AMC’s Badlands does the business
US cable channel AMC is in phenomenally good shape. Its flagship scripted series, The Walking Dead (TWD), continues to deliver massive ratings and has spawned a successful spin-off, Fear The Walking Dead. And now TWD has provided the launchpad for another strong performer – the martial arts fantasy series Into the Badlands.
Into the Badlands debuted on Sunday at 22.00, after the latest episode of TWD. Despite some reviews suggesting the opening episode spent too long on its setup, the show attracted a massive 6.4 million viewers and a 3.15 rating among 18- to 49-year-olds. That makes it one of the biggest new series of the autumn so far across both cable and broadcast TV, comparable to shows like Supergirl and Blindspot. Once time-shifted viewing is factored in, the series can expect to see another surge in its numbers.
Even if Into the Badlands experiences a drop-off in episode two, its premiere performance suggests it will still even out as one of the top-performing cable shows of the year. And the good news doesn’t end there for AMC. Still to look forward to is season two of Better Call Saul, which is due in February. The Breaking Bad prequel was a strong performer for the channel last year and there is no reason to suppose this will change as the show starts to tie in to the mythology of its critically acclaimed parent.
Having four massive hits in its schedule gives AMC the freedom to support other programmes that don’t rate so highly, which bodes well for the likes of Humans and Halt & Catch Fire.
Returning to TWD for a moment, it’s interesting that the latest episode saw a 5% jump in 18-49s week on week. That rise can probably be explained by the fact that the episode focused heavily on Daryl Dixon (played by Norman Reedus). If the character is ever killed off, expect to see a huge spike in time-shifted viewing followed by a decline in the youth audience.
In today’s fragmented TV landscape, the numbers achieved by Into the Badlands are genuinely impressive – but pay TV channels don’t need to be getting ratings of this magnitude to be classified as a success. Just as important is what a show says about a channel’s brand. If it sends out the right message, it can help with the pickup or retention of subscribers. If you look at European pay TV platform Sky, for example, a lot of money has been spent on demonstrating that it is the home of quality content. Its relationship with HBO, recently extended, is a classic example of that – as is the company’s heavy investment in original drama.
Having said all this, drama is an expensive genre. So Sky has been looking for ways to deliver quality without breaking the bank in terms of its scripted content investments. One way it is doing this is by acquiring or making dramas that can play across all 21 million homes in its five core European markets: the UK, Ireland, Germany, Austria and Italy. At the same time, it is seeking to coproduce with PayTV providers in other markets – so the commercial risk is spread even more broadly.
Let’s say, for example, that Canal+ in France comes on board a drama – then suddenly your production is hitting an addressable market of around 28 million. If Sky’s distribution arm Sky Vision is then able to sell the show into other markets, the cost is further defrayed. Fortitude was a high-profile example of this. Although it only attracted around 700,000 viewers in the UK, the fact it was played out in numerous other markets made it a relatively easy decision for Sky to back a second series.
Slightly less certain is Sky’s new series The Last Panthers, a coproduction with Canal+ and US network SundanceTV. The show debuted in the UK last week and attracted just 228,000 viewers, 38% of which were 35- to 44-year-olds. That figure is ahead of the slot average – but it’s still quite low for an original. Sky will be hoping it picks up some momentum in the coming weeks.
There are probably a couple of explanations for The Last Panthers’ debut falling so short compared with Fortitude. The first is that it didn’t have the same kind of cast clout as Fortitude, which made it less promotable. True, it features Samantha Morton and there was a fleeting glimpse of John Hurt. But this is nothing compared with Fortitude, which boasted Michael Gambon, Stanley Tucci, Sofie Grabol and Christopher Eccleston (briefly). Second, the opening episode was not easy to get to grips with, switching language and location frequently and not making it obvious who the audience should root for. While UK audiences are more comfortable these days with subtitles, The Last Panthers probably makes them work a bit too hard.
The UK critics are split on the show. For The Guardian, The Last Panthers is “bold, smart and seductive,” but for the Telegraph it’s “turgid” and “lacks tension.” The Independent gets it about right when it says: “If you can cope with the violence, the underlit filming, the dialogue in French with subtitles and the unremittingly depressing scenes then The Last Panthers is a fine thriller, with a touch of The French Connection about it.” SBS Australia seems happy enough, acquiring the show this week.
While an important element of the current ‘golden age’ of drama is the freedom to pursue interesting creative ideas like Badlands and Panthers, it’s also worth noting that NBC’s big success at the moment is a trilogy of procedurals that are all based in Chicago. If you look at the channel’s top five dramas at the moment, three of them are Chicago PD, Chicago Fire and Chicago Med, which launched this week with a same day audience of 8.6 million.
Fire was the first to appear and has recently been renewed for season five. PD came next and has just been renewed for a fourth run. Med is only one episode old but already looks like it will get a renewal. Apart from the procedural formula, the common denominator among the three is that they come from the stable of Dick Wolf, creator of the Law & Order franchise. Aged 68, Wolf continues to be one of the masters of mainstream drama and has an awards cabinet to prove it.
Finally, we can’t sign off without observing that Downton Abbey is over, except for the upcoming Christmas Special. The final episode of the final season scored a consolidated audience of 11 million viewers for ITV. There’s no question that Carnival Films’ drama, superbly scripted by Julian Fellowes, has been one of the most memorable British TV dramas ever made. While the show was perhaps starting to become a little repetitive, it continued to make hugely entertaining Sunday night viewing.
The fact Downton Abbey is now ending is a clear loss for ITV, particularly when the show has so many unresolved storylines. In fact, the broadcaster would be mad to let all of that stored up audience affection just fizzle out. No US network would allow the show to die at this stage in its life cycle. And in any other business you’d be castigated for giving up on such a strong brand.
While it’s possible that Julian Fellowes and some of the cast are keen to move on, ITV should at the very least explore whether there is spin-off potential – maybe a series focusing on the London lives of some of the younger cast. Lady Edith, Thomas the footman and a handful of others could provide the spine of a new show.
In the meantime, take a look at this video if you want to see the cast of Downton behaving badly.