In 2016, audiences were introduced to the Medici family, the renowned banking dynasty, in Renaissance Florence.
Medici: Masters of Florence saw Richard Madden (Bodyguard) star as Cosimo de Medici as he succeeds his father Giovanni (Dustin Hoffman) as the head of the bank, the richest in Europe at the time, as he fights to preserve his honour.
Season two, Medici: The Magnificent, is set two generations later, telling the story of Cosimo’s grandson Lorenzo de Medici (Daniel Sharman). Now season three continues Lorenzo’s story, focusing on the Pazzi conspiracy that saw an attempt to assassinate Lorenzo and his brother Giuliano, orchestrated by the Pazzi family, led by Jacopo (Sean Bean).
In this DQTV interview, Big Light Productions CEO Frank Spotnitz and creative director Emily Feller discuss their partnership with Rome-based Lux Vide to produce the series and how it mixes a variety of genres, from historical and family drama to muder mystery and conspiracy thriller.
Medici is produced by Lux Vide and Big Light Productions for Rai in Italy and Netflix.
Lorenzo the Magnificent takes centre stage in the second chapter of Renaissance drama Medici: Masters of Florence. As filming continues apace in Tuscany, DQ speaks to the star and producers of the Rai series, which has built a worldwide audience on Netflix.
The life of Lorenzo de Medici is widely associated with the golden age of the Renaissance. Politician, diplomat, magnate, he was also a patron of scholars, artists and poets. Who better, then, than Lorenzo the Magnificent, as he was known, to be at the centre of the next season of Medici: Masters of Florence.
The series – Medici: Masters of Florence – The Magnificent to give it its full title – begins in Florence in 1469, when an attempt on Piero de Medici’s life forces his son, Lorenzo, to assume leadership of the family-run bank.
Once in power, young Lorenzo resolves to do things differently. With his brother Giuliano and young artist Sandro Botticelli at his side he abandons the cynical politics of the past to usher in a new era of creative and political revolution. This sparks conflict with the head of Florence’s other powerful banking family, Jacopo Pazzi, leading to one of the most notorious political intrigues in history: the infamous Pazzi conspiracy.
The Magnificent follows the first chapter of the anthology series, which focused on Lorenzo’s grandfather Cosimo (played by Richard Madden) and great grandfather Giovanni (Dustin Hoffman).
“Lorenzo the Magnificent is considered the greatest Medici of all,” says executive producer Frank Spotnitz of the Italian banking family and political dynasty. “He’s a remarkable guy who changed the course of history. It just so happens he was also the victim of one of the greatest conspiracies of all time. The drama is just irresistible. Assassins set upon Lorenzo and his brother in church during mass – you don’t have to make it up, you just have to try to do it justice. It’s an incredibly obvious, juicy target for a series. Why hasn’t anybody done this before?”
Spotnitz’s Big Light Productions coproduces the English-language series for Italian broadcaster Rai with Lux Vide, whose CEO, Luca Bernabei, also an executive producer, is quick to point out the differences between the first Medici series and this forthcoming show.
“This is a completely different; it’s not even season one and season two,” he asserts. “Every actor changes because we’re now in the middle of the Renaissance, so there’s more colour, more light, the costumes have more colour. And because we were surprised by the presence of a young audience who watched the first season, we are looking to this audience even more on this season because this story is really about a young group of people getting the power from the old nobles.”
To build on the young following of the show, the Medici producers also sought a young actor to play the role of Lorenzo, who was just 16 when he entered political life and assumed power four years later on his father’s death, in 1469. He went on to rule Florence until he died in 1492.
They found Lorenzo in the shape of London-born actor Daniel Sharman, who has played roles in Teen Wolf, The Originals and, most notably, Fear the Walking Dead. His co-stars include Bradley James, Sean Bean and Sarah Parish.
“It’s quite nice to have a basis for a show like a period of time that was obviously fascinating,” Sharman says. “The obvious way would be to do this story first, but it’s quite nice that there’s this precursor season because there’s a foundation there for what happens this season. This world is just incredibly dramatic and we’re dealing with the beginning of the Renaissance.
“You have geniuses being born within 30 or 40 years of each other, where all these influences were within this tiny geographical point. This series is dealing with that moment, that incredible alchemy. I didn’t have to be pitched it, I just had to research that time and my job was just to do it justice. You get out of the way of making it more dramatic than it already is.”
Sharman researched the period before the scripts — a move that he says paid off, because otherwise, “I never would have believed it was true,” he says. “Then I went down the rabbit hole of wanting to know everything about this family and about everything that influenced it and what it influenced.
“You get Machiavelli, Michelangelo, Botticelli, Leonardo Di Vinci – these are heavyweights of the world, and it’s all in the script because it’s a truly glorious time. I was working in Mexico at the time [he got the role] and was listening to a lot of audiobooks and reading and then I was in Africa reading this biography of Lorenzo. I’ll never forget being in the back of a truck in Uganda just becoming overwhelmed by this amazing period.”
Fans of Walking Dead spin-off Fear the Walking Dead, however, should be aware there won’t be too many similarities between Lorenzo and Troy Otto, the character Sharman plays in the AMC zombie drama.
“I don’t think I could imagine a more different part if I’d tried,” he adds. “An American prepper on the border with Mexico to Lorenzo the Magnificent was definitely a big jump, but that’s the joy in what you do. It’s a different rhythm, a different posture. That’s the lovely part about inhabiting someone else.”
From the outset, Spotnitz and Bernabei agreed that if they were going to do The Magnificent, it had to be better than the first Medici season, which drew record ratings in Italy as 7.5 million viewers watched the first episode in October last year.
“We wrote and wrote and wrote – it was quite a process,” says the former X-Files showrunner. “It took longer than we thought it would take because we’ve already done a Medici series, but this is completely different. The characters are different, the ideas were different and we under-estimated how hard it was going to be to get to the bottom of that. But to our credit, we didn’t give up until we thought we actually had it.”
Bernabei also teases a more action-packed series, with directors Jon Cassar (24, The Kennedys: After Camelot) and Jan Michelini (Don Matteo) behind the camera.
“The way he shoots, whether with a steadicam or a handicam, it’s fast,” he says of Cassar. “But he always pays attention to the heart of the scene. The actors are always moving on the sets and he’s always moving the camera, so actor and camera are always moving together.
“The first season was a bit more stagey. It is completely different visually. It appears the same but the way we are lighting it is very different. It’s going to be interesting. It’s still Medici but completely different. In the first season, there was less light, so you couldn’t see the backgrounds. But we have been studying a lot to achieve it. Even the costumes are much more modern.”
Sharman agrees that there’s a modernity and freshness to this period drama that will make it stand out from its stuffier peers.
“It’s all very well being historical accurate but if that’s all you are, then you’re missing something when these were times when people were pushing the boundaries of art and fashion,” the actor explains. “So in order to do that, you have to make costumes that suggest a period but have a modern influence, because then it feels energetic and new.
“Sometimes when you do a period piece you are almost a museum piece – you’re recreating a perfect sense of what it was back then. That misses the point, and if you’re doing something in the Renaissance, it has to have an energy and artistic flair people haven’t seen before.”
Filming is currently continuing across Tuscany, with the crew returning to locations such as Pienza and Montepulciano and adding new backdrops such as Mantua. Bernabei has been particularly instrumental in securing access to the real locations to ensure this second chapter, distributed by Beta Film, is as authentic as possible.
