Back to school
After becoming a global breakout hit in 2024, Maxton Hall – The World Between Us returns for a second season. Producers Ceylan Yildirim and Markus Brunnemann open up about the show’s success and why it’s more than a love story.
When it first launched in 2024, Maxton Hall – The World Between Us became nothing short of a sensation.
The German series, which is produced by UFA Fiction for Prime Video, introduced scholarship student Ruby and arrogant millionaire heir James, who clash at the titular private school. But what begins as a passionate exchange of words unexpectedly ignites a spark between them.
Based on Mona Kasten’s novel Save Me, it achieved the largest first-week global viewership for an international original series in Prime Video history, reaching number one on the streamer’s charts in more than 120 countries.
At the start of season two, based on Kasten’s second novel Save You and debuting this Friday, everything seems to be going perfectly for Ruby Bell (Harriet Herbig-Matten) and James Beaufort (Damian Hardung) after a passionate night together. But the pair are soon brought back to reality after a turn of events changes James and leaves Ruby devastated.
Here, executive producers Ceylan Yildirim and Markus Brunnemann, who is the MD of UFA Fiction and UFA Serial Drama, take DQ inside the world of the show, reveal how they recreate its British setting in Lower Saxony, Germany, and reflect on the trouble caused by a particular haircut.
Introduce us to Maxton Hall – The World Between Us.
Brunnemann: It is a modern love story set against the backdrop of an elite private school. At its centre are Ruby and James – two worlds collide: achievement vs privilege, heart vs expectation.
Why do you think the show has had such an impact around the world?
Yildirim: Many people long for stories that allow them to forget the madness of the world. Experiencing the adventure of first love in a feel-good world like Maxton Hall is pure escapism. Being able to experience the multifaceted emotional world of the characters from their different perspectives is an aspect I am convinced plays a decisive role. In the staging and in the voiceovers, we learn how the characters, who come from such different worlds, are really doing. Making their intimate inner worlds tangible is a great stylistic device to show there is never just one truth. In their attempt to understand each other, a deep connection develops between the characters. This magic, which was also evident in the interplay between Harriet Herbig-Matten and Damian Hardung, rubbed off on many viewers.
How did the success of S1 shape your plans for the new season?
Brunnemann: We sharpen what works: chemistry, pace, emotion. At the same time, we expand the world – more character arcs, greater consequences, new challenges.
Yildirim: Engaging intensively with the fan base on social media during the development of S1 proved to be the right approach. Taking the fans’ needs seriously is very important to us. Since the first season was broadcast parallel to the development of S2, we were able to evaluate the reactions to our work and incorporate the results into the next step.
Have you responded to any elements fans particularly liked or disliked?
Yildirim: We were overwhelmed with the amount of love for our series. So, of course, we tried to stick to as many elements of the original formula as possible. The only criticism I remember was about Ruby’s hairstyle. The accurately cut bangs are an iconic feature of the main character in the novel. However, after we cast Harriet, it quickly became clear that bangs weren’t the right choice for her. We didn’t expect a hairstyle to cause so much excitement. But now even the hardcore fans of the novel agree there couldn’t have been a better casting choice. Nevertheless, we developed Ruby’s hairstyle a little further in S2.
What can you tell us about the story in S2?
Yildirim: The first season ends with the unexpected death of James’s mother. We pick up the story right where we left off with the characters. The loss of a parent always tears apart an existing structure and leaves emotional chaos in its wake. What this means for the Beaufort family empire and how it affects Ruby and James’s love is one of the central stories of S2.
What themes does the show explore, and how are these taken further in S2?
Yildirim: The focus is on the love story of our Ruby and James. Their great love and the resulting collision of their two worlds is the basis for all other themes that arise. It’s about contrasts, about the social divide in a fast-paced society that defines itself by appearances and status. It’s about friendship and trust and the struggle for self-determination and freedom, and much more. In S2, the Beauforts’ stroke of fate turns many existing rules in the world of the rich and beautiful upside down. This changes established relationship dynamics, and James’s circle of friends must also rearrange itself. Furthermore, no one except Ruby knows that James’s twin sister Lydia is pregnant. It’s a secret with explosive potential that significantly shapes her relationship with James and Ruby.
