每经记者｜丁舟洋 宋美璐 每经编辑｜陈柯名 陈旭 被"央视与卫视"视为兵家必争之地的新年晚会，在2026年彻底被短剧演员刷屏——初代"短剧女王"徐艺真登上央视跨年晚会；浙江卫视邀请短剧男演员柯 淳表演唱跳；东方卫视直接组起"短剧男团组合"，陈添祥、申浩南等7名短剧男演员集体亮相，与肖战、靳东等长剧演员同台竞技。 图片来源：东方卫视微博 2025年末到2026年初，短剧流量更是夸张到离谱。仅在2025年12月，红果播放量破10亿的短剧就有8部。跨年档期间，《青梅香如故》红果观看量突破10 亿；王小亿主演的《云渺5》预约量突破550万。相比之下，元旦三天长剧全网缺乏现象级爆款。 《每日经济新闻》记者（以下简称每经记者）了解到，百川中文宣布《云渺》第五部为收官之作，原因之一是演员档期太紧。 短剧，是真的上桌吃饭了。而短剧商业生态的搅动，或许才刚刚开始。 短剧"背叛"短剧 "太快了，短剧的迭代速度太快了。"听花岛创始人不止一次感叹。 仅以2025年为例，从《好一个乖乖女》到《家里家外》再到《盛夏芬德拉》，几部爆火短剧的路径完全不同——1月还是典型的爽感短剧，3月则是家庭情 感牌赢了，而10月又轮到《盛夏芬德拉》大杀四 ...

观众可以从《家里家外》无数微小的细节中感受爱的陪伴，在《盛夏芬德拉》每一个欲言又止的克制表达中心动，在《好一个乖乖女》中为女性永不放弃 的自我成长共鸣，在《冒姓琅琊》的"之乎者也"中体验文脉的传承。 2024年，人们用"土、low"描述短剧时，几乎无人反对，毕竟"赘婿打脸""战神归来""霸总爱保洁"是它当时最出圈的标签。而到2025年底，当类似观点再 次在社交平台出现，评论区常有超过一半声音举例反驳。 导演会以视听设计上的美感回应"粗制滥造"，编剧会拿出题材及设定的多元回应"内容肤浅"，而观众，则用自身的情绪投入来讲述短剧的精品化。2025 年，短剧越来越让人走心了。 相关剧集海报（图源：豆瓣） 当然，这并非意味着短剧已然完全告别过往。纯粹的爽感叙事依然占据大部分基本盘，但在免费播放的盈利模式下，流量逻辑已由原本的花钱让"剧找 人"转变为"人找剧"，这意味着流量将自发而非人为向高品质剧流动。随着良币淘汰劣币，行业整体流向精品内容，只是时间问题。 在短剧精品化的大潮中，有这样几大正在成型的核心细分趋势。沿着这样的海岸线，不免让人期待2026年的潮水会流向什么样的方向。 从"草台班子"到精品工业 短剧"又土又lo ...

同样探究情感叙事的《盛夏芬德拉》，打开"先婚后爱"序章的时候，却出乎意料地聚焦成年人爱情的克 制与救赎。它细腻的情感流动，藏在细节中的温柔，是当代人对真诚亲密关系的渴求，10天播放量突破 30亿。 作为短剧创作的高热题材，穿越剧也在今年拿出了一部大流量作品。《十八岁太奶奶驾到，重整家族荣 耀》减少了穿越题材的猎奇和爽感"钩子"，女主乖巧形象与"太奶奶"身份形成反差，以"整顿家族"为 引，表达对家风传承、亲情羁绊的渴望，创新性叙事，为其获得上线首日破亿的观看热度。同样是乖巧 形象，但《好一个乖乖女》却不走寻常路，女主在顺从表象下隐藏的不甘和挣扎，打破了观众对"乖巧 女主"的刻板思维，也用掌声和数据肯定了女主对于"自我价值"的重新定义。 从情绪到艺术的进阶 曾经以"短平快"为标签的短剧，于2025年，在用户对叙事、情感深度和艺术表达的高要求下，不再是流 量剧情的堆砌，而开始用精炼的叙事编织情感，完成品质蜕变，虽有"爽感输出"，却饱含情感重量和文 化纵深。《家里家外》的年代烟火气尚未退去，《盛夏芬德拉》便带着高品质画面示爱而来……精品短 剧频出，哪部短剧让你念念不忘？ 2025年岁末，封面新闻、华西都市报推出"20 ...

