Vertical Leap: Growing the Free Vertical Drama Business at Streaming Media Connect
On Thursday, February 26, at Streaming Media Connect, Chris Pfaff, CEO, Chris Pfaff Tech Media, moderated the panel “Vertical Leap: Growing the Free Vertical Drama Business at Streaming Media Connect,” which explored the ways that vertical drama is exploding on free streaming platforms, driven by mobile-first viewing, bingeable formats, and a new generation of viewers and global creators.
The panelists were Grace Gao, Founder/Executive Producer, Celestine Pictures, Inc., Thom Woodley, Partner, Hudson Vertical, Brandan Dennehy, CEO & Head of Vertical Drama, Stratagem Vertical, and Carina Williamson, Creative Operations Lead, GoodShort.
Key points discussed included the following:
The potential of vertical series to become a major mass media form
Pfaff began the discussion by noting that vertical microdramas are a rapidly evolving and exciting new area of media. He asked the group, “How can a seasoned executive in microdrama leverage their past experience from traditional film and TV to increase both artistic and commercial value of this medium?”
Woodley shared his journey from early web series to mobile storytelling, emphasising the importance of compact stories and the potential of vertical series to become a major mass media form. “I think we are starting to see the aperture widen,” he said. “We're not only talking about micro budget production…we are now at the precipice of this really becoming a big new mass media in a way that we haven't seen in a while.”
The integration of AI in content creation and distribution
Grace Gao discussed the launch of her microdrama studio, Celestine Pictures, and the integration of AI in content creation and distribution. “We are focusing on IP screenwriting as our core moat, but also utilising AI in the pipeline, and also acquiring and distributing internationally at the same time,” she said. “And where it all came from was [that] I've been a bilingual person my whole life, and I started out my film and TV career out in New York, the very independent filmmaking scene, traveling with a co-production crew around the world, from Australia to Asia, back to the States."
She went on to recall that, "after coming out of grad school with a screenwriting degree, straight into the strike, the only gig in town was the verticals. So I naturally fell into this landscape and started learning about this new medium early because of that, learning from the best platforms out there, best collaborators early in the game. Now I’m able to see where we fit best in this entire landscape, and I decided to establish our own thing, really honing in on human creativity as we're evolving further into automation, trying to cut the cost down across the board.”
The shift in content strategy and audience engagement for microdramas
Brandan Dennehy recounted his experience with Pocket FM and the rise of microdramas, noting the shift in content strategy and audience engagement. “I sort of backed my way into this space completely by happenstance, even before microdramas were a thing. I spent 20 years in Hollywood working with folks like David Ellison, Kevin Feige, and Michael Mann. And even then, it was impossible to get anything made. The pandemic came along and killed everything that I had set up, and serendipitously, a company [Pocket FM] reached out to me, pitched themselves as the Netflix of audio, and I said, sure, let's do it. And what I learned immediately was that this company's business model was quite different than anything else that was going on.
“We were licensing content from China, we were localising it, we were testing it. And then, when we were validating through testing, we would make those shows for the US audience. And that model was in late 2021, which led to the explosion of microdramas about a year and a few months later, when ReelShort came out. And so we moved into that space in our own way at PocketFM, mostly for marketing purposes, but also putting shows in the app.
Carina Williamson highlighted the opportunities for new graduates in the vertical space and the rapid production cycles that allow for quick audience feedback and content adaptation. “We're seeing a new generation similar to me who are coming to Hollywood out of school or moving to try and make a career in entertainment. And they're all turning to verticals instead because, one, there are just so many of them that there's an endless amount of options, and also because there is a severe lack of options in the traditional Hollywood space.” She also emphasised that microdramas are well-suited for highly optimising audience engagement due to their quick turnarounds. “[We] have the opportunity to see projects through from script to production to editing to release in such a short amount of time, and be able to understand the data and our audience in such short timeframes, make such quick decisions, test things out, and get to understand what people are looking for out of this new form of media.”
Brand integration in vertical dramas
Woodley discussed the unique opportunities for brands to fully integrate themselves into vertical dramas. “I’m Dos Equis, and at the top of the quarter, I could say, ‘Oh, you know what? I think I'll do a microdrama. And by the end of the quarter, it's out, and I have my results.’ And that's the kind of thing we did when I was at College Humor, leading the branded content division, but that would be for a brand with a one-off sketch video. And now the question is really, well, why can't a brand make an entire series? And they've started to. Procter & Gamble recently made a 55-episode series with Jonas [Barnes] at Pixie USA. And there's been a couple of other experiments in this space, [such as] Maybelline.”
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