Tom Clancy’s literary hero Jack Ryan has been seen on screen before, notably in movies, with Harrison Ford, Alec Baldwin, Ben Affleck and Chris Pine all having portrayed the character.
Now, Ryan is set for television for the first time – in a 10-part series for Amazon Prime Video.
Tom Clancy’s Jack Ryan sees John Krasinski (The Office, A Quiet Place) step into the title role as a desk-bound CIA analyst who is on the trail of a terrorist network, only to find himself thrown into the field for the first time.
In this DQTV interview, co-showrunners Carlton Cuse (Bates Motel) and Graham Roland (Lost) talk about why the novels lend themselves more to television than cinema and how they brought together several story strands into one 10-part series.
They also talk about casting Krasinski as Ryan and how they strived to bring authenticity to the series.
Tom Clancy’s Jack Ryan, which has already been renewed for a second season ahead of its August 31 launch in more than 200 countries, is produced by Paramount Television, Cuse’s Genre Arts, Michael Bay’s Platinum Dunes and David Ellison’s Skydance Television.
As Netflix and Amazon continue to flex their financial muscles, battle lines are being drawn between network, cable and digital channels in the fight for top writing talent.
Call it what you will – peak TV, the new golden age or even the first platinum era of television – there are few signs that the number of scripted dramas being produced around the world, and particularly in the US, is on the wane.
So as the transfer window for football leagues across Europe enters its final days, television is doing its best to keep up, with rival players fighting to sign up some of the small screen’s biggest talents in the hope of continuing to attract viewers.
If former Barcelona superstar Neymar is worth a world-record transfer fee of £200m (US$258m) to Paris Saint-Germain, how valuable is showrunner extraordinaire Shonda Rhimes (pictured above) to Netflix?
However much Rhimes will earn, Netflix chief content officer Ted Sarandos would doubtless say she is worth every cent after the showrunner agreed to bring her Shondaland production company to the US streaming giant in a multi-year deal that will see her create new series for the platform. Indeed, Sarandos described Rhimes as “one of the greatest storytellers in the history of television” after securing her signature.
And who is in any doubt over the credibility of that statement? This is, after all, a writer and producer who has her own night on US network ABC, with Shondaland series Grey’s Anatomy, Scandal and How To Get Away With Murder bringing in primetime audiences every Thursday.
But while becoming synonymous with ABC, which also previously aired Shondaland dramas The Catch and Still Star-Crossed, among others, Rhimes has slowly built up a relationship with Netflix. The streamer has global rights outside of the US to How To Get Away With Murder and also airs Grey’s and Scandal in many other territories.
Perhaps it’s no surprise, then, that despite a long and successful partnership with the network, she has jumped ship with the promise of untold production budgets and the opportunity to tell any story she likes without having to jump through the hoops laid out by a broadcast network’s standards and practices department.
“Her work is gripping, inventive, pulse-pounding, heart-stopping, taboo-breaking television at its best,” Sarandos continued, with all the hyperbole of a football club chairman announcing his club’s latest star signing, lacking only a Netflix T-shirt with Rhimes’ name across the back. “I’ve gotten the chance to know Shonda and she’s a true Netflixer at heart – she loves TV and films, she cares passionately about her work and she delivers for her audience.”
Rhimes hinted at the potential to break away from the more stringent rules at ABC when she said: “Ted provides a clear, fearless space for creators at Netflix. He understood what I was looking for – the opportunity to build a vibrant new storytelling home for writers with the unique creative freedom and instantaneous global reach provided by Netflix’s singular sense of innovation. The future of Shondaland at Netflix has limitless possibilities.”
While Grey’s, now entering its 14th season, and its ABC stablemates will not be moving with Rhimes, one wonders what new projects Shondaland will be pitching to the streamer.
In the case of The Walking Dead creator Robert Kirkman, the dark content that comprises his comic book back catalogue and the output of his Skybound Entertainment prodco provides a clue of what is likely to come now that he too has agreed an online deal, with Amazon being the beneficiary in this case.
The Walking Dead is one of the biggest shows in the world, giving cable network AMC the kinds of ratings that broadcast networks would once have considered unremarkable. Kirkman is also behind Cinemax’s Outcast and is developing pre-apocalyptic drama Five Year, which is being prepared for multiple territories including Germany, India, Brazil and Italy.
“Robert is a gifted storyteller who shares our passion for elevated genre storytelling that pushes boundaries,” said Sharon Tal Yguado, head of event series at Amazon Studios, which is ramping up its focus on science-fiction, fantasy and horror series. “Robert and the team at Skybound are some of the most innovative and fearless creatives in the business. Together, we plan to explore immersive worlds and bold ideas for Prime Video.”
