Disney’s Craig Erwich on ABC’s Streaming Success, ‘Bachelor’ Turmoil

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The ABC’s scheduled start for the 2025-26 season is not merely a result of a good previous season, but rather the culmination of many years of dedicated effort, as stated by Craig Erwich, president of Disney Television Group.

In the past few seasons, the network hasn’t ordered many new scripted series compared to before – the most was just five in 2022-23 – but it has heavily invested in promoting the limited number of shows it did select. This strategy has allowed them to establish a lineup of newer programs that can be shown alongside established hits such as Grey’s Anatomy and The Rookie, according to Erwich in an interview with The Hollywood Reporter before Disney’s upfront presentation.

Three years ago, we debuted “Abbott Elementary”. A year later, it was “Will Trent”. Last year, we introduced “High Potential”, which has been the most successful streaming series this year. As Erwich stated, “It truly confirms our strategy.

ABC has chosen to prolong nearly all of its scripted shows from this season for the 2025-26 period, with exceptions being made only for “The Conners,” which concluded its run in the spring, and “Doctor Odyssey,” which remains undecided. During an interview with The Hollywood Reporter, ABC’s head of entertainment, Craig Erwich, discussed the multi-platform approach that played a crucial role in securing these renewals. Topics also included the behind-the-scenes drama surrounding “The Bachelor” and ABC’s upcoming projects. This conversation has been edited and shortened for clarity.

Today, ABC revealed some ratings data indicating that their top five shows this season – High Potential, Abbott Elementary, The Rookie, 911, and Shifting Gears – are leading in Nielsen’s cross-platform ratings among adults aged 18-49. When discussing these numbers with advertisers, are they grasping the fact that a significant portion of this audience is derived from streaming, which may not carry the same advertising load as traditional broadcasting?

2021 marked the debut of competitive streaming ratings for us, providing some insight into how we stack up against our competitors. Upon examination, our top five shows in the 18-49 demographic (excluding sports) were highly successful. To me, this indicates that people are watching television as they always have, but now it needs to be measured in a contemporary manner. Our success can be attributed to our proficiency at transforming multiple platforms within the Disney ecosystem into singular, compelling events. We’ve honed this skill remarkably well. For instance, the transition between ABC and Hulu is seamless, ensuring that we keep our viewers engaged regardless of their preferred platform. In essence, we are meeting our audience where they choose to watch.

The growth of shows like “Will Trent” is also advantageous, as it’s the only broadcast show that has consistently increased its audience in the 18-49 demographic over the years, which is quite remarkable. This growth speaks not just to the quality of the show but also to the refined structure and environment we’ve developed here.

Do marketers have a good understanding of how viewership has fragmented currently, and are they able to target the majority of viewers not just at 8 pm on a Tuesday, but rather in the days that follow?

We’ve gathered here in New York for a Disney upfront presentation, which provides us with an opportunity to discuss our comprehensive collection, our complete ecosystem, and the extensive reach that The Walt Disney Company boasts.

What’s the current situation regarding the behind-the-scenes developments, potential new showrunners, and resuming production for The Bachelor and Bachelorette following several months of significant changes and turmoil?

The high-speed “Bachelor” equipment is currently cruising at 100 miles per hour on ABC. We’re about to debut “Bachelor in Paradise,” marking the first time that both the Golden cast members and the younger generation will be participating. I recently sat down with Rob Mills, head of unscripted programming at Walt Disney Television, and he mentioned that the older contestants are burning the midnight oil and partying more than their youthful counterparts. I haven’t witnessed it myself yet, but I have high expectations for an exceptional season of “Bachelor in Paradise.” Following that, we have “The Golden Bachelor,” and we’ve got a very unique lead in Mel Owens.

Just like any other television program, The Bachelor requires precise selection of cast members. It’s essential that we find the perfect individuals for the show. We are taking extraordinary care with our unique and highly valued franchise, ensuring that each season will continue to delight fans when they are ready for release.

Can you say whether you have a new showrunner for those series yet?

Not yet.

I’d like to inquire about the development aspect too. Given that ABC, similar to other broadcast networks, has shifted towards a year-round production model and is ordering fewer pilot and script to series projects, does this affect your flexibility at all when it comes to announcing “We might need something for midseason” and having a project prepared for such occasions?

Throughout the entire year, we consistently introduce new shows, allowing us the flexibility to grow and produce pilots when they are adequately prepared. We don’t have to rush them all at once; instead, each one receives the attention and care required for it to reach its full potential, worthy of being added to our schedule. Our focus on a specific selection of series is likely why we’ve been able to consistently bring back shows year after year in recent seasons. The creative demands of our shows and the high standards for series pickup align perfectly with our scheduling approach, contributing to our ongoing success.

Are there any projects you’re potentially looking to add in the near future?

I’m thrilled to share that we’ve launched an innovative pilot, titled “RJ Decker“, derived from Carl Hiaasen’s novel “Double Whammy“. This witty procedural stands out with its unique narrative and a one-of-a-kind protagonist. It seems to follow the pattern of our successful Tuesday night shows such as “The Rookie“, “Will Trent“, and “High Potential“, making it a popular choice for viewers, transforming Tuesday into a prime-time TV destination for us.

Across various broadcast networks, including ABC, there are an unprecedented number of long-running series remaining on air. These include Grey’s Anatomy, The Rookie, 911, which while not as tenured on ABC, is approaching a decade in total. All of these shows continue to attract viewers. How do you find the right equilibrium between established, enduring shows and introducing fresh content?

As a dedicated fan myself, I can confidently assert that shows like “The Rookie” and “Grey’s Anatomy” are not merely enduring; they’re flourishing! It’s fascinating to witness the influx of new viewers discovering these series on Disney platforms, which in turn breathes fresh life into their audience. The creativity behind both shows remains as vibrant as ever, and they consistently hold their ground against the latest releases. In fact, “Grey’s Anatomy” was the second most streamed show across all television last year!

As a gamer, I can’t help but wonder if having vast collections of shows readily available on platforms like Hulu and Netflix, such as Grey’s Anatomy, encourages viewers to tune in for the latest episodes.

Indeed, our goal is to cater to the viewing preferences of our audience, whether they prefer to watch on a specific day or at leisure. Some viewers might want to catch up with shows like “Will Trent,” “The Rookie,” and “High Potential” as soon as they air on a Tuesday night. Others may choose to wait for the entire season to finish, then marathon-watch all episodes over a weekend. For some, the appeal lies in binge-watching a series such as “Grey’s Anatomy”, with its 450+ episodes acting like a captivating novel that they can’t put down. We also recognize the trend of parents rewatching shows with their children. In essence, we aim to provide content suitable for all these viewing habits.

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2025-05-13 21:25