MGM+ Head Michael Wright on Rebranding from Epix, Integrating with Amazon and Bracing for Industry’s ‘Transitional Year’
As Epix It can be transformed into MGM+ Its leader is currently preparing to deliver an expanded set of originals under Amazon’s ownership.
The top-to-bottom rebrand of the service that debuted in October 2009 (as a joint venture among MGM, Paramount Pictures and Lionsgate) coincides with the Season 3 premiere of “Godfather of Harlem,” which has become one of MGM+’s signature shows. MGM+ Head Michael Wright Tells Variety the plan is to increase the streamer’s volume to at least eight original series a year.
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Last week during MGM+’s session at the Television Critics Assn. Press tour Wright revealed a development slate that includes an adaptation of the MGM film “Hoodlum” from Chris Brancato (who’s also behind “Godfather of Harlem”); a take on the novel “The Emperor of Ocean Park” from John Wells Prods.; post-apocalyptic thrillers “Earth Abides” and “Ark,” also both based on books of the same name; and the comedy “American Classic,” starring Kevin Kline and Jon Tenney.
Other upcoming programming include the true-crime docuseries “Murf the Surf,” the second season of “From” and the six-episode limited series “A Spy Among Friends.” MGM+ has picked up the series “Hotel Cocaine” (also from Brancato) and has the sophomore seasons of “Rogue Heroes” and “Billy the Kid” in the pipeline. Also in the works is “Silk: Spider Society,” from showrunner Angela Kang (“The Walking Dead”) and set in the “Spider-Man” universe.
“For most consumers, the decision to subscribe or not, or drop or not, is based on quantity, quality and value,” says Wright, who previously worked as a programming executive at CBS and Turner and served as CEO of head of Steven Spielberg’s Amblin Partners. “We’ve got more Pay One movies than a lot of other premiums. People don’t realize how many original series have now populated the service. And it’s a new and even more robust library featuring a lot of the MGM classics, but other studio films as well… You know MGM, you love MGM. What a gift that we have that name, but we still have an obligation to surprise you with our storytelling, even in the context of this brand that we’re trying to deliver on.”
Since 2017, Wright has been Epix’s president. In 2021, he took over oversight of MGM Scripted Television. Wright is now responsible for managing multiple bosses in the new structure. MGM’s scripted TV now falls under Vernon Sanders, Amazon Studios’ head of television, with Lindsay Sloane leading the division that reports up to Amazon Studios chief Jen Salke. With the Amazon-MGM television integration plan unveiled in November, Wright reports to Chris Brearton as well. Brearton has two roles: overseeing MGM+, MGM Alternative Television, and serving as Vice President of Corporate Strategy for Amazon Prime Video.
VarietyWhich broke the news of the Epix rebrand to MGM+ in September, recently sat down with Wright for an update on the company’s evolution under Amazon, which acquired Epix along with its $8.5 billion purchase of MGM that was finalized last March.
It seems impossible to relaunch this year at a time when the industry is in the middle of an industry course-correction.
I think everybody’s facing the same challenges in the industry so that in that sense, it’s always a level playing field. However, I believe we do have two distinct advantages. Epix is a new entertainment service that brings excitement to the table. It was the best entertainment company that no one had ever heard of. We simply didn’t have enough resources to bring it on the market. So, it’s not like we’re introducing a new product with fairly empty shelves. We’re introducing something that we’ve spent the last 10 years, and my group the last five years, really stocking the shelves. MGM+ is a powerful brand. But I do believe that with the amount of marketing that we’re actually putting out there in the next three months, people are going to be introduced something that they’ve never seen before… I look at MGM+, the sheer breadth of the offering. This thing has a few thousand movies, original series, and everything else. These are studio quality movies starting at $5.99 In a recessionary period, we’re the value play.
How does Amazon support the relaunch
I’ve never been part of a campaign like this. This goes back to my time at Turner. A couple of rebrand campaigns were done that were great. But the Amazon team, day one said, ‘Hey, we like this. Let’s grow it.’ So, it’s been this many, many months-long process of building this thing, which means adding more content, adding more original series, building a marketing campaign. Our marketing campaign by design focuses on the unique brand identity of our service. This is MGM’s extension. I would argue that there’s the Disney brand and then there’s the MGM brand, in terms of consumers. Not Hollywood’s point of view, which is skewed by Hollywood history. MGM stands for something to the consumers.
Are you able to access more data under Amazon?
Both yes and no. We have more access now than we ever had. But we don’t have total access only because, we’re a first- party channel. The way they’ve constructed this is there’s Prime and there’s Freevee and they also have the channel store. They own a channel, and we can be found on Amazon. It is mostly in the channel shop, which is a major part of their business. We get more data than we used to, but we don’t get everything because they’re very focused on being fair. Like, we can’t show you this. But, we can show it to you.
How does the new structure work, given that you fall under Chris Brearton, separate from Jen Salke’s team?
We’re in the channel store business. Jen and Vernon are my friends. They do similar things. And you’re talking about talent, and there’s a natural organic collaboration. However, we are the first-party channel in our lane.
Do you feel a little more independent?
Amazon Studios is a place that gives people autonomy. They’re very focused on people having a point of view about content and owning it. We’re doing our thing. Jen, Vernon, they’re all aware of what we’re doing. And they’re extraordinarily supportive of it.
Will MGM+ be able to show first-run Amazon originals?
If they’re making originals, they’re making them to premiere on Prime. We have MGM Studios, which produces ‘From’ and produces ‘Billy the Kid.’ And that is now part of the Amazon Studios family. So, there’s already a natural sort of organic symmetry there.
In the last few weeks, there have been many shows that were left behind at other outlets. Are you interested in any of these?
You see everything. I remember we picked up “Southland” when I was at Turner, and NBC orphaned it, because I had wanted to buy that show before they sold it to NBC. And I picked up “Cougartown” at TBS when it was abandoned by ABC. I don’t have any sort of pride of having to grow and develop it here. I haven’t seen anything in the last week or two that would displace shows that we’re already ordering or have teed up for the next.
Are you amazed at the price of series these days
I’ll answer that this way. We’ve never had that problem at Epix or at MGM+. We’ve had enough money to make what I think are pretty spectacular shows. You don’t watch “Godfather of Harlem” or “Billy the Kid” or “From” or “Belgravia” or “War of the Worlds” and say, “They made that on the cheap.” They’re all beautifully produced. I think that we’ve learned how to make really great looking television smartly. Co-productions, co-financiers. Various ways you do it, because I just haven’t had that luxury. Who wouldn’t want to have that kind of money to make a TV show? But I haven’t lived that. Sometimes I feel a bit of budget envy. But I don’t live in that space.
How do you prepare for the possibility that there will be a writers strike this year or other labor problems?
Plan ahead. We were able to create eight scripted series in a single year. Amazon has allowed us to do that. But if you’re only making eight scripted series a year, even with our very thoughtful development, we don’t develop 100 scripts. We’re able to develop a couple of options for every slot and get ahead of it. And in the past, we’ve had writers’ rooms for things that we’re thinking of making. We’re always trying to stay a step ahead. Also, when you’re working within very specific budget parameters, you need scripts ahead of time anyway. It is necessary to have a production plan. I don’t have the luxury of just greenlighting a show and hoping for the best. So if there’s a strike looming, over-preparedness helps us.
What do YOU think is the biggest story in TV for 2023
I think it’s a transitional year. I think creating strong identities for your service — What is this service? What makes us stand out from the rest? — is an ongoing story. And I think we’re in a transitional year about how success is measured.
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