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By Suzanne

Fox 2014 Programming Presentation 5/12/14

Final Transcript
FBC PUBLICITY: Fox 2014 Programming Presentation
May 12, 2014/9:00 a.m. EDT

Shannon Ryan
Kevin Reilly
Joe Earley
Toby Byrne
Eric Shanks
Dan Harrison


Moderator: Ladies and gentlemen, thank you for standing by and welcome to the Fox 2014 Program Presentation. At this time, all participants are in a listen-only mode. Later, we will conduct a question and answer session. As a reminder, today’s conference is being recorded. I would now like to turn the conference over to our host, Shannon Ryan. Please go ahead.

Shannon: Hello, there. Thank you. Good morning, everyone. Thanks for joining us today. Before we run through our portfolio of content for 2014-2015, I just want to remind everyone that you can download today’s press release along with the show descriptions, photos and other helpful information through our press Web site, In addition, after today’s upfront presentation, we will post video trailers from the new series that Kevin and Toby are going to present this afternoon.

Now, while people are still dialing in, I’ll just take a moment to highlight a few of FOX’s key achievements this year. We’re ending the season steady with last year and we came out with a number of wins, including the No. 1 unscripted series with Adults 18 to 49 in MASTERCHEF JUNIOR, the No. 2 new drama with Adults 18 to 49 in SLEEPY HOLLOW, six of the Top 25 comedies out of 127, four of the Top 25 dramas out of 145, and seven of the Top 25 unscripted shows out of over 500 on television.

We also set records once again in the younger adult and teen demos. We’re going to win the 12th consecutive season among Adults 18 to 34 and this year, we’ll mark our 14th straight wins among Teens. Okay. So, hopefully, everyone should be on now. So, let’s get started.

To talk a little bit about the upcoming season and answer your questions, we have with us FOX’s Chairman of Entertainment, Kevin Reilly; our COO, Joe Earley; President of Sales, Toby Byrne; Fox Sports President and COO and Executive Producer, Eric Shanks; and our Executive Vice President of Strategic Program Planning, Dan Harrison. And now, I’m going to turn it over to Kevin.

Kevin: Good morning, everybody. How are you? Thanks for joining us. I know you’ve got a lot to ask and to do today. So, with that said, let me review the schedule.

First of all, I would just say that although I don’t really acknowledge the official season as defined by Nielsen, if you were to look at the official season as defined by Nielsen, this past one was a tough one for us, especially the second half of the year. Some of our returning shows just did not perform as well as anticipated. But as Shannon mentioned, we did come out with a cluster of some very strong assets in SLEEPY HOLLOW, MASTERCHEF JUNIOR and BROOKLYN NINE-NINE, and it was great to get our new event series franchise off to such a strong start with 24: LIVE ANOTHER DAY, which premiered last week.

I think you’ll see a particularly strong crop of development from us this year. We’ve got 12 new series and three new stand-alone specials for 2014-15. I’ll just give you three quick strategic points that you’ll be hearing from us today at the upfront.

The first is that we deliver the most useful audience at scale, and that really is supported by our 18 to 34 demos. We have the highest concentration of 18 to 34 demo, which is double that of any of our competitors. We’ll talk more about that later. The second is that we are redefining the network experience. We’re really transforming FOX into a 24/7-365 platform, that embraces the non-linear viewing experience. The third point is that on the linear channel, we are eventizing our entertainment slate, which is where the power of broadcast television really shines through. It’s about urgency to view, and you see that in our sports package, and we’re going to be bringing more of that to the entertainment side.

We’re going through a real transitional time in television right now. People are watching more of it than ever before, and on a multitude of platforms, and we are certainly embracing that at FOX. Let’s quickly go through the schedule and you guys can fire away.

On Mondays, we’ve got a particularly potent combination of dramas here with our hot and biggest hit of last season, SLEEPY HOLLOW, paired up with what I think is sure to be this season’s biggest and noisiest hit. Thankfully, it is a show that delivers on its promise in GOTHAM at 8:00.

On Tuesdays, I loved the four-comedy block that we’ve been doing the last number of years. I think we’ve had some terrific shows. It has been a frustration not having cover for it, from a ratings perspective. We’ve been a little vulnerable, so we got very strategic about this year and put in good shows where I think they have some protection. So, we’ve got a very big bet in UTOPIA, our new unscripted show that’s coming in from John de Mol. I think that show is going to be very, very noisy and the most exciting new entry in unscripted for quite some time. That should give us a real boost going into NEW GIRL and MINDY at 9:00 and 9:30 PM.

