The Numbers Behind the Vertical Boom The vertical entertainment market is no longer a niche. It is a multi-billion-dollar industry with a growing global footprint. ReelShort announced a new partnership with Philippine telecommunications company Globe, following a deal with Thailand’s AIS two months prior. These deals reflect a strategic push to expand the vertical entertainment market into Southeast Asia, where mobile-first audiences are primed for this format. At the “Building the Vertical Stack in Asia” session, COL Group International general manager and chief marketing officer Timothy Oh said: “Today we’re already seeing the development of vertical documentaries, vertical IPs and vertical franchises.” This statement signals a significant maturation of the vertical entertainment market, moving beyond short-form dramas into more complex and ambitious storytelling formats. RisingJoy CEO and co-founder Cassandra Yang announced the launch of RJOY, a direct-to-consumer microdrama streaming service launching via TikTok Minis in the U.S. and Japan with 20 originals planned for the second half of 2026. This move reflects a broader trend of vertical entertainment platforms building their own distribution channels rather than relying solely on third-party social media platforms.
Refinery Media’s Vertical Slate Refinery Media is making a full-scale pivot into vertical video, launching a 10-title English-language slate that embeds brand partnerships directly into storylines and leans on AI-enabled production to speed up output and cut costs. The Singapore-based producer’s move signals a broader shift toward vertical entertainment as a long-term content category. Refinery Media will roll out seven scripted dramas and three unscripted reality series, all designed natively for the 9:16 format. Five of the titles will be developed for FlareFlow, with releases scheduled from Q2 2026. Shopee and Nippon Paint have signed on as brand partners, signaling a deeper integration model where commercial partnerships are built into the narrative structure rather than layered in post-production.
“We’re not treating brand integration as an add-on,” said Karen Seah, founder and CEO of Refinery Media. “Our approach embeds brand narratives into story architecture from day one, so the integration becomes indistinguishable from the content itself. That’s what we’re bringing to vertical.” The company is also leaning on influencer-led casting to drive reach on mobile-first platforms. It is working with talent and management partners to bring digital-first personalities into both scripted and reality formats, a strategy aimed at converting existing social followings into viewership.
On the production side, Refinery Media is using its in-house virtual production studio X3D Studio alongside AI-assisted workflows through GENGIS AI. The company claims the setup enables production timelines to be around 20% faster and costs roughly 30% lower compared to traditional vertical production models. The anchor title in the slate is SupermodelMe: Make It or Break It, a vertical reimagining of the long-running reality franchise first launched in 2009. The format has previously earned nominations at major awards ceremonies, with its final season distributed on Netflix. Refinery Media’s decision to focus on English-language vertical content is designed to address a gap in the market, particularly in Southeast Asia, while also appealing to U.S. audiences where demand for alternatives to Chinese-language vertical dramas is growing.
“We’re positioned to serve both markets simultaneously,” Seah said. “That’s not an accident—it reflects 17 years of building content that travels.”
The Economics of Vertical Entertainment The economic impact of vertical entertainment is substantial. The category now has financial weight to match the conviction. Media Partners Asia estimates that DramaBox and ReelShort are generating combined annualized revenue of close to $1.5 billion, with most users based in the U.S. This revenue is driving investment in new vertical content and platforms, creating a virtuous cycle of growth. The economics of vertical production are also favorable. Vertical content is generally cheaper and faster to produce than traditional horizontal content. This lower cost structure allows producers to experiment with new formats and storytelling techniques, driving innovation in the space.
The Future of Vertical Entertainment The future of vertical entertainment is likely to be characterized by continued growth, consolidation, and innovation. We can expect to see more platforms emerging to support vertical content, more sophisticated production techniques, and more ambitious storytelling formats. Vertical entertainment will also likely integrate more deeply with other technologies, such as AI and augmented reality, creating new and immersive viewing experiences. Vertical entertainment is also likely to play an increasingly important role in the broader media landscape. As audiences become more accustomed to consuming content on their smartphones, vertical entertainment is becoming a mainstream format, rather than a niche. The rise of vertical entertainment represents a significant shift in how stories are told and consumed. It is a format that is native to the smartphone, and it is increasingly becoming the preferred way for audiences to engage with content.
