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ETV Marathi: Changing the rules of the game
ETV Marathi has been one of the pioneers in regional entertainment and to our credit, we‘ve been visionaries.
The way I see it there have been three phases of content. The first was the evolution of content. ETV Marathi, when it started out, was not on par with national TV channels but it was locally unique and culturally closer. The next phase was when Star Pravah came into being, and the quality and nature of programming took a leap. The third phase is what ETV Marathi has done since Viacom 18 came into the picture. We‘ve taken the current entertainment to its next phase.
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KHMC gets a lot more visibility and helps signify that change at multiple levels such as scale of programming, quality, production values or benchmark impacts the kind of audiences we draw.  |
Kon Hoyil Marathi Crorepati (KHMC) was one of the first steps to signify that. The kind of shows we were doing before and after KHMC signify the extent of change in the genre.
KHMC gets a lot more visibility and helps signify that change at multiple levels such as scale of programming, quality, production values or benchmark impacts the kind of audiences we draw.
The kind of programming that we have lined up is going to bring in more audiences from outside the genre. These are audiences that were not watching much of our Marathi programming but because of the quality and diversity, they would be looking at it. These are the younger audiences or more contemporary and educated in English or Hindi medium schools and therefore, are not watching regional Marathi entertainment. So it has to be the language and content that has to appeal to them. The content more than the emotional attachment to their language should pull them in.
ETV Marathi‘s legacy is very strong but we were stuck in the past where it pulled in a certain kind of audience. We are now bringing in content that is far more vibrant, younger, contemporary and fresh in order to pull in a whole new segment of audiences to Marathi GEC.
We had to change our FPC (Fixed Point Chart) but we didn‘t have the luxury to create content and wait because it was a running channel. We started replacing shows in a certain priority. We started by replacing some fiction shows. We brought contemporary drama on the channel. We created a completely original show called Vivah Bandhan while another was a remake of the popular show Uttaran called Asawa Sundar Swapnache Bandhan. We thought of taking something that worked nationally and serving it in a regional language with a setting that‘s closer home.
Post that, we worked on the fiction vs. nonfiction mix. Previously, E TV Marathi had nonfiction during a late night time band post 9:30 pm or 10:00 pm, which we pulled to the 9:00 pm to 10:00 pm band. We launched three shows; one was Natya Rang, another was Comedy Expressthat we reworked on and third was another popular ETV Marathi show called Crime Diary that we brought back in a new avatar.
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E TV‘s legacy is very strong but we were stuck in the past where it pulled in a certain kind of audience. |
Traditionally, ETV Marathi was not known for marketing. Now we have changed that and there is cross-channel marketing; outdoor, print, ground activities-pretty much 360 degree. We used KHMC to amplify our marketing because in a GEC space, a channel is never marketed, the show is. We did many on-ground activities for KHMC. We had vans going from city to town and organising a game play on the ‘hot seat‘. So people in a small town would gather and get an opportunity to answer five questions and get the feel of it. So we did a lot of these things that may not ultimately give an ROI on a specific show but will help to create a lot of buzz for the channel. KHMC did manage to shake people up as it came as a disrupter.
Incidentally, KHMC is just about 20 per cent of our ratings while the rest comes from our other shows.
We‘ve not only started doing a lot of marketing but we started just letting people know that ETV Marathi was undergoing a change.
The consumer would take time to realise a change was happening. After carrying out some changes till March, we launched KHMC in May as our flagship program. That brought us a lot more visibility. What we have noticed is that every new show‘s launch has beaten the record of the previous show‘s launch. We brought on board better quality and differentiated nonfiction programs this year. The channel now has something for everybody.
As a channel, for us, it is important to know what is happening in every age group. We track that by age or by SEC. Every single age group is showing growth in reach and time spent on ETV Marathi . We want to make sure that a lot of our old and loyal audiences have reason to stay on the channel as well as the younger audiences come back to the channel because our audiences don‘t sit in Mumbai and Pune. So we target the rest of Maharashtra in both ground activities and print.
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.