On Wednesdays, we’re adding one new drama in the fall with RED BAND SOCIETY, which really turned out to be something special. If you go back to “Beverly Hills, 90210” and GLEE and “The O.C.,” we have a history of young-appeal soaps. This feels like the next iteration of it. It’s inspirational. It really feels like it moves the genre forward.

At 8:00, we have a show in HELL’S KITCHEN that is one of the heroes of our schedule. It’s been in about five time periods. It’s a Top 10 unscripted show. It’s been the top show in its five time periods over the last number of years. It’ll give us some real boost, a very broad-based audience going into RED BAND SOCIETY.

On Thursdays, we’ve got two female-appeal dramas: BONES, which is very similar to HELL’S KITCHEN, in that it has performed wherever it’s been, and it’s been a lot of places. It has been on Thursday night before, and performed there. It goes into our second event series, GRACEPOINT, a 10-episode close-ended series. We acquired [the U.K.’s] “Broadchurch.” Many of you asked two things about “Broadchurch.” Is GRACEPOINT going to be as good as “Broadchurch?” The answer is yes. And secondly, is there a new twist and a new ending, and the answer is yes, there is. So, I’m thrilled at the way this has turned out. It’s really an excellent cast, headed by David Tennant, and Anna Gunn in her first role after winning the Emmy for “Breaking Bad.” That’s going to be a very good night of television on Thursdays.

Fridays, we’re going to double-pump UTOPIA initially, where we’re going to get some momentum with that show by going twice a week for the first six weeks. And then MASTERCHEF JUNIOR will rejoin its time period where it was a winner last fall.

Over on Sundays, as you know, we’re shaking things up; a little bit of returning back to our roots. If you go back historically, some of our biggest live-action comedy successes – “Married with Children,” “Malcolm in the Middle,” “That ’70s Show,” – really came out of our animation lineup, back when FOX didn’t have as many comedies to play with. We’ve got a very big flow out of SUNDAY NIGHT FOOTBALL in the fall, and both THE SIMPSONS and FAMILY GUY are two of the most potent comedies on television. So, we think putting in BROOKLYN NINE-NINE and MULANEY is really going to give those shows some protection there.

In addition to that, we’ve got our two digital studios. ANIMATION DOMINATION HIGH-DEF—you’re going to see them setting up over-the-top series this year and taking some of that content and bringing it back to the network. We already have one show, called GOLAN THE INSATIABLE, which is in the pipeline, and which will air next June on FOX in prime, and that’ll be paired up with another ANIMATION DOMINATION HIGH-DEF show, as well. So, that studio is continuing to go in a very good and fruitful direction.

We also have a new studio that I’ve talked about. Andy Samberg and his comedy group, The Lonely Island, are now in business with us. Their online digital videos have gotten over a billion views. Nobody has been more potent in the online world-- and consistently so. They will also be doing things for the over-the-top universe this season. That’s our fall.

As you also know, we have several comedies that are in production right now and will be joining the schedule later in the year: WEIRD LONERS from Michael Weithorn, who created “King of Queens.” It’s a weirdly funny take on relationships; and Jake Kasdan who’s really a fantastic director and has been on NEW GIRL, directed that pilot. THE LAST MAN ON EARTH, which is going to be one of the most talked-about shows of next year, created by and starring Will Forte, and our friends [directors] [Phil] Lord and [Chris] Miller who did “The Lego Movie.” Later on this afternoon, there’s going to be an online trailer going up, which you should check out. It’s really funny and will really give you a flavor of that show.

We also have our third event series, WAYWARD PINES, with Matt Dillon, Melissa Leo, Terrence Howard and Juliette Lewis joining. This turned out very, very strong. M. Night Shyamalan directed it. It’s a 10-part thriller. I just think we’re off to such a great start on this event series franchise. The potency of having something that plays out in 10 episodes and answers questions and solves mysteries, really separates it from the traditional series, and I think it’s going to make the difference in our schedule.

We’ve got three more dramas going. We had a struggle this year trying to figure out which to lead with, because, to be honest with you, we needed a strong crop of one-hour programs this year. And with the seven one-hours, between the five dramas and the two event series, I’m very happy to say we got what we needed.

We’ve got HIEROGLYPH, a big epic adventure set in Ancient Egypt, shooting in Santa Fe and Morocco. It’s very cool.

