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 ...

Group 1 - The 2025 People's Daily Literary Year List highlights the prominence of Sichuan elements in various artistic works, including the top-ranked literary gala "Justice Prevails" [2] - "Justice Prevails," directed by Sichuan native Zhou Liya, commemorates the 80th anniversary of the victory in the Chinese People's Anti-Japanese War and the World Anti-Fascist War, showcasing a blend of performances that garnered significant public attention [2] - The animated film "Nezha: Birth of the Demon Child," directed by Sichuan director Jiaozi, achieved remarkable success, becoming the highest-grossing animated film globally with a box office of 15.446 billion yuan in China and over 15.9 billion yuan worldwide [2] Group 2 - The song "Yupan," a Sichuan original, combines classical poetry with modern music aesthetics, resonating with audiences through its childlike perspective and themes of exploration [3] - The micro-drama "Home and Away," a Sichuan-produced short drama, has gained popularity, reflecting the cultural richness of Chengdu and the advantages of Bashu culture in film and television dissemination [3] - Sichuan's unique advantages for short drama production align with audience preferences, providing diverse scene options for filming, indicating potential for more heartwarming works in the future [3]

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 ...

"一觉醒来发现自己来到一百年后，人类已经丧失了写作能力。突然一群后现代机器人围着我问「您会写句子吗」，我脱口而出「真是绝绝子，原来人生 到处是旷野，鼠鼠我也拿到了重生剧本，各位乖，摸摸头，别问为什么会说这些，没有告知的义务」。 当我准备再抄800句烂梗时，一众人拥簇着我大声呐喊「您真是百年难遇的大文豪」。" 谁又没有偷偷在被窝里看过几部又爽又羞耻的短剧呢？ 没看过，你也应该听过「短剧」这2个字，竖屏看剧、一集2分钟，快到急支糖浆都赶不上的短剧今年"疯狂围剿"内娱，走红毯、拿奖项，演员厂牌身价水 涨船高。 2025啊，短剧，拿到了短剧爽文剧本。 因此，氢商业于今年12月6日在北京导演书社举办线下沙龙【重生之我在短剧搞事业】，邀请了3位短剧行业从业者，分享一下他们今年都是怎么"爽到 的"。他们分别是：花岛总制片人赵优秀、短剧公司商务制片兼导演余滟清、短剧新锐导演兼演员宇书田。 短剧三件套：下药、下跪和下巴掌 1.观众现在喜欢哪些内容？口味变化有多快？ 赵优秀：我认为观众最喜欢的就是「真诚」，短剧创作需要尊重观众的智商和审美。下药、总裁、千金这类同质化的故事一定会让大家觉得脱离实际，让 观众觉得创作方在「玩我」。 ...

用户规模达6.96亿、国内现存微短剧相关企业达10.02万家、2025年市场规模预计达677.9亿元……近年 来，中国微短剧行业迎来爆发式增长，一项项行业数据接连创下新高。 近期，记者采访整理了多名微短剧编剧、导演、制作方负责人以及相关平台代表对于行业的观察与判 断，透过从业者的视角，看微短剧如何更好实现市场价值与社会价值的共赢。 "真正能穿越流量周期的，永远是扎根生活的真诚与对品质的坚守" 《怒刺》海报。资料图片 《家里家外2》海报。出品方供图 纵观2025年的微短剧市场，用户数量持续增长，市场主体持续增多，剧集体量维持高位。中国网络视听 协会编制的《中国微短剧行业发展白皮书（2025）》（以下简称"《白皮书》"）数据显示，国内现存微 短剧相关企业达10.02万家，2025年全年竖屏剧预计上线4万部。 《盛夏芬德拉》自今年9月上线后，持续占据各大微短剧热度榜前列，全网播放量突破40亿次。细腻的 剧情铺陈与精美的镜头语言，让这部被观众评为"营造出极致气氛美学"的微短剧成为今年的现象级作 品。 "一个好的剧本需要做到选题清晰、逻辑巧妙、台词精彩。"杭州星链无限传媒有限公司创始人、《盛夏 芬德拉》导演穆裕认为，优 ...

