Tag Archives: Welcome to Sweden

Parental guidance

Swedish comedy-drama Bonusfamiljen (The Bonus Family) became an instant hit when it debuted on SVT this year. With a third season already commissioned, co-creators Clara and Felix Herngren reveal how the series was inspired by their own relationship and why they think it can repeat its success overseas.

In Sweden – surely one of the most politically correct countries in the world – it’s no longer appropriate to say ‘step dad’ or ‘step mum’ because the phrases are seen to have negative connotations. So the term ‘bonus dad’ or ‘bonus mum’ has become common parlance.

Bonusfamiljen collaborators (L to R) Clara, Felix and Moa Herngren

Bonusfamiljen (The Bonus Family) is a Swedish comedy-drama that follows four characters who have gone through separations as they start new relationships with new partners and all the challenges this entails, from moving in together, coping with exes, raising each other’s kids, having new kids and so on.

Clara Herngren had the idea for the show, which launched earlier this year, when she found herself in this situation with husband and co-creator Felix Herngren, a famous Swedish comedian, actor and director, whose company, FLX, also produced the series.

Finding the pressures of sharing two families immensely challenging, Clara went to see a therapist and this eventually inspired her to fulfil a lifetime’s ambition: to become a therapist herself.

Overwhelmed by the number of people in bonus families who came to see her with the same problems she had faced, she soon realised it was a subject that resonated. “I thought, ‘Oh my God, I have to do a TV series about this,” she recalls, speaking at the Berlin Prix Europa festival, where The Bonus Family was nominated in the best drama series category. “I’d spent so long looking for the perfect drama and here it was, right in front of me.”

With Felix directing and collaborating with Calle Marthin and Moa Herngren (his sister), who is also in a bonus family, they formed a writers’ room and set to work. The result is a beautifully executed bitter-sweet comedy that opens a window on modern family life.

At the centre are Lisa and Patrik (played by Vera Vitali and Erik Johansson), a couple who both have children from previous relationships and now live together to create their own family. Viewers also meet their exes, played by Petra Mede and Fredrik Hallgren, and Lisa and Patrick’s therapists, played by Johan Ulveson and Ann Petrén.

Bonusfamiljen looks at the complexities of modern family life post divorce

It has proved very popular on Sweden’s public broadcaster, SVT. Such shows usually get between 700,000 to 800,000 viewers but Bonusfamiljen drew around a million, closer to the expected ratings of crime shows that traditionally are more popular in Sweden. Netflix distributes the series, which returns for a second season in January, to more than 100 countries outside of Scandinavia.

Making Bonusfamiljen, which is filmed in Sundbyberg, just outside of Stockholm, created a new set of issues for the husband-and-wife team. “We tried to work together once and we fought immediately, so we promised each other not to work together again,” admits Felix, but this time the process was different and turned out to be therapeutic. “This had a healing effect, because we could talk about someone else’s relationship that was exactly like ours, but not ours,” he continues. “From being a bit horrifying at first, it went to being something we talked about every minute; when we were waking up, eating breakfast, until late at night.”

“We get into character, we scream, we cry,” says Clara. “Felix was almost crying sometimes when he directed as it was so close to our real lives. Talking about these characters and asking, ‘Why did you feel like that?’ or ‘Why did you do that?’ I think gave both of us a better understanding of each other.”

Bonusfamiljen is set to be adapted in the US by NBC

Like all great ideas in the TV industry, Bonusfamiljen will get the remake treatment. NBC, which aired Welcome to Sweden (another FLX production, from US comedian Greg Poehler, about his experiences of moving to his Swedish girlfriend’s homeland) is developing an English-language version. It will be written and executive produced by David Walpert, (who has worked on series such as New Girl and Will & Grace). In Europe, the remake rights have also been sold into Germany and France.

The success of Bonusfamiljen abroad will also be interesting in the context of the region’s most famous export, Scandi noir. Can Swedish comedy travel in the same way that crime shows such as Wallander, Beck and Arne Dahl have?

“Not pure Swedish comedy,” says Felix, “because it’s too local, but a mixture between the two, drama and comedy, could work abroad I think.” He certainly knows this area, as he is very well known in Sweden for Solsidan (The Sunny Side), a series he starred in and co-created that revolves around Alex (played by Felix) and his partner who are expecting their first child as they move to Alex’s childhood home.

He has also had success with the film The 100-Year-Old Man Who Climbed Out the Window & Disappeared, which he directed, and its sequel. Both were coproduced by Netflix, which streams the films outside of Scandinavia and Germany.

His next directing project, Enkelstöten (The Simple Heist), about two middle-aged women who pull off a bank raid, is in the vein of Breaking Bad, where the most unlikely of heroes enters the crime world.

Swapping the male leads of the original 80s Swedish series and an earlier book on which it is based, The Simple Heist taps into how gender roles have changed over the years, in the same way Bonusfamiljen explores how family life is changing.

The show brought an impressive one million views to SVT

“Comedy that circles around how humans are, how families and relationships work, can travel quite well,” Felix believes.

Clara, meanwhile, is too busy with her real bonus family and the upcoming third season of the series, which will begin filming in April and air in 2019, to worry about success overseas. “I have no time and fall asleep by nine o’clock immediately,” she says. Besides, she was never a big fan of Scandi noir: “You don’t need murders and stuff like that; everyday life between people is so interesting.”

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Will C4’s robots return?

