I've worked for almost every major streamer in some capacity. Amazon for The Horror of Dolores Roach, Apple for Home Before Dark, Disney+ for two unproduced pilots, Netflix for Daredevil and an unproduced pilot, Peacock for an unproduced pilot that may get produced somewhere else... not to mention USA, ABC, CW and studios like Amblin, Fifth Season, and MRC. My point is, I can tell you from experience (much of which I can't talk about due to copious NDAs) they are not the same
.Everyone knows this intellectually, but I don't think people really understand how different these places are until you're actually in a Zoom pitch, watching a Netflix exec light up when you talk about global appeal, or realizing an Apple executive expected you to walk in with A-list talent already attached.
So here's what I've learned from actually being in those Zoom rooms, pitching, and getting some projects bought while others politely were passed on.
Netflix: The Algorithm Is Your Co-Writer
What they want: Data-driven ideas. Global appeal that works in 190 countries. Remember, content is their entire business.
How to pitch: Lead with the hook. They want to know in the first 30 seconds what makes someone click play and what makes them binge. Don't waste time listing every character unless you can explain why that character’s journey will keep someone watching at 2 AM.
The magic words: "Bingeability," "global appeal," "second-screen friendly."
What not to say: "It's a slow burn," "character study.”
Real talk: I once watched a Netflix exec's face completely change when I shifted from talking about themes of trust to explaining how each character’s mistrust of the other results in a cliffhanger that would make viewers immediately click "next episode." They bought the pilot.
Apple TV+: Make It Classy
What they want: Prestige content as sophisticated as their products. Sure they also care about the algorithm, but TV and film are a sliver of their global business. Their media arm is about their brand. Think "this could win awards and my whole family would watch it."
How to pitch: Lead with the talent attached, the "important story" angle, the awards potential. They’re the network people brag about watching at dinner parties.
The magic words: "Prestige," "award-worthy," "elevated," "premium storytelling.”
What not to say: "Broad," "franchise," "merchandising opportunities." They're not trying to sell iPhones like Happy Meal toys.
Real talk: Apple has almost become the HBO of streaming. They want shows that make people say "Oh, you have good taste" when they see it on your recently watched list.
Amazon Prime: Broad Premium (Yes, That's a Thing)
What they want: Shows that look expensive but play to everyone. Their TV business, like Apple’s, is ancillary to their principal business — selling/shipping stuff. They want content that appeals to their entire customer base, who will buy things by being drawn to the site and the brand.
How to pitch: Think big budget, big stars, big concepts that both your mom and your film school friend would enjoy. They want spectacle with heart.
The magic words: "Franchise potential," "global appeal," "big budget feel," "event television."
What not to say: "Niche," "experimental.” Don’t ask me how we got The Horror of Dolores Roach across the finish line. It was more niche than what they do now, and we had lots of room to experiment (if you haven’t watched, it’s worth it just to watch the epic deaths of Marc Maron and Cyndi Lauper.)
Real talk: Amazon has money to spend and they're not afraid to spend it, but only if that money translates into something that feels both premium and accessible.
Disney+: The Theme Park Test
What they want: Family-friendly content that could conceivably become a theme park attraction. Seriously.
How to pitch: Think "four quadrant" — kids, parents, grandparents all watching together.
The magic words: "Four quadrant," "family viewing," "Disney magic," "franchise potential," "merchandising." If you can say "this could be a ride at Disneyland" without being sarcastic, you're in good shape.
What not to say: “Moral ambiguity,” “complex antihero.”
Real talk: Disney wants content that reinforces their brand. Even when they go "edgy," it's edgy within very specific Disney parameters on which they will guide you.
HBOMax: Back to Basics
What they want: They've gone back to the HBO brand and are trying to figure out their identity while losing shareholders. Think The Pitt — more procedural, more accessible, but still HBO quality.
How to pitch: HBO prestige with broader appeal. They want shows that feel important but don't alienate audiences. Think prestige procedurals or elevated familiar formats.
The magic words: "HBO quality," "elevated," "accessible prestige," "returnable format." They're looking for that sweet spot between their legacy and commercial viability.
What not to say: "Niche," "experimental.” They're trying to be more commercial while maintaining their reputation.
Real talk: HBO is in transition, trying to balance their prestige brand with the need to actually make money. They want shows that feel like HBO but perform like network hits.
Peacock: The Wild Card
What they want: Honestly? They're still figuring it out. Under new leadership, it's anyone's game.
How to pitch: Think your favorite NBC shows but with streaming elevation. They want familiar but premium. Comfort that looks expensive.
The magic words: "IP with a twist," "elevated familiar.”
What not to say: “Dramedy”
Real talk: This is the platform where you can take bigger swings right now because they're actively trying to define their identity. New leadership means new opportunities.
Paramount+: Also Anyone's Game
What they want: Under more new leadership, they're reassessing everything. Think CBS procedurals meet streaming ambitions.
How to pitch: Not sure yet, but given the Taylor Sheridan universe that dominates there, probably broad appeal with streaming sophistication.
The magic words: "Franchise potential," "IP extension," "broad but elevated.”
What not to say: "Dark," “niche.”
Real talk: All that said, true leadership change means old rules might not apply. This could be your chance to pitch something that wouldn't have worked there a year ago.
The Networks: Trying to Be Prestige (While the Streamers Add Ads Back)
Here's the weird thing happening right now: Networks are trying to be more prestigious while streamers are quietly putting ads back in and making more network-like decisions.
What they want: Prestige storytelling that somehow still appeals to a broadcast audience. They want to be taken seriously. Broad, but wins awards. Nothing has taken the place of This Is Us. They still want a new CSI/NCIS.
How to pitch: Think "elevated broadcast." Shows that feel cinematic but work in traditional TV formats. They want their own version of HBO-level quality.
The magic words: "Prestige broadcast," "elevated storytelling," "cinematic quality,” "award potential." They're proving they can and will compete with cable and streaming.
What not to say: "Traditional," "lowest common denominator."
Real talk: It's wild watching Netflix add ad tiers while CBS buys prestige television. The lines are blurring everywhere.
The Universal Truth
Here's what I've learned across all platforms: Know your lane, but also know the lanes are constantly shifting. The executives change. Corporations buy each other out. The strategies evolve. But if you understand the core DNA of each place, you can adapt your pitch to what they need to hear while staying true to what you want to make.
And honestly? Sometimes the best meetings are when you find the executive who's looking for exactly what you're selling, regardless of what the platform "typically" wants. Those are the meetings where magic happens.
But until you find that perfect match, know your audience. Because in this business, how you tell the story is as important as the story itself. More on that soon!
It’s like you’re giving away the secret sauce!!! Thanks for being so open about these strategies. I’m seeing so many example of writers trying to lift other writer up in this community… it beautiful to see.