Lost and Hawaii Five-0 star Daniel Dae Kim tells DQ that while times are changing for non-white actors as TV dramas around the globe become increasingly diverse, there’s still work to be done.
Daniel Dae Kim is extremely comfortable in his own skin. As he takes to the ‘stage’ (some stools) for an ‘In conversation with…’ event during his role as a juror at the 29th Singapore International Film Festival, he radiates a serene authority.
It shouldn’t be surprising from a veteran actor and star of two of the US’s most recognisable multi-season network shows, Lost and Hawaii Five-0. But considering the barriers he has encountered – and continues to encounter – in his career, about which he talks candidly, no one could blame him if he did doubt himself.
By the time he joined the cast of Lost, as South Korean fisherman Jin-Soo Kwon, he was used to being on casts that were nearly all white, because it was the norm. And when actors from ethnic minority backgrounds were cast in major US productions, they were often tangential characters, a foil for the white, male lead.
“Things are different now, thankfully, and we’re finally seeing roles where it’s not so understood who’s the lead of the show,” he says. “And if you have a horror movie and you have one black character and one Asian character, you’re not sure that the Asian character and the black character are going to die first.”
Jin, who featured in all six seasons of Lost, remains Kim’s toughest role to date. Despite his Korean heritage, Kim was brought up in the US from the age of one, and did not speak his birth nation’s language. On top of having to speak Korean, a little-known fact is that Jin was supposed to have been killed off in Lost’s first season, highlighting how competitive the business is.
“You’re always auditioning even when you have a job,” he tells DQ, noting that acting in another language presented a host of new challenges. “It tripled my workload because I was learning a lot of translations. Speaking a second language is different from acting in a second language. The fact I stayed around for as long as I did, I feel very fortunate. It made the extra work I put in worth it.”
With a strong work ethic and a 121-episode broadcast network smash under his belt – along with numerous roles across television and film – Kim might have expected leading roles to be forthcoming. A part in CBS’s reimagining of classic police procedural Hawaii Five-0 duly emerged, but Kim says his race again proved an issue.
“When I first met on Hawaii Five-0, I asked the lead producer if I could maybe be [leads] Danno or McGarrett, and he said, ‘Well, we’re just not going that way.’ It’s a simple answer, but it has such big consequences when they don’t consider that’s even a possibility. I had to be content with whatever I could get.”
Kim, along with co-star Grace Park (who played Kono Kalakaua), left Hawaii Five-0 after season seven, reportedly due to a pay dispute. He then took a break from acting – while still managing to shoot two films – to concentrate on producing through his label, 3AD. However, his desire to act has not diminished, and Kim is eager to “do something onscreen, hopefully soon.”
In a nod, perhaps, to the barriers he has experienced, he tells actors to “not apologise for yourself,” adding: “Don’t hide, don’t be underprepared. You can see apology on an actor’s face when they’re performing. Don’t let that be you.”
Kim clearly has a deep respect for his profession, and while he acknowledges increasing diversity, he demands more and is shouldering responsibility himself to a degree through 3AD. The shingle successfully transported South Korean medical format The Good Doctor to the US, where it has become a major show on ABC, though only after it was rejected by CBS.
The actor is now set to step in front of the camera with a recurring role in the drama’s ongoing second season as Dr Jackson Han, the brash new chief of surgery at St Bonaventure Hospital, where the story takes place, with the character set to put Dr Sean Murphy (Freddie Highmore)’s career in danger.
“This seemed ready-made to bring to America because it was a relationship story with a hero we hadn’t seen before,” he says of lead character Murphy, who is autistic. “Sometimes it’s not just about race, it’s about whatever your challenges are in life. I thought that was universal.”
Kim says producing allows him to channel his frustration of “only being able to go out for the roles that are offered” as an actor, adding: “If you want a Mexican-American as one of your leads, you can make that. If you want three Asian-Americans as regulars, you can have that.”
Now with projects in the works at ABC and other cablenets, it seems his work ethic is paying off. And that’s a lesson worth remembering.
