This summer, critics couldn’t decide whether M Night Shyamalan and Chad Hodge’s 10-part mystery-thriller Wayward Pines qualified as a hit. But the show’s host network Fox has now answered that question by giving the production a second season.
Fox Broadcasting Company’s entertainment president David Madden said: “Wayward Pines was a huge hit for us. We were absolutely blown away by the mysterious and surprising world that Night and his team created, and the twisting-and-turning storytelling that drew viewers in from day one. Season two is going to take the suspense, the vision of the future and the haunting character drama to whole new levels.”
A same-day audience of three to four million wasn’t especially impressive. But Fox has crunched the numbers and come up with the following analysis: “Season one of Wayward Pines ranked as summer 2015’s number-one broadcast scripted series among adults 18-49, averaging a 2.2/8 in the key demo. The series – about a Secret Service agent on a mission to find two missing federal agents in a sleepy town, and the shocking results of his investigation – ranked among summer 2015’s top 10 broadcast programmes overall among adults 18-49. It earned a multiplatform average audience of 9.4 million, which represents a +145% increase versus its Live+Same Day audience – the largest multiplatform lift versus Live+Same Day ever for a Fox drama.”
According to Fox, the second season will pick up in the wake of season one, when a new arrival in Wayward Pines finds himself in the middle of a serious rebellion, as the residents battle over how to preserve the endangered human race. Season one stars Matt Dillon and Toby Jones will not return, so there will be a lot of interest in who gets cast as the new lead.
This week has also seen renewals for Showtime’s Homeland and The Affair. This confirms our hunch that Homeland had done enough in season five to warrant a renewal, though the announcement has come later than expected.
Season five is finishing strongly, which appears to vindicate the decision to move central character Carrie (played by Claire Danes) to Berlin. Co-creator Alex Gansa has suggested that this could be the model going forward, with each season placing Carrie in a new geographic location.
There was also a renewal this week for NBC’s The Blacklist, which stars James Spader as a criminal mastermind working with the FBI. The drama, which will go into season four, averages a same-day of audience of around seven million. It’s also popular internationally, featuring on networks such as Sky Living and TF1 in France.
The timing of the announcement makes this an early renewal for the show, and creator Jon Bokencamp says he has known about The Blacklist’s return for a while. Speaking in a podcast interview this week, he commented: “We knew about that a while ago. It’s one of those things that’s hard to keep quiet. But yes, we’re renewed through to the fourth season. Hopefully we don’t tank that out – we’ve got a lot of story to tell.”
Back at Fox, one show that is certain to get a renewal is breakout hit Empire, which is now in the middle of its second run. However, the new season has been bumpy ride, akin to the ‘difficult second album’ syndrome. After opening to 16 million viewers (22.5 million when you add in the multiplatform/time-shifted figures), the music industry-based show dropped as low as 9.2 million (same-day rating) for episode nine. Episode 10 saw a bounceback (11.8 million) but the underlying critical narrative suggests the show has lost its way slightly.
The biggest complaint seems to be that this year’s plots and characters lack authenticity, with USA Today summing it up like this: “On social media, fans are griping about ever-more-outrageous storylines (‘cartoon garbage,’ sniffed one Twitter user), such as frantic efforts in (one) episode to find and dig up the body of Vernon, who was accidentally killed in last season’s finale, and park his decomposed corpse in a car to intimidate an attack-dog prosecutor. There’s pushback on the show’s heavy dose of celebrity cameos, from Chris Rock to Ludacris.”
Having said all this, Empire is still the strongest US network show by far. To put it in perspective, its rating among the all-important 18-49 demo far exceeds that of new shows such as Blindspot, Limitless and Quantico. So a renewal is as certain as anything can be in this life.
A likely beneficiary of its success is Rosewood, which airs straight after Empire. Having seen its ratings boosted as a result of Empire’s strong lead-in, it’s another show that is pretty much guaranteed a return.
Continuing on this topic, this week provided a superb example of the impact that a strong lead-in can have on a title’s ratings. Until recently, AMC’s Into the Badlands had been benefiting from airing directly after The Walking Dead. But with the latter now on a winter break, Badlands has seen its audience plummet. Same-day ratings for the first four episodes of the show go like this: 6.4 million, 4.8 million, 5.2 million, 2.4 million – the latter figure being the first week in which it didn’t have a boost from The Walking Dead.
This isn’t necessarily a problem for Badlands. It’s possible that, without TWD in the schedule, fans of the futuristic martial arts show have decided to record it and watch it another time (maybe earlier the next day). The real test of whether the show has managed to build a loyal audience will come with Live + 3 Day or Live + 7 Day ratings. That said, even at its new lower level, it’s still a strong shout for a renewal.
Moving away from renewals, this week saw the launch of a show that may soon be talked about as the latest Scandinavian hit.
Gasmamman (Mother Goose) is being described as Sweden’s answer to Breaking Bad. The story follows a mother-of-three who takes over the family’s illegal marijuana business after her husband is shot in a drug deal gone wrong.
The Endemol Shine-produced show is currently airing on pay TV platform C-More and will shift to Kanal 5 in spring 2016.
In an interview with Reuters, lead actress Alexandra Rapaport said: “When we pitched this we talked about it being a kind of Erin Brockovich meets Breaking Bad. The Bridge and The Killing were big inspirations for us. But I think we also add some humour to it, which is why we compare it to Breaking Bad.”
