Fire Monkey executive producer Roope Lehtinen breaks down forthcoming Scandi drama The White Wall and details the challenges of filming the sci-fi mystery series hundreds of metres below ground in northern Finland.
As a TV producer from Finland, I know Nordic noir is big news internationally. And while I’m delighted to see many of the region’s dark, brooding mysteries get great reviews abroad, at Fire Monkey we like to add our own twist to things. As a result, we tend to tread a less conventional path.
We did this with Black Widows, which added dark humour and more than a touch of soap to a convoluted tale of murder, and now we are breaking out again with The White Wall, an eight-part sci-fi mystery series coproduced with Nice Drama.
At the centre of the show is the titular huge wall, made of an unexplained material and found deep underground at the mining site of the world’s largest nuclear waste depository, in northern Sweden. The opening of the depository is running behind schedule and waste is piling up, so the project director wants to crack on and keep the wall a secret. However, he soon has to make a decision that may well be the most important in the history of mankind. Should they leave the wall alone? Or should they try to see what’s behind it?
We are using the ‘sci-fi mystery’ label to place the drama somewhere in people’s minds, but it’s not exactly what you might expect from the genre. The story is set in the present day and there are no overtly futuristic, paranormal or alien elements or characters. Instead, there is just a vast wall made from a strange material. Within the production team, we sometimes use the term ‘grounded sci-fi’ instead as it feels more relevant.
This is a very different kind of Nordic series and probably a first for the region. Finnish pubcaster YLE, Sweden’s SVT and distributor DRG got what we were trying to achieve straightaway, and while it wasn’t really like anything they’d seen before, they all saw that the central issues and our finely developed, real characters would resonate with audiences both in Scandinavia and worldwide.
The intriguing idea for The White Wall was brought to us by director Aleksi Salmenperä. He was keen to explore human curiosity – particularly the fact that people struggle with not understanding everything and will rarely leave things alone. But is leaving things alone sometimes the right thing to do?
The White Wall is also a very character-driven series. It’s about people searching for love and understanding in an extraordinary situation and risking their lives when fighting for the things they care about most. The wall also acts as a metaphor in some of our characters’ lives: many have obstacles they must get past to achieve their goals. What will happen when they break through?
Our characters exist in a unique world, with a specific set of rules and aesthetics, and the production reflects this. Aleksi’s story is set deep underground in the middle of nowhere, and so are we. There are no plastic rocks or studio mine sets on this series – from November 2018 until April this year, we are on location in the middle of nowhere in northern Finland. The surface is currently covered with a metre of snow, but we are filming more than 700 metres down in an unused part of a much bigger working mine.
We looked at a number of mines before we found the right location in Pyhäjärvi, Finland. It needed to work for our vision for the show, but it also needed to be relatively close to some of the supporting infrastructure we needed, such as hotels and supplies. We also wanted to ensure some of the surface scenes could be filmed in the vicinity.
Filming so far below the surface presents a whole new world of challenges, not least the fact that it takes 30 minutes to get up or down. Security is tight and there are also rigorous health and safety protocols to follow. The air and moisture levels are different too, which can impact on equipment. And, as with cast and crew, just getting large amounts of kit onto set takes time. One small item left in a truck can blow the shooting schedule for that day, so planning and organisation are more important than usual. Filming in the mine gives The White Wall authenticity and a spectacular look and feel, but it’s not an easy task.
Of course, everyone is curious to know what’s behind the wall. Rest assured, we haven’t left this to play out during production and we haven’t changed our minds over the months either. We knew from the outset precisely what would be there at the end. All I can quite confidently say is that our directors, Aleksi and Anna Zackrisson – and the writers, led by Mikko Pöllä – have incredible imaginations, and when it’s delivered in early 2020, it’s unlikely to be what you think…
A host of female characters are rewriting the rules for women on television. DQ explores how they are being brought to the small screen to front series ranging from contemporary crime dramas and thrillers to period and historical series.
