Created and written by Samantha Strauss (Dance Academy), The End is a 10-part series looking at how three generations of a family deal with issues surrounding life, death and everything in between.
Frances O’Connor plays Dr Kate Brennan, an Australia-based specialist in palliative care who is passionate in her opposition to euthanasia. On the other side of the world, Kate’s mother, Edie Henley (Harriet Walter), feels just as strongly about her right to die.
Kate has little choice but to ship Edie out from England and deposit her in a nearby retirement village in the Gold Coast – Edie’s worst nightmare. And while Kate struggles with her own problems, her children are trying to work out who they are, and who they want to be.
In this DQ interview, Strauss and See-Saw Films executive producers Rachel Gardner and Jamie Laurenson reveal their ambitions to tell a story around the assisted-dying debate and how the story was inspired by real-life events.
They also talk about using a half-hour format for the series and finding the balance between comedy and drama around such a sensitive subject.
The End is produced by See-Saw Films for Sky Atlantic, Now TV and Foxtel, and distributed by Endeavor Content.
It has been a miserable year for Turkey – yet despite a military coup, suicide bombings and the fallout from the Syrian Civil War, the country has somehow kept on pumping out great TV drama in 2016.
A lot of this creativity will be on show at the Mipcom market in Cannes from October 17. For example, Sweden-based distributor Eccho Rights has just announced an exclusive deal that will see it bring a slate of shows from one of Turkey’s leading drama producers, Ay Yapim, which is behind Ezel, Fatmagul, Forbidden Love, Karadayi, The End and more.
One of the most high-profile titles is Wings of Love (Bana Sevmeyi Anlat), which is achieving very strong ratings on Fox Turkey. The series premiered on August 22 and is currently number one on Friday nights. Also in the line-up is Brave and Beautiful (Cesur ve Güzel), set to premiere on Star TV later on this fall, with Turkish megastars Kıvanç Tatlıtuğ and Tuba Büyüküstün in the lead roles.
Another title in Eccho’s line-up is Insider (İçerde), which is loosely based on US movie The Departed. It debuted on Show TV on September 19 and proved a big ratings hit, also becoming the top-rated Turkish drama on IMDb with a score of 9.4. Gaining an audience share of almost 12%, Insider beat everything except for Orphan Flowers (Kirgin Cicekler), a popular ATV series that was launched in 2015 to great acclaim.
With two more winter launches from Ay Yapim on the slate, Fredrik af Malmborg, MD of Eccho Rights, is understandably in bullish mood.
“We have been working closely with Ay Yapim ever since the global breakthrough of Turkish drama,” he said, “and we are very proud of the contribution we have made together in pushing the genre forward. Turkish drama is stronger than ever and Ay Yapim has always been a leader.”
Ay Yapim’s success on the international market isn’t just limited to completed show sales. It has also had success getting some of its formats away. A good example is The End, which was piloted in the US last year. More recently, the show has been greenlit for adaptation in four markets including Russia, Germany, the Netherlands and Spain. The latter version will be produced by Globomedia for broadcast on Telecinco in early 2017.
Eccho has also had notable recent successes with dramas from outside the Ay Yapim stable. For example, it recently sold Broken Pieces (Paramparça) to Swedish public broadcaster SVT. An Endemol Shine Turkey production for Star TV, Broken Pieces follows other Turkish dramas like The End onto SVT.
Eccho isn’t the only company to be heading for Cannes with Turkish drama in tow. Fox Networks Group is hosting an event on October 18 to highlight its Turkish drama slate, which runs to more than 700 hours. Among key titles is Pastel Film Production’s That is My Life (O Hayat Benim), which has already been sold to broadcasters in Latin America, Eastern Europe and Asia.
As in many markets, September to October is an important time of year in terms of new title launches on domestic TV. Aside from the aforementioned Insider, shows attracting attention include Black White (Siyah Beyaz) and You Are My Country (Vatanim Sensin).
