Tag Archives: Uncle Buck

UK drama showcases regional beauty

July 11, 2016GreenlightABC, Angie Tribeca, Animal Kingdom, Broadchurch, Hulu, ITV, Netflix, NSU – German History X, Poldark, Studio Lambert, TBS, The CW, The Life of a Scilly Sergeant, The Red Tent, The Warriors, TNT, UKTV, Uncle Buck, WreckedAndy Fry

UK television has a long tradition of using quirky or unusual locations as backdrops for drama series. Bergerac (Jersey), Morse (Oxford) and Doc Martin (Cornwall) are just a few examples of the way place can almost become a character.

Historically, one of the logistical limitations on this kind of show has been the lack of production infrastructure available in some of the UK’s less-travelled locations.

But the last few years have seen increased ambition in terms of where producers are willing to base their stories. Broadchurch, for example, is one of the few non-Thomas Hardy dramas to have based itself in Dorset – introducing ITV viewers to the spectacular Jurassic Coast.

With a couple of exceptions (such as Morse), quirky locations used to be employed as the backdrop to gentle comedies (Last of the Summer Wine, Monarch of the Glen, Ballykissangel) or soft-hearted crime series (Hamish Macbean), with the occasional foray into the unknown by period drama that demanded it (anything based on works by Hardy, Lawrence, Eliot, Gaskell, Laurie Lee…).

Broadchurch, however, brought hardcore murder and mayhem to under-exploited locations and reminded us that universal stories can be built around hyperlocal experiences. This idea has subsequently been picked up by other producers.

So now we have seen crime stories like Hinterland (set in Aberystwyth, Wales), Happy Valley (Yorkshire), The Fall (Northern Ireland) and Safe House (the Lake District) gracing our screens. Perhaps we can also see the influence of Nordic Noir here, with the notion that location can somehow reflect the inner workings of the soul.

Other shows to have stepped into the (relatively speaking) unknown include Poldark (Cornwall) and Midwinter of the Spirit (Herefordshire), so that now we are at a point where pretty much anywhere in the UK is a possible starting point for a story.

This point is underlined by two new drama developments this week, which will showcase opposite ends of the England-Scotland spectrum. ITV, for example, has commissioned a six-part murder mystery based in the area around Scotland’s Loch Ness. Produced by ITV Studios and supported by Creative Scotland’s Production Growth Fund, the show will focus on the hunt for a serial killer in a setting made famous by the mythical Loch Ness Monster.

Some 750 miles south, meanwhile, All3Media-owned indie producer Studio Lambert has optioned a police officer’s memoir, The Life of a Scilly Sergeant. Based on the experiences of Scilly Islands-based police sergeant Colin Taylor, the aim is for a primetime, returnable series. On paper, it has echoes of Hamish Macbeth.

More good news for the UK’s South West is that the BBC has ordered a third season of Poldark – before the second run hits the air.

The first eight-part season centred on 18th century war veteran Ross Poldark (Aidan Turner) returning to Cornwall to try to build up his family’s mining business in the face of stiff opposition from entrenched local business interests. The show is based on a series of classic novels by Winston Graham and was previously adapted in the 1970s. The new version, a major hit for the BBC, is written by Debbie Horsfield and produced by Mammoth Screen.

In the US, meanwhile, Turner Broadcasting’s cable channels TNT and TBS have renewed three of their drama series. TNT has renewed Animal Kingdom for a second season while TBS has ordered a second run of Wrecked and a third of Angie Tribeca.

Wrecked, which is billed as a comedy version of ABC’s cult series Lost, is currently halfway through its first season with an audience in the 1.2-1.3 million range. Animal Kingdom attracts a similar-size audience for TNT, which is currently undergoing a bit of a creative overhaul.

TNT shows that are ending or have been cancelled include Rizzoli & Isles, Proof, Falling Skies, Agent X, Public Morals and Legends. The channel’s top performer aside from Rizzoli & Isles is Major Crimes, which has been running for five seasons. There is no indication yet whether it will be renewed or dropped as part of the channel’s wider schedule revamp.

