Tag Archives: Ley Lukins

Following procedure

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.

NCIS is set for a 16th season

“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.

MacGyver, recently renewed for a third season, is a reboot of the 1980s show of the same name

“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.

Andrew W Marlowe and Terri Edda Miller’s Castle starred Stana Katic and Nathan Fillion

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.”

Shenae Grimes-Beech (left) and Angela Griffin in US police procedural The Detail, which is based on UK show Scott & Bailey

“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.”

Grey’s Anatomy – ‘a great example of a show that has both serialised and case-of-the-week content’

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.”

Burden of Truth stars Kristin Kreuk

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.

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All in The Detail

Angela Griffin and Shenae Grimes-Beech team up to star in Canadian detective drama The Detail. They tell DQ about playing cops and the chance to join a female-led production.

The Detail could not be more timely. As the fallout from Hollywood’s sexual harassment scandal continues, alongside the #MeToo and Time’s Up campaigns and the row over gender pay inequality, this Canadian crime series stands apart as a female-led production.

Starring Angela Griffin, Shenae Grimes-Beech and Wendy Crewson, the story details the messy realities of cop life – both on and off the job – for detectives who work tirelessly to solve cases while navigating the complicated demands of their personal lives.

Behind the camera, female writers, directors, producers and consultants drive the series, which is described as depicting topical stories through a distinctly and unapologetically female lens. Key personnel include executive producer and co-showrunner Ley Lukins, who also developed the series; executive producers Ilana Frank, Linda Pope, Sally Wainwright, Nicola Shindler and Jocelyn Hamilton; co-executive producer Sonia Hosko; consulting producer Kathy Avrich Johnson; and writers Naledi Jackson, Sandra Chwialkowska, Katrina Saville and Sarah Goodman. Directors on the series, produced by ICF Films and distributed by Entertainment One, include Jordan Canning and Sara St Onge.

Other creative talent includes co-showrunner Adam Pettle and co-executive producer director Gregory Smith, writers Graeme Stewart, Joe Bernice and Matt Doyle, and directors Kelly Makin, Grant Harvey, John Fawcett and James Genn.

Shenae Grimes-Beech (left) and Angela Griffin in The Detail, which is led by women in front of and behind the camera

When DQ sits down with Griffin and Grimes-Beech, it is seven months since filming wrapped on the eight-part series, which launches on Canada’s CTV on March 25 and will air on ION TV in the US. But Griffin explicitly remembers her excitement at the first read-through for the show.

“It felt like the start of something really special,” she says. “There was such a good vibe about the whole job, which stayed for the entire job. There was such a good energy about it. It’s exciting being in a room full of women, I’ve got to say. Being sat around a table where I’m not the girlfriend or the wife was super cool. And then you’ve got all these great female directors and producers.

“I think it’s amazing but I also think, ‘Yes, it should be.’ I almost don’t want to big it up too much because that should just be the norm, but I’m really proud to be part of the show and part of something that is getting it right.”

Grimes-Beech picks up: “That’s one of the things I think we all loved about the show so much. It’s never, like, the female boss. It’s never something that is punctuated. It just ‘is,’ because why the fuck wouldn’t it be? Why shouldn’t women be treated as complete equals? It’s a laughable concept to think that’s not a reality for a lot of people.”

Griffin, best known for her long-running role on UK soap Coronation Street, plays Detective Stevie Hall, an experienced interrogator dealing with a thorny family life. Grimes-Beech, meanwhile, is Detective Jacqueline ‘Jack’ Cooper, a street-smart rookie with a personal life that threatens to eclipse her day job.

The Detail will debut on Canada’s CTV later this month

That work-life balance is a key element of the series, which sees procedural crime-of-the-week storylines play out against the backdrop of the detectives’ individual family lives and examines how the cases they face impact their home life.

It’s what makes The Detail stand out for Griffin, who says she wants to see characters on screen juggle the daily demands she faces in her own life. “And I actually really like it when people don’t handle it, because it is impossible,” she admits. “I thoroughly enjoy watching imperfect lives because it makes me feel better about my own. It makes me feel like I’m not a complete failure. Certainly for Stevie, she doesn’t get it right all the time when it comes to that balance. Going forward, I’d like to see her struggle more with it, because sometimes she does manage to pull it out of the bag. I’d like to up that ante a bit more.”

