INVESTMENT IN LIVE PROGRAMMING

More live event programming. This year we saw so many watercooler moments with The Roast of Tom Brady, Dancing with the Stars going viral with the TikTok generation and the Tyson-Paul fight. That nostalgic feeling of bringing everyone together for a shared cultural experience is important no matter what format or platform people are watching.
Rob Mills, EVP Unscripted and Alternative Entertainment, Walt Disney Television (Hulu’s It’s All Country)

RELATED: 2025 Premiere Dates For New & Returning Series On Broadcast, Cable & Streaming

It’s clear platforms and networks know the value of live programming, but we’d love to see more investment in live content across genres, outside the worlds of sports and comedy. We’ve seen how great live shows can revive event programming, and more innovation in this space from producers and more backing from buyers could be a boon for unscripted.
Lucilla D’Agostino, Head, Big Fish Entertainment & Evolution Media (Bravo’s Vanderpump Rules)

INTRODUCE UNSCRIPTED TAX INCENTIVES IN CALIFORNIA

We hope to see a renewed focus on innovation within the unscripted television industry in 2025, driven by three key changes. First, adopting fresh approaches to bring more original commissions to life, especially bold new American formats that push the boundaries. Second, meaningful subsidies in New York and Los Angeles — the two most important production hubs in the U.S. — are essential to ensuring the longevity of these cities, which are losing productions to cost-cutting pressures. Finally, a stronger commitment to sharing upside will inspire top talent across all disciplines of production to give their best, knowing their efforts are meaningfully rewarded in success.
Eli Holzman and Aaron Saidman, Co-Presidents, Sony Pictures Television – Nonfiction (HBO’s We’re Here)

I think we are all eagerly hoping for a substantial California Film and Television Tax Credit to be approved in 2025. The unscripted industry could greatly benefit from a portion of that funding to incentivize companies to shoot in L.A. We have an abundance of exceptional above- and below-the-line talent right here, but many are being forced to leave their homes and families for extended periods to earn a living in other states or countries. Let’s keep our industry thriving locally. Come on, Gavin — make it happen! And … ad-funded content has enormous untapped potential to address some of the industry’s toughest challenges for both producers and networks. While there seems to be a growing appetite for it, there hasn’t been much to show for it yet. There are more conversations happening in this space than ever, and I’m hopeful we’ll see more of it come to fruition in 2025. Fewer episodes per season have also become a real challenge — especially for shows with tighter budgets — and small episode orders make it hard for production companies to stay profitable and limit opportunities to tell great stories. Larger episode orders would not only stabilize businesses but also unlock better economies of scale. More episodes equals better stories plus healthier businesses. DEI feels like it’s slipping away, but letting it die is bad business. We’ve got a deep pool of talent, behind the camera and on-screen, that deserves a fair shot. Diversity, Equity and Inclusion isn’t just about doing good; it’s good for the bottom line. Don’t pull the plug in 2025.
Jennifer O’Connell and Rebecca Quinn, Co-CEOs, Velvet Hammer Media (The CW’s The Big Bakeover)

If Gavin Newsom were to give tax incentives to at least unscripted union series, it would be a significant step toward bringing production back to Hollywood. Without such incentives, achieving a lower price point for these shows becomes extremely difficult, if not impossible.
Jenny Daly, President, Critical Content (Netflix’s Sly)

We strongly encourage tax incentives for filming unscripted content in Los Angeles. These shows are only as good as the individuals who produce them, and while B17 has tapped into an incredibly talented Canadian community of late, we would also love to utilize the brilliant minds here in L.A. who have contributed to our success over the past decade but currently face limited opportunities.
Rhett Bachner and Brien Meagher, Founders, B17 Entertainment (Netflix’s History of Swear Words)

