- il y a 17 heures
In this interview, Kristen Brancaccio shares how she transitioned from romance pilots and digital content into the fast-growing world of vertical dramas. She discusses pacing, emotional hooks, cliffhangers, production realities, directing for mobile audiences, and why romance, revenge, mystery, and strong emotional storytelling thrive in short-form content. Kristen also explores the differences between Chinese and U.S. vertical drama platforms, the rise of female creators, and what kinds of stories could shape the future of the industry. Interview By Wenwen Han.
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Art et designTranscription
00:00I'm Kristen Brancaccio and I have been directing vertical dramas since March of 2024
00:07and now also write them so I write and direct vertical dramas. How do you get into short drama
00:13industry? I had written and directed a pilot for a TV network in 2018 and the network was
00:26looking to start a sort of like online digital presence so the the show that I was writing
00:33was a romance show geared towards young adults and it was a science fiction romance and it had
00:39been adapted from a popular web novel from Wattpad and we shot the pilot and then in the end they
00:47never made the show but somebody who worked on that remembered me and then years later when
00:53vertical short dramas came to the U.S. producers were asking amongst themselves you know are there
00:58any directors who have experience in romance and I had experience in romance and specifically in the
01:04type of romance that verticals are which is many of them are adapted from these ebooks novels and
01:11things like that so that was the first job and so I directed that vertical drama and it was my
01:17first
01:17time sort of understanding what it even was the format everything was new to me um but some of
01:24the tropes was were not new because again I was familiar with romance novels and some of those
01:30tropes and and then that was number one and that was March last year and now I'm I'm just finished
01:35number
01:3516. So in your review what's the difference between short drama and other films such as film and TV?
01:43I actually don't really compare the two because when I think of a TV show or a movie I think
01:48of
01:48that as something that I turn on my TV for or I go to a movie theater and so if
01:53I'm looking on so
01:55verticals don't exist in that space they're not on your TV they're not at the movie theater they're on
01:59your phone so I compare vertical dramas to social media and TikTok and YouTube more um in terms of
02:09the style and what about it needs to grab an audience's attention I come from YouTube originally
02:15that's where I started my career and so it's very easy for me to differentiate between a digital piece
02:20of entertainment and a traditional movie or TV and both have their value um both like kind of serve
02:27different purposes and meet different needs um and so I think of vertical dramas as really exciting
02:34because it's the first time with some exceptions on YouTube but but for the most part it's the first
02:40time that uh storytelling and like narrative storytelling is competing with attention for
02:46usually goes to social media so as a filmmaker that's very exciting to me because usually the
02:53online social media space is taken up by YouTube TikTok Instagram it's not being taken by narrative
03:01storytelling and this is the first time that in the U.S. that that's changing and like I said there's
03:06some exceptions there are some YouTube channels that do short films or narrative um shorts that do
03:11well so it's not entirely 100% true but for the most part in your view how do you define
03:17short dramas
03:18and what do you think it's it's their essence I think the difference and something that makes me go oh
03:25this
03:25is a vertical micro drama or short drama versus oh this is a story that belongs on the TV show
03:31is the pace um and I think vertical they I think are very easy to get into there's no barrier
03:39you're
03:40immediately sucked in who your hero is who your villain is so very clear archetypes told in a sort of
03:47clear concise way um and the pacing is probably what differentiates it from other forms of storytelling
03:55because verticals have to move 10 million miles an hour what do you think the essence of short drama
04:01I think it's feel-good storytelling I think the essence of a short drama is I almost want to say
04:08feel-good storytelling but sometimes you don't feel good but you know that you will feel good in the end
04:13so big emotional storytelling is the essence of a short drama when you mention about pacing can you
04:20describe more about what pacing is I think there's an emotion I would say there's probably an emotional
04:25turn every 10 to 15 seconds at most um whereas in other forms of storytelling you maybe might slowly
04:37build up to something and there might be a big emotional turn only once an episode or twice an
04:43episode whereas with well first of all with short dramas your episodes only a minute long but
04:47second of all you're probably having strong emotional turns you might have 20 of them in just a 90 second
04:54episode when you receive the script what are some common script issues that you often need to fix
05:00or adjust during the production sometimes um the the script was clearly written without the realities of like
05:08production capabilities in mind so for me what I try to do I never want to change what's working and
05:16I
05:16never want to change the writer's intention so if I know I need to make a change or or suggest
05:23a change
05:24um it's for production reasons maybe they wrote something that's just not possible to film logistics wise
