Tag Archives: Rivals Forever

Buyers stick to the scripted in Mipcom

The sequel to Moribito: Guardian of the Spirit was screened in Cannes
The sequel to Moribito: Guardian of the Spirit was screened in Cannes

The Japanese have a good strike rate when it comes to exporting animation and entertainment formats. But they have struggled with drama. There are a few reasons for this but, when it comes down to it, the core problem is that scripted shows that work in Japanese primetime don’t travel that well.

The country’s leading players want to do something about this because the revenues they are generating from the domestic media market aren’t as strong as they used to be. So now they are looking at formats and coproductions as ways of building up their international profile and generating a new revenue stream. They are also starting to ask themselves if there is a way of making shows that can tap into the world drama zeitgeist that has propelled Korean, Turkish, Nordic and Israeli drama around the globe.

There were a couple of examples of the way Japan is seeking to shift its mindset at the Mipcom market in Cannes this week. One was a deal that will see Nippon TV drama Mother adapted for the Turkish market by MF Yapim & MEDYAPIM. The new show will be called Anne and will air on leading broadcaster Star TV. It’s the first time a Japanese company has struck this kind of deal in Turkey.

Also this week, Japanese public broadcaster NHK screened Moribito II: Guardian of the Spirit, an ambitious live-action fantasy series based on the novels of Nahoko Uehashi – likened by some to JRR Tolkien’s epic The Lord of the Rings.

Jenna Coleman as Queen Victoria
Jenna Coleman as Queen Victoria

Produced in 4K and HDR, this is the second in a planned trilogy of TV series, the first of which consisted of four parts. The show has been attracting interest from channel buyers beyond Japan’s usual sphere of influence, suggesting the country may be starting to have the kind of international impact it wants.

Interestingly, NHK brought the actor Kento Hayashi to Cannes to help promote the Moribito franchise. Hayashi also starred in Netflix’s first Japanese original, Hibana, another scripted show that has captured the attention of audiences and critics around the world.

Away from Japanese activity, companies that had a good week in Cannes included ITV Studios Global Entertainment, which said its hit period drama series Victoria has now sold to more than 150 countries, including new deals with the likes of Sky Germany, VRT Belgium and Spanish pay TV platform Movistar+. It also sold comedy drama Cold Feet – renewed for a new season in 2017 – to the likes of NPO Netherlands, ITV Choice Africa, Yes in Israel, TV4 Sweden and NRK Norway.

Further evidence of the appeal of lavish period pieces came with the pre-sales buzz around Zodiak Rights’ Versailles, which is going into its second season. At Mipcom, the show was picked up by a range of broadcasters and platforms including BBC2 (UK), Amazon Prime (UK), C More (Sweden, Norway, Denmark and Finland), DirecTV (Latin America) and Movistar+.

Timeless
Timeless was picked up by Channel 4

Moving beyond period pieces, other shows that cut through the promotional clutter included Sony Pictures Television (SPT)’s time-travel drama Timeless, which sold to the UK’s Channel 4 to air on its youth-skewing E4 network. The show was also picked up by the likes of OSN in the Middle East, Fox in Italy, AXN in Japan, Viacom 18’s Colors Infinity in India and Sohu in China.

SPT also sold new sitcom Kevin Can Wait to Channel 4 in the UK, though perhaps the most interesting Sony-related story at Mipcom was the news that its international television network group AXN has joined forces with Pinewood Television to a develop a slate of six TV drama projects.

The series will be financed in partnership between Sony Pictures Television Networks and Pinewood Television. The plan is for them to air on AXN channels in Latin America, Asia, Africa and Europe, with a programming emphasis on high-impact action, crime and mystery. The deal was brokered by Marie Jacobson, executive VP of programming and production at SPTN, and Peter Gerwe, a director for Pinewood Television.

Midnight Sun
StudioCanal thriller Midnight Sun

Jacobson said: “As we look for alternative paths to expand original series development, Pinewood TV make for the ideal partners. We are look forward to developing projects with them that play both in the UK and on our channels around the world.”

Other high-profile dramas to attract buyer attention at the market this week included StudioCanal’s Swedish-French eight-hour drama Midnight Sun, picked up by ZDF in Germany, SBS in Australia, HOT in Israel and DR in Denmark.

Distributor FremantleMedia International licensed its big-budget series The Young Pope to Kadokawa Corporation in Japan, while Twentieth Century Fox Television Distribution licensed The People v OJ Simpson: American Crime Story to French pay TV operator Canal+.

