DUANJU  NEWS

Costume dramas are having a major moment in the short-drama world. From breathtaking emperors to tragic princes and charming jokers, the new generation of “male gods” is redefining what it means to shine on the vertical screen.  Unlike modern dramas, where good looks may be enough, period dramas demand more: presence, elegance, and the ability to make audiences believe you truly belong to another time. Recently, Sohu spotlighted six breakout stars whose ancient-style performances have captivated millions. Each one brings something unique, but the real question is, who would you crown as your number one?   No.1 Yang Ze - Born in 1995, 184cm, from Chongqing Don’t be fooled by his youthful image. Once Yang Ze put on his period costume for Fragrant Snow Reflects the Palace, his career skyrocketed. Netizens on Xiaohongshu consistently rank him as one of the most striking men in costume drama. With sharp features, deep-set eyes, and that cold-yet-affectionate aura beloved in webnovels, Yang Ze embodies the ruthless hero archetype. Just don’t try imagining him as a soft puppy love interest,  fans warn it’s too heart-shattering! No.2 Wang Peiyan - Born in 2001, 183cm, from Chongqing What sets Wang Peiyan apart? Comedy. At first glance, his sense of humour might outshine his looks, but put him in costume, and the transformation is unreal. In My Concubine, he emerged like a comic-book tyrant come to life, with narrow eyes, red eyeshadow, and all the lethal charisma you could want. A man who can be both funny and devastatingly handsome? That’s the real charm.    No.3 Spreading Wings (Zhang Chi) - Born in 2001, 180cm Delicate features, red lips, and a restrained aura define Zhang Chi. He shifts effortlessly from aloof to vulnerable, showing off refined emotional range. In Attack the Heart, just a look conveyed a character’s journey from coldness to warmth. With roles in Slave of the Jade Waist, Cherishing Jade and Loving Fragrance, and Spring Night in Your Arms, his 16-drama résumé proves he’s one of the most dedicated stars of the genre. No.4 Li Ruoxun - Born in 2003, 184cm Li Ruoxun embodies the “tough yet noble” archetype. With eyebrows like blades and a nose bridge that seems sculpted for the screen, his youthful looks carry surprising gravitas. Among his 29 short dramas, 18 are costume pieces,  a statistic that highlights his dominance in the genre. From The Legend of Fenghua to The Strategy of the Beauty and The Rebellion of Zhaohua, he balances roles as both noble hero and scheming mastermind. Fans still swoon over his Republican-era role in The Hot Heroes. No.5 He Congrui - Born in 1997, 177cm, from Guangdong Though his filmography in costume dramas is smaller, every pick is a gem. Please Come Into My Arms earned 9 million in collections, cementing its place as a top-tier short drama. He Congrui’s charm lies in duality and gentle features softened by strength, an emperor’s majesty paired with a scholar’s elegance. His soulful eyes make him equally believable as a tyrannical ruler or devoted lover. His collaborations with Liu Nian (Nian Nian Youci, What a Trouble) have fueled fandom’s favourite CP, “Bai Nian Hao He.” No.6 Chen Tianxiang - Born in 2002, 183cm, from Hunan The final name on this list is unforgettable. His white-haired look in The Double-Faced Official Has a Secret Love for Me left audiences breathless. With 26 dramas under his belt,  20 of them costume pieces and nine surpassing one million collections, Chen Tianxiang’s track record is extraordinary. His noble yet icy screen aura, sharpened by his single-lidded eyes, makes him perfect for roles that demand both elegance and emotional depth. Moon in the West Tower, The Medical Concubine, and The Emperor and Her only prove his star power further. The Verdict Six “male gods,” six distinct charms: from Yang Ze’s commanding aura to Chen Tianxiang’s ethereal beauty. But as the fandom loves to say, only children would choose just one. For true fans of short-drama costume epics, why not admire them all? So tell us, who’s your number one?   Sources : Sohu , August 29, 2025. Article written by Blessing Azugama #BlessingAzugama

