DUANJU  NEWS

On journalist Jen Cooper 's Vertical Drama Love channel, actor Nick Ritacco looks back on his career, his notable roles and his vision of vertical drama. A rising star in vertical drama, rewarded for his role as M in Crush on the Unwanted Princess , he is now working on a string of productions in a format that is undergoing rapid change. With his assertive presence and intense gaze, he has what we call a real cinematic face, an asset that is not lost on fans or platforms. A former stage actor trained in New York, Ritacco moved into the vertical in 2023 with Billionaire CEO's Obsession . There, he discovered a universe that was still relatively uncharted, fast-paced, but capable of saying a lot with little. Since then, he has played a variety of roles, including antagonists, gangsters, and more ambivalent figures. But it's his stance on cynicism that sets him apart: Ritacco takes on sometimes improbable scenarios, such as a romance between a mafia woman and a werewolf, but refuses to play them ironically: "It was absurd, but we played it seriously. Never cynically. We didn't make fun of the script. We treated it like a realistic drama." We share this vision: acting seriously means respecting the genre, the character, and the audience. He nevertheless expresses reservations about the increasing speed of filming, which leaves little room for nuance and acting. Despite the pace, Nick Ritacco strives not to deliver any scenes "on the cheap." He dreams of projects where the tension wouldn't be based solely on overkill. He talks about the desire to play a worn-out detective or a more introspective character, in a duanju capable of telling a different story. Will the future of this format allow us to meet these aspirations? At Duanju.news, we wish this promising actor to find roles that live up to his aspirations. If needed, activate subtitles in your language. #JenCooper

In Hollywood, a new platform aims to turn micro-dramas into a mainstream business. GammaTime has just raised $14 million to produce very short series, filmed in vertical format and designed exclusively for smartphones. The idea is to take the formula of Chinese duanju and adapt it for Western audiences, with one- to two-minute episodes meant to be binge-watched. Behind GammaTime is Bill Block, former head of Miramax, who produced numerous independent films in the United States. He is joined by investors well-known to the general public: Alexis Ohanian, co-founder of Reddit, as well as Kris Jenner and Kim Kardashian, figures in reality television and influencer marketing. They all share the same simple premise: if millions of people already pay to unlock micro-dramas on apps like ReelShort, then a well-funded and well-produced American platform can also find its audience. The money raised will be used to finance the technology and, above all, original series, filmed exclusively in vertical format. GammaTime is announcing more than twenty shows at launch, some of which are written by Anthony E. Zuiker, creator of the series CSI: Crime Scene Investigation. The business model follows the logic of micro-drama apps: a few free episodes to hook viewers, then a payment to find out what happens next. If this gamble pays off, it could further accelerate the arrival of micro-dramas in the offerings of major American and European media groups. Sources: • TV Tech , October 24, 2025 • The Wrap , October 23, 2025 • Fabric , September 24, 2025 • Real Reel , October 10, 2025

