This is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on Hollywood trends and streaming culture, follow Charles Pulliam-Moore. The Stepback arrives in our subscribers’ inboxes at 8AM ET. Opt in for The Stepback here.
Technology
How soapy micro dramas became Hollywood’s next big bet
Once upon a time (read: a few years ago), there were a pair of upstart streaming services called Quibi and Go90 that were supposed to appeal to phone-addicted millennials. These platforms were supposed to compete with Netflix and Amazon by offering up short-form videos designed to be watched on the go. Both services were touted as being the future of entertainment, and they had sizable financial backing. But neither Quibi nor Go90 managed to gain any real traction before their names became shorthand for “bad ideas exemplifying how out of touch studio and telecom execs can be.”
Quibi and Go90 were not long for this world, and much has been written about how they were doomed from the jump. Quibi was oddly expensive, Go90’s landscape mode-focused branding confused people, and neither service made it easy to share their content on other platforms. Back then, people — especially here in the West — laughed at the idea of watching scripted series that were meant to be viewed on a smartphone. But that same basic concept began to take off in China as the covid-19 pandemic ground the entertainment industry to a halt and forced movie theaters to close. Some were supernatural period dramas, while others were romantically charged thrillers set in the modern day. And their stories were all filled with wild twists that played out over the course of dozens of episodes.
In 2025, “micro drama” companies like DramaBox and ReelShort have demonstrated that there actually is an audience willing to pay for content that can be consumed in small, quick bites. And the recent micro drama boom has been a fascinating case study in old, failed ideas finding wild success in the present day because the way people think about and interact with media has changed.
When you open up any of the dedicated micro drama apps, you can see that the companies behind them took notes from social media platforms like TikTok and streaming services like Netflix in order to create a new, slop-filled third kind of thing. You’re immediately presented with a grid of posters for multipart series whose “episodes” each run for about two minutes max. And the titles — gems like I Kissed a CEO and He Liked It, Betrayed Alpha Queen Rises from the Ashes, and The Unwanted Wife Strikes Back — are as self-explanatory as they are ridiculous. Almost all of the shows involve elements of pulpy romance and women getting revenge after being scorned for not embodying the “right kind” of womanhood or femininity.
Many of the series frame fertility, motherhood, and werewolf / Omegaverse culture as the things that define their heroines’ sense of self. And while these female characters are often introduced as people who are able to fend for themselves independently, their main goal is usually to find a man who can sweep them off their feet and take care of all their worldly needs.
Micro dramas’ overwhelming focus on stories about downtrodden damsels in distress speaks to the fact that female viewers make up a substantial chunk of these platforms’ subscriber base. On some level, these series are tapping into the same kind of tawdry energy that kept the romance lit space humming along even as the larger publishing industry has seen a steady drop in sales. But unlike romance novels from traditional publishing houses with rigorous editorial processes, there’s a slapdash shoddiness to micro dramas’ production values that reflects how incredibly inexpensive they are to make compared to a Netflix or Hulu original.
That relative cheapness is one of the major reasons that ReelShort and DramaBox — which are backed by Chinese and Singaporean companies, respectively — have been making a bigger push into Western markets over the past few years. That’s also why US-owned studios like GammaTime and MicroCo are starting to pop up. It doesn’t seem to bother viewers that basically everything about micro dramas, from the writing to the acting to the lighting, is absolutely terrible. Globally, the micro drama industry is expected to rake in about $3 billion by the end of the year thanks to the platforms’ surprisingly aggressive and gamified pricing strategies. And with Hollywood execs deciding to get more serious about making micro dramas, the business has become something of an unexpected boon for young actors, writers, and production workers trying to maintain careers within a contracting job market.
Though you would be hard-pressed to find a micro drama that felt like a strong piece of storytelling, there’s no denying that people are paying to watch them at a time when traditional streamers have been struggling to draw in new subscribers. Are series like Carrying His Triplets, Becoming His Wifey, and Found a Homeless Billionaire Husband for Christmas destined to become mainstream pop cultural phenomenons? Probably not. But these kinds of projects are keeping people employed and making enough of a profit to justify their existence.