05:32that could be due to the location it could be due to um just laws surrounding the number of hours
05:39you
05:39can work with kids right if you have a kid that's in every single scene well depending on that kid's
05:45age they might not be able to be on set all day long so um or if there's a lot
05:50of scenes with too many
05:51characters that more than the budget allows or more than time allows so any change that I make is always
05:58to say I don't want to lose your intention I want to keep the stuff that's working the things that
06:02are
06:02going to keep the audience here keep them entertained what can we do to make it easier on production so
06:07that I can make our day and achieve the vision um a lot of times I see scripts where there's
06:17a ton of
06:17speaking characters and every time you have a speaking character in a scene that's an additional setup
06:23right I need to devote time to lighting that new character and framing up for them and running the
06:28scene again and capturing their performance and so if I have 15 speaking characters in a scene
06:33but I don't have a lot of time to film this scene well my suggestion is hey can we have
06:39the same
06:39information and the same emotion but with eight characters instead of 15 because now I've cut in half
06:46half the amount of work we need to do to relight everyone but we don't lose the essence of what's
06:53happening in the scene what needs all the emotional beats we need to hit we can have those same things
06:57just with fewer characters sometimes I'll suggest combining characters I'll say hey look we have this
07:03one character who says who's a villain and then later a new villain comes in but they're they're
07:11accomplishing the same thing what if that's just one villain um does that work and sometimes the answer
07:17is no sometimes the writers will say oh you didn't think about this other element and that's okay
07:21but um usually it's just related to the realities of production we have 12 hour days how many pages do
07:28we
07:28need to shoot a day how many people are speaking can we can we actually accomplish this and that's
07:34that's usually when where my notes come in I'm like okay let's make this actually realistic
07:39what you mentioned about the locations are there too many locations that scripts writers wrote
07:44it depends uh what the location is so if it's uh an office in a hospital well that's very easy
07:51to get
07:52right we have every vertical company every production company has a million options there but if the
07:57entire script takes place on an airplane um those are more expensive so is it realistic to to be able
08:05to
08:05shoot there every single day or do we need to move scenes to a place that do we need to
08:10move some of
08:10these scenes to a hospital so that's sort of the negotiating you have to have I always have my
08:16director creative mind but then you also have to balance that with the logistics creative producer
08:21mind um and most of these notes are coming when I've already spoken to the production to be like hey
08:28this is something I feel like could be a problem is it a problem are we okay with this do
08:33we need to
08:33change it you tell me that's sometimes how the conversation goes so how do you control the
08:38pacing of a short drama from a directing or a post-production perspective well having editors
08:45who understand the genre is so important and um I think from my what I have learned as a director
08:51I
08:52think getting as much as many different angles and as much coverage as you can um with the amount of
08:58time you have because you can create so much uh energy in the post-production process if you have
09:06additional angles different shots different things to cut to and it it also depends on the app to be
09:12honest some apps have very different approaches to how they want these edited the pacing can can vary
09:17and so what I found is uh the first question I need to ask the if I if I'm being
09:22hired by a production
09:23company I say who's the app and then I go watch some of their shows because that will tell me
09:27what
09:28is their style of editing what can I give them as the director so that they can sort of make
09:33the best
09:33show that they want to make something that was new for me not coming from a necessarily soap opera
09:40background or specifically I wasn't coming from any of the like like because you see a lot of slow motion
09:45shots in certain types of k dramas for example love a slow motion shot that wasn't something that I was
09:51used to capturing but a lot of the clients were asking for oh we want this to be slow motion
09:57we want
09:57these sort of inserts and so then I started to learn the energy of certain moments when your male lead
10:06comes in for the first time when your male lead has to catch the female lead after she slips and
10:11falls
10:12filming that it's a very different approach than just filming what's happening no you need to
10:17create a moment create an emotional moment there so that requires additional inserts slow motion shots
10:25maybe getting creative and and all of that relates to the pacing because the more I give the editor the
10:32more they can do and the more we can play around really when you mentioned about the shots you mean
10:37wide shots medium shots and close-up or oh wide shots um I I actually like a wide but it's
10:45my lowest
10:46priority so usually what I find it's helpful with is if we have a scene with like a ton of
10:53characters
10:53it can be easy it can because there's so many people you're cutting between everyone talking
10:57sometimes you lose track of like who's standing where it can be a little disorienting for the
