Tag Archives: Andrew Davies

About a boy

Executive producers Faith Penhale and Mona Qureshi open the book on the BBC’s adaptation of Vikram Seth’s 1,300-page novel A Suitable Boy, a coming-of-age story set in North India in the 1950s.

“The journey starts with your belief in something – your story, your project,” says Faith Penhale of beginning development for a TV series. “Your passion for it is the thing that drives you through, and your partners come on at different stages at the right point in time. Everything has to begin with ‘I really want to tell that story.’ For us, that journey began with Vikram’s book.”

Running to more than 1,300 pages, Vikram Seth’s 1993 novel A Suitable Boy is one of the longest books written in the English language. It centres on the coming of age of spirited university student Lata (Tanya Maniktala), unfolding in North India in 1951 as the country is carving out its own identity as an independent nation and is about to stage its first democratic general election.

Lata (Tanya Maniktala) and Mrs Rupa Mehra (Mahira Kakkar) in A Suitable Boy

Lata’s mother is determined to find her a husband – a suitable boy – but Lata, torn between family duty and the excitement of romance, embarks on her own epic journey of love and self-discovery.

Connected to Lata through their siblings’ marriage, the wayward Maan (Bollywood star Ishaan Khatter) is determined to enjoy life to the full whatever the consequences, much to the concern of his politician father. But could his infatuation with beautiful courtesan Saaeda Bai (Tabu) be one step too far?

Charting the fortunes of four large families, the vast story explores India and its rich culture at a crucial point in its history as the election looms and the country decides its destiny.

But there’s also another story: the tale of how A Suitable Boy came to be adapted for the BBC. “It was published more than 25 years ago and, in the last 10 years of my career, I have been regularly phoning Vikram’s agent to try to wrinkle out the rights,” explains Penhale, CEO of producer Lookout Point. “Vikram was notoriously cautious about who he might let adapt his book. It’s an expansive novel that tells the story of a young woman searching for her identity at a time when India, newly post-partition, was also searching for its identity.

“It’s a great story for our time today but it’s also quite particular. It speaks to that moment in mid-20th century India, so it’s got a great aesthetic to it. Ultimately, it’s a big family drama about the tensions that pull through us as a girl decides her own fate and her own life choices.”

Faith Penhale

Penhale says that although Seth wrote the novel from his own experiences, the story is easily accessible for a global audience, hence her determination to secure rights to the book. “Every six months, I was speaking to his agent. And in one conversation, his agent let slip that the only person Vikram would want to adapt his novel is Andrew Davies,” she reveals. “He had spoken many times about how the novel is greatly influenced by Leo Tolstoy and Jane Austen and that what he’d really love to do is find a screenwriter with a proven track record in adapting these epic classics.”

Having reworked Tolstoy’s War & Peace and Victor Hugo’s Les Misérables for the BBC and Austen’s Emma for ITV, Davies was sought to bring the same approach to A Suitable Boy. Penhale’s existing relationship with Davies brought him and Seth together, creating a partnership that “unlocked” the project. Award-winning Indian filmmaker Mira Nair (Monsoon Wedding) then came on board to direct all six episodes of her first TV series.

“After securing Andrew, we went straight to the BBC and – this is quite unusual – within 24 hours Piers [Wenger, controller of drama] and Charlotte [Moore, director of content] greenlit it. And 24 hours after that, Mira was on board,” Penhale recalls. “This had been a passion for Mira, unbeknown to us. We were huge fans of her, and within 24 hours Mira called us up and said, ‘So I’ve got to do this.’ Who were we to argue with that?”

Mona Qureshi, who executive produces A Suitable Boy for the BBC, says Wenger also loved the book and that everyone in the industry had been keeping tabs on the screen rights.

“We had these fantastic scripts and Mira came to it and brought her own layer of reinvention because it’s my history, my dad’s, but [Lata is] also a child born at the time of partition,” Qureshi says. “The things she spoke about, the experiences she had, the lookbook she came to us with, all the locations she knew that visually speak to that story – it’s about finding the story on a domestic level and then its resonance on an international level.

Optimistic that viewers will “engage and identify” with A Suitable Boy as much as they have with Amazon Prime series The Marvellous Mrs Maisel, which focuses on a female stand-up comic in the 1950s, Qureshi notes: “It’s a similar story of somebody trying to decide how to be happy without making anyone else happy, and dealing with conflicts of keeping your family happy while trying to do your own thing in an independent way and departing from tradition.”

