Swedish noir Modus is back for a second season, with a cast that now includes Kim Cattrall as the US president. DQ visits the Stockholm set to find out why this drama has global appeal.
TV drama doesn’t get any more glamorous than this. We are crouching in Stygian semi-darkness beside the monitor in a dingy corridor at the Swedish Defence Ministry in Stockholm. We can barely see our hands in front of our faces.
To add to the sense of doom and gloom, the windows are blacked out. Suddenly, with no warning, out of the gloaming come marching two very scary-looking, thickset heavies in smart suits wielding machine guns. They are clearly not here to sing Happy Birthday to anyone.
Unsurprisingly, this is the set of a Nordic noir offering – and this one is literally noir.
Ever since the magnetic Danish crime story Forbrydelsen (The Killing) broke through internationally, winning a Bafta in the UK in 2011, and was immediately followed by the overseas success of series such as Borgen, The Bridge, Beck and the Swedish version of Wallander, Scandi dramas have been drawing huge and passionate audiences everywhere.
DQ is in Stockholm observing the filming of the newest such series to make waves globally. We are watching the white-knuckle denouement of the second season of Swedish drama Modus. Broadcast last year, the first season made a major impact around the world.
Its co-star Henrik Norlen, who has also appeared in such well-regarded Scandi dramas as Beck, Stockholm East, My Skinny Sister and Hotel, takes a break between scenes of this intense series to consider why Nordic noir has struck such an international chord.
“I think it’s because there is a lot going on behind these characters. They’re not just policeman or criminal profilers – they are also people. They have great depth.
“You get to go inside their head and see what they’re thinking. These dramas are also a bit darker than British or American series. It is a tradition in Nordic countries of telling stories that are dark, mystic and pagan.
“People from all over the world used to come up to me and say, ‘Oh, you’re from Scandinavia – that means Abba and Volvo.’ Now they come up to me and say, ‘Oh, you’re from Scandinavia – that means The Killing, The Bridge and Modus.’ Of course, Modus is better than all of them!”
Tobias Åström, the line producer on Modus, chips in: “In the past at television trade fairs, the only thing people wanted to see at the Swedish stall was what meatballs we had. Now they come up and ask, ‘What programme can you give me?’”
The second season of Modus is an eight-part adaptation by the Emmy-winning Danish screenwriters Mai Brostrøm and Peter Thorsboe of Madam President, the novel by the bestselling Norwegian crime author (and former Minister of Justice) Anne Holt.
Holt’s work coheres with the sepulchral prevailing mood of Nordic Noir. As the British crime writer Val McDermid has observed, “Anne Holt is the latest crime writer to reveal how truly dark it gets in Scandinavia.”
In this gripping season, intuitive Swedish criminal profiler Inger Johanne Vik (played by Melinda Kinnaman, My Life as a Dog) and compassionate detective Chief Ingvar Nymann (Norlén), both returning from season one, are now an item.
But the pair, who made a big splash when they first appeared together in the widely acclaimed first season, have little time to enjoy their life together as they are immediately plunged into another life-or-death investigation. They have to scramble when the first ever female US President, Helen Tyler (Kim Cattrall, Sex & the City), is kidnapped during a state visit to Sweden.
As the US and Swedish authorities struggle to rescue the president and indulge in a bitter blame game, Inger is reluctantly forced to work closely with her former mentor, the Machiavellian FBI director Warren Schifford (Greg Wise, The Crown). When the details of their troubled shared past slowly start to emerge, Inger’s entire mental stability is put at risk.
A coproduction from SVoD platform C More, TV4 Sweden, Miso Film Sweden and FremantleMedia International, the second season of Modus makes for a compelling tale of revenge, recrimination and retribution. It is due to premiere on C More later this year before airing on TV4.
British actor Wise is delighted to be dipping his toe into Nordic noir for the first time with Modus. He says what distinguishes this kind of piece is its willingness to treat its audience with respect. “What I’ve really enjoyed about working on this drama is the time spent developing the story and the characters,” he says.
“Very often, programme makers rush through their storytelling because they don’t trust the audience to get it. Things have to happen very fast – cut, cut, cut. Those productions imagine that we are the MTV generation and have memories like goldfish.”
But, continues the actor, who has also had leading roles in such memorable British dramas as Sense and Sensibility, The Outcast, Cranford and Madame Bovary, “viewers of Scandi dramas are really given time to invest in their relationship with the characters. They are allowed a proper glimpse into another world. It’s like the slow food revolution” – only in television.
International audiences are also attracted by the strangeness of the universe conjured up by shows such as Modus. Cecilia Bornebusch, the show’s production designer, comments: “It’s more exciting as a viewer if you don’t really understand what’s going on and you have to read between the lines. It’s more enticing than your own language because it seems exotic.
