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Craft masters

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For one night a year, the cream of the behind-the-scenes talent working in the British television industry is recognised at a star-studded celebration. DQ hears from the winners at the Bafta Television Craft Awards 2018.

The courtyard of central London’s The Brewery is abuzz with guests donned in black ties and ballgowns. Episodes and Green Wing star Stephen Mangan stands at the entrance, greeting new arrivals as guests pose for photos beside a giant golden mask.

The mask, of course, is the instantly recognisable symbol of the British Academy of Film and Television Arts – better known as Bafta – and Mangan, soon to appear in BBC1 drama The Split, is working the door in his role as the host of the 2018 Television Craft Awards, where 20 golden mask trophies will be given out to those who work behind the scenes on scripted and factual productions.

Prizes are handed out for costume design, directing, editing, make-up and hair design, sound, writing, photography and music, with nominees in the fiction categories coming from series such as Peaky Blinders, The Crown, Taboo, Game of Thrones, Three Girls (pictured above), Line of Duty, The Miniaturist, Black Mirror and more.

After a champagne reception, the nominees, award presenters and other guests file into the ceremony room to take their seats at the dozens of tables set out in front of the grand stage.

Then, as the awards get underway – after a VT introduction introducing Mangan in Handmaid’s Tale cloak and bonnet – DQ speaks to the winners in the scripted categories about their work and the shows that earned them a prized Bafta award.

Charlie Cooper and Daisy May Cooper collect their award

Breakthrough Talent: Daisy May Cooper and Charlie Cooper, writers, This Country (BBC Studios, BBC3)
Charlie Cooper: It’s been six years since we first started writing something and it’s been a long journey with a lot of ups and downs. We did a pilot a few years ago for ITV, which went disastrously wrong. Shane [Allen, BBC controller of comedy commissioning] had seen our stuff a few years ago and just commissioned a series straightaway, which is unbelievable.
Daisy May Cooper: I ended up emailing Shane and said, ‘I didn’t know who to go to. I will literally stand outside your office dressed as the Karate Kid, because you’re my Mr Miyagi, until you come down and talk to me.’ He said don’t do that, just come in for a meeting. We went in and he just said everything was going to be alright. He is absolutely the most amazing man to young fresh talent. He’s like God to us. When you’ve got people like Shane backing you, you just feel so looked-after. The BBC, I have to say, have been absolutely amazing and there are so many amazing comedies coming through the BBC and they’re discovering fresh young writers. The BBC is the place to be and they’re the ones to watch when it comes to breakthrough talent.

Úna Ní Dhonghaíle on stage

Editing: Fiction: Úna Ní Dhonghaíle, Three Girls (BBC Studios Drama, Studio Lambert, BBC1)
I was actually very lucky because I have historically done feature documentaries and Phillipa [Lowthorpe, director] wanted to shoot this show in that type of manner with the roving camera, not using the normal establishing shots. So I embraced it and she shot it so beautifully that it was a joy to edit. We had challenges in trying to keep the veracity and integrity of the girls’ story [with the show being based on a true case of widespread sexual abuse in the UK town of Rochdale] and we couldn’t manipulate the truth, but that was a good challenge because it makes sure you do the right thing. These people live and exist in the world today and they were going to watch it and make sure they were happy with it, so it was a good challenge.
Whenever they were shooting the series, I was editing and assembling from home so I didn’t see anyone during that period, which is a grace period for editors because then we can get to know the material and try things out. Once the final cut began, I was with Philippa in [email protected] in Bristol and after about three weeks, Nicole [Taylor, writer] started to come in, so it was very collaborative. All of us wanted to tell this story in the best way we could for an audience at home to understand on-street grooming and how those girls found themselves in that situation. That was our guide. The real people came to meet us, so that also helped us keep our finger on the pulse of the truth.

Titles & Graphic Identity: William Bartlett, SS-GB (Sid Gentle Films, BBC1)
I’d read the book before and then I read the scripts, and I liked the idea of the main character, Archer, not knowing who was on his side and the shadowy nature of it. The visual aesthetic, I’d had ages ago. I’ve got a number of ideas for title sequences in the back of my mind, and I thought I had a seed of a visual idea that was right for this. So I did a few tests and it fit with the narrative of the book and the ideas within the programme. It evolved out of the story.
I love title sequences for a couple of reasons. From a creative point of view, it’s an area that has really limitless possibility. You can come up with something that’s unique and interesting and you’ve got real scope to do what you want. I think of them like an overture from an opera where you’re trying to set the scene and plant little ideas and visual references of what’s going to come later. Because of that, it’s interesting how it’s constrained by the narrative, the story and the drama, but it’s really free as well. It’s unique in terms of what you have to do visually. Title sequences, generally, are going through a real heyday at the moment. There are tonnes of really great title sequences being done all over the world. With more TV being done, title sequences have come into their own as well. People are prepared to invest in them a little bit.

Maxine Peake in Black Mirror’s Metalhead episode

Special Visual & Graphic Effects: DNEG TV, Jean-Clement Soret, Russell McLean, Joel Collins for Black Mirror episode Metalhead (House of Tomorrow, Netflix)
Michael Bell, visual effects supervisor: Filming the episode in black and white was the idea of David Slade, the director. It was strange for us because you don’t see much VFX in black and white. Ultimately, it made it unique, made it really stand out and we’re really proud of the finished thing.
It took months and months just for the modelling of the creature itself [a relentless robotic killing machine], the inner workings and all the details. There were basically two characters in this episode – Maxine Peake’s character and this creature – so you had to see how it was thinking; it had to be believable and it was quite a difficult challenge. Sometimes it could be comical but it had to be scary and I think we pulled it off.

Michelle Clapton clasps her trophy

Costume Design: Michelle Clapton, Game of Thrones (HBO, Bighead, Littlehead, Television 360, Startling Television, Sky Atlantic)
My ideas are always informed by the story. We get the outlines two months before we get the scripts, and they usually give me two weeks to think and draw. I speak to David and Dan [Benioff and Weiss, showrunners] so it’s all story-led, which is why it’s so exciting. I work quite closely with them and I’ll develop something to a stage where I think they’ll understand it. Sometimes they don’t like it and say, ‘What we’re trying to say about this character is this…’ So then we’ll have a discussion. Most of the time it’s fine but it’s interesting when it’s not, because you learn something.
It was nice to step out of Game of Thrones and do something like The Crown [in 2016] because in some ways it gave me a break from the show and I could return and feel enthused again about it. Period shows are really interesting but you have a period you’re looking at, so you design within that period but there’s still references. On something like Game of Thrones, you have no references, which is what I find so exciting. It’s been one of a kind and I doubt we’ll see a show like that again to such an extent. It’s been such a huge show and I’ve grown with it.

