Tag Archives: Channel 5

Strange bedfellows boost TV

E4 is adapting Turkey's Mesudarim (pictured) as Loaded
Channel 4 is adapting Keshet’s  Israeli series Mesudarim (pictured) as Loaded

This has been a fascinating week in terms of scripted shows that cut across traditional creative and commercial models.

In the UK, for example, Channel 4’s youth-oriented digital network E4 is to coproduce an online gaming-inspired series with SVoD platform Netflix. Called Kiss Me First, the show is a six-hour thriller from Skins creator Bryan Elsley and a team of new writers. In the UK, it will air on E4 then Netflix. Elsewhere it will be on Netflix.

It is the first time C4 has done a deal of this kind with Netflix, though it has moved more aggressively into the coproduction area recently with shows such as Humans (a copro with AMC) and Indian Summers (with PBS).

Interestingly, the last time C4 and Netflix were mentioned in the same story was when the latter ‘poached’ Charlie Brooker’s dystopian fantasy series Black Mirror (which first found its fanbase on Channel 4).

The underlying theme seems to be that C4 is looking for ways to get high-quality drama at an affordable price. This explains why it has also been showing interest in scripted formats recently. After the success of Humans (based on a Swedish show), it is now working on Loaded, an eight-part comedy drama that originated in Israel with Keshet Broadcasting. The UK version, to be written by Jon Brown (Fresh Meat, Peep Show, Misfits), follows four life-long friends who become multi-millionaires overnight. In Israel, the show was called Mesudarim and debuted in 2006.

The Shannara Chronicles will air on Channel 5 in the UK
MTV fantasy series The Shannara Chronicles will air on Channel 5 in the UK

E4 is also reportedly looking for a coproduction partner on Foreign Bodies, a backpacking comedy-drama from indie producer Eleven Film in which two British guys on a gap year go travelling with two American girls they meet in China.

Elsewhere, Televisa USA, a subsidiary of Mexican media giant Televisa, has partnered with Atalaya Productions to develop an English-language series called Aztecs, about the pre-Columbian civilisation. Michael Chernuchin (Marco Polo, Black Sails) has signed on as showrunner of the series, which is based on the Daniel Peters book The Luck of Huemac. Written in 1981, the book has virtually no profile on Amazon, so hopefully the show will encourage a few new copy sales.

Aztecs will feature a multi-ethnic cast and will follow a family living in the waning moments of the Aztec civilisation as the Spanish invasion looms. Televisa calls it the first TV project to tackle the subject of the pre-Columbian empire from its own vantage point rather than that of the Conquistadors.

“The team we assembled is perfect to bring this shockingly tragic cultural tale to TV in an authentic and respectful way,” said Chris Philip, head of production and distribution for Televisa USA. “Intrigue, betrayal and romance will be part of this great story and it all will be told from the eyes of the people that built and lost this civilisation.”

Cuba Gooding Jr will play OJ Simpson in a drama series following the ex-NFL star's murder trial
Cuba Gooding Jr plays OJ Simpson in a drama series about the ex-NFL star’s murder trial

Underlining the new battle lines being drawn in scripted content, Televisa USA has dramatically increased production over the past year. Other titles on its slate include Maleficio, being made with Starz; the Dougray Scott-fronted Duality; and Gran Hotel, adapted from the hit Spanish show and set in pre-Castro Havana. This comes in addition to Devious Maids, already airing on Lifetime.

It’s also been a busy week for acquisitions, with networks around the world stocking up on scripted shows for 2016. In the UK, Viacom-owned digital channel 5* has picked up fantasy drama The Shannara Chronicles following its premiere on MTV in the US (another Viacom channel).

It’s not the first time that Viacom has kept a high-profile drama in the family in this way. Earlier this year, ancient Egyptian drama Tut aired on Viacom’s Spike in the US and was then picked up by 5* sister Channel 5 in the UK.

Still in the UK, BBC2 has acquired American Crime Story, a 10-part US anthology drama that spends its first season looking at the OJ Simpson murder trial.

Prison Break is coming back
Prison Break is coming back

With Simpson played by Cuba Gooding Jr, the show is set to debut on FX in the US on February 2. A few years back, you probably wouldn’t have seen an FX show on BBC2 but BBC2 and BBC4 controller Kim Shillinglaw called it a “gripping, highly distinctive” series, adding: “With an outstanding cast and a top-rate creative team, it is the kind of grown-up, contemporary drama I want on the channel.”

Amazon has also been busy, picking up PBS drama Mercy Street and acquiring all nine seasons of classic sci-fi series The X-Files. The latter is a shrewd move designed to take advantage of the buzz around the new X-Files series, coming soon from Fox.

With the return of The X-Files causing so much excitement, it’s no real surprise to see that Fox has also decided to bring back Prison Break, another of its cult series – last seen in 2005. According to reports from the US, the network has given the show a straight-to-series order. Its creator, Paul T Scheuring, is writing a script and a bible for that is expected to be an eight- to 10-part production.

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BBC1 is adapting Apple Tree Yard

Another project in the news is Apple Tree Yard, based on the international bestselling thriller by Louise Doughy. The TV production is being made by Kudos for BBC1 in the UK and will be distributed internationally by FremantleMedia International.

Adapted by Amanda Coe, the four-part thriller “puts women’s lives at the heart of a gripping, insightful story about the values we live by and the choices we make.” It stars Emily Watson (A Song for Jenny, The Theory of Everything) as a married woman who embarks on an impulsive and passionate affair with a charismatic stranger (Ben Chaplin). “Despite all her careful plans to keep her home life and career safe and separate from her affair, fantasy and reality soon begin to overlap and everything she values is put at risk,” says the pre-production blurb.

Coe, whose credits include Filth: The Mary Whitehouse Story, Bloomsbury Set, Life in Squares and an adaptation of John Braine’s Room at the Top, said: “Apple Tree Yard is a perfectly executed page-turner that’s also a gripping exploration of the difficult moral choices we face in adult relationships.”