“Also, I think in Scandinavia we are very good at portraying relationships. We have never had great problems with war, so we have had other things to write about, like relationship difficulties. That’s in our blood.”
Like all the best Scandi dramas, Modus depicts a heightened world. Åström, who has also worked on The Bridge and The Girl with the Dragon Tattoo, reflects: “As in fairytales, in Nordic noir you draw on things from the margins. Normal people are greyer than the characters in drama. So when you tell a story in a drama, you can make it more colourful than real life.”
But, he adds with a smile, “Of course, in reality Sweden is not that dangerous a place. It does not have a serial killer hiding in every bush. Have you ever been to Ystad, where Wallander is set? It’s so quiet in reality. If that drama were true, there would be no one left in that town!”
Modus also employs another of Scandinavia’s great resources: its pellucid natural light. Bornebusch observes: “The Nordic light is wonderful. The light in Southern Europe is earthier, whereas we are influenced by the snow and the winter. It’s always so dark here – that’s why we like bright colours.”
In addition, the drama makes tremendous use of its Swedish backdrops. Wise remarks: “One of the really appealing things about Modus is that it shows the world how beautiful Stockholm is. It’s a stunning city. But it’s also a place full of secret tunnels that people have forgotten about.”
The city’s duality mirrors a key theme in this season: the contrast between our private and public faces. Holt has written several more novels about Inger, and the production team are eager to make further series tracking this fascinating and complex character.
But, equally, they are well aware that the best way to maintain the audience’s interest is to keep Modus fresh.
“If we made another season,” Åström concludes, “we would want to make sure that we could add something to it. We wouldn’t want to just keep milking the same cow and producing the same milk.
“We would want to make a new flavour – like banana!”
Nordic drama has made its mark on the international stage over the last few years. But what’s coming next? A good source of information is the Nordisk Film & TV Fund, which provides regular updates on shows in development, production and distribution. So this week we look at some of the latest developments from the region.
Next Summer: Bob Film is remaking Norwegian comedy Next Summer for Kanal5/Discovery in Sweden. The original version aired on TVNorge/Discovery and was one of the country’s most popular local TV dramas. The Swedish remake, which will air in 2017, centres on a man who shares a summer house with his wife and in-laws in Stockholm’s archipelago. Bob Film also remade the Finnish drama Nurses for TV4 Sweden. That show, known locally as Syrror, launched on October 19, attracting an audience of one million. It’s part of wider trend of local Nordic adaptations that also includes Gåsmamman and Black Widows. Bob Film is also working with Sweetwater on a crime drama called Missing (Saknad) for CMore and TV4, which focuses on the investigation into the murder of a young girl in a Swedish Bible-belt town.
Bonusfamiljen (The Bonus Family): Nordisk Film & TV Fond has just allocated a total of NOK9.4m (US$1.14m) to a slate of new film and TV projects. One of them is season two of The Bonus Family, a comedy drama about a recomposed family and the complications that go with it. Season one is due to air on SVT in 2017, as well as on NRK, YLE, RUV and DR. Season two, granted NOK2.4m (US$290,000), started filming in September and will continue until February 2017.
Downshifters: This Finnish series has just secured a French sales rep (ACE Entertainment) while Sweden’s Anagram has optioned remake rights for its own market. The 10-part comedy from Yellow Film & TV has been generating a good buzz since it launched on OTT service Elisa in late 2015. More recently, it aired on YLE2 and established itself as the second most watched programme. The series tells the story of a couple who face financial problems and are forced to cut down on their extravagant lifestyle. A second series, Upshifters, will launch on Elisa in December 2016.
The Rain: News of this Danish show has been doing the rounds in the last couple of weeks. Produced by Miso Film (Dicte, 1864, Acquitted), The Rain is a dystopian drama commissioned by Netflix. The series is set in Copenhagen 10 years after a biological catastrophe that wipes out most of the population in Scandinavia and sees two young siblings embark on a search for safety. Guided only by their father’s notebook about the virus and the hazards of this new world, they start a dangerous journey through the country and join up with a group of other young survivors. Miso has had a busy few months, with the second season of Acquitted recently launching on TV2 in Norway.
Midnight Sun: This Swedish/French crime show recently debuted to 1.39 million viewers (38.1% share) on SVT1 in the Sunday 21.00 slot. According to the channel, this performance is comparable with The Bridge (Bron/Broen). Midnight Sun also trended at number two on Twitter – and online viewers, which are still to be added to the count, could pass 200,000. The show also secured strong reviews in the Swedish media, with five stars out of five in Aftonbladet. Elsewhere in Scandinavia, Midnight Sun will premiere on RUV on December 5. DR, NRK and MTV3 are likely to air the show, which is distributed internationally by StudioCanal, in early 2017.
