Jennifer Cooper stumbled upon her initial vertical drama while browsing through TikTok. The advertisement showcased a melodramatic series centered around a woman seeking retribution against her unfaithful partner and hostile family by entangling herself with her partner’s affluent uncle. The themes of envy and love in the series resonated with Cooper’s interest in Chinese dramas, prompting her to binge-watch the brief episodes before investing in the full story.
The conclusion of the narrative saw the woman finding love and overcoming her tumultuous family. This experience inspired Cooper to delve into reviewing and creating content about such billionaire romances, authoritative figures, and vindictive vampires that dominate the platform’s microdramas.
Microdramas, which offer outlandish tales in one- to two-minute segments in a vertical format tailored for smartphones, have garnered substantial attention. Various apps are dedicated to this content, heavily promoted on social media platforms like TikTok. Although individual videos are short, the entire storyline unfolds across numerous segments, akin to a segmented movie.
Despite the somewhat predictable plots, these videos have captivated audiences, attracting interest from Canadian producers and talent venturing into this burgeoning medium. The microdrama trend echoes the short-video concept of Quibi, a mobile-first platform that struggled in North America but flourished in China.
The microdrama industry in Asia has thrived, with reports indicating a staggering $7 billion US revenue in 2024, surpassing box office earnings. This success has prompted Japan and South Korea to venture into similar productions, and the global microdrama industry is projected to reach $9.5 billion US by 2030.
The format’s popularity has extended to Canada, with industry professionals like director Samantha MacAdams embracing microdramas due to their rising influence in the entertainment landscape. While the industry presents ample opportunities for actors like Evan Bacic, concerns persist regarding compensation and production quality, particularly in non-unionized settings.
Efforts are underway to address these issues, with initiatives aimed at establishing pay standards and ensuring safety on microdrama sets. Despite the industry’s rapid growth, challenges such as lack of diversity in casting and stereotypical narratives have been highlighted by critics and fans alike.
Tim Zhou, CEO of Ottawood Film Studios, emphasizes the need for patience and skill development within the vertical format. As the industry evolves, Zhou believes that with a focus on quality production, vertical dramas represent a significant opportunity in the entertainment sector.