Eight-part drama Jamestown charts the early days of the first British settlers as they embark on their lives in America, among them a group of women destined to marry the men of the colony.
Facing all manner of trials, the settlers come together to conquer and adjust to the realities of their new lives on the other side of the world. But while Jamestown is a place for them to build new lives and start again, it’s also somewhere past secrets can be buried.
Writer Bill Gallagher (Lark Rise to Candleford, The Paradise) tells DQ about the historical facts that inspired the story of Jamestown, the research he undertook in Virginia and why he compares the series to a novel.
He also discusses the value of collaboration to help create the identity of a show, which in turn informs the direction, casting and other decisions during production.
Jamestown, which debuts on May 5, is produced by Carnival Films for Sky1 and is distributed by NBCUniversal International Distribution.
A trio of the world’s hottest television writers – Bill Gallagher, Victoria Madden and Sarah Phelps – discuss their latest projects and reveal how they find their voice for the small screen.
Bill Gallagher Starting his career on British dramas such as Casualty, Soldier Soldier and a TV movie based on French detective Maigret, Bill Gallagher is best known for credits including Lark Rise to Candleford, Conviction, The Prisoner, The Paradise and Paranoid. His next project is frontier drama Jamestown (pictured above), which charts the early days of the first British settlers as they begin their new lives in America. It is produced by Carnival Films for Sky1 and distributed by NBCUniversal International Distribution.
Gareth Neame [Carnival’s MD] asked if I would look at this period of the very first settlers who went to America from England. I said, “Ok, I’ll read some books.” So I was reading this stuff and it was terrific but I couldn’t see a show. Then I was reading one book, I was on page 300-and-something and suddenly it said, ‘And in 1619, when the men had been there for 12 years, the Virginia Company sent over a ship with 100 women on it’ – maids to make wives. And I fell in love with the whole notion of doing this. You have to fall in love with it.
That became the defining aspect of the show – to see the whole experience though the eyes of women. I was brought up on westerns on the TV so it really was my mythology as a kid, and I got to write for Native American actors. It was absolutely fantastic.
I wrote the whole thing myself. It’s not always the case but often is. I was instantly very clear about who the characters were and what the stories were. I wrote the pilot very quickly and Gareth gave it to Sky very quickly. I’ve been a writer for 30 years and that speed is a rarity rather than commonplace. Things just fell into place at the right time. Sky makes shows with scale, with issues driving them. It fitted what they wanted and they had a pilot script.
I worked with [exec producer] Richard Fell at Carnival and we went to Virginia together. One of the most joyful parts of being a writer is to find a simpatico partner to work with, somebody who challenged me all the time, who was as passionate as I was about it and who got me as a writer.
I allow myself to be clumsy. I love my craft, I love the craft of making a TV show but I work quickly and sometimes that’s clumsy – but I don’t mind that. I used to beat myself up about it when I was younger, I used to get in a real mess and then I had this realisation at some point that this was just my job and it’s my job to be better – so how do I make it better? I don’t mind being clumsy but I have to find someone who’s not panicked by that, and Richard was terrific. I love the craft of it. I work very hard at the composition and architecture of it all but I also give myself permission to get things wrong.
It’s a great time to be a writer because to write something like Jamestown now, which has Native American characters and slaves and English people who have been transported around the world, we can write anything and it’s doable.
Victoria Madden Australian writer Victoria Madden’s early credits include The Flying Doctors and Heartbreak High, before she moved to the UK and worked on dramas including The Bill, Trial & Retribution and Irish series The Clinic. She then returned home to Tasmania to write and produce The Kettering Incident (pictured above), an eight-part mystery with supernatural overtones for pay TV broadcaster Foxtel that centres on a doctor who finds herself linked to the disappearance of two girls, 15 years apart. It is produced by Porchlight Films in association with Sweet Potato Films and distributed by BBC Worldwide.
I’ve written a lot of crime in my career and I love it as a base to work from. I was looking for other angles and when I was living in the UK, Life On Mars was being shot. I was hugely influenced by that show, the way they managed to make a fantastic crime show but with supernatural overtones that didn’t get in the way. It started to make me think that I wanted to explore the supernatural genre as well and to marry together some ideas.
