Olivia Holt and Aubrey Joseph talk playing superheroes, joining the Marvel universe and doing their own stunts in comic book adaptation Cloak & Dagger.
While Marvel’s big-screen ambitions have left nothing on the floor in terms of scale, ambition and epic action sequences, the same cannot be said for its television offerings. The likes of Daredevil and The Punisher may live in the same ‘universe’ as movie characters such as Iron Man, Captain America, Black Panther and Thor, but there’s a stark contrast between them on screen.
In particular, TV series such as Agents of S.H.I.E.L.D. on ABC and Netflix foursome Daredevil, Jessica Jones, Luke Cage and Iron Fist – as well as crossover series The Defenders, which brings the four titular characters together – offer an altogether darker, grittier and more grounded tone.
One of the most recent entries into Marvel’s television canon is Cloak & Dagger, commissioned by US cable channel Freeform and available on Amazon Prime Video across Europe. It tells the story of Tandy Bowen (‘Dagger,’ played by Olivia Holt) and Tyrone Johnson (‘Cloak,’ played by Aubrey Joseph), two teenagers from very different backgrounds who find themselves burdened by and awakened to newly discovered superpowers that link them together. One can emit light while the other can shroud people in darkness.
The series is based on the beloved comic characters and is coproduced byMarvel Television and ABC Signature Studios. It is distributed by Disney Media Distribution.
Here, Holt and Johnson talk about how they were drawn into the world of the original comic books, their on-screen partnership and some of the issues the teenage characters face in the series, which has been renewed for a second season.
How much did you know about Tandy and Tyrone before starting the show? Holt: We were not familiar with the comics whatsoever. We did a little bit of research going into it and I ended up bringing the first comic book to the audition just to understand the characters and the tone and their journey. Then when we got the parts, we dove into the comics a little bit more.
How do you feel the show fits into the larger world of the Marvel universe? Holt: We’re a very progressive show and we’re taking a current-day twist on what’s happening in society right now. I think that’s unique and rare and something we don’t see a lot of in television, or certainly not in shows that are based on superheroes. As far as the larger scale of the Marvel universe goes, it’s important for us to finally tell a story about an interracial duo team and how they’re better together than they are apart. For Marvel fans, it’s about bringing a new generation of superheroes on board and telling their stories in an authentic way. Johnson: Also, a lot of superhero duos are the hero and his sidekick, but Tyrone and Tandy are on a level playing field and they need each other. I love how the show stresses who they are as people away from their superpowers.
Did you know from the start that you had such great chemistry? Holt: We did chemistry tests with a lot of different actors but the minute we were in the room together it just felt right. We actually did an improvisation scene where we sat down and basically talked about both of our backgrounds and stories. By the end of it we were in tears. It felt good and we left the room feeling confident that, whether we booked the parts or not, nobody could ever take that moment away from us.
In the first two episodes, you only have one scene together – was it hard to get the chemistry going again? Holt: No because that’s the scene we did at the audition and so we’d done it a lot. But our director, Gina Prince-Bythewood, who directed that first episode and who we just worship and love, really helped us get to an authentic place. And while it’s true we have very few scenes together in the first few episodes, when it comes to episode four we really start to develop a dynamic and a friendship. Johnson: You get to know Tyrone and Tandy for who they are respectively, as individuals, and you’re rooting for them, so when they finally get together it’s like, ‘This is heaven.’ And I do feel the fans are in love with the chemistry that Tyrone and Tandy have. I think it’s worth the wait.
What are you most enjoying about playing these characters? Johnson: One of the best things about Tyrone is how much he shares with Tandy. He’s an introvert, which I’m definitely not – and actually that was a challenge for me at first, but I love a challenge. Being able to portray that introverted side of him and to see how much Tandy changes him is great. Throughout the season you really watch them grow, not into two completely different people, but you really see them grow up.
Do you think teenagers today are switched on to what’s happening in society? Johnson: I think this generation is so aware and so, I guess they say, ‘woke.’ They’re already talking about these things and I think this is going to push it to another level where we see that if we connect and if we talk, we’ll progress more than if we separate ourselves. Moving with hate isn’t going to take us anywhere, so I feel connecting with young people is going to achieve a lot because television and film are two of the biggest outlets in the world. Holt: Our goal is to start an open dialogue and to make society aware of what’s happening in this day and age – what it’s like to be a female in America and a young black male in America. It has a lot of heavy material and a lot of layers and a lot of really hard topics to talk about like police brutality, addiction and sexual assault. The aim is to show it in a very raw, authentic way. Of course, we want to make a fun show that’s entertaining and has a bit of wit. We don’t want it to be dark and heavy all the time, but I think it’s important to address bigger issues.
