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The CW Network, LLC[4][5] (commonly referred to as the CW or simply CW) is an American commercial broadcast television network which is controlled by Nexstar Media Group through a 75% ownership interest. The network's name is derived from the first letters of the names of its two founding co-owners CBS Corporation and Warner Bros. Nexstar acquired a 75% controlling stake in the network on October 3, 2022, with Paramount Skydance Corporation and Warner Bros. Discovery (CBS Corporation and Warner Bros.'s respective successor companies) each retaining a 12.5% ownership stake.[6][7][8]

Key Information

The CW debuted on September 18, 2006 as the successor to UPN and the WB, which had both shut down that month. Its first two nights of programming—on September 18, 2006 and September 19, 2006—consisted of reruns and launch-related specials. The CW marked its formal launch date on September 20, 2006, with the two-hour premiere of the seventh cycle of America's Next Top Model. The network's programming lineup is intended to appeal mainly to viewers between the ages of 18 and 34, although from 2008 to 2011 the network shifted its programming to appeal to women in that demographic.[9] As of August 2017, the network's audience was evenly split between men and women.[10]

The CW runs programming seven days a week: airing nightly in prime time along with a Saturday morning live-action educational programming block produced by Hearst Media Production Group called One Magnificent Morning.

The CW is also available in Canada on pay television providers through stations owned-and-operated by Nexstar and on affiliates owned by others that are located within proximity to the Canada–United States border (whose broadcasts of CW shows are subject to simultaneous substitution laws imposed by the Canadian Radio-television and Telecommunications Commission, if a Canadian network holds the broadcast rights); it’s also available through two Nexstar-controlled stations that are classified in the United States as superstations—New York City–based de facto flagship[a] WPIX and Los Angeles–based de jure flagship[b] KTLA.

Additionally, the network is available in northern Mexico through affiliates located near the Mexico–U.S. border (such as KFMB-DT2San Diego/Tijuana, KECY-DT3 in El Centro, California, KVIA-DT2 in El Paso, and KCWT-CD with simulcast network KMBH-LD2 in McAllen/Brownsville, Texas) on pay television providers. In both Canada and Mexico, some free-to-air CW affiliate signals originating from the U.S. are receivable over-the-air in border areas depending on the station's signal coverage.

In Central America, Venezuela, Colombia, Peru, Ecuador and the Caribbean, many subscription providers carry either select U.S.-based CW-affiliated stations or the main network feed from the CW O&Os WPIX in New York City, WDCW in Washington, D.C., WPHL-TV in Philadelphia, KTLA in Los Angeles, KRON-TV in San Francisco, KIAH in Houston, KDAF in Dallas, KPLR-TV in St. Louis, KWGN-TV in Denver, WBNX-TV in Cleveland or WGN-TV in Chicago.

History

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1993–2006: Predecessors and formation

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The network's original pre-launch logo

In April 1993, the Federal Communications Commission (FCC) ended the fin-syn rules that prohibited television networks from owning the rerun rights to programs they broadcast. Fearing that the networks would stop buying programs from independent studios, Warner Bros. Television and Paramount Television each decided to start their own networks.[11]

The WB and UPN both launched within one week of each other in January 1995, just as the Fox Broadcasting Company had started to secure a foothold with American television audiences.[12] The two networks launched to limited fanfare and generally mediocre to poor results.[11][13] However, over the subsequent 11+12 seasons, both were able to air several series that became quite popular (such as Buffy the Vampire Slayer, Star Trek: Voyager, The Sentinel, 7th Heaven, Dawson's Creek, Charmed, Smallville, Everwood, Gilmore Girls, Reba, The Steve Harvey Show, and America's Next Top Model).

Although their simultaneous starts and competition for affiliate stations initially caused the two networks to appear as rivals, by 1999, they had adopted differing strategies: The WB targeted young women, while UPN targeted young men.[11] Towards the end of their first decade on the air, the WB and UPN were in decline, unable to reach the audience share or have the effect that Fox had gained within its first decade, much less than that of the Big Three networks (ABC, CBS, and NBC). In the eleven years that UPN and the WB were in operation, the two networks lost a combined $2 billion.[14] Chris-Craft Industries, Viacom, and Time Warner officials had discussed a possible merger of UPN and the WB as early as September 1995, only eight months after their respective launches; however, discussions ultimately broke down over issues on how to combine Chris-Craft and Tribune Broadcasting's station interests in the proposal to merge the networks, since the two companies' station portfolios overlapped with one another in several major markets.[15] By 2003, however, Time Warner became mired in several debt problems. The company had already been responsible for shutting down Warner Bros.' in-house animation department and for selling off major portions of the conglomerate, such as the 2004 sale of Warner Bros. Records and the rest of Warner Music Group to an investor group led by Edgar Bronfman Jr. and Thomas H. Lee Partners.

Executives from CBS and Warner Bros. announced on January 24, 2006 that they would respectively shut down UPN and the WB; they would combine resources to form a new broadcast network, to be known as the CW Television Network.[16] They confirmed that the network would—at the outset—feature programming from both of its predecessors-to-be as well as new content developed specifically for the new network.[17][18] Warners and CBS expected to produce inexpensive shows for the network, which they could sell outside the US.[19] Then CBS chairman Les Moonves explained that the name of the new network was formed from the first letters of CBS and Warner Bros, joking, "We couldn't call it the WC for obvious reasons."[20][21] Although some executives reportedly disliked the new name, Moonves stated in March 2006 that there was "zero chance" the name would change, citing research claiming 48 percent of the target demographic were already aware of the "CW" name.[22]

In May 2006, the CW announced that it would pick up a combined thirteen programs from its two predecessors to air as part of the network's inaugural fall schedule: seven series held over from the WB (7th Heaven, Beauty and the Geek, Gilmore Girls, One Tree Hill, Reba, Smallville and Supernatural) and six held over from UPN (America's Next Top Model, Veronica Mars, Everybody Hates Chris, Girlfriends, All of Us and WWE SmackDown!). Upon the network's launch, the CW chose to use the scheduling model utilized by the WB due in part to the fact that it had a more extensive base programming schedule than UPN, allowing for a larger total of weekly programming time for the new network to fill. (The WB carried 30 hours of programming each week because it had a children's program block and a daytime lineup that UPN did not offer; UPN was primarily a prime time-only network with 10 weekly hours of network programming at the time of the network's shutdown.)[23]

2006–2011: Launch and early struggles

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Logo used from 2006 to 2024

Like UPN and the WB, the CW targets its programming towards younger audiences. CBS and Time Warner hoped that combining their networks' schedules and affiliate lineups would strengthen the CW into a fifth "major" broadcast network. One week before the network's official launch, on September 11, 2006, a new, full version of the network website was launched, the website began to feature more in-depth information about the CW's shows.

The CW launched with a premiere special / launch party from the CBS Paramount-produced Entertainment Tonight at Warner Bros. Studios in Burbank, California on September 18, 2006, after a repeat of the tenth-season finale of 7th Heaven;[24] the same schedule was repeated on September 19, 2006, with the sixth-season finale of Gilmore Girls.[25] The network continued to air season finales from the previous season through the remainder of the first week, except for America's Next Top Model and WWE SmackDown!, which respectively began their new seasons on September 20, 2006, and September 22, 2006, with two-hour premieres. When Top Model made its network premiere on September 20, 2006, the CW scored a 3.4 rating/5 share (with hourly ratings of 3.1/5 and 3.6/6, the CW placed fifth overall) in the Nielsen household ratings. It scored a 2.6 rating among adults 18–49, finishing fourth in that age demographic and beating the 2.2 rating earned by Fox on that night. The network's second week consisted of season and series premieres for all of its other series from September 25, 2006, to October 1, 2006, with the exception of Veronica Mars, which debuted its third season on October 3, 2006.[26]

Despite having several of the most popular programs carried over from UPN and the WB as part of its schedule, the CW—even though it experienced some success with newer programs that launched in subsequent seasons which became modest hits—largely struggled to gain an audience foothold throughout its first five years on the air.[27] Because of declining viewership for the network during the 2007–08 season and effects from the Writers Guild of America strike, the network announced on March 4, 2008, that it would eliminate its comedy department (dismissing executive vice president of comedy Kim Fleary and senior vice president of comedy Steve Veisel), while also combining its drama and current programming departments into a single scripted programming unit. The corporate restructuring resulted in the layoffs of approximately 25 to 30 employees.[28][29] It also included the elimination of certain positions, other newly opened positions being left unfilled, and layoffs from the Kids' WB unit, as the block was set to be replaced by the CW4Kids.[30]

On May 9, 2008, the CW announced that it would lease its Sunday lineup (then running from 5:00 p.m. to 10:00 p.m. Eastern and Pacific Time)[31][32] to production company Media Rights Capital (MRC). As Sundays have historically been a low-rated night for the network during its first two seasons on the air (due to stiff competition from CBS, ABC, and Fox's strong Sunday lineups, and complicated further by NBC's acquisition of Sunday Night Football in September 2006, shortly before the CW debuted), the move allowed the CW to concentrate on its Monday through Friday prime time schedule, while giving MRC the right to develop and schedule programs of its own choosing and reap advertising revenue generated by the lineup. The Sunday series that were scheduled—two reality series (4Real and In Harm's Way) and two scripted series (romantic dramedy Valentine and drama Easy Money)—performed poorly in the ratings (averaging only 1.04 million viewers),[33] prompting the CW to scrap its agreement with MRC and program Sunday nights on its own starting on November 30, 2008. With no first-run programming available to run on Sundays as a backup, the network added reruns of The Drew Carey Show and Jericho, and movies to replace the MRC-produced programs.[34]

One of the shows carried over to the network from UPN, WWE SmackDown, ended its run on the CW after the September 26, 2008, episode due to negotiations ending between the WWE and the CW on renewing the program. Representatives for the CW later confirmed that it had chosen not to continue carrying SmackDown because the network had redefined its target audience as exclusively females 18 to 34 years old,[14] whereas SmackDown targeted a predominantly male audience. Following SmackDown's move to MyNetworkTV that same season, the Fox-owned network (which launched the same month as the CW's debut, albeit two weeks earlier, on September 5, 2006) began beating the CW in the Friday ratings every week from that program's debut on the network, though the CW continued to beat MyNetworkTV overall.[35]

The CW generally struggled in the Nielsen ratings from its inception, primarily placing fifth in all statistics tabulated by Nielsen (total audience viewership and demographic ratings). On several occasions, the CW was even outrated by the Spanish language network Univision. This led to speculation within the industry (including a May 16, 2008, article in The Wall Street Journal)[14] that CBS, Time Warner or both companies might abandon the venture if ratings did not improve. However, the CW's fortunes were buoyed in the 2008–09 and 2009–10 television seasons thanks to increased ratings among females in the 18–34 demographic and the buzz that some of its newer series (such as Gossip Girl, 90210 and The Vampire Diaries) had generated with audiences. Executives with CBS Corporation and Time Warner also emphasized their commitment to the network.[36]

On May 5, 2009, the CW announced that it would give the five hours of network time on Sundays back to its affiliated stations that fall, effectively becoming a weeknight-only network in prime time, in addition to the CW Daytime and the CW4Kids blocks (the latter block, airing on Saturday mornings, would remain the only weekend programming supplied by the network).[37][38] This change meant the Sunday late afternoon repeat block that the CW inherited from the WB (formerly branded by that network as "EasyView") was discontinued. Subsequently, in mid-May, 65 percent of the CW's affiliates, including those carrying the CW Plus, signed agreements to air the replacement MGM Showcase movie package on Sundays.[39]

2011–2016: New leadership and content shift

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On April 28, 2011, Mark Pedowitz was appointed by the network to succeed original president of entertainment Dawn Ostroff; Pedowitz was made the network's first president and assumed broader responsibilities in the CW's business operations than Ostroff had.[40] As president of entertainment, Ostroff oversaw entertainment operations while John Maatta, the network's chief operating officer, handled business affairs; both reported to a board composed of CBS and Warner Bros. executives. Maatta began reporting to Pedowitz as a result of the latter's appointment as network president.[40] Pedowitz revealed that the core target demographic of the network would not change, though the CW would attempt to lure new viewers. Pedowitz began looking to bring comedies back to the CW after Ostroff had publicly declared that the difficulty of developing comedies for its target demographic was the reason for their removal from the network following the 2008–09 season (with Everybody Hates Chris, and The Game—a spin-off of Girlfriends—becoming the last comedies to be cancelled).[41] The network also ordered more episodes of its original series and ran them consecutively starting on September 12 through the first week of December without repeats.[42] In July 2012, Pedowitz no longer referred to the target demographic of the CW as women 18–34, but rather that it would now be an "18–34 adult network".[43]

Although the network was still not profitable, CBS and Warner Bros. were very successful in selling their CW shows overseas. In 2011, a $1 billion deal with streaming service Netflix became another way to sell CW shows.[19] The introduction of action-superhero series Arrow, based on DC Comics' Green Arrow, received favorable reviews from critics and became a hit with audiences when it premiered. As evidence of the network's refocusing toward a broader audience, Arrow not only premiered to some of the highest viewership totals in the network's history (the third-highest overall as of 2015, behind the series premieres of The Vampire Diaries and The Flash), but it also gave the network its strongest performance in the demographic of males 18–34 since Smallville ended its run in May 2011. The network also found success with its summer programming in 2013 with the revival of the U.S. version of the improv comedy series Whose Line Is It Anyway?, which later became a year-round staple on the network's schedule. Arrow continued to perform strongly, leading to a spin-off with The Flash, which surpassed The Vampire Diaries as the highest-rated premiere in the network's history and became the most-watched show on the network. Jane the Virgin earned some of the highest critical praise of any series during the 2014–15 television season, and became the first CW series ever to be nominated for, and win, a Golden Globe Award, with lead actress Gina Rodriguez winning the Golden Globe for Best Actress - Television Series Musical or Comedy. Other CW shows like The Flash, The 100, and Nikita would also go on to be nominated for Primetime Emmy Awards categories, and several shows from 2011 to 2019 being nominated for categories in the Teen Choice Awards, Saturn Awards, and others.

