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How it started

Once upon a time (read: a few years ago), there were a pair of upstart streaming services called Quibi and Go90 that were supposed to appeal to phone-addicted millennials. These platforms were supposed to compete with Netflix and Amazon by offering up short-form videos designed to be watched on the go. Both services were touted as being the future of entertainment, and they had sizable financial backing. But neither Quibi nor Go90 managed to gain any real traction before their names became shorthand for “bad ideas exemplifying how out of touch studio and telecom execs can be.”

Quibi and Go90 were not long for this world, and much has been written about how they were doomed from the jump. Quibi was oddly expensive, Go90’s landscape mode-focused branding confused people, and neither service made it easy to share their content on other platforms. Back then, people — especially here in the West — laughed at the idea of watching scripted series that were meant to be viewed on a smartphone. But that same basic concept began to take off in China as the covid-19 pandemic ground the entertainment industry to a halt and forced movie theaters to close. Some were supernatural period dramas, while others were romantically charged thrillers set in the modern day. And their stories were all filled with wild twists that played out over the course of dozens of episodes.

In 2025, “micro drama” companies like DramaBox and ReelShort have demonstrated that there actually *is *an audience willing to pay for content that can be consumed in small, quick bites. And the recent micro drama boom has been a fascinating case study in old, failed ideas finding wild success in the present day because the way people think about and interact with media has changed.

How it’s going

When you open up any of the dedicated micro drama apps, you can see that the companies behind them took notes from social media platforms like TikTok and streaming services like Netflix in order to create a new, slop-filled third kind of thing. You’re immediately presented with a grid of posters for multipart series whose “episodes” each run for about two minutes max. And the titles — gems like I Kissed a CEO and He Liked It, Betrayed Alpha Queen Rises from the Ashes, and The Unwanted Wife Strikes Back — are as self-explanatory as they are ridiculous. Almost all of the shows involve elements of pulpy romance and women getting revenge after being scorned for not embodying the “right kind” of womanhood or femininity.

Many of the series frame fertility, motherhood, and werewolf / Omegaverse culture as the things that define their heroines’ sense of self. And while these female characters are often introduced as people who *are *able to fend for themselves independently, their main goal is usually to find a man who can sweep them off their feet and take care of all their worldly needs.

Micro dramas’ overwhelming focus on stories about downtrodden damsels in distress speaks to the fact that female viewers make up a substantial chunk of these platforms’ subscriber base. On some level, these series are tapping into the same kind of tawdry energy that kept the romance lit space humming along even as the larger publishing industry has seen a steady drop in sales. But unlike romance novels from traditional publishing houses with rigorous editorial processes, there’s a slapdash shoddiness to micro dramas’ production values that reflects how incredibly inexpensive they are to make compared to a Netflix or Hulu original.

That relative cheapness is one of the major reasons that ReelShort and DramaBox — which are backed by Chinese and Singaporean companies, respectively — have been making a bigger push into Western markets over the past few years. That’s also why US-owned studios like GammaTime and MicroCo are starting to pop up. It doesn’t seem to bother viewers that basically everything about micro dramas, from the writing to the acting to the lighting, is absolutely terrible. Globally, the micro drama industry is expected to rake in about $3 billion by the end of the year thanks to the platforms’ surprisingly aggressive and gamified pricing strategies. And with Hollywood execs deciding to get more serious about making micro dramas, the business has become something of an unexpected boon for young actors, writers, and production workers trying to maintain careers within a contracting job market.

What happens next

Though you would be hard-pressed to find a micro drama that felt like a strong piece of storytelling, there’s no denying that people are paying to watch them at a time when traditional streamers have been struggling to draw in new subscribers. Are series like Carrying His Triplets,* Becoming His Wifey*, and *Found a Homeless Billionaire Husband for Christmas *destined to become mainstream pop cultural phenomenons? Probably not. But these kinds of projects are keeping people employed and making enough of a profit to justify their existence.

By launching a new kind of labor contract designed to address “the unique needs” of actors working on serialized micro dramas, like ensuring they’re paid a fair wage and earn screen credits for their labor, SAG-AFTRA has sent a signal to the rest of the entertainment industry about this kind of content’s future potential. These shows might not be particularly good right now, but that could change if the studios put more effort into producing them. And even if micro dramas were to stick to their current style of stilted acting / lackluster directing / weak writing, their success right now suggests that their subscribers might not really be interested in something “better.”

As different segments of the tech and entertainment industries vie for people’s attention, micro dramas feel like an unusually strong contender. Micro dramas don’t quite add up to streaming series in the way we typically think of them, and they don’t exactly scratch the same “look watch some randos do stuff” itch that TikTok is built for. Ironically, ReelShort and DramaBox’s success feels like a direct byproduct of the way that TikTok, Instagram, and YouTube have gotten people into the habit of endlessly scrolling through vertically shot video. But these micro dramas are their own weird thing that have carved out a unique niche and found a ravenous audience in the process. And if these new platforms can keep their upward momentum going, it wouldn’t be at all surprising to see their streaming and social media competitors rushing to make the similar content of their own.

By the way

• More and more micro drama production houses are embracing generative artificial intelligence into their workflows to keep production costs down while churning content out even faster. As ill-suited as the tech generally is for more polished projects, it makes a lot of sense for the style these kinds of shows are known for. It’ll be interesting to see if micro dramas’ use of AI will become a point of contention for the human actors relying on these projects for work.
• Micro dramas’ rise in prominence also happens to coincide with a sharp downturn of film and TV production in Los Angeles. That’s another reason more performers are turning to the platforms to stay afloat, and this moment could be a choice opportunity for micro dramas to establish themselves as a viable source of entertainment.

Read this

• Though micro dramas are currently on the come up, this Puck piece does an excellent job of illustrating some of the challenges these platforms will be up against as their growth leads to market saturation.
• It’s important to understand just how hostile toward users basically all of the big micro drama apps are. Janko Roettgers’ recent piece here breaks down what makes these apps feel so predatory, and how many of them have been informed by mobile gaming’s freemium model.
• The Ankler had a great sit-down with ReelShort CEO Joey Jia about how the company’s approach to monetization turned it into a billion-dollar business. The piece also includes a chat with actor Kasey Esser about how working on micro dramas has had a profound impact on his career.
• SAG-AFTRA’s micro drama contract makes it seem like the union is being proactive about shifts within the entertainment industry. But this Variety piece digs into how the new contract was — at least partially — a response to the fact that some actors were just deciding to work nonunion.

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• Charles Pulliam-Moore