STVFORUM | Convergence and Coexistence - Micro-Drama Innovation and Development Forum

In recent years, the micro-drama market has seen explosive growth, with its market size surpassing 50 billion RMB in 2024. It has become a vital part of the online audiovisual industry, exhibiting new trends such as the integration of long and short formats, diverse symbiosis, and global expansion. On the morning of June 25, the 30th Shanghai TV Festival’s STVFORUM: Convergence and Coexistence - Micro-Drama Innovation and Development Forum was held at the Central Hall of the Shanghai Exhibition Center.

You Haiyang, Level II Inspector, Shanghai Municipal Administration of Culture and Tourism and Shanghai Municipal Administration of Radio and Television, attended and delivered remarks. Chen Yongqing, Party Secretary and Director of the Shanghai Central Station of China Media Group, and Ji Hongwei, Party Secretary and President of China Radio & Television Publishing House, were also in attendance.

The forum, organized by East-West Entertainment - a research institute focused on the pan-entertainment content industry - featured policy announcements, roundtable discussions, and open mic sessions. It centered on the latest trends in the micro-drama industry, offering a platform for industry professionals to exchange ideas and collaborate, while also providing a showcase stage for micro-drama production companies and projects, supporting more efficient resource integration across the industry.

You Haiyang

Level II Inspector, Shanghai Municipal Administration of Culture and Tourism and Shanghai Municipal Administration of Radio and Television

At this year’s Shanghai International Film and Television Festivals, micro-dramas have emerged as a major buzzword. Shanghai attaches great importance to the development of this sector, launching policies to support the micro-drama industry and rolling out the “Blossom” Initiative for content creation. The city has also hosted the second Micro-Drama Conference and the inaugural Micro-Drama Quality Awards. Over the past year, with government guidance, enterprise leadership, and market-driven operations, the industry’s momentum has been effectively activated. Shanghai’s micro-drama sector has now achieved a certain scale and is developing as a cohesive industrial cluster.

STVF serves as a bellwether for China’s audiovisual industry. At such a prominent event, we are committed to providing more opportunities for exchange and collaboration among industry professionals. Together, we aim to expand the creative horizons of micro-dramas and build a platform for communication and negotiation between domestic and international buyers and micro-drama organizations - empowering the industry to expand globally. Through our efforts, we hope to contribute Shanghai’s strength to the high-quality development of the micro-drama sector.

Platform Policy Announcement: Premium Micro-Drama Initiatives

Li La

Deputy General Manager, Film & TV Content Production Department, WeTV

WeTV’s “Tencent Theater” brand has officially been upgraded to “Tencent Short Drama”, along with a comprehensive upgrade of its premium short drama collaboration strategy.

For horizontal-format short dramas, the focus is on delivering more substantial returns to high-quality partners. First, the cooperation model upgrade - ensuring great content earns great rewards. Second, incentive system upgrade – a tiered bonus structure with rewards of up to 5 million RMB, plus up to 1 million RMB in awards specifically for directors, screenwriters, and IP studios. For vertical-format short dramas, the approach is shifting from a traffic-driven model to a value-driven one, with strong support for high-quality creative work. First, upgraded content acquisition strategy – revenue is now composed of a base share plus performance incentives, with differentiated pricing for exclusive and non-exclusive premieres. Second, script incentives – a script evaluation system is being implemented to provide guaranteed payments for high-quality S and S+ level scripts, along with post-broadcast performance bonuses. Three, post-broadcast incentives – introduced specifically for exclusive commissioned content. Our goal is to achieve a win-win-win outcome for users, creators, and the platform. Let’s work together to reward user trust with high-quality content and drive industry growth through innovative mechanisms - co-creating a new chapter for the short drama industry! 

Sun Chenyang

General Manager, Micro-Drama Center, iQIYI

What kind of micro-dramas does iQIYI aim to create? Premium, youthful, and innovative ones.

By premium, we mean content that users genuinely enjoy. Youthful refers not only to the target demographic but also to content that feels vibrant and keen. Innovation is the eternal appeal of storytelling and our core pursuit. Our primary goal is to focus on producing high-quality content and fostering breakout hits.

