TV Drama April 2022

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APRIL 2022 EDITION

Crime Drama / Book Adaptations / Joanne Froggatt

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CONTENTS

Familiar Faces Peak TV has made a forceful return after pandemic woes slowed the production of shows over the last two years. Per FX Research, a whopping 559 original scripted series for adults played out on U.S. services in 2021.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Managing Editor Jamie Stalcup Associate Editor David Diehl Production & Design Director Simon Weaver Online Director Dana Mattison Senior Sales & Marketing Manager Genovick Acevedo Sales & Marketing Coordinator Andrea Moreno Business Affairs Manager

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Drama ©2022 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvdrama.com

And that figure doesn’t even take into account the booming number of non-English-language series being commissioned across the globe—and increasingly striking a chord with American audiences.

So how does one even begin to make an impact amid that sheer volume? As we showcase in this edition, known IP helps. We see it in the crime-drama genre, where a wealth of producers are looking at real-life mysteries to bring to audiences. We see it in the frantic book-adaptation market, where the quest to secure the buzziest, best novels is at a fever pitch.

And we see it in what’s resonating on social media. Take a look at a recent Social Wit List, which we at World Screen roll out every month in association with The WIT, exploring what new shows generated traction on Instagram. In February, of the eight dramas in the top ten new shows with the most Instagram followers, seven were based on recognizable names and brands, including Pasión de Gavilanes, a sequel to the 2003 Telemundo telenovela; Power Book IV: Force, the latest in STARZ’s hit 50 Cent franchise; and Inventing Anna, Shonda Rhimes’ limited series about fraudster Anna Delvey. Other shows that created buzz in February? Hulu’s Pam & Tommy, about former Baywatch star Pamela Anderson and Mötley Crüe drummer Tommy Lee; Bel-Air, a dramatic reboot of the 1990s sitcom The Fresh Prince of Bel-Air; and the spin-offs All American: Homecoming and Vikings: Valhalla.

Of course, with the market so enamored with reboots and franchise extensions, one does wonder about the hopes for truly breakthrough ideas, like Netflix’s global hit Squid Game.

If anything, the eye-popping success of the South Korean original speaks to the value of good, old-fashioned word-ofmouth marketing. After everyone you know has said some version of, “I’m watching Squid Game, I’m obsessed,” how can you not tune in? I’m partial to that vintage idea of actual recommendations—not some AI algorithm trying to decipher what I should watch based on what I last watched. So drop me a line, dear readers (mdaswani@worldscreen.com). I know there are more than 500 series available for me to view—fancy helping me choose a few?

—Mansha Daswani

GET DAILY NEWS ON TELEVISION DRAMA

FEATURES PRIME CRIME From fusing genres to taking inspiration from real-life misdeeds, the crime-drama genre continues to evolve to satisfy audiences across the globe.

BY THE BOOK With known IP proving to be a winner, book-based TV adaptations are in high demand.

INTERVIEW

JOANNE FROGGATT

The star of Angela Black shares what drew her to Jack and Harry Williams’ psychological thriller.

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Two Years and One Day

Atresmedia Televisión Thistle (Cardo) / The Age of Anger / Two Years and One Day Atresmedia Televisión has on offer Thistle (Cardo), which tells the story of a Madrid woman in her 30s who is hooked on drugs and tied up in toxic relationships. An accident will change her life and force her to face uncomfortable truths. Based on the novel by Fernando J. López, The Age of Anger centers on teenager Marcos, accused of murdering his father. Teachers and students are thrown into a sea of doubt, as Marcos’ charisma made him seem almost perfect. Two Years and One Day narrates the downfall of an actor who is sentenced for a crime of religious offense for an innocent but unfortunate joke. Jose Antonio Salso, head of acquisitions and sales, notes that the series cover “current issues that take place in almost all countries around the world.”

“These are big premium TV series with amazing new stories that reflect today’s social concerns.”

—Jose Antonio Salso

ATV Destan / Lone Wolf / For My Family ATV’s Destan centers on Akkız and Batuga, each of whom carries lies that could cost them their lives. The two become allies by fate and end up proving to the world what a disabled prince and a slave girl can achieve. The highlight Lone Wolf centers on Altay, a man who earns his living by participating in an illegal fight club. When a woman asks for his help to escape and reunite with her little girl whose life is in danger, Altay accepts, but the club owner comes after them. Also included in ATV’s catalog, For My Family begins when Kadir and his three younger siblings are thrown into poverty with the sudden death of their parents. The wealthy man responsible for the deaths takes them in. Another highlight is Wounded Heart, a story of revenge between two families.

