Some of the hottest casting calls in Hollywood right now aren’t for Netflix, Disney or HBO.
They’re for TikTok.
In January 2026, TikTok rolled out PineDrama in the United States and Brazil, an app devoted to microdramas, also known as “verticals.”
Unlike TikTok’s traditional user-generated content, PineDrama primarily features scripted series produced by studios, production companies and media partners. These are short, serialized shows meant to be watched in one-minute increments, and they often feature melodramatic tales of romance, revenge or the supernatural.
By March, TikTok was already casting for new PineDrama series, just as professionally produced microdramas such as “Love at First Bite,” “The Officer Fell For Me” and “The Return of Divorced Heiress” were attracting millions of views on the platform.
By late April, actress Issa Rae had premiered her series “Screen Time,” a PineDrama exclusive about a double date gone awry that has already garnered over 100 million views.
At first glance, a social media app becoming a television studio might seem like a radical shift.
But in our recently published research paper, we argue that TikTok’s move into scripted storytelling is not a break from television; it is a continuation of it. In fact, TikTok’s success can be attributed, in part, to the ways it has pulled from both the business model and programming conventions of the television industry.
A business model that looks a lot like TV
Media scholars have used the term “flow” to describe how television is experienced not as an individual program, but as a continuous stream of content. Live broadcasts, scripted shows, commercials and promos blend together into a seamless viewing experience.
TikTok recreates this dynamic, but replaces network scheduling with algorithmic curation. Ads are embedded directly into the viewing experience, appearing between videos in a way that mirrors television commercial breaks.
Advertising dollars have long fueled traditional television, which sold audiences – particularly the coveted 18-to-49 demographic – to advertisers. TikTok relies on a similar advertising model, but uses user data and algorithmic recommendation systems to curate a continuous stream of personalized content and targeted ads.
TikTok’s content has also long been shaped by other norms of the television industry.
For example, even before the emergence of microdramas, creators often produced videos as part of ongoing series, a format that encourages viewers to return for updates or to see what happens after being left with a cliffhanger. This kind of serialized storytelling is central to television.
Meanwhile, genres that originated on television – talk shows, reality shows and confessional storytelling – are everywhere on TikTok. Even though these clips are only minutes long, they often rely on cliffhangers, “Part 2” reveals, emotional confessions and recurring characters to encourage repeat viewing in ways that mirror broadcast television.
The experience of using TikTok is analogous to watching TV. Users can scroll to a new video as soon as the one they’re watching no longer entertains, much like channel surfing. At the same time, users can fall into “TikTok holes,” endlessly scrolling through videos for hours in a form of binge-watching that mirrors today’s streaming culture.
Why TikTok might succeed where Quibi failed
PineDrama may sound a bit like the failed mobile streaming service Quibi.
Launched by former Disney executive Jeffrey Katzenberg, Quibi raised nearly US$2 billion to produce short-form, mobile-first video content featuring major Hollywood stars.
But despite its high-profile launch in April 2020, the platform shut down less than a year later after struggling to attract subscribers and compete in an increasingly crowded streaming market.
Like Quibi, PineDrama centers on professionally produced short-form video designed specifically for smartphone viewing. Both platforms have attempted to merge Hollywood-style storytelling with mobile-first viewing habits.
But the comparison only goes so far.
When Quibi debuted, the market was being saturated with new streaming services. Disney+, HBO Max and NBC’s Peacock had all entered the market in late 2019 or the first half of 2020. The platform also struggled because its content was locked behind a paid subscription model. Furthermore, it lacked the social sharing and algorithmic discovery mechanisms that have helped apps like TikTok thrive.
Alexi Rosenfeld/Getty Images
TikTok, on the other hand, has a much stronger track record of innovation, investment and resilience. It has survived repeated attempts to ban or restrict the app in the United States. Its parent company, ByteDance, was reportedly valued at roughly $550 billion in early 2026, giving TikTok enormous financial resources to invest in new ventures like PineDrama. And it doesn’t have to build an audience from scratch, since it can take advantage of its own massive, preexisting user base on the TikTok app. Through sponsored posts and algorithmic recommendations, the company can direct its TikTok users to PineDrama’s microdramas.
Microdrama apps such as ReelShort, DramaBox and ShortMax have already demonstrated that audiences are willing to spend time and money on this emerging form of entertainment. TikTok’s advantage lies in its ability to integrate microdramas into its preexisting social media ecosystem.