The digital tractor beam has also managed to pull in major movie talent, with Netflix revealing it had tapped the sought-after Coen Brothers (The Big Lebowski, No Country for Old Men) to produce western anthology series The Ballad of Buster Scruggs – a six-parter starring Tim Blake Nelson that will feature six different frontier tales featuring the eponymous character.
“We are streaming, motherfuckers,” said Joel and Ethan Coen, understatedly, in what was another coup for Netflix in the wake of Disney’s revelation that it would be pulling its movie titles from the SVoD player in 2019.
It’s a stark reality that the some of the biggest names in TV and film will head to Netflix and Amazon due to the promise of being given the freedom to let their creative juices flow. But what is left for the networks they leave behind? AMC will have to make do without the next series from Kirkman, while Matthew Weiner, who spent eight years at the channel with Mad Men, has also set up his next show – The Romanoffs – at Amazon. Cable rival FX, meanwhile, has been tying down its biggest creative assets, among them Noah Hawley (Fargo, Legion) and Donald Glover (Atlanta), for fear of them also moving on.
But it is broadcast networks that will face the biggest challenge. Already trailing in the wake of their subscription-based competitors and unable to place the same bets on niche dramas as their cable and streaming rivals, the onus is on them to unearth new gems each year to keep their advertisers happy.
ABC Studios has been doing some transfer business of its own, reuniting with veteran showrunner Carlton Cuse (Jack Ryan, Bates Motel) who oversaw six seasons of Lost for the Alphanet Network. The hope will be that he can steer some new shows in its direction.
But like smaller football clubs facing off against their bigger rivals, television now has a new ecosystem, and it’s likely networks will have to get used to seeing their best and brightest talents picked off.
The demanding nature of network dramas means they should continue to be the biggest training ground for up-and-coming writing talent as writers rooms grapple with the demands of 22-episode seasons. That’s where the next great storytellers will emerge to take the places of Rhimes et al.
As Twin Peaks returns to television after a 26-year absence, DQ explores the wide-reaching impact the series had on the shows and creatives that came after it.
This Sunday, US premium pay TV channel Showtime will launch the return of Twin Peaks, the David Lynch and Mark Frost drama that first saw the light of day on ABC in 1990. No one knows what to expect, but if the new series is half as ingenious as the original, it will be worth adding to your watch list.
At a time when there is so much great drama on TV, it’s easy to lose sight of the show’s creative significance. The crime drama gripped millions of viewers as Kyle MacLachlan’s FBI agent Dale Cooper investigated the shocking murder of homecoming queen Laura Palmer (played by Sheryl Lee).
But most writers, producers and critics acknowledge that Twin Peaks paved the way for some of the industry’s most iconic scripted series.
Chris Carter’s The X-Files, which launched on Fox in 1993, is often cited as an early beneficiary of the Twin Peaks revolution. While the show had more procedural rigour than its predecessor, David Duchovny’s portrayal of FBI agent Fox Mulder owes much to MacLachlan’s Agent Cooper. In tone, pacing, geography, humour and supernatural suspense, the creative connection is clear.
Frank Spotnitz, founder of indie producer Big Light Productions, worked on The X-Files for a number of seasons as a writer and showrunner. He recalls that “a lot of us in the writers room were fans of Twin Peaks and the way it took television drama to a new place. It was one of those shows that just seemed impossible at the time. This was an era when the only things on network TV were shows about cops and doctors and lawyers. But then along came this clever, compelling, original series.
“It really was the show that changed what TV meant. It was so cinematic at a time when television drama was rigid. It was mysterious, sexy, chilling and atmospheric. The message it passed on to the rest of us was to have a sense of ambition. If you’re going to make TV, make sure it is as good as it can possibly be.”
Less immediately obvious is the impact Twin Peaks had on HBO’s landmark gangster series The Sopranos. But the creator of the latter, David Chase, has never been slow to acknowledge his creative debt to the rule-bending nature of Twin Peaks.
The impact of Twin Peaks is also evident in shows such as Lost, Bates Motel, Veronica Mars, Northern Exposure and Wayward Pines. But its impact didn’t stop at the US border. Both the pace of the show and its visual grammar were forerunners of Nordic noir – 10 years before the Scandinavians made their mark. For many, Danish hit Forbrydelsen (The Killing), with its meticulous attention to a single case, is a direct DNA descendant of Twin Peaks. So too is atmospheric French supernatural thriller Les Revenants (The Returned).
Twin Peaks’ use of language has also had a defining impact on high-end drama. How many times do we now see shows digress from the central narrative arc or wrong-foot audience with non sequiturs – just as Lynch and Frost did repeatedly with Twin Peaks?
