Netflix has made Korea a priority in its quest for global SVoD domination – and now arch-rival Amazon Prime Video is following suit.
Last week, it was revealed that Amazon had boarded The Idolm@ster, a Korean TV series for 2017 that is based on a popular Japanese game franchise from Bandai Namco.
First mooted in spring 2016, the live-action series is about a group of aspiring female singers trying to establish their music careers. As such, it sits at the crossroads of two Asian obsessions – K-Pop and television drama. The TV drama is a no-brainer given the success of the franchise across various platforms. Since launching in 2005 as an arcade game, The Idolm@ster has inspired animation and manga versions, as well as live concerts and hit singles. It has also been adapted for digital platforms including smartphones.
The series will stream exclusively on Amazon Prime Video from early 2017 and will be localised into several languages, including Japanese and English.
James Farrell, head of content at Amazon’s Asia Pacific Prime Video, called Idolm@aster “the perfect combination of Japanese idol culture and Korean drama power. The idols include K-Pop sirens, as well as Japanese and other international singers, and we’re confident fans and viewers alike all over the world will become addicted to watching their careers bloom.”
The news continues a growing trend for global companies to exploit the Korean drama phenomenon. Recently we reported on the fact that NBC Universal participated in the financing of Moon Lovers. And this week South Korean media group CJ E&M has formed a partnership with Warner Bros-owned streamer DramaFever to coproduce local dramas for the international market. Under the terms of the alliance, called Studio Dragon, the partners will produce two original series over next three years.
“Studio Dragon is determined to become Asia’s number-one drama studio. To achieve that goal, we plan to work with industry leaders to provide unrivalled content for audiences,” said Jinnie Choi, president of Studio Dragon.
Away from Korea, US channel Syfy has announced that sci-fi series Killjoys and Dark Matter will both be returning for third seasons. Killjoys, which follows a trio of interplanetary bounty hunters, is produced by Temple Street Productions, the Toronto-based firm behind Orphan Black. The show also airs on the Space channel in Canada. In line with the Syfy announcement, Space revealed that it too would be on board the third season of the show.
In terms of audience ratings on Syfy, Killjoys attracts around 650,000 viewers per episode, which makes it a mid-ranking performer on the network. It’s a similar story for Dark Matter, which comes in at around 690,000 per episode. Interestingly, this positioning and ratings differential is broadly reflected by IMDb rankings, which come in at 7.1 and 7.4 respectively for the two shows.
Syfy has struggled to secure a bona fide hit series in recent times and is shifting towards series with built-in brand recognition. This week, it debuted Van Helsing, a reimaging of vampire mythology in which the central character has been switched from male to female (similar to Wynnona Earp).
There was also news this week about Syfy’s planned Superman prequel. Called Krypton, it is set two generations before the destruction of Superman’s home planet. The show is based on a pilot by David S Goyer and will feature British actress Georgina Campbell.
Last week, we discussed the success of 1980s-set thriller Stranger Things on Netflix and suggested it would only be a matter of time before a second series was greenlit.
In fact, a second season was announced the next day. Created by Matt and Ross Duffer and starring Winona Ryder, season two will debut in 2017 and will consist of nine episodes, one more than season one’s eight episodes.
We’ve also looked at Marvel’s expansion recently. The latest news on this front is that Marvel and ABC Studios are plotting a new series called New Warriors. Although a cable/SVoD home is yet to be found for the show, the plan is for it to be a comedy about a superhero squad made up of teenagers. This will follow a recent trend in the superhero genre towards irreverent franchises including Guardians of the Galaxy, Deadpool and Suicide Squad.
In terms of shows that won’t see a greenlight, the big news of the week is that AMC won’t be bringing back its restaurant drama Feed the Beast. Despite having a cast headed by David Schwimmer and Jim Sturgess, the show attracted pretty modest ratings.
In a statement, AMC said: “We have great respect and admiration for the entire team associated with Feed the Beast and our studio partner, Lionsgate. Unfortunately, the show simply didn’t achieve the results needed to move forward with a second season.”
In number terms, season one of the show averaged around 447,000, making it the second lowest-rating scripted show on the network. Interestingly, the show it beat, Halt and Catch Fire, has been renewed through to season three.
However, AMC clearly decided it couldn’t carry two scripted series on such low ratings. This presents a slight conundrum for AMC, which is that it is heavily reliant on dystopian fantasy/horror series (The Walking Dead, Fear The Walking Dead, Into the Badlands, Preacher) and could do with establishing a different editorial beachhead to appeal to a new audience subset.
Finally, DQ’s sister publication C21 is reporting that Spanish producer Boomerang TV has opened a new scripted production division in Chile. The arm will produce dramas for Chilean broadcasters and follows the arrival of Boomerang in the country in 2014. Veteran Latino producer and former Chilevisión drama chief Vicente David Sabatini becomes fiction director, while Cecilia Stoltze, formerly at TVN, has been named general producer.
Disney’s acquisition of Marvel Entertainment gave it some obvious assets such as The Avengers and Iron Man. But the real genius of the partnership is the way Disney has managed to mine Marvel’s wider universe, which extends to 5,000 characters.
The success of the deal is especially evident in the movie business, where the Avengers franchise has performed beyond all expectations under Disney’s stewardship.
No less impressive has been the way Disney has developed hit movies out of thin air – examples being Guardians of the Galaxy and Big Hero 6. The company also benefits financially from the success of franchises like Spider-Man, X-Men and Fantastic Four, which, although Marvel-created, are controlled in the film sector by Sony (Spider-Man) and Fox (the latter two). Add all the above together and the total Marvel box office take since Disney took over easily tops US$10bn.
Disney being Disney, the deal was never just about film, of course. With the world’s best IP exploitation infrastructure already in place, the company has also managed to squeeze value out of its Marvel assets across video games, theme parks, TV and more.
As with film, Disney is using TV to unleash an ever-expanding array of characters onto the market. However, there are a few notable differences in approach. One is that TV seems to be a more tolerant environment for female superheroes, making it easier to set up shows with women as central characters rather than sidekicks. The same is true in terms of diversity, with TV more inclined to showcase non-white and LGBT characters.
Another is that TV can take more risks with character selections and stories. Marvel characters that could never support a movie franchise are more than capable of attracting one million-plus viewers on cable TV in the US.
There’s also more of a narrative drama feel to Marvel on TV. In part this is because TV can’t compete with the movies in terms of special effects. But it’s also because TV needs to develop characters fully to sustain them over several seasons.
