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What Onam heralds for Kerala’s TV channels
When it is half a year for the rest of the world, the new year dawns in Kerala when the Malayalam calendar heralds the arrival of the month of Chingam. In agrarian Kerala, Chingam was the most vital month of the year for it was the harvest season with the promise of year long prosperity. Add a dollop of ancient history of a wronged, but redeemed king (Mahabali) who visits to check if his subjects are as prosperous today as when he last saw them, and Chingam has all the glamour of a superstar’s new movie.
Kerala has long since been shorn of its glory agrarian days and having never tried its hand in industry, has now settled down to being a service economy bolstered by tourism and money from the Middle East (the (in) famous “Money Order economy”). Yet, for the average Keralite there are no spring- summer-winter season shopping nor end-of-season sales as tempting and as awaited as the Big Fat Onam Shopping !
About four weeks leading to Onam and a couple of weeks afterwards, the consumer in Kerala watches as national brands and local biggies line up launching advertising blitzkriegs and never before offers . New launches, exchange offers, scratch-and-win schemes, BoGo offers, raffles, the works! The retail industry goes into an overdrive. And why not? White goods brands reach 40-45 per cent of their annual sales target for Kerala in the tiny three month (even lesser) window of opportunity that Onam offers. The buyer meanwhile, having deferred purchase to make a kill at the Big Fat Onam Sale, slowly loosens her purse strings. It is Win-Win all around.
In 2015, Onam was on Friday 28 August. A study of TV consumption in the Top 10 Malayalam channels (Asianet, Asianet News, Asianet Movies, Asianet Plus, Surya, Kiran, Mazhavil Manorama, Flowers, Manorama News and Kairali) reveals many interesting insights into the melee that Onam is. In August 2015 (source: TAM), the jewellery category, which is anyway among the top consumers of TV ad space, hiked its presence by 56 per cent over July and promptly slashed it by 59 per cent in September.
No surprise there, as auspicious Chingam is sandwiched between two inauspicious months, hence is a very busy wedding season. There can be no Onam without Onasadya (a grand meal), who would know it better than Instant Mix brands (payasams etc) that upped their TV presence more than two fold! Onam is as synonymous with Onakkodi (new clothes) as it is with the Onasadya. Textile retailers wishing to make hay while the Onam sun shone, hiked their TV presence by 120 per cent in August from July, and almost went incognito with an 84 per cent slash in September. The same trend was seen in the readymade clothes category as well.
The category that has the highest stake in Onam, retail- durables/electronics ,was out there on a limb with close to fivefold (370 per cent) increase in TV presence ! Following Onam, there was almost total silence from this category. They were probably laughing all their way to the bank.
Automobile manufacturers (cars/jeeps) and their compatriots – two wheeler makers increased TV presence by 44 per cent and 69 per cent respectively in the run up to Onam which they promptly slashed in September. Bright, sunny days of Chingam after the monsoons were a welcome reprieve to the paints category which hiked its presence by a whopping 80 times, and bucking the general trend, hiked it by another 25 per cent in September. On the other hand, the usual top three TV advertisers in Kerala -chocolates, toilet soaps and milk beverages- piped down during Onam month, reducing their TV presence by 18 per cent to 20 per cent.
Leading brands earmark close to 25 per cent to 30 per cent of their annual ad budget for Kerala for the Onam season alone. For TV channels, this is the season to air film premieres, special events, programs with celebrities, all aimed at capturing eyeballs and at creating the right content to place the sudden surge in advertising. Total advertising duration (in the 10 Malayalam channels under study) shot up by about 35 per cent in Onam month compared to the previous month. Asianet and Mazhavil, the top two Malayalam GECs, garnered close to 45 per cent MORE advertising in August 2015 compared to the previous month.
The viewers, in whose honor all the fuss is made, were very obliging on their part. Time spent analysis shows that on the days prior to Onam an average 40 minutes was spent on Asianet, which shot up to 57 minutes on the first Onam day and further to 65 minutes on Onam Day (day two of Onam a.k.a ThiruOnam is the actual Onam day). The same trend is visible across all Malayalam GECs. Mazhavil Manorama’s viewers, for instance, who used to spend an average 12 minutes on the channel pre-Onam, hiked their viewing to 16 minutes and 18 minutes on first and ThiruOnam days respectively. Surya increased its channel share to an average 14 per cent on the two days of Onam from its usual eight per cent to nine per cent . As the day finally drew to a close on 28 August 2015, the Bhima Jewelers Jewelers group had garnered the highest presence having spent 3790s on air (excluding promo tags and other promotional activities of the brand). In terms of Impact, another jeweler Josco got top marks garnering 493 GRPs.
In 2016, Onam is scheduled to arrive mid-September. Every brand worth its salt is already out there with guns blazing to woo the consumer and make the most of the Onam fervor. It is no secret that Kerala economy needs a boost, and Onam shopping is just what the doctor ordered. All that remains to be seen is whether the consumer will be lured by the offers and whether she will script the Onam of every brand’s dreams.
The author is the managing partner of Chennai based adMax Media Consultants.
(The views and data expressed in this article are entirely the author’s. Indiantelevision.com is a medium on which they are being expressed)
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.
