2017 Pilot Production Report

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2017 PILOT PRODUCTION REPORT

PHOTO: Ivan Ivanovich Dan / Shutterstock

6255 W. Sunset Blvd. CREDITS: 12th Floor Research Analysts: Hollywood, CA 90028 Adrian McDonald Corina Sandru

Graphic Design: filmla.com Shane Hirschman

@FilmLA Photography: FilmLA Shutterstock HBO FilmLAinc FOX

TABLE OF CONTENTS

INTRODUCTION 3 PILOTS BY OUTLET 4 TOP PILOT PRODUCTION LOCATIONS 5 DRAMA PILOTS 6 COMEDY PILOTS 7 THE MAINSTREAMING OF “STRAIGHT-TO-SERIES” PRODUCTION 8 THE ECONOMIC IMPORTANCE OF PILOTS 10 THE CURRENT TELEVISION LANDSCAPE IN CALIFORNIA 11 THE CURRENT DRAMA LANDSCAPE IN CALIFORNIA 13 CONCLUSION 15 INTRODUCTION

Each year, the major studios like Disney and Warner Bros. and new digital players like Netflix and Amazon engage the global film and television industry in a mad dash to produce potential new shows. The vehicle for launching these shows is called the television pilot, and the studios spend over $1 billion annually to produce them.

Today, television pilots are filmed throughout North America and in other parts of the world. Los Angeles and California are major competitors within this lucrative business but in recent years other jurisdictions, most notably New York and the Canadian Province of British Columbia, have also captured sizeable shares of their own. Below these top competitors rests a second-tier of somewhat smaller players in Georgia and Ontario, Canada—home to Toronto.

FilmL.A.’s official count shows that 173 broadcast, cable and digital pilots (109 Dramas, 64 Comedies) were produced during the 2016-17 development cycle, 28 projects fewer than the prior year (representing a 14 percent decline) and the first time in four years that fewer than 200 pilots were produced. One explanation for the decline is that the content surge in recent years has resulted in a larger number of ongoing series. As a result, there may be less demand for new pilots, as many outlets have full slates.

Out of those 173 pilots, 68 projects (22 Dramas, 46 Comedies) were filmed in the Greater Los Angeles region. This represents a 14 percent drop from last year, when 79 pilot projects filmed here. It is also the lowest number of pilots produced annually in the region during the last eight years.

TOTAL PROJECT COUNT BY CYCLE

250

203 202 201 200 186 38 37 57 169 12 173 8 152 174 65 165 165 150 161 6 146 144 129 124 120 100 108 100 103 91

Straight to Series

Pilots 0 2004-05 2005-06 2006-07 2007-08 2008-09 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

100

2 4 60

0 250

203 202 201 200 186 169 173 152 150

100

0 L.A.’S SHARE OF TOTAL PILOTS PRODUCED

100%100

80%80 82%

71% 60%60 61% 59% 57% 52% 51% 40%40 44% 45% 39% 39%

20%20

0% 0 2006-07 2007-08 2008-09 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

In terms of overall market share, L.A. captured 39 percent of all pilots in the current cycle, which is identical to the prior year. By way of comparison, the peak year for L.A. in terms of market share was in ‘06/’07, when the region captured 82 percent of all pilot production.

In addition to pilots and straight-to-series orders, this year’s FilmL.A. report also examines the overall scripted television landscape both in California and jurisdictions across the world. With the exodus of the majority of big-budget feature films from California to locations with more generous subsidies, the majority of the production vacuum left behind has been filled with dozens of scripted television series (see FilmL.A. 2016 Feature Film Study).

When it comes to scripted drama series, the budgets on many shows approach or exceed $100 million per season, an amount that rivals many large budget feature films. FilmL.A. estimates a total of 426 live-action scripted series (including half hour and one hour shows) will be produced by U.S. studios for the 2017-18 season. California is home to roughly 173 of these scripted series, which is more than the state’s top five competitors combined.

3 PILOTS BY OUTLET

Over the last several years, non-traditional programming available from online services like Amazon, Netflix and Hulu has begun altering not just the landscape for pilots, but the very concept of broadcast television in terms of how they acquire content, the manner in which they deliver it and how viewers consume it.

From 2011-2016, the share of pilot activity that digital networks account for went from less than one percent to 19 percent—almost a fifth of all pilot production. During the 2016-17 cycle, the digital’s share of pilot production dipped slightly to 18 percent (32 count). Leading the digital networks was Netflix, with 14 pilots followed by Amazon (7 pilots), DirectTV (5 pilots), Hulu (4 pilots) and CBS All Access (2 pilots).

The primary reason for the slight dip in digital activity were significant reductions in pilot orders from Amazon and Hulu, which produced half as many pilots in 2016-17 as the prior cycle.

The other factor stunting growth in digital is that the emergence of new digital players has slowed recently, with CBS All Access as the only significant new entry into the field. Given that CBS is already an established broadcast network, it’s debatable whether CBS All Access is truly a new digital player or just an online outlet where the broadcast series that air on CBS are available to view along with the two original series created for the digital channel—at a price. In recent years, premium cable network channels like HBO and Showtime have also followed the online only option that CBS is using. Given these developments and, as noted in prior FilmL.A. reports, the distinction between network, cable and digital is growing increasingly irrelevant.

Due to strong interest in the amount of pilot production by specific distribution type, this year’s Pilot Production Report includes a more precise breakout of how many pilots are being produced for each type of programming outlet, including the number of pilots produced for premium cable channels like HBO and Showtime.

