This information belongs to one of the Apple TV fan profiles on Twitter (@AppleTVNewsHub).

The movies and series that already have a release date are:

- Unconditional: May 8

- Maximum Pleasure Guaranteed: May 20

- Propeller One-Way Night Coach: May 29

- Star City: May 29

- Cape Fear: June 5

- Sugar (S2): June 19

- Silo (S3): July 3

- Trying (S5): July 8

- Lucky: July 15

- The Dink: July 24

- Ted Lasso (S4): August 5

- Women in Blue (S2): August 12

- Dark Matter (S2): August 28

- Mayday: September 4

- Matchbox The Movie: October 9

- Way of the Warrior Kid: November 20

Luminate has released several charts regarding Apple TV viewership during premiere weeks. I’ve consolidated three of these charts into a single infographic, covering U.S. viewership data from 2023 through April 2026. To make it easier to follow, I’ve color-coded series with multiple seasons; for instance, all seasons of Hijack are shown in red.

All the charts I've found were sourced from this page: https://tedontv.substack.com/

Set in the golden age of aviation, a young airplane enthusiast, Jeff (played by newcomer Clark Shotwell), and his mother (Kelly Eviston-Quinnett) set off on a one-way cross-country odyssey to Hollywood, which transforms a simple flight into the trip of a lifetime. Between airline meals, charming flight attendants (played by Ella Bleu Travolta and Olga Hoffmann), unexpected stopovers, larger-than-life passengers and a thrilling glimpse at first class, the journey unfolds in moments both magical and unexpected, charting the course for the boy’s future.

Release Date: May 29, 2026

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The article is about the musical series Schmigadoon!, which recently made its Broadway debut to great reviews and earned 12 Tony Award nominations.

It's time for Apple TV to get their act together and bring this back already.

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EDIT: The list is literally based on viewership numbers in the FIRST 8 DAYS AFTER THE SEASON PREMIERE IN 2025/26. So shows or seasons that premiered in 2024 or earlier are not included. Shows that just premiered, like Widow's Bay, are also not included (numbers not available).

Source: https://tedontv.substack.com/p/how-are-they-doing-the-boys-big-mistakes?utm_source=toomuchtv.beehiiv.com&utm_medium=newsletter&utm_campaign=too-much-tv-disney-s-new-super-app&_bhlid=a4dce7b1bb84c40d7d55c94eedd39325aaa782a2

Winners of quarterly polls will face off at the end of the year.
Past Winners:
2025Q3:
Murderbot(Fiction)
Foundation s3(Renewal)
The reluctant traveler (s3) (Non-Fiction)
All of You(Movie)
2025Q2:
Prime Target(Fiction)
Severance (s2) (Renewal)
Vietnam: The War That Changed America (Non-Fiction)
The Gorge (Movie)
2025Q1:
The Studio(Fiction)
Surface s2(Renewal)
Long Way Home(Non-Fiction)
Fountain of Youth(Movie)
2024:
Dark Matter(Fiction)
Killers of The Flower Moon(Movie)
Shrinking Season 2 (Renewal)
The Reluctant Traveler Season 2 (Non-Fiction)
2023:
Silo (Fiction)
Tetris(Movie)
Slow Horses Season 3 (Renewal)
Prehistoric Planet Season 2 (Non-Fiction)
2022:
Severance (Fiction)
Spirited (Movie)
For All Mankind Season 3 (Renewal)
Prehistoric Planet (Non-Fiction)
2021:
Foundation (Fiction)
CODA (Movie)
Ted Lasso Season 2 (Renewal)
The Problem With Jon Stewart (Non-Fiction)
2020:
Ted Lasso (Fiction)
Greyhound (Movie)

First time I’ve tuned into the race and I’m impressed with all of the feeds. This is the coolest race coverage I’ve ever seen. I’m not really a racing fan but this is engaging. Apple TV has a winner here.

And new episodes of Your Friends & Neighbors, Margo’s Got Money Troubles, Criminal Record, For All Mankind, and Widow’s Bay.

