The finale of Humans’ first season airs in the UK this weekend and the show continues to do exceptionally well for Channel 4. BARB ratings for the first six episodes show there was an inevitable dip after stellar ratings for the first two parts, but that the show has stayed remarkably consistent since then. From episodes three to six, it recorded between 3.63 million and 3.93 million viewers (seven-day figures) – way ahead of anything else on C4.
With the show now approaching its climax, it would be a major surprise if it didn’t equal or surpass those figures for episodes seven and eight. And then a commission for a second season would look highly likely.
The only cloud on the horizon for Humans is that AMC in the US is not getting such good ratings with the series (which may place a question mark over its involvement in a second season), but the strength of the C4 showing ought to be enough to see it through.
Still in the UK, there was a strong showing for BBC1’s Agatha Christie adaptation Partners In Crime, which attracted 6.5 million viewers for its first episode (Sunday at 21.00). Starring David Walliams and Jessica Raine as amateur detectives Tommy and Tuppence, the six-part show is the channel’s biggest new drama launch since Poldark, demonstrating that Sunday evening is still a time when audiences like to spend time with familiar faces and brands.
Earlier in July, Sky Atlantic and Showtime announced plans for a third season of gothic horror drama Penny Dreadful. Looking at the final ratings for season two of the show on Sky Atlantic, it’s easy to see why. According to BARB’s seven-day data, the final episode attracted an audience of 544,000 – up from 450,000-500,000 for the previous few episodes.
With Game of Thrones finished for another year, Penny Dreadful became channel’s top-performing drama, some way ahead of The Affair (433,000) and True Detective season two (352,000). In the week following Penny Dreadful’s departure, nothing on Sky Atlantic managed to attract more than 315,000 viewers. The show has also been attracting attention internationally, securing a deal with Australian subscription VoD platform Presto last week.
In the US, MTV is halfway through the first 10-part season of Scream, a horror series that has been spun out of the iconic feature-film franchise. A strong debut saw the show attract six million viewers (live plus three), making it “the most watched new series premiere of the summer on cable with millennials,” according to MTV. In an added bonus, the first episode was also streamed more than 500,000 times on MTV.com and the MTV app.
Since then the ratings have dropped a little but stayed strong enough for MTV to announce a second season. At the midway point, 21 million viewers have tuned in to Scream on air while the series has generated 7.9 million streams across other platforms.
Speaking at the Television Critics Association’s summer event this week, MTV head of scripted programming Mina Lefevre said: “It has been a wonderful experience working with (Scream exec producer) Bob Weinstein and his team, who are such connoisseurs of this genre, and we are thrilled by how viewers have responded to the reinvention of Scream.”
Meanwhile, the US TV industry’s love affair with Scandinavia took a double hit this week. Following the news that Netflix has cancelled Lilyhammer, NBC announced that it has canned eOne’s low-rated comedy Welcome to Sweden. The show, created by Greg Poehler, did moderately well in season one but has fallen away badly in season two, with NBC pulling it from the air after just four editions of its 10-episode run.
Commenting on Instagram, Poehler said: “Due to some craptastically low ratings in the US, WTS is officially done. I am eternally grateful to all of our fans. When you make a show – and write, produce, obsess and act in it – all you want is for someone, somewhere, to tell you they appreciate it. There have been so many of you in both Sweden and the US that have done so, and every compliment has made me immeasurably happy. So, thank you. Thank you, thank you…”
In the Hispanic US market, Telemundo continues to make inroads into the audience share of its major competitor Univision. DQ reported on the success of El Senor de los Cielos last week, and now Telemundo says the finale of Tierra de Reyes (Land of Honor) attracted 2.39 million total viewers.
This helped make Telemundo the number-one Spanish-language network in primetime, beating Univision. It has also just launched Bajo el Mismo Cielo (Under the Same Sky), the story of a hard-working Mexican immigrant who crosses the border illegally and settles with his family in LA. Episode one attracted 1.72 million viewers and also hit 3.3 million global Facebook users with a 30-minute preview.
On the corporate front, the TV market is waiting to see the implications of the US$1bn merger between Banijay Group and Zodiak Media (announced this week). Between them, the two companies own approximately 45 prodcos.
