DUANJU  NEWS

When a legacy studio like FOX Entertainment turns its gaze toward a startup built on 9:16 storytelling, it’s a sign of how far vertical drama has come and how fast it’s growing. This week, FOX Entertainment announced that it has taken an equity stake in Holywater, a Ukrainian-born vertical video platform that’s rapidly becoming a creative hub for microdramas, AI-enhanced storytelling, and bite-sized emotional worlds. The deal marks more than a financial investment, it’s a creative alliance. FOX will produce over 200 vertical titles for Holywater’s flagship app My Drama over the next two years, joining forces across original series production, ad sales, and brand partnerships. In the words of FOX Entertainment CEO Rob Wade, the move represents a deliberate step toward “building a modern studio for the future.” And the future, it seems, is vertical. Rewriting the Frame: From TV Screens to Phones For decades, FOX has been synonymous with primetime television hits, Empire, Glee, 9-1-1, and more. But the next chapter unfolds on a very different canvas: the smartphone screen. The partnership with Holywater isn’t just about scaling digital IP; it’s about adapting Hollywood-grade storytelling for the fast-scrolling, emotionally charged world of microdramas series that run anywhere from 30 seconds to five minutes per episode. Unlike traditional short films, vertical dramas rely on tight pacing, expressive close-ups, and emotionally resonant sound cues that pull viewers in within seconds. The form thrives on intensity and immediacy and Holywater has mastered that rhythm. Founded in 2020, Holywater already boasts over 55 million users and a family of platforms, including My Drama, its main vertical streaming hub, FreeBits, an ad-supported vertical app, My Passion, a digital publishing platform for independent books, and My Muse, a space where creators produce content supported by generative AI. Together, these ecosystems reflect Holywater’s mission to merge technology with imagination, what co-founders Bogdan Nesvit and Anatolii Kasianov call “the art of AI-driven creativity.” FOX’s Studio-Grade Ambition FOX’s entry into the vertical video space is not just reactive it’s strategic. The company plans to develop its own slate of microdramas, beginning with Billionaire Blackmail and Bound by Obsession, both already in production in Atlanta. These titles will likely set the tone for what “studio-grade verticals” can look like, polished cinematography, recognisable talent, and writing that compresses emotional arcs into high-impact beats. The partnership also integrates FOX’s massive IP portfolio, spanning Studio Ramsay Global, Bento Box Entertainment, and the network’s scripted and unscripted divisions. That opens the door to vertical spin-offs of existing FOX properties, from crime thrillers to reality formats, condensed into the mobile-first style that’s dominating attention spans globally. For Wade, the deal is about flexibility and speed. “Innovation in digital storytelling is shaping the future of entertainment,” he said. “Holywater is at the forefront of this evolution, skillfully using technology to fuel creativity. This partnership is all about finding different, innovative ways to tell stories and inspire creators.” Holywater’s Vertical Revolution In a market where short-form video is often dismissed as disposable content, Holywater has pushed for narrative depth. Their flagship app My Drama features addictive vertical series like The Shy Beauty and the Billionaire Beast and Pregnant Cinderella titles that combine the melodrama of soap operas with the visual intimacy of TikTok storytelling. But behind the click-worthy titles lies a serious mission: to prove that vertical storytelling can carry real emotional weight. Holywater’s founders say the collaboration with FOX will help “raise the bar on quality and widen the genre slate,” blending high production value with the immediacy of mobile engagement. “We’ve been focusing on storytelling depth to prove that verticals can carry premium drama, thriller, romance and more not just a narrow set of tropes,” said Nesvit and Kasianov. “Our partnership with FOX validates that vision and gives us the scale and creative firepower to accelerate it.” A Market in Motion The move comes as the global vertical video industry valued at nearly $8 billion enters a new growth phase. Platforms like TikTok, YouTube Shorts, and Kuaishou have already trained billions of users to consume vertical content daily. But what Holywater and FOX are betting on is not just engagement it’s longevity. They’re imagining a new entertainment ecosystem where a five-minute vertical series can achieve the same emotional and commercial impact as a 45-minute TV episode. It’s a future where storytelling becomes platform-fluid: a show might begin as a vertical teaser on My Drama, expand into a short series on Hulu, and spin off into a feature-length adaptation all within the same narrative