What’s the coolest thing you’ve done on the show so far? Holt: We got to do most of our own stunts, which is pretty cool. We definitely got our steps in and there were a lot of bruises and a lot of sore muscles towards the end of the season, but all for good reasons. To be able to actually go and do what your character is doing is really fun; to feel that adrenaline and that rush, then go into the scene afterwards with that feeling is pretty epic. There’s nothing quite like it. Johnson: The days where we did stunts made it feel a lot more real, like, ‘Wow, I guess we are superheroes!’
With Agents of S.H.I.E.L.D. and Agent Carter, comic book publisher Marvel successfully transplanted its cinematic universe to television with two spin-off series based on characters from its big-screen blockbusters.
Marvel Television then made a groundbreaking deal with US SVoD giant Netflix to bring The Defenders to the small screen. First came solo series featuring Daredevil, Jessica Jones, Luke Cage and Iron Fist, followed by a drama that brought them all together.
Speaking to DQ TV, Marvel TV senior VP of original programming Karim Zreik explains how Marvel rolled out its series across television, bringing fans of the cinematic universe with them to the small screen.
He then reveals details of a development process that aims to find the right character for a new series, while trying to keep things fresh to avoid superhero saturation.
Zreik also looks ahead to new Marvel series including Inhumans, Clock & Dagger, The Runaways and The Punisher as the company seeks to break the mould with each new show.
Season two of Sky Atlantic’s The Tunnel finished on May 31, and although the official ratings aren’t yet in for the last couple of episodes, the show hasn’t done as well as its first season in late 2013.
While the first outing debuted with 803,000 viewers (live+7), the follow-up kicked off with 680,000. The first run settled down around the 500,000 mark, whereas the second season had been attracting around 300,000.
This reduced audience doesn’t necessarily mean the second season (Sabotage) is inferior to the first. There are several possible explanations for why it hasn’t achieved the same high standards.
One was the unfortunate timing of the show’s launch. Due to premiere around the time of the Belgium terrorist attacks, it was delayed by a week out of respect for the victims. This may have been enough to knock the edge off the show’s appeal.
Another is that the Scandinavian show on which The Tunnel is based, The Bridge, has become a big international hit in its own right. With BBC4 in the UK attracting an audience in excess of one million for the first three seasons of The Bridge, it’s possible that audiences have decided to bypass The Tunnel in deference to the original.
There’s also the time lag between the two seasons. Echoing the situation with The Returned in France, it’s possible that the lengthy gap between them has sapped the franchise of some of its momentum. By a similar token, people who missed season one may (rightly or wrongly) have shunned season two for fear of walking into a franchise in the middle of its story.
Then there’s the fact that Sky Atlantic ‘did a Netflix,’ releasing all eight episodes of the latest season in one go as a box set. To get a true reflection of the show’s performance, we really need to see how it did when those numbers are also factored in.
And finally there is the ongoing process of media fragmentation. Two or three years on from the launch of season one, there are new scripted channels and new platforms pulling audience away from Sky Atlantic.
Overall, however, the Ben Richards-scripted show has probably done enough to justify a third season – particularly as the cost of production is shared with Canal+ in France and it can be aired across Sky’s services in Italy, Germany, Austria and Ireland.
While it can’t compete in ratings terms with Sky Atlantic shows such as Game of Thrones and Fortitude, it outperformed The Last Panthers and is comfortably ahead of most of the US acquisitions that have featured on the channel (Vinyl, Veep, Billions).
As we’ve observed before, there is so much scripted content on the international market these days that it’s incredibly hard for shows to make their mark – unless they are placed in BBC1 primetime or the AMC slot just after The Walking Dead. However, one show that has managed to make some noise this week is Entertainment One (eOne) TV’s polyamorous comedy You Me Her.
Created and written by showrunner John Scott Shepherd, the show is about a couple who hire a female sex worker to introduce a spark into their sex lives. All three then fall in love.
There’s very little public indication of how the first series did when it aired on DirecTV’s Audience Network in March, but the channel is obviously happy, having just greenlit two new seasons. “Our viewers have opened their hearts and minds to embrace the unique relationship between Jack, Emma and Izzy,” said Chris Long, senior VP of original content and production at AT&T (the company behind DirecTV). “Audiences strive for compelling storylines and intriguing characters, and we believe in the potential for this show to grow even more as we continue our journey with eOne.”