“It’s something we’re really taking care of,” he notes, adding that he didn’t want the scenes to be recreated on a studio backlot. “We have a special deal with the Italian ministry of culture because they consider these locations national property. Because our series is conveying images of Italy, they’ve given us the opportunity to film in places they wouldn’t normally allow. We have to be really careful not to use certain lights, but it was more difficult using film because you need more light. Now, with digital, you can almost use natural light. It’s less complicated.”
Medici: Masters of Florence – The Magnificent is due to air on Rai next year, with Netflix also carrying the series around the world. A third season is already in the works, adds Spotnitz, who teases: “The saga continues.”
It would be easy to fill a 2016 review with the huge volume of excellent US scripted shows that have been pumped out this year. But for the final column of the year, we’re looking back on some of the new shows from around the world that have made their mark, be it in terms of audience, sales or critical acclaim.
Baron Noir: There were some heavyweight French TV productions this year, including Section Zero, Marseille and France/Sweden copro Midnight Sun. But the one that has secured the highest rating on IMDb is StudioCanal’s Baron Noir. A Canal+ Création Originale, Baron Noir follows French politician Philippe Rickwaert’s thirst for revenge against his political enemies. Launched to critical acclaim in France, with a second season now in development, this “French House of Cards” has been picked up internationally by SBS Australia, Amazon Prime Video in the UK and Ireland and Sony Channel in Germany. “Baron Noir is a gripping political thriller and a masterpiece of French storytelling,” said Carsten Fink, VP of German-speaking Europe at Sony Pictures Television Networks.
Cleverman: This New Zealand/Australia/US coproduction was a clever fusion of aboriginal mythology and dystopian sci-fi. Backed by funding from Screen NSW, the six-part show debuted in June 2016 on ABC Australia, achieving an audience average of around 300,000. It also aired on Sundance in the US, which joined the production during development. While Cleverman wasn’t a huge ratings hit, it did get a positive response from critics. The Boston Herald said it was “unlike any other TV miniseries you’ve seen before. The gritty Australian production uses a sci-fi backdrop to test notions of racial identity and integration with a twist of supernatural terror.” Red Arrow International has sold the show to broadcasters including BBC3 in the UK. It has also been greenlit for a second season, with Sundance again on board.
The Crown: Some would argue that Netflix’s best new series this year was Stranger Things. But the show that has undoubtedly attracted the most attention is The Crown, a US$100m dramatic exploration of Queen Elizabeth II’s early life. Written by Peter Morgan and directed by Stephen Daldry, the show has received pretty much universal acclaim and is currently sitting pretty with an IMDb score of 9. The success of The Crown has even encouraged some analysts to raise their share price targets for the SVoD platform. A second season has already been commissioned and the ambition is that the series will run for five or six seasons. For more about The Crown, see this DQ feature.
Descendants of the Sun: The most-hyped Korean drama of the year was Moon Lovers: Scarlet Heart Ryeo. But the series that seems to have really done the business is this love story between a special forces soldier and a female doctor. Descendants of the Sun was a major hit for KBS in Korea and then sold to more than 30 countries around the world. It was especially popular across Asia. In China, it aired simultaneously with the South Korean broadcast, achieving 2.3 billion streams on iQiyi. Its popularity in China caused concern with the country’s Ministry of Public Security, which warned viewers that “watching Korean dramas could be dangerous, and even lead to legal troubles.”
Insider (Icerde): It’s been another prolific year for Turkish drama. One of the standout shows of the year was Ay Yapim’s Insider, about two estranged brothers who end up on opposite sides of the law. The show debuted on Show TV on September 19 and proved a big ratings hit. Gaining an audience share of almost 12%, Insider beat everything except for Orphan Flowers (Kirgin Cicekler), a popular ATV series that was launched in 2015 to great acclaim. The show is distributed by Eccho Rights. For more on Turkey, read this DQ piece.
Ku’Damm 56: This UFA drama centres on a group of young women seeking to break free from stuffy social conventions in 1950s Germany. The show, which aired on ZDF, was a major hit, attracting 6.3 million viewers for its season finale (an impressive 19.6% share of the audience). The show was developed and written by Annette Hess, whose previous successes include Weissensee. It was one of the 12 new dramas featured at the Mipdrama Screenings.
Medici: Masters of Florence: This show provided an illustration of how Italian broadcasters are now flexing their muscles on the international stage. Although produced in English and distributed by a French company (Wild Bunch TV), Medici was originally commissioned by Italian public broadcaster Rai. The show, which features Dustin Hoffman, debuted well on Rai Uno, securing an audience of 7.6 million. It has now been renewed for a second season and licensed to the likes of Sky Deutschland and Netflix (US, UK, India).
The Night Manager: A huge hit for the BBC in the UK, this was a six-part adaptation of John le Carre’s novel of the same name. The limited series also aired on AMC in the US and has been sold to around 180 countries worldwide by IMG. With a cast headed by Tom Hiddlestone, Hugh Laurie and Olivia Colman, the show was indicative of a couple of key trends – first, a shift towards Anglo-American drama coproductions; and, second, a realisation that some stories are better told through the medium of TV than film. At time of writing the show is in the running for a Golden Globe, having previously picked up a couple of Primetime Emmy Awards. One of these went to talent Danish director Susanne Bier. For more on The Night Manager, see this DQ feature.
Pasión y Poder (Passion & Power): This Mexican telenovela comes from the Televisa stable. A remake of a successful 1988 telenovela, it centres on the rivalry between two families. The show aired on Televisa from Autumn 2015 through to Spring 2016, comprising 80 episodes. It also aired on Univision in the US and became the channel’s number one telenovela of 2016. The finale was especially strong, attracting 5.2 million viewers – more than rival shows on CBS, NBC and Fox. Also airing on Hulu, Passion & Power was a big winner at the 2016 TVyNovelas Awards.
Public Enemy: Nobody knew much about Belgian drama Public Enemy until this year’s MipTV. All that changed after the Zodiak Rights-distributed show won the market’s first-ever Coup De Coeur. Sarah Wright, director of acquisitions at Sky and one of the executives that selected the show, said: “We chose Public Enemy because we felt it was brave, it was strong, it was fresh, it had twists and turns. It feels like something that will travel.” After its MipTV boost, that’s exactly what happened, with the show being picked up by Sky Atlantic in the UK and Germany and TF1 in France among others. Producer François Touwaide, Entre Chien et Loup, said: “Public Enemy is the result of a great initiative launched jointly by Wallonia Brussels Federation and RTBF in 2013 to develop Belgian talent across TV series. After a significant success in Belgium we are very happy with the international response to the show and the great job done by Zodiak Rights.”
This Is Us: On the US network front, Dan Fogelman’s family drama for NBC has been one of the most talked-about new shows of 2016. The show, which is currently on a winter break, averaged 9-10 million viewers per showing across its first 10 episodes and is expected to keep up that momentum when it returns for eight more instalments on January 10. Another Golden Globe nominee, it would be a major surprise if This Is Us doesn’t get a second season. Indeed, Fogelman recently said he has four seasons’ worth of stories sketched out. A marathon of the first 10 episodes will air on USA Network on January 7 ahead of NBC’s next episode. The show has been licensed overseas to broadcasters including Channel 4 UK. Click here for the Guardian’s assessment of the first season.
