The US still dominates drama exports, but in the last Hit & Miss column of the year we take a look at some of the new shows from other countries that have punched above their weight in 2015.
The Sydney Morning Herald has just named Gallipoli as the best Aussie drama of the year – and they’ve probably got it just about right. Although the lavish WW1 epic rated badly on Nine Network, it was a strongly scripted and well-acted show that has had some profile internationally thanks to Endemol Shine International. Gallipoli’s Aussie rivals this year included biopic Peter Allen: Not the Boy Next Door, multicultural drama The Principal and undead series Glitch. But probably the best of the bunch outside Gallipoli was The Secret River, Ruby Entertainment’s adaptation of Kate Grenville’s novel.
2015 was a decent year for Canadian-backed drama. The high point was epic miniseries The Book of Negroes, which was back by public broadcaster CBC and BET in the US. The story of escaped slaves returning to Africa via Nova Scotia pulled in 1.7 million viewers for the first episode, making it the highest-rated original drama for CBC since 1990. Another strong debutante in 2015 was sitcom Schitt’s Creek, which also aired on CBC. This show was sold internationally by ITV Studios Global Entertainment to countries including New Zealand.
Top of the pile in China this year has been The Journey of Flower, a love story based on the fantasy novel by Fresh Guo Guo. Broadcast from June to August, it told the story of Hu Qian Gu, a girl born with magical powers. At age 16, she becomes the disciple of Bai Zihua, an immortal in charge of a magical realm – and promptly falls in love with him. The series has aired internationally in markets such as Vietnam.
At the forefront of the Nordic drama explosion, Denmark public broadcaster DR gave us series like The Killing and Borgen. In 2014/2015, it added the period drama 1864, which has sold to broadcasters including RTÉ Ireland, TV4 Sweden and Arte (France/Germany). Next up is Follow the Money, a thriller set in the world of economic crime. The show has been heavily trailed in 2015 but finally airs in early 2016. It has been picked up by BBC4 in the UK – a big fan of Scandinavian TV drama.
After the success of Spiral and The Returned, it was the turn of Witnesses to catch the international market’s attention. A noir thriller set in Northern France, the France 2 show was picked up by Channel 4 in the UK, NRK in Norway, RTBF in Belgium and RTL Crime in Germany. The series was produced by Paris-based Cinétévé and written and directed by Hervé Hadmar and Marc Hernoux, who were behind Les Oubliées (Forgotten Girls) for France 3 and Pigalle La Nuit for Canal+.
In terms of German drama, it’s impossible to look beyond UFA’s Cold War coming-of-age story Deutschland 83. The show aired on RTL in its domestic market and has been sold internationally to more than 20 territories by Fremantle Media International. Buyers have included Sundance in the US, Channel One Russia, TV4 in Scandinavia and Stan in Australia. UK VoD platform Walter Presents has also picked up the title.
Israeli spy series False Flag is continuing the good work done by previous drama titles such as Prisoners of War and In Treatment. In June 2015, the show was picked up by Fox International Channels for use in 127 countries worldwide. Fox is also adapting the series into English.
After Gomorrah forced the world to reappraise Italian drama, Wildside’s 1992 proved it was no fluke. The 10×60’ story of Italian corruption in the 1990s aired on Sky Italia before being picked up by the likes of Orange France, Canal Spain and Superchannel in Canada. In September, the show was also sold to Netflix by distributor Beta Film.
We looked at Korean drama a few months ago here. With the year over, the top show still looks like KBS’s The Producers, which aired in May and June. The story focuses on a group of young producers working in the variety department at KBS. It has sold to China, Japan, Thailand, Indonesia, Vietnam, Taiwan, Hong Kong and Kazakhstan, while digital streaming rights have been licensed to parts of Europe, the Middle East and North America. China’s online network Sohu paid US$2.4m for the show’s rights.
Latin America/Hispanic US
One of the hottest telenovelas of the year was Dueños Del Paraiso, starring Kate del Castillo, Adriana Barraza and Jorge Zabaleta. Created by Telemundo and TVN Chile, it tells the story of a woman who lives in poverty and whose ambition leads her to use drug trafficking as a means to become one of the most powerful women of her time.
The Netherlands is better known for its entertainment format exports than its drama. But it has given birth to series like Penoza, which was remade in the US as Red Widow. One of this year’s more interesting dramas was public broadcaster VPRO’s De Fractie, a politics-based series that combined fiction and current events. It did this by working as a fast turnaround production so that it could include new developments from the real world. A success at home, it’s the kind of project that could lend itself to international formatting.
