An article by Reim El Houni, CEO of Ti22 Films

The one thing that is absolutely guaranteed in the media industry is change.

The industry itself is built on advances in technology, shifts in society, evolving consumer behaviour, algorithm updates and, more recently, the rapid acceleration of AI. After more than 25 years working in this space, the biggest constant I’ve seen is that what worked yesterday probably doesn’t work today and almost certainly won’t work tomorrow.

Right now, we are living in the attention economy. While the region celebrates the growth of the creator economy, the more important question is where audiences are actually placing their attention. There are 1,440 minutes in a day and everyone is competing for them.

Goldman Sachs estimates the creator economy will grow from a $250 billion industry to $480 billion by 2027. Much of that growth is happening one short video at a time.

I’ve never been a doom-scroller. I’ve always gravitated toward high-production content, the kind that takes time, effort, narrative craft and intention. Yet lately, I’ve caught myself scrolling, one short video after another. Not because they’re disposable, but because they’re effective. They hook quickly, reflect real challenges, offer practical tips and deliver stories that feel relevant. Sixty videos later, an hour has passed.

There’s a reason for this. According to Marketing Profs, 66% of viewers will finish a video that’s under one minute long. At the same time, most people decide within the first three to four seconds whether to keep watching. Length has become a deciding factor for engagement. If someone sends me a video, the first thing I check is its duration. Under a minute, I’ll watch. Over a minute, I hesitate.

Social platforms have fully optimised for this behaviour. TikTok led the way, Instagram followed with Reels and LinkedIn is now doubling down on video. As mobile consumption continues to climb, traditional media is left with a real question to answer: how does it compete for attention in this environment?

One answer is the rise of micro-dramas.

Some may remember Quibi, the short-form streaming platform that launched during COVID. Its one-to-two-minute episodic dramas were designed around cliffhangers and habit-building. While Quibi itself failed, the format didn’t. In Asia, micro-drama platforms have scaled rapidly, and we’re beginning to see similar models emerge in MENA. The logic is simple and effective: hook viewers with free episodes, then move the rest behind a paywall. Doom-scrolling becomes serialised consumption.

Brands have also moved decisively into this space. Rather than one-off campaigns, many are now producing short-form video series with recurring characters and evolving storylines. These formats build familiarity over time and, increasingly, outperform traditional advertising when it comes to engagement and conversion. Storytelling hasn’t disappeared. It’s been compressed and re-engineered for short-form platforms.

So what does this mean for traditional television?

I still produce a daily English-language TV show on a traditional broadcaster and I’m often asked whether TV is dying. I don’t think it is. What’s changed is how people discover and consume it. Our own show is increasingly found through short clips circulating on social platforms before viewers ever tune in to the full broadcast.

What traditional television continues to offer, particularly in the MENA region, is credibility. Saying a show airs on a major channel still carries weight. It shapes perception, opens doors and attracts high-calibre guests and partners. Even when online reach is larger, broadcast legitimacy still matters.

At the same time, viewing habits are shifting again. As smart TVs become more common, social content is increasingly consumed on larger screens. Today, 52% of YouTube viewing happens on TV screens. This shift is already pushing creators and brands to elevate production quality after years of lo-fi dominance.

The good news is that short-form video no longer requires large budgets or specialist equipment. Smartphone cameras now rival professional setups and editing tools powered by AI have democratised production. Captioning, colour grading, overlays and even B-roll generation are no longer restricted to professional studios. The barriers to entry have fallen.

For startups, this moment presents a clear opportunity. Behind-the-scenes content, product development snapshots and day-in-the-life formats consistently outperform polished brand messaging. Some of my highest-engagement content comes from simple behind-the-scenes clips from the studio, moments audiences wouldn’t normally see. Authenticity travels faster than polish.

Short-form video also accelerates trust. When I vet potential guests, the first thing I look for is video. I want to understand how they communicate and whether there’s a connection. Many investors do the same. If you can communicate clearly and confidently on video, you lower friction across pitches, partnerships and customer acquisition. For founders, short-form creates a direct line to audiences, traction signals and visibility, all of which investors increasingly pay attention to.

What short form doesn’t do is replace long form. It feeds it. Short form captures attention; long form deepens it. Podcasts, interviews and documentaries are still being made, but most people now discover them through short clips. It often takes multiple touchpoints before someone commits their time to a longer piece.

Growing up Arab, Muslim, Libyan and UK-raised, visibility wasn’t always encouraged. Being the face of a business felt uncomfortable and, at times, inappropriate. Over time, I’ve come to see visibility as a strategy. Representation matters and the stories we choose to tell shape perception, influence behaviour, and expand what feels possible.

Short-form video is redefining storytelling across media. But after 25 years in this industry, one thing remains clear: relevance depends on evolution. Tools will change, platforms will shift and trends will fade, but everyone will continue competing for the same 1,440 minutes per day. The difference now is that those minutes are increasingly won in seconds.