Greg Berlanti: A journey from ‘Dawson’s Creek’ to groundbreaking TV
The early days: Hesitation and opportunity
When the WB Network approached Greg Berlanti to take over as showrunner for the third season of Dawson’s Creek, he initially declined. The teen drama was already a cultural phenomenon, and Berlanti, who had joined the show as a staff writer in its second season, was wary of the potential pitfalls. “I thought that was a quick way to get fired, and I liked the job way too much to lose it,” he recalls.
Berlanti’s entry into television was facilitated by his college friend, Julie Plec, who was working for the show’s creator, Kevin Williamson. When both Williamson and Plec left the series before the third season, the network sought an in-house leader and turned to Berlanti. Despite his initial reluctance, he eventually accepted the role, but not without setting some important conditions.
Breaking barriers: A kiss to remember
One of Berlanti’s key stipulations was that Jack, the gay teen character played by Kerr Smith, should be able to kiss another guy on-screen without the camera cutting away. This was a significant demand at a time when same-sex affection was often censored. Berlanti had co-written Jack’s coming-out episode in Season 2 and felt strongly about this milestone. “If they can show violence on TV, why can’t we show a tender moment between two members of the same sex?” he argued.
When the kiss aired in the Season 3 finale, it marked the first romantic kiss between two men in primetime television, a monumental step forward for LGBTQ representation. This moment alone would have cemented Berlanti’s place in Hollywood history, but it was just the beginning of his influential career.
A legacy of representation and teamwork
Berlanti’s impact on television extends far beyond Dawson’s Creek. As the head of Berlanti Productions, he has been instrumental in creating and producing over 40 series, many of which have pushed the boundaries of representation for LGBTQ and POC audiences. His work has earned him the prestigious Governors Award from the Television Academy, which he will receive during the 76th Emmy telecast.
Despite his aversion to public speaking, Berlanti plans to use his Emmy stage time to thank the many creators, showrunners, writers, actors, and crew members who have collaborated with him over the years. “Making TV takes a village,” he says, reflecting on his early days on the Dawson’s Creek set in Wilmington, N.C.
The Berlanti model: Collaboration over individualism
Berlanti quickly realized that he wasn’t a one-man show like David E. Kelley or Aaron Sorkin. Instead, he thrived on collaboration. “I was very reliant on a base of writers who could figure things out and do it together,” he explains. This collaborative approach has become the cornerstone of his business model.
At the peak of his career in 2019, Berlanti had an astonishing 18 series on the air simultaneously. While these records often grab headlines, Berlanti places his pride elsewhere. “For me, the real thing has never been the shows but the people,” he says. “The key to perceived success in this business isn’t just how much you are doing, but the amount of people and the kinds of people you can do it with.”
A diverse slate of shows
Berlanti’s producing slate is impressive and diverse. At ABC, he produced dramas like Brothers and Sisters, Dirty Sexy Money, and Eli Stone. He also played a pivotal role in shaping the CW’s creative direction by helming the Arrowverse, which includes superhero series like Arrow, The Flash, Supergirl, and Legends of Tomorrow.
In recent years, Berlanti Productions has had series on various platforms, including The Girls on the Bus and Titans on Max, You and Dead Boy Detectives on Netflix, and Found on NBC. His shows often cater to younger audiences, a demographic that awards often overlook but that Berlanti values deeply.
The power of youth and truth
Berlanti believes that the shows people love most are often those they watched when they were young. “It’s not just a story they love; it is the time when they fell in love with television,” he says. This understanding drives his commitment to creating impactful content for younger viewers.
When working with creators, Berlanti emphasizes the importance of truth. “What I lead with in writers’ rooms or when I work with showrunners is to ask them: what is truthful to you?” he says. This approach ensures that the work is inspiring to the creators first, which in turn inspires the audience.
Looking ahead: New projects and continued passion
Berlanti’s passion for television remains undiminished. This year, he was nominated for a competitive Emmy for producing the TV movie Red, White & Royal Blue on Prime Video, an adaptation of Casey McQuiston’s queer romcom bestseller. The film has already secured a sequel, and Berlanti is excited about the story’s next chapter.
With at least half a dozen projects in development, Berlanti continues to thrive in the beautifully chaotic world of television production. “This is my happy place,” he says. “Going from room to room working on drafts and material in its most nascent stage because that’s when all of it is possible.”
In a career spanning over two decades, Berlanti has not only broken records but also barriers, making television a more inclusive and collaborative space. His journey from Dawson’s Creek to the present day is a testament to the power of truth, representation, and teamwork in creating groundbreaking television.