'Cheesy but captivating." "Addictive."—These are among the most frequent comments made by netizens on micro-dramas, a new video entertainment format increasing in popularity online. For many Internet users, micro-dramas, with their episodes lasting just a few minutes each but sometimes numbering over 100 in total, are more appealing than traditional TV dramas, variety shows, and other forms of audiovisual content. Micro-dramas have become many netizens' cherished "digital pickles" or dianzi zhacai, a term that describes videos people enjoy while eating, enhancing their dining experience and making their food taste even more delicious.

In 2023, the market size of micro-dramas in China could reach 37.39 billion yuan ($5.18 billion), representing a year-on-year growth of 267.65 percent, according to a research report on the Chinese micro-series market, released by market consultancy iiMedia Research, in November 2023. The report estimated the market size will reach 100 billion yuan ($13.85 billion) in 2027.

The explosive growth in market size and the continuous increase in viewership have propelled the online micro-drama industry forward at a rapid pace. However, this growth has also exposed certain issues and sparked controversies.

Surging popularity

The development of micro-dramas can be traced back as far as 2009, when video streaming platforms were still in their fledgling stage in China. While these works had a certain level of influence, they did not gain widespread popularity at the time, as the trend was still dominated by long-running series.

With the emergence of mobile Internet and the widespread embrace of short video platforms among smartphone users, the micro-drama market began to thrive. In 2018, the success of several vertical-screen dramas served as a testament to the invigoration of micro-dramas in this new era.

Currently, there are three main types of micro-dramas in China. The first type is shot in landscape mode and released on mainstream online streaming platforms like iQIYI and Tencent Video. These are often platform-exclusive dramas that require purchasing a platform membership to watch. The average episode duration is under 15 minutes, and the entire series typically consists of fewer than 30 episodes.

The second type is micro-dramas released on short video platforms such as Douyin, the Chinese version of TikTok, which are available in both landscape and portrait modes. Short dramas updated by individual accounts on these platforms are mostly free, relying on embedded advertisements for revenue. However, dramas produced by the platforms themselves or developed in collaboration with traditional production companies require payment to access.

The third type of micro-dramas is shot exclusively in portrait mode. Typically spanning between 80 and 100 episodes or more, each lasting a couple minutes, these are low-budget productions with fast-paced narratives. They are characterized by strong theatricality and condensed yet suspenseful storylines, featuring a cascade of unexpected twists. The initial few episodes are usually available for free, yet viewers need to pay to watch subsequent episodes, which can be paid and unlocked individually or purchased as a complete package.

"The protagonists, who are often looked down upon by those around them, make a comeback and take their revenge on all the bad guys. These plotlines always resonate with those who have experienced setbacks in real life," Liao Siqi, a Beijing professional who, in her spare time, has watched several mini-series of different genres such as romance, comedy, fantasy and war, told Beijing Review. "With each episode lasting only one or two minutes, these dramas can be easily consumed while commuting or during leisure time after meals. I just pick up my phone and watch, without interrupting any other activities."

"While I'm at work, I constantly feel mentally tense; and once I finish work, I just want to mindlessly watch dramas," Liao added.

At the beginning of their development, micro-dramas were usually produced by lesser-known actors and actresses without professional training in performance, as well as aspiring directors. Now, big names in the performing arts industry are also trying to get in on the micro-drama frenzy, increasing audience expectations of what they can bring to the game. For example, in January, Hong Kong filmmaker Stephen Chow Sing-chi, known as the king of comedy, inked a deal with Douyin to make an exclusive series for the platform. The project's first drama from Chow, titled Jinzhu Yuye, is expected to air in May.

"To capture a larger market, producers must put in more effort, especially in terms of the quality of the dramas. After all, content is everything," screenwriter Jiang Yizhen told Chongqing Daily. She said she believes that if high-quality productions continue to emerge, micro-dramas will continue to thrive; however, she cautioned that such dramas should avoid being similar or identical to one another in terms of themes, storylines, styles or presentation.

Controversies and challenges

Compared to traditional TV series, micro-dramas with significantly shorter durations better cater to the fragmented viewing habits of contemporary audiences, Lu Fan, Deputy Director of the TV Research Center at Peking University, told China News Service. But, he added, precisely because of their small scale and short production cycles, coupled with the need to capture viewers' attention and gain traffic in a short period of time, the market has witnessed the emergence of imitations and plagiarized works. Additionally, some of these works focus solely on plot conflicts and suspense while neglecting character development and building depth in the story.

"Explosive growth has brought about a lot of chaos; and vulgar, violent, and pornographic content have seriously damaged the online content ecology," Zhang Peng, a film researcher at the National Research Center of Cultural Industries of Nanjing University, told the Global Times newspaper.

Despite the current uneven quality of the products, Lu said he believes the refinement of micro-dramas is possible and worth looking forward to. "'Short' does not mean it cannot be 'exquisite.' Creators can still tell a complete and profound story through careful planning and editing, but this does test their ability," Lu said.

In November 2022, China's National Radio and Television Administration issued a notice on the rectification of online micro-dramas and on ensuring their quality. Three months of special rectification work showed positive results. For example, as of February 28, 2023, more than 25,300 micro-dramas, totaling 1,365,004 episodes, containing pornographic, vulgar or violent content had been taken down.

Another controversy relates to payment for micro-dramas. Many adopt a subscription-based model similar to online serialized novels or comics. According to the iiMedia Research report released last November, 41 percent of the respondents indicated that they are willing to pay to watch micro-dramas. Among them, over 70 percent of respondents stated that they would spend more than 50 yuan ($6.92) per month on these subscriptions.

The highest proportion of paying users is in the 35-44 age bracket and users in the 45-64 bracket also exhibit a higher inclination to pay compared to the overall average, according to the report.

Some consumers, especially retirees who may not be as familiar with the Internet as the younger generation, are susceptible to falling into the trap of micro-drama payment schemes. They may face difficulties in seeking refunds due to their limited understanding of the online platforms and processes, which leads to overpayment.

"Due to the rapid development and evolving nature of the micro-drama industry, there's still much room for improvement in governance, as well as for measures taken by platforms," said Zhao Hu, a lawyer at Zhong Wen Law Firm headquartered in Beijing. Zhao said the absence of comprehensive regulations and the lack of effective reporting mechanisms have allowed the problem of unauthorized fees in micro-drama mini-programs to continue.

To ensure the long-term viability and healthier development of this emerging industry, Zhao said that platforms must increase their regulatory efforts, which include intensifying content reviews.

Zhao added that with the further introduction of more comprehensive and improved regulatory provisions, substantive measures to curb unauthorized fees in micro-drama platforms are expected in the near future.

Copyedited by G.P. Wilson

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