Warner Bros. Tentpole Series to be Branded as HBO Originals Instead of Max
In a strategic move, HBO and Max content CEO Casey Bloys is redefining the distinction between “HBO shows” and “Max shows.” Moving forward, most of Max’s upcoming high-budget, tentpole Warner Bros. IP projects will be branded under the HBO umbrella.
This shift means that major titles like the upcoming “Harry Potter” TV series, the “It” prequel series “Welcome to Derry,” and the newly announced Green Lantern adaptation “Lanterns” will all now be classified as HBO originals. This marks a change from the previous strategy of placing all Warner Bros. IP-based series in the Max category, a decision made when Bloys took over Max in 2020.
“We initially felt the need to distinguish between an HBO show and a Max show,” Bloys explained. “Using Warner Bros. IP as a delineation for Max felt right at the time. But as we produced these shows, we realized we were using the same approach and talent as we did for HBO shows.”
For instance, the writers for “Lanterns” include Chris Mundy, known for his work on HBO’s “True Detective,” and Damon Lindelof, who contributed to “The Leftovers” and “Watchmen.” Even DC Studios co-head Peter Safran described “Lanterns” as a “huge HBO-quality event,” comparable to “True Detective.”
Bloys noted that the high quality of these productions made the initial distinction feel unnecessary. “We realized these shows should just be called what they are: HBO shows,” he said.
This rebranding will officially begin with shows launching in 2025. Therefore, series such as “The Penguin” and “Dune: Prophecy,” premiering later this year, will still be branded as Max originals due to existing international licensing and branding agreements.
Bloys highlighted that this decision aligns with Max’s development of series more akin to traditional broadcast TV. Upcoming series like the medical drama “The Pitt” and the crime thriller “Duster” will remain under the Max brand, as they fit better with Max’s broader, more episodic format.
Though Bloys refrains from setting a strict budget threshold to differentiate HBO and Max shows, he suggests that productions costing around $15 million per episode or more are likely to be classified as HBO originals. This distinction is more straightforward for dramas than comedies, where budget differences make it harder to categorize.
Internally, the division is already less significant, with Amy Gravitt overseeing comedy for both HBO and Max. However, the drama side will see more collaboration, with Sarah Aubrey, head of Max’s original dramas, working alongside HBO drama chief Francesca Orsi on shows like “Harry Potter” and “Lanterns.”
An additional benefit of this rebranding is that shows labeled as HBO originals will also air on the linear HBO network, ensuring a broader audience reach. This will increase the volume of programming for HBO, which plans to keep Sunday and Thursday as original series nights.
Despite these changes, all shows will continue to stream on Max, making the rebranding likely unnoticed by most viewers. Bloys emphasized that for big, cinematic shows, viewers already perceive them as HBO quality.
“We believe it’s helpful to have a brand like Max that allows for creative and format experimentation without the expectations of an HBO show,” Bloys added.
In terms of awards, there has always been no distinction, with HBO and Max shows submitted and campaigned together. Marketing efforts also typically include both HBO and Max logos, given that streaming is the primary platform for viewers.
“We are navigating a confusing time in the industry, adapting to the dominance of streaming and its implications for traditional and streaming content,” Bloys said. “There will be experimentation and mistakes, but it’s all part of figuring out the best approach in this evolving landscape.”
This strategic rebranding reflects HBO and Max’s adaptation to the changing dynamics of television and streaming, aiming to streamline viewer expectations and enhance the audience experience.