Grimes-Beech, meanwhile, prefers the crime element of the series, which she says she finds fascinating. “I don’t often watch dramas that are strictly about people’s personal lives but when I watched our preview back, I enjoyed the personal stuff because it really gives you something to fall in love with your character for. People are going to fall in love with the characters as well and that will keep them hooked.”

That’s not to say that the police element wasn’t important too. “I loved it,” Grimes-Beech says about the opportunity to play a cop. “One of my favourite moments was where we were busting into a trailer and we had our army dude on set with us and he was walking us through how to do it properly. It was so cool, it makes you feel so official.”

For Griffin, the opportunity was amped up by the chance to have a gun, something British crime dramas notably lack in comparison to their North American counterparts.

UK viewers will recognise British actor Griffin from such shows as Coronation Street and Lewis

“I have wanted to be a cop with a gun for ever,” the actor says, noting that the only props she was allowed as DS Lizzy Mannox in ITV drama Lewis were a notepad and pencil. “As an actor, it doesn’t get much better for me. I’ve got personal stuff, I get to cry in a corner, I get to shoot people, I get to shout at people, I get to be a mum. Some people don’t want to do that; for me as an actor, it’s everything I have ever wanted.”

That wasn’t the only difference on set for Griffin, who is used to a vastly different production schedule on British shows such as Brief Encounters and Ordinary Lies. “It’s bizarre that two countries that speak the same language, that have similar-sized industries, could work in such different ways,” she muses. “The unionisation of the industry in North America as a whole makes it massively different. So certain people can’t do other jobs or double up on things – even the drivers have to be from the drivers’ union. You can’t just nip in a car with an AD [assistant director]. And they have hair and make-up – two people. In the UK, the make-up does the hair and that’s just really normal. It differs on so many different levels but I like both ways of working.”

In contrast, it was a much shorter shoot than usual for Grimes-Beech, who is more used to the year-long effort needed to produce a 22-episode season of a US network drama, such as The CW’s 90210. After five years on that show, and a five-year stint before that on DeGrassi, she’s since mixed things up with a range of feature and TV films. But with the small screen stronger than ever, the actor is happy to return to a potentially long-running series that affords her some security and the chance to pick up other projects on the side.

“While there’s no stability for an actor, I feel like a TV show is as close as it gets and I have so much appreciation and gratitude for a job like this that I didn’t have when I was young,” she says. “When you fall in love with a character and a show as much as I have with this one, you wish it will run forever. That’s not often the case.

Shenae Grimes-Beech starred in The CW’s 90210 for five years

“Back in the day, like five years ago, we all wanted to break out and do movies so badly that an Oscar was the ultimate dream. Now you’ve got Oscar winners on TV shows all the time – look at the cast of Big Little Lies. Are you kidding me! It’s mind-boggling and that’s not something anybody in the industry would have said would happen five years ago. With film, unless it’s a Marvel movie or whatever, no one’s making any money. Those are passion projects and TV allows you to fulfil those passions on the side without having to worry. It’s a different climate in the industry.”

For Griffin, it’s not lost on her that she has had to cross the Atlantic to find a leading role, following in the footsteps of other black British talent such as Damson Idris, Idris Elba and Oscar nominee Daniel Kaluuya. “There’s some great stuff being made [in North America] and a lot of our British, particularly black British, talent is scoring really well out there,” she says, adding that there’s a simple way to ensure more black and ethnic minority talent can pick up leading roles. “Just see people for the parts,” the actor concludes. “It doesn’t have to have the word ‘black’ before it to have someone audition for it. You just open up your casting for everybody and you let everybody come.

“I love the fact I’m doing this show, I absolutely love it and it’s so exciting to be in Canada and I feel really lucky to have it. It would be quite nice to do a series in the UK where I can be one of the leads and see my children every single night and have the same depth, and I’m slightly sad I’ve had to go across the pond to do it.”

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