Jon Bernthal, best known for his role as Shane in The Walking Dead (pictured left) will star in The Punisher
Jon Bernthal (left), best known for his role as Shane in The Walking Dead, will star in The Punisher

Other new projects doing the rounds include American Playboy: The Hugh Hefner Story, a coproduction between SDE and Playboy-owned Alta Loma Entertainment. As yet, no network is attached to the project.

Also in the works is a new Marvel series based on its character The Punisher. Destined for Netflix, the series will star Jon Bernthal, known to fans of The Walking Dead as Shane Walsh – the Rick Grimes sidekick who loses the plot in season two. Anyone familiar with his terrific performance in that show will know he is perfect for Marvel’s morally dubious vigilante.

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BBC makes premature call for Midwife

Call the Midwife has been given a sixth season before its fifth has hit screens
Call the Midwife has been given a sixth season before its fifth has hit screens

Like office workers using up their holiday entitlement before the end of the year, TV channels are rushing to greenlight scripted shows before they shut up shop for the holiday season.

Among those celebrating this festive bounty is UK producer Neal Street Productions, which has just been given the greenlight by the BBC to produce a sixth season of period drama Call the Midwife. The new order comes despite the fact season five has yet to air.

Neal Street executive producer Pippa Harris said: “I am delighted the BBC has decided to commission season six of Call the Midwife even before we have gone on air with season five. It really demonstrates their commitment to and passion for the show. The success of Call the Midwife is down to the incredible writing skills of Heidi Thomas and the talent and dedication of our wonderful cast and crew. I hope the audience will enjoy watching season five, which I firmly believe is our strongest yet.”

In the US, meanwhile, protests in front of HBO’s offices seem to have paid off, with the premium pay TV channel announcing that it has ordered a third season of critically acclaimed drama The Leftovers.

Fans of the show were so desperate for a renewal that they took to the streets to make their feelings felt – and it seems the channel has listened: “It is with great enthusiasm that we welcome back Damon Lindelof, Tom Perrotta (the creators) and the extraordinary talent behind The Leftovers for its third and final season,” said HBO programming head Michael Lombardo. “This show has proven to be one of the most distinctive HBO series, and we are extremely proud of its originality, which has resulted in such a passionate following by our HBO viewers. We admire and fully support Damon’s artistic vision and respect his decision to bring the show to its conclusion next season.”

Justin Theroux in The Leftovers, which has been given a third and final series on HBO
Justin Theroux in The Leftovers, which has been given a third and final series on HBO

As Lombardo’s comments make clear, next year will be the final season of The Leftovers. This is a neat way of giving the fanbase what they want and allowing the show’s creators to achieve closure, while tacitly acknowledging the fact that the show has not done that well in the ratings.

“On behalf of our incredible crew and superb cast, we are all tremendously grateful that HBO is giving us an opportunity to conclude the show on our own terms,” said Lindelof in a statement. “An opportunity like this one rarely comes along, and we have every intention of living up to it.”

Over in Canada, public broadcaster CBC has greenlit a four-part miniseries from producer Shaftesbury and Sharon Mustos. Based on Ann-Marie MacDonald’s novel Fall On Your Knees, the story follows four sisters in the early 1900s.

Moving from Nova Scotia via the battlefields of the First World War to the emerging jazz scene of Harlem in New York City, the show is described as the riveting tale of a family beset by hidden desires, terrible secrets, intolerance and repression.

Mustos said: “I am proud to bring this much-loved, acclaimed novel to the screen in partnership with Shaftesbury. Celebrating the quiet heroism of women in the face of heartbreak, adversity and the sweeping changes of the early 20th century, it is a remarkable story.”

Published in 1996, Fall On Your Knees has been translated into more than 20 languages and will be adapted by Adriana Maggs.

Chicago Med, one of NBC's trilogy of Chicago drama series
Chicago Med, one of NBC’s trilogy of Chicago drama series, has been given five additional episodes

Meanwhile, it’s not quite a renewal but NBC in the US has given a hefty vote of confidence to freshman medical drama Chicago Med, which has been awarded five extra episodes. Part of a Chicago trilogy of TV shows from Dick Wolf, the first four episodes of Med’s first season have averaged 8.9 million viewers in live + same-day ratings. With the new instalments, the total order for season one is up to 18 episodes.

Still with the US networks, Fox has ordered Shots Fired, a drama that will be written and executive produced by Gina Prince-Bythewood and Reggie Rock Bythewood. The show, set to air in 2016, looks at the tensions that arise when a black police officer shoots an unarmed white teen in a small town in Tennessee.

David Madden, president of entertainment at Fox Broadcasting Company, said: “Gina and Reggie have crafted a profoundly moving portrayal of a timely and sensitive issue that pervades our culture at this very moment. This is not only an important story to tell, but also an explosive mystery-thriller, and we couldn’t be in better hands both with the creative team behind this and Sanaa Lathan leading the cast.” Lathan plays an expert investigator who digs into the case, alongside a special prosecutor sent to the town by the Department of Justice.

One of the most hotly anticipated series of the new year is Fox’s six-part reboot of The X-Files, which debuts on January 24. The show has now been picked up by Channel 5 in the UK.

“Securing the UK premiere of the hugely anticipated return of The X-Files is a major coup for the channel and will create one of the TV events of 2016,” said Ben Frow, director of programmes at C5. “This acquisition underlines our ambition to deliver a diverse slate of brilliant, must-see programming on Channel 5.”

With Downton Abbey over, the key participants are now out there looking for their next job. Last week, we reported that season five and six producer Chris Croucher is now working on ITV drama The Halcyon, while creator Julian Fellowes has been crafting his version of Anthony Trollope’s Dr Thorne.

Michelle Dockery in Downton Abbey
Michelle Dockery in Downton Abbey

Meanwhile, US cable channel TNT has announced that it is going to series with Good Behaviour, the story of a thief and con artist that will star Michelle Dockery (Lady Mary in Downton). It’s not clear if Dockery will have to use an American accent in her new role, but if you’re wondering whether she can, watch this appearance on The Late Show With Stephen Colbert.

