内容来源：https://www.technologyreview.com/2026/05/15/1137326/chinese-short-dramas-ai/

内容总结：

微短剧变身AI流水线：中国网络爆款剧每天产出470部，成本骤降80%

昏暗的卧室里，一名惊恐的年轻女子被高大壮硕的男子扔到床上。他抓住她的手，火焰般的藤蔓爬上她的身体，与血肉融合。她悬浮起来，又跌落。一条龙形纹身在她胸前显现。“两个月，”男子说，“给我生个继承人，否则我就吃了你。”

这是《龙王的宝贝》中的一个场景，这类短剧在DramaWave、ReelShort等应用上每天涌现成百上千部。然而，这部作品却透着一种说不出的怪异——画面光亮如电影，但质感却介于电影和游戏过场动画之间。

原因在于，《龙王的宝贝》代表了一个全新趋势：完全由AI制作，没有演员、摄影师、导演或CGI特效师。

中国微短剧行业自2018年兴起后迅猛发展。这些超短、情节夸张甚至带点情色色彩的剧集专为手机观看设计，每集仅一两分钟，观众半小时到一小时就能追完一部。它们被包装成适合无限刷屏的内容，充斥着情感冲突和戏剧性反转。增长动力来自那些在TikTok、Instagram和Facebook上投放大量悬念广告、引诱用户订阅付费的应用。2024年，中国微短剧市场规模达到约69亿美元，首次超过全国年度票房收入。

自2022年起，中国微短剧公司大举出海，翻译现有爆款并制作由当地演员出演的本土化剧集。全球范围内，短剧应用累计下载量已接近10亿次。研究机构DataEye数据显示，美国是除中国外最大的市场，贡献约50%的收入。

如今，该行业正在自我重塑。中国微短剧公司——本就擅长低成本、算法优化娱乐——正拥抱生成式AI，以更快、更便宜的方式生产内容。DataEye数据显示，1月份平均每天有470部AI生成的短剧上线。昆仑万维等公司正加大AI制作力度，精简拍摄团队，彻底重组劳动流程。对一些工作室而言，AI已从辅助工具变为制作核心。

无限故事，无限套路

短剧本就以低成本著称，但AI让大规模生产变得更便宜，加速了整个过程并节省了资金。制作周期大幅缩短：过去概念构思、剧本写作、选角、拍摄、剪辑需要三到四个月，如今AI可在不到一个月内完成。FlexTV副总裁唐唐表示，在北美制作一部短剧曾需约20万美元，AI可将成本削减80%至90%。

在进入美国市场后，中国短剧公司基本沿用国内策略：在TikTok、Facebook、YouTube上大肆购买流量，提供几集免费内容，再引导用户进入自家应用付费解锁剩余剧集。决定下一步拍什么，更多依赖数据而非创意直觉。“我们看哪些主题、情节线、编剧能引起观众共鸣，然后快速调整。”唐唐说。

行业节奏极其残酷。“每个人都期待快速回报，”唐唐说，“在中国，如果一部剧一个月内不能回本，业内就认为它失败了。”

因此，编剧们表示，平台经常用高度具体的关键词对项目分类，涵盖类型、背景、情节结构，如“校园恋爱”、“帮派斗争”、“仇人变恋人”、“逆袭”。最近最热门的类型之一是“重生复仇”——一个奇幻套路：受冤主角奇迹般重生，获得改变命运的机会。

“你必须在整部剧中保持情感强度极高，反复使用同样的桥段：突然死亡、背叛、暴力、大冲突，”苏州自由短剧编剧凤凰朱说，“为了冲击力牺牲叙事逻辑很常见，否则观众更容易划走。”

这些简单套路使该格式特别适合AI制作。今年早些时候，FlexTV停止了所有传统拍摄，完全转向AI生成剧集。昆仑万维旗下DramaWave和FreeReels平台自2025年起开始制作AI短剧，现已有超过1000部AI作品上线。另一家面向全球的短剧公司StoReels表示，目标是每月制作100部AI剧集。

“人们的注意力持续时间越来越短，连续剧自然也得变短，”昆仑万维CEO方涵说。他告诉《麻省理工科技评论》，公司不会停止投资真人拍摄短剧，但正在扩大AI生成作品，并逐步提高其在平台上的占比，作为低成本试验新类型、主题和想法的方式。“我们希望将AI作品占比提升到20%。”