Tasmania is a deeply gothic place with a horrific past – it’s right at the bottom of the world, it’s very isolated, very alone and suffers a lot from huge environmental wars – and I wanted to explore that, adding in the fact that Tasmania also has an abnormally high percentage of people who go missing. I was always fascinated by that.
That started the idea – then something else, something out there. That was the hardest part for me. I hadn’t done supernatural before. I didn’t want it to be a sci-fi show; I wanted it to be a metaphor and to build the supernatural into the story in a natural way. It’s also about a small town on the brink of destruction and that world I grew up in and that desperation. Also, in small worlds, what I find fascinating is the way you have to get on with your neighbours because it’s so small but everybody hates everybody. It builds this maelstrom of deceit and duplicity.
Anna Macy, the lead character [played by Elizabeth Debicki], is a girl who comes back, realises she doesn’t belong and so starts a journey. It really is a journey of unwinding a character and seeing why we need connection and why we need to call somewhere home. She’s a bit of an anti-hero – you don’t know whether to believe her, so that was fun to play with. Is she lying, is she connected to the missing girl story?
I was very influenced by Scandinavian drama and the importance of place. I wanted a story with a big landscape, so that meant a big budget and universal themes so it could travel. We were really lucky, it was a perfect storm. Foxtel was looking for something really different for Australia so it all came together for a world stage.
I don’t like dialogue a lot and I do anything to try not to write a lot of dialogue, but I knew the themes we were exploring were about disconnection, and so every character – even the smaller secondary characters – had a full journey through the show. When I know the themes I am exploring, I like to work in a mosaic way. I do small scenes between people, taking them out of the drama, and then I weave it together afterwards. I don’t like to do it linearly, I just like to do these moments and think about what these people would talk about. At the end, you hopefully get this coherent episode of characters who are lost and trying to find their way through their circumstances.
Sarah Phelps Sarah Phelps started her writing career on long-running UK soap EastEnders and has since worked on shows including The Crimson Field, Dickensian and Hooten & The Lady. She is best known, however, for her skill at adaptations, among them Great Expectations and The Casual Vacancy. She is now reinventing Agatha Christie for the BBC, first with And Then There Were None and most recently with The Witness for the Prosecution (pictured above and at the top of this page). The two-part story about a man put on trial for the murder of a wealthy heiress is produced by Mammoth Screen and Agatha Christie Productions, with A+E Networks distributing.
I never read any Agatha Christie at all and I never watched any – I just thought it wasn’t for me. It was cosy, over there somewhere, just not what I’m interested in. But then Damien Timmer from Mammoth told me to read And Then There Were None and I was absolutely knocked sideways. It’s one of the most brutal, savage things I’ve ever read. It’s rather extraordinary. It just took fire in my head.
These 10 people on an island – a salt-scoured rock – in the middle of the sea, unable to reach the mainland and here comes this thing towards them, this bloody reckoning of all the things they’ve done, the lies they’ve told. You watch the veneer of etiquette, politesse, society, gender and status being stripped away from them to reveal the craven, brutish animals they are. They are all people who have perpetrated the most terrible crime – they’re all murderers.
That to me felt like, ‘Well, if this isn’t a story about what it’s like to live in 1939 as the world tips over again and the absolute cataclysm of the Second World War, then what the hell is?’ So that really excited me.
Then I came to The Witness for the Prosecution. It’s 20-odd pages, this story with a great twist, but it’s also the 1920s. We associate the period with people dancing on tables and drinking champagne; flappers and rackety, hedonistic, sexual and social excess, but it’s also a time of extreme depression. People came back from the First World War with terrible injuries, both seen and unseen, and terrible deformities.
In the middle of this is a story about sex, money and murder, about an older, very wealthy woman buying favours from a young man who is completely penniless, and you get a really different feeling from the story. Added to that is one of the main characters is a woman who is absolutely the epitome of alterity – she is a foreigner, an actress from Vienna. What we’re talking about is someone from somewhere else and Christie takes all those great icons of what we believe English and privilege are and just smashes them to absolute pieces. That feels so wildly subversive to me.
There’s always a key that unlocks the story and makes the whole thing explode. Suddenly there’s a tiny detail, it might even be a sub-clause in some long sentence, and it just unlocks everything and that’s when you start running wildly round your house with your jumper over your head like a kid. You know you’ve found your story.
