Every year, in the TV upfronts, music plays an integral role acting as a lively mixtape guiding media buyers, executives, and other guests in and out of the exhibits. However, a notable sonic footprint this year was Doechii’s widely-recognized track ‘Anxiety.’ echoing throughout the week. The lyrics, where Doechii voices her struggle with anxiety, resonated with more than a hint of irony around the halls of Radio City Music Hall, the Hammerstein Ballroom, and other upfront venues.
In an industry caught in the throes of changing times where ‘production decline is the norm, budgets are consistently being cut, and studios such as Paramount Global (in anticipation of news regarding its Skydance Merger) persist under constant discussion about their ultimate future’, anxiety indeed reigns supreme. Despite it all, the show relentlessly moves forward.
Last week saw media giants such as NBCUniversal, Fox, Disney, Amazon, Warner Bros. Discovery, Netflix, and YouTube flexing their diversified portfolios, with varying levels of triumph. Live sports remain a mainstay in the programming strategies of these conglomerates. Nowadays, movies also play a significant part in the upfronts.
There’s an observable pivot away from scripted programming in the fall schedules of broadcast networks. This development signifies a continuous evolution in the TV business. Instead of resting on the shoulders of the traditional Big 4, some of the most anticipated scripted ventures of the ensuing season, take for instance the successor to ‘The Office,’ ‘The Paper,’ have found a home in streaming platforms.
By the closing of the upfronts week, attendees were hit with a barrage of pitches vying for their advertising dollars. It was nothing short of a challenge to sift through and organize the various messages. One can discern a few notable insights from Variety’s 2025 upfronts wrap-up.
The entertainment business has not been immune to economic fluctuations. Echoing national struggles, media corporations have similarly been buffeted by the impacts of economic instabilities and President Trump’s tariffs. The golden age of boundless budgets for ambitious tentpole productions, synonymous with the Peak TV era, is a thing of the past.
Financial fallouts are apparent. Revenue streams are dwindling, layoffs have affected thousands, and everyone is scavenging for more budget-friendly programming choices. However, one might not have gathered this apprehension had they been present at the upfronts.
Over this upfronts season, broadcast networks witnessed a major blow to scripted programming. Come fall, most of the primary broadcasters have transitioned their spotlight onto unscripted content and sporting events. The evidence is in the scheduling: ABC is preparing for a mere five hours of scripted content per week, while Fox is planning for just four.
NBC made the decision to cancel five of its scripted shows, leaving hardly any room for new pilots. On the contrary, CBS appeared to be the only network willing to take a risk on a greater number of scripted shows. Though, predominantly, these too were mainly offshoots of established franchises such as ‘Sheriff Country,’ ‘Boston Blue,’ ‘CIA,’ and ‘Y: Marshals.’
It’s easy to reason why this shift is taking place. Scripted programs require higher production costs, and broadcast networks are no longer capturing as broad an audience as newer platforms. The proliferation of streaming services has resulted in a seismic shift in viewership. This change has had significant repercussions on programming strategy and content investment.
The growing dominance of unscripted programming signals an era where viewer habits and market demands dictate the content. It also underscores the challenges faced by traditional broadcasters. Their erstwhile supremacy is being gradually undermined by streaming platforms that offer a wider variety of choices to the discerning viewer. As a result, their original programming strategy requires a complete revamp.
Meanwhile, the upfronts remain a significant event in shaping the year’s television landscape. Despite industry disturbances, they reveal that life goes on, even if the rhythm has somewhat changed. The process is evolutionary, with companies adapting their strategies to remain viable and competitive in a changing market landscape.
While it’s true that these events are primarily aimed at advertisers, they also shed a significant light on the patterns, trends, and shifts shaping the television industry. Whether it’s the reinforcement of sports programming or the emergence of streaming platforms as major players, the upfronts offer a brief glimpse of the year to come.
Yet, even as the broadcast industry is trying to adapt to the evolving landscape, the uneasy voices of Doechii’s ‘Anxiety’ could be seen as a reflection of an underlying existential crisis. As they navigate uncertain times and confront the challenges of the new digital age, it’s only natural for an industry, it seems, to sing about anxiety.
The irony hasn’t been lost on anyone. That an industry, so much in flux, chose to play ‘modern-day-emo-anthem’ could be seen as a subtle, uncensored peek beneath the polished surface of television’s glitz and glamour. It’s a tacit acceptance of the gritty reality that lurks beneath the industry’s ornate facade.
Indeed, the songs we choose say much about us. In the choice of ‘Anxiety,’ the television industry seems to confess its own anxieties, laying bare the painful transition of a traditional industry trying to keep pace with a digital world, a struggle encapsulated in the chorus of a song.
The post Doechii’s ‘Anxiety’ Echoes in the Halls of TV Upfronts Amid Industry’s Struggles appeared first on Real News Now.
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