Former Criminal Minds showrunner Ed Bernero takes charge of diamond-focused drama Ice as it heads into its second season. He tells DQ why he is stepping out of his comfort zone and leading a series set in a world rarely seen on television.
When US drama Ice ended its first season, the story teetered on the edge of a classic cliffhanger – the main characters all together and the sound of single gunshot.
In fact, fans of the show – set in the world of the LA diamond business – were also left on a knife-edge, as they didn’t know if the show would be returning for a second season. Confirmation finally came in mid-June, four months after the credits last rolled, as telecoms giant AT&T announced Ed Bernero as the new showrunner for the series, which airs on its Audience Network.
The first season of Ice, produced and distributed by Entertainment One (eOne), launched in November 2016 with director Antoine Fuqua and writer Robert Munic as exec producers. Nine different directors helmed the 10-episode run.
A television industry veteran, Bernero comes on board having led shows including Criminal Minds, Third Watch and European crime drama Crossing Lines.
He says the appeal of joining Ice heading into its second season, which is due to air in 2018, lay in its tackling of unchartered territory:“I get sent a lot of things to do and it’s not often where I see something where the cast interests me and it’s a world I don’t think has been explored that much on television.
“I watched the first season and started talking to eOne about some things I thought I would do with it and they responded. I’m just excited to be doing it – it’s a lot of fun. It’s a completely different muscle than I’m used to exercising, which is more in the procedural vein. This is very much a serialised family show.”
As a former cop, it’s no surprise Bernero’s credits haven’t strayed far from the crime genre, and he admits the structure associated with procedural story-of-the-week series “is just the way I’ve always thought.” He doesn’t mind being known as “the cop guy,” but says it’s refreshing that he can now try something new.
“It’s just a little hard to get Hollywood to try something else – it’s kind of like being typecast as an actor,” he says. “Not that I’m complaining about it. Believe me, there are worse things to be than the cop guy in Hollywood.
“I write this show the same way I write any other. It always comes from character for me anyway, just in a different format. eOne has been very supportive of me doing it. I’ve been very excited to be with people who say, ‘Go do your thing.’”
Season one introduced the family-owned Green & Green Diamonds firm, operating in the underbelly of the LA diamond trade. This season sees new wars waged between half-brothers Jake (Cam Gigandet) and Freddy (Jeremy Sisto), Cam (Ray Winstone) and Lady Rah (Judith Shekoni) in a bid to claim control of the glittering world of diamond trading.
“They ended season one with everyone together and a gunshot and we’ve picked it up from there,” Bernero tells DQ during shooting on episode three and four. “The thing we’re trying to do a little bit more this year is make it more about diamonds. We’re calling the season ‘Game of Stones.’ There’s four groups we’re going to follow in different journeys within the diamond world. We’re having a lot of fun just sort of taking the characters that were set and taking them in new directions and to new places.”
The show will continue to be a serialised drama, the showrunner says, but if the audience notices anything different from season one, it might be there is less time spent with the family as a whole as the group splinters to deal with their own storylines. “There are a few more individual stories and worlds than there were, but they still all intersect and come together in different ways,” he explains. “To the audience, it should very much feel like the same show with a little more emphasis on diamonds.”
The downtime between the end of season one and the confirmation of season two meant a lot of the crew had moved on to other projects, such is the demand for workers in Vancouver, where Ice is filmed. That meant Bernero had to rebuild the production team, though the cast remains largely intact from season one.
It also presented the new showrunner with the unique challenge of making a “first-season show in its second season.” He explains: “The storylines are new and it’s a completely new creative team behind the camera. The cast has actually been really helpful – we sat down and talked about their characters and they’re welcome in the writing room as much as they want to be. We just talked about what they established as their characters.
“Because we have no one who was in the [writers] room at the conception of it, it’s been freeing to not have to worry about offending anyone or hurting anyone’s feelings. At the same time, it’s a bit of a learning process. We have to figure out who Lady Ra is and who Freddy is.”
