Hulu has given the boot to Reboot, Steven Levitan's meta-ish single-camera, multi-generational comedy about the stars and producers of an aughts-era family sitcom reuniting to "reboot" their show two decades later ... on Hulu.

According to the Penske Showbiz Trade conglomerate, Reboot creators Levitan and Christopher Lloyd, along with Twentieth Television -- who previously and famously conspired to create ABC's long-running, multi-generational single camera hit Modern Family -- will shop Reboot to other distributors. 

Modern Family won five consecutive Outstanding Comedy Series Emmys. And Levitan, understandably, as a lucrative multiyear deal with Twentieth TV to keep producing shows.  

As for Reboot, it stars Keegan-Michael Key, Johnny Knoxville and Judy Greer.

With its eight-episode first season debuting Sept. 20, it's hard to know how Reboot fared audience-wise.

The numbers probably weren't great. 

Reboot never surfaced on Nielsen's weekly rankers, for example. For the week of Sept. 19-25, the No. 10 show ranked on Nielsen's top 10 list for minutes viewed for original scripted streaming series, Netflix's Stranger Things, garnered 416,000 viewing minutes. So, at least domestically, we know that Reboot's premiere drew less than that level of viewership, because it wasn't on the list. 

The show did receive a solid 88% aggregation score on Rotten Tomatoes, and of course, had as good an EP pedigree as any subscription streaming service you'll find. 

Looking at it another way, amid the competitive noise Reboot tried to break through was the early September premiere of Cobra Kai: Season 5 on Netflix -- a series that jumped the shark back in season 4 ... but like a lot of refugees, found an audience on Netflix and was able to get renewed for season 6. 

Reboot also had to compete for viewing time with the business end of Netflix's bleak Dahmer and season 5 of The Crown, as well as Amazon's Lord of the Rings series, er, reboot ... and Hulu's A Handmaid's Tale. 

But it's brutal out there in Steaming Land these days. And even for a proven winner like Steven Levitan, it's don't give us excuses, give us results right way. 

Fox premieres its reboot of Name That Tune Wednesday, Jan. 6. Jane Krakowski hosts and Randy Jackson is the band leader. Created by Harry Salter, the game show tests contestants' music knowledge. 

“We’re thrilled to bring the iconic musical game show Name That Tune back to television with this updated revival. It’s been beloved the world over for decades and we can’t wait for a new generation of families to get to play along with the classic series at home,” said Rob Wade, president, alternative entertainment & specials, Fox Entertainment. “With the captivating Jane Krakowski as host alongside band leader Randy Jackson the Big Dawg himself, this surely will be a harmonious pairing.”

Krakowski has been on 30 Rock and Unbreakable Kimmy Schmidt. Jackson was a judge on American Idol. 

A syndicated Name That Tune was in the ‘80s. 

Name That Tune is produced by Fox Alternative Entertainment, Prestige Entertainment and Eureka Productions. On behalf of Eureka Productions, Chris Culvenor and Paul Franklin are executive producers. Ralph Rubenstein and Noah Rubenstein are also executive producers, along with Janine Cooper, who is showrunner. 

HBO has set a June 21 premiere date for its Perry Mason reboot, the network said Thursday.

The series, which follows the origins of the legendary criminal defense lawyer Perry Mason -- most famously played by Raymond Burr in the CBS series of the same name from 1957-1966 -- stars Matthew Rhys, John Lithgow and Tatiana Maslany, said the network.

Perry Mason is directed by Amanda Burrell, Robert Downey Jr., Susan Downey, Ron Fitzgerald, Joe Horacek, Rolin Jones, and Timothy Van Patten. 

In New York’s Times Square last month, WE tv drummed up support for the March 2 launch of a series by opening a pop-up “Museum of Natural Hysteria,” replete with a scream booth, a Rage-O-Meter Punching Bag, cranial massage chairs and a rogues’ photo gallery of viral brides to be, including an infamous one in 2012 who was left at the altar. (Google it.)

Few shows might be deemed worthy of such an oversized promotional presentation, but the cable network deemed the return of its series Bridezillasafter a five-year hiatus to be one of them. The AMC Networks outlet is resurrecting the reality show for fans who want to watch, again, as women lose their grip prior to their nuptials, as well as a new generation that wants to know what the fuss was about.

WE tv is one of several cable channels resurrecting TV franchises previously thought buried in the graveyard of cancelled shows. While the broadcast networks are generating headlines with reboots of such classic shows as Roseanne, Murphy Brown and Get Christie Love!, cable networks are also looking to mine ratings gold by resurrecting nostalgic programming.

Related: Broadcast ’Boots Bring Back Buzz

Heading Back to the Beach
Networks say bringing back popular series, from TLC’s Trading Spaces to MTV’s Jersey Shore, which comes back in April with the original cast, including JWOWW, Snooki and The Situation, in Jersey Shore Family Vacation — already green-lit by MTV for a second season — generates instant viewer recognition in a crowded and noisy environment.

