Industry

At Content Americas 2026 in Miami (January 20-22,2026), one of the most closely watched sessions addressing the evolution of short-form storytelling was “Micro Programming: What Comes After Microdrama”, presented by Gloria Saló, Director of Production and Content Consultancy at GECA. Drawing on GECA’s latest research, the presentation offered a data-driven overview of how vertical content is reshaping the audiovisual ecosystem—far beyond its initial association with romantic microdramas.

Saló opened by framing vertical storytelling not as an emerging trend, but as a structural shift in both production logic and audience behavior. “Thinking vertical,” she argued, “means thinking in the present.” In an environment defined by infinite scroll, fragmented attention, and mobile-first consumption, the palm of the hand has become the new center of entertainment, while scrolling has effectively replaced traditional zapping
GECA’s data confirms that device choice is central to understanding the success of vertical formats. According to the latest wave of the OTT Barometer, smartphone usage as a primary OTT device increases significantly among younger demographics, peaking at nearly 39% among viewers aged 18–24, and remaining high among those aged 25–34. Younger audiences, Saló noted, no longer “sit down” to watch audiovisual content—the screen is already integrated into their daily lives
This behavioral shift directly correlates with vertical fiction consumption. In Spain, more than 60% of users aged 18–34 already consume short-form vertical fiction, while consumption drops sharply among older audiences, falling below 20% for viewers over 55. The implication is clear: vertical storytelling is not a marginal experiment, but a dominant narrative form for younger generations.

Contrary to early assumptions, vertical fiction is not confined to proprietary apps. GECA’s research shows that platforms such as DramaWave and DramaBox generate over 60% of their vertical fiction consumption via YouTube channels rather than standalone apps, underscoring the importance of open ecosystems and social distribution. At the same time, GoodShort currently leads among dedicated apps for vertical consumption.

Genre analysis reveals that romance and drama remain the most popular categories, but they no longer define the entire space. Comedy, science fiction, thriller, action, and hybrid genres are gaining traction, signaling a diversification of narrative strategies. Saló emphasized that vertical storytelling should not be reduced to melodramatic formulas: “Entertainment also fits in the palm of your hand.”
One of the most significant evolutions highlighted in the presentation is the expansion of vertical formats into unscripted and factual entertainment. Dating shows, docuseries, coaching formats, and social reality concepts are increasingly designed specifically for vertical consumption. Examples include ViX Micro’s short-form docuseries, ReelShort’s dating formats, and experimental concepts emerging from markets as diverse as Belgium, the UK, China, and Latin America
These projects demonstrate that audiences are not merely accepting vertical entertainment—they actively demand short, addictive content tailored to mobile-native viewing habits.

Saló also addressed the growing role of artificial intelligence in microdrama production. Platforms such as Shortly and Sequencer are experimenting with AI-generated scripts, voices, and post-production workflows, while maintaining human supervision to ensure ethical standards and intellectual property protection. Meanwhile, AI-driven projects like The Interrogation illustrate how immersive, interactive storytelling can thrive on social platforms
Genre specialization is another defining trend. Horror has emerged as one of the most effective vertical genres in terms of audience loyalty, with platforms like Screamify positioning themselves as the first dedicated micro-horror streaming services. At the same time, action-oriented microdramas—including female-led “micro action” narratives and even modern westerns—demonstrate that spectacle and intensity are not exclusive to long-form formats.

Branded content has also found fertile ground in vertical microdrama. Campaigns such as Procter & Gamble’s The Golden Pearl Affair or Maybelline’s narrative-driven projects integrate brands directly into the storytelling, blurring the line between advertising and entertainment while maintaining narrative coherence
Concluding her presentation, Saló reframed the industry’s core challenge. The future of vertical content, she argued, does not lie in producing more content at lower cost, but in producing better content more efficiently. Innovation, monetization, and team adaptation remain key hurdles, but each challenge also represents an opportunity.
In an increasingly saturated content environment, the true competition is no longer just for attention—but for time. And time, as Saló reminded the audience, is the scarcest resource of all. Vertical content, therefore, should not be seen as a passing trend, but as a long-term transformation in how stories are conceived, produced, distributed, and consumed. Those who adapt early, GECA’s data suggests, will not simply follow the market—they will shape it.