The Man Behind the Heroes: Mark Pedowitz Breaks the CW Out of its Niche

Mark Pedowitz CW
Peter Bohler for Variety

In the fall of 2012, “Emily Owens M.D.” debuted on the CW. Its cast was attractive and appealing, but the medical soap failed to connect with audiences. “Emily Owens,” which was created by Jennie Snyder Urman (who would go on to birth “Jane the Virgin”) soon faded into oblivion.

Fast-forward to three years later, when the network has bagged a Peabody Award for one of its series — the critically acclaimed “Jane” — and is reaching ratings records for another — the superhero phenomenon “The Flash.” Under the stewardship of Mark Pedowitz, who was named president of the network in April 2011, the CW is arguably more creatively relevant and commercially competitive than it’s ever been.

Not only has it bagged multiple awards and noms, including a Golden Globe for “Jane” star Gina Rodriguez, it’s expanded its reach beyond its traditional female-skewing, 18- to 34-year-old audience. New series have turned up on critics’ top 10 lists, while older ones have gained viewers, in part thanks to Netflix exposure, which makes money for the network’s owners, CBS and Warner Bros. The CW also kick-started the superheroes-on-TV trend, an arena in which other nets have stumbled.

Since the 2011-12 season, the network has grown viewership by 27% among all viewers, and 13% in the 18-49 demographic. Accomplishing all that while going from 220 hours of original programming five years ago to more than 300 hours today — in an ever more competitive television landscape — means that speculation about the network’s viability has at long last been quieted.

“If there was any idea that the CW was going to go away, I think that’s been dispelled,” says Brad Adgate, senior vice president of research at Horizon Media.

Pedowitz says the failure of “Emily Owens” was “a light bulb” moment that triggered the turnaround. “We realized that show did not connect because no one was coming to us for a procedural,” he says. “So we took a good look at our schedule. What was really working was ‘Vampire Diaries’ and ‘Supernatural.’ ” Genre shows with a serialized element. “That’s what our audience wanted.”

But as fans of those series will attest, the genre element is irrelevant if the characters, their quests and their relationships don’t justify the audience’s investment. Loyal viewers haven’t spent more than 200 hours watching “Supernatural” because they’re curious about various methods of werewolf eradication.

“We always try to find the balance between what’s the big idea, what’s the hook that will get people to show up and watch the show, and what will keep them coming back,” says Gaye Hirsch, senior vice president of scripted development. For the CW, a show’s hook must be welded to emotionally rich relationships and ongoing conflicts that evolve every week.

“It’s not just who is Oliver fighting in Act 5, it’s ‘Why is he fighting that person? What are the emotional stakes?’ ” says Wendy Mericle, an executive producer of “Arrow,” which stars Stephen Amell as crime-fighter Oliver Queen.

“I like to write love stories and stories about family and stories about loyalty and stories about loss,” notes Julie Plec, executive producer of “The Vampire Diaries,” “The Originals” and the mid-season drama “Containment.” “And all those themes could just as easily fit into ‘Party of Five’ as they could into ‘The Vampire Diaries.’ But in this marketplace, things have to have the proverbial ‘big idea’ attached to them.”

And yet many broadcast network shows have stumbled in recent years because they gave pride of place to “noisy” concepts but didn’t match their shows’ premises or mythologies with characters and relationships worth following. The CW, on the other hand, consistently airs episodes that generally work on both a psychological and structural level. Shows that look like escapist, adventurous diversions but which convey poignance, resonance and ambiguity are harder than they seem to deliver.

No network or show is perfect, of course, but CW shows are usually smart, self-aware and even snarky at times; Rogelio alone on “Jane the Virgin” has generated endless GIFs and memes. But the CW’s shows also exhibit a depth of sincerity that can be refreshing in a television landscape that all too often relies on shock tactics, bland characters and hollow formulas.

At the moment, the CW’s scripted fare builds capably on the tradition of many of the WB shows that preceded it: The programs take the characters’ emotionally dilemmas and moral challenges seriously, but the shows don’t necessarily take themselves seriously. “Ponderous” is the last word you’d use to describe them.

Things looked less rosy in 2011 and 2012, when “Smallville,” “One Tree Hill” and “”Gossip Girl” were wrapping up their runs. As much as executives would have enjoyed using a magical amulet borrowed from the “Supernatural” set to speed the process of redefining the network, the revival process was gradual — bits and pieces at a time, Pedowitz recounts.

