Tag Archives: Luther

Life of crime

Idris Elba returns as iconic detective Luther for a fifth season of BBC1’s flagship crime drama. DQ visits the set to meet the cast and discover what new horrors writer Neil Cross has in store.

With so much of Luther set in and filmed around east London, the BBC1 crime drama has left an indelible mark on me. Not least because season two, first screened in the UK in 2011, saw a psychotic serial killer select his targets at random, leading to a particularly barbaric sequence involving multiple deaths in and around Liverpool Street train station and a final showdown in nearby Appold Street – my exact commute to the office. Walking to work has never been the same since.

Seven years later – and eight since Luther first aired – I’m standing on the office floor of the Metropolitan Police’s serious and serial crime unit where DCI John Luther, played by Idris Elba, and his team are getting their heads around another series of grisly murders.

Bafta-winning Wunmi Mosaku (Damilola, Our Loved Boy), who has joined the cast as Luther’s new partner DS Catherine Halliday, is standing in front of some large boards covered with maps and photos of locations, bloodied bodies and mugshots. Desks and computers fill the office, a drab space complemented by dark blue walls and matching carpet – standard police station decor.

Across the room, Dermot Crowley’s DSU Martin Shenk is watching her before approaching. “Isn’t it time you went home, Catherine?” he asks. Something’s not right, she says, and they leave together to see Luther.

“Cut,” calls director Jamie Payne, seated in front of a monitor around a corner from where the actors are stood. He resets the shot and, after another rehearsal, the scene is recorded to film. The cameras are then shifted, this time close up on Mosaku, and Payne is nodding his head along to the dialogue. When he’s happy, Payne shouts, “That’s the one.”

It’s a grey March day at a former telephone exchange in Watford, on the outskirts of north-west London, where the team behind Luther is hitting the final stretch of production on the series’ fifth season – a single story playing out across four episodes that will run on consecutive nights on BBC1 between January 1 and 4, 2019.

Luther creator and writer Neil Cross (left) on set with star Idris Elba

If viewers have come to expect anything from Luther, it’s a good fright, with notable scenes from previous seasons including a killer hiding under a bed. “I’m having nightmares,” admits Mosaku, with this season set to bring new horrors to the London night-bus experience. “There have been some dark scenes. There is one scene in episode one that gave me absolute chills reading it, so having to be on set with the aftermath, I was like, ‘This is exactly what I imagined and it’s just as harrowing.’”

Fast-tracked through the police, Halliday arrives as Luther’s latest partner. Mosaku says there’s warmth in their relationship, with some added spice to keep her on her toes.

“She trusts him. She looks up to him and thinks he’s brilliant,” says the actor, who first auditioned for the show way back in season one. “She will say, ‘Is this ethically correct?’ and he’ll say, ‘It’s legal.’ So she knows there’s a difference between their ethics. She does trust him, but she’s wary of the fact this isn’t necessarily what she would do or Schenk would do.”

This isn’t the first time Mosaku has portrayed a police officer, and being a fan of Luther and of writer Neil Cross meant she was keen to return to the beat to play Halliday. “She is sweet. She’s just not your typical cop. She’s smart and she’s good but there’s a lightness to her, and I feel like that’s a character I’ve not played much,” the actor explains. “Luther is a tough show but Halliday has a bounce in her step and everything she’s seeing is affecting her for the first time.”

But why does Luther, produced and distributed by BBC Studios, stand out among the crowd of crime dramas? “Number one, there’s a black British African man as the lead. When it first came out, I don’t think I’d ever seen that before. So when season one came out, that’s why I was watching it and I loved it,” Mosaku explains.

One character who has featured in every season since the beginning, playing an increasingly important role, is Benny Silver, Luther’s loyal, go-to computer mastermind, played by Michael Smiley.

Joining the cast for season five is Wunmi Mosaku as Luther’s partner, DS Catherine Halliday

“I love the fact Benny has, in increments, come more into the drama and storylines,” the actor says. “He was just a one-off character in a couple of scenes in the first season and was Luther’s hacker. Now he’s in the bullpen, he’s one of the main characters and in this season he features quite heavily, so it’s really exciting.”

Smiley describes Elba and Cross’s relationship as a “perfect storm” of brilliant acting and superb writing, and says Luther wouldn’t be the same show without its gruesome deaths and shocking scares. He promises more of the same in season five, likening the show to a gothic fable, but says it isn’t quite the same on set.

“When you’re on the inside, you don’t really see the scary parts,” he says. “What you see is the fake blood and you get to see how the art department works, which is really fantastic. I really enjoy watching people bring their A-game, because Luther’s one of the top British dramas and certainly a flagship drama for BBC1. The people who are on it are there because they’re the best in their trade, so watching those people is great.”

Back on set, the office is now busy with extras sitting at their desks. Two cast members walk out through double doors and in comes Luther, wearing his trademark coat, grey shirt and red tie, to meet Halliday and Schenk. Only it’s not Elba, it’s his body double.

A couple of weeks later, Elba himself joins us at the Langham Hotel, opposite BBC Broadcasting House in central London. And while much of the season’s plot is under wraps, what has been revealed is that, as a series of monstrous killings becomes increasingly audacious, Luther and Halliday are confounded by a tangle of leads and misdirection that seems designed to protect an unspeakable horror.

