Actors Olivia Williams and Steven Mackintosh, executive producer Sharon Hughff and producer Chris Croucher open the doors to The Halcyon, the five-star location for ITV’s eight-part drama, revealing why the venue is the perfect setting for a story set in uncertain times.
The Halcyon is produced by Left Bank Pictures and distributed by Sony Pictures Television.
The party’s just getting started inside London’s most glamorous bomb shelter – but, as DQ discovers, all might not be as it seems behind the doors of The Halcyon.
It’s somewhat jarring to see groups of people checking their smartphones while standing around in 1940s period costume. But that’s the scene between takes when DQ spends a day at the West London Film Studios.
It’s here that two stages have been transformed into The Halcyon, a glamorous five-star hotel at the centre of London society and a world at war that forms the setting of an ITV drama of the same name.
The eight-part show follows the staff and guests of the hotel in 1940 and, in particular, pits hotel manager Richard Garland (played by Steven Mackintosh) against owner Lady Priscilla Hamilton (Olivia Williams). The Halcyon’s cast also includes Kara Tointon (Mr Selfridge), Alex Jennings (The Queen), Matt Ryan (Constantine), Hermione Corfield (Pride and Prejudice and Zombies) and Mark Benton (Eddie the Eagle). Produced by Left Bank Pictures (The Crown) and distributed by Sony Pictures Television, it was created by Charlotte Jones along with lead writer Jack Lothian. Sharon Hughff (Strike Back, Waterloo Road) exec produces and Chris Croucher (Downton Abbey) is the producer.
Early in the show’s four-year development process, its creators were clear they didn’t want to create an ‘upstairs-downstairs’ drama akin to Downton Abbey. Instead, they wanted to tell a story about the hotel’s owners and its employees, with the central focus naturally falling on Lady Hamilton, who gives up her country estate to move to London and run the hotel, creating a “total nightmare” for Garland.
“It took a good seven or eight months to find that point of conflict and really get it working,” explains Hughff. “We thought the show was about so many other things and, with so many characters, it takes a long time to develop because you have so many relationships, but that central relationship was the crux of the drama.”
Another key storyline involves a Romeo and Juliet-inspired romance between Lady Hamilton’s son and Garland’s daughter, whose budding romance causes more trouble for their warring parents. “Around them, there are layers and layers of other characters who all have their own intrigue and interest, and you get drawn into those aspects of the story,” Hughff continues.
“We always wanted there to be a mystery running through the middle of the series, so Richard Garland has a great big secret, which we learn halfway through the season. And by the end of the season, he gels with Lady Hamilton because she does something bad and he covers it up for her.”
The production crew constructed the hotel’s grand foyer with a sweeping staircase, a bar area and dance floor, a backstage space, a kitchen and several bedrooms. The front, rear and restaurant exteriors, meanwhile, were all filmed on location. Eagle-eyed viewers might recognise the front of the hotel as The Land Registry Offices in Lincoln’s Inn Fields, central London, while the same city’s Liberal Club serves as the restaurant.
Construction of the set took 12 weeks, with around 100 people working on the build at one point. Add in those buying props, dressing the sets and working in the art department and Croucher estimates upwards of 150 people were working on the production at its peak.
“The Second World War is such a rich tapestry of story,” he says. “From our costume team [led by Downton Abbey’s Anna Mary Scott Robbins] to our make-up and design teams, everyone was just so enthused when we started it, because it’s such an amazing period.
“We talked a lot about The West Wing when we were designing the set and, because everything’s connected, you can do these great walk-and-talks where you go from the foyer to the bar to backstage.”
Croucher describes the latter area as The Halcyon’s “crowning glory,” where the tiles, corridors and staircases all match Blythe House, an archive building for the Victoria & Albert, Science and British Museums that doubles as the exterior of the rear of the hotel.
“There are these amazing corridors and staircases so we can constantly make the world feel bigger,” he says. “We designed it so you can have characters in the bar and then they move backstage and then come into the front of house, so there’s constant movement.
“We’re lucky because the studio is quite long. You know when you’re in a hotel and the corridors just go on forever? That’s what we wanted to replicate. I also love that all the corridors are designed to enable us to show different floors.”
