Damon Lindelof, the prolific showrunner, producer and film screenwriter behind cult series The Leftovers and Lost, is the latest high-profile speaker to join the line-up at Drama Summit West, which takes place in LA on May 19.
Lindelof will front a showrunner keynote Q&A at the event, discussing the third and final season of the critically acclaimed HBO series The Leftovers, his current work and his approach to the craft. The session will be chaired by The LA Times television and entertainment writer Libby Hill.
As well as TV work on Lost with JJ Abrams, Lindelof has also served as as a writer and producer on a number of science fiction films, including Ridley Scott’s Prometheus, World War Z, Star Trek, Star Trek Into Darkness and Tomorrowland.
Elsewhere at Drama Summit West, a high-profile showrunner panel forms part of the creative line-up featuring Marti Noxon (Sharp Objects, Unreal), Ilene Chaiken (Empire, The Handmaid’s Tale), Courtney Kemp (Power), Naren Shankar (The Expanse) and John Wirth (Hap & Leonard, Hell on Wheels). This panel sees the writer-producers discuss their evolving role and how they are creating, writing, developing and producing stories in new ways to meet audience and channel demands.
Delegates will also learn about the programming priorities for the top programming chiefs at AMC, Showtime, Starz and TNT at the event and how they are working with the international market, in a cable superpanel. The programming chiefs will also discuss challenges in the market and provide a sneak peak into some of 2017’s hottest new dramas, which they have commissioned, including Twin Peaks, American Gods, The Alienist and The Son.
Streaming giant Netflix also hosts a session at the event on its global coproduction and international originals strategy. This will be fronted by Elizabeth Bradley, VP of content, and Erik Barmack, VP of international originals, respectively. They will discuss how they are using Netflix multimillion-pound content budget to boost its library with original home-grown content in the 130-plus territories it now serves, as well as work with international partners on global coproductions.
British TV executive and former BBC drama chief Ben Stephenson will take part in a Next-Generation Producers panel, discussing his latest role as head of television at JJ Abrams’ Bad Robot. He is joined by The Night Manager producer The Ink Factory’s co-CEO Stephen Cornwell, American Crime Story producer Color Force’s senior VP television Nellie Reed and Anonymous Content’s Rosalie Swedlin, who’s latest projects include Caleb Carr adaptation The Alienist and The Wife, starring Glenn Close and Christian Slater.
The panel will discuss how some of the US’s hottest independent studios and seasoned producers are developing, producing and packaging next-generation drama, defining new models akin to the feature film world, finding new stories in a saturated market and working with creatives and writers.
A special focus on the Latin American market also forms part of the event. Execs from HBO Latin America, Globo, Fox Networks Latin America and Keshet Latin America will discuss the growing ambition for drama in the region, as well as the opportunities in this dynamic market.
Business sessions on coproduction and finance and the big questions in scripted TV also form part of the day with execs from BBC Worldwide, Lionsgate, Eone Entertainment, CAA, WME, Studiocanal TV, All3Media North America and Sonar Entertainment taking part.
The day will close with a networking cocktail party between 6pm and 9pm, organised in association with CAA.
They were once just a name on the credits roll, but showrunners have gained celebrity status over the past decade and are now considered the major creative force behind every television drama.
This DQ show examines the showrunner’s rise to power and why it can be one of the most satisfying jobs in Hollywood.
In the first of a two-part programme, DQ hears from leading showrunners about the challenges of this all-consuming position.
Contributors include Shawn Ryan (The Shield), Terence Winter (Boardwalk Empire), Ilene Chaiken (Empire), Glen Mazzara (The Walking Dead), Clyde Phillips (Dexter), Eric Newman (Narcos), Terri Miller and Andrew Marlowe (Castle), Maggie Friedman and Corinne Brinkerhoff (No Tomorrow), Jon Bokenkamp (The Blacklist), Les Bohem (Shut Eye), Michelle Ashford (Masters of Sex), Graham Yost (Sneaky Pete), Howard Gordon (Homeland), Matt Miller (Lethal Weapon), Peter Lenkov (MacGyver), Oliver Goldstick (The Collection) and Carol Flint (Designated Survivor).
Part two will be available from Wednesday March 29.
Lee Daniels has made a strong impression with Empire, the music industry show that has been rating so well on Fox in the US. But it looks like he is going to have a tougher time with his follow-up drama Star, which debuted on the same network on Wednesday.
The series follows three young women trying to break into the music scene. Star (played by Jude Demorest) has spent most of her life in foster care following her mother’s death from a drug overdose. She forms a girl group with Alexandra (Ryan Destiny), an aspiring singer who (unknown to Star) is the daughter of a wealthy rock musician; and her 16-year-old sister, Simone (Brittany O’Grady), who she has not seen in five years.
At time of writing, the audience figures aren’t in but an IMDb score of 6.8 doesn’t augur well. Nor do the reviews, with critics quick to pan the series. The Chicago Tribune, for example, complained about the show’s “stilted dialogue” and “sloppy narrative,” while the New York Times said Star was “all over the place.” According to the NYT, “Empire’s first season set a standard for narrative drive and engaging storytelling that Star doesn’t approach in its initial three episodes. What Star doesn’t have is a Cookie – a Taraji P. Henson to light a fire that would draw your attention away from the tackiness of the show. It needs a star.”
It’s early days, of course, but it looks like Daniels will need a rapid turnaround in fortunes to keep the network bosses happy. If not, the show could go the same way as HBO’s musical miss Vinyl.
Turning to French-language/French-produced drama, the last few years have seen a steady stream of acclaimed shows coming on to the international market – examples including Braquo, Spiral, The Returned and Witnesses. 2016 has also been a pretty positive year, with series like Netflix’s Marseilles, the France-Sweden copro Midnight Sun and English-language epic Versailles attracting a lot of interest. Not to be overlooked either is The Bureau, a political thriller that has picked up a strong following on iTunes in the US and Amazon in the UK; or the two Belgian series, Truce and Public Enemy, which have attracted critical acclaim.
There are signs that this momentum will be maintained into 2017 following the news that StudioCanal has sold the German-speaking rights for eight-part series Baron Noir to Sony Channel.
A Canal+ Création Originale, Baron Noir follows French politician Philippe Rickwaert’s thirst for revenge against his political enemies. Launched to critical acclaim in France, with a second season now in development, this “French House of Cards” has also been acquired by SBS Australia and Amazon Prime Video in the UK and Ireland. “Baron Noir is a gripping political thriller and a masterpiece of French storytelling. We are proud to premiere this series on Sony Channel,” said Carsten Fink, VP of German-speaking Europe at Sony Pictures Television Networks.
Another show in the news this week is the cult Norwegian youth series Skam (Shame), which is to be adapted for the US market by XIX Entertainment’s Simon Fuller. “Shame is an important show,” Fuller said. “There is precious little content created primarily for a teen audience and Shame provides this with great honesty and integrity. This show packs a punch and is leading the way in exploring multi-platform storytelling. It has become an enormous hit in Norway and has the potential to become an influential show in America, where there is simply nothing like it. Scandinavia and Norway in particular is at the forefront of innovation and creativity in the shaping of the world’s digital and creative industries right now. I’m proud to be in partnership with NRK to take Shame to a worldwide audience.”
Created by Julie Andem for NRK Super, Skam tackles topics such as school, depression, sex, homosexuality, alcohol and religion. With a fourth series now commissioned, the show has seen its weekly audience grow from 24,000 to 1.26 million in 2016. It is also popular in Denmark and Sweden and has picked up a strong teen audience via social media platforms. Addressing the deal with Fuller, Håkon Moslet, head of youth TV for NRK added: “A lot of people in the TV industry have got their eyes on Skam this fall, but no one has got a vision like Simon Fuller. He wants to be true to the original idea and make Shame a series that can change the rules in the American TV market. We’re honoured he wants to take our baby to the next international level.”
Also this week, there’s good news for Showtime following reports that the premium pay TV channel has signed a new salary deal with Shameless star Emmy Rossum. A holdup over Rossum’s pay demands had threatened the future of the show, but now that this has been resolved it leaves the door open for an eighth season of Shameless, which also stars William H Macy.
Although Showtime has not yet officially ordered an eighth run, it is very likely to do so. Shameless is currently Showtime’s second strongest performer behind Homeland and ahead of Ray Donovan and Billions. With The Affair experiencing a substantial drop in ratings for season three, having the stability that Shameless provides must surely be a priority for Showtime. Shameless is based on a UK show of the same name. Created by Paul Abbott, the original version ran for 11 seasons on Channel 4.