Hart Hanson, who’s just been one of our most creative and reliable producers, comes in with BACKSTROM, starring Rainn Wilson. That’s going to do some business, and I think we can get that paired up with BONES at some point.

And EMPIRE, which I think will also be one of the signature shows for next season. Academy Award nominee Lee Daniels. It’s got Terrence Howard and Taraji P. Henson. It’s a behind the scenes, sort of an Upstairs/Downstairs, of the hip-hop world. I think it’s timely. It feels really contemporary. And once again, we’re going to have chart-topping music, because we have a deal with Timbaland to do original music, and the music that you’ll see in the pilot is very, very strong.

That’ll be paired up with AMERICAN IDOL next year, which will be streamlined and have a new format. I think that’s going to be a potent night.

All right. So, I’ll stop talking while you guys fire away and we’ll take it from there.

Moderator: We’ll go to the line of Alan Sepinwall with HitFix. Please go ahead.

Alan: Kevin, this is the first time as far back as I can remember that you guys haven’t announced a midseason schedule at upfront time. How much of that is due to some of the struggles that IDOL has had this year and have you figured out how many times that’s going to air in the spring?

Kevin: Yes, that’s a good question, Alan. It’s not due to the struggles of IDOL, although the format of IDOL will change. We’ve always built our second season schedule around IDOL, knowing that it was a fixture and knowing pretty much exactly what the format was going to be.

Next year, the format will be different. It’s going to be less hours. It will be 37 hours. It’s going to be streamlined. I think you’ll see a two-night format, at least initially, during the audition phase. It’s quite likely – and we’ve not locked into it exactly – but I think it will end up being a two-hour show on one night, through most of its run. That is a work in progress. We have a pretty good sense of where things are going to go, but we’re going to let that shake out a little bit.

Moderator: Thank you. We’ll go the line of Brian Steinberg with Variety. Please go ahead.

Brian: Thanks very much. Could you tell us a little bit more about shaking up Sunday night? This has long been a really individual thing for FOX, the animation stuff. What did you guys think about—what were the pros and cons of breaking out with live-action stuff?

Kevin: Yes, it has been. The animation business is something that we’ve had a monopoly on for our entire run. These are incredibly potent and culturally impactful and profitable shows for us. We’re going to remain in that business for as long as we’re in business.

But at the end of the day, comedy is comedy. If you look at this season in particular—well, even beyond – if you kick out some of the shows like “Big Bang Theory,” that have been on for seven seasons, five seasons or more, one of the challenges right now of live-action comedy, across the landscape, is that without some protection, even in this more on-demand world, having a lead-in and some time-period protection is still meaningful, particularly for comedies which very, very rarely can self-start. You saw that this season, there was a lot of comedy introduced by the networks. Really, the only ones that had any sort of success at all, had some lead-in protection.

We love the comedies that we have, and that are returning to the schedule, but I just couldn’t face it again having them exposed without some protection. So, we utilized some of the strongest assets we had, which is the SUNDAY NIGHT FOOTBALL audience that flows in, in the fall. We have seven double-header games in the fall. It really juices up our Sunday night, and two of our most consistent and highest-rated shows, year in and year out, with THE SIMPSONS and FAMILY GUY.

And again, that was the history of FOX. That’s where we started. The biggest move that put FOX on the map, from an entertainment perspective, was when THE SIMPSONS went over to Thursday night and was paired up with MARTIN and LIVING SINGLE. That’s where the Bundeys came out of, initially on Sunday night, as well.

Brian: Thanks.

Moderator: Thank you and we’ll go to the line of Joe Flint with the LA Times. Please go ahead.

Joe: Hello. Kevin, I was just wondering; can you talk a little more just about the previous season or the previous nine months? We won’t call it a season, and what you thought the challenge—what were the big challenges? What was happening? Was it partially creative? Was that an issue, or was it also just kind of the landscape of today? I mean we’re just seeing so many fewer shows being able to pop now and yet, the business is still being approached the same way in a lot of ways, the fall lineups and everything else.

Kevin: Yes. Look, I could fill the rest of the call talking about that, because I don’t think it’s a quick one-word answer. But, when you get to the second half of the season, in particular, and you have factors like daylight savings time—let me start here.