universe. Bridging Creativity, Technology, and Distribution FOX brings Hollywood infrastructure experienced showrunners, talent rosters, and international distribution muscle. Holywater brings the tech, the data, and the audience. Together, they’re not just producing content; they’re redefining what “premium short-form” means. For creators, it could open a new pipeline: studio-backed projects that still retain the freedom, intimacy, and experimentation that made vertical dramas so viral in the first place. The partnership also reinforces a growing global trend where traditional studios look East and into emerging creative markets (like Ukraine and China) to tap into faster storytelling models, mobile-first strategies, and new formats for monetization. A New Frontier for Storytellers For storytellers, this moment is both a challenge and an invitation. The screen is shrinking but the possibilities are expanding. As FOX and Holywater prepare to roll out their first wave of productions, all eyes will be on how they balance cinematic craft with mobile-native energy. The real test will be whether studio-grade vertical dramas can sustain the emotional depth audiences expect and still thrive within the algorithmic heartbeat of digital platforms. Either way, the vertical revolution has found its most powerful ally yet. Article written by Blessing Azugama #BlessingAzugama Source : • The Wrap , October 9 2025 • Deadline , October 9 2025 • Variety , October 9 2025 • Hollywood Reporter , October 9 2025 • C21 Media , October 9 2025 • World Screen , October 9 2025

Across China, the once chaotic boom in micro-short dramas, those fast, emotional, and vertical-screen stories designed for phone viewers, is entering a new era of structure. Platforms and regulators are now setting formal rules for what began as a digital gold rush. From runaway hits like Escape from the British Museum  to countless “rebirth,” “hidden identity,” and “CEO love” plots, micro-dramas have captured the attention of hundreds of millions. But with this success has come a reckoning: how to balance the thrill of fast storytelling with the responsibility to uphold cultural and aesthetic values. China’s new standard: “Fun, but in moderation” According to Zhang Yanli, Executive Deputy Director of the New Perspectives Center for Radio, Film, and Television, short dramas must remain enjoyable but avoid “vulgarization.” The challenge now, she says, is to pursue excitement without losing cultural depth or artistic quality. The government’s approach is both administrative and creative. As Ye Mingrui, Vice Dean at the Communication University of China, explains, regulators are defining clearer boundaries of acceptable storytelling including content lists, review mechanisms, and incentives for creators to tell richer, more positive stories. The message is clear: China doesn’t want to stop the short drama boom it wants to shape it into a cultural export with defined moral and aesthetic standards. Ethics, payment, and the youth audience Beyond creative content, oversight is tightening around business models too. Authorities are scrutinizing misleading pay-per-episode tactics like hidden auto-renewals and “0.9 yuan unlocks,” which have drawn consumer complaints. Platforms are being urged to rebuild trust and transparency, echoing reforms in China’s long-form streaming sector. Another key area is youth protection. Regulators and scholars alike stress the need for youth modes, parental controls, and content filters that promote positive storytelling. Micro-dramas, they argue, must inspire not mislead young audiences about success, relationships, or morality. Europe’s window of opportunity While China writes the rulebook, Europe stands at the frontier of creative experimentation. With platforms like ReelShort and TikTok opening new avenues for monetized micro-storytelling, European creators have the chance to define their own auteur style intimate, experimental, and emotionally intelligent without the heavy moral regulation seen in China. The global rise of vertical drama is no longer just a trend; it’s a format demanding craftsmanship, policy, and purpose. China’s playbook may be strict, but it sets the foundation for the medium’s longevity one that Europe can learn from, even as it shapes its own voice. Article written by Blessing Azugama #BlessingAzugama Sources: Guangming Online , August 29, 2025 Reuters , February 5, 2025

