Tag Archives: Sense8

Netflix senses second-season success

sense8-cast
Sense8 has been given a second run

As expected, SVoD giant Netflix has greenlit a second series of its acclaimed sci-fi series Sense8.

Fans were starting to get worried because of the long time the company seemed to be taking over an announcement. Usually, Netflix makes a decision within a month of a show’s completion – but this was a scary two-month gap.

Sense8 was created by Andy and Lana Wachowski and J Michael Straczynski, who are widely expected to come back on board for season two. The trio have previously said that they planned the series to run for five seasons, Netflix audience data analysis willing.

While much attention is paid to Netflix’s US originals, the company is also ordering an increasing number of international series to support its global roll-out. This week, for example, it ordered its first original series from Brazil, which is set to debut in 2016.

Produced by Boutique Filmes and directed by Cesar Charlone, 3% is billed as a “dramatic futuristic story set in a world divided between progress and devastation.” In 2011, Boutique Filmes released a three-episode pilot of 3% on YouTube that attracted more than 400,000 views.

Tiago Mello, the show’s executive producer, said: “Netflix’s willingness to invest in Brazilian content, local talent and creative storytelling is key for our growth as an industry. The story was created a few years ago and now I am thrilled that it will turn into a new original Netflix series.”

The second season of Fargo comes to FX in October
The second season of Fargo comes to FX in October

A lot of attention has been paid to the original commissions strategy at Netflix and Amazon, but there are a growing number of other on-demand/streaming services seeking to establish their credentials as sources of event drama.

Sony’s Crackle, for example, has just released a trailer for The Art of More, its first scripted drama. Starring Dennis Quaid (who is also an executive producer), Christian Cooke, Cary Elwes and Kate Bosworth, the 10-episode series will delve into “the surprisingly cutthroat and glamorous world of premium auction houses.”

The series follows Graham Connor (Cooke), a blue-collar upstart who leverages his way into this exclusive realm by exploiting connections to antiquities smuggling rings he was exposed to as a soldier in Iraq. Also inhabiting this rarified world is Sam Brukner (Quaid), a self-made billionaire who was somewhat ruthless on his way up the food chain in the real-estate world. Now he’s a tycoon with access to everything he desires and he wants everyone to know it – he’s a collector of both art and people.

The writers of The Art of More are Gardner Stern (NYPD Blue, Law and Order) and Chuck Rose. They are also executive producing alongside Quaid, Laurence Mark (Last Vegas, Julie & Julia, Dreamgirls), Gary Fleder (Runaway Jury, The Shield) and Tamara Chestna.

This week has also seen a number of announcements from US cable channel FX. Chief among them was news that Guillermo del Toro and Carlton Cuse’s thriller The Strain will return for a third season.

Eric Schrier, president of original programming at FX Networks and FX Productions, said: “Guillermo and Carlton have delivered two thrilling seasons of The Strain that are captivating and visually arresting, doing justice to the original novel trilogy and meeting fans’ high expectations in the process.”

The Mark Wahlberg movie Shooter, which is being adapted into a series starring Ryan Phillippe
The Mark Wahlberg movie Shooter, which is being adapted into a series starring Ryan Phillippe

FX has also set the premiere dates for a number of its hotly anticipated new series. Kurt Sutter’s new drama The Bastard Executioner will start on September 15. The show is described as “a blood-soaked, medieval epic that tells the story of Wilkin Brattle (Lee Jones), a 14th century warrior whose life is forever changed when a divine messenger beseeches him to lay down his sword and lead the life of another man: a journeyman executioner. Set in Wales during a time rife with rebellion and political upheaval, Wilkin must walk a tightrope between protecting his identity while also serving a mysterious destiny.”

Other FX series coming up are American Horror Story: Hotel, which debuts on October 7, and the new edition of Fargo, set to premiere on October 12. If that sounds like an exciting line-up of drama then you should probably enjoy it while you can.

At the recent TCA (Television Critics Association) event in the US, FX Networks CEO John Landgraf caused a stir when he said “there is simply too much television.” He predicted that the number of original scripted series will reach a peak in the next two years before starting to decline. FX currently has 20 original scripted series across FX and sister network FXX.

