Hayley Atwell made her name as wartime spy Peggy Carter in Marvel’s Agent Carter. Now she’s starring in Conviction, a legal drama produced by Grey’s Anatomy and Criminal Minds producer Mark Gordon.
Conviction star Hayley Atwell tells Michael Pickard why she was drawn to the US drama after saying goodbye to Marvel’s Agent Carter.
With a career spanning stage and screen, it is within the Marvel universe that Hayley Atwell has made her name.
Starring as wartime spy Peggy Carter, she first appeared on the big screen in Captain America: The First Avenger and had roles in subsequent films Captain America: The Winter Soldier, Avengers: Age of Ultron, Ant-Man and Captain America: Civil War.
More prominently, she made several appearances in Marvel’s Agents of Shield and then took the lead in fellow ABC drama Agent Carter. Running for two seasons between 2015 and this year, it followed Carter as she balanced her life as a secret agent with being a single woman in 1940s America.
But following Agent Carter’s cancellation earlier this year, Atwell can now be found on the small screen in ABC’s new legal drama Conviction (pictured above).
The London-born actor stars as Hayes Morrison, a lawyer and former First Daughter who is blackmailed into heading up a new Conviction Integrity Unit (CIU) in exchange for avoiding prison. At the CIU, she and her team investigate suspected wrongful convictions as she attempts to regain the trust of her high-powered family.
The cast also includes Eddie Cahill, Shawn Ashmore, Merrin Dungey, Emily Kinney, Manny Montana and Daniel di Tomasso. Produced by The Mark Gordon Company and ABC Studios, the show’s co-creator/writer Liz Friedman and co-creator/director Liz Friedlander executive produce with Mark Gordon and Nick Pepper.
“You have this backdrop of great tension and drama as any legal procedural would be, but then you put in a character like Hayes – she’s a bit of a Tasmanian devil,” Atwell says of her character.
“She’s a former First Daughter and a brilliant lawyer but it’s almost like she has her finger on a self-destruct button. And I think a life in public scrutiny as the First Daughter, the way that’s manifested itself is quite rebellious. She’s decided to live her life on her own terms and be allowed to make all the mistakes 20-year-olds make but unfortunately we’re a decade on and she’s just stayed at the party a little too long.”
Morrison’s life takes a turn for the worse as she’s arrested for cocaine possession and, facing a spell behind bars, agrees to run the CIU – based on real-life units in operation across the US.
“They’re either going to bury her with this or she comes and works for the CIU,” continues Atwell, whose other TV credits include The Pillars of the Earth, Restless and Black Mirror. “So she’s very resistant at first and we discover throughout the pilot that she’s going to find a way of navigating this new job on her terms. She’s going to fight the system from within. So she has a lot of fun doing that.”
Currently halfway through its 13-episode freshman season – episode seven aired in the US on Monday this week – Conviction marks a change of direction for Atwell after Agent Carter and the Marvel Cinematic Universe, but one she has happily embraced.
“It was such a fresh and exciting challenge and opportunity [after Agent Carter] and, having spoken to Mark Gordon and Liz Friedlander, specifically about their vision of the show and their vision of who Hayes was, it was just this dream character – someone who is complex and multi-layered and yet you’re still rooting for her,” she reveals.
“The audience has still got to warm to her and want her to succeed and want to be concerned for her and the choices she makes and the mistakes she seems to be repeating and the difficult situation she’s in with her family. There’s a lot of empathy for her, and all of that meant that, for me as an actor, to explore little ways of expressing those different sides of her so it doesn’t just become she’s in this corporate world, this legal world, and she’s doing good. It’s not as straightforward as that because it’s much more relatable and much more human to see someone struggling with a lot of pressures from every aspect of her life.”
Distributor Entertainment One has already sold Conviction to broadcasters around the world, including Sky Living in the UK, TF1 in France and Fox Networks Group Latin America.
And Gordon, best known for producing series including Grey’s Anatomy and Criminal Minds, says it is the conflicted Morrison that gives the drama a particularly interesting premise.
“Procedurals have this stigma and what we were trying very hard to accomplish – and I think we’ve done so with Hayley – was something of a hybrid where we’re interested in her life and the other characters’ lives and, at the same time, we’re solving a case of the week,” he says. “I think the balance is working really nicely.”
