Tag Archives: Him

The domestic horror of HIM

Paula Milne discusses her latest TV drama, HIM, which she describes as her attempt at writing a male version of big-screen horror Carrie.

While horror has been a resurgent theme in small-screen drama in recent years – think The Walking Dead, Ash vs Evil Dead and American Horror Story – the stories are almost always rooted in an element of fantasy.

It’s notable, then, that ITV drama HIM is described as a “domestic horror,” with the plot playing out against the backdrop of a troubled family living in the heart of suburbia.

Created and written by Paula Milne, the story focuses on a 17-year-old boy (known only as HIM) who is trapped between the two homes of his divorced parents, each now remarried with new families. He is both a reminder of their failures in the past and a threat to their happiness in the future.

Paula Milne
Paula Milne

Riding a rollercoaster of emotions, he must also contain the terrifying secret that he inherited a supernatural power from his grandfather – a power that his grandmother urges him to use only for good.

And when his 17-year-old stepsister Faith moves into his family home, HIM is irrevocably drawn to her – but they both know their mutual attraction could have devastating consequences.

The three-part drama, currently on air in the UK, is produced by Mainstreet Pictures and executive produced by Laura Mackie and Sally Haynes. It is produced by Chrissy Skinns, directed by Andy De Emmony and distributed internationally by ITV Studios Global Entertainment.

Milne’s writing credits include The Virgin Queen, The Politician’s Husband and White Heat. And, having written political thrillers and cop shows, she was eager to turn her hand to another genre.

“ITV asked me if I would like to write something for them,” Milne recalls of the 2014 conversation that led to HIM. “I wanted to write a horror piece and I think boys get a bad rap, so I told them I wanted to do a male version of Carrie – and, fair play, they went along with it.

“It played to their strengths in the sense that I already wanted it to be set in suburbia and there’s the extended family/divorce stuff and race issues. It’s very contemporary but very ordinary. If the audience believes the ordinariness, they’re more likely to believe [in the lead character’s] power.”

Milne describes genre as “a great friend to a writer,” offering the potential to dress any story up in a variety of different costumes. The daughter of a film critic, the origins of her relationship with horror lie in her watching Hammer Horror and Roger Corman films, though the roots of HIM can also be found in her own family.

Simona Dawson plays HIM's step-sister Faith
Simona Dawson plays HIM’s step-sister Faith

Married twice, divorced twice and with four children, the writer says she could see her youngest child Harry struggling with life in his teens and perhaps carrying the disappointment of his parents. She took this foundation and placed on top of it the confusion caused by an attraction to a step-sibling, being replaced by babies in two different homes, and academic struggles – in addition to harbouring a secret power.

“There were various elements I had already thought of and it seemed to be important he didn’t suddenly discover he had this power,” Milne explains. “That’s what happened with Carrie. The shock of that would then drive the whole thing and he would probably have to tell somebody. But if from a very early age his grandmother had seen he could do something, she’d have said his grandfather had the same power and told him to be very careful, so he was.

“But when his parents first split up and he uses his power to throw a cricket ball through the window, that’s when we start to see that his power emerges when he’s deeply emotionally affected and has no way to express it. What can you throw at this boy that could take him on a journey that might end in death – his or someone else’s?”

In the miniseries, HIM has the power of telekinesis – the ability to move objects without touching them. “You should be very specific [with the power],” Milne notes. “By being very specific and confident about the power he has and what he can and cannot do with it, you hope the audience will buy into it.

“But the risk is that the power is lessened by the domestic story. That’s why the nosebleed HIM gets when he uses his power was important – red is anger. But it’s never scary. It’s scary in what could happen to him if he loses control of his power and, arguably, what could happen to somebody else.”

Before putting pen to paper, Milne carried out considerable research into telekinesis and found a whole new world in which to set her story.

“There are people who really do believe it and I needed to know why,” she says. “They feel marginalised and wronged and it was really interesting. So I started with that and then the key incidents of the family and the dynamics. I have a big sheet of Imperial paper and do a storyboard. I always knew it would be three episodes – a trilogy is good, satisfying number. Then you think about the events that lead up to the key incidents. Then there are lots of [story idea] bubbles; I number them, handwrite the scripts twice and then put them on the computer.”

