Goonies TV Show Lands at Disney Plus, Among Others Acquisitions

“The Goonies ‘Never say die”‘ is an unforgettable catchphrase from that fan-favorite movie of the ’80s. But it could also describe Warner Bros.’ recent strategic efforts. TV to keep some of its series alive by making scam deals.

This, coincidentally, includes “The Goonies” inspired by the movie “Untitled Film Re-Enactment Project” which was adapted by writer Sarah Watson to become a pilot for Fox. The drama, about a teacher helping her students recreate the original film, and shot it, was eventually carried over by Fox, which felt too skewed for the network. But diverse It could exclusively announce that the series, now titled “Our Time,” is being re-developed at Disney Plus. Donner and Amblin, who were behind the original, are back again.

“Sarah worked non-stop to present this wonderful script, and we had our table read, then the world shut down due to COVID,” says Clancy Collins White, Executive Vice President and Chief Development Officer. “So we came back a few months later and completed the beautiful pilot, and it was a great crew, but unfortunately it was too small for Fox. And so we immediately swung into high gear and hit the city with it. We didn’t yet have anything in development at Disney Plus. It was Another example of being able to break a path where no one else has thanks to a great story, great pilot, great series. The deal took a while, but we’re really excited to move on.”

Besides Watson, executive producers include Jill Berman and Hind Baghdadi of The Jackal Group; Lauren Shuler Donner and the late Richard Donner; and Daryl Frank and Justin Falvey of Amblin TV.

Other recent examples include “I wouldn’t say death” on Warner Bros. TV. Several series ended up in the cancellation pile — but were soon revived in new outlets: “Manifest,” which moved from NBC to Netflix; “All Rise,” which went from CBS to OWN, with second windows on HBO Max and Hulu; and “Pennyworth” heading to HBO Max after two seasons on Epix.

In previous times, we would never have seen that orphaned series again. But with the growing number of subscription-supported and ad-on-demand videos, independent studios like Warner Bros. And Sony (as “One Day at a Time’s” goes from Netflix to Pop) and Lionsgate (produces “Zoey’s Extraordinary Playlist”) a special holiday for Roku) are discovering different business models to make the platform jump successful.

“If something happens along the way, whether it’s a system change, loss of interest in a concept or a change in programming strategy, we’ll find a new place to live for the project and hopefully thrive,” Warner says. TV Group Channing Dungey. “Given the track record that Warner Bros. has in this area, it made me really excited to be involved in that. One of the hardest things for me when I was on the podium side was to say ‘No, that doesn’t fit our needs, we don’t have room for that.'” Whereas here, if we fall in love with an idea, and want to pursue it, our passion has no limits.”

For Warner Bros. However, the trend of finding solutions to keep a show alive has already started in high gear with “Longmire,” a modern Western that ran for three seasons on A&E. “The show performed relatively well, but [A&E] Brett Paul, President of Warner Bros Television. “We insisted on that [the show] Not being prepared for the pasture.” This was 2014, during the early days of broadcasting, and Warner Bros. seized a one-season opportunity to move the show to Netflix. “And it worked,” Paul says. “We ended up doing a few more seasons there. “

Since streaming devices often require international rights, and not just local ones, this is where the dealmaking gets a little tricky. “Longmire” still has a pretty good international dock, and Netflix was really focused on Australia (where series star Robert Taylor hails), so it worked. In the case of another show, “Lucifer,” things were a bit more complicated. It first aired on Fox, where the off-season domestic “Lucifer” rights were sold to Hulu. When Fox canceled “Lucifer” after three seasons, Netflix wanted it — but on the condition that they wanted all the rights.

“Moving this entire show to Netflix requires that we find some way to buy back the rights from Hulu in order to move everything,” Paul recalls. “We had to pull some areas back and figure out ways not to bother our existing customers. We had to find other things and give it a go. [Hulu] Some value to releasing the show in a way that would enable new episodes and previous library episodes to appear at the same time. This was more difficult. Warner Bros. TV struck a deal, and the series Lucifer ran for three more seasons on Netflix.

When an offer is canceled and deals need to be renegotiated to revive it elsewhere, things can get complicated. But Paul says that most of the time, the parties involved have the same opinion: As long as the finances work, find a deal to keep the show going by any means necessary.

“As a studio, we’re not looking to do things whose purpose is only to donate,” Paul says. “But we have to be flexible, and we have to devise models that work for everyone to succeed. Each of these shows that we have moved on, [the deal is] She is really very unique to herself. And they all have very different paradigms and different dynamics associated with them. The only thing we do is we are completely transparent with talent about terms, timing and impact.

“People are very committed to these projects, [and] There’s kind of a teamwork spirit around getting things moving,” he adds.

In many cases, it was the digital window off the grid that convinced the broadcaster that there was more life in the show than the original broadcaster saw. Along with “Lucifer,” “All Rise,” “Pennyworth,” and “Manifest,” it happened with Warner Bros. shows. Including “You”, who was a quiet performer in Lifetime but became a Netflix phenomenon; and “Doom Patrol” and “Titans,” both of which switched from the DC Universe to HBO Max.