Finally this week, Tribune Broadcasting-owned cable network WGN has cancelled its witch-themed drama Salem after three seasons. The show, which is centred on the 17th century witch trials, is currently averaging around 260,000 viewers – well down on its performance in seasons one and two. To date, WGN has had a hit-and-miss record on drama origination. Manhattan was also a poor performer but Underground and Outsiders have both done well for the network and have been renewed for second seasons.
Games of Thrones and The People vs OJ Simpson picked up a lot of Emmy nominations this week – but can they convert them into awards?
The 2016 Emmy Award nominees were announced this week. All told, nearly 50 scripted series (excluding comedies) picked up at least one nomination, although only a handful are likely to convert those nominations into awards when the winners are announced on September 16 at the Microsoft Theater in LA.
A few years ago, winning an Emmy would have been seen as a nice endorsement of a show but little more. These days, however, it has taken on added significance for a couple of reasons.
The first is that the quality of TV drama has risen so rapidly. Winning an Emmy now really is an impressive achievement, and in some categories is not really that different to winning an Oscar. The second is that it is increasingly difficult to gauge the success of a show purely on the basis of its ratings (in the case of SVoD shows, there are no ratings).
So racking up Emmys is a way of alerting the industry to the quality of a show, something that probably converts into business at Mipcom, the first major programming market to follow the Emmy ceremony.
So which shows caught the eye in this year’s nominations? Well, it’s no real surprise to see HBO’s Game of Thrones is out in front with 23 nominations. Such is the quality and ambition of the show that the only thing likely to stop it winning awards this year is that it secured a record-breaking 12 Emmys last year, from 24 nominations.
Awards judges, sometimes deliberately, sometimes subconsciously, have a tendency to steer away from previous winners to make sure that everyone gets a fair share of acclaim.
At this stage, the biggest threat to HBO’s hit series comes from the FX camp, with The People vs OJ Simpson: American Crime Story securing 22 nominations and Fargo securing 18.
Netflix’s House of Cards secured 13 nominations but the biggest snub of the year went to the subscription VoD platform’s other flagship show Orange Is The New Black, with just one nomination.
The Night Manager was a huge hit on BBC1 in the UK but a modest performer on AMC in the US. However, the Emmys have rectified that situation slightly by granting the show 12 nominations.
After these shows, there is a huddle of titles securing multiple nominations, including Downton Abbey (10); All The Way and American Horror Story: Hotel (both eight); Better Call Saul and Roots (both seven); Mr Robot, Penny Dreadful and Sherlock: The Abominable Bride (all six); The Americans and Ray Donovan (both five); American Crime, Crazy Ex-Girlfriend, The Good Wife, Homeland, The Knick and The Man in the High Castle (all four); and Empire, Gotham, Luther, Masters of Sex, Narcos and Vikings (all three).
Of course, some categories are more prestigious than others. So it’s interesting to note that USA Network’s Mr Robot made its way on to both the Outstanding Drama series category and the Outstanding Writing for a Drama Series category (Sam Esmail).
The same is true for The Americans, which has been nominated for Emmys before but not usually in the most prestigious categories. Perhaps this is a sign that 2016 is the show’s year to come out on top. Worth noting also is that it is another FX series – evidence of a cable channel firing on all cylinders creatively.
The Outstanding Writing for a Drama Series category throws up another couple of interesting points. One is that it has included Marti Noxon and Sarah Gertrude Shapiro’s UnREAL, which airs on Lifetime.
This is quite an achievement given that the show didn’t really feature anywhere else in the Emmys list. The other is that two of the nominations are for writers of shows that are ending: Julian Fellowes’ Downton Abbey and Robert and Michelle King’s The Good Wife. That might be enough to swing votes their way.
The Outstanding Limited Series category is a face-off between American Crime, Fargo, The Night Manager, The People vs OJ Simpson and Roots. Once again we can see a decent level of diversity here both in front of and behind the camera. American Crime’s inclusion is a welcome nod for an ABC series that has been welcomed by critics but not done too well in the ratings.
As is evident from the above listings, the only serious non-US competition for Emmys comes from the Brits. The Night Manager and Downton Abbey are the UK’s frontrunners to win Emmys, but there were also decent showings from Penny Dreadful, Luther and Sherlock: The Abominable Bride.
With War & Peace picking up a music nomination, the BBC secured a total of 22, which is more than most. It’s also worth noting that Showtime’s US adaptation of Shameless picked up two comedy nominations.
Looking more broadly at the scripted comedy categories, there were three top performers: HBO’s Veep with 17 noms, HBO’s Silicon Valley with 11 and Amazon’s Transparent with 10. Overall, the Emmys were pretty good for the major SVoD platforms, with established shows like House of Cards and Transparent the strongest performers.
Despite Man In The High Castle attracting four, it looks like Amazon came out just behind Netflix, which secured a smattering of nominations for its Marvel-based shows, Narcos, Bloodline and Sense8.
Cable channel AMC picked up a total of five nominations related to its Walking Dead universe and will take pleasure in the success of The Night Manager (which it aired) – but overall the network can expect a quiet year at the Emmys.
Other shows to score at least one flavour of Emmy nomination included 11.22.63, Bates Motel, Black Sails, Horace & Pete, Minority Report, Outlander and Vinyl.
The Oscars would do well to take note of the fact that the Lead Actor in a Limited Series category includes three black actors out of six, though on this occasion Idris Elba, Cuba Gooding Jr and the superb Courtney B Vance may find that Bryan Cranston’s impressive performance in HBO’s Lyndon B Johnson biopic All The Way proves hard for the Emmy judges to overlook. Black actress Kerry Washington also impressed in Confirmation and Viola Davis (How To Get Away With Murder) and Taraji P Henson (Empire) achieved nominations for Lead Actress in a Drama.
At ABC, the story of 2015/16 is that established titles continued to thrive but new ones didn’t really catch on. The highest rating shows (in this order, based on 18-49 viewing) were Modern Family, Grey’s Anatomy, Scandal, The Goldbergs, The Middle and How To Get Away With Murder. Of these, the newest is HTGAWM, which has just ended its second season. Grey’s Anatomy, by contrast, has just completed its 12th season.
This year’s figures show the importance of producer Shonda Rhimes to the network, since three of these titles come from her stable. But they also suggest that ABC cannot be complacent on this front.
HTGAWM has seen its audience fall from around 14 million when it launched two years ago to five million at the end of the current run. That suggests it will need to start turning things around to survive beyond season three. Similarly, Rhimes’ latest show The Catch has failed to deliver for ABC, ranking 17th among all scripted titles at time of writing, but ABC saw enough promise to renew it for a second season nonetheless.
Of the new shows that came into the ABC schedule last autumn, the one that made the most noise was Quantico. The show started well and secured a renewal but has seen its audience slide across the season. Most worryingly for ABC there was no last-episode uplift – a common trait with dramas as audiences tune in to see how things resolve. This doesn’t augur well for the second season, which will kick off without much momentum. The biggest flops of the year were Wicked City and Of Kings & Prophets (which should make networks shy of biblical stories for a while).
Over at NBC, the top six (18-49s) were Blindspot, Chicago Fire, Chicago Med, Law & Order: SVU, Chicago PD and Superstore. Four of these are from Dick Wolf, NBC’s equivalent of ABC’s Rhimes.
Wolf’s success aside, Blindspot is undoubtedly NBC’s big success story this year. While it didn’t achieve the highest absolute ratings on the channel, it did come out number one among 18-49s. True, ratings for the back half of the series are some way down on the show’s strong debut — but they have stayed pretty consistent.
The Blacklist didn’t make the top six but it would have been if we were looking at total viewers. The show, starring James Spader, is now a scheduling stalwart having finished three seasons and can be relied on to have a solid fourth season too. Grimm only ranked as the 14th best show but still secured a sixth-season renewal.
Of the network’s other new shows, Jennifer Lopez vehicle Shades of Blue had a decent first year, with its audience stabilising and starting to rise in the second half of the season. Disappointments included Game of Silence, The Player and Truth Be Told.
The ratings on CBS are significantly higher than those on ABC and NBC, when viewed in totality. The top six in the 2015/16 season were The Big Bang Theory, NCIS (both juggernauts), Life in Pieces, Criminal Minds, Scorpion and NCIS: New Orleans, although it’s worth noting that numbers seven to 10 (Mom, Supergirl, 2 Broke Girls and Mike & Molly) would have fared well on the other networks.
