2025年6月25日，第三十届上海电视节白玉兰电视论坛举办"融合与共生——微短剧创新与发展论坛"， 点众科技副总裁、河马剧场负责人张翔宇受邀出席。现场，张翔宇披露平台最新运营数据及"合伙人计 划"政策升级方案，引发行业广泛关注。 现场，河马剧场宣布内容合作政策"合伙人计划"正式升级，将从成品剧合作分成、短剧创作赋能以及短 剧联合共投三大方面深化合作，释放红利，推动短剧精品化战略布局。 6000万月活背后的免费短剧新生态 张翔宇在演讲中披露，截至目前，河马剧场月活超6000万，平台单日短剧播放总时长超过1500万小时。 同时，用户男女性别比例已接近1:1，用户结构开始呈现显著"年轻化、城市高线化"特征，18岁至29岁 的年轻观众占比达14.3%，熟龄深度用户与年轻兴趣人群构成平台活力"双引擎"。平台用户活力从河马 剧场短剧储备情况也能看出：目前平台储备超过100个品类的超过1万部优秀短剧作品，题材覆盖全面， 其中受到用户追捧的热门剧集品类不仅有传统的赘婿、都市脑洞、仙侠等网文类题材，也有甜宠、历史 古代、先婚后爱等比较受年轻人欢迎的影视剧题材。 优质的用户结构赋予了"爆款剧"生长土壤。现场，张翔宇用三个数据解构 ...

Group 1 - The core viewpoint of the article emphasizes the integration of online literature and audiovisual content as a current trend in the cultural industry, highlighting the need for creators to adapt to new technologies and enhance literary quality for better content transformation [1] - The event organized by the China Writers Association attracted over 70 participants, including online writers, screenwriters, and key representatives from online literature and audiovisual platforms, focusing on innovative paths for the conversion of online literature to audiovisual content [1][2] - The training program featured discussions on the development trends of online micro-short dramas and the pathways for transforming online literature IP into audiovisual works, enhancing participants' understanding and confidence in the integration of literature and audiovisual content [3] Group 2 - Online literature platforms are leveraging rich copyright and content resources to convert literary works into audiovisual products, with companies like iReader Technology creating self-produced dramas and expanding into overseas markets [2] - Audiovisual platforms and film production companies are improving short drama creation models by utilizing long drama resources, as seen with Huace Film & TV's strategy to link long and short dramas [2] - The training sessions provided insights into the potential for content transformation, with participants expressing a commitment to furthering creative and adaptation practices to support high-quality integration of online literature and audiovisual content [3]

Core Viewpoint - The competition in the short drama market is intensifying, with Hongguo achieving remarkable growth and dominating the industry, while Hemama Theater faces increasing challenges and potential user attrition due to widening market gaps [1][3][5]. Group 1: Market Position and Performance - As of March 2025, Hongguo's monthly active users exceeded 173 million, while Hemama Theater's reached 41.67 million, indicating a significant gap that has widened over time [3][5]. - Hongguo's revenue capabilities are highlighted by a monthly revenue share exceeding 500 million, with over 10 copyright partners generating over 10 million each in a month, showcasing its strong monetization ability [3][5]. - Hemama Theater's recent highlights include the release of a short drama starring Liu Xiaoqing, but it lacks blockbuster hits, making it difficult for the audience to remember its presence [5][3]. Group 2: Challenges Faced by Hemama Theater - Hemama Theater is experiencing a stark contrast in resource endowments compared to Hongguo, as it lacks the backing of a major player like ByteDance, which provides significant advantages in user acquisition and cost efficiency [9][20]. - The content ecosystem disparity is evident, with Hongguo having launched over 15,000 short dramas and maintaining a high release rate, while Hemama Theater struggles with content quantity and update speed [17][19]. - Hemama Theater's mixed monetization strategy of "free + ads + membership" contrasts with Hongguo's focus on free and ad-supported models, leading to structural disadvantages in profitability [17][19]. Group 3: Strategic Directions for Hemama Theater - To survive, Hemama Theater must explore differentiated content to avoid the prevalent content homogeneity in the market, focusing on unique and recognizable productions [33][45]. - Expanding revenue structures beyond advertising and subscriptions is crucial, with potential in brand-customized dramas and collaborations with government entities for stable income sources [36][40]. - Building ecological partnerships, such as the "Hemama Partner" initiative, is essential for resource sharing and strategic alliances to compete against larger players [41][45]. Group 4: Market Growth Potential - Despite challenges, the overall growth trajectory of the short drama market offers Hemama Theater opportunities for user and revenue expansion, with projections indicating a market size nearing 91 billion RMB by 2027 [27][30]. - Hemama Theater's connection to state-owned enterprises may provide advantages in policy support and content compliance, especially in a tightening regulatory environment [30][27]. - The potential for international expansion through platforms like DramaBox could allow Hemama Theater to tap into overseas markets, diversifying its content and revenue streams [43][45].

各位童鞋搭嘎猴啊，上周 "多终端流量报告"看的怎么样？有童鞋在后台留言："上周六郊游 下大雪冻成狗，这周六郊游30°狂飙晒成狗，还能不能让人好好玩耍了……"淡定淡 定，往好的方面想，大雪弥补了冬天的遗憾、30°提前了夏天的热情，多好，毕竟，不知不 觉间，2025年马上要过去三分之一了O(∩_∩)O 言归正传，今天就给大家分享一下APP流量洞察报告。Qu e s tMobi l e数据显示，截止到 2025年1月，全网用户月人均APP使用数量、使用时长、使用次数分别为28.7个、171.4小 时、2487.9次，其中，数量、时长同比均微增，但是次数同比出现了罕见的下降，这背后意 味着存量争夺更加激烈，尤其是在人工智能出现突破的情况下，"用户需求一站式满足度"正 在抢夺更多用户时间，降低了打开次数！ 这些变化，带来"APP服务效率"的微妙分化：电商、金融、办公等场景的流量增长，逐步转 向了AIGC、智能家居、用车服务等领域。2025年1月，月活跃用户增长榜单中，AIGC、智 能家居、用车服务等领域同比分别增长了244.7%、16.7%、20.8%；相比之下，两年前的 2023年1月，月活跃用户增长较快的领域分别为 ...