In a bold move that defies industry trends, CBS is doubling down on scripted shows while other networks are cutting back—but why? Here’s the shocking truth: CBS isn’t just surviving; it’s thriving in an era where linear TV is supposedly dying. And this is the part most people miss: their strategy isn’t just about nostalgia; it’s about innovation wrapped in familiarity.
CBS kicked off its fall premiere week with a bang, leveraging the massive viewership of a football doubleheader to launch a slate of new and returning shows. The night spotlighted two female-led mysteries: the Emmy-nominated Matlock, starring Kathy Bates, and Elsbeth, a Good Wife spinoff featuring a quirky lawyer solving murders alongside the NYPD. Both embody the classic ‘CBS show’ feel—reliable procedurals with creative flair—and are among the network’s most-watched programs. But here’s where it gets controversial: in an age of streaming dominance, CBS is betting big on scripted content, even as competitors fill slots with cheaper unscripted shows or sports.
CBS isn’t just resting on its laurels. As the most-watched broadcast network for 17 consecutive seasons, it’s earned the right to experiment. Yet, there’s pressure. Linear TV revenue is declining, and parent company Paramount is slashing costs post-Skydance merger. Is CBS’s dominance sustainable, or is it a last stand for traditional TV?
‘We’re here to reach the biggest audience possible,’ CBS entertainment president Amy Reisenbach told TheWrap. ‘And clearly, the audience is there for these shows.’ But how long will that last? Reisenbach admits they’ve had to ‘meet the moment financially,’ finding innovative ways to keep shows financially viable without sacrificing creativity.
This fall, CBS is debuting 15 new and returning scripted series—more than any other broadcaster. Highlights include three NCIS shows, Fire Country and its spinoff Sheriff Country starring Morena Baccarin, and Boston Blue, a Blue Bloods spinoff. There’s also The Road, a Taylor Sheridan-produced music competition series, and DMV, a workplace comedy set in—you guessed it—a DMV. But with so many new shows, is CBS spreading itself too thin, or is this the secret to staying relevant?
CBS’s strategy extends beyond linear TV. Shows like Tracker and Matlock are among the top eight in 35-day multiplatform viewing, proving their appeal across platforms. Yet, the future is uncertain. Paramount’s focus on Paramount+ and sports programming could squeeze CBS’s schedule. And what happens after Stephen Colbert’s Late Show ends? ‘It’s too soon to say,’ Reisenbach admits.
Here’s the burning question: Can CBS’s formula of consistency, quality, and innovation outlast the industry’s shift to streaming and sports? Or is this a final hurrah for broadcast TV’s golden child? Let us know what you think in the comments—is CBS’s gamble genius or outdated?