Destan

All You Need

Bavaria Media International Dark Lake / Manners / All You Need Leading Bavaria Media International’s highlights, the mystery series Dark Lake sees city cop Valerie transfer with her 17-year-old son to Lac-Noir, a seemingly serene and secluded village in the forest. Soon enough, though, Valerie and her son are faced with a mystery when people start to disappear without a trace. The Icelandic miniseries Manners, created by María Reyndal, centers on a 19-year-old student accused of rape. Based on a true story, Manners “is a contribution to the #MeToo debate,” says Carlos Hertel, director of international sales. All You Need, created by Benjamin Gutsche, follows the everyday lives of four young gay men in Berlin. The series is “an innovative LGBTQI format that has sparked a lot of interest internationally,” says Hertel. A second season is planned to launch this year.

“We are happy to bring a diverse and young lineup to MIPTV.” —Carlos Hertel 62 WORLD SCREEN 4/22

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Cineflix Rights Reginald the Vampire / Sugar / Whitstable Pearl Jacob Batalon (Spider-Man: No Way Home) stars in Cineflix Rights’ Reginald the Vampire as an unlikely hero who crashes into a world populated by beautiful, fit and vain vampires while navigating numerous obstacles in his new undead life. The show “turns traditional vampire tropes on their heads while draining the blood from modern-day beauty standards,” says James Durie, head of scripted at Cineflix Rights. The feature Sugar is inspired by the dramatic real-life story of the Canadian women who became known as the Cocaine Cowgirls. Set in a beautiful English seaside town, Whitstable Pearl centers on Pearl Nolan, who divides her time between serving up seafood delicacies in her restaurant and solving the crimes, debauchery and murder regularly brought in by the tide.

Kanal D International

Reginald the Vampire

“Alongside our MIPTV premieres, our slate is packed with returning shows: critically acclaimed standout dramas that provide buyers with multiple seasons of proven hits for their schedules.”

—James Durie

Three Sisters

Three Sisters / Twist of Fate / Recipe of Love Kanal D International is presenting the drama series Three Sisters, made by Süreç Film. Set in a Turkish coastal town at the end of the ’90s, the family drama centers on three sisters who will face the harsh facts of life. Produced by ARC Film, the romantic comedy Twist of Fate tells the story of a superstitious young woman who tries to keep her “marriage fraud” alive while working with a handsome boss with whom sparks fly. In Recipe of Love, Chef Fırat is abandoned by his fiancée on their wedding day and sees his quest for revenge turn into a search for a recipe for romance. “Recipe of Love is not a standard rom-com, but also will have an essence of drama in it,” says Ekin Koyuncu, executive director of Kanal D International.

LEONINE Studios

“Three Sisters is a heartwarming family drama set at the end of the ’90s.”

—Ekin Koyuncu

JGA: Jasmin. Gina. Anna.

Bonn / Herzogpark / JGA: Jasmin. Gina. Anna.

A historical event drama and political espionage thriller, Bonn leads the LEONINE Studios slate. It spotlights a young woman struggling to find her own place in a male-dominated society in the zeitgeist of the 1950s. The catalog also features the juicy comedy-drama Herzogpark. “In Herzogpark, the perfectly polished existence of a glamorous, champagne-fueled world is on the brink of chaos, as carefully hidden secrets threaten to surface,” says Patrick Phelan, director of world sales. “It’s a captivating, entertaining and emotional series about the very different lives of four women in Munich’s posh Herzogpark district.” The feel-good comedic feature JGA: Jasmin. Gina. Anna., meanwhile, tells a story of friendship and saying goodbye to being single “in an intelligent way, full of humor and with great witty dialogue,” says Phelan.

“We are very keen to talk about our latest content and great lineup of new upcoming shows in the works and to discuss potential partnerships for international scripted drama.”

—Patrick Phelan 64 WORLD SCREEN 4/22

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The Mediapro Studio Distribution The Head / Código Implacable / The Age of Anger

Código Implacable

The catalog that The Mediapro Studio Distribution is presenting includes the second season of The Head, a murder mystery and survival thriller set in Antarctica produced by The Mediapro Studio (TMS). A co-production between TMS and Sony Pictures Entertainment, Código Implacable is a Mexicoset police thriller centering on sexual assault. Produced by TMS for Atresmedia, The Age of Anger (La Edad de la Ira) tells the story of 17-year-old Marcos, whose father has been murdered, with all the evidence pointing to the teen. Código Implacable and The Age of Anger “are already having a very good response from non-Spanish-speaking markets,” says Marta Ezpeleta, director of distribution, co-productions, acquisitions and international offices at TMS, who also notes interest from Spain, Latin America and the U.S. Hispanic market.