Comics are considered to have been born in the 19th century, from varied premises: illustrated stories, Epinal images, precise narratives with images and texts (Rodolphe Töppler), introduction of speech bubbles (Winor Mc Cay) at the very beginning of the 20th century... But we want to insist here, in the duanju spirit which is ours, on a particular dimension of this creation: the tendency which was hers to divide her story, which she would entrust to periodic supports responsible for gradually delivering the story in its entirety, before it was published in a complete album! This type of publication aimed at young people began in the 1930s (Le Journal de Mickey , 1938) but especially after the Second World War with the launch of the weeklies Spirou (where Lucky Luke appeared, alongside many others!) and Le journal de Tintin (with, of course, each week, an episode of the adventures of the young reporter!). Later came Pilote (where the adventures of Asterix the Gaul , who was to acquire worldwide fame, appeared week after week!) And I can't name any other memorable comic strips that adorned these unforgettable newspapers every week! This weekly division explains why, often, the bottom of the page where the mythical story to follow appears highlights an element of suspense or anxiety aimed at motivating the reader for the next issue of the newspaper! As for manga , we should note the Weekly Shōnen Jump , presenting each week (the original Japanese version was weekly as the title indicates here) series intended to appear later in albums (including the famous Dragon Ball !) Naturally, the emergence of digital formats has led to fundamental changes in this editorial system. We will have to come back to this! Asterix & Obelix in the magazine Pilote , July 17, 1965. Tanguy and Laverdure ( aviation  comic) and Lieutenant Blueberry ( western  comic) on the bottom of the page in Pilote  magazine. With "TO BE CONTINUED" ! Cover of Le Journal de Mickey  (October 1, 1959). Example of a single-page comic strip: "Lancelot and Princess Liselotte," with the mention "TO BE CONTINUED" at the bottom. Article written by Jean-Marie Sanjorge #JeanMarieSanjorge Please note: Disney invested in a duanju platform "Dramabox" in July 2025. Read the article

The Quebec newspaper La Presse, a long-standing source of information in French-speaking Quebec, published an article on August 20, 2025, " Welcome to the world of the (very) small screen " devoted to the rise of vertical series, which appeared in the headlines. Written by journalist Mathieu Perreault, a science and culture specialist at La Presse for over twenty years, this report examines the revolution that Duanju represents in the global audiovisual landscape. The article conducts an in-depth investigation and notably examines the experience of Guillaume Sanjorge, a French producer, and his commitment to developing this format. Mathieu Perreault, journaliste (à gauche) & Guillaume Sanjorge, Producteur (à droite) Guillaume Sanjorge opens the article, emphasizing the speed of production cycles, the power of plots constructed in seconds, and the way these mobile fictions are renewing image consumption. He also highlights the importance of cultural and linguistic adaptation, emphasizing that Duanju cannot be thought of solely in an Asian context. Photos from his filming are published. The presence of such a subject in a media outlet like La Presse is not insignificant. Founded in 1884 and having had the courage to make a 100% digital shift, this Montreal newspaper illustrates both the dynamism and the capacity of a major French-language media outlet to modernize without ever compromising the quality of its journalism. By mentioning this new format, La Presse not only demonstrates the public's growing interest in short, vertical fiction, but also the importance that the French-speaking world can play in the dissemination and adaptation of this innovative format, designed for a new screen: the telephone (provided it has the means to do so...). The fact that a French producer is heard by a Quebec media outlet, at the heart of the North American cultural space, underlines the importance of dialogue between French-speaking creators and audiences around Duanju. Source : La Presse , August 20, 2025