Ben Pengilly, a British producer specializing in vertical miniseries, recently posted on LinkedIn claiming to have created "the first ever vertical in Europe." In other words, he presents himself as a pioneer of the genre on a continental scale. Perhaps he simply confused the UK with Europe, but this assertion deserves to be put into perspective. The expansion of vertical drama (or duanju) in Europe is not the work of a single man, but results from a constellation of parallel initiatives carried out in several countries, often without coordination, but with the same intuition: the mobile phone was going to become a screen for fiction in its own right. Much to the chagrin of our friends across the Channel, France and Ukraine are among the first testing grounds for the duanju format in Europe. In the spring of 2023, French director Guillaume Sanjorge launched a vertical micro-series on Facebook titled *Next Door Adventure*. This series quickly garnered several hundred thousand views despite the absence of any dedicated streaming platform. With just two clips released on social media (April and June 2023), it proved that an audience existed. Lacking a national distribution network at the time, the series was eventually released on an Asian platform in 2025. At the same time, the Frenchmen Alexandre Perrin and Adrien Cottinaud of Studio Quinze are also shooting vertically from the end of 2023, with short fictions. Here again, the aim is not to claim a "first", but to test a language, a breakdown and an actor direction adapted to the 9:16 framework, in a context where no clear line has yet been drawn in Europe. In parallel, Eastern Europe also plays a decisive role in the rise of the vertical format, to the point of becoming the main economic driver on the continent. The first European platform dedicated to duanju (short, interactive television series) was born in Ukraine: in early 2024, the startup Holywater, founded by entrepreneur Bogdan Nesvit, launched the MyDrama app. Designed from the outset for mobile use, this platform offers a catalog of vertical series, each episode lasting two to three minutes, tailored to the fragmented viewing habits of young audiences. Its success was meteoric: MyDrama quickly acquired hundreds of thousands of users and generated several million dollars in annual revenue in its first year. To maintain this production pace, the platform relied in particular on Amo Picture, a Ukrainian studio heavily invested in the vertical format, which became one of its key production partners. DramaShorts, co-founded by Ukrainian Leo Ovdiïenko, began producing vertical dramas in Europe before expanding to the United States. These companies adopt a highly collaborative approach: DramaShorts explains that it leverages the diversity of its teams and locations to appeal to an international audience. These transnational platforms and studios demonstrate that the expansion of duanju (vertical dramas) has not occurred in a single country, but through simultaneous efforts on a European and global scale. Collaboration rather than competition: a co-created format The history of vertical drama in Europe is therefore not one of competition for a "first" title, a competition which is also largely imaginary, as the format appeared almost simultaneously in several places without the protagonists consulting each other. On the contrary, it's a collective adventure, one that has seen multiple paths intersect and cooperate. Further east, Ukrainian entrepreneurs provided the technological infrastructure and funding to give the format a true mass-distribution platform. Elsewhere, writers and directors contributed the worlds, the actors, and the stories. By recognizing the plurality of forces at play, we do justice to the true architects of this audiovisual revolution: an international community of creators, producers and broadcasters who, each in their own corner and then increasingly networked, built stone by stone the success of vertical drama in Europe. While Ben Pengilly deserves his share of the spotlight for having helped structure vertical production in the UK, it is important to place his actions alongside those of his equally pioneering counterparts. Far from a legend of the first to arrive, the only winner, the European vertical drama is the product of a collective effort, without which the format would never have experienced such rapid and successful expansion.

On Facebook, the page "Sous le ciel de Paris" (Under the Paris Sky) has become a viral phenomenon, celebrating the beauty of the French capital. It publishes daily photos and videos offering a poetic perspective on Paris: the alleyways of Montmartre, the banks of the Seine at sunset, the interiors of historic cafés... This content resonates deeply with Paris lovers and generates massive engagement. The photo of the picturesque Rue de l'Abreuvoir in Montmartre is among the most popular posts on "Sous le ciel de Paris," with thousands of likes and shares. This success testifies to the public's enthusiasm for authentic Parisian scenes, whether iconic panoramas or unusual snapshots capturing the soul of the city. Behind "Under the Paris Sky" is Fernando Nakahodo, a Brazilian curator with a passion for Paris. Each of his posts is carefully chosen or created to highlight a particular aspect of the capital: he might share an archival photograph illustrating Paris of yesteryear or a contemporary snapshot revealing the magic of a street at dawn. Through his passionate eye, Fernando Nakahodo elevates Paris and conveys his sincere admiration for the City of Lights. This approach has allowed him to build a considerable community: his page now boasts over 300,000 loyal followers. Facing him is Guillaume Sanjorge, a French audiovisual producer. Deeply involved in digital media, Sanjorge was one of the first in France to believe in the potential of the "Duanju" format: mini-series designed for vertical viewing on mobile devices. As early as 2023, he launched this innovative format by producing ultra-short fictional series, with the first two episodes exceeding 700,000 views on Facebook. In April 2025, his work reached a milestone: "Next Door Adventure" became the first French series broadcast on Stardust TV, a leading Asian platform for the vertical format. This first marked France's entry into the global Duanju catalog. A producer, but also an occasional writer and actor, Sanjorge is determined to export French expertise in short, innovative fiction. The meeting of two worlds It was the meeting between Fernando Nakahodo and Guillaume Sanjorge that gave birth to a unique project: the launch of an original series co-produced and broadcast jointly on their respective platforms. On one side, the " Sous le ciel de Paris" (Under the Paris Sky) page will bring its vast audience of admirers of the capital; on the other, Guillaume Sanjorge will leverage his production capabilities and his own subscribers (approximately 10,000). The core idea is to offer a short, vertically focused fiction series that exploits the Parisian aesthetic so dear to Fernando, while benefiting from Guillaume's narrative expertise in the short format. Each episode of the series will be released simultaneously on the creators' two Facebook pages, multiplying the audience by combining their communities. This synergy between digital influence and audiovisual production illustrates a new trend: bringing original stories to life directly on social media. Without prematurely revealing the content of the series in development, we already know that it will take place in Paris. Discover the page "Under the Paris Sky": Link

