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Rich Ross
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Rich Ross is the former Group President of Discovery Channel and Science Channel. Earlier in his tenure at Discovery he also oversaw Animal Planet and Velocity (TV network).[1] Previously he was the Chief Executive Officer of Shine America,[2] responsible for commercial strategy of the Shine Group in the United States.[3] He was also the president of entertainment at Disney Channel, and chairman of Walt Disney Studios. When Ross was named Chairman of Walt Disney Studios in 2009, he became the first openly gay studio chief.[4]

Key Information

Ross discussed his plans for Discovery Channel on January 8, 2015 at the 2015 Television Critics Association press tour.His starategy included hiring key senior level executives to oversee documentaries and specials, as well as scripted programming.[5] He had the highest-rated Shark Week ever and its most-watched July ever.[6]

Early life

[edit]

Ross grew up in Eastchester, New York.[7] His father, Marty, was a garment-industry executive, and his mother, Harriet, was a former teacher turned real-estate agent.[7][8] Ross is Jewish.[9] He graduated from Eastchester High School.[10] When he was 19, he was hired to work in the mail room at the William Morris Agency in New York.[7] He graduated from the University of Pennsylvania in 1983 with a Bachelor of Arts in International Relations and English. In 1986, he earned his J.D. degree from Fordham University.[11]

Career

[edit]

Ross's first job in the entertainment industry was as a talent booker at Nickelodeon. He built the Nickelodeon/Nick at Nite talent relations department and oversaw casting and talent booking for the network's shows including Clarissa Explains It All and Hey Dude.[7] He served as executive producer of Nickelodeon's Kids' Choice Awards. As vice president of program enterprises at Nickelodeon, Ross was involved in all original-programming deals and launched Nick News with Linda Ellerbee into syndication. He was a part of the launch team for Nickelodeon's first international network, Nickelodeon UK. He joined FX Networks in 1993 and was a member of the executive team that launched the cable network.[12]

Disney

[edit]

In 1996, Ross joined Disney Channel in programming and production as a senior vice president, becoming general manager and executive vice president in 1999. In 2002 he became president of entertainment for Disney Channel, before being named president of Disney Channels Worldwide in 2004, where he oversaw the Disney Channel, Disney XD, Playhouse Disney, Disney Cinemagic, Hungama, GXT, Jetix, and Radio Disney brands. He is credited with establishing Disney's global kids' TV business as the prime entertainment source for the tween market with shows like Hannah Montana, Lizzie McGuire,[8] Wizards of Waverly Place, Shake It Up,The Suite Life of Zack & Cody and The Suite Life on Deck, That's So Raven and Phineas and Ferb. He launched the highly successful Disney Channel Original Movie franchise that produced the worldwide hit High School Musical series, as well as the Camp Rock and The Cheetah Girls series. Popular Playhouse Disney shows developed during his tenure include Handy Manny and Mickey Mouse Clubhouse.[13]

Ross was named Chairman of Walt Disney Studios in October 2009, overseeing Disney's film, music, and theatrical groups. Films released during Ross' tenure include the billion-dollar hits Pirates of the Caribbean: On Stranger Tides, Disney's Alice in Wonderland and Disney-Pixar's Toy Story 3, which are three of the top 11 highest-grossing films of all time;[14] Disney's The Muppets; DreamWorks Studios' The Help; and Disney-Pixar's Cars 2.[15]

Ross' tenure as Chairman was marred by two box-office flops. The 2011 animated movie Mars Needs Moms had a production budget of $150 million[16] and made $42.8 million in box office and DVD sales.[17] The March 2012 opening of John Carter was another high-profile flop; John Carter had a production budget of $250 million and earned just over $69 million at the box office in North America.[18] Due to the film's weak North American performance compared to its high production and marketing costs, Disney expected the film would generate a loss of about $200 million during its second fiscal quarter,[19] although its box office strength outside North America led some analysts to speculate that the write-down would be significantly less than expected.[20]

Ross left Disney on April 20, 2012, with the underperformance of John Carter and Mars Needs Moms cited as reasons for his departure.[21] It was reported that Ross sought to blame Pixar for John Carter, which prompted key Pixar executives to turn against Ross who already had alienated many within the studio.[22][23]

Shine America

[edit]

Rich Ross became the Chief Executive Officer for Shine America in January 2013.[24] He was responsible for the ongoing commercial strategy of the Shine Group in the United States, overseeing production, distribution and marketing of original programming across broadcast, cable and digital platforms.[25][2]