As Atwell recalls, Agent Carter was her first experience working on a show where scripts were still being written as filming began, which gave her little time to analyse scenes in the way she would when treading the boards in London’s West End or on Broadway.
“I found that quite thrilling because it means you just have to instinctively make choices and just commit to them,” she says. “So I feel it’s given me insight into the stamina it takes to keep that going. It means I get to have fun in the moment and that’s quite exciting because it keep you very present as an actor and wanting to play with your co-workers and finding little comic moments or moments that are not necessarily obvious in the script. It keeps you going but it does take a kind of stamina and you’ve got to keep physically fit for it.”
Gordon admits it’s “very, very hard” for Atwell and every lead actor in a network drama as they face long, gruelling hours on set.
“It’s 12- to 14-hour days, every day, five days a week for nine months,” he says. “It’s really tough. And we as producers have to protect the actors, because fast is not necessarily good. We try to do these shows as quickly as we can but, at the same time, to allow Hayley and the cast the time to do their best work.
“A show like this is deceptively tough because although we’re not blowing things up on a regular basis and there are no car chases, what we do have is a large cast and that cast is together a lot. So it takes time to photograph and film multiple angles of all these people. It’s not just shooting here, here and here, it’s across this one to talk to this actor and across Hayley to look at the other actor.
“I’ve been doing this for quite some time and once when I asked why it was taking so long, it was because we had six or seven actors and you’ve got to cover them all when they’re in the room. That just takes time.”
Atwell adds: “It just means you have to be really prepared before you go in, do the homework but also have excellent time management of just knowing how much you have to get through and creating an atmosphere where you can do your best work and not panicking or rushing through something.
“That’s something we’re always playing with really, and half the work is making it efficient but making sure those time limits aren’t compromising the quality of your work.”
In a relatively quiet week on the commissioning front, one of the more interesting stories is that US network CBS is developing a prequel to its hit comedy series The Big Bang Theory.
Now in its 10th season, the Chuck Lorre/Bill Prady-created show continues to attract an audience in excess of 14 million, so it’s no surprise that CBS would want to build on that strength.
According to US reports, Lorre, Prady and showrunner Steve Molaro will oversee the project, which will focus on the younger years of key character Sheldon Cooper. None of The Big Bang Theory cast will be involved in the new sitcom except Jim Parsons, who plays Cooper and will executive produce the spin-off.
Interestingly, rival network ABC has also announced plans for a spin-off from its sitcom The Goldbergs, created by Adam Goldberg. Unlike the CBS project, this will be a sequel as opposed to a prequel. The Goldbergs, now in its fourth season, is set in the 1980s, but the new show will be set in the 1990s. It will star Bryan Callen, who plays a gym teacher in the current series.
The spin-off trend is not new – think Cheers/Frasier and Friends/Joey. But it fits well alongside the TV industry’s growing reliance on TV-to-movie spin-offs and TV reboots, giving networks a promotional boost from the outset.
And, for the most part, it works well. In the drama procedural arena, for example, we’ve seen franchises like Gotham (ABC), CSI and JAG/NCIS (both CBS) prosper, while Dick Wolf has created an entire world out of Chicago-based dramas for NBC. More recently, there have been examples such as NBC’s The Blacklist: Redemption and CBS’s The Good Fight, the latter an extension of The Good Wife.
US cable network AMC has also got in on the act with Breaking bad spin-off Better Call Saul and The Walking Dead spin-off Fear The Walking Dead – both of which have rated well enough to justify their existence.
There are also reports that Netflix is planning a Daredevil spin-off with The Punisher (based on the Marvel Comics anti-hero), while outside of the US the success of ITV’s Morse prequel Endeavour has encouraged the network to follow up with a Prime Suspect prequel called Tennison (coming soon). In Italy, Rai has also enjoyed decent levels of success with Young Montalbano, a prequel of its hit detective series Inspector Montalbano.
However, as the Friends/Joey example shows, spin-offs aren’t always guaranteed to succeed. And there has been a more recent example of an unsuccessful spin-off in the shape of Ravenswood, which grew out of Freeform’s hit series Pretty Little Liars. But overall there is enough of a hit record for networks to take notice.
There are a couple of reasons why they seem to stick. One is that spin-offs often centre on actor/character combinations that the audience still loves – unlike TV reboots where the audience is being asked to like something that was popular 20 to 30 years ago. Another is that they are generally written by the same team that created the original, so there is a continuation of tone that audiences connect with. Again, expecting a new creative team to run with something that is decades old is not a simple process.