From writing EastEnders to anything else, I’m the audience. Does the story excite me? Do I want to find out what happens next? Am I interested in this story? But if you want it to be universal, you have to be really specific because that’s where you get this emotional connection. Being able to write something that absolutely punches you in the heart from my ridiculously tiny study somewhere in England – if it can punch you in the heart there, it can punch you in the heart around the world.
Period dramas are never far from our screens, but they currently appear to be more popular and diverse than ever. Stephen Arnell examines the current trend for costume series.
Drama series based on historical events and set in eras gone by have always been popular, more so than ever in the current ‘golden age’ of television, despite the obvious expense involved in terms of scale, design, costuming and on- and off-screen talent.
The American West has long yielded rich pickings for both period series, most recently with Hell on Wheels (AMC, 2011-16), and those with a more contemporary setting, including Longmire (A+E/Netflix, 2012-present) the much-admired Justified (FX, 2010-15), and the western/sci-fi hybrid Westworld (HBO, 2016, pictured above).
Cinemax’s Banshee (2013-16) should also qualify as part of the genre, as, notwithstanding its present-day Amish Pennsylvania backdrop, the show possesses a narrative that harks back to the ‘psychological’ westerns of the 1950s, including Johnny Guitar (Nicholas Ray, 1954), 3:10 to Yuma (Delmer Davies, 1957), Warlock (Edward Dmytryk, 1959) and Marlon Brando’s sole directorial effort One-Eyed Jacks (1960).
Last year the UK’s ITV attempted to inject western DNA into 1870s Yorkshire with the viaduct-building drama Jericho, but poor ratings saw it fail to gain a second season.
The granddaddy of the western TV series since the 1990s is, of course, HBO’s Deadwood (2004-06), which despite being cancelled in season three retains a huge affection among the cognoscenti, enough perhaps for the mooted one- or two-part TV movie conclusion to the show to finally be given the nod.
As of August 2016, Deadwood creator David Milch was reported to be working on a script that aims to bring some sense of closure to the show.
The contemporary strain of western will see a new entrant into the field this year with Sky Atlantic’s Tin Star, a revenge thriller located in the Rocky Mountains of Canada, starring the always-busy Tim Roth (Rillington Place, The Hateful Eight) as a former London Met detective now plying his trade as a law officer in the previously sleepy but now crime-ridden town of Little Big Bear.
Co-stars include Mad Men’s Christina Hendricks, who most recently graced our screens in SundanceTV’s underrated James Purefoy/Michael K Smith crime drama Hap & Leonard.
After the ratings failure of The Young Pope in the UK, Sky Atlantic must be hoping that Tin Star can stake a larger claim for the potential audience, with a narrative that appears more immediately appealing than what some felt were the arthouse affectations and longueurs of the Jude Law starrer.
Another area that appears popular is the ‘pre-western,’ generally taken to be the New World in North America before the Civil War (1861-1865).
The success of 2015’s endurance epic The Revenant may have given some inspiration for new dramas to explore the times before the ‘Classic American West’ period of 1865-1900, set as it was in the ‘unorganised territory’ of the 1820s.
Two upcoming shows also set in the years preceding the Wild West include Sky1’s Jamestown and Netflix’s appropriately named Frontier.
At first glance, Jamestown, located in the North America of 1619 among the first English settlers, owes something to some relatively recent dramas, including Terence Malick’s film A New World (2005), Peter Flannery’s New Worlds (Channel 4, 2014) and Jimmy McGovern’s Banished (BBC2, 2015).
Strong similarities also appear noticeable between Banished (based in a New South Wales penal colony of 1788) and Jamestown, in the narrative hook of having both the predominately male inhabitants of the two communities learning to deal with an influx of women into their lives.
The recent teaser trailer released for Jamestown suggests creator Bill Gallagher (The Paradise, Lark Rise to Candleford) will be a taking a slightly less gritty approach than that adopted for Banished.
As for the Jacobean setting of the show, UK producers have a mixed record with dramatic depictions of the Stuart era, with successes including Charles II: The Power & The Passion (BBC1, 2003), Gunpowder, Treason & Plot (BBC2, 2004) and The Devil’s Whore (C4, 2008).
