Fact file: In Light of Darkness
British screenwriter Steven Farrell-Kelly introduces In Light of Darkness, a horror-soaked psychological thriller series with a supernatural twist he is currently developing with Sydney-based Escapade Media.
Eight-part series In Light of Darkness is set in rural England in the aftermath of two seemingly unrelated tragedies that could expose a shocking occult conspiracy threatening the very fabric of the nation.
Here, creator and writer Steven Farrell-Kelly reveals more about the show’s origins, its inspirations and how he is developing it for the screen with Sydney-based Escapade Media.
The story
In Light of Darkness is a British psychological thriller with a supernatural twist. Ostensibly, the series follows the gripping pursuit of an unorthodox killer and the emerging occult mystery surrounding the case. But rather than a typical whodunit, In Light of Darkness unravels the morally fractured motives driving a rogue city detective and a relentless killer in a world where the ordinary violently collides with the extraordinary. Featuring a unique braiding of human drama and supernatural fear, it deftly transcends its high-concept horror and neo-noir elements to deliver a fiercely original procedural, creating sinister suspense rarely seen in the genre.
Two leads
As the series explores the procedural drama of a high-profile murder investigation infused with supernatural elements, it is the evolving dynamic between its two leads – DCI Moira Hicks and alleged killer Virgil Stone – that ultimately drives the narrative. The parallels, contradictions and profound transformations they undergo as the mystery unfolds lie at the heart of the story.
At times, it is deliberately unclear whose side the audience should be on. Yet this dual perspective never feels disorienting or unearned. Instead, it deepens the overarching mystery at play, lending emotional resonance to a series of calculated reveals and heart-stopping twists as the storylines dramatically converge.
The visual style
The visual style is bold and cinematic, with hard echoes of the world right now – a world in which nothing is ever static and minutia matters. Vibrant and primal, each contrasting vision of the city sizzles with urban realism, a volatile, broken-hearted character in its own right, and a location emblematic of modern civilisation’s rise and fall. Juxtaposing this Gothic Technicolour is the countryside’s barren lands – supernatural ground zero. Imposing, delicate and steeped in folkloric mystery, this rural realm is also the bearer of dark secrets and a seductive evil force. An evil that’s now loose.
The horror
The horror in In Light of Darkness is rooted in the occult – black magic, possession and spectres – and driven by a bold new interpretation of the classic witch. These evolved, urban interlopers are visible, unflinching and unmistakably modern, speaking directly to the world we live in now. Subverting familiar tropes while tackling provocative themes, the series continually probes the complex nature of good and evil and the rising tension between ancient beliefs and 21st century values. In an era of existentially chilling television, In Light of Darkness crosses the thin grey line from incendiary to essential.
The writing process
The writing process for In Light of Darkness began after I first saw Robert Eggers’ folk horror film The Witch. I was struck by how faithful and committed it was to its period setting, and it made me wonder: what would happen if I took those classic genre elements and brought them into the modern day, specifically urban Britain?
From the outset, I knew it was a story for television, and I was adamant that it would be serious and grounded. Most horror/fantasy series (from Buffy to Sabrina) lean into a certain playfulness, which I was keen to avoid. Instead, I took inspiration from True Detective and The Outsider, anchoring the story around a gripping procedural that carefully unravels an insidious, multi-layered mystery before revealing the supernatural forces at play.
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Once I finished the outline, I committed to writing the pilot on spec. Horror as a genre comes with its own unique expectations, but that’s exactly what makes it so creatively rewarding. Audiences are often more open to something raw, unsettling and emotionally charged in horror, giving me the freedom to challenge classic TV tropes in bold and unexpected ways.
Ultimately, In Light of Darkness isn’t a show designed to fill a slot. It’s a show that aims to sear into the psyche and provoke conversation, like all great TV should.
Development
The script was very well-received when it went out to producers and production companies, generating significant interest and meetings. But for me, it was always important to align the project with partners who shared my ambition and commitment to making a show that would cut through the noise. A show that dares to go big. A show that can travel globally while staying rooted in authenticity. A show built to last.
I feel like I’ve found that with Escapade Media, whose passion and enthusiasm have been genuinely infectious. I’m excited to be working with them as we bring In Light of Darkness to the screen.
Natalie Lawley, MD of Escapade Media: “Steve’s writing has captured the attention of many commissioning editors across the UK and this project stood out for us, building on the current trend of genre-thriller TV based around superb characters and plot. We are currently talking to our clients in the UK market and look forward to introducing this event television series to international partners at Mipcom.”
tagged in: Escapade Media, In Light of Darkness, Natalie Lawley, Steven Farrell-Kelly