• Instagram is opening its arms to long-form video again.
• Adam Mosseri, Instagram's top exec, said longer videos will help the app stay "relevant."
• Instagram is testing tools for creators making episodic content. But will it pay for them?

Instagram's top executive, Adam Mosseri, has a plan to keep the platform "culturally relevant" — by making it more like YouTube.

Meta-owned Instagram unveiled an overhaul of long-form video features on Monday, including a test of horizontal videos called "Features." Taken together, the changes make the app feel a lot more like YouTube.

"We want to be the most culturally relevant platform," Mosseri said in an interview with content creators and founders of Press Publish, Colin Rosenblum and Samir Chaudry. "To do that, we just need to show up where people are."

The context: YouTube has become a major hit on TV screens, and there's a growing appetite for Instagram-native shows with recurring episodes.

"Subway Takes," hosted by Kareem Rahma, is a prime example of Instagram's strengths and limits. The show started in 2023 as a short-form interview series and, as it grew, expanded with longer-form cuts on YouTube and the streaming platform Tubi. Instagram, however, is where Rahma's show still has its largest audience of 2.4 million followers.

Instagram doesn't want people to go to YouTube or Tubi to see longer versions of shows like "Subway Takes." That's leaving ad revenue and user engagement on the table. Its new tools are designed to entice creators and viewers to stay on its platform.

Here are Instagram's latest video tools and how creators can use them:

• "Features" keep viewers within the Instagram ecosystem. Instead of leaving Instagram to watch the extended version of an interview or episode, it'll be relatively seamless to stay on Instagram and watch that longer-form content. Instagram's "Features" can be as long as 90 minutes, although the new format is, for now, only available to a limited number of creators in the US and Brazil.
• Instagram is feeding more content to its TV apps. Instagram is also pushing its "Instagram for TV" app further. The app will feature various video content on TV services like Samsung, Amazon Fire TV, Google TV, and now Apple TV. People can now watch a feed of content their friends are also liking or resharing on TV.
• Instagram-native shows can label their episodes more clearly with "Series." Within the main Instagram feed, Instagram is testing a way for shows on the app to seamlessly connect episodic content. Eligible creators can add videos to a Series, and a label appears over the content indicating that there are additional episodes. People can then watch those episodes in order from the start. This test is expanding to more countries through the end of the year.
• Clips can directly drive engagement back to the original video. Instead of clipping content and praying that the audience will go the extra mile of clicking on an account and finding the original, longer-form video, Instagram is letting creators link up to 8 clips to one long video.

This isn't Instagram's first time dabbling in long-form content.

In 2018, it launched IGTV, a long-form video format and stand-alone app. In 2020, Instagram rolled out a program that let creators earn money from those videos on IGTV. Four years after launching, the company sunset the IGTV app and shifted its video efforts to Reels.

There are a few key elements missing from Instagram's big leap (back) into long-form video.

You can't watch the video while continuing to scroll through Instagram, or multitask by opening other apps while keeping the Instagram content in a picture-in-picture pop-up. There also aren't automated transcripts and subtitles yet. A spokesperson for Meta told Business Insider that there are plans for these features.

Will creators get a slice of the ad revenue pie?

For creators, one key question and pain point looms: Will Meta share the honeypot?

Mosseri told Rosenblum and Chaudry that Instagram is thinking about ways to test pre-roll and mid-roll ads that could lead to a revenue split. However, he said previous attempts by Instagram to build a creator monetization system comparable to YouTube's Partner Program didn't prove beneficial for the platform.

"We spend more money than we make back by a long shot," Mosseri said of Instagram's previous efforts at broad revenue-sharing programs.

Mosseri said that in its previous iterations of content monetization, creators typically didn't produce more content than they already did for free, and the content they did create tended to be lower quality.

Still, Instagram will need to "figure it out" as it tries to crack longer-form content, Mosseri said.