But as the case brings him closer than ever to the nature of true evil, a reluctant Luther must also face the ghosts of his own past.

DQ visited the Luther set ahead of the new season

Following the success of previous seasons, Elba says the challenge this time around is not to beat previous efforts but match the things the audience find compelling and then make them more complex.

“The comforting thing about Luther from season one to season two is the DNA doesn’t change,” he says. “You see the murder, you even know who it is or you see the clues, and then you watch John go for it – and I don’t think we’ve ever tried to deviate from that. But each time, we’ve made it slightly more complex, which means we start to dissect his timelines.

“This one is the most complex; there are so many things going on. And the great thing about Neil is he’s a great writer. Of course, we want complex storylines, but how does it make it still compelling? How do we fit it into an hour? How do we do it over four episodes and not exhaust the audience? That’s what I think Neil has done a really incredible job of this year.”

The actor admits to going to great lengths to make Luther compelling and dark. “That means for us as a film crew, we film at night, we spend lots of time in the cold, we kill a lot of people and we all watch that and all go, ‘Jesus Christ, what are we doing?’ Then we go home, we dream about it and come back the next day,” he says. “In my first season, I used to spend a lot of time in the bars, straightaway after work, me and the cast, and now I don’t do that. I’ve grown older but I do have to have some sort of therapeutic outlet, which tends to be music for me – making music. When you do Luther in the winter months for 10 or 12 weeks, it’s a dark time.”

Elba is also heavily involved off screen, having first been an associate producer to ensure he had a voice behind the scenes. “We were quite heavily criticised in the early stages that female characters were always the first to go. Having a voice under a producer’s title allowed me to implement some thoughts and bring in teams that helped change some things a little bit,” he says.

Now an executive producer, he was part of the early team that met Payne and consulted with Cross and the department heads about the direction of this season. “This one’s very particular because I think it’s one of our last TV instalments – I shouldn’t say that as a matter of fact, but it was designed in the sense that Neil’s and my ambition is to take it to a larger screen,” he reveals. “We paid attention to what we were writing in this show. If we are to make a movie, this show is essentially a segue to that.”

Idris Elba receives a touch-up between takes on location in London

For now, season five boasts a new character in Halliday, who challenges Luther more than most of his other partners. “He has a sense of protection [over her] because she’s a black female detective and he wants her to climb [up the ranks],” he adds. “But of course things happen within the show. It’s quite a compelling storyline.”

Elba likens Luther’s London to Batman’s Gotham City, a place where societal issues can be transposed onto a unique setting. Crowley, as Luther’s boss Schenk, agrees that the location is another character in the drama, adding to the foreboding and uneasy atmosphere that runs through the series.

“It’s a very frightening programme to be in,” he says. “It feels uber-real when you’re making it because I suppose it has to. This is definitely the scariest yet.”

Since the start of the show, Schenk has evolved from essentially Luther’s bureaucratic nemesis to a character who admires the detective and is equally willing to play with morality and the law to get the job done.

“He always acts with an admiration for Luther because he thinks he’s an extraordinary copper and he does things where Schenk doesn’t himself have that particular skill or facility,” Crowley says. “But at the same time, I think Schenk is very puritanical about himself and the police and morality generally. He always gives Luther enough leeway to act but, at the same time, in an almost paternal way, he keeps an eye on him as well.”

The Irish actor praises Cross’s scripts as being “raw, exciting. His use of language is excellent.” He continues: “When you get a Neil script, the words come off the page. They always sound like you’re saying them for the first time, which is the secret of good writing. They don’t sound stagey.

“He’s got great balls as a writer. He’s not afraid to suddenly give an actor an aria, a 10-page speech, and there’s always something underneath it that pushes the story forward.”

With all the excitement surrounding the return of Luther, plus its international popularity thanks to its availability on Netflix, a big-screen outing seems inevitable for Elba and this larger-than-life character. One can only imagine what horrors he and Cross will dream up next.

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Hot stuff

Six-part drama Hard Sun is described as a pre-apocalyptic crime drama set in contemporary London.

While investigating the death of a computer hacker, partners and enemies Charlie Hicks and Elaine Renko inadvertently stumble upon proof that the world is facing certain destruction in five years.

Pursued by ruthless security service operatives, who are willing to kill them in order to keep them silent, they must protect themselves and those they love while ensuring a new breed of murderers, abusers, serial killers and cult leaders face justice.

In this DQTV video, writer/creator Neil Cross (Luther) and executive producer Kate Harwood discuss making the series, which centres on the relationship between two detectives who stand morally and ethically opposed to each other.

Stars Agyness Deyn (Renko), Jim Sturgess (Hicks) and Nikki Amuka-Bird (Grace) also reveal more about the conflicted and complex relationships between their characters and the appeal of starring in a show written by Cross, who also talks about his writing process.

Hard Sun is produced by Euston Films for BBC1 and Hulu and distributed by FremantleMedia International.

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A title-winning team

Design studio Momoco reveals the process behind creating the award-winning title sequence for pan-European crime thriller The Last Panthers.

It’s the design studio behind title sequences from shows including Luther, Ripper Street, Fortitude and Hooten & the Lady.

But when Momoco discovered its work for The Last Panthers had been nominated for a 2016 Royal Television Society (RTS) Craft and Design Award for best title sequence, they didn’t hold out much hope.

