Tag Archives: The Returned

Scripted formats show writers’ double vision

April 20, 2016The Writers RoomAdi Hasak, Alex Gansa, Andrew Knight, Anthony Horowitz, Anya Epstein, Broadchurch, Carlton Cuse, Carol Mendelsohn, Chip Johannessen, Chris Chibnall, Collision, Dan Futterman, Danny Brocklehurst, David Fury, David Hudgins, Diederik van Rooijen, Ed McCardie, Eyewitness, Fabrice Gobert, Forbrydelsen, Game of Silence, Gideon Raff, Gracepoint, Hatufim, Homeland, Howard Gordon, Jacob Grol, Jane the Virgin, Janus, Jarl Emsell Larsen, Jennie Snyder Urman, John Wells, Juana La Virgen, Kevin O’Hare, Les Revenants, Melissa Rosenberg, Nancy Pimenthal, Paul Abbott, Penoza, Perla Farias, Peter Duncan, Pieter Bart Korthuis, Pinar Bulut, Raelle Tucker, Rake, Red Window, Sarah Wassermair, Soren Sveistrup, Suskunlar, The Killing, The Returned, Veena Sud, ØyevitneAndy Fry

Hardly a week goes by without some new development on the scripted format front. So here we explore 12 of the shows that have been adapted – successfully and unsuccessfully – for the US, and the writing teams behind them.

Where images have been included, the original series is on the left and its adaptation on the right.

Broadchurch was a big hit for ITV in the UK when season one aired in 2013. It then sold around the world and was adapted by Fox in the US as Gracepoint, with the same lead actor (David Tennant). The UK version, which then had a moderately successful second season, was created and written by Chris Chibnall – who is now working on a third and final run before taking over on the BBC’s Doctor Who.

The 10-part US version was set up by Chibnall before being handed over to Anya Epstein and Dan Futterman, who wrote all of the remaining episodes except for number six (Jason Kim). Gracepoint was pretty well reviewed by critics and sold to other English-speaking markets. But it was not renewed after failing to secure a sizeable audience (average ratings were around 3.5 to four million).

Collision, created by UK writer Anthony Horowitz (Foyle’s War), attracted an audience of seven million when it aired on ITV in the UK during 2009. In November last year it was picked up by NBC as a 10-part series. Interestingly, Horowitz will be the showrunner for the US version, with CSI exec producer Carol Mendelsohn on board as partner. Mendelsohn is also exec producer of Game of Silence (see below), suggesting she is now regarded as a safe pair of hands for format adaptations after her many years working on CSI.

The original version of Collision comprised five episodes but Horowitz says he has no concerns about the project being extended because he believes the storyline will benefit from the extra episodes. Sometimes formats suffer from being stretched in this way.

Forbrydelsen (The Killing) is a Danish series (DR/ZDF Enterprises) created by Soren Sveistrup. Active across three seasons, it became an international hit and made its star Sofie Gråbøl a household name. It was adapted by AMC in 2011 and has so far run to four seasons – despite being cancelled a couple of times along the way. It was saved by Netflix, which came on board as a partner for season three and then took over the show in its entirety for season four.

The US version was developed by Veena Sud, whose previous big credit was CBS procedural Cold Case. Sud shared writing duties with a large team, including the likes of Nic Pizzolatto (True Detective) and Jeremy Doner (Damages). She stayed with the show through season four, by which time writing duties were shared with Dan Nowak, Sean Whitesell, Nicole Yorkin and Dawn Prestwich (the latter two a writing team whose credits include Chicago Hope, FlashForward and The Education of Max Bickford).

Hatufim, aka Prisoners of War, is perhaps the most celebrated example of a successful scripted format. Created in Israel by Gideon Raff, it was adapted as Homeland for Showtime in the US by Howard Gordon and Alex Gansa. Five seasons of the US show have aired so far, with a sixth ordered in December 2015.

As is common with US series, there is a big team involved in writing a show like Homeland. The latest season of 12 episodes involved 11 writers altogether. Key names include Chip Johannessen, who has been involved with the show since the start. A new name on the season six team sheet was David Fury, who has worked on an array of titles ranging from Buffy the Vampire Slayer to Hannibal.

Janus is proof that US networks are looking further afield in search of great ideas. A crime story originated in Austria, it was picked up by ABC last autumn. Kevin O’Hare, who has written pilots for ABC and Syfy, is adapting the thriller and writing the pilot. The original version was written by Jacob Groll and Sarah Wassermair.

Prior to this seven-part serial, Groll was best known for documentary The Sound of Hollywood, while Wassermair’s credits include musicals for children’s theatre. However, the pair have also been working together on ORF’s popular crime series Soko Donau.

Juana La Virgen is a Venezuelan telenovela that was adapted for The CW network in the US as Jane the Virgin. The original was created by Perla Farias and the US version by Jennie Snyder Urman, whose writing efforts are supported by a large team (the show has 22 episodes per season).

As evident from the titles above, a lot of adaptations don’t get further than the end of their first season. So the fact that this one has just been greenlit for a third run is a notable achievement. Although season two ratings are down compared with season one, the show has settled into a stable 0.9 to one million range.