Prequels, of course, require the audience to accept a new actor or actress in the central role. But there is something inherently appealing about seeing the youthful back story of a mature character you’ve grown to love over several seasons. Besides, the time gap from original series to spin-off is usually shorter than the kind of TV reboots we’ve witnessed in the last few years.
In fact, the hit rate on spin-offs is such that networks would be foolish not to at least consider them. Is there any reason, for example, why ABC would not consider some kind of extension of Modern Family? Imagine a young Phil Dunphy at college – the only downside here being the likelihood of getting anyone to live up to the high standards set by actor Ty Burrell. Or what about a Game of Thrones prequel? It will be a major surprise if HBO lets its biggest franchise go without trying to create a follow-up.
Returning briefly to the subject of comedy, there are also reports this week that NBC is developing a US remake of UK comedy Pulling, which first aired on BBC3. The original show was written by Sharon Horgan and Denis Kelly, who are attached to the US adaptation as exec producers.
Actor/writer Horgan is already well known to the US market having written HBO comedy Divorce, which has Sarah Jessica Parker in the lead role. She was also nominated for a Primetime Emmy for Channel 4 sitcom Catastrophe, alongside Rob Delaney (Outstanding Writing for a Comedy Series).
Also this week, pundits are predicting that ABC’s legal drama Conviction is destined for cancellation. The first season of the show, which stars Hayley Atwell, has been limited to 13 episodes, which doesn’t augur well.
However, this setback doesn’t seem to have reduced US network interest in legal subject matter. CBS, for example, is developing a drama about a US senator who withdraws from office to join his brother’s private-investigation law firm, unearthing the truth in high-profile and top-secret cases.
In other stories this week, Glee star Darren Criss is working with Fox on a new project called Royalties. According to Entertainment Weekly, Royalties is a “workplace comedy detailing the unseen, unsung, and unglamorous heroes behind the pop stars – the producers and songwriters whose day job it is to crank out hits. Sometimes it’s sexy, but most of the time it’s just like every other workplace: day-to-day minutiae, office politics, and clashing personalities. Royalties is about a small publishing company, Royalty Music, and a one-hit wonder who returns to the fold in the hopes of making it big again.”
Fox is also trying to get into the vampire scripted series business. This week it ordered a pilot based on Justin Cronin’s boot trilogy The Passage.
Away from US drama, Netflix has acquired the upcoming second season of Fauda, a hard-hitting Israeli political thriller that follows a unit of the Israeli army working undercover in Palestine. The global SVoD platform has also picked up the show’s first season, which initially aired on cable broadcaster Yes last year.
Following up on last week’s column about Nordic drama, this week has seen UK-based SVoD platform Walter Presents pick up Valkyrien from distributor About Premium Content.
The eight-part series, produced by Tordenfilm for NRK and written by showrunner Erik Richter Strand (Occupied), revolves around an illegal hospital hidden in an Oslo underground station. It tells the story of a physician who fakes his terminally ill wife’s death to secretly keep her alive in an induced coma while he tries to find a cure. To finance his activities, he makes alliances with the criminal world and treats patients who need to stay off the grid.
In the UK, meanwhile, BBC3 has joined forces with actor Idris Elba on a series of short films that will bring established talent together with new writers and actors. Called Five by Five, the project will consist of five standalone five-minute shows that are set in London and question identity and changing perceptions.
Elba will appear alongside talent such as Nina Yndis (Peaky Blinders) and Andrei Zayats (The Night Manager) in the shows, which are being produced by Elba’s production company Green Door Pictures and BBC Studios.
The films are written by Cat Jones (Flea, Harlots) and new writers Lee Coan, Namsi Khan, Selina Lim and Nathaniel Price.
“I have spent time with these talented five writers and observed their storylining process,” said Elba. “The scripts are uplifting and incredible, and with this group of young actors now attached to star, BBC3 viewers are in for an absolute blast. I couldn’t be prouder of what they have achieved.”
tagged in: ABC, BBC3, CBS, Chuck Lorre, Conviction, Fauda, Five by Five, Fox, Idris Elba, ITV, NBC, Netflix, Pulling, Royalties, Sharon Horgan, The Big Bang Theory, The Goldbergs, The Passage, The Punisher, Valkyrien, Walter Presents
The autumn season has just started in the US – which means TV executives around the world will be watching with interest to see which new dramas live up to their pre-launch hype. This week, we look at some of the network shows that are buzzing.