While there are some complementary areas between the two businesses, there is also a lot of overlap in markets like the US, France and Scandinavia. In drama terms, the deal brings together companies including Touchpaper (UK), Yellow Bird (Scandinavia), Magnolia (Italy), Marathon Media (France), DLO Producciones (Spain) and Screentime (Australia and New Zealand).
Finally, this week’s big corporate ‘miss’ is Ryan Kavanaugh’s film and TV studio Relativity Media, which has filed for bankruptcy after racking up $320m in unpaid loans. Kavanaugh’s next-generation studio model, with its strong emphasis on data analysis, enthralled the industry for a few years but in the end couldn’t survive a number of high-profile box-office failures.
Speaking at Mipcom in 2013, Kavanaugh expressed his intention to get more into the TV business, expounding his theory that films “are perhaps the greatest TV pilots ever.” His goal at that stage was to sell five or six TV series properties a year. However, this never came to pass. The main TV titles to come out of Relativity have been National Geographic’s Act of Valor and Limitless, a spin-off of the Bradley Cooper-starring movie in the form of a series will soon air on CBS.
Netflix has been in the news a lot this week. There has, for example, been furious speculation about the future of Sense8, a 12-part sci-fi drama that quickly established itself as a hit series for the subscription VoD platform.
Launched on June 5, it has attracted audiences and acclaim in key markets such as the US, France and Germany. With positive reviews on both Netflix itself and IMDb, it has also quickly become a target for the non-Netflix pirate audience.
The story of eight strangers from different parts of the world who suddenly become emotionally and mentally linked, Sense8 was created and written by Andy and Lana Wachowski and J Michael Straczynski. It attempts to deal with subjects that the writers believe sci-fi shows avoid or don’t do justice to, such as politics, identity, sexuality, gender and religion.
Straczynski had an opportunity to discuss the show at this week’s meeting of the Television Critics Association in California. Speaking on a panel, Straczynski made it clear the Sense8 team will continue the show if they get the greenlight from Netflix.
“We’re still awaiting word,” he said. “We’re cautiously optimistic, but it’s Netflix’s call. The way the Wachowskis and I tend to work, we are long-thinking people. We look down the road and say to ourselves, ‘Where is this going to go?’
“Season one is like an origin story, while season two has some particular arc and we figure it out from there. But to spoil that here would not be best for the surprise at the end.”
One thing that stands out in the show is its graphic content. Explaining its inclusion, Straczynski said: “We wanted to do a show for adults and grown-ups. There’s a tendency for science fiction to be seen as something other than for adults. It tends to be about the device, the gadget, the mission and not about the journey.”
Straczynski has a long and varied track record in TV writing, which goes all the way back to He-Man and the Masters of the Universe, of which he wrote nine episodes. After stints on The New Twilight Zone, Murder She Wrote and Walker Texas Ranger, his big breakthrough project was sci-fi series Babylon 5, which ran for five seasons. Straczynski wrote 92 episodes out of a total 110 for the 23rd century-set space opera, before going on to create a spin-off called Crusade and another series called Jeremiah.
The trajectory for the Wachowskis has been quite different. After the success of their Matrix movie franchise, the brother/sister team has had a couple of feature film disappointments in the shape of Jupiter Ascending and Cloud Atlas. So the success of Sense8 has led some observers to ask whether their offbeat approach might be better suited to longform TV series. The answer to that seems to be that they’ll work across both formats.
One interesting theme that emerges from Sense8 is the issue of transgender identity. Lana Wachowski is a transgender woman and there is also a central transgender character in the show, Nomi – played by trans actress Jamie Clayton.
Clayton, who was on the TCA panel, praised the way the Wachowskis and Straczynski devised her character. She said: “There has never been a trans character in a movie or on a show before that didn’t revolve around his or her transition. Nomi is the first… no one cares because, at the end of the day, we shouldn’t care that she’s trans.”
Alongside all the Sense8 speculation, the pre-launch publicity for Narcos, another Netflix series, also kicked off at the TCA event. Produced for Netflix by Gaumont International Television, Narcos is a 10-part series that explores the 1980s drug war between the US administration and Colombian cartel kingpin Pablo Escobar. It will begin streaming on Netflix on Friday August 28.
