View Full Version : The CW Upfront/General News and Discussion: 2023-24


TJ
05-18-2023, 10:51 AM
2023–24 United States network television schedule - https://en.wikipedia.org/wiki/2023%E2%80%9324_United_States_network_television_schedule

Blog story: https://blog.sitcomsonline.com/2023/05/the-cw-upfront-2023-24-fall-2023.html

THE CW NETWORK ANNOUNCES ITS SEVEN-NIGHT PRIMETIME SCHEDULE FOR 2023-2024

The CW Kicks Off the Week with Returning Multiplatform Hit “All American” on Mondays Followed by the Gripping Drama “61st Street” Starring Courtney B. Vance

Comedy is Back on The CW on Tuesdays with New Series “Son of a Critch,” “Run the Burbs,” “Children Ruin Everything,” and “Everyone Else Burns”

New Female-Led Dramas “Sullivan’s Crossing” and “The Spencer Sisters” Debut on Wednesdays

Thursdays Welcome a Brand New Season of the Acclaimed Reality Dating Franchise “FBOY Island” Hosted by Nikki Glaser

“Penn & Teller: Fool Us” Returns for a Magical Season 10 Along with New Host

Brooke Burke on Fridays Followed by an All-New Season of “Whose Line Is It Anyway?”

The Enchantment Continues with “Masters of Illusion” on Saturdays followed by a Fresh Season of Laughs with “World’s Funniest Animals”

Sunday is a Night of Co-Viewing With the Fascinating Series of “I Am” Films

Star-Studded “Critics Choice Awards” Return to The CW on January 14, 2024

Season Four of the Returning Hit Series “Walker” and Highly-Anticipated “FGIRL Island” to Premiere in Midseason

May 18, 2023 (Burbank, CA) — The CW Network will launch its seven-night 2023-24 primetime schedule in the Fall of 2023 with a strategic mix of new and returning original scripted series and exciting new alternative programming, it was announced today by Brad Schwartz, President of Entertainment, The CW Network.

“This fall, The CW embarks on the first step to become bigger and broader by offering our viewers a wide variety of programming from premium adult dramas to bold comedies and binge-worthy unscripted franchises,” said Brad Schwartz, President of Entertainment, The CW Network.“We are presenting a fall lineup that includes classic CW series like the smash multiplatform hit ALL AMERICAN plus introducing new premium dramatic offerings such as 61ST STREET, SULLIVAN’S CROSSING and THE SPENCER SISTERS. We are proud to bring comedy back to The CW on Tuesday nights with some of the funniest and heartwarming family sitcoms on television with SON OF A CRITCH, RUN THE BURBS, CHILDREN RUIN EVERYTHING and EVERYONE ELSE BURNS. We are thrilled to welcome one of the biggest and most outrageous unscripted franchises on television, FBOY ISLAND, to The CW family alongside long-running hit alternative series PENN & TELLER: FOOL US, WHOSE LINE IS IT ANYWAY?, MASTERS OF ILLUSION and WORLD’S FUNNIEST ANIMALS. And Sundays will introduce a season-long family co-viewing night beginning with the acclaimed I AM film franchise. The new CW is now a broadcast network built for a broadcast audience.”

Mondays feature the return of The CW’s critically-acclaimed drama and most-streamed series ALL AMERICAN (8:00-9:00pm ET/PT), paired with the original dramatic thriller 61st STREET (9:00-10:00pm ET/PT), from executive producer Michael B. Jordan and starring two-time Emmy® Award winner Courtney B. Vance and Emmy®-nominee Aunjanue Ellis.

Comedy is back on The CW on Tuesday nights with the hilarious series SON OF A CRITCH from the executive producer of “Schitt’s Creek” and starring Golden Globe® nominee Malcolm McDowell, followed by the family sitcom RUN THE BURBS from award-winning “Kim’s Convenience” star Andrew Phung and CHILDREN RUIN EVERYTHING from the producers of “Schitt’s Creek” and “Letterkenny.” The night concludes with the coming of age family comedy EVERYONE ELSE BURNS from the executive producers of “Broad City” and “Emily in Paris.”

Wednesdays are the home for female led dramas beginning with SULLIVAN’S CROSSING (8:00-9:00pm ET/PT), based on the book series by best-selling novelist Robyn Carr and featuring the return of Chad Michael Murray and Scott Patterson to The CW, followed by the series debut of THE SPENCER SISTERS (9:00-10:00pm ET/PT) starring Lea Thompson and Stacey Farber.

Thursdays introduce one of the most popular and critically acclaimed reality dating franchises FBOY ISLAND (9:00-10:00pm ET/PT) to The CW, hosted by comedian and actress Nikki Glaser.

Two of The CW’s longest-running franchises come together on Fridays, with the tenth season of PENN & TELLER: FOOL US (8:00-9:00pm ET/PT) featuring new host Brooke Burke paired with the twelfth season of WHOSE LINE IS IT ANYWAY? (9:00-9:30pm & 9:30-10:00pm ET/PT).

The CW’s hit alternative series MASTERS OF ILLUSION kicks off Saturdays (8:00-8:30pm & 8:30-9:00pm ET/PT), followed by new hilarious episodes of WORLD’S FUNNIEST ANIMALS (9:00-9:30pm & 9:30-10:00pm ET/PT).

Sundays are a night of co-viewing programming appealing to history buffs and pop culture lovers with the award-winning I AM documentary film franchise (8:00-10:00pm ET/PT), a series of 15 documentary features that showcase and celebrate American and global icons including Jackie O, Alfred Hitchcock and Burt Reynolds.

This midseason, The CW will once again be the home to the renowned CRITICS CHOICE AWARDS airing on Sunday, January 14, 2024. Midseason will also feature the Season 4 premiere of WALKER, the network’s most-watched linear series in Total Viewers, and the series premiere of the highly-anticipated unscripted spinoff FGIRL ISLAND.

Following is The CW’s Fall Primetime Schedule for the 2023-2024 Season and accompanying details on each new series.

THE CW’S 2023 FALL PRIMETIME SCHEDULE

MONDAY
8:00-9:00PM ALL AMERICAN (Season 6)
9:00-10:00PM 61st STREET (New Series)

TUESDAY
8:00-8:30PM SON OF A CRITCH (New Series)
8:30-9:00PM RUN THE BURBS (New Series)
9:00-9:30PM CHILDREN RUIN EVERYTHING (New Series)
9:30-10:00PM EVERYONE ELSE BURNS (New Series)

WEDNESDAY
8:00-9:00PM SULLIVAN’S CROSSING (New Series)
9:00-10:00PM THE SPENCER SISTERS (New Series)

THURSDAY
8:00-9:00PM FBOY ISLAND (Encore Episode)
9:00-10:00PM FBOY ISLAND (New Series)

FRIDAY
8:00-9:00PM PENN & TELLER: FOOL US (Season 10)
9:00-9:30PM WHOSE LINE IS IT ANYWAY? (New Season)
9:30-10:00PM WHOSE LINE IS IT ANYWAY? (Encore Episode)

SATURDAY
8:00-8:30PM MASTERS OF ILLUSION (Season 10)
8:30-9:00PM MASTERS OF ILLUSION (Encore Episode)
9:00-9:30PM WORLD’S FUNNIEST ANIMALS (Season 4)
9:30-10:00PM WORLD’S FUNNIEST ANIMALS (Encore Episode)

SUNDAY
8:00-10:00PM I AM FILMS

All times Eastern/Pacific

THE NEW FALL 2023 SERIES:

61ST STREET

From BAFTA-winner Peter Moffat, J. David Shanks and Outlier Society, 61ST STREET is a propulsive thriller which courses through the dark heart of the infamous Chicago criminal justice system as police and prosecutors investigate a deadly drug bust that threatens to unravel the police department’s code of silence. Two-time Emmy®-winner Courtney B. Vance (“The People v. O.J. Simpson: American Crime Story,” “Lovecraft Country”) leads an ensemble cast that includes Emmy®-nominee Aunjanue Ellis (“When They See Us,” King Richard), Mark O’Brien (“City on a Hill,” “Blue Bayou”), Holt McCallany (“Mindhunter,” “Lights Out”), Tosin Cole (“Doctor Who,” “Hollyoaks”), Andrene Ward-Hammond (“Your Honor,” “Manifest”) and Bentley Green (“Snowfall,” “Sweet Magnolias”). From AMC Studios, 61ST STREET is executive produced by Moffat (“The Night Of,” “Your Honor”), Shanks (“The Chi,” “Seven Seconds,” “Shots Fired”), Michael B. Jordan and Outlier Society (Creed III), Alana Mayo (Tom Clancy’s Without Remorse, Just Mercy), Jeff Freilich (“Lodge 49,” “Dispatches from Elsewhere”) and Hilary Salmon (“MotherFatherSon,” “The Night Of,” “London Spy”).