We are approaching this in three key phases. Phase one: focus on acquiring completed micro-dramas to quickly build up our content library. Phase two: improve overall quality by balancing acquisitions with original productions, diversifying the content offering. Phase three: deepen our efforts in long-term, in-house production development. At present, iQIYI has a reserve of nearly 20,000 micro-drama IPs, available for partners to choose from and develop - with the IP development costs covered by iQIYI. To further improve user experience, we’ve also made significant product adjustments and continue to optimize them. iQIYI will keep strengthening its content competitiveness and user loyalty, further expanding the commercial potential of micro-drama content. Our goal is to make iQIYI’s micro-dramas the top choice for audiences and a benchmark for the industry. 

Zhang Qinglong

Director of Marketing, China Media Group Mobile

China Media Group (CMG) has identified micro-dramas as a key area of focus. Leveraging the synergy between large and small screens through CMG’s ecosystem, China Media Group Mobile aims to both produce premium content and lead the direction of industry development, in alignment with market trends. Specifically, China Media Group Mobile is driving innovation in four key areas.

First, year-round industry events – including four major initiatives: Lineup Releases, Pitching Conferences, Micro-Drama Gala Night, and the Micro-Drama Quality Awards, along with a variety of additional innovative events. Second, open and collaborative content innovation – encompassing high-quality in-house productions, co-productions, rights partnerships, and membership collaborations. The approach is highly open and inclusive. Third, integrated drama-variety innovation model – leveraging ecosystem resources to create viral hits through micro-dramas, while maintaining visibility with micro-variety shows. This transforms the drama production cycle into a content communication cycle. Fourth, commercialization and industry value conversion – by tapping into IP development and the Yangyang Selections (央央好物)  platform to enable value realization, promoting premium products through premium micro-dramas.

Zhang Xiangyu

Vice President of Dianzhong Tech, Head of Hippo Theater 

Since the launch of the Hippo Partner Program in March this year, we’ve entered into deep collaborations with numerous rights holders and achieved significant progress. Today, we’re officially upgrading the Partner Program, offering more benefits to content partners involved in finished dramas - through both guaranteed payments and tiered revenue sharing. Notably, we’re introducing additional cash incentives for partner-submitted works, ensuring that high-quality productions receive even greater returns. In terms of creative empowerment, we are further expanding open collaboration around IP and scripts. Currently, over 3,000 novels and more than 1,000 short drama scripts have been made available - many of which are proven market successes.

We are also officially announcing the Joint Investment Program today. Hippo will co-produce high-quality projects with a 50% investment stake, and for content that strongly aligns with Hippo’s brand, we are even open to fully funding customized productions. What we offer is not just seed capital, but a comprehensive support system for creating hit shows. We warmly welcome partners who are ready to share in the value creation to join us in exploring the next opportunity in the short drama industry.

Liang Kai

General Manager, Qimao Short Drama

This year, Qimao is making a major push into the short drama sector, with a strategic focus on two key areas. Leveraging a library of over 100,000 high-quality IPs, investing heavily across the full production chain - from script development to production and distribution - to incubate premium short dramas and deliver top-tier content. Building a dedicated platform, including the launch of the free short drama app “Qimao Short Drama”, which will be promoted across multiple scenarios in the second half of the year.

Currently, the short drama channel on Qimao’s free novel platform has amassed nearly 10,000 short dramas. Qimao will open access to its entire IP library and has established a multi-million RMB script incentive fund, driving a strategy of synchronized content and platform development. In terms of collaboration, for production partners, Qimao offers scripts and production funding, using a revenue-sharing model. For creators, the company provides script fees, project profit sharing, and production start-up bonuses, encouraging talented writers and studios to develop Qimao IPs. Qimao has also set up a new company in Shanghai, and plans to invest at least 150 million RMB this year in short drama production - aiming to create more premium content and serve an even broader base of short drama consumers.

