WBTV is the studio on the project, from showrunner Francesca Gardiner and director Mark Mylod.
DEADLINE:Are you close to naming Harry, Hermione and Ron or confirming the adult cast?
DEADLINE:We dont have Voldemort yet, thats the one card Im missing in my deck.
(Clockwise from top left) ‘Ted Lasso,’ ‘Abbott Elementary,’ ‘The Pitt’ and ‘Running Point’ (Inset) Channing DungeyApple Tv+/ABC/Max/Netflix
Thats an important role to get right.
Is that a possibility?
DUNGEY: I have no comment, no comment, no comment.
From left: Lauren Lapkus, Kevin Sussman, John Ross Bowie and Brian PosehnJohn Ross Bowie Instagram
DEADLINE:Is the show still on track for a summer start of production?
DUNGEY: Still on track for summer start of production.
The rest well know more as we get rolling.
We should know shortly I would think.
DEADLINE:You never quite closed the door onTed Lassoafter Season 3.
How did the new season come together?
DUNGEY: Its really all been driven by Jason.
DEADLINE:Is everything coming together?
DUNGEY: So far, so good.
Were still in active conversations but were very hopeful.
DEADLINE:Word is that Jason has another three-season arc mapped out for the womens soccer team story.
DUNGEY: Weve heard the pitch for this next season, for Season 4.
Is there the opportunity for the story to continue after that?
Have I heard a whole three-season pitch?
DEADLINE:What is the status of theBig Bangspinoff?
DUNGEY: Chuck, Zak and Bill are hard at work writing stuff.
DEADLINE:How do you feel about the scripts?
DEADLINE:Any chance for some of the original stars to pop in?
DUNGEY: I would never say never.
Were very excited and focused on our series regulars who have great stuff to do in these episodes.
DEADLINE:What is the plan for Season 2 ofThe Pitt?
DUNGEY: There was a conversation about doing a little bit more.
I think right now, were still looking at 15 as the model.
Whats wonderful is, this is a perfect collaboration.
He brought those skills to play here with R. Scott Gemmill and with Noah Wyle.
Its critically acclaimed, audiences love it.
It delivers on all fronts, and thats been so satisfying for all of us.
DEADLINE:Season 1 just wrapped this week, and you already are gearing up for Season 2.
Thats the other part of this broadcast-style model.
DEADLINE:Are you developing more dramas under that model for Max?
DUNGEY: We are looking at a couple of other things.
Were developing a drama series under that model.
DEADLINE:How have the last few years treated you as the head of an independent TV studio?
DUNGEY: The greatest gift, quite honestly, is to be the head of an independent studio.
These are trying times in the industry across the board, theres a lot of noise happening every day.
DEADLINE:You recently received a couple of series pickups and sold several big projects.
Is the marketplace starting to pick up?
Obviously, the strikes had something to do with buying and greenlights lagging.
Is it a little easier now?
We work with creators like John Wells.
And that part of what gives us the opportunity to score these green lights and these series renewals.
DEADLINE:The level of commitments also has changed post-pandemic.
Straight-to-series orders off a pitch are very rare.
Is that your observation?
DUNGEY: Its definitely my observation.
And I think that the script-to-series step replaced in the streaming space the notion of doing a pilot.
Im actually fine with that because Ive always felt that there was value in having a pilot.
So I think that thats become the new model for a very good reason.
Talk about the value of those pacts.
How would you evaluate the current state of the overall deal marketplace?
I think that a lot of that has gone by the wayside across the board.
Their success is our success, and we give them a lot of creative freedom.
You have a showrunner at the top who has a creative idea and a vision.
Were doing a lot of shows for streamers which are 8- to 10-episode orders.
So you dont have that same longer list of needs in terms of staffing.
So some of those deals, unfortunately, we dont have any more.
So yeah, thats true.
DEADLINE:WBTV recently renewed its deals with Abrams Bad Robot, Kaling andAll AmericanandFounds Nkechi Okoro Carroll.
DEADLINE:And for J.J., how did you make the decision to continue that relationship?
There was some turbulence during Bad Robots previous deal.
DEADLINE:What about making the decision to take something likeRunning Pointoutside?
Was there some jealousy because it couldve worked for Max too?
When its something likeRunning Point… DUNGEY: Were thrilled about that.
We love working with the team at Max and the team at HBO.
At the end of the day, were agnostic about it.
Were happy to work on either side.
Will you be able to do the same forSex Lives of College Girlsfollowing its Max cancellation?
DUNGEY: I dont think so.
DEADLINE:What about moreManifeston Netflix?
That was a canceled show you successfully found a new home for.
DUNGEY: Never say never!
The last remaining scripted series from the old CW still on the internet is WBTVsAll American.
It is one of six WBTV broadcast scripted series on the bubble.
DEADLINE:Is broadcast still viable for the studio?
DUNGEY: Absolutely, absolutely.
As long as weve gotAll Americangoing, Im still feeling really good about CW.
We just finished shooting a pilot for CBS calledZarna, which is a multi-camera comedy.
DEADLINE:But isnt it tougher with networks constantly cutting license fees?
You have three shows on NBC, which has to free up primetime real estate for the NBA.
DUNGEY: We dont yet.
Theyre going through all of their internal deliberation processes.
Do you think you’re able to continue to produceAll Americanunder their new business parameters?
DUNGEY: Well see.
Could we produce something for the CW if we were starting from scratch, yes, absolutely.
But were going to put our best efforts towards it.
And as for Fox, we are still working there quite avidly and were figuring it out.
And luckily, thats something that we have many, many years of experience doing.
DEADLINE:And your Fox shows already are built that way.
How did it turn out?
Do you have hope that it can get that slot?
DUNGEY:We are thrilled with it.
CBS has only just seen it, so youll have to find out from them how theyre feeling.
Everyone settled in really immediately within this pilot, which doesnt always happen.
So I am optimistic, and keep my fingers crossed.
Deadlines Peter White recently reported on thealleged toxic cultureof the franchise, which isskipping aBachelorettecyclethis year.
Since then, multiple producers, includingThe Bachelorshowrunners, have exited.
DEADLINE:What is the future ofThe Bachelorfranchise?
There has been some behind-the-scene turmoil lately.
Is it still a valuable piece of business for the studio?
DUNGEY: Absolutely, its still a valuable piece of business for us.
Its still an important piece of business for ABC.
Weve had a lot of excellent conversations with our counterparts at ABC.
DEADLINE:You also are part of the Bravo universe with multipleReal Housewivesoffshoots, including the upcomingLove Hotel.
DUNGEY:Love Hotel, were getting tremendous feedback on from the team over at Peacock.
And I feel like everyone always goes straight toBachelorwhen they talk about it.
Were playing a lot in the IP space.Creature Commandoshas been a big success for us.
DEADLINE:How much are you focusing on mining Warner Bros IP?
DUNGEY: Were certainly looking at mining IP.
It is something that most platforms have a lot of interest in.
Why is this the right moment to revisit beloved title?
You want to continue to build the library of new IP as opposed to only relying on established titles.
Ill leave it at that.
DEADLINE:Any chance ofThe Penguincoming back?
But I would never say never.
As for the future, Ill simply repeat: never say never.
DEADLINE:With IP power comes responsibility.
Yes, theres always a lot of speculation.