Trapped: This Icelandic drama actually aired on RÚV on 27 December 2015, but it seems churlish to exclude it from the class of 2016 on that basis. Created and directed by Baltasar Kormakur, the show has subsequently aired across Scandinavia and on BBC4, France 2 and ZDF in Western Europe. Other markets to acquire the show included Australia, Poland and the US, where The Weinstein Company purchased the rights. The tense thriller is part of a second wave of Nordic noir series that has seen Iceland, Norway and Finland all become significant international players. In September 2016, RÚV Iceland announced that a second 10-episode season had been commissioned for release in late 2018.
Westworld: There’s such a lot of great US drama in the market that it’s difficult to single out just one or two shows. But HBO’s movie reboot Westworld certainly deserves a mention. With a budget of around US$100m, the show is shaping up as a potential successor to the channel’s monster hit Game of Thrones. Nominated for a Golden Globe, Westworld recently finished its first season with an average audience of 1.8 million (same-day viewing). However, the most encouraging thing about the show is that its audience has been rising since episode five, with the finale achieving the show’s best ratings to date at 2.2 million. All of which bodes well for the second season, which is likely to air in 2018.
Declining ad revenues mean Japanese broadcasters are increasingly looking to the international market to make money. And one of the areas they are keen to build on is drama exports.
One example of this is NHK’s fantasy adventure Moribito, created with the international market in mind, while Nippon TV’s recent sale of format Mother to Turkey – a first for Japanese drama – is another. Also significant is Fuji TV’s entry into the China market via a scripted content partnership with Shanghai Media Group (SMG).
Under the terms of the latter partnership, SMG is adapting a total of five Fuji dramas for the Chinese market. The second of these, Operation Love, began filming in Guangzhou this month with a view to airing on online platform Tencent from Spring 2017.
A light-hearted love story, Operation Love first aired in Japan in 2007 and has also been remade in South Korea as Operation Proposal. It follows an earlier remake of Dating: What’s it Like to be in Love?, which will air on SMG’s channels in 2017.
Another interesting drama story this week is the news that HBO Europe has commissioned a six-part Warsaw-set drama about a cocaine dealer planning a holiday in Argentina. Antony Root, exec VP of original programming and production at HBO Europe, said of the show: “We believe Blinded by the Lights, a story set in Warsaw’s demi-monde and showing off the city in a wholly new way, will not only appeal to Polish audiences but also to our subscribers all around the HBO Europe region. We are confident it will equally excite audiences internationally.”
The show is part of a growing slate of original HBO Europe series that kicked off a few years ago with Burning Bush and was followed by Pustina. In addition to Blinded by the Lights, HBO Europe also announced a second series of Wataha (The Pack). This show tells the story of a border guard unit based in the remote Bieszczady Mountains on Poland’s border with Ukraine. “The Pack/Wataha proved its appeal to viewers having achieved huge ratings in Poland for its first season,” Root said. “It also played extremely successfully in the other HBO Europe territories and has sold in foreign markets. We are very excited by this new chapter and the way the writers explore the challenges now faced on Europe’s longest border.”
Also this week, Modern Times Group-owned distributor DRG announced it had renewed its first-look deal with indie producer Three River Fiction for a further two years. Three River has 15 to 20 projects in active development, including several adaptations. Its largest acquisition to date is a 15-book estate of Golden Age crime fiction, written in the 1930s by John Bude. Colin Bateman (Murphy’s Law, The Journey) is attached and has written a pilot script based on the crime franchise.
According to DRG, there are two further projects in development, including a dark re-imagining of the Robin Hood story. With Mark Skeet and Matthew Faulk (Titanic: Blood and Steel, Vanity Fair) attached to write, the series will be “a vibrant, venal and complex post-watershed saga set in a bloodstained 12th century England,” said the distributor. The other is a sci-fi series, created and written by Richard Smith (Trauma,) exploring how an isolated community is torn apart by secrets and lies following the crash landing of a UFO.
On the distribution front, Netflix has acquired rights to Renaissance period drama Medici: Masters of Florence for a select number of territories. The Rai-backed drama, which is distributed by Wild Bunch TV, will air on Netflix in the US, the UK, Ireland, Canada and India from December 9. It has already been picked up by broadcasters and streamers in France, Germany, Australia and Japan. The fact Netflix has done a deal for a limited number of territories is interesting, because it suggests the international drama market may be moving away from a model where Netflix attempts to secure the rights to series on a worldwide basis.
Also this week, Deadline is reporting that Amazon has struck an exclusive SVoD deal for USA Network’s new supernatural thriller Falling Water. The show, which tells the story of three unrelated people who discover they are dreaming separate parts of a single common dream, hasn’t rated that well on USA. But Amazon’s involvement will make it easier for the network to back a second series – an increasingly common scenario in the US TV business.
This week has also seen some interesting strategic insights from Eurodata TV Worldwide as part of its Scripted Series Report 2016. Based on feedback from 103 channels, Eurodata found that networks, on average, devoted 32% of primetime to series.
Within this total, local series are the biggest hits. “They represent no less than 84% of the primetime top 15,” said Eurodata. “Imports, and consequently international hits, appear less often in rankings of the top programmes. Despite this, broadcasting these imports remains a winning strategy for smaller channels. As an example, The X-Files succeeded in placing among the top shows for M6 (France), Pro7 (Germany), TV3 (Sweden) and Channel 5 (the UK). US imports are challenged by series imported from countries geographically closer to the channel. The latter occupy a minor place in schedules: 15% of the channels studied broadcast a significant amount of these imports in primetime. Most of all, they are an alternative for small markets and smaller channels.”
There is also a trend towards greater exposure, Eurodata added. “In addition to longer availability thanks to catch-up opportunities, a series is now more available over various platforms in a single country. Traditional players and OTT platforms play with the various windows possible for their content. The multiplatform strategy is often a winning one. For example, Zwarte Tulp (NL Film), a new show in the 2015-16 season for RTL4, is a hit in the Netherlands. Five months before its launch on the RTL Group’s first channel, the series had been streamed on Videoland, the group’s SVoD platform. The series Black Widows (DRG) was broadcast simultaneously on the TV3 channels of the MTG group in Sweden and Denmark, and also on the group’s SVoD platform. It is among the channel’s top three shows in both countries.”
According to Eurodata, examples of collaboration between TV and SVoD services are on the rise. “Whether to reduce production costs, grow a viewer base or [increase] international visibility for their content, or fill their schedules and catalogues, players from the various groups are working together in production and distribution. One example, the series Narcos, was recently broadcast on Univision in the US after its distribution on Netflix. In the future, El Chapo will be coproduced by Netflix and Univision and Britannia (Sky Vision) will be a Sky/Amazon coproduction.”
Other trends include a shift towards short formats and adaptations. Eurodata explained: “Short formats have proven popular. They are often conducive to quality series, as they encourage participation by well-known actors, screenwriters and directors. The Night Manager (WME/IMG, The Ink Factory), adapted from John Le Carré’s eponymous novel, immediately earned fourth among series in the UK and fifth in Denmark. Adaptations, meanwhile, allow inspiring characters and stories to reverberate further. Many of the season’s hits are adaptations of series that exist in other countries. Among the European countries covered in the report, the proportion of local adaptations launched has doubled with respect to those in the 2014-15 season. Some channels particularly count on these to appeal to their viewers. This is the case with the Dutch channel SBS6, whose top three series are exclusively local adaptations of foreign formats.”
