Television in titbits: the rise of the billion-dollar microdrama industry

If you have been anywhere close to the social media blast radius of The Summer I Turned Pretty, Amazon Prime’s breakout YA series on a tortuous teen love triangle, you may be familiar with the plight of Henley and Luca. The star-crossed lovers of a short-form video series called Loving My Brother’s Best Friend – plot self-explanatory – have made waves on TikTok with yearning stares and “I/we can’t do this” drama that echo the many fan edits of beloved TV couple Belly and Conrad. But whereas The Summer I Turned Pretty explored its central tension over 40-minute episodes on streaming, Loving My Brother’s Best Friend, produced by a short-form company called CandyJar, distilled its appeal to its barest essences: sexual tension hook, escalating line and cliffhanger sinker, all within two-minute “episodes” on your phone. Without even meaning to or really wanting to, I watched the first 10 chapters (of 44) in one 15-minute gulp – and I’m not the only one.

Hollywood is hoping that you, too, will be hooked. Though Loving My Brother’s Best Friend may not look like a typical Hollywood product – in fact, it resembles some mix of teen show, soap opera and amateur fan-cam edit – the industry is investing heavily in the future of series like it: low-budget, mobile-only “microdramas” with episodes between 60 and 90 seconds. These shows, also known as “verticals” for their phone orientation, have already become widely popular in China, where mobile screens dominate entertainment even more than in the US. In just three years, revenue for serialized short-form drama in China rose from $500m in 2021 to $7bn in 2024, and is projected to reach $16.2bn by 2030. The global microdrama market for 2025 is estimated at anywhere from $7bn to 15bn – and booming, with nearly triple revenue growth for microdrama companies outside China in the past