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The global nature of the television business was on show at Mipcom in Cannes this week as stars from around the world presented their latest projects. DQ editor Michael Pickard offers his thoughts on a busy week in the South of France.

When you first walk into the Palais des Festivals, it can be quite overwhelming to see the sheer number of posters, billboards and signs promoting hundreds of new drama series from around the world. The experience, of course, begins long before you have navigated through the security checkpoints, seeing as La Croisette is transformed into a mile-long red carpet of promotions for dozens more shows.

To be a drama buyer in the current market must be both a daunting and thrilling experience, with the opportunity to spend hundreds of hours searching for the next big hit and watching the contenders, whether they are produced in your broadcaster’s local tongue or a language from further afield.

What, then, can producers and distributors do to make their projects stand out from the crowd? Well, the quickest shortcut to making some noise is to add a sprinkling of star power.

Catherine Zeta-Jones came to Mipcom to promote Lifetime’s Cocaine Godmother (picture via @Mip)

TV movies are much maligned, but could Catherine Zeta-Jones bring the format back into fashion? She was here in Cannes to promote forthcoming Lifetime movie Cocaine Godmother, a project she helped develop and bring to the screen. The Oscar-winning actor also plays the lead role of real-life Miami drug lord Griselda Blanco, who was involved in the Cocaine Cowboy Wars that plagued the city in the late 1970s.

“Years ago there used to be such a stigma between television actors, film actors and theatre actors,” Zeta-Jones said this week. “I was stuck in the theatre actor box. It wasn’t just that, it was a showgirl theatre, it wasn’t even Royal Shakespeare. So I was part of that world trying to get out of that box, that pigeonhole. I eventually made it into television, made it into film – and then if you got to film, you don’t go [back] to TV.

“That’s changed. Actors are able to do human stories [in television], they don’t have to be robots in a $200m movie. As an actor, that’s why we do it – to have those international human stories that any culture can understand because they’re human. It’s human nature. It’s qualities that you have or, like Griselda, you don’t have but the fundamental bottom line is they’re human stories – and on TV we’re able to have the time to be able to take those stories out.”

Adding an A-lister to a TV movie is a well-worn path for Lifetime parent A+E Networks, which has also previously cast James Franco (High School Lover), Whoopi Goldberg (A Day Late & a Dollar Short), Lindsay Lohan (Liz & Dick), Heather Graham (Flowers in the Attic), Harvey Keitel (Fatal Honeymoon), Susan Sarandon (The Secret Life of Marilyn Monroe) and Emily Watson (The Memory Keeper’s Daughter) in such projects.

David Morrissey was in town to talk Britannia (picture via @Mip)

It’s a tactic others are clearly employing too. Zeta-Jones wasn’t the only star to light up the red carpet this week as a plethora of other famous faces travelled to the South of France. David Morrissey joined fellow cast members Nikolaj Lie Caas and Eleanor Worthington-Cox for the world premiere of Roman-era drama Britannia, the first series coproduced by Sky Atlantic and Amazon US.

James Norton and Juliet Rylance were talking McMafia, Kristin Kreuk chatted about making Canadian legal drama Burden of Truth, Mark Strong marked his return to television in Fox espionage thriller Deep State and Philip Glenister was Living the Dream with his new Florida-set comedy drama.

Elsewhere, Jeremy Sisto (Ice season two), JK Simmons (Counterpart), Daniel Sharman (Medici), Jessica Brown Findlay (Harlots season two) and Jon Beavers, Michael Kelly and Darius Homayoun (The Long Road Home) were also enjoying the sunshine in Cannes.

What was particularly notable about this year’s Mipcom, however, was the truly global nature of the market. Japan’s Aoi Miyazaki (Kurara), Belgian actor Veerle Baetens (Tabula Rasa), Australian stars Claire van der Boom and Pallavi Sharda (Pulse), Turkey’s Erkan Petekkaya, Songül Öden and Dolunay Soysert (City of Secrets), Swedish actors Charlie Gustafson and Hedda Rehnberg (The Restaurant), and Zion Baruch, creator, writer and star of Israeli vampire thriller Juda, were also in town.

The Road to Calvary stars Yulia Snigir and Anna Chipovskaya (picture via @Mip)

Mipcom’s Russian Content Revolution was also celebrated with appearances by The Road to Calvary’s Anna Chipovskaya and Yulia Snigir plus Gogol’s Yulia Franz and Taisiia Vilkova.

