Fact-checked by Grok 2 weeks ago

Original programming

Original programming refers to audiovisual content, such as television series, films, or specials, that is created and produced exclusively for a specific network, cable service, or streaming platform, rather than being licensed, syndicated, or repurposed from other sources.^[1] This form of content emphasizes uniqueness and exclusivity, enabling platforms to build distinct brand identities and attract subscribers through material unavailable elsewhere.^[2] In the media landscape, original programming encompasses a wide range of genres, from scripted dramas and comedies to documentaries and reality shows, often tailored to the target audience of the commissioning entity.^[3] The rise of original programming traces back to the early days of cable television in the mid-20th century, when community antenna systems began supplementing over-the-air broadcasts with locally produced content to improve reception in remote areas.^[4] It gained significant momentum in 1972 with the launch of Home Box Office (HBO), the first premium cable network, which offered uncut movies and live events without commercials, setting a precedent for subscriber-funded originals that challenged traditional broadcast models.^[5] By the 1980s and 1990s, cable networks like Showtime and premium channels expanded this model, producing high-profile series such as The Sopranos (HBO, 1999–2007), which demonstrated the creative potential of cable originals free from advertiser constraints and FCC regulations.^[6] In the digital age, streaming services revolutionized original programming by leveraging data analytics and global reach to commission ambitious, on-demand content.^[7] Netflix marked a pivotal moment in 2013 with the release of House of Cards, its first fully original series, produced in-house and released all at once to encourage binge-watching, a strategy that propelled the platform's subscriber growth from 36 million to over 200 million worldwide by 2023.^[8] Competitors like Amazon Prime Video, Hulu, and Disney+ followed suit, investing billions in originals—such as The Marvelous Mrs. Maisel (Amazon, 2017–2023) and The Mandalorian (Disney+, 2019–present)—to secure Emmy wins, cultural impact, and market dominance.^[9] Today, original programming accounts for a substantial portion of viewing hours, with streaming platforms surpassing traditional cable and broadcast in total U.S. audience share by mid-2025, underscoring its role in the fragmentation and globalization of entertainment.^[10]

Definition and Overview

Definition

Original programming refers to content that is created, produced, or commissioned exclusively for a specific network, channel, or streaming platform, encompassing formats such as television series, films, documentaries, and specials, in contrast to acquired or syndicated content that is repurposed from other sources or previously aired elsewhere.^[1] This distinguishes it from rerun-heavy schedules or licensed material, where the content is not tailored to the distributor's unique audience or branding needs.^[11] Key characteristics of original programming include in-house production by the network or exclusive first-run licensing rights, ensuring premiere distribution on that platform to foster tailored branding, audience loyalty, and competitive differentiation in the media landscape. In the streaming era, this can include exclusive licensing agreements for first-run content from external producers, provided it premieres solely on the platform.^[11] For streaming services, this often means content developed specifically for the platform, such as series produced under its banner, to drive subscriber retention through exclusive access.^[11] HBO pioneered and popularized original programming starting in the 1970s, as detailed in its role in historical development. In legal and industry contexts, regulatory bodies like the Federal Communications Commission (FCC) define related concepts through "origination cablecasting," which encompasses programming under the direct editorial control of the cable operator, subjecting it to rules on equal time, sponsorship identification, and content standards akin to broadcasting.^[12] Similarly, Nielsen measures original content in ratings as programs specifically produced for a platform, separating them from acquired titles to assess viewing impact and exclusivity in audience metrics.^[11]

Importance in Media

Original programming serves as a key mechanism for media companies to achieve competitive differentiation in an increasingly saturated market. By producing exclusive content, platforms like Netflix and HBO can cultivate unique brand identities that resonate with specific audiences, fostering long-term subscriber loyalty and diminishing dependence on widely available syndicated material. For instance, Netflix's investment in originals has enabled it to stand out from rivals by offering content unavailable elsewhere, thereby attracting and retaining viewers who seek novel experiences. This strategy not only enhances market positioning but also reduces churn by creating a sense of exclusivity that syndicated reruns cannot replicate.^[13]^[14]^[15] Economically, original programming drives substantial revenue streams across multiple channels, including subscription fees, advertising, and ancillary markets such as merchandising. Platforms allocate significant budgets—Netflix, for example, directs the majority of its $18 billion in cash spending on content in 2025 toward originals—to generate recurring income from subscriptions, where popular series directly correlate with subscriber growth and retention rates improving by up to 25%.^[16] These exclusives also boost ad revenues on hybrid models and create opportunities for merchandise sales; shows like Netflix's Bridgerton alone generated $7.13 million in merchandise revenue during a single summer period. Overall, this approach has propelled Netflix's total revenue to over $39 billion in 2024, underscoring originals' role in financial sustainability.^[17]^[18]^[19]^[20] Beyond economics, originals enhance audience engagement by promoting behaviors like binge-watching and generating social buzz, which lead to higher completion rates compared to syndicated content. Exclusive series encourage viewers to consume entire seasons rapidly, with data showing that shorter original runs achieve average completion rates of 48%, far surpassing the fragmented viewing patterns of reruns. This engagement translates to cultural phenomena that spark online discussions and community building, amplifying a platform's reach organically.^[21]^[22] In a broader cultural context, original programming elevates platforms as tastemakers, shaping societal trends and earning prestigious accolades that reinforce their influence. Streaming originals have dominated Emmy Awards, with services like Netflix and Apple TV+ securing historic wins for series such as The Crown and [Ted Lasso](/page/Ted Lasso), which not only boost post-award demand but also position creators as cultural arbiters. These achievements highlight how originals contribute to discourse on contemporary issues, influencing public conversations and solidifying media companies' roles in cultural production.^[23]^[24]

Historical Development

Early Television Era

The post-World War II economic boom in the United States fueled the rapid expansion of television ownership, leading to a surge in original programming during the 1950s as networks like CBS and NBC invested in content produced specifically for the medium. This era saw the transition from experimental broadcasts to structured series, with both live and filmed formats emerging to meet growing audience demand. A landmark example was I Love Lucy, which premiered on CBS in 1951 and became a pioneering filmed sitcom, drawing over 40 million viewers at its peak and setting standards for comedy production.^[25] The influence of Hollywood's studio system played a crucial role in this development, as production companies adapted film techniques for television and forged direct partnerships with networks. Desilu Productions, established by Lucille Ball and Desi Arnaz in 1948, exemplified this shift by securing lucrative deals with CBS to produce original series like I Love Lucy, which utilized a multi-camera film setup to enable higher production values and future syndication opportunities. These arrangements allowed studios to leverage their expertise in storytelling and talent management, producing content that blended radio-style narratives with visual innovation, thereby establishing television as a viable platform for scripted originals.^[26] Regulatory interventions by the Federal Communications Commission (FCC) in the 1960s and 1970s, including the Prime Time Access Rule (PTAR) adopted in 1970 and effective from 1971, imposed constraints on network dominance by limiting prime-time programming to three hours per evening in the top 50 markets. This measure, intended to curb network control over content and foster competition, restricted the syndication of network-produced shows and inadvertently promoted original live programming by local affiliates and independents to fill the vacated slots. By prohibiting networks from holding financial interests in syndicated programs beyond their initial runs, the PTAR encouraged a broader ecosystem of original content creation outside traditional network pipelines.^[27]^[28] Despite these advancements, the era's original programming was hampered by prohibitively high production costs, which favored low-budget approaches over ambitious filmed endeavors. Early television relied heavily on vaudeville-style live shows, such as variety programs featuring comedians like Milton Berle, because they required inexpensive sets, no film processing, and drew from a ready pool of stage performers. Filmed pilots and series, while offering reusability, approximately doubled expenses compared to live equivalents due to film stock and editing—I Love Lucy's episodes exemplify this higher cost, limiting their adoption until syndication profits proved viable.^[29]

HBO's Pioneering Role

HBO began its foray into original programming in the early 1980s, marking a significant departure from its initial focus on licensing and broadcasting recent theatrical films to subscribers. In 1983, the network launched initiatives like the children's series Fraggle Rock, created by Jim Henson, and the original made-for-TV movie The Terry Fox Story, which helped establish HBO as a producer of exclusive content rather than just a distributor. This shift allowed HBO to offer ad-free, subscriber-only experiences that differentiated it from broadcast television, fostering loyalty through high-quality, uncensored productions tailored to premium cable audiences. Earlier efforts included comedy series like 1st & Ten (1984–1991), a sitcom about professional football, and Dream On (1990–1996), which used vintage clips in its storytelling.^[30]^[31] By the early 1990s, HBO had branded its growing slate as "original programming," emphasizing in-house developments that pushed creative boundaries. Notable examples include the 1991 biographical film The Josephine Baker Story, which earned five Emmy Awards, including Outstanding Variety, Music or Comedy Special, for its portrayal of the iconic performer's life and civil rights activism. A significant original comedy series, The Larry Sanders Show, debuted in 1992 and satirized the behind-the-scenes chaos of late-night television, running for six seasons and earning 56 Emmy nominations over its run. These productions highlighted HBO's commitment to edgier, adult-oriented narratives free from advertiser constraints, setting a new standard for premium cable content.^[32]^[33] A pivotal milestone came in 1997 with the premiere of Oz, HBO's first hour-long original dramatic series, which depicted the brutal realities of prison life in the experimental Emerald City unit. The show received widespread critical acclaim for its unflinching exploration of violence, race, and morality, earning two Emmy nominations in its debut year and accumulating 16 awards across its six seasons, including Peabody recognition for its innovative storytelling. Oz not only boosted HBO's prestige but also demonstrated the viability of serialized drama on cable, influencing the network's future hits and contributing to its dominance in Emmy categories during the late 1990s.^[34]^[35] HBO's emphasis on original programming inspired competitors like Showtime to ramp up their own investments, particularly in the mid-1990s, as the model proved lucrative for subscriber retention and critical buzz. By prioritizing quality, narrative depth, and boundary-pushing themes—such as explicit language and complex characters—HBO established benchmarks for the premium cable landscape, encouraging rivals to produce similarly ambitious, ad-free exclusives that elevated the overall industry standard.^[36]^[37]

