is a reporter focusing on film, TV, and pop culture. Before The Verge, he wrote about comic books, labor, race, and more at io9 and Gizmodo for almost five years.
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How it started
Once upon a time (read: a few years ago), there were a pair of upstart streaming services called Quibi and Go90 that were supposed to appeal to phone-addicted millennials. These platforms were supposed to compete with Netflix and Amazon by offering up short-form videos designed to be watched on the go. Both services were touted as being the future of entertainment, and they had sizable financial backing. But neither Quibi nor Go90 managed to gain any real traction before their names became shorthand for “bad ideas exemplifying how out of touch studio and telecom execs can be.”
Quibi and Go90 were not long for this world, and much has been written about how they were doomed from the jump. Quibi was oddly expensive, Go90’s landscape mode-focused branding confused people, and neither service made it easy to share their content on other platforms. Back then, people — especially here in the West — laughed at the idea of watching scripted series that were meant to be viewed on a smartphone. But that same basic concept began to take off in China as the covid-19 pandemic ground the entertainment industry to a halt and forced movie theaters to close. Some were supernatural period dramas, while others were romantically charged thrillers set in the modern day. And their stories were all filled with wild twists that played out over the course of dozens of episodes.
In 2025, “micro drama” companies like DramaBox and ReelShort have demonstrated that there actually is an audience willing to pay for content that can be consumed in small, quick bites. And the recent micro drama boom has been a fascinating case study in old, failed ideas finding wild success in the present day because the way people think about and interact with media has changed.
How it’s going
When you open up any of the dedicated micro drama apps, you can see that the companies behind them took notes from social media platforms like TikTok and streaming services like Netflix in order to create a new, slop-filled third kind of thing. You’re immediately presented with a grid of posters for multipart series whose “episodes” each run for about two minutes max. And the titles — gems like I Kissed a CEO and He Liked It, Betrayed Alpha Queen Rises from the Ashes, and The Unwanted Wife Strikes Back — are as self-explanatory as they are ridiculous. Almost all of the shows involve elements of pulpy romance and women getting revenge after being scorned for not embodying the “right kind” of womanhood or femininity.
Many of the series frame fertility, motherhood, and werewolf / Omegaverse culture as the things that define their heroines’ sense of self. And while these female characters are often introduced as people who are able to fend for themselves independently, their main goal is usually to find a man who can sweep them off their feet and take care of all their worldly needs.
What happens next
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