This season, there’s been a noticeable revitalization in the world of television broadcasting. While cable is grappling with its issues and streaming services are going through some growing pains, traditional broadcast networks have managed to regain their relevance. This is evident in the success of fresh shows like ABC’s “High Potential” and CBS’s “Matlock”, as well as the intriguing development that streaming platforms are attempting to resemble contemporary broadcast networks themselves. They’re seeking out popular genres such as live sports, award shows, and procedural dramas in their pursuit of staple content.
Craig Erwich, who holds a distinct role of managing both a broadcast network and a streaming platform (having spent his formative years in the broadcast industry), finds such an idea amusing. As president of Disney Television Group, encompassing ABC Entertainment, Hulu Originals, Disney Branded Television, and Freeform, Erwich strategically employs these platforms to boost each other’s audiences – for instance, “High Potential” on Hulu can be found on ABC, while “Only Murders in the Building” is available on Hulu but also airs on ABC.
He shares with EbMaster that “The broadcast has continued for us.” He adds that he frequently encounters individuals who share with him that their children are tuning into ‘The Rookie’ and that this series, now in its seventh season, is just beginning for them, starting from the very first episode.
On Thursday, ABC disclosed many of its upcoming fall shows. Alongside the previously announced returns of “Abbott Elementary” and “High Potential”, as well as newcomer “9-1-1: Nashville”, we’ll also see the return of “9-1-1”, “Grey’s Anatomy”, “The Rookie”, “Shifting Gears”, and “Will Trent”. The network is yet to decide on “Doctor Odyssey” and several other unscripted shows.
Before the announcement was made, a conversation took place between EbMaster and Erwich. They discussed various topics such as pickups (with the future of “Doctor Odyssey” being one of them), his thoughts on the renewed interest in broadcasting, whether this could affect the Emmy race where broadcast has been largely overlooked in recent years, how the ABC/Hulu system functions, the type of ratings he focuses on when making decisions, and whether there’s any truth to the belief that Hollywood prefers content from “middle America”. Additionally, they touched upon the future plans for “The Kardashians”, among other things. The interview below has been shortened for space and clarity.
The broadcast is back again! I’m using playful language, but it seems like everyone can’t stop discussing this trend during the upfront. What are your thoughts on this storyline?
Personally speaking, these days, I can’t help but marvel at the exceptional quality being delivered on the small screen, particularly by ABC. Shows like “High Potential,” “Will Trent,” and “Abbott Elementary” are among the finest I’ve encountered in my viewing journey, not just within my scope, but across television as a whole.
As these series progress into their second, third, and fourth seasons, they continue to develop depth and complexity that leaves me in awe. A recent episode of “Will Trent” that took the form of a musical extravaganza was nothing short of breathtaking. If you haven’t checked them out yet, I highly recommend giving these shows a watch.
For decades, we’ve been passionately involved in the broadcast industry. To me, this means that the opportunities for broadcasting have significantly grown. The kind of content that succeeds in broadcast and the overall experience, but there’s now an additional opportunity – a highly significant and lively one for such content – on Hulu. This new platform is where many people prefer to watch their shows. When we analyze the statistics, it appears that about two-thirds of the viewing of “The Rookie” since its debut have taken place in the last two years. This indicates a new wave of viewers discovering series like “The Rookie” and “Grey’s Anatomy.” We are now focusing on creating more libraries of television shows, with hundreds of episodes each, for the upcoming generations.
Could it be possible that the audience may not identify these programs as ABC shows? Instead, they might categorize them as Hulu shows, or even Netflix shows in certain instances.
The essence lies in the fact that people enjoy these shows, regardless of the platform they’re watching them on. Many people continue to tune into ABC each night to catch these shows, a practice that holds strong tradition for many. We respect and value this. Some viewers might associate the quality of these shows with Hulu, which benefits us. And that’s perfectly fine.
It appears that live streaming platforms are adopting strategies similar to traditional broadcasters by hosting live events, serial programming, and extended episodes. Recently, there’s been a lot of humor about how these streamers are seemingly reinventing broadcast TV. What are your thoughts on this trend?
I find it fascinating, as our company has always appreciated the enduring appeal of broadcast TV. For instance, consider Ellen Pompeo who’s been a constant presence in households for over two decades. People have grown up with her, creating an extraordinary connection between the show and its audience. We’ve been fortunate to reap the benefits of this bond, and proudly claim responsibility for it. It’s no wonder that others are now aiming to replicate what we’ve achieved in our unique context.