L-R: Vikram Seth, Ishaan Khatter, Mira Nair, Tabu, Tanya Maniktala and Andrew Davies

Filming for the BBC Studios-distributed series was completed at the end of last year, having taken in a number of locations across India, including Lucknow and Maheshwar, and it will air later this year. “We have been really fortunate to find the most extraordinary locations,” Penhale says. “It hopefully has that flavour, that real sense of place that feels so critical to the experience when you read the book. We want to capture that feeling.”

The effort to fully realise the book on screen has been enhanced further by Seth’s close involvement with Davies and Nair behind the scenes. “It’s a triumvirate because we have had Mira, Vikram and Andrew working very closely together throughout the adaptation,” Penhale says. “There have been multiple, lengthy, very open, collaborative and discursive sessions using Andrew’s scripts.

“What’s so wonderful about the result, we hope, is it feels it has all the skill of a very well-crafted story. Andrew’s there as a screenwriter but it’s absolutely rooted in the authenticity of Vikram’s story and where it came from. Mira talks a lot about authenticity but she says it’s not authentic in a dreary or worthy way but in a way where truth is more wonderful than fiction, more magical and magnificent. That’s what she’s really brought out – the magnificent.”

India has become a hotbed of international drama series in recent years, on the heels of Netflix and Amazon’s expansion into the country with original series such as Delhi Crime and Sacred Games. UK broadcaster ITV, meanwhile, recently aired India-set period drama Beecham House. The show came from Bend It Like Beckham director Gurinder Chadha, who is now developing a series called The God Man, which centres on the charismatic leader of a religious sect.

“The really key thing [in India] is understanding and respecting the world,” Penhale says about filming in the country. “Your story is the reason for being there, but it’s not just about reversing in with your own techniques, styles and approaches. The thing we’ve really learned is we are working in a totally different system and style. We’re the ones who have to adapt to that. You adapt to it, you find fantastic teams with real experience and you go with that system. You don’t bring your own. It’s a totally new way of working.”

So, is she planning a return visit? “It’s been amazing. We would go back in a heartbeat,” Penhale adds. “We all hope Vikram might write a sequel.”

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Le Carré and Les Misérables in le news

John Le Carré's works have proved popular among TV producers
John Le Carré’s works have proved popular among TV producers

UK producers have carved out a strong reputation for sophisticated high-end dramas that travel well internationally – and a number of new scripted projects announced this week should further enhance the industry’s reputation.

Pick of the bunch is The Spy Who Came in From the Cold, a new John Le Carré adaptation from The Ink Factory, the company behind acclaimed BBC1/AMC coproduction The Night Manager – also a Le Carré adaptation.

The new production will be penned by Oscar-winning screenwriter Simon Beaufoy (Slumdog Millionaire) but has yet to be placed with a broadcaster. Stephen Garrett’s new indie Character 7 will assist with financing and production, while Paramount Worldwide Television Licensing and Distribution has already been lined up to handle distribution of the series outside of the UK.

Regarded as one of the greatest English-language novels of the 20th century, The Spy Who Came in From the Cold follows a British intelligence operative who seeks revenge on the East German intelligence service deputy director responsible for the death of one of his agents. It was written in 1963 and adapted into an acclaimed film in 1965.

Meanwhile, the BBC, The Weinstein Company and Lookout Point are moving forward with a new TV series based on Victor Hugo’s Les Misérables, which until now has been best known to most people as a musical/musical film. Andrew Davies, who worked with the BBC, TWC and Lookout Point on an epic adaptation of Leo Tolstoy’s War and Peace, will write what is expected to be a six-part miniseries.

The 2012 film version of Les Misérables
The 2012 film version of Les Misérables

Commenting on the project, he said: “Les Misérables is a huge, iconic title. Most of us are familiar with the musical version, which only offers a fragmentary outline of its story. I am thrilled to have the opportunity of doing real justice to Victor Hugo by adapting his masterpiece in a six-hour version for the BBC, with the same team who made War and Peace.”

Also coming out of the UK this week is news of a planned adaptation of Wilkie Collins’ classic mystery story The Moonstone by the BBC. Described by TS Eliot as “the first and greatest of English Detective novels,” The Moonstone sees adventurer Franklin Blake attempting to solve the disappearance of the priceless Moonstone and win back Rachel Verinder, his true love.

