Stephanie: Hey everyone, and welcome to this edition of CBN x ASEAN Watch. I’m Stephanie, your host, and today we’re diving into a phenomenon that’s taking Southeast Asia by storm: Chinese mini dramas.

These bite-sized shows, packed with drama, romance, and plenty of “shuangdian” (those satisfying plot twists), are becoming a big deal overseas. Joining me today to unpack this trend is Sharon, our ASEAN correspondent who’s recently been covering the rise of mini dramas in the Southeast Asian market and here to share her observations.

Sharon: This is such an exciting topic—who would’ve thought that short, sometimes even “cheesy” Chinese dramas would become a hit from Jakarta to Bangkok?

Stephanie: Let’s start with the basics. What exactly are these micro-short dramas, and why are they blowing up in Southeast Asia?

Sharon: Right! So, micro-short dramas are typically 1-10 minute episodes, often serialized, with tight plots—think “fast food TV” for the smartphone era.

In China, they exploded during the pandemic, riding the wave of short-form video apps like Douyin. Shows like The Fragrance of Plum Blossoms—about a woman overcoming family pressure to build her career—racked up 30 million views in Southeast Asia. Why? They’re addictive, easy to watch during commutes, and surprisingly relatable, even across cultures.

Stephanie: Relatable despite cultural differences? How does that work?

Sharon: Great question! Southeast Asia has a huge Chinese diaspora, so there’s a shared cultural base—family values, respect for elders, even romantic tropes. But it’s not just about familiarity. Shows with “nixi” (rising against odds) or “tianchong” (sweet romance) themes tap into universal emotions.

For instance, Jiuzhou Culture, one of the big players—their app ShortMax has 6 million daily active users in Southeast Asia, mostly hooked on stories about underdogs fighting back. Plus, the production cost is a third of what it would be in North America, so they can pump out content fast.

Stephanie: Speaking of players, who’s leading the charge? I’ve heard names like ReelShort and DramaBox.

Sharon: Yes, it’s a mix of tech giants, content studios, and even web novel companies. Chinese online literature giant COL Group started this trend with ReelShort, adapting their popular novels into mini dramas —think werewolf romances and CEO marriages.

In 2024, ReelShort made $142 million globally, but here’s the twist: while North America still spends more, Southeast Asia is growing faster, with 7.8 million downloads in just February 2025. Other big names include Dianzhong Tech  with DramaBox and ByteDance with Melolo, which launched in Indonesia and Philippines last year and already has 1.3 million downloads.

Stephanie: Wait, so it’s not just about exporting Chinese shows? Some companies are making local content now?

Sharon: Exactly! That’s the 2.0 phase. At first, it was all about translating Chinese hits—like Afternoon Rose with actress Li Ruotong, which even aired on Southeast Asian TV.

But now, companies like Zhitao Media are producing localized content. In Thailand, they’ll set a bossy CEO as a Chinese-Thai businessman; in Malaysia, they weave in Nyonya culture. Why? Because while 90% of current content is translated, local originals earn 75% more in-app purchases. Crazy Maple Studio’s VP once said, “A Thai audience relates better to a story set in their neighborhood, even if the production is simpler.”

Stephanie: But it can’t be all smooth sailing. What challenges are these companies facing?

Sharon: Oh, plenty. First, local competition. Southeast Asia has its own content creators—think Indonesia’s RCTI+ or Thailand’s GMMTV—who understand local humor and slang better. Then there’s the cost of localization. Even though it’s cheaper than the US, hiring local actors, writers, and dealing with permits adds up.

Plus, audience preferences vary: Indonesians love family dramas, while Thais go for spicy rom-coms. Oh, and let’s not forget platform wars. ByteDance’s Melolo is offering free episodes with ads, undercutting the traditional pay-per-episode model. During an interview with me, Jiuzhou Culture’s CEO Wang Jiacheng said, “It’s like a buffet versus a la carte—users love free, but can we keep the lights on?”

Stephanie: Speaking of culture, are these dramas just entertainment, or are they sneaking in some soft power?

Sharon: Great point! While it’s not intentional, they’re definitely a cultural window. For example, Indonesian viewer Faziah started learning Chinese because she loved the traditional Chinese clothing “hanfu” in The Fragrance of Plum Blossoms. Thai fan Bobo told me, “I didn’t know Chinese rural life was like this—now I want to visit Sichuan!”

Zhang Yi, an industry analyst from iMedia Consulting told me that these dramas spread values subtly—female empowerment, hard work—through stories, not lectures. It’s soft power in bingeable form.

Stephanie: What’s next for this trend? Could Southeast Asia become the new frontier for Chinese entertainment?

Sharon: Absolutely. Companies are already building local studios— Jiuzhou Culture’s “Chengfeng Plan” is setting up production hubs in Thailand and Malaysia. And it’s not just about making money; they’re betting on long-term brand loyalty.

But it won’t be easy—they need to balance Chinese elements with local flavor, like adding Malay proverbs to a romance plot or casting Indonesian influencers. As Yang Liu from RisingJoy, a content agency, puts it, “You can’t just copy-paste. Southeast Asia wants stories that feel like theirs, even if the producer is Chinese.”

Stephanie: Final question: For someone new to this, what’s a must-watch example?

Sharon: Start with The Fragrance of Plum Blossoms—it’s got all the ingredients: underdog story, cultural touches, and that addictive “just one more episode” vibe. Plus, it’s a perfect example of how a “Chinese” story can feel universal.

Stephanie: Love it! Thanks for breaking down this fascinating trend, Sharon. It’s clear that Chinese mini  dramas are more than just a fad—they’re reshaping how we consume stories across borders. For our listeners, stay tuned for more deep dives into global culture trends. Until next time!

Executive Editor: Sonia YU

Editor: LI Yanxia

Host: Stephanie LI

Reporter: Sharon Hu

Sound Editor: Stephanie LI

Graphic Designer: ZHENG Wenjing, LIAO Yuanni

Produced by 21st Century Business Herald Dept. of Overseas News.

Presented by SFC