Norway is starting to rival Sweden and Denmark when it comes to Nordic Noir series. This year’s big hit was Miso Films’ Acquitted, which tells the story of a man returning to his home town after a long absence – having been acquitted of murdering his girlfriend. A big hit for TV2, the show is distributed internationally by FremantleMedia International.
Spanish drama is going through its own golden age at the moment, with titles such as Grand Hotel, Velvet and The Time In Between. All of the above are period dramas, but this year the Spanish have shown that they are also pretty adept at making contemporary thrillers. A good example is Mediaset Espana’s miniseries Los Nuestros (Our Guys), which follows a mission to save two Spanish children kidnapped by a terrorist group while on holiday in Mali. Attracting 3.7 million viewers, it was one of the year’s strong performers and there is talk of a follow-up series. Another strong performer was Atresmedia’s Under Suspicion, in which a seven-year-old girl disappears from a small community, while Hierro won the copro series pitching competition at Berlinale. The latter will air in early 2016.
If we were talking about returning series, then pick of the bunch would undoubtedly be the third season of The Bridge. But among new titles, ITV Studios Global Entertainment-distributed Jordskott is the year’s standout. A supernatural thriller from Sweden’s state broadcaster SVT, the show has been sold to ITV Encore in the UK and to broadcasters across Scandinavia. TV4’s Modus, distributed by FMI, is another new title that looks set to do well abroad.
Turkey is such a prolific producer of drama that it’s hard to single out a particular title. But one show that merits a mention is Dirilis Ertugrul, better known as Resurrection. A period drama set in the 13th century, this was public broadcaster TRT’s response to fellow huge period hit Magnificent Century (aired on Show TV and Star TV). Resurrection (which debuted on December 10, 2014 and ran through 2015) did extremely well for TRT1, delivering ratings well ahead of the channel’s average. It has also been sold internationally to more than 20 territories. Also of note in 2015 was the launch of Magnificent Century sequel Kosem Sultan, which rated particularly well with the AB demographic.
The Brits produced a lot of good drama this year but it’s hard to look beyond Golden Globe nominee Wolf Hall for the country’s outstanding scripted show of the year. Based on Hilary Mantel’s acclaimed novel, the show was a success for BBC2 in the UK and also aired on PBS in the US and Arte France, among others. Wolf Hall also sold in Scandinavia and features on BBC Worldwide channels in markets such as Australia.
As the popularity of Nordic noir shows no sign of waning, DQ asks Scandinavian drama’s key players where they plan to take the genre next.
Ever since the massive global hit that was The Killing, Scandinavian drama has been punching above its weight, winning over critics and viewers internationally as well as influencing its European neighbours.
The latest Nordic noir success story is Sweden’s The Fat and the Angry (Ettor och nollor), which scooped another international award for the region when it picked up best non-English-language drama at the inaugural C21 Drama Awards last November. It came a close second earlier in the year at the Seoul Drama Awards with a Silver Bird gong in the TV movies category.
Based on true events in Gothenburg’s criminal underworld, the two-part show, which premiered locally in Sweden in February 2014, joins a long list of award-winning Nordic dramas with international careers, including Lilyhammer, The Killing, Wallander, Borgen and The Bridge – as well as Mammon, which has been the subject of speculation about a BBC remake.
The Fat and the Angry highlights an important feature of Scandinavian dramas: coproduction. Made by Göta Film and Swedish pubcaster SVT, its partners included Finnish pubcaster YLE and Swedish film prodco Film i Väst.
With a few exceptions, Scandinavian drama’s international partnerships came out of necessity, says SVT head of drama Christian Wikander. “The hourly cost for drama has gone up, which means we’re all searching for new money, and this drove the producers and the broadcasters to reach out and broaden the network.”
If anyone can find success with this approach, it’s the Scandinavians, as Liselott Forsman, executive producer of international drama projects at YLE, explains: “We’ve been coproducing since 1959. It’s really good for Nordic drama that we have subsidy methods and two important funds within the Nordic countries.” One of these is the Nordisk Film and TV Fond, where Forsman sits on the board.