11:01audience and so um I never have time especially for really long scenes I never have time to get a
11:06full
11:06wide but what I will sometimes do is um I'm keeping track of my time and then if we have
11:11time at the end
11:12I'll have like three sections of the scene circled and be like we're gonna run the cameras and we're
11:17just gonna run these three sections in in an ultra wide and then that gives us the ability I find
11:23that
11:23can be the most useful when an episode is just beginning we can cut to the wide at some point
11:27in those first few lines to reorient the audience of oh yeah that's right all of the evil families on
11:33you know the villain families on this side and she's standing alone over here got it I remember where we
11:38are um and so I find that that's the most useful for if a scene is 20 pages long it's
11:44like eight
11:44episodes and but it's one scene and there's no possible way we'll have time to run that whole
11:52scene in a wide because we got to move on so I might have circled three areas where I'm like
11:57we're
11:57gonna just run those few lines in this ultra wide just so the editor has just like one more thing
12:02to
12:03cut to how do you create emotional resonance with the audience that's where my close-ups come in
12:09honestly I think um because we're watching on the phone and because the phone is just so close and
12:15it's right here and it's there's a relationship that can always happen between you and the character
12:20and so you can be with this character on their emotional journey in a way they're right there there's
12:26nothing preventing you know there's no distance and so whereas with a tv or a movie there's an actual
12:34physical distance a movie screen might be really big but that's a very different experience to having
12:40something that you're laying in bed looking at and it's like right here and so um I really think
12:45close-ups are great for conveying really strong emotions especially with your lead where you just want
12:51the audience to feel exactly what they're feeling um and that's where that's where the close-up comes
12:57in how do they resonate with the audience especially vampire werewolves they're not a real story right
13:02what I mean is how those stories resonate with the audience I think that different types of stories call
13:09for different approaches to directing and someone who wants a rags to riches you know light billionaire
13:19story is looking for something very different than somebody who's showing up for maybe a dark edgy
13:26feeling mafia story so I think the first step is understanding what is the story what are the tropes
13:33what does this audience expect and want from this story I think there's some places where you could
13:39surprise the audience but you should never promise them one thing and then deliver something else because
13:45then they'll just click away so I think it's about understanding why does this type of story work
13:51what do people get out of it and if it's a genre I'm not familiar with I should go watch
13:57similar
13:58vertical similar movies or tv shows that even deal with those themes and see how they approached it what
14:04I think works and doesn't work um the pacing on these tends to be very fast but if your story
14:10requires a
14:11little bit of like sensual energy to it especially in the road and intimacy scene well you need to know
14:18how to approach that and make sure you're delivering the emotions the audience wants from those types of
14:24scenes so what do those audience want from certain tropes can you give me a example well I mean the
14:31easiest like a dark mafia story they want I think they are a little more okay with shadows so your
14:38approach to actually the cinematography and how you film it could be different depends on the app
14:43some are willing to adjust how the show looks um to match the energy of the the themes um I
14:51think when
14:52it comes to performance especially from your leads if it's a mafia story I don't want someone who just
14:58boldly comes in and plants himself and says exactly what he needs to say with a lot of energy all
15:03the time
15:03no I want him to be a little slower maybe and not always speak so quickly right because that draws
15:12you in you're like oh there's a mystery here this is a mysterious man that's a different energy than
15:17your billionaire ceo that's stomping in to save the day every time and ordering around all his
15:23underlings right that's two very common tropes and common archetypes we see in verticals but two very
15:29different approaches and you might have the same actor that's great at playing both and as the
15:34director your job is to help them remember remember for this story this is what we need from the
15:39performance so I think uh understanding the genre so you can help the actors also really important as
15:47you know as a director because also they're they're having to memorize so many pages a day
15:51they're jumping from show to show your job as the director is to make sure these these tropes and
15:56these storylines um feel very clear and distinct so genre we see sometimes is a rom-com well that's
16:02going to look and feel very different than any of these other tropes if you're doing a werewolf one
16:07again leaning more mafia um yeah in north america the short drama is still dominated by ceo romance
16:15and various stories so what other type of story do you think could be explored and why no I've done
16:22three three secret agent romance shows so that's very exciting to me because I think that's the
16:29genre that I feel like hasn't been explored a lot um so you know a little more mystery I I
16:39think um
16:40within romance there's even different avenues we haven't fully explored I young adult like you know