Disney’s biggest Marvel TV excursion to date is Marvel’s Agents of S.H.I.E.L.D, which was launched to huge fanfare in 2013 on Disney’s flagship free-to-air channel ABC. Created by Joss Whedon, the show is based around an ensemble cast of characters, some of which have appeared in the modern Marvel movie franchise and others from the comic book canon. Testament to the strength of the Marvel universe is that the central character in the show (Phil Coulson, played by Clark Gregg) was killed off in one of the films but has now bounced back to lead the show for (a minimum) four seasons.
The show started very strongly – trading on the Marvel name – but has settled into a kind of solid mid-table performance, averaging around 3.4 million viewers for its 2015 third season. Despite this, it has a value to Disney that goes beyond the headline audience. One is that it does well among younger viewers. Another is that it has sold to around 135 countries worldwide. And finally it has also proved useful for Disney in terms of trying out new TV ideas.
For example, it provided the platform for ABC to launch Marvel’s Agent Carter, a spin-off from the Avengers franchise that lasted two seasons. It also spawned a spin-off called Marvel’s Most Wanted, which featured the characters Lance Hunter and Bobbi Morse from S.H.IE.L.D. Although this didn’t get further than pilot phase, it’s an indication of how Disney can work its Marvel assets through ABC.
It’s not just ABC that’s benefiting from Disney’s acquisition of Marvel. In April, Disney-owned cable channel Freeform (formerly ABC Family) announced it had greenlit a straight-to-series order for Cloak and Dagger. Based on Marvel comic book characters, the show will tell the story of an interracial superhero couple – underlining the freedom that TV allows to break down barriers.
There are also important relationships beyond the bounds of the Disney empire. The most significant to date is Disney’s multi-series pact with Netflix, which has had a storming start. The first show from the partnership was Daredevil (2015), a critically acclaimed series that has just been renewed for a third season.
This was followed by Jessica Jones, another well-received show that has recently been renewed for a second season. Starring Krysten Ritter (Breaking Bad), Jessica Jones completely encapsulates the points made above – namely a female lead and tough storylines that deal with topics such as rape, assault and PTSD.
Coming up next are series based around Marvel characters Luke Cage and Iron Fist. Then, in true Marvel fashion, Daredevil, Jessica Jones and the latter two will be bundled together for a series called The Defenders. Given that Marvel’s comic book iteration of The Defenders also includes Doctor Strange, there’s also a neat cross-over with the forthcoming Doctor Strange movie starring Benedict Cumberbatch.
On top of all this, Netflix is working with Marvel on a series based around its anti-hero The Punisher – a decision perhaps made easier by the massive success of the Deadpool movie, which also has an anti-hero at its core.
Alongside its in-house activities and the Netflix partnership, Disney’s Marvel TV division, which is headed by Jeph Loeb, is also building up a warmer relationship with Fox and FX. In past years, the two companies have not got on that well because Fox controls the movie rights to X-Men and Fantastic Four and has no intention of relinquishing them back into the Marvel fold.
However, this summer it was announced that Marvel and Fox are collaborating on as as-yet-untitled X-Men-themed series starring two parents who discover their children possess mutant powers. They are then forced to go on the run from a hostile government and join up with a group of mutants in order to survive.
In parallel, Marvel and FX are working on an eight-part series called Legion, another X-Men spin-off. Written by Noah Hawley (Fargo), this show follows a schizophrenic who has been in and out of psychiatric hospitals for years. But after an encounter with a fellow patient, he realises the voices and visions is his head may be real. Significantly for this show, it has also been picked up by Fox’s international channels, meaning approximately 125 countries, including the UK, will air it day-and-date with the US.
For Disney, the possibilities of the Marvel universe don’t end here. US streaming service Hulu, for example, is planning a series based on the Marvel comic book Runaways, about six diverse teenagers who can barely stand each other but must unite against a common foe – their parents. And there are also reports that Disney XD is planning an animated spin-off based on Guardians of the Galaxy.
All in all, then, that looks like US$4bn well spent.
As the dust settles on another action-packed San Diego Comic-Con, there is plenty to look forward to if the new footage previewed at the event is anything to go by.
From teasers for forthcoming new series to big reveals about new seasons of fan favourites, expectations were certainly heightened by what was showcased during four days of panels, screenings and guest appearances at the San Diego Convention Centre.
Here’s a rundown of the best videos unveiled at Comic-Con:
Starz unveiled the first trailer for American Gods, based on the novel by Neil Gaiman and due to air in 2017
BBC America also dropped the first footage of comic book adaptation Dirk Gently’s Holistic Detective Agency
Fox previewed a new trailer for its take on classic horror movie The Exorcist
Another new series Syfy’s Incorporated, which is set in a world controlled by corporations. It is produced by Ben Affleck and Matt Damon
The trailer for The Walking Dead season seven introduces King Ezekiel and his tiger (pictured at the top of this page)
But not to be outdone, spin-off Fear The Walking Dead gave fans a teaser of a new storyline that feature a cult that sacrifices its own members in the second half of season two
If that wasn’t enough blood, Starz also previewed season two of Ash vs Evil Dead as star Bruce Campbell announced Lee Majors was joining the cast
Fans saw the first glimpse of season four of Sherlock
Here’s the first footage from Prison Break, which is returning to Fox in 2016/17
ABC used Comic-Con to reveal that Aladdin and Jafar would be making their debuts in the first scene of sixth season of Once Upon a Time
But excitement for the sixth season trailer of MTV’s Teen Wolf was tempered with the announcement that the new run would also be its last
Of course, Comic-Con royalty status is reserved for the big comic book publishers, and this year was no exception in terms of their television crossovers.
Among its film and television panels, DC Comics unveiled the third-season trailer for The CW’s The Flash, which introduces the comic’s Flashpoint storyline after Barry Allen goes back in time to prevent his mother’s murder
Fans inside the convention centre also saw footage from the fifth season of Arrow
The most recent entry into the DC Comics television landscape, Legends of Tomorrow, debuted its season-two trailer
Meanwhile, Batman prequel Gotham unveiled clues about its upcoming third season
It was Marvel, however, that stole the show and provided some of the biggest talking points from this year’s event.
The studio unveiled the first trailer for Legion, the new FX drama from Noah Hawley (Fargo) that is set in the X-Men universe
Marvel also debuted footage from its upcoming Netflix shows. First up is Luke Cage, which debuts online on September 30
Iron Fist follows, completing the line-up of superheroes to appear on the SVoD service in the wake of Daredevil, Jessica Jones and Luke Cage
The studio also confirmed there will be a third season of Daredevil with this teaser
But also in 2017, the quartet will come together in miniseries The Defenders, as previewed in this teaser that plays against the soundtrack of Nirvana’s Come As You Are
Not to be forgotten, however, is a little show called Star Trek, which returns to television next year on CBS and CBS All Access in the US and Netflix around the world. And in the week the latest feature film in the franchise, Star Trek Beyond, hit cinemas, Trekkies got to see this test footage from Star Trek: Discovery, which will follow the crew of the USS Discovery.