Les Revenants was hailed as evidence that French TV drama had become a force to be reckoned with. A hit for Canal+ in 2012, the format was snapped up by A&E in the US – where it was remade as The Returned. The French version (based on a film) was created by Fabrice Gobert, who then wrote the screenplay for season one with Emmanuel Carrere and Fabien Adda (with writing credits also going to Camille Fontaine and Nathalie Saugeon).

A second season was aired at the end of 2015, with Audrey Fouche joining Gobert and Adda as a key writer (also credited on one episode was Coline Abert). Despite being led by showrunner Carlton Cuse alongside Raelle Tucker (True Blood), the US version failed to secure a second-season renewal following lacklustre ratings.

Øyevitne is a Norwegian crime thriller that is being adapted as Eyewitness for USA Network. In the US it has received a 10-episode, straight-to-series order. The US version comes from Shades of Blue creator Adi Hasak, who wrote it and will serve as showrunner. The original series creator is Jarl Emsell Larsen, who will executive produce the US version.

The series explores a grisly crime from the point of view of the eyewitnesses, two boys involved in a clandestine gay affair. While the Nordics have been getting a lot of attention in recent times, this is actually the first Norwegian scripted show to be adapted for the US.

Penoza is a popular Dutch drama created by Pieter Bart Korthuis and Diederik van Rooijen for KRO-NCRV. The show has run for four seasons (2010-2015), with a fifth, commissioned in February, set to air in September 2017. The format was acquired by ABC in the US in 2012 and ran for one season during 2013 with the name Red Widow.

The US version performed poorly and wasn’t renewed, dropping from 7.1 million at the start of its run to 3.47 million at the end. That was a rare blip for writer Melissa Rosenberg, whose credits include the entire Twilight saga of movies, Showtime’s Dexter and Netflix hit series Jessica Jones.

Rake is an Australian television series that centres on a brilliant but self-destructive lawyer. It was created by Peter Duncan, who then shared writing duties with Andrew Knight across the first three series. A fourth season will be broadcast this year on ABC Australia.

The show was adapted for Fox in the US in 2013, with Peter Duncan at the helm of a writing team of five. However, the show didn’t rate well and was moved around the schedule before being cancelled.

Shameless: Company Pictures produced Shameless for Channel 4 in the UK before it was picked up as a format by premium pay TV channel Showtime. The UK version was the brainchild of Paul Abbott, who also wrote a number of episodes. Other high-profile names involved included Danny Brocklehurst, who is now enjoying some success with Sky1’s The Five. Another prominent writer among many was Ed McCardie (Spotless).

Abbott was involved in setting up the US version, which may explain why the show has been a success, with six seasons already being aired. Key names in terms of transitioning the show included John Wells (ER, The West Wing) and Nancy Pimental – both of whom are still heavily involved, alongside a team of five writers for the latest season. Interestingly, the last season of the UK version also used a team approach, with eight writers penning 14 episodes.

Suskunlar is a Turkish drama that first aired on Show TV in 2012 and was then sold in its completed form to 30 countries. It was written by Pinar Bulut, who has also written a number of projects with her husband Kerem Deren, including fellow international hit Ezel.

The show was picked up by NBC in the US and has just started airing under the title Game of Silence. The pilot for the US version was written by David Hudgins, whose credits include Everwood and Parenthood. The second episode was penned by Wendy West (The Blacklist and Dexter). Hudgins has expressed a desire to take the show on into a second season, but early ratings suggest that it will need to do better for that to happen. After attracting 6.4 million viewers for episode one, it dropped 39% to 3.9 million for episode two.

tagged in: Adi Hasak, Alex Gansa, Andrew Knight, Anthony Horowitz, Anya Epstein, Broadchurch, Carlton Cuse, Carol Mendelsohn, Chip Johannessen, Chris Chibnall, Collision, Dan Futterman, Danny Brocklehurst, David Fury, David Hudgins, Diederik van Rooijen, Ed McCardie, Eyewitness, Fabrice Gobert, Forbrydelsen, Game of Silence, Gideon Raff, Gracepoint, Hatufim, Homeland, Howard Gordon, Jacob Grol, Jane the Virgin, Janus, Jarl Emsell Larsen, Jennie Snyder Urman, John Wells, Juana La Virgen, Kevin O’Hare, Les Revenants, Melissa Rosenberg, Nancy Pimenthal, Paul Abbott, Penoza, Perla Farias, Peter Duncan, Pieter Bart Korthuis, Pinar Bulut, Raelle Tucker, Rake, Red Window, Sarah Wassermair, Soren Sveistrup, Suskunlar, The Killing, The Returned, Veena Sud, Øyevitne

TV’s zombie obsession

October 30, 2015Hit & MissAMC, Ash Vs. Evil Dead, Babylon Fields, BBC3, Canal+, Carmi Zlotnik, Fear The Walking Dead, Glitch, I'm Alive, In the Flesh, iZombie, Les Revenants, MBC, NBC, Starz, SyFy, The Returned, The Walking Dead, Z NationAndy Fry

BBC3's In the Flesh ran for two seasons — BBC3’s In the Flesh ran for two seasons

AMC’s cult zombie drama The Walking Dead (TWD) continues to generate massive ratings. Three episodes into season six, its audience is holding up well compared with season five figures.

The first episode attracted more than 20 million viewers once the time-shifted audience was included in the total. Episode three, which may or may not have seen the death of a popular central character, is likely to hit a similar mark once all the data is in.

