The CEO of Canadian producer Shaftesbury (Departure, Murdoch Mysteries) picks some classic comedies alongside a star-filled mystery and a dystopian nightmare.
The Mary Tyler Moore Show
This series broke all sorts of ground when it was first launched in 1970. Imagine a show back then where the lead was a single (never married), working, 30-something woman and an openly gay character was part of the ensemble. At the time, Mary Tyler Moore was up against so many series that portrayed women as housewives. There was something so hopeful about the character of Mary – you knew somehow that she would find a way to make things better. Mary Tyler Moore led the way for so many others to follow – Sarah Jessica Parker in Sex & the City and Lena Dunham’s Hannah in Girls being just two examples.
I watched this series after its initial airing, bingeing it over several months with my daughter. What an experience – mother and daughter both hooked on the same TV show. Its appeal to both older and younger demos was brilliant, making it the perfect co-view. Amy Sherman-Palladino’s dialogue is amazing, and the characters of Rory (Alexis Bledel) and Lorelai (Lauren Graham) are so authentic and relatable. The series is timeless. The multi-generation family dynamics are very real. The small town is, in and of itself, an important element to the series’ success – a town where there were no murders and no one was abused or kidnapped. Then and now, it’s very successful counter-programming.
Some might describe Revenge as a guilty pleasure, but it was such smart television with a fascinating female lead at the centre. The plotting was intricate and full of twists, and the series arc was very clear. The creators were able to keep all the balls in the air and the viewer never lost track of the story. There is no question Revenge was a soap, but part of its success was that it was played seriously with very strong acting. Several of the key actors – including star Emily VanCamp – were Canadian.
Big Little Lies
As I write, I have not watched season two yet. But season one was tremendous. It was very much event television and it seemed everyone I know was watching it all at the same time, especially women. It was appointment viewing. No one wanted to fall behind in the conversation around the show. Going into the series, I was already a fan of Liane Moriarty’s book. Jean-Marc Vallée was such an interesting choice as director and he directed it beautifully. David Kelly’s adaptation was also very smart. And the cast? Amazing.
The Handmaid’s Tale
I read Margaret Atwood’s book many years ago and I watched the movie directed by Volker Schlöndorff. It was good, but when I heard Hulu had commissioned the book as a 10-part series and Elisabeth Moss was going to play the lead, I couldn’t wait. It had been a long time since I literally rushed home to watch each episode of a series as it aired on television. Watching this series in the past couple of years has been chilling. How prescient was Atwood? The oppressive, misogynistic Gilead up against our current world politics is more chilling now than when she wrote the book in 1985. It was so interesting to watch this series with my 19-year-old daughter, who had not read the book but could see the frightening parallels between fiction and reality. The casting, the look, the writing – everything is first class.
Everyone I knew was talking about this show, so I had to watch it. And it was indeed amazing television. I lived during the time of this horrific event. I had seen the photos of the abandoned town of Pripyat, which has literally been consumed by nature. But that was all I knew. In watching Chernobyl (also pictured top), I was truly gripped by the telling of what happened the night of the nuclear disaster and the story of the people who had to deal with the explosion and its aftermath. The emotion was huge. I was fascinated by what had happened that night to cause such a disaster. The writing, the direction and the acting were all excellent. The art direction was spectacular in the recreation of the place.
Canadian period drama Frankie Drake Mysteries sees Lauren Lee Smith star as the titular Frankie, who sets up a detective agency with her friend Trudy Clarke (Chantel Riley). The show follows the city’s only female private detectives as they take on the cases the police don’t want to touch.
In this DQTV interview, Smith (This Life, The Listener) reveals how she accepted the role of Frankie after reading just five pages of the script and why she was drawn to starring in a show that is female-led both in front of and behind the camera.
She discusses how becoming a mother has changed her tastes in television and why she was looking to play a part in a more light-hearted and fun series when Frankie Drake Mysteries came along.