Narcos was created by Chris Brancato, Eric Newman, Carlo Bernard and Jose Padilha, who initially intended it to be a film but found that the wealth of material favoured a TV series.
Explaining the project, Padilha said: “The series follows how (Escobar) became powerful, his political ambitions and bigger-than-life stories. Cocaine was cheap to produce, highly addictive and had incredible profit margins. No one knew what they had until it hit America.”
Newman’s involvement in the project is another good indication of the huge film-to-TV swing the industry is witnessing. After making his name as a producer of films such as Children of Men, The Thing, In Time and Robocop, his last two projects have been the TV series Hemlock Grove and Narcos. Padilha, who is from Brazil originally, counts Elite Squad among his recent credits.
Also this week, Netflix confirmed that the third season of Norwegian-American series Lilyhammer will be its last. The show, which centres on a US gangster trying to start a new life in Norway, was a landmark moment in scripted business.
It was one of the first shows that really put Netflix on the map and also kick-started a trend towards shows that are comfortable hopping between different languages. The star and co-writer of the show is Steven Van Zandt, who seemed disappointed by the cancellation.
He wrote on Twitter: “#Lilyhammer RIP. Not my decision. Let’s just say for now the business got too complicated. Very proud of our 24 shows. New ideas on the way.”
While Lilyhammer (which was also a breakout hit for Norwegian broadcaster NRK) is often thought of as being Van Zandt’s creation, the original idea was actually conceived by the husband-and-wife team of Anne Bjørnstad and Eilif Skodvin, who pitched it to Van Zandt while he was in Bergen producing a rock band. After a further meeting in New York a deal was done.
Among other Netflix announcements this week was the news that the streamer has greenlit a Spanish-language series that will air in 2016.
“Netflix is committed to the creation of high-quality, Spanish-language original series for Mexico, US, Latin America and the world,” said chief content officer Ted Sarandos. “We are thrilled to be working with one of Latin America’s biggest and most talented stars Kate del Castillo on Ingobernable.”
In Ingobernable, del Castillo will play Irene Urzua, the wife of Mexico’s president. A woman with a strong personality, conviction and clear ideas, Urzua is capable of “creating a president, leaving a president and killing a president,” said Netflix in a press statement.
The 20-part series will be produced in Mexico by Argos and directed by Jose Luis Garcia Agraz and Pedro Pablo Ibarra. No details were provided on who is writing the show.
Netflix is also due to premiere Gaz Alazraki and Mike Lam’s Spanish-language series Club de Cuervos on August 7.
It was the service that changed the rules. But with subscriber numbers continuing to soar and questions being asked about higher prices, what comes next for Netflix?
You might not remember what you were doing on Sunday Feburary 5, 2012, but Netflix’s early adopters might remember sitting back and watching the first episode of a Norwegian comedy-drama called Lilyhammer.
Starring Steven Van Zandt, it follows a New York mobster who, after testifying in court against a mob boss, is placed in a witness protection programme and relocated to Lillehammer in Norway.
The fish-out-of-water premise might not sound particularly revolutionary in terms of TV storylines, but looking back at the words used by Ted Sarandos, chief content officer at Netflix, to announce the launch of the series, it’s amazing to consider how far the industry has come in little more than three years.
“Do you love the indulgence of watching episode after episode of your favourite shows on Netflix?” he asked. “Have you ever wished you could do the same with new shows when they premiere on TV? Well, starting today, you can enjoy as many episodes as you please of the brand new Netflix original series Lilyhammer, starring Steven Van Zandt.”
The phrase ‘binge-viewing’ had not yet become synonymous with Netflix and the way its viewers would use the service, but the foundations were being laid for a major shift in viewing habits.
After describing the series further, Sarandos ended: “Unlike any major TV premiere before it, we are debuting all eight episodes of the first season at the same time, today. Conventional TV strategy would be to stretch out the show to keep you coming back every week. We are trying to give our members what they want: choice and control. If you want to watch one episode a week, you can. If you want to watch the whole season this week, you can do that too.
“This will be the first of many brand new, original and exclusive series to debut on Netflix. We will have more news on those shows as they get ready to premiere. Enjoy the show and tell your friends – but no spoilers! They may not be on the same episode as you are on.”
