From the 1950s to the 1980s, we had essentially three networks dominating our television landscape: ABC, CBS, and NBC. In 1986, Fox Broadcasting joined the Big 3, but we still had over-the-air broadcasters for our TV content providers.
Then, in the early 1980s, cable TV broke into the market when CNN, MTV, ESPN, and some other specialized channels began providing service. In the early 2000s, online streaming services branched out from traditional broadcast, giving audiences exponentially more platforms on which to find the latest television show. By 2022, streaming viewership officially exceeded cable usage in the U.S.
Now, a new form of TV-viewing has arisen, and it’s not on a television at all, or even on a computer screen—but on our cell phones.
Verticals or vertical productions, also known as vertical shorts, micro-dramas, mini-dramas, verts, and more, are short, serialized stories filmed in a 9:16 portrait format specifically designed for mobile viewing on platforms like TikTok, Instagram Reels, and dedicated apps like ReelShort and DramaBox.
For comparison, at this point in 2026, micro-drama viewers in the United States number 28 million; traditional streaming platforms attract a little over 200 million watchers; the cable/pay-TV viewers number 50-60 million households (not individual viewers); and the number of “non-pay TV” households (over-the-air viewers) is projected to reach 80.7 million by the end of 2026.
A vertical drama is defined as an online audiovisual program consisting of 60 to 100 episodes with each one running from several dozen seconds to about 15 minutes. Each episode features a clear theme and the main storyline is continuous and forms a complete narrative arc.
The most successful verticals feature episodes from 1 to 2 minutes long. A complete series typically runs between 90 and 180 minutes, compared to 120 to 150 minutes for a feature film or 60 minutes for a standard episode of a traditional U.S. television series.
Along with several other characteristics (which I’ll enumerate shortly), the format of verticals is distinguished by its structure as an episodic series and its narrative-driven dramatic form from other short-form videos online such as brief clips of people’s daily activities such as vlogs; how-to’s or tutorials like tips, recipes, or educational shortcuts; or videos based on popular music, “hashtags,” or specific physical challenges.
Furthermore, the narrative style is purposely dynamic and intense. Unlike most content on platforms such as TikTok, micro-dramas are professionally produced with paid writers, actors, and crew (which accounts for the interest among unions like WGA and SAG-AFTRA).
Just as the episodes are fast-paced, so is production. Joy Quinn, co-owner of 9:16 Productions of Kansas City, Missouri, where she’s also a producer, the artistic director, and the production designer, laid out the process:
Vertical productions are quite unique in structure and timeline. Pre-production typically lasts 3-4 weeks, filming takes 6-9 days (rarely more than 12), and post-production wraps up within 1-2 months. . . . Although the total runtime equals that of a typical feature film, verticals are broken into short episodes—each lasting just about 1 to 1.5 minutes. Viewers scroll through the episodes rapidly, completing the series in one quick burst.
According to the conservative British daily newspaper The Telegraph, a Los Angeles talent agent declared: “They’re cheap and fast and nothing to be proud of—but they’re good work for young actors, despite the lousy pay.” Critics and regulators have registered concerns over the micro-dramas’ content.
Criticisms include relying too heavily on sensationalism, exploiting viewer emotions, and potential manipulation of susceptible viewers, say, ones who don’t understand the way vertical producers let them buy “extras” without leaving the app (that is, “in-app purchases”).
This entertainment sector is growing so fast that SAG-AFTRA, the U.S. labor union that represents media professionals (including actors, announcers, dancers, singers, stunt performers, voice-over artists, and others) worldwide, launched a “Verticals Agreement” in October 2025 to regulate the field. (I won’t get into the specifics of the guild’s contract; aside from the webpage, there’s also a YouTube video featuring Duncan Crabtree-Ireland, National Executive Director and Chief Negotiator of SAG-AFTRA, and Sean Astin, President.)
(In September 2025, the Writers Guild of America, the two American labor unions—WGA East and WGA West—representing writers in film, television, radio, and online media, reminded its members that writing for verticals or micro-dramas is covered by existing agreements.)
This field of video art is new to me; I only first heard of it when I received an e-mail from SAG-AFTRA announcing the new agreement. I had to look “verticals” up to see what they are, and I’m going to try to describe it for any ROTters who share my unfamiliarity. If any or all of this is already within your knowledge and/or experience, just chalk it up to the ramblings of an old geezer who’s chronically out of touch.
Verticals are bite-sized episodes meant for mobile, vertical viewing, primarily on smartphones. They got their start in China during the COVID-19 pandemic (2020-23) but starting around 2023, have expanded to the U.S., where revenues reached $1.3 billion in 2025, and are projected to rise to $3.8 billion by 2030.
The rapid growth in the U.S. is one of the primary reasons major Hollywood entities like Fox Entertainment and Disney have begun investing in vertical platforms or launching their own vertical-content divisions.