The latter, produced by O3 Medya, is a big-budget period drama set just after the First World War. It tells the story of an army officer who is torn between loyalty to his country and the welfare of his family. Already sold to Croatia (a big fan of Turkish drama), the show is expected to prove popular with Mipcom buyers.
In terms of trends in Turkish drama this year, it seems as though some Western influences are creeping in. While Turkish viewers still tend to favour action, romance and historical drama, one of the most intriguing shows of the year was psychological thriller 46 Yok Olan, which aired on Star TV earlier this year.
The series focuses on a professor of molecular biology who is trying to find a cure for his comatose sister. After trying a new potion on himself first, he releases an alter-ego that he cannot control and that seeks revenge for his father’s death and his sister’s illness.
While 46 Yok Olan didn’t draw huge ratings for Star, it did attract a fair amount of critical acclaim. So it will be interesting to see if it appeals to international buyers. The show is being marketed by Global Agency under the simplified title 46.
While a lot of attention in the next few weeks will be focused on Turkish drama exports, another story of significance is that SVoD platform Netflix has just launched a dedicated service in Turkey, with a fully localised user interface and local programming.
Signalling the seriousness of its ambition for the market, Netflix has also signed a deal with mobile provider Vodafone and is already working with Turkish TV manufacturer Vestel.
Commenting on the news, Netflix CEO Reed Hastings said: “Turkish people are great storytellers with their hugely popular and internationally recognised Turkish dramas, and Netflix aims to become one of [the industry’s] most vocal ambassadors. We’re delighted to offer a more localised Netflix in Turkey that will continue to grow with both our Netflix Original titles and licensed content.”
Although it is too early to tell what kind of local uptake the service will get, it could provide a useful revenue source for creators of Turkish drama. Shows that will appear on Netflix in Turkey include Leyla and Mecnun, Suskunlar (Game of Silence), Karadayı, Ezel, Kurt Seyit & Şura, The Revival: Ertuğrul and Filinta.
It’s been a busy end to August in terms of commissions and acquisitions. In the UK, the BBC has been especially active, taking advantage of the Edinburgh International Television Festival (EITF) as a platform for announcing or discussing new developments.
One of its most high-profile announcements is a deal with Agatha Christie Productions that will see seven Agatha Christie novels adapted for TV over the next four years. This follows an earlier announcement that it would be making The Witness for the Prosecution, with a cast led by Toby Jones, Andrea Riseborough, Kim Cattrall, David Haig, Billy Howle and Monica Dolan.
The first of the novels to be adapted under the seven-book deal will be Ordeal by Innocence. Other titles so far confirmed include Death Comes as the End and The ABC Murders, which focuses a race against time to stop a serial killer who is on the loose in 1930s Britain.
Commenting on the deal, Charlotte Moore, director of BBC Content, said: “These new commissions continue BBC1’s special relationship as the home of Agatha Christie in the UK. Our combined creative ambition to reinvent Christie’s novels for a modern audience promises to bring event television of the highest quality to a new generation enjoyed by fans old and new.”
The decision to plan so far ahead came after the success of And Then There Were None for BBC1 in 2015. That adaptation was written by Sarah Phelps, who is also working on the next two Christie projects. Further writers will be announced in due course.
Hilary Strong, CEO of Agatha Christie Ltd, said: “And Then There Were None was a highlight of the 2015 BBC1 Christmas schedule, and we are truly delighted to be building on the success of that show, first with The Witness for the Prosecution, and then with adaptations of seven more iconic Agatha Christie titles. What Sarah Phelps brought to And Then There Were None was a new way of interpreting Christie for a modern audience, and Agatha Christie Ltd is thrilled to be bringing this psychologically rich, visceral and contemporary sensibility to more classic Christie titles for a new generation of fans.”