Being in the on-demand world, in particular, on FOX—the double-edged sword of being the youngest network, is that a lot of that viewing goes on to other platforms. That’s not bad. We’re embracing it as a business. But in terms of your on air, linear circulation – with some of our returning shows, you see upwards of a 70-something percent lift on these other platforms, including the DVR – your circulation can get challenged. If you don’t have a show in the second half of the season that really can lift all shifts, the way IDOL did for so many years and tie it all together, it is challenging. NBC certainly benefited from that this year. They did have the Olympics to juice that up, going into the first quarter. And then, “The Voice” was a good spine for them this year. I think without it, they wouldn’t have their story to tell.

We didn’t have that. And some of our returning shows either struggled to come back, or our circulation just wound down in the second half of the season. There are systemic issues out there right now, having to do with the way people are watching television. So sometimes, you have to drill into it, because the story is better than it looks on the surface. But, other factors impacting this landscape include the fact that when you hit a little bit of a challenging patch, it becomes double the challenge, because when you hit a tough patch in the linear channel, that circulation problem, which has always been an issue, can really be exacerbated in this world of on-demand viewing, particularly in the late spring, when viewers have established their viewing patterns, of what they’re watching on television. Cable is doubling down, and then daylight savings time kind of whacks the hot levels. So, those are the topline things that really factor in.

Joe: Okay. Thank you.

Moderator: We’ll go to the line of Michael Schneider with TV Guide Magazine. Please go ahead.

Michael: Kevin, sort of elaborating on that, you’re saving a lot of programming for midseason and for spring. Will some of that not appear until next summer, and does that require even more marketing than it has in the past? I know you mentioned you thought that this was the biggest investment you’ve ever made in programming; if you can elaborate on that too.

Kevin: Part of that big investment is because of the fact we are year-round. I love having 24: LIVE ANOTHER DAY on the air right now. Don’t think I wasn’t sitting there in February going, “Oh, my God. Why don’t I have 24 on the air right now?” But I’m very glad that by putting 24 on in May and having it arc into the summer, we’re signaling that June is just as important as January. That’s why we’re putting another quality drama, GANG RELATED, on in a couple of weeks.

We really want to be a 12-month network. And some of this programming will extend with a 12-month span. The other part of the big investment is that “The X Factor” was quite a big chunk of ours, which is now gone from our schedule, and as I said, we are now reformatting IDOL. So, in supplementing those hours with scripted, we have more in the fall.

And then you’re right. In the second half of the season, our marketing budgets are quite big and we’re doing the most robust marketing that we’ve ever done. That’s what it takes. But, that’s one of the reasons why we did some of our scheduling shifts, to try to provide a schedule that can hold together, because if you’re looking at nights that you’re trying to put together in the second half of the year, it’s tough sledding.

Joe: This is Joe [Earley]. Once we do get up and going, year-round, and it stays up and going, while you have the marketing investment to launch those shows, to have originals on through the summer will give us back some of that circulation that we’ve lost in order to promote the fall. So, the cycle should start to, at least, support itself, as well. Until we get there, it definitely takes more marketing, as we launch more original shows than ever. As we reduce the number of repeats on our air, it means a lot more marketing dollars.

Michael: Thank you.

Kevin: One last thing I would add to that, Michael, is if you look at, pound-for –pound, the amount of shows that we’ll have in our back pocket, particularly rolled out on a longer horizon, I think we’ll strategically be [spending] less than some of the other guys, who are going to have too many launches. And you saw that this year, shows that came and went, and nobody even knew they were on.

Moderator: Thank you. We’ll move to the line with David Bauder with Associated Press. Please go ahead.

David: Hello. Many of my questions were answered, but I have one very quick one. UTOPIA is going to be on twice in the fall, but Friday is a rerun?

Kevin: No. Friday will be an original, initially for six weeks. We’re going to start this before the official Nielsen-defined season, to try to get this up, and have viewers form a habit. This show is going to be a bit of a soap, in that sense – following a character, getting caught up in the world – and we want to really get that habit-forming started by putting it on in advance of the premiere week, and then also doubling it up during the first batch of weeks.

David: Very good. Thank you.

Kevin: Sure.

Moderator: We’ll go to the line of Ellen Gray with Philadelphia Daily. Please go ahead.

Ellen: Hello, Kevin. What about episode orders? I know a lot of people were very disappointed when they’d gotten hooked on SLEEPY HOLLOW and then it went away. The way that was structured, I don’t know that you had any choices, but you’re coming back with more of those. When you were looking at other shows, were you looking at things that could be expanded if needed?

