The US autumn schedule has begun well for NBC’s This Is Us and CBS’s reboot of MacGyver. However, the new season has been overshadowed by the death of NCIS showrunner Gary Glasberg.
It’s been a good week for the scripted format business, with House being remade in Russia and other format deals in Italy and the Netherlands. Amazon, Netflix and HBO have also ordered series, while Turkish drama is off to a strong start at MipTV.
Spearheaded by its latest hit, Star TV drama Broken Pieces, Endemol Shine Turkey is successfully changing drama production models in the country. Gün Akyuz reports.
As the third, ‘best yet’ season of international smash hit The Bridge approaches, Lars Blomgren of coproducer Filmlance explains why the Nordic drama has travelled so well, and reveals the other upcoming dramas on his firm’s slate.
US remakes of foreign-language dramas have often struggled in the recent past, with shows such as The Returned ending up on the scrapheap. But could this negative trend be fixed with AMC’s forthcoming series Broke?
After the critical and ratings hit achieved by Miso FIlm’s last war-based series, 1864, the Danish prodco is hoping to hit the mark again with a new conflict-oriented show, a six-part drama called Warrior. Michael Pickard reports.
As Foxtel commits to tripling its budget for scripted content, DQ editor Michael Pickard looks at the glut of new dramas emerging from the Australian pay TV giant.
Turning books into TV is a well-trodden path, but as pressure for hits increases, development execs are reading more novels than ever before.
With digital powerhouses such as Netflix fundamentally changing the TV distribution landscape, how are the world’s development executives reacting to the new environment, and what does the future hold for drama production, commissioning and funding?
A+E Studios’ Bob DeBitetto outlines the new company’s mission statement as DQ takes a look at some of the shows emerging from the fledging production entity.
Not long ago, Robert Thorogood couldn’t get his foot in a production exec’s door. Now, the Death in Paradise creator is writing a series that caters for audiences in more than 200 countries. He gives DQ the inside track on his journey and how he makes the show work.
BBC2’s adaptation of Hilary Mantel’s Wolf Hall delivered the channel its best ratings for a drama series in more than a decade and won fawning praise across the board. DQ caught up with the creative talent behind the camera.
As viewer expectations change thanks to gritty US dramas like Breaking Bad, Hispanic networks and studios are injecting more action into their programming. But does this spell the end for the traditional telenovela?
Built on a new willingness to tackle historical subject matter and increasing viewer acceptance of English-language shows, German drama is making international headway. DQ finds out how it’s all coming together for this growing industry.
Boosted by a fresh approach from the country’s broadcasters, French drama is gearing up to cross borders – this time in English.
Sky Drama senior commissioning editor Cameron Roach says the satcaster needs to provide content different to that of its terrestrial rivals, rather than try to compete, and is eyeing crime, relationship series and coproductions to meet the challenge.
Playmaker, the latest addition to Sony Pictures TV’s international production empire, is on a hot streak in its home market. Co-founders David Taylor and David Maher tell DQ what they’re doing right.
Though international coproductions now seem ubiquitous, this hasn’t always been the case. Rola Bauer explains how Tandem, an early adopter of copros, put them at the centre of its drama strategy to impressive effect.
ABC came out top in the US freshman drama stakes thanks to a single showrunner and some clever marketing. Channing Dungey, ABC Entertainment Group executive VP of drama development, explains how the network is ‘eventizing’ its schedule.
With the explosion in digital platforms, a sharp rise in investment and more varied content than ever, it’s certainly an exciting time to be working in the drama industry. But where does drama go from here – and what challenges is the new landscape throwing up?