As of this week, US premium cable network Starz has started airing original series on Sunday nights instead of Saturdays. The move appears to have been a good one, with the debut episode of Power’s third season setting a new viewing record.
The show, which tells the story of a charismatic club owner who leads a double life as the head of a powerful drug-dealing business, attracted 2.26 million viewers, significantly up on the 1.54 million who viewed the finale of the second run.
The previous record for a premiere episode on Starz was 1.46 million, for the second season opener of period adventure Outlander.
As soon as the rating news was in, Starz announced it had commissioned two more seasons of Power, which stars Omari Hardwick and was created by Courtney Kemp Agboh – with Curtis ’50 Cent’ Jackson also on board as an executive producer.
Commenting on the news, Starz CEO Chris Albrecht said: “In today’s content landscape, it is challenging for a series to stand out, but Courtney is a singular voice working in television today. In Curtis, we not only have an immense talent but an executive producer who brings a unique perspective, an authentic voice and passionate fan base that has helped propel the success of the series. The fans have let it be known loud and clear that they cannot get enough of [main characters] Ghost, Tommy, Tasha, Angela and Kanan.”
There was mixed news for Starz pirate drama Black Sails, however. The show, which is a prequel to Treasure Island, has been given the green light for a fourth season of 10 episodes – but that season will also be its last.
Black Sails co-creator and executive producer Jonathan E Steinberg said: “It’s a rare privilege in television to be given the kind of creative freedom we’ve enjoyed on this show over the last four years. While it was a difficult decision to make this season our last, we couldn’t imagine anything beyond it that would make for a better ending to the story nor a more natural handoff to Treasure Island.”
Overall, Black Sails will be remembered as a success for Starz, building on the work done by The Pillars of the Earth, Spartacus and Camelot. The show is the first Starz original series to have got as far as four seasons, averaging 3.6 million viewers per episode along the way. It has won two Emmys, achieved an 8.2 rating on IMDb and has been licensed to 130 countries, including a deal with A+E Networks in the UK.
So the question now is whether the network will go in search of another period adventure to fill the gap – or whether the recent Lionsgate deal will point it in a new direction.
San Diego Comic-Con got underway on Thursday and runs through until Sunday. A hugely important date in the entertainment industry calendar, it is an opportunity for film and TV producers to build buzz around their projects by connecting directly with hardcore fans.
Historically regarded as a gathering for geeks, it is now an unmissable event for anyone interested or working in the sci-fi, fantasy, superhero, horror and adventure genres.
At time of writing, the headlines definitely belonged to Star Trek Beyond, the latest movie in the iconic sci-fi franchise. Not only did it put on a spectacular show in San Diego, but Paramount Studios has approved plans for another film.
In parallel, there’s also a huge amount of interest in the new Star Trek TV series, which launches on CBS’s subscription streaming service CBS All Access in the US in January. This week CBS revealed that it has now licensed the show (and the extensive Star Trek back catalogue) to SVoD giant Netflix for the international market.
Netflix will be able to stream the show just one day after it has debuted on CBS All Access.
Coming off the back of this summer’s movie launch, there’s no question the TV series will be one of the highlights of 2017. “Star Trek is already a worldwide phenomenon and this international partnership will provide fans around the world, who have been craving a new series for more than a decade, the opportunity to see every episode virtually at the same time as viewers in the US,” said Armando Nunez, president and CEO of CBS Global Distribution Group. “The new Star Trek will definitely be hailing on all frequencies throughout the planet.”
Netflix is also at Comic-Con to promote its partnership with Marvel and gave fans a brief introduction to Luke Cage, the central character of a new superhero series coming on September 30. Luke Cage joins existing Netflix Marvel series Daredevil and Jessica Jones.
Earlier this week, in our Greenlight column, we looked at the success of Australian prison drama Wentworth on the international market. Now there is more good news for the show following reports that Australia’s Foxtel has ordered a fifth season for its SoHo channel. FremantleMedia Australia will start production on 12 episodes in Melbourne next month.
Foxtel head of drama Penny Win said: “Wentworth has gone from strength to strength over the past four seasons. It is a ratings blockbuster and fan favourite for Foxtel audiences. It was a very easy decision to commission a further season of this brilliantly constructed and crafted programme. There is a lot in store both for the women behind bars and those on the outside.”
There was also good news for Scandinavian drama Jordskott this week, with DQ sister title C21 reporting that it is to be adapted into English by Amazon for its Prime Video service. That news came just after Sony Pictures Television took a stake in Palladium Fiction, the Swedish production company behind the original show.
A 10-part thriller with supernatural overtones, Jordskott debuted on SVT in February 2015 and was then picked up for distribution by ITV Studios Global Entertainment (ITVSGE). ITVSGE sold the show around the world, including to ITV Encore in the UK, and Palladium is now in development on a second season with SVT.
Another show creating a buzz on the international market this week is ITV’s new six-part murder mystery Loch Ness, also distributed by ITVSGE. Despite the fact it has only just started filming in Scotland, it has been picked up by NBCUniversal International Networks for broadcast on its 13th Street pay TV channel in France, Spain, Germany and Poland in 2017.
One possible explanation for the early pick-up is that Loch Ness stars Scottish actor Laura Fraser – a familiar face to many viewers thanks to her excellent turn as the neurotic Lydia in Breaking Bad. The show is written by Stephen Brady (Fortitude) and executive produced by ITV Studios creative director and executive producer Tim Haines (Beowulf).
Loch Ness was commissioned by ITV controller of drama Victoria Fea and head of drama series Jane Hudson, with support from Creative Scotland’s Production Growth Fund. Fea commented: “Loch Ness is a gripping, tightly plotted drama that focuses on how a serial killer terrifies a local community. Stephen Brady’s compelling scripts utilise the wilderness of Loch Ness perfectly.”
Haines added: “Serial killers are monsters that lie beneath the surface of normal happy communities. Where better to hunt for one than in a place that has thrived off its own monster myth for centuries – Loch Ness.”
As BBC1 prepares to air Dickensian, which brings together multiple characters from across Charles Dickens’ works, DQ highlights some of the other shows to have taken the shared-universe approach.
At first glance, Tony Jordan’s mash-up of some of Charles Dickens’ most memorable characters in BBC1’s upcoming Dickensian (pictured above) appears particularly novel. However, the idea of multiple characters from writers’ various works appearing in a wholly original script is, in fact, not especially new.
