Disney TV Studios Chief Eric Schrier On Big Fox Animation Deal, Global Originals Strategy, ‘Buffy’ & Other Reboots, Backend Model & Filming In L.A.

It’s been two and a half years since getting the proverbial offer he could not refuse from Disney Entertainment co-chairman Dana Walden, Eric Schrier left the tight-knit executive team at FX after two decades to take over Disney Television Studios, which houses 20th Television and 20th Television Animation.

Over that time, he has spearheaded major deals with networks and talent including the recent four-season pickup of four 20th Animation series by Fox: The Simpsons, Family Guy, Bob’s Burgers as well as American Dad! in its return to the network after an 11-year run on TBS. Schrier also oversaw the merger of 20th Television and ABC Signature five and a half years after the two studios became corporate siblings following Disney’s acquisition of Fox assets, and took oversight of Disney’s global originals strategy.

In an interview with Deadline, Schrier speaks about all of that as well as 20th TV’s current IP push with half a dozen reboots in the works, including Buffy the Vampire Slayer, Malcolm In the Middle and Scrubs, the studio’s talent deal strategy amid industry contraction, and its new compensation model which is being embraced by talent, he says.

Schrier also addresses 9-1-1: Lone Star‘s cancellation, the business pressures impacting pickup decisions, the prospect of Bob’s Burgers streaming originals and the future of Doctor Odyssey and The Great North. Additionally, he shares his thoughts on the industry post-Peak TV and selling outside of Disney. He discusses filming in Los Angeles and the status of the studio’s productions on the Fox lot after Disney’s lease comes to an end later this year, with executives relocating to the Disney headquarters in Burbank.

Anatomy of a (Massive) Deal

DEADLINE: How did the blockbuster 4×4 deal come about? Its length is obviously tied to Fox’s current licensing deal with Disney-owned Hulu where the four animated comedies stream.

SCHRIER: We’ve had a long-standing relationship with Fox on adult animation that goes back as long as The Simpsons has been on the air, which through this end of this deal will be over 40 seasons and over 860 episodes.

When I took this job, I didn’t really know that much about our adult animation business, and it’s a fascinating business. The power of these shows is tremendous. They’re global shows, and we have a really great partnership with Fox. So as they were coming to the end of the current window, we started conversations very early on with Fox about, how do we extend the relationship, and how do we keep these shows going for as long as possible?

[Fox Entertainment CEO] Rob Wade, [Fox Network President] Michael Thorn, [20th TV Animation head] Marci Proietto and I sat down and talked about, creatively, what was the right idea for these shows? How long can they sustain? How long could they commit to it? How long can we commit to it? And we came up with this historic deal, which was for 16 seasons of television. I don’t think there’s ever been an order of 16 seasons at one time. And it’s a win-win for both companies.

From a Fox standpoint, adult animation has been a foundation of their schedule that they’ve had for a really long time. The shows do tremendously well on Sunday nights, that’s a great platform to premiere the shows on, and then they go next day on Hulu, which benefits us as a larger company as well. That relationship has been very fruitful, and we wanted to figure out how to continue that on. And then there was a mutual desire to get it done and do it for all that time.

In the meantime, American Dad! was something that we really value at the company and see as a long-term asset for us as well. There was an opportunity to move it from Turner to Fox, which they were very supportive of. So in my mind, it’s a win-win for everybody.

DEADLINE: In the past couple of years, you revived two other 20th Animation former Fox series, Futurama and King of the Hill but it was American Dad! that went to Fox while they became Hulu originals. How was the call made? Was it just the timing when American Dad! became available?

SCHRIER: Yeah, it was timing. Futurama had already premiered as a Hulu original, and King of the Hill is premiering this summer, and it’s really good, really excited about it. So it was timing and how much could fit on the Fox schedule with all the other shows that they’re doing. We’ll see how that works over time. But there’s a very symbiotic relationship between Fox adult animation and Hulu and 20th Animation as a studio.

DEADLINE: Do you think that this would be the last animated renewal at Fox, especially for the older shows like The Simpsons? The studio and network are not affiliated, and I was thinking how old some of the voice actors will be in four years…

SCHRIER: I think they would have said that 40 years ago or 35 years ago as well. I think as long as the shows are creatively vibrant and that the economics makes sense, we’re going to figure out a way to continue to do them. I can’t speak to Fox’s long-term commitment to it, but I have no indication that they would want not to do these shows.