Another show that enjoyed some success this week was DRG-distributed The Level, a six-part thriller that was picked up by ABC Australia, UTV in Ireland, TVNZ in New Zealand and DBS Satellite Services in Israel, among others. Produced by Kate Norrish and Polly Leys, joint MDs of Hillbilly Films, the show follows a reputable cop with a secret that is about to unravel. The show has previously been picked up by Acorn Media Enterprises for the US market.

Jude Law in The Young Pope
Jude Law in The Young Pope

Reiterating the growing interest in non-English drama, Global Screen enjoyed some success with Rivals Forever – The Sneaker Battle, which tells the true story of how brothers Adi and Rudi Dassler set up Adidas and Puma. France Télévisions acquired free TV rights and will air the series in early 2017 on France 3, while Just Entertainment in the Netherlands has landed video, pay TV and VoD rights. Other buyers included DR (Denmark), FTV Prima (Czech Republic), LRT (Lithuania) and HBO Europe (for Eastern Europe).

Turkish drama successes included Mistco’s sale of TRT period drama Resurrection to Kazakhstan Channel 31. Eccho Rights also sold four Turkish dramas to Chilean broadcaster Mega. The four shows were all produced by Ay Yapim and include the recent hit series Insider. This continues a good run of success for Turkish content in the Latin American region.

While Mipcom is fundamentally a sales market, its conference programme is also a useful way of tuning into international trends and opportunities in drama. There was an interesting keynote with showrunner Adi Hasak, who has managed to get two shows away with US networks (Shades of Blue, Eyewitness) in the last three years despite having no real track record with the US channel business. He believes the current voracious demand for ideas has made this possible: “This is a small business, where everyone knows everyone. If you create material that speaks to buyers, they will respond.”

Participant Media CEO David Linde also talked about the way his company is starting to extend its influence beyond film into TV and social media. Known for movies like An Inconvenient Truth, Food Inc, Snitch and Spotlight, the firm’s expansion into TV will see a new series about journalists breaking stories, developed by the team behind Oscar winner Spotlight.

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Scripted TV’s sporting chance?

This summer, TV schedules around the world have been dominated by sports events such as Euro 2016, Test Cricket and Formula1 and now the Rio Olympics. But for some reason, our collective love of sport has rarely translated into a memorable scripted TV series.

Friday Night Lights lasted five seasons on NBC
Friday Night Lights lasted five seasons on NBC

Shows that have tried and failed to capture the essence of sport include FX boxing drama Lights Out, which lasted for a single season in 2011, and ESPN’s Playmakers – a series that managed to attract the ire of the NFL during its 11-episode lifespan (2003).

Faring better, USA Networks’ Necessary Roughness lasted three seasons, while NBC’s Friday Night Lights managed five. But neither really scored heavily in terms of TV audience interest. The Game, a comedy drama that launched on The CW and then transferred to BET, is one of the few successes in this space, running for eight seasons before its 2015 cancellation.

The situation hasn’t been that different outside the US, with examples of sports-themed dramas few and far between. In the UK, Footballers’ Wives was a modest success between 2002 and 2006, while Australia produced an entertaining cricket series called Bodyline in 1984. But, overall, sport is massively under-represented in drama when you consider its wider appeal.

Foxcatcher
Foxcatcher told a dramatic wrestling story

In contrast to TV, the film industry has delivered a steady stream of pretty good sports-themed movies. There are, for example, several stories in which the central character succeeds against the odds – a line of attack that has given us both comedies (Cool Runnings, Eddie the Eagle) and dramas (The Blindside, The Natural, Tin Cup).

There are also plenty of films set against interesting periods in the history of sport (Chariots of Fire, Ali, Invictus, Eight Men Out, Rush). When you also factor in Jerry Maguire, The Mean Machine, The Bad News Bears, Foxcatcher and Million Dollar Arm, it’s not a bad track record compared to TV.

So what’s the difference? Well, one factor seems to be that the pacing of movies is more like that of live sport. Executed well, the twists and turns of a 90- or 100-minute film are not that different to a good football, basketball or baseball game. Both have an adrenaline-boosting immediacy that appeals to audiences. Sitting in a movie theatre also resembles sitting in a sports arena much more closely than the typical home-viewing experience.