2025年，短剧行业在高速发展中迎来了价值拐点。 今年10月底，红果短剧总编辑在公开场合表示，2025年微短剧市场规模有望接近1000亿门槛。与之形成鲜明对比的是，截至12月13日，中国电影票房总额 才破500亿。同时，QuestMobile数据也显示，截至9月，红果短剧月活已达2.36亿，在在线视频APP中位列第四，超过B站、接近芒果。 除了惊人的市场增幅，更深层的变化也正在发生。随着短剧跨过规模化与工业化门槛，其在观众心目中终于不再是流水线上的快消品，而是作为一种新型 内容形态，在大众文化中占据了一席之地。 那么，今年短剧市场涌现了哪些爆款作品？短剧行业发生了哪些变化，谁在上桌又是谁在定义未来？ 全面"升咖" 2025年，短剧行业最深刻的变革，莫过于市场规模、播放量、制作水准、演员的全方位"升咖"。 最直观的标志，是行业大盘的迅速扩张，曾经代表天花板的"10亿播放量"，如今却成为了爆款作品的平均线。 根据DataEye《2024年微短剧行业白皮书》，去年抖音端原生短剧中，播放量破亿作品仅占总量的4.3%，近半数（45%）作品累计播放量仍停留在100万以 下，超过六成（63%）作品不足500万。 但在今年， ...

量变引起质变。 短剧是2025文娱市场中最炙手可热的内容赛道，同时行业竞争的白热化态势也是摆在明面上的事实。这场愈演愈烈的角逐不仅加剧了市场内容供给的爆 炸，也持续抬升着用户的审美阈值，推着整个行业从"遍地是黄金"的第一阶段急速转向"大浪淘沙"的中场阶段。 于是乎，"精品化"成为大势所趋，"内容为王"也在这一年从泛泛共识落地为短剧制作公司实打实的生存法则。尤其是在红果短剧取消承制方保底后，剧本 题材的创新突破、制作水平的精雕细琢以及变现模式的多元升级等，更是被全面按下加速键。 行业的"洗牌期"，往往也是"新巨头"的孕育期。 而这一年，虽有不少短剧制作公司加速成长了起来，比如《云渺》系列背后的百川中文、《我真没想重生啊》背后的阅文短剧、《以她之韧》背后的景文 盛视、《我在末世当老板，员工全是S级变异体》背后的漫谭动漫等，但真正如长剧"六大"般，兼具持续爆款能力、丰厚制作经验及资源的短剧制作公 司，还得是听花岛、马厩制片厂、格物致知、海鱼星空、熊和兔以及于今无量 。 01 听花岛VS马厩制片厂 谁能坐稳"红果一哥"？ 只要提起2025年短剧，特别是红果短剧，就绕不开听花岛和马厩制片厂。 前者不仅凭借《千金谋》《金 ...

Group 1: Industry Trends - The short drama industry is entering a period of refinement, with micro-short dramas becoming a mainstream entertainment choice by the end of 2025, leading to intensified competition and a shift in focus towards scale, quality, and copyright competition [1] - Popular short dramas such as "Good Girl" and "Eighteen-Year-Old Grandma" have broken viewership records, with "Good Girl" being the first short drama on the Hongguo platform to exceed 10 million collections [1][3] - The phenomenon of top-tier resources concentrating among leading players is evident, creating a closed loop of "high traffic - high revenue sharing - top works," which exacerbates the Matthew effect in the industry [4] Group 2: Operational Strategy Changes - In response to the concentration of resources, mid-tier production companies are adopting differentiated strategies to survive, as exemplified by the Heima Theater under Dianzhong, which saw a 99.4% year-on-year increase in monthly active users, exceeding 50 million by September 2025 [5] - Heima Theater's new partner plan 3.0 emphasizes differentiation through three major upgrades: a quantifiable revenue-sharing model, an incentive category upgrade, and a guaranteed minimum revenue for completed dramas [7][9] Group 3: Differentiation Strategy Implications - The differentiation strategy allows mid-tier players to focus on content quality rather than chasing popular genres, thus meeting diverse user needs and avoiding the pitfalls of homogenization [11] - By implementing a quantifiable revenue-sharing model and a tiered minimum revenue guarantee, mid-tier production companies can reduce trial and error costs and focus on niche topics, creating opportunities for high-quality works [13] - The differentiation strategy contributes to industry upgrades by promoting diverse themes and addressing the issues of content homogenization, leading to a virtuous cycle of "differentiated competition - quality content - revenue reinvestment in creation" [14]

Group 1 - The core theme of the articles revolves around the impact of AI on the workplace, highlighting both the potential benefits and challenges faced by employees and companies in adapting to AI technologies [2][3]. - The narrative discusses the cautious approach of capital investment in AI applications, emphasizing that many startups have failed due to pursuing "pseudo-demand" [2]. - The emergence of AI tools has led to a significant shift in job dynamics, with the introduction of "super individuals" potentially displacing other workers in the same demand unit [2]. Group 2 - The articles reflect on the harsh realities faced by employees in China, where few companies invest in employer branding, focusing instead on product strength and performance [3]. - There is a trend of companies expanding job descriptions to seek "composite talents," raising questions about the necessity of teamwork in the workplace [3]. - The narrative also touches on the struggles of an entrepreneurial team from 36Kr, noting the challenges faced in the AI startup landscape and the impact of rising price sensitivity among consumers [3]. Group 3 - The articles mention various events organized by the company, including AI talent salons and large recruitment fairs, aimed at fostering community and industry engagement [4]. - The company has produced influential deep reports, despite facing pushback from some companies regarding content [4]. - The focus remains on maintaining high content standards and neutrality while exploring monetization through paid content [4]. Group 4 - The "Top 50 Employers for Workplace Benefits" list includes companies in advanced manufacturing, such as Momenta, SiLing Robotics, and Gree Electric, showcasing leaders in the industry [6][10]. - The articles highlight the growth and challenges faced by these companies, including the need for skilled talent in areas like AI and robotics [8][11]. - The narrative emphasizes the importance of innovation and adaptation in the rapidly evolving job market, particularly in sectors influenced by AI and automation [13].