By launching a new kind of labor contract designed to address “the unique needs” of actors working on serialized micro dramas, like ensuring they’re paid a fair wage and earn screen credits for their labor, SAG-AFTRA has sent a signal to the rest of the entertainment industry about this kind of content’s future potential. These shows might not be particularly good right now, but that could change if the studios put more effort into producing them. And even if micro dramas were to stick to their current style of stilted acting / lackluster directing / weak writing, their success right now suggests that their subscribers might not really be interested in something “better.”
As different segments of the tech and entertainment industries vie for people’s attention, micro dramas feel like an unusually strong contender. Micro dramas don’t quite add up to streaming series in the way we typically think of them, and they don’t exactly scratch the same “look watch some randos do stuff” itch that TikTok is built for. Ironically, ReelShort and DramaBox’s success feels like a direct byproduct of the way that TikTok, Instagram, and YouTube have gotten people into the habit of endlessly scrolling through vertically shot video. But these micro dramas are their own weird thing that have carved out a unique niche and found a ravenous audience in the process. And if these new platforms can keep their upward momentum going, it wouldn’t be at all surprising to see their streaming and social media competitors rushing to make the similar content of their own.
- More and more micro drama production houses are embracing generative artificial intelligence into their workflows to keep production costs down while churning content out even faster. As ill-suited as the tech generally is for more polished projects, it makes a lot of sense for the style these kinds of shows are known for. It’ll be interesting to see if micro dramas’ use of AI will become a point of contention for the human actors relying on these projects for work.
- Micro dramas’ rise in prominence also happens to coincide with a sharp downturn of film and TV production in Los Angeles. That’s another reason more performers are turning to the platforms to stay afloat, and this moment could be a choice opportunity for micro dramas to establish themselves as a viable source of entertainment.
- Though micro dramas are currently on the come up, this Puck piece does an excellent job of illustrating some of the challenges these platforms will be up against as their growth leads to market saturation.
- It’s important to understand just how hostile toward users basically all of the big micro drama apps are. Janko Roettgers’ recent piece here breaks down what makes these apps feel so predatory, and how many of them have been informed by mobile gaming’s freemium model.
- The Ankler had a great sit-down with ReelShort CEO Joey Jia about how the company’s approach to monetization turned it into a billion-dollar business. The piece also includes a chat with actor Kasey Esser about how working on micro dramas has had a profound impact on his career.
- SAG-AFTRA’s micro drama contract makes it seem like the union is being proactive about shifts within the entertainment industry. But this Variety piece digs into how the new contract was — at least partially — a response to the fact that some actors were just deciding to work nonunion.
Technology
Blue Origin successfully reused its New Glenn rocket
Today’s launch of AST SpaceMobile’s BlueBird 7 satellite aboard Blue Origin’s reusable New Glenn rocket was a partial success. The New Glenn touched down on its landing pad without incident, making it the second launch and landing for the first stage booster, and officially giving Jeff Bezos a reusable launch vehicle. Unfortunately for AST SpaceMobile, the mission was less successful. Its cell-tower-in-space was delivered to a lower orbit than expected by the second stage of the launch vehicle, rendering it functionally useless.
While the satellite separated from the launch vehicle and powered on, the altitude is too low to sustain operations with its on-board thruster technology and will de-orbited.
Bezos, for his part, posted a video of the landing on X without comment.
Technology
iPhone and Samsung flashlight tricks you should know
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Most people treat their phone flashlight like a basic on and off switch. You tap it when you drop something under the couch or walk through a dark parking lot. That’s it.
But with the latest software updates, both iPhone and Samsung phones have quietly turned the flashlight into something much more useful. You can control how bright it is. On some devices, you can even change how wide the beam spreads.
Once you know where to look, it feels like you just upgraded your phone without spending a dollar.
10 IOS 26 TRICKS THAT HELP YOU GET MORE OUT OF YOUR IPHONE
Both iPhone and Samsung phones have quietly turned the flashlight into something much more useful. (Silas Stein/picture alliance)
iPhone flashlight features you’re probably missing
Your iPhone flashlight does more than turn on and off, and a few hidden controls can completely change how you use it.