The Witness for the Prosecution is a Mammoth Screen and Agatha Christie Productions’ drama for BBC1, in association with A+E Networks and RLJ Entertainment’s development arm, Acorn Media Enterprises. RLJE’s streaming service, Acorn TV, is the US coproduction partner and will premiere the adaptation in the US. A+E Networks holds rest-of-world distribution rights to The Witness for the Prosecution, and will launch it at the Mipcom market in October.
Alongside the Christie announcement, the BBC’s Moore used the EITF to unveil a range of other dramas. These include an adaptation of Malorie Blackman’s acclaimed young-adult novel Noughts and Crosses and a new six-part drama from Jed Mercurio (Line of Duty) entitled Bodyguard.
There is also an Edinburgh-set drama called Trust Me, written by Dan Sefton, and a new series from Abi Morgan called The Split. This one examines the fast-paced circuit of high-powered female divorce lawyers, through the lens of three sisters – Hannah, Nina and the youngest, Rose.
Moore’s announcements for BBC1 were built upon by BBC2 controller Patrick Holland, who also announced plans for new scripted series at the festival. “I want BBC2 to be the place where the best creative talents can make their most original and exciting work, where authorship flourishes,” he commented.
Holland’s headline drama announcement was MotherFatherSon, from author and screenwriter Tom Rob Smith (Child 44). This is an eight-part thriller that “sits at the intersections of police, politics and the press,” according to the BBC. “It is as much a family saga as it is a savage, unflinching study of power and how even the mightiest of empires can be in peril when a family turns on each other.”
Holland also greenlit The Luminaries, a six-part drama from Working Title Television based on the novel by Eleanor Catton. A 19th-century tale of adventure, set on the west coast of New Zealand’s South Island in the boom years of the 1860s gold rush, The Luminaries is a story of love, murder and revenge, as men and women travelled the world to make their fortunes.
Catton, who will adapt her own novel for television, won the 2013 Man Booker Prize for The Luminaries. She said: “Learning to write for television has been a bit like learning a new musical instrument: the melody is more or less the same, but absolutely everything else is different. I’m having enormous fun, learning every day, and I’m just so excited to see the world of the novel created in the flesh.”
Filming on the six-parter will begin in 2017, taking place in and around New Zealand.
While the BBC dominated the drama announcements at the EITF, ITV also used the event to reveal that there will be a second season of crime drama Marcella, written by The Bridge creator Hans Rosenfeldt and starring Anna Friel. Produced by Buccaneer Media, the first season of the show was a top-rated drama on ITV, achieving an average of 6.8 million viewers across its run.
Commenting on the recommission, Rosenfeldt said: “I was delighted at the reaction to the first season and am thrilled to be revisiting Marcella for ITV. In the second season, the audience will get the opportunity to spend more time in her world, exploring some of the characters and getting to know them better.”
Other interesting stories as the industry gears up for autumn include the news that Amazon has acquired Australian drama The Kettering Incident from BBC Worldwide for its Prime Video service. The show was co-created by writer Victoria Madden and producer Vincent Sheehan was shot entirely in Tasmania. The eight-episode series tells the story of a doctor who returns to her hometown years after the disappearance of one of her friends.
In mainland Europe, Telecinco Spain has ordered a local version of hit Turkish series The End. Produced originally by Ay Yapim, the new version will be called El Accidente and will be the third local version of the show in Europe after remakes in Russia and the Netherlands.
The show, which was also piloted in the US, tells the story of a woman investigating her husband’s death in a plane crash, only to discover that he wasn’t on the flight. It is distributed by Eccho Rights, which has also sold the original to 50 countries.
In the US, premium pay TV channel Starz has renewed Survivor’s Remorse for a fourth season. The show has had a particularly strong third season having been paired in the schedule with Starz hit series Power. Across all platforms, it now draws around 2.9 million viewers per episode.
“We are thrilled to renew Survivor’s Remorse for a fourth season,” said Starz MD Carmi Zlotnik. “Critics have consistently called it one of the smartest and funniest comedies on TV, and we are delighted to see audiences embracing the characters and the storyline with that same enthusiasm. Mike O’Malley and his tremendously talented team of writers and actors boldly tackle today’s most pressing issues, from race, class, sex and politics to love and loss, but with such a deft touch that nothing ever feels heavy-handed.”