But less popular were the aforementioned New Worlds (C4, 2014) – a sequel to The Devil’s Whore set in 1680s colonial Massachusetts (61 years on from Jamestown’s Virginia) – and ITV’s The Great Fire (2014), which to many critics was more of a damp squib than a raging inferno.
Debuting in the UK on Netflix later this month after a Discovery Canada transmission (incidentally that network’s first scripted commission) in November and December last yaer, Frontier stars Jason Momoa (Game of Thrones, Red Road) in an adventure drama centred on the late 18th century North American fur trade.
Anyone expecting a gruelling Revenant-style experience may be disappointed, as the trailer gives the impression of a fairly uncomplicated period action-adventure, a few shades less complex than, say, Black Sails (returning to Starz for its fourth and final season this month).
The Revenant star Tom Hardy’s eagerly anticipated period drama Taboo made its January 7 debut in an unusual Saturday peaktime slot for BBC1, unusual in that light entertainment and other less-demanding fare tends to dominate the evening.
BBC1 chief Charlotte Moore will be hoping the gamble pays off and viewers stick around for something more full-blooded than they’re used to on the channel at that time.
And on the evidence of the overnight ratings for Taboo’s debut (4.8 million viewers and a 22.9% audience share), there is certainly some justification for its scheduling, which was fortunate in going against weak opposition. The performance of subsequent episodes will be the real test.
From the evidence of the trailer and to the likely pleasure of his legions of fans, Hardy seems to be in his default pyscho/masochist mode in the show, which will be familiar to viewers from his previous work in The Revenant, Bronson, The Dark Knight Rises and Peaky Blinders, the latter produced by Taboo co-creator Steven Knight.
In contrast to Frontier, where the villains are the Hudson Bay Company, the corporate bad guys in Taboo are the 1814 iteration of the East India Company.
Other interesting period dramas coming up in 2017 include season two of the Sean Bean starrer The Frankenstein Chronicles (ITV Encore), which may help assuage some pangs for the loss of Penny Dreadful, and the same channel’s Harlots, with Samantha Morton (Rillington Place) as a brothel keeper in Georgian London, set a few years earlier but in the same locale as Bean’s show.
Away from the grime and fog of London, fans of costumed spectacle can also look forward to BBC2 epic Troy: Fall of a City; the Roman drama Britannia (Sky1); Les Misérables (BBC1); season two of The Last Kingdom (BBC2); the final season of Reign (The CW); The White Princess, the belated follow-up to The White Queen (Starz); Julian Fellowes’ The Gilded Age (NBC); The Alienist (TNT); and Ridley Scott’s The Terror (AMC).
TV markets MipTV and Mipcom in Cannes are primarily known as places for buying and selling programming. But the recent surge in the quality of scripted content from around the world has given them an interesting new role – as platforms for screening new shows.
At first, the screenings were organised on an ad-hoc basis. But MipTV 2016 in April saw the launch of the Mip Drama Screenings, an array of shows selected by jury. There was even a kind of competition, with Belgium’s Public Enemy being awarded the first ever Coup de Couer.
Mipcom, which takes place next month, is also benefiting from the growing appeal of screenings. At the time of writing, market organiser Reed Midem had announced two World Premiere Screenings and eight International Drama Screenings. This is approximately twice as many screenings as last year and it’s still possible one or two more titles will be added to the overall schedule.
The first of the World Premiere TV Screenings (on the evening of Sunday October 16) is the eye-catching Mata Hari, an ambitious series about the infamous dancer, courtesan and First World War female spy.
Based on a true story, Mata Hari is an English-language drama that is produced by Star Media of Russia and distributed by Red Arrow International. It stars French actress Vahina Giocante (The Libertine) in the title role, and features Christopher Lambert (Highlander) and John Corbett (Sex and the City) – all three of whom will attend Mipcom and take part in a Q&A session directly following the screening.
Commenting on the 12-hour series, Red Arrow International MD Henrik Pabst said: “The scale, quality and ambition of this new series mark a new chapter in Russian-made English-language drama, and we are looking forward to launching it at Mipcom.”
It is part of a growing trend towards English-language series originating in non-English markets – other examples being Versailles and forthcoming drama The Young Pope.