Nobel: Trapped and Nobel were among 26 European fiction TV series selected for the Prix Europa Media awards last month. Trapped, an Icelandic crime show, won Best European TV Series while Nobel, a Norwegian political/war drama, won Best European TV Movie/Miniseries. Nobel was described as “a precisely crafted original script, perfectly executed and directed, that takes the viewer on a journey into a world of lies, betrayal, mistrust and political games.” Produced by Monster Scripted for NRK, Nobel secured 800,000 viewers for its first episode across NRK1 and NRK streaming service NRK.TV. Both Trapped and Nobel were supported by Nordisk Film & TV Fond. Nobel was directed by Per Olav Sørensen, who also directed The Heavy Water War.
Heartless: In a recent interview with The Nordisk Film & TV Fond, SVoD service Walter Presents’ curator Walter Iuzzolino said 25-30% of the platform’s shows are from Scandinavia. In terms of titles doing well, he mentioned Heartless: “Our curated programme goes way beyond the tradition of Nordic Noir that has been established by the BBC. I would say that 30% of our audience is 16 to 34, the rest 35-plus. The sexy Danish vampire series Heartless, for example, was a huge hit among 16-24s. Normally I hate fantasy and sci-fi but it’s elegant, poetic, cleverly done and an interesting portrayal of a family – a sort of vampire version of The Legacy. It was a huge success, pushed only by word of mouth.”
Watchdog: At last month’s Mipcom market in Cannes, ZDF Enterprises announced an exclusive first-look rights deal for all scripted content from the Finnish producer Fisher King. Matti Halonen, Fisher King MD and producer, said: “ZDF Enterprises is a well-established company that can give a lot of support to a smaller player like Fisher King.” The first joint project that ZDFE is working on is the upcoming political thriller series Watchdog. Set in present-day Helsinki, The Hague and London, it’s described as an adrenaline trip into the heart of European justice policy and security regulations concerning source protection and privacy insurance. Fisher King is also behind Bordertown, which is represented worldwide by Federation Entertainment and has been sold to Sky Deutschland and CanalPlay France, while English-language series Crypted is also in its pipeline.
Deadwind: Paris-based financing and distribution boutique About Premium Content (APC) recently picked up Finnish crime drama Deadwind. The 12-part series is about a detective in her 30s who is trying to get over her husband’s death when she discovers the body of a young woman on a construction site. At Mipcom, APC launched Norwegian drama thriller Valkyrien, which is produced by Tordenfilm for NRK. It also distributes another Norwegian show, the youth-oriented Young & Promising, which was recently sold to the UK, Germany and France and has a US deal is in negotiation.
Dan Sommerdahl: This autumn it was announced that Nikolaj Scherfig (The Bridge) would be co-creator/head-writer on Dan Sommerdahl, a new series based on Danish author Anna Grue’s bestselling book series. Distributor Dynamic Television (Trapped) is pre-selling the series on behalf of Germany’s NDF and Denmark’s Nordisk Film. TV2 Denmark is attached and a German broadcaster will soon be announced. Scherfig said the project is different from classic Scandi noir: “It is a tight, clean crime series reflecting on life outside cities understanding how modernity and social development affect life in the province.” Klaus Zimmermann, Dynamic co-MD, told nordicfilmandtvnews.com: “NDF originally acquired the rights to the books and wanted to make it in the tradition of a German crime series with German actors for an international market. But then we felt it made more sense to make it as an original Danish show with a Danish writer and Danish actors. It’s simply the right way to tell the story.”
Hassel: Speaking to the Nordisk Film & TV Fond about Viaplay’s strategy for coproducing original content for the Nordic region, CEO Jonas Karlén said upcoming original Nordic scripted series on Viaplay include Swedish Dicks, Svartsjön/Black Lake, Hassel, Our Time Is Now and Occupied season two. Hassel is a Nordic noir starring Ola Rapace as the iconic detective created by author Olov Svedelid. The show is produced by Nice Drama in coproduction with Beta Film, which handles global sales, and is due to launch in late 2017.
Spring Tide: Eight brand new Nordic TV dramas have been selected for The Lübeck Festival’s Nordic Film Days. “TV drama is the big new thing. It was time for us to open up our festival to TV series, as Germans are so fond of Nordic noir,” said the festival’s long-time artistic director Linde Fröhlich. Shows to be introduced include Splitting Up Together (DK), Living with my Ex (FI), Trapped (IS), Nobel (NO), and Modus, Hashtag and Spring Tide (SE). The latter crime drama, based on the novel by Rolf and Cilla Börjlind, is about two cops who come together to solve the murder of a pregnant woman. The show is distributed internationally by Endemol Shine International.