Claire Foy in The Crown, which was recognised for its photography and lighting

Photography & Lighting: Fiction: Adriano Goldman, The Crown (Left Bank Pictures, Netflix)
I was invited to come on board the first season by [lead director] Stephen Daldry, but the first two episodes we shot, three and five, were not directed by Stephen. So I had a very practical challenge just to get to know this director who I was just being introduced to, Philip Martin. Of course, we got along really well but you have to build the whole thing from scratch with a director who is not a person you can read right away. Prepping was super intense and long. [We spent a lot of time] just reading scripts and going back to locations and trying to envision something that especially the British audience knows so well, the story of the Queen, and wondering what could be fresh about our approach.
The main discussion was the ‘less is more’ philosophy. The classic but also fresh approach was a challenge in itself. How do we deliver a story that everybody more or less knows but with a fresh visual style or rhythm?

Reece Shearsmith and Steve Pemberton in Inside No 9

Writer: Comedy: Steve Pemberton and Reece Shearsmith, Inside No 9 (BBC Studios Comedy, BBC2)
Reece Shearsmith: Comedy’s such a funny thing because it’s all about taste – what you find funny, I might not and vice versa. But comedy drama is a difficult one because there is comedy in the most bleak situations. I’ve had a career mining very dark themes and I think the release of something that’s quite dark is cathartic. With the No 9s, we enjoy telling stories. They’re little black jokes and it’s been lovely to resurrect the anthology series because that’s a great lost genre that you don’t really do anymore. People like the longform, big, strong boxsets but these are one-off little hits that you can watch in any order. There’s appeal for that these days.
Steve and I have a little office and we write there. We talk a lot before we even begin thinking about the writing of a story. We try to get the mechanics of where it’s going. Sometimes we’ll have an idea of where it will go and, during our conversation, we’ll think it’s too obvious and we need to change the ending if we’re thinking of a twist where we want to surprise people. Then we try to tell the story in the most judicious number of scenes possible. Sometimes the story itself never even leaves a room, so it’s even harder to tell the story without ever leaving and time passing. We think about taking the very mundane and taking it to an extraordinary conclusion. It gets harder and harder for us because we’ve done so many different stories and different worlds, and each week you start again. It’s like a pilot each week. That’s the challenge, but that’s the fun thing because you can do extremes, because they’re disposable. Next week you have a completely clean slate. You can kill them all off. You can reach heights you might not be able to if you had to go back to a default position if it was a sitcom. They’re thrilling to write and, as long as we can keep coming up with the ideas, we’ll go on forever.

Nicole Taylor accepts her prize

Writer: Drama: Nicole Taylor, Three Girls (BBC Studios Drama, Studio Lambert, BBC1)
Factual drama is always what I’ve loved watching, and Britain has an amazing tradition of that type of social-realist drama going back to Cathy Come Home and The Spongers. If people are watching it now, it must be because of the fractured moment we’re in, Brexit…  we’re strangers to each other. No wonder we’re trying to watch things about ourselves to understand the state we’re in.
Three Girls was brought to me by Sue Hogg, the executive producer who I worked with on The C Word. I was initially very afraid to take it on and I said no a fair few times. I just think I didn’t have the bottle. Like everyone else, this was a story I didn’t want to be true and it’s a story that everyone wants to look away from. I came up with my own reasons why I was going to turn it down and then I discussed it with my partner, who’s a journalist, who called me out on it and said I was doing what everyone did, turning away. I thought, ‘That’s right. Let’s go.’ It took me years and years to dissolve into it because it was so complex Once I got started, it felt like something was going that spoke to the state we’re in more broadly, and [I wanted] to do the best job I could of getting people who want to turn away to be glued to the story.
Philippa [Lowthorpe, director] did a lot more than just direct this magnificently. First off, she has a documentary background so she did a lot of the research with me. She gave me so much confidence in how you go into people’s homes and have them feel comfortable with you. She’s brilliant on scripts, she’s amazing with writers so I feel so stretched just in pure nerdy craft terms. She was just a joy, such a collaborator and, uniquely, she wanted me on set whenever I wanted to go. I was in rehearsals. That collaboration was so tight and I can’t wait to work with her again. She’s a phenomenal talent and such an inspiration for me as a woman working in this industry.

The Crown also won for its sound

Sounds: Fiction: Sound Team, The Crown (Left Bank Pictures, Netflix)
Chris Ashworth, production sound mixer: My biggest challenge is managing the scale of the show. It’s an enormous shoot. It goes on for 30 weeks, so it’s a huge management thing from my point of view on the floor, managing three crews and making sure everyone’s working together. Then on the huge set pieces we do, we have to keep a variety of directors happy.
Lee Walpole, supervising sound editor: In post production, we’re trying to take Chris’s clean recordings on location and add a complexity, scale and richness, bringing it to life and pinning it to the period it comes from. Sound recording is only becoming more complex, and that brings its own challenges. We have five days to final-mix an episode and you’re expected to produce a film soundtrack in that time.
Andy Kennedy, sound designer: The line between cinema and television is very blurred. We’re not dealing with stereo, we’re dealing with multi-channel formats and it also has a different presentation because The Crown is shown as a streaming piece, so sound is evolving and it’s very close to what a cinema produces, but it’s slightly smaller scale.

Tom Hardy in a photo presumably taken on a Monday

Make Up & Hair Design: Jan Archibald, Erika Ökvist and Audrey Doyle, Taboo (Scott Free London, Hardy Son & Baker, BBC1)
Audrey Doyle: Tom Hardy and his dad, Chips, developed the whole storyline seven years ago, he said, in his kitchen. They approached Steven Knight to write the scripts and it developed from there. We all did research of the period and the looks and started there. Tom is covered in his own tattoos so we had to develop a whole new tribal make-up for him. We had ‘Naked Mondays’ – every Monday, for some reason, we always seemed to film his tribal scenes, so we had to do his full tattoo cover, full tribal make-up and scars and everything. But he did wear a loin cloth. It took two-and-a-half hours each time.

Game of Thrones production designers Deborah Riley and Rob Cameron

Production Design: Deborah Riley and Rob Cameron, Game of Thrones (HBO, Bighead, Littlehead, Television 360, Startling Television, Sky Atlantic)
Deborah Riley: My process begins right at the start in LA with the writers when they issue an outline, which tells us exactly what is going to be in every episode of the whole season. The scripts don’t come until a bit later. Then we’ll start the approval process. We have concept artists that draw everything for us, and everything gets approved before it gets made. It’s an amazing team of people. We’ve got great producers. David and Dan know exactly what they want, they’re very clear with their vision. Time is the challenge, because there’s just too much to do in too short an amount of time, as we’re trying to produce film finishes on a television schedule. We just really work hard, and David and Dan’s biggest talent is they collected a whole lot of workaholic perfectionists in one place.
Visual effects are always led through production design. We create the worlds and then we need visual effects to help us when we can’t build it all or see it all, but it’s very much a collaboration; we don’t work in isolation. The whole show is very cohesive in its vision and what it’s trying to achieve. It’s a very special thing. I’m most proud of just surviving.