With these few sentences, Sarandos outlined not only Netflix’s own strategy but one that the rest of the industry would soon follow, with an increasing number of online services commissioning original content and traditional broadcasters widening the opportunity to catch up online. NBC has already gone one step further than other US broadcasters to “push new boundaries” by releasing all 13 episodes of its David Duchovny-starring 1960s drama Aquarius at once. ZDF in Germany also blurred the lines of linear and digital TV with its pan-European crime drama The Team.
Fast forward from that Lilyhammer announcement to this week, when Netflix unveiled its results for the second quarter of 2015.
The service added 3.3 million new subscribers worldwide during that period, bringing the total to 65.6 million. It has 42 million members in the US alone.
Global numbers were boosted by the platform’s international expansion, with moves into Australia and New Zealand in March. It will land in Spain, Italy and Portugal in October this year, and aims to open in Japan in the fall. There are also plans to roll into India, China and South Korea.
These new international outlets will only help to swell subscriber numbers further, with Netflix CEO Reed Hastings under no illusion about what is drawing viewers both in the US and around the world to the service.
He told shareholders that subscriber growth was “fuelled by the growing strength of our original programming slate,” which in Q2 included the first seasons of Marvel’s Daredevil, Sense8 and season three of Orange is the New Black.
Daredevil is already in production for its second season, he notes, adding: “Our global expansion extends to our content strategy as well. Sense8, the mind-bending cinematic thriller from the Wachowski siblings and J Michael Straczynski that debuted June 5, is an ambitious, truly international show with talent behind and in front of the camera from multiple countries.”
Another international drama, Narcos – “a gripping account of the roots of the cocaine trade, shot in Colombia and starring the great Brazilian star Wagner Moura as Pablo Escobar” – launches on August 28.
“They are the perfect example of what we strive for in our original programming: an elevated version of popular genres that reach a large audience globally,” Hastings says.
“We closed the quarter with season three of Orange is the New Black, which went live on June 11 and set off a social media shockwave around the world. On the following Sunday, Netflix members globally watched a record number of hours in a single day, led by Orange, despite the season finale of HBO’s Game of Thrones and game five of the NBA finals also falling on that Sunday.
“Global enthusiasm for the third season of Orange underlines our ability to create franchise properties that bring new members to Netflix as well as delighting current ones. Nearly 90% of Netflix members have engaged with Netflix original content, another indicator that we are on the right path.”
To that end, Netflix said it would continue to invest in original series (and now movies) as its original content spending is predicted to hit US$5bn in 2016.
The downside, however, is that this spending, coupled with a marketing bill nearing US$1bn in 2016, has led to a 63% fall in net income, according to the results.
If viewers want great content, ultimately they will have to pay for it, and on a subscriber-funded service like Netflix, that means subscriptions will rise.
Hastings alluded to as much when he said subscribers should brace themselves for higher-priced plans in the future, though no details have yet been released.
At a time when the television drama space is becoming increasingly congested, particularly in the US, where cable networks continue to move into original scripted programming to build their brands alongside VoD platforms, viewers will be asked to pay more and more for the high-cost shows they love so much or see them book-ended by advertisements.
But as cord-cutting has shown, viewers’ loyalty to their favourite service provider can, and often does, have a limit. Will Netflix test that loyalty when it unveils its new pricing plan?
The service broke the mould in 2012 when it launched its first original series, Lilyhammer, for viewers to watch in one go. Its attempts to balance spending and subscriber numbers could also be another watershed moment for the industry.
As the popularity of Nordic noir shows no sign of waning, DQ asks Scandinavian drama’s key players where they plan to take the genre next.
Ever since the massive global hit that was The Killing, Scandinavian drama has been punching above its weight, winning over critics and viewers internationally as well as influencing its European neighbours.
The latest Nordic noir success story is Sweden’s The Fat and the Angry (Ettor och nollor), which scooped another international award for the region when it picked up best non-English-language drama at the inaugural C21 Drama Awards last November. It came a close second earlier in the year at the Seoul Drama Awards with a Silver Bird gong in the TV movies category.