DIGITAL NETWORK SHARE OF PILOT ACTIVITY

20 19% 18% PILOT COUNT, BY PROGRAMMING OUTLET TYPE 15 20 100 0 19% 13% 18% 93 35 10 15 30

25 13% 77 5 80 20 10 5% 4% 15 .6% 0 10 5 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 5% L.A.’s Share of Total Comedy Pilots Produced 5 250 4% 60 54 0 .6% 52 0DIGITAL VS. NETWORK & CABLE PILOTS 200 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 100 Digital192 176Network / Cable 100% 250 178 163 97% 141 38 92% 91% 150 40 80 200 151 32 82% 82% 83% 192 77% 176 163 76% 72% 100 178 69% 150 141 60 151 50 20 16 100 40 38 1 26 32 11 0 8 11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 50

2015-16 2016-17 2015-16 2016-17 2015-16 2016-17 2015-16 2016-17 20 38 0 1 26 32 0 8 11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 Digital Premium Cable Cable Network Network Digital Premium Cable Cable 0 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 Top Pilot Locations

200 4 L.A.’s Share of Total Drama Pilots Produced 3 3 4 80 8 3 2 8 150 2 12 5 12 9 6 6 2 9 15 5 70 2 9 5 2 6 10 7 5 35 19 25 28 12 60 63% 7 20 100 17 15 10 17 16 24 50 8 25 50% 21 40 38% 38% 30 50 87 92 96 90 91 29% 79 25% 68 20 22% 19% 20% 20% 10 17% 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 0 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

New Mexico

Louisiana Top Locations for Drama Pilots Los Angeles’ Share of Pilot Spending Toronto 100 50

Atlanta 46% 80 10 0 5 39% New York 11 8 12 30 60 8 11 31% 5 30% 30% Vancouver 8 19 29% 7 6 5 4 24 2 18 20 Los Angeles 0 12 17 6 15 16 21 4 15 2 8 15 17 12 7 8 10 20 23 25 22 20 22 21 19 21 0 0 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

Toronto

Atanta

New York

Vancouver 100 0

25 80 20

5 60 L.A.’s Share of Total Comedy Pilots Produced

0 100 TOP PILOT PRODUCTION LOCATIONS 100% 97% 92% 91% 40 80 During the 2016-17 development cycle, 68 television pilots were filmed on Los 82% 82% 83% Angeles streets and stages. However, 105 other pilots — compared to 122 77% 76% 72% last year — were produced outside the region in competing jurisdictions. The 69% availability of financial production incentives and production infrastructure are 60 key factors influencing where pilot producers choose to film. As in prior years, some form of film production incentive was available in every one of the 20 non-California locations used during the 2016-17 development cycle. 40

After L.A., the top competitors for pilot production in 2016-17 were New York (24 pilots), British Columbia (21 pilots), Georgia (12 pilots) and Ontario (9 pilots). Also of note was activity in New Mexico, which hosted six pilots in 2016-17. 20 By comparison, the state hosted four pilots in the prior cycle. No other location 0 hosted more than five pilots in the 2015-16 cycle.

Network Digital Premium Cable Cable 0 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 TOP PILOT LOCATIONSTop Pilot Locations 200 L.A.’s Share of Total Drama Pilots Produced 3 3 4 80 8 3 2 8 150 2 12 5 12 9 6 6 2 15 5 70 9 9 5 2 2 6 10 7 5 35 19 25 28 12 60 63% 7 20 100 17 15 10 17 16 24 50 8 25 New Mexico 50%

21 Louisiana 40 38% 38% Ontario 50 30 87 92 96 90 91 Georgia 29% 79 25% 68 New York 20 22% British Columbia 17% 19% 20% 20% California 10 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 0 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 Despite generous subsidies in competing states and Canada (which also benefits fromNew a favorable Mexico exchange rate), with the exception of Louisiana, all of California’s top competitors also saw a decline in the number of pilots produced during the 2016-17 development cycle. Louisiana Top Locations for Drama Pilots Los Angeles’ Share of Pilot Spending Toronto 100 50

Atlanta 46% 80 10 0 5 39% New York 11 8 12 30 60 8 11 31% 5 30% 30% Vancouver 8 19 29% 7 6 5 4 24 2 18 20 Los Angeles 0 12 17 6 15 16 21 4 15 2 8 15 17 12 7 8 10 20 23 25 22 20 22 21 19 21 0 0 PHOTO: Justin M. Lubin / HBO® 5 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