And while there is always a danger of ‘over-attributing’ a work of art’s impact, there are many who see Twin Peaks’ focus on the horrors that exist beneath the surface of small-town life as the prototype for subsequent scripted series.
Broadchurch, Haven, Fortitude, Les Revenants, The Valley, The Kettering Incident and Trapped are just a few examples of recent scripted shows located in similar locked-in communities.
Showrunner Carlton Cuse admits the drama had a huge influence on his career: “It shaped the way Damon Lindelof and I approached Lost, and also my approach to Bates Motel.”
In terms of specifics, he says: “It was intensely visual at a time when most drama relied on dialogue. There was this visually arresting use of negative space – you’d find yourself watching traffic signals as they turned red to green. It was moody and lyrical, like something you’d get from European cinema. And at the same time there was an intentional ambiguity that forced the audience to puzzle out what was going on – not just watch. You had to pay close attention to make sense of things.”
As a seasoned TV professional, Cuse also has the utmost admiration for the fact the show even got made: “There are so many gatekeepers in TV that it was a profound achievement to convince network executives to let it get through in the way it did. It broke so many rules, and in doing so, emboldened Damon and I to break the rules with Lost. It challenged conventions and made a future in TV an attractive option.”
While it’s possible to see overt evidence of Twin Peaks’ impact in a show like Bates Motel, part of the point made by Cuse is that Lynch and Frost encouraged showrunners to interrogate process. So even where a show doesn’t immediately look the same as Twin Peaks, there can be a connection.
Rob Thomas, showrunner on critically acclaimed Veronica Mars and The CW’s ratings hit iZombie, is another who recalls the show-stopping impact of Twin Peaks: “It was the first show I remember going out of my way for. I used to drive to my buddy’s house 40 miles away across Texas to watch with a group of eight friends. We were just obsessed with the show and would record it on VHS so we could spend the next week picking over the clues. For me it was a bit like The Sex Pistols’ Never Mind the Bollocks. In a world of prog rock, someone let this crazy album happen. And it was like that with Twin Peaks.”
Interestingly Thomas says the show taught him lessons in both how to make TV and how not to make it. “I wouldn’t take anything away from the show. It had an amazing sense of style and inventiveness that I hadn’t seen in TV before. The offbeat dialogue contributed to a really singular voice. But I remember really thinking about it a lot when I was making Veronica Mars, because it seemed to me that parts of Twin Peaks weren’t mapped out in advance. There’s always a certain amount that you make up as you go along in a 22-episode show, but I was determined to have a clear idea of where I was going.”
Jane Campion’s mesmerising Top of the Lake is another critically acclaimed show that has been compared to Twin Peaks – in part because of its lyrical, atmospheric qualities but also because it is an example of a cinema auteur embracing TV.
Hakan Kousetta, COO of See-Saw Films, the company behind Top of the Lake, recalls watching Twin Peaks avidly when it first aired: “I was about 20 and couldn’t believe what I was watching. I loved the amazing characterisation, slow-burn narrative, ethereal music [composed by Angelo Badalamenti] and the mystical, moody atmosphere. It played with every assumption about what a television drama series should be.”
For Kousetta, the importance of the show is not just the list of genetic traits that have been handed down to today’s generation of drama producers, but the central role it gave to auteurs: “With Top of the Lake, we were at the forefront of the recent wave of feature film talent coming over to TV,” he says. “But, of course, David Lynch and Twin Peaks were way ahead of anybody. I think its real importance is that it bridged the gap between film and television – because that is one of the factors that is making today’s TV drama so interesting.”
As UK-based Kousetta’s comments illustrate, Twin Peaks’ popularity spread worldwide. In New Zealand, Lisa Chatfield, head of scripted development at prodco Pukeko Pictures, recalls seeing the show when she was a college student.
“I think all of us bought into its filmic qualities,” she explains. “It was a dark, visually arresting piece of television that was unlike anything we’d seen before. Looking back, the thing that probably stands out most for me is the extraordinary casting. The show wasn’t filled with beautiful or gorgeous people. It prioritised quirky, interesting and weird talent, and that is something I see in drama casting today.”
Chatfield, whose company is a coproducer on Australian fantasy series Cleverman, also makes the point that Twin Peaks was an early example of world-building in TV, something that now informs so many series from Game of Thrones to The Walking Dead.
That this emphasis on a coherent mythology was intentional is evident from a 2014 Variety interview in which Mark Frost said: “I felt in Twin Peaks we were more or less filming a novel – drilling down to a level of detail you weren’t used to seeing in network storytelling. Over the years, many people have credited us with inspiring them to think differently in how to tell stories.”
Hopefully, a new generation of talent will feel equally inspired after the return of Twin Peaks.
The return of Twin Peaks: What do we know?
