Latest news with #DramaBox
Business Insider
2 days ago
- Entertainment
- Business Insider
Hollywood's new obsession is a twist on the classic soap opera
Mini-drama apps made popular in Asia are surging in the US — and Hollywood is taking notice. These apps are best known for their soapy melodramas featuring princes, werewolves, and more, which are presented in bite-sized vertical episodes and meant for mobile phones. China-backed ReelShort is the most prominent purveyor of these, with typical titles like "The Double Life of My Billionaire Husband." Another top player is DramaBox. Hollywood has been trying to figure out how it can capitalize on the mini-drama craze, and studios like Lionsgate have been evaluating opportunities in the space. "I get an overwhelming number of questions about this topic every week," said David Freeman, head of digital media at CAA. " Talent is actively exploring the space, creators are drawn to it due to the low cost of content production, and major companies are evaluating their strategic approach." Freeman said some key questions were which categories work well and whether the format could be expanded to the unscripted realm. "In time, I anticipate that Netflix will find a way to successfully integrate vertical video and potentially make it part of their strategy to engage Gen Z audiences," he continued. As TV and streaming giants spend more money on sports at the expense of traditional TV and film, producers, studios, and other players are casting around for other entertainment markets and ways to serve audiences on the cheap. Social-media stars have already been getting a second look from Hollywood. And now, so are mini-dramas. Industry players said they'd taken note of the marketing on TikTok that the mini-drama apps are throwing behind their stars. App tracker Appfigures counts 215 short drama apps in the US and estimated US spending on them more than doubled in the past 12 months, to more than $100 million a month in gross revenue. Hollywood is curious about mini-dramas Agents and others told Business Insider that while Hollywood is buzzing about mini-dramas, companies are generally still in the initial stages of exploring the format. One traditional player that's making concrete moves in the space is TelevisaUnivision. It's planning to debut 40 telenovela-style minidramas on ViX, its streaming platform, and intends to expand to other genres like docs and comedy. Others are at least mini-drama curious. Lionsgate, for one, has been in the early stages of exploring the format, a person familiar with the studio's plans said. Hallmark is another studio that's discussed the format internally, a person familiar with the company's thinking said. Select Management Group, an influencer talent management firm, is looking for mini-drama actors to sign, primarily those prominent on ReelShort. Select's Scott Fisher said verticals have "become another place you find talent," much like YouTube birthed digital stars like MrBeast and Emma Chamberlain. People have questions Despite Hollywood's interest, it's unclear how these vertical dramas could fit into the traditional film and TV system, which emphasizes high production values and guild-protected talent. And people in Hollywood told BI they had plenty of questions. Here are a few: These mini-dramas often fall below the budget threshold that would trigger certain rules from the Hollywood guilds. But how can legacy companies take advantage of these productions' low costs without alienating the guilds and their members? Soapy melodramas are the most popular form of vertical series, but are they extendable to other genres such as reality TV, docs, and true crime? A+E Global Networks is taking the unscripted route, launching a slate of original series for mobile around its History brand in an effort to reach young viewers. Can they make real money? The appeal is that they're cheap to make, but how big of a business can they be? And what's the right mix of revenue between ads and viewer payments? ReelShort parent Crazy Maple Studio's founder Joey Jia said last year that viewers typically paid $5 to $10 a week. How should they distribute them? TelevisaUnivision has its own platforms to post such shows. But production companies that don't have their own distribution arms could use the likes of TikTok or YouTube and share the revenue with the platform. Are these dramas too far out of Hollywood's comfort zone for it to get right? Hollywood insiders remember how Quibi, Jeffrey Katzenberg's idea to make quick-bite shows, went down in ignominy. The big difference is that Quibi's episodes were more highly produced than today's vertical dramas and didn't employ a "freemium," pay-as-you-go model. 'It's just a matter of time' Some media insiders think it's inevitable that big streamers and studios will at least test the format's potential. They've already shown some willingness to play with different formats and distribution platforms. For example, Paramount put "Mean Girls" on TikTok in 23 segments lasting one to 10 minutes. And YouTube and Amazon's Prime Video could make sense as distributors because they're already set up as platforms that allow people to rent or buy individual movies or shows. "There's just a question of how far are they going to stray from doing what they normally do," Fisher said of the Hollywood players. Industry analyst Evan Shapiro sees mini, vertical-shot dramas as "toilet television," something made for watching on mobile phones and fitting the scrolling mentality. He added that he believes the format is a natural way for companies to incubate shows for TV. "It's just a matter of time before you see a drama from one of these players and a fast follow into other formats," Shapiro said. "The big question is, how do we monetize that. But if it takes off, it converts to a premium, wide-screen format for TV."