For several years now, the globalisation of television has also been represented by the types of coproductions being brought to screen. Jour Polaire (Midnight Sun) is probably the best example of two countries coming together in the last few years, in that case France and Sweden joining forces. But more ambitious pairings are now in evidence.

In particular, producers and broadcasters from China, France, Germany and Australia have teamed up for Farewell Shanghai, a period drama set at the start of the Second World War that recounts the shared destinies of a group of European Jewish refugees and Chinese characters in Shanghai between 1938 and 1945.

It will be shot in China in the English language and has been written by Radu Mihaileanu, based on Angel Wagenstein’s novel. K’ien Productions, Banijay Studios France, Breakout Films, France Televisions, Shanghai Media Group Pictures, China’s Holy Mountain Films, AMPCO Studios in Australia and Germany’s NDF are all involved.

L-R: Dolunay Soysert, Erkan Petekkaya and Songül Öden of Turkey’s City of Secrets (picture via @Mip)

Another global project announced at the market was Straight Forward, an eight-part series produced by Screentime New Zealand and Mastiff in Denmark. It is coproduced by broadcasters Viaplay and TVNZ, with Acorn TV also on board in North America and the UK.

Created by writer John Banas and set in Queenstown and Copenhagen, Straight Forward sees a Danish woman attempt to leave her criminal past behind by moving to a small New Zealand town to start a new life. It will premiere on Viaplay in 2018.

Perhaps it’s no coincidence that producer and distributor Banijay Group is central to both Farewell Shanghai and Straight Forward, utilising its production companies and distribution partnerships to bring these series to air.

The future of television was also on display, from Japanese broadcaster NHK’s stunning 8K presentations to the keynotes from executives at Snapchat and Facebook.

Facebook’s Ricky Van Veen on stage at Mipcom this week (picture via @Mip)

Sean Mills, senior director of content programming at Snapchat parent Snap Inc, talked about the firm’s desire for the messaging app to move into original content following the announcement it had teamed up with NBCUniversal to create a studio that will focus on producing scripted series.

The fruits of that partnership may still be some time away. More immediate are Facebook’s plans to bring original content to its Watch platform, launched six weeks ago and currently only available in the US, though an international roll-out is planned in the future.

There were audible gasps in the Palais’ Grand Auditorium when Facebook head of global creative strategy, Ricky Van Veen, revealed that the social media giant would be the home of the English-language remake of Norwegian teen drama hit Skam (Shame), with original creator Julie Andem showrunning the remake.

The buzz around the NRK series has steadily increased over the past year and it’s a huge statement of intent that Facebook has picked it up – though, in many ways, it is the perfect home for a show that is made up of short video segments that are posted at the times of the day that match when the action plays out.

At the end of the four-day market, it’s clear the drama boom shows no sign of slowing – yet. It seems unlikely that every series is making its money back, meaning it is inevitable there will be a downturn at some point in the future. Until then, the debate surrounds the new players picking up scripted series and the challenge of luring star names to help a show to break through to audiences. Facebook original series? I’ll be Watching.

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Rule Britannia

Britannia, Sky Atlantic’s epic Romans-in-Britain drama, debuts early next year. Ahead of the show’s world premiere at Mipcom this week, DQ talks to Sky drama chiefs Anne Mensah and Cameron Roach.

After the success of Sky Atlantic’s Penny Dreadful and sister channel Sky1’s Jamestown, period drama appears to be working well for Sky drama commissioners Anne Mensah and Cameron Roach.

It’s been 10 years since HBO’s classic Rome (and four since Starz’s Spartacus), but the satcaster looks to be taking advantage of a renewed interest in classical history on TV, with Britannia set to debut in January 2018.

Kudos (Sky Atlantic’s The Tunnel) is also developing a take on Robert Harris’s Cicero trilogy, with the possibly of a long-rumoured reboot of Robert Graves classic I Claudius coming from Bad Wolf (His Dark Materials).

Bad Wolf’s Jane Tranter was, of course, responsible  for overseeing Rome for HBO and the BBC alongside Anne Thomopoulos

David Morrissey and Kelly Reilly star as Aulus Plautius and Kerra respectively

And while it isn’t set in the same era, BBC1’s upcoming £8.5m (US$11.3m)-per-episode show Troy: Fall of a City certainly shares some of the appeal of these ‘sword & sandal’ drama series.