In China, a quiet revolution has reshaped the way audiences consume stories. Known as Duanju, these short dramas, packaged in one to two-minute vertical episodes, have exploded in popularity, topping streaming charts and birthing a billion-dollar industry. With fast production cycles, addictive cliffhangers, and mobile-first design, Duanju has become the binge-watch of the smartphone era. But could this format thrive in Africa, where storytelling is already one of the continent’s most dynamic exports? Africa’s Own Micro-Drama Roots Africa is no stranger to short-form storytelling. TikTok skits, Instagram reels, and YouTube comedy sketches already command millions of views. Nigerian creators, for instance, have built global fan bases with quick-witted, relatable content. Nollywood, the continent’s film powerhouse, has also experimented with short web series and micro-films. But unlike China’s Duanju industry, Africa’s short content is largely fragmented. It flourishes on global platforms like TikTok and YouTube, with little local infrastructure to monetise at scale. Humor and social commentary dominate, while serialized melodrama, Duanju’s bread and butter, remains underexplored. The Overlap: Why Duanju Fits Africa Mobile-first culture: Africa has one of the fastest-growing mobile internet populations in the world. Smartphones are often the first and only screen. Emotional storytelling: Whether in Nollywood or in skits, African stories thrive on heightened emotion, exaggerated characters, and dramatic conflict, perfect ingredients for Duanju. Low-budget creativity: African creators already excel at producing impactful stories with minimal resources, a key feature of the Duanju model. Still, challenges remain. Data costs are high in many African countries, limiting binge consumption. Monetisation options are sparse, with ad revenue and creator payouts lagging behind global averages. And culturally, audiences have leaned toward humour and satire rather than the serialised melodrama that fuels Duanju in China. Without localised platforms or sustainable monetisation models, the format risks being seen as just another global trend rather than a transformative industry shift. The real potential may lie in a fusion: an African Duanju that blends melodrama with comedy, romance with street culture, and serialised hooks with cultural authenticity. Imagine a Lagos love story told in 100 one-minute episodes, or a pan-African thriller designed for the vertical screen. Streaming platforms like Showmax or even TikTok itself could become the launchpads for such experiments. With Nollywood’s global influence and Africa’s young, digital-native population, the continent could not just adopt Duanju, but reinvent it. Duanju’s rise signals more than a passing trend. It’s a shift in how stories are written, filmed, and consumed in the mobile-first world. Africa, with its vibrant storytelling traditions and hungry young audiences, is well-positioned to embrace this format. The question is not whether Duanju can thrive in Africa; it’s who will build the ecosystem to make it happen. And when it does, the world may find itself binge-watching African micro-dramas the same way it once fell for Nollywood films. Article written by Blessing Azugama #Blessingazugama

The global rise of short-form vertical storytelling is about to make history with the first-ever Vertical Drama Market, an industry event dedicated exclusively to vertical dramas, set to take place in Los Angeles and hosted by VertIGo. The Vertical Drama Market aims to spotlight one of the fastest, growing formats in the entertainment landscape by bringing together creators, platforms, and executives driving innovation in the vertical content space. The event promises a mix of panels, pitches, networking, and screenings designed to give industry professionals both inspiration and practical pathways into the format. Highlights of the program include: Panel Discussions: Industry insiders explore trends, opportunities, and the future of vertical storytelling. Pitches: Speed pitching with vertical app executives and offline pitches from finalists of the VertIGo Pitch Competition. Presentations: Showcases of vertical production companies and app demonstrations. Brunches & Mixers: VIP networking sessions and VertIGo Vertical Mixers designed to connect creatives with key decision-makers. Screenings: Exclusive screenings of hit vertical dramas followed by Q&A sessions with directors, producers, and cast. Vertical Story Lab: A development hub where emerging creators can shape their projects with the support of experienced producers. The event also opens opportunities for companies to gain visibility through the official Market Guide, booths, or sponsorship packages. The Market Guide, in particular, offers international companies outside Los Angeles a chance to participate and showcase their projects to industry attendees. With vertical video consumption surging worldwide, the Vertical Drama Market positions Los Angeles as a new hub for dialogue, development, and dealmaking in this dynamic content sector. Source For more information about the event and participation opportunities, visit the official websites: Vertical Drama Market – Dana Productions  VertIGo Event Portal Article written by Blessing Azugama #BlessingAzugama

The Short Drama Forum returns this summer with a new edition that aims to deepen understanding of duanju and support the international development of this genre, which is currently taking shape. Organized by the Short Drama Alliance and hosted by Wenwen Han , the event offers a dual format: a private session on Zoom (by appointment) and a free replay on YouTube the following day. The forum brings together speakers from China, North America, Europe, India, Australia, and Brazil for in-depth discussions on creation, the international circulation of content, and the changing face of short stories. Highlights include a mapping of the Chinese market, a reflection on genre diversity beyond CEO romances, a cross-talk between female creators, and an overview of the format's global development. Two options for participation are offered: free access in exchange for a social media post, or a paid ticket for $39. The event will take place on the night of August 23-24, 2025 , from 2 a.m. to 7 a.m. (French time). It promises to be a highlight for anyone interested in the future of Duanju. Learn more: Link #WenwenHan

