As I delve into this intriguing narrative, I find myself captivated by the wisdom and foresight of John Landgraf, President of FX Networks and National Geographic. With over three decades in the entertainment industry under his belt, he has not only witnessed but actively participated in the transformation of media.
Six days prior to the premiere of “Shōgun” in February, John Landgraf found himself concerned about the “Infinite Listing.
In his office on the Fox lot in Los Angeles, the head of FX, known for his subtle and thoughtful demeanor, clarified his perspective. The “endless scroll” is not an ancient charm from “Shōgun” or a relic from the Middle Ages, but rather a reflection of our modern era. It symbolizes the unending flow of content that’s readily available to many of us today.
When asked if he was worried viewers wouldn’t turn out for the most expensive production in the 30-year history of FX, Landgraf paused to think. Any butterflies he had about the show’s launch, he said finally, were wrapped up in his larger concern about the “endless scroll” effect that may be training us to have shorter and shorter attention spans. “You get 10, 15, maybe 25 seconds of somebody’s attention before they make a decision whether this is for them or not for them,” Landgraf said. “That’s the thing that I worry about most.”
After that topic, Landgraf expressed concern over the possibility that people might gradually grow less engaged with detailed, novelistic narratives presented through films and television shows – such as elaborate period dramas involving samurai and kimonos, set amidst warring clans in 16th-century Japan.
According to Landgraf, the technologies made possible by computers and the internet are significantly larger than most disruptions experienced so far, as they’re not only economic but also cognitive and cultural. Essentially, these technologies are altering how we live, perceive things, and learn.
This answer deviates significantly from the usual enthusiasm and grandeur often associated with Hollywood executives. However, Landgraf, at 62 years old, is not your average executive.
Justin Marks, a showrunner and executive producer at ‘Shōgun’, along with his wife Rachel Kondo, notes that the culture established by John at FX is exceptionally unique. He explains that it’s unlike any other work environment he’s encountered, where employees don’t fear losing their jobs over a single mistake, which is quite uncommon these days.
In a period when conventional cable networks are battling to stay alive, Landgraf and his team have been orchestrating a comeback that’s been five years in the making. This year, FX has made a strong impact with an impressive lineup of original shows such as “The Bear,” “What We Do in the Shadows,” “It’s Always Sunny in Philadelphia,” “Reservation Dogs,” and the new installments of “American Horror Story,” “Fargo,” and “Feud.
Additionally, FX’s recovery coincided at a crucial time for its parent company, Disney, as they were seeking positive news. The success of “Shōgun”, with an estimated production cost of approximately $200 million for Season 1 alone, not only returned Disney’s substantial investment but also significantly contributed to Disney’s standing in the U.S. and major international markets. This boost helped mute CEO Bob Iger’s critics as Disney’s stock price dipped. FX’s stellar year provided Iger with the evidence he needed to refute claims that he overpaid when he acquired 21st Century Fox, which encompassed the FX cable channel, for $71 billion in 2019.
Year after year, they’ve consistently proven their exceptional ability to spot outstanding creativity, coupled with the courage to take bold chances,” Iger notes about Landgraf and his team. “They show a fearlessness and readiness to undertake significant risks.
Shortly after the Disney-Fox deal was finalized in March 2019, Iger needed to support his praises for the FX operation financially through Disney funds. For years, “Shōgun” had been in development at FX. Landgraf and the heads of FX Entertainment, Gina Balian and Nick Grad, believed that the project was now ripe for production and that FX could make a strong statement with a large-scale, ambitious production.
“A guy comes into your office and says, ‘I’d like to make a limited series set hundreds of years ago, and it will be virtually all in Japanese with a Japanese cast,’” Iger recalls with a chuckle. “How do you make that bet? You end up making that bet because you bet on John and his team.”
RELEVANT CONTENT: ‘Shogun’ – How Multiple Delays, Continuous Discussions and a Director Turned Producer Brought an Age-Old Tale Back to Life
Shogun” marked the initial assignment Balian took up for development following his transition from HBO to FX in 2012. Coincidentally, this series debuted at approximately the same time when Iger was under attack in a public campaign led by Trian Partners’ Nelson Peltz – an occurrence happening for the second time within two years. This situation wasn’t favorable for Disney, a cornerstone of American corporate culture. If “Shogun” had failed, it would have added to the strain on Disney even further.
Landgraf expresses a mix of relief and excitement as the plan succeeded, since they had staked everything on it.
The groundbreaking series “Shōgun” received a stunning 18 Emmy Awards in September, surpassing both HBO and Netflix to make FX the leader in total Emmy victories for the first time within the industry. This triumphant occasion was a fitting culmination for Landgraf and his dedicated team.
