文｜方正编辑｜朴芳 2025再看短剧出海，犀牛君第一感受是震惊。2023年关注该行聊的还只是美国市场，今天各类国产短剧App已能在印尼、巴西、美国、墨西哥、印度、菲 律宾、泰国、日本、哥伦比亚、韩国等市场轻松砍下超500万下载量！ 且这些短剧出海平台多到眼花缭乱。 拿免费短剧平台来说，冲顶各国市场份额第一的App居然都不是同一款—— 2月印尼市场月活第一的是来自JianZhouTech的Micro Drama，在巴西冠军是 Crazy Popcorn，但在墨西哥却是来自Kennedyy厂商的RapidTV，而昆仑万维旗下的DramaWave则在4月12日登顶了韩国市场Google Play娱乐榜一举超越了 Netflix。 最近免费短剧App在海外的疯狂起量成为行业焦点，特别是字节跳动的下场，令行业思考诞生"下一个红果"的可能性。从去年11月上线东南亚至今，字节 跳动旗下Melolo的产品月活已越过67万，环比增长193%，3月下载量超230万，近七成下载来自东南亚人口第一大国印尼，余下市场为越南、泰国和菲律 宾。即便如此，目前大厂在免费短剧领域并未展现太多优势，尚未形成垄断的"群雄逐鹿"局面无限放大了该市场 ...

"写短剧吗？" 2023年8月，文友木木突然问我。 那是我第一次听说短剧。 网上一番搜索后，我才知道，这是一种在手机小程序播放的竖屏剧，一部剧长达80集到100集。不过一 集只有一分多钟，每集结尾处都有"剧情钩子"，勾着你打开下一集，通常看完免费的前10集，早已"上 钩"的观众就会忍不住付费解锁后面的剧情。 和网文一样，短剧也分男频和女频。木木建议我选择女频赛道，更应该试试当时最火的甜宠赛道，毕竟 我已婚已育，对爱情和亲密关系有一定心得。 倍速刷完几部徐艺真和孙樾主演的甜宠爆款剧后，我发现甜宠短剧的题材设定和故事风格，类似于多年 前流行的古早网文。这让本来还在忐忑会不会写剧本的我，稍稍放缓了一下畏难紧张的情绪。凭借自己 多年阅读网文的经验，以及这几年在新媒体各大平台的写作经验，我自觉转型到短剧赛道不是很难。 真正接触短剧编剧工作室以后，我才在不断地改稿建议中，发现这条转型之路，比我想象得要艰难许 多。 一、初识短剧：狗血与钩子 我接手挑战的第一个剧本，是改编某网站点击量前十的百万字甜宠小说，这家工作室已经买下了小说版 权。 编辑说，这种小说改编本最适合新人编辑练手，作为入行敲门砖。有原版的故事蓝本打底，编剧只 ...

2025.04. 13 本文字数：5155，阅读时长大约7分钟 作者 | 第一财经 揭书宜 乐琰 2024年，中国导演、旅程娱乐创始人高峰执导的短剧《The Divorced Bilionaire Heiress》（离婚的 亿万富翁继承人）在三个月内达到了2500万美元的票房，目前票房已突破3500万美元。刷新2024年 的短剧行业纪录，位居北美短剧市场第一。而该剧成本约20万美元。 第一财经记者近期多方调研了解到，短剧出海有巨大商机，且市场增速极快，但同时也伴随高风险， 文化适配、本地化成本、合规挑战成为行业隐忧。从数据驱动的精准运营到细分市场的蓝海争夺，中 国短剧如何真正撬开海外观众的钱包？ 出海 《The Divorced Bilionaire Heiress》，这部风靡美国、创下历史的短剧背后的制作团队，竟是因为 疫情的机缘巧合而发展起来的。 2019年末，高峰来美国旅行。谁也没想到，一场疫情将原本短暂的旅程拉长，还意外让他撞上了短 剧出海的"滔天巨浪"。"当时本来没想过要在美国发展。"高峰后来回忆道，"但既然走不了，就得想 办法活下去。" 疫情初期的美国，影视行业几乎停摆。2020年，高峰这个科班出 ...