DEADLINE: So this was not done as a final deal?

SCHRIER: There’s no plans that those would be the final seasons. I think three years from now, there’ll be lots of conversations about what the future is for all of those shows. We’ll have really robust conversations with the creative partners first, what they want to do, and then ultimately, with Fox and our partners at Hulu.

‘The Great North’ hope & ‘Bob’s Burgers’ streaming originals

DEADLINE: What is the status of the other animated comedy you have at Fox, The Great North? It’s been on the bubble and seems like it may be going away.

SCHRIER: It’s still under consideration. I don’t think Fox has made a final determination on it; it’s another show that we really love. It’d be great for it to continue, but I understand if they’re not able to.

DEADLINE: Could it transition to Hulu?

SCHRIER: I’d have to look at the performance, I haven’t looked at that recently, and I’d have to talk to the partners I have at Hulu about it, we’d have to see if it makes sense. We like the current relationship but ultimately, the core shows are these four core shows.

DEADLINE: I’ve reported that you were able to maintain the returning series’ license fees. The sizes of the orders are a little smaller than in years past but you have been keeping them at previous levels by making The Simpsons and Family Guy exclusive episodes for Disney+ and Hulu. Can you talk about that?

SCHRIER: We looked at it as a four-season order, so you’re looking at the sum total of all the episodes that we were producing, and it was a conversation with the talent about, what do they think they can do? How many can they do per year? What makes the most economic sense?

On Family Guy and The Simpsons, we’re doing exclusive episodes for Disney+ and for Hulu that won’t air on Fox, and that made sense for us; we worked through it on a show-by-show basis. There’s no cut specific parameters of how to do it, and this felt like the perfect order pattern for all four of them. But we looked at it not in a season-by-season basis but in sum total, so if you think about it in that way, it’s a pretty extraordinary order.

DEADLINE: Will there be any exclusive episodes of Bob’s Burgers for Hulu? It’s doing well on the platform.

SCHRIER: Bob’s Burgers does great. Nothing I can comment on at this time but hopefully down the road, there may be an opportunity to do it.

DEADLINE: What about animated originals beyond the legacy shows? Currently, you have Polar Opposites, which is ending, and The Great North, which likely is ending too. What do you have in the pipeline?

SCHRIER: I’m really excited about the stuff that Marci and her team are working on. We have projects in the pipeline that I’m really looking forward to; hopefully there’s another great adult animated hit in there.

What I didn’t understand when I took the job — and now I do understand — is how vibrant and how widely viewed these shows are. They’re just tremendous, and there’s nothing like them in all television. It’s a great business.

We are the most prolific studio in adult animation, and our plan is to continue to do that, working hard with our Hulu partners and our Disney+ partners, because I think there’s some shows that we can do In the animation space, more adult for Hulu or young adult for Disney+, that I feel really good about, but I don’t want to speak about any specific project.

IP Push, ‘Buffy’s return & more ‘Malcolm’

DEADLINE: On the live-action side, the studio has Buffy the Vampire Slayer, Prison Break and Holes pilots, the Malcolm in the Middle revival, a potential Scrubs reboot and a Desperate Housewives offshoot across Hulu, Disney+, ABC and Onyx. That is some heavy leaning into IP. Is this conscious IP strategy or is the current volume coincidental?

SCHRIER: I think it’s more coincidental than a specific desire. Obviously, we have a great library of amazing IP within the Fox library that came over in the [2019] transaction, as well as the Disney library; ABC Studios has a tremendous library as well, Scrubs is one of those titles that comes in there. [20th TV President] Karey Burke and her team are always looking to see what’s in that library, what our creative partners at the studio are interested in telling those stories and is there an organic way to reboot those stories. It’s not like there was some sort of mandate, let’s get a bunch of old IP and redo them. It’s all if there’s the right creative story to tell.

In the case of Buffy, it stemmed out of Karey Burke and [Hulu Originals and ABC Entertainment Scripted President] Simran Sethi had always wanted to try to figure out a way to reboot that show. Our partners at Fox Searchlight Television, who I work with as well, have a deal with Chloé Zhao. It ends up that Chloé Zhao loves Buffy, so we put them together. And out of that came the idea. Sarah Michelle Gellar has been a part of it from the get-go as well; she is an executive producer. [Executive producer] Gail Berman is back; she’s been behind the scenes trying to pull it all together. We have Nora and Lilla Zuckerman writing it, whom we have a deal with; they’re great.