Economics dictate that it won’t go any higher, though Landgraf had originally hoped to take the total up to 24. One inference from his comments is that the scripted industry will soon experience a retraction, which may in turn lead to some company closures or consolidations.

Big news on the international coproduction front is that The Weinstein Company (TWC) and ITV Studios Global Entertainment have joined forces to make a 10-part gangster series set amid the fall of the Soviet Union. Called Mafiya, the series is being written by William Nicholson (Gladiator, Shadowlands) and produced by Archery Pictures, the UK producer set up by Kris Thykier and former Scott Free UK chief Liza Marshall. Set in Moscow in the 1990s, the mob series will follow the rise of a street trader who becomes one of the richest and most powerful people in the country.

ITV has commissioned a three-part Scott & Bailey special
ITV has commissioned a three-part Scott & Bailey special, to be produced by Red Production Company.

This week also brought news that the Mark Wahlberg movie Shooter is being reinvented as a TV series. The small-screen version of the 2007 Paramount film will star Ryan Phillippe and is being written by John Hlavin. Phillippe plays a former Marine sniper who is brought back into action to thwart the killing of the president.

Other greenlights this week include Wanted (working title), a thriller for Australia’s Seven Network. Scripted by Timothy Hobart, John Ridley and Kirsty Fisher, this story follows two strangers who intervene in a deadly carjacking and are swept up in a chase across Australia in a car full of money. Shooting starts in October in Brisbane, with Screen Queensland investing in the project.

In the UK, meanwhile, broadcaster ITV has commissioned a special three-part run of cop drama Scott & Bailey, featuring a single crime story to be produced by Red Production Company. Explaining the three-part format, ITV said it will “allow the story to unfold with scale and ambition as Scott and Bailey tackle one of the biggest and darkest cases they have ever had to face.”

The drama will be executive produced by Red’s Nicola Shindler and written by Lee Warburton and Paul Logan. “We’re delighted to be returning to Scott & Bailey with an investigation that will have everlasting consequences for the characters,” said Shindler. “This series is more ambitious and sinister than ever before and the concept of a three-part story allows us the opportunity to tackle a story of epic scale and ambition.”

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Sense8-tional success

Sense8's writers believe the show deals with subjects previously untouched by sci-fi
Sense8’s writers believe the show deals with subjects previously untouched by sci-fi

Netflix has been in the news a lot this week. There has, for example, been furious speculation about the future of Sense8, a 12-part sci-fi drama that quickly established itself as a hit series for the subscription VoD platform.

Launched on June 5, it has attracted audiences and acclaim in key markets such as the US, France and Germany. With positive reviews on both Netflix itself and IMDb, it has also quickly become a target for the non-Netflix pirate audience.

The story of eight strangers from different parts of the world who suddenly become emotionally and mentally linked, Sense8 was created and written by Andy and Lana Wachowski and J Michael Straczynski. It attempts to deal with subjects that the writers believe sci-fi shows avoid or don’t do justice to, such as politics, identity, sexuality, gender and religion.

Straczynski had an opportunity to discuss the show at this week’s meeting of the Television Critics Association in California. Speaking on a panel, Straczynski made it clear the Sense8 team will continue the show if they get the greenlight from Netflix.

“We’re still awaiting word,” he said. “We’re cautiously optimistic, but it’s Netflix’s call. The way the Wachowskis and I tend to work, we are long-thinking people. We look down the road and say to ourselves, ‘Where is this going to go?’

“Season one is like an origin story, while season two has some particular arc and we figure it out from there. But to spoil that here would not be best for the surprise at the end.”

One thing that stands out in the show is its graphic content. Explaining its inclusion, Straczynski said: “We wanted to do a show for adults and grown-ups. There’s a tendency for science fiction to be seen as something other than for adults. It tends to be about the device, the gadget, the mission and not about the journey.”