You Me Her is the second collaboration between DirecTV and eOne. The two companies previously partnered on Rogue, a police drama starring Thandie Newton.
Commenting on the alliance, John Morayniss, CEO of eOne Television, added: “You Me Her is a bold, provocative show that grabs your attention immediately. We’re delighted AT&T has signed on for another two seasons, which speaks to the strength of these dynamic characters and storytelling. We’re looking forward to seeing how this complicated, polyamorous relationship that John Scott Shepherd has brilliantly created will continue to unfold.”
One story that has attracted a lot of attention this week is Netflix’s decision to release some insight into how its viewers consume drama series. Although the SVoD platform didn’t actually go as far as releasing any numbers, it did provide some insights into the speed at which people binge shows.
In a nutshell, the Netflix research looked at the way audiences watch 100 shows across 190 countries (though keep in mind that some of these countries will have small subscriber bases, so what we’re primarily seeing is user behaviour in major subscriber territories like the US, Canada, UK and Scandinavia).
Netflix then created a binge scale (see above), identifying the shows that get devoured most quickly. Its conclusion? “Series like Sense8, Orphan Black and The 100 grab you, assault your senses and make it hard to pull away. The classic elements of horror and thrillers go straight for the gut, pushing the placement of series like The Walking Dead, American Horror Story and The Fall towards the devour end of the scale. Likewise, comedies with a dramatic bent, like Orange is the New Black, Nurse Jackie and Grace and Frankie seem to tickle our fancy and make it easy to say ‘just one more.’”
By contrast, Netflix added: “It’s no surprise that complex narratives, like House of Cards and Bloodline, are indulged at an unhurried pace. Nor that viewers take care to appreciate the details of dramas set in bygone eras, like Peaky Blinders and Mad Men. Maybe less obvious are comedies like BoJack Horseman, Love and Unbreakable Kimmy Schmidt. But the societal commentary that powers their densely layered comedy paired with characters as flawed as they are entertaining allows them to be savoured.”
You might be tempted to suggest that shows at the slower end of the scale are not being savoured and are instead struggling to hold viewer attention. However, with strong titles like House of Cards, Narcos and Daredevil in that position, it seems unlikely.
Possibly a point that doesn’t come out of the analysis is different binging speeds according to age. A teenager or young, single adult probably has more time (and inclination) to watch episodes back to back than an older adult (at least up to the age of 60). So that might skew Netflix’s binge-ometer.
More granular insights are probably required to make use of Netflix’s data. But there may be a lesson for more traditional channels about the way they deliver their content to audiences. If channels want to make a big impact quickly, then perhaps they need to buy or commission shows that lend themselves to super-fast binging. But if they want to encourage audiences to come back to them week after week, then there may be a role for shows where audiences are happy to wait for the next episode.
In terms of shows destined to be big international hits, FX Productions and Marvel Television’s X-Men spin-off series Legion looks well-positioned to make its mark. An eight-part series from Noah Hawley (Fargo), the show will debut on FX in early 2017 after being produced in Vancouver this summer.
As the result of a new deal signed this week, it will also have a day-and-date premiere on Fox channels in 125 countries.
Legion follows David Haller who, diagnosed as schizophrenic, has been in and out of psychiatric hospitals for years. But after a strange encounter with a fellow patient, he is confronted with the possibility that the voices he hears and the visions he sees might just be real.
Finally, there may be a reprieve for country-and-western scripted series Nashville, cancelled after four seasons by ABC. Producer Lionsgate has been looking for a new home for the show and there are reports that CMT may be willing to pick up the tab.
When Greg Berlanti was a kid, he would often have his head in a comic book, reading the latest adventures of Green Arrow or The Flash.
Today, he is part of the team that has brought both characters to life as the stars of their own live action dramas on US network The CW. Arrow begins its third season this fall, while The Flash makes its debut.
“I thought Arrow would make for a great show, in part because it was realistic and in my mind had a gritty tone and a Jason Bourne-type feel,” says Berlanti. “A lot of times TV shows fail, but this one worked.”
The success of Arrow and other adaptations is now a factor behind the charge to acquire rights to comic books and graphic novels, which are being snapped up by television executives hungry to bring new characters and the fantastical worlds they inhabit to the small screen.
Network television in the US will air five series based on graphic novels and comics this fall – three making their debuts – while zombie drama The Walking Dead heads into its fifth season on cable network AMC. Further adaptations are lined up for midseason, with dozens more in development.