And the idea of spinning-off or reimagining Dickens’ characters has actually been undertaken before – witness the late John Sullivan’s four-part series Micawber (ITV, Christmas 2001), which starred David Jason, and the previous year’s modern-day take on A Christmas Carol (also ITV), with the network’s then ‘actor de jour’ Ross Kemp.
Back in 1998, Gravity director Alfonso Cuaron helmed a contemporary version of Great Expectations, boasting a cast including Robert De Niro, Gwyneth Paltrow and Ethan Hawke.
But with 20 30-minute episodes over the Christmas period (echoing Jordan’s EastEnders origins), there is certainly a risk for the BBC in commissioning Dickensian. The corporation must be hoping that viewers will make the commitment to watch at such a competitive time of the year.
Furthermore, there’s always the risk that the series will merely be a clever pastiche, when compared with viewers’ recollections of the novels or previous TV versions and films.
Dickens’ work has long provided a steady stream of adaptations for TV, the episodic nature his novels ideally suited to the medium. Most recently there has been the BBC’s Mystery of Edwin Drood (2012) and 2011’s three-part Great Expectations, which starred Gillian Anderson and Ray Winstone.
John le Carre’s Circus spy novels provide an example of an author’s shared universe of characters appearing in multiple stories – sometimes in leading roles, sometimes as support. For example, George Smiley’s relatively small amount of page time in The Honourable Schoolboy and The Looking Glass War contrasts with his dominance in Tinker, Tailor, Soldier, Spy and Smiley’s People.
Returning to the subject of mash-ups, these shows have become increasingly popular recently, no doubt aided by the fact that many of the characters featured now reside in the public domain, meaning no fees are due to the estate of the authors.
Both Penny Dreadful (Sky Atlantic/Showtime) and Jekyll & Hyde (ITV) feature or will feature a number of the characters from the novels of Oscar Wilde (Dorian Gray), Mary Shelley (Dr Frankenstein), Bram Stoker (Dracula) and generic figures or urban myths such as werewolves, witches, Spring Heeled Jack and other supernatural beings.
Season three of Penny Dreadful will apparently see the debut of HG Wells’s warped geneticist Dr Moreau.
The progenitor of these shows was, of course, Alan Moore’s The League of Extraordinary Gentlemen graphic novels, which were unfortunately marred by a weak movie version back in 2001 (incidentally providing a rather sad finale to Sean Connery’s on-screen career).
Recent rumours over the summer were that the books were going to be re-booted as a TV series by The Blacklist producer John Davis – this time with a brief to stay faithful to the source material. Fans are waiting with bated breath, but don’t expect Alan Moore to be involved in the production process – numerous bad experiences on previous movie adaptations of his work having soured him on the idea.
The world of the police procedural has always been fecund in terms of shared universes, with the CSI/Law & Order franchises, Hawaii Five-O and others featuring crossovers; the character of Detective John Munch (Richard Belzer) has incredibly managed to appear in Homicide: Life on the Street, The X-Files, The Wire and Law & Order: SVU.
Similarly, Dick Van Dyke’s Dr Mark Sloan has featured in both Diagnosis: Murder and Jake & The Fat Man.
Diagnosis: Murder also showcased a bewildering array of characters from other shows, including Ben Matlock (Matlock), Cinnamon Carter (Mission: Impossible) and Joe Mannix (Mannix).
The Simpsons have met Family Guy and Futurama, while Aliens have battled Predators on the big screen. Fox’s The X-Files, meanwhile, had a phenomenal tour of duty in its first nine seasons, sharing an on-screen universe with Millennium, The Lone Gunman, Picket Fences, Homicide: Life on the Streets and, of course, the aforementioned Simpsons.
But the real market leader in terms of cinematic/TV shared universes is Marvel, with company president Kevin Fiege’s long-term strategy paying off in spades, judging by the stellar box-office returns achieved by Marvel-produced movies since 2008’s ground-breaking Iron Man.
When Marvel made a serious move into TV with Agents of S.H.I.E.L.D. (ABC) in 2013, it was generally felt to be a rare misstep, as although the show has made it to a third season, it has never really set pulses racing.
Rushed writing schedules to capitalise on the success of the movies may have had something to do with season one’s perceived problems.
Generic storylines and a rather dated approach (reminiscent of Marvel’s Mutant X in the early 2000s) have hampered what on paper looked like a sure-fire hit.
As ever, Marvel learned from its mistakes, and when Netflix ponied up for a number of series, the company rose to the challenge, with the first Daredevil hitting a home run in terms of critical and fan reaction, which has since been overtaken by the recent release of Jessica Jones, which has prompted talk of Emmy nominations.
The two series, together with upcoming shows Luke Cage and Iron Fist, will culminate in the team-up miniseries The Defenders, which will apparently have a wider role in the Marvel Universe than the environs of New York’s Hell’s Kitchen district.
And, of course, an honourable mention should be made of ABC’s Agent Carter, a series filler that is felt to have surpassed its bigger-budget sibling, boasting some critically praised performances and a strong sense of place in its late-1940s US setting.
Never one to miss an opportunity, DC Comics has recently enjoyed great success in TV, with Arrow, The Flash and Supergirl all performing well internationally. Interestingly, unlike Marvel, the DC cinematic universe will be standalone, so there’ll be no Arrow, Flash or Supergirl appearances in the current movie production slate – or at least not in their TV incarnations.
The US adaptation of Israeli dramas has been one of the headline stories in the international TV market over the last few years. But with the success of Showtime’s Homeland (based on Keshet series Hatufim), it’s easy to forget that US premium pay TV channel HBO was one of the pioneers of the US-Israeli partnership.
Way back in 2008, HBO started airing In Treatment, a local adaptation of HOT’s psychological drama BeTipul. The show went on to run for 106 episodes over three seasons, which is actually more than the original Israeli version managed (80 episodes).
HBO now appears to have revived its interest in Israeli shows. Earlier this year, it started developing Wish, based on Beit Ha’Mishalot (House of Wishes). And this week Israeli newspaper Haaretz reports that HBO has also picked up the rights to HOT’s Neveilot, a miniseries about two former soldiers who go on a rogue mission. The US version, to be written by Branden Jacobs Jenkin under the title of Eagles, will centre on Vietnam War veterans.
While broadcasters around the world have picked up a variety of Israeli dramas, military and espionage stories still seem to be most in-demand shows to emerge from the country. This year has also seen Fox International Channels pick up Keshet’s False Flag, with plans to air both the original and an English-language version.
Elsewhere, Netflix has announced that it is to air a Bollywood movie called Gangs of Wasseypur on its US service. The film, which comes in two parts, will be re-edited as an eight-part series for the SVoD platform. Directed by Anurag Kashyap, Wasseypur is an epic tale that focuses on the coal mafia in India’s Bihar state.