Feika

Head of Premium Short Dramas, RedNote

RedNote’s vision for short dramas is to build a cutting-edge short drama community for young people - one that resonates with youth topics, reflects emotional depth, and pushes the boundaries of what short dramas can be. We warmly welcome and actively support independent short drama studios that possess strong creative expression, high aesthetic standards, premium quality, and strong alignment with our platform values. Currently, we offer two main collaboration paths. Premium short dramas aligned with our three core content categories - supported by highly competitive guarantees and revenue-sharing policies, along with integrated operations and marketing, helping great content achieve both visibility and commercial success. The “Red Mirror Short Drama Initiative”, co-launched with FRIST. This initiative features two tracks - project development and scriptwriting - with acclaimed filmmakers serving as mentors. It aims to foster high-concept works with contemporary relevance, injecting fresh energy into the Chinese-language short drama ecosystem. You can search “Red Mirror Short Drama Initiative” on RedNote to learn more. The next chapter of short dramas is not about getting shorter, but about going deeper - where every frame is rich with meaning. We look forward to working together to define a new era of premium short dramas.

Niu Zhaohui

Co-founder, Shanhai Group

Project Head, Stardust TV

As Stardust TV approaches its first anniversary, I am honored to represent Shanhai Group in officially launching the “365 Global Micro-Drama Initiative”. Our ambition is clear: to deliver one new drama every day for 365 days, with each production aiming to become a breakout hit. This initiative marks a strategic step in our journey toward the global stage. We extend a warm invitation to international micro-drama creators and partners. With a dedicated creative fund in the tens of millions, we are eager to collaborate with content production teams around the world to develop stories that resonate with local audiences, embrace cultural diversity, and embody a truly global perspective. We also welcome cooperation with overseas platforms and rights holders. Our in-house translation team currently achieves a monthly output of up to 2,000 dramas, ensuring high-efficiency content localization. By partnering with global platforms - leveraging their massive user bases and precision recommendation algorithms - we aim to significantly boost the visibility and impact of our series. Together, let’s explore new markets in Southeast Asia, Latin America, the Middle East, and beyond, bringing compelling “Chinese stories” to audiences worldwide.

Roundtable Talk:

Upgraded Content, New Markets – The Future Trajectory of Micro-Dramas

Guo Jingyu

Chairman, GHY Culture & Media

The hope for revitalizing the film and television industry lies in the micro-drama sector. It has the potential to restore the industry’s overall value. Right now, the micro-drama market is developing rapidly, and we’ve moved beyond the era where massive investments - often tens of millions - were needed just for traffic acquisition. There’s a growing focus on content itself, which is a very positive shift. Looking ahead, the goal should be to create original IPs that truly belong to the Chinese people. There’s no need to copy or adapt long-form dramas. With such a large and thriving market for micro-dramas, and an abundance of original novels to draw from, there’s no reason to keep remaking films or TV series. I am most excited to see the micro-drama industry build its own IP ecosystem.

Le Li

Editor-in-Chief, Hongguo Short Dramas

The micro-drama industry is evolving rapidly. In terms of production costs, we’ve seen a significant shift - from early projects costing RMB 100,000-200,000 to today’s common range of RMB 700,000-800,000. This year, we’ve even begun seeing mass-produced micro-dramas with budgets of RMB 2-3 million, and this upward trend continues. If productions costing over RMB 2 million come to account for 5-10% of the market, annual output could reach 1,000 to 2,000 titles - greatly accelerating the expansion of the entire industry. The business model is also undergoing constant iteration and upgrade. We’ve progressed from per-episode payments and free viewing to brand sponsorships and product placement. Now, we’re seeing performance-based advertising deeply integrated into micro-dramas, along with direct e-commerce content embedding, allowing production companies to earn revenue through revenue sharing. Hit micro-dramas have driven astonishing sales of actor-related merchandise and apparel. If this commercial conversion can be directly channeled into revenue for production companies, it will open up entirely new avenues for profitability and growth within the industry.