“The studio and its distribution arm are stronger than ever.”

—Marta Ezpeleta

Nippon TV CONNECTED / Tall Order Co-created by Nippon TV and Envision Entertainment, the crime drama CONNECTED centers on international sleuths, working primarily from their own homes, who use their research skills to solve crimes. “This series was specifically designed to expand to a number of localized versions, featuring diverse characters from different countries, while all belonging to the same shared online universe,” says Sayako Aoki, head of formats, international business development, at Nippon TV. A romantic comedy, Tall Order follows an executive assistant to the CEO of a startup company who gets appointed CEO of a subsidiary as complicated feelings develop with her boss. “This is another Nippon TV series that we have added to our catalog with a strong female protagonist that viewers around the world are sure to relate to,” says Aoki.

CONNECTED

“We are so looking forward to returning to MIPTV in person and welcoming buyers to our booth.”

—Sayako Aoki

ZDF Studios Stories to Stay Awake / White Night / Between Two Worlds Top Spanish directors bring Chicho Ibáñez Serrador’s horror anthology series back to life in the ZDF Studios highlight Stories to Stay Awake. The title’s four stand-alone episodes “pay homage to the past and are on the cutting edge of the future,” says Fred Burcksen, president and CEO. White Night centers on the Hébert family after the sudden death of their matriarch, with flashbacks to the ’70s that retrace the former supermodel and businesswoman’s life. The series “follows a family struggling to cope with an imbalance of power wielded by a person who is no longer alive, interwoven with a murder mystery,” says Burcksen.

Set in the fictitious town of Kaltenstein, Between Two Worlds tells a story of friendship between two women in West Germany amid the U.S. military presence in the ’50s.

“We invite anybody with good ideas to talk to us at ZDF Studios.”

Between Two Worlds

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—Fred Burcksen

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ZDF Studios’ Decision Game.

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Prime Crime Mansha Daswani checks in with a range of distributors about what’s new in the always popular crime-drama genre.

W

ar in Europe. Lingering Covid-19 restrictions. Inflation. After a rocky start to 2022—following two years of pandemic-induced stress and upheaval—audiences are still in the mood for a little bit of uplift; and seem to be looking for it in a television staple: crime dramas.

“They are looking for empowered female lead characters and diverse casts, positive and uplifting resolutions, regular people mixed up in investigations, unusual locations and communities and authentic and grounded stories that are easily digestible,” observes Robert Franke, the VP of drama at ZDF Studios.

FLIPPING THE SCRIPT Julia Weber, the head of international sales and acquisitions at Global Screen, is of a similar view, noting, “Audiences around the world are looking for innovative approaches to crime stories with new ways of creating the genre rather than the norm,” she says, pointing to the new Global Screen launch Recipes for Love and Murder. The ten-part series is a South African and U.K. co-production starring Maria Doyle Kennedy, based on the best-selling novel by Sally Andrew.

“It is a unique and escapist premium drama—‘crime light,’ in fact,” Weber explains. “The combination of the stunning South African scenery and the warmth of the diverse range of characters makes for a wholly different viewing experience.”

Kit Yow, VP of sales for the Asia Pacific at All3Media International, is of the perspective that “audiences thrive on all elements of the crime genre, whether it’s the ‘whodunit’ or ‘whydunit’—the interesting plot

twists, charismatic characters or unexpected revelations.

There is also now more of a desire for high production values across the genre.”

Yow also has seen continued interest in true-crime stories, referencing All3Media International’s new launch, Story Films’ The Thief, His Wife and the Canoe, from acclaimed writer Chris Lang, which tells the story of fraudster couple John and Anne Darwin.

STANDOUT DRAMA “With the rise of streamers, both local and global, the competition in creating good drama stories that can attract viewers is getting fierce,” reports Sayako Aoki, head of formats, international business development, at Japan’s Nippon TV. “The essence of developing a good crime drama is to create a relatable story accompanied by strong visuals that quickly capture the audience’s attention. Although never-before-seen stories are always welcome, how they can resonate with viewers’ hearts would be more important. From our experience, producers’ enthusiasm and persistence in finding a perfect way to tell the story they believe in is also a key ingredient to a successful project.”

Jimmy George, the VP of sales and acquisitions at GoQuest Media, says that whatever the style of a crime drama, “fresh stories” are essential. Audiences, he says, “seek new in-depth worlds in crime that are set apart from what’s been explored before. The success of non-English-language crime dramas like Dark and Money Heist just goes to show that while audiences will always be fascinated with the genre, they are seeking novelty in characters and settings.

“Finding novel ways of entertaining the audience in the same genre is the toughest ploy today,” George continues.

