Ahead of the finale of the fourth season of US drama Hit the Floor, showrunner James LaRosa discusses the show’s move from VH1 to BET, why sports are perfect for TV dramas and his unconventional journey to running a series.
As Mr Mercedes returns for a second season, showrunner Jack Bender tells DQ about adapting Stephen King’s crime novel for the small screen and the importance of character in TV drama.
As reality TV-focused drama UnReal ends after four seasons, showrunner Stacy Rukeyser reflects on the show’s controversial storylines and the rise of female anti-heroes.
As season two of HBO’s Westworld draws to a close, co-creators and showrunners Lisa Joy and Jonathan Nolan discuss making the series, rebooting the Western genre and their fascination with the mind-bending themes at the heart of the drama.
Castle exec producers Terri Edda Miller and Andrew W Marlowe return to TV with Take Two, a crime drama that sees an actor pair up with a PI. The duo tell DQ about the international route they took to bring the series to air and why procedural dramas still have a place on screen.
US premium cable network Starz backed Tanya Saracho’s story of two sisters returning to their old LA neighbourhood. The new showrunner hopes to repay its faith by using Vida to bring greater diversity in front of and behind the camera.
Just when you thought it was safe to go back into the water, mermaids and humans are set for a battle to control the ocean in Siren, which launches on US cable channel Freeform next week. DQ dives into the series with showrunner Emily Whitesell.
Creator and showrunner Matthew Parkhill and actor Mark Strong open up about Deep State, an international espionage thriller that is also Fox Networks Group’s first regional scripted commission for Europe and Africa.
US streaming platform Crackle delves into the world of cop gangs with 10-part drama The Oath. Showrunner Joe Halpin reveals how the show is informed by his own career in the LAPD and how he made the move from police officer to TV writer.
Since beginning his television career on Star Trek: The Next Generation, Naren Shankar has worked across the spectrum of science fiction drama. Now helming Syfy’s The Expanse, he discusses adapting the source novels and the increasing demands of being a showrunner.
The true story of a US Army unit ambushed in Iraq is dramatised in National Geographic limited series The Long Road Home. Showrunner Mikko Alanne discusses adapting Martha Raddatz’s non-fiction novel and filming at the base where the real soldiers were stationed.
Former Criminal Minds showrunner Ed Bernero takes charge of diamond-focused drama Ice as it heads into its second season. He tells DQ why he is stepping out of his comfort zone and leading a series set in a world rarely seen on television.
As the newly appointed showrunner of White House drama Designated Survivor, Keith Eisner is taking the series in a new direction. He tells DQ about his plans for the ABC show, comparisons to The West Wing and making a political drama in the era of Donald Trump.
Courtney Kemp, showrunner of Starz original drama Power, tells DQ about writing and producing the series, which recently completed its fourth season, and talks about her career in television and the writers who have shaped her career.
A small town serves as a sanctuary for a group of people with secrets to hide in supernatural mystery Midnight, Texas. DQ speaks to showrunner Monica Owusu-Breen about adapting Charlaine Harris’ novels and the show’s political parallels.
Get Shorty showrunner Davey Holmes tackles Elmore Leonard’s novel in a drama far removed from the 1995 movie of the same name. He tells DQ how he created the Epix series, which stars Chris O’Dowd as an hitman who lands in Hollywood.
FX explores the crack cocaine epidemic that gripped LA in the 1980s in period drama Snowfall. DQ chats to showrunner Dave Andron about the series, which he describes as a “love letter” to the city.
Showrunner Emma Frost takes DQ into the court of The White Princess, a historical drama she describes as a period version of The West Wing.
American Gods co-showrunner Bryan Fuller reveals why Neil Gaiman’s novel was “ripe” for television and how he brought this story to the small screen.