Tag Archives: Cinemax

Gangland shooting

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The creative team behind Sky and Cinemax’s explosive original drama Gangs of London discuss how they brought The Raid director Gareth Evan’s action-packed storytelling to television.

Through his film franchise The Raid, Welsh filmmaker Gareth Evans has become synonymous with a balletic brand of action and cinematic fight sequences.

For his first television series, Gangs of London, Evans is aiming to bring those same techniques to the small screen by taking viewers on an immersive journey into the hidden heart of the English capital.

The show depicts a city being torn apart by the turbulent power struggles of the international gangs that control it, with a power vacuum being created when the head of London’s most powerful crime family is assassinated.

For two decades, Finn Wallace (Colm Meaney, Hell on Wheels) was the most powerful criminal in London. Billions of pounds flowed through his organisation each year. But now he’s dead – and nobody knows who ordered the hit. With rivals everywhere, it’s up to the impulsive Sean Wallace (Joe Cole, Peaky Blinders), with the help of the Dumani family, headed by Ed (Lucian Msamati, His Dark Materials), to take his father’s place.

Gangs of London centres on the power struggle sparked by the death of Finn Wallace (Colm Meaney)

Sean’s assumption of power causes ripples in the world of international crime, leading lowlife chancer Elliot Finch (Sope Dirsu, Humans) to find himself transported to the inner workings of the largest criminal organisation in London.

Co-created by Evans with creative partner Matt Flannery, the nine-part series also stars Michelle Fairley (Game of Thrones), Paapa Essiedu (Press) and Pippa Bennett-Warner (MatherFatherSon).

Gangs of London also marks the first television drama from Pulse Films (Mogul Mowgli, Lost Transmissions), which produces the series in association with Sister (Chernobyl). It is directed by Evans, Corin Hardy and Xavier Gens.

Speaking at Content London late last year, the creative team behind the series offered a glimpse into how it was brought to the screen and the rigorous training process behind its spectacular action scenes.

Pulse had a long-held ambition to work with Evans after meeting him at the Sundance Film Festival where they both had films being screened…

Lucas Ochoa, Pulse Films’ chief creative officer of scripted film and television: What he’d done with The Raid 1 and 2, if you were interested in action cinema, changed the game. It was very eye-catching. We just started a conversation and what Gareth came back with, after talking about the title, was a wall of family trees. He wrote on the wall the names of these families, the mothers, fathers, sons and daughters, and then the relationships between them and how they’re going to conflict over time.
Because it was such a vast matrix of these different characters with different agendas, television felt like the perfect medium to tell that story. The next step became how that could sit inside a city essentially going to war with itself.

Joe Cole stars as Finn’s son Sean, who must attempt to take his father’s place

Thomas Benski, Pulse Film’s CEO and co-founder: We all really wanted to do a sophisticated piece of storytelling. The visual style and the action are signature pieces. But Gareth and all of us gravitated to the idea of telling really compelling stories, with fascinating, unusual, diverse characters. He’s not a one-tone filmmaker; he has ambitions to do that, and that’s what we all got behind.

Sky snapped up the project after it was first pitched, with Sister coming on board to back the production…

Jane Featherstone, co-founder and head of Sister London: I’d seen Gareth’s work and he’s an extraordinary talent with an incredible authorial voice. I love television. I love watching movies, but I love making TV. So the idea of him bringing to television that incredible vision he has for thrills and violence, but also the moral complexity that he brings to all of his stories, was really interesting to me.
This is my city. I love London. I really loved getting under the skin of what you don’t see in London. It’s an extraordinarily complicated city but we don’t see it all. This show opened the door to that and I thought that was really interesting. Plus, it’s just really fucking exciting. It’s quite ‘blokey’ – I don’t mean women won’t like it, but I probably don’t gravitate to develop material like that, so I thought it would be a really interesting thing to explore.

Sky commissioned the series because it stood out as a “completely unique” proposition from anything already at the broadcaster or elsewhere on television…

Gabriel Silver, Sky commissioning editor: In a sense, it’s typical of what we aspire to do, which is something completely unique. We’re not only competing against all the other platforms and broadcasters, we also want to make sure every one of our shows is a stand-out against other Sky originals. This one absolutely is; it doesn’t take anyone seeing much more than the trailer to know we’re not making anything else like this.
You can talk about being quite niche in terms of the signature action that Gareth and Corin [Hardy, director] bring to it, even in terms of it possibly being quite a male-skewed show, and therefore it fits into a certain action-thriller genre. But it also has deep and broad themes and very strong storytelling. It’s actually quite a universal story.
We worked with [US cable channel] Cinemax on it and I felt like we had very similar ambitions for the show, so there wasn’t much in the way of translation needed. It’s set in London with a mostly British cast, but the themes are universal. It’s also a slightly heightened London – there’s a kind of ‘Gothamisation,’ which American viewers will totally understand.

Humans’ Sope Dirsu (right) plays Elliot Finch

Although this might be deemed a ‘male world,’ there is no shortage of female characters planning their own power grab…

Claire Wilson, writer: It is a male world and that means the female characters can’t be wallflowers, which was an exciting thing to write. Marian Wallace, played by Michelle Fairley, is the wife of the leader who gets killed in the first episode. We imagine she has taken a back step in her life over the last few years and become more of a silent partner. Then when he dies, she has to reinvent herself and we see this very badass, quite cruel woman appear.
It’s about all the characters finding their identity. One of the brilliant characters is Lale, who’s Kurdish and she runs gangs in London. I don’t think I’ve ever seen a character like her – a female who is driven by revenge and by her wanting to defend her homeland, so she’s very complex and she just won’t give up on anything.
Then we have Shannon Dumani [Pippa Bennett-Warner]. She’s a single mother and you feel there’s something going on behind her. She’s sweet and she’s presented as a nice woman and but, as the story goes on, we start to work out you can’t be the daughter of someone like Ed Dumani without having something behind you. There are really interesting women in this definitely male world, but they’re pushing themselves forward and finding their feet in it.

Like Evans, Corin Hardy is making his first foray into TV with Gangs of London. He dived into the project, which he says is full of emotion, large scale action sequences, surprises and excitement…

Corin Hardy, who directs four episodes: It was a real joy to have such an incredible cast come together with the likes of Joe Cole [Pure]. The biggest discovery to me was Sope Dirisu, who is not only an incredible actor who’s come from a theatre background, but he also had to train rigorously under Gareth’s regime with his stunt team to pull off the action in this, which a lot of the cast did but particularly Sope.
It’s all in camera and it’s done for real, which is really something to behold. Then with Michelle Fairley, Lucien Msamati and Nargis Rashidi, it was important to balance the tone and know could make a show that was grounded and based in a real version of London, but heightened in such a way to bring an epic cinema to it.

