US drama Manifest sees the passengers of Montego Air flight 828 land safely after a turbulent but seemingly routine flight, only to discover that the world has aged five years while they have been in the air.
While their friends, families and colleagues, after mourning their loss, had given up hope and moved on, the passengers are now given a second chance. But as their new realities become clear, a deeper mystery unfolds.
In this DQTV interview, creator and showrunner Jeff Rake discusses how he first conceived the idea for this mystery event series more than a decade ago.
He reveals what drives the show forward: the mystery at the heart of the story, a relationship drama and a procedural element each week.
Rake also talks about developing and casting the ensemble drama, his partnership with Back to the Future director Robert Zemeckis and the scramble to assemble the best talent during pilot season.
Manifest is produced by Warner Bros Television and Compari Entertainment for NBC and is distributed by Warner Bros International Television Distribution.
Swedish comedy-drama Bonusfamiljen (The Bonus Family) became an instant hit when it debuted on SVT this year. With a third season already commissioned, co-creators Clara and Felix Herngren reveal how the series was inspired by their own relationship and why they think it can repeat its success overseas.
In Sweden – surely one of the most politically correct countries in the world – it’s no longer appropriate to say ‘step dad’ or ‘step mum’ because the phrases are seen to have negative connotations. So the term ‘bonus dad’ or ‘bonus mum’ has become common parlance.
Bonusfamiljen (The Bonus Family) is a Swedish comedy-drama that follows four characters who have gone through separations as they start new relationships with new partners and all the challenges this entails, from moving in together, coping with exes, raising each other’s kids, having new kids and so on.
Clara Herngren had the idea for the show, which launched earlier this year, when she found herself in this situation with husband and co-creator Felix Herngren, a famous Swedish comedian, actor and director, whose company, FLX, also produced the series.
Finding the pressures of sharing two families immensely challenging, Clara went to see a therapist and this eventually inspired her to fulfil a lifetime’s ambition: to become a therapist herself.
Overwhelmed by the number of people in bonus families who came to see her with the same problems she had faced, she soon realised it was a subject that resonated. “I thought, ‘Oh my God, I have to do a TV series about this,” she recalls, speaking at the Berlin Prix Europa festival, where The Bonus Family was nominated in the best drama series category. “I’d spent so long looking for the perfect drama and here it was, right in front of me.”
With Felix directing and collaborating with Calle Marthin and Moa Herngren (his sister), who is also in a bonus family, they formed a writers’ room and set to work. The result is a beautifully executed bitter-sweet comedy that opens a window on modern family life.
At the centre are Lisa and Patrik (played by Vera Vitali and Erik Johansson), a couple who both have children from previous relationships and now live together to create their own family. Viewers also meet their exes, played by Petra Mede and Fredrik Hallgren, and Lisa and Patrick’s therapists, played by Johan Ulveson and Ann Petrén.
It has proved very popular on Sweden’s public broadcaster, SVT. Such shows usually get between 700,000 to 800,000 viewers but Bonusfamiljen drew around a million, closer to the expected ratings of crime shows that traditionally are more popular in Sweden. Netflix distributes the series, which returns for a second season in January, to more than 100 countries outside of Scandinavia.
Making Bonusfamiljen, which is filmed in Sundbyberg, just outside of Stockholm, created a new set of issues for the husband-and-wife team. “We tried to work together once and we fought immediately, so we promised each other not to work together again,” admits Felix, but this time the process was different and turned out to be therapeutic. “This had a healing effect, because we could talk about someone else’s relationship that was exactly like ours, but not ours,” he continues. “From being a bit horrifying at first, it went to being something we talked about every minute; when we were waking up, eating breakfast, until late at night.”
“We get into character, we scream, we cry,” says Clara. “Felix was almost crying sometimes when he directed as it was so close to our real lives. Talking about these characters and asking, ‘Why did you feel like that?’ or ‘Why did you do that?’ I think gave both of us a better understanding of each other.”
Like all great ideas in the TV industry, Bonusfamiljen will get the remake treatment. NBC, which aired Welcome to Sweden (another FLX production, from US comedian Greg Poehler, about his experiences of moving to his Swedish girlfriend’s homeland) is developing an English-language version. It will be written and executive produced by David Walpert, (who has worked on series such as New Girl and Will & Grace). In Europe, the remake rights have also been sold into Germany and France.
The success of Bonusfamiljen abroad will also be interesting in the context of the region’s most famous export, Scandi noir. Can Swedish comedy travel in the same way that crime shows such as Wallander, Beck and Arne Dahl have?
“Not pure Swedish comedy,” says Felix, “because it’s too local, but a mixture between the two, drama and comedy, could work abroad I think.” He certainly knows this area, as he is very well known in Sweden for Solsidan (The Sunny Side), a series he starred in and co-created that revolves around Alex (played by Felix) and his partner who are expecting their first child as they move to Alex’s childhood home.
He has also had success with the film The 100-Year-Old Man Who Climbed Out the Window & Disappeared, which he directed, and its sequel. Both were coproduced by Netflix, which streams the films outside of Scandinavia and Germany.
Swapping the male leads of the original 80s Swedish series and an earlier book on which it is based, The Simple Heist taps into how gender roles have changed over the years, in the same way Bonusfamiljen explores how family life is changing.
“Comedy that circles around how humans are, how families and relationships work, can travel quite well,” Felix believes.
Clara, meanwhile, is too busy with her real bonus family and the upcoming third season of the series, which will begin filming in April and air in 2019, to worry about success overseas. “I have no time and fall asleep by nine o’clock immediately,” she says. Besides, she was never a big fan of Scandi noir: “You don’t need murders and stuff like that; everyday life between people is so interesting.”
A small town serves as a sanctuary for a group of people with secrets to hide in supernatural mystery Midnight, Texas. DQ speaks to showrunner Monica Owusu-Breen about adapting Charlaine Harris’s novels and the show’s political parallels.
When the first novel in the Midnight, Texas series was published in May 2014, Donald Trump was still a year away from entering the race to succeed Barack Obama as US president.
Charlaine Harris’s Midnight Crossroad introduced the inhabitants of a derelict town with little to distinguish itself besides its quaint and quiet atmosphere. For someone looking for a place to hide, Midnight is the perfect location.
The paranormal saga sets Midnight up as a town where outsiders can find sanctuary from those who would otherwise seek to persecute them, and a sense of community among others with secrets of their own.
Three years on from that initial publication date, Harris has followed up her first book with sequels Day Shift and Night Shift, and Trump is now in the White House, making headlines for his anti-immigrant agenda and his attempts to withdraw funding from so-called sanctuary cities that limit their cooperation with national immigration laws, promoting themselves as safe havens for undocumented immigrants.
As such, the arrival of a television adaptation of Harris’s novels could not be more timely – and the show’s correlation with contemporary politics is not lost on series creator and showrunner Monica Owusu-Breen. At the heart of Midnight, Texas, she says, is “the idea of a town full of diverse people from all walks of life who find sanctuary in America and then fight the forces of evil together, respecting each other’s differences as strengths, not weaknesses. The whole thing has this metaphorical quality that was not intentional at the pilot stage but became super meaningful as the show progressed.”
US network NBC put Midnight, Texas into development in 2015 and ordered a pilot in January 2016. The show was picked up to series last May and the 10-part first season debuted last month. NBCUniversal International Distribution is selling the show worldwide, with Syfy in the UK among those to have picked up the supernatural drama.
Like the books, the series explores the eponymous remote town that is home to a vampire, a witch, an angel and an assassin – a haven for those who are different and have to hide from the outside world. However, the arrival of a powerful psychic and a murder from within threaten their tight-knit community.
Despite the long-running success of another series based on Harris’s novels – HBO’s True Blood – Midnight, Texas opened in the US to soft ratings of 3.6 million viewers. Perhaps that’s not surprising for a genre series far removed from the legal and medical procedurals that draw the biggest crowds to network television, particularly during the ratings-light summer season.
Owusu-Breen jokes that she checked with NBC executives to make sure they knew what they were getting when they ordered this “crazy” show. “When I read the books, I had a personal connection to it and there was also this crazy, madcap world of surprising beings,” she says. “Charlaine has this boundless imagination and there was a joy in that for me. There definitely were moments when I would look at look my NBC executive and say, ‘You guys want this? You’re sure, right?’ But it was so fun, weird and hopeful.”
In any other series, the characters that populate Midnight would most likely be the villains of the piece, but that’s part of the fun – particularly when recent arrival Manfred (played by François Arnaud), the aforementioned psychic, begins to discover who his new neighbours are.
“They all felt like they could have their own show,” Owusu-Breen says of Midnight’s inhabitants. “What you realise is these people come from really ugly pasts. Some of them have histories that are profoundly painful, so for them to come to Midnight and find sanctuary is really quite beautiful. While they start off as these fun, crazy characters, what got them to Midnight and those reveals really adds heart to them.”
As network television sticks to largely episodic fare amid the wave of serialised drama on cable and streaming platforms, Owusu-Breen remarks that with Midnight, Texas, she’s having her cake and eating it too. “I was on [Fox sci-fi drama] Fringe and our showrunner coined the phrase ‘Mythalone’ – a series of standalone episodes that add up to a whole story, like chapters in a book. Every episode is part of the greater myth of the story.
“In every episode, we’re following Manfred because he’s our hero. But we also explore one of the Midnighters in each episode, so by the end of the 10 instalments, you will understand who these people are and why they’re there. Then we have an overarching myth than will hopefully feel satisfying when you get to the end.”
Owusu-Breen was introduced to the world of Midnight, Texas when her agent sent her the books as a potential development project, and she says there were immediate parallels with her personal life. Her mother-in-law was a small-town psychic, while the showrunner would spend her summers as a child in a small Spanish town “in the middle of nowhere,” where everybody knew each other and their business.
“The novels have this oddly personal resonance for me, and as I continued to read the saga, I realised I loved these characters,” she admits. “The community of Midnight is so peculiar that I could see the story going on endlessly. So it felt so fertile for a TV writer to approach. What I loved, too, is that Charlaine has a very specific voice – she doesn’t shy away from being funny, she doesn’t shy away from being romantic, so those two things also made the show feel special for me. It’s very rare you find material that rich.
“TV is a character’s medium; you’re asking people to tune in every week to see the same people, so if they’re not interesting… she creates these wildly interesting characters. They’re strange and they surprise you at every turn, but they’re fun and funny and obviously human despite being supernatural.”
Season one blends the murder mystery of Harris’s first novel with the supernatural elements of book three, with Owusu-Breen describing the books as a roadmap for the series. A major element of the show was putting Manfred front and centre, serving ostensibly as the series lead before making way for the rest of the ensemble.
“In the book he was less of a driving force but we’re following him as the newcomer into the town,” the showrunner explains. “He’s the outsider and he’s the one who becomes an insider, so he has a different role than he plays in the books.”
Midnight, Texas is Owusu-Breen’s first solo showrunning job, having previously shared the role on ABC drama Brothers & Sisters. So when setting up her writers room, she was keen to bring with her a lesson she had learned on her previous job writing for ABC’s Agents of S.H.I.E.L.D. – a “no assholes” policy.
“What that meant in practice is we had a delightful working environment where people were competitive and generous with ideas and could disagree without getting mean,” she reveals. “So I really took that to heart, because it didn’t hinder the creativity. It actually made it a more positive experience because you spend 10 hours in a room with the same people. So for me it was important to get writers who engage in the spirit of this material, which is funny and a little wacky, and also at its core it’s got sentiment and heart. You don’t want to get mired in cynicism, so it was a very fun writers room. The stories weren’t easy to break because they’re crazy, but I had a wonderful writing staff. We laid out Charlaine’s tentpoles [from the books], deciding what we wanted at the beginning, middle and end of the season, and then we just built stories around those.”
By the end of the first season, Midnight, Texas becomes a “repulsively large show” as a story that begins with a murder mystery ends with a ‘Hellmouth’ opening in the middle of the town.
“Thankfully we had directors, a line producer and creatives who just jumped at the challenge, so when we needed a lot of dead bodies, they’d come up with some ideas,” the showrunner says. “It was very funny how everyone rallied around everything. Some episodes are a little darker and emotional, while some are wildly fantastical and have a ton of CGI. think we kept everyone on their toes but, at the end of the day, everyone had a really good time reaching for the stars.
“We close up the story of the first season and then open up a possible world for the second season. I try not to get my hopes up [about winning a second season renewal] but book two is there and I’ve got ideas I’m playing with. I’m just going to enjoy season one and see how the rest of the world likes it.”
Should political events in the US continue on their current trajectory, Midnight, Texas could prove to be a suitably diverting sanctuary for viewers to take cover from current affairs.
With Debra Messing in the lead role, The Mysteries of Laura ran for two seasons on US network NBC. Here, executive producer Jeff Rake looks back on how the show was brought to life from its origins in a Spanish-language drama, reveals why he believes procedural series are not likely to disappear from the small screen and discusses his next project, Firewall.
The Hollywood Foreign Press Association has revealed the nominations for its annual Golden Globe film and TV awards – the next edition of which will be held in February 2017.
