Grey’s Anatomy has been renewed for season 21 on ABC. It is the longest running scripted primetime show in ABC history. Shonda   created the show, about a team of doctors at Grey Sloan Memorial in Seattle, dealing with life-or-death decisions, and leaning on one another for support. 

Meg Marinis is the showrunner. 

“The loyalty and love of Grey’s Anatomy fans has propelled us into a historic 21st season, and I could not be more grateful,” said Rhimes. “Meg Marinis’ storytelling is a gift that continues to keep the show vibrant, compelling and alive, and I can’t wait to see what she has in store for next season.”

Original star Ellen Pompeo has a recurring role as Meredith Grey, while Chandra Wilson, James Pickens Jr., Kevin McKidd, Camilla Luddington and Kim Raver are in the ensemble cast. 

Grey’s Anatomy is produced by Shondaland and ABC Signature. 

Rhimes executive produces with Betsy Beers, Mark Gordon, Krista Vernoff, Debbie Allen, Zoanne Clack and Meg Marinis. 

Rhimes said on Instagram: “Grey’s was something I made up 20-plus years ago, and I am so incredibly proud that it’s been picked up for its 21st season. This honestly could not be possible without you guys … caring about the stories I tell, the talented cast, writers, and crew.”

Grey’s Anatomy returns February 23 on ABC, with Meredith Grey saying goodbye to Seattle. The episode is titled “I’ll Follow the Sun” and features Meredith’s last day at Grey Sloan Memorial.

The doctors plan a goodbye surprise, while Nick confronts her about the future of their relationship. Elsewhere, the interns compete to scrub in on Maggie and Winston's groundbreaking partial heart transplant procedure, and Richard asks Teddy an important question.

“I’ll Follow the Sun” is written by Krista Vernoff and directed by Debbie Allen.

Ellen Pompeo plays Meredith. Chandra Wilson, James Pickens Jr. and Kevin McKidd are also in the cast.

Grey’s is in season 19. The show was created and is executive produced by Shonda Rhimes. Krista Vernoff is showrunner and executive producer. Betsy Beers, Mark Gordon, Debbie Allen, Meg Marinis, Zoanne Clack and Ellen Pompeo are executive producers. The series is produced by ABC Signature, a part of Disney Television Studios. ■

Season 19 of Grey’s Anatomy begins on ABC October 6. The season premiere, written by Krista Vernoff, is called “Everything Has Changed.” The premiere’s description hints at several new characters. 

“After a long six months, Grey Sloan Memorial has reinstated its residency program,” goes ABC’s description. “A group of talented and striving young interns has been recruited as the attending surgeons work to rebuild the program to its former glory. Meredith, still functioning as the interim chief, sees Nick for the first time since she rejected his offer to move to Minnesota. Meanwhile, Bailey tells Richard she is not ready to return to work; Levi works up the courage to break disappointing news to Jo, and things turn awkward when Link realizes he has met one of the interns already.”

Ellen Pompeo of course plays Meredith Grey. She will appear in eight episodes this season as she works on other projects, as an actress and a producer. Chandra Wilson, James Pickens Jr. and Kevin McKidd are also in the cast. 

Shonda Rhimes created Grey’s and is an executive producer. Vernoff is the showrunner, and executive produces along with Betsy Beers, Mark Gordon, Debbie Allen and Zoanne Clack. 

Season 19 bears the tagline “Begin again.” Allen directed the season 19 premiere.

Grey's Anatomy shares ABC's Thursday bill with Station 19 and Hilary Swank drama Alaska Daily.

In 2019, Grey’s Anatomy surpassed ER as the longest running medical drama in TV history. ■

Hulu dramedy The Great, about Catherine the Great ruling Russia, will have a third season, shared Craig Erwich, president, Hulu Originals & ABC Entertainment, during the networks’ TCA Press Tour event. “At Hulu, you’re not going to get Catherine the Great as a sleepy historical drama,” Erwich said. 

Erwich shared about both Hulu and ABC. On the broadcast side, he raved about new mockumentary comedy Abbott Elementary. Creator and star Quinta Brunson “is one of the brightest and funniest new voices to emerge on television,” he said, calling the classroom comedy “a worthy successor to The Office.”

Erwich said Hulu features “a library of many of the best shows ever made” and saluted the live events on ABC, including the Oscars and the CMAs. The Academy Awards, Erwich said, will have a host. Will Packer will produce. “Will really has his finger on the pulse of popular culture and entertainment,” said Erwich. 

Erwich described a “very complementary relationship with minimal audience duplication” between ABC and Hulu. He pointed out Dancing with the Stars getting scores of young viewers on its Hulu airings. ABC series can triple and even quadruple their viewership on Hulu, he added. 

“We’re not throwing anything at the wall to see what sticks,” he said, adding that “each platform has a different opportunity for the artist to tell their story.”

The best measure of a Hulu series, he said, is its cultural impact. He singled out Only Murders in the Building, Pen15 and Dopesick for making a major mark. Only Murders, he added, is Hulu’s most watched comedy. 

Coming up is Pam & Tommy February 2, about Pam Anderson, Tommy Lee, and one of their home movies. Erwich called it “one of the wildest, sharpest, most entertaining shows Hulu has ever launched.”

And back on the ABC side, Erwich was asked about Grey’s Anatomy, which got a season 19 order yesterday. 

“It’s still at the top of its game creatively,” said Erwich, who called it “our most watched drama.”

There’s no end in sight for the doc drama. “We will have as much Grey’s as we can have,” Erwich said. ■

Grey’s Anatomy is getting season 19 from ABC. Ellen Pompeo stars in the Shonda Rhimes-created medical drama. Krista Vernoff is the showrunner. 

“Grey’s Anatomy is a true phenomenon, beloved by audiences around the world. Whether they catch it live on ABC, or stream it on Hulu or globally on Disney Plus or Star Plus, it’s clear that fans can’t get enough of Shonda Rhimes’ brilliant creation,” said Dana Walden, chairman of entertainment, Walt Disney Television. “We have enormous faith in Shonda, Krista Vernoff, Ellen Pompeo and the entire creative team to unlock new, untold stories that will continue to focus on modern medicine, tackle the issues that shape the world around us, and resonate deeply with loyal fans for years to come.”