The Moonstone will broadcast over five consecutive afternoons on BBC1, and is made in association with BBC Learning as part of the BBC’s #LoveToRead campaign.

It is being adapted for the screen by Rachel Flowerday (Father Brown, EastEnders) and Sasha Hails (Versailles, Casualty) and made by King Bert Productions.

Dan McGolpin, controller of BBC daytime and early peak, said: “The Moonstone spawned a new genre: the detective novel. Its influence endures to the present day, in books and on television. With the help of BBC Learning, we are offering BBC1 viewers the chance to see this gripping story play out across five afternoons. Our viewers are in for a treat.”

The Five writer Harlan Coben is now working on The Four
The Five writer Harlan Coben is now working on The Four

Still in the UK, pay TV channel Sky1 has ordered a second crime drama from author Harlan Coben and Red Production Company.

The new show, The Four, will be an eight-part thriller that tells the story of an idyllic family community irrevocably shattered by secrets, lies, suspicions and misguided trust. It follows on from Coben’s first original story for TV, The Five, which debuted in April on Sky1. As with The Five, the idea for The Four will be provided by Coben but the script will be written by Danny Brocklehurst.

Red CEO and founder Nicola Shindler said: “When Harlan told me about the premise for his latest story, I knew it would be just as addictive viewing as The Five. As with all his work, it is utterly intriguing, totally immersive and completely character-driven.”

Coben added: “I never wanted to make a sequel to The Five – that story has now been told – but rather to start afresh and bring a whole new crime drama to the screen. Working with Nicola and Sky again was essential to ensure that, creatively, The Four is brought to life in the way that we have imagined.”

Meanwhile, in the US, NBC has commissioned a true crime scripted series that will form part of its hugely successful Law & Order franchise. Law & Order: True Crime – The Menendez Murders will follow the real-life case of Lyle and Erik Menendez, the brothers convicted of murdering their parents in 1996.

The Mendendez brothers were convicted of murdering their parents
The Mendendez brothers were convicted of murdering their parents

The show is the first in a planned anthology series that will follow real-life criminal cases in a similar style to FX’s American Crime Story. Rene Balcer, who has played a central role in the development of Law & Order, will write and show the new spin-off, which is expected to consist of eight parts.

As we noted in our last column, the entertainment industry has been busy with San Diego Comic-Con for the last few days. Increasingly the event is viewed by studios an important platform for news about the future for TV shows.

Pay TV channel Syfy, for example, announced that it is bringing back Wynonna Earp for a second season, while Netflix revealed there will be a third season of its Marvel series Daredevil. There were also reports at Comic-Con that Netflix will provide a home for a reboot of Mystery Science Theater 3000, a 1980s/1990s comedy series that has been brought back to life thanks to a successful Kickstarter campaign.

Comic-Con also threw up rumours that Doctor Who spin-off series Torchwood may return. The show’s star John Barrowman said: “I have a phone conversation on Monday to see how we can get it back on television. The fans know me well enough, I’m only going to say it if I mean it and believe it.”

John Barrowman in Torchwood, which he says could return
John Barrowman in Torchwood, which he says could return

Away from Comic-Con, USA Network is reported to be developing a drama series set centred on a bodybuilding gym with Dwayne ‘The Rock’ Johnson. The show, which has a working title of Muscle Beach, will be based in LA’s Venice Beach during the 1980s. CBS is also reported to be working on a Venice Beach-set bodybuilding drama called Pump with Arnold Schwarzenegger and Michael Konyves.

Finally, in Asia, HBO has started production on a Chinese original series called The Psychic. The show, which has been developed by HBO Asia in partnership with Taiwanese broadcaster Public Television Service (PTS) and Singaporean production company InFocus Asia centres on a teenage girls who can see spirits.

Jonathan Spink, CEO of HBO Asia, said: “Asia’s rich diversity offers inspiration for countless of stories waiting to be told and local talents to be discovered. Through collaborating with PTS and remarkable talents in Taiwan to increase our production of local-language content, HBO Asia is perfectly placed to bring our creative spin to The Psychic for regional audiences.” The series will be shot in Taiwan and aired by HBO Asia in 23 territories.

Jessie Shih, director of international at PTS, added: “I am very happy to announce PTS’s first collaboration with HBO Asia on their first Chinese original series, also their first Taiwan series, working with a young and upcoming local team, bridging the gap between television and film with the talented mix of crew and actors. Cultivating local young talents and helping them to connect with the international industry is PTS’s top priority. I believe this HBO/PTS collaboration, in partnership with IFA, will lead the local Taiwanese industry to greater heights.”