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All3Media International’s The Thief, His Wife and the Canoe is based on a true story.

“However, strong anti-heroes and the audiences they garner are helping break the mold to a great extent. A non-altruistic, charismatic character with a singleminded devotion to their goal has broad appeal and stickiness with the audience.”

One method producers use to deliver that “stickiness” is fusing genres. “Hybrid storytelling with a mix of genres to make the crime genre more interesting is a technique we see writers deploy nowadays,” George notes.

“Hybrid storytelling is constantly present and transformed,” observes ZDF Studios’ Franke. “From the butterfly effect narrative of Chain Reaction around the investi-

gation of one robbery gone wrong to the contemporary adaptation and mix of Scandi noir and light whodunit of Agatha Christie’s Hjerson to the Spanish film anthology [Stories to Stay Awake] mixing crime, thriller, horror, sci-fi and the absurd.”

Franke adds that “blue-sky appeal” and exploring untapped or unusual locations are consistent trends in crime drama.

GENRE BENDING

“A hybrid storyline can attract as wide an audience as possible,” reports Global Screen’s Weber. Recipes for Love and Murder, for instance, “looks at crime detection with the additional pull of delicious food and beautiful landscapes along with humor and a gentle, non-violent approach.”

Weber adds, “While the storylines refer to difficult acts such as murder and domestic violence, they are dealt with in a considered and non-gratuitous way. And, as the title suggests, there are lots of opportunities to talk about food and its healing properties!”

Carlos Hertel, director of international sales at Bavaria Media International, mentions the eight-part Dark Lake, produced by Québec’s Pixcom for Club illico in Canada, calling it “thrilling entertainment for younger audiences, combining the elements of horror and mystery.”

The company is also bringing the Icelandic title Manners (available as a movie or a twoparter) to MIPTV. “It is based on a true story Produced by Pixcom, Dark Lake, a Bavaria Media International highlight, merges mystery and horror.

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and is a contribution to the #MeToo debate, but this time focusing on the view and experience of the alleged offender and his family,” Hertel says.

For Yow at All3Media International, a critical development in crime dramas has been the genre becoming more inclusive and diverse. She mentions Drama Republic’s new series The Confessions of Frannie Langton, “which is in part a murder mystery but also a period romance that explores themes of race, gender, oppression and sexuality.”

She also points to the appeal of “genre-bending” shows like the true-crime-based Deceit, which “shifted the traditional narrative to focus on the experience of the female detective investigating the crime, presenting an innovative female lens on this genre.” Meanwhile, Black Camel Pictures’ Annika, starring Nicola Walker, “breaks the fourth wall [as she] solves crimes through her unique literary knowledge and sharp wit.”

With the changes in viewing habits brought about by the pandemic, “hybrid storytelling has become a major part of our creative development process, given the unpredictable nature of the world we live in now,” notes Nippon TV’s Aoki. “With each new project, it is our goal to create stories that are both out-of-the-box and easily adaptable.”

STAYING CONNECTED

Express is a Spanish-language STARZPLAY commission from The Mediapro Studio.

There is a lot of room to play when it comes to mixing locations, genres, tones and styles, as long as the final proposition is convincing and authentic.”

At Global Screen, too, Weber reports that the crimedrama slate is predominantly made up of local stories.

“We are currently expanding into the co-production arena and are very interested in productions that cross borders,” she says. “Recipes for Love and Murder is a blueprint for us, as it is an innovative program that is local but also translates very well for global audiences.”

Nippon TV has emerged as a significant provider of scripted formats, so Aoki and her team are already exploring adaptation opportunities for CONNECTED, a co-production with Envision Entertainment in the U.K. inspired by the Japanese media giant’s Double Booking about a group of armchair detectives.

“CONNECTED is a great example of a cross-border co-production,” says Aoki.

“This series was designed to expand to localized versions featuring diverse characters from different countries, while all belonging to the same shared online universe.

We created this crime drama with the intention that the mystery would spread over international borders. It is our ultimate goal to create quality content that transcends across multiple territories.”

While shows involving storylines and characters from more than one territory are emerging, ZDF Studios’ Franke observes that crime dramas today are still mainly “grounded in local cultures and societies. But we do come across authentic cross-border co-productions from time to time. We appreciate when unusual countries or contrasting cultures co-produce, as the effect is often spectacular. Global Screen’s Recipes for Love and Murder is a U.K.-South African co-production for M-Net and Acorn TV. 4/22 WORLD SCREEN 71

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episode after episode,” says Aoki at Nippon TV, citing the broadcaster’s own Guilty Flag, which tackles “one giant mystery, with dramatic twists and turns through 20 episodes. It’s been successfully creating enthusiastic fan groups online that ‘investigate’ the mystery themselves.