Based on true events in Gothenburg’s criminal underworld, the two-part show, which premiered locally in Sweden in February 2014, joins a long list of award-winning Nordic dramas with international careers, including Lilyhammer, The Killing, Wallander, Borgen and The Bridge – as well as Mammon, which has been the subject of speculation about a BBC remake.
The Fat and the Angry highlights an important feature of Scandinavian dramas: coproduction. Made by Göta Film and Swedish pubcaster SVT, its partners included Finnish pubcaster YLE and Swedish film prodco Film i Väst.
With a few exceptions, Scandinavian drama’s international partnerships came out of necessity, says SVT head of drama Christian Wikander. “The hourly cost for drama has gone up, which means we’re all searching for new money, and this drove the producers and the broadcasters to reach out and broaden the network.”
If anyone can find success with this approach, it’s the Scandinavians, as Liselott Forsman, executive producer of international drama projects at YLE, explains: “We’ve been coproducing since 1959. It’s really good for Nordic drama that we have subsidy methods and two important funds within the Nordic countries.” One of these is the Nordisk Film and TV Fond, where Forsman sits on the board.
“There’s much to be gained by having a lot of smaller funding and regional funding contributions, even though they don’t pay very much,” agrees Stefan Baron, executive drama producer at Nice Drama. Baron left SVT in 2014 after 21 years to join MTG-owned Nice Entertainment Group, where he’s now an exec producer heading up international coproductions. “The trick is to not have too many partners at the script stage,” he says. “When you have a couple of scripts, then you bring in distributors and coproducers from around the world.”
Beyond the region, Nordic drama’s international appeal has grown thanks to increasingly sophisticated, social media-savvy audiences and their expanding tastes, says Wikander – adding that this has also helped prise open the door to the UK, a notoriously closed market for subtitled, non-Anglo Saxon fare.
“I think audiences are very well educated and used to all kinds of storylines, plots, dramaturgy and also language,” says the SVT man. “Because social media is so borderless, we share so much in our personal networks – and one proof of that is the success of Nordic drama on BBC4. Ten years ago, if someone had told me two million Brits would sit down to watch a subtitled drama, I wouldn’t have believed them.
“The fantastic upside for all of us working in Scandinavia today is that we’re approached by broadcasters and international producers in a way we’ve never seen before, and that’s a great opportunity for us.”
SVT is Scandinavia’s largest drama commissioner and producer, with an annual output of four longform drama series (10×60’/10×45’) and four miniseries (3×60’) across crime, family drama and comedy, on a budget of around SEK320m (US$46.6m).
Around half its output is coproduced, largely with its longstanding Nordic partners such as DR, NRK and YLE. But it has also attracted a growing band of Europeans and North Americans interested in remake rights to shows like The Bridge, and ‘hubot’ drama Real Humans, with Shine-owned Kudos’s remake of the latter, simply called Humans, now airing on the UK’s Channel 4 and AMC in the US.
Piodor Gustaffson, co-founder and producer of independent production company Another Park Film, and former drama commissioning editor at SVT, says that despite smaller budgets and limited development funds in the region, he’s noticed an overall increase in the quality of drama series over the last few years. “That’s about competing with not only the rest of the world but also your neighbours, as well as occasionally using the same talent,” he says.
At SVT, Gustaffson pushed for a broader range of drama output, leading to projects such as The Bridge and Real Humans. Meanwhile, Baron greenlit Nice’s family drama Thicker Than Water. The show aired in spring 2014 to a million-plus viewers, selling internationally via Germany’s ZDFE. A second season is now in the pipeline.
There’s widespread agreement that Nordic noir has opened doors for Scandinavian producers, themselves refusing to have their output pigeonholed as simply Nordic noir. With crime at its core, the programming stretches far beyond into an exploration of society and human motivations, offering a strong identification with and empathy for characters along the way. It also embraces other genres such as suspense and mystery, and fish-out-of-water crime comedy. And now producers are moving into new areas, exemplified by DR’s family inheritance drama The Legacy.
“Of course it’s about crime – it’s Nordic noir – but it’s always been character-focused,” says Jonas Allen, producer and co-founder of Danish prodco Miso Film. “We care about the characters. It’s not only about fascination with them, but also identifying with the characters, and I think that’s the basic core to all the shows.”