Of course, comic books and graphic novels are not a new source of television inspiration. Batman and The Incredible Hulk appeared in the 1960s and 1970s, while Lois & Clark: The New Adventures of Superman presented Clark Kent to a new generation in the 1990s. They also provide a near constant source of material for animated series, largely aimed at younger viewers.
But is this resurgence of superheroes on the small screen a lasting attempt by television studios’ attempts to grab a share of the huge profits being made by their big screen siblings, or is it just a Flash-in-the-pan?
When NBC passed on the pilot script for The Walking Dead, the show spent four years in the wilderness looking for a new home. It was only in 2010 when AMC committed to the series, rather than sending it into development limbo, that it was given a platform to become one of the highest rated US dramas.
David Alpert, an executive producer on The Walking Dead, says: “There was a degree of scepticism as to the merit of the artform of comic books and over time, as the success of the Marvel and DC Comics movies has increased alongside independent comic book movies like Men in Black and Road to Perdition, it started to make an impression on people that comic books are as vital an art form as any other.”
He agrees that comic book adaptations are hot properties in television. The New Zealand-based firm is developing an animated version of Image Comics’ Rat Queens but has live action series in development.
“They’re high concept, they’re world-building, they’re noisy,” he explains. “That’s what everybody wants. And graphic novels and comic books tend to be a good source of that kind of material.”
Universal Cable Productions (UCP), the production company behind Syfy’s Defiance and Suits on USA Network, currently has four comic book and graphic novel adaptations in development, alongside an untitled project from Iron Man writer Warren Ellis and The Walking Dead executive producer Gale Ann Hurd’s Valhalla Entertainment.
And Dawn Olmstead, UCP’s executive VP of development, admits she has been shopping for IP since she joined the NBC Universal-owned studio earlier this year.
“I’ve only been there for five months and have been on a graphic novel and comic buying spree,” she says. “If you look at what’s happening in television right now, big distinctive ideas and worlds are really interesting, not only for network presidents but for audiences.
“In today’s market where there are a million shows coming at people, a world that’s distinctive and has a fresh imagination brings with it the opportunity to stand out. People have been doing it for a long time in comics and graphic novels, and we’re just finding that they’re really translatable, not just into movies but also into TV.”
UCP’s slate includes IDW Publishing’s Night Mary, a horror story about a 17-year-old girl who is trained to enter the dreams of patients at her father’s sleep disorder clinic, and Image Comics’ Pax Romana, in which the Vatican discovers the secret of time travel and hopes to change the future by sending soldiers and modern weaponry back to Rome in 312AD.
Olmstead says: “Which projects we choose comes down to gut reaction. Often we don’t know what we’re looking for until it comes across our desks, or we hear it in a room.
“Everybody now has control over what they put on their television and they can search for what they want. We use a gut litmus test – can you imagine searching for that show?
“Then the character has to be great. You’re really going to get to know Walter White in Breaking Bad because you’re going to spend a lot of time with him, and we really look for characters that can hold up to that test.”
One of the biggest winners from this surge in live action adaptations is DC Comics, through its DC Entertainment division, which will have four series on US network television this fall. Freshman series Constantine, based on the Hellblazer comics, lands on NBC, Batman prequel Gotham is heading to Fox, and The Flash is joining Arrow on The CW.
Geoff Johns, chief creative officer at DC Entertainment, says: “Shows like Grey’s Anatomy are great, but audiences don’t want to dress up like those characters. People don’t have action figures of those characters. The comic book genre hits you and becomes part of your lifestyle.
“When you go to Comic-Con and see 7,000 people cramming in to watch the premiere of Gotham, The Flash, or Constantine, you realise how much people love this stuff. They just want to see it done with care and love, by people who are as fanatical about it as they are.That’s the key.”
Writer and executive producer Berlanti had been reading the adventures of Green Arrow since he was a kid, so when he signed a production deal with DC’s parent Warner Bros Entertainment, he knew the story of a vigilante facing up against the villains running his home city was perfect for television.
A pilot was ordered in the 2011/12 development season by The CW, which later commissioned a full season.
For Berlanti, however, there was one comic book character he had always wanted to bring to life – the light to Arrow’s darkness – and after introducing the character in season two of Arrow, The Flash now has its own spin-off series.
