截至2025年9月，本年度微短剧大盘累计消耗192.99亿，每月平均消耗21.44亿。总体上，市场整体规模稳定提升，但增速较2021-2023年的"指数级增长"明 显收窄，行业从"爆发期"进入"存量竞争期"。 据DataEye短剧观察统计，9月微短剧大盘共消耗20.9亿，经历连续3个月下滑，9月热力值大盘重新回稳，较8月提升了10.43%。 一、大盘累计消耗近193亿，59部新剧闯入TOP100 9月出现回升，主要是出现如《别惹真千金，她爸是超级女儿奴》等强劲作品，带动整体数据提升。 1、9月百强热剧：新剧强势领跑，番茄表现突出 9月DataEye微短剧热力榜中，番茄,山海《别惹真千金，她爸是超级女儿奴》登顶，番茄《这个保镖太无敌了》第二，河马的《消失的拳王》位列第三。 从作品热力值来看，TOP5的热力值均超2000W，较上月增加了2部，其中榜首新剧热力值超4300W。另外，本期TOP2《这个保镖太无敌了》和TOP3《消 失的拳王》两部男频微短剧表现突出，且热力值差距较低，均超2500W。 值得注意的是，9月微短剧整体投放热度较上个月有明显的提升，且新剧数量较上期进一步提升，百强热剧中新剧占59部。9月TOP ...

来源：环球网 2025年10月14日，"2025视听中国马栏山微短剧之夜"在湖南圆满落幕。此次活动由中国网络视听协会、 湖南省广播电视局、湖南广播电视台、长沙市委宣传部指导，马栏山（长沙）视频文创园管理委员会、 湖南快乐阳光互动娱乐传媒有限公司主办，以"微光成炬时 湘遇马栏山"为主题，邀请国家广电总局、 中国网络视听协会、全国微短剧头部企业和行业专家等参加，旨在通过开展行业交流、精品推优等，积 极培育发展新质生产力，促进微短剧产业高质量发展。 匠心之作：咪咕连续斩获实力奖项 活动现场，荣誉时刻接连上演。咪咕公司作品《大力村超人》以"平凡人的快乐足球"为切入点，生动讲 述了当代青年返乡创业，投身家乡建设，点燃乡村活力的鲜活故事，凭借其独特的创意与深刻的内涵， 入选"年度创意故事榜"；作品《郑和下西洋：沧海新途》则以历史纵深与当代价值的深度融合为核心。 深度呼应"一带一路"倡议，通过年轻化叙事展现中华文明"以海为媒、和平交往"的历史智慧，凭借精美 的视觉呈现入选"年度视觉呈现榜"。这两部作品的获奖不仅展现了咪咕在微短剧领域的深厚底蕴，更彰 显了其在内容创新与品质把控上的卓越能力。 生态共建：千部IP创制计划启新程 ...

9月29日，新京报新京智库发布《中国微短剧精品化发展研究报告（2025）》（下称"报告"）。《报告》认为，在 行业经历了"5秒一个反转、10秒一个看点"的野蛮生长期后，在多重因素合力作用之下，微短剧逐渐呈现出精品化 的发展趋势。精品化不仅是行业自我升级的结果，更是满足观众审美需求、回应监管要求和提升产业价值的必然 选择。 7亿用户撑起500亿市场：从野蛮生长到精品化转型 中国微短剧的发展轨迹清晰地展现了一个新兴产业从无序到有序、从粗放到精细的演进过程。相较于用户规模的 快速增长，更值得关注的是用户结构的全年龄化趋势——50岁以上用户占比接近30%。这意味着微短剧不再专属 于Z世代和都市白领，也开始为更多的中老年人群体所接受，成为社会公众的重要娱乐方式。 划"单项目投入可达300万元。这些都是行业精品化发展的标志性案例。资本的加入也改变了行业逻辑，专业团队 取代作坊式创作，制作水准和叙事能力得到显著提升。 中国微短剧市场规模与电影票房对比。 微短剧用户年龄分布。 而产业规模的跃升也同样令人瞩目。截至2024年12月，参与这一产业的相关企业已超过8万家，主体构成极为多 元，既有以阅文集团、中文在线（300364） ...