Toronto

Atanta

New York

Vancouver 100 0

25 80 20

15 100 0 10

35 5 60 L.A.’s Share of Total Comedy Pilots Produced 30 0 25 80 100 20 100% 15 97% 92% 91% 10 L.A.’s 40Share of Total Comedy Pilots Produced 80 5 60 82% 82% 83% 0 76% 77% 100 72% 100% 69% 97% 60 92% 91% 40 80 DRAMA PILOTS 20 82% 82% 83% 77% 76% 72% 40 60 69% In 2016-17, the Los Angeles region captured 20 percent (22 count) of all drama pilots 20 for the second straight year. While the region’s competitive situation did not worsen, L.A.’s pilot production40 share was still down 68 percent from its peak in ’06/’07, when 20 L.A.’s drama share was a commanding0 63 percent. Much like feature films, pilot projects are 20often produced in jurisdictions where tax incentives are available. The 0 Greater Los Angeles region’s considerable loss of pilot production share is directly tied to incentive-fueled competition. OnNetwork the flip side,Digital as discussedPremium Cable later inCable this report, 0 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 Network Digital Premium Cable Cable the improved 0California Film & Television Tax Credit Program 2.0 has helped a record Top Pilot Locations number of drama series2006-7 keep2007-8 production2008-9 within2009-10 the2010-11 state.2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 Top Pilot Locations 200 200 L.A. SHARE OF TOTAL DRAMA PILOTS PRODUCED L.A.’s Share of Total Drama Pilots Produced L.A.’s Share of Total Drama Pilots Produced 3 3 4 8080% 8 3 2 3 8 3 4 150 2 12 3 2 80 5 12 9 8 6 6 8 70%12 2 9 15 5 2 70 2 9 150 5 12 5 2 6 10 9 6 7 5 35 6 70 19 25 28 12 2 9 6060%15 63% 5 7 20 2 9 5 2 6 10 100 17 15 5 10 17 16 7 24 35 5050% 8 25 19 25 28 12 60 63% 7 20 50% 21 4040% 100 17 15 10 17 16 24 38% 38% 50 8 3030%25 50% 50 87 92 96 90 91 29% 79 20% 21 25% 68 20 22% 40 17% 19% 20% 20% 38% 38% 1010% 0 50 30 2010-11 2011-12 2012-13 2013-14 2014-15 2015-1687 2016-1792 96 90 91 0 0% 29% 79 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 25% 68 20 22% 19% 20% 20% New Mexico In 2016-17, five international locations (California, New York, British Columbia,10 17% 0 Ontario, Georgia) accounted for 68 percent of all drama pilots produced during Louisiana Top Locations for Drama Pilots the cycle; during the prior cycle, these same locations accounted for 70 percent of 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 Los Angeles’ Share of Pilot Spending drama pilots. The most notable drop among these five locations was Vancouver,0 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 Toronto 100 British Columbia, which50 saw the number of drama pilots drop from 21 to 15, a decline of 29 percent. While Vancouver surpassed New York as the number two Atlanta New Mexico location for drama pilots46% last year, the Empire State reclaimed second place in 80 10 2016-17 with 18 drama0 pilots. 5 39% New York 11 8 Louisiana 12 Top Locations for Drama Pilots TOP LOCATIONS30 FOR DRAMA PILOTS Los Angeles’ Share of Pilot Spending 60 8 11 31% 5 30% 30% Vancouver 8 19 29% 7 6 5 100 50 4 24 Toronto2 18 While not one of the top five locations for 20 Los Angeles 0 12 17 drama pilots, it’s worth noting that Louisiana 15 16 6 21 showed signs of life during the recent cycle, 46% 4 15 Atlanta2 8 15 17 12 with four drama pilots. By comparison, 7 8 80 10 10 0 20 Louisiana had only one drama pilot in the 5 prior cycle. Two years ago, just before the 23 25 22 39% 20 22 21 19 21 11 8 Louisiana legislature significantly scaled New York 0 2011-12 2012-1312 2013-14 2014-15 2015-16 2016-17 back the state’s incentive program, the state 0 hosted a record eight drama pilots. With 30 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 60 8 11 31% 5 stability and a degree of certainty restored 30% 30% Vancouver 8 19 29% 7 6 5 to Louisiana’s incentive program during the 4 24 Toronto 2 18 recent legislative session, it’s possible that the state will get back on track to becoming 20 Los Angeles 0 12 17 15 16 a regional hub for television production. Atanta 6 21 4 15 2 8 15 17 12 New York 7 8 Ontario 10 20 Atlanta Vancouver 23 25 22 New York 20 22 21 19 21 British Columbia 0 0 Los Angeles 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

6 Toronto

Atanta

New York

Vancouver 100 0 COMEDY PILOTS 35

30 The number of comedy pilots produced in L.A. was 46 in 2016-17 compared to 54 in the previous 25 cycle, a 15 percent decline. Though the overall comedy pilot count decreased, L.A.’s share of total 80 comedy pilots produced actually increased to 72 percent. While this is far from 2006-07, when 20 L.A.’s share of comedy pilots was an unchallenged 100 percent, it is a welcome improvement over 15 last year, which marked the first time L.A.’s comedy share fell below 70 percent. 10 L.A.’s Share of Total Comedy Pilots Produced 5 60 L.A. SHARE OF TOTAL COMEDY PILOTS PRODUCED 0 100%100 100% 97% 92% 91% 40 80%80 82% 82% 83% 77% 76% 72% 60%60 69%

20 40%40

20%20 0

Network Digital Premium Cable Cable 0%0 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 Top Pilot Locations

200 L.A.’s status as the premier pilot production center continues to hinge on industry willingness to produce comedy projects in Los Angeles. Until recently, generous film incentives in other L.A.’s locationsShare have of not beenTotal as successful Drama at siphoning Pilots comedy Produced production from L.A. 3 3 4 80 8 3 2 8 Multi-camera, stage-bound comedies, which L.A. has been able to retain in great numbers, 150 2 12 5 12 9 6 6 cost up to $1.5 million to produce per episode. In 2016-17, there were at least 23 multi- 2 9 15 5 70 2 9 camera pilots produced. By comparison, in 2015-16, there were at least 31 multi-camera 5 2 6 10 7 5 19 35 28 12 pilots produced. Creative reasons, as opposed to economic reasons, presently keep these 7 25 60 63% 20 productions in Los Angeles. 100 17 15 10 17 16 24 50 8 25 50% Single-camera comedies that regularly shoot on-location cost more to make at $2-$4 21 40 million per episode. In 2016-17, there were at least 42 single-camera pilots produced. By comparison,38% in 2015-16, there38% were at least 48 single-camera pilots produced. 30 50 87 92 96 90 91 29% 79 25% 68 20 22% 19% 20% 20% 10 17% 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 0 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

New Mexico

Louisiana Top Locations for Drama Pilots Los Angeles’ Share of Pilot Spending Toronto 100 50

Atlanta 46% 80 10 0 5 39% New York 11 8 12 30 60 8 11 31% 5 30% 30% Vancouver 8 19 29% 7 6 5 4 24 2 18 20 Los Angeles 0 12 17 6 15 16 21 4 2 15 15 8 8 17 12 7 10 7 20 23 25 22 20 22 21 19 21 0 0 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

