Broadcast television is showing signs of renewed momentum heading into the 2026–27 season, with more scripted series on the schedule and growing recognition that traditional networks and streaming platforms can strengthen one another.
The four major U.S. broadcast networks—ABC, CBS, Fox and NBC—are set to air 56 scripted shows this season, up from 50 the previous year, alongside a limited series from Fox. The networks canceled just six scripted series while adding 12 new shows to their lineups.
The increase comes as broadcasters continue to face a long-term shift in how Americans watch television. But executives, agents and showrunners say network programming remains valuable for its regular schedules, broad promotion and ability to build lasting relationships with audiences.
Broadcast TV’s Audience Share Has Shrunk
The challenges facing broadcast television are substantial. Over the past two decades, the growth of DVR viewing, cable programming and streaming has changed the way audiences consume entertainment.
According to Nielsen’s Gauge measurement, broadcast networks accounted for about 21 percent of all U.S. television use over the past year. Major events and traditional programming are also increasingly moving toward streaming. The Oscars are heading to a streaming platform, while late-night television has faced a series of cancellations and cutbacks.
Despite those pressures, the broadcast model has retained advantages that are becoming more apparent as media companies combine their network and streaming operations.
UTA partner and television literary agent Mickey Berman said that looking at audiences across platforms gives a fuller picture of how network shows are performing.
“When you look at the combined package, the shows are working and people are watching them,” Berman said.
Why Writers and Producers Are Looking at Broadcast Again
One attraction of broadcast television is its predictable production schedule. Network series typically return each year and often produce between 12 and 22 episodes per season.
That consistency can provide more reliable work for writers, actors, directors and other production staff than streaming projects, which increasingly release shorter seasons with longer gaps between them.
Berman said the stability of a network series can give creative teams a clearer expectation of how long they will be working, particularly when a show performs well and earns additional seasons.
Lisa Katz, president of scripted content for NBC and Peacock, said broadcast television continues to demonstrate its ability to attract fans and deliver consistent programming.
Katz acknowledged that creators were drawn to streaming’s creative freedom during its early growth, but said the broadcast model has continued to show its value. NBC is also marking its 100th anniversary, a milestone she cited as evidence of the network’s longstanding place in television.
Streaming services have also begun adopting elements of the broadcast approach. Series such as The Pitt and The Bear, along with HBO Max’s How to Survive Without Me, have moved toward more regular production or release patterns.
The Creators of Cupertino See Advantages in Network Television
Michelle and Robert King, the creators of The Good Wife and The Good Fight, have worked across both broadcast and streaming. Their new CBS drama, Cupertino, has brought them back to network television.
Michelle King said broadcast shows are more likely to receive promotion and reach audiences, while some streaming series can struggle to gain visibility among the large number of titles available.
She said the team was proud of Cupertino and pleased that the network model would help viewers discover it.
Robert King said he has sometimes found that broadcast offers creators more control than streaming. He pointed to the speed of network production, which can leave less time for non-writing producers to closely oversee each creative decision.
King also said he enjoys writing longer seasons because they allow stories to develop more intuitively.
The Kings’ comments reflect a broader discussion in the television industry about the trade-offs between shorter streaming seasons and the longer production cycles associated with network series.
CBS Says Immediate Ratings Feedback Still Matters
Amy Reisenbach, president of CBS Entertainment, said the ability to see audience ratings shortly after an episode airs remains an important feature of broadcast television.
She said the next-day figures provide writers and executives with a direct indication of how many people watched a program.
Reisenbach pointed to CBS series Tracker and Marshals, which she said were reaching audiences of around 8 million viewers.
For network executives, that immediate feedback can help establish how a show is connecting with viewers while it is still airing.
Scripted Series Orders Rise for 2026–27
The increase to 56 scripted series across ABC, CBS, Fox and NBC represents a rise from the previous season’s 50 shows, plus Fox’s limited series The Faithful.
ABC, CBS, Fox and NBC collectively canceled six scripted programs and added 12 to their schedules. ABC retained all 10 of its shows from the prior season.
Berman said interest in broadcast has grown among writers and other creative talent, citing the stability of production, faster turnaround times and the possibility of making more episodes and returning for additional seasons.
He added that the appeal is not solely financial. A regular schedule can help viewers become attached to characters and follow their stories over time.
Long-running series such as Grey’s Anatomy demonstrate how audiences can continue growing with familiar characters across many seasons.
NBC Revives Part of the Pilot-Season Model
NBC has also renewed interest in the traditional pilot process. Katz led the network’s effort to produce eight pilots in the spring, four of which were picked up: dramas Line of Fire and The Rockford Files, and comedies Newlyweds and Sunset P.I.
Networks continue to develop projects throughout the year, using approaches such as smaller writers’ rooms before a series order or moving directly to a full-series commitment.
Katz said pilots give the network an opportunity to assess a show before committing to a full season. They can also allow changes to casting or storylines while there is still time to make adjustments.
She contrasted that with some streaming productions, where executives may see the first cut only when a few weeks of filming remain.
Streaming Is Helping Network Shows Find More Viewers
A major factor behind the renewed optimism is the growing recognition that broadcast and streaming can complement each other rather than compete exclusively.
Network programs may attract a live audience when they air and then reach additional viewers when episodes become available on streaming services. Improved Nielsen measurement and the release of more cross-platform audience data have made that relationship easier to see.
For the 2025–26 season, about half of the 25 most-watched shows in cross-platform ratings originated on broadcast networks. Nine network series, excluding sports and news, averaged at least 10 million cross-platform viewers, while four more came close to that mark.
The corporate structures of the media companies also support the connection. Disney operates ABC and Hulu/Disney+, Paramount owns CBS and Paramount+, and NBCUniversal operates NBC and Peacock.
Fox has a next-day streaming arrangement with Hulu for its shows, while some programs are also available through Tubi and the Fox One subscription service.
Reisenbach said CBS and Paramount+ operate as parts of a broader ecosystem that also includes Pluto TV. She described the relationship as complementary, with streaming executives understanding the kinds of programs CBS produces and the value of making them available the next day.
Industry Optimism Comes With Continuing Challenges
Broadcast television still operates in a media landscape where streaming accounts for a much larger share of viewing than traditional network programming. The increase in scripted orders does not reverse that structural shift, but it suggests that broadcasters and their creative partners continue to see opportunities in the model.
For production teams, regular schedules and longer seasons can provide continuity. For networks, streaming distribution can extend the reach of programs beyond their original broadcasts. And for audiences, familiar shows can remain available through both traditional television and digital platforms.
Berman said he is optimistic about the next few years and hopes the renewed momentum will lead to new ways for creative talent to participate in the business.
The 2026–27 season will provide another test of how well networks can combine traditional scheduling with streaming distribution—and whether the recent increase in scripted programming can be sustained.