Discovery

[edit]

Rich Ross was with Discovery Communications from 2015 to 2018. He became President of Discovery Channel in January 2015 and in August of the same year was named Group President of Discovery Channel, Animal Planet and Science Channel.[12] In January 2017, he was also named President of Velocity, a channel that focuses on cars, sports and other topics targeted at men. He oversaw creative and brand strategy, development, production, marketing and all day-to-day operations for the four networks across all platforms that includes digital and social media.[26][27]

In the wake of Discovery's acquisition of Scripps Interactive in 2018, Ross departed the company.[28] In contrast to Ross's reported intention to bring more scripted programming to the network,[29] CEO David Zaslav reaffirmed the organization's commitment to unscripted programming, characterizing the genre as more profitable and viable for Discovery.[30] Notably, the premiere of Manhunt: Unabomber, a scripted "tentpole" program produced during Ross's tenure,[31] averaged 1.3 million viewers, -17% lower than the unscripted program that aired one hour earlier.[32] Ross was replaced by Nancy Daniels, head of TLC.[33] Susanna Dinnage was named President of Animal Planet Global.[34]

Personal life

[edit]

He is married to his longtime partner Adam Sanderson.[24] In February 2017, he was selected to join the Board of Overseers for the School of Arts and Sciences at the University of Pennsylvania.

References

[edit]
[edit]
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Rich Ross

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Rich Ross is an American television executive renowned for revitalizing Disney Channel into a global powerhouse before leading The Walt Disney Studios through a period of theatrical challenges. Ross joined The Walt Disney Company in 1996 as senior vice president of programming and production for Disney Channel, ascending to president of Disney Channel Worldwide in 2004, where he oversaw the launch of franchise-defining series and films such as High School Musical, driving the network's viewership to unprecedented levels among children and families. In 2009, he was appointed chairman of The Walt Disney Studios, becoming the first openly gay leader of a major Hollywood studio, but his two-and-a-half-year tenure ended amid box-office disappointments including the costly failure of John Carter, prompting his resignation in 2012. After a stint as CEO of Shine America from 2013 to 2014, Ross joined Discovery Communications as president of Discovery Channel in 2015, later expanding to group president overseeing Science Channel, Animal Planet, and Velocity until his departure in 2018 amid a broader executive restructuring. His career highlights a trajectory from cable programming innovation to high-stakes studio oversight, marked by both transformative successes in youth-oriented content and critiques over strategic missteps in feature films.

Early Life and Education

Upbringing and Formative Influences

Rich Ross was raised in , during the 1960s, a suburb north of where families typically shared a single television set in the living room, with parents often limiting children's viewing time due to concerns over its effects. At around age nine, Ross requested his own television for his bedroom, initially receiving a puppy from his parents instead; however, he acquired the TV within months, which allowed him to immerse himself in programming such as Mayberry R.F.D. and . This early access fostered a deep fascination with television as a medium, shaping his lifelong interest in content and production. His family environment further nurtured creative inclinations, particularly through shared interests with his father, Marty Ross, who bonded with him over specials and performers. Ross has described himself not as a performer in but as an avid consumer of shows, which influenced his later focus on youth-oriented programming. His mother, Harriet, played a role in facilitating early professional connections, including an introduction via a family friend linked to that led to his initial entertainment industry job at the . These experiences directed Ross toward formal education that blended liberal arts and legal training, culminating in a from the in 1979, with studies in English and , followed by a from in 1986. Though initially pursuing law, his formative TV passion redirected him to media roles, starting at after , where he handled talent relations—experiences that honed his expertise in developing content for young audiences.

Professional Career

Rise at Disney Channels

Rich Ross joined the in 1996 as senior vice president of programming and production, following a tenure at where he rose to vice president of program enterprises. In this role, he contributed to expanding the network's live-action tween programming, including the development of series such as , which became a key driver of viewership among younger audiences. In 2002, Ross was promoted to president of entertainment for the Disney Channel, overseeing content strategy and production amid a period of network revitalization. Under his leadership, the channel launched franchise-defining properties like Even Stevens, That's So Raven, Hannah Montana, and the High School Musical franchise, which generated significant merchandising revenue and positioned the network as a leader in youth-oriented cable television. By the time of his promotion in 2004, these efforts had helped elevate the Disney Channel to consistent top rankings among basic cable networks for total viewers. On April 20, 2004, Ross was elevated to president of Disney Channels Worldwide, expanding his oversight to international operations and managing the network's global expansion. During his tenure through 2009, the Disney Channel's U.S. household reach grew from 14 million in 1996 to 98 million, reflecting aggressive distribution deals and content localization strategies that boosted international viewership. The networks under his purview achieved unprecedented success, with original programming driving franchise extensions into films, albums, and consumer products, solidifying Disney's dominance in children's media. This period of growth culminated in his October 2009 appointment as chairman of The Walt Disney Studios, a move attributed to his track record in building profitable entertainment brands.