Jerry Maguire
Jerry Maguire had romance at its core

Another factor is the issue of authenticity. One thing that causes problems for any film or TV series focusing on contemporary sport is that we know the protagonists are not real, because we see the real versions doing amazing things all the time. Even with the benefit of fast-cut editing, actors struggle to replicate the magic of true athletes.

Similarly, the fans that sports stories are aimed at generally have deep-rooted loyalties to real teams. As a fan of Arsenal FC, I have no interest in dramas that attempt to portray fictionalised football teams (though I get that there are legal and branding issues that make the use of real talent and clubs a challenging area).

The same reality gap must also be an issue for fans of other football teams or of NFL, NBA and MLB clubs. This is why, when TV does get interested in sport, it is currently more inclined to aim for behind-the-scenes sports documentaries (though a potential problem here is that the subjects of such stories often have editorial control, leading to sanitised shows).

The movies have tended to avoid the authenticity issue by dealing with historical subject matter (so we have a less acute sense of who the protagonist is) or stories about ‘triers’ as opposed to ‘winners.’ But historically, when they have tried to tackle hardcore sports subjects head on, they have had an advantage over TV – access to A-list talent.

Ballers
Ballers focuses on off-the-field action

If, for example, you are going to portray Muhammad Ali then it’s not so hard to accept Will Smith in that role because he has a star status that suits the subject. Similarly, it wasn’t too difficult to imagine Channing Tatum and Mark Ruffalo as Olympic gold medal-winning wrestlers in 2014’s hit movie Foxcatcher.

Having said all this, there has been a shift in the way we perceive TV recently. While a TV drama might still struggle to replicate the immediacy and adrenaline of the movie experience, it can now attract A-list talent. Perhaps that’s why we are finally seeing a decent sport-themed series in the shape of HBO’s Ballers.

True, Ballers is not securing massive audiences – but it is one of HBO’s top-rating shows and has just been commissioned for a third season. For anyone not familiar with the show, it stars Dwayne ‘The Rock’ Johnson – who has all the necessary attributes to front a sports-themed series (sporting background, big-screen image). He plays a former NFL superstar who now acts as an adviser to young talent coming to terms with their new lifestyles.

Survivor's Remorse
Survivor’s Remorse is executive produced by basketball star LeBron James

Subject-wise, the show is smart. It doesn’t focus on the games themselves, which would be an editorial mistake. Instead it tries to explore the lifestyle of those involved in the world of NFL. It does, however, reference teams like the Miami Dolphins – rather than alienating the audience with fictitious alternatives.

Other sports-themed shows that are holding their own on TV including Starz basketball drama Survivor’s Remorse, which benefits in the authenticity stakes from the fact that LeBron James, basketball’s biggest star, is an executive producer. Also doing pretty well is Kingdom, which operates against the backdrop of the mixed martial arts world. Aired by AT&T’s Audience Network, it was recently renewed for a third season. Here again you can see reasons why this show might work. One is that it stars Nick Jonas, a music industry heartthrob who has successfully reinvented himself as a charismatic screen presence. The other is that MMA isn’t NFL or Premier League soccer.

Kingdom
Kingdom stars Nick Jonas as an MMA fighter

In other words, the authenticity bar isn’t quite so high for the audience, which can enjoy the drama without having to worry too much about the sport itself. Besides, it’s easier to film the tightly cropped world of one-on-one combat than a major team-based sports event (where we are used to 60-plus cameras covering every aspect of the live action).

The TV industry’s shift towards limited series should also, in theory, make it easy to pull off a sports-based story. Not many would justify a returning series model. But there are some great period stories that could be told over six or eight episodes – rather than as a feature film. One series that perhaps shows the way is Rivals Forever, a German drama for ARD about the Dassler Brothers, who founded the rival Puma and Adidas sporting brands.

As the film industry has demonstrated, there is great subject matter in sport that could form the basis of a limited series. Andy Samberg and Murray Miller, for example, are making a sports doping mockumentary for HBO. But this is surely a subject that would make also brilliant TV drama. Imagine an The People vs OJ Simpson: American Crime Story-style approach to the life of disgraced cyclist Lance Armstrong. Or a Billions-style drama exploring recent allegations of systematic state-sponsored doping by Russia.

Possibly, with the demand for scripted series showing no sign of letting up, now is the time for drama producers and writers to revisit their relationship with sport-based storytelling.