Expansion in Cable and Streaming

The proliferation of original programming on cable television accelerated in the late 1990s and 2000s as networks sought to differentiate from broadcast competitors by investing in niche, high-quality series tailored to specific audiences.^[38] Channels like FX launched The Shield in 2002, marking a pivotal moment in cable's embrace of gritty, serialized dramas that pushed creative boundaries beyond traditional network constraints.^[39] Similarly, AMC debuted Mad Men in 2007, which exemplified the shift toward prestige cable content focused on character-driven stories and cultural commentary, helping to elevate the network's profile.^[40] This era saw cable operators ramp up spending on originals, with budgets growing significantly to capture viewers disillusioned with syndicated reruns and formulaic broadcast fare.^[39] The transition to streaming platforms marked a revolutionary expansion beginning in the early 2010s, as internet-based services disrupted traditional distribution models by producing exclusives unburdened by advertiser demands or episodic scheduling. Netflix's House of Cards, released in full on February 1, 2013, became the first major original series designed exclusively for a streaming audience, employing data analytics to target viewers and pioneering the binge-release format.^[41] Amazon Prime Video followed suit with Transparent in 2014, its critically acclaimed exploration of family dynamics and identity, which solidified streaming's viability for ambitious, Emmy-winning narratives.^[42] These milestones built on HBO's earlier innovations in premium originals, democratizing access to such content beyond pay-TV subscribers.^[43] By the 2020s, the global scale of original programming had exploded, with major streaming services commissioning vast libraries to fuel subscriber growth and international expansion. Netflix allocated approximately $17 billion to content in 2022, the majority directed toward originals across genres and markets.^[44] Platforms like Disney+, launched in 2019, and Apple TV+, debuting the same year, rapidly scaled up production, greenlighting numerous series and films annually to build exclusive catalogs—Disney+ alone invested billions in a diverse slate including family-oriented and franchise extensions, while Apple TV+ committed over $20 billion in its first five years to a curated selection of prestige titles.^[45] This surge reflected a competitive "streaming wars" dynamic, where services prioritized originals to retain users in fragmented markets worldwide.^[46] Technological advancements in on-demand delivery further enabled this expansion by liberating creators from weekly broadcast cycles, allowing for intricate, multi-season arcs that reward rewatching and nonlinear viewing. The ability to release entire seasons at once fostered deeper narrative complexity, as seen in serialized plots that unfold over extended timelines without commercial interruptions.^[47] Streaming's algorithmic recommendations and global accessibility also amplified the reach of these originals, transforming television from appointment viewing to personalized, immersive experiences.

Types and Formats

Scripted Programming

Scripted programming encompasses narrative-driven original content created exclusively for television platforms, featuring scripted dialogues, character development, and structured storytelling. This subgenre includes dramas, comedies, and anthologies, each tailored to engage audiences through emotional depth and thematic exploration. Dramas like Succession, an HBO original series that premiered in 2018, delve into corporate intrigue and family dysfunction among media tycoons, earning critical acclaim for its sharp satire.^[48] Anthologies such as Black Mirror on Netflix present standalone episodes examining technology's societal impact, blending speculative fiction with moral dilemmas across seasons since 2011.^[49] Comedies, including Peacock's 2025 original The Paper—a mockumentary spin-off exploring a struggling newspaper's eccentric staff—revive workplace humor in serialized formats, emphasizing relatable absurdities in modern professional life.^[50] Production of scripted originals relies heavily on collaborative structures led by showrunners, who oversee creative vision, and writers' rooms, where teams of 5-15 writers develop episodes through pitching, outlining, and revisions. Showrunners like Jesse Armstrong for Succession integrate feedback to ensure narrative consistency across seasons. Prestige scripted series often command substantial budgets, with average episode costs ranging from $2 million to $10 million, covering casting high-profile actors, location shoots, and post-production; for instance, Succession's seasons averaged around $9 million per episode due to its ensemble cast and New York filming.^[51]^[52]^[53] Streaming platforms have shifted scripted programming toward serialization, prioritizing ongoing story arcs and cliffhangers over traditional episodic resolutions to encourage binge-watching. Unlike broadcast-era shows with self-contained plots, originals like Succession build tension through multi-episode power struggles and season-ending revelations, such as betrayals within the Roy family, fostering viewer investment across 8-10 episode runs. This format suits on-demand access, allowing platforms to release full seasons simultaneously and capitalize on sustained engagement.^[54] Scripted originals have dominated awards recognition, capturing over 70% of Primetime Emmy Awards for Outstanding Drama Series since 2010, with winners including Succession (three times), Game of Thrones, and The Handmaid's Tale—all cable or streaming exclusives that highlight the format's narrative innovation. This trend underscores scripted programming's role in elevating television prestige, outpacing traditional network fare in critical and cultural impact.^[55]

Unscripted and Reality Content

Unscripted and reality content represents a major category of original programming, characterized by its reliance on real-life events, participant interactions, and minimal scripted elements to drive narratives. This format contrasts with scripted programming's structured dialogues and plots by emphasizing improvisation and authenticity, often capturing unfiltered human behavior in competitive or observational settings. Pioneered in the late 1990s and early 2000s, these shows have become staples for broadcasters and streamers seeking engaging, low-risk content that fosters viewer investment through relatability and unpredictability. A seminal example of reality formats is Survivor, which premiered on CBS in 2000 and established the benchmark for survival-competition series by stranding contestants in remote locations to form alliances, endure challenges, and vote each other off, blending strategy, drama, and social dynamics in an unscripted environment.^[56] The show's innovative format, imported from the Swedish Expedition Robinson but adapted as an original U.S. production, revolutionized primetime television by proving reality TV could generate massive audiences and ad revenue without traditional actors or writers. Modern evolutions of such formats include the The Bachelor franchise, which debuted on ABC in 2002 and has expanded into a multimedia empire with spin-offs like The Bachelorette (2003–present) and Bachelor in Paradise (2014–present), adapting the elimination-style dating concept through diverse casting, social media integration, and thematic innovations such as The Golden Bachelor to address inclusivity and viewer feedback.^[57] Documentary series within unscripted originals further diversify the category by delving into factual storytelling, often in serialized formats that build suspense through real events and investigations. True crime exemplars include Making a Murderer, a 10-part Netflix original released in 2015 that chronicles the case of Steven Avery, a man exonerated after 18 years in prison only to face new murder charges, highlighting allegations of prosecutorial misconduct and evidence issues over a decade of footage.^[58] In the nature genre, Our Planet (2019), another Netflix original produced in collaboration with Silverback Films and WWF, spans eight episodes narrated by David Attenborough, showcasing global ecosystems and wildlife while underscoring climate change impacts through unprecedented 4K footage from over 50 countries.^[59] The cost efficiency of unscripted and reality content is a key driver of its proliferation, with episode budgets typically ranging from $100,000 to $2 million—far lower than the $2–9 million for comparable scripted series—due to reduced needs for writers, sets, and post-production polish, allowing networks to produce higher volumes and fill schedules year-round.^[60]^[61] For instance, high-profile reality shows like American Idol operate at around $2 million per episode, while simpler formats such as Pawn Stars fall between $225,000 and $425,000, enabling profitability margins up to 60% in some cases.^[61] Audience appeal stems from the genre's emphasis on relatability and emotional authenticity, fostering high engagement as viewers connect with participants' genuine reactions and personal stories, which often spark social media discussions and repeat viewings. In the U.S., reality and unscripted originals command a substantial share of demand, accounting for 15.2% of all television genres in recent years, reflecting their enduring role in primetime and streaming lineups.^[62]

