Network / Streaming Mandates 2021 Season
ABC
Drama
• Female forward content and female empowerment is key
o Bigger bolder tentpole series – ie LOST, UGLY BETTY, REVENGE, DESPERATE HOUSEWIVES
o Sophisticated, emotional, fun
• How can they can be disruptive, risk-taking and bold in the stories they’re trying to tell.
o If you think it might not be for them, it might be – pushing the envelope this season with
their content and working outside of the box
• Soaps and character dramas are a focus (a la DESPERATE HOUSEWIVES & UGLY BETTY)
• They’d like to find a new iteration of a family drama
• Would love a drama version of THE CONNORS and THE MIDDLE – appealing to that same
audience (middle America/Blue Collar)
• Open to procedurals if they’re VERY character driven
o The character pieces need to be paramount and the procedure can back it up (ie LUTHER,
KILLING EVE and SHERLOCK)
• Passionate creatives are key – they’ll hear anything if it comes from creatives with undying passion
• Trying to stray away from medical dramas, but are open to hearing pitches if there is a really
different twist/take
Comedy
• Goal is to find “hits” that are hard funny, relevant, inclusive, emotional, with heart and ultimately
will make the audience happy and optimistic.
• Family comedies are least interesting to them, as they have just wrapped up shows like MODERN
FAMILY and THE MIDDLE
• They want writers who are passionate about what they are pitching
• All types of comedy interest them, but anything overtly political will be a challenge since
whatever they develop now will be airing in the Fall of an election year (2020)
• Examples of shows on other networks that they like:
o CAROL’S SECOND ACT – because they worked and love with Patricia Heaton, but also like
the twist of it being a multi-cam doctor show as well as a family show
o DEAD TO ME – tone a little darker than ABC but the female friendship structure is
dead on o CATASTROPHE – again too dark, but the reverse–engineered relationship is a
great high
concept
o ONE DAY AT A TIME – have been trying for a while to get a Latinx show – family multi
cam style – though would want more sophisticated writing than that show
CBS
Drama
• Trying to stay away from law shows – big NO.
• Looking for a tentpole show/out of the box idea. It must be character driven and doesn’t have to be
procedural
• Very open to medical shows, as they don’t have one
• Not overly hungry for soaps, unless it has a franchise built in (ie THE GOOD WIFE).
o They will NOT be buying something like GRAND HOTEL
• Military and investigative/FBI themed might be tough as this is already a prominent theme for them.
• Like last season, they are trying to stay open minded and are open to being pitched anything
• Trying to be open to unorthodox or serialized fare.
• They want busted development or cable-skewing scripts that can be mended to broadcast.
Comedy
• Open to single and multi cams
• They are always looking for family comedies, especially those with a twist of some sort.
• Open to slightly out of the box comedies, but are still willing to develop across the spectrum
CW
• Nothing too crazy or different than their usual
• There is room for more male-skewing material with the end of SUPERNATURAL and ARROW, but
nothing too high-octane or “overly male”
• Demo is still men and women between the ages of 18 and 34. 20 year olds are their sweetspot.
• Would be open to an hour long comedy that would be able to capture the audience that JANE
THE VIRGIN and CRAZY EX GIRLFRIEND had
• Looking for a grounded and realistic drama that is culturally relevant and – slightly pushing the
envelope (ie FELICITY)
o Can touch on themes of sexuality, race, and any other culturally relevant topics
o Something that is particularly topical and important to men and women in their 20s
• Still open to genre pitches, though they have many genre shows on the air
o It MUST be grounded
• Trying to stay away from superhero shows outside of the DC Universe (it’s a tough sell for them) and
straight up soaps (like DYNASTY)
FOX
Drama
• Diversity and/or female empowerment should be incorporated into each of their shows and are very
important
o Ethnic diversity and LGBTQ, especially
o Want to find something to hold onto the EMPIRE audience *PRIORITY*
• Still open to big bold procedurals that have a twist – would love a show to accompany
PRODIGAL SON
o A medical or legal procedural would have to be new/out of the box
• Looking for a loud soap to replace EMPIRE for audiences in their 30s and 40s.
