Hollywood's scripted television industry underwent significant contraction in 2025, marking the end of the Peak TV era with fewer shows ordered and high-profile series concluding. Streaming platforms and broadcasters prioritized profitability over volume, leading to a leaner landscape. Success stories emerged through cost-effective programming and spinoffs.
The Peak TV period, which spanned roughly from 2013 to 2022 and saw a high of 759 scripted series orders in 2021, has definitively ended. In 2025, U.S. distributors ordered between 478 and 493 shows, a 37% decrease from the peak, according to Ampere Analysis data. This shift followed two years of industry strikes and consolidation, prompting media companies to focus on profitability after prioritizing subscriber growth.
High-budget originals became rarer, exemplified by Netflix's "Stranger Things," which wrapped its 42-episode run over 10 years with a final season budget of $400-$480 million for eight episodes, including a movie-length New Year's Eve finale. The series generated over $1 billion in merchandising and spinoffs. Other notable endings included Disney+'s "Andor," Peacock's "Bel Air," Hulu's "The Handmaid's Tale," ABC's "The Conners," and CBS' "Blue Bloods," which concluded its 14-season run in December 2024.
Broadcast networks adapted with spinoffs and economical fare. CBS launched "Boston Blue," featuring Donnie Wahlberg and Sonequa Martin-Green, filmed in Toronto to cut costs, replacing the New York-shot "Blue Bloods." ABC introduced "9-1-1: Nashville," matching the original's viewership, while hits like "High Potential" and CBS' "Matlock" with Kathy Bates drew strong audiences. Fox's "Doc," starring Molly Parker, reached 15 million viewers in 11 days.
Streaming successes highlighted efficient models. HBO Max's "The Pitt," a 15-episode medical drama at $4-$5 million per episode, won the Emmy for best drama, outperforming Apple TV+'s pricier "Severance." Netflix debuted "Adolescence," and Vince Gilligan's "Pluribus" premiered on Apple TV+. Peacock's "All Her Fault" became its most-watched original.
"It’s a tough time in our business, I don’t want to sugarcoat that. But at the same time, I don’t think it’s all doom and gloom," said producer Marc Resteghini. CBS Entertainment President Amy Reisenbach noted innovative financial strategies to keep shows viable. Shondaland's Betsy Beers emphasized quality over quantity: "It’s never been about the amount of things we’re doing. It’s about the quality."
Looking ahead, potential mergers like Warner Bros. Discovery's sale could further reduce output, though analysts like Fred Black believe the cutbacks have stabilized.