So that’s just an amazing package that came about organically because we were excited about retelling that story after so much time in a new way. I think all of these reboots come from that idea of, “What’s the new way in which we can tell these stories?” Not “Okay, they’re IP and let’s go reboot them.”

DEADLINE: Is there any chance for Malcolm to go beyond the four-episode revival that you have commissioned?

SCHRIER: That came out of [series creator] Linwood Boomer’s brain of, is there a way to do this and put the band back together for a special four-episode run? I think the scripts are really funny and I’m really excited to see how it all comes together. It’s designed to be four episodes. If it’s a huge success, there’s always a conversation to have, is there a way to do more of it? We’ll see.

DEADLINE: How is the Scrubs reboot coming together? Is it going to happen?

SCHRIER: I’m optimistic that it will happen. I don’t know exactly what the specifics are on it today, but ultimately, I think the creative team really wants to figure out how to do it. Obviously it’s very complicated because of the business terms. So my feeling is, when there’s a creative desire, you usually figure these things out, but we’ll see.

DEADLINE: And the other pilots, Prison Break and Holes, how are they going?

SCHRIER: Prison Break. Elgin James, who I worked with on Mayans, is doing that, so very excited about that. He’s also at the studio. The Holes pilot’s in process. We’re also doing Group Chat with Kenya Barris and Kim Kardashian for Hulu. A lot of really good pilots in development.

Studio Merger’s Timing, 20th TV’s Hot Run & Third-Party Business

DEADLINE: Why was the decision made to fold ABC Signature into 20th Television after years of speculation, and why last fall? How have things changed and how is it working under Karey Burke?

SCHRIER: When I first started in this role, there was a certain amount of volume that we felt like we needed to be able to produce, and it made sense to have two studios. But as we started to calibrate how much content we needed for our platforms, it just didn’t make sense to have two studios and the infrastructure associated with them, so we merged them, and it’s going really well.

Inherently, there was always a little bit of friction by having two studios; this makes it a lot cleaner. It makes it cleaner for the talent, it makes it cleaner for the representatives, and it makes it cleaner for our platforms. Karey is doing a great job. We have an amazing roster of talent at the studio, and they’re having a tremendous amount of success right now. Our legacy series are doing tremendously well, 9-1-1, Only Murders In the Building, Grey’s Anatomy.

And in the last couple of seasons, we’ve launched a lot of new hit shows. Will Trent continues, going into its third season, Percy Jackson’s in production on its second season. High Potential was a big win for us last year on ABC, that show’s just doing great; Kaitlin Olson is amazing in it. Shifting Gears, the half-hour multi-cam, bringing that [genre] back, and it’s performing very well.

Good American Family on Hulu, which recently launched, starting Ellen Pompeo, is doing great as well. And then we have Paradise, which was a breakout hit for us. It comes from Dan Fogelman, who’s an amazing creator, he’s been at the studio for a really long time. And then we have Tracker, which is super interesting. It’s doing extremely well for CBS, it’s their No. 1 show. We produce that for them, but we also have that show on Disney+ around the world, we have the international streaming rights to it, and it appears on Disney+ as well as Hulu in the SVOD window. So that’s a model that works really well for us. Not only are we producing it as a traditional studio, but it also comes back to our Disney platforms.

DEADLINE: You didn’t mention one recent hit, Nobody Wants This for Netflix. Will you continue to focus on your own platforms while still selling outside? Will you do more third-party business?

SCRIER: Our primary focus is for our own platforms, that’s consistent. We know the demand there, it drives the overall business. But on a case-by-case basis, we’ll examine third-party business, and does it make financial or business sense for us. Some of the third-party business makes a lot of sense for us, like Tracker, and others don’t make as much sense. We have shows in production or development at multiple platforms around town, and those are all good businesses for us. We’re really proud of Nobody Wants This, it’s a big hit for Netflix. Erin and Sara Foster are talent that we were working with at the studio, and now we have an overall deal with them, so we’re working on their next show.

Talent Deals Calibration, Ryan Murphy And Future of ‘AHS’ & ‘Doctor Odyssey‘

DEADLINE: You mentioned 20th TV’s pacts with the Fosters, Dan Fogelman and Elgin James. You used “calibrating” when talking about the merger of the two studios. Are you doing the same with your roster of talent, are you cutting back? Also, like others, you have converted some overall deals to first-look. How is that business going?