• They are VERY open to genre again (ie THE PASSAGE, THE EXORCIST, GOTHAM, SLEEPY HOLLOW)
• Open to music theme shows – in the world of EMPIRE, but different
• Open to hearing anything (even if it’s a little out of their norm) as long as the creatives are
passionate and have a definite vision
o Period is the only thing that would be tough for them to get on board with
• Themes they would love to crack:
o Military, Social Media, Social Experiments, Romance/Love, The 40-something female
conversation.
Comedy
• Animation is still the focus – nothing that pushes the envelope too far (ie BIG MOUTH), but open to
new and out of the box ideas with passionate creators
• Would be open to doing a hybrid comedy like WHAT JUST HAPPENED (talk/scripted live action
hybrid)
• Need workplace comedies (single and multi)
• Something to pair with MOODYS (the holiday special returning family show)
• More multigenerational family comedies.
o Want to pair something with LAST MAN STANDING.
NBC
Drama
• Trying to stay away from medical and political shows
• Open to legal as long as its non-traditional
• Really want more high concept, big ideas like MANIFEST
• Diversity/women are a focus
• Looking to replace their aging franchises (BLACKLIST, BLIND SPOT).
• Looking for soaps but trying to make sure they feel different from THIS
IS US. o Ok with heightened, grounded, just more execution
dependent.
• Politics is hard.
Comedy
• “No specific targets”
• Open to multi and single cam, but are keeping their mandates broad as in years
past o Want more multi cams to replace WILL & GRACE
• They are still looking to find their version of FRIENDS
• Diversity and women are a focus here as well
• Romantic comedies and office/family comedy
AMC
• Unique voices and tones – KILLING EVE is a benchmark
• Single character POV into a world we’ve never seen before
• Genre is a priority
o Not GAME OF THRONES, but would do something in the realm of BATTLESTAR GALACTICA
• Still must be an hour, but open to dramedies
→
o Plot must push the story, but can have a comedic tone BETTER CALL SAUL
• Avoiding working with external studios, if possible
• Generally, the mandate is “unique characters with unique perspectives.”
• Focus areas fall into two buckets: “popcorn” and “highbrow/sophisticated”.
o Anything comic/fanboy/BIG genre related (pre-existing IP is a bonus).
o Adult contemporary/prestige.
o Suspense thrillers with a “fun” twist (think THE
AMERICANS). o Dramedies.
o Pulpy/pop-culture/social commentary.
o Anything that is unconventional or “uproots the form.”
BET
• Looking for an African American or Black version of DOOGIE HOWSER/PRODIGY.
• More female programming is a goal for them (ie TWENTIES)
BRAVO
• Focusing on developing limited/event series a la DIRTY JOHN.
• Skews female, but not male exclusionary.
• Older demographic than E! Largely set in aspirational, high end, big city/coastal locals.
COMEDY CENTRAL
• The big target continues to be animation – they want their RICK & MORTY.
• Another priority is non-scripted/non-narrative, in the vein of TOSH.O or NATHAN FOR YOU.
• Also looking for sketch series, but not aggressively.
• Interested in scripted narrative series as well, but they have a good amount of those
projects already.
• Brand filters are “super funny, culturally relevant, and provocative.”
• Looking to attract a more female audience with shows like AWKWAFINA
E!
• Focusing on developing limited / event series.
• Younger, topical content centered on celebrity and pop culture.
• Stories that can’t be told via a reality show.
Freeform
• Demo is 18 to 34 and female skewing, with early to mid-twenties being the sweet spot.
• Can develop in any genre.
• Content should have a strong theme with a “cool factor” – something that would stand out on a line
of billboards.
• They’re very active in developing original movies, that includes Christmas Movies.