短剧行业正经历一场深刻的自我变革。曾经依靠强冲突、快节奏的"感官快消"模式难以为继，一场以"精品化"为 核心的品质升级浪潮席卷而来。这不仅是制作水准的提升，更是行业从野蛮生长向价值共生生态的关键一跃。 过去，"霸总""逆袭"等高度同质化题材虽仍有市场，但一批在叙事逻辑、制作水准和情感表达上追求极致的作 品，也正在不断突破圈层，实现口碑与流量的双赢。例如，《家里家外》系列短剧以家庭情感为主线，凭借贴近 生活的叙事引发广泛共鸣，创下多项播放纪录；《盛夏芬德拉》则以电影级制作和反套路叙事，打破观众对短剧 的刻板印象，证明了优质内容跨越圈层的吸引力。这些作品的成功，核心在于回归创作本质：逻辑自洽的故事、 立体真实的人物、真诚的情感流露。 演员郭宇欣在《盛夏芬德拉》中饰演白清枚。 演员郭宇欣对此感触颇深。她坦言，早期接触的不少剧本中，角色常沦为推进情节的符号，台词也多是功能性 的"剧情说明"。而她在《盛夏芬德拉》中饰演的白清枚，则是一个真正"有血有肉的人"。"白清枚拥有完整的成长 弧光和细腻的心理刻画。"郭宇欣分享道，"剧本深入刻画了她因母亲婚姻悲剧而形成的心理创伤，甚至当她看到 周晟安为自己煮乌冬面时，那种细微的情绪 ...

Core Insights - The film "My World Without Me," directed by Tian Hairong and produced by Zhang Hanyu, addresses the emotional struggles of modern individuals, particularly in the context of rising depression rates [1][6][8] - The film's connection to Chengdu is emphasized, with many key production roles filled by local talent, showcasing the city's supportive environment for filmmaking [1][8][15] Group 1: Film Overview - "My World Without Me" premiered on November 27, focusing on the daily lives and emotional challenges faced by individuals [5][11] - The film features a strong cast, including Tian Hairong, Tan Kai, and special appearances by Shao Bing and Zhang Hanyu [3][4][5] Group 2: Creative Team and Themes - Zhang Hanyu expressed a desire to explore different genres, highlighting the film's realistic portrayal of everyday life without extreme elements like suspense or violence [1][6] - Tian Hairong's personal connection to the film is evident, as she identifies closely with the character she portrays, reflecting on her own experiences with anxiety and societal pressures [7][8] Group 3: Chengdu's Role in Filmmaking - Chengdu is portrayed as a nurturing environment for the film, with local professionals contributing significantly to its production [1][8][15] - The city's cultural richness and warmth are seen as integral to the film's narrative, enhancing its emotional depth and relatability [15]

Core Insights - The "China Internet Development Report 2025" indicates that the user base for micro-short dramas in China has reached 662 million, with a market size exceeding 50 billion yuan, surpassing box office revenues for films, marking it as a new emerging sector in content consumption [1] - The micro-short drama market is undergoing a transformation, moving away from the previous "high-reversal + thrill" narrative model towards more refined and diverse themes, such as women's growth, workplace issues, family healing, and campus problems [1][2] - The industry consensus is shifting towards a focus on quality content to enhance user engagement and market expectations, as audiences are no longer satisfied with mere novelty and stimulation [2] Market Dynamics - The micro-short drama market is transitioning from a "fast entertainment" model to a more stable growth trajectory, necessitating a departure from reliance on "thrill points" and addressing content homogenization issues [2][9] - The audience structure shows that the "silver-haired" demographic has become a significant force in paid subscriptions, accounting for over 40%, while female users dominate the consumption market with higher interaction and payment activity compared to male users [1][2] Production and Technology - The industry is enhancing production quality and exploring new technologies such as AI and VR to find new growth curves, with traditional film companies entering the micro-short drama space [7][9] - The application of AI in production processes is estimated to improve planning efficiency by over 50% and reduce post-production costs by 30% [9] Cultural Integration and Global Expansion - The global micro-short drama market is projected to exceed $15 billion by 2024, with China accounting for over 80% of this market [10] - Micro-short dramas are evolving from mere entertainment products to cultural carriers, with significant growth in overseas markets, particularly in North America and Europe [10][12] - Companies like Fengye Interactive and Jiuzhou Culture are leading the charge in overseas distribution, with platforms like Reelshort covering over 100 countries and achieving over 250 million downloads globally [10][11][12] Industry Challenges and Future Directions - The micro-short drama industry is at a critical juncture, transitioning from "quantity" to "quality," necessitating regulatory clarity and a focus on key development areas [12] - Establishing a scientific evaluation system and optimizing recommendation algorithms are essential for guiding the industry towards a quality-centric approach, moving from a traffic-driven model to one focused on content excellence [12]

