Streaming, we thought, was the latest visual form of storytelling. But now, another change is abound. The cinematic landscape is undergoing a dramatic shift, not just in content but in orientation. While we’re used to looking at a horizontal (or rectangle) screen, one movement, the “vertical dramas” movement of filmmaking and TV series, is increasingly embracing the vertical screen format.
These films and TV shows are driven by the ubiquity of smartphones and evolving audience consumption habits – According to a recent report from Harmony Healthcare IT, screen time statistics show Americans are spending an average of 5 hours and 16 minutes per day on their phone, a 14% increase from the previous year. With more daily smartphone time comes more smartphone cinema.
At the forefront of this vertical cinema revolution is Los Angeles-based film producer Zhiyan Li, a visionary producer whose work bridges traditional cinematic artistry, female-led storytelling and the fast-paced demands of vertical storytelling. With a global sensibility shaped by her academic journey across China and South Korea and an MFA from ArtCenter College of Design, Li is not just adapting to the vertical format; she’s actively defining its creative and commercial potential.
“Vertical dramas operate on a completely different logic from traditional film production,” Li explains. “The pace is significantly faster: we typically complete a 90 to 120-page script in just 7 to 12 shooting days. This speed demands extreme clarity from both creative and production perspectives.”
For Li, producing isn’t just about managing logistics; it’s about translating abstract ideas into executable visual strategies, ensuring cohesion across all departments. This skill is particularly critical in the high-stakes, rapid-fire world of vertical productions.
The technical specifics of the 9:16 frame fundamentally alter how stories are told and perceived. “Unlike horizontal films, the 9:16 frame places the viewer directly in front of the performer,” Li notes. “The audience captures every micro-expression, every breath, every detail of wardrobe and makeup. Because of this, vertical storytelling is performance-driven and detail-sensitive.”
This unique demand has reshaped Li’s approach to production workflow within a two-week production window. “As a producer, I structure workflows that prioritize this immediacy. I coordinate departments so that acting, costume, makeup, and props remain consistent and emotionally aligned, even under tight deadlines. I redesign coverage for the vertical format, ensuring that blocking and composition emphasize the intensity of character interactions.”
The vertical drama is the new engagement powerhouse. In fact, the explosive growth of vertical dramas isn’t accidental; it’s a direct response to modern viewing habits. When asked about their surging popularity, Li explains: “Vertical dramas have surged in popularity because they fit the way audiences consume stories today. Episodes are usually two to three minutes long and structured around constant tension, reversals, and emotional payoff. This rhythm creates a natural impulse to keep watching, which is why many viewers finish dozens of episodes in a single sitting.”
She elaborates on the format’s addictive nature, which almost lends itself well to tabloid-inspired soap operas. “The format also favors strong hooks and tight storytelling,” she said. “Every scene needs to move the plot forward, and every episode ends with a twist that pushes the viewer into the next one. This efficiency is part of the appeal. Audiences feel that the story is always giving them something new without unnecessary pauses.”
While the comparison to classic television might seem obvious, Li clarifies the distinction. “In a way, vertical dramas carry the addictive nature of classic soap operas, but they are not simply a modern replacement. Soap operas relied on slow-burn arcs and long-term character development, while vertical dramas are designed for fast emotional impact and immediate engagement. They represent a new storytelling language shaped by mobile platforms, short attention spans, and global viewing habits.”
This strategy has proven highly effective, especially among Gen Z and millennials, who consume 87% of their video content on mobile devices, and increasingly, among older demographics, particularly women over 45.
Vertical dramas do originate from China, but now, they are a global phenomenon. Though, the genesis of this entertainment juggernaut can be traced back to the East. “China was the first market where vertical dramas saw explosive growth, driven by platforms like ReelShort, DramaBox, and GoodShort,” she said. “The model was shaped by mobile-first viewing habits and a strong appetite for fast-paced emotional storytelling. Now, it feels like vertical films are everywhere.”
This initial spark has ignited a global fire. The vertical drama market has already exceeded $8 billion globally, with China accounting for the lion’s share, generating over 50 billion yuan ($6.9 billion) in 2024—surpassing the country’s total box office revenue. The global market is projected to grow from $4.72 billion in 2025 to $8.42 billion by 2031, at a Compound Annual Growth Rate (CAGR) of 10.8%. Platforms like ReelShort pulled in over $1 billion in 2024, while DramaBox reported $323 million in revenue and $10 million in net profit. In Q1 2025 alone, mobile users spent almost $700 million in in-app purchases for vertical drama apps, a nearly four-fold increase from the previous year.
“As these platforms expanded internationally, the format began drawing Western actors, crews, and directors,” Li continues. “In Los Angeles, vertical dramas have even become a source of employment for underutilized film workers. The trend is no longer regional; it has become a cross-cultural production ecosystem with China acting as its catalyst.”
Li’s personal success within this rapidly expanding sector is evident. When asked about her most widely engaged project, she proudly states, “The most widely engaged project I have worked on is ‘Flash Marriage At 40: My Second Chance,’ which has received over 51 million likes across vertical-drama platforms.” This demonstrates the immense reach and engagement these series can generate, with their irresistible cliffhangers and themes often revolving around “I secretly married a billionaire” or “my secret life as a werewolf.”
With platforms like DramaBox averaging 44 million monthly active users during the first half of 2025, and budgets often kept low with production cycles as short as 8-10 days, the vertical drama industry is a lean, mean, storytelling machine. Zhiyan Li stands as a testament to the innovative spirit required to thrive in this new entertainment frontier, proving that compelling narratives, fast-paced production, and a keen understanding of audience behavior can redefine the very future of film. The small screen, held vertically, is indeed becoming a massive stage.
Beyond viewership, vertical dramas are also creating a new breed of celebrity. “Vertical dramas naturally create viral performers because the format places actors at the emotional center of the story,” Li explains. “With episodes running only two to three minutes and filled with constant emotional turns, audiences form quick, intense attachments to the characters. When viewers respond to a performance, they follow the actors across platforms, create edits, and even build fan communities around on-screen couples.”
This fan engagement is a powerful engine for talent recognition. “These ‘couple pairings’ often generate their own momentum, giving the actors steady visibility and recurring engagement. As platforms notice the stable traffic these performers bring, they cast them in additional projects, amplifying their reach even more. Over time, this cycle turns certain actors into recognizable stars of the vertical-drama space, with growing social-media influence and consistent work opportunities,” Li concludes.