该模式在海外也快速扩张。研究机构Omdia估计，2025年全球微短剧市场达110亿美元，到2026年底将增至140亿美元。美国市场今年预计将贡献15亿美元收入。

“没人指望短剧能成为高雅艺术，”前联想之星合伙人上官虹表示，“短剧行业已经凭借实时性和数据驱动区别于传统影视制作。AI只是进一步强化了这一逻辑。从某种程度上说，短剧与AI完全契合。”

走进内容机器

行业的AI革命正在改变短剧所需的角色类型。

凤凰朱2024年大学毕业，主修哲学。在传统媒体和电影工作室屡屡碰壁后，她最终找到了短剧编剧工作。“对年轻人来说，就业市场非常困难，”她说，“我没资格挑剔写什么。”

为维持生计，朱做了多份兼职：咖啡师、卖花、活动策划，同时接在线自由写作单子。2025年4月，她以约2万元人民币（约2945美元）售出第一个短剧剧本。更多订单接踵而至，她以为事业终于起步了。

然后AI来了。朱说，两个已进入合同阶段的项目突然被取消。整个行业报价开始下降。她预期中随着经验积累会获得的加薪从未出现。

即便如此，像朱这样的编剧已是行业受冲击较小的群体。AI制作中，传统拍摄岗位几乎彻底消失。

“我们可以将制作团队缩减到10人左右，”FlexTV副总裁唐唐说。与许多公司一样，FlexTV主要依赖中国编剧和制作团队，即便剧集角色非华人、目标受众在海外。原因不仅是成本低，唐唐说，还因为中国编剧更懂短剧的节奏和叙事韵律。

AI制作不再需要摄像团队、灯光技师、化妆师和视觉特效组，而是依赖更小的团队：制片人、编剧、AI导演和“AI资产策展人”。AI资产策展人将剧本转化为提示词，生成角色、服装和场景的参考图像，供AI视频模型使用。《麻省理工科技评论》在中国招聘网站上发现数百条此类岗位信息，许多只要求熟悉AI工具，几乎不需行业经验。

“技术在过去几个月进步巨大，”北京AI短剧制片人白汉中表示。他说，AI资产策展人常用“把我喜欢的这些明星的脸结合起来”这样的提示词生成角色。工作室通常混合使用多种工具，包括谷歌的Nano Banana、字节跳动的Seedance和快手的Kling。

对于像白这样的制片人而言，AI还让那些以前因成本过高而无法制作的类型变得经济可行，尤其是需要复杂特效、服装和化妆的奇幻剧。“正因如此，我们将看到更多龙剧和人鱼剧。”白说。

压缩的制作周期也改变了写作过程。过去编剧有两到三个月完成剧本，现在朱说平台通常要求一个月内交付。剧本也可以更粗糙、更灵活，因为场景、画面甚至情节细节都可以后期通过提示词修改。

结果，编剧越来越需要同时为AI模型和人类观众写作。朱说，她现在描述场景时必须更加具体，实际上承担了以前由摄影师或视觉特效团队负责的工作。

“在AI之前，写‘他冷冷地瞥了她一眼’可能就够了，”朱说，“现在我可能要写‘两束冰冷的光从他眼中射出。’”

昆仑万维的方涵相信，AI短剧的未来质量归根结底是数字游戏。“好创意和好剧本仍然会脱颖而出，”他说，“AI短剧的质量会随着更多有创意的人能够制作自己的剧集而自然提升。”