Some TV shows on the shortlists seem to have become permanent fixtures, notably Game of Thrones, Transparent and Veep. But there will also be stiff competition from a range of excellent new shows.
A key contender in the Best Television Series – Drama category is HBO’s Westworld, which also picked up nominations in two other categories. Created by husband-and-wife team Jonathan Nolan and Lisa Joy, the show has just finished its first season with an average 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 (2.2 million). All of which bodes well for the second, which is likely to air in 2018.
Also in the running is Netflix’s royal epic The Crown, which we discussed last week. Written by Peter Morgan, the show is up for Best Television Series – Drama as well as two acting gongs. It’s 10 years since Morgan received an Oscar nomination for The Queen, so perhaps now would be a fitting time for him to win a top award for his royal endeavours. With an IMDb score of 9.0 and superb reviews, it’s another incredibly strong contender.
Arguably the surprise package of the year has been another Netflix show, Stranger Things, which also finished its first season with an IMDb score of 9. Up for awards in two categories (including Best TV Drama), the show follows the disappearance of a young boy at the same time as the appearance of a girl with telekinetic powers.
The show was created by the Duffer Brothers, who featured in this DQ feature on 1980s-inspired TV. Commenting on the Netflix relationship, Ross Duffer said: “They have been incredibly supportive of our vision from the very beginning, and they’ve placed so much trust in us. We also just love Netflix as a platform, because it allows people to watch the show at their own pace. This story is not necessarily intended to be watched over eight weeks. The hope is that people will get hooked and the crescendo will feel even more impactful when it’s watched over a relatively short period of time. We want the audience to feel like they’re watching an epic summer movie.”
The Best TV Drama category is rounded out by the much feted Game of Thrones (David Benioff and DB Weiss) and This Is Us, the only one of the five shows that airs on a free-to-air network in the US (NBC). The latter has been one of the strongest-performing new shows of the 2016/2017 season and is very likely to be renewed for a second season.
It was created by Dan Fogelman, whose credits include Tangled, Cars and Crazy, Stupid, Love. Fogelman also wrote Fox’s new drama Pitch and is waiting to see if that show has done well enough to secure a renewal.
Battling it out for Best Television Limited Series or Motion Picture Made for Television are American Crime, The Dresser, The Night Manager, The Night Of and The People v OJ Simpson: American Crime Story.
ABC’s American Crime, recently commissioned for a third season, is the creation of John Ridley, the Oscar-winning screenwriter of 12 Years a Slave. It is pretty well regarded by critics but is unlikely to come out ahead of some of the other shows in this category.
FX’s American Crime Story: The People v OJ Simpson, winner of five Emmys, is probably the one to beat. Created by Scott Alexander and Larry Karaszewski, it has been nominated in three categories at this year’s Globes.
That said, the Golden Globes isn’t shy of choosing outsiders – as it did last year when it gave Mr Robot, Mozart in the Jungle and Wolf Hall the top drama awards. Wolf Hall’s success in this category last year provides encouragement for the British nominees – The Night Manager, written by David Farr based on the John Le Carre novel; and The Dresser, the latest adaptation of Ronald Harwood’s acclaimed 1980 play of the same name (written for screen and adapted by Richard Eyre).
However, both of them will have to go some way to beat HBO’s The Night Of, created by Richard Price and Steven Zaillian. Of course, if The Night Of does win it will owe a debt to the Brits, because it is based on Peter Moffat’s excellent series Criminal Justice (BBC, 2008/2009).
As referenced above, Mozart in the Jungle was the surprise winner of Best Television Series – Musical or Comedy category at last year’s Golden Globes. So it’s hard to predict which show will come out on top this time out. Mozart, created by Alex Timbers, Roman Coppola, Jason Schwartzman and Paul Weitz, is in the running again, as are Jill Soloway’s Transparent and Armando Iannucci’s Veep, both of which are strong contenders.
This is, however, a category where the Globes could make a positive statement in favour of diversity, with both Atlanta and Black-ish on its shortlist.
Donald Glover’s Atlanta has been a success for FX this year, generating an 8.7 rating on IMDb and bedding in with a respectable 880,000 average audience for season one. ABC’s Black-ish is now in season three and hovers around the five million mark. Created by Kenya Barris, the show has been a solid performer but would be a surprising winner.
The five dramas that received nominations in Best Performance by an Actor in a Television Series – Drama were Mr Robot, Better Call Saul, The Americans, Ray Donovan and Goliath. In other words, a completely different line-up to the overall best drama category. This contrasts with Best Performance by an Actor in a Television Series – Musical or Comedy, where the only divergence from the overall category was a nomination for Graves instead of Veep. This is explained by the fact that the heartbeat of Veep is Julia Louis-Dreyfus, nominated in the actress category. If there’s a conclusion to be drawn out here, it’s that there is generally closer alignment between creator and cast in comedy series.
In terms of shows that have been overlooked this year, the Globes didn’t pay much attention to Fox’s Empire and Netflix’s much-feted Orange is the New Black. The mood also seems to have moved away from Shondaland dramas for the time being.
In fact, viewed from the perspective of writers, it’s been a pretty poor year for women, with Lisa Joy and Jill Soloway the only two high-profile female figures to be involved in the headline categories. It’s a reminder that supporting diversity has many dimensions.
One of the UK’s most popular dramas, Call the Midwife, has been renewed for three more seasons. The feel-good show, created by Neal Street Productions for BBC1, launched in 2012 and has so far run for five seasons. The new commission means three more lots of eight episodes as well as the bonus of three Christmas specials.
Commenting on the BBC’s heavyweight backing for the show, which reflects a trend in TV towards multi-series commissions, Charlotte Moore, director of BBC Content, said: “I’m privileged to have Britain’s most popular drama series on BBC1, and this new three-series commission underlines our commitment. Call the Midwife continues to raise the bar with each series and is really valued by audiences. The quality and ambition of the storytelling is credit to the excellence of writer Heidi Thomas, who has brought the show into the 1960s with a diverse range of subjects.”
To date, the show has attracted an average of around 10 million viewers per episode each season. So far it has been rooted in the 1950s but will now tackle the social upheaval of the 1960s.
Heidi Thomas, creator, writer and executive producer of the show, said: “In the 1960s Britain was a country fizzing with change and challenge, and there is so much rich material – medical, social and emotional – to be explored. We have now delivered well over 100 babies on screen and, like those babies, the stories keep on coming!”
Interestingly, the recommission comes at a time when more and more executives in the industry are calling for entertaining, feel-good dramas. ITV director of TV Kevin Lygo recently told the audience at a Bafta event in the UK that he wanted to see more “happy, life-affirming dramas,” adding: “I’m a bit tired of endless murders where in the first five minutes someone, always a woman or a child, is abducted, raped, knifed, killed or bludgeoned.”
Networks that have invested in feel-good shows have generally secured strong ratings. ITV, for example, enjoyed success with The Durrells, which Lygo said “was a positive thing, a happy, well-made, brilliantly performed show – perfect for Sunday evening.”
His network has recommissioned The Durrells and is also about to launch another feel-good show called The Good Karma Hospital. Produced by Tiger Aspect, the programme is set in a coastal town in tropical South India. It follows the story of a British-Asian junior doctor who arrives at the run-down Good Karma Hospital to join a dedicated team of over-worked medics.
The feel-good factor is also producing some positive results in the US this season. The best example of this is NBC’s comedy drama This Is Us, which launched this year. Eight episodes in, the show is attracting a rock-solid 9-9.5 million viewers and is generally regarded as one of the best new dramas of the year.
It’s too soon to call this a trend but there are a few other shows that suggest the US audience is receptive to shows that put a positive spin on life’s challenges. In the comedy arena, we’ve seen breakout hits like Modern Family, The Goldbergs (both ABC) and The Unbreakable Kimmy Schmidt (Netflix), while in drama there have been successes like The CW’s Jane the Virgin and TV Land’s Younger. The latter show, which was recently renewed for a fourth season, is the channel’s top performer with an audience in the 500,000 to 600,000 range.
Around the world, the emphasis still tends to be on crime series, with France and Italy in particular making their mark with hard-boiled series such as Spiral and Gomorrah respectively, to name a couple.
Indeed, The Economist went as far as calling Italian political drama “the new Nordic Noir.” But there is a decent array of international shows that can be categorised as feel-good, inspirational or life-affirming.
Keshet’s Yellow Peppers was a big hit in Israel before being adapted successfully as The A Word for the BBC in the UK, while UFA’s Ku’Damm 56 has been one of the breakout shows of the last year for ZDF in Germany.
Even the gloomy Nordics have series like Rita and The Legacy in among their crime noir shows. One of the region’s recent hits is Next Summer, a comedy drama that satirises the idea of the idyllic, cosy family summer holiday at a getaway. A hit for TV Norge/Discovery in Norway, Next Summer is now up to three seasons and is being remade for Kanal5/Discovery is Sweden. (There has also been talk of a Fox remake coming to the US market).
Australia’s contribution to the feel-good revolution is Seven Network’s The Secret Daughter, a musical show that stars former Australian Idol contestant Jessica Mauboy as a part-time indigenous pub singer whose life changes forever when she meets a wealthy city hotelier. Produced by Screentime, the 10-episode first season started in October and received some positive notices from the press at launch. Now six episodes in, it’s posting a respectable one million viewers per episode (with consolidated viewing included) and has been renewed for 2017.
The Koreans also manage to make space for some upbeat shows – the best recent example being KBS2’s Oh My Venus. In this series, a Korean personal trainer working in Hollywood returns home after a scandal involving an American actress. Back on Korean soil, he becomes emotionally involved with a former teen star who is now an out of shape 33-year-old lawyer – cue romance.
There’s a similar ‘coming home’ vibe to Fox Turkey’s In Love Again (Ask Yeniden). In this case, two young people go to the US (separately) to start new lives, but the American Dream turns sour for both of them. They meet on the plane home and, embarrassed to admit the truth to their families, pretend to be married. Fox has also enjoyed success with Cherry Season, which focuses on the tangled lives and loves of a fashion designer and her friend.
In the world of telenovelas, there has always been a steady flow of upbeat or uplifting shows such as Ugly Betty, The Successful Pells, Rebelde Way and the original Jane the Virgin. One title about to hit the market is Telemundo’s La Fan, which tells the story of a happy-go-lucky woman from a poor background who is a passionate fan of a famous telenovela actor. One day, a twist of fate brings the two of them together. At first, he hardly notices her, but before long he can’t imagine his life without her.
The big challenge with feel-good drama is making sure it doesn’t skew too heavily towards the female audience, with most of the shows in this area relying on strong female leads. However, many of the above examples have proved it is possible to create a cross-gender, cross-generational hit with the right story.
Fox in the US is developing a drama based on the 2015 Netflix movie Parallels.
Entitled The Building, it centres on a group of people who enter a skyscraper that transports them into parallel universes, which are similar to but not quite the same as our own. In one, for example, Russia has dropped a nuclear bomb on the US.
The idea is being adapted for TV by Neil Gaiman and Chris Leone (the latter wrote and directed the movie). Albert Kim, whose writing and production credits include Sleepy Hollow and Nikita, is the showrunner. The project caps off a busy year for Gaiman, who has also been adapting his novel American Gods for Starz.
Also in the news this week is Alan Ball, creator of HBO series Six Feet Under and True Blood. Ball is reported to be teaming up with HBO again on a series that will star Holly Hunter as the mother of a non-traditional progressive family.
According to Deadline: “Once a therapist in private practice, Hunter’s Audrey now reluctantly utilises her skills as a psychologist in the corporate world, balancing her more progressive personal philosophy with the need to make money. She is a smart, caring woman who believes she knows what’s best for everyone and has no problem telling them. But with her husband now fighting depression and her children mostly grown, she finds herself somewhat adrift.”
Other high-profile stories this week include the news that Sonar Entertainment has signed a first look deal with Robert Downey Jr and Susan Downey’s production outfit Team Downey. As part of the deal, Sonar and Team Downey are working on a project called Singularity. Also involved in the creation of the series is Anthony Michael Hall, who will star.
The deal is the latest link-up between Sonar and star talent. The company is also working with George Clooney and Tom Hardy, with the latter starring in upcoming period series Taboo.
Commenting on the new deal with Team Downey, Sonar CEO Thomas Lesinski said: “We are excited about Team Downey’s vision for developing and producing a broad scope of original premium content. [This] is another example of our commitment to forge creative collaborations with the most dynamic talent in the industry.”
In terms of commissioning news, US network NBC has renewed its military medical drama The Night Shift for a fourth season. The series, produced by Sony Pictures Television (SPT), follows the medical team at the fictional San Antonio Memorial Hospital. Season one of the show averaged around 6.5 million viewers, followed by 5.3 million for season two and five million for season three.
