The entertainment industry is undergoing a seismic shift, and universities are scrambling to keep up. Microdramas, those bite-sized, addictive stories designed for your phone screen, are exploding in popularity, and educators are taking notice. But here's where it gets controversial: are these short-form narratives the future of storytelling, or a passing fad that threatens the very essence of cinema? Let's dive in.
As microdramas, also known as verticals, gain traction globally, academic institutions are swiftly adapting their curricula. Chapman’s Dodge College of Film and Media Arts in Orange, California, has integrated microdramas into its 'Writing for Evolving Mediums' class, which also covers podcasts, video games, and other emerging platforms. UCLA has launched its innovative Picture Start initiative, a series of extracurricular masterclasses focused on this new medium. Meanwhile, the University of Cincinnati is teaching students the unique craft of acting in microdramas, with three productions already under their belt.
This academic response comes amid a Hollywood production frenzy for microdramas, fueled by platforms like ReelShort and DramaBox, and backed by major entertainment companies. These 60- to 90-second episodes, often reminiscent of soap operas, first gained traction in China during the COVID-19 pandemic but have since carved out a significant presence in the U.S. market.
But is this boom a blessing or a curse for aspiring artists? Professors argue that microdramas offer a new career path in an industry where traditional acting and writing jobs are increasingly hard to come by. George Huang, a professor at UCLA’s School of Theater, Film, and Television, notes, 'Many of our students worry about how they’ll support themselves after graduation. Verticals are one of the few industries booming right now, and that’s a lifeline for them.'
At the University of Cincinnati’s Digital Performance Lab, students have produced a diverse range of microdramas, from a medical drama to a sitcom set in a Midwest grocery store, and the upcoming Diary of A High School Demon Hunter. D’Arcy Smith, a professor of voice and acting, shifted his 'Acting for the Camera' class to focus on microdramas after realizing that recent graduates were auditioning primarily for these roles.
And this is the part most people miss: Acting in microdramas requires a unique skill set. Performers must deliver impactful, memorable moments within a mere 90 seconds, often ending on a cliffhanger to keep viewers hooked. 'How do you create a lasting impression in such a short time?' Smith asks. 'It demands a more theatrical approach, relying heavily on physicality and immediate engagement.'
These student-produced scenes are then shared on TikTok, Instagram, and YouTube, with casting agents notified to provide potential industry connections. However, the novelty of the trend poses challenges. Michael Weiss, a lecturer at Chapman, admits he was unfamiliar with microdramas when he started teaching in August. 'In the past six months, it’s become the hottest topic in Hollywood, even overshadowing AI,' he says. Weiss had to improvise, reaching out to DramaBox for guidance and relying on their internal script formula while 'making it up on the fly.'
Students are not only writing and producing microdramas but also analyzing existing ones and learning from industry professionals. Weiss advises them to focus on single-location shoots due to budget constraints and to incorporate multiple characters per scene. 'They’re like a blend of Twilight and a soap opera,' he observes, yet he sees them as a viable entry point for graduates, comparing their potential to the rise of Hallmark movies.
UCLA’s extracurricular masterclasses take a similar approach, offering students annual projects in verticals. So far, they’ve hosted a writing masterclass with a Dramabox and ReelShort alum, with upcoming sessions on producing and directing. The program culminates in five-minute pilot productions, showcased to industry professionals during spring break.
But is this the future of storytelling, or a step backward? Some worry that incorporating verticals into traditional curricula could diminish the art of filmmaking. George Huang reflects, 'Is it masterful storytelling? It’s a mixed bag. I’m impressed by how it distills big emotional moments into such short bursts, but I believe the younger generation can elevate this format into something more meaningful.'
University of Cincinnati seniors Nikolai Gray and Dinithi Fernando, initially unfamiliar with verticals, have embraced the challenge. Gray, who played a demon in one of his microdramas, notes, 'It’s not your typical drama school experience, but it’s exciting.' Fernando adds, 'With such short content on swipe-heavy apps, you have to make bold choices immediately to grab and hold the viewer’s attention.'
Both students plan to pursue acting careers in New York after graduation and now see verticals as an additional opportunity. 'I can’t control where the industry is headed,' Gray says, 'but I’m grateful for this educational experience. It’s given me a glimpse into the future of entertainment, and I’m ready to be part of it.'
What do you think? Are microdramas a revolutionary new art form, or a fleeting trend that oversimplifies storytelling? Will they democratize the industry, or dilute its quality? Share your thoughts in the comments—let’s spark a conversation!
