The Scandinavian limited series, from Oscar-nominated director Tobias Lindholm, examines the true tale of the murder of Swedish journalist Kim Wall, who disappeared after boarding the entrepreneur Peter Madsen's midget submarine.
Lindholm wrote and directed The Investigation, a six-part limited series following the true tale of the murder investigation into the killing of Kim Wall, a Swedish freelance journalist who disappeared in August 2017 after boarding a midget submarine with its inventor, the entrepreneur Peter Madsen.
The crime generated headlines worldwide, particularly after parts of Wall's dismembered body were found washed up on a beach nearby. Madsen was charged with her murder.
Lindholm's limited series follows Jens Moller Borgen actor Soren Malling, the Copenhagen homicide detective charged with investigating the murder. Frequent Lindholm collaborator Pilou Asbaek Game of Thrones co-stars as prosecutor Jakob Buch-Jepsen, with Pernilla August Star Wars and Rolf Lassgard A Man Called Ove playing Kim Wall's parents.
Fremantle subsidiary Miso Film is producing the series together with Outline Film for Danish channel TV 2, Sweden's SVT and Scandinavian outlet Viaplay. The series is currently shooting in Denmark.
UK genre sales firm Devilworks has added two titles to its slate for the upcoming American Film Market. Matteo Rolleri's outfit has boarded world sales rights to U.S. supernatural horror The Special by B. Harrison Smith D eath House about a young man who is offered a night of pleasure beyond his wildest imagination. Davy Raphaely Camp Dread, Dave Sheridan Sky Sharks and Sarah French Ouija House star. Alexander Bafer and Doug Henderson produce for Everything's Fire Productions, Jonathan Ilchert is executive producer for Brick Top Productions. Also on the slate is Canadian horror Welcome To The Circle,written and directed by David Fowler Born In China and starring Heather Doerksen Pacific Rim, Matthew MacCaull Tomorrowland and Taylor Dianne Robinson Twilight Saga: Breaking Dawn. Pic tells the story of a young girl and her father who fall prey to a secluded, madman-worshiping cult situated deep in a wood. Michael Khazen produced for High Deaf Productions, alongside Andrew Francis and Jeff Renfroe. Sam Vincent executive produced.
The Favourite and Vikings backer Screen Ireland is getting a funding increase of€1M, bringing the agency's annual capital budget to €17.2M for 2020. Screen Ireland chair Dr. Annie Doona said, “This additional funding together with the introduction of the regional uplift to Section 481 of 5%, announced last year, is an example of successful government policy, in terms of attracting new productions to regional areas. The uplift has allowed Screen Ireland to work with regional stakeholders to develop training opportunities and enhance skills, supporting production activity in these areas. Last year, Screen Ireland established a new TV drama production fund aimed at supporting high-end episodic TV drama. New projects emerging from this fund include Normal People, The South Westerlies and a slate of pilot TV comedies in partnership with RTÉ. Recent Irish movies backed by Screen Ireland include Lee Cronin's Hole In The Groundstarring Seana Kerslake, Extra Ordinary staring Maeve Higgins and Greta directed by Neil Jordan. International projects to have filmed on location in Ireland include Fate: The Winx Saga, Vikings, Nightfliers, Into the Badlands, The Rhythm Sectionand The Green Knight.
Fremantle has completed deals with both BBC in the UK and Mediengruppe RTL in Germany for upcoming crime series The Investigation. Produced by Fremantle's Scandinavian drama producers, Miso Film, and written and directed by Tobias Lindholm A Hijacking, the six-part series follows the complex investigation carried out by Jens Møller, the Head of Homicide for the Copenhagen Police, surrounding the murder of Swedish journalist Kim Wall.Søren Malling A Hijacking leads the cast as Møller, alongside Pilou Asbæk Game of Thrones as the prosecutorJakob Buch-Jepsen and Pernilla August Star Wars and Rolf Lassgård Downsizing as Kim Wall's parents, Ingrid and Joachim Wall. The Investigation is produced by Fremantle's Miso Film and is currently in production in Denmark. The series was developed by Miso Film together with Tobias Lindholm. It's produced by Miso Film in co-production with Outline Film for TV 2 Danmark, SVT and Viaplay with support from The Danish Film Institute's Public Service Fund and Copenhagen Film Fund. Fremantle has international distribution rights.