Stability has been key to CBS’s success, with The Big Bang Theory, NCIS and Criminal Minds all extremely long-running series. The latter two have also spawned successful spin-offs in the shape of NCIS: New Orleans, NCIS: LA and Criminal Minds: Beyond Borders.
In terms of new shows, the big success of the year has been the new comedy Life in Pieces. It benefited from being scheduled after The Big Bang Theory — but even so its performance has been excellent. So it’s no surprising that, at time of writing, it has just been renewed for a second season by CBS.
Another show that tends to go under the radar internationally but is doing a great job for CBS is Scorpion, which just completed season two. The show, which is about a group of computer experts who tackle high-tech threats to the US, hasn’t received especially good reviews. But its ratings are as good as most dramas on the US networks, which explains why it has also been renewed.
CBS’s new dramas have been more problematic. Limitless started off well but has drifted badly in the second half of its first season. Within the next few days it could find itself axed, a situation that would have been unthinkable back in the autumn. Also struggling is another movie spin-off, Rush Hour, which is right at the bottom end of the CBS ratings this season.
Supergirl also ran out of steam in the second half of its debut run, but has been renewed for a second season as part of a deal that sees the show move to The CW, where it will probably fit in nicely alongside top-rating shows like The Flash and Arrow.
And then there is Fox, whose top six scripted shows in terms of 18-49s are Empire, The X-Files, The Simpsons, Family Guy, Lucifer and Gotham. The success of Empire has been well documented while the revival of The X-Files proved to be a good idea. Lucifer is one one of the top performing new series although, like many of its contemporaries, it saw a significant decline in its later episodes. However, it still managed to secure itself a renewal from Fox.
Also worth mentioning is Rosewood. Although the show doesn’t make the top six in terms of 18-49 ratings, its headline audience of 4.88 million means it is actually the third highest show in terms of total viewers. Echoing Life in Pieces, the show was boosted by airing after Empire but it has held up pretty well. After a mid-season slump it is bouncing back and has secured a renewal.
So now we move into Upfronts season, the time of the year when the networks announce new programmes.
The volume of renewals means there aren’t many berths available for new shows. But the networks should keep one thing in mind: with series like Empire, Rosewood, Lucifer, Blindspot, The Goldbergs, Life in Pieces and Scorpion doing well, maybe they should focus more on original ideas than movie-to-TV extensions, which aren’t doing especially well.
It’s very much in vogue to talk about the quality of scripted series coming out of HBO, Showtime, AMC, FX, Netflix and Amazon. But this week let’s raise a glass to Starz, which has picked up Golden Globe nominations for two dramas: Outlander and Flesh and Bone.
When Starz made its first meaningful move into original production with Spartacus: Blood and Sand, it didn’t look like it would be a contender for industry gongs. But under the leadership of Chris Albrecht and Carmi Zlotnik, the US channel has really raised its game – delivering shows like Power, Black Sails and, coming in 2016, The Girlfriend Experience – as well as the above-mentioned series.
Outlander, based on the novels by Diana Gabaldon, is produced by Sony Pictures Television and Left Bank Pictures and was developed for TV by Ronald D Moore. Moore also heads a writing team that, in season one, included five credited writers (Moore, Toni Graphia, Ira Steven Behr, Anne Kenney and Matthew B Roberts).
Moore, who wrote the opening two episodes of season one, is still just 51. But his extensive writing credits include Star Trek: The Next Generation, Battlestar Galactica and Syfy series Helix. He was also reported to be working on a TV reboot of movie A Knight’s Tale for ABC.
Flesh and Bone, meanwhile, is an eight-part miniseries about the dysfunctional but glamorous world of ballet. Created by Moira Walley-Beckett, it started airing on Starz on November 8 and is currently five episodes through its one and only season. Walley-Beckett’s career to date has seen her win a Primetime Emmy for her work as a writer on AMC’s Breaking Bad. She was also a writer-producer on ABC’s short-lived period series Pan Am.
Elsewhere, fans of Fox thriller 24 will be delighted to hear that the show’s star Kiefer Sutherland is to headline a new ABC series entitled Designated Survivor. The drama, which has been ordered straight-to-series, focuses on a junior US cabinet member who is unexpectedly appointed president after a huge attack kills everyone above him in the line of succession. The production company behind the show is Mark Gordon Co Studios (Quantico) and the writer will be David Guggenheim.
Guggenheim’s major credits to date are movies – most notably the Denzel Washington/Ryan Reynolds thriller Safe House. He is also working on a sequel to Safe House and a new instalment in the cult Bad Boys franchise. The drama is ABC’s first new scripted series for the 2016/17 and follows on from a decent showing for Quantico.
If this is the golden age of TV drama, then one has to ask why so many old movies and TV series are being revived. Still, it’s good news for writers. The latest beneficiary is Javier Grillo-Marxuach, a former Lost writer (seasons one and two) who was been signed up to write a reboot of NBC’s cult series Xena: Warrior Princess.
The chances of Xena getting into production seem pretty good for a couple of reasons. Firstly, because of the current trend towards action-adventure shows with female leads. Secondly, because the show is popular internationally, suggesting a successful reboot could be a money-spinner for NBC’s distribution division.
Another show to secure a nomination at this year’s Golden Globes is Fox’s ratings hit Empire. Unsurprisingly, Fox has asked the show’s co-creator Lee Daniels to come up with a follow-up series. Daniels, who is currently casting the pilot, is co-writing the new series with Tom Donaghy.
Although the programme doesn’t yet have a title, it will follow the fortunes of a girl group hoping to make it in the music business. Donaghy started his career as a playwright but, like many of his peers, is now active in TV. Credits before now include The Whole Truth, Without a Trace and The Mentalist.
Another project in the news this month is Lookout Point’s Parisian fashion drama The Collection. Set in the aftermath of the Second World War, the eight-hour show has been picked up by Amazon and will be written by Oliver Goldstick. Goldstick’s credits include Desperate Housewives, Ugly Betty and, notably, Pretty Little Liars (PLL), for which he has written 30 episodes. He also co-created the short-lived PLL spin-off Ravenswood with I Marlene King and Joseph Dougherty.
One project in search of a writer is AMC’s new adaptation of Joe Hill horror novel NOS4A2. The story centres a young woman with an uncanny talent for finding lost things – a gift that is gradually destroying her mind. She encounters Charlie Manx, who abducts children in his 1938 Rolls-Royce Wraith and sucks their souls to keep himself young. The licence plate on the Rolls (NOS4A2) gives you a clue as to what kind of character he is.
This summer, critics couldn’t decide whether M Night Shyamalan and Chad Hodge’s 10-part mystery-thriller Wayward Pines qualified as a hit. But the show’s host network Fox has now answered that question by giving the production a second season.
Fox Broadcasting Company’s entertainment president David Madden said: “Wayward Pines was a huge hit for us. We were absolutely blown away by the mysterious and surprising world that Night and his team created, and the twisting-and-turning storytelling that drew viewers in from day one. Season two is going to take the suspense, the vision of the future and the haunting character drama to whole new levels.”
A same-day audience of three to four million wasn’t especially impressive. But Fox has crunched the numbers and come up with the following analysis: “Season one of Wayward Pines ranked as summer 2015’s number-one broadcast scripted series among adults 18-49, averaging a 2.2/8 in the key demo. The series – about a Secret Service agent on a mission to find two missing federal agents in a sleepy town, and the shocking results of his investigation – ranked among summer 2015’s top 10 broadcast programmes overall among adults 18-49. It earned a multiplatform average audience of 9.4 million, which represents a +145% increase versus its Live+Same Day audience – the largest multiplatform lift versus Live+Same Day ever for a Fox drama.”
According to Fox, the second season will pick up in the wake of season one, when a new arrival in Wayward Pines finds himself in the middle of a serious rebellion, as the residents battle over how to preserve the endangered human race. Season one stars Matt Dillon and Toby Jones will not return, so there will be a lot of interest in who gets cast as the new lead.
This week has also seen renewals for Showtime’s Homeland and The Affair. This confirms our hunch that Homeland had done enough in season five to warrant a renewal, though the announcement has come later than expected.
Season five is finishing strongly, which appears to vindicate the decision to move central character Carrie (played by Claire Danes) to Berlin. Co-creator Alex Gansa has suggested that this could be the model going forward, with each season placing Carrie in a new geographic location.
There was also a renewal this week for NBC’s The Blacklist, which stars James Spader as a criminal mastermind working with the FBI. The drama, which will go into season four, averages a same-day of audience of around seven million. It’s also popular internationally, featuring on networks such as Sky Living and TF1 in France.