The fate of the character in question (Glenn) also had a big impact on The Talking Dead, a recap show that is aired immediately after each episode. Around six million viewers tuned in to that, underlining the nature of the TWD phenomenon.

Of course, the success of TWD also encouraged AMC to launch a companion series entitled Fear The Walking Dead. While it’s fair to say that FTWD hasn’t yet hit the same creative heights as TWD, its initial run of six episodes (which ended on October 4) still managed to attract a massive 11.2 million viewers (Live+3 day ratings, averaged across the run).

This makes it the highest-rated first season in cable TV history. An added bonus for fans suffering zombie withdrawal is the 16-part web series FTWD: Flight 462, currently available on AMC.com.

The remarkable thing about the success of AMC’s franchise is the way it has spawned so many series about the undead. While they don’t all approach the subject matter in the same way, there’s no question that they have been legitimised by the success of TWD.

The Walking Dead has paved the way for a multitude of undead-focused series

In the US, for example, we have seen ABC’s Resurrection, which lasted for two seasons, and The CW’s iZombie, which is currently partway through its second season and rating reasonably well (around 1.3-1.5 million viewers).

Less well known around the world is Syfy’s Z Nation, which is also in its second season. The show’s ratings of around 850,000-900,000 are nowhere near as impressive as those of TWD but it does have its fans. Graeme Virtue of The Guardian newspaper called Z Nation a “brazen Walking Dead rip-off” but still included it on a list of five great US TV shows unavailable in Britain. Since Virtue’s article, the show has now become available in the UK on Pick TV.

Not to be overlooked, of course, is Starz’ upcoming launch of Ash vs Evil Dead (based on the classic Evil Dead franchise). With series one premiering on Halloween, the network has shown its faith in the saga by ordering a second season.

Unveiling the news this week, Starz MD Carmi Zlotnik said: “One season isn’t enough to satisfy the fans’ two decade-long appetite for more (lead character) Ash. The early fan and press support, along with international broadcaster demand, has made it clear that the adventures of Ash Williams can’t end with season one.”

Ash vs Evil Dead has already been given a second season

Starz has signed global licensing deals for Ash Vs Evil Dead with broadcasters and digital platforms in more than 100 countries and will allow the show to premiere simultaneously with the US. Partners include Amedia (Russia/CIS), C More (Scandinavia), Fox Latin America, Sky TV (New Zealand), Stan (Australia), Starz Play Arabia (MENA) and Super Channel (Canada).

Also in the news this week is Australian series Glitch, which has been given a second series by ABC. This isn’t a TWD-style zombie series but it fits in with the general undead theme very well. Produced by Matchbox, it tells the story of six people who inexplicably return from the dead, alive and in good health. The initial run of six episodes aired in July and attracted 350,000-500,000 viewers.

Undead aficionados will, of course, see comparisons between Glitch and the French series Les Revenants (aka The Returned), which also focused on ordinary folk returning from the dead. Les Revenants was adapted for the US market where it had an unsuccessful one-season run. But in France (and around the world) the first season of the original series has been a big hit. Airing on Canal+ in France, the show attracted around 1.5 million viewers across eight episodes.

After a three year hiatus, season two of Les Revenants finally went to air this autumn. While it has been picked up internationally by many of the networks that aired season one, season two hasn’t done as well as season one for Canal+, with some critics blaming the three-year gap for the audience’s lukewarm reaction.

Australia's Glitch is similar in theme to Les Revenants/The Returned — Australia’s Glitch is similar in theme to Les Revenants/The Returned

Although final series numbers aren’t in, the debut episode of season two only attracted 610,000 viewers. Even when you’ve factored in time-shifted viewing, that’s a long way short of what Canal+ would have been expecting.

The Brits also had a critically acclaimed zombie drama on BBC3 called In the Flesh, which ran for two seasons before it was axed. Stretching the definition a little, you could also include upcoming ITV drama The Frankenstein Chronicles (a reworking of Mary Shelley’s horror masterpiece) in this zombie/undead genre.

Zombie dramas don’t work for every market – Turkey, for example, isn’t big on supernatural scripted shows. But even Korea has dipped its toe in the water with MBC’s two-parter I’m Alive, which aired in 2011.

Interestingly, the word ‘zombie’ probably comes from West Africa and first emerged in its current form in Haitian folklore, where zombies are dead bodies reanimated by magic. That said, there is no strong culture of zombies in Latin American television, though they do pop up in movies.

With TWD still going strong and Ash vs Evil Dead launching this weekend, there’s no sign that the undead are returning to their graves just yet. In fact, there are reports that NBC also wants in on the act. In 2013, the network resurrected an old idea called Babylon Fields and pushed it forward as a pilot. There hasn’t been much news on the show since 2014, but keep your eyes peeled.

tagged in: AMC, Ash Vs. Evil Dead, Babylon Fields, BBC3, Canal+, Carmi Zlotnik, Fear The Walking Dead, Glitch, I’m Alive, In the Flesh, iZombie, Les Revenants, MBC, NBC, Starz, SyFy, The Returned, The Walking Dead, Z Nation

AMC goes for Broke

June 26, 2015UncategorizedAMC, Bankerot, Broke, Clyde Phillips, Deutschland 83, DR, SundanceTV, The ReturnedMichael Pickard

US remakes of foreign-language dramas have often struggled in the recent past, with shows such as The Returned ending up on the scrapheap. But could this negative trend be fixed with AMC’s forthcoming series Broke?