Business Insider
26-05-2025
- Entertainment
- Business Insider
The new Hollywood: working for YouTubers, starring in mini-dramas, and building side hustles
Mathieu Bonzon spent over a decade working in production in Hollywood, with credits including "Outrage" and "Ford v Ferrari." But when work slowed in 2022, Bonzon, who had a new baby at home, needed more financial stability than an independent producer's life allowed for. An introduction to the Gates Foundation led him to start making cinematic educational videos aimed at college kids for Gates, NASA, and other organizations. The long-term contracts brought a more predictable income than he had as a producer. He's able to get talented crews because so many people are looking for work. He also finds the work more rewarding than the Hollywood films he'd worked on, seeing the potential to make education more accessible. "It's liberated me from needing to do something to pay my bills and liberated me to do something that's more meaningful to me," Bonzon said. The end of Peak TV, Hollywood labor strikes, and the shift of TV and film productions to cheaper locations overseas have threatened the careers of people across filmed entertainment, from crews to actors to producers. Scripted TV series orders were down 25% in 2024 from their 2022 peak, when 3,108 shows were ordered as Hollywood raced to catch up to Netflix, according to industry tracker Ampere Analysis. TV writing jobs fell 42% from 2022 to 2023, per the Writers Guild of America. Trump's tariffs have also cast a shadow on the economy, dampening hopes for a Hollywood recovery. Some in creative fields have deferred or redefined their dreams of making it in Hollywood and retiring on a big studio salary. Others have abandoned those ambitions altogether for other careers or are trying to make ends meet in the gig economy. While traditional film and TV output has declined from its apex, adjacent creative fields are growing and providing opportunities for those willing and able to pivot. The creator economy continues to expand, with marketers poised to spend more than $10 billion on influencer marketing this year, according to a March EMARKETER forecast. Brands from Walmart to AB InBev are leaning into cinematic entertainment to cut through the ad clutter. Mini dramas, the bite-sized vertical soaps popularized by Asian-backed apps like DramaBox and ReelShort, are on a growth tear in the US, leading legacy TV companies like TelevisaUnivision to take note. Business Insider spoke to 11 producers, editors, and others at various career stages who shared their experiences in and lessons from working in these areas. Many are contending with painful financial adjustments, and some are still waiting for Hollywood to call. Film and TV pros who were at the top of their earning power also have to adapt to new financial realities. Zack Arnold, a film and TV editor ("Cobra Kai," "Glee"), shifted to podcasting and coaching several years ago. He helps other midlife Hollywood creative workers apply their storytelling skills to the entrepreneurial creator space. But a top Hollywood editor used to making thousands of dollars a week can't replace their income by editing short videos for YouTube. "There aren't enough hours in a day to do that," Arnold said. For others, the shift can lead to more stable income. Marc Herrmann, a TV film actor who's appeared in about 10 productions for the mini-drama app ReelShort, said he's been able to call himself a working actor for the first time. "That's everyone's dream," Herrmann said. "This vertical world has saved a lot of people from doing jobs they don't want to do." In the creator space, feedback comes fast Those who turned to creator-led studios built by YouTube stars say there's more opportunity, and the hands-on nature of the work can be rewarding. Isaac Diaz was laid off from his role as senior digital creative producer at the streaming service Paramount+ last year. He packed his bags and moved to Austin, never thinking that two months later he'd be working for a Minecraft YouTuber. He got the job because the team was looking for someone with traditional production management experience. As assistant director of production, Diaz helps the team at CatFace, the company behind the mega YouTuber Aphmau, who has over 23 million subscribers, build productions that can rival Hollywood shows. Diaz hasn't closed the door to traditional media. He would consider going back for the right opportunity. "However, having worked here has opened up my eyes to so much more opportunity," Diaz said. "I realized I don't necessarily need to be living in LA, and working for a major studio, to be doing something that I love." There is a level of culture shock that comes with a new media gig. Amanda Barnes, EVP of production at Smosh, a 64-person creator studio with 26 million YouTube subscribers, said she was thrown by the pace of creator content