Are you expressing the viewpoint that constructing a library remains crucial, and broadcast is currently the sole platform airing 22 episodes. Is it possible that Hulu might produce a 22-episode series at some point, or do you believe this format may not be financially viable in the streaming world?
Note: The phrase “broadcast is currently the sole platform airing” can also be rephrased as “only broadcast is airing” for a slightly more concise version.
In your opinion, does the importance of constructing a library still hold true today, and are there only 22 episodes being aired on broadcast? Could it be possible for Hulu to produce a 22-episode series, or is this format less economically viable in the streaming industry?
This version maintains the original meaning while using slightly different wording to provide variation and ensure readability.
We certainly have the ability to carry out that plan. Here’s my take on it: As a streaming platform, we possess an unique advantage – we can debut specific series first on ABC before they air on our platform. This strategy is effective in promoting these shows. In essence, “The Rookie” and “High Potential” are initially Hulu series; we’re simply premiering them three hours earlier on ABC.
Is it your belief that today’s creative circle views things in a similar manner? Previously, there seemed to be a certain prejudice against creating a broadcast program. “As an artist, I prefer to produce a streaming show.”
It’s clear that the creative community appreciates the potential for outstanding productions on broadcast platforms, as evidenced by series like “Abbott Elementary,” “Will Trent,” and “High Potential.” These shows serve as proof that intriguing, creative work can still thrive at ABC. We welcome those who are inspired to join us in this endeavor. Additionally, when you consider the viewership numbers across multiple platforms (including streaming), we hold five of the top-ranked shows. This success not only validates our efforts but also serves as a powerful incentive for others to get involved.
So, where you see the utility of a broadcast network is in this ecosystem?
There are specific genres of television programming that do well when they’re on air, such as long-lasting dramas, lighthearted sitcoms suitable for families, live events, and popular unscripted shows like “The Bachelor,” “Dancing with the Stars,” “American Idol.” These types of shows offer an enjoyable viewing experience where people look forward to watching them with their loved ones. From a commercial standpoint, airing these shows on platforms like Hulu helps generate buzz and interest for them. The relationship between ABC and Hulu creates a dynamic, positive environment for word-of-mouth advertising and viewer engagement. I truly believe that we excel in this area more than anyone else.
Have you been trying out airing “Only Murders in the Building” and “Paradise” on ABC? Can we expect more of this collaboration? Could you explain the approach behind combining shows from Hulu and ABC?
Our approach is to carefully select the finest programs, such as “Paradise,” which we believe will appeal most to our audience. This top-rated series, like this year’s best, serves as a treat for our ABC viewers who may not have access to Hulu or haven’t seen it yet. By making it available to them, we are providing an opportunity for discovery and enjoyment. The quality of the show truly honors our audience by prioritizing their preferences above all else.
Since adjustments would need to be made to make the show suitable for broadcast, isn’t that correct? How challenging would it be to transfer such a program to ABC?
Primarily, it’s about the size and style. I wouldn’t create a program for ABC that demanded significant creative concessions. There are particular genres of shows, either due to their tone or production methods, which tend to necessitate this approach. It isn’t a blanket rule for all shows. We’re not just indiscriminately producing everything.
I’m eager to find out if the Emmy voters will handle “High Potential” and “Paradise” differently due to their being a broadcast show versus a streaming show. Could it possibly influence the way both shows are evaluated by the Academy voters? What do you think?
As a movie enthusiast, I firmly believe that the key to winning over viewers or critics lies in letting them experience the show firsthand. That’s why being broadcast on ABC as well as streaming on Hulu could work to our advantage, maximizing its potential reach. I truly hope Kaitlin Olson receives a nomination for her outstanding performance – it would be a letdown if she isn’t recognized.
Is there still a little bit of a bias against shows that are branded as broadcast network shows?
There might be some bias at play, but ideally, outstanding work should receive recognition. For instance, “Abbott Elementary” has been extensively praised by critics and award organizations. I’m optimistic that the same appreciation will extend to “High Potential” and “Will Trent”. Let’s try not to be overly skeptical about it.
However, the broadcast industry can be quite skeptical. It’s been challenging for it to penetrate the realm of scripted genres in the past few years.
One reason I’m looking forward to our conversation today is because of the potential revival of broadcasting. I hope this resurgence might expand our chances during award nominations in the future.
When examining the data provided by Hulu and ABC, are there specific metrics – such as L+35 or multi-platform data – that you primarily rely on to assess a show’s success?