CHILDREN RUIN EVERYTHING

Created by Golden Globe® and Emmy® Award-winner Kurt Smeaton (“Schitt’s Creek”), CHILDREN RUIN EVERYTHING is a half hour comedy that follows Astrid (Meaghan Rath, “Being Human,” “Hawaii Five-0”) and James (Aaron Abrams, “Blindspot,” “Hannibal”), as they raise their two young children in the city, while struggling to hold onto their pre-kid life. Illustrating the hilarious and varied ways kids can wreck happiness, alter plans, annihilate goals and dreams, and force parents to re-invent their lives, the series also explores how maybe that re-invented life is somewhat okay, too. Nowhere near as good as that old, really great life. But still kind of nice. The series also stars Ennis Esmer (“Blindspot,” “Schitt’s Creek”), Nazneen Contractor (“Ransom,” “Heroes Reborn”), Logan Nicholson (“Blues Clues and You”), Mikayla SwamiNathan, Dmitry Chepovetsky (“Killjoys,” “Departure”), Veena Sood (“Corner Gas Animated,” “The Indian Detective”), Lisa Codrington (“Letterkenny,” “Anne With an E”), and Darius Rota. CHILDREN RUIN EVERYTHING is from award-winning New Metric Media. Chuck Tatham (“Modern Family,” “Arrested Development,” “How I Met Your Mother”), multiple Canadian Screen Award-winner Mark Montefiore (“Letterkenny,” “Shoresy”) and Meaghan Rath are executive producers, with Alyson Richards (“The Retreat”) serving as producer. The series is produced by New Metric Media in association with Bell Media’s CTV, with the participation of the Canada Media Fund and Bell Fund.

EVERYONE ELSE BURNS

Blessings be upon the Lewises: a strictly religious family who believe the world will end within the decade. Patriarch David (Simon Bird, “Friday Night Dinner,” “The Inbetweeners”) longs for the church to promote him. Long-suffering Fiona (Kate O’Flynn, “Landscapers”) hungers for a life beyond sermons and squash. Aaron (Harry Connor) is a model young believer — except his drawings feature the rest of the family burning in hell. And anxious 17-year-old Rachel (Amy James-Kelly, “Three Families,” “Military Wives”) is about to fall for someone who could save her social life, but also damn her soul. Co-produced by JAX Media and Universal International Studios, a division of Universal Studio group, for Channel 4, EVERYONE ELSE BURNS is created and written by Dillon Mapletoft and Oliver Taylor. JAX Media’s Tony Hernandez and Brooke Posch serve as executive producers with Molly Seymour (JAX Media) producing and Nick Collett directing.

FBOY ISLAND

Hosted by comedian and actress Nikki Glaser (“One Night with Nikki Glaser”), FBOY ISLAND follows three women who move to a tropical paradise where they’re joined by 26 men—13 self-proclaimed “Nice Guys” looking for love, and 13 self-proclaimed “Fboys,” there to compete for cold, hard cash. The women will navigate the dating pool together with the hope of finding a lasting love connection. By the finale, all will be revealed: who is a Nice Guy, who is an FBoy, who the women ultimately choose, and who walks away with the prize money. FBOY ISLAND is a social experiment that asks: Can FBoys truly reform or do Nice Guys always finish last? FBOY ISLAND is produced by STXtelevision. The series was created by Elan Gale (“The Bachelor” franchise) who is executive producing for TheYearOfElan Productions alongside Jason Goldberg for STXtelevision, Nikki Glaser, Noah Fogelson and Bob Simonds.

I AM FILMS

The I AM franchise is an industry-leading and award-winning series of feature documentary films that showcase and celebrate American and global icons. I AM was launched in 2012 with the release of I Am Bruce Lee. Quickly building off the film’s tremendous success, a slate of feature documentaries was created under the I AM banner and launched the franchise with I Am Steve McQueen followed by films on Evel Knievel, Chris Farley, John F. Kennedy Jr., Heath Ledger, Sam Kinison, Martin Luther King Jr., Paul Walker, Richard Pryor, Patrick Swayze, Jackie O, Burt Reynolds and Alfred Hitchcock. The films feature incredible casts and A-list storytellers that have an authentic and profound connection to its subjects, a distinct cinematic sensibility and meticulously curated archival content. I AM is created and produced by Network Entertainment led by producer Derik Murray and a producing team of John Barbisan, Jesse James Miller, Adrian Buitenhuis, Paul Gertz, Brian Gersh and Kent Wingerak.

RUN THE BURBS

RUN THE BURBS follows the Phams, a young, bold Vietnamese-South Asian family taking a different approach to living life to the fullest, while changing the way we think about contemporary family values and life in the burbs. Often the instigators of community events and always the first to know what’s going on in the neighborhood, the Phams have become the heart of their cul-de-sac. Through all the challenges and stresses of everyday suburban life, the Phams take on the world as a cohesive unit. Because together, nothing can beat phamily. Andrew Phung (“Kim’s Convenience”), who co-created and executive produces the series with Scott Townend, stars as stay-at-home dad Andrew Pham. Rakhee Morzaria (“What We Do in the Shadows”) stars as Andrew’s free-spirited entrepreneur wife Camille, Zoriah Wong (“Nancy Drew”) as their teenage daughter Khia, and Roman Pesino (“Odd Squad”) as their clever young son Leo. RUN THE BURBS is a CBC Original Production produced by Pier 21 Films and distributed by Fifth Season.

SON OF A CRITCH

Based on the award-winning, bestselling memoir from Mark Critch (“This Hour Has 22 Minutes”), SON OF A CRITCH is the hilarious and very real story of a young Mark coming of age in the 1980s. The series is a heartfelt window in the life of a child—who is much older inside than his 11 years—using comedy and self-deprecation to win friends and connect with the small collection of people in his limited world. The comedy stars Mark Critch as his father, Mike, and Benjamin Evan Ainsworth (Pinocchio) as young Mark. Claire Rankin (Molly’s Game) stars as Mark’s mother, Mary, alongside newcomers Sophia Powers and Mark Rivera, who play classmates of young Mark. Colton Gobbo (“Ginny & Georgia”) plays Mark’s older brother, Mike Jr., and Golden Globe® and SAG nominee Malcolm McDowell (A Clockwork Orange, Bombshell) also stars as Patrick “Pop” Critch. SON OF A CRITCH is created by Mark Critch and Tim McAuliffe (“The Office,” “Last Man on Earth”) and produced by Emmy® and Golden Globe®-winning producer Andrew Barnsley (“Schitt’s Creek”). The series is a co-production between Barnsley’s Project 10 Productions Inc. and Take the Shot Productions in association with CBC and Lionsgate Television, which handles worldwide distribution rights. SON OF A CRITCH is executive produced by Critch, McAuliffe, Barnsley and Allan Hawco. Renuka Jeyapalan, Perry Chafe, Amanda Joy and Anita Kapila serve as co-executive producers with Jeyapalan directing the first four episodes of the series.

THE SPENCER SISTERS

THE SPENCER SISTERS is a female-led, lighthearted procedural that follows mystery novelist Victoria Spencer (Lea Thompson, Back to the Future, “Caroline in the City”) and her daughter Darby Spencer (Stacey Farber, “Superman & Lois,” “Schitt’s Creek”) who are mistaken as sisters as they tackle puzzling cases. Joining the cast in supporting roles are Thomas Antony Olajide (Learn To Swim) as Darby’s high school best friend and local cop Zane Graham; Edward Ruttle (“Arctic Air”) as Darby’s high school flame Doctor Lucas Collins; Husein Madhavji (“Saving Hope”) as Victoria’s “IT Consultant” (a.k.a. hacker) Alastair Dhumal; Ayesha Mansur Gonsalves (“Sort Of”) as Victoria’s feisty literary agent Sarita Stark; Rodrigo Massa (“El Dragon: Return of a Warrior”) as Zane’s husband Antonio Pereira, who operates a Brazilian bistro; Kaitlyn Leeb (“Spinning Out”) as Lindsay Yip – a hotshot lawyer who is Lucas’ fiancée; and Adam Hurtig (Cult of Chucky) as the lead detective of the local police force. THE SPENCER SISTERS is produced by eOne and Buffalo Gal Pictures. The series is created by Alan McCullough (“Private Eyes”, “Rookie Blue”) and executive produced and co-showrun by McCullough and Jenn Engels (“Sort Of”). Jocelyn Hamilton and Tecca Crosby serve as executive producers for eOne. Phyllis Laing and Jennifer Beasley are executive producers for Buffalo Gal Pictures.

