Several hours before The CW won its first-ever Golden Globe, becoming the only broadcast network to do so this year, the network had an even bigger drop-the-mic moment: at winter press tour, it renewed eight series, including its entire fall lineup. As I wrote at Adweek,
No broadcaster in recent memory has ever renewed its entire fall lineup before. Pedowitz told reporters that this is part of the network’s transition to year-round scripted programming, with the renewed series returning over next fall, midseason and summer. “This enables us to finally get to the place of providing scripted summer programming,” he said, “and so the summer of ’16 should be a much bigger summer for us than ever before.”
Those hits have helped draw men back to the network. In the 2010-2011 season, the CW’s audience was only 30 percent male, and that percentage has grown to 40 percent this season. Also, “we grew a little older than we used to be,” said Pedowitz. “Our affiliates are happier [with] that.”
Pedowitz also talked about nurturing his low-rated but critically-acclaimed (and now Golden Globe-winning) Jane the Virgin, and why he’s exercising caution when it comes to crossovers and adding other superhero series to his stable.
Greg Berlanti and I have been Twitter friends since back in 2012, when I fell for his USA summer miniseries Political Animals. But we’d never actually met until we sat down together at TCA summer tour to do this Daily Beast profile.
One of TV’s most prolific producers — he’s co-showrunner on Arrow and The Flash, a producer on The Mysteries of Laura, has three series (and counting) in development for next season, and is also producing the bigscreen Peter Pan reboot Pan — Berlanti talked about what’s in store for The Flash, his obsession with comics, how he’s succeeded with TV comic adaptations where Marvel has failed and the disadvantage to having so many projects on his plate:
The only slight disadvantage to doing more and more things is you really have to be where the problems are. So you don’t get to be as much where things are going well. And so, if there’s two things that I’m working on that are going well, I’m not in that story room or on that set. I’m wherever we’re having some challenges. Then, by the time we take care of those, I go back to the other ones. So the disadvantage of having multiple things is on a day where everything is going badly on all things. You want to shoot yourself! The advantage is that’s usually not the case. Usually one or two things are going all right, and it buoys your spirits a little bit.
His take on The Flash is broadcast’s best pilot this fall. While almost all new shows take much of the first season to find their way, Flash arrives impressively fully-formed and self-assured. And, oh yeah, it’s a helluva lot of fun.
With the new TV season about to kick off, I looked at 16 returning second-year series, and predicted which ones will surge in Season 2, and which will slump. As I wrote at The Daily Beast,
A show’s second season is often its make-or-break year. After a season’s worth of growing pains and tweaking under its belt, will the series make the leap and fully realize its potential, as Scandal and New Girl gloriously did last year, or will it hit the dreaded sophomore slump and watch that initial promise implode, as was the case with Revenge, Up All Night, and Smash?
Maybe I’ll check back at the end of the season and how my predictions held up.