Meanwhile, a fully functional kitchen allows the camera to capture close-ups of the chefs at work, with real steam filling the air around them. And though it would have been laborious, not to mention expensive, to build 150 bedrooms akin to a real hotel, four bedrooms were constructed and regularly redressed to give the appearance of dozens of different rooms.
“Every room has several doors in and out and we can repaint them and put different furniture in,” Croucher reveals, adding that it took two days to repaint and redress each room. “All of the spaces are constantly changing. It’s a schedule nightmare because we have to be in and out of different rooms. But you really feel like you’ve got this grand hotel.
“In our minds, the hotel was built in 1890, which is why all the back-of-house stuff is quite Victorian. But it had an Art Deco revamp in 1920 and we now meet it in 1940.”
As expansive as the hotel set is, a quarter of shooting was done on location. One example is a visit to an RAF base where Lady Hamilton’s son Freddie is a pilot.
“As great as it is to all be in the hotel, ultimately you also need to see a bit of the war,” Croucher says, “which is why we show the East End Blitz and the RAF, because otherwise the world becomes too insular.”
Croucher and his production team met the challenge of recreating the Blitz by taking over some period streets in Greenwich to film the nighttime bombing campaign, which begins in episode five. “It was amazing to be able to shoot in those East End streets,” he enthuses. “Those are the challenges I love the most. Filming the blackout was particularly challenging because if you stand in central London now at night, there is a light as far as you can see. There’s always ambient light. We managed to control 50% of the lights in our area but cranes and the like have to be painted out in post-production.”
The West Wing wasn’t the only influence in play, with Hughff revealing that the look and feel of 2007 movie Atonement, plus music from HBO miniseries Band of Brothers and The Imitation Game (2014), also provided inspiration.
Indeed, music is a central element of the series, with original songs created for the show in the style of the 1940s. When DQ visits the set, the stage is ready for the Sonny Sullivan Band as the hotel prepares to celebrate its 50th anniversary. Actor Tointon sings in the series, while award-winning singer-songwriter Jamie Cullum has written two songs for its soundtrack and fellow musician Beverly Knight also performs in scenes set at the Café De Paris.
“Music is really the heartbeat of the show,” Croucher says. “What was great about that period was everyone genuinely thought each day could be their last so the parties were even bigger and wilder and more extravagant, and we tried to show that.”
Behind the camera, director Stephen Woolfenden (Harry Potter) took charge of the first filming block, establishing the show’s visual style and a sense of how the hotel works.
“We wanted it to look sumptuous, elegant and sexy,” notes Hughff. “We have a bar and music and we wanted to make sure the parties were ones we’d all want to go to. We also didn’t want it to look flat and set-like. It’s hard when you build a set; you’ve got to do a lot of work to make it look like it has many dimensions, and the crew has done such an incredible job.”
Despite the creators’ aforementioned reluctance to compare The Halcyon to fellow ITV period drama Downton Abbey, it is hoped the new series could have similar longevity to Downton, which finished last year after six seasons. Launching in the UK on January 2, there is scope for The Halycon to run for five seasons from 1940 until the end of the war in 1945.
But Left Bank Pictures MD Marigo Kehoe says the similarities end there: “A lot of people say this is the next Downton Abbey but we didn’t set out for it to be. Andy [Harries, Left Bank CEO] and I have never done things that are just in a box. We’ve done Strike Back, an action-adventure series, and Wallander. It’s a huge breadth of stuff.
“We’d had this in development for a long time, actually, and what was going on in the hotels during the build-up to the war and the war itself is a fascinating topic.”
Croucher concludes: “‘London’s most glamorous air-raid shelter’ is a line we use a lot. Everyone knows the Second World War but hopefully the hotel will allow us to put a great spin on that. It’s a side of the war you haven’t seen before – the side where the party still carries on.”
Fox in the US is developing a drama based on the 2015 Netflix movie Parallels.
Entitled The Building, it centres on a group of people who enter a skyscraper that transports them into parallel universes, which are similar to but not quite the same as our own. In one, for example, Russia has dropped a nuclear bomb on the US.
The idea is being adapted for TV by Neil Gaiman and Chris Leone (the latter wrote and directed the movie). Albert Kim, whose writing and production credits include Sleepy Hollow and Nikita, is the showrunner. The project caps off a busy year for Gaiman, who has also been adapting his novel American Gods for Starz.