Still in the US, video streaming platform Hulu is continuing its ambitious push into drama with The Warriors, an adaptation of Sol Yurick’s novel that was previously turned into a cult movie in 1979. The story follows a period in history when New York was being torn apart by gang warfare.

It will be adapted by the Russo Brothers, who have found fame with their recent work on Marvel franchises like Captain America. They will work with writer Frank Baldwin on the series, with Paramount TV as producer.

The project is the latest in a long line of movie reboots, though projects in the US cable and SVoD space seem to be faring better than those relaunched for US network TV. The latest network reboot to get the axe is ABC’s Uncle Buck, after just one season. Surely the big four must be getting the picture by now.

On the acquisitions front, shows making their mark this week include Beta Film’s three-part German-language drama NSU German History X, which has been picked up by Netflix for use in the US, Canada, the UK, Ireland, Australia and New Zealand.

Netflix has also unveiled a multi-year agreement with The CW to stream all past seasons of the US network’s shows in the US. Titles include Crazy Ex-Girlfriend, Jane the Virgin, The Flash, Arrow, Supergirl, The Vampire Diaries, The 100, iZombie, The Originals and Reign.

Ted Sarandos, Netflix’s chief creative officer, said: “This is a great step forward with a valued network partner to give fans exactly what they want, when and how they want it.”

Elsewhere, UK multi-channel operator UKTV has picked up Sony Pictures Television miniseries The Red Tent, which originally aired on cable channel Lifetime in the US. A four-parter based on the novel by Anita Diamant, The Red Tent tells the tale of Dinah, the daughter of Leah and Jacob, from the Old Testament book of Genesis in the Bible.

Alexandra Finlay, UKTV’s head of acquisitions and coproductions, said: “The Red Tent is a perfect addition to (UKTV channel) Drama’s growing slate of shows, featuring an epic story with a fantastic ensemble cast.”

tagged in: ABC, Angie Tribeca, Animal Kingdom, Broadchurch, Hulu, ITV, Netflix, NSU – German History X, Poldark, Studio Lambert, TBS, The CW, The Life of a Scilly Sergeant, The Red Tent, The Warriors, TNT, UKTV, Uncle Buck, Wrecked

Networks bank on movie magic

February 22, 2016Greenlight20th Century Fox Television, A&E, ABC, Behind Enemy Lines, CBS, Cruel Intentions, Damien, Fargo, Fox, Friday the 13th, FX, Haywire, Lethal Weapon, Limitless, Minority Report, NBC, Rambo, Relativity TV, Rush Hour, Taken, The CW, The Exorcist, The Notebook, Time After Time, Training Day, Uncle BuckAndy Fry

limitless — Expect a renewal for Limitless

With reports this week that Sony Pictures Entertainment is planning a TV series based on the Angelie Jolie spy movie Salt, now seems as good a time as any to round up developments on the movie-to-TV adaptation front. At least 20 such projects are in production, development or distribution.

Limitless: Based on the 2011 movie starring Bradley Cooper, Limitless debuted on CBS in September 2015. After a strong start, CBS gave it a full season order of 22 episodes and started selling the show around the world. Currently 15 episodes in, the show is attracting around 6.4 million viewers on debut night and 9.8 million after time-shifting is factored in. This should be enough to guarantee renewal for season two despite being some way off the launch episode (14.2 million viewers including time-shifted).

Minority Report: A much-hyped but ultimately unsuccessful remake of the Tom Cruise movie that ran on Fox in autumn 2015. Initially awarded 13 episodes, the run was cut to 10 after poor ratings. It bowed out with an audience of around two million, but not before it had been sold to networks in the Middle East.

Rush Hour: Based on the popular movie franchise that paired Jackie Chan and Chris Tucker, Rush Hour is another CBS reboot about an off-the-wall LAPD detective being required to work with a straight-laced Hong Kong police officer. The show will premiere on Thursday March 31 at 22.00 and has been picked up by E4 in the UK. CBS plans to give the show a big promotional boost by marketing it during the popular March Madness College Basketball tourney.

