Six-part drama Hard Sun is described as a pre-apocalyptic crime drama set in contemporary London.
While investigating the death of a computer hacker, partners and enemies Charlie Hicks and Elaine Renko inadvertently stumble upon proof that the world is facing certain destruction in five years.
Pursued by ruthless security service operatives, who are willing to kill them in order to keep them silent, they must protect themselves and those they love while ensuring a new breed of murderers, abusers, serial killers and cult leaders face justice.
In this DQTV video, writer/creator Neil Cross (Luther) and executive producer Kate Harwood discuss making the series, which centres on the relationship between two detectives who stand morally and ethically opposed to each other.
Stars Agyness Deyn (Renko), Jim Sturgess (Hicks) and Nikki Amuka-Bird (Grace) also reveal more about the conflicted and complex relationships between their characters and the appeal of starring in a show written by Cross, who also talks about his writing process.
Hard Sun is produced by Euston Films for BBC1 and Hulu and distributed by FremantleMedia International.
Luther creator Neil Cross begins the countdown to the end of the world in Hard Sun, starring Jim Sturgess and Agyness Deyn. DQ joins the cast and crew on set to find two detectives fighting crime as society threatens to descend into chaos.
Pushing through the market square, so many mothers sighing // News had just come over, we had five years left to cry in // News guy wept and told us, earth was really dying // Cried so much his face was wet, then I knew he was not lying.
The unrivalled legacy of the late David Bowie reaches far and wide, with musicians, filmmakers and fashion designers alike finding inspiration in his flamboyant use of make-up and costumes and his groundbreaking musical flair.
In television, Bowie’s music has been used as title tracks for Life on Mars, Ashes to Ashes and The Last Panthers, and is said to have inspired Fox network drama Lucifer. Now, his song Five Years – the opening track on his seminal 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars – serves as the loose inspiration behind the new series from Luther creator Neil Cross.
Described as a pre-apocalyptic crime drama set in contemporary London, Hard Sun follows detectives Robert Hicks and Elaine Renko as they discover the end of the world is nigh. With five years until annihilation, they face the prospect of maintaining justice as Armageddon looms. But how do you leave your family behind each morning and put your life at risk? And what criminal would fear a prison sentence in a world on the brink of extinction?
It’s a suitably sunny day when DQ joins the cast and crew on set during filming of scenes for the climactic sixth and final episode. The vast number of buildings and grounds that make up a former HSBC training site, located on the outskirts of north-west London, have provided many of the interior and exterior locations for the series.
A stairway and some double doors inside one building lead to the set of the police station. Here, a dimly lit observation room is filled with CCTV monitors while a central room is full of desks, with one wall covered with photographs of victims, crime scenes and evidence. The walls are painted metallic grey throughout as flashing lights from a bank of computer servers break the darkness.
It’s inside interrogation room FR7 that DQ meets executive producer Kate Harwood, MD of producer Euston Films. The sterile room contains a single steel desk with a recorder on the table. There are grey tile walls and a green lino floor, with CCTV cameras in every corner. Light shines through barred windows.
Hard Sun represents the first commission for Euston Films since Harwood rebooted the FremantleMedia label in 2014. The former head of drama for the BBC’s in-house production unit, she was at the channel when Cross first introduced tough-talking detective John Luther, brought to formidable life by Idris Elba.
BBC1 commissioned Hard Sun on the strength of one episode, so after getting the commission, Cross spent the next 18 months writing scripts. Brian Kirk (Game of Thrones, Penny Dreadful) joined as lead director, with Eve Stewart (The King’s Speech) as production designer and “rising star” Nick Rowlands (Ripper Street) as second-block director.
“It’s a crime show with a science-fiction premise,” Harwood says. “It’s as procedural as you can be when the cops are carrying around the secret that the world is going to end. So it’s part cop show, part sci-fi, part conspiracy thriller. But we’ve called it a pre-apocalyptic crime show set in contemporary London.”
Amid a lot of interest in the US, streaming service Hulu quickly boarded the series, while distributor FremantleMedia International beefed up its budget. Tax breaks have also been used to maximise the show’s finances.
On screen, Jim Sturgess and model-turned-actor Agyness Deyn (in her first TV role) play Hicks and Renko respectively, distrustful partners who seek to enforce the law and protect their families as destruction edges ever closer. Nicki Amuka-Bird plays an MI5 government official, a mysterious character who is part of the establishment and trying to suppress the information.
“Neil always says Hicks is the sun and Renko is the moon,” Harwood explains. “There’s a polarity about them. They circle each other. Sometimes they’re partners, sometimes they’re opposites. It’s a distrustful, must-trust relationship. That tension between them is absolutely essential. Hicks is explosive and external and bright and Renko is more watchful, more secretive, more held back and it’s a lovely duality between them. Agyness has never done TV. She seemed really excited by the material as soon as we met her. She’s like a duck to water and she’s so hard-working, focused and punctilious.”