The BBC is poised to set out plans for a massive reinvention of iPlayer, the pioneering streaming service it launched in the same year as Netflix went live, and punch back in the fight for British talent.
At an event in London on Monday evening, director general Tony Hall and content chief Charlotte Moore will set out the BBC’s vision to turn iPlayer into a “total TV” service, serving personalized content to audiences, including live events, box-sets, and all of the broadcaster’s television stations.
They will say that the BBC is now removing the burdens of regulation after it got the greenlight to extend iPlayer’s catch-up window for new shows from 30 days to 12 months. This longer viewing window will be at the heart of the revamp, which the BBC says will be the biggest since iPlayer launched in 2007.
The BBC is pitching the new look as a direct response to the invasion of Netflix, Amazon, Apple and other U.S. media giants, which Hall referred to as a “second wave of disruption” during a speech last month. It will play up iPlayer as a human-curated platform, rather than being moderated by machines.
During the event on Monday, the BBC will also tackle, head-on, the trend for U.S. streamers scooping up British talent on huge overall deals, like Peter Morgan signing up with Netflix last week. Hall and Moore will say that the broadcaster can’t compete with the tens of millions of dollars being thrown at creative talent, but it can offer creative freedom, free from focus groups and algorithms, and a bigger shop window on TV and audio.
At the event, Hall will say: “iPlayer is a great service. But it can and will be even better. The BBC's combination of backing great and different ideas, alongside a complete reinvention of iPlayer, will mean a unique service that will be of huge benefit to the public. It will be a new front door for British creativity.”
Moore will add: “iPlayer will become the heart of everything we do; the gateway to all our programs — a 'total TV' experience which will bring everything you want from BBC television into one place for the first time.
“There's something else that makes our vision for iPlayer unique and special. In fact it's the vital thing. It's curated. We're talking about a cutting edge tech platform, run by humans. Because in a world of so much content and choice, a dynamic curated offering will become more and more important to people and will set the BBC apart.”
According to the BBC, iPlayer had a record seven days in the final week of September, racking up 90M program requests. And crucially for the BBC, which is competing with young viewers with Netflix and YouTube, the number of people under-35 iPlayer is reaching has gone up by more than a third in the past year.
The BBC has got itself into “deep, deep trouble” after publicly reprimanding one of its top presenters for expressing her views about a Donald Trump tweet that was widely decried as racist.
That’s the view of Marcus Ryder, a prominent campaigner for diversity in British broadcasting, who rallied against the BBC’s decision to censure Naga Munchetty, a host of BBC One’s flagship Breakfast show. He helped organize an open letter from high-profile figures including actors Lenny Henry and Adrian Lester slamming the ruling.
Munchetty, who has Indian and Mauritian heritage, was told last week she broke BBC policies on impartiality when she said on air in July that she was “furious” with Trump for tweeting that Democratic congresswomen Ilhan Omar, Alexandria Ocasio-Cortez, Ayanna Pressley, and Rashida Tlaib should “go back and help fix the totally broken and crime infested places from which they came.”
The ruling prompted uproar, with BBC staff, politicians, and members of the British TV industry’s black, Asian and minority ethnic community hammering the corporation. It dominated the pages of British newspapers for days and senior BBC executives were sent out to defend the decision on TV and radio.
But such was the intensity of the outcry, that BBC director general Tony Hall dramatically intervened to overturn the ruling against Munchetty on Monday. Munchetty returned to Breakfast on Thursday morning, the first time she has appeared on the show since the debacle kicked off last week.