Nic Benns and Miki Kato with their Bafta for the Fortitude title sequence

“We didn’t think we would win – we were up against the Olympic Games,” admits design director Miki Kato of the titles for the BBC’s coverage of last summer’s sporting spectacular. “Hundreds of people worked on it, it’s amazing work. Whenever we’re against the Olympics, we have never won – but this time we did. We were really lucky and we appreciate it.”

In fact, 2016 was the second year in a row that Momoco took the RTS titles gong, having claimed victory in 2015 for its work on Channel 4 and AMC sci-fi series Humans. Another of the nominees that year was also a Momoco effort, Sky Atlantic’s Fortitude.

The London-based company also works across movies (Paddington, The Love Punch, Johnny English) and commercials (O2, Coca-Cola, Fiat), but has seen its volume of TV commissions rise amid increased demand for both title sequences and the series themselves to become more cinematic.

“The TV people started coming to us because they often wanted very filmic titles, and they know we’ve been doing film titles,” Kato explains. “Now we get even more TV titles than films.”

Creative director and producer Nic Benns continues: “Around 2010, after [we made the titles for] Luther and Misfits, we got a lot more work. You get to come up with a concept and the idea from the start.”

A French/UK coproduction between Warp Films and Haut et Court for Sky Atlantic and Canal+, The Last Panthers begins with an audacious jewellery heist in Marseille, bearing all the trademarks of the recently dormant ‘Pink Panthers’ gang – a group of real-life jewel thieves responsible for some of the most daring and glamorous heists in the world.

Written by Jack Thorne and set in London, Marseille and Belgrade, the pan-European drama has been sold to more than 120 territories worldwide by distributors StudioCanal and Sky Vision.

The creation of The Last Panthers’s title sequence began with Momoco viewing an early edit of the show, after which they were challenged to come up with concepts for the opening credits in competition with a number of other studios. Unusually, they were also guided by series director Johan Renck, who wanted to see some use of medieval imagery in the sequence while keeping it looking fresh and contemporary.

Benns says: “We usually get a script and go away for two weeks and come back with concepts. But it was nice to actually watch the show because you get the tone of it, even if it’s just a rough cut. You can also see the director’s style – we want our titles to segue seamlessly with the show.

Storyboard 1

“The initial idea focused on the Balkan war, so we had Serbian soldiers emerging as diamond thieves [see Storyboard 1]. This would all be shot slow motion with some live-action elements. Then as the concept developed, we had the idea of the shattering and fragmenting glass, and then we tried to weave some of the medieval elements into the glass [see Storyboard  2]. But it still felt like two separate ideas.”

The two elements of medieval imagery and a modern setting gelled together when images of mythical demons were put together with shots of the series’ cast, which included Samantha Morton, Tahar Rahim, Goran Bogdan and the late John Hurt.

“The idea is that the same demons that were tempting people centuries ago are tempting these contemporary thieves, these gangsters,” Benn explains.

Kato chips in: “Then we did a full storyboard with some scratched glass layers worked into it to unify it. Then a web motif comes out of the scratched glass and forms a network across the map of Europe, but it also looked a bit like a diamond [see Storyboard 3].”

Over a period of five weeks, the concept came together through several evolutions that, Benns says, aimed to tell a story linked to the show.

Storyboard 2

“The titles for us always have to carry a story across them,” he notes. “Sometimes it can just reflect the relationship of the characters, so it can be breaking apart or coming together at the simplest level. There was one film we did recently about an alcoholic director so we shot all the type through whiskey bottles and ashtrays and had that distorted. There’s always a concept, which you get after watching the show. With The Last Panthers, the main title logo was this fracturing image and all these pieces being pulled together.”

The high concept behind the title sequence was elevated further when the late David Bowie offered the title track for his final album, Blackstar, to be used as the accompanying music. Momoco has previously worked with music from Massive Attack (Luther) and Tricky (Good Cop).

“He was shown the storyboards and he told Johan he had a piece he was working on that would go well with it,” Benns recalls of Bowie’s involvement. “And he sculpted his piece of music to fit the 30 seconds running time and did a mix. Then he went back to finish the track for his album.”

Kato adds: “When we were working, he was singing goodbye and I didn’t realise he actually meant goodbye. It’s such an honour to work with David Bowie’s music. We usually get composers but it’s the clients who pick the music or hire composers to create some new music.”

Storyboard 3

The use of Bowie’s music also impressed the RTS award judges, who, announcing Momoco as the winner in November 2016, praised the “haunting, dreamlike and memorable visual sequence,” before adding that they “loved the Bowie track.”

While title sequences were once used to introduce individual characters to the audience, Benns and Kato agree that producers are now much more open to increasingly abstract ideas, with opening credits serving less as a marketing tool and more as a way to set the mood and tone for what’s about to follow.

“They’re a lot more atmospheric,” Benns continues. “Sometimes when it has to be cinematic, it’s just to do with the camera movements, giving them more weight and moving a digital camera like it’s a real one, like someone is behind it on tracks or a dolly. It’s got a lot more gravitas to it. With CGI, you can swing the camera more fluidly and dynamically and do anything you want with it but it’s about having more weight, grandeur and lighting. There isn’t a vast difference between cinema and TV anymore.”

With an increasing share of its work coming from the US, Momoco is now opening a studio near LA as its team aims to add to its collection of awards, which also include an RTS prize for Hannibal and a Bafta for Fortitude.