16:48high school romance stories I've been seeing more of those lately and that's exciting I think there's
16:53a big healthy appetite for those types of stories so I sometimes really I have a hard time predicting
16:59maybe what's going to hit next but I definitely think we've only started to scratch the surface
17:05um I went on Amazon recently to look at the top romance genres that we're selling and I was like
17:13wow
17:13there's several here that I don't see a ton of vertical like short dramas geared towards this
17:20audience like this is an untapped market I would start to write your own scripts how do you find
17:25your original idea I've got like documents on my phone all the time every day a new idea comes to
17:32me
17:32it could be something I see online like a social media post um that I'm like oh this is an
17:38interesting
17:38dynamic my friend sent me a TikTok edit of like two characters from two different movies and the fan
17:44had like edited them to make it seem like they're in the same movie and I was like that's a
17:48vertical
17:48idea this is such a good you know idea I'm totally gonna do a vertical with these two types of
17:53people
17:53being thrown together um so also everyone in my life knows that I make these shows so I feel like
18:01I
18:01all the time my friends especially people that don't work in film they're like hey this funny thing
18:05happened or I heard this funny story at work or like don't you think this could be a vertical idea
18:09so I feel like I'm crowdsourcing a lot of my ideas at this point what kind of story do you
18:14think it's
18:15suitable for a vertical story oh um well I think any any story that can elicit really big emotions
18:22really quickly so romance works because you're a already anticipating something you know how it ends they
18:32get together in the end I think that anticipation that that payoff that you're waiting for is really
18:38important uh and I think that's why romance works so well in this space revenge another example you can
18:46have all these little twists and turns and all the cliffhangers you need but you also have this
18:50overarching anticipation of you can't wait for this person to finally get the justice they deserve and
18:56the justice they want right so a revenge storyline works really well and then within both of those
19:03major categories you know you can explore so many other exciting like sort of conventions and genres you
19:10know you can have romance also a sports story or revenge and also a sports story right so there's certain
19:19types of storytelling that I think do really well in this space and then you can add other elements that
19:25support that maybe we just haven't seen before and that's what can make it keep it feeling new and
19:29fresh and exciting for audiences family dramas you know can do well they also can really not do well
19:36so I think it depends on the type of family drama um and there's a reason why you know the
19:43family dramas
19:43we see in verticals are always the most dramatic extreme versions because that's what's going to do well
19:49lots of twists and turns lots of surprises lots of shocking reveals um I do think a mystery can do
19:57well we haven't seen many mysteries but again you know that it's going to get solved in the end and
20:03so
20:03you have that tension and then it's just okay what's the framework for the mystery and that's where
20:08you have to figure out what is what kind of mystery would this audience want to see and would keep
20:13them
20:13engaged uh you know any anything that has a human and another human and the tension between them uh
20:22you can you can make a vertical but some some genres are better suited than others when you write your
20:29original story how do you design your hooks and cliffhands I think at this point because as I've read
20:36so many vertical scripts my brain can tell pretty quickly like I just can like kind of think of an
20:43idea and then if in the first 15 seconds I can't think of what the big twist would be or
20:47the big
20:48hook would be and then I'm like oh this isn't a good vertical idea for me it could be a
20:52good idea for
20:53someone else who maybe you know but I feel like I understand like the pacing and how these need to
20:59move and what sort of shocking twists and turns need to happen at this point so my honestly it's just
21:05like my internal gut check of okay I just had this idea I spent 10 seconds thinking about it is
21:12is
21:12like am I getting like am I hitting any of the the point like because in a vertical script like
21:18the
21:18way it works right now is right you have your paywall moment so it's like really like okay am I
21:22already thinking of like what's happening right before the paywall am I thinking about what's
21:26happening to hook people in that first episode and if I'm not thinking about either of those things
21:31and I can't think of an option with my idea that like makes either of those moments feel super
21:37compelling right off the bat I'm like ah maybe it's not I'll write it down still like I've got a
21:42whole
21:42like I said notes app filled with ideas but probably not an idea I'm gonna like focus on at this
21:48time
21:49you write it he or she write short uh write tv series or films or write novels before if this
21:56person wants to write short dramas what's your suggestion there's some really great resources
22:01out there now uh there's some amazon books that have been published about this genre specifically you
22:07know verticals um and there's like a class I know an online course might even be happening in person in
22:15LA that someone has started um so there's there's resources available you can literally just learn
