From 1.64 billion to 4.55 billion: The number of broadcasts of the Hong Kong stock AI skit for the first share (01753) tripled in two months

A set of numbers is making the entire AI skit industry reunderstand exchange.

Since the company issued a voluntary announcement on August 24, the stock price of Duiba (01753) has risen sharply in a single week, and the capital market has voted with real money — approving the speed with which this 10-year-old user-operated SaaS company has run on the AI skit track.

What supports this wave of votes is the three-month month-on-month data from Douyin Group's native caliber: 1.64 billion new views were added in June, ranking 4th; in July, the number of views increased to 2.96 billion, jumping to 2nd; in August, 4.55 billion views were added, and it remained in 3rd place. In July and August, the month-on-month increase was 80.9% and 53.6%, respectively, and doubled 2.8 times in two months.

Behind this set of growth rates is an even harsher set of industry data — in the first half of 2026, 221,900 AI dramas and comics were added natively on the Douyin platform, with only 1,055 broadcasts breaking 100 million, with a break-even rate of only 0.47%; if 50 million broadcasts were used as a break-even line, the compliance rate was only 1.3%, and more than 98.7% of works did not pay back.

In such a “only 1 out of 200 teams breaks 100 million” track, what does the ranking curve of the counter mean?

The question arises; why is it being redeemed?

The answer lies in the two genes of Duiba.

The first is data genes. Duiba has been using SaaS for nearly ten years. Every day counts click rates, conversion rates, and delivery returns — “using data verification rather than intuitive judgment” is a work inertia engraved in the structure of the organization. Therefore, when it comes to AI skits, its first reaction was not to recruit screenwriters, but to use algorithms to solve blockbusters. The self-developed screenwriter agent captures high-paying, high-completion skits from the entire network in real time, refines popular themes, and then creates AI. The labor efficiency of first-line screenwriters is increased by 5 times, and 80% production is completed through a one-click workflow; labor costs account for only 40%, token costs account for 60%, and large-scale model calling costs are still declining month by month — as a comparison, some AI short drama companies have 50% to 70% of manpower, mainly due to multiple factors such as drawing cards, directors, and editors.

The second is the traffic gene. The essence of AI skits is a “content advertising carrier” business — the final net profit comes from rebates from agents/platforms after launch. The core competitiveness is not about making the drama beautiful, but “how much money to buy traffic, how many broadcasts, and how many times to transfer.” Red fruits mainly flow naturally and cannot be expanded. If they rely entirely on a single channel, the certainty of growth faces huge challenges. With ten years of traffic distribution accumulation, Duiba set up a self-built streaming system in February to achieve one-click distribution on all platforms such as Douyin Native App, Kuaishou, Station B, Tencent, Baidu, and Taobao.

The results were: cumulative revenue of 223 million yuan in half a year, accounting for 51.2% of the Group's total revenue of 434.7 million yuan. Total revenue of 435 million yuan in the first half of the year increased 24.3% year on year, gross profit of 74.54 million yuan, gross margin rebounded to 17.1%, and loss of 25.33 million yuan narrowed 5% year over year.

So, we have a second question: Can we keep up with these results?

The biggest trap in the industry is “betting on the right one.” After one or two explosions, production capacity collapsed and costs got out of control, which was the end point for the vast majority of transformation players.

The solution to Duiba is the OPP model for one-person production: unlike traditional companies — multi-person collaboration used by companies with content teams, Duiba selects a single person to complete the entire process — the closed loop is shorter, there are fewer variables, pop dramas have become more traceable and solidified, and the requirements for production talent are also more convergent and controllable, so high-quality teams can be systematically expanded. Internal iterations in the first half of the year have steadily pushed the monthly production capacity per person to the level of producing 3 dramas per month.

What is more critical is the closed loop of self-evolution of “production-distribution-feedback-optimization”: actual playback, completion, interaction, and conversion data from all platforms is streamed back to the content production side in real time, and the next drama fits the market more and more.

Deriving from this mature closed loop, Duiba is redefining itself from a “content-making company” to an “AI content industrialization platform.”

C-side payments have gone through, with revenue exceeding 200 million in half a year; the Short Drama SDK Alliance is the most anticipated increase in the second half of the year — packaging content, products, operations, and commercialization into SDKs and embedding 16,000 cooperative app media to build an on-device short drama section at zero cost. According to the estimate of “100 apps with an average of 5 million DAU x 10% penetration x 0.3 yuan ARPU”, this is a space for business imagination of about 15 million yuan/day.

If we add the Shanghai Outer Blue Ocean market, the future growth is even more impressive: the overseas short drama market is expected to exceed 6 billion US dollars in 2026, payment habits are better, and pricing power is in control.

There is only one problem left in the industry: in this industrial revolution in content production, only players who understand the industrialization of traffic processing can win. And let's redeem it, now it's the first one running on the road.