Below the Surface: This is a new drama based on an idea by Adam Price (Borgen) and Søren Sveistrup (The Killing) – now principals in Studiocanal-backed firm SAM. The thriller series centres on an operation to rescue 15 hostages from a Copenhagen subway train. Price and Sveistrup said: “There is something both eerie and fascinating about [taking hostages] as a criminal act. The close and complex relationship between the hostage and hostage-taker immediately opens up strong character-development possibilities and can also put a number of highly topical issues about our time to the forefront, such as fear of terrorism.“ The eight-part series has received DKK14m (US$2.08m) in production support from the DFI’s Public Service Fund and will air on Kanal5/Discovery Networks.
Skam: Cult Norwegian youth series Shame (Skam) launched on NRK and was recently acquired by DR3 for Denmark. Danish newspaper Politiken called it “a youth series about high-school life that makes Norway cool for the first time.” Steffen Raastrup, director of DR3, said: “The series’ premise is that when you’re young, you should not be ashamed of who you are but stand up for yourself and deal with the fear that many feel during their formative teen years.” Skam – which is now up to three seasons in Norway and is a strong performer on social media – has also been acquired by SVT in Sweden and RUV in Iceland.
Interference: This is an eight-part English- and French-language sci-fi thriller in development by Stockholm-based Palladium Fiction. Palladium, which is minority-controlled by Sony Pictures Television (SPT), is producing the show alongside Atlantique Productions. SPT is distributing the show internationally. The Palladium team was also behind the critically acclaimed drama Jordskott, and is now working on a second season of the show. Palladium is also developing an English-language project with UK writer/producer Nicola Larder.
Established in 1990 and based in Oslo, the Nordisk Film & TV Fond’s primary purpose is to promote film and TV productions of high quality in the five Nordic countries (Denmark, Finland, Iceland, Norway and Sweden). It is funded by 17 partners: The Nordic Council of Ministers, five national film institutes/funds and 11 public service and private TV stations within the region. Its annual budget is approximately NOK100m.
This week’s standout drama is Doctor Foster, a five-part thriller produced by Drama Republic for BBC1 in the UK. Although a number of critics have questioned the show’s “uninspiring” title, there’s a general consensus that Mike Bartlett’s script is a sophisticated look at marital suspicion and the corrosive impact of jealousy.
The Independent said: “The first instalment of the five-parter charted Dr Foster’s (Suranne Jones) growing suspicion that her husband Simon (Bertie Carvel) was having an affair. The old green-eyed monster is a common topic in a relationship-focused show, but Mike Bartlett’s (The Town) naturalistic script, brilliantly delivered by Jones and Carvel, was close to the bone.”
The Daily Telegraph’s assessment was also upbeat: “When I saw the title of new drama Doctor Foster, I must confess my stony cold critic’s heart sank. Not another medical drama. Don’t tell me: maverick surgeon fighting the system while saving lives, yes? Thankfully, it turned out to be an edgy nail-biter that rather reminded me of the hit drama Happy Valley. This was tensely intriguing fare. It was reminiscent of Fatal Attraction from the wronged wife’s point of view or the domestic noir novels that have been all the rage since (Gillian Flynn’s) Gone Girl.”
The viewers seem to have shared the critics’ opinion. Episode one, airing at 21.00 on Wednesday night, attracted an audience of 6.1 million (29.4%), well ahead of the 4.2 million slot average.
The show had a couple of things in its favour that might explain this high figure. The first is that its lead actress, Suranne Jones, is well known to the British public through previous roles in shows such as Coronation Street and Scott & Bailey. The second is that the show followed BBC1’s mega-hit The Great British Bake-Off (which attracted in excess of nine million viewers at 20.00). Nevertheless, the first episode has probably done enough to retain a large proportion of its audience for episode two.
By coincidence, the UK also saw the return of Buffalo Pictures’ long-running drama series Doc Martin this week. A gentle comedy about a high-flying London doctor who goes to live in a small village in Cornwall, the show is now in its seventh season and appears to be as popular as ever. The first episode of the new eight-part run, which comes after a two-year absence, attracted 5.9 million viewers.
While this is down on season six, it is still significantly ahead of ITV’s slot average over the past year. If there is a downside to the show, it’s that it has a pretty old audience. But Doc Martin’s return will be welcomed by the numerous networks around the world that have acquired or adapted it.
Anyone following the TV trades over the last few weeks will have noticed that RTL-owned FremantleMedia has been busy snapping up production companies around Europe. The most high-profile examples are Fontaram in France and Wildside in Italy, with the latter currently making The Young Pope for HBO, Sky and Canal+.
Fremantle will undoubtedly be hoping its new acquisitions can have the same kind of impact as Nordic indie Miso Film, an earlier acquisition that is enjoying a lot of success both in its home market and internationally. It was Miso, for example, that produced Acquitted, a Norwegian thriller that has been a massive hit across the Scandinavian market. Acquitted was also selected to open the Festival de la Fiction TV de La Rochelle, which runs from September 9 to 13 in France.