The success of Game of Thrones, with its dynastic bloodletting, treachery, hedonism and epic battles, has probably helped spark an increase in curiosity about Ancient Rome, while HBO’s 2005-07 series was felt by industry insiders to have been something of a dry run for Thrones itself, brought to grief by budgetary issues.

Rome stars James Purefoy (Mark Antony) and Kevin McKidd (Lucius Vorenus) went on the record saying they wouldn’t join former colleagues Ciaran Hinds, Indira Varma or Tobias Menzies in the hit series because they thought Rome was cancelled to set up Game of Thrones’ success.

More recently, two cinema releases used the Roman occupation of Britain south of the Antonine Wall and the disappearance of the Ninth Legion as subject matter – 2010’s Centurion (directed by regular Thrones helmer Neil Marshall), which coincidentally starred Britannia’s David Morrissey (The Walking Dead) as a veteran legionary, and the following year’s The Eagle with a cast led by Channing Tatum and Jamie Bell.

Britannia scribe Jez Butterworth has also previously tried his hand at the Roman era, co-writing 2007’s The Last Legion with his brother Tom. The film was set in the dying days of the Western Empire and starred Colin Firth, Ben Kingsley and Rome’s Kevin McKidd.

Zoe Wanamaker as Queen Antedia

The movie also featured no fewer than five prominent Thrones castmembers – Iain Glen (Jorah Mormont), Owen Teale (Alliser Thorne), Robert Pugh (Craster), James Cosmo (Joer Mormont) and Alexander Siddig (the gout-ridden Prince Doran Martell).

For Britannia, Butterworth has once again partnered with his brother Tom and James Richardson to create a story set in AD43 that follows the Roman army as it returns to conquer the land held by warrior women and powerful Druids who claim to channel the forces of the underworld.

Kelly Reilly (True Detective) plays Kerra, daughter of the King of the Cantii, who is forced to put her differences with arch-rival Queen Antedia (Zoe Wanamaker) aside to face their invaders. The Romans, led by General Aulus Plautius (Morrissey), are determined to succeed where Julius Caesar failed and conquer this mythical land at the far edge of the Roman Empire.

As tribes and Druids, led by Mackenzie Crook’s Veran, unite to fight the Romans, Kerra is thrust into the most important role of her life as she spearheads the resistance against the might of the Roman army.

The show is produced by Vertigo Films and Neal Street Productions and distributed by Sky Vision. It will also air on Sky Atlantic in Ireland, Germany and Italy, while Amazon Prime holds the US rights.

Mackenzie Crook plays Druid Veran

Asked if there were any particular influences that led to the commissioning of Britannia, Roach says: “The fact that period drama in the shape of Penny Dreadful worked for Sky Atlantic led us to look at something similarly experiential, with Britannia offering a truly original experience – one that doesn’t ape other shows.”

Mensah is also keen to emphasise the “visceral” nature of Britannia: “It combines epic scale with a human, personal level – some of the communal pagan rites that the Britons and Druids go through bear comparison to modern-day festivals such as Burning Man.”

Mensah is confident the show’s presumably hefty budget will all be up on the screen for viewers to see. With more than 200 people working on the production and reconstructions of Stonehenge and the Celtic underworld (which included animating hundreds of life-size skeletons and disembodied skulls), Britannia doesn’t aim to stint on arresting visuals.

Flashes of unexpected Burning Man-type modernity will apparently not be reflected in the show’s dialogue, which Mensah and Roach assure will stay true to Butterworth’s “unique voice,” rather than attempt a cod-Classical or a slangy contemporary style.

Although Butterworth did not consciously base Britannia on any specific contemporary account of the Roman invasion of Britain (the third after Julius Caesar’s two abortive attempts a century earlier), he did consult with historian Jonathan Stamp – a BBC History producer and a consultant for HBO’s Rome – to ensure the look and veracity of the series was generally accurate.

Britannia is set to debut on Sky Atlantic in January

In terms of casting, Mensah and Roach stress how happy they to secure such familiar and audience-friendly names as Morrissey, Reilly, Wanamaker, Crook (The Office), Ian McDiarmid (Star Wars) and Julian Rhind-Tutt (Green Wing), with fresh faces including The Enfield Haunting’s breakout star Eleanor Worthington Cox.

