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What the MSM-ESPN deal means
MUMBAI: When the enemy looks extremely threatening, you bring in allies to help you do battle. And if your ally is a friend-turned-foe of your enemy, it makes the war that much more interesting. And combative.
We are referring to what’s about to happen in the Indian sports television ecosystem. Multi Screen Media India (Sony Entertainment Television India) has struck a deal with the US-based mega sportscaster ESPN Inc under which it will be helping bring in the brand once again into the country as its partner.
ESPN was Star TV’s former mate in Asia until 2012 wherein they ran and distributed channels in several Asian countries jointly including in India.
The current MSM-ESPN agreement is for the long term and will be for India and the Indian sub-continent. The joint venture will see new co-branded sports channels, a multisport website and an app rolling out over the next few months. The companies will also be working together to develop original sports programs, something which has been sorely lacking in India, with the exception of a couple of them on Star India’s sports channels.
As a first step of the union, MSM’s sports channel Sony Kix is being rebranded as Sony ESPN.
It’s interesting that the two are exchanging vows at the time they are.
The IPL bids are slated to take place next year and the buzz is that Star India is likely to take the bidding to close to the $4 billion mark for all rights. With Sony-ESPN combining their resources and putting up a common front, they are quite likely to put up a stiff fight against Star India. (Others who could throw in a bid include Zee Telefilms and Discovery’s Eurosport). And not just at the IPL auctions but also for all the other sports rights when they come up for renewal.
“However,” a high ranking Sony International Television executive told Indiantelevision.com, “there is no way pricing for the IPL could go up four times. A multiplier of two times or three times over the previous bid is conceivable but above that will make it a big losing proposition.”
What’s also of interest is how Disney is shaping its presence in India. Its family entertainment initiatives got a leg up when it invested in acquiring Ronnie Screwvala’s UTV a few years ago. This deal gave it access to UTV Motion Pictures as well as channels such as Bindass and Hungama.
Disney India recently severed its distribution alliance with IndiaCast Media – part of Viacom18 and has been reaching out to satellite and cable TV platforms to strike deals with them directly.
Now with Disney’s sports offshoot ESPN partnering with MSM, one will have to see whether the latter’s distribution arm MSM Media Distribution resources will be used to shore up the efforts of the distribution team at Disney India. Or will the two work totally independently?
Sports programming in India is likely to also get a shot in the arm. ESPN is renowned for its studio-based shows and live coverage of events. Live sports content in the deal includes major US college football (including the College Football Playoff and comprehensive coverage of the college football bowl season); major US college basketball (including the March Madness NCAA Championship Tournaments); NCAA college sport championships from baseball, softball, lacrosse, soccer; Boxing (including Premier Boxing Champions and ESPN’s Big Fights Library); X Games; ESPN Films Emmy-Award Winning 30 For 30 documentaries amongst others.
What’s also relevant is the fact that both ESPN and MSM are going hell for leather after digital content properties too. The duo has its eyes on developing a co-branded localized multi-sport website and app, which will provide coverage of cricket, football, tennis, the NBA, badminton, field hockey and more. The sports content – both video and text – will be delivered on MSM’s OTT platform Sony Liv, and sonyliv.com as well as highly popular cricket portal espncricinfo.com.
Each of these websites, television channels and OTT platforms will be used to cross promote each other, giving it tremendous marketing heft. Additionally, their social media presence is to be beefed up in order to give sports lovers a destination to engage with each other and with their sports stars.
The whole in this case is going to be greater than the sum of the two parts. With the entry of a rejuvenated ESPN into India, the entire sports broadcasting ecosystem is likely to see rapid improvements as more money will be pumped in by both Star and the American sportscaster along with MSM.
And this is going to be a win-win for the various administrations, associations, players and professionals, team owners, and vendors involved in sports and sports broadcasting – and ultimately the sports fan.
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.