Two established companies, Night Train Media and Spirit Studios, have announced the development of a phone-native micro-drama, set to launch worldwide via Night Train Digital. The project aims to innovate by combining intimate 9:16 framing, studio-level writing, and strong emotional rhythm (“one feeling per beat”). According to Herbert L. Kloiber, CEO of Night Train Media Group: “The global rise of vertical content is something we’ve followed closely. Our goal is to raise the bar by bringing top writers and actors into this new format.” His statement reflects a growing interest in premium micro-dramas — short, vertical series designed for mobile screens. Platforms such as ReelShort, DramaBox, and ShortMax are leading the trend, with the market expected to reach $14 billion by 2027. Matt Campion, creative director and co-founder of Spirit Studios, added: “We’re excited to produce our first vertical drama. With audiences watching more vertical content than ever, we’re perfectly placed to tell stories that match how people really watch.” Neil Francis, managing director of Night Train Digital, agreed, saying the project continues their mission to “push boundaries and explore formats that reshape distribution.” Now in development, the project is recruiting young UK talent in writing and acting. The goal: to craft short, powerful stories with a cinematic look, made for vertical screens. As vertical storytelling spreads from Asia to Europe and the U.S., this collaboration marks an important moment for the UK, combining film craftsmanship with mobile-first innovation. Article written by Blessing Azugama #BlessingAzugama Source: DropMedia , October 1, 2025

On June 14, 2025, at the second public screening of the Duanju format organized by Studio Phocéen association in Paris, British journalist Jen Cooper opened the evening with a remarkable video presentation. Founder of the specialized media Vertical Drama Love and initiator of the genre's Fan Awards , she shared a personal and illuminating vision of this new fiction format. A former bookseller with a passion for romance, Jen Cooper presents herself as a "typical" viewer of these vertical miniseries (Duanju). A busy mother of two teenagers, like many others, she spent a long time searching for formats suited to her desires: accessible, quality romances, without time or platform constraints. Faced with Hollywood production deemed impoverished and traditional television often disappointing, she discovered vertical dramas by chance via TikTok : "I wanted something simple, emotional, that would fit in the palm of your hand. And suddenly, it was there." What she describes is a shift to a new way of consuming fiction: fast, direct, mobile. Vertical dramas , or duanju , offer episodes of 1 to 3 minutes, designed from the writing stage for the smartphone format. And above all: focused on immediate experience. For Jen Cooper, this emotional effectiveness explains the format's global success, particularly among female audiences. Vertical drama doesn't seek to imitate cinema or television: it invents its own codes, often closer to social media. While Asia largely anticipated this revolution, Europe is only just beginning to take an interest in it. Jen Cooper's talk highlights how the genre can reach a wide audience, beyond the clichés about "younger generations." Through Vertical Drama Love , she maps this global shift and advocates for the recognition of often invisible creators. Discover her blog: https://www.verticaldramalove.com/ #JenCooper

On June 14, 2025, during the second public screening evening organized by Studio Phocéen association in Paris on the Duanju, Chinese producer Wenwen Han opened the videoconference with a striking intervention. Founder of the Short Drama Alliance and host of the Short Drama Decode channel, she shared a rich and documented presentation on the rise of short fiction in China. Wenwen Han places the duanju format within a long history: that of Chinese online novels, which appeared in the 1990s and were published chapter by chapter, sometimes in thousands of episodes. As these stories captivated an ever-growing readership, an economic system emerged: readers paid to unlock the next chapter. From this emerged a culture of fast-paced soap operas, poised to transition to video. “Mini-dramas are like an audiovisual beta version of our online novels.” Wenwen Han's talk offered the audience a behind-the-scenes look at this booming industry. She emphasized the role of screenwriters, who are often invisible, and the importance of connecting creators from around the world to grow this format. By launching the Short Drama Alliance , she hopes to open a dialogue between countries that are already ahead of the curve, like China, and those that are just discovering it, like France. “Vertical fiction is a new language, and now is the time to learn it.” Check out his YouTube channel: https://www.youtube.com/@ShortDramaDecode #WenwenHan