Training Day: Another CBS project, this is a reboot of the 2001 film that starred Denzel Washington as a corrupt narcotics cop and Ethan Hawke as his rookie partner. In the update, an idealistic young African-American police officer is partnered with an experienced but morally ambiguous Caucasian detective. This show, produced by WBTV and Jerry Bruckheimer, is currently moving towards a pilot, which will be directed by Danny Cannon.

uncle-buck-abc — The TV version of Uncle Buck

Uncle Buck: This is an ABC reboot of the 1989 cult comedy starring John Candy. In this version, which was given a greenlight to series in 2015, the cast will be black, with Mike Epps playing Uncle Buck, “a fun-loving but irresponsible guy who needs a job and a place to stay. By happy coincidence, his nieces and nephews’ nanny has just quit and his brother- and sister-in-law need his help. His unconventional personality just may make him the right fit for the family.” No details yet on launch date.

Lethal Weapon: The massive 1980s/1990s film franchise, starring Mel Gibson and Danny Glover, is being adapted for TV by Fox. In February 2016, Fox gave a formal pilot order to the show, which focuses on a former Navy SEAL who suffers the loss of his wife and baby and moves to Los Angeles to start anew as a cop. Matt Miller (Forever) will write the TV adaptation.

rambomovie — Sylvester Stallone as John Rambo

Rambo: Fox is planning a TV series entitled Rambo: New Blood, based on the iconic Sylvester Stallone-starring movie franchise. Stallone won’t be involved in the new project, which is from Entertainment One and Avi Lerner’s Millennium Films. There are no details yet as to where this is in terms of development.

Fargo: Based on the Coen Brothers movie of the same name, Fargo has already seen two critically acclaimed series aired on FX. In November 2015, midway through season two, FX ordered a third season from series creator Noah Hawley. “Year two of Fargo is an extraordinary achievement and, given Noah Hawley’s masterful storytelling, we can’t wait to see where the third, all-new version of Fargo takes us,” said FX Networks’ Eric Schrier.

Cruel Intentions: NBC is planning a remake of the cult 1999 movie that was loosely based on Les Liaisons Dangereuses. The show, which has now been taken forward to pilot, will pick up 15 years after the movie left off and will focus on the teenage son of two of the film’s main characters. The original writer and director of Cruel Intentions, Roger Kumble, is attached to the pilot episode as director.

Taken: Based on the surprise hit movie franchise starring Liam Neeson, Taken the TV series is a modern-day prequel in which we learn how CIA operative Bryan Mills developed his “particular set of skills.” Homeland executive producer Alexander Cary has been signed up to write, executive produce and run the Taken TV series. Perhaps not surprisingly given the success of the movie franchise, NBC has given this show a straight-to-series order.

Time After Time: Based on a 1979 movie (itself based on a book), ABC’s new Time After Time series imagines HG Wells pursuing Jack the Ripper forward in time using his famous time machine. The project is from Kevin Williamson and has now been taken forward to pilot. In a similar vein, The CW is backing a TV adaptation of 1990 sci-fi time travel movie Frequency. In the CW pilot, the central character becomes a female police detective.

Haywire: A 2011 action movie starring Channing Tatum and Gina Carano, Haywire is another movie reportedly getting a TV remake. The Steven Soderbergh-directed film tells the story of a secret agent on a revenge spree after her agency betrays her. This project is in early development with Relativity TV.

Behind Enemy Lines: In September, Fox announced plans for a series based on the 2001 movie of the same name, which starred Owen Wilson and Gene Hackman. Fox’s show will be a high-octane military thriller about an American flight crew shot down while on a secret mission over the jungles of Latin America. The show is from 20th Century Fox Television, Temple Hill and Davis Entertainment, which produced the original version. At time of writing there was no further news on the project’s status.

notebookmovie — Ryan Gosling and Rachel McAdams in The Notebook movie

The Notebook: In August 2015, it was revealed that The CW had teamed up with author Nicholas Sparks to revive romantic movie The Notebook as a TV series (Sparks was the author of the original book, also a big success). A pilot is being written by Todd Graff, who will also executive produce alongside Sparks and Theresa Park. “The Notebook is a very well-received book and motion picture. It is going to be set after World War Two. At this point, the pilot is not done,” said CW president Mark Pedowitz in 2015.

