Question for FilmTVLaw.com:
I’ve greatly enjoyed all of your articles on the blog, they’ve been a massive help. However, I’m still a little confused about the intricacies of pilot and pitch season, and how they interact with the Upfronts. I would have thought strict ‘seasons’ for pitches were a thing of the past with the rise of streaming, but it seems not. Can you shed a little clarity on the matter?
Answer by Brandon Blake, Entertainment Lawyer:
In the swiftly changing climate of getting pitches and pilots ready for the eyes that need to see them, that’s a great question! I’m glad to hear you’ve had great use of our library of entertainment industry articles (found at https://filmtvlaw.com/entertainment-lawyer-qa). There’s a wealth of knowledge to explore in the questions people just like you have asked of the firm, so it’s always worth checking for new data.
Now let’s get to the core of your question- yes, pitching season and pilot season are very much still a critical part of any independent producer’s diary. While the streaming boom has created space for something of a ‘year round’ pitching season, if you’re looking at broadcast networks, cable networks and ad supported streamers, there’s still a schedule where you can grab extra attention at the right times of year. Some networks have shifted to something of a bi-annual model- but it still pays to know the pilot and pitching dates. Our firm does a lot of work with pitching series concepts and pilots to major networks, key steaming platforms, and cable networks should you need any assistance.
What’s the Difference Between Pilot Season and Pitching Season?
Traditionally, pilot season opens in January, with most new pilots put into production between February and May. This is really where things have changed the most. A lot of streamers and networks quit producing proper pilots, and instead order straight to series. When a season was 24 episodes, it made sense to create a separate pilot first, but there isn’t much cost difference between a pilot and a limited series of three episodes. Some pilots are still produced in the February through May timeframe, so a network might be a little busier with production during this period, but nothing like in years passed when the whole network would be focused on the production of new pilots.
If you are independently producing a pilot, then keep this time period in mind, because you will have the maximum audience if your pilot can be completed in this time slot. At one point spec pilots were uncommon, but times have changed, and if your production company has the means to do this, you can ‘skip the development queue’, in a way, and allow the network/streamer to see a pilot without any of the associated in-house expenses. This can also leave you more adaptable for platforms that are looking at pilots out of ‘pilot season’.
Pitching season is a more nebulous concept, but the busiest peak of activity is late May to the end of the year. This coincides with the end of the Upfronts, which we will look at in more detail in a moment. Traditionally, pitches will continue until the December holidays, leaving execs this time off to consider what will get that coveted pilot order. While sizzle reels still fall into this strategy, having a pre-shot pilot will work a little differently.
So What are the Upfronts?
Typically taking place in the third week of May, the Upfronts are where networks, and now more and more streamers, leverage their upcoming ‘fall season’ properties to help drive advertising sales for their platform. While the pandemic era saw much of the Upfront week having to happen ‘offscreen’ via digital platforms, 2023 will be the year where vibey in-person events return to normal with abandon, so it’s an exciting year. The bulk of Upfront activity this year will take place from the 15th May onwards, although the post-pandemic landscape is a little changed and we see some Upfront-like pitches and previews happening as early as late March and through April. The ‘big event’, as it were, will still be the flashy pitches and big displays happening in New York in late May, however.
Advertising has become a key issue for major streamers in the changed production landscape. So, while the Upfronts were once dominated by big cable networks like Fox and the linear side of other studios, this year we will see streaming-focused Upfront activity from platforms like Netflix, Disney/Disney+, NBCUniversal, YouTube, and Warner Bros Discovery.
Will all ad-supported streamers be represented? Not quite. The Upfronts are only for major platforms and often, but not always, those that produce in-house content and need to leverage that advance ad-spend to help pre-pay for their new content. So, yes, you will see companies like Roku at the Upfronts, coming off $1 Billion in ad commitments for last year, but don’t expect to see every FAST streamer there.
The platforms ‘pitch’ their new pilots and series at the Upfronts, hoping to attract advertiser interest. Not only does this provide the development cash needed to take popular properties ahead with a full series, it also allows for pre-selling ad space that might otherwise be subject to the ups and downs of ad demand throughout the year.
So while the dynamics of ‘pitch’ and ‘pilot’ season are changing, there’s still a massive focus on this key season and the need to present attractive new properties to eager ad-space buyers. You may successfully pitch out of season now- but getting a foot in the door during this critical time of year can still lead to a quick route to success.
Getting Your Project to the Right Eyes
Without a solid agency, entertainment law firm or production company in your corner with contacts with networks/studios/streamers, you won’t be able to leverage this busy time of year the way you need. The fact is, major streamers, networks and production companies will not even look at your project without solid representation. Consider it a prerequisite for pitch and pilot season and find a partner you can trust.
Our firm has decades of experience helping producers just like you get their foot in the door at major networks and streamers, so feel free to reach out today if you’re looking to get your project seen by the right people. As always, I provide these articles for informational purposes only, and they do not replace tailored, specific accounting, legal, or tax advice. Always seek experienced entertainment legal counsel before making your final decisions!
- By Brandon Blake, Entertainment Lawyer