Netflix has also picked up 20 additional Indian titles from digital rights management company Film Karavan, including Fandry, Amal, Loins of Punjab, Kshay, Suleimaani Keeda and Piku.
All this activity is a precursor to Netflix’s planned launch in India next year. Speaking recently about the company’s plans in the region, Netflix CEO Reed Hastings said the streamer was planning to produce some original Bollywood content ahead of the India launch.
Still at Netflix, there have been rumours recently that the platform might not be going ahead with one of its planned Marvel series, Iron Fist. However, this has been knocked back by Marvel chief creative officer Joe Quesada, who told gaming platform IGN: “Iron Fist is being worked on. That’s all I can say.”
In other news, there are reports that actor Kevin Bacon has been signed up to star in a TV reboot of the 1990s movie Tremors, which has developed a cult status over the years. There are also strong suggestions that the companies behind German drama Deutschland 83 (RTL, FremantleMedia and SundanceTV) are plotting a follow-up series, probably called Deutschland 86.
Deutschland 83 has received good reviews from critics and has been licensed to many international territories. It is not rating especially well in its domestic market, where the debut episode brought in around 3.2 million viewers on RTL. But it’s possible that the show’s international success will be enough to justify a series renewal. Those attending the C21 Drama Summit in London this week will have the opportunity to quiz one of the show’s screenwriters, Anna Winger.
In the US, Disney Channel has just announced that there will be a third season of its coming-of-age sitcom Girls Meets World, created by Michael Jacobs and April Kelly. Echoing the gender-switching trend noted in a previous column, this show is actually a sequel to an earlier sitcom called Boy Meets World, which ran on ABC from 1993 to 2000. Aside from the US, it has aired on a number of Disney Channels around the world, including in the UK and Australia.
This has been an unusual autumn season in the US for various reasons. The reluctance to cancel shows, changing attitudes to audience measurement, the rise of anthology series, the growing number of film-to-TV reboots and a trend towards online previews are a few cases in point. To this list we can now add the fact that December is set to have a whole new competitive edge.
Traditionally, December has been quite a soft month in TV terms, with US channels preferring holiday specials and reruns to launching new series. But this year it looks like there could be a break with Christmas tradition.
NBC, for example, is showcasing its new Eva Longoria comedy Telenovela, while A&E is launching new episodes of Unforgettable. Bravo is opening up season two of Girlfriends’ Guide to Divorce, while Syfy has both Childhood’s End and The Expanse coming into its schedule.
And if all that isn’t enough, Amazon is also planning on offering all 10 episodes of Transparent’s second season starting from December 11.
One interesting show that is waiting until after the holiday season has ended is MTV’s The Shannara Chronicles. Due to premiere on January 5, it is a lavish fantasy series based on the books by Terry Brooks.
Superhero TV series are nothing new. Over the years we’ve seen small-screen versions of Batman, The Hulk, Wonderwoman and Superman (in both Smallville and Lois & Clark: The New Adventures of Superman), not to mention an endless array of animated series based on DC Comics or Marvel properties.
In fact, those of us around at the time will recall that ABC’s Lois & Clark was a genuine TV phenomenon, capable of attracting audiences of around 18-20 million at its peak in the mid-1990s – though the show’s ratings fell off a cliff in season four and it was rapidly cancelled.
But right now the industry is in overdrive. Not content with their domination of the feature-film arena, the supers have expanded their influence across both mainstream TV and the subscription VoD market.
The show everyone is talking about right now is Supergirl, a Warner Bros-produced series that will debut on CBS in the US on October 26. The story of Superman’s cousin, it imagines the central character as a 24-year-old woman called Kara (played by Glee’s Melissa Benoist) who is trying to come to terms with her superpowers while also trying to find herself as a woman. In terms of pacing and characterisation, it feels like a superhero version of The Devil Wears Prada, with Kara alternating between saving planes from disaster and agonising over her wardrobe.
Deadline has given the show the thumbs up, calling it a “bounding, deceptively breezy and eminently watchable addition to both the superhero universe and primetime.”
But an early IMDb score of 6.2 (presumably based on the trailer and some access to the pilot) suggests the jury is out. What’s hard to tell at this stage is whether the show will appeal to both the superhero and the romcom audience – or neither of them.
It’s also questionable whether the show will do much for empowered female leads. IGN’s assessment (based on the trailer) is that: “It’s really disappointing that the property is being treated with the flowery touch we often see in romantic comedies aimed at a female audience. It’s disheartening when the material has a segment showing the hero struggling to find something to wear for a date.”
Having said all this, Supergirl has Greg Berlanti behind it, which is a good thing from a slick storytelling point of view. Berlanti also created The Flash and Arrow for The CW Network, both of which are top performers for the channel. And there’s no question that Supergirl has a warmth and wit that make it easy on the eye.
One person impressed by the series’ potential is Adam MacDonald, director of UK-based pay TV channel Sky 1, who has just picked it up for his network. He says: “We’ve already seen in the success of The Flash and Arrow that comic-book characters are a big hit with our customers, and with this fresh, fast-paced new series we’re giving them another sure-fire superhero smash.”
To give this some context, The Flash generates around 500,000 to 600,000 viewers for Sky1, which is well ahead of the channel’s slot average of 320,000.
Interestingly, Supergirl’s first episode in the US will be up against Fox’s Gotham, another Warner Bros TV show. The gothic procedural takes place in the Batman universe and focuses mostly on the activities of police chief Commissioner Gordon. Now in season two, Gotham seemed to be wobbling at the start of its new run but its figures look much better once time-shifted viewing is factored in. It is currently attracting just over seven million viewers when you factor in all platforms (Fox, Fox NOW and Hulu) across the first three days of viewing.
The show has also been doing well for Viacom-owned Channel 5 in the UK. After drawing in just under two million for the first episode of the new season, Gotham has settled in at around the 1.35 million mark (not including time-shifted viewing) on C5. This is a pretty good performance for the channel compared with key rivals Channel 4 and BBC2.
Other superhero-related shows on the market right now include ABC’s solid but unspectacular Marvel’s Agents of S.H.I.E.L.D. Now in its third season, the series is currently attracting an audience of 3.7 million per episode (same-day figure), which is down on its season premiere of 4.9 million. Nevertheless, orthodox thinking is that the show is a certainty to be renewed.
A leading authority on this is Zap2it’s TVbytheNumbers, which explains why: “It’s a near-ironclad rule of broadcast TV that if a show will end its third season with 66 episodes (give or take one or two) and it’s produced by the sister studio of the network where it airs, then it will be renewed for a fourth season. Media conglomerates make more money selling 88 episodes of a show into syndication than they do with 66 episodes, thus the incentive to keep rolling into a fourth year.”
