All posts by Andy Fry

US studios extend int’l footprint

December 5, 2016GreenlightBig Talk Productions, Chosen, Crackle, Fabrice Bailly, Fox Networks Group, Gone, Hilary Bevan Jones, Joerg Graf, Matthew Parkhill, Michael Edelstein, NBC Universal, NBCUniversal International Distribution, Neil Cross, Nickelodeon, Playmaker Media, Sapphire & Steel, School of Rock, Simon Maxwell, Sony Pictures Television, The Nine, The Ritual BathAndy Fry

NBC, Fox and Sony Pictures Television divisions have all announced major international projects this week. Andy Fry reports.

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Missing accomplished

December 2, 2016Hit & MissAll3Media, BBC, Billions, Cinemax, Homeland, Katrina Neylon, Keren Shahar, Keshet International, Masters of Sex, Ray Donovan, Rellik, Shameless, Showtime, Sky Atlantic, Sky Entertainment, Starz, StudioCanal, The A Word, The Missing, Twin Peaks, Zai BennettAndy Fry

Season two of BBC1’s crime drama The Missing ended this week after eight gripping episodes. Not everyone enjoyed the complexity or darkness of the show but those who stuck it out were rewarded with superb acting, compelling storytelling and a set of fresh and interesting locations, ranging from Switzerland to Iraq. The show’s achievement is made all the more remarkable by the fact it is an English-language show with a French cop as its moral compass. The show kicked off in October with an audience of 7.8 million (seven-day consolidated data). From there it dropped to around 6.5-7 million per episode, which is still a strong performance. For the most part it was also warmly received by critics, who felt it managed to successfully tie up its numerous loose ends. Speaking of the final episode, The Guardian said it was “fabulous” and that it “builds and builds in stomach-clenching tension.” The Telegraph’s critic was a mid-season convert, saying: “It turns out my cynicism was unfounded. The fast-paced, powerful denouement satisfied both heart and head; loose ends from the drama’s dual timelines were tied up; every plot thread reached its resolution. This was fiendishly plotted, stylishly delivered TV.” With a strong UK performance in the bag, The Missing 2 will now go into distribution courtesy of All3Media International. Already onboard is US premium pay TV platform Starz, which also aired season one. Given that the first season sold well around the world, it’s likely the new series will do well. The … Continue reading Missing accomplished →

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Africans tell their own stories

November 30, 2016The Writers RoomAn African City, Biyi Bandele, Bronwyn Berry, Generations, Hussein Kurji, Inkaba, John Kani, Mfundi Vundla, Nicole Amarteifio, Rhythm City, Shuga, The Samaritans, The Wild, Tinsel, UmliloAndy Fry

Countries like Nigeria, Kenya and South Africa are home to exuberant and intelligent TV writers who are taking control of the storytelling narrative of their continent.

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Japanese and Polish dramas make headlines

November 28, 2016GreenlightAmazon, Blinded by the Lights, DRG, Eurodata, Falling Water, Fuji TV, HBO Europe, Medici: Masters of Florence, Moribito, Mother, Netflix, NHK, Nippon TV, Operation Love, Shanghai Media Group, Three River Fiction, WatahaAndy Fry

Japanese exports and Polish originals lead the line this week, while there are also interesting insights from Eurodata TV Worldwide about the big trends in scripted TV.

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Networks seek feel-good dramas

November 25, 2016Hit & MissBBC, Call the Midwife, Charlotte Moore, Cherry Season, In Love Again, ITV, Keshet, Kevin Lygo, Ku’damm 56, La Fan, NBC, Next Summer, Oh My Venus, The A Word, The Durrells, The Secret Daughter., This Is Us, Yellow PeppersAndy Fry

While crime dramas still dominate TV schedules around the world, there’s a groundswell of opinion that it’s time for leading networks to commission a few more upbeat, uplifting series, reports Andy Fry.

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Writing shows with mass audience appeal

November 23, 2016The Writers RoomAnna Winger, Bright, Bucket, Capital, CBS, Deutschland 83, Dirk Gently's Holistic Detective Agency, Frog Stone, Hawaii Five-0, Hidden Truths, International Emmy Awards, ITV, Joerg Winger, MacGyver, Max Landis, Peter Bowker, Peter Lenkov, Snowpiercer, Stuart Urban, The Secret, TNT, Walcyr CarrascoAndy Fry

Peter Lenkov delivered a mainstream hit with CBS’s Hawaii Five-0, and now he’s played a part in MacGyver’s strong start. Meanwhile, we look the writers who picked up International Emmy gongs this week.