Explaining why it was chosen, Carole Villevet, head of the festival’s European selection, said: “Acquitted is an excellent series with top writing, directing and acting talents. Our goal this year is to focus on Europe and to platform European shows that have had great ratings nationwide. Acquitted is therefore a perfect choice for our prestigious opening slot.”
Miso also produced Danish period drama 1864, which sold internationally to broadcasters such as BBC4 in the UK. And now its fledging Swedish production base is launching Modus, a thriller based on Anne Holt’s bestselling novel Fear Not for commercial broadcaster TV4. An eight-hour limited series, Modus follows psychologist and profiler Inger Johanne Vik as she investigates a series of brutal murders. FremantleMedia International will launch it at Mipcom.
In the US, the TV industry is on the cusp of its all-important fall season. Dates have now been set for shows – some of which will have crashed and burned by Christmas. It’s impossible to know at this stage which shows will live or die, but one that already has a cloud of uncertainty hanging over it is Fox’s Minority Report, which premieres on Monday September 21 at 21.00. When it was first announced, the show’s heritage as a spin-off of a Steven Spielberg film (starring Tom Cruise) created a lot of buzz. But since then there’s been a steady drip of less positive sentiment.
One issue is that the TV series turns the film’s concept on its head. In the movie, the story is about trying to stop pre-crime policing – a system under which arrests are made on the basis of clairvoyant predictions. But in the TV series, the goal seems to be to bring pre-crime policing back, a plot direction that has got the geek community chattering.
Then there was a feeling that the trailer released at San Diego Comic Con this summer wasn’t especially encouraging, with the show coming off more clichéd than conspiratorial. The tone, which should have been dark and gritty, was like a sci-fi procedural mash-up. Concerns about the direction of the series seem to be confirmed by reviewers who have seen the first episode.
Deadline was especially scathing, calling the show “predictable and surprisingly plodding. With opportunistic politicians, tacky tech, promotion-grabbing cops, air-bound assassination attempts and paranoia galore, the over-explained show tripwires itself from the beginning. Minority Report is a connect-the-dots drama masquerading as a creaky procedural. And, legacy or not, it will have a hard time breaking through even though it is one of the first shows up to the plate this fall.”
TVLine is also unsure of the show’s prospects on a network that has a reputation for not taking any prisoners: “With no Bradley Cooper-like cameo (this refers to the Limitless TV series coming up) from Tom Cruise to give this TV adaptation an implicit movie-star endorsement, Minority Report will sink or swim based on word of mouth. Given the sci-fi-er’s bumpy road to fruition (a lot of reshooting took place over summer), its future is, at best, unpredictable.”
Forbes also has a review of the first episode, which essentially accuses the TV adaptation of lacking ambition.
Fox is giving Minority Report the best possible chance by airing it directly after the new season of Gotham. So it should become clear pretty quickly whether the show stands any chance of survival.
Finally, one show certain to launch with a bang is the new-look version of The X-Files. This week Reed Midem, the organiser of Cannes-based TV market Mipcom, revealed that the first episode of the Fox reboot will be given a world premiere at the market on October 6.
“The return of this iconic series underlines the current demand for storytelling at its best,” said Laurine Garaude, director of TV at Reed Midem. “We are delighted that Fox has chosen MIipcom for the world premiere of the return of The X-Files, one of several high-profile series being showcased exclusively at Mipcom.”
The X-Files was a huge international hit the first time round and is expected to do just as well in its new form.
As the popularity of Nordic noir shows no sign of waning, DQ asks Scandinavian drama’s key players where they plan to take the genre next.
Ever since the massive global hit that was The Killing, Scandinavian drama has been punching above its weight, winning over critics and viewers internationally as well as influencing its European neighbours.
The latest Nordic noir success story is Sweden’s The Fat and the Angry (Ettor och nollor), which scooped another international award for the region when it picked up best non-English-language drama at the inaugural C21 Drama Awards last November. It came a close second earlier in the year at the Seoul Drama Awards with a Silver Bird gong in the TV movies category.
Based on true events in Gothenburg’s criminal underworld, the two-part show, which premiered locally in Sweden in February 2014, joins a long list of award-winning Nordic dramas with international careers, including Lilyhammer, The Killing, Wallander, Borgen and The Bridge – as well as Mammon, which has been the subject of speculation about a BBC remake.
The Fat and the Angry highlights an important feature of Scandinavian dramas: coproduction. Made by Göta Film and Swedish pubcaster SVT, its partners included Finnish pubcaster YLE and Swedish film prodco Film i Väst.
With a few exceptions, Scandinavian drama’s international partnerships came out of necessity, says SVT head of drama Christian Wikander. “The hourly cost for drama has gone up, which means we’re all searching for new money, and this drove the producers and the broadcasters to reach out and broaden the network.”
