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Indian TV B’casters: ‘TAM’ing TV ratings
Does the Indian TV broadcast industry want TAM? In one word, the answer is No. Definitely not in the form and manner it is monitoring TV viewership in India. Definitely not the kind of viewership numbers it has been spewing out for them week by week. The major Indian TV broadcast networks have already shown their utter disgust and disregard for its TV ratings by closing their checkbooks on TAM.
On almost every front, the Indian TV broadcasters – through the IBF – have been flexing their muscles and showing that they mean business. And they have been sorting out troublesome issues: like striking a wage accord with TV industry technicians; setting set up a self-regulatory mechanism when government wanted to muzzle the media; getting the advertising industry to agree to net billing after the government demanded taxes for the gross advertising agency bills it used to make payments on.
But one of the most vexatious issues it has been grappling with is the TV rating‘s one. And now that the lights have been put out on TAM, what now for the broadcast industry? What are the options before it? Let us take a look at a couple of them:
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*For one they can continue with TAM Media. However, they can give TV ratings a hiatus for a couple of months. It‘s quite possible the chaos that is happening on account of analogue shutoffs and digital set top box switch-ons, will settle down and the ratings will stabilise in that period. They can also dialogue with TAM and ask it to get back to basics and do an establishment survey once again (if possible), represent the peoplemeters appropriately in power-lit areas in LC1, rather than in power-dark areas. And finally, take a closer look at the entire process of churning out ratings that happens every week, through a committee constituted for the very purpose.
* Or if this is not working out forget that TAM exists, cut off its blood supply, and watch it gradually bleed and die. Come up with a viewership metric that works in the interim for all concerned – broadcasters, advertisers and agencies – and allows the business of communicating brand messages through television for a fee to continue. The broadcast industry is torn between the two options. The first has been done before between October and December 2012 and it was painless for all concerned and allowed TAM to continue its existence in a profitable manner. The second option, while it appears the easier one to see through, comes with its set of challenges. The Broadcast Audience Research Council (BARC)‘s TV ratings system seems nearly a year away and could take longer to get to the levels of coverage TAM is providing now. Unless, under the leadership of Puneet Goenka and Partho Dasgupta, BARC manages to do an Ambani on the system and get the establishment survey, the constitution of the sample, the installation of the meters, the development of the software, the stabilisation of the findings and everything down stream thereof completed in super record time. Most advertisers and agencies have been optimistic about BARC. Industry can learn some lessons from the experience of Turkey in 2011. Turkey‘s broadcasters and the industry shut down the ratings service run there by AGB Nielsen in late December 2011, amidst allegations of corruption, which were denied by the ratings service provider. The industry body – The Television Audience Research Committee (TIAK) – prematurely severed its contract with AGB and urged TNS – part of the WPP Group‘s Kantar Research – to set up an alternative ratings system which finally got going in May 2012 with a 1000 peoplemeter panel, as against 2,500 people meters earlier.
In the interim, adage.com reported in March 2012 that life went on for Turkish advertisers, agencies and broadcasters though the “TV-buying system has since been in shambles. Without reliable new-audience measurement data, prices have been determined by using average ratings from the month before the scandal erupted, combined with monthly share performance from the whole of 2011. The industry is working to regain media agencies‘ and advertisers‘ trust.” Agreed, we are not questioning the ethics of TAM in India, though many have hurled allegations against it. There is a possibility that we could end up with a period of no TV ratings in India if issues are not sorted out by all concerned. How long that period will be is not clear (some say it could be until BARC comes up), but broadcasters will need to get advertisers and agencies‘ support for their decision. So far, both have said they are not comfortable with ratings going away, and have spoken up for TAM. With reason. Two or three months without TAM mean they will have little data to support a TV advertising expenditure between Rs 3,600-4,200 crore. That‘s not an amount you can sniff away. Hence, all three will have to come to the table and agree on a performance metric to justify the expenditure and offer some accountability. Could the Turkish media industry‘s interim solution during the TV ratings shutdown there be adapted to work in India? Broadcasters are slated to huddle very soon (either this week or next) to get some consensus on which route they will take. Some broadcast CEOs have been travelling and hence have not been able to get together. |
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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.