Procedural series were once the bread and butter of US broadcast networks. But international buyers are finding them harder to come by amid the appetite for increasingly serialised storytelling. DQ examines the future of the story-of-the-week format.
For more than a decade, the Monte Carlo Television Festival has recognised the most watched television dramas in the world with its International Audience Award. Last year’s winner was NCIS, which drew 47.1 million viewers worldwide in the previous 12 months.
Since the gong was first handed out in 2006, NCIS has won three times, while CSI: Crime Scene Investigation has scooped the prize on seven occasions. The Mentalist and House also each have a win to their name.
Notice anything they have in common? They’re all US procedurals – story-of-the-week series that follow a team of crack sleuths as they bid to solve a different crime each week. Or in the case of 2009 winner House, an unlikely doctor and his unconventional medical approach, with new patients being admitted into his care in every episode.
The award is proof that US procedurals continue to be popular around the world, even if they’re not as loved as they once were at home. Because while international broadcasters have been crying out for a new influx of these traditional series, the format has been taking on a decidedly serialised evolution over the past few years. Such is the demand overseas that Germany’s RTL and TF1 in France went so far as to commission their own US procedural, hostage drama Gone, in partnership with NBCUniversal.
“I feel like they’re on life support,” Adam Pettle, showrunner of legal drama Burden of Truth, says of procedurals. “They still attract probably an older audience, while broadcasters are always trying to find a younger demographic, which is the Netflix generation where television is consumed in a very different way and people bulk-watch TV.”
Yet series such as Blue Bloods, Law & Order: SVU, NCIS (renewed for its upcoming 16th season) and its multiple spin-offs, and the ever-expanding Chicago franchise on NBC are just some of the episodic series still pulling in millions of viewers each week, not to mention the older series still drawing eyeballs in repeats and syndication.
Lloyd Segan, showrunner of detective procedural Private Eyes for Canada’s Global and ION TV in the US, describes case-of-the-week dramas as “comfort food” for viewers. “I can come home and put my feet up and watch a show where the characters are family,” he explains. “The storyline has a beginning, middle and end and I feel comfortable not having to worry about mythologies or binge-watching a series.”
With shooting on season three underway, Segan says Private Eyes – which sees Jason Priestley and Cindy Sampson team up as private investigators – is “completely procedural.” He continues: “The serialised aspects are the relationships between the main characters but the stories themselves are straight procedural. You could probably programme them in any order you wish. You don’t need a recap. The shows play to themselves. It’s a fantastic, delicious feast for audiences all over the world to enjoy.”
One showrunner who knows more about procedurals than most is Peter Lenkov, who is currently running CBS series MacGyver and Hawaii Five-0 (pictured top) and is also behind a pilot remake of Magnum PI for the same network.
“CBS still treads in that pool, they still do those kind of shows and they still do them successfully,” Lenkov says. “I know every season they still develop several traditional procedural series and they try to mix it up with how you get into those worlds and who those characters are.”
However, he adds that the network has been embracing greater serialisation in its case-of-the-week series, supporting character arcs and stories running across multiple episodes.
“That was frowned upon years ago, but is something that the studio and network really welcomes now,” Lenkov says. “My experience there over the last 10 to 15 years has been how much they have embraced serialised arcs within the traditional procedural format.”
Lenkov also has experience on serialised series, having worked on the fourth season of Fox’s real-time thriller 24 in 2004/05. “What we realised when we did that show was, even before bingeing existed, a lot of people were bingeing episodes three or four at a time,” he recalls. “That’s something that really helped changed storytelling on TV.”
Best known for long-running ABC crime procedural Castle, husband-and-wife team Andrew W Marlowe and Terri Edda Miller will be back on the network this summer with Take Two. The series stars Rachel Bilson (The O.C.) as Sam, the former star of a hit cop series who is fresh out of rehab. Desperate to restart her career, she talks her way into shadowing rough-and-tumble private investigator Eddie (Eddie Cibrian) as part of research for a potential comeback role. She soon draws on her experience as a TV cop to help solve a high-profile case, leading them to team up for future cases.