So what do we know about the new Twin Peaks? Well, not much, since those involved are sworn to secrecy.
The new project is 18 hours long, the cast is broadly the same – Kyle MacLachlan returns as Dale Cooper – and the action takes place 25 years after the occurrences of the original two seasons. This time lag is, reportedly, significant to the plot.
But just days ahead of the premiere, on Sunday May 21, little remains known about the story, although episode descriptions could provide some clues.
Meanwhile, the returning cast are continuing to remain steadfastly tightlipped about what is in store for viewers, with little being revealed ahead of its launch.
Speaking at the Television Critics Association’s winter press tour in January, David Lynch gave little away during a surprise appearance. But when quizzed on what viewers should expect, he said: “I see it as a film. And a film in parts is what people will experience. This word ‘expect’ is a magical word. People expect things, and their expectations are hopefully met when they see the thing.”
As to whether the show might go beyond its initial 18-episode run, Lynch said: “Before I said I wasn’t going to revisit it, and I did. You never say no. But right now there’s no plan for more.”
There is a possible hint of a warning in comments made by Showtime president David Nevins, who told Deadline Hollywood the new season “rewards close watching” and is “the pure-heroin version of David Lynch.” That sounds like it will appeal to Lynch junkies, but it may prove a little too challenging for most viewers.
As TV showrunners adjust to their celebrity status in Hollywood, what are the biggest they face in the business?
This DQ show hears from some of the top executives in the industry on topics such as the shortage of showrunners in the era of ‘peak TV,’ the use of technology, the impact of social media and the new opportunities available for writer-producers to get their stories on screen.
Contributors include Michelle Ashford (Masters of Sex), Glen Mazzara (The Walking Dead), Howard Gordon (Homeland), Terri Miller and Andrew Marlowe (Castle), Clyde Phillips (Dexter), Graham Yost (Sneaky Pete), Amblin Television’s Justin Falvey and Darryl Frank (Bull), Ben Silverman (Ugly Betty, Jane the Virgin), Shawn Ryan (The Shield, Timeless), Eric Kriple (Timeless), Jeff Melvoin (Army Wives, Alias, Northern Exposure), Marta Kauffman (Friends, Grace & Frankie), Matt Miller (Lethal Weapon), Eric Newman (Narcos), Nic Pizzolatto (True Detective), Carlton Cuse (Bates Motel) and Ilene Chaiken (Empire).
Watch part one, Rise of the celebrity showrunner, here.
In 2016, several US shows have been killed off despite airing successfully for a number of seasons. This week, we look at the creators and writers behind these shows, many of whom will be in strong demand after the conclusion of their latest projects.
Bates Motel has been a strong performer for cable network A&E but is due to end in 2017 after season five. The first script was written by Anthony Cipriano, and then Carlton Cuse (pictured) and Kerry Ehrin joined as head writers. Cuse and Ehrin continue to run the show and will be in charge of the last season – which is expected to be a retelling of Psycho, on which the series is based. Cuse is one of the busiest showrunners in Hollywood, so won’t be short of things to do. His other gigs include FX’s The Strain and a new project for Amazon based on Tom Clancy’s Jack Ryan novels. Ehrin has been linked with a couple of projects over the last two years (a romantic comedy for NBC and a terrorism drama for CBS) but there’s no concrete news on her plans after Bates Motel.
Black Sails is a prequel to Treasure Island, in the same way Bates Motel is a prequel to Psycho. Created by Jonathan E. Steinberg and Robert Levine, it airs on Starz but will finish after its fourth season. Steinberg and Levine have written many of the episodes together and also include Human Target and Jericho among their previous credits. Their plans after Black Sails are yet to be revealed. Steinberg wrote a pilot for an updated version of Beauty and the Beast for ABC, but this appears to have gone quiet.
Castle rumbled along for eight seasons on ABC before being cancelled in May 2016 (though it was very nearly given a short-run ninth season). It was created by Andrew W. Marlowe who wrote a lot of episodes up until season eight before stepping back. The most prominent writers on the latest season were showrunners Alexi Hawley and Terence Paul Winter. The latest news regarding Marlowe is that he is writing a comedy crime series for Tandem Productions with his wife Terri Edda Miller. Called Take Two, the LA-based series centres on private investigator Eddie Valetik and former cop show actress Emma Swift, who come together to form an unlikely crime-busting partnership. Hawley and Winter have yet to reveal their plans following the show’s termination. Hawley’s credits include The Following and State of Affairs, while Winter worked on All of Us.
