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.
As TV showrunners adjust to their celebrity status in Hollywood, what are the biggest they face in the business?
This DQ show hears from some of the top executives in the industry on topics such as the shortage of showrunners in the era of ‘peak TV,’ the use of technology, the impact of social media and the new opportunities available for writer-producers to get their stories on screen.
Contributors include Michelle Ashford (Masters of Sex), Glen Mazzara (The Walking Dead), Howard Gordon (Homeland), Terri Miller and Andrew Marlowe (Castle), Clyde Phillips (Dexter), Graham Yost (Sneaky Pete), Amblin Television’s Justin Falvey and Darryl Frank (Bull), Ben Silverman (Ugly Betty, Jane the Virgin), Shawn Ryan (The Shield, Timeless), Eric Kriple (Timeless), Jeff Melvoin (Army Wives, Alias, Northern Exposure), Marta Kauffman (Friends, Grace & Frankie), Matt Miller (Lethal Weapon), Eric Newman (Narcos), Nic Pizzolatto (True Detective), Carlton Cuse (Bates Motel) and Ilene Chaiken (Empire).
Watch part one, Rise of the celebrity showrunner, here.
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.
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.
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.”