Also in the news this week is Alan Ball, creator of HBO series Six Feet Under and True Blood. Ball is reported to be teaming up with HBO again on a series that will star Holly Hunter as the mother of a non-traditional progressive family.
According to Deadline: “Once a therapist in private practice, Hunter’s Audrey now reluctantly utilises her skills as a psychologist in the corporate world, balancing her more progressive personal philosophy with the need to make money. She is a smart, caring woman who believes she knows what’s best for everyone and has no problem telling them. But with her husband now fighting depression and her children mostly grown, she finds herself somewhat adrift.”
Other high-profile stories this week include the news that Sonar Entertainment has signed a first look deal with Robert Downey Jr and Susan Downey’s production outfit Team Downey. As part of the deal, Sonar and Team Downey are working on a project called Singularity. Also involved in the creation of the series is Anthony Michael Hall, who will star.
The deal is the latest link-up between Sonar and star talent. The company is also working with George Clooney and Tom Hardy, with the latter starring in upcoming period series Taboo.
Commenting on the new deal with Team Downey, Sonar CEO Thomas Lesinski said: “We are excited about Team Downey’s vision for developing and producing a broad scope of original premium content. [This] is another example of our commitment to forge creative collaborations with the most dynamic talent in the industry.”
In terms of commissioning news, US network NBC has renewed its military medical drama The Night Shift for a fourth season. The series, produced by Sony Pictures Television (SPT), follows the medical team at the fictional San Antonio Memorial Hospital. Season one of the show averaged around 6.5 million viewers, followed by 5.3 million for season two and five million for season three.
At Fox, meanwhile, there are reports of a new dance drama being developed with director McG, who began his career in the music industry. The project, which sounds little bit like the Channing Tatum movie Step Up, is called The Cut and is set in a dance conservatory. It’s the latest in a line of Fox scripted projects with a musical theme – possibly inspired by the success of Empire. For example, Empire creator Lee Daniels has been working on a series called Star for the network, while last week we reported that Glee star Darren Criss was working with Fox on Royalties.
Also this week, it was announced that Phoebe Waller-Bridge, creator and star of BBC3’s Fleabag, is to write and star in a spy drama for BBC America. The network has ordered eight episodes of Killing Eve, a thriller about a psychopathic assassin and the woman hunting her. The show is based on a novella by Luke Jennings called Villanelle.
“[The show] is a brilliantly fresh take on the cat-and-mouse thriller from Phoebe Waller-Bridge, a major talent,” said Sarah Barnett, president of BBC America. “Underneath the deceptively simple and entertaining surface is a subversive, funny, obsessive relationship between two women, that plays out across some of the most and least glamorous locations imaginable.”
It’s also been a busy week on the distribution front. Fox Networks Group (FNG) Europe and Asia, for example, has secured exclusive first-window rights to CBS legal drama Bull in the UK from CBS Studios International. This follows a previous deal that gave FNG rights to Bull in markets including Spain, Portugal, Turkey and Sweden.
Elsewhere, SPT has sold the much-anticipated new ITV period drama The Halcyon to broadcasters in Scandinavia, while Vimeo has continued its move into longform TV content. Among scripted titles that will now be available on its platform are All3Media International comedy Fresh Meat and seven seasons of Company Pictures’ cult youth series Skins, available globally excluding Australia.
Paul Corney, senior VP of global digital sales at All3Media International, commented: “Vimeo has a strong presence around the world with a great brand that reaches consumers in all key markets. Its team has a dynamic outlook on content delivery and we’re looking forward to working with them to bring more fantastic new shows to the Vimeo audience.”
In terms of new book rights deals, the big story this week is that BBC Worldwide-based indie producer Baby Cow has acquired the rights to Zadie Smith’s new novel Swing Time. Smith has been lined up to adapt the novel for TV alongside her husband Nick Laird.
Swing Time is Baby Cow’s first major acquisition since Christine Langan, ex-head of BBC Films, took over as CEO this month. She said: “Zadie Smith is the voice of a generation and Swing Time is a thrillingly ambitious story of friendship, rivalry and fame.”
Smith added: “I am absolutely delighted at the prospect of working with Baby Cow on an adaptation of Swing Time. Their extraordinary track record in both drama and comedy I have always admired from afar and it’s a thrill for me to get the chance to collaborate with [founder] Steve Coogan and Christine Langan.”