With Downton done, there are reports that the show’s production company Carnival has won a second-season commission from BBC2 for The Last Kingdom, which has just finished its first season. There has been no official confirmation yet but executive producer Gareth Neame has already sketched out the plot and character development for a follow-up. The show is based on a series of novels by Bernard Cornwell, whose work also gave rise to the long-running Sharpe franchise (set during the Napoleonic Wars).

Switching briefly to corporate news, this week has seen suggestions that SVoD platform Netflix is gearing up to launch in the Middle East next year, while rival streamer Amazon has started offering its users access to cable channels such as Showtime and Starz.

Under a new scheme entitled the Streaming Partners Programme, Amazon Prime members can pick and choose SVoD versions of famous TV channels – a move that may well push the pay TV subscribers further towards cord-cutting. Showtime and Starz will be available for US$8.99 per month, with the promise that the latest episodes of series will be available simultaneous with broadcast.

The asfsad means Starz shows such as Outlander will be available via Amazon
The Streaming Partners Programme means Starz shows such as Outlander will be available via Amazon

“The way people watch TV is changing, and customers need an easier way to subscribe to and enjoy multiple streaming subscriptions,” said Michael Paull, VP of digital video at Amazon. “With the Streaming Partners Programme, we’re making it easy for video providers to reach highly engaged Prime members, many of whom are already frequent streamers, and we’re making it easier for viewers to watch their favourite shows and channels.”

David Nevins, president of Showtime Networks, said: “By marrying Showtime with the powerhouse retail capabilities of Amazon, we greatly expand our footprint, making sure our service is available to new subscribers whenever and however they want to watch us.”

Starz CEO Chris Albrecht added: “Starz is excited to offer subscriptions to our premium hit shows like Outlander and Power, as well as our thousands of movies, to Amazon Prime customers.”

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Audiences superserved with hero shows

Supergirl, starring Melissa Benoist, premiers on October 26
Supergirl, starring Melissa Benoist, premieres on October 26

Superhero TV series are nothing new. Over the years we’ve seen small-screen versions of Batman, The Hulk, Wonderwoman and Superman (in both Smallville and Lois & Clark: The New Adventures of Superman), not to mention an endless array of animated series based on DC Comics or Marvel properties.

In fact, those of us around at the time will recall that ABC’s Lois & Clark was a genuine TV phenomenon, capable of attracting audiences of around 18-20 million at its peak in the mid-1990s – though the show’s ratings fell off a cliff in season four and it was rapidly cancelled.

But right now the industry is in overdrive. Not content with their domination of the feature-film arena, the supers have expanded their influence across both mainstream TV and the subscription VoD market.

The show everyone is talking about right now is Supergirl, a Warner Bros-produced series that will debut on CBS in the US on October 26. The story of Superman’s cousin, it imagines the central character as a 24-year-old woman called Kara (played by Glee’s Melissa Benoist) who is trying to come to terms with her superpowers while also trying to find herself as a woman. In terms of pacing and characterisation, it feels like a superhero version of The Devil Wears Prada, with Kara alternating between saving planes from disaster and agonising over her wardrobe.

Supergirl comes from Greg Berlanti, who is also behind The CW superhero shows The Flash...
Supergirl comes from Greg Berlanti, who is also behind The CW superhero shows The Flash…

Deadline has given the show the thumbs up, calling it a “bounding, deceptively breezy and eminently watchable addition to both the superhero universe and primetime.”

But an early IMDb score of 6.2 (presumably based on the trailer and some access to the pilot) suggests the jury is out. What’s hard to tell at this stage is whether the show will appeal to both the superhero and the romcom audience – or neither of them.

It’s also questionable whether the show will do much for empowered female leads. IGN’s assessment (based on the trailer) is that: “It’s really disappointing that the property is being treated with the flowery touch we often see in romantic comedies aimed at a female audience. It’s disheartening when the material has a segment showing the hero struggling to find something to wear for a date.”

...and Arrow
…and Arrow

Having said all this, Supergirl has Greg Berlanti behind it, which is a good thing from a slick storytelling point of view. Berlanti also created The Flash and Arrow for The CW Network, both of which are top performers for the channel. And there’s no question that Supergirl has a warmth and wit that make it easy on the eye.

One person impressed by the series’ potential is Adam MacDonald, director of UK-based pay TV channel Sky 1, who has just picked it up for his network. He says: “We’ve already seen in the success of The Flash and Arrow that comic-book characters are a big hit with our customers, and with this fresh, fast-paced new series we’re giving them another sure-fire superhero smash.”

To give this some context, The Flash generates around 500,000 to 600,000 viewers for Sky1, which is well ahead of the channel’s slot average of 320,000.

Interestingly, Supergirl’s first episode in the US will be up against Fox’s Gotham, another Warner Bros TV show. The gothic procedural takes place in the Batman universe and focuses mostly on the activities of police chief Commissioner Gordon. Now in season two, Gotham seemed to be wobbling at the start of its new run but its figures look much better once time-shifted viewing is factored in. It is currently attracting just over seven million viewers when you factor in all platforms (Fox, Fox NOW and Hulu) across the first three days of viewing.

Gotham has done well on both Fox in the US and the UK's Channel 5
Gotham has done well on both Fox in the US and the UK’s Channel 5

The show has also been doing well for Viacom-owned Channel 5 in the UK. After drawing in just under two million for the first episode of the new season, Gotham has settled in at around the 1.35 million mark (not including time-shifted viewing) on C5. This is a pretty good performance for the channel compared with key rivals Channel 4 and BBC2.

Other superhero-related shows on the market right now include ABC’s solid but unspectacular Marvel’s Agents of S.H.I.E.L.D. Now in its third season, the series is currently attracting an audience of 3.7 million per episode (same-day figure), which is down on its season premiere of 4.9 million. Nevertheless, orthodox thinking is that the show is a certainty to be renewed.