Grey’s Anatomy began season 18 in September. Alongside Pompeo in the cast are Chandra Wilson, James Pickens Jr., Kevin McKidd, Kim Raver and Camilla Luddington.

“I couldn’t be more excited that we get to keep telling the stories of Meredith, Bailey, Richard and all of the other doctors at Grey Sloan Memorial for another season,” said Shonda Rhimes. “This is a true testament to Krista Vernoff, the cast, the crew and all the writers who keep the audience on the edge of their seat week after week. And it would not be possible without the generations of incredible fans who have supported Grey’s Anatomy for so many years.”

Rhimes, Vernoff and Betsy Beers executive produce with Debbie Allen, Meg Marinis and Mark Gordon, along with Ellen Pompeo for season 19. Zoanne Clack is medical advisor and executive producer. 

The show is produced by ABC Signature. 

Vernoff was head writer and executive producer of Grey’s Anatomy for its first seven seasons and returned as showrunner in season 14. “Grey’s Anatomy has a global impact that can’t be overstated,” said Vernoff. “Grey’s touches, and sometimes changes, hearts and minds worldwide through the depth of connection people feel with these characters. I’m excited to work with our extraordinary writers to dream up where we go from here, and I’m always grateful to our partners at Disney and ABC for letting us tell bold stories with real impact.” ■ 

Station 19 and Grey’s Anatomy offer viewers a crossover event as the shows return to the ABC schedule Nov. 11. An episode of Station 19 called Things We Lost in the Fire sees Theo and Vic hit a relationship milestone, Vic reckoning with her feelings about commitment, Andy taking refuge at Dean’s home and caring for Pruitt, and Dean considering a potential career opportunity. Meanwhile, an explosion rips apart a neighborhood in Seattle. 

That’s on at 8 p.m. ET. 

At 9 p.m. it’s Grey’s. Bottle Up and Explode! sees the doctors spring into action after the explosion. Owen experiences PTSD after he hears the blast, while his sister Megan enlists help from Winston and Hayes in confidence. In Minnesota, Meredith and Amelia meet up with a familiar face. 

Station 19 is in season five. The cast includes Jaina Lee Ortiz, Jason George, Boris Kodjoe and Grey Damon. 

Grey’s Anatomy is in season 18. The cast includes Ellen Pompeo, Chandra Wilson, James Pickens Jr. and Kevin McKidd. 

Both shows started their seasons Sept. 30. 

B&C has partnered with always-on TV ad measurement and attribution company iSpot.tv to bring you a weekly chart we call Promo Mojo: exclusive data showing the top five TV promos ranked by ad impressions. Our data covers the 7-day period through Oct. 3.

An NBC promo for La Brea is No. 1 for a second week in a row. ABC dominates the chart overall, though, grabbing second place for Big Sky, third for Grey's Anatomy and Station 19 (a joint promo for a “crossover premiere event”), and fourth for The Wonder Years reboot.

CBS takes fifth place to hype the new season of The Equalizer, which means that traditional linear broadcasters have now swept the Promo Mojo top five for three weeks in a row.

Notably, the Big Sky spot has this week’s highest iSpot Attention Index (109), meaning viewers were on average highly likely to watch it all the way through (vs. interrupting it by changing the channel, pulling up the guide, fast-forwarding or turning off the TV).

Also Read: Fall 2021 Premiere Dates

1) La Brea, NBC

Impressions: 429,998,835

Interruption Rate: 2.20%

Attention Index: 86 (14% more interruptions than avg.)

Imp. Types: National 93%, Local 5%, VOD/OTT 2%

In-network Value: $4,410,506

Out-of-network Est. Spend: $543,202

2) Big Sky, ABC

Impressions: 413,354,440

Interruption Rate: 1.45%

Attention Index: 109 (9% fewer interruptions than avg.)

Imp. Types: National 93%, Local 6%, VOD/OTT 1%

In-network Value: $1,982,426

Out-of-network Est. Spend: $1,329,214

3) Grey's Anatomy | Station 19, ABC

Impressions: 286,421,522

Interruption Rate: 1.43%

Attention Index: 92 (8% more interruptions than avg.)

Imp. Types: National 89%, Local 9%, VOD/OTT 2%

In-network Value: $497,768

Out-of-network Est. Spend: $1,078,735

4) The Wonder Years, ABC

Impressions: 237,928,214

Interruption Rate: 1.43%

Attention Index: 96 (4% more interruptions than avg.)

Imp. Types: National 90%, Local 7%, VOD/OTT 3%

In-network Value: $947,681

Out-of-network Est. Spend: $656,604

5) The Equalizer, CBS

Impressions: 228,611,189

Interruption Rate: 1.05%

Attention Index: 93 (7% more interruptions than avg.)

Imp. Types: National 94%, Local 4%, VOD/OTT 2%

In-network Value: $3,469,334

Out-of-network Est. Spend: $0.00

*Data provided by iSpot.tv, TV Ad Measurement for Disruptive Brands*

Impressions - The total impressions within all US households including National Linear (Live & Time-shifted), VOD+OTT, and Local.

Attention Score - Measures the propensity of consumers to interrupt an ad play on TV. The higher the score, the more complete views. Actions that interrupt an ad play include changing the channel, pulling up the guide, fast-forwarding or turning off the TV.

Attention Index - Represents the Attention of a specific creative or program placement vs. the average in its respective industry. The average is represented by a score of 100, and the total index range is from 0 through 200. For example, an attention index of 125 means that there are 25% fewer interrupted ad plays compared to the average.

Imp. Types - Impression types tracked include National (Live + Time-shifted), Local, VOD & OTT. See below for further details.

In-network Value - Estimated media value of in-network promos.

Out-of-network Spend - The estimated amount spent on TV airing time for this promo's spots during a given date range.

National: Live - A national promo which was viewed during live linear television broadcast or same day, via DVR or on-demand.

Local - A promo that was aired during a local ad break slot.

VOD - This includes promos that run in on-demand content past three days (i.e. do not contain the linear promo load)

OTT - On-demand streaming content (i.e. Hulu, Roku, Fire TV Stick, Chromecast).

How To Save a Life: The Inside Story of Grey’s Anatomy, by Lynette Rice, is published by St. Martin’s Press Sept. 21. Grey’s Anatomy has had 17 seasons on ABC so far, and the book offers “the first inside story of one of TV's most popular and beloved dramas,” according to St. Martin’s, which notes that How To Save a Life is unauthorized. 