But their favourite work? “[Movies] The Love Punch and Hard Candy stand out,” Benns adds. “I’ve also got a soft spot for Luther, just because it got a good reaction and we were able to do other stuff like a graphic novel based on it.”

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HBO, FX dominate Emmy noms

Games of Thrones and The People vs OJ Simpson picked up a lot of Emmy nominations this week – but can they convert them into awards?

Game of Thrones
HBO’s Game of Thrones picked up 23 nominations

The 2016 Emmy Award nominees were announced this week. All told, nearly 50 scripted series (excluding comedies) picked up at least one nomination, although only a handful are likely to convert those nominations into awards when the winners are announced on September 16 at the Microsoft Theater in LA.

A few years ago, winning an Emmy would have been seen as a nice endorsement of a show but little more. These days, however, it has taken on added significance for a couple of reasons.

The first is that the quality of TV drama has risen so rapidly. Winning an Emmy now really is an impressive achievement, and in some categories is not really that different to winning an Oscar. The second is that it is increasingly difficult to gauge the success of a show purely on the basis of its ratings (in the case of SVoD shows, there are no ratings).

FX's The People vs OJ Simpson: American Crime Story
The People vs OJ Simpson: American Crime Story

So racking up Emmys is a way of alerting the industry to the quality of a show, something that probably converts into business at Mipcom, the first major programming market to follow the Emmy ceremony.

So which shows caught the eye in this year’s nominations? Well, it’s no real surprise to see HBO’s Game of Thrones is out in front with 23 nominations. Such is the quality and ambition of the show that the only thing likely to stop it winning awards this year is that it secured a record-breaking 12 Emmys last year, from 24 nominations.

Awards judges, sometimes deliberately, sometimes subconsciously, have a tendency to steer away from previous winners to make sure that everyone gets a fair share of acclaim.

At this stage, the biggest threat to HBO’s hit series comes from the FX camp, with The People vs OJ Simpson: American Crime Story securing 22 nominations and Fargo securing 18.

House of Cards
Netflix’s long-running House of Cards was nominated in 13 categories

Netflix’s House of Cards secured 13 nominations but the biggest snub of the year went to the subscription VoD platform’s other flagship show Orange Is The New Black, with just one nomination.

The Night Manager was a huge hit on BBC1 in the UK but a modest performer on AMC in the US. However, the Emmys have rectified that situation slightly by granting the show 12 nominations.

After these shows, there is a huddle of titles securing multiple nominations, including Downton Abbey (10); All The Way and American Horror Story: Hotel (both eight); Better Call Saul and Roots (both seven); Mr Robot, Penny Dreadful and Sherlock: The Abominable Bride (all six); The Americans and Ray Donovan (both five); American Crime, Crazy Ex-Girlfriend, The Good Wife, Homeland, The Knick and The Man in the High Castle (all four); and Empire, Gotham, Luther, Masters of Sex, Narcos and Vikings (all three).

BBC1 hit The Night Manager was only a modest performer on AMC
BBC1 hit The Night Manager was only a modest performer on AMC

Of course, some categories are more prestigious than others. So it’s interesting to note that USA Network’s Mr Robot made its way on to both the Outstanding Drama series category and the Outstanding Writing for a Drama Series category (Sam Esmail).

The same is true for The Americans, which has been nominated for Emmys before but not usually in the most prestigious categories. Perhaps this is a sign that 2016 is the show’s year to come out on top. Worth noting also is that it is another FX series – evidence of a cable channel firing on all cylinders creatively.

The Outstanding Writing for a Drama Series category throws up another couple of interesting points. One is that it has included Marti Noxon and Sarah Gertrude Shapiro’s UnREAL, which airs on Lifetime.

This is quite an achievement given that the show didn’t really feature anywhere else in the Emmys list. The other is that two of the nominations are for writers of shows that are ending: Julian Fellowes’ Downton Abbey and Robert and Michelle King’s The Good Wife. That might be enough to swing votes their way.

The Americans has its first Outstanding Drama nom
The Americans has its first Outstanding Drama nom

The Outstanding Limited Series category is a face-off between American Crime, Fargo, The Night Manager, The People vs OJ Simpson and Roots. Once again we can see a decent level of diversity here both in front of and behind the camera. American Crime’s inclusion is a welcome nod for an ABC series that has been welcomed by critics but not done too well in the ratings.

As is evident from the above listings, the only serious non-US competition for Emmys comes from the Brits. The Night Manager and Downton Abbey are the UK’s frontrunners to win Emmys, but there were also decent showings from Penny Dreadful, Luther and Sherlock: The Abominable Bride.

With War & Peace picking up a music nomination, the BBC secured a total of 22, which is more than most. It’s also worth noting that Showtime’s US adaptation of Shameless picked up two comedy nominations.

Bryan Cranston plays Lyndon B Johnson in HBO's All The Way
Bryan Cranston plays Lyndon B Johnson in HBO’s All The Way

Looking more broadly at the scripted comedy categories, there were three top performers: HBO’s Veep with 17 noms, HBO’s Silicon Valley with 11 and Amazon’s Transparent with 10. Overall, the Emmys were pretty good for the major SVoD platforms, with established shows like House of Cards and Transparent the strongest performers.

Despite Man In The High Castle attracting four, it looks like Amazon came out just behind Netflix, which secured a smattering of nominations for its Marvel-based shows, Narcos, Bloodline and Sense8.

