Self-Funding a Vertical Drama
My Husband Led a Triple Life
Shannon K. Dunn and Ena Rodriguez O’Rourke from TripleLife LLC are actors who met in an improv class, booked a film together, and eventually decided they had more to offer than just showing up to someone else’s set. So they self-financed their own vertical thriller. In Colorado, on their own dime, without a platform deal or a studio green-light.
The result is My Husband Led a Triple Life, a suspense drama with 40+ episodes in Season 1, a Season 2 scripted and ready to shoot, and active distribution negotiations underway.
But first, the vertical drama news of the week.
👀 Spotted:
Monika Dalman has taken the most common questions she gets asked and created a pocket guide. If you have Kindle Unlimited, it is free. Next week, Behind the Verticals will also feature an in-depth video interview with Monika and her business partner Alicia Read.
Lifetime gets into microdramas with Taye Diggs-produced series.
AI Is changing how stories are developed and Vigloo launches AI-powered creator dashboard, setting a new industry standard for microdramas.
How South Korean microdramas are trying to break into a China-dominated market.
Meet the microdramas drawing in viewers and creating entertainment jobs in Canada.
Chris Cannon spoke with Evan Shapiro about vertical drama and the creator economy.
COL Group opens ‘Microdrama In A Box’ turnkey app solution at FilMart. Behind the Verticals got additional information from General Manager Timothy Oh: While most of the content is in English, it comes with subtitles and in some cases dubbing. Creators can also upload their own titles that they produce, and acquire additional shows either through COL Group or independently. The starting budget is around USD100k, which includes both the technology solution and a curated content package.
More info on the Loop Premium open call featured last week: The platform is seeking completed or near-completed vertical micro-drama series from creators, producers, and studios, distributing them through a 50/50 net revenue share on a non-exclusive licensing basis, meaning creators retain full IP ownership. Creators handle their own production, while the platform focuses purely on distribution and audience growth. AI-generated content is not part of their model. They exclusively support creator-driven productions.
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🎙️ Video Interview
Shannon K. Dunn and Ena Rodriguez O’Rourke navigated SAG before there was even a vertical contract. As union actors, they needed formal approval before filming. Since an official vertical agreement didn’t exist yet, they applied under a new media contract. This meant forming an LLC, submitting a partnership agreement, and going through the full SAG-AFTRA process. It worked. If you’re a union actor thinking about producing your own vertical, the path exists. It just requires paperwork.
Watch the full interview below to hear how Shannon and Ena navigated SAG contracts, intimacy on set, funding, and what comes next for their vertical drama.