Tenure as Chairman of Walt Disney Studios

Rich Ross was appointed Chairman of Walt Disney Studios on October 5, 2009, succeeding and overseeing worldwide production, distribution, and marketing for the company's live-action and animated film labels, as well as music and theatrical divisions. In this role, transitioning from his successful oversight of Disney Channels Worldwide, Ross implemented structural changes to streamline operations, including a broad executive shake-up to enhance efficiency and reduce the studio's annual film output to fewer than 10-12 titles, supplemented by lower-risk distribution partnerships such as those with and Steven Spielberg's production slate. Ross's tenure emphasized branding synergy across Disney's media ecosystem, leveraging his television expertise to integrate promotional strategies, though this approach faced challenges in adapting to the feature film industry's dynamics, where he was criticized for lacking deep cinematic production experience. Key releases included successes like Pirates of the Caribbean: On Stranger Tides (2011), which grossed over $1 billion worldwide despite mixed reviews, and Winnie the Pooh (2011), but these were largely projects inherited from prior leadership. Failures mounted with Mars Needs Moms (2011), which earned just $39 million against a $150 million budget, and Prom (2011), a low-grossing teen drama, highlighting issues in audience targeting and marketing execution. The most significant setback was John Carter (2012), a science-fiction adaptation budgeted at over $250 million that opened to $30.6 million domestically and prompted a $200 million write-down for , attributed to poor , title confusion, and inadequate pre-release buzz under Ross's oversight. Sources close to the studio noted Ross's "awareness issue" in navigating Hollywood relationships and an overly confident style ill-suited to film deal-making, exacerbating tensions with creative talent and producers. Ross resigned on April 20, 2012, after approximately 2.5 years, amid internal discussions initiated weeks earlier by CEO , who cited a mismatch in professional fit rather than solely the John Carter flop, though the film's collapse accelerated the decision. His departure underscored Disney's pivot toward experienced film executives, with Alan Horn succeeding him later that year, amid broader critiques of Ross's inability to build a robust pipeline quickly enough to offset inherited slate weaknesses.

Leadership at Shine America

Rich Ross was appointed CEO of Shine America, the U.S. arm of Elisabeth Murdoch's , on October 30, 2012, succeeding Carl Fennessy, who transitioned back to in mid-January 2013. Ross assumed the role in January 2013, overseeing the company's commercial strategy, including its unscripted and emerging scripted programming divisions. His leadership emphasized expanding Shine America's footprint beyond its established reality formats, such as , into scripted content and international co-productions to capitalize on global distribution opportunities. During his tenure, Ross focused on bolstering Shine America's slate while pushing into scripted development, aligning with Shine Group's broader goal of diversifying revenue streams amid a competitive U.S. television market. He initiated efforts to grow the company's Spanish-language content division, launching Shine & to produce original programming for U.S. audiences and Latin American markets. Under his direction, Shine America maintained key partnerships with networks like and , securing deals for formats that generated licensing fees and adaptation rights, though specific revenue figures from this period remain undisclosed in public reports. Ross departed Shine America in late 2014, with the exit announced on October 28, 2014, after approximately two years in the position. His time at the company marked a transitional phase, leveraging his prior experience in global content strategy to position Shine America for acquisition integration—Shine Group was later fully acquired by in 2015—without notable public controversies or major box-office equivalents in television production. The leadership shift occurred as Shine America navigated industry consolidation, with Ross's strategy emphasizing scalable formats over high-risk original IP development.