On June 14, 2025, during the second public screening evening organized by Studio Phocéen association in Paris, Californian professional Karla M. Rodriguez delivered a presentation on the evolution of formats and new production dynamics around duanju. A former Sony Pictures and Academy of Motion Picture Arts and Sciences employee , Karla M. Rodriguez helped pioneer the mobile video boom by joining Vogue and Condé Nast . She now works in casting and partnership development for several short fiction platforms. A transformation of the audiovisual landscape In her talk, Karla M. Rodriguez looks back at the transition that has taken place in Hollywood over the past decade. When she was working in unscripted TV content development at Sony , she observed a gradual decline in the sector, directly linked to the decline of linear TV: "Everyone is streaming, no one is watching the channels anymore. And many are on YouTube or mobile." This transformation in usage led her to turn to more agile and digital formats. At Vogue , she participated in the production of both horizontal and vertical videos, designed for the web and social networks. There, she discovered the importance of short formats focused on talent, such as the series " 71 Questions " or " What's in My Bag ." From fashion publishing to vertical fiction This detour through fashion media opens the way to the world of duanju, which she sees as a hybrid space, at the crossroads of the worlds of influence, series and streaming. For her, vertical dramas allow a new generation of creators to "work in innovative environments, faster and connected to the reality of mobile uses . " Now based in California, Karla Rodriguez assists platforms in identifying talent and structuring projects designed from the outset for vertical storytelling. She emphasizes the strategic value these formats represent for professionals seeking diversity, rapid impact, and global reach. “This format is designed for instantaneous production. For talents who want to create quickly and be visible quickly. And that changes everything.”

On June 14, 2025, during the second public screening evening organized by the Studio Phocéen association in Paris, Mexican screenwriter Yamile Vaena shared her author's perspective on the narrative upheavals brought about by vertical fiction. A writer since childhood, rewarded for her first youth stories, Yamile Vaena has explored all formats: short stories, novels, advertising, audio, series, podcasts... before becoming one of the most prolific screenwriters in vertical drama. Her series (A Bride for the Devil, Teach me, touch me, The Alpha's Mate That Calls Wolf...) are among the most viewed on the MyDrama platform , where she is also a consultant and showrunner. A new narrative language In her talk, Yamile Vaena talks about how she learned to completely rethink her writing to move from novel to screenplay, then from traditional screenplay to vertical series. "When you write a novel, you develop the characters with words. In a screenplay, you tell the story through actions. But in vertical writing, you have to condense everything into a few seconds." She compares this constraint to the arrival of Twitter and its 140-character messages, which forced writers to get to the point. She says it's a fascinating exercise that has transformed the way she conceives of plots and characters. The urgency to capture attention With the influence of TikTok and short-form formats, speed has become a key to success. This constraint forces screenwriters to adopt a more direct pace. And this opens the way to new genres. While romance still dominates, thrillers, comedies, and psychological dramas are gaining ground. When she started writing for these platforms, Yamile faced doubts from her peers: "People asked me why I was leaving feature films for this. But today, it's vertical formats that are evolving, that are gaining momentum. That's where it's happening." She also discusses her current work with producers who are investing in ambitious vertical series, with a demand for narrative and production quality: "It's a new field of innovation."

During the event organized by the Studio Phocéen association on June 14, 2025 in Paris, the British producer Adam Gee, who came especially for the occasion, delivered a reflection on the place of mobile creation in the contemporary audiovisual landscape. Five-time BAFTA and Emmy Award winner Adam Gee has long been at the forefront of British television, pioneering formats such as Embarrassing Bodies (a mainstream, interactive health show on Channel 4) and Big Art Mob (a collaborative online project mapping public art on Britain's streets). He is now exploring vertical formats and the narrative possibilities offered by smartphones. A new wave of mobile cinema Adam Gee presented the Smart Film Fest at the event, an international festival he co-founded dedicated to films shot with smartphones. The entries ranged from scripted dramas to factual films, in both horizontal and vertical formats. But as he notes, “most of the vertical ones are scripted dramas,” already showing a clear trend from the first edition. For Gee, the smartphone is a powerful tool for today’s storytellers: direct, accessible, and intimate. He compares this new freedom of creation to that of the Nouvelle Vague directors, who also embraced lightweight technology to break with the codes of traditional cinema. “It’s the tool of this generation,” he says. He insists that this creative form is not a subgenre of TV or advertising: “It’s a different language. Not polite, but immediate. An art of the moment.” As an example, he cites Missed Call, a short film he produced with Victoria Mapplebeck, which won a BAFTA TV Award. Shot entirely on a smartphone, it later inspired a feature film made from twenty years of footage across six generations of iPhones. The result is a kind of real-life Boyhood, chronicling an autobiographical journey through time. Gee concludes that these short, often vertical formats are no longer marginal or niche. “They’re coming from all around the world,” he affirms, highlighting their growing presence and potential in shaping a new, vibrant visual culture.