DUANJU  NEWS

Duanju News explicitly linked binge-watching, speed-watching, and the rise of the Duanju format. Here, we examine how this analytical framework was adopted by French and international media outlets, its chronology, and why it is circulating today. Context: On July 25, 2025, Duanju News proposed a simple idea to test, but one difficult to articulate clearly without taking a step back: while binge-watching normalized the process of watching content consecutively, speed-watching revealed its ultimate logic: optimizing viewing time. In this context, duanju is not just another genre, but a formal and industrial response to the compression of available time. The article in question: Faced with the frenzy of viewing, Duanju charts its own course From this point, an interesting question arises for professionals: when a framework for analysis is established before the subject explodes in public debate, how do we measure its dissemination? A robust way is to look at the chronology of re-publications, only after the initial publication date. Timeline of the cascading recovery, after July 25, 2025 On October 9, 2025, The Economic Times formulated almost the same mechanism in one sentence, “binge-watching” and “scrolling habits” as the matrix of an entertainment “born in China as duanju”, in other words a fiction that aligns with accelerated and continuous uses. On October 13, 2025, Le Figaro explained the idea as an addictive equation: micro-dramas “fueled by the combination” of two practices, “binge-watching” and “scrolling.” This is the most direct interpretation, as it clearly lays out the dual causality that leads to a format calibrated for continuous viewing. On October 13, 2025, Señal News (an international trade publication) described a consumption pattern designed for “scroll-and-binge rhythms” and invoked the concept of “binge curves,” linking the audience performance of micro-dramas to mobile-based mechanisms rather than traditional television. The same fundamental idea is present: the narrative form is reconfigured to suit a hybrid, frictionless, scroll-plus-binge usage. On December 19, 2025, The Guardian illustrates the practical consequence of this logic, with two-minute episodes following one another to the point of being swallowed in a few minutes, a binge compressed by design, making the acceleration of the player almost useless. On December 20, 2025, RTL summarized the mechanism in French as “a mix between infinite scrolling and binge watching”. Why does this broadcast matter, and what does it say? An intelligence provider doesn't "predict" based on intuition. They formalize a readable causal chain early on, then document its validation in reality through verifiable, dated, and comparable recurrences. Here, the chain is stable and subsequently appears in multiple media. The second type of broadcast concerns the AI robots used by newsrooms. Since 2024, journalistic practice has increasingly integrated AI assistants to explore topics, summarize, map sources, compare perspectives, and accelerate research. This doesn't replace investigative journalism, but it changes the way analyses circulate; a clear analytical framework becomes immediately reusable by tools that index, synthesize, and redistribute information. In this context, Duanju News observes, via its internal technical logs, a particularly sustained activity of indexing robots and automated agents on topics related to duanju, a sign that the site is not only read by humans, but also “ingested” by the new AI-assisted search chains which then feed professionals, analysts and newsrooms. What emerges here is a clear professional fact: a structuring interpretation was formulated very early on, then adopted, with the same structure, by media outlets published later. It now circulates within an ecosystem where journalists and AI tools accelerate the transmission of analytical frameworks. This is precisely the role of an intelligence provider: to produce effective analytical frameworks and to document their dissemination, with supporting evidence and a chronology. Article written by Guillaume Sanjorge #GuillaumeSanjorge

TikTok is adding a new entry point to Duanju: Minis, an integrated section that groups together mini-programs, including 9:16 "mini dramas" for binge-watching. The goal is to allow audiences to discover, watch, and pay without the usual hurdles of downloading a dedicated app, creating a new account, or making off-platform payments. An important point for Western audiences: at this stage, this isn't a new app to install, but rather an internal TikTok feature. According to Business Insider, TikTok added this section discreetly, with a gradual rollout. In practice, this means that access may not be visible to all accounts simultaneously, depending on the market and TikTok's activation process. When Minis is available, the user opens TikTok as usual and accesses a Minis section that aggregates both mini-games and more than a dozen mini-drama apps, without leaving the app. In Minis, TikTok highlights integrated mini-programs that host experiences and content directly within the app, with a subset dedicated to micro-dramas. Specifically, the user watches a series of very short, serialized episodes, built on the same mechanics as micro-drama apps: romance, betrayal, fantasy, and cliffhangers at short intervals. This integration addresses a well-known conversion problem: a significant portion of the audience discovers micro-dramas on social media, but monetization primarily occurs in separate apps, creating friction precisely when interest is highest. TikTok explicitly aims to reduce this friction by keeping viewers within their trusted environment and offering a more seamless viewing and payment experience. A model that wants to keep payment inside The clearest economic signal is the price incentive: in Minis, some offers display around a 10% discount when the user pays through TikTok, rather than switching to the external app. According to producers interviewed, TikTok is also testing licensing schemes worth up to $10,000 per series, coupled with advertising revenue sharing for episodes released for free on the platform. Underlying this is the platform's balancing act between two objectives: capturing the value of the payment and capturing the time spent watching. The first extends the "everything in TikTok" approach already established by TikTok Shop. The second increases advertising inventory and retention. For studios and producers of micro-dramas, the offer is ambivalent: potentially massive exposure and a reduced acquisition cost, but a risk of cannibalizing direct monetization if the compensation (license + ad sharing) doesn't offset production budgets that often range from $100,000 to $300,000 for a full-length vertical film. The move also reflects a strategy of importing a model: ByteDance, TikTok's parent company, has already proven successful in China with micro-dramas consumed natively within the Douyin ecosystem. TikTok is now attempting to offer a similar model in Western markets with Minis, keeping the user within the app during the crucial viewing and payment stages. The goal is to capture a share of the micro-drama market outside China, estimated at around $3 billion annually, in a context where platforms are seeking to control discovery, viewing, and transactions. Source : Business Insider , December 26, 2025