The project comes from Gareth Evans, the filmmaker behind The Raid

Ochoa: Because the show is so vast, directors could bring their own sensibilities to bear on different aspects of the series. We wanted it to be a very free environment for people to be able to do that. They all brought something individual to it.

For Evans, action is character. But the set pieces in Gangs of London also had to be unlike anything ever seen on British television…

Gareth Evans, co-creator, writer and director: Having come from a film background, particularly the action genre, one of the biggest challenges was to seamlessly translate things I’ve learned in action filmmaking and then fit them into what is ostensibly a much tighter, leaner British television schedule.
From the moment myself and co-creator Matt Flannery first met with the guys at Pulse Films and then later with Sky and HBO, we were encouraged to take bold decisions and not restrict ourselves in terms of scale and ambition. When it came to designing the action sequences alongside stunt coordinator Jude Poyer, the remit was clear: it had to be unlike anything else seen or attempted before in British television.
We spent months designing and shooting the large-scale action set pieces that make up this inaugural season of the show. Not only was I fortunate enough to have the benefit of a remarkably gifted action team, but we landed on our feet with the casting of Sope and Joe. Sope is not just a remarkably gifted actor, he also happens to be an incredibly gifted screen fighter. We had absolutely no right to give him the complex choreography that we did.

Featherstone: In terms of those action sequences, that process is something I had never ever seen or experienced or heard of before. They were planned for months, every single movement. Everything was filmed shot by shot, exactly what you see, and it was replicated on the day with the actors.
That process, in television, has never been allowed to happen before in my experience, and we’re very good in TV at saying, ‘We don’t do it like that.’ This show really opened up a different way of looking at how you can create these things. And given TV is so big now and we are competing with films, and succeeding a lot of the time, we need to be able to embrace new methods and approaches.
It’s a really groundbreaking approach in the show. It will be undersold, because you’ll watch it and not really understand quite how much extraordinarily new thinking has gone into making it.

The show’s creators are confident Gangs of London is like nothing seen on TV before

The production was underpinned by a sense of rebelliousness and experimentation, with the creatives confident this has resulted in a series that will keep viewers engaged both with the action and the characters…

Hardy: There was a rebellious feeling that we’re three genre film directors doing a TV show with very respectable companies, but there was also a really nice sense of experimentation and freedom. It’s my first TV show and I’ve had an insanely focused, hardworking time, but everyone’s been supportive to try to achieve this level of scale. It’s also important to me that the story and emotions are there.

Ochoa: Gareth said really early on, ‘I want to make a TV show where no one in the audience feels safe at any moment in time.’ In a great way, we managed to deliver that, whether it’s a drama scene or an action sequence, because of the way it’s built.
You never know what might happen or who might die or why, how or when, or who’s going to betray whom or fall in love with someone. There’s a really good love story, by the way. If you get to the end of it all, there’s quite a romantic denouement.

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Knockout locations

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Kenton Oxley, CEO of Knockout Production Services, reveals how locations were sought for the seventh season of Sky and Cinemax action drama Strike Back, which was filmed in Malaysia.

Kenton Oxley

The process of finding the perfect locations for any drama production is a fantastic experience, but when producer Left Bank Pictures approached us with a view to filming Strike Back season seven in Malaysia, we found the sheer number of locations needed for the script exploded, just like the drama itself.

With approximately 100 unique locations used – within an intense schedule – we ensured the cast and crew filmed in the most beautiful, grimy, secluded and dense locations in Malaysia.

Filming revolved around Kuala Lumpur, Penang, Johor and the surrounding jungle. With the intense heat (40°C in the shade) and 90% humidity, filming was a challenge, but worth it when you watch the series. Malaysia delivered in spades.

We provided a detailed analysis of Strike Back’s infrastructure needs, based on the powerful and action-packed script. We have a great team on the ground in Malaysia, alongside 17 other global locations, so we were spoiled for location choice. Along with the rustic street locations, various dark and secluded warehouses where shootouts would take place and jungle territory, there were many settings that had to stand out and make a particular impact.

One of these was for the entrance of Colonel Coltrane, played by Jamie Bamber. The scene was shot on the rooftop of Menara KH’s Heli Bar, with the beautifully imposing Petronas Towers in the background. The location became the backdrop for the official Strike Back 7 press photography (pictured top) and Colonel Coltrane enjoyed an introduction like no other – from a venue on top of the world.

Filming locations included the jungle, where the crew encountered an enormous snake

Another location with gravitas is the missile warehouse, packed with technology and power. The location chosen was in Port Klang, approximately 350 kilometres from Johor. The humid and varied jungle scenes were shot in Hulu Langat and the street scenes were set in Armenian Street, part of the UNESCO World Heritage site in Penang.

The variety of locations needed proved intense, but our Malaysian location manager, Shan Iman, and our local line producer, Zurina Ramli, have extensive experience and knowledge as well as a database of locations. To add to this, we worked with the film commission in Johor and engaged local scouts, providing thousands of pictures of potential sites.

Working from the script, we sent back a potential locations document and awaited the director and producers’ choices. It was then over to us to secure permission from the location, government and local authorities to get releases and, finally, contract the location.

Sometimes this is straightforward. In developing markets, people embrace the idea, but dealing with individuals, big and small corporations, government bodies, local councils and associations while also educating proprietors and owners about the process and contractual commitment for filming is time-consuming.

The production also involved shooting in urban environments

With locations secured, we looked to logistics. For example, when we shot in a densely populated block of flats, we obtained permission from the flat owner, their neighbours and their neighbourhood association. Following this, we informed the local council about road closures. And because Strike Back involved firearms, chase scenes and explosions, we needed to inform the Royal Malaysia Police too.

As well as getting through all this red tape, we hired security to help with road diversions, while health and safety support was required in extremely remote locations in addition to basic amenities like power, water and waste management. We had to ensure complete independence and self-sufficiency. It was hugely satisfying to achieve.

Accomplishing this is challenging when local wildlife can be lethal. Ensuring medical kits include anti-venom for all local snake species, among other life-saving medication, is crucial. Every eventuality is covered, from medical emergencies through to evacuation procedures. Other than coming face-to-face with a huge boa constrictor on location in the jungle (humanely caught by our on-set snake handler), I’m pleased to say the drama was left to the script.

Our most challenging location was a recently closed shopping mall. Simply powering up the air conditioning was a massive task. Complexities of property ownership added complications, but the location was needed and it was just another day at the office for us.

The Strike Back cast ready to take to the skies in a helicopter

In contrast, a favourite filming location loved by all was Penang. It is a stunning city; a very welcoming environment that delivers as an amazing shooting location.