Season 18 of the medical drama starts Sept. 30. Shonda Rhimes created Grey’s Anatomy and Ellen Pompeo stars. 

St. Martin’s calls Grey’s Anatomy, which is an oral history, “a cultural touchstone.”

“It introduced the unique voice and vision of Shonda Rhimes; it made Ellen Pompeo, Sandra Oh and T.R. Knight household names; and injected words and phrases into the cultural lexicon, such as ‘McDreamy,’ ‘seriously,’ and ‘you’re my person.’ And the behind-the-scenes drama has always been just as juicy as what was happening in front of the camera, from the controversial departure of Isaiah Washington to Katherine Heigl’s fall from grace and Patrick Dempsey's shocking death episode. The show continued to hemorrhage key players, but the beloved hospital series never skipped a beat.”

The book has 320 pages. It is averaging 3.45 stars out of 5 at press time on GoodReads. 

Lynette Rice is editor-at-large at Entertainment Weekly. How to Save a Life is her first book. 

ABC and NBC split the win in Thursday ratings. ABC had the Grey’s Anatomy finale while NBC offered the Law & Order season enders. Both networks posted a 0.6 in viewers 18-49, per the Nielsen overnights, and a 4 share. 

In second was Univision at 0.5/3. 

The Station 19 finale got a flat 0.6 on ABC and the Grey’s closer shot up 33% to 0.8. Rebel posted a level 0.4. 

On NBC, Manifest got a flat 0.4 and Law & Order: SVU went up 17% to 0.7. Law & Order: Organized Crime got a flat 0.6. 

Univision had CONCACAF Nations League soccer. 

CBS, Fox and Telemundo all got a 0.3/2. CBS had comedy reruns around United States of Al at a level 0.4. Clarice lost 33% for a 0.2. 

On Fox, the season premiere of Beat Shazam scored a 0.4. Comedy reruns followed. 

Telemundo had Exatlón Estados Unidos, La Suerte De Loli and Café Con Aroma De Mujer all at 0.3. Exatlón was flat while La Suerte and Café went up a tenth. 

The CW posted a 0.1/1 with reruns of Walker and Legacies.

ABC has renewed Grey’s Anatomy for season 18, and spinoff Station 19 for season five. Krista Vernoff will continue to be showrunner on both series. 

“Station 19 and Grey’s Anatomy have done an incredible job of honoring real-life heroes by giving audiences an unflinching look at one of the biggest medical stories of our time,” said Craig Erwich, president, Hulu Originals & ABC Entertainment. “Krista and her team of writers have continued to deliver the compelling and compassionate storytelling that is a hallmark of these shows, and created some of the year’s most-talked-about moments in television. We’re so grateful to our talented casts and crews for their extraordinary work that connects with viewers everywhere, and we look forward to sharing even more defining moments with our fans next season.”

Grey’s is averaging 8.3 million total viewers this season, a number that climbs to 15.7 million with 35 days of delayed viewing across linear and digital platforms. 

Station 19 averages 7.3 million total viewers, and 10.2 million across 35 days. 

“The writers, directors, casts and crews of Grey’s Anatomy and Station 19 worked so hard to bring these shows to life this past season,” said Vernoff. “Keeping each other safe on set while paying tribute to the front-line heroes and first responders has been a challenge and a privilege. I've been truly blown away--particularly by our tireless crews--as they reinvented the TV-making wheel. Thank you to ABC and ABC Signature for the support and extraordinary partnership through this unprecedented season. We are so grateful for the opportunity to tell more stories.”

Grey’s Anatomy was created and is executive produced by Shonda Rhimes. Krista Vernoff is showrunner and executive producer. Betsy Beers and Mark Gordon are exec producers too, along with producing director Debbie Allen. 

Grey’s Anatomy is produced by ABC Signature.

Vernoff is showrunner and executive producer of Station 19. The series was created by Stacy McKee. Shonda Rhimes and Betsy Beers are executive producers. 

Station 19 is produced by ABC Signature, one of the Disney Television Studios.

ABC had the winning score in Thursday ratings, with Grey’s Anatomy gathering its usual large crowd. ABC earned a 0.7 in viewers 18-49, per the Nielsen overnights, and a 5 share. In second were CBS and NBC at 0.4/3 apiece. 

Station 19 got a flat 0.7 on ABC. Grey’s scored a 0.9 and Rebel a 0.5, both dramas up a tenth. 

CBS had Young Sheldon down 29% to 0.5 and United States of Al off 20% to 0.4. Mom got a 0.6 and B Positive a 0.5, both up a tenth. Clarice also picked up a tenth for a 0.3. 

NBC had two hours of Manifest up 25% to 0.5 and a Law & Order: SVU rerun. 

Univision scored a 0.3/3. Disenando Tu Amor posted a flat 0.4 and Te Acuerdas De Mi and La Hija Embajador both scored a 0.3, Te Acuerdas down a tenth and La Hija level. 

Fox and Telemundo both scored a 0.3/2. On Fox, a Name That Tune rerun led into Last Man Standing at 0.3 before Let’s Be Real got a 0.2. Both stayed level with last week. 

Telemundo had Exatlon Estados Unidos, La Suerte De Loli and Buscando A Frida all at 0.3. Exatlon and Buscando stayed flat and La Suerte picked up a tenth. 

The CW tallied a 0.1/1. Walker and Legacies both got a 0.1, Walker down a tenth and Legacies level. 

ABC won the Thursday ratings contest thanks to Grey’s Anatomy. ABC posted a 0.7 in viewers 18-49, per the Nielsen overnights, and a 5 share. In second was NBC at 0.6/4. 

ABC had Station 19 at 0.7, Grey’s Anatomy at 0.9 and Rebel at 0.5. All three dramas were level with last week.

NBC had Manifest at a flat 0.5, Law & Order: SVU down 11% to 0.8 and Law & Order: Organized Crime off 25% for a 0.6.

Fox posted a 0.5/4 and CBS a 0.5/3. Fox had Hell’s Kitchen at 0.7, Last Man Standing at 0.4 and The Moodys at 0.3. All three were flat. 