Other major players are entering the space as well, including former Miramax boss Bill Block with the platform GammaTime and the launch of the dedicated vertical studio Knockout Shorts.
The video’s portrait orientation originated in China and was designed to fill the whole screen of a smartphone held upright because producers found that audiences on platforms like ReelShort or TikTok don’t want to rotate their phones.
While tablets, as well as wearables, like smartwatches, and handheld gaming consoles can connect to the internet and play videos, smartphones are the primary device for vertical content. This is because micro-dramas are designed for people holding a device vertically with one hand, the way they already use their phones for texting or scrolling, and for which a phone is optimized, but which is awkward with a tablet.
Even though a tablet is “mobile,” it has much more screen real estate. If you watch a 9:16 vertical drama on a tablet held horizontally (that is, in landscape mode), you’ll see large black bars (or “mattes”) on each side of the video, defeating the “immersive” purpose of the format.
So, although in a general tech sense ‘mobile’ refers to any handheld, battery-powered computing device designed for portability, in the context of verticals, producers use ‘mobile’ as shorthand for “the vertical screen in your pocket.”
Producers use the vertical drama’s dimensions to ensure the content feels “native” and “immersive.” These terms have to do with the way the story is built specifically for the phone, rather than just being “shrunk down” from a TV screen.
“Native,” which is about the technical fit (it feels right on the device), refers to content that feels like it belongs on a smartphone naturally. It follows the “media language” of the device. The producer ensures that the human eye is focused entirely on the content.
As I noted earlier, it’s designed to be watched while holding the phone vertically in one hand, matching how it’s already used. Non-native content—like a horizontal movie clipped for TikTok—often has distracting mattes at the top and bottom. It respects the user’s habit of scrolling because many micro-dramas include interactive elements or “next episode” buttons positioned exactly where your thumb naturally rests.
“Immersive,” which is about the emotional grip (it feels like you are right there with the character), describes the feeling of being pulled directly into the story’s world, often through techniques that make the screen feel like a window rather than a distant display.
Because, for instance, the portrait frame is narrow, the camera stays very close to the actors’ faces. This creates an intense, “moving portrait” effect that feels more personal and intimate than traditional wide-screen cinema. Characters in vertical dramas often look directly into the lens, making it feel as if they are addressing the viewers directly or speaking to them privately.
By filling the entire vertical screen—which viewers usually hold quite close to their faces—the production blocks out the surrounding physical world, heightening the emotional impact of the drama’s cliffhangers and twists.
The typical episode length of a micro-drama is 1 to 3 minutes, often featuring high-drama suspense to encourage binge-watching. The series rely on melodramatic tropes—secret romances, revenge arcs, identity-reveal plots, supernatural and fantasy storylines, family drama, and high stakes ventures.
The first few episodes are usually free, but if a viewer wants to see more, he or she’ll have to pay—buying digital “coins” or passes from the apps (the “in-app purchase”) to watch additional content. That can cost viewers $10 to $20 a week or up to $80 a month.
Because viewers must pay or watch an ad (a trade of time for content where viewers can unlock the next hook without paying money by sitting through a 30-second video advertisement) to unlock the next 60 seconds, the vertical dramas rely on a narrative structure where every minute must end on a high-stakes emotional beat, a “vertical cliffhanger.”
Without describing verticals as addictive, one viewer said the stories can suck you in. After seeing TikTok ads for the ReelShort micro-drama series True Heiress vs. Fake Queen Bee, she watched it and then purchased a pass to finish the 85-part series.
“Despite the cheesy acting, the clip ended on a cliffhanger, and I desperately wanted to see what happened next,” said the viewer. This viewer pronounced verticals “my generation’s soap opera.”
“The stories are outrageous, and the dialogue is very two-dimensional,” said Ryan Luevano, owner/talent manager of Skyfire Artists, a Los Angeles talent management company, of micro-dramas. “This isn’t Shakespeare, but it’s also not what it’s about. It’s the modern-day soap opera. They’re written for Gen Z, and they’re consuming them on TikTok and Instagram and all these other platforms.”
Some observers, however, like Caiwei Chen, a tech reporter who covers China for MIT Technology Review, question whether micro-dramas are merely a viral curiosity. “I do worry about how soon people will get tired of it,” she offered. “It’s competing with TikTok . . . It’s competing with Instagram and a lot of other stuff.”
[In my reading on verticals and micro-dramas, I came across a post on the eponymous blog of Gary Mason, who describes himself as “a working actor and SAG-AFTRA member. I also help other actors . . . figure out this business without making all the mistakes I made.” He lays out the newly union-sanctioned field of verticals for those in the biz who might be contemplating giving it a go. I decided it’d made a good afterword for my post, so here’s what he has to say:
“VERTICAL MINI-DRAMAS:
by Gary Mason
23 September 2025
Remember when vertical video was just for Instagram stories and shaky concert footage? Yeah, that changed.