Our primary emphasis is on multi-platform strategy, as it encompasses the majority of viewer engagement we can achieve across both broadcast and our own platforms. I often ponder over the consumption patterns of our shows – for instance, if a series consists of 10 episodes, do viewers watch all ten? Or does the number drop when we have 20 episodes? Are they returning each week? The recurring viewership is crucial because it indicates the show’s quality and its ability to engage and retain an audience. In essence, it speaks volumes about the show’s potential to inspire loyalty among our viewers.
Let’s discuss a few of the shows. “Shifting Gears” seemed to be on the edge, starting off strong but then dropping in ratings afterwards. How did it manage to get renewed and what factors did you consider during the decision-making process?
In the realm of ABC comedy, we’ve been revitalizing and redefining the family sitcom for years by introducing fresh perspectives. The combination of Kat Dennings and Tim Allen, along with presenting a different side of Tim, is one such novelty. Given Tim’s immense fame on television, it’s no surprise that the show had a grand opening. However, as is usual after a premiere, there’s often a decline in viewership. Yet, we’re more than satisfied, not just with the show’s audience numbers, but also with its creative direction. Watching those two together is an absolute delight and I could easily spend all day doing so!
This still only gives you two sitcoms on ABC. What’s the goal for comedy on the network?
ABC has a strong tradition for family comedies, and we’re excited about this genre. We’re optimistic about its future, and we plan to keep producing fresh, new shows in this area.
Anything in the hopper that’s close to any pickup?
We have an active and exciting development slate, but I don’t have anything to share right now.
Haven’t you decided about the future of “Doctor Odyssey” yet? What factors will guide your decision in the upcoming weeks?
We greatly appreciate “Doctor Odyssey.” Currently, we’re brainstorming and discussing ideas for the series with Ryan, who is quite occupied at the moment. He’s currently involved in numerous projects including “9-1-1,” one of the top-rated shows on TV. Recently, we’ve expanded the order for “9-1-1: Nashville” where Chris O’Donnell features. I believe it offers a distinctive backdrop for our main franchise. Not too long ago, we debuted “Mid-Century Modern.” Given his busy schedule, it’s no wonder Ryan is so occupied, as he’s delivering outstanding work on these projects. As for the future of “Doctor Odyssey,” we’ll follow Ryan’s lead in deciding its next chapter. Currently, we’re engaged in creative discussions about this. Ryan is a fantastic collaborator.
What else are you looking at priority-wise with Ryan?
Our whole team is eagerly anticipating the upcoming Hulu series, which stars Ryan Murphy, Kim Kardashian, Glenn Close, Naomi Watts, and Niecy Nash in a unique legal drama. This show promises an experience unlike any other that viewers will be amazed by.
ABC currently doesn’t have any pilots competing this season. Therefore, “9-1-1: Nashville” is the sole new series available for fall viewing. Are there plans for additional shows? What’s the strategic approach being considered for the number of new shows to be announced by ABC?
For quite some time now, our focus has been on a continuous development cycle throughout the year. We’ve achieved great milestones by premiering shows in January and midseason, and we see these as valuable opportunities moving forward. The idea that everything needs to be pilot-ready for a fall launch is not a priority we heavily emphasize. There are some projects I’m really looking forward to, but at this stage, it’s premature to disclose details about them.
Do you think you’ll be announcing more come May? Or is that not a deadline like it once was?
The importance we place on upcoming fall shows from now until September is not just because of a deadline, but rather the content itself. Historically, we’ve found success in concentrating on one or two projects for each fall and midseason. You might recall that in the past, networks often produced 20 pilots, launched multiple shows simultaneously, and hoped one would succeed. We’ve moved away from this approach by producing fewer pilots, launching fewer new shows, a strategy that has proven effective. Instead, we’re focusing on returning shows year after year based on their creative merit and marketing potential. This year, “High Potential” is coming back; last year it was “Will Trent,” and the year before that was “Abbott Elementary.
In our discussions concerning growth and expansion, there’s been much debate within the industry about focusing on content catering to the heartland or ‘Middle America’, considering the current situation in the country and the new government in office.
I haven’t noticed that before. However, it’s not surprising that people continually pursue success, whether it’s about shows like “Yellowstone” or “The Handmaid’s Tale.” Some of this is just typical. Our most popular shows on ABC are not exclusively for middle America or the west coast. Instead, they cater to a wide audience. If you think about it, programs such as “Idol” and “Grey’s,” for instance, have been part of various political and cultural periods in our country. We aim to produce things that stand the test of time. So ideally, in ten years, someone might sit down to watch “Will Trent,” regardless of the political climate, and think, “Wow, I love this character, and I’m amazed by his story, and these cases are so intriguing and unique.” That’s our aim, not to predict where we are at any given moment.
