Starting today, Tuesday, May 21, the HBO Max platform is being renamed simply Max. In a candid conversation, Casey Bloys, the president and CEO of HBO and Max Content, explains that this branding shift is less an insult to a storied brand and more a way to protect what the brand stands for. The interview offers a rare window into the work and creative vision of a pivotal leader in the entertainment industry.
How did the decision come about to drop HBO from HBO Max? The move arose after a thorough internal discussion. The conclusion was that HBO is not only a brand in itself but is also part of Warner Bros. It didn’t feel right to anchor a platform that curates content from different labels, including television funds and Discovery titles, to the HBO name. When a product bears the HBO mark, it inherently conveys a certain standard. The idea was to return HBO to its original essence—high-quality drama, comedy, documentary projects, and specials that have defined the brand for years.
Max, in essence, functions like a modern cable package with HBO representing a strong, recognizable portion of the whole. HBO has always been part of a larger programming offering. Bloys notes a career arc that included work with networks like CMT and VH1, highlighting how the identity of the platform can evolve while the core mission remains clear. He believes retaining the Max name was the best path forward. For consumers, a proliferation of name changes can be confusing, but the final choice aims to be the most effective solution for HBO’s audience.
How were decisions made about which series belong to HBO and which to Max? A key goal was to clarify expectations across the brands. When a Max series is produced, it often explores territory not typically pursued by HBO. A recent example includes a procedural medical series with John Wells, known for ER, created at a reasonable cost and anchored in hospital settings with a focus on accessible storytelling. Each episode would present a contained story while maintaining serial elements, with an order of fifteen episodes, testing whether audiences respond positively to this elongated episodic format after becoming accustomed to eight to ten episode seasons.
Max is envisioned as the home for adaptations and popular franchises, while some projects retain the HBO seal, such as an adaptation from a famous game or the ongoing universe expansion in House of the Dragon, a prequel to Game of Thrones. Striking a balance between a full separation of brands and practical overlap is challenging, but Bloys emphasizes pursuing ideas on Max that might not ordinarily appear on HBO. He cites DC’s audience as often younger and male, distinct from HBO’s traditional demographic, yet capable of delivering compelling stories in that space, including The Peacemaker, which resonated with viewers despite not being an HBO staple.
Two HBO phenomenons, The Last of Us and The White Lotus, are poised for a 2025 return, while Euphoria’s return date remains uncertain. The question of other strong offerings for the second half of 2024 is addressed by signaling a shift from House of the Dragon to Penguin, starring Colin Farrell, and the autumn arrival of the Dune prequel series Dune: La profecía.
Audience questions about a future Succession-style project with a singular voice are acknowledged. Bloys points to a slate that includes collaborations with writers like Marlon James on Get Millie Black and partnerships in comedy with Rachel Sennott in Bottoms. The network is also developing dramas grounded in real-world settings with strong writers such as Issa López, who is delivering a new season of True Detective, and Brad Ingelsby, known for Mare of Easttown, who is crafting a new Philadelphia-set crime drama. The broader HBO projects promise current storytelling coupled with minimal reliance on flashy effects.
There is ongoing collaboration with veteran creator David Simon on several projects, though no formal announcements are ready to be shared. Another potential project under discussion is an adaptation of the novel The Shards, a project involving notable directors and screenwriters. Interest in remaking the Cronenberg classic Scanners is present, but no definitive green light has been issued yet.
There are projects at HBO that excite the team with contemporary storytelling and minimal special effects.
Following Warner Bros.’ merger with Discovery, a number of titles were removed from HBO Max for financial reasons, including animated works such as Infinity Train and Summer Camp Island. The question arises whether some of these titles could return if demand increases. The approach is practical: most removals attracted limited viewership, and the platform often shifts content to other venues or licensing deals. The goal is not to preserve every title but to prioritize what audiences actually watch, ensuring the most valuable offerings stay accessible.
Among those removed was Westworld, which recently became a flagship series for HBO. Creators Jonathan Nolan and Lisa Joy chose to distribute it through FAST channels, a streaming format that runs with advertisements around the clock. FAST presents another distribution pathway that appeals to audiences accustomed to streaming with ads. The idea was to experiment with this model to reach viewers in different contexts.
Looking ahead to the next Emmy Awards, Bloys expresses optimism for contenders like The Sympathizer, True Detective: Polar Night, Hacks, and the performances of Kate Winslet, who could be recognized for her work in Diet. HBO’s audience is not limited to a single genre; Bloys believes viewers engage with a wide spectrum of programs beyond HBO’s obvious choices. He cites personal enjoyment of shows like Home Finders and Your Home in the Case, occasionally venturing into Chopped on the Food Network, even if cooking is not a personal passion.
In terms of daily viewing, Bloys emphasizes the balance between professional responsibilities and personal leisure. He spends many hours reviewing scripts and supervising edits, ensuring a steady stream of content for the platform. For relaxation, he enjoys light fare such as My Stuffed Reindeer and Father-and-kid viewing, and he finds value in family-friendly options like Home Finders and Chopped that can be a shared experience. The conversation underlines a leadership philosophy focused on storytelling that resonates with audiences while remaining flexible to changing viewing habits.