The Reuters report says the show’s producers plan to make four seasons in total.
The end of July is not an especially busy time in terms of greenlighting scripted shows. Any TV executive with a shred of sense is on holiday right now, recharging their batteries before the all-important autumn season slams into action.
Having said that, HBO has made a couple of interesting announcements in the last week. First, it ordered a second season of The Brink, a comedy that takes a satirical look at geopolitical crises (season one focused on Pakistan). Soon after, it announced that it had greenlit a miniseries about the racist murder of 14-year-old Emmett Till in Mississippi in 1955.
The latter project is significant both because of its personnel and its subject matter. In terms of the former, it is being produced by Will Smith and Jay-Z – a nice shot in the arm for the TV industry’s credentials. As for subject matter, it is a sobering time to retell the story of Till’s murder, with so much racial strife in the US right now. The Till tragedy became symbolic of racial prejudice in the southern US, having a big impact on the civil rights movement.
The Smith/Jay-Z project is being developed in partnership with Overbrook Entertainment’s James Lassiter, Roc Nation’s Jay Brown and director Aaron Kaplan. No writer has been attached yet but it is expected to run to around six hours of television.
Another greenlight this week is BrainDead, which US network CBS has given a straight-to-series order. BrainDead is from Robert and Michelle King, the married team who are also the creators and exec producers of long-running CBS show The Good Wife.
Due to air in summer 2016, BrainDead centres on a young woman as she gets her first job in Washington DC. It will be executive produced by Ridley Scott, David Zucker and Liz Glotzer for CBS Television Studios, Scott Free Productions and King Size Productions, all of which were also involved with The Good Wife.
While summer isn’t a great time for production announcements, there are usually a few acquisitions stories of note, as broadcasters look to make last-minute additions to their schedules. European pay TV broadcaster Sky, for example, has picked up the rights to NBC thriller Aquarius for broadcast in the UK, Ireland, Germany and Austria.
This is in addition to a deal earlier this year between Sky Italia and the show’s distributor ITV Studios Global Entertainment.
Starring David Duchovny (The X-Files), the 13×60’ series is set in 1967 at the height of the Summer of Love. Duchovny plays LA homicide detective Sam Hodiak, whose investigation into a missing girl leads him into the dark activities of a strange cult run by notorious killer Charles Manson.
The show will debut on Sky in the UK and Ireland on August 11, before rolling out in the other territories later. All told, the Sky deals will take the show into 21 million European households. Other dramas to have been shown across the entire Sky network include HBO’s Game of Thrones and Sky original production Fortitude.
In other acquisition news, US cable channel Syfy has picked up the US rights to Wynonna Earp, a live-action television series based on the IDW Publishing comic created by Beau Smith. With an initial order of 13 one-hour episodes, Wynonna Earp is a fast-paced, contemporary thriller that follows Wyatt Earp’s great-granddaughter as she battles demons and other supernatural beings.
Emily Andras (Lost Girl, Killjoys) developed the series for television and will serve as executive producer and showrunner. Wynonna Earp will be produced in Calgary by Seven24 Films, and distributed by IDW Entertainment. Production is slated to begin in August.
“Wynonna Earp is a unique contemporary western that will bring high-octane, full-throttle, supernatural action to Syfy,” says Chris Regina, the channel’s senior VP of programming. “It is wildly imaginative and we are excited to work with Seven24 Films, IDW Entertainment and Emily on this truly original concept that will showcase fun, stylised visuals and pure escapism.”
In the absence of new shows to announce, one way networks keep up interest is by drip-feeding casting announcements linked to upcoming shows. This week, for example, it was revealed that supermodel Naomi Campbell will join the cast of FX’s American Horror Story: Hotel.
Already booked into Hotel is Lady Gaga, whose participation was announced earlier this year. American Horror Story is an anthology show, which makes this kind of bold casting decision easier than in the case of long-running episodic or procedural dramas – a trend that will feature in the upcoming summer magazine issue of Drama Quarterly.
Among the week’s most noteworthy strategic developments is a report that Amazon is going to increase its presence in India with the launch of its Prime service. According to India’s Economic Times, Amazon is planning to invest up to US$5bn in the country, some of which will be dedicated to creating local content.
The online giant has already hired Nitesh Kripalani to oversee its content strategy. Kripalani’s career to date has seen him spend five years at Sony, overseeing a number of initiatives including the premium video-on-demand brand Sony LIV.
Finally, for anyone who has been following the progress of M Night Shyamalan’s Wayward Pines, the show finished its first run of 10 episodes strongly on Fox in the US last week. Overall, the show has been a success, picking up a lot of viewers on a time-shifted basis.
Fox has not yet said whether it will renew Wayward Pines, but Shyamalan says he is open to the prospect of producing a new season.
Whether it’s acquiring a finished show, going it alone, adapting a format or coproducing with international partners, there’s a multitude of options when it comes to buying and selling quality drama. DQ asks the experts what works best for their business.
Scripted content is in strong demand around the world. Premium pay TV broadcasters, SVoD platforms and mainstream free-to-air channels are all on the hunt for signature shows that can define and uplift their services. And so are international programme distributors, which are battling it out to secure the rights to piping-hot global drama properties.