A leading authority on this is Zap2it’s TVbytheNumbers, which explains why: “It’s a near-ironclad rule of broadcast TV that if a show will end its third season with 66 episodes (give or take one or two) and it’s produced by the sister studio of the network where it airs, then it will be renewed for a fourth season. Media conglomerates make more money selling 88 episodes of a show into syndication than they do with 66 episodes, thus the incentive to keep rolling into a fourth year.”

Marvel's Agents of S.H.I.E.L.D looks likely to get a fourth run
Marvel’s Agents of S.H.I.E.L.D looks likely to get a fourth run

Then there is NBC’s Heroes Reborn, an unusual show in that it isn’t part of the DC or Marvel stables. A reboot of Heroes, which ran for four seasons between 2006 and 2010, Reborn is currently in its first season and is doing OK. Four episodes in, it has seen its same-day ratings slide from 6.6 million to 4.4 million, but with time-shifted viewing adding around 40% to the total, the show seems fairly well set for renewal. That would be welcome news for Global Canada and Seven Australia, which were among the first international channels to acquire it.

A number of superhero shows are also being generated as the result of a pact between Netflix and Marvel – the first of which was Daredevil, whose second season is coming soon. As Netflix doesn’t release viewing statistics, we have to content ourselves with the fact that this show has an 8.9 rating on IMDb and has generally been well received by critics.

Next up from the Netflix-Marvel deal is Jessica Jones, a 13-part series that will be made available in one go on November 20. This is a show that might do more for the cause of female empowerment than CBS’s Supergirl. After Jessica Jones will come series based around existing Marvel characters such as Luke Cage, Iron Fist and – if you believe the latest Hollywood rumour – Moon Knight.

Forthcoming series Jessica Jones stars Breaking Bad's Krysten Ritter
Forthcoming series Jessica Jones stars Breaking Bad’s Krysten Ritter

You’d think by now that Disney-owned Marvel would be running out of characters and worlds to work with. But FX and Fox are also planning two new series based on Marvel’s X-Men franchise.

For the first, Marvel is joining forces with Fargo showrunner Noah Hawley and FX to produce Legion, a story that has already been produced as a movie. Based on Marvel comic characters, it follows an army of angels who have waged a war on mankind.

Meanwhile, Marvel TV and Fox are developing Hellfire, based on the Marvel comics group The Hellfire Club. Patrick McKay and John D Payne (Star Trek 3) will write the script for the project.

The big question, of course, is when will the super trend run out of steam as a TV staple? It’s fair to say the performance of Supergirl will affect the answer to that. CBS will be hoping Melissa Benoist’s character will generate as much of a cult following as the formidable Teri Hatcher in Lois & Clark.

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Disney’s Descendants on the up

Descendants was directed by High School Musical’s Kenny Ortega
Descendants was directed by High School Musical’s Kenny Ortega

When Disney gets it right, it really gets it right. Currently doing great business for Disney Channel US is Descendants, a modern-day story based around the teenage offspring of Disney’s most notorious villains. Having attracted 6.6 million viewers for its premiere, the live-plus-three-day audience for the show increased to 10.5 million.

Those figures make Descendants the number-one cable TV movie of 2015, which is perhaps not so surprising when you learn that it was directed, choreographed and exec produced by High School Musical’s Kenny Ortega. HSM was a huge franchise, spawning three movies and giving the world the adorable Zac Efron.

Descendants is also performing well across other platforms. It currently holds the top spot on iTunes (Top TV seasons), while its soundtrack is at the top of the iTunes soundtrack chart and third on the iTunes album chart. It has also spawned a best-selling prequel novel, The Isle of the Lost by Melissa de la Cruz, and an animated shortform series, Descendants Wicked World.

More movie-length productions are presumably an option, although the concept and characterisation might also lend itself to a live-action series.

Cedar Cove stars Andie MacDowell (left)
Cedar Cove stars Andie MacDowell (left)

Hallmark Channel is also celebrating this week following a strong showing from Debbie Macomber’s Cedar Cove, a romantic drama starring Andie MacDowell and Dylan Neal.

According to Hallmark, the latest episode of Cedar Cove became the network’s most watched and highest rated among total viewers and households in its Saturday 20.00 time period. To date, season three of the show is averaging a 2.0 household rating and two million total viewers.

“Over the last four years, Hallmark Channel’s scripted series have become appointment viewing for our audience,” said Michelle Vicary, executive VP for programming and network publicity at Hallmark owner Crown Media Family Networks. “The popularity of Cedar Cove, Good Witch and When Calls the Heart demonstrate the power of our brand and the resonance of our storytelling.”

With so much competition in scripted content, a lot of launch success these days is down to whether you can offer something that piques the audience’s interest.

Breaking Bad's Bryan Cranston in Sneaky Pete
Breaking Bad’s Bryan Cranston in Sneaky Pete

Today, for example, Amazon launches Sneaky Pete, the pilot for a conman drama written and executive produced by David Shore and Bryan ‘Walter White’ Cranston.

Backed by Sony, the show was originally intended for CBS. But when the network withdrew its interest, Amazon stepped in and greenlit the pilot. The star of the pilot is Giovanni Ribisi, but Cranston will guest star, which is sure to lure in swathes of Breaking Bad fans.

That might be enough to convince Amazon it is worth going to series with Sneaky Pete – particularly if it results in new subscribers for the service.

Amazon’s approach is to show pilots for free and then base its commissioning decisions on audience data and customer feedback. Alongside Sneaky Pete, another pilot hopeful launching today is Casanova, from Jean Pierre Jeunet, Stuart Zicherman and Electus’s Ben Silverman.

The Guardian said Odyssey 'failed to produce a single moment of originality.
The Guardian said Odyssey ‘failed to produce a single moment of originality’

In previous weeks, we’ve reported that ancient Egypt drama Tut achieved good ratings for its launch episode on cable channel Spike in the US. It has now aired as a two-part miniseries on Channel 5 in the UK.