Screening on Tuesday October 18, 20th Century Fox Television’s much-anticipated two-hour TV special of The Rocky Horror Picture Show is the other World Premiere Screening at Mipcom. A made-for-TV reboot of the iconic movie/theatre show, The Rocky Horror Picture Show sees young couple Brad and Janet stray off the highway one night and stumble upon the castle of Dr Frank-N-Furter, a gender-bending mad scientist who is keen to show off his latest creation, Rocky.
It stars Laverne Cox as Dr Frank-N-Furter, Victoria Justice as Janet, Ryan McCartan as Brad, and Adam Lambert as Eddie, the role originally played by Meat Loaf. The new version also sees Tim Curry, the original Frank-N-Furter, return as the show’s criminologist narrator.
Distributed by 20th Century Fox Television Distribution, the editorial heritage of the project is bound to attract plenty of buyers. But it will also be interesting to see if it represents a revival of interest in the TV film format, which could lend itself well to the on-demand viewing landscape that major markets have shifted towards. It would be a major surprise if the project didn’t attract the interest of Amazon or Netflix (the latter of which works with Cox on Orange is the New Black).
Turning to the International Drama Screenings, one of the first up will be Beta Film-distributed historic epic Maximilian and Maria de Bourgogne, which will be screened on the evening of Monday, October 17. Directed by Andreas Prochaska, this sumptuous six-hour period drama is estimated to have had a budget of €16m (US$17.9m). A love story set towards the end of the Middle Ages, it stars Berlinale up-and-comer Jannis Niewoehner alongside César-nominee Christa Théret and is coproduced by MR Film, Beta Film, ORF and ZDF.
Another interesting screening will be The Missing 2, an English-language thriller distributed by All3media International. Initially, the organisers of Mipcom weren’t sure if it was right to screen a follow-up season. But they were ultimately convinced by the fact that The Missing is an anthology format, part of a growing trend in scripted TV that also includes acclaimed series such as Fargo and True Detective.
The story follows a young woman who has been missing for 11 years. When she returns, she holds vital clues about another missing girl who has not yet been found.
Aside from its anthology status, the show is interesting because of the complexity of its coproduction status. It is credited as a New Pictures production for BBC1 in the UK and US premium cable network Starz, in association with Two Brothers Pictures and Playground Entertainment. It is also cited as a copro with Czar TV and BNP Paribas Fortis Film Finance with the support of één (VRT) and Screen Flanders.
Screening on October 18 is Ouro, distributed by Newen Distribution. The eight-part series is a modern day adventure set in the Amazonian jungle. It tells the story of Vincent, a 20-year-old geology student, who goes to French Guiana to do an internship at a gold-mining company. His love for danger then prompts him to join forces with a local gold lord to explore an abandoned mine.
This is another show that is certain to attract a lot of interest. Aside from the fact it is part of a resurgence of interest in adventure series, it’s a Canal+ original drama, meaning it’s part of the same stable as acclaimed French scripted shows like The Returned, Versailles, Spiral and Braquo.
Continuing the popularity of challenging period drama, there will also be a screening of Carnival Films’ Jamestown, which tells the story of the first British settlers in North America’s inhospitable but magnificent wilderness. As three young women arrive in a fledgling Virginian colony, the community battles against threats from both outside and within. This is another six-parter, underlining the popularity of this format.
At the other end of the scripted spectrum, there is also a screening for AwesomenessTV’s Freakish, the story of 20 high-school students trying to survive after their school has been destroyed by an explosion that causes the surviving population to mutate.
Wednesday October 19 in Cannes will see a double bill of screenings, starting with Global Screen-distributed Prisoners (working title). Combining the international market’s interest in Nordic content with its fascination with women’s prison drama, this six-part scripted series, directed by Ragnar Bragason, is about a woman who is sent to serve time in Iceland’s only female prison for a vicious assault that leaves her father in a coma. But no one knows that she harbours a dark secret that could tear her family apart – a secret that could also set her free.
The second leg of the double bill is UFA Fiction’s Charité, also a six parter. Set in Berlin in 1888, it centres on the world-famous Charité Hospital.
Aside from telling a compelling human-interest story, the series uses the hospital as a microcosmic reflection of late 19th century Wilhelmine society. This period saw unprecedented scientific progress in medicine accompanied by radical changes in society and the economic upheavals of industrialisation. The series is directed by Sönke Wortmann and written by Dorothee Schön and Sabine Thor-Wiedemann.