Lethal Weapon: Movie reboots didn’t fare very well last year, with Rush Hour and Minority Report adaptations among those canned. But the buzz around Lethal Weapon has been pretty positive since the LA Screenings in May. Based on the iconic Mel Gibson/Danny Glover action franchise, the show centres on two cops with very different problems. The elder is returning to the job after a heart attack, while his new partner is reckless and borderline suicidal after the deaths of his wife and their unborn child. Clayne Crawford and Damon Wayans in the lead roles appear to have developed a good on-screen chemistry. The show premieres on Fox on Wednesday, September 21.
Designated Survivor: What’s not to like about a show that stars Kiefer Sutherland (24) as man who unexpectedly becomes president after an attack wipes out the US administration? Distributed globally by eOne International, this ABC show was created by David Guggenheim (Safe House) and hails from The Mark Gordon Company (Grey’s Anatomy, Ray Donovan, Quantico, Criminal Minds). Sutherland will be at Mipcom in Cannes next month to give a keynote speech, which should increase the show’s buzz on the international market. It premieres on Wednesday September 21.
This Is Us: A different kind of show to the above pair, This Is Us follows the stories of a group of people who share the same birthday. Critics have responded warmly to the opening episode and are comparing it to Parenthood, which ran for six seasons on NBC. Variety had some reservations about the show’s sustainability but still said: “This Is Us manages to both craft an intimate series of portraits and stitch them together. The result is an episode that allows the viewer to marvel at the beauty and mystery of life – at the surprising little grace notes of fate and commonality that bind us together – while getting to know the major characters and their difficulties.” The show was created by Dan Fogelman, whose credits include Tangled, Cars and Crazy, Stupid, Love. He also created the 2015 series Galavant. This Is Us is an NBC show that will premiere on Tuesday September 20.
Bull: CBS’s new line-up hasn’t attracted a particularly enthusiastic response from critics. But in a market starved of procedurals, Bull is a show to watch out for. It stars Michael Weatherly as a psychologist who runs a trial consulting firm and can read the minds of a jury and influence their verdict. Weatherly starred in NCIS for 13 years before switching to Bull, which means it will probably debut well. It is also regarded as a good fit for CBS. If it starts strongly, expect European buyers to be interested. The show debuts on Tuesday September 20.
Timeless: AdAge does a report each year with TV Guide listing the upcoming shows audiences are most excited by. It’s pretty accurate, with top-ranking shows generally getting picked up for a full season by networks. One that is showing up strongly this year is NBC’s Timeless, the latest in a flurry of time-travel shows. In this one, a criminal steals a time machine and tries to destroy America by altering past events like the Hindenburg disaster. A soldier, a history professor and a scientist try to stop him. Some critics have hammered the logic of the plot, but are predicting it will appeal to the same audience as Blindspot. There’s just a chance, though, that it will be this year’s Minority Report. Timeless will debut on NBC on Monday October 3.
The Pitch: Fox has led the way in on-screen diversity and The Pitch follows that pattern. It tells the story of pitcher Ginny Baker, who becomes the first woman to play in the major leagues (for the San Diego Padres). This column has previously discussed the problem of authenticity in sports dramas, but the good news here is that Major League Baseball has backed the show by allowing the use of its teams and logos in the story. Adweek said: “One of fall’s most ambitious pilots is also one of its best, with a compelling show that could appeal to both sports fans and viewers who like female-centric dramas. With Scandal delayed until midseason, this could resonate with fans of that show looking for an alternative on Thursdays at 21.00.” Interestingly, The Pitch was co-created by Dan Fogelman, who could find himself with two hits on his hands this year. It debuts on NBC on Thursday September 22.
Conviction: The highly regarded actor Hayley Atwell is back on TV after a couple of seasons as Marvel’s Agent Carter. Now she’s a brilliant but wayward lawyer who is given the job of running New York’s ‘conviction integrity unit,’ which investigates cases where innocent people may have ended up behind bars. Atwell may pull some Marvel fans over to this show, but it is generally regarded as a pretty safe procedural. If it rates well, however, it will be of interest to international buyers. The Conviction premieres on Monday October 3 on ABC.