The actor also talks about how the role brought her out of her comfort zone, from learning to ride a motorbike to taking up boxing training, and why the series appeals to international audiences.
Frankie Drake Mysteries is produced by Shaftesbury in association with CBC and UKTV, and distributed by Kew Media Distribution.
DQ speaks to broadcasters and producers about the state of the Canadian drama industry and finds a sector in positive mood when it comes to its place in the international market.
Stepping out of the shadow cast by the US, Canada has emerged as a powerful player in TV drama. From Orphan Black and Rookie Blue to Motive and Murdoch Mysteries, series produced in Canada are now on air around the world.
But amid a changing regulatory landscape, what domestic challenges are now facing broadcasters and producers – and what opportunities are they taking advantage of?
“There’s no question the Canadian industry, as is the case worldwide, has undergone a profound transformation due to changes in technology. But the good news is the industry overall is very healthy,” says Tracey Pearce, senior VP of specialty and pay at broadcast group Bell Media.
“We’re spending a lot of time thinking and talking about how TV is alive and well in Canada. Television continues to be very powerful but that’s not to suggest we don’t understand the importance of being in the digital space. We do, but we do ourselves a disservice as an industry by forgetting how powerful television is.”
Like broadcasters around the world, Bell Media looks to homegrown drama series to help define its channels, from general entertainment CTV (Motive, Saving Hope) to cable channels Space (Orphan Black, pictured top) and Bravo (crime drama 19-2).
But while Bell can enjoy the success that comes from airing some of Canada’s biggest original dramas, Pearce says she recognises the “nervousness” currently found within the production sector.
“That’s understandable given the technological changes worldwide and the new regulatory environment we are now in. People wonder what impact that will have on production,” she explains. “But we are as, if not more, committed to Canadian programming as we look to sharpen up our brands in this ‘pick and pay’ environment. While we recognise it’s always been a challenging production environment for independent producers in Canada, we’re still in it with both feet.”
The new regulations to which Pearce refers came into force on March 1, when TV providers in Canada were forced to introduce ‘skinny’ cable bundles for consumers, priced at C$25 (US$19) or less. This followed a ruling by the Canadian Radio-television and Telecommunications Commission (CRTC) last year that consumers should have a greater choice of – and access to cheaper – cable and satellite packages.
Viewers can now pick and pay for their own channel packages or opt for the basic bundle, which must include broadcast networks CBC, Global and CTV as well as certain regional channels.
As a result, questions are being asked about the future of some Canadian speciality channels and whether, like in the US, smaller networks will begin commissioning original drama in a bid to find their defining series – think AMC and Mad Men – in a bid to stay on the air.
“It’s certainly a changing landscape,” says Melissa Kajpust, head of creative development at pay TV network Super Channel. “We don’t anticipate this will affect our subscribers but it’s a landscape where no one can predict what will happen. Certainly people are going to be looking for good content, and that’s what we’re focused on finding.”
But according to Christina Jennings, chairman and CEO at prodco Shaftesbury, drama producers shouldn’t be worried. “There’s no question that it’s going to affect non-scripted factual and lifestyle producers, and it will also affect those broadcasters – but as drama producers it doesn’t affect us.
“What does affect us is the culmination of several years of consolidation, which means on the drama side we’re now down to just a handful of buyers. The uncertainty when you have so few buyers makes it tougher but, on the plus side, Canada has two new OTT services, Shomi and CraveTV.
“We’ve only seen one original commission from either (Bell Media-backed Crave’s comedy LetterKenny, which has been renewed for a second season) and it’s early days but, as they build their subscriber bases, we’re hopeful they’re going to become buyers of content.”
Shaftesbury’s slate includes CBC’s long-running crime drama Murdoch Mysteries, Super Channel’s original drama Slasher and period supernatural procedural Houdini & Doyle, a coproduction with the UK’s Big Talk Productions for UK commercial network ITV, Canada’s Global and US network Fox.
