Tag Archives: Deep Water

Deep dive

Anna Friel, Sinead Keenan and Rosalind Eleazar star in ITV’s emotional thriller Deep Water. Writer Anna Symon introduces the series, produced by Kudos and distributed by Endemol Shine International, and discusses a key scene in the first episode that lays the groundwork for events to come.

Anna Symon

Deep Water tells the story of three ordinary mothers who each go on an extraordinary, emotionally compelling journey. Told through a female lens, it places modern women and their needs and desires at the centre of the drama.

The series is based on two books by Paula Daly: Just What Kind of Mother Are You? and The Mistake I Made. So often in TV drama, the family, and the home in particular, are a place of safety and retreat from where the real story is going on, be it a police investigation, the world of intelligence or a business setting. But in these books, as in most of our real lives, the highest stakes surround the families themselves. The question each woman is being asked throughout the series is: how far would she go to protect her family? It’s a question that, to me, feels highly relatable but also surprisingly under-examined in TV drama.

Paula was born and bred in the Lake District, and when you read her page-turning novels, you really feel you’re being taken to Lake Windermere by someone who understands it from the inside out. By placing our women in this beautiful but, at times, harsh landscape, we hope to have further added to the epic scale of their stories – even if that meant filming the show was often hindered by rain, hail and snow.

Just What Kind of Mother Are You? tells the story of two mothers, Lisa and Kate, while The Mistake I Made is about Roz. In developing the series, I put all three characters in the same world by placing all their younger children in the same class at school. It’s quite a departure from the books, but I have kept the brilliant characters Paula invented and her very authentic vision of the Lake Windermere and the surrounding villages.

One line from Paula’s books that really struck me is: ‘The Lakes have always been littered with two extremes of women – the ones who never work and the ones who never stop.’ That class divide in the Lakes is one of the key themes of the series. Kate (played by Rosalind Eleazar) is one of the women who doesn’t work, whose family own lots of property in the Lake District.

L-R: Anna Friel, Rosalind Eleazar and Sinead Keenan in Deep Water, which premieres this Wednesday

Lisa (Anna Friel) runs the local kennels, so her life is about servicing the moneyed class who leave their dogs with her while they go on holiday. Her husband is a taxi driver, so he’s also in the service industry. Together, they’re busy parents who both work really long hours. In other words, they are very different from Kate, although we soon discover she has real challenges of her own. Roz (Sinead Keenan), a physiotherapist, is in serious financial trouble, so she is also working every hour she can to make ends meet.

In the first episode, Kate invites Lisa and her husband round for dinner. There is already an uncomfortable undercurrent to the invitation because Kate has accused Lisa’s 10-year-old son of bullying her own boy. Intimidated and wanting to please, Lisa accepts the invite. As soon as she and her husband arrive, Lisa gets whisked into the kitchen by Kate. Kate’s sister Alexa is also there, who’s as polished and impressive as Kate – at least in Lisa’s eyes.

Lisa soon feels completely out of her depth, amazed that Alexa can afford to send her four children to boarding school. A very awkward conversation ensues between the three women about how they bring up their kids. It’s the sort of conversation to which many of us have been party in one form or another. As women, we often compare and judge each other’s choices, at least in my experience.

This is a pivotal scene because it’s about who has money, who doesn’t, who works, who doesn’t and how that impacts on your family. As the evening progresses, the scene moves to the dinner table.

Here, Kate and her sister argue about whether you should stay together for the sake of your children if your marriage is in trouble. Kate storms out, and there’s a sense that something very strange has happened in her life. It’s the first clue we give the audience for them to try to work out what has happened to Kate in her past, and what secrets there are within her household.

At the same time, we notice Lisa starts to flirt gently with Adam, Kate’s brother-in-law, and this leads to a major transgression. This kicks off one of our main storylines, examining female desire.

Overall, in this scene, I’m laying down all the themes that are going to emerge throughout the series: class, marriage, parenting and sex, all told through a female lens.

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NBC has strong start with This Is Us

This Is Us
Season one of This Is Us will now comprise 18 episodes

After a promising debut for This Is Us, NBC has given the new drama an additional five episodes, taking the total number of instalments for the first season to 18. The decision was made on the eve of the show’s second episode.

Citing Live+5-day data, NBC said the show’s premiere attracted 14.3 million viewers. It also set records on NBC’s digital platform.

Commenting on the decision to extend the show from its initial 13-episode order, NBC’s Jennifer Salke said: “It’s a rare moment in this business when a show so instantly delivers both critical acclaim and hit ratings, but This Is Us is just such an achievement. Creator Dan Fogelman, along with co-directors Glenn Ficarra and John Requa and the producers, cast and crew, has delivered the kind of heart and depth that resonates with every segment of the audience and we’re proud to extend it.”

