On July 25, Dianzhong Technology accused ReelShort, the short drama platform operated by COL-affiliated Crazy Maple Studio, of distributing multiple unauthorized shows that closely resemble content it owns or licenses. The statement was published on Dianzhong’s official WeChat account.
Dianzhong CEO Chen Ruiqing followed up with three consecutive posts on his personal WeChat, reaffirming the company’s commitment to protecting its intellectual property overseas, regardless of time or cost.
A person close to Dianzhong told 36Kr that eight titles were initially flagged for takedown, but ReelShort ultimately removed only three. The source added that executives from both companies met in person, but failed to reach a resolution.
Dianzhong is not alone. Other major domestic short drama producers, including Heard Island and Maiya Drama, have issued similar complaints against ReelShort.
Wang Li, who oversees international operations at Maiya Drama, posted on social media that ReelShort’s legal head abruptly exited a joint communication group and ceased contact. Wang also claimed that ReelShort’s founder had previously signed a pledge not to infringe on Maiya’s IP but later reneged. “We were left with no choice but to speak out on social media,” Wang wrote.
36Kr reached out to Crazy Maple Studio for comment but received no response as of publication.
ReelShort versus DramaBox
ReelShort remains the leading overseas short drama platform, holding a nearly two-year lead over its competitors. Between March and April this year, it ranked as one of the top entertainment apps in the US for over 30 consecutive days, according to app store data.
Its early-mover advantage and localized content strategy are key reasons behind its dominance.
By the second half of 2023, ReelShort had already drawn industry-wide attention by reaching the top of the US iOS entertainment chart. The achievement signaled that overseas short dramas still held significant potential.
ReelShort focused on producing content tailored to local preferences, such as werewolf and revenge genres, while employing local actors and crews. These shows were generally better received than translated Chinese dramas, which now account for roughly half the market, and were better suited to a paid content model.
In 2024, ReelShort generated an estimated USD 300 million in revenue, according to 36Kr.
However, the push for localization comes with tradeoffs, especially in content supply.
User reviews often cite the platform’s slow release pace. While artificial intelligence-translated dramas can yield over 100 new episodes monthly, locally produced series typically release only a few dozen. High labor and location costs in North America and Europe push production budgets to USD 150,000–200,000 per title, or more. The hit rate remains low, with fewer than 5% of titles achieving viral success.
This environment makes copying proven hits seem like a lower-risk, high-reward strategy. One of the shows Dianzhong accuses ReelShort of copying has received 36.3 million views on the Hongguo Short Drama app, considered a moderate success by industry standards.
A US-based director known as A-Ye told 36Kr that plagiarism is widespread in the short drama industry, both in China and abroad. “It’s common to directly translate a hit from overseas and have local writers rework it, or the other way around,” he said. “Sometimes even the actors don’t know the plot until they are on set. That’s how secretive things have become.”
DramaBox, by contrast, built its model around translated content, which is cheaper and quicker to produce. It also poured resources into aggressive ad campaigns. According to 36Kr, DramaBox has surpassed RMB 2 billion (USD 280 million) in revenue and recorded more than 100 million app downloads—double that of ReelShort.
Together, ReelShort and DramaBox control close to 60% of the overseas short drama market, with each platform holding nearly 30%.
Every advantage counts in a crowded market
More Chinese short drama firms are now eyeing global expansion. As of March, 237 Chinese short drama apps were targeting international audiences—nearly four times the number from the previous year, according to DataEye. New entrants include Maiya Media’s NetShort and COL’s Sereal+ and UniReel.
But market saturation is becoming a concern. Data from Duanju Zixishi shows that while overseas short drama revenues grew 47.1% from Q3 2024 to Q2 2025, growth sharply declined by 68% in Q2 2025, largely due to slowing user acquisition.
As more players crowd the space, the urgency to capture market share is rising.
In response, ReelShort has increased spending on content and advertising. Sensor Tower data shows the platform generated USD 130 million in in-app purchase revenue in Q1 2025, nearly half its 2024 total, topping income and growth charts across the sector. DramaBox was close behind with USD 120 million and maintained a top ranking in ad spending.
Their strategies are beginning to converge.
DramaBox, originally focused on translated content, is now pivoting toward original local productions that offer better monetization and user retention. The company currently releases more than a dozen new shows each month, though it still trails ReelShort in overall presence.
While more companies explore opportunities in Southeast Asia, the rivalry between ReelShort and DramaBox is fiercest in North America and Europe. From August 2023 to June 2024, revenue per download (RPD) in North America averaged USD 4.7, while Europe recorded USD 2.3, both well above the industry average of USD 2 and significantly higher than Southeast Asia’s USD 0.7, according to Diandian data.
With ReelShort now facing public plagiarism allegations, its business challenges are under greater scrutiny: low hit rates, rising production costs, and a revenue model that remains unproven at scale. Industry sources told 36Kr that, unlike DramaBox, which now generates enough overseas income to subsidize its domestic business, ReelShort remains in the red.
As companies like Dianzhong move to defend not just their IP but also their market position, the pressure is mounting. In an increasingly saturated landscape, every slice of the pie counts more than ever.
KrASIA Connection features translated and adapted content that was originally published by 36Kr. This article was written by Lan Jie for 36Kr.