Tag Archives: Gallipoli

The world of drama in 2015

The US still dominates drama exports, but in the last Hit & Miss column of the year we take a look at some of the new shows from other countries that have punched above their weight in 2015.

gallipoli
Gallipoli

Australia
The Sydney Morning Herald has just named Gallipoli as the best Aussie drama of the year – and they’ve probably got it just about right. Although the lavish WW1 epic rated badly on Nine Network, it was a strongly scripted and well-acted show that has had some profile internationally thanks to Endemol Shine International. Gallipoli’s Aussie rivals this year included biopic Peter Allen: Not the Boy Next Door, multicultural drama The Principal and undead series Glitch. But probably the best of the bunch outside Gallipoli was The Secret River, Ruby Entertainment’s adaptation of Kate Grenville’s novel.

bookofnegroes
The Book of Negroes

Canada
2015 was a decent year for Canadian-backed drama. The high point was epic miniseries The Book of Negroes, which was back by public broadcaster CBC and BET in the US. The story of escaped slaves returning to Africa via Nova Scotia pulled in 1.7 million viewers for the first episode, making it the highest-rated original drama for CBC since 1990. Another strong debutante in 2015 was sitcom Schitt’s Creek, which also aired on CBC. This show was sold internationally by ITV Studios Global Entertainment to countries including New Zealand.

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The Journey of Flower

China
Top of the pile in China this year has been The Journey of Flower, a love story based on the fantasy novel by Fresh Guo Guo. Broadcast from June to August, it told the story of Hu Qian Gu, a girl born with magical powers. At age 16, she becomes the disciple of Bai Zihua, an immortal in charge of a magical realm – and promptly falls in love with him. The series has aired internationally in markets such as Vietnam.

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1864

Denmark
At the forefront of the Nordic drama explosion, Denmark public broadcaster DR gave us series like The Killing and Borgen. In 2014/2015, it added the period drama 1864, which has sold to broadcasters including RTÉ Ireland, TV4 Sweden and Arte (France/Germany). Next up is Follow the Money, a thriller set in the world of economic crime. The show has been heavily trailed in 2015 but finally airs in early 2016. It has been picked up by BBC4 in the UK – a big fan of Scandinavian TV drama.

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Witnesses

France
After the success of Spiral and The Returned, it was the turn of Witnesses to catch the international market’s attention. A noir thriller set in Northern France, the France 2 show was picked up by Channel 4 in the UK, NRK in Norway, RTBF in Belgium and RTL Crime in Germany. The series was produced by Paris-based Cinétévé and written and directed by Hervé Hadmar and Marc Hernoux, who were behind Les Oubliées (Forgotten Girls) for France 3 and Pigalle La Nuit for Canal+.

Deutschland83FEAT
Deutschland 83

Germany
In terms of German drama, it’s impossible to look beyond UFA’s Cold War coming-of-age story Deutschland 83. The show aired on RTL in its domestic market and has been sold internationally to more than 20 territories by Fremantle Media International. Buyers have included Sundance in the US, Channel One Russia, TV4 in Scandinavia and Stan in Australia. UK VoD platform Walter Presents has also picked up the title.

FalseFlag
False Flag

Israel
Israeli spy series False Flag is continuing the good work done by previous drama titles such as Prisoners of War and In Treatment. In June 2015, the show was picked up by Fox International Channels for use in 127 countries worldwide. Fox is also adapting the series into English.

1992
1992

Italy
After Gomorrah forced the world to reappraise Italian drama, Wildside’s 1992 proved it was no fluke. The 10×60’ story of Italian corruption in the 1990s aired on Sky Italia before being picked up by the likes of Orange France, Canal Spain and Superchannel in Canada. In September, the show was also sold to Netflix by distributor Beta Film.

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The Producers

Korea
We looked at Korean drama a few months ago here. With the year over, the top show still looks like KBS’s The Producers, which aired in May and June. The story focuses on a group of young producers working in the variety department at KBS. It has sold to China, Japan, Thailand, Indonesia, Vietnam, Taiwan, Hong Kong and Kazakhstan, while digital streaming rights have been licensed to parts of Europe, the Middle East and North America. China’s online network Sohu paid US$2.4m for the show’s rights.

duenos-del-paraisoLatin America/Hispanic US
One of the hottest telenovelas of the year was Dueños Del Paraiso, starring Kate del Castillo, Adriana Barraza and Jorge Zabaleta. Created by Telemundo and TVN Chile, it tells the story of a woman who lives in poverty and whose ambition leads her to use drug trafficking as a means to become one of the most powerful women of her time.