One broadcaster in the midst of this frenetic activity is Canal+. Explaining the way the French pay TV broadcaster works, Aline Marrache-Tesseraud, head of acquisitions, foreign fiction, says: “Canal+ is a premium channel. Our subscribers come to us to find something they can’t find anywhere else in the landscape, so we give them a mix of original programming and shows acquired from the US and Europe.”
On the originals front, Canal+ has backed an eclectic mix of titles including Braquo, Les Revenants, The Tunnel, Barbarella and Versailles. If there’s a point worth making about this group of shows, it’s that they are all capable of playing well on Canal+ or in the international markets. Braquo and Les Revenants, although French-language, have the kind of style and pacing that appeals to international audiences. The Tunnel is an Anglo-French copro with Sky Atlantic that neatly bridges the two cultures. The remaining two productions, both epic in scale, are being produced in English to appeal to the global drama market.
As for Canal+’s acquisition slate, Marrache-Tesseraud has picked up a wide range of top titles including Wayward Pines, House of Cards, The Honourable Woman, Game of Thrones and True Detective. “We are looking for modern, unique shows, preferably serialised,” she says. “We generally get involved at an early stage by pre-buying the rights.”
Pre-buying, as opposed to waiting for shows to be completed, generally costs more. But it has two advantages. First, it allows a broadcaster to get to a hot property ahead of rivals. Second, it means they can air the production as quickly as possible, thus minimising the risk of people pirating the content.
Earlier this year, for example, Marrache-Tesseraud acquired Wayward Pines from Fox International Channels, a move that gives it exclusive first-window rights in France and enables it to air episodes on the same day as they go out in the US. Explaining the show’s appeal, she says: “It brings together highly talented signature cast and crew, and is headed by Oscar-nominated director and producer M Night Shyamalan.”
Drama is also a critical consideration for Stephen Mowbray, head of SVT International, the commercial arm of Swedish public broadcaster SVT. Echoing Marrache-Tesseraud, Mowbray says: “There is a big appetite for drama on TV. But there is a limit to how much we can make ourselves. We generally have two nights a week for originals and support that with acquisitions, hand-picking the best drama from around the world.”
Although SVT is a free-to-air pubcaster, Mowbray says he is buying similar dramas to pay TV broadcaster Canal+. But he is not enthusiastic about everything on offer: “When people say this is the golden age of drama, they are talking about short-run serials and miniseries, which are very flavoured in tone. We’re seeing a nichification of drama that can create a mismatch with what channels want. For example, the growth of niche products can be at odds with the need for procedural dramas.”
But Mowbray stresses that free channels must also take risks if they are to keep their audiences happy. “In our region, HBO Nordic acquired Penny Dreadful and Viaplay acquired Transparent, neither of which would fit on free TV. But we also need to make sure we challenge our audience. We can’t give them Downton Abbey every night.”
A key issue for Mowbray is that the amount of good content on the international market is perhaps not as voluminous as observers might imagine: “We have six primetime slots a week, which makes our channel a very hungry monster. But not all of the content coming out of the US is good enough. The top 10% can blow your mind, but the rest is dross.”
The kind of factors facing Canal+ and SVT are mirrored within the acquisition and development divisions of leading drama distributors. While they are not the end-users of scripted content, they have to make similar judgement calls when investing in projects that they hope to sell on to broadcasters and digital platforms at a profit. Is it possible, for example, to make shows that work for both the nichified world of pay TV and the mainstream tastes found on free TV? Or does it make more sense to run a broader development slate that caters to both camps?
Caroline Torrance, head of scripted at Zodiak Rights, was brought in last spring to do two things. “Firstly, to head internal drama development at our three main drama producers (Touchpaper, Yellowbird and Marathon), and secondly to look for drama to acquire,” she says.
Torrance’s assessment is that there are “huge opportunities for all kinds of drama. On the origination side, Marathon is involved in the Versailles project, while Yellowbird has been working on Occupied, a 10-part series about a Russian “silk glove” invasion of Norway, based on an idea by novelist Jo Nesbo. On the acquisitions side, we have had a lot of success selling French shows Braquo and Les Revenants right around the world.”
Zodiak’s slate, all of which is originated in Europe, is interesting because it goes some way towards answering Mowbray’s concerns about the volume of quality US content available. It also suggests that the market is more open to challenging content. A few years ago, there would have been limited interest in a show like Occupied, which seeks to tell a political story in three languages (Russian and Norwegian characters speak in their own language and in English when talking to each other). But after the success of Lilyhammer and The Bridge/The Tunnel, it looks like a real prospect.
Similarly, a French-language show like Les Revenants would not have fared as well a few years back. However, Torrance says: “I’ve heard it described as niche, but it has sold around the world. Selling Les Revenants to Channel 4 in the UK was significant in terms of the kind of prices it is possible to charge for non-English-language content.”
Notwithstanding the new appetite for risk in the drama sector, Torrance says “distributors have to offer all types of product.” Addressing Mowbray’s point, she adds: “There is still a role for procedurals, which is why we acquired Canadian series The Pinkertons (a 22-parter about the activities of the famous detective agency in 1860s America). That has procedural-style stories-of-the-week coupled with serial elements.”
Drama acquisitions are also a key objective for Noel Hedges, SVP and head of acquisitions at Modern Times Group-owned distributor DRG. “Eighteen months to two years into the new MTG ownership, there is a real desire to grow a diverse slate of drama. We think our strategy really started bearing fruit with what we launched at Mipcom.”