Films and Specials

Original programming in the film and specials category encompasses commissioned movies, limited-series miniseries, and standalone events produced exclusively for streaming platforms or cable networks, distinguishing them from theatrical releases or broadcast reruns. These formats allow platforms to offer prestige content that attracts subscribers through high-profile talent and narrative depth, often blending cinematic quality with episodic storytelling. For instance, Netflix's Roma (2018), directed by Alfonso Cuarón, exemplifies an original film that garnered critical acclaim, including three Academy Awards for Best Director, Best Cinematography, and Best Foreign Language Film, while employing a hybrid release model that included limited theatrical runs before streaming exclusivity. Similarly, Martin Scorsese's The Irishman (2019), also a Netflix production, featured a star-studded cast including Robert De Niro and Al Pacino, and achieved over 64 million household views in its first month, underscoring the scale of streaming audience engagement for such films. Miniseries and specials represent finite formats within original programming, designed for immersive, self-contained experiences rather than ongoing serialization. Netflix's The Queen's Gambit (2020), a seven-episode limited series adapted from Walter Tevis's novel and starring Anya Taylor-Joy, became a cultural phenomenon, topping global charts and inspiring a surge in chess interest among viewers. Stand-up comedy specials, a staple of this category, provide platforms with low-cost, high-appeal content; Dave Chappelle's Sticks & Stones (2019) on Netflix, for example, sparked debates on comedy's boundaries in streaming. These productions often leverage platform algorithms to maximize reach, with miniseries like The Queen's Gambit achieving 62 million households worldwide in its first 28 days. Distribution strategies for original films and specials prioritize direct-to-service availability, circumventing traditional theatrical windows to prioritize subscriber retention over box office revenue. This approach, as seen in Netflix's model for Roma and The Irishman, enables global simultaneous releases but has disrupted industry norms, with hybrid strategies allowing limited cinema screenings to qualify for awards eligibility under Academy rules. Such tactics have influenced box office metrics broadly, as U.S. box office revenues in 2023 were about 20% below pre-2019 levels.^[63] Peacock's WWE specials, like WWE: The American Nightmare (2024) event documentary, tie into platform branding by offering live and on-demand access, enhancing user loyalty through niche sports entertainment without theatrical distribution. Niche formats such as holiday specials and event documentaries further exemplify how originals in this category align with seasonal or branded programming. Netflix's A Very Murray Christmas (2015), a musical holiday special directed by Sofia Coppola and starring Bill Murray, blended comedy and variety elements to capture festive audiences, achieving strong viewership during its debut holiday window. Event docs, including Peacock's WWE tie-ins, often serve as promotional vehicles, with productions like WrestleMania 40: Behind the Curtain (2024) providing exclusive behind-the-scenes access to bolster the platform's sports ecosystem. These formats emphasize conceptual innovation, using originals to foster cultural moments tied to platform identity rather than prolonged narratives.

Production and Business Aspects

Development Process

The development of original programming typically commences with the pitching phase, where writers, producers, or showrunners—often facilitated by literary agents—present concepts to studios, networks, or streaming platforms. Agents are instrumental in arranging meetings, packaging the project with attachments like directors or talent, and navigating competitive marketplaces to secure initial interest.^[64]^[65] If the pitch resonates, it advances to scripting, where a pilot episode is drafted, followed by iterative revisions incorporating network or studio notes to align with brand standards and audience expectations. This stage emphasizes crafting a compelling pilot that encapsulates the series' tone, characters, and world-building.^[65] The entire process from initial concept to greenlight for a series order generally spans several months to over a year, influenced by factors such as project complexity and platform priorities.^[65]^[66] Following script approval, pre-production shifts focus to casting and logistical planning. Auditions are conducted to assemble a cast that aligns with the platform's demographic targets, such as younger audiences for streaming services or broader family viewership for broadcast networks. In the 2020s, diversity initiatives have aimed for inclusive representation; for instance, according to the 2025 UCLA Hollywood Diversity Report, people of color comprised 45.2% of leads in streaming television series released in 2023, reflecting ongoing efforts to enhance representation across genres, though challenges persist in executive roles and overall backsliding in some areas.^[67] Pre-production also encompasses set design, location scouting, and crew assembly, ensuring the pilot's feasibility within budget and creative parameters. Pilot testing evaluates the episode's potential viability before full commitment. For traditional broadcast networks, this often involves focus groups of curated audiences providing qualitative feedback on pacing, character appeal, and overall engagement. Streaming platforms, by contrast, leverage data analytics—drawing from viewer behavior patterns and algorithmic predictions—to assess success metrics without always producing physical pilots, allowing for more agile decision-making.^[68]^[69] Timelines for development differ markedly by platform. In traditional television, pilots are typically shot during spring (January to April) to align with fall premieres, adhering to seasonal upfronts and advertising cycles. Streaming services, unbound by broadcast schedules, support year-round production, enabling faster iteration and launches at any time to capitalize on trends or viewer demand.^[70]^[71]

Financing and Distribution

Original programming is primarily financed through substantial investments by major studios and streaming platforms, which allocate billions annually to develop exclusive content. For instance, Netflix committed the vast majority of its $18 billion content budget in 2025 to original productions, emphasizing in-house development to differentiate from competitors.^[16] Similarly, major platforms like Netflix, Amazon, and Disney collectively investing over $60 billion annually in content by 2025, with a significant portion allocated to original programming, driven by the need to retain subscribers in a competitive market.^[72] In 2025, platforms have emphasized cost efficiency, with some reducing original budgets amid economic pressures, as seen in adjustments to spending strategies. Co-productions with international partners help mitigate costs and expand global appeal; examples include Amazon Prime Video's collaboration with BBC One on series like Good Omens and Netflix's partnerships with European broadcasters for shows such as Dark. Tax incentives further bolster financing, with U.S. states offering transferable tax credits covering 20-30% of qualified production expenditures to attract shoots, as seen in programs in Georgia and New York that have supported high-profile originals. Blockbuster original series often require budgets in the range of $100-500 million per season, depending on scale and genre. Representative examples include Amazon's The Lord of the Rings: The Rings of Power, which cost approximately $465 million for its eight-episode first season, or Netflix's Stranger Things Season 4 at around $30 million per episode, totaling over $270 million for nine episodes. These figures reflect escalating production demands, including visual effects, star salaries, and location shooting, though mid-tier originals may operate on $2-5 million per episode. Distribution strategies for original programming vary significantly between traditional television and streaming platforms. In linear TV, content follows a windowing model, releasing episodes weekly on broadcast or cable networks before moving to syndication, home video, or international sales after 3-6 months to maximize revenue across phases. In contrast, streaming services like Netflix popularized the all-at-once release, dropping entire seasons simultaneously to encourage binge-watching and immediate global availability, as implemented for hits like Squid Game. This approach reduces piracy risks but can lead to rapid viewership peaks followed by drops. Revenue from original programming is generated through diverse streams, with subscriptions forming the core for ad-free platforms. For Netflix, subscription fees accounted for nearly all revenue in recent years, enabling reinvestment in content that drives user retention. Ad-supported tiers, introduced by services like Amazon Prime Video and Disney+, now reach hundreds of millions of viewers monthly—Prime Video reported 315 million global ad-tier users in 2025—adding targeted advertising as a supplementary income source.^[73] International licensing further diversifies earnings, as platforms sell rights to originals for broadcast abroad; Netflix, for example, licenses shows like The Crown to foreign networks, generating additional fees while promoting global brand expansion. In the 2020s, escalating production costs have intensified financial pressures, with per-episode budgets for premium dramas surpassing $25 million amid inflation and talent demands. This has contributed to higher cancellation rates, particularly for underperforming originals; major streamers recorded a combined 12.2% cancellation rate from 2020-2023, with many series—often around 20-30% of new launches—not advancing beyond the first season due to insufficient viewership retention, as viewership can decline by over 40% between seasons for some titles. These trends have prompted platforms to prioritize data-driven greenlights following initial development, focusing on high-ROI content to offset risks.

Ownership and Rights

In the production of original programming, intellectual property ownership typically vests with the network, studio, or streaming platform that commissions and finances the content, granting them full control over copyrights and derivative works.^[74] Creators, such as writers and producers, often enter into "work-for-hire" agreements where they relinquish primary ownership in exchange for upfront fees and backend profit participation clauses, which allocate a percentage of revenues from syndication, licensing, or merchandising.^[75] For instance, in traditional network deals, creators may receive 1-5% of net profits after the studio recoups costs, though streaming platforms have increasingly pushed for adjusted formulas that favor studio accounting practices over traditional Hollywood backend shares.^[76] Exclusivity clauses in contracts for original programming are designed to prevent immediate cross-platform availability, locking content to a single distributor for defined periods that typically range from 2 to 10 years, depending on the platform and deal structure.^[77] These provisions ensure that streaming services like Netflix or Prime Video maintain competitive libraries by prohibiting syndication or resale to rivals during the term, often extending to global territories to maximize subscriber retention.^[78] Such clauses have become standard in original content agreements since the mid-2010s, as platforms prioritize proprietary assets over licensed fare to differentiate their offerings.^[79] International rights for original programming involve separate licensing arrangements to adapt content for global audiences, frequently including dubbed or subtitled versions tailored to regional languages and cultural preferences.^[80] Platforms commission these localizations to broaden reach, with dubbed audio replacing original dialogue for markets like Latin America or France, while subtitles suffice in others such as Scandinavia.^[81] Examples include Netflix's "Squid Game," which was dubbed into over 20 languages and subtitled in dozens more to achieve worldwide viewership exceeding 1.65 billion hours in its first month, and Prime Video's Spanish-language original "My Fault," which traveled successfully across non-English markets through localized adaptations.^[82] Region-specific originals, like Germany's "Babylon Berlin" on Netflix, further illustrate how rights deals enable co-productions that retain local ownership while granting international exploitation rights.^[83] Following the expiration of initial licensing terms, rights to original programming may revert to creators under specific contractual reversion clauses or be resold through syndication, generating ongoing revenue streams long after the original run. In cases without reversion, studios retain perpetual ownership but share profits via participation deals; a prominent example is "Friends," where creators David Crane and Marta Kauffman, along with the cast, negotiated 2% of syndication revenues, yielding over $1 billion in total earnings since 2004 from reruns and streaming deals, with cast members each receiving approximately $20 million annually as of 2025 estimates.^[84] These post-expiration arrangements underscore the enduring value of hit originals, often outpacing initial broadcast income through perpetual resale in domestic and international markets.^[85]