If anyone can find success with this approach, it’s the Scandinavians, as Liselott Forsman, executive producer of international drama projects at YLE, explains: “We’ve been coproducing since 1959. It’s really good for Nordic drama that we have subsidy methods and two important funds within the Nordic countries.” One of these is the Nordisk Film and TV Fond, where Forsman sits on the board.
“There’s much to be gained by having a lot of smaller funding and regional funding contributions, even though they don’t pay very much,” agrees Stefan Baron, executive drama producer at Nice Drama. Baron left SVT in 2014 after 21 years to join MTG-owned Nice Entertainment Group, where he’s now an exec producer heading up international coproductions. “The trick is to not have too many partners at the script stage,” he says. “When you have a couple of scripts, then you bring in distributors and coproducers from around the world.”
Beyond the region, Nordic drama’s international appeal has grown thanks to increasingly sophisticated, social media-savvy audiences and their expanding tastes, says Wikander – adding that this has also helped prise open the door to the UK, a notoriously closed market for subtitled, non-Anglo Saxon fare.
“I think audiences are very well educated and used to all kinds of storylines, plots, dramaturgy and also language,” says the SVT man. “Because social media is so borderless, we share so much in our personal networks – and one proof of that is the success of Nordic drama on BBC4. Ten years ago, if someone had told me two million Brits would sit down to watch a subtitled drama, I wouldn’t have believed them.
“The fantastic upside for all of us working in Scandinavia today is that we’re approached by broadcasters and international producers in a way we’ve never seen before, and that’s a great opportunity for us.”
SVT is Scandinavia’s largest drama commissioner and producer, with an annual output of four longform drama series (10×60’/10×45’) and four miniseries (3×60’) across crime, family drama and comedy, on a budget of around SEK320m (US$46.6m).
Around half its output is coproduced, largely with its longstanding Nordic partners such as DR, NRK and YLE. But it has also attracted a growing band of Europeans and North Americans interested in remake rights to shows like The Bridge, and ‘hubot’ drama Real Humans, with Shine-owned Kudos’s remake of the latter, simply called Humans, now airing on the UK’s Channel 4 and AMC in the US.
Piodor Gustaffson, co-founder and producer of independent production company Another Park Film, and former drama commissioning editor at SVT, says that despite smaller budgets and limited development funds in the region, he’s noticed an overall increase in the quality of drama series over the last few years. “That’s about competing with not only the rest of the world but also your neighbours, as well as occasionally using the same talent,” he says.
At SVT, Gustaffson pushed for a broader range of drama output, leading to projects such as The Bridge and Real Humans. Meanwhile, Baron greenlit Nice’s family drama Thicker Than Water. The show aired in spring 2014 to a million-plus viewers, selling internationally via Germany’s ZDFE. A second season is now in the pipeline.
There’s widespread agreement that Nordic noir has opened doors for Scandinavian producers, themselves refusing to have their output pigeonholed as simply Nordic noir. With crime at its core, the programming stretches far beyond into an exploration of society and human motivations, offering a strong identification with and empathy for characters along the way. It also embraces other genres such as suspense and mystery, and fish-out-of-water crime comedy. And now producers are moving into new areas, exemplified by DR’s family inheritance drama The Legacy.
“Of course it’s about crime – it’s Nordic noir – but it’s always been character-focused,” says Jonas Allen, producer and co-founder of Danish prodco Miso Film. “We care about the characters. It’s not only about fascination with them, but also identifying with the characters, and I think that’s the basic core to all the shows.”
Now majority-owned by FremantleMedia, Miso Film counts local hits such as Those Who Kill and Dicte for TV2 Denmark, as well as the historical drama 1864 for DR, among its productions. Crime reporter series Dicte (10×45’) returned for a successful second run last autumn, with a third season now in development. It includes TV4 Sweden and TV2 Norway as coproducers, and received support from regional Danish regional funds, the EU’s MEDIA programme and DFI’s Public Service Fund.
For Scandinavia’s public broadcasters, at least, another quintessential ingredient of Nordic drama is how it reflects society. “It’s our duty to tell all our audiences something about what’s happening in society today. It’s imperative that we entertain, but we should always enrich at a deeper level, too,” says Forsman.
Even though Nordic drama appears gloomy and dark, Forsman says one of the reasons Danish drama travels so well is that the characters care about each other. “You can feel it within 10 seconds of watching. You have to have a lot of empathy, no matter how harsh the subject.”
YLE Drama’s latest show is the thriller Tellus, scripted and directed by JP Siili. The 6×50’ drama deals with a group of eco-terrorists, exploring an “important ethical question” of how far individuals will go to fight for their ideals, according to Forsman.