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Running in the family

The rivalry between two brothers that led to the creation of sportswear giants Adidas and Puma is brought to life in a new German miniseries. DQ speaks to its creators.

They’re two of the biggest rivals in the world of sport – but this battle doesn’t take place in a stadium or arena. Instead, the origins of the conflict between sportswear giants Adidas and Puma can be found within a single German family as the story of two brothers is retold in miniseries Rivals Forever – The Sneaker Battle.

Set in the early 20th century, the show follows the Dassler brothers as their initial partnership sees them launch the sports shoe to international fame. But long-standing differences lead to mistrust and when they fall out, their relationship unravels and the business they founded together is split into companies that become two of the world’s biggest sports labels – Adidas, led by Adi Dassler, and Puma, run by Rudi Dassler.

Written by Christoph Silber and produced by Quirin Berg, Rivals Forever stars Hanno Koffler, Christian Friedel, Alina Levshin and Hannah Herzsprung. It comes from Wiedemann & Berg Television (The Lives of Others) in coproduction with ARD Degeto for German broadcaster ARD, and is distributed internationally by Global Screen.

Rivals Forever
Rivals Forever focuses on brothers Adi and Rudi Dassler

“As producers, we’re always looking for strong topics and headlines that draw attention and create a reaction,” Berg explains. “The Dassler story is certainly one of the biggest family sagas recent German history has to offer, besides the fact we’re dealing with two extremely well-known brands that are loved around the globe.

“Most people in Germany have heard about the story without really knowing too much about it. That creates a perfect level of mystery and interest for a TV project. The true story itself is thrilling, dramatic and truly tragic – two brothers who share a vision and drive that vision almost to extremes but fail big time when it comes to keeping their family together. They change an industry but at the same time create a war within their family.”

In contrast with other biopics, where real-life stories are often fictionalised to inject extra drama or tension, Berg says the story of the Adidas-Puma battle needed no extra excitement as the Dasslers’ story is retold over a 50-year period.

Silber picks up: “The advantage we get from the brothers’ conflict is twofold: on the one hand, there’s an element of surprise because hardly anybody knows that behind these huge brands are two brothers who fought pretty much all their lives; and on the other is the narrative gain, because rather than having a typical biopic, you know from minute one to the end there’s always one element that holds everything together, the brothers, and that’s perfect for me as a writer.”

Berg says he was also fascinated by the story on a personal level, as he could relate to the central relationship: “I have a business partner who co-owns my company and he is my oldest friend as well. We went to school together and started to do films 20 years ago. So I could really relate to the brothers sharing one vision and fighting for it, building a company – and I was wondering what could happen to tear them apart? We’re sure it won’t happen to us and that’s something we definitely take from the story. The Dasslers paid a high price for being so competitive and successful. They sacrificed their brotherhood, their family.”

Adidas and Puma were 'very welcoming' over the project about their respective founders
Adidas and Puma were ‘very welcoming’ of the project about their respective founders

In terms of research for the three-hour series, Silber says there was already a lot of material concerning the brothers’ relationship in the public domain, adding that Adidas and Puma were very welcoming of the project.

“Those companies are no longer owned by the family, they’re owned by investors and shareholders,” Berg says, “so they are still competitors but today the big enemy is Nike. They were very open, collaborative and fair. The families are no longer involved and all the material is out there. There are hundreds of interviews and documentaries, so there’s a rich pool of information available for anybody who is interested.

“But, from a writer’s perspective, it’s always rewarding to meet people who are actually part of the story and it provides the benefit of adding details you wouldn’t find on the internet. Within the companies, we were lucky to find people who knew the brothers personally and had worked with them for years. That was very helpful – we wanted to find out as much as possible about the real characters.”

Silber’s television credits include crime series Tatort and Der Kriminalist. He also won an International Emmy for 2011 German-Austrian TV movie Das Wunder von Kärnten (A Day for a Miracle). Describing himself as a history and sports buff, he admits he doesn’t like “typical” period dramas, despite frequently working in the genre.

“I always want to peel away the veil of history and get close to the characters, which is why a sports-themed period film with the brothers aspect was so appealing. It already looks like you can’t have that veil over it,” he explains. “I did a lot of reading and talked to a few people, but it was a very collaborative process with Quirin. We’ve worked together for many years, we’re very hands-on with our work on stories. I need to be writing to get into a story so I do a lot of drafts. We work very well together.”