At Fox, meanwhile, there are reports of a new dance drama being developed with director McG, who began his career in the music industry. The project, which sounds little bit like the Channing Tatum movie Step Up, is called The Cut and is set in a dance conservatory. It’s the latest in a line of Fox scripted projects with a musical theme – possibly inspired by the success of Empire. For example, Empire creator Lee Daniels has been working on a series called Star for the network, while last week we reported that Glee star Darren Criss was working with Fox on Royalties.
Also this week, it was announced that Phoebe Waller-Bridge, creator and star of BBC3’s Fleabag, is to write and star in a spy drama for BBC America. The network has ordered eight episodes of Killing Eve, a thriller about a psychopathic assassin and the woman hunting her. The show is based on a novella by Luke Jennings called Villanelle.
“[The show] is a brilliantly fresh take on the cat-and-mouse thriller from Phoebe Waller-Bridge, a major talent,” said Sarah Barnett, president of BBC America. “Underneath the deceptively simple and entertaining surface is a subversive, funny, obsessive relationship between two women, that plays out across some of the most and least glamorous locations imaginable.”
It’s also been a busy week on the distribution front. Fox Networks Group (FNG) Europe and Asia, for example, has secured exclusive first-window rights to CBS legal drama Bull in the UK from CBS Studios International. This follows a previous deal that gave FNG rights to Bull in markets including Spain, Portugal, Turkey and Sweden.
Elsewhere, SPT has sold the much-anticipated new ITV period drama The Halcyon to broadcasters in Scandinavia, while Vimeo has continued its move into longform TV content. Among scripted titles that will now be available on its platform are All3Media International comedy Fresh Meat and seven seasons of Company Pictures’ cult youth series Skins, available globally excluding Australia.
Paul Corney, senior VP of global digital sales at All3Media International, commented: “Vimeo has a strong presence around the world with a great brand that reaches consumers in all key markets. Its team has a dynamic outlook on content delivery and we’re looking forward to working with them to bring more fantastic new shows to the Vimeo audience.”
In terms of new book rights deals, the big story this week is that BBC Worldwide-based indie producer Baby Cow has acquired the rights to Zadie Smith’s new novel Swing Time. Smith has been lined up to adapt the novel for TV alongside her husband Nick Laird.
Swing Time is Baby Cow’s first major acquisition since Christine Langan, ex-head of BBC Films, took over as CEO this month. She said: “Zadie Smith is the voice of a generation and Swing Time is a thrillingly ambitious story of friendship, rivalry and fame.”
Smith added: “I am absolutely delighted at the prospect of working with Baby Cow on an adaptation of Swing Time. Their extraordinary track record in both drama and comedy I have always admired from afar and it’s a thrill for me to get the chance to collaborate with [founder] Steve Coogan and Christine Langan.”
Smith burst onto the literary scene with her first novel White Teeth. Swing Time, only released this week, is her fifth novel.
In a relatively quiet week on the commissioning front, one of the more interesting stories is that US network CBS is developing a prequel to its hit comedy series The Big Bang Theory.
Now in its 10th season, the Chuck Lorre/Bill Prady-created show continues to attract an audience in excess of 14 million, so it’s no surprise that CBS would want to build on that strength.
According to US reports, Lorre, Prady and showrunner Steve Molaro will oversee the project, which will focus on the younger years of key character Sheldon Cooper. None of The Big Bang Theory cast will be involved in the new sitcom except Jim Parsons, who plays Cooper and will executive produce the spin-off.
Interestingly, rival network ABC has also announced plans for a spin-off from its sitcom The Goldbergs, created by Adam Goldberg. Unlike the CBS project, this will be a sequel as opposed to a prequel. The Goldbergs, now in its fourth season, is set in the 1980s, but the new show will be set in the 1990s. It will star Bryan Callen, who plays a gym teacher in the current series.
The spin-off trend is not new – think Cheers/Frasier and Friends/Joey. But it fits well alongside the TV industry’s growing reliance on TV-to-movie spin-offs and TV reboots, giving networks a promotional boost from the outset.
And, for the most part, it works well. In the drama procedural arena, for example, we’ve seen franchises like Gotham (ABC), CSI and JAG/NCIS (both CBS) prosper, while Dick Wolf has created an entire world out of Chicago-based dramas for NBC. More recently, there have been examples such as NBC’s The Blacklist: Redemption and CBS’s The Good Fight, the latter an extension of The Good Wife.
US cable network AMC has also got in on the act with Breaking bad spin-off Better Call Saul and The Walking Dead spin-off Fear The Walking Dead – both of which have rated well enough to justify their existence.
There are also reports that Netflix is planning a Daredevil spin-off with The Punisher (based on the Marvel Comics anti-hero), while outside of the US the success of ITV’s Morse prequel Endeavour has encouraged the network to follow up with a Prime Suspect prequel called Tennison (coming soon). In Italy, Rai has also enjoyed decent levels of success with Young Montalbano, a prequel of its hit detective series Inspector Montalbano.
However, as the Friends/Joey example shows, spin-offs aren’t always guaranteed to succeed. And there has been a more recent example of an unsuccessful spin-off in the shape of Ravenswood, which grew out of Freeform’s hit series Pretty Little Liars. But overall there is enough of a hit record for networks to take notice.
There are a couple of reasons why they seem to stick. One is that spin-offs often centre on actor/character combinations that the audience still loves – unlike TV reboots where the audience is being asked to like something that was popular 20 to 30 years ago. Another is that they are generally written by the same team that created the original, so there is a continuation of tone that audiences connect with. Again, expecting a new creative team to run with something that is decades old is not a simple process.
Prequels, of course, require the audience to accept a new actor or actress in the central role. But there is something inherently appealing about seeing the youthful back story of a mature character you’ve grown to love over several seasons. Besides, the time gap from original series to spin-off is usually shorter than the kind of TV reboots we’ve witnessed in the last few years.
In fact, the hit rate on spin-offs is such that networks would be foolish not to at least consider them. Is there any reason, for example, why ABC would not consider some kind of extension of Modern Family? Imagine a young Phil Dunphy at college – the only downside here being the likelihood of getting anyone to live up to the high standards set by actor Ty Burrell. Or what about a Game of Thrones prequel? It will be a major surprise if HBO lets its biggest franchise go without trying to create a follow-up.
Returning briefly to the subject of comedy, there are also reports this week that NBC is developing a US remake of UK comedy Pulling, which first aired on BBC3. The original show was written by Sharon Horgan and Denis Kelly, who are attached to the US adaptation as exec producers.
Actor/writer Horgan is already well known to the US market having written HBO comedy Divorce, which has Sarah Jessica Parker in the lead role. She was also nominated for a Primetime Emmy for Channel 4 sitcom Catastrophe, alongside Rob Delaney (Outstanding Writing for a Comedy Series).
Also this week, pundits are predicting that ABC’s legal drama Conviction is destined for cancellation. The first season of the show, which stars Hayley Atwell, has been limited to 13 episodes, which doesn’t augur well.
However, this setback doesn’t seem to have reduced US network interest in legal subject matter. CBS, for example, is developing a drama about a US senator who withdraws from office to join his brother’s private-investigation law firm, unearthing the truth in high-profile and top-secret cases.
In other stories this week, Glee star Darren Criss is working with Fox on a new project called Royalties. According to Entertainment Weekly, Royalties is a “workplace comedy detailing the unseen, unsung, and unglamorous heroes behind the pop stars – the producers and songwriters whose day job it is to crank out hits. Sometimes it’s sexy, but most of the time it’s just like every other workplace: day-to-day minutiae, office politics, and clashing personalities. Royalties is about a small publishing company, Royalty Music, and a one-hit wonder who returns to the fold in the hopes of making it big again.”
Fox is also trying to get into the vampire scripted series business. This week it ordered a pilot based on Justin Cronin’s boot trilogy The Passage.
Away from US drama, Netflix has acquired the upcoming second season of Fauda, a hard-hitting Israeli political thriller that follows a unit of the Israeli army working undercover in Palestine. The global SVoD platform has also picked up the show’s first season, which initially aired on cable broadcaster Yes last year.
Following up on last week’s column about Nordic drama, this week has seen UK-based SVoD platform Walter Presents pick up Valkyrien from distributor About Premium Content.
The eight-part series, produced by Tordenfilm for NRK and written by showrunner Erik Richter Strand (Occupied), revolves around an illegal hospital hidden in an Oslo underground station. It tells the story of a physician who fakes his terminally ill wife’s death to secretly keep her alive in an induced coma while he tries to find a cure. To finance his activities, he makes alliances with the criminal world and treats patients who need to stay off the grid.
In the UK, meanwhile, BBC3 has joined forces with actor Idris Elba on a series of short films that will bring established talent together with new writers and actors. Called Five by Five, the project will consist of five standalone five-minute shows that are set in London and question identity and changing perceptions.
Elba will appear alongside talent such as Nina Yndis (Peaky Blinders) and Andrei Zayats (The Night Manager) in the shows, which are being produced by Elba’s production company Green Door Pictures and BBC Studios.
The films are written by Cat Jones (Flea, Harlots) and new writers Lee Coan, Namsi Khan, Selina Lim and Nathaniel Price.
“I have spent time with these talented five writers and observed their storylining process,” said Elba. “The scripts are uplifting and incredible, and with this group of young actors now attached to star, BBC3 viewers are in for an absolute blast. I couldn’t be prouder of what they have achieved.”
A couple of months ago, we looked at the success Disney has had with its Marvel acquisition. So it seems only fair that we also shine a spotlight on DC Comics, a division of Warner Bros that has spawned dozens of films, scripted shows and animation series.
Characters from DC, formed in 1932, have formed the basis of hit TV series since the 1950s. After early outings for Superman and Batman, DC properties gave us iconic shows like Wonder Woman, Superboy, Lois & Clark and Smallville.
The latter ran for 10 seasons (2001-2011) and 218 episodes, first on The WB and then on its replacement network The CW (which is 50/50 owned by CBS and DC Comics owner Warner Bros).
While DC properties remain an important part of the feature-film landscape, it’s The CW that continues to provide the major platform for DC Comics’ success on the small screen.
A key landmark was the launch of Arrow in 2012. Adapted for the screen by Greg Berlanti, Marc Guggenheim and Andrew Kreisberg, the show is one of The CW’s top performers and is currently in its fifth season, attracting just under two million viewers per episode.
The importance of Arrow goes beyond its ratings, however. On the one hand, it has encouraged The CW to back a number of DC-based franchises, with Berlanti and co in charge of the creative. On the other, it has persuaded some of the larger US networks to tap into the company’s pool of comic book IP.
Looking first at The CW, 2014 saw the launch of The Flash, which is part of the same mythological universe as Arrow (known to aficionados as the ‘Arrowverse’). Now in season three, The Flash is currently The CW’s top-rated show with around 2.8 million viewers per episode. And earlier this year, the network launched another spin-off based on the ‘Arrowverse’ pool of characters. Called DC’s Legends of Tomorrow, it is currently attracting a steady 1.8 million and has been renewed for a 17-episode second season.
In addition to the above shows, The CW is also home to Supergirl, a DC-based series that was originally aired on CBS but then shifted to The CW for season two when its ratings started to decline. In the less exposed world of The CW, the show has thrived and is now its second most popular series, averaging 2.6 million viewers.
The relationship with DC has also allowed The CW to segue into the ‘Zombieverse’ with iZombie. Loosely based on a comic book series that came out of DC’s Vertigo imprint, the show has a third season on the way and averages around 1.2 million viewers.
The rise of DC’s stock has also encouraged some of the Big Four US networks to sample the company’s wares. The stand out example of this is Fox’s Gotham, which delves into the backstory of the young Batman, focusing its energy primarily on Commissioner James Gordon and the origin stories of some of Batman’s most famous enemies. Now in its third season, the show is currently attracting an OK-but-not-amazing 3.4 million (down from four million in season two and six million in season one).
Echoing its growing relationship with Disney’s Marvel, Fox has adapted a second DC property, Lucifer, based on a character that appeared in comic book series The Sandman (created by Neil Gaiman, Sam Kieth and Mike Dringenberg).
The show debuted last year and did well enough to get a second season. Currently averaging around 3.5 million viewers, the second run was extended to 22 episodes last month – though the jury is still out on whether it is doing well enough to secure a third outing.
Without being overly critical, there is a pattern with DC properties – they perform strongly on The CW but modestly on the Big Four. Gotham and Lucifer have done OK but not fantastically well, while Supergirl’s strong start dissipated quickly, hence its move to The CW. To this list should be added Constantine, which aired for a single season on NBC before being axed.
The main reason for this is The CW is a narrowly focused youth channel while the Big Four are mainstream, so are probably trying to reach an audience that is more ambivalent about superheroes and fantasy adventure series. Nevertheless, there are more planned DC shows in the pipeline for the Big Four.
NBC, for example, is developing a sitcom rooted in the DC universe. Called Powerless, the shows is “a workplace comedy set at one of the worst insurance companies in the US – with the twist being that it also takes place in the universe of DC Comics. The show is about the reality of working life for a normal, powerless person in a world of superheroes and villains.”
Fox, meanwhile, is reported to be piloting a show based on Black Lightning, one of the first African American superheroes to appear in DC Comics. This is a welcome trend, echoing the recent Marvel/Netflix tie-in on the new Luke Cage series.