“One of the great challenges I faced was there was a core audience there — a really strong female audience,” he says. “As you try to grow your network and slowly shift your brand, you have to keep sight of the fact that you don’t want to lose them.”

The shift began with “Arrow,” which combined action, heroic feats and the kind of smart relationship drama that Greg Berlanti, who developed the show with fellow exec producers Marc Guggenheim and Andrew Kreisberg, had displayed on the WB’s well-regarded “Everwood.”

Moving “Supernatural” alongside “Arrow” gave the net a Wednesday presence, with “Vampire Diaries” having established itself on Thursdays, Pedowitz says. “The next year, we had (‘The Vampire Diaries’ spinoff) ‘The Originals,’ ‘Reign’ and ‘The 100,’ and those shows started expanding our universe,” he notes. “Last year, we had ‘Flash’ and ‘Jane.’ ‘The Messengers’ didn’t work, but we had ‘iZombie.’ ”

Of course, not everything paid off. Despite its ties to the “Sex and the City” franchise, 2013’s “The Carrie Diaries” didn’t connect with viewers, and along with “The Messengers,” sci-fi serials like “The Tomorrow People” and “Star-Crossed” also failed to catch on. Moreover, despite the CW’s gains, NBC, ABC and CBS and Univision all finished ahead of it in the 18-49 demo in the 2014-15 season.

Still, it was clear the network had momentum. Expanding the audience demographics had been a major goal, and viewership in the 18-34 and 18-49 demographics improved on three nights, and total viewership went up on four nights. “The Flash” finished its first year as the most-watched show in the CW’s history — and among men over 18, set a record as the highest-rated CW series ever.

“These shows have great economic value within a much larger ecosystem beyond the CW — there’s international sales, out-of-season streaming rights, syndication rights,” Pedowitz explains. But before those revenue streams kick in, he adds, “You have to create shows that people want to see and talk about.”

“The Flash” was one of those shows, and it didn’t work just because it was a comic-book show; those kinds of programs have proliferated in recent years, and not all of them have consistently worked. “The Flash” took off because it was a well-made, well cast show with a specific vision that its creators stuck to with great tenacity. And “The Flash” and “Arrow” are by no means always light and aspirational.

“We’re allowed to go dark, surprisingly, on a network and on a show that can have a younger demographic,” Mericle says. “There are families who watch ‘Arrow.’ and we’re allowed to explore those issues without being prohibited. It’s testimony to the universe’s ability sustain that, and also to the network’s support.”

That’s not to say the CW doesn’t face hurdles. It depends on horror, the supernatural and zombies for its bread and butter, but those kinds of programs aren’t hard to find anymore, not in a world where “Game of Thrones” wins the best drama Emmy. And though the CW’s audience is now much more equally distributed between men and women, many of those potential viewers have grown up streaming an array of genre TV content that grows larger every year. Doing what they’ve seen before all but guarantees they’ll tune out.

“Our audience watches so much TV and they’re so sophisticated,” says Traci Blackwell, senior vice president of current programming. “They’ve seen every twist and turn.” Pedowitz and his execs work closely with their showrunners to emphasize that even the wildest scenarios must contain problems viewers can relate to. Jane Villanueva may have gotten pregnant via a ridiculous medical mishap, but for the most part, she is firmly tethered to reality via her supportive family.

“It’s a surreal tone, and yet the relationships feel very authentic,” Hirsch says of “Jane” (which was joined by “Crazy Ex-Girlfriend” Oct. 12). “It’s the balance between a tone that’s a little bit heightened, and recognizable relationships between a mother, a grandmother and a daughter that feel familiar to people.”

Though executives would probably rather tout the network’s ratings growth, the CW’s bigger accomplishment might be what its creative teams have created visually on budgets that would make HBO showrunners weep. “The 100,” “Arrow” and “The Flash” and other CW programs frequently display exceptional shot composition and handle action showdowns and emotional confrontations with deft assurance. Urman spends hours every week in the editing room, making sure “Jane’s” on-screen graphics, lively narration and fantastical scenarios mesh well.

“When you’re flipping through the channels, [‘Jane the Virgin’] feels like a different kind of place,” says Joanna Klein, senior vice president of scripted development. “When we are developing new shows, we always ask each other, ‘Does this feel like a world? Is this a whole, all-encompassing place to transport our viewers to, with a unique flavor and a strong voice?”