“There’s so much television these days, and so much entertainment for people — you have to find a way to hook them quickly — and I think there’s a built-in interest and excitement around a [rebooted] series that provides a different way to tap that existing passion,” said Tom Ascheim, president of Freeform, which will reboot the 1990s Fox series Party of Five. “We definitely hope it makes it easier to promote and taps into an existing fan base, as well as attract people who haven’t spent so much time with the show or vaguely heard of it and want to see the new one.”

While TV programmers have long sought to relive the glory of classic shows through remakes and movie takeoffs, the trend has exploded over the past year as networks look to offer content with built-in audiences to counteract a Peak TV dynamic that featured more than 450 scripted television shows in 2017 and is expected to grow this year.

More than a dozen shows from the 1980s, 1990s and 2000s are scheduled to return to the air in 2018. Some will be completely new versions of the original, others will feature the shows’ original casts. They come in a variety of genres, including comedy (CBS’s Murphy Brown), drama (CBS’s Magnum P.I.), and unscripted fare (History’s In Search of …).

Even streaming services that haven’t been around very long are tapping into the past with reboots of classic shows like The Twilight Zone (CBS All Access), Lost in Spaceand Queer Eye for the Straight Guy (Netflix).

WE tv executive vice president of development and original programming Lauren Gellert said social media has changed the dynamics of preparing for a wedding day, which has allowed the network to bring back popular series Bridezillas.

After a 10-season run, the series was benched, replaced in the lineup by Marriage Boot Camp.

With social sites such as Pinterest and Facebook becoming major platforms for brides to shop and showcase themselves, Gellert said the network saw an opportunity to reboot the franchise for a new generation.

“Bridezillas was obviously a fan favorite when we rested the show, but it certainly didn’t leave the zeitgeist and pop-culture lexicon of words often used in the press and by celebrities,” she said. “We thought it was a good time for a little nostalgia and to tap into some of our roots.”

Gellert said the show will draw former Bridezillas fans as well as social media-savvy millennials looking to connect with the franchise.

“There’s a new ‘better find me my selfie stick’ kind of bridezilla out there that thinks everything should just be fine if she orders flowers she saw on Pinterest,” Gellert said.

TLC will also look to shake the dust off of one of its most popular series, Trading Spaces, which returns with new episodes on April 7 after being off the air for a decade. The series, arguably the granddaddy of the home-renovation genre, premiered in 2000, but new episodes for the show have not aired since 2008.

TLC president Nancy Daniels, upped last week to chief brand officer, Discovery & Factual, at Discovery Communications, told TV critics in January that the series, which will bring back many of the show’s stars (including host Paige Davis) was a cornerstone show for TLC that fans had for years inquired about returning.

“From the moment we announced it, we knew it was the right time,” Daniels said during the Television Critics Association tour. “Just the interest, the excitement and the people coming out of the woodwork to tell you their favorite episodes and favorite stories … I’m thrilled and excited, and I just feel like it is the right time.”

Davis said the Trading Spaces brand remains popular with viewers despite the proliferation of home improvement shows that have aired since the series left the air. She added that the return of the show’s original crew as well as the addition of several new professionals will help the show’s appeal beyond its fan base.

“Trading Spaces will offer viewers the same thing it offered when it first came into the landscape — creativity, resourcefulness and approachability — and we created a catalyst for a new genre of television,” she said. “I’m not concerned that Trading Spaces will not break through the clutter; one of the benefits of all of that stuff being out there is that our viewing audience is much more educated, and they’ll appreciate what we have always offered.”

Reviving a popular show with its original cast isn’t a guarantee of ratings success. For reboots to work, the show has to remind people of the past but reflect today’s society and culture, Freeform’s Ascheim said. The Walt Disney Co.-owned network’s reboot of Party of Five, in which five brothers and sisters are forced to raise themselves after their parents die, changes the dynamics of the original by following the lives of five siblings after their parents are deported.

“The basic construct is the same, but this time updated to reflect the culture in which we live now,” Ascheim said. “It feels like it’s up to this moment in our world when it launches.”

Familiarity Breeds Success
The show’s familiarity, coupled with its ability to address some of today’s societal issues, could be a recipe for attracting young viewers who may or may not have streamed episodes from the original series on Hulu.

“Just in the same way that we often base a television series on a movie, book or some other pre-existing or intellectual property that people already have a relationship with, taking a familiar series makes viewers more likely to pay attention on the way toward making the show,” Ascheim said. “And then once it’s made they create a disposition and affection for it.”

WE tv’s Gellert said reboots appeal to viewers exhausted by the constant drumbeat of controversy and drama in the current breaking-news cycle and want comfort television, something safe and familiar. “I think there’s some innate goodness in Bridezillas, because there’s a lot of humor and it really is an over-the-top reaction to what is the biggest day of many of these women’s lives,” she said. “We see a wedding at the end and we feel good about that. We laughed with her — we thought she was insane — and yet we see that he is really marrying her, and how happy this crazy bride is. There’s humor, a lot of lightness and a celebratory moment, and I do think we need that in today’s fast-paced media environment.”