SCHRIER: I think as our volume has decreased, we’ve cut back the amount of overall deals and total talent deals we have, because we just don’t need the volume as much as we did. With that said, we still have a tremendous roster of talent. And what we do, instead of blanket approach of how to approach all of our deals, we look at it on a case-by-case basis.

Each creator is different, they’re unique, and we try to design the deals to be the best environment for them to be the most successful. Some people like the security of an overall deal: they’re highly prolific, they want to work exclusively with us, they’ve been at the studio for a long time, or they’re excited about a specific show that’s been ongoing. So that works very well for the overall deal side.

On the first-look side, we have an awesome roster of not only writers but producers in first-look deals at our studio, and that works really well for them, because they can develop with our roster of talent at the studio, they can develop for multiple brands. And I think we have an environment where, basically, most of the shows that they’re going to develop, we have a potential home for on our platforms, whether it’s ABC or FX or Hulu Originals or Disney Branded Television, there are different opportunities across that landscape for all of our talent to work. So first-look deals work really well for producers like Ryan Reynolds or the Rock. We have an overall deal with Warren Littlefield that works really well for him, he’s highly prolific, we have a ton of shows with him. It all depends on the creator.

DEADLINE: There’s one creator that you used to work with on the network side at FX, Ryan Murphy. Now he’s one of the biggest names on your talent roster. Talk about getting to work with him on the studio side?

SCHRIER: Ryan is one of one-of-a-kind creator. He’s an amazing talent, highly prolific, highly inventive. He just has his finger on the pulse of what people want to watch. I’ve been working with Ryan for over 20 years; I worked with him on Nip/Tuck as a current executive, I’ve been working with him all the years I worked at FX, and it’s been great to work with him in this different capacity at the studio.

I’m really excited about the shows he has upcoming. We have four new shows in the pipeline from him: All’s Fair; The Beauty; 9-1-1: Nashville, which is a great franchise for us; and American Love Story. It’s great to work with Ryan, and I’m really looking forward to more success with him.

DEADLINE: What about the mothership American Horror Story, which has been renewed through the upcoming Season 13. Can it continue for the foreseeable future?

SCHRIER: I think yes, as long as Ryan has an idea. The way we work with Ryan is different than with other creators, he’s in a select few group of people that, if he has a great idea for another American Horror Story, and that’s something that [FX Networks chairman] John [Landgraf] and the team at FX really want to do, we’re going to figure it out.

We don’t have another incarnation of American Horror Story ordered, but it’s a franchise that, by design, can always be rebooted. And so when Ryan has an idea that is great and can figure it out with his schedule of all the things that he’s doing, I could very well see us doing another installment.

DEADLINE: What’s the latest on Ryan’s Doctor Odyssey, which has been on the bubble at ABC?

SCHRIER: I really love Doctor Odyssey, I think it’s a wildly inventive show, and we’re doing everything we can to support it. That decision ultimately lies with Ryan Murphy, whether Ryan wants to continue to do it, and he feels like there’s stories to tell that he feels confident in.

DEADLINE: Were you involved in the decision to kill off Peter Krause’s character on 9-1-1? I’m trying to see how high up the chain it went. Did you have to sign off?

SCHRIER: That was a decision that I was not involved in, that was [showrunner] Tim Minear, Ryan Murphy and everyone else involved in that show. So I’ll leave it to that.

‘Lone Star’s cancellation, budget cuts & Disney’s backend model

DEADLINE: 9-1-1 spinoff Lone Star recently ended on Fox. The reasons were financial as the show was still doing OK. Is it something that we’ll see more of, when for studios, due to business reasons, it’s hard to continue with a show?

SCHRIER: I think Lone Star is actually a good example of the pressures of the business in the current environment. As companies have to be profitable and have to justify the business behind all these shows, Lone Star became a very expensive show for what it was performing at and didn’t make economic sense for the platform or the studio to continue with.

Ultimately, as these shows grow and become more and more expensive, that threshold for performance becomes higher and higher. And so unfortunately, Lone Star just wasn’t achieving that level of success from a performance standpoint. As much as we loved the show and it was hard for us to see it leave, it was time.

DEADLINE: Lone Star was your last live-action series on Fox; it was vestige from the old times when the network and 20th TV were vertically integrated. Now that they are separated, is there a chance for you to do a drama for Fox under their current $3M-$4M an episode model?