Bernero and his team also spent time learning about the world of diamond trading, with diamond experts hired as consultants on the series. Meanwhile, Vancouver doubled for LA, London and Venezuela for the first episodes in the globetrotting second season, while production moves to South Africa for the final five episodes as several characters head to a diamond conference.
“One of the things we wanted to pay attention to is that it’s a global business,” the showrunner says. “The diamond trade touches almost every country, so we wanted to do that. For the last five episodes, eOne is letting us go to South Africa and shoot in Cape Town. We’re pretty excited about that.”
Beyond Ice, AT&T’s Audience Network has been building up a slate of original series including MMA drama Kingdom and polyamorous romcom You Me Her. This summer it drew particular acclaim for its Stephen King adaptation Mr Mercedes, while political thriller Condor is on the way.
“AT&T is no different to a lot of new outlets, in that they want something that makes noise,” Bernero says of the DirectTV-owned platform. “They just want something different. They don’t want it to be a show that could be on CBS or on ABC.
“A family of people involved in the diamond business is something I personally have never seen. When I looked at it, I couldn’t believe no one had ever done this, because it’s such a rich world and it’s so interesting. But that is something any of these outlets are looking for that are kind of new to programming. They’re trying to get something that looks a little different to everyone else. Ice is that in spades.”
Despite its glamorous setting, Ice is a family drama at its heart, notes Bernero, who believes audiences respond most to a family dynamic whatever form that may take. “For me, every TV show has to have a family at its centre,” he says, whether it’s an actual family or a group that can be identified as one, such as the cops who work together on Criminal Minds.
“House of Cards is about a guy who got screwed over at work. Everybody gets that. So you try to find the elements in the show that everyone can relate to in their world. People instinctively go towards family, especially when they’re watching it at home. They’re inviting you into their home, so it’s important that at the centre of every show is a family – and this show has that.”
Bernero’s move to a serialised drama may be further proof that procedurals have had their day in the US, despite continuing demand from overseas broadcasters and a slight uptick in the number of new story-of-the-week series launching across the big five broadcast networks this fall.
But the showrunner believes the trend for serialised stories, promoted by SVoD platforms, will eventually subside as networks revert to the types of shows that will bring in the most profit.
“People still need something to do on Tuesday night,” he says. “My family all live in the Midwest and they don’t stream everything or binge-watch. There are still a lot of people who watch TV the traditional way and I don’t think that will ever go away.
“Some of the networks are open to procedurals. It’s a bit cyclical, but they’ll realise these short orders don’t make the kind of money that something like Criminal Minds does.”
The lazy summer month of August doesn’t seem like an obvious time for new scripted commissions ABC, Starz and National Geographicto be announced. But it’s actually pretty active in the US, thanks to the Television Critics’ Association (TCA) Summer Press Tour.
For a couple of weeks, network execs give the media a frank and detailed insight into some of their plans for the coming year.
ABC, for example, has given a straight-to-series order to Ten Days in the Valley, a 10-part drama series that plays out over a 10-day period. Produced by Skydance and created by Tassie Cameron (Rookie Blue), the series focuses on a television producer and single mother whose young daughter goes missing in the middle of the night. The show was originally set up with Demi Moore in mind but the lead will now be The Closer’s Kyra Sedgwick.
The show is reportedly part of ABC Entertainment president Channing Dungey’s ambition to re-introduce more procedural dramas into the network’s schedule. If that is the case, it will be welcomed by European buyers, who have been complaining about the lack of decent procedurals coming out of the US.
Premium pay TV channel Starz has also used the TCA tour to unveil plans for a number of shows, one of which we referenced in last week’s Writers Room column (Pussy Valley). Another greenlight announcement is a second season of The Girlfriend Experience, based on the film by Steven Soderbergh. The series will tell a new story with new characters, putting it firmly at the heart of the current trend for anthology drama.