In other news, ProSiebenSat.1-owned Studio71 is producing a live-action series inspired by the Battlefield video game franchise that will launch on Verizon’s Go90 platform. Rush: Inspired by Battlefield will stream on the mobile service from September 20.
The Battlefield franchise, developed by EA Dice and published by Electronic Arts, has amassed more than 60 million players since launching in 2002. “Gaming is one of the most popular forms of entertainment today and there is a huge appetite for content inspired by video games,” said Studio 71 president Dan Weinstein.
A large proportion of the international TV industry is attending the MipTV market in Cannes this week, buying and selling shows or doing scripted format deals. So it seems appropriate that the week’s top story should concern Fox US drama House, which has proved popular with broadcasters around the world over the years.
Usually sold in its completed form, this week has seen Fox license the Sherlock-esque medical drama to Non-Stop Production, which is remaking it for in Russia.
Anton Zlatopolskiy, first deputy director of the channel’s parent, Russia TV and Radio, said: “We considered the pros and cons before obtaining the format of such a famous series. It is quite a challenge to create our own version. Neither well-known producers or actors nor a big budget can guarantee success when it comes to a local version. But there are a couple of secret ingredients that make a series outstanding and we know how to make them work.”
Sticking with scripted formats, the drama department of Italian public broadcaster Rai, Rai Fiction, has ordered a second season of its remake of NBCUniversal International’s Parenthood. The 26×60’ second run, produced by Cattleya, will air on Rai Uno later in 2016. The US original ran for six seasons on NBC between 2010 to 2015, so there is scope for Rai’s version to run and run.
Another high-profile scripted format deal this week involves Dutch public broadcaster KRO-NCRV, which has greenlit an adaptation of acclaimed Turkish drama The End. The Dutch version of the show is being produced by Netherlands-based Column Film. Column producer Chantal van der Horst said: “The End has a solid base for adaptation. The cleverness of the scripts and the universal appeal of the storyline makes the series suitable for audiences across the world, including in Western Europe.”
The show was sold into the Netherlands by Scandinavia-based distributor Eccho Rights, which has previously licensed the format to several markets including the US, Russia and France. Commenting on the deal, Nicola Söderlund, managing partner at Eccho Rights, said: “Turkish drama continues to break boundaries and it’s great that a West European version will be hitting screens later on this year. (The show’s producer) Ay Yapim has created a gripping plot that translates well across cultures, which is reflected in the number and range of licences on The End.”
Other interesting greenlights this week include news that Amazon has ordered a third season of Red Arrow’s crime series Bosch. Based on the novels by Michael Connelly, Bosch stars Titus Welliver as streetwise LAPD detective Harry Bosch. Commenting on the renewal, Morgan Wandell, head of drama series at Amazon Studios, said: “Our customers can’t get enough of Harry Bosch. The entire cast and crew have done a fantastic job with season two and we can’t wait to see what they have in store for next season.”
Another big story out of the US is HBO’s decision to order a TV adaptation of Gillian Flynn’s best-selling debut novel Sharp Objects. The eight-episode series will star Amy Adams as a newspaper journalist trying to sort out her life following years of self-harm that landed her in a psychiatric hospital. However, her plan for a new life is derailed when she returns to her hometown and gets caught up in investigating the mysterious murder of two young girls.
The pilot for the TV adaptation is being written by Marti Noxon, who will also be showrunner. Noxon, the co-creator of Lifetime’s critically acclaimed drama UnREAL, will then share writing responsibilities on the series with Flynn, who previously adapted her own novel Gone Girl as a feature film. Jean-Marc Vallée (Wild) will direct.
Meanwhile, the SVoD giants are continuing their aggressive expansion around the world, part of which involves commissioning original local-language series. This week, it’s Netflix’s turn to grab the headlines – with its first original series from Spain.