Smith burst onto the literary scene with her first novel White Teeth. Swing Time, only released this week, is her fifth novel.
Andy Harries, CEO of UK prodco Left Bank Pictures, reveals how Netflix’s forthcoming UK original The Crown has shaken up the industry.
In order to secure Left Bank Pictures’ ambitious royal family period piece The Crown, Netflix’s Ted Sarandos appears to have channelled his inner Don Corleone.
“Netflix made us an offer we couldn’t refuse,” says the production company’s CEO Andy Harries, recalling the moment he pitched the show to Sarandos in the streaming giant’s US offices.
The enormity of the offer blew the likes of the BBC and ITV out of the water, ensuring that Harries wouldn’t, as he was expecting, have to set up a US-UK coproduction to make the show, which has a budget of around £5m (US$7m) per hour.
Whether any of the UK broadcasters’ drama buyers woke up with a horse’s head on their pillow, we’ll never know. But the fact is that the money Netflix put down ensured it will be the exclusive home to The Crown in the 190-plus territories in which the service is now available.
The drama was inspired by Peter Morgan’s hit play The Audience, which Harries produced, and has been directed by Stephen Daldry (Billy Elliot), so comes with some of the biggest names in UK drama attached.
Season one begins with a 25-year-old Princess Elizabeth (played by Claire Foy) in 1952 as she builds a relationship with the UK’s wartime leader Winston Churchill (Third Rock from the Sun’s John Lithgow), with each subsequent season looking at the politics, events and personal stories across a different decade of Elizabeth’s reign.
Clearly, Netflix has high hopes that the series will become the jewel that cements its position as the number-one SVoD service, spearheaded by exclusive series with huge international appeal.
“The Crown is storytelling that lives somewhere between television and cinema from Britain’s foremost chroniclers of modern politics, class and society,” says Cindy Holland, VP of original content at Netflix.
Given the global interest in the British royal family, Netflix’s interest in a series written by Morgan – the scribe behind the smash hit The Queen – was perhaps understandable.
“We were lucky because our ambitions tied in with their global ambitions. Little did we know, but they were looking for a global show to roll out around the world,” says Harries of the serendipitous nature of his company’s meeting with Netflix.
Harries describes The Crown as “the right project at the right time” and praises Netflix’s “no notes” philosophy: “They don’t directly interfere, so working with them has been a huge pleasure.”
With the show set to become Netflix’s first UK original, the deal marked a watershed moment for the country’s TV business. But Harries can’t say it came completely out of the blue, given that he has seen a gradual shift in Left Bank’s main broadcasters since the company was founded in 2007.
Netflix, Amazon and HBO have usurped the BBC, ITV and Sky as Left Bank’s biggest customers, something that Harries says “reflects the huge growth in scripted programming and the differing systems by which scripted programming is being bought and distributed.”
The company has always produced with one eye on the States and Harries is a big advocate of having the power of a major US distributor (Sony Pictures Television took a majority stake in Left Bank in 2012) behind it during deal making.
The firm has produced Strike Back for HBO sibling network Cinemax and Sky, alongside shows such as Wallander for the BBC and feature films including The Damned United.
Deals will increasingly be done with broadcasters on the basis of windowing, believes Harries, suggesting that buying and selling in the scripted marketplace is going to become a whole lot more complicated down the line.
“You’ll do three months here, another six months there and nine months there. Although that hasn’t really started happening in the UK yet, it will,” says the former controller of drama/comedy at Granada Television.
When The Crown is finally unveiled on November 4, it’s very likely there’ll be an outcry in the UK that the series is not available on the public broadcaster, or at least a terrestrial channel, given the subject matter.
So how threatened should the BBC and ITV feel by Netflix so dramatically moving in on their patch? A bit, but not massively, answers Harries.
“In the UK, the culture of broadcast television still has meaning. It might not in 10 years’ time, but it still does at the moment. There’s no doubt that both the BBC and ITV were extremely disappointed [not to land The Crown]. Ultimately the BBC and ITV shouldn’t look at The Crown as part of an overall trend that will destroy their business. I don’t think that’s the case – it’s a bit of a one-off.”
Nevertheless, it certainly “challenges” the two most famous British networks, who Harries admits are “still making great shows and I’ll still take great shows to them.”
ITV, at least, doesn’t appear to have held a grudge for too long, commissioning eight-part drama The Halcyon, set in a London hotel in wartime 1940, from Left Bank towards the end of last year.
