True Crime Surge: How Investigation Discovery is Dominating the Genre

Investigation Discovery is currently in the spotlight, exploring the unsettling realities behind children’s TV shows and the controversies surrounding Sean Combs. Last year, the Warner Bros. Discovery cable network received its inaugural Primetime Emmy nominations for its revealing programs Quiet on Set and Lost Women, narrated by Octavia Spencer, which delve into troubling behind-the-scenes behavior and overlooked stories of women, respectively. Additionally, the network is concluding its series on Natalia Grace and generating buzz with The Fall of Diddy as accusations against the famous rapper accumulate.

In a keynote discussion moderated by Deadline at the Realscreen summit in Miami, Jason Sarlanis, President at Warner Bros. Discovery overseeing several networks, introduced the network’s “Docbuster” approach. This new strategy aims to compete with major streaming services in producing high-quality, compelling true-crime content, a genre that continues to captivate audiences.

Sarlanis emphasized the deliberate push towards becoming a leading producer of premium documentaries. He explained that the saturated market of true-crime required a unique approach to stand out and maintain relevance. Unlike a strategy of producing fewer but larger projects, Sarlanis revealed plans to ramp up production, focusing on retaining the special event feel of each documentary.

The network collaborates with established production companies like Sony-backed Maxine Productions, Hot Snakes Media, and October Films. They are also seeking fresh talent in filmmaking, emphasizing the importance of trust and access in dealing with complex legal and moral issues.

Highlighting successful collaborations, Sarlanis discussed Michael Bay’s venture into true-crime documentaries and Octavia Spencer’s deep engagement with the network’s prime-time lineup. He shared anecdotes about their interactions, illustrating how personal commitment and expertise helped secure their projects.

The competition in documentary filmmaking is fierce, with networks fully aware of the costs and market demands. Sarlanis pointed out the advantage of having a deep understanding of the genre, which helps in budget negotiations and ensures that investments translate effectively onto the screen.

Support from Warner Bros. Discovery’s chief, David Zaslav, who encourages bold moves to secure compelling content, is crucial in navigating the competitive landscape, according to Sarlanis. This support is vital for taking on ambitious projects that can distinguish the network in a crowded field.

Both The Fall of Diddy and Quiet on Set were extended beyond their initial episodes, demonstrating the network’s commitment to stories that resonate with viewers. Sarlanis expressed a desire to continue these relationships, particularly with producers like Mary Robertson, who bring passion and belief in their stories.

Expanding on The Curious Case of Natalia Grace into a broader franchise shows the network’s intent to build on successful formats. Furthermore, the ethical considerations of producing true-crime documentaries are taken seriously, especially in handling sensitive content involving real victims and legal challenges.

Sarlanis also touched on the complexity of his role, managing networks with varied content from true-crime to lighter entertainment, which he finds both challenging and fulfilling. His ability to navigate these shifts is essential in his leadership position.