“The other slight concern,” Jennings says, “is there are so many channels, so many options, how do you cut through? It helps to have a big brand or comic book, a big star or a big showrunner. We’ve had great luck with (House creator) David Shore joining Houdini & Doyle. David coming on board got the show made, no question. But will everything soon need one of these big auspices to get a commission? Not every project necessarily needs them.”
Breakthrough Entertainment may have found another way. The Toronto-based producer was behind a new adaptation of Lucy Maud Montgomery’s novel Anne of Green Gables, which starred Martin Sheen and aired on YTV in February. But it is another of its productions, Omni Television’s Blood and Water, that proved to be an interesting experiment when it premiered last year.
The eight-part cop drama aired in a mixture of English, Mandarin and Cantonese and featured a cast that was 80% Asian-Canadian. It has now been renewed for a second season of eight half-hour episodes, written by Diane Boehme, Al Kratina, Dan Trotta and Simu Liu.
“Because of the plethora of great dramas, you have to find new ways to cut through,” says Ira Levy, partner and executive producer at Breakthrough. “It starts with a great director or writer and a wonderful script, but the good news is there’s a voracious appetite for drama from around the world. The golden age allows for new models of content because there’s such a demand for stories.”
Of Blood and Water, he adds: “There’s a market of ex-pat Chinese and hundreds of millions of people (around the world) interested in seeing contemporary drama in a language they can relate to. That’s part of our strategic positioning but, first and foremost, it’s a great story that hasn’t been told in this way. You do something not because it’s different but because you believe in the story. If it has other elements that can cut through, that’s just a smart thing to do.”
A glance at the schedules of Canadian broadcasters – both free-to-air and pay TV – shows that US series are still widespread, but there is now a growing belief that homegrown series can go head-to-head with imports.
“They’re a little late but broadcasters are coming around to the idea you can have a pretty good Canadian drama slate now,” says David Cormican, executive VP of business development and production at Don Carmody Television. “So you’re seeing an influx of Canadian dramas taking off, doing multiple seasons and finding US buyers themselves.
“What’s more interesting is the Canadian consumer is watching these programmes without necessarily realising they are Canadian shows. Whereas before we had this negative stigma attached to Canadian dramas, the comment now is, ‘I didn’t realise it was Canadian,’ which we take as a compliment. It’s been tricky for many years because our largest trading partner is immediately to the south.”
Super Channel has, Kajpust notes, raised the bar in terms of its own original drama aspirations, leading to horror series Slasher and Van Helsing, a modern-day take on Bram Stoker’s vampire hunter starring Kelly Overton.
“The US will always influence Canada but it has changed,” she says. “Canadians are watching more Canadian programming and the other broadcasters are commissioning more Canadian series, so it’s a good time for writers and producers.”
But it’s only by partnering with US outlets, such as Chiller for Slasher and Syfy on Van Helsing, that Super Channel is able to do more expensive dramas.
Don Carmody is also building its US relationships, most notably with Freeform (formerly ABC Family) fantasy Shadowhunters, which has been renewed for a second season, and science-fiction drama Between, the first original Canadian series ordered by Netflix in partnership with Canada’s City.
Described by Cormican as “Lord of the Flies meets The Walking Dead – but without zombies,” Between is set in a small town where everyone over the age of 21 dies from a mysterious disease. Looking to build its coproduction slate, Netflix came on board after reading the first two scripts, and a second season is due to drop on July 1.
“Netflix was looking to explore this coproduction model and we were the guinea pig, but where there’s a will, there’s a way,” Cormican says. “Both Netflix and City are taking pride and ownership of the project. We have two very strong partners. They’re not always on the same page but we manage to find middle ground that works for everyone.”
Muse Entertainment has also built strong partnerships in the US, leading to its slate of TV movies for Hallmark Channel (including the Aurora Teagarden and Gourmet Detective franchises), Egyptian drama Tut for Spike and The Kennedys for Reelz. A sequel to the latter, called After Camelot, will see Katie Holmes reprise her role as Jackie Kennedy when shooting begins in May. Friends alum Matthew Perry has also been cast as Ted Kennedy.