Back on set and with the cameras rolling, Sturgess and Deyn find themselves in the lobby of a grand house, the air thick with smoke as an elaborate chandelier hangs above. One side room appears to be a surgery, with a lobotomy chair in the middle. Other rooms appear to be bedrooms, with TVs screening static fuzz in the gloom.
As Renko and Hicks, they enter the room from a dark corridor, torches raised to find a lady in a medical gown. Slowly, others emerge from the darkness to surround them in what promises to be an extremely creepy climax to the sixth episode.
“It starts off as a procedural show with Hicks and Renko investigating a particular crime – a man who’s apparently fallen off a balcony and is found dead in a tree,” explains producer Hugh Warren, who also reveals the Bowie link to the series. “But what unravels is that his stolen flash drive contains this Hard Sun dossier that, internationally, is being suppressed by government forces because they’ve learnt that an extinction-level event is coming. So by the end [of episode one], Hicks and Renko know there’s five years left for the planet and that’s the new world they’re in.”
Filming locations took in areas of London including Shepherd’s Bush, Shoreditch and Oxford Circus. Naturally, the logistics and cost of moving the production around the city caused headaches for Warren and his team. The scripts also called for numerous night shoots, which became increasingly difficult as the production, which began shooting at the end of January, entered spring and early summer.
“It’s also very action-heavy for British television so there are a lot of stunts, a lot of complicated stuff to shoot. The normal amount you would expect to shoot on an average day for a TV drama, we can’t achieve,” he admits. “We’re shooting for many more days per hour than you would expect. That’s a real challenge in terms of time because we’ve only got the actors for a finite period.”
But what will fans of Luther, which is returning to the BBC for a fifth season, make of Cross’s latest series? “I think it will surprise people,” says Warren, adding that celebrity cosmologist Brian Cox has been on hand to help the creator root his end of-the-world theory in fact.
“What it has in common with Luther is the darkness – there are some very dark stories in there but also real humanity. We’re telling a huge cosmic story about the end of the planet but what’s interesting is it comes down to really common human experiences. They’re very everyday stories set against this massive global catastrophe.”
Too good to turn down
Having only just appeared in a BBC drama – Stephen Poliakoff’s Close to the Enemy – Jim Sturgess wasn’t planning on signing up for another one. Instead, he was pondering a break from acting to focus on his music career. So it’s testament to Neil Cross’s script that the actor immediately signed up to play detective Robert Hicks in Hard Sun.
“I was almost cursing Neil for writing something so good,” Sturgess reveals, adding that he was attracted by the combination of “messed up, flawed characters” and the overall concept for the series.
“What’s great about this, and why I’m really excited about it, is it’s a pre-apocalyptic story that doesn’t need to rush,” he says, citing movies such as Armageddon that cram an extinction-level event into 120 minutes. “I hadn’t seen this before, where something’s looming but you can really spend time looking at what that’s going to do to individuals and society as a whole. TV works for a project like this because you can really take your time with it.”
Cross travelled from his New Zealand home for rehearsals alongside Sturgess, co-star Agyness Deyn and lead director Brian Kirk. It was there that the two leads cemented their partnership, both on and off screen.
“Our relationship on screen is incredibly intricate and at times complicated and strategic,” Sturgess says. “Off-screen It’s great to have a partner in crime on set who you really trust, has a very similar work ethic and cares about it as much as I do. She brings everything she has to it and we get on really well. We’re both pretty chilled out.”
Sturgess, whose film credits include 21 and Cloud Atlas, last year starred as a chef in AMC’s 2016 series Feed the Beast, an adaptation of Danish drama Bankerot. He’s also played criminals, drug addicts and a stoner musician, but has never played a detective before – “and I’ve never really wanted to,” he admits, “until I read this particular detective.”
“He’s not squeaky clean at all,” Sturgess adds. “He’s not James Bond. He makes some very tricky decisions that have a difficult impact on his life later on. But he considers himself to be a good family man, and that becomes an important part of the story because it’s his family he’s trying to save.”
About two years ago, the international scripted TV business started to express its concern that there was a shortage of US procedural dramas coming on to the market. With the trend towards limited series and increased emphasis on superhero/sci-fi, buyers in markets like France and Germany feared a gap.
A number of companies said they would address the shortfall, including NBCUniversal International Studios (NBCUIS), which formed a partnership with RTL (Germany) and TF1 (France) with the intention of creating US-style procedural dramas. This week, they delivered on their promise by greenlighting Gone, a 12-part series based on Chelsea Cain’s novel One Kick.
Gone, which will be broadcast in late 2017/early 2018, tells the story of Kit Lannigan, survivor of a child abduction case and Frank Booth, the FBI agent who rescued her. Determined never to fall victim again, Kick trains in martial arts and the use of firearms.