Katherine Kelly as HIM's mother
Katherine Kelly as HIM’s mother

In putting her vision onto the page, Milne also keeps her notes sparse. She doesn’t specify the exact look of a character, instead focusing much more on details such as time of day, or that viewers should not see a character’s face until a certain point in the story, for example.

“I remember on another show, the producer rang and said, ‘Can we change that dinner scene to a breakfast scene,’” she remembers. “I said, ‘No, people have a completely different conversation and are completely different at dinner than they are at breakfast.’”

Milne also forged a strong relationship with director De Emmony, who impressed her with both his technical skills and his interpretation of the emotional material in the script.

“That is quite unusual. Normally you get one or the other, but he was really good,” she says. “He had the challenges. It’s easy to sit there and write it, but he had to do it.

“To get the best out of people, they’ve got to inhabit it, they’ve got to own it. So the key time is in prep. We talk about the concept of the characters and what we’re trying to do. I also got Andy to meet Harry, my son, and showed him pictures of him at that time. So you get him to that place.

I went on set maybe twice. There are some writers who love to be on set, but I’m not one of them. What I really love to do is write. I see the dailies so occasionally I ask for a pick-up scene if someone doesn’t say their line right. But how collaborative the writer is with the director depends on how collaborative the director wants to be, and Andy was [collaborative].”

It’s not those early stages of setting the style and tone of a story that Milne most enjoys, however, but the payoffs that arrive as the plot winds towards its conclusion. She gives one example from the final episode, where HIM’s mother and father discuss him and their regret at how their own relationship fell apart.

“It shows what they went through and that they’re just ordinary people who make mistakes,” Milne explains. “You can’t get a scene like that except at the end when you’ve earned the audience’s interest in them. It’s really important to set things up well and delicately and nuanced, but the real payoffs are always at the end.”

For her next project, Milne jumps genre again and lands in Cold War Germany for 1970s thriller The Same Sky, which debuts in Germany on ZDF in January and then on Netflix around the world. The multi-stranded story concerns an East German Romeo spy sent to the West to seduce a British intelligence officer, a gay teacher trying to escape East Germany and a young girl who turns to steroids as she seeks swimming stardom.

“What was great about writing something like that was [the characters are] ordinary people going through extraordinary times,” she says of the six-part series – a departure from the decidedly extraordinary HIM who finds himself an outcast in very ordinary surroundings.

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The horror, the horror!

Bob Cranmer’s book The Demon of Brownsville Road is being adapted as Haunted
Bob Cranmer’s book is being adapted by Fox as Haunted
With shows like AMC’s The Walking Dead and FX’s American Horror Story performing so well, it’s no real surprise that everyone wants to climb aboard the horror show bandwagon.

FX sister channel Fox, for example, has already backed Scream Queens and is now planning another horror comedy series based on Bob Cranmer’s book The Demon of Brownsville Road. Called Haunted, the new show centres on a military agent who is partnered with her demonologist ex-boyfriend to help a family overcome a demonic infestation at their house. William Brent Bell (The Devil Inside) has been signed up to write the project.

ABC Family, soon to be renamed Freeform, is also moving into horror for the first time with Dead of Summer, which is set in a doomed summer camp in the late 1980s. The network, which has given the show a straight-to-series order, is from Adam Horowitz, Edward Kitsis and Once Upon a Time writer Ian Goldberg.

Meanwhile, Syfy has advanced a horror project it first started talking about in the summer. Channel Zero is an anthology series developed by Nick Antosca (Hannibal). This week Syfy greenlit what is being described as two six-part seasons. The first is based on Candle Cove by Kris Straub, which originates from an online horror concept known as creepypasta. There is no news yet on the second batch of six, though the assumption is that it will centre on a different story.

Meanwhile, in the UK, broadcaster ITV has ordered a three-part horror miniseries called Him. Produced by Mainstreet Pictures and written by Paula Milne, the story focuses on a 17-year-old boy with a hidden supernatural power inherited from his grandfather.

In the realm of sci-fi, one of the week’s most interesting projects comes courtesy of The CW, which is working on Cry, a drama about a doctor who works out how to bring cryogenically preserved people back to life. In an interesting twist on the Frankenstein myth, he starts by unfreezing his own father – but there are, of course, unexpected consequences. The show is being made in partnership with Paulist Productions, a Catholic-oriented company that makes shows exploring moral dilemmas.