Wenwen Han met with Kristy Wang, a Los Angeles-based producer and founder of Tiklatam, to analyze how the short drama has established itself as one of the key post-pandemic formats and why it is now structuring a new mobile entertainment economy. For Kristy Wang, the starting point is a profound shift in usage. After the pandemic, leisure time became fragmented, and the phone became the primary screen. Short dramas fit directly into this reality: very short episodes, designed to be watched anywhere, without a long commitment. "Everyone wants to watch short content on their phone," she summarizes. This constraint radically alters the writing and production process. Where traditional series can develop their narrative over several episodes, short dramas demand immediate impact. Kristy Wang emphasizes the importance of the opening minutes: "If you can't capture the audience's attention in the first ten episodes, the series is over." The development of the format in Spanish is also a natural progression. According to Kristy Wang, the short drama draws on a culture already very familiar with melodramatic narratives, while catering to younger and more mobile audiences than those of traditional television. In this context, TikTok plays a central role. For Kristy Wang, the platform is now the main driver of discovery and organic traffic. It allows for content testing and quickly gauging audience interest. "It's currently the most effective way to get organic traffic," she explains. Finally, Kristy Wang doesn't see short dramas as a competitor destined to replace film or television. She anticipates a phase of convergence instead. Traditional actors, she believes, will seek to collaborate with this format. "They're bound to find a way to collaborate," she asserts. Interview conducted by Wenwen Han. Check out her YouTube channel. #WenwenHan

In the ecosystem of the new "Duanju" format, certain trajectories are as important as the series themselves. Magali Semetys is one of those French actresses whose experience lends credibility to a script still under construction. Accustomed to the rhythms of television and the demands of cinema, she applies her expertise to a shorter, more direct, vertical narrative, where the performance must be immediately clear, and where every intention, every glance, every silence becomes a catalyst. Magali Semetys built her career in a style familiar to French audiences, with popular long-running series and regular television appearances, allowing her to firmly establish a character in viewers' daily lives. This experience becomes a particular asset when the narrative becomes more concise and everything has to unfold more quickly. Cinema, for its part, has taught her a different kind of depth: how to bring a role to life over the course of a film, with a different kind of precision, one that is specifically designed for the big screen. In 2024 and 2025, Magali Semetys attended the first two public screenings organized by the Studio Phocéen association in Paris, which presented this format for the first time in France, on November 23, 2024 , and June 14, 2025. Her presence at these two events contributed to raising the profile of a format that was still new to French audiences. Currently, Magali Semetys is involved in two series using the Duanju format. In Militiamen , she plays a police inspector tasked with interrogating the main characters: a tense and confrontational role designed to quickly bring contradictions to the surface, push the characters to reveal themselves, and drive the plot forward under pressure. Watch the series: Link In Amber , she plays the sister of a man haunted by the disappearance of the woman he loved. More ambiguous, more introspective, this character holds certain information about the disappearance and nurtures the idea of an incomplete truth. Watch the series: Link Two different styles, but the same narrative function: to be a turning point, the one that forces the protagonists to take a stand and propels the story forward. To learn more about Magali Semetys, listen to the podcast interview by Maëlle Billant, where she discusses her career.

