New ABC Family Telefilm "The Business of Falling In Love" Casting Information

*** Update ***

Casting is now complete for this project


ABC Family is currently in production on their new telefilm "The Business of Falling In Love" starring Hillary Duff. Casting is taking place in the New Orleans area for both principal actors and background extras.

See the post titled Actors Headshot and Resume Information regarding how to submit for acting roles.

Please submit photos and resumes by mail only.
No phone calls or personal drop-offs.

Principal Actor Casting (New Orleans):

Susan Glicksman
The Business of Falling In Love
4001 Division Street
Metairie Louisiana 70002

Extras Casting (New Orleans):

Fincannon & Associates
Vieux Carre Station
P.O. Box 70586
New Orleans, LA 71072
Download the extras casting card, print it out, attach your most recent photo and mail it to the office. Click Here for the extras registration card.

Production Company:

Do NOT send photos and resumes to the production companies (they will most likely end up in the trash can), they do not cast the films. They hire casting directors who sort through the thousands of submissions.

ABC Family
3800 W Alameda Ave
Burbank, CA 91505

in association with

Von Zerneck-Sertner Films
13425 Ventura Blvd.
Suite 301
Sherman Oaks CA 91423


E1 Entertainment
1801 Century Park East
Suite 1910
Los Angeles CA 90067


Frank Von Zerneck
Robert Sertner
Ira Pincus
Jessica Horowitz


Gil Junger


Hillary Duff


Lane Silverman was a struggling freelance writer, desperate to sell an article that would pay her rent, when she stumbled upon the pitch of a lifetime: an article about finding Mr. Right in the workplace. She sold the idea to Cosmopolitan, tossed out her PJs, put on a power suit, and became a trueblue working girl on Wall Street. Now, all she has to do is meet a sexy, eligible man in an expensive suit who will find her charming beautiful, and positively irresistible... in two months.

New ABC Family single-camera series pilot Casting and Auditions Information

*** Update ***

Casting is now complete for this project


Casting for the lead roles is currently underway for the new ABC Family untitled Michael Jacobs series pilot. Mr. Jacobs is the President of Production and Distribution of Marvista Entertainment, the company that co-produced the ABC Family movie "Christmas in Boston". Jacobs also served as Executive Producer of "Boy Meets World".

The roles to be cast include:

Josh Davidson: The Dad
Danni Davidson: The Mom
Rachel Davidson: Younger Daughter (teen)
Bailey Davidson: Older Daughter (teen)

Several other teen roles, friends and classmates of the Davidson girls, also to be cast.

The show will film later this fall.

See the post titled Actors Headshot and Resume Information regarding how to submit for acting roles.

Please submit photos and resumes by mail only.
No phone calls or personal drop-offs.

Principal Actor Casting:

Barbara Stordahl
Angela Terry
Stordahl / Terry Casting
121 West Lexington Drive
Suite 206
Glendale, CA 91203

Extras Casting:

To Be Announced

Production Company:

Do NOT send photos and resumes to the production companies (they will most likely end up in the trash can), they do not cast the films. They hire casting directors who sort through the thousands of submissions.

ABC Family
3800 W Alameda Ave
Burbank, CA 91505

in association with

Marvista Entertainment
12519 Venice Blvd.
Los Angeles, CA 90066


Michael D. Jacobs


The show centers on a Josh Davidson, a young father recently laid off from his architecture firm, who begins to mentor his underdog middle daughter Rachel, while his veterinarian wife Danni shares a closer bond with their Type A older daughter Bailey. The show takes place in the community of Brierwood, Indiana.

Disney ABC Television Group’s 2009 Casting Access Project

As part of its ongoing effort to discover and develop culturally and ethnically diverse talent and actors with disabilities, the Disney ABC Television Group’s Casting Project will hold auditions for consideration for the ABC Talent Showcase.

ABC’s Talent Showcase has established an industry standard in creating opportunities for talent, with the majority of participants being given the chance to audition for a variety of Disney/ABC pilots and ongoing programming.




TALENT: Participants for the talent showcase must be at least 18 years old. Previous acting experience/training is required of all, but professional representation is not necessary.


Los Angeles, CA

ABC will contact selected actors to schedule an audition. If selected to audition, each actor will need to prepare a one-minute monologue from any published material. Original monologues cannot be used as part of the audition. Further details will be given upon contact.

ABC has a long-standing commitment to promoting diversity in the entertainment industry through a variety of projects administered by its Talent Development & Casting departments. The Casting Project offers an excellent opportunity for talent that might otherwise go unnoticed.

