This series proves that vertical drama doesn't have to mean surface-level. Seducing Mr. Sterling the Ice-Cold Heir (DramaBox) lands as a solid, well-executed piece of work led by Eric Guilmette and Kyra Wisely, with strong support from antagonists Kristine Kay Larsen and 'John Lane'. Everyone holds their ground, and then some more. There's no weak link here -not even newcomer 'John Lane', whose performance holds up impressively well alongside more experienced actors in the vertical space.
Kyra Wisely brings a grounded, restrained performance that succeeds exactly because it doesn't scream for attention. It's interesting watching her play against her real-life energy -she's known off-screen for being vibrant, fast-talking, always on. On-screen, she reins that in completely, building a slow-burn arc with control and clarity. That contrast pays off.💪
Kristine Kay Larsen avoids the usual trap many villains fall into -overplaying or caricaturing. She keeps it believable. Not polished, but smartly measured. She looks the part and plays it straight, without turning it into a performance for performance's sake. That kind of restraint is harder than it looks.
Eric Guilmette continues to stretch himself, and it shows. There's something intentional about how he's pushing to break the surface of a very solid, very physical exterior. He plays tough well -it's what you'd expect from someone with his frame- but what's more interesting is how he's starting to experiment with letting the cracks show. Switching between command and intimacy, coldness and softness, he's not trying to be likable. He's working toward range, and that's what gives the role weight. Seduced me more times than I can count!
'John Lane' might not have the vertical screen history of the others, but he doesn't seem out of his depth. There's a rawness there -sometimes rough, but never off. Always in the right tone. He brings what the part needs.
Direction by Purple Light Productions (D. Mitry, Citlalli A. Ruiz, King J. Wang) leans into deliberate pacing and some carefully composed angles (!) which suit the vertical format more than you'd expect. There's not a lot of wasted space -every scene pushes something. And while the format is still limited, the performances stretch it so far that at times, it feels like it's begging to break out sideways -horizontal. You start to forget you're watching vertical. That says something.
Fun fact: There are a few cheeky nods to past projects from both Guilmette and Wisely -if you've followed their earlier work, you'll catch them. It's subtle, nothing meta, but adds a clever layer for those paying attention.
Overall, this is a clean, well-acted drama. A collective effort, and it clicks because of that. Nothing feels over-produced. For verticals, it's a fantastic 9 -but I wouldn't dare ruin the straight 10s it's gotten so far.😬