Finally on the Mipcom screening slate comes The Legendary Tycoon, from China Huace Film & TV. A welcome addition to the mix, the show is set against the backdrop of the Chinese film industry and is based on the true story of Asia’s first movie mogul, Sir Run Run Shaw.
Shaw, who founded Shaw Brothers Film Studios in the 1960s, was a media mogul who popularised Chinese Kung Fu movies in the west and worked in the entertainment industry for 80 years. Known as The King of Asian Entertainment, he died in 2014 at the amazing age of 107.
There’s no question that the dramas that secured screenings at MipTV 2016 benefited enormously in terms of profile among international buyers. So it will be interesting to see if this autumn’s crop of shows get a similar boost to their distribution efforts.
The TV industry’s annual calendar is packed with great events – though not all of them have a high profile outside their domestic market.
A good example is the ATX Television Festival, which has taken place in Austin, Texas, over the last few days. For those not familiar with ATX, the organisers say: “We have the functionality of a traditional film festival with screenings followed by Q&As from cast and creators; panels focused on industry related topics; and an array of events that includes parties, live music, meet-ups and social media events. Unlike traditional festivals, however, we celebrate the history of the medium as well as the future. We spotlight classic shows, never-aired pilots, cancelled-too-soon series, cult favorites, current hits, and premieres of new series.”
Significantly, ATX gets plenty of support from big hitters in the US TV industry. At this year’s event, there were panels with the likes of Betsy Beers (Grey’s Anatomy), Noah Hawley (Fargo), Beau Willimon (House of Cards), Tom Fontana (Homicide: Life on the Streets), David Simon (The Wire) and Howard Gordon (Homeland).
There were also sessions exploring the depiction of the LGBT community in scripted TV, comic book adaptations, the way faith and religion are tackled, the role of the director in TV drama and the secret to making a successful fantasy series for TV.
One of the most interesting sessions saw writers from FX’s iconic series The Shield (2002-2008) meet up to discuss how the show shaped their respective careers.
Scott Rosenbaum, who has gone on to executive produce series like V, Conquistadors and Gang Related, said: “There was an immense amount of pressure. It was very, very competitive because we all wanted our ideas to get on screen and when we didn’t, we could be angry or petulant – but I think that’s what made it so great, this sense of competition.”
Aside from Rosenbaum, other Shield writers on the panel included Glen Mazzara and Kurt Sutter, who have gone on to work on both megahits and short-lived failures. In Mazzara’s case, credits include The Walking Dead and Damien, while Sutter’s post-Shield work includes Sons of Anarchy and The Bastard Executioner.
Also on the panel was Shawn Ryan, showrunner of The Shield. Ryan has gone on to create and produce a number of new series since The Shield including Last Resort, Lie To Me and Mad Dogs — with NBC’s new time-travel drama Timeless his next adventure.
However, he clearly still has a residual affection for The Shield and its central character, Detective Vic Mackey (played by Michael Chiklis). Quizzed on the show, he gave the impression that he could be persuaded to go back to the franchise if the conditions were right and he could call on some of the original writing team: “I have some ideas where Vic Mackey is, but I don’t know where Vic Mackey is until someone puts me in a writers room with a group of these people (on the panel) and some people who aren’t here and gives us a week to sort it out. Usually my first idea or instinct isn’t the right one, so I have some thoughts. I’d love to hear their thoughts and I’d love someone to pay us to sit in a room.”
Rosenbaum also gave some insight into the psychology of working in the writers room of such a high-octane show. Recalling the addition of established showrunner Charles Eglee (NYPD Blue, Moonlighting) to the team, he said: “There was a proprietary feeling of, ‘This is our show. We’re the ones who did this. Why do we have to have a new person come along? We’re capable of doing this.’”
However, that initial resistance disappeared when “we realised we had someone really special. My first impression of him was that I thought he was one of the smartest people I’d ever met.”
Another ATX panel of interest was “Westerns: Then and Now,” which saw HBO give a sneak peak of Westworld. Co-creator Jonathan Nolan said: “It was Game of Thrones that made us feel like we could pull this off. The 30-second pitch for Westworld was that we were sort of making Days of Heaven and Alien simultaneously and then putting them together, which is kind of my dream project – exploring two genres and playing with the juxtaposition of both. It’s fantastic.