On CBS, Young Sheldon scored a flat 0.7 and United States of Al was down 17% to 0.5. Mom got a flat 0.6, B Positive shot up 25% to 0.5 and Clarice slid 33% down to 0.2.

Telemundo and Univision both rated a 0.4/3. Telemundo had Latin American Music Awards across prime. 

On Univision it was La Rosa de Guadalupe at 0.5, Te Acuerdas De Mi at 0.3 and La Hija Del Embajador at 0.3. La Rosa picked up a tenth and the other two stayed flat. 

The CW scored a 0.2/1. Walker got a 0.2 and Legacies a 0.1, the pair level with last week. 

ABC had the winning score Thursday night, with Grey’s Anatomy its usual robust self in the ratings. ABC posted a 0.7 in viewers 18-49, per the Nielsen overnights, and a 5 share. Just off the pace was Fox at 0.6/4. 

Station 19 got a 0.7 on ABC and Grey’s Anatomy a 0.9. A Million Little Things scored a 0.5. All three were level with last week. 

On Fox, Hell’s Kitchen earned a flat 0.8 and the Call Me Kat finale a 0.5. Last Man Standing tallied a 0.4. Both comedies lost a tenth. 

NBC and Univision were both at 0.4/3. NBC had Superstore and then the series finale, both at 0.5 and up 67%. A Law & Order: SVU repeat followed, and Dateline NBC got its usual 0.4. 

Univision had Vencer El Desamor at 0.5, Te Acuerdas De Mi at 0.4 and La Hija Del Embajador at 0.3. All three were up a tenth. 

CBS got a 0.3/2 with repeat comedies and a Clarice encore. 

Telemundo did a 0.2/2. Exatlon Estados Unidos, La Suerte De Loli and Buscando A Frida all scored a 0.2. Exatlon and Buscando lost a tenth and La Suerta stayed flat. 

The CW was at 0.1/1. Special Harry & Meghan’s American Dream and Legacies both scored a 0.1. Legacies stayed level. 

ABC won the Thursday ratings battle, with Grey’s Anatomy setting the pace. ABC rated a 0.7 in viewers 18-49, per the Nielsen overnights, and a 5 share. In second was Fox at 0.6/4. 

Station 19 fell 13% to 0.7 on ABC and Grey’s did a flat 0.9. A Million Little Things lost 17% for a 0.5.

Fox had Hell’s Kitchen up 33% to 0.8. Call Me Kat got a 0.6 and Last Man Standing a 0.5, both comedies up a tenth. 

CBS was next at 0.4/2. Comedy repeats led into the season finale of The Unicorn at 0.4. Clarice got a 0.2, with both shows off a tenth. 

NBC, Telemundo and Univision all rated a 0.3/2. NBC had Superstore at a flat 0.3 and a Superstore repeat, then a Law & Order: SVU rerun. Dateline NBC shot up 100% to 0.4.

Telemundo had Exatlon Estados Unidos at 0.3, La Suerte De Loli at 0.2 and Buscando A Frida at 0.3. All three were level with last week. 

Univision had Vencer El Desamor at a flat 0.4. Te Acuerdas De Mi was at 0.3 and La Hija Del Embajador got a 0.2, the pair both down a tenth. 

The CW scored a 0.2/1. Walker did a 0.3 and Legacies a 0.1, the pair level with last week. 

ABC had the winning score in Thursday’s prime. President Biden was on at the start of prime, his address on COVID going for about 20 minutes. ABC had a 0.8 in viewers 18-49, per the Nielsen overnights, and a 5 share. In second were CBS and Fox at 0.5/3. 

ABC had a 0.8 with the president’s address. Station 19 got a 0.8 and Grey’s Anatomy a 0.9, both down a tenth upon their return. A Million Little Things grew 20% to 0.6.

CBS also had a 0.8 in the Biden half hour. Young Sheldon lost 22% for a 0.7 and B Positive posted a flat 0.6. Mom dropped 29% to 0.5 and Clarice lost a tenth for a 0.3. 

On Fox, the presidential address rated a 0.5. Hell’s Kitchen lost 14% for a 0.6. Call Me Kat got a 0.5, then Last Man Standing a 0.4. The comedies were level with last week.  

Univision got a 0.4/2. It had the presidential address at 0.4 and Te Acuerdas De Mi up 33% to 0.4 then La Hija Del Embajador at a level 0.3. 

NBC and Telemundo scored a 0.3/2. NBC had the president at 0.5, then Superstore down a tenth at 0.3 and a Law & Order: SVU repeat. Dateline NBC lost 50% for a 0.2. 

Telemundo had Exatlon Estados Unidos at a flat 0.3 and La Suerte De Loli down 33% to 0.2, then Buscando A Frida a flat 0.3. 

The CW scored a 0.2/1. Walker grew 50% to 0.3 and Legacies notched a flat 0.1. 

The average U.S. household increased its streaming subscriptions to four from three in the past eight months, chipping away at SVOD pioneer Netflix’s market share, according to a J.D. Power survey.

Netflix still holds the No. 1 spot among streaming services -- it had about 74 million U.S. and Canadian subscribers in Q4 -- but five of the next six largest streaming providers gained market share since April  2020, according to J.D. Power. Households also spent more on streaming video in 2020, with the average home doling out $47 per month compared to $38 in 2019. 

Half of respondents said that their household now subscribes to four or more streaming services. In April, that figure was 39%. In December, 13% of respondents said they use as many as seven or more services. 

Also Read: Greg Daniels Knows What Works in Streaming: He Created ‘The Office’

According to the survey of about 1,745 U.S. adults taken between Dec. 16 and Dec. 19, 81% of households said they subscribed to Netflix, down from 85% in April, while Amazon Prime Video slipped to 65% from 66% in April. Other services gained ground: About 56% said they subscribed to Hulu (up from 48%), Disney Plus was at 47% (up from 37%), YouTube TV finished at 20% (up from 17%), HBO/HBO Max was at 22% (up from 13%) and Apple TV was at 14% (up from 10%). Peacock, at 18%, had no presence in April. 

Peacock, soon to be the exclusive home of WWE wrestling content, led all other services in terms of problems per hour watched (0.19), compared to 0.10 for Netflix. 