How to adjust iPhone flashlight brightness
On almost all iPhones:
- Swipe down from the top right to open Control Center
- Press and hold the flashlight icon
- Drag the vertical slider up to increase brightness or down to lower it
This has been around for years, but many people still tap instead of holding. That’s where the real control lives.
How to change iPhone flashlight beam width (Pro models)
This is the feature most people have never seen. On newer Pro iPhones running the latest software:
- Swipe down to open Control Center
- Press and hold the flashlight icon
- When the flashlight control appears at the top of the screen, swipe left or right to adjust the beam width
You can go from a narrow, focused beam to a wide flood of light.
That means:
- Narrow beam = better for seeing farther ahead
- Wide beam = better for lighting up a full area
This feature was introduced in iOS 18 and is still available in iOS 26.4, but it only works on iPhone 14 Pro and newer Pro models, including iPhone 15 Pro and later versions. You won’t see it on standard models.
How to turn on iPhone flashlight from the Lock Screen
You don’t even need to unlock your phone:
- Press and hold the flashlight icon on the Lock Screen
It turns on instantly, which is faster than digging through menus.
How to use Siri to control your iPhone flashlight
You can say:
- “Hey Siri, turn on the flashlight.”
- “Set flashlight to 50 percent.”
- “Hey Siri, turn off the flashlight.”
It’s one of the fastest hands-free options when your hands are full.
The flashlight is one of the most used features on your phone, yet most people never go beyond the basics. (Anna Barclay/Getty Images)
Bonus: Use iPhone flashlight for alerts and notifications
Your iPhone can use the flashlight as a visual alert:
- Go to Settings
- Tap Accessibility
- Tap Audio/Visual
- Scroll down and turn on Flash for Alerts
Your flashlight will blink for calls and notifications, which helps if your phone is on silent or in a noisy place.
Samsung flashlight features you should know
Samsung takes a different approach and, in some ways, gives you more flexibility right out of the box.
Note: Settings may vary depending on your Samsung device model and One UI version.
How to adjust Samsung flashlight brightness
On most Samsung Galaxy phones:
- Swipe down to open Quick Settings
- Press and hold the flashlight icon
- Use the brightness slider (labeled “Brightness”) to adjust the light level
Many people miss this because a quick tap only turns the flashlight on or off. The brightness controls appear after you press and hold, giving you more control depending on your situation.
How to turn on the Samsung flashlight with your voice
If you use Google Assistant:
- “Hey Google, turn on the flashlight.”
- “Hey Google, turn off the flashlight.”
It works well when your hands are full or when you need quick access.
10 INCREDIBLY USEFUL IPHONE AND ANDROID TRICKS THAT MAKE YOUR LIFE EASIER
How to customize Samsung flashlight access
Samsung gives you a few ways to keep the flashlight within easy reach. To keep it in your main Quick Settings panel:
- Swipe down from the top of the screen to open Quick Settings
- If you do not see the flashlight icon in the main panel, tap the pencil icon to edit
- Tap Edit
- Find Flashlight in the available buttons
- Hold and drag the flashlight icon into the main Quick Settings area
- Tap Done or Save if prompted
Bonus: Use the Samsung flashlight for alerts and notifications
Samsung phones can also use the flashlight for visual alerts:
- Go to Settings
- Tap Accessibility
- Tap Advanced settings
- Tap Flash notifications
- Turn on Camera flash notification
You can also turn on Screen flash notification if you want your display to light up instead.
When iPhone and Samsung flashlight features actually matter
This is where it becomes practical:
- Walking at night: a narrow beam helps you see farther ahead
- Power outage: a wide beam lights up more of the room
- Looking for something nearby: lower brightness avoids harsh glare
- Emergency situations: faster access can save time
Once you start adjusting the light instead of just turning it on, it becomes far more useful.
Take my quiz: How safe is your online security?
Think your devices and data are truly protected? Take this quick quiz to see where your digital habits stand. From passwords to Wi-Fi settings, you’ll get a personalized breakdown of what you’re doing right and what needs improvement. Take my Quiz here: Cyberguy.com
Apple improved control with hardware and software, while Samsung focused on flexibility and customization. (Kurt “CyberGuy” Knutsson)
Kurt’s key takeaways
The flashlight is one of the most used features on your phone, yet most people never go beyond the basics. Apple improved control with hardware and software, while Samsung focused on flexibility and customization. Both approaches make a simple tool far more capable.