If at first you don’t succeed, try, try again. That seems to be the message from US drama executives who are continuing to look for overseas formats that they can turn into their next drama hit.

The Returned, a remake of Les Revenants, was cancelled

Cable network SundanceTV broke the mould earlier this month when it debuted Cold War thriller Deutschland 83 to critical and popular acclaim. Commissioned by RTL, it is the first time a German-language series has aired in the US and the channel should be praised for its decision to air the UFA Fiction-produced spy drama in its original form.

But it does seem to be the exception to the rule that American networks prefer to remake foreign-language dramas, and that trend has continued today with news that SundanceTV’s sister station AMC has gone straight-to-series on another reboot.

Broke tells the story of two best friends who take one last shot at their dream of opening a restaurant together. One is a brilliant chef in trouble with the mob and the law, while the other is the best sommelier in the city and the widowed father of a teenage son.

Based on Danish series Bankerot (aka Bankruptcy, pictured top), which was created by Kim Fupz Aakeson and airs on public broadcaster DR, it will be coproduced in the US by AMC Studios and Lionsgate. The rights were sold by DR Sales.

Nurse Jackie showrunner Clyde Phillips, whose credits also include Dexter, will write and executive produce the 10-part series, which is expected to air in 2016.

“Broke is unique, edgy and sexy. I can’t wait to jump in and help it evolve into a groundbreaking bit of television,” said Phillips. “More than that, I’m looking forward to continuing what’s been a remarkable partnership with Lionsgate, and starting out on an exciting new adventure with AMC.”

It’s also interesting to note that many creatives from the Danish series are retaining a role on the US adaptation, with Henrik Ruben Genz, Malene Blenkov and DR head of drama Piv Bernth all named as executive producers.

Describing Bankerot as DR’s “little gem,” Bernth said: “There’s no doubt Kim Fupz Aakeson’s story of Thomas and Dion – who really is bankrupt, mentally, emotionally and financially – hits something universal. The series’ message that if we stand together and help each other against all odds, we should be fine, fits well all over the world and especially in the US. It’s great that the series will have a new life in multiple languages.”

The show has already been sold in its original form to French/German network Arte, but the deal with AMC marks the first time remake rights have been secured.

DR can now expect a flood of enquiries from other international networks interested in picking up Bankerot, such is the power of a US acquisition – whatever its form.

But that doesn’t mean the remake will be an instant success, as US networks have a decidedly chequered history with their adaptations of international hits. Most recently, A&E scrapped The Returned, its reworking of French zombie drama Les Revenants, after one season, while AMC has previously adapted another DR drama, Forbrydelsen (aka The Killing). It survived for three seasons, with a fourth picked up by Netflix. But it never translated into the breakout success the original series enjoyed.

FX also ran two seasons of The Bridge, a reworking of the Swedish/Danish crime drama Bron/Broen, before it was cancelled last October.

Of course, there have been successes, most notably Homeland, Showtime’s take on Israeli drama Hatufim that’s now heading into its fifth season.

But while all eyes will be on whether Broke takes off after its launch next year, it is more intriguing to see whether Sundance’s gamble on a foreign-language series will see more US channels following its lead and opening the floodgates to a wave of subtitled drama reaching American shores.

tagged in: AMC, Bankerot, Broke, Clyde Phillips, Deutschland 83, DR, SundanceTV, The Returned

No coming back for The Returned

June 17, 2015The Writers RoomA&E, ABC, American Crime, Bates Motel, Carlton Cuse, Dean Cavanagh, Irvine Welsh, John Ridley, Lost, Presence, The Returned, Too Much Rock N Roll, UK, USAndy Fry

It’s been a topsy-turvy week for US showrunner/screenwriter Carlton Cuse, who is currently working with cable channel A&E on two scripted series, Bates Motel and The Returned.

A few days ago, he learnt that the former had been greenlit for seasons four and five, but the latter – an adaptation of French zombie drama Les Revenants – has been cancelled after a lacklustre debut.

The Returned is a rare failure for Harvard-educated Cuse, whose shows tend to run and run. His first big success was Nash Bridges, which aired on CBS from 1996 to 2001.

A small hiccup came in 1998 with the quickly cancelled series Martial Law, also on CBS, but it seems churlish to even mention it when you consider that Cuse would later become one of the key architects of ABC’s Lost, arguably the standout drama series of the last decade. Although Cuse wasn’t involved as a writer in the pilot or the early episodes of season one, he co-wrote a number of episodes in the second half of its freshman year and then took on additional writing duties in seasons two and three.

Carlton Cuse has worked on hit shows such as Lost and Nash Bridges

By season four, he was penning the all-important opening and closing episodes in partnership with Damon Lindelof – a role he kept until the show ended in 2010. The final episode earned Cuse and Lindelof an Emmy nomination.

