NBCUniversal TV Leaders Discuss Shorter Seasons, Pilots, and Industry Competition at SXSW
Shorter Seasons Transform Television Landscape, NBCUniversal Executives Weigh In
The television industry is experiencing significant shifts as shorter seasons reshape its landscape. At a recent panel during the SXSW festival, a trio of NBCUniversal development executives shared their mixed perspectives on this emerging trend.
Vivian Cannon, Executive Vice President of Drama Development at Universal Television, highlighted the financial implications of shorter seasons. “If you’re doing eight episodes, that means that everything you’re putting into your budget per episode is divided by eight," she explained. "If you’re doing 22, you get to split up the cost of that set over 22 episodes. Financially, it just is a better model to do longer orders.”
Cannon expressed hope for a future with fewer television shows but longer orders, suggesting that more extensive commitments could lead to an increased need for writers in the writer’s room. She shared her thoughts during the panel titled It’s In Development: Creating Great TV For Global Platforms, alongside colleagues Margaret Schatzel, Senior Vice President of Global Scripted Series at Universal International Studios, and Jennifer Gwartz, Executive Vice President of UCP.
Gwartz noted a potential benefit of shorter seasons: access to A-list talent for casting. “If you were committed to longer orders, if they’re doing a film, you’re not going to get the access or the opportunity,” she remarked.
Schatzel emphasized the importance of storytelling in deciding episode counts. “We will always be guided by the story that we’re trying to tell and advocate for how many episodes that should be. However, shorter orders can allow networks to take bigger risks, especially on younger, up-and-coming writers,” she said, adding that a more concise format could better suit less experienced writers.
Cannon also discussed the changing nature of pilot season, stating it feels smaller this year. “But it is real, because I’m moving through it right now,” she said, mentioning her unique experience with five pilots this season. She noted the immense value of the pilot process, as it allows creators to test concepts and gauge cast chemistry.
“Straight to series is great. You know you’re going to get on the air. But the pilot is a chance to really test your concept,” she explained. She likened the challenges of launching a series straight to air as “building an airplane while you’re flying it,” highlighting the difficulties faced when initial episodes are already in production.
The executives also reflected on the evolving formats in television, including short-form and user-generated content. “There are plenty of stories that fit best as a film, as a one-hour TV show, a 30-minute, and now there are vertical options as well,” Gwartz noted. “And I think the hope is a high tide raises all boats. Scripted content is scripted content.”
As audiences continually seek entertainment, the conversation highlighted the need to adapt development strategies, whether for limited series or ongoing shows. Executives acknowledged that attracting viewers within the first few moments is now crucial. “How are you grabbing those audiences — by the end of the pilot, or in the first three minutes of the show?” Gwartz concluded, underscoring the importance of effective storytelling in this evolving landscape.