Set in the 1920s, the show will look at the lives of four women who work as switchboard operators for the state-owned phone company’s central headquarters in Madrid. The series comes from the same stable that created international Spanish-language hits Velvet and Gran Hotel. This includes Roman Campos and Teresa Fernandez-Valdes from Bambú Producciones, director Carlos Sedes and writer Gema Neira, who often works with Campos.
Commenting on the commission, Erik Barmack, VP of international original series at Netflix, said: “We’re delighted to be working with Bambú Producciones, director Carlos Sedes and co-creator Gema Neira on our first original series filmed in Spain. We’re huge fans of their work on Gran Hotel and Velvet – epic romances that have been embraced by our members around the world. We’re certain our members will love this unique and engaging drama from some of the best storytellers in Spain.”
We’ve talked a lot in previous columns about the trend towards movie adaptations, book adaptations and reboots in US drama – all of which are about providing in-built awareness in new projects. But there’s another trend that is creeping into the business – namely the spin-off. We’ve seen examples in cable with Better Call Saul (from Breaking Bad) and Fear The Walking Dead (from The Walking Dead). And Disney-ABC has created numerous movies and TV series rooted in its Marvel universe. NBC is the latest to get in on the act. First came Chicago Justice, a spin-off from Chicago PD, and now NBC has announced plans for a spin-off from The Blacklist. There aren’t many details as yet but it’s an interesting new development that promises to further narrow the number of slots available to original ideas.
Finally, Turkey was country of honour at Mipcom 2015, an event that focused heavily the country’s prolific drama output, and the country doesn’t seem to have lost any momentum coming into MipTV 2016.
Aside from The End deal referred to above, The Fox Turkey drama That Is My Life has also been selling well – with ANTV (Hong Kong), Kanal 5 (Bulgaria), Telemundo (Hispanic US), Moby Group (Middle East), Puls TV (Poland), Kanal D (Romania) and MTG (Russia) all acquiring the Pastel Film-produced show.
Another Fox show, The Intersection, also has a high profile at the market as part of the Endemol Shine International catalogue. Coinciding with ESI’s marketing activity in Cannes, Fox also announced a second season for the series.
Spearheaded by Ottoman Empire-set shows such as Magnificent Century, Turkish drama is enjoying something of a renaissance.
Turkish drama wrapped 2014 with an estimated US$200m worth of global sales – its best figures ever, according to Izzet Pinto, founder and president of Global Agency, one of the country’s leading content distributors. Sales have risen from US$150m in 2013, while forecasts for next year are as high as $240-250m.
The country has been doubling its drama exports annually over the past five years, and 2014 saw Turkish drama take on Latin America, with sales to the region now rivalling stronger export markets such as the Middle East.
For Global Agency, at least, it all started with a drama called 1001 Nights (Binbir Gece). Made by Turkish prodco TMC Film for Turkish net Kanal D, the show kickstarted the company’s growth and has now racked up sales to 56 countries worldwide and counting.
The poster boy for Turkish drama globally, however, is historical Ottoman drama Magnificent Century, dubbed the ‘Turkish Tudors.’ The TIMS Productions series, originally scripted by Meral Okay, ran to a fourth season on Star TV in 2014. It has aired in almost 70 countries across the globe, turning international growth into a boom for Turkish drama, says Pinto.
TIMS, founded in 2006 by Timur Savci, was originally set up to plug a gap in the market for local youth-skewing series. Selin Arat, its director of international operations, says Savci is now taking a break “to step back and look at the market and see what he can do next that would hopefully surpass Magnificent Century.” The company is currently working on sequel Ottoman Empire drama Kösem Sultan, due in fall 2015.
Fredrik af Malmborg, MD and co-founder of Swedish distributor Eccho Rights, is another early champion of Turkish drama. With approximately one-and-a-half billion people watching dubbed drama in primetime around the world, and US Anglo-Saxon drama having lost some of its attractiveness, the field has opened up to others, and “the next hit could basically come from anywhere,” he argues.
