Emmy Nominations Prove Original TV Ideas Still Dominate Over IP Adaptations
As Emmy week approaches and the industry celebrates another strong season of television, it is time to retire the persistent narrative that Hollywood has run out of original ideas. A close look at the 2025 nominees across comedy, drama, and limited series categories reveals a clear trend: the vast majority of contenders are built on fresh concepts, not pre-existing intellectual property.
Drama Category Led by Original Concepts
The drama field is a showcase for original storytelling. HBO Max’s The Pitt, created by R. Scott Gemmill, stands out as a sensation. While it carries the DNA of classic medical procedurals, it introduces unique narrative beats and a modern critique of the U.S. healthcare system.
Other drama nominees follow the same pattern. Hulu’s Paradise originates from Dan Fogelman’s post-apocalyptic vision. Jonathan Tropper conceived Apple TV+’s Your Friends and Neighbors—adding to a hot streak that includes his creation of Apple’s Lucky. Debora Cahn developed Netflix’s The Diplomat, while Vince Gilligan brought his singular voice to Apple TV+’s Pluribus. Julian Fellowes, known for Downton Abbey, crafted HBO Max’s The Gilded Age.
Only two drama nominees are adapted from existing IP. Apple TV+’s Slow Horses is based on Mick Herron’s “Slough House” novels, adapted by Will Smith. HBO Max’s A Knight of the Seven Kingdoms draws from George R.R. Martin’s “Tales of Dunk and Egg” novellas, set within the Game of Thrones universe.
Comedy Field Rich with Original Voices
The comedy race is equally dominated by originals. Apple TV+’s newcomer Widow’s Bay, a horror-comedy from writer Katie Dippold, has emerged as a poster child for how fresh ideas can earn major recognition. Its primary competitor, HBO Max’s Hacks, concludes a celebrated five-season run as the brainchild of Jen Statsky, Paul W. Downs, and Lucia Aniello.
The category is deep with creator-driven projects:
- Apple TV+’s Shrinking comes from Bill Lawrence, Jason Segel, and Brett Goldstein.
- Netflix’s Nobody Wants This was created by Erin Foster and based on her life.
- Hulu’s Only Murders in the Building originated with Steve Martin and John Hoffman.
- ABC’s Abbott Elementary was inspired by Quinta Brunson’s teacher mother.
- FX’s The Bear is Christopher Storer’s creation.
Just one nominated comedy adapts existing IP: Apple TV+’s Margo’s Got Money Troubles, adapted by David E. Kelley from Rufi Thorpe’s 2024 novel.
Limited Series Defies Adaptation Trend
Limited and anthology series are traditionally strongholds for adaptations, but this year breaks the mold. The two frontrunners are originals: Netflix’s Beef (created by Lee Sung Jin) and HBO Max’s DTF St. Louis (from Steven Conrad). Netflix’s The Beast in Me, created by Gabe Rotter, is also original.
Peacock’s All Her Fault adapts Andrea Mara’s 2021 novel, scoring a rare point for IP. FX’s Love Story: John F. Kennedy Jr. & Carolyn Bessette occupies a gray area—based on real-life figures and inspired by a biography—making it difficult to classify strictly as IP or original.
Creative Era Persists Amid Industry Challenges
As Emmy season wraps, the data offers a positive counterpoint to industry anxieties. Amid concerns over AI-generated content, social media fatigue, and real-world negativity, television remains in a remarkably creative era.
This is not to dismiss IP-based storytelling. Projects like Stuart Fails to Save the Universe, Lanterns, and the new A Different World demonstrate highly creative reimaginings of familiar franchises.
But for the 2025 Emmy cycle, originality wins regardless of who takes home the trophies on September 14—whether it’s The Pitt or Pluribus in drama (likely The Pitt), Hacks or Widow’s Bay in comedy (heart says Hacks; gut says Widow’s Bay), or Beef or DTF St. Louis in limited series (a toss-up that changes hourly).