Bates Motel, a prequel to Alfred Hitchcock’s classic thriller Psych, launched in 2013 and marked the start of an incredibly prolific period for Cuse. In 2014, his vampire drama The Strain debuted on FX and in 2015 came A&E’s The Returned. He’s also working on Colony for USA Network, a thriller about life in LA after a mysterious foreign occupation and the efforts by the proxy government to crush the resistance movement. Initially greenlit as a pilot, it secured a 10-episode order in February. And as if all of this isn’t enough to be getting on with, he also found time to create a 2015 pilot for Amazon Studios called Point of Honor.

Bates Motel: renewed for seasons four and five

With so much good stuff to Cuse’s name, what went wrong with The Returned? At first sight, you might argue that Cuse had too much on his plate – with four series at various stages of production and development. But that seems unlikely given that Cuse typically shares creative responsibilities with a strong partner, thus easing the workload. In the case of The Returned, for example, he worked alongside Raelle Tucker, who established her credentials on HBO’s hit vampire series True Blood.

It is more likely, perhaps, that The Returned arrived in the US too late, with ABC’s Resurrection – another show about the dead coming back to life – hitting the market in 2014. It’s also just possible that we’re starting to see flaws in the scripted format model, at least in terms of foreign dramas being adapted for the US market.

While the success of Homeland, based on Israeli drama Hatufim, has proved that this model can work, the growing number of scripted format failures suggests transplanting shows is not such a safe bet.

John Ridley won an Oscar for 12 Years a Slave

While no one likes it when one of their shows doesn’t work, Cuse is unlikely to be too downbeat about the loss of The Returned. In a profile by Variety, he observed philosophically how “in Hollywood, it’s impossible to get the temperature of the porridge just right. No matter what your intentions are, Hollywood has a 90% failure rate. I had to put a few different irons in the fire because I didn’t think everything was going to work.” To his credit, Cuse is currently running at a higher success rate than most.

There is also news this week concerning another of the US industry’s hottest talents, John Ridley. After winning an Academy Award in 2013 for 12 Years a Slave (Best Adapted Screenplay), Ridley has been riding high with American Crime, a series he created and wrote for ABC. ABC is clearly very impressed with Ridley because it has renewed American Crime for a second season and this week also ordered a pilot from him, entitled Presence. It will be produced by ABC Studios.

In development for the 2016/2017 season, Presence is about a former army counter-insurgency operative who starts a new career as an unlicensed private investigator in LA. There are also reports that Ridley is working on a secret project with ABC Studios’ sister division Marvel Studios.

Ridley's ABC show American Crime — Ridley’s ABC show American Crime

Ridley, soon to turn 50, is something of an eclectic talent. Have started his adult life as a stand-up comedian, before going on to write episodes of shows including The Fresh Prince of Bel-Air. Subsequently, he has written and directed movies, produced TV series and penned numerous books. His novel Spoils of War became the acclaimed David O. Russell movie Three Kings.

On the subject of novelists-turned-screenwriters, the big story of the week in the UK is that Irvine Welsh (who will forever be referred to as the author of Trainspotting) is working on a 6×60’ series called Too Much Rock N Roll. Backed by producer Keo Films and distributor Content Media, the drama will tell the story of Anthony and Christopher Donnelly, who were born into Manchester’s notorious gang culture but went on to launch an internationally successful fashion label.

The factual drama, which continues Keo’s recent push into scripted series, is based on the Donnellys’ autobiography Still Breathing, which was published in 2013.

Irvine Welsh and Dean Cavanagh are writing Too Much Rock N Roll — Irvine Welsh (pictured) and Dean Cavanagh are writing Too Much Rock N Roll

Welsh and long-time collaborator Dean Cavanagh are co-writing the show, having previously worked together on projects like Good Arrows, Dose and Wedding Belles. In a joint statement, Welsh and Cavanagh said: “We’re really excited to be involved in telling the story of the Donnelly Brothers for the screen. We’ve been offered many true-life stories over the years but what attracts us to this story in particular is the fact that Anthony and Christopher are unbeatable – they won’t take no for answer – and we’re going to capture that spirit. It’s something we relate to, having spent decades working in the business that is ‘show’ and all the attendant bullshit that comes with it. Anthony and Christopher are stand-up lads and so are we. Hopefully this is the start of a long and creative partnership.”

tagged in: A&E, ABC, American Crime, Bates Motel, Carlton Cuse, Dean Cavanagh, Irvine Welsh, John Ridley, Lost, Presence, The Returned, Too Much Rock N Roll, UK, US

Bob the builder

June 11, 2015UncategorizedA+E Studios, Bob Debitetto, Houdini, Sons of Liberty, Texas Rising, The Returned, UnREAL, USAndy Fry

A+E Studios’ Bob DeBitetto outlines the new company’s mission statement as DQ takes a look at some of the shows emerging from the fledging production entity.

In June 2013 US broadcaster A+E Networks announced it was going to launch an in-house production studio under the leadership of Bob DeBitetto (pictured above), the president of brand strategy and business development at the parent company.

Two years down the line and the company has started making its mark with a string of scripted productions, including Houdini, Texas Rising, Sons of Liberty, UnREAL and a US adaptation of French supernatural hit The Returned. According to DeBitetto, there’s also a substantial development slate that will enable the studio to step up a gear in the next year or two. Among titles close to getting the green light is The Liberator, a wartime drama shaping up as A+E’s answer to HBO’s Band of Brothers.

