By Associated Press

LOS ANGELES: While much of Hollywood was consumed by the streaming wars, Issa Rae was studying a different mode of entertainment thousands of miles away: microdramas.

No stranger to creating a successful online series, the Emmy-nominated actor and producer became intrigued by China’s booming market for the short, mobile-first soap operas, seeing its potential to build audiences and intellectual property.

In May, Rae’s Hoorae Media released the thriller “Screen Time,” one of the first major studio-quality microdrama projects developed by an established Hollywood production company. The TikTok-backed series drew nearly 75 million views during its first week.

Rae believes the format offers advantages traditional media often cannot.

“Because the price point is lower than TV and film, there’s an opportunity to take risks,” she told The Associated Press. “The turnaround time is also a lot quicker than TV and film, which allows us the opportunity to be more topical and relevant.”

With vertically shot episodes often running one to three minutes, microdramas have emerged as one of entertainment’s fastest-growing formats. That’s drawing interest from celebrities, creators and major media companies looking for new ways to reach audiences who increasingly consume stories on their phones.

Beyond speed and cost, Rae said microdramas foster a more interactive viewing experience between creators and audiences.

“The communal experience is also amazing,” said Rae, whose web series “The Misadventures of Awkward Black Girl” helped launch her career. “You can see what other viewers think and engage with their commentary in real time.”

Microdramas catch the attention of Hollywood

At first glance, the formula seems deceptively simple: smartphone-friendly bingeable miniepisodes featuring tales of romance, betrayal and redemption with titles like “The Double Life of My Billionaire Husband.” The first few episodes are generally free and viewers have to pay to unlock more.

The model that first emerged in China during the pandemic has exploded — global microdrama revenues will hit $14 billion by the end of 2026, technology research and advisory group Omdia estimates — and the U.S. entertainment industry is taking note.

Peacock recently launched a dedicated microdrama hub. Fox Entertainment invested in microdrama producer Holywater and committed to producing hundreds of vertical titles, while TelevisaUnivision is producing serialized short-form dramas for ViX.

Kevin Hart’s HartBeat has expanded into vertical comedy, Kim Kardashian is backing scripted mobile-first content through her investment in microdrama platform ReelShort, Taye Diggs has starred in vertical series aimed at the growing audience consuming serialized stories on smartphones, and filmmaker Deon Taylor is developing the sports-focused vertical series “I Am Hoop.”

At this year’s MIP London television market, executives said some of the largest microdrama platforms are spending as much as 90% of their budgets on marketing as competition for audiences intensifies.

Phones provide direct access to audiences

Hoorae Media spent more than two years researching the format before launching “Screen Time.” The company became convinced microdramas represented more than a passing trend after studying how audiences were consuming entertainment on their phones.

“The connective tissue being the phone, and how much time people are already spending on their phone,” said Dzifa Yador, head of digital at Hoorae Media. “We’re meeting audiences where they are.”

Yador believes the format gives creators something increasingly difficult to find in traditional Hollywood: Instead of waiting years for a studio decision, creators can test ideas, build an audience and retain ownership.

“You definitely get rid of the gatekeepers,” she said. “You can greenlight your own show.”