According to Dana Walden, Disney Entertainment co-chairman and overseer of FX and other TV operations (except ESPN), what sets FX apart is John’s unique taste, intelligence, deep affection for artists and creators, storytelling ability, and near-encyclopedic knowledge of television and film. This strong foundation is further reinforced by a team of exceptional executives who have worked together for a considerable period. This combination is rare in the industry today. Walden has been collaborating closely with Landgraf for 25 years.
The triumph of “Shogun” significantly bolstered FX’s status as a key creator of content, fueling Disney’s approach to adult streaming on platforms like Hulu and Disney+.
Balian stated, ‘We demonstrated our capabilities, we can indeed pull it off.’ With marketing strategies, publicity planning, and a global debut at hand – our teams managed to traverse this vast system, discovering its abundance of support. We gained valuable insights into the art of marketing and launching a show on such a scale.
It’s quite appropriate that a show reflecting on half a millennium of history played a part in guiding FX towards the future.
Landgraf points out that ‘Shōgun’ could only realistically be produced for a worldwide streaming service. To cover the costs, a global audience is necessary. He argues that Disney should produce shows like this, but they didn’t do it alone; they collaborated and distributed it together. And it was successful.
For Team FX, determining their place within the Disney universe proved challenging due to the internal turmoil that affected Disney during Bob Chapek’s brief tenure as CEO from 2020 until November 2022 (Iger had stepped down as CEO in February 2020). The integration process following the merger, which started under Iger in 2019, had already been a tough lesson for FX. Previously operating with significant autonomy under the Fox regime, they found themselves becoming more of a cost rather than an independent business entity within Disney’s larger organization, as Landgraf put it.
Under Bob Chapek’s leadership, Disney underwent a significant overhaul in its network and studio operations which led to much internal turbulence and obstacles within the company. However, when Iger regained his position in November 2022, he promptly revised this restructuring process.
In my perspective, the Chapek plan, with good intentions, proved to be quite difficult due to its separation of business and creative aspects. This division, in a way, fostered an atmosphere of competition instead of cooperation between these disciplines. Thankfully, the reformation of Disney Entertainment has reunited us all once more, promoting a more collaborative environment.
Perhaps Dana Walden’s promotion to the highest executive position in television in 2022 served as a spark for someone of Landgraf’s caliber to consider moving on to another company. He has been sought after by numerous businesses on multiple occasions, but according to him, he’s never been interested because no offer was as appealing as the one he received this time. Time and again, he acknowledges his appreciation for Iger’s guidance, as well as for Walden and Peter Rice, who held the top TV position following the Disney deal but was replaced by Chapek in 2022.
Landgraf states that if we hadn’t arrived together, I believe we wouldn’t have managed to get through all of that tough situation. It’s clear that at some point, Peter couldn’t continue. I feel certain that I wouldn’t be here now without Dana’s support,” Landgraf says. “I owe my existence to Bob [Iger] – both in the past and present.
Walden mentions that she and Landgraf began collaborating long before he joined FX, during the time when Landgraf oversaw Danny DeVito’s Jersey Television (from 1999 to 2004). Notably, Jersey Television had a production agreement with 20th Century Fox Television, where Walden was rapidly advancing her career.
Walden shares that there’s a deep level of trust built up between them over a prolonged period, and they have stood by each other through thick and thin. He mentioned that ever since he took on this job, John expressed his delight. Leadership positions can sometimes feel isolating, but Walden feels that John finds comfort knowing him as a fellow leader.
According to industry experts, the long-standing collaborative relationships within the company’s key leadership team, starting from Landgraf and Walden, have proven to be a significant asset for the organization.
Balian, despite being a long-time employee with 13 years as a senior production and programming executive at the company, still views herself as a newcomer. On the other hand, Marketing Chief Stephanie Gibbons has surpassed her 20-year mark this year, and Communications Chief John Solberg is nearing his 25th year. Eric Schrier, who was instrumental in shaping FX for 22 years, recently moved to a senior position under Walden as President of Disney Television Studios and Business Operations. The consistent leadership at FX has contributed to a robust company culture, reminiscent of the durable chrome on the motorcycles featured in “Sons of Anarchy.
During their interview in late October, Balian comments that the atmosphere there feels quite unrefined,” or more informally, “Balian mentions in their interview that the vibe is quite rough around the edges.
Back in 1994, I found myself making my debut on air, riding the wave of cable channel launches that were flourishing at the time. Compared to the established powerhouse HBO post-“The Sopranos,” my journey from an underdog offshoot of Fox Broadcast Network to a serious player in the prestigious TV arena was more of a steep uphill climb.