The Mandalorian was the most-watched show in December (7.3%), but was the only Disney Plus show to crack the list. Grey’s Anatomy (Netflix, Hulu), The Crow (Netflix), Shameless (Showtime) and The Queen’s Gambit (Netflix) rounded out the list. Engagement of streaming services also increased, according to the survey. 

Also Read: CTA: 2021 Streaming Services Spending Will Hit $41 Billion

Users spent 5 hours per week on Disney Plus, up from 4.8 hours in April. The only other streaming service that gained time spent was YouTube TV, which saw the biggest increase of 1.5 hours (10 hours from 8.5 hours). Netflix had the biggest decline from the spring, 0.7 hours, (9.5 hours from 10.2 hours), according to J.D. Power. 

ABC won the Thursday ratings derby, with Grey’s Anatomy attracting its usual haul of Nielsens. ABC scored a 0.8 in viewers 18-49, per the Nielsen overnights, and a 5 share. In second were CBS and NBC at 0.5/3. 

The previous Thursday was Thanksgiving. 

Station 19 was down a tenth from two weeks ago at 0.8 on ABC. Grey’s scored a 1.2 and A Million Little Things a 0.6, both shows flat. 

On CBS, Young Sheldon got a 0.8 and B Positive and Mom a 0.6. The Unicorn rated a 0.5 and Star Trek: Discovery a 0.2. All were level with their performance two weeks ago.  

On NBC it was The Voice at a flat 0.7. Law & Order: SVU got a 0.6 and Dateline NBC rated a 0.4, both up a tenth of a point. 

Univision got a 0.4/2 and Telemundo a 0.3/2. Univision had Vencer El Desamor at a level 0.5 and Imperio de Mentiras and Dulce Ambicion at 0.3, Imperio down a tenth and Dulce flat. 

On Telemundo it was El Domo del Dinero down 40% from the day before for a 0.3 and Todo Por Mi Hija up 33% to 0.4. Falsa Identidad got a flat 0.3. 

Fox rated a 0.2/1 with MLS soccer. 

The CW got a 0.1/1. IHeartRadio Jingle Ball Greatest Moments got a 0.1, as did World’s Funniest Animals. 

Broadcasting + Cable's Kent Gibbons and Michael Malone talk about long-running shows, such as Supernatural and Grey's Anatomy, Netflix's The Queen's Gambit, Hulu's A Teacher and CBS's The Price Is Right.

The series finale of Supernatural airs on The CW on Nov. 19, wrapping up 15 seasons of the fantasy drama, which sees the Winchester brothers face off with a variety of demons and monsters. The CW will air special Supernatural: The Long Way Home leading into the finale. 

It’s an extraordinary run for a series in an era when more and more shows on the streaming platforms have struggled to get past season three. “I can count on two hands — one hand — the series that reach 300 episodes and 15 years,” said Peter Roth, chairman of Warner Bros. Television Group, which produces Supernatural. “Supernatural has the basic fundamentals of success — great writing, great performances, great execution, and two stars whose skills and charisma and presence keep growing and growing and growing.”

Jared Padalecki and Jensen Ackles play the Winchester brothers, racing around the country in a 1967 Chevy Impala. As rare as 15 seasons may be, Supernatural is hardly the only series extending well past the industry norm these days. NCIS begins season 18 on CBS Nov. 17. Season 22 of Law & Order: SVU started on NBC Nov. 12, the same day season 17 of Grey’s Anatomy premiered on ABC. On Fox, season 32 of The Simpsons is plugging along. Also on Fox, season 19 of Hell’s Kitchen starts in January. 

Series lasting 15 or more seasons may well be going the way of Major League Baseball pitchers winning 300 games. “I don’t think it will ever happen again,” said Steven D. Binder, executive producer on NCIS. “People have been trained to binge-watch a whole season, which is leaning them away from watching each week. Getting people to come back and watch week after week for 12 years is really hard.”

Created by Eric Kripke, Supernatural is so old that it premiered on The WB, back in 2005. When The CW launched a year later, it slotted Supernatural into its primetime. Mark Pedowitz, chairman and CEO of The CW, said the edgy kinship between the Winchester brothers — older brother Dean is something of a guardian for Sam, who often wishes to quit demon hunting and live a normal life — is what has sustained the series over the many years. “The two brothers’ relationship is so identifiable to so many people,” he said. ‘Super’ Star The CW has frequently used Supernatural, which CW insiders say features a broad demographic audience, to promote new programs over the years, including Arrow, The Flash, The Vampire Diaries and Riverdale. “It’s stunning how many shows have been paired with Supernatural,” said Pedowitz. 

He added that the low-maintenance nature of Padalecki and Ackles has been a model for talent on other CW shows. “They set a tone that permeates the whole network,” Pedowitz said. 

The key to any show lasting for 15 seasons is a pleasant and productive atmosphere on the set. Executive producers on every show speak of the family atmosphere on their series, but only the shows that exist for 300 or so episodes can truly boast of it. “Bob [Singer, executive producer] and Eric [Kripke] did a good job creating an atmosphere that is functional and friendly,” said Andrew Dabb, executive producer and showrunner of Supernatural. “It’s a place that people want to be part of.” 

A long-running show ideally experiences an evolution over its lifetime. In the early years of Supernatural, a season would be composed mostly of standalone episodes, with a half-dozen tied to ongoing mythology. Over time, those numbers flipped, and Supernatural became more serialized. 

NCIS, about a team investigating wrongdoing within the Naval Criminal Investigative Service, rarely delved into its characters’ at-home happenings in the early days. “Season six took off when we started getting more into their personal lives,” executive producer Frank Cardea said. 

That became part of the NCIS game plan as each season went on. “For a character-based show, the evolution of the characters is the evolution of the show,” Binder said. 

So vital to the CBS primetime lineup is NCIS that spinoffs NCIS: Los Angeles and NCIS: New Orleans just began seasons 12 and seven, respectively. 

For Grey’s Anatomy, staying relevant to viewers is a matter of having the show reflect, to a degree, what’s happening in the world today. “We’ve worked really hard to make our storytelling a balance between the core conceit of the series — the personal and professional lives of surgeons at Grey Sloan Memorial — and the changing world around us,” said Grey’s executive producer Meg Marinis. “We adapt and manage to keep the show feeling true to itself.” 

