Wondering what’s up (and down) for content in 2026? Vertical video is no longer experimental. It is structural.
We scroll up and down. Culture affects us from top to bottom. And we’re consuming brand impressions vertically on our phones more and more. It’s not even a conscious choice anymore; it’s natural.
I’m not just seeing a demand for more content in general; Canadian businesses are specifically moving toward scripted, character-driven vertical series designed to tell stories on platforms like TikTok and Instagram.
As my clients begin to adjust, it’s not about chasing a format. It’s about recognizing how trust is built now.
Production companies, like social media apps, saw the potential in vertical storytelling early on, and the trend is only going up. Apps like ReelShort and streaming services like DramaBox are now devoted entirely to creating vertical content of a cinematic calibre. With plans to roll out more broadly in 2026, even Netflix has begun testing “snackable,” vertically optimized content feeds and clips. In terms of daily revenue, vertical micro-dramas are already raking in more money than traditional subscription streaming in the US. anticipated sales of $3.8 billion by the year 2030.
There is a reason so many of us would happily buy paper from Dunder Mifflin after watching The Office (even though it’s cheaper at Staples). It wouldn’t even be about paper quality.
It’s about familiarity. Knowing the characters and the inside jokes formed a bond. The brand environment became emotionally loaded. When that happens, all your key selling features and BOGO deals become secondary.
Retail and hospitality brands, operating within story-rich ecosystems, are in a unique position to benefit from this dynamic. Hotels have front desks, regular guests, concierges, and unexpected situations. Retail floors are filled with stylists, last-minute shoppers, product debates, and everyday transformations. These are not manufactured narratives. They are operational realities.
The strategic question is not whether stories exist. It’s whether brands are choosing to capture them.
I’m hired for great ideas, and a lot of them. Here are a few to drive home my point.
From the front desk, we show returning guests, weddings, and other events. parties, and the subtle chaos of peak season check-ins. Shot vertically, lightly scripted, and character-led, the property becomes more than a destination. It becomes familiar before arrival. Basically reinvent Fawlty Towers for a modern audience in Canadian culture.
Here’s where the wine expert who has to deal with holiday crowds, the customer who says they “don’t like sweet but don’t like dry,” and the heated discussions about how to host a holiday party should go. Yes, it’s educational. However, relational is more important.
A fast-paced, style-led series that chronicles prom emergencies, last-minute event rescues, and generational style disagreements. Retail is filled with tension and resolution, the fundamental ingredients of a story.
This place is pretty much set up already. There are musicians playing, art installations that change, and bartenders who know the names of the regulars. The setting in question is not an ad. By nature, it happens in spurts.
There is no need for a 20-person production crew for any of these ideas. They need a clear tone, disciplined storytelling, and a steady rhythm for letting go.
Creating an in-house studio for content creation is a must, isn’t it? Actually no.
You just need a strategic creative partner who knows how to build a story, keep it going, and make sure the brand stays the same. They should be able to identify the key players in your business, create a sense of fascination, and develop a content strategy that appeals to a wide audience while minimizing the workload for your actual internal team.
Stores and restaurants already have to deal with places where they have to market all the time. They need to take place often. They need to move fast. They need content that doesn’t seem to be being split up.
If you do it right, this is exactly what scripted vertical storytelling gives you.
At Giant Shoe, we don’t see this as “let’s make more videos.” We think of it as content cracking consumer behaviour. What does it mean to talk about a series? What kind of person keeps showing up? What tone of emotion do we want to set? What does each episode have to do with what the brand promises?
It can become a strategic asset instead of a campaign if you do it right.
People are getting less and less receptive to obvious forms of advertising, but stories still have a profound impact. Viewers become emotionally invested in serialized content as it progresses. Being familiar makes things easier and way more fluid.
This is especially important for brands in the retail and hospitality industries, as customer loyalty and repeat business are what keep the lights on, literally.
By now, the most successful brands have moved beyond mere visibility. You can keep a watch on them with a behind-the-curtain feeling.
Stories, not claims, are what build trust. The most successful companies know that vertical storytelling isn’t a new idea; it’s just the new vehicle for consuming culture. They also pick partners who can help them participate in a way that doesn’t hurt the integrity of their brand. People return, not only to view the next episode, but to enthusiastically buy from you.
If Canadian retail and hospitality leaders are ready to explore this evolution with discipline and clarity, Giant Shoe is already building the framework for you.
The format may be vertical.
The strategy remains grounded.