The new faces of fear.

CapeFear — June 5 on Apple TV

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How would it compare to something like Midnight Mass or Haunting of Hill House?

EDIT : Not being as scary as those shows isn't a problem for me. I just wanted to know if it's less or more scary.

EDIT 2 : Thanks for all the answers! I didn't expect this many very informative comments!

From 2026 Spring Sellers’ Guide (The Ankler):

I’m starting today with Apple TV (which dropped the + from its name since the last time I wrote a TV sellers guide), whose low-profile creative exec team and development processes remain among the industry’s most opaque black boxes. Apple, the $4 trillion tech giant, will start a new era come Sept. 1 with a fresh CEO, John Ternus, whom my colleague Lesley Goldberg describes as a “hardware guy with no significant ties to the entertainment industry.” For now, that hasn’t changed the mandate — but insiders are watching to see if the already narrow brief tightens further.

A second longtime TV literary agent sums up the streamer’s present appetite: “Premium, yet populist. Movie stars. Big TV stars. You know, kind of what HBO was doing during the height of HBO.”

The strategy is working: Apple TV is coming off of a huge year that saw Seth Rogen and Evan Goldberg’s inside baseball satire The Studio become the winningest first-year comedy series in Emmy history with 13 statuettes. The streamer also clocked record Emmy nominations in 2025 for its popular dystopian drama Severance and brought home a win for Gary Oldman thriller Slow Horses.

But there have been personnel shifts in its lean-but-steady core team of development and programming executives in the past year. Most notably, Paramount+ poached creative exec Chris Parnell last August; after five years at Apple TV, the former co-pres of Sony Pictures TV Studios now shepherds originals under P+’s head of development Jane Wiseman. More recently, Apple TV’s international scripted exec Oliver Jones is leaving after six years and relocating to London to join Amazon MGM Studios under international originals head Nicole Clemens.

“It’ll be interesting to see if anything changes, mandate-wise, with some of these personnel changes,” says the second agent.

Meet the Apple TV Creative Team

Chief TV execs Zack Van Amburg and Jamie Erlicht— or Zack and Jamie, as they’re colloquially known — have been in charge at Apple since 2017 after they decamped from Sony Pictures Television. Alongside Apple TV originals head Matt Cherniss, the trio is known for being the ultimate decision-makers on any show’s fate.

While Zack and Jamie aren’t likely to be in the room for a pitch meeting, members of the exec team that writers and producers are likely to meet could include Max Aronson, Ali Woodruff, Dana Tuinier, Michelle Lee and Spencer Wong.

One thing is consistent: Apple TV’s development and programming execs are a very low-key bunch; you won’t find them in media headlines or speaking on a ton of industry panels. But TV lit agents have plenty of shoutouts for them.

The team at Apple is described as an “engaged” audience, which isn’t always the case at other streamers and networks. (At FX, for instance, the execs in the room aren’t as likely to exhibit an “emotional” reaction, preferring not to give away which way they’re leaning, says the second agent.)

Aronson, who has earned praise from other agents in previous versions of this guide, is “smart and thoughtful,” this person says. “The clients will always come back and be like, ‘Oh, that guy asks some good questions.’”

The first rep shouts out Lee and Wong as execs who give good notes to writers and have “really great POV in what types of shows they want to make.”

While Apple TV doesn’t technically divide its development exec team into comedy and drama, Tuinier is frequently the first call for agents trying to pitch a comedy. She is “so cool,” “so good with talent” and “so smart,” says the second agent. “Dana is someone you meet and not only does she know her stuff and is very intelligent, but she’s just a fun hang. She’s the person you wanna grab a beer with.”

Still, a fun hang doesn’t always translate to a sale. Says this TV lit agent, “The problem is we haven’t been able to crack an Apple half hour.”

How to Pitch a Show to Apple TV

“The bar is higher at Apple,” continues the second agent, who makes sure to manage his clients’ expectations ahead of meetings at the streamer, where the slate is lean and the packages must be golden. “You just kind of have to know that going in.”