Toronto

Atanta

New York

Vancouver Clorn rs etwor s. Cle r Strht to Seres rders

80 50 Digital Dramas 70 62 60 40 20 Cable Dramas 60 57 55 16 52 53 Network Dramas 50 47 48 45 45 30 2 7 40

38 20 21 30 18 20 30 31 29 28 28 27 27 25 26 25 26 26 25 18 24 24 20 22 10 2 19 20 19 15 1 7 10 6 10 9 8 THE MAINSTREAMING OF “STRAIGHT-TO-SERIES” PRODUCTION 10 5 5 1 2 1 1 6 0 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 As the initial episode of a proposed series,2008-09 many pilots2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2017-18 are made, but only a few will ever be shown to viewers. Before many pilots can be green-lighted for series, it must first be deemed marketable to television advertisers and foreign distributors. Clorn Bsed rs For decades, broadcast networks have courted advertisers in an expensive and seasonally-driven “upfronts” process. Every year in late May, advertisers 57 preview the shows that will go on to be aired on 2008-09 broadcast networks in the fall or early the following year ( ) 2009-10 43 2 Coedy Strht toas Seres mid-season rders replacements. STRAIGHT-TO-SERIESStrht to Seres ORDERrder rDRAMA & COMEDY Coedy 2010-11 45 10 80 20 2011-12 41 11 Cable and digital networks also screen a variety of Digital scripted content. Unlike network pilots,Digital cable Comedy pilots are 2012-13 35 12 produced year-round and have increased in number to 70 contribute mightily to development cycle yields. New 2013-14 33 12 cable and digital series debut throughoutCable the Comedy year. Cable 2014-15 37 11 15 60 31 22 Unlike broadcast and7 cable networks, the top two digital 2015-16 network players (Amazon and Netflix)Network are not beholdenComedy to Network 2016-17 30 30 advertisers or the “upfronts” process. 50 27 22 2017-18 32 30 10 Amazon selects6 which pilots receive full series orders 0 10 20 30 40 50 60 70 80 based in large part on the number of times a show is 40 2 streamed and the percentage of viewers who finish the pilot. Unlike network television, there are no commercial 12 5 interruptions on Amazon8 and advertiser influence is 30 5 effectively taken out of the equation. 23 24 29 5 4 20 In contrast to Amazon, the original programming on Netflix has all been straight-to-series orders. Rather 19 3 1 than release 2episodes on a weekly basis like traditional 10 2 0 1 1 1 network1 or cable broadcasts,1 Netflix makes all episodes 8 13 11 2010-11 2011-12 2012-13 2013-14available2014-15 at2015-16 one time,2016-17 which rewards viewers who enjoy 7 6 6 9 “binging” on new content and also takes advertisers out 0 1 2 of the equation. 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

The last four years have seen unprecedented growth in Digital the number of shows ordered straight-to-series. In 2016- Cable 17, a total of 65 network, cable and digital shows were ordered straight-to-series. By comparison, a total of 57 Network shows were ordered straight-to-series in the prior cycle. 500 426 SHARE OF TOTAL PILOTS ORDERED STRAIGHT TO SERIES 368 00100 357 96 0 329 38% 35 36 57 289 21 30 300 256 17 25 28% 80 15 20 The practice of ordering so many shows straight-198 19% to-series is remarkable considering that just 208 218 18% five years ago, the trend had been well under 200 198 15 200 7 ten straight-to-series orders in the development 178 10 cycle. Indeed, pilots ordered straight-to-series 154 accounted for 38 percent of all pilots in 2016-17. L.A.’s Share of Total Comedy Pilots Produced 5 6% Six years ago, shows ordered straight-to-series60 124 4% 5% 0 accounted for just four percent100 of all pilots. 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 113 113 112 94 108 100 87 100% 67 97% 92% 91% 400 80 8 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-1782% 82% 83% 77% 76% 72% 60 69%

20 40

20 0

Network Digital Premium Cable Cable 0 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 Top Pilot Locations

200 L.A.’s Share of Total Drama Pilots Produced 3 3 4 80 8 3 2 8 150 2 12 5 12 9 6 6 2 9 15 5 70 2 9 5 2 6 10 7 5 35 19 25 28 12 60 63% 7 20 100 17 15 10 17 16 24 50 8 25 50% 21 40 38% 38% 30 50 87 92 96 90 91 29% 79 25% 68 20 22% 19% 20% 20% 10 17% 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 0 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

New Mexico

Louisiana Top Locations for Drama Pilots Los Angeles’ Share of Pilot Spending Toronto 100 50