However, I see the demand for procedurals is also still there, as some stories, especially those with strong, lovable characters, can reach and entertain viewers more in procedurals. If we can provide a satisfactory viewing experience in the first episode, viewers would come back for the next episodes, as they know they can get catharsis in every episode of this form of storytelling.”

ROOM FOR EVERYTHING

Traitor is an Estonian drama available from GoQuest Media.

ZDF Studios’ Franke has seen an increased demand for straight-ahead procedurals in the last two years, calling it a “solid comeback trend,” but adds: “We would say there is no competition between the two genres—the allocated slots are different, so both are equally in demand.”

All3Media’s Yow is of a similar opinion, adding, “Both genres still have their fan bases, and the demand more depends on the type of platforms in different territories. We are proud to offer a brilliant range of crime dramas, from the procedural cases in Dalgliesh and Annika to serialized character-driven crime stories such as The Thief, His Wife and the Canoe and Deceit.

The distinction between serialized and procedural is largely led by the duration and series commitment set by the commissioning broadcaster. Still, whether the series is procedural or serialized, there is always demand for high-quality drama with strong characters you want to spend time with and a compelling plot that makes the drama entertaining to watch.”

The series is a co-production of M-Net, AMC Networks’ Acorn TV and Both Worlds Pictures, together with Global Screen. Thierry Cassuto of Both Worlds Pictures is producing the series in collaboration with Scotland-based Pirate Productions, with development support provided by Creative Scotland and Paris-based Paradoxal.

The Mediapro Studio Distribution is bringing to MIPTV the second season of the murder mystery The Head, which boasts a multinational cast and counted HBO Asia and Hulu Japan as co-production partners on season one. That first season sold into 90 markets, according to Marta Ezpeleta, the director of distribution, co-productions, acquisitions and international offices at The Mediapro Studio. The show, she adds, “gives an idea about the internationalization of the studio’s productions and our reach as distributors.”

Recipes for Love and Murder revolves around its lead character’s investigation into a single murder mystery, in line with the broader shift in crime drama to serialized storytelling.

“While procedurals will always have a dedicated audience, serialized stories meet the triple criteria of novelty, appealing characters and unique settings more frequently, helping us reach a wider audience,” Weber reports.

“Most of the players, especially streamers, seem to be focusing more on serialized storytelling that can induce binge-watching Nippon TV is offering the Japanese crime thriller Guilty Flag as a scripted format.

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Red Arrow Studios International’s Stella Blómkvist.

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By the

Book

With known IP proving to be a winner, book-based TV adaptations are in high demand. By Kristin Brzoznowski

F

rom page to screen, some of the hottest TV properties these days have sprung straight from the bookshelf.

While there’s no shortage of fantastic literary pieces to mine—from contemporary works to classic novels—the battle for high-profile book-based IP is fierce, with competitive bidding situations to land the rights to adapt bestsellers (or the latest works from authors whose last project set the television world abuzz).

“A hot piece of IP with the right talent attached creates an undeniable package,” says Lars Blomgren, head of scripted at Banijay. “When it comes to adapting books into premium scripted series, there is a treasure trove of available content out there, and this will always be popular.

These titles can be evolved and produced for audiences who will expect a certain quality to a series when it is based on a story they love. As creatives, it is fantastic for us to be able to bring these shows to life for audiences.”

Rodrigo Herrera Ibarguengoytia, senior scripted acquisitions and co-productions manager at Red Arrow Studios International, says that it comes down to IP giving decisionmakers confidence. “There are a lot of other advantages: the fleshed-out settings, characters and plots and an established basis for a quicker turnaround on development, and it brings an existing fan base,” he adds. “All of those reasons make it easier for executives to evaluate. There’s a proof of concept for potential success, and ultimately, side by side with an original piece, IP gives the perceived notion of a safer bet. For us, they are a great starting point to find

common ground for a new collaboration; that’s always been seen as the biggest value at Red Arrow.”

In the commissioning process, the speed from interest to greenlight has shortened dramatically, according to Nicola Söderlund, managing partner at Eccho Rights, especially since the arrival of the streamers. “In order to get maximum safety, the easiest way forward is to rely on an existing, well-known and, in the dream scenario, hugely popular IP,” he says. “Books provide safety but also an already existing story with characters, plotlines, opening and ending. Adapting is easier than inventing.”

The book-to-screen adaptation process is not without its challenges, though. “Very often, a book has room for a lot of inner thoughts, reactions and impressions,” Söderlund notes.