When renewing a show such as “Shifting Gears,” with a star who has a reputation for conservative views, do you consider this differently compared to other shows? Has your perspective changed in any way?
As a devoted film enthusiast, I can’t help but extol the virtues of “Shifting Gears.” Tim Allen, with his exceptional perspective honed over four decades in entertainment, delivers a captivating blend of humor, warmth, and uniqueness that makes this show truly special. His chemistry with Kat Dennings is nothing short of magical, and it’s this connection that draws us in, keeps us engaged, and makes “Shifting Gears” stand out. In my humble opinion, Tim Allen is a class-apart talent, and “Shifting Gears” is an exceptional show worthy of recognition, regardless of who holds the presidential office.
Have we received any updates about the renewal of “The Bachelor”? There’s been some changes within the show’s production crew. So, what’s the current situation regarding “The Bachelor” franchise?
As a devoted cinephile, I’m thrilled to say that there’s no new update at the moment. However, let me tell you, the finale was nothing short of spectacular! It ranked among the top-rated episodes in its series, sparking plenty of debate among viewers. The way Grant performed really got people talking. Rest assured, we’re being meticulous about selecting and shaping future seasons of “The Bachelor.” This summer, get ready for “Bachelor in Paradise” with a truly unique twist – an intriguing blend of multi-generational personalities from the original cast and the “Golden” universe!
As a devoted fan of “Dancing with the Stars,” I’m eagerly anticipating its return for another season. Fingers crossed, it seems like it’s on track for renewal!
We’re eager to announce some updates shortly. Much like how talk shows have discovered innovative platforms and reached fresh viewers, the creators of “Dancing with the Stars” tapped into TikTok this year, drawing in an entirely new fanbase for the program.
Did Disney recently extend the collection of their animated series on Fox by four years, with these shows also being available on Hulu as a secondary platform? There were rumors that perhaps ABC or Hulu might take over these shows for their initial airing. Was such a scenario ever plausible?
We’re quite satisfied with the current setup, as Hulu serves as a hub for adult animation. Our selection beats everyone else’s hands down. “The Simpsons,” “Family Guy,” and both old and new seasons of “Futurama” and “King of the Hill” are part of our offerings. I believe people will appreciate the revival of “King of the Hill.” It’s remarkably relevant to today without overdoing it. Through a fresh lens, you can now view Hank Hill in an entirely new light.
What are your thoughts about the future of late-night TV, given CBS is reducing its presence in this area? Jimmy Kimmel will be around for a while, but when he eventually steps down, what do you imagine ABC might do instead? Is it possible that we’re witnessing the gradual decline of these long-running franchises?
We find ourselves in a particularly advantageous situation, as Jimmy has reigned supreme over late-night programming for the longest time among all hosts across these franchises. Night after night, he continues to deliver exceptional performances. And it’s this fact that we are concentrating our efforts on – having him here with us.
Talk has been a tougher nut for the streamers to crack. Do you think Hulu might try again?
I would never preclude anything. It’s always about right time and right talent.
As a big fan, I can’t help but share my thoughts about the “Hularious” initiative from Hulu. So far, it seems that nothing has quite made a lasting impact, and I’m wondering if there might be any changes coming down the line to shake things up?
We’re still in the initial stages, but I believe some of our content has made a significant impact. The latest addition by Bill Burr has sparked a massive response, not just from people who found it enjoyable, but also those who watched it extensively. Our debut with Jim Gaffigan was highly successful. We’ve got more exciting releases on the horizon, such as Sebastian Maniscalco.
In the unscripted series on Hulu, “The Secret Lives of Mormon Wives” performed quite well and seemed to cast a shadow over “The Kardashians” somewhat. Do you think “The Kardashians” will continue indefinitely on Hulu? What might their future look like there?
The Kardashians consistently maintain their position as the talk of the town, both on and off camera, demonstrating an uncanny ability to stay current and adapt. I believe they’ll be around for quite some time yet. Working with them has been a delightful experience. They’re not only engaged, smart, and savvy, but also among the most intelligent individuals I’ve collaborated with. I think our collaboration on “Secret Lives” is a perfect fit, showcasing that we’re the ideal platform for such intriguing programs. I was genuinely pleased by the response to “Secret Lives.” It resonated deeply with viewers, who were eagerly anticipating it.
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2025-04-03 22:49