Industry Impact

On Networks and Platforms

Original programming has emerged as a cornerstone for brand building among media networks and streaming platforms, functioning as "tentpole" content that anchors launches and fosters viewer loyalty. These flagship series and specials draw in audiences, differentiate services in a crowded market, and propel subscriber growth. For instance, Netflix's Stranger Things, which premiered in 2016, became a cultural phenomenon that significantly boosted the platform's visibility and membership, generating an estimated 2 million new subscribers and over $1 billion in value through heightened demand.^[86] Similarly, following Disney+'s 2019 debut, Marvel Cinematic Universe originals such as The Mandalorian (2019), WandaVision (2021), and The Falcon and the Winter Soldier (2021) served as key attractors, leveraging established franchises to rapidly scale the service's user base amid intense market entry competition.^[87] In terms of market share, original programming has substantially elevated the dominance of streaming platforms within the broader TV ecosystem. By 2023, streaming accounted for a record 38.7% of total U.S. TV usage, with originals playing a pivotal role in sustaining engagement and acquisition despite a decline in overall scripted output to 516 series from 600 the prior year. As of May 2025, this share had increased to 44.8%, with streaming eclipsing combined broadcast and cable viewing for the first time.^[11]^[88]^[10] This shift underscores how platforms prioritize exclusive content to capture and retain viewers, as evidenced by Disney+'s use of Marvel series to drive domestic subscriber increases of up to 3% in key quarters.^[89] The emphasis on originals has intensified the "content arms race" across the industry, characterized by surging spending on production to secure competitive edges. Major players collectively allocated approximately $248 billion to content in recent years, escalating costs and prompting consolidation through mergers like the 2022 WarnerMedia-Discovery union, which aimed to pool resources for streamlined original output amid fierce rivalry from Netflix and others.^[90]^[91] Platform-specific strategies further highlight adaptations to original programming's demands, balancing premium ad-free experiences with accessible ad-supported models. Subscription video-on-demand services like Netflix offer uninterrupted viewing of exclusives to justify tiered pricing, while free ad-supported streaming television (FAST) platforms such as Tubi and The Roku Channel are increasingly integrating originals—like Roku's original film Weird: The Al Yankovic Story (2022)—to bolster inventories and viewer retention without subscription barriers.^[92]^[93] This duality enables networks to cater to diverse audiences, enhancing overall viability in a fragmented landscape.

On Talent and Creativity

Original programming has launched numerous careers by providing actors with transformative roles that showcase dramatic range and depth. Bryan Cranston's performance as Walter White in AMC's Breaking Bad (2008–2013) marked a pivotal breakthrough, elevating him from comedic supporting parts in shows like Malcolm in the Middle to a critically acclaimed lead, resulting in four Primetime Emmy Awards for Outstanding Lead Actor in a Drama Series.^[94]^[95] Streaming services have amplified this effect by enabling diverse casting practices that prioritize inclusivity over historical accuracy, as demonstrated in Netflix's Bridgerton (2020–present). The series' color-conscious approach has propelled actors of color, such as Regé-Jean Page and Golda Rosheuvel, into prominent roles within the period drama genre, fostering greater representation and opening doors for underrepresented talent in mainstream entertainment.^[96]^[97] Creative freedom in original programming stems from reduced censorship compared to broadcast television, allowing writers and directors to tackle taboo subjects with nuance and explicitness. Platforms like HBO and streaming services operate under fewer regulatory constraints from bodies like the FCC, enabling serialized narratives that explore complex themes over multiple seasons.^[98]^[99] For example, HBO's Euphoria (2019–present) addresses teen drug addiction, mental health struggles, and non-normative sexualities through unflinching visuals and character-driven stories, pushing boundaries that traditional networks often avoided due to advertiser pressures.^[100]^[101] This environment encourages innovative storytelling, where longer narrative arcs in cable and streaming formats permit deeper character development and societal critiques. The rise of original programming has driven a significant migration of talent from film to television, drawn by opportunities for sustained creative control and expansive world-building. Film directors increasingly helm TV projects for their collaborative nature and ability to serialize ambitious visions, a trend accelerated by the prestige of "peak TV."^[102]^[103] Ryan Murphy exemplifies this shift, transitioning from theatrical work to building a prolific empire at FX and Netflix through multi-season anthologies like American Horror Story (2011–present) and limited series such as The Assassination of Gianni Versace (2018), secured by a landmark $300 million deal that underscores the financial incentives for such migrations.^[104]^[105] Equity dynamics in original programming present a mixed landscape, with backend deals offering performers residuals from ongoing revenue streams like syndication and streaming exhibitions, providing a pathway to financial security beyond initial salaries.^[106]^[107] However, writers face growing instability akin to gig economy conditions, characterized by shorter employment periods in writers' rooms—often reduced from 20-plus episodes to 8–10—and a rise in minimum basic agreements, where half of TV staff writers now earn entry-level pay despite the proliferation of series.^[108]^[109] This model, driven by streaming's cost efficiencies, has led to inconsistent workloads and diminished bargaining power for creative personnel.^[110]

Viewership and Cultural Influence

Original programming has demonstrated superior audience engagement compared to acquired content, frequently dominating Nielsen's streaming rankings where originals occupy the majority of top positions by minutes viewed. For example, in weekly charts, original series like Netflix's Wednesday and Stranger Things consistently surpass acquired titles such as The Office in total household viewing time, highlighting the draw of exclusive content.^[111] Globally, originals have set benchmarks for hours viewed, with Netflix's Squid Game accumulating 1.65 billion hours in its first 28 days following its September 2021 premiere, far exceeding typical acquired programming metrics.^[112] Beyond raw numbers, original programming fosters cultural phenomena through memes, merchandise, and social discourse. Squid Game ignited a viral wave of memes depicting its deadly games in everyday scenarios, boosted Halloween costume sales by over 80% for related items in 2021, and sparked global conversations on economic inequality.^[113] Similarly, HBO's Euphoria generated over 30 million tweets during its second season in 2022, the most for any TV show that decade, while its glittery makeup and eclectic outfits influenced high-street fashion lines and TikTok trends. The series also advanced mental health discussions among young viewers, portraying addiction and anxiety in ways that encouraged therapy-seeking behaviors and peer support initiatives.^[114]^[115]^[116] Since the 2010s, original programming has markedly increased diversity representation, reflecting broader industry shifts toward inclusion. By 2023, non-white leads accounted for approximately 40% of top-billed roles in leading TV shows, up from under 30% a decade earlier, driven by demand for authentic storytelling.^[117] UCLA's analysis of 182 top streaming series that year found BIPOC actors in 22.5% of lead roles, with shows featuring diverse leads outperforming others in household ratings by up to 20%.^[118]^[119] In terms of long-term legacy, original programming builds enduring franchise canons by weaving new narratives into established universes. Disney+'s The Mandalorian (2019–present), for instance, has expanded the Star Wars canon by introducing elements like Grogu (Baby Yoda) and post-Empire Mandalorian lore, influencing subsequent films and series while generating billions in merchandise revenue.^[120] This integration not only sustains fan engagement but also redefines franchise boundaries for future expansions.

Challenges and Future Trends

Economic Risks

Producing original programming carries substantial economic risks, primarily due to the high failure rates of new projects. A significant portion of television pilots—often around 50-60% in recent seasons—fail to advance to full series orders, resulting in substantial sunk costs for development, casting, and production. For instance, in the 2023 pilot season, broadcast networks ordered only six series out of 14 pilots, highlighting the precarious nature of these investments. This risk is exemplified by high-profile flops like the Paramount+ series Halo (2022), which incurred costs exceeding $200 million across its production but underperformed in viewership and was canceled after two seasons.^[121]^[122] Budget overruns further exacerbate these vulnerabilities, driven by inflation and labor disruptions such as the 2023 Writers Guild of America (WGA) strike. The strike, which lasted 148 days, halted numerous productions and contributed to broader cost escalations in the industry, with overall content spending by major media companies rising 9% year-over-year in 2024. Inflationary pressures on production elements like equipment, locations, and talent compensation have compounded this, leading studios to face elevated expenses that can delay projects and strain finances. For example, the combined impact of these factors has pushed average production budgets higher, making it challenging to maintain profitability on mid-tier original content.^[123]^[124]^[125] Market saturation intensifies these economic pressures through oversupply of content, fostering "content fatigue" among viewers and driving up churn rates. The proliferation of original programming across streaming platforms has led to viewer exhaustion, with average monthly churn rates climbing to 5.5% in 2025—more than double the 2% seen in 2019—as audiences cycle through subscriptions more frequently. This churn, often annualized to effective rates exceeding 40% for some services, reduces long-term revenue stability and makes it harder to recoup investments in new shows.^[126]^[127] To mitigate these risks, platforms are increasingly adopting data-driven strategies, including AI-powered predictions for a project's hit potential during the greenlighting phase. Companies like Netflix employ machine learning algorithms to analyze historical viewer data, genre trends, and market factors, enabling more informed decisions on which originals to fund and reducing the likelihood of costly failures. Similarly, Warner Bros. utilizes AI forecasting to evaluate box office and streaming viability, helping to allocate budgets more efficiently. These tools represent a shift toward predictive analytics as a core economic safeguard in original programming development.^[128]^[129]^[130]