作者 | 兰杰 编辑 | 乔芊 11月25日的太原武宿机场，被人群围得水泄不通。 他们为了短剧平台红果的创作者大会而来。机场行李转盘处的十余块大屏上，是短剧演员王格格的应援海报——这里的广告只能一周起投，价格需要数万 元；还有粉丝花费数千元换取一个进场名额，但这次活动其实根本没有开放售票。 一辆车身贴满演员张翅写真的红色大巴，从上午十点半到下午六点半一直在活动场外绕行。它是粉丝们豪气包下的，并不用于载客，只为了能让更多人看 到车身上的演员。 王格格和张翅，是受邀参加红果创作者大会的数十位短剧演员中的两位。他们之中，如今最声名鹊起的是刘萧旭，他凭借9月上线、播放量突破40亿次的 新晋爆款短剧《盛夏芬德拉》，成为短剧界顶流。主办方红果特意安排刘萧旭在红毯环节压轴出场。 主角们仿佛咸鱼翻身。有过爆款剧集傍身的短剧演员，日薪从数千元提升到了数万元，并且开始接数百万元的商务代言。长剧行业也开始向这些曾经并不 在意的存在，抛出橄榄枝。 粉丝们也为之冲锋陷阵。《盛夏芬德拉》大热，作为另一位短剧顶流柯淳的忠实粉丝，浅夏在网上发现了大量拉踩的帖子，充满了"柯淳凉了"、"柯淳比 不上刘萧旭"的论调。她的工作之一就是举报这些负评， ...

Core Insights - The rise of short drama actors is reshaping the entertainment landscape, with events like the "Micro Short Drama Night" gaining significant attention and recognition for their contributions [1][2][3] - The rapid evolution of short drama actors and their fan communities indicates a shift in audience engagement and market dynamics, moving from niche to mainstream [14][17][24] Group 1: Event Highlights - The "Micro Short Drama Night" awarded various categories such as "Annual Heartfelt Partner" and "Annual Star Actor," reflecting the changing landscape of short drama actors [1][3] - Award winners like Chen Tianxiang and Guo Yuxin are gaining broader public recognition, indicating a shift in the industry's star-making logic [1][5] Group 2: Actor Dynamics - The competition among short drama actors is intense, with new talents emerging rapidly, leading to a constantly changing hierarchy [2][7] - The "Annual Star Actor" awards highlight the new generation of leading actors, akin to the "Four Heavenly Kings and Queens" in traditional media [3][5] Group 3: Fan Engagement - The formation of fan communities around short drama actors signifies a new trend in audience interaction, moving from online to offline events [14][17][20] - Fans are increasingly willing to invest in offline meet-and-greet events, indicating a growing commercial potential for short drama actors [22][24] Group 4: Market Trends - Short drama actors are diversifying their careers by engaging in music and variety shows, reflecting a trend towards multi-faceted entertainment personas [11][9] - The industry's focus on "active idols" allows short drama actors to connect more authentically with audiences compared to traditional stars [24][26] Group 5: Future Challenges - The rapid rise of short drama actors brings challenges, including the need to manage public image and navigate the complexities of fan expectations [26][30] - The potential for cross-industry competition poses a risk to the established status of short drama actors, as traditional actors seek to enter the short drama space [31][32]

Core Viewpoint - The rise of micro-short dramas has led to innovative storytelling that breaks traditional narrative molds, but it also faces the challenge of creating new clichés despite its initial success [1] Group 1: Industry Trends - Recent phenomenon "Home and Away" has successfully deviated from typical family conflict narratives, focusing instead on a warm and realistic portrayal of life, achieving commercial, artistic, and critical success [1] - Following this trend, the short drama market has seen an influx of works that reflect warmth and family values, such as "What a Good Girl," which features a female lead who is both gentle and sharp, challenging the typical passive female character in romance dramas [1] - The recent hit "Summer Fendela," which has surpassed 3 billion views, showcases a cinematic aesthetic through its meticulous camera work and set design, prompting a wave of micro-short dramas that aspire to achieve film-level visual storytelling [1] Group 2: Creative Challenges - The essence of "anti-cliché" storytelling should not merely involve replacing old templates with new ones or creating an endless cycle between the two, but rather should focus on breaking the spell of clichés through deeper exploration and innovation in narrative themes, character development, and value transmission [1]