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Creative heavyweights step up development

November 21, 2016GreenlightAlan Ball, All3Media International, Baby Cow, Bull, Chris Leone, Fox, Killing Eve, Lee Daniels, McG, NBC, Neil Gaiman, Phoebe Waller Bridge, Robert Downey Jr, Singularity, Sonar Entertainment, Star, Swing Time, The Building, The Cut, The Halcyon, The Night Shift, Vimeo, Zadie SmithAndy Fry

Neil Gaiman, Alan Ball, Robert Downey Jr, McG and Zadie Smith are among the high-profile talents in the news, while Vimeo is continuing its expansion into the TV business.

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Classic sci-fi novels – TV’s new frontier

November 18, 2016Hit & Miss11.22.63, Amazon, Brave New World, Childhood's End, Foundation, HBO, Hulu, Hyperion, Red Mars, Spike, Stranger in a Strange Land, SyFy, The 100, The CW, The Dark Tower, The Day of the Triffids, The Expanse, The Handmaid's Tale, The Hitchhiker’s Guide to the Galaxy, The Man in the High Castle, The Martian ChroniclesAndy Fry

Over the years there have been scores of great science fiction-based series, ranging from Star Trek and The X-Files to Doctor Who and The Prisoner. But it’s interesting to note that very few of them have been based on sci-fi novels. It’s as though the soapy plots and larger-than-life characterisations of TV sci-fi have operated in a parallel universe to the best sci-fi literary works. As with so many areas of TV, this distinction is now blurring because of the rise of the high-end SVoD/pay TV-style limited series. Books that could never have been adapted in the pre-Netflix era suddenly look ripe for reimagining. This week, for example, cable channel Syfy revealed it was adapting Robert Heinlein’s classic 1961 novel Stranger in a Strange Land – widely regarded as one of the greatest of all sci-fi novels. The story of a human who comes to Earth in early adulthood after being born on Mars and raised by Martians, it will be produced by Paramount TV and Universal Cable Productions. To celebrate the news of this ambitious project, we’re looking at classic sci-fi novels that have been adapted for television already or that are – like Heinlein’s novel – now in the works. The Man in the High Castle: Amazon’s series is based on a 1962 alternative-history novel by the screen industry’s favourite sci-fi author, Philip K Dick. The first season launched in early 2015 and was an immediate hit for Amazon, generating an 8.0 rating on IMDb. The second run launches on December 16. Dick’s work also … Continue reading Classic sci-fi novels – TV’s new frontier →

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German writers raise their game

November 16, 2016The Writers RoomAnna Winger, Annette Hess, Babylon Berlin, Benedikt Gollhardt, Charité, Christoph Silber, Dark, Dorothee Schön, Giftschrank, Hark Bohm, Honigfrauen, Jan Berger, Jantje Friese, Joerg Winger, Marc Terjun, Niki Stein, Philipp Jessen, Rolf Basedow, Stefan Kolditz, Tom TykwerAndy Fry

It has been a breakthrough year for German TV drama’s profile on the international stage. Andy Fry profiles some of the screenwriters behind the country’s run of success.

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Networks bank on spin-off series

November 14, 2016GreenlightABC, BBC3, CBS, Chuck Lorre, Conviction, Fauda, Five by Five, Fox, Idris Elba, ITV, NBC, Netflix, Pulling, Royalties, Sharon Horgan, The Big Bang Theory, The Goldbergs, The Passage, The Punisher, Valkyrien, Walter PresentsAndy Fry