Actors MUST submit their headshot and resumé during the submission period ONLY. No material will be accepted outside of the designated submission period.

SUBMISSION PERIOD: JULY 6, 2009 - July 10, 2009 ONLY

Submit To:

Disney | ABC Casting Project
500 S. Buena Vista Street
Burbank, CA 91521

If you do not live in the Los Angeles area and are accepted into the Program, Disney ABC does not pay for travel, housing or relocation expenses.

"Ruby & the Rockits" Auditions

*** Update ***

This show has been canceled.


"Ruby & the Rockits" is an ABC Studios half-hour multi-cam comedy executive-produced by Shaun Cassidy ("Invasion") and Marsh McCall ("Carpoolers"). The show is in production and casting for actors and extras are now underway.

See the post titled Actors Headshot and Resume Information regarding how to submit for acting roles.

*** Please submit photos and resumes by mail only. No phone calls or personal drop-offs ***

Principal Actor Casting:

Stordahl/Terry Casting
4024 Radford Ave.
Bldg. 7, 2nd floor
Studio City , CA 91604

Extras Casting:

Central Casting
220 S. Flower St.
Burbank, CA 91502
(do not send photos to Central Casting, you must register in person)
Registration Info: 818.562.2755

Production Company:

Do NOT send photos and resumes to the production companies (they will most likely end up in the trash can), they do not cast the films. They hire casting directors who sort through the thousands of submissions.

FTP Productions
500 South Buena Vista Street
Burbank CA 91521

in association with

ABC Family
3800 W Alameda Ave
Burbank, CA 91505

Directed by:

Ted Wass (Pilot Episode)


Shaun Cassidy - Executive Producer
Marsh McCall - Executive Producer


Patrick Cassidy - Patrick Gallagher
Austin Robert Butler - Jordan Gallagher
David Cassidy - David Gallagher


The show follows Patrick Gallagher, a former teen idol who has chosen to lead a quiet life with his wife and two sons. But when his former Rockits band mate and brother, David, shows up unexpectedly with his new-found teenage daughter in tow, the Gallagher family's life becomes anything but normal. David, who refuses to give up his past glory days, comes to Patrick for help in raising Ruby while he continues to perform. Patrick must now put the past with David behind them in order to help raise Ruby and keep order within the rest of the Gallagher clan.

ABC Family Movie "Mrs. Miracle" Casting Information and Auditions

Casting has been completed on the ABC Family movie "Mrs. Miracle".

See the post titled Actors Headshot and Resume Information regarding how to submit for acting roles.

*** Please submit photos and resumes by mail only. No phone calls or personal drop-offs ***

Principal Actor Casting (Los Angeles):

Mrs. Miracle Casting
Molly Lopata
13731 Ventura Blvd.
Suite A
Sherman Oaks CA 91423

Principal Actor Casting (Vancouver):

Mrs. Miracle Casting
Candice Elzinga
1504 Graveley Street
Vancouver, British Columbia

120x60 kids

Production Company:

Do NOT send photos and resumes to the production companies (they will most likely end up in the trash can), they do not cast the films. They hire casting directors who sort through the thousands of submissions.

Dan Wigutow Productions
534 La Guardia Pl
Ste 3
New York, NY 10012

in association with

ABC Family
3800 W Alameda Ave
Burbank, CA 91505

Directed by:

Michael Scott


Dan Wigutow - Executive Producer




Seth, a widower hires a woman, Mrs. Miracle, to care for his twin sons and finds she's more matchmaker than nanny.

Note Regarding Filming Locations

To be considered at all for a role in a television show or film, you should either look for productions casting in your area or move to a city where they are being cast, in order to be a local.

Even if you're willing to pay for travel to the shooting locations for a few days to work, no one wants to take the risk on an out-of-town actor. (What if you miss your flight? What if the shoot keeps getting delayed and you have to replace your plane ticket five times? What if they change the schedule and need you RIGHT NOW for a wardrobe fitting - and you're 1000 miles away? What if they fly you all the to the location and it turns out you're not right for the role or you're crazy or irresponsible?)

Yikes! Too much stress in an already stressful business. It's safer to hire actors they know and love, and who live within the vicinity of the shoot. There is no shortage of willing and available talent in their own backyard. The casting directors job is to reduce the risk of problems for their producers, not increase it. So get to know your local casting directors and start there.

Source: Lana Veenker

A Few Things To Watch Out For

What should you be watching out for?

