasing of technology.
* Opportunities to network and form business alliances with more than 1500 delegates from across the entire spectrum of media and the entertainment industry.
* Gala night and networking dinner.
A special conference by the e-entertainment alliance – FICCI, NASSSCOM, TIE – will be held on 13 March. Reliance Entertainment chairman Amit Khanna heads e-entertainment alliance.
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.