Then there is NBC’s Heroes Reborn, an unusual show in that it isn’t part of the DC or Marvel stables. A reboot of Heroes, which ran for four seasons between 2006 and 2010, Reborn is currently in its first season and is doing OK. Four episodes in, it has seen its same-day ratings slide from 6.6 million to 4.4 million, but with time-shifted viewing adding around 40% to the total, the show seems fairly well set for renewal. That would be welcome news for Global Canada and Seven Australia, which were among the first international channels to acquire it.
A number of superhero shows are also being generated as the result of a pact between Netflix and Marvel – the first of which was Daredevil, whose second season is coming soon. As Netflix doesn’t release viewing statistics, we have to content ourselves with the fact that this show has an 8.9 rating on IMDb and has generally been well received by critics.
Next up from the Netflix-Marvel deal is Jessica Jones, a 13-part series that will be made available in one go on November 20. This is a show that might do more for the cause of female empowerment than CBS’s Supergirl. After Jessica Jones will come series based around existing Marvel characters such as Luke Cage, Iron Fist and – if you believe the latest Hollywood rumour – Moon Knight.
You’d think by now that Disney-owned Marvel would be running out of characters and worlds to work with. But FX and Fox are also planning two new series based on Marvel’s X-Men franchise.
For the first, Marvel is joining forces with Fargo showrunner Noah Hawley and FX to produce Legion, a story that has already been produced as a movie. Based on Marvel comic characters, it follows an army of angels who have waged a war on mankind.
Meanwhile, Marvel TV and Fox are developing Hellfire, based on the Marvel comics group The Hellfire Club. Patrick McKay and John D Payne (Star Trek 3) will write the script for the project.
The big question, of course, is when will the super trend run out of steam as a TV staple? It’s fair to say the performance of Supergirl will affect the answer to that. CBS will be hoping Melissa Benoist’s character will generate as much of a cult following as the formidable Teri Hatcher in Lois & Clark.
As the dust settles on another Comic-Con, Michael Pickard rounds up all the news and casts his eye over the hottest trailers that were unveiled to thousands of fans in San Diego.
And so Comic-Con ends for another year. As more than 130,000 people make their way home from the San Diego Convention Centre, the latest round of this annual four-day event has only served to establish it further as the new must-go place for television series, and their producers, directors, writers and cast members, to build up the noise surrounding their launch or return to our screens.
Alongside announcements about series renewals and surprise star appearances, it’s always intriguing to see where television drama – and genre fare in particular – is heading over the coming year.
Panels were hosted by shows including Limitless, Orphan Black, iZombie, Scorpion and Sherlock. Game of Thrones, The 100 and Marvel’s broadcast series – Agent Carter and Agents of S.H.I.E.L.D. – also drew fans to hear gossip from the set and more about what fate might lie in store for their favourite characters.
Elsewhere, MTV announced Teen Wolf had been renewed for a sixth season, while cable network WGN America ordered a third run of its spellbinding period drama Salem.
Comic book drama Arrow released an image of the Green Arrow’s costume ahead of season four launching on The CW this fall, while the casts of DC’s Legends of Tomorrow and The Flash, both also on The CW, joined in the fun.
Universal Cable Productions announced it is teaming with Warren Ellis and Gale Anne Hurd (The Walking Dead) to adapt 1970s Mexican network Televisa’s format El Pantera, as well as adapting UK film The Machine with writer Caradog James for Syfy. It has also optioned IDW Publishing comic Kill Shakespeare.
The producer of NBC reboot Heroes Reborn, Imperative Entertainment, said it had optioned rights to adapt Hugh Howey novel Sand, which tells of a family of sand divers who use wetsuit-type technology to dive beneath the desert that covers a lawless dystopian world to retrieve valuable relics that help them survive.
Minority Report producer Darryl Frank also revealed that Steven Spielberg had been working with executives on the Fox reboot of the celebrated director’s 2002 feature film.
At Syfy, the network revealed new details about its six-hour adaptation of Arthur C Clark’s novel Childhood’s End, and former Lost star Josh Holloway was reunited with the show’s executive producer Carlton Cuse as they discussed their latest collaboration: USA Network’s forthcoming Colony.
Showrunner Bryan Fuller also gave hope to fans of Hannibal that the now-cancelled NBC drama could be resurrected as a feature film, though there were celebrations at the Grimm panel, where the show’s stars and executive producers discussed plans for the NBC series’ landmark 100th episode.
But for all the talk at Comic-Con, its the exclusive clips and trailers that got fans off their seats and on their feet inside the convention centre.
Here DQ showcases trailers for some of the most anticipated shows heading to television over the next year:
The streets of San Diego will soon be filled with superheroes and comic book characters as the 45th Comic-Con International descends on the city. Once regarded as a niche event for comic geeks and sci-fi nerds, the event, which takes place from July 9-12, now attracts a staggering 130,000 visitors.
Aimed primarily at fans of graphic novels, superhero and sci-fi franchises, video games and animation series, Comic-Con is viewed as an important opportunity to engage with the kind of key influencers that drive more mainstream audience tastes. For this reason, it’s an event content owners dare not miss.
This year, every TV studio worth its salt will be in San Diego with projects that they believe match the Comic-Con profile. MTV, for example, is in town with long-running drama Teen Wolf and two upcoming series – Scream and The Shannara Chronicles. Like Teen Wolf, Scream is a movie spin-off, while Shannara is a fantasy series based on the best-selling books by Terry Brooks.
Underlining the seriousness with which broadcasters now take the event, MTV’s presence at Comic-Con will consist of a branded booth, sessions and visits by show-related talent including Tyler Posey, Dylan O’Brien, Bella Thorne, John Rhys Davies and Austin Butler. In the case of Shannara, for example, Brooks will join the cast and production team in a Q&A session where a first-look trailer will be shown.
Separately, MTV will also host the second annual MTV Fandom Awards, which honour diehard fans whose excitement has pushed movies, TV shows, books and comics from subculture to mainstream worldwide success in the past year.
Jostling with MTV for attention will be TNT, which is showcasing The Last Ship and Falling Skies. In addition to sessions with cast and production teams, TNT’s offering will include an Oculus Rift virtual-reality experience that will transport fans into The Last Ship’s fictional universe, where they must board a cargo ship taken over by ‘Immunes’ (immune survivors of a deadly plague that has nearly destroyed the entire population of the planet).
Not surprisingly, fellow cable channel Syfy will also have a high-profile presence at the event, with shows such as The Expanse, Childhood’s End, 12 Monkeys, Dominion and Z Nation, and movie Sharknado 3, in attendance. A good indicator of the emphasis placed on Comic-Con is that Syfy will use it to air a screening of the first two episodes of Dominion season two, with episode two airing one week before it premieres on Syfy.
