A photo shows the filming site of a micro drama at the Shanghai International Short Video Center in Shanghai, east China. Photo: Xinhua

In today's fast-paced world, China's popular micro-drama model perfectly aligns with global audience's viewing habits and delivers a strong emotional impact. This has contributed to its overseas success. With a focus on long-term growth abroad, micro-­dramas must strengthen cross-national collaborations in the future, Xiang Kai, a playwright and director, told the Global Times. 

In recent years, China's micro-dramas have fueled a binge-watching trend in Southeast Asia. Some platforms outside China are already providing translated Chinese micro-dramas. In late 2024, Chinese tech company ByteDance launched its own app, Melolo, targeting the Southeast Asian market.

And now, this model is heading toward North America. With Chinese micro-dramas appearing on global streaming platforms, production bases opening abroad, and platforms topping paid app charts in the US, they've established a new niche in the international streaming market.

NPR reported on Sunday that micro-dramas, a billion dollar industry in China, are now becoming popular in the US. Several short drama apps are seeing huge audiences in the US and beyond. 

Quoting data by iiMedia Research, The Economist reported that in 2024, micro-drama apps collectively garnered nearly 55 million downloads and $170 million in revenue overseas. 

A reported by NPR noted that micro-dramas are popular because they're easy to watch. The episodes are short and the plot twists addictive. Additionally, their fairytale endings can be a major draw for viewers.

"The overseas popularity of micro-dramas, along with the recent international success of Ne Zha 2 and the previous rise of Black Myth: Wukong in the gaming industry, all reflect how China's cultural industry's innovative models are gaining global recognition," said Xiang.

Zheng Xiaolong, a Chinese director known for works such as Empresses in the Palace and who also serves as the chairman of the China Television Director Committee, noted that whether it is short dramas or micro-dramas, it is not just about compressing the story length, but rather about maintaining narrative depth and complexity to meet audiences' ­demand for quick yet fulfilling content.  

Zheng made these remarks during a keynote speech delivered at the first China TV Drama Production Industry Conference held in Shenzhen, South China's Guangdong Province, on Thursday, domestic financial newspaper Securities Times reported.

He further stated that micro-dramas should be richer and more complex in content, avoiding homogeneity and blindly following trendy topics. For sustained growth, micro-dramas must go beyond format innovation and focus on content depth and quality.

While Chinese-backed micro-drama apps are expanding the reach of micro-dramas to global audiences, leading the way are ReelShort and DramaBox, which not only translate Chinese series but also produce original content with international actors, writers, and directors. 

According to a report by Bloomberg on February 5, several Chinese micro-drama companies have established creative bases in the US. These companies, leveraging their micro-drama production experience in China, have collaborated with US actors, screenwriters, and directors to produce content tailored to US audiences. Through a localized production model, many companies have successfully launched hit series, attracting a large number of US viewers who are willing to pay to watch.

Joey Jia, founder of ReelShort, recognized the addictive nature of micro-dramas in China and believed they could thrive internationally. Following the example of Chinese micro-drama apps, ReelShort and its competitors offer flexible payment options. 

Users can subscribe for unlimited access, buy digital coins for specific episodes, or watch ads to unlock content. The first 10 episodes are usually free, with each ending on a cliffhanger to keep viewers engaged.

Beyond the US, Spanish media outlet El Pais also recently published an article delving into China's micro-drama boom, analyzing how Chinese micro-dramas are taking cellphone viewers by storm.

Spring Reel, a micro-drama production company based in both East China's Hangzhou and New York, has grossed over $10 million. The company has produced several works, some of which were filmed in the US with local actors but directed and produced by a Chinese team.

Winnie Tang, founder of Spring Reel, told El Pais that it will be intriguing to see how this Chinese phenomenon integrates with the global market.