{"id":17004,"date":"2022-06-14T08:50:58","date_gmt":"2022-06-14T12:50:58","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvdrama\/worldscreen.com\/"},"modified":"2022-06-15T12:44:49","modified_gmt":"2022-06-15T16:44:49","slug":"prime-crime","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvdrama\/prime-crime\/","title":{"rendered":"Prime Crime"},"content":{"rendered":"

Mansha Daswani checks in with a range of distributors about what\u2019s new in the always popular crime-drama genre.<\/em><\/p>\n

War in Europe. Lingering Covid-19 restrictions. Inflation. After a rocky start to 2022\u2014following two years of pandemic-induced stress and upheaval\u2014audiences are still in the mood for a little bit of uplift; and seem to be looking for it in a television staple: crime dramas.<\/p>\n

\u201cThey 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,\u201d observes Robert Franke, the VP of drama at ZDF Studios.<\/p>\n

Julia Weber, the head of international sales and acquisitions at Global Screen, is of a similar view, noting, \u201cAudiences around the world are looking for innovative approaches to crime stories with new ways of creating the genre rather than the norm,\u201d she says, pointing to the new Global Screen launch Recipes for Love and Murder<\/em>. 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.<\/p>\n

\u201cIt is a unique and escapist premium drama\u2014\u2018crime light,\u2019 in fact,\u201d Weber explains. \u201cThe combination of the stunning South African scenery and the warmth of the diverse range of characters makes for a wholly different viewing experience.\u201d<\/p>\n

Kit Yow, VP of sales for the Asia Pacific at All3Media International, is of the perspective that \u201caudiences thrive on all elements of the crime genre, whether it\u2019s the \u2018whodunit\u2019 or \u2018whydunit\u2019\u2014the interesting plot twists, charismatic characters or unexpected revelations. There is also now more of a desire for high production values across the genre.\u201d<\/p>\n

Yow also has seen continued interest in true-crime stories, referencing All3Media International\u2019s new launch, Story Films\u2019 The Thief, His Wife and the Canoe<\/em>, from acclaimed writer Chris Lang, which tells the story of fraudster couple John and Anne Darwin.<\/p>\n

STANDOUT DRAMA<\/strong>
\n\u201cWith the rise of streamers, both local and global, the competition in creating good drama stories that can attract viewers is getting fierce,\u201d reports Sayako Aoki, head of formats, international business development, at Japan\u2019s Nippon TV. \u201cThe essence of developing a good crime drama is to create a relatable story accompanied by strong visuals that quickly capture the audience\u2019s attention. Although never-before-seen stories are always welcome, how they can resonate with viewers\u2019 hearts would be more important. From our experience, producers\u2019 enthusiasm and persistence in finding a perfect way to tell the story they believe in is also a key ingredient to a successful project.\u201d<\/p>\n

Jimmy George, the VP of sales and acquisitions at GoQuest Media, says that whatever the style of a crime drama, \u201cfresh stories\u201d are essential. Audiences, he says, \u201cseek new in-depth worlds in crime that are set apart from what\u2019s been explored before. The success of non-English-language crime dramas like Dark\u00a0<\/em>and Money Heist<\/em> just goes to show that while audiences will always be fascinated with the genre, they are seeking novelty in characters and settings.<\/p>\n

\u201cFinding novel ways of entertaining the audience in the same genre is the toughest ploy today,\u201d George continues. \u201cHowever, strong anti-heroes and the audiences they garner are helping break the mold to a great extent. A non-altruistic, charismatic character with a single-minded devotion to their goal has broad appeal and stickiness with the audience.\u201d<\/p>\n

One method producers use to deliver that \u201cstickiness\u201d is fusing genres. \u201cHybrid storytelling with a mix of genres to make the crime genre more interesting is a technique we see writers deploy nowadays,\u201d George notes.<\/p>\n

\u201cHybrid storytelling is constantly present and transformed,\u201d observes ZDF Studios\u2019 Franke. \u201cFrom the butterfly effect narrative of Chain Reaction<\/em> around the investigation of one robbery gone wrong to the contemporary adaptation and mix of Scandi noir and light whodunit of Agatha Christie\u2019s Hjerson<\/em> to the Spanish film anthology [Stories to Stay Awake<\/em>] mixing crime, thriller, horror, sci-fi and the absurd.\u201d<\/p>\n

Franke adds that \u201cblue-sky appeal\u201d and exploring untapped or unusual locations are consistent trends in crime drama.<\/p>\n

GENRE BENDING <\/strong>
\n\u201cA hybrid storyline can attract as wide an audience as possible,\u201d reports Global Screen\u2019s Weber. Recipes for Love and Murder<\/em>, for instance, \u201clooks at crime detection with the additional pull of delicious food and beautiful landscapes along with humor and a gentle, non-violent approach.\u201d<\/p>\n