NRK and SVT are coproducers and ZDFE is distributing it internationally outside of Scandinavia, making it “a typical Nordic coproduction,” Forsman adds. The drama opened to 27% shares on YLE1 in the autumn, continuing on 25%, with a second season greenlit before the final episode aired in December.
Pubcaster NRK’s latest traditional Nordic noir, Eyewitness (Øyenvitne, pictured top), which debuted on NRK1 last autumn, is also imbued with socio-cultural commentary. “It’s been a real success among critics and audiences,” says NRK head of drama Ivar Køhn, who’s also the current chair of the Nordisk Film and TV Fund.
It was scripted and directed by Jarl Emsell Larsen who, as the original father of Nordic noir in Norway, has 30 years of TV drama under his belt. “For the last 15 years he’s been really into social drama, when he discovered he could make crime and talk about society and also make it popular,” Køhn says of the director.
Eyewitness follows two adolescent boys who meet secretly in a forest, where they witness a violent murder. The story follows the events that build after they fail to report the crime to the police. It has already sold internationally in both finished (including to Germany) and scripted format forms.
But NRK is also keen to evolve its drama. Its ‘Nordic humour noir’ show Struggle for Life (Kampen for tilværelsen) “is not so much a ‘fish out of water’ story as a ‘tigers in silent waters’ one – the complete opposite,” says Køhn.
Following in the mould of series like Welcome to Sweden and Lilyhammer, Struggle for Life centres on a Pole who travels to Norway in search of his father. Although a linguist, he can only find work as a carpenter, which exposes him to a Norwegian middle-class life of self-made problems.
“It’s a really original story and a brave one for us,” says Køhn. The project was completely controlled by scriptwriters, and co-written by Erlend Loe, Per Schreiner and Bjørn Olaf Johannessen – “some of the most exciting writers we have in Norway,” says Køhn. NRK has greenlit two seasons of the eight-part comedy drama.
Miso Film is also evolving the Nordic noir genre. “It’s one of the things going on right now,” says co-founder Allen. “A lot of creatives who we’re dealing with are looking for and trying to tell new stories.”
One of its latest offerings is NOK65m (US$8.8m)-budget mystery drama Acquitted (Frikjent) (10×45’), made for TV2 Norway and launched in March this year. The project, which received NOK10m funding from the Nordisk Film and TV Fund, became TV2’s biggest drama premiere, pulling in a 46.6% share of its 20-49s target group and a 38.8% overall share (12 years-plus).
Scripted by two female writers, Siv Rajendram Eliassen (Varg Veum) and Anna Bache-Wiig, the drama is inspired by a real rape and murder case in Norway. “They were very interested in the character, and it was always about finding out about the man who was acquitted, why he came back to his hometown, what he was looking for, and the forces that drove him back. That’s the core of the development of the show,” says Allen.
SVT’s Wikander, too, is keen for producers not to come to him with the next The Bridge. “I think we need to be brave. Take Real Humans, for instance – that’s an example of being brave, and for a public broadcaster today that’s extremely important,” he says.
“We need to try out new stuff but, of course, without abandoning the established crime formats. We’re going to see a third and probably fourth season of The Bridge, but we need to balance that with bravery, and we’ve started a lot from scratch, finding stories relevant to a Swedish audience because that’s our mission. When you have that mission, you can then go into the international market, but not as a first step.”
One of SVT’s newest dramas, Jordskott (10×60’), takes the pubcaster in yet another new direction. It’s made by established Swedish commercials prodco Palladium, which formed new division Palladium Fiction, headed by producer Filip Hammarström, for its first TV drama. The show, which launched on Monday February 16, opened to 1.6 million viewers and has since averaged 1.4 million so far across its debut run.
The story follows a detective who returns to her small home town to work on the case of a missing boy, 10 years after her own daughter disappeared, and tries to find links between the two mysterious incidents. Wikander calls it a “Nordic crime meets mystery” drama.
After four years developing the idea, Palladium brought a 10-minute tape to SVT. “If they hadn’t had that 10 minutes, we would have said no, because the company had never produced a drama series before,” says Wikander.
The UK’s ITV Studios came in on the project very early, he adds, making it possible to take it to the next level of production, and is distributing the series worldwide. Finland’s Kinoproduktion is also a coproducer and the series has been pre-bought by YLE, TV2 Norway and Iceland’s RUV.
“The biggest difference of the last two to three years has been an increase in the amount spent on development, alongside international companies investing in or acquiring Nordic companies and increased budgets at the TV channels. More projects are now very well developed even before they reach the commissioning editors,” notes Another Park’s Gustaffson.
SVT has upped its development budget to help develop more new projects, a challenge many countries without the US-style showrunner/writers room approach face. “The best writers are occupied so we also need to focus also on the writers beneath them and on finding ways to get them together with producers to lift them,” Wikander explains.