In a relatively quiet week on the commissioning front, one of the more interesting stories is that US network CBS is developing a prequel to its hit comedy series The Big Bang Theory. Now in its 10th season, the Chuck Lorre/Bill Prady-created show continues to attract an audience in excess of 14 million, so it’s no surprise that CBS would want to build on that strength. According to US reports, Lorre, Prady and showrunner Steve Molaro will oversee the project, which will focus on the younger years of key character Sheldon Cooper. None of The Big Bang Theory cast will be involved in the new sitcom except Jim Parsons, who plays Cooper and will executive produce the spin-off. Interestingly, rival network ABC has also announced plans for a spin-off from its sitcom The Goldbergs, created by Adam Goldberg. Unlike the CBS project, this will be a sequel as opposed to a prequel. The Goldbergs, now in its fourth season, is set in the 1980s, but the new show will be set in the 1990s. It will star Bryan Callen, who plays a gym teacher in the current series. The spin-off trend is not new – think Cheers/Frasier and Friends/Joey. But it fits well alongside the TV industry’s growing reliance on TV-to-movie spin-offs and TV reboots, giving networks a promotional boost from the outset. And, for the most part, it works well. In the drama procedural arena, for example, we’ve seen franchises like Gotham (ABC), CSI and JAG/NCIS (both CBS) prosper, while Dick … Continue reading Networks bank on spin-off series →

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Warner’s DC Comics enjoys boom

November 11, 2016Hit & MissAMC, Arrow, Black Lightning, DC Comics, Fox, Gotham, Greg Berlanti, iZombie, Krypton, Legends of Tomorrow, Lucifer, NBC, Powerless, Preacher, Scalped, Supergirl, SyFy, The CW, The Flash, Warner Bros, WGN AmericaAndy Fry

A couple of months ago, we looked at the success Disney has had with its Marvel acquisition. So it seems only fair that we also shine a spotlight on DC Comics, a division of Warner Bros that has spawned dozens of films, scripted shows and animation series. Characters from DC, formed in 1932, have formed the basis of hit TV series since the 1950s. After early outings for Superman and Batman, DC properties gave us iconic shows like Wonder Woman, Superboy, Lois & Clark and Smallville. The latter ran for 10 seasons (2001-2011) and 218 episodes, first on The WB and then on its replacement network The CW (which is 50/50 owned by CBS and DC Comics owner Warner Bros). While DC properties remain an important part of the feature-film landscape, it’s The CW that continues to provide the major platform for DC Comics’ success on the small screen. A key landmark was the launch of Arrow in 2012. Adapted for the screen by Greg Berlanti, Marc Guggenheim and Andrew Kreisberg, the show is one of The CW’s top performers and is currently in its fifth season, attracting just under two million viewers per episode. The importance of Arrow goes beyond its ratings, however. On the one hand, it has encouraged The CW to back a number of DC-based franchises, with Berlanti and co in charge of the creative. On the other, it has persuaded some of the larger US networks to tap into the company’s pool of comic book IP. Looking first … Continue reading Warner’s DC Comics enjoys boom →

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The politics of TV writing

November 9, 2016The Writers RoomAaron Sorkin, Armando Iannucci, Barbara Hall, Beau Willimon, Boss, Commander In Chief, David Guggenheim, Designated Survivor, Farhad Safinia, Greg Berlanti, House of Cards, Jack and Bobby, Madam Secretary, Michelle King, Robert King, Rod Lurie, Scandal, Shonda Rhimes, The Good Wife, The West Wing, VeepAndy Fry

To mark Donald Trump’s shock victory over Hillary Clinton in the US presidential election, we look at the writers behind some of the country’s political TV drama series. The West Wing: NBC’s inside view of the White House ran from 1999 to 2006, crossing over with the tail end of Bill Clinton’s time in office and most of George W Bush’s two terms. The show starred Martin Sheen as President Jed Bartlet and was created by Aaron Sorkin. It won three Golden Globes, 26 Emmys and was ranked at number 10 in The Writers Guild Of America’s 101 Best-Written Series list. Sorkin wrote or co-wrote 85 of the first 88 episodes and then side-shifted into movies, with films including Charlie Wilson’s War, The Social Network and Moneyball. He came back to TV with The Newsroom and then wrote the movie screenplay for Steve Jobs. “Education is the silver bullet. Education is everything. We don’t need little changes. We need gigantic monumental changes.” -Sam Seaborn (played by Rob Lowe) Veep: The Boston Globe calls HBO’s Veep “a show for our time, a portrait of the narcissism, malignant self-interest, banality, media self-pleasuring and congressional paralysis that seem to afflict American politics more than ever.” The show was brilliantly created by Armando Iannucci, who also blessed the world with British political satire The Thick of It. It is set in the office of Selina Meyer, a fictional VP who subsequently becomes president, played superbly by Julia Louis-Dreyfus. The show has been nominated for Primetime Emmy Awards … Continue reading The politics of TV writing →

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Our friends in the frozen north