Left Bank Pictures executive producer Sharon Hughff agrees that the locations delivered: “When Left Bank Pictures embarked upon filming Strike Back in Malaysia, the creative challenges were immense. Not only were we looking to stage ambitious, complicated action set pieces, but Malaysia had to double for Goa, Indonesia and Hong Kong

“The beauty of the landscape, from the jungles around Johor Bahru to the neon futuristic cityscape of Kuala Lumpur all made for an incredible backdrop that exceeded our expectations and made for an epic on-screen production value.”

One of our aims at Knockout is for the locations to stay in the viewer’s mind after they watch the series. Certainly, one of the most jaw-dropping sequences I enjoyed seeing develop was at Sg Pendas, Johor, featuring a seaplane take fire as it flies over the immense lake. It is a stunning sequence with a stunning backdrop. For me, that’s what pre-production is all about – ensuring the great script and cast is supported by the best crew, infrastructure and locations in the world.

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End game

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The writers of The Missing turn the hunt for a serial killer on its head with a new drama that starts at the end and works backwards. DQ chats to Richard Dormer and Jodi Balfour about starring in mind-bending crime drama Rellik.

Since they burst on to the scene in 2014 with The Missing, Jack and Harry Williams have joined the ranks of the most sought-after writers in television.

The success of that series spawned a sequel two years later, while they were also behind crime drama One of Us and acclaimed comedy Fleabag. Forthcoming commissions for their Two Brothers Pictures label include conspiracy thriller White Dragon and The Widow.

But now the Williams brothers find themselves in the unique position of having two series debuting in the UK at exactly the same time. Liar, which begins on ITV at 21.00 on Monday, is an emotional six-part drama that explores the consequences of a meeting between a teacher (Joanne Froggatt) and a surgeon (Ioan Gruffudd).

In the same slot over on BBC1, meanwhile, Rellik looks to be a show that will tear up the detective genre and leave viewers on the edge of their seats as the Williams brothers tell the story of a serial killer in reverse. Eagle-eyed fans will have noted the title is the word ‘killer’ spelled backwards.

Drawing parallels to 2000 film Memento, the perpetrator is caught at the beginning of the series before the drama moves back in time across six episodes to the very beginning, where the crime and the killer are revealed.

At the centre of the story is damaged and disfigured detective Gabriel Markham, played by Richard Dormer, who becomes obsessed by the hunt for the killer who scarred him in an acid attack. Alongside Gabriel is his partner Elaine (Jodi Balfour), who is described as a bright and intense detective who is eager to please.

With a cast that also includes Rosalind Eleazar, Paterson Joseph, Paul Rhys, Michael Shaeffer and Lærke Winther, the series is produced by New Pictures and Two Brothers Pictures for BBC1 and US cablenet Cinemax in association with distributor All3Media International.

It’s a sunny May afternoon when DQ arrives at the production base for the series – a dimly lit multi-storey car park in Stratford, east London, a stone’s throw from the Olympic Park.

The series stars Richard Dormer as a detective disfigured in an acid attack

Two Metropolitan Police officers are standing beside their motorbikes, ready to escort the crew onto the adjacent dual carriageway that will serve as the setting for a car chase. Nearby, a mint-green Nissan Bluebird is hooked up to the back of a truck as two cameramen settle in for the ride.

“It’s very original; it’s a completely original way of storytelling,” says Dormer, fresh from the daily chore of having his facial prosthetics removed. “We start almost at the end and work our way backwards to find out how all these characters came to be the way they’re presented at the beginning of the viewing experience. So it’s like a puzzle that comes together.

“There are so many red herrings, so many clues left throughout, but you’ve got to go backwards through it. That’s also very hard to do as an actor because we’re not shooting it in order, we’re almost shooting backwards and you’ve got to imagine what you’re feeling at the beginning, or is it the end? I’m confused – but it’s very interesting.”

Dormer describes his character as “not a typical cop,” and as someone who is very driven, intense and emotionally explosive. And from the beginning – which is actually the end – the hunt for the killer is a personal obsession for Gabriel. Viewers will see the acid attack play out midway through the series.

“He’s so driven to catch the person who did this that he comes back to work. He’s not psychologically, emotionally or physically prepared to do that, but he does it anyway,” Dormer says about Gabriel’s life-changing injuries. “That’s why the drama is so good, because you’re watching somebody unravel. He’s a pretty unpredictable, scary guy. He’s scary because of his absolute intense conviction. He’ll do anything and break any rule to get this guy who’s done this to him.”

Jodi Balfour stars alongside Dormer as police officer Elaine

Actors often say the toughest roles to play are those that are most similar to their real lives. Dormer agrees with that sentiment, describing Rellik as the hardest thing he has ever done, despite battling the undead in Game of Thrones and prehistoric wasps in the freezing environs of Fortitude.

“The weird thing with this person, I’ve discovered, is that I’m almost playing myself but in an altered reality, which is very interesting,” the Northern Irish actor explains. “It’s very strange. As soon as I hear my accent – I’m speaking in my own accent – I’m a different person but I’m not. Obviously I’m not a cop, but what if 20 years ago instead of coming to London to become an actor, I came over to become a cop? That’s how close it is to me.

“The one thing I’ve always done with every character I’ve ever played is I’ve crawled into somebody else, I’ve become this other thing, which is really liberating because then you have no fear of showing ugliness because you’re a different person. But if you’re playing yourself, it’s a lot rawer and can be very truthful, and that’s pretty scary. But that’s what it’s all about. It’s a scary story.”

It’s proven to be a particularly challenging role for Dormer, who admits he has struggled to switch off after a hard day’s filming and has found listening to classical music with a glass of red wine in hand helps him to unwind.

Peep Show and The Leftovers actor Paterson Joseph is also among the cast

“Otherwise,” he says, “your head is buzzing with all the emotions and thoughts and fears you’ve been feeling all day. If it feels very real, it’s done something to your psyche. It’s invaded some part of you and shaken things up, so it’s important to recognise what those things might be and put them to bed and remind yourself they’re not your problems.”

Sharing the screen with Gabriel is his police partner Elaine, who “rocks his world,” Dormer says. “She’s a very mysterious, exciting woman and he is attracted to her. He’s married, it’s very complicated!” he adds.

Playing Elaine is South African-born Jodi Balfour, who starred in Canadian drama Bomb Girls and US series Quarry before landing her part in Rellik. She will also be seen on screen later this year as Jackie Kennedy in season two of Netflix’s royal biopic The Crown.

Describing the appeal of starring in the series, Balfour explains: “So often what draws you to acting is those great two-hander scenes where you get to have a really in-depth conversation with someone. But in this show, any time that’s happening, the characters are usually playing against what they really want or they’re concealing what they’re thinking, so that’s been really fun.

“The other thing I wanted to do, which I hardly ever get to do, is just to play someone who’s quite tormented as a human being, and [Elaine’s] whole life has been pretty dark and difficult. I hardly ever get to play those kinds of roles, so that was really exciting.”