SCHRIER: We’ve had a lot of conversations with Michael and Rob about us producing live-action shows for them. They’re operating under a specific cost structure, so it’s finding the right idea that can fit in there. But I’d very much like to do that.

DEADLINE: We referenced the challenging business environment that impacts pickup decisions. Does everything come down to money these days? How hard is it to manage the creative and business sides and to have to tell your creatives every year that the budgets have to be cut for the shows to get renewed?

SCHRIER: We are not in the process of saying all the budgets have to be cut so that the shows get renewed, it’s trying to decrease the increasing cost of the shows. We’re trying to bend the cost curve down, and I look at that from a desire to support creativity. As shows become more and more expensive, there’s a finite pool of money in which we can spend resources against those shows. So the more expensive the shows become, the fewer shows you get to make.

I think collectively, getting to a place where shows’ cost matches their performance is something the entire industry is going through and something I’m really focused on: how do we maintain a wide variety of shows, and a number of shows for the industry? Because I think that’s really good for creativity.

DEADLINE: Disney TV Studios changed the model for compensating talent before you started, replacing traditional backend with upfront payments and bonuses that allow Disney to exploit shows across platforms. How has it been dealing with creators over it? Are you fine-tuning the model, and is it working for you?

SCHRIER: Yeah, our backend model, I was actually involved in creating it alongside Craig Hunegs, who was running Disney Television Studios at the time, him and I, Josh Sussman, who now leads Business Affairs [for the studio], and [FX Business Affairs EVP] Kelly Cline really worked with the representative community on how do we create a better structure that rewards people in success and is much more transparent.

It was designed, first and foremost, [as] how do we give the best experience to our creators, and how we create a transparent environment for them to be compensated appropriately and in success. Now that we’re a few years into it, it’s actually working, and people are coming to us and asking on existing shows to convert to that model. It’s proven to be a very successful model for us that I’m very very confident in. Of course, we’re always evaluating what’s the right way to compensate talent in the most productive way, and I think that the talent that’s working here feels really good about the way in which they’re compensated.

Disney’s global originals strategy & John Leguizamo’s ‘Killer Nannies’

DEADLINE: How is your relationship with FX two and a half years after leaving the network? Do you continue to have a close relationship with your former boss John Landgraf?

SCHRIER: I still speak to them almost daily, work really closely with them, because in the other part of my job, which is the global original television strategy, I’m working on how that works, how much do we make and where do we make it, working with our platform partners and our studio partners on what’s the best mix of product that we make. So I work with the FX team a lot, and 20th produces a lot of shows for them, so there’s a lot of interaction. I love those guys, it’s so great to work with them, and John’s obviously an amazing partner, he has been my mentor.

DEADLINE: Since you mentioned global originals, let’s talk about that. How was your learning curve in that area?

SCHRIER: First of all, it’s been great working for Dana for the last two and a half years, she’s just an amazing leader and amazing person and creative executive.

She asked me to take on overseeing our local originals two years ago. At the time, we were producing over 140 shows all around the world, and now we’re producing about 100 shows around world for Disney+, all in their local languages, in 25 different countries. It’s fascinating to see the creativity that’s coming to fruition all around the world, and to help support that.

We have teams in all of these markets that we’re producing shows that are selecting and developing shows to commission for their audiences. Our strategy is very unique, I think, in the marketplace, which is, we have global brands and global IP that travel the world. We have Star Wars, Marvel, Disney Branded, Pixar, FX, Hulu originals, ABC shows.

These shows travel the world and are known really well. So we don’t need to make an excess volume of local originals. But what we need to do is complement those global shows with locally relevant stories for the audiences in the markets in which we have Disney+. For example, in Spain, we produced a show last year called Invisible, which is based on a very well known book there; that was in Spanish, intended for a Spanish audience.

If they ultimately travel, great, but they’re really designed and built to work for the local audience. It’s a local-for-local strategy that’s really working. In Latin America, we have The Boss, which is a very big show in Argentina, and Amor da Minha Vida, which has performed really well in Brazil.

We had 16 BAFTA nominations last year. In the UK, Rivals was a big hit for us. A Thousand Blows just finished its run, it’s doing very well as well. And just two weeks ago, we premiered The Stolen Girl, which did really well in the UK, and is also doing very well in Hulu and Freeform here in the U.S. So we’re looking at these titles on a global basis, but really designing them for the local markets to have local language and local flavor for that specific market.

