The Spanish-language world is in the air. The Elefantec Global platform, which combines My Drama with the Spanish-language stand-up shorts, is backed by 700 million Spanish-speaking people and the deep stickyness of the mobile end. My Drama has been on the Euro-American vertical media list for just one year, breaking 7 million users and 20 million single play. This means that the short play is no longer “China’s specialty” but is a global entertainment style.
Elefantec Global works with My Drama, the short play platform, to focus on the production of Spanish-language short plays for Latin American and global Spanish viewers. Elefantec is based in Los Angeles and Mexico City and is well known for producing high-quality Spanish content; My Drama, run by the technology company Holywater, has been the most downloaded vertical-screen media application in the European and American markets since 2024, with over 7 million users and over 20 million viewers in multiple short series.
Pepe Bastón, founder of Elefantec, stated that they had long built a soap opera and a telenovela for a Spanish-speaking audience, and that they were now turning this creative experience to a “one by one” cell phone screen to make short plays for studio-level quality. According to Bogdan Nesvit, co-founder of Hollywater, Elefantec’s content advantage is added to My Drama’s vertical distribution engine, which will form a “blowing water line”.
Under the Holywater flag, in addition to My Drama, it operates the vertical stream media FreeBits, the e-book platform My Passion, the stand screen platform with the generation of AI My Muse, which gradually constructs content ecology with short dramas at its core.
If, over the past three years, China’s short play fires have drawn the world’s attention to the short play pattern, Elefantec and My Drama’s collaboration suggests that the short play is becoming part of a global entertainment structure.
My Drama’s rapid rise is changing narrative patterns. Instead of being attached to the flow-top ecology of TikTok and Reels, it has directly created an independent stand-up short play, App, which tops the download list in the markets of Europe and the United States, with over 7 million users. This is sufficient to show that the short play is no longer just an accidental explosion recommended by the algorithm but can be operated as a stable, long-term form of content consumption.
Behind it is a huge market logic: Spanish is the second-largest language in the world (after English), covering the markets of South America, parts of North America and Europe, and creating a natural cultural circle, a potential global-class short play market once the pattern runs.
Elefantec is not an original company, but an “old player” in the Spanish-language content industry, who has long controlled the supply chain of Telenovela. Telenovela, an important symbol of Latin American culture, essentially has the character of a narrative of “fast pace, strong reversal, strong emotion” and is highly compatible with the structure of the short play. It is well aware of the emotional preferences of the Spanish-speaking audience: strong inversion, family ethics, class conflicts, emotional radicalization… And these elements are the common password for the short-time-explosion money.
Once the Spanish short play breaks, it forces the industry to answer a more acute question: The future of the short play is the loss of entertainment without borders or the re-establishment of deeply bound indigenous culture? If it is the former, then our short play model has a pre-emptive advantage; if it is the latter, Latin America, with its telenovela tradition, is likely to be another pole of the global short play.