She finds her calling when Booth persuades her to join a task force dedicated to solving abductions and missing persons cases. Paired with former army intelligence officer John Bishop, Kick brings her unique understanding of the mind of a predator to the team.
Gone will be executive produced by Matt Lopez, JoAnn Alfano and Sara Colleton. All episodes will be written, cast and produced in the US.
RTL and TF1 will broadcast and distribute the series in their territories (German and French respectively) and NBCUniversal International Distribution will license rights for the US and the rest of the world on behalf of the partnership.
Michael Edelstein, president of NBCUIS, said: “We are all delighted to be moving forward so quickly on our first series. In Gone, Matt Lopez has created a fascinating character who we believe will connect with procedural audiences around the world. We are assembling a first-rate production team and look forward to future series with our partners.”
Fabrice Bailly, head of programmes and acquisition TF1 Group, said: “The collaborative relationship represents a new way of working, for both studios and European broadcasters, to achieve high-quality procedural dramas.”
Joerg Graf, exec VP of production and acquisition at RTL Deutschland, added: “TF1 and NBCUniversal International Studios share our view that tailor-made formats will meet the need of our viewers for high-quality crime dramas.”
While the project is a welcome development, one point of interest is that Gone’s 12-episode run is still shorter than a standard US procedural. The first season of Fox’s Lethal Weapon, for example, is 18 episodes, while ABC’s Quantico has received 22-episode orders in seasons one and two. So a 12-episode order still leaves open a questions over the volume of new procedural episodes such cross-border alliances can bring to market.
Another interesting story this week is the announcement that Fox Networks Group (FNG) Europe and Africa has commissioned its first original drama in the region. While it isn’t a procedural like Gone, it does illustrate the increasing level of US studio engagement in the international market (in our last column, we also reported how HBO Europe is increasing its slate of original dramas).
Called The Nine, the new FNG show is created by Matthew Parkhill and Simon Maxwell (American Odyssey) and produced by Hilary Bevan Jones (Close To The Enemy, State of Play). An eight-hour drama, it tells the story of an ex-spy “who is brought back into the game to avenge the death of his son, only to find himself at the heart of a covert intelligence war and a conspiracy to profit from spreading chaos throughout the Middle East.”
Maxwell and Parkhill said: “We wanted to tell a story set against the backdrop of our dangerous and uncertain times. The Nine unfolds through the eyes of a man caught between two versions of himself, the past and the present. The genre of an espionage thriller gives us the perfect opportunity to mix his personal story with the turbulence of an ever-changing geo-political landscape.”
The project was commissioned by Jeff Ford, senior VP of content development, and Sara Johnson, VP scripted drama for FNG, Europe and Africa, and will go into pre-production in the new year.
“Following the success we’ve had with our Fox global content, we made a commitment to develop drama for this region that has the potential to be a success worldwide,” said Ford.
Another story that showcases the increasing international clout of the US studios’ production operations is the news that Sony Pictures Television (SPT)’s on-demand platform Crackle has joined forces with Chinese streaming service iQIYI on a three-part Mandarin-language drama. The partners will create a new version of Chosen, a Crackle original that has aired for four seasons.
SPT’s Playmaker Media is producing with support from Screen NSW and the show will be shot entirely in Australia. Production begins in the spring with a launch due at the end of 2017.
The past week has also seen a number of production and development announcements flowing out of C21’s Content London event. For example, ITV Studios-owned indie Big Talk Productions confirmed that it is remaking sci-fi series Sapphire & Steel, with Luther creator Neil Cross attached to the project.
Also, screenwriter/director Tony Grisoni revealed that he is developing a drama set against the 1943 Allied liberation of Sicily, with UK broadcaster Channel 4 paying for script development.
In the US, meanwhile, Thunderbird Entertainment has teamed up with David Salzman (Dallas) to develop a TV series based on Faye Kellerman’s Decker-Lazarus series of mystery novels.
The initial development process will focus on The Ritual Bath, the first book in the Decker-Lazarus series. The story follows a tough LAPD detective and a widowed mother of two who witnesses a brutal crime and becomes embroiled in solving it.
Also in the US, Nickelodeon has greenlit a third season of School of Rock, a tween/teen series based on the 2003 cult movie of the same name. Originally ordered straight-to-series, the show was given a rapid second season order of 13 episodes and has been attracting an average of around 1.4 million viewers.
The third season, which will go into production in 2017, will have 20 episodes, suggesting Nickelodeon is very happy with the show. School of Rock was the first series order for Paramount TV and is the first to go to a third season. The studio has also enjoyed success with Epix show Berlin Station and USA Network’s Shooter.
Today is the last day of BBC Showcase, an annual event that sees around 700 programme buyers from around the world descend on Liverpool in the UK to view and potentially acquire BBC Worldwide (BBCWW)-distributed content.
At this year’s event, BBCWW has had a lot of its success with crime drama, selling around 900 hours of programming to markets including Europe, the Middle East and Japan. It’s a reminder that the Nordic nations aren’t the only ones capable of producing compelling noir.