King Charles III won a Bafta for its original music

Original Music: Jocelyn Pook, King Charles III (Drama Republic, BBC2)
In a lot of films, less is more. Music is so overdone quite often and it’s nice when people use it more carefully and more thoughtfully. On this particular project, it was really inspiring because of all the settings. It had been a theatre play, but hardly any of the music I had written for the theatre worked for film so I had to do a whole new score.
Because of the history of the monarchy, there’s a sense of the ancient and modern combined, and definitely elements of the contemporary because it’s set in the present day. That was lovely, musically, to mine, particularly English choral music that I’m naturally inspired by. There’s also an Englishness, whatever that is.

Three Girls told the true story of a sexual abuse scandal

Director: Fiction: Philippa Lowthorpe, Three Girls (BBC Studios Drama, Studio Lambert, BBC1)
I was really lucky because I was involved in the research right from the beginning of Three Girls and that, to me as a director, is very valuable. I got to meet all the real people very early on and, with our wonderful writer Nicole Taylor, I was able to be part of the research along with our producer Simon Hughes. That really informed how I saw it and how to direct the actors, because I’d met the real people. I don’t think I could have done it without having met them and spending a a lot of time with them.
I went for a real feel, but it wasn’t pure documentary either. I used lots of very long takes because I wanted the actors to feel absolutely free to move where they wanted to move. Sometimes in drama you put the light somewhere and they have to hit a mark. I banned marks and we did very long takes where we would capture a bit of the scene and then do back and do it again. It was a challenge for some of the younger actors at first because they’d never done it like that before, but it was brilliant and it gave the actors so much freedom to absolutely inhabit their parts.
We had a lot of rehearsal and a lot of discussion with the actors, and that was so valuable. Maxine Peake and Lesley Sharp were the leaders of the cast. The British Pakistani actors who were so brave to play the perpetrators in the piece were also very involved in the rehearsal, so their voices became part of the fabric of the rehearsal and we learned a lot from them.
The most important thing in the filming was to capture the truthfulness of the story and help the actors achieve that real authenticity in their performances, which they did. I’m very proud of the young people who played the girls. All three of them – Molly Windsor, Ria Zmitrowicz and Liv Hill – are amazing.
There have been some amazing factual dramas recently and that’s hats off to Charlotte Moore at the BBC, who has really given a platform to real stories.

Game of Thrones actors Hannah Murray and John Bradley on stage

Special Award: Game of Thrones
John Bradley, who plays Samwell Tarly: When I did my first day’s work on Game of Thrones, I knew nothing of how TV production worked. I remember getting my first call sheet the day before I shot my very first scene and not knowing what I was looking at. I read the scene, which was two pages long, and I thought, ‘Well, how long can that possibly take?’ I was always under the impression they just had the set and 20 or 30 hidden cameras in little nooks and crannies around the set, they kicked the actors into the set, we did it a couple of times and then we went home. In fact, what I thought when I first saw that it was going to be two pages long was, ‘What on Earth am I going to do with my afternoon?’ After all these years, I look back on that first day and I’m struck by how lucky I am that I was given such an incredible learning experience – the best learning experience in the world, working alongside some of the very best craftspeople at work anywhere. We as actors will forever owe a huge debt of gratitude for inspiring us every single time we walk onto the set and every single time we see the finished product on the screen, every day learning something new from them and learning new things to admire them for.
Hannah Murray, who plays Gilly: When you see so many phenomenally talented people in so many departments working at the very top of their game and getting breathtaking results time after time, it really forces you to bring your very best efforts to the table, if only to make sure you don’t look inadequate by comparison. Every year, they’re given scripts that on paper seem totally unfilmable, and every time they put it on the screen to mind-blowing effect. We as actors are so lucky to get to step into the world they create and we are as in awe of their work as the fans of the show all over the world. The show is a global phenomenon and what makes us proudest is that the work of so many British and Irish talents are being recognised on such a grand scale. We know our showrunners David [Benioff] and Dan [Weiss] are grateful to be working with this incredible team of people.

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Measuring success

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As technology continues its assault on traditional television models, success is no longer just about overnight viewing figures. So in today’s crowded drama marketplace, what defines a hit – and how are our views of success changing?

When the BBC and FX announced there would be a second season of Tom Hardy’s extraordinary period drama Taboo (pictured above), the UK pubcaster took the unusual step of spelling out exactly why the series would return.

Taboo was a solid, if not spectacular, performer on BBC1, drawing three million viewers to its Saturday night debut and staying above 2.5 million for subsequent episodes.

Yet it earned its recommission by becoming one of the most successful dramas ever in terms of views on iPlayer, the broadcaster’s digital catch-up service, a result credited to word of mouth and social network mentions that led new viewers to seek out the series.

Within seven days, episode one’s audience rose to 5.8 million and episodes averaged seven million at the 28-day cut-off. The first episode achieved iPlayer’s third highest audience ever, following Sherlock and docudrama Murdered By My Boyfriend.

Wynona Earp gained ‘momentum’ via social media

Announcing the recommission in March this year, Charlotte Moore, director of BBC Content, said: “Taboo has been a phenomenal success and proves overnight ratings are not the only measure of success, as the series continues to grow beyond live viewing. Launching in a new Saturday night slot on BBC1 provided us with an opportunity to take risks and showcase distinctive drama, and the growing talkability of Taboo has engaged younger audiences, seeing record numbers coming to BBC iPlayer, with the availability of the box set maximising audiences even further.”

The BBC went further, suggesting BARB audience data underestimated the final audience for Taboo as it only recognised iPlayer viewers using the service via a connected television and not through laptops, mobiles and tablets.

Sue Gray, the pubcaster’s head of audiences, added: “The live broadcast audience remains important and we know audiences highly value collective viewing experiences. However, an emerging younger audience group is increasingly influenced by social recommendation and will come when the ‘noise’ around a series becomes compelling. The broadcast moment can fan this flame, with BBC1 and iPlayer providing a virtuous circle which maximises audience opportunity to engage. Broadcasters and commentators increasingly need to play the long game in their quest to understand audience behaviour.”

