Category: HIT & MISS
2016 was another superb year for the scripted TV business. So for our last column of the year, we look back at some of the best new shows that broke into the market during this calendar year.
Star, Lee Daniels’ follow-up to Empire, has got off to a shaky start – with critics mostly giving the show the thumbs down. But there was good news this week for French drama Baron Noir.
The CW has signalled the end of its Mary Queen of Scots drama Reign – however, the TV industry’s interest in royal subject shows no sign of easing off. This week we look at some of the big franchises to have emerged in recent years.
Season two of The Missing has proved a worthy successor to its acclaimed forerunner on BBC1, while Showtime is in need of a new hit of its own. Andy Fry reports.
While crime dramas still dominate TV schedules around the world, there’s a groundswell of opinion that it’s time for leading networks to commission a few more upbeat, uplifting series, reports Andy Fry.
News that Robert Heinlein’s iconic book Stranger in a Strange Land is to be adapted for TV signals a growing interest in the potential for adapting classic science-fiction novels.
Warner Bros’ iconic DC Comics division has proven a valuable source of scripted TV ideas. This week, we explore the extent of DC’s influence in the free-to-air and cable schedules.
It’s increasingly tough for dramas to gain attention – even if they are great shows. Slow starts for Humans and The Young Pope mean word of mouth and catch-up viewing will be important. Also, finalists for the C21 Drama Awards have been revealed.
Netflix is best-known for its US-originated scripted series. But new funding will allow it to ramp up its investment in dramas from other parts of the world. Here we look at its efforts so far.
Titles like Victoria, Timeless and Midnight Sun did good business at Mipcom, but there were also interesting format deals involving Japan, Ukraine and Argentina.
As content buyers and sellers head for Mipcom, Fox will be pleased with the performance of its movie reboot Lethal Weapon, while HBO’s Westworld and FX’s American Horror Story also shine.
Gillian Anderson is back in business this week with BBC drama The Fall. To celebrate the return of DSI Stella Gibson, we take a look at TV actresses with international audience appeal.
Despite Turkey’s current difficulties, the country’s TV drama continues to be in demand. A deal between Eccho Rights and Ay Yapim is the highlight in the run-up to Mipcom 2016.
The autumn season has just started in the US – which means TV executives around the world will be watching with interest to see which new dramas live up to their pre-launch hype. This week, we look at some of the network shows that are buzzing.
In the UK, ITV and the BBC can be well satisfied with the performance of their respective autumn dramas, Victoria and Poldark. Elsewhere, there are promising signs for Sky Atlantic, Canal+ and HBO copro The Young Pope and FX hip-hop comedy Atlanta.
The TV biz is taking a leaf out of the film industry’s book by increasing the number of new-product screenings it hosts. Key beneficiaries of this trend include MipTV and Mipcom, which have bagged several big premieres.
When Walt Disney acquired Marvel Entertainment in 2009, there were a few raised eyebrows over the US$4bn purchase price. But, six years on, most analysts agree the deal was a steal.
The scripted TV business has never really enjoyed much success with sporting subject matter. But maybe shows like Ballers, Kingdom and Rivals Forever signal a new wave of opportunity.
Israeli drama The Baker and the Beauty continues strong showing for Hebrew-language shows, but a new version of Conrad’s The Secret Agent proves too bleak for BBC1’s Sunday night audience.