Crook previously co-starred with Mark Rylance in Butterworth’s hit stage play Jerusalem.

The visual style of Britannia is also going to be a change from some of the bleakness and windswept vistas seen in similar genre pieces such as the aforementioned Centurion, with Roach promising “a look to the show that really hasn’t been seen before, with lush primary colours and a vibrancy not usually associated with period drama.”

Both Roach and Mensah stress that amid the carnage of the invasion, Britannia will not be without humour, and that the Romans, although understandably the antagonists in the series, will possess shades of grey, as will the native Britons and the Druids.

“Complex characters and believable motivations” are key, according to Mensah, hence Britannia’s presence on Sky Atlantic – which, according to Sky Entertainment director of programmes Zai Bennett, is primarily the home of “heavily serialised, smart, grown-up storytelling,” in contrast to Sky1, where series such as Stan Lee’s Lucky Man have “really clear heroes and villains.”

And while Mensah and Roach are wary of comparisons with Game of Thrones, they are upbeat on the prospect of Britannia extending beyond season one, with story arcs mapped out at least to a possible third season.

In Mensah’s words: “The ambition is to be big.”

With speculation rife that Thrones’ eighth and final season will not appear until 2019 and the attendant spin-offs in the following years, Britannia may have the potential to provide Sky with a homegrown show appealing to a similar audience, which could score a swift season two pick-up (as have Tin Star for Sky Atlantic and Jamestown for Sky1), echoing the success of Vikings for History.

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Converging on Cannes

The great and good of the television industry are once again packing their bags for another week in the south of France. DQ previews some of the drama series set to break out at Mipcom 2017.

Mipcom is often viewed as an opportunity for US studios to showcase their scripted series to international buyers. But this year the US will be jostling for attention with dramas from the likes of Spain, Russia, Brazil, Japan, Scandinavia and the UK.

The Spanish contingent is especially strong thanks to a major investment in drama by Telefonica’s Movistar+. Titles on show will be Gigantes, distributed by APC; La Peste, distributed by Sky Vision; and La Zona and Velvet Collection, both from Beta Film. The latter is a spin-off from Antena 3’s popular Velvet, previously sold around the world by Beta.

Beta Film’s Morocco – Love in Times of War

Beta is also in Cannes with Morocco – Love in Times of War, as well as Farinia – Snow on the Atlantic, both produced by Bambu for Antena 3. The former is set in war-torn Spanish Morocco in the 1920s, where a group of nurses look after troops, while Farinia centres on a fisherman who becomes a wealthy smuggler by providing South American cartels a gateway to Europe.

Mipcom’s huge Russian contingent is linked, in part, to the fact 2018 is the 100th anniversary of the Russian Revolution. Titles that tackle this subject include Demon of Revolution, Road to Calvary and Trotsky – the latter two of which will be screened at the market. Trotsky, produced by Sreda Production for Channel One Russia, is an eight-part series that tells the story of the flamboyant and controversial Leon Trotsky, an architect of the Russian Revolution and Red Army who was assassinated in exile.

Russian drama Road to Calvary

Other high-profile Russian projects include TV3’s Gogol, a series of film-length dramas that reimagine the famous mystery writer as an amateur detective. Already a Russian box-office hit, the films will be screened to TV buyers at Mipcom.

Japanese drama has found a new international outlet recently following Nippon TV’s format deal for Mother in Turkey (a successful adaptation that has resulted in more interest in Japanese content among international buyers). The company is now back with a drama format called My Son. NHK, meanwhile, is screening Kurara: The Dazzling Life of Hokusai’s Daughter, a 4K production about Japan’s most famous artist.

Brazil’s Globo, meanwhile, is moving beyond the telenovelas for which it is so famous. After international recognition for dramas like Above Justice and Jailers, it will be in Cannes with Under Pressure, a coproduction with Conspiração that recorded an average daily reach of 40.2 million viewers when it aired in Brazil.

