Why Traditional TV Sellers Aren’t Embracing Microdrama
Industry Slow to Embrace Microdrama Phenomenon
International television distributors are traditionally reactive, often leveraging anniversaries and current events as catalysts for program deals. However, they appear to be lagging in one of the fastest-growing sectors in global programming: microdramas. These brief, compelling narratives ranging from one to three minutes tell stories about everything from lovestruck mafia bosses to complex familial relationships.
“This is a platform play,” noted a senior distribution source regarding the industry’s hesitant approach to microdramas. “The question is, can it serve as a distribution play as well?”
As the London TV Screenings 2026 approach, major distributors like Fremantle, ITV Studios, All3Media International, and Banijay Rights have not made significant moves to package vertical videos for platforms like ReelShorts or DramaBox, leaving those developments to their production teams. Discussions on microdrama tactics will take place at MIP London, featuring industry figures such as GammaTime’s Alex Montalvo, Holywater’s Anatolii Kasianov, and COL Group’s Timothy Oh, while distribution executives remain conspicuously absent.
Inquiries to several notable distributors yielded no comments. A source from a boutique distribution firm contemplating entry into the microdrama sector conveyed that the rapid pace of this emerging industry poses challenges for larger companies, which often require extensive corporate justification for strategic shifts. “How many big companies have moved the needle?” they asked. “Big companies can get bogged down and comfortable in their business, and I don’t think many have the foresight. Even though there are studies talking about billions of dollars at play, they don’t know the first thing about how to move on that.”
In contrast, smaller distributors like Hong Kong-based Harbour Rights have successfully adapted to the climate, securing over 1,000 vertical dramas from COL Group International for distribution in Europe and Latin America. The initiative marks one of the first “traditional” distribution partnerships in this arena.
While some companies are exploring the possibility of repurposing library content, responses have largely been indifferent. Most prefer pathways involving FAST channels or offering non-exclusive windows. “Although people binge microdrama series, I don’t think anyone would consider them for a 20-minute linear watch,” said a senior sales source.
Yet, players like Tattle TV are innovating by looking to repurpose classic content, including works by Alfred Hitchcock. Sharon Levi, Managing Director of Israel’s Yes Studios, which is making its London TV Screenings debut with new titles, discussed the landscape’s complexities. “It seems like social platforms would look into microdramas in order to engage their followers,” she explained. “We’ve heard of hi-tech companies exploring microdramas, given the technology needed and the language.”
The processes involved remain tied closely to producers, who typically engage directly with platforms. Given the low production costs and quick turnaround of vertical dramas, producers can bypass traditional distributors. For example, the deal for Tattle’s Hitchcock project did not necessitate a distributor.
China Leads in Microdrama Market
According to media analyst Omdia, the global microdrama industry was valued at $11 billion in 2025, projected to double by 2030. Remarkably, 83% of microdrama revenue last year originated from China, while the U.S. claimed just 9%, though it is experiencing rapid growth.
Notably, microdramatic services in China are actively sourcing content from vertical video suppliers, undermining conventional distribution models where sellers typically acquire third-party content. Omdia anticipates that the microdrama market outside China will reach $3 billion by 2026.
“China is moving so fast in terms of production volume and dealmaking, and the traditional guys can’t get their heads around that—before the bureaucracy kicks in,” commented a boutique distributor. “They are the forefront of using AI to do it.”
Min Lim, Group CEO of Malaysia-based Vision New Media, sees the microdrama space as a partnership opportunity rather than a standard sales environment. Initially operating as a channel operator, Vision New Media recognized potential when approached by former Warner and Sony Pictures Television Asia executive Ricky Ow. The result was a partnership focused on microdrama content across various markets, including a new co-branded vertical video app.
Traditional Networks Testing Waters
Although traditional television networks have been criticized for neglecting vertical video, there are notable exceptions. Fox has invested in the Ukrainian microdrama firm Holywater and partnered with social media giant Dhar Mann Studios. Japan’s Nippon TV has announced a new division for microdramas, and BBC Children’s is producing its first microdrama based on a Canadian series.
While distributors may not dominantly feature in these initiatives, they are experimenting with monetization. Bo Stehmeier, CEO of the factual vendor Off The Fence, reports success with short-form content and episode compilations formatted for vertical video, suggesting that audiences with varying viewing habits are engaging positively.
Stehmeier emphasizes that the real transformation in the industry is occurring beneath the surface, stating that the goal is less about reinventing existing structures and more about learning from industries like print and music. The ongoing evolution, particularly in microdramas, leaves the role of traditional distributors still uncertain, posing questions about their future involvement in this dynamic market.