Cable channel AMC picked up a total of five nominations related to its Walking Dead universe and will take pleasure in the success of The Night Manager (which it aired) – but overall the network can expect a quiet year at the Emmys.

Other shows to score at least one flavour of Emmy nomination included 11.22.63, Bates Motel, Black Sails, Horace & Pete, Minority Report, Outlander and Vinyl.

Fargo secured 18 nominations for FX
Fargo secured 18 nominations for FX

The Oscars would do well to take note of the fact that the Lead Actor in a Limited Series category includes three black actors out of six, though on this occasion Idris Elba, Cuba Gooding Jr and the superb Courtney B Vance may find that Bryan Cranston’s impressive performance in HBO’s Lyndon B Johnson biopic All The Way proves hard for the Emmy judges to overlook. Black actress Kerry Washington also impressed in Confirmation and Viola Davis (How To Get Away With Murder) and Taraji P Henson (Empire) achieved nominations for Lead Actress in a Drama.

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British writers display their dark side

Today is the last day of BBC Showcase, an annual event that sees around 700 programme buyers from around the world descend on Liverpool in the UK to view and potentially acquire BBC Worldwide (BBCWW)-distributed content.

At this year’s event, BBCWW has had a lot of its success with crime drama, selling around 900 hours of programming to markets including Europe, the Middle East and Japan. It’s a reminder that the Nordic nations aren’t the only ones capable of producing compelling noir.

Paul Dempsey, president of global markets at BBCWW, commented: “British crime drama is hugely popular around the world and accounts for over 40% of our drama revenue.”

The fact that the UK does so well is a testament to the quality of TV crime writing in the country, so this week we’ll take a look at some of the talent driving the international hit machine.

luther-5Luther, which stars Idris Elba as DCI John Luther, was acquired by German public broadcaster ZDF, Star India and also by platforms in South Korea and Africa. The fourth series, which aired in the UK during December 2015, consisted of two feature-length episodes. What it lacked in volume, it made up for in ratings, with the two episodes attracting around 7.5 to eight million viewers. All 16 episodes of Luther have been written by New Zealand-based Neil Cross, who has also written episodes of Doctor Who for the BBC. Cross has also been commissioned by the BBC to write Hard Sun, a six-part apocalyptic crime drama set in contemporary London.

lynleyThe Inspector Lynley Mysteries was also picked up by ZDF for its ZDFneo channel. Originally broadcast from 2001 to 2008, the series (based on the novels by Elizabeth George) has proved a decent performer on the international market. In the US, for example, all 23 episodes have aired on PBS. Several scribes have written episodes, including Pete Jukes, Simon Block, Lizzie Mickery, Valerie Windsor, Kate Wood, Francesca Brill, Valerie Windsor, Ann-marie di Mambro, Kevin Clarke, Simon Booker, Julian Simpson, Mark Grieg and Ed Whitmore. Whitmore also wrote a large number of episodes for fellow long-running BBC crime drama Waking the Dead. His other credits include Silent Witness (which was also picked up by TV4 Sweden at Showcase), Arthur & George and Identity, an ITV production that was subsequently sold as a format to ABC in the US. Whitmore also has a couple of episodes of CSI to his name.

happy-valley-dvdHappy Valley season two, was picked up by French PayTV broadcaster Canal+ (which also acquired the fourth season of Luther). The show’s first run was a strong seller overseas and there’s no reason to suppose the new outing will fare any less well. The show is produced by Red Production Company and written by Sally Wainwright. Wainwright also created Scott & Bailey, another popular female-led crime series that has been airing since 2011 on ITV.

prey-series-2Prey is broadcast by ITV in the UK but is distributed internationally by BBCWW. The first batch of three episodes aired in 2014 and starred John Simm, while a second run of three aired in late 2015 and starred Philip Glenister. The latter has just been sold to broadcasters including NRK Norway, YLE Finland and Canal+. Prey was created by Chris Lunt, who wrote all six episodes. Lunt’s success is a reminder that it’s never too late to break into the TV writing business. After 10 years of knocking on doors and pitching more than 80 projects, Lunt finally got his break at age 43. Media reports suggest he is also working on a modern-day adaptation of The Saint with the aforementioned Ed Whitmore.

sherlockSherlock, created by Mark Gatiss and Steven Moffat, has sold very well around the world since it debuted in 2010. At the start of this year, Gatiss and Moffat created one-off special The Abominable Bride, in which much of the action took place in the Victorian era (though a scriptwriting sleight of hand meant the story was actually linked back to the contemporary setting of the series). Broadcasters that picked up the special at Showcase include Degeto (Germany), SVT Sweden, Czech Television and Channel One in Russia. A fourth series of Sherlock is on the way in 2017, with stories for a fifth season also sketched out by Gatiss and Moffat. The show is very slow to come to market because of the busy schedules of Gatiss, Moffat and the lead cast members.

maigret_itvMaigret, based on the books by Georges Simenon, is a new ITV series starring Rowan Atkinson (Blackadder, Mr Bean). At Showcase it was picked up by Germany’s Degeto, which also acquired Sherlock: The Abominable Bride. The writer on this one is the experienced Stewart Harcourt, whose other credits include Agatha Raisin: The Quiche of Death, Love & Marriage, Treasure Island, Inspector George Gently, Poirot and Marple. So if anyone can handle a book-based period detective story, it’s Harcourt.