In the article “When AI Invades the Seventh Art”, published in Le Point on August 10, 2025, by Philippe Guedj, generative artificial intelligence tools such as ChatGPT, DALL·E, Sora, or Veo 3 can now produce special effects sequences at a cost up to ten times lower than traditional methods. Whereas months of work by graphic designers, digital stunt performers, and technicians were once required, today only a few days are needed to create scenes that were previously reserved for large-scale productions. It is worth remembering that long before the digital era, Georges Méliès, through his inventions and visual tricks, had already paved the way for this kind of technical and narrative feat. At the end of the 19th century, the French filmmaker revolutionized cinema by introducing the first special effects. He made actors disappear, moons explode, and fantastic creatures appear on screen, all this well before the invention of digital effects. His approach: pushing the limits of reality, opening the door to imagination, and giving cinema the power to make audiences dream. A shared desire to inspire wonder across different centuries, a continuity acknowledged by contemporary French actor Christian Clavier. Interviewed by the media outlet Brut in April 2025 about his latest film, which incorporates sequences generated by artificial intelligence, Christian Clavier responded to a question about the concerns this technology raises in the film industry. On the contrary, he sees it as a natural continuation of the history of the seventh art: "People are always amazed by artificial intelligence. But when cinema was born, we were already dealing with magic. (…) You could make a guy jump and he would disappear." His remarks draw a parallel between Méliès's artisanal special effects and the special effects generated today by artificial intelligence. A reminder that, from the very beginning, cinema was built on technical wonder. The idea of continuity between the original special effects and contemporary uses of artificial intelligence was also illustrated during the screening organized on June 14, 2025 in Paris by the Studio Phocéen association . Several works in the Duanju format were presented there, some of which incorporated generative AI technologies. Studios like Sanjorge Production are using these technologies to design digital sets and fantasy characters. These technologies are particularly appealing to smaller production companies, which can now tell their stories without the colossal resources of major studios. They help rebalance production relationships: with modest budgets, creators gain more freedom, and narrative boldness can take precedence over technical resources. Artificial intelligence thus becomes a valuable resource for maintaining a high level of visual quality, even within a constrained framework. Check out the trailer for the June 14, 2025 event, dedicated to the Duanju format, where the use of artificial intelligence is visible: Source : • Brut , April 4, 2025 • Fiveable , 2023 • Britannica , 2024 • Le Point , August 10, 2025

In April 2025, Next Door Adventures, a new creation by Guillaume Sanjorge, marks an important step: the entry of the French short format on Stardust TV, a Chinese platform dedicated to Duanju. This is a first for the Asian app: a French-language series, filmed entirely in France, is joining its international catalog. Subtitled in eight languages (English, Japanese, Korean, Turkish, Arabic, Portuguese, Spanish, and German), the series is open to a wide global audience. Launched in July 2024, Stardust TV has already surpassed 10 million downloads on Google Play and is establishing itself as one of the new leaders in the mobile short drama market. The illustration of the top 8 entertainment apps on the App Store, dated April 7, 2025, shows that Stardust TV is in 3rd place. A whimsical romance Written by Guillaume Sanjorge and directed by Jérémy Haeffele, Next Door Adventures follows the adventures of a young man charmed by his neighbor. What begins as a sweet romance gradually turns into a burlesque fantasy: ghosts, an intrusive butler, invisible priests, and Vikings invite themselves into their daily lives. The aesthetic in 9:16 emphasizes faces and looks, to the rhythm of interactions in a dreamlike world. An atypical distribution The series brings together an unconventional cast, mixing established talents with emerging figures. Lana Sfera, a Ukrainian refugee living in Paris, makes her acting debut in the lead role of the charming neighbor, opposite Guillaume Sanjorge. The cast also includes Jean-Louis Barcelona, a prolific film actor who plays a somewhat intrusive butler; Michel La Rosa, a former TV host and actor in the role of the family father; Gérald Michiara, a former top-level athlete and the face of the French army's communication, who portrays a fictional military leader; Sylvain Binetti, a cabaret artist in the role of the older brother; and Stéphane Martinet, a theater actor who embodies an enigmatic clerical figure. The entire series is punctuated by appearances from a group of Vikings from another era: the Barbebarian clan. Hear Michel La Rosa talk about his character on Maëlle Billant's microphone: Discover the series Next Door Adventures on Stardust TV 🇫🇷 Adventures with my neighbor 🇬🇧 Next Door Adventures 🇹🇷 Yan Kapı Maceraları 🇸🇦 مغامرات الجارة القريبة 🇯🇵 お隣さんとのアドベンチャ 🇰🇷 두근두근 옆집 마법 🇵🇹 Amor no Castelo Ancestral 🇪🇸 My Vecina and the Castillo 🇩🇪 Virtual Herzen im alten Gemäuer