* Any talent scout or agent who guarantees to make you a star. No one can give that sort of guarantee. The audience holds that card.

* Any agent who asks for money upfront to get you work. A genuine agent works for a percentage of what you're paid, which means you get paid first.

* Talent scouts or agents who insist you take their acting or modeling course before they'll get you work or that you use their photographer for your composite. These folks are making money off the courses and photography alone. They have no motivation to find you work.

* Anyone who insists that contracts aren't necessary. Verbal agreements are not enough.

* Any agent who promises to fill out the contract for you. You must fill it out AND get a copy.

* Agents who contact you but whose names you don't know, NO MATTER HOW FLATTERING THEY ARE. Many of them are here-today-gone-tomorrow. Before you sign a contract, check out the agent with the Better Business Bureau, SAG, or the state Film Commission. And ask other actors/models you know for their recommendations.

* An agent who will only allow contact by letter or e-mail, not phone. You need an agent who's responsive to you. However, don't waste the agent's time by calling constantly. A good portion of a reputable agent's time is spent trying to book you.

* Any photographer who insists you come to his place to have photos taken. Even if you go to a studio, don't go alone: take a friend. Be sure you know what pictures are taken and what will be done with them. A reputable photographer will have a contract for you to sign that explains exactly what things can be done with your photos, which things are excluded (for example, pornography or ads for cigarettes), and how much you'll get paid from any use of your photos (usually 10% of the use fee).

Always Be Prepared!

My acting coach Cliff Osmond (see link below, he is the bomb, and no, I am not saying you should study with him because he only takes advanced students on audition. I am using this as an example ONLY that you should find a teacher at your level in your area and study), told me once that a student came walking into one of his classes and had such a huge level of confidence, that everyone in the room looked up and noticed it. He was not cocky, but was just so confident in himself and who he was, that when he was performing a scene, he was a true "natural". This guy took 3 weeks of acting lessons and then landed a contract role on a tv show. He is now a huge celebrity actor. But Cliff told me he has seen that happen only twice in his career as an acting teacher.

So don't fool yourself into believing that you are one of those rare people. Just go with the odds and study study, perform, practice, and study some more. Why wouldn't you want an edge on the competition when you are getting that rare audition before a great casting director for a great role in a great film? Those doors do NOT open very often, so BE PREPARED for when God (or whatever you want to call that "greater power that be") gives you that chance!! There is no worse feeling in the whole world as when you go in and audition for something really big, and all the casting director says is, "thank you". And you walk out the door and realize that you just stunk up the joint. I have been there and done that. You DO NOT want to go there. The casting directors remember those stinky auditions and you end up burning bridges.

I eventually got smart and took acting lessons, cold-reading workshops, private coaching. And finally when I was in my late 20's I finally became a "successful" actor. So just skip all of that trial-and-error crap and just learn as much as you can before you get those chances to audition for big roles. You can't go wrong, and you will have that special extra edge on the competition.

Be smart, and be prepared. Even the Boy Scouts know that motto!!

Background Extras Photos

Film and television extras use a color 4"x6" snapshot with a white background, from the waist up. On the back of the photos, you should have the following listed:

Hair Color
Eye Color
Contact Phone Number
Shirt Size
Pant Size/Dress Size
Coat Size
Shoe Size
Hat Size

On the vast majority of open casting calls for extras, they will take your photo at the casting call. But it is best to be prepared and bring your own photo with several different "looks". One wearing something upscale such as a tuxedo or suit & tie, one wearing something casual such as jeans & t-shirt, and something specialized such as a police uniform. Keep in mind that you should own whatever clothes you wear in the photos in case they want you to wear the same outfit on the shoot. Just make sure that your photos are updated and actually represent what you currently look like.

Click Here for sample photos used for extra work (photos courtesy of Rich Hogan Photography).

Note About Extra Work From Casting Director Lana Veenker:

This is one thing you can do without acting experience, but keep in mind that you can only work as an extra in the region where you live. If there's a movie you want to be in and it's shooting halfway across the world, you need to either move there or have a place to stay for a few weeks (and even then, there's no guarantee you'll definitely be needed). Also, you need to be able to legally work in the country where the film is shooting. The production company won't hire you without a valid work permit or proof of citizenship. Unfortunately, those are the breaks!

Advice for working as a Background Extra

* Buy a Thomas Brothers Map Book. The casting people will give you these map coordinates when giving you your call time and location.

* Bring a small folding chair, something to read, sunscreen, a couple of light snacks, a notepad, and two pens.