Group 1 - The company announced its "1234" development strategy plan on March 31, 2025, aiming to become a platform-based comprehensive cultural media company with innovative technology genes and a diverse open ecosystem [1][3] - The company has signed a co-production agreement with iQIYI for a contemporary crime-themed drama series, with a total investment not exceeding RMB 245 million, fully funded by iQIYI [1][2] Group 2 - The company completed a private placement of 50.38 million shares at a price of RMB 8.19 per share, raising RMB 413 million to repay loans and supplement working capital, increasing the controlling shareholder's stake to 23.83% [2] - The "1234" strategy includes a foundation period of 1-2 years and a leap period of 3-5 years, with goals such as replicating mature businesses and creating a representative IP matrix for Zhejiang culture [3] - The company has a rich content reserve, with 14 TV series and several films in development, and is exploring diverse monetization paths, including interactive film and short dramas [4] Group 3 - The company forecasts revenues of RMB 298 million, RMB 407 million, and RMB 496 million for 2025-2027, with net profits of RMB 34 million, RMB 80 million, and RMB 118 million respectively, indicating a potential transformation into a diversified media company [5]

Core Insights - The rise of "micro-short dramas" in Sichuan, exemplified by the hit series "Home and Away," reflects the province's innovative exploration in the micro-short drama industry, achieving over 1.5 billion views across platforms [1] - The integration of government support and market dynamics is reshaping cultural dissemination through mobile platforms, highlighting Sichuan's unique position in this trend [1] Policy Support - Sichuan's government has officially included "network micro-short dramas" in its work report, signaling a commitment to fostering local culture and creativity [2] - The province has allocated 300 million yuan annually to support major artistic projects, with individual works eligible for up to 12.6 million yuan in funding [2] - The "Shooting in Sichuan" service platform streamlines the filming process, allowing for rapid approval within six days [2] Production Support - Local government units have provided efficient support during the filming of "Home and Away," emphasizing a collaborative approach [3] - Sichuan Tianfu New Area promotes a "24/7 online support" service model to facilitate short drama production [4] Industry Development - Sichuan boasts diverse filming locations, from historical towns to modern studios, catering to the preferences of short drama audiences [5] - The province has established a robust film industry ecosystem centered around Chengdu, with over 2,000 film enterprises and a projected revenue of 104.2 billion yuan for 2024 [5] - The "Shooting in Chengdu" studio offers comprehensive services for various film projects, enhancing the region's appeal for filmmakers [5] Collaborative Efforts - The synergy between government and enterprises is driving the micro-short drama sector, positioning it as a new engine for various industries [7] - The "Follow the Micro-Short Drama to Travel" initiative has highlighted successful projects, attracting tourism and promoting local culture [8] - The ambition of Sichuan's micro-short dramas extends beyond local success, aiming for international recognition and cultural exchange [8]