Ascheim doesn’t believe the reboot phenomena is in danger of running out of steam in the near future, adding that these reimagined shows can thrive side by side with the plethora of new, original scripted and reality shows.

“I don’t think we’re in danger of going overboard yet,” he said.

The second half of Greenleaf’s season two starts up on OWN Aug. 15, and creator Craig Wright promises explosives for the Memphis megachurch. The first half set up serious conflicts — between Grace and Mac, and Charity and Kevin — and the second half will reveal “the fallout of those explosions,” said Wright.

Oprah Winfrey is an executive producer, and plays blues joint owner Mavis McCready. Wright says Winfrey pushes him to make scenes “rougher and deeper.

“She wants juicy, meaty stuff to play,” he added.

Before the TV work hit, Wright ran a church in St. Paul, Minn. He said Winfrey was keen to explore the goings-on of a megachurch. “I’ve learned to trust Oprah,” he said. “When she says it’s gonna be OK, it’s gonna be OK.”

And DuckTales is gonna be OK on Disney XD. Like the original, the reboot features Scrooge McDuck, grandnephews Huey, Dewey and Louie, and Donald Duck, too. Co-producer Francisco Angones says the ideal Duck-Tales team member balances respect for the show’s heritage and a desire to take it in new directions. “They’re so insanely excited to work on DuckTales,” he said, “and so horribly horrified to mess it up.”

A whiteboard at show headquarters reads, “DuckTales Must Be Great.” Angones mentioned that part of the theme song —about solving a mystery and rewriting history — popped up in his wedding vows.

The voice cast includes Danny Pudi and Bobby Moynihan. The producers promise a lively family comedy. “We make sure we create a feeling in you when you watch that you had when you were a kid,” executive producer Matt Youngberg said.

And the final season of AMC’s Halt and Catch Fire, starting up Aug. 19, may bring viewers back to kidhood too. It depicts the “dawn of search” in the early ’90s, according to creators Christopher Cantwell and Christopher Rogers. “Season four is about the characters arriving at the future they worked very hard to create,” said Rogers. “They’re asking, is this what we hoped for?”

Charlie Collier, AMC and SundanceTV president/general manager, talked about the “rewarding evolution” of Halt from computer drama spec script to critical darling. “It’s something that we’re really proud of,” he said.

The season is full of recognizable early ’90s music, including Hole, Pavement and The Breeders. “They’re songs we both loved as children of the ’80s who reached musical maturity in the ’90s,” Rogers said.

“The Chris’s,” as Collier calls them, don’t know what they’ll do after Halt. For premiere night, they’ll be at the fourth birthday party for Cantwell’s son. With a Justice League theme, the boys will dress up as superheroes, with Cantwell as a villain. A Jedi robe and ski goggles will be part of his costume. “It’s still a work in progress,” Cantwell admitted.

Rogers sees possibilities. “That’s our new show!” he quipped.

Syfy has ordered to pilot a reboot of the 1990 sci-fi film Tremors, the network said Monday.

The Universal Cable Productions pilot will feature actor Kevin Bacon reprising his role from the original film as Valentine McKee, who will once again be tasked with slaying killer Graboid worms bent on destroying a small town in Nevada, said the network.

Bacon will also executive produce the series along with Andrew Miller (The Secret Circle) and David Schiff (Southpaw) in association with Blumhouse Television. 

A Tremors spin-off series aired in 2003 on the then Sci Fi Channel and G4 Network.

"We are so pleased to continue our partnership with SYFY and UCP in reviving this cult classic with none other than Kevin Bacon as Valentine McKee; we look forward to thrilling original fans and new audiences alike," said Blumhouse founder Jason Blum in a statement.

Netflix will reboot the 1960’s sci-fi show Lost In Space in a new series to debut in 2018, said officials from the OTT service.

Much like the original, the reimagined Lost In Space will revolve around the exploits of the Robinson family after being stranded light years from their intended destination, said Netflix.

Matt Sazama and Burk Sharpless (Dracula Untold, Last Witch Hunter) will serve as writers and executive producers of the series, which will be produced by Legendary TV. Kevin Burns (The Curse of Oak Island, Ancient Aliens), Jon Jashni (Godzilla, Pacific Rim), Neil Marshall (Game of Thrones, The Descent) and Marc Helwig will also serve as executive producers.

“The original series so deftly captured both drama and comedy, and that made it very appealing to a broad audience,” said Cindy Holland, Netflix Vice President of Original Content in a statement. “The current creative team’s reimagining of the series for Netflix is sure to appeal to both fans who fondly remember the original and to create a new generation of enthusiasts around the world.”