Season 19 of unscripted Hell’s Kitchen starts on Fox in January. Executive producer Arthur Smith said the key to its longevity, besides a unique talent in Gordon Ramsay, is spicing it up just the right amount each season. “It’s a fine line between keeping it fresh and changing it so much that the show becomes something else,” he said. 

The new season of Hell’s happens in Las Vegas, not Los Angeles, for the first time. “Vegas provides us with a great new way to energize the show,” said Smith. Then again, an early episode of The Simpsons doesn’t feel all that different from one in season 32. The rules may be different for what works in animated comedies. “Animation is evergreen,” said Al Jean, executive producer and showrunner, noting that viewers seeing Bart Simpson in shorts and spiky hair at age 40 would look ridiculous. “Animation just extends your life exponentially.” 

Indeed, Fox has signed up Family Guy for seasons 19 and 20 and Bob’s Burgers for seasons 12 and 13. Voice talent on an animated show has a bit more freedom than cast on live-action shows, making it easier to retain talent. “You can do The Simpsons and not have to give up other ambitions,” Jean said. “You can be the character and then not be the character.” 

Swimming in the Stream 

All the long-running shows have seen a streaming partner introduce the series to a new, younger audience. Having The Simpsons on Disney Plus has been “a huge, huge help,” said Jean. “Kids who haven’t seen the show are drawn in when they see the short [“Playdate with Destiny”]. They watch it and think, Oh my god, there’s an immersive library of 31 seasons!” 

Pedowitz mentioned “a true rebound” for Supernatural after it turned up on Netflix in 2011. “A whole new audience is finding it,” he said. “They may not find it on The CW, but they’re finding it.” 

Added Dabb: “It keeps renewing itself over and over again on Netflix. It’s been key to our longevity.” It’s been well-documented how many teen girls binge Grey’s Anatomy on Netflix, with many thinking of the medical drama as a Netflix original. That’s been essential to making new seasons on ABC. “Each month, we know many people start at season one, episode one,” said Marinis, “and then quickly binge 16 seasons to catch up to current times.” 

Besides crediting Netflix, the producers on NCIS single out USA Network, which airs the drama in syndication. They credit USA for helping NCIS move up to No. 1 in the Nielsen ratings in season six. 

Net Losses 

Original shows on those digital platforms rarely have extended runs. Netflix, for one, has been quicker to axe a show after a lackluster first season, with three seasons emerging as something of a norm on the platform for a successful series. Unlike broadcast, Netflix does not go through the pilot process, so tough decisions are made after season one. 

“Broadcast networks live and die by the ratings and streamers don’t — they live and die by monthly subscriptions,” said Dominic Caristi, professor of telecommunications at Ball State University. “They operate different business models.” 

The streaming model isn’t built for growing a series over time, believe some producers. “Everybody wants a hit, but Netflix wants something loud and bombastic,” Dabb said. “When they go to season two, they’re trying to sell people something they already have.” 

Streaming is, of course, becoming more the viewing norm every day, and broadcasters are investing heavily in their own streaming products, be it Peacock or CBS All Access or Hulu. “As more network content moves to streaming, it will be more like the Netflix model,” said Caristi. “It’s not ratings, it’s subscriptions.” 

With a greater number of actors getting used to the 10- or 20-episode model on streaming, getting cast on board for 300 episodes is harder to pull off than it has ever been. “In terms of talent, everyone is commitment-phobic now,” said Binder.

‘Supernatural’ Heads Home 

The Supernatural crew is geared up for the show’s big send-off. Pedowitz said it will be very strange to start a new season in January and not have Supernatural as part of it. Peter Roth admitted getting “quite weepy” while watching the finale’s earlier cuts. “It’s as perfect an ending to a fantasy as exists,” he said. “It’s a perfect conclusion to these brothers’ journey.” 

The producers are pleased with the Supernatural farewell, too. 

“Andrew and I are happy with the way we decided to conclude the show,” executive producer and showrunner Robert Singer said. “We don’t feel like we left anything on the table.”

Fox won the Thursday ratings battle, with Thursday Night Football pacing the network to the win. Fox got a 2.1 in viewers 18-49, per the Nielsen overnights, and a 12 share. In a distant second was ABC at 1.2/7. 

Colts-Titans took up all of Fox prime. It was down 13% from Packers-Niners the week before. 

ABC had the season premieres of Station 19 at 1.1 and Grey’s Anatomy at 1.3 across two hours. 

CBS got a 0.5/3 and NBC a 0.4/2. CBS had Young Sheldon up 14% to 0.8 and B Positive down 17% to 0.5. Mom got a flat 0.6 and the season premiere of The Unicorn a 0.4. Star Trek: Discovery posted a 0.3. 

On NBC it was Superstore at a level 0.5 and a Superstore rerun. The Law & Order: SVU season starter got a 0.6 and led into a Paley Center special on Law & Order: SVU at 0.3. 

Univision also got a 0.4/2. Vencer El Desamor fell 20% from the day before to 0.4 and Imperio de Mentiras and Dulce Ambicion both notched flat 0.3s. 

Telemundo weighed in at 0.3/2. El Domo del Dinero got a 0.2 and Todo Por Mi Hija a 0.4. Falsa Identidad got a 0.2. All three were flat. 

The CW posted a 0.2/1. Supernatural scored a 0.3 and The Outpost a 0.1, the pair level with last week.

Grey’s Anatomy restarts on ABC Nov. 12, as season 17 kicks off at 9 p.m. ET with a two-hour premiere. Ellen Pompeo plays Meredith Grey, doctor at Grey Sloan Memorial. The doctors at Grey Sloan “seek comfort from one another, and, at times, more than just friendship,” said ABC. “Together they discover that neither medicine nor relationships can be defined in black and white.”

Season 16 ended early in April due to the pandemic. 

Season four of firefighter drama Station 19 launches in ABC’s 8 p.m. slot Nov. 12, offering a crossover event with Grey’s. After a car crashes into Joe’s Bar, Andy (Jaina Lee Ortiz) and Sullivan (Boris Kodjoe) lead the firefighters as they work to rescue fellow crewmates Ben (Jason George) and Pruitt (Miguel Sandoval), and some Grey Sloan doctors.

ABC has shared premiere dates for its dramas, with season four of The Good Doctor on Nov. 2 and season 17 of Grey’s Anatomy returning Nov. 12. 