Group 1 - The core change brought by AI short dramas is that it allows everyone to become a screenwriter and director with minimal financial and trial-and-error costs, leveraging infinite creativity and precise instructions provided to AI [1][32] - Since March, AI and short dramas have become central keywords in the audiovisual industry, with major platforms like iQIYI, Mango TV, and Tencent Video focusing on AIGC and micro-short dramas as core topics [1][3] - The development of domestic AI video models has accelerated significantly, transitioning from "catching up" to achieving partial leadership within just over a year [1][3] Group 2 - Despite significant advancements, discussions around AI short dramas remain largely technical, with limited positive feedback on the content itself [6] - Major issues identified in AI short dramas include insufficient narrative coherence, reliance on rapid editing, and a lack of emotional authenticity, leading to a "uncanny valley" effect [6][7] - The current state of AI short dramas can be described as capable of producing numerous mediocre works, but high-quality productions are still non-existent [7] Group 3 - The content creation process for AI short dramas typically involves script generation, storyboard creation, image generation, video production, and editing optimization [8][15] - The actual operation of creating AI short dramas is more complex than it appears, often requiring significant time investment for each minute of finished content [16] - The limitations of current AI tools can be summarized as "uncertainty" and "lack of integration," making it challenging for creators to maintain consistency and quality across different stages of production [17] Group 4 - The future of AI short dramas may be driven by the creativity of the general public, as the lowered barriers to entry allow for a surge in individual creators [25] - There are two main types of AI short drama producers: professional film institutions and individual creators or small studios, with the latter increasingly producing high-quality content [19][22] - The integration of advanced AI models like GPT-4o is expected to enhance narrative consistency and creative possibilities in the production of AI short dramas [28][29] Group 5 - The competitive landscape for AI video platforms is intensifying, with companies like Kuaishou and their AI tools showing promising commercial success [26][29] - The ongoing evolution of AI technology is expected to further lower production barriers, while simultaneously raising the creative standards required from individual creators [31] - The current trend indicates that many AI short dramas are still imitating traditional formats, but there is potential for unique narratives that only AI can create [31]

Core Viewpoint - The financial performance of Lingmeng Film and Television in 2024 has significantly declined, marking the worst results since its listing, with a revenue drop of nearly 50% and a shift from profit to substantial loss [1][4][12]. Financial Performance - In 2024, Lingmeng Film and Television reported a revenue of 657 million RMB, down from 1.222 billion RMB in the previous year, representing a year-on-year decrease of approximately 46.3% [4][12]. - The company recorded a net loss of 189 million RMB, compared to a profit of 214 million RMB in the previous year, indicating a dramatic decline of 188.54% [1][4][12]. - The gross profit margin fell to 16.5% from 39.4% year-on-year, reflecting the challenges in maintaining profitability [4]. Business Strategy and Challenges - Lingmeng's long-form drama strategy has faced setbacks, with only three new dramas released in 2024, significantly lower than industry leaders [1][5]. - The company’s core revenue from long-form drama rights licensing dropped by 48.07% to 591 million RMB, accounting for about 90% of total revenue [5]. - The average number of episodes and sales price per drama have decreased, leading to reduced distribution income and overall revenue [5]. Content Quality and Reception - The sequel to "Hunting Crime" received mixed reviews, with a decline in ratings from 6.8 to 6.5, raising concerns about its storytelling quality [6]. - "Half-Ripe Men and Women," another production, faced severe criticism, achieving a low rating of 4.2, and was accused of poor marketing and lack of substantive content [6][8]. Short Drama Segment - Lingmeng has ventured into the short drama market, which has seen significant growth, but the financial results remain disappointing, with only 32.2 million RMB in revenue from short dramas in 2023, representing just 2.63% of total revenue [10][13]. - Despite producing several popular short dramas, the overall profitability of this segment is still lacking, with many productions failing to break even [10][13]. Market Trends and Competition - The short drama market is experiencing a shift towards free content, with free short dramas capturing nearly 60% of the market share, posing a challenge for traditional revenue models [14]. - Lingmeng's reliance on high-priced licensing for long-form dramas is becoming increasingly unsustainable as the industry adapts to new consumption patterns and cost-cutting measures by major platforms [9][14].

作 者丨吴佳霖 编 辑丨林曦 利是淬毒蜜，金是刮骨刀。 "我敢说互联网橡木（项目）你找不到比天天真得（的）了。" 近日，当2 1世纪经济报道记者 在某社交平台询问一个名为"天天短剧招商"的账户时，对方信誓旦旦地说。 图 / 记者在某社交平台上得到如此回复 这 两 年 爆 火 的 短 剧 成 为 了 新 的 行 骗 " 诱 饵 " 。 近 期 ， 以 天 天 短 剧 为 代 表 的 " 互 联 网 短 剧 招 商 项 目"在大力推广，还有多个名为"天天剧场" "天天看剧" "天天优剧"的短剧平台出现。所谓的招 商项目打出的旗号都是"版权投资，全民参与，轻松赚钱"。 在2 1世纪经济报道记者所加入的"短剧版权收益群"中，不断有人更新着 "满1 0 0就可以提现、 成功提现、每天提现一次4 8小时内到账……" 等消息，群主甚至发送了一张自己当日提现3 7 0 元的截图。为了拉拢记者入局，对方还发送了一份《软件著作权认证证书》，这份资料上有信 息 显 示 ， " 天 天 短 剧 APP" 的 著 作 权 人 为 " 映 宇 宙 集 团 有 限 公 司 （ 原 名 映 客 互 娱 集 团 ） " ， 于 2 0 2 4 ...