Original cult sci-fi series Lost in Space is set for a TV reboot
Cult 1960s sci-fi series Lost in Space is set for a TV reboot courtesy of Netflix

Bigger news for sci-fi geeks is that Netflix is planning a remake of cult classic Lost In Space, which ran for three seasons in the 1960s. Created by Irwin Allen, the original story centred on an ordinary family called the Robinsons that becomes marooned in space along with the reprehensible Dr Zachary Smith. The franchise, which started life in a comic book, was brought back in 1998 as a not-very-good movie starring Matt LeBlanc. However it is probably better suited to TV. The challenge for writers Matt Sazama and Burk Sharpless will be getting the tone of the project right. While it will need to be more plausible than the original to satisfy sci-fi fans, it would probably be a mistake to take it too far from the family-adventure feel of the original.

In the UK, meanwhile, actor Ray Winstone is to star as visionary author HG Wells in a new drama for pay TV channel Sky Arts. Called The Nightmare Worlds of HG Wells, the Clerkenwell Films drama will be an anthology series consisting of four stories about madness, obsession, hallucinations and horror (there it is again). These are based on Wells’ stories and will be adapted by Graham Duff. The series was commissioned by Sky Arts director Phil Edgar-Jones, who says: “One of my earliest memories is seeing row upon row of blue-covered HG Wells books on my grandad’s bookcase and being fascinated by the strange and disturbing worlds inside them. The team at Clerkenwell has brought four fantastic Wells stories to life in a wonderfully realised, stunningly performed compendium.”

There’s also some buzz around medical series this week. After a strong opening on NBC for Chicago Med, CBS has now given an extended order to its own medical show, Code Black. Although the show has not rated well, it now has 18 episodes to prove its worth.

Medical show Code Black has had its run extended by CBS
Medical show Code Black has had its run extended by CBS to 18 episodes

In the UK, another ITV commission announced this week is The Good Karma Hospital. Set in Goa, India, this six-parter follows a team of UK and Indian medics as they cope with work, life and love at an over-worked, under-resourced hospital. ITV says: “Run by a gloriously eccentric Englishwoman, the Good Karma turns no-one away – locals, ex-pats and tourists are all welcome. With a stunning location, exotic medical cases and unforgettable characters, the series mixes the heartbreaking with the humorous, as the doctors, nurses and patients discover that the hospital is more than a rundown medical outpost – it’s a home.”

The show goes into production next year and is being produced by Tiger Aspect. It is created and written by Dan Sefton, whose credits include Death in Paradise. There’s some logic to this since Death In Paradise (about a British policeman in the Caribbean) is another show that uses the interaction of different cultures as a backdrop.

UK dramas that showcase the Indian sub-continent are in vogue at the moment. First came Channel 4’s Indian Summers (shot in Malaysia but set in India) and then ITV’s Jekyll & Hyde. Also in the mix have been the Best Exotic Marigold Hotel movies.

The Good Karma Hospital has been commissioned for ITV by director of drama Steve November and controller of drama Victoria Fea. November says: “Dan Sefton’s scripts are beautifully written and deal with themes we’ll all identify with – love, loss, relationships, family conflict, facing adversity and the importance of seizing the day. The Good Karma Hospital is a feel-good drama full of warmth and characters we will love.”

The Bastard Executioner has been axed by FX after one season
The Bastard Executioner has been axed by FX after one season

From Germany, news this week that ARD is producing a series based on the novels of Swiss author Martin Suter. Allmen, produced by UFA Fiction and Mia Film in the Czech Republic, is the story of a rich bon vivant who gets caught up in a murder after turning to crime to pay off his debts. Filming is taking place in Switzerland and the Czech Republic until mid-February next year.

Finally, there was bad news this week for showrunner Kurt Sutter whose medieval drama The Bastard Executioner has been axed after just one season by broadcaster FX. Having opened in September with an audience of four million, it fell away to 1.9 million by the end of its run. But this probably doesn’t signify the end of the sword and savagery genre. HBO’s Game of Thrones, Starz’s Outlander and History’s Vikings continue to do well while the BBC’s The Last Kingdom has also received decent reviews. Also coming up is ITV’s retelling of the Beowulf saga, which should provide us with another indicator of the genre’s popularity.

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