• Open to Period, but must have a relevant and/or Feminist lean.
• Dark concepts are welcome, as long as they have some component that is aspirational.
• Interested in more lighter soaps like THE BOLD TYPE.
• Open to their version of RIVERDALE – can center around high schoolers but they should have adult
problems not high school problems.
• Also would want to do their version of ALIAS – a genre/action series.
• They are in search of a workplace comedy with an ensemble in their 20s to accompany GROWN-ISH.
FX
• Looking for hard-hitting comedies as opposed to those that are more indie-leaning.
• Since THE AMERICANS is done, looking for a replacement.
• Prestige/strong ongoing dramas.
• Want to produce things that are topical, socially relevant and address the now – difficult topics
HBO
• Diversity is key across the board (when it comes to content and talent).
• For comedy, concepts that take place in big worlds are key – as seen in BALLERS (with the sports
community) or SILICON VALLEY (the tech world).
• For drama, world-building concepts are always of interest – big, loud, flashy.
• Grounded family comedies and female-driven dramas continue to be targets as well.
• HBO is looking for bigger worlds that haven’t been explored before. They are focusing less on
domestic phase of life stories (ala Divorce, Togetherness).
o They would love to find a unique, specific Asian/Asian-American story.
HISTORY CHANNEL
• Looking for a replacement for VIKINGS, which will soon be coming to an
end o Anything epic and historic
o Ideas they are toying with – Joan of Arc, Hannibal
• Would love to find a project with some of sense of nostalgia (1980s-1990s) along with an interesting
historical take
• Their audience tends to be males from Middle American, but they would love to find a show that
women would enjoy watching, as well
• Open to building off of IP
LEGENDARY TV
80-% is big genre, 20% sophisticated character drama and some comedy.
• They just sold a soapy thriller and a ½ hour based Jacob Tobias book – these are passion projects.
• Really looking for culturally specific genre show centered on racially diverse, gender diverse.
MGM TV (Studio)
• Doesn’t matter what world or period, what matters is “what is the story behind it the
show?” o They want interesting, unique worlds.
• They’ll pitch to streamers, premium and basic cable, but broadcast is hard.
• They love everything and want to hear everything.
NATIONAL GEOGRAPHIC (NATGEO)
• Distinctive and premium drama consistent with the history and legacy of National Geographic
• Role of the brand is to deepen people’s understanding of the world and their role in it
• Stories that are fact-based and steeped in authenticity with a contemporary setting and subject
matter (post WWII)
• Must have global appeal and relevance (not exclusively American-focused)
• Themes they’re open to
o Science and innovation
o Adventure and exploration
o Environment and conversation
o The Human Journey – contemporary stories that resonate globally
• Their programming must remain fact-based (ie THE HOT ZONE, THE RIGHT STUFF, EINSTEIN series to
name a few)
o Very keen on working off of fact-based IP, though not a mandate
NICKELODEON
• They are still looking for a family multi-cam, focusing on diverse
families. o Latino family sitcom is a need – LatinX family comedy
• Generally want grounded buddy comedies in the spirit of Drake & Josh (any gender combo) – it does
not need to be high concept
• Open to potential teen comedy features that could be produced as a backdoor pilot
o Ie a toned-down SUPERBAD
• Still looking for a family musical – looking for creatives (a la Kenny Ortega) to start come to them
with ideas
PARAMOUNT NETWORK
• Across the board, want premium cable feeling shows that have a hook, but still keeping in mind
ratings to some extent.
• For drama, they’re looking for “red blooded” and “kickass” concepts; they already have a few series
in the works that are gritty, small town dramas.
o YELLOWSTONE is a huge success for them and is one of the highest rated cable shows
on television
▪ Open to more programming for this type of audience
▪ For comedy, they are targeted premium, creator driven content that feels like it
has a voice (in the vein of ATLANTA). Not softer/broad like former
POP TV
• Schitt’s Creek is their biggest show (which is a Canadian acquisition), so they are looking to do more
of these cult-following comedies.
o Their sweet spot
o Ie Adam Herz’s BEST INTENTIONS (creator of AMERICAN PIE)
• Open to drams as long as they are a little lighter (ie FLACK)
• Nothing that would involve a massive budget.