“This could prove to be tricky to convert into a scene. And that is very often a challenge in dramatizing scenes out of books.

The more plot-driven the book is, the easier to make it work.”

A FAMILIAR STORY While turning to the literary world for inspiration is hardly a new phenomenon, the trend has heightened in recent times, says Tom Misselbrook, senior VP of scripted sales and development at Cineflix Rights. “There is now more importance [placed] on securing rights to valuable IP than there ever has been,” he adds. “We’re seeing this as the proliferation of drama content creation continues and competition between streamers and broadcasters increases. In this market, shows that really stand out and make a lot of noise are key to audience growth and subscriber loyalty. Series adapted from successful IP come with a built-in audience, which, coupled with great storytelling and rich characters, is really compelling.”

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Eccho Rights’ Maria Wern is based on a series of novels by author Anna Jansson.

Given the wealth of material out there, the genre spectrum for adaptations is broad, Misselbrook says, “from crime, fantasy and thrillers to psychological dramas and more socially conscious pieces. We’re seeing a real range of material being developed for audiences of all ages and demographics.”

“Fantasy, sci-fi and dystopian pieces have always been popular for introducing us to expansive new worlds that are full of possibilities,” notes Red Arrow’s Ibarguengoytia on genre trends. “It’s been interesting to see the rise of drama adaptations and their success, projects like Big Little Lies, The Queen’s Gambit and Normal People. It’s very interesting to see how a successful adaptation translates into a lot of other novels from that specific author getting optioned. It’s a proven track record that gives everyone more confidence to invest.”

Ibarguengoytia says that, at Red Arrow, the question of how closely to stick to the source material is one that’s weighed with

Ben Macintyre’s best-selling book serves as the basis for Banijay Rights’ Rogue Heroes.

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great care at the start of any adaptation. On the Inspector Maigret series, he says, “We went through that conversation in detail, considering the different alternatives, whether to do a period or contemporary adaptation. Our writer on this project made the observation that Maigret was a contemporary character at the time of release, as the novel was set in the present. It was a simple thought, but it really made me look at this and other adaptations differently. Sometimes we look at it far removed, and we forget the context in which it was written and released and what the author was originally intending. All of that plays into the decision about how close to adapt. It’s not a simple answer of just following the plot straight through.”

FROM THE SOURCE It’s sometimes easier to stay close to the original on limited series, Ibarguengoytia adds. “With returning properties, the show is always evolving, and actors bring their own takes, and based on the response from audiences, we can decide to lean on or stay clear of certain characters and storylines for subsequent seasons,” he says. “So, it really starts taking its own shape and eventually forging its own path.”

With Vienna Blood, the series has now come to a point where the source material has been exhausted. With the third-season commission, the writer will be crafting an original story.

“It ultimately depends on the property and the reason why it’s being adapted in the first place—whether the interest is in the plot or if it’s more the setting and characters as the jumping-off point—but any adaptation needs some room for dramatic license,” Ibarguengoytia says. “I don’t think anybody sets course trying to create the best adaptation; you want to create the best series that stands on its own.”

Cineflix’s Misselbrook agrees that the approach varies from project to project. “Of course, you don’t want to lose the elements of the source material that make it interesting in the first place, but inevitably, you have to afford creatives some artistic license to create the best possible show.”

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Eccho Rights’ Söderlund is of the opinion that, most often, the best result is achieved if you regard the TV version of the IP “as an independent work of art.”

WRITERS’ RULES As for whether the author or estate should be involved in the adaptation, Söderlund views it in two distinct stages. “In the initial part, it’s absolutely essential to fully understand the storyline and the behavior of the characters, but once that is achieved, I strongly believe that the scriptwriter should have full freedom to make the best adaptation for the screen. After all, storytelling in a book and on-screen are two very different ways of communication and very much based on different craftsman’s skills.”

Red Arrow’s Ibarguengoytia agrees with Söderlund that having the author or estate on board at the start is important. “They are an incredibly valuable resource for additional insight into the property and its characters, but in the best-case scenario, the author or estate also understands that there are differences and provides the writers or producers with the freedom to adapt,” Ibarguengoytia adds. “Of course, it always adds complexity to have multiple voices in the mix, but when channeled effectively, being challenged by different perspectives only makes the final result stronger.”

As the competition for rights is as hot as ever, Ibarguengoytia admits that it can be a challenge to secure sought-after IP. “There is definitely value in a close relationship with scouting agencies, having an overview of how the market is developing and looking to find that hidden gem,” he says.

“It’s incredibly competitive, and the highlight properties go into high bidding wars before even being published.”

television is down to the fantastic storytelling, on- and offscreen talent and production values.”