Diversity and Inclusion Issues

Prior to the 2010s, original programming in television was overwhelmingly dominated by white male leads, with people of color comprising just 4.9% of lead acting roles on broadcast scripted shows during the 2011-2012 season, reflecting a long-standing pattern of underrepresentation across the industry.^[131] GLAAD's annual Where We Are on TV reports from the 2000s consistently showed LGBTQ+ characters accounting for only about 2-4% of series regulars on primetime broadcast programming, often limited to stereotypical or marginal roles that failed to reflect the community's diversity.^[132] This era's content largely centered narratives around white, heterosexual male perspectives, marginalizing women, racial minorities, and queer individuals both on-screen and in creative positions. The #OscarsSoWhite campaign, which gained traction in 2015, catalyzed broader industry reforms by highlighting racial exclusion in awards and production, prompting networks and studios to prioritize diverse hiring in writing, directing, and casting for original series.^[133] In response, platforms like Netflix launched comprehensive inclusion strategies starting in 2018, including annual reports tracking representation metrics and commitments to equitable opportunities, though the company declined to implement formal inclusion riders in contracts.^[134] These efforts contributed to a surge in diverse storytelling, with shows like Insecure and Pose exemplifying more authentic portrayals of Black and LGBTQ+ experiences. Despite these advances, challenges persist, including widespread accusations of tokenism, where diverse characters are added to ensembles primarily to fulfill diversity quotas without meaningful development or agency, as critiqued in analyses of shows from the late 2010s onward.^[135] Behind-the-scenes disparities remain stark; for instance, women accounted for 41% of directors in episodic television during the 2023-2024 season, a notable increase but still indicative of uneven access compared to men in executive and creative roles.^[136] Progress is evident in recent metrics, with USC Annenberg Inclusion Initiative studies showing that by 2023, 58.4% of Netflix's original U.S. scripted films and series achieved proportional representation of underrepresented racial/ethnic groups among speaking characters, signaling a shift toward diverse ensembles in over half of major originals.^[137] GLAAD's 2025 report noted a slight increase to 9.3% of series regulars on primetime broadcast being LGBTQ (40 of 432 characters), though 41% of tracked LGBTQ characters across platforms are set to depart due to show cancellations, underscoring ongoing challenges in sustained visibility.^[138]

Evolution with Technology

The advent of advanced streaming algorithms has profoundly influenced the creation of original programming by enabling hyper-personalized content recommendations that favor niche and specialized originals. Platforms like Netflix employ AI-driven systems to analyze viewer behavior, preferences, and viewing history, resulting in recommendations that account for over 80% of content consumption and drive a 30% increase in engagement for suggested titles. This personalization not only boosts viewer retention by 20-30% but also encourages producers to develop diverse, targeted originals that might otherwise struggle for visibility in traditional broadcast models.^[139]^[140]^[141] Technological advancements in production tools, particularly virtual production techniques utilizing visual effects (VFX) and LED walls, have significantly lowered barriers to creating high-quality original programming. The use of LED walls, as pioneered in Disney+'s The Mandalorian (2019), allows for real-time rendering of digital environments on set, eliminating the need for extensive location shoots and reducing post-production demands. This approach has demonstrated cost savings of $200,000 to $500,000 per season for episodic television series by minimizing travel, location fees, and physical set construction, while also enhancing creative efficiency through immediate visual feedback for directors and actors.^[142]^[143]^[144] Interactive formats represent a pivotal shift in original programming, blending viewer agency with narrative storytelling to foster deeper immersion. Netflix's Black Mirror: Bandersnatch (2018) marked a landmark in this evolution as the platform's first interactive film, offering choose-your-own-adventure mechanics that allowed audiences to influence plot outcomes across multiple branching paths, thereby redefining traditional linear viewing. By 2025, early pilots and experimental projects in virtual reality (VR) and augmented reality (AR) have begun exploring immersive originals, with companies like Unity developing tools for blended live-action and digital environments in TV and film production.^[145]^[146] Looking ahead, emerging technologies such as AI-assisted scriptwriting and blockchain for rights management promise to streamline the development pipeline for original programming. AI tools, including platforms like Dramatify and Squibler, automate script breakdown, plot generation, and scene enhancement, achieving time savings of 60-90% in pre-production phases by reducing manual drafting and revision efforts. Meanwhile, blockchain implementations in media and entertainment enable secure, transparent tracking of intellectual property rights, with market projections indicating growth to $1.25 billion by 2029 through automated licensing and royalty distribution that minimizes disputes and administrative overhead. These innovations could collectively cut overall development timelines by up to 40%, allowing creators to focus more on innovation amid rising production demands.^[147]^[148]^[149]^[150]