One of DRG’s biggest investments to date is in Babylon, a comedic look at the people and politics associated with the frontline of modern policing. Directed by Oscar winner Danny Boyle and written by Bafta winners Sam Bain and Jesse Armstrong (Peep Show), the six-part commission for Channel 4 aired between November and December last year.
Echoing points raised earlier, there is an edgy tone to the drama that won’t make it suitable for all broadcasters. But that is something Hedges is comfortable with: “We’ve worked with Sam and Jesse before so we knew the show would have a challenging tone that wouldn’t appeal to everyone. But you have to balance the prescriptive commercial elements you’re looking for with surprise, originality, and uniqueness. As with all shows, we went through a checklist of what we were looking for and ticked enough boxes. What you can’t afford to invest in is boring TV – you wouldn’t get anywhere with that.”
Hedges doesn’t mind if a drama’s “wrapping” is unusual as long as it has strong stories and characters. Other titles DRG has picked up this year include Strange Empire, a 13×60’ series from Canada that focuses on three women living on the Canadian border in the 1860s who are brought together by a spate of brutal murders. DRG also has a first-look deal with NRK in Norway, which has brought it such titles as Mammon and Eyewitness. The latter is a six-part thriller series about two teenage boys, secretly in love, who are key witnesses to an underworld murder. Terrified for their lives and fearful about bringing their relationship into the open, they agree never to reveal what they saw.
Of course, distributing drama isn’t always about battling to place shows with reluctant buyers. Some of the time it’s about trying to make careful commercial judgements about who to licence content to. A big trend in the market right now is for channels or platforms to offer big sums of money up front to try to secure exclusivity on a show. But while this may seem attractive, Hedges advises caution: “It’s not always about upfront cash. The decision you make on the first window can affect the life cycle of the show. You may be better off accepting a lower offer at the beginning because of the valuable windows to come later, as opposed to cashing in straight away.”
SVT’s Mowbray makes a similar point, arguing that free-to-air channels can play a role in building a brand: “I think it’s difficult to build a brand from Netflix. They had The Fall and no one knew it existed. It’s hard for them to launch a lot of first-run content. With us, we create value.”
While all of the above agree there is a healthy market for acquired drama, they also acknowledge that most audiences prefer homegrown stories. Hedges sums this point up neatly: “Local production can define a channel much better than acquisitions. Audiences like to see domestic faces in domestic situations.”
The reason why there isn’t more original production is, understandably, cost, but there are a couple of ways broadcasters can narrow the price differential between origination and acquisition. One, says Hedges, is acquiring drama formats, since this allows a broadcaster to create an original show without having to invest as much in development or production. “We represent Doc Martin, which sells well in some markets as a finished British show. But, where it doesn’t, we can still make money by licensing the remake rights,” he explains. “It’s another opportunity.”
Zodiak’s Torrance agrees: “We’ve seen a huge increase in demand for scripted formats. Broadcasters want local shows but local production is a risk. So in formats they are looking for a measure of success. They want to learn from what has been done – things that worked and things that didn’t.”
The formatting business is now a big part of the international drama scene and has opened the door to a wider pool of content suppliers. Israel’s Keshet Media Group, for example, had a huge breakthrough when its drama series Prisoners of War was adapted by Showtime in the US as the acclaimed Homeland. In November 2014, Keshet UK executive producer and head of scripted coproductions Sara Johnson revealed that another of its titles, The A Word, was to be remade by the BBC.
A very different proposition from political thriller Homeland, The A Word is a comedy drama that focuses on a young couple who learn that their son is autistic. The UK version will be written by Peter Bowker (Viva Blackpool) and coproduced by Fifty Fathoms Productions, Tiger Aspect Productions and Keshet UK, with plans for the six-part show to appear on BBC1 in early 2016.
The decision to make a UK version first, as opposed to going to the US, is about giving the property plenty of time to establish itself in the international market. “Keshet looks at the slate as a whole and makes decisions about where we should go and what should we do with each property. With The A Word, we had real interest from the UK and a fantastic writer, so we decided to give it time to develop in this market.”
In terms of the long-term sustainability of The A Word, Johnson says it is important to stay closely connected to the remake process: “We’re very flexible in how we look at deals because it has got to make sense financially for everyone. And we love working with local professionals like Patrick Spence at Fifty Fathoms. But it also matters to us that we are creatively involved because we care deeply about our shows.”
Creating a formatted version of a show can have a positive impact on the commercial appeal of the original. In the case of Keshet’s Prisoners of War, the success of the US adaptation Homeland boosted sales of the original show and helped it realise further format deals in Russia, Turkey and Mexico. And sometimes formatting is the only viable option for getting a show away in a market. In Turkey, for example, channels are only interested in acquiring remake rights to shows (which then can have a renewed life selling on in the Balkans and Middle East).
But it’s not always advisable for rights holders to rush into the format market, says DRG’s Hedges. “It depends on the investment you’ve made. If you need to recoup quickly, then a format isn’t necessarily the right idea because it can be a long time before you see a financial return.”
Torrance agrees: “There are always strategic decisions about whether to sell or hold back format rights. It’s almost like another window. Generally, though, format deals come when there are lots of episodes.”
