ABC is expanding its comedy slate with the acquisition of The Dogwood, a new multi-camera sitcom produced by Fox Entertainment Studios. The project, written by Mom co-creator Gemma Baker, marks a pivotal shift in the business relationship between the two broadcast giants, as Fox begins to leverage its production arm to sell original content to third-party networks.
The series centers on a workaholic mother who, after leaving her marriage, finds herself unexpectedly embodying the most stereotypical traits of a divorced father. This narrative flip aims to subvert traditional gender roles within the family sitcom framework, blending the domestic chaos of single parenthood with a critique of the “bumbling dad” trope that has dominated the genre for decades.
The deal is more than just a programming win for ABC; it is a milestone in the corporate evolution of Fox. Since the Fox Corporation became an independent network in March 2019 following Disney’s acquisition of 21st Century Fox assets—which included the powerhouse 20th Century Fox Television—the network lacked the internal infrastructure to produce its own shows. For years, Fox operated primarily as a buyer of content produced by other studios.
However, through a combination of organic growth and strategic acquisitions, including MarVista Entertainment and the animation house Bento Box, Fox has rebuilt its production capabilities from the ground up. While Fox Entertainment Studios has spent the last few years focusing on internal needs, the sale of The Dogwood signals that the studio is now ready to compete as a vendor in the broader television marketplace.
A Strategic Fit for the ABC Brand
The decision to move The Dogwood to ABC rather than keeping it within the Fox ecosystem is a calculated move based on audience demographics and current programming goals. While Fox has expressed a desire to return to the multi-camera format—a genre it hasn’t touched since Call Me Kat ended in 2023—its current comedy identity is heavily male-driven.
Fox’s current live-action comedy offerings, such as Animal Control and Going Dutch, lean toward a different comedic energy. In contrast, ABC has long maintained a stronghold on female-skewing audiences and continues to invest in the multi-cam format, as seen with the Tim Allen sitcom Shifting Gears. By placing a project about motherhood and marital dissolution on ABC, the producers are aligning the demonstrate’s premise with a network that has a proven track record of success with domestic-centric comedies.
This strategic alignment is further supported by the pedigree of the show’s creator. Gemma Baker is a veteran of the multi-camera world, having co-created the CBS hit Mom alongside Chuck Lorre and Eddie Gorodetsky. Baker’s trajectory on Mom saw her rise to executive producer and eventually serve as co-showrunner for the final three seasons, demonstrating a mastery of the high-volume, high-energy production style required for broadcast sitcoms.
The Pedigree of Gemma Baker
Baker’s influence on the modern sitcom is substantial. Beyond Mom, her credits include the long-running CBS staple Two and a Half Men and, more recently, NBC’s Happy’s Place. Her ability to balance broad comedy with grounded emotional stakes makes her an ideal architect for a show like The Dogwood, which relies on the tension between a professional woman’s identity and the messy reality of post-divorce parenting.
The “divorced dad” archetype—characterized by a lack of domestic competence and a sudden, clumsy attempt at parenting—is a well-worn path in television. By assigning these traits to a workaholic mother, Baker is positioned to explore the blind spots of high-achieving women and the social expectations of motherhood in a way that feels fresh for a broadcast audience.
The Rebuilding of Fox’s Production Power
The sale of The Dogwood serves as a public proof-of-concept for Fox Entertainment Studios. The journey from a studio-less network in 2019 to a third-party provider is a rare feat in the current era of media consolidation. Most networks are shrinking their footprints; Fox, conversely, has been quietly expanding its ownership of its intellectual property.
Currently, Fox maintains full ownership of a diverse portfolio of series, spanning different genres, and formats. This ownership allows the network to retain more control over syndication and international distribution, which are the primary drivers of long-term profitability in television.
| Genre | Example Series | Format |
|---|---|---|
| Drama | Best Medicine | Live-Action |
| Comedy | Animal Control | Live-Action |
| Animation | Krapopolis | Animated |
By selling The Dogwood to ABC, Fox is effectively diversifying its revenue streams. It can now earn production fees and backend profits from a show that airs on a competitor’s network, mirroring the business model used by major studios like Sony Pictures Television, which produces content for various networks without owning a broadcast channel of its own.
The Future of the Multi-Cam Sitcom
The industry has seen a significant migration toward single-camera comedies and limited series over the last decade, with many networks abandoning the traditional “laugh track” format in favor of more cinematic styles. However, the persistence of the multi-cam on ABC suggests there is still a hungry market for the comfort and familiarity of the traditional sitcom.
The success of The Dogwood will likely depend on its ability to modernize the format. If Baker can successfully blend the traditional rhythms of a multi-cam with a contemporary take on gender roles and work-life balance, the show could become a cornerstone of ABC’s comedy block.
As Fox Entertainment Studios continues to develop new pitches, the industry will be watching to see if this is a one-off deal or the start of a broader strategy to become a primary content supplier for the entire broadcast landscape.
Further details regarding casting and a potential premiere date for The Dogwood are expected to be announced as the project moves into active production. We will continue to monitor ABC’s upcoming pilot season for updates on the series’ development.
Do you think the “divorced dad” trope works better when flipped for a lead female character? Share your thoughts in the comments or join the conversation on social media.