Directors Cyrill Boss and Philipp Stennert then joined the production, into which the creative team sought to inject a sense of speed and urgency, as if the brothers are racing each other against a backdrop of 50 years of history.

Rivals Forever
The series covers a 50-year period in the brothers’ lives

Berg says: “There are many examples of movies that have a great character and depict one crucial year or focus on a short episode in their life, and that has many advantages. But we wanted to tell the whole story, to give the big picture – so we decided to cover 50 years. And it’s so great to see not only the characters change over time but German society as well.

“Politics, fashion, quality of life – all those things that make and define a country changed over those years. We start shortly after World War One and end in the mid-1970s. That’s an interesting USP and not many German TV series offer that range. It’s not only about the brothers, it’s a ride through several Olympics and soccer World Cups, through German history, and we feel it’s something people will love.”

As such, one of the challenges faced by Berg and his production partner Max Wiedemann – who are behind Netflix’s first original German production, the supernatural thriller Dark – was to get every euro in the budget on screen while recreating half a century of time periods.

“There are several very crucial and budget-intensive sequences but our focus is on the family,” he says. “One of the biggest challenges was changing the production design and sets across the years. And obviously we have actors playing the same role over 50 years, so we had a great make-up team to make that happen. You want to stick with the same actor for all those decades so when it comes to make-up, it’s a tricky task but it worked well. You follow the same person and you almost feel part of the family at the end because they shared so many moments of their lives with you.”

Rivals Forever is the latest German drama set to warrant international attention, following in the footsteps of Deutschland 83, Generation War and Naked Among Wolves. Coincidentally, another German broadcaster, RTL, also ordered its own version the Dasslers’ story, with TV movie Duel of the Brothers – The story of Adidas and Puma. It premiered in March this year.

Berg says the self-financing German market is now opening up to seek investment from other territories, increasing the opportunity for German stories to be made for an international audience. “The whole industry is globalising more,” he notes. “In every country you will find amazing local stories that have a global scale. That certainly applies to the true story of Adidas and Puma and I’m glad we were able to pull this project off for ARD and an audience all around the world.”

Silber adds that 10 or 20 years ago, plans to tell the origin story of the two sportswear labels might have run into hostility, but those tensions have now cooled: “There’s been a generational change and the heat of that conflict isn’t so high any more. They’ve pretty much made peace and they can co-exist as two strong brands. Today it’s easier to tell the story, but the market has also changed. Germany is more eager to tell stories that reach out to an international market and don’t just focus on one audience. This story is ideal for that.”

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MipTV celebrates Germany

Beta Film's Maximilian
Beta Film’s Maximilian

On the eve of MipTV 2016, German producer/distributor Beta Film sold a slate of German dramas to leading broadcasters in Scandinavia.

Among the titles picked up by DR Denmark, NRK Norway, SVT Sweden and YLE Finland were the right-wing terror trilogy NSU German History X and Tom Tykwer’s 1920s crime series Babylon Berlin.

The four networks also acquired Oliver Hirschbiegel’s spy drama The Same Sky and 15th century period drama Maximilian.

Historically, drama has travelled in the other direction – from Scandinavia to Germany. But the new deals are further evidence of the way German scripted content has started to appeal to international buyers.

Expressing the German industry’s newfound confidence, Beta Film’s director Jan Mojto – talking about Babylon Berlin – said: “Made in Germany is also a hallmark of quality in television. Due to the subject (of Babylon Berlin), the creative energy invested in the project, the names involved, its high standards and, not least, its budget, international reactions to the project have been very positive. Babylon Berlin doesn’t need to take second stage to any of the major international series.”

That view was endorsed by Stephen Mowbray, head of acquisitions SVT, who said: “German producers are now delivering world-class fiction, and partnering with Beta secures a raft of exciting titles for the Swedish public.”

Also upbeat is Tarmo Kivikallio, head of acquisition at YLE: “New German drama is strong at the moment in Finland. The way it deals with German history is unique and thrilling. I am sure Finnish audiences will enjoy these series and I am very happy about the co-operation with Beta.”

German drama was preivously known for being quite conservative in tone and style, targeted primarily at the mainstream free-to-air domestic market. But a shift in the market came with Generation War, produced by UFA and distributed by Beta Film. A hard-hitting, high-quality exploration of the Second World War from the perspective of five young German friends, it has sold widely around the world.