Balian poses a question to Grad and Landgraf: ‘Were you under the impression that things would be handed to you? Or did you believe that hard work was necessary?’ Both of them agree with a nod.
Grad reiterates his consistent approach after 22 years, which is creating uniquely exciting work. He believes that once this foundation is laid, everything else tends to fall into place naturally.
After the Disney-Fox acquisition deal was finalized in December 2017, Robert Iger paid a visit to FX’s office on the West L.A. Fox lot. Although he was already impressed with their work, he had never met Landgraf or anyone else there, except for Grad. Since Grad’s late father, Peter Grad, who was an executive at MTM Television and 20th Century Fox, had been Iger’s business partner in the 1980s and ’90s, they knew each other. Upon entering, Iger asked them to introduce themselves, and he found that everyone there clearly understood the brand’s purpose and values.
Robert Iger reassured his worried team members that he had no plans to upset the FX ecosystem or force a heavily Disney-influenced work environment upon them. Through challenging merger experiences, Iger has come to understand the value of maintaining a company’s distinct culture and qualities.
According to Iger, a company’s culture is highly beneficial and plays a crucial role in any business transaction. He explains that Pixar wouldn’t exist without a strong culture, one where people are dedicated to making the best possible product and won’t settle for mediocrity.
Despite the trend of Americans abandoning traditional cable TV subscriptions for more affordable streaming services, FX manages to buck this trend with its robust programming. While many established cable channels are struggling due to this shift, FX continues to attract viewers thanks to its popular franchises on the linear channel. This has given FX the flexibility to try new programming approaches for both its cable offerings and the FX-branded shows that can be found on Hulu in the U.S. and Disney+ internationally.
The TV series “Snowfall” on FX, which ran for six seasons, attracted viewers primarily in their 60s. However, on Hulu, the average age of viewers dropped to the mid-30s. This demonstrates that offering a show on multiple platforms allows it to reach diverse audiences. In fact, most shows produced by FX eventually become accessible on both traditional and streaming platforms. According to Walden, this approach is seen more as a strategy of distributing content through different windows rather than choosing one over the other.
As a movie enthusiast, I find it fascinating how production leaders at some studios still stick to the traditional method of creating a pilot episode before deciding to greenlight a series. This approach seems quite old-fashioned in light of the numerous platforms that now make yes or no decisions based on just a few sample scripts. However, HBO is an exception to this trend.
Donald Glover’s show “Atlanta” illustrates how starting with just a pilot can help shape a series into its intended form. When creating the show over a decade ago, Glover ensured that the first episode was directed by Hiro Murai, his collaborator on music videos under the pseudonym Childish Gambino. This made it less risky for FX executives to invest in an unknown TV director since they were only paying for a pilot instead of a full series. In the past, most TV networks and studios would produce pilots as standard practice, but this trend has evolved with the rise of streaming services.
Grad remarks, ‘Perhaps we wouldn’t have taken the chance on Hiro, such a gifted storyteller among all directors, if we weren’t producing pilots.’ Breaking our financial risk into manageable stages certainly empowers us to make bold decisions.
Similar to many other established broadcasters, FX faces challenges in adjusting to the evolving standards of TV series production and the effects this has on how creative personnel are remunerated. Unlike some platforms, FX can negotiate terms more freely when it also acts as a studio, which was the case with “Shōgun.” However, the broader move towards subscription-based services instead of post-release sales of movies and TV shows has significantly altered the game for creative professionals. This shift has played a role in the discontent that led to last year’s writers and actors strikes, and it remains an ongoing issue, as acknowledged by the FX team.
Grad prefers an environment where significant success, such as hitting home runs, is possible,” he explains. “I believe people are drawn to the idea that even when the chances seem slim, they could still win life-altering amounts of money. The fact that this opportunity no longer exists is more of a challenge for the entire industry rather than just us.
Above all, FX leaders take great satisfaction in collaborating closely with writers, directors, producers, and other creative minds to uncover the core message behind an artist’s work. Unlike some networks, FX doesn’t have the financial means to provide lavish contracts for high-profile talent. However, what it can offer is a meticulous approach to refining content, in a setting where the platform typically produces 15 to 20 shows annually, rather than hundreds. This unique approach appeals significantly to a specific group of writers, directors, producers, and stars who value such personal attention and dedication to their craft.
We function as persistent editors, yet not in a way where we force our personal preferences or style onto your work. Instead, we enter your realm and assist you in achieving your goals. Our focus is on asking insightful questions to stimulate your thinking, ensuring you’ve thoroughly considered the storyline. We aim to help artists create the most exceptional version of their show possible.
