As the TV landscape changes, so changes the Television Academy. And recent moves in the market have since sparked plenty of need for adjustments.
In the aftermath of Disney’s acquisition of 20th Century Fox, and subsequently, FX, there have been several shake-ups within the industry at large, beyond even the addition of Disney+ and Apple TV+ to the mix. During the company’s fourth quarter earnings call in November, Disney CEO Bob Iger shared that “FX on Hulu” would launch in March. The network’s library of original programming would go to the streamer, and further, that FX would be producing content that would air exclusively on Hulu including previously announced projects like the Cate Blanchett vehicle “Mrs. America” and Alex Garland’s first TV series “Devs.”
And while there’s plenty that remains to be seen about the move, the Emmy purveyors have decided to render unto FX the things that are FX’s. Which is to say, that when it comes to the Emmy race, all those “FX on Hulu” shows belong to the network and not the streamer.
First reported in Variety, a spokesperson for the TV Academy confirmed to IndieWire that the decision came in part because development, creative and marketing aspects of the series all remain in the hands of FX, making Hulu more conduit than collaborator. And with more and more streaming services serving as outlets for broadcasters, it’s a question that the Academy will be facing more than ever moving forward.
In response, the organization will take things on a case-by-case basis, evaluating projects by determining if a streamer is participating in the creative construction or merely acting as a distributor for the content of others.
Overall, it’s good news for FX. Chairman of FX Networks and FX Productions John Landgraf told journalists last week at the Television Critics Assn. Press Tour that despite joining the larger Disney family, which includes Hulu, that it was important that the network maintain its core identity.
“For FX, knowing we would be able to maintain the brand that we’ve worked so hard to develop for almost two decades is of critical importance for us and for the artists with whom we work,” Landgraf said. “That may sound a little precious, but how we help artists develop, make and launch their shows has been the key to attracting the very best talent to FX and nurturing a process that yields one of our industry’s highest batting averages. You can’t compete at the highest level without the best talent because no matter how strong the FX creative team may be, we’re only as good as the talent who choose to make FX their home.”
For now, consider the FX legacy intact.
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