Executive producer Fiona Eagger lifts the lid on Miss Fisher’s Modern Murder Mysteries, a spin-off from Australian period crime drama Miss Fisher’s Murder Mysteries set during the 1960s and starring Geraldine Hakewill.
It’s been four years since the third and final season of Australian period crime drama Miss Fisher’s Murder Mysteries. The series, based on the books by Kerry Greenwood, followed the personal and professional life of the Phryne Fisher, a glamorous private detective solving cases in 1920s Melbourne.
Since then, a standalone movie that picks up at the end of season three, Miss Fisher & the Crypt of Tears, has been filmed, with Essie Davis (The Babadook) reprising her role as the lead character.
But the end of the main series has also led to a fresh spin-off, Miss Fisher’s Modern Murder Mysteries, set in the 1960s. It introduces Phryne’s niece, the “glamorously reckless” Peregrine Fisher, who inherits a fortune when the famous aunt she never knew goes missing over the highlands of New Guinea.
That leads Peregrine, played by Geraldine Hakewill, to become a private detective in her own right, supported by the guidance of a group of exceptional women that make up The Adventuresses’ Club, of which Phryne was also a member.
The series has been created by Every Cloud Productions’ Fiona Eagger and Deb Cox, who were behind the ABC original. This time, however, four telemovies have been commissioned by Australia’s Seven Network. The films – written by Cox, Samantha Winston, Chelsea Cassio and Jo Martino – first aired down under in February and, like their predecessor, have gone on to find international audiences, with buyers including UKTV’s Alibi and US streamer Acorn TV picking up the spin-off from distributor All3Media International.
Speaking to DQ from the Moroccan set of Miss Fisher & the Crypt of Tears, Eagger says the production team had considered making a prequel to the original series, featuring a younger Phryne and learning how she fled her British boarding school to come to Australia.
“What we realised is our audience doesn’t necessarily want a younger woman,” she explains. “They’re happy to have a woman who’s a bit older – Geraldine is in her 30s – and then the Adventuresses’ Club. That’s what they don’t get enough of on screen. We’re happy to do that.
“Deb and I are interested in stories that relate probably more to where we are in our own lives. [ABC legal drama] Newton’s Law was a story about a female protagonist balancing work and family. It’s just what we do, but we like to have a bit of fun and we like the murder-mystery genre. There’s a murder at the beginning and it’s going to be solved by the end, so that really helps your story structure. You can also dress up issues in a genre. If you look at Miss Fisher, there’s illegal abortion, there’s the slave trade, there are a lot of social justice issues to do with women that underpin the stories. We just dress them up.
“So with this one, again we take on a world that suits the time, so there’s a fashion parade. We’re doing one about UFOs and space, the Russia-US factor, one set in a cooking school and one in a TV studio. But, of course, somebody’s murdered in every opening act. It’s a murder-of-the-week series and we hope we’re setting up a new franchise to go for many seasons.”
While the original series was based, at least initially, on Greenwood’s Phryne Fisher Mystery books, there is no literary basis for Modern Murder Mysteries. The first series went away from the books in the second season anyway, Eagger points out, noting that not all of the novels could be adapted, either because they perhaps weren’t as glamorous as the style of the series or their settings didn’t lend themselves to television. One story is set in a cave, for example. “So we’ve been off-book for some time,” Eagger says. “This time, it’s a slightly different murder mystery as it’s about Peregrine discovering how to be a detective, whereas Phryne was pretty fully formed.”
Meanwhile, the decision to set the story in the 1960s was due to the producer’s desire to place Peregrine in another important era for women. “It’s another really strong decade for women, coming out of the 50s and suddenly there’s the pill, women working and coming out of the kitchen,” Eagger explains. “Like the 20s, the 60s is also a great decade for women, with a sense of independence and freedom. Whether that’s with the music or the fashion, there’s just a liberation that’s going on.”
In the title role is Hakewill, best known for her part in Seven Network thriller Wanted. Eagger describes the actor as “like Audrey Hepburn. She’s just brilliant and the 60s really suit her.”
On Peregrine, she continues: “She’s a bit different from Phryne. She’s more naive, she hasn’t got Phryne’s street smarts or wealth. She starts learning and we see her becoming a private detective as it progresses.”