In 2020, in the midst of the municipal election campaign, 5G entered the public debate. Green mayor Éric Piolle launched a striking statement on RTL: "5G is so we can watch porn movies even when you're in your elevator in HD." A provocation intended to denounce the energy consumption of digital technology and question the notion of progress. Five years later, what was a witty remark has become reality: 5G makes it possible to seamlessly watch Duanju series even in the most unlikely places. The installation of 5G had sparked heated controversy in France. The debate focused on the environmental impact, persistent territorial inequalities, and technological sovereignty issues linked to dependence on foreign suppliers. China at the forefront of deployment 5G testing in France began in 2018, ahead of a commercial launch in 2020. The issue quickly took on a geopolitical dimension: China sought to impose Huawei and ZTE, while France limited their access to the market. ANSSI restricted the use of Huawei equipment, forcing Bouygues Telecom and SFR to replace thousands of antennas, while Orange and Free favored Nokia and Ericsson. Huawei also announced plans for an equipment factory in Alsace, an investment of €200 million, expected to open around 2025, but without compensating for the loss of ground. 5G then became a battleground where sovereignty counted as much as innovation. China plays a pivotal role in global 5G, with approximately 4.5 million base stations deployed by the end of 2025. Its operators have built a dense domestic network, while Huawei and ZTE are equipping many countries, and brands like Xiaomi, Oppo, and Vivo are rolling out affordable 5G smartphones. Driven by sustained investment and turnkey deployments, this presence extends from infrastructure to devices and is accelerating mobile adoption worldwide. The Evolution of Streaming: From Computers to Phones Streaming hasn't always been instantaneous. In its early days, it meant endless loading times on computers, hampered by still-slow connections. The arrival of broadband enabled the rise of YouTube and then Netflix, giving streaming its credentials. With the widespread adoption of smartphones, video became mobile, but for a long time it was limited by 3G and then 4G, which were too narrow for mass consumption in high definition. This is where 5G has opened a new chapter: increased speed, reduced latency, and enhanced stability, even in places previously inhospitable to the signal. Streaming first attacked cinema and television, then invaded our phones, and now 5G offers it optimal conditions for a lasting establishment. Duanju series, designed for mobile, thus find their natural home in this new ecosystem. What some in 2020 considered superfluous has become a technological and cultural reality. 5G has not only transformed digital usage; it has enabled the phone to become a central screen for entertainment. Duanju, short, vertical formats, have benefited from this evolution. Article written by Guillaume Sanjorge #GuillaumeSanjorge Sources • RTL , July 5, 2020 • Le Monde , August 17, 2020 • Reuters , July 22, 2020 • RCR Wireless , June 27, 2025 • China Mobile – 2024 Annual Results (PDF) , March 20, 2025

Miami-based VIP 2000 TV and Hemisphere Media Group have joined forces to co-produce three innovative vertical series, marking a major milestone in the expansion of Spanish language short-form storytelling. Each series will consist of 30 episodes of 90 seconds, tailored for mobile-first viewers across the US Hispanic market and Latin America, with global distribution in mind. This bold collaboration aims to redefine “premium short form” entertainment by delivering stories that resonate deeply while keeping pace with the industry’s rapid shift to vertical-first formats. The projects fall under the franchise “Amores Sin Tiempo” (Timeless Love), which will spotlight unforgettable romances that transcend time, culture, and circumstance. With a stellar cast, the productions are set to begin filming in Miami on September 8, 2025, and will be ready for the international marketplace by the end of the year. Details about the stories and creative approach will be unveiled during MIP Cancun 2025, where both companies plan to present the project to global buyers. Jimmy Arteaga Grustein, CCO of Hemisphere Media Group, emphasised the importance of the initiative: “At Hemisphere, our goal is to deliver bold, culturally resonant stories that connect deeply with audiences. This partnership with VIP 2000 TV lets us push the boundaries of short-form storytelling, offering fresh and original content that’s designed for today’s mobile-first viewers while keeping pace with the way the industry and audiences are evolving.” Roxana Rotundo, CEO of VIP 2000 TV, added, “This partnership with Hemisphere Media Group reflects our commitment to innovating in the short-form space and delivering premium content that resonates with today’s audiences. We are proud to ensure that this content carries a strong and meaningful purpose.” This collaboration highlights the growing demand for vertical series as both companies strategically position themselves at the forefront of global content innovation. Article written by Blessing Azugama #BlessingAzugama Source : TTV News , September 8, 2025