Overall, the network ended the 2014–15 season posting its highest average total viewership in a single television season since 2007–08 with 2.15 million viewers, a 12% increase in total viewership year-to-year; the CW also posted its highest seasonal demographic ratings among males ages 18–49 with a 0.8 share.[44]

Expanding on the success of the network's Arrowverse franchise, DC's Legends of Tomorrow premiered to high ratings for the network and became the most-watched show on the network's Thursday night block in two years. The 2015–16 season also saw Crazy Ex-Girlfriend become one of the most critically acclaimed shows of the season and the second show on the network to be nominated for, and win, a Golden Globe Award, with actress Rachel Bloom winning a Golden Globe Award for Best Actress - Television Series Musical or Comedy.

2016–2021: Streaming era deals

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The network's Arrowverse expanded again with Supergirl being moved to the network from CBS for its second season. The debut of Archie Comics-based Riverdale signaled the network's foray into mining their parent studio's library of IP to create new television series based on recognizable properties. This led to another new DC Comics series, Black Lightning, and a rebooted Dynasty. While it met with poor ratings, Dynasty proved lucrative thanks to the Netflix output deal and international syndication,[45] which earned CBS Studios millions of dollars per episode.[19]

Selling CW series like Dynasty to Netflix and overseas markets was so profitable for Warner Bros. and CBS that the network almost stopped cancelling shows, and expanded its broadcast schedule.[19] On February 14, 2018, the CW announced that it would add a 2-hour primetime block on Sunday nights beginning in the fourth quarter of 2018 (it later added a third hour in October 2023), returning the network to Sundays for the first time since the lease to Media Rights Capital ended in 2009, as well as expanding the CW's primetime slate from 10 hours a week to 12. Discussions with CBS and Warner Bros. about the expansion began as early as July 2017; both gave their approval to the move that December, with the network reaching clearance deals with key affiliate partners in early 2018.[46][47]

On June 12, 2018, AT&T received antitrust approval to acquire Warner Bros. parent Time Warner, with the acquisition closing two days later. Time Warner was renamed WarnerMedia and AT&T became a co-owner of the CW with CBS.[48][49]

The CW debuted reboots of Charmed, Roswell, and Originals spin-off Legacies during the 2018–19 season. Despite modest ratings, their renewals—along with the renewal of the entire 2018–19 lineup (absent those series already previously announced as ending)—reflected their value to the network's founding co-owners CBS and Warner Bros., which received the windfall of selling them to Netflix and international buyers.[50] This strategy continued with the 2019–20 season debuts of the new Arrowverse series Batwoman, Riverdale spin-off Katy Keene, and Nancy Drew.

On August 13, 2019, CBS and Viacom officially announced their intention to re-merge, with the combined company to be named ViacomCBS. The merger was completed on December 4, 2019, making them officially with AT&T's WarnerMedia co-owners of the CW.[51][52][53][54]

WarnerMedia and ViacomCBS did not renew CW's Netflix deal in 2019, intending to use their shows on the network for their own streaming services.[19][55] International sales also mostly ended, because both companies wanted to retain rights to their own shows to compete with Netflix outside the United States.[19] WarnerMedia's HBO Max streaming service subsequently acquired exclusive streaming rights to Warner Bros.-produced CW shows.[56] This began with the 2019–20 season, with the Warner Bros.-produced Batwoman and Katy Keene debuting on HBO Max after their current seasons finished airing on the CW. The CBS Studios-produced Nancy Drew was originally announced to be heading to corporate-sibling owned CBS All Access, but appeared on HBO Max instead. The reason for this was amid the rebranding of CBS All Access to Paramount+ and the changes surrounding the ViacomCBS merger, CBS and Warner Bros. made the collective decision to have all CW shows have a singular streaming home on HBO Max.[57]

Beyond being the streaming home of CW programming, HBO Max shares a co-ownership connection with the network, which allows for programming partnerships. This began with DC Comics series Stargirl, which the CW shared with DC Universe. DC Universe and the CW co-financed the series,[57] with episodes premiering on DC Universe and airing the next day on the CW. After DC Universe was folded into HBO Max, Stargirl was renewed with a new co-finance deal in which the CW receives first-run airings followed by its launch on HBO Max.[58] Going forward, the CW and HBO Max will continue to collaborate on potentially co-financing new projects, with the model of premiering first on HBO Max and a second run on the CW.[59] "They creatively have to want the show too and believe that the show should go on their platform first for them to work," CW CEO Pedowitz said. "For us its a great model because it's a way to get excellent summer scripted programming and maximize programming across platforms."[57]

On May 13, 2021, the CW announced that it would begin programming Saturday nights on a regular basis beginning in the 2021–22 television season, following approval of the expansion by the network's key affiliate groups.[60] As part of the deal, the CW ceased programming the CW Daytime block and returned the time to its stations. With the addition of Saturday nights, the CW has programming on every night of the week for the first time in the network's history, becoming only the sixth American English-language commercial broadcast network ever and the first since Fox to have offered prime time content on a nightly basis.[61]

2022: Acquisition by Nexstar

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On January 5, 2022, The Wall Street Journal reported that WarnerMedia and ViacomCBS were exploring a possible sale of either a majority stake or all of the CW, and that Nexstar Media Group, which became the CW's largest affiliate group when it acquired former WB-era network co-owner Tribune Broadcasting in 2019, was considered a leading bidder.[62] Network president and CEO Mark Pedowitz confirmed talks of a potential sale but added that it was "too early to speculate what might happen".[63][64] Nexstar CEO Perry Sook in Spring 2022 did not confirm the rumored buyout but stated that he would not be surprised if Nexstar owned a broadcast network.[65]

In May 2022, three months before Nexstar made their purchase official, the CW cancelled ten shows, three times the average number per year that the CW had canceled over the previous decade, including one-season shows 4400 and Naomi,[66][67] and longtime fixtures including Dynasty,[68] Legends of Tomorrow,[69][70] Roswell, New Mexico,[71] and Legacies.[19] More shows were cancelled or given final season orders in the following months including Nancy Drew,[72] Stargirl,[73] The Flash,[74] and Riverdale.[75][76]

In late June 2022, The Wall Street Journal indicated a purchase of the CW by Nexstar was close,[77] and on August 15 Nexstar confirmed it had "entered into a definitive agreement" to acquire a 75% majority share in the network;[6] the remaining 25% would be shared equally by Paramount Global (the former ViacomCBS) and Warner Bros. Discovery (the company formed by Discovery, Inc.'s acquisition of WarnerMedia from AT&T). Additionally, Nexstar stated that Mark Pedowitz would remain the chairman and CEO of the CW.[78] Though no monetary terms were announced, Nexstar reportedly would not pay any cash or stock up front, and would absorb approximately $100 million of network debt.[79][80] The Hollywood Reporter stated that Nexstar retained $54 million based on its cash on hand, accounts receivable, accounts payable and other liabilities.[81] As the sale did not entail the transfer of any FCC broadcast licenses, Nexstar immediately took operational control of the network.[82]

Nexstar, in a conference call that took place the day its purchase was announced, indicated a desire to run the CW cost-consciously. Citing research that indicated the network spends "almost twice" the amount other broadcast networks spend on programming, a partial reason for the May 2022 cancellations,[19] Nexstar stated that it planned to seek shows with smaller production budgets and/or a reasonably-priced acquisition fee, including unscripted fare, syndicated content, and other content that can create profits through broadcast airings.[79] Nexstar also stated that it aimed for the CW to turn a profit by 2025.[63][83]

In the conference call, Nexstar indicated that it wanted to convert the CW into a network with broad appeal. It cited data indicating that the young audience which the CW focused upon preferred watching its shows through streaming platforms instead of during live broadcasts, while the average audience of a broadcast CW affiliate was approximately 58 years old.[79] Nexstar indicated that it would focus on the older audiences as well and not just the younger demographic.[78][83][84] In particular, Nexstar was reported to have been seeking older-skewing dramas, police procedurals, and sitcoms.[85]

Paramount Global and Warner Bros. Discovery would still produce content for the CW as primary content suppliers, though Nexstar noted that the arrangement would be primarily for the 2022–23 broadcast season. It indicated that it "will have the option to extend the partnership" with Paramount and WBD beyond that season.[79][86] Nexstar stated in September 2022 that it would seek to supplement the CW's content by acquiring projects from studios beyond solely Paramount and WBD.[87] while any the CW content not licensed to other streaming services would continue to appear on its own streaming platform CW Seed.[19]

On October 3, Nexstar officially announced that it had closed the deal to acquire the majority ownership of the CW. Longtime chairman and CEO Mark Pedowitz resigned from his role, with Dennis Miller taking over as the president of the CW.[88][89] Rick Haskins, the CW's chief branding officer and president of the network's streaming division, as well as chief financial officer Mitch Nedick were let go on the same day.[90] Thirty to forty employees were laid off on November 1, including several executives.[91] Longtime executive Paul Hewitt was replaced with Beth Feldman as the senior vice president of the network's communications unit.[92] On the following day, Brad Schwartz was appointed as the president for the entertainment division, overseeing programming strategy, creative and brand development, and day-to-day operations.[93]

On November 8, Nexstar announced that the carryover programming from the former majority parent companies of the CW, Paramount and WBD, would be minimal by the 2023–24 season.[94]

2023–present: Focus on linear and sports

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On February 1, 2023, the CW appointed Heather Olander as the head of unscripted programming,[95] a position under which she reports to Schwartz.[96] In a shift away from scripted programming, it also let go of Executive VP for Current Programming Michael Roberts, and Executive VP for Development Gaye Hirsch, among other layoffs on the following day.[97][98] The CW appointed Chris Spadaccini as the chief marketing officer on February 6, 2023,[99][100] and Tom Martin as the head of business affairs and general counsel on February 9, 2023.[101][102] It later appointed Betzy Slenzak as the vice president of unscripted programming on March 30, 2023, and Ashley Hovey as the network's first chief digital officer on April 11, 2023.[103][104]

On May 18, 2023, the CW unveiled its schedule for the 2023–24 broadcast season, consisting mostly of acquired shows from outside the United States, and unscripted series.[105] Schwartz criticized the previous co-owners of the network, stating that it would no longer exist for benefiting them, and that the shows left over from the previous regimes did not perform well on linear broadcast. He added that in order to achieve profitability, the CW was focusing on acquired shows and co-productions while expanding its audience.[106] He also revealed that the network was in production or negotiations for a total of 72 shows.[107] On February 25, 2023, CW Sports was launched by acquiring the rights to LIV Golf[108] and soon expanded by acquiring ACC college football and basketball games,[109] Inside the NFL,[110] the NASCAR Xfinity Series,[c] and WWE NXT.[113] In August 2023, Schwartz stated that the network was involved in many upcoming US-produced scripted shows and will focus on getting monetization rights on any scripted content it broadcasts, while producing shows at a profitable price point. He also stated that they were using sports programming for bringing in new and older audiences.[114] Nexstar CEO Perry Sook later stated that, beyond causing the delay of four scripted shows, the 2023 Writers Guild of America and SAG-AFTRA strikes did not have much impact on the CW's fall schedule, adding that they would not affect the network's future progress.[115]

In January 2024, during the 29th Critics' Choice Awards, The CW launched a new brand identity by DixonBaxi—which updated the logo with a bolder appearance, changed the network's main color from green to red-orange, and introduced a new "stage" device used in promos (formed by extending the C lettering from the logo), as well as a new sound trademark of a struck match. Spadaccini explained that the rebranding was intended to help make the network's brand more consistent and optimized for digital platforms, the word "The" was removed from the logo to streamline its appearance (especially in use cases such as "CW Original" or "CW Sports"). Spadaccini said that the network's name and verbal branding would remain the CW.[116]

The CW unveiled its fall schedule for the 2024–25 broadcast season in May 2024, with programming consisting of co-produced scripted series, game shows, unscripted series, and an expansion of CW Sports.[117] Three of its four remaining pre-Nexstar scripted series, Superman & Lois, All American: Homecoming, and Walker, would conclude that year,[118][119][120] leaving All American as the sole remaining legacy series to continue beyond the 2023–24 and 2024-25 seasons.[121] Miller and Schwartz revealed that the network planned to air its own television films later in 2024, with Miller adding that they planned to do more deals for sports programming. The CW's losses meanwhile declined by $50 million for the first quarter of 2024, compared to the $100 million loss during the quarter when Nexstar acquired it.[122] In June 2024, Schwartz stated that he hoped to have more scripted series on air, but their new financial model necessitated finding production partners.[123] CW Studios was launched in August 2024 after the CW pulled The Librarians: The Next Chapter from their fall schedule and sold the series to TNT.[124] The CW retained a stake in the series through the newly formed studio, providing the network with an in-house production arm.[124]

Miller departed as president of the CW in October 2024, with Brad Schwartz being promoted to fill the role.[125] In November 2024, Nexstar reported that the CW had reduced its operating losses by $119 million year-to-date, exceeding the goal of $100 million for the year. Nexstar executives attributed this to lower cost programming and credited the growing CW Sports portfolio for increasing the network's viewership.[126] The CW underwent a round of layoffs later in the same month to streamline the network's focus on sports and unscripted programming, with Liz Wise Lyall, head of the scripted programming department, and Betsy Slenzak, vice president of the unscripted programming department, exiting.[127]

Michael Perman was appointed as the Senior Vice President of CW Sports in February 2025, overseeing programming and media rights for the division.[3] Nexstar President and COO Mike Biard stated later in the same month that the sports portfolio would account for 40% of the programming of the CW in 2025 and the network would become profitable by 2026.[128] By the end of the fiscal year 2024-25, the CW had reduced its year-over-year losses by $126 million.[129] During the first quarter of the fiscal year 2025-26, the CW recorded its strongest primetime performance in the past eight quarters,[130] despite increasing its loss compared to the same quarter in the previous year.[131]

In June 2025, the CW ordered six movies inspired by the Harlequin romance novels which would be broadcast on the network during fall 2025, starting with Montana Mavericks which would first be released in theaters in August 2025 and then on the CW.[2]

Programming

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Network programming and scheduling

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As of October 1, 2023, the CW provides 18 hours of regularly scheduled network programming each week, over the course of seven days. The network offers 15 hours of prime time programming to its owned-and-operated and affiliated stations, airing from 8:00 p.m. to 10:00 p.m. Eastern and Pacific Time on Monday through Saturday nights and 7:00 p.m. to 10:00 p.m. (Eastern and Pacific) on Sunday nights.[132] Outside of prime time, a three-hour educational programming block called "One Magnificent Morning" (which airs as part of the CW schedule through a time-lease agreement with Hearst Media Production Group) airs on Saturday mornings from 8:00 a.m. to 11:00 a.m. in all time zones, subject to reschedulings due to local or CW sports broadcasts.

