October 15, 2026
From Cement to Skincare: Why Brands Are Moving Into Microdramas
Microdramas are finding their way into categories you wouldn’t usually associate with entertainment, from cement and fragrance to innerwear, fashion and smartphones.
JK Super Cement released Tera Ghar Mera Ghar, a 53-episode vertical series about a couple building their first home. Nykaa Wanderlust took a lighter route with Hotel Wanderlust, a six-episode Instagram comedy tied to its fragrance launch. More recently, intimate wear and shapewear brand, Underneat entered long-form digital storytelling with Likhe Jo Khat Tujhe, a 14-episode Instagram series starring Kusha Kapila and Sheeba Chaddha.
The campaigns look very different, but they point to a wider shift. Brands across categories are using episodic storytelling to hold attention, introduce products, and give audiences a reason to return.
So, what is driving this shift? Where do creators fit in, and what should brands consider before investing in a microdrama?
JK Super Cement went long. Tera Ghar Mera Ghar premiered on 21 August and is described as the first microdrama by an Indian cement brand. We broke down how it works in our post on how JK Super Cement built a 53-episode story.
Nykaa Wanderlust went short and light. Hotel Wanderlust stars comedian Varun Thakur, with creators appearing as guests across the episodes. The series crossed nearly one million views in two weeks, and it supports the launch of a new fragrance line.
AJIO and OnePlus also kept it to six episodes. AJIO made Suit Yourself a relationship drama for Valentine’s week, and OnePlus built Not Again around the Nord CE6 launch with Terribly Tiny Tales during IPL season.
Underneat took a more character-led approach with Likhe Jo Khat Tujhe, a 14-episode Instagram series starring Kusha Kapila and Sheeba Chaddha. The intimate wear and shapewear brand used the series to bring its products into a longer-form story.
What these campaigns have in common:
Nykaa, AJIO and OnePlus chose social platforms for short runs. JK Super Cement chose a dedicated microdrama platform for a long one, and also pushed it on its own Facebook and YouTube pages.
Five brands, one format, very different bets
| Brand | Series | Length | Where it runs | Purpose |
| JK Super Cement | Tera Ghar Mera Ghar | 53 episodes | BULLET Microdrama, ZEE5, ShareChat, Moj, YouTube | A brand story around building a home |
| Nykaa Wanderlust | Hotel Wanderlust | 6 episodes | Launch of a new fragrance line | |
| AJIO | Suit Yourself | 6 episodes | AJIO app and Instagram | Valentine’s week fashion |
| OnePlus | Not Again | 6 episodes | Social media | Nord CE6 launch during IPL |
| Underneat | Likhe jo Khat tujhe | 14 Episodes | Brand storytelling to promote Underneat’s intimate wear and shapewear through an episodic drama. |
- The product shows up inside the story, not between scenes.
- Each series has a clear job: a launch, a seasonal moment or a brand story.
- Recognisable faces or creators help get people to watch episode one.
Why brands in every category are doing this
The audience is already there. ShareChat and Moj alone report more than 500 million daily episodic views across microdrama content. Here is what brands say is pulling them in.- More time with the brand: A regular digital ad gets a few seconds. JK Cement’s marketing head said an episodic series lets people spend much longer with the characters and the brand’s role in their world.
- A reason to come back: A series gives viewers a reason to return for the next episode. AJIO even releases new episodes on its own app hours before Instagram, which turns entertainment into a traffic source.
- Speed: BULLET Microdrama’s Azim Lalani says an idea can become a finished series in around 21 days, which suits launches and topical campaigns.
- More content from one investment: A single campaign can deliver multiple episodes, social media assets and opportunities for creator amplification. Tata Motors described its microdrama campaign as more cost-efficient than conventional branded-content initiatives, with one investment generating an entire episodic content property.
- Less forced placement. Brands are wary of forced integrations. Building their own series gives them a story world instead of a guest slot in someone else’s.
Why brands are using creators in microdramas
Creators bring more than familiar faces to a microdrama. They help brands reach existing audiences, make characters relatable, and promote episodes beyond the brand’s own channels. Nykaa Wanderlust’s Hotel Wanderlust, for example, featured creators Srishti Garg, Pulkit Kochar and Mishall B alongside the main cast. For brands, creators can bring three key advantages:- Initial reach: Their existing followers can help attract viewers to episode one.
- Better storytelling: Their experience with short-form content helps with hooks, pacing, and cliffhangers.
- Wider distribution: They can share episodes and behind-the-scenes content with their own audiences.
Instagram or a microdrama app?
| Where | Good for | Watch out for |
| Short series, product launches, creator-led casts, quick start | Viewers scroll away easily, so every episode needs a strong hook | |
| Microdrama platforms (BULLET, ShareChat, Moj) | Long series, binge viewers, regional reach | Platforms can limit how naturally a brand fits into a 60-second episode |
Is your brand ready? Check these five things
| Question | Why it matters |
| Does the product fit naturally into a story? | JK works because building a home needs cement. If you have to force it, skip it. |
| Can you commit to more than one episode? | One episode does not build the habit of coming back. |
| Does the series length match your category? | 53 episodes suit a home-building story. Six suits a fragrance launch. |
| Can you give writers and creators room? | Over-scripted stories feel like ads with a cast. |
| Do you have a test budget? | Industry voices say most brands are still experimenting and using small test budgets first. |
Mistakes to avoid
- Forcing the product into every scene: Viewers drop off when the story stops for a brand message.
- Going long without a reason: More episodes only work when the premise can carry them.
- Judging it only on views: Tie the series to a business goal, as Nykaa did by running Hotel Wanderlust alongside a new fragrance launch, and check comments and repeat viewers too.
- Stopping after one season: Mahindra Finance plans a second series on everyday financial decisions, which shows brands treating this as an ongoing property.
Where to start
If you are curious, do not begin with 53 episodes. Start with one product, one clear goal, and a short run of five or six episodes.- Pick creators whose audience already matches your buyer.
- Give them the story premise instead of a script.
- Decide upfront how you will measure it.
FAQs
- Why are brands making microdramas? They give brands more time with the viewer than a regular ad, a reason for people to return for the next episode, and a faster, lower-cost way to make content than traditional production.
- How many episodes should a branded microdrama have? It depends on the story. Nykaa, AJIO and OnePlus ran six episodes. JK Super Cement ran 53 because the home-building premise could carry that length.
- How long does it take to make a microdrama? BULLET Microdrama’s Azim Lalani says an idea can become a finished series in around 21 days. The timeline changes with scale and casting.
- Do microdramas work for every category? They work when the product fits naturally into a story. JK Super Cement and Nykaa Wanderlust show that very different categories can make it work.
- Where should brands publish a microdrama? Instagram suits short runs and creator-led casts. Dedicated microdrama platforms suit longer series and binge viewers, with less control over how the brand fits into each episode.