Echoing Segan, Miller believes viewers love closed-ended stories because “sometimes you don’t have the time to watch a long serialised drama and you just want to come home and watch a story that has an ending to it. There’s also the aspect of beloved characters in those stories, and that doesn’t go out of fashion either.”
Take Two, like Castle before it, is described as a light-hearted procedural that allows its creators to place just as much focus on the characters’ relationship as the crimes they solve each week.
“Terri and I both come from features so the ability to close out a story in an episode feels very comfortable to us,” Marlowe says. “But we also like big, epic storytelling where you’re telling a novel over 15 episodes. We watch that as well. The nice thing about ‘peak TV’ is there’s room for them all. For us, it isn’t one pushing the other out of the market. It’s just an expanding international palette, to allow room for all sorts of storytelling.”
Different types of storytelling don’t just extend beyond the procedural, but also within the episodic format itself. “There are some procedurals that depend upon different mechanisms of storytelling,” Marlowe continues. “Something like CSI is much more interested in the forensic evidence than it is necessarily the character journey, whereas other procedurals are much more interested in focusing on the character journeys and what their approach to crime-solving is. Even in a procedural format, there are plenty of sub-genres there for the audience.”
Hakan Kousetta, chief operating officer for television at See-Saw Films (Top of the Lake), notes that there has been an increased focus on serialisation but says all of the main US broadcasters are still hunting for “that killer procedural.”
“It’s to do with shows having characters that are so strong that the audience connects and comes back to them week on week,” he says. “Also, these particular shows contain a puzzle at their heart, which audiences love to engage in solving. In procedurals you are rebooting a new story in the same world each week, with gradual character evolution, whereas in serialised drama you need to create both a world and a set of characters that transform from one episode to the next, while delivering complex plots that hold the series together and hopefully carry your audience through to a satisfying ending.”
Pettle admits the procedural is going through an evolution. “It does still exist but it’s on its way out,” he argues. “I don’t see a younger audience tuning into it. Maybe there’s just not enough story. It’s very linear and incredibly well crafted but I think we’re moving in a different direction. The Good Wife is a procedural format with legal cases of the week but they meld personal and procedural so effortlessly on that show.
“For me as a writer and showrunner, it’s very difficult to plug into something for eight months where you’re not digging deep and writing about real people and exploring the multiple dimensions of different characters. I don’t think I could run a show like NCIS. I wouldn’t be hired to do it. I wouldn’t stay emotionally engaged in it as a creator.”
Pettle, who is also a co-showrunner on The Detail, admits CBC would not have commissioned a serialised drama like Burden of Truth six years ago, at a time when there was more demand for traditional episodic TV. The series, which like Private Eyes and The Detail is distributed by Entertainment One, sees Kristin Kreuk play a lawyer who returns to her hometown and tackle a legal case with social issues at its core.
“There’s still that balance broadcasters want,” Pettle says. “I remember on Saving Hope, which I co-ran for two years and ran on my own for two years, from year to year when we went into CTV at the beginning of the season, it was always like, ‘We want it to be more procedural,’ or, ‘We want it to be more character-driven.’ One year they gave percentages – ‘It can be 40% procedural.’ What’s in fashion is always changing.”
Pettle’s The Detail co-showrunner Ley Lukins also believes serialised storytelling has come to the forefront thanks to the introduction of Netflix, Amazon and other streaming services. “But I do believe there’s still a heavy appetite for case-of-the-week, episodic dramas,” she says. “Grey’s Anatomy is a great example of a show that has both serialised and case-of-the-week content within it. And even with something like Law & Order would still draw an audience today. But to me, and from the conversations I’ve had with people, there’s more of an expectation these days that there is a serialised element to the case of the week. If you marry the professional and the personal well, you can serve both audiences quite well.”