Paul Dempsey, president of global markets at BBCWW, commented: “British crime drama is hugely popular around the world and accounts for over 40% of our drama revenue.”
The fact that the UK does so well is a testament to the quality of TV crime writing in the country, so this week we’ll take a look at some of the talent driving the international hit machine.
Luther, which stars Idris Elba as DCI John Luther, was acquired by German public broadcaster ZDF, Star India and also by platforms in South Korea and Africa. The fourth series, which aired in the UK during December 2015, consisted of two feature-length episodes. What it lacked in volume, it made up for in ratings, with the two episodes attracting around 7.5 to eight million viewers. All 16 episodes of Luther have been written by New Zealand-based Neil Cross, who has also written episodes of Doctor Who for the BBC. Cross has also been commissioned by the BBC to write Hard Sun, a six-part apocalyptic crime drama set in contemporary London.
The Inspector Lynley Mysteries was also picked up by ZDF for its ZDFneo channel. Originally broadcast from 2001 to 2008, the series (based on the novels by Elizabeth George) has proved a decent performer on the international market. In the US, for example, all 23 episodes have aired on PBS. Several scribes have written episodes, including Pete Jukes, Simon Block, Lizzie Mickery, Valerie Windsor, Kate Wood, Francesca Brill, Valerie Windsor, Ann-marie di Mambro, Kevin Clarke, Simon Booker, Julian Simpson, Mark Grieg and Ed Whitmore. Whitmore also wrote a large number of episodes for fellow long-running BBC crime drama Waking the Dead. His other credits include Silent Witness (which was also picked up by TV4 Sweden at Showcase), Arthur & George and Identity, an ITV production that was subsequently sold as a format to ABC in the US. Whitmore also has a couple of episodes of CSI to his name.
Happy Valley season two, was picked up by French PayTV broadcaster Canal+ (which also acquired the fourth season of Luther). The show’s first run was a strong seller overseas and there’s no reason to suppose the new outing will fare any less well. The show is produced by Red Production Company and written by Sally Wainwright. Wainwright also created Scott & Bailey, another popular female-led crime series that has been airing since 2011 on ITV.
Prey is broadcast by ITV in the UK but is distributed internationally by BBCWW. The first batch of three episodes aired in 2014 and starred John Simm, while a second run of three aired in late 2015 and starred Philip Glenister. The latter has just been sold to broadcasters including NRK Norway, YLE Finland and Canal+. Prey was created by Chris Lunt, who wrote all six episodes. Lunt’s success is a reminder that it’s never too late to break into the TV writing business. After 10 years of knocking on doors and pitching more than 80 projects, Lunt finally got his break at age 43. Media reports suggest he is also working on a modern-day adaptation of The Saint with the aforementioned Ed Whitmore.
Sherlock, created by Mark Gatiss and Steven Moffat, has sold very well around the world since it debuted in 2010. At the start of this year, Gatiss and Moffat created one-off special The Abominable Bride, in which much of the action took place in the Victorian era (though a scriptwriting sleight of hand meant the story was actually linked back to the contemporary setting of the series). Broadcasters that picked up the special at Showcase include Degeto (Germany), SVT Sweden, Czech Television and Channel One in Russia. A fourth series of Sherlock is on the way in 2017, with stories for a fifth season also sketched out by Gatiss and Moffat. The show is very slow to come to market because of the busy schedules of Gatiss, Moffat and the lead cast members.
Maigret, based on the books by Georges Simenon, is a new ITV series starring Rowan Atkinson (Blackadder, Mr Bean). At Showcase it was picked up by Germany’s Degeto, which also acquired Sherlock: The Abominable Bride. The writer on this one is the experienced Stewart Harcourt, whose other credits include Agatha Raisin: The Quiche of Death, Love & Marriage, Treasure Island, Inspector George Gently, Poirot and Marple. So if anyone can handle a book-based period detective story, it’s Harcourt.
Unforgotten, like Prey, is an ITV series distributed worldwide by BBCWW. Aired in October 2015, the first six-part series focuses on four people whose lives are rocked when the bones belonging to a young man who died 39 years ago are discovered below a demolished house. At Showcase, the drama was picked up by France 3 and YES DBS Satellite in Israel. The show was produced by Mainstreet Pictures and written and created by Chris Lang. Lang started his career on The Bill and has had a successful writing career since, with credits including Amnesia, Torn, A Mother’s Son and Undeniable. The ratings success of Unforgotten convinced ITV to commission a second series. There’s no information yet on the plot but it looks like it will be another cold-case drama, with Lang saying there will be “a new story, where long-buried secrets will once again be slowly brought to light.”