Eccho Rights’ breakthrough hit was Ezel from Ay Yapim. “We mentally put it in the cupboard as something with a very strong local flavour that you couldn’t sell abroad. But then I watched it,” says Malmborg. The drama went on to sell to more than 80 countries, including format rights to four or five different local adaptations, now in production.
Malmborg believes Turkey’s largely family-themed drama with universal themes, quality scripts and high production values hit the right note with non-Anglo-Saxon markets: “I felt that compared with Anglo-Saxon drama – usually some type of crime – Turkish dramas take family and emotional issues seriously, without excusing them as something else, and I really like that. Only a few Western countries have dared to buy Turkish drama, but I think that will change.”
Ay Yapim suspense drama The End (Son) offered Western Europe its first taste of Turkish drama when it launched on SVT2 in 2013 as a daily drama in access primetime at 19.30, doubling its slot average.
And script rights are doing brisk business in the West, with Eccho Rights generating format sales worth US$3m in the last year alone. Nine different versions of The End have either been optioned or are in production, including a pilot remake for Fox in the US. In addition to options for France, Germany, Italy, Spain, Holland, Mexico and India, a Russian version made by Russian World Studios is now on air.
Now that Turkey is selling its dramas to Latin America, the country has come full circle from the days of importing telenovelas back in the 1980s. But the genre has left its mark. “A whole generation of new producers were inspired by them and started to do their own thing,” says Malmborg.
Culture and language aside, there is a big difference in production values. Telenovelas are traditionally made on budgets of around US$50,000 per hour, but in Turkey this can very from between US$200,000 and US$600,000 per hour, Malmborg reveals. “Culturally, perhaps Turkey is probably better suited to delivering to a worldwide audience because it is somehow a mix of Europe and Asia, and not too far from our own culture,” he adds.
Said to be the largest single producer of drama outside of North America, ahead of individual Latin American countries and most probably Bollywood, Turkey pumps out up to 90 dramas a year on seven free-to-air channels. Each channel airs two dramas back to back in primetime across the week, and nearly all of them are long-running series comprised of 90-minute episodes. This drama frenzy continues for up to 38 weeks a year between September and early summer, while summer months also include dramas – those being piloted for the following season.
This industrial-scale drama output takes place in a highly competitive, fragmented television landscape, so dramas that fail to impress viewers are dropped within weeks. There’s a very tight relationship between viewers and the dramas’ ratings, with scripts shaped week by week depending on how audiences react.
“With period drama you do need some pre-production, but with contemporary drama sometimes the directors get the scripts the day before shooting,” explains Arat.
“It’s very different from the US where they commission 10 episodes back to back and then shoot the series like a film and hand it over to the broadcasters. In Turkey you can’t do that. It’s a highly competitive market and if your ratings aren’t going up after four or five weeks you might get cancelled. So you need to be writing along live according to the viewers’ reactions every week, not months before.”
The rise in Turkish drama’s global popularity has inevitably boosted its bankability, for the productions themselves, the production companies and the sector as a whole as a target for potential takeovers by international players.
“We’ve been working on a number of Turkish series and revenues have grown every year, starting with US$120,000 per episode. The last series we sold was for US$400,000 per episode,” says Malmborg.
Arat adds: “It used to be that the broadcaster took ownership of the project before this drama boom started, but with these developments most of the big production companies like TIMS were able to negotiate better terms. Now we’re able to just to licence the rights to the broadcaster for a limited period, after which all the rights revert back to us.”
However, takeovers have yet to materialise in what is a largely non-vertically integrated market of broadcasters, producers and distributors. “Until now I’ve been surprised that not much has happened in terms of mergers,” says Pinto. “Some funds have approached producers and even some big companies looked to acquire, but it didn’t happen, so I think these big majors or big funds haven’t seen the potential yet. I believe they should look closer because I’m really surprised that, in such a booming market, mergers haven’t happened.”
