nks to China’s short video platforms such as Douyin, WeChat Channels, and Bilibili. The formula? High-stakes plots, emotional hooks, fast pacing and just enough of a cliffhanger to keep you scrolling.  “They’re easy, snackable content,” Olivia Plotnick, founder at Wai Social, told Inside Retail. “It’s fast-paced and grabs your attention within the first few seconds. It’s also super low-commitment entertainment.” Now, the ripple effects are being felt across Asia, with brands and broadcasters racing to tap into the unique mix of immediacy, affordability and addictive storytelling the genre offers. A century-old format, reinvented for the scroll era While the delivery method is new, the format itself is not.  “This isn’t a new formula,” said Plotnick. “ In the US, there used to be short programmes on the radio, like thrillers or drama series. That’s kind of the OG form of short-form drama.” “What is new is the platform. The way it’s now delivered on short video platforms, especially on mobile phones, has really driven a massive resurgence in popularity.” Micro-dramas are a perfect match for today’s fragmented attention spans. They demand little from viewers, each episode lasts a minute or two, easily consumed between subway stops or during lunch breaks. But behind the scenes, they offer something far more valuable. “From a production standpoint, the low cost of making them means they can be produced quickly and respond to trends or cultural moments almost in real-time. That agility is a big advantage,” she said.  This is especially appealing to brands seeking to go beyond traditional ads.  “Consumers are tired of obvious ads being shoved in their faces or having their feed interrupted by commercials. Brands now have to be a lot smarter about integrating content with commerce. Short dramas are a really effective way to do that,” the expert added.  From product placement to narrative ownership  What began as an experimental ad format is quickly becoming an entire branded-content ecosystem. In China, major brands are no longer content with sponsoring episodes or slipping products into scenes. They are producing their own full-fledged series.  Last year, KFC China debuted ‘Reincarnation: Don’t mess with the foodie empress’, a fantasy-meets-fast-food series where a chicken-loving empress is reincarnated as a modern-day micro-drama actress.  The episodes, streamed across Douyin, Xiaohongshu and WeChat Channels, have amassed more than 100 million views. KFC used the show to push weekend discount offers in real-time, blending narrative and commerce with a fluency few traditional ads can match. McDonald’s launched a rival reincarnation-themed micro-drama shot inside one of its actual kitchens, while homegrown Chinese brands like tea chain Mixue Bingcheng and cosmetics label Proya are also getting in on the act. According to Plotnick, one of the more unconventional entries in the space comes from Shandu Home Renovation Company, which released a six-episode period piece featuring a modern designer transported back to the Song Dynasty to start a home improvement empire. The offbeat premise was a viral hit and a rare example of the F&B and home renovation sectors taking a narrative-forward marketing approach. “I think short dramas have given brands a really unique way to connect with their audiences. Some of the most successful ones don’t even highlight the product directly,” Plotnick said.  “Instead, they use emotional storytelling and strong narratives to build a deeper connection with viewers and evoke a feeling around the brand. The product might only be mentioned subtly or not at all. Sometimes, the content is just posted from the brand’s account, and the audience naturally makes the connection.” A blueprint for Asia? What started as a uniquely Chinese phenomenon is quickly crossing borders. In Southeast Asia, broadcasters, advertisers and content studios are closely watching how this genre might localise.  In Singapore, Yuu Rewards Club partnered with Mediacorp’s YES 933 on ‘Falling for the CEO’s Son’, the country’s first homegrown micro-drama. Across its 65-episode run, the series struck a chord with local viewers, but it was the three Yuu-commissioned branded episodes that became breakout hits. With more than 9.6 million views, 33,000 engagements and nearly 2000 shares, the content helped drive a 20 per cent increase in new Yuu sign-ups and boosted participation in its new “Yuu Arcade” feature by more than 50 per cent. “Micro-dramas have proven to be a powerful and innovative marketing tool in an era of bite-sized social content,” said Jonathan Seto, head of commercial engagement at Mediacorp. “We recognised the strong viewership early and seized the opportunity to integrate the Yuu brand in a way that felt natural to the story. The results speak for themselves.” For brands, the lesson is clear: micro-dramas offer a compelling route to cultural relevance and consumer engagement, especially with younger, digital-native audiences. But success requires a delicate balance between entertainment and promotion. A future written in minutes  As Asia’s digital ecosystems continue to evolve, the line between content and commerce will only blur further. The question is not whether micro-dramas will become a dominant format in brand storytelling but how long it will take for global marketers to catch up. “When it comes to brands, I think it presents such an interesting and unique opportunity, a new way to engage with audiences and a fresh medium to tell your brand story,” said Plotnick.  “Brands need to be thoughtful in how they approach it. One of the key guidelines is not to focus too heavily on product placement. Instead, the goal should be to build a genuine relationship with viewers through compelling content. That’s a really important factor for success. “As with a lot of things in China, once something gains traction, it can snowball into a massive trend – and fast,” she concluded.  Further reading: What’s driving the transformation of China’s department stores?