中文翻译：

中国短剧如何成为AI内容生产机器
这些爆款短剧正日益完全由AI制作，每天有数百部新剧上线。
在一间光线昏暗的卧室里，一名惊恐的年轻女子被一个高大健壮的男人扔到床上。他抓住她的手，火焰般的藤蔓爬上她的身体，与血肉融为一体。她悬空而起，又重重跌落。一条龙形纹身浮现在她胸前。
“两个月，”男人说，“给我生个继承人，否则我就吃了你。”
这一幕出自《龙王赘婿》，是戏剧浪潮和瑞尔短剧等平台上数百部短剧中的一部。但这部剧有些不对劲。画面或许光鲜亮丽、充满电影感，却有一种奇特的视觉质感，介于电影和电子游戏过场动画之间。
这是因为《龙王赘婿》代表了一种新趋势——完全用AI制作这些短剧：无需演员、摄影师、摄像师或CGI特效师。
中国短剧行业自2018年兴起以来蓬勃发展。这些超短、狗血、时常带点情色的剧集专为手机观看设计，每集往往只有一两分钟：观众只需30分钟到一小时就能看完一整部剧。这些剧集为无休止的刷屏而制作，充斥着情感冲突和戏剧性的情节反转。这一趋势的增长由各类应用推动，它们在抖音、Instagram和Facebook上投放大量悬念迭起的广告，引诱观众购买订阅。2024年，中国短剧市场收入达到约69亿美元，首次超越中国年度票房总收入。
自2022年起，中国短剧公司大举向海外扩张，翻译现有热门剧集，并制作由当地演员出演的本土化系列。全球范围内，短剧应用的累计下载量已接近百亿次。根据研究机构数据之眼的数据，美国是中国之外最大的市场，贡献了约50%的收入。
如今，这个行业正在自我革新。中国短剧公司——本就是低成本、算法优化娱乐的行家——正拥抱生成式AI，以期比以往更快、更便宜地制作内容。数据之眼显示，今年1月平均每天有470部AI生成的短剧上线。像昆仑万维这样的短剧公司正在加大AI制作力度，缩减摄制团队，从根基上重组劳动流程。对一些工作室而言，AI已从辅助工具转变为制作的核心支柱。
无尽的故事，无尽的套路
短剧本就以低成本著称。但AI让大规模制作变得更加便宜，从而加速了整个流程并节省了资金。制作周期大幅缩短。短剧平台FlexTV的副总裁唐唐表示，概念构思、剧本创作、选角、拍摄和剪辑过去需要三到四个月，而借助AI，整个过程现在可在一个月内完成。据唐唐介绍，在北美制作一部短剧过去大约需要20万美元，而AI可将成本削减80%到90%。
在扩张进入美国市场后，中国短剧公司基本沿用了在中国的策略：在TikTok、Facebook和YouTube上大肆购买流量；提供少量免费剧集；然后引导观众在自家应用内付费解锁剩余内容。决定接下来制作什么，往往更多取决于表现数据而非创作直觉。“我们看看哪些主题、情节线和编剧能引起观众共鸣，然后迅速调整，”唐唐说。
这个行业以不停歇的节奏运转。“每个人都期望快速回报，”唐唐说。“在中国，如果一部剧在一个月内无法收回成本，业内就会认为它是失败的。”
因此，接受《麻省理工科技评论》采访的编剧们表示，平台经常用高度具体的关键词对项目进行分类，涵盖从类型、背景到情节结构的一切，比如“校园恋情”、“帮派争斗”、“宿敌变恋人”或“逆袭翻身”。最近，最受欢迎的类型之一是“重生复仇”，一种奇幻套路：受冤屈的主角奇迹般重生，获得改变命运的机会。
“你基本上必须在整部剧中保持极高的情感强度，一遍又一遍地使用相同的情节手段：突然死亡、背叛、肉体暴力、巨大冲突，”苏州的自由短剧编剧菲尼克斯·朱说。“为了冲击力而牺牲叙事逻辑很常见，否则人们更容易划走。”
这些简单的套路使得这一形式特别适合AI生成制作。今年早些时候，FlexTV停止了所有传统拍摄的制作，全面转向AI生成的剧集。短剧应用戏剧浪潮和自由卷轴软件的母公司昆仑万维于2025年开始制作AI生成的短剧，如今其平台上已有超过1000部AI剧集。另一家面向全球受众的流行短剧公司斯托瑞尔表示，其目标是每月制作100部AI生成的剧集。