November 7, 2016GreenlightAbout Premium Content, Adam Price, Below the Surface, Bob Film, Bonusfamiljen, Dan Sommerdahl, Deadwind, Downshifters, DR3, Dynamic Television, Elisa, Endemol Shine International, Fisher King, Hassel, Heartless, Interference, Kanal 5, Midnight Sun, Miso Film, Netflix, Next Summer, Nobel, Nordisk Film & TV Fond, NRK, Palladium Fiction, SAM, Skam, Spring Tide, StudioCanal, SVT, The Rain, TV2, Viaplay, Watchdog, YLE, ZDFAndy Fry

As Nordic drama continues to thrive, this week we look at some of the shows making headlines both within the region and beyond.

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Scripted series battle to get noticed

November 4, 2016Hit & MissAmazon, Channel 4, Fox, Goliath, HBO, Humans, Lucifer, Netflix, Network Ten, Offspring, Sky Atlantic, The Crown, The Night Of, The Young Pope, WestworldAndy Fry

The producers of Humans and The Young Pope are probably a bit down in the dumps right now. The second season of the former show has just launched on Channel 4 in the UK with an estimated audience of around two million. That’s well down on season one’s average of five million-plus, despite a pretty heavyweight marketing campaign. As for The Young Pope, the much-anticipated Jude Law scripted series is reckoned to have attracted just 141,000 viewers for its debut screening on UK pay TV channel Sky Atlantic. The most likely explanation is that there is just so much drama on TV right now that it’s impossible for viewers to keep up. In my household, Humans is on our hit list but didn’t stand a chance of being watched ahead of the penultimate episode of BBC1’s Poldark. As for The Young Pope, it’s in a queue that consists of Westworld, Victoria and The Night Of. Oh, and Humans of course… The Night Of, an HBO crime drama starring Riz Ahmed, is another show that hasn’t been rating particularly well in the UK. Having launched on Sky Atlantic with an audience around 240,000, the latest numbers (mid-October) put it at around 160,000. This is surprising for a couple of reasons. Firstly, because it’s a really good series – as evidenced by a strong IMDb score and a positive response from the UK’s TV critics. Secondly, because its ratings curve did the opposite in the US. After the first episode managed a mediocre 0.77 … Continue reading Scripted series battle to get noticed →

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Tackling the darkest subjects

November 2, 2016The Writers Room4Stories, BBC, Channel 4, Damilola: Our Beloved Boy, HBO, ITV, Jeff Pope, Keshet, Levi David Addai, Little Boy Blue, Noughts & CrossesAndy Fry

Writing about real-life topics always demands accuracy and compassion. But in the case of child-killing stories, it’s also important to have a genuine justification for telling the story. Andy Fry reports.

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Amazon, BBC, HBO spend big on scripted

October 31, 2016GreenlightAccess Entertainment, Amazon, BBC, Cormoran Strike, Eleventh Hour Films, HBO, JK Rowling, Laylah and the Universe, Luti Media, Matthew Weiner, Quebecor, Series Mania, Shooter, Spike TV, The Mist, The Weinstein Company, Time: The Kalief Bowder Story, WacoAndy Fry

There’s no evidence of drama investment slowing down, with some of the industry’s heavy-hitters betting big on writing and production talent. However, shared risk seems to be the order of the day…

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Netflix makes solid start with ‘world drama’

October 28, 2016Hit & MissBetween, Dark, Hibana, Marseilles, Netflix, Suburra, The Crown, The RainAndy Fry

Netflix is best known for its US-originated scripted series. But new funding will allow it to ramp up its investment in dramas from other parts of the world. Here we look at its efforts so far. On Monday, Netflix announced plans to raise US$800m of debt to help finance original content. Its rationale for this is to reach a point where it has 50% original content on the platform, thus reducing its reliance on increasingly expensive rights acquisitions. So far the streamer has made its name with US scripted originals like House of Cards, Orange is the New Black and Stranger Things. But as it builds up its subscriber base around the world, it is also investing in non-US scripted content. It’s not clear how well Netflix’s international investments have done so far – because the company doesn’t release any ratings data. But what we do know is that its international subscriber base is growing rapidly, with an additional 3.2 million non-US customers added in the third quarter of this year. So presumably some of this tranche of funding will be earmarked for more international projects. While it’s not possible to get an accurate picture of how individual Netflix shows perform, there are a few ways of getting a rough idea of a show’s appeal – such as IMDb scores, awards, critical notices and whether it gets recommissioned. So this week we’re taking a look at Netflix’s non-US scripted commissions and trying to formulate a view on whether the company is spending wisely. The Crown: Produced … Continue reading Netflix makes solid start with ‘world drama’ →