There have been some great female characters in scripted TV down the years – the likes of Cagney & Lacey, DI Jane Tennison and Buffy ‘the Vampire Slayer’ Summers all spring to mind. But there’s no question that the last few years have seen the range and quality of roles for women expand dramatically. Orange is the New Black, Big Little Lies, The Handmaid’s Tale, Marvel’s Jessica Jones, Borgen, Orphan Black, GLOW and UnReal are just a few shows that have rewritten the rules when it comes to gender on TV.
For FremantleMedia director of global drama Sarah Doole, this is a sign the TV industry is finally catching up with audience tastes. “Research shows women are in charge of the remote control until 21.30, but most of the iconic dramas you can think of focus on middle-aged white men,” she says. “So what we are seeing is a new world order that reflects audience demands.”
Doole says FremantleMedia’s production slate is addressing this in various ways: “You can see it in Hard Sun, where Agyness Deyn [playing DI Elaine Renko] is not your normal heroine. She is capable of motherly tenderness but also incredible violence. She’s an androgynous, modern character that reaches a new, younger audience. And in Picnic at Hanging Rock and My Brilliant Friend, we focus on the intricacies of female friendship – issues that women don’t usually see on television.”
Red Production Company founder Nicola Shindler says the improved gender balance is also linked to greater representation of women behind the camera. While there have always been a few female role models like Lynda La Plante, “a lot of women of my generation who started out as script editors have now reached positions where they are running companies or making commissioning decisions,” Shindler says. “The result has been more shows with complex and interesting women.”
Red shows with memorable female leads include Happy Valley (starring Sarah Lancashire), Trust Me (starring new Doctor Who lead Jodie Whittaker, pictured above) and Scott & Bailey (Suranne Jones and Lesley Sharp). The idea for the latter came from Jones and Sally Lindsay, with Jones keen for more female roles “that weren’t wife-of, sidekick-to, mother-of, mistress-to et cetera.” The series was then scripted by Sally Wainwright, with a directorial team skewed towards women. “It was a ground-breaking show,” says Shindler, “because so much of it was based around the camera pointing at women characters and them talking to each other.”
Inevitably, a lot of recent female-centric shows revolve around cops (Happy Valley, The Fall, Vera). But there are a growing number of shows that explore women in atypical social roles and contexts. After The Night Manager, for example, The Ink Factory is working on another John le Carré adaptation, The Little Drummer Girl. In this thriller, says The Ink Factory’s Simon Cornwell, Florence Pugh portrays female spy Charlie, “an engaging, nuanced and rewarding character, with strong agency and purpose.” Cornwell, who is le Carré’s son, adds: “For me, creating roles for women that do not conform to male-defined stereotypes is more interesting.”
The mythology of the spy genre has historically been male-dominated, but Cornwell believes The Little Drummer Girl highlights the fact that women have always played a key role in espionage: “Charlie is, I hope, completely authentic as a character. She’s also not ‘atypical’ because there have been and continue to be real women involved in espionage. I think the show highlights the presence of women who were involved but possibly overlooked or not acknowledged.”
Of course, there are some shows where women play roles not at all intended to be grounded in realism. But the prevailing view is this is fine as long as the characters behave authentically within their version of reality world. A compelling example of this is Wynnona Earp, Syfy’s popular series about the granddaughter of legendary gunslinger Wyatt Earp, whose mission in life is to dispatch demonic cowboys who have returned from the dead.
Wynonna started life as a comic book character in 1993, at which point she was a textbook example of comic-geek male erotic fantasy. But for the TV series, says IDW Entertainment CEO David Ozer, “we’ve pivoted completely, as we have also done in the modern versions of the comic books. This is a show led by empowered female characters that also has a strong LGBT component, centred around Wynonna’s sister Waverley.”
The success of this pivot is largely down to the show’s female showrunner Emily Andras and star Melanie Scrofano, says Ozer. “Between them, they’ve created a really relatable character who is more than just a female gunslinger. You can see the female voice of the show running through all the storylines – including the relationship between Wynonna and her sister. In fact, when Melanie got pregnant just before the start of shooting season two, Emily managed to take that and weave it into the existing storylines without missing a beat.”