“Our fall schedule is now complete with a dynamic lineup of new and returning drama series,” said Karey Burke, president, ABC Entertainment. “From fan-favorite shows like Grey’s Anatomy and The Good Doctor to David E. Kelley’s thrilling new drama Big Sky, our strength is in our storytelling, and we could not be more energized to bring these compelling series to our viewers.”

ABC shared comedy return dates earlier. Networks’ fall schedules are starting later due to the pandemic. 

Related: ABC Goes Straight-to-Series with Brockovich-Inspired ‘Rebel’

Season four of Station 19 is on Nov. 12, sharing a crossover premiere event with Grey’s Anatomy, which will have a two-hour season starter. 

Big Sky has its series premiere Nov. 17. Kelley is showrunner for this thriller, about a pair of private detectives who team up with one detective’s ex-wife to search for two sisters who have been kidnapped by a truck driver in Montana. Katheryn Winnick, Kylie Bunbury, Brian Geraghty and Dedee Pfeiffer are in the cast. 

Season two of For Life, which replaces recently canceled Stumptown, premieres Nov. 18 and season three of A Million Little Things is on Nov. 19. 

The Rookie will premiere later in the season, according to ABC.

ABC has shared its 2020-2021 schedule. New shows include the David E. Kelley thriller Big Sky and Kari Lizer comedy Call Your Mother, and a reboot of game show Supermarket Sweep, with Leslie Jones hosting. 

Mondays have season 29 of Dancing with the Stars and The Good Doctor. On Tuesdays it’s season 16 of The Bachelorette and Big Sky. Wednesdays it’s The Goldbergs, Black-ish, The Conners, American Housewife and Stumptown. On Thursdays it’s Station 19, season 17 of Grey’s Anatomy and A Million Little Things, and Fridays have season 12 of Shark Tank and 20/20. Saturday prime has football and Sunday has season 31 of America’s Funniest Home Videos, Supermarket Sweep, Who Wants to be a Millionaire and The Rookie. 

New seasons of American Idol, The Bachelor, For Life and Mixed-ish will premiere later in the season, as will Call Your Mother.

Big Sky sees a pair of private detectives join forces with one detective’s estranged wife to search for two sisters who have been kidnapped by a truck driver on a remote highway in Montana. But when they discover that these are not the only girls who have disappeared in the area, they must race to stop the killer before another woman is taken. Based on the series of books by C.J. Box, Big Sky is executive produced by Kelley, Ross Fineman, Matthew Gross, Paul McGuigan and Box, and is produced by A+E Studios in association with 20th Century Fox Television. Kelley is showrunner. 

Call Your Mother is a multicamera comedy about an empty-nester mother, played by Kyra Sedgwick, who reinserts herself into her children’s lives. It is produced by Sony Pictures Television & ABC Studios. 

Supermarket Sweep ran on ABC 1965-1067. Fremantle produces. 

Plenty of stuff does not work on television. Ratings on broadcast and cable are free-falling, and the streaming folks don’t say boo about how many are watching their programs. Weakly-watched shows don’t get canceled a few weeks after premiering the way they used to, but plenty instead drift into greater obscurity week after week.

Yet amidst all the sinking ratings, some stuff flies. For every big batch of shows that doesn’t make an impact with viewers, one breaks out.

As the year approaches its midpoint, here are five shows that did indeed bust out in the first half of 2019, and made their mark in popular culture. They include a broadcast rookie, a cable sophomore, a streaming show and a couple of other broadcast series that display no signs of slowing, despite dating back to the era before the streaming standouts launched.

We look at how, and why, these shows popped, and what we might learn from their success.

‘The Masked Singer’: Unlike Anything Else on TV

The Masked Singer opened with a bang on Fox in early January, posting a noisy 4.2 in viewers 18-49 in Nielsen’s live-plus-seven ratings, and proclaiming that the zany competition series was to be reckoned with. Based on a South Korean format, the show has celebs in elaborate costumes facing off in a singing competition. Nick Cannon hosts, and the judging panel is comprised of Ken Jeong, Jenny McCarthy, Nicole Scherzinger and Robin Thicke. One lesser singer is voted out at the end of the episode, and reveals their identity as the audience chants “Take it off!”

High art? Hardly. Did audiences gobble it up? Wholeheartedly.

“The Masked Singer was so visually arresting with those ridiculous costumes, and the guessing game concept — who is that singing? — was intriguing enough that it managed to cut through the clutter and get viewers’ attention,” said Rob Owen, TV critic at the Pittsburgh Post-Gazette.

The contestants, including Tommy Chong, Terry Bradshaw, Tori Spelling, Ricki Lake, Joey Fatone and Margaret Cho, weren’t exactly A-listers. As the finale wound down, rapper T-Pain beat out Gladys Knight and Donny Osmond for the crown.

Fully 14.2 million watched.

There are oodles of singing competitions, but The Masked Singer is different, thanks to the hidden identities and the costumes. “It was crazy from the beginning,” Roger Catlin, veteran TV critic, said. “Just the insanity of it … It was so different from anything else.”

The Masked Singer played perfectly into social media, with viewers sharing who they thought it might be under the mask.

Ken Jeong said The Masked Singer would tug at viewers’ heartstrings. “Everyone wants an emotional journey when they watch a show,” he said before the premiere. “This show definitely provides that.”

Masked Singer averaged a 3.8 rating (live-plus-seven) and 11.6 million total viewers for its rookie season (15.7 million multiplatform viewers). Time will tell if its novelty wears off, but Fox is all in on The Masked Singer. Its upfront presentation had Joe Namath singing in a deer mask. Season two starts in September, and season three leads out of the Super Bowl.

‘Russian Doll’: A Quirky Show’s Fatal Attraction

Russian Doll launched on Netflix a day before Groundhog Day, without a whole lot of buzz. But the comedy-drama, whose executive producers include Amy Poehler, Leslye Headland and Natasha Lyonne, promptly scooped up raves by the truckload.

Starring Lyonne as Nadia, a woman who dies at her birthday party and keeps coming back to life at the party, in the bathroom, moments before her demise, Russian Doll garnered a million comparisons to the 1993 Bill Murray film Groundhog Day, but took the concept much further than the movie did. All the while, it deftly danced between tragic and funny, delivering both slapstick and hints of sci-fi.

