Like any disruption to an established ecosystem, micro-dramas come with both benefits and drawbacks.
In February this year, Kuku FM launched Kuku TV, a new vertical dedicated to micro-dramas — short-form TV shows with episodes lasting just a couple of minutes, shot entirely in vertical format for smartphone consumers. The platform features a vast catalogue of dubbed micro-dramas from around the world, alongside original in-house Hindi productions with titles such as Rented Husband, Revenge of My Fake Boyfriend, and Gumshuda Waris (The Missing Heir).
Micro-dramas have emerged as a significant trend in the world of streaming since their inception about six years ago. According to a 2025 study by Omdia, Asia’s top five micro-drama apps, for instance, reached a cumulative MAU (monthly active users) total of 150 million.
Today, most major streaming platforms have micro-drama projects in the pipeline, with smaller players like Kuku — and their American predecessors such as DramaBox and ReelShort — joining the fray. With attention spans shrinking in the age of endless scrolling, it’s easy to see why studio executives are placing big bets on this radically condensed storytelling format.
Data-driven dramas
How did creators and producers discover the potential of micro-dramas? It all began with data. After the initial streaming boom between 2013 and 2016, platforms took a step back to analyse vast amounts of viewer data collected over the years. They asked: what are people watching during the day, at night, during commutes, or just before bedtime? At what exact moment were viewers tuning out? How long do typical binge-watching sessions last? What’s the maximum episode length before viewership starts to drop? This treasure trove of data allowed streamers to come to certain ‘organic’ conclusions about our collective viewing habits, paving the way for the current wave of micro-dramas.
In Hollywood, this business model gave rise to Quibi (2018-2020), a startup that has since become a cautionary tale in the streaming industry. Quibi experienced exponential subscriber growth in its first year, focusing on high-quality short-form content designed for on-the-go consumption — the name itself derived from “quick bites.” In 2018, its founders raised over a billion dollars from industry giants such as Disney, WarnerMedia, and Sony. The service launched amidst much fanfare, with original programming that included Most Dangerous Game by Nick Santora (creator of Amazon’s hit Reacher) and the horror anthology 50 States of Fright, featuring renowned actors like Rory Culkin and Rachel Brosnahan in standalone episodes under 10 minutes.
However, Quibi’s rise was short-lived. The company expanded too rapidly without a clear strategy for sustainable revenue generation. It soon folded, and in 2021, its entire content library was acquired by the streaming platform Roku.
TikTok did it first
Like any disruption to an established ecosystem, micro-dramas come with both benefits and drawbacks. On the positive side, they offer a valuable crash course for emerging actors, directors, and crew members. They learn to shoot quickly and efficiently — often on shoestring budgets — since elaborate sets aren’t necessary when even the sofa the character sits on is barely visible. The rate at which smartphone cameras have advanced has helped the micro-drama thrive. Editing also becomes especially crucial in this format, providing young editors with a unique opportunity to hone their skills.
However, the downsides are equally apparent. Aside from a few notable exceptions, many micro-dramas suffer from amateurish execution. The acting is over the top, the editing is frenetic to the point of being a seizure-risk, and the overall tone sometimes resembles adults trying to watch cartoons with a straight face.
It’s a shame because the amateur Indian productions that predated (and undoubtedly influenced) today’s micro-dramas were often far more imaginative, both in storytelling and performance. Several western creators have even acknowledged the influence of these early Indian TikToks, known for their brevity and fast-paced thrillers. In my view, those videos (now defunct since the app is banned in India) were superior in almost every way to the professionally produced mini-dramas currently circulating.
If the likes of Amazon and Netflix are indeed looking to make micro-dramas a part of their libraries, I feel like they’d do better (especially outside of the metros) if the products are a little rough around the edges, a little ‘amateurish’ on purpose. After all, it’s not just the brevity that makes these two-minute dramas and thrillers work; it’s also the DIY ethos of it all. Unfortunately, that aspect is often the first to go out of the window once corporate behemoths enter the picture.
The writer and journalist is working on his first book of non-fiction.
Published – July 05, 2025 08:08 am IST