When trying to bring together all those elements and keep a 22-episode season moving forward, the last thing a producer wants is half a dozen different executives weighing in with conflicting notes, but several CW showrunners say dealing with the network is typically a streamlined process.

“It’s a small but passionate company where everyone communicates with one another,” notes Urman. “That sounds like a small thing — but it’s not. It means, as a writer, you know your target. You know everyone’s spoken, everyone’s on the same page.”

During the development process, Klein encouraged Urman to give Jane and her baby’s father, Rafael, a rich history, which Urman says unlocked deeper layers of the “Jane the Virgin” story. Urman recalls that Pedowitz and the development team also urged her to lean into the pilot’s comedy and magic realism — that note led her to add a scene in which a bus poster of telenovela star Rogelio comes to life and talks to Jane. “That’s a scene that is so seminal to the pilot, and it would not have existed had they not pushed me for more,” Urman says.

“iZombie,” which returned for its second season Oct. 6, may be the most clear expression of the laser focus that CW has brought to its development process. The show is based on a comic book, the zombie element gives the show a genre spin, and the fact that its main character, Liv Moore (Rose McIver) works in a morgue even gives the network a way to come at the forensic-procedural format.

But “iZombie” is not about the dead bodies Liv examines, nor are executive producers Rob Thomas and Diane Ruggiero-Wright overly obsessed with why the undead popped up in Seattle. The zombie-plague mystery does progress each week, but ultimately the show is about Liv’s halting attempts to build a new life after her old one was destroyed by her infection. Her sardonic running commentary reveals how much of a struggle it has been to make sense of her new reality, but each step along the way has, strangely enough, given Liv a new perspective on what it means to be alive.

“There’s a little wish fulfillment in it,” Hirsch says of “iZombie.” “How do you make the best out of being a zombie? How do you have a positive impact of the world?”

Whether a show is a superhero property or has some other kind of high concept at its core, “I think fundamentally, our audience cares about the characters,” Blackwell says.

And though the network’s current success might be built on recognizable formats — superhero shows, soap operas and supernatural dramas — this roster of CW shows doesn’t traffic in timid tweaks to those formulas. Pedowitz “very much encourages the producers to push the limits,” says VP of current programming Liz Wise. “I think that’s part of what’s different about the CW — we’re not necessarily trying to do safe TV anymore.”

Pedowitz’s attention to detail has a direct influence on the final product. Says Wise: “He watches everything. He will walk in saying, ‘Did you see this obscure (BBC America) show? I love the soundtrack.’ He sees things he loves and what people are responding to on cable, and he’ll say, ‘Why can’t we do that on network television?’ ”

Berlanti, who helms the superhero trilogy “The Flash,” “Arrow” and the upcoming spinoff “DC’s Legends of Tomorrow,” praises his boss’s eye for talent. “His instincts in casting are so helpful, because he watches all the same genre shows we do,” Berlanti says. “He’s helped us go after talent from ‘Doctor Who,’ ‘Spartacus,’ and ‘Prison Break’ — we have very similar taste in that regard.” The two men even called each other the same day with the same idea: to develop a new show around the guest stars on “The Flash” and “Arrow.”

“He also recognized times have changed and the audience can appreciate a shared universe, so last season, he agreed we should try to work in the crossovers between ‘The Flash’ and ‘Arrow’ sooner rather than later,” Berlanti notes.

Pedowitz travels to the set of every CW show every year, but even before those visits began, he did his homework. Around the time that Pedowitz came to the CW, two years after he ended a stint as the president of ABC Studios, he had a conversation with Plec and her fellow executive producer, Kevin Williamson, about their flagship show. “He started quoting parts of ‘The Vampire Diaries’ to us, and we realized that he had made an effort not just to be caught up to where we were at that time, but he’d gone back and watched the entire series from the beginning,” says Plec.” “He really goes out of his way to connect himself to the material, and he gives notes as a fan would.”

Sophomore series “The 100,” from exec producer Jason Rothenberg, features a disparate pack of survivors trying to stay alive on Earth a century after a nuclear apocalypse. The bold choices made by the drama, which premiered in early 2014, have garnered comparisons to “Battlestar Galactica.”

“Jason and I had a long discussion early on, and I said, ‘If you make what is perceived to be the CW version of this, you will not succeed,’ ” Pedowitz says. “Jason took that to heart, and he made a darker, grittier, much more morally ambiguous show.” Rothenberg recalls getting a call from Pedowitz after the exec watched a cut of a particularly dark episode, telling him he could go even darker. “I remember laughing: ‘Even darker than killing 300 innocent people?’ That one essentially set the bar.”

