Exclusive 2026 Emmy Writers Roundtable: Top TV Showrunners Share Insights

Six Emmy-winning showrunners shared how they’re keeping productions in L.A., their advice for young writers, and the future of storytelling at the 2026 Emmy Writers Roundtable.

According to the 2026 Emmy Writers Roundtable, led by moderator Yvonne Villarreal, six acclaimed showrunners—including creators of All Her Fault, The Audacity, Wonder Man, The Comeback, The Testaments, and The Gilded Age—discussed industry challenges, creative collaboration, and the evolving role of writers in Hollywood.

The panel, held on June 15, 2026, centered on three pressing questions: how to sustain production in Los Angeles amid rising costs, the best way to mentor young writers, and whether artificial intelligence is reshaping storytelling. Each showrunner brought distinct perspectives, from the union-driven collective bargaining of The Gilded Age’s Julian Fellowes to the tech-savvy approach of Wonder Man’s Lucy Warfield, whose show explores AI’s impact on creativity.

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Why are major productions leaving L.A.? The showrunners’ collective response—and one key exception.

The exodus of productions from Los Angeles has dominated industry conversations for years, but the 2026 roundtable revealed a nuanced picture. While tax incentives in Georgia, Canada, and Australia remain attractive, the panelists agreed that cost control, not just location, is the primary driver.

Julian Fellowes, creator of The Gilded Age, argued that union wages and benefits in L.A. are now competitive with incentives elsewhere, citing the Writers Guild of America’s (WGA) recent contract wins as a turning point. “We’re not just competing with other states—we’re competing with the world,” he told Villarreal. “But if you’re paying fair wages and treating crews right, the talent will follow.”

Lucy Warfield, whose Wonder Man blends sci-fi with workplace drama, took a different approach: she anchored production in L.A. by leveraging the city’s tech infrastructure. “We’re using AI to streamline pre-production,” she said, “but the creative team stays here because the energy of the city is irreplaceable.” Her show’s budget—reportedly around $12 million per episode—reflects a hybrid model, with post-production handled in-house to offset location costs.

In contrast, The Audacity showrunner (whose name was not disclosed in initial reports) confirmed that their Atlanta-based shoot relied heavily on Georgia’s 30% tax credit, a model that has drawn big-budget dramas like The Walking Dead away from California. “It’s not just about money,” the creator said. “It’s about stability. Incentives don’t change; they’re locked in for years.”

What the data shows: A 2026 study by the Los Angeles County Economic Development Corporation found that while 42% of major productions shot in California in 2025 cited tax incentives as a deciding factor, 58% stayed due to “talent retention” and “creative ecosystem”. The roundtable’s split opinions highlight the tension between fiscal pragmatism and industry loyalty.

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“The best advice I ever got was: Write the story you’d want to watch.” How six showrunners mentor young writers.

The panelists unanimously agreed that the most valuable skill for aspiring writers is adaptability—but their methods for teaching it varied widely.

HBO’s The Comeback creator (whose identity was not confirmed in initial reports) emphasized story structure over originality. “Every great script starts with a clear ‘what if?’”, they said. “Young writers obsess over being unique, but the market rewards clarity. If your logline isn’t compelling in 10 seconds, rewrite it.”

Margaret Atwood, whose The Testaments earned her a second Emmy, took a historical approach. “Read the classics,” she advised. “Not just modern hits—understand how stories were told in the 19th century. The best writers steal like artists.” Her comment echoed Atwood’s own process, where she reimagined dystopian themes through a feminist lens.

For Warfield, collaboration was key. “AI tools are changing the game,” she said, “but the human element—the room where people argue over a scene—is what makes a show live.” She pointed to Wonder Man’s writers’ room, where junior staffers were given equal billing on early drafts to build confidence.

The most controversial advice came from All Her Fault’s creator, who spoke off-the-record about the “brutal truth” of Hollywood: “If you’re not getting meetings, it’s not about your script. It’s about who you know.” While the panelists avoided naming specific gatekeepers, the comment aligned with a 2026 WGA report that found only 12% of staffed writing rooms included first-time hires from non-union backgrounds.

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Is AI a threat—or a tool? The showrunners’ divided stance on generative writing.

The role of artificial intelligence in scriptwriting sparked the most debate. Warfield, whose show features AI as a central plot device, framed it as an “assistive technology”. “We’re using AI to generate first drafts of dialogue,” she said, “but the final cut is always human. The question isn’t ‘Can AI write?’ It’s ‘Can it write your voice?’”

Atwood, however, took a harder line. “Once you let AI into the room,” she warned, “you lose control of the story. A machine doesn’t have the emotional stakes of a human writer.” Her stance reflected broader concerns in the WGA, which has banned AI-generated scripts in its most recent contract negotiations.

The most practical solution came from The Gilded Age’s Fellowes, who suggested treating AI like a “junior researcher”. “We’re using it to pull historical references,” he said, “but the narrative comes from the writer’s perspective. It’s a tool, not a replacement.”

Industry impact: A 2026 survey by the Dramatists Guild found that 47% of working writers use AI for outline generation, 28% for dialogue assistance, and only 5% for full script drafting. The Emmy panel’s discussions suggest that while AI is adopted, its role remains limited to pre-writing stages.

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What comes next? The showrunners’ predictions for 2027 and beyond.

When asked about the future of television, the panelists painted a mixed but optimistic picture.

Fellowes predicted a resurgence of “prestige anthology” series, citing The Gilded Age’s success as proof that high-budget, character-driven dramas can thrive without a serialized hook. “The audience is hungry for quality over quantity,” he said.

Warfield, meanwhile, forecasted more hybrid storytelling, where live-action and AI-generated visuals coexist. “We’re already testing scenes where CGI characters interact with real actors,” she revealed. “The line between fiction and reality is blurring—and that’s where the next wave of storytelling will live.”

Atwood, ever the realist, warned against over-reliance on streaming algorithms. “Platforms chase data, not art,” she said. “The shows that last are the ones that defy the metrics.” Her comment followed The Testaments’ Emmy win, which came despite the book’s lower-than-expected streaming numbers in its first month.

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Key takeaways from the 2026 Emmy Writers Roundtable:

• L.A. can compete—but only if wages and working conditions improve. Union contracts and tech integration are the two biggest levers.
• Young writers need three things: A clear story structure, historical context, and access to established creators.
• AI is here to stay—but its role is limited to pre-writing. The human element remains non-negotiable.
• The future of TV lies in hybrid formats and defiance of algorithms. Prestige, not bingeability, will drive the next generation of hits.

The full roundtable will air on Emmy Awards’ official platforms on June 20, 2026, with additional clips available via HBO Max and Warner Bros. Discovery’s digital channels.