Vertical dramas, a phenomenon that originated in China, are captivating millions of viewers on their smartphones. Surprisingly, this trend is also creating job opportunities for film and TV crews in the UK.
These quick, melodramatic stories—often with eye-catching titles like A Flash Marriage with the Billionaire and My Firefighter Ex-Husband Burns in Regret—are designed for consumption in one-minute episodes, perfectly fitting the vertical screen.
The UK has become an attractive filming location for these generally low-budget productions. This appeal stems from the popularity of British actors, the charm of iconic UK locales, particularly for aristocratic-themed stories, and lower production costs compared to the US.
The rise of vertical dramas comes amid a decline in traditional film and TV employment in the UK, with nearly one in five freelancers currently out of work.
British director Dan Löwenstein, who has directed 16 vertical dramas in the past year—including a U.S. adaptation of Pride and Prejudice—is currently filming Obsessed with My Scheming CEO, a remake of a hit Chinese series. Löwenstein emphasizes that the genre provides “income and opportunities” for cast and crew. “This format allows actors to take on leading roles, and for the crew, there’s a chance to work almost full-time due to the high volume of productions.”
The pace of vertical drama production is notably different from traditional formats. While a typical feature film might shoot three pages of script per day, Löwenstein has reached up to 25 pages in a day for vertical dramas, sometimes completing 77 pages in just seven days. Catchy lines like “I’m about to be engaged, you’re about to be married. One last round?” are common.
However, Löwenstein acknowledges the challenge of maintaining quality in such a fast-paced production environment. “The rapid pace can compromise quality, but as a director, finding ways to maintain a high standard while pushing the story forward is a stimulating challenge.”
Despite the increasing popularity of vertical dramas, there remains a certain stigma about them in the UK. “Some professionals still look down on this genre,” Löwenstein notes, “but it’s gradually gaining legitimacy as the scripts improve.”
Zoey Edwards, a hair and makeup artist with experience on Bridgerton, reflects on the impact of vertical dramas on her career. “After nine months of no work during the Hollywood strikes, this genre filled a gap when the industry was slow to recover,” she says, although she admits that the scripts may not always be thrilling.
With demand for vertical content surging—global downloads of vertical drama apps rose by 460% last year—many industry professionals see this trend as a unique opportunity. “Vertical dramas have significantly improved my financial situation,” says Tom Walder, a director of photography who worked on several such productions.
For some, like Charles Alexander, a lighting technician, vertical dramas provided immediate employment in a tough market. They are perceived as an accessible entry point for newcomers. Tim Barber, an actor who transitioned from telecommunications to performance, describes them as ideal for those starting their acting careers.
Producers are increasingly drawn to the UK for its suitability in themes of royalty and aristocracy, with filming costs often lower than in the U.S. However, industry experts caution that reliance on cheap productions could reflect ongoing struggles in traditional television.
Löwenstein believes that mastering this format is essential, given society’s heavy reliance on smartphones. “Our goals are twofold: to elevate the quality of vertical dramas and to pave the way for more high-quality film and television projects in the future.”
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