“人们的注意力持续时间越来越短，连续剧自然也得变短，”昆仑万维CEO方汉说。方汉告诉《麻省理工科技评论》，公司不会停止投资用真人演员传统拍摄的短剧。但公司正在扩大AI生成制作，并逐步增加其在平台上的份额，将其作为一种低成本的方式来试验新类型、主题和创意。“我们希望将AI作品的数量提升到平台的20%，”方汉说。
这种形式也在海外迅速增长。研究机构奥姆迪亚估计，全球微短剧市场在2025年达到110亿美元，到2026年底将增至140亿美元。预计美国今年将在该市场产生15亿美元的收入。
“没有人看短剧是为了期待高雅艺术，”前君联资本合伙人、投资人上官鸿说。“短剧行业已经通过实时化和数据驱动，与传统电视和电影制作区分开来。AI只是进一步强化了这种逻辑。从某种意义上说，短剧与AI是完美契合的。”
内容机器的内部运作
行业的AI革命已经在改变制作短剧所需的工作岗位。
菲尼克斯·朱于2024年大学毕业，拥有哲学学位。在向传统媒体和电影工作室求职数月屡遭拒绝后，她最终找到了为短剧写剧本的工作。“对年轻人来说，就业市场非常艰难，”朱说。“我无法挑剔自己写什么。”
为了养活自己，朱做了一系列兼职工作，包括咖啡师、卖花人和活动协调员，同时在线承接广告和教育公司的自由写作任务。2025年4月，她以大约2万元人民币（约合2945美元）的价格卖出了第一个短剧剧本。随后订单接踵而至，她以为自己的职业生涯终于开始起步了。
然后AI来了。朱说，两个已经进入合同阶段的项目突然被取消。整个行业的稿酬开始下降。她期望随着经验增加而获得的加薪从未实现。
尽管如此，像朱这样的编剧在行业中所受的冲击还算小的。传统拍摄片场上的许多制作岗位在AI生成的制作中几乎完全消失了。
“我们可以将制作团队缩减到大约10人，”FlexTV副总裁唐唐说。与业内许多公司一样，FlexTV主要依赖中国编剧和制作团队，即使是那些以非中国角色为主、面向海外观众的剧集也是如此。唐唐说，原因不仅是成本更低，还在于中国编剧更了解短剧的节奏和叙事韵律。
AI制作不再需要摄制组、灯光师、化妆师和视觉特效团队，而是依靠较小的团队，主要包括制片人、编剧、AI导演和“AI资产策展人”。
AI资产策展人将剧本转化为提示词，生成角色、服装和场景的参考图像，供AI视频模型遵循。《麻省理工科技评论》在中国求职网站上发现了数百个此类职位的招聘信息，其中许多除熟悉AI工具外，几乎不需要太多行业经验。
“就在过去几个月里，技术已经取得了巨大进步，”北京的一位AI短剧制片人白汉中说。白说，AI资产策展人在生成角色时，使用类似“把我喜欢的这些名人的脸结合起来”这样的提示词是很常见的。工作室通常混合使用多种工具，包括谷歌的图像生成模型纳米香蕉、字节跳动的种子舞步和快手的可灵。
对于像白这样的制片人来说，AI还使得制作那些以前对短剧来说过于昂贵的类型在经济上变得可行，尤其是需要复杂视觉效果、服装或化妆的奇幻系列。“正因为这个原因，我们会看到更多龙剧和美人鱼剧，”白说。
压缩的制作周期也改变了写作过程本身。编剧过去有两到三个月的时间完成剧本。如今，朱说，平台通常要求在一个月内交稿。剧本也可以更粗糙、更灵活，因为场景、画面甚至情节细节都可以通过提示词在后期更改。
结果，编剧越来越需要既为人类观众写作，也为AI模型写作。朱说她现在必须以更高的视觉特异性来描述场景，实际上承担了以前由摄影师或视觉特效团队负责的工作。
“在AI出现之前，写‘他冷冷地瞪了她一眼’可能就够了，”朱说。“现在我需要写‘他的眼中射出冰冷的光束。’”
昆仑万维的方汉认为，AI生成的短剧未来的质量终归是一个数字游戏。“好的创意和好的剧本仍然能脱颖而出，”方汉说。“（AI短剧的）质量会提升，仅仅是因为更多有好创意的人能够制作他们的剧集了。”