Straczynski has a long and varied track record in TV writing, which goes all the way back to He-Man and the Masters of the Universe, of which he wrote nine episodes. After stints on The New Twilight Zone, Murder She Wrote and Walker Texas Ranger, his big breakthrough project was sci-fi series Babylon 5, which ran for five seasons. Straczynski wrote 92 episodes out of a total 110 for the 23rd century-set space opera, before going on to create a spin-off called Crusade and another series called Jeremiah.

The trajectory for the Wachowskis has been quite different. After the success of their Matrix movie franchise, the brother/sister team has had a couple of feature film disappointments in the shape of Jupiter Ascending and Cloud Atlas. So the success of Sense8 has led some observers to ask whether their offbeat approach might be better suited to longform TV series. The answer to that seems to be that they’ll work across both formats.

Infamous drug lord Pablo Escobar, the focus of forthcoming Netflix show Narcos
Infamous drug lord Pablo Escobar, the focus of forthcoming Netflix show Narcos

One interesting theme that emerges from Sense8 is the issue of transgender identity. Lana Wachowski is a transgender woman and there is also a central transgender character in the show, Nomi – played by trans actress Jamie Clayton.

Clayton, who was on the TCA panel, praised the way the Wachowskis and Straczynski devised her character. She said: “There has never been a trans character in a movie or on a show before that didn’t revolve around his or her transition. Nomi is the first… no one cares because, at the end of the day, we shouldn’t care that she’s trans.”

Alongside all the Sense8 speculation, the pre-launch publicity for Narcos, another Netflix series, also kicked off at the TCA event. Produced for Netflix by Gaumont International Television, Narcos is a 10-part series that explores the 1980s drug war between the US administration and Colombian cartel kingpin Pablo Escobar. It will begin streaming on Netflix on Friday August 28.

Narcos was created by Chris Brancato, Eric Newman, Carlo Bernard and Jose Padilha, who initially intended it to be a film but found that the wealth of material favoured a TV series.

Explaining the project, Padilha said: “The series follows how (Escobar) became powerful, his political ambitions and bigger-than-life stories. Cocaine was cheap to produce, highly addictive and had incredible profit margins. No one knew what they had until it hit America.”

Newman’s involvement in the project is another good indication of the huge film-to-TV swing the industry is witnessing. After making his name as a producer of films such as Children of Men, The Thing, In Time and Robocop, his last two projects have been the TV series Hemlock Grove and Narcos. Padilha, who is from Brazil originally, counts Elite Squad among his recent credits.

Comedy-drama Lilyhammer led the way in binge viewing
Comedy-drama Lilyhammer led the way in binge viewing

Also this week, Netflix confirmed that the third season of Norwegian-American series Lilyhammer will be its last. The show, which centres on a US gangster trying to start a new life in Norway, was a landmark moment in scripted business.

It was one of the first shows that really put Netflix on the map and also kick-started a trend towards shows that are comfortable hopping between different languages. The star and co-writer of the show is Steven Van Zandt, who seemed disappointed by the cancellation.

He wrote on Twitter: “#Lilyhammer RIP. Not my decision. Let’s just say for now the business got too complicated. Very proud of our 24 shows. New ideas on the way.”

While Lilyhammer (which was also a breakout hit for Norwegian broadcaster NRK) is often thought of as being Van Zandt’s creation, the original idea was actually conceived by the husband-and-wife team of Anne Bjørnstad and Eilif Skodvin, who pitched it to Van Zandt while he was in Bergen producing a rock band. After a further meeting in New York a deal was done.

Among other Netflix announcements this week was the news that the streamer has greenlit a Spanish-language series that will air in 2016.

“Netflix is committed to the creation of high-quality, Spanish-language original series for Mexico, US, Latin America and the world,” said chief content officer Ted Sarandos. “We are thrilled to be working with one of Latin America’s biggest and most talented stars Kate del Castillo on Ingobernable.”

Kate del Castillo will star in Ingobernable
Kate del Castillo will star in Ingobernable

In Ingobernable, del Castillo will play Irene Urzua, the wife of Mexico’s president. A woman with a strong personality, conviction and clear ideas, Urzua is capable of “creating a president, leaving a president and killing a president,” said Netflix in a press statement.