The timing of the announcement makes this an early renewal for the show, and creator Jon Bokencamp says he has known about The Blacklist’s return for a while. Speaking in a podcast interview this week, he commented: “We knew about that a while ago. It’s one of those things that’s hard to keep quiet. But yes, we’re renewed through to the fourth season. Hopefully we don’t tank that out – we’ve got a lot of story to tell.”
Back at Fox, one show that is certain to get a renewal is breakout hit Empire, which is now in the middle of its second run. However, the new season has been bumpy ride, akin to the ‘difficult second album’ syndrome. After opening to 16 million viewers (22.5 million when you add in the multiplatform/time-shifted figures), the music industry-based show dropped as low as 9.2 million (same-day rating) for episode nine. Episode 10 saw a bounceback (11.8 million) but the underlying critical narrative suggests the show has lost its way slightly.
The biggest complaint seems to be that this year’s plots and characters lack authenticity, with USA Today summing it up like this: “On social media, fans are griping about ever-more-outrageous storylines (‘cartoon garbage,’ sniffed one Twitter user), such as frantic efforts in (one) episode to find and dig up the body of Vernon, who was accidentally killed in last season’s finale, and park his decomposed corpse in a car to intimidate an attack-dog prosecutor. There’s pushback on the show’s heavy dose of celebrity cameos, from Chris Rock to Ludacris.”
Having said all this, Empire is still the strongest US network show by far. To put it in perspective, its rating among the all-important 18-49 demo far exceeds that of new shows such as Blindspot, Limitless and Quantico. So a renewal is as certain as anything can be in this life.
A likely beneficiary of its success is Rosewood, which airs straight after Empire. Having seen its ratings boosted as a result of Empire’s strong lead-in, it’s another show that is pretty much guaranteed a return.
Continuing on this topic, this week provided a superb example of the impact that a strong lead-in can have on a title’s ratings. Until recently, AMC’s Into the Badlands had been benefiting from airing directly after The Walking Dead. But with the latter now on a winter break, Badlands has seen its audience plummet. Same-day ratings for the first four episodes of the show go like this: 6.4 million, 4.8 million, 5.2 million, 2.4 million – the latter figure being the first week in which it didn’t have a boost from The Walking Dead.
This isn’t necessarily a problem for Badlands. It’s possible that, without TWD in the schedule, fans of the futuristic martial arts show have decided to record it and watch it another time (maybe earlier the next day). The real test of whether the show has managed to build a loyal audience will come with Live + 3 Day or Live + 7 Day ratings. That said, even at its new lower level, it’s still a strong shout for a renewal.
Moving away from renewals, this week saw the launch of a show that may soon be talked about as the latest Scandinavian hit.
Gasmamman (Mother Goose) is being described as Sweden’s answer to Breaking Bad. The story follows a mother-of-three who takes over the family’s illegal marijuana business after her husband is shot in a drug deal gone wrong.
The Endemol Shine-produced show is currently airing on pay TV platform C-More and will shift to Kanal 5 in spring 2016.
In an interview with Reuters, lead actress Alexandra Rapaport said: “When we pitched this we talked about it being a kind of Erin Brockovich meets Breaking Bad. The Bridge and The Killing were big inspirations for us. But I think we also add some humour to it, which is why we compare it to Breaking Bad.”
The Reuters report says the show’s producers plan to make four seasons in total.
In the US, an organisation called GLAAD – formerly the Gay & Lesbian Alliance Against Defamation – has spent the last 20 years tracking the number of lesbian, gay, bisexual and transgender (LGBT) characters on television.
Each year it uses the data generated to create a comprehensive report entitled Where We Are On TV. The 2015/2016 edition of the report came out this week and shows that the TV industry is moving in the right direction – but still has a lot of work to do.
As GLAAD CEO and president Sarah Kate Ellis points out, fair representation of the LGBT community on TV isn’t just about the number of LGBT characters in TV dramas, but also how they are portrayed: “As each of us lives at the intersection of many identities, it’s important that TV characters reflect the diversity of the LGBT community,” she says. “
It’s not enough to include LGBT characters; writers must craft those characters with thought and care. They must reject outdated stereotypes and avoid token characters that are burdened with representing an entire community through the view of one person.”
So this week we’re taking a look at which shows and writers are making the most headway towards LGBT equality.
US broadcast networks (ABC, CBS, The CW, Fox, NBC) GLAAD’s figures show that out of 881 regular characters on 118 primetime scripted series, 35 were LGBT. This is up from 32 characters last year. GLAAD counted an additional 35 recurring LGBT characters in the same pool of shows.
Gay men make up a slight majority, though lesbian representation is up 5% year-on-year to 33%. Perhaps surprisingly given the prominence of the transgender agenda, “there are currently no regular or recurring transgender characters expected on broadcast networks’ primetime scripted programming.”
The organisation singles out Fox hit Empire as one of the best performers in terms of its LGBT character credentials. With a writing team headed by Danny Strong and Ilene Chaiken, season two sees gay musician Jamal Lyon “taking on more of a business role as the head of the family music label, Empire,” says GLAAD. “Tianna, a bisexual artist signed to the label, was upped to a series regular this year. Several other gay, lesbian and bisexual characters will recur (during season two).”
There are also plaudits for Fox’s new show Rosewood, with a writing team headed by creator Todd Harthan: “While crime procedurals have long been a place where LGBT characters were most often included as villains or victims, this season introduces lesbian couple/pathology experts Pippy and TMI.”
GLAAD also singles out CBS sci-fi drama Person of Interest, created by Jonathan Nolan, for the burgeoning lesbian relationship between hacker Root and assassin Shaw. It also finds encouragement in the superhero genre, at least on TV – film is a disappointment by comparison.
“Arrow (developed by Greg Berlanti, Marc Guggenheim and Andrew Kreisberg for The CW) will resurrect bisexual heroine Sara Lance before moving her over to mid-season series DC’s Legends of Tomorrow as a lead character, the White Canary. Her former girlfriend Nyssa will continue to recur on Arrow, and the series will add the recurring gay character Curtis Holt. ABC’s Marvel’s Agents of S.H.I.E.L.D (showrunners Jed Whedon, Maurissa Tancharoen and Jeffrey Bell) will introduce recurring gay character Joey Gutierrez, who has the power to melt metal.”
US cable networks The number of LGBT characters on scripted cable programmes continues to rise, says GLAAD, with 84 regular characters, up from 64 last year. This trend will presumably continue with the growing number of scripted shows being commissioned and the industry’s increasing awareness of the diversity debate.
Recurring characters were also on the rise, up to 58 from 41 previously. Echoing the situation in broadcast TV, gay men dominate, though in this universe lesbian representation dropped 3% to 22%. “Three characters are transgender,” says GLAAD. “Unfortunately one of these is the now-deceased Angelique on Showtime’s Penny Dreadful (created/written by John Logan).”
According to GLAAD, “the teen- and young adult-skewing ABC Family and premium channel Showtime are set to be the most LGBT-inclusive networks on cable, with each network boasting 18 regular or recurring characters (including all of the transgender characters counted on cable).
“The returning drama The Fosters, which follows a lesbian couple raising their biological, foster and adopted children, is ABC Family’s most inclusive show, with seven LGBT characters including trans teen Cole – played by transgender actor Tom Phelan.” The Fosters was created by Bradley Bredeweg and Peter Paige, who continue to be directly involved in the writing of the series.
GLAAD praises ABC Family for upcoming series Shadowhunters (which has Ed Decter as showrunner) and Recovery Road, in which gay actor Daniel Franzese will play a gay man struggling to combat an addiction. There is also a positive report for AMC’s The Walking Dead, which has a gay couple and a lesbian in its extended pool of characters. “The new season will also introduce Paul ‘Jesus’ Monroe, a gay character from the comic books series that provides the show’s source material.”
Other shows to get the GLAAD stamp of approval include Starz pirate drama Black Sails, where it is revealed that lead character James Flint has previously been involved with a man. Created by Jonathan E Steinberg and Robert Levine, the show also features a number of other bisexual characters.
USA Networks’ critically acclaimed new series Mr Robot, created by Sam Esmail, boasts “several LGBT characters,” says GLAAD, “including cybersecurity firm CEO Gideon, Evil Corp’s VP Tyrell, and hacker/activist Trenton.” It’s a similar case with BBC America’s Orphan Black (created by Graeme Manson and John Fawcett), which depicts a lesbian romance between Cosima and Shay, and FX’s American Horror Story: Hotel, in which Lady Gaga does her bit for the LGBT community by playing a character engaged in a same-sex relationship.