Another Park is currently busy developing a number of (as yet undisclosed) film and TV projects across a range of genres, working with top writing talent. “We will go out to the market when we’re ready,” Gustaffson says. “We wanted to have that freedom when we created the company. But, obviously, we would also be open to start earlier with some partners if we shared the same vision at the development stage.”
However, Gustaffson says a key challenge for Nordic drama is the “limit to how much Swedish-language drama the local market can finance and consume.”
He adds: “There’s a bigger appetite for Nordic and Swedish drama than what TV stations commission, and that’s caused a bottleneck. A lot of interesting projects will come out of the increase in development money but this won’t result in more Swedish-language drama series – and it could mean some of the top talent start to write for companies in other countries because what they develop here won’t be financed.”
Yet Scandinavian producers remain unfazed by growing international competition in foreign-language drama from countries such as France, Spain, Israel and Turkey. Rather, they see greater potential synergies developing.
NRK is no stranger to global partnerships. It was the first Scandinavian broadcaster to strike out when it joined forces with new entrant Netflix to coproduce the crime comedy series Lilyhammer by Rubicon TV, which premiered in early 2012. Season three of the drama returned on flagship NRK1 last October, with the broadcaster this time taking a leaf out of Netflix’s book by also making the entire series available straight away on its online streaming service. Meanwhile, HBO Europe picked up remake rights to NRK’s six-part thriller Mammon.
“We were all taken and shaken by Netflix and House of Cards, when the whole series was made available on day one, while Netflix rose extremely quickly to around 650,000 subscribers in Sweden,” says Wikander. “But that has now levelled out, and one of the reasons for that – not unique to Netflix – is that 98% of its catalogue is old titles. The audience has now gone through it, and an output of four new titles a year, whether you’re a broadcaster like us or a Netflix, is too little to keep a subscriber audience with you.”
There’s another reason why distribution platforms like Netflix and HBO make interesting bedfellows: they can do niche drama, because ultimately they can aggregate lots of smaller audiences, says YLE’s Forsman. “In other countries where we have really strong public service companies with good audience shares and very well-educated audiences, we can do that too,” she notes.
“It’s really great to see channels like France’s Canal+ doing the same,” adds Forsman. “They want their drama to have deep characters and to speak about society in a new way, to be brave, risky and so on – all imperatives for public service broadcasters. We could have written the same words, yet they’re a commercial broadcaster.”
Television schedules are no strangers to stories of war. From BBC1’s The Crimson Field, which was produced to coincide with the 100th anniversary of the start of the First World War last year, to RTL’s Cold War spy thriller Deutschland 83, conflicts continue to provide scriptwriters with a host of compelling stories.
Fresh from producing historical epic 1864, which is set against the backdrop of one of Europe’s bloodiest ever battles, Denmark’s Miso Film is now turning its attention to a drama that will examine issues that are new to the country.
The prodco has partnered with writer/director Christoffer Boe for six-part series Warrior (fka Prospect), which is based on an idea from Boe and is being developed with Simon Pasternak.
It tells the story of a former soldier who struggles to find his way back into society after returning home from war. When he learns that a friend and fellow former soldier has committed suicide, he sets out to learn the truth behind his death.
Miso Film co-founder Jonas Allen says Warrior confronts a topic that is still very new for people in Denmark. He explains: “Christoffer is a very talented director so we wanted to work with him – but we really liked the story. It’s about a soldier coming back from war in Afghanistan. This is new in Denmark – having veterans coming back, having people in service and Denmark stepping into a war in present times.
“This story is about a soldier returning and trying to cope, but he can’t really find his place in society. I think that’s very interesting in the time we’re in right now.”
Warrior is set to go into production in spring 2016, and will air on TV2 in Denmark.
Meanwhile, 1864 was recently nominated for Best Drama at the Golden Nymph Awards, which took place earlier this month at the Monte Carlo TV Festival (though the prize was won by UK/US copro The Missing). The show’s stars Jens Setter-Lassen and Sarah-Sofie Boussnina were also nominated, for Best Actor and Best Actress respectively.
The eight-part series tells the story of two brothers who sign up for the army when war breaks out between Denmark and Prussia, and follows the love triangle they become embroiled in during a brutal conflict.
Allen says: “1864 aired last fall on DR. We were very pleased – we had one of the greatest openings. I think it was about 1.8 million viewers or 67% audience share. Our average was 1.4 million viewers, which was great.
“You look forward to the premiere and the reaction, and then it came out on BBC Four. It’s overwhelming that people really loved the show. It’s a great launch for the international market, and it also just premiered on Arte in France.”
Miso Film is also preparing to begin shooting the third season of its TV2 crime drama Dicte, which is based on Elsebeth Egholm’s novels. Production will get underway in September.