The 20-part series will be produced in Mexico by Argos and directed by Jose Luis Garcia Agraz and Pedro Pablo Ibarra. No details were provided on who is writing the show.

Netflix is also due to premiere Gaz Alazraki and Mike Lam’s Spanish-language series Club de Cuervos on August 7.

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Binge viewing standard-bearer’s next move

It was the service that changed the rules. But with subscriber numbers continuing to soar and questions being asked about higher prices, what comes next for Netflix?

Netflix put down its viewer growth to originals such as Sense8
Netflix put down its viewer growth to originals such as sci-fi series Sense8

You might not remember what you were doing on Sunday Feburary 5, 2012, but Netflix’s early adopters might remember sitting back and watching the first episode of a Norwegian comedy-drama called Lilyhammer.

Starring Steven Van Zandt, it follows a New York mobster who, after testifying in court against a mob boss, is placed in a witness protection programme and relocated to Lillehammer in Norway.

The fish-out-of-water premise might not sound particularly revolutionary in terms of TV storylines, but looking back at the words used by Ted Sarandos, chief content officer at Netflix, to announce the launch of the series, it’s amazing to consider how far the industry has come in little more than three years.

“Do you love the indulgence of watching episode after episode of your favourite shows on Netflix?” he asked. “Have you ever wished you could do the same with new shows when they premiere on TV? Well, starting today, you can enjoy as many episodes as you please of the brand new Netflix original series Lilyhammer, starring Steven Van Zandt.”

The phrase ‘binge-viewing’ had not yet become synonymous with Netflix and the way its viewers would use the service, but the foundations were being laid for a major shift in viewing habits.

After describing the series further, Sarandos ended: “Unlike any major TV premiere before it, we are debuting all eight episodes of the first season at the same time, today. Conventional TV strategy would be to stretch out the show to keep you coming back every week. We are trying to give our members what they want: choice and control. If you want to watch one episode a week, you can. If you want to watch the whole season this week, you can do that too.

Comedy-drama Lilyhammer led the way in binge viewing
Comedy-drama Lilyhammer led the way in binge viewing just three years ago

“This will be the first of many brand new, original and exclusive series to debut on Netflix. We will have more news on those shows as they get ready to premiere. Enjoy the show and tell your friends – but no spoilers! They may not be on the same episode as you are on.”

With these few sentences, Sarandos outlined not only Netflix’s own strategy but one that the rest of the industry would soon follow, with an increasing number of online services commissioning original content and traditional broadcasters widening the opportunity to catch up online. NBC has already gone one step further than other US broadcasters to “push new boundaries” by releasing all 13 episodes of its David Duchovny-starring 1960s drama Aquarius at once. ZDF in Germany also blurred the lines of linear and digital TV with its pan-European crime drama The Team.

Fast forward from that Lilyhammer announcement to this week, when Netflix unveiled its results for the second quarter of 2015.

The service added 3.3 million new subscribers worldwide during that period, bringing the total to 65.6 million. It has 42 million members in the US alone.

Global numbers were boosted by the platform’s international expansion, with moves into Australia and New Zealand in March. It will land in Spain, Italy and Portugal in October this year, and aims to open in Japan in the fall. There are also plans to roll into India, China and South Korea.

These new international outlets will only help to swell subscriber numbers further, with Netflix CEO Reed Hastings under no illusion about what is drawing viewers both in the US and around the world to the service.

He told shareholders that subscriber growth was “fuelled by the growing strength of our original programming slate,” which in Q2 included the first seasons of Marvel’s Daredevil, Sense8 and season three of Orange is the New Black.

Daredevil is already in production for its second season, he notes, adding: “Our global expansion extends to our content strategy as well. Sense8, the mind-bending cinematic thriller from the Wachowski siblings and J Michael Straczynski that debuted June 5, is an ambitious, truly international show with talent behind and in front of the camera from multiple countries.”

Another international drama, Narcos – “a gripping account of the roots of the cocaine trade, shot in Colombia and starring the great Brazilian star Wagner Moura as Pablo Escobar” – launches on August 28.

“They are the perfect example of what we strive for in our original programming: an elevated version of popular genres that reach a large audience globally,” Hastings says.