What is the writing process on the show?
Yildirim: There is no standardised writing process, as all three seasons were created very differently. I had already been working on the original adaptation concept for more than a year to find the approach that best suited Mona Kasten’s novel. The series was supposed to be romantic, sweet and larger than life, but at the same time not cheesy and close to the heart. Daphne Ferraro did a fantastic job writing the pilot script and planning the other episodes in the writers room together with seven other screenwriters.
The greenlight for S2 came so suddenly that our writers unfortunately weren’t available due to other projects, which is why I ended up becoming head writer myself. Besides me, there were two other writers, Juliana Lima Dehne and Marlene Melchior, in the writers room. Accompanied by our drama consultant Thomas Laue and Catharina Junk in the script department, I continued writing the scripts right up until filming began.
Assuming we might be surprised with a similarly quick go-ahead for S3, Catharina and I wrote the concept in parallel with the S2 shoot. This time, I supervised the scripts as head writer up to the second draft, but then had to concentrate on the post-production for S2. With my colleague Sandra Stöckmann, I got the scripts ready for filming.
Where is the series filmed and how do you use locations in the show, particularly shooting Lower Saxony as the UK?
Brunnemann: Our main set – Maxton Hall, the school – is in Lower Saxony. Besides that, we shot at various locations in and around Berlin that reflect British architecture and campus atmosphere. Historic estates, university buildings and parks give Maxton Hall credible ‘UK DNA,’ complemented by targeted production design and VFX.
How would you describe the show’s visual style, and how is this achieved on set?
Yildirim: In keeping with the genre, we opted for a visual style that uses warm colours, golden light and lens flares. The camera work is smooth, and we always use a Steadicam in gentle motion. With many intimate shots, close-ups of glances and hands, our director Martin Schreier creates a closeness that allows us to connect with the characters immediately. In particularly intense emotional moments, we use slow-motion shots, focus on the characters while their surroundings blur, or have recurring music montage sequences that allow us to immerse ourselves in the emotions without dialogue.
Ceylan, how do you consider your role of executive producer, and what does this mean through development and production of Maxton Hall? Where are you most involved?
Yildirim: When Markus hired me for the project, I first immersed myself in the novel and the fan base on social media and researched the genre and its target audience extensively to develop a feel for the right approach. I wanted to know what kind of worlds we were dealing with to develop an emotional and visual vision and, in consultation with Prime Video, find the right creative partners for the various departments.
From developing the concept to the script work, deciding on the heads of the most important creative departments – first and foremost the writers and directors – to the casting process in search of the right actors for the very defined roles, which should be as close as possible to the characters in the novel, I am in regular contact and act as the interface between the broadcaster and the production.
During preparation for filming and during filming itself, I work with my fellow producers as the point of contact for the director and the team on set, provide feedback on the dailies in consultation with the editorial team, and oversee the editing phase and music coordination, from the visual effects to the sound design and mixing, until every single episode has been approved by the client. This is a huge range of tasks, and communication is key. The decisive involvement in shaping and adhering to the vision of a series while ensuring all the creative and production aspects – especially in a project of this dimension – is what I enjoy most.
How do you hope to sustain the ‘Maxton Hall Effect?’ What can fans expect from S2?
Yildirim: We remain true to ourselves and our narrative values. But there is no standing still in any area of life, and of course the more serious tone of the story also brings a slightly more mature note to the sound of our previous series world. I am very excited to see how the audience will react to this. Otherwise, you can once again look forward to a profound mix of love, friendship, pain, betrayal and the best in popcorn entertainment.
What can you tell us about potential plans for the third season and beyond?
Brunnemann: Unfortunately, Mona Kasten’s novel series only spans three volumes, which means our series will end with S3 [based on Kasten’s Save Us]. It’s a pity, but that’s exactly why we’re planning a big, emotional finale that will give Ruby and James’s journey a fitting conclusion.
tagged in: Ceylan Yildirim, Markus Brunnemann, Maxton Hall – The World Between Us, Prime Video, UFA Fiction