In recent years, micro-dramas from mainland China (known in Taiwan as vertical shorts) have risen to prominence, sparking a global wave of short-form drama productions. The North American market has also joined this trend. So why are micro-dramas suddenly so popular? And how do Taiwanese film and television creators get involved? Host Feng Bo-han reveals the inside story of this emerging industry!
Host Feng Bo-han sat down with Ronan Wong, CEO of AR Asia Production, and Justin Saucedo, head of script development at Lunar Tickets LLC (USA), to discuss the current state of micro-dramas. Why are they so hot right now? Justin was direct: “Why Micro-Dramas Don’t Preach.” Unlike traditional TV series, which often aim to convey values or ideals, micro-dramas are designed to satisfy the emotional needs of viewers. They serve as emotional outlets, offering the experience of things that people can’t do in real life.
Justin further explained the process of creating short drama scripts in the United States. He works with Chinese-language writers to identify popular micro-dramas on Chinese platforms, records the plots, translates them into English, and then adapts them to Western cultural contexts.
Is this type of imitation allowed? According to Justin, does not legally constitute copyright infringement because they are simply borrowing the main idea of the story and creating different content from it. Even if someone had adapted one of his microdramas and produced a similar story, he said he wouldn’t mind, explaining that micro-dramas are not high art. Both Justin and Ronan believe that micro-dramas are about producing what the audience wants to see. Originality isn’t the goal – it’s like how many noodle shops sell the same beef noodle soup, but each uses different techniques. When audiences want to see revenge plots or domineering CEOs, each production company brings their own version of the same themes to the table.
So how should a Taiwanese team start in the micro-drama scene? Ronan advises aspiring creators to start by selecting one or two viral Chinese micro-dramas and film versions of them using the same scripts. These sample productions can then be used to pitch to platforms. While it’s unclear whether this advice suggests imitation purely for practice or also for presentation, Feng interprets it as a test of judgment – knowing which stories work or fail – and a way to demonstrate one’s ability to execute a complete micro-dramatic project.
As people spend more time on their phones, vertical video content like micro-dramas has become a popular format. But what other interesting changes has this trend brought about? Ronan points out that the rise of micro-dramas has created opportunities for shorter actresses. In the past, Hollywood favored tall male stars, and actresses under 165cm (5’5″) often struggled to land roles. But with the move to vertical framing – tight, close-up shots focused on a single person – height no longer matters as much. This breaks the traditional prejudice that favors tall actors and opens the door to unknown talent. Now, people who previously had no opportunities are entering the spotlight, and this new format is introducing a new wave of faces and talent to the industry.
Feng Bo-han concluded the program by sharing his thoughts. He believes that although micro-dramas are tailored to audience preferences and designed to avoid fatigue, they still require creativity and pose a serious challenge. The production process requires high execution power from industry professionals, and only those who can deliver consistent results will produce truly great content.
Sources: ETtoday Starlight Cloud