SULLIVAN’S CROSSING

Maggie Sullivan (Morgan Kohan, “Transplant,” “Batwoman”) is a star neurosurgeon who seemingly has it all, until her business partner is indicted for fraud and she finds herself charged with negligence. Looking to distance herself from the fallout, Maggie decides to leave Boston and return to her childhood home of Sullivan’s Crossing, a rustic and remote campground set against the stunning coastline still run by her estranged father, Sully Sullivan (Scott Patterson, “Gilmore Girls”). There, Maggie rekindles old friendships and builds new ones with the local residents, including a handsome newcomer, Cal Jones (Chad Michael Murray, “One Tree Hill”), who only serves to complicate her life further. As Maggie works on clearing her name and reputation, she is forced to confront her painful past, as she attempts to reconnect with a side of herself she had long forgotten. From executive producers Roma Roth and Christopher E. Perry, the team behind the hit series “Virgin River,” SULLIVAN’S CROSSING is executive produced by Reel World Management in association with CTV and Fremantle with Roth also acting as showrunner. Mike Volpe and Mark Gingras serve as producers. For Fremantle, Michela Di Mondo and Hilary Martin are executive producing. SULLIVAN’S CROSSING is distributed internationally by Fremantle.

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THE CW NETWORK BOLSTERS PROGRAMMING LINEUP WITH ORIGINAL SCRIPTED PRODUCTIONS AND PREMIUM UNSCRIPTED SERIES TO DEBUT IN 2024

“Game of Thrones” Star Sophie Turner Transforms Into a Notorious Jewel Thief in ITVX and The CW Network’s Original Co-Production “Joan”

“The Librarians” Franchise Returns with Brand New Spinoff “The Librarians: The Next Chapter”

Global Phenomenon “The Swarm” from “Game of Thrones” Producer to Premiere on The CW Network

TV’s Most Entertaining Matchmaker Is Back In “Patti Stanger: Millionaire Matchmaking”

Ride Along with Law Enforcement In the Action-Packed “The Force” From the Creator of “Jersey Shore”

Small-Town Bakeries Get Sweet Renovations In “The Great American Bakeover”

May 18, 2023 (Burbank, CA) — The CW Network unveiled details of upcoming original scripted productions and premium unscripted series set to premiere on the network in 2024, it was announced today by Brad Schwartz, President of Entertainment, The CW Network.

Scripted series currently in production include JOAN, an exhilarating six-part co-production between The CW Network and ITVX starring Emmy® award nominee Sophie Turner (“Game of Thrones,” X-Men: Dark Phoenix, “The Staircase”) as notorious jewel thief Joan Hannington, and THE LIBRARIANS: THE NEXT CHAPTER, a brand-new spinoff of the wildly successful fantasy adventure series “The Librarians” from writer and executive producer Dean Devlin (“Leverage,” Independence Day). Additionally, The CW Network will be home to the global hit eco-thriller THE SWARM from “Game of Thrones” executive producer Frank Doelger about an unknown enemy that lives deep below the sea.

Unscripted series currently in production include PATTI STANGER: MILLIONAIRE MATCHMAKING (working title), which follows the legendary matchmaker as she helps dating-challenged singles find their ideal mate, THE FORCE (working title) executive produced by “Jersey Shore” creator SallyAnne Salsano, which takes viewers for an adrenaline-filled adventure alongside members of law enforcement, and THE GREAT AMERICAN BAKEOVER (working title), which gives much-needed “bakeovers” to struggling small-town bakeries.

Premiere dates and times for these series will be announced at a later date. These production titles are in addition to the more than two dozen new series currently in various stages of development at the network.

“The CW is now open for business with everyone. We are developing homegrown shows with award-winning producers and fresh new voices, overseeing original big budget co-productions featuring A-list stars and owning quality content that appeals to broadcast audiences,” commented Schwartz. “JOAN is a captivating big swing drama led by a bonafide star in Sophie Turner as she brings the multilayered and dynamic real life jewel thief Joan Hannington to life. We are also thrilled to be the home of a potential new franchise with LIBRARIANS: THE NEXT CHAPTER, and we look forward to adding the must-watch global event series THE SWARM to our schedule next year. On the unscripted side, we have breakthrough ideas and formats from some of the most talented producers and well known talent in the business. PATTI STANGER: MILLIONAIRE MATCHMAKING brings a huge reality TV star back to the airwaves for more rounds of hilarious matchmaking, THE FORCE is an action-packed series that immerses viewers into the high-stakes world of law enforcement yet feels like a scripted procedural and THE GREAT AMERICAN BAKEOVER puts a sweet twist on the business makeover format. These exciting new scripted and unscripted series provide a strong mix of programming for The CW and there is a lot more to come.”

More details on the upcoming 2024 scripted and unscripted series are below.

2024 SCRIPTED SERIES

JOAN

Sophie Turner (“Game of Thrones,” X-Men: Dark Phoenix, “The Staircase”) stars as notorious jewel thief Joan Hannington in this exhilarating yet emotional story set against the vibrant backdrop of the 1980s — an era known for its bold fashion trends, iconic music and cultural shifts. The series opens with Joan, a fiery and uncompromising woman in her twenties who is deeply scarred and vulnerable. She is a devoted mother to her six-year-old daughter, Kelly, but is trapped in a disastrous marriage with a violent criminal named Gary. When Gary goes on the run, Joan seizes the opportunity to create a new life for herself and her daughter. Adopting new identities and making new acquaintances along the way, Joan becomes a masterful jewel thief. She embarks on a thrilling, high-stakes journey that challenges her every limit, driven by her desire to care for her daughter and create a secure home for them both. Through her sharp intelligence, charm and talent for impersonation and performance, we follow the twists and turns in Joan’s life, the ups and downs, the heartache and the joy that makes this story so compelling to follow. Turner stars alongside Frank Dillane (“Fear the Walking Dead”) as Boisie, a London antique dealer. Kirsty J. Curtis (“Match Not Found”) plays Nancy, Joan’s older sister and salon worker while Gershwyn Eustache Jr. (“I May Destroy You”) portrays Albie, an old acquaintance of Boisie who’s made a new life in Spain with his wife Val, played by Laura Aikman (“The Split”).

JOAN is written by acclaimed screenwriter Anna Symon (“Mrs. Lowry & Son”) and directed by BAFTA award-winner Richard Laxton (“Rain Dogs”). The series is from Snowed-In Productions and executive produced by Ruth Kenley-Letts (“Stonehouse”), Jenny Van Der Lande (“Strike”), Neil Blair (“The Midwich Cuckoos”) and Richard Laxton. Paul Frift (“Anansi Boys”) serves as producer. JOAN has been commissioned for ITVX by Head of Drama Polly Hill. The series is produced in association with All3Media International and The CW Network. All3Media International is responsible for the international distribution of the drama.

THE LIBRARIANS: THE NEXT CHAPTER

THE LIBRARIANS: THE NEXT CHAPTER is a spinoff of the original TV series “The Librarians,” which followed the adventures of the custodians of a magical repository of the world’s most powerful and dangerous supernatural artifacts. The new series centers on a “Librarian” from the past, who time traveled to the present and now finds himself stuck here. When he returns to his castle, which is now a museum, he inadvertently releases magic across the continent. He is given a new team to help him clean up the mess he made, forming a new team of Librarians. THE LIBRARIANS: THE NEXT CHAPTER is produced by Electric Entertainment and The CW Network. Dean Devlin (“The Librarians,” “Leverage,” Independence Day) serves as executive producer and showrunner along with executive producers Rachel Olschan-Wilson and Marc Roskin. Jonathan English of Balkanic Media serves as producer.

THE SWARM

Around the world, strange happenings, borne out of the oceans: Whales destroy boats, deep sea crabs attack beaches, mussels block container ships. An unknown ice worm destabilizes continental slopes and triggers tsunamis. A deadly pathogen spreads into the drinking water. Across the globe, lives are increasingly imperiled, the situation worsening by the day—and yet, nobody can draw a connection between the seemingly random attacks. Except for a group of scientists who come together through their shared sense that something bigger is at play: an intelligent life force, dwelling in the deep—capable of manipulating the ocean, and everything that resides in it. A being which has borne witness to our destruction of the seas and has decided to drive us to extinction. But hardly anyone believes their findings. And so, the group are forced to undertake a life-threatening mission, tracking the intelligent life force within the Arctic Ocean. It is a mission they know may claim their lives. Based on the bestselling novel by Frank Schätzing, THE SWARM is created by executive producer Frank Doelger (“Game of Thrones”), Eric Welbers, Oscar-nominated producer Marc Huffam (The Martian, Saving Private Ryan) and Ute Leonhardt (“Killing Eve”).

2024 UNSCRIPTED SERIES

PATTI STANGER: MILLIONAIRE MATCHMAKING (working title)

The legendary matchmaker is at it again! In this self-contained dating format, best-selling author and popular reality personality Patti Stanger helps singles find their perfect match. The series is executive produced by Emmy® award-winning producers Eli Holzman and Aaron Saidman (“Leah Remini: Scientology and the Aftermath”). Patti Stanger and Rob Lee also serve as executive producers.