Nippont TV format My Son

From mainland Europe, there’s a range of high-profile titles at Mipcom including Bad Banks, distributed by Federation Entertainment, which looks at corruption within the global banking world. From the Nordic region there is StudioCanal’s The Lawyer, which includes Hans Rosenfeldt (The Bridge) as one of its creators, and season two of FremantleMedia International’s Modus. The latter is particularly interesting for starring Kim Cattrall, signalling a shift towards a more hybrid Anglo-Swedish project.

While non-English-language drama will have a high profile at the market, there are compelling projects from the UK, Canada and Australia. UK’s offerings include Sky Vision’s epic period piece Britannia and All3Media International’s book adaptation The Miniaturist – both with screenings. There’s also BBC Worldwide’s McMafia (pictured top), sold to Amazon on the eve of the market, and ITV Studios Global Entertainment’s The City & The City, produced by Mammoth Screen and written by Tony Grisoni.

All3Media International drama The Miniaturist

From Canada, there is Kew Media-distributed Frankie Drake Mysteries, from the same stable as the Murdoch Mysteries, while Banijay Rights is offering season two of Australian hit Wolf Creek. There’s also a screening for Pulse, a medical drama from ABC Commercial and Screen Australia.

Of course, it would be wrong to neglect the US entirely,since leading studios will be in town with some strong content. A+E Networks, for example, will bring actor Catherine Zeta-Jones to promote Cocaine Godmother, a TV movie about 1970s Miami drug dealer Griselda Blanco, aka The Black Widow.

Sony Pictures Entertainment, meanwhile, is screening Counterpart, in which JK Simmons (Whiplash, La La Land) plays Howard Silk, a lowly employee in a Berlin-based UN spy agency. When Silk discovers that his organisation safeguards the secret of a crossing into a parallel dimension, he is thrust into a world of intrigue and danger where the only man he can trust is his near-identical counterpart from this parallel world.

If you’re in Cannes, don’t forget to pick up the fall 2017 issue of Drama Quarterly, which features Icelandic thriller Stella Blómkvist, McMafia, Benedict Cumberbatch’s The Child in Time, Australian period drama Picnic at Hanging Rock and much more.

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Butterworth rules Britannia

Jez Butterworth
Jez Butterworth

Anyone familiar with the work of UK writer Jez Butterworth will know that he has established his reputation primarily through theatre and film.

Although he co-wrote a couple of short films for ITV and Channel 4 in the early 1990s (both with his brother Tom), his breakthrough moments were the 1995 play Mojo and the 2001 movie Birthday Girl, which starred Nicole Kidman. Subsequently, career landmarks include the play Jerusalem (2008) and movies such as Edge of Tomorrow, Black Mass and Spectre.

Now, however, he is set to make a major impact on the small screen as writer of Britannia, the first coproduction between Sky and Amazon. The lavish 10-part drama will star Kelly Reilly (True Detective), David Morrissey (The Walking Dead, The Hollow Crown), Zoë Wanamaker (Harry Potter and the Philosopher’s Stone) and Stanley Weber (Outlander).

Butterworth will again team up with his brother (who has already established his reputation as a TV writer with Fortitude and Tin Star), as well as Richard McBrien (Spooks, Merlin), on the writing.

According to Sky, Britannia is “set in 43AD as the Roman Imperial Army – determined and terrified in equal measure – returns to crush the Celtic heart of Britannia, a mysterious land ruled by wild warrior women and powerful druids who can channel the powerful forces of the underworld.”

The series is shooting on location in Prague and Wales and will appear on Sky1 in the UK and Ireland and Amazon Prime Video in the US in 2017. International distribution rights (excluding the US) for Britannia will be handled by Sky distribution arm Sky Vision.

Patrick Harbinson
Patrick Harbinson

Commenting on the show, Butterworth said: “Besides being hard, hard warriors, the Celts have a belief system which makes them almost invincible. It’s a deep, heavy magic. Last time the Romans tried to invade, the mighty Julius Caesar took one look, turned round and went straight home. Now, almost a century later, the Romans are back. I’m fascinated in what happens when gods die. When an entire, ancient faith stalls, topples, collapses – and a whole new one grows in its place. New names, new faces, to suit the new times. Here we have a war between two pantheons – the Roman gods v the Celtic gods. It’s the heavyweight clash of all time, the one which most shapes who we are today. And we see it all from a human perspective, of individual survival, ambition, courage, lust, loss, revenge. All the stuff the gods have always loved us humans for the most!”