Toronto

Atanta

New York

Vancouver Clorn rs etwor s. Cle r Strht to Seres rders Looking at the trends for both categories individually reveals other patterns. When it comes to drama, cable and digital networks have been more aggressive80 than the traditional networks in each of the last seven cycles. In the last three 50 cycles, the number of dramas ordered straight-to-series for cable and digital Digital Dramas outpaced network orders by a margin of almost 5-1. 70 Clorn rs etwor s. Cle r Strht to Seres rders 62 DRAMA STRAIGHT-TO-SERIES ORDERS 60 40 20 Cable Dramas 60 80 57 55 16 50 52 Digital Dramas 53 48 Network Dramas 70 50 45 47 30 62 45 2 60 40 20 Cable Dramas 7 60 57 55 16 40 52 53 38 Network Dramas 20 50 47 48 18 20 21 45 30 2 30 45 30 31 7 29 28 28 27 27 25 26 25 26 26 25 18 40 24 24 20 22 38 10 2 20 18 20 21 19 20 19 30 15 30 31 1 7 29 28 28 10 27 27 10 6 10 9 8 25 26 25 26 26 25 18 24 24 5 2 5 20 22 6 1 10 2 1 1 0 19 20 19 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 Digital 0 15 1 7 2008-09 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2017-18 10 Cable 10 6 10 9 8 5 5 Network 1 2 1 1 6 0 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2008-09 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2017-18 When it comes to comedy, digital and cable networks placed a higher priority on Clorn Bsed rs ordering shows straight-to-series during the past cycle. In the last three cycles, digital network orders for comedies straight-to-series have steadily increased whereas cable network orders for straight-to-series comedies doubled from four pilots to eight Clornin 2016-17. Bsed rs 2008-09 57 2009-10 43 2 COMEDYCoedy STRAIGHT-TO-SERIES Strht to Seres ORDERS rders Strht to Seres rder r Coedy 2010-11 45 10 57 2008-09 80 20 2011-12 41 11 2009-10 43 2 Digital Coedy Strht to Seres rders Strht to Seres rder r Coedy Digital Comedy 35 12 2010-11 45 10 2012-13 80 70 20 2011-12 41 11 2013-14 33 12 Digital Digital Comedy 2012-13 35 12 Cable Comedy Cable 2014-15 37 11 70 15 60 2013-14 33 12 7 2015-16 31 22 Cable 11 Cable Comedy 2014-15 37 Network Comedy Network 2016-17 30 30 15 60 50 27 7 2015-16 31 22 22 2017-18 32 30 Network Comedy Network 2016-17 30 6 30 10 50 27 10 0 20 30 40 50 60 70 80 2017-18 32 30 40 22 2 10 6 0 10 20 30 40 50 60 70 80 40 12 2 5 8 30 23 24 29 12 5 5 5 8 30 23 24 29 4 5 5 20 4 Digital 20 19 3 1 2 Cable 10 2 19 1 1 1 1 1 3 1 0 Network 2 8 13 11 2 10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 7 0 1 1 1 1 1 6 6 9 8 13 11 0 1 2 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 7 6 6 9 0 1 2 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 9

500 500 426 426 368 00 357 368 96 00 357 96 329 329 36 57 36 57 289 21 289 21 300 256 300 256 17 17 15 198 198 15 200 208 198 218 208 218 200 7 200 198 178 200 7 178 154 154 124 100 124 108 113 113 112 100 87 94 108 113 113 112 67 87 94 67 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 100 0

25 80 20

5 60 L.A.’s Share of Total Comedy Pilots Produced

0 100 100% 97% 92% 91% 40 80 82% 82% 83% 77% 76% 72% 60 69%

20 40 THE ECONOMIC IMPORTANCE OF PILOTS

20 Pilot production is worthy of study because the activity creates significant economic benefits for 0 the hosting region. The average one-hour drama pilot can directly employ 150-750+ people for the duration of the project, which typically spans 10-20 days.

Network Digital Premium Cable Cable 0 Each year, FilmL.A. Research tracks both publicly available pilot production budgets (via 2006-7transparency2007-8 reports2008-9 in states2009-10 like California,2010-11 New York,2011-12 Louisiana,2012-13 Pennsylvania2013-14 and others)2014-15 and 2015-16 2016-17 Top Pilot Locations reported pilot budgets (via news outlets or directly from studios and/or filmmakers). Typical pilot production costs, having risen over the years, now average about $3 million (for comedy pilots) 200 and $6 million to $9 million (for drama pilots). Presentations, which are sometimes made in lieu of pilots, cost up to 40 percent less to produce than full-length pilots.

L.A.’s ShareA partial sampleof Totalof pilot budgets Drama from other states Pilots in recent years Producedshow costs for drama pilots 3 range from $5 million to a staggering $29.6 million, which was set by HBO’s two-hour pilot for 3 4 80 8 3 2 Vinyl. For half-hour comedies, costs ranged from $2.6 million to $4.5 million. 8 150 2 12 5 12 9 6 6 2 9 15 5 70 2 9 5 6 10 2 INCENTIVE AMOUNT 7 5 35 SHOW STUDIO LOCATION BUDGET HIRES LENGTH 19 25 28 12 60 63% 7 20 Madam Secretary CBS New York $6,000,000 820 $1,500,000 1 hour 15 100 17 NBC New York $10,100,000 1,038 $2,500,000 1 hour 10 17 16 24 50 State of Affairs 8 25 50% Mozart in the Jungle Amazon New York $2,600,000 474 $597,000 ½ hour 21 40 Blindspot Warner Bros. New York $8,400,000 1,132 $2,000,000 1 hour 38% HBO38% New York $29,600,000 2,479 $7,600,000 2 hour 30 Vinyl 50 87 92 96 90 91 Billions 29% Showtime New York $10,800,000 1,447 $2,700,000 1 hour 79 68 20 Sharing 25% NBC New York $4,500,000 392 $1,000,000 ½ hour The Deuce HBO 22%New York $14,200,000 1,625 $3,700,000 1 hour 17% 19% 20% 20% 10 Crashing HBO New York $3,700,000 716 $935,000 ½ hour 0 Downward Dog ABC Pennsylvania $4,400,000 NA $1,100,000 ½ hour 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 Claws TNT Louisiana $7,200,000 175 $2,200,000 (est) 1 hour 0 2006-7 2007-8 2008-9 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 One Mississippi Amazon Louisiana $2,600,000 100 $540,000 ½ hour New Mexico Seal Team CBS Louisiana $9,000,000 375 $3,000,000 (est) 1 hour Hoke FX Florida $4,900,000 311 $921,000 1 hour

Louisiana Top Locations for Drama Pilots LOSLos ANGELES Angeles’ SHAREShare of OFPilot PILOT Spending PRODUCTION SPENDING Toronto 100 50