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Making Peace

Writer Andrew Davies has slimmed down Tolstoy’s epic novel War and Peace into a new six-part drama for the BBC. DQ hears from the creative team behind this lavish production.

For anyone who’s always wanted to read War and Peace but never found the time, Andrew Davies might just have the answer.

The acclaimed writer has previously adapted Charles Dickens’ Bleak House and Jane Austen’s Pride and Prejudice and Sense and Sensibility, among others.

Andrew Davies had never read War and Peace before he was asked to adapt it
Andrew Davies had never read War and Peace before he was asked to adapt it

But now he has turned his attention to Tolstoy’s weighty tome, condensing it into a lavish six-part drama for BBC1 that will premier on January 3.

“I’d never read War and Peace; I’d been saving it up for my old age,” he jokes. “So I was pleased when Faith (Penhale, then head of BBC Wales Drama but set to become joint CEO of Lookout Point in February) invited me to read it with a view to adapting it. I took it on holiday and read it on a beach in Antigua and came back very enthusiastic about the book and very positive. It’s a little bit difficult to get into at the beginning but I’ve sorted it out.

“You have to remember the names of three families, that’s all it is. Nobody need bother reading it now because I’ve got all the best bits out of it! I didn’t find it too daunting. You have to be very arrogant to take on these jobs with these great works of literature and not be frightened of them. I give my own interpretation, take the bits that I love and express them as well as I can.”

Described as “a thrilling, funny and heartbreaking story of love, war and family life,” War and Peace features an ensemble cast headed by Lily James, James Norton and Paul Dano. It also stars Jim Broadbent, Gillian Anderson, Rebecca Front, Aneurin Barnard, Tuppence Middleton and Stephen Rea.

It’s produced by BBC Cymru Wales Drama, in partnership with The Weinstein Company, BBC Worldwide and Lookout Point, while Tom Harper is on directing duties.

“It’s the weight of it – everyone looks at it and goes ‘Oh, no!’ People don’t even want to start it,” producer Bethan Jones says of Tolstoy’s 1,300-page book. “How many of us have it on our shelves and have never read it? But we were looking for a piece that hadn’t been done for a long time, something we thought was due, that we needed to make, something we felt had a contemporary feel.

“It’s all about young people – their lives, their loves and the mistakes they make; the things they go through and the process of growing up, emotionally as well as physically.”

Stephen Rea in War and Peace alongside Gillian Anderson
Stephen Rea in War and Peace alongside Gillian Anderson

Rea, who plays Prince Vassily Kuragi, adds: “Sometimes the translations of War and Peace are very poor or heavy-handed, but the first thing I saw with Andrew’s script was how easy it would be to play. The language was light and easy. It’s an incredible piece of work.”

Davies focused the story around three characters in particular. Pierre, Natascha and Andrei are at the heart of the story, with their families and their relationships built into the wider narrative.

The writer’s preference for focusing on youth was shared by Harper. Jones says: “Tom’s brilliant. He’s very young and he brings youth to the piece so it feels very contemporary – not through any wobbly camera style but through the real, young heart he’s brought to the show. Tom also works so well with the actors and draws out interesting, fresh performances.”

Filming for the production took place across six months in Russia, Latvia and Lithuania as the production team quickly decided that 19th century Russia couldn’t be replicated on the backlots at studios such as Pinewood.

“It felt important for the creative direction of the show that it should feel very authentic,” says Penhale. “If we were building, we would have had to build five Russian palaces, which, given the budget, wouldn’t have been feasible. But it also mattered to us that we shot in St Petersburg, that we went to some of the locations where some of these events would have taken place. It adds to the sense of truth and naturalism to the production. I hope viewers get a sense of Russia as a character in the piece.”

Faith Penhale
Faith Penhale is set to join War and Peace coproducer Lookout Point early next year as joint CEO

The seven-year timespan during which the story takes place also meant the crew was always on the move to film scenes at each location in both summer and winter.

“We started in January in winter in St Petersburg and moved to Lithuania, and we did some in Latvia as well,” explains Jones. “As the seasons wore on, in the beginning of the summer we went back to St Petersburg, so it was a very well-thought-out shoot. The crew were brilliant.”

