Breaking into the film and television industry without the right connections can be nearly impossible. You may have a great idea for a cartoon series, but unless it reaches the right hands, it will not get produced. However, under the right circumstances, and with luck, you can see your great idea transform into a television series.
Write your series' pilot script. Do not "marry" your first draft. Send it to friends and colleagues for feedback to perfect your pilot. Continue rewriting until you have a solid draft. Protect your script by registering it with the Writers Guild of America (WGA).
Compile a list of agents. Search different agency sites, and research literary agents who specialize in representing television writers for animation. While most agencies will be in Los Angeles, other agencies specializing in animation can be found in New York, and smaller agencies can be found in various cities across the country. Once you complete your list of agents, call each one, and briefly describe your animation concept. Ask if they are interested in reading your script. Some will ask you to send a letter of inquiry, while others will say, "No." If you are lucky, one or more agents will agree to read your script. If an agent does agree to look at your idea, deliver the script in person. This way, you are no longer just a name; they know your face, and you become a person to them. An agent will have the connections to get you into meetings with producers, so agents are essential in the process of creating a television series. If you are lucky and talented, you will land an agent who will get you into meetings with the right people.
Develop a pitch strategy for your series. Know everything inside and out, including characters, settings, plots, future episodes, and even story arcs to fill additional seasons of your series. It is also important to know the style of your show. Will it be outlandish, laugh-out-loud humour, or clever, witty and more subtle humour? You must know these details in order to impress network producers when you pitch your series.
Work with interested producers to get your show off the ground. They will know what is best for the show, and how they want to run its production. Work with them along the way to make sure your pilot script gets produced, and perhaps picked up for a series.
Birmingham, B. (2010). How to Submit an Idea for a Cartoon Series. [online] Pen and the Pad. Available at: https://penandthepad.com/submit-idea-cartoon-series-7387291.html [Accessed 11 Nov. 2019].
‌(Birmingham, 2010)
Work with interested producers to get your show off the ground. They will know what is best for the show, and how they want to run its production. Work with them along the way to make sure your pilot script gets produced, and perhaps picked up for a series.
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Schneider, B. (2017). How To Start, Produce, and Pitch A Show To Netflix - Resource. [online] Resource. Available at: http://resourcemagonline.com/2017/12/how-to-start-produce-and-pitch-a-show-to-netflix/83513/ [Accessed 11 Nov. 2019].
(Schneider, 2017)
We’ve all heard of Netflix, and more so, we’ve all likely spent hours sucked into the world of one TV show or another that makes up the steaming system’s extensive collection of content. With 75 million yearly subscribers, Netflix is a television powerhouse, home to some of the most high profile shows in existence.
It is every television show maker’s dream to see their show in the homes of millions of people across the world, and there is really no place more desirable to make this happen than through Netflix…but getting this done is an incredibly difficult task. How do you make it happen?
It starts with the idea. You are going to need something pretty damn unique, as the tv world has never been richer in creativity than it is today. But fresh ideas are out there, and if you think you’ve got a good one then hold on to it tightly. You are going to have to flesh out your concept in detail, familiarizing yourself with all of the things your show would encompass, from characters to setting to style to plot. Getting your prospective show out there does not mean you need to write an entire series worth of content, oftentimes you need only a great, well-thought-out idea to hook the right people who can get you where you want to go.
But, more often than not, you as the writer will need to develop a coherent script for, at the very least, the pilot episode of your show. TV Production companies are rarely interested in an “idea”, as everyone has ideas. If you are able to buckle down and put your idea into a developed, thoughtful script, preferably a couple of episodes, you are much more likely to catch the eye of a production company. These people want to see that you have thought out your idea and have enough material to turn it into a potentially long-lasting television show.
You are then going to want to get in touch with a producer or agent that best matches the direction you see your show heading in. You should do extensive research to determine which production companies and studios would be a good fit, who specifically you should contact, how they like to be queried (email, fax, mail, etc.) and what exactly they are looking for in terms of content (comedy, drama, sci-fi, etc.) The absolute best-case scenario is to pitch in person, if you can manage to find a connection to a producer or somehow manage to arrange an in-person meeting—it is the easiest way to passionately pitch your show, and you will be there to be certain nothing is misunderstood and the agent/producer is clear on your ideas and visions. There are a number of questions you should absolutely be able to answer about your show before heading into a pitch. 
Now, if you’ve got an agent/producer, preferably one who has ties with Netflix already, you are on track to getting your show on to Netflix’s radar. Your form of representation will assist in readying your project to be pitched to the network. If this is successful, you will be able to sell your show to Netflix for a discussed sum of money, as well as negotiate a contract for an order number of episodes and compensation as per the terms of the agreement. From there, it can take any amount of time to get your show up onto the TV screen, if it even makes it to that point. The TV industry is incredibly fickle, with shows being picked up, produced and fully made only to be cancelled at the final moment.
There are no set steps to creating a show and successfully getting it into the most sought-after streaming service. Hundreds of creators have taken different routes, as a lot of it depends on connections/chance encounters, and what works for some people will not work for the other. It is important to dedicate everything you have to create your show if this is something you truly want to do, and following your gut and intuition in terms of choosing a next step is incredibly important.
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Script Reader Pro in TV Writing (2018). How to Pitch a TV Show to Netflix, Networks and More. [online] Script Reader Pro. Available at: https://www.scriptreaderpro.com/how-to-pitch-a-tv-show/ [Accessed 11 Nov. 2019].
(Script Reader Pro in TV Writing, 2018)
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How to Pitch a TV Show to Netflix, Networks and More Like a Pro