Christophe Riandee

In truth, the emphasis on viewing figures has been waning for several years as box set binges have become a worldwide phenomenon. Ratings for a single episode no longer provide a clear picture of how many people have watched – and will watch – a programme over the days and weeks after it airs, while digital platforms ensure programmes can be watched and rewatched long after their initial debuts. So how do those in the industry now define a successful series?

Despite putting less focus on overnights, writers, producers and commissioners will admit to still keeping an eye on the ratings just to see whether they have an instant hit on their hands – unless you happen to ask people at Fox, the US broadcaster that decided overnights were “no longer relevant” in November 2015.

In a letter to staff, co-CEOs Dana Walden and Gary Newman explained why the network would no longer be publishing Live + Same Day ratings. “The connections between viewers and our shows today are more complex and, in many ways, deeper than ever – but they no longer only happen overnight,” they wrote. “So why do we, as an industry, wake up every morning and talk about those Live + Same Day numbers?

“This has to stop. It’s time for us to ‘walk the walk’ and change the conversation. The Live + Same Day rating does not reflect the way people are watching our series. It leaves out the vast majority of fans who choose to watch on DVRs, and virtually ignores those who stream our shows or watch on-demand.”

CBS’s Doubt was was cancelled after just two episodes

Though they might not admit it quite as openly, other US broadcast networks are clearly taking less notice of overnights, if the decline of early cancellations of freshmen scripted series is anything to go by. Once upon a time, it would only have been a matter of weeks, or a handful of episodes, before the first series would be cancelled each fall as a result of low ratings. But for the past two seasons, shows that have received a lukewarm reception have been allowed to play out their first-season orders to try to generate the catch-up numbers that are now such an important part of the business.

Only those dramas seemingly without any hope – see 2016/17 examples Doubt (CBS) and Time After Time (ABC) – are unceremoniously pulled from the schedules.

The Walking Dead aside, most cable shows would be happy to have the ratings scored by cancelled network series, as pay TV provides a supportive model for dramas tackling niche genres – particularly science fiction.

That’s why IDW Entertainment, producer of Wynonna Earp and Dirk Gently’s Holistic Detective Agency, defines a ‘hit’ on a case-by-case basis. “It’s looking beyond the ratings, as the audience varies widely from network to network and digital,” says president David Ozer.

David Ozer

“IDW plays in the genre space, so the fandom plays such a huge role in determining a ‘hit’ for us. What’s happening on social media? What’s the audience saying? Are they trending? Who’s showing up to cast promotional events? We obviously need to deliver as large an audience as possible for the network and/or streaming platform, but there are other factors definitely involved now beyond traditional ratings.”

These days, actors can often be found live-tweeting along to their show as it airs, speaking directly to fans, while events like Comic-Con can propel a drama’s popularity, often before it has begun airing.

“Wynonna Earp is fascinating to watch,” Ozer says. “Week after week, we saw ratings growth [on Syfy], but also social media growth where we were trending weekly. The series gained a large LGBTQ audience because of one of the storylines, and you felt momentum. When it came to time for a renewal, Syfy was inundated with fan responses, and not just the usual letters but genuine notes about how important the series was to them.

“With Dirk Gently, BBC America saw immediate time-period growth and, again, a lot of activity across social media, and a second season was ordered. There was a buzz about the show that continued to grow, and reviews were very positive. While we don’t see actual results with Netflix [where both shows are available in certain territories], we were able to see success based on the social media conversations internationally.”

At Irish broadcaster RTÉ, acting MD of television Dermot Horan describes a hit show as one that “delivers more than its timeslot’s average consolidated audience, but which also delivers well on the RTÉ Player and gets positive social media and press coverage.”

That definition has emerged because much drama is now consumed via DVRs or VoD services, due to “the increase in linear channel competition, the rise of SVoD players in Ireland, the numbers of homes with PVRs and the increase in homes without TVs,” Horan adds.

Netflix’s Pablo Escobar series Narcos is a social media sensation

For Piv Bernth, head of drama at Danish pubcaster DR, a successful drama is one that both attracts a strong audience and stands out from the crowd. “Of course, the enormous competition makes you look more over your shoulder, but I think the conclusion so far is not to get confused by the oceans of TV series and instead to keep the focus on what kind of content you think will make a difference,” she says.

“From a public service point of view, the choice of story and the way it is told is as important as the obligation to tell stories that reflect the lives of the audience and create a debate. At DR, we try to do original stories, like Avingerne (The Legacy), Bedrag (Follow the Money) and, coming soon, Herrens Veje (Ride Upon the Storm) – all series with complex stories told through relatable characters and, therefore, entertaining and understandable. That is still the way to measure a success – get good viewing figures on series that makes a difference.”

Jakob Mejlhede Andersen, broadcast group MTG’s exec VP of programming and content development for the Nordic region, found success this year with comedy-drama Swedish Dicks, which set viewing records on MTG’s Nordic streaming service Viaplay. “We believe a hit happens every time a viewer is engaged by our content,” he says. “That’s why we’re doing everything we can to create an inclusive portfolio that speaks to everybody while raising important questions. We’re on a journey to become the Nordic region’s leading producer of original content, and today we have more than 50 projects in the pipeline.”

MTG is reaching viewers across streaming, free TV and pay TV services, and Mejlhede Andersen says the multi-platform approach allows the broadcaster to differentiate its content depending on where it is being made available. For example, Viaplay’s latest original series, Veni Vidi Vici, explores the descent of a struggling Danish movie director into the adult film business – a story the exec says “works much better on-demand through a streaming service than on primetime linear TV.”

Swedish Dicks broke viewing records on MTG’s Nordic streaming service Viaplay

Beyond ratings, MTG is now also using international distribution deals to measure success, with Swedish Dicks being picked up for global sales by Lionsgate. “Of course, we’ll keep listening to our audiences to ensure our stories always entertain and engage,” Mejlhede Andersen adds.

Christophe Riandee, vice-CEO of Gaumont, which produces Pablo Escobar drama Narcos for Netflix, says that while the way people watch TV today means it is harder than ever to define a hit, “one way that speaks the loudest is when you have volumes of fans engaged with your shows.”

He continues: “From social media engagement to consumer products, fans across the world let you know that you have a hit. Netflix does a great job activating fans, developing extensive campaigns that are unique to different platforms, creating hundreds of original assets for social media channels and engaging directly with fans.

“Within the first three months of the launch of Narcos, Netflix had amassed a social following of two million fans [of the show] across Facebook, Instagram and Twitter and, over the course of the campaign, afforded Narcos the title of the most mentioned Netflix original series on social in 2015.”

