In 2025, when short video narratives swept across the globe, a micro-short play entitled ” Eighteen-year-old grandmas, homecoming and family glory ” was quickly resounding with its unique cross-cutting themes and emotional resonance. The show landed on the red fruit short play platform in June and posted on several video sites in short notice, breaking the play record.
A short play by Zhejiang Dongyang Xiaoqing Cultural Media Co. Ltd., directed by Fan Bo Yang and led by Li Ko Jing, on the fate of an 18-year-old mathematician who died unexpectedly in the 1950s and whose soul passed on to an 18-year-old high school girl in 2025, faced with a 70-year-old son and a rebel grandchild, using wisdom to restore family glory.
According to the DataEye Institute, in June 2025, on the first day on the red fruit short play platform, under the byte-jumping flag, the series had a collection of more than 500,000 people, with an appointment of 4.3 million, a 72-hour tremor on the line of 270 million originals, with more than 1.5 billion topics and 2 billion subject readings in five days.
The show has been on the DataEye short-time heat and tremor heat rolls for many days, and has won both the hottest and the hottest double-champs in the Achilles, with a temperature of 6,914 million. The sequel, Grandmother of the Eighteen, Reunification Family Glory 2, came online on July 25, with the first-day tremor troupe playing 150 million shorts and the entire web of topics over 500 million shorts, making it the first daily hottest in the history of the fruit.
LEE Kee, the leading actor, with an accurate presentation of the performance of the 18-year-old grandma, has shivers for 300,000 people in 48 hours and has been on the WETRUE list of actors. According to the DataEye Institute, 70 per cent of the traffic originates from Li Kee’s character glamour, while the non-traditional drama shows a shift in the short play industry from a “better play” to a “content + person”.
The global success of the 18-year-old Grandmother, Reunification of Family Glory, is dependent on her home-grown translation strategy. The ADX overseas data show that the play has been translated into five languages, Japanese, Korean, English, Spanish and Indonesian, and adapted to local culture and narrative preferences in different markets.
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