22:22about the genre I think the other biggest thing is meeting people and talking to people who already
22:27write in the genre um you know if you have friends if you're working as a writer in other
22:33fields you probably do know someone who writes verticals you might not realize you know them because
22:39a lot of them are using pseudonyms but you just got to find the people in your circles that are
22:43writing these and then be like okay what's your experience been what do I need to do actually my
22:48first suggestion would be watch as many short dramas as you can you do have to understand what is doing
22:54well and figure out kind of engineer why is why is this working um I think sometimes people
23:04can enter this space with like a preconceived idea of what works as a writer because it works for them
23:11in this other area but with verticals you just sort of have to come in with an open mind some
23:16of what
23:16you've learned probably the discipline you have as a novelist or as a tv writer or a movie writer or
23:23you know a video game writer like those that background has given you the discipline to to be a
23:29good vertical writer but you just have to relearn maybe some things you thought were hard rules when
23:35it comes to storytelling so as such women do you feel you have certain advantages in the short drama
23:40industry if yes what are they I definitely I think one advantage is that you know I am part of
23:49the
23:49target audience so just being a woman that's like in somewhat in this target demo I I feel like my
23:58I can
23:58trust my gut a lot which is nice and you know I've worked a ton in the video game space
24:03and I'm not a
24:04gamer but I've worked a lot in that space and it's just a harder lift for me creatively because I
24:10really
24:10have to pay attention and learn and I don't have that internal gut creative reaction to certain things
24:17because it's not I'm not the target audience um and that doesn't mean I can't create great content to
24:24promote video games I can and I have but it does mean that's like a little extra work whereas with
24:29the vertical space I can sometimes tell that something will work or not work uh and I can
24:36trust my gut on that I also it's nice just like a lot of my friends were also in the
24:41target demo I
24:42have friends who watch verticals they didn't even know I worked on them right so I can just ask them
24:47like hey what are you've been watching what are some vertical shows you've been watching that you just
24:51love send them to me I want to know what fans are watching what they're reacting to or I'll even
24:56ask them hey I just had an idea for a vertical what do you think and then I guarantee they'll
25:01immediately go oh what if this happened instead and I'm like that's a better idea than mine so thank
25:06you you know so just the the circles I'm in like people are watching them in my circles so
25:12it's a huge advantage is there any uh challenges you encounter when working in short dramas well
25:19the challenges are certainly primarily related to the logistics of shooting 15 pages a day um
25:28what's cool is at this point like the companies I've been working with a lot these production
25:33companies like they have it down you know we have a system so we're able to accomplish a lot more
25:39than we were last year when we were still working at our system that's been really cool to see I
25:45feel
25:45like I'm able to explore the creative side of filmmaking a little more because I have more time
25:51to do it because I'm able to get the stuff I know 100% we need faster which gives me
25:57more time to play a
25:58little um and that makes it a fun experience for us the people making these because we're getting to
26:06stretch these creative muscles challenges though I mean the reality is like working in film is
26:11filled with so many challenges so you know honestly I come from music videos and those are really crazy
26:19when it comes to schedule so vertical schedules don't even scare me as much but it's nothing
26:24related to gender right I have not encountered any issues that I thought were related to gender now
26:30sure uh you mentioned you are fitting the category so you got a lot of opportunities for that
26:35uh do you think shot drama have created more opportunities for female creators yeah definitely
26:41because because they're they're so heavily romance and so it's been cool seeing people coming from the
26:48romance space mostly as novelists or working you know um some sort of like e-publishing or web comics
26:55coming from all these spaces I mean the romance space is heavily dominated by women and so you see them
27:02coming into this space and that's very exciting it's very validating um I think romance in general
27:10maybe tends to get overlooked or looked down upon in mainstream areas uh but this space is very
27:18like validating of people with romance experience and it's seen as like a huge positive um to be like
27:27oh yeah I've read some you know romance novels that maybe aren't viewed by traditional Hollywood as
27:34being material that could be a big blockbuster but here in the romance here in the vertical space like
27:40that romance experience or knowledge is really helpful do you think is any female leads are portrayed
27:46in short drama have some issues for improvement well you know the American approach to a female lead tends
27:53to be she has to be really strong and she has to like know what she wants and she has
27:57to go after
27:58what she wants and that is very I think cultural um a lot of the verticals you know it's the
28:05female lead is
28:06is the opposite of that and it's been interesting seeing audiences respond to that I mean they obviously