短剧制片人称："筹备7天—10天，拍摄可能也在7—10天左右，整个拍摄加筹备也就在15—20天左右，一部剧差不多就可以杀青了。" 在横店多达14万人的注册群众演员中，很多演员曾经需要为了争取一个小角色连跑十几个剧组。而短剧市场的兴起又给他们的生活带来怎 样的变化呢？ 央视网消息：微短剧以其紧凑的剧情、夸张的表演、便捷的观看模式，满足了数字时代观众碎片化、即时化的娱乐需求。有报告显示， 2024年，中国微短剧市场规模已攀升至505亿元，首次超过全年电影票房收入。 浙江横店影视城拥有百余座摄影棚，古装、年代、现当代影视拍摄场景的数量超2000个，作为中国产业链最成熟最完整的影视拍摄基地， 近年横店也成为了微短剧的"生产工厂"。在横店，每天有上百个剧组、2万多名剧组工作人员忙碌在各大片场。 横店最近也被很多人戏称为"竖店"，目前在横店开拍的短剧剧组多达150个，并且这一数量还在持续上升中。 业内人士表示，一周左右即可拍完一部剧，这样的节奏在短剧行业基本是常态。 走访中记者了解到，随着市场的加速竞争，短剧行业也在悄然发生着变化，一味追求爽点、博眼球的剧情正在成为过去时，内容更加多元 和精良。数据显示，兼具故事价值和情 ...

Group 1 - The top three micro-drama titles in the overseas market are "The Mafia Boss" with a heat value of 5.625 million, "Too Young to Want her Professor" at 3.997 million, and "Spark Me Tenderly" at 3.294 million [6][9][11] - The overall heat value of the top 30 micro-dramas decreased by 8.6% compared to the previous period, totaling 49.502 million [8][9] - The popularity of gangster-themed dramas is highlighted by "The Mafia Boss" and "Love Captive to the Mafia Boss," which rank first and tenth respectively, both focusing on romantic entanglements with gang leaders [9][11] Group 2 - The number of dubbed dramas in the top 30 increased by one, totaling seven, while local dramas occupy 23 spots [11] - The leading platforms for micro-drama distribution are My Drama, DramaWave, and Kuku TV, with My Drama holding six spots in the top 30 [11][17] - My Drama leads the material distribution ranking with 52,000 pieces, followed by DramaWave with 46,000 and Kuku TV with 32,000 [17][28] Group 3 - The total number of materials distributed by the top 30 micro-drama apps increased by 11.6%, reaching 351,000 [17][28] - My Drama has a significant female audience, comprising 92.32%, with the primary age group being 25-34 years old at 42.48% [31]

Core Viewpoint - The article highlights the prevalent issue of "kickbacks" in the micro-short film industry, stemming from a lack of standardized costs, personal relationships, and deficiencies in the production system, ultimately indicating a need for unified industry standards [1][9]. Group 1: Prevalence of Kickbacks - The phenomenon of "kickbacks" in micro-short film financing is widespread, with industry insiders sharing experiences that illustrate the current state of affairs [2]. - The absence of a unified standard leads to significant cost variability, with production costs for the same script varying dramatically based on the team hired [9]. - The industry operates on personal relationships, where costs can be negotiated based on familiarity, leading to ambiguous definitions of what constitutes a kickback [3][4]. Group 2: Production System Deficiencies - The lack of a robust production system results in inefficiencies and wasted costs, which are more detrimental than the issue of kickbacks [10]. - A well-structured production system can directly reduce costs and improve efficiency by minimizing unnecessary travel and ensuring timely coordination among crew members [12]. - The current state of the industry is characterized by a fragmented production approach, leading to delays and increased costs due to poor planning and coordination [10][12]. Group 3: Need for Standardization - The micro-short film industry lacks a unified production standard, which complicates the assessment of whether expenditures are justified based on the commercial outcomes achieved [9][11]. - Establishing clear production standards and improving the production system could help mitigate the issues of kickbacks and inefficiencies, allowing for better measurement of costs versus outcomes [13].