Similar to Fox, along with network forerunners the WB and UPN, the CW uses the "common prime" scheduling practice, avoiding the 10:00 p.m. (Eastern and Pacific) hour broadcast by the "Big Three" networks (NBC, CBS, and ABC). The network, unlike the Big Three, does not air any national newscasts, late-night programming, and, since 2021,[60] daytime programming (outside of sports). It also did not run prime-time programming on Saturday nights and during the primetime access hour on Sundays until the 2021–22 and 2023–24 broadcast seasons respectively.[60] Because of these factors, the CW's affiliates handle the responsibility of programming non-network time periods, with the majority of its stations filling those slots mainly with syndicated programming. However, some of the network's affiliates broadcast their own local news and/or sports programs (either produced by the station itself or through outsourcing agreements with an affiliate of another network), preempting network prime time programming to a specific time period (New York City affiliate WPIX, for instance, preempts CW prime time to the afternoon).

The Hearst-produced Saturday morning block, One Magnificent Morning (which is subject to scheduling variances similar to the weekday hour in some markets, such as in Atlanta and San Diego), is designed to be tape delayed and therefore recommended to air in the same time slot in all time zones. However, it is broadcast one hour earlier on affiliates of the CW Plus in the Central, Mountain and Alaska Time Zones. In Guam, CW Plus affiliate KTKB-LD in Hagåtña airs the CW lineup on a one-day tape delay from its initial broadcast because of the time difference between Guam and the continental United States as the island is on the west side of the International Date Line.

Supernatural (which initially aired on the WB) was the final CW series carried over from either of the network's respective predecessors that continued to be broadcast, airing its final episode in November 2020.

The CW formerly aired short segments during commercial breaks within certain episodes of its programs known as "Content Wraps"—a play on the network's name—to advertise one company's product during part or the entirety of a commercial break, a concept since classified under the term of native advertising. The entertainment magazine series CW Now was inspired in part by the success of the Content Wraps as it was intended to be a series with product placement;[133] the program was canceled in 2008, after a single 23-episode season. For the 2006–07 season, the CW reached an agreement with American Eagle Outfitters to incorporate tie-ins with the company's aerie clothing line as part of the Content Wrap concept within the network's Tuesday night schedule, which included subjects in the commercials commenting on plot points in each of the shows.[citation needed] The agreement was cut down to regular advertising in February 2007, after a fan backlash by viewers of both shows and general criticism of the campaign.[134]

News programming

[edit]

The CW began to introduce national news programming under Nexstar ownership, in partnerships with sister properties NewsNation and The Hill. It aired its first national news special on December 6, 2023, simulcasting the fourth Republican presidential primary debate with NewsNation.[135] In February 2024, it was reported that the network was developing a Sunday morning talk show with The Hill.[136] The new program was later announced as The Hill Sunday with Chris Stirewalt, which premiered March 3, 2024 on NewsNation, and made its CW premiere on April 7, 2024.[137] The CW would simulcast NewsNation's Decision Desk 2024 coverage of the 2024 United States presidential election on November 5, 2024, and Chris Cuomo-hosted town halls with president Donald Trump on April 30, and on the federal government shutdown on October 15 (headlined by guest Tom Homan).[138][139][140]

Local news programming on CW affiliates—if any—is often outsourced to another major network affiliate in the market, usually a sister station via co-ownership or local marketing agreements, or as part of an outsourcing agreement with a third-party. Scheduling of local news often mirrors that of Fox affiliates, with local morning shows intended to compete with the national morning shows on the Big Three networks (and often being an extension of a morning show on a Big Three affiliate), and prime time newscasts within the 10:00 p.m.–11:00 p.m. Eastern/Pacific (9:00 p.m.–10:00 p.m. Central/Mountain) time slot following network programming.

Only five CW stations have autonomous local news operations, all of which carried over from previous affiliations: WPIX in New York City, WGN in Chicago, and KTLA in Los Angeles started their news departments as independent stations and/or during early affiliations with other networks including DuMont (KTLA) and CBS (WGN); WISH-TV in Indianapolis (formerly CBS) [141] has been airing local news since 1956, and KRON-TV in San Francisco (formerly NBC and MyNetworkTV) has produced local news since 1957. KTLA has the largest number of weekly hours devoted to local news programming of any CW affiliate, and any broadcast television station in the United States, with 94+34 hours of scheduled news each week.

Sports programming

[edit]

The CW agreed to a three-year broadcast deal in January 2023 with LIV Golf, a professional golf tour financed by Saudi Arabia's Public Investment Fund, marking the first-ever national sports broadcasting contract for both the network and the tour.[108] On February 14, 2023, the network said their LIV Golf coverage would be available in 100 percent of media markets in the United States, but encountered numerous affiliates that declined carriage of the tour, including all eight owned by Paramount Global. Consequently, LIV coverage in those affected markets aired on Nexstar-owned stations or subchannels, or on other stations via secondary affiliation agreements.[142][143] Both the network and Nexstar were criticized by the National Press Club for participating in alleged sportswashing by the Saudi government following the assassination of journalist Jamal Khashoggi in 2018.[144]

The CW announced on July 13 that it had acquired the exclusive broadcast rights to 50 Atlantic Coast Conference (ACC) college football and basketball games each season through 2026–27, with Raycom Sports producing the broadcasts.[145]

On July 28, the CW announced it had picked up the media rights to the NASCAR Xfinity Series in a seven-year deal starting in 2025 and going through the 2031 season. The CW will broadcast 33 races annually, along with practice and qualifying events. NASCAR Productions will produce the broadcasts.[146] On April 11, 2024, it was announced that the deal's start was pushed up to September 2024, beginning with the 26th race of the season and regular season finale, the Food City 300.[112]

On November 7, 2023, it was announced that WWE NXT would be moving to the CW from USA Network in a five-year deal that began in October 2024.[147] This marked the first time that WWE programming aired on the CW since 2013, when Saturday Morning Slam aired on the defunct Vortexx children's programming block; the CW aired SmackDown! from the network's launch to 2008.

The CW and Range Sports announced an agreement in January 2024 under which Range Sports would develop content in conjunction with Nexstar and CW Sports, in addition to assisting the CW with talent representation, brand consulting, data and analytics and provide production capabilities for scripted and unscripted programs by using the resources of its parent company Range Media Partners.[148]

The CW in May 2024 gained rights for broadcasting eleven Pac-12 football games featuring Oregon State University and Washington State University football teams for the 2024 season.[149] In April 2025, it gained the rights for broadcasting nine Pac-12 games in the 2025 season.[150] Pac-12 and the CW extended their partnership in August 2025 to 2030-31, with The CW gaining rights to air 13 regular season football games, 35 men's basketball games and 15 women's basketball games annually, beginning in 2026.[151]

In August 2024, the CW acquired rights to air the 2024 Chicago Open Men's and Women's finals from the Association of Volleyball Professionals (AVP).[152] In March 2025, the AVP renewed its agreement with the CW for multi-year rights to broadcast its volleyball matches from across the United States on Saturday nights, from Memorial Day till Labor Day.[153]

In March 2025, the CW gained rights to broadcast the 4th Annual Men's HBCU All-Star Basketball Game.[154] In April 2025, the CW and the Professional Bowlers Association (PBA) reached a two-year media rights agreement, which was negotiated in cooperation with the IMG, to broadcast ten PBA events.[155]

In July 2025, The CW and Professional Bull Riders reached a multi-year agreement for broadcasting PBR Camping World Team Series events on Saturday and Sunday.[156]

Outside of network programming, several CW affiliates have carried telecasts of basketball, football and in some cases, other collegiate sporting events (such as baseball or hockey) that are produced by syndicators, while a few carry games from local teams of major professional sports leagues such as Major League Baseball (the New York Mets on WPIX) and the NBA (the Los Angeles Clippers on KTLA).

Children's programming

[edit]

On September 23, 2006, the Kids' WB children's programming block—which originated on The WB in September 1995 and continued to be produced by Warner Bros.—was carried over to the CW as part of its inaugural programming lineup; although the network on which it originated ceased operations, the "Kids' WB" branding was retained for the block.

On October 2, 2007, through a joint decision between corporate parents Warner Bros. and CBS Corporation, the CW announced that it would shut down Kids' WB and lease the programming rights of the Saturday morning timeslots to 4Kids Entertainment (which was producing a competing children's programming block, 4Kids TV, for Fox at the time of the announcement). The CW cited competition from children's cable networks and a challenging advertising marketplace as factors in the decision.[157] Kids' WB ended its nearly thirteen year-old run on May 17, 2008 (though some CW affiliates that delayed the block to Sundays, such as Atlanta affiliate WUPA, aired the block for the last time on May 18).

The following week on May 24, 4Kids Entertainment took over programming of the CW's Saturday morning timeslots, with the debut of a new block, The CW4Kids. Its lineup initially consisted mostly of programs carried over from Kids' WB and 4Kids TV, before eventually adding first-run 4Kids-produced shows such as Chaotic as well as new seasons of Yu-Gi-Oh! and Teenage Mutant Ninja Turtles.[158] The block was rebranded to Toonzai on August 14, 2010 (though The CW4Kids name was retained as a sub-brand to fulfill branding obligations with the network). Toonzai ended its run on August 18, 2012, after 4Kids Entertainment auctioned off their assets in bankruptcy court.[159]

On July 3, 2012, Saban Brands announced that they had acquired the rights to program the CW's Saturday morning timeslots from 4Kids Entertainment in bankruptcy proceedings.[160][161] The block was relaunched as Vortexx on August 25, featuring programs produced by Saban Brands such as Power Rangers Lost Galaxy and Digimon Fusion. Vortexx also aired notable third-party programming such as WWE Saturday Morning Slam, which marked the return of WWE programming to the network since WWE Smackdown departed in 2008.[162]

On June 5, 2014, the CW announced an agreement with Litton Entertainment (now known as Hearst Media Production Group) to program a block of live-action series designed to comply with the FCC's educational programming guidelines. Vortexx (which was the last remaining non-educational children's block on the major U.S. broadcast networks) was replaced by One Magnificent Morning on October 4.[163][164] The block features a mix of wildlife and lifestyle-themed programs, similar to those featured on the Litton-produced blocks aired by ABC and CBS.[165][166] On January 7, 2016, the CW and Litton announced a five-year renewal for the block, extending it through the 2020–21 broadcast season.[167] Starting with the 2017–18 broadcast season, the block's running time was reduced to three hours.[168] On July 1, 2021, the CW and Litton announced another multi-year extension for the block.[169]

Stations

[edit]

The CW has 46 stations owned and/or operated by its majority owner Nexstar Media Group,[170] and current and pending affiliation agreements with 221 additional television stations encompassing 50 states, the District of Columbia and three U.S. possessions.[171][172][173][174] Counting only conventional CW affiliates and over-the-air affiliates of the CW Plus, the network has an estimated combined national reach of 100-percent of all households in the United States (or 330,866,316 Americans with at least one television set); this makes the CW the largest U.S. broadcast network by population reach percentage. As of January 2023, three U.S. states (Delaware, New Hampshire, and New Jersey) and three U.S. territories (American Samoa, Puerto Rico and the United States Virgin Islands) do not have their own locally licensed CW affiliates, largely because those areas are either located within the broadcast ranges of stations in nearby states or served by out-of-market stations via cable or satellite. Delaware is served by Philadelphia's WPHL-TV and Salisbury, Maryland affiliate WMDT-DT2, while New Hampshire is served by four CW stations based in three neighboring states (including Boston affiliate WLVI). New Jersey is served by WPHL and New York City affiliate WPIX.

As a newer broadcast network, the CW maintains affiliations with low-power stations (broadcasting either in analog or digital) in a few markets, such as Boise, Idaho (KYUU-LD). In some markets, including both of those mentioned, these stations also maintain digital simulcasts on a subchannel of a co-owned/co-managed full-power television station. The CW also maintains a sizeable number of subchannel-only affiliations, the majority of which are with stations in cities located outside of the 50 largest Nielsen-designated markets and receive the network's programming via the CW Plus; the largest subchannel-only CW affiliate by market size, as of February 1, 2024, is WZTV-DT2 in Nashville, Tennessee.

Nexstar Media Group is the largest operator of CW stations by numerical total, owning or providing services to 41 CW-affiliated stations, and also is the largest in terms of overall market reach, owning or providing services to CW stations (including its largest affiliates in New York and Los Angeles), covering 32 percent of the U.S.[174]

Digital multicasting and cable television

[edit]

Unlike the other major networks, the CW distributes its programming in small and certain mid-sized markets throughout the United States (generally those ranked among the bottom 110 Nielsen media markets) through the CW Plus, a separate national feed and programming service that is carried on a mixture of full-power and low-power stations in some markets, and cable-only outlets and digital subchannel affiliations on major network stations in markets that do not have enough commercial stations to support a standalone CW affiliate (several of the CW Plus's digital subchannel outlets originally operated as cable-only affiliates at the network's launch). The programming service offers its own master schedule of syndicated and brokered programming acquired by the network (including some feature films and infomercials) during non-network programming time, although some CW Plus affiliates may also run local newscasts produced by a major network affiliate.

CW predecessor the WB previously had two cable-only affiliate outlets: WGN America, the national superstation feed of WGN-TV at the time, from January 1995 to October 1999[175][176] and network-operated the WB 100+ Station Group (the direct predecessor to the CW Plus), which was formed in September 1998 and had several of its cable-only outlets join the CW Plus at the CW network's launch. Not all of the network's cable-only affiliates were CW Plus outlets; WT05 in Toledo, Ohio offered its own schedule of syndicated programs during non-network time that was programmed by its then-owner Block Communications, which also operates that market's major cable provider Buckeye CableSystem (WT05 now exists as "CW13", having been converted into a digital subchannel of Gray Television-owned ABC affiliate WTVG in October 2014). Though the CW is the only network with a station group that includes cable-only outlets, it is actually one of only three networks that have had cable-only stations within its affiliate body (ABC formerly had a cable-only affiliate in Winchester, Virginia-based TV3 Winchester until Gray shut the channel down in December 2013).