Carmi Zlotnik, MD of Starz, said: “The first season of The Girlfriend Experience [GFE] allowed us to accommodate all viewing appetites with the traditional weekly episodic premiere schedule as well as a bingeing option for the entire 13 episodes. We’re excited to offer Starz subscribers a second season that will explore new GFEs, clients and relationships as we take viewers back into this world that questions the price of intimacy and its emotional consequences.”
Another player making a big scripted statement at the TCA tour was National Geographic Channel (NGC). Although best known for its factual content, NGC is boosting is scripted profile with a show based on a manuscript from the late Michael Crichton.
Crichton died in 2008 but he was such a remarkable creator of sci-fi adventure series (Jurassic Park being his seminal work) that the TV and publishing industry has continued to mine his creative archive for gems. In 2009, for example, a novel called Pirate Latitudes was released, followed by Micro in 2011.
Dragon’s Teeth will be released as a novel next year and is being developed for TV by Amblin Television, Sony Pictures Television and CrichtonSun. Set in the American West in 1878, it follows the intense rivalry between real-life palaeontologists Edward Drinker Cope and Othniel Charles Marsh.
Carolyn Bernstein, exec VP and head of global scripted development and production at NGC, said the story was an “epic tale of science, adventure and exploration” that would be “the perfect project for the network.”
NGC has also ordered a miniseries called The Long Road Home, based on the novel by Martha Raddatz. Set up as an eight-hour production, the show tells the story of a US Army unit fighting for survival after being ambushed during the Iraq War.
Other US-originated dramas to hit the headlines this week include ICE, a drama for AT&T Audience Network that will “focus on the treacherous and colourful world of diamond traders in downtown Los Angeles.” A 10×60′ series from Entertainment One (eOne) and Antoine Fuqua’s Fuqua Films, ICE will be written by Robert Munic (Fighting, The Cleaner). International rights to the show will be managed by eOne.
Christopher Long, SVP of original content and production at AT&T, says: “ICE has truly been a labour of love for us as we have been cultivating and evolving this project with Antoine Fuqua for more than two years. With Antoine, our amazing team of writers, as well as eOne, we know that ICE will capture the attention of viewers who are looking for exciting new shows with compelling storylines to add to their line-up.”
HBO is also in the news this week with reports of two miniseries. The first is from Friends co-creator Marta Kauffman and has Nathalie Portman lined up to star. Called We Are All Completely Beside Ourselves, it is based on Karen Joy Fowler’s novel about a university student who loses her twin sister during childhood.
The premium cable channel is also developing miniseries Black Flags with Bradley Cooper. This show is based on a book by Joby Warrick and explores the rise of ISIS. The Cooper connection is presumably an attempt to inject the project with an air of American Sniper.
Oprah Winfrey’s OWN network, meanwhile, has given a season two commission to Queen Sugar, before the show’s first season has even begun.
Created by Ava DuVernay, the show is about a group of estranged siblings who are forced to work together to save their family’s struggling sugarcane farm in the Deep South.
“When we saw the first cut from Ava we knew right away that we wanted a second season,” said OWN president Erik Logan. “We think viewers are going to connect with the deeply layered characters and powerful story. We are proud to be a network that supports a filmmaker’s creative vision.” Season one launches in September with 13 episodes and the second run will have 16.
Finally, from the US, USA Network has awarded a seventh season to its legal drama series Suits. The news comes just three episodes into season six and is an indication of the importance of the show to the channel.
Suits continues to be USA’s top-rated show and is currently generating an audience of around 1.7 million, rising to three million when time-shifted viewing is factored in. Suits has arguably become more important in recent weeks given that season two of Mr Robot has slipped in the ratings. The critically acclaimed hacker show started season two with around one million viewers, down from the season one average of 1.39 million. Subsequently it has slipped to around the 700,000 mark, which is surprising given its recent high profile on the awards circuit.