Now majority-owned by FremantleMedia, Miso Film counts local hits such as Those Who Kill and Dicte for TV2 Denmark, as well as the historical drama 1864 for DR, among its productions. Crime reporter series Dicte (10×45’) returned for a successful second run last autumn, with a third season now in development. It includes TV4 Sweden and TV2 Norway as coproducers, and received support from regional Danish regional funds, the EU’s MEDIA programme and DFI’s Public Service Fund.
For Scandinavia’s public broadcasters, at least, another quintessential ingredient of Nordic drama is how it reflects society. “It’s our duty to tell all our audiences something about what’s happening in society today. It’s imperative that we entertain, but we should always enrich at a deeper level, too,” says Forsman.
Even though Nordic drama appears gloomy and dark, Forsman says one of the reasons Danish drama travels so well is that the characters care about each other. “You can feel it within 10 seconds of watching. You have to have a lot of empathy, no matter how harsh the subject.”
YLE Drama’s latest show is the thriller Tellus, scripted and directed by JP Siili. The 6×50’ drama deals with a group of eco-terrorists, exploring an “important ethical question” of how far individuals will go to fight for their ideals, according to Forsman.
NRK and SVT are coproducers and ZDFE is distributing it internationally outside of Scandinavia, making it “a typical Nordic coproduction,” Forsman adds. The drama opened to 27% shares on YLE1 in the autumn, continuing on 25%, with a second season greenlit before the final episode aired in December.
Pubcaster NRK’s latest traditional Nordic noir, Eyewitness (Øyenvitne, pictured top), which debuted on NRK1 last autumn, is also imbued with socio-cultural commentary. “It’s been a real success among critics and audiences,” says NRK head of drama Ivar Køhn, who’s also the current chair of the Nordisk Film and TV Fund.
It was scripted and directed by Jarl Emsell Larsen who, as the original father of Nordic noir in Norway, has 30 years of TV drama under his belt. “For the last 15 years he’s been really into social drama, when he discovered he could make crime and talk about society and also make it popular,” Køhn says of the director.
Eyewitness follows two adolescent boys who meet secretly in a forest, where they witness a violent murder. The story follows the events that build after they fail to report the crime to the police. It has already sold internationally in both finished (including to Germany) and scripted format forms.
But NRK is also keen to evolve its drama. Its ‘Nordic humour noir’ show Struggle for Life (Kampen for tilværelsen) “is not so much a ‘fish out of water’ story as a ‘tigers in silent waters’ one – the complete opposite,” says Køhn.
Following in the mould of series like Welcome to Sweden and Lilyhammer, Struggle for Life centres on a Pole who travels to Norway in search of his father. Although a linguist, he can only find work as a carpenter, which exposes him to a Norwegian middle-class life of self-made problems.
“It’s a really original story and a brave one for us,” says Køhn. The project was completely controlled by scriptwriters, and co-written by Erlend Loe, Per Schreiner and Bjørn Olaf Johannessen – “some of the most exciting writers we have in Norway,” says Køhn. NRK has greenlit two seasons of the eight-part comedy drama.
Miso Film is also evolving the Nordic noir genre. “It’s one of the things going on right now,” says co-founder Allen. “A lot of creatives who we’re dealing with are looking for and trying to tell new stories.”
One of its latest offerings is NOK65m (US$8.8m)-budget mystery drama Acquitted (Frikjent) (10×45’), made for TV2 Norway and launched in March this year. The project, which received NOK10m funding from the Nordisk Film and TV Fund, became TV2’s biggest drama premiere, pulling in a 46.6% share of its 20-49s target group and a 38.8% overall share (12 years-plus).
Scripted by two female writers, Siv Rajendram Eliassen (Varg Veum) and Anna Bache-Wiig, the drama is inspired by a real rape and murder case in Norway. “They were very interested in the character, and it was always about finding out about the man who was acquitted, why he came back to his hometown, what he was looking for, and the forces that drove him back. That’s the core of the development of the show,” says Allen.
SVT’s Wikander, too, is keen for producers not to come to him with the next The Bridge. “I think we need to be brave. Take Real Humans, for instance – that’s an example of being brave, and for a public broadcaster today that’s extremely important,” he says.