Balfour says she has also found it difficult to switch off after filming, so much so that she set herself boundaries during the shoot. “The most boring and laughable of which is I don’t really work at night, on the script or anything,” she reveals. “Obviously we work at night but when I was prepping and running lines, I didn’t work at night. Any time close to bed it really has been affecting my dreams and my sleep and all sorts of stuff. I have a completely separate life to this character and really work at maintaining that.”

Was she surprised when she discovered who the killer was? “I was pretty shocked,” the actor admits, adding: “I think everyone was. No one knew who the killer was for the longest time. Then slowly as people started finding out, it was really funny to see everyone’s reactions. For all of us who are on the inside of it all and knew all the dynamics, it was quite a shock so hopefully the audience will be even more surprised.”

Made up

While Richard Dormer points to the similarities between himself and his character in Rellik, one thing that certainly sets them apart is the horrific injuries Gabriel suffers from an acid attack.

The hugely disfiguring scars his character bears give him a route into his performance, but they also meant the actor could look forward to spending two hours every morning having the silicon prosthetics attached to one side of his face. He then spent another 30 minutes each evening having them removed.

Heading a seven-strong make-up team was make-up designer Pippa Woods, who began work three months before the show started production.

“I started researching actual acid burns, which is the most horrific kind of research you’ll ever have to do,” she tells DQ on the set of the series. “We got Richard from about three or four weeks before the actual shoot started so we could only get the ball rolling from then. So we were gathering images of things we liked and talking to the directors and producers to find out how they wanted it to look as well.

“When we got Richard, we sent him to get a life cast from [make-up effects expert] Kristyan Mallet, who’s been making prosthetics for Gabriel and Christine [played by Rosalind Eleazar]. Christian took the designs and sculpted bits and pieces, and those images go backwards and forward between all the different companies and directors and execs, and you try and piece it all together.

“We bought the moulds from Kristyan and we’ve got two full-time prosthetics artists: one who does make-up with me and one who’s always running the pieces in the workshop and painting them up and getting other bits ready for other things.

“Gabriel’s got a few different stages of his make-up. His main one that you see was sculpted with all the big moulds, and then there are different stages where he’s got a recovery mask on, which stops the face from stretching, so it stops a lot of the scarring. We made a few separate pieces that go into his hair and down his neck. Everything under the mask is just colour, just to stop pieces from sticking to the skin, and it cuts down the time a lot. It’s been ongoing because you keep tweaking things. Even now we’re still changing little bits.”

New prosthetics had to be created each day of shooting, with a dedicated ‘prosthetics bus’ on set to handle the different pieces as they moved different stages of construction.

“In the bus at the moment, there’s 10 pieces in a row all at different stages of being painted,” Woods notes. “So they have to be painted exactly the same, and then we just have to try to stick them on in the same place every day. We worked out [Dormer] has had 60 days in full prosthetics.”

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Lucky Strike

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DQ meets stars Tom Burke and Holliday Grainger on the set of Strike, which introduces JK Rowling’s dogged detective Cormoran Strike in three new crime dramas produced for the BBC and HBO.

When it comes to iconic television fashion, there are few better examples than Sherlock’s deerstalker hat and the knitted jumpers donned by The Killing’s Sarah Lund, while every incarnation of the Time Lord in Doctor Who has their own unique and memorable style.

Next to join TV drama’s sartorial wall of fame could well be Cormoran Strike’s thick grey woollen coat, which is likely to become the must-have garment this winter following the launch of Strike, BBC1’s adaptations of the three crime novels written by Harry Potter creator JK Rowling, famously published under the guise of her pen name Robert Galbraith.

The Cuckoo’s Calling, a three-part miniseries that launched in UK last Sunday, introduces private detective Strike, a war veteran with both physical and psychological wounds. When a young model falls to her death from a Mayfair balcony, her brother asks Strike to investigate, unconvinced that she took her own life.

Holliday Grainger as Robin Ellacott alongside Tom Burke as Cormoran Strike

Two-parter The Silkworm will follow, with Strike set to explore the death of a novelist who is found brutally murdered, apparently to silence him from publishing a tell-all book about everyone he knows.

Then later this year comes Career of Evil, a grittier, darker two-parter that opens when a woman’s severed leg is delivered to Strike’s assistant, Robin Ellacott. With the police investigating a suspect who Strike is sure is not the perpetrator, he and Robin take matters into their own hands as more horrendous acts occur.

When DQ visits the set of The Silkworm in March this year, Strike and Robin are inside their shared office as the former returns from a gruesome crime scene. A packet of Yorkshire Tea can be found in the kitchen area, while a map and notes are pinned up on one wall. There are business cards scattered about, an old filing system in another corner and an ashtray filled with cigarette ends on a table.

Two cameras are rolling, one focused on Holliday Grainger sitting behind a desk as Robin, when Tom Burke’s Strike comes in, wearing that soon-to-be iconic grey coat. There are plants on the nearby windowsill, while a desk lamp is on next to the computer. The scene is repeated several times and, after a short break, filming resumes with new angles and a tighter focus on the stars’ faces.

The set of Strike’s London office

The office set, with an authentic backdrop of London’s Denmark Street lit up outside the windows, is the only one that is shared across all three adaptations, while the production took great effort to film on location – and in the exact places Rowling describes in the novels.

It’s also that sense of place that helps to give each story its own identity, with producer Jackie Larkin explaining that each story is set in a different world.

“The first one is the fashion world – Mayfair and Chelsea,” she says. “The second is about the publishing and literary world. That’s a lot around west London. For book three, we did manage to have a very interesting chase sequence all over Soho one Sunday evening, locking off Frith Street and Old Compton Road.

“The shoot has been 80% location, 20% studio. It’s been great – we have had very good access. In book three, some of that happens up north so we really felt we had to go to Barrow-in-Furness. And the third book is a road movie; it’s very much about trying to find who delivered the severed leg. So that brought us to Catford, to Bow, to Whitechapel.”

Strike is described a war veteran with both physical and psychological wounds

Another key landmark is The Tottenham pub, a staple of London’s bustling Oxford Street but recently renamed after a change of ownership. That meant finding another location for Strike’s preferred watering hole, in this case The Duke of York in nearby Fitzrovia, and redressing it as The Tottenham. “It’s a small, intimate pub. It feels exactly like the place Strike would be. It feels like The Tottenham in the book,” Larkin says.

Sold globally by Warner Bros International Television Distribution, Strike is produced by Rowling’s Brontë Film & Television in coproduction with HBO-owned cablenet Cinemax, and the author, who is an executive producer, has been extremely involved in the development of the series and can often be found on set during key scenes.

“She’s actually amazing,” Larkin enthuses about the author. “She comes to our read-throughs and feeds into the script. She’s so supportive of the writers and her notes are so insightful for all of us. She has the most amazing notes on character – it’s wonderful for us because she’s created them and we want to get them right.”