Sons of Liberty
A six-part miniseries for History from A+E Studios and Stephen David Entertainment, Sons of Liberty follows historical figures Sam Adams, John Adams, Paul Revere, John Hancock and Joseph Warren as they secretly join forces to make America a nation. Written by Stephen David and David C. White, the show was helmed by Kari Skogland and features a title theme by Oscar-winning composer Hans Zimmer. The production is distributed internationally by A+E Networks.

DeBitetto has long been an advocate of an A+E-owned production entity because “it makes good economic sense. Under the traditional model, our US networks (which include A+E, History and Lifetime) pay around 70% of the cost of production for a licence fee. The producer of the show – let’s say MGM or Warner Bros – then deficits the remainder and takes the worldwide rights. For me, this has always been problematic, because we are building programme brands but not participating fully in their success.”

This issue has become increasingly acute in the last three to five years, says DeBitetto, “because there are more platforms around the world consuming drama content, including SVoD players like Netflix and Amazon. So before the launch of A+E Studios we were in a position where we had a strong global distribution business (the international division of A+E Networks, headed by Sean Cohan), but didn’t own shows like Vikings (property of MGM). That meant we were losing out on potential revenue but also faced the prospect that shows we helped build in the US would appear on rivals elsewhere.”

Against this backdrop, the purpose of A+E Studios is to rebalance that relationship. “The studio is the vessel for us to own the content supply and exercise greater control over the programming,” DeBitetto says. “We will develop shows, deficit-finance them and put them through distribution ourselves.”

Texas Rising
Texas Rising is an eight-part miniseries that airs on History in the US and is being distributed internationally by ITV Studios Global Entertainment. It tells the story of the Texan revolution against Mexico and the rise of the Texas Rangers, the oldest law-enforcement group in North America. Exec producer is Leslie Greif, who has already had a hit Western in the shape of Hatfields & McCoys. The cast includes Bill Paxton, Olivier Martinez, Brendan Fraser, Ray Liotta and Kris Kristofferson. The show was produced by A+E Studios and ITV Studios America, in association with Thinkfactory Media.

It all makes sense. But if there is a countervailing argument, it’s that studios cost a lot to build and support. As DeBitetto acknowledges, A+E Studios is “not just a name on a letterhead, it is a proper studio with 25 to 30 executives in LA and another team based with me in New York, covering all the functions you’d expect across production, development and business affairs. So, yes, it involves a sizeable capital investment.”

But, for DeBitetto, “the real risk is the old model, where we had our hands wrapped around the worst part of the business. Our view is that even if a show doesn’t get renewed, it’s still possible to recoup the deficit internationally. Besides, the real risk is that we create shows that make $100m for someone else. A critical part of building an international business is being able to sync it up as much as possible around content. Just imagine if we make the next Walking Dead but don’t control it outside of a US licence.”

In a perfect, friction-free world, A+E Studios would make great scripted shows for A+E, History and Lifetime in the US and then pass them over to the distribution division to sell around the globe (ideally to the international arms of A+E’s own channels). But in reality the market is much more complex.

UnREAL
UnREAL is the first show that sees A+E Studios in complete control. Inspired by Sarah Gertrude Shapiro’s short film Sequin Raze, the series is set against the backdrop of a hit dating competition show, whose young producer manipulates contestants to get dramatic and outrageous footage. The programme is produced by A+E Studios and Frank & Bob Films II, with Marti Noxon (Girlfriends’ Guide to Divorce, Grey’s Anatomy) as co-creator and executive producer. Distributed by A+E Networks, the show is airing on Lifetime US and has already been picked up by a number of networks including TF1 in France and Antena 3 in Spain.

The first tier of complexity involves A+E’s US networks, which need to be able to buy drama from multiple sources: “Our CEO is clear that content ownership must be a key tentpole of this business. But the people running our networks need to be free to do business with other suppliers. For us, a quid pro quo of this is that A+E Studios should be able to sell content to third parties. If content ownership is a good and profitable business, then there’s no reason why we shouldn’t be selling our shows to other networks and the SVoD platforms. I could see us partnering on a show with Netflix.”

Another issue is what A+E Studios should do when another company already has its hands on a property that it wants to participate in. A case in point is The Returned, whose first season concluded last month on A+E in the US. “FremantleMedia were very smart and managed to get hold of the format rights to the show,” says DeBitetto. “We were interested in the show and took the creative lead, but that had to be set up as a coproduction where we shared the risk and the rights with them.”

DeBitetto has actually been doing quite a lot of sharing since launching his studio: “The first project we got involved with was Houdini, which was pretty much fully developed when we stepped in. So in that case we were involved as a co-financer. Then there was Texas Rising. In that case, ITV got involved when they acquired the show’s producer (Thinkfactory).

“Clearly, I’d like to move towards a model where we fully own shows. But sometimes it doesn’t work out like that, particularly when you are starting up a studio. I see our future slate as being a mix of partnerships and wholly owned shows, but with the wholly owned shows taking a bigger percentage.”

Houdini
This four-hour miniseries from Gerald W. Abrams aired on A+E’s History in 2014. Written by Nicholas Meyer (Star Trek), Houdini starred Oscar-winning actor Adrien Brody (The Pianist) as the famed illusionist and escape artist Harry Houdini. A Lionsgate/A+E Studios coproduction, the show debuted on History to 3.7 million viewers, making it one of the network’s strongest scripted shows ever. Houdini was distributed internationally by Lionsgate and sold to networks including Seven in Australia.