Overseeing such a huge production did have its challenges, of course, and none so big as the language barrier. “We’d be doing a big scene with lots of extras, either military or a huge dance scene, and we’d have English, Lithuanian, Russian and Latvian speakers,” Jones recalls. “If we had any huge challenge, we couldn’t move as swiftly because we were having to tell everybody in their own language what to do. It was fascinating, though, I really enjoyed it. A couple of us are also Welsh speakers, so we threw that into the mix and really freaked them out!”

Hollywood producer Harvey Weinstein might be best known for award-winning films such as The Artist and The King’s Speech, but within 24 hours of BBC1 announcing its plans to adapt War and Peace, he was on the phone to Penhale to help bring his “passion project” to life.

“Harvey tracked me down to my office in Cardiff and was ringing repeatedly on the hour,” Penhale says. “We had a great phone call where he said, ‘If you’re doing War and Peace, I want to do it. This is my favourite book of all time,’ and it went from there. It’s really born out of his passion for it.”

Hollywood actor Paul Dano (12 Years a Slave) is among the big names in the ensemble cast
Hollywood actor Paul Dano (12 Years a Slave) is among the big names in the ensemble cast

Negeen Yazdi, president of international production at The Weinstein Company, says of the coproduction process: “The project matches the ambition, scale and material we want to be working on. With the BBC, we discovered very quickly our tastes were aligned, our ambitions for the project were aligned and that we’re not that different in the way we work. We’re all committed to the show and, above all, the show comes first. Like any working family relationship, there were disagreements and discussions but all in a very healthy way.”

Once The Weinstein Co was onboard, War and Peace was subsequently picked up in the US by A+E Networks-owned Lifetime, A&E and History, which will all simulcast the series from January 18 next year.

“The BBC and Weinstein marriage has been a surprisingly effective and powerful thing, in terms of both attracting talent and cast and making a statement to the industry that this is a big deal and you’d better pay attention,” says Simon Vaughan, CEO of Lookout Point. “That’s what it takes to get heard in a marketplace where thousands of new hours of TV are being produced each year.”

Vaughan adds that while coproductions of this magnitude can be tricky to navigate, all parties united behind Penhale’s leadership to bring the series to air.

“It’s about leadership – who’s the boss?” he says. “Faith was the boss and we all work for Faith. That is how it was from the beginning. As difficult as some moments were, when a call needed to be made, it got made. Somebody has to drive the train and if you don’t have that, run a mile. I’ve been around the block and done difficult coproductions and if there isn’t one clear leader, forget it. Don’t make it.”

As with any adaptation, plot points and character details have been chopped and changed, but Jones says Davies’ War and Peace is “very true” to Tolstoy’s original text.

“Inevitably there are some changes and characters that aren’t there – otherwise we’d be doing a 95-part series,” she says.

On the back of Doctor Who and Sherlock, BBC Wales has built up an impressive drama slate, and War and Peace is set to be the most ambitious yet.

“It is a great place to work,” Jones adds. “It started some time ago with the regeneration of Doctor Who. We’re quite bold. It’s very small but tight and hardworking team. We like to push ourselves.”

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Master adapter gets real

Andrew Davies
Andrew Davies

Welsh screenwriter Andrew Davies is primarily known for his superb adaptations of literary classics. Among his many, many TV credits are To Serve Them All My Days, House of Cards (the original version), The Old Devils, Middlemarch, Pride and Prejudice, Moll Flanders, Vanity Fair, Doctor Zhivago, Tipping The Velvet, He Knew He Was Right, Bleak House, A Room with a View, Sense and Sensibility, Little Dorrit and the in-production War and Peace.

To this list must be added film credits such as Circle of Friends, The Tailor of Panama, the two Bridget Jones movies and Brideshead Revisited – confirming the view that Davies could probably adapt any book on the planet.

In a 2014 interview Davies was asked why he invested so much time on adaptations and came up with a beautifully succinct answer – that “fuck all happens to you” when you are a full-time writer. “There was plenty of material in the early days about infidelity, friction and all those kind of things. But I’ve settled down to a very even plane. So I haven’t really got material I would want to write about from my own life.”

As if to support this observation, one of Davies’ most famous original creations was A Very Peculiar Practice, a 1980s drama about a young doctor who takes up a post as a member of a university medical centre. This series, reportedly, was based on Davies’ experiences as a lecturer at Warwick University. In hindsight, it’s remarkable that Davies didn’t become a full-time writer until 1987, aged 50 – juggling his teaching responsibilities with a burgeoning career as a TV writer.

