In recent days, the application of the Official Independent Trade Centre’s APP Short-Scenes Show, which is being used under the banner of Mi, has rapidly attracted a lot of attention, thanks to the sale of the “unadvertised big shorts for free.”It’s been downloaded 20 million times.I don’t know. However, the application is only for milliphone users and has not yet been mounted on Apple iOS and other branded cellular terminals with a package size of only 23MB, which is lighter.
In fact, Mi’s short play was not without warning, and in July this year, the Rédémi brand under the Mi flag, which was a chorus of thawing and the Man of Time and Space, produced the first short play, which, from the perspective of the time, was filmed by Mi for more than a simple marketing purpose, seemed to be on line at a time when the independent short play, APP, to some extent, demonstrated that the marketing of the short play at the time, had been relatively good.
As a result, Mi may be closely linked to her ecological strategy.I don’t know. On the one hand, it may be intended to further expand the potential of future millet at the end of the software by constructing content ecology, and to explore the path of commercialization of hardware and software advantages in different scenarios. On the other hand, as the short play market continues to grow, the country as of June, with a population of 696 million users, or nearly 70 per cent of the total number of Internet users, can also enhance marketing and branding among businesses through short play content.
Of course, it’s not just the rice family, or even in a way, that’s the only thing that flows in short play.The short play, an emerging content-form at a second pace and a kernel at a cooler pace, became a heavyweight market in 2025 where Internet companies were active.The byte beats the “red fruit short opera” to display the power of rainbows for 210 million live users, and calls for micro-intelligence and IP libraries to build ecological barriers, as well as for the power of the electric powerhouses of Ali, Kyeongdong and many others, to set up the short opera as a new engine of flow realization and ecological integration.
So why is the short play so hot?
Every factory has its own model.
As noted above, Internet companies are pouring into the short play track, but if they look closely, it is not difficult to see how they actually operate on short play.
For example, in June this year’s 210 million-dollar red fruit dramas, with an increase of 179 per cent over the same year, the path and pattern of which refer almost entirely to the tomato novels.The “free + advertising realization” model completely broke the short-time market with a drop-and-pay focusI don’t know. On the user side, the red fruit has abandoned its traditional membership fees and opted for a profit-making model with advertising and traffic splits, significantly reducing the cost of the audience ‘ s choice of viewing, while also introducing a variety of income-generating ways to keep users.
And the arraignment is…Socialization and IP reserves are at the core.On the one hand, through a large flow of micro-intelligence and video numbers, and through various “short play” small programs, the threshold for reaching users is lowered, while on the other hand, through the sharing and fissure of the content of the social link chain. On the other hand, the Reading Group has largely served as a repository of content for short dramas, which can be translated into short dramas by transforming a large number of online literature IPs into their content, starting from the largest web-based novel platform in the industry, with its advantages and richness, and can support to some extent the emergence of short operas from the current one-size-fits-all, with their viewers susceptible to fatigue.
If the core idea is to take advantage of traffic and content, the idea and purpose of the short play is completely different from that of the electrician.Whether it’s Ali, Kyodong, or a lot of it, it’s pretty much “good” when major electric power stations enter the short play track.ZoomI colourI don’t know. Most of these platforms use short dramas as an emerging vehicle for their electronics operations, with the intention of transforming content into a medium for commodity trading, through different sets of dramas, such as watch-and-see shopping, drama grass, brand customization, and so forth, at the core of which they serve the platform ‘ s trading ecology rather than creating content ecology in a vacuum.
However, regardless of the model, the profitability of each platform is relatively fixed. At this stage, the short play is profitable in two main ways:Payment model and free model(IAA) The fee model relies on user-filling, while the free model is realized through the application of advertising. The free advertising model is becoming the current relatively dominant pattern of profit with the entry of the red fruit drama.
However, such a profit model, with plug-ins, stickers and information-flow advertising at its core, is not entirely without shortcomings, and for short-term dramas, it attracts consumers quickly and flatly. This results in sudden ads that are forced to break down in the climax scenes, and an instant breakdown of the insinuation.