In the case of Childhood’s End, based on the Arthur C Clarke novel, the cast will join screenwriter Matthew Graham (Doctor Who) as he discusses the transition to screen.
Also seeking the spotlight alongside MTV, TNT and Syfy will be FX, which is bringing a broad slate including Archer, American Horror Story: Hotel, Scream Queens, Sex&Drugs&Rock&Roll, The Strain, and Kurt Sutter’s new project The Bastard Executioner. In a session entitled the FX TV Block, the channel will present a sneak preview of Sutter’s new series, due to debut this autumn.
BBC America’s contribution to the event is a Doctor Who session featuring lead writer and executive producer Steven Moffat and the Doctor himself, Peter Capaldi, who is making his first Comic-Con appearance. Capaldi said: “Tales of San Diego Comic-Con are told in awe on every set around the known fantasy/sci-fi production world. It’s become a fabled kingdom. (Appearing there) is a further twist to the cosplay and comic madness I may never recover from.”
While the above channels inhabit the basic cable market, all of the key competitive sets are in attendance. Premium cable channel Showtime is in San Diego with Penny Dreadful (recently recommissioned for a third season), while its putative rival Starz is bringing Outlander and its hotly anticipated Evil Dead reboot Ash vs Evil Dead. The latter is currently in production in New Zealand and will premiere in the autumn as a 10-part series. It is executive produced by Sam Raimi, Rob Tapert and Bruce Campbell, who were all involved in the original franchise and will be at Comic-Con along with series co-star Lucy Lawless.
As for Showtime and Starz’ key rival HBO, the cablenet will bring a swathe of Games of Thrones stars to Comic-Con. There will also be an outing for Outcasts, a new series debuting on HBO sister service Cinemax. A Comic-Con panel focused on the show – which is based on the Skybound/Image comic and produced by Fox International Studios – will include executive producers Robert Kirkman and Chris Black, as well as various cast members.
Among the big four US networks, CBS is bringing its biggest panel line-up ever – featuring talent behind the likes of Limitless, Zoo, Extant, Scorpion, and Under the Dome. Illustrating the emphasis placed on in-event marketing, CBS has organised a Limitless café where attendees can get complimentary coffee, ‘Limitless’ refills, phone-charging services and free wifi. There will also be a screening of the first episode of the new show, which is based on the Bradley Cooper-starring movie.
ABC, meanwhile, is bringing hit series Once Upon a Time and newcomer The Muppets, while sister division Marvel will have its own dedicated conference activities to discuss Marvel’s Agent of S.H.I.E.L.D, Marvel’s Agent Carter and other upcoming projects.
NBC’s line-up includes Heroes Reborn, Blindspot, The Player, Hannibal, and Grimm. In the case of the Heroes reboot, there will be a panel featuring creator Tim Kring plus various production and cast members. Alongside a trailer, NBC is promising a Heroes Reborn “4D interactive experience where fans will have the opportunity to access their own pyro-kinetic ability. Through a multi-sensory experience of interactive visuals and kinetic effects, fans will enter the world of Heroes Reborn and use their power with fire to escape a dangerous scenario.” Ooh err.
20th Century Fox’s focus will be on Fantastic Four, Deadpool, and X-Men: Apocalypse, while Warner Bros will headline with Supergirl, Arrow, The Flash, Gotham and animation series Teen Titans Go!
Reiterating the effort put into in-event marketing, Warner Bros is featuring these characters on 40,000 limited-edition hotel keycards at top hotels in the San Diego area. In terms of the event itself, a big focal point is Warner Bros Television Presents a Night of DC Entertainment, a three-hour session that will feature a pilot screening of new action series Supergirl, followed by a Q&A with stars and producers.
So what does it all amount to? Well, the truth is that there is no concrete evidence that a strong showing at Comic-Con influences the performance of a show once it hits the screen. But ignoring the impact of pre-launch social media commentary from fanboys and journalists is just too big a risk to take. So the best advice is – pull on your Supergirl cape and go enjoy the party.
Having grown up as a fan of the comic, Daredevil showrunner Steven DeKnight describes his role as a ‘dream come true.’ He tells DQ of his vision for the show and explains how he’s handling the pressure of leading Marvel’s Netflix charge.
It takes just a cursory glance at Steven DeKnight’s CV to know he has an enviable track record.
As well as credits for Buffy the Vampire Slayer, Angel, and Smallville, he was the creative force behind US premium cable network Starz’ swords-and-sandals epic Spartacus.
And now he is overseeing Marvel’s Daredevil, the opening phase of Marvel Comics’ attempts to recreate the critical and commercial success of its cinematic universe on the small screen.
The 13-part series, which launched worldwide on US VoD giant Netflix on April 10, tells the story of Matt Murdock. Blinded as a young boy but empowered by extraordinary senses, he fights against injustice by day as a lawyer and by night as Daredevil in modern-day Hell’s Kitchen, New York City.
DeKnight (pictured top alongside Charlie Cox as the masked titular character) executive produces alongside Drew Goddard and Marvel’s head of television, Jeph Loeb. The show is produced by Marvel Television in association with ABC Studios for Netflix.
It was only by chance, however, that DeKnight got the gig, with Goddard pulling out of showrunning duties to develop Marvel’s Sinister Six for the big screen.
“They reached out to me to see if I would be interested in hopping on board and taking over as showrunner,” DeKnight explains.
“I read the scripts and I thought they were fantastic. I went over to their offices and they walked me through the plan for the season, and I thought that was phenomenal, so I signed on. It was an easy choice for me because I grew up reading Marvel Comics. I’ve been a huge fan since I was a little kid, so it was a dream come true to be working in the Marvel universe.”
DeKnight isn’t just a fan of Marvel, though. He is a fan of Daredevil, which made the decision to join the series even easier. “I’ve read Daredevil since I was a kid,” he says. “I was a huge fan of many of the incredibly talented people who worked on the comic, particularly Frank Miller and Brian Michael Bendis. They really spoke to me, especially Bendis’s work, which had the look and feel of a show that I thought would be great to bring to the screen.”
That show is dark and moody, set in the shadows and barely lit alleyways of a brooding city. “I wanted it to be really grounded and gritty, which is what they were shooting for before I came on board,” says DeKnight.
“One of the things that really excited me about the project is that we can push the adult content. Since I came on, we’ve always called it more PG-15 – it’s not quite an R rating, but we kiss right up to it.