Now, with the dust settling on the crisis, Ryder thinks the BBC has some serious questions to answer about the way the Munchetty decision was handled – and what it says about the corporation’s approach to diversity.
For a start, Ryder is agitated that BBC has declined to reveal if its Executive Complaints Unit – which was responsible for the ruling against Munchetty – is staffed by anyone from a diverse background.
Deadline understands that it is a seven-strong team, including two women. It is run by editorial policy director David Jordan, a privately-educated white man in his 60s. Ryder thinks the unit does not reflect the diverse cultural views of British people.
He has also questioned why the BBC’s Executive Committee, made up of the broadcaster’s most senior executives, doubled down on the original ruling in an all-staff email last week, only to be overruled three days later by director general Hall, who chairs the same committee.
Ryder explained: “We’ve got an Executive Committee whose decision is being overridden by the director general, without any consequences for the Executive Committee. That’s not a functional organization. We have an Executive Complaints Unit that the BBC is not confident [enough] to release the diversity of. That’s not a confident organization. Both those things point to an organization which is in deep, deep trouble.”
Ryder said the BBC should do a number of things to put right the Munchetty debacle. These include:
Make sure there are “public consequences” for members of the Executive Committee, such as editorial policy chief Jordan, who have demonstrated “serious flaws in judgement.” He wants the BBC to publish diversity figures for teams tasked with making big decisions about the corporation’s content, such as the Executive Complains Unit. He said the BBC must hire a director of diversity with “real power,” who sits on the Executive Committee. The BBC is yet to replace head of diversity Tunde Ogungbesan, who left in March.
Over the course of the past few days, the BBC has been consistent on one thing: that racism can and should be called out by its top presenters. “Racism is racism and the BBC is not impartial on the topic,” Hall said in an email to staff on Monday.
A timeline of the BBC’s Naga Munchetty crisis:
14 July: US President Donald Trump tweets that Democratic congresswomen Ilhan Omar, Alexandria Ocasio-Cortez, Ayanna Pressley, and Rashida Tlaib should “go back and help fix the totally broken and crime infested places from which they came.”
17 July: Naga Munchetty, a presenter on BBC One’s flagship morning show Breakfast, calls out the tweet as “racism” on air. Asked by co-host Dan Walker how she felt reading the tweet, she said: “Absolutely furious and I can imagine lots of people in this country will be feeling absolutely furious a man in that position thinks it's OK to skirt the lines by using language like that.”
26 September: After one viewer complained about Munchetty’s remarks, the BBC’s Executive Complaints Unit reprimands the presenter. Her comments “fell short of due impartiality,” it said, because she responded “critically on the possible motive for, and potential consequences of, the president's words.”
27 September: Amid backlash against the Executive Complaints Unit decision, the BBC doubles down. David Jordan, the BBC's director of editorial policy and standards, goes on BBC shows Today and Newswatch to defend the ruling.
Outrage builds, and the same day more than 40 black, Asian and minority ethnic broadcasters and journalists write to the BBC on Friday asking it to reverse the Executive Complaints Unit ruling, saying it is a “form of racially discriminatory treatment.” Even Trump’s friend and Good Morning Britain presenter Piers Morgan calls the decision “bloody ridiculous.”
But the BBC holds its line. In an email to staff, signed by the Executive Committee, made up of the BBC’s most senior executives, they say it was a “very limited finding.”
30 September: The Guardian reports that the original viewer complaint was about both Munchetty and her co-host Walker, raising questions about why the BBC singled out Munchetty.
The Guardian report also appeared to contradict what Jordan told Newswatch days earlier, when he said “we haven't had a complaint about Dan Walker's role.” The BBC says there were three iterations of the viewer complaint, the last of which centered on Munchetty and formed the basis of the Executive Complaints Unit investigation.
Hours after the Guardian report, the BBC performs a spectacular U-turn. BBC director general Tony Hall steps in to reverse the decision against Munchetty, overruling both his Executive Committee and the Executive Complaints Unit.