C5, which like Spike is owned by Viacom, attracted around 880,000 viewers across two episodes. This is around 28% above the slot average. With Spike having announced its intention to invest more money in scripted shows, Channel 5 may find itself a long-term beneficiary of this.

A less successful acquisition has been thriller series Odyssey, snapped up by BBC2 at the LA Screenings this year after an initial airing on NBC in the US. In this show, British actress Anna Friel plays US army special ops member Odelle Ballard, who is the sole survivor of a drone attack in Mali but has been reported dead after her team discovers a US terrorism funding conspiracy.

On paper, Odyssey looked like it might be a combination of Homeland and The Honourable Woman, but it has received poor reviews and ratings. Already axed by NBC in the US, it has seen its audience on BBC2 slide from around 2.5 million at the start to around one million at the end of its run.

Friel’s acting was praised, but The Guardian summed up the general mood among critics: “Why beat around the bush with subtlety when each coarsely drawn character can spell out plot and motivation so clearly and deliberately? You can practically hear the clunk and ding of the typewriter whenever someone opens their mouth. Even the secret documents kept safe in a USB stick around (Ballard’s) neck are written in Fisher-Price spy language. The writers do not believe you’ll keep up any other way.”

While BBC2 has had a summer to forget regarding drama, BBC1 continues to do pretty well with its Agatha Christie adaptation Partners in Crime. The second episode of six attracted five million viewers last Sunday evening.

While this is down from episode one (6.5 million), it’s still pretty respectable. It bodes well for another upcoming Christie adaptation based on iconic novel And Then There Were None. Due to air later this year, And Then There Were None is a Mammoth Screen and Agatha Christie Productions programme for the BBC, coproduced with A+E Television Networks. RLJ Entertainment has taken US DVD and DTO rights, while A+E Networks will handle international sales via A+E Studios International.

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Right place, right time

The Americans is coming to ITV Encore, having previously aired two seasons on ITV
The Americans is coming to ITV Encore, having previously aired for two seasons on ITV

The success or failure of a show can often hinge on finding the right slot or the right channel for it to air on. For example, it would have been fascinating to see how critically acclaimed shows like Mad Men, Breaking Bad or The Walking Dead performed if they had been placed in free-to-air primetime as opposed to cable TV.

It’s possible they would have been axed after a few episodes instead of developing into the pop culture phenomena we know today.

With this in mind, it’s interesting to note that UK broadcaster ITV has just acquired seasons three and four of US spy drama The Americans from Twentieth Century Fox Television Distribution for its digital channel ITV Encore.

This deal comes despite the fact that the pubcaster’s main free-to-air channel ITV, which originally aired the show in the UK, dropped it after two seasons. These first two runs will now play out on ITV Encore ahead of the newly acquired seasons.

The message, then, is that The Americans is better suited to a pay environment. Perhaps this is no surprise when you consider that the show, which tells the story of two KGB spies posing as an American husband and wife in Washington during the Cold War, airs on cable channel FX in the US.

Swedish drama Jordskott is outperforming ITV Encore's British shows
Swedish drama Jordskott is outperforming ITV Encore’s British shows

But it reinforces the broader notion that we are currently operating in an era when there is a clear distinction between the kind of scripted shows that work on free as opposed to pay/SVoD television.

The decision to air the show on ITV Encore also suggests there has been a reappraisal of what the channel is going to be. Launched in 2014, a lot of its content to date has been re-runs of classic British dramas such as Poirot, Vera, Downton Abbey, Upstairs Downstairs and DCI Banks – giving the channel a crime/period profile.

However, these shows are all currently being outperformed by another acquisition, the Swedish series Jordskott. With the Nordic crime drama drawing an audience of between 100,000 and 200,000 viewers per episode (seven-day ratings figures), it suggests the ITV Encore audience would rather see original foreign series than homegrown re-runs (even if the latter are very good). Aside from Jordskott and The Americans, the channel has also aired the US version of Broadchurch (Gracepoint) and is gearing up for the launch of its first original commission, Midwinter of the Spirit.

In the US, Telemundo is celebrating the fact that on July 21 it ranked as the number-one Spanish-language network among adults 18-49 in primetime, beating Univision by 3%. According to the channel, “this marks the first time in history that Telemundo topped Univision in weekday prime with its regular line-up.”

A key part of the channel’s success has been season three of scripted series El Señor de los Cielos (aka Lord of the Skies). The show was ranked number one among all broadcast and cable networks, regardless of language, at 22.00 in adults 18-49.

El Señor de los Cielos has given US broadcaster Telemundo a big lift
El Señor de los Cielos has given US broadcaster Telemundo a big lift

A US-produced series from Argos Comunicacion and Telemundo, El Señor de los Cielos tells the story of drug dealer Aurelio Casillas and his ruthless rise to power. It is based loosely on the life of real Mexican druglord Amado Carillo Fuentes.

The show first aired in 2013 with a debut season of 74 episodes. This was followed by 84 episodes in season two and an as-yet-unquantified number in season three. So successful is the show that Telemundo confirmed plans for a fourth season at its Upfronts presentation in May this year.

Although the series is produced in the US, its high episode count makes it more like a telenovela than a US drama – an advantage when taking shows out to international distribution. By the end of season four, Telemundo will already be able to offer buyers 300 episodes (equivalent to around 12 years’ worth of a US returning series).

Still in the US, Variety conducted an interesting survey this week, asking three leading media-buying agencies which shows they think will attract the most viewers in the upcoming autumn season (and thus be most appealing to advertisers).

Among dramas, the top pick is season two of Empire (on Fox), which is no real surprise given the success of the first run. And there are high expectations for the return of the Shonda Rhimes hits Scandal and How to Get Away With Murder (both ABC).