Avingerne – an example of a DR drama with ‘a complex story told through relatable characters’

Gaumont was also behind another Netflix drama, horror series Hemlock Grove – and while the streamer famously keeps even its own suppliers in the dark about viewing figures, Riandee highlights one surefire way you can judge ‘success’ online: “I would say by the number of seasons a media partner is ordering. Netflix ordered two additional seasons of Narcos at the same time; we are currently in production on season three.”

Despite their reluctance to release ratings, SVoD services are now key to building audiences, often long after a drama has debuted, and later seasons can see a bump in live ratings after viewers have caught up online. AMC’s Breaking Bad was one of the first to enjoy that kind of success in a world where TV shows are finding it harder and harder to break through.

“First and foremost, a show has to be good.It needs compelling storytelling and quality production with a best-in-class team and talent,” IDW’s Ozer says when asked what it takes for a show to be deemed a success in today’s crowded market. “We are spending quite a bit of time ensuring we’re bringing unique properties to the market, with major elements attached. Our recently announced Locke & Key deal with Hulu is a great example, where we have bestselling author Joe Hill, Carlton Cuse as our showrunner and Scott Derrickson as our director.

“With so much programming in the market now, it has to stand out. There are shows that are perceived as hits now based on outside influences, series that have catapulted through word of mouth. There is also the ‘hang around theory,’ meaning if a show is around for multiple seasons, because of content distribution platforms like EST [electronic sell-through] and SVoD, more people can find it later in its run, creating value for the networks.”

In an ideal world, RTÉ’s Horan would like to see a single rating – combining live and non-live views – used to judge the success of series, but that may be several years away.

“The other point to make is that less can be more these days,” he notes. “For free-to-air channels, it is all about cutting through and having programmes in your schedule that make an immediate impact. Thus short-run series like Doctor Foster, Happy Valley and The People vs OJ Simpson: American Crime Story can work better than the longer-running US network dramas.”

For now, though, Riandee believes success will continue to be measured through a combination of ratings and social media. “But to have that success, now more than ever we have to provide the market with shows that are compelling,” he says, “with novelistic and addictive storylines, AAA showrunners to deliver highly visual cinematic programming and, of course, relatable actors.”

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Chain reaction

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Social media is having an increasing impact on the success or failure of television drama, as Stephen Arnell discovers.

For many broadcasters, the advent of social media has been a decidedly mixed blessing, especially in the world of TV drama.

A flurry of positive tweets can increase a new show’s profile – and viewership – but heavily negative reactions can have the effect of strangling it at birth.

Back in 2013, comedy writer Ben Elton’s comeback vehicle The Wright Way was effectively cancelled before the end of the first episode, such was the overwhelmingly poor social media response from critics and viewers alike.

BBC Comedy chief Shane Allen complained that instant social media criticism put paid to any chance of the show bedding in and improving, but those, as they say, are the breaks.

An apparently ‘bruised’ Elton (Blackadder, The Young Ones) returned to the fray with his Shakespeare comedy Upstart Crow (BBC2), so all’s well that ends well.

BBC1’s Jamaica Inn led to the so-called ‘Mumblegate’ inquiry

But with the exception of longer-running US dramas and soaps that are in production as the show is transmitted, there is little broadcasters can do after the event to combat social media flak until the next season.

The BBC in particular has come in for heavy criticism over recent years for what viewers perceive as ‘mumbling’ from actors and generally poor sound levels.

Back in 2014, BBC1’s two-part adaptation of Daphne du Maurier’s Jamaica Inn made the front pages and caused a Twitter blowout due to ‘Mumblegate’ – viewers complaining in their droves about some of the actors’ unintelligible dialogue, particularly that of lead Sean Harris (Mission Impossible: Rogue Nation), and inferior sound quality.

Viewer numbers fell from 6.1 million for the first episode to 4.5 million for the second and the BBC swung into action with a Mumblegate inquiry, finding that “technical issues,” combined with overloud incidental music and Harris’s performance, rendered that drama a less than ideal experience for many viewers.

Some viewers complained of being unable to comprehend Tom Hardy’s dialogue in Taboo

Du Maurier’s son Christian ‘Kits’ Browning commented: “Thank God Sean Harris’ character gets killed. I blame the director and the sound man – and an actor who just mumbled. If anyone else feels the same way I just suggest you go and read the book. In the end I had to resort to subtitles.”

After this debacle, one would have thought the BBC would be alert to these kind of issues, but recent weeks have seen more Twitter meltdowns and tabloid headlines over mumbling – the culprits this time being serial murmurer Tom Hardy (Taboo, BBC1) and Sam Riley (SS-GB, BBC1).

Twitter reaction to the shows from viewers included: “I wish Tom Hardy would speak up a bit sometimes #Taboo,” “SS-GB – The subtitle department should have kept it up for all the dialogue. Head melted trying to understand this,” and “Why is Sam Riley playing Archer of the Yard with a voice like Patty and Selma?” – the latter referring the famously gravelly voiced Simpsons characters.

Taboo’s viewing figures decreased steadily over much of the show’s run, but it may be overstating the case to solely blame negative social media reaction for this.

Many fans were appalled when the The Walking Dead killed off two beloved characters in this scene

SS-GB (pictured top) has also seen a decline in viewing levels, with episode two falling by two million to record an audience of 3.9 million as complaints about Riley’s intonation continue.

After other complaints about dialogue clarity in the dramas Happy Valley, Rillington Place and Poldark last year, BBC director general Tony Hall told his chiefs to sort out “audibility issues.”

And good luck to the BBC executive assigned to tell Tom Hardy to speak up.

That said, there are more positive ways for social media reaction to actually benefit shows – for instance in the groundswell of support that caused Amazon to pick up the BBC’s Ripper Street and Netflix to revive cult comedy hit Arrested Development.

The Good Wife’s showrunners changed a storyline in response to audience disapproval

Studies show that positive Twitter buzz can boost viewership, which is said to have aided shows including Empire (Fox) and Modern Family (ABC).

Live twitter conversations during dramas such as Game of Thrones, Lucifer, The Walking Dead and Vikings are known to increase engagement with dramas.

On the other hand, negative social media feedback was felt to be a contributory factor in the cancellation of ABC’s The Muppets revival last year. High opening ratings declined precipitously as viewers thought early episodes unfunny or mean-spirited. Despite a talked-up midseason revamp, audiences continued to fall.

The deaths of popular characters Glen (Steven Yen) and Abraham (Michael Cudlitz) at the beginning of season seven of The Walking Dead, meanwhile, saw adverse Twitter reaction, followed by a viewing decline for the following episodes. But now, after its mid-season break, the drama is taking on a much more redemptive tone, which looks to be reflected in a ratings bump.

Episode 10’s reunion of fan favourites Daryl (Norman Reedus) and Carol (Melissa McBride) saw an outpouring of emotion in social media.