compared to her past work at Warner Bros. Animation. "There's no wait to see if you get a season two green light." Feedback comes fast when you have near-instant access to data on how content is performing with audiences. "We can learn what worked, what didn't work, at such a faster rate, and then get to do it all again," Barnes said. "I've never worked in a field where the feedback is that quick." There also tends to be less red tape than working in traditional media. Barnes, who reports directly to YouTubers Anthony Padilla and Ian Hecox, said it's nice to have fewer layers of clearances. Caroline Simmons, who worked on productions for Netflix and YouTube originals and is now the director of production at CatFace, was similarly shocked by the company's chain of command. She works closely with CEO Jessica Bravura, who created the character Aphmau. "At a traditional studio, you're never seeing a CEO," Simmons said. "And if you do, it's probably a bad day." Mini dramas are helping pay the rent Irvin Gelb has been in the entertainment business since the late '80s, initially helping Japanese corporations invest in Hollywood and later transitioning to talent management. After the 2023 Hollywood strikes, auditions started slowing down. In 2024, Gelb said he began seeing casting offers for vertical dramas. He was initially skeptical because he didn't want clients appearing in movies on phones, and the work paid less. Nevertheless, he submitted an up-and-coming actor, Cayman Cardiff, for a short titled "Santa Bring Me a Billionaire Husband," which became a hit. From there, Gelb began researching the space. "I saw the future, and I was in," he said. Cardiff has wrapped 14 verticals to date. Gelb said the medium has provided fresh opportunities for the "thousands of incredible actors that are not working." The actor Sarah Moliski has emerged as a leading player in the vertical scene, specializing in villain roles. Her characters have stolen sperm and hired drunk doctors to administer abortions, she said. She also hosts a podcast for leading mini-drama app ReelShort and works behind the scenes on casting. After hustling for years, Moliski said verticals "changed everything for me." She landed her first, "Ms. Swan, Teach Me Love," after dropping her team and submitting a self-tape. She wants to continue riding the wave and is hoping to land more lead roles that center strong female characters. While the outlandish storylines may raise eyebrows, more established directors and figures across other departments are getting involved, Moliski said. They're starting to say, "'Oh, these aren't so cringey' — because nothing's filming and what's cringey about paying rent?" Gelb said most vertical actors still have aspirations of foraying into the "horizontal world," but he's striking while the iron is hot. He's also pursuing producing and investing in verticals in collaboration with existing apps and his talent roster. "Every actor's biggest dream, I don't care what level you are at, is consistency," Moliski said. Brands are beckoning Some people have found opportunities to transfer their film and TV expertise to brands and other organizations. Jenifer Westphal is the founder and CEO of Wavelength, a Tony- and Emmy-winning production company behind documentaries like "Won't You Be My Neighbor?" A few years ago, she started working in branded content, applying Wavelength's character-driven storytelling to marketers, including Hoka and De Beers. Wavelength acquired an agency, Duplex Deli, and has grown from three to more than 20 full-timers. Today, most of Wavelength's revenue comes from brand work. "We're willing to do whatever creative a brand wants us to, as long as it fits with our ethos," she said. Marisa Levy spent 15 years making unscripted shows like "Here Comes Honey Boo Boo" for Discovery's TLC. In 2022, she jumped to branded content for companies including Rebel Girls, a girls' empowerment media brand, and then for herself. By then, Peak TV had come to a screeching halt. Looking around, Levy saw new places to apply her understanding of audiences. "Every brand needs to expand across platforms, whether it's a wine company or a media company," she said. "They're all so eager to build out their YouTube or TikTok, and our skill set is 100% applicable." It's been an adjustment. Going from a senior executive post at a network to startup land gave her a crash course in new skills like hiring influencers and making YouTube videos. It also meant trading business class for coach and learning a new work culture, with its specific jargon and presentation style. "Everything requires an analytical deck," she said. Having to count on herself brought insecurity. But while she's no longer working in Hollywood, Levy has found value in her new focus. "Some brands are doing such good stuff," she said. "You can still shape culture; you're just doing it in a different way."