Core Insights - Zhengzhou is emerging as a new hub for short dramas in China, attracting a significant number of filmmakers and actors from other regions, particularly from Hengdian and Beijing [1][2][3] - The city boasts a robust infrastructure for short drama production, with over 100 film crews operating simultaneously and more than 1,000 micro-short drama companies established [2][3] - Zhengzhou's advantages include lower production costs, a rich pool of talent from local universities, and a wealth of cultural resources that enhance scriptwriting and filming [3][2] Industry Overview - Zhengzhou has become the third-largest producer of short dramas in China, with daily filming activities involving nearly 100 crews and a workforce exceeding 50,000 [2][3] - The production cycle for micro-short dramas can be as short as three days, with costs controlled at approximately 2,500 yuan per minute [2] - The local government and industry stakeholders are leveraging Zhengzhou's historical and cultural assets to enrich the storytelling potential of micro-short dramas [3] Talent and Workforce - A significant influx of talent from other regions is noted, with hundreds of actors migrating to Zhengzhou for better opportunities and stable income [2] - Local universities are contributing to the talent pool by training thousands of graduates in micro-short drama and related fields each year [2][3] - The industry is witnessing a rise in actor signings and increasing salaries, indicating a growing demand for creative professionals [3]

Group 1 - The trend of micro-drama actors signing with traditional film and television companies is increasing, indicating a shift in the industry dynamics [1][4] - Major micro-drama actors have signed with well-known production companies, showcasing the growing recognition and demand for talent in this sector [1][3] - The signing of micro-drama actors by traditional companies suggests a strategic move to diversify content offerings and tap into the popularity of micro-dramas [4][10] Group 2 - Micro-drama actors are categorized into four types based on their signing situations: those with vertical production companies, traditional film companies, MCN companies, and self-established studios [3][5] - The signing of new actors is seen as a long-term investment strategy by companies, as it allows them to cultivate talent at a lower cost compared to established stars [8] - The micro-drama industry is evolving towards a more industrialized production model, where actors are viewed as essential production resources [8][9] Group 3 - The workload for micro-drama actors is significantly higher than that of traditional actors, with top actors shooting over 12 hours daily and taking on 30-50 projects annually [9] - By signing with agencies or forming their own studios, actors can focus on their craft while outsourcing non-core tasks, enhancing their overall performance [9][10] - The collaboration between actors and companies is not merely transactional; it involves deep integration in content production, traffic operation, and commercial development [10]

Overview - The micro short drama market consumed a total of 22.62 billion in May, representing an increase of nearly 8% compared to the previous month, with a cumulative consumption of 110.29 billion by 2025 [1] Market Performance - In May, the top two spots in the DataEye micro short drama heat list were dominated by "That Year the Sunshine Was Just Right" and "Out of Hand," with heat values exceeding 4200W and 3800W respectively [2][12] - A total of 73 new dramas entered the top 100 heat list, with 41 of them making it into the top 50 [2] - The overall heat of micro short dramas increased, with 41 dramas achieving a heat value over 1000W, an increase of 10 from the previous period [2] Company Performance - Companies such as Tomato, Hippo, Moya, and Jiuzhou were notably active, with Tomato securing 32 spots, Hippo 17, Moya 15, and Jiuzhou 13 in the top 100 heat list [3] - The associated heat values for these companies were significant, with Tomato exceeding 270 million, Hippo over 240 million, and Moya and Jiuzhou at 170 million and 140 million respectively [6] Genre Trends - The top genres for micro short dramas in May included emotional themes, with 512 million materials for female-oriented dramas and 203 million for male-oriented dramas [15] - Emotional themes led the material submissions with 554 million, followed by revenge themes at 408 million and urban themes at 367 million [16] New Releases - The DataEye micro short drama new product list was topped by "That Year the Sunshine Was Just Right" and "Out of Hand," with 13 female-oriented dramas and 7 male-oriented dramas in the top 20 [12][23] - The total heat value for female-oriented dramas reached 3.5 billion, with 7 dramas exceeding 2000W in heat value [23] Advertising and Distribution - In May, the distribution channels for micro short dramas saw Douyin mini-programs leading, followed by apps and WeChat mini-programs [25] - Douyin mini-programs accounted for 67% of the total material submissions, although their share has been declining for three consecutive months [27][28] Industry Dynamics - The trend towards IP adaptation in micro short dramas is increasing, with major platforms like Mango and Migu opening their IP libraries for adaptations [29][30] - The government is further investing in the micro short drama sector, with various initiatives announced to promote the industry [33][34]