In the case of The Detail, which is based on British crime drama Scott & Bailey, it was US broadcaster ION Television, rather than its Canadian network CTV, that sought more procedural elements in the series. “It’s not to say we didn’t have character and that character wasn’t a major part of it, but it was definitely their wish to have a more case-of-the-week type of series because it does well for them,” Lukins says.
Hybrids such as Blindspot and The Blacklist, which marry deep mythologies with new cases each week, were heavily influenced by serialised US cable dramas, the success of which led broadcast networks to “find their own language” and remain competitive, Marlowe notes.
“There were lots of interesting experiments out there to see what the audience would respond to,” he says. “But what sustains is good storytelling and good characters. If people are engaged in the storytelling and the characters, whether it’s serialised, closed-ended or a hybrid, the audience will show up for it.”
The resurgence of procedurals, coupled with television’s never-ending infatuation with recycling old hits, means shows such as Magnum PI and Cagney & Lacey have been piloted this development season. “What you see right now is a confluence of familiar formats that people know are tried and true but also bringing in the element of IP,” says Marlowe, who believes the biggest challenge facing creators is how to break through the noise. “Some recognisable IP certainly helps.”
Lenkov says he simply prefers the challenge of mapping out 22 stories a season. “I just like the puzzle aspect of building a plot each week,” he says. “I find that a lot of fun as a writer.”
But when they’re boiled down to their bare bones, procedural series are built on the simple concept of good versus evil, he adds. “If you look at the live numbers of a lot of CBS procedurals, they do really well. It shows you there’s an audience there that still likes that format. When eight million people tune in to watch a show live, that tells you a lot of people still like the genre. They still like the crime procedural. I think it’s alive and well.”
René Balcer, best known for Law & Order and, more recently, Law & Order True Crime: The Menendez Murders, certainly believes there is still a place for procedural television. As for what such shows might look like in the future, that is less clear. “One can argue that the success of the just-the-facts procedurals of the 1950s, such as Dragnet, was a reaction to the subjective character-driven film noir detective films of the 1940s like The Big Sleep. Audiences liked them because they were new and different. Character-driven procedurals like Hill Street Blues were a reaction to the Dragnets and Adam-12s. And, like audiences, creative content-makers get bored with the status quo, so expect the pendulum to keep swinging.”
However, Mikko Alanne, showrunner of National Geographic’s The Long Road Home, begs to differ. “In broadcast, due to the weekly format, there will likely remain room for them, but I definitely feel audiences are increasingly gravitating toward more character-driven serialised stories,” he says.
With season two of Burden of Truth in development, Pettle says there will be another single case at the show’s heart, which will focus on sharing information and protecting people’s privacy. But, interestingly, he adds there will be more episodic elements.
“It will be a more high-octane season,” he says. “Season one was all in a small town and this season will be split between the city and a small town. There will be more stories – it will still centre around a serialised case but there will be more story and a faster pace.”
Lukins concludes: “I don’t believe procedurals will ever go out of style. In a lot of ways, in shows that might not be considered procedurals per se, there is a case-of-the-week element, it’s just maybe not a cop case or a medical case. But there’s a pattern to be found in anything. And so procedurals may change in terms of how they’re delivered but I do think the formula of the procedural is here to stay.”
As broadcasters around the world continue to seek procedurals for their schedules, it’s hard to argue with Lukin’s assertion. But with today’s showrunners preferring to delve into personality over plot, what shape they may take in future is less clear.
As US drama MacGyver prepares for its UK debut, airing on Sky1 on February 8, the showrunner and executive producer of the CBS drama – who also takes charge of network sibling Hawaii Five-0 – finds room for a pair of Hawaii-set series and an ‘honest, raw portrayal of teenage life’ in his list.
This was my jam growing up. It had everything a teenage boy could want – a strong hero, action, laughs, girls in bikinis and a super-cool car. It was fluff, popcorn entertainment, but it’s also the reason I wanted to be a TV writer. Well, it was one episode in particular – an early episode in season three entitled: Did You See the Sun Rise?. It was a mythology episode, chock full of backstory on my beloved characters – Thomas, Rick and TC.