Core Insights - The peak profitability period for Han Shu has likely passed, with a notable decline in revenue growth in the second half of 2024 compared to the first half [3][4][22] - Han Shu's revenue surged by 80.9% year-on-year in 2024, reaching 5.591 billion RMB, contributing significantly to the overall revenue growth of the company [1][8] - The competitive landscape in the beauty industry is shifting, with increased participation in short drama marketing leading to higher costs and reduced effectiveness for Han Shu [5][19][26] Group 1: Company Performance - In 2024, the total revenue of Shangmei Co. increased by 62.1% to 6.793 billion RMB, with a profit of 803 million RMB, marking a 74% year-on-year growth [1][3] - The main brand Han Shu accounted for a significant portion of this growth, with a total revenue of 5.591 billion RMB [1][8] - The company's marketing expenses rose sharply, with sales and distribution costs reaching 3.95 billion RMB, a 76% increase, and marketing expenses alone growing by 90% to 3.317 billion RMB [27][28] Group 2: Market Dynamics - The beauty market is experiencing a transformation, with domestic brands like Han Shu and Pechoin gaining market share as international brands face declining sales [29][30] - The domestic beauty market saw a 7.46% increase in sales in 2024, with domestic brands capturing over 60% of the skincare market [30][33] - The influx of brands into short drama marketing has diluted Han Shu's competitive advantage, as other brands like Pechoin and international players also engage in similar marketing strategies [5][26] Group 3: Marketing Strategy - Han Shu's previous success was largely attributed to its early investment in short drama marketing, which generated significant sales and brand exposure [12][14] - However, the effectiveness of short drama marketing has diminished, with reports indicating a 40-fold decrease in marketing effectiveness despite increased costs [21][22] - The company is now shifting focus towards offline channels, emphasizing the importance of a balanced marketing strategy that includes both online and offline efforts [23][24]

短剧的风，已经飘洋过海吹到了美国。在好莱坞的所在地洛杉矶，现在平均每个月有 100 部中国短剧开 拍。 资深驻外记者刘骁骞就是这场美国短剧风暴的见证者：美国短剧剧组中的外国导演和演员到底是如何看待 自己参与创作的短剧的？同样的爽剧剧本和套路在美国是否适用？中国资方如何挑选最受欢迎的「大众情 人脸」？ 在许多人眼里，短剧或许依旧是「上不了台面」的存在，但那些围绕它发生的人物故事依然有被看见和倾 听的价值。 声东击西 今天我们要聊的话题很「声东击西」—— 中国短剧。这些霸道总裁题材、略带狗血的短剧，正在颠覆好莱 坞的一些传统业态，带来新的变革和力量。驻美记者刘骁骞从去年年末开始用自己的镜头记录下了这些颠 覆与新生，我们来听听他的故事。 刘骁骞 去年秋天，我的工作从芝加哥调到了洛杉矶，很多常驻洛杉矶的外国记者告诉我，这里的新闻其实比想象 中要少。这些年来包括国人在内的全球观众对好莱坞的态度发生了很大转变，大家不再把好莱坞电影看作 唯一的标杆。尽管如此，影视产业依然是洛杉矶的金字招牌，所以我一直想以此为出发点去做一些深度观 察。 刚到洛杉矶的时候，我和一位中国朋友吃饭，聊起一个学电影的中国留学生，他之前帮我拍过活动， ...