Avril Blondelot, international research manager at Eurodata TV Worldwide, said: “True international hits are appearing less and less in the national top rankings.”
However, the international stage is playing a growing role in the development of local series. “More and more new series have been adapted from foreign formats,” commented Eurodata media consultant Léa Besson.
Dustin Hoffman and Richard Madden are father and son in Medici: Masters of Florence, the story of one family’s rise from simple merchants to power brokers in Renaissance Italy.
When Frank Spotnitz was looking for an actor to portray the head of one of the most famous families in Italian history, the seasoned showrunner sought a screen legend who had enough gravitas to carry the role.
So when Dustin Hoffman agreed to play Giovanni de Medici, the writer was understandably excited.
“He was amazing – I’ve grown up my whole life watching him, so I can’t believe we get to have him,” Spotnitz says. “I was so nervous when I spoke to him on the phone the first time!
“We needed someone to present both the hardness and the humanity of this character. There aren’t many people in the world who have that. And Dustin’s such a brilliant actor with such presence. It was a bit unreal having him there.”
Hoffman heads the cast in Medici: Masters of Florence, which charts the family’s rise from simple merchants to power brokers in 15th century Florence.
As the family’s influence sets off an economic and cultural revolution, patriarch Giovanni de Medici (Hoffman) is murdered in mysterious circumstances. His sons, Cosimo (Richard Madden) and Lorenzo (Stuart Martin) are then forced to confront a range of enemies plotting to oust the Medici from power.
The series, produced by Lux Vide and Spotnitz’s Big Light Productions, receives its world premiere in the Tuscan city next Friday before it airs on Italian pubcaster Rai. A second season has already been commissioned.
Spotnitz (The Man in the High Castle, The X-Files) and co-creator Nicolas Meyer (The Seven-Per-Cent Solution) have a long-standing relationship and the former immediately thought of his sometime collaborator when the chance to dramatise the Medici was first proposed.
“Lux Vide, approached me two years ago and said they were going to make a show about the Medici,” Spotnitz recalls. “They had a script, which they weren’t happy with, but they thought the show had huge potential. They wanted the best locations, the best costume designer, the best production designer, everything. I said it sounds good to me!”
And the producers were good to their word, particularly when it came to locations. Medici: Masters of Florence was shot entirely in original locations, adding a layer of authenticity to the story, which blends elements of political thriller and murder mystery with a family saga.
“There’s some CGI in the show but not much,” Spotnitz reveals. “We had an amazing production designer who knew everything about the 15th century. So we drove all around these medieval villages in Tuscany. It’s just amazing how much is unchanged. You just have to take down the signs and get rid of some cars and it’s like you’re in the past.
“And the access Lux Vide was able to get… I had the mayor of Florence showing me around the Palazzo Vecchio, seeing all the rooms and the cell where Cosimo really was imprisoned. And we got to shoot in the real cathedral in Florence. It was astonishing. We’re used to seeing period drama like this where you shoot in Romania or Hungary or Bulgaria – some place that’s less expensive. So to actually be able to shoot Italy for Italy is quite extraordinary.”
Filming in the Tuscan countryside did have an impact on the show’s shooting schedule, however, as scenes from all eight episodes were shot based on the production’s location. Having director Sergio Mimica-Gezzan take charge of the entire first season added extra continuity to the style and tone of the series.
As Spotnitz explains: “It really had to be one director because of the way we were shooting. We’d go to Montepulciano and we’d shoot all the scenes from all eight episodes there, and then we’d move to Pienza, so you couldn’t divide it all up between different directors. It would have been impossible. It’s quite a jigsaw puzzle.
“The show has a fairly classical style a la The Godfather. It has the lustre of The Godfather but with the beauty of Italy and the colours of the Renaissance. But for me, Sergio’s real gift is with actors. I’ve never seen actors respond better to a director than to him. I remember the first day when Dustin Hoffman was in Rome and we rehearsed and he said to him, ‘You’re the best kind of director for an actor,’ because he’s very good at listening to actors and guiding them and making them feel understood.”
Spotnitz hadn’t previously been interested in working on a historical drama but once the story was stripped down, it was a tale of two brothers searching for the person who murdered their father that stood out to him.
The fact that that the truth behind Giovanni de Medici’s death is unknown also meant Spotnitz and Meyer could use history to their advantage.
“We have taken a few liberties here and there [with historical accuracy] but the truth is there’s an awful lot that’s not known,” he says. “For instance, there’s not a lot written about Cosimo’s wife, Contessina [played by Annabel Scholey], so we were trying to connect the dots, trying to imagine the human being who did these things. I think we were fairly faithful to the facts, but you realise when you write one of these things how much of it is an interpretation.
“[The Medici] were trying to change the world. They were making money by providing credit and trade to the common man and it created social mobility and an opportunity for people to better themselves, and that was radical. It felt like a very relevant issue for today.”
The story of the Medici was particularly personal to Lux Vide heads Luca and Mathilda Bernabei, whose father was born in Florence. Momentum behind Italian drama has been building, with shows such as Gomorrah winning acclaim on the international stage, and Luca Bernabei says Medici grew from his ambition to create a series that spoke about the creation of modern Italy.
Spotnitz was then the key to turning a historical story into a contemporary murder mystery.
“He gave us this wonderful way of writing that was able to bring history alive,” he says. “But we were giving him the possibility to shoot in the real places where the story actually took place. We were shooting where the Medici lived instead of in a back lot in Bulgaria or wherever. That’s what makes it different from all the other Italian shows.
“Even the costumes, the concept was they were bankers so we gave the men a banker style – black, grey, blue. It’s very contemporary, like [styles seen in] the City of London. For the women, we used rigid geometry inspired by the greatest fashion designers. We tried to avoid ‘museum’ costumes in order to bring the show to life.”
The decision to produce Medici in English was made early on in order to broaden the show’s reach. “From the beginning they knew they wanted it to be in English,” Spotnitz says of the producers. “You reach a very small audience with Italian drama. Even with the most successful Italian drama – Gommorah, Inspector Montalbano – there’s only a certain number of people in the world who are willing to watch a show in a subtitled format and you just reach a huge audience with English. So they knew from the beginning it would be in English and they would try to get a first-class cast.”
Bernabei adds that the challenge for Medici, and Italian drama as a whole, is to bridge the gap to UK and US dramas, which often have a budget many times larger than those filmed in mainland Europe.
“Our challenge was to show we can make a really international product, not something local, not regional,” he continues. “But momentum in Italy is building because of Gomorrah, The Young Pope and now Medici. So this is a new era for our production. There are three or four producers in Italy that are able to produce international drama. It is changing our business. Producers are able to collect more money in the market.
“This is also [distributor] Wild Bunch’s first TV project, so it was a wonderful combination of a company like ours specialising in television working with a company like them that specialises in cinema. It’s very interesting because we’re different but similar and we both love a challenge. We were talking the same language and that was wonderful.”
Work is now well underway on season two, with production due to begin by the end of the year. The story will focus on Lorenzo the Magnificent, one of the most powerful statesmen in Renaissance Italy and Cosimo de Medici’s grandson.
“It’s a family saga, it’s a murder mystery and it’s a political thriller – it’s all of those things,” Spotnitz says of the show. “The Medici were who Machiavelli wrote about. They’re really good at manipulating politics but the story is very much rooted in the family.”