A Season 2 episode involving multiple deaths produced “quite a lot of hemming and hawing” from Standards and Practices, Rothenberg recalls, but “Mark again was on our side. He really wants us to push the envelope. In Season 3, I’m making it my mission to find the line that we can’t cross.”

“As creators and writers, we feel we have the kind of creative support and latitude that most people associate with some of the major cable brands,” notes Aline Brosh McKenna, executive producer of “Crazy Ex-Girlfriend.”

“The 100” and “Jane the Virgin” are among the CW shows notable for the diversity of their casts, but that’s an effort Pedowitz has championed behind the scenes as well. Last summer, the Television Critics Assn. hosted a groundbreaking panel: Eight female showrunners from the CW talked about making their shows, and about the challenges presented by working in an overwhelmingly male industry.

“We’re up here doing all sorts of different kinds of shows, and I think that’s definitely kudos to the CW for that — for not kind of pigeonholing women into, ‘Oh, you can only run this kind of show,’” Gabrielle Stanton, an executive producer of “The Flash,” said during the panel.

Of course, one of the most notable things about the panel was that most networks wouldn’t be able to assemble a group of eight female showrunners.

In the executive suite, Thom Sherman, the network’s executive vice president of development, has two women, Hirsch and Klein, reporting to him (as well as Justin Rosenblatt, senior vice president of alternative series). The team reporting to Michael Roberts, executive vice president of current programming, consists of Blackwell, who is African-American, and Wise.

“I’ve been a big believer that you need to reflect society. It makes for better TV shows,” Pedowitz says. “Beyond the fact that it’s the right thing to do, it’s also good business.”

“I like that the men at that network are just as capable of being emotionally open to the material,” Plec notes. “Part of their success is, they have that magnificent balance of very strong women who have really earned their positions and very strong men who don’t have to posture, you know, with the masculinity.”

Will audiences still be be open to the CW’s offerings this season and beyond? As Adgate noted, “the tastes of young adults can change rapidly.” And the network is trying to branch out beyond its genre base: It has projects based on Clive Barker’s “Weaveworld” and the Archie comics in development, but the network is also developing “The Drop,” a show about DJs in Miami, and a TV version of the Nicholas Sparks romance “The Notebook.”

But if Team Flash could defeat Gorilla Grodd last season, anything is possible.

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  1. Alison M says:

    I watch Arrrow and the Flash and although I like both alot, I do think that there are too many superhero/comic book shows on TV overall. Shows like Beauty and the Beast and Almost Human provided a little variety. Almost Human, the futuristic cop/android partnership show, was cancelled after 13 episodes but I have only ever heard positive things about it, so why was it cancelled? The cases were interesting as the crimes were what we could expect in the future, not crimes possible now. Beauty and the Beast is like no other show on TV as it concentrates on the relationships between it’s main characters, rather than having a story line with a bit of love interest thrown in as an afterthought like Arrow and the Flash. I live in the UK and we don’t have quite as much money to splash around on drama so those we make are given a chance to grow and develop. I do not like the way the CW cuts shows early without any thought to the fanbase and with no attempt to round off the storyline either. BATB has been given another, short season but what will the CW do if that season is as popular as Season 1, as they have already taken the decision to make 4 the last season? I have never seen supernatural as for some reason it has never been shown in the UK. The 100 Season 2 is being shown but at 3.45am so don’t know why they bothered buying it. Didn’t really like season 1 as found most of the chracters annoying, especially Clarke.

    I will continue to watch Arrow and the Flash but will lament the passing of Beauty and the Beast, once Season 4 has aired as it will leave a big hole.