The Good Wife ran for seven seasons and 156 episodes on CBS, ending on May 8, 2016. The award-winning legal/political drama ended on a high, which is good news for its creators Robert King and Michelle King (pictured). The Kings have their own production company, King Size Productions, which they operate under a three-year overall deal they signed with CBS in late 2014. Key projects to have come out of this setup include political satire BrainDead, which debuted on June 13 on CBS. Ratings for the show have not been great, suggesting an early cancellation (though it may be saved thanks to a streaming rights deal with Amazon).
House of Lies was a Showtime comedy series that followed a group of unscrupulous management consultants. Its fifth and final season ended last month. The show was created by Matthew Carnahan, who also wrote a lot of its episodes. In 2014, he also found time to write a movie called Ride, which starred his partner Helen Hunt. Previously he wrote a novel called Serpent Girl. House of Lies made the news earlier this year when it filmed in Cuba. There are no details yet re Carnahan’s next project.
Person of Interest was a CBS sci-fi drama that ran for five seasons and ended on June 21 this year. Created by Jonathan Nolan (pictured), it was well received by critics and fans, securing an 8.5 rating on IMDb. Nolan is never short of stuff to do, but is currently most closely associated with Westworld, his HBO reboot of the classic movie. He co-wrote the last episode of Person of Interest but a lot of the writing work in recent seasons has been done by Greg Plageman, Denise Thé and Tony Camerino. There’s no news yet on what any of these three are planning for their next projects.
Teen Wolf will end after next year’s season six on MTV. Developed by Jeff Davis (pictured), it’s loosely based on the 1985 film of the same name. Davis has been the dominant writer throughout, typically writing around half of the scripts in each season. Less well known is that he also created CBS’s Criminal Minds, which has gone on to run for 11 seasons. With his track record and the fact he is just 41 years old, Davis is sure to secure another significant gig in the near future. However, the news about Teen Wolf only broke a few days ago, so there has been no word on his future plans.
Orphan Black is a Canadian sci-fi thriller that has built up a strong cult audience. The show has been greenlit for a fifth season by Space in Canada and BBC America but will end after that. There was a panel on the show at this month’s Comic-Con during which the creators Graeme Manson (writer, pictured) and John Fawcett (director) confirmed it was their decision to end the show. They didn’t discuss future plans except to say they’re open to the possibility of a spin-off series or feature film. For Manson, the series was his big breakthrough moment, so expect him to be in demand.
Penny Dreadful, Sky/Showtime’s gothic horror series, will end after three seasons. Like Orphan Black, the decision to end the show came from its creator, John Logan (pictured), who said: “I created Penny Dreadful to tell the story of a woman grappling with her faith, and with the demons inside her,” he said. “For me, the character of Vanessa Ives (Eva Green) is the heart of this series. From the beginning, I imagined her story would unfold over a three-season arc, ending with Vanessa finding peace as she returns to her faith.” Logan, of course, is not short of work, having penned numerous movies including Gladiator, The Aviator, Skyfall and Spectre. His next announced film projects are Just Kids, The next James Bond film and Alien: Covenant. The big question, of course, is whether he’ll be tempted back to TV at any point in the near future.
The Vampire Diaries is soon to end after clocking up eight seasons on The CW. Parting with the show has been made easier for the network by the success of its superhero series. Based on books by LJ Smith, The Vampire Diaries was developed by Kevin Williamson (pictured) and Julie Plec. The latter wrote a couple of episodes in season six but the major writing responsibilities in recent times have belonged to Caroline Dries and Brian Young. Williamson is now busy with a series for ABC called Time After Time and a paranormal project for The CW called Frequency. Williamson and Plec are also exec producers on Fox pilot Recon, which is written by Dries. This one is about an FBI agent who embeds herself in a suspected terrorist family.
Hardly a week goes by without some new development on the scripted format front. So here we explore 12 of the shows that have been adapted – successfully and unsuccessfully – for the US, and the writing teams behind them.
Where images have been included, the original series is on the left and its adaptation on the right.
Broadchurch was a big hit for ITV in the UK when season one aired in 2013. It then sold around the world and was adapted by Fox in the US as Gracepoint, with the same lead actor (David Tennant). The UK version, which then had a moderately successful second season, was created and written by Chris Chibnall – who is now working on a third and final run before taking over on the BBC’s Doctor Who.
The 10-part US version was set up by Chibnall before being handed over to Anya Epstein and Dan Futterman, who wrote all of the remaining episodes except for number six (Jason Kim). Gracepoint was pretty well reviewed by critics and sold to other English-speaking markets. But it was not renewed after failing to secure a sizeable audience (average ratings were around 3.5 to four million).
Collision, created by UK writer Anthony Horowitz (Foyle’s War), attracted an audience of seven million when it aired on ITV in the UK during 2009. In November last year it was picked up by NBC as a 10-part series. Interestingly, Horowitz will be the showrunner for the US version, with CSI exec producer Carol Mendelsohn on board as partner. Mendelsohn is also exec producer of Game of Silence (see below), suggesting she is now regarded as a safe pair of hands for format adaptations after her many years working on CSI.