Kevin: Yes, but again, there are a number of components to that. First of all, I think you’re a little damned if you do, damned if you don’t. If you look across the broader landscape, most cable shows are 13 to 15 episodes and the audience seems very, very satisfied and excited to have those, and then wait, sometimes upwards of nine months, for them to return to the schedule. There’s anticipation. On broadcast, I hear just as many complaints about shows that seem to go on forever.

I say this a lot, but there’s no standard order for a show anymore. I think the show should be tailor-made to what’s right for that particular show. Last year, SLEEPY HOLLOW, in its first season, was making mini-movies every week. It was a big show. We stopped when we felt we could put on a creatively excellent product, and I think the show ended on a high note, as opposed to teasing it out for six or nine more episodes and having it really, barely hold together and have a lot of repeats to get there.

The other part of that is that SLEEPY HOLLOW has now been back in series production for already a month for next year, and next year’s order on SLEEPY HOLLOW is 18 episodes. We will have almost all 18 in a row, and they are now in serious production, a good two months before just about any other returning drama on television, and the show is going to be really strong.

So, yes, I wish I had more last season too, but I think it’s healthier in the long run, and it fit that show well.

Joe: This is Joe. Another point that was in there is: dramas, especially if they have any sort of big action or visual effects, they cannot produce 22 in a row.

Kevin: Particularly during its first season.

Joe: Particularly its first season, and then, it’s another benefit of us shifting away from pilot season and not scheduling year round. The benefit of that is that shows go back into production and we can produce a run of them so that they can be scheduled in order. In the past, you could stretch 22 over 35 weeks. That gave producers time to catch their breath, but that just doesn’t exist anymore.

Moderator: We will go to the line of Lynette Rice with Entertainment Weekly. Please go ahead.

Lynette: Hello, Kevin. Why did you decide so early on to give a two-year pick up to GLEE and is there a chance when it does come back, it’ll come back just as 13 episodes?

Kevin: Why did we give it a two-year pickup? That was really a business negotiation. We sat down creatively and heard where it was going and we felt that there was a creative, compelling reason to do it that way. I think Ryan has a really good beat on how the show is going to conclude. It will be its last season, for sure. When it comes back in the second half of the season, it will also air all of its episodes in a row.

Lynette: So, is it just 13 then?

Kevin: No. The order currently is for 22, but we’ve actually got to sit down with Ryan and talk about how we’re going to end it and figure that out. Now, the advantage of having it on later in the season is that we don’t have to feel the pressure of delivery. We can do them in a row. So, we’re going to sit down and talk about exactly the best way to end the show now, and how many that is.

Lynette: Okay, cool. Thanks, man.

Moderator: We’ll go to the line of Gary Levin with USA Today. Please go ahead.

Gary: Hello, Kevin. Last year, “Agents of S.H.I.E.L.D.” was supposed to be ABC’s big hit and it didn’t quite work out that way. I’m wondering what your expectations are for GOTHAM. And why you think it is a perfect show for the network.

Kevin: Well, when you get these franchises with some built-in profiles and anticipation, the burden of that can be that the anticipation and the build-up can exceed the delivery. So, while I felt like we had something potentially really huge in GOTHAM, you’re always nervous that it won’t live up. This is conjecture on my part, but I think they struggled with that, to find the creative footing on “Agents of S.H.I.E.LD.”

Also, those weren’t the actual franchise characters. GOTHAM, I think you should look at the pilot when it’s available, and you’ll see that this thing is very, very sure-footed, creatively. So, any concerns as to whether this will live up to its promise were put to rest when I saw it a month ago. We’ve also looked at the written material, our series-bible for the 13. We have a staff now in there. It really feels like it knows what it is.

The real selling point to me on GOTHAM, right from the get-go, was that these are the actual series franchise characters. It is the prequel story. These are stories never told of The Penguin, Commissioner Gordon, Bruce Wayne, The Riddler. There are characters we created out of whole cloth. The Jada Pinkett Smith character. It’s a new character called Fish Mooney. You’ll see characters like that, but the tentpoles of the world are the great characters we know and love. So, I am feeling very good about where we are with GOTHAM.

Joe: Yes. The trailer that we’ve put online already has over six million views. It’s incredible. So, the fans are already embracing it.

Gary: Great. One quick follow-up. You said there’ll be 37 hours of IDOL next season. How many hours are you airing this season?

Kevin: We’ve been airing in the 50s for quite some time.

Gary: Okay. Thank you.