Learning how to pitch a TV show is just an important skill to learn as writing the script itself. You can write the best pilot in history, but if you don’t know how to pitch it, it’s unlikely your show will get produced.
Apart from great writing, you need to be able to convince the financial gatekeepers (read: executives) that your idea has the originality, longevity and “wow-factor” to turn it into a successful series. And turn over a tidy profit.
To do so, you will need to learn how to pitch a TV show. But what does “pitch” mean exactly?
♦  What kind of pitch should you put together in order to sell them on your big idea?
♦  What should you include in such a document?
♦  How should it be tailored to suit the particular entity you’re pitching to?
Below, we’ll aim to answer these queries by running through the means and methods behind pitching a variety of documents to different TV mediums.
At this point, streaming and cable services have become a de facto part of everyday life. Millions subscribe to companies like Netflix, Amazon and HBO. But if you’re hoping to get all those eyeballs on your show, you’ll first need to learn how to pitch a TV show the right way.
The bad news is most cable/streaming services have a no-unsolicited submissions policy. This means if you don’t yet have an agent or manager, you most likely won’t be able to send them your script.
With this in mind, the first step towards being able to pitch a TV show to almost any cable or streaming platform is to gain representation. This is no easy task in and of itself, but you can read more here on how to get a screenwriting agent.
Also, it’s very difficult to pitch a TV series to a streaming, cable or network company unless you already have a track record of working in television or film.
Given that Netflix is something of a “disrupter” in the entertainment industry, they’re looking for more dynamic, out-of-the-box choices than other platforms might. They also put less of a premium on seeing multiple season arcs than some of their more traditionally-minded competitors.
Once you have your logline, series bible and script, you’re then ready to submit to a streaming/cable company via your agent or manager. Or pass your materials along to someone you know who works at Netflix, HBO, Amazon, etc.

How to Pitch a Television Show to a Network

Unlike cable and streaming services, network TV is a somewhat more rigid and traditional arena in which to pitch your TV series.
For one thing, the networks actually operate on a particular schedule. This is mostly centred around the so-called “pilot season.” It begins with scripts being ordered in January and ends with casting and production crews being assembled by mid-Spring.
Network vs. Cable

With all these risks in mind, studios that create network TV are looking for much more of a safe bet. And this desire that should be reflected in your pitch document.
Typically, these documents would be more succinct and to-the-point than their artier cousins in the streaming/cable world. It should ideally focus on the basics and eschew any more stylized effects.