TAKE BIGGER RISKS, BUY BOLDER IDEAS

It would be wonderful if buyers were more willing to invest in unscripted ideas that have never been done before. At ESNA, we’re fortunate to have access to a wealth of fabulous IP across Banijay, and we thrive on innovating and reimagining concepts to find the “why now.” But when we look at the most daring scripted hits, they are almost always true original ideas. As we move into 2025, my hope for unscripted content is that when a truly great idea excites a buyer, they get to place a bet on it and make something that has never been done before.
Sharon Levy, CEO, Endemol Shine North America (Fox’s MasterChef)

In 2025, we’d like to see the unscripted community champion more bold and original concepts. While spinoffs and reboots have a valuable place, we’d like to experience a renewed focus on fresh ideas driven by creative risk-taking. By aiming to deliver content that feels genuinely new and exciting, we can meaningfully push the unscripted space forward for audiences and our creative partners. 
Bridgette Theriault and Dan Sacks, SVP Development Warner Horizon/Telepictures (ABC’s The Bachelor)

We are optimistic about 2025 because there seems to be a real appetite in the global market for big ideas and a growing willingness to partner and collaborate on creating and launching them. We are excited about the new opportunities ahead with the new business models emerging.
Allison Wallach, Head of Unscripted Entertainment, Fox Entertainment Studios (Fox’s The Masked Singer)

I’m optimistic that 2025 will be the year of risk: buyers taking risks to commission the big, loud ideas they say they want; producers leaving their comfort zones to pull them off; and the industry at large taking a risk on figuring out a way to utilize the incredible talent pool in our country.
Karrie Wolfe, Co-Head of Development, North Road’s Kinetic Content (Netflix’s Love Is Blind)

The recognition that all our creative futures thrive with a little bit of risk. Great content and breakout formats don’t always get born from deep within a corporate machine that houses 130 labels with footprints in 26 countries. Some of the world’s greatest unscripted formats were created with a spark by a wipe board, pitched with an in-person run-through and then sold to executives and commissioners that were given the freedom and motivation themselves to take the occasional risk. 
Robin Ashbrook, Founder, theoldschool (Netflix’s Next in Fashion)

The single best thing that could happen would be a huge hit show that was sold off paper, without tape, existing IP or big star names and unaltered by data or focus groups. A show that a network just flat-out believed in and took a punt on. Taking risks has never been harder, but it’s the only way to create something special. To get the industry’s courage back, we all need someone to trust their instincts on a totally fresh idea and, critically, turn out to be absolutely right.
Glenn Hugill, Chief Content Officer, Wheelhouse (Netflix’s Buying Beverly Hills)

I’d love to see the unscripted TV community take braver risks in 2025. Reviving classics will always have its place, but the real future is in creating fresh ideas that connect with audiences now and could become the iconic formats of tomorrow. At Eureka, we’re focused on pushing boundaries with new concepts, and if we all lean into more creativity and bold thinking, 2025 could be truly transformational for the industry.
Chris Culvenor, Co-CEO, Eureka Productions (Netflix’s The Mole)

For 2025’s unscripted genie, I have three wishes. Firstly, for networks, cablers and streamers to re-allocate budget for unscripted. Secondly, a commitment to developing brand-new and original competition, dating and social experiment formats; we need to keep unscripted audiences engaged. Finally, more! More budget, more commissions, more work for talented unscripted execs, creators, producers, crew and post staff.
Julie Pizzi, CEO, Bunim/Murray Productions (MTV’s The Challenge)

The unscripted industry was born from creative mavericks who challenged conventions and redefined what television could be. In 2025, I’d like to see us all lean further into that legacy — embracing bold, untested ideas and reigniting the magic that sparked this industry.
Matt Sharp, CEO, Sharp Entertainment (TLC’s 90 Day Fiancé)