Emily Berrington as a 'Synth' in Humans
Emily Berrington as a ‘Synth’ in Humans

The finale of Humans’ first season airs in the UK this weekend and the show continues to do exceptionally well for Channel 4. BARB ratings for the first six episodes show there was an inevitable dip after stellar ratings for the first two parts, but that the show has stayed remarkably consistent since then. From episodes three to six, it recorded between 3.63 million and 3.93 million viewers (seven-day figures) – way ahead of anything else on C4.

With the show now approaching its climax, it would be a major surprise if it didn’t equal or surpass those figures for episodes seven and eight. And then a commission for a second season would look highly likely.

The only cloud on the horizon for Humans is that AMC in the US is not getting such good ratings with the series (which may place a question mark over its involvement in a second season), but the strength of the C4 showing ought to be enough to see it through.

Still in the UK, there was a strong showing for BBC1’s Agatha Christie adaptation Partners In Crime, which attracted 6.5 million viewers for its first episode (Sunday at 21.00). Starring David Walliams and Jessica Raine as amateur detectives Tommy and Tuppence, the six-part show is the channel’s biggest new drama launch since Poldark, demonstrating that Sunday evening is still a time when audiences like to spend time with familiar faces and brands.

Partners in Crime opened strongly for BBC1 on Sunday evening
Partners in Crime opened strongly for BBC1 on Sunday evening

Earlier in July, Sky Atlantic and Showtime announced plans for a third season of gothic horror drama Penny Dreadful. Looking at the final ratings for season two of the show on Sky Atlantic, it’s easy to see why. According to BARB’s seven-day data, the final episode attracted an audience of 544,000 – up from 450,000-500,000 for the previous few episodes.

With Game of Thrones finished for another year, Penny Dreadful became channel’s top-performing drama, some way ahead of The Affair (433,000) and True Detective season two (352,000). In the week following Penny Dreadful’s departure, nothing on Sky Atlantic managed to attract more than 315,000 viewers. The show has also been attracting attention internationally, securing a deal with Australian subscription VoD platform Presto last week.

In the US, MTV is halfway through the first 10-part season of Scream, a horror series that has been spun out of the iconic feature-film franchise. A strong debut saw the show attract six million viewers (live plus three), making it “the most watched new series premiere of the summer on cable with millennials,” according to MTV. In an added bonus, the first episode was also streamed more than 500,000 times on MTV.com and the MTV app.

Scream will get a second season after performing well on MTV
Scream will get a second season after performing well on MTV

Since then the ratings have dropped a little but stayed strong enough for MTV to announce a second season. At the midway point, 21 million viewers have tuned in to Scream on air while the series has generated 7.9 million streams across other platforms.

Speaking at the Television Critics Association’s summer event this week, MTV head of scripted programming Mina Lefevre said: “It has been a wonderful experience working with (Scream exec producer) Bob Weinstein and his team, who are such connoisseurs of this genre, and we are thrilled by how viewers have responded to the reinvention of Scream.”

Meanwhile, the US TV industry’s love affair with Scandinavia took a double hit this week. Following the news that Netflix has cancelled Lilyhammer, NBC announced that it has canned eOne’s low-rated comedy Welcome to Sweden. The show, created by Greg Poehler, did moderately well in season one but has fallen away badly in season two, with NBC pulling it from the air after just four editions of its 10-episode run.

Welcome to Sweden has been cancelled soon into its second run
Welcome to Sweden has been cancelled soon into its second run

Commenting on Instagram, Poehler said: “Due to some craptastically low ratings in the US, WTS is officially done. I am eternally grateful to all of our fans. When you make a show – and write, produce, obsess and act in it – all you want is for someone, somewhere, to tell you they appreciate it. There have been so many of you in both Sweden and the US that have done so, and every compliment has made me immeasurably happy. So, thank you. Thank you, thank you…”

In the Hispanic US market, Telemundo continues to make inroads into the audience share of its major competitor Univision. DQ reported on the success of El Senor de los Cielos last week, and now Telemundo says the finale of Tierra de Reyes (Land of Honor) attracted 2.39 million total viewers.

This helped make Telemundo the number-one Spanish-language network in primetime, beating Univision. It has also just launched Bajo el Mismo Cielo (Under the Same Sky), the story of a hard-working Mexican immigrant who crosses the border illegally and settles with his family in LA. Episode one attracted 1.72 million viewers and also hit 3.3 million global Facebook users with a 30-minute preview.

On the corporate front, the TV market is waiting to see the implications of the US$1bn merger between Banijay Group and Zodiak Media (announced this week). Between them, the two companies own approximately 45 prodcos.

Tierra de Reyes has helped Telemundo make up ground against Univision
Tierra de Reyes has helped Telemundo make up ground against Univision

While there are some complementary areas between the two businesses, there is also a lot of overlap in markets like the US, France and Scandinavia. In drama terms, the deal brings together companies including Touchpaper (UK), Yellow Bird (Scandinavia), Magnolia (Italy), Marathon Media (France), DLO Producciones (Spain) and Screentime (Australia and New Zealand).

Finally, this week’s big corporate ‘miss’ is Ryan Kavanaugh’s film and TV studio Relativity Media, which has filed for bankruptcy after racking up $320m in unpaid loans. Kavanaugh’s next-generation studio model, with its strong emphasis on data analysis, enthralled the industry for a few years but in the end couldn’t survive a number of high-profile box-office failures.

Speaking at Mipcom in 2013, Kavanaugh expressed his intention to get more into the TV business, expounding his theory that films “are perhaps the greatest TV pilots ever.” His goal at that stage was to sell five or six TV series properties a year. However, this never came to pass. The main TV titles to come out of Relativity have been National Geographic’s Act of Valor and Limitless, a spin-off of the Bradley Cooper-starring movie in the form of a series will soon air on CBS.

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