lee_howard_2017Howard Lee

Howard Lee is the Executive Vice President, Development & Production for TLC. In 2015, Lee’s role expanded to General Manager of Discovery Life in addition to overseeing TLC’s entire development and programming slate, originating from the Los Angeles, New York and Silver Spring, MD offices. A Discovery veteran, he joined TLC in 2008 and is based in Silver Spring.

Lee continues to strengthen TLC’s success as the #1 destination for pop culture buzz and non-fiction docudrama hits. Currently, he is overseeing the much-anticipated return of the network’s hit series TRADING SPACES in 2018. Lee has creatively launched tent-pole lasting franchises such as 90 DAY FIANCÉ and its spinoffs, THIS IS LIFE LIVE, SISTER WIVES, RETURN TO AMISH, CAKE BOSS, LONG ISLAND MEDIUM, EXTREME COUPONING, MY GIANT LIFE, COUNTING ON and MY BIG FAT FABULOUS LIFE. Lee has also served as TLC’s Executive Producer from season one onwards for the popular hits THE LITTLE COUPLE and TODDLERS & TIARAS.

During the past year, Lee has overseen more than 600+ hours of original series and programming with his development and production team, including ongoing audience favorites such as Emmy-nominated WHO DO YOU THINK YOU ARE?, LITTLE PEOPLE BIG WORLD, LONG LOST FAMILY, I AM JAZZ, MY 600-LB LIFE, SKIN TIGHT, SAY YES TO THE DRESS, OUTDAUGHTERED and KATE PLUS EIGHT. Lee creatively oversaw the final season of JON & KATE PLUS EIGHT, which shattered cable records in ratings.

Previously, Lee served as Vice President of Development and Production for the 2007 launch of Planet Green originating 200 hours of new programming. Prior to Planet Green, Lee was the Vice President of Development for the Travel Channel.

Lee received his Bachelor of Fine Arts with honors from New York University’s Tisch School of the Arts for Film and Television.

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Content is King: Meet The Buyers

Television and digital content buyers continue to search high and low for their next hit. This session features a selection of East Coast network buyers who have agreed to share their acquisition priorities with Produced By: New York. What are the specific types of programs each outlet is currently looking for? What types of deals can producers expect? What sort of formats, content, and talent are these buyers seeking to embrace and what’s the best way to approach them? Most essential of all, how does a producer secure that elusive green light?