I’d love to lose the word “unscripted” completely and tighten the community here in L.A. In many ways, producers who have been labeled as “unscripted” get the worst of all worlds, quickly relegated to either what’s considered perishable reality volume or precious documentary with a message. But the truth is we are creators, writers, directors, DPs, editors and the nimble problem solvers who work with every storytelling tool imaginable. What I mean is, we are the adaptable ones, the survival of the fittest. We are the ones who can do a lot with a little and we are the ones who should be leading the charge into the great unknown regardless of genre, bucket or past (habitual) Hollywood stigma. We will roll up our sleeves and get it done, so let’s embrace that and redraw the boundaries where creatives can retake control by doing and risk taking. Isn’t that how this business was built?
Ari Mark, Co-Founder, Ample Entertainment (HBO’s The Invisible Pilot)

Everyone knows the past few years have been challenging for everyone in the unscripted business — on both sides of the buyer/seller line. My greatest wish for 2025 is for decision-makers to take more strategic chances on new content. Embrace original ideas from creative thinkers who understand how to deliver a big content bang for smart bucks. We all understand that pre-existing IP can be a good choice, and it often works, but the biggest breakthroughs that boosted the bottom line for brands across the past decade have been fresh, risky, exciting new swings. Even in times of significant uncertainty, intelligent risks can be transformative.
Gena McCarthy, Unconventional Entertainment (Hallmark+’s Celebrations with Lacey Chabert)

One thing I hope will change in 2025 is the downward pressure on budgets, especially as viewership and cultural significance of unscripted projects are at an all-time high on many platforms.
Ross Dinerstein, CEO, Campfire Studios (Netflix’s The Menendez Brothers)

The game and competition format has been one of the strongest genres ever since it helped launch television in its infancy. Recently, we’ve seen our industry embrace this time-tested formula on both broadcast and streaming platforms. We’re excited for this genre to be revitalized. 
Gabriel Marano, Head of Television, Hasbro Entertainment (The CW’s Scrabble)

Next year I’d love to see unscripted television fully embrace interactive content, such as choose-your-own-adventure formats and augmented reality experiences. These innovations would empower audiences to engage with shows in exciting new ways, creating a more immersive and personal connection. Additionally, I hope to see the continued expansion of successful franchise formats globally, as they provide a unique opportunity to bring diverse stories and perspectives to screens worldwide.
Lashan Browning, Founder and CEO, Antoinette Media (VH1’s Love & Hip Hop)

In 2025, I’d love to see the unscripted television community fully embrace bold storytelling, artistry and revelatory work that challenges long-held narratives. By championing untold stories from underrepresented voices and speaking truth to power, we have an unparalleled opportunity to engage audiences, spark essential conversations and inspire cultural change. Our industry thrives when we take creative risks, and I hope 2025 is the year we lean into this potential more than ever.
Mary Robertson, Maxine Productions (ID’s Quiet On Set)

I would like to see more buyers trusting their instincts to greenlight series and renewals. Instead, decisions rest in the hands of giant committees spanning a dozen departments and focus groups largely comprised of people paid $50 for the day to determine the fate of our industry. Leaders like Nancy Dubuc and Eileen O’Neill considered all of that but ultimately relied on their own instincts. They championed series that became hits by stepping outside the safety net of “research.” I miss those days because many hits were born from that decision-making process. The industry is filled with talented high-level executives – let’s empower them to say yes instead of scaring them into saying no.
Steve Michaels, CEO, Asylum Entertainment Group (Discovery+’s Hillsong)

With networks and platforms prioritizing those “undeniable’ shows” – the slam-dunks – it would be great to see more space for three-pointers: big, fun ideas that might be a bit riskier and more surprising but also offer more upside.
Steven Weinstock and Glenda Hersh, Co-CEOs, Truly Original (Bravo’s Summer House)

We’d like to see the industry take bigger risks (again) and embrace bolder, more original creative. We want to surprise audiences when they show up, regardless of platform. Fearlessness in finding and lighting up universes and talent defined unscripted for a long time and getting back to that would be a win for the business in every way.
Matt Ostrom, Co-Founder, Magilla Entertainment (Discovery’s Moonshiners)