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The Walking Dead reopens violence debate

October 26, 2016The Writers RoomAMC, American Horror Story, Boardwalk Empire, Daredevil, Game of Thrones, Greg Nicotero, Hannibal, Oz, Scott M Gimple, Sons of Anarchy, The Following, The Strain, The Walking Dead, VikingsAndy Fry

Kevin Lygo, director of television at UK broadcaster ITV, used a Bafta event this week to call for more “happy, life-affirming drama.” He’s not the first senior figure in the industry to make this plea. Last year at the C21 Drama Summit, StudioCanal’s Rola Bauer also argued that the industry was focusing too much of its creative energy on scripted series with a bleak worldview. To some extent, the emphasis on dark storytelling can be explained by the audience’s continued fascination with crime drama. But in recent years it has been amplified by the emergence of horror, fantasy, superhero and hard-boiled period dramas as stalwarts of the scripted genre. More than eve, graphic, emotionally upsetting violence has become a core constituent of TV drama – especially in pay TV and SVoD. And for now it seems to be proving popular with international audiences. Take AMC’s zombie drama The Walking Dead, which returned to schedules at the weekend. Episode one of season seven, written by Scott M Gimple and directed by Greg Nicotero, was about as bleak as TV viewing can get, with arch-villain Negan beating one of the show’s best-loved characters to death with a baseball bat embedded with barbed wire. The episode attracted a lot of criticism from people who felt the show had finally gone too far. But at time of writing it doesn’t look like The Walking Dead has suffered in terms of ratings. Around 17 million people watched the show on AMC in the US and a further … Continue reading The Walking Dead reopens violence debate →

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Grisham gets the TV treatment

October 24, 2016GreenlightABC, Alex Kutzman, Barracuda, Canal+, CBS, Enemy of the State, Fox, HBO, John Grisham, Kin, Last Hope, Lee Child, Michael Seitzman, NBC, Reversible Error, Salvation, Sky, Sneakers, The Rainmaker, The Young PopeAndy Fry

With legal dramas still in demand, there are reports this week of a new series based on a classic John Grisham novel. Also, plenty of shows are going into development at the big four US networks.

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Buyers stick to the scripted in Mipcom

October 21, 2016Hit & MissAdi Hasak, Anne, AXN, Ay Yapim, Cold Feet, David Linde, DRG, FremantleMedia International, Global Screen, Hibana, ITV Studios Global Entertainment, Kevin Can Wait, Midnight Sun, Mipcom, Mistco, Moribito II: Guardian of the Spirit, Mother, NHK, Nippon TV, Participant Media, Pinewood Television, Resurrection, Rivals Forever, Sony Pictures Television, Star TV, StudioCanal, The Level, The Young Pope, Versailles, Victoria, Zodiak RightsAndy Fry

The Japanese have a good strike rate when it comes to exporting animation and entertainment formats. But they have struggled with drama. There are a few reasons for this but, when it comes down to it, the core problem is that scripted shows that work in Japanese primetime don’t travel that well. The country’s leading players want to do something about this because the revenues they are generating from the domestic media market aren’t as strong as they used to be. So now they are looking at formats and coproductions as ways of building up their international profile and generating a new revenue stream. They are also starting to ask themselves if there is a way of making shows that can tap into the world drama zeitgeist that has propelled Korean, Turkish, Nordic and Israeli drama around the globe. There were a couple of examples of the way Japan is seeking to shift its mindset at the Mipcom market in Cannes this week. One was a deal that will see Nippon TV drama Mother adapted for the Turkish market by MF Yapim & MEDYAPIM. The new show will be called Anne and will air on leading broadcaster Star TV. It’s the first time a Japanese company has struck this kind of deal in Turkey. Also this week, Japanese public broadcaster NHK screened Moribito II: Guardian of the Spirit, an ambitious live-action fantasy series based on the novels of Nahoko Uehashi – likened by some to JRR Tolkien’s epic The Lord … Continue reading Buyers stick to the scripted in Mipcom →

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