THE FORCE (working title)

This action-packed, adrenaline-pumping series delivers raw, unfiltered action and heroism but with a layer of character and storytelling only found in scripted police procedurals…until now! THE FORCE carefully crafts stories and builds characters following members of law enforcement that viewers will know, love and root for over each season. SallyAnne Salsano (“Jersey Shore”) serves as executive producer.

THE GREAT AMERICAN BAKEOVER (working title)

Struggling bakeries all over the country are having a tough time keeping their doors open. Decorated baker and business expert Nancy Birtwhistle is traveling to each small-town storefront to give them a much-needed bakeover to save them from bakeruptcy. Jen O’Connell and Rebecca Quinn serve as executive producers.

icecream
06-09-2023, 03:17 PM
I never would have guessed this. The Chosen, popular drama about Jesus Christ and his disciples, will be airing its first three seasons on the CW Sunday nights starting July 16. Previously announced I Am documentaries that were scheduled for Sunday nights have been postponed to 2024 now to make room for The Chosen.

https://tvline.com/news/the-cw-series-order-the-chosen-historical-drama-jesus-1234997872/

TMC
06-09-2023, 08:13 PM
The CW Quietly Cancelled A 3-Season Show As Network’s Lineup Faces Deep Uncertainty (https://screenrant.com/two-sentence-horror-show-season-4-cancelled-cw/)

The CW, which has so far only renewed two of its current scripted series, quietly canceled a series that ran for three seasons between 2019 and 2022.

TMC
06-14-2023, 07:15 PM
Renewals and Cancellations: The Decline of Dwayne Johnson and the Death of the CW (https://www.pajiba.com/tv_reviews/renewals-and-cancellations-the-decline-of-dwayne-johnson-and-the-death-of-the-cw.php#comments)

For what it’s worth, the CW also continues its rebrand. After canceling most of its programming slate (https://www.pajiba.com/tv_reviews/renewals-and-cancellations-big-sky-animal-control-kung-fu.php), it’s picked up three seasons of a television show about the life of Jesus Christ. The series comes from Dallas Jenkins, whose dad co-wrote The Left Behind book series later turned into terrible, awful movies starring Kirk Cameron. The first three seasons were crowdfunded, the first season is available on Netflix, and the first two seasons are available on Peacock. The third season is on something called Angel.com. I don’t know why the CW has decided to essentially re-air the three seasons of a show about Jesus (seven seasons are planned), but with this — and their deal with LIV Golf (which has since merged with the PGA) — I think it’s safe to say we can leave the CW behind, too. It is not a real network anymore.

Mr. Television
06-14-2023, 07:25 PM
Renewals and Cancellations: The Decline of Dwayne Johnson and the Death of the CW (https://www.pajiba.com/tv_reviews/renewals-and-cancellations-the-decline-of-dwayne-johnson-and-the-death-of-the-cw.php#comments)
Compared to the WB, the CW was never a real network anyway.

James28
06-17-2023, 05:56 PM
Superman & Lois (https://deadline.com/2023/06/superman-and-lois-renewed-10-episode-season-4-the-cw-1235415132/) and All American: Homecoming (https://deadline.com/2023/06/all-american-homecoming-renewed-season-3-the-cw-1235357684/) are renewed for 2023-24, but Gotham Knights (https://deadline.com/2023/06/gotham-knights-canceled-the-cw-one-season-1235357731/) is cancelled after one season.

I've been told by the National Captioning Institute that they (NCI-CAP) are actually switching to mixed-case from all-caps going forward, but it's the producers who request all-caps for their CC, and NCI-CAP is contractually obligated to continue doing the All American shows' CC with all-caps. If it were Berlanti Productions making such a request, I'd be very disappointed, too. It's Berlanti Productions who needs to be persuaded by Nexstar to stop using all-caps dialogue on the closed captioning for the All-American shows. Not all of Berlanti's shows have their CC in all-uppercase (see The Flash and Legends of Tomorrow, whose closed-captioning (in lowercase) was done by CaptionMax).

iloveoldtvshows
06-22-2023, 03:52 PM
Back in 202 I heard the CW was going to remake Dark Shadows reboot, then they cancelled th reboot. Does anyone know if the Dark Shadows reboot would show on a different network in 2023?

TMC
06-22-2023, 09:21 PM
The CW Pulls New Show After Airing 4 Episodes, Won't Release Remainder Of The Season (https://screenrant.com/barons-show-cw-cancels-4-episodes/)

More changes are happening at The CW as the network cancels a new show after four episodes, replacing it with reruns of a well-known drama series.

TMC
06-27-2023, 08:21 PM
The CW’s scheduling chief Kevin Levy leaving (https://deadline.com/2023/06/the-cws-scheduling-chief-kevin-levy-leaving-1235425400/)

TMC
07-07-2023, 08:26 PM
Superman & Lois (https://deadline.com/2023/06/superman-and-lois-renewed-10-episode-season-4-the-cw-1235415132/) and All American: Homecoming (https://deadline.com/2023/06/all-american-homecoming-renewed-season-3-the-cw-1235357684/) are renewed for 2023-24, but Gotham Knights (https://deadline.com/2023/06/gotham-knights-canceled-the-cw-one-season-1235357731/) is cancelled after one season.

I've been told by the National Captioning Institute that they (NCI-CAP) are actually switching to mixed-case from all-caps going forward, but it's the producers who request all-caps for their CC, and NCI-CAP is contractually obligated to continue doing the All American shows' CC with all-caps. If it were Berlanti Productions making such a request, I'd be very disappointed, too. It's Berlanti Productions who needs to be persuaded by Nexstar to stop using all-caps dialogue on the closed captioning for the All-American shows. Not all of Berlanti's shows have their CC in all-uppercase (see The Flash and Legends of Tomorrow, whose closed-captioning (in lowercase) was done by CaptionMax).

How ‘All American: Homecoming’ and ‘Superman and Lois’ Avoided Cancellation at The CW (https://www.thewrap.com/all-american-homecoming-and-superman-and-lois-avoided-cancellation-the-cw/)

iloveoldtvshows
07-31-2023, 03:46 PM
No one seemed to answer my question about Dark Shadows airing on the CW. then the CW decided not to air Dark Shadows reboot.

icecream
07-31-2023, 03:48 PM
No one seemed to answer my question about Dark Shadows airing on the CW. then the CW decided not to air Dark Shadows reboot.Change of ownership was likely the reason. New owners of the CW do things a lot differently.

TMC
08-04-2023, 08:19 PM
The CW Is Adding Jesus and Sports. But Its Top Programmer Says It’s Still the Same Network (https://www.hollywoodreporter.com/tv/tv-news/the-cw-chosen-sports-brad-schwartz-1235550735/)

TMC
08-08-2023, 09:34 PM
CW Pushes scripted Series ‘Further Into 2024’ due to strikes (https://tvline.com/news/walker-superman-and-lois-delayed-2024-release-dates-all-american-1235025181/)

The CW Is “Increasingly Looking Like Fox,” Nexstar CEO Perry Sook Says, Citing Programming And Sports Increases; Strikes “Won’t Hurt Our Forward Progress” (https://deadline.com/2023/08/the-cw-looking-like-fox-nexstar-ceo-perry-sook-sports-wga-sag-strike-1235457318/)

TMC
08-24-2023, 09:16 PM
A fond farewell to 'Riverdale,' and to its network, the CW, which enters the fall season as a shadow of its former self. (https://ew.com/tv/tv-reviews/riverdale-series-finale-review-goodbye-riverdale/)

The end of Riverdale (https://www.reddit.com/r/television/comments/1600qap/a_fond_farewell_to_riverdale_and_to_its_network/) — which was based oh-so-loosely on the Archie Comics characters and guided with loving lunacy by showrunner Roberto Aguirre-Sacasa — comes as the CW is entering its first fall season under the ownership of Nexstar Media Group, which plans to cut costs by filling the schedule with reality, sports, and imported series.

Riverdale is over, and several other CW originals were canceled in the wake of the Nexstar acquisition, which leaves Superman & Lois, Walker, All American, and its spin-off, All American: Homecoming, as the only original scripted series left on the network. (They will return for shortened seasons in 2024.) And now that the core four have driven off into the sunset in Archie's Jalopy, there will never be another show like Riverdale again — simply because the world where a network allows a lavish, sexy, teen genre drama to run off the rails for seven gloriously outlandish seasons no longer exists.

iloveoldtvshows
08-25-2023, 04:03 PM
The one thing I hate when i watch a tv show like Nancy Drew or Riverdale is that I hate the commercials. I tried to blocck the comercials but it said i had to disable the ad block.