Described as “Downton-esque,” The Halcyon follows the scandalous goings-on in the “most glamorous air-raid shelter in the world,” a home from home for politicians, overthrown monarchs and shady dealmakers.
“1940 was one of the most dramatic years in our island’s history. Who could have imagined that London would survive the Blitz? What was it like to be in a five-star hotel in the West End through this extraordinary period?” asks Harries.
“It’s such a compelling idea for a drama. The world of the Halcyon hotel has to carry on, through thick and thin and against all odds. The bedrooms have to be made safe, the bars have to stay open and the band has to play on. People have to sleep, eat and survive.”
The Halcyon began filming in London and surrounding areas in April this year. It is being sold internationally by Sony, and foreign buyers such as PBS in the US will likely be crossing their fingers that it could fill the Downton Abbey-shaped hole in their schedules.
However, as Harries says, there’s no such thing as a guaranteed hit when it comes to television production, particularly in such a crowded market.
“There’s a been huge boom in scripted and in people pouring money into these companies producing drama, so the expectations are high. But I’m not sure all the expectations are going to be met,” he warns. “I worry slightly that we might be on the edge of a boom-and-bust situation. I hope not. The appetite for drama is very large – but you still have to make it great.
“If you look at the figures at the moment for some of the dramas on TV, some of them aren’t doing terribly well. ITV might have Downton one week, but it could be followed by another show that simply doesn’t perform.”
Talent is key when it comes to improving your chances of survival, adds the exec, who believes the strength of the UK’s drama production industry – which consists of well over 100 different producers – shouldn’t be taken for granted.
Despite the tax breaks that have kept the industry so buoyant over the past few years, there are a number of recent developments that are restricting the ability of producers to “wheel and deal,” as Harries puts it.
“There are problems. The BBC is contracting, ITV is moving towards its own production base, which is understandable, and Sky now has its own distribution company,” Harries says.
Supporting the BBC and Channel 4 while not messing with the terms of trade is among the steps Harries says are necessary to protect the industry, which he describes as “strong and successful, but quite fragile.”
Harries says the money currently “flooding in” to the UK from the States is helping to support local producers and, historically, the UK-US coproduction model has ensured local broadcasters get bigger and sometimes better shows.
But should Netflix’s land grab for global rights become the norm then the dollars coming in could ultimately undermine the local broadcasters that have helped to establish producers such as Left Bank.
Indeed, The Crown was most likely the project the BBC’s former director of television Danny Cohen was referencing when he warned in December 2014 that the pubcaster was increasingly struggling to compete with Netflix for programme rights.
Harries may assure the likes of the BBC and ITV that the deal for The Crown was a “one-off.” But one would suspect that, deep down, they know that’s unlikely to be the case.
Hotels are great places to set dramas. Not only do you get to see the behind-the-scenes activities of the staff, from lowly bellboy to entrepreneurial owner, you also have guests coming in and out every week.
As with hospitals and shops, this means a constant turnover of stories and characters as the series progresses.
Hotel dramas are nothing new – think back to the UK’s iconic soap Crossroads, for example – but in the last few years they have certainly been in vogue.
There was, for example, the BBC’s Hotel Babylon, set in the world of a luxury five-star hotel. And then came ZDF period drama Hotel Adlon. In the US, we have seen American Horror Story’s most recent season set in a hotel, while Spain has given us the best example of them all with Grand Hotel.
An opulent series set in the early 20th century, the show has proved a big hit at home and in the international distribution market. Not to be overlooked either is Stephen Poliakoff’s new spy drama Close to the Enemy, set in a run-down hotel after the Second World War.
And so to the point of this preamble, which is that ITV in the UK has commissioned The Halcyon, a series set in a London-based five-star hotel during the Second World War. Produced by Left Bank Pictures and written by Charlotte Jones, it will focus on the guests and staff of the hotel in 1940. As such, it adds the unsettling backdrop of conflict to the transitory nature of hotel life – bombs overhead, staff going to war, soldiers passing through and perhaps even spies.
The eight-hour drama will be produced by Chris Croucher, who also produced the last two seasons of ITV’s period hit Downton Abbey. So there is clearly a hope that The Halcyon can go some way towards replacing that show.