“Most Canadian consumers are watching American programming most of the time anyway,” CEO Michael Prupas says. “The CBC is focused on doing programming that is distinctively Canadian and, as such, it tends to be a turn-off for most international broadcasters, with Canada not being the hottest girl at the dance.
“CTV and Global are happy and interested in programming sold to the US but they tend to put in the lesser part of the financing, which means the show is American-orientated and the driving force behind it is often the US company.”
Muse is also looking further afield, with projects in Germany and ambitions to work in the UK and France. Shaftesbury, too, is well placed internationally and Jennings says coproductions are now more important than ever to piece together financing.
“When you have fewer buyers in Canada, unless you’re going to pack up your tent and go home, you have to find other ways to raise finances,” she says. “But for many years, we’ve all taken advantage of Canada’s government support, tax credits and the Canadian Media Fund, so Canada took an unreasonable amount of the burden of financing shows. We’re going to start seeing coproductions where more money is brought to the table and Canada is the smaller piece of the puzzle.”
Fellow producer Incendo is also focusing on international coproductions. It’s currently in production on season two of Versailles, the English-language series produced with Capa Drama and Zodiak Fiction for French pay TV network Canal+. The period drama, which airs in Canada on Super Channel and recently debuted on BBC2 in the UK, is set in 1671 and follows France’s King Louis XIV during his first years in power when he made the decision to move his court to Versailles and construct the largest palace in Europe.
It is also developing Ice, in which a suburban woman turns to diamond theft following her divorce, for Bell Media. Writer Katie Ford (Miss Congeniality) is attached.
“I’ve been doing coproductions here and there for 25 years and now, over the past few years, the world has discovered coproduction,” says Incendo president Jean Bureau. “It’s great because minds are opening up to sharing ideas and having discussions on creative issues between two or three producers. When we talked about coproductions 10 years ago, people would freak out. Everybody wanted control. Now it’s very different. We’re competing with the very best productions from around the world, so Canadian producers must create compelling drama if we want broadcast partners to participate. It pushes us to be the best.”
Montréal producer-distributor Attraction Images’ forthcoming projects include crime drama Séquelles (titled McDougall in English), which is based on novels by Johanne Seymour and will air on Series+ in April. Among its other credits is medical drama Au Secours de Béatrice for TVA.
“Broadcasters want fiction because that’s the most addictive programming for viewers,” notes Louise Lantagne, the firm’s VP of fiction. “But here in Québec, they don’t really look for procedurals. They want character-driven stories over multiple seasons. It’s really tough.
“Coproduction in French is also more difficult than in English,” she adds. “In English, it’s organic to coproduce with the US, England or Australia. But here, if we’re not going to work with France, there are no opportunities for coproduction, which makes things difficult.”
However, there may be a solution in the form of rights exploitation. Attraction is producing a French-language version of US series Web Therapy, which starred Lisa Kudrow as a therapist who treats her clients via webcam. And it’s by selling rights to its own original formats, in lieu of coproduction, that the producer hopes to bring in extra income to devote to new series.
“If we’re looking for additional money, coproduction might not be the first option for us,” admits Chrystine Girard, Attraction VP of content rights management and international relations. “But we have dramas that have quality scripts so we can talk to other parties about producing remakes in English or other languages. This is where you can finance additional series, and it’s why I believe there will be more emphasis on exploitation of original content than ever before.”
The challenge going forward, then, is winning commissions from a select number of buyers while building the budgets modern audiences demand to see on screen. Muse’s Prupas admits he’s “nervous about what the future is going to bring. There’s too much supply coming down the pipeline but, at the moment, there’s a lot of demand as well.”
Don Carmody’s Cormican agrees Canadian drama is in a “huge boom cycle,” but warns producers shouldn’t get accustomed to the good life: “You have to practice some restraint and not expect the good times to roll all the time. And we have to be incredibly supportive of our government to ensure we have a strong incentive front.”