That’s not to say the scriptwriters – Ben Richards on The Cuckoo’s Calling and The Silkworm and Tom Edge for Career of Evil – haven’t made some departures from the stories Rowling first put on the page. “There are times when, simply because of the sheer volume of the books, to get it into two hours you have to make some trims or simplify some plot stuff. But I don’t think you would ever look at it and say, ‘I don’t recognise the book in this,’” Larkin says. “The books are such great source material that you want to try and fit as much of them into that two or three hours as you can.”

DQ visited the set Strike set during filming in March

When Strike and Robin first meet in The Cuckoo’s Calling, there’s an awkwardness in the air. He’s forgotten he’d hired a temp, while she arrives at the worst possible moment. But very quickly she makes herself indispensable – and the pair become inseparable by the end of the first story.

“They’re the heart and soul of the show, such wonderful, intelligent actors,” Larkin says of Burke and Grainger, who also won the approval of Rowling. “Tom was cast before I came on board and he fits the character so well. Then we cast Holliday a couple of weeks later. She is Robin. Ruth [Kenley-Letts], our executive producer, had an idea of who would play Strike and her instinct was absolutely right. The broadcasters loved him. And we didn’t see many people for Robin.”

War & Peace star Burke says that while reading the books, he was struck by how Strike is always eating, putting this down to the character being a fragile man looking for comfort in curries and beer. That need for comfort also comes through in his clothing, particularly his ever-present coat, which also reflects the fact Strike is constantly on the move through the three stories.

Being hidden beneath the large coat gave Burke extra time to bulk up for the role, with the actor taking up weightlifting and increasing his food intake. “I wanted to look like somebody who did drink pints regularly,” he jokes.

Grainger is coy over suggestions of romance between Strike and Robin

Besides his look, Burke had to perfect Strike’s voice, settling on a London accent with some added Cornish notes in a nod to where the character grew up. “That’s how most people sound nowadays – a lot of people just sound London and then you hear a tiny little thing [that hints at their background],” he says. “He has moved all around. It wouldn’t have been right to make him properly Cornish or properly London.”

Then there’s the prosthetic leg Strike was fitted with after losing half his right leg in a bomb explosion, which led to him being discharged from the army. “I was not stressing about it initially but I did think, ‘I need to get that right,’” Burke says of perfecting Strike’s walking pattern. “I spent a good day with this chap who was also military and has the same thing. Sometimes I just put on the sock they use on the stump, this rubbery kind of thing, and the tightness of it slightly slows your knee. That’s what you see [in Strike’s walk].”

In contrast, Grainger (The Borgias) didn’t have to look far for her inspiration to play Robin. “It’s funny, I have heard someone say there’s a lot of Jo [Rowling] in Robin – and when I read the book, I thought she was just like me, and every woman I speak to thinks Robin’s just like her,” the actor says. “I think that’s the great thing about Robin – she’s got all the likeable qualities you want to have. She’s compassionate, brave, practical, intelligent. Nice girl! I was a massive Harry Potter geek but I’d never read them until I got the part. Then I read them all in a week.

“It’s an interesting journey, as Robin’s just a layman when she starts and so she’s learning on the job, but there’s not a sense that Strike patronises her. There’s mutual respect. It’s not the usual competition you get because it’s a different balance from most detective dramas.”

While Strike and Robin share a close working partnership, there’s also a deeper connection that threatens to spill over into romance – though the actors decline to reveal whether viewers will see them hook up on screen.

“In a lot of shows like this, there’s an ‘are they/aren’t they’ thing, and I just think they are,” Burke admits. “There’s something there from the beginning and it’s a permanent blur in their periphery. It’s not like Mulder and Scully [in The X-Files], where you think they’re not but then maybe they are. It’s always there. I don’t know [whether they will]. You surrender to whatever she’s [Rowling] going to do.”

The show’s stars also share a lot of trust on the set of Strike, something they say is down to the fact they have lifted the characters they play directly from the page. “Tom feels like he’s on the same page as Jo on Strike and I feel like I was with Robin and, therefore, you are with each other because I know my idea of Strike is his idea of Strike,” Grainger explains. “When you trust you’re both thinking along the same lines, it makes decisions on set very easy. There isn’t really one to be made most of the time.”

Whether Strike and Robin do finally get together will be down to Rowling, who is currently working on the fourth book in the series, Lethal White. Until then, Burke and Grainger are left to contemplate viewers’ reactions to a show that Rowling fans will have been looking forward to with as much anticipation as a new Harry Potter novel.

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China opens up to outside influences

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The Night Manager brought 40 million views on VoD platform Youku Tudou
The Night Manager brought 40 million views on VoD platform Youku Tudou

About once a year the media reports that the Chinese government is planning to clamp down on the amount of foreign drama that appears on the country’s TV channels and streaming platforms. But developments in the past few months suggest that this is either inaccurate or isn’t having much of an impact.

This summer, for example, critically acclaimed BBC-AMC series The Night Manager generated an impressive 40 million views on streaming platform Youku Tudou. More recently, we reported Fuji TV’s entry into the China market via a scripted content partnership with Shanghai Media Group. And last week we reported how Sony Pictures Television (SPT)’s on-demand platform Crackle has joined forces with another leading internet TV service, iQIYI, on a three-part Mandarin-language drama.

Tencent Holdings acquired fashion drama The Collection from BBC Worldwide
Tencent Holdings acquired fashion drama The Collection from BBC Worldwide

There’s more activity this week that suggests China is continuing to open up to outside influences. Firstly, in a deal announced at Asia Television Forum in Singapore, China’s Tencent Holdings picked up fashion drama The Collection from BBC Worldwide. Secondly, UK producer/broadcaster ITV revealed that it has formed a partnership with Chinese producer Huace Film & TV that will see the latter remake an ITV scripted show for China. Discussions are still underway as to which show, but the deal is being heralded as a breakthrough by the UK company.

Commenting on the news, Mike Beale, executive VP of global development and formats for ITV Studios, said: “Much like the rest of the world, the demand for drama in Asia continues to grow, and our relationships with some of the world’s best producers and writers positions us perfectly to take advantage of this.”

Left Bank Pictures' reboot of Strike Back will feature a largely new cast
Left Bank Pictures’ reboot of Strike Back will feature a largely new cast

Elsewhere, Sky1 in the UK and Cinemax in the US have announced that there is to be a new series of action-adventure drama Strike Back. As with previous series, the show will be produced by SPT-owned Left Bank Pictures, but there will be a largely new cast.

Based on a novel by Chris Ryan, Strike Back centres on the activities of Section 20, a secret branch of the UK defence forces that undertakes high-risk missions around the world. The show ran for five seasons until 2015 – a total of 46 episodes. It then had a hiatus, with production of the new series starting in 2017.