* Follow the wardrobe instructions and requirements, as you will be checked by the wardrobe department when you arrive on the set. Bring an extra jacket (even if it’s summertime). It's always cold on a sound stage, where you might be working. Ladies, take a pair of flats to wear when not on the set (your feet will thank you).

* ALWAYS show up at least 1/2 hour early. NEVER be late. Allow plenty of time for traffic, etc.

* When arriving at the location, immediately check in with the AD (assistant director), or whoever you were told to check in with. Fill in your name and address on the payment voucher. Make sure to fill in the hours worked and have the AD sign it at the end of the day.

* Never bring cameras or pets unless asked to do so. Also do not bring friends.

* NEVER take photos on the set with your cell phone. If caught, you will be fired and will most likely never work for that casting director again.

* NEVER ask for autographs or bother the actors. This is a professional work environment and not an appearance.

* Network with other background actors. If you obtain one good tip or referral, it could lead to a lot more background acting jobs. More work gives you more opportunities to get the necessary vouchers (three) to qualify to join SAG (Screen Actors Guild). Being a member of SAG gives you benefits you would not have as a non-union extra, e.g. double your pay and medical, dental and vision benefits.

* Always remain alert and ready to go to the set when asked. Do not leave the set unless you are given specific permission from the AD. Do not listen to headphones, as you will not be able to hear the AD when calling you to the set.

* ALWAYS be prepared to stay and work long hours (unless you are a minor, there are child labor laws which prevent minors from working too many hours).

* Pay attention when you are on the set being given your "marks" and "blocking". "Marks" are the spots where you position yourself on the set during filming. "Blocking" is the exact movements you will be making so as to remain in or out of the view of the camera.

* And ALWAYS remain quiet when in a sound stage, especially when filming. "Quiet On The Set" means "QUIET ON THE SET"! The microphones can pick up even the slightest whisper. Also, when the crew is setting up for shots, they need to be focused and hear each other. It can be loud enough for themselves, let alone the chatter of extras on top of it. So do not make noise or talk loudly in between filming.

* NEVER talk badly about anyone on the set, including the actors REGARDLESS of how you may feel about someone. Use tact when speaking about others. It is extremely poor character when speaking badly or disrespectful of or to others. If you hear someone else talking badly, ignore it. If someone speaks badly to or about you, just turn your cheek and do not return the bad character behavior, as the AD may end up only hearing YOU speak badly. Take this advice to heart if you wish to go far in the entertainment industry.

* When being fed lunch or dinner, ALWAYS let the cast and crew members get their food first. This is not because extras are less important, as many people who work on a film set may treat you. This is because the cast and crew need to get back to work as soon as possible, where the extras usually have by far the most "down time".

* And most importantly, HAVE FUN! There are huge egos on a film set. I mean gigantic monster stuck-up HUGE egos, and I'm not talking about just the actors! Take those people with a grain of salt... look at them as kind of like a cartoon character, then you can just smile at them. After all, isn't it pretty ridiculous to have a giant ego anyways? There are many people who will brag and brag about what they have done and what they are doing. There are long periods of standing and waiting. But hey, you are working on a movie or television set! How fun is that!! And you are learning about what happens on a set, becoming more and more comfortable in front of a camera. So enjoy the experience, as it can be VERY exciting.

* If you take my above advice to heart and give background acting your best shot, you'll enjoy it, make money at it and continue to work. And what's more fun than being with people, in the middle of the action and, later, seeing yourself on the silver screen?

Alan Baltes

Actors Headshots and Resumes


Unsolicited phone calls and personal visits to casting directors are prohibited in the entertainment industry. Not only does it display a huge level of non-professionalism, it is extremely inconsiderate of casting directors time. They receive hundreds, and even thousands of photos and resumes every week. They certainly can not accommodate being inundated with phone calls from actors, and aspiring actors. Talent Agents who know casting directors can call them if it is for a very important reason such as rescheduling a client for an audition.


I have been receiving some inquiries regarding what type of photos and resumes to send to a casting director or agent. Here is a sample of a professional actors resume and photo. The photo should not be a school photo, glamor shot, or a snapshot taken by a non-professional photographer. The photo should be color and professionally taken. Just remember that your photo is your calling card. It should represent the "real" you, the way you look in everyday life. If your hair is long in the photo, then your hair should be long when you walk in the casting office. If your skin is fair, then you should not come to the casting office with a dark tan. Always keep your photos up-to-date according to your look.

Also, there is no such thing as an "application" to fill out for acting jobs. Just the 8"X10" color photo and resume.