Affiliate issues

[edit]

Problems with Time Warner Cable

[edit]

Some Time Warner Cable subscribers around the country were unable to watch CW programming when the network debuted, as stations in several markets were not able to reach carriage deals with the provider to distribute the local affiliates. In markets such as Charleston, South Carolina; El Paso, Texas; Honolulu, Hawaii; Palm Springs, California; Beaumont; Waco and Corpus Christi, Texas, where the CW is broadcast on a digital subchannel of one of the market's major network affiliates, there were unsuccessful attempts in getting Time Warner Cable to carry the subchannel affiliates[177] (CW then-co-parent Time Warner had owned Time Warner Cable until it spun off the provider into a separate company in 2009; TWC was later acquired by Charter Communications in 2016).

Some affiliates eventually signed carriage deals with Time Warner Cable, but not all of the CW affiliates received carriage on the provider's basic cable tiers (for example, Syracuse, New York affiliate WSTQ-LP could only be viewed on digital cable channel 266 in the Ithaca market). The largest market without a known affiliate is the JohnstownAltoona market, whose closest CW station was CBS-owned WPCW (now known as independent station WPKD-TV) in Pittsburgh, which is carried on Charter's Johnstown and Altoona area systems; WPKD-TV was originally targeted to serve that area before it refocused its programming toward the Pittsburgh market in the late 1990s.

On February 2, 2007, Beaumont, Texas CBS station KFDM made its CW-affiliated subchannel available to Time Warner Cable customers in the market on channel 10. On April 20, 2007, ABC affiliate KVIA-TV in El Paso, Texas began broadcasting its CW-affiliated subchannel on Time Warner Cable channel 13.[178] On April 21, 2007, KCWQ-LP made its broadcast debut on channel 5 on Time Warner Cable in the Palm Springs area.[179]

Pappas Telecasting bankruptcy

[edit]

One of the network's major affiliate groups, Pappas Telecasting Companies, filed for Chapter 11 bankruptcy for thirteen of its television stations on May 10, 2008. Within the petition, Pappas specifically cited the network's low ratings and lackluster performance as one of many complications that had forced it to make the filing.[180] Several of the stations have since been sold either in business transactions with representatives involved in Pappas's bankruptcy proceedings or via station auction processes as the company winds down operations.

Although Pappas had originally stated that none of its stations would be affected at all by the closing, two stations owned by the company that were formerly affiliated with the CW have ceased operations. On May 29, 2008, Yakima, Washington affiliate KCWK (which served the south-central portion of that state) shut down and the station's offices were closed, leaving that area without locally based CW programming and forcing pay television providers to carry Los Angeles affiliate KTLA in order to provide the network's programming to their subscribers. The situation was resolved in April 2009, when Fisher Communications announced that its CBS affiliates in the area, KIMA-TV and satellite station KEPR-TV, would carry the network through DTT subchannel affiliations.

Subsequently, WLGA in Columbus, Georgia lost its CW affiliation in April 2009 to a subchannel of NBC affiliate WLTZ because of the network's concerns about Pappas' financial state;[181] WLGA ultimately ceased operations in June 2010 as it was unable to compete in the market as an independent station.[182]

Tribune's relations with the CW

[edit]

While Tribune Media had solid affiliation deals with the CW on several of its stations, it also maintained a strong affiliation alliance with Fox. But with new management and ownership taking over Tribune in 2008, it was apparent that the company would switch one of its CW-affiliated stations to Fox (at least those in markets without a Fox owned-and-operated station or a former O&O that was acquired by Local TV, which Tribune later acquired in 2013[183]), adding to more questions surrounding the CW's future. In a March 2008 seminar by Tribune's then-chairman and CEO Sam Zell, it was revealed that the company's San Diego outlet KSWB-TV would switch its affiliation from the CW to Fox that August, with KSWB assuming the Fox affiliation from XETV-TV, which had been a Fox charter affiliate since that network's October 1986 inception. XETV (which is licensed to Tijuana, Baja California, Mexico under the ownership of Grupo Televisa but whose U.S. operations are programmed by Bay City Television) was not informed of Zell's deal until it was made public.[184]

After the news broke, XETV planned on suing to prevent the switch because it would violate an affiliation contract that XETV had with Fox that was not set to expire until 2010. However, on July 2, 2008, XETV announced that it would join the CW on August 1 (the same day that KSWB became a Fox affiliate) and rebrand as "San Diego 6".[185] Though twelve of Tribune's thirteen other CW-affiliated stations have remained with the network, all of them began to de-emphasize the network from their branding (e.g., "CW 11") in favor of one with a stronger local identity. On-air branding that excised the CW name began being implemented by the stations in July 2008, either on-air (in the case of KWGN-TV) or through their websites (as part of a redesign for all of the Tribune stations' websites).[186] Some of these stations eventually began reincorporating the CW branding starting in 2011, such as KDAF/Dallas, KIAH/Houston and KRCW-TV/Portland, Oregon.

Tribune Company president and CEO Peter Liguori said in a May 2014 discussion at the MoffettNathanson Media & Communications Summit that he was "not pleased with where the CW is [in regards to its ratings performance]", stating that the network "should not program to [young] people who don't watch [conventional] television". Liguori also stated that he would consider collaborating with the network in regards to improving its programming slate, possibly by incorporating programs from the company's Tribune Studios unit (a production division which launched shortly after Liguori was appointed president of Tribune in November 2013) onto the network, as well as having Tribune play a larger role in the CW's management.[187]

Speaking at Goldman Sachs' 23rd Annual Communacopia Conference in September 2014, Les Moonves acknowledged that Tribune had been looking for more input in how the network is programmed and noted that Liguori is a former programmer (having previously served in executive roles at Fox, FX and Discovery Communications), saying that "[Liguori] would like to participate. He has some good ideas. He's part of our team. Will there be some change in how the CW is structured going forward? I don't know." Moonves went on to reiterate that Tribune is "a very important part of [CBS'] future" (considering that Tribune had recently acquired the CBS affiliation for its Indianapolis station and then-CW affiliate WTTV, following disagreements between CBS and longtime affiliate WISH-TV, which would eventually take over the CW affiliation in January 2015, over reverse compensation demands by the network).[188]

In an October 2014 interview with Broadcasting & Cable, Liguori appeared to reverse course on his previous statements and spoke of Tribune's support of the network. Liguori said in a statement, "We are very encouraged by the recent uptick in the CW['s] ratings and the positive critical response to the new primetime lineup. In particular, [CW CEO Mark Pedowitz] has put in place a programming strategy that will help the network appeal to a wider, more inclusive audience, which is important for our stations across the country. We were glad to support the launch of the new shows through editorial and promotional initiatives, and we look forward to more continued collaboration to build upon this momentum."[189]

In January 2016, the CW and Tribune began negotiations on a new affiliation deal, as the original 10-year agreement signed at the network's inception was approaching its end. Complicating matters was the desire by the CW's then-parent companies, CBS and Warner Bros., to stream the network's programming as a standalone pay OTT service. The impasse in negotiations resulted in a months-long standoff between the two groups.[190]

On May 23, 2016, the CW and Tribune announced they had come to a new affiliation agreement. As part of the deal, Tribune's Chicago flagship WGN-TV would leave the network and revert to being an independent station after nearly 21 years of being affiliated with the CW and its predecessor network, the WB. A major factor in this decision was WGN-TV's large use of local sports programming at the time, which led to many pre-emptions of the CW while WGN-TV had to move as many as 30 games a year to another local station in Chicago.[191] The CW affiliation moved to WPWR-TV, a Fox Television Stations-owned MyNetworkTV station.[192] On September 19, 2019, Tribune Media was acquired by Nexstar Media Group.[193][194][195]

Roberts Broadcasting bankruptcy

[edit]

Roberts Broadcasting filed for Chapter 11 bankruptcy protection on October 7, 2011; the company cited the loss of the UPN affiliations on its stations in St. Louis (WRBU), Columbia, South Carolina (WZRB) and Jackson, Mississippi (WRBJ-TV) when that network shut down in favor of the CW in 2006, as much of UPN's programming consisted of minority-targeted programs that Roberts felt were compatible with their stations' target audiences (though the stations have since recovered from this setback; additionally, its station in Evansville, Indiana, WAZE-TV, had instead affiliated with the WB prior to 2006, as it was owned by South Central Communications until February 2007). The company had also been hit with lawsuits from Warner Bros. Television, Twentieth Television and CBS Television Distribution over its failure to pay fees for syndicated programming; Roberts eventually settled with Twentieth but lost the Warner Bros. and CBS cases.[196][197]

On March 24, 2011, the Federal Communications Commission (FCC) canceled WAZE's license for Roberts' failure to construct its digital transmitter facilities.[198] However, the station continued to broadcast via its three-station analog translator network.

On February 20, 2012, Roberts Broadcasting announced that it was exploring the possibility of selling one or all four of its television stations in order to raise enough cash to pay off its creditors.[199] On October 22, 2012, Roberts announced that it had sold WRBJ to the Trinity Broadcasting Network;[200] the deal was approved by a bankruptcy court on January 17, 2013,[201] with TBN officially taking over operational control of WRBJ five months later on May 24[202] The CW returned to the Jackson market on the second digital subchannel of CBS affiliate WJTV in September 2013. On January 3, 2013, the repeater network of WAZE ceased operations; later that month on January 28, independent station WTVW hurriedly joined the CW, in order to maintain the network in the Evansville area.[203]

On December 2, 2013, Roberts filed to sell WZRB to Radiant Light Ministries, a subsidiary of Tri-State Christian Television, for $2 million.[204] On December 4, Roberts also filed to sell WRBU to TCT for $5.5 million.[205] However, on December 11, the United States bankruptcy court gave initial approval for a plan by Roberts's creditors to instead transfer WRBU, WZRB and the WAZE repeaters to a trust with Ion Media Networks (a creditor in Roberts's chapter 11 bankruptcy proceedings) as its beneficiary, with Roberts' attorney subsequently stating that Ion would purchase the stations for $7.75 million.[206][207] Roberts had earlier proposed an alternate plan that would have had only the WAZE repeaters be transferred to the trust, which would have allowed the sale of WRBU and WZRB to TCT.[206] The CW affiliation in Columbia moved to WKTC (with MyNetworkTV, which the station had already been affiliated with, being relegated to a secondary affiliation) in March 2014,[208] after temporarily remaining on WZRB after its conversion into an Ion Television O&O the previous month. Ion Media later chose to wind down the ex-WAZE-TV translator network entirely and instead affiliate with Nexstar's WTVW-DT4 (itself a CW affiliate on its main channel) by 2017.

Carriage dispute with DirecTV

[edit]

In July 2023, Nexstar implemented a blackout of the CW, along with its affiliates for other major broadcast networks, on DirecTV, DirecTV Stream, and U-verse TV, causing DirecTV to complain to the FCC. In return, Nexstar stated that their streaming agreement with DirecTV had expired in November 2022 and it was illegally streaming content on DirecTV Stream from the CW.[209][210][211] In August 2023, Nexstar reached a renewal agreement with Sinclair Broadcast Group for 35 markets, including restoring broadcasting of the CW on DirecTV Stream in 21 markets.[212][213] Nexstar and DirecTV signed a new multi-year agreement on September 17, 2023, allowing the latter to resume broadcasting and streaming the CW.[214]

Paramount's withdrawal and affiliation realignment

[edit]

As part of the sale to Nexstar, Paramount Global's CBS News and Stations subsidiary was granted the right to withdraw its eight affiliates from the network—in Atlanta, Detroit, Philadelphia, Pittsburgh, Sacramento, San Francisco, Seattle and the Tampa Bay area—which was exercised on May 5, 2023, effective September 1, 2023.[215] In some of the affected markets, Nexstar-owned stations were announced as replacements.[216][217] The remainder of the affected markets were addressed through new affiliation agreements with group owners Hearst Television,[218][219] Gray Television,[220][221] The E.W. Scripps Company[222][223] and Sinclair Broadcast Group,[224] each of which already owned multiple CW affiliates. Nexstar also began reclaiming the network affiliation in other markets where it operated, including Oklahoma City;[225] Billings, Montana;[226] Grand Rapids, Michigan; Panama City, Florida; and Sioux Falls, South Dakota.[227]

The situation of the CW in the Detroit market after the CBS withdrawal was tenuous for several months. Mission Broadcasting, a company that contracts with Nexstar for the operational services of its stations, agreed to purchase WADL from Adell Broadcasting Corporation in a deal that provided for Nexstar to supply many of its operating functions. In addition, WADL became the new CW affiliate in Detroit while the deal was pending.[228][229] The acquisition stalled at the FCC over objections concerning the relationship between Mission and Nexstar. As a result, Adell Broadcasting removed CW programming from the station on October 30, 2023; the network's programs reappeared on Scripps-owned WMYD on November 13, 2023. The acquisition of WADL by Mission was called off in May 2024, despite the purchase being approved by the FCC a month prior.[230][231][232][233]

On April 19, 2024, Nexstar announced that the CW would not renew its affiliations with the seven E.W. Scripps Company-owned stations—in Norfolk, Lafayette, Detroit, Miami, Tucson, Corpus Christi, and San Luis Obispo—that still carried the network.[234] Nexstar concurrently announced that the CW would move to its own stations in Norfolk and Lafayette effective September 1, 2024;[234] the move would also end WMYD's brief affiliation with the network.[235] On May 1, 2024, it was announced that the CW would move back to its original Chicago station affiliate, WGN-TV (Channel 9), beginning September 1, 2024.[236]

Carriage dispute with Optimum

[edit]

On January 10, 2025, Nexstar implemented a blackout of 63 of its local stations and NewsNation on Optimum, with the CW's flagship station WPIX being a major part of the dispute. Nexstar accused Optimum's owner Altice USA of making irrational demands for special terms during contract negotiations, while Altice in return accused it of demanding excessive rates for its programming and forcing it to carry unpopular channels like NewsNation.[237] The two reached a carriage agreement on January 18, allowing Nexstar programming to be restored on Optimum.[238]

[edit]

Video-on-demand services

[edit]

The CW provides video on demand access for delayed viewing of full episodes of the network's programming through various means, including via its website at CWTV.com and its mobile apps for iOS and Android devices (with programs streamable over Wi-Fi and cellular networks), a traditional VOD service—the CW on Demand—that is available on most traditional cable and IPTV providers, and through content deals with Hulu, iTunes and Netflix.[239][240]