More interesting, perhaps, are the new shows that are expected to do well. Here, the top three picks are Fox’s reboot of The X-Files, followed by NBC’s Blindspot and ABC’s The Catch. The Catch is another show for ABC from the Shonda Rhimes hit factory and is expected to be given a lead-in by one of her other shows.

Da Vinci's Demons' third season will be its last
Da Vinci’s Demons’ third season will be its last

Cable channel Spike is investing heavily in scripted shows at the moment. Its first project, Tut, debuted on July 19 and got off to a good start. With 1.7 million viewers tuning in for the first episode, Spike achieved its biggest Sunday night primetime audience since May 25, 2008.

More saliently, the figure was 123% ahead of last week’s primetime average. “We are thrilled that Tut resonated with viewers and delivered a big audience for Spike’s first scripted event series in almost a decade,” said Sharon Levy, Spike’s exec VP of original series.

Elsewhere, another piece of reimagined history is coming to a close, with Starz announcing this week that the third season of David Goyer’s Da Vinci’s Demons will be its last.

Starz MD Carmi Zlotnik said: “David Goyer brought us a plan to portray the unknown early years of a genius and we think the fans will enjoy this final chapter, which segues into the da Vinci history knows.”

A few weeks ago, we talked up the performance of a grisly French thriller called Witnesses, which was rating well in its home market. This week, the show debuted on Channel 4 in the UK, which was clearly hoping to repeat the success of its previous French drama acquisition Les Revenants (The Returned). Things didn’t quite work out as planned, however, with Witnesses only managing to attract around 550,000 viewers in its 22.00 slot. This is about a third of The Returned’s audience when it launched back in 2013.

Witnesses opened to disappointing figures on Channel 4
Witnesses opened to disappointing figures on Channel 4
In defence of Witnesses, The Returned aired an hour earlier at 2100, which would have given it access to a bigger audience. However, Witnesses was also well down on the 22.00 slot average, which will be a source of disappointment for C4. It was also bested by Channel 5’s Aussie prison drama import Wentworth.

Despite this, UK newspaper critics were mostly positive about the show. The Guardian called it “rather promising,” adding that it “bodes well for Channel 4’s imminent on-demand service, 4World Drama.”

The Independent, meanwhile, said referring to the show as ‘The French Broadchurch’ doesn’t do it justice: “This classy, creepy thriller should be judged on its own merits, rather than compared to our Dorset-filmed whodunit and its Scandi-noir forebears”.

So it’s just possible that Witnesses could be a bit of a sleeper hit. What it needs now is the 550,000 people who tuned in to the first episode to get onto social media and tell their friends to watch it.

The Sharknado franchise has proved a massive hit for Syfy
The Sharknado franchise has proved a massive hit for Syfy
On the subject of social media, a round of applause please for Syfy’s global pop culture phenomenon, Sharknado 3: Oh Hell No!, which has generated a staggering two billion Twitter impressions – doubling the impressions for 2014’s Sharknado 2: The Second One.

Video clips from Sharknado 3 have generated nearly six million views to date, including 4.1 million on Syfy’s YouTube channel. The film itself debuted on Wednesday, July 22, so we’re just waiting for the TV ratings at time of writing.

Unsurprisingly given the noise created by the third edition, Syfy has greenlit Sharknado 4. Chris Regina, senior VP of programme strategy at Syfy, said: “Sharknado 3 may have devoured half of America’s celebrities, but there are still hungry fans and sharks to feed, so the adventure continues – not in a galaxy far, far away, but on your television sets next July.”

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Drama behind bars: Wentworth and Orange is the New Black

Viewers are doing time with two dramas set inside women’s prisons, but is there room for both Wentworth and Orange is the New Black?

There was a splash of colour in the Outstanding Drama Series category when the nominees for the 67th Emmy Awards were announced last week.

Orange is the New Black (OITNB, main image) will face competition from Better Call Saul, Downton Abbey, Game of Thrones, Homeland, House of Cards and Mad Men for the prize, which will be handed out on September 20.

Previously considered a comedy – it was nominated for Outstanding Comedy Series at last year’s Emmys – the Netflix series was pushed into the drama category when the Television Academy defined episodic comedies as shows with a running time of 30 minutes or less. Each episode of OITNB runs for 60 minutes.

But while its running time may set it apart from other comedies, its comedic tones and storylines are exactly what set it apart from other dramas, particularly those it’s up against for this year’s award.

Orange is the New Black is available in all Netflix territories
Orange is the New Black is available in all Netflix territories

OITNB creator Jenji Kohan said as much when reacting to news of the show’s drama nomination: “We’re proud to be the misfits who don’t fit in – comedy, drama, nobody knows what to do with us … and we like it that way. No matter what you call us, we’re honoured to be recognised by the Academy with this nomination. On behalf of the entire cast, the writers, producers and crew, and so many others that work tirelessly on this show, this is really cool and we thank you.”

It is also its comedy roots that set OITNB apart from the other women’s prison-set drama currently on television. Wentworth, which airs in Australia on Foxtel’s SoHo network and is also in its third season, is described as a modern adaptation of the iconic Prisoner series, which originally aired from 1979 to 1986.

This reboot – which debuted in May 2013, just two months before season one of OITNB landed on Netflix – is set in Wentworth Correctional Centre, with each episode focusing on a different character and how they cope in a women’s prison living under warring criminals fighting for supremacy over the inmates.

Similarly, OITNB also uses individual episodes to focus on inmates’ backstories as groups of criminals fight over who rules the wings of Litchfield Penitentiary.

But that’s where the similarities end, at least according to Wentworth star Danielle Cormack, who also points to the American series’ comedic undertones as a reason why there’s room on the television landscape for two series delving into the world of women’s prisons.

Speaking ahead of launch of the third season of Wentworth on the UK’s Channel 5, Cormack said: “I love Orange is the New Black. I think it’s been the best thing for our show as well, so I say that with a lot of gratitude towards great television now but also in a very selfish way.