The photo can be taken either horizontal or vertical.

Sample Headshots

Actress Cheyenne Logan

This is child actor Marcus Calderon, and he landed a national Disneyland commercial with this photo.

Sample Resume

Click Here for a sample Beginners Resume.

One last note about your photos:

If you can't afford to pay a professional photographer to take your photos right now, you can try something else. If there is a school nearby that has a photography department, go there and see if you can do "testing". Testing is when you exchange your time posing for a photography student in exchange for them taking some theatrical headshots and giving you some prints.


After you get your photos done, get an original 8"x10" print from the photographer, then have that duplicated. Here is where I recommend (you can do it by mail):

Your name and any union affiliations should be printed on the bottom of the photo, either on the border or on the corner of the photo itself. Both the photo and resume should be exactly 8x10" and stapled back-to-back on all four corners. Do NOT paper clip the resume, but staple it on all four corners. That way if by some chance the photo does become detached from the resume, the casting director can match them up again. I use a light blue, light grey, or sand color parchment paper, it looks good and is stronger than regular thin printing paper. Paper clip your cover letter to the front of the photo and resume, and have that trimmed to 8x10 so they are all the same size. Send it out in a large manila envelope.

Include a very brief cover letter with your submission, stating that you are interested in auditioning for an acting role, or that you are seeking representation by an agent.


Click Here for sample photos used for extra work.
(photos courtesy of Rich Hogan Photography).

Actors Resume For Beginners

I am often asked about what to put on a resume when you have little or no experience. Well, we all have to start somewhere. When I first started acting, I only had some extra work that I had done. And I still landed an agent. Some people may say to lie. DO NOT lie! The business side of the entertainment industry is a tight knit community, and you will most likely be caught. You do not want to burn bridges in this business, especially when you are first starting out.

So here is a sample of what you should put down on a resume when you are starting out:

(NEVER list your home address or the school you attend if you are a minor for safety reasons)


Savannah Starlet
Date of Birth: 06/15/1998
Height: 4'11"
Weight: 92 lbs
Hair Color: Brown
Eye Color: Green
(your email address here)
(your phone number here)

Acting & Modeling Objectives:

TV Shows
Commercial Print


Class Skits: Anne Frank-Mrs. & Mr. Van Dann.


High School Drama Club

Special Skills & Talents:


Sports & Hobbies:

Ballet, Soccer, Ice Skating, Basketball, Swimming, and Cheerleading. Like to hang out with friends, and volunteer for things to help people and animals.


That's it! You see, if a casting director really REALLY likes your photo and your look, they will call you in. Regardless of experience, or if you are in the Screen Actors Guild or AFTRA.

Film and Television Terminology

Action: The cue that is shouted when the camera starts rolling

A.D.: Assistant Director

Ad Lib: made up dialogue that is not scripted; a form of improvisation

Art Director: Person who creates and designs sets

Avail: a courtesy situation extended by an agent to a producer indicating that a performer is available to work a certain job. Avails have no legal or contractual status

Background Talent: Also known as extras

Best Boy: In films, the assistant to the electrician

Billing: The order of the names in the titles or opening credits of a film or television show

Bio: (or biography) A resume in narrative form usually for a printed program or press release

Blocking: The physical movements used by actors in a scene

Booking: A firm commitment to a performer to do a specific job

Boom: An overhead microphone, often used on-set, usually mounted on an extended pole

Breakdown: A detailed listing and description of roles available for casting in a production

Buyout: An offer of full payment in lieu of residuals, when the contract permits

Callback: A follow-up audition

Call sheet: Production term for daily listing of shooting schedule, scenes and cast involved

Call time: The time you are due on a set

Cattle call: often known as an “open call”, a large open audition

Close-up (CU): Camera term for a tight shot of the shoulders and face

Cold reading: An unrehearsed reading of a scene, usually at auditions

Commissions: Percentage of a performer’s earnings paid to an agent’s managers for their services

Composite: A one-sheet of photos representing an actor’s different “looks”

Conflict: Status of being paid for services in a commercial for one advertiser, thereby contractually preventing performing services in a commercial for a competitor

Copy: The script for a commercial or voice-over

Craft services: On-set catering

Dailies: Screening of footage before it is edited

Day-player: A performer hired on a day-to-day basis, rather than under a long term contract

Downgrade: Reduction of a performer’s on-camera role from principal to extra

D.P.: Director of Photography of Cinematographer

Dress the set: To add items/props to the set

Drive-on pass: A pass to drive on and park at a studio

Emancipated minor: A minor under 18 who has been given the status of a legal adult by a judge

