Tag Archives: Rush Hour

BBC’s blind faith in Knight

Peaky Blinders will have at least two more seasons
Peaky Blinders will have at least two more seasons

The BBC has ordered two more series of Steven Knight’s gangster series Peaky Blinders, which is set in 1920s Birmingham in the UK. The show is currently four episodes into season three, which means it will now run for at least five seasons – though Knight has expressed a desire to keep going long after that.

Like the first three seasons, the new commissions will both consist of six hour-long episodes, which means a total of 30 hours of TV.

Caryn Mandabach, executive producer of the show for Caryn Mandabach Productions, said: “It’s a fantastic vote of confidence in the show and Steven Knight’s writing that the BBC has ordered two more series following the first episode’s overnight figures. We’re proud of, and grateful for, the BBC’s support of the show.”

Will Gould, who also works on the show as an exec producer for Tiger Aspect, added: “Peaky has become a global hit. Steve’s vision resonates with audiences the world over, and what a privilege it is that we get to make more.”

Knight, who will continue to write all episodes, said: “I am thrilled at the response to the third season. The prospect of writing season four and five is truly exciting. This is a real passion project for me, and I look forward to telling more stories of the Shelby family.”

To be completely frank, the audience for season three of Peaky Blinders hasn’t been massive. It opened with 2.95 million (BARB) for episode one and then dropped to 2.43 million for episode two. So it’s not in the same league as BBC2’s Line of Duty (circa five million) or Channel 4’s Humans, which hit six million last June.

The Americans will conclude with season six
The Americans will conclude with season six

A possible reason for the modest audience is the show’s graphic violence, which won’t be to everyone’s taste. Another is the esoteric nature of the season three plot, which revolves around the fallout from the Russian Revolution (angry White Russian exiles and so on).

But judging Peaky Blinders solely on the basis of its ratings would be a bit like castigating a Man Booker Prize winner for not muscling JK Rowling off the fiction best-seller list. The fact is that Peaky Blinders is superb – comparable to the best scripted series coming out of the UK, US, Nordics, Spain, Israel and elsewhere.

IMDb ratings back this up. The first episode of season three, which was slightly meandering, only managed 8.8. But the show really kicked into gear after that, with its IMDb rating jumping to a very impressive 9.5 by episode four. Critics are also pretty unanimous in their approval, with the Daily Express going so far as to call Knight’s show “this generation’s Godfather.”

The beauty of Knight’s formula is the way he plays different interest groups off against each other, blurring the line between criminality and legality, gangsters and establishment. The result of his complex plotting is that central character Tom Shelby is constantly saved from what looks like certain death by individuals or organisations that suddenly find they have a use for him.

Alongside the sophistication of Knight’s writing, the show is beautifully directed (by Tim Mielants in season three) and, of course, superbly acted. Cillian Murphy, as Tommy Shelby, is delivering a performance that, by this week’s episode four, is similar to the standards set by Bryan Cranston as Walter White in Breaking Bad. And Paul Anderson, as his brother Arthur, grows in stature with every season.

AMC's Preacher has opened strongly
AMC’s Preacher has opened strongly

Murphy’s comment on the new commission is that: “Tommy Shelby is one of the most intense, challenging characters I’ve had the opportunity to play. I’m particularly grateful that Steven’s original, dynamic writing and the longform series allow me to explore Tommy in depth. I look forward to Tommy’s evolution over the next two chapters.”

Peaky Blinders’ graphic violence (Tarantino-like in its intensity at times) inevitably limits the kind of channels/slots where it can air. But as Gould says, the show has established a solid fanbase around the world. Netflix in the US, for example, will offer season three from May 31. And Arte in France has also aired the show. Peaky is distributed by Endemol Shine International, which will be pleased that it can now go to the global market with 30 episodes.

Another quality show in the news this week is FX’s Cold War spy drama The Americans, which has also been given a new two-season order. The difference with this one, however, is that these two seasons will be the last, with The Americans ending in 2018 after six seasons. Season five will have 13 episodes and season six will have 10, bringing the total volume to a very respectable 75.

“Through its first four seasons, critics have lauded The Americans as one of the best shows on television and, remarkably, a series that keeps getting better every year,” said FX original programming president Eric Schrier.

“All credit for that achievement goes to everyone who has worked on the show, and especially co-showrunners Joe Weisberg and Joel Fields, (executive producer) Graham Yost, our brilliant stars Keri Russell, Matthew Rhys, Noah Emmerich, Allison Wright, Holly Taylor and Annet Mahendru, and the ensemble cast for their incomparable performances. We have no doubt that this two-season order will allow Joe and Joel to tell this story to its perfect conclusion.”