The healthiest thing about the unscripted business right now is its embrace of big stories. Making sure that we all also look out for the smaller, lesser-known stories that can have just as big an impact on audiences will keep all of our work fresh, exciting and, best of all, unexpected.
Aaron Cohen, Chief Creative Officer, Words + Pictures (HBO’s Murder in Boston)

In our current market, some buyers have been more reliant on existing formats and older established IP.  While we do benefit from some of this ourselves and understand its value and importance, I would love to see more of a willingness from networks/streamers to make more room for new riskier concepts, as it’s the only way to launch and discover new hits.  
Sandy Varo Jarrell, CEO, Bright Spot Content (Discovery’s Puppy Bowl)

As storytellers, we’ll always bet on ourselves. But at some point, you just can’t do more with less money. Perhaps it’s time for networks to reimagine the traditional commission structure and embrace working with producers and talent to invent unique ways to fund and create content. And let’s take some risks! What we have been doing is not working, so why not be bold and try a new approach? Our greatest successes this year have been when our partners let us take some rights, shared revenue streams and allowed us to be more creatively nimble.  
Patrick Weiland, President, Intuitive Content (PBS’ Hope in the Water)

We hope that in 2025, there is an even bigger and broader appetite across all networks and streamers for unscripted content, because nothing compares to compelling and authentic storytelling through real-life experiences.
Eric and Shannon Evangelista, Co-Founders, Hot Snakes Media (Netflix’s Deaf U)

I’d like to see the business shift away from inflated development requests and instead put more trust in proven producers to deliver on great creative ideas. A more direct and efficient approach to proving a concept, on both sides — producer and buyer — could yield such tremendous results for the production community and bring about more opportunities for partnerships to flourish.
Jessica Sebastian-Dayeh, President, Maven (Roku’s The Marriage Pact)

Return to creativity. I would urge buyers to trust their most creative executives and lean away from relying so heavily on research during the greenlight process. Data and research provide insights into the past, they cannot predict the future. A talented producer with a creative mind will find your next big hit. Fourteen years ago, when I sold Dance Moms — a franchise soon to reach 300 episodes and counting — it wasn’t on anyone’s needs list. No one was looking for that kind of show. It took a network executive with gut instinct and a willingness to take a risk to roll the dice. Today, many of the most talked-about series come from abroad, where risk-taking and creativity are more prominent. We have some of the most talented producers in the history of unscripted television walking among us. There’s never been a better time to let them shine.
Jeff Collins, Resilient Content

In 2025, I’d like to see less fear in the marketplace and a return to buyers taking bold risks instead of betting solely on sure things. Many of the beloved franchises we enjoy today were born from networks taking unexpected swings, and our industry needs to embrace that spirit again to foster innovation and create a new generation of hit shows. This also means giving shows the time and space to grow — believing in the potential of talent or ideas to develop over time. We need to move away from the mindset that a show’s success is determined by its first outing. In today’s world of fragmented audiences, building loyalty and viewership over time is more critical than ever.
Nick Rigg, Brass Monkeys Media

PARTNERSHIPS, RIGHTS & COMMUNITY

I like to think of the unscripted industry as a team sport. There are a lot of players who have key roles in creating a show, all with the same goal. In 2025, I’d like to see the industry and all its players working together and winning together as a community. By breaking the mold and finding new and creative ways to collaborate, we’ll not only survive until ’25, we’ll thrive.
Toby Gorman, President, Universal Television Alternative Studio (NBC’s That’s My Jam)

The recent shift in the market I believe has brought many in the unscripted community closer together than ever. Both network buyers and producers are feeling the effects, which I hope sparks a deeper sense of partnership and solidarity between both sides on every collaboration.
Jimmy Fox, EVP Unscripted Development and Sales, Fremantle (ABC’s American Idol)

I think what we all want is to see everyone back to work. Any innovative business models, partnerships or incentives that help keep productions Stateside would bring a significant lift to the industry.
Adam Sher, President, ITV America (Peacock’s Love Island)