Straits Times
25-05-2025
- Entertainment
- Straits Times
Sifa 2025 Week Two: What audiences say
Audiences at Sifa shows such as The Sea And Its Neighbourhood share their thoughts. ST PHOTOS: GABRIELLE MARIE SUNDERAJ, DORCAS LIM SINGAPORE – The Singapore International Festival of Arts (Sifa) 2025 kicked off on May 16 and runs till June 1. With the theme of More Than Ever, the tentpole performing arts festival organised by Arts House Limited has lined up varied shows, from crowd-pleasing comedy headlined by ever-popular actor Hossan Leong and family-friendly fare at Little Sifa to Drama Box's participatory theatre piece Hello Is This Working? and the more intimate Japanese Occupation-era tale A Thousand Stitches. The Straits Times speaks to some attendees to get their impressions of the shows. Lear, SOTA Studio Theatre, May 23, 8pm Pammela Ng, 29, software engineer: 'This is the first Sifa Performance I have watched, and it is definitely a very new experience for me. The acting really stood out to me , it was very emotional. Even though there were no words, every single movement made by each of the actors was so well calculated and well timed with the music. I now have a new plan to attend more Sifa performances.' Ms Pammela Ng and Mr Joseph Ong after watching Lear at Sota Studio Theatre. ST PHOTO: GABRIELLE MARIE SUNDERAJ Arthi Nachammai, 18, student: 'I didn't expect that there would be no lines in the performance. So, when I first watched it, that first scene was very powerful. It was so full of energy, with the lights and sound, and even the vibration in the seats. It was a very audience-engaging experience. The coordination between the three supporting actors was incredible, and their eyes spoke volumes. Being a theatre kid who has directed a school show before, I could learn so much from what was going on.' Arti Nachammai after watching Lear at Sota Studio Theatre. ST PHOTO: GABRIELLE MARIE SUNDERAJ Miriam Cheong, 30, theatre practitioner: 'Ramesh Meyyappan's performance was beautiful from the moment he stepped onstage. I was invested. I didn't quite know exactly what would happen, but I was ready for the next hour. When I watched it, I instantly thought it was different. It is not often you get to watch such purely non-verbal theatre in Singapore. Yes, we have a lot of physical theatre here , but it was physical in a way that was different, it embodied emotion.' Miriam Cheong after watching Lear at Sota Studio Theatre. ST PHOTO: GABRIELLE MARIE SUNDERAJ A Thousand Stitches, Drama Centre Black Box, May 23, 8pm Evi Marmar, 48, museum guide: 'I thought it was very well done. I liked the combination of the different media, so I found it quite impressive. I also enjoyed the story because it's a part of the history of Singapore that I find very interesting. It's nice to see it in a different way and presented more from like a human point of view – not just finding the enemy and the friend, because nothing is so clear.' Evi Marmar watched A Thousand Stitches at Drama Centre Black Box. ST PHOTO: DORCAS LIM Joel Gn, 43, lecturer: 'It presented a side of the Japanese Occupation that is not often discussed or raised in history books, like how the Japanese felt about it and what the Japanese living in Singapore were going through at that time. I would definitely recommend this show to others, it is really good.' Joel Gn watched A Thousand Stitches at Drama Centre Black Box. ST PHOTO: DORCAS LIM Zhanhui Wong, 38, events coordinator: 'I enjoyed the little parts – there were a lot of fun effects. It tackles a lot of aspects of history that we are not normally used to, but they do it in a pretty fun way.' Zhanhui Wong watched A Thousand Stitches at Drama Centre Black Box. ST PHOTO: DORCAS LIM Simran Kotak, 