Rush Hour has been canned
Rush Hour has been canned

Again, the show isn’t what you’d call a ratings hit. Season four is currently averaging around 930,000, which is down a little on season three. And it rates lower than a number of other FX shows, including The Bastard Executioner, which was cancelled after one season despite having a higher audience and better 18-49 demo.

Nevertheless, The Americans is a good show for FX because it attracts critical acclaim and gets a fair share of award wins and nominations – all useful for a cable subscription service. It has also had a decent life internationally, airing on Network Ten Australia, FX Canada, RTE Ireland and ITV/ITV Encore in the UK.

For Weisberg and Fields, there is no particular downside to the show ending, because they have also signed a new overall deal with FX Productions to develop their next scripted series.

Meanwhile, AMC’s latest new show, Preacher, has got off to a good start, with episode one securing an audience of 2.38 million. This puts it at number four on the channel behind The Walking Dead, Fear The Walking Dead and Into the Badlands.

Preacher was helped by being scheduled after FTWD – so episode two will be an important benchmark for the show. But it could shed a significant amount of viewers and still be regarded as a hit by AMC.

By contrast, six-part espionage drama The Night Manager has just ended its run on AMC with a modest 790,000 average audience. It picked up slightly for the last episode but made nowhere near the impact it had on British television. This is a bit of a surprise considering that lead actor Hugh Laurie has a good profile in the US with his long-running lead role in House. However, it may indicate that the show wasn’t right for AMC.

One programme that has had an abject first season is CBS’s movie adaptation Rush Hour. Just eight episodes in, the show is delivering around four million viewers and has already been cancelled.

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Networks bank on movie magic

limitless
Expect a renewal for Limitless

With reports this week that Sony Pictures Entertainment is planning a TV series based on the Angelie Jolie spy movie Salt, now seems as good a time as any to round up developments on the movie-to-TV adaptation front. At least 20 such projects are in production, development or distribution.

Limitless: Based on the 2011 movie starring Bradley Cooper, Limitless debuted on CBS in September 2015. After a strong start, CBS gave it a full season order of 22 episodes and started selling the show around the world. Currently 15 episodes in, the show is attracting around 6.4 million viewers on debut night and 9.8 million after time-shifting is factored in. This should be enough to guarantee renewal for season two despite being some way off the launch episode (14.2 million viewers including time-shifted).

Minority Report: A much-hyped but ultimately unsuccessful remake of the Tom Cruise movie that ran on Fox in autumn 2015. Initially awarded 13 episodes, the run was cut to 10 after poor ratings. It bowed out with an audience of around two million, but not before it had been sold to networks in the Middle East.

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The Rush Hour movie franchise, starring Chris Tucker and Jackie Chan, comprises three films

Rush Hour: Based on the popular movie franchise that paired Jackie Chan and Chris Tucker, Rush Hour is another CBS reboot about an off-the-wall LAPD detective being required to work with a straight-laced Hong Kong police officer. The show will premiere on Thursday March 31 at 22.00 and has been picked up by E4 in the UK. CBS plans to give the show a big promotional boost by marketing it during the popular March Madness College Basketball tourney.

Training Day: Another CBS project, this is a reboot of the 2001 film that starred Denzel Washington as a corrupt narcotics cop and Ethan Hawke as his rookie partner. In the update, an idealistic young African-American police officer is partnered with an experienced but morally ambiguous Caucasian detective. This show, produced by WBTV and Jerry Bruckheimer, is currently moving towards a pilot, which will be directed by Danny Cannon.

uncle-buck-abc
The TV version of Uncle Buck

Uncle Buck: This is an ABC reboot of the 1989 cult comedy starring John Candy. In this version, which was given a greenlight to series in 2015, the cast will be black, with Mike Epps playing Uncle Buck, “a fun-loving but irresponsible guy who needs a job and a place to stay. By happy coincidence, his nieces and nephews’ nanny has just quit and his brother- and sister-in-law need his help. His unconventional personality just may make him the right fit for the family.” No details yet on launch date.

Lethal Weapon: The massive 1980s/1990s film franchise, starring Mel Gibson and Danny Glover, is being adapted for TV by Fox. In February 2016, Fox gave a formal pilot order to the show, which focuses on a former Navy SEAL who suffers the loss of his wife and baby and moves to Los Angeles to start anew as a cop. Matt Miller (Forever) will write the TV adaptation.

rambomovie
Sylvester Stallone as John Rambo

Rambo: Fox is planning a TV series entitled Rambo: New Blood, based on the iconic Sylvester Stallone-starring movie franchise. Stallone won’t be involved in the new project, which is from Entertainment One and Avi Lerner’s Millennium Films. There are no details yet as to where this is in terms of development.