The Exorcist: In January 2016, Fox ordered a pilot based on the 1971 novel/1973 movie of the same name. The one-hour drama pilot is described as “a propulsive, serialised psychological thriller following two very different men tackling one family’s case of horrifying demonic possession, and confronting the face of true evil.” Jeremy Slater is the writer-producer, with James Robinson, David Robinson and Barbara Wall on board as executive producers.

Damien (The Omen): Damien is an upcoming A&E series based on The Omen horror film series, which centres on a small boy born of Satan and adopted by an affluent US family. Scheduled to launch on March 7, the TV series follows Damien Thorn, now a 30-year-old war photographer who has forgotten his Satanic past. Ann Rutledge (Barbara Hershey), who has protected Damien all his life, will now help him embrace his antichrist destiny.

Friday the 13th: Continuing the trend towards horror movie remakes (remember that Scream is already up and running on MTV, with a second season coming on April 20), The CW is planning a TV version of iconic film series Friday the 13th. The series adaptation will be written by Steve Mitchell & Craig Van Sickle, co-creators of the 1996 NBC series The Pretender.

tagged in: 20th Century Fox Television, A&E, ABC, Behind Enemy Lines, CBS, Cruel Intentions, Damien, Fargo, Fox, Friday the 13th, FX, Haywire, Lethal Weapon, Limitless, Minority Report, NBC, Rambo, Relativity TV, Rush Hour, Taken, The CW, The Exorcist, The Notebook, Time After Time, Training Day, Uncle Buck

Repackaging Hollywood

August 17, 2015GreenlightAsh Vs. Evil Dead, Baywatch, CBS, David Nevins, Harvest, I'm Dying Up Here, Jerry Bruckheimer, Limitless, MGM, Minority Report, Mr Robot, NBC, Netflix, Presto, RED, Rush Hour, Scream, Showtime, Spike, Supergirl, Training Day, Uncle Buck, Warner Horizon TelevisionAndy Fry

CBS has ordered a pilot based on 2001's Training Day — CBS has ordered a pilot based on the 2001 movie Training Day

It’s a regular cause for discussion that feature film studios and talent are moving into the scripted TV business. But there’s an equally significant trend involving archive movies being reinvented as TV series.

Already out in the market, and doing pretty well, are classic titles including Fargo, Sleepy Hollow, Transporter, Hannibal, 12 Monkeys, Teen Wolf and Parenthood. And this autumn will see the floodgates open still further, with TV spin-offs launching across a wide range of US channels.

Examples include Limitless, Minority Report, Rush Hour, Supergirl, Scream, Ash vs Evil Dead and Uncle Buck, all of which are just weeks away from launch. Coming down the line soon after will be a TV version of Shooter, the 2007 film starring Mark Wahlberg.

The main reason for this spate of remakes is the need to cut through the clutter of competition. With around 400 TV dramas a year vying for attention in the US market alone, any kind of in-built brand awareness is extremely valuable at launch. While a movie’s heritage can’t, in itself, make an audience like a TV show, it can at least encourage viewers to sample it – especially if some aspect of the originating film crosses over (thus adding authenticity).

MGM, for example, made much of the fact that the Coen brothers had a hand in the scripts for the Fargo reboot. And Hollywood A-lister Bradley Cooper is lined up to appear in some episodes of Limitless, having starred in the movie.

Fargo returns for a second season in October

The future prospects for this film-to-TV business model may well depend on the hit rate of this year’s batch of remakes. But it’s worth noting that all of the existing film-to-TV productions mentioned in the opening paragraph made it to season two at least. Teen Wolf, for example, is at season five. This hit rate compares pretty favourably with shows based on foreign scripted formats, where successes are few and far between.

Ironically, one issue that may affect film-to-TV adaptations is the current shift in the TV industry’s favour. With the film industry polarising between blockbuster and low-budget independent productions, the mid-market where many of the above film titles lived is under pressure. In other words, films capable of adaptation may prove a precious resource that gets over-mined by the industry.