Role at Discovery Communications

Rich Ross joined Discovery Communications in January 2015 as president of the , overseeing creative and brand strategy, development, production, marketing, and day-to-day operations for the network. Based in the company's office, he reported directly to CEO . In August 2015, Ross's responsibilities expanded to group president of , , and , broadening his oversight of these nonfiction brands within Discovery's portfolio. During his tenure, he focused on diversifying the audience for programming and restoring credibility to its documentary-style content, amid efforts to balance commercial appeal with factual rigor. Ross departed Discovery Communications in March 2018 as part of a broader executive restructuring following the announced merger with , during which his roles were reassigned to incoming executives including Kathleen Finch as chief lifestyle brands officer. His exit marked the end of approximately three years leading key networks, a period characterized by strategic shifts toward enhanced brand management in a competitive cable landscape.

Achievements and Impact

Contributions to Children's Programming

Rich Ross joined Disney Channels in 1996 as senior vice president of programming and production, where he played a pivotal role in shifting the network from rerun-heavy content to original scripted series aimed at children and tweens, establishing it as a dominant force in demographics. By 2002, promoted to president of , he oversaw the development of hits including (premiered 2001, reaching peak audiences of over 4 million viewers per episode) and (2003-2007, averaging 3.4 million viewers and ranking among top cable shows for kids 6-11). These series emphasized relatable tween experiences, driving Disney Channel's growth from 14 million U.S. households in 1996 to 98 million by 2009. As president of Disney Channels Worldwide from 2004 to 2009, Ross greenlit franchise-launching properties like the High School Musical TV movie (2006 premiere: 7.7 million viewers, the highest-rated basic cable film at the time) and its sequel (2007: 17.2 million viewers, setting records for total viewers and kids 6-11 on cable). Under his leadership, the channel produced all but two of the 30 highest-rated cable TV movies, specials, and shows in 2005, with High School Musical alone generating over $130 million in DVD and soundtrack sales by late 2006. Ross also expanded offerings by creating the block, which introduced educational content like animated series focused on early learning skills, reaching young children globally. To address gender imbalances in viewership, Ross spearheaded the 2009 launch of , rebranding into a boy-focused network (ages 6-14) blending , live-action , and sports programming, available initially in over 60 million U.S. homes. This initiative targeted the $50 billion annual spending power of boys in that demographic, incorporating original series and extreme sports to differentiate from tween-girl-heavy content on the flagship channel. His strategies extended internationally, growing s to 94 outlets in 163 countries across 32 languages, sustaining high engagement through localized adaptations of core kids' properties. Overall, Ross's emphasis on original, demographically tailored content elevated to basic cable's top network for total viewers in key youth metrics by 2007.

Strategic Shifts in Non-Fiction Television

During his tenure as President of from January to March 2018, Rich Ross prioritized restoring the network's reputation for authentic programming by explicitly rejecting sensationalized or fabricated content that had drawn prior criticism. Ross publicly committed to eliminating "fake stuff," such as staged documentaries, following backlash against specials like the 2014 "" production, which alleged a man was swallowed by an anaconda but was revealed to involve misleading elements. This shift aimed to realign the channel with its foundational emphasis on factual exploration, emphasizing high-end documentaries over ratings-driven stunts. Ross directed resources toward innovative, technology-enhanced series to broaden appeal and attract younger demographics while maintaining factual integrity. Initiatives included deploying advanced equipment, such as cameras and submersibles, to film great white sharks at depths up to 2,000 feet for the first time, as announced at the 2015 upfronts. These efforts contributed to a reboot that increased prime-time viewership by approximately 5% in 2015, with programs like "" evolving to incorporate more rigorous scientific content. Under his oversight, which expanded in August 2015 to include and , the portfolio saw investments in premium unscripted formats blending adventure, science, and human interest to diversify beyond male-skewing audiences. The strategy also involved curating content to enhance credibility through partnerships with experts and institutions, countering perceptions of prior "tired" or exploitative programming. For instance, Ross championed series focusing on genuine expeditions and behavioral studies, such as enhanced wildlife tracking on , which aligned with Discovery's ethos but incorporated narrative polish without fabrication. This approach yielded measurable gains, including stronger digital engagement and advertiser interest in premium docu-series, though it coexisted with exploratory pushes into hybrid formats amid industry pressures for broader entertainment value. Ross's exit in 2018, prior to Discovery's merger with , marked the end of this phase, during which output trended toward verifiable, high-production-value storytelling over gimmickry.