“We need to try out new stuff but, of course, without abandoning the established crime formats. We’re going to see a third and probably fourth season of The Bridge, but we need to balance that with bravery, and we’ve started a lot from scratch, finding stories relevant to a Swedish audience because that’s our mission. When you have that mission, you can then go into the international market, but not as a first step.”
One of SVT’s newest dramas, Jordskott (10×60’), takes the pubcaster in yet another new direction. It’s made by established Swedish commercials prodco Palladium, which formed new division Palladium Fiction, headed by producer Filip Hammarström, for its first TV drama. The show, which launched on Monday February 16, opened to 1.6 million viewers and has since averaged 1.4 million so far across its debut run.
The story follows a detective who returns to her small home town to work on the case of a missing boy, 10 years after her own daughter disappeared, and tries to find links between the two mysterious incidents. Wikander calls it a “Nordic crime meets mystery” drama.
After four years developing the idea, Palladium brought a 10-minute tape to SVT. “If they hadn’t had that 10 minutes, we would have said no, because the company had never produced a drama series before,” says Wikander.
The UK’s ITV Studios came in on the project very early, he adds, making it possible to take it to the next level of production, and is distributing the series worldwide. Finland’s Kinoproduktion is also a coproducer and the series has been pre-bought by YLE, TV2 Norway and Iceland’s RUV.
“The biggest difference of the last two to three years has been an increase in the amount spent on development, alongside international companies investing in or acquiring Nordic companies and increased budgets at the TV channels. More projects are now very well developed even before they reach the commissioning editors,” notes Another Park’s Gustaffson.
SVT has upped its development budget to help develop more new projects, a challenge many countries without the US-style showrunner/writers room approach face. “The best writers are occupied so we also need to focus also on the writers beneath them and on finding ways to get them together with producers to lift them,” Wikander explains.
Another Park is currently busy developing a number of (as yet undisclosed) film and TV projects across a range of genres, working with top writing talent. “We will go out to the market when we’re ready,” Gustaffson says. “We wanted to have that freedom when we created the company. But, obviously, we would also be open to start earlier with some partners if we shared the same vision at the development stage.”
However, Gustaffson says a key challenge for Nordic drama is the “limit to how much Swedish-language drama the local market can finance and consume.”
He adds: “There’s a bigger appetite for Nordic and Swedish drama than what TV stations commission, and that’s caused a bottleneck. A lot of interesting projects will come out of the increase in development money but this won’t result in more Swedish-language drama series – and it could mean some of the top talent start to write for companies in other countries because what they develop here won’t be financed.”
Yet Scandinavian producers remain unfazed by growing international competition in foreign-language drama from countries such as France, Spain, Israel and Turkey. Rather, they see greater potential synergies developing.
NRK is no stranger to global partnerships. It was the first Scandinavian broadcaster to strike out when it joined forces with new entrant Netflix to coproduce the crime comedy series Lilyhammer by Rubicon TV, which premiered in early 2012. Season three of the drama returned on flagship NRK1 last October, with the broadcaster this time taking a leaf out of Netflix’s book by also making the entire series available straight away on its online streaming service. Meanwhile, HBO Europe picked up remake rights to NRK’s six-part thriller Mammon.
“We were all taken and shaken by Netflix and House of Cards, when the whole series was made available on day one, while Netflix rose extremely quickly to around 650,000 subscribers in Sweden,” says Wikander. “But that has now levelled out, and one of the reasons for that – not unique to Netflix – is that 98% of its catalogue is old titles. The audience has now gone through it, and an output of four new titles a year, whether you’re a broadcaster like us or a Netflix, is too little to keep a subscriber audience with you.”
There’s another reason why distribution platforms like Netflix and HBO make interesting bedfellows: they can do niche drama, because ultimately they can aggregate lots of smaller audiences, says YLE’s Forsman. “In other countries where we have really strong public service companies with good audience shares and very well-educated audiences, we can do that too,” she notes.
“It’s really great to see channels like France’s Canal+ doing the same,” adds Forsman. “They want their drama to have deep characters and to speak about society in a new way, to be brave, risky and so on – all imperatives for public service broadcasters. We could have written the same words, yet they’re a commercial broadcaster.”