Have you ever discovered a hidden feature on your phone that made you wonder what else you’ve been missing? Let us know by writing to us at Cyberguy.com
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Technology
The future of local TV news has taken a Trumpian turn
This is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more stories on Big Tech versus politics in Washington, DC, follow Tina Nguyen and read Regulator. The Stepback arrives in our subscribers’ inboxes at 8AM ET. Opt in for The Stepback here.
A long time ago, in 2004, the Federal Communications Commission laid down a rule designed to prevent a monopoly: No one company could broadcast to more than 39 percent of all the TV households in the United States. But then Donald Trump returned to the White House in 2025. Brendan Carr became FCC chairman and immediately kicked off a deregulatory initiative called “Delete, Delete, Delete,” in which Carr vowed to get rid of “every rule, regulation, or guidance document” that placed “unnecessary regulatory burdens” on companies. And within months, Nexstar, which already owned over 200 stations nationwide and had hit its ownership cap, announced that it had entered an agreement to purchase its rival, Tegna, for an estimated $6.2 billion — something that could only happen, however, if Carr agreed to change the FCC’s rules.
If you ask Nexstar why it’s pursuing a merger that would give it control of over 80 percent of the market, it’d point to Big Tech as the culprit. As advertisers take their money to Netflix, YouTube, and other digital streamers, linear television — the local television news, the broadcast affiliates, the basic cable networks — has suffered, forcing them to consolidate and shut down newsrooms. In that sense, Nexstar argued, the merger would help it compete for ad revenue with the streaming services, thereby building more robust local journalism. However, the merger’s opponents believe that this is a basic violation of antitrust laws and principles — not to mention the danger of letting one company have editorial control over the vast majority of America’s local television newsrooms.
But the second Trump administration handles regulatory hurdles a little differently than others, and companies have found that it’s faster to get what they want if they bypass the agencies and talk (read: suck up) to Trump directly. And when Nexstar did so publicly, it confirmed its opponents’ fears about political influence. Last September, in the fraught weeks after the fatal shooting of Charlie Kirk, Nexstar announced it would no longer broadcast Jimmy Kimmel Live! — a response to Carr’s claim that the FCC could revoke the broadcast licenses of TV stations that aired the comedian’s comments related to Kirk. It briefly led to ABC suspending Kimmel’s show, though ABC and Nexstar soon reversed their decision after a massive nationwide backlash and an ABC boycott.
However, Nexstar’s loyalty to Trump himself was not enough to win over his most powerful MAGA supporters. Newsmax, a cable news network with a deeply pro-Trump bent, and its CEO, longtime Trump donor and outside adviser Chris Ruddy, filed a lawsuit objecting to the merger, claiming that Nexstar’s anticompetitive behavior would force channels like his off the air with steeper carriage fees. He specifically accused Nexstar of jacking up the fees for stations to carry Newsmax, while offering its similar network, NewsNation, for much cheaper.
The Nexstar-Tegna MAGA makeover then took a more subtle turn. NewsNation hired the pro-Trump Fox News commentator Katie Pavlich and gave her her own primetime show. (The network had already hired a slew of former Fox journalists as well.) Around this time, a political group called Keep News Local began airing ads in DC that seemed to directly address Trump, praising him for having “defeated the fake news monopolies before through independent voices and local news” and claiming that the Nexstar-Tegna merger was “crucial for MAGA to survive.” (A little self-contradictory and mildly illogical, but it’s the kind of stuff that Trump likes to hear.) When I last spoke to Ruddy in February, I asked if he’d worried that the dark money going into Keep News Local would sway Trump, and he chose his words carefully: “I think at the end of the day, Trump makes up his own mind. I’m not sure he’s going to be influenced by an ad campaign.”
For months, no one could accurately predict if Trump would override Carr’s wishes and bless the deal, as he’s often done for other companies facing regulatory scrutiny. Trump’s Truth Social posts about the merger have been a good indicator of how precarious the merger has been and who’s been able to influence him at any given moment: Last November, he blasted the deal as an “EXPANSION OF THE FAKE NEWS NETWORKS,” but by February, he posted that the deal would “help knock out the Fake News because there will be more competition.”
