Sundance struggles with language barrier
In recent years there has been a small but significant trend for non-English-language drama to be aired in its original form in English-speaking markets. This began with the export of Nordic scripted content, such as Borgen, but has since expanded to encompass French, German and Italian shows – including Les Revenants, Generation War and Inspector Montalbano respectively.
For the most part, this trend has involved the sales of shows to British broadcasters and subscription VoD platforms. But there was a major breakthrough earlier this year when US cable channel SundanceTV picked up the original version of Deutschland 83, an eight-part drama from UFA Fiction set in during the latter years of the Cold War.
Nico Hofmann, producer and chairman of UFA Fiction, said of the deal: “Never has a German-language series received so much attention before broadcast. Sundance TV’s reputation for exceptional series is yet further confirmation of Deutschland 83’s high quality. This is a milestone for German TV production.”
The arrival of Deutschland 83 in the US brought a lot of mainstream PR and a positive critical response. For example, Variety called it a “taut spy thriller” that “mixes coming-of-age material for the protagonist and intrigue from the tense political climate that Germans on both side of the (Berlin) Wall faced in the 1980s.”
It also scored well on IMDb, securing an 8.6 rating out 10. To put this in perspective, it is higher than Orange is the New Black (8.4) and Sense8 (8.5) – albeit based on a much smaller voting sample.
Deutschland 83’s positive reviews, however, haven’t transformed into very high ratings for Sundance. With the last episode airing on August 8, the website ShowBuzzDaily has the show’s ratings coming in at around 70,000-100,000.
Clearly, caveats need to be made regarding time-shifted viewing, repeat airing and the ferocious competitiveness of the US market, but this figure suggests the US cable audience isn’t quite ready for non-English language drama.
To compare with the UK, an equally competitive but much smaller market, this kind of content would probably secure an audience somewhere in the region of 500,000.
Deutschland 83’s ratings may have been impacted by the fact it is at the forefront of a new wave, and Sundance is to be applauded in this respect. So it may be that the AMC Networks-owned channel will need to persist with foreign-language drama in order to build up a loyal audience base. In the meantime, the best bet for foreign-language producers will continue to be the formats route.
All of this shouldn’t, however, have a negative impact on Deutschland 83’s sales performance elsewhere in the world, where language is not such a barrier.
Distributor FremantleMedia International has, for example, sold the series to Canal+ France and numerous mainstream broadcasters across Scandinavia.
Still with the AMC family, this Sunday will see AMC air the last episode of Humans. A bona fide hit for Channel 4 in the UK, which recently renewed the show, Humans has proved a steady but not spectacular performer for AMC. After debuting with 1.7 million viewers, it has been running at about 1.1-1.2 million ever since. AMC is already on board the second season.
Meanwhile, this was a big week for ABC Family’s long-running hit series Pretty Little Liars, with Tuesday’s Game Over Charles episode involving a big reveal. For six seasons, the show’s central characters have been hounded by a mysterious enemy, whose identity was finally revealed this week.
The result was a two-year ratings high for the show among its target 18-34 and 18-49 demographics. With 3.1 million total viewers and 1.8 million viewers among 18-49s, the show was also the top performer across all US cable viewing.
The ABC group has established a good reputation for its ability to build social media buzz around its shows, and Pretty Little Liars is a prime example. With 1.6 million tweets, the latest episode became the third most tweeted-about scripted show in cable TV history, accounting for 50% of all TV tweet activity for the day.
Significantly, the only shows ahead of it in this list are also episodes of Pretty Little Liars. All told, the show has three million Twitter followers and 3.4 million Instagram followers.
Commenting on the programme’s social media performance, Jenn Deering Davis, editor-in-chief of social analytics firm Union Metrics, said: “Pretty Little Liars’ finale was a true Twitter triumph. ABC Family continues to innovate in how it encourages fan participation across social media, never content to let its social strategy stagnate. Before the finale even started yesterday, Pretty Little Liars fans had already posted more than two million tweets about the show, breaking previous all-day records. Pretty Little Liars still has one of the most active and engaged Twitter fandoms in existence.”
Perhaps not surprisingly, ABC Family has already commissioned two further seasons.
There was also good news this week for The Last Ship, commissioned for a third season of 13 episodes by US cable channel TNT. According to the channel, the Sunday-night show is “basic cable’s top scripted series this summer with adults 25-54.”
The programme is currently nine episodes through its second season and is a steady performer with ratings of around 2.9 million. TNT has also set things up so that authenticated users can watch all previous episodes of the show on an on-demand basis.
This summer the series is “reaching an average of nine million viewers across TNT’s linear, VoD, digital and mobile platforms,” according to the channel.
Based on William Brinkley’s novel, The Last Ship chronicles a global catastrophe that nearly destroys the world’s population. Because of its positioning, the navy destroyer USS Nathan James avoids falling victim to the devastating tragedy, forcing captain and crew to confront the reality of their new existence in a world where they are among the few remaining survivors.
We’re only a few weeks away from the all-important autumn season and a lot of buzz is building around NBC’s new scripted series Blindspot. The show focuses on a mysterious tattooed woman who has lost her memory and does not know her own identity. On her back is the name of an FBI agent, who soon learns that the other tattoos on her body contain clues to upcoming crimes.
The two-minute trailer shows the lead character, played by Jaimie Alexander (Thor), being found naked in a holdall in the middle of New York’s Times Square. So perhaps not surprisingly it has racked up millions of views on YouTube. The big question now is whether Blindspot can sustain the narrative beyond an intriguing opening premise.
The show was created by Martin Gero and Greg Berlanti, who recently discussed it at the Television Critics Association’s summer press event. Gero’s enigmatic assessment was that Blindspot is “a procedural for people who don’t like procedurals, and a character drama for people who don’t like character dramas.”
He added: “There is an overarching mythology to this show week to week. You’re going to get some great resolution by the end of the year – you’re going to get some great resolution by the end of episode two. As we come through this mythology, there are a lot of twists and turns.”
- A spokesman for FremantleMedia International, which distributes Deutschland 83, has provided further viewing figures for the show on Sundance. She said: “Over its eight episodes Deutschland 83 significantly outperformed the Sundance slot average share across several key demographics and more than doubled the average in the channel target audience adults 25-54 (Live+3D). Deutschland 83 exceeded the Sundance slot average share by 83% for total individuals 2+, 109% among 25-54s, 73% among 18-49s and 59% among women 18+ (Series 1, Live+3 Days).”