In January 2007, the CW began streaming full-length episodes of several of its programs on the CWTV.com website. The most recent episodes of the network's shows are usually made available on the CW app and the CW on Demand the day after their original broadcast. Due to restrictions imposed through its deal with the streaming service, streaming of the most recent episode of any CW program on Hulu is restricted until eight days after their initial broadcast, in order to encourage live or same-week (via both DVR and cable on-demand) viewing, with day-after-air streaming on either service limited to subscribers of Hulu's subscription service. The CW previously imposed a three-day delay after an episode's original airdate before making its programs available on its website and through the Hulu subscription service (then known as Hulu Plus). However, changes implemented by the network on March 15, 2012, to reduce copyright infringement of its programming content through illegal streaming and downloading internet platforms resulted in that delay being reduced to eight hours after a program's original airing through both services.[239][240][241]

In October 2011, the network entered into digital distribution deals with streaming services Netflix and Hulu. The four-year Netflix agreement allowed its customers to instantly watch more than 700 hours of previous seasons of the CW's then-current scripted series, while Hulu signed a five-year deal, giving the streaming site access to next-day content from four of the five major networks (except for CW sister network CBS).[239][240] The Netflix deal was estimated to be worth $1 billion, providing a much needed lifeline to the money-losing CW network and solidified its future as a valuable asset for then-co-owners CBS and Warner Bros.[242] The Netflix deal was renewed in 2016, updated to allow the streaming service to provide entire seasons of CW shows a week after their airing. The Hulu deal was discontinued at this time.[243] In 2019, the CW and Netflix opted not to renew the deal. The respective studios of CW shows would instead sell to streaming services individually.[55] Beginning in 2020, WarnerMedia streaming service HBO Max (later rebranded to Max under Warner Bros. Discovery) would be the exclusive streaming home for Warners-produced CW shows.[244]

On October 24, 2012, the CW entered into its first video-on-demand distribution deal with a pay television provider through an agreement with Comcast that allows customers to watch the four most-recent episodes of the network's primetime shows on the cable provider's Xfinity On Demand service, along with next-day episode content. The CW On Demand, which is accessible to subscribers at no additional charge, debuted on Comcast Xfinity systems nationwide on October 25, 2012.[245]

High-definition feed

[edit]

The CW's master feed is transmitted in 1080i high definition with 5.1 surround sound. All transmission of the network's programming moved to the format in June 2012, with the network's prime time lineup being presented in HD since March 2012 (when America's Next Top Model became the final CW program to convert to the format), with the exception of certain specials produced prior to that point (such as Grandma Got Run Over by a Reindeer, a holiday special carried over to the network from the WB) and select movie presentations. The network's Saturday morning E/I block, One Magnificent Morning, is also broadcast in HD, with the final SD program, the two-season daytime talk show The Robert Irvine Show converting to the format for its second and final season in September 2017 (and in turn ending U.S. broadcast television's standard definition age).

The network is available in HD on most of its full-power affiliates, while availability of high definition content on subchannel-only or cable-exclusive affiliates varies by market; in some of these cases, the over-the-air signal is available only in standard definition (a 16:9 widescreen feed transmitted in 480i SD is presented on some over-the-air affiliates to meet minimum requirements for presentation), with the station offering an exclusive high definition feed to pay television providers. Some affiliates transmit CW programming in 720p HD due to technical considerations if the network is carried on a digital terrestrial subchannel of a station affiliated with another major network or if a primary feed CW affiliate carries more than one subchannel. Since June 2012, the CW Plus feed is also transmitted in HD, and the network has asked those affiliates to carry it in high definition wherever possible. With CBS beginning to use 16:9 framing for all of their graphics on September 24, 2018, the CW was the last major network that continued to use 4:3 framing for all graphics, before switching to the 16:9 framing for all of their graphics in August 2020.

CW Seed

[edit]

CW Seed (originally called CWD or the CW Digital Studio) is a production arm that provided original content created exclusively for digital platforms focused in the areas of animation, game shows, comedy, and digital personalities.[246] Previously existing as a section on the CW's main website, CW Seed was spun-off to a separate domain in 2013 as a streaming platform.[247][248][249] The free media app became available on several devices, including Roku and Amazon Fire TV.[250][251]

CW Seed produced various web series, including Vixen, Freedom Fighters: The Ray, and Constantine: City of Demons.[252][253][254] On January 8, 2020, CW Seed acquired U.S. streaming rights to 14 series from BBC Studios.[255] In September 2020, the platform added over 300 hours of programming with additional seasons for existing shows and new series, such as 90210, Lost Girl, Nikita, and XIII: The Conspiracy.[256] The CW Seed app and website were reabsorbed into the CW's in April 2022.[257]

Footnotes

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
The CW Television Network, commonly referred to as The CW, is an American English-language commercial broadcast television network launched on September 18, 2006, as a joint venture between CBS Corporation and Time Warner's Warner Bros. Television Group to consolidate the audiences of the predecessor networks UPN and The WB.[1] The network initially focused on programming for young adults aged 18-34, featuring serialized dramas, teen-oriented series, and genre fiction such as supernatural and superhero stories.[1] Key achievements include the development of the Arrowverse, a shared universe of DC Comics-based shows like Arrow, The Flash, and Supergirl, which facilitated high-profile crossovers and sustained viewer engagement over multiple seasons.[2] Long-running hits such as Supernatural, which spanned 15 seasons from 2005 to 2020, exemplify the network's capacity for cult-favorite programming that built loyal audiences despite modest initial ratings.[2] Other notable series like The Vampire Diaries and Riverdale further defined The CW's brand through melodramatic narratives centered on romance, mystery, and adolescence.[3] In October 2022, Nexstar Media Group acquired a 75% controlling stake from CBS (now Paramount Global) and Warner Bros. Discovery, retaining minority interests for each at 12.5%, marking a shift toward profitability through expanded sports content like WWE NXT and NASCAR Xfinity Series broadcasts, alongside unscripted formats and acquired programming to reduce production costs.[4] This transition led to the cancellation of numerous scripted series, financial losses exceeding $273 million in 2023, and criticisms of diminished creative output in favor of cheaper alternatives.[5][6] While the network maintains a presence via linear broadcast and streaming through The CW app, its evolving model reflects broader industry pressures on traditional TV viability amid cord-cutting trends.[7]

History

Predecessors: UPN and The WB (1995–2006)

The United Paramount Network (UPN) launched on January 16, 1995, as a joint venture between Viacom's Paramount Television Group, which held a 50% stake, and Chris-Craft Industries through its United Television subsidiary, which owned the other half.[8] The network sought to fill a niche for young adult and urban demographics underserved by the established Big Four broadcasters (ABC, CBS, NBC, and emerging Fox), debuting with a prime-time lineup anchored by Star Trek: Voyager, which aired from 1995 to 2001 and drew science fiction enthusiasts.[9] UPN's early strategy emphasized syndicated content and lower production costs, but it faced immediate hurdles from inconsistent affiliate coverage—starting with around 70 stations—and fragmented viewership, resulting in average household ratings below 3.0 Nielsen points in its first seasons. The WB Television Network, established as a 50-50 partnership between Time Warner's Warner Bros. Television and the Tribune Company, premiered five days earlier on January 11, 1995, under founder and CEO Jamie Kellner, who had previously launched Fox Broadcasting.[10] Targeting teenagers and young adults aged 12-34, The WB prioritized original scripted series to build loyalty, with early successes including family sitcom 7th Heaven (1996–2007) and supernatural drama Buffy the Vampire Slayer (1997–2003), the latter achieving peak audiences of over 5 million viewers weekly among women 18-49.[11] Like UPN, The WB operated on a modest scale with initial affiliates numbering about 50, expanding to over 150 by the early 2000s, yet it consistently trailed major networks in total viewership, averaging 2-4% household shares amid competition from cable channels like MTV and competition for youth eyeballs. Both networks grappled with structural limitations, including high programming costs relative to ad revenues and inability to secure prime affiliates in key markets, leading to cumulative losses exceeding $1 billion combined by 2005. UPN shifted toward urban-appeal content like WWE SmackDown! (1999–2006) and black-led sitcoms such as Moesha (1996–2001), while The WB leaned into serialized teen dramas like Dawson's Creek (1998–2003). These efforts yielded demographic wins—UPN leading in African American households at times, The WB dominating among teens—but failed to translate into broad profitability or challenge the Big Four's dominance. On January 24, 2006, CBS Corporation (UPN's effective owner post-Viacom split) and Warner Bros. announced their merger to form The CW, citing the need to pool resources, affiliates (totaling over 200 stations), and libraries for viability; UPN signed off September 15, 2006, and The WB on September 17.[12][13] The consolidation reflected causal pressures from audience fragmentation, cable proliferation, and unprofitable standalone operations as fifth-network experiments.[14]

Formation and launch (2006)

On January 24, 2006, CBS Corporation and Warner Bros. Entertainment announced plans to form The CW Television Network as a joint venture, combining the operations and programming of UPN and The WB to create a fifth major English-language broadcast network in the United States.[15] [16] The new entity was structured as a 50-50 partnership between the two companies, with CBS contributing UPN's production assets and Warner Bros. providing The WB's library, aiming to consolidate resources amid declining ratings and financial losses for both predecessor networks.[17] This merger addressed the unprofitability of UPN, which had struggled with inconsistent viewership since its 1995 launch, and The WB, which faced similar challenges after debuting in 1995, particularly in retaining advertisers targeting younger demographics.[18] The CW's formation involved selecting affiliates from the existing UPN and WB station groups, prioritizing larger markets while resolving overlaps through negotiations, which in some cases led to the creation of MyNetworkTV as an alternative for displaced stations.[19] Dawn Ostroff was appointed president of entertainment to oversee programming decisions, focusing on a target audience of viewers aged 18-34 with a mix of established series to ensure schedule stability during the transition.[20] [21] The network officially launched on September 18, 2006, with initial broadcasts consisting of reruns and launch specials on the first two nights, followed by original primetime programming starting September 20.[22] The debut featured 11 carryover shows from UPN and The WB, including America's Next Top Model, 7th Heaven, and Smallville, alongside only two new series to minimize disruption and leverage familiar content for early audience retention.[18] This conservative approach reflected executives' strategy to build a cohesive brand identity amid competition from established networks like ABC, CBS, NBC, and Fox.[23]

Early programming focus and struggles (2006–2011)

The CW's initial programming strategy emphasized content appealing to women aged 18–34, blending teen-oriented scripted dramas inherited from The WB—such as Smallville, Gilmore Girls, and One Tree Hill—with reality competitions and urban comedies from UPN, including America's Next Top Model, Everybody Hates Chris, Girlfriends, and All of Us.[18] The network launched its primetime schedule on September 20, 2006, with the seventh cycle premiere of America's Next Top Model, which attracted 5.6 million viewers and a 3.4 household rating, marking a strong debut for the new entity but still trailing the major networks' averages of over 10 million viewers.[24] Only two new scripted series, Runaway and the final season of 7th Heaven, debuted alongside 11 carryover programs, prioritizing stability over innovation amid the merger's uncertainties.[18] Despite the targeted demographic focus, the network faced immediate challenges in building a cohesive audience, as the disparate styles from its predecessors failed to synergize effectively, resulting in fragmented viewership and fifth-place finishes in Nielsen ratings across key metrics like total viewers and adults 18–49.[25] The 2006–07 season averaged approximately 3.8 million total viewers nightly, a decline from the combined predecessors' performance, exacerbated by limited affiliate reach—initially covering only about 96% of U.S. households compared to the Big Four networks' near-universal penetration—and competition from cable outlets siphoning younger viewers.[26] Cancellations mounted quickly, including Veronica Mars after its third season due to insufficient ratings (averaging 2.5 million viewers) and the flop of Runaway after four episodes, signaling early missteps in retaining WB's drama loyalists while struggling to expand UPN's niche appeal.[25] The 2007–08 writers' strike further eroded momentum, shortening seasons and prompting a pivot toward lower-cost reality formats like Crowned: The Mother of All Pageants and Online Nation, which underperformed with ratings below 2 million viewers and were axed mid-season.[25] Overall viewership dipped to around 3.2 million nightly, with the network incurring ongoing operating losses subsidized by parent companies CBS and Warner Bros., as advertising revenue—tied to the narrow youth demo—proved inadequate to offset production expenses exceeding $1 million per hour for scripted fare.[18] Efforts to broaden appeal, such as acquiring syndicated reruns and experimenting with Sunday programming, yielded minimal gains, as the youth-centric model clashed with an increasingly fragmented media landscape where streaming and cable drew away the targeted 18–34 cohort.[25] By 2009–11, modest hits like The Vampire Diaries (premiering September 10, 2009, with 4.9 million viewers) provided glimmers of stability, but persistent low averages—hovering at 2.5–3 million viewers—highlighted structural issues, including overreliance on Vancouver-shot dramas for cost savings and failure to capture broader family audiences.[26] The period underscored the network's unprofitability, with cumulative deficits approaching those of its predecessors' $2 billion losses, sustained only through corporate infusions rather than self-generated revenue.[18]

Leadership transition and genre expansion (2011–2016)

In April 2011, Dawn Ostroff departed as president of entertainment for The CW, prompting a leadership change aimed at revitalizing the network's struggling ratings and narrow demographic appeal. On April 28, Mark Pedowitz, a veteran executive previously at ABC Studios where he oversaw development of series like Lost and Grey's Anatomy, was appointed president, becoming the first leader without direct ties to the network's WB or UPN predecessors.[27][28][29] Pedowitz's tenure emphasized broadening the network's audience beyond its traditional young female skew by diversifying genres and incorporating more male-oriented content, including action procedurals, sci-fi, and fantasy elements, while reducing reliance on teen dramas as shows like Gossip Girl and 90210 concluded.[30][31] This shift sought to balance the 18-34 demographic, attracting older viewers and males through genre-heavy programming that contrasted with the soapier fare of prior years.[32][33] By 2014, Pedowitz credited this approach with reshaping the audience composition, evidenced by increased male and adult viewership in key demos, though total audience numbers remained modest compared to major networks.[34] A pivotal expansion occurred with the superhero genre, spearheaded by Arrow, which premiered on October 10, 2012, and drew 4.14 million viewers in its debut— the largest audience for a CW premiere since 2009 and the network's top scripted launch in five years.[35] Produced by Greg Berlanti and based on DC Comics' Green Arrow, the series' success prompted further investments in interconnected DC properties, laying the foundation for the "Arrowverse" shared universe, including crossovers that boosted engagement.[36] This marked a departure from limited prior genre efforts, positioning The CW as a hub for serialized superhero narratives amid competition from cable and streaming. The genre push extended to sci-fi and supernatural fare, with series like The Tomorrow People (2013 reboot of a 1970s British show, emphasizing superpowered youths), The 100 (2014 post-apocalyptic drama averaging 1.8 million viewers in its first season), and iZombie (2015 procedural blending zombies with crime-solving, renewed through 2016).[37] Long-running supernatural staple Supernatural, renewed annually under Pedowitz, exemplified sustained genre commitment, entering its 12th season by 2016 despite niche appeal.[37] Comedic expansions included the revival of Whose Line Is It Anyway? in 2013, aiding demo diversification.[34] In April 2016, Pedowitz secured a multi-year contract extension, affirming the strategy's internal validation amid ongoing financial challenges.[30]