As for the broadcasters, Bell Media’s Pearce is just looking for the next Orphan Black: “That show was a huge risk – but what I remind myself is that the next Orphan Black is going to be nothing like Orphan Black. So we have to ask what the next big story is. You feel emboldened by success, and it has energised the Canadian production community to find the next big hit.”
A series described as “the Edwardian X-Files” pits Harry Houdini against Arthur Conan Doyle in supernatural crime drama Houdini & Doyle. Michael Pickard reports.
While Houdini & Doyle represents the increasing globalisation of television drama, there’s familiarity for viewers in this new supernatural crime drama.
Commissioned by ITV in the UK, the series has a strong international footprint. It was produced by British indie Big Talk Productions and Canada’s Shaftesbury, while filming took place in Manchester, Liverpool and Toronto. It will also air in Canada on Global and on US network Fox, with Sony Pictures Television distributing.
And audiences tuning in on both sides of the Atlantic can look forward to a show described as “the Edwardian X-Files,” which unites real-life friends and adversaries author Arthur Conan Doyle and illusionist Harry Houdini as a pair of crime solvers in early 20th century England.
But while Sherlock Holmes author Doyle, played by Stephen Mangan (pictured left above), is a passionate believer in the paranormal, Houdini (Six Feet Under’s Michael Weston, alongside Mangan above) refuses to believe in the supernatural, leading them into conflict and competition as they help Scotland Yard solve some bizarre and inexplicable crimes.
The series is executive produced by House creator David Shore and co-creators David Hoselton (Chicago PD) and David Titcher (The Librarians), alongside Kenton Allen, Luke Alkin, Matthew Justice, Christina Jennings, Scott Garvie and Maggie Murphy.
Showrunner Hoselton says: “It was a setup that seemed almost too good to be true: the real-life friendship between Sherlock Holmes’ creator and the great magician, bonded by a mutual interest in the paranormal. And most intriguing of all was the fact they were on unexpected sides of the debate, for one would assume Doyle to be the sceptic and Houdini the believer, but it was quite the opposite.”
The drama does take some “artistic licence” with history, however. The two men were already past middle age when they met in real life, but the series moves their friendship back 20 years to 1901, which Hoselton says is the ideal time for viewers to meet the characters.
“A new century, a new king, a new era chock-a-block with new ideas,” he says of the show’s setting. “In a highly unpopular move, Doyle had killed off Holmes to devote more time to ‘weightier work,’ and Houdini was at the apex of his career as the highest-paid performer in the world.”
The pair are grounded by constable Adelaide Stratton (played by Rebecca Liddiard), the UK’s first female police officer, who is based on a real person and provides a window into an evolving world 17 years before women got the vote.
Hostler adds: “Armed with equal parts scepticism, hope and humour, this trio felt like the perfect group to explore the world of the supernatural – and if they happen to raise a few profound questions in the process, all the better.”
Mangan, best known for his role in comedy Episodes, admits he agreed to take part in Houdini & Doyle after discovering David Shore was involved in the project.
“You can never guarantee anything will be a success,” he explains. “But if the person at the top of the tree knows what they’re doing then it certainly helps. So when I found out that person was David, it was a very simple decision. I read a couple of scripts and agreed to do it.”
The British actor, who describes the series as “the Edwardian X-Files,” continues: “Not every single crime is explained. It would be a little dull if that were the case. As much as I love Scooby Doo, as a crime drama it starts to get a little bit predictable after a while. And you don’t want that. What I love about this show is that every episode is written by a different person and they all have very different feelings.”
Weston was also drawn to the project by Shore’s involvement, having previously appeared in House. “It’s such a unique idea, set in this period time of these two epic figures,” he says. “And they’ve done it with such wit, humour and humanity. Yet it’s this great adventure and procedural at the same time.”