The episode made sense of their bond, their dedication to one another and the reason these three mainlanders all ended up in Hawaii together. At the end of that particular episode, Magnum did something completely unexpected, something I had never seen a hero do before – he shot his nemesis in cold blood. Justified or not, the moment blew my mind. And I knew then and there I wanted to do just that – tell stories that would surprise people, and maybe even blow their minds.
I’m certain this gem is on everyone’s shortlist – and I came to it a little later than most. In fact, it was the main topic of conversation in the CSI: NY writers’ room at the time (nearly a decade ago already – wow) and I felt left out (for good reason).
A friend, on her third viewing by then, lent me season one and I ended up watching it all in one weekend. By the following weekend, I had seen every episode. Sixty hours! And I still managed to find time to go to work. Not sure how I did it, but I did. I had to, I was addicted. In less than seven days I was a Wire junkie, hungry for more, looking for anything related to the series, any behind-the-scenes insights, anything that would somehow extend the rush.
It was craftsmanship at its best. It didn’t play by conventional TV rules. Every season was a new story. New characters. A new theme. I hadn’t seen this done before and I believe it’s influenced cable for the better. The Wire was also my introduction to binge-watching, and quite honestly everything else has paled in comparison since.
James at 16 (originally James at 15)
Sure, it only lasted one season. But at the time it aired, I was a few years younger than its lead (Lance Kerwin) and I was very eager to grow up as fast as I could. And this show was a very honest, very raw portrayal of teenage life.
James was my ‘older brother.’ He gave me a glimpse of what the upcoming years would be like. My parents had no interest in this show, which made it all the more compelling. It was like I had this secret, this friend who I’d meet once a week to instill life lessons. From navigating issues with his parents to his first sexual experience, I was along for the ride, the silent wingman soaking it all up. Despite being nominated for a bunch of awards, by the time James turned 17 the show was gone.
Over the years TV has moved me in many ways, from influencing my storytelling to helping shepherd me through tough times. It’s been the great escape many a night. The Beachcombers has been one of those welcome distractions. This north-of-the-border production featuring Canada’s multicultural heritage is one of the longest-running shows in CBC history.
Was it good? Honestly, I don’t remember. Almost 400 episodes and I can’t for the life of me recite a plot point. But what I do remember is how I felt watching it. It made me giddy. Re-runs helped put me to bed at night with a great big smile on my face. And no matter how tough the day was, Relic (Robert Clothier)’s crazy antics would wash it all away.
The only show I have to watch if I happen to catch a re-run on TV. It’s comedy-drama at its best. Its poignant storytelling and social commentary made war fun, and God knows there’s nothing to laugh at there.
Hawaii Five-0 (1968-1980)
Another show set in Hawaii. The OG series. The one that introduced Hawaii to the world. This Five-0 was my father’s favourite show. I have fond memories of sitting by his knee while he ate his dessert, usually a bowl of fruit, and got lost in the crime of the week.
But it was way more than a well-crafted police procedural with a cast of strong characters led by Jack Lord – this was my father’s weekly escape from our brutal Montreal winters. This was a destination on his bucket list. And this experience is a constant reminder of the power of a location; how a setting can be just as important as anything else.
In this golden age of TV, it’s easy to fixate on the high-end limited series that dominate cable and SVoD schedules. But spare a thought for the mainstream scripted series that deliver huge ratings and ad revenues week after week for networks.
A good example is CBS crime procedural Hawaii Five-0, which is currently dominating Friday nights at 21.00 in the US with an audience of approximately 10 million, compared with the meagre 1.7 million that Fox’s The Exorcist is currently attracting – and the 500,000 that prefer to watch The CW series Crazy Ex-Girlfriend.