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Unsolicited Submissions to Netflix

If you have an idea for a show or film, you may be curious how to send it to Netflix. Netflix only accepts submissions through a licensed literary agent, or from a producer, attorney, manager, or entertainment executive with whom we have a preexisting relationship. Any idea that is submitted by other means is considered an “unsolicited submission.”
Whether it is an idea that just came to mind or a fully developed script, Netflix does not accept unsolicited materials or ideas.
Any submission, even those we solicit, must come to Netflix through a licensed literary agent, or from a producer, attorney, manager, or entertainment executive who already has a relationship with Netflix.
If you have an idea, script, screenplay, or production already in development that you’d like to pitch to Netflix, you should work through a licensed literary agent, producer, attorney, manager, or entertainment executive who already has a relationship with Netflix.
If you do not have any of these resources available, Netflix will be unable to accept your unsolicited submissions.
Netflix uses all of the following methods to find new content to buy or create:
  • Netflix employs a team of creative executives and buyers, who receive pitches for shows and movies.
  • Netflix has deep relationships with the creative community and talent agencies, who propose ideas for shows and movies.
  • Netflix may purchase finished works at film festivals or other established venues.
  • Netflix may generate an idea internally and hire writers or other creatives to develop those ideas further.
Netflix (2019). Unsolicited Submissions to Netflix. [online] Help Center. Available at: https://help.netflix.com/en/node/100386.
‌(Netflix, 2019)