英文来源：

How Chinese short dramas became AI content machines
The viral short dramas are increasingly being created entirely with AI, with hundreds of new shows spun up each day.
In a dimly lit bedroom, a frightened young woman is thrown onto a bed by a tall, muscular man. He grabs her hand, and flame-like vines crawl across her body, fusing with her flesh. She levitates, then drops. A dragon-shaped tattoo appears across her chest.
“Two months,” the man says. “Give me an heir, or I will eat you.”
The scene is from Carrying the Dragon King’s Baby, one of the many hundreds of short dramas that appear on apps like DramaWave and ReelShort. There’s just something about this one that isn’t quite right. The lighting may be glossy and cinematic, but the show has an odd visual texture like something between a movie and a video game cutscene.
That’s because Carrying the Dragon King’s Baby is part of a new trend for making these shows entirely with AI: no actors, camera operators, cinematographers, or CGI specialists required.
China’s short drama industry has boomed since its launch, in 2018. These ultrashort, melodramatic, and often smutty shows are designed for smartphone viewing, with episodes often running just one or two minutes long: Viewers can finish an entire series in as little as 30 minutes to an hour. The films are made for endless scrolling, packed with emotional confrontations and melodramatic plot twists. The trend’s growth is driven by apps that bombard TikTok, Instagram, and Facebook with cliffhanger-heavy ads designed to lure viewers into buying subscriptions. In 2024, China’s short drama market reached roughly $6.9 billion in revenue, surpassing the country’s annual box office earnings for the first time.
Since 2022, Chinese short drama companies have aggressively expanded overseas, translating existing hits and producing localized series featuring local actors. Globally, short drama apps have approached a billion cumulative downloads. The United States is the biggest market outside of China, providing around 50% of the revenue, according to research firm DataEye.
Now the industry is reinventing itself. Chinese short drama companies—already masters of low-budget, algorithmically optimized entertainment—are embracing generative AI to produce content faster and cheaper than ever. An average of 470 AI-generated short dramas were released every day in January, according to DataEye. Short-drama companies like Kunlun Tech are ramping up AI productions, shrinking film crews, and reorganizing the labor pipeline from the ground up. For some studios, AI has moved from being a supporting tool to providing the backbone of production itself.
Infinite stories, infinite tropes
Short dramas are already famously low-budget. But AI has made them dramatically cheaper to mass-produce, helping to accelerate the entire process—and save money. Production timelines have collapsed. Conceptualization, script writing, casting, shooting, and editing used to take three to four months. With AI, the process can now take less than a month, says Tang Tang, vice president at short-drama platform FlexTV. Producing a short drama in North America once cost roughly $200,000, but AI can cut that cost by 80% to 90%, according to Tang.
After expanding into the US market, Chinese short drama companies largely followed the same playbook they used in China: Buy traffic aggressively on TikTok, Facebook, and YouTube; offer a handful of free episodes; then charge viewers to unlock the rest inside the companies’ apps. Decisions about what to produce next are often driven less by creative instinct than by performance data. “We look at what themes, plotlines, and writers resonate with audiences, then quickly adjust,” says Tang.
The industry operates at a relentless pace. “Everyone expects quick returns,” Tang says. “In China, if a series doesn’t break even within a month, the industry considers it a failure.”
As a result, screenwriters who spoke with MIT Technology Review said platforms often categorize projects using highly specific keywords that encompass everything from genre and setting to plot structure, such as “campus romance,” “gang rivalry,” “enemies to lovers,” or “rags to riches.” Recently, one of the most popular genres has been “reborn revenge,” a fantasy trope in which a wronged protagonist is miraculously reborn and given a chance to change their fate.
“You kind of have to keep the emotional intensity extremely high throughout the show, using the same plot devices over and over again: sudden deaths, betrayals, physical violence, huge confrontations,” says Phoenix Zhu, a freelance short drama screenwriter based in Suzhou. “It’s common to sacrifice narrative logic for shock value, because otherwise people are more likely to scroll away.”
Those simple tropes have made the format particularly compatible with AI-generated production. Earlier this year, FlexTV halted all traditionally shot productions and shifted entirely to AI-generated dramas. Kunlun Tech, the parent company of drama apps DramaWave and FreeReels, began producing AI-generated short dramas in 2025 and now offers more than 1,000 AI titles on its platforms. StoReels, another popular short drama company targeting a global audience, has said it aims to produce 100 AI-generated dramas per month.