“There’s much to be gained by having a lot of smaller funding and regional funding contributions, even though they don’t pay very much,” agrees Stefan Baron, executive drama producer at Nice Drama. Baron left SVT in 2014 after 21 years to join MTG-owned Nice Entertainment Group, where he’s now an exec producer heading up international coproductions. “The trick is to not have too many partners at the script stage,” he says. “When you have a couple of scripts, then you bring in distributors and coproducers from around the world.”
Beyond the region, Nordic drama’s international appeal has grown thanks to increasingly sophisticated, social media-savvy audiences and their expanding tastes, says Wikander – adding that this has also helped prise open the door to the UK, a notoriously closed market for subtitled, non-Anglo Saxon fare.
“I think audiences are very well educated and used to all kinds of storylines, plots, dramaturgy and also language,” says the SVT man. “Because social media is so borderless, we share so much in our personal networks – and one proof of that is the success of Nordic drama on BBC4. Ten years ago, if someone had told me two million Brits would sit down to watch a subtitled drama, I wouldn’t have believed them.
“The fantastic upside for all of us working in Scandinavia today is that we’re approached by broadcasters and international producers in a way we’ve never seen before, and that’s a great opportunity for us.”
SVT is Scandinavia’s largest drama commissioner and producer, with an annual output of four longform drama series (10×60’/10×45’) and four miniseries (3×60’) across crime, family drama and comedy, on a budget of around SEK320m (US$46.6m).
Around half its output is coproduced, largely with its longstanding Nordic partners such as DR, NRK and YLE. But it has also attracted a growing band of Europeans and North Americans interested in remake rights to shows like The Bridge, and ‘hubot’ drama Real Humans, with Shine-owned Kudos’s remake of the latter, simply called Humans, now airing on the UK’s Channel 4 and AMC in the US.
Piodor Gustaffson, co-founder and producer of independent production company Another Park Film, and former drama commissioning editor at SVT, says that despite smaller budgets and limited development funds in the region, he’s noticed an overall increase in the quality of drama series over the last few years. “That’s about competing with not only the rest of the world but also your neighbours, as well as occasionally using the same talent,” he says.
At SVT, Gustaffson pushed for a broader range of drama output, leading to projects such as The Bridge and Real Humans. Meanwhile, Baron greenlit Nice’s family drama Thicker Than Water. The show aired in spring 2014 to a million-plus viewers, selling internationally via Germany’s ZDFE. A second season is now in the pipeline.
There’s widespread agreement that Nordic noir has opened doors for Scandinavian producers, themselves refusing to have their output pigeonholed as simply Nordic noir. With crime at its core, the programming stretches far beyond into an exploration of society and human motivations, offering a strong identification with and empathy for characters along the way. It also embraces other genres such as suspense and mystery, and fish-out-of-water crime comedy. And now producers are moving into new areas, exemplified by DR’s family inheritance drama The Legacy.
“Of course it’s about crime – it’s Nordic noir – but it’s always been character-focused,” says Jonas Allen, producer and co-founder of Danish prodco Miso Film. “We care about the characters. It’s not only about fascination with them, but also identifying with the characters, and I think that’s the basic core to all the shows.”
Now majority-owned by FremantleMedia, Miso Film counts local hits such as Those Who Kill and Dicte for TV2 Denmark, as well as the historical drama 1864 for DR, among its productions. Crime reporter series Dicte (10×45’) returned for a successful second run last autumn, with a third season now in development. It includes TV4 Sweden and TV2 Norway as coproducers, and received support from regional Danish regional funds, the EU’s MEDIA programme and DFI’s Public Service Fund.
For Scandinavia’s public broadcasters, at least, another quintessential ingredient of Nordic drama is how it reflects society. “It’s our duty to tell all our audiences something about what’s happening in society today. It’s imperative that we entertain, but we should always enrich at a deeper level, too,” says Forsman.
Even though Nordic drama appears gloomy and dark, Forsman says one of the reasons Danish drama travels so well is that the characters care about each other. “You can feel it within 10 seconds of watching. You have to have a lot of empathy, no matter how harsh the subject.”
YLE Drama’s latest show is the thriller Tellus, scripted and directed by JP Siili. The 6×50’ drama deals with a group of eco-terrorists, exploring an “important ethical question” of how far individuals will go to fight for their ideals, according to Forsman.
NRK and SVT are coproducers and ZDFE is distributing it internationally outside of Scandinavia, making it “a typical Nordic coproduction,” Forsman adds. The drama opened to 27% shares on YLE1 in the autumn, continuing on 25%, with a second season greenlit before the final episode aired in December.