“I wouldn’t have done The Flash two or three years ago,” says Berlanti, who executive produces both shows through his Berlanti Productions label. “The visual effects departments in TV didn’t have the capacity at the time to deliver the visual effects that would accompany a character like this,” he says of Barry Allen, who gains the ability of super-speed when a lightning bolt causes chemicals to spill over him.
Recreating The Flash’s super-speed also posed problems for Johns, who describes the finished effects as “pretty phenomenal”.
“That was something that was really important,” he says. “If you don’t believe he can move fast, it’s not going to work.”
But why does Johns think comic books and graphic novels are suddenly hot property?
Blockbuster movies, he says, are a big factor, but he goes further when he says television “is probably the closest to comic books in terms of storytelling that I know”.
He adds: “The Flash is built like a comic book, complete with cliff-hangers and subplots. Gotham is more of an urban saga you’re following, a police procedural that feels more like a comic book. When I was a kid, comics were not cool, but they’re more popular than they’ve ever been.”
“Network television in particular is going to have to do more of this kind of stuff, to create both good stories but big, juicy landscapes for people to enjoy because we live in a world where there are 400 channels, you’ve got access to every film and TV show of all time, and they have to compete.”
One network still dipping its toes into the waters of original scripted series is Netflix, the digital platform that has quickly become one of the biggest players in the industry with hits including House of Cards and Orange is the New Black. Its burgeoning reputation was further enhanced when it partnered with Marvel Television to commission four new series featuring Daredevil, Jessica Jones, Luke Cage, and Iron Fist, and a miniseries called The Defenders. The first series, Daredevil, will be released in 2015.
And they will join ABC series Agents of S.H.I.E.L.D and midseason entry Agent Carter in Marvel’s expanding line-up.
Jeph Loeb, head of Marvel Television, says the Netflix projects are “separate stories but one large tapestry”, akin to Marvel’s film strategy that saw Iron Man, Hulk, Captain America and Thor later team up as The Avengers.
“This wasn’t something we forced together,” he explains. “It wasn’t like we picked four random characters and just put them together. They already had their own kind of world; they’re what we refer to as street level heroes. You get to really explore the world that doesn’t quite have the lustre or sparkle that you get from the Marvel movies, or for that matter Agents of S.H.I.E.L.D. or Agent Carter. Our ABC shows do not feel like our Netflix shows because they’re from a different part of the Marvel universe.”
Loeb won’t be drawn on whether the Netflix series represent ‘phase one’ of Marvel’s assault on television, in a similar vein to the decade-long blueprint it has mapped out for its cinematic adventures. “But it seems to work well for the movies, doesn’t it,” he adds.
Another comics publisher getting into the TV business is IDW, which launched IDW Entertainment under the control of president David Ozer in October 2013.
Former Starz and Sonar Entertainment executive Ozer and IDW CEO Ted Adams have identified 10 properties to package as television adaptations, including Night Mary with UCP; Pantheon, a story set in the near future where the only gods worshipped are money and power, developed with The Shield actor Michael Chiklis; and V Wars, a vampire drama adapted by Dexter’s Tim Schlattmann. Circle of Confusion, which executive produces The Walking Dead, is overseeing development.
Adams revealed a “frustrating” experience seeing another of its comics, Locke & Key, fail to land a series order with Fox was the catalyst for IDW to build its own television division and, significantly, retain control of the adaptation process.
Another key marker was networks’ increasing openness to straight-to-series orders, which appeal to Adams.
He says: “There’s definitely something in the air. When we launched this, we didn’t know there was the huge number of shows based on comics that are going to be on air this year.
“Everybody’s looking for great ideas. Although our stories come from comic books initially, they’re not stereotypical superhero comic books. It’s just great genre storytelling. The networks want the same things for their shows as I want for my books, which is to be able to tell a great story, find interesting characters and create a world that gets people interested.”
So once they’ve won a commission, how do producers and writers begin adapting comic books and graphic novels for television? “Sometimes it’s easy, sometimes it’s hard,” says Olmstead. “Sometimes they’ve written something that’s adaptable in both scale and episodic journey. But sometimes they tend to put out really big ideas about society that’s hard to translate in dialogue and in scenes.”
“There’s always pressure to get it right, but it’s a good kind of pressure,” says Johns, who has written comic stories for characters including Green Lantern, Superman and The Flash. “If you were doing a biographical movie of Abraham Lincoln, you’re going to research the guy’s life, the world around him, what he did, what he accomplished, and the people around him.