28:13are responding very positively so in terms of watching these right but I do wonder if we're not reaching
28:21all the audience we could be if we also explored options where there is a really strong female and
28:27that's you know there's there's there are verticals where you know the the female lead is like super strong and
28:32she's out there she's got a mission so I'm not saying it doesn't exist but overwhelmingly what I see is
28:38you know the
28:39female lead is more deferential to the male lead you know she's not the one making all the decisions or
28:46you know she's
28:47really letting him take charge um and I think that's not knocking that because I think there's like
28:53a fantasy in there for some viewers who are like yeah I really just wish someone would just solve all
28:58my
28:58problems for me so I just want to watch a show where she just gets to go along for the
29:03ride and someone
29:03else is you know everyone whoever was mean to her the male lead beats them up and you know so
29:09I try not to bring
29:10any judgment um to the the different characters in these shows but I do think American audiences
29:17tend to gravitate towards shows about a really strong woman and the space so far is is providing
29:26that in much smaller quantities so I I suspect we'll start seeing more offerings um because it's just
29:35what the audience gravitate towards here I mean I I again if we're using myself as like a gut check
29:41barometer for this audience I prefer stories personally where you know this woman is not perfect
29:48but she's going after what she wants and she's you know maybe a strong career woman or you know maybe
29:56she's got goals um that are you know present her as like a very strong character if you design this
30:02female character what kind of person where you'd be depends on the storyline um you know I think
30:09there's a lot to be explored with like rivalry true rivalry you know competing CEOs like I think this
30:17is a trip that worked really well in the rom-com space in the 90s where both the man and
30:21the woman
30:22are equally powerful and now this is like a really fun power play for them as opposed to one of
30:28them being
30:28super powerful and the other being less powerful in the workplace or in the family dynamics or whatever
30:33it might be I think there's also the opportunity to show characters that change learn a lesson over
30:40time right now these shows work and again there's no judgment in that but the characters tend to
30:47enlarge be the same at the beginning that they were at the end and so what what happens if a
30:53character
30:53starts out as someone with a lot of flaws and then through the course of the story learns her lesson
30:59and now becomes a better person or a worse person right that's the anti-hero arc but is there room
31:06for
31:06that sort of nuance in this space we haven't really even explored it it's it's still so new so that's
31:12like another way to add uh because I think when I say strong female character I don't necessarily mean
31:19that she always has to be in a position of power but a strong character is maybe there's different
31:24layers that could be explored um there was a vertical I directed I thought the writing was so good
31:30and you know a female lead was really flawed like she made mistakes and she thought that she knew what
31:38she was doing and then she actually ended up like hurting the feelings of the guy and had to realize
31:43like oh I went about this the wrong way and he also wasn't perfect and so then it felt really
31:48satisfying when they finally did connect in the end because it was two people who weren't perfect
31:53but who figured it out and then could be together in the end you work with different platforms work
31:59with Chinese platforms and I think with a U.S. platform as well right what do you see the difference
32:04between each other well the Chinese platforms are pulling from an enormous amount of data of what
32:10worked in other markets and then they're bringing it here and so it as a result some of the plots
32:17I see in
32:18the Chinese app scripts are things I don't think a western writer could ever in a million years
32:24conceive of and there's something very fun about that um I think some of the the more like out there
32:31fun wacky unexpected scripts are coming from place you know they're coming from other markets where they
32:37did really well in China and now we're going to try to you know translate it but there's something
32:43really fun about that um so I think the stories that you know there's just certain tropes and stories
32:52that do really well in China that have been brought here and some of them have done well some of
32:56them I
32:56think audiences don't really know what to do with maybe they haven't done as well um but I find it
33:01just
33:01fascinating what some of the tropes are that are really popular um I I like there's a trope I've seen
33:08of you know a person traveling in time to be you know like the grandmother traveling and like there's
33:16a lot of like time travel sort of involved that I haven't really seen before um or like the the
33:24way
33:24that family dramas play out I I suspect that because I think in China a really popular trope is like
33:30the um the fantasy like royal I don't know there's there's like certain tropes I feel like that they
33:38try to translate to like a boardroom setting or family settings that you know are are originally
33:45like fantasy historical dramas in China that do well um because I haven't seen those here I don't
33:52think the translation or maybe it's the budget doesn't allow for it but uh yeah it's it's I'm never
34:00bored I'll tell you that much I'm never bored reading these
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