What happens when you take the traditional three-act movie structure and deliver it in 90-second bite-sized episodes that viewers can consume on their phones? You get microdramas, an emerging entertainment format that’s changing how stories are consumed on digital platforms. Audiences are increasingly willing to pay approximately $15 – roughly the price of a movie ticket – to watch what amounts to a feature film delivered in short vertical video segments.

According to a July 2025 Sensor Tower report, global in-app purchase (IAP) revenue from short drama apps reached approximately $700 million in Q1 2025, nearly four times the figure for Q1 2024. Since the start of 2024, the cumulative global revenue from these apps has approached $2.3 billion.

Scott Brown, CEO of California-based Second Rodeo Productions, founded in November 2023, is developing premium content in this space. His company operates at the intersection of traditional and digital media, creating both vertical scripted series and YouTube-focused content for major brands.

“A microdrama is basically a movie where every scene is under 90 seconds, but you’re still telling a three-act story,” explains Scott. “They matter because they prove you can do great storytelling in a digital medium, maybe one day even greater than film and TV in digital formats.” 

Scott established Second Rodeo to help elevate these vertical series while still giving audiences what they crave – quick, engaging content that delivers on the premise immediately.

From Larry King to MrBeast: A Career at Media’s Crossroads

Scott’s career path to founding Second Rodeo reflects his position at the meeting point of traditional and digital storytelling. “I’m a director, writer, and producer who’s spent my career at the intersection of digital and legacy media,” he explains. “Great storytelling transcends whatever screen it lives on.”

After earning a screenwriting degree from the University of Southern California just in time for the 2007 writers’ strike, Scott shifted toward digital opportunities when YouTube was still in its early days. His career path includes directing more than 750 episodes of Larry King’s digital talk show, serving as executive producer and lead director for Dwayne “The Rock” Johnson’s YouTube channel, and, most recently, producing major videos for MrBeast, including what Scott describes as “digging a big hole and buying a train and moving it across Texas.”

This experience across both traditional and digital realms informed Second Rodeo’s dual focus. “There are two parts of my company,” Scott explains. “We do YouTube content for brands and notable names. And we focus heavily on scripted digital growth, especially microdramas.”

The name Second Rodeo itself hints at Scott’s belief in applying lessons learned from one arena to another. “Second Rodeo is about bringing the best values of traditional media into digital and blending them with digital’s best discoveries,” he says.

Understanding Microdrama Appeal: The Chemistry of Digital Storytelling

What makes microdramas so compelling to audiences? Scott offers a neurological perspective.

“Storytelling is chemical,” he states. “When we enjoy it, our brains release dopamine. There’s a rhythm to it. And once TikTok or short-form algorithms learn you, they’re extremely good at entertaining you every minute.”

This conditioning has changed how audiences approach longer content. “I love film with a capital F, but even I struggle to get through the first 10 minutes of a movie. My brain immediately wants to know: what’s this about, what’s the plot, do I like these characters, or should I move on?”

Unlike previous attempts at premium short-form content, microdramas respond to existing audience behavior rather than trying to create it.

The audience for this format is expanding quickly. Sensor Tower reports that global downloads of short drama apps exceeded 370 million in Q1 2025 alone, representing a 6.2x increase year-on-year, with cumulative global downloads approaching 950 million. The U.S. remains the dominant market, accounting for 49% of global revenue ($350 million in Q1 2025); however, Latin America, Southeast Asia, and India are showing exceptional growth.

“Microdramas deliver on the premise right away,” Scott notes. “That hooks people. And beneath the flaws, there’s real meat-and-potatoes storytelling. That’s what audiences are responding to.”

‘The Diamond Rose’

Scott’s entry into microdrama production began in February 2024 after reading about the surging revenue in the format. After extensive research, he connected with the founders of the vertical series platform MyDrama.

“The founders of MyDrama said, ‘We’ve heard you want to elevate these microdramas. We want to give you that chance,'” Scott recalls. “And they told me, ‘We want you to achieve your vision for what these can be.'”

This partnership led to the creation of “The Diamond Rose,” which premiered in June 2024. “We use contrasty, expressive lighting. Sometimes we go for emotional subtlety. Our lead woman isn’t a damsel; she has agency. And the characters drive the story instead of everything coming from external events,” Scott says.

He highlights positive commercial and critical responses. “It’s done really well. The fan response has been tremendous. People who watch dozens of these a month said this is exactly what they want more of, and they showed it with their time and their wallets.”

Building on this success, Second Rodeo is now developing “Playback,” a musical microdrama set for early 2026 release. “It’s like a pop musical, a bit like ‘A Star Is Born,’” Scott says. “Not random song-and-dance, but plenty of musical numbers about two people falling in love while navigating the music industry.”

The Challenges of Microdrama Creation

Creating compelling microdramas requires mastering challenges that differ from both traditional filmmaking and unscripted digital content, according to Scott.

“Microdramas are deceptively difficult, because they’re both short form and long form,” he explains. “Each 75-second episode has to be gripping on its own, but you’re also telling an 85-minute story.”

Scott pushes back against oversimplification. “The word ‘just’ is one of the worst in digital. Nothing is ‘just digital.’ You need humility and a beginner’s mind. This is harder than people think.”

The lessons from his first production now shape his approach to “Playback.” “In writing, editing, and directing, you can’t just drop a funny line or an expository line. Every moment, especially in the first 20 episodes, has to grab the audience and deliver layered storytelling while maintaining quality.”

Second Rodeo’s Edge

Scott believes that what distinguishes Second Rodeo is his own experience across both traditional and digital media. Having worked with Larry King and MrBeast, he understands both worlds.

The industry veteran describes the current state as “pressurization,” with digital absorbing traditional formats. “Now all but the Nolans, the Villeneuves, and the biggest legacy projects are being pulled into digital,” he observes. “The line is almost gone.”

“There’s a key of digital and a key of legacy,” Scott says. “If you don’t have top-level people from digital on your team who understand the digital key, it’s nearly impossible to make content that resonates online.”

This insight also shapes his critique of short-form streaming platform Quibi: “Quibi’s biggest misstep was not having digitally native leaders. They tried to make short Netflix when they could have made incredible TikTok and YouTube.”

Where Microdramas Fit in the Creator Economy?

Scott sees microdramas as part of a bigger shift. “You’re going to see more scripted content on all major platforms,” he predicts. “More creators will emerge from scripted formats. Shows themselves will gain popularity, and with them, the people who make and star in them.”

He also expects consolidation and traditional media involvement. “A lot of apps and players in microdramas will merge. Winners will emerge. And traditional players will move into digital scripted formats.”

Perhaps most intriguingly, Scott sees microdramas creating opportunity. “There’s a big chance here to build a middle class for creative doers. Right now, you’re either making great money or struggling with a second job. Microdramas could change that.”

A Creative Studio for Digital’s Future

Scott wants Second Rodeo to grow into a company that nurtures diverse voices. “I want to build something like 21 Laps or Bad Robot, a creative studio that makes first-class projects and gives diverse voices a platform.”

The company is expanding into branded content. “Studios have approached us to make scripted assets to support films and shows. Brands have asked about financing series as marketing tools on these platforms,” Scott shares.

For sustainable growth, Scott emphasizes the importance of collaboration. “The most important thing in the next two years is guilds and unions working with platforms and producers to create norms that make sense. Guilds and unions are vital, but they have to adapt to market realities.”

His advice for aspiring creators is clear: “Unless you have a story that must be a movie, make a vertical series. Make a microdrama. It’s the best investment in your career right now.”

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