Sherlock showrunner Stephen Moffat regularly responds to fan reaction

In hit legal drama The Good Wife (CBS), adverse reaction to character Kalinda’s storyline in the season four premiere saw showrunners Robert and Michelle King prematurely discontinue the arc.

Talking to TV Guide, Robert King said of the decision: “I do think the audience teaches the storyteller and this is a case of the audience teaching the storyteller.”

Viewers have also successfully changed show content in other instances, including Lena Dunham accepting criticism of her drama Girls’ all-white cast and adding a minority character to the HBO series in response.

Some writers are playful with social media, with Doctor Who and Sherlock showrunner Stephen Moffat actively responsive to fan reaction.

Doctor Who episode The Time of the Doctor included a plot device that gave the Time Lord another dozen ‘regenerations,’ resolving the problem, much discussed on fan sites, that the Doctor was permitted only 12 incarnations according to the original canons of the show.

Sherlock co-writer Mark Gatiss also included a continuing gag in the script for The Empty Hearse, teasing online speculation about how Holmes may have been able to fake his death at the end of the second season.

Social media is a double-edged sword for broadcasters, where the benefits of instant feedback in boosting some dramas are balanced by the premature deaths of others, which means there’s no real hiding place for either mediocre or just plain bad shows.

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Kings of the wild frontier

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Period dramas are never far from our screens, but they currently appear to be more popular and diverse than ever. Stephen Arnell examines the current trend for costume series.

Drama series based on historical events and set in eras gone by have always been popular, more so than ever in the current ‘golden age’ of television, despite the obvious expense involved in terms of scale, design, costuming and on- and off-screen talent.

The American West has long yielded rich pickings for both period series, most recently with Hell on Wheels (AMC, 2011-16), and those with a more contemporary setting, including Longmire (A+E/Netflix, 2012-present) the much-admired Justified (FX, 2010-15), and the western/sci-fi hybrid Westworld (HBO, 2016, pictured above).

Cinemax’s Banshee (2013-16) should also qualify as part of the genre, as, notwithstanding its present-day Amish Pennsylvania backdrop, the show possesses a narrative that harks back to the ‘psychological’ westerns of the 1950s, including Johnny Guitar (Nicholas Ray, 1954), 3:10 to Yuma (Delmer Davies, 1957), Warlock (Edward Dmytryk, 1959) and Marlon Brando’s sole directorial effort One-Eyed Jacks (1960).

Last year the UK’s ITV attempted to inject western DNA into 1870s Yorkshire with the viaduct-building drama Jericho, but poor ratings saw it fail to gain a second season.

Tim Roth in forthcoming Sky Atlantic drama Tin Star

The granddaddy of the western TV series since the 1990s is, of course, HBO’s Deadwood (2004-06), which despite being cancelled in season three retains a huge affection among the cognoscenti, enough perhaps for the mooted one- or two-part TV movie conclusion to the show to finally be given the nod.

As of August 2016, Deadwood creator David Milch was reported to be working on a script that aims to bring some sense of closure to the show.

The contemporary strain of western will see a new entrant into the field this year with Sky Atlantic’s Tin Star, a revenge thriller located in the Rocky Mountains of Canada, starring the always-busy Tim Roth (Rillington Place, The Hateful Eight) as a former London Met detective now plying his trade as a law officer in the previously sleepy but now crime-ridden town of Little Big Bear.

Co-stars include Mad Men’s Christina Hendricks, who most recently graced our screens in SundanceTV’s underrated James Purefoy/Michael K Smith crime drama Hap & Leonard.

After the ratings failure of The Young Pope in the UK, Sky Atlantic must be hoping that Tin Star can stake a larger claim for the potential audience, with a narrative that appears more immediately appealing than what some felt were the arthouse affectations and longueurs of the Jude Law starrer.

Another area that appears popular is the ‘pre-western,’ generally taken to be the New World in North America before the Civil War (1861-1865).

The success of 2015’s endurance epic The Revenant may have given some inspiration for new dramas to explore the times before the ‘Classic American West’ period of 1865-1900, set as it was in the ‘unorganised territory’ of the 1820s.

Two upcoming shows also set in the years preceding the Wild West include Sky1’s Jamestown and Netflix’s appropriately named Frontier.

At first glance, Jamestown, located in the North America of 1619 among the first English settlers, owes something to some relatively recent dramas, including Terence Malick’s film A New World (2005), Peter Flannery’s New Worlds (Channel 4, 2014) and Jimmy McGovern’s Banished (BBC2, 2015).

Strong similarities also appear noticeable between Banished (based in a New South Wales penal colony of 1788) and Jamestown, in the narrative hook of having both the predominately male inhabitants of the two communities learning to deal with an influx of women into their lives.

The recent teaser trailer released for Jamestown suggests creator Bill Gallagher (The Paradise, Lark Rise to Candleford) will be a taking a slightly less gritty approach than that adopted for Banished.

As for the Jacobean setting of the show, UK producers have a mixed record with dramatic depictions of the Stuart era, with successes including Charles II: The Power & The Passion (BBC1, 2003), Gunpowder, Treason & Plot (BBC2, 2004) and The Devil’s Whore (C4, 2008).

But less popular were the aforementioned New Worlds (C4, 2014) – a sequel to The Devil’s Whore set in 1680s colonial Massachusetts (61 years on from Jamestown’s Virginia) – and ITV’s The Great Fire (2014), which to many critics was more of a damp squib than a raging inferno.

Debuting in the UK on Netflix later this month after a Discovery Canada transmission (incidentally that network’s first scripted commission) in November and December last yaer, Frontier stars Jason Momoa (Game of Thrones, Red Road) in an adventure drama centred on the late 18th century North American fur trade.

Anyone expecting a gruelling Revenant-style experience may be disappointed, as the trailer gives the impression of a fairly uncomplicated period action-adventure, a few shades less complex than, say, Black Sails (returning to Starz for its fourth and final season this month).

The Revenant star Tom Hardy’s eagerly anticipated period drama Taboo made its January 7 debut in an unusual Saturday peaktime slot for BBC1, unusual in that light entertainment and other less-demanding fare tends to dominate the evening.

BBC1 chief Charlotte Moore will be hoping the gamble pays off and viewers stick around for something more full-blooded than they’re used to on the channel at that time.

And on the evidence of the overnight ratings for Taboo’s debut (4.8 million viewers and a 22.9% audience share), there is certainly some justification for its scheduling, which was fortunate in going against weak opposition. The performance of subsequent episodes will be the real test.

From the evidence of the trailer and to the likely pleasure of his legions of fans, Hardy seems to be in his default pyscho/masochist mode in the show, which will be familiar to viewers from his previous work in The Revenant, Bronson, The Dark Knight Rises and Peaky Blinders, the latter produced by Taboo co-creator Steven Knight.