Streaming integrations and content partnerships (2016–2021)

In July 2016, The CW renewed its multi-year output agreement with Netflix, granting the streamer exclusive U.S. rights to stream all prior seasons of the network's series beginning eight days after each season finale, a shortened window from previous terms that reflected evolving digital priorities amid cord-cutting trends.[38][39] This deal followed the September 2016 expiration of The CW's five-year in-season licensing pact with Hulu, under which current episodes had been available on Hulu Plus; subsequent in-season streaming shifted to The CW's proprietary app and website, offering free next-day access to episodes without requiring a cable subscription, a move to bolster direct viewer engagement and ad revenue.[40] The CW app, initially launched in 2012 for full-episode streaming, saw policy enhancements in 2016 to prioritize this next-day model, enabling ad-supported playback across mobile and web platforms and integrating with affiliate digital rights for broader local access.[41] In August 2017, Hulu expanded its live TV service to include The CW network feeds in select markets, providing simultaneous linear streaming of broadcasts like Riverdale and Supernatural for subscribers, though this complemented rather than supplanted The CW's owned platforms.[42][43] By May 2019, The CW declined to renew its Netflix output deal upon expiration, redirecting back-catalog licensing efforts toward higher-value domestic partners and international distributors, as parent companies CBS and WarnerMedia prioritized content flow to their emerging platforms, Paramount+ and HBO Max, to capture greater subscriber value amid streaming fragmentation.[44] This transition underscored The CW's strategic pivot from broad third-party licensing to controlled digital ecosystems, though it initially strained revenues reliant on such partnerships; through 2021, the network maintained app-based next-day streaming as a core integration, amassing over 90 million downloads by early 2023 while negotiating enhanced digital rights in affiliate renewals to support multicast and VOD expansion.[45][46]

Nexstar acquisition (2022)

On March 1, 2022, WarnerMedia and Paramount Global initiated discussions to sell their controlling stakes in The CW Network, citing the network's persistent unprofitability and a strategic pivot toward streaming services amid cord-cutting trends.[47] The CW had incurred annual losses exceeding $100 million in recent years, subsidized by its owners to maintain a broadcast footprint for promotional synergies with their studios' content.[48] Nexstar Media Group, the largest U.S. owner of The CW affiliates with stations reaching approximately 75% of the network's national coverage, emerged as the buyer to integrate network operations with its local broadcasting assets.[47] On August 15, 2022, Nexstar entered a definitive agreement to acquire a 75% ownership interest, with Warner Bros. Discovery and Paramount Global each retaining non-controlling 12.5% stakes for potential future content licensing benefits.[49] [50] The transaction involved no upfront cash payment from Nexstar; instead, it assumed operational control, the network's approximately $100 million in outstanding debt, and commitments for deficit financing of future programming deficits.[47] [51] This structure effectively transferred majority control at nominal cost, reflecting the sellers' eagerness to offload a money-losing asset post their respective corporate mergers.[52] The deal closed on October 3, 2022, granting Nexstar immediate authority over programming decisions, affiliate relations, and digital distribution while preserving existing licensing agreements with the minority owners.[4] Mark Pedowitz continued as chairman and CEO to oversee the transition, with Nexstar emphasizing synergies such as enhanced local ad sales and reduced reliance on expensive scripted imports.[47] The acquisition positioned Nexstar to reshape The CW toward profitability through cost-cutting and unscripted content, diverging from its prior focus on youth-oriented dramas.[48]

Restructuring for profitability (2023–present)

Following Nexstar Media Group's acquisition of a 75% controlling stake in The CW in October 2022, the network initiated aggressive cost-reduction measures starting in 2023 to address chronic unprofitability, which had resulted in annual losses exceeding $100 million under prior ownership.[53] These efforts included slashing original scripted programming budgets, which had historically driven high production expenses, and pivoting toward lower-cost acquired content, unscripted formats, and live sports rights.[54] In 2023, The CW reported a net loss of $273 million on $250 million in revenue, reflecting ongoing transition costs but also foundational shifts like reducing in-house production.[55] By the 2023–2024 upfronts, The CW announced a schedule dominated by acquisitions—such as the Canadian series Sullivan's Crossing and U.K. comedies—while retaining only select originals like All American and limiting new scripted commitments.[56] Programming costs were curtailed through deals for cheaper international fare and unscripted shows, with summer 2023 slates emphasizing reality formats like Killing It over expensive dramas.[57] Nexstar CEO Perry Sook emphasized this as a deliberate de-emphasis on "high-cost scripted" series, projecting initial revenue stabilization around $70 million per quarter by late 2023 amid comparable operating losses.[58] Live sports emerged as a cornerstone of the strategy, with rights deals for ACC football (starting September 2024), NASCAR Xfinity Series (2025 onward), and LIV Golf expanding to comprise approximately 40% of primetime by 2025, aiming to boost affiliate fees and ad revenue from event-driven viewership.[59] This shift correlated with financial progress: second-quarter 2023 losses totaled $78 million, but by first-quarter 2024, year-over-year deficits narrowed by $50 million through expense controls.[60][61] Staff reductions accelerated in 2024, including approximately 35 layoffs in November targeting scripted publicity and development teams, as part of a broader "transformation" to prioritize sports and unscripted content.[62] These cuts contributed to a $119 million year-to-date loss reduction by Q3 2024 and $36 million in that quarter alone, with programming expenses down significantly from prior peaks.[63] Nexstar reaffirmed expectations for network-wide profitability in 2026, citing cumulative loss reductions of over $126 million by late 2024 and sustained revenue growth from sports inventory, though Q1 2025 saw a temporary uptick in losses by mid-teen millions due to investment timing.[59][64]

Ownership and Business Model

Initial joint venture structure (2006–2022)

The CW operated as a 50-50 joint venture between CBS Corporation and Warner Bros. Entertainment from its formation on January 24, 2006, until the ownership transition in 2022.[15] Under this structure, the two companies equally shared ownership, operational responsibilities, and financial obligations for the network, which served primarily as a distribution platform for scripted programming produced by their respective studios, CBS Television Studios and Warner Bros. Television.[65] This arrangement enabled the parent entities to amortize production costs across a broadcast outlet while minimizing direct competition between their legacy networks, UPN and The WB, whose assets and affiliations were consolidated into The CW upon its launch in fall 2006.[19] Governance of the joint venture emphasized collaborative decision-making between CBS and Warner Bros., with executive leadership appointed to manage day-to-day operations, including programming acquisition, scheduling, and marketing. The network's headquarters were established in Burbank, California, leveraging Warner Bros.' facilities for efficiency.[66] Content supply agreements prioritized in-house productions from the partner studios, which provided the majority of primetime scripted series—often at below-market licensing fees subsidized by the parents to sustain the network amid low advertising revenue. Supplementary income derived from syndication deals, such as multi-year output pacts with streaming services Netflix and Hulu, which licensed prior seasons of CW shows starting in 2011 and renewed through 2016.[67][68] These agreements reflected the JV's strategy to leverage broadcast exposure for studio content libraries, though they did not alter the core equal-ownership framework. Affiliate distribution formed a cornerstone of the operational model, with initial agreements securing carriage on stations reaching about 95% of U.S. television households, including those owned by Tribune Broadcasting (former WB affiliates) and CBS (former UPN stations).[66] Unlike major networks, The CW employed a reverse compensation system, where affiliates paid fees to the network for programming rights rather than receiving compensation, a practice pioneered to offset the JV's limited national ad sales and reliance on parent subsidies.[65] This structure persisted with periodic renewals, such as the 2021 extension with Nexstar Media Group-owned stations, maintaining the network's footprint without ownership of transmission facilities. The equal partnership endured challenges like chronic unprofitability—estimated annual losses of $50–100 million covered by CBS and Warner Bros.—but avoided dissolution until strategic shifts prompted the 2022 sale of a controlling stake to Nexstar Media Group, reducing each original partner's interest to 12.5%.[1][69]

Nexstar Media Group era and strategic shifts (2022–present)

Nexstar Media Group announced on August 15, 2022, that it had entered into a definitive agreement to acquire a 75% ownership interest in The CW Network from its previous joint venture partners, Paramount Global and Warner Bros. Discovery, each of which retained a 12.5% stake.[49][47] The transaction closed on October 3, 2022, marking Nexstar's entry into national broadcast network ownership and integrating The CW with its extensive portfolio of local television stations, many of which already served as CW affiliates.[4] Under Nexstar's control, The CW underwent significant strategic repositioning aimed at achieving profitability, a goal the network had never met during its prior ownership due to high programming costs and reliance on subsidized scripted content from CBS and Warner Bros. libraries. Nexstar projected an initial investment of low nine figures over several years to facilitate this transition, with profitability targeted for 2025, later reaffirmed for 2026 amid ongoing adjustments.[70][58] Key shifts included reducing dependence on expensive original scripted series, which had dominated the schedule, in favor of lower-cost unscripted programming, syndicated content, and live sports acquisitions to broaden audience appeal and lower production expenses.[71] By 2025, live sports constituted approximately 40% of The CW's programming lineup, including deals for events like LIV Golf, ACC football and basketball, and NASCAR-sanctioned races, intended to drive viewership among older demographics and generate carriage revenue from pay-TV providers.[59] This pivot contributed to shrinking losses in some quarters, such as a reduction noted in Nexstar's second-quarter 2024 earnings, though first-quarter 2025 results showed an increase in CW-specific deficits by mid-teen millions amid the network's restructuring.[72][64] Overall ratings declined in the first full year post-acquisition (2023), reflecting the audience shift away from youth-oriented scripted fare, but Nexstar emphasized long-term sustainability over short-term viewership peaks.[73] Nexstar has maintained The CW's branding without a full rebrand, focusing instead on affiliate relations and operational efficiencies, such as leveraging its owned-and-operated stations for local content integration.[74] Despite persistent unprofitability, Nexstar executives, including President and COO Mike Biard, reiterated in early 2025 that the network would achieve breakeven status by 2026 through these diversified strategies, prioritizing cost control and revenue from sports rights over legacy high-budget productions.[59][75]

Financial Performance

Historical unprofitability and subsidies

The CW Television Network sustained annual operating losses throughout its tenure as a 50/50 joint venture between CBS Corporation (later CBS Entertainment Group under ViacomCBS) and Warner Bros. Television from its September 2006 launch until the August 2022 sale to Nexstar Media Group.[76] No year of profitability was recorded in this period, with the venture's structure enabling parent companies to offset domestic shortfalls through ancillary benefits like content syndication and international licensing.[76] Quarterly revenues hovered around $100 million in the years leading to the sale, translating to annual figures of approximately $370 million to $405 million, yet losses consistently exceeded $300 million to $400 million per year.[77][76] This disparity equated to the network losing nearly two dollars for every dollar in revenue, driven by elevated programming expenses outpacing ad sales from a youth-skewing audience less appealing to mass-market advertisers.[77] CBS and Warner Bros. provided ongoing subsidies to cover these deficits, viewing the network as a loss leader that facilitated clearance of in-house produced shows on affiliates and generated upstream revenues via global distribution deals.[76] For instance, popular franchises like the Arrowverse, despite domestic underperformance relative to costs, contributed to studio-level profits through overseas syndication and streaming rights, justifying the venture's continuation despite standalone unviability.[76] The joint venture's limited scale—relying on fewer than 230 affiliates compared to major networks—further constrained revenue potential, as reverse compensation from stations was minimal and national ad inventory competed unfavorably with established broadcasters.[76] These dynamics persisted amid programming shifts, underscoring a model predicated on parental financial support rather than self-sustaining operations.[77]

Revenue strategies and path to breakeven

Following Nexstar Media Group's assumption of majority control in October 2022, The CW pursued revenue enhancement through a pivot to lower-cost programming genres and expanded live sports acquisitions, aiming to broaden audience demographics beyond young adults while stabilizing affiliate distribution fees and advertising income. The network curtailed expensive original scripted series, which previously dominated its slate and incurred high deficit financing from parent studios, in favor of unscripted reality formats and syndicated acquisitions that minimize production outlays.[71][78] Live sports emerged as a cornerstone strategy, with content comprising over 40 percent of the 2025 schedule, including sublicensed Atlantic Coast Conference football games via ESPN, Pac-12 matchups, and NASCAR Xfinity Series events. These deals leverage affordable rights fees relative to major networks, drawing older viewers for higher ad rates and attracting approximately 30 new national and local advertisers in fall 2024 sports lineups.[79][59][80] Affiliate revenue, derived from reverse compensation agreements covering The CW's 45 owned-or-operated and affiliated stations, provides a baseline stability, supplemented by multi-year extensions like the 2023 pact with Sinclair Broadcast Group for 35 markets. Advertising from sports has driven revenue growth, with the shift yielding soaring ad sales amid a broader content remodel targeting procedural dramas, comedies, and niche events over teen-oriented soaps.[81][82][83] To facilitate breakeven, Nexstar committed a low nine-figure investment over three years post-acquisition for content transitions and operational efficiencies, including corporate overhead reductions and digital infrastructure streamlining. Staff cuts supported this, with over two dozen layoffs in scripted development and publicity in November 2024, alongside a 2 percent company-wide workforce reduction in December 2024, enabling a focus on unscripted and sports-adjacent output.[71][78][84] These measures yielded progressive loss contractions, including a $33 million year-over-year quarterly drop in Q2 2024, a $36 million reduction in Q3 2024, and a full-year 2024 operating loss decrease of $119 million versus 2023—exceeding the $100 million target. Initial projections anticipated profitability by 2025, but Nexstar reaffirmed network-level profits in 2026 during its February 2025 earnings, attributing the trajectory to sports-driven revenue acceleration and sustained cost discipline.[85][86][87][59]