Death In Paradise was part of a package of 232 hours of crime drama sold to SVT in Sweden. Produced by Red Planet Pictures, the show has also been given the greenlight for a sixth series this week by Charlotte Moore, controller of BBC1, and Polly Hill, controller of BBC drama commissioning. All told, that will mean there are 48 episodes, which is a good number for the international market. Maybe that explains why it has sold to 237 territories worldwide including China, South Africa, the US and the Caribbean countries close to where the show is set and filmed. Echoing some of the other BBC dramas, Death In Paradise is written by a number of people. But the best-known name is series creator Robert Thorogood, who came to Red Planet’s attention via its scriptwriting competition.
Father Brown is based on the books by GK Chesterton and perfectly fits into the British tradition of eccentric or unusual amateur sleuths. The central character, played by Mark Williams, is a Roman Catholic priest. Unusually for a British drama, the 1950s-set show is already up to 45 episodes after just four series. At Showcase it was picked up by PBC (PTV) in South Korea and ABC Australia. Given the high number of episodes, it’s no surprise Father Brown is an ensemble-written afffair, with credited writers including Tahsin Guner, Rachel Flowerday, Nicola Wilson, Rebecca Wojciechowski, Jude Tindall Dan Muirden, Lol Fletcher, Paul Matthew Thompson, Dominique Moloney, David Semple, Rob Kinsman, Stephen McAteer, Jonathan Neil, Kit Lambert and Al Smith. Particularly prominent has been Guner, who wrote the very first episode and the last one in series four (among others). Repped by David Higham Associates, Guner was selected for the 2009/10 BBC Writers Academy and has written scripts for dramas including Holby, Casualty and New Tricks. He is currently developing original drama series Borders.
Ripper Street was licensed this week to Multichoice VoD service Showmax. The show, which was famously saved by a financial injection from Amazon, is a period crime drama set in Victorian England. With four series of Ripper Street already produced and released, Amazon has already committed itself to a fifth season – taking the total number of episodes above 30. Another team effort, the key writer name attached to this is creator Richard Warlow, who tends to deliver about half of the episodes in each series. Warlow’s previous writing credits include Waking the Dead and Mistresses. Other writers on the show have included Toby Finlay (Peaky Blinders) and Rachel Bennette (Lark Rise to Candleford, Lewis and Liberty).
The Coroner is a daytime drama series about a solicitor who takes over as a coroner in the South Devon coastal town she left as a teenager. At Showcase it sold to AXN Mystery in Japan and Prime in New Zealand. The show was created by Sally Abbott, who also wrote three episodes of the first series. There’s a good blog from Abbott about how she got her break in the business here.
Hotels are great places to set dramas. Not only do you get to see the behind-the-scenes activities of the staff, from lowly bellboy to entrepreneurial owner, you also have guests coming in and out every week.
As with hospitals and shops, this means a constant turnover of stories and characters as the series progresses.
Hotel dramas are nothing new – think back to the UK’s iconic soap Crossroads, for example – but in the last few years they have certainly been in vogue.
There was, for example, the BBC’s Hotel Babylon, set in the world of a luxury five-star hotel. And then came ZDF period drama Hotel Adlon. In the US, we have seen American Horror Story’s most recent season set in a hotel, while Spain has given us the best example of them all with Grand Hotel.
An opulent series set in the early 20th century, the show has proved a big hit at home and in the international distribution market. Not to be overlooked either is Stephen Poliakoff’s new spy drama Close to the Enemy, set in a run-down hotel after the Second World War.
And so to the point of this preamble, which is that ITV in the UK has commissioned The Halcyon, a series set in a London-based five-star hotel during the Second World War. Produced by Left Bank Pictures and written by Charlotte Jones, it will focus on the guests and staff of the hotel in 1940. As such, it adds the unsettling backdrop of conflict to the transitory nature of hotel life – bombs overhead, staff going to war, soldiers passing through and perhaps even spies.
The eight-hour drama will be produced by Chris Croucher, who also produced the last two seasons of ITV’s period hit Downton Abbey. So there is clearly a hope that The Halcyon can go some way towards replacing that show.
ITV director of drama Steve November said: “A hotel is the perfect place to show ambition in telling the story of the Second World War. It was an extraordinary time in our country’s history, and London was a transforming city. The Halcyon takes us right to the heart of this as the hotel is busy, energetic and vibrant, which reflects how people carried on with their lives with defiance in the air.”
Left Bank CEO Andy Harries added: “1940 was one of the most dramatic years in our island’s history. Who could have imagined London would survive the blitz and Luftwaffe’s attempted destruction of the city? What was it like to be in a five-star hotel in the West End through this extraordinary period? It’s such a compelling idea for a drama. The world of The Halcyon has to carry on through thick and thin and against all odds. The bedrooms have to be made safe, the bars have to stay open and the band has to play on. People have to sleep, eat and survive.”
Left Bank is owned by Sony Pictures Television (SPT), so the likelihood is that SPT will hold the international distribution rights to the show. If so, this will echo the business model of Downton Abbey, which was commissioned by ITV but produced by NBCUniversal-owned Carnival Films. The series will begin filming in London and surrounding areas from April 2016.