Accepting their parts meant Mangan and Weston were jumping into the deep end – literally, as the opening scene finds the pair up to their necks in a cellar as water rises around them. The stunt was filmed using a shipping container filled with water in a Manchester car park, though the container had to be reinforced to stop the sides collapsing due to the weight of the water.
“It was really intense, but fun,” says Weston. “We have incredible wardrobe and set departments that build these extravagant things. They built this set for us and we were in water for hours and hours.
“They were raising the level gradually and let us go right to the point of real danger. We always want to make it look real and feel real. So we will do it as close as we can. We really were gasping for air and happy when it was all over. But it was awesome fun. You get a little adrenaline rush.”
Mangan continues: “That’s one of the few stunts I do. Michael does most of them – he was suspended upside down in a straightjacket and lowered into a tube of water. He’s always leaping around while I’m typing at a typewriter.”
The series debuts on ITV and pay TV channel ITV Encore on March 13, before rolling out on Global and Fox on May 2.
But despite Houdini & Doyle’s supernatural flavour, Mangan says the appeal for viewers will be the familiarity of its case-of-the-week procedural structure.
“There’s a reason why there are so many crime dramas around, and it’s because they hook you in,” he adds. “You just want to know whodunnit. But at the same time there is a variety in each show. Each episode is like a self-contained film all on its own plus a double act. Again, a classic formula – two very different blokes. I think they have fallen upon two fascinating characters in Houdini and Doyle. It’s exciting, compelling and funny – and a real bonanza for anyone turned on by moustaches.”
Like office workers using up their holiday entitlement before the end of the year, TV channels are rushing to greenlight scripted shows before they shut up shop for the holiday season.
Among those celebrating this festive bounty is UK producer Neal Street Productions, which has just been given the greenlight by the BBC to produce a sixth season of period drama Call the Midwife. The new order comes despite the fact season five has yet to air.
Neal Street executive producer Pippa Harris said: “I am delighted the BBC has decided to commission season six of Call the Midwife even before we have gone on air with season five. It really demonstrates their commitment to and passion for the show. The success of Call the Midwife is down to the incredible writing skills of Heidi Thomas and the talent and dedication of our wonderful cast and crew. I hope the audience will enjoy watching season five, which I firmly believe is our strongest yet.”
In the US, meanwhile, protests in front of HBO’s offices seem to have paid off, with the premium pay TV channel announcing that it has ordered a third season of critically acclaimed drama The Leftovers.
Fans of the show were so desperate for a renewal that they took to the streets to make their feelings felt – and it seems the channel has listened: “It is with great enthusiasm that we welcome back Damon Lindelof, Tom Perrotta (the creators) and the extraordinary talent behind The Leftovers for its third and final season,” said HBO programming head Michael Lombardo. “This show has proven to be one of the most distinctive HBO series, and we are extremely proud of its originality, which has resulted in such a passionate following by our HBO viewers. We admire and fully support Damon’s artistic vision and respect his decision to bring the show to its conclusion next season.”
As Lombardo’s comments make clear, next year will be the final season of The Leftovers. This is a neat way of giving the fanbase what they want and allowing the show’s creators to achieve closure, while tacitly acknowledging the fact that the show has not done that well in the ratings.
“On behalf of our incredible crew and superb cast, we are all tremendously grateful that HBO is giving us an opportunity to conclude the show on our own terms,” said Lindelof in a statement. “An opportunity like this one rarely comes along, and we have every intention of living up to it.”
Over in Canada, public broadcaster CBC has greenlit a four-part miniseries from producer Shaftesbury and Sharon Mustos. Based on Ann-Marie MacDonald’s novel Fall On Your Knees, the story follows four sisters in the early 1900s.
Moving from Nova Scotia via the battlefields of the First World War to the emerging jazz scene of Harlem in New York City, the show is described as the riveting tale of a family beset by hidden desires, terrible secrets, intolerance and repression.
Mustos said: “I am proud to bring this much-loved, acclaimed novel to the screen in partnership with Shaftesbury. Celebrating the quiet heroism of women in the face of heartbreak, adversity and the sweeping changes of the early 20th century, it is a remarkable story.”