Yu Hang

Party Secretary, Chairman, and General Manager of Migu Digital Media Co., Ltd, China Mobile

As one of the earliest state-owned enterprises to enter the short drama sector, China Mobile’s Migu Digital Media Co., Ltd has identified four key trends driving the future of the industry. First, the industry is evolving from a phase of unregulated, rapid expansion to one of healthy and sustainable growth, guided by national policy. Second, content creation is shifting from a quantity-over-quality approach to a more balanced focus- placing greater emphasis on both quality and responsible storytelling. Content integrity and high production value will become increasingly important evaluation metrics. Third, AI is deeply empowering the short drama industry, enhancing scriptwriting, video editing, and traffic distribution. These technologies are providing strong support for industry advancement. Fourth, many platforms are actively pursuing global expansion, and some have already seen remarkable success. For example, Migu Digital Media’s short drama Blossoms in Adversity became a sensation in South Korea after being translated into Korean, maintaining the top spot on Korean online literature platforms for an extended period. This demonstrates the vast potential of short dramas in international markets. Migu Digital Media combines the strengths of both telecom operators and internet platforms. In building its content ecosystem, it emphasizes co-creation, co-sharing, and co-development—gathering high-quality content from across the industry, opening its IP library for collaboration, and fostering a cooperative ecosystem for short drama innovation.

Nan Yapeng

Vice President, Crazy Maple Studio

The overseas micro-drama market is experiencing explosive growth, with the market size in Q1 of this year expanding by 3 to 4 times compared with the same period last year. This surge is driven by two major factors. First, a large number of high-quality Chinese micro-dramas are going global. Many domestic short drama platforms are promoting their content through overseas apps, greatly accelerating international market expansion. Second, the production capacity of locally produced overseas dramas has seen a significant increase. At Crazy Maple Studio, the volume, quality, and diversity of our overseas productions have grown substantially. We’ve gone from launching just 1-2 new dramas per week to 5-6, with continuous expansion in genres and themes, enabling us to reach broader user demographics across borders. Starting with our entry into the U.S. market, we have now expanded our footprint to Latin America, Europe, Southeast Asia, and markets such as Japan and South Korea. While the global micro-drama industry is still in its early stages, its potential is truly immense.

Zeng Yingxue

Senior Vice President of Perfect World & Head of Perfect World Pictures

Over the past year, the micro-drama industry has undergone a significant transformation. In terms of creative direction, professional teams have increasingly replaced non-professionals, with higher production investment and rising standards for quality. In terms of industry development, micro-dramas are no longer developing in isolation - they’ve begun to spawn diverse ecosystems such as “traveling with micro-dramas”, “learning through classics”, and “popular science education”. In terms of value orientation, the focus has shifted from purely chasing viral traffic to balancing both social and commercial value, allowing micro-dramas to play a role in cultural dissemination and social commentary. Looking ahead, the industry is expected to evolve from pursuing short-term virality to emphasizing craftsmanship and sustainable growth. As a production company, Perfect World Pictures adheres to a high-quality strategy - carefully crafting stories, fostering emotional resonance with audiences, and striving to turn micro-dramas from a passing trend into a lasting art form.

Open Mic:

Symbiosis & Synergy: 

Where Next for Micro-Dramas?

Zheng Yue

Dean, School of Theater, Film and Television, Communication University of China

How can micro-drama creators accurately understand and meet audience needs? I’d like to share two key points. First, creators must take the initiative to study this emerging audiovisual form and evaluate their work from the viewer’s perspective. Ask yourself: Does this story move me? Would I personally be hooked? That honest, emotional connection is the most authentic benchmark for success. Second, understand audience needs by examining specific viewing and consumption contexts. For example, observe what young commuters are watching on their phones along Beijing’s Subway Batong Line. Reflect on their current living and working conditions - only by doing so can you truly grasp what kind of audiovisual content resonates with them. Ground your creative process in real life, and your micro-dramas will continue to capture attention and retain appeal as the format evolves.