Programming

Scripted series and the Arrowverse

The CW's scripted series have historically emphasized serialized hour-long dramas aimed at a young adult demographic, featuring supernatural elements, romantic intrigue, and action-oriented narratives. Early flagship programs included Supernatural, which transitioned from The WB and aired from September 13, 2005, to November 19, 2020, spanning 15 seasons and becoming one of the network's longest-running shows with consistent viewership among genre fans despite modest linear ratings.[2] Similarly, The Vampire Diaries premiered on September 10, 2009, and concluded on March 10, 2017, after eight seasons, drawing peak audiences of over 5 million viewers in its early years through its blend of teen romance and horror, which helped define The CW's programming identity.[88] These series, produced primarily by Warner Bros. Television, prioritized narrative continuity and fan engagement over broad mass appeal, contributing to the network's niche but loyal audience base. The network expanded into other scripted genres with shows like Gossip Girl (2007–2012) and One Tree Hill (2003–2012, continuing from The WB), which focused on ensemble teen dramas and achieved cultural resonance through social media buzz rather than dominant ratings. However, the superhero genre became a cornerstone starting in the 2010s, with The CW licensing DC Comics properties from Warner Bros. to capitalize on comic book adaptations' rising popularity. This shift attracted a more diverse viewership, including increased male demographics, as network executives noted Arrow's role in broadening appeal beyond traditional YA soaps.[89]

The Arrowverse

The Arrowverse denotes the interconnected shared universe of DC Comics live-action series on The CW, initiated by Arrow, which premiered on October 10, 2012, and ran for eight seasons until its finale on January 28, 2020.[90][91] The series averaged 2–4 million viewers per episode in its peak seasons, establishing a template for grounded, serialized superhero storytelling with high production values relative to the network's budget. Its success spawned spin-offs, including The Flash, which debuted on October 7, 2014, and concluded on May 24, 2023, after nine seasons, often topping The CW's ratings with early seasons exceeding 4 million live viewers and maintaining relevance through streaming metrics.[92]
ShowPremiere DateFinale DateSeasonsNotes
ArrowOctober 10, 2012January 28, 20208Originated the universe; focused on vigilante Oliver Queen.
The FlashOctober 7, 2014May 24, 20239Highest-rated Arrowverse entry; centered on speedster Barry Allen.
Legends of TomorrowJanuary 21, 2016March 2, 20227Team-based adventures; known for ensemble casts and humor.
Supergirl (seasons 2–6)October 10, 2016November 9, 20215 (on CW)Moved from CBS; emphasized heroic optimism.
Black LightningJanuary 16, 2018May 24, 20214Standalone initially, later integrated; family-focused superheroes.
BatwomanOctober 6, 2019March 2, 20223Gotham-based; faced criticism for writing but sustained crossovers.
Superman & LoisFebruary 23, 2021Ongoing (final season 2025–26)4Post-Arrowverse entry; family drama with Kryptonian elements.
The franchise's hallmark was annual crossovers, such as "Crisis on Infinite Earths" in 2019–2020, which unified multiple series and guest stars, boosting short-term viewership but straining budgets amid declining linear audiences—later seasons saw drops of 40–50% from peaks due to market fragmentation and streaming competition.[93] By 2022, under Nexstar's ownership, The CW curtailed the Arrowverse to prioritize cost efficiency, canceling most titles as expensive effects-heavy productions yielded insufficient returns relative to unscripted alternatives, though the shows retained strong post-broadcast performance on platforms like Netflix.[94][95] This era solidified The CW's reputation for ambitious genre television but highlighted the challenges of sustaining high-concept scripted content in a profitability-driven model.

Unscripted, reality, and sports content

The CW's unscripted and reality programming has emphasized cost-effective formats such as game shows, magic specials, and docuseries, particularly following Nexstar's 2022 acquisition, which prioritized cheaper production over scripted originals. Early examples included the long-running magic competition Masters of Illusion, which premiered on August 1, 2014, and features stage illusions performed before a live audience. Similarly, Penn & Teller: Fool Us, a game show where magicians attempt to deceive the duo with tricks, debuted in 2011 and has aired multiple seasons, renewing viewer interest in non-narrative entertainment. These series have provided consistent midweek filler, often achieving modest ratings among younger demographics without the high production budgets of dramas. Reality efforts have been sporadic and mixed in success, with historical staples like America's Next Top Model (airing on The CW from 2006 to 2015 after originating on UPN) drawing initial buzz but facing declining viewership. More recent unscripted slate expansions include the 2023 four-part docuseries Greatest Geek Year Ever: 1982, which examined pop culture milestones from that year, and 2024 true crime/true story formats such as Crime Nation (premiering February 20, 2024). Dating and competition reality shows like Lovers and Liars (April 1, 2024) and Patti Stanger: The Matchmaker (April 11, 2024) reflect a push toward premium unscripted content aimed at broadening appeal, though critics note the genre's reliance on sensationalism over substance. This shift aligns with Nexstar's strategy to bolster profitability through lower-cost programming, reducing in-house scripted output. Sports content represents a major pivot for The CW, evolving from negligible coverage pre-2022 to over 500 hours annually by 2025, positioning the network as a broadcaster for niche and regional events to capture live audiences and advertisers. Key acquisitions include weekly WWE NXT wrestling broadcasts starting in late 2023, exclusive NASCAR Xfinity Series races from September 20, 2024, and college football games from the ACC (with lead play-by-play by Thom Brennaman) and Pac-12 conferences beginning in 2024. Additional properties encompass LIV Golf League events, Inside the NFL, and Professional Bull Riders (PBR) competitions, with future additions like the PBA Tour in 2026. This expansion targets older viewers and cord-cutters via over-the-air access, contrasting the network's prior youth-focused identity, though it has drawn mixed reception for diluting entertainment slots.[96] In 2025, The CW's college football broadcasts via CW Football Saturday delivered strong viewership growth, with a 10% year-over-year increase in total audience for its ACC and Pac-12 slate, and ACC games up 26%, alongside gains in 18-49 (+32%) and 25-54 (+25%) demographics. This performance underscored the strategy of leveraging live sports to boost engagement and carriage revenue under Nexstar ownership.

News, children's, and ancillary programming

The CW has not developed or aired national news programs, focusing instead on entertainment, sports, and unscripted content during its primetime and daytime schedules.[97] Local news broadcasts are handled by individual affiliates, often through partnerships with co-owned stations from ABC, CBS, Fox, or NBC, typically in morning or early evening slots outside network programming hours.[98] Children's programming on The CW transitioned away from traditional animated and live-action entertainment blocks after the Vortexx block ended on August 30, 2014.[99] To comply with Federal Communications Commission (FCC) requirements mandating at least three hours per week of educational/informational (E/I) content for viewers aged 16 and under, the network adopted syndicated reality-style programs targeting teenagers. In October 2014, The CW introduced One Magnificent Morning, a three-hour Saturday morning block from Litton Entertainment, featuring shows such as Calling Dr. Pol, Dog Town USA, and Storm Chasers, which emphasize science, nature, and real-world exploration while displaying the E/I designation.[100] This block, renewed in January 2016 for five additional years and again in July 2021, fulfills E/I obligations without appealing to preteens, reflecting a broader industry shift toward minimal-compliance content over dedicated youth entertainment.[101] [102] Ancillary programming consists primarily of paid time blocks sold to advertisers for infomercials and direct-response content, concentrated in low-viewership periods like late nights, early mornings, and select weekend slots.[99] These arrangements generate revenue through time-buy fees without requiring network production, a strategy employed since the network's early years to offset costs in underutilized airtime.[103] Affiliates may supplement with additional syndicated or religious programming, but national feeds prioritize monetized slots over original ancillary fare.[97]

Distribution and Affiliates

Affiliation agreements and station network

The CW distributes its programming primarily through affiliation agreements with independently owned local broadcast television stations, covering approximately 99% of U.S. households capable of receiving over-the-air signals. Unlike ABC, CBS, Fox, and NBC, which maintain owned-and-operated (O&O) stations in major markets, The CW has historically operated without any O&Os, relying entirely on affiliates for carriage. Nexstar Media Group, which acquired a 75% controlling interest in the network in October 2022, owns or operates a substantial portion of these affiliates, including key stations such as WPIX (New York City), KTLA (Los Angeles), and WGN-TV (Chicago), which collectively reach large urban audiences.[104] Under Nexstar's ownership, the network has pursued an aggressive expansion of its affiliate footprint by converting several of its existing independent or low-power stations to CW affiliations. By August 2024, this effort had resulted in 54 Nexstar- or partner-owned CW stations, providing coverage to more than 45% of U.S. television households and enhancing the network's leverage in reverse compensation negotiations and content distribution. This shift followed the termination of affiliations with eight CBS Television Stations in May 2023, which opted to revert to independent status, prompting Nexstar to realign with its own properties in affected markets.[105][106] Affiliation agreements emphasize multi-year commitments, with recent renewals underscoring partnerships with major station groups. In August 2024, The CW extended deals with Gray Media for 38 stations across various markets, ensuring continued carriage in mid-sized and smaller cities. Similarly, an expansion with Sinclair Broadcast Group in August 2023 added stations in additional markets, bolstering national reach. However, not all agreements have been renewed; in April 2024, the network declined to extend contracts with E.W. Scripps in seven markets, citing strategic realignment toward Nexstar-controlled outlets.[107][81][108] Targeted additions have filled gaps in coverage, including new affiliations effective in July 2024 with KTTU (Tucson, Arizona), KCOY (Santa Barbara, California), and KSCC (Corpus Christi, Texas), operated by independent or regional groups. In select cases, affiliations have reverted to prior partners, such as WKBD (Detroit) and WBFS-TV (Miami), both CBS-owned, starting September 1, 2024, after interim arrangements with Nexstar stations. These maneuvers reflect Nexstar's focus on optimizing affiliate economics, prioritizing stations with strong signal strength and local news capabilities to support the network's pivot toward affordable unscripted and sports programming.[109][110]

Carriage disputes and operational challenges

In July 2023, a protracted carriage dispute between Nexstar Media Group and DirecTV resulted in the blackout of numerous Nexstar-owned stations, including CW affiliates, across approximately 100 markets, depriving millions of subscribers of access to local programming during peak summer viewership periods.[111] The conflict centered on retransmission consent fees, with DirecTV alleging Nexstar engaged in bad-faith negotiations and improper "sidecar" agreements bundling stations to inflate rates, while Nexstar sought compensation reflecting its expanded ownership and content value.[111] This led to the temporary loss of CW signals in markets such as New York, Los Angeles, and Chicago, disrupting access to network programming like summer reruns and live events.[112] The DirecTV impasse persisted for months, contributing to a 6.7% drop in Nexstar's core distribution revenue to $598 million in the third quarter of 2023, as blacked-out stations generated no carriage fees during the outage.[113] Partial resolutions emerged later that year, including a September 2023 agreement with Sinclair Broadcast Group that restored some CW affiliates to DirecTV lineups, though broader tensions with Nexstar lingered and influenced subsequent negotiations.[114] Similar fee-driven disputes have affected other providers, such as a January 2025 standoff with Optimum that blacked out 63 Nexstar locals and NewsNation, indirectly pressuring CW distribution stability amid rising multichannel video programming distributor (MVPD) resistance to escalating costs.[115] Operationally, The CW has faced affiliate pushback during Nexstar's post-2022 overhaul, which emphasized cost-cutting, unscripted content, and sports acquisitions to stem chronic losses exceeding $100 million annually prior to the shift.[116] By early 2023, eight CBS Television Stations-affiliated CW outlets opted for independent status rather than renew affiliations, citing misalignment with the network's evolving low-cost programming slate and reduced scripted output, which strained relationships in markets reliant on legacy synergies.[6] CW President Dennis Miller acknowledged in May 2024 that affiliates were still acclimating to these transformations, requiring the network to demonstrate viability through higher local ad sales and viewership amid cord-cutting trends eroding traditional broadcast reach.[117] Compounding this, most CW stations lack robust local news production—limited to four carryover operations—limiting operational depth and revenue diversification in an era of fragmented audiences favoring digital alternatives.[118]

Video-on-demand and streaming platforms

The CW offers video-on-demand (VOD) access to its programming primarily through The CW App, a free, ad-supported streaming platform launched in 2016 and expanded significantly following the network's strategic pivot toward digital distribution in 2022.[119] The app provides next-day availability for most new episodes of scripted series, alongside full seasons of select shows, movies, sports content such as WWE NXT and NASCAR Xfinity Series events, and curated 24/7 channels featuring marathons like Charmed.[120] Available without subscription or login on devices including Roku, Apple TV, Fire TV, Android TV, iOS, and Android, it emphasizes broad accessibility to complement linear broadcast viewership.[119] Users can stream live network feeds in participating markets, download episodes for offline viewing on mobile devices, and receive push notifications for new content.[121] Prior to 2019, The CW licensed post-season streaming rights for its scripted series to Netflix under a multi-year deal initiated in 2016, allowing full seasons to become available on the platform eight days after each season finale.[122] This arrangement ended in May 2019 when the pact was not renewed, prompting The CW to retain exclusive in-season VOD rights for its digital platforms starting with the 2019–20 season, including shows like Batwoman, Katy Keene, and Nancy Drew.[123][124] Warner Bros.-produced content subsequently shifted to HBO Max (later rebranded as Max), which holds rights to legacy seasons of series such as Arrow and Supergirl, though current seasons remain exclusive to The CW App.[125] Third-party integrations supplement The CW's direct VOD offerings, with episodes accessible via services like Hulu for on-demand playback tied to live TV subscriptions, and select content available through YouTube TV, Fubo, or DirecTV Stream for bundled streaming.[126][127] This multi-platform approach, bolstered by Nexstar Media Group's ownership since October 2022, aims to maximize reach amid declining linear TV audiences, though usage remains limited compared to major competitors.[128] Despite the app's comprehensive library and free model, reports indicate underutilization, with viewer engagement trailing subscription-based streamers.[129]

