Jennifer Cooper stumbled upon her initial vertical drama while browsing TikTok. The advertisement showcased a dramatic series revolving around a woman seeking retribution against her unfaithful boyfriend and hostile relatives by seducing her boyfriend’s affluent uncle. The themes of jealousy and romance resonated with Cooper, reminiscent of the Chinese dramas she enjoyed, prompting her to watch all the brief episodes before investing to witness the conclusion.
Ultimately, the protagonist found love and conquered her challenging family. Consequently, Cooper, now involved in reviewing and creating content on similar series online, was captivated by the plethora of narratives centered on billionaire romances, authoritative figures, and vindictive vampires on the platform.
Enter the realm of microdramas—outrageous tales presented in one to two-minute segments in a vertical format, directly accessible on smartphones. Numerous apps are dedicated to this content, extensively advertised on platforms like TikTok. While each video is concise, the entire storyline unfolds over numerous segments, akin to a movie divided into fragments.
Although the plots may be foreseeable, these videos are garnering substantial attention, even from producers and talent in Canada venturing into this emerging medium.
**The Ascendancy in Asia**
For individuals in the North American entertainment sector like TV journalist Elaine Low, the concept evokes memories of Quibi, a short-video streaming platform tailored for on-the-go viewing that ceased operations in 2020 after a brief tenure. While the format did not thrive in North America, it has flourished in China in recent times.
The microdrama industry in China purportedly amassed $7 billion US in 2024, surpassing the country’s box office revenues. Japan and South Korea are following suit by delving into similar drama productions, with the global microdrama industry projected to reach $9.5 billion US by 2030.
Low highlighted the incursion of this industry into the North American landscape over the past year, catching the attention of even traditional Hollywood studios. Notably, Fox struck a deal with microdrama creator Holywater, and DramaBox received investments and partnership opportunities from Disney last year.
**The Compensation Conundrum**
The trend has also gained traction in Canada, although the extent of microdrama productions in Hollywood North remains unclear. Actors like Evan Bacic have found consistent work in vertical dramas, filming numerous productions since June 2024. Bacic emphasized the abundance of opportunities these verticals offer compared to sporadic gigs in background acting and commercials.
Despite the accelerated pace on microdrama sets, with actors shooting multiple pages per day, labor conditions remain a concern. The absence of unionization leaves workers vulnerable in terms of wages and safety on these sets.
ACTRA Toronto’s president, Kate Ziegler, mentioned a pilot initiative to establish pay standards for microdrama actors and ensure safety measures, including the use of intimacy coordinators and regulations for underage actors. While only one project has undergone this pilot program, Ziegler anticipates further participation to empower actors and uphold industry standards.
Critics like Jennifer Cooper have raised issues regarding the lack of racial diversity in casting and the reliance on stereotypical storylines in microdramas. Tim Zhou, CEO of Toronto-based Ottawood Film Studios, acknowledged critiques of the writing and acting quality in verticals, emphasizing the industry’s nascent stage and the need for patience to refine skills in this format.
Zhou expressed optimism about the future of verticals, asserting that with quality production and talent development, vertical storytelling presents substantial opportunities in the entertainment domain.
