Vertical Series: The New Series Format of Mobile Phones
“Vertical series” refers to a new generation of scripted series format designed specifically for smartphone screens. Globally, it is also known as micro-drama, short drama, vertical drama, or by its Chinese name duanju. Its main distinction is not merely its short duration; rather, the content is produced from the outset with a 9:16 vertical screen format, fast-paced editing, cliffhangers, micro-payments, and algorithm-driven recommendations in mind. Episodes are typically around one minute long, each ending with a strong “hook” that leads viewers to the next episode. According to WIRED, these productions resemble low-budget feature films; however, they are shot vertically, divided into one-minute segments, and almost every episode ends with a cliffhanger.
The commercial origin of the format lies in China. Micro-series known as “duanju” began appearing around 2018 on short video platforms like Douyin and evolved into a full-fledged industry during the pandemic. Three key needs drove this rise: users consuming content in short breaks while holding their phones vertically, a shift toward fragmented viewing habits compared to long-form series and films, and a content model that is faster, cheaper, and more measurable than traditional television for producers.
Data shows that this format is not just a temporary social media trend. According to the 55th report by the China Internet Network Information Center, as of December 2024, there were 662 million micro-series viewers in China—equivalent to 59.7% of the country’s internet users. The same report states that there are 1.04 billion short video users and 1.105 billion mobile internet users in China, with 99.7% of internet users accessing the internet via mobile phones. This clearly explains why vertical series first scaled in China: a massive mobile user base, strong short video habits, and a mature digital payment culture.
In the global market, the most notable platforms include ReelShort, DramaBox, GoodShort, DramaWave, NetShort, FlickReels, ShortMax, FlexTV, and in some markets, Kuku TV. According to Sensor Tower’s 2025 report, global in-app revenue from short drama applications increased from $178 million in Q1 2024 to approximately $700 million in Q1 2025. During the same period, global downloads exceeded 370 million, with cumulative downloads reaching around 950 million. In Q1 2025, ReelShort and DramaBox led in revenue, earning approximately $130 million and $120 million respectively.
The business model differs from traditional subscription-based streaming. Many apps offer the first few episodes for free, then continue with tokens, weekly subscriptions, ad-based unlocking, or pay-per-episode models. ReelShort describes itself on the App Store as a service offering “exclusive vertical TV mini-series” with one-minute episodes for easy mobile viewing. Similarly, DramaBox emphasizes “bite-sized entertainment,” exclusive short videos, a frequently updated library, and the ability to watch anywhere on its Google Play page.
From an industry perspective, the most important innovation of vertical series is the acceleration of the production cycle. According to Reuters, micro-drama budgets in China range from approximately $28,000 to $280,000. Vertical shooting and social media distribution significantly reduce costs. While distribution and feedback for traditional TV series or films can take years, feedback in micro-drama production is gathered much more quickly, and new content decisions are shaped directly by viewing data.
For end users, the appeal of the format is clear: it provides quick dramatic satisfaction during commutes, lunch breaks, or before sleep. However, this also creates risks. When cliffhangers, micro-payments, and autoplay combine, users may unknowingly spend significant amounts. As a result, subscription conditions, token pricing, age restrictions for children, and data privacy are becoming more prominent discussion topics.
Technologically, vertical series are not merely “TV shows adapted for phones.” This format operates alongside mobile CDN distribution, adaptive bitrate streaming, personalized recommendation algorithms, multilingual subtitles/dubbing, rapid localization, performance analytics, and A/B testing. According to WIRED, the industry incorporates highly detailed user data—such as where viewers drop off or when they convert to paid subscriptions—into production decisions. Quibi’s “Turnstyle” technology in 2020 aimed to allow both vertical and horizontal viewing of the same scene; however, today’s vertical series wave has grown in a very different way, driven by social video habits and micro-payment economics.
Today, the vertical series market does not replace long-form streaming like Netflix but rather creates a parallel layer of content consumption. Hollywood’s growing interest is notable: Peacock licensing micro-dramas from ReelShort and planning Bravo-branded original micro-dramas shows that vertical formats are no longer a niche market limited to Asia.
In Turkey, vertical series are still in an early stage; however, they hold strong potential due to high mobile video consumption, widespread social media habits, and the strong storytelling capacity of the Turkish TV industry. With proper positioning, high-quality scripts, transparent payment models, and culturally relevant genres, vertical series could become a low-cost testing ground for producers, a storytelling-based advertising channel for brands, and a new form of entertainment offering intense emotional experiences in a short time.
Conclusion: Vertical series is a new media format that fills the gap between “short video” and “professional drama.” Born in China and rapidly expanding into the U.S. and other markets, it has built its own economy through data-driven production and mobile payment models. In the coming period, the winners in this field will not simply be those who produce the most content, but those who understand local culture, manage user experience transparently, and deliver compelling stories in a short time.
Closely monitoring the development of broadcasting, satellite, media technologies, and digital platform ecosystems in Turkey, TUYAD – Association of Telecommunications, Satellite and Electronics Industrialists and Businesspeople – places importance on topics such as vertical series, mobile broadcasting, and next-generation content consumption habits from an industry perspective. TUYAD President Hayrettin ÖZAYDIN follows these rapidly changing technological and commercial models worldwide, evaluating current developments, user behavior, and platform economics on behalf of the sector. TUYAD continues its efforts to ensure that the transformation in media and broadcasting is properly understood in Turkey, to prepare local producers for new opportunities, and to support the sustainable development of the industry.