He adds: “It’s such an incredible time in television. Yes, it’s amazing in the US with this explosion of drama, but in Europe, it’s a different story. Europe has been so underserved for so long and people have been deprived of opportunity for so long, primarily because the US wouldn’t buy European drama. That’s changing, and now there’s huge appetite and they’re looking for ways to buy it, which is great for Europeans because it creates opportunities to make these large-scale shows that compete with the best of US drama.”
Series like War And Peace, Borgia and Versailles have proved that there is a global market for lavish period dramas originated in Europe. And now Medici: Masters of Florence, featuring Dustin Hoffman, looks set to join this list of successful shows.
Produced by Lux Vide in collaboration with Big Light Productions and Wild Bunch, the show was commissioned by Rai in Italy and is distributed internationally by Wild Bunch TV (except in the US, where WME is handling sales).
This week, Wild Bunch announced a slew of Medici sales to SFR/Altice Group (France, French-speaking Belgium, Luxembourg), Sky (Germany), SBS (Australia), eOne (New Zealand), Sony Pictures Television (Latin America), DBS (Israel), VRT (Belgium), Canal+ (Poland), LRT (Lithuania), RTV (Slovenia), RTVS (Slovakia), Canal+ Overseas (French-speaking Africa), Hulu (Japan), Georgian Public 2 Broadcast and BTV (Bulgaria). This follows a previous sale by Lux Vide to Telefonica/Movistar+ (Spain) and news of a second series commission by Rai.
20 years ago, shows like these tended to end up ponderous and stilted, earning the ‘Europudding’ epithet. The main problem was that too many partners had a say in the creative direction and casting. These days, backers have learned to put greater faith in the hands of the storytellers – and have benefited as a result. In Medici’s case, the series is written by Frank Spotnitz, whose credits include series like The X-Files and The Man in the High Castle, and Nicholas Meyer (Houdini, Star Trek: The Wrath of Khan).
Medici is set in 15th-century Florence, the city that will host its world premiere on October 14. The eight-part show features Dustin Hoffman as Giovanni de’ Medici, the patriarch of the Medici family who is found dead in mysterious circumstances. His sons, Cosimo (Richard Madden) and Lorenzo (Stuart Martin), are forced to face a range of enemies plotting to oust the Medici from power. Shot entirely in Tuscany, the series depicts the foundations of one of the most profound financial, artistic and scientific awakenings the world has ever known: the Renaissance.
More good news for the European production business this week is the news that RVK Studios, Icelandic national broadcaster RUV and Dynamic Television have announced that Baltasar Kormákur’s Icelandic crime series Trapped has been renewed for a second season. Widely praised by critics, the series attracted a strong audience during its 10-episode run earlier this year. In the UK, the series premiere on BBC4 reached more than 1.2 million viewers. In France, episodes one and two attracted more than 5.7 million viewers on France 2. Audiences averaged more than 500,000 viewers for NRK Norway, while 86% of television-owning homes in Iceland tuned in. The show is also soon to air on ZDF in Germany.
Based on an original idea by Kormákur, Trapped tells the story of a troubled cop investigating a grisly murder when his small Icelandic town is hit by a powerful blizzard, trapping the villagers and most likely the killer in the town. Season two, slated to air in autumn 2018, will follow the same lead characters as they examine an even more complex and challenging murder case. “I am so excited to get to assemble this great group of talent again,” said Kormákur. “This story is far from over. There is a lot more to come, both story-wise and also concerning our lead characters. I guess we all want to get to know them a little bit better.”
Klaus Zimmermann, managing partner of Dynamic Television, which distributes the show, said: “Audiences overwhelmingly responded strongly to the thrilling drama and powerful characters and they will find the next season every bit as gripping.” Trapped stars Ólafur Darri Ólafsson, who has also appeared in The Secret Life of Walter Mitty and True Detective. It is written by Sigurjón Kjartansson and Clive Bradley.
We’ve written a lot in the last year or two about talent being parachuted into TV drama from film, theatre and publishing. This week, we were reminded of another source of inspiration, following the news that Carnival Films is developing a drama based on Alex Gibney’s feature-length documentary Zero Days, which premiered at the Berlin Film Festival in February.
Written and directed by Gibney, Zero Days is a documentary thriller about warfare in an arena without rules – the world of cyber war. The film tells the story of Stuxnet, a self-replicating computer malware that the US and Israel unleashed to destroy a key part of an Iranian nuclear facility, and which ultimately spread beyond its intended target. It’s a comprehensive account of how a clandestine mission hatched by two allies with clashing agendas opened forever the Pandora’s Box of cyber warfare.
The drama (whose working title is Stuxnet) will be written by Stephen Schiff, who has been a writer/producer on FX’s acclaimed scripted series The Americans since the second season. Gibney directs and will also produce alongside Marc Shmuger. Nigel Marchant, David O’Donoghue and Gareth Neame are exec producing for Carnival. Participant Media will executive produce while NBC Universal International will distribute the series.
Film buffs in the audience will note that all three of the above scripted series are directed by talent that is better known for feature-film work. In addition to Gibney and Kormákur, Medici is directed by Sergio Mimica-Gezzani – whose credits include Catch Me If You Can, Saving Private Ryan and Minority Report.
Continuing with this theme, SVoD platform Netflix is partnering with feted director Spike Lee on a drama based on his 1986 film She’s Gotta Have It. The show will follow a Brooklyn-based artist who juggles her time between her friends, job and three lovers. Lee will direct all 10 episodes of the show, which was initially in development with premium pay TV network Showtime.
Looking beyond the usual suspects in the TV drama business, Keshet International (KI) has picked up global distribution rights to Croatian crime drama The Paper and will be promoting it at the Mipcom market in Cannes next month. The 12×50′ show, produced by Croatia’s Drugi Plan, is set in the offices of a newspaper and explores political corruption, power struggles, crime and betrayal.
Commenting on the news, KI acquisitions chief Sebastian Burkhardt talked up the growing market for non-English-language drama: “With the current opportunities out there for non-English-speaking series, and our experience with them, we are confident that The Paper will find its audience outside of Croatia.”
Finally, another high-profile US series has bit the dust after just one season. Showtime has announced that Cameron Crowe’s Roadies will not return, following poor ratings (echoing the story with Vinyl at HBO). Crowe said: “Thanks to Showtime and [exec producer] JJ Abrams for the opportunity to make the one and only season of Roadies. My mind is still spinning from the giddy highs of working with this epic cast and crew. Though we could tell a thousand more stories, this run ends with a complete 10-hour tale of music and love. Like a song that slips under your skin, or a lyric that keeps speaking to you, we hope the spell of Roadies lingers. It was a life-changing experience for all of us.”
There can’t be many countries in the world where the TV, theatre and literary/publishing sectors are as inextricably entwined as in the UK. Illustrating this point is new BBC1 comedy drama Love, Nina, which debuted last Friday at 21.30.
Based on a best-selling memoir by Nina Stibbe, the five-part miniseries has been adapted for the screen by Highbury-based author Nick Hornby (Fever Pitch, About a Boy).
It tells the story of a young live-in nanny (Nina) who moves to North London in the 1980s to work for a literary editor with two young boys, the mother of whom is played by Hampstead resident Helena Bonham Carter. In the book, the young Nina (Faye Marsay) is exposed to literary heavyweights like Jonathan Miller, Michael Frayn and Alan Bennett – all of whom live in the vicinity or pay the house a visit.