TMC
09-14-2023, 08:50 PM
Can The CW Survive Without Superheroes and Teen Soaps? (https://variety.com/2023/tv/news/the-cw-new-programming-sports-unscripted-1235720508/)

The CW systematically stripped away (https://www.reddit.com/r/television/comments/16ilcbn/can_the_cw_survive_without_superheroes_and_teen/) its superhero dramas and teen-centric soaps during the 2022-23 television season, taking the foundation of its primetime programming slate down to the studs. Now comes the reveal of a renovation that leans heavily on niche sports, noisy unscripted series, procedural dramas and broad-skewing comedies.

The change comes a year after Texas-based Nexstar Media Group acquired a majority stake in The CW from its founders, CBS and Warner Bros. (the “C” and “W” in “CW”). A new owner inevitably brings new priorities and a new regime, and The CW’s freshly appointed leadership team of president Dennis Miller and entertainment president Brad Schwartz have a nail-biter of a season ahead. There’s little doubt that The CW will see a ratings drop, at least early on, as it implements a radical shift in content strategy.

The new CW team can only hope that Nexstar, led by local TV news anchor-turned-investor Perry Sook, shows as much patience with its makeover as it has over the past three years with NewsNation, the cable news channel that Nexstar revamped from entertainment-focused channel WGN America.

Birthed in 2006 by the merger of The WB network and UPN, The CW is taking a hard pivot into new programming lanes at a time when traditional ad-supported networks are struggling to maintain an audience.

“We’re broadcast; we’re not a niche cable channel. We have to reach the largest audience possible, and we need those audiences to fall in love with us and want to spend a lot of time with us,” Schwartz says.

According to Schwartz, The CW has more than a dozen unscripted series in production in the U.S. and five scripted series that are either international productions, including the Sophie Turner-led “Joan,” or indie projects, like religious series “The Chosen,” which received a SAG-AFTRA strike waiver.

For most of its 17 years, The CW has been dominated by scripted series. Now, the slate is focused on unscripted series including “FBoy Island,” the provocative dating series that previously ran on HBO Max. It also picked up more Canadian-produced dramas and comedies, notably “Sullivan’s Crossing” and “The Spencer Sisters,” and sports, including LIV Golf and the NASCAR Xfinity Series.

But with both “Riverdale” and “Nancy Drew” P.28 ending on Aug. 23, following a slew of cancellations throughout last season, the new CW regime dares to defy what was laid out by then-chief Mark Pedowitz. Over Pedowitz’s 12-year tenure, the network helped seed big series assets for CBS and Warner Bros. And it reached lucrative licensing deals with Netflix in 2011 and 2016 for reruns of series after each season finished its first-run airing on The CW. Those deals made all the difference in The CW’s profit statement.

That all changed, however, when the 2016 Netflix pact ended in May 2019. At that point, CBS parent ViacomCBS and WarnerMedia decided to funnel original content to their own streamers, CBS All Access and HBO Max, respectively. As peak TV turned the industry’s focus from building curated cable networks to pooling internal resources around subscription streamers, it became clear that CBS and WarnerMedia both had less interest in sticking with the CW joint venture.

Add to that broader turbulence in the TV business, including mergers, debt problems and cord-cutting, and it’s no surprise that Paramount and what is now Warner Bros. Discovery put The CW on the auction block last year (both ex-parents maintain minority stakes). The most logical buyer, Nexstar, was the lead horse throughout the sale process, clinching an agreement in August 2022.

Now at the helm, Schwartz says he wants the network to take on more of an “underdog” and even “contrarian” vibe. And the exec knows how tricky the programming business can be in the era of global streaming. As president of CBS-owned cable channel Pop TV from 2013 to 2020, Schwartz found “Schitt’s Creek” in its infancy and championed it in the U.S. — only to watch the quirky Dan Levy comedy series become an Emmy-winning hit for Netflix in its final seasons.

The CW’s new focus is meant to be a better fit with Nexstar’s local news fare, which skews toward an older audience. For years, there’s been a significant disconnect between The CW’s programming, meant to appeal to a younger audience, and the needs of the local TV stations that carry that programming. Warner Bros. and CBS were able to rake in licensing fees from after-market sales of shows that launched with fanfare on The CW, but none of that online buzz did much for Nexstar’s linear 10 p.m. news numbers.

The CW, though, is now positioned for gains as it benefits from clear strategic focus under unified ownership. But Schwartz still has to meet two distinct mandates with programming: Help The CW’s linear affiliate stations (those owned by Nexstar as well as other broadcast station groups) and appeal to a younger crowd through on-demand streaming.

A new on-air look for The CW is also coming soon. Schwartz says, “It will be elastic enough where all of these things make sense all together.”

Schwartz speaks with confidence, but he’s facing a tall order for a channel with an “Under New Management” sign hanging out front.

“The CW had a very distinct brand. It’s definitely not going to be that brand going forward. But what is it going to be?” a CW alum says. “Usually, that is defined by what you put on the air. So right now, with all these different acquisitions, it P.29 still doesn’t feel like it’s a cohesive ‘This is what we are to our viewers,’ other than what they say they’re going for — older and broader.”

Nexstar is valued at around $12.5 billion, with The CW estimated to contribute $250 million of that sum, per Wells Fargo media analyst Steven Cahall. When Nexstar acquired The CW, the company agreed to absorb its losses for a few years rather than hand over cash in a formal sales transaction. Sook and other Nexstar executives have told investors in recent months that they expect The CW to become profitable for the company by 2025.

A big part of Nexstar’s rebrand of The CW has involved “moving very quickly into the sports business,” says Schwartz. The network has snapped up rights not only to LIV Golf and the NASCAR Xfinity Series but also ACC football and basketball and even the stalwart pigskin recap series “Inside the NFL.” Now that The CW is scooping up such rights, “every other sports league” has started calling to discuss future deals.

“If we did see a really significant piece of sports content end up on The CW, that increases the earnings power of other assets within the Nexstar portfolio,” Cahall says. “The CW can play a lot of roles within the Nexstar portfolio — but the biggest one is really still earnings power.”

The CW hasn’t completely abandoned programming that previously fueled its primetime. Long-running shows like the high school sports drama “All American” and its spinoff, “All American: Homecoming,” as well as the Jared Padalecki action-drama “Walker” and the DC series “Superman & Lois,” all have been renewed for the upcoming season. However, those shows won’t likely be on air until sometime next summer on account of Hollywood’s WGA and SAG-AFTRA strikes.

“Our big boss, Perry Sook, likes to say, ‘I want to play smart TV. … I’m not interested in peak TV,’” says Miller, formerly a senior executive at Sony Pictures, Lionsgate Television and TNT. “It’s time to play smart TV right now.”

Key to playing smart TV is overhauling The CW’s digital operations and its app. That task has been taken on by Roku veteran Ashley Hovey, who signed on as chief digital officer in April. The chance to invigorate the app is “one of the biggest growth opportunities for The CW overall,” Miller says. “You’re going to see over the next one to two years a very aggressive content acquisition strategy for The CW digital. It was a bit of an afterthought under the previous owners. So we’re going to really focus on that 25-to-40-year-old spot. The app is being upgraded dramatically.”

The CW hopes to claw back some of the bragging rights it lost as its top shows became synonymous with Netflix once they landed on the platform. “All American,” “Riverdale” and the CBS-produced redo of “Dynasty” are among the shows that found much larger audiences on Netflix than they ever did on linear. Along with the digital revamp, Hovey’s team is working on how to better handle streaming licensing partnerships.

“One of the biggest challenges of the previous CW,” Schwartz says, “is they didn’t have the rights to the content. The content was fabulous, but they were CBS rights and they were Warner rights. All the new content we’re doing, both scripted and unscripted, all those rights are ours.”

Amid the tumult, Schwartz is mindful of trying to retain some connection to the CW of the past, and even flavors of The WB and UPN.

“We don’t want to alienate an audience that we spent 20 years cultivating — keeping our connection to our old audience just can’t be the only thing we do,” he says. “It can be one of the five things that we do.”

icecream
10-05-2023, 05:54 PM
The Spencer Sisters is a winner and has been added to my schedule.

