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Every evening, Heather Sharrock from Scotland has a nightly routine that doesn’t involve traditional TV or streaming platforms like Netflix or iPlayer. Instead, she watches her favourite entertainment on her phone. Unlike the typical viewer who might consume a few episodes of a series, Heather delves into microdramas, allowing her to binge-watch dozens in one sitting. At 55, she appreciates these brief, intense stories as a respite from the overwhelming negativity in the world. “There’s so much rubbish going on in the world at the moment,” Heather explains. “It’s just nice to switch off and not think for a little while.”
Microdramas, which have already gained significant popularity in China, are making a growing impact in the UK. Platforms such as ReelShort, CandyJar, and DramaBox host these quick, high-energy episodes. Recently, classic story arcs from the long-running soap Neighbours were adapted into ultra-short vertical episodes, highlighting the format’s increasing acceptance. Each episode typically lasts between 60 and 90 seconds and often revolves around dramatic themes like forbidden romances, family rivalries, or secret billionaires. Almost every installment ends on a cliffhanger, encouraging viewers to keep watching. Since series usually feature 50 or more episodes, the overall runtime of these microdramas can rival that of a full-length film. Diane Aitken, a 45-year-old fan from Scotland, compares the werewolf and vampire microdramas she enjoys to 1980s American soaps such as Dallas or Dynasty—they’re like “those shows on steroids.”
Charlotte Brokenbrow, from the Welsh production company Spare Arrow, which debuted its first microdrama series this year, emphasizes the need for rapid pacing. “If you leave too much air in the script and in the video, then someone’s going to get bored and will scroll on,” she states. The speed and brevity of these dramas allow them to fit into viewers’ busy lifestyles, contributing to their description as “snackable” content. Dr. Tina Kendall, an associate professor at Anglia Ruskin University, notes that microdramas align with a move toward casual viewing experiences that require minimal commitment. People have revealed to BBC News that they watch these shows while waiting in their car to pick up children or stream them in the background during routine tasks around the house. Sarah-Jayne, another fan, even manages to enjoy them while working, due to the predictable nature of the storylines.
Viewing microdramas usually involves free access to the first few episodes on dedicated apps, after which a subscription is needed. CandyJar charges £49 annually, and DramaBox costs £110 per year; however, most apps offer weekly subscription options or ad-supported free episodes. Typical themes within the content include mafia dramas, enemies-to-lovers stories, and western-style cowboys. Heather has noticed many Chinese-produced series reuse the same themes with minimal adjustments. She admits she’s grown tired of billionaire CEO plots, saying, “A lot of them have been the same story, just set in a different setting.” Some more extravagant titles on these platforms include I Adopted My Stolen Baby, Craving My British Cowboy, and Found a Homeless Billionaire Husband for Christmas.
Criticism has also surfaced around how microdramas handle sensitive subjects. Some viewers feel certain narratives can be highly degrading to women, portraying frequent and explicit violence or sexual assault. Actress Coco Taylor, who participated in her first microdrama in 2024, shares, “It became a bit of a sort of joke that the female actress has had a million hideous things happen to her and been crying and screaming 10 million times before she’s even got to lunch.” Taylor has even declined roles she considered misogynistic. Nevertheless, she and other fans recognize improvements in storytelling, attributing this progress to an increasing involvement of writers from the US and UK. They also express excitement about the genre expanding into comedy, thriller, and horror themes.
Haydn Wakeling, the founder of Black Swan production company, first encountered microdramas through a contact within the film industry earlier in the year. Reflecting on their rapid rise, he remarks, “Fast-forward to now and it’s all anyone’s talking about.” From a production standpoint, microdramas are appealing because of their efficiency; a 60 to 90-minute microdrama can be filmed in less than two weeks, significantly lowering costs. Director Dan Löwenstein, who worked on his first microdrama titled Mafia Lover in February 2024, is now working on his 38th project. While he initially created content for Chinese apps, the industry shift there toward AI production has since led him to collaborate with platforms based in the US, global streaming services, and UK companies
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