How YouTubers and mini-dramas are unleashing a new wave of opportunity in Hollywood

Mathieu Bonzon spent over a decade working in production in Hollywood, with credits including “Outrage” and “Ford v Ferrari.” But when work slowed in 2022Bonzon, who had a new baby at home, needed more financial stability than an independent producer’s life allowed for.

An introduction to the Gates Foundation led him to start making cinematic educational videos aimed at college kids for Gates, NASA, and other organizations. The long-term contracts brought a more predictable income than he had as a producer. He’s able to get talented crews because so many people are looking for work. He also finds the work more rewarding than the Hollywood films he’d worked on, seeing the potential to make education more accessible.

“It’s liberated me from needing to do something to pay my bills and liberated me to do something that’s more meaningful to me,” Bonzon said.

The end of Peak TV, Hollywood labor strikes, and the shift of TV and film productions to cheaper locations overseas have threatened the careers of people across filmed entertainment, from crews to actors to producers. Scripted TV series orders were down 25% in 2024 from their 2022 peak, when 3,108 shows were ordered as Hollywood raced to catch up to Netflix, according to industry tracker Ampere Analysis. TV writing jobs fell 42% from 2022 to 2023, per the Writers Guild of America.

Trump’s tariffs have also cast a shadow on the economy, dampening hopes for a Hollywood recovery.

Some in creative fields have deferred or redefined their dreams of making it in Hollywood and retiring on a big studio salary. Others have abandoned those ambitions altogether for other careers or are trying to make ends meet in the gig economy.

While traditional film and TV output has declined from its apex, adjacent creative fields are growing and providing opportunities for those willing and able to pivot.

The creator economy continues to expand, with marketers poised to spend more than $10 billion on influencer marketing this year, according to a March EMARKETER forecast. Brands from Walmart to AB InBev are leaning into cinematic entertainment to cut through the ad clutter. Mini dramasthe bite-sized vertical soaps popularized by Asian-backed apps like DramaBox and ReelShort, are on a growth tear in the US, leading legacy TV companies like Televisapision to take note.

Business Insider spoke to 11 producers, editors, and others at various career stages who shared their experiences in and lessons from working in these areas.

Many are contending with painful financial adjustments, and some are still waiting for Hollywood to call.

Film and TV pros who were at the top of their earning power also have to adapt to new financial realities.

Zack Arnold, a film and TV editor (“Cobra Kai,” “Glee”), shifted to podcasting and coaching several years ago. He helps other midlife Hollywood creative workers apply their storytelling skills to the entrepreneurial creator space. But a top Hollywood editor used to making thousands of dollars a week can’t replace their income by editing short videos for YouTube.

“There aren’t enough hours in a day to do that,” Arnold said.

For others, the shift can lead to more stable income. Marc Herrmann, a TV film actor who’s appeared in about 10 productions for the mini-drama app ReelShortsaid he’s been able to call himself a working actor for the first time.

“That’s everyone’s dream,” Herrmann said. “This vertical world has saved a lot of people from doing jobs they don’t want to do.”

In the creator space, feedback comes fast

Those who turned to creator-led studios built by YouTube stars say there’s more opportunity, and the hands-on nature of the work can be rewarding.

Isaac Diaz was laid off from his role as senior digital creative producer at the streaming service Paramount+ last year. He packed his bags and moved to Austin, never thinking that two months later he’d be working for a Minecraft YouTuber.

He got the job because the team was looking for someone with traditional production management experience.

As assistant director of production, Diaz helps the team at CatFace, the company behind the mega YouTuber Aphmau, who has over 23 million subscribers, build productions that can rival Hollywood shows.

Diaz hasn’t closed the door to traditional media. He would consider going back for the right opportunity.

“However, having worked here has opened up my eyes to so much more opportunity,” Diaz said. “I realized I don’t necessarily need to be living in LA, and working for a major studio, to be doing something that I love.”

There is a level of culture shock that comes with a new media gig.

Amanda Barnes, EVP of production at Smosh, a 64-person creator studio with 26 million YouTube subscribers, said she was thrown by the pace of creator content compared to her past work at Warner Bros. Animation. “There’s no wait to see if you get a season two green light.”