Explaining how the project came about, Hornby said: “Nina Stibbe and I share an editor, Mary, and she sent me a proof copy of the book. I’m bound to think this, but she has good taste, so when she said it was brilliant I took a look and couldn’t quite believe how good it was.
“The first thing that attracted me was that it was funny, and there are so few books that are properly funny from beginning to end. That was the first thing I wanted to dig into, but it’s about a charming and an eccentric world as well. They’re very real people and it’s a situation you don’t come across every day.”
In terms of the writing process, Hornby added: “Nina didn’t read the scripts until I had completed the whole set. We weren’t really in touch during the writing process, although sometimes I would ask her something and she would provide the answer – factual stuff. She was a dream and she trusted us to get on with it.”
As for the challenges, he said: “I didn’t feel that there were any challenges, just opportunities. Nina glosses over comic material quickly because she is writing letters to her sister and she talks about incidents in two or three lines. Of course, you’ve got to open it out, but the characters are in there and the situations are there. Nina’s letters quite often included snatches of dialogue so it was my privilege and pleasure to be able to get to run those on. What SJ (Clarkson, the director) has done with it is incredible. It looks like a quirky indie movie. It’s visually very rich and it certainly doesn’t look like a sitcom. I can’t recall anything quite like it.”
It’s early days, but the response to the show seems mixed. Perhaps unsurprisingly, the Guardian – which is as North London as the subject matter, Hornby and Bonham-Carter – was positive: “The most important thing is that Hornby and director SJ Clarkson have captured the spirit and hilariousness of the book. It’s a joy.”
Less positive are the audience figures, which came in at around 2.6 million (compared with the four million or so that usually view BBC1 at around this time). This could be explained by the fact that the show was up against ITV’s The Secret, starring James Nesbitt. But Love, Nina also has a pretty lacklustre IMDb rating of 6.9, which suggests that those who did tune in were not that enthusiastic.
As an Arsenal fan, and someone who holidayed in Hackney during the 1970s, I have a residual affection for Hornby. But my suspicion is that the preoccupations of the North London elite are not really right for BBC1’s audience – even when viewed through the lens of a young woman newly arrived from Leicester.
Better in ratings terms was BBC1’s Capital, which looked at contemporary South London and the issues that have arisen from rising house prices. Although this show also scored pretty poorly on IMDb, its subject matter resonated sufficiently with the wider audience to achieve an audience in the 4.5-5 million range. Love, Nina would probably have been better suited to BBC4, where we would have delighted in its eccentricity rather than scrutinised its audience.
Also in the news this week is Dirk Gently’s Holistic Detective Agency, an eight-part series for BBC America that will be distributed internationally by IMG. This show, which will debut in the autumn, is based on the books by the late Douglas Adams, author of the iconic Hitchhiker’s Guide to the Galaxy series.
It follows the bizarre adventures of eccentric detective Dirk Gently and his assistant Todd. Interestingly, Dirk Gently was previously adapted by BBC4 in the UK in 2010 – with Howard Overman (Misfits) as the writer and Stephen Mangan heading the cast. However, it was not renewed.
The new version is being written by Max Landis, a 31-year-old LA native whose credits include Chronicle, Victor Frankenstein and American Ultra. So we can expect a very different variation on Adams’s unique humour.
Meanwhile, there was a major surprise this week with the news that Europe-based showrunner Frank Spotnitz has stepped back slightly from Amazon’s alternative-history drama The Man in the High Castle. The show is currently in production on season two after completing a successful run on the platform late last year.
Spotnitz has not said much on the subject but Amazon released this statement: “Given the ambition and scope of the series, the decision has been made to locate all creative efforts on The Man in the High Castle to the west coast; Frank Spotnitz will remain as an executive producer and step back from showrunner. His responsibilities will be managed by our deep and talented bench of producers. We are enormously grateful to him for bringing our customers on one of the most watched original shows on Amazon Video and we are excited about the team’s vision for season two.”
Spotnitz has been in heavy demand as a writer recently and is currently working on the Renaissance-set Medici: Masters of Florence. Starring Dustin Hoffman as Giovanni de Medici, this eight-episode series is being sold internationally by Wild Bunch TV and featured prominently at the recent MipTV market in Cannes.
There were 11,000 delegates at MipTV this week, 3,900 of whom were content buyers. And top of their shopping list was drama, with a wide array of titles being picked up by free-to-air, pay TV and SVoD channels and platforms.
MipTV doesn’t see much activity from the major US studios, which prefer to focus on the LA Screenings next month. So this meant the attention was more on European and Asian drama, with a few US cable titles also attracting attention.
A big winner at the market, for example, was ITV Studios Global Entertainment, which sold its period drama Victoria into the Nordic region, the Netherlands and Canada. There was also interest in BBC Worldwide’s Anglo-French fashion drama The Collection, which sold to SVT Sweden and DR Denmark.
As the above titles indicate, British dramas tend to secure an initial wave of sales in Scandinavia and other English-speaking markets before picking up deals in other territories. This point was underlined by deals done on Capital. Distributed by FremantleMedia International, the adaptation of John Lanchester’s novel has been sold into the US, Canada, Australia and New Zealand.
If there was a clear trend in terms of sales, it was the continued importance of SVoD platforms, which seem to be doing almost as many drama deals as traditional networks.
Hulu picked up eOne’s The Book of Negroes, while All3Media International sold Irish drama Red Rock to Amazon Prime Video in the US. Channel 4’s international drama strand Walter Presents, meanwhile, acquired two series from Keshet International – Baker & The Beauty and Milk & Honey – plus Spanish drama Locked Up.
Perhaps the most high-profile SVoD deal of them all saw Netflix acquire Marcella from Cineflix Rights. Created by The Bridge writer Hans Rosenfeldt and produced by Buccaneer Media for ITV in the UK, Marcella delves into the psychology of a troubled female detective investigating a serial killer. Larry Tanz, VP of global television at Netflix, said: “We got involved with the series early on in the process to gain the opportunity to bring Hans’s great storytelling to our members around the world.”
Other dramas that secured good deals at the market include the Content Television-distributed Line of Duty, which sold to DirecTV Latin America, BBC Worldwide Benelux and Hulu in the US, which picked up VoD rights.
There was also an interesting deal that saw Zodiak Rights’ Versailles picked up by US pay TV channel Ovation. Ovation isn’t really known as a drama buyer, so it’s another good indication of the demand for event dramas.
One company that has got more interesting to the international market in recent years is Italian public broadcaster Rai, which until recently was only really interested in commissioning mainstream scripted shows for primetime slots on flagship channel Rai 1. But there has a been a definite shift as a result of the wider changes taking place in the international drama market.
On the one hand, the company is now producing edgier, younger-targeted drama for Rai 3, with the result that it is attracting more attention from international buyers. An example at the market was Close Murders, which was on the verge of being picked up by Franco-German network Arte at Mip.
On the other, Rai has started getting interested in supporting English-language event dramas. At the market, for example, it was one of the backers of Wild Bunch TV’s epic new period drama Medici: Masters of Florence, which has now been greenlit for a second season.
One new development at the market was the launch of the Mip Drama Screenings, a showcase for 12 new drama titles that was held on April 3 in the JW Marriott Hotel. The event, heavily skewed towards European content (but with a Chilean and an Israeli-originated show involved) was well received by buyers and put the spotlight on some interesting series.