It’s been a good week for Left Bank, which has also been commissioned by ITV to make a fifth season of crime drama DCI Banks. The series, which premiered in 2010, is based on the novels by Peter Robinson and stars Stephen Tompkinson. It is set and filmed in the county of Yorkshire.
Harries said: “I’m delighted we are producing a fifth season of DCI Banks, one of ITV’s best-loved dramas. The stunning backdrop of the Yorkshire countryside is contrasted with the uncompromising storylines the team is dealing with.”
Left Bank isn’t the only indie to have benefited from ITV’s voracious appetite for new drama this week. Indie producer CPL Productions has been given the greenlight to make Brief Encounters, a six-parter looking at a group of four women who get into the lingerie and sex-shop business in the 1980s.
The series is inspired by chapters telling the story of the early days of the Ann Summers party plan business found in Good Vibrations, the memoir by Ann Summers boss Jacqueline Gold. “Brief Encounters is a refreshingly different domestic drama taking us back to the wonderful world of the 1980s,” said November. “We’re really excited by this commission – it’s full of heart, story and great new characters.”
Executive producer Arabella McGuigan added: “Brief Encounters is gutsy, emotional, warm and surprising. Like the real Ann Summers saleswomen, through their camaraderie our women discover hidden strengths and an ability to come out fighting no matter what life throws at you. As wives, mothers and businesswomen, they unleash talent – and they blossom.”
CPL belongs to Red Arrow Entertainment, which presumably means distribution will be handled within the Red Arrow family.
Still in the UK, public broadcaster BBC1 has commissioned a new detective series from Euston Films called Hard Sun. The six-parter is being written by Neil Cross, creator of Luther and a writer on Doctor Who. FremantleMedia International is handling sales.
It’s described as a pre-apocalyptic drama, meaning it is set against the backdrop of a dying world. “Imagine the world you see when you look out your window… except it’s been given a death sentence,” Cross said. “There’s no hero to come save us; no contingency plan. What’s it like, trying to keep order, trying to enforce the law in a city that, day by day, slips closer to certain destruction? How do you get up in the morning? How do you get out of bed and leave your family and go out there, putting your own life at risk? And what about the predators? What about the murderers, the rapists, the thieves? What about the psychopaths, the religious nuts, the cult leaders, the serial killers? Who would fear a prison sentence?”
Meanwhile, comic books continue to be a fruitful source of TV ideas, with US cable channel Syfy developing a new series based on the Dark Horse comic Harrow County. The story focuses on a teenage girl who finds ghosts, goblins, and the restless dead in a nearby forest. She subsequently learns she is the reincarnation of a powerful witch.
The series is being written by Becky Kirsch, who has previously worked on Syfy’s Dominion and 12 Monkeys.
Discovery is also reported to be working on an anthology drama series. According to Deadline, the broadcaster is developing a show called Manifesto, which will explore how the FBI caught infamous criminal masterminds, with each closed-ended season following a different case. The show sounds similar in structure to Ryan Murphy’s American Crime Story on FX.
Finally, in Canada, OMNI Television has announced that it has renewed crime drama Blood and Water, just a month after the first season’s debut. The show, which is set in Vancouver, is unusual because it delves into the lives of Chinese immigrants and is produced in English, Mandarin, and Cantonese.
The international drama community gathered at the BFI on London’s South Bank for three days of screenings, panel sessions, case studies and awards. Michael Pickard looks back on C21 Media’s International Drama Summit, part of Content London.
On the south bank of the River Thames, hundreds of producers, writers and broadcasters from around the world gathered in London for C21 Media’s International Drama Summit this week.
Held at the British Film Institute, the event took in three days of screenings, panel sessions and interviews covering the hottest talking points in the business – from budgets and coproductions to what commissioners are looking for to fill their schedules.
Audiences took in the first images of new Icelandic drama Trapped, written by Clive Bradley and produced by Dynamic Television. Producer Klaus Zimmermann discussed the challenges of working with nine commissioning broadcasters, among them SVT, DR1, DRK, France Télévisions and BBC4.
Bradley also spoke about his positive experience working in a US-style writers room for the first time. “It’s always going to be true that if you have four rather than one brain that you will create more,” he said. “The turnaround was always going to be very quick because you’ve got at least eight months to do 10 episodes.”
There was also a packed house for a first glimpse at ITV’s forthcoming period drama Victoria, starring former Doctor Who companion Jenna Coleman. “Jenna was born to be queen,” said Damien Timmer, from producer Mammoth Screen.
Writer Daisy Goodwin added: “I’ve tried to tell the story of a teenager growing up with a crown. She’s not the queen you expect. It’s drama but everything that happens is true.”