The other middle ground between origination and acquisition is to pursue a shared-risk scenario such as coproduction. As with formats, this model has become prevalent in recent years as the scale and ambition of drama has increased.
Unquestionably, copros have enabled some superb shows to get made. But with most high-profile projects involving a minimum of two broadcasters, two producers and a distributor, they come with a number of creative and commercial challenges. For a start, copros need to have ideas that will travel internationally and casts that are acceptable to everybody involved. A decision also needs to be made about editorial tone and series structure, because this will determine whether it is more suitable for free TV or pay TV (or, ideally, both).
The issue of writers/showrunners is also a sensitive one, because not all writers are trusted to deliver the goods – even if they are talented enough to do so, says Donna Wiffen, the former FremantleMedia head of worldwide drama who is now MD at indie Duchess Street Productions. “There is a practical problem with authored pieces,” she says, “which is that there are only so many writers that broadcasters will commission. It’s difficult to get a show over the line with new talent, which means you can end up with a bottleneck.”
Wiffen joined her current company four months ago. It is backed by investment firm Bob & Co, which is well established in film but wants to extend into TV (echoing a broader shift in the business). “We have a diverse slate at the early stages of development,” she says. “One of our major projects at the moment is an epic saga about two families based on a popular book series by Jeffrey Archer called The Clifton Chronicles.”
Broadcasters familiar with the copro process say the best scenarios are where the partners engage in a strong, balanced dialogue. Explaining how his company became involved in the world of scripted coproduction, Nacho Manubens, senior VP of drama at Atresmedia in Spain, says: “A3 Media has two of the main channels in Spain, Antena3 and La Sexta. Most of our drama is produced for A3, and in the last few years some of our bigger productions have started to travel well internationally. Recently, we started thinking about building a solid brand for La Sexta but we had tighter budget limitations. So we decided to go to the international market in search of coproduction partners.”
This resulted in a partnership with BBC Worldwide (BBCWW) on The Refugees, a drama series produced by Spanish production company Bambu about a group of people who travel back to the present time from the future. “We identified the show we wanted to do and then tried to create a fair partnership,” says Manubens. “BBCWW brought 50% of the budget and is selling the show internationally while La Sexta has premier rights.”
Key to the success of the project, says Manubens, was starting the copro dialogue early and maintaining a good working relationship throughout. “Everyone always had a say and BBCWW was very involved with the writing. We made a lot more versions than on a regular Spanish show.”
Manubens says it was important to be clear from the outset about La Sexta’s requirements. “There is a trend towards miniseries but that is hard for us because of the economics of production and marketing. So we are more focused on creating returning series.”
Budgets also played their part in the way the story was written, adds Manubens. Although The Refugees is “a big premise,” costs were controlled by telling the story told through the eyes of one particular family.
Ulrich Krüger, senior editor in international coproduction and documentaries at Germany’s ProSiebenSat.1, agrees with Manubens about the importance of having an equal partnership in copros. But he says his company has had bad experiences with US firms: “Our experience of US companies is that the moment they have a part of a project, they think it is their show. Their response to European partners wanting creative input is ‘we know what we are doing,’ which is not a conversation we want. My advice in dealing with US studios and broadcasters is to go as late as possible because they are not used to discussing ideas.”
Pro7Sat1’s general policy is to go for acquisitions rather than copros because “acquiring is simple,” says Krüger. Having said that, the broadcaster has a good relationship with Tandem Communications, coming in as a copro partner on projects like The Pillars of the Earth, World Without End and Labyrinth.
Most recently, it acquired season one of Tandem’s cross-border crime thriller Crossing Lines, and then stepped up as a copro partner for seasons two and three. “We didn’t coproduce the first series because it felt too expensive, but we acquired it. It went well for us so we decided to get more involved. We only go for coproduction when we see an opportunity for editorial input that will help a show in our territory. By paying more, we have greater say about scripts and casting.”
Like Manubens, Krüger says the key to coproduction is to “start early and choose your partner wisely.”
A final word of wisdom comes from Keshet’s Johnson: “Make sure to leave your ego at the door.”
Creative Europe funding
Raising money to make a drama coproduction isn’t easy. But there is some welcome support from the European Union’s funding programme Creative Europe, which offers grants worth up to €1m (US$1.08m).
Agnieszka Moody, director of Creative Europe’s UK desk, says the EU’s TV Programming scheme aims to help European independent producers create shows that have the potential to circulate within the EU and beyond. The total programme budget for 2015 (across all genres) is around €11.8m. Drama producers have two options: either they can apply for up to 12.5% of their production budget (capped at €500,000); or, if the project in question is a drama series coproduction (minimum duration 6×45’) with a production budget of at least €10m, they can apply for a grantof up to €1m.
To qualify as a coproduction, Moody says the project needs to involve at least three partners from different states. The latest point at which producers can apply is the first day of principal photography. At the time of submission, 50% of the estimated total financing of the production budget must be guaranteed from third-party sources of finance. In addition, 50% of the total financing must come from European sources.
A number of projects have been successful in securing funding down the years. These include Wallander, Millennium, Jamaica Inn, Occupied and Hinterland. The €1m upper limit has only recently been introduced, but projects to have secured this figure include Warp Films’ The Last Panthers, The Returned and The Bridge. The latter two productions received awards for their second series, says Moody. Drama series is the only genre for which sequels or second and third seasons are eligible.