A reboot of the classic 1960s/1970s series, the new Hawaii Five-0 has performed consistently well for CBS since it launched in 2010, usually averaging around 11-12 million viewers a season. At time of writing it is up to 150 episodes, which just goes to show the immense commercial value of the franchise. Keep in mind that it has also been licensed around the world to the likes of AXN Asia, Cuatro in Spain and Rai Due in Italy. It also performs a key role in handing over a big audience to 22.00 drama Blue Bloods.
With around 25 episodes a year, the show sucks in a lot of writing talent. All told, more than 50 scribes have been involved in writing episodes since the start. One name, however, is ever-present – Peter Lenkov. Lenkov wrote the season one pilot and still writes the first and last episodes of every new season, usually in tandem with another writer such as Eric Guggenheim or Matt Wheeler.
Canadian Lenkov’s credits prior to Hawaii Five-0 included TV series 24 and CSI: NY, plus films RIPD and Demolition Man. He’s also played a central role in the reboot of MacGyver on CBS this year. Although the show hasn’t received a good response from critics, it has rated well enough to secure a full-season order of 22 episodes. If it can keep its ratings at the 7.5-8 million mark then it stands a good chance of getting a second season.
Another writer who has reason to feel pleased with himself this week is Stuart Urban, whose four-part drama The Secret for ITV has just been named best drama at the Royal Television Society NI Programme Awards. The show, which stars James Nesbitt, tells the story of a real-life murderous pact between a dentist and his mistress. Produced by Hat Trick, it is based on Deric Henderson’s non-fiction account of the story, Let This Be Our Secret.
Now 58, Urban’s career dates back to Bergerac in the 1980s. He subsequently won a Bafta for An Ungentlemanly Act, his dramatisation of the first 36 hours of The Falklands War. In 1993, Urban created his own production company, Cyclops Vision, under which he produced a range of feature films and documentaries including the black-comedy movie May I Kill U?.
Still on the awards front, it has also been a good week for Anna and Joerg Winger, whose German-language series Deutschland 83 has just been named best drama at the International Emmy Awards in New York. We featured the Wingers in our focus on German writers last week.
The winner of the TV movie/miniseries category was the Kudos/BBC1 production Capital. Based on John Lanchester’s novel Capital, this three-parter was written by Peter Bowker, who has since gone on to have a hit with The A Word, a BBC drama based on an Israeli show.
Best telenovela went to Globo’s Hidden Truths, written by Walcyr Carrasco and directed by Mauro Mendonça Filho. The show, which aired last year, explores the fashion underworld. Carrasco has been writing telenovelas since the late 1980s. Among his more recent titles was an adaptation of the Jorge Amado novel Gabriela and 2016’s popular Eta Mundo Bom!.
This week has also seen US pay TV channel BBC America greenlight a second season of Dirk Gently’s Holistic Detective Agency, a series based on the books by Douglas Adams. The show has been adapted for TV by Max Landis, an American multi-hyphenate who has written several movie screenplays including Chronicle, American Ultra and Victor Frankenstein. He is also an executive producer of SyFy’s horror anthology series Channel Zero.
Landis is currently writing Bright, a supernatural cop thriller starring Will Smith that has received US$90m backing from Netflix.
Elsewhere, cable network TNT is piloting Snowpiercer, a futuristic thriller based on the 2013 film about a huge train that travels around a post-apocalyptic frozen world with the remnants of humanity on board. The TV version will be written by Josh Friedman, whose credits include Terminator: The Sarah Connor Chronicles and War of the Worlds.
“Snowpiercer has one of the most original concepts to hit the screen in the last decade, and it’s one that offers numerous opportunities for deeper exploration in a series format,” explained Sarah Aubrey, exec VP of original programming at TNT.
At the other end of the budgetary scale, BBC4 in the UK has ordered a bittersweet comedy about a reserved schoolteacher who agrees to go on a road trip with her mother when she learns that the latter is dying. Entitled Bucket, the show is written by Frog Stone, who will also star alongside Miriam Margolyes. Stone began writing comedy with the Footlights at Cambridge University and has honed her craft writing comedy sketches for Radio 4.