Pubcaster NRK’s latest traditional Nordic noir, Eyewitness (Øyenvitne, pictured top), which debuted on NRK1 last autumn, is also imbued with socio-cultural commentary. “It’s been a real success among critics and audiences,” says NRK head of drama Ivar Køhn, who’s also the current chair of the Nordisk Film and TV Fund.
It was scripted and directed by Jarl Emsell Larsen who, as the original father of Nordic noir in Norway, has 30 years of TV drama under his belt. “For the last 15 years he’s been really into social drama, when he discovered he could make crime and talk about society and also make it popular,” Køhn says of the director.
Eyewitness follows two adolescent boys who meet secretly in a forest, where they witness a violent murder. The story follows the events that build after they fail to report the crime to the police. It has already sold internationally in both finished (including to Germany) and scripted format forms.
But NRK is also keen to evolve its drama. Its ‘Nordic humour noir’ show Struggle for Life (Kampen for tilværelsen) “is not so much a ‘fish out of water’ story as a ‘tigers in silent waters’ one – the complete opposite,” says Køhn.
Following in the mould of series like Welcome to Sweden and Lilyhammer, Struggle for Life centres on a Pole who travels to Norway in search of his father. Although a linguist, he can only find work as a carpenter, which exposes him to a Norwegian middle-class life of self-made problems.
“It’s a really original story and a brave one for us,” says Køhn. The project was completely controlled by scriptwriters, and co-written by Erlend Loe, Per Schreiner and Bjørn Olaf Johannessen – “some of the most exciting writers we have in Norway,” says Køhn. NRK has greenlit two seasons of the eight-part comedy drama.
Miso Film is also evolving the Nordic noir genre. “It’s one of the things going on right now,” says co-founder Allen. “A lot of creatives who we’re dealing with are looking for and trying to tell new stories.”
One of its latest offerings is NOK65m (US$8.8m)-budget mystery drama Acquitted (Frikjent) (10×45’), made for TV2 Norway and launched in March this year. The project, which received NOK10m funding from the Nordisk Film and TV Fund, became TV2’s biggest drama premiere, pulling in a 46.6% share of its 20-49s target group and a 38.8% overall share (12 years-plus).
Scripted by two female writers, Siv Rajendram Eliassen (Varg Veum) and Anna Bache-Wiig, the drama is inspired by a real rape and murder case in Norway. “They were very interested in the character, and it was always about finding out about the man who was acquitted, why he came back to his hometown, what he was looking for, and the forces that drove him back. That’s the core of the development of the show,” says Allen.
SVT’s Wikander, too, is keen for producers not to come to him with the next The Bridge. “I think we need to be brave. Take Real Humans, for instance – that’s an example of being brave, and for a public broadcaster today that’s extremely important,” he says.
“We need to try out new stuff but, of course, without abandoning the established crime formats. We’re going to see a third and probably fourth season of The Bridge, but we need to balance that with bravery, and we’ve started a lot from scratch, finding stories relevant to a Swedish audience because that’s our mission. When you have that mission, you can then go into the international market, but not as a first step.”
One of SVT’s newest dramas, Jordskott (10×60’), takes the pubcaster in yet another new direction. It’s made by established Swedish commercials prodco Palladium, which formed new division Palladium Fiction, headed by producer Filip Hammarström, for its first TV drama. The show, which launched on Monday February 16, opened to 1.6 million viewers and has since averaged 1.4 million so far across its debut run.
The story follows a detective who returns to her small home town to work on the case of a missing boy, 10 years after her own daughter disappeared, and tries to find links between the two mysterious incidents. Wikander calls it a “Nordic crime meets mystery” drama.
After four years developing the idea, Palladium brought a 10-minute tape to SVT. “If they hadn’t had that 10 minutes, we would have said no, because the company had never produced a drama series before,” says Wikander.
The UK’s ITV Studios came in on the project very early, he adds, making it possible to take it to the next level of production, and is distributing the series worldwide. Finland’s Kinoproduktion is also a coproducer and the series has been pre-bought by YLE, TV2 Norway and Iceland’s RUV.
“The biggest difference of the last two to three years has been an increase in the amount spent on development, alongside international companies investing in or acquiring Nordic companies and increased budgets at the TV channels. More projects are now very well developed even before they reach the commissioning editors,” notes Another Park’s Gustaffson.