Frequency: Inevitably, most of the pre-launch hype surrounds shows on the Big Four networks. But network number five, The CW, also has an interesting show on the way. Based on the 2000 movie, Frequency is another time-travel series in which a female cop discovers she is able to speak to her dead father via his old ham radio. Her attempts to save his life change the present in unforeseen ways. To fix the damage, she has to work with her father across time to solve a decades-old murder case. The AdAge/TV Guide survey rates this as a decent prospect. Premiere is Wednesday October 5.
Footnote: We decided to focus on the positives this week, but shows that already seem to have storm clouds overhead include ABC’s Notorious, CBS’s MacGyver and Fox’s The Exorcist. These seem the best tips for early cancellation at present.
As the creator of AMC shows Breaking Bad and its prequel Better Call Saul, and with writing and producing credits on The X-Files, Vince Gilligan’s place in the TV hall of fame is as secure as anybody’s. But he also has a couple of strikeouts to his name: X-Files spin-off The Lone Gunmen lasted a single season on Fox, while CBS’s Battle Creek shut down last year after just 13 episodes.
Maybe he is best suited to the morally ambiguous world of cable TV – which would be good news given that his next project is for HBO. Called Raven, the limited series will explore infamous cult leader Jim Jones and the Jonestown Massacre in Guyana in 1978. It is based on a book called Raven: The Untold Story of Jim Jones by Tim Reiterman, a journalist who survived the tragedy.
Gilligan, who will work alongside Breaking Bad director Michelle McLaren, won’t have any shortage of source material. Aside from the book, the Jonestown massacre has been the subject of a film and a couple of high-profile documentaries. He will need to write quickly, however, because A&E is also reported to be developing a drama about Jones as part of a series exploring US cults.
At the other end of the spectrum in terms of subject matter, venerable TV producer Dick Wolf is working with former One Direction band member Zayn Malik on a new series for NBC. Also involving Universal TV, Unigram and First Access Entertainment, it follows the formation of a successful boy band, exploring both the excitement and the pressure that comes with global fame.
The series, called Boys, is being written by Sherri Cooper Landsman and Jennifer Levin. Landsman and Levin have worked together on a number of shows including Brothers & Sisters, Unforgettable and, most recently, Beauty and the Beast. The latter, which launched in 2012 on CBS, ends tomorrow after four seasons on air – which makes the new show very timely.
“It’s exciting to be diving into this project with such passionate and prolific producers,” said Jennifer Salke, president of NBC Entertainment. “Zayn brings an authentic point of view to this world where kids are catapulted into fame at a dizzying speed. On top of our excitement around the ideas being discussed, we have a lot of respect for the project’s musical and digital ambitions.”
Still in the US, basketball superstar LeBron James’s production company Springhill Entertainment has sold a sports drama pilot to NBC. The as-yet-untitled show is about a brilliant doctor who specialises in treating the world’s greatest sports stars, with renowned orthopaedic/sports surgeon Dr James Andrews on board as an executive consultant. The script will be written by Matt O’Neill, whose main credit is the feature film Bait & Switch. O’Neill will work alongside Nicolas Falacci and Cheryl Heuton (Numb3rs) with the three all expected to be involved if the show progresses to series. For more on dramas with sporting subject matter, go here.
In mainland Europe, meanwhile, France 2 and ProSieben have been announced as the broadcast partners for Les Rivières Pourpres (Crimson Rivers), a new TV series from Luc Besson’s EuropaCorp and Maze Pictures. Based on a crime novel by Jean-Christophe Grange, the story has already had some success as a movie series starring Jean Reno (2000 and 2004). It follows two detectives investigating a series of gruesome murders.
Grange is involved in the writing of the series and will work alongside Franck Ollivier. Among his many credits, Ollivier helped adapt Besson’s Taxi film franchise into Taxi Brooklyn for NBC and was also part of the writing team that created Jo, an English-language French police procedural series created by Rene Balcer.
Although Ollivier has experience working on series with a French-English axis, Crimson Rivers will be produced in French. Explaining why, EuropaCorp’s Thomas Anargyros told Variety: “A few years ago, we would have made this series in English, but we now feel confident enough to shoot it in French. Our partners have also gained more confidence in our ability to produce world-class content with French talent.”