Apparently, that’s why Mi thinks she can do it free of all advertising to finish the rest.For the present phase of millet, the core of its short-time APP is to attract the most intuitive user experience to the market at a fast pace. If, from an audience perspective, this unadvertised model is indeed a fast-tracking and attractive consumer advantage in this track,However,And that means that, in the short term, Mi can barely get any revenue from the short play track.I don’t know.
It is clear that Mi’s expectations for the short play are not short-lived.Rather, it looks forward to the completion of keeping the flow in the ecology through long-term content ecological construction, or to further interconnecting and embedding with the hardware equipment of millet to make the short play a long-term business.I don’t know.
Unadvertised is a weapon and a dilemma.
But whether or not the short play is a long-term business remains to be tested.
And if we look back at the past summer, it’s not hard to see that there is an ultra-high-flowing piece like “Reading the Word” and “Gramies 2, 18” with over 3 billion, and the number of shorts from 1 billion and 2 billion clubs is breaking, and the platform’s data section is proud to have seen more than 30 billion.
But at the popular level, it turns out that the short play is barely discussed in all the major social media, and that it’s almost all about long operas, arts and so on.I don’t know. Short dramas of all types of blasts in recent years also have a concentrated outbreak of between three and seven days, with little long tail flow and continued heat once they have passed.
After all, the short play is essentially a product of fragmentation, low consumption, and the pursuit of instant satisfaction, which, after several years of events, has led to the current phase of the short play track being very homogenous, and even to a situation in which a large number of viewers are watching a three-minute episode of short play that continues to be broadcast at a faster rate, or even jump. This characteristic, which brings the low-cost characteristics of short dramas that can be produced quickly and can quickly be online, also makes short dramas difficult to carry enough information density, which ultimately leads to short dramas that are prone to blasts and breakouts.
It seems that, in response to this situation, the short play is now mostly at two extremes.
One is an enhanced version of the traditional short play, which quickly produces a large number of works at the production stage through a range of technical means, such as the AI-acting, green curtain images, and repeats over and over and over again, on the basis of market feedback, the short play with a sense of vision but with a completely different name. The strategy was changed at a later stage, from a single drop and online flowering, to a “actor-content-user” traffic closure. Short-story producers build individual IPs through a bulk-contracting potential of actors to bet on the big money actor, advocating a shift from a single “show” to a “show-and-people” dimension, with the ultimate aim of reducing long-term costs and developing actors.
As actors become more visible, so are the “Show CP” and “known actors”, which continue to produce more and more similar series in bulk. This model has even made it clear to a large audience that the short play has now been completed:We’ll take the same story with different actors, or we’ll use the same actor to take the same story with almost the same story, except in different contexts.I don’t know.
The other is the visualization of short dramas, which, in contrast to a series of short dramas, have the opposite idea. They are beginning to attempt to pursue quality, not only in their production patterns, which are increasingly similar to long dramas, but even further mimic film standards in narratives, scenery and special effects.
But this “long-duperization” not only increases costs, but also deprives the short play of its original lightness and flexibility. The final result is that the short play becomes another regular video product, requiring a collage of content, collage, and marketing, but it is difficult to replicate the cultural influence of the long opera and the film. The audience has not shown an additional interest in and appreciation of the high-cost short play, but has felt that the short play is becoming more and more like a long one.
Concluding remarks
In general, the platforms seem to have found a suitable path for their own short play, so, the whole industry seems to be booming, but it has failed to solve a fundamental problem.The audience’s interest and expectations for the short play are declining.I don’t know. The short play had to face a huge dilemma, with the industry placing constant emphasis on “blowing money” while the audience watched.
On this node, the short play is actually running with the long video station, facing the same creative dilemma, except that the short play can, by its own algorithms and mechanisms, continue to create an era of 5 billion to 10 billion in traffic, and the long video has come to a cruel situation in which content has to go to the people for a short time.
And whether or not these elements can really be changed may take more time, and the short play needs to find a new path that can both move away from a fixed set path and engage consumers, rather than re-engineer the simple path of a long video.
