Love, Betrayal, Sex and, a Wedding in 90 Seconds

Vertical series — a genre hinting that Hollywood needs a shake-up.

Or just another format with an expiration date?

While Disney, Marvel and Netflix are busy counting lost millions,
something is quietly growing in the background —
no billboards, no trailers on Times Square —
yet attracting millions of viewers.
Every single day.
Ninety seconds at a time.

What once looked like a TikTok game has evolved into a full-fledged format.
It now has story logic, a loyal fanbase, real production budgets — and careers built on it.

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Poster from the ReelShort series “Tempting the Mafia Twins”
Official poster from the DramaBox series “Hero Should Never Stay Low”
Poster from the Dreame Short series “Single Mom by Mistake: CEO Wife by Fate”

We spoke with professionals inside the industry who understand what’s really happening.
How are these series created?
What makes them work — and what might break them?
What’s happening to the audience’s brain under this new rhythm of storytelling?
And most importantly — what does it mean for the future of cinema?

Are we witnessing the rise of a new genre?
Or just falling for another well-wrapped gimmick?

From TikTok to Millions: How a Format No One Saw Coming Is Reshaping the Screen

Just a few years ago, vertical videos on TikTok, Instagram, and YouTube Shorts were seen as nothing more than quick entertainment for teenagers. But then came a classic twist of the digital era — cold, undeniable numbers.

On ReelShort, top-performing shows now pull in nearly 3 million views per episode.
Drama Shorts and other major platforms are actively investing in short-form vertical storytelling.
Writers, producers, and even directors are shifting toward verticals — not for the novelty, but because the market is demanding it.
Agencies, studios, and distributors are quietly testing their own vertical content strategies.

Today, every major player in the game has a vertical plan. What started as a gimmick is now a business model — and a rapidly growing one.

What do vertical and traditional series have in common?

At first glance, vertical dramas seem no different from classic TV series.
They have a beginning, middle, climax, and ending. At the center are characters you want to understand. There’s intrigue, emotion, meaning, conflict, and structure.

But that’s where the similarities end.

When you’ve got 90 seconds — every breath counts

Each episode lasts 90 seconds.
No long dialogues.
No “breathing room” scenes.
No slow build-ups.

In vertical series:

One scene — one twist.
Every line hits like a shot.
Emotion — in the very first look.
Editing — fast, sharp, almost music-video style.
The camera — almost always in close-up.

Behind the Screen

Vertical dramas aren’t just about fast rhythm — they also have their own casting rules.

We spoke with Yi Zhu, casting manager at ReelShort — one of the leading companies in the field — who explained how actors are chosen for these projects:

“In vertical storytelling, the smallest expression can carry the biggest weight — authenticity and instant chemistry are key.

Casting for vertical drama requires a different lens. Because the camera lives so close to the actor, subtle expressions and emotional truth matter more than broad gestures. Performers must connect quickly and naturally within a tight frame. Our casting process emphasizes chemistry reads and short auditions that reflect the fast-paced, close-up style of vertical drama”.

And while industry voices confirm the shift, what does it actually feel like to live inside this new format as an actor? To find out, we spoke with actor Anton Krasavin.

From the personal archive of Anton Krasavin. Used with permission.

— Do vertical dramas actually have advantages over traditional films?

— Yes, and especially — for actors. So many people want to work, to be on set, in front of the camera or behind it. Vertical dramas give that chance.

They’re also faster and sharper. You can shoot a vertical in 10–15 days, wrap it, and immediately jump onto the next one. Sometimes you get hired the day before, or even the same day — and suddenly you’re on set.

And yes, they’re closer to the audience. This content goes straight to your phone. You can watch it on the bus, in a taxi, on a plane — or even sitting in the bathroom (laughs).

The scale is smaller than traditional film, but the purpose is the same: to tell a story that reaches people.

— You’ve worked both on stage and on film. Does it feel like you’re doing “real cinema,” or do vertical series feel like a separate niche altogether?

— I would say that the experience of acting in verticals is somewhat the same. You’re still in front of the camera, there’s a sound guy, there’s a scripty, an AD — so the basic structure is the same. Although the life of a vertical is a bit different, because the pace of the shoot is much quicker. There are fewer takes, less planning on set. It’s more like, let’s get it done, quick, quick, quick.

The interesting thing is that there is always an editor present on set, editing the series in real time. So while you’re acting, the project is already moving to the next stage at the same time.

Turn the cameras around, flip, shoot everybody, make sure we get the shots, make sure everything is correct. The structure is the same — just quicker. The team is probably smaller too.