Ollivier’s credits run all the way back to 1995 and include Zodiaque, Le Maitre du Zodiaque and Interpol. Aside from Crimson Rivers, recent work includes Instinct and La Vengeance Aux Yeux Clairs. In the latter, which debuted last week on TF1, a woman returns to the French Riviera 10 years after the murders of her mother and brother, with a new identity and a desire for justice. The show picked up 6.3 million viewers across its first two episodes.
In other news, producer/distributor Entertainment One (eOne) has unveiled a strong slate of drama for next month’s Mipcom market, including Kiefer Sutherland thriller Designated Survivor, legal drama Conviction, hostage drama Ransom and crime series Cardinal.
We’ve discussed the first three in previous columns, but Cardinal is perhaps less well known. Adapted from Giles Blunt’s novel Forty Words for Sorrow, the first of six books in the John Cardinal Mysteries series, the story is based around the murder of a 13-year-old whose body is discovered in a mineshaft.
The drama is produced by Sienna Films and eOne in association with Bell Media’s CTV, with the financial participation of the Northern Ontario Heritage Fund Corporation, the Canada Media Fund and the Cogeco Program Development Fund, and with the assistance of the Ontario Film and Television Tax Credit and the Canadian Film or Video Production Tax Credit. So it’s Canadian!
The series has been adapted by Aubrey Nealon, who also serves as executive producer and showrunner. Nealon has a rock-solid set of writing credits that encompasses series such as Flashpoint, Rookie Blue, Saving Hope and Orphan Black. Anyone interested in his work on Orphan Black should look at this BBC blog.
tagged in: Aubrey Nealon, Boys, Cardinal, Conviction, Designated Survivor, Dick Wolf, Entertainment One, France 2, Franck Ollivier, HBO, Jean-Christophe Grange, Jennifer Levin, Jennifer Salke, LeBron James, Les Rivières Pourpres, Matt O’Neill, NBC, Ransom, Raven, Sherri Cooper Landsman, Springhill Entertainment, Vince Gilligan
Perry Mason, Petrocelli, JAG, LA Law, Ally McBeal, Boston Legal, The Practice, Damages – no one does legal drama quite like the US. Here are 10 current and upcoming law-based series.
Suits Season six of Suits will launch in July. Created by Aaron Korsh, it focuses on slick city lawyer Harvey Specter and his talented protégé Mike Ross. Now up to 76 episodes, it’s a big hit for USA Network and gets an impressive 8.7 rating on IMDb. Part of the appeal of this New York-set show is its fast-paced humour, which shouldn’t come as a surprise given Korsh’s background on successful comedies such as Everybody Loves Raymond.
The Good Wife This show, created by Robert and Michelle King, has just come to an end after seven seasons on CBS. It tells the story of Alicia Florrick, who returns to work as a Chicago-based litigator after 13 years as a stay-at-home mother. There is still a lot of affection for the show, which explains why CBS is planning a spin-off that will only be available via subscription. The Kings are expected to co-write the first episode but will not run it.
Law & Order Created by Dick Wolf, this procedural juggernaut ran for 20 seasons until 2010 on NBC. The first half of every show focused on the investigation of a crime and the second half was the prosecution of the defendant in the New York courts. The show spawned four spin-offs including one set in LA. Another of these, Law & Order: SVU, is still running after 17 seasons. With more than 1,000 episodes in the archive, it’s no surprise that the franchise has also been a big seller in distribution and has been the basis of several adaptations in markets like the UK, France and Russia.
Chicago Justice Also from NBC and Dick Wolf, this show is the latest in a run of Chicago-based procedurals. It was soft launched during Chicago PD this month and is now being prepared for next season’s schedule. It’s early days but the basic line is that it will focus on lawyers in the Chicago area. The story for the Chicago PD launch of the show was created by Wolf but the teleplay was written by Michael Brandt, Derek Haas and Matt Olmstead, all of whom are exec producing the new show.
How To Get Away With Murder An interesting take on the genre, this ABC show focuses on a law professor at Philadelphia University (played by Viola Davis) who gets caught up in a murder plot along with five of her students. Davis has received a lot of plaudits, as has series creator Peter Nowalk, part of the team at Shondaland. Nowalk learned his trade on other Shondaland series (Grey’s Anatomy and Scandal) before taking the lead. The show has just completed season two and will be back next year.