Atlanta 46% 80 10 0 5 39% New York 11 8 FilmL.A. estimates that approximately 12 $303 million was spent on television pilot production in Los Angeles during the 2016-17 60 30 11 31% development cycle. While the region had 11 5 8 30% Vancouver 19 30% 29% fewer pilots filmed in 2016-17 compared to the 8 5 7 6 prior year, the cost to produce pilots continues 4 24 2 18 to rise. The average half-hour pilot now costs 20 Los Angeles 0 12 17 $3 million. As a result, the $303 million spent 15 16 in Los Angeles in 2016-17 was $6 million 6 21 higher than the estimated $297 million spent in 4 15 the city during the prior cycle. 2 8 15 17 12 7 8 10 20 The $303 million spent in L.A. by pilots in 2016-17 represents 30 percent of the 23 22 25 22 total amount spent by pilot producers in all 20 21 19 21 locations. By comparison, L.A. captured 29 0 percent of pilot spending in the prior cycle. 0 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 10

Toronto

Atanta

New York

Vancouver Clorn rs etwor s. Cle r Strht to Seres rders

80 50 Digital Dramas 70 62 60 40 20 Cable Dramas 60 57 55 16 52 53 Network Dramas 50 47 48 45 45 30 2 7 40

38 20 21 30 18 20 30 31 29 28 28 27 27 25 26 25 26 26 25 18 24 24 20 22 10 2 19 20 19 15 1 7 10 6 10 9 8 10 5 5 1 2 1 1 6 0 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2008-09 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2017-18

Clorn Bsed rs THE CURRENT TELEVISION LANDSCAPE IN CALIFORNIA 2008-09 57 2009-10 43 2 Coedy Strht to Seres rders Strht to Seres rder rFor the Coedy last several years, major trade publications and network and cable television executives 2010-11 45 10 80 have been discussing the spectacular growth of scripted television series. In 2014, Variety’s 20 2011-12 41 11 Cynthia Littleton noted thereDigital had been a “1,000% spike since 1999 in the number of scripted Digital Comedy series produced for just pay and basic2012-13 cable.” At the time, Littleton reported35 on growing12 70 concerns within the industry of a content2013-14 bubble. The growth, however,33 continued.12 More recently, FX Network’s chief John Landgraf made headlines with a widely circulated graph Cable Comedy Cable 2014-15 37 11 15 60 showing the growth of scripted series from 2009-2016, using 2002 as a historical benchmark. 7 In December 2016, Landgraf’s updated2015-16 chart estimated there were 45531 scripted series22 on Network Comedy broadcast, cable and digitalNetwork networks.2016-17 30 30 50 27 2017-18 32 30 22To extend this analysis and analyze California series production specifically, FilmL.A. had to 10 6 0 10 20 30 40 50 60 70 80 40 duplicate a portion of FX Research’s approach. FilmL.A. looked at seven years of current and 2 historical data to tabulate its own count of scripted television series produced for broadcast, 12 cable and digital networks. In keeping with our established practice, and unlike FX Research, 5 8 30 our series sample excludes animated shows. Also, FilmL.A. only includes series produced by 5 23 24U.S.-based29 studios and production companies. We also include children’s programs. 5 4 20 19 From 2010-11 to 2016-17, the number of scripted live-action series grew from 198 to 426, an 3 1 increase of 115 percent. While the number of series produced for broadcast networks and 2 10 2 cable (including basic & premium) has been relatively steady in the last three years, digital 0 1 1 1 1 1 8 13 11networks have seen dramatic increases. From 2015-16 to 2016-17, the number of digital 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 7 6 6 9 0 1 2 series increased 68 percent; since 2010-11, the total number of digital series has increased a 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16staggering2016-17 1,271 percent.

ESTIMATED COUNT OF LIVE-ACTION SCRIPTED SERIES

500 426

00 357 368 96 329 36 57 289 21 300 256 17 198 15 200 208 198 218 200 7 178 154 124 100 108 113 113 112 87 94 67 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

As a database of the scripted series underlying the FX TOTAL Research chart was unavailable, one of the main benefits from the FilmL.A. Research scripted series count was the creation Digital of a database of the primary filming locations for each series Cable included in the chart above. Network

11 Clorn rs etwor s. Cle r Strht to Seres rders

80 50 Digital Dramas 70 62 60 40 20 Cable Dramas 60 57 55 16 52 53 Network Dramas 50 47 48 45 45 30 2 7 40

Clorn Bsed rs

2008-09 57 43 2 Coedy Strht to Seres rders Strht to Seres rder r Coedy 2009-10 2010-11 45 10 80 20 2011-12 41 11 Digital Digital Comedy 2012-13 35 12 70 2013-14 33 12 Cable Comedy Cable 2014-15 37 11 15 60 7 2015-16 31 22 Network Comedy Network 2016-17 30 30 50 27 22 2017-18 32 30 10 6 0 10 20 30 40 50 60 70 80 40 2 12 5 8 30 5 23 24 29 5 4 20 19 A total of seven3 locations1 (California, New York, British Columbia, Georgia, Ontario, the UK and Illinois) 2 10 2 0 1 1 hosted1 ten or more 1series in 2016-17.1 In all, these seven locations accounted for 80 percent of all scripted series produced by U.S. studios. With a total of 173 scripted series produced primarily in the8 13 11 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 7 6 6 9 state, California far outpaced its rivals, hosting as many scripted series as the0 six other1 top locations2 combined. With a 15 percent share (52 series count), New York was California’s2010-11 closest 2011-12rival, but2012-13 far 2013-14 2014-15 2015-16 2016-17 short of the Golden State’s 50 percent.