The original Wentworth (left) and its Dutch remake Celblok H, which airs on SBS 6
The original Wentworth (left) and its Dutch remake Celblok H, which airs on SBS 6

“Having two successful prison dramas on TV at the same time that have a very different take on prison life, I think they work very well off each other. Orange is the New Black explores the minutiae of prison life in an American way and society in America with much more of a comedic bent and Wentworth, I think, explores the greater, more dramatic arcs. There’s these sweeping, broad statements about being top dog, about corrupt governors and everything, and it’s much more dramatic and people say more gritty.”

Cormack, who plays top dog Bea Smith in the FremantleMedia Australia-produced series, adds: “But I think they serve each other really well. Wentworth wouldn’t have had the overseas attention if Orange is the New Black hadn’t played first off, and perhaps vice versa.

“So I’m really happy to walk side by side with Orange is the New Black and I applaud their storytelling. I find their take on prison life extraordinary because it’s taught me about other aspects of what it means to be incarcerated, and most of the crew that I work with have done extensive research about what it’s like to be locked away for long periods of time with other people and our take on it is very different.

“So cheers to all the people who have created Orange is the New Black. I love the show.”

With OITNB available on all Netflix platforms around the world, Wentworth has also proved extremely popular on international screens. Since its launch, it has aired in 88 countries, including France, Japan, Poland, Brazil, Canada, Korea and Sweden.

Furthermore, the series has been the subject of two foreign-language adaptations – Celblok H in the Netherlands, which has aired for two seasons on SBS 6, and Block B – Unter Arrest on Germany’s RTL.

Despite their similarities, there’s plenty to separate OITNB and Wentworth, and with fourth seasons for both already locked up, audiences can look forward to spending more time behind bars with these two series.

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Tut-Tut: Two Tutankhamun tales take to TV

DQ editor Michael Pickard casts his eye over two very different Tutankhamun-focused shows heading for the small screen, with Spike TV spinning the story of the young ruler’s life and ITV tracking the discovery of his tomb.

As a subject for an epic television drama, the story of the Egyptian pharaoh Tutankhamun ticks all the right boxes.

Period costumes, exotic locations and the dramatisation of the trials and tribulations that met the boy pharaoh – he was around eight or nine when he ascended to the throne and 17 when he died – surely provide all the ingredients for an enthralling, absorbing saga.

That’s why it should come as no surprise that two series surrounding Tutankhamun are heading towards television screens.

Spike TV's Tut will air later this month
Spike TV’s Tut will air later this month

The first, called Tut (main image), was unveiled as the marker for US cable channel Spike TV’s return to scripted programming. The six-hour miniseries, which will air across three nights from July 19, follows King Tut, played by Avan Jogia, and his closest adviser, Vizer Ay (Ben Kingsley).

The story revolves around Tut’s rise to power as the youngest ruler of Egypt and his struggle to lead Egypt to glory, while his closest advisers, friends and lovers scheme for their own nefarious interests.

Sibylla Deen, Alexander Siddig, Kylie Bunbury, Peter Gadiot, Iddo Goldberg and Nonso Anozie are also among the cast. The series is produced by Canada’s Muse Entertainment, with Channel 5 in the UK among the international broadcasters to have picked it up.

Others tying up deals for the show with Muse Distribution International include Discovery in Italy, SIC in Portugal and Sky in New Zealand.

The project had been in development at Muse since 2013, but was seen by Spike as a series that could relaunch it into the original drama arena.

At the time of the series pickup, in March 2014, Spike exec VP of original series Sharon Levy said: “We are thrilled to join forces with Muse Entertainment and this incredible writing team to bring the amazing story of one of history’s legendary leaders to life. Tut is the perfect addition to our slate of distinctive originals that appeal to a broad audience.”

Following in the footsteps of similar-subject movies released close together – think Deep Impact and Armageddon, or White House Down and Olympus Has Fallen – another series centred on Tutankhamun is heading to the small screen, this time in the UK.

ITV this week unveiled plans for an “epic and compelling” drama based on Howard Carter’s discovery of the boy king’s tomb. Four-part miniseries Tutankhamun, which will be written by Guy Burt (The Borgias), focuses on Carter himself – a solitary man on the edge of society who became an unlikely hero with his unprecedented and historic discovery.

ITV's Steve November: 'Tutankhamun is a story of epic proportions'
ITV’s Steve November: ‘Tutankhamun is a story of epic proportions’

The show will initially take viewers to 1905 as they meet Carter, an eminent British archaeologist who is leading an expedition through Egypt’s Valley of the Kings. But when tempers fray and the dig is put in jeopardy, his licence is revoked by Cairo’s Antiquities Service and he is forced to spend years on the outside, living rough and selling previously discovered archaeological relics to buy food.

However, a chance meeting with British aristocrat Lord Carnarvon leads to a change in Carter’s fortunes. The pair begin an unlikely friendship that in 1921 leads Carter to embark on a search for Tutankhamun’s final resting place.

From ITV Studios, the series is executive produced by Francis Hopkinson and Catherine Oldfield, with Simon Lewis producing. ITV Studios Global Entertainment holds distribution rights. Filming will take place this winter ahead of an early 2016 transmission date.

Hopkinson, ITV Studios’ creative director of drama, says: “Howard Carter’s discovery of the lost tomb of Tutankhamun is legendary. His all-consuming, obsessive search for the tomb pushed his friendship with Lord Carnarvon to the brink, while the adventurous and extroverted aristocrat poured his inheritance into the excavation.”

Oldfield adds: “This is a fascinating and compelling story with real historical significance. It’s based on true events and reveals how Carter desperately tries to persuade his patron (Carnarvon) to continue to bankroll the excavation. Ultimately it’s the story of what happens when you stake everything on one last roll of the dice.”

“Tutankhamun is a story of epic proportions,” adds Steve November, ITV director of drama. “Against the backdrop of World War One, conflict, murder, corruption, romance and the unlikeliest of friendships, Tutankhamun sees Howard Carter’s determination pay off in spectacular style when he discovers one of the greatest archaeological treasures of the modern world.”