Wix is one of the most widely used website hosts in the world, with over 250 million websites created. Dailymotion, for its part, is a long-standing global player in online video, present in over 180 countries. However, when trying to make the two coexist, a technical limitation prevents creators from monetizing their content. How monetization normally works? For a video to earn money for a creator, the site hosting it must authorize advertisers to display ads on it. This authorization is based on an ads.txt file, located at the root of the site, which specifies which advertising agencies can sell. When this system is well-established, views generated from a site are counted and paid. It's a standard used throughout the online advertising industry, adopted by YouTube, Dailymotion, and many other platforms. The problem on Wix's side? When a creator embeds a Dailymotion video, it doesn't go directly through their site. Wix uses a technical "sandbox" that hosts the content on separate subdomains: usrfiles.com and filesusr.com. Result: Dailymotion sees the views as coming from these technical addresses, ignores the ads.txt from the main site and monetization does not start. A dead end that affects many creators Wix is home to millions of creators, small businesses, artists, and media outlets worldwide. Dailymotion, on the other hand, remains a global platform with 300 million monthly users and thousands of creators posting their videos daily. The equation is simple: if technical compatibility between Wix and Dailymotion is not ensured, potentially thousands of creators will see their videos circulate without generating any advertising revenue. Behind this impasse lies a simple question: how can creators be compensated if the tools aren't keeping up? Without advertising, it's difficult to finance works, pay teams, and support innovation. This is also the case for web series, short films, micro-series, and duanju, which are booming on smartphones and rely on a still-nascent economy. For these stories to find their audience and for artists to make a living from them, the technical environment must evolve and allow for the construction of a virtuous economic model. Hopefully, this article, published on September 12, 2025, will help change the situation for the benefit of creators. Article written by Guillaume Sanjorge #GuillaumeSanjorge

In the booming short drama industry, nothing captures the audience’s heart quite like the spark between two actors. The right pairing can transform a few minutes of screen time into a lasting memory, fueling fan communities, live-stream moments, and even real life romances. Here are five of the most dazzling on-screen couples whose chemistry has lit up the short drama world. 1. Zhang Beixi & Lin Ruixue: A Fairytale Sweetness Every glance between Zhang Beixi and Lin Ruixue feels like a page out of a modern fairytale. Their on-screen romance radiates such effortless warmth that fans can’t help but get swept away. Off-screen, they’re equally captivating. During livestreams, Zhang Beixi doesn’t shy away from whispering sweet nothings to Lin Ruixue, melting hearts in real time. With their striking looks and natural charm, this duo has become the gold standard of what fans imagine true love to be. 2. Zeng Hui & Han Yutong: The “Sunset Yuhui” CP Few partnerships in the short drama world have the staying power of Zeng Hui and Han Yutong. Having co-starred in eight projects together, their most famous hit Boss Li, You Got the Wrong Wife cemented them as household names. Fans affectionately call them the “Sunset Yuhui” CP, a nickname born out of admiration for their unique bond. What began as sizzling screen chemistry eventually blossomed into a real-life romance, turning them into one of the industry’s most beloved power couples.   3. Zhu Yiwei & Bai Xinyi: From Screen to Award-Winning Love Story When Zhu Yiwei and Bai Xinyi first starred in Long Smoke and Chaos, audiences were struck by their intense yet tender portrayal of love. Their performances carried a rare depth, making their characters unforgettable. That connection carried beyond the screen: in 2024, the pair announced their engagement, to the delight of their fans. The following year, they were named “Short Drama Screen Partners of the Year,” a recognition that celebrates not just their artistry but also the authenticity of their shared journey.   4. Liu Qing & Bai Yan: Love Like a Painting The pairing of Liu Qing and Bai Yan in Sinking into Rouge Color was nothing short of magnetic. Their emotional scenes pulled viewers into the raw beauty of love, while their off-screen interactions revealed a tenderness that blurred the line between fiction and reality. In one unforgettable livestream, Liu Qing leaned in to kiss Bai Yan, sparking endless discussion online. With Liu Qing’s stylish charisma and Bai Yan’s graceful elegance, they’re often described as a “perfect couple in a painting.”   5. Wang Yiyang & Qianzhe: Youthful Energy, Genuine Affection Wang Yiyang and Qianzhe bring a youthful, vibrant energy to every performance. Their on-screen kisses feel natural and unforced, a reflection of the genuine affection they share. Viewers are drawn to their bright, complementary personalities: Wang Yiyang’s sunny confidence alongside Qianzhe’s sweet charm. Together, they’ve built an image that is fresh, authentic, and deeply relatable,  making them one of the most sought-after on-screen couples in today’s short drama landscape.   From fairytale romances to reel-to-real love stories, these couples have proven the emotional power of short dramas. Their connections, both scripted and genuine,  remind us why audiences return again and again to these fast-paced, deeply moving stories. And as the short drama industry continues to expand, we can only expect more dazzling partnerships ready to steal the spotlight. Article written by Blessing Azugama #BlessingAzugama Sources: Yule 360 , August 28, 2025