The original version of Collision comprised five episodes but Horowitz says he has no concerns about the project being extended because he believes the storyline will benefit from the extra episodes. Sometimes formats suffer from being stretched in this way.
Forbrydelsen (The Killing) is a Danish series (DR/ZDF Enterprises) created by Soren Sveistrup. Active across three seasons, it became an international hit and made its star Sofie Gråbøl a household name. It was adapted by AMC in 2011 and has so far run to four seasons – despite being cancelled a couple of times along the way. It was saved by Netflix, which came on board as a partner for season three and then took over the show in its entirety for season four.
The US version was developed by Veena Sud, whose previous big credit was CBS procedural Cold Case. Sud shared writing duties with a large team, including the likes of Nic Pizzolatto (True Detective) and Jeremy Doner (Damages). She stayed with the show through season four, by which time writing duties were shared with Dan Nowak, Sean Whitesell, Nicole Yorkin and Dawn Prestwich (the latter two a writing team whose credits include Chicago Hope, FlashForward and The Education of Max Bickford).
Hatufim, aka Prisoners of War, is perhaps the most celebrated example of a successful scripted format. Created in Israel by Gideon Raff, it was adapted as Homeland for Showtime in the US by Howard Gordon and Alex Gansa. Five seasons of the US show have aired so far, with a sixth ordered in December 2015.
As is common with US series, there is a big team involved in writing a show like Homeland. The latest season of 12 episodes involved 11 writers altogether. Key names include Chip Johannessen, who has been involved with the show since the start. A new name on the season six team sheet was David Fury, who has worked on an array of titles ranging from Buffy the Vampire Slayer to Hannibal.
Janus is proof that US networks are looking further afield in search of great ideas. A crime story originated in Austria, it was picked up by ABC last autumn. Kevin O’Hare, who has written pilots for ABC and Syfy, is adapting the thriller and writing the pilot. The original version was written by Jacob Groll and Sarah Wassermair.
Prior to this seven-part serial, Groll was best known for documentary The Sound of Hollywood, while Wassermair’s credits include musicals for children’s theatre. However, the pair have also been working together on ORF’s popular crime series Soko Donau.
Juana La Virgen is a Venezuelan telenovela that was adapted for The CW network in the US as Jane the Virgin. The original was created by Perla Farias and the US version by Jennie Snyder Urman, whose writing efforts are supported by a large team (the show has 22 episodes per season).
As evident from the titles above, a lot of adaptations don’t get further than the end of their first season. So the fact that this one has just been greenlit for a third run is a notable achievement. Although season two ratings are down compared with season one, the show has settled into a stable 0.9 to one million range.
Les Revenants was hailed as evidence that French TV drama had become a force to be reckoned with. A hit for Canal+ in 2012, the format was snapped up by A&E in the US – where it was remade as The Returned. The French version (based on a film) was created by Fabrice Gobert, who then wrote the screenplay for season one with Emmanuel Carrere and Fabien Adda (with writing credits also going to Camille Fontaine and Nathalie Saugeon).
A second season was aired at the end of 2015, with Audrey Fouche joining Gobert and Adda as a key writer (also credited on one episode was Coline Abert). Despite being led by showrunner Carlton Cuse alongside Raelle Tucker (True Blood), the US version failed to secure a second-season renewal following lacklustre ratings.
Øyevitne is a Norwegian crime thriller that is being adapted as Eyewitness for USA Network. In the US it has received a 10-episode, straight-to-series order. The US version comes from Shades of Blue creator Adi Hasak, who wrote it and will serve as showrunner. The original series creator is Jarl Emsell Larsen, who will executive produce the US version.
The series explores a grisly crime from the point of view of the eyewitnesses, two boys involved in a clandestine gay affair. While the Nordics have been getting a lot of attention in recent times, this is actually the first Norwegian scripted show to be adapted for the US.
Penoza is a popular Dutch drama created by Pieter Bart Korthuis and Diederik van Rooijen for KRO-NCRV. The show has run for four seasons (2010-2015), with a fifth, commissioned in February, set to air in September 2017. The format was acquired by ABC in the US in 2012 and ran for one season during 2013 with the name Red Widow.
The US version performed poorly and wasn’t renewed, dropping from 7.1 million at the start of its run to 3.47 million at the end. That was a rare blip for writer Melissa Rosenberg, whose credits include the entire Twilight saga of movies, Showtime’s Dexter and Netflix hit series Jessica Jones.