unforgottenUnforgotten, like Prey, is an ITV series distributed worldwide by BBCWW. Aired in October 2015, the first six-part series focuses on four people whose lives are rocked when the bones belonging to a young man who died 39 years ago are discovered below a demolished house. At Showcase, the drama was picked up by France 3 and YES DBS Satellite in Israel. The show was produced by Mainstreet Pictures and written and created by Chris Lang. Lang started his career on The Bill and has had a successful writing career since, with credits including Amnesia, Torn, A Mother’s Son and Undeniable. The ratings success of Unforgotten convinced ITV to commission a second series. There’s no information yet on the plot but it looks like it will be another cold-case drama, with Lang saying there will be “a new story, where long-buried secrets will once again be slowly brought to light.”

deathinparadiseDeath In Paradise was part of a package of 232 hours of crime drama sold to SVT in Sweden. Produced by Red Planet Pictures, the show has also been given the greenlight for a sixth series this week by Charlotte Moore, controller of BBC1, and Polly Hill, controller of BBC drama commissioning. All told, that will mean there are 48 episodes, which is a good number for the international market. Maybe that explains why it has sold to 237 territories worldwide including China, South Africa, the US and the Caribbean countries close to where the show is set and filmed. Echoing some of the other BBC dramas, Death In Paradise is written by a number of people. But the best-known name is series creator Robert Thorogood, who came to Red Planet’s attention via its scriptwriting competition.

fatherBrownFather Brown is based on the books by GK Chesterton and perfectly fits into the British tradition of eccentric or unusual amateur sleuths. The central character, played by Mark Williams, is a Roman Catholic priest. Unusually for a British drama, the 1950s-set show is already up to 45 episodes after just four series. At Showcase it was picked up by PBC (PTV) in South Korea and ABC Australia. Given the high number of episodes, it’s no surprise Father Brown is an ensemble-written afffair, with credited writers including Tahsin Guner, Rachel Flowerday, Nicola Wilson, Rebecca Wojciechowski, Jude Tindall Dan Muirden, Lol Fletcher, Paul Matthew Thompson, Dominique Moloney, David Semple, Rob Kinsman, Stephen McAteer, Jonathan Neil, Kit Lambert and Al Smith. Particularly prominent has been Guner, who wrote the very first episode and the last one in series four (among others). Repped by David Higham Associates, Guner was selected for the 2009/10 BBC Writers Academy and has written scripts for dramas including Holby, Casualty and New Tricks. He is currently developing original drama series Borders.

ripperstreetRipper Street was licensed this week to Multichoice VoD service Showmax. The show, which was famously saved by a financial injection from Amazon, is a period crime drama set in Victorian England. With four series of Ripper Street already produced and released, Amazon has already committed itself to a fifth season – taking the total number of episodes above 30. Another team effort, the key writer name attached to this is creator Richard Warlow, who tends to deliver about half of the episodes in each series. Warlow’s previous writing credits include Waking the Dead and Mistresses. Other writers on the show have included Toby Finlay (Peaky Blinders) and Rachel Bennette (Lark Rise to Candleford, Lewis and Liberty).

coronerThe Coroner is a daytime drama series about a solicitor who takes over as a coroner in the South Devon coastal town she left as a teenager. At Showcase it sold to AXN Mystery in Japan and Prime in New Zealand. The show was created by Sally Abbott, who also wrote three episodes of the first series. There’s a good blog from Abbott about how she got her break in the business here.

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ITV checks into The Halcyon hotel

Spain's Gran Hotel
Spain’s Gran Hotel

Hotels are great places to set dramas. Not only do you get to see the behind-the-scenes activities of the staff, from lowly bellboy to entrepreneurial owner, you also have guests coming in and out every week.

As with hospitals and shops, this means a constant turnover of stories and characters as the series progresses.

Hotel dramas are nothing new – think back to the UK’s iconic soap Crossroads, for example – but in the last few years they have certainly been in vogue.

There was, for example, the BBC’s Hotel Babylon, set in the world of a luxury five-star hotel. And then came ZDF period drama Hotel Adlon. In the US, we have seen American Horror Story’s most recent season set in a hotel, while Spain has given us the best example of them all with Grand Hotel.

An opulent series set in the early 20th century, the show has proved a big hit at home and in the international distribution market. Not to be overlooked either is Stephen Poliakoff’s new spy drama Close to the Enemy, set in a run-down hotel after the Second World War.

American Horror Story's current outing is based in a hotel
American Horror Story’s current outing is based in a hotel

And so to the point of this preamble, which is that ITV in the UK has commissioned The Halcyon, a series set in a London-based five-star hotel during the Second World War. Produced by Left Bank Pictures and written by Charlotte Jones, it will focus on the guests and staff of the hotel in 1940. As such, it adds the unsettling backdrop of conflict to the transitory nature of hotel life – bombs overhead, staff going to war, soldiers passing through and perhaps even spies.

The eight-hour drama will be produced by Chris Croucher, who also produced the last two seasons of ITV’s period hit Downton Abbey. So there is clearly a hope that The Halcyon can go some way towards replacing that show.

ITV director of drama Steve November said: “A hotel is the perfect place to show ambition in telling the story of the Second World War. It was an extraordinary time in our country’s history, and London was a transforming city. The Halcyon takes us right to the heart of this as the hotel is busy, energetic and vibrant, which reflects how people carried on with their lives with defiance in the air.”

