Category: THE WRITERS ROOM
Cheat writer Gaby Hull talks about the inspiration and writing process behind six-part drama We Hunt Together, an unconventional police thriller in which two couples begin a cat-and-mouse chase.
Sally Rooney and Alice Birch tell DQ about adapting the former’s critically acclaimed novel Normal People, in which a pair of teenagers embark on a tender but complicated relationship.
Now in its third season, Fauda has pushed Israeli drama into a new direction by exploring both sides of the Israel-Palestine conflict, presenting an action thriller tinged with emotion and compassion. DQ chats to the show’s creative team.
Having started life as a one-off drama, Our Girl is now in its fourth full season. Creator Tony Grounds tells DQ about making the military series, being inspired by real-life stories and replacing star Michelle Keegan.
Michael Connelly, author of the Bosch and Lincoln Lawyer book series, tells DQ about how the dramas based on both have affected by the coronavirus outbreak and his hopes for the final season of Bosch.
Lisa Holdsworth, chair of the Writers’ Guild of Great Britain, tells DQ about the union’s plans to support writers amid the coronavirus pandemic, while also questioning how future series might represent current events.
Forbrydelsen (The Killing) writer Torleif Hoppe speaks to DQ about the genre-defining Danish series and how his latest crime drama, DNA, flips the script on its leading detective.
Brazilian drama Desalma (Unsoul) marries crime drama with small-town paranoia and religious ritualism to unsettling effect. Writer Ana Paula Maia tells DQ about the creative process behind her first television series.
The writers and producer of Swedish drama Kalifat (Caliphate) tell DQ how they crafted this story of five young women who become radicalised by religious fundamentalism.
Sara Johnsen, the co-creator and writer of Norwegian drama 22 Juli (July 22), tells DQ about her approach to dramatising the devastating terror attacks that struck Oslo and the island of Utøya on that date in 2011.
After working on a pair of adaptations, writer Daisy Coulam is bringing an original story to television in the shape of Deadwater Fell. She tells DQ how a love of true crime shows and the power of social media inspired the series.
After a season one conclusion that left the Twittersphere outraged, Bancroft writer Kate Brooke tells DQ what’s in store for the eponymous rogue cop in season two and why there’s no character like her on TV.
Following appearances on screen this year in Sanditon and A Confession, Kate Ashfield tells DQ about continuing her burgeoning writing career by penning Finnish psychological drama Huone 301 (Man in Room 301).
Carla Faour and Julia Spadaccini, the writers behind Brazilian series Segunda Chamada (Second Call), tell DQ why they wanted to shine a light on the country’s adult education system.
The next project from Goran Stanković and Vladimir Tagić, the creators of popular Serbian dramedy Morning Changes Everything, centres on a pivotal moment in contemporary Serbian history.
Spanish series Arde Madrid imagines the relationship between Hollywood star Ava Gardner and Argentine dictator Juan Perón, as revealed through the eyes of a maid and a chauffeur. DQ meets writers and directors Paco León and Anna R Costa.
Taís and Pedro face some life-changing decisions when they discover they are about to become parents in Brazilian series Pais de Primeira (First-Time Parents). Writer Antonio Prata tells DQ how the series was born.
In French drama Soupçons (Torn), childhood sweethearts rekindle their love — but at what cost to their families? Co-writer and director Lionel Bailliu tells DQ about the romantic thriller.
As Poldark returns for its fifth and final season, series creator and writer Debbie Horsfield tells DQ how the period drama departs from its source material and outlines her approach to bringing the saga to a close.