In terms of where the sector could do better, GLAAD wants to see “more racially diverse characters.” Of 142 regular and recurring LGBT characters analysed, 71% are white, which is a bit high for a country with the USA’s multiracial profile.
Streaming content providers
This is the first year GLAAD has analysed Amazon, Hulu and Netflix. Due to the lack of defined seasons on such platforms, it looked at shows that premiered or are expected to premiere between June 1, 2015 and May 31, 2016. Across 23 series, GLAAD found “43 regular LGBT characters and an additional 16 recurring characters.” Lesbians had a higher representation than on broadcast and cable, while the transgender community is represented by four characters.
“Notably, two of these four characters are leads: Maura in Transparent and Nomi in Sense8,” says GLAAD. “Transparent show creator Jill Soloway also paid special attention to ensuring diversity both in front of and behind the camera by employing trans writers, crew members and several trans actors in recurring roles.”
Other LGBT-inclusive Amazon series include Mozart in the Jungle and Red Oaks, while Hulu’s most LGBT-inclusive series, interestingly, are imported British soaps Coronation Street and Hollyoaks. “The two series include 10 LGBT characters between them, with Hollyoaks, notably, including a gay character who is HIV-positive. Hulu also airs Australian series Neighbours in the US, which includes two gay characters.”
Hollyoaks works with the Terence Higgins Trust charity on its HIV storyline. The show’s executive producer Bryan Kirkwood says: “We have wanted to tell this story for a long time and while HIV can affect anyone, infection rates in young gay men remain too high and to ignore that is to do the gay audience a disservice. Hollyoaks is in a unique position to talk directly to millions of young viewers and if the safe-sex message is not coming through education, we can help with that on screen and through multiplatform support.”
According to GLAAD, Netflix series Orange is the New Black (created by Jenji Kohan) “boasts more LGBT regular and recurring characters than any other scripted programme.” Other LGBT-inclusive Netflix shows cited include Sense8, Grace and Frankie, Degrassi: The Next Class, The Fall, Bojack Horseman, House of Cards, Master of None, Unbreakable Kimmy Schmidt and Wet Hot American Summer: “We’ll also be keeping an eye on upcoming series Jessica Jones,” says GLAAD.
Aside from the lack of racial diversity in LGBT portrayal, GLAAD noted that people with a disability are underserved. It also called for better representation of the HIV issue (keeping in mind the only HIV-positive character in the report is from a UK show).
GLAAD’s Ellis concludes: “We’ve witnessed tremendous progress, but there is still work to be done. We will continue to applaud networks and streaming services telling (LGBT) stories – and hold their feet to the fire when they don’t.”
Footnote: There isn’t anything like the GLAAD report internationally. But there are good examples of LGBT-inclusive shows. A classic case from the UK is the Russell T Davies 2015 trilogy Cucumber, Banana and Tofu. Also worth noting is the Norwegian drama Eyewitness, distributed internationally by DRG, and CBC’s Schitt’s Creek – a mainstream show that includes a pansexual character. Another standout example (mentioned briefly above) is Allan Cubitt’s The Fall, in which Gillian Anderson portrays bisexual detective Stella Gibson.
Now that we are deep into September, new dramas, and new seasons of established series, are being launched on a pretty regular basis. It is, however, becoming increasingly difficult to identify winners and losers on the basis of their opening ratings.
As we’ve noted previously in this column, so many people are now time-shifting dramas, or watching them on non-traditional platforms, that it can take three or four weeks for the dust to settle and consistent viewing patterns to establish themselves.
The fragmentation of viewing audiences partially explains why so many dramas in the past week or two have opened with comparatively low ratings. In the UK, new series of Downton Abbey and Doctor Who both underperformed on opening night, while in the US the majority of new and returning shows delivered unspectacular ratings.
Gotham, NCIS: LA, Castle, Minority Report and Scream Queens were all at the low-to-moderate end of expectations (although host network Fox is pretty confident that Gotham will recover once time-shifted viewing is factored in).
There are exceptions, of course. Some shows are so hot that people just aren’t willing to delay their viewing enjoyment. The stand-out example of this is Fox’s Empire, which attracted 16.2 million viewers and a 6.7 rating among adults 18-49 for its season two premiere. That figure is the show’s second-best rating ever and confirms Empire’s status as the network show to beat. To put it in context, the only entertainment series on US TV to have drawn a higher 18-49 rating for an episode this year is AMC’s The Walking Dead, which returns to the airwaves on October 11.
Empire is such a strong performer that it was used by Fox as the lead in for a new pathology-based drama called Rosewood, starring Morris Chestnut. Rosewood did pretty well as a result but the early critical reviews of the show suggest that it will take more than a scheduling favour from Empire to sustain it. Remember, this is the age of ultimate choice where nothing will make an audience watch a show if they aren’t convinced.
From Fox’s perspective, the beauty of Empire is the way its audience grew so strongly in the first season. Having started with just under 10 million viewers for episode one, it rose to 13-14 million by the middle of the first season. By the end, it had leapt to 17.62 million.
The lesson is that you don’t have to hit extraordinary heights with the first episode. But you do need two things: firstly, a big enough launch platform to generate momentum and, secondly, a strong enough story to gather new fans as you progress.
So which of this year’s new shows stand a chance of replicating Empire’s success? NBC’s Blindspot has had an encouraging start. After a good early buzz over summer, it launched with 10.6 million viewers and a 3.1 rating among 18-49s. Given everything we’ve previously said about alternative viewing patterns, that’s a pretty good performance. If there is a challenge for Blindspot it will be to sustain the strength of its opening premise: a naked woman is found in a bag in Times Square, her memory gone but her body tattooed with clues to future crimes. This is exactly the kind of show that will either deliver on its promise or lose steam after three or four episodes if viewers tire of the central premise.
CBS’s Limitless also rated quite well (9.8 million viewers at 10pm, a 1.8 rating). Based on the movie of the same name, it was helped by the fact that it featured Bradley Cooper, the star of the film. An IMDb rating of 8.5 suggests that the show’s early adopters quite like the show, so it will be interesting to see how it fares once Cooper is no longer involved in the story. For those not familiar with Limitless, it centres on a drug that enables users to unlock 100% of their brain functionality. In the CBS TV series, this is employed as the basis of an FBI procedural storytelling format.
The dynamics around new dramas are usually volatile, because it’s not always clear what factors will motivate viewers to tune in. But things are generally more predictable for established franchises such as Downton Abbey, which returned to ITV in the UK on Sunday September 20 at 21.00.
After the loyalty demonstrated by the audience over the past five years, the show would probably have expected to see pretty strong ratings as Downton-starved fans rushed to enjoy what will be the last season ever. Instead, season six of Downton Abbey delivered its lowest overnight audience ever: 7.6 million. This is well down on last year’s opening episode, which brought in 8.4 million. The last time Downton dropped this low was for its first ever episode in 2010 (7.7 million).
Low, of course, is a slightly unfair word to use. Downton still beat all its rivals and also massively out-performed ITV’s slot average (35.5% share against 21.3%). Still, it does raise the question where did the Downton fans go? There are a few possibilities.
Firstly, there is the time-shifting point. This opening episode was an extended 90-minute special, so audiences may have decided to bank the show rather than stay up late on Sunday night. Secondly, the promotional build-up to the series may have missed its mark – there was a lot of early PR buzz but my household still managed to miss it, despite being fans. So maybe ITV failed to get its new-series signposting right. Thirdly, the audience may have been put off by the fact that this has already been set up as the final season. While that may seem like a way of generating excitement, it can also have an enervating effect as audiences wonder whether it’s worth tuning in. And finally, writer Julian Fellowes may have judged the show’s sell-by date just right. Perhaps the audience is getting a little weary of Downton’s cosseted worldview and its lack of zombies.
As outlined at the start of this piece, September is when most shows start. But a few are also coming to a close after a summer run. One show that emerged from this period in good shape is OWN: Oprah Winfrey Network’s The Have and the Have Nots. The show, which follows the dynamic between the rich and powerful Cryer family and the hired help who work in their Savannah mansion, is created, written, directed and executive produced by Tyler Perry. The season three finale attracted 3.7 million viewers, making it the most watched telecast in the network’s history. It was then followed by another Tyler Perry show, If Loving You is Wrong, which picked up a healthy 2.9 million viewers. Both shows were also among the top cable performers among women.