  2. Debbie C. says:

    I agree with my fellow Beasties’ comments about the deliberate exclusion of, imo, the best show on the CW. There are fan bases that are much larger than ours, have been on many seasons and continue to be put in the limelight by their base stations, CW, CBS, NBC and ABC. I’m not going to blame Mr. Pedowitz for a decision not to renew our beloved Beauty and the Beast, simply because it may have come from higher executives. In an article Beasties appreciated at the time, Mr. Pedowitz hinted that Beauty and the Beast may or may not be returning for another Season because of the natural course of the story. I’m not quoting him, but there were references to BATB being his baby and the decision to place it in a summer time slot would, in short, give great year round television viewing to the CW Network. I’m going to thank Mr. Pedowitz for giving us a Season 4. No other actors given the pivotal roles of the Beauty, Kristin Kreuk, the Beast, Jay Ryan, the professor, Austin Basis, the partner, now captain, Nina Lisandrello and the amazing sister, Nicole Gale Anderson, would have made an impact on its fan base around the world. The brilliant, award-winning crew and musical direction, again, imo, could not be topped in giving fans such an emotional roller coaster ride that has been life-changing to many. To borrow a line from a wonderful fan and friend, Beauty and the Beast, was and will never be just a TV show… Since I am not considered part of the demographic in crowd of 18-49, I’m surprised I can form sentences, but I do know that after the airing of Season 4 of Beauty and the Beast, the only time I will be watching anything from the CW, will be my DVR reruns of BATB. Thank you for posting.

    • Lilly says:

      Honey, pipe it… honestly, I also watch BatB just like you but going as far as to say the show is the best thing on The CW is too much. It’s not. BatB started off beautifully and suddenly it was turned into this monster that made most fans not care about it anymore. It’s truly hard to recognize what it turned out to be as being the same thing that premiered in 2012. In the end, the best things about BatB is its first season. It’s a little sad tragedy: it became the show that could have been something but never were. And award winning crew? Puhleeze… most of them are just folks that aren’t taken seriously by the industry but still are extremely relived that they get a check from CW. The only good actors in this show are Ryan and Lisandrello… I could include Basis in the mix, but his character have been long reduced to this sort of therapist character type who’s mostly there just to hear and explain the main characters’ reasoning. Kreuk could never be the lead in any other respectable network’s show but leave it to CW to hire a woman that is not regarded as a good actress not even in here homeland Canada. But anyway, I watched BatB for something I can’t quite pinpoint… I guess I was curious to see how ti would turn out, but I must confess that said “beasties” made me give up on season 3 with their loud ways and their annoying constant complimenting of the show on social media even when the episodes were silly. It was borderline pathetic at times! And it is so pathetic because people like you are saying – as if you had any credibility to give such statements – that you won’t ever watch The CW again because BatB was the only good thing they had to offer. LOL! If beasties think BatB is the best television experience ever offered, they seriously need help.

  3. Glaucia says:

    Like others here, I am disappointed that BATB not be quoted – the show, their cast and fans deserve more consideration.

    • coracaoalado says:

      I totally agree with you!!! I find it very rude BATB have been mentioned! It was one of the series that more projection on Twitter gave CW. And I also do not pretend to see nothing more than this season, because I see nothing on your calendar is worth watching! This is my opinion!!! Debbie C, agree with you, too!!!

    • Well said and thank you Debbie, as well as all comments from BatB “Beasties”! Very sad, insulting and disgraceful at the obviously intentional slight of BatB. Sincere thanks to each of the amazing cast and crew for the gift of BatB.

  4. Sin bella says:

    I am very disappointed that Beauty and The Beast is not mentioned in the above article. knowing how CW treats our show, I shouldn’t be surprised but still after all efforts the cast & crew have input for the past 3 years, 100% support & love shown by the fans for the past 3 years, is it too much to ask for the network to give #Batb the respect & recognition it deserves? CW may have decided to cancel the show but we still have one more season left and the immensely talented cast & extremely hard working crew deserved to be mentioned. Why create a show if you have no interest in promoting it or doing all possible to make it successful? We know everything is not about ratings because our show is very popular overseas = profit. Also we see all the time CW over promoting ‘certain’ shows despite low ratings….???.
    Mr Pedowitz says that #Batb is his baby and it means a lot to him….yet the way its treated states otherwise.
    Anyway, as a loyal fan of the show, I would like to say ‘million thanks’ to the incredibly talented cast, Jay Ryan, Kristin Kreuk, Austin Basis, Nina, Nicole and beloved beloved crew for giving 3 amazing seasons. Can’t wait for S4. No doubt it will be magical. It’s been an extraordinary journey & I’m very happy & proud to have been part of it. Loads of love to the best fandom ever!!!!❤❤❤❤