39, entrepreneur: 'It was like just two people and very few props. Minimal stuff but maximum impact. It's a very impactful and powerful production. I've also seen Animal Farm, and am going to watch Hossan-ah In The High Arts on May 31. I am enjoying Sifa very much.' Mrs Simran Kotak (left) and Mr Vir Kotak (right) watched A Thousand Stitches at Drama Centre Black Box. ST PHOTO: DORCAS LIM Little SIFA, Empress Lawn, May 24, 11am to 10pm Law Ding Ying, 41, clinical research professional: ' It was very nice. The event was very family-friendly. I appreciate all the effort and all the volunteers. I was really looking forward to The Purple Symphony showcase as I've known of them, but have never had the chance to watch them live. I really want my two sons to be exposed to them as well. This place is marvellous – it's immersive and interactive.' Tabitha Anaia, nine, student: 'I like the show. The musicians played so well. I enjoyed doing cartwheels around the lawn and listening to the music. I had a lot of fun today despite the heat.' Tabitha Anaia (third from right) and Alula Agnimaya (fourth from right) with their friends and family during Little Sifa at Empress Lawn. ST PHOTO: GABRIELLE MARIE SUNDERAJ Alula Agnimaya, 9, student: 'The pianist in the showcase was really good. I had fun at the bracelet making booth too.' Lau Su Anne, 38, finance and operations manager: 'The children singing onstage were very talented. I hope one day my daughter will also like music. She was clapping her hands and cheering throughout the performance. This is my first time watching a show like this with my daughter, who is 15 months old. She's just started to walk and respond to things, so I can tell she loved it. She is too young to try the activities, but we enjoyed the music and the orchestra nonetheless.' Lau Su Anne with her husband and 15-month-old daughter during Little Sifa at Empress Lawn. ST PHOTO: GABRIELLE MARIE SUNDERAJ Dhiraj Nanda, 38, finance professional: 'The House Between The Winds (installation work) was very raw and organic, and it's something special for children to understand and experience. This was definitely a nice family event to attend, and it is our first time watching a performance together.' Hossan-AH! In The High Arts, Bedok Town Square, May 24, 8pm Dutta Aania, 15, student: 'It was like a concert in public and it was really nice. He sang songs that we all know and it's really funny. I love that I can just pop by any time next time if it's happening again and just watch.' Yamin Thant, 15, student: 'I liked the show very much because he was really entertaining. He sang a lot of songs that are very popular and I especially like La Vie En Rose , the French song . I think the fact that the performances are free is really good, because it increases the outreach and public exposure to the arts. Most of the arts performances are ticketed, but now you don't have to pay. You can just sit down and watch with your family and friends. I will definitely be down for more Sifa shows because they are very entertaining.' Yamin Thant after watching Hossan-Ah! In The High Arts at Bedok Town Square. ST PHOTO: DORCAS LIM Suani Azlan, 57, housewife: 'The show was really good. If I had to rate the show out of 10, I will give it a 10. It was excellent. I will go for more shows in the future, especially if they're free. I knew that these shows were happening because there are posters around. I'm also aware that there are shows tomorrow, and I will be coming down again. ' Suani Azlan after watching Hossan-Ah! In The High Arts at Bedok Town Square. ST PHOTO: DORCAS LIM Join ST's Telegram channel and get the latest breaking news delivered to you.
Mint
02-05-2025
- Entertainment
- Mint
Are microdramas the next big thing?