SVT has upped its development budget to help develop more new projects, a challenge many countries without the US-style showrunner/writers room approach face. “The best writers are occupied so we also need to focus also on the writers beneath them and on finding ways to get them together with producers to lift them,” Wikander explains.
Another Park is currently busy developing a number of (as yet undisclosed) film and TV projects across a range of genres, working with top writing talent. “We will go out to the market when we’re ready,” Gustaffson says. “We wanted to have that freedom when we created the company. But, obviously, we would also be open to start earlier with some partners if we shared the same vision at the development stage.”
However, Gustaffson says a key challenge for Nordic drama is the “limit to how much Swedish-language drama the local market can finance and consume.”
He adds: “There’s a bigger appetite for Nordic and Swedish drama than what TV stations commission, and that’s caused a bottleneck. A lot of interesting projects will come out of the increase in development money but this won’t result in more Swedish-language drama series – and it could mean some of the top talent start to write for companies in other countries because what they develop here won’t be financed.”
Yet Scandinavian producers remain unfazed by growing international competition in foreign-language drama from countries such as France, Spain, Israel and Turkey. Rather, they see greater potential synergies developing.
NRK is no stranger to global partnerships. It was the first Scandinavian broadcaster to strike out when it joined forces with new entrant Netflix to coproduce the crime comedy series Lilyhammer by Rubicon TV, which premiered in early 2012. Season three of the drama returned on flagship NRK1 last October, with the broadcaster this time taking a leaf out of Netflix’s book by also making the entire series available straight away on its online streaming service. Meanwhile, HBO Europe picked up remake rights to NRK’s six-part thriller Mammon.
“We were all taken and shaken by Netflix and House of Cards, when the whole series was made available on day one, while Netflix rose extremely quickly to around 650,000 subscribers in Sweden,” says Wikander. “But that has now levelled out, and one of the reasons for that – not unique to Netflix – is that 98% of its catalogue is old titles. The audience has now gone through it, and an output of four new titles a year, whether you’re a broadcaster like us or a Netflix, is too little to keep a subscriber audience with you.”
There’s another reason why distribution platforms like Netflix and HBO make interesting bedfellows: they can do niche drama, because ultimately they can aggregate lots of smaller audiences, says YLE’s Forsman. “In other countries where we have really strong public service companies with good audience shares and very well-educated audiences, we can do that too,” she notes.
“It’s really great to see channels like France’s Canal+ doing the same,” adds Forsman. “They want their drama to have deep characters and to speak about society in a new way, to be brave, risky and so on – all imperatives for public service broadcasters. We could have written the same words, yet they’re a commercial broadcaster.”
Season five of fantasy phenomenon Game of Thrones has picked up where its previous runs left off, delivering massive ratings for US cable network HBO. Overnights for the first three episodes came in at eight million, 6.81 million and 6.71 million respectively.
That slight week-on-week decline shouldn’t give too much cause for concern, because so much viewing of the show is now time-shifted, on-demand or via other platforms. To underline the point, HBO has just released data that shows a staggering 18.1 million viewers watched episode one in the first week after its launch (a period of time referred to as live+7). This figure, which includes linear showings, HBO Go, HBO Now and on-demand views, confirms the serious pulling power of the show – while also cautioning against hasty judgements about first day viewing.
Game of Thrones is also popular internationally, with the UK launch garnering similarly enormous ratings. Sky Atlantic, which airs the show one day after the US transmission on HBO, reported record overnight ratings of 1.57 million – up 29% on season four’s debut. As in the US, those figures are certain to increase once time-shifted and multi-platform viewing is factored in. There were also record ratings for Foxtel in Australia, where 242,000 tuned in to watch episode one at 11.00 local time. An additional 311,000 tuned in at 19.30, creating a record day-one audience of 553,000.
Game of Thrones’ ratings success is made all the more remarkable by the fact it is such a heavily pirated show. In the US, it holds the dubious honour of having been the most-pirated show for the past three years in succession. Problems with piracy have been exacerbated this year, with the first four episodes of season five having been leaked online ahead of the show’s official launch.
The ratings story is less rosy for Mark Burnett and Roma Downey’s 12-part series AD: The Bible Continues, which has seen its audience on US network NBC slide in consecutive weeks. After a robust opening of 9.7 million on Easter Sunday, the next three episodes have come in at 7.75 million, 6.36 million and 5.77 million respectively.
