Orange Middle East and Africa (OMEA) has signed a multi-year strategic partnership with ReelShort to distribute the short-form streaming platform’s vertical drama series through Max it TV, expanding access to mobile-first entertainment across 17 African and Middle Eastern markets.
The agreement will bring ReelShort’s catalogue of drama, romance and thriller series to Orange customers through Max it, the operator’s super app. The first phase of the rollout is expected to begin in four markets by the end of 2026, followed by a gradual expansion across the remaining territories. The companies have not yet disclosed the initial markets or the financial terms of the deal. (BroadcastPro ME; C21Media)
Under the arrangement, customers will access ReelShort content through dedicated Orange mobile data bundles. The model combines content distribution with mobile connectivity, providing a direct route to audiences who increasingly consume entertainment on smartphones and prefer short, episodic viewing formats.
Orange says Max it is available across 17 countries and has approximately 39 million users, while its mobile operations serve more than 180 million customers across the markets covered by the partnership. For ReelShort, which is operated by Crazy Maple Studio, the agreement represents a significant step in its international telecom distribution strategy and its expansion into the Middle East and North Africa.
Ben Cheick Haidara, Deputy CEO of Orange Middle East and Africa, said the partnership reinforces Max it TV’s ambition to connect audiences with international and local entertainment through a single platform. Crazy Maple Studio founder and CEO Joey Jia described the agreement as an important milestone in bringing ReelShort’s mobile-first catalogue to a broader regional audience.
The deal highlights the growing role of telecommunications operators in streaming distribution, particularly in markets where mobile networks and data bundles are central to digital media consumption. By integrating entertainment with connectivity, operators can strengthen their digital services while giving content platforms access to established customer bases.
For African broadcasters, streaming services and independent producers, the partnership signals intensifying competition for mobile audiences and new opportunities to distribute short-form content. The expansion of micro-dramas could also create demand for locally relevant stories designed for vertical screens and shorter viewing sessions. However, the scale of that opportunity will depend on audience uptake, pricing, localisation and the availability of African-produced titles alongside international content.