Fargo: Based on the Coen Brothers movie of the same name, Fargo has already seen two critically acclaimed series aired on FX. In November 2015, midway through season two, FX ordered a third season from series creator Noah Hawley. “Year two of Fargo is an extraordinary achievement and, given Noah Hawley’s masterful storytelling, we can’t wait to see where the third, all-new version of Fargo takes us,” said FX Networks’ Eric Schrier.

cruel-intentions
1999’s Cruel Intentions

Cruel Intentions: NBC is planning a remake of the cult 1999 movie that was loosely based on Les Liaisons Dangereuses. The show, which has now been taken forward to pilot, will pick up 15 years after the movie left off and will focus on the teenage son of two of the film’s main characters. The original writer and director of Cruel Intentions, Roger Kumble, is attached to the pilot episode as director.

Taken: Based on the surprise hit movie franchise starring Liam Neeson, Taken the TV series is a modern-day prequel in which we learn how CIA operative Bryan Mills developed his “particular set of skills.” Homeland executive producer Alexander Cary has been signed up to write, executive produce and run the Taken TV series. Perhaps not surprisingly given the success of the movie franchise, NBC has given this show a straight-to-series order.

Time After Time: Based on a 1979 movie (itself based on a book), ABC’s new Time After Time series imagines HG Wells pursuing Jack the Ripper forward in time using his famous time machine. The project is from Kevin Williamson and has now been taken forward to pilot. In a similar vein, The CW is backing a TV adaptation of 1990 sci-fi time travel movie Frequency. In the CW pilot, the central character becomes a female police detective.

Haywire: A 2011 action movie starring Channing Tatum and Gina Carano, Haywire is another movie reportedly getting a TV remake. The Steven Soderbergh-directed film tells the story of a secret agent on a revenge spree after her agency betrays her. This project is in early development with Relativity TV.

Behind Enemy Lines: In September, Fox announced plans for a series based on the 2001 movie of the same name, which starred Owen Wilson and Gene Hackman. Fox’s show will be a high-octane military thriller about an American flight crew shot down while on a secret mission over the jungles of Latin America. The show is from 20th Century Fox Television, Temple Hill and Davis Entertainment, which produced the original version. At time of writing there was no further news on the project’s status.

notebookmovie
Ryan Gosling and Rachel McAdams in The Notebook movie

The Notebook: In August 2015, it was revealed that The CW had teamed up with author Nicholas Sparks to revive romantic movie The Notebook as a TV series (Sparks was the author of the original book, also a big success). A pilot is being written by Todd Graff, who will also executive produce alongside Sparks and Theresa Park. “The Notebook is a very well-received book and motion picture. It is going to be set after World War Two. At this point, the pilot is not done,” said CW president Mark Pedowitz in 2015.

The Exorcist: In January 2016, Fox ordered a pilot based on the 1971 novel/1973 movie of the same name. The one-hour drama pilot is described as “a propulsive, serialised psychological thriller following two very different men tackling one family’s case of horrifying demonic possession, and confronting the face of true evil.” Jeremy Slater is the writer-producer, with James Robinson, David Robinson and Barbara Wall on board as executive producers.

damien
Damien is based on The Omen films

Damien (The Omen): Damien is an upcoming A&E series based on The Omen horror film series, which centres on a small boy born of Satan and adopted by an affluent US family. Scheduled to launch on March 7, the TV series follows Damien Thorn, now a 30-year-old war photographer who has forgotten his Satanic past. Ann Rutledge (Barbara Hershey), who has protected Damien all his life, will now help him embrace his antichrist destiny.

Friday the 13th: Continuing the trend towards horror movie remakes (remember that Scream is already up and running on MTV, with a second season coming on April 20), The CW is planning a TV version of iconic film series Friday the 13th. The series adaptation will be written by Steve Mitchell & Craig Van Sickle, co-creators of the 1996 NBC series The Pretender.

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Repackaging Hollywood

CBS has ordered a pilot  based on 2001's Training Day
CBS has ordered a pilot based on the 2001 movie Training Day

It’s a regular cause for discussion that feature film studios and talent are moving into the scripted TV business. But there’s an equally significant trend involving archive movies being reinvented as TV series.

Already out in the market, and doing pretty well, are classic titles including Fargo, Sleepy Hollow, Transporter, Hannibal, 12 Monkeys, Teen Wolf and Parenthood. And this autumn will see the floodgates open still further, with TV spin-offs launching across a wide range of US channels.

Examples include Limitless, Minority Report, Rush Hour, Supergirl, Scream, Ash vs Evil Dead and Uncle Buck, all of which are just weeks away from launch. Coming down the line soon after will be a TV version of Shooter, the 2007 film starring Mark Wahlberg.

The main reason for this spate of remakes is the need to cut through the clutter of competition. With around 400 TV dramas a year vying for attention in the US market alone, any kind of in-built brand awareness is extremely valuable at launch. While a movie’s heritage can’t, in itself, make an audience like a TV show, it can at least encourage viewers to sample it – especially if some aspect of the originating film crosses over (thus adding authenticity).

