Abc Family, a network once synonymous with wholesome, Christian-influenced programming, has undergone a significant transformation in recent years. Even as late as 2009, the channel’s slogan, “A New Kind of Family,” was promoted with taglines like “A New Kind of Strong” and “A New Kind of Faithful,” as seen in a promotional spot featuring the cast of The Secret Life of the American Teenager. This show, while tackling topics like teen pregnancy, often presented a puritanical view, despite its preoccupation with sexual themes, and notably avoided the topic of abortion for its characters.
However, the landscape began to shift with the 2011 premiere of Switched at Birth. This series arguably redefined “A New Kind of Family” to represent something far more inclusive and authentic: families reflecting a spectrum of diverse identities, moving beyond superficial wholesomeness to embrace genuine honesty. Switched at Birth, with its soapy yet compelling premise of two teenagers switched at birth and raised in vastly different families, was groundbreaking. Its radical element lay in its prominent portrayal of disability. Daphne, one of the lead characters, is deaf and communicates using American Sign Language (ASL), making Switched at Birth one of the first mainstream television shows to feature deaf and hard-of-hearing actors in leading and recurring roles.
This marked a turning point for ABC Family, ushering in a new era of programming. Switched at Birth directly engaged with complex social issues, such as the abortion debate, through a storyline involving a character’s pregnancy and Down syndrome diagnosis. The Fosters, another notable series, went even further, addressing a wider range of capital-I Issues than perhaps the entire run of ABC’s Afterschool Specials combined. The Fosters became known for its representation of racial, sexual, gender, and class diversity. Adding to this evolution was the comedy Baby Daddy, which debuted in 2012. This show centered on a young man in his twenties navigating fatherhood after a one-night stand, relying on his brother, friends, and mother for support.
By this point, the “A New Kind of Family” slogan took on a new, more knowing tone. It signaled that ABC Family was no longer your grandmother’s family programming – unless, perhaps, your grandmother was particularly cool and open-minded. This shift in programming and brand identity led to the network’s eventual rebranding. In an attempt to solidify this modern image, ABC Family transitioned to Freeform. While network executives hoped this new name would create a cohesive and contemporary message, some observers, including college students, pointed out the potential issue with “Freeform.” The name, while suggesting liberation and boundary-pushing content, could also be perceived as vague and lacking focus. For a network that had historically struggled with clear brand communication, this ambiguity might present a challenge. However, as the author admits, perhaps the network understands its audience better. The success of shows like The Fosters in capturing a dedicated fanbase suggests that ABC Family, and now Freeform, has indeed found a way to connect with a modern audience, even if the branding journey has been somewhat circuitous.