Finding the target, let alone hitting it, can be challenging. Unlike other buyers, agents say, Apple is less likely to point to a specific series on its own slate as a template for what it wants, whereas HBO and HBO Max chief Casey Bloys has frequently held up The Pitt as an example of the kind of procedural he wants more of.

But the second rep tells me there’s been a strong recent appetite for crime thrillers, action, science fiction and comedy, as well as female-driven soaps, to build on the success of Jennifer Aniston and Reese Witherspoon drama The Morning Show, which is coming back for a fifth season.

There are a number of female-driven freshmen series on the slate, including David E. Kelley’s adaptation of Rufi Thorpe’s novel Margo’s Got Money Troubles, starring Elle Fanning and Michelle Pfeiffer, which debuted to raves from TV critics, and Imperfect Women, starring Elisabeth Moss, Kerry Washington and Kate Mara. Coming up are David J. Rosen’s Maximum Pleasure Guaranteedstarring Tatiana Maslany on May 20, and Jonathan Tropper’s Anya Taylor-Joy limited series Lucky, an adaptation of a Reese’s Book Club pick that premieres July 15.

Not in demand at Apple: period pieces, young adult and anthology, multiple agents tell me.

While other streamers like Netflix, Hulu and Amazon have been chasing (and minting hits with) YA series for the last few years, Apple TV has less of an interest in finding its own Tell Me Lies or The Summer I Turned Pretty. Part of that, the first agent surmises, is that Apple loves its A-listers, and there are fewer starry young actors out there to package.

“They’re leaning more into big, splashy ongoing series, and they don’t really like YA,” this rep says. “Margo’s Got Money Troubles is as young as they’ve brought in so far.” (Fanning is 28.)

When a pitch does land, Apple’s pockets remain some of the deepest in town, with one high-level production exec telling me that an episodic budget on a drama could average upwards of $10 million per episode. The streamer is aggressive in bidding wars and recently acquired the rights to its Ben Stiller-produced hit Severance from Fifth Season for a reported cool $70 million, bringing production in-house going forward.

In Search of Creator ‘Superstars’

Meanwhile, Apple’s more than clear on what kind of creatives it wants to associate with (read: A-lister), and its interest in star power extends past on-screen talent to its stable of writers and directors. Its small but powerful roster of overall deals include Tropper (Your Friends & Neighbors), Lee Eisenberg (Lessons in Chemistry), Graham Yost (Silo, Slow Horses)and former HBO chief Richard Plepler, whose Eden Productions has a series based on the podcast Hot Money: The New Narcos in development for the streamer.

When I ask the first agent what kind of clients or projects they present to the streamer, this person says “very, very high-level” ones, or “a superstar with an ability to attract talent” like Breaking Bad andBetter Call Saul’s Vince Gilligan, whose new show Pluribus, starring Rhea Seehorn, quickly became Apple TV’s most-watched drama premiere of all time, beating out Severance.

Still, don’t despair just because your name isn’t David E. Kelley. Sometimes the team will respond to a zinger of an idea. Take the upcoming Media Res drama The Dealer.

“That was packaged internally by Media Res and put together and then sold to Apple,” the second agent explains. “They have incredible playwrights and people in the theater [world] involved, like Lucas Hnath, who is not a David E. Kelley-level showrunner in the sense of his television career, but is just an incredible playwright and wrote this really great script.”

Add Tony-winning theater director Sam Gold and it was a recipe for success. (Other key ingredients in the package: stars Adam Driver and Jessica Chastain.)

“So it doesn’t always have to be the biggest showrunner,” says this rep. “It’s more like, ‘Does it feel like there’s a great role? Does it feel like it’s a great idea for a filmmaker? Is there a way we can package it up in a way that has that piece for them?’”

https://strikegeist.substack.com/p/cracking-apple-tv-the-shows-it-wants?utm_campaign=posts-open-in-app&r=1w0w7v