Among the drama case studies, the creative teams from shows including Agatha Christie’s And Then There Were None, The Collection, Dickensian, Beowulf: Return to the Shieldlands, Capital and Jekyll & Hyde took to the stage to reveal secrets from behind the scenes.
Agatha Christie Ltd CEO Hilary Strong said she always envisioned And Then There Were None to be a coproduction, with the three-parter due to air on BBC1 in the UK and Lifetime in the US.
“Working with Joel [Denton, A+E Networks ] and A+E has been a real revelation. This is a BBC show, it’s inherently British, but A+E didn’t demand we put any US stars in as per the old coproduction thing. That is over. Instead, we knew it needed a cast that resonated [in the US] so there was a dialogue.”
Elsewhere, executives discussed spiralling budgets, creating an increasing need to piece together funding through multiple streams – whether via licence fees, private funding, distribution financing or pre-sales.
And while there was plenty of talk about the alleged saturation of the TV drama market, it was clear that many executives simply believe that while there might be too many shows, there aren’t enough great shows.
Morgan Wandell (pictured top), head of drama series for Amazon Studios, said as much during his keynote session when he warned producers against making run-of-the-mill, “industrial grade” procedurals.
He told delegates that Amazon Studios is aiming to make shows that are a “step above” what is already on offer, such as the SVoD platform’s recently launched The Man in the High Castle.
“If you’re making industrial-grade procedurals then good luck, but you do run the risk of being washed out,” he said, adding that some producers and writers “have built up specific muscles in TV. We’ve stripped away narrative tropes they relied on.”
Meanwhile, UK commissioners noted the changing television landscape as genre tastes and viewing habits continue to evolve.
BBC drama commissioner Polly Hill claimed TV audiences are now more open than ever to “complex, tricky” plots as she unveiled a new series from Luther creator Neil Cross set in a pre-apocalyptic London.
Hard Sun, which will air in 2017 and is produced by Euston Films, follows detectives Elaine Renko and Robert Hicks, partners and enemies, who seek to protect their loved ones and enforce the law in a world slipping closer to certain destruction.
Hill told the Drama Summit that the success of the BBC’s recent drama slate, including Sherlock and Happy Valley, was evidence that “mainstream is really moving and big audiences will watch really complex, tricky subjects.”
Sky head of drama Anne Mensah and drama commissioning editor Cameron Roach described the differences between the networks they look after. Watching Sky Atlantic was compared to buying a ticket for a blockbuster film, while Sky Arts was likened to an art house cinema – though not for niche storytelling.
The pair said story was key across the board, however, adding that the pay TV broadcaster’s development team is now commissioning year-round for all three networks, including Sky1, and that channel boundaries remain fluid depending on the project.
ITV director of drama Steve November was more specific when describing his channel’s needs for the next two years. With shows such as Victoria and Jericho coming up in 2016, the broadcaster is well placed to retain viewers following the end of long-running hit Downton Abbey, which concludes with a Christmas special later this month.
And while ITV remains keen on period dramas – with Dark Angel and Doctor Thorne also coming up next year – November said he was looking for a range of new contemporary dramas to fill the 21.00 slot.
“I have got to be honest, I watched [the BBC’s] Dr Foster with a degree of envy and I wish we had that show,” he said. “Big romantic thrillers and a family relationship drama are real priorities for us.”
Channel 4 drama team Piers Wenger and Beth Willis also talked about the challenge of building a year-round drama slate, and how they approach traditional genres such as crime, period and sci-fi in a fresh way (see No Offence, Indian Summers and Humans respectively).
Deputy head of drama Willis said: “If it could be on another channel, we shouldn’t be doing it. We’re always looking for shows with an edge.”
Wenger, C4’s head of drama, revealed there are a variety of funding models in play at the broadcaster, such as its international coproduction strategy that saw Humans produced with US cable channel AMC.
As the conference drew to a close, the challenges of the future came into view – keeping viewers tuning into linear broadcasts, judging success in ways other than overnight ratings, piecing together financing in a world where there are no longer any set models for production and finding ways to tell new stories in an increasingly competitive market.
There will never be a formula for creating a hit series, but the ambition to find the next big hit is continuing to drive the business forward in new and innovative ways, ensuring the appetite for television drama will remain undiminished for some time to come.
While US cable channel Spike gears up for the launch of its Ancient Egypt miniseries Tut (July 19), UK broadcaster ITV has announced that it too is planning a Tutankhamun-themed drama. ITV’s production, however, will focus on the discovery of the pharaoh’s tomb by archaeologist Howard Carter and his sponsor Lord Carnarvon. Starting in 1905, four episodes will trace Carter’s early expeditions around Egypt, leading up to the big discovery in 1921.
Tutankhamun will be written by Guy Burt, an ITV favourite who is also penning a reboot of classic horror story Jekyll and Hyde for the broadcaster. Previous collaborations between ITV and Burt include critically acclaimed scripted series The Bletchley Circle, which told the story of a group of female code-breakers during and after the Second World War. (See Burt talking about season two of that project here.)