“There are visual cues you want to keep because that’s the iconic feel of the characters. But the key point is the emotional content of the character – John Constantine’s emotional centre, his virility, his anti-hero status, or The Flash’s optimistic outlook and the joy of being a superhero. Every one of these characters has an emotional core you want to stay true to because that’s what is going to resonate the most.”
Comic books and graphic novels also come with an extra feature – ready made artwork. Characters and costumes are brought to life without the need for conceptual artists to present a vision of the show to network executives. But is this a blessing or a curse?
Alpert says: “It’s the greatest blessing we have. I can only imagine what it’s like to go into The Killing or Homeland thinking ‘we just had an amazing season one, how do we do something different in season two?’ The fact we have 130 issues to draw from gives us a real leg-up on other shows out there.
In the pilot for The Walking Dead, Alpert says there are scenes shot frame-for-frame from the comic, which was created by Robert Kirkman.
“I remember being in downtown Atlanta as hundreds of people in zombie make-up were chewing blood-filled condoms from a fake horse’s stomach and squeezing them, exploding them, and Robert looking at them and thinking this was exactly the way he had envisioned it,” he recalls.
But it’s not just the artwork that offers an instant benefit to executives bringing their projects to market. An existing fan base that has followed and fallen in love with the paperback adventures provides an instant audience, though that in itself can pose as many risks as rewards.
Adam Fratto, executive VP at animation studio Pukeko Pictures, explains: “Comic books can become quite popular so if you have a built-in fan base, that can really help. But there’s always the fact that with any underlying material, you run the risk of alienating the fans.
“Comic book fans are smart and want to be entertained. They don’t expect it to be a slavish repetition of the books. It’s important not to get too hung up on being 100 per cent faithful. My approach is usually to use the existing material as a jumping off point, not as a blueprint.”
Despite the success of the Marvel films, Loeb says the Netflix series and those on ABC still face the same challenges as any other series. “You want to make sure you’re telling something entertaining and compelling, that the viewers are caught up in a storyline they can’t get enough of – and in particular on Netflix, when you have the opportunity to download all 13 shows at once. In so many ways, Netflix lends itself much more to the same experience that you get when you buy a stack of comics where as soon as you put the first one down you want to get the second one, third, and fourth.
“Our goal is hopefully, on that first weekend, people will download all 13 episodes of Daredevil and make a weekend out of it, and have Daredevil parties and get completely caught up in it.
“We have seven series moving forward. That’s a lot of production. We are going to be producing 56 hours of television in the next 52 weeks. Hardcore fans and brand new people are not going to be disappointed.”
With a number of US broadcasters commissioning comic book adaptations, what does this mean for international buyers?
Channel 5 in the UK is the free-to-air home of The Walking Dead, picking up season four for its sibling 5* after fan power saw it overturn its earlier decision to drop it, and it has now added Gotham for the new season.
“There’s always been a lot of TV series around comic book heroes but it’s been a bit more family friendly,” says Katie Keenan, Channel 5’s head of acquisitions. “Certainly the take on it now is a lot darker and edgier.
“What you have with The Walking Dead and Gotham is an innate fan base and when there are people who have grown up with those comics and then get to see them realised on screen, you know you’re going to draw an audience. People love to see their heroes on screen and I don’t think that’s ever going to go away.”
Alpert is now reteaming with Kirkman for exorcism drama Outcast, which has been developed with Cinemax and Fox International Channels. They are also plotting a Walking Dead spin-off for AMC set in the same world but featuring new characters.
“There’s always a sense that if something works, try to replicate it. So I definitely see more stuff being picked up from comics,” says Alpert. “It will be cyclical, so there will be a wave of original programming that comes along. But given the high degree of investment and the huger and desire to cut through the noise out there, it’s useful to tap into something that has a pre-awareness and a fan base.”
At UCP, Olmstead’s IP buying spree will continue “until they tell me I’m out of money”. She adds: “Comic book and graphic novelists are some of the best creators out there. They’re incredibly smart and are translating society’s problems in a really creative way, and as long as they’re doing it, I think we’ll be buying them.”
After bringing Arrow and The Flash to life, Berlanti says there’s “definitely more I would like to see” on television. “What people are starting to say about The Flash is we didn’t know one of these shows could be funny or light-hearted too,” he explains. “Our hope was to zig when other people are zagging and I think there are more opportunities like that in terms of tone or types of characters not represented in TV.”
While The Flash and Gotham have ready-made fans, The Walking Dead is proof that lesser known properties can also become television hits. The endless supply of comic book and graphic novel material is matched only by the appetite of television executives for these properties in the hope of finding the next success story.