References

[1]
Original programming - (Television Studies) - Fiveable
Original programming refers to content that is created and produced specifically for a network or platform, rather than repurposed from other sources.
[2]
Original Programming Definition | Law Insider
Original Programming means television programming that has not been shown on any form of free or pay-television distributed by DTH, cable or terrestrial ...
[3]
OTT Platforms: Original Productions vs. Licensed Content
Sep 11, 2024 · Original productions help build brand identity and exclusivity, while well-known licensed titles quickly attract a broad audience.
[4]
[PDF] The Cable History Timeline | Syndeo Institute
The first month of programming includes original productions of symphony, ballet and opera; the first of such events produced expressly for cable television.
[5]
https://cordcuttersnews.com/53-years-ago-today-hbo-first-launched-changing-cable-tv-for-ever/
[6]
Cable Television Challenges Network Television | Research Starters
The first pay-television network, Home Box Office (HBO), was started by Charles Dolan and Gerald Levin of Sterling Manhattan Cable in 1972. Out of this venture, ...
[7]
[PDF] the-evolution-and-impact-of-streaming-services-changing-the-media ...
Dec 30, 2024 · As the industry grew, platforms began investing heavily in original content, resulting in a wave of exclusive programming, such as. Netflix's ...
[8]
How streaming started: YouTube, Netflix, and Hulu's quick ascent
Jul 31, 2018 · Netflix introduced streaming services in 2007. In 2013, “House of Cards,” the first Netflix-produced show premiered. Today some of the world's ...
[9]
History of Streaming Media | Infographic - Wowza
Feb 21, 2023 · Online video has become second nature across every industry. And yet, the history of streaming media only dates back to the early 1990s.
[10]
Streaming Reaches Historic TV Milestone, Eclipses Combined ...
Jun 17, 2025 · The original list included Netflix, YouTube, Hulu, Prime Video and Disney+, and has expanded to 11 platforms in May 2025. Among subscription ...
[11]
Streaming grabs a record 38.7% of total TV usage in July ... - Nielsen
Content not identified as original within Streaming Content Ratings and viewed through a cable set top box will still be included in other. What is included ...
[12]
What does it mean when Netflix or other streaming services ... - Quora
Feb 4, 2015 · Netflix uses the term "original" when it has exclusive first run rights for a series in a territory. That means "made by Netflix" content ...What was the purpose of creating original content for streaming ...What is the difference between a TV show and an original series on ...More results from www.quora.com
[13]
50 years of HBO: a history of historic television - Euronews.com
Nov 11, 2022 · HBO kept growing and in 1983, the decision was made for the channel to start programming its own material. Original made-for-cable films and ...
[14]
Cable Television - Federal Communications Commission
Apr 1, 2025 · This definition includes any subscriber selection required in choosing video programming or other programming service. ... An original and ...
[15]
How Netflix Is Changing the TV Industry - Investopedia
For this purpose, the company invests billions of dollars in creating its own shows and movies, allowing Netflix to differentiate itself from its competitors.
[16]
Striking a Balance: Investing in Original Content for Streaming
Apr 30, 2024 · Successful original content can drive subscriber growth and foster brand loyalty, offering a return on investment that far outweighs the initial ...
[17]
[PDF] Streaming Wars: Navigating the Competitive Landscape
Aug 29, 2024 · Content Differentiation: Streaming services are investing heavily in original content to differentiate themselves from competitors ...
[18]
The Unstoppable Success of Netflix - Digital Marketing Institute
Aug 6, 2025 · Original content is also a focus with the vast majority of its $17 billion content budget going towards its creation despite licensed shows ...
[19]
How Original OTT Content Shapes Audience Loyalty - Gizmott
Sep 1, 2025 · Subscriber retention rates are expected to improve by 25% as platforms continue to focus on exclusive OTT content.Missing: statistics | Show results with:statistics
[20]
Television Shows Merchandise Sales Drama Romance - Quartz
Sep 16, 2024 · “Bridgerton” merchandise generated an estimated $7.13 million in revenue from 315,000 items that were sold this summer. Next Slide Previous ...
[21]
How Netflix's Bold Original Content Strategy Propelled Global ...
Oct 15, 2024 · Netflix's original content strategy drove $31.6B in revenue and 238M subscribers by investing in exclusive shows, using data-driven ...
[22]
Content Trend Report: Are You Still Watching? | Digital i
May 29, 2025 · In 2024, new streaming shows that launched season ones of between 3-6 episodes had the highest average percentage of completers at 48%.
[23]
Originals : The Critical "O" in SVOD | Parrot Analytics
By reading this article you will understand: How original content generates exclusive demand for platforms and drives subscriber growth. How the strategic use ...
[24]
Apple TV+, Netflix, HBO Max Make Emmy History With Wins
Sep 20, 2021 · Apple TV+, Netflix, HBO Max make Emmy history as streamers dominate. Ted Lasso, The Crown, The Queen's Gambit among top winners.
[25]
Effect of Emmy wins on demand for digital originals and streaming ...
Sep 25, 2018 · In total, five Digital Original titles won Emmys: Although Hulu was nominated, only Netflix and Amazon had shows that took home an award. To ...<|control11|><|separator|>
[26]
5 ways "I Love Lucy" transformed television | American Masters - PBS
Dec 13, 2021 · Together, Ball and Arnaz created the most popular television show of the 1950s, “I Love Lucy,” and formed Desilu Studios – one of the first ...Missing: original | Show results with:original
[27]
Television – Introduction to Film & TV - OPEN OKSTATE
Another important transition from early television arrived with I Love Lucy, the most popular sitcom of the 1950s (Figure 2). Created by Desilu Productions, it ...
[28]
[PDF] The Rise and Fall of the FCC's Financial Interest and Syndication ...
Apr 1, 1993 · The 1970 rules: (1) prohibited television networks from acquiring any financial interest in the broadcast of programs not solely pro- duced by ...
[29]
[PDF] The Prime Time Access Rule: Six Commandments for Inept Regulation
Jan 1, 1984 · 2" The rule, described in more detail below, prevents the dominant networks from programming one of the four prime time hours each evening ...Missing: impact original
[30]
TV Transmission Methods - Classic TV Info
The lack of post-production made live cheaper than film ... It should also be noted that most live broadcasts from the early 1950s have been lost forever.
[31]
Blockbuster pushed HBO to invest in original content: Ex-chief - CNBC
Apr 5, 2023 · HBO, at the time led by Michael Fuchs, decided the answer was original programming. With only a few million dollars to spend, Fuchs placed two ...Missing: origin | Show results with:origin
[32]
The 20 HBO Shows That Transformed TV | The Saturday Evening Post
Nov 21, 2022 · Beginning with The Terry Fox Story in 1983, HBO launched a slate of ... HBO afforded original shows. Delta Burke starred as the team ...
[33]
The Josephine Baker Story | Television Academy
5 Emmys. 1991 All. Nominee. Outstanding Drama/Comedy Special And Miniseries - 1991. The Josephine Baker Story. HBO. Robert Halmi John Kemeny David Puttnam.
[34]
'The Larry Sanders Show' First Episode: THR's 1992 Review
Mar 24, 2016 · On Aug. 15, 1992, at 10:30 p.m., HBO introduced The Larry Sanders Show to its audience. The half-hour series immediately caught on with The ...<|separator|>
[35]
Twelve Astonishing Facts about “Oz,” HBO's Original Crime Drama
Oct 13, 2017 · 1) Oz was HBO's first hour-long original drama. While many remember shows like The Wire or The Sopranos, it was Oz that debuted as the network's ...
[36]
Awards - Oz (TV Series 1997–2003) - IMDb
16 wins & 56 nominations. ALMA Awards. Oz (1997). 2002 Nominee ALMA Award. Rita Moreno. 2002 Winner ALMA Award. Luna Lauren Velez at an event for Dexter (2006).Missing: critical | Show results with:critical
[37]
The history (and rivalry) between Showtime & HBO ... - Out of Focus
Sep 20, 2013 · ... original movies were HBO's bread-and-butter. And in 1994, Showtime began a big push in original feature programming as well. From 1994-1997 ...
[38]
The Changing Landscape of Pay Television : Cable: Now that the ...
Dec 9, 1990 · HBO is positioning itself as a “brand name,” moving further into original programming, while Showtime is seeking radical changes in the ...
[39]
Television and the 2000s: Notes on Cable Drama - Antenna
Dec 15, 2009 · The 2000s saw cable dramas as the original cable drama, with innovative series, a shift in perception, and shows like The Shield and Sons of ...Missing: 1990s | Show results with:1990s
[40]
How 'The Shield' Changed Cable TV | TVWeek
Aug 29, 2008 · Since 2002, cable networks have ramped up their spending on original programming, which is earning a bigger share of viewers, awards and ad ...Missing: 1990s | Show results with:1990s
[41]
The Random Long Tail and the Golden Age of Television
Original programming since 2002: Nip/Tuck, The Shield, Rescue Me, Damages. 10, AMC, 1,382,000, 1984, Original programming since 2003: Mad Men, Breaking Bad ...
[42]
"House of Cards," Netflix's first original series, starts streaming
Dec 1, 2020 · In February of 2013, Netflix introduced House of Cards, the first major TV show that ran exclusively on a streaming service.
[43]
Amazon's 'Transparent' to Premiere September 26 in U.S. and U.K.
Aug 27, 2014 · Amazon's new original comedy "Transparent" will premiere on Friday, September 26 in the U.S. and the U.K. through Prime Instant Video, ...
[44]
[PDF] Netflix and the Development of the Internet Television Network
With The Sopranos and The Wire, pay cable had entered the original programming ... AMC was little more than a classic movie channel until it premiered Mad Men.
[45]
Netflix's Ted Sarandos on $17 Billion Content Spend Amid Sub Growth
Oct 18, 2022 · Co-CEO and chief content officer Ted Sarandos is feeling “better and better” about the company's $17 billion content spend budget for 2022.
[46]
Apple TV+ spent $20B on original content. If only people actually ...
Nov 19, 2024 · Apple TV+ launched in 2019. Since then, the company has spent over $20 billion to build an impressive library of original content.
[47]
Streaming Wars 2020: Takeaways From Weirdest Year Yet | TIME
Dec 18, 2020 · While Disney+ racked up 86.8 million paying customers globally in its first year, HBO Max—which only launched in May—boasts just 12.6 million ...Missing: commissions 2020s
[48]
Why has TV storytelling become so complex? - The Conversation
Mar 27, 2015 · Giving viewers the technology to easily watch and rewatch a series at their own pace has freed television storytellers to craft complex ...Missing: enables | Show results with:enables
[49]
Succession | Rotten Tomatoes
Rating 95% (343) Succession is a TV-MA drama (2018-Present) about the Roy family's power struggle for control of Waystar Royco, with family loyalties colliding.Season 1 · Season 4 · Season 2 · Season 3
