Articles about US
Bafta-winning screenwriter David Nicholls recalls how Us, his novel about a man seeking to repair his marriage during a family holiday around Europe, made the journey to the small screen.
Us director Geoffrey Sax tells DQ how the BBC drama was filmed across Europe to tell the story of a family on the verge of splitting up as they embark on one final holiday together.
Luke Roberts and Frank Spotnitz take DQ behind the scenes of Ransom, revealing why this show isn’t just another hostage drama.
The BBC confirms plans for an adaptation of David Nicholls novel US, two more Amazon pilots are on the way and Hulu and ITV a teaming up on saucy new period drama Harlots.
Mexican star Danna Paola’s decision to return to the small screen after a five-year absence is another coup for the flourishing international television business, says Michael Pickard.
Two members of the creative team behind German Cold War thriller Deutschland 83 have revealed all about working between television markets in Germany and the US. Michael Pickard reports.
Jonathan Brackley and Sam Vincent tell Michael Pickard how they transformed a Swedish sci-fi thriller into Channel 4’s biggest original drama for 20 years.
DQ editor Michael Pickard casts his eye over two very different Tutankhamun-focused shows heading for the small screen, with Spike TV spinning the story of the young ruler’s life and ITV tracking the discovery of his tomb.
As early online success secures a second season for Mr Robot before its first has even begun and No Offence does enough to gain renewal, Hannibal has suffered cancellation. But have we really seen the last of Mads Mikkelsen’s Dr Lecter?
As this week’s action-packed Game of Thrones season finale delivered yet another ratings record for HBO, Andy Fry wonders how useful the traditional overnights remain amid the ever-increasing growth of non-linear viewing.
Hit-machine Carlton Cuse suffers a rare failure with The Returned, ABC feels John Ridley’s Presence, and Trainspotting author Irvine Welsh prepares to rock with the Donnelly Brothers.
With digital powerhouses such as Netflix fundamentally changing the TV distribution landscape, how are the world’s development executives reacting to the new environment, and what does the future hold for drama production, commissioning and funding?
The ongoing global appeal of Israeli drama formats comes under the spotlight this week as Andy Fry examines what makes shows such as Hatufim, BeTipul and Pilpelim Zehubim so exportable.
A+E Studios’ Bob DeBitetto outlines the new company’s mission statement as DQ takes a look at some of the shows emerging from the fledging production entity.
SundanceTV has been steadily building its homegrown drama credentials over the past few years. Christian Vesper, senior VP of scripted development and current, tells DQ why he believes the network has turned a corner.
With voting for this year’s Emmy nominations starting on Monday, Andy Fry checks out what last year’s Emmy-winning writers are up to at the moment. Also this week, Stephen Poliakoff is named as a keynote speaker at C21’s Drama Summit.
The stress of Sarah Treem’s first major project almost led her to quit television. Now, as showrunner on The Affair and following a stint on House of Cards, she couldn’t be happier. So what changed?
As David Nicholls novel Us gets the TV makeover treatment, Andy Fry reflects on the news of a long-overdue female-serial-killer show in the works at ITV, plus a slew of WW2 drama success stories across Europe.
In the US, Outlander and Pretty Little Liars show how female-skewing dramas benefit from the fact women are more likely than men to discuss their favourite shows online, while over in the UK No Offence and Jonathan Strange & Mr Norrell are struggling.