ESTIMATED SCRIPTED SERIES COUNT & SHARE IN LOCATIONS WITH 10+ SHOWS 500 3% 426 10 6% SERIES 21 SERIES 00 357 368 96 8% 329 29 SERIES 36 57 289 21 300 256 17 8% 15 29 SERIES 198 200 208 198 218 200 7 178 154 10% 50% 124 35 SERIES 173 SERIES 100 108 113 113 112 California 87 94 New York 67 British Columbia 0 15% Georgia 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 52 SERIES Ontario UK

Illinois

While the number of scripted series has seen remarkable growth, the number of actual episodes produced increased only slightly. According to The Hollywood Reporter, the number of scripted series “grew almost 50 percent” from 2011-2015, the number of episodes grew by just six percent, from 4,806 episodes to 5,091, over the same period.

Primetime series produced for broadcast networks like ABC and FOX traditionally have seasons of 20- 24 episodes. In recent years however, many new scripted series produced for the broadcast networks have seen episode orders fall under 20. For example, NBC©’s This is Us aired 18 episodes for its inaugural season and Fox’s Lucifer aired 18 episodes during its second season, which wrapped early 2017.

This trend was also noted by the Writers Guild of America (WGA), which found the number of series with 2-13 episodes increased from 165 shows in 2014 to 205 shows in 2015, whereas the number of series with 14 or more episodes actually declined from 97 shows in 2014 to 96 in 2015.

12 THE CURRENT DRAMA LANDSCAPE IN CALIFORNIA Clorn rs etwor s. Cle r Strht to Seres rders The good news for California is that the number of one-hour scripted drama series shooting in the state stands at 62. Most of the California dramas are shows on cable; 11 of the 28 cable series are shows produced for premium cable channels (HBO, Showtime, Epix & Starz). Digital dramas now 80 account50 for 16 percent of all California-based drama series (Amazon 3, Netflix 3, Hulu 4). Digital Dramas Clorn rs etwor s. Cle r Strht to Seres rders 70 CALIFORNIA DRAMAS: NETWORK, CABLE & DIGITAL 62 80 50 60 40 20 Cable Dramas Digital Dramas 60 57 55 70 16 52 62 53 60 40 20 Cable Dramas 48 60 57 55 Network Dramas 16 50 47 30 52 53 45 45 2 Network Dramas 50 47 48 45 745 30 2 7 40 40

38 38 20 20 21 30 18 20 21 18 20 30 30 31 31 29 28 28 30 27 27 29 28 28 25 26 25 26 26 25 18 24 24 27 27 20 22 25 26 25 26 26 25 18 10 2 24 24 19 20 19 TOTAL 20 22 15 10 2 Digital 1 7 19 20 19 10 6 10 9 8 10 Cable 5 5 15 1 2 1 7 1 1 6 0 10 0 6 10 9 8 Network 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 10 2008-09 2009-10 52010-11 2011-12 2012-13 2013-145 2014-15 2015-16 2016-17 2017-18 6 1 2 1 1 It wasn’t0 that long ago that FilmL.A. reported that most new television series were being made out of 0 state. In 2012,2010-11 for example,2011-12 just2012-13 two of the2013-14 22 new network2014-15 dramas2015-16 were based2016-17 in California. California 2008-09 2009-10 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2017-18 can credit the reversal of fortune in large part to the California Film & Television Tax Credit Program, including the expansion of the program that took effect in mid-2015. Under the new version of the Clorn Bsed rs program, dubbed 2.0, eligibility has been expanded to drama series regardless of where it is broadcast and now includes network, premium cable and digital channels. Under the old program, only basic cable series and network shows that were relocating to California were eligible for the incentive. Under the 2008-09 57 new program, California will be hosting 30 incentivized dramas, including eight network series, 13 basic 2009-10 43 2 Coedy Strht to Seres rders cable series, three digital seriesStrht and six to premium Seres cable rder series. r Coedy Clorn Bsed rs 2010-11 45 10 80 20 2011-12 41 11 CALIFORNIA BASED DRAMAS Digital Digital Comedy 2012-13 35 12 70 2013-14 33 12 2008-09 57 Cable Comedy Cable 2014-15 37 11 15 60 7 2009-10 43 2 2015-16 31 22 Coedy Strht to Seres rders Strht to Seres rder r Coedy 30 30 Network Comedy 10 Network 2016-17 2010-11 50 45 27 2017-18 32 30 80 41 1122 20 10 6 2011-12 0 10 20 30 40 50 60 70 80 Digital 40 Digital Comedy 2012-13 35 2 12 70 12 5 8 2013-14 30 33 12 5 23 24 29 Cable Comedy 5 4Cable 2014-15 37 11 15 60 20 2015-16 31 19 22 7 3 1 2 10 2 1 1 1 1 1 2016-17 30 30 Network Comedy 0 Network 8 13 11 50 2010-11 2011-12272012-13 2013-14 2014-15 2015-16 2016-17 7 6 6 9 Incentivized 2017-18 1 32 2 30 0 Non-incentivized 22 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 10 6 0 10 20 30 40 50 60 70 80 40 2 12 5 8 30 500 5 23 24 29 13 426 5 4 20 368 19 00 357 96 3 1 329 2 10 2 36 57 1 1 1 1 1 289 0 8 13 11 21 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 7 300 256 6 6 9 17 0 1 2 15 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 198 200 208 198 218 200 7 178 154 124 100 108 113 113 112 500 87 94 67426 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 00 357 368 96 329 36 57 289 21 300 256 17 198 15 200 208 198 218 200 7 178 154 124 100 108 113 113 112 87 94 67 0 2010-11 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 The impact these incentivized drama series (and Veep and Ballers, two big-budget HBO half-hour series) will have in California is significant: a direct production spend of $1.72 billion within the upcoming season. Assuming an average per-season budget of $50 million for the 33 non-incentivized dramas shooting in the state, we estimate the total annual direct production spend for California-based television dramas at $3.2 billion.