According to Moody, last year saw 135 applications, of which 53 were selected. Of these, 11 were TV dramas, with four receiving €1m. For 2015 there are two deadlines in January and May. Worth noting, says Moody, is that an unsuccessful project can be resubmitted (once).
So many shows that appear in this column start strongly but then fade away, like books that people can’t be bothered finishing.
A clear exception to this is Game of Thrones, which has just come to the end of its fifth season. Packed with the usual array of murder, mayhem and fan-enraging reversals of fortune, the final episode of the latest run, Mother’s Mercy, brought a record-breaking 8.1 million viewers to HBO in the US (not including any laggards who will watch on a delayed basis).
This season is approximately one million up on season four, which itself was a massive hit. Only AMC’s The Walking Dead has achieved higher ratings on US cable.
Game of Thrones has also proved a big hit for Sky Atlantic in the UK, where the show has averaged 1.2 million across its 10-episode run. When time-shifted viewing is factored in, the figure is more like two million. These numbers are well ahead of season four, and more than fives times higher than the channel’s slot average.
But Game of Thrones’ success shouldn’t be allowed to overshadow a superb launch for Kudos-produced robot thriller Humans on Channel 4. An eight-part coproduction with AMC, the show achieved a record-breaking four million viewers, making it C4’s biggest ever original drama series launch. With an 18.3% share, the show more than doubled the channel’s 21.00 slot average.
Humans’ strong ratings have been reinforced by generally positive reviews. The Guardian called the show “a clever, high energy thriller,” while Neil Midgley, writing for Forbes, said Humans “hasn’t yet reached Blade Runner’s standards of greatness. But its first episode offered a pretty good start.”
Slightly less enthused was The Telegraph, which concluded: “With seven episodes still to come, it’s hard to imagine working up strong feelings for these robots with feelings. As a dystopian sci-fi police thriller satirical family drama, Humans felt like it was suffering from conceptual overload and in need of a reboot.”
All that remains then is to see how the show holds up in episode two. While there is bound to be a drop-off as some of the audience pull out and others set their TVs to record the series, the degree of the decline will tell us a lot about the Humans’ future.
One thing the series has in its favour is that it was scripted by Sam Vincent and Jonathan Brackley, whose staying power was proven with spy drama Spooks and its recent movie spin-off Spooks: The Greater Good.
Back in the US, one show that seems to be doing well enough to merit a renewal is Fox’s Wayward Pines. Directed by M Night Shyamalan and starring Matt Dillon, the show’s on- and off-screen talent meant it was always likely to get off to a good start. But five episodes into its first 10-episode season, it is holding up very well, with same-day ratings coming in around the four million mark.
Indeed, the general consensus is that episode five (The Truth) is the strongest so far, a fact that has boosted Wayward Pines’ ratings and got the fanbase buzzing. While some critics have complained that the set-up of the series has been too slow, the fact is the audience’s loyalty to the show is also evident through its strong catch-up ratings, which usually add a further three million or so viewers in the week after an episode’s launch.
With particular strength among 18-49s, it would be surprising if Wayward Pines didn’t earn a second season. The real question now is just how good can it become creatively.
Of course, measuring a show’s success has become much more complex in recent years, thanks to the number of different platforms on which people can view. While there’s still a temptation to judge a show on the size of its first-night ratings, executives are having to hold their fire until all of the data has trickled in.
There was a good case in point this week. US cable channel FX has just released figures that show the last season of its anthology series American Horror Story (AHS), entitled Freak Show, was FX’s most-watched programme ever when all viewing platforms are counted. Based on the latest tally of linear and non-linear viewership, ratings research firm Nielsen estimates that roughly 12.64 million viewers on average watched Freak Show. Not only does this surpass the previous season of AHS, it is also higher than the seventh and final season of Sons of Anarchy (11.69 million). Particularly impressive were the show’s VoD viewing figures. At 12% of the total, they were the highest percentage among any FX show to date.
Interestingly, AHS Freak Show finished in January – so it has taken FX half a year to make the above announcement. While the channel no doubt had an unofficial indication of the numbers a few months ago, it’s still a useful warning against snap judgements.
This isn’t to say that overnight ratings no longer have any value. But the real indicator of a show’s appeal is not just the size of its live audience, it is the ability to sustain that level over a number of weeks. As explained earlier in this column, shows that shed audience rapidly from episode one to two are usually in deep trouble. For the record, American Horror Story returns for season five in October and will have pop icon Lady Gaga among its new cast members.
Finally, the second series of HBO’s True Detective franchise debuts this Sunday. This, of course, means it is too early to make snap judgements based on overnights. But it isn’t too early to make a few premature observations based on reviews.
For the most part, reviewers that have watched the show have displayed due respect to the writing talents of Nic Pizzolatto and a cast that includes Vince Vaughn, Rachel McAdams, Colin Farrell and Taylor Kitsch. But they are split over the merits of the show. In the pro camp are Deadline and The Telegraph, with the latter declaring “Pizzolatto has made a triumphant return.”
Less palatable for HBO is The Baltimore Sun’s pithy summary: “This season (Pizzolatto) seems content with borderline stereotypical depictions of emotionally maimed, out-of-control, angry cops that have unfortunately become a staple of TV drama.”
Now all we need is for the audience to have their say.