This isn’t to suggest men can’t write empowered female characters. Neil Cross has done it in Hard Sun and Sam Vincent and Jonathan Brackley likewise in Channel 4 sci-fi series Humans, whose female characters include a working mother (a lawyer), a rebellious teenager, an AI expert and a bunch of highly advanced androids, known as synths. Mia and Niska, synths played by Gemma Chan and Emily Berrington respectively, go on journeys that deal starkly with issues around female sexual exploitation, empowerment and awakening.
Interestingly, season three of the show also has a strong female contingent behind the camera, in terms of writers, directors, producer (Vicki Delow) and exec producer (Emma Kingsman-Lloyd). Delow calls it “good female representation, which maybe you wouldn’t have seen five years ago. And that certainly leads to some interesting debates about the female characters and the way they might be expected to behave.”
Kingsman-Lloyd says “there is probably a bit more of a female voice in this season.” Particularly influential, she adds, has been the input of director Jill Robertson, whose recent credits include Harlots. “There’s still a real shortage of female directors in action-based series,” she says, “but Jill is an extraordinary talent who directed the first two episodes of the new season.”
The idea of authenticity within a heightened reality scenario also underpins the Nordic success story Black Widows, made in Finland but sold around the world. In this show, three women in abusive relationships decide to take change of their lives by murdering their husbands. A big challenge with the show, says producer Roope Lehtinen, was “making it so that people rooted for the women even after they’d killed their husbands. I think we achieved that by not dwelling too long on the murder scene, making the guys really disgusting and also giving the show a tone that didn’t take itself too seriously.”
The ensemble nature of the show (something that is still more typical of female-led than male-led drama) meant it was possible to explore the shifting dynamics of the relationships between the women, but also how they reacted individually to what they had done. “They each have their own distinct voice,” says Lehtinen, “including one of them who is not quite as moral as her two friends. It’s important that female characters can have the same anti-hero flavour as we are used to with men.”
Most producers and showrunners agree that female characters need to be messy and complicated, not sanitised or sanctified. “Complicated, messed-up women are the only kind of women I know,” says Stacy Rukeyser, showrunner of Lifetime’s hit series UnReal, which tells the story of two manipulative ratings-seeking female producers running a salacious dating show. “Real, relatable women have a strong appeal to TV audiences.”
Rukeyser says the show also stands out “because it’s still rare to see women at work outside of detective series. And I think it’s taken on a new significance during the last year. There may have been a sense that some of the issues around gender equality weren’t that relevant anymore, but now the whole debate about equal pay for men and women has exploded.”
Ellie Beaumont, co-creator (with Drew Proffitt) of Australian crime drama Dead Lucky, also favours shows that depict flawed women: “Our central character in Dead Lucky [a detective played by Rachel Griffiths] has a strong sense of social justice but she also has a temper and speaks before thinking. The best characters – of either gender – are always flawed.”
One interesting way of addressing the gender imbalance in TV drama has been to portray early-to-mid-20th century female characters challenging social stereotypes, such as in Bomb Girls, Ku’damm 56 and Call the Midwife. Susann Billberg, a producer at Sweden’s Jarowskij, identifies similar themes in Vår tid är nu (The Restaurant), a period family saga that her company produces in collaboration with SVT, Viaplay and Film i Väst.
“The series explores the Swedish class system from the late 1940s and how these barriers began to break down,” she says. “It shines a light on the different female perspectives and their involvement in helping society progress. Nina is headstrong and determined to break class norms by building a nightclub. Then there is waitress and single mother Maggan who champions women’s rights in the workplace.” Another female powerhouse, adds Billberg, is Helga, the family matriarch played by Suzanne Reuter.
From Canada, Frankie Drake Mysteries is another period show, set in the 1920s, that depicts a woman defying stereotypes, this time as a private eye. Christina Jennings, chairman and CEO of Shaftesbury and executive producer of the show, says: “At its heart, Frankie Drake Mysteries is about female empowerment. Frankie is a woman living life on her own terms, building a career of her own design and empowering other women along the way. We wanted to explore this era and its challenges through the lives of a group of women working together to solve crimes.”
