Articles about Keshet
Omri Givon, creator of Israeli drama When Heroes Fly, tells DQ about the origins of the action thriller and how he pushed his budget to the limit to bring this story of a rescue mission in the Colombian jungle to the screen.
Israeli television rose to global prominence on the back of scripted series such as Hatufim (Prisoners of War) and Be Tipul (In Treatment). DQ explores what comes next from a country where big budgets are rare but no expense is spared on storytelling.
Keshet UK’s head of drama Howard Burch reveals the story behind Channel 4 and AMC comedy-drama Loaded, about four friends who suddenly become millionaires.
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.
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.
A feast of drama will be served in Cannes when MipTV hosts its first ever Drama Screening event next week. DQ previews the line-up and the rest of this year’s market.
A family struggles to cope when their youngest son is diagnosed with autism in BBC1 drama The A Word – the latest international drama to be inspired by a hit Israeli series.
Last week, Natpe 2016 saw a glut of Latin American content news, while USA Network gave Nordic Noir its vote of confidence. Elsewhere, Netflix continued commissioning and Sky tied up Showtime dramas for five key European territories.
From E4 and Netflix to BBC2 and FX, the scripted TV business is thriving thanks to unlikely collaborations. Andy Fry reports.
HBO picks up the rights to Israeli thriller Neveilot, Netflix increases its interest in Indian content and there is talk of a Tremors TV series.
At the conclusion of international content market Mipcom, Andy Fry reviews some of the week’s headline scripted deals.
Whether it’s acquiring a finished show, going it alone, adapting a format or coproducing with international partners, there’s a multitude of options when it comes to buying and selling quality drama. DQ asks the experts what works best for their business.