What do Sasural Murder Ka , Gumshuda Billionaire and Arabpati Ka Badla have in common? They're all microdramas, a new digital storytelling sensation that has spawned a multi-billion dollar industry. These are addictive, professionally-produced, vertically-shot series designed for mobile viewing, with each title comprising of 50-100 episodes of around a minute each—roughly the length of a feature film. The format first emerged in China in 2018 and has grown increasingly popular over the last few years in other global markets. One report by Bloomberg states that China now churns out more than 5,000 microdrama series a year. The rapidly expanding industry earned close to $7 billion last year, surpassing China's theatrical box office. Individual shows can generate millions of dollars through a mix of advertising and a pay-per-view model on dedicated microdrama apps such as WeTV, MangoTV, Douyin and Youko. Snacky, cheap to produce and with often tacky, low production value, the majority of these shows tend to be frothy love stories, family dramas and soap operas with fantasy elements. On popular American microdrama apps like ReelShort and DramaBox, you can filter by genres such as reunion, playing dumb, redemption, hidden identity, one-night stand, vampire, toxic, immortal, second chance, underdog rise, strong female lead and innocent damsel. DramaBox even has a genre called 'small potato", which I was too scared to click on. Writers, filmmakers, producers and platform heads in the Hindi film industry say the reel-ification of narrative storytelling has already hit Indian shores and appears primed to explode in the coming year. Multiple Mumbai-based production houses seem to be either toying with the new format or grappling with what it could mean for the industry creatively, commercially and existentially. Some within the industry see it as an exciting new avenue of digital storytelling, while others consider it a worrying sign of where narrative storytelling is headed. 'All the major platforms are getting into it. Everyone wants a piece of this industry," says Anish Surana, who heads Ananta Productions, a company specifically geared towards producing microdramas. Surana says the company has churned out close to 'a thousand minutes a month", which is close to 10 shows of at least 50 episodes each, ever since they began in January this year. Their titles, which include Villa Paradise, Dil Vs Duty, Detective Ajay and Arabpati Ka Badla , have been predominantly commissioned for Indian microdrama app Kuku TV thus far, but Surana notes they're currently in the scripting stage for projects for the bigger streamers. Kuku TV was launched in September 2024 by podcast and audiobook platform KukuFM. With over 10 million downloads, its library is largely dubbed foreign language titles, but this year they have released a handful of Hindi originals such as Sasural Murder Ka, Gumshuda Billionaire, Cursed Daughter and Dreams, Tea Aur Hum . They have entire Hindi feature films—like Rajkumar Santoshi's thriller Khakee (2004) and Manmohan Desai's beloved Amar Akbar Anthony (1977)—but in 'microdrama form" with the entire film split into 30 episodes and edited vertically (which is as depressing as it sounds). 'This month we're looking to release one new show per day. We want to reach 60-100 shows a month as soon as we can," says KukuFM co-founder Vinod Kumar Meena, who describes the format as 'a hybrid between OTT and the fast pace of network TV soaps". Meena says he doesn't see this byte-sized arena as competition to storytelling on streaming, or 'horizontal content" as he puts it. 'It's not like Netflix and JioHotstar aren't making money because of YouTube and Instagram. Everyone has their own segment. This is a different industry. A traditional OTT releases 100 shows a year. We want to release 100 shows a month." Amazon MX Player is also gearing up to launch its own microdrama platform, MX Fatafat, making it the first big Indian streamer to enter the micro arena. The platform's launch date is yet to be fixed but Amazon MX Player Content head Amogh Dusad says the intention is to launch by the end of the year and that they're currently building their slate of licensed titles and originals. Hyderabad-based streamer AHA, which focuses on Telugu and Tamil originals, recently announced its first vertically shot micro series, Apsara , described as a romantic comedy infused with mythology. A release date is yet to be announced. 