ITV director of drama Steve November said: “A hotel is the perfect place to show ambition in telling the story of the Second World War. It was an extraordinary time in our country’s history, and London was a transforming city. The Halcyon takes us right to the heart of this as the hotel is busy, energetic and vibrant, which reflects how people carried on with their lives with defiance in the air.”
Left Bank CEO Andy Harries added: “1940 was one of the most dramatic years in our island’s history. Who could have imagined London would survive the blitz and Luftwaffe’s attempted destruction of the city? What was it like to be in a five-star hotel in the West End through this extraordinary period? It’s such a compelling idea for a drama. The world of The Halcyon has to carry on through thick and thin and against all odds. The bedrooms have to be made safe, the bars have to stay open and the band has to play on. People have to sleep, eat and survive.”
Left Bank is owned by Sony Pictures Television (SPT), so the likelihood is that SPT will hold the international distribution rights to the show. If so, this will echo the business model of Downton Abbey, which was commissioned by ITV but produced by NBCUniversal-owned Carnival Films. The series will begin filming in London and surrounding areas from April 2016.
It’s been a good week for Left Bank, which has also been commissioned by ITV to make a fifth season of crime drama DCI Banks. The series, which premiered in 2010, is based on the novels by Peter Robinson and stars Stephen Tompkinson. It is set and filmed in the county of Yorkshire.
Harries said: “I’m delighted we are producing a fifth season of DCI Banks, one of ITV’s best-loved dramas. The stunning backdrop of the Yorkshire countryside is contrasted with the uncompromising storylines the team is dealing with.”
Left Bank isn’t the only indie to have benefited from ITV’s voracious appetite for new drama this week. Indie producer CPL Productions has been given the greenlight to make Brief Encounters, a six-parter looking at a group of four women who get into the lingerie and sex-shop business in the 1980s.
The series is inspired by chapters telling the story of the early days of the Ann Summers party plan business found in Good Vibrations, the memoir by Ann Summers boss Jacqueline Gold. “Brief Encounters is a refreshingly different domestic drama taking us back to the wonderful world of the 1980s,” said November. “We’re really excited by this commission – it’s full of heart, story and great new characters.”
Executive producer Arabella McGuigan added: “Brief Encounters is gutsy, emotional, warm and surprising. Like the real Ann Summers saleswomen, through their camaraderie our women discover hidden strengths and an ability to come out fighting no matter what life throws at you. As wives, mothers and businesswomen, they unleash talent – and they blossom.”
CPL belongs to Red Arrow Entertainment, which presumably means distribution will be handled within the Red Arrow family.
Still in the UK, public broadcaster BBC1 has commissioned a new detective series from Euston Films called Hard Sun. The six-parter is being written by Neil Cross, creator of Luther and a writer on Doctor Who. FremantleMedia International is handling sales.
It’s described as a pre-apocalyptic drama, meaning it is set against the backdrop of a dying world. “Imagine the world you see when you look out your window… except it’s been given a death sentence,” Cross said. “There’s no hero to come save us; no contingency plan. What’s it like, trying to keep order, trying to enforce the law in a city that, day by day, slips closer to certain destruction? How do you get up in the morning? How do you get out of bed and leave your family and go out there, putting your own life at risk? And what about the predators? What about the murderers, the rapists, the thieves? What about the psychopaths, the religious nuts, the cult leaders, the serial killers? Who would fear a prison sentence?”
Meanwhile, comic books continue to be a fruitful source of TV ideas, with US cable channel Syfy developing a new series based on the Dark Horse comic Harrow County. The story focuses on a teenage girl who finds ghosts, goblins, and the restless dead in a nearby forest. She subsequently learns she is the reincarnation of a powerful witch.
The series is being written by Becky Kirsch, who has previously worked on Syfy’s Dominion and 12 Monkeys.
Discovery is also reported to be working on an anthology drama series. According to Deadline, the broadcaster is developing a show called Manifesto, which will explore how the FBI caught infamous criminal masterminds, with each closed-ended season following a different case. The show sounds similar in structure to Ryan Murphy’s American Crime Story on FX.
Finally, in Canada, OMNI Television has announced that it has renewed crime drama Blood and Water, just a month after the first season’s debut. The show, which is set in Vancouver, is unusual because it delves into the lives of Chinese immigrants and is produced in English, Mandarin, and Cantonese.