“We closed the quarter with season three of Orange is the New Black, which went live on June 11 and set off a social media shockwave around the world. On the following Sunday, Netflix members globally watched a record number of hours in a single day, led by Orange, despite the season finale of HBO’s Game of Thrones and game five of the NBA finals also falling on that Sunday.

“Global enthusiasm for the third season of Orange underlines our ability to create franchise properties that bring new members to Netflix as well as delighting current ones. Nearly 90% of Netflix members have engaged with Netflix original content, another indicator that we are on the right path.”

To that end, Netflix said it would continue to invest in original series (and now movies) as its original content spending is predicted to hit US$5bn in 2016.

The downside, however, is that this spending, coupled with a marketing bill nearing US$1bn in 2016, has led to a 63% fall in net income, according to the results.

If viewers want great content, ultimately they will have to pay for it, and on a subscriber-funded service like Netflix, that means subscriptions will rise.

Hastings alluded to as much when he said subscribers should brace themselves for higher-priced plans in the future, though no details have yet been released.

At a time when the television drama space is becoming increasingly congested, particularly in the US, where cable networks continue to move into original scripted programming to build their brands alongside VoD platforms, viewers will be asked to pay more and more for the high-cost shows they love so much or see them book-ended by advertisements.

But as cord-cutting has shown, viewers’ loyalty to their favourite service provider can, and often does, have a limit. Will Netflix test that loyalty when it unveils its new pricing plan?

The service broke the mould in 2012 when it launched its first original series, Lilyhammer, for viewers to watch in one go. Its attempts to balance spending and subscriber numbers could also be another watershed moment for the industry.

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Time to play the game of Emmys

Netflix’s Orange is the New Black is in the running for a drama Emmy
Netflix’s Orange is the New Black is in the running for a drama Emmy

After a year of amazing ratings success in the US and internationally, HBO’s fantasy drama Game of Thrones has now emerged as the frontrunner at the 2015 Primetime Emmy Awards.

Nominations were revealed yesterday (July 16) and the show racked up 24, including one for outstanding drama series. The next strongest showing came from FX’s American Horror Story: Freak Show, with 19 nominations. HBO’s Olive Kitteridge also did well.

Ranked by network, HBO secured the most nominations, a total of 124. Next highest was ABC with 42, just ahead of NBC and CBS (41 apiece). One of the most interesting stats was Netflix’s 34 nominations, which put it ahead of PBS and AMC. This, combined with numerous nods for Amazon’s Transparent, underlines the growing importance of SVoD platforms in the scripted space.

Games of Thrones’ huge nominations haul is, of course, no guarantee it will win any of the key categories. In the drama series section, it faces tough competition from Netflix’s Orange is the New Black and House of Cards, AMC’s Mad Men and Better Call Saul, Showtime’s Homeland and PBS’s Downton Abbey. Meanwhile, in the outstanding limited series category, the competitors are
 American Crime, American Horror Story: Freak Show, The Honourable Woman, Olive Kitteridge and Wolf Hall.

Olive_Kitteridge_Still
Frances McDormand has an Emmy nomination for her part in Olive Kitteridge

Among the many categories up for grabs, a particularly interesting one is best lead actress in a drama series, which includes two African-Americans, Taraji Henson for Empire and Viola Davis for How To Get Away With Murder. No black actress has ever won the category, so this is a moment when history could be made. Queen Latifah was also nominated for best lead actress in a limited series of movie (Bessie). However, she’ll have to see off tough competition such as Maggie Gyllenhaal (The Honourable Woman) and Frances McDormand (Olive Kitteridge).

There were, of course, scripted series that didn’t feature as much as might have been expected. Initial reaction suggests that shows to have been snubbed include Empire (notwithstanding Henson’s nomination for best actress), Outlander (one nomination in a music category), The Americans, Justified and Jane The Virgin. Interestingly, The Affair received no nominations despite winning Best Television Series Drama at the 2014 Golden Globes.

