Amazon Studios has greenlit its first scripted comedy in Germany, while the streamer has also lined up an adaptation of Sebastian Fitzek’s debut novel The Therapy.
Warner Bros. International Television will make Love Addicts, an eight-part series slated for 2022 telling the story of the adventurous, turbulent, and fun dating behavior of four young misfits.
Dennis can’t manage to separate himself from his possessive girlfriend. Nele chases away even the most perfect guys with her fairy tale fantasies. Mo freezes up when he is about to make an emotional connection. Katrin refrains from love, but makes up for it with throwaway sex.
Love Addicts is based on an idea by Marian and Marco Grönwoldt. Head writer is Julia Drache, together with staff writer Burkhardt Wunderlich, Isaiah Michalski, and Gemma Michalski. The Amazon original is produced by Tobias Rosen, Bernd von Fehrn, and Marie Rechberg.
Six-part The Therapy follows the fate of a psychiatrist who,...
Warner Bros. International Television will make Love Addicts, an eight-part series slated for 2022 telling the story of the adventurous, turbulent, and fun dating behavior of four young misfits.
Dennis can’t manage to separate himself from his possessive girlfriend. Nele chases away even the most perfect guys with her fairy tale fantasies. Mo freezes up when he is about to make an emotional connection. Katrin refrains from love, but makes up for it with throwaway sex.
Love Addicts is based on an idea by Marian and Marco Grönwoldt. Head writer is Julia Drache, together with staff writer Burkhardt Wunderlich, Isaiah Michalski, and Gemma Michalski. The Amazon original is produced by Tobias Rosen, Bernd von Fehrn, and Marie Rechberg.
Six-part The Therapy follows the fate of a psychiatrist who,...
- 7/1/2021
- by Jake Kanter
- Deadline Film + TV
MUNICH -- Commercial broadcasters in Germany are complaining about the lack of quality in homegrown offerings for the small screen, particularly in light of the critical and ratings acclaim U.S. shows are receiving.
One of the biggest names in German television, RTL head Gerhard Zeiler, made headlines recently with an interview in the weekly newsmagazine "Der Spiegel", during which he praised U.S. television and was highly critical of homemade product.
"Hollywood has made an unbelievable leap forward in terms of quality (in the past few years)," Zeiler said. "The screenplays, the plotting, the introduction of characters -- in many U.S. productions it's quite simply one or even two classes above (German shows)."
A case in point might be RTL's "Post Mortem", a show loosely based on the "Quincy" concept of a crusading medical examiner's department but spiced with "CSI"-style forensic science and the kind of freewheeling camerawork that characterizes shows like "24."
"Post Mortem" premiered in January to a 15.8% audience share, but within a month viewership had dropped almost three percentage points to 13.0%.
" 'Post Mortem' had content problems," said Barbara Thielen, head of fiction at RTL. "The characters were not brought out well enough, and the extreme camera movements distracted from the story.
One of the biggest names in German television, RTL head Gerhard Zeiler, made headlines recently with an interview in the weekly newsmagazine "Der Spiegel", during which he praised U.S. television and was highly critical of homemade product.
"Hollywood has made an unbelievable leap forward in terms of quality (in the past few years)," Zeiler said. "The screenplays, the plotting, the introduction of characters -- in many U.S. productions it's quite simply one or even two classes above (German shows)."
A case in point might be RTL's "Post Mortem", a show loosely based on the "Quincy" concept of a crusading medical examiner's department but spiced with "CSI"-style forensic science and the kind of freewheeling camerawork that characterizes shows like "24."
"Post Mortem" premiered in January to a 15.8% audience share, but within a month viewership had dropped almost three percentage points to 13.0%.
" 'Post Mortem' had content problems," said Barbara Thielen, head of fiction at RTL. "The characters were not brought out well enough, and the extreme camera movements distracted from the story.
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