Published in 1996, Fall On Your Knees has been translated into more than 20 languages and will be adapted by Adriana Maggs.
Meanwhile, it’s not quite a renewal but NBC in the US has given a hefty vote of confidence to freshman medical drama Chicago Med, which has been awarded five extra episodes. Part of a Chicago trilogy of TV shows from Dick Wolf, the first four episodes of Med’s first season have averaged 8.9 million viewers in live + same-day ratings. With the new instalments, the total order for season one is up to 18 episodes.
Still with the US networks, Fox has ordered Shots Fired, a drama that will be written and executive produced by Gina Prince-Bythewood and Reggie Rock Bythewood. The show, set to air in 2016, looks at the tensions that arise when a black police officer shoots an unarmed white teen in a small town in Tennessee.
David Madden, president of entertainment at Fox Broadcasting Company, said: “Gina and Reggie have crafted a profoundly moving portrayal of a timely and sensitive issue that pervades our culture at this very moment. This is not only an important story to tell, but also an explosive mystery-thriller, and we couldn’t be in better hands both with the creative team behind this and Sanaa Lathan leading the cast.” Lathan plays an expert investigator who digs into the case, alongside a special prosecutor sent to the town by the Department of Justice.
One of the most hotly anticipated series of the new year is Fox’s six-part reboot of The X-Files, which debuts on January 24. The show has now been picked up by Channel 5 in the UK.
“Securing the UK premiere of the hugely anticipated return of The X-Files is a major coup for the channel and will create one of the TV events of 2016,” said Ben Frow, director of programmes at C5. “This acquisition underlines our ambition to deliver a diverse slate of brilliant, must-see programming on Channel 5.”
With Downton Abbey over, the key participants are now out there looking for their next job. Last week, we reported that season five and six producer Chris Croucher is now working on ITV drama The Halcyon, while creator Julian Fellowes has been crafting his version of Anthony Trollope’s Dr Thorne.
Meanwhile, US cable channel TNT has announced that it is going to series with Good Behaviour, the story of a thief and con artist that will star Michelle Dockery (Lady Mary in Downton). It’s not clear if Dockery will have to use an American accent in her new role, but if you’re wondering whether she can, watch this appearance on The Late Show With Stephen Colbert.
With Downton done, there are reports that the show’s production company Carnival has won a second-season commission from BBC2 for The Last Kingdom, which has just finished its first season. There has been no official confirmation yet but executive producer Gareth Neame has already sketched out the plot and character development for a follow-up. The show is based on a series of novels by Bernard Cornwell, whose work also gave rise to the long-running Sharpe franchise (set during the Napoleonic Wars).
Switching briefly to corporate news, this week has seen suggestions that SVoD platform Netflix is gearing up to launch in the Middle East next year, while rival streamer Amazon has started offering its users access to cable channels such as Showtime and Starz.
Under a new scheme entitled the Streaming Partners Programme, Amazon Prime members can pick and choose SVoD versions of famous TV channels – a move that may well push the pay TV subscribers further towards cord-cutting. Showtime and Starz will be available for US$8.99 per month, with the promise that the latest episodes of series will be available simultaneous with broadcast.
“The way people watch TV is changing, and customers need an easier way to subscribe to and enjoy multiple streaming subscriptions,” said Michael Paull, VP of digital video at Amazon. “With the Streaming Partners Programme, we’re making it easy for video providers to reach highly engaged Prime members, many of whom are already frequent streamers, and we’re making it easier for viewers to watch their favourite shows and channels.”
David Nevins, president of Showtime Networks, said: “By marrying Showtime with the powerhouse retail capabilities of Amazon, we greatly expand our footprint, making sure our service is available to new subscribers whenever and however they want to watch us.”
Starz CEO Chris Albrecht added: “Starz is excited to offer subscriptions to our premium hit shows like Outlander and Power, as well as our thousands of movies, to Amazon Prime customers.”