As someone who has spent a significant part of my life immersed in the ever-evolving world of television, I can wholeheartedly agree with Kate Erwich’s insights. Procedurals, often underestimated for their simplicity, are indeed deceptively complex. They mirror our reality, reflecting the world we live in, and have an uncanny ability to resonate deeply with audiences.
The focus isn’t simply on quantity, but rather quality and selection. Instead of catering strictly to certain audience segments, it’s more about providing a diverse range of content that can match the varying preferences and moods of our subscribers over time.
Craig Erwich, president of Disney Television Group, describes the task of curating content for Hulu Originals, ABC Entertainment, Disney Branded Television, and Freeform in an interview on the “Strictly Business” podcast by EbMaster. He likens this multifaceted role to hosting a huge “potluck party,” where each guest brings a different dish, symbolizing the variety of content from broadcast (ABC), cable (Disney Channel, Freeform) and streaming platforms (Disney+, Hulu).
Erwich emphasizes that our approach has never been centered on quantity, but rather on quality and precision in all aspects – from development and production to launching and promoting our shows.
According to the executive, Disney’s collection of linear channels serves as a powerful driving force behind its subscription-based streaming platforms such as Hulu and Disney+.
Erwich explains, “Our direct-to-consumer customers have diverse preferences.” He continues, “We need to cater to everyone, not just their personalities but their current moods. One day they might want to watch ‘The Kardashians’, while another day they may prefer a more complex show like ‘The Handmaid’s Tale’. By ensuring each brand has its unique niche, we can ensure that our resources are effectively distributed and we offer a varied buffet for our customers every day.
In 2014, Erwich took on the role of head of content at Hulu. Prior to this, he spent 12 years working as a programming executive for Fox Broadcasting Co., followed by almost seven years in production at Warner Horizon Television. Given his experience in buying and selling programs, Erwich has a unique insight into how streaming is disrupting the traditional pay-TV industry’s norms and financial margins. Simultaneously, he believes that the different divisions of Disney’s TV and movie business could collaborate more effectively for mutual benefit. For instance, he thinks that making episodes easily accessible for catch-up viewing on streaming platforms like Hulu would be beneficial for networks such as ABC, which has seen significant success with shows like “Abbott Elementary” and the crime drama “Will Trent.
Today, we have the ability to deliver broadcast shows more effectively than ever before, as we can make these shows accessible exactly where viewers prefer to watch them, at times that suit their convenience. For some individuals, watching a show live when they get home from work is still appealing, and we cater to their preferences. However, there are others who wish to view a show the following day, a week later, or even two weeks later, and Hulu provides this flexibility for them.
Listen to the full podcast:
https://omny.fm/shows/strictly-business/disney-tv-group-chief-craig-erwich-on-managing-a-p/embed
From my perspective, I can’t help but acknowledge that Disney recognizes YouTube as a crucial tool for showcasing a mix of fresh and classic content to today’s youth. It’s essential that Disney characters remain within easy reach for the young generation who instinctively seek entertainment on YouTube.
Erwich notes that younger generations consume television content in unique ways, requiring us to adapt accordingly. Furthermore, we’ve been proactive in creating content for YouTube, as it’s a platform where many of our viewers reside. We have a specialized team focusing on this, and the Disney Channel on YouTube is among the largest channels available.
Disney excels in a competitive market not only through its innovative distribution strategies and marketing skills, but also by attracting viewers, subscribers, and creative collaborators effectively.
Regarding exceptional talent, we take pride in our ability to effectively nurture and value it. These individuals pour their heart and soul into their projects, treating them not as mere products but as personal creations. Therefore, when you work with us, you’re dealing with someone’s cherished project, requiring gentle handling to ensure continued collaboration with the creative community.
Erwich emphasizes the extent to which Disney can promote its key Mouse House projects across all company divisions, including shows like “Shogun” on FX, “The Golden Bachelor” on ABC, and the annual Oscars broadcast, as well as Hulu’s “Only Murders in the Building.” With its wide-reaching influence, Disney can seamlessly integrate promotions for a series like “Shogun” into various platforms such as theme parks, retail stores, ESPN, game shows like “Jeopardy,” morning shows like “Good Morning America,” and late-night shows like “Jimmy Kimmel Live.
As a cinephile, I can’t help but share some exciting news! We’ve got this special feature called “Disney Spotlight.” Occasionally, for a select few shows, we activate it. When we do, trust me, you’ll definitely feel the change!
Despite the shifting sands of audiences moving to online platforms, Disney is continuing to invest in high-profile scripted procedural dramas for ABC. Those include the launch this month of procedurals “High Potential,” starring Kaitlin Olson, and “Doctor Odyssey,” toplined by Joshua Jackson. As evidenced by “Grey’s Anatomy,” which is closing in on 20 years and counting, procedurals can be a great investment. To wit, the Alphabet network was happy to take on Ryan Murphy’s first-responder potboiler “9-1-1” (produced by Disney’s 20th Television) once Fox dropped the show last year after six seasons.
Erwich points out that procedurals often don’t receive enough recognition for their exceptional execution. He describes them as appearing simple but being quite deep, and adds that they mirror our current world exceptionally well. Interestingly, it was only broadcast shows that tackled the impact of the pandemic, such as ‘Grey’s Anatomy,’ ‘9-1-1,’ the ‘Law & Order’ series, and ‘The Good Doctor.’ These shows highlighted the struggles of frontline workers and portrayed real-life stories of heroes during this challenging time.
Other highlights from the conversation:
Hulu Amps Up the Laughter: In the forthcoming months, Hulu plans to increase the frequency of their original standup comedy specials. The “Hularious” project is a continuation of our comedy-focused strategies, according to Erwich. “We’re returning to the strategy we used with our other original programming, which involves partnering with top-tier talent, curating content, and making each event unique,” he said. “So we’ll have one per month, featuring comedians like Jim Gaffigan and Bill Burr as well as emerging voices we’re eager to debut.
Insights from “The Golden Bachelor”: Last fall, ABC found success by highlighting a 72-year-old former restaurateur in their long-running dating reality series, a move that generated much praise within the company. The show, dubbed “Golden Bachelor,” was carefully crafted and timed to launch during the [2023] strikes, providing an ideal opportunity. The show quickly became more than just a success; it resonated culturally in the television world, making a significant impact last year. Its heartwarming and humorous nature, combined with its aspirational and entertaining elements, made it a popular choice for viewers to watch together.
Eagerness for “The Golden Bachelorette”: Erwich can’t wait to see the response of the audience when the latest version of the dating show premieres on September 18, featuring 61-year-old private school administrator Joan Vassos as the main character. According to Erwich, what makes it special is that this time around, it’s the men who are competing for the woman’s hand. And these men are at an age where they know their identity well. “They’re there to enjoy themselves,” he says. “They’ve achieved what they set out to in life, so they’re supporting each other. They’re also rooting for her. The entire show offers something to support. It’s something that puts a smile on your face from start to finish.
A Traditional Comeback for “9-1-1”: Sometimes, Brad Erwich frets about the declining spectacle that used to characterize successful TV dramas in an era that’s more focused on streaming. When “9-1-1” moved to ABC in March this year, executive producers Ryan Murphy and Tim Minear ensured the drama was intense when Season 7 premiered. “It’s a forgotten skill now. We kicked off [‘9-1-1’] with a classic multi-episode storyline about an emergency on a cruise ship. Ryan and Tim excelled at it once again,” Erwich remarks.
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2024-09-18 19:47