Several current and former NewsNation employees told Status at the time that they feared that the parent company was steering NewsNation away from the centrist, “unbiased” reputation they’d long cultivated. “A lot of people within the network believe that the network has gone hard right to appeal to Trump and Brendan Carr,” one former employee told Status. Coincidentally, days before the deal was finalized, NewsNation began ramping up its explicitly pro-Trump content, tweeting a clip of CNN’s Kaitlan Collins being berated by White House press secretary Karoline Leavitt, along with the comment “Just going to leave this here.”
When Trump greenlit the merger in mid-March, but before the FCC’s three commissioners could vote on whether to waive the ownership cap, Nexstar and Tegna immediately announced a new complication: Tegna and Nexstar had already started merging. Tegna was no more and CEO Mike Steib had already sold $22.6 million of his company stock.
In response, eight state attorneys general and satellite TV operator DirectTV, which had already been planning to file separate federal antitrust suits against the merger, asked US District Judge Troy Nunley in Sacramento for an emergency restraining order that would prevent Nexstar from taking over Tegna’s assets. The order was granted on March 27th and on April 17, Nunley issued a formal injunction, ruling that Tegna must be operated as an independent financial entity, and Nexstar must take steps to ensure it remains separate from Tegna before further legal proceedings.
For now, Nunley has allowed the states and DirecTV to combine their cases, in which both argue that the merger was a clear violation of antitrust laws and would crush news competition.
Meanwhile, Republicans and Democrats in Congress are furious at Carr. On March 30th, Sens. Ted Cruz (R-TX) and Maria Cantwell (D-WA) sent the chairman a joint letter admonishing him for allowing his staff to waive the regulations to let the merger pass, instead of having the full commission of political appointees — one from the Biden administration — vote on it. “Under these circumstances,” they wrote, “any subsequent vote risks being largely procedural rather than a genuine exercise of commission responsibility.” They also pointed out that their hasty approval without the commission’s approval would now complicate the merger financially: “In a transaction of this scale, where integration proceeds quickly and unwinding becomes impractical, delay in judicial review can insulate the decision from meaningful challenge.” Notably, though they share similar ideological views on the media and deregulation, Cruz and Carr have frequently clashed over how to achieve their objectives. Cruz previously slammed Carr as a “mafioso,” for instance, for the way he’d used the FCC to silence Kimmel.
But even if it’s legally paused, the journalistic merger’s fallout has started to hit local news. NPR’s David Folkenfirk reported on Tuesday that Tegna journalists had already started receiving orders to stop broadcasting content from major broadcasters like ABC, CBS, and NBC — media outlets being targeted by Carr — and instead begin airing content from Nexstar’s NewsNation.
- Brendan Carr’s views on using the FCC to punish major broadcasters was outlined pretty extensively in the chapter he authored in Project 2025, an initiative led by the conservative Heritage Foundation on how to reform the federal bureaucracy to be more favorable to the American right.
- Exactly how much is local television losing to digital? According to industry publication NewscastStudio, in an investor call defending the purchase, Nexstar chairman Perry Sook cited a market research study from Borrell Associates, which found that “digital advertising in local markets exceeds $100 billion, compared to just $25 billion for local linear television advertising, with nearly two-thirds of digital ad dollars flowing to five major technology companies.”
- If you want to see exactly how much Keep Local News was trying to suck up to Trump, the ads are archived here.
- The Vergecast has a long-running segment called “Brendan Carr is a dummy.”
- The LA Times reported on last week’s preliminary hearings in front of Nunley, and how lawyers for Nexstar, the states, and DirecTV plan to argue their case.
- The Desk has insights from Kirk Varner, a former TV newsroom director, on how the case could go.
- Andrew Liptak covered Nexstar’s previous acquisition sprees for The Verge in 2018.
- Adi Robertson walks through exactly how the Kimmel suspension was an attack on free speech.
- Brendan Carr keeps trying to convince people that he’s not threatening to suspend broadcast licenses for reporting on unfavorable things like the Iran war, reports Lauren Feiner.
- The Vergecast has a long-running segment called “Brendan Carr is a dummy.”
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