“HBO felt like the only place we could make this. And Game of Thrones was the inspiration for us. Game of Thrones has this commitment to practical production value, which is not necessarily what’s in play (elsewhere) these days.”
Meanwhile, still in the US, the creator of CBS hit series Elementary, Rob Doherty, has just signed a three-year deal with CBS Television Studios.
CBS has already renewed the show for a fifth season, but the new deal suggests Elementary will get a least a couple more runs yet – which is no surprise when you learn how much money it generates for the network. In May, CBS boss Leslie Moonves said Elementary made CBS an estimated US$80m in profit last year (the result of being a wholly-owned CBS property).
Elementary is Doherty’s biggest hit to date, though he has written and produced for a number of series, including Ringer, Medium, Point Pleasant, Tru Calling and Dark Angel.
Outside the US, the big story of the week is that Canal+ in France has renewed its spy drama The Bureau for a third season. Federation Entertainment and TOP will start filming the third run in September. This is the second piece of good news for the show, after its existing seasons were picked up by Amazon Prime UK.
The Bureau was created by Eric Rochant, who is also known for writing and directing movies such as Autobus, Mobius, Love Without Pity and The Patriots. In terms of TV projects, he also wrote and directed a number of episodes of Canal+’s Mafiosa, le Clan. Created by Hugues Pagan, this show also ran on Canal+ for five seasons (40 episodes in total) from 2006 to 2014.
Finally, coming full circle to the subject of interesting industry events, screenwriter and director Bill Gallagher (The Paradise, Lark Rise to Candleford) has joined the line-up for C21 Media’s International Drama Summit, part of Content London (November 29-December 1). Gallagher will discuss new work such as Sky1’s forthcoming eight-parter Jamestown at the event, as well as his approach to the craft and his role as a creator and writer.
Jamestown, about the first British settlers in America, is being produced by Downton Abbey and Lucky Man producer Carnival Films and is slated to air later this year on the UK satcaster.
Last week it was announced that writer/director Tony Grisoni had also joined the line-up for the International Drama Summit.
In the US, big-budget drama has become a key battleground between pay TV platforms and their fast-growing SVoD rivals. Now, the same pattern is emerging in other parts of the world. After months of announcements from Netflix and Amazon about their new European dramas, DTH satellite platform Sky has hit back by announcing a formidable slate of six original shows.
At the end of last week, the firm said: “Responding to demand from customers for more original drama, the new productions combine with Sky’s groundbreaking HBO and Showtime partnerships to build on Sky’s growing reputation as one of the world’s best storytellers. (This is Sky’s) most ambitious slate of original productions yet, adding to its growing portfolio of drama.” No wonder they’re putting my subscription up by £4.25 next month…
Made by producers including Kudos (The Tunnel); Fifty Fathoms (Fortitude) and Carnival Films (Stan Lee’s Lucky Man), the six shows are expected to air across 2016/17. The writing and acting talent isn’t too shabby either. Writers include John Ridley (12 Years a Slave), Neil Jordan (The Crying Game) and Rowan Joffe (28 Days Later), while Idris Elba, Dawn French and Tim Roth are among the actors attached.
In truth, some of the series that are bundled together in the Sky announcement were already known about, though perhaps not with full details. Rowan Joffe’s Tin Star, which stars Tim Roth and Christina Hendricks, was first discussed in March. Described variously as “a contemporary take on the western genre” and “a revenge thriller,” it tells the story of Jim Worth, an ex-Met police detective who starts a new life in Canada’s Rocky Mountains.
Neil Jordan’s Riviera, meanwhile, has been in the public domain since February. Starring Julia Stiles, Sky calls it a glamorous thriller “set in the world of the super-rich, where art, money, sex and love all come at a price.” Also known about for some time is Bill Gallagher’s period drama Jamestown. Produced by Carnival, it is set in 1619 during the early days of the first British settlers in America. It “tells the story of a group of young women as they leave the Old World and their old lives behind them.”
News of The Last Dragonslayer first leaked in January. Based on the first of Jasper Fforde’s novels, it’s “a family adventure that follows the story of orphan Jennifer Strange, who reluctantly discovers her destiny is to become the last Dragonslayer.”