Vertical mini-dramas . . . those addictive, phone-shot serialized shows you’ve probably seen your kids (or grandkids) binge-watching . . . have gone from viral curiosity to legitimate industry. And as of October 2025, SAG-AFTRA has a contract for them.
Which means union actors can now work these productions with full protections.
If you’ve been wondering whether this vertical thing is worth paying attention to . . . the answer just became “probably yes.”
Wait, What ARE Vertical Mini-Dramas?
If you haven’t stumbled across them yet, here’s the quick version.
Vertical mini-dramas (also called micro-dramas) are short, serialized shows shot in portrait mode . . . the way you hold your phone. Episodes run 1-3 minutes each, often with cliffhangers that keep you swiping to the next one. Think soap operas meets TikTok.
They started in China during the pandemic and EXPLODED. We’re talking $819 million in U.S. revenue in 2024. Projections say $3.8 billion by 2030. In China, micro-drama revenue is expected to surpass theatrical box office this year.
Platforms like ReelShort, DramaBox, and various TikTok-native productions are pumping these out constantly. And they need actors.
The SAG-AFTRA Verticals Agreement
In October 2025, SAG-AFTRA launched the Verticals Agreement . . . a new contract specifically designed for this format.
Here’s what you need to know:
What it covers: Serialized micro-dramas shot in vertical (9:16) format with budgets under $300,000.
Why it matters: Union actors can now work these productions with protections. Before this, it was a gray area . . . or you were working non-union.
Typical pay: Lead actors are averaging around $500/day, according to Backstage. Not life-changing money, but real work.
The bigger picture: SAG-AFTRA president Sean Astin called this an “exciting new space” and said the union is “meeting the moment.” When the union creates a whole new contract category for something, that’s a signal.
This isn’t replacing traditional TV and film work. It’s adding a new lane. And for actors in regional markets like mine . . . where we’re not swimming in major productions . . . more lanes is good news.
Should YOU Care About This?
Honest
answer: it depends on where you are.
If you’re still figuring out whether acting is for you . . . don’t worry about this yet. Get your fundamentals in place first. Headshots. A basic reel. Profiles on the casting platforms. Learn how to self-tape. THEN start thinking about specialized formats.
If that’s you, my free guide “Start Where You Are” at gary-mason.com covers the mindset and first steps before you spend money on anything.
If you’re actively submitting and building your career . . . this is worth paying attention to. Not because you need to drop everything and chase micro-dramas, but because:
1. It’s real, paid, union-covered work
2. Casting for these productions is happening NOW
3. Having vertical content in your reel shows you’re
current
4. The market is growing fast . . . getting in early has
advantages
If you’re a character actor or play “types” . . . micro-dramas LOVE distinct, memorable faces. The melodramatic style actually works well for bigger performances. This might be a better fit than you’d expect.
Adding Vertical Clips to Your Reel
Even if you’re not chasing micro-drama roles specifically, having a vertical clip or two in your materials signals something to casting: this person understands where the industry is going.
You don’t need fancy equipment. You need:
- Your phone (shoot in 4K if it supports it)
- A way to mount it vertically (cheap tripod
adapters work fine)
- Decent lighting (window light or a simple LED
panel . . . no ring lights)
- Clean audio (a $20 lav mic makes a huge difference)
Keep it simple. A 60-90 second scene that shows you can perform in this format. Tight framing . . . your face should dominate the frame. That’s the whole point of vertical.
I cover reel building, self-tape setup, and how to present yourself to casting in “Beyond the Basics” at gary-mason.com. If you’re at the stage where you’re actively submitting and want to make sure your materials are working for you, that’s where to look.
What to Actually Shoot
If you’re creating a vertical clip for your reel, think about what shows you off:
For drama: A confrontation scene. Tight on your face. Emotion building. These formats reward intensity . . . don’t be subtle.
For comedy: Setup, complication, punchline. Reaction shots work great in vertical because you’re RIGHT THERE in the viewer’s face.
For either: Keep it under 90 seconds. Front-load the good stuff. If casting is scrolling through reels, they’re deciding in the first few seconds whether to keep watching.
One or two solid vertical clips is plenty. You’re not replacing your horizontal reel . . . you’re supplementing it.
The Bottom Line
A year ago, I would have told you vertical mini-dramas were an interesting trend but not something to prioritize. Now? SAG-AFTRA built a contract for them. The money is real. The productions are hiring.
Does that mean you should drop everything and pivot to micro-dramas? No. Get your fundamentals right first. But if you’re already in the game and looking for more opportunities . . . this is a door that just opened.
And doors that just opened tend to have less competition on the other side.
[Mason has more advice on
other matters of interest to actors—not just verticals—so interested actors
should log onto his blog and have a look.]
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