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What is known as an IP (Intellectual property) is a broad term related to all creations of the mind, when it comes to entertainment though, you can think of an IP as a story with characters, a video game, a comic book, a cartoon, etc.. basically anything that is original and you came up with it.
Making your own IP is really very tempting, not only is the process extremely creative, fun and rewarding, but if by a stroke of luck you managed to create something popular; the financial incentive will be well worth it. Of course, actually managing the copyrights, licensing* and "milking" of your creations is a totally different thing.
Now just for the record, I haven't yet actually created any IP or sold any animated series, but I worked for places like Lucasfilm where I was dumbfounded about the profit figures for licensing in an annual meeting, I also worked with smaller cartoon producers, have read a few books on the subject, done some research and asked around. This is something I am curious about and would like to share my findings and resources.
When pitching you are trying to convince an executive to invest money in your idea which is an extremely difficult thing to do. They have a huge number of people trying to give them ideas, they are really not short of them no matter how special you think your story is. Implementation and production cost is what matters.
Having a completed series, on the other hand, is a different matter, if you go to MIPCOM for example you will find potential buyers. But the important thing to consider here is will you be able to sell it a profit? Those "buyers" have specific needs, you certainly need to be aware of age groups, demographics, languages, how long an episode needs to be, commercial breaks, etc.. to make something that will be able to sell.
Networks are usually trying to fill in a "slot". they have specific formulas and requirements, for example, they might want a children's cartoon targeted at ages between 2-6  with Bob the Builder style, because there has been quite some years without something similar. Or maybe they want the episodes to have a certain length or number.
It might be that one thing is on-demand and another style or age group is oversaturated, also each network has a different style. All I can say is, the business side is very different from simply doing something creative.
Personally, I wouldn't prefer to pitch, maybe I would go to an exhibition and see what the atmosphere there is like and make some connections, but I wouldn't count on striking a deal. 
Fortunately, though, technology might help us bypass the pitching process altogether and reach the audience directly, it is so much work to pitch that I'd rather promote my ideas on my own and find alternative revenues or ways to fund my productions rather than dedicate the effort and resources needed to pitch.
I solidly agree with Mayerson views, and I picked for you some of his blogs over here:
Don't Pitch to Buyers, Pitch to the Audience Part 1, Part 4 and Part 6
Things are changing so much, you can now make you own simple show, live on advertising, or directly sell your merchandise.
It doesn't even have to be an animated series, you can consider web comics or novels.
These two threads on CG Society forum are good discussions: 
If you had read The Long Tail by Chris Andreson or Tribes by Seth Godin and plan to promote your own creations; you know that you could possibly fill in any niche and not have to submit to any business or network pre-subscribed formulas.
Before learning about pitching and selling an animated series, I was really in the dark about all these subjects and thought it would be hard to dig for this sort of information. 
Then I learned more about it and started asking people who are in the business and been to film markets; I got excited, maybe too excited and started learning all I can about this, thinking I could make a deal and create a series in no time. Now after learning more, I somewhat understand what it takes to pitch, what are the pros and cons. And what alternatives you have.
I know that I am not probably the most qualified person to talk about this subject. But just like yourself, I was curious about this subject, learned about it, then eventually decided to continue in the line of work I am in, and try to make it more successful to have enough revenue to fund experimentations into IPs, short films or simple video games rather than pitch. I wrote this article to share whatever little I know.
I highly recommend visiting film markets like MIPCOM or film festivals and mingling with the crowd to learn more. Human interaction is always the best way to learn.
(Ismail, 2017)
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If you've always dreamed of making people laugh – millions of people – or inspiring people via animation, the digital age offers tools and media for creating an animated platform to do exactly that. With billions of people on social media and platforms such as YouTube, it might only be a matter of time before a great cartoon show becomes a household name. To get started, you'll need a terrific idea and a flair for the creative.
 For example, Seth MacFarlane is the creator of "Family Guy" and several other shows on network television. He studied animation at the Rhode Island School of Design. After a professor sent his animated film thesis to Hanna-Barbera Productions – now Cartoon Network Studios – MacFarlane was given a position at the studio.
He also worked as a writer for Walt Disney Animation, before getting a contract with Fox for his own show. It took him six months to hand draw the 15-minute pilot of "Family Guy" before it eventually became a hit with fans for many years.
Using state-of-the-art computer animation software is one way to get started as a cartoon animator, but it's not the only way. Animated cartoons can be made from any medium you choose, such as molding pieces of clay and taking still pictures to then make a video in a process called claymation. South Park creators Trey Parker and Matt Stone started out by cutting out their characters, props and backgrounds from pieces of cardboard. A Montreal-based advertising executive started his own online cartoon show, tetesaclaques.tv, by filming dolls he bought at a local dollar store and using his own voice for the mostly French-speaking animation.
These days, for anyone starting out in cartoons, YouTube should be an obvious consideration. Although you won't make a lot of money by submitting your first video, it is a good way to get your work seen. By sponsoring ads on your videos, you also have the ability to make some money. The more people watch your videos, the more money you could be earning, until the right TV executive sees it and asks you to do a pilot.
Other platforms to consider include Vimeo, DailyMotion and even Instagram for shorter videos. To have your cartoon go viral, you should consider posting it on your favourite social media platforms as well.
Weedmark, D. and Seidel, M. (2011). How to Start a Cartoon Show. [online] Chron.com. Available at: https://smallbusiness.chron.com/start-cartoon-show-14503.html [Accessed 11 Nov. 2019].
‌(Weedmark and Seidel, 2011)

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Sugar, R. (2016). Create Your Own Cartoons! | Interview with Rebecca Sugar | Cartoon Network. [online] YouTube. Available at: https://youtu.be/74BxKXHgk1A [Accessed 11 Nov. 2019].
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The production process for a live action TV show is fairly straightforward. Writers come up with a script, actors perform the script in front of a few cameras and a studio audience, the footage is edited, and the show is ready for broadcast. (This is a simplification, but that's the production process in a nutshell).
Producing an animated television program is a far more laborious process, involving dozens of people working hundreds of hours. In traditional animation, still the standard for animated TV shows, every single frame of an animated show must be drawn by hand. The 20 or so minutes of actual footage that make up a typical half-hour program consists of around 30,000 separate frames. 
RUSSELL, S. (2003). How TV Animation Works. [online] HowStuffWorks. Available at: https://entertainment.howstuffworks.com/tv-animation1.htm [Accessed 11 Nov. 2019].
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Monster! Entertainment (2019). Distribution. [online] Monsterentertainment.tv. Available at: http://www.monsterentertainment.tv/process/distribution/ [Accessed 11 Nov. 2019].
‌Monster sources programming from all over the world and sells it all over the world.   We have sold programming into over 200 countries and in all media from TV to DVD, VOD, merchandising, mobile, online etc.