Elsewhere, US cable network TNT has announced that it is cancelling Proof, in which a female surgeon is challenged to explore whether there could be an afterlife. Over the course of the show, she transforms from being a sceptic to a reluctant believer.
The first season of the show rated reasonably well but its audience skewed towards older demographics. This was probably the killer blow, given that TNT/TBS’s recently appointed president Kevin Reilly has talked about “sharpening the point of view and being even more adventurous in our programming choices.” Speaking at the channel’s Upfronts in May, he said: “As we expand our portfolio, viewers should expect some very daring shows, some of which will not appeal to all of our current viewers but will be a lightning rod to attract new viewers.”
Finally, Doctor Who’s ratings make for interesting reading. In the UK, the show’s new season opened with just 4.6 million viewers on BBC1, down from 6.8 million for episode one last year. But in the US, the same episode did extremely well for BBC America, delivering double-digit growth from season eight across all key demos in live-plus-same-day ratings. The premiere episode ranks as Doctor Who’s biggest season premiere ever in the adult 18-49 demo, which nearly doubled the season eight average. The debut also saw increased social engagement and reigned as the most social drama of the week leading up to the premiere.
The US airing delivered two million total viewers, 1.1 million of which were adults 18-49. “Doctor Who is unlike anything else on television, a storied franchise that is as fresh and contemporary as ever, with brilliant writing and superb performances,” said Sarah Barnett, president of BBC America. “New and returning Doctor Who fans tuned into the live premiere in record numbers.”
The TV industry is constantly being told that it is out of touch with the teen audience, which now spends so much of its leisure time snacking content on mobile or immersed in social media. So it was interesting to see which scripted shows came out on top at the Teen Choice Awards, a Fox TV event that invites teens to vote for their favourite stars and shows across a range of categories.
In the Best TV Drama category, the winner was Pretty Little Liars, with Castle, Empire, The Fosters, Grey’s Anatomy and Nashville named on the shortlist.
In the Breakout Show category, the winner was Empire, with Blackish, iZombie, Jane the Virgin and Younger also nominated (also on the latter shortlist was Becoming Us, an ABC Family reality show with a transgender theme).
So this week we’ve decided to give a shout-out to the writers and creators who seem to have their fingers on the teen pulse.
Pretty Little Liars In previous columns we’ve commented on the huge social media following established by this ABC Family show, created by I Marlene King. King is already committed to two more series of PLL (which is based on books by Sara Shepard) and also made one series of a spin-off called Ravenswood.
Going forward, she has been signed up to adapt Danielle Vega horror novel The Merciless as a film. She is also developing another Shepard novel, The Perfectionists, as a TV series for ABC Family.
Castle is a crime drama that has been airing on ABC since 2009. Now up to 151 episodes, it was created by Andrew Marlowe and focuses on the love-hate relationship between a homicide detective and a mystery novelist. Marlowe cut his teeth on movies such as Air Force One, End of Days and Hollow Man and is now developing new ideas with ABC Studios. In 2014, the prime responsibility for Castle shifted to David Amann, whose own track record includes Three Rivers, Without a Trace, Crossing Jordan and The X-Files. Amann will not, however, be involved with season eight of Castle, with no news yet about his replacement as showrunner.
Empire is arguably the biggest breakout series of the last year. A Fox show that focuses on a hip-hop music business, it was created by Lee Daniels and Danny Strong. There was big news regarding Daniels this week, with reports that he is writing, directing and executive producing a new music drama pilot for Fox called Star.
Fox was impressed enough by Daniels’ idea to order a pilot based solely on his outline. Fox TV Group chairman and CEO Dana Walden said of Star: “Like Empire, it’s set against the backdrop of the music business but from a different perspective.”
Another ABC Family show, The Fosters follows the lives of the Foster family, consisting of an interracial lesbian couple raising a blended family of biological, adopted and foster children. Now in its third run, it was created by Peter Paige and Bradley Bredeweg, who still write the opening and closing episodes of each season (the rest being penned by a large writing team).
Paige is actually better known as an actor, having appeared in series such as Queer As Folk, Will & Grace, Grey’s Anatomy and Bones. He and Bredeweg teamed up again as writers on Tut, the Spike miniseries, alongside fellow writer Michael Vickerman.
ABC’s country music drama was created by Callie Khouri, who won an Academy Award in 1992 for the Thelma & Louise screenplay. Until Nashville, she mostly worked in movies, writing films such as Something to Talk About, Divine Secrets of the Ya-Ya Sisterhood and Mad Money.
Recently Khouri has shared responsibility for key episodes with Dee Johnson, whose many credits include Melrose Place, Commander in Chief and The Good Wife. She was also showrunner on season two of Boss.
This long-running ABC series is the creation of Shonda Rhimes – click here for DQ’s in-depth look at the showrunner’s prodco ShondaLand.
Blackish is a sitcom that centres on an upper-middle-class African-American family. Recently renewed for a second season, it was created by Kenya Barris, whose previous credits include The Game, I Hate My Teenage Daughter and Are We There Yet?.
Current projects in the works from Barris include the movie Barbershop 3 and an untitled ‘girl’s trip’ project for Universal that he will co-write with Tracy Oliver, his partner on Barbershop 3.
This CW series was developed by Rob Thomas and Diane Ruggiero-Wright and is based on a comic book series of the same name. Thomas has been writing and creating series in the teen/young-adult space for two decades, with credits including Dawson’s Creek, Veronica Mars and 90210.
Ruggiero-Wright also worked on Veronica Mars and counts Dirty Sexy Money among her credits. iZombie recently secured a second-season pick-up.
Jane the Virgin Jane the Virgin was created by Jennie Snyder Urman, whose recent credits include Emily Owens MD, 90210 and, a few years back, Gilmore Girls.
Younger is a TV Land series about a 40-year-old recently divorced mother who gets a makeover and passes herself off as a 26-year-old. Recently commissioned for a second season, it was created by Darren Star, whose credits include Melrose Place, Beverly Hills 90210 and Sex and the City – all of which he also created.
So what can we learn from the tastes of US teenagers? Well, the really inspiring thing to note is the emphatic support for diversity in this mix. Black showrunners, gay showrunners and feminist showrunners all appear in the above list, writing about the widest possible array of characters. The clear message is that US teens are running ahead of the curve in the pursuit of diversity and social equality.
As AMC prepares to launch Fear The Walking Dead, Michael Pickard looks at the trend towards producing spin-offs of popular shows and examines why such series are so popular with television networks.
In the increasingly congested world of television drama, it takes a brave commissioner to back a slate of original series for fear they might crash and burn without ever breaking into the public consciousness.
So what better way to offer new programming and give viewers more of what they like than to build on an existing hit series?
Reboots, re-imaginings, prequels, sequels and companion series are nothing new, of course.
Among the biggest successes was The Bionic Woman, a follow-up to 1970s series The Six Million Dollar Man, while Star Trek: The Original Series led to countless continuations, including The Next Generation, Deep Space Nine, Voyager and Enterprise.
Stargate SG-1 led to Infinity, Atlantis and Universe; Doctor Who branched off with Torchwood; and, more recently, The Vampire Diaries spawned The Originals, Pretty Little Liars moved to Ravenswood and Once Upon a Time led to Once Upon a Time in Wonderland.
In Britain, the success of time-travelling police drama Life on Mars led to hard-hitting detective Gene Hunt getting his own series in follow-up Ashes to Ashes, while Inspector Morse was followed by sequel Lewis and prequel Endeavour.
Perhaps the most famous examples of spin-offs are the long-running procedural series that have been reworked for multiple locations across the US. CSI: Crime Scene Investigation, set in Las Vegas, was spun off for New York and Miami, and also led to cyber-crime series CSI: Cyber.
JAG led to NCIS, which itself has had spin-offs NCIS: Los Angeles, failed pilot Red and New Orleans.
Meanwhile, another long-running series, Law & Order, led to Special Victims Unit, Criminal Intent, Trial by Jury and Los Angeles, and has been adapted in the UK and Russia.
Elsewhere, Buffy the Vampire Slayer was followed by Angel, and Chicago Fire is now part of an NBC franchise created by Law & Order’s Dick Wolf that includes Chicago PD and Chicago Med.
The list goes on – and it’s about to get even longer.
Fear the Walking Dead (FTWD, pictured top), which launches on US cable network AMC on August 23, is a “companion series” to the hugely successful zombie drama The Walking Dead, which is now entering its sixth season on the same channel.