ITV's Steve November
ITV’s Steve November

Left Bank CEO Andy Harries added: “1940 was one of the most dramatic years in our island’s history. Who could have imagined London would survive the blitz and Luftwaffe’s attempted destruction of the city? What was it like to be in a five-star hotel in the West End through this extraordinary period? It’s such a compelling idea for a drama. The world of The Halcyon has to carry on through thick and thin and against all odds. The bedrooms have to be made safe, the bars have to stay open and the band has to play on. People have to sleep, eat and survive.”

Left Bank is owned by Sony Pictures Television (SPT), so the likelihood is that SPT will hold the international distribution rights to the show. If so, this will echo the business model of Downton Abbey, which was commissioned by ITV but produced by NBCUniversal-owned Carnival Films. The series will begin filming in London and surrounding areas from April 2016.

It’s been a good week for Left Bank, which has also been commissioned by ITV to make a fifth season of crime drama DCI Banks. The series, which premiered in 2010, is based on the novels by Peter Robinson and stars Stephen Tompkinson. It is set and filmed in the county of Yorkshire.

Stephen Tomkinson in DCI Banks
Stephen Tompkinson in DCI Banks

Harries said: “I’m delighted we are producing a fifth season of DCI Banks, one of ITV’s best-loved dramas. The stunning backdrop of the Yorkshire countryside is contrasted with the uncompromising storylines the team is dealing with.”

Left Bank isn’t the only indie to have benefited from ITV’s voracious appetite for new drama this week. Indie producer CPL Productions has been given the greenlight to make Brief Encounters, a six-parter looking at a group of four women who get into the lingerie and sex-shop business in the 1980s.

The series is inspired by chapters telling the story of the early days of the Ann Summers party plan business found in Good Vibrations, the memoir by Ann Summers boss Jacqueline Gold. “Brief Encounters is a refreshingly different domestic drama taking us back to the wonderful world of the 1980s,” said November. “We’re really excited by this commission – it’s full of heart, story and great new characters.”

Executive producer Arabella McGuigan added: “Brief Encounters is gutsy, emotional, warm and surprising. Like the real Ann Summers saleswomen, through their camaraderie our women discover hidden strengths and an ability to come out fighting no matter what life throws at you. As wives, mothers and businesswomen, they unleash talent – and they blossom.”

Luther creator Neil Cross's new show is set in a pre-apocalyptic London
Luther creator Neil Cross’s new show is set in a pre-apocalyptic UK

CPL belongs to Red Arrow Entertainment, which presumably means distribution will be handled within the Red Arrow family.

Still in the UK, public broadcaster BBC1 has commissioned a new detective series from Euston Films called Hard Sun. The six-parter is being written by Neil Cross, creator of Luther and a writer on Doctor Who. FremantleMedia International is handling sales.

It’s described as a pre-apocalyptic drama, meaning it is set against the backdrop of a dying world. “Imagine the world you see when you look out your window… except it’s been given a death sentence,” Cross said. “There’s no hero to come save us; no contingency plan. What’s it like, trying to keep order, trying to enforce the law in a city that, day by day, slips closer to certain destruction? How do you get up in the morning? How do you get out of bed and leave your family and go out there, putting your own life at risk? And what about the predators? What about the murderers, the rapists, the thieves? What about the psychopaths, the religious nuts, the cult leaders, the serial killers? Who would fear a prison sentence?”

Meanwhile, comic books continue to be a fruitful source of TV ideas, with US cable channel Syfy developing a new series based on the Dark Horse comic Harrow County. The story focuses on a teenage girl who finds ghosts, goblins, and the restless dead in a nearby forest. She subsequently learns she is the reincarnation of a powerful witch.

Blood and Water has been renewed by OMNI Television in Canada
Blood and Water has been renewed by OMNI Television in Canada

The series is being written by Becky Kirsch, who has previously worked on Syfy’s Dominion and 12 Monkeys.

Discovery is also reported to be working on an anthology drama series. According to Deadline, the broadcaster is developing a show called Manifesto, which will explore how the FBI caught infamous criminal masterminds, with each closed-ended season following a different case. The show sounds similar in structure to Ryan Murphy’s American Crime Story on FX.

Finally, in Canada, OMNI Television has announced that it has renewed crime drama Blood and Water, just a month after the first season’s debut. The show, which is set in Vancouver, is unusual because it delves into the lives of Chinese immigrants and is produced in English, Mandarin, and Cantonese.

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ITV digs into Ancient Egypt

While US cable channel Spike gears up for the launch of its Ancient Egypt miniseries Tut (July 19), UK broadcaster ITV has announced that it too is planning a Tutankhamun-themed drama. ITV’s production, however, will focus on the discovery of the pharaoh’s tomb by archaeologist Howard Carter and his sponsor Lord Carnarvon. Starting in 1905, four episodes will trace Carter’s early expeditions around Egypt, leading up to the big discovery in 1921.

Guy Burt's previous ITV credits include The Bletchley Circle
Guy Burt’s previous ITV credits include The Bletchley Circle

Tutankhamun will be written by Guy Burt, an ITV favourite who is also penning a reboot of classic horror story Jekyll and Hyde for the broadcaster. Previous collaborations between ITV and Burt include critically acclaimed scripted series The Bletchley Circle, which told the story of a group of female code-breakers during and after the Second World War. (See Burt talking about season two of that project here.)