Rake is an Australian television series that centres on a brilliant but self-destructive lawyer. It was created by Peter Duncan, who then shared writing duties with Andrew Knight across the first three series. A fourth season will be broadcast this year on ABC Australia.
The show was adapted for Fox in the US in 2013, with Peter Duncan at the helm of a writing team of five. However, the show didn’t rate well and was moved around the schedule before being cancelled.
Shameless: Company Pictures produced Shameless for Channel 4 in the UK before it was picked up as a format by premium pay TV channel Showtime. The UK version was the brainchild of Paul Abbott, who also wrote a number of episodes. Other high-profile names involved included Danny Brocklehurst, who is now enjoying some success with Sky1’s The Five. Another prominent writer among many was Ed McCardie (Spotless).
Abbott was involved in setting up the US version, which may explain why the show has been a success, with six seasons already being aired. Key names in terms of transitioning the show included John Wells (ER, The West Wing) and Nancy Pimental – both of whom are still heavily involved, alongside a team of five writers for the latest season. Interestingly, the last season of the UK version also used a team approach, with eight writers penning 14 episodes.
Suskunlar is a Turkish drama that first aired on Show TV in 2012 and was then sold in its completed form to 30 countries. It was written by Pinar Bulut, who has also written a number of projects with her husband Kerem Deren, including fellow international hit Ezel.
The show was picked up by NBC in the US and has just started airing under the title Game of Silence. The pilot for the US version was written by David Hudgins, whose credits include Everwood and Parenthood. The second episode was penned by Wendy West (The Blacklist and Dexter). Hudgins has expressed a desire to take the show on into a second season, but early ratings suggest that it will need to do better for that to happen. After attracting 6.4 million viewers for episode one, it dropped 39% to 3.9 million for episode two.
As the dust settles on another Comic-Con, Michael Pickard rounds up all the news and casts his eye over the hottest trailers that were unveiled to thousands of fans in San Diego.
And so Comic-Con ends for another year. As more than 130,000 people make their way home from the San Diego Convention Centre, the latest round of this annual four-day event has only served to establish it further as the new must-go place for television series, and their producers, directors, writers and cast members, to build up the noise surrounding their launch or return to our screens.
Alongside announcements about series renewals and surprise star appearances, it’s always intriguing to see where television drama – and genre fare in particular – is heading over the coming year.
Panels were hosted by shows including Limitless, Orphan Black, iZombie, Scorpion and Sherlock. Game of Thrones, The 100 and Marvel’s broadcast series – Agent Carter and Agents of S.H.I.E.L.D. – also drew fans to hear gossip from the set and more about what fate might lie in store for their favourite characters.
Elsewhere, MTV announced Teen Wolf had been renewed for a sixth season, while cable network WGN America ordered a third run of its spellbinding period drama Salem.
Comic book drama Arrow released an image of the Green Arrow’s costume ahead of season four launching on The CW this fall, while the casts of DC’s Legends of Tomorrow and The Flash, both also on The CW, joined in the fun.
Universal Cable Productions announced it is teaming with Warren Ellis and Gale Anne Hurd (The Walking Dead) to adapt 1970s Mexican network Televisa’s format El Pantera, as well as adapting UK film The Machine with writer Caradog James for Syfy. It has also optioned IDW Publishing comic Kill Shakespeare.
The producer of NBC reboot Heroes Reborn, Imperative Entertainment, said it had optioned rights to adapt Hugh Howey novel Sand, which tells of a family of sand divers who use wetsuit-type technology to dive beneath the desert that covers a lawless dystopian world to retrieve valuable relics that help them survive.
Minority Report producer Darryl Frank also revealed that Steven Spielberg had been working with executives on the Fox reboot of the celebrated director’s 2002 feature film.
At Syfy, the network revealed new details about its six-hour adaptation of Arthur C Clark’s novel Childhood’s End, and former Lost star Josh Holloway was reunited with the show’s executive producer Carlton Cuse as they discussed their latest collaboration: USA Network’s forthcoming Colony.
Showrunner Bryan Fuller also gave hope to fans of Hannibal that the now-cancelled NBC drama could be resurrected as a feature film, though there were celebrations at the Grimm panel, where the show’s stars and executive producers discussed plans for the NBC series’ landmark 100th episode.
But for all the talk at Comic-Con, its the exclusive clips and trailers that got fans off their seats and on their feet inside the convention centre.
Here DQ showcases trailers for some of the most anticipated shows heading to television over the next year:
It’s been a topsy-turvy week for US showrunner/screenwriter Carlton Cuse, who is currently working with cable channel A&E on two scripted series, Bates Motel and The Returned.
A few days ago, he learnt that the former had been greenlit for seasons four and five, but the latter – an adaptation of French zombie drama Les Revenants – has been cancelled after a lacklustre debut.