Something of a writing prodigy, Burt first attracted attention when he published his debut novel After The Hole (later adapted into a movie called The Hole) aged 18. After writing two more novels and securing a first in English at Oxford University, his career moved in the direction of screenwriting. Aside from the above-mentioned projects, he worked on the likes of Murder In Mind, Wire In The Blood and Kingdom. Latterly, he collaborated with Neil Jordan and David Leland on period drama series The Borgias, joining the project at the end of season two and writing four episodes in the third and final season.
The new Tutankhamun drama was ordered by ITV director of drama Steve November and controller of drama Victoria Fea and will be filmed in South Africa next winter. Executive producers include ITV Studios’ creative director of drama Francis Hopkinson, who says: “Howard Carter’s discovery of the lost tomb of Tutankhamun is legendary. His all-consuming, obsessive search pushed his friendship with Lord Carnarvon to the brink, whilst the adventurous and extrovert aristocrat poured his inheritance into the excavation.”
In an unusual alliance, but one hinting at the future of content rights management, US cable network Lifetime has come onboard a BBC1 drama based on one of Agatha Christie’s best-known works, And Then There Were None. International sales of the three-part miniseries will be handled by A+E Studios International, which is keen to beef up its drama portfolio.
The writing job has gone to Sarah Phelps, whose early career took her via the Royal Shakespeare Company to BBC soap EastEnders, where she wrote more than 50 episodes. A prolific radio and theatre writer, her other TV credits include The Crimson Field, a short-lived drama about the lives of medics and patient at a First World War field hospital.
Phelps has also proved her novel adaptation expertise with previous projects such as Great Expectations (Charles Dickens) and The Casual Vacancy (JK Rowling). The latter was also an Anglo-American coproduction (BBC/HBO) and came in three parts, securing an audience of 8.8 million for episode one, dropping to 5.95 million for episode three. In all likelihood the new project will go into a similar Sunday evening slot with transmission intended for autumn or winter 2016.
The BBC’s decision to greenlight the miniseries is linked to the fact that this year is the 125th anniversary of Christie’s birth. It is also planning an adaptation of another of her novels, Partners in Crime, although there are no details as yet.
HBO’s star-studded remake of classic sci-fi movie Westworld is gradually moving forward. The project, which will feature the likes of Ed Harris, Anthony Hopkins, Jeffrey Wright, Evan Rachel Wood, James Marsden and Thandie Newton, has just added Borgen star Sidse Babbett Knudsen to the cast.
Scheduled to air in 2016, Westworld is from JJ Abrams’ production company Bad Robot, Jonathan Nolan and Lisa Joy, plus Warner Bros TV and Jerry Weintraub Productions. Writing duties will be shared by husband-and-wife team Nolan and Joy.
Nolan, who will also direct the reboot, is the brother of filmmaker Christopher Nolan. He created crime drama Person of Interest and has co-written screenplays such as The Dark Knight, The Dark Knight Rises and Interstellar with his brother. Joy, meanwhile, broke through as a writer with Pushing Daisies, before going on to write some episodes of Burn Notice. Aside from Westworld, IMDB credits her as writer on an “untitled female superhero Spider-Man movie,” scheduled for 2017. There were also reports in 2013 that Legendary Pictures had paid US$1.75m to secure the rights to a sci-fi movie script by Joy entitled Reminiscence.
Still in the realm of sci-fi/fantasy, there are reports that Luther creator Neil Cross is remaking Sapphire & Steel, a 1970s series about a pair of interdimensional crime fighters sent to Earth to investigate strange happenings. Speaking to the Nerdist Writers’ Panel podcast, Cross called the Sapphire & Steel characters a “proto” version of The X-Files’ Mulder and Scully, and said the show was close to getting a commission from a UK broadcaster. Cross, whose other credits include Spooks and Doctor Who, said he is also working with Darren Aronofsky on HBO scripted pilot River View and on two new one-hour episodes of Luther.
Finally, Netflix has confirmed that Gérard Depardieu will take the lead role in its first original French drama. Depardieu will play the mayor of Marseille in a series of the same name. Produced by Paris-based Federation Entertainment, the drama will also star Benoît Magimel as a young politician aiming to depose Depardieu’s character.
Shot entirely in France, Marseille is created and written by Dan Franck, writer of La Separation and Les Hommes de l’Ombre and co-writer of Carlos, which won a Golden Globe for best miniseries. Explaining why he took on the project, Franck says: “Creating a series for an enormous audience and without any constraints will let us push to its limits a story about the Shakespearean theatre of politics, in a city where Alexandre Dumas and Jean-Claude Izzo, among others, have planted many spears.
“Netflix has given us a blank page to create a House of Cards in French that breaks through unspoken hypocrisy. This is a writer’s dream and a great opportunity for French producers and creators to enter a new world.”