Of course, the fact that The CW does so well has not been lost on cable channels, which have a similar kind of niche profile. So we’re also starting to see more DC properties populate this part of the TV business. AMC, for example, is doing pretty well with Preacher, another idea from DC’s Vertigo imprint. The first season attracted around 1.68 million per episode and a recommission followed.
Other pilot orders include Scalped for WGN America and Krypton for Syfy (the latter set in the Superman universe). There are also reported to be several other titles in development including DMZ and Ronin for Syfy and Amped for USA Network. FX is also believed to be developing a series based on Y: The Last Man.
For those unfamiliar with the world of comic books, the DC/Vertigo dichotomy is interesting. While the former is home to mainstream franchises like Superman and Batman, the latter was specifically set up to publish more hard-hitting, adult-themed franchises. This is significant, because it opened up the range of opportunities for DC.
Supergirl, for example, might fit on CBS or The CW but would look tame on AMC. Preacher, by contrast, would not go down well with a more mainstream audience. That said, Constantine and Lucifer were both born into the Vertigo family, which shows that the Big Four networks have been exploring the potential to soften Vertigo shows for their demos.
It’s also worth noting that there have been other DC subsidiaries down the years that are still providing IP for film and TV. For example, DC acquired an imprint called WildStorm in 1999 and shut it down in 2010. During that time, WildStorm created Red, a franchise that was subsequently turned into two successful films. Recent reports suggest NBC is now planning a TV version.
One obvious final question, of course, is how DC-based shows fare internationally. Well, not too badly actually.
Gotham has been licensed to platforms including Globo Brazil, Pro7 Germany and Netflix in Poland, while Supergirl and Legends of Tomorrow have both been acquired by Italia 1 among others.
Lucifer has also travelled well, to platforms such as Amazon UK and Viasat 3 in Hungary. On UK pay TV channel Sky1, latest ratings figures put The Flash, Arrow and Supergirl as the top three shows, underlining the global appeal of the dynamic DC business.
With two of the most anticipated new US shows to his name in dramedy This Is Us and baseball series Pitch, Dan Fogelman is hoping to hit a home run this year.
Somewhere in LA, Dan Fogelman is in a car travelling between the sets of two of the hottest new US dramas airing this fall. The reason? He created them both.
The first, NBC’s ensemble drama This Is Us, is described as a “refreshingly honest and provocative” series that follows the lives of a group of people who share the same birthday. The cast includes Milo Ventimiglia, Sterling K Brown and Mandy Moore.
Working with Rick Singer, Fogelman also co-created Pitch (pictured top), a baseball drama on Fox that stars Kylie Bunbury as the first woman to play Major League Baseball (MLB) when she is called up by the San Diego Padres. Both shows are produced by 20th Century Fox Television and distributed by 20th Century Fox Distribution
“I don’t know what I call my job,” Fogelman jokes. “I’m all over the place.”
But to him, it’s no surprise he’s now working on two shows – the only new series to which he was attached during the 2016 pilot season. “I expected them to go [to series],” he admits, having seen his previous shows Galavant (ABC) and Grandfathered (Fox) both cancelled earlier this year. “I felt confident in the premises and the people who were involved.
“As soon as we got the calls, I just tried to get people in right away to map out the whole seasons for both shows. Everybody ends up in the same boat – getting the phone call in May, putting together the writers room in June and July – and after that, it’s out of control because you’re shooting, writing, preparing, editing and breaking stories all at the same time.”
If you think bringing two new dramas to air at the same time is hard enough, Fogelman is also working under a huge weight of expectation, particularly with This Is Us. Ahead of the series’ September 20 launch, the This Is Us trailer, released online in May, had racked up more than 100 million views. NBC subsequently placed a full 18-episode season order before episode two aired.
“I love the show so much,” says Fogelman, who is showrunning the series. “The pressure is self-creating! It’s very special; it’s unique. The show taps into something. I was just hoping [the trailer] didn’t build expectations beyond what’s possible – I hoped people would keep a level head.”
Fogelman has previously described the show as “Lost as a dramedy,” building on the same themes of love, life and friendship that were present in his 2011 rom-com movie Crazy Stupid Love. He explains: “The series plays with time quite a bit and the interconnectedness of all the characters. Lost always did a good job playing with time and connecting unrelated characters in interesting ways. We’re being really ambitious with the storytelling. Our main focus is on the main characters but, because we’re playing with time, the way everything is interconnected is complicated. You see things and learn how they are affecting present-day issues.”
In particular, balancing the tone of the series has proven one of the biggest challenges: “The characters are sentimental without being saccharine; they move people without being manipulative,” the writer says. “It’s a high-wire act.”
But perhaps, if the number of trailer views is anything to go by, This Is Us offers the kind of story audiences are yearning for amid the recent slew of superhero and fantasy dramas.
“I have been saying for while that 20 years ago there weren’t comic book movies or superheroes on TV,” Fogelman explains. “There tends to be a groundswell for things that aren’t around as much. It’s inspired by TV from the 1980s and films of the 1970s like Kramer and Kramer and Terms of Endearment, which aren’t being made as much.
“It’s got to be special if it’s going to work. There’s so much on with TV and film. If you’re not doing something really well, I don’t think you have a big chance of succeeding. I’m still mystified by the response to the trailer!”
But compared with This Is Us, Pitch is a whole new ballgame, not just because of its storyline but also due the fact it is the first scripted series to be officially associated with MLB. It debuted on Fox on September 22 and will complete its initial 10-episode run on December 8.
“Without MLB, it would have been a no-go for me,” says Fogelman, who reveals that the idea for Pitch was initially developed as a movie before being moved to the small screen.
“It was a complicated deal. At times, people were asking if I’d do it without MLB, with fictional teams. That was a non-starter for me. I’m less interested in that show. My vision was to have a very authentic show about a special young woman making it in the major leagues. Without that it just felt false. We needed MLB and we needed to find the girl. I would have passed on it or pushed it aside without one of those things.”
With a licensing deal in place to use real teams and real stadia – the Padres’ own Petco Park was taken over by the production for 10 days to film the pilot before the baseball season started in April – the other piece of the jigsaw was finding the star.
“It was a long process to find Kylie,” Fogelman explains. “We were scouring everywhere – LA, New York, checking acting schools all over the country. We were reaching out to university softball and athletic teams but we weren’t finding what we were looking for. We met interesting actors but so many boxes needed to be ticked in terms of acting believability, athleticism and the ability to carry a TV show. They weren’t checking all the boxes. One day, Kylie came in to read and then, later on, I watched her tape back and knew she was the one.”
As Ginny Baker (Bunbury) makes her debut for the Padres in the pilot, viewers might question where the series could take her in the future. But Fogelman, who is an executive producer on the series, is reassured that there is a “road map” in place to take the series into multiple seasons.
“The story of Pitch is a young woman becoming the first woman to move into the MLB,” he says. “The rest of the season goes from being about the first woman to make it, to what kind of woman she is going to become and where she makes friendships and relationships. How is she going to operate in this world? It’s a coming-of-age story. She’s figuring herself out. That was the key part of the show for me.”
Coming from features, Fogelman admits he didn’t grow up in a writers room culture but he has been exposed to the daily grind of television over the past four years,.
“I tell everyone not to be shy and to take ownership,” he says. “A lot of people come from writers rooms where it’s autonomous and they’re nervous all the time. I’m always wary of that. I’m besieged all day by making decisions so I empower everyone I’ve hired to do their own work.”
Directing two films next year, Fogelman’s immediate future will be spent flipping back and forth between big and small screens. “It’s all just storytelling at the end of the day,” he adds, nonchalantly. “But TV is more intimate. Films released into 3,000 theatres aren’t really character-driven, so writers are now more drawn to TV.”
For decades, John Grisham has written great novels about lawyers. And some of them have been turned into classy movies. The Firm is the most obvious example, but the likes of The Client, The Pelican Brief and Runaway Jury were also entertaining films.
For some reason, however, Grisham’s works have not translated well to television – which is a surprise given that US networks are always on the hunt for series with a legal underpinning. The Client was turned into a TV series in 1995 but only lasted one 20-episode season. Eight years later, The Street Lawyer was piloted but got no further. And in 2011, there was a TV version of The Firm, which imagined the central characters 10 years on from the film. Again, this only lasted one 22-episode season before being pulled.
Now, though, there is to be another attempt to bring Grisham’s magic to the small screen. This time it is the turn of The Rainmaker, a popular novel that was adapted into a 1997 movie by Francis Ford Coppola. The original starred Matt Damon, Danny DeVito, Claire Danes and Mickey Rourke and told the story of a young lawyer who finds himself fighting a court case against a huge law firm that he previously aspired to work for.
The Rainmaker is being adapted by Code Black creator/executive producer Michael Seitzman, who will write it with Brett Mahoney. Seitzman said: “I’ve always loved Grisham’s book. One of the things that always struck me about it is that the story has a wonderful character for a TV show – a young lawyer right out of law school, no money, no white-shoe law firm scooping him up, forced to work for a crooked lawyer named Bruiser, representing criminals one minute and chasing ambulances the next. Then he stumbles on a big case against an impossible adversary, with high stakes that are both professional and personal. That just feels like a show I want to watch.”
Another legal drama in the works is Reversible Error, an NBC show from Barbara Curry and Chris Morgan. This one is about a former attorney who is freed from prison after her conviction for murdering her husband is reversed. Now she must find her husband’s real killer, before a vindictive district attorney finds a way to prosecute her again. Curry, who used to work as a federal prosecutor, is writing the project and will executive produce.
Still in the US, there are reports of another movie-to-TV reboot, with ABC planning a series based on the 1998 feature film Enemy of the State. The show is being produced by ABC Studios and Jerry Bruckheimer, who was also behind the original movie. The new version will focus on an attorney and an FBI agent who try to stop state secrets being exposed. Bruckheimer’s deal with ABC is the first that the veteran producer has signed since the end of his exclusive 15-year relationship with Warner Bros Television.
NBC is also looking at a movie-to-TV adaptation about hackers (a subject that has been in demand since the success of Mr Robot). The project is Sneakers, which started life as a Robert Redford movie back in 1992. There are also reports this week that NBC is talking to Jack Reacher novelist Lee Child about a drama called Last Hope. Child is working with screenwriter Andrew Dettmann on the project, which is about a former military police investigator who seeks justice for people with nowhere else to go.
Fox is also busy, with reports of a new cop show called Kin. This one centres on a Florida law-enforcement family who become the main suspects in the disappearance of a drug cartel leader following a DEA plane crash. Kevin O’Hare will write the project.
And CBS has ordered a 13-part summer series from Alex Kutzman, executive producer on the new Star Trek series. Called Salvation, it centres on an MIT student who discovers that an asteroid is on course to collide with Earth. News of the CBS series comes in the same week that summer dramas BrainDead and American Gothic were cancelled by the network. Also on the cancellation front, Freeform (previously ABC Family) has announced there will not be a second season of Guilt, a thriller set in London about a young American woman accused of killing her roommate. The show, loosely inspired by the Amanda Knox story, rated pretty poorly.
In Europe, FremantleMedia-backed production The Young Pope has secured a second series. The show, which was launched to widespread acclaim this year, stars Jude Law as a maverick American-born Pope. The show was set up as an HBO, Sky and Canal+ copro with FremantleMedia International handling sales. FMI secured a sale into the Japanese market at Mipcom last week.
It’s been a busy week on the acquisition front thanks to the recently-ended Mipcom event in Cannes (see this column). One deal completed after our market round-up was BBC3’s acquisition of Australian drama Barracuda from NBCUniversal International Distribution. The four-part series, based on a book by Christos Tsiolkas (The Slap), tells the story of a 16-year-old boy attempting to become an Olympic swimmer. Sue Deeks, head of programme acquisition at the BBC, said the show “is a compelling, complex and emotional drama – beautifully filmed and performed.”
In previous columns and features, DQ has explored the difficulty producers face in securing the services of top screenwriters.
One way of addressing this problem is to control the rights to strong source material. If you secure an option on a great novel, it’s an easier way of hooking a decent writer than going to them with an unproven idea.
Indie producer Bad Wolf, for example, was able to secure the services of the sought-after Jack Thorne by waving Philip Pullman’s fantasy epic His Dark Materials under his nose. And The Ink Factory reeled in David Farr by inviting him to make his mark on John Le Carré’s 1993 espionage novel The Night Manager.
Perhaps this is why we’re suddenly seeing so many book-rights deals bubbling to the surface. Last week, we referenced a couple of new examples in this column. And this week indie producer Dancing Ledge Productions has signed a deal with publisher HarperCollins for the TV rights to novels by Alistair Maclean, the legendary writer of books such as Guns of Navarone.
At the same time, the company announced that Tony Marchant (The Secret Agent) had come on board to adapt the first novel, San Andreas; a thriller set on board a torpedoed Second World War hospital ship as it attempts to make its way back across the North Atlantic to Scotland while a saboteur picks off crew members.