Employer of Record (EOR): The company responsible for employment taxes and unemployment benefits

Executive Producer: The person responsible for funding a production

EXT. (Exterior): A scene shot outside

Field rep: SAG or AFTRA staff member who ensures contractual compliance on a set

Forced call: A call to work less than 12 hours after dismissal of the previous day

FX (Effects): Special Effects

Gaffer: A crew member who places lighting instruments

GED: General Equivalency Diploma

Gofer: An errand runner

Golden time: Overtime after the 16th hour

Grip: A crew member who moves set pieces or props

Hiatus: Time when a TV series is in between production

Hold: A contractual obligation for a performer to be available for work

Holding fee: Set payment by an advertiser to retain the right to use a performer’s services, images or likeness on an exclusive basis

Industrial: Non-broadcast, often educational films

INT. (Interior): A scene shot indoors

In time: The actual call time or start time; also refers to return time from a break

Looping: An in-studio technique matching voice to picture (Also known as ADR)

Meal Penalty: A set fee paid by the producer for failure to provide meals as set by the contract

Monologue: A solo performance by an actor

Out time: The actual time after which you have changed out of wardrobe and are released

Overtime (OT): Work extending beyond the contractual workday

P.A.: Production Assistant

Pan: A camera shot which sweeps from side to side

Pick-up: an added take because of a problem with a shot

Pilot: The first show introducing the characters and situations for a potential series

Popping: A vocal term used to describe the sudden release of blocked air into a microphone causing a popping sound

POV shot: A point of view shot; camera angle from the perspective of one actor

Principal: A performer with lines or special business which advances the storyline

Producer: (or Line Producer) The person responsible for the day-to-day decision making on a production

Re-write: Changes in the scripts; often made using color-coded pages

Scale: Minimum payment for services under Union contracts

Scale+ 10: Minimum payment + 10% to cover agent’s commission

Script Supervisor: The crew member assigned to record all changes or actions as the production proceeds

Sides: Pages or scenes from a script used for auditions

Sight-and-sound: Parent’s right’s under Union contracts to be within the sight of the child performer at all times

Signatory: An employer who has agreed to produce under the terms of a union contract

Slate: A small chalkboard and clapper device, used to mark and identify shots for editing; also the verbal identification by a performer in a taped audition (i.e. “Slate your name.”)

Stage Manager: The person who oversees the technical aspects of an in-studio production

Station 12: At SAG, the office responsible for clearing SAG members to work

Studio Teacher: Set teacher or tutor, hired to provide education to working with young performers; also responsible for enforcing Child Labor Law

Stunt Coordinator: The persons in charge of designing and supervising the performance of stunts and hazardous activities

Submission: An agent’s suggestion to a casting director for a role in a certain production

Taft-Hartley: A federal statute which allows 30 days after first employment before being required to join a Union

Take: The clapboard indication of a shot “taken” or printed

Take 5: The announcement of a periodic five minute breaks

Waivers: Board-approved permission for deviation from the terms of a contract

Walk-on: A very brief role

Wardrobe: The clothing a performer wears on camera

Work Permit: A legal document required to allow a child to work, issued by various state or local agencies

Wrap: finishing a production

A little history about ABC Family

ABC Family is an American cable television network currently owned by Disney-ABC Television Group, a division of The Walt Disney Company. ABC Family offers contemporary and inclusive programming, including series, movies, events, and enhanced ABC encore presentations.

The network launched on April 29, 1977 as CBN Satellite Service, an arm of Pat Robertson's Christian Broadcasting Network. The network offered only Christian programs when it first began. In September 1981, the format and the name were changed for the first time. CBN Satellite Service changed its name to the CBN Cable Network and became an entertainment cable network, providing family programming. On August 1, 1988, the word "Family" was incorporated into the name to better reflect the format, becoming The CBN Family Channel.

By 1990, the network had grown too profitable to remain under the CBN banner without endangering CBN's nonprofit status. CBN spun it off to a new company called International Family Entertainment and the name was changed to simply The Family Channel.

In 1997, it was sold to a joint venture of Fox Broadcasting Company, and renamed Fox Family in 1998. Fox Family was sold to Disney for $5.3 billion on October 24, 2001. The sale to Disney included the Fox Kids Network which provided the new ABC Family with hours of kids programming. The network was officially renamed ABC Family on November 10, 2001.

As of 2009, the network is available in over 95,680,000 American households.