The previous series of the show did well on Sky1 and Cinemax and was also sold into markets like Australia, Canada and France. Commenting on the show’s comeback, Adam MacDonald, director of Sky1, said: “We’re thrilled to be working with Cinemax again to deliver more edge-of-your-seat action-adventure. At such an interesting time in global politics, this series delivers a compelling take on world events and the murky world of espionage.”

Executive producer Andy Harries added: “Strike Back is the show that took Left Bank Pictures onto the international stage and we are thrilled to be back with such an exciting cast and a world-class team of writers, directors and producers. With a fan base spread over 150 countries, Strike Back is TV at its very best, where the military comes first. Our new stars have amazing physical skills, which, combined with their training, will make the show rock.”

Leaving aside the long-running success of Homeland on Showtime, Strike Back’s mix of action and espionage is something of a rarity in the international market right now, with broadcasters having moved in the direction of sci-fi, superheroes and fantasy. However, there are a few upcoming titles that suggest the market is shifting back in this direction. These include History Channel’s Navy Seal drama Six and Fox’s reboot of 24. There are also a few new shows coming out of Israel such as False Flag and Fauda, the latter having been picked up globally by Netflix.

Fox is said to have committed to a script based on Basket Case
Fox is said to have committed to a script based on Basket Case

In another interesting move, Fox is reported to have given a script commitment to Basket Case, a TV drama based on the 2002 novel by Carl Hiaasen. Although a terrific writer with around 15 novels and five children’s books to his name, Hiaasen’s work has rarely been adapted for film or TV. His 1993 novel Strip Tease was turned into a film in 1996 and his 2002 kids book Hoot received similar treatment in 2006. But other than that, there is little to report.

Basket Case centres on a former hotshot investigative reporter, Jack Tagger, who’s now an obituary writer. It will be adapted by White Collar and Graceland creator Jeff Eastin, and Life in Pieces executive producer Jason Winer. Presumably if it’s a hit we can expect Hiaasen novels to become another regular source of inspiration for the scripted TV trade.

Still in the US, Fox drama Pitch has just come to the end of its first season. The show, which tells the story of the first woman to play for a Major League Baseball team, was well received by critics but delivered pretty poor ratings – 4.23 million at the start falling to 2.89 million at the end of its 10-episode run. This puts it down among the weaker scripted performers on Fox, such as Scream Queens, The Exorcist and the rapidly-fading Rosewood.

Pitch could perform better on a new network
Pitch could perform better on a new network

With its low ratings, Pitch would be an easy cancellation for Fox. But the fact is that the channel doesn’t have many hits at the moment – with Empire and Lethal Weapon some way ahead of the pack. So it may decide to back a second season of Pitch.

If Pitch is cancelled, there is talk of it moving to another network. Of course, there is always talk of series moving network when they are dropped, but Pitch really does seem like a show that could do a job in a less ferocious competitive scenario. If the show doesn’t survive in any form, then it just goes to prove how hard it is to make dramas that have sports as their backdrop.

Finally, Australian pubcaster ABC and Screen Australia have teamed up again to uncover the next generation of home-grown comedy talent through their Fresh Blood talent initiative.

Wham Bam Thank You Ma’am
Aussie comedy Wham Bam Thank You Ma’am resulted from a Fresh Blood pitch

The first wave of Fresh Blood launched in 2013 with 72 comedy sketches created by 24 teams. Five of those teams were selected to make TV pilots for ABC and two of them were then launched as six-episode half-hour series: Fancy Boy and Wham Bam Thank You Ma’am. A new wave of Fresh Blood sees 20 up-and-coming comedy teams each awarded US$15,000 to produce three sketches. During 2018, four of those teams will be selected to produce a TV comedy pilot.

Mike Cowap, investment manager at Screen Australia, said. “For new comedy writers, performers and directors, Fresh Blood is a launchpad like no other, providing opportunities and exposure that can set up ambitious creators for successful futures.”

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Missing accomplished

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The Missing is an English-language show with a French cop at its centre
The Missing is an English-language show with a French cop at its centre

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 show, which was created by Jack and Harry Williams, is also likely to feature prominently on the awards circuit, given the response to the first season. Although The Missing season one didn’t manage to bag any high-profile awards, it did show up on several shortlists, gaining a nomination for Best Miniseries or TV Film at the Golden Globes in 2015.

The big question now is whether there will be a third season of the show, which is an anthology series linked by the presence of the French cop referred to above (Julien Baptiste). The actor who plays him, Tcheky Karyo, is keen to reprise. But the Williams brothers have not yet committed. They are busy with other projects and will only return to The Missing if they feel they have the right idea. One possibility is to pick up the story from season one, which does have the potential to be brought back to life.

Midnight Sun has been sold to pay broadcaster Sky Atlantic in the UK
Midnight Sun has been sold to pay broadcaster Sky Atlantic in the UK

In other Williams brothers news, there are reports this week that US premium pay TV channel Cinemax has jumped on board Rellik, a new limited series that the brothers are making for BBC1 in the UK. The title of the show is Killer spelled backwards, reflecting the fact that the new series will tell a serial killer’s story in reverse.

Another show in the headlines this week is the Franco-Swedish drama Midnight Sun, which has been sold to pay TV channel Sky Atlantic in the UK by StudioCanal. Created by Mårlind & Stein (Bron/Broen), the eight-part series is a thriller set in a small mining community in remote northern Sweden where a series of brutal murders conceal a secret conspiracy.

It has already aired on Canal+ in France, where it was the highest rated Création Originale series launch in three years. It also did well on Sweden’s SVT, where it attracted an audience of 1.8 million (39.7% share).

Commenting on the deal, Zai Bennett, director of programmes at Sky Entertainment UK and Ireland, said: “Midnight Sun is a brilliant addition to our line-up in 2017, with new award-winning drama airing exclusively on the channel every month. I’ve no doubt our customers will love this clever and thought-provoking thriller.”

Sky Atlantic is the latest in a long line of broadcasters to pick up the Canal+/SVT/Filmpool Nord copro from Atlantique Productions and Nice Drama. Already onboard are ZDF in Germany, SBS in Australia, HOT in Israel, NRK in Norway, DR in Denmark, RUV in Iceland, MTV3 in Finland, VRT in Belgium, and Lumière in Benelux. The show also received the Audience Award at SeriesMania.

The A Word looks at the impact of an autism diagnosis on a family
The A Word looks at the impact of an autism diagnosis on a family

Katrina Neylon, exec VP sales and marketing at StudioCanal, added: “Since its launch at Mipcom in October, Midnight Sun has gone from strength to strength on the international stage. Its high production values, alongside an absorbing and internationally relevant storyline, offer great appeal across multiple platforms.”