Laurence Bowen, CEO of Dancing Ledge Productions, said: “We are lucky to be living and working in a golden age of television drama with a huge demand internationally for high-end adaptations and TV events that can be channel-defining. I doubt there are many bookshelves in the UK that don’t have at least one Alistair Maclean thriller, so the opportunity to work with HarperCollins to adapt a number of them for screen is incredibly exciting. If you then add a writer with the talent of Tony Marchant to the mix, we have a wonderful marriage of nail-biting action and emotional complexity.”
Under the terms of the arrangement, each novel will be structured as a four or six-part event miniseries that will build on Maclean’s trademark skill of creating thrilling adventure that appeals to hardcore fans and new audiences alike.
Katie Fulford, special projects director at HarperCollins Publishers, added: “Maclean is one of our most treasured authors. We’re committed to ensuring our heritage brands continue to grow and that we constantly seek new ways to tell these classic stories.”
Other new book-option deals along similar lines include Sid Gentle Films’ acquisition of the rights to Elizabeth Jane Howard’s acclaimed book series The Cazalet Chronicles, which is set between the 1930s and the 1950s and tells the story of three generations of the Cazalet family.
Explaining why she picked up the five Cazalet novels, Sid Gentle’s Sally Woodward Gentle said: “Elizabeth Jane Howard is an extraordinary writer, a highly skilled storyteller of understatement and deceptive simplicity. The novels are totally addictive with the ability to floor you with their turn of events. They are set in the middle of the 20th century but the themes of love, loss, repression, sex and family ties are shot through with 21st century resonance.”
Woodward Gentle has already proved that the books-as-bait model can work with SS-GB, a series for the BBC that is just coming to market. Based on Len Deighton’s novel, it has been adapted by James Bond writers Robert Wade and Neal Purvis.
One of the indies we talked about in last week’s column was Buccaneer, which joined forces with author Rose Tremain. And Buccaneer is back in the news this week following a deal with Trainspotting creator Irvine Welsh to bring his novel Crime to TV.
This setup is slightly different from some of the other examples because it comes with a screenwriter attached, Welsh’s longtime collaborator Dean Cavanagh. Where it resembles the other deals, however, is in the way that strong source material can help producers build a talent package that interests broadcasters.
In this case, for example, actor Dougray Scott has come on board to star in and executive produce the six-part project: “When I read Irvine Welsh for the first time I knew I was in the company of a unique and utterly brilliant voice. After finishing the novel Crime, I knew it was a story that I just had to help bring to the screen.”
There’s another book-based story of interest this week. BBC2 in the UK has just announced that it is adapting Ian McGuire’s Man Booker-longlisted whaling novel The North Water in partnership with See-Saw Films. In this case, Andrew Haigh has come on board to turn the story into a six-part mystery/survival drama.
The North Water tells the story of a disgraced former army surgeon who signs on as a ship’s doctor on a whaling expedition to the Arctic. On board, he meets Henry Drax, an amoral harpooner. Hoping to escape his past, the doctor instead finds himself trapped on board with a murderous psychopath.
Haigh’s involvement is an example of the new fluidity that exists in the TV business. Until now, he has been best known as a movie screenwriter – first with Weekend and then with 45 Years, which enjoyed a lot of positive feedback on the festival circuit in 2015/2016.
So the combination of a strong core story, a proven production team (See-Saw’s TV credits include Top of the Lake) and an emerging filmwriting talent was enough to attract BBC2, thus circumventing the issue of chasing overworked TV A-Listers.
Elsewhere, DQ’s parent publication C21 reports this week that TV2 Denmark, Nordisk Film Production, NDF Germany and distributor Dynamic Television have greenlit a crime drama based on the Dan Sommerdahl crime novel franchise by Anna Grue (books again!). For this project, The Bridge’s co-creator Nikolaj Scherfig has been signed up to act as head writer.
Described as a family-oriented take on the Nordic noir genre, the series centres on a detective who solves murder cases in a coastal town. It goes into production in summer 2017.
Dynamic Television VP of coproductions and acquisitions Jan Bennemann said there’s “huge demand right now for Scandinavian crime drama with a blue-sky procedural element. Dan Sommerdahl expands upon this with a very likeable main character and an overall lighter tone, making it an ideal fit for a wider audience.”
Seven books out of a planned 12-part franchise have so far been published, and the agreement with the author includes expanding the property and its characters – raising the prospect of a long-running franchise.
Scherfig’s comments underline the way the right project can lure in-demand writers. He said Dan Sommerdahl is the first in a line of projects that offered to him with “something different to the classic Scandic noir genre: a tight, clean crime series reflecting on life outside cities, understanding how modernity and social development affect provincial life.”
Away from the world of book rights, other interesting stories this week include the news that US network NBC has picked up the rights to adapt a time-travel crime drama from Argentina’s Telefe. The original 2011 series was called Un Año Para Recordar (A Year to Remember). It tells the story of a female detective who goes back in time after accidentally killing her husband.
The writer/producer signed up to oversee the adaptation is Michael Foley, whose most recent credit is the ABC/Shondaland series How To Get Away With Murder. Prior to that, Foley was involved in productions such as Revenge and Unforgettable.
Israel’s Keshet International (KI) looks to have achieved another major breakthrough in the scripted formats sector. After In Treatment, Homeland and The A Word (all based on Keshet formats), it has now teamed up with HBO in the US on a drama about the true-life kidnapping and murder of three Israeli teenagers in 2014.
The 10-episode series is the first project to be produced for HBO by its former boss Michael Lombardo, who has a production deal with the network. The creative team behind the show, which will be filmed in Israel, is headed by Hagai Levi and Noah Stollman.
“HBO has always been a home to me. I’m so thrilled to work with them again, and regroup with my good friends from Keshet,” said Levi, who also created hit series The Affair for Showtime.
HBO president Casey Bloys added: “We’re excited to work with Keshet and this talented and creative group led by Hagai Levi. We look forward to sharing this important story with our subscribers.”
The series centres on the disappearance and subsequent search for the three teenagers amid escalating tension and conflict between the Israelis and Palestinians. It will be distributed internationally by KI. Avi Nir, the head of KI’s parent company Keshet Media Group, said: “We are thrilled to partner with HBO, the ultimate quality TV powerhouse, and to bring together Israel’s finest in TV and film, led by Hagai Levi, Noah Stollman and Joseph Cedar [the director of the as-yet-unnamed series]. We are all ready for the challenging journey on which this extraordinary story will take us.”
Another interesting story on the format front is NBC’s decision to pilot Infamous, a legal drama based on a 2009 Icelandic series called Réttur. The new version is being written/executive produced by Eli Attie (House) and executive produced by the team behind This Is Us (John Requa and Glenn Ficarra).
Infamous centres on a hotshot attorney who is jailed for a murder he doesn’t remember, and believes he didn’t commit. Six years later, he’s released on a technicality and tries to juggle his day job with finding out what actually happened to put him in jail. The original, created by Sigurjón Kjartansson, ran for three seasons.
Still in the US, ABC is piloting a new series called Protect & Serve. The series centres on a city struggling to cope with the unrest that is stirred up when the police shoot an unarmed man. The show was created by Barbie Kligman and Aaron Kaplan, with Kligman and her husband Billy Malone writing the script.
This seems to be a popular theme for US TV drama at the moment, reflecting the number of high-profile incidents in which controversial police shootings have inspired riots and retaliation. Fox, for example, is working on Shots Fired, a drama that explores the aftermath of racially charged shootings in a Tennessee town.
Also within the ABC family, cable channel Freeform has commissioned a third season of drama series Stitchers. The show hasn’t been a huge hit for Freeform (season two averaged 387,000 per episode) but will provide some stability as Freeform’s top two shows Pretty Little Liars and Switched At Birth move inexorably towards extinction. For those unfamiliar with the show, it focuses on a female hacker who joins a government agency that investigates murders by hacking into the brains of the deceased.
Turning to Europe, UFA Fiction and ZDF began production this week on their new miniseries drama Heaven & Hell – Martin Luther (working title). Marking 500 years since the Reformation, the series tells the story of Martin Luther, the visionary reformer and one of the most important religious figures in history.
Filming commenced in Prague and the surrounding areas and will continue until early December. Executive producers Benjamin Benedict and Joachim Kosack of UFA Fiction said: “The radical perspective on those early days of the Reformation that Heaven & Hell – Martin Luther enables us to portray human inconsistencies, depths and conflicts. This is a story of a group of people alive 500 years ago whose internal convictions led them to forge a new path – one that ultimately changed the world.”
The show is the latest in a line of big-budget coproductions that have tackled pre-20th century European historical subjects. Others include Borgia, Versailles, 1864, Victoria, Maximilian and Marie de Bourgogne, Medici: Masters of Florence and the BBC’s literary adaptations such as Wolf Hall and War & Peace (and the in-development Les Miserables and A Place of Greater Safety) . The new Martin Luther project will be distributed by FremantleMedia International.
There has also been a lot of movement in drama acquisition and distribution business this week. Channel 4 in the UK, for example, has acquired the rights to ABC comedy Black-ish for its digital channel E4.
Dynamic Television, meanwhile, has acquired the global rights to Hulu original series East Los High, which tells the story of a group of inner-city high-school students in LA. Dynamic managing partner Daniel March said: “The series is a game-changer that has completely shattered the bar in the genre. This is a high-powered, emotional drama that speaks to the most sought-after youth audience by tackling everyday challenges.”
Also this week, German, UK and French on-demand services have picked up 12-part Norwegian drama Young & Promising from Nevision-owned distributor About Premium Content. The show, which follows a group of aspirational young urban women, will be streamed on ARD/ZDF-owned Funk in Germany, Channel 4’s Walter Presents in the UK and CanalPlay in France.
Laurent Boissel, joint CEO and co-founder at APC, said: “VoD platforms and broadcasters continue to look for quality drama targeted at millennials. With its strong female leads and a tone that resonates with our time, Young & Promising will appeal to this audience.”
Still in the world of streamers, US-based Acorn is partnering the BBC and All3Media International on Close to the Enemy, a Stephen Poliakoff drama set in a bomb-damaged London hotel in the aftermath of the Second World War. The drama, which Poliakoff discussed during last year’s C21 Drama Summit in London, follows an intelligence officer captain whose last task for the Army is to ensure that a captured German scientist starts working for the British RAF on developing the jet engine.
There’s also good news this week for Dori Media Group, which has licensed acclaimed series El Marginal to French pay TV channel Canal+. Nadav Palti, CEO of Dori Media, said: “Canal+ is a premium pay TV channel that provides its subscribers with access to the highest-quality content. The sale of El Marginal is, therefore, a ringing endorsement of the quality of the show.”
The series focuses on the story of Miguel Dimarco, an ex-cop who enters the San Onofre prison under a false identity as a convict. His mission is to infiltrate a gang of prisoners who have organised the kidnapping of a judge’s daughter. Miguel must discover the whereabouts of the girl and set her free. He meets the objective but someone betrays him, leaving him behind bars with no witnesses who know his true identity.
After a promising debut for This Is Us, NBC has given the new drama an additional five episodes, taking the total number of instalments for the first season to 18. The decision was made on the eve of the show’s second episode.
Citing Live+5-day data, NBC said the show’s premiere attracted 14.3 million viewers. It also set records on NBC’s digital platform.
Commenting on the decision to extend the show from its initial 13-episode order, NBC’s Jennifer Salke said: “It’s a rare moment in this business when a show so instantly delivers both critical acclaim and hit ratings, but This Is Us is just such an achievement. Creator Dan Fogelman, along with co-directors Glenn Ficarra and John Requa and the producers, cast and crew, has delivered the kind of heart and depth that resonates with every segment of the audience and we’re proud to extend it.”
This Is Us is also making waves in the international market, with Channel 4 in the UK picking up the show last week. Jay Hunt, Channel 4’s chief creative officer, said: “This Is Us is unmissably life affirming with a warmth that has drawn critical acclaim and bumper ratings. It’s a great addition to our slate of acquired shows – from Deutschland 83 to Fargo.”
Fogelman’s other new series, Pitch, hasn’t had such a bright start, however. The story of the first-ever female Major League Baseball pitcher, the show was one of Fox’s weaker performers last week, bringing in 4.2 million viewers.
It has had a decent amount of critical approval, which means it will almost certainly complete its initial 13-episode run, but it will need to win over audiences quickly to secure an extended run or second season.
Among the other new US series to have hit the air, CBS reboot MacGyver has had a strong start, securing an audience of around 10.9 million for its first episode. This is the best performance by a Friday-night scripted series on the network since Hawaii Five-0 in 2014.
With the show’s debut clearly benefiting from in-built name awareness, it will be interesting to see if it manages to hold on to that number through episodes two and three. If it does, it means the revival is an inspired move. If it drops away quickly, it will resemble ABC’s experience with The Muppets last year – namely a strong start followed by rapid loss of audience interest.
The fate of MacGyver may have some influence on whether the big four US networks continue to look at reviving classic series. Others currently in the works are The Rockford Files and LA Law, and success for MacGyver will certainly mean more.