Alipay, China’s largest mobile payment app, has taken a bold step into entertainment with the launch of its brand-new “Alipay Short Drama” portal. Officially added to the homepage function area of the app, the feature allows users to dive directly into short drama content without leaving the platform. And audiences are responding quickly: data shows that over 500,000 users have already experienced the short drama function since its launch. What’s Streaming on Alipay? According to DataEye’s short drama observation, Alipay has rolled out several titles to kickstart the portal, including: Falling in Love with a Big Shot Can You Love Me Again Don’t Call Me Brother-in-law In addition, Alipay has been actively promoting short drama content within the app. The ADX industry version shows that in the past seven days, clips such as Has Mrs. Qin Been Exposed Today? have been advertised on the platform, signalling a serious commitment to content discovery and visibility. Massive Content Push The numbers are equally impressive. In the past 30 days alone, the Alipay app has hosted 12,068 advertising materials containing the keyword “short drama.” This surge highlights how aggressively the platform is moving to establish itself as a major new player in China’s fast-growing micro-drama market. Why It Matters China’s short drama sector is booming, with audiences flocking to fast-paced, emotionally charged, mobile-friendly storytelling. By embedding short dramas directly into its ecosystem, Alipay is blurring the lines between finance, lifestyle, and entertainment—and capturing more user attention in the process. With half a million users already onboard and content pipelines expanding, Alipay’s short drama portal could become a new powerhouse, further transforming how Chinese audiences consume entertainment in everyday apps. Article written by Blessing Azugama #BlessingAzugama Sources: Alipay official announcement via WeChat DataEye Short Drama Observation ADXray Industry Edition

Registration is now open for Content London 2025, the world’s leading development market, conference, and screenings event, which will take place from December 1–4, 2025. This year’s edition will bring together more than 3,000 leaders and decision-makers from across the global content industry, with a central theme of  “Navigating the New Content Economy.” The event begins on December 1 with an opening night premiere screening and the prestigious Rose d’Or Awards, followed by a full three-day conference program running from December 2–4. As part of this year’s program, the Vertical Programming and Microdrama Summit will highlight the rapid growth of short-form storytelling and the new opportunities it creates for global audiences and producers. This segment is expected to provide valuable insights into how microdrama is shaping the future of content consumption. A limited number of Tier 3 registrations are available at £999, designed to support new partnerships within the evolving content landscape. Various Speakers already confirmed for Content London 2025 include: With its focus on development, partnerships, and progressive ideas, Content London remains the premier platform for industry professionals seeking to define their future in a rapidly changing market. Some Confirmed participants in this Summit include industry leaders such as: Jana Winograde, Co-founder & CEO, MicroCo, the first U.S.-based studio and AI-native platform dedicated to microdramas. Alexandre Perrin, Co-founder of StoryTV, France’s pioneering vertical drama studio and streaming platform, with over 50 original shows and 40M+ monthly views. Scott Brown, CEO of Second Rodeo, Emmy-nominated director and producer known for work with The Rock, MrBeast, and Kevin Hart, now focused on elevating vertical microdramas. Jen Cooper, Founder of Vertical Drama Love, a leading global platform for vertical drama critique, reviews, and fan engagement. For more details on the speakers, Event and registration information, visit the official website: Content London 2025 . Sources Content London 2025 Official Website C21 Media: MicroCo, StoryTV, Second Rodeo and Vertical Drama Love join Vertical Programming and Microdrama Summit  Article written by Blessing Azugama #BlessingAzugama