For now, though, there is no sign that the future pipeline is drying up, with confirmation coming this week that Denzel Washington movie Training Day is being lined up for a remake at CBS (initially as a pilot from Warners Bros TV and Jerry Bruckheimer).

CBS, it should be noted, is a fan of this approach, having already greenlit Supergirl, Limitless and Rush Hour – which has also been picked up by E4 in the UK.

Meanwhile, it was revealed last week that NBC is backing a TV adaptation of RED, a cult film series starring Bruce Willis that was itself based on a comic book franchise. There is also talk of a third movie in the RED franchise, so we may be seeing an era of parallel development emerge.

Baywatch is being converted into a movie starring Zac Efron (High School Musical)

As a footnote, last week also saw the announcement that cult TV show Baywatch is being brought back as a movie with Zac Efron. That is sure to revive interest in the library rights of the TV show – NBC-owned Cozi TV and Telemundo’s TeleXitos both recently relaunched the series – and could even stimulate a TV reboot down the line.

Other TV-to-film stories this week centred on Downton Abbey. With the iconic period drama having just wrapped production on its final season, producer Carnival is now considering continuing the franchise on the big screen –possibly taking the show into the pre-Second World War financial crash.

All of the recent talk about there being too much scripted TV doesn’t seem to have unsettled Viacom-owned channel Spike. Having recently finished airing ancient Egyptian miniseries Tut, Spike has just ordered its first one-hour drama series in nine years – a 10-parter from Jerry Bruckheimer and Warner Horizon Television called Harvest.

The show is being written by Ian Sobel and Matt Morgan (12 Monkeys) and tells the story of a cemetery caretaker who finds his quiet life in jeopardy when his estranged criminal father tracks him down. To protect his daughter, he works with his father in the illegal trade in body tissue.

This week also saw Australian subscription VoD platform Presto pick up rights to USA Network thriller Mr Robot, which has Christian Slater among its cast. Presto, which acquired the show from NBCUniversal, will show the first seven episodes of Mr Robot immediately before adding the last three after they air stateside on USA.

The show follows a young programmer who suffers from a debilitating anti-social disorder. He finds himself caught between working for a cybersecurity firm and the murky world of mysterious anarchist Mr Robot, played by Slater. In the US, the show is averaging an audience of around 1.42 million viewers, though recent episodes are nearer the 1.2 million mark. The show was recommissioned for a second season very early on the basis of a digital preview.

Presto has picked up the rights to Mr Robot

Finally, a week after Showtime Networks president David Nevins criticised some of the current risky investments in scripted TV, Showtime announced it is producing I’m Dying Up Here, a new one-hour pilot being executive produced by Jim Carrey.

Based on the non-fiction novel by William Knoedelseder, the pilot will be directed by Jonathan Levine (50/50, Warm Bodies) and produced by Endemol Shine Studios and Assembly Entertainment. Written and executive produced by former stand-up comedian Dave Flebotte (Will & Grace, Desperate Housewives, The Bernie Mac Show) and set among the famous Hollywood comedy clubs of the 1970s, the dark comedy pilot “will delve into the inspired and damaged psyches that inhabit the hilarious but complex business of making an audience laugh”.

Nevins said: “The 1970s LA comedy scene gave rise to some of the biggest and most influential performers of the last half-century. Who better than Jim Carrey and Dave Flebotte, who were both there, to tell the story of that special era?”

When asked last week about the current situation with scripted programming, Nevins said Showtime is in expansion mode, but he questioned networks that were rushing into new shows – giving two-season commitments on the basis on pitches, for example. He said brands like Showtime that “stand for something” will survive.

tagged in: Ash Vs. Evil Dead, Baywatch, CBS, David Nevins, Harvest, I’m Dying Up Here, Jerry Bruckheimer, Limitless, MGM, Minority Report, Mr Robot, NBC, Netflix, Presto, RED, Rush Hour, Scream, Showtime, Spike, Supergirl, Training Day, Uncle Buck, Warner Horizon Television