AD is a sequel to The Bible, a Burnett/Downey miniseries that aired on cable channel History US last year. Its underperformance is a surprise, given that The Bible averaged 11.4 million viewers per episode over its 10-episode run – making it the biggest US cable show of 2014.
AD’s performance has led some analysts to suggest that NBC will probably cancel the show (though a final decision on that will need to take into account time-shifted ratings and a couple more episodes of data). This would be a blow to Burnett and Downey, who told journalists at MipTV in Cannes that they would like AD to be the launch pad for a multi-series franchise that tells more stories about the early years of the Christian church. Possibly, in hindsight, they would have been better placing AD in the less ratings-obsessed world of cable.
The standout performer in the UK so far this year is BBC1’s Poldark. Based on books by Winston Graham (and also a remake of a classic 1970s series), the show is set in 1790s Cornwall, where former soldier Ross Poldark battles against vested interests to make a success of his family’s copper mine. Not an obvious ratings winner, it has been boosted by the brooding good looks and heroic demeanour of Aidan Turner, who plays Poldark. While Captain Poldark’s handsome face, enviable abs and moral rigour have led to some mockery, The Independent newspaper gets it about right when it calls the show “an addictive Sunday night treat.” Poldark may not be Wolf Hall, but it is a hugely entertaining show.
With consolidated ratings averaging around 7.5 million across an eight-episode run, Poldark has been recommissioned for another series, to be filmed in September. And there are reports that the BBC wants to tie Turner down to a long-term contract and build Poldark up as its answer to Downton Abbey. The programme also looks set to have a decent life internationally, with ITV Studios Global Entertainment licensing it to Australia, New Zealand, South Africa, Canada and Sweden. Confirmation of a second series will help ITVSGE with its further sales efforts.
Elsewhere, the international drama community has been keeping a close eye on the Nordic territories after a run of recent successes. The latest show to watch out for is Acquitted, a 10-part series from Miso Films for TV2 Norway. Acquitted follows the story of Aksel Borgen, who left his native town after being cleared of the murder of his high-school sweetheart. Twenty years later, he returns to save the place that once turned its back on him – but the past has not been forgotten.
Acquitted has rated well for TV2, with its first six episodes averaging 649,000 (55% up on the slot average). This week it also premiered on SVT in Sweden, where it achieved similarly strong ratings. With more than one million viewers (30.5% share), Acquitted ranks as of the most successful foreign dramas to have launched on SVT over the last five years. Miso Films co-founder Peter Bose says: “In an industry where we’re constantly hearing about viewers migrating to non-linear platforms, Acquitted has been quite an achievement on SVT.”
Ratings, of course, play a huge part in deciding whether to renew a show. So it’s no real surprise to see ABC US cancel Revenge after a couple of seasons of modest ratings. It seems, however, that the US can’t get enough of zombies. AMC’s The Walking Dead is as strong as ever, which explains the network’s decision to launch a spin-off called Fear the Walking Dead. The CW is also having some success with iZombie, which debuted in March this year. Now halfway through its first run of 13 episodes, the show is achieving healthy ratings in the 1.7-1.9 million mark. Aimed at a younger audience that The Walking Dead, it has received a positive critical response and is expected to return.
A bigger question, perhaps, is the future of A+E’s The Returned, which was eight episodes into a 10-episode run at time of writing. The Returned is a supernatural drama that explores what happens when the dead return to a small town and try to live normal lives, much to the shock and confusion of the living residents. Its significance is that it is based on a successful French series called Les Revenants (produced by Haut et Court for TF1). For those in the format sales business, it’s important that shows like The Returned do well, to avoid spreading fear among US commissioners that shows don’t transfer well into their market.
So far, ratings have not been especially encouraging, starting at 1.54 million but sliding to 0.82 million by episode eight. There are two possible explanations for this – one is that ABC has been airing a similar-concept series called Resurrection; the other is the view among some critics that the A+E show has not taken the French version forward. The Wrap calls it “a serviceable but mostly by-the-numbers remake of a brilliantly nuanced French series that didn’t need to be brought back to life in America a second time.”
A+E is not the kind of network that gives up on shows easily, however, so a cancellation at the end of season one would be surprising. Netflix will be watching developments with interest, having recently picked up the global rights to the A+E series.