India is stepping into the spotlight of the global micro-drama wave, with homegrown startups, streaming majors, and international investors all chasing the promise of serialised, phone-native stories told in just two minutes per episode. What began as an experiment inspired by China’s runaway success is now becoming one of India’s fastest-growing entertainment trends. Short, binge-worthy dramas of one to two minutes, ending on cliffhangers designed to hook the next view, have become a serious content play. Startups like Flick TV, Eloelo, Kuku FM, Chai Shots, and ReelSaga are building platforms dedicated to these stories, while larger players, including Amazon, ShareChat, and Zee Entertainment, are testing their own micro-drama offerings. Manohar Charan, CFO of ShareChat, said that in just the past three months, 1.5 crore users consumed drama shorts on Moj and Quick TV, with more than 10 crore episodes watched daily. “The end game is to have the largest user base,” he noted, emphasizing that professional-quality, serialized storytelling is what separates micro-dramas from the short, disconnected clips dominating Instagram Reels and YouTube Shorts. Investors are taking notice. Bengaluru-based Flick TV raised $2.3 million from Stellaris Venture Partners earlier this month, while ReelSaga attracted $2.1 million in May from Picus Capital. Hyderabad-based Chai Shots is reportedly close to securing a $5 million round. Mayank Jain of Stellaris explains the appeal: “Micro-dramas promise the best of both worlds—short formats that match shrinking attention spans, but with emotional engagement and structured narratives that users connect with.” Major entertainment groups are also diving in. Amazon MX Player already streams MX Fatafat, a slate of mini-series built around two-minute episodes. Zee Entertainment has partnered with Bullet, a content-tech startup, to launch a micro-drama app targeting young audiences within its Zee5 ecosystem. Meanwhile, Eloelo is preparing to debut Story TV, and ShareChat has rolled out Quick TV as a paywalled platform for dramas and films. Kuku FM, best known for audio storytelling, recently expanded into video with Kuku TV. These moves signal not just experimentation, but the serious beginnings of a new market. The biggest question is monetisation. India’s entertainment industry faces low average revenue per user (ARPU), making it harder to sustain new formats. Flick TV is betting on a micropayment-per-episode model with the option to scale into subscriptions. ShareChat is exploring a mix of ads and subscriptions, estimating that micro-dramas could account for a “mid to high teens” share of its revenue within 18 months. Production costs are dropping dramatically thanks to generative AI, which is now being used for scripting, storyboarding, dubbing, and editing. ShareChat estimates costs have fallen by as much as 75% in two years, making experimentation with volume and speed more viable. Still, not everyone is convinced. Platforms like Pratilipi are holding back, preferring to wait for the hype to settle and the market to consolidate before making their own push into vertical dramas. What’s next? India’s micro-drama scene is still in its early stages, but it’s already attracting millions of daily views, millions of dollars in investment, and buy-in from both startups and media giants. If China’s experience is any indication, the next phase will be about refining business models, building loyal audiences, and proving staying power beyond early buzz. For now, India looks set to become the world’s next major testbed for whether two-minute fiction can scale into a sustainable global business. Article written by Blessing Azugama #BlessingAzugama Sources Economic Times , June 17, 2025

Dailymotion was born at a time when video was taking over the web. The platform quickly became a French-style testing ground: initially focused on UGC, i.e., content created and uploaded by users themselves, then gradually organized around editorial selections and media partnerships. It also explored VOD, video on demand, and streaming on connected TVs. This timeline, recounted by the media year after year, helps us understand how our habits shifted to the phone screen. This is exactly the territory of duanju, the short vertical fiction designed for mobile: very brief, full-screen episodes, linked together in a continuous stream. Rereading the history of Dailymotion is to see the technical, editorial, and economic building blocks that make this new format possible today being put in place, step by step. 2006: Dailymotion is described by Le Monde as the “French YouTube.” Founded by Benjamin Bejbaum and Olivier Poitrey, the platform leverages its own encoding and hosting technologies to compete with YouTube, recently acquired by Google. It quickly became a key player in Web 2.0 and online video in France. Sources: Le Monde 2007: Dailymotion affirms its media ambitions. Its co-founder Benjamin Bejbaum presents the Motion Maker program, designed to highlight original content and professionalize the platform. That same year, the company raised €25 million to accelerate its international development and offer its service in fourteen languages. The Studio Phocéen association, chaired by Guillaume Sanjorge, then joined this creators' program and appeared permanently on the front page of the "Best of Marseille" section. Sources: Clubic / Challenges 2008: