The Series Mania Forum 2026 hosted a pivotal panel titled “Microdrama Apps: When Drama Goes Micro, Who’s Winning Big?” focusing on the rapid rise of short-form, app-based scripted content.
With industry giants like Inter Medya and Banijay sharing the stage, the discussion highlighted how traditional storytelling is being reshaped for the “scrolling” generation.
Inter Medya: Translating Turkish Success into Micro-Formats
A central figure in the discussion was Hasret Özcan, President of Inter Medya. With 33 years of experience distributing Turkish content globally, the company is now applying its “traveling drama” expertise to the micro-world.
“Our journey with microdramas began with producing Turkish dramas and getting them to travel as we do with our Turkish content so far,” Özcan stated.
Özcan noted that in an unpredictable world, the “satisfaction of knowing what’s going to happen next” is a primary driver for these apps. She emphasized that microdramas are not just a fad but a legitimate evolution:
The format is native to a generation raised on Instagram and X (Twitter). While currently dominated by fiction, major apps are already looking into non-fiction micro-content. Özcan believes we will see more content being signed across various genres as the trend matures.
Banijay: Quality vs. Accessibility
Steve Matthews, Banijay’s Creative Joint Head of Scripted, discussed the territorial success of the format. He noted it is “no surprise” that Brazil and Türkiye are leading the charge, as their inherent storytelling styles suit this format perfectly.
Matthews addressed the “Aboriginal tensions” (the divide between traditional high-art and new-age formats), arguing that if microdramas are to succeed in Europe, they must maintain high quality. He drew a parallel to Shakespeare, noting that even his plays were originally popular entertainment for the masses in London.
The “Romantasy” Gap
Bethany Thomson, Creative Lead at Sea Star Productions, warned against simply “cropping” traditional TV shows to fit mobile screens. Instead, she advocated for leaning into specific micro-genres:
Not everyone has the time for a Game of Thrones marathon. Microdramas provide quick “fantasy escapism.” Thomson highlighted the massive success of “Romantasy” (Romance + Fantasy) books like the ACOTAR series, suggesting this is the perfect content to bridge the gap between online audiences and traditional storytelling.
As the industry moves toward paywalls and specialized apps, the success of microdrama lies in its ability to offer high-quality, genre-specific “escapism” that fits into the pockets of a global, time-constrained audience.
Click here to read our interview with Inter Medya CEO Can Okan about microdramas.