By contrast to MacGyver, ABC’s Notorious has started very badly and looks like a prime candidate for early cancellation. Fox’s reboot of The Exorcist, with 2.9 million viewers, has also started slowly but may find its niche in international distribution because of its name recognition and supernatural subject matter.
Still in the US, FX has revealed that season four of its vampire virus series The Strain will be the last. The Strain’s writer and showrunner is Carlton Cuse, who is also coming to the end of A&E’s Bates Motel.
There had been talk of The Strain operating to a five-season story arc, but four seasons is probably enough to play the concept out. Strong in season one, the pace and direction of the narrative started to falter in season two – something that has been reflected in the ratings.
The downward path of the ratings tells the story. While season one averaged 2.2 million, season two came in at 1.34 million (this season also suffered from an awkward piece of recasting). Now in season three, the show is averaging 1.1 million but the latest episode attracted just 880,000 – the sign of a franchise coming to the end of its life.
Elsewhere, it has been a busy week for Australian drama. On the domestic front, Nine Network has commissioned a second season of Doctor Doctor, a local comedy drama about a formerly high-flying surgeon who is forced to work as a GP in the small country town where he grew up. The series, which sounds similar to DRG’s hit format Doc Martin, was only two episodes into the first season when Nine announced the recommission.
The show’s synopsis says: “When he is knocked off his pedestal and on to the Impaired Registrants Programme, prodigal Sydney surgeon and party boy Hugh Knight must return to his home in rural Whyhope where he might learn to swallow his pride and mend his ways – or not.”
Meanwhile, US-based SVoD platform Acorn has acquired two Australian series from distributor DCD Rights. The first is Deep Water, a four-part series inspired by a crime wave targeting gay people in Sydney’s coastal communities in the 1980s and 90s. The show is a Blackfella Films production for SBS Broadcasting Australia, Screen Australia and Screen New South Wales.
Acorn TV has also picked up the second season of political thriller The Code, which is produced by Playmaker Media for Australian public broadcaster ABC. Both series have also been acquired by BBC4 in the UK, a channel that is often used as a barometer of whether a show has international sales potential.
Finally, some desperately sad news this week with the untimely death of Gary Glasberg, executive producer/showrunner of NCIS and creator/executive producer of NCIS: New Orleans. Glasberg, just 50 years old, died suddenly in his sleep on September 28.
A well-liked figure, Glasberg joined NCIS in 2009 and helped confirm its status as one of the biggest drama hits in the world – a huge ratings success in the US and widely distributed internationally.
His previous credits included The Mentalist, Crossing Jordan and Bones.
“Today is an overwhelmingly sad day for NCIS, CBS and anyone who was blessed to spend time with Gary Glasberg,” said CBS president of entertainment Glenn Geller. “We have lost a cherished friend, gifted creative voice, respected leader and, most memorably, someone whose warmth and kindness was felt by all around him. Our heartfelt thoughts and sympathies go out to his wife, Mimi, his two sons and all his family and friends.”
CBS TV Studios president David Stapf added: “He brought kindness, integrity and class to everything he did. His remarkable talent as a writer and producer was only matched by his ability to connect with people.”
The autumn season has just started in the US – which means TV executives around the world will be watching with interest to see which new dramas live up to their pre-launch hype. This week, we look at some of the network shows that are buzzing.
Lethal Weapon: Movie reboots didn’t fare very well last year, with Rush Hour and Minority Report adaptations among those canned. But the buzz around Lethal Weapon has been pretty positive since the LA Screenings in May. Based on the iconic Mel Gibson/Danny Glover action franchise, the show centres on two cops with very different problems. The elder is returning to the job after a heart attack, while his new partner is reckless and borderline suicidal after the deaths of his wife and their unborn child. Clayne Crawford and Damon Wayans in the lead roles appear to have developed a good on-screen chemistry. The show premieres on Fox on Wednesday, September 21.
Designated Survivor: What’s not to like about a show that stars Kiefer Sutherland (24) as man who unexpectedly becomes president after an attack wipes out the US administration? Distributed globally by eOne International, this ABC show was created by David Guggenheim (Safe House) and hails from The Mark Gordon Company (Grey’s Anatomy, Ray Donovan, Quantico, Criminal Minds). Sutherland will be at Mipcom in Cannes next month to give a keynote speech, which should increase the show’s buzz on the international market. It premieres on Wednesday September 21.
This Is Us: A different kind of show to the above pair, This Is Us follows the stories of a group of people who share the same birthday. Critics have responded warmly to the opening episode and are comparing it to Parenthood, which ran for six seasons on NBC. Variety had some reservations about the show’s sustainability but still said: “This Is Us manages to both craft an intimate series of portraits and stitch them together. The result is an episode that allows the viewer to marvel at the beauty and mystery of life – at the surprising little grace notes of fate and commonality that bind us together – while getting to know the major characters and their difficulties.” The show was created by Dan Fogelman, whose credits include Tangled, Cars and Crazy, Stupid, Love. He also created the 2015 series Galavant. This Is Us is an NBC show that will premiere on Tuesday September 20.
Bull: CBS’s new line-up hasn’t attracted a particularly enthusiastic response from critics. But in a market starved of procedurals, Bull is a show to watch out for. It stars Michael Weatherly as a psychologist who runs a trial consulting firm and can read the minds of a jury and influence their verdict. Weatherly starred in NCIS for 13 years before switching to Bull, which means it will probably debut well. It is also regarded as a good fit for CBS. If it starts strongly, expect European buyers to be interested. The show debuts on Tuesday September 20.
Timeless: AdAge does a report each year with TV Guide listing the upcoming shows audiences are most excited by. It’s pretty accurate, with top-ranking shows generally getting picked up for a full season by networks. One that is showing up strongly this year is NBC’s Timeless, the latest in a flurry of time-travel shows. In this one, a criminal steals a time machine and tries to destroy America by altering past events like the Hindenburg disaster. A soldier, a history professor and a scientist try to stop him. Some critics have hammered the logic of the plot, but are predicting it will appeal to the same audience as Blindspot. There’s just a chance, though, that it will be this year’s Minority Report. Timeless will debut on NBC on Monday October 3.
The Pitch: Fox has led the way in on-screen diversity and The Pitch follows that pattern. It tells the story of pitcher Ginny Baker, who becomes the first woman to play in the major leagues (for the San Diego Padres). This column has previously discussed the problem of authenticity in sports dramas, but the good news here is that Major League Baseball has backed the show by allowing the use of its teams and logos in the story. Adweek said: “One of fall’s most ambitious pilots is also one of its best, with a compelling show that could appeal to both sports fans and viewers who like female-centric dramas. With Scandal delayed until midseason, this could resonate with fans of that show looking for an alternative on Thursdays at 21.00.” Interestingly, The Pitch was co-created by Dan Fogelman, who could find himself with two hits on his hands this year. It debuts on NBC on Thursday September 22.
Conviction: The highly regarded actor Hayley Atwell is back on TV after a couple of seasons as Marvel’s Agent Carter. Now she’s a brilliant but wayward lawyer who is given the job of running New York’s ‘conviction integrity unit,’ which investigates cases where innocent people may have ended up behind bars. Atwell may pull some Marvel fans over to this show, but it is generally regarded as a pretty safe procedural. If it rates well, however, it will be of interest to international buyers. The Conviction premieres on Monday October 3 on ABC.
Frequency: Inevitably, most of the pre-launch hype surrounds shows on the Big Four networks. But network number five, The CW, also has an interesting show on the way. Based on the 2000 movie, Frequency is another time-travel series in which a female cop discovers she is able to speak to her dead father via his old ham radio. Her attempts to save his life change the present in unforeseen ways. To fix the damage, she has to work with her father across time to solve a decades-old murder case. The AdAge/TV Guide survey rates this as a decent prospect. Premiere is Wednesday October 5.
Footnote: We decided to focus on the positives this week, but shows that already seem to have storm clouds overhead include ABC’s Notorious, CBS’s MacGyver and Fox’s The Exorcist. These seem the best tips for early cancellation at present.
As the creator of AMC shows Breaking Bad and its prequel Better Call Saul, and with writing and producing credits on The X-Files, Vince Gilligan’s place in the TV hall of fame is as secure as anybody’s. But he also has a couple of strikeouts to his name: X-Files spin-off The Lone Gunmen lasted a single season on Fox, while CBS’s Battle Creek shut down last year after just 13 episodes.
Maybe he is best suited to the morally ambiguous world of cable TV – which would be good news given that his next project is for HBO. Called Raven, the limited series will explore infamous cult leader Jim Jones and the Jonestown Massacre in Guyana in 1978. It is based on a book called Raven: The Untold Story of Jim Jones by Tim Reiterman, a journalist who survived the tragedy.
Gilligan, who will work alongside Breaking Bad director Michelle McLaren, won’t have any shortage of source material. Aside from the book, the Jonestown massacre has been the subject of a film and a couple of high-profile documentaries. He will need to write quickly, however, because A&E is also reported to be developing a drama about Jones as part of a series exploring US cults.
At the other end of the spectrum in terms of subject matter, venerable TV producer Dick Wolf is working with former One Direction band member Zayn Malik on a new series for NBC. Also involving Universal TV, Unigram and First Access Entertainment, it follows the formation of a successful boy band, exploring both the excitement and the pressure that comes with global fame.
The series, called Boys, is being written by Sherri Cooper Landsman and Jennifer Levin. Landsman and Levin have worked together on a number of shows including Brothers & Sisters, Unforgettable and, most recently, Beauty and the Beast. The latter, which launched in 2012 on CBS, ends tomorrow after four seasons on air – which makes the new show very timely.
“It’s exciting to be diving into this project with such passionate and prolific producers,” said Jennifer Salke, president of NBC Entertainment. “Zayn brings an authentic point of view to this world where kids are catapulted into fame at a dizzying speed. On top of our excitement around the ideas being discussed, we have a lot of respect for the project’s musical and digital ambitions.”
Still in the US, basketball superstar LeBron James’s production company Springhill Entertainment has sold a sports drama pilot to NBC. The as-yet-untitled show is about a brilliant doctor who specialises in treating the world’s greatest sports stars, with renowned orthopaedic/sports surgeon Dr James Andrews on board as an executive consultant. The script will be written by Matt O’Neill, whose main credit is the feature film Bait & Switch. O’Neill will work alongside Nicolas Falacci and Cheryl Heuton (Numb3rs) with the three all expected to be involved if the show progresses to series. For more on dramas with sporting subject matter, go here.
In mainland Europe, meanwhile, France 2 and ProSieben have been announced as the broadcast partners for Les Rivières Pourpres (Crimson Rivers), a new TV series from Luc Besson’s EuropaCorp and Maze Pictures. Based on a crime novel by Jean-Christophe Grange, the story has already had some success as a movie series starring Jean Reno (2000 and 2004). It follows two detectives investigating a series of gruesome murders.
Grange is involved in the writing of the series and will work alongside Franck Ollivier. Among his many credits, Ollivier helped adapt Besson’s Taxi film franchise into Taxi Brooklyn for NBC and was also part of the writing team that created Jo, an English-language French police procedural series created by Rene Balcer.
Although Ollivier has experience working on series with a French-English axis, Crimson Rivers will be produced in French. Explaining why, EuropaCorp’s Thomas Anargyros told Variety: “A few years ago, we would have made this series in English, but we now feel confident enough to shoot it in French. Our partners have also gained more confidence in our ability to produce world-class content with French talent.”
Ollivier’s credits run all the way back to 1995 and include Zodiaque, Le Maitre du Zodiaque and Interpol. Aside from Crimson Rivers, recent work includes Instinct and La Vengeance Aux Yeux Clairs. In the latter, which debuted last week on TF1, a woman returns to the French Riviera 10 years after the murders of her mother and brother, with a new identity and a desire for justice. The show picked up 6.3 million viewers across its first two episodes.
In other news, producer/distributor Entertainment One (eOne) has unveiled a strong slate of drama for next month’s Mipcom market, including Kiefer Sutherland thriller Designated Survivor, legal drama Conviction, hostage drama Ransom and crime series Cardinal.
We’ve discussed the first three in previous columns, but Cardinal is perhaps less well known. Adapted from Giles Blunt’s novel Forty Words for Sorrow, the first of six books in the John Cardinal Mysteries series, the story is based around the murder of a 13-year-old whose body is discovered in a mineshaft.
The drama is produced by Sienna Films and eOne in association with Bell Media’s CTV, with the financial participation of the Northern Ontario Heritage Fund Corporation, the Canada Media Fund and the Cogeco Program Development Fund, and with the assistance of the Ontario Film and Television Tax Credit and the Canadian Film or Video Production Tax Credit. So it’s Canadian!
The series has been adapted by Aubrey Nealon, who also serves as executive producer and showrunner. Nealon has a rock-solid set of writing credits that encompasses series such as Flashpoint, Rookie Blue, Saving Hope and Orphan Black. Anyone interested in his work on Orphan Black should look at this BBC blog.
