Vertical Dramas, the New Studio Model, and Why Actors Should Pay Attention—Without Losing Perspective

I recently had the opportunity to speak on a Vertical Dramas panel at the Hollywood Movie Awards, alongside casting director Paul Ruddy, and platform leaders Yoko Chen (GoodShort) and Jenny Rosen (DramaBox). The conversation was less about hype and more about clarity—specifically, how this format fits into the larger ecosystem actors are navigating today. Actors will recognize Paul Ruddy’s name immediately. From a casting and production standpoint, he spoke to the growth and volume of vertical drama projects currently being produced, emphasizing that this space is still in its early chapters. The takeaway wasn’t that verticals are “the future” at the expense of everything else, but that they represent a growing lane where real work is happening now—and will continue to expand as the infrastructure around it matures.

Yoko Chen and Jenny Rosen offered insight from the platform side, highlighting a reality that shapes vertical storytelling in very specific ways: these projects are competing directly with social media for attention. Viewers are scrolling, often distracted, and the story has seconds to earn engagement. As a result, vertical dramas prioritize immediate impact, bold emotional hooks, and clear stakes from the very first moments. That doesn’t make the work lesser—it makes it different. What I kept coming back to, both on the panel and in conversations afterward, was how familiar this pattern actually is. The industry has seen this before. Mobisodes didn’t replace television. Web series didn’t eliminate film. New formats emerge in response to how audiences consume content, then find their place alongside existing mediums. Vertical dramas are no different. To be clear: I don’t see vertical dramas as replacing film or television. They are another format, another lane—shaped by mobile viewing habits and short attention windows—existing alongside traditional storytelling, not erasing it. Film, television, theatre, digital, and verticals all ask something slightly different of performers, and each offers its own kind of opportunity.

What makes vertical dramas worth paying attention to is not novelty, but accessibility and volume. These projects are being produced consistently, offering actors chances to work, build momentum, and sharpen skills that translate across mediums: emotional clarity, camera intimacy, adaptability, and efficiency. Those are not “vertical-only” skills—they’re foundational.

In many ways, this moment mirrors an earlier Hollywood model, where actors built careers through consistent output and visibility within a system. The system has changed. The screens are smaller. The pace is faster. But the core idea—actors working, growing, and being seen—remains the same.

As artists, we don’t have to choose one format and reject the rest. The healthiest careers are built across multiple mediums, with curiosity instead of fear. Embracing vertical dramas doesn’t mean abandoning film or television. It means understanding where audiences are, where work is being created, and how to move fluidly between formats.

I’m grateful to the Hollywood Movie Awards for creating space for conversations like this—ones that don’t push a single narrative, but instead help artists see the full landscape more clearly. As the industry continues to evolve, staying informed and adaptable remains one of the most valuable tools an actor can have. For related events and acting resources, visit studioforperformingarts.com.