On the TV side, different buyers are always looking for different types of shows, but the one thing that we hear from almost every buyer is “no period.” I love a good period piece, but it’s just something that’s incredibly hard to sell right now. With the budgets of many shows being slashed, the extra expense of these shows is one reason why buyers don’t want them, but that’s not the only reason.
As a lot of streamers struggle to get younger audiences to watch (instead of watching YouTube), focusing on contemporary storytelling is what they think will help to bring in these viewers. Is that true? Do younger viewers like throwback programming? Maybe, maybe not, but many of these buyers have their beliefs.
I’ve had a lot of aspiring TV writers push back on this by naming period shows from 800lb gorilla writers with huge overall deals, or picking out the ones based on giant pieces of IP that ALSO have those huge writers. Anyway, that isn’t an accurate comparison. It’s already so hard for a new writer to sell a show, so taking out a period piece is just another huge hurdle that you’re putting in your way. Remember, once you have a big hit show or two, those buyers will be lining up to bid on whatever you take out, and then the “no period” comments magically disappear.
It’s also worth knowing that there are a couple of streamers not afraid of period pieces, but they’re still wanting high level writers onboard (either as creator or overseeing a younger writer). Happy to answer any questions!
Appreciate the insight, Spencer.
Do buyers respond differently if a period show feels more contained in scope? Or is it just a tough sell across the board right now?
Spencer Robinson, Great insight. Always an interesting take on the "action" in the industry on Period Piece. It's constantly being proven with audiences out there that nostalgia pays the bills (TUDORS, BAND OF BROTHERS, MAD MEN, STRANGER THINGS, DEADWOOD, etc.), yet buyers say they're not interested. At the same time, we can almost set our clocks to the industry announcing yet ANOTHER buy. I love how you're pointing out both sides to this perspective, Spencer, because there will always be an exception to the rule. And why not? Just because they're not actively reaching for them today doesn't mean they won't be tomorrow. I just got a DOUBLE RECOMMEND two days ago on a period piece pilot that's set in the 80s, and even if it doesn't go anywhere right now, I'm certain there's an audience for it whenever someone brave enough tomorrow is willing to say that they - like me, the writer - doesn't know anything. My question: How difficult is it to take something like that out for your writers when the feedback you're getting is "not right now"?
Stephen Barber So I just want to say that referencing projects that came out 20+ years ago is doing the exact thing I mentioned in the post. It's actually silly. As I said, period pieces will sell, but they are incredibly hard to make happen. So how difficult is it to take out a period piece from a new writer with no attachments? It's the most difficult. That is what this post says.
Ruslan Malakhov Please re-read the post
Spencer Robinson , Appreciate the perspective.
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Spencer Robinson, I understand. Regardless, I'll be praising the next big hit in period television when that day comes. Thanks for your input.
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Great post Spencer— this really got me thinking. If AI can significantly reduce period production costs, are period dramas still “too expensive” — or just perceived that way? Curious whether decision-makers will adjust… or if the industry mindset lags behind the technology. (Working on a historical drama series and thinking a lot about this.)
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Steven Wood What do you mean by AI reducing costs? Do you mean AI costumes and sets?
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Yes, particularly with period pieces, my thinking is that replacing some on-location shooting and large physical sets with virtual AI production can significantly reduce travel, crew, and logistical costs.
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Steven Wood Now you're getting into replacing humans on the art department and the costumers, etc etc. How did you feel during the writers strike when 3 studios wanted to replace what you do, and thought they could do it within a year? Hey, if we have AI write the scripts, we don't need to spend any money paying you or the writers room, and we could use that money for sets and costumes. See what I'm saying?
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Spencer Robinson - awesome post! Another piece of advice is that you can attach a high level Showrunner to your project that can give better credibility to production companies or buyers to have them be open to taking more risk.