Adapting a beloved property that has fans all its own can be a double-edged sword, Red Arrow’s Ibarguengoytia says, depending on the property and how fervent the fan base is. “A big fan base can create hype around a project and give it a boost,” he notes. “It definitely makes it easier to draw attention to the project and get people on board. But there is also more of a chance for backlash down the line if the project doesn’t resonate with the fan base.”

In this regard, there’s an advantage to a hidden gem, he says, “being able to use the strong source material more freely and present it to the world without being so scrutinized and maybe even have the reverse dynamic, where the adaptation brings renewed or wider interest to the original book. That said, I don’t think anyone would say no to the chance of tackling a very well-known property and character because there is a huge upside, and you know that along the ride, all the way to production, everybody is going to have a lot of confidence to push this project forward.”

SCOUTS’ HONOR To identify interesting IP, Red Arrow has taken the approach of asking writers and producers about their favorite books to develop as passion projects. “For starters, it gives you a very good sense of whether you align creatively and have common interests, and it’s a great way to connect with talent and establish a working relationship,” Ibarguengoytia says.

“Unlike an original idea, an adaptation is a true collaboration. Everyone brings their different perspective into the IP and works from common ground. So even if a particular development isn’t successful, it’s a great way to understand how to work together and develop longlasting relationships.”

Cineflix has gone about the scouting process by forging solid relationships with its production partners, “working closely with them to identify IP that we think will have global appeal,” Misselbrook says. “Our independent status and scale allow us to act quickly and aggressively when we identify great IP, and we are focused on building strong relationships with publishers and literary agents to get us ahead of the crowd.”

He acknowledges that working with known IP comes with both challenges and opportunities. “It’s always a challenge to do justice to the original source material, but equally, there is an opportunity to bring a successful book to the screen so that it resonates with an audience familiar with the IP and, just as importantly, can find a new audience,” says Misselbrook. “TV generally has a more limited scope to play out the material than a book because you have a fixed number of hours to work with, but a big part of why we’re in a time of great 4/22 WORLD SCREEN 77

Cineflix Rights’ Australian truecrime drama Last King of the Cross is inspired by John Ibrahim’s autobiography of the same name.

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TV DRAMA 29

Joanne Froggatt

B

efore being cast in her breakthrough role as Anna Bates in Downton Abbey, Joanne Froggatt appeared in several British dramas. The hit series introduced Froggatt to international audiences, and her performance of Anna, the kindhearted, exemplary servant, won her a Golden Globe.

Froggatt has since worked with screenwriters Jack and Harry Williams on psychological thrillers that deal with serious but topical issues. In Angela Black, Froggatt plays a wife and mother whose idyllic-seeming life masks the horrible reality that her violent and abusive husband dominates her. Froggatt talks to TV Drama about taking on these roles, the research she does to prepare and the responsibility she feels in portraying victimized women.

By Anna Carugati TV DRAMA: What do you look for in a role, and what appealed to you about Angela Black?

FROGGATT: I don’t know exactly what I look for in a role. I think I look for a great script. [I can’t say no to] the Williams brothers because I know they’re fantastic. I’d worked with Jack and Harry before. They were the writers on a show called Liar, and I’d had a wonderful experience working with them. They contacted me and said they had written Angela Black and would I look at the role of Angela and see if I wanted to play her. They sent me the first three episodes, and I just sat and read all three episodes back-to-back. I couldn’t put them down. It was a nobrainer. I can’t not play this role; this is incredible. Also, they write thrillers so brilliantly, and this is a subtle-to-start-with, Hitchcock-style thriller that shifts and twists and turns, and I had no idea what was going to happen or where this character was going to be taken. There is also important subject matter running as a through-note, which is incredibly important to me to be talking about, especially after the world had been through one lockdown. We were going through lockdown by the time I read the script. The issue of domestic abuse had become so much more prevalent because everyone was [staying] in their homes. Jack and Harry wrote this script before Covid was a word on any of our lips, but, by chance, it was incredibly timely.

TV DRAMA: You mentioned Liar. That also dealt with a crucial issue. Of course, you want to give the best performance you can, but do you also feel an extra responsibility when dealing with these complex subjects?

FROGGATT: Yes, absolutely. Laura, my character in Liar, had suffered a sexual assault. Angela in Angela Black is a victim of domestic abuse. Approaching two thrillers based on very sensitive subject matter by the same writers, I will always want to make the characters as different as possible. I needed to know I could do that and do both characters justice

in very different ways; I had already done Liar. Jack and Harry did this for me because the style of Angela Black as a show is very different.

Laura in Liar is used to being listened to and respected.