This is not the first time co-productions have been on the table for networks in the U.S. – quite the contrary. Once upon a time, each U.S. linear network had dedicated executives with the word “co-production” in their title. They would go out to market and find a distributor willing to come in to help close financing. I don’t know how much of that is happening, but the producers need the networks to be more willing to open this back up in a real way. For their own survival, U.S. linear networks should build relationships with networks internationally to be able to make quick calls to trust partners and say, “Hey, do you want it? We love this but need $50,000 an ep to close financing.” I know that U.S. network-to-international network conversations are happening on a very small level, but they need to expand those conversations. The networks are relying on the producers and distributors to go out and find the money, but all options need to be on the table in the market — all hands on deck.  
JC Mills, President and Head of Content, Cineflix (History’s American Pickers)

We as nonfiction professionals have always been a resourceful and resilient group, and I’m hoping 2025 is when we can put that mindset even more into action. I think the sooner we accept that the market is the market, the sooner we can see the opportunities that exist for us to thrive in this new landscape.  The opportunities may not be in the places we’ve experienced them in the past, but there are opportunities in new places, genres and strategies that can position our industry for continued success. In the early 2000s, unscripted was thought of by many in the scripted world as cheap, filler programming. We turned that around then, and we can do that again as we work with our distribution partners to build a new nonfiction marketplace. But it’s up to us to open our creative aperture and find those new genres and platforms to keep our audiences engaged in nonfiction storytelling.
Jeff Hasler, President, Original Productions (Discovery’s Deadliest Catch)

More buyers who recognize the extraordinary opportunity and value offered by nonfiction programming. Drive the culture. Be a part of the conversation. Win big awards. Make your subscribers even happier. Nonfiction offers it all.
R.J. Cutler, Founder, This Machine (Netflix’s Martha)

The heart of unscripted will always be the people. In 2025, I would love to come back to that guiding light and see all of us in the community, networks and producers taking more chances to let the casts and stories develop organically. Our industry will thrive as long as we continue to support these bold personalities who we all love.
Carlos King, CEO, Kingdom Reign Entertainment (OWN’s Belle Collective)

2024 was truly a rough year for our industry, both scripted and unscripted. There were fewer pickups, more layoffs, tight budgets, high expectations and a general sense of dread that consumed what had been a thriving community of entertainment creatives. As we look toward 2025, we should do so with hope, as well as a realistic sense of expectations. My dream for 2025 is to lock arms with our network partners to create fresh, innovative content that will reinvigorate their audience’s decades-long passion for unscripted storytelling.
Rob Eric, Chief Content Officer, Scout Productions (Netflix’s Queer Eye)

Treat production companies as partners, not vendors, and the relationship will thrive. The industry has been weighed down by hesitation and fear, with too much posturing born from anxiety. It’s time to take bold risks and move faster. That’s what will inject new life into the business. Accelerate renewals, reduce development limbo and stand out in a crowded marketplace. Let’s prioritize real action and restore a higher standard of professionalism and ethical business practices. The industry cannot move forward by standing still. It’s time to take decisive steps and create real momentum.
David Brady, CEO, Cream Productions (Netflix’s Age of Samurai)  

We’d love to see the industry embrace a more fluid rights universe and have more open and serious conversations about substantial U.S. licensing deals that allow producers to pursue international and other future sales. This could be an incredibly effective solution to the challenges that both buyers and sellers are facing, and while we’ve already begun to see the pendulum swing in this direction, it would be great to see those discussions and deals become more widespread in 2025.
Greg Henry and Kim Woodard, Co-Presidents, Lucky 8 (Netflix’s Unlocked)

Let’s have some fun in 2025 and appreciate how fortunate are we to get paid to entertain folks. So let’s stop obsessing about staying alive to ‘25 and focus instead on the creative opportunities that change generates. Because we at Plimsoll love TV, we categorically refuse to spend the next 12 months feeling downcast about the state of the industry. 
Grant Mansfield, Founder and CEO, Plimsoll Productions (Apple’s Tiny World)