'The reason people are getting hooked is because it's mindless watching," Surana admits. 'They don't have to think about the story. The shows have to be so soapy, so melodramatic and so jumpy that it gives you that dopamine hit. That's it". He's not wrong. Watching several of the Indian originals on Kuku TV, what first struck me was the tackiness of the production and the stiff, awkward actors, many of whom seemed to be doing little more than reciting their lines. But even at their most cringey, the best ones are inescapably addictive and, whether ironically or otherwise, keep you curious about where things are headed and where the next unhinged twist might come from. The experience is not unlike that of watching a silly Instagram reel, except here you're not swiping to another random video but the next in the series. Surana notes that after a great deal of trial and error, they've got the turnaround time of a single show down to four weeks, from scripting to completion. They're currently exploring using AI to bring that down even further. 'People say it's easy making that stuff, it's not. There's a craft to it. Writing is the most difficult because you have to have a hook every 1-2 minutes, at the end of every episode". The pilot episode is the trickiest, he says, with the aim being to create what he calls 'thumb-stoppers"—shows that immediately grab you within the first few seconds so you can't look away. He adds that the target audience (and, by extension, the kinds of narratives and genres offered) for these shows tends to vary based on the platform. Some target based on gender while others programme for 'metro" audiences. 'Every day on Instagram, there are so many posts about auditions for microdramas," says actor Ankit Arora, who has starred in two such titles so far. 'It's like shooting multiple reels all in one day. Because the frame is vertical, you don't need any production design whatsoever. All you need is a director and a DOP (director of photography)". Arora says he shot an entire 60-minute series in just two days. 'As long as the actor knows their lines, it's an okay take. There are no retakes," he says. He says they shot one series at a location close to Pune that was specifically created to shoot reels and which is now being repurposed for microdramas. 'Somebody has built this massive set there, which has got all your locations all in one place. It's got like a fancy bathroom, a fancy bedroom, a jacuzzi, a lawn, a swimming pool. So you can get a lot of different locations all under one set." Others like BhaDiPa CEO Paula McGlynn are more optimistic about this brand of snackable storytelling and the opportunities it affords. Known for their skits and web shows, the popular YouTube channel and production house recently released their first vertically shot snackable title, a frothy romance called To be Decided . 'I think microdramas are going to open up a lot of genres," she says, 'like sci-fi for example, which are considered too expensive or risky for platforms to produce as an eight-episode series." One screenwriter I spoke to, who chose to remain anonymous and is about to embark on his own independently-produced microdrama project, says he sees the micro arena as an opportunity to create proof of concepts for bigger projects. 'It's kind of like how people used to make short films. If you have an idea for a show or movies, this is like a low-cost way to see if any of them catches traction." He adds that the advantage of the low-cost production and quicker turnaround times is that filmmakers can be more nimble in commenting on and tackling subjects and issues in a timely manner, while they're still relevant to the culture. An executive at a production house behind several acclaimed independent films, who also chose to remain anonymous, says they've been forced to pivot and explore making microdramas after a number of their independent features struggled to find a home on streaming platforms. 'This is not something we wanted to do. But I have to if I want to sustain working in this market, which is already very cutthroat…I really want to do features and the long formats, but if there are no takers, it's hard for me to survive." It may be too soon to say how big microdramas hit in India. But if the initial signs are to be believed, the next phase of the Indian streaming wars could well be vertical. Suchin Mehrotra is a critic and film journalist.