Scripted entertainment, whether on television or film, seems to throw up similar series or films with regularity, particularly around anniversaries, such as when two Titanic series – Titanic and Titanic: Blood and Steel – were produced to coincide with the centenary of the ship’s 1912 sinking.

In this case, however, it seems both ITV and Spike TV have landed shows that appear to offer viewers drama overflowing with plot and absorbing locations, telling complimentary stories that have rarely, if ever, been dramatised.

Fans of Egyptian history and the mythology around Tutankhamun can look forward to a televisual feast fit for a king.

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Can Humans survive in the US?

Humans' US ratings have seen a more dramatic drop compared with its UK figures
Humans’ US ratings have seen a more dramatic drop compared with its UK figures

Sci-fi drama Humans is now halfway through its eight-episode run on Channel 4 (C4) in the UK and two episodes into its airing on US cable channel AMC. In both cases its ratings are on the slide, but it is doing well enough in the UK that C4 will want a second series.

In the UK, the show generated a huge number of headlines when its opening episode attracted an impressive audience of 5.47 million (live plus seven days). Episode two dropped to 4.45 million, the third outing secured 3.6 million and the numbers are yet to be released for the most recent fourth edition. In the minus column is the scale of the slide, but on the plus side Humans is still massively outperforming C4’s usual drama ratings. Even if figures dip further over the next two to three episodes, the hardcore audience looks strong enough to merit renewal.

The AMC audience, however, has not been so enthused with the show. After a debut audience of 1.73 million for episode one, the show attracted 1.09 million for episode two. That’s a 37% drop, compared with the 19% drop on C4. Of course, we need to give the show a few more episodes on AMC before we reach any firm conclusions. But producer Kudos will be hoping that the US audience stays strong enough to merit an AMC renewal. It won’t want to be in a position where C4 says yes and AMC says no. For comparison, AMC’s version of Low Winter Sun was cancelled after one season, having averaged 1.21 million and a 0.43 rating among 18-49s. Humans is performing at a similar level on AMC.

Rectify has been given a fourth season
Rectify has been given a fourth season

While AMC will need to think carefully about Humans, its sister channel SundanceTV has announced a fourth season of Rectify. Revealing the renewal on the eve of the season three premiere (July 9), Charlie Collier, president of AMC and SundanceTV said: “Even in an increasingly crowded field of dramas on TV, Rectify has established itself as something special. What (creator) Ray McKinnon, this incredible cast and everyone associated with the show have achieved is remarkable, and we are so pleased to usher in this third season with an order for a fourth.”

Rectify follows the life of Daniel Holden, who returns to his small hometown in Georgia after serving 19 years on death row. It has received good reviews from the likes of Entertainment Weekly (“TV’s wisest, deepest drama”) and TIME (“Terrific slow-burn drama”). News that it is going to a fourth series will be welcomed by ITV Studios Global Entertainment, which has sold the show internationally to such firms as Sky Germany, Netflix and Arte.

USA Network’s much-hyped hacker series Mr Robot launched this week to a solid start. Live-plus-three ratings came in at 3.7 million, which is at the upper end of recent USAN launches. Elements in the show’s favour include the fact that the audience was pretty strong in terms of the all-important 18-49 demo. It’s also important to take account of the fact that the show had been previewed online a month earlier, attracting 2.7 million viewers. Presumably, some of those early adopters wouldn’t have bothered to watch this week’s linear TV transmission.

Lifetime has used UnREAL to attract younger viewers
Lifetime has used UnREAL to attract younger viewers

Success with the 18-49 demo is also one reason why Lifetime has decided to renew UnREAL, its reality TV-based drama. The opening episode of the first season didn’t rate at all well, but Lifetime’s subsequent decision to put the first four episodes online appears to have revived the show’s fortunes – resulting in a strong showing for the TV airing of episode five. The dynamic at work here seems to be that Lifetime wants shows like UnREAL to attract younger audiences. But the problem is persuading those younger audiences to come looking for content on Lifetime. The online experiment seems to have addressed this conundrum, by allowing non-traditional Lifetime audiences to sample the show. The result is that UnREAL is now being described as Lifetime’s youngest scripted series ever, with a median viewer age of 43.

Commenting on the renewal, network executive VP and head of programming Liz Gateley said: “We couldn’t be more proud to bring back UnREAL. With authentically flawed characters, sharp storytelling and impeccable performances, this show is propelling our brand in a truly exciting direction – an unexpected and bolder Lifetime. We are thrilled to continue our work with (co-creators Marti Noxon and Sarah Gertrude Shapiro) and the A+E Studios team, as we together bring a new generation of viewers to Lifetime.”

Adweek has a good analysis of this story, exploring the way US channel chiefs are increasingly leaning on digital numbers when making their renewal decisions.

Tut stars Oscar winner Ben Kingsley (right)
Tut stars Oscar winner Ben Kingsley (right)

Adweek also makes an interesting observation about the tendency for cable channels to recommission shows early (Rectify, Mr Robot and UnREAL all being examples). It says early pickups are a way for networks to “assure viewers who may be on the fence about diving into a new show that might get cancelled that, yes, it’s safe to start watching.” This is a growing problem for channel chiefs – and not just in the US. Audiences don’t want to invest time and emotional energy in shows that may be axed in the near future, so viewers adopt a wait-and-see attitude by banking episodes. The problem with this, of course, is that their reluctance to jump on board may increase the likelihood of cancellation, because it dampens ratings performance. This is another factor channel chiefs need to ponder.

In terms of projects to watch out for, July 19 sees the launch of Spike US’s six-part miniseries Tut. Produced by Muse Entertainment, the drama will tell the story of Pharaoh Tutankhamun’s rise to power and the political machinations in his court. There is very little indication yet as to what the show will be like, but it has been acquired this week by Channel 5 in the UK, which – like Spike – is part of the Viacom family of channels.

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