MGM, for example, made much of the fact that the Coen brothers had a hand in the scripts for the Fargo reboot. And Hollywood A-lister Bradley Cooper is lined up to appear in some episodes of Limitless, having starred in the movie.

Fargo returns for a second season in October
Fargo returns for a second season in October

The future prospects for this film-to-TV business model may well depend on the hit rate of this year’s batch of remakes. But it’s worth noting that all of the existing film-to-TV productions mentioned in the opening paragraph made it to season two at least. Teen Wolf, for example, is at season five. This hit rate compares pretty favourably with shows based on foreign scripted formats, where successes are few and far between.

Ironically, one issue that may affect film-to-TV adaptations is the current shift in the TV industry’s favour. With the film industry polarising between blockbuster and low-budget independent productions, the mid-market where many of the above film titles lived is under pressure. In other words, films capable of adaptation may prove a precious resource that gets over-mined by the industry.

For now, though, there is no sign that the future pipeline is drying up, with confirmation coming this week that Denzel Washington movie Training Day is being lined up for a remake at CBS (initially as a pilot from Warners Bros TV and Jerry Bruckheimer).

CBS, it should be noted, is a fan of this approach, having already greenlit Supergirl, Limitless and Rush Hour – which has also been picked up by E4 in the UK.

Meanwhile, it was revealed last week that NBC is backing a TV adaptation of RED, a cult film series starring Bruce Willis that was itself based on a comic book franchise. There is also talk of a third movie in the RED franchise, so we may be seeing an era of parallel development emerge.

Baywatch is being converted into a movie starring Zac Efron
Baywatch is being converted into a movie starring Zac Efron (High School Musical)

As a footnote, last week also saw the announcement that cult TV show Baywatch is being brought back as a movie with Zac Efron. That is sure to revive interest in the library rights of the TV show – NBC-owned Cozi TV and Telemundo’s TeleXitos both recently relaunched the series – and could even stimulate a TV reboot down the line.

Other TV-to-film stories this week centred on Downton Abbey. With the iconic period drama having just wrapped production on its final season, producer Carnival is now considering continuing the franchise on the big screen –possibly taking the show into the pre-Second World War financial crash.

All of the recent talk about there being too much scripted TV doesn’t seem to have unsettled Viacom-owned channel Spike. Having recently finished airing ancient Egyptian miniseries Tut, Spike has just ordered its first one-hour drama series in nine years – a 10-parter from Jerry Bruckheimer and Warner Horizon Television called Harvest.

The show is being written by Ian Sobel and Matt Morgan (12 Monkeys) and tells the story of a cemetery caretaker who finds his quiet life in jeopardy when his estranged criminal father tracks him down. To protect his daughter, he works with his father in the illegal trade in body tissue.

This week also saw Australian subscription VoD platform Presto pick up rights to USA Network thriller Mr Robot, which has Christian Slater among its cast. Presto, which acquired the show from NBCUniversal, will show the first seven episodes of Mr Robot immediately before adding the last three after they air stateside on USA.

The show follows a young programmer who suffers from a debilitating anti-social disorder. He finds himself caught between working for a cybersecurity firm and the murky world of mysterious anarchist Mr Robot, played by Slater. In the US, the show is averaging an audience of around 1.42 million viewers, though recent episodes are nearer the 1.2 million mark. The show was recommissioned for a second season very early on the basis of a digital preview.

Presto has picked up the rights to Mr Robot
Presto has picked up the rights to Mr Robot

Finally, a week after Showtime Networks president David Nevins criticised some of the current risky investments in scripted TV, Showtime announced it is producing I’m Dying Up Here, a new one-hour pilot being executive produced by Jim Carrey.

Based on the non-fiction novel by William Knoedelseder, the pilot will be directed by Jonathan Levine (50/50, Warm Bodies) and produced by Endemol Shine Studios and Assembly Entertainment. Written and executive produced by former stand-up comedian Dave Flebotte (Will & Grace, Desperate Housewives, The Bernie Mac Show) and set among the famous Hollywood comedy clubs of the 1970s, the dark comedy pilot “will delve into the inspired and damaged psyches that inhabit the hilarious but complex business of making an audience laugh”.

Nevins said: “The 1970s LA comedy scene gave rise to some of the biggest and most influential performers of the last half-century. Who better than Jim Carrey and Dave Flebotte, who were both there, to tell the story of that special era?”

When asked last week about the current situation with scripted programming, Nevins said Showtime is in expansion mode, but he questioned networks that were rushing into new shows – giving two-season commitments on the basis on pitches, for example. He said brands like Showtime that “stand for something” will survive.

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