Bold claim: A24 is betting big on unscripted TV and aiming to redefine what a novel reality show can be. But here’s the twist: they’re doing it with a distinctly A24 sensibility that blends intimate character focus, cinematic craft, and curiosity-driven conflict. Now, let’s unpack how they’re pulling this off while pushing the boundaries of the genre.
A24’s latest foray into unscripted television centers on Neighbors, a docuseries that follows real people entangled in neighborhood disputes. The show spotlights Danny Smiechowski, a 73-year-old triathlete who regularly rides an exercise bike in full view of his San Diego neighbors. His choice of attire—a tiny, yellow mankini—has ruffled feathers, drawing shocked reactions and loud protests from some locals. One resident bluntly calls the act “an affront to God,” while another passerby chants, “Put your junk away, Grandpa.” Such scenes set the tone for a series that leans into personal friction as spectacle.
Neighbors marks A24’s first foray into unscripted programming, building on the studio’s reputation for boundary-pushing storytelling. A24 is known for provocative, critically acclaimed films and series like Marty Supreme, Materialists, Uncut Gems, Euphoria, and Beef. The show’s A24-ness is evident in its mood and approach: it favors intimate, observational storytelling and a quiet, cinematic style over loud, glossy reality tropes. A telling detail is the indoor hot tub belonging to Bruce and Darrell Blasius as they squabble with a nearby farm neighbor—an image that already signals the show’s signature blend of the domestic and the dramatic.
Executive producer Josh Safdie, a prominent figure in the studio’s orbit, lends even more credibility. Safdie’s involvement coincides with the success of Marty Supreme, which recently became A24’s highest-grossing worldwide release, underscoring how the company’s creative voice can translate into broad appeal.
Neighbors serves as a strong calling card for a company that often shies away from the spotlight. A24 leans into auteur-driven storytelling, and Neighbors fits that mold. The show comes from up-and-coming filmmakers Harrison Fishman and Dylan Redford (the latter is Robert Redford’s grandson), continuing A24’s pattern of pairing bold concept with emerging talent.
The series aligns with the studio’s cinematic sensibility by sharing affinities with work from indie documentarians like John Wilson and Lance Oppenheim. Notably, Harleigh Shaw—who has collaborated with Wilson on his HBO project How to With John Wilson and has credits on A24 titles such as The Smashing Machine and Charli XCX’s The Moment—also has a hand in casting for Neighbors. This convergence of collaborators reinforces the show’s distinctive feel.
The origin of Fishman and Redford’s project traces to a fascination with online conflict videos. Harrison’s brother Sam began sharing neighbor-to-neighbor dispute clips from across the country, inspiring the pair to embark on a road trip to capture “something bigger and messier than what already exists on TikTok.” The result is a documentary approach that seeks depth and nuance in real-world rivalries, moving beyond quick, viral snippets.
Beyond Neighbors, A24 is exploring a broader slate of unscripted endeavors. One notable project is a reality cooking competition inspired by the video game Overcooked, developed for Netflix. Early descriptions suggest a twist on traditional formats like MasterChef and Hell’s Kitchen, with the potential to sit alongside conventional broadcast fare while still feeling distinctly A24. Deadline reports that ABC, CBS, Fox, and NBC have engaged in discussions about formats with broad broadcast appeal.
The push is led by Jonathan Hausfater, A24’s Head of Unscripted, who has previously worked on network hits such as ABC’s Holey Moley and CBS’s Undercover Boss, as well as Netflix projects like Tidying Up With Marie Kondo. Hausfater collaborates closely with Ravi Nandan, A24’s head of global television, to shape a diverse unscripted lineup that spans docuseries, competition formats, ensemble reality shows, and sports-themed projects.
A24’s strategy signals a deliberate departure from conventional reality television by privileging quality craft, distinctive voices, and thought-provoking premises. This is not an entirely new concept—reality TV has long experimented with riskier, more avant-garde ideas. From early experiments like Survivor and American Idol to eccentric entries such as The Swan, I Wanna Marry Harry, Best Funeral Ever, and Kid Nation, the genre has always tolerated audacious experiments. More recent hits—The Masked Singer and MILF Manor—continue that tradition of mixing unpredictability with mass appeal.
So, could the studio that produced Everything Everywhere All at Once—an inventive, offbeat comedy about an alternate universe—also help redefine reality formats? It’s plausible. Picture an ensemble reality show with a vibe reminiscent of Pretty Wild, or a fashion-leaning dating show drawn from the How Long Gone podcast universe. There’s also room for more provocative conceptions, including Asian-language formats that push the boundaries of what counts as mainstream entertainment.
The market is hungry for formats that feel both fresh and daring, whether on streaming platforms or traditional networks. The question remains: how bold do networks actually want to be? A24’s endeavors suggest a willingness to push, test boundaries, and invite debate—exactly the kind of energy that could reshape the future of unscripted television.