Probably the biggest deciding factor in whether A+E Studios thrives will be the quality of talent it attracts. DeBitetto is aware of this and has started signing up showrunners on development deals. “We’ve done deals with Michael Hirst and Carlton Cuse. What we like about these two is that they are both phenomenal talents who have produced great shows for A+E’s networks (Vikings and Bates Motel). We’d rather be in business with creatives where we know the chemistry works.”

Again, flexibility is the watchword when putting together deals like these: “We aren’t like the big studios, which can put people on huge exclusive deals. We need to be smart and not try to keep these guys in a walled-up dungeon. They need to be able to work with others too. That’s another reason why it’s important for us to sell to third-party networks. We can’t be in a position where shows developed here are never used because they are not picked up by our channels.”

DeBitetto is cautious about discussing future projects by name – with the exception of The Liberator, an eight-hour production that will follow the progress of US WW2 soldiers as they battle up through Italy and into Germany before getting involved in the liberation of the Dachau concentration camp. “The project has been written by Jeb Stuart (Die Hard, The Fugitive), which is really exciting,” says DeBitetto. “If you think about how much CGI and SFX have come on since Band of Brothers, this will be a really spectacular piece of TV.”

As for the rest of the development slate, he says: “We have eight fully developed screenplays in front of A+E and six in early development with History. I don’t want to say too much yet but there is one time-travel project and another set around the time of the Crusades. Overall it’s an eclectic mix.”

In terms of the studio’s capacity, DeBitetto adds: “Put it this way, if A+E, Lifetime and History sent everything our way over the next three years, we could handle it. More realistically, if we get half to two-thirds of their scripted orders then we could handle those and have room to work on third-party orders. I don’t think you’re going to see us turning work down.”

The Returned
A coproduction between A+E Studios and FremantleMedia North America, The Returned is based on the successful French drama Les Revenants. It focuses on a small town that is turned upside down when several local people come back from the dead. FremantleMedia is distributing the series internationally, excluding the US and Canada, which are being handled by A+E Studios. Carlton Cuse (Bates Motel) wrote the first episode, and alongisde Raelle Tucker wrote and executive produced the series. The show debuted on A+E in the US on March 9. Just prior to that, FremantleMedia agreed a deal that will see The Returned debut on Netflix outside of the US and Canada. Netflix will add the show to its US service next year.

While A+E Studios is centred on LA and New York, DeBitetto says international plays a key role in the studio’s thinking. “Firstly, there are the ideas out in the market, like The Returned, which started in France. It doesn’t always work out, as we found the previous year when A+E in the US adapted Danish crime drama Those Who Kill. There are a lot of good titles out there and an appetite to adapt them in the US.”

Then there is the financing, continues DeBitetto: “When you think about that deficit I referred to earlier, it’s the financial projections coming back from Sean Cohan’s international team that underpin our productions. They are the ones with the market-by-market expertise, so their judgments are critical when assessing affordability and likely returns.”

So where does that leave the ambition to build A+E’s channel brands with wholly owned programming assets? What’s the correct play if a third-party network in the international market is willing to pay more to licence a show than an A+E network? “It’s case by case,” says DeBitetto. “If the option of selling to a big commercial network comes along then that’s clearly more attractive than selling to a smaller A+E network, particularly if our channel’s emphasis is more on factual. But here’s the thing – all we are selling is a window. Ownership means we can have our cake and eat it too. That’s where we are heading.”

In terms of how he wants the A+E Studios brand to be perceived, DeBitetto stresses that it is not a consumer-facing brand like the channels for which it produces. “But as a B2B brand I want people to think of us as small, smart, nimble, creative, eclectic, culturally relevant with an independent spirit,” he adds.

“The truth is your brand is defined by what you do. But we’re definitely material driven. For us, it’s what’s on the page, and then the screen, that matters.”

tagged in: A+E Studios, Bob Debitetto, Houdini, Sons of Liberty, Texas Rising, The Returned, UnREAL, US

Keeping its throne

May 1, 2015Hit & MissABC US, Acquitted, AD: The Bible Continues, BBC1, Game of Thrones, HBO, ITV Studios Global Entertainment, NBC, Poldark, Sky Atlantic, The Returned, TV2Andy Fry

Season five of fantasy phenomenon Game of Thrones has picked up where its previous runs left off, delivering massive ratings for US cable network HBO. Overnights for the first three episodes came in at eight million, 6.81 million and 6.71 million respectively.

That slight week-on-week decline shouldn’t give too much cause for concern, because so much viewing of the show is now time-shifted, on-demand or via other platforms. To underline the point, HBO has just released data that shows a staggering 18.1 million viewers watched episode one in the first week after its launch (a period of time referred to as live+7). This figure, which includes linear showings, HBO Go, HBO Now and on-demand views, confirms the serious pulling power of the show – while also cautioning against hasty judgements about first day viewing.

Game of Thrones is also popular internationally, with the UK launch garnering similarly enormous ratings. Sky Atlantic, which airs the show one day after the US transmission on HBO, reported record overnight ratings of 1.57 million – up 29% on season four’s debut. As in the US, those figures are certain to increase once time-shifted and multi-platform viewing is factored in. There were also record ratings for Foxtel in Australia, where 242,000 tuned in to watch episode one at 11.00 local time. An additional 311,000 tuned in at 19.30, creating a record day-one audience of 553,000.