“Netflix has much more adult, edgy kind of material. If Daredevil had an R rating, I don’t think they would care. But of course, with Marvel, we don’t want to alienate younger fans. If you do have kids under 15, I’d suggest you watch a few episodes first yourself before you roll it out because it’s a very different animal in the Marvel universe.”
Daredevil is the first of four Marvel series coming to Netflix as part of a deal, announced in November 2013, which will see them share storylines, characters, cast members and settings akin to the cinematic universe that has struck box office gold time and time again since Iron Man came to the big screen in 2008.
The second Netflix series, A.K.A. Jessica Jones, is already in production and due to air later this year, while series based on the characters of Iron Fist and Luke Cage will follow, before all four superheroes unite in miniseries The Defenders.
Leading off Marvel’s latest television attack, following the launch of ABC’s Marvel’s Agents of S.H.I.E.L.D. and Agent Carter, did DeKnight feel any pressure? “It’s the cornerstone of 60 hours of television. There’s a huge amount of pressure to get it right, but you have to trust your instincts and tell the story you really want to tell and that the audience will enjoy.”
Yet this isn’t the first screen adaptation of Daredevil. Ben Affleck starred as the masked crimefighter in a 2003 film that earned mixed reviews and alienated fans of the original comic. DeKnight says his version is “so different” from the film. “I thought Ben Affleck gave his all, and there were a lot of incredibly talented people in that movie, but anyone who’s ever done TV or a movie knows sometimes it just doesn’t work out.
“The movie was also before Marvel Studios got up and running with Iron Man and controlled its own content, which has made a huge difference in how these characters are portrayed. We came at the show with a different perspective. We approached it first and foremost as a crime drama, with the superhero element laid on top of it. For me, the most exciting scenes weren’t the run-and-jump, they were the more emotional scenes that we get to do with characters. Over 13 hours, you can tell a story about who the hero is, which I found really interesting.”
One thing DeKnight isn’t worrying about, though, is how the four Netflix/Marvel series will entangle themselves in the same universe. “Quite frankly, the onus is on the other series,” he says. “We were the first. Jessica Jones had a writing staff and they were working on it, but Luke Cage and Iron Fist didn’t have showrunners and weren’t getting off the ground. So really, the idea of the whole integrated universe is part and parcel with the other shows, since we were out there by ourselves. The true Marvel fans will see quite a few Easter eggs that set up things that will hopefully happen in the future, so there are some very subtle tie-ins with some of the other shows.”
It was after writing a spec script for sci-fi series Deep Space Nine that DeKnight got his big television break. The UCLA graduate began writing spec feature scripts, and later turned to television. But nobody wanted to read his Deep Space Nine write-up, so he put it in a drawer and, he says, “forgot about it.”
A year later, he was contacted by a friend who was working on a new MTV show called Undressed, headed by The Killing Fields director Roland Joffé. DeKnight recalls: “He said he was working on a show that was very good and that if it got picked up he could get my stuff to Joffé’s people. About six months later, the show gets picked up. It was a kind of teen sex comedy. My friend calls up and tells me to send my stuff. All I had was this Deep Space Nine script – which was not a teen sex comedy. But it was one of those career miracles – they read it and liked it, and that’s how I got my first job.”
From there, he wrote a spec script for Buffy the Vampire Slayer that found its way into the hands of creator Joss Whedon. He was discussing joining Buffy’s animated spin-off that was in development when Whedon offered him the chance to write an episode of the live-action series. DeKnight agreed, and as soon as production had finished on his episode, he was called back to the set, where Whedon offered him a full-time writing job.
“That was really the moment that started my career as it is now – Joss taking me on,” DeKnight says. “I worked on a couple of seasons of Buffy and the last two seasons of Angel, and Joss really trains showrunners. He has you involved in everything: breaking the stories, working the stories. He also has you in casting, on the set, editing, and in all the meetings.
“He wants everyone to learn how to do it all, and he’s also the one who gave me my first shot at directing, on Angel. So he was a huge influence, and I learnt so much from him.”
After Angel completed its five-season run in 2004, DeKnight teamed with Jeph Loeb, now the head of Marvel Television, on Superman prequel Smallville, and later joined Viva Laughlin, a Hugh Jackman-led musical he describes as “one of the hugest disasters of the decade, just a complete clusterfuck.”
The show, a remake of British musical comedy drama Blackpool, was a critical and ratings disaster from the start and was pulled by US network CBS after just two episodes. DeKnight and fellow co-exec producer Tyler Bensinger were halfway through shooting episode seven when they got the news.
“It was seriously one of the most bizarre experiences ever, but I wouldn’t change anything,” he says. “It gave me a chance to spearhead a show for the first time and it was a real trial by fire. I’ll never forget when we aired on a special night right after CSI on a Thursday and lost 10 million viewers. The second episode was that Sunday and we lost millions more viewers, then on the Monday at work we got the call to say we’d been canned. We all saw the writing on the wall.”
It was during a subsequent writers’ strike that DeKnight was reacquainted with Whedon who, while the pair were picketing outside Fox Studios, offered him a place on the writing staff for his latest series Dollhouse.
And it was as he was preparing to direct an episode of the Fox series that DeKnight was asked by his agent whether he was interested in joining Evil Dead director Sam Raimi on a gladiator-style series for US premium cable network Starz.
“In the meeting I found out it was Spartacus, which froze my soul because I’m a big fan of the Kirk Douglas/Stanley Kubrick version. But, bizarrely, it was almost the meeting that didn’t change my life. They said, ‘Great, can you start on Monday?’ And I said, ‘No, I can’t start for another nine weeks – I’m directing an episode of Dollhouse.’”
Starz decided to look elsewhere, but DeKnight was informed by his agent halfway through his directing duties that the network hadn’t found anyone else and wanted to know if he was still interested. Of course, he said yes.
DeKnight describes Spartacus, which ran for three seasons and spawned prequel miniseries Spartacus: Gods of the Arena, as a “39-episode experiment” filmed in the style of blockbuster 300 against a green screen. His deal with Starz also saw him develop military sci-fi series Incursion, which has been put on hold, and adapt Italian crime drama Romanzo Criminale.
As his contract ran out, Goddard left Daredevil, and DeKnight was on hand to take on the show and lead Marvel’s Netflix invasion.
“There’s never been a better time to be in scripted drama,” he says. “There’s so many opportunities and so many people taking chances on things that are different. Shows like Fargo, True Detective, Better Call Saul and Game of Thrones. There are just so many opportunities to do things outside the box.
“The explosion of cable, premium cable and now new media places like Netflix, Amazon and Hulu gives you so much opportunity. The downside is you’re no longer doing 22 episodes a year on a major network, so the financial benefit incentive is lower – but it’s more than a fair trade for the amount of creative room you get nowadays.”