Another high-profile writer in the news this week is Patrick Harbinson. Although Harbinson’s most recent credit is as a writer-producer on Showtime’s Homeland, he is actually a Brit who broke into the business writing episodes of UK dramas Soldier Soldier and Heartbeat. Since then, he has managed to carve out an impressive career working on both US and UK series such as Person of Interest, Lewis, 24, The Day of the Triffids, Wire in the Blood, Dark Angel and Hornblower.

Now he is working with producer Mammoth Screen on a six-part series for ITV entitled Fearless. The show, starring Helen McCrory (Peaky Blinders), centres on Emma Blunt, a solicitor known for defending lost causes. She is investigating the killing of a schoolgirl in East Anglia and trying to free the man she thinks was wrongly convicted of the girl’s murder. But as she digs deeper, she begins to sense powerful forces, in the police and the intelligence services at home and abroad, who want to stop her uncovering the truth. Harbinson calls Fearless “a legal thriller, but one that’s written in the crash zone where law and politics collide.”

Harbinson said he was first approached by Mammoth Screen MD Damien Timmer three years ago: “[He] asked me if I was interested in writing a legal series inspired by the work of lawyers like Gareth Peirce and Helena Kennedy. I immediately said yes. Much of the work I’ve done in America in the last 10 years has been about life in the post-9/11 world. The so-called War on Terror has put serious stress on the ordinary workings of the law. National security justifies all sorts of police and state over-reach – and the great majority of us are prepared to accept this. So I wanted to create a character who challenges these assumptions, who fights for those outside the normal run of society, and who is uncompromising, difficult and indifferent to unpopularity and danger. The result was Emma Blunt and Fearless.

“I’m delighted Helen McCrory has agreed to play Emma. She is a complex and contradictory character, and I am lucky to have someone of Helen’s wit, warmth and intelligence bringing her to life.”

Fearless will be produced by Adrian Sturges (Houdini and Doyle, The Enfield Haunting, The Disappearance of Alice Creed). Filming will begin in London and East Anglia in September 2016.

Veena Sud
Veena Sud

Butterworth and Harbinson are currently two of the film and TV industry’s most in-demand writers. However, breaking into the industry in the first place continues to be a struggle for most. One company that has a good track record for unearthing diverse new talent, however, is Disney-ABC though its writing programme.

Organised on an annual basis, the Disney-ABC writing programme accepts submissions from May and selects writers in around December. These writers then participate in a one-year programme that starts in February. If they turn out well, then they are given jobs on Disney-ABC series, examples being Veena Sud (The Killing, Cold Case) and George Mastras (Breaking Bad).

This week, Disney-ABC announced today that all eight of the writers selected for the 2016 programme have been given jobs on TV series. These include Dayo Adesokan (Downward Dog), Amanda Idoko (Imaginary Mary), Andrew Mathieson (Dr Ken), Ron McCants (Speechless), Miguel Ian Raya (Famous In Love), Janine Salinas Schoenberg (American Crime), Christina Walker (Still Star-Crossed) and Jeffery Wang (Notorious).

Commenting on this year’s bumper crop, Tim McNeal, VP of creative talent development and inclusion at Disney-ABC Television Group, said: “We’re proud that our selection of writers proved appealing to not only creative executives but also showrunners.”

One particularly impressive aspect of the programme is the number of writers who continue to build their career after that initial lift-off. For the coming year, 50 alumni will be employed at various levels in the industry, from staff writers to executive producers. Zahir McGhee, for example, is co-exec producer on ABC’s Scandal.

“Just as we pride ourselves by introducing new diverse voices to the creative process at the lower level, we find it equally rewarding to champion the staffing of programme alumni as a means to career longevity,” said McNeal.

Sarah Watson
Sarah Watson

In another piece of Disney news, its Freeform channel (formerly known as ABC Family) has greenlit a new scripted pilot called Issues. Inspired by the life of Cosmopolitan editor-in-chief Joanna Coles, it follows three young women who set out to conquer New York City together.

Issues is the brainchild of Sarah Watson, who worked for more than 100 episodes on NBC’s Parenthood, rising from mid-level staff writer to executive producer during that time. Having broken into the business on That’s So Raven (2004), she then worked on shows like Monarch Cove, The Unusuals and About a Boy before her career-transforming six-season stint on Parenthood.

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