Since the Trump Administration took office, federal funding to PBS has been threatened. The Corporation for Public Broadcasting (CPB), which supports PBS and NPR, is at risk of losing at least a billion dollars in funding. It’s a multi-pronged attack on public media and we’re going to break it down for you.
First, some clarification. The term ‘PBS’ is used in this breakdown to refer to the public television system.
What does this mean?
One of the most frustrating and confusing things about PBS is that it's very decentralized. There are over 320 stations across the country, each with its own staff and leadership. But that decentralized structure is actually what makes PBS resilient to attack from the federal government.
With the budget cuts, many small stations in rural communities are bracing for public media disruptions. In a few years, there will probably be some consolidation of the 320 stations, which is bad and difficult news. But to be clear: the vast majority of PBS stations will continue to function as they do now. PBS will not go away. Stations in rural communities with few donors and limited sponsors where viewership is relatively small are often able to access public television programming from larger nearby stations–so for many public media viewers and listeners, the news, entertainment and children's programming they have access to may not reflect the unique community they live in.
What does the future look like?
The recent PBS annual conference in Atlanta was focused on the future and frankly, they were optimistic. Only 15% of the PBS systems annual funding comes from the federal government. The rest comes from state government, member donations, and sponsorships from companies and philanthropies.
PBS has also been acquiring more films out of Sundance and other festivals in recent years. They are clearly making a play for more documentary programming. Compared to the programming decisions of major streamers like Netflix, who are doing more sports and live events rather than documentaries, this is a sign that PBS will be an important home in the future for documentaries.
Okay, public television isn’t going away.. How do I secure a national broadcast?
The three main options for films to reach a national audience are PBS PLUS, APT (American Public Television) and NETA (National Educational Telecommunications Association). Each option comes with different strengths and weaknesses.
- PBS PLUS is seen as the most 'prestigious and competitive' when it comes to programming. It usually means you'll get better carriage (air dates) and your film will get picked up easier by individual stations. This is typically the choice of a station relations manager, whose job it is to represent your film to stations and get broadcasts for you. In our experience and the experience of many filmmakers that have worked with them, they can be a bit more bureaucratic and challenging to work with during delivery and sponsorship message approval.
- APT is a great option as well. They particularly specialize in serial content and certain high profile PBS programming. They are a great option for documentaries. They tend to have higher fees for independent filmmakers and often require or at least recommend working with a local PBS station who will get behind your project (called a presenting station). This too can also come with fees.
- NETA is the least expensive option. It's also seen as the least prestigious and competitive. Station relations managers prefer either APT or PBS PLUS. But one advantage of NETA is that it is a small and intimate team. If you go through them, you work with a small but enthusiastic, filmmaker-friendly team of people who can work with you on delivery and sponsorship message approval.
Are there any restrictions or downsides to securing PBS national distribution?
Plain and simple, there are limited restrictions on your distribution just because you accept a national PBS broadcast offer. You can still work with TVOD platforms like iTunes and Amazon, AVOD platforms like YouTube and for SVOD like Netflix, it's always hard to predict what will get their interest. They are very opaque about their criteria for acquisition.
Keith’s film Age of Champions was on PBS a full six months before Netflix ended up acquiring the film for a global streaming deal. PBS did not get in the way so our advice is get your PBS broadcast and carry on!
Underwriting: how a national broadcast can translate to revenue
Making the most of PBS underwriting is one of the least understood and most valuable strategies for independent filmmakers. If you've ever watched PBS programming, you've seen underwriting messages. “This program is brought to you by ….” This is valuable time and viewer attention that you can offer companies, foundations, nonprofits, institutions, and individual donors — especially those aligned with your film’s topic or impact goal.
It doesn’t have to come from big names either, indie film teams have secured support from local businesses, medical institutions, and professional associations to underwrite screenings, broadcasts, and virtual toolkits. What matters is that your audience matches theirs.
If potential funders care about educating teachers, improving patient outcomes, or reaching underserved communities, show them how your film will accomplish that.
If you think of underwriting as a way to recognize aligned partners with your film’s topic or message, you’ll start seeing a lot more possibilities.
Whether you’re aiming for a PBS broadcast or looking to align with mission-driven sponsors for live events or toolkits, knowing how to navigate underwriting is essential. It’s not just about raising money — it’s about amplifying impact, expanding your reach, and partnering with organizations that share your film’s purpose.
Final thoughts on PBS
PBS has been an essential home for independent and enriching programming for decades. But the bigger existential threat facing PBS today isn’t the Trump administration. It’s the broader challenge confronting all traditional broadcasters: an aging audience. PBS recognizes this and has been making real efforts to tap into viewers online, alongside its traditional linear broadcasts. Still, it’s an uphill battle.
That said, PBS remains one of the few platforms offering the chance to reach a national audience and generate meaningful revenue through underwriting from aligned partners. In recent years, PBS has also shown a growing interest in independent films. Compared to the direction streamers have taken over the past few years, that’s a welcome development.
PBS will weather the current political pressure, but it’s not a one-size-fits-all solution for independent film distribution. Even with a strong broadcast option, the most successful filmmakers combine multiple revenue streams such as educational rights, sponsorships, and nonprofit partnerships to support a sustainable release.
We’re proud to support filmmakers who are interested in PBS, as well as those looking more broadly to get their films into the world and get paid in the process. Onwards!
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