Shorties Studios is a new international studio born from the partnership of three professionals from premium fiction and television. Their common ground is having held management positions in major audiovisual companies before deciding to work together on a project focused exclusively on short, vertically formatted series. The project brings together Kelly Luegenbiehl, former head of Netflix original series for Europe, the Middle East, and Africa; Onur Güvenatam, founder of the Turkish studio OGM Pictures, renowned for the international export of its fiction; and Jon Koa, former head of CBS in the United States. All three have worked in environments where the logic of formats, audiences, and international distribution is central. Their collaboration is based on a shared analysis of market trends. They believe that short-form vertical fiction can no longer be considered a simple adaptation of the long-form format, but rather an autonomous narrative field requiring specific development and production methods. Their goal is to combine expertise in global streaming, international fiction, and American television within a single studio. Based in Los Angeles, London, and Istanbul, Shorties Studios positions itself as a player capable of engaging with streaming platforms, social networks, and brands, while maintaining a structured and international production approach. The studio's launch illustrates how professionals from traditional audiovisual media are now investing in microdrama as a strategic sector in its own right. Sources • Deadline , November 25, 2025 • C21Media , November 26, 2025 • Señal News , November 27, 2025 • EpisodeMag , November 26, 2025

Journalist Blessing Azugama met with Akolade Bamidele, a Nigerian screenwriter who writes fiction in vertical format, to discuss how duanju concretely changes writing, how to capture attention, and the perspectives it opens up on the African continent. In her view, duanju isn't simply a format constrained by length or the phone screen. It's primarily an opportunity for writers willing to abide by its rules. "If you know how to write for the vertical format, you're ready to write any screenplay," she explains. Vertical writing demands immediate rigor: each scene must have an impact, each line of dialogue must contribute to the narrative's progression, from the opening to the final cliffhanger. Writing for mobile, she believes, begins with a central question: what is the character feeling in this scene, and why should the audience care? This emotional reflection precedes any technical construction. Once this foundation is laid, the episode is precisely structured, progressing through the opening, the build-up of tension, and then the emotional turning point that compels the viewer to want to see what happens next. Anything that doesn't contribute to the story is eliminated. This demanding approach was instilled in her through a pivotal experience. On a mafia-style script she envisioned as fast-paced, the feedback was unequivocal: the story was too slow and didn't move forward. She had to rewrite it from scratch. "I might have felt like the story was moving quickly, but if the viewer isn't motivated to watch the next episode, then it doesn't work," she explains. Since then, she systematically rereads her scenes to ensure they advance the plot or reveal essential character traits. If not, they are cut. This narrative discipline does not preclude cultural grounding; quite the contrary. Akolade Bamidele emphasizes the importance of writing stories connected to African realities, everyday emotions, and local contexts. For her, creativity lies in telling stories that speak directly to audiences, not by trying to reproduce external models, but by adapting the language of duanju to cultures and lived experiences. She is optimistic about the future of Duanju in Africa. On a continent where the phone has become the primary screen, the mobile format seems a natural fit. "People wake up in the morning and the first thing they do is look at their phone," she observes. But for this potential to materialize, she identifies three essential conditions: training writers capable of writing for the vertical format, attracting investors and platforms willing to distribute this content, and fostering creativity rooted in local cultures. For Akolade Bamidele, duanju is not a passing fad. It is a demanding learning ground and a credible way to tell African stories. Interview conducted by Blessing Azugama. #BlessingAzugama

British journalist Jen Cooper met with Noah Fearnley, one of the most recognizable faces in Western Duanju. Behind a presence now familiar to millions of viewers, the American actor offers a candid account of his career, his relationship to work, and how the vertical format has profoundly changed his life. Noah Fearnley wasn't destined for acting. He grew up in Connecticut, moved between several American cities, and envisioned himself primarily in American football, with the stated goal of making it to the NFL. A knee injury abruptly ended that dream. "American football was my whole life. Then it was taken away from me." This rupture marked a turning point. Modeling came almost by default, then acting, not as a quest for visibility, but as an unexpected space for expression. The relentless pace of vertical dramas then took hold with extreme intensity. Noah Fearnley filmed back-to-back series for very long periods, sometimes more than eighty consecutive days, accumulating over fifty shows. This rhythm became both an opportunity and a danger. "I started to lose myself. I no longer knew who I was." The constant work acted as a driving force, but also as a way to avoid feeling empty, to the point of blurring the line between the character and the man. The audience then plays a central role. The actor emphasizes the direct connection with the spectators, which now influences his artistic choices. More than fame or the number of projects, it is the emotional reception that counts. Some roles become difficult to bear when they come too close to his own personality, because they end up encroaching on his personal life. This individual trajectory reflects the broader evolution of vertical drama. Noah Fearnley has witnessed the format's transformation from a niche space, driven by a few actors and small crews, to a structured, international industry. "It's clearly a format that's here to stay." This rapid growth, he believes, also necessitates a rethinking of the actors' roles and their long-term stability. Throughout the interview, one idea keeps recurring: behind the accumulation of roles, there remains a man in the process of rebuilding himself. Noah Fearnley speaks frankly about mental health, loneliness, and the difficulty of existing outside the characters he portrays. "I'm still working on myself." A simple sentence that sheds light on the behind-the-scenes reality of a format often perceived as lighthearted, but which is profoundly demanding for those who bring it to life. Interview conducted by Jen Cooper, check out her YouTube channel. #JenCooper