This week, BBC1 in the UK launched Jonathan Strange & Mr Norrell, a seven-part drama based on the period fantasy novel by Susanna Clarke. Scheduled at 21.00 on Sunday evenings, the first episode attracted 4.5 million viewers. While it is highly likely that this number will be boosted once time-shifted viewing is included, the live audience is probably at the lower end of expectations.
It is lower, for example, than Poldark and The Casual Vacancy – both of which previously occupied this slot. And it’s also less than the slot average for the last 12 months (which is just over five million).
UK newspapers were divided over the appeal of the show. The upmarket titles were generally upbeat, with The Independent calling it “a real treat” and The Daily Telegraph describing it as “a brilliant adaptation of the novel.” However, The Daily Mail was not impressed, acerbically noting that: “If your idea of a racy evening is chit-chat in the dons’ common room at an Oxbridge college, then perhaps you found this entertaining. For the rest of us, it was so deathly dry it might as well have been dehydrated.”
The Spectator, meanwhile, hedged its bets, concluding that: “In theory, Jonathan Strange & Mr Norrell is to be congratulated on its bold rejection of Sunday-night convention. In practice, it hasn’t yet banished the feeling that it might end up seeming a bit silly.”
As a public broadcaster, the BBC is not compelled to chase ratings. But it seems likely that Jonathan Strange & Mr Norrell suffered from the fact that there was no compelling PR hook on which to hang its launch. The Casual Vacancy benefited from the fact it was based on a book by JK Rowling (who takes Harry Potter fans with her whereever she goes), while Poldark had two things going for it. Firstly, it was a remake (thus appealing to older audiences). Secondly, there was a lot of media interest in lead actor Aidan Turner’s six-pack (thus appealing to younger female audiences). Having failed to ignite audience interest for episode one, JS & Mr N is now in a fragile position and the BBC will need to hope that The Daily Mail’s assessment is wide of the mark. If so, it may regain momentum from word of mouth/social media.
Of course, all of the above might prove to be overly pessimistic if the show does pick up a lot of additional viewing via time-shifting technologies. In this respect, there is encouragement from the US this week, where Wayward Pines has just recorded the highest ever percentage increase of any Fox debut show as a result of time-shifted viewing. Having debuted on May 14 with around 3.75 million viewers, live plus-three ratings surged by 65% to 6.2 million.
As is the way these days (to avoid piracy), Fox made Wayward Pines available to the international market as soon as possible after the US launch. It then pumped out a series of figures that suggest the show has been well received. In Australia, says Fox, the show “increased the performance in its primetime slot by 683% and outperformed The Walking Dead’s season five premiere.” In Germany, meanwhile, the show increased its slot average by 158%. As for Norway, the Wayward Pines premiere is the best series premiere for a new show ever for Fox Norway among viewers aged 12-plus. Portugal also tuned in. Here, the premiere was the most watched show of the day on pay TV.
Channels around the world debate endlessly about the relative merits of local versus international TV. The orthodox view is that audiences prefer local content because it better reflects their own life experience. One area where this thesis seems to break down, however, is in the world of scripted series. Here, there are still plenty of examples of US shows outperforming local rivals.
One case in point is UK pay TV channel Sky Living, which recently saw its origination budget cut for exactly this reason. In this case, the origination budget has been handed to sister channel Sky1 (so it can fund more ambitious projects), while Sky Living will place its emphasis on acquired shows. This decision makes a lot of sense when you see how Sky Living’s US dramas fare compared with its home-grown shows. Typically, US dramas like Bones and The Blacklist pull audiences of around one million-plus on the channel. By contrast, a recent showing of Eleven Films’ original three-parter The Enfield Haunting pulled in around 676,000.
This is actually a pretty good audience when compared with the channel’s slot average. And there’s no question it was a great piece of television. With a superb cast headed by Timothy Spall, Matthew Macfadyen and Juliet Stevenson, The Guardian called it “an outstanding chiller, beautifully directed and packed with big scares and superb performances.” Presumably, however, the problem lies squarely with the economics of pay TV. Acquiring a US show is usually cheaper than making a domestic original. And it typically offers a lot more episodes. Limited-run dramas like The Enfield Haunting require a lot of pre-transmission marketing and have limited amortisation value afterwards. Overall they are better-suited to free-to-air channels which are able to mobilise big audiences more easily. Having said all that, however, hats off to Eleven for a great piece of TV. All eyes will now be on Nazareth, which the company is reportedly developing for Fox in the US.
Still in the UK, BBC4 has become an important staging post for non-English-language dramas hoping to establish a presence in English-speaking markets. Titles to have aired on the channel include Wallander, Spiral, Borgen, The Killing, Inspector Montalbano, The Bridge, Salamander and Hostages. The basic rule is that if a foreign-language show can rate well on BBC4, it stands a chance of selling into the US as either a completed series or a format. And if that happens, it may then pick up interest from other markets that wouldn’t have considered it prior to a US deal. In some ways, BBC4 has become a victim of its own success, because it is now experiencing competition for this category of shows from UK and US pay TV channels (such as E4 and Sundance) and SVOD platforms. But it remains an important player.