“People’s attention spans are getting shorter, and serialized drama naturally has to get shorter,” says Han “Daniel” Fang, the CEO of Kunlun Tech. Fang told MIT Technology Review that the company is not going to stop investing in traditionally shot short dramas with real actors. But the company is expanding AI-generated productions and gradually increasing their share on its platforms as a low-cost way to experiment with new genres, themes, and ideas. “We want to bring the amount of AI work to 20% of the platform,” Fang says.
The format is also rapidly growing overseas. Research firm Omdia estimates that the global microdrama market reached $11 billion in 2025 and will grow to $14 billion by the end of 2026. The United States is expected to generate $1.5 billion in revenue in that market this year.
“No one comes to short dramas expecting high art,” says investor Shangguan Hong, former partner of Legend Capital. “The short-drama industry already stands out from traditional TV and filmmaking by being real-time and data-driven. AI only furthers that logic. In a sense, short drama is perfectly compatible with AI.”
Inside the content machine
The industry’s AI revolution is already changing the type of roles required to make short dramas.
Phoenix Zhu graduated from college in 2024 with a degree in philosophy. After months of rejections from traditional media and film studios, she eventually found work writing scripts for short dramas. “It was a very difficult job market for young people,” Zhu says. “I couldn’t afford to be picky about what I wrote.”
To support herself, Zhu worked a string of part-time jobs, including as a barista, a flower seller, and an event coordinator, while taking freelance writing gigs online for advertising and education companies. In April 2025, she sold her first short-drama script for around 20,000 yuan (approximately $2,945). More commissions followed, and she thought her career was finally beginning to pick up.
Then AI arrived. Two projects already in the contract stage were abruptly canceled, Zhu says. Rates across the industry began falling. The raises she expected as she gained more experience never materialized.
Still, writers like Zhu have been among the less disrupted workers in the industry. Many production roles on traditional filming sets have disappeared almost entirely from AI-generated productions.
“We could shrink the production team down to around 10 people,” says Tang, vice president at FlexTV. Like many companies in the industry, FlexTV relies primarily on Chinese writers and production teams, even for shows featuring non-Chinese characters and targeting overseas audiences. The reason is not just lower costs, Tang says, but also that Chinese writers better understand the pacing and narrative rhythm of short dramas.
Instead of camera crews, lighting technicians, makeup artists, and visual effects teams, AI productions now rely on smaller groups consisting largely of producers, writers, AI directors, and “AI asset curators.”
An AI asset curator translates scripts into prompts and generates reference images of characters, costumes, and scenes for AI video models to follow. MIT Technology Review found hundreds of job listings for the role on Chinese job sites, many requiring little prior industry experience beyond familiarity with AI tools.
“The technology has improved enormously just in the past few months,” says Hanzhong Bai, an AI short-drama producer based in Beijing. Bai says it is common for AI asset curators to use prompts like “combine the faces of these celebrities I like” when generating characters. Studios typically use a mix of tools, including Google’s image-generation model Nano Banana, ByteDance’s Seedance, and Kuaishou’s Kling.
For producers like Bai, AI also makes it economically viable to produce genres that were previously too expensive for short dramas, especially fantasy series requiring elaborate visual effects, costumes, or makeup. “We’ll see many more dragon and mermaid shows for exactly this reason,” Bai says.
The compressed production cycle has also changed the writing process itself. Writers once had two to three months to finish a script. Now, Zhu says, platforms often expect delivery within a month. Scripts can also be rougher and more flexible, since scenes, visuals, and even plot details can be changed later through prompts.
As a result, writers increasingly have to write for AI models as much as for human audiences. Zhu says she now has to describe scenes with far greater visual specificity, effectively taking on responsibilities once handled by cinematographers or visual effects teams.
“Before AI, writing ‘He gave her a cold stare’ might have been enough,” Zhu says. “Now I might need to write, ‘Cold beams of light shot out from his eyes.’”
Fang of Kunlun Tech believes the future quality of AI-generated short dramas is ultimately a numbers game. “Good ideas and good writing still stand out,” Fang says. “The quality [of AI short drama] will improve simply because more people with strong ideas will be able to make their shows.”
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