  5. Angie Brush says:

    I am very disappointed that Beauty & the Beast was not mentioned in this article though I shouldn’t be,what has BATB meant to the CW & Mr Pedowitz,nothing? Was it just a filler? It didn’t get the respect it should have,promo for the first season but nothing afterwards,ok you drew the fans in from S1 but nothing after that,your not proud to say that this Flagship has won the Peoples Choice Award every year it’s been on the air,because of it’s fan base? We went thru an 11 month Hiatus last year because it was moved from a fall show to a summer show & now 9 months hiatus to get our final season next summer.Our actors deserve more than what was given them,they gave their best,can CW say that out of respect to them & their fans I think not,there were many stories to be told from this show,we as fans could see it,but obviously CW couldn’t.With that said I don’t watch the CW channel for anything other than BATB,there is nothing on there appealing to me.I’m a 65 year old woman & not much catches my attention on TV anymore,it’s a lot of garbage,our show has more than people think & maybe someday people will appreciate good TV again.I thank Jay Ryan,Kristin Kreuk,Austin Basis,Nina Lisandrello & Nicole Anderson for what they brought to our show,Stuart Gillard & Catherine Ashton for directing & dressing our cast.BATB you will be missed by your loyal & dedicated fans you have brought together over the years.We will always love you & BATB.

  6. Irene Larsson. Sweden says:

    Beauty and the beast got it’s fair share of promotion. In the first season.

    After that, the only promotion it got, was from us, the devoted Beasties.

    Beauty and the beast won the Peoples Choice Awards in both 2013 and 2014. And so did Kristin Kreuk for her role as Catherine Chandler.

    To most people, that would show that there is a huge interest in this series…

    Not to CW.

    I’m never letting myself get invested in a CW show again.

    What is a network without it’s fans?

    • Wilma says:

      Beauty and the Beast won PCA Awards in 2013.2014 & 2015. Unbelievable that it’s not mentioned? It has always been said that it was a very profitable show too. Especially Internationally

  7. WiganBeastie says:

    Considering BATB was meant to be his flagship show it seems its not worth a mention in this article.Yes it was low rated but the fanbase it did have was solid and brought the money in through international sales and other revenue.Haters can hate all they want but its a bloody great show and deserved more respect and promotion from CW.Most times it was left up to the fan-base to do the promotion of the show.As Nan as stated I hope all the cast end up at a network that appreciates them.
    Crazy ex girlfriend and JTV are the worst shows on tv today in my opinion.

  8. Nan Stewart says:

    All I can say is I never watched CW before Beauty and the Beast and you can be sure I will never watch another program from that network again. This show ended up with 4 seasons not because of Pedowitz but because of the talented actors and crew and because of the superior fan base it had. I just can’t understand how you can justify the non promotion of this show and expect it to come out on top with flying colors. Yet you gave JTV all this publicity and promotion and the show had worst ratings than BATB. Yes, I am an angry BATB fan. I just hope the Talented actors find work with another network where they will be more respected and appreciated for their talent. Believe me I am not alone when I say you really screwed up this time Mr Pedowitz

  9. Ofcgeek Carol says:

    Shameful for you to not mention Beauty & the Beast, AT ALL, a show about the victim and doing the most good. A show with a fandom tried and proven. The ratings for JTV are way down, and the sentiment is that “no one watched the JTV S2 premiere”. That’s what’s really going on.

  10. Just a guy. says:

    The 100 is one of the best things on TV. Brutal, uncompromising, and in category all it’s own. We can’t wait for season 3.

  11. Li says:

    I’ve been a loyal CW follower since Ostroff’s reign and it’s nice to see that Pedowitz really changed the game. Broadcast might not be as strong as before, but Pedowitz managed to keep the netlet afloat amidst the general downfall of modern television.

  12. Anonymous says:

    Thanks for pointing out what should be obvious, but tends to get lost – international, streaming, and syndication are all part of the equation, but those should be additional revenue streams supporting the primary product. It’s pretty easy to tell if something is generating interest as soon as the first numbers start coming in – then you can start talking about all the other ways to monetize the success. Otherwise you’re rationalizing failure.

  13. Mark P. has much SUCH a difference at the CW. As a Supernatural fan, it’s thrilling to know that he actually KNOWS the story. He can talk plot details, character, and storylines. He’s a TV viewer at heart – and that makes all the difference.

  14. Lulu says:

    Great read! I watch a few of the CW shows, but I totally agree with them on Arrow. It’s the characters I care about — Oliver Queen, Felicity Smoak, John, Diggle, the Oliver/Felicity romance, the Oliver/Diggle brotherhood they’re forming — that matter to me, keep me emotionally invested, and make me tune in each week.

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