"We just happened to come along at time where there hadn't been a new young adult drama that also could appeal to adults as well in quite some time. We sort of found a little bit of a niche"
About this Quote
Schwartz frames success the way Hollywood likes to: as a happy accident, a product of timing rather than ego. "We just happened to come along" is classic creator modesty, but it’s also shrewd brand management. By emphasizing circumstance, he sidesteps the swagger of claiming he reinvented TV, while still staking a quiet claim to having read the room better than everyone else.
The key move is the double-audience pitch: "a new young adult drama that also could appeal to adults". This is less about demographics than permission. Teens get the thrill of heightened emotion and aspirational chaos; adults get the alibi of craft, wit, and generational commentary. Schwartz is describing a pipeline show, one that turns adolescent intensity into something legible for parents, advertisers, and critics. The subtext: prestige doesn’t have to be grim, and youth culture can be packaged as mainstream without losing all its edge.
Context matters. Coming out of a period when teen dramas either skewed too earnest, too soap, or too niche, Schwartz is pointing to a market gap created by network timidity. "Niche" sounds small, but here it means strategically unoccupied territory: glossy storytelling with a self-aware tone, pop-cultural fluency, and emotional stakes that travel upward in age. It’s the logic of crossover culture before streaming made it routine: make something teen-first, adult-safe, and everyone can watch together - or at least pretend they’re watching for different reasons.
The key move is the double-audience pitch: "a new young adult drama that also could appeal to adults". This is less about demographics than permission. Teens get the thrill of heightened emotion and aspirational chaos; adults get the alibi of craft, wit, and generational commentary. Schwartz is describing a pipeline show, one that turns adolescent intensity into something legible for parents, advertisers, and critics. The subtext: prestige doesn’t have to be grim, and youth culture can be packaged as mainstream without losing all its edge.
Context matters. Coming out of a period when teen dramas either skewed too earnest, too soap, or too niche, Schwartz is pointing to a market gap created by network timidity. "Niche" sounds small, but here it means strategically unoccupied territory: glossy storytelling with a self-aware tone, pop-cultural fluency, and emotional stakes that travel upward in age. It’s the logic of crossover culture before streaming made it routine: make something teen-first, adult-safe, and everyone can watch together - or at least pretend they’re watching for different reasons.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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