War and Peace is currently in production
Davies’ adaptation of the classic novel War and Peace is currently in production

While Davies’ work on War and Peace shows that he continues to be in demand as a novel adapter, he has entered an interesting new dimension in his work in recent years – dramas based on real lives. The link is obvious, which is that both areas provide source material to work with. But the beauty of the real-life/biopic format is that Davies can take greater liberties with storytelling. On the one hand, he doesn’t have to try to shoehorn any book-based dialogue into his screenplay. On the other, he can enter the central character’s story wherever he chooses, taking a pivotal period in their life and using it as the starting point to provide a coherent character analysis.

ITV’s Mr Selfridge, for example, focuses on Harry Selfridge as he begins setting up Selfridge’s department store in London. But TV movie A Poet in New York looks at Welsh poet Dylan Thomas as he moves towards his untimely death (aged 39).

The idea for the Dylan Thomas project was initially brought to Davies by comedian/presenter/producer Griff Rhys Jones via his indie company Modern TV. Davies has talked about it in affectionate terms because of similarities between his own upbringing and that of Thomas. With both Welsh and born into teaching families, Davies says Thomas was “very big in my life.”

Now, Davies is writing another film-length biopic about a Welsh icon, Aneurin (Nye) Bevan. Once again the idea, entitled A Nation’s Health, has come to him via Modern, and once again he will take a tangential look at his central character’s life.

A Poet in New York focused on Dylan Thomas's last days
A Poet in New York, another Davies show, focused on Dylan Thomas’s last days

Bevan is best known as the post-Second World War health minister who founded the UK’s National Health Service in 1948. But that could potentially make for quite a dry piece of TV. So Davies is going to drive the narrative along by focusing on Bevan’s fiery romance with his wife Jennie Lee. Speaking to The Sunday Times, he said: “I want it to be both personal and political. They would argue a lot. She kept him socialist and would have the last word on political matters, last thing at night in bed.”

The timing of the project is interesting, given the polarisation of British politics being witnessed at present. With the BBC also at loggerheads with the UK government over its future funding model and the question of impartiality, telling the story of an ardent Tory-hating socialist could be seen as bear-baiting. So the way Davies handles the story will attract close attention. That said, Davies is the man who adapted Michael Dobbs’ wicked political satire House of Cards for TV, so if anyone can steer a steady course through political controversy it’s him.

There was good news for another of the UK’s screenwriting titans this week with Stephen Poliakoff’s Closer to the Enemy being picked up by pay TV channel Starz in the US.

The six-part series, distributed by All3Media International, is a post-Second World War thriller that sees actor Jim Sturgess playing British intelligence officer Captain Callum Ferguson. Ferguson’s final task for the Army is to convince a captured German scientist (August Diehl) to hand over cutting-edge military technology crucial to national security – the jet engine.

The show will premiere in the UK on BBC2 before appearing next year on Starz, which previously picked up The Missing from All3. Stephen Driscoll, senior VP for sales at the distributor said: “Stephen Poliakoff and this wonderful cast of actors are creating a thrilling miniseries that will enthral audiences on both sides of the Atlantic. We look forward to announcing further deals in the near future.”

The movie version of Time After Time
The movie version of Time After Time

Still in the US, there was news this week that Kevin Williamson (Dawson’s Creek, Scream, I Know What You Did Last Summer) has been commissioned to write the script for Time After Time, a TV adaptation of the 1979 novel of the same name by Karl Alexander.

Time After Time, which has already been adapted as a movie, imagines a world in which author HG Wells has invented a time machine that is then stolen by Jack the Ripper. Wells pursues the Ripper to 1979 in a bid to bring him to justice. Williamson is writing the script for Warner Brothers TV with Disney-owned ABC the commissioning network.

Another interesting story to come out of the US is a new Directors Guild of America (DGA) study that shows TV series with female showrunners are more likely to employ female writers, directors, editors and actresses than those exclusively run by men: “The findings suggest that creators and executive producers play an instrumental role in shifting the gender dynamics,” says the report’s author, Dr Martha Lauzen, executive director of the Centre for the Study of Women in Television and Film at San Diego State University.

“For example, on broadcast programmes with at least one female creator, women comprised 50% of writers. On programmes with no female creators, women comprised 15% of writers.” It’s not too surprising, but this kind of statistic clearly warrants attention.

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