Doubt Starring Katherine Heigl, this new CBS show will tell the story of a successful defence lawyer who starts to fall for her charismatic client, who may or may not be guilty of a brutal crime. The idea was actually developed for the season just gone but wasn’t picked up as a series. However, it has now been reworked and will feature in the network’s 2016/17 season. Tony Phelan, Joan Rater, Carl Beverly, Sarah Timberman and Adam Bernstein will serve as executive producers with the husband-and-wife team of Phelan and Rater sharing writing duties. Their credits include Madam Secretary, Grey’s Anatomy and Law & Order: Trial By Jury.
Better Call Saul It’s easy to forget this AMC series is a legal drama because of its quirky characterisation and links to Breaking Bad. It may not be a procedural in the Law & Order vein but it is a great insight into the machinations of US lawyers. Created by Vince Gilligan and Peter Gould, the New Mexico-set show is a strong performer and was recently renewed for a third season.
Conviction This new drama for ABC from the Mark Gordon Company (Quantico) will debut in 2016/17. The pilot was written by Liz Friedman, who has made a name for herself with Jessica Jones and Elementary. The show tells the story of Carter Morrison, the brilliant but rebellious daughter of a former president who is blackmailed into taking a job as the head of Los Angeles’ newly created Conviction Integrity Unit. She examines cases where there’s suspicion that the wrong person may have been convicted of a crime.
The Grinder This Fox show makes our list though it was actually cancelled last week after one season. Created by Jarrad Paul and Andrew Mogel, it’s a comedy drama about an actor (played by Rob Lowe) who returns to his home town in Idaho after his TV series (The Grinder) ends. Having played a lawyer on TV he thinks he is equipped to work with his family law firm – cue comedy. Unfortunately, the ratings for the show were low.
Shots Fired Fox hasn’t given up on the law after the failure of The Grinder, but it has gone for something more serious. For next season it has lined up Shots Fired, an event series that follows the aftermath of a racially charged shooting in a fictional town in North Carolina. Sanaa Lathan, Helen Hunt and Richard Dreyfuss star. Gina Prince-Bythewood and Reggie Rock Bythewood are the series creators on this one. Their writing credits, respectively, include Before I Fall and Gun Hill. There are echoes in this project of the recent FX hit The People vs OJ Simpson, written by a team of six headed by Scott Alexander and Larry Karaszewski.
tagged in: ABC, AMC, Better Call Saul, CBS, Chicago Justice, Conviction, Dick Wolf, Doubt, Fox, How To Get Away With Murder, Katherine Heigl, Law & Order, Law & Order: SVU, NBC, Shonda Rhimes, Shots Fired, Suits, The Good Wife, The Grinder, USA Network
Sky1’s adaptation of The Last Dragonslayer suggests the scripted market is swinging back towards TV movies and miniseries, as Crackle announces a follow-up to The Art of More.
There are reports this week that UK pay TV channel Sky1 has greenlit a TV adaptation of Jasper Fforde’s fantasy novel The Last Dragonslayer.
Set in a world where the power of magic is being eroded by technology, it centres on a teenage girl who finds herself mixed up in a prophecy about the death of the last dragon.
The project is interesting for a couple of reasons. Firstly, because it underlines the continued interest in fantasy projects – The Magicians, Shannara, Game of Thrones and American Gods being a few others – and secondly, because it is reported to be a two-hour single as opposed to an event or returning series.
A few executives in the drama business are starting to support the idea of shorter-run productions because of the sheer volume of scripted content now on the market. Although the received wisdom is that singles are harder to promote than series and offer fewer long-term return, there’s no real point spending tens of millions of dollars on a series that is going to fail because viewers can’t be bothered investing eight or 10 hours of their lives in it. It will be interesting to see if there is now a renaissance in the TV movie format.
Another of this week’s major scripted TV stories is that Sony-owned on-demand service Crackle has commissioned its second original drama series. Following up on The Art of More, starring Dennis Quaid, Crackle has now greenlit a project called Start Up.
Set in Miami and starring Martin Freeman (Fargo, Sherlock, The Hobbit), Start Up explores what happens when a brilliant but controversial tech idea gets incubated with dirty money. The message seems to be that Crackle is mainly interested in backing high-concept thrillers with proven theatrical talent attached.
There are a couple of stories with a Canadian flavour this week. In the first, Canadian broadcaster Global TV has ordered an original drama after partnering with producer/distributor Entertainment One. Called Mary Kills People, the six-parter has been created and written by Tara Armstrong and is set in the world of assisted suicide. It tells the story of a nurse who helps people with terminal illnesses.