Feng Zuolin

Head of Production, Content Republic

Is there such a thing as a “hit formula” for micro-dramas? The answer is yes - but it isn’t a fixed template. Instead, it’s an evolving underlying creative logic. Genres like “strong female lead revenge” or “CEO with a secret identity” become hits because they leverage information asymmetry to trigger emotional swings in the audience, translating into a willingness to pay and a strong desire to keep watching. Can this be replicated? The key lies in the creator’s ability to find a deep sense of resonance in the characters. For micro-drama creators, the core competitive advantage is the ability to tell the most resonant story in the shortest time and in the most efficient way possible.

Liu Zifan

Head of Short Drama Business, Huace Film & TV (Beijing)

Executive Producer of The Wind of Journey and Fight for Beauty

As an industry insider, I want to say to traditional film and TV companies that are transitioning to short-form dramas: approach this new content format with a beginner’s mindset. Study the unique characteristics of short dramas in depth, adapt to new modes of expression, and focus on telling a good story. For newcomers to the field, don’t blindly imitate so-called “hit formulas”. Short dramas have already entered the 2.0 and 3.0 eras. The phase when you could profit simply by copying and repeating content is long gone. Everyone really needs to invest more ideas and effort into innovation.

Ren Yiduo

Founder of Xinlezhi Culture 

In terms of content, early short dramas were mostly based on original scripts. Later, IP adaptations began to appear, and now even high-traffic IPs from long-form dramas, such as The Prisoner of Beauty, are entering the short drama market. As for actors, in the early days, actors from long-form dramas were hesitant to participate in short dramas, fearing it might negatively impact their careers. But now, many long-form drama actors and graduates from professional academies are actively expressing interest in acting in short dramas. At the same time, outstanding short drama actors are beginning to take part in variety shows and long-form dramas. I believe that in the future, the integration between long and short dramas - both in terms of content and cast - will become deeper and more widespread.

Wu Jialin

Founder of Hangzhou Yingge Culture Media  and Executive Producer of Original Sin

Looking back at the development of short dramas over the past two years, the changes have been quite significant. In the early days, creators were focused on delivering a sense of instant gratification and emotional intensity. Now, the market is increasingly demanding high-quality storytelling. Despite years of evolution in the film and television industry, storytelling has always remained at its core. Therefore, creating rich and meaningful content is still the path we must firmly follow. As for the relationship between long and short dramas, long-form dramas can release short spin-offs to further explore and expand the value of their IPs. Meanwhile, short dramas can serve as a testing ground for innovation in long-form works, offering opportunities to experiment with fresh themes, unique styles, and diverse narrative techniques - ultimately achieving a complementary balance between the two formats.

Wu Wenyao

Founder and CEO, Joy Luck Movies

From the perspective of scriptwriting, we must first understand that what we write must, above all, be a good story. Second, we must respect our audience. And third, we must maintain a high level of objectivity. These are the three core principles that Joy Luck Movies has always adhered to in content creation. We aim to start from the audience’s perspective, discover truly compelling stories, and present them in a way that best embodies the unique characteristics of short dramas. The reason short dramas have shown such vitality and achieved rapid growth is not because they are so-called “fast food” content, but because they manage to capture the richest slices of everyday life in the shortest possible shots.

Zhao Youxiu

Executive Producer, Heard Island

The future of short-form dramas undoubtedly lies in diversified themes and premium content quality. We have always believed that short-form dramas will become one of the most mainstream content formats, with increasingly innovative hit works emerging and exerting ever-growing influence. Our production, My Sweet Home, has been featured by People’s Daily, CNR.cn, and other major media outlets, recently winning the Jury Special Award at the Cross-Strait Audiovisual Festival. This demonstrates that high-quality short-form dramas are gaining visibility and becoming more mainstream. These accolades and audience recognition stem from our value-driven mindset and premium content strategy. A motto we often reiterate internally is: “Never underestimate short-form drama audiences.” That’s why we consistently aim beyond expectations, creating works that surpass viewers’ imaginations.

The career potential and commercial value of short-form drama actors will also rise significantly. Wang Daotie, a Heard Island-contracted actor, has been interviewed by CCTV-6 and participated in variety shows, magazines, and film/TV projects, gaining broader recognition.