In Tokyo, vertical drama now has its own summit. The "Short Drama Summit JAPAN 2025 Summer," organized by LINE Yahoo!, brought together producers, platforms, and creators to take stock of the industry and set a clear ambition: to reach 10 million paying users per month. A booming market According to Line Voom, the short video platform integrated into the LINE app, itself a widely used instant messaging service in Japan, the global duanju market was worth $1.5 billion in 2024. Japan's market is still small (around €100 million) but is experiencing rapid growth: quadrupled in one year, with a projection of €470 million by 2029. The organizers see the potential for a new cultural ecosystem, capable of competing with digital publishing and streaming. The summit highlighted the sector's main players. BUMP, with over 230 million downloads, stood out thanks to series like The Perfect Girlfriend's Condition. Gokko, a studio entirely dedicated to vertical fiction, has already produced nearly 2,000 videos, accumulating over 9.4 billion views. DramaBox, of Chinese origin but now established in Japan, is expanding by leveraging the enormous catalog of Chinese productions. Alongside these leaders, other producers such as COL JAPAN or WaGa are experimenting with hybrid formats and seeking to structure the local market. The discussions revealed a creative tension: should we prioritize speed and immediate consumption, or aim for stories that leave a lasting impression on viewers? Some speakers compared vertical fiction to fast food, where efficiency is paramount. Others emphasized the importance of the storyline, which is key to attracting international audiences and giving duanju a true artistic identity. The challenge of monetization The business model is still under construction. Most platforms combine pay-per-episode subscriptions, advertising, and subscription plans. BUMP and Gokko are exploring the idea of a “500 yen package” (about 3 euros), allowing viewers to watch a full season at a discounted price, in order to get viewers used to paying. But retention remains a problem: many users subscribe for a week before canceling. Everyone agrees: to reach the 10 million subscriber mark, Japan must produce more compelling content, attract established players, and develop a true vertical fiction culture. As LINE VOOM pointed out, while manga took 20 years to establish itself as a major sector, duanju could follow the same path... but much faster. Source : • Natalie.mu , August 29, 2025

On May 7, 2025, Netflix officially announced the launch of a vertical feed of short clips on its iOS and Android mobile apps. Presented as a dedicated tab within the app, this format allows users to quickly scroll through personalized clips. Simply called Short Videos , this feed appears as a vertical thread. Each short video is taken from movies and series in the Netflix catalog, with options to watch the full episode or movie, save it, or share it. Netflix aims to capture attention by replicating the effectiveness of infinite browsing found on social media platforms like TikTok, Instagram, and YouTube Shorts , while integrating it into a premium streaming framework. Back in 2021, the platform experimented with a vertical feed dedicated to comedy clips, followed by another for children's content. These previous experiments were called Fast Laughs for comedy content, and Kids Clips for children's content. These experiments were limited to specific categories. The new test is much more comprehensive, addressing all genres in the catalog. The launch of this mobile vertical stream of short videos represents a coherent strategic move. This mobile-first format is fast, emotional, and optimized for mobile screens. This is a first step that could lead the streaming giant to begin its direct involvement in mobile fiction. Watch this space. Content choices, investment, and audience returns will determine whether Netflix becomes a new player in the format. Results in terms of retention and engagement will also be decisive. Sources: • Netflix , March 3, 2021 • TechCrunch , March 3, 2021 • Netflix , May 7, 2025 • TechCrunch , May 7, 2025 • Fast Company , May 7, 2025 • Free News , May 9, 2025