BEST in SHOWS

UNDER JOHN LANDGRAF'S LEADERSHIP, FX HAS BECOME A FACTORY OF PRESTIGE HITS BY NOT ACTING LIKE A FACTORY. INSIDE THE MIND OF THE STREAMING INDUSTRY'S WISE MAN—AND THE STUDIO THAT GAVE US THE BEAR, SHOGUN, FARGO, AND MORE

- JOY PRESS

The walls of FX are lined with dramatic posters from the likes of The Americans, Fargo, American Horror Story, and Reservation Dogs. Inside the office lobby sits a piano with candy-colored keys, a prop from the eerie “Teddy Perkins” episode of Atlanta. Turn down any random hallway and you'll likely run into a cache of golden statues. In 2024 alone, FX took home 36 Emmys. Thanks in large part to Shōgun and The Bear, it nearly topped Netflix and HBO's combined tally.

In the two decades he has been at FX’s creative helm, Landgraf has transformed it from a basic-cable network known for edgy, testosterone-soaked series like The Shield and Rescue Me into a singular brand that’s now the jewel in Disney’s crown. Landgraf doesn’t believe in churning anything out. Even in his years as chairman, he’s taken an artisanal approach to development. He steered FX through the collapse of the cable industry as well as the madness of Peak TV, a term he himself coined in 2015 to describe the glut of scripted series spewed out during the streaming wars.

Peak TV has peaked and most streamers are scrambling for safety, but FX keeps taking bigger risks—the latest being the upcoming Alien: Earth, inspired by Ridley Scott’s Alien franchise and created by Fargo showrunner Noah Hawley. Some showrunners worried that Disney, which bought what used to be called 20th Century Fox six years ago, might sandpaper down some of FX’s sharp edges.

It’s Always Sunny in Philadelphia, the longest-running live-action sitcom in American history, has been FX’s resident troublemaker since 2005. Its creator and star, Rob McElhenney, says that after the acquisition, Landgraf’s team assured him that nothing would change creatively. McElhenney and his