Hollywood’s Unicorn Problem: Are Dev Execs Getting Squeezed Out?

The traditional development pipeline is broken, and the latest wave of layoffs proves it. After talking with execs, former execs, and producers at every level, one trend is undeniable: Hollywood is betting on individual unicorns over development infrastructure.

Studios and top production companies are cutting development teams and walking away from costly overhead, instead leaning on smaller, filmmaker- or talent-driven shops. It’s a gamble that could reshape the industry permanently. For many development executives, the consequences are already here.

With companies unable to offset overhead to studios, they’re shrinking teams and expecting already-developed or packaged projects. Managers have picked up the slack by heavily developing material with their clients. Meanwhile, former dev execs are reinventing themselves as independent producers just to stay in the game.

It’s not unlike tech’s billion-dollar hunt for AI talent. Hollywood is doubling down on talent-driven deals. We all remember when Ryan Murphy and Shonda Rhimes shocked the industry with their Netflix packages. Now, studios are chasing the next breakout filmmaker, someone who doesn’t just bring a project, but an audience. Social media creators and filmmakers need studios less than ever, and that means the role of the development executive is shifting. Is it disappearing altogether, or evolving into something more producorial?

I believe we’re witnessing the outsourcing of development. And while it may seem like a squeeze, I also think it’s creating new opportunities that ultimately empower creatives.

Take this week’s Deadline piece on The Duffer Brothers’ new deal with Paramount as proof of the trend. The Duffer Brothers’ blockbuster four-year deal with Paramount signals a major shift in how studios are approaching content creation. As traditional entertainment giants scale back their internal development teams, they’re increasingly betting big on proven external talent to fuel their pipelines… Rather than maintaining expensive internal infrastructure, studios are leveraging these exclusive partnerships to access top-tier storytelling talent while sharing both the creative risks and financial rewards. (Read more on Deadline HERE)

The writing is on the wall. For creatives, that means packaged projects and polished material have more value than ever. For execs, it means becoming more entrepreneurial, more producer than gatekeeper.

This Week’s Exciting Announcements!

Announcing the Winner of Our 4th Rom-Com Screenwriting Contest: Barbie Ross

Barbie Ross is a UCLA Master’s in Screenwriting graduate who was once literally crowned “TV’s Biggest Fan” by CBS, winning a trip to the Emmy Awards and an on-camera segment with Neil Patrick Harris. With internships at Universal Pictures, De Line Pictures, and Anderson Group PR—and unique life experience ranging from professional matchmaking to holistic nutrition—Barbie has carved out a specialty in female-driven comedies about millennial life. Her scripts combine grounded humor with sharp authenticity, and we can’t wait to see what’s next for her.

Let's drop a hearty "Congratulations" for Barbie in the comments below!

Stage 32 Certification Expands: DGCINE Partnership in the Dominican Republic

The Dirección General de Cine (DGCINE), the Film Commission of the Dominican Republic, has partnered with Stage 32 Certification to strengthen professional development for the country’s growing audiovisual workforce. Iconic productions filmed there include The Godfather Part II, Jurassic Park, and Old. You can read the full update in our recent Stage 32 Blog here: DGCINE & Stage 32 Certification.

What Are You Working On?

The takeaway? The industry is hungry for fresh voices and original content. Original scripts (specs) are in demand. When opportunity meets preparation, magic happens – and these numbers show that magic is happening right now and right here, on Stage 32.

Of course, I couldn’t talk about the Paramount deal without mentioning Emerson Gordon who is an executive at Paramount Pictures (ARRIVAL, PASSENGERS, TRANSFORMERS, GLADIATOR II) and has 2 slots left to read and meet with Stage 32 writers exclusively.

If you have a feature script to discuss with Emerson, you can send it here. If you have a TV pilot to discuss, with Emerson, you can send it here.

Emerson is looking for fresh voices, original material and characters that come off the page.

And if Emerson sells out (and he will!), here are executives who are also looking for original material:

Janet Jeffries is a production and development executive at Lawrence Bender Productions (THE HATEFUL EIGHT, PULP FICTION); she is looking for elevated genre projects and will meet with you for 60 minutes to discuss your project here.

Nicole Tossou is the head of TV development at Project X (SCREAM, THE NIGHT AGENT) and is always looking for new worlds we haven’t seen before in the half-hour and one-hour space, so if you have a pilot that’s ready, you can meet with her to discuss it here.

And if you are not sure which executive is right for you or if you’d like to receive our special genre and format-specific offers, Email us at success@stage32.com

We always want to hear what you're working on and how we can help.

Best,

Geoffroy Faugerolas

Director of Development Services

Stage 32

Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Ashley at success@stage32.com and let's get your post published!

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