Core Insights - The micro-short drama industry in China is experiencing explosive growth, with the market expected to exceed 500 billion yuan in 2024, surpassing the national film box office for the first time [1] - Despite the rapid expansion, issues such as homogenization, low-quality content, and a tendency towards superficiality remain prevalent in the industry [2][3] - The industry is shifting towards higher quality storytelling and emotional depth, moving from mere entertainment to meaningful content that resonates with audiences [4][5] Market Growth - The micro-short drama market is projected to reach nearly 1 trillion yuan this year, indicating a significant increase in consumer interest and engagement [1] - Successful works like "Home and Away" and "In the Peach Blossom Blooming Place" have gained substantial viewership, with some achieving over billions of views internationally [1] Industry Challenges - The phenomenon of content homogenization is evident, with many dramas following similar storylines and character archetypes, leading to audience fatigue [2] - The industry has been criticized for prioritizing commercial efficiency over originality, resulting in a cycle of replicating successful formats [2] Content Quality Improvement - Platforms are enhancing their content review standards to encourage creators to focus on narrative depth and character development, moving away from simplistic and sensationalist approaches [3] - Audience expectations are evolving, with viewers seeking deeper emotional and philosophical engagement from micro-short dramas [3][4] Technological Integration - AIGC (Artificial Intelligence Generated Content) is transforming the production and creative processes within the micro-short drama sector, allowing for more innovative storytelling and efficient production methods [5][6] - Companies are leveraging AIGC to streamline scriptwriting and production, enabling creators to focus on creativity rather than repetitive tasks [5][6] Industry Initiatives - Various industry initiatives and plans have been launched to promote the development of micro-short dramas, including recommendations for legal education content and projects highlighting traditional Chinese culture [6] - The industry is also making strides in self-regulation, with multiple organizations signing a tax compliance initiative to promote ethical practices [6]

Core Insights - The micro-short drama industry in China is rapidly developing, with nearly 700 million users, covering 70% of the country's online audience, and is transitioning from a focus on traffic to value cultivation and quality improvement [1][4] Group 1: Industry Trends - The industry consensus emphasizes that "quality is the lifeline," focusing on both content and production quality to resonate emotionally with audiences [1][3] - The first dialect micro-short drama, "Home and Away," has achieved over 3 billion views, highlighting the importance of relatable storytelling and emotional depth [1][2] - The industry is moving towards a standardized and regulated production process, with the introduction of the "Micro-Short Drama Creation and Content Review Technical Standards" to ensure quality and positive messaging [3] Group 2: Market Dynamics - The micro-short drama market is expected to reach a scale of hundreds of billions, but the previous era of mass production has led to many low-quality works, making it essential to shift from quantity to quality [4] - Major platforms are launching initiatives to promote high-quality micro-short dramas, such as the "Fruit Burning Plan" by Hongguo and a thousand high-quality micro-drama plan by iQIYI [5] - The industry is anticipated to evolve towards more diversified business models, focusing on original IP development, with projections that original IP will account for 70% to 80% of content in the future [5]