The most obvious example of this may be the Manifest. Now everyone knows what this summer’s “Manifest” phenomenon is on Netflix, which turned the just-cancelled NBC drama into a must-watch TV and allowed Warner Bros. TV is bringing it back for another season.

According to David Decker, executive vice president of local television distribution Warner Bros., Manifest’s journey to its Netflix revival was a bit of a coincidence: The show launched in strong numbers on NBC in 2018, convincing Warner Bros. Big Second Window SVOD Sale – in other words, a big streaming deal on the back of a straight network deal. But the market was already shifting from that model, and Warner Bros. had to. Sit down when concluding such a deal.

“Unfortunately, time turned against us, and the show started to falter in the ratings, so we made an unorthodox short-term deal with Netflix for the current seasons,” Decker says. This is not a deal we usually do. But we believed in the show and thought if it did get an audience, it might help either NBC or maybe even something bigger. It exceeded all of our expectations…we are so proud of it. “

Meanwhile, Dungey says Warner Bros. I exhausted every possible scenario to keep “Manifest” alive on the network. “Maybe we had a little hacked deal at NBC just to make it happen before they canceled it,” she says. “When we were still hoping they’d just say, ‘Okay, okay, eight more, 12 more,’ we were willing to go to some extent to get that done.”

Paul adds, “Because these conversations were going on, and all of a sudden, there was this wave that kept building on Netflix. And it became almost unbelievable. It also required us to look very carefully at the international buyers that were on the show, including Our own platform in many countries. Netflix had the right to be out of season locally, so doing something without it would have been nearly impossible. And while building this thing, I think they made a really undeniable case.”

In the end, the economy was better suited to moving the show to Netflix. “It was complicated, because [NBC is] An important client, and we didn’t feel good about that, because I think in the end they thought, “Oh, my God, maybe there’s something we can do.” But at that point, we were really deep in our conversation with Netflix, and it could have been a terrible turnaround. So, we wound up closing the deal at Netflix, and we delivered it all over the world. Season 4 is going to be a long, great, great season. And [creator Jeff Rake] He tells his story, which I believe we all die and discover.”

For “All Rise,” the show was developed with CBS’ license fee, which allows for mass productions in mind. Moving this offering to OWN, which has a smaller budget as a basic cable network, requires figuring out a financial setup that allows the size and range of the offering to survive. This is where finding my SVOD partner on HBO Max and Hulu came in.

“It was more complex and required a lot of teamwork,” Dungey says. “Warner Bros. has for many years been the best in the class at getting things out on a broadcast model where there were very few latitudes. The cost of each radio series is basically the same as any other series. That’s the amount of drama, that’s the amount of comedy, And it’s a lot plug and play. The business we’re in now, isn’t that way at all. Nothing is ready to run, everything is made to order and bespoke.”

On the development side, along with “Our Time,” projects have recently switched outlets including “Sweet Tooth,” which has gone from a Hulu pilot to a two-season mini-service on Netflix; “Kung Fu”, developed at Fox and eventually transferred to The CW; and “Shining Vale” is a comedy developed at Showtime and later sold to Starz.

Perhaps the WBTV show that has seen the most war in recent years is Animal Kingdom, which was originally developed on Showtime, then set up at Amazon with a commitment to the first season of the series, and then further developed at Starz before finally being put on TNT, It ran for six seasons.

“It was a blast just being able to be really smart and be pivotal quickly,” says Collins White.

For “You,” Collins White credits Warner Bros. Television’s independence. With the ability to be widely deployed and ‘proper home display mode’. “You” was originally developed on Showtime before moving on to Lifetime, where it aired for a season before moving on to Netflix.

“I think a lot of people transferred it at first because they were a little bit uncomfortable,” says Collins White. Do we glorify stalking? But what “you” needs is also a home that accepts, supports, and nurtures exactly what it is.

The era of broadcasting has, of course, opened the door to more ways to save an orphan show. Dungey laments that “American Crime,” the show she was so proud of during her ABC days, might have been saved by a broadcaster if it aired now.

In the case of Warner Bros. TV. There is also a HBO Max sibling that offers a chance as a potential home for shows looking for one. However, Decker cautions, “The deals within the family are the hardest deals to make. That goes back to HBO and Turner, who we’ve been dealing with for decades. But it’s amazing to have HBO Max side by side where the creative community would like it to be.” Their show is there… We love that the local team is a hit. And we love when our friends take the hit, because when it’s our shows, it helps us all here at the end.”

Paul adds: “The media is clearly in a transitional phase, but there are a lot of platforms. The volume requirements are also so much greater that a quality show can find it today, no matter where it is launched. [a new home]. “

Live streamers have unlimited room for programming, so it comes down to budgets. “And that also creates opportunity,” he says. “We’re in for a good time. And I think over time, where the network business may or may not merge, we’re going to have to see what kind of opportunities there are to move things differently. This year, I think, is emblematic of that. I think we moved five or six offers in one year.

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