TMC
10-13-2023, 12:58 AM
The CW Details 2 New Scripted Shows Featuring Riverdale, Vampire Diaries Stars (https://screenrant.com/wild-cards-sight-unseen-cw-show-release-plot-details/)

After mass cancelations, The CW adds two new scripted shows featuring cast members from The Vampire Diaries, Riverdale, The 100, and Reign.

icecream
10-25-2023, 10:46 PM
First World's Funniest Animals gets moved from Saturdays to Fridays before the new season starts, now that is off with FBoy Island moving to Fridays. :wallbang

James28
11-03-2023, 09:46 AM
BREAKING NEWS: Superman & Lois is Ending with its Upcoming 10-Episode Fourth Season

https://deadline.com/2023/11/superman-and-lois-canceled-end-season-4-cw-1235591418/

MA
11-03-2023, 06:31 PM
‘Everyone Else Burns’ Renewed For Season 2 At The CW

https://deadline.com/2023/10/everyone-else-burns-renewed-season-2-the-cw-1235581555/

TMC
11-11-2023, 01:13 AM
The CW Loses $60M in Latest Quarter As Nexstar Ad Sales Fall​ (https://www.hollywoodreporter.com/business/business-news/the-cw-losses-q3-nexstar-earnings-political-ads-fall-1235640323/)

The losses at The CW are an improvement (https://www.lipstickalley.com/threads/the-cw-loses-60m-in-latest-quarter-as-nexstar-ad-sales-fall.5435906/) from when the broadcast network lost $78 million last quarter.

BY ALEX WEPRIN

NOVEMBER 8, 2023 6:26AM

Nexstar‘s third-quarter earnings reflected the soft TV advertising market, with political ad revenue down 85 percent from last year, and so-called “core” advertising revenue down 2.3 percent.

Similarly, The CW keeps losing money for the broadcast TV giant, though its losses continue to narrow quarter by quarter. The CW lost $60 million in Q3, down from $78 million last quarter.

Overall in Q3, Nextsar had revenue of $1.1 billion (down 10.8 percent from a year ago), and net income of $8 million, down more than 97 percent from a year ago, reflecting the robust political ad market in Q3 of last year.

In a comment, Nexstar CEO Perry Sook said that reduced losses at The CW, ad spending for the 2024 presidential election, and an “improving economic environment” should turbocharge the company’s earnings over the coming months.

He also argued that the Disney-Charter deal and changing media environment could work to Nexstar’s benefit.

“Broadcast stations have the most watched television content, and we remain undercompensated for that viewership,” Sook said. “With our significant audience reach, the broadcast model remains the only and best way to maximize viewership – something that broadcast networks and sports organizations understand. We believe that recent changes in the television ecosystem brought on by the Charter/Disney agreement will have a further positive impact on our model by creating stability in our subscriber base and freeing up programming spend from derivative cable networks to be reallocated to premium content like ours. The terms of our recent distribution and affiliation agreements reflect this viewpoint and we are very pleased with the outcome.”

The CW, which Nexstar acquired last year, has been reprogramming its lineup, ordering fewer expensive scripted shows, and cutting deals for more unscripted and sports fare, including a deal with the WWE for NXT this week

The company also picked up some college sports rights, NASCAR Xfinity Cup rights, and LIV Golf rights, among others.

icecream
11-12-2023, 11:11 PM
Someone at the CW controls screwed up. Tonight's episode of The Chosen ended at 9:40, and I was expecting the aftershow with the producers I had seen last week (didn't start watching on the CW until the season 3 premiere last Sunday). Instead, after the episode had ended, a random scene from it played in full again. Then after the break another scene replayed partially until it was cut off for another commercial break. The aftershow was joined in progress with less than 5 minutes left. At least I got to see the whole episode, but missed most of the aftershow because of this error.

:facepalm2:

icecream
11-14-2023, 11:51 PM
Everyone Else Burns was pulled from the schedule just a few episodes in. The CW wasn't thinking renewing it for season 2 before season 1 had even premiered. :lol: Run the Burbs was also pulled. Children Ruin Everything is moving where it was at 8:30. Repeats of Whose Line Is It Anyway? and The Great American Joke-Off will air in the 9PM hour.

TMC
12-12-2023, 02:13 AM
First World's Funniest Animals gets moved from Saturdays to Fridays before the new season starts, now that is off with FBoy Island moving to Fridays. :wallbang

https://www.hollywoodreporter.com/movies/movie-news/hollywood-winners-losers-2023-1235712279/

Lost — The CW

The CW was never a network that delivered huge ratings or received a lot of awards, but it did a solid job doing what it did: make genre-friendly dramas for young adults that a decent number of viewers liked. Then, new owner Nexstar Media Group cut several titles and loaded the channel up (https://www.hollywoodreporter.com/tv/tv-news/the-cw-new-strategy-explained-1235486774/) with things like FBoy Island. So a network that used to schedule savvy combos like Riverdale leading into Nancy Drew was suddenly slapping together a German sci-fi import, The Swarm, a.k.a. Der Schwarm, and Inside the NFL (a perfect Tuesday night for all those Germanic sci-fi-loving American football obsessives). Nexstar’s efforts might make The CW profitable by 2025, as is the company’s stated goal, but it’s sad to see a network that had an actual personality become a FBoy Island of broken toys.

TMC
12-12-2023, 10:27 PM
BREAKING NEWS: Superman & Lois is Ending with its Upcoming 10-Episode Fourth Season

https://deadline.com/2023/11/superman-and-lois-canceled-end-season-4-cw-1235591418/

Superman & Lois, All American and Walker Still MIA as The CW Sets More 2024 Premiere Dates (https://tvline.com/news/the-cw-2024-schedule-new-series-release-dates-season-premieres-1235097881/)

icecream
12-21-2023, 02:32 AM
Repeats of The Conners are coming to the CW Thursday nights starting January 4. Two episodes will air every week from 8:30-9:30, leading into a relocated Children Ruin Everything.

TMC
01-12-2024, 09:02 PM
The CW Unveils New Branding Look, Dropping the ‘The’ and Embracing a ‘Hot Sauce’ Color Palette (https://variety.com/2024/tv/news/the-cw-new-branding-logo-look-critics-choice-awards-1235870260/)

TMC
02-15-2024, 09:10 PM
The CW boss' goal is to be considered among the "Big 5" networks (https://variety.com/2024/tv/news/cw-dennis-miller-brad-schwartz-liv-golf-1235912317/)

Entertainment president Brad Schwartz wants The CW to be considered alongside the "Big 4" of ABC, CBS, NBC and Fox. “We have ambitious goals, but we recognize where we’re coming from,” Schwartz said at the TV press tour. “We’re the underdog competing against titans. But ultimately what we are striving for is to have everyone stop writing ‘Big 4 networks’ and start writing ‘Big 5.’ We know it’s gonna take some time, but that’s the goal.”

The CW boss: All American, All American: Homecoming and Walker aren’t in danger of cancelation as long as they perform well (https://deadline.com/2024/02/all-american-homecoming-walker-future-cw-1235826286/)

“CBS and Warner Bros have been so wonderful working with us on those shows and we’ve gotten both of those shows to an economic area, where as long as they keep rating, there’s no reason why we can’t keep them," CW Entertainment president Brad Schwartz said at the TV Critics Association press tour of the final three ongoing scripted series from the previous CW era. "It’s no longer a financial question, it’s a creative and performance question."
ALSO:


All American Season 6 and Walker Season 4 get April premiere dates (https://www.thewrap.com/all-american-season-6-premiere-date-cw-schedule/)

All American: Homecoming Season 3 will likely premiere this summer (https://deadline.com/2024/02/all-american-homecoming-season-3-superman-lois-season-4-release-date-1235826869/)

Superman & Lois‘ fourth and final season is being held for fall (https://tvline.com/news/superman-and-lois-season-4-release-date-delayed-1235168697/)

FHCastmember
02-16-2024, 09:22 PM
The CW boss' goal is to be considered among the "Big 5" networks (https://variety.com/2024/tv/news/cw-dennis-miller-brad-schwartz-liv-golf-1235912317/)

Entertainment president Brad Schwartz wants The CW to be considered alongside the "Big 4" of ABC, CBS, NBC and Fox. “We have ambitious goals, but we recognize where we’re coming from,” Schwartz said at the TV press tour. “We’re the underdog competing against titans. But ultimately what we are striving for is to have everyone stop writing ‘Big 4 networks’ and start writing ‘Big 5.’ We know it’s gonna take some time, but that’s the goal.”

The CW boss: All American, All American: Homecoming and Walker aren’t in danger of cancelation as long as they perform well (https://deadline.com/2024/02/all-american-homecoming-walker-future-cw-1235826286/)



“CBS and Warner Bros have been so wonderful working with us on those shows and we’ve gotten both of those shows to an economic area, where as long as they keep rating, there’s no reason why we can’t keep them," CW Entertainment president Brad Schwartz said at the TV Critics Association press tour of the final three ongoing scripted series from the previous CW era. "It’s no longer a financial question, it’s a creative and performance question."
ALSO:


All American Season 6 and Walker Season 4 get April premiere dates (https://www.thewrap.com/all-american-season-6-premiere-date-cw-schedule/)

All American: Homecoming Season 3 will likely premiere this summer (https://deadline.com/2024/02/all-american-homecoming-season-3-superman-lois-season-4-release-date-1235826869/)

Superman & Lois‘ fourth and final season is being held for fall (https://tvline.com/news/superman-and-lois-season-4-release-date-delayed-1235168697/)


CW will never be The WB LOL @ the ceo

icecream
02-17-2024, 01:36 AM
Has World's Funniest Animals been cancelled? It was pulled after just a few weeks back on Fridays, and tonight a different animal show premiered in the same slot.