She’s used to having a voice and has become obsessed with justice, and understandably so. That breeds real anger and resentment in her. Whereas Angela is a very different being. She’s in a very different space. She’s lost her sense of self. She’s lost her drive. She’s lost her confidence, her selfesteem. Everything is on very shaky ground. Then she is almost broken down further before she can rebuild herself again. Whenever I tackle sensitive subject matter, I feel a huge responsibility to give the most truthful performance that I can give, and I do everything in my power to make that happen. I don’t take them on lightly.

TV DRAMA: Does that involve research, too, to prepare for these roles?

FROGGATT: Yes, for Angela, I did a lot of research. I read three books: You Can’t Run by Mandy Thomas, Beautiful

by Katie Piper and Brutally Honest by Melanie Brown. All incredibly different scenarios and circumstances of domestic abuse, whether psychological or physical. All three women give incredibly honest and candid accounts of their experiences, emotionally and physically. Those accounts stuck with me. There wasn’t a day that went by on set that I didn’t think about all or one of those women. Women’s Aid is a British charity that helps and supports victims of domestic abuse, and they were very involved with our show from the beginning. They advised Jack and Harry during the writing process. When I came on board, they were incredibly helpful in pointing me in the direction of research material. I spoke to some of their counselors as well. I watched a lot of documentaries. I did immerse myself as much as possible to build a psychological profile 4/22 WORLD SCREEN 81

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Commissioned by ITV in the U.K. and Spectrum in the U.S., Angela Black is being rolled out by All3Media International.

of Angela and her scenario and make her as nuanced and real as possible. And make sense of what emotions she is feeling, when and why.

TV DRAMA: What was the atmosphere on set?

FROGGATT: With Angela Black, we were filming during the second lockdown in the U.K., so it was an even more intimate experience. On the best jobs, you do end up becoming a family for that length of time, especially when you come in every day. You spend more time with the cast and crew than you do with the people you love. It was a very supportive and safe working environment. I felt free to go to the places emotionally that I needed to.

Our director, Craig Viveiros, was just incredible; he supported and guided me through the scenes so brilliantly. It was fantastic because he directed all six episodes. I think I would have found it difficult switching directors, which is what usually happens. So that helped me as an actor a lot because I could build that relationship with Craig.

Once you’ve got that shorthand with each other, it makes the working relationship just flow, and after a few weeks, [it] makes everything easier and comfortable.

TV DRAMA: When you deal with difficult subject matter, do you take that home with you, or are you able to shut off as you leave set?

FROGGATT: You probably do, to a certain extent. I try to shut off. When I go to work in the morning, my routine is I put on the costume; I put on the character. And sometimes, when I put on the wig, I put on the character. When I’m in my makeup, I say, OK, I’m getting into this. When I take the costume off at the end of the day, I imagine I am leaving her there for the evening. In Angela Black, I was pretty much in every scene. It was consuming. I was on set all day. You get home, you learn your lines, you go to sleep. Then you spend the whole weekend learning your lines and working on the following week. And then you go over it again [each] night and 82 WORLD SCREEN 4/22

go to sleep. When I take on a role like Angela Black, I know the level of work involved. I’m fully aware of that, and I have to commit to this for four months of my life.

At the end of the four months when we’ve wrapped, that’s when I truly leave her behind. As long as I know I’ve put my heart and my soul into it, which I did, then I’m happy to leave her where she is.

TV DRAMA: I would be remiss if I didn’t ask about Anna Bates, the character you’ve played in Downton Abbey. You don’t see characters like her very often on TV. What did playing her mean for you personally and professionally?

FROGGATT: She’ll always mean so much to me, personally and professionally. Anna changed my life, unbeknownst to me. I don’t know what life would have been if another actress had played her. She’s a lovely character to revisit.

She’s a good person. She’s been through a lot, but she’s a good person. She’s a strong individual, and I always loved playing her. It’s nice to go back and do the movies and find her in a place of happiness. I feel I want that for her and Bates.

TV DRAMA: There is a lot of production going on in the U.K. Do you have many opportunities to play great roles?

FROGGATT: Yes, it’s been great. The second Downton Abbey movie is coming out in the spring. I also did a miniseries here in the U.K. called Sherwood, a big ensemble piece I’m excited about. That’s going to be on BBC One. I also just filmed a miniseries called Last Light for Peacock with Matthew Fox as the lead, and I play his wife. That’s [about] an eco-terrorist attack that brings down the world’s infrastructure. It’s an action-packed five-episode miniseries. It’s been a wonderful 18 months of work for me. I’ve been incredibly fortunate to be able to work through the pandemic and do such diverse roles. It’s been a joy.

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