Straits Times
01-05-2025
- Entertainment
- Straits Times
Celebrate home-grown talent at Singapore International Festival of Arts 2025
Over three weeks till June 1, there will be varied shows on offer. PHOTOS: DAHLIA KATZ, MARC GABRIEL LOH, LIM YAOHUI, GIN TAY SINGAPORE – Singapore International Festival of Arts (Sifa) 2025 is director Natalie Hennedige's final year at the helm. She has commissioned a record-breaking number of home-grown works – 15 – for her last hurrah. With the theme of More Than Ever, the tentpole performing arts festival organised by Arts House Limited will kick off in classic Hennedige multidisciplinary style at Bedok Town Square on May 16. For the first time in Sifa's history, the opening act is a free event at a neighbourhood site compared with the usual glitzy affair at an indoor arts venue. Over three weekends till June 1, there will be varied shows on offer, from crowd-pleasing comedy headlined by ever-popular actor Hossan Leong and family-friendly fare at Little Sifa to Drama Box's participatory theatre piece Hello Is This Working? and the more intimate Japanese Occupation-era tale A Thousand Stitches. The Straits Times takes a closer look at some of the must-see shows. Ramesh Meyyappan reimagines King Lear as war veteran and without Shakespeare's language Glasgow-based theatremaker Ramesh Meyyappan returns to Singapore with an adaptation of Shakespeare's Lear. PHOTO: DAHLIA KATZ At the end of a lively interview with Ramesh Meyyappan, the local theatremaker makes a request. Signing via an interpreter over the Zoom call, he says to refer to him as a deaf man rather than hearing impaired, a term not widely used in the deaf community as impaired suggests there is something wrong with the person. 'I've never considered myself hearing. I was born deaf. I don't consider that there is anything wrong with me,' he says. The 51-year-old has turned what some consider a disability into a strength, having built a thriving career as a physical theatre performer, writer and director. Nominated for five Straits Times Life Theatre Awards for Best Actor, he has won twice, for Gin & Tonic (2008) and Snails & Ketchup (2012). READ MORE HERE Musician weish conjures 'ancient Hakka-Greek' world in live concept album Performers in Stray Gods include (from left) Ian Lee, weish, Hee Suhui (Anise), Rosemainy Buang, Joanna Dong and Sushma Soma. PHOTO: MARC GABRIEL LOH Forgotten Hakka mountain songs and an ancient Greek tragedy about mania are the two unlikely ingredients Singaporean indie musician weish will blend to create her live concept album concert, Stray Gods, at the Singapore International Festival of Arts (Sifa). It all started when she was invited by a Melbourne-based artist to record a song in her mother tongue for an exhibition, which collected songs from across the world. 'I realised quite embarrassingly that I had no connection to my Hakka heritage – and it felt wrong to look for a Mandarin song.' Then, she struck melodic gold and unearthed over 50 fragments of Hakka ditties and melodies in a university archive in Hong Kong. One song, Bright Moon – about a nomadic girl asking her mother where home is – stayed with her so deeply that she began singing the melody in her sleep. READ MORE HERE The Sea And The Neighbourhood transforms Bedok Town Square with music, dance and art Christina Chan is the choreographer for Pact Of Water. The performance will be part of The Sea And The Neighbourhood, the opening show for Singapore International Festival of Arts. ST PHOTO: LIM YAOHUI A bustling neighbourhood square surrounded by a train station, a bus interchange and a busy food centre is not the first venue one associates with the Singapore International Festival of Arts (Sifa). But come May 16, Bedok Town Square will host Sifa 2025's opening performance, The Sea And The Neighbourhood, an ambitious festival commission which brings together kinetic sculpture, dance and music. The bustle of everyday life will be the dynamic backdrop, even a part of, the work. As choreographer Christina Chan, 37, observes: 'It's a visually chaotic space.' After her first site visit, she recalls saying to composer Philip Tan, 52: 'But this is already a show.' READ MORE HERE The Finger Players' gruesome Animal Farm features 13 life-size puppet beasts Animal Farm's set designer and puppet-maker Loo An Ni (left) and director-playwright Oliver Chong. ST PHOTO: GIN TAY 'All animals are equal' – so goes one of the famed seven commandments in English novelist George Orwell's classic Animal Farm, after a group of animals rebel against their human farmer to create a free and equal society. But speak to puppet designer and lead puppet-maker Loo An Ni and she will tell you that is not true. While making the 13 puppets – from pigs to hens to donkeys – one puppet made her job especially difficult. She is creating the creatures for The Finger Players' (TFP) production of Animal Farm, which opens at the Singapore International Festival of Arts (Sifa) on May 16. Loo and her team of six had already been given a challenging brief by director Oliver Chong – to have one puppeteer steer one life-size puppet. READ MORE HERE Book it/Singapore International Festival of Arts 2025 Where: Various venues When: May 16 to June 1, various timings Admission: Free and ticketed Info: Join ST's Telegram channel and get the latest breaking news delivered to you.