TMC
02-18-2024, 05:34 AM
CW will never be The WB LOL @ the ceo

I do wonder what exactly would it take for The CW to truly be considered on "equal footing" as the "Big 4" networks? The only thing that I can come up with is that The CW needs to land a contract with one of the major sports leagues. Fox wasn't taken all that seriously when compared to the then "Big 3" (https://www.reddit.com/r/television/comments/it7d62/comment/g5ciof1/?utm_source=reddit&utm_medium=web2x&context=3) of ABC, CBS, and NBC until they landed the NFL (https://www.deseret.com/1997/1/7/19288052/who-s-no-5-wp-and-upn-fight-for-honor) in late 1993. That pretty much officially solidified Fox (https://www.reddit.com/r/television/comments/14lvcqh/why_did_fox_last_so_long_compared_to_the_wb_or_upn/) as a "real" and legit TV network.

UPN and The WB (https://www.reddit.com/r/television/comments/p1gdg2/why_did_the_wb_fail/) never had (https://officialfan.proboards.com/thread/489227/seperated-fox-wb-upn) a major sports package (https://www.quora.com/How-come-The-WB-UPN-and-now-The-CW-never-landed-a-major-national-sports-deal-like-with-the-NFL-NBA-Major-League-Baseball-or-NHL), unless you count the XFL on UPN back in 2001. The CW (https://www.reddit.com/r/television/comments/173i1s6/comment/k47ej63/?utm_source=reddit&utm_medium=web2x&context=3) in recent times, has been adding live sporting events (https://en.wikipedia.org/wiki/CW_Sports) to their calendar. The CW for example, is the new home (https://www.reddit.com/r/television/comments/16ilcbn/comment/k0lqsal/?utm_source=reddit&utm_medium=web2x&context=3) of the NFL highlights program, Inside the NFL (https://www.cwtv.com/shows/inside-the-nfl/).

TMC
02-28-2024, 10:13 PM
Nexstar Ad Sales Fall 36% in Q4 as CW Loss Narrows to $52 Million (https://variety.com/2024/tv/news/nexstar-cw-earnings-ad-sales-1235924635/)

Nexstar reported its fourth-quarter 2023 earnings Wednesday, revealing its TV ad sales were down 36% from Oct. 1- Dec. 31.

TMC
03-30-2024, 07:20 PM
The CW Unveils New Branding Look, Dropping the ‘The’ and Embracing a ‘Hot Sauce’ Color Palette (https://variety.com/2024/tv/news/the-cw-new-branding-logo-look-critics-choice-awards-1235870260/)

koTTVQjIppg

After nearly 18 years, The CW has been finally updated with a full-fledged rebranding, including a simplified logo with a scarlet color. I have mixed feelings about this facelift, such as the identity. Is The CW turning a new leaf with more to come or is this the last attempt at saving their dying network?

Also when I was almost done editing the video, I realized that Paramount sold their tiny sliver of the channel to Nexstar, most likely due to their massive debt. So now Nexstar owns a whopping 87.5%, meanwhile WBD has a miniscule 12.5% of the channel (There is contradicting sources about this, so I might update the description later).

TMC
04-23-2024, 02:01 AM
The CW may not have 3 scripted originals this fall (https://deadline.com/2024/04/cw-canceled-renewed-all-american-homecoming-walker-status-1235889923/)

By Nellie Andreeva

Nellie Andreeva
Co-Editor-in-Chief, TV

Fifth in a series on broadcast network series renewals. As the CW transformation’s under new owners Nexstar continues with the addition of sports as well as acquired scripted series and international co-productions, questions are persisting about the fate of the last remaining dramas from the “old” CW.

With Superman & Lois set to end with its upcoming fourth season in the fall, that leaves flagship All American, spinoff All American: Homecoming and Walker. They all film in the U.S., making them more expensive to produce than Canadian-made dramas and come from former CW co-owners (now minority owners) Warner Bros. (All American franchise) and CBS (Walker).

From what I hear, it would be a very challenging business proposition to have all three series continue on the CW. The sobering realization defers from the brighter outlook shared by the CW President of Entertainment Brad Schwartz at TCA in February.

“CBS and Warner Bros have been so wonderful working with us on those shows and we’ve gotten both of those shows to an economic area, where as long as they keep rating, there’s no reason why we can’t keep them,” he said at the time. “It’s no longer a financial question, it’s a creative and performance question.”

Amid headwinds from a soft ad market, the CW has been looking for more savings beyond the ones initially identified in the network’s pursuit of profitability by 2025 as its owners continue to spend on non-entertainment programming with LIV Golf, ACC football/basketball, Arizona Bowl, WWE NXT, Inside the NFL and the NASCAR Xfinity Series bringing its sport offerings to 500 hours next year.

To do that, the CW has been relying on lower-cost scripted series. Canadian co-productions like Wild Cards and Sullivan’s Crossing as well as acquisitions like The Chosen have been drawing respectable viewership, reducing the pressure for the network to bring back all three of its pre-existing dramas that are still in play. If they may no longer be must-haves for the CW, for Warner Bros. TV and CBS Studios to keep producing them may be a no-go.

As Deadline reported in November 2022, shortly after Texas-based Nexstar Media Group acquired 70% of the CW and unveiled their cost-cutting plans, executives floated to CBS Studios and Warner Bros. Television a target license fee for drama series of $1 million dollars per episode going forward. That was significantly lower than the license fees the CW had been paying for its dramas at that point, which ranged from low-to-mid-$1 million to high $1 million dollar/close to $2M an episode.

At the time, the idea was met with resistance. In reality, license fees went even lower. I hear the CW pays for the remaining four pre-Nexstar CW original dramas from WBTV and CBS Studios span between $500,000 and $1.5M an episode, with Walker and All American: Homecoming closer to the lower end of the range, making it hard to sustain them. There has been conflicting information whether the license fees are staying flat for next season or getting reduced; it may be a mix of both.

Believed to be in the strongest position to continue is All American. The most established and most popular among the CW original series for the past few years, the drama was exempt from the post-Nexstar acquisition turmoil because, as Deadline has reported, its Season 6 renewal was guaranteed as part of the sale.

All American’s license fee also is believed to be more generous, north of $1M, so the series, filming in Los Angeles, did not have to go through the deep cuts spinoff Homecoming, also LA-based, had to undergo last year to secure its third season pickup at a lower license fee that resulted in reductions of the series regular cast and writing team along with trimming production costs.

Still, a potential Season 7 of All American would likely require a budget cut. The drama has been building toward telling a complete story creatively after seven seasons by wrapping the arc for its main character, Spencer James (Daniel Ezra), who is headed to the NFL draft after his junior year in college.

That means that All American could come to a satisfying end with an expanded sixth season that is getting its order upped from 13 to 15 episodes. If the CW opts to keep its biggest scripted series for another season, All American will likely do what other high-school/college series like Glee have done, introduce next-gen young characters, I hear. In addition to adding new life to a mature show, such a move could help reduce costs, making it more palatable for WBTV to continue to produce the show at its CW-level license fee.

All American is unique as it is the last remaining CW series from the rich Netflix output deal the streamer had made with WBTV and CBS Studios, so the studio could absorb a financial hit from the CW to an extent and still benefit from carrying on with All American for more seasons.

Things are shakier for All American: Homecoming. While the series’ budget was reigned in last summer in a drastic way to fit into the $500,000-$750,000 an episode license fee and despite the series, along with Superman & Lois, ranking only behind All American in the young demos, it draws fewer viewers overall, something the CW focuses on more as it is pushing to broaden its appeal beyond young adults.

For the first time this year, All American: Homecoming will not air during the regular broadcast season but over the summer, with its third season launching after the end of All American‘s expanded sixth season, which is not a sign of confidence.

Based on the series’ economics and performance, I hear the series’ Season 4 odds are less than 50-50, with a cancellation as the more likely outcome.

Like the mothership All American, Homecoming also is on Netflix after WBTV made a licensing deal for it in 2022. Walker streams on Max.

Speaking of Walker, now in its fourth season, it is the most watched series on the CW, headlined by one of the network’s biggest stars of the past two decades, Jared Padalecki. Like All American, the series also didn’t undergo major cuts last summer as the drama, filmed in Texas, already had been produced pretty efficiently. But I hear its license fee is so low, just over the $500K per episode threshold, that it may not make sense for CBS Studios to continue to deliver the show to the CW at that price even if the network wants it.