Also this week, DQ’s sister platform C21 is reporting that Amazon has picked up the US SVoD rights for critically acclaimed drama The A Word. The series, which looks at the impact on a family when their youngest child is diagnosed with autism, is based on an Israeli show called Yellow Peppers.

Distributed internationally by Keshet International (KI), the first season of the show was a surprise hit on BBC1 and a second season has been commissioned. In addition to Amazon, it will air on Sundance TV in the US, underlining a growing trend toward pay TV/SVoD rights sharing.

Commenting on the Amazon deal, Keren Shahar, chief operating officer at KI and president of distribution, said: “The fact that Amazon has acquired SVoD rights to both seasons of the series is a testament to its quality, appeal and performance to date.”

Masters of Sex has been axed by Showtime after four seasons of declining ratings
Masters of Sex has been axed by Showtime after four seasons of declining ratings

On the cancellation front, Showtime in the US has announced that Masters of Sex has been dropped after four seasons. The news is not that big a surprise. The show, which features Michael Sheen as William Masters, the real-life American gynaecologist who pioneered research into human sexuality, attracted an average of 453,000 for its final run.

This is down from the 595,000 who watched season three, the 800,000 who watched season two and the 1.07 million who followed the debut season in 2013. An IMDb score of eight reinforces the fact that the show never quite hit the heights of the other shows doing the rounds in pay TV/SVoD (Fargo, Stranger Things, Westworld, Game of Thrones etc).

The show also didn’t perform well when compared with other Showtime titles like Homeland, Shameless, Ray Donovan and Billions. Interestingly, another Showtime series, The Affair, has just come back for season three with pretty modest ratings — suggesting that it might also struggle to get a recommission at the end of this run. If this is the case, then it leaves Showtime very reliant on a small handful of moderately good scripted series.

Against this backdrop, a watershed moment for the channel will be the return of iconic drama Twin Peaks in 2017. Possibly it’s also time to listen to the fan chat and bring back Dexter, the serial killer drama that defined Showtime for so many seasons.

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Spirited display from pay TV

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Outcast
Outcast was given a cross-platform launch

The success of movie franchise The Conjuring suggests the supernatural is back in business. After the original film came a spin-off called Annabelle, which grossed around US$250m worldwide. Then came The Conjuring 2, which recently topped the box office worldwide (except in China). And now there’s talk of a new movie spin-off called The Nun, which is based on The Conjuring 2’s demonic antagonist.

The TV business has also realised that ghosts and ghouls are fertile territory. In the US, HBO sister channel Cinemax has just launched Robert ‘The Walking Dead’ Kirkman’s new 10-part project Outcast, in which a young man searches for answers as to why he’s been suffering from supernatural possessions throughout his life.

Echoing recent trends, the show was given a cross-platform launch – starting two weeks before its official debut date (June 3). Aggregating the data from HBO/Cinemax platforms, YouTube, Facebook and Playstation 4 (all of which aired the first episode), the show was viewed around four million times – a record for Cinemax. With the show also generating a good response among critics and on IMDb (8.2), it looks like Kirkman could be in for another long journey.

The Enfield Haunting
The Enfield Haunting could come back to Sky in the form of a franchise

Sky TV in the UK has also decided there is a future in spookery. After the success of last year’s miniseries The Enfield Haunting, it has revealed plans to revisit the genre. Details are not yet clear but there are reports that Sky will revive the franchise as a series of 90-minute feature length dramas. It’s not obvious exactly how this will work as The Enfield Haunting was a self-enclosed story. It may decide to work with the same characters, or retain part of the brand (The XXX Haunting). But the fact that it is considering a feature-length format is interesting, since this is a growing trend among pay TV/SVoD platforms.

On top of Outcast, the HBO family has had a pretty good week in the scripted genre. Fantasy phenomenon Game of Thrones picked up the Jury Grand Prize at the Banff World Media Festival’s 2016 Rockie Awards. There was also good news for Damon Lindelof, who picked up Banff’s Showrunner of the Year Award. Lindelof, whose credits include Lost, is currently in charge of HBO’s acclaimed drama The Leftovers.

Feed the Beast
Feed the Beast stars David Schwimmer (left) and Jim Sturgess

The news was less positive over at AMC, where new restaurant drama Feed the Beast has had a lacklustre debut. Despite starring a talented duo in David Schwimmer (Friends) and Jim Sturgess (One Day), the show has seen its ratings slip badly after a reasonable first episode. The premiere attracted 976,000, but this was followed up by an episode-two audience of just 398,000 and an episode-three audience of 484,000. Its 6.9 IMDb rating is also discouraging.

Other shows in the news this week include Orphan Black, the cult sci-fi thriller that has been such a big hit for US cable channel BBC America and Canadian sci-fi channel Space. This week, just ahead of the season four finale, BBC America announced there would be a fifth season of the clone drama in 2017 – but that this would be the last.

Orphan Black
Orphan Black has been given a fifth and final season

“Orphan Black is a thrilling, genre-bending ride that has captured our fans’ imaginations and hearts like no other show,” said Sarah Barnett, president of BBC America. “Our genius team of actors, writers and producers have, time after time, taken us to a place of awe, delight and utter shock and surprise. Tatiana (Maslany, the lead actress) has been a complete revelation– hers is one of the most remarkable performances on TV –and she is joined by an extraordinary cast. We can’t wait to take our passionate audience on one final gobsmacking clone adventure.”

Co-creators John Fawcett and Graeme Manson added: “The past four seasons have been a phenomenal adventure and we are eternally grateful to our loyal fans who have loved our weird little show. We are thankful to our partners at Temple Street, and to BBC America and Space for their support and giving us the opportunity to end on a high.”

Also in the news this week is Filmpool’s constructed reality show Day and Night. Originated in Germany and sold as a format on the international market, each episode of Day and Night spans 24 hours in the lives of eight diverse young inhabitants of a trendy apartment in the heart of a vibrant metropolis. Although it is a drama, Day and Night adds to its authenticity by using amateur actors and real locations.

Day and Night Berlin
Day and Night Berlin

The show is sold abroad by All3Media International, which this week secured orders for more than 350 new episodes. RTL Hungary has just greenlit the highest number of episodes of Day and Night in one order (outside Germany) with 249 new one-hour episodes now set to air on RTL Klub. This brings the total episodes ordered for Hungary since its first airing in 2013 to more than 1000.

In Bulgaria, meanwhile, MTG has ordered another 140 one-hour episodes of Day and Night for air on the Nova channel later this year. Others countries where the show has done well include France (W9), Austria (ATV) and Slovakia (PLUS).

