Changes are being made at The CW since Nexstar took over the network. Nexstar and CW chairman and CEO Mark Pedowitz appeared to agree last year after the network’s acquisition that the network needs to expand its focus to include the older demographic that has come to make up the bulk of its linear viewing. According to Deadline, The CW is actively chasing a mix of half-hour comedies, namely multi-cam sitcoms, and procedural dramas to fill out their slate in an effort to appeal to the older demographics and begin to swing the network away from its teen-centric programming.
The entire creative community was urged to do better than produce merely more teen dramas. There will be no changes to the Fall schedule as a result of this strategic adjustment, as was previously stated. However, their long-standing ties with Warner Bros TV and CBS Studios are now uncertain. It appears that, in order to make the network successful and appeal to the older viewers that watch the traditional linear network, the network will go outside the two studios, which own a combined 12.5% of the firm and have the option to maintain their relationships with the network.
The Flash, one of The CW’s most successful drama programmes, will depart after Season 9 in 2019, freeing up a position for new talent. The Hatpin Society is the first of its upcoming shows. The series is a period drama about a group of suffragists in 1909 New York City who fight tirelessly day and night for justice, turning to vigilantism at night in a desperate attempt to bring about change, and was written and executive produced by Elissa Aron (Humane Treatment), with Rachel Bloom of Crazy Ex-Girlfriend fame also on board.
The show is being created internally with room for a co-developer, but the network made it clear that neither Warner Bros. nor CBS was required to be involved. The network is still developing projects like the Archie Comics drama Jake Chang, so this isn’t a complete departure, but this period piece is the first true test of the new method. The shift is intended in part to drastically reduce spending on new series. Nexstar paid the CW $100 million in debt when they bought the network, despite the fact that The CW had been running at a loss for years.
However, it became clear that the channel couldn’t survive on streaming income alone, especially given the high cost of the original programming it had been producing for years. It was stated that The CW was spending “nearly twice” as much as other networks on such activities. Instead of trying to enjoy the benefits of a streaming-optimized, pricey concert, the idea is to put quality and cost-effectiveness first. One might say that The CW is trying to get back to its roots. Comedic content was strengthened upon its debut in 2006, thanks in large part to the presence of the multi-camera sitcom Reba.
That show is a good example of how to make a low-budget property popular with viewers. It is still airing in syndication today. The network can have its cake and eat it, too, by airing affordable written comedies and dramas from outside producers while also airing fan favourites like Riverdale and the rest of the Arrowverse. With a strategy in place, The CW will likely focus less on original programming and more on acquiring existing properties.