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During the 20th edition of Cartoon Movie, Europa Distribution organized on 7 March a workshop dedicated to those many independent distributors within the Association who are engaged in bringing independent and European animation films to local audiences. While many members are habitués of the Cartoon event, and have a long experience with animation releases, this was for others the occasion to get more familiar with the specificities of the animation and benefit from their colleagues’ expertise. To unveil the secrets of distributing animation, nothing better than getting practical: the distributors present in Bordeaux focused their attention on four specific titles and compared the different marketing approaches and results obtained in their respective countries.
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Cartoon, the European Association of Animation Film (2008). Best Strategies for Distributing an Animation Film - Industry Report: Europa Distribution explains why together is better at Rome’s MIA. [online] Cineuropa - the best of european cinema. Available at: https://cineuropa.org/en/dossiernewsdetail/1369/82600/ [Accessed 11 Nov. 2019].
‌(Cartoon, the European Association of Animation Film, 2008)

First of all it is necessary to try to get as much as you can from the distribution company as MG. It is important to have a date for the theatrical release and the contract with the distributor should reflect that. The producer should try to agree with the distributor on a minimum investment for the promotional campaign and the number of prints.
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Santa (2018). How to make animated videos? [The Ultimate Guide for Newbies!]. [online] Video Making and Marketing Blog. Available at: https://www.animaker.com/blog/how-to-make-animated-videos/.
‌(Santa, 2018)

When you're on a lean budget but at the same time need a killer animation video, DIY apps are your best friend!
Yes! You can do it on your own. No! You don't have to watch "how-to" videos of sophisticated software on youtube.
All you need is a PC/Mac and access to an internet connection. Sign up for a DIY tool and start creating animation videos from the comfort of your web browser.
We’ve built Animaker, with which you can create 2D animations, whiteboard videos, infographic videos, handcraft videos and even typography videos. You can make use of 90+ templates and the World’s largest animation library. You can check out the possibilities of our free app over here.

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(Knight, 2018) Knight, R. (2018). Average Briton spends almost 10 years of their life watching TV, research finds. The Independent. [online] 24 May. Available at: https://www.independent.co.uk/news/media/tv-radio/average-watching-tv-briton-10-years-life-research-a8367526.html.
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Average Briton spends almost 10 years of their life watching TV, research finds

Britain's favourite show is Only Fools of Horses - which beat Game of Thrones to the top spot

The average Briton spends almost 10 years of their life watching TV, according to a new poll. 
A survey of 2,000 UK adults found that respondents watched around 27 hours’ worth of television in a typical week.
In an average month, we will sit down to watch 13 different TV series, with British dramas, US dramas and documentaries the most popular.
The research also found we typically own a TV for eight years before buying a new one.
We were shocked to discover that we typically watch almost 10 years of their life watching TV – that’s almost one-eighth of the average UK lifetime," said a spokesman for PerfectHome which commissioned the research.  
The research also found the traditional TV box is still very much the preferred way to watch television, with 90 per cent watching their favourite TV shows and films using this method.
More than one-fifth watch on their laptop device, 21 per cent use a tablet and 16 per cent prefer to use their mobile phones.
And despite the rise in popularity of catch-up TV and streaming services, 43 per cent still prefer to watch TV live.
During a typical year, participants in the study spent a total of 718 hours watching live TV – that equates to just under five years over the course of their lifetime.
They also spend 387 hours watching catch-up TV in an average year, or two years and eight months in total during their lives.
Among those polled, the main reasons for avoiding live television are annoying adverts (60 per cent), and having to watch TV at a specific time (59 per cent).
The research also found 304 hours is spent watching streaming services such as Netflix and Amazon Prime Video during a typical year.
This works out to be more than two years in total during the average adult’s lifetime.
The research also found Netflix is the most popular streaming service, with around one third of those polled using this provid
Bloop (2019). Animation for Beginners (Where do I start?). [online] Bloop Animation. Available at: https://www.bloopanimation.com/animation-for-beginners/ [Accessed 11 Nov. 2019].
‌
(Bloop, 2019)