We produce a lot of Korean dramas that have traveled really well. Moving, created by Kang Full, and his second series, Light Shop, both have done tremendously well. He’s a really inventive creator; he’s actually a perfect example of the unique creativity that I’m finding all around the world. He’s developing a subsequent season of Moving right now.

In France, we had a big win this spring with Bref.2, a really unique half-hour show that was based on a series of 2011 shorts. Our team in France developed it with the producers, got them to do six 30-minute episodes, and it took France by storm. That’s a good example of a show that was designed based on a title that had worked there, hadn’t been done or seen in a long time, and the shorts were two- to three-minute episodes. It was rebooted and hit the zeitgeist in France, and that’s exactly what we want to do.

DEADLINE: You mentioned that when you started, there were 140 shows and now there are 100. Why is that? Did you evaluate the entire slate and cut down the number to be more focused?

SCHRIER: It was two things. One was, we were producing about 30 to 40 shows in India, and now India is part of a joint venture with Reliance. We are no longer working on those shows, so that’s part of the decrease in the number. And then I think initially, we weren’t as strategic as we needed to be. When [CEO] Bob [Iger] came back to Disney, he looked at all the programming we were doing, and we just needed to curate the programming more for the needs of the streaming platform.

When I first came in, we were making lots of shows all around the world, and there wasn’t a cohesive strategy. So Dana created this role where it’s global original television strategy, and part of my role is to help create a cohesive strategy with our partners at the direct-to-consumer unit, with [Direct-to-consumer President] Joe Earley and his team, to be more strategic about what we’re making. Disney is based on long-running IP, and our our goal is to create long-running IP that can help power the platform for many years to come.

DEADLINE: What is coming down the pike that you think may resonate globally?

SCHRIER: I would be a psychic if I could predict which show would be a global phenomenon, but I have a lot of shows I’m bullish on that are in the pipeline. In France, The Lost Station Girls is a six-episode true crime limited series. In the UK, we have feature documentary Flintoff, about former cricket star Freddie Flintoff. There’s a new show coming out in Korea called Tempest.

In LATAM, we have Killer Nannies (working title) with John Leguizamo in his first Spanish-speaking role. It’s a really good story about Juan, Pablo Escobar’s son, who was raised by his henchmen; he calls them his killer nannies. I think we’re just finishing production on it. I haven’t seen it yet, but very excited about it.

Future of the business, filming in L.A. & moving to Burbank

DEADLINE: A question we always ask of your former boss, John Landgraf: Where is the television business going? Will the contraction ease up at some point, when can we see a bit of an expansion? Or are we just managing the decline? How are you planning for the future of the studio?

SCRIER: I feel really bullish about our business, not only at the studio, but also for Disney and our direct-to-consumer businesses. We’ve gone through a transformative time over the last few years, and Dana and [Disney Entertainment co-chairman] Alan Bergman have done a great job leading our streaming services. I think we’re now organized and set up for success, now we have to execute. And we are.

I went through earlier all the shows that are working, and in the future, I feel really good about Disney and Disney’s commitment in the long term, and the amount of volume of shows that we’re doing as we continue to fine-tune that.

I think, as an industry, we have to continue to make compelling content that audiences want to watch, since there’s so much choice. There are different platforms of choice for for audiences, especially younger audiences, and I feel really good about our place within that ecosystem.

DEADLINE: So life post-Peak TV is just fine?

SCHRIER: Yeah, we’re still producing a very significant amount of shows. We’re actually producing a lot of shows here in California. We have 16 shows in production in Los Angeles, and I’m really proud of that fact.

We really love producing here. The crew base in Los Angeles is excellent, our talent loves working here, we love working here. The Walt Disney Company is really committed to California, and I’m really excited about the increased tax incentive that is hopefully going to come to pass so that we can continue to do more shows here in Los Angeles.

DEADLINE: You have a few shows that are filming on the Fox lot in West L.A. including High Potential. Are you going to keep series there after Disney’s lease comes to an end? And how do you feel about leaving the Fox lot; a lot of you have offices there?

SCHRIER: We’re only in one building on the lot now from an office standpoint. The FX and 20th teams will be moving over by the end of the year, and I think it’s going to be great, because right now, in my job, I shuttle between the two. We’ll have a true creative campus here in Burbank with all the teams, and I think it will be good for us all to be together.

And Fox lot in terms of production, we’re still going to have some productions there, but some of them will move, and that’s an ongoing discussion with the teams at Fox.