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De Fractie

Netherlands
The Netherlands is better known for its entertainment format exports than its drama. But it has given birth to series like Penoza, which was remade in the US as Red Widow. One of this year’s more interesting dramas was public broadcaster VPRO’s De Fractie, a politics-based series that combined fiction and current events. It did this by working as a fast turnaround production so that it could include new developments from the real world. A success at home, it’s the kind of project that could lend itself to international formatting.

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Acquitted

Norway
Norway is starting to rival Sweden and Denmark when it comes to Nordic Noir series. This year’s big hit was Miso Films’ Acquitted, which tells the story of a man returning to his home town after a long absence – having been acquitted of murdering his girlfriend. A big hit for TV2, the show is distributed internationally by FremantleMedia International.

ourguysFEAT
Los Nuestros

Spain
Spanish drama is going through its own golden age at the moment, with titles such as Grand Hotel, Velvet and The Time In Between. All of the above are period dramas, but this year the Spanish have shown that they are also pretty adept at making contemporary thrillers. A good example is Mediaset Espana’s miniseries Los Nuestros (Our Guys), which follows a mission to save two Spanish children kidnapped by a terrorist group while on holiday in Mali. Attracting 3.7 million viewers, it was one of the year’s strong performers and there is talk of a follow-up series. Another strong performer was Atresmedia’s Under Suspicion, in which a seven-year-old girl disappears from a small community, while Hierro won the copro series pitching competition at Berlinale. The latter will air in early 2016.

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Jordskott

Sweden
If we were talking about returning series, then pick of the bunch would undoubtedly be the third season of The Bridge. But among new titles, ITV Studios Global Entertainment-distributed Jordskott is the year’s standout. A supernatural thriller from Sweden’s state broadcaster SVT, the show has been sold to ITV Encore in the UK and to broadcasters across Scandinavia. TV4’s Modus, distributed by FMI, is another new title that looks set to do well abroad.

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Dirilis Ertugrul

Turkey
Turkey is such a prolific producer of drama that it’s hard to single out a particular title. But one show that merits a mention is Dirilis Ertugrul, better known as Resurrection. A period drama set in the 13th century, this was public broadcaster TRT’s response to fellow huge period hit Magnificent Century (aired on Show TV and Star TV). Resurrection (which debuted on December 10, 2014 and ran through 2015) did extremely well for TRT1, delivering ratings well ahead of the channel’s average. It has also been sold internationally to more than 20 territories. Also of note in 2015 was the launch of Magnificent Century sequel Kosem Sultan, which rated particularly well with the AB demographic.

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Wolf Hall

UK
The Brits produced a lot of good drama this year but it’s hard to look beyond Golden Globe nominee Wolf Hall for the country’s outstanding scripted show of the year. Based on Hilary Mantel’s acclaimed novel, the show was a success for BBC2 in the UK and also aired on PBS in the US and Arte France, among others. Wolf Hall also sold in Scandinavia and features on BBC Worldwide channels in markets such as Australia.

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Oz inferiority complex

Gallipoli has been called 'must-see TV', but this wasn't reflected in viewing figures
Gallipoli has been called ‘must-see TV,’ but this wasn’t reflected in viewing figures

Australia could really do with a domestic drama hit. While 2014 saw success for public broadcaster ABC with Playmaker Media’s six-part thriller The Code, 2015 has witnessed a disastrous outing for Endemol Australia’s Gallipoli and a lacklustre response to Hiding, another scripted series from the Playmaker/ABC alliance.

Gallipoli is a seven-part drama that ran on Nine Network in February and March. Produced to coincide with the 100th anniversary of the famous Gallipoli Campaign of the First World War, it saw its ratings slide from 1.1 million for episode one to a meagre 0.35 million for episode seven.

An obvious assumption would be that the show wasn’t very good, but that view is rejected by the Sydney Morning Herald (SMH), which called it a “benchmark Australian television drama that captures the horror of a nation-defining moment with evocative writing, artful direction, strong performances and accomplished production values. This actually is must-see TV, but the public doesn’t appear to be responding.”

The SMH, among others, suggested that a poor slot in the schedule (Mondays at 21.00) did Gallipoli no favours. But it went on to argue that there is perhaps a deeper problem. “Australians have been eager adopters of prestigious American cable drama series, with laudatory debates about whether The Sopranos is better than Breaking Bad and aficionados proudly boasting about being an early adopter of The Wire. But while those shows are among the medium’s very best, there’s also a part of us that bows down to imported acclaim and refuses to believe that we can make truly great television drama in this country. Presented with a worthy Australian programme, some television consumers prefer to wait online in case a new Game of Thrones trailer drops.”