The Returned is a rare failure for Harvard-educated Cuse, whose shows tend to run and run. His first big success was Nash Bridges, which aired on CBS from 1996 to 2001.
A small hiccup came in 1998 with the quickly cancelled series Martial Law, also on CBS, but it seems churlish to even mention it when you consider that Cuse would later become one of the key architects of ABC’s Lost, arguably the standout drama series of the last decade. Although Cuse wasn’t involved as a writer in the pilot or the early episodes of season one, he co-wrote a number of episodes in the second half of its freshman year and then took on additional writing duties in seasons two and three.
By season four, he was penning the all-important opening and closing episodes in partnership with Damon Lindelof – a role he kept until the show ended in 2010. The final episode earned Cuse and Lindelof an Emmy nomination.
Bates Motel, a prequel to Alfred Hitchcock’s classic thriller Psych, launched in 2013 and marked the start of an incredibly prolific period for Cuse. In 2014, his vampire drama The Strain debuted on FX and in 2015 came A&E’s The Returned. He’s also working on Colony for USA Network, a thriller about life in LA after a mysterious foreign occupation and the efforts by the proxy government to crush the resistance movement. Initially greenlit as a pilot, it secured a 10-episode order in February. And as if all of this isn’t enough to be getting on with, he also found time to create a 2015 pilot for Amazon Studios called Point of Honor.
With so much good stuff to Cuse’s name, what went wrong with The Returned? At first sight, you might argue that Cuse had too much on his plate – with four series at various stages of production and development. But that seems unlikely given that Cuse typically shares creative responsibilities with a strong partner, thus easing the workload. In the case of The Returned, for example, he worked alongside Raelle Tucker, who established her credentials on HBO’s hit vampire series True Blood.
It is more likely, perhaps, that The Returned arrived in the US too late, with ABC’s Resurrection – another show about the dead coming back to life – hitting the market in 2014. It’s also just possible that we’re starting to see flaws in the scripted format model, at least in terms of foreign dramas being adapted for the US market.
While the success of Homeland, based on Israeli drama Hatufim, has proved that this model can work, the growing number of scripted format failures suggests transplanting shows is not such a safe bet.
While no one likes it when one of their shows doesn’t work, Cuse is unlikely to be too downbeat about the loss of The Returned. In a profile by Variety, he observed philosophically how “in Hollywood, it’s impossible to get the temperature of the porridge just right. No matter what your intentions are, Hollywood has a 90% failure rate. I had to put a few different irons in the fire because I didn’t think everything was going to work.” To his credit, Cuse is currently running at a higher success rate than most.
There is also news this week concerning another of the US industry’s hottest talents, John Ridley. After winning an Academy Award in 2013 for 12 Years a Slave (Best Adapted Screenplay), Ridley has been riding high with American Crime, a series he created and wrote for ABC. ABC is clearly very impressed with Ridley because it has renewed American Crime for a second season and this week also ordered a pilot from him, entitled Presence. It will be produced by ABC Studios.
In development for the 2016/2017 season, Presence is about a former army counter-insurgency operative who starts a new career as an unlicensed private investigator in LA. There are also reports that Ridley is working on a secret project with ABC Studios’ sister division Marvel Studios.
Ridley, soon to turn 50, is something of an eclectic talent. Have started his adult life as a stand-up comedian, before going on to write episodes of shows including The Fresh Prince of Bel-Air. Subsequently, he has written and directed movies, produced TV series and penned numerous books. His novel Spoils of War became the acclaimed David O. Russell movie Three Kings.
On the subject of novelists-turned-screenwriters, the big story of the week in the UK is that Irvine Welsh (who will forever be referred to as the author of Trainspotting) is working on a 6×60’ series called Too Much Rock N Roll. Backed by producer Keo Films and distributor Content Media, the drama will tell the story of Anthony and Christopher Donnelly, who were born into Manchester’s notorious gang culture but went on to launch an internationally successful fashion label.
The factual drama, which continues Keo’s recent push into scripted series, is based on the Donnellys’ autobiography Still Breathing, which was published in 2013.
Welsh and long-time collaborator Dean Cavanagh are co-writing the show, having previously worked together on projects like Good Arrows, Dose and Wedding Belles. In a joint statement, Welsh and Cavanagh said: “We’re really excited to be involved in telling the story of the Donnelly Brothers for the screen. We’ve been offered many true-life stories over the years but what attracts us to this story in particular is the fact that Anthony and Christopher are unbeatable – they won’t take no for answer – and we’re going to capture that spirit. It’s something we relate to, having spent decades working in the business that is ‘show’ and all the attendant bullshit that comes with it. Anthony and Christopher are stand-up lads and so are we. Hopefully this is the start of a long and creative partnership.”