This Is Us is also making waves in the international market, with Channel 4 in the UK picking up the show last week. Jay Hunt, Channel 4’s chief creative officer, said: “This Is Us is unmissably life affirming with a warmth that has drawn critical acclaim and bumper ratings. It’s a great addition to our slate of acquired shows – from Deutschland 83 to Fargo.”

Fogelman’s other new series, Pitch, hasn’t had such a bright start, however. The story of the first-ever female Major League Baseball pitcher, the show was one of Fox’s weaker performers last week, bringing in 4.2 million viewers.

It has had a decent amount of critical approval, which means it will almost certainly complete its initial 13-episode run, but it will need to win over audiences quickly to secure an extended run or second season.

The first episode of CBS's Macgyver reboot picked up almost 11 million viewers
The first episode of CBS’s Macgyver reboot picked up almost 11 million viewers

Among the other new US series to have hit the air, CBS reboot MacGyver has had a strong start, securing an audience of around 10.9 million for its first episode. This is the best performance by a Friday-night scripted series on the network since Hawaii Five-0 in 2014.

With the show’s debut clearly benefiting from in-built name awareness, it will be interesting to see if it manages to hold on to that number through episodes two and three. If it does, it means the revival is an inspired move. If it drops away quickly, it will resemble ABC’s experience with The Muppets last year – namely a strong start followed by rapid loss of audience interest.

The fate of MacGyver may have some influence on whether the big four US networks continue to look at reviving classic series. Others currently in the works are The Rockford Files and LA Law, and success for MacGyver will certainly mean more.

By contrast to MacGyver, ABC’s Notorious has started very badly and looks like a prime candidate for early cancellation. Fox’s reboot of The Exorcist, with 2.9 million viewers, has also started slowly but may find its niche in international distribution because of its name recognition and supernatural subject matter.

Still in the US, FX has revealed that season four of its vampire virus series The Strain will be the last. The Strain’s writer and showrunner  is Carlton Cuse, who is also coming to the end of A&E’s Bates Motel.

The Strain will conclude with its fourth outing
The Strain will conclude with its fourth outing

There had been talk of The Strain operating to a five-season story arc, but four seasons is probably enough to play the concept out. Strong in season one, the pace and direction of the narrative started to falter in season two – something that has been reflected in the ratings.

The downward path of the ratings tells the story. While season one averaged 2.2 million, season two came in at 1.34 million (this season also suffered from an awkward piece of recasting). Now in season three, the show is averaging 1.1 million but the latest episode attracted just 880,000 – the sign of a franchise coming to the end of its life.

Elsewhere, it has been a busy week for Australian drama. On the domestic front, Nine Network has commissioned a second season of Doctor Doctor, a local comedy drama about a formerly high-flying surgeon who is forced to work as a GP in the small country town where he grew up. The series, which sounds similar to DRG’s hit format Doc Martin, was only two episodes into the first season when Nine announced the recommission.

The show’s synopsis says: “When he is knocked off his pedestal and on to the Impaired Registrants Programme, prodigal Sydney surgeon and party boy Hugh Knight must return to his home in rural Whyhope where he might learn to swallow his pride and mend his ways – or not.”

Deep Water has been picked up by Acorn
Deep Water has been picked up by Acorn

Meanwhile, US-based SVoD platform Acorn has acquired two Australian series from distributor DCD Rights. The first is Deep Water, a four-part series inspired by a crime wave targeting gay people in Sydney’s coastal communities in the 1980s and 90s. The show is a Blackfella Films production for SBS Broadcasting Australia, Screen Australia and Screen New South Wales.

Acorn TV has also picked up the second season of political thriller The Code, which is produced by Playmaker Media for Australian public broadcaster ABC. Both series have also been acquired by BBC4 in the UK, a channel that is often used as a barometer of whether a show has international sales potential.

Finally, some desperately sad news this week with the untimely death of Gary Glasberg, executive producer/showrunner of NCIS and creator/executive producer of NCIS: New Orleans. Glasberg, just 50 years old, died suddenly in his sleep on September 28.

A well-liked figure, Glasberg joined NCIS in 2009 and helped confirm its status as one of the biggest drama hits in the world – a huge ratings success in the US and widely distributed internationally.

Gary Glasberg
Gary Glasberg

His previous credits included The Mentalist, Crossing Jordan and Bones.

“Today is an overwhelmingly sad day for NCIS, CBS and anyone who was blessed to spend time with Gary Glasberg,” said CBS president of entertainment Glenn Geller. “We have lost a cherished friend, gifted creative voice, respected leader and, most memorably, someone whose warmth and kindness was felt by all around him. Our heartfelt thoughts and sympathies go out to his wife, Mimi, his two sons and all his family and friends.”

CBS TV Studios president David Stapf added: “He brought kindness, integrity and class to everything he did. His remarkable talent as a writer and producer was only matched by his ability to connect with people.”

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