SHOWTIME
• Aim for character-driven stories across the board.
• Comedies and dramas must have sophisticated and adult
themes o Must also be topical, timely, and socially relevant
o Open to big emotional stories (ie THE AFFAIR)
• Not looking for anything majorly genre or scifi
• All content must have a grounded sensibility with strong characters
• Still open to period, but nothing earlier than the 20th Century
STARZ
• Female-driven shows are their sweet spot (POWER and OUTLANDER draw in a massive female
audience)
• Think of them as premium programming for women. They are genre agnostic, but SciFi would need
very big auspices to get their interest.
• Dramas, grounded comedy, hour, ½ hour and limited .
o For the first time they are open to limited series and anthologies of prestige (ie BIG LITTLE
LIES and SHARP OBJECTS).
• They remain committed to serialized storytelling.
• They are open to working with other studios to supply them programming, not just Lionsgate.
SyFy
• Have re-branded as the home for the sci-fi fan.
o On unscripted/news side that means commenting on and getting fans excited
about competitive sci-fi and genre films, shows, games, etc. as well.
• For scripted, it means that all sub-genres are open: YA, Fantasy, Horror, Grindhouse, etc. in addition
to the more classic sci-fi.
• Well known or exciting sci-fi IP is always a plus.
TBS
• Wants big, noisy, exciting, and different.
• They are cable and do not consider themselves broadcast with edge. If the project is going out to
broadcast, TBS should not be a stop.
• What they want to develop programming that is either conceptually interesting and accessible OR
prestige and niche.
• They are really looking to develop more animation, and the project can come from animators or
writers. They want bigger and broader than ever before.
o They would program BIG MOUTH.
o To them, FINAL SPACE is big and stands out with the kids cartoon vibe.
o They would NOT develop another AMERICAN DAD.
• Busted ½ workplace or family comedies in the vein of MODERN FAMILY and PARKS & REC
o They aren’t necessarily in the development business, so they want to see things that are set
up and can immediately go
• Will eventually be going under HBO Max
TNT
• Brand is still smart, sophisticated, entertaining, and female-forward
• Looking to add projects to their “suspense collection” in the vain of THE ALIENIST and TELL ME YOUR
SECRETS – would run for 10 episodes
• If they do humor, it would have to be something with a similar tone to CLAWS
• Developing single-camera dramedies, not as much of a focus as before, though.
• Less interested in magical realism than before.
• Looking for more sci-fi content or elevated horror
• Target is strong female characters who are flawed but not victims. Not exclusive to that though.
• Open to period, but it’s not a priority as they have THE ALIENIST.
• Will eventually be going under HBO Max
USA
• Two tracks for development
o The MR ROBOT/SINNER type shows – more indy
o The more commercial action/family/Americana type shows like QUEEN OF THE
SOUTH/SHOOTER
• IP is key to most of their development.
o They’re willing to come on earlier in the development process if it is for the right IP
• Do NOT want procedural, looking for serialized
• Period is still not what they need, but they’re open to it if it is of quality
• Would love a dark family drama or dramedy
AMAZON
• Looking for more mainstream appeal in their programming (more FLEABAG and MS MAISEL less
THE TICK
• For all genres within Comedy & Drama:
o They are very keen on any and all things YA
o Limited series are tricky – looking to do full size seasons
o They are really focusing on female appeal/inclusion
• Still IP focused with BIG auspices
• Diversity and female driven stories are still a mandate in all capacities
• That said, want shows that feel global/commercial without sacrificing a premium sensibility/tone.