All of which brings us to 1864, a Danish drama that has just debuted on the channel with an audience of 642,000 at 21.00 – well ahead of the slot average. An eight-part series that originally aired on DR1 in Denmark, 1864 tells the story of a war between Denmark and the German Confederation (as it then was). The show is significant for the Danes, which are trying to demonstrate to the world that the breadth of their storytelling skills goes well beyond spooky police procedurals. Borgen went some way to proving that point, but 1864 shows a new side to Denmark’s production prowess. Also look out for Follow The Money, another DR series that has been acquired by BBC4. Coming soon, this is billed as “the story of speculators, swindlers and corporate princes and the crimes they commit in the pursuit of wealth.”
Sue Deeks, the BBC’s head of programme acquisition, says: “Follow The Money is a stylish, intelligent, thought-provoking and complex multi-stranded drama. We are delighted to have another superb series from DR on BBC Four.”
After months of Fox Network’s new drama Wayward Pines being described as ‘the new Twin Peaks,’ there was surely a degree of devilry in Showtime’s decision to confirm Twin Peaks’ return on the day that Wayward Pines launched. Now, presumably, we can look forward to a couple of years of Pines vs Peaks comparisons from fanboy websites.
Twin Peaks, for those of you too young to remember it first time around, was a surreal crime drama from warped genius David Lynch and his collaborator Mark Frost. Starring Kyle MacLachlan as FBI agent Dale Cooper, it focused on the death of homecoming queen Laura Palmer and the subsequent investigation. The revived show “will continue the lore of the original series, providing long-awaited answers for the series’ passionate fan base,” said Showtime. Lynch and Frost will write the new series (which will comprise at least nine episodes), with Lynch directing.
The greenlight comes more than seven months after the original announcement of Twin Peaks’ return, following the resolution of a budget dispute that had previously seen Lynch walk away from the project.
There’s no question that the announcement will generate a lot of excitement among Lynch fans. But it will be intriguing to see whether Lynch and Frost are able to instil the reboot with the same level of ingenuity and originality that brought huge swathes of viewers to the show in the first place. There’s no question that series one (1990) was unmissable TV. But series two didn’t hold audience attention in the same way, leading to an inevitable fall-off in ratings.
The first season, which consisted of eight episodes, launched to 34 million viewers on ABC in the US and regularly attracted 16-19 million. Season two (1991), which had a rather ambitious run of 22 episodes, started at around 19 million but was sub-10 million by episode 13 – dropping as low as 7.4 million on episode 20. Expect the first episode of Showtime’s run to premiere strongly, then watch to see whether it can sustain that audience across the entire run.
The return of Twin Peaks has overshadowed a number of other interesting announcements this week. Chief among these is the news that Turner-owned networks TNT and TBS plan to double the volume of original series they offer during the next three years and head in a more “daring” and “in your face” direction.
This is no surprise given the fact that other US channels like AMC, FX and A&E have stolen a march on the scripted front. Projects being lined up for TBS include a 10-part comedy called Wrecked, about a group of strangers forced to adapt when they’re stranded on a remote island (cast includes Zach Cregger, Ally Maki and Asif Ali), and a pilot called The Group, about alien abductions. TNT, meanwhile, has ordered two pilots. These are Animal Kingdom, a crime drama set in a surf community; and Will, a light-hearted look at William Shakespeare’s wild early years.
Over in the UK, the success of Wolf Hall has encouraged the BBC to develop another Hilary Mantel novel – A Place of Greater Safety. Set during the French Revolution, the drama is being written by Ripper Street’s Richard Warlow and produced by DNA TV. The 1992 book focuses on the lives of famed revolutionaries Danton, Desmoulins and Robespierre. Already in the works at the BBC is an adaptation of Mantel’s Bring Up the Bodies, which picks up where Wolf Hall left off.
Stanley Tucci, best known for a series of superb comic roles in Hollywood movies, is now living in the UK – which is great news for the European TV business. After a recent outing in Fortitude, he has now been cast as Captain Hook in an ITV adaptation of Peter Pan. Produced by Headline Pictures, the new version of JM Barrie’s classic tale is called Peter & Wendy, and is being billed as “a contemporary two-hour special.” Adrian Hodges (The Musketeers) is writing the script and singer Paloma Faith will play Tinker Bell.
Also new from ITV is Jericho. Created by Sherlock and Doctor Who writer Steve Thompson, it focuses on an 1870s Yorkshire shanty town called Jericho, which is populated by “pioneers, settlers and outcasts.” On paper, it sounds like a cross between The Village and Peaky Blinders.
Jericho will be distributed internationally by ITV Studios Global Entertainment. The series will be shot in North Yorkshire, which presumably means it will have access to financial support from Screen Yorkshire’s Yorkshire Content Fund.
As we’ve noted in previous weeks, the US scripted market has received a lot of scrutiny in recent weeks because of the upfronts season. Interestingly, social media platform Twitter decided to monitor chatter about the new shows coming through and draw up a list of the ones that have been generating the most buzz. The ones that came out on top from the big five US networks were Scream Queens (Fox), DC’s Legends of Tomorrow (CW), Supergirl (CBS), The Muppets (ABC) and Heroes Reborn (NBC). There’s no guarantee these shows will go on to be big hits, but strong Twitter traffic suggests they can look forward to a healthy launch.
Finally, there is good news for Lookout Point and Tiger Aspect Productions, the companies behind period crime drama Ripper Street. Having been axed by the BBC in 2013 after two series, the show was rescued by SVoD platform Amazon Prime, which is supporting the production of its third series. Now, after generating strong results, Amazon has greenlit a further two series of Ripper Street.