Feedback comes fast when you have near-instant access to data on how content is performing with audiences.

“We can learn what worked, what didn’t work, at such a faster rate, and then get to do it all again,” Barnes said. “I’ve never worked in a field where the feedback is that quick.”

There also tends to be less red tape than working in traditional media. Barnes, who reports directly to YouTubers Anthony Padilla and Ian Hecox, said it’s nice to have fewer layers of clearances.

Caroline Simmons, who worked on productions for Netflix and YouTube originals and is now the director of production at CatFace, was similarly shocked by the company’s chain of command. She works closely with CEO Jessica Bravura, who created the character Aphmau.

“At a traditional studio, you’re never seeing a CEO,” Simmons said. “And if you do, it’s probably a bad day.”

Mini dramas are helping pay the rent

Irvin Gelb has been in the entertainment business since the late ’80s, initially helping Japanese corporations invest in Hollywood and later transitioning to talent management.

After the 2023 Hollywood strikesauditions started slowing down. In 2024, Gelb said he began seeing casting offers for vertical dramas. He was initially skeptical because he didn’t want clients appearing in movies on phones, and the work paid less.

Nevertheless, he submitted an up-and-coming actor, Cayman Cardiff, for a short titled “Santa Bring Me a Billionaire Husband,” which became a hit. From there, Gelb began researching the space. “I saw the future, and I was in,” he said.

Cardiff has wrapped 14 verticals to date. Gelb said the medium has provided fresh opportunities for the “thousands of incredible actors that are not working.”

The actor Sarah Moliski has emerged as a leading player in the vertical scene, specializing in villain roles. Her characters have stolen sperm and hired drunk doctors to administer abortions, she said. She also hosts a podcast for leading mini-drama app ReelShort and works behind the scenes on casting.

After hustling for years, Moliski said verticals “changed everything for me.” She landed her first, “Ms. Swan, Teach Me Love,” after dropping her team and submitting a self-tape. She wants to continue riding the wave and is hoping to land more lead roles that center strong female characters.

While the outlandish storylines may raise eyebrows, more established directors and figures across other departments are getting involved, Moliski said. They’re starting to say, “‘Oh, these aren’t so cringey’ — because nothing’s filming and what’s cringey about paying rent?”

Gelb said most vertical actors still have aspirations of foraying into the “horizontal world,” but he’s striking while the iron is hot. He’s also pursuing producing and investing in verticals in collaboration with existing apps and his talent roster.

“Every actor’s biggest dream, I don’t care what level you are at, is consistency,” Moliski said.

Brands are beckoning

Some people have found opportunities to transfer their film and TV expertise to brands and other organizations.

Jenifer Westphal is the founder and CEO of Wavelength, a Tony- and Emmy-winning production company behind documentaries like “Won’t You Be My Neighbor?” A few years ago, she started working in branded content, applying Wavelength’s character-driven storytelling to marketers, including Hoka and De Beers. Wavelength acquired an agency, Duplex Deli, and has grown from three to more than 20 full-timers. Today, most of Wavelength’s revenue comes from brand work.

“We’re willing to do whatever creative a brand wants us to, as long as it fits with our ethos,” she said.

Marisa Levy spent 15 years making unscripted shows like “Here Comes Honey Boo Boo” for Discovery’s TLC. In 2022, she jumped to branded content for companies including Rebel Girls, a girls’ empowerment media brand, and then for herself. By then, Peak TV had come to a screeching halt. Looking around, Levy saw new places to apply her understanding of audiences.

“Every brand needs to expand across platforms, whether it’s a wine company or a media company,” she said. “They’re all so eager to build out their YouTube or TikTok, and our skill set is 100% applicable.”

It’s been an adjustment. Going from a senior executive post at a network to startup land gave her a crash course in new skills like hiring influencers and making YouTube videos. It also meant trading business class for coach and learning a new work culture, with its specific jargon and presentation style. “Everything requires an analytical deck,” she said. Having to count on herself brought insecurity.

But while she’s no longer working in Hollywood, Levy has found value in her new focus.

“Some brands are doing such good stuff,” she said. “You can still shape culture; you’re just doing it in a different way.”