Seoul, Feb 28: Ultra-short “micro-dramas” — vertical video series tailored for smartphones — are rapidly transforming the global entertainment landscape, with China leading the market and South Korea aggressively expanding into the space using artificial intelligence to cut costs and boost output.
Micro-dramas are designed for platforms such as TikTok, Instagram and YouTube, with each episode lasting just one to two minutes. A single series can run into more than 50 episodes, relying on high-intensity storytelling to grab attention in the first few seconds.
“We need spectacular moments to snatch their attention in one stroke,” director Kang Mi-so said, describing the format’s emphasis on dramatic scenes. “They are hooked by the scenes.”
Unlike traditional television or streaming shows, micro-dramas compete directly with social media scrolling. Producers often begin with climactic sequences instead of gradual build-ups. “We start with the climax,” actor An Chae-hee said. “We need to make clear what the story is and who the characters are immediately.”
The format frequently features exaggerated elements such as slaps, confrontations, revenge arcs and betrayals. Typically, the first five to 10 episodes are offered free, after which viewers are prompted to pay to continue watching.
Chinese micro-dramas reportedly outperformed the country’s box office in 2024, and the sector is now estimated to be worth billions globally. The United States has emerged as the second-largest market after China.
South Korea is positioning itself as a major player through platforms such as Vigloo, which has opened an office in Los Angeles to tap into the American market. Each of the company’s in-house filmmakers is expected to produce up to 10 titles annually.
“It takes only two months for an idea to become a show,” said Vigloo CEO Neil Choi, describing the company’s rapid production cycle. “We are the fast fashion of movie-making.”
Multiple episodes are often filmed within hours, with streamlined workflows resembling an assembly line. The speed is further enabled by the growing use of generative AI, which is deployed to create actors, generate voices, build backgrounds and even produce action sequences such as jet fighter scenes.
According to Choi, AI has reduced production costs to 10 per cent or less of traditional filmmaking. “South Korea has shown the world its power to create music, TV, and films,” he said, adding that the same creators are now entering micro-dramas. Drawing parallels with the film industry’s initial scepticism toward computer-generated imagery, he remarked, “Hollywood looked down on movies using computer graphic-made effects, but now it’s handing the Oscar to Avatar.”
However, the increased use of AI has sparked mixed reactions. Some fans prefer real actors for their accessibility on social media, while performers have expressed concerns about potential displacement. At the same time, many see micro-dramas as an opportunity for emerging talent.
Viewers cite convenience as a key attraction. “People are time-poor,” said Jen Cooper, a fan of the format, adding that micro-dramas offer escapism without the emotional intensity of serious films. She described them as “the art that the world needs right now.”
Despite criticism over lower production quality, limited narrative depth and over-the-top performances, industry observers believe the format will continue to expand. Creators argue that as technology and storytelling evolve, micro-dramas could mature into more diverse content — and potentially even contend for major awards in the future.
“They are spicy and that’s what keeps grabbing our eyeballs,” An said, summing up the appeal of the fast-paced, bite-sized entertainment format.