Dailymotion escaped a tax on advertising for video-on-demand services. That same year, comedian Jean-Yves Lafesse sued it alongside Google for the exploitation of his videos, illustrating the emerging tensions between platforms and rights holders. Sources: Numerama (tax ) / Numerama (Lafesse) 2009: Dailymotion is launching its first paid video-on-demand offering and is partnering with Numericable to stream its content directly to televisions, expanding its model beyond desktop viewing. Sources: Challenges / Première 2010: Dailymotion continues its diversification and strengthens its role as a content distributor. The platform signs a major agreement with the INA (National Institute of National Television), which makes 50,000 archived videos available to Internet users, marking one of the most important partnerships in its history. That same year, it launches DM Kids, a portal specially designed for toddlers, and opens a branch in Morocco, consolidating its presence in North Africa and expanding its strategy outside the European market. Sources: 01net / Famili / Le Matin (Morocco) 2011: Dailymotion experienced a strategic turning point with the arrival of Orange as a shareholder. The operator acquired a 49% stake for €58.8 million, valuing the platform at between €120 and €200 million. This merger marked Orange's desire to strengthen its position in digital content, following the failure of negotiations with TF1 the previous year. The CEO at the time, Cédric Tournay, stated that Dailymotion was "not threatened by YouTube," believing there was room for several players and banking on a rise in power thanks to this partnership. Orange also committed to investing an additional €30 million, with the objective of tripling revenue by 2016 and accelerating international expansion (Spain, Japan, Canada, Brazil). Sources: 20 Minutes / ToutLaCulture / Tradingsat / Challenges 2012: Orange is preparing to take over Dailymotion, with completion expected in 2013. The platform is experimenting with paid video on demand and is considering integrating the OCS offering. The release of the film Artificial Paradises, which was canceled after a free online preview, has rekindled the debate on media chronology. Sources: Europe 1 / Numerama / Les Echos 2013: Yahoo attempted to take control of Dailymotion, but Minister Arnaud Montebourg opposed the move, and the deal was halted. The platform's CEO publicly criticized the blockage, while Orange announced that development would take place "within the group," while discussing possible industrial mergers with Vivendi. The year also signaled a move in favor of creators with the opening of a 600 m² film studio in Paris, intended for producers and videographers. Internationally, Canal+ in Canada began broadcasting programs via Dailymotion, a sign of expanded distribution outside France. Finally, a film posted on the platform was withdrawn from theaters, illustrating the ongoing tensions between new distribution methods and traditional distribution. Sources: Le Monde (Montebourg) / Challenges (Orange) / Challenges (resignation under pressure) / Challenges (Yahoo resignation) / Challenges (CEO criticism) / La Dépêche / Le Parisien / Franceinfo (veto) / Franceinfo (Montebourg tackle) / Le Point / Les Échos (fated destiny) / Les Échos (December studio) / Les Échos (December studio, encore) / CNEWS / Ouest-France / Le Monde (Orange) / Le JDD / L'Express / La Presse / Europe 1 (Vivendi) / Europe 1 (Orange) 2014: Dailymotion is described as a "start-up with a thousand lives": the platform is seeking its balance between its legacy of user-generated content and more premium programming. It is relaunching its strategy under the aegis of Orange and preparing new partnerships to expand internationally. At the same time, Golden Moustache is strengthening its presence on the platform, a sign of a refocusing on young audiences and highly identifiable comedy formats. The year thus marks a deliberate editorial repositioning and a desire to rely on strong creative labels to boost the offering. Sources: Les Échos / Airofmelty 2015: Dailymotion is named the "world's leading French website," with 109.5 million unique visitors in 2014 and a positioning increasingly geared toward professional uses. On January 15, the platform launched Dailymotion Games, a streaming service dedicated to gaming, accessible on the web, mobile, and consoles. At the same time, an "inevitable divorce" with Orange is looming, heralding a strategic restructuring. On the content side, the return of Olive and Tom confirms the attractiveness of popular licenses for the platform. Sources : BFM Business (1st French site) BFMTV (Olive and Tom) / BFM Business (Orange) / JDN / RTL 2016: A year after Vivendi's acquisition, the promised "convergence" is stalling: around a hundred departures in one year, a low contribution from Canal+ content (around 0.1% of the audience) and the absence of Universal catalogs severely limit the platform. On April 1, a