Moderator: We’ll go to the line of Hal Boedeker with Orlando Sentinel. Please go ahead.

Hal: Yes, Kevin. Why do you think IDOL can turn it around next season, and what went wrong this season, the main problems?

Kevin: What were the main problems?

Hal: Yes.

Kevin: I’m sorry. Can you be more specific about that? I’m not quite—

Hal: My question is why do you think IDOL can turn it around next season, and what do you think the main problems were this season?

Kevin: Well, look, I don’t think it’s a matter of turning it around. I think it’s about being a vital show. IDOL is not going to come back to being the ratings champion it once was. But, what we believe is that the show could be on the air for many years to come, and will be as a potent time period contender and a top-rated unscripted show, that’s a quality show, that people love, that we can do business with in the same way that “Survivor” hasn’t been at the top of the ratings for many years, and it has vital seasons year after year. That’s the mode we’re now in with IDOL.

It’s not about turning it around. I think that story has been filed, and now it’s just about making it a good show for many years to come.

Joe: Yes. It isn’t that there aren’t problems. The judging panel is amazing. The set is beautiful. The production values are top notch. So, it’s more just a matter of saturation and gravity…

Kevin: The show is 13 years old. I think eventually—plenty has been written about its epic run. I think at a certain point, 13 years in with the category sort of very crowded, you’re seeing that in general, on these competition shows. “The Voice” had an incredible year, but it’s been down every quarter that it’s been on. So, that’s just what’s happening in that particular category.

Hal: Will those judges be back?

Kevin: I think it’s likely. We don’t really ever confirm that until after the season wraps, but we’re getting good indications from all of them.

Moderator: Thank you. We’ll go to the line of Daniel Fienberg with HitFix. Please go ahead.

Daniel: Hello, Kevin. Just a couple of postmortems on a couple of canceled shows. ALMOST HUMAN and SURVIVING JACK had ratings comparable to a number of shows that you guys picked up. What were you not seeing in those shows that you would have liked to have seen for them to have gotten picked up?

Kevin: There are always “bubble” shows, and I think right now, because—particularly when you look at the live same-day ratings, a lot of shows look like they’re grouped together with the same rating. But, ultimately, you can only afford to float so many of those. We have some shows that have been on the air for a couple of years that have small, but very passionate and distinct audiences, and you’ve got to make choices.

Every show is its own conversation. We look to the ratings performance as one marker. We look to how the show was run as another marker, and then ultimately, is it profitable, and then, where can we schedule it and can we support it going forward.

SURVIVING JACK actually was a really nice show, very well-run, creatively. We liked it. All things being equal, we’d like to bring it back. We had a couple of those this year. The same goes for ENLISTED. We had a good conversation about DADS. These are shows that we would have liked to have brought back. We just felt like we couldn’t support them for various reasons in a way that would have really given them a shot. So, we’re all moving on.

Daniel: Fair enough. Thank you.

Moderator: Thank you and our last question comes from Caryn Robbins with Broadway World TV. Please go ahead.

Caryn: I’m sorry. My question was just asked. I apologize.

Kevin: Okay. One more?

Moderator: We’ll go to the line of Rick Porter with Zap2It. Please go ahead.

Rick: Okay. I hope I can do it justice. I had another quick question about GOTHAM and the way you might schedule it. Do you see it as being 13, or can you kind of scale it out a little more if it does well and you think you—

Kevin: Well, we’ve already ordered it proactively for 16 episodes. So, that’s the No. 1 comment on how strongly we feel about it. We were only contractually obligated to order 13, and we ordered 16, because we think that’s the way that show, at least in its first iteration, will be very strong to arc to. Could we do more next season? We certainly could, but that’s where we’re starting with that one.

That show is going to have a very strong, serialized element, and because I think that they’re off to such a strong start—

Joe: And starting earlier.

Kevin: Yes, we’ll size that up, but 16 felt like the right amount. That’s just what I’m saying. There’s no, in our mind, no set standard order any more. It didn’t come down on stone tablets that television had to be made in 13- and 22-episode increments. So, we handcraft them over here at FOX.

Rick: All right. Thanks a lot.

Kevin: All right, guys. They were great questions. I appreciate it. Thank you very much.

Moderator: Thank you and ladies and gentlemen, this conference will be made available for replay after 10:45 a.m. eastern time today until May 19th at midnight.

That does conclude our conference for today. Thank you for your participation and for using AT&T Teleconference. You may now disconnect.

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