Hiding, which also aired earlier this spring, followed a Gold Coast family forced to enter witness protection in Sydney. After Playmaker’s success with The Code, there were high expectations for the show, which – like Gallipoli – met good reviews from sections of the media. The Australian Newspaper said: “Creator Matt Ford’s show is imaginative, clever and mordantly funny, and the ABC deserves a round of applause for giving him the stage.”

Hiding also failed to attracted audiences despite critical acclaim
Hiding also failed to attracted audiences despite critical acclaim

Unfortunately, the audience didn’t bite. In February and March, Hiding was attracting around 330,000 viewers in Australian’s top five cities (a standard ratings measure from ratings panel OzTam) – having debuted with around 730,000 for its opening episode. While this was similar in scale to Fortitude (also airing on ABC), it was around half the audience pulled in by UK crime series Broadchurch (634,000 on ABC). Even further ahead were Grantchester and Downton Abbey (both ABC), underlining the fact that UK and US imports both tend to outperform domestic drama.

There’s another angle to this debate worth noting: ABC, the main investor in original Australian drama, has an ageing audience, with a median viewer age of 63. What it would like to do is use its drama budget to bring this age down (hence Hiding). But the existing audience is perfectly content with the likes of Downton Abbey.

This age issue created a conundrum for ABC regarding Mrs Fisher’s Murder Mysteries, a beautifully crafted period drama that attracted audiences of around one million in its first two series. Despite the high ratings, the show attracts an older audience – so ABC decided not to commission a third series last year. However, viewer outcry forced a change of heart, and a third run begins this week.

For ABC it will be a mixed blessing if the show draws barnstorming ratings because it will run counter to the bigger ambition of bringing the network age down (though All3Media International will be happy because it sells the show to international markets).

It’s not obvious where the next Aussie hit will come from, but at least there is one quality drama to look forward to. Coming soon to ABC is The Secret River, a two-part series based on the novel by Kate Grenville. It follows the story of young couple, William and Sal Thornhill, who are transported to the new colony of New South Wales in 1805. The show will explore the colonisation of Australia and the escalating conflict between the Indigenous inhabitants and the newly arrived white convicts and settlers.

The Secret River is likely to make uncomfortable viewing for many Aussies, so don’t expect huge ratings. Ironically, however, it will probably do well if it travels as far as the UK, where Jimmy McGovern’s Aussie convict period drama Banished recently finished a successful run on BBC2. The show’s debut episode attracted 3.4 million, giving BBC2 an unlikely ratings victory over BBC1 and ITV. It then went on to average a respectable 2.9 million over seven weeks. The Guardian’s assessment of Banished was that it was “historically fascinating… romantic, sentimental. Funny too.”

No Offence's debut drew 2.5 million viewers
No Offence’s debut drew 2.5 million viewers

Also in the UK, the big drama ratings story of the week was the launch of Paul Abbott’s provocative police procedural No Offence on Channel 4. With an opening episode rating of 2.5 million, the show was well ahead of the slot average (1.5 million) and marginally ahead of the debut audience for Shameless (2.3 million), Abbot’s biggest hit to date. Given the success of Shameless (which spawned 11 series in the UK and gave birth to a successful US remake on Showtime), C4 will be hoping No Offence has the same staying power.

No Offence’s strong opening is also good news for FremantleMedia International (FMI), which is selling it internationally. So far it has done deals with DR in Denmark and – wait for it – ABC in Australia. Perhaps this is the show (albeit British) that will help give the broadcaster the younger profile it is seeking. After No Offence’s opening, FMI will be confident of further sales, with CEO Jens Richter saying: “No Offence is crime on steroids – it’s gripping, daring and a great reflection of Paul Abbott’s remarkable talents.”

As we’ve noted in other columns, this time of year is also important for US networks in terms of renewals, cancellations and the decision to take shows from pilot to series. We’ll look at this subject again on Monday in our Greenlight column.

For now, though, congratulations to Nashville, which has just secured a fourth season on ABC. With consolidated ratings in the 6.5-7 million range, the show is not a standout performer, but it does have two things on its side: firstly, it’s extremely popular with women aged 18 to 49; secondly, it’s reached the tipping point in terms of appealing to the lucrative US syndication market.

The general rule is that scripted shows that get to four seasons have enough episodes (85-100) to be attractive to syndication. So it is virtually unheard of for shows to be cancelled after three seasons. However, the issue might not be so clear-cut next year – ABC’s Revenge has just been cancelled after four seasons. So May 2016 is more likely to be the moment of truth for Nashville.

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