“Once you get into it, it talks about different things,” Myles McNutt, Old Dominion University assistant professor of communication, said. “It doesn’t feel like a pure homage.”

Critics praised Lyonne and the show.

“Much of the fun of the series is in its surprises,” wrote Rolling Stone critic Alan Sepinwall, “not just the many ways in which Nadia winds up dying, but the things she’s forced to confront about herself and all the friends and loved ones she’s tried to hold at arm’s length through three-and-a-half very messy decades on this planet.”

Critics saluted its creativity. Rotten Tomatoes’ critical Tomatometer has Russian Doll at an impressive 96%.

“Like its peers, Russian Doll resolves on the necessity of human connection, a familiar homily, but it’s too inventive and irascible to feel pat,” wrote James Poniewozik of The New York Times. “This is a show with a big heart, but a nicotine-stained heart that’s been dropped in the gutter and kicked around a few times.

“Russian Doll is lean and snappily paced,” he continued. “It even managed the rare feat, in the era of streaming-TV bloat, of making me wish for a bit more.”

McNutt noted the series’ philosophical leanings. “It felt very distinct and very special the more you dug in,” he said.

‘Grey’s Anatomy’: ‘Old Gray Lady’ Still Has Spring in Her Step

Reaching a 15th season itself is an accomplishment, but doing real ratings in season 15 is a rare occurrence.

Grey’s Anatomy got it done.

The hospital drama averaged just shy of 10 million total viewers this season, and did well in the key demos as well. ABC is happy to note that Grey’s finished the season behind This Is Us, and This Is Us alone, among dramas in adults 18-34 and 18-49, and the three women’s demographics (18-34, 18-49, 25-54) this season.

McNutt noted the peculiar feeling of seeing Grey’s as “the old gray lady” of ABC’s Shondaland-heavy TGIT slate years ago, and viewing it as the Thursday anchor eons later. “It seems to have revitalized itself, and it still feels like a vital part of the ABC lineup,” McNutt added.

Netflix has turned on a new generation to the show. A full 14 seasons are available for streaming (season 15 arrives June 15), starting with the “A Hard Day’s Night” pilot from 2005. (Meredith finds out Derek is her new boss in that episode.) Millennials like the idea of having a large stash of seasons to digest. “Volume matters,” McNutt said. “It provides you with something you can watch for weeks, and months.”

Creator Shonda Rhimes moved on to Netflix two years ago, but still executive produces Grey’s. Krista Vernoff runs the show next season, and Ellen Pompeo once again suits up as Dr. Meredith Grey.

ABC has committed to season 17, too. At the Disney upfront show in May, Karey Burke, ABC Entertainment president, teased weekly crossovers between Grey’s and spinoff Station 19.

‘Meet the Press’: Extending Brand Beyond Politics

A monumental presidential election goes down in less than a year and a half, and there is no more essential TV figure breaking down politics than NBC News political director Chuck Todd. Meet the Press, which he moderates, is on fire, winning 66 consecutive Sunday broadcasts in viewers 25-54 and averaging 870,000 in that demo, along with 3.48 million total viewers season to date. (CBS’s Face the Nation is next at 718,000 and 3.25 million.)

Todd extends the brand with MTP Daily on MSNBC, airing 5 p.m. weekdays, and the Chuck ToddCast, a podcast which debuted in April.

News analyst Andrew Tyndall credited Todd with getting Meet the Press back to its lofty perch of the Tim Russert era. “He has a feel for what the sweet spot is for that program,” Tyndall said.

A testament to Todd’s straightforward focus is that he can get key Republicans to come on Meet the Press. This year, that includes President Donald Trump’s attorney, Rudy Giuliani, White House press secretary Sarah Sanders and chief of staff Mick Mulvaney, and Sen. Ted Cruz. The thinking among them is, if they can hold their own against Todd, they can handle any public-affairs forum out there.

“Ambitious politicians want to go on,” Tyndall said.

Before joining NBC News, Todd was editor in chief at the National Journal’s Washington daily The Hotline. Rival anchors turned to politics after covering general news. Todd turned to TV after a long stint being neck deep in politics.

It hasn’t all been politics. On Dec. 30, Todd did a well-received hourlong climate change special on Meet the Press.

So robust is the brand that the third annual Meet the Press Film Festival goes down in Washington Oct. 6-7. It will feature issues-based documentary shorts and live discussions.

Extending Meet the Press to a daily cable show is a no brainer, but a branded film fest is unique. “Making a film festival out of a Sunday-morning show — that’s really clever,” said Tyndall.

‘Killing Eve’: Stellar Sophomore

Killing Eve had enormous buzz coming out of its rookie season on BBC America, and has been able to parlay that into greater ratings and considerable critical acclaim in season two, a rare occurrence in the TV world.

In live-plus-three ratings, season two averaged 1.7 million viewers per episode, up a stunning 88% from season one. In adults 25-54, it averaged 675,000, an 80% gain.

Linda Ong, chief culture officer at Civic Entertainment Group, said Killing Eve hit popular culture at precisely the right time. “There’s so much that’s culturally relevant about the show,” she said.

Spy thrillers are always centered on male characters, but Eve has two compelling females in the lead. MI6 agent Eve Polastri is portrayed by a multicultural actress in Sandra Oh, who won a Golden Globe for best actress in a drama, and co-hosted the event to boot. The story line dances around the globe with a colorful cast of international characters. “It plays on an amazing global stage,” Ong said.

Helping goose the Nielsens was a decision by AMC Networks to air season two on both BBC America and AMC. “We believe we’ve just hit the tip of the iceberg in terms of potential viewers and we want to expose this brilliant series to the largest audience we can,” Sarah Barnett, president, entertainment networks for AMC Networks, said at the time.

Season two began April 7. A day later, AMC Networks announced it had ordered a third season. “We can sleep soundly knowing these characters are safe in [incoming writer/executive producer] Suzanne Heathcote’s hilariously murderous hands,” executive producer Phoebe Waller-Bridge said. Yes, the same Phoebe Waller-Bridge who created and starred in Amazon Prime Video hit Fleabag.

Ong called Killing Eve “flawlessly executed” and “stylish,” and possessing loads of “global appeal.”