UK producers have carved out a strong reputation for sophisticated high-end dramas that travel well internationally – and a number of new scripted projects announced this week should further enhance the industry’s reputation.
Pick of the bunch is The Spy Who Came in From the Cold, a new John Le Carré adaptation from The Ink Factory, the company behind acclaimed BBC1/AMC coproduction The Night Manager – also a Le Carré adaptation.
The new production will be penned by Oscar-winning screenwriter Simon Beaufoy (Slumdog Millionaire) but has yet to be placed with a broadcaster. Stephen Garrett’s new indie Character 7 will assist with financing and production, while Paramount Worldwide Television Licensing and Distribution has already been lined up to handle distribution of the series outside of the UK.
Regarded as one of the greatest English-language novels of the 20th century, The Spy Who Came in From the Cold follows a British intelligence operative who seeks revenge on the East German intelligence service deputy director responsible for the death of one of his agents. It was written in 1963 and adapted into an acclaimed film in 1965.
Meanwhile, the BBC, The Weinstein Company and Lookout Point are moving forward with a new TV series based on Victor Hugo’s Les Misérables, which until now has been best known to most people as a musical/musical film. Andrew Davies, who worked with the BBC, TWC and Lookout Point on an epic adaptation of Leo Tolstoy’s War and Peace, will write what is expected to be a six-part miniseries.
Commenting on the project, he said: “Les Misérables is a huge, iconic title. Most of us are familiar with the musical version, which only offers a fragmentary outline of its story. I am thrilled to have the opportunity of doing real justice to Victor Hugo by adapting his masterpiece in a six-hour version for the BBC, with the same team who made War and Peace.”
Also coming out of the UK this week is news of a planned adaptation of Wilkie Collins’ classic mystery story The Moonstone by the BBC. Described by TS Eliot as “the first and greatest of English Detective novels,” The Moonstone sees adventurer Franklin Blake attempting to solve the disappearance of the priceless Moonstone and win back Rachel Verinder, his true love.
The Moonstone will broadcast over five consecutive afternoons on BBC1, and is made in association with BBC Learning as part of the BBC’s #LoveToRead campaign.
It is being adapted for the screen by Rachel Flowerday (Father Brown, EastEnders) and Sasha Hails (Versailles, Casualty) and made by King Bert Productions.
Dan McGolpin, controller of BBC daytime and early peak, said: “The Moonstone spawned a new genre: the detective novel. Its influence endures to the present day, in books and on television. With the help of BBC Learning, we are offering BBC1 viewers the chance to see this gripping story play out across five afternoons. Our viewers are in for a treat.”
Still in the UK, pay TV channel Sky1 has ordered a second crime drama from author Harlan Coben and Red Production Company.
The new show, The Four, will be an eight-part thriller that tells the story of an idyllic family community irrevocably shattered by secrets, lies, suspicions and misguided trust. It follows on from Coben’s first original story for TV, The Five, which debuted in April on Sky1. As with The Five, the idea for The Four will be provided by Coben but the script will be written by Danny Brocklehurst.
Red CEO and founder Nicola Shindler said: “When Harlan told me about the premise for his latest story, I knew it would be just as addictive viewing as The Five. As with all his work, it is utterly intriguing, totally immersive and completely character-driven.”
Coben added: “I never wanted to make a sequel to The Five – that story has now been told – but rather to start afresh and bring a whole new crime drama to the screen. Working with Nicola and Sky again was essential to ensure that, creatively, The Four is brought to life in the way that we have imagined.”
Meanwhile, in the US, NBC has commissioned a true crime scripted series that will form part of its hugely successful Law & Order franchise. Law & Order: True Crime – The Menendez Murders will follow the real-life case of Lyle and Erik Menendez, the brothers convicted of murdering their parents in 1996.
The show is the first in a planned anthology series that will follow real-life criminal cases in a similar style to FX’s American Crime Story. Rene Balcer, who has played a central role in the development of Law & Order, will write and show the new spin-off, which is expected to consist of eight parts.
As we noted in our last column, the entertainment industry has been busy with San Diego Comic-Con for the last few days. Increasingly the event is viewed by studios an important platform for news about the future for TV shows.
Pay TV channel Syfy, for example, announced that it is bringing back Wynonna Earp for a second season, while Netflix revealed there will be a third season of its Marvel series Daredevil. There were also reports at Comic-Con that Netflix will provide a home for a reboot of Mystery Science Theater 3000, a 1980s/1990s comedy series that has been brought back to life thanks to a successful Kickstarter campaign.
Comic-Con also threw up rumours that Doctor Who spin-off series Torchwood may return. The show’s star John Barrowman said: “I have a phone conversation on Monday to see how we can get it back on television. The fans know me well enough, I’m only going to say it if I mean it and believe it.”
Away from Comic-Con, USA Network is reported to be developing a drama series set centred on a bodybuilding gym with Dwayne ‘The Rock’ Johnson. The show, which has a working title of Muscle Beach, will be based in LA’s Venice Beach during the 1980s. CBS is also reported to be working on a Venice Beach-set bodybuilding drama called Pump with Arnold Schwarzenegger and Michael Konyves.
Finally, in Asia, HBO has started production on a Chinese original series called The Psychic. The show, which has been developed by HBO Asia in partnership with Taiwanese broadcaster Public Television Service (PTS) and Singaporean production company InFocus Asia centres on a teenage girls who can see spirits.
Jonathan Spink, CEO of HBO Asia, said: “Asia’s rich diversity offers inspiration for countless of stories waiting to be told and local talents to be discovered. Through collaborating with PTS and remarkable talents in Taiwan to increase our production of local-language content, HBO Asia is perfectly placed to bring our creative spin to The Psychic for regional audiences.” The series will be shot in Taiwan and aired by HBO Asia in 23 territories.
Jessie Shih, director of international at PTS, added: “I am very happy to announce PTS’s first collaboration with HBO Asia on their first Chinese original series, also their first Taiwan series, working with a young and upcoming local team, bridging the gap between television and film with the talented mix of crew and actors. Cultivating local young talents and helping them to connect with the international industry is PTS’s top priority. I believe this HBO/PTS collaboration, in partnership with IFA, will lead the local Taiwanese industry to greater heights.”
Stephen Arnell casts his eye over the television landscape and finds there are plenty of science-fiction and fantasy series in the works to keep genre fans happy.
At the same time as a tide of comic book and graphic novel TV adaptations have hit the screen, there has been a less trumpeted but increasingly visible trend in series based on ‘hard’ science fiction and ‘serious’ fantasy.
With the recent announcement of Bryan Cranston’s new Philip K Dick anthology series Electric Dreams (produced by Sony Pictures Television for Channel 4), there seems to be an unmistakable head of steam behind adaptations of ‘hard’ sci-fi – coming hot on the heels of Amazon’s critically lauded The Man in the High Castle (also based on a Philip K Dick novel) and Syfy’s miniseries version of Arthur C Clarke’s downbeat Childhood’s End.
This resurgence of more serious-minded sci-fi is demonstrated in the UK, with Channel 4 leading the way with the AMC coproduction Humans and the less viewed, but well-regarded, Utopia.
The alternate-history Axis victory premise of Amazon’s High Castle will be mirrored by BBC1’s upcoming SS-GB, which itself harks back to 1978’s BBC2 production An Englishman’s Castle, which starred Kenneth More as a TV soap writer in Nazi-occupied Britain.
Broadcasters and OTT providers have discovered a new vein to mine, as evidenced by a slew of shows being developed or in production, including HBO’s series version of Michael Crichton’s Westworld (pictured top), best known to older readers from the 1973 movie starring Yul Brynner, James Brolin and Richard Benjamin.
The successful movie was followed by the sequel Futureworld (1976) and short-lived 1980 series Beyond Westworld (CBS), both unfortunately following the law of diminishing returns.
Despite reported production problems, 2016’s Westworld’s stellar cast (including Anthony Hopkins, Ed Harris and Thandie Newton) and strong proposition should guarantee high initial sampling when it debuts this autumn.
Westworld creator Jonathan Nolan (co-writer with his brother Christopher of The Prestige, Interstellar, The Dark Knight and The Dark Knight Rises) is also apparently developing a series version of Isaac Asimov’s classic Foundation trilogy (also for HBO), which is surely a prospect that will have sci-fi fans salivating.
Back in 2009, Sony reportedly tried to crack the novels with director Roland Emmerich (Independence Day, White House Down) attached, but when the project stalled, HBO stepped in to acquire the rights.
Along with JRR Tolkien’s The Lord of the Rings and Frank Herbert’s Dune, Foundation was regarded as ‘unfilmable’ due to its epic scope but, following Game of Thrones’ success, epic is something HBO can confidently handle.
Other sci-fi classics reportedly in development include Stephen Spielberg’s Amblin’s take on dystopian Aldous Huxley novel Brave New World and Dan Simmons’ Hyperion, produced by aficionado Bradley Cooper.
Both have been ordered by Syfy, which is also teaming with Battlestar Galactica writer/exec producer David Eick for the series version of Frederik Pohl’s 1977 Hugo and Nebula award-winning Gateway.
On the SVoD front, Hulu has given a straight-to-series order for a 10-part adaptation of Margaret Atwood’s The Handmaid’s Tale, a feminist story set in a grim US of the future, ruled by a Ted Cruz-style totalitarian Christian theocracy, starring Elizabeth Moss (Mad Men, Top of the Lake).
A movie of the novel was released in 1990, boasting an all-star cast that included Robert Duvall, Faye Dunaway and Downton Abbey’s Elizabeth McGovern, but the film suffered from script problems and was generally felt to be an interesting failure.
Darren Aronofsky (Black Swan, Noah) is said to be developing a TV series with HBO based on Atwood’s post-apocalyptic novel trilogy Oryx and Crake, The Year of the Flood and MaddAddam, set in a world where most of humanity has been wiped out by a pandemic and the survivors fight to find a reason to continue.
Back in 2011, there was talk of a remake of Ray Bradbury’s 1980 movie The Martian Chronicles (starring Rock Hudson), but this appears to have been abandoned. The revival of interest in the genre may see it resurrected, though.
US cable channel Spike has commissioned Kim Stanley Robinson’s hard sci-fi classic Red Mars for a 10-episode series debuting in January 2017. Dealing with the human colonisation of the Red Planet, the series features Vince Geradis (Game of Thrones) as exec producer.
And speaking of Mars, the daddy of all sci-fi stories – HG Wells’ War of the Worlds – is currently being developed by ITV-owned Mammoth Screen for an ostensibly authentic period version of the classic novel, scripted by Peter Harness (Jonathan Strange & Mr Norrell, City of Vice, Doctor Who).
Neil Marshall (Game of Thrones, Dog Soldiers, The Descent) is on board to direct, while reports earlier this year of Poldark star Aidan Turner taking the lead role of the narrator have since been denied.
HG Wells features as the protagonist of ABC’s Time After Time (based on Nicholas Meyers’ 1979 movie), which involves the author travelling from Victorian England to the present day. Kevin Williamson (The Vampire Diaries, The Following, Dawson’s Creek) is showrunner for the series.
Although Robert A Heinlein’s Starship Troopers was successfully transferred to the cinema screen by Paul Verhoeven in 1997, it remains doubtful whether a TV version of his most famous work, the controversial 1961 novel Stranger in a Strange Land (once promoted as “the most famous sci-fi novel ever written”) will ever see the light of day.
In terms of the serious fantasy genre, the BBC’s upcoming version of Philip Pullman’s His Dark Materials trilogy should benefit from having writer Jack Thorne (The Last Panthers, Skins, The Fades) guiding the show, which will hopefully avoid the pitfalls of 2007’s movie adaptation The Golden Compass and maintain more of an adult tone.
Scheduling and advertising will be important for the series, as the excellent Jonathan Strange & Mr Norrell suffered from misleading promotion, which gave the impression of a Harry Potter-style fantasy – and aired on the wrong channel, BBC1, when BBC2 would have been far more appropriate.
Fantasy legend Neil Gaiman has certainly been a busy lad, with no less than four TV adaptations of his writings in the works, as well as his mooted big-screen version of Gormenghast, which was last seen as a BBC2 series in 2000.
Actor Joseph Gordon-Levitt (Looper) was due to direct a movie version of Gaiman’s Sandman, but that recently hit the buffers.
First up is American Gods for Starz in the US, which has an impressive cast including Ian McShane, Peter Stormare, Jonathan Tucker and Crispin Glover.
Sean Harris (Mission Impossible: Rogue Nation, Jamaica Inn, The Borgias) has since left the production to be replaced by Pablo Schreiber (Orange is the New Black, The Wire) in the role of troubled Leprechaun Mad Sweeney, with Bryan Fuller (Hannibal, Pushing Daisies) as showrunner.
Gaiman’s Anansi Boys, which occupies the same fictional universe as American Gods, was optioned by BBC1 in the UK back in 2014, while his anthology Likely Stories has been commissioned by Sky Arts in the UK, featuring a cast that numbers Johnny Vegas (Benidorm, Ideal) and industry veteran Kenneth Cranham (Rome, War & Peace, Layer Cake), with a score by Pulp frontman Jarvis Cocker.
