Targeted at mobile audiences and created on a fast schedule, the new mini-series “The Fake Socialite” highlights the growth of vertical storytelling in the Philippines.
For its actors, one of the biggest adjustments was the pace of production, which required them to deliver scenes quickly without losing emotional depth.
Former beauty queen and comebacking actress Priscilla Meirelles said the experience stood out immediately because of how compressed the shooting schedule was compared to traditional projects.
“When it comes to the whole experience, we really had very little time because vertical series are so surprising. It's very fast, and because of that, you really have to be more direct and efficient. I was honestly amazed that we were able to shoot more than 60 episodes in just two days because that kind of speed is something I've never encountered before,” she said.
Mierelles added that despite the demanding pace, the set remained collaborative and supportive. “It's rare to be in a project where everyone is doing their best while also helping each other, which made the whole experience even more meaningful for me.”
Director Gino Santos said the shift to vertical framing required both technical and creative adjustments, especially in the staging and performance of scenes.
“I'm actually a fan of vertical dramas, so I did a lot of research beforehand, and once I started directing, I already had a clear idea of what I wanted to achieve,” he said. “But the aspect ratio is different, the pacing is different, and even the way actors move has to change because the space is very limited.”
Santos said those constraints ultimately shaped the storytelling style of the series. “It was a learning experience, but at the same time it was very exciting because I was given the freedom to create something stylish and fast-paced, and that combination made the entire shoot feel very fresh compared to the usual projects I've done.”
For Miranda, the format proved especially challenging because of the need to balance performance with limited time. “You have to understand the character deeply from the start and deliver that emotion right away, especially since the scenes are shorter but still require intensity.”
Franki Russell likewise said the format highlighted how different vertical storytelling feels from traditional productions, especially in terms of presence and delivery. “You really have to be intentional with everything you do, from your expressions to your movements, because even small details become more visible. It pushes you to be more precise as an actor while still staying natural.”
Produced for Viva Movie Box, “The Fake Socialite” follows Mikay (Miranda), an assistant who becomes deeply familiar with the secrets and scandals of the elite fashion world before deciding to take control of her own narrative after repeated humiliation from her boss and a circle of socialites.
Using the connections and knowledge she gains behind the scenes, Mikay begins to outmaneuver those who once looked down on her as she navigates a world defined by status, power and carefully guarded reputations.
“The Fake Socialite” is available on Viva Movie Box, offering free and paid viewing options for mobile users as part of a broader push toward accessible short-form Filipino content.