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“Fated to My Forbidden Vampire” — official still. © New Leaf Publishing / ReelShort, via IMDb.

— While shooting, do you feel the constraints of the 90-second format? Or does it barely register on set?

— To some extent. But because the dialogue and the story are designed to be told in such a short time, you just have to bang, bang, bang — quick. And that definitely affects the acting.

Sometimes you meet your scene partner right on set, and half an hour later you’re already shooting the scene. In those cases, you really don’t have time to build a connection beforehand.

So in terms of acting, there’s usually less subtext, fewer layers — which works for this format. Still, I try to bring as much emotional depth and vulnerability into verticals as I can.

— Can an actor actually build a career in vertical dramas — or is it just a stepping stone?

— 100% yes — an actor can build a career in vertical filmmaking. Many already do. They literally work on verticals full-time, every day, and they love it.

For some, yes, it’s a stepping stone to something else. But for many, this is home.

Personally, I really enjoy working in verticals. Just like in film or other formats, for me it’s equally valuable. Every project — whether a feature, a series, or a vertical — is part of the same craft.

Behind the scenes of the vertical drama “God with Her Hands.” Via IMDb. Used here for illustrative purposes.

— Are there already stars in the vertical world — or is it still too early?

— Definitely. This space is growing fast. Just the verticals I’ve been part of have gained around half a billion views — which is insane.

And yes, there are already recognizable stars. They have fanbases, they go on podcasts, attend festivals, meet fans face-to-face. There’s even an Instagram community like Vertical Drama Love, where audiences follow actors and interact with them.

Some studios even sign actors to in-house contracts — just like a TV roster, where you make a set number of titles per year. So the fan energy and the system of recognition are already here.

— Vertical dramas are still a young genre. What would you improve — what areas of growth do you see for the format?

— I’d like them to feel a bit more real and less “soapy.” Often you just show the emotion instead of really living it. Characters can feel two-dimensional.

I’d love to see stronger scripts — with deeper stories, real motivations, and conflicts. That gives actors more space to play, to take risks, to really dive in.

Rehearsals would help too. Even a little time with your co-stars can change the connection and take the scene higher.

Your Brain on Vertical Drama

Vertical dramas aren’t just reshaping production and performance — they’re also reshaping audiences. What’s happening on the other side of the screen?

What do vertical dramas do to our brains — and why do viewers get hooked so quickly? To find out, we turned to media psychologist

Research shows that screen size and orientation shape how we experience stories. Large screens — cinemas or even a big TV — create spatial presence, a sense of being “inside” the narrative. Phones, on the other hand, encourage fragmented bursts of engagement.

Dr. Corey warns that viewers need to stay self-aware: overexposure can creep in quietly, showing up as trouble sleeping, emotional blunting, or feeling disconnected from family and friends.

Industry reports also suggest that heavy vertical viewing may push audiences toward simpler narratives, while encouraging multitasking — scrolling, messaging, doing three things at once. “My hope is that this doesn’t become an industry-wide standard,” Corey adds. “At minimum, TV and film should keep reflecting the full nuance of their diverse audiences.

The Future of Vertical Drama

Dr. Corey reminds us that while genres rise and fall, audiences never really leave — they adapt, turning to whatever form of storytelling feels most accessible and comforting in uncertain times. But what about the industry itself? How do creators and actors see the next chapter?

Actor Anton Krasavin is convinced that vertical dramas are here to stay. He points out their vast creative possibilities, the many directions still to be explored, and the simple fact that as long as the format proves financially successful, it will keep evolving.

His view is echoed by Yi Zhu, Casting Manager at ReelShort, who notes:
“Vertical drama isn’t a fad – it’s a lasting evolution in how stories are told for mobile audiences

This is a long-term shift, much like the rise of streaming platforms.

Vertical storytelling reflects changing viewing habits and meets audiences where they are.

As platforms, creators, and actors continue to embrace it, vertical drama is moving from novelty to an established part of the entertainment landscape.

The future will bring interactive stories, higher production values, and closer collaboration between actors and their fan communities,” shared Yi Zhu.

According to him, vertical storytelling is only just beginning to expand. We’ll see new genres, deeper interactivity, and productions that feel more cinematic while staying mobile-friendly. Actors will play an even bigger role — not just performing, but also carrying their built-in audiences into the stories. The format will continue to evolve, blending the immediacy of short-form with richer, more engaging experiences.

In the end, perhaps we are witnessing the birth of a new genre in cinema. Time will tell whether vertical dramas remain a stepping stone, a business model, or a revolution of their own.

Laura Romanov contributed to this report.