Phryne had a flirtatious relationship with police officer Jack Robinson (Nathan Page) in the original series, and this element is replicated in Peregrine’s partnership with detective James Steed, played by Joel Jackson (Safe Harbour). “They’re both fantastic,” Eagger says of the leading duo. “The show has got that fun, cheeky element, even though it’s set in 1964. There’s the interplay between the two with the budding romance, but their dynamic’s quite different to Phryne and Jack. It’s the first time anyone has taken Peregrine quite seriously and she can actually come into her own. He’s quite ambitious too. Their relationship is of equals flirting but both don’t want to compromise where they want to be.”
With Miss Fisher’s Murder Mysteries going on to win fans around the world, it’s clear the spin-off is sticking to a winning formula. “It has the same flavours of fun and character and solving murders but it’s slightly different from Miss Fisher,” Eagger adds. “It’s a new cast and they take it on and create something that’s a new series in its own right – and Geraldine is absolutely a star.”
Australian viewers have embraced short-run dramas but are less receptive to new local series this year. DQ investigates the drama landscape down under.
In the increasingly competitive world of television drama, broadcasters and producers are working harder than ever to retain viewers over the course of a series.
Nowhere is that more true than in Australia, where ratings have shown miniseries to be the most popular form of drama on air this year, to the cost of longer-running dramas.
Audiences are also relating to homegrown stories, both across free-to-air channels and on pay TV.
The top-rating Oz dramas in the first eight months of this year were both miniseries. Shine Australia’s Catching Milat, which follows the police hunt that led to the arrest of serial killer Ivan Milat, attracted an average national consolidated audience of 2.46 million on the Seven Network.
Meanwhile, CJZ’s House of Hancock, starring Mandy McElhinney as Australia’s richest woman Gina Rinehart and Sam Neill as her husband Lang Hancock, averaged 2.17 million for Nine Network.
Some broadcasting executives acknowledge it is increasingly difficult to launch long-running dramas. Yet despite an apparent shift in audience tastes towards shorter-run fare, Seven Network director of production Brad Lyons tells DQ: “In the end, good stories well told will win out. We firmly believe there’s a place for long-running drama and will continue to pursue it with vigour as we always have.”
Budget cuts imposed by the federal government have forced commissioning changes at public broadcaster ABC, which is continuing to back longer-running dramas, if only due to the cost of producing and promoting miniseries that may only be on air for two or three weeks.
ABC commissioned several original dramas, including Matchbox Pictures’ six-hour series Glitch, a paranormal mystery about a small-town cop who discovers six naked people at a graveyard. Sony Pictures Television-owned prodco Playmaker Media’s eight-part Hiding, meanwhile, follows a Queensland family who are placed in witness protection.
Although neither scored big overnight numbers, the consolidated figures including catch-up viewing were encouraging, particularly for Glitch, which was available on the ABC’s iview platform concurrent with the broadcast premiere.
Elsewhere on the ABC, season three of December Media’s The Doctor Blake Mysteries, starring Craig McLachlan as a country doctor and police surgeon, achieved an average national consolidated audience of nearly 1.6 million.
The third season of Every Cloud’s Miss Fisher’s Murder Mysteries, featuring Essie Davis as the glamorous 1920s private detective, averaged 1.4 million on the channel.
And prodco Ruby Entertainment’s two-part The Secret River (main image), with Oliver Jackson-Cohen (Mr Selfridge) as an English convict who is transported to colonial New South Wales in 1805 and Sarah Snook as his free-settler wife, drew more than one million viewers on the ABC.
“We have had to pull back on miniseries as they are very expensive and we can now only support the occasional mini or telemovie,” says ABC head of fiction Carole Sklan.
“This is unfortunate, as ABC fiction has had tremendous success in recent years with miniseries telling stories of remarkable Australians – such as Paper Giants, ANZAC Girls, Carlotta, Cliffy, Mabo and Devil’s Dust – and literary adaptations like The Slap. Also, when we return successful series such as Rake, Janet King and Jack Irish, there are fewer opportunities for new shows.”