Arat says her production company, one of the top three in Turkey, has had several approaches from international firms “but when you give them the breakdown of what the company is worth, it’s more than they expected and they take a step back. If they pay enough, production companies won’t say no.”
However, some are now questioning how sustainable Turkey’s largely self-sufficient drama model will be in the long term. While new markets like Latin America are joining the Turkish drama club, the cost of acquired Turkish drama is rising abroad, and local productions are becoming more attractive (and cost-effective) to regions such as Eastern Europe. Pinto himself says growth of drama exports is expected to level out in 2016.
Turkey’s national audience measurement system has also been revamped. It now incorporates more rural viewing tastes, and this has steered the overall profile of the panels towards an appetite for more conservative family-skewing content, rather than the edgier family series with greater global appeal, argues Pinto.
“For this reason, lower-quality and lower-budget productions are receiving good ratings, whereas million-dollar-budget dramas can fail,” he says, limiting the pipeline for potentially exportable dramas. “Our company is a strong brand and we pick up the best sellers, so as long as we can secure a couple of strong titles each year we’ll do just fine.”
Annually, it’s only a few high-end Turkish dramas that really sell well abroad. Of 40 dramas in Global Agency’s catalogue, 10 are selling well and five very well, says Pinto. Popular newcomers include a drama on surrogate motherhood, Broken Pieces (Paramparca). Launched on Star TV in Decemer, it’s Endemol Turkey’s first locally scripted project, serving up a new take on the Turkish family drama. Global Agency is also selling script rights to selected projects, such as its recent deal with Sony for remake rights to TIMS’ crime drama Game of Silence for NBC.
Public broadcaster TRT, which turned 50 this year, is underway with a revised strategy to broaden and renew its drama output, moving into areas that commercial broadcasters don’t do, says Mehmet Demirhan, deputy head of the television department. Demirhan is responsible for three divisions, including acquisitions for 15 TV channels, sales and international coproductions.
TRT launches around seven new dramas every season, all of which premiere on flagship entertainment channel TRT1, and Demirhan has high hopes for a pair of new period dramas that attracted interest from 80 buyers across 60 countries when they were unveiled last autumn.
Resurrection of Ertuğrul Gazi, which follows the father of Osman I, founder of the Ottoman Empire, launched on TRT1 in December, topping the television ratings among AB, educated high-income viewers. The show has been labelled the best breakthrough Turkish TV series of the 2014 season, with the local press comparing it to Game of Thrones.
Filinta, a detective drama set during the Ottoman period, is “an unusual genre for Turkey,” says Demirhan. “We can call it an Ottoman Sherlock Holmes.” It premiered in late December on TRT1.
“Our difference as a public TV service means we can go in different directions,” Demirhan asserts. “We have a huge archive, which has not yet been fully discovered by the international market. But I’m sure we’ll be able to do this as we change our strategy. We’re now collaborating with Global Agency and ITV Intermedya, for instance, both successful sales agencies, and we will explore the potential in full, also investing in different genres.”
For a number of reasons, coproductions have played no part in developing Turkey’s drama sector thus far. Global Agency’s Pinto doesn’t believe in them because “not a single one has happened, and that shows it’s very difficult.”
There are language barriers too. “In our series we don’t want to hear foreigners dubbed or subtitled, our people want pure Turkish products,” Pinto adds. “Production companies have grown strongly in Turkey so they don’t need to coproduce for financial reasons.”
However, TRT has other ambitions. Demirhan says it now has a couple of (as yet undisclosed) coproduction projects it is hoping to move ahead with in 2015, and is currently in discussions with a UK broadcaster, which could pave the way for a copro between Turkey, the UK and Dubai.
“The initial idea is to produce the next big global show like Game of Thrones or Vikings,” says Demirhan. “I think coproduction will be one of the solutions to the sustainability of Turkish drama and acceptance of Turkish drama in the global marketplace. We believe in that and are moving in that direction.”