Criticisms and Controversies

Box Office Failures and Disney Departure

Rich Ross's tenure as Chairman of Studios, which began on October 5, 2009, was marked by several high-profile disappointments that contributed to perceptions of instability in the division. One early setback was the 2011 animated film , which grossed just $6.9 million domestically against a exceeding $150 million, resulting in an estimated studio loss of around $110 million after marketing costs. The film's poor performance was attributed to weak audience appeal and competition in the family animation market, highlighting challenges in transitioning Ross's television expertise to oversight. The most significant failure occurred with John Carter, released on March 9, 2012, adapted from Edgar Rice Burroughs's novels and directed by . Despite a $250 million plus substantial expenditures, the film earned $284 million worldwide but led to a $200 million writedown by —the largest in Hollywood history at the time—due to unrecouped costs and underwhelming returns. Although Ross did not greenlight the project, which originated under prior leadership, its and release fell under his purview, amplifying scrutiny amid reports of internal mismanagement and mismatched promotional strategies that failed to clarify the film's sci-fi Western premise for audiences. Other releases like the teen drama (2011) also underperformed, grossing under $10 million globally, further underscoring a pattern of live-action and genre films struggling to connect commercially. On April 20, 2012, Ross announced his via , stating that the chairman role was "no longer the right professional fit" after less than three years, citing a diminished personal passion for theatrical motion pictures rooted in his television background. Disney CEO described the departure as mutual and unrelated to John Carter, emphasizing shared accountability for the film's losses across the studio. However, industry observers and insiders pointed to the flops' financial toll, Ross's outsider status in the community—lacking deep production relationships—and an "awareness issue" in managing creative talent as key factors, leaving the studios division "adrift" and prompting a reset. Ross's exit paved the way for Alan Bergman to assume expanded oversight, amid broader questions about integrating television executives into leadership roles.

Challenges in Content Strategy at Discovery

Ross assumed leadership of Discovery Channel as president in January 2015, inheriting a undermined by years of and fabricated documentaries that had compromised the network's factual reputation. Programs such as the 2013 "Megalodon: The Monster Shark Lives" special, presented as real but later admitted as fictional, and the 2014 "" stunt—which promised a human swallowed by an anaconda but delivered misleading packaging—drew widespread criticism for prioritizing over authenticity, eroding trust among viewers and scientists. Ross publicly committed to eliminating such "fake stuff" and restoring documentary credibility through higher production standards and genuine science-driven content. A core challenge lay in reversing ratings declines amid viewer fatigue with repetitive formats and stunts, while navigating the tension between factual integrity and the commercial demands of television. Discovery had experienced erosion in prime-time audiences prior to Ross's arrival, exacerbated by over-reliance on exploitative programming that boosted short-term viewership but alienated core demographics seeking substantive exploration. Ross sought to diversify appeal by incorporating scripted elements and targeting broader audiences, including more women and ethnic minorities on screen, alongside premium documentaries. However, these shifts risked diluting the network's established brand, as scripted content historically underperformed in a category dominated by fare, and competition from streaming platforms intensified pressure to deliver immediate ratings without alienating loyal fact-based viewers. Early initiatives showed mixed results: by mid-2016, reduced emphasis on gimmicks contributed to viewership upticks and Emmy recognition for series like "The Story of God with ," signaling progress in brand rehabilitation. Yet persistent challenges emerged in sustaining momentum against industry-wide and fragmented audiences, with Discovery's CEO citing ongoing prime-time struggles as late as February 2018 despite heavy programming investments. Ross's hybrid strategy—blending authenticity drives with scripted ambitions—faced internal misalignment, particularly as the impending 2018 merger with prioritized scaling nonscripted lifestyles content over experimental formats. Ross's exit in March 2018, as group president overseeing and , coincided with this pre-merger restructuring, where his role was not retained in the new aligned toward synergies. The transition underscored broader strategic hurdles: adapting a legacy fact-entertainment model to digital fragmentation without compromising core competencies, while metrics like audience retention lagged behind peers, highlighting the difficulty of overhauling entrenched content paradigms in a ratings-driven .

Personal Life

Family and Private Interests

Rich Ross is married to Adam Sanderson, his husband and longtime partner whom he met in while both were working in media. The couple relocated to in 1994, initially residing in the , before later moving to , , attracted by its culinary scene, art, and lifestyle advantages. No children are publicly documented. Ross's private interests include collecting photography, traveling, and solving The New York Times crossword puzzle. He has been involved in philanthropy, serving on the Board of Trustees for the (AFI) and the Board of Directors for the Fulfillment Fund, a nonprofit supporting educational opportunities for low-income students in .

References

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