The Nine Network enjoyed strong ratings with two Playmaker productions, including the second season of Love Child, set in 1970 at a Kings Cross home for unwed mothers and the adjacent maternity hospital. The fourth run of House Husbands, which stars Gary Sweet, Firass Dirani, Rhys Muldoon and Gyton Grantley as stay-at-home dads, launched in August, with the premiere attracting a consolidated average of 1.381 million viewers.
Nine co-head of drama Andy Ryan says: “Audiences have so much choice now that dramas have to work harder to capture and retain the public’s imagination. True stories have worked extremely well for all the networks, as have series like Love Child and House Husbands that tap into a broader social conversation.
“There is a thirst for novelty in drama, but the ratings prove there is also a big audience for stories that reflect and explore Australian life. It’s crucial that dramas start strongly and boldly. It will always be a challenge to sustain this intensity over a long-running series, but shows like House Husbands prove it is possible.
“A major change over the past few years has been the growth in time-shifting. Our consolidated audience is consistently more than 250,000 higher than the overnight figure, which can be a 20% or more increase on an already dominant show. But as a commercial network, we also want to maximise our overnight audience.”
Love Child’s second run averaged 1.6 million viewers per episode, with the overnight national audience of 1.228 million accounting for 76% of viewing and the remainder coming from time-shifted, encore and longform video viewing. Its third season recently wrapped.
At Network Ten, romantic comedy-drama Wonderland drew an average capital-city consolidated audience of 537,000. Due to premiere on Ten later this year is FremantleMedia’s telemovie Mary: The Making of a Princess. The show chronicles the real-life fairytale romance of a Sydney real-estate agent and Crown Prince Frederik Andre Henrik Christian of Denmark, and stars Emma Hamilton and Ryan O’Kane.
Also coming to Ten is Shine Australia’s telepic Brock (working title), which will dramatise the life of Australian motor-racing champion Peter Brock, a complex man plagued by self-doubt who died when his car crashed during a rally in Western Australia in 2006.
Network head of drama Rick Maier says: “Wonderland was generally well received and we were happy with the production, but we just failed to find a sufficient audience. Longform series are now without doubt the hardest to launch successfully.”
However, Maier adds: “The strength of the idea drives commissioning at Ten. Shortform and event dramas are not necessarily a focus. As always, we have plenty of options and our planning is usually 12 to 18 months ahead.”
ABC’s Sklan is enthused about Endemol Australia’s upcoming six-hour series The Beautiful Lie, a contemporary reimagining of Leo Tolstoy’s classic novel Anna Karenina. The sprawling saga of adultery, scandal, manners and mayhem involving three enmeshed families across three generations stars Sarah Snook, Benedict Samuel, Rodger Corser, Celia Pacquola, Daniel Henshall, Sophie Lowe, Alexander England, Catherine McClements, Dan Wyllie and Gina Riley.
The exec feels vindicated by her decision to greenlight Glitch and Hiding, viewing both as groundbreaking for Australian TV. “It’s extremely important for the national public broadcaster to showcase a mix of a dramas and to support a diverse quality slate of stories, storytellers, styles and genres,” she says.
“Every commission is risky; it’s a leap into the unknown. There are no safe shows. Sometimes they defy expectations; sometimes everything coheres and the show is better than the individual parts.
“Hiding was a bold hybrid genre of crime and family drama that explored the everyday parental challenges of raising teenagers but in a high-stakes world. Glitch was the first Australian paranormal drama series.
“We took an additional risk for Glitch with our binge strategy on iview, which audiences responded to very positively. In fact, Glitch has become the most popular iview title so far this year, recording more than one million plays to date. Consolidated national figures plus iview make a huge difference and better represent the way people choose to enjoy drama anywhere and anytime. Drama is consistently iview’s most popular genre.
“The ABC is not driven by ratings alone. It’s not only about broadest possible reach but also the deepest possible engagement. Critical acclaim and awards, social media and audience feedback for our edgier shows can be intensely appreciative. The compelling, original political thriller The Code (of which Playmaker is shooting a second season) and the exuberant, satirical legal drama Rake (Essential Media and Entertainment is making a fourth season) are also great examples.”