[50]
7 incredible shows like Black Mirror to stream next - The Manual
Apr 27, 2025 · Black Mirror started its life as a niche science fiction anthology show on Netflix, but the British series expanded its reach and popularity ...
[51]
'The Paper' Is an 'Office' Spinoff in a Different Office
Aug 29, 2025 · Set at a struggling local newspaper, this Peacock sitcom will deliver its entire 10-episode first season on Sept. 4.
[52]
What is a Writers Room — Writers Room Jobs Explained
Oct 10, 2021 · Writers rooms vary on how they are run depending on the show's showrunner. However, they are where most of the ideas for an episode or a script ...<|separator|>
[53]
TV Series Budgets Hit Breaking Point as Costs Rise in Peak TV Era
Sep 26, 2017 · FX usually spends about $3.5 million-$4 million per hour on its dramas. Ryan Murphy's “American Crime Story” franchise is closer to $6 million.Missing: prestige | Show results with:prestige
[54]
From The Crown to Game of Thrones: what's the most expensive TV ...
Nov 16, 2019 · ... series such as Westworld and Succession on US cable. ... The show may end up costing nearer to $15m per episode and is Disney's biggest calling ...
[55]
6 TV Writers on How They Craft Cliffhanger Endings - Vulture
Feb 26, 2021 · We reached out to several television storytellers to talk about cliffhangers: how they are crafted and debated in writers rooms, how they function on streaming ...
[56]
Every Emmy winner for Best Drama Series - Gold Derby
Sep 26, 2024 · Five shows -- "Hill Street Blues," "L.A. Law," "The West Wing," "Mad Men" and "Game of Thrones" -- hold the record for most wins in this ...Missing: percentage | Show results with:percentage
[57]
The 100 Greatest TV Shows of All Time - Variety
Dec 20, 2023 · Variety breaks down the best TV shows of all time. From The Sopranos to Community, these are the best series ever aired.
[58]
'The Bachelor' Hits Milestone 20 Years on TV - Variety
Apr 27, 2022 · With 26 seasons of the flagship, 19 seasons of “The Bachelorette,” eight seasons of “Bachelor in Paradise” and numerous spinoffs to date, ABC's ...
[59]
Netflix Announces New Original Documentary Series Making A Murderer - About Netflix
- **Confirmation**: Making a Murderer is a Netflix original unscripted documentary series.
[60]
Our Planet - Silverback Films
Our Planet is a groundbreaking, four-year collaboration between Netflix, Silverback Films and WWF. It explores the rich natural wonders, iconic species and ...
[61]
Why Networks Love Reality TV - Investopedia
A reality show can cost approximately $100,000 to more than $500,000 per episode to produce.1 While that is not cheap, it is far less than many scripted ...
[62]
[PDF] The Real Cost of Reality TV - Writers Guild of America East
Top-rated American Idol on Fox reportedly has an episode budget of about $2 million,15 whereas a scripted show, even a mid-size hit like Blue Bloods or Person ...
[63]
United States TV & Streaming Landscape: Key Audience Trends ...
Nov 10, 2024 · American audiences had the largest share of demand for the reality genre (15.2%) across all markets in this report. With a 27.8% share of demand ...
[64]
How to Pitch a Television Show: Tips from Judd Apatow and Shonda ...
Aug 20, 2021 · A TV show pitch includes a logline, bible, and pilot script. Keep it short, show how it's marketable, and convey the show's concept and ...
[65]
Television Development | How Hollywood Creates New TV Series
Jan 18, 2019 · In this book, lecturer and acclaimed television producer Bob Levy offers a detailed introduction to television development, the process by which ...Missing: sansoni | Show results with:sansoni
[66]
The TV Show Development Process: A 2025 Insider's Guide
Oct 16, 2025 · The development process for a TV show can vary significantly. From initial concept to a greenlight decision, it can take anywhere from six ...Introduction · Stage 1: Concept And... · Stage 2: Packaging The...Missing: average | Show results with:average<|control11|><|separator|>
[67]
CBS Sets Diversity Targets For Reality Casts; 50% Talent Must Be ...
Nov 9, 2020 · The network has introduced an edict that 50% of its casts for its unscripted shows must be Black, Indigenous or People of Color (BIPOC).<|control11|><|separator|>
[68]
[PDF] 2020 Hollywood Diversity Report Part 2 - UCLA Social Sciences
For the purpose of analysis, it assigns each scripted show to one of six distinct cast diversity intervals based on the racial and ethnic statuses of its top ...
[69]
How Data Analytics Is Changing TV - The Carmel Group
Nov 30, 2015 · Netflix replaced the traditional (and very expensive) “pilot” TV test process with intimate knowledge (via intensive data analytics) of the ...Missing: shows focus
[70]
TV Pilot Testing - Interpret LLC
We conducted in-person pilot testing, including dial testing for deeper insights into viewer reactions. This approach allowed us to evaluate the core content.Missing: groups analytics originals
[71]
When is Pilot Season? And How Has Digital Streaming Affected It?
Oct 14, 2019 · Traditionally, pilot season is January to April. However, digital streaming services have a year-round pilot season, as they are not bound by ...Missing: timeline spring
[72]
What is Pilot Season? How Streaming Services Have Changed the ...
Aug 16, 2024 · Year-Round Production: Streaming platforms like Netflix, Disney+, and Amazon Prime have broken away from the traditional TV schedule.
[73]
TV Creatives Fight Over Pay Changes in the Streaming Era - Variety
Jul 20, 2022 · The rise of streaming has upended industry standards for how Hollywood talent gets paid. A fight over the future of ownership is brewing.Missing: example | Show results with:example
[74]
Why Hollywood Is in the Throes of an IP Frenzy
Oct 25, 2023 · For years, the IP market had been fueled by the same old Hollywood studios along with a handful of literary-minded producers like Scott Rudin ...
[75]
How Netflix, Hulu streamers ignite battles over profit participation
Jan 15, 2022 · The battle over how Hollywood studios share profit with talent and creatives has been raging since the invention of movies.
[76]
Netflix's 10-Year Window on Top Originals is Expiring. Studios Smell ...
like the streaming landscape itself — is also ...
[77]
Exclusive or Traditional Distribution? - FilmTake
Sep 29, 2020 · ... term licensing periods for film and series content. These worldwide exclusive deals are averaging seven-years in duration. The clear ...
[78]
Licensed, Co-Productions and Wholly-Owned Television Shows ...
Apr 23, 2019 · Amazon – Catastrophe (first run licensed in the United States). The Expanse (second run licensed in the United States; first run in other ...
[79]
Subtitling and Dubbing Boom Requires Advance Planning, Experts ...
Mar 22, 2022 · As shows become increasingly international in the streaming age, experts urge producers to allow time for accurate subtitling and dubbing.
[80]
Why Are Netflix Subtitles So Bad? - The Hollywood Reporter
Nov 5, 2021 · The global subtitling industry is busier than ever, but the vast quantity of new programs has led to harsh deadlines and reduced wages.<|separator|>
[81]
Prime Video Unveils Top Traveling Non-English Originals - Variety
Jun 20, 2023 · Prime Video has revealed its top traveling non-English local originals in the history of the service, with Spanish YA romance “My Fault” and French crime ...
[82]
Berlin: Drama Series Days Spotlights TV, Grabbing a Global Audience
Feb 14, 2018 · Netflix, for example, has the $40 million Beta Film-produced German hit “Babylon Berlin” available in both dubbed and subtitled versions. “We ...
[83]
How 'Friends' Generated More Than $1.4 Billion For Its Stars And ...
May 28, 2021 · The wildly popular television comedy generated nearly $1.4 billion in earnings since Friends' broadcast debut in 1994, according to Forbes estimates.Missing: reversion | Show results with:reversion
[84]
Friends cast salary: How much the actors make from reruns
Sep 1, 2021 · For the six main cast members, who earn two per cent of the show's syndication revenue, it means an annual income of $20m each - just from reruns.Missing: reversion creators
[85]
Just How Much Money Has Stranger Things Earned Netflix?
Oct 16, 2025 · According to data firm Parrot Analytics (via TIME Magazine), the series has earned an estimated "2 million new subscribers and over $1 billion ...
[86]
Marvel Is Integral to Disney's Streaming Strategy | Nasdaq
Jul 27, 2022 · Disney's acquisition of Marvel ... Consequently, Disney has cleverly used Marvel's popularity to attract subscribers to its streaming service, ...
[87]
Peak TV Is Officially Over: Scripted Originals Fall 14 Percent in 2023
Feb 9, 2024 · The total number of broadcast, cable and streaming shows (made for adults) clocked in at 516, down a whopping 14 percent from the 600 comedies and dramas ...
[88]
https://www.hollywoodreporter.com/tv/tv-news/scripted-originals-fall-14-percent-2023-fx-tally-1235821248/
[89]
The Streaming Wars and AI: How Technology is Reshaping ...
Jul 31, 2025 · Meanwhile, the major players in the industry are locked in an escalating content arms race, collectively spending an astounding $248 billion ...
[90]
Hollywood pays steep price for not figuring out streaming - CNBC
Sep 17, 2023 · Netflix's entrance into media signaled the beginning of a content arms race that, ultimately, hasn't paid off for any media company. Content ...
[91]
The New Face of FAST: How Original Content Is Redefining Free ...
Jan 7, 2025 · The rise of original content on FAST platforms changes the game for viewers and advertisers. For audiences, it means access to high-quality, ...<|separator|>
[92]
Eight FAST Services — Ranked! - TV Fanatic
Sep 10, 2024 · Original content through Roku includes Mapleworth Murders, Slip, and The Fugitive. ... Like other FAST services, there are Freevee original ...
[93]
Bryan Cranston's 'Breaking Bad' breakthrough - Los Angeles Times
Mar 30, 2010 · Cranston this month started the third season of AMC's quirky, dark drama 'Breaking Bad' as one of the most prominent and honored actors working ...
[94]
Bryan Cranston, Actor - Brief but Spectacular | PBS News
Nov 1, 2018 · At 50, I got an even bigger break when I was cast as Walter White on “Breaking Bad.” That was my trajectory. It came when it was supposed to ...Missing: breakthrough | Show results with:breakthrough
[95]
'Why is Bridgerton's race twisting acceptable?' The real problem with ...
Jun 12, 2023 · Shows such as Netflix's Bridgerton have been applauded for introducing actors of colour into the “terribly white” space of costume drama ...
[96]
Is Bridgerton's Diverse Casting Color-Blind, or Color-Conscious?
Apr 19, 2022 · Showrunner Chris Van Dusen has called Bridgerton “a world that's not color-blind, as some have suggested, but one that's color-conscious.”
[97]
[PDF] Impacts of the Streaming Model on Television Storytelling
17 The rise of DVD sets enabled more viewers to watch a series from the beginning, allowing for more complex narratives and seriality. Fittingly, Netflix was a ...<|control11|><|separator|>
[98]
(PDF) Censorship vs Creative Freedom: Regulating Content on OTT ...