Something of a writing prodigy, Burt first attracted attention when he published his debut novel After The Hole (later adapted into a movie called The Hole) aged 18. After writing two more novels and securing a first in English at Oxford University, his career moved in the direction of screenwriting. Aside from the above-mentioned projects, he worked on the likes of Murder In Mind, Wire In The Blood and Kingdom. Latterly, he collaborated with Neil Jordan and David Leland on period drama series The Borgias, joining the project at the end of season two and writing four episodes in the third and final season.

And Then There Were None scribe Sarah Phelps
And Then There Were None scribe Sarah Phelps

The new Tutankhamun drama was ordered by ITV director of drama Steve November and controller of drama Victoria Fea and will be filmed in South Africa next winter. Executive producers include ITV Studios’ creative director of drama Francis Hopkinson, who says: “Howard Carter’s discovery of the lost tomb of Tutankhamun is legendary. His all-consuming, obsessive search pushed his friendship with Lord Carnarvon to the brink, whilst the adventurous and extrovert aristocrat poured his inheritance into the excavation.”

In an unusual alliance, but one hinting at the future of content rights management, US cable network Lifetime has come onboard a BBC1 drama based on one of Agatha Christie’s best-known works, And Then There Were None. International sales of the three-part miniseries will be handled by A+E Studios International, which is keen to beef up its drama portfolio.

The writing job has gone to Sarah Phelps, whose early career took her via the Royal Shakespeare Company to BBC soap EastEnders, where she wrote more than 50 episodes. A prolific radio and theatre writer, her other TV credits include The Crimson Field, a short-lived drama about the lives of medics and patient at a First World War field hospital.

Jonathan Nolan
Jonathan Nolan has co-written screenplays such as The Dark Knight

 

Phelps has also proved her novel adaptation expertise with previous projects such as Great Expectations (Charles Dickens) and The Casual Vacancy (JK Rowling). The latter was also an Anglo-American coproduction (BBC/HBO) and came in three parts, securing an audience of 8.8 million for episode one, dropping to 5.95 million for episode three. In all likelihood the new project will go into a similar Sunday evening slot with transmission intended for autumn or winter 2016.

The BBC’s decision to greenlight the miniseries is linked to the fact that this year is the 125th anniversary of Christie’s birth. It is also planning an adaptation of another of her novels, Partners in Crime, although there are no details as yet.

HBO’s star-studded remake of classic sci-fi movie Westworld is gradually moving forward. The project, which will feature the likes of Ed Harris, Anthony Hopkins, Jeffrey Wright, Evan Rachel Wood, James Marsden and Thandie Newton, has just added Borgen star Sidse Babbett Knudsen to the cast.

Lisa Joy broke through as a writer with Pushing Daisies
Lisa Joy broke through as a writer with Pushing Daisies

Scheduled to air in 2016, Westworld is from JJ Abrams’ production company Bad Robot, Jonathan Nolan and Lisa Joy, plus Warner Bros TV and Jerry Weintraub Productions. Writing duties will be shared by husband-and-wife team Nolan and Joy.

Nolan, who will also direct the reboot, is the brother of filmmaker Christopher Nolan. He created crime drama Person of Interest and has co-written screenplays such as The Dark Knight, The Dark Knight Rises and Interstellar with his brother. Joy, meanwhile, broke through as a writer with Pushing Daisies, before going on to write some episodes of Burn Notice. Aside from Westworld, IMDB credits her as writer on an “untitled female superhero Spider-Man movie,” scheduled for 2017. There were also reports in 2013 that Legendary Pictures had paid US$1.75m to secure the rights to a sci-fi movie script by Joy entitled Reminiscence.

Still in the realm of sci-fi/fantasy, there are reports that Luther creator Neil Cross is remaking Sapphire & Steel, a 1970s series about a pair of interdimensional crime fighters sent to Earth to investigate strange happenings. Speaking to the Nerdist Writers’ Panel podcast, Cross called the Sapphire & Steel characters a “proto” version of The X-Files’ Mulder and Scully, and said the show was close to getting a commission from a UK broadcaster. Cross, whose other credits include Spooks and Doctor Who, said he is also working with Darren Aronofsky on HBO scripted pilot River View and on two new one-hour episodes of Luther.

Dan Franck created and wrote Marseille
Dan Franck created and wrote Marseille

Finally, Netflix has confirmed that Gérard Depardieu will take the lead role in its first original French drama. Depardieu will play the mayor of Marseille in a series of the same name. Produced by Paris-based Federation Entertainment, the drama will also star Benoît Magimel as a young politician aiming to depose Depardieu’s character.

Shot entirely in France, Marseille is created and written by Dan Franck, writer of La Separation and Les Hommes de l’Ombre and co-writer of Carlos, which won a Golden Globe for best miniseries. Explaining why he took on the project, Franck says: “Creating a series for an enormous audience and without any constraints will let us push to its limits a story about the Shakespearean theatre of politics, in a city where Alexandre Dumas and Jean-Claude Izzo, among others, have planted many spears.

“Netflix has given us a blank page to create a House of Cards in French that breaks through unspoken hypocrisy. This is a writer’s dream and a great opportunity for French producers and creators to enter a new world.”

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