Invited to the Short Drama Forum 2025, organized by Wenwen Han, Bogdan Nesvit, founder and CEO of Holywater (stylised as HOLYWATER), presented his vision of a new creative ecosystem, where data, artificial intelligence and vertical format transform the way stories are produced and distributed. From reading to vertical series “We’re building an AI-powered entertainment network with multiple connected products. At the heart of this ecosystem is our book platform, My Passion. We create hundreds of exclusive books every month, test them with our audience, collect a ton of data, and then identify the most promising stories,” explains Bogdan Nesvit. These stories then become the raw material for MyDrama, Holywater's vertical streaming platform. "We turn the best stories from My Passion into pilot series, often produced with the help of AI. The projects that perform best are then filmed and broadcast on MyDrama. This is how we ensure a success rate above the market average." A different positioning Unlike the Asian giants of duanju, Holywater focuses on quality and efficiency over quantity: "We can't compete with ReelShort or DramaBox in terms of content volume, as they have much greater financial and human resources. We have to be smarter, and our method is to make most of our series successful." It even claims a leading position outside of China: “In terms of revenue and users, My Drama is now the leading vertical streaming platform outside of China.” For Nesvit, the duanju format is not an end in itself, but a tool serving a larger whole: "For us, short drama is just one format among others to develop the stories we create. It is not our central product, but a component of our ecosystem." Each story can evolve, first as a book, then into a short series and beyond, in an intellectual property logic that aims to transform a strong story into a scalable brand. This strategy, based on data and artificial intelligence, consists of continuous testing, selecting promising stories and investing in those most likely to become successes: "Our goal is to transform each successful book into a vertical series." Interview conducted by Wenwen Han. Discover her YouTube  channel. #WenwenHan

Invited to the Short Drama Forum 2025, organized by Wenwen Han, Leonid Ovdiienko, founder of the DramaShorts application, shared his vision of a booming market. Leo Ovdiienko first launched Alpha Novel, an online marketplace for novels. He quickly noticed the rise of micro-dramas, particularly in the American market. The team then decided to adapt his books into short films designed for the vertical screen. DramaShorts began production in Europe before expanding to the United States and Ukraine. Today, the company boasts a rapidly growing catalog and a clear goal: to reach the global top 3 short drama platform this year. For Leo Ovdiienko, the vertical format represents a new frontier in cinema: accessible, fast-paced, and global. DramaShorts productions leverage the diversity of teams and territories to appeal to an international audience. Platform figures as of September 3, 2025: The DramaShorts app surpasses 500,000 downloads on Google Play. The YouTube channel has nearly 180,000 subscribers, while Instagram has around 330,000. On Facebook, the community has reached 340,000 subscribers. Finally, on TikTok, the main account has around 50 000 subscribers. Interview conducted by Wenwen Han. Discover her YouTube  channel. #WenwenHan

In an Istanbul office, Ömer Abacıoğlu speaks with quiet energy about the ongoing revolution in the audiovisual industry. The developer of ReelPix, a new vertical short film platform, believes a new narrative language is emerging at the intersection of Turkish television and global mobile consumption. He spoke in an interview with Wenwen Han at a " Short Drama Forum 2025" event. From television to the mobile world After more than ten years in the television industry, with solid experience in Russia and Turkey, Ömer Abacıoğlu has chosen to put his dual cultural roots to work on an international project. His vision is based on a simple idea: to combine the codes of traditional television series with the immediacy required by mobile content. For him, the viral success of short fiction is based on three pillars. First, psychology, which transforms each episode into “fast food for the brain,” offering immediate emotional gratification. Second, technology, since these formats are designed to be watched anywhere, even without sound, on a simple smartphone. Finally, social engagement, the central driving force: the constant cliffhangers trigger conversations, sharing, and discussions online. Experiments in Türkiye With ReelPix, Ömer Abacıoğlu aims to transcend the image of light entertainment. His new Turkish production, New Boss, ventures into corporate thriller territory. Inspired by Turkish soap operas that sometimes last two hours per episode, the series reinvents this dramatic density in a vertical and much shorter format. The challenge is clear: to demonstrate that viewers are ready for more complex stories, driven by high-quality production. Ömer Abacıoğlu's ambition goes beyond simply adapting existing recipes. Through ReelPix, he imagines a bridge between two worlds: that of traditional television and that of mobile-first. A testing ground where Turkish narrative know-how meets the new habits of a global audience. Interview conducted by Wenwen Han. Discover her YouTube  channel. #WenwenHan