The other project is a production partnership between Macmillan Publishers’ in-house film and TV unit and Toronto-based Wildhorse Studios. This one will see the two partners collaborate on a TV adaptation of Isaac Bashevis Singer novel Shadows on the Hudson. Written in 1957, the book tells the story of Jewish exiles in New York City just after the Second World War and just before the creation of the state of Israel. It was first published in serial form by a Yiddish newspaper called The Forward.
As previous DQ columns have demonstrated, the US TV market offers an almost constant pipeline of new scripted shows. However, this time of year is especially prolific because it is when the major networks greenlight shows from paper to pilot. Like baby turtles heading for the ocean, there will be lots of casualties before we finally see full series being commissioned. But pilot season is a useful indication of the way networks are thinking.
This week, for example, ABC ordered two new legal-themed drama pilot (no real surprise given that one of its biggest hits at present is legally themed show How To Get Away With Murder – congratulations, by the way, to Viola Davis for her latest SAG Awards success). The first of the two pilots is Notorious. Created by Josh Berman and Allie Hagan, the story follows the relationship between “a charismatic attorney and a powerhouse television producer as they attempt to control the media, the justice system, and ultimately, each other.”
The second is the aptly named Conviction, which comes from The Mark Gordon Co, the firm behind ABC political thriller Quantico. This one focuses on the prodigal daughter of a former president who is blackmailed into taking a job at LA’s ‘Conviction Integrity Unit.’ Here, her job is to investigate cases where there’s reasonable suspicion the wrong person may have been convicted of a crime.
The CW, which is the US market’s fifth broadcast network, has also announced a bunch of new pilots including comic-based project Riverdale, Transylvania and an untitled Mars project. These new projects join a previously announced paranormal drama called Frequency from Kevin Williamson, which is a reboot of the 2000 time travel movie of the same name but with a female lead.
Transylvania continues the trend towards fantasy Victoriana (with examples including Penny Dreadful, The Frankenstein Chronicles, Ripper Street, Dickensian and Jekyll & Hyde). Set in the 1880s, it tells the story of a young woman looking for her missing father who goes to Transylvania and she teams up with a wrongfully disgraced Detective. Once there, the duo encounter the usual suspects.
The Mars project is not actually new, having first been talked about in 2013 when it was called Colony. A reimagining of the 400-year-old Roanoke ‘Lost Colony’ mystery, it follows a team of explorers who arrive on Mars to join the first human colony, only to discover that it has vanished. The show is not the only Mars project in the market, with Syfy currently making Red Mars, based on Kim Stanley Robinson’s award-winning science fiction series.
In the UK, meanwhile, the Radio Times quotes director Peter Kosminsky saying there will be a second season of Wolf Hall – but it’s not possible yet to say when. According to Kosminsky, nothing can happen until author Hilary Mantel finishes the novel upon which the sequel will be based. Then it needs to be adapted for the screen and slotted into the busy schedules of actors Mark Rylance and Damian Lewis. “She [Mantel] has still got at least a year of writing on the novel,” says Kosminsky, “and we have to get it adapted, which will take quite a while because it’s probably going to be quite a thick book. It’s not going to be any time soon I’m afraid. Two years down the road I would think, probably.”
Usually when we talk about greenlights, it’s six to 12 months before a show actually appears. But US comedian Louis CK surprised us all this week by releasing a new series on his website without any advanced warning. Entitled Horace and Pete, it stars Louis CK, Steve Buscemi and Alan Alda in what is being described as a black comedy version of Cheers. The 67-minutes show revolves around an Irish bar and the people who work there and frequent it.
Given the quality of the talent involved it will be interesting to see how it is received and whether it encourages other creatives to drop surprise series via the internet. (Actually, there is something vaguely similar here to the recent story about JJ Abrams making a Cloverfield sequel without telling anyone.)
Finally, on the distribution front, Australian streaming service Stan has become the exclusive home of Showtime’s brand and programming, echoing a similar deal with Sky in Europe.
tagged in: ABC, Conviction, Frequency, Global TV, Horace and Pete, How To Get Away With Murder, Mary Kills People, Notorious, Peter Kosminsky, Red Mars, Showtime, Sky, Stan, Start Up, SyFy, The Art of More, The Last Dragonslayer, The Mark Gordon Co, Transylvania, Viola Davis, Wildhorse Studios, Wolf Hall