Writer/producer Frank Spotnitz, whose Medici was among the shows screened, called the screenings “an excellent platform. We had the undivided attention of 400 buyers who were able to watch extended excerpts and trailers in a nice theatre, with proper sound and picture quality. When you are running around at a hectic TV market like MipTV, a focused and quiet environment is valuable for both the filmmakers and the broadcasters. I hope the screenings expand in the future.”
At the end of the screenings, one show is given an award called the Coup De Coeur for being the best of the bunch according to the buyers. This year it was Belgium’s Public Enemy, which is distributed by Zodiak Rights.
It’s too early to know how Public Enemy’s success at the screenings will impact on its sales – but it certainly should help. Sarah Wright, director of acquisitions at Sky and one of the executives on the advisory board that selected the show, said: “We chose Public Enemy because we felt it was brave, it was strong, it was fresh, it had twists and turns. It feels like something that will travel.”
Last week, we name-checked a few scripted format deals. By the end of MipTV a couple more had bubbled to the surface. Onza Entertainment sold the format for Spanish drama The Department of Time to China’s Guan Yue International, while Russia’s NTV commissioned a local version of Nordic Noir hit The Bridge.
In a related development, Lionsgate licensed its new show Feed the Beast (starring David Schwimmer and Jim Sturgess) to AMC’s UK pay TV channel. This show, about two friends who launch a restaurant, is based on a Danish scripted format.
This market was very much billed as being about Germany – this year’s Country of Honour. But it was noticeable that France was actually among the most high profile in terms of deal-making. StudioCanal, for example, used the market to announce that it was acquiring stakes in a number of international production companies, including Spanish powerhouse Bambu, producer of hit shows like Velvet, Gran Hotel and the first Spanish-language series ordered by Netflix. The firm’s sister company Canal+, meanwhile, launched Studio+, which is billed as the first global premium series offer for mobile devices.
The new company will produce exclusive premium drama series for smartphones, tablets and a dedicated app. Each series will consist of 10 10-minute episodes, with an average budget of €1m (US$1.14m). Studio+ president Manuel Alduy said the service will launch in September in France with 25 complete original series, before opening in Europe, Russia and Latin America in partnership with major local telecoms. Early series include drama Amnesia starring Caroline Proust, action series Brutal and Urban Jungle and thrillers Kill Skills and Madame Hollywood. Sixty more shows are currently in development.
Explaining the thinking behind the series, Dominique Delport, president of Vivendi Content (Canal+’s parent company), said 60% of smartphone users watch shortform video. He said the directing talent for the new series comes from advertising and music, sectors that have experience of reaching Studio+’s target audience of 15- to 35-year-olds.
With MipTV imminent, miniseries and serials continue to be a major focal point for many international buyers. This week we preview a dozen of the limited-run dramas that will attract attention at the Cannes market.
American Gods is an adaptation of Neil Gaiman’s iconic fantasy adventure novel by FremantleMedia North America (FMNA) for US pay TV channel Starz. It is distributed by FremantleMedia International. On the eve of Mip, FMNA began to provide details on the key cast, something that will be of interest to buyers in Cannes. They key addition is Emily Browning (Legend), who has been cast as Laura Moon. Other announced cast members include Ian McShane, Ricky Whittle, Sean Harris, Yetide Badaki and Bruce Langley. The series begins shooting next month.
Bordertown is a coproduction between Federation Entertainment and Fisher King Productions for Finnish public broadcaster YLE. The 11-part show follows a police investigator who moves to a Finland-Russia border town with his family for a quiet life but instead gets caught up in a serial killer case. The show is one of 12 titles to feature in the new MipDrama Screenings.
Intersection is a 13-part drama distributed by Endemol Shine International that aired on free-to-air channel Fox in Turkey and has just been renewed for a second season. Set in Istanbul, the thriller follows a love triangle involving a playboy businessman, a car designer and a beautiful woman. The three main stars – Ibrahim Çelikkol, Belçim Bilgin and Alican Yücesoy – will be in Cannes.
Ku’damm 56 – Rebel With A Cause is a three-part family drama produced by UFA Fiction for ZDF/ZDF Enterprises and written by Dorothee Schon. Set in the 1950s, it tells the story of young women of the era and their struggle for equality. (Read more about Ku’damm 56 here.)
Marcella is a new drama from Cineflix Rights. Produced by Buccaneer Media for ITV and written by Hans Rosenfeldt (The Bridge), it stars Anna Friel (Limitless) as a UK detective investigating a serial murder case where the modus operandi of the killer bears a striking resemblance to an unsolved spate of killings from a decade before. The series also stars Laura Carmichael (Downton Abbey), Sinead Cusack (Jekyll & Hyde) and Harry Lloyd (Game of Thrones), among others.
Medici: Masters of Florence is an eight-part English-language Italian series about the rise of the Medici family and the Italian Renaissance, with a €24m (US$26.91m) budget. Produced by Lux Vide SPA and Big Light Productions, it features Dustin Hoffman (Rain Man) and Richard Madden (Game of Thrones) and is directed by Sergio Mimica-Gezzan. The show will be broadcast in Italy by Rai and distributed internationally by Wild Bunch TV
Public Enemy is a 10-hour drama from Belgium, aired domestically by RTBF and distributed by Zodiak Rights. It centres on Guy Béranger, a dangerous child murderer whose eventual release leads to an outcry from the nearby small village and the rest of the country. When a young girl subsequently disappears, the entire village is in uproar. Chloé Muller, a young inspector based in Brussels, is assigned to the investigation to protect the despised Béranger, bringing her face-to-face with the fears and secrets of the seemingly peaceful community.
Roots is a reboot of the classic 1970s series and is again based on the acclaimed book by Alex Haley. Distributed by A+E International, it’s a detailed portrait of American slavery, recounting the journey of one family and their will to survive and ultimately carry on their legacy despite great hardship. Roots boasts a stellar cast and will debut on May 30 across History, A&E and Lifetime channels in the US. The series starts with the capture of Kunta Kinte in his homeland of The Gambia and follows his transportation to America where he is enslaved.
Section Zéro is an eight-part French drama that was first introduced to the international market last year. Attending MipTV as part of the new MipDrama Screenings, it is produced by EuropaCorp Television, Bad Company and Umedia for Canal+ France with StudioCanal as distributor. The show is set in 2024 and sees an elite police squad battle it out with powerful corporations and their robots. StudioCanal has called the series a mix of Fargo, The Returned and Mad Max.
The Secret is a four-hour crime drama from Hat Trick Productions in association with Northern Ireland Screen. Starring James Nesbitt (The Missing) and based on a book by Deric Henderson, it focuses on a real-life double murder. Nesbitt plays Colin Howell, a respectable dentist and pillar of the community, while Genevieve O’Reilly (The Honourable Woman) is Sunday school teacher Hazel Buchanan. Howell and Buchanan met at their local Church in Coleraine, Northern Ireland and embarked upon a passionate and destructive affair, which climaxed in an elaborate plot to kill both their partners. The show is being distributed by Hat Trick International.
Victoria is an eight-part historical drama from ITV Studios Global Entertainment. Produced by Mammoth Screen, it follows the early life of the celebrated UK monarch, who ascended the throne aged just 18. The series has already been picked up by PBS in the US and will be screened to an audience of 350 at the first-ever MipDrama Screenings on Sunday April 3.
