Just what the doctors ordered
This week’s standout drama is Doctor Foster, a five-part thriller produced by Drama Republic for BBC1 in the UK. Although a number of critics have questioned the show’s “uninspiring” title, there’s a general consensus that Mike Bartlett’s script is a sophisticated look at marital suspicion and the corrosive impact of jealousy.
The Independent said: “The first instalment of the five-parter charted Dr Foster’s (Suranne Jones) growing suspicion that her husband Simon (Bertie Carvel) was having an affair. The old green-eyed monster is a common topic in a relationship-focused show, but Mike Bartlett’s (The Town) naturalistic script, brilliantly delivered by Jones and Carvel, was close to the bone.”
The Daily Telegraph’s assessment was also upbeat: “When I saw the title of new drama Doctor Foster, I must confess my stony cold critic’s heart sank. Not another medical drama. Don’t tell me: maverick surgeon fighting the system while saving lives, yes? Thankfully, it turned out to be an edgy nail-biter that rather reminded me of the hit drama Happy Valley. This was tensely intriguing fare. It was reminiscent of Fatal Attraction from the wronged wife’s point of view or the domestic noir novels that have been all the rage since (Gillian Flynn’s) Gone Girl.”
The viewers seem to have shared the critics’ opinion. Episode one, airing at 21.00 on Wednesday night, attracted an audience of 6.1 million (29.4%), well ahead of the 4.2 million slot average.
The show had a couple of things in its favour that might explain this high figure. The first is that its lead actress, Suranne Jones, is well known to the British public through previous roles in shows such as Coronation Street and Scott & Bailey. The second is that the show followed BBC1’s mega-hit The Great British Bake-Off (which attracted in excess of nine million viewers at 20.00). Nevertheless, the first episode has probably done enough to retain a large proportion of its audience for episode two.
By coincidence, the UK also saw the return of Buffalo Pictures’ long-running drama series Doc Martin this week. A gentle comedy about a high-flying London doctor who goes to live in a small village in Cornwall, the show is now in its seventh season and appears to be as popular as ever. The first episode of the new eight-part run, which comes after a two-year absence, attracted 5.9 million viewers.
While this is down on season six, it is still significantly ahead of ITV’s slot average over the past year. If there is a downside to the show, it’s that it has a pretty old audience. But Doc Martin’s return will be welcomed by the numerous networks around the world that have acquired or adapted it.
Anyone following the TV trades over the last few weeks will have noticed that RTL-owned FremantleMedia has been busy snapping up production companies around Europe. The most high-profile examples are Fontaram in France and Wildside in Italy, with the latter currently making The Young Pope for HBO, Sky and Canal+.
Fremantle will undoubtedly be hoping its new acquisitions can have the same kind of impact as Nordic indie Miso Film, an earlier acquisition that is enjoying a lot of success both in its home market and internationally. It was Miso, for example, that produced Acquitted, a Norwegian thriller that has been a massive hit across the Scandinavian market. Acquitted was also selected to open the Festival de la Fiction TV de La Rochelle, which runs from September 9 to 13 in France.
Explaining why it was chosen, Carole Villevet, head of the festival’s European selection, said: “Acquitted is an excellent series with top writing, directing and acting talents. Our goal this year is to focus on Europe and to platform European shows that have had great ratings nationwide. Acquitted is therefore a perfect choice for our prestigious opening slot.”
Miso also produced Danish period drama 1864, which sold internationally to broadcasters such as BBC4 in the UK. And now its fledging Swedish production base is launching Modus, a thriller based on Anne Holt’s bestselling novel Fear Not for commercial broadcaster TV4. An eight-hour limited series, Modus follows psychologist and profiler Inger Johanne Vik as she investigates a series of brutal murders. FremantleMedia International will launch it at Mipcom.
In the US, the TV industry is on the cusp of its all-important fall season. Dates have now been set for shows – some of which will have crashed and burned by Christmas. It’s impossible to know at this stage which shows will live or die, but one that already has a cloud of uncertainty hanging over it is Fox’s Minority Report, which premieres on Monday September 21 at 21.00. When it was first announced, the show’s heritage as a spin-off of a Steven Spielberg film (starring Tom Cruise) created a lot of buzz. But since then there’s been a steady drip of less positive sentiment.
One issue is that the TV series turns the film’s concept on its head. In the movie, the story is about trying to stop pre-crime policing – a system under which arrests are made on the basis of clairvoyant predictions. But in the TV series, the goal seems to be to bring pre-crime policing back, a plot direction that has got the geek community chattering.
Then there was a feeling that the trailer released at San Diego Comic Con this summer wasn’t especially encouraging, with the show coming off more clichéd than conspiratorial. The tone, which should have been dark and gritty, was like a sci-fi procedural mash-up. Concerns about the direction of the series seem to be confirmed by reviewers who have seen the first episode.
Deadline was especially scathing, calling the show “predictable and surprisingly plodding. With opportunistic politicians, tacky tech, promotion-grabbing cops, air-bound assassination attempts and paranoia galore, the over-explained show tripwires itself from the beginning. Minority Report is a connect-the-dots drama masquerading as a creaky procedural. And, legacy or not, it will have a hard time breaking through even though it is one of the first shows up to the plate this fall.”
TVLine is also unsure of the show’s prospects on a network that has a reputation for not taking any prisoners: “With no Bradley Cooper-like cameo (this refers to the Limitless TV series coming up) from Tom Cruise to give this TV adaptation an implicit movie-star endorsement, Minority Report will sink or swim based on word of mouth. Given the sci-fi-er’s bumpy road to fruition (a lot of reshooting took place over summer), its future is, at best, unpredictable.”
Forbes also has a review of the first episode, which essentially accuses the TV adaptation of lacking ambition.
Fox is giving Minority Report the best possible chance by airing it directly after the new season of Gotham. So it should become clear pretty quickly whether the show stands any chance of survival.
Finally, one show certain to launch with a bang is the new-look version of The X-Files. This week Reed Midem, the organiser of Cannes-based TV market Mipcom, revealed that the first episode of the Fox reboot will be given a world premiere at the market on October 6.
“The return of this iconic series underlines the current demand for storytelling at its best,” said Laurine Garaude, director of TV at Reed Midem. “We are delighted that Fox has chosen MIipcom for the world premiere of the return of The X-Files, one of several high-profile series being showcased exclusively at Mipcom.”
The X-Files was a huge international hit the first time round and is expected to do just as well in its new form.