Game of Thrones’ ratings success is made all the more remarkable by the fact it is such a heavily pirated show. In the US, it holds the dubious honour of having been the most-pirated show for the past three years in succession. Problems with piracy have been exacerbated this year, with the first four episodes of season five having been leaked online ahead of the show’s official launch.

The ratings story is less rosy for Mark Burnett and Roma Downey’s 12-part series AD: The Bible Continues, which has seen its audience on US network NBC slide in consecutive weeks. After a robust opening of 9.7 million on Easter Sunday, the next three episodes have come in at 7.75 million, 6.36 million and 5.77 million respectively.

AD is a sequel to The Bible, a Burnett/Downey miniseries that aired on cable channel History US last year. Its underperformance is a surprise, given that The Bible averaged 11.4 million viewers per episode over its 10-episode run – making it the biggest US cable show of 2014.

AD’s performance has led some analysts to suggest that NBC will probably cancel the show (though a final decision on that will need to take into account time-shifted ratings and a couple more episodes of data). This would be a blow to Burnett and Downey, who told journalists at MipTV in Cannes that they would like AD to be the launch pad for a multi-series franchise that tells more stories about the early years of the Christian church. Possibly, in hindsight, they would have been better placing AD in the less ratings-obsessed world of cable.

The standout performer in the UK so far this year is BBC1’s Poldark. Based on books by Winston Graham (and also a remake of a classic 1970s series), the show is set in 1790s Cornwall, where former soldier Ross Poldark battles against vested interests to make a success of his family’s copper mine. Not an obvious ratings winner, it has been boosted by the brooding good looks and heroic demeanour of Aidan Turner, who plays Poldark. While Captain Poldark’s handsome face, enviable abs and moral rigour have led to some mockery, The Independent newspaper gets it about right when it calls the show “an addictive Sunday night treat.” Poldark may not be Wolf Hall, but it is a hugely entertaining show.

With consolidated ratings averaging around 7.5 million across an eight-episode run, Poldark has been recommissioned for another series, to be filmed in September. And there are reports that the BBC wants to tie Turner down to a long-term contract and build Poldark up as its answer to Downton Abbey. The programme also looks set to have a decent life internationally, with ITV Studios Global Entertainment licensing it to Australia, New Zealand, South Africa, Canada and Sweden. Confirmation of a second series will help ITVSGE with its further sales efforts.

Elsewhere, the international drama community has been keeping a close eye on the Nordic territories after a run of recent successes. The latest show to watch out for is Acquitted, a 10-part series from Miso Films for TV2 Norway. Acquitted follows the story of Aksel Borgen, who left his native town after being cleared of the murder of his high-school sweetheart. Twenty years later, he returns to save the place that once turned its back on him – but the past has not been forgotten.

Acquitted has rated well for TV2, with its first six episodes averaging 649,000 (55% up on the slot average). This week it also premiered on SVT in Sweden, where it achieved similarly strong ratings. With more than one million viewers (30.5% share), Acquitted ranks as of the most successful foreign dramas to have launched on SVT over the last five years. Miso Films co-founder Peter Bose says: “In an industry where we’re constantly hearing about viewers migrating to non-linear platforms, Acquitted has been quite an achievement on SVT.”

Ratings, of course, play a huge part in deciding whether to renew a show. So it’s no real surprise to see ABC US cancel Revenge after a couple of seasons of modest ratings. It seems, however, that the US can’t get enough of zombies. AMC’s The Walking Dead is as strong as ever, which explains the network’s decision to launch a spin-off called Fear the Walking Dead. The CW is also having some success with iZombie, which debuted in March this year. Now halfway through its first run of 13 episodes, the show is achieving healthy ratings in the 1.7-1.9 million mark. Aimed at a younger audience that The Walking Dead, it has received a positive critical response and is expected to return.

A bigger question, perhaps, is the future of A+E’s The Returned, which was eight episodes into a 10-episode run at time of writing. The Returned is a supernatural drama that explores what happens when the dead return to a small town and try to live normal lives, much to the shock and confusion of the living residents. Its significance is that it is based on a successful French series called Les Revenants (produced by Haut et Court for TF1). For those in the format sales business, it’s important that shows like The Returned do well, to avoid spreading fear among US commissioners that shows don’t transfer well into their market.

So far, ratings have not been especially encouraging, starting at 1.54 million but sliding to 0.82 million by episode eight. There are two possible explanations for this – one is that ABC has been airing a similar-concept series called Resurrection; the other is the view among some critics that the A+E show has not taken the French version forward. The Wrap calls it “a serviceable but mostly by-the-numbers remake of a brilliantly nuanced French series that didn’t need to be brought back to life in America a second time.”

A+E is not the kind of network that gives up on shows easily, however, so a cancellation at the end of season one would be surprising. Netflix will be watching developments with interest, having recently picked up the global rights to the A+E series.

tagged in: ABC US, Acquitted, AD: The Bible Continues, BBC1, Game of Thrones, HBO, ITV Studios Global Entertainment, NBC, Poldark, Sky Atlantic, The Returned, TV2