Ahead of the spin-off’s launch, The Walking Dead creator Robert Kirkman shared his hopes for the new series in an open letter, in which he hinted that Fear will stand alone from its parent show.
“Here we go again,” he begins. “I don’t say that with the exhausted tone one might expect coming from someone embarking on a companion show while also working on the sixth season of the original. Truth be told, I would have to fill this space with exclamation points to accurately represent just how excited I am about Fear the Walking Dead. It’s so cool for me to be expanding The Walking Dead universe in such exciting and new ways.”
Kirkman, who created the comic book on which The Walking Dead is based, says the original series has always been about the characters – and the spin-off series gives him and the writing team the chance to introduce a new band of survivors in their post-outbreak world.
“These people have their own experiences and reasons to survive,” he explains. “They’re complicated, real characters who will not be dealing with the undead the same way. They’ll learn new things, they’ll find new tools, they’ll learn faster or slower. But what we end up with is a very, very different show… set in a world we love exploring as much as we’d all never want to live there.”
At a recent Television Critics Association panel to discuss the series, FTWD showrunner Dave Erickson separated the two shows further by stating that, unlike those in the original, characters the new series won’t use the term ‘walkers’ to describe the zombies.
Executive producer Dave Alpert added: “The show (The Walking Dead) in season six is different from what’s happening in season one and there were so many questions about what happened in season one that we thought it was a ripe area that wouldn’t tread on the mothership. We look at Fear as unique enough to stand on its own with characters you’d be invested in.”
With the trend for spin-offs showing no sign of slowing down, surely expanding what’s arguably the biggest show on television has to be a safe bet.
AMC certainly believes there are more stories to tell in the Walking Dead world, with FTWD already building on its six-part first season with a 15-episode second run in the works.
Another show that could get a companion series is music drama Empire. Creator Lee Daniels teased the idea when discussing the Fox series, which is preparing for its season two launch, as it is already known that he’s developing another drama about an all-girl band called Star.
Spin-off series offer fans the chance to enjoy more of their favourite television series by expanding the world in which they’re set, so long as they contain engaging characters and unique stories. They can also lead to ‘event’ crossover episodes – as is the case with Arrow and The Flash on The CW.
But if variety is the spice of life, TV networks might be wise to ensure they don’t rely on diluting their most popular franchises for fear of fulfilling the law of diminishing returns.
As John Legend becomes the latest singer-songwriter to sign up to a television drama, hot on the heels of fellow artists Timbaland and 50 Cent, Michael Pickard asks whether more will follow.
US cable channel WGN America was on song this week as it announced details of its latest original production.
Underground will tell the story of a group of plantation slaves who come together to fight for their families, their future and their freedom.
But while the straight-to-series order follows in the footsteps of other WGN original dramas, including Salem and Manhattan, the new series also followed another new trend with the addition of a key member of the creative team.
Academy Award- and Golden Globe-winning musician John Legend (pictured above) was unveiled as an executive producer on the project. Together with his Get Lifted partners Mike Jackson and Ty Stiklorius, he will oversee Underground’s score, soundtrack and all musical aspects of the series.
Earlier this year, Legend won the Oscar for Best Original Song for Glory, from the motion picture Selma, which followed the 1965 voting rights marches that took place from Selma to Montgomery under the civil rights leadership of Martin Luther King Jr.
“We are excited to join forces with WGN America and Sony and the talented team of writers and producers on this powerful project that we believe will inspire us all,” Legend said. “This series has a unique opportunity to speak to the passion and courage of those who risked it all as they raced to freedom. We are honoured to bring our creative vision to this thrilling project.”
Underground is created and written by Misha Green and Joe Pokaski, who also executive produce with writer Akiva Goldsman of Weed Road Pictures, Tory Tunnell and Joby Harold of Safehouse Pictures and Legend, Jackson and Stiklorius of Get Lifted.
It is produced by Sony Pictures Television and Tribune Studios, and is being filmed in Baton Rouge, Louisiana, for a 2016 debut.
The cast is led by Aldis Hodge, who plays Noah, a restless slave who organises a small team of fellow slaves on the Macon plantation to plan an escape. It also includes June Smollett-Bell, Christopher Meloni, Alano Miller and Jessica de Gouw, with Marc Blucas, Adina Porter, Mykelti Williamson, Amir Vann, Johnny Ray Gill, Chris Chalk, Reed Diamond, and Jussie Smollett.
“Underground depicts a raw and revolutionary chapter in the American story. We wanted an artist who could help us find the light through the darkness, and John Legend was a perfect fit,” said Green and Pokaski. “We are beyond excited to be working with John, Mike and Ty at Get Lifted. They stand without peer at the intersection of music and television – we couldn’t think of better producing partners.”
Matt Cherniss, president and general manager of WGN America and Tribune Studios, added: “We are thrilled that John Legend will lend his impressive talents to Underground, a story that chronicles the compelling journey of brave individuals whose fight for freedom still inspires us today.
“We look forward to John, Mike and Ty’s creative imprint on this series that we believe will be both provocative and captivating.”
While musical dramas are nothing new – Glee, Smash and Nashville are some of the more recent efforts – Legend joins a growing list of musicians moving into television.
Music producer Timbaland signed up as a songwriter and song producer on US network ABC’s hip-hop drama Empire, which features a mix of original and current music as it spins the story of a family that runs a music empire.
Meanwhile, Curtis ‘50 Cent’ Jackson is an executive producer on premium cable network Starz’ Power, about a New York nightclub owner who leads a double life as one of the city’s biggest drug dealers. Jackson also has a hand in the music that accompanies each episode.
It is a sign of the current strength of TV drama that artists such as Legend, Timbaland and 50 Cent are interested in working on the small screen, following a similar migration of film actors, directors and screenwriters, plus bestselling authors such as Harlan Coben.
It is also a shrewd move on behalf of the networks and producers, who can expect to sell additional show merchandise by way of series soundtracks, while the performers can also look forward to increasing interest in their back catalogue.
So can we expect more musicians to move into TV? With Kanye West linked to Underground before Legend signed on, and with Mick Jagger on board a new HBO rock drama headed by Martin Scorsese and Terence Winter, a television series could soon be as lucrative as a residency in Las Vegas.
After a year of amazing ratings success in the US and internationally, HBO’s fantasy drama Game of Thrones has now emerged as the frontrunner at the 2015 Primetime Emmy Awards.
Nominations were revealed yesterday (July 16) and the show racked up 24, including one for outstanding drama series. The next strongest showing came from FX’s American Horror Story: Freak Show, with 19 nominations. HBO’s Olive Kitteridge also did well.
Ranked by network, HBO secured the most nominations, a total of 124. Next highest was ABC with 42, just ahead of NBC and CBS (41 apiece). One of the most interesting stats was Netflix’s 34 nominations, which put it ahead of PBS and AMC. This, combined with numerous nods for Amazon’s Transparent, underlines the growing importance of SVoD platforms in the scripted space.
Games of Thrones’ huge nominations haul is, of course, no guarantee it will win any of the key categories. In the drama series section, it faces tough competition from Netflix’s Orange is the New Black and House of Cards, AMC’s Mad Men and Better Call Saul, Showtime’s Homeland and PBS’s Downton Abbey. Meanwhile, in the outstanding limited series category, the competitors are American Crime, American Horror Story: Freak Show, The Honourable Woman, Olive Kitteridge and Wolf Hall.
Among the many categories up for grabs, a particularly interesting one is best lead actress in a drama series, which includes two African-Americans, Taraji Henson for Empire and Viola Davis for How To Get Away With Murder. No black actress has ever won the category, so this is a moment when history could be made. Queen Latifah was also nominated for best lead actress in a limited series of movie (Bessie). However, she’ll have to see off tough competition such as Maggie Gyllenhaal (The Honourable Woman) and Frances McDormand (Olive Kitteridge).
There were, of course, scripted series that didn’t feature as much as might have been expected. Initial reaction suggests that shows to have been snubbed include Empire (notwithstanding Henson’s nomination for best actress), Outlander (one nomination in a music category), The Americans, Justified and Jane The Virgin. Interestingly, The Affair received no nominations despite winning Best Television Series Drama at the 2014 Golden Globes.
Still in the US, it’s getting to that point when Fox will have to decide whether to cancel or renew M Night Shyamalan’s thriller series Wayward Pines. With eight episodes down, there are only two left in the first season. It’s hard to second guess what Fox will do, because the ratings picture is complicated by high levels of time-shifted viewing. Currently, for example, the show is getting a live-plus-same-day rating of 3.3-3.4 million. But time-shifted viewing is virtually doubling that number every week. Latest reports suggest that Fox is considering a second season, set in the same world but with a new cast and characters.