Canada “is in a good place right now in terms of producing series with women in lead roles,” says Jennings, whose company also produced vampire web series Carmilla. “There is a focused effort to ensure women are taking their place behind the camera, and this helps inform the stories.”
But how do producers approach gender in earlier period drama, where the assumption might be that women were treated as second-class citizens? Take a show like Versailles, for example. “It is true that Versailles was an arena created by Louis XIV to impose his absolute power,” says Aude Albano, an executive producer from Versailles prodco CAPA Drama, “and 17th century France was generally ruled by men. But women also used to play an essential role in that environment and it was important to us to depict and highlight it in the show. It was not our intention to make a feminist show, but it was our intention to use what we found fascinating in history and bring a modern look.”
One way into this subject was the fact that Louis was raised by a very strong woman, Anne of Austria. “The relationship Louis had with his mother had a clear impact on his attraction to strong and smart women, such as Madame de Montespan or Madame de Maintenon,” says Albano. “This gave us the scope to create strong, complex and singular female characters, each one of them coming with their drives, their flaws, their ambitions.”
Another option with period drama is to go so far back in history that there is little guidance on the gender roles. In Sky series Britannia, the creative team constructed a vision of a gender-balanced Britain fighting against a tyrannical Rome. “The little we know of those times was mostly written by the Romans,” says James Richardson, co-founder of producer Vertigo Films, “and they were a patriarchal, quasi-fascistic state. But there is evidence that ancient Britain was a more egalitarian society with female queens and warriors. That gave us something to play with.”
This opened up powerful roles for the likes of Zoe Wanamaker, who plays the ferocious Queen of the Regnis tribe Antedia, and Kelly Reilly, the rebellious daughter of the King of the Cantii tribe. There’s also a key role for Eleanor Worthington-Cox, who plays Cait, a teenage girl whose family are murdered by the Romans just as she is coming of age. “I don’t like the notion of ‘strong’ female characters, but what [writers] Jez and Tom Butterworth gave Britannia was interesting women – funny, fierce, complicated, messed up – front and centre of the story,” Richardson adds.
Worthington Cox’s role is a reminder that teenagers and young women are rarely portrayed in a meaningful way in mainstream TV drama. Shows that tackle this gap include Clique, The Girlfriend Experience and upcoming series Hanna, written by David Farr and based on the movie of the same name.
Hanna is an NBCUniversal International Studios (NBCUIS) and Working Title Television production for Amazon. A high-concept thriller that differs in tone from the Joe Wright-directed movie of the same name, it follows the journey of an extraordinary young girl, accompanied by her battle-hardened father, as she evades the relentless pursuit of a female CIA agent. “What makes it especially interesting,” says NBCUIS executive VP of scripted programming JoAnn Alfano, “is that it is a coming-of-age story about a teenage girl who, for the past 15 years, has been raised in isolation in the remote forests of northern Poland. She’s extraordinary, but what she wants most of all is to be normal. Pitching the character at this age is important to the show because she’s finding out what it is to be a woman. And, at the same time, she’s learning how to have a mind of her own.”
Of course, the debate about gender has intensified in the last year as a result of the numerous sexual abuse and harassment scandals that have gripped the media sector. The Ink Factory’s Cornwell says: “Initiatives like #MeToo, and the questions raised by our sudden recognition of behaviours in our industry that have been endemic and profoundly inappropriate, are forcing us to examine not just our actions but the social norms that have led to those behaviours or created an environment in which they could flourish. We need to address the way we have been perpetuating or internalising problematic gender constructs and behaviours through the worlds we create.”
Shindler raises a salient point, which is that the new gender balance on TV isn’t just about what women do on screen, but what they don’t do: “In Red shows, rape is never a story – and we don’t depict dead female bodies. We made a decision in our TV dramas not to portray women in our dramas as victims.”