The last two projects on the slate (which are divided evenly across Sky Atlantic and Sky1) are Delicious, a four-parter starring Dawn French, and Guerrilla, a copro with Showtime starring Idris Elba. Written by John Ridley, the latter is “a love story set against the backdrop of the 1970s. It follows “a young couple whose relationship and values are tested when they liberate a political prisoner and form a radical underground cell in 1970s London”.
Sky content MD Gary Davey said: “We know our original content is highly valued and a reason why customers choose and stay with Sky. Combining the scale and ambition of our Sky original productions with the best of the US and exclusive partnerships with HBO and Showtime, we believe our customers enjoy a better choice of drama at Sky than anywhere else in the world.”
Head of drama Anne Mensah added: “Our customers adore original drama, whether that’s a rich and complex storyline on Sky Atlantic or a blockbuster adventure on Sky1. We are incredibly proud to be working with such amazing talent across all our dramas. Everything we do at Sky is about being passionate, bold and unique and that philosophy underlines all of these shows.”
Sky said the new productions join eight original drama series already on air or set to air in the coming months on Sky Atlantic and Sky1. These include The Tunnel: Sabotage, Penny Dreadful, Fortitude, Stan Lee’s Lucky Man, Agatha Raisin, The Young Pope, Harlan Coben’s The Five and Hooten & the Lady. In terms of international distribution, Sky notes that Guerrilla will be handled by Endemol Shine International; Tin Star by Sky Vision and ESI; Riviera by Sky Vision; and Jamestown by NBCUniversal International Distribution.
In the US, meanwhile, premium pay TV channel HBO has just announced renewals for three of its key shows, Game of Thrones, Silicon Valley and Veep, all of which started new seasons last night in the US. Game of Thrones, which has just started season six, will have a seventh season in 2017. Veep will now run for at least six seasons, while Silicon Valley will air for a minimum of four.
In the same week, A+E-owned cable channel Lifetime unveiled a range of new scripted projects last week, including Sea Change, a supernatural drama based on the young adult novel by Aimee Friedman. Also in development is None of the Above, a coming-of-age drama about a girl whose status as a homecoming queen is called into question when she discovers that she is intersex. Lifetime is also developing Deadline, a satirical one-hour drama that follows aspiring journalist Emily Twist, who is struggling to get noticed in a world that values gossip over investigative news.
Still in the US, producer Mark Gordon (Quantico) has teamed up with Mel Gibson on a project called The Barbary Coast, which will star Kurt Russell, Kate Hudson and Gibson, who will also co-write and direct. Backed by Entertainment One, the series begins during the Californian Gold Rush of 1849 and tells the story of San Francisco’s formative years.
“Most people don’t know the scandalous history behind San Francisco, and The Barbary Coast offers a rich portrayal of a period when success was often attained through illicit and brutal means,” said Gordon. “I’m excited that Kurt and Kate are working alongside Mel, whose astute direction will bring this devious time in our history to life.”
As yet no broadcaster has been attached to the production.
In a busy industry calendar, one event that seems to be attracting an increasing amount of attention is Paris-based Series Mania, which came to an end last week. As part of the event, there is a Coproduction Forum, which showcases projects looking for partners or finances.
This year, 16 projects from 10 countries were in the spotlight. The titles on display were 16 Knot (Lux Vide, Italy), Belle Epoque (Scarlett Production, France), Eden (Lupa Film/Atlantique Films, Germany/France), Flight 1618 (Makingprod, France), Gastronomy (Drama Team, Israel), Hidden (Yellow Bird, Sweden), Keeping Faith (Vox Pictures, UK), Let’s Save the World (Constantin Film, Germany), Liar (Two Brothers Pictures, UK), One Square Mile (Pampa Production, France), Pipeline (Apple Film Production, Poland), Pwned By The Mob (Submarine, Netherlands), Stella Blomkvist (Sagafilm, Iceland), The Illegal (Conquering Lion Pictures, Canada), The Specialists (Fridthjof Film, Denmark) and Warrior (Miso Film, Denmark).
Series Mania general director Laurence Herszberg said: “The Forum has now become a key date in the calendar for TV series professionals from around the world. The 16 titles that were chosen reveal a wide range of forms and genres, including procedural thrillers to historical dramas, and all the way to edgy contemporary stories without forgetting mainstream fare.” It will be interesting to track these shows as they build momentum.