Lucy Roberts, formats sales manager for northern EMEA at All3Media International, said: “We’re delighted that Day and Night is continuing to go from strength to strength across the CEE region. The format is fantastic proof of Filmpool’s expertise in this genre, boasting scripts and characters that are always engaging and relevant to its target audience, and multiple story arcs and themes that keep viewers hooked across the whole series. Combine this with the ability to generate a huge buzz on social media and its diverse commercial interactive opportunities, and Day and Night represents a great proposition for broadcasters looking to target the youth audience.”

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No Halt for AMC’s PC period drama

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Halt and Catch Fire has averaged around 520,000 viewers per episode
Halt and Catch Fire has averaged around 520,000 viewers per episode

AMC has just greenlit a third season of scripted series Halt and Catch Fire. Created by Christopher Cantwell and Christopher Rogers, the show is a recent period drama that looks at the origins of the personal computer revolution in the early 1980s.

On the face of it, the recommission is a surprise, given the show’s low ratings. Season two’s same-day ratings averaged around 520,000 across a run of 10 episodes. Even when three days’ worth of time-shifted viewing is added in (Live + 3), the show still only managed to attract around 900,000 – making it the lowest-rating original drama on the network.

To put this in perspective, The Walking Dead and Fear The Walking Dead (FTWD) bring audiences in excess of 10 million to AMC. Low Winter Sun, cancelled last year, was running at around 1.2 million – and had a much better response from the 18-49 demographic than Halt.

So why would a savvy network like AMC renew a show that doesn’t seem to be delivering the goods in ratings terms? Well, there are a number of possible explanations. The first is that critics started warming to the show in season two, regarding it as a step up from the first run. So it’s possible AMC views the show as a sleeper – the kind of drama that might suddenly break through into the public consciousness in season three, encouraging new viewers to go back and watch from the start.

Into the Badlands will debut on AMC next month
Into the Badlands will debut on AMC next month

The second is that AMC might have taken a positive view on the profile of the audience. It’s possible Halt and Catch Fire particularly appeals to AMC influencers and evangelists – the kind of hardcore fans who will recommend the channel to friends. As such, the drama may have a value over and above its raw numbers.

Another factor worth noting is that AMC is a subscription-based channel, not an ad-only channel like the big four US broadcast networks. While AMC does make money from ads (and it’s possible advertisers might like Halt), it doesn’t need to make snap decisions about shows – especially at a time when The Walking Dead, FTWD and Better Call Saul are all doing so well for the channel. Somewhere, deep in AMC’s research department, someone may have taken the view that the profile of Halt and Catch Fire is having an additive effect on the overall schedule.

Linked to this point is the positive impact the show could be having on the AMC brand. As the channel showed with Mad Men, which wasn’t a huge ratings success, there is a brand benefit in being seen as a channel that supports quality shows – especially if that support translates into awards. It gives channels the kind of ‘home of quality’ feel that public broadcasters like the BBC and DR in Denmark possess, and that can be a business benefit.

Channels also need to take a view on the overall shape of their slate at any given time. With Mad Men and Hell on Wheels both coming to a close, AMC is probably reluctant to go on a cancellation spree. Turn and Humans were also renewed after delivering modest ratings, so the channel may be waiting to see which of the three manages to raise its game in ratings terms. Alternatively, it may be waiting to see how new shows like Into the Badlands and Preacher perform. If those series do well, then the pressure to axe at least one show will probably grow.

Tyrant has been given a third season on FX
Tyrant has been given a third season on FX

It’s also important to think about the global economics of the AMC business these days. Halt and Catch Fire is a wholly owned show, which means AMC has a vested interest in it doing well. It can use the show on its international network AMC Global and it can sell it to international third parties or to Netflix. In other words, there are several other ways to extract value from the show that have nothing to do with the average audience for season two.

And finally, there is a point to be made about building relationships with talent. While the showrunner on Halt’s first two series, Jonathan Lisco, has left to work on another project, this has opened the door for Cantwell and Rogers to take control of the show they created and co-write. They are clearly delighted to be making a new series for AMC – so it’s just possible their next show may be the one that does the business for the channel. Or maybe other writing talent will look at the recommission and decide AMC is the kind of network they want to take their show to.

In summary, there are reasons why networks sometimes choose to keep ploughing ahead with low-rating shows. Ratings are still the best way to analyse and assess a show’s performance, but in this increasingly complex media market we shouldn’t be too surprised if networks back shows that look destined for the chop. And it makes the job of guessing that much more interesting.

Elsewhere, US cable channel FX has renewed Tyrant for a third season of 10 episodes. This show, created by Gideon Raff and executive produced by Howard Gordon (the team that brought us Homeland), is a political drama loosely based on the life of Syria president Bashar al-Assad. Series two averaged around 1.2 million viewers, but seemed to be getting stronger towards the back end of the run. This view is confirmed by IMDb ratings. While the overall IMDb rating is 7.9, episodes 10, 11 and 12 of season two were all scored by fans at 9 or 9.1 – suggesting a groundswell of support.

George RR Martin's Skin Trade has previously been adapted as a comic
George RR Martin’s Skin Trade novella is being adapted for Cinemax

Another interesting story this week is that HBO sister channel Cinemax has optioned the TV rights to Game of Thrones author George RR Martin’s The Skin Trade, described as an the offbeat werewolf noir novella. Commenting on his blog, Martin said: “The deal is closed, and Cinemax has ordered the pilot script. This being Hollywood, you never know where things will end… but if they like the script, we’ll shoot a pilot, and if they like that, hey, who knows, maybe we’ll get a series on the air. Which would be very cool. Those of you who know the story of Doorways, my ill-fated ABC pilot from the early 90s, may recall that it was Skin Trade that I was actually trying to sell back in 1991, when I flew out to LA for a round of pitch meetings. So we’re a few decades late…”

Some Game of Thrones fans will no doubt be anxious that Skin Trade will distract Martin from finishing writing his masterwork. But he used his blog to assure fans that wouldn’t be the case: “While I would have loved to write the script and run the show myself, that was never really on the cards. I have this book to finish. You know the one…”

The Skin Trade pilot will be written by Kalinda Vazquez, whose credits include Prison Break and Once Upon a Time. Martin will be an executive producer.

Halle Berry in Extant
Halle Berry in Extant

Skin Trade comes under a two-year development deal Martin has with HBO. He has previously said that he is developing a Captain Cosmos series at HBO, with Michael Cassutt writing. Cassutt’s TV credits include The Outer Limits and The Twilight Zone.

Finally, NBC’s new procedural series Blindspot has been rewarded for its good start with an additional nine-episode order. This means it is the first of this year’s new US shows to secure a full-season order. By contrast, Fox has reduced its initial order of 13 episodes on Minority Report to 10. While this doesn’t count as a cancellation, it means the show is the first of this year’s new US titles to know that it won’t be coming back. CBS, meanwhile, has cancelled summer series Extant, starring Halle Berry, after two seasons. Both Minority Report and Extant are Amblin TV shows.

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