For more detailed information check out our animation software list.
    • Animate CC (Flash): The most popular animation software by hobbyists/YouTubers out there. You can learn it quickly and start animating right now by taking our course, or even just play around with it. Whether you wanna make cool animations for YouTube, or 2D frame-by-frame animation for commercial use, Animate CC is one of the best choices.
    • Toon Boom Harmony: Toon Boom Harmony is an incredibly robust professional-level animation software, and can do pretty much everything in the realm of 2D animation. Anything from stick figures to Disney-level results.
    • Adobe After EffectsAfter Effects: A less conventional choice for character animation, but I actually found it incredible for it. It can do rigging, lip sync and use cameras to create a sense of depth. I loved using it so much that I created an entire animation course specifically for animating with After Effects
    • TVPaint: A high-end professional animation software, focused on traditional hand-drawn animation style. We’re talking old-school Disney/Ghibli quality. Pick this program if you want to take hand-drawn animation to the max.


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In comparison just under one third use BBC iPlayer, one fifth use Amazon Prime. 
“While it is not surprising that streaming services have enjoyed a boom in popularity in recent years, we were surprised to see that live TV was still our pollsters preferred way to watch their favourite shows," a spokesman for PerfectHome said. 

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Media (2019). U.S. Consumers are Shifting the Time They Spend with Media. [online] Nielsen.com. Available at: https://www.nielsen.com/us/en/insights/article/2019/us-consumers-are-shifting-the-time-they-spend-with-media/ [Accessed 11 Nov. 2019].
‌(Media, 2019)

According to Q3 2018 Nielsen Total Audience Report, U.S. adults are spending almost half of every day interacting with media. Overall total media use remains unchanged year-over-year at 10-and-a-half hours a day, or 44% of the total minutes available in a day.
While live TV+time-shifted TV accounts for over four hours per day and radio accounts for nearly two hours of daily usage, consumers are shifting the specific media they spend this time with as their options broaden. For instance, they’ve increased their time with internet-connected devices (+8 mins) and app/web on a smartphone (+17 mins), which replaces the time they previously spent with other sources.
Peter Katsingris, SVP of Audience Insights for Nielsen, discusses some of the latest insights from the Q3 2018 Nielsen Total Audience report. Peter highlights how the media landscape is changing, which platforms are seeing the largest growth and how young adults and multicultural audiences are spending their time with media.

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Traditional primetime is eight to 11 o’clock at night, Monday through Friday, but Nielsen finds that more Americans tune in from 9:15pm to 9:30pm than any other period during primetime. The tail end of primetime—10:45 to 11:00pm—is when the fewest viewers use their televisions.
Although there are no differences between when men and women watch TV during primetime, age is a factor. Viewers ages 18-49 typically tune in later. For this demographic, 9:45 to 10:00pm is prime viewing time, while they use TV the least at the beginning of primetime, from 8:00 to 8:15pm  (Media, 2011)
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Robinson, A. (2019). UK TV air dates 2019: Find out when all your favourite shows are returning. [online] Digital Spy. Available at: https://www.digitalspy.com/tv/a25723890/tv-air-dates-uk-2019-release-dates/ [Accessed 11 Nov. 2019].
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(Robinson, 2019)