CW Seed and digital-original content

CW Seed was launched by The CW on August 15, 2013, as an ad-supported digital platform dedicated to short-form original programming and streaming access to select archived content, initially debuting with four web series aimed at younger audiences seeking bite-sized entertainment.[130] The service began as a subsection of The CW's website before rebranding and expanding to a standalone domain in 2014, hosting dozens of original productions developed in partnership with studios like Warner Bros. and CBS, including animated spin-offs such as the 2017 revival of Constantine as a web-exclusive series.[131][132] The platform emphasized experimental, low-budget digital originals, such as comedy sketches, genre shorts, and tie-in webisodes for broadcast hits like The Vampire Diaries, differentiating it from linear TV by prioritizing mobile-first, on-demand delivery without traditional episode lengths.[1] Over time, CW Seed supplemented originals with off-network acquisitions, like early seasons of Schitt's Creek, but its core output remained creator-driven web content produced specifically for online distribution.[133] Notable examples included fan-service series like Kings of Con, which streamed exclusively there until its removal in late 2019 amid shifting priorities.[134] Following Nexstar Media Group's majority acquisition of The CW in October 2022, CW Seed's operations were consolidated into the network's primary mobile app by April 2022, effectively phasing out the dedicated site as content migrated to a unified streaming ecosystem.[135] This transition reflected broader cost-cutting measures, reducing emphasis on unprofitable digital originals in favor of licensing and app-based aggregation, with cwseed.com ceasing independent functionality by 2024.[136] Despite its discontinuation, CW Seed's model influenced subsequent digital efforts, though post-2022 originals have been minimal, focusing instead on app-exclusive extensions of broadcast properties rather than standalone web series.[1]

Technical feeds and international reach

The CW distributes its primary programming feed in high-definition 1080i resolution with Dolby Digital 5.1 audio to affiliated stations across the United States, enabling over-the-air broadcasts in HD format on most local channels.[137] Affiliates typically receive this feed via satellite or fiber optic transmission, with standard-definition (SD) simulcasts available on subchannels or select cable/satellite providers where bandwidth constraints apply, though HD remains the network standard since its full transition in the late 2000s.[138] In smaller markets served by The CW Plus syndicated service, dedicated feeds adjust for time zone differences, including Eastern/Central, Mountain, and Pacific variants to align prime-time scheduling without local preemption. These feeds support 16:9 aspect ratio widescreen presentation and comply with ATSC 1.0 digital broadcasting standards, with preparations underway for ATSC 3.0 next-gen TV adoption on select affiliates as of 2023.[98] Internationally, The CW maintains no dedicated broadcast feeds or linear channel distribution outside the United States, prioritizing domestic affiliate coverage that reaches nearly 100% of U.S. television households.[139] Content from the network is instead licensed for global syndication or streaming through parent company deals, such as Warner Bros. Discovery and Paramount Global retaining international rights for series to supply platforms like Netflix, limiting The CW-branded presence abroad.[140] Limited extensions occur via partnerships, including in-airport and hotel video networks reaching over 50 million monthly U.S. travelers with CW programming, but these do not constitute foreign-market broadcasting.[141] This U.S.-centric model reflects strategic decisions post-2022 Nexstar majority acquisition to focus resources on profitability amid declining linear TV viewership, rather than expanding overseas operations.[142]

Reception and Cultural Impact

The CW has historically positioned its programming toward young adults aged 18-34, particularly females, with content emphasizing teen dramas, supernatural series, and youth-oriented genres. However, Nielsen data reveals a median primetime viewer age of 57.4 during 2021, rising to an average of 58.4 years by 2022, making it older than initially anticipated and surpassing networks like NBC and ABC in viewer maturity.[143][144] This discrepancy arises partly because younger audiences have migrated to streaming platforms, leaving linear broadcast viewership dominated by older demographics who retain cable or over-the-air habits, despite the network's marketing focus.[145] Audience composition shows a near-even gender split, with programming appealing broadly but skewing slightly female due to shows like Riverdale and Gossip Girl reboots. In recent years, the addition of sports content, such as NASCAR Xfinity Series races, has drawn modest increases in male viewers, with the 2025 season opener averaging 1.8 million total viewers.[146] Overall, the network's core remains skewed toward adults over 50, undermining its youth-targeted identity and contributing to advertiser challenges in a demo-driven market. Ratings trends reflect consistent underperformance relative to broadcast peers, with primetime averages hovering below 500,000 viewers in recent seasons. From 2010 onward, viewership peaked modestly during hits like The Vampire Diaries but entered a secular decline amid cord-cutting and streaming competition, dropping 21% year-over-year to approximately 453,000 average primetime viewers in 2023 under Nexstar ownership.[147] The 2023-24 season saw top scripted shows like Superman & Lois averaging under 800,000 viewers with a 0.12 rating in adults 18-49, while unscripted shifts and live sports yielded mixed results, such as NASCAR gains but overall erosion from programming pivots away from originals.[148][73] This trajectory aligns with industry-wide linear TV fragmentation, exacerbated by The CW's limited affiliate reach and failure to retain its intended young demo, leading to double-digit annual losses.[149]

Achievements in genre television and youth programming

The CW pioneered expansive superhero programming through the Arrowverse, launching with Arrow in 2012, which shifted genre television toward grittier, character-focused adaptations of DC Comics properties and proved the feasibility of interconnected TV universes with annual crossovers.[150] This franchise expanded to include The Flash (2014 premiere), Supergirl, and DC's Legends of Tomorrow, influencing broader superhero media by prioritizing ensemble narratives and deep-catalogue characters over standalone hero tales, while boosting the network's male viewership demographics.[89] The Arrowverse's ambitious events, such as the 2019 Crisis on Infinite Earths crossover spanning five series, marked the largest such effort in TV history at the time, sustaining fan engagement across over a decade despite fluctuating broadcast ratings.[151] In fantasy-horror, Supernatural (2005–2020) achieved longevity with 15 seasons and 327 episodes, establishing a benchmark for serialized genre storytelling on the network and cultivating a loyal audience through its blend of mythology, episodic hunts, and meta-commentary on fandom.[152] The series' endurance, outlasting initial expectations tied to its WB origins, underscored The CW's capacity to nurture niche genre content into cultural staples, with spin-off attempts like The Winchesters (2022–2023) extending its universe.[153] For youth programming, The CW's teen dramas emphasized serialized intrigue and social dynamics, yielding hits like Riverdale (2017–2023), which dominated the 2018 Teen Choice Awards by securing all 10 eligible categories, including Choice Drama TV Show and multiple acting honors, reflecting peak demand among adolescent viewers at 21.24 times the average for teen series.[154][155] Earlier successes such as the Gossip Girl reboot elements in 90210 (2008–2013) and adaptations like Jane the Virgin reinforced the network's youth skew, delivering consistent 18–34 demographic performance that offset lower total audience numbers through syndication and streaming viability.[156] These programs' award sweeps at youth-oriented events, including repeated Teen Choice wins for Riverdale casts, highlight The CW's targeted efficacy in genre-infused coming-of-age narratives.[157]

Controversies and Criticisms

Creative and quality issues in programming

The CW's programming has faced persistent criticism for relying on formulaic genres, particularly teen dramas and superhero series, which often prioritize serialized melodrama over narrative innovation, resulting in repetitive plots and character arcs. Shows like Riverdale and the Arrowverse entries (Arrow, The Flash, Supergirl) exemplified this approach, with expansive crossovers and ongoing threats that led to "franchise fatigue" by the late 2010s, as seasons extended beyond initial creative peaks and budgets strained visual effects and storytelling depth.[158][159] This repetition was compounded by low production values, including limited location shooting and effects reminiscent of soap operas, which critics attributed to the network's modest budgets—typically $1-3 million per episode for scripted series—prioritizing quantity over polish.[160] Industry observers noted that the network's youth-targeted slate fostered "shallow" writing and "theatrical" dialogue, with teen protagonists frequently lacking realistic supervision or consequences, undermining dramatic tension.[161][160] By 2021, Arrowverse viewership had plummeted, with most shows averaging under 0.5 rating points in the 18-49 demographic, signaling audience exhaustion from formulaic villain-of-the-week structures and prolonged arcs that diluted stakes.[162] Producer Marc Guggenheim described such abundance of spin-offs as a "quality problem" in 2021, acknowledging overextension in projects like the unproduced Green Arrow and the Canaries.[163] Under Nexstar's 2022 ownership shift, creative priorities pivoted from costly original scripted content—down significantly from prior volumes—to cheaper unscripted and acquired programming, exacerbating perceptions of diminished quality.[164] Efforts to air imported series like Run the Burbs and Everyone Else Burns in 2023 were abandoned mid-season after backlash for appearing "cheap" and subpar, with executives citing mismatched production standards.[165] Comedian Seth Rogen publicly decried The CW in January 2023 as featuring "the worst programming broadcast today," highlighting lowbrow offerings like magic illusions and reality stunts over substantive content.[166] This transition reflected broader profitability challenges, as linear ratings declined 21% network-wide in 2023, prompting cuts in ambitious scripting that had already strained under earlier regimes.[147]

Representation, queerbaiting, and ideological biases

The CW has positioned itself as a leader in LGBTQ+ representation among broadcast networks, with GLAAD reporting that 15.4% of its series regular characters were LGBTQ in the 2019-2020 season, surpassing competitors like NBC (12.5%) and ABC (10.4%).[167] By the 2021-2022 season, 80% of the network's scripted series featured LGBTQ+ characters, and 17% of series regulars identified as such, contributing to five consecutive years of leading broadcast inclusion per GLAAD metrics.[168][169] Network executives, including former president Mark Pedowitz, attributed this to deliberate efforts, noting 67% of showrunners, writers, and directors as diverse or female in the 2020-2021 season.[170] Critics, however, have described this representation as often superficial or mishandled, particularly in superhero programming like the Arrowverse, where LGBTQ+ characters frequently serve narrative functions over depth, such as in Supergirl and Legends of Tomorrow.[171] Instances of the "bury your gays" trope, exemplified by the death of Lexa in The 100 (aired 2014-2020), drew backlash for reinforcing harmful stereotypes despite initial progressive portrayals.[171] GLAAD's emphasis on numerical gains aligns with advocacy priorities, but independent analyses highlight inconsistencies, such as tokenism or abrupt character arcs, suggesting metrics from such groups may overstate authentic integration given their institutional incentives toward affirmative reporting.[172] Queerbaiting accusations have persisted across multiple CW series, defined as teasing homoerotic subtext to attract queer audiences without canonical resolution. In Supernatural (2005-2020), the relationship between Dean Winchester and Castiel fueled "Destiel" fandom speculation for over a decade, culminating in Castiel's 2020 confession of love framed as a demonic manipulation rather than mutual romance, which fans and critics labeled as unresolved baiting.[173][174] Similarly, Supergirl (2015-2021) featured romantic undertones between Kara Danvers and Lena Luthor ("Supercorp"), including charged scenes and marketing that implied intimacy, yet ended without queer confirmation, prompting essays and fan critiques of deliberate ambiguity.[175] Riverdale (2017-2023) faced similar claims with bisexual character Toni Topaz, where fan service elements raised concerns of exploiting queer appeal for ratings without substantive commitment.[176] These patterns reflect a network strategy targeting young, fandom-driven demographics, but they have alienated viewers seeking genuine depiction over prolonged subtext. Programming on The CW has drawn criticism for ideological leanings favoring progressive narratives, often embedding social justice themes in teen and young adult dramas, such as identity politics and relational fluidity in shows like Riverdale and Jane the Virgin.[177] Conservative-leaning observers have accused series of injecting "left propaganda," citing portrayals that vilify traditional values or symmetrize right-coded antagonists to align with liberal sensibilities, as in Arrowverse adaptations softening comic villains.[178] Left-leaning critiques, conversely, fault the network for inconsistent execution, including queerbaiting and marginalization of actors of color, arguing diversity serves commercial ends over ideological rigor.[179] Such biases mirror broader industry trends, where youth-oriented content prioritizes urban, liberal-leaning audiences—evident in the CW's historical skew toward female viewers—but empirical viewership data shows mixed reception, with ratings declines in later seasons underscoring tensions between representational mandates and storytelling coherence. Sources praising inclusion, like GLAAD, exhibit advocacy-driven optimism, potentially underplaying causal links between heavy-handed messaging and narrative weaknesses observed in fan and critic aggregates.[180]

Production scandals and business decisions

In October 2022, Nexstar Media Group acquired a 75% controlling stake in The CW for approximately $100 million in cash and assuming $1.25 billion in existing obligations, with Warner Bros. Discovery and Paramount Global each retaining 12.5% minority interests, marking a strategic shift from the network's prior subsidy model under its founding parents to one focused on linear profitability.[48] This business decision addressed The CW's chronic unprofitability—losses exceeded $500 million annually pre-acquisition due to high-cost scripted programming reliant on backend streaming deals rather than ad revenue—but drew criticism for accelerating abrupt cancellations of shows like Legacies, Roswell, New Mexico, and Walker in May 2022, attributed partly to expiring Netflix output agreements and the network's atypical ownership structure limiting affiliate revenue sharing from digital platforms.[65] Nexstar executives justified the moves as necessary to eliminate deficits projected at $400-500 million for 2022, emphasizing a pivot toward cheaper unscripted formats, game shows, and sports to broaden audience reach and stabilize finances.[61] Post-acquisition, The CW underwent multiple rounds of layoffs as part of cost-cutting tied to programming overhauls, including the dismissal of at least 15 employees in marketing, finance, and senior vice president roles in March 2023.[181] Further reductions in November 2024 affected up to 35 staffers, predominantly in scripted program development and publicity, aligning with Nexstar's "transformation" strategy to prioritize sports broadcasting—such as a multi-year deal for LIV Golf events starting in 2023, despite backlash over the league's Saudi Public Investment Fund backing and human rights concerns—and reduce reliance on expensive original scripted series, retaining only one such title for fall 2023 amid a broader decline in genre programming.[63][182] These decisions contributed to a $50 million drop in first-quarter 2024 losses, halving the prior year's deficits, though executives noted ongoing challenges from softening national TV ad markets.[61] Production-side controversies included on-set tensions and executive departures, such as backlash against Arrowverse showrunner Marc Guggenheim for perceived mishandling of plotlines and diversity casting in series like The Flash, leading to fan petitions and producer accountability demands by 2018.[183] Actor Taylor Mommsen's disruptive behavior on Gossip Girl sets, including tardiness and wardrobe malfunctions, prompted network interventions and her eventual recasting in 2010, highlighting early challenges in managing teen-oriented productions.[183] More recently, the 2023 WGA and SAG-AFTRA strikes halted multiple CW productions, exacerbating scheduling disruptions and contributing to decisions to scale back scripted output, with no major on-set abuse scandals reported but labor cost pressures cited as a factor in the network's unscripted pivot.[184]

References

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