Kondo, the mind behind “Shōgun” and its executive producer, acknowledges that brainstorming meetings at FX are unique, a testament to the exceptional abilities of the leadership team, which includes exec VP Kate Lambert and VP Lindsay Donohue, and the key executives. However, it all begins with the vision set by the top management.
Landgraf’s ability to truly listen and consider his responses thoroughly is astounding. His conversations encompass a wide range of subjects, including philosophy, history, literature, the Bible, among others. Kondo shares that she clears her notebook before every meeting with him because she always gains something profoundly beneficial not just for the project at hand, but also for her personal life and writing perspective.
John Landgraf knows something about human behavior. He was an anthropology major at Pitzer College. He’s been a television programming executive for most of his adult life. He’s studied the intersection of social movements and artistic and pop-culture trends. He’s fascinated by how communities are formed and how they splinter at a time when communication tools (aka the new iPhone in your pocket) are advancing at lightning speed.
One indisputable result of the quickening pace of innovation is the increasing amount of global economic activity that revolves around engaging consumers in some form of media — whether a TV show or a TikTok feed or a live virtual concert staged within a Fortnite video game. Will the soft power of media eventually become the most valuable commodity of all? The global economy seems to think so. And that also really worries Landgraf, as the largest of what he calls the “trillion-dollar companies” move deeper into the business he knows best.
It’s quite unusual when an economy has 500 companies in the S&P, yet seven of them make up 70% of its growth. This situation, which is known as the “Magnificent Seven” on Wall Street, consists of Apple, Alphabet (Google), Amazon, Microsoft, Nvidia, Meta, and Tesla. He finds it to be distinct.
He states, “I’m not passing judgment on their actions, but I must clarify they aren’t companies focusing on long-form storytelling. Long-form narratives have played a significant role in American society, business, and influence both at home and abroad. Reducing its importance in the communication structure could lead to consequences that cause me great concern.
The Walt Disney Co. is no mom-and-pop operation; as of Nov. 21, its market cap stood at $209 billion. But in the scheme of companies with trillion-dollar balance sheets, Disney could become a takeover target down the road. For now, however, Landgraf is glad that FX found a place in the Magic Kingdom.
Disney took an incredibly daring step by transforming a century-old corporation into a streaming and direct-to-consumer service,” he remarks. “They aimed to excel not just in family entertainment and sports, but also in the broader realm of general entertainment as well.
The production company, FX, is planning another attempt at a high-budget television series, this time by reworking “Alien” under the direction of “Fargo’s” showrunner, Noah Hawley. Expected to premiere in summer, the anticipation for its success on a global level intensifies once more.
Additionally, planning for the next year includes the transition to new workspace situated within the Disney studio complex in Burbank. This represents the concluding symbolic stage of the merger assimilation process for approximately 300 FX staff members, who have been operating from rented offices on the Fox lot so far.
Ahead lie numerous other hurdles. Some are unforeseeable, such as advancements in AI and technology that could disrupt the pay-TV industry even more. Others are age-old problems, much like those that have been present since the Hollywood Hills themselves.
Landgraf explains, “Imagine someone gives you a huge bucket filled with acorns, only one of which will eventually become an oak tree. Your task is to select the acorn from this batch that has the potential to grow into an oak tree.” He chuckles, “You can certainly plant it, nourish it, and water it. However, some acorns simply won’t sprout into oak trees, no matter how well you care for them. So, you should choose the ones with the ability to do so.
Balian and Grad listen as Landgraf compares the success in the entertainment industry to finding the perfect acorn to cultivate, implying that the key to success lies in this search. After a brief pause, both executives return to their offices with the intention of sowing more seeds, symbolizing their continued pursuit.
Makeup (Balian): Agostina/Exclusive Artists using L’Oreal Paris; Hair (Balian): David Gardner/Exclusive Artists using Phyto Paris
Read More
- Exploring Mod Support for Smite 2: A Community-Driven Opportunity
- The Future of Final Fantasy: Why Final Fantasy 7 Rebirth Is Skipping DLC
- Unlocking the Mystery of Brawl Stars’ China Skins: Community Reactions
- Understanding Player Choices in Hades: The Case of Merciful End
- How to repair weapons & gear in Stalker 2
- Exploring Brawl Stars: Should We Remove Useless Features?
- PENDLE PREDICTION. PENDLE cryptocurrency
- Smite 2: Overcoming the Fear of Your First Match in the MOBA Universe
- Georgie & Mandy still hasn’t explained one missing Young Sheldon character
- Understanding the Constant Rain in Pacific Drive: A Reddit Discussion
2024-11-26 19:22