Still in the US, it’s getting to that point when Fox will have to decide whether to cancel or renew M Night Shyamalan’s thriller series Wayward Pines. With eight episodes down, there are only two left in the first season. It’s hard to second guess what Fox will do, because the ratings picture is complicated by high levels of time-shifted viewing. Currently, for example, the show is getting a live-plus-same-day rating of 3.3-3.4 million. But time-shifted viewing is virtually doubling that number every week. Latest reports suggest that Fox is considering a second season, set in the same world but with a new cast and characters.

Extant
CBS’s Extant, starring Halle Berry, has continued to shed viewers in its second season

 

Another US network summer series that looks less likely to survive is Extant, a sci-fi show that stars Halle Berry as an astronaut who returns from a 13-month solo space mission to find she is inexplicably pregnant. The first season of the show in 2014 rated worse than expected but was saved by the fact that CBS had secured a good streaming rights deal with Amazon. Now in its second season, the show’s ratings have slid still further – despite significant efforts to revitalise it. Even after time-shifted viewing is factored in it still looks like a prime candidate for cancellation. As Deadline says: “It was the lowest premiere live-plus-same-day rating for any scripted series – new or returning – so far this summer. It was also tied with a couple of ABC comedy repeats for the lowest rating for a show on the Big Four networks – original or repeat.”

The main reason for dwelling on Extant is that it is a good indication of how factors beyond ratings performance increasingly play into commissioning decisions. In this case, the involvement of Halle Berry and a secondary rights deal with Amazon were enough to save a show that would otherwise have been axed after its first run. The downside for CBS now is that it is stuck with an underperforming show for another 10 episodes. It is attempting to address Extant’s issues by moving it to a new timeslot, bringing it forward from 22.00 to 21.00 on Wednesdays.

Channel 5 in the UK has picked up seasons one and two of Rookie Blue
Channel 5 in the UK has picked up seasons one and two of Rookie Blue

UK broadcaster Channel 5, owned by Viacom, has just picked up seasons one and two of Rookie Blue from distributor Entertainment One for use on its digital channel 5USA. Due to launch on July 28, this could prove to be a neat piece of business, given the fact that Rookie Blue is still going strong in North America after six seasons. The show is produced in Canada and airs on Global there and on ABC in the US. For ABC, the show works well because it delivers solid ratings at acquisition rather than production prices. Season six started this month, bringing the total episode count to 72. So if 5USA does well with the earlier episodes it can look forward to a long and fruitful relationship with the show.

The show will also fit the profile of 5USA very well. Currently, the channel’s top-rated shows are Chicago PD, Longmire, Law & Order, NCIS and Body of Proof, all US crime procedurals, delivering audiences of 260,000-420,000 in 21.00 and 22.00 slots.

In terms of industry-wide trends affecting scripted, this week’s big story is that Netflix has increased its global subscriber count to 65 million, up 3.3 million on the last quarter. The US subscriber base, now 42 million, was up by 900,000 while international grew by 2.4 million to 23 million. CEO Reed Hastings called the growth “higher-than-expected” and said it was “fuelled by the strength of our original programming slate.” Dramas to have featured on the platform during the past quarter include Marvel’s Daredevil, Sense8 and the third season of Orange is the New Black.

For all its success, Netflix is moving into a challenging phase, characterised by high costs and increased competition. The company expects to spend US$5bn on content in 2016 while expenses for marketing will be nearly US$1bn. With rising costs, Hastings also said the price of subscription may increase soon.

AMC martial arts drama Into the Badlands attracted interest at Comic-Con
AMC martial arts drama Into the Badlands attracted interest at Comic-Con

Finally, AMC has reason to be optimistic about the prospects for its upcoming shows. According to the channel, three trailers unveiled at Comic-Con had managed to attract 24 million views on digital platforms within four days. The season six trailer for The Walking Dead drew 13.8 million, while the trailer for Fear the Walking Dead took 8.2 million.

There was also pretty strong interest in AMC’s upcoming martial arts drama Into the Badlands, which will premiere in November. This attracted 1.95 million views within three days of its release. The Walking Dead was by far the biggest winner at Comic-Con in terms of social media, securing 53% of the Share of Voice on Facebook last weekend, more than double the next highest show.

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