In contrast to Frontier, where the villains are the Hudson Bay Company, the corporate bad guys in Taboo are the 1814 iteration of the East India Company.

Other interesting period dramas coming up in 2017 include season two of the Sean Bean starrer The Frankenstein Chronicles (ITV Encore), which may help assuage some pangs for the loss of Penny Dreadful, and the same channel’s Harlots, with Samantha Morton (Rillington Place) as a brothel keeper in Georgian London, set a few years earlier but in the same locale as Bean’s show.

Away from the grime and fog of London, fans of costumed spectacle can also look forward to BBC2 epic Troy: Fall of a City; the Roman drama Britannia (Sky1); Les Misérables (BBC1); season two of The Last Kingdom (BBC2); the final season of Reign (The CW); The White Princess, the belated follow-up to The White Queen (Starz); Julian Fellowes’ The Gilded Age (NBC); The Alienist (TNT); and Ridley Scott’s The Terror (AMC).

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Breaking Taboo

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Best known for seminal Danish crime drama Forbrydelsen (The Killing), director Kristoffer Nyholm tells DQ why Tom Hardy-led thriller Taboo is like nothing ever seen on TV before.

Ever since Forbrydelsen (The Killing) became a worldwide sensation, Kristoffer Nyholm has become synonymous with the Danish crime drama. The director led the first two seasons of the series, shaping its dark, moody atmosphere and shining a new light on its Copenhagen setting.

But while directors are often household names in cinema, television continues to be considered a writers’ medium. It’s rare for a director to helm every episode of a small-screen series, with all the credit placed at the feet of the writer or showrunner whose fingerprints are indelibly inked across hours of storytelling.

Kristoffer Nyholm

Thanks to the iconic standing of The Killing, however, Nyholm can be considered among those directors whose names stand out from the crowd – and it’s the increasing importance of the role of director in television that he believes has led to the current slate of groundbreaking, ambitious drama being produced around the world.

“In the film business the main focus has always been on the director, and scriptwriting comes in second. So it’s important that a lot of new wonderful television series are bringing focus to the writer,” he explains. “But in order to develop the language of television, the director is an important part of that process because those scripts can be interpreted and filmed in many different ways.

“There’s a tendency now for fewer long-running series and more limited series, which means they can become more cinematic, and that’s clearly where good directors come in and become part of the development process. We’re in a place where there’s a hybrid between television and films – we’re only at the beginning of that process and it’s very exciting. But it’s very important that, at an early point, directors can be a part of a process where drama is created because the collaboration between writers and directors is underdeveloped and there is so much more to gain.”

Collaboration between the creative team was key on Nyholm’s latest television project, Taboo, an eight-part series starring Tom Hardy that debuts on BBC1 on January 7. It launches stateside on cable channel FX on January 10.

Set in 1814, the story follows James Keziah Delaney (Hardy), a man who has been to the ends of the earth and comes back irrevocably changed. Believed to be long dead, he returns home to London from Africa to inherit what is left of his father’s shipping empire and rebuild a life for himself.

Taboo is a passion project for its star and executive producer, Tom Hardy

But his father’s legacy is a poisoned chalice and, with enemies lurking in every dark corner, James must navigate increasingly complex territories to avoid his own death sentence. Encircled by conspiracy, murder and betrayal, a dark family mystery unfolds in a combustible tale of love and treachery.

Hardy is also an executive producer along with writer Steven Knight, Ridley Scott, Kate Crowe and Dean Baker. Scott Free London and Hardy Son & Baker produce for BBC1 and US cable network FX, with Sonar Entertainment distributing the series worldwide outside the UK.

Nyholm first met with Hardy and the producers last summer and says he was inspired to join the series by the actor, for whom Taboo is a passion project co-created with his father Chips Hardy and Knight.

“I loved the first two scripts,” Nyholm says, “and Tom told me about his motivation for the series – he wanted to make a story about looking at historic London as a barbaric place at a time some consider to be the cradle of the modern world we know today.

“In a way, it’s a coming-of-age story – a fusion of understanding your own life and understanding the world you’re born into, and that idea to connect those psychological, emotional depths in a character, together with his awareness of the political system, was really exciting and a new way of making a drama.

“Tom put words to this main character and then said, ‘We don’t know exactly where we’re going but, if you want to go on this ride, we would really love to have you with us.’ That was very exciting – and he said if it breaks down, I hope we can say we tried. I thought this artistic, brave commitment was something that I felt strongly for and that Tom had really thought about this. It was a very inspiring meeting that set off the whole thing.”

Nyholm joined the project at such an early stage that the series was yet to be cast or crewed. But that allowed him to become an integral part of the creative team, helping to bring Hardy’s vision to life around the central character he would play himself.

“He takes a very big responsibility,” the director says of the Hollywood star. “Like a Renaissance man, he cares about all the elements and he’s very open in the process. He’s also a very kind person, a gentleman, so that was a big inspiration. Part of the story came from him so he was like having an extra page of the script.”

Jonathan Pryce plays a major role in the series

A tattoo-covered Hardy dominates the screen every time he appears – in fact, he’s rarely out of shot – while the captivating sets bring the hustle and bustle of 19th century London to life. Helming the first four episodes, Nyholm worked closely with director of photography Mark Patten to bring an unconventional shooting style to the production, one that let the actors do their job as the cameras recorded them unobtrusively.

“We kept things open in many ways so when we came into a new set, we didn’t just go and do the classical setups – big picture, two cross-angled close-ups and maybe a little travelling. Instead, we made it a priority to stay in a certain angle to capture a mood or, if there was something very characteristic in a scene like a big fireplace, we’d say every shot will have the fireplace in the picture. This is the magnet of the scene and we’ll go around that. Sometimes people would walk out of picture and we’d just leave them there.

“Steven wrote some really wonderful scripts – but he’s not loyal to one genre in one episode, he would go from one to another. So when you think this is really a high-paced drama, suddenly it’s very different, it’s a man on an expedition searching for something, and now it’s a love story. He would switch moods very often, which means we would also be very open to the scenes and try to not fit them into a system.”

With only very quick rehearsals for each scene – “I don’t like to empty the bottle” – the director prefers to shoot just three or four takes before moving on. “There’s a truth in the acting and you want to protect that,” he explains. “It’s a very subtle thing but that’s the main part of my work, that’s what I love doing. They don’t have to act exactly how I want them to act, because they’re the actors. They have a feeling for what they want to do but I have to respond as a person watching and, for me, it’s like watching something truthful for the first time and it has to work for me as well. I love actors – it would be strange not to, but it’s a sacred moment when they do their work and I feel privileged to be close to that process.”