Another US network summer series that looks less likely to survive is Extant, a sci-fi show that stars Halle Berry as an astronaut who returns from a 13-month solo space mission to find she is inexplicably pregnant. The first season of the show in 2014 rated worse than expected but was saved by the fact that CBS had secured a good streaming rights deal with Amazon. Now in its second season, the show’s ratings have slid still further – despite significant efforts to revitalise it. Even after time-shifted viewing is factored in it still looks like a prime candidate for cancellation. As Deadline says: “It was the lowest premiere live-plus-same-day rating for any scripted series – new or returning – so far this summer. It was also tied with a couple of ABC comedy repeats for the lowest rating for a show on the Big Four networks – original or repeat.”
The main reason for dwelling on Extant is that it is a good indication of how factors beyond ratings performance increasingly play into commissioning decisions. In this case, the involvement of Halle Berry and a secondary rights deal with Amazon were enough to save a show that would otherwise have been axed after its first run. The downside for CBS now is that it is stuck with an underperforming show for another 10 episodes. It is attempting to address Extant’s issues by moving it to a new timeslot, bringing it forward from 22.00 to 21.00 on Wednesdays.
UK broadcaster Channel 5, owned by Viacom, has just picked up seasons one and two of Rookie Blue from distributor Entertainment One for use on its digital channel 5USA. Due to launch on July 28, this could prove to be a neat piece of business, given the fact that Rookie Blue is still going strong in North America after six seasons. The show is produced in Canada and airs on Global there and on ABC in the US. For ABC, the show works well because it delivers solid ratings at acquisition rather than production prices. Season six started this month, bringing the total episode count to 72. So if 5USA does well with the earlier episodes it can look forward to a long and fruitful relationship with the show.
The show will also fit the profile of 5USA very well. Currently, the channel’s top-rated shows are Chicago PD, Longmire, Law & Order, NCIS and Body of Proof, all US crime procedurals, delivering audiences of 260,000-420,000 in 21.00 and 22.00 slots.
In terms of industry-wide trends affecting scripted, this week’s big story is that Netflix has increased its global subscriber count to 65 million, up 3.3 million on the last quarter. The US subscriber base, now 42 million, was up by 900,000 while international grew by 2.4 million to 23 million. CEO Reed Hastings called the growth “higher-than-expected” and said it was “fuelled by the strength of our original programming slate.” Dramas to have featured on the platform during the past quarter include Marvel’s Daredevil, Sense8 and the third season of Orange is the New Black.
For all its success, Netflix is moving into a challenging phase, characterised by high costs and increased competition. The company expects to spend US$5bn on content in 2016 while expenses for marketing will be nearly US$1bn. With rising costs, Hastings also said the price of subscription may increase soon.
Finally, AMC has reason to be optimistic about the prospects for its upcoming shows. According to the channel, three trailers unveiled at Comic-Con had managed to attract 24 million views on digital platforms within four days. The season six trailer for The Walking Dead drew 13.8 million, while the trailer for Fear the Walking Dead took 8.2 million.
There was also pretty strong interest in AMC’s upcoming martial arts drama Into the Badlands, which will premiere in November. This attracted 1.95 million views within three days of its release. The Walking Dead was by far the biggest winner at Comic-Con in terms of social media, securing 53% of the Share of Voice on Facebook last weekend, more than double the next highest show.
The undisputed scripted success of 2014 was Empire, a music industry-focused series that gave Fox the US’s highest-rated broadcast drama in seven years.
Starring Terrence Howard and Taraji P Henson, the final episode of season one secured a massive 16.7 million viewers. Among the many landmarks achieved by the series, it delivered the best first-season result of any new series on the ‘big four’ networks since Grey’s Anatomy ended its first season on ABC way back in 2005.
Not surprisingly, Fox was quick to order a second run, which will begin in September. But it is also doing its utmost to tie down the talent that built Empire. In May, it signed an overall deal with Ilene Chaiken, executive producer/showrunner of the series. And this week it set up a similar structure with the show’s co-creator Lee Daniels, which will allow him to develop, write, direct and supervise new television projects under his Lee Daniels Entertainment banner.
Like Chaiken, he will also remain an executive producer on the popular Fox drama.
Commenting on the Daniels deal, Fox Television Group chairmen and CEOs Gary Newman and Dana Walden said: “Lee Daniels has a gift for telling authentic, provocative stories that are both truthful and wildly entertaining. His casting instincts are incredible, whether he is discovering tomorrow’s stars or attracting the most accomplished performers to his projects. As a director, he elevates world-class material to even greater heights, balancing heart-wrenching poignancy with surprising moments of levity. We love working with this inspired storyteller, and this deal is about deepening our relationship.”
Daniels co-created Empire with Danny Strong, with whom he had previously worked on the Oprah Winfrey/Forest Whitaker movie The Butler. Echoing that project, Daniels’ primary responsibility on Empire has been as the show’s director, while Strong has shouldered more of the writing responsibility.
Strong and Chaiken were both credited with four episodes in season one, including the record-breaking finale. They are also down to co-write the first episode of the second season.
Like Chaiken and Daniels, Strong is in demand at the moment. Since winning a Primetime Emmy in 2012 for the HBO TV movie Game Change, he has written The Butler, Empire, and the final two movies in The Hunger Games franchise (Mockingjay parts 1 and 2).
And despite his commitments to Empire season two, he has also found time to write the script for a new movie adaptation of Guys and Dolls. It’s also worth noting that Strong has a pretty impressive list of acting credits, including Buffy the Vampire Slayer, Seinfeld, How I Met Your Mother and Mad Men.
While Strong is likely to be busy with Empire for the foreseeable future, it will be interesting to see if the Daniels deal with Fox sees the two of them team up on a new project.
Elsewhere, Tuesday night saw CBS launch Zoo, a 13-part series that imagines a world in which animals start attacking humans. The show, based on a sci-fi thriller by novelists James Patterson and Michael Ledwidge, was also picked up this week by Sky1 in the UK.
Other broadcasters to acquire the series include Germany’s ProSiebenSat.1 Group, TF1 in France, CTV in Canada, Italy’s RAI, Mediaset España, Network Ten in Australia, M-Net across Africa, Yes in Israel, AXN India, FX Turkey, DR3 in Denmark, TV2 Norway, nc+ Poland and MTV in Finland.
Patterson’s novels have been adapted for the screen before, most recently in the shape of the Alex Cross movies. However, the last time his books formed the basis of a full-blown series was when ABC adapted Women’s Murder Club in 2007. The show only ran for one season before it was cancelled.
Conscious, perhaps, that the US is a cutthroat market, Patterson has been exploring whether his works might be suited to adaptations in other territories. For example, he co-wrote a book called The Postcard Killers with Swedish writer Liza Marklund. With Marklund’s Annika Bengtzon already a TV hit in Sweden, that might open the door for Postcard Killers to crack the Nordics.
The last few months have seen a number of other book-based projects bubble to the surface of the TV pile, including works by Philip K Dick, Len Deighton, Neil Gaiman, Gerald Durrell and Winston Graham.
Also in the headlines this week is Kelley Armstrong, whose Women of the Otherworld novels gave birth to hit TV series Bitten, which airs on Space in Canada and Syfy in the US. This week it was revealed that Syfy has picked up the series for a third season.
Chris Regina, senior VP of programme strategy at Syfy and Chiller, said: “Bitten’s emotional and engrossing storyline, combined with some truly creepy horror moments, really resonates with fans.”
The main writer on the show is Daegan Fryklind, who also serves as showrunner. Fryklind’s efforts are supported by Wil Zmak, Larry Bambrick, Jenn Engels and Garfield Lindsay Miller. Fryklind recently gave a very insightful interview in which she outlined some of the challenges of adapting a popular book to TV. These include everything from casting choices and production restraints through to decisions about diverging from source material.
“We killed a character who does not die in the books in order to create more story and growth for (another character),” she says of Bitten. “That was a bold choice, and Kelley took the heat for that.”
Another interesting piece of writer insight can be found this week at deadline.com, where Steven Knight, creator of hugely impressive gangland drama Peaky Blinders, gave an update on progress of season three – which is expected in early 2016.
Speaking last week, Knight said he was “sitting in front of it right this second, the scripts. I’m finishing the last episode. We start shooting September 10 in Birmingham and in the North (of England), but as much as possible in Birmingham.”