NSU German History X
NSU German History X

The success of this show was then repeated by Deutschland 83, another UFA, which that took a quirky, offbeat look at the end of the Cold War era. The story of a young East German spy who is sent to the West on a mission, it was picked up in English-speaking markets such as the US (by SundanceTV) and the UK (Channel 4) – a significant breakthrough for German drama.

All of which brings us to Cannes’ MipTV market, where Germany will be making a lot of noise as Country of Honour. The event will be hosting numerous networking and screening events throughout the week, as well as a series of conference sessions.

In terms of drama titles, the Beta Film titles mentioned at the outset will all be on show or up for discussion. There will, for example, be a screening of NSU German History X. Produced by Gabriela Sperl (Line of Separation) and Academy Award-winning Wiedemann & Berg (The Lives of Others), this drama explores the true story of a series of murders that, despite serious hints, were only exposed as right-wing terrorism 10 years after the first killing took place.

“In the aftermath of the fall of the Iron Curtain, a clandestine far-right German terrorist group called National Socialist Underground, or NSU, began operating in Germany by killing immigrants in cold blood, termed the Bosporus Serial Murders,” explains Beta Film. “It took the police and intelligence services over 10 years to hunt down the perpetrators. Beate Zschäpe, suspected to be a member of the NSU, is still on trial today.”

The 20th century has proved a strong source of inspiration for German scripted TV producers. Another project coming through from Beta Film, for example, is Hitler – a 10–hour event series based on the biography Hitler’s First War by historian Thomas Weber. The show, which promises to shed an unprecedented light on the most closely examined figure of modern history, has been pre-sold to French broadcaster TF1 and is likely to be the subject of numerous conversations with buyers next week in Cannes.

Ku'damm 56 – Rebel With a Cause
Ku’damm 56 – Rebel With a Cause

As is evident from the above scripted shows, Beta Film has played a key role in the new wave of German drama exports. But there will also be plenty of activity at MipTV involving the country’s other leading content owners. ZDF Enterprises, for example, has already had success with its crime drama The Team. And at MipTV it will launch Ku’damm 56 – Rebel With a Cause. A three-part drama produced by UFA Fiction for ZDF/ZDF Enterprises and written by Dorothee Schon, it is set in the 1950s and tells the story of young women of the era and their struggle for equality.

Also coming through is Blender, a six-part series that Tele München Gruppe is developing together with Friedrich Ani, Ina Jung and Dominik Graf. Based on a true story, the series centres on the head of a police drug squad accused of being involved in the drug world himself.

Global Screen, meanwhile, will continue selling its acclaimed TV movie Naked Among Wolves. Based on a novel about a three-year-old Jewish boy who is smuggled into the Buchenwald concentration camp in a suitcase, it has already sold to markets including the USA, Canada, the UK, Australia, Italy, Spain, South Korea, Denmark, Sweden, Turkey, France, Benelux, Poland and Lithuania.

The company will also present Rivals Forever – The Sneaker Battle, which tells the story of the battling brothers behind Adidas and Puma, set against the backdrop of the rising Nazi regime. The show has already been sold to Scandinavia and Eastern Europe.

Naked Among Wolves
Naked Among Wolves

One of the main sponsors of the Germany In Focus event is Red Arrow Entertainment, the content creation and distribution arm of ProSiebenSat.1 Media. For the most part, Red Arrow’s international strategy has been driven by participation in non-German scripted content (Bosch, Cleverman, Peter & Wendy, The 100 Code). But it does have a story to tell in terms of German scripted formats. Classic series The Last Cop has been adapted for France, Japan, Estonia and Russia, while Danni Lowinski was recently reversioned for the Netherlands Market.

In terms of future prospects for German drama, there is another development that points to a bright future – namely the emergence of SVoD platforms as content commissioners. Amazon, for example, has recently greenlit its first German-language series in The Wanted. Starring Matthias Schweighöfer as a Berlin convention centre project manager whose life is turned upside down following a mysterious hacking attack, the series will debut on Amazon Prime in Germany and Austria in 2017.

Netflix, meanwhile, has just unveiled plans for its first German original, a supernatural family saga called Dark. Commenting on that one, Erik Barmack, VP of International Originals at Netflix said: “Dark is an incredible German story that will appeal to a global audience.”

All in all then, it looks like we are only at the start of a boom time for German-language drama exports.

For more about Rivals Forever and an interview with Maximilian writer Martin Ambrosch, be sure to pick up the latest copy of Drama Quarterly in Cannes.

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