Pryce is joined by fellow Game of Thrones star Oona Chaplin in the main cast

Nyholm might call himself an actor’s director, choosing to use his time on set with his cast – which also includes Michael Kelly, Jonathan Pryce, Oona Chaplin, Franka Potente, Stephen Graham and Tom Hollander – instead of fretting over “the small things that aren’t important.” And as a result, there wasn’t a day on set when he wasn’t happy with what they had produced, despite some other challenges.

“There were some days that were more tough than others, of course, because we also work physically, under the influence of weather and sometimes things that technically were more difficult. We had to do a lot of work with limited time and with a lot of locations, so there was a lot of moving around and setups in places we hadn’t been before. We had a crew that very quickly found a way of moving into a spot and knowing what was important and what was not important – that was a big thing.”

Nyholm is currently in pre-production for his next project, feature film Keepers, but admits he now feels at home working across Europe, particularly in England. Other credits include Inspector Morse prequel Endeavour and European crime drama Jo.

“When I work in England, I feel at home and it’s close to Denmark,” he adds. “The big thing is the world is becoming smaller and working as I do today would have been much more difficult 15 years ago. My world has become much bigger and I really enjoy being in England. Hopefully I’ll do more.”

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Discovery draws up its Manifesto

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Ted Kaczynski, aka the Unabomber
Ted Kaczynski, aka the Unabomber

Series like The People v OJ Simpson: American Crime Story have proved there is a healthy market for well-told dramas based on real events. So it’s interesting to see that Discovery Channel is coming to market soon with Manifesto, a highly anticipated series that looks at the story of Ted Kaczynski, aka the Unabomber.

This week, Discovery announced that actor Sam Worthington (Avatar, Hacksaw Ridge) will star in the show as FBI Agent Jim ‘Fitz’ Fitzgerald, whose innovative new approach to intelligence gathering ultimately led to the capture of the Unabomber. Kaczynski himself will be played by British actor Paul Bettany.

The show, which is produced by Lionsgate and Trigger Street Productions, is being written by Andrew Sodroski, a former Harvard graduate. It has taken Sodroski a while to get a break in the TV business, but finally things look like they’re coming good. Aside from Manifesto, he is also working on a project for Amazon Studios entitled Holland, Michigan. This comedy-thriller centres on a schoolteacher who, suspecting that her husband is cheating on her, enlists the help of a fellow teacher she fancies.

Fact-based drama is a good fit for Discovery and is an area where it has already enjoyed significant success in. In September, it aired Harley & the Davidsons, which delivered 4.4 million viewers and became the most-watched single-network cable miniseries in three-and-a-half years. Echoing the OJ Simpson series, which aired on FX, Discovery wants Manifesto to be the first in an anthology series of dramas that focus on infamous criminal masterminds.

Tom Hardy at Content London
Tom Hardy at Content London

Another upcoming dramas attracting attention right now is actor Tom Hardy’s Taboo, which will air on BBC1 in the UK and FX in the US. A historical period drama, it follows an adventurer who returns to the UK from Africa to avenge the death of his father. Hardy created the idea with his father Chips Hardy and Steven Knight.

Knight, of course, has built up a loyal fanbase through his acclaimed gangster series Peaky Blinders. The new show, which focuses on the activities of the East India Company, will provide him with the same kind of complex political web that has made Peaky Blinders such an enjoyable romp.

Commenting on the show, he said that the East India Company will be depicted as a mix of “the CIA, NSA and the biggest, baddest multi-national corporation on Earth.”

Knight and Hardy Snr are credited as writers on the series – as is Emily Ballou, an Australian-American poet, novelist and screenwriter. Among Ballou’s high-profile TV credits are Channel 4’s Humans, ITV’s Scott & Bailey and The Slap from ABC in Australia.

Emily Ballou
Emily Ballou

Over the past couple of days, the Australian screen industry has gathered to announce the winners in the sixth Australian Academy of Cinema and Television Arts (AACTA) Awards. On the scripted TV front, recipients in a range of categories have included Rake, No Activity, The Beautiful Lie, Cleverman, Secret City, Down Under, Molly, Mary: The Making of a Princess, The Kettering Incident, Wentworth and Wolf Creek.

There’s a lot of great drama in that list but it’s interesting to note that the award for Best Screenplay in Television went to Sarah Scheller and Alison Bell for ABC’s Comedy Showroom – The Letdown. To win the award they had to beat competition from The Beautiful Lie, The Kettering Incident and Upper Middle Bogan.

The Letdown is Alison Bell’s first writing credit
The Letdown is Alison Bell’s first writing credit

The Letdown tells the story of a struggling new mum (played by Bell) and the mother’s group she thinks she doesn’t need. Originally shot as a one-off as part of the Comedy Showroom strand of pilots, the show’s strong performance means it is set to reappear next year as a full series. The Letdown is Bell’s first writing credit, although she is well established as an actress. Scheller also has a bit of an acting track record and was a writer on the comedy No Activity.

Good news for Marvel fans this week following the news that Netflix has ordered a second season of its series Luke Cage. This follows previous second-season orders for other Netflix/Marvel collaborations Daredevil and Jessica Jones.

Luke Cage was created for TV by Cheo Hodari Coker, who also leads a 12-strong writing room. A former music journalist with an intimate knowledge of the rap scene, Coker’s other TV credits include Southland, NCIS, Ray Donovan and Almost Human. He also wrote the screenplay for the 2009 biographical film Notorious.

Cheo Hodari Coker
Cheo Hodari Coker

With Luke Cage one of the few black male characters in the superhero comic book business, Coker’s track record has made him the perfect choice to bring Cage to life.

In a recent interview, he said: “The show is what I call ‘inclusively black.’ It’s an unadulterated hip-hop show. But it’s done in such a way that anyone from outside the culture – not just hip-hop culture, outside of geek culture – it can play against anything on television.” For more on Coker, click here.

C21’s Content London event last week included a wide array of top screenwriters in its line-up. One of the speakers was Tony Grisoni, whose numerous TV credits include acclaimed series Red Riding, The Unloved and Southcliffe.

Tony Grisoni speaking at Content London
Tony Grisoni speaking at Content London

During the event, Grisoni discussed a new drama he is working on with producer Andrea Calderwood. Called In the Wolf’s Mouth, it is set against the 1943 Allied liberation of Sicily, with UK broadcaster Channel 4 paying for script development. The story is based on a novel by Adam Foulds published a couple of years ago.

Although C4 is paying for script development, Grisoni and Calderwood were also at Series Mania in Paris this year pitching the project in the hope of attracting international coproduction partners.

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