Lisa Hamilton Daly
Senior Content Executive
Los Angeles United States (California)
Professional Status
Employed
Available
About Me
Lisa Hamilton Daly is a television executive and producer known for developing emotionally resonant, female-driven scripted series that connect with wide and often underserved audiences. Her work at Netflix included the creation and launch of Virgin River, Sweet Magnolias, and Firefly Lane, all of which became major successes through their focus on character-driven storytelling and emotional authenticity. Before joining Netflix, she served as Vice President of Programming at A+E Networks, where she led Lifetime’s scripted content strategy and executive produced acclaimed titles such as Flint, And Then There Were None, and the Flowers in the Attic film series. Earlier in her career, Lisa was Vice President of Literary & Creative Affairs at DreamWorks Studios, acquiring and developing book-to-film adaptations. With a Ph.D. in English and American Literature from Harvard and a B.A. from UCLA, her deep literary background continues to inform her content instincts and creative vision. She is a strong advocate for reclaiming melodrama and emotional storytelling as powerful tools in modern television.
Director, Original Series
Netflix
Since 2018
- Partnered with internal teams and production companies to develop and produce recurring scripted series.
- Managed budgets, creative direction, and production strategy from concept to launch.
- Designed and implemented the original series strategy with a focus on IP expansion and global appeal.
- Led development of Virgin River, Sweet Magnolias, Firefly Lane, and Spinning Out.
Served as lead negotiator on talent, content, and production agreements.
Vice President, Programming
A+E Networks (Lifetime)
February 2011
to February 2018
- Oversaw drama development for scripted films, miniseries, and pilots across network and film divisions.
- Led the shift from an acquisition-based model to in-house scripted production.
- Managed all aspects of development, casting, budgeting, and production.
- Executive produced award-nominated and high-rated titles including Flowers in the Attic series, Flint (Emmy nomination), And Then There Were None, and Cocaine Godmother.
- Bridged network and theatrical strategies through Lifetime Films, including Lila & Eve and Paris Can Wait.
Vice President, Feature Development, Literary Department
DreamWorks Studios
February 2003
to February 2008
- Led expansion into the New York and London literary content markets.
- Worked directly with literary agents and publishing houses to acquire source material.
- Collaborated with high-profile filmmakers including Steven Spielberg to develop adaptation pipelines.
- Brokered numerous book-to-film deals, managing relationships between studio and literary reps.
Editor
HarperCollins Publishers
February 2002
to February 2003
- Acquired and edited manuscripts for ReganBooks.
- Reviewed fiction and nonfiction works for adaptation potential in film and television.
- Scripted Series Development
- Literary Adaptation (Books to Screen)
- Female-Centric Storytelling
- Emotional Narrative Crafting
- Genre Strategy (Melodrama, Drama, Relationship-Driven Content)
- Pitch & Concept Evaluation
- Original Programming Strategy
- Executive Producing
- Cross-Functional Team Leadership
- Production Oversight (Script to Screen)
- Budget Management (Multimillion-Dollar Productions)
- Talent Collaboration & Casting Strategy
- Development Timeline Management
- Creative Deal Negotiation
- Audience-Driven Content Strategy
- Subscriber Acquisition Content Planning
- Underserved Market Identification
- Emotional Engagement Strategy
- “White Space” Content Targeting (programming gaps in the market)
- Female-centric storytelling
- Emotional authenticity in narrative
- Melodrama and relationship-driven plots
- Book-to-screen adaptations
- Stories about friendship and community
- Underserved audience content
- Period dramas and literary themes
- Character-driven stories over concept-driven plots
- Uplifting or emotionally cathartic viewing experiences
- Reclaiming traditionally "feminine" genres (e.g., romance, melodrama)