Chris Oliver-Taylor, MD of Glitch producer Matchbox, says: “If you take the overall results, the huge iview numbers, the critical acclaim and the quality of the work, we think Glitch is an incredibly successful show and one that we expect to have future series and strong international appeal.”
Playmaker Media co-founder David Taylor says the brief for Hiding was to attract a younger audience to the ABC. The show ranked as the number one scripted series for the 16-24 demographic and second overall on the channel across all slots.
“There is obviously more competition in the scripted space with audiences now having so many on-demand options for viewing drama,” Taylor adds. “As producers, it’s our job to create a must-watch experience that taps into the zeitgeist. All shows can be binge-watched six months after telecast. We strive to create dramas that have a water-cooler element that get people talking week after week.”
Seven’s Winners & Losers, which follows the lives of a group of best friends as they deal with life’s ups and downs, drew a combined average audience of 1.56 million in 2014. This year the ratings dropped but Lyons says the “consolidated figures are really good, often hitting 900,000. That’s a great result.” Last December the network commissioned a fifth season.
Lyons was also delighted with the ratings for Seven Productions’ Winter, a sequel to the telemovie The Killing Field, which featured Rebecca Gibney as a detective who investigates the murder of a 23-year-old woman in a fishing town south of Sydney.
One local story to feature heavily in the last year was that of Gallipoli, the First World War campaign that took place 100 years ago in April. Endemol Australia’s Gallipoli, which covered the bloody eight-month battle of Australian and New Zealand troops against those from Turkey, launched with more than one million viewers on Nine but went into a steep decline.
Ryan says: “There is no denying that audience numbers were lower than expected, but this was a phenomenon repeated around the world with First World War-themed dramas and documentaries. The centenary of the First World War hasn’t captured the public imagination as much as we thought it would four years ago when we embarked on the series. Even so, Gallipoli was a superb production about a story of enormous national significance.”
By comparison, Deadline Gallipoli, a coproduction between Matchbox Pictures and actor Sam Worthington’s Full Clip, which explores the campaign through the eyes
of four war correspondents, drew a consolidated average audience of 203,000 on pay TV platform Foxtel’s drama channel Showcase. That ranked as the third largest consolidated audience ever in the channel’s history, trailing Game of Thrones and Screentime’s 2011 Australian miniseries Cloudstreet.
Those ratings marked Deadline Gallopoli out as one of the best-performing local dramas on pay TV, alongside the third season of FremantleMedia Australia’s prison drama Wentworth (on Foxtel’s SoHo) and Banished, a coproduction between Jimmy McGovern and Sita Williams’ RSJ Films and See Saw Films that aired on BBC First.
Banished, co-commissioned with the UK’s BBC2, marked the debut local production for BBC First. It chronicled the lives, loves, relationships and battle for survival in penal colony Sydney and starred David Wenham, Russell Tovey, Myanna Buring, Julian Rhind-Tutt and Ryan Corr.
The first episode reached a gross audience of 293,000, the highest ever launch title on BBC First, according to BBC Worldwide (BBCWW). The seven episodes pulled in a cumulative gross audience of 1.8 million, the highest-rating BBC First title to date.
Tim Christlieb, BBCWW director of channels for Australia and New Zealand, says: “We are delighted by how Banished has been embraced by audiences on BBC First. The show delivered audiences well above the primetime and timeslot averages for the channel.”
On SoHo, Wentworth season three achieved a consolidated average of 313,000 viewers per episode, up 8% on season two’s average of 290,000. FremantleMedia Australia head of drama Jo Porter says: “Wentworth has proven to be a wonderful critical and ratings success both locally and globally, and can now be seen in 89 territories worldwide. It was voted the most outstanding drama at the Australian Subscription Television and Radio Association Awards in 2014 and 2015. We have started production on season four, which will see Wentworth become Foxtel’s longest-running Australian drama series.”
Asked about the long- versus short-form drama issue, Porter agrees that the current appetite among viewers is for miniseries and telemoves “based on noisy, strong stories that stand out in a crowded schedule.”
She concludes: “As we have seen with Wentworth, there is absolutely still a market for ongoing series. Our job is to ensure we hold the audience from the first frame and give them enough reasons, through character and plot, to keep coming back week after week.”