Aug 7, 2025 · While these platforms report greater creative freedom and a wide range of narratives, they also present issues of obscenity, hate speech, and ...Missing: original programming
[99]
Transgressive TV: Euphoria, HBO, and a New Trans Aesthetic
Jul 20, 2022 · While controversial sexual and violent content—including queer themes—has always been a hallmark of HBO, Euphoria is unique for its investment ...
[100]
The ethics of aesthetics in the teen drama Euphoria - TV Studies 2021
Apr 12, 2021 · ... issues that have previously been seen as taboo, such as drug use, mental illness, sexual relationships, and struggles with gender and sexuality.
[101]
Silver screen to small screen: why film directors are taking over TV
Mar 15, 2014 · After the success of True Detective, award-winning film-makers are being lured to TV with the promise of more creative control.
[102]
Film Directors Helmers Reveal Benefits, Challenges of Moving to TV
Jun 25, 2020 · When Film Directors Jump to TV: Helmers Reveal Benefits, Challenges of Moving to Small Screen. Directors of 'Defending Jacob' and 'I Know This ...
[103]
Pushing Small Screen Boundaries Led Ryan Murphy to Walk of ...
Dec 4, 2018 · And now he's set to bring his unique brand of reinvention to Netflix, where he signed a $300 million overall deal in February, ...
[104]
Ryan Murphy Inks Giant Deal With Netflix - Deadline
Feb 13, 2018 · In what is believed to be the biggest TV pact ever, Ryan Murphy has signed a deal with Netflix, which could reach as high as $300 million.
[105]
From 'Suits' To Nuts, Streaming Residuals Explained - Deadline
Sep 21, 2023 · Residuals are guild-mandated payments made to actors, directors, writers and others involved in the making of film and TV as compensation for cable reruns.
[106]
Hollywood reels as streaming, residuals vanish - Fortune
Apr 7, 2023 · The Hollywood economy is reeling as streaming can't turn a profit and residuals disappear for writers and actors.<|separator|>
[107]
How TV Writing Became a Dead-End Job - The New York Times
Jul 26, 2023 · The writers say Hollywood studios are increasingly limiting their roles in television productions, highlighting a trend for white-collar workers.
[108]
Hollywood writers strike over pay in streaming TV 'gig economy'
May 2, 2023 · Half of TV series writers now work at minimum salary levels, compared with one-third in the 2013-14 season, according to Guild statistics.Missing: instability original
[109]
Writers' strike: Has the gig economy come for Hollywood?
May 5, 2023 · These writers claim that studios are turning their profession into a gig economy consisting of short-term jobs with low pay and even uncompensated work.Missing: instability programming
[110]
Nielsen Top 10 | Streaming, TV, Advertising, Game Ratings
Nielsen's Top 10: your go-to source for the top streaming programs, TV ratings, advertising spend and more, ranked weekly.
[111]
Squid Game Netflix No. 1 All-Time Show - Variety
Nov 16, 2021 · “Squid Game” pulled in a staggering 1.65 billion hours of viewing in 28 days following its Sept. 17 premiere, according to Netflix.
[112]
The Biggest TV Shows of Fall 2021 - The Hollywood Reporter
Dec 30, 2021 · The worldwide figure equates to 96 billion minutes of viewing; in the United States, Squid Game totaled 14.1 billion minutes of watch time in ...
[113]
'Euphoria' Top Twitter Memes, Most-Tweeted TV Show of Decade
Feb 25, 2022 · Twitter said HBO's "Euphoria" was the most-tweeted about TV show of the decade so far with more than 30 million tweets during season 2.Missing: merchandise | Show results with:merchandise
[114]
'Euphoria Fashion': Secrets of the show's costume design | CNN
Apr 17, 2023 · In “Euphoria,” clothes are more plot devices and psychological profiles than they are props. Setting the parameters for the psychology of each ...
[115]
'Euphoria' storylines and cliffhangers can cause anxiety. Viewers ...
fear of missing out.
[116]
This Is A Surprise: Why Diversity Of TV Leads Has Plummeted This ...
Jun 13, 2024 · Non-white leads in top TV shows dropped by 7% this year compared to 2023. Whites accounted for 61% of leads on top shows, up 5%.
[117]
[PDF] UCLA Hollywood Diversity Report Presents:
Dec 17, 2024 · At 26 percent of the adult population, persons with disabilities were underrepresented as streaming television leads in 2023. Among the most- ...
[118]
UCLA Hollywood Diversity Report Looks at Streaming TV in 2023
Dec 17, 2024 · However, data shows that top streaming shows with BIPOC leads consistently outperform others in regards to median ratings and series following “ ...Missing: non- | Show results with:non-
[119]
The Mandalorian Producer Speaks on Star Wars Canon ... - The Direct
Nov 26, 2022 · Executive producer Jon Favreau revealed that he learned of Cobb Vanth while researching what was known of Boba Fett's canon story.
[120]
Network TV Pilot Season Is Mostly Dead -- But Not Completely
Dec 22, 2023 · After all, last pilot season saw the broadcast networks pick up just six shows out of their combined 14 pilots. Compare that to pre-pandemic ...
[121]
Halo review – hit sci-fi game morphs into middling $200m TV series
Mar 24, 2022 · Even this big-budget – it reputedly cost more than $200m and looks like gold – TV series starring Pablo Schreiber as the genetically engineered ...
[122]
Writers' strike 2023: Historic strike ends, impacts Hollywood
Oct 19, 2023 · L.A. film and TV production plummets in second quarter amid writers' strike ... costs continue to rise. May 4, 2023. illustration of two ...
[123]
Report: Big Media Companies Are Increasing Their Spending On ...
Nov 1, 2024 · Discovery, Netflix and Paramount Global content spend will total $126 billion in 2024, a year-over-year increase of +9%. In a first, the six ...
[124]
Media and entertainment outlook | Deloitte Insights
Apr 23, 2025 · The cost of content continues to rise for the largest TV, film, and gaming studios, while the capital intensity of data centers and AI hangs ...
[125]
US Streaming platforms shift focus to retention as churn rates surge
Aug 20, 2025 · Overall, the average monthly churn rate now sits at 5.5%, a dramatic increase from 2% in 2019.
[126]
Streaming Fatigue? Price Hikes, Content Woes Test Viewer Loyalty
Dec 30, 2024 · In 2024, the annual average was $384, down a touch from 2023 in real (inflation-adjusted) terms, even as optional fees have proliferated.<|separator|>
[127]
How Netflix Uses Artificial Intelligence - GeeksforGeeks
Jul 23, 2025 · This data-driven approach assists in making informed decisions about which projects to greenlight.
[128]
AI in Media & Entertainment: Real-World Examples - DAS42
Aug 26, 2025 · For instance, Warner Bros. has used AI to forecast a film's potential earnings, helping executives make smarter greenlighting decisions.
[129]
Streaming Into The Future: How AI Is Reshaping Entertainment
Mar 18, 2024 · Understanding what makes a show a hit is like decoding a complex puzzle. AI simplifies this with predictive analytics. By analyzing viewer data ...
[130]
Diversity improves among TV actors, but executives still ...
Oct 22, 2020 · Of all lead acting slots on broadcast shows in 2018–19, people of color held 24.0 percent, almost a fivefold increase from 2011–12 when it was ...
[131]
[PDF] Where We Are on TV - glaad
The study shows that LGBT representations will account for 2.6% of all scripted series regular characters in the 2008-2009 broadcast television schedule, up ...
[132]
A Decade After #OscarsSoWhite, Can Hollywood Do Better?
Mar 2, 2025 · ... employee resources, improved diversity-based recruiting and hiring, and expanded talent development programs. SCRATCHING AT THE SURFACE of ...
[133]
Inclusion Takes Root at Netflix: Our First Report
Jan 13, 2021 · We're sharing what we've been working on with Netflix's first inclusion report. Here, we'll provide a snapshot of representation within the company.
[134]
Why Are Token Characters Still So Prevalent on TV? - Collider
Mar 10, 2022 · TV shows have relied on the token characters to check off a little diversity box since the days of black and white programming but really dove into it with ...
[135]
DGA Publishes Inclusion Hiring Data in Episodic Television Over the ...
Oct 25, 2024 · For women members of the directorial team, hiring in the 2023-2024 season was 41%, and for the race and ethnicity, 21% of Directors were from ...
[136]
[PDF] Inclusion in Netflix Original U.S. Scripted Films and Series: Full Report
Dearest gentle reader, this research report provides an update on inclusion in Netflix original scripted films and series. Building on our previous studies ...
[137]
How Netflix's AI engine drives 80% of user engagement and saves ...
Sep 17, 2025 · Netflix's AI recommendation engine drives 80% of what 260 million users watch—here's the $1 billion lesson for your business.
[138]
AI Recommendation System: 86% Increased Customer Retention!
Dec 25, 2024 · Case Study 2: Streaming Service Achieves 30% Increase in Engagement. A streaming platform approached us to integrate a recommendation system ...Missing: percentage | Show results with:percentage
[139]
Role of Artificial Intelligence in Enhancing OTT Content ...
Dec 12, 2024 · Research shows that platforms using AI-driven recommendations see a 20–30% increase in user retention. That means you're more likely to stick ...
[140]
Virtual Production LED Screen Cost: Complete Investment Guide
Aug 13, 2025 · A typical episodic television series might save $200,000-500,000 per season through reduced travel, location fees, and post-production costs ...
[141]
How Virtual Production is Helping Cut Cost and Reduce Carbon ...
Apr 20, 2022 · The results show a marked difference that is very significant 0.74 savings on a LED Virtual Stage versus 94.82 on a location shoot.
[142]
LED panels as a way to reduce costs for filmmakers - Mirackle
LED panels reduce costs by simulating locations, reducing set assembly, travel, accommodation, and post-production costs, and are energy efficient.
[143]
How the Surprise Interactive 'Black Mirror' Came Together - WIRED
Dec 28, 2018 · Bandersnatch isn't just any episode. It's an "interactive film"—one you steer as you watch, choosing the way you want the story to unfold ...
[144]
Top AR and VR Startups Solving Real Problems in 2026
Oct 7, 2025 · The VR and XR company develops virtual production software that blends live action with digital environments for film, TV, and live events.
[145]
How AI Can Save You 80% of Your Video Production Time
Oct 23, 2025 · Research consistently shows that AI tools can reduce video production time by 60-90%, with many businesses reporting around 80% time savings.<|separator|>
[146]
5 Brilliant AI Tools for Film, TV, and Video Production - Dramatify
Dramatify's AI-powered Assistant is designed to help TV and video professionals speed up development, reduce costs, and maintain creative control.
[147]
Best AI Script Writer in 2025 - Squibler
The Smart Writer aids with idea generation, plot development, and scene enhancement, reducing the time you'd spend on these tasks manually. Plus, features ...
[148]
Blockchain in Digital Rights Market 2025 - Growth & Research 2034
In stockGlobal Blockchain in Digital Rights Management market size is expected to reach $1.25 billion by 2029 at 49.5%, segmented as by public blockchain, ...