iPhone users spend around 40% more on micro-drama apps than Android users, according to Omdia research, challenging common assumptions about who consumes and pays for the rapidly growing form of entertainment.
Micro-dramas are often perceived as appealing primarily to lower-income or niche audiences, but Omdia’s latest consumer research suggests the reality is more nuanced.
In several major markets, iPhone users are significantly more likely to pay for micro-drama content than Android users, highlighting the strong commercial potential of these audiences.
In the US, micro-drama adoption is now well established across both mobile ecosystems. Around 9% of iPhone users and 10% of Android users have used at least one micro-drama app during the past three months. Monetisation rates are also similar, with 69% of iPhone users and 68% of Android users saying they pay for content through subscriptions, one-off purchases, or in-app currencies.
Outside the US, however, clear differences emerge. In Brazil, 48% of iPhone users pay for micro-drama content, compared with 39% of Android users. In Germany, the figure is 49% versus 44%, while in South Korea it is 59% versus 45%.
Complementing the consumer survey, Omdia’s analysis of sensor tower data found that iPhone users spend approximately $14 per week on micro-drama apps, compared with around $10 per week for Android users.
The research indicates that while audience reach is becoming increasingly similar across mobile platforms, willingness to pay and overall consumer value differ significantly between device ecosystems and regions.
"Micro-dramas are rapidly becoming one of the fastest-growing segments of digital entertainment. Understanding who watches is important, but understanding who pays is what drives long-term commercial success," said Maria Rua Aguete, Head of Media and Entertainment at Omdia.
She continued: "What’s particularly fascinating is how our research challenges many of the assumptions surrounding micro-drama audiences. The genre has often been dismissed as appealing primarily to lower-income or niche consumers. Our findings tell a different story. In many markets, iPhone users are actually more likely to pay for micro-drama content than Android users, highlighting that these audiences are more diverse and commercially valuable than many in the industry have assumed. For content owners, app developers, and advertisers, understanding these differences will be critical as the global micro-drama market continues to expand."
Omdia also recently found that micro-dramas are rapidly emerging as one of the fastest-scaling formats in online video. Discover more here.
 (1) (1).jpg)
TG4 joins EIT Culture & Creativity as cooperation partner
Irish-language public-service broadcaster TG4 has joined EIT Culture & Creativity as a Cooperation Partner, bringing broadcaster expertise and real-world industry perspectives to Europe’s largest innovation network for the cultural and creative industries.
.jpg)
Sky secures planning approval for Livingston Campus
Sky has secured planning permission for its new Livingston Campus in Scotland.
.jpg)
Ready for action: IBC2026 puts sport at the winning end of media innovation
IBC2026 will put sport firmly at the centre of the global media and entertainment technology conversation with the strongest sports showing in the event’s history, bringing together the world’s leading sports organisations, broadcasters, rightsholders, and technology providers at the RAI Amsterdam from 11–14 September 2026.
.jpg)
Studiocanal launches Classics label for catalogue titles
Canal+’s production and distribution arm Studiocanal has launched Studiocanal Classics, a new worldwide label for its catalogue titles.
 (1).jpg)
Chris Sussman joins BBC as Director of Comedy
The BBC has appointed Chris Sussman as Director of Comedy. The executive previously served as Director of Scripted Series at Netflix UK and Head of Comedy at BBC Studios.
