The growing complexity of commissioning
The process of renewing and cancelling scripted shows used to be pretty straightforward. But these days there is a growing number of variations on this theme.
Recently, for example, we shone a spotlight on Nashville, which was cancelled by ABC and then revived by CMT. And this week, we have a reverse example in the shape of HBO’s Vinyl.
In this case, the music-based series was initially given a second season but has now been cancelled. Despite much hype and creators including Mick Jagger and Martin Scorsese, the first season didn’t rate well and was a prime candidate to get the chop when it finished airing in April.
Instead, programming chief Michael Lombardo decided to stick with it. Now, however, Lombardo has been replaced by Casey Bloys and it is he who has called time on the series. A similar thing happened to VH1’s Hindsight earlier in the year, though in that case it was a change in editorial direction, not bad ratings, that drove the decision.
‘Uncancellations’ and ‘unrenewals’ are not the only new developments in the scripted market. As we’ve reported before, there is also a growing trend for US networks to order two or three seasons of a hit show in one go as a way of locking up the key talent involved (a high-profile example being Netflix’s Orange is the New Black).
We’re also seeing situations where international coproductions have to rejig their broadcast partner structure because one of them drops out or is no longer regarded as suitable. Netflix, for example, has just replaced BBC America as a partner on period series The Last Kingdom.
Then there is the emerging tendency for shows to be co-commissioned by networks (such as the recent simulcast of Roots across A+E’s main US cable channels) and for commissions that are destined to start their life on OTT or SVoD platforms.
We’ve seen Amazon, Netflix and Hulu lead the way on this latter development, of course, but now we have a number of shows that have opened or will open their account on platforms like Crackle, BBC iPlayer or CBS All Access.
At the Cannes Lions International Festival of Creativity this week, CBS CEO and president Les Moonves talked about the decision to debut the latest TV reboot of Star Trek on CBS All Access, an OTT platform that costs US$5.99 per month. It is due to launch in January.
According to Moonves, every part of CBS wanted to get its hands on Star Trek first – and there was also a lot of interest from third-party platforms like Netflix. But it’s a sign of the changing profile of the TV business that a company like CBS that makes most of its money from advertising and syndication/distribution should place this iconic property on a nascent subscription service.
Other interesting developments have seen creators, rather than networks, call time on series.
Showtime’s Penny Dreadful, for example, was still in good shape when it came to the end of season three. But creator John Logan has simply decided it has reached its natural end: “I created Penny Dreadful to tell the story of a woman grappling with her faith, and with the demons inside her,” he said. “For me, the character of Vanessa Ives (played by Eva Green) is the heart of this series. From the beginning, I imagined her story would unfold over a three-season arc, ending with Vanessa finding peace as she returns to her faith.”
This is an interesting dynamic, because it runs counter to the usual notion of TV networks being the all-powerful decision-makers, with creatives holding their breath in anticipation of a recommission. As TV becomes increasingly reliant on A-list auteurs and high-profile actors for content that cuts through the clutter of competition, it will encounter this situation more and more.
Maybe networks and distributors will want six or seven seasons of a show in order to fully monetise their investment, but the creative in question may only want to do two or three seasons before following their muse somewhere else. It’s an interesting conundrum that is an inevitable part of a TV system that has become more film-like in terms of its approach. In the case of actors, the problem can be addressed through the use of anthology-style series, but with writers it’s not so simple.
Reference to anthologies is, of course, another example of how the traditional commissioning model is adapting to the realities of 21st century television. Franchises like American Horror Story, Fargo and True Detective are all examples of how networks can, in effect, get a completely new show while leverage existing brand awareness.
This kind of renewal can have a re-energising effect on a show – and it’s not the only way that the drama business tries to breathe new life into shows.
Showrunner replacement, especially in the context of the US, is an increasingly common way of trying to sustain a franchise that networks like but don’t think is firing on all cylinders – or where the original showrunner is maybe running out of juice, or distracted by other projects.
We’ve also seen the interesting example of Supergirl moving from CBS to The CW in pursuit of a more appropriate audience.
Finally, in the increasingly complex world of commissioning and renewal, we’ve seen the emergence of the spin-off, which, like the anthology, seeks to marry fresh content with brand track record. Dick Wolf’s Chicago family of shows for NBC and Fear The Walking Dead for AMC show that this approach can work across the range. All in all then, the world of hits and misses, renewals and cancellations, has become much more sophisticated in the multiplatform universe.
Away from the complexities of commissioning and cancellation, one of the big new debuts of the week was Greenleaf, a new scripted series for Oprah Winfrey Network (OWN) that stars Winfrey herself. The premiere of the drama attracted an audience of 3.04 million and a 2.18 rating in OWN’s target market of women aged 25 to 54. That makes it the biggest series launch in OWN’s five-year history.
Written by Craig Wright and executive produced by Winfrey and Clement Virgo, Greenleaf is produced by Lionsgate and explores the inner workings of the powerful family behind a Memphis megachurch.
With its predominantly African-American cast and characters, it’s the latest example of the pulling power of shows that appeal to the black audience in the US. It’s also an example of the immense appeal of Winfrey in any screen incarnation (chat show, TV drama or film).
Compared to other cable networks, Greenleaf was the most-watched show on its debut evening. It is also the second-most-watched scripted cable debut of 2016 so far after FX’s American Crime Story: The People vs OJ Simpson – which reinforces the point about subject matter that resonates strong with the black community.