Web dramas are in decline.

Once a sensation and a powerful force that helped many actors become household names, web dramas are now showing signs of decline.

The film "Ambiguity in the City". Photo: Provided by the production company.

Low production leads to a significant reduction in market reach.

The period from 2018 to 2021 was the golden age of this film genre with a series of hit works such as "Fourteen Maidens," "The Godfather" (web version)... but now, the number of new projects released has decreased sharply, and the quality and reach are no longer what they used to be.

Statistics from YouTube and TikTok show that fewer than 10 noteworthy Vietnamese web dramas have been released since the beginning of the year. Some notable projects include "The Mischievous Boy" written and starring Quang Anh, and "Ambiguous in the City" by Do Hoang Duong...

Despite investments in visuals, scripts, and acting, most of these films only achieve tens of thousands to hundreds of thousands of views per episode – a modest number compared to their peak when each web drama episode reached tens of millions of views.

The changing audience trends have also created difficulties for this genre. Previously, viewers eagerly awaited each episode aired regularly on weekends. Now, with the rise of TikTok and other short-form platforms, young audiences are shifting towards faster, shorter content with less emotional investment. Furthermore, the focus of producers on vertical short films like "The Mischievous Boy" shows an attempt to adapt, but it hasn't yet created a major impact on the market.

Causes of decline

One of the main reasons for the stagnation of Vietnamese web dramas is the issue of funding. After the boom period from 2018 to 2022, many individual producers, especially artists and singers who used to invest their own money in filmmaking, are now more cautious.

A high-quality web drama currently costs between 1 and 3 billion VND for 6 to 8 episodes, but revenue from YouTube advertising or brand sponsorships is no longer guaranteed. When costs increase while marketing effectiveness decreases, investors are hesitant to invest, leading to a reduction in production scale.

Furthermore, the tastes of young audiences are changing dramatically. Long, dramatic storylines like "The Fourteen Young Ladies" are gradually giving way to fast-paced entertainment content such as vlogs or short, situational clips lasting only a few minutes. Traditional web dramas are therefore losing their competitive edge and struggling to retain viewers in the long term.

Even projects featuring well-known artists like Tran Thanh, Nam Thu, and Huynh Lap have had to shift to licensed streaming platforms (VieON, Netflix,FPT Play) instead of relying solely on YouTube as before.

Subject matter saturation is also a significant factor. From comedy and school life to gangster and organized crime, most Vietnamese web dramas still revolve around familiar motifs, lacking innovation. The use of the "star + drama + shocking plot" formula by many productions tires viewers. Numerous works fall into sensationalism and artificially dramatic dialogue, leading to negative reactions and early removal.

Another reason is the competition from television and professional streaming platforms. Large channels like Netflix, VieON, VTV Go, and Galaxy Play are ramping up production of exclusive films, attracting teams that previously worked on web dramas. Young directors are choosing a more professional path to secure stable budgets and wider reach, resulting in a dwindling pool of creative talent for web dramas on YouTube.

Despite currently experiencing a "lull," experts believe Vietnamese web dramas still have a chance for recovery if they adapt. The trend of producing vertical films for mobile phones is opening up new avenues, such as "The Mischievous Boy," which was filmed entirely in a 9:16 aspect ratio and released simultaneously on TikTok and YouTube. Combining AI and virtual rendering technology can also help reduce post-production costs and expand creative possibilities for young filmmakers.

Some directors have proposed an "interactive mini-series" model that allows viewers to vote on the character's future, considering it a potential solution. However, to recreate the "craze" of the early web drama era, the market needs more systematic investment from platforms and sponsoring brands, rather than relying solely on the individual artists' efforts.

Source: https://baoquangninh.vn/phim-web-drama-thoai-trao-3378857.html