How Disney Greenlights Shows, As Told By Dana Walden

by

Back in the past, when streaming wasn’t prevalent, the end of May was a significant period for studios as they would order new shows. However, this importance has shifted in recent times, especially regarding that specific time frame. Nowadays, there is an endless space to store content. Amidst this change, a major topic of discussion has been: Who holds the power to give the go-ahead for these new shows?

Within Disney, decision-making power is divided among their various brands. While this might seem straightforward, it’s actually a strategic approach that Dana Walden, co-chairman of Disney Entertainment at The Walt Disney Company, links to their recent achievements.

At the 49th UCLA Entertainment Symposium on Friday, she pointed out that the teams are compact enough to focus on various genres of narratives. Being a seasoned TV executive and a well-regarded figure in the talent world, she emphasized her dependence on her key personnel for content selection.

In the previous year, Walden, who manages a vast collection of platforms (such as Hulu, Disney+, FX) and studios (including 20th Television and Disney-Branded Television), achieved an unprecedented 60 Emmy awards. She’s currently riding high on a wave of success, fueled by critically acclaimed shows like Shogun and The Bear from FX, the popular Hulu series Only Murders in the Building, and the highly rated ABC program Abbott Elementary.

Following CEO Bob Iger’s return, Walden took charge of overseeing the television networks for the entertainment conglomerate. Subsequently, she broadened the responsibilities of certain executives, one of whom was FX chief John Landgraf, who was specifically mentioned by Walden during her keynote address on several occasions.

She mentioned, “Give some thought to FX. It caters to a crowd that appreciates top-notch, ongoing series in both drama and comedy genres.

Additionally, you’ll find Hulu and ABC grouped together under a single brand. The reason for this is that following their initial broadcast, these network’s shows become available on the streaming platform. They are particularly known for their procedural dramas, broad comedies, and a segment specifically catering to younger audiences, which carries the Disney label.

In simpler terms, it seems Walden mentioned that shows with high viewer interaction, such as American Idol, are managed by a distinct team that operates independently from the one supervising reality series like The Bachelor.

She emphasized that she does play a role in such decisions,” the executive explained further. “To be honest, I can’t recall any instance where a brand leader presented a decision to me that I didn’t agree with since I keep myself well-informed about our overall strategy during the entire process.

Disney’s leadership structure wasn’t always as it is now. In the year 2020, Bob Chapek, then the CEO, significantly restructured the executive team as part of a shift towards streaming services. This was quite different from Disney’s traditional reporting structure. This change stirred controversy within the company because it seemed to take decision-making power away from content creators. Instead, authority was consolidated under a new reporting group led by Chapek’s deputy, Kareem Daniel, who along with his mentor, held an unusual amount of influence over content choices.

During his keynote speech, Walden didn’t hold back on praising Iger. He highlighted the $71.3 billion deal that Disney made to acquire most of 21st Century Fox’s entertainment assets. This acquisition, according to him, brought us an extraordinary collection of shows. He emphasized that these productions keep viewers engaged and mentioned that classics like Grey’s Anatomy or Modern Family are frequently being introduced to a new audience.

Read More

2025-06-28 02:24