"I don't think of platform payments or performance-based incentives or bonuses as a revenue driver," Mosseri added. "I'd be psyched to scale them up for any of these formats — as long as we're breaking even."

• Film producer Tommy Harper is shutting down his micro drama app VeYou after about six months.
• Harper, who sought to build the "HBO" of the genre, said he would still produce for other platforms.
• The micro drama space has shifted as tech giants push in.

The app that wanted to be the "HBO" of micro dramas is shutting down.

Prolific film producer Tommy Harper is shutting down his app, VeYou, after about six months. A message on VeYou said the service would end November 6.

Harper told Business Insider he would continue producing series, distributing them via TikTok's micro-drama app PineDrama, YouTube, and other partners.

Harper, whose credits include "Star Wars" and "Top Gun: Maverick," is one of several Hollywood vets trying to bring their prestige sensibility to micro dramas, the soapy, low-budget series that got their start in China and have exploded in the US.

The move shows how fast the space is changing as Big Tech companies lean in. Micro dramas — also called "verticals" — cost a fraction of a traditional feature-length movie, but apps often lose money because of the high cost of marketing, and VeYou didn't have massive financial backing.

"In the past year, TikTok, Meta, and YouTube all moved hard into short drama," Harper emailed. "When the three biggest attention platforms commit to a format, distribution is decided. The opportunity for an independent company is to be the best supplier to those platforms, not to compete with them for installs. So we're focused where we have the edge: making the shows."

Harper raised an undisclosed amount of seed funding for VeYou from investor S32, a venture firm started by Google Ventures founder Bill Maris, who's also backed 23andMe, Impossible Foods, and Nest. VeYou has made a handful of originals, starting with "Love Under Fire," a romance drama starring Kasey Esser, who wrote the series alongside Harper.

The micro drama market is changing fast

The micro drama space has changed dramatically in recent months.

In the past year, AI-generated characters have increasingly taken their place alongside human actors, and free, ad-supported offerings are competing with the "freemium" apps that had dominated the landscape.

A report by media consultancy Owl & Co. found two-thirds of films released by leading apps in the third quarter of this year outside China were AI-generated, up from 3% in the first quarter.

TikTok's free app PineDrama rolled out in January, and by the third quarter, it accounted for more than half of all micro drama views across 16 leading apps, according to the Owl & Co. report.

Other tech giants have also moved quickly into the space and made themselves bigger viewing destinations for micro dramas.

YouTube released a new feature that allows creators to bundle their short videos in a series of episodes or seasons, designed to be viewed sequentially.

On Meta, the dominant platform used by micro drama apps to acquire customers, some apps are running portions of their films lasting 20 minutes or more as ads to get people to subscribe.

Lori Golden-Stryer, the CEO of RIVR Media, a producing partner for VeYou, said VeYou's films set themselves apart through their scripts, acting, and direction. She said she was encouraged to see its series perform well on TikTok, based on platform data and her company's monitoring.

"People want live characters," she said. "I don't think they want AI. I've seen a lot of different verticals, and I'd like to think ours were a little cut above."

Moktar, 21, pulls up his neck gaiter, tightens the hood of his puffer jacket and steps out of the house in the late afternoon, dressed in immaculate black from head to toe. Behind the little mustache and the thick-lensed glasses with gold-rimmed temples, he smiles — a third-year college student from a very modest Tunisian family. Friendly, sharp, with an unusually political sense for his age and skin toughened by his surroundings, Moktar grew up in one of the poorest buildings in the L’Abreuvoir neighborhood in Bobigny (population 48,873), right opposite one of the drug-dealing hotspots where traffickers, police, customers, and addicts come and go all day. “Ballon here,” reads graffiti on the wall, advertising the nitrous oxide gas sold for inhalation.

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On the eve of a party plenum that has purged 45 of 376 members, China faces its most pressing question: is the model it has adopted right for its historical phase? Beijing is uncertain. Domestically, it faces many problems, and foreign examples offer little reassurance. If the US offers a positive model, Beijing might reconsider, […]

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