According to sources, it is very hard for U.S. studios to produce drama series for the current size of the CW license fees without going the international co-production route. Doing it in the U.S., even in states with tax incentives, is virtually impossible without major production compromises, like cutting further the number of filming days, significantly limiting shooting locations and opting against big lighting packages, which would make for inferior product that would be hard to sell internationally.

Also challenging for international sales of existing CW drama series is the fact that the shows are part of an old YA brand that no longer exists. The CW’s new brand is not as clearly defined as the outlet is looking to become a “Big 5” general entertainment network competing with the four major broadcasters.

As for the remaining well performing CW drama series, only Sullivan’s Crossing already has been renewed for next season. Conversations are ongoing with the CW’s Canadian partners on Wild Cards, currently the second most watched series on the network, with a renewal expected in the coming weeks.

I hear the CW also is interested in acquiring Season 4 of The Chosen, currently in theaters, which also is looking good.

TMC
04-23-2024, 02:01 AM
The CW may not have 3 scripted originals this fall (https://deadline.com/2024/04/cw-canceled-renewed-all-american-homecoming-walker-status-1235889923/)

By Nellie Andreeva

Nellie Andreeva
Co-Editor-in-Chief, TV

Fifth in a series on broadcast network series renewals. As the CW transformation’s under new owners Nexstar continues with the addition of sports as well as acquired scripted series and international co-productions, questions are persisting about the fate of the last remaining dramas from the “old” CW.

With Superman & Lois set to end with its upcoming fourth season in the fall, that leaves flagship All American, spinoff All American: Homecoming and Walker. They all film in the U.S., making them more expensive to produce than Canadian-made dramas and come from former CW co-owners (now minority owners) Warner Bros. (All American franchise) and CBS (Walker).

From what I hear, it would be a very challenging business proposition to have all three series continue on the CW. The sobering realization defers from the brighter outlook shared by the CW President of Entertainment Brad Schwartz at TCA in February.

“CBS and Warner Bros have been so wonderful working with us on those shows and we’ve gotten both of those shows to an economic area, where as long as they keep rating, there’s no reason why we can’t keep them,” he said at the time. “It’s no longer a financial question, it’s a creative and performance question.”

Amid headwinds from a soft ad market, the CW has been looking for more savings beyond the ones initially identified in the network’s pursuit of profitability by 2025 as its owners continue to spend on non-entertainment programming with LIV Golf, ACC football/basketball, Arizona Bowl, WWE NXT, Inside the NFL and the NASCAR Xfinity Series bringing its sport offerings to 500 hours next year.

To do that, the CW has been relying on lower-cost scripted series. Canadian co-productions like Wild Cards and Sullivan’s Crossing as well as acquisitions like The Chosen have been drawing respectable viewership, reducing the pressure for the network to bring back all three of its pre-existing dramas that are still in play. If they may no longer be must-haves for the CW, for Warner Bros. TV and CBS Studios to keep producing them may be a no-go.

As Deadline reported in November 2022, shortly after Texas-based Nexstar Media Group acquired 70% of the CW and unveiled their cost-cutting plans, executives floated to CBS Studios and Warner Bros. Television a target license fee for drama series of $1 million dollars per episode going forward. That was significantly lower than the license fees the CW had been paying for its dramas at that point, which ranged from low-to-mid-$1 million to high $1 million dollar/close to $2M an episode.

At the time, the idea was met with resistance. In reality, license fees went even lower. I hear the CW pays for the remaining four pre-Nexstar CW original dramas from WBTV and CBS Studios span between $500,000 and $1.5M an episode, with Walker and All American: Homecoming closer to the lower end of the range, making it hard to sustain them. There has been conflicting information whether the license fees are staying flat for next season or getting reduced; it may be a mix of both.

Believed to be in the strongest position to continue is All American. The most established and most popular among the CW original series for the past few years, the drama was exempt from the post-Nexstar acquisition turmoil because, as Deadline has reported, its Season 6 renewal was guaranteed as part of the sale.

All American’s license fee also is believed to be more generous, north of $1M, so the series, filming in Los Angeles, did not have to go through the deep cuts spinoff Homecoming, also LA-based, had to undergo last year to secure its third season pickup at a lower license fee that resulted in reductions of the series regular cast and writing team along with trimming production costs.

Still, a potential Season 7 of All American would likely require a budget cut. The drama has been building toward telling a complete story creatively after seven seasons by wrapping the arc for its main character, Spencer James (Daniel Ezra), who is headed to the NFL draft after his junior year in college.

That means that All American could come to a satisfying end with an expanded sixth season that is getting its order upped from 13 to 15 episodes. If the CW opts to keep its biggest scripted series for another season, All American will likely do what other high-school/college series like Glee have done, introduce next-gen young characters, I hear. In addition to adding new life to a mature show, such a move could help reduce costs, making it more palatable for WBTV to continue to produce the show at its CW-level license fee.

All American is unique as it is the last remaining CW series from the rich Netflix output deal the streamer had made with WBTV and CBS Studios, so the studio could absorb a financial hit from the CW to an extent and still benefit from carrying on with All American for more seasons.

Things are shakier for All American: Homecoming. While the series’ budget was reigned in last summer in a drastic way to fit into the $500,000-$750,000 an episode license fee and despite the series, along with Superman & Lois, ranking only behind All American in the young demos, it draws fewer viewers overall, something the CW focuses on more as it is pushing to broaden its appeal beyond young adults.

For the first time this year, All American: Homecoming will not air during the regular broadcast season but over the summer, with its third season launching after the end of All American‘s expanded sixth season, which is not a sign of confidence.

Based on the series’ economics and performance, I hear the series’ Season 4 odds are less than 50-50, with a cancellation as the more likely outcome.

Like the mothership All American, Homecoming also is on Netflix after WBTV made a licensing deal for it in 2022. Walker streams on Max.

Speaking of Walker, now in its fourth season, it is the most watched series on the CW, headlined by one of the network’s biggest stars of the past two decades, Jared Padalecki. Like All American, the series also didn’t undergo major cuts last summer as the drama, filmed in Texas, already had been produced pretty efficiently. But I hear its license fee is so low, just over the $500K per episode threshold, that it may not make sense for CBS Studios to continue to deliver the show to the CW at that price even if the network wants it.

According to sources, it is very hard for U.S. studios to produce drama series for the current size of the CW license fees without going the international co-production route. Doing it in the U.S., even in states with tax incentives, is virtually impossible without major production compromises, like cutting further the number of filming days, significantly limiting shooting locations and opting against big lighting packages, which would make for inferior product that would be hard to sell internationally.

Also challenging for international sales of existing CW drama series is the fact that the shows are part of an old YA brand that no longer exists. The CW’s new brand is not as clearly defined as the outlet is looking to become a “Big 5” general entertainment network competing with the four major broadcasters.

As for the remaining well performing CW drama series, only Sullivan’s Crossing already has been renewed for next season. Conversations are ongoing with the CW’s Canadian partners on Wild Cards, currently the second most watched series on the network, with a renewal expected in the coming weeks.

I hear the CW also is interested in acquiring Season 4 of The Chosen, currently in theaters, which also is looking good.

franciis
05-17-2024, 09:12 PM
dont know how to copy and paste ..please help...there were two articles a few days ago....one was from website (the desk)...article ..title is...nexstar ceo downplays streaming business after cw launches fast platform.

.2nd article came from website (next tv)...title of article.....is...---------.streaming ..no thanks,says nexstar ceo......perry sook).......does that mean ..antennta tvchannel and rewind channel have no plans to stream ??...interesting article about sook.....on wdky wiki page....also....other info..articles 12 & 13 at bottom of wiki page....interesting......

James28
05-22-2024, 09:56 PM
I've been told by the National Captioning Institute that they (NCI-CAP) are actually switching to mixed-case from all-caps going forward, but it's the producers who request all-caps for their CC, and NCI-CAP is contractually obligated to continue doing the All American shows' CC with all-caps. If it were Berlanti Productions making such a request, I'd be very disappointed, too. It's Berlanti Productions who needs to be persuaded by Nexstar to stop using all-caps dialogue on the closed captioning for the All-American shows. Not all of Berlanti's shows have their CC in all-uppercase (see The Flash and Legends of Tomorrow, whose closed-captioning (in lowercase) was done by CaptionMax).

I am no doubt happy to see that All American has FINALLY changed its closed captioning to mixed-case from the uppercase-only style it has used since its 2018 premiere. It started captioning in lowercase on the sixth episode of its current sixth season (although I would prefer it if it had made that switch on the first episode). All American: Homecoming will make the same change when its third season premieres on July 8. Because of this, the number of scripted programs on American broadcast television is officially down to zero.party:

Now I'm holding out hope for all of the past seasons of All American and its Homecoming spinoff to have their CC redone as well.