In late January, for the third year running, Billboard traveled to Hawaii to observe the production of American Idol’s milestone 24th season. The stakes were high from the moment the thirty hopefuls touched down; ten were promptly sent home during the inaugural “Ohana Round.” Following a series of group interviews with mainstay host Ryan Seacrest, the judging panel—comprising Lionel Richie, Luke Bryan, and Carrie Underwood—and mentors Brad Paisley and Keke Palmer, we sat down for an in-depth conversation with showrunner and executive producer Megan Michaels Wolflick.
Wolflick’s tenure with the franchise spans over two decades, including a stint on the 2003 spin-off American Juniors. Having ascended through the production hierarchy to the role of executive producer in 2018, she possesses a panoramic view of the show’s evolution. Over a two-hour breakfast, Wolflick detailed the creative architecture of the upcoming season, the philosophy behind its structural pivots, and the show’s new strategic partnership with Atlantic Records.
Evolving the Format: The Creative Brainstorm
We have previously discussed seasonal pivots, but I’m curious about the genesis of these changes. Does the impetus for innovation start with you, or is it a collaborative effort?
“It is a constant cycle of brainstorming to ensure the format remains vibrant,” Wolflick explains. “I rely heavily on my team as a sounding board. I often pitch ideas and encourage them to be brutally honest. Additionally, Fremantle hosts a global Idol conference every few years—most recently in London—where producers from territories like Australia, Sweden, Germany, and India exchange concepts. It’s an incredibly fertile environment. For instance, the ‘judges’ song contest’ was a South African innovation. This year, after speaking with Australian showrunner Joel McCormack, I adapted his ‘gold room’ concept into our Hollywood Week. The idea for the ‘Ohana Round’ actually hit me during a conference lunch. These international gatherings are vital for the show’s longevity.”
The “Ohana Round”: A Social Experiment
The term ‘Ohana’ implies an inclusive, extended family structure. How does this translate into the competition?
“We’ve added an extra episode filmed at Aulani that bridges the gap between the intensity of Hollywood Week and the start of the public vote,” says Wolflick. “Hollywood Week is a temporal whirlwind, so we wanted a way to gauge which contestants truly resonate with different demographics. I view the Ohana Round as the ultimate focus group. We’ve curated three distinct voting blocks: the contestants themselves, their families, and a hand-picked group of industry experts and influencers. Each group provides a unique perspective—the ‘singer’s singer,’ the emotional connection of the families, and the commercial lens of the experts. It’s a fascinating psychological study.”
In this round, the top pick from each group is awarded a Platinum Ticket. Were there restrictions on who could vote for whom?
“Strictly. Much like the Eurovision model, contestants cannot vote for themselves, and families cannot vote for their own kin. We limited participation to two family members per contestant with a single collective vote. Since the theme is ‘Ohana,’ performers dedicated songs to their relatives, which added a profound emotional layer. Watching the reaction of our industry experts was like seeing a high-stakes, real-life TikTok reaction video; their authenticity was exactly what we were looking for.”
Adapting to the Digital Era
This season, Idol has shifted to a Monday night slot and returned to a January premiere. You’re also sticking to a once-a-week cadence. How does this align with modern viewership?
“Premiering in January feels like a return to our roots. Moving to once a week is a conscious effort to respect the audience’s time; four hours a week is a significant commitment in 2026. We’ve recognized that the ‘viewer’ is no longer just someone sitting in front of a television at 8:00 PM. People are consuming Idol via Hulu, Disney+, or through fragmented clips on Instagram and TikTok. We have to pivot alongside the culture. Mondays provide a strong start to the week and steer us clear of the heavy Sunday competition, such as the Super Bowl or holiday weekend fatigue.”
The Judging Panel: Sincerity Over Spectacle
Lionel Richie and Luke Bryan are entering their ninth year, while Carrie Underwood is in her second. How would you characterize their current chemistry?
“They are an exceptionally cohesive unit. Their investment isn’t just for the cameras; they act as genuine A&R executives. Carrie, being the first former Idol finalist to sit on a global panel, brings a unique empathy to the role. She feels the weight of the responsibility deeply. For Luke and Lionel, audition days still feel like Christmas morning. Even after twenty years on this show, that spark of discovery remains the driving force for all of us.”
Strategic Innovation: Social Voting and Themes
What can fans expect regarding themes and the voting process this year?
“Disney Night and Rock & Roll Hall of Fame Night remain our pillars, but we’re introducing a ’90s nostalgia twist to the judges’ song contest and a 20th-anniversary ‘Class of 2006’ theme for our university segment. The biggest shift, however, is the introduction of social voting. We’ve worked with Telescope for five years to make this possible. Fans can now vote simply by commenting a contestant’s name on pinned posts across social platforms. The era of ‘data rates may apply’ via telephone is officially a relic of the past.”
The Idol Legacy and New Partnerships
How has the perception of Idol changed within the industry?
“In the early years, there was a stigma that contestants hadn’t ‘paid their dues.’ Today, Idol is essentially a high-intensity boot camp for the modern music industry. We provide access to elite styling, professional audio, and world-class staging that would take years to achieve independently. While you can get signed from a viral TikTok today, many of those artists lack the experience to command a live stage. We bridge that gap. We’ve also transitioned to a new label partnership with Atlantic Records. Their executive, Jeff Levin, was actually an intern for Clive Davis during the show’s early peak, so this partnership feels like a full-circle moment for the franchise.”
A Bittersweet Transition
The production faced a profound tragedy last year with the loss of music supervisor Robin Kaye. How is the team moving forward?
“It was an unimaginable loss, and the grief is still very present,” Wolflick shares quietly. “Ashley Viergever, who worked alongside Robin for seven years, has stepped into the role. The team frequently asks, ‘What would Robin do?’ During rehearsals at the beach last night, we felt her presence everywhere. We even saw her image pop up on our monitors unexpectedly—a reminder that she is still very much a part of the Idol family.”
