In the ever-shifting landscape of television, few stories encapsulate the volatile nature of the industry as poignantly as the trajectory of Steve Levitan’s career, which has been punctuated by both triumphs and setbacks. Particularly illustrative are the parallels between two of Levitan’s projects, “Back To You” and “Reboot,” both of which reflect not only his creative vision but also the tumultuous reality of network alliances and cancellations.
Levitan’s “Back To You,” a comedic exploration of the television industry itself, was unceremoniously canceled by Fox in 2008. At that time, the network, which was closely aligned with Levitan’s long-term production home at 20th Television, rendered a decision that stunned both viewers and industry insiders alike. Just a short while later, however, the very same Levitan would find success with “Modern Family,” which was sold to ABC—and subsequently became a staple of television comedy.
Fast forward to 2023, and Levitan faced a similar trial with “Reboot,” another comedy that delved into the inner workings of television. This time, Hulu made the call to cancel the series, leaving Levitan to express his dissatisfaction, albeit with a subtler tone than before. His remark about “Haven’t seen it? Check us out on Hulu if you can find it,” indicates not just frustration but also an acknowledgment of the challenges streaming platforms face in promoting niche content.
The cyclical nature of these cancellations reveals a significant truth about the television industry: viewer engagement can be fleeting. With networks and streaming services continually reevaluating their content strategies, creative visions often clash with broader business decisions. Levitan’s experiences underscore the need for resilience in a landscape that frequently changes course.
Following the cancellation of “Reboot,” Levitan transitioned into a new chapter with “Nobody Wants This,” a series produced by Erin Foster. Initially pitched to Hulu—only to be passed over—it found its home on Netflix, where it quickly garnered incredible acclaim, shooting to the number one spot on the platform’s weekly top ten. This rapid success contrasts sharply with the fate of other stalled projects and points to an important insight: resilience in the face of adversity can lead to unexpected rewards.
The notion that “Nobody Wants This” could become a hit after initially being overlooked by a network raises valid questions about the methods by which content is evaluated. In this case, Netflix’s willingness to invest in the series, transitioning it from the original concept of “Shiksa,” highlights the changing dynamics of content consumption. With the rise of streaming services, traditional networks may undervalue potential hits, only for those projects to flourish on platforms that regard fresh and uniquely presented ideas more favorably.
The current media landscape emphasizes collaboration and creative agility. Levitan’s fate with “Tracker” further illustrates this evolution. After initially being pitched to ABC, the series eventually found a home at CBS and debuted successfully, propelling it into the limelight as one of the top entertainment programs immediately following its premiere. The trajectory of both “Nobody Wants This” and “Tracker” suggests that the traditional path for television shows is no longer linear.
This evolution corresponds with a larger trend within the industry, wherein networks and studios like 20th Television are adopting more fluid strategies. Under the leadership of figures like Karey Burke, there is a concerted effort to allow creators to seek opportunities outside of definitive partnerships when their projects stall. The willingness to move projects beyond the confines of their original network fosters a climate where creativity can flourish, albeit through trial and error.
As we bear witness to this paradigm shift in media consumption, especially following Bob Iger’s return as Disney CEO, the reinstatement of a more open landscape for content licensing has become apparent. Iger’s signal that Disney would allow for more collaboration across platforms—licensing marquee titles to Netflix, for instance—creates an expansive milieu that enables storytelling to transcend traditional network constraints.
There lies an important acknowledgment of the fact that today’s most successful narratives may not necessarily emerge from within a single platform, but rather through a synergy of ideas and resources across varying entities. Thus, the industry landscape is continually reshaped as networks learn what resonates with audiences amidst the cacophony of the streaming wars.
The narrative arcs of Levitan’s projects are emblematic of a television landscape rich with possibility, underscoring the importance of resilience, adaptability, and collaboration in an era defined by change. The trials faced by Levitan and his shows are a testament to the notion that sometimes, the end of one project can lead to the birth of another opportunity, reshaping the contours of television history along the way.