Wolf Creek is a new psychological thriller based on the international feature film of the same name. Produced by Screentime for Stan in Australia, it focuses on a 19-year-old girl seeking revenge against the murdering psychopath who killed her parents and little brother. The six-hour series is being distributed by Zodiak Rights.
If you’re in Cannes for MipTV and want to read more about Marcella, Victoria and much, much more, pick up the spring 2016 issue of Drama Quarterly.
After a strong showing at the Emmys, Amazon is in buoyant mood. It’s now hoping to keep up the momentum with six new drama and comedy pilots that will launch on Amazon Video later this year in the US, UK, Germany and Austria. As with previous pilots, Amazon will use audience feedback to decide whether to take any of the new scripted shows to series.
The pilots include Good Girls Revolt, a story set in 1969 that follows a group of young women seeking to be treated fairly and ultimately sparking changes that upend marriages, careers, love and friendships. Created and written by Dana Calvo, the show is based on landmark sexual discrimination cases chronicled in a book by Lynn Povich. Amazon is coproducing with Tristar TV.
Another female-protagonist drama is Z, a bio-series about Zelda Fitzgerald, wife of author F. Scott Fitzgerald. Written by Dawn Prestwich (The Killing), Z will star Christina Ricci as the beautiful and talented southern belle who became the original flapper and icon of the flamboyant Jazz Age in the 1920s. The story will follow Zelda’s social successes and her descent into mental illness.
Amazon will also reinforce the recent revival of the western genre with Edge, based on George G. Gilman’s best-selling book series of the same name. Set in 1868, the story centres on Josiah ‘Edge’ Hedges – a Union officer turned cowboy who prowls the post-Civil War American West doling out his own savage brand of justice. Edge was developed by Shane Black (Lethal Weapon, Iron Man 3) and Fred Dekker (Tales from the Crypt, Star Trek: Enterprise). The pair also wrote the screenplay.
The other three Amazon pilots are Highston, One Mississippi and Patriot, a political thriller about an intelligence officer assigned with preventing Iran from going nuclear. Patriot is written and directed by Steven Conrad (The Secret Life of Walter Mitty, The Weather Man), who executive produces alongside Gil Bellows, Glen Ficarra, Charlie Gogolak and John Requa.
Amazon Studios VP Roy Price said: “Our latest pilot season brings together diverse shows that we think customers will really enjoy. We have something for everyone in this season and I am excited to see which shows spark conversation among our customers and what they want to be made into series.”
Amazon’s continued drive into scripted TV was further reinforced this week with the acquisition of exclusive rights to USA Network’s critically acclaimed drama Mr Robot. The first series (10 episodes) of the show will be available to Amazon subscribers in the US, UK, Germany, Austria and Japan from spring 2016.
Meanwhile, reports have been bubbling under for a couple of weeks that Netflix might be about to commission Charlie Brooker to make some new episodes of his dystopian anthology series Black Mirror. This story has now been confirmed, with Netflix greenlighting 12 episodes. Brooker described the SVoD giant as “the most fitting platform imaginable” for the series, which until now has been produced for Channel 4 in the UK. Explaining the appeal, he said: “Netflix connects us with a global audience so that we can create bigger, stranger, more international and diverse stories than before, while maintaining that Black Mirror feel.”
Netflix will premiere the show exclusively worldwide, except in the UK and Ireland where plans are still being determined. This hesitation over the UK is unlike Netflix, but is probably due to Channel 4’s involvement in the franchise to date. Possibly, Netflix and Brooker are looking for a way to include C4 in the deal so that it can benefit from the expansion of a show it helped to build.
Netflix VP of original content Cindy Holland said: “Charlie has created a one-of-a-kind series with an uncanny voice and prescient, darkly comedic vision. We’re tremendously proud to bring Black Mirror to our members as a Netflix original series.”
In terms of other renewals, there is good news for Mistresses, which has been awarded a fourth season by ABC. Another female ensemble series, Lifetime’s Devious Maids, is also returning for a fourth season next year. Announcing the recommission, Liz Gateley, EVP of programming for Lifetime, said: “Devious Maids is a steady hit that continues to deliver for us. It has found a loyal audience that is socially engaged with the show. The entire writing and production team worked hard to up the storytelling this year and the cast delivered great performances, so the show just gets better and better.”
Inspired by the hit telenovela, Ellas son… la alegría del hogar, Devious Maids is produced by ABC Studios. Last season it drove Lifetime to rank as the number-two cable network with scripted programming in the Monday 21.00-22.00 slot among women aged 25-54 and 18-49, while its August 24 season finale reached season highs among total viewers, adults aged 25-54 and women aged 25-54.
This week also saw an announcement by Italian public broadcaster Rai that it has commissioned an eight-part drama. Medici: Masters of Florence will chronicle the rise of the Medici family, with Richard Madden (Game of Thrones) playing Cosimo de’ Medici and Hoffman portraying family patriarch Giovanni de’ Medici.
The series, which will be produced by Lux Vide and Frank Spotnitz’s Big Light Productions, has been created by Spotnitz and Nicholas Meyer (The Seven-Per-Cent Solution), with Sergio Mimica-Gezzan (The Pillars of the Earth) directing. Germany’s Wild Bunch TV is a co-financier and will oversee international sales, starting at Mipcom next month.
Spotnitz, a US writer who has carved out a strong niche for himself writing European coproductions in English, called the tale of the Medicis a “powerful story that resonates even now.”
Medici: Masters of Florence is a major step forward for Rai at a time when Italian producers and broadcasters are starting to have a much bigger impact on the international drama market. RAI Fiction director Tinny Andreatta said the show “has great international appeal and we hope it will open up a new era of creative coproductions.”
Finally, Televisa USA, a subsidiary of Mexican media giant Televisa responsible for English-language programming, and Lantica Media have announced they are developing a new version of Gran Hotel, based on hit Spanish series from Bambu Producciones. The show will be shot at Lantica’s Pinewood Dominican Republic Studios and is based on an original script by Stephen Kronish (24, Kennedys).
The new version of the format, which is distributed internationally by Beta Film, will be set in 1950s Cuba. “It was a time when mobsters, politicians and celebrities flocked to Havana, the world’s most exotic and permissive playground,” said Chris Philip, head of production and distribution for Televisa USA. “Setting Gran Hotel in a sexy, sinful atmosphere offers up a rich fusion of glamour and intrigue deeply rooted in an exceptional murder-mystery format with a proven global footprint.
Antonio Gennari, CEO of Lantica Media, added: “Since the introduction of (a new) film law and incentives, the Dominican Republic has seen substantial growth in film and TV production. The country offers mesmerising scenery and world-class production capabilities that will serve as the ideal backdrop for Havana’s Gran Hotel.” As part of the announcement, Gennari said Lantica and Televisa USA were also planning other projects.
The original Gran Hotel aired for three seasons on Antena 3 in Spain. During its first season, it reached an 18.5% share of viewers in Spain and was also sold to broadcasters in France, the UK and Russia, as well as being reversioned in Italy.
Beta Film SVP Christian Gockel said: “Gran Hotel is one of Beta’s biggest sales hits and franchises of recent years, as proven currently on Rai’s primetime. As coproducers of the Italian adaptation, we are thrilled to see Gran Hotel opening its doors in Cuba’s 1950s.”