“Reboot” canceled on Hulu after 1 season

The cast of “Step Right Up” should be planning to jump into some new projects. On Monday, Hulu canceled “Reboot,” a meta-satirical series about a sitcom reboot, after one season.

Sources tell IndieWire that “Reboot” creator Steven Levitan, best known for co-creating “Modern Family” with Christopher Lloyd, is currently shopping the show around in hopes of finding a new home.

The “Reboot” centers around “Step Right Up,” an early 2000s family sitcom canonically revived on Hulu in 2022. The series gave up and examined the modern TV industry, lampoon studios’ cyclical obsession with reboots and the precarious streaming business model; along with its old-fashioned behind-the-scenes drama.

Paul Reiser and Rachel Bloom, original creators of “Step Right Up,” play Gordon and his estranged daughter Hannah, who must work together during the reboot. Keegan-Michael Key, Johnny Knoxville, Calum Worthy and Judy Greer play the four main characters of “Step Right Up”, who reunite after two decades in the new series. Krista Marie Yu rounds out the cast as the studio executive in charge of the reboot.

Season 1 of “Reboot” premiered on September 20 with three episodes, and the remainder of the eight-episode season will air weekly until October 25. The show’s first and currently only season ended on a cliffhanger, with Reiser’s character leaving the writer’s room. “Step Right Up” — Knoxville and Greer’s characters rekindle their romantic spark, and the reboot’s fate is (deservedly) uncertain at Hulu.

Levitan executive produced “Reboot” alongside John Enbom, Danielle Stokdyk and Jeff Morton, with Key serving as a producer on the series. The show came from Levitan’s production company, Levitan Productions, and 20th Television.

“Reboot” premiered to mostly positive reviews, with critics praising the series’ cast. In a more mixed write-up, IndieWire critic Ben Travers wrote that “over the course of the first season’s eight half-hour episodes, the ensemble comedy is pulled in so many directions that only a few aspects feel fine-tuned by the end. Industry satire is inconsistent, both in bite and budget. The office comedy can’t decide whether it plays for punches (a la classic sitcom) or more for mood (like more modern single-camera series). And the characters never fill it out beyond the thin sketches they represent.”

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