“In this instance, I don't think Naga's words were sufficient to merit a partial uphold of the complaint around the comments she made,” Hall says in an email to staff.
3 October: Munchetty returns to work hosting BBC Breakfast. She does not mention the controversy.
T he Morning Watch is a recurring feature that highlights a handful of noteworthy videos from around the web. They could be video essays, fanmade productions, featurettes, short films, hilarious sketches, or just anything that has to do with our favorite movies and TV shows.
In this edition, find out how the visual effects unit gives Saturday Night Live the tools they need to pull off some high-tech sketches in an insanely truncated timetable. Plus, take a closer look at the brilliant editing of David Fincher‘s serial killer series Mindhunter on Netflix, and watch as Kevin Smith and Jason Mewes create their own edition of Hot Ones.
First up, if you didn’t know already, each new episode of Saturday Night Live is created in a single week. Sketches aren’t even finalized until the middle of the week, and any pre-recorded sketches for the broadcast aren’t shot until Friday. That leaves a very short window for these sketches to be edited, and some of them need full-on visual effects. Learn how they pull off little miracles every week in this spotlight on the VFX department.
Mindhunter is one of Netflix’s most acclaimed original shows. In this age of Peak TV, it can be hard to take the time to truly appreciate all the great facets of a series when you’re already onto the next one. But Thomas Flight takes the time to focus in on the brilliant editing of Mindhunter, using several scenes to show the various techniques used in cutting the shoe to create a certain feeling, tone, and intensity.
Finally, apparently Kevin Smith and Jason Mewes aren’t a big enough deal to get on the show Hot Ones in order to promote Jay and Silent Bob Reboot. So the duo decides to do their own edition called Not Ones. It’s not quite as long, and it’s certainly not quire as sophisticated.
Steven Spielberg had the aliens from H.G. Wells classic sci-fi invasion story War of Worlds tear through Boston and the rest of the modern world back in 2005, which feels like a lifetime ago. Now the BBC is giving the story a new adaptation in the form of a miniseries, but as the War of the Worlds trailer shows, this one throws the invasion back to Edwardian England, bringing the British people of the early 1900s face-to-face with technology the likes of which they've never seen before, truly a nightmare from another world. Watch the BBC War of the Worlds trailer below.
BBC War of the Worlds Trailer
In classic British fashion, the leader of a town in which a strange object has landed from above insists that there's nothing to be worried about. But tell that to Eleanor Tomlinson, Rafe Spall, and Robert Carlysle as they run from the massive mechanic tripods that will surely lay waste to plenty of those old buildings, never giving them a chance to age and become tourist attractions visited by countless double-decker buses.
Peter Harness is behind this three-part miniseries adaptation of The War of the Worlds, which is directed by Craig Viveiros Rillington Place, And Then There Were None, Silent Witness. At the very least, this gives us a much different take on the material than we've seen on screen before. Almost all adaptations of H.G. Wells' story have been set in the modern time in which the project was produced. But we haven't seen anyone tackle the story in a different era.
Don't forget, this isn't the only War of the Worlds project on the way. Studio Canal has an eight-part adaptation set in modern day Europe on the way too. It will air in Belgium later this month, followed by other parts of Europe and Africa, but it doesn't seem to have a premiere date set in the United States yet, so we may not get to see that one soon.
Here's the official synopsis for the BBC's adaptation of War of the Worlds:
Set in Edwardian England, this new adaptation of H.G. Wells' seminal tale — the first alien invasion story in literature — follows George played by Rafe Spall and his partner Amy Eleanor Tomlinson as they attempt to defy society and start a life together. Rupert Graves is Frederick, George's elder brother, and Robert Carlyle plays Ogilvy, an astronomer and scientist. The War of the Worlds tells their story as they face the escalating terror of an alien invasion, fighting for their lives against an enemy beyond their comprehension.
BBC's War of the Worlds doesn't have a premiere date yet, so stay tuned.