July

Last Man Standing season 7 – July 9 at 8pm on 5Star
Departure season 1 – July 10 at 9pm on Universal TV
L.A.’s Finest season 1 – July 10 at 9pm on FOX UK

Outlander season 3 – July 10 at 9pm on More4
most shows are on from 9-10pm 
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hulu (2019). Stream TV and Movies Live and Online | Hulu. [online] Hulu. Available at: https://www.hulu.com/welcome?orig_referrer=https%3A%2F%2Fwww.google.com%2F [Accessed 11 Nov. 2019].
‌
(hulu, 2019)

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Sorokach, J. (2018). Is “Family Guy” On Netflix? Here’s Where You Can Stream The Fox Comedy. [online] Decider. Available at: https://decider.com/2018/02/20/is-family-guy-on-netflix/ [Accessed 11 Nov. 2019].
‌(Sorokach, 2018)


What a long, strange trip it’s been for Family Guy. The fervently adored series was cancelled not once but twice before returning for good in 2005 thanks to a combination of high ratings for syndicated reruns on Adult Swim and strong DVD sales. Now, over a decade later, Family Guy is in the midst of its sixteenth season.
Never a stranger to controversy, the Seth MacFarlane series has remained a beloved fixture on the Fox schedule, but with streaming libraries continuously in flux, it can be difficult to find the animated sitcom online. I mean, where are those good old-fashioned streaming values on which we used to rely?
WHY DID NETFLIX REMOVE FAMILY GUY SEASONS?
So why exactly did Netflix remove Family Guy?
Netflix didn’t renew the show’s license, so the contract between the two parties expired. Considering Family Guy is a Fox series, this shouldn’t come as a surprise. In 2017, FX staples like It’s Always Sunny in Philadelphia, The League, and Wilfred exited Netflix, along with Fox programs like Prison Break, The Grinder, American Dad, and many more.
Various seasons of Family Guy were already removed from the streaming site last year, but now the entire catalogue is no longer available to watch on Netflix.

OKAY, SO FAMILY GUY IS NO LONGER ON NETFLIX. CAN I STREAM THE SERIES ON HULU?

This post isn’t all bad news! Family Guy fans will be happy to hear that 299 episodes of the series are now available to stream on Hulu! Also, if you have a cable log-in, Season 16 episodes are available to watch on the show’s official website.
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Tv Guide (2019). When is family guy on TV next?  TV Guide UK TV Listings, Film, Soaps, Sports News, Freeview. [online] TVGuide.co.uk. Available at: https://www.tvguide.co.uk/titlesearch.asp?title=family+guy [Accessed 11 Nov. 2019].
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(Tv Guide, 2019)




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Ofcom (2019). What is the watershed? [online] Ofcom. Available at: https://www.ofcom.org.uk/tv-radio-and-on-demand/advice-for-consumers/television/what-is-the-watershed [Accessed 11 Nov. 2019].
‌(Ofcom, 2019)

What is the watershed?

Protecting children from harmful material on TV and radio is one of Ofcom’s most important duties.
Our Broadcasting Code sets standards for television and radio shows and broadcasters must follow its rules.
There are strict rules about what can be shown on TV before the 9pm watershed. But what exactly is the watershed and how does it work?
The watershed means the time when TV programmes which might be unsuitable for children can be broadcast
Unsuitable material can include everything from sexual content to violence, graphic or distressing imagery and swearing. For example, the most offensive language must not be broadcast before the watershed on TV or, on radio, when children are particularly likely to be listening. Frequent use of offensive language must be avoided before the watershed, and must always be justified by its context..No. The transition to more adult material must not be unduly abrupt and the strongest material should appear later in the evening. But even then Ofcom’s rules protect viewers from offensive and harmful content.
The watershed continues to help parents protect their children from material that might be unsuitable or even harmful for them. Twice a year, every year, we ask parents and the wider general public what they think about standards on TV. Almost everyone (93 per cent) understands the watershed and 74 per cent think 9pm is the right time. If you just ask parents, that number rises to 76 per cent.

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