PROJECT TITLE TOTAL CA SPEND CAST CREW EXTRAS PROJECT TYPE

13 Reasons Why 2 $80,966,000 80 175 7,150 Digital American Crime Story: Katrina $69,542,000 247 250 5,055 Cable American Crime Story: Versace $56,903,000 258 250 5,040 Cable American Horror Story 7 $72,375,000 336 125 3,328 Cable Animal Kingdom 2 $46,000,000 152 170 2,796 Cable Ballers - S3 $56,330,000 135 209 5,790 Premium Cable Code Black 3 $52,777,000 249 197 10,439 Network Crazy Ex Girlfriend Season 3 $41,745,000 8 260 25 Network Famous in Love 1 $24,468,000 90 150 2,718 Cable Heathers 1 $23,122,000 10 120 75 Cable Here, Now 1 $52,973,000 142 205 4,878 Premium Cable Hit the Floor 4 $36,249,000 28 115 6,100 Cable I'm Dying Up Here 1 $47,368,000 172 120 3,582 Premium Cable Law & Order: True Crime - Menendez $24,605,000 19 250 3,500 Network Legion 2 $60,904,000 35 125 2,408 Cable Lucifer 3 $92,094,000 156 120 7,216 Network Major Crimes 6 $76,187,000 349 107 6,622 Cable Messiah $58,658,000 162 224 3,580 Digital Rebel 1 $5,429,000 35 150 1,500 Cable Rebel Pilot $4,371,000 27 100 500 Cable S.W.A.T. 1 $60,290,000 297 220 4,992 Network S.W.A.T. Pilot $11,702,000 33 212 825 Network Sharp Objects $48,787,000 120 159 2,985 Premium Cable Shooter 2 $45,265,000 62 175 4,927 Cable Snowfall 1 $38,139,000 263 122 2,290 Cable Stitchers 3 $45,926,000 160 171 5,880 Cable The Affair 4 $50,181,000 124 130 3,190 Premium Cable The OA 2 $45,163,000 77 350 2,664 Digital The Orville $56,186,000 236 270 4,512 Network This Is Us 2 $73,012,000 377 125 4,176 Network Timeless 2 $56,676,000 247 220 3,000 Network Twin Peaks $41,162,000 153 140 1,122 Premium Cable Veep 7 $65,963,000 462 195 3,960 Premium Cable Westworld 2 $107,091,000 80 185 6,866 Premium Cable TOTAL $1,728,609,000 5,430 6,096 133,691

This amount does not include the economic impact of the estimated 88 (57 cable & digital, 33 network) scripted half-hour series (not including Ballers and Veep) that are also based in Southern California. The average cost to produce each episode on these half-hour shows averages $2 to $3 million on most series. With an average seasonal episode count of 15 episodes per series (broadcast average 21 episodes, cable & digital average 11 episodes), FilmL.A. estimates these 88 series will generate an additional $3.3 billion in direct spending in the upcoming season.

All told, we estimate the combined direct spend of the scripted one-hour and half-hour series based in California at $6.5 billion in 2016-17. This amount does not include spending by the numerous animated series produced in the state or spending by game shows, talk shows, talent shows and dozens of reality shows that are not the focus of this report, but also call California home.

14 CONCLUSION

As a decade of FilmL.A. Research reports on television pilots reveals, the television landscape and the production trends that continuously send the industry in new directions is anything but static. Whether it is the growth of pilots produced each year, the explosion of straight-to-series orders, the emergence of digital networks or a breathtaking increase in the number of scripted series, the current production landscape is incredibly dynamic.

Equally dynamic is the shifting landscape of top production centers and the impact that changing production incentives can and do have. While the decline in L.A.’s pilot count is concerning, the good news is that there was an increase in both the share of total comedy pilots produced in the region and share of total pilot spending. With a solid California Film & Television Tax Credit Program in place, the state’s standing as the world’s top television production center is assured for the foreseeable future.

Finally, in recent years, FilmL.A. Research’s pilot reports have begun to shift to more comprehensive focus on the overall television production landscape, specifically in terms of scripted content. Moving forward, FilmL.A. Research’s pilot reports may become just one part of a more comprehensive study that looks at the entire television landscape rather than one narrow facet of it. METHODOLOGY

For more than a decade, FilmL.A. has conducted ongoing research to keep track of new television pilots. Our counts include all pilot projects of which FilmL.A. is made aware through primary (direct contact with studios, producers, film commissions) and secondary research (industry trade publications, online subscription databases), and for which we can determine a primary production location.

FilmL.A. uses the term “television pilot” (or simply, “pilot”) throughout this study to refer to all original scripted pilot and shorter-length presentations, as well as the first episode of any new episodic show ordered “straight-to-series.” The last of these is important, as networks are increasingly choosing to skip pilot and presentation production and immediately order multiple episodes of promising new shows. Rather than discount new production occurring anywhere within the development cycle, FilmL.A. includes these as “hidden pilots” in all of its counts. Indeed, this is often the only way to capture new cable and digital series starts.

Pilot counts within a development cycle include both stage-based and location-based projects made in any location, of any running duration, intended for primetime debut on broadcast networks, cable networks, or online streaming services serving U.S. audiences.

As consumers enjoy content across a range of devices and screens, the television production industry has begun to question its assumptions about how episodic content is best vetted, sold and screened. As the working definition of “television pilot” expands, the changes in the television industry come into clearer focus. SOURCES

Annual Film Incentive Transparency Reports:

California Florida New York Pennsylvania

Online Databases:

StudioSystem Development Leads IMDbPro

Other:

Louisiana Department of Economic Development CreativeBC Major news & media outlets Leah Medrano / California Film Comission

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