Weber adds, \u201cWhile 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!\u201d<\/p>\n

Carlos Hertel, director of international sales at Bavaria Media International, mentions the eight-part Dark Lake<\/em>, produced by Qu\u00e9bec\u2019s Pixcom for Club illico in Canada, calling it \u201cthrilling entertainment for younger audiences, combining the elements of horror and mystery.\u201d<\/p>\n

The company is also touting the Icelandic title Manners<\/em> (available as a movie or a two-parter). \u201cIt is based on a true story and is a contribution to the #MeToo debate, but this time focusing on the view and experience of the alleged offender and his family,\u201d Hertel says.<\/p>\n

For Yow at All3Media International, a critical development in crime dramas has been the genre becoming more inclusive and diverse. She mentions Drama Republic\u2019s new series The Confessions of Frannie Langton<\/em>, \u201cwhich is in part a murder mystery but also a period romance that explores themes of race, gender, oppression and sexuality.\u201d<\/p>\n

She also points to the appeal of \u201cgenre-bending\u201d shows like the true-crime-based Deceit<\/em>, which \u201cshifted the traditional narrative to focus on the experience of the female detective investigating the crime, presenting an innovative female lens on this genre.\u201d Meanwhile, Black Camel Pictures\u2019 Annika<\/em>, starring Nicola Walker, \u201cbreaks the fourth wall [as she] solves crimes through her unique literary knowledge and sharp wit.\u201d<\/p>\n

With the changes in viewing habits brought about by the pandemic, \u201chybrid storytelling has become a major part of our creative development process, given the unpredictable nature of the world we live in now,\u201d notes Nippon TV\u2019s Aoki. \u201cWith each new project, it is our goal to create stories that are both out-of-the-box and easily adaptable.\u201d<\/p>\n

STAYING CONNECTED <\/strong>
\nNippon TV has emerged as a significant provider of scripted formats, so Aoki and her team are already exploring adaptation opportunities for CONNECTED<\/em>, a co-production with Envision Entertainment in the U.K. inspired by the Japanese media giant\u2019s Double Booking<\/em> about a group of armchair detectives.<\/p>\n

\u201cCONNECTED<\/em> is a great example of a cross-border co-production,\u201d says Aoki. \u201cThis 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.\u201d<\/p>\n

While shows involving storylines and characters from more than one territory are emerging, ZDF Studios\u2019 Franke observes that crime dramas today are still mainly \u201cgrounded 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. 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.\u201d<\/p>\n

At Global Screen, too, Weber reports that the crime-drama slate is predominantly made up of local stories. \u201cWe are currently expanding into the co-production arena and are very interested in productions that cross borders,\u201d she says. \u201cRecipes for <\/em>Love and Murder<\/em> is a blueprint for us, as it is an innovative program that is local but also translates very well for global audiences.\u201d<\/p>\n

The series is a co-production of M-Net, AMC Networks\u2019 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.<\/p>\n

The Mediapro Studio Distribution is highlighting the second season of the murder mystery The Head<\/em>, which boasts a multinational cast and counted HBO\u2008Asia 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, \u201cgives an idea about the internationalization of the studio\u2019s productions and our reach as distributors.\u201d<\/p>\n

Recipes for Love and Mur<\/em>der<\/em> revolves around its lead character\u2019s investigation into a single murder mystery, in line with the broader shift in crime drama to serialized storytelling.<\/p>\n

\u201cWhile 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,\u201d Weber reports.<\/p>\n

\u201cMost of the players, especially streamers, seem to be focusing more on serialized storytelling that can induce binge-watching episode after episode,\u201d says Aoki at Nippon TV, citing the broadcaster\u2019s own Guilty Flag<\/em>, which tackles \u201cone giant mystery, with dramatic twists and turns through 20 episodes. It\u2019s been successfully creating enthusiastic fan groups online that \u2018investigate\u2019 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.\u201d<\/p>\n

ROOM FOR EVERYTHING <\/strong>
\nZDF Studios\u2019 Franke has seen an increased demand for straight-ahead procedurals in the last two years, calling it a \u201csolid comeback trend,\u201d but adds: \u201cWe would say there is no competition between the two genres\u2014the allocated slots are different, so both are equally in demand.\u201d<\/p>\n

All3Media\u2019s Yow is of a similar opinion, adding, \u201cBoth 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<\/em> and Annika<\/em> to serialized character-driven crime stories such as The Thief, His Wife and the Canoe<\/em> and Deceit<\/em>. 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.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

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