Talking points used a lot:
o Multiple access points & demographic appeal / “co-viewing” potential
o Timely
o Propulsive/binge-wo
rthy o Strong point of view
o Large – or at least rich – world
APPLE+
• They still don’t have official mandates and would like to stay away from that, but are open to a
variety of genres, and to working with mostly all studios across the board.
• Generally, with few exceptions, content should have an aspirational quality.
• Content should keep in line with who the Apple brand appeals to – the entire family.
o Nothing over the top like GAME OF THRONES or BIG MOUTH
DISNEY+
• Diversity is key in all senses of the word
• Comedy is their primary focus right now
o They are heavy in the family sitcoms and are looking to build more in the ½ hour space
outside of this
o They would love to see some comedy/genre mashup (scifi comedy, fantasy comedy, horror
comedy, etc)
• They are all set on epic dramas but are looking for some sort of family/adventure show.
o Also open to grounded genre/fantasy (ie ENCHANTED), but in the modern world.
FACEBOOK
• Targeting the 25-44 age range, skewing mostly female.
• They are also thinking globally, so anything distinctly American or comedy/dramedies that
skew more funny are not a priority right now.
• Would love the following themes in their content:
o Mystery
o Crime
o Genre and especially *grounded* sci fi and fantasy
o Character driven drama
• Not looking to do anything political or period
HBO MAX
• Intention is to be a compliment of HBO and what they already do. They’re aiming to get the views
that HBO doesn’t usually succeed in getting (Younger Females)
o Gen Z YA is a huge target for them
• Want content that is relevant and significant in today’s society but want to avoid being
political. o Shows must have an element of hope
• Diversity is a priority – in terms of casting, creators, and POVs
• Intend to be far more targeted than Netflix – looking to produce 8-12 dramas a year
• Working closely with DC Digital and other WB platforms – everything will eventually be one
• Open to working with all studios, not just WBTV
• Would love to expand in the genre world
• They do not want westerns, procedurals, or world building sci fi
• Looking for limited series with prestige that skew female (ie BIG LITTLE LIES). Don’t want anything
too dark (ie CHERNOBYL).
• Would love some contemporary adult soaps with a unique hook
o THE AFFAIR would be too soft and slow for them, but THE AMERICANS would be of interest
if it were slightly lighter.
• Still very open to animation – Adult Swim-esque in tone
• Period is very difficult for them and not something they’re looking for
HULU
• 80% upscale, smart pay cable fare
o Big names, big ideas, things that deconstruct the genre (like upcoming CATHERINE THE
GREAT series – they see this series as DOWNTON ABBEY meets VEEP)
• 20% EMMY plays
o Taking iconic material and retelling it better (ie THE HANDMAIDS TALE)
o Probably looking to do this in more of a limited series capacity like CATCH 22 with George
Clooney or THE LOOMING TOWER.
▪ They are hopeful with the upcoming LITTLE FIRES EVERYWHERE from Kerry
Washington and Reese Witherspoon.