gas explosion on Rue de Bérite in Paris damaged the adjoining Dailymotion studios and injured several people, immediately disrupting operations. Sources: Le Monde / HuffPost 2017: Dailymotion is relaunching its platform with a new app and a redesigned website, focusing on news, sports, music, and entertainment, and refocusing on so-called premium content with media partners. The strategy prioritizes editorialization and exclusives over YouTube stars, targeting a more mature audience. Despite this repositioning, several analyses describe a difficult period and limited resources. Sources: Challenges / Megazap / PhonAndroid / Purebreak 2018: The CNIL fined Dailymotion €50,000 (July 24th deliberation) for security breaches following the leak revealed at the end of 2016. The media reported that tens of millions of accounts were affected (around 82.5 million emails and 18.3 million passwords). Sources: Village of Justice 2019: Updated Dailymotion channel on Neufbox SFR: new black and yellow interface, simplified navigation, direct access to tops and search. The platform also highlights Dailymotion Games with live gaming, chat, game search, and a multi-screen experience. Sources: Ariase (Neufbox SFR ) / Ariase (Dailymotion Games) 2020: Dailymotion Advertising launches "Vertical Video," a full-screen mobile ad format. The first campaign with Givenchy in September 2020 achieved 76% viewability (ad actually viewed) and 77% completion (ad watched to the end). Sources: DNA 2021: The return of Hello Geekette, the iconic web series from the 2000s that left its mark on Dailymotion, has been announced in an animated version. Publication begins on October 1st, with the voice contribution of Brigitte Lecordier. Sources: Eklecty-City 2022: Dailymotion Advertising presents its “Green” offer, an approach aimed at measuring and reducing the environmental footprint of advertising campaigns (creative eco-design, file reduction, optimization of purchases and distribution). Sources: The Media Leader 2023: Dailymotion is relaunching with a new app and a redesigned interface, aiming for 1 billion users by 2026. The player remains ubiquitous in France: 9 out of 10 Internet users use it, often via white-label media sites. The platform is launching a monetization program with €2 million per year to compensate creators. The app introduces the “change your feed” principle, allowing users to adjust the algorithm to discover other content. Sources: CNEWS / BFMTV / Les Gens d'Internet / I have a friend in communications 2024: Dailymotion refines its "pro" shift: one year after its overhaul, the company launched Dailymotion Pro on March 28, boasting 3,000 customers with a target of 10,000 by 2028, 400 million monthly active users, a fivefold increase in time spent, and an "audience cleanup" to restart growth. The "change your feed" line and the reconquest of young creators initiated last year continue, with an interface and positioning designed for exploration rather than algorithmic repetition. On the governance side, Vivendi decided on September 20 to transfer Dailymotion under the aegis of Canal+, to strengthen distribution and management synergies. Several business media outlets also highlight the target businesses and institutions, with the ambition of nibbling away shares from Vimeo, JW Player, and Brightcove. Sources: BFMTV / Le Parisien / BFM Business / Les Échos / The Media Leader (young) / Ouest-France / Next INpact / The Media Leader (creators) / Entrepreneurship / Provence / Forbes France 2025: Dailymotion Advertising won the "Adtech Pure Player 2025" award at the Prix Agence Média, organized by The Media Leader. In February, the platform announced that it would delete videos not viewed for twelve months, with a three-month archiving period before final deletion. On March 4, the arrival of "TPMP" on Dailymotion marked a record audience in France for the brand since 2015. In May, Dailymotion announced the acquisition of Mojo, an AI-assisted video creation app, to strengthen its tools against YouTube and TikTok. Sources: MacGeneration / The Media Leader / BFMTV / Strategies / Les Échos From "French YouTube" to a European media outlet more geared toward professionals, Dailymotion has undergone a series of expansion phases, constraints, product shifts, and shareholder changes. Its recent choices clearly lean toward mobile: advertising formats designed for vertical screens, a creator compensation program, and offers dedicated to businesses and institutions. For duanju series (short, vertical fiction) to thrive on Dailymotion, the platform must offer a credible local framework for production, distribution, and monetization: 9:16 publication, episode sequencing, tailored management, and sponsorship. The crux remains discoverability (being easily found) and brand security. But Dailymotion's French itinerary already provides concrete support to studios and authors who want to establish, episode after episode, stories born for the smartphone.