I stumbled upon my homeless billionaire husband for Christmas, the quarterback by my side, XXL’s wife’s revenge, and my secret agent husband.

These may seem like whimsical fantasies, but they are actually part of a genre known as “vertical drama.” This innovative format for episodic television has captured the attention of millions of people worldwide.

Originating from China, the genre, often referred to as “Tiktok generation television,” consists of short episodes designed for viewing on smartphones. By 2027, the market for vertical drama is expected to reach a value of $14 billion (£11 billion).

“The growth of this genre signifies a demand among audiences that is not being met by the current media landscape,” explains Zhou Yuan, the founder of content Republic, a Beijing-based vertical film production company, as reported in a recent interview with a Hong Kong cinema.

Micro-dramas, known as Duanjus in Chinese, have made a significant impact on the Chinese audiovisual market before expanding globally, transforming the industry. Chinese companies are collaborating with foreign production firms to export this format, supported by a range of new streaming apps such as Reelshort, ShorttV, Dramapops, and FlextV.

In November of last year, California-based Reel Short, backed by Chinese investors, surpassed Tiktok as the most popular entertainment product in the Apple App Store in the US.

“Some skeptics questioned the willingness of audiences to pay for this content,” remarked Joey Jia, the CEO of Crazy Maple Studio, the company behind Reelshort, in an interview with the Washington Post.

Viewers are captivated by the familiar tropes found in Booktok readings, such as secret billionaires, forbidden love, and supernatural enemies. They are hooked by catchy titles, suspenseful cliffhangers, and dramatic moments. Typically, these apps offer a few free episodes before requiring a paid subscription. Similar to video games, Reelshort allows users to purchase “Coins” to access additional episodes.

Jen Cooper, the UK-based founder of Vertical Drama Love, has a passion for romantic films and comedies, which drew her to this format.

“Last April, during a challenging personal time, I found it difficult to focus on full-length dramas,” Cooper shared. “One day, I stumbled upon a vertical drama ad on Tiktok that piqued my interest.”

She delved into her first vertical drama, a captivating tale of a woman torn between her ex and uncle, titled “You Belong With Me.” “It embodies classic themes but at its core, it’s a beautiful love story with genuinely entertaining moments,” she remarked.

Cooper fell down the rabbit hole, creating an Instagram account to share reviews, connecting with industry insiders, and fostering a community of enthusiasts. The response was overwhelming, with over 16,000 votes from around the globe within a week of launching a fan award.

She discovered that many individuals turned to vertical dramas during challenging periods in their lives. “I’ve heard stories from family members, fans battling serious health issues or caring for loved ones. The audience ranges from women in their early 20s to their 60s. I’ve spoken to a Pakistani student, an elderly Italian woman bedridden, and a mother who lost her husband while doing household chores,” she shared.

The universal appeal lies in escapism, offering a quick dose of dopamine when life becomes overwhelming. “People yearn for satisfying outcomes, and let’s be honest, who doesn’t enjoy seeing incredibly attractive individuals fall in love?

Defne Turan, a production manager at London’s Seastar Productions, believes that vertical drama is the way forward.

She noted a surge in interest from filmmakers and actors eager to be part of this burgeoning genre. “It’s a new frontier, and we must approach it with the same level of care as traditional productions. Just because it’s different and fast-paced doesn’t mean we compromise on quality,” she emphasized. “We utilize industry-standard equipment, and many experienced production crews and makeup artists from major productions are involved.”

For many actors like Teig Sadana, vertical dramas offer a lifeline in a competitive industry. They provide consistent work amidst strikes and cutbacks. Verticals are typically shot in just 7-10 days, with two cameras capturing scenes in a single take.

Teig Sadana, a 29-year-old Australian British actor based in New York, transitioned to vertical dramas after completing his studies at Stella Adler Studios.

“I responded to a rather standard acting job ad on a website, not fully comprehending what ‘vertical’ entailed. I needed the paycheck,” he admitted. After a brief conversation with the supervisor, he found himself on set a few days later filming “Glory of Pennsylvania’s Revenge.”

“Since then, I’ve worked on 10 films across various major vertical platforms, collaborating with talented professionals and experiencing the joy and stability of consistent work,” Sadana shared.

Initially challenged by the format’s constraints on character development, Sadana learned to embrace its unique style, preventing him from “overindulging.”

Nick Westway, a former star of the Australian soap opera “Home and Away,” currently stars in “The Double Life of Hitmaster President.”

According to Zhou, Content Republic plans to produce 400 vertical dramas annually, with 200 intended for the domestic Chinese market and 200 for international audiences.

While it remains to be seen if the novelty of the genre will fade (some platforms have ceased operations within six months), even established media companies are taking note of the trend and striving to engage younger audiences. In 2023, Paramount Pictures released a series of 23 snippets from “Mean Girls” on Tiktok.

“This is a space that resonates with audiences and offers valuable insights into how creators and viewers embrace it,” remarked Sacha Kari, Channel 4’s digital commissioning manager.