• Still open to YA more than ever
• Still looking for distinct, socially conscious and ideally elevated comedies
o Animated is ideal
NETFLIX
Drama Programming
• General Drama Programming Priorities:
o Champion fresh, authentic voices – specifically women and people of color
o Develop and launch a new tentpole, franchise drama series
o Reach underserved audiences around the globe
• Genre & Thriller – Peter Friedlander
o Executives (Peter Friedlander oversees all):
▪ →
Sci Fi & Fantasy Kris Henigman, Aria Moffly
▪ →
Horror Blair Fetter, Laura Delahaye
▪ →
Thriller/Crime Alison Engel, Jared Berenholz
▪ →
Period Thriller/Crime Tara Flynn, Andrew McQuinn
▪ →
Incubator/Low-budget Chris Regina, Peter Corona o What
they’re looking for:
▪ World building Sci Fi or fantasy (ie ALTERED CARBON)
▪ Period with action and adrenaline (ie MARCO POLO)
▪ Family-forward crime stories (ie SOPRANOS)
▪ Crime & spy thrillers (ie BODYGUARD)
▪ Horrifying creatures & horror with a POV (ie THE HAUNTING OF HILL HOUSE)
• Character Driven – Nina Wolarsky
o Executives
▪ Nina Wolarsky, Jinny Howe, Anne-Marie McGintee
o Purpose of this group is to create premium, character-driven drama for an adult
audience that is culturally relevant, elevated, and entertaining
o Overalls they oversee:
▪ Shonda Rhimes
▪ Jenji Kohan
▪ Laura Morelli
▪ Sugar 23
o What they’re looking for:
▪ Workplace drama (ie MAD MEN)
▪ Political drama (ie HOUSE OF CARDS)
▪ Elevated family drama (ie SIX FEET UNDER)
▪ Period drama/epic romance (ie THE CROWN)
▪ Nonfiction inspiration (ie WHEN THEY SEE US)
• Dramedy & Soap – Allie Goss
o Executives
▪ Allie Goss, Danielle Woodrow, Tiffany Hawthorne, Carolyn Newman, Penelope Essoyan,
Urooj Sharif
o Overalls they oversee:
▪ Marti Noxon
▪ Higher Ground (The Obamas)
▪ Regina King
o They have access to Overlooked (New York Times obituary column) and are looking to
expand development with this.
o What they’re looking for:
▪ Female-forward (ie KILLING EVE, SEX & THE CITY)
• Female creators, protagonists, told through a female lens is key for this
content
▪ Millennial self-exploration (ie ALLY MCBEAL)
▪ Soapy thrillers & suspense (ie BIG LITTLE LIES, THE SINNER)
▪ Soap in unexpected genres (ie TRUE BLOOD, MR. & MRS. SMITH as a tv show)
▪ Dramedy (ie DESPERATE HOUSEWIVES)
• Melodrama & Romance – Jennifer Breslow
o Executives
▪ Lisa Hamilton Daly, Jennifer Breslow, Adrianna Massar, Johnny Chiou
Their programming should be thought of as “beach reads” o What
they’re looking for:
Fun Female Soaps (ie JANE THE VIRGIN)
▪ Soapy Crime (ie DESPERATE HOUSEWIVES, REVENGE)
▪ Heartwarming, family dramas (ie THIS IS US)
▪ Inspiring female athletes (ie BLUE CRUSH)
▪ Romantic melodramas (ie THE NOTEBOOK)
• This is a particular priority for them
Comedy Programming
• Jane Wiseman oversees all comedy programming
• Executives
→
o Adult Animation Mike Moon, Elizabeth Porter
→
o Live-Action Comedy Andy Weil, Brittney Segal, Kristen Zolner, Blair Fetter, Ghazal Moshfegh,
Irene Lee, Andrea Alvarado
→
o Kids & Family Jenna Boyd, Brooke Kessler, Robert Prinz, Allie James, Hillary Turner
• The comedy programming group covers sitcoms, prestige comedy, soapy dramedies, adult
animation, diversity & inclusion comedies, and kids & family.
• Adult Animation – Mike Moon
o What they’re looking for:
▪ Broad animated sitcoms (ie BIG MOUTH) – will comprise 60% of their slate
▪ Franchise, IP-driven tentpole shows (ie DISENCHANTMENT)
▪ Auteur driven esoteric shows (ie BOJACK HORSEMAN) – will only comprise about 10%
of their slate
o Overalls they oversee:
▪ Alex Hirsch
▪ Shion Takuchi
• Live Action Comedy – Andy Weil
o What they’re looking for:
▪ All forms of sitcoms (ie THE RANCH, FRIENDS)
▪ Strong voices and broad appeal (ie RUSSIAN DOLL)
▪ Underserved audiences (ie GRACE & FRANKIE, BLACK-ISH)
o Overalls they oversee:
▪ Kenya Barris
▪ Jenji Kohan
▪ Jason Bateman
• Kids & Family – Jenna Boyd
o Looking to for programming for children between the ages of 6-11, 9-14, and
programming that parents and children can watch together.
