Illinois just posted its biggest year ever for film and television production, with $703 million in spending during 2025 — a surge that positions the state as an unlikely beneficiary of Hollywood's geographic exodus. The figure represents a 26 percent jump from pre-pandemic 2019 levels, driven by everything from Dick Wolf's Chicago procedurals to the final seasons of prestige hits like *The Bear* and *The Chi*.
Production spending in Illinois saw a 46 percent increase in the fourth quarter alone, reaching $240 million, while filming activity grew 70 percent year-over-year. Those numbers put Illinois in the same growth category as New Jersey — dubbed "Hollywood East" for its aggressive studio courtship — which saw shoots increase 75 percent in the same period.
The momentum reflects a broader reshuffling of American production geography, as traditional powerhouses lose their grip on content creation. Georgia, once the darling of streaming-era expansion, has watched its production spending plummet from $4.4 billion in 2022 to $2.3 billion in 2025. Even mighty California, despite aggressive tax incentives, has seen Los Angeles soundstage occupancy fall from 96 percent in 2016 to just 62 percent in the first half of 2025.
"For nearly 120 years, Illinois has helped shape the film and television industry — from the early days of Charlie Chaplin to today's hit productions like *Chicago Fire*, *The Bear*, and *The Chi*," Governor JB Pritzker said in a statement. "With more than $700 million in film production in 2025, the message is clear: Illinois is a top destination to make movies and television."
Employment data reveals steady, sustainable expansion rather than boom-bust volatility. Industry wages in Illinois rose from $350 million in 2019 to $401 million in 2025, while hires (excluding extras) increased from 15,200 to 18,100. Background actor bookings — often an early indicator of production health — showed particularly strong growth according to entertainment payroll processor Everyset.
Illinois benefits from having established franchises that provide production stability. Dick Wolf's Chicago trilogy (*Med*, *Fire*, *PD*) continues to draw 6 million-plus viewers per crossover episode after more than a decade on air. The state has also hosted premium cable successes like Paramount+'s *The Chi* (entering its eighth and final season) and FX's *The Bear* (currently filming its fifth and final season).
Infrastructure development across Illinois suggests this isn't a temporary uptick. Hollywood River Studios is developing a six-soundstage complex in Wood River, while Flyover Film Studios in Rantoul has already hosted projects for Tubi and independent productions. Rockline Studios is planning a facility in Rock Island.
"The governor and the legislature focusing on and enhancing the Illinois film tax credit is the main reason my group is investing," said Hollywood River developer Chris Breakwell.
The contrast with other states is stark. New Mexico, home to Vince Gilligan's television universe and Netflix's Albuquerque investment, saw production spending peak at $855.4 million in 2022 before dropping to $323 million in fiscal 2025 "due to an industry-wide contraction in productions," according to the state's film office.
- Georgia: Production spending fell from $4.4B (2022) to $2.3B (2025)
- New Mexico: Dropped from $855.4M (2022) to $323M (2025)
- California: Soundstage occupancy down from 96% (2016) to 62% (2025)
- Illinois: Up from $560M (2019) to $703M (2025)
Even California, with its $750 million annual incentive cap, struggles to retain productions. The state recently awarded $128 million each to Disney and Warner Bros. Discovery for projects including a *Family Guy* spinoff and medical drama *The Pitt*, but the effort to keep Hollywood home faces headwinds from cost and regulatory challenges.
The Illinois success story reflects careful policy coordination rather than desperate subsidy wars. The state's 35 percent tax credit hits a sweet spot — generous enough to attract productions without creating unsustainable fiscal commitments. More importantly, the credit extends through 2039, providing the long-term certainty that production companies need for major investments.
This geographic redistribution of American entertainment production carries cultural implications beyond economics. Illinois brings a specific aesthetic sensibility to television — the working-class authenticity of *The Bear*, the procedural realism of the Chicago shows, the community intimacy of *Somebody Somewhere*. As more productions choose the Prairie State, that vernacular becomes more prominent in American visual culture.
Production statistics suggest Illinois has found something other states missed: sustainability over spectacle. Rather than chasing the biggest productions with the most generous incentives, the state has built infrastructure and policy frameworks that support a diverse portfolio of projects. Long-running network series provide steady employment, while prestige streaming shows bring creative cachet.
For an industry increasingly conscious of costs and regulatory complexity, Illinois offers an appealing alternative to traditional production centers. The state's central location provides logistical advantages for national distribution, while its production ecosystem has matured enough to handle sophisticated projects without the premium pricing of coastal markets.
Whether this momentum continues depends partly on factors beyond Illinois' control — the overall health of the entertainment industry, the resolution of labor negotiations, the streaming platforms' appetite for original content. But the state has positioned itself to capture whatever production activity emerges from Hollywood's ongoing geographic realignment.