Directors Iain Forsyth and Jane Pollard helmed and co-wrote the critically acclaimed 2,000 Days On Earth, a portrait of Aussie Renaissance Man Nick Cave.
Good Omens, Gaiman’s end-of-the-world collaboration with the late Terry Pratchett, is also being considered by the BBC for a miniseries, while Lucifer, the Fox show based on Gaiman’s character from Sandman, has recently been renewed for a second season.
Other fantasy projects with adult themes on the horizon include NBC’s Midnight, Texas (due to be transmitted this autumn), based on the novels by Charlaine Harris (True Blood), and the BBC’s The City and The City – Tony Grisoni (Red Riding, Fear and Loathing in Las Vegas, Southcliffe) developing China Mieville’s cult novel about the cities Beszel and Ul Quoma, which occupy the same point in space and time.
And last, but by no means least, Robert Jordan’s Wheel of Time series, said to be the highest-selling serious fantasy novels since The Lord of the Rings, are rumoured to be under consideration by Sony for either AMC, Netflix or Amazon.
As the dust settles on the US networks’ Upfronts week, Stephen Arnell casts his eye over the new shows set to hit our screens in 2016/17.
In the main, innovation appeared to be in short supply at last week’s Upfronts – reboots, legal and cop dramas and the dispiriting trend of making TV versions of hit movies are the order of the day for the nets.
Despite the poor performance of Minority Report, Rush Hour and Limitless (which were all cancelled after one season), we’ll see series versions of films including Lethal Weapon (Fox), Training Day (CBS), Taken (NBC), The Exorcist (Fox) and lesser-known properties Frequency (The CW) and Time After Time (ABC).
Sci-fi thriller Frequency was a medium-sized hit for Dennis Quaid (who’ll star in season two of Sky Atlantic’s upcoming Fortitude) in 2000, while Time After Time was released way back in 1979, with Malcolm MacDowell and David Warner as HG Wells and Jack the Ripper respectively, Wells pursuing the Ripper through time to then present day San Francisco.
NBC cablenet USA Network is taking a punt on Shooter, based on the 2007 Mark Wahlberg actioner, starring Ryan Phillippe (Cruel Intentions, McGruber, The Lincoln Lawyer).
Turner’s TNT also unveiled its adaptation of acclaimed crime drama Animal Kingdom, with Ellen Barkin (The Big Easy, Happyish, Ocean’s 13) taking the lead role as matriarch Smurf.
Fox seems to be the home for budding Satanists, with a series reworking of William Friedkin’s classic The Exorcist joining a schedule that includes Lucifer (returning for a second series) and reality format Hell’s Kitchen. Incidentally, A&E’s Damien (based on The Omen movies) will not be returning for a second season.
It will be a challenge for Fox to deliver a 21.00 network show that will bear any comparison to the original X-rated Exorcist movie, which still has the power to shock.
To a lesser extent, this also applies to the 20.00 slot given to Lethal Weapon (pictured top), which presumably won’t give the character of detective Roger Murtaugh (played in the series by Damon Wayans Sr) the chance to exclaim his signature catchphrase, ‘I’m too old for this shit.’
‘Too old for this stuff’ it is then. Gosh, darn, as they say.
Still, as long as there are successful film-to-TV series such as Buffy the Vampire Slayer, M*A*S*H, Fargo, Bates Motel (a prequel to Alfred Hitchcock’s Psycho) and Stargate, there will always be the temptation for producers to exploit their IP library and rely on name recognition attract a least a high initial audience.
On a similar tack, series revivals are also in vogue – coming off the back of the successful X-Files (Fox) six-part run and the not-so-popular Heroes Reborn (NBC). The 2016/17 season will see the return of Prison Break (Fox) and MacGyver (CBS), with Lucas Till (X-Men: First Class, Apocalypse) in the titular role.
After the original 1939 movie, 1985’s Return to Oz, James Franco’s Oz the Great and Powerful (2013), the Sci-Fi channel miniseries Tin Man (2007) and The Witches of Oz (2011) comes NBC’s Emerald City.
Promising a darker take on Frank L Baum’s Oz novels, Emerald City boast the distinctive visuals of director Tarsem Singh (The Cell, Immortals) with a cast lead by an on-a-roll Vincent D’Onofrio (Daredevil, Law & Order: Criminal Intent, Jurassic World) as the wizard and Ardia Ajona (True Detective) as the now adult Dorothy.
Dick Wolf’s ever-expanding Chicago franchise (NBC) will see Justice added to Chicagos Fire, PD and Med. Funny or Die has already parodied the meta-sizing brand with Chicago Sanitation.
NBC’S hit show The Blacklist has spawned the spin-off/’companion piece’ The Blacklist: Redemption, starring Famke Janssen (X-Men, Taken), while 24 gets a reboot with the 12-episode 24: Legacy. Corey Hawkins (The Walking Dead, Straight Outta Compton) tops the bill as former army ranger Eric Carter.
Time travel has emerged as a fashionable sub-genre, with the aforementioned movie-to-TV shows Time After Time and Frequency, together with Timeless (NBC) and comedy Making History (Fox).
The 400th anniversary of the death of William Shakespeare has prompted a number of dramas, including Still Star-Crossed (ShondaLand) for ABC and Will for cablenet TNT; while in the UK there is the Ben Elton comedy Upstart Crow (BBC2) and last year’s little-seen BBC Film comedy Bill.
Among the slew of formula network dramas, there are a number of interesting shows that could stand out. Kiefer Sutherland stars as the US secretary of housing and development in Designated Survivor (ABC) who finds himself propelled to the position of acting president after the president, vice-president and much of the cabinet are blown up by a terrorist attack at the State of the Union address.
Midnight Texas (NBC) is adapted from the novels by True Blood (HBO) author Charlaine Harris and helmed by Mr Robot’s Neil Arden Oplev. The official synopsis states: “From vampires and witches to psychics and hit men, Midnight is a mysterious safe haven for those who are different. As the town members fight off outside pressures from rowdy biker gangs, ever-suspicious cops and their own dangerous pasts, they band together and form a strong and unlikely family.”
Network censors won’t be permitting any True Blood-style boundary-pushing, so the show may lack the edge expected by fans of the novels.
Fox’s Shots Fired could well prove controversial in this US presidential election year, concerning as it does a racially charged shooting in North Carolina, with memories still very fresh after Ferguson, the killing of Trayvon Martin and the emergence of the Black Lives Matter movement. A strong cast includes Sanaa Lathan (Boss, Nip/Tuck), Helen Hunt (As Good as it Gets, Mad About You), Richard Dreyfuss (Jaws, W, Close Encounters of the Third Kind), Will Patton (Armageddon, Falling Skies) and Stephen Moyer (True Blood).
The CW’s mid-season Riverdale is a subversive Twin Peaks-style take on the characters from the Archie comics – something that could either catch fire or fall flat. The presence of showrunner Greg Berlanti (Arrow, The Flash) gives Riverdale a fighting chance.
Turning briefly to the networks’ cable and SVoD siblings, NBC’s Syfy teased David S Goyer’s (Blade trilogy, Dark Knight trilogy, Constantine, Batman vs Superman: Dawn of Justice) long-gestating Superman prequel Krypton.
The show concerns the struggles of Superman’s House of El family in the 200 years before the destruction of Clark Kent’s homeworld.
Unlike Gotham (Fox), where viewers have at least heard of many of the characters before the arrival of Batman on the scene, it might be a big ask for the audience to take much interest in the travails of Kal-El’s grandfather and his various Kryptonian enemies.
Presumably the forebears of Superman villain General Zod will feature at some point in the show – as either foes or allies of The House of El. Though there are echoes, perhaps, of Syfy’s Battlestar Galactica prequel Caprica, which lasted one season back in 2011.
CBS’s own SVoD service CBS All Access debuted the logo and some space effects footage of Bryan Fuller’s (American Gods, Hannibal) Star Trek prequel series, rumoured to be an anthology show, with each possible season covering a different Enterprise crew and era.
Turner’s Kevin Reilly also revealed his ambitions for the family of channels, with comedy-based TBS continuing its quest for younger viewers and TNT upping the ante with a number of drama projects, including an adaptation of Caleb Carr’s best-selling period crime novel The Alienist and Good Behaviour, with Downton Abbey’s Michelle Dockery starring as a con artist and thief, based on Blake Crouch’s (Wayward Pines) Letty Dobesh books.
Perry Mason, Petrocelli, JAG, LA Law, Ally McBeal, Boston Legal, The Practice, Damages – no one does legal drama quite like the US. Here are 10 current and upcoming law-based series.
Suits Season six of Suits will launch in July. Created by Aaron Korsh, it focuses on slick city lawyer Harvey Specter and his talented protégé Mike Ross. Now up to 76 episodes, it’s a big hit for USA Network and gets an impressive 8.7 rating on IMDb. Part of the appeal of this New York-set show is its fast-paced humour, which shouldn’t come as a surprise given Korsh’s background on successful comedies such as Everybody Loves Raymond.
The Good Wife This show, created by Robert and Michelle King, has just come to an end after seven seasons on CBS. It tells the story of Alicia Florrick, who returns to work as a Chicago-based litigator after 13 years as a stay-at-home mother. There is still a lot of affection for the show, which explains why CBS is planning a spin-off that will only be available via subscription. The Kings are expected to co-write the first episode but will not run it.
Law & Order Created by Dick Wolf, this procedural juggernaut ran for 20 seasons until 2010 on NBC. The first half of every show focused on the investigation of a crime and the second half was the prosecution of the defendant in the New York courts. The show spawned four spin-offs including one set in LA. Another of these, Law & Order: SVU, is still running after 17 seasons. With more than 1,000 episodes in the archive, it’s no surprise that the franchise has also been a big seller in distribution and has been the basis of several adaptations in markets like the UK, France and Russia.
Chicago Justice Also from NBC and Dick Wolf, this show is the latest in a run of Chicago-based procedurals. It was soft launched during Chicago PD this month and is now being prepared for next season’s schedule. It’s early days but the basic line is that it will focus on lawyers in the Chicago area. The story for the Chicago PD launch of the show was created by Wolf but the teleplay was written by Michael Brandt, Derek Haas and Matt Olmstead, all of whom are exec producing the new show.
How To Get Away With Murder An interesting take on the genre, this ABC show focuses on a law professor at Philadelphia University (played by Viola Davis) who gets caught up in a murder plot along with five of her students. Davis has received a lot of plaudits, as has series creator Peter Nowalk, part of the team at Shondaland. Nowalk learned his trade on other Shondaland series (Grey’s Anatomy and Scandal) before taking the lead. The show has just completed season two and will be back next year.
Doubt Starring Katherine Heigl, this new CBS show will tell the story of a successful defence lawyer who starts to fall for her charismatic client, who may or may not be guilty of a brutal crime. The idea was actually developed for the season just gone but wasn’t picked up as a series. However, it has now been reworked and will feature in the network’s 2016/17 season. Tony Phelan, Joan Rater, Carl Beverly, Sarah Timberman and Adam Bernstein will serve as executive producers with the husband-and-wife team of Phelan and Rater sharing writing duties. Their credits include Madam Secretary, Grey’s Anatomy and Law & Order: Trial By Jury.
Better Call Saul It’s easy to forget this AMC series is a legal drama because of its quirky characterisation and links to Breaking Bad. It may not be a procedural in the Law & Order vein but it is a great insight into the machinations of US lawyers. Created by Vince Gilligan and Peter Gould, the New Mexico-set show is a strong performer and was recently renewed for a third season.
Conviction This new drama for ABC from the Mark Gordon Company (Quantico) will debut in 2016/17. The pilot was written by Liz Friedman, who has made a name for herself with Jessica Jones and Elementary. The show tells the story of Carter Morrison, the brilliant but rebellious daughter of a former president who is blackmailed into taking a job as the head of Los Angeles’ newly created Conviction Integrity Unit. She examines cases where there’s suspicion that the wrong person may have been convicted of a crime.
The Grinder This Fox show makes our list though it was actually cancelled last week after one season. Created by Jarrad Paul and Andrew Mogel, it’s a comedy drama about an actor (played by Rob Lowe) who returns to his home town in Idaho after his TV series (The Grinder) ends. Having played a lawyer on TV he thinks he is equipped to work with his family law firm – cue comedy. Unfortunately, the ratings for the show were low.
Shots Fired Fox hasn’t given up on the law after the failure of The Grinder, but it has gone for something more serious. For next season it has lined up Shots Fired, an event series that follows the aftermath of a racially charged shooting in a fictional town in North Carolina. Sanaa Lathan, Helen Hunt and Richard Dreyfuss star. Gina Prince-Bythewood and Reggie Rock Bythewood are the series creators on this one. Their writing credits, respectively, include Before I Fall and Gun Hill. There are echoes in this project of the recent FX hit The People vs OJ Simpson, written by a team of six headed by Scott Alexander and Larry Karaszewski.