o What they’re looking for:
▪ Fantasy fulfillment for kids (ie HANNAH MONTANA)
▪ Authentic stories for pre-teens and tweens (ie ALEXA & KATIE, BABYSITTERS CLUB)
▪ Sitcoms for the entire family (ie TGIF, FULLER HOUSE)
Young Adult & Family Programming
• YA & Family – Brian
Wright o Executives:
• Brian Wright, Matt Thunell,
Ted Biaselli, Renate Radford,
Alex Sapot, Carolina Garcia,
Cole Galvin, Alexis Alagen,
Ro Donnelly, Coal Wright,
Emily Levitan, Tia Williams
o Family Programming – Ted Biaselli
▪ What is “family” programming?
• Entertainment for the whole family
• Equal enjoyment from both adults and kids
• Family franchises are big business (ie STAR WARS, HARRY POTTER)
• Goal is to redefine was “family” is in TV
▪ Examples of “Family” shows: LOST IN SPACE, FULLER HOUSE, UMBRELLA
ACADEMY, A SERIES OF UNFORTUNATE EVENTS, STRANGER THINGS
o Young Adult Programming – Matt Thunell
▪ Coming of age stories that are more sophisticated than usual family fare
• Material that is not appropriate for younger children
▪ Appeal to teenagers and adults, and often skew more female
▪ Examples of “Young Adult” shows: STRANGER THINGS, CHAMBERS, ATYPICAL,
13 REASONS WHY, THE CHILLING ADVENTURES OF SABRINA, AMERICAN
VANDAL, GILMORE GIRLS
• Overalls YA & Family oversee:
o Ryan Murphy
o Janet Mock
o Shawn Levy
o Brian Yorkey
o Duffer Bros.
o Brad Falchuk
o Ian Brennan
• What they’re looking for (YA & Family):
o Supernatural & Grounded Romance (ie Baz Lurhmann’s ROMEO & JULIET, TITANIC)
o Horror/Thriller (ie FINAL DESTINATION or SCREAM for YA, GHOSTBUSTERS for Family)
o Performance/Musical (ie GLEE, HIGH SCHOOL MUSICAL)
o Family/Animals (ie MARLEY AND ME)
o Grounded & Glossy (ie PRETTY LITTLE LIARS or 13 REASONS WHY – for YA specifically)
o Action Adventure (ie KINGSMAN for YA, RAMPAGE for Family)
o Family Spectacle (ie CHRONICLES OF NARNIA, STAR WARS, HARRY POTTER)
o Family & Female Ensemble (ie GILMORE GIRLS for YA, CHEAPER BY THE DOZEN
for Family)
Interactive Programming
• Interactive Programming – Andy
Executives
Weil o
▪ Andy Weil, Curtis Lelash, Jenna Boyd, Carla Engelbrecht Fisher
o Examples of Interactive content: BLACK MIRROR: BANDERSNATCH, PUSS & BOOTS, YOU
o Looking for material with branching narratives in which audiences can choose their own
journey
o What they’re looking for:
General Audiences – Sci Fi, Romance, Teen Horror, Thriller, Adult Animation, Non-Fiction
▪ Kids Animation – mystery, puzzle solving, comedy, adventure, education
▪ Kids Live Action – mystery, puzzle solving, comedy, adventure, education
General Development & Programming Notes
• Looking for material at all stages/levels of development (does not need to be fully packaged
up) o IP-Based material is key for most departments
o Comedy programming should come in more put together/further in the development
process (especially for adult comedy)
• It is often preferred when material comes in without a studio attached
o If IP is controlled by an external studio, they are open to working with other studios
• International Language Series
o If content is primarily in English language, that content will be overseen by this group
o If content is primarily in a language other than English, that content will be overseen by
Netflix’s International Programming headed by Bela Bajaria.
