Hollywood is betting big on vertical microdramas told in chunks under two minutes. Can a gimmick turn into a new form of entertainment?

If you have been anywhere close to the social media blast radius of The Summer I Turned Pretty, Amazon Prime’s breakout YA series on a tortuous teen love triangle, you may be familiar with the plight of Henley and Luca. The star-crossed lovers of a short-form video series called Loving My Brother’s Best Friend – plot self-explanatory – have made waves on TikTok with yearning stares and “I/we can’t do this” drama that echo the many fan edits of beloved TV couple Belly and Conrad. But whereas The Summer I Turned Pretty explored its central tension over 40-minute episodes on streaming, Loving My Brother’s Best Friend, produced by a short-form company called CandyJar, distilled its appeal to its barest essences: sexual tension hook, escalating line and cliffhanger sinker, all within two-minute “episodes” on your phone. Without even meaning to or really wanting to, I watched the first 10 chapters (of 44) in one 15-minute gulp – and I’m not the only one.

Hollywood is hoping that you, too, will be hooked. Though Loving My Brother’s Best Friend may not look like a typical Hollywood product – in fact, it resembles some mix of teen show, soap opera and amateur fan-cam edit – the industry is investing heavily in the future of series like it: low-budget, mobile-only “microdramas” with episodes between 60 and 90 seconds. These shows, also known as “verticals” for their phone orientation, have already become widely popular in China, where mobile screens dominate entertainment even more than in the US. In just three years, revenue for serialized short-form drama in China rose from $500m in 2021 to $7bn in 2024, and is projected to reach $16.2bn by 2030. The global microdrama market for 2025 is estimated at anywhere from $7bn to 15bn – and booming, with nearly triple revenue growth for microdrama companies outside China in the past year.

The documentary-maker on new film 2000 Meters to Andriivka (the Guardian’s No 2 film of 2025), being on the Oscar circuit with 20 Days in Mariupol and filming on the frontline

Adrian Horton: I know you were showing your prior film, 20 Days in Mariupol, to western audiences when you began working on this film. What brought you back to the frontlines?
Mstyslav Chernov: What brought me back was not speaking to the audiences, even, but just coming out of Mariupol, we were so devastated and so scarred by what happened. And then we went off to Bucha, where we saw more war crimes. And then I went to Kharkiv, my home town, which was bombed every day, just as Mariupol was. So even when we were starting to edit 20 Days in Mariupol, I was already looking for a story that would be, in a way, a response to that feeling I had, of devastation and helplessness. I kept seeing Ukraine as a victim of this brutal invasion, and I wanted to tell another story which would have an opposite direction – to show some sort of agency, some sort of strength and response to that violence, when Ukrainians push back.

AH: And that was when Mariupol was already out? What was that dissonance like for you – being on the Oscar circuit, then filming on the frontlines?
MC: That was when the theatrical release started in July. It was the same time as Barbie and Oppenheimer, and it was the same time when we had dozens and dozens of Q&As for the wider public. It was when the first receptions and red carpets started. But of course, at the same time, the frontline was on fire. Ukraine was fighting this counteroffensive. And I would go from those places in the United States, in the UK, in Europe, these beautiful, peaceful cities, back to Ukraine – fly to the border, get a car, get a train, get another car, get in a trench. And in that trench, I would see a world that was so different. It would be like another planet, or 100 years backward in time. That collision of two worlds – I just tried to express it. I tried to comprehend it, how we live in a world where both war and peace and humanity and violence exist. And so 2000 Meters to Andriivka naturally became a film about distances, not just about the reality of war, not just about the humanity of people who are pinned down in those foxholes. But also about the distance between Europe and Ukraine, between Ukrainian society and people in the trenches. Hopefully that comes through.

Annual UCLA study finds declines in cultural diversity behind and in front of the camera since last year

Popular scripted series on streaming services showed a marked decrease in cultural diversity both behind and in front of the camera last year as Hollywood inclusion programs waned, a new study from the University of California at Los Angeles concluded.

The latest edition of the school’s Hollywood Diversity report, published Tuesday, found that of the top 250 most-viewed current and library scripted series in 2024, more than 91.7% were created by a white person, with white men accounting for 79% of all show creators – both increases from last year. Diversity also slipped for performers, with white actors cast in 80% of all roles.