Law & Order Killer TV No 13

law-300x1401990-2010 NBC

‘I specifically asked for him to be put on suicide watch. Apparently, here at Riker’s, that means that they watch you commit suicide.’ – Detective Lennie Briscoe

George Dzundza, Chris Noth, Richard Brooks, Jeremy Sisto, Paul Sorvino, Linus Roache, Alana de la Garza, Sam Waterson, Jerry Orbach, Diane Wiest, Dennis Farina

Identikit: Police procedural come legal drama split equally between the cops who do the arresting and the lawyers who prosecute.

logosA tight format, with its ‘law’ and ‘order’ segments, gave the series a winning formula for 20 years, taking in Emmy awards and leading to a several major franchise of spin-offs. Telling the criminal-pursuit story and then the trial story meant that plotting and characterisation was extremely pared down, but this didn’t prevent the show from giving us good protagonists and memorable stories about challenging dilemmas. The series, created by Dick Wolf, was similar to a 1963 series called Arrest and Trial and a UK series also called Law and Order, with Wolf injecting a good dose of realism into the dramas and lining up the prosecution instead of the defence to be the heroes. Jerry Orbach, twice turned down in favour of George Dzundza and Paul Sorvino, eventually became a memorable Lennie Briscoe, while Sam Waterston (as assistant DA Jack McCoy), Chris Noth (detective Mike Logan), Diane Wiest (DA Nora Lewin) and Dennis Farina (detective Joe Fontana) all stood out in a terrific, evolving cast. Storylines were often ‘ripped from the headlines’, inspired by real murder, bribery or rape cases, some with complex racial elements. Each 50-minute episode was slick, packed with plot and subplot, and filmed on handheld cameras and snappily edited. The series was cancelled by NBC in 2010, meaning it narrowly missed usurping Gunsmoke as primetime TV’s longest-running drama.


Law & Order: UK with Bradley Walsh and Jamie Bamber

Spin-offs: Special Victims Unit, Criminal Intent, Trial by Jury, LA, and overseas revamps set in Paris, Russia and London.

Classic episode: Savages (season 6) – The death penalty has just been reinstated in New York. When an unlikely suspect murders an undercover cop, prosecutors must decide whether to press for capital punishment. DA McCoy (Sam Waterston) wants it, while Kincaid (Jill Hennessy) argues powerfully against. An excellent episode with a politically charged storyline.

Watercooler fact: When Chris Noth was jettisoned from the show by head honcho Dick Wolf, fans and critics were stunned and disappointed. Wolf had felt there was not enough dramatic contrast between Noth’s Mike Logan and Jerry Orbach’s Briscoe. But years later, Noth convinced Wolf to make the TV movie Exiled to wrap up Logan’s story, and Noth followed that up by returning as Logan for two seasons in Law & Order: Criminal Intent.

Law & Order: UK lead writer Emilia di Girolamo

Emilia di Girolamo, the lead writer on series 5 of Law & Order: UK, is promising some of the most explosive and heart-rending stories yet seen on the show.

The drama, which was spun-off from the classic US series and takes the original American storylines as the basis for each London-based episode, has now become a popular drama fixture for ITV1 (on Sundays, 9pm).

Here Emilia reveals how she has shifted the tone of this latest series, giving the lead characters, DS Ronnie Brooks (Bradley Walsh) and DS Matt Devlin (Jamie Bamber), more emotional depth, and how season five is heading for a huge cliffhanger finale. Her episodes in this series are ‘Safe’ (ITV1 Sunday 17 July, 9pm), ‘Deal’ and ‘Survivor’s Guilt’.

Emilia, who lives in Hastings, also discusses her career in scriptwriting. Having got a PhD in the rehabilitation of offenders and worked with prisoners, she decided to become a writer and spent years struggling for a break into television. She also reveals which popular BBC1 series she would love to write for.

Now that her work on series 5 and the next series of Law & Order: UK is finished, Emilia is writing an original drama series for Clerkenwell Films/ITV, and working exclusively with prisoner Jeremy Bamber to tell the story of the White House Farm murders, for which he has so far served 25 years in prison, while maintaining he is innocent.

Ronnie and Matt (Bradley Walsh and Jamie Bamber). Pics: ITV

The new series delves into Matt and Ronnie’s lives – can you give some idea what’s in store for them?

Both Matt and Ronnie will go on extraordinary journeys this season. For Ronnie, it all starts in episode 2, ‘Safe’, when he discovers his estranged daughter is pregnant and continues into season 6. Ronnie is faced with questioning his past and present behaviour and the fallout of one tiny moment in time will leave Ronnie emotionally challenged as never before. Matt also goes on his own journey this season and finds it hard to control his anger when faced with one particular offender – Mark Ellis, a cold blooded drug dealer played brilliantly by Charles Mnene. In this role Charles is like something out of The Wire – utterly convincing and very, very frightening.

In such a tight format, is it difficult to do this – to explore the characters?
It is challenging and the character arcs need to work seamlessly with the storytelling, but when it becomes part of the storytelling itself, then it works with the format. I think audiences are crying out for character-led drama right now and bringing that element to the forefront of Law & Order: UK has given us some explosive, emotional territory to explore.
Is it your ambition as lead writer to inject more depth and emotion into the characters?
Yes, and also to make sure all the stories feel relevant to a UK audience. It’s no secret I’m a big SVU fan. I love that emotional style of storytelling and I think it works well with our format. We’ve always been a little more emotional than our US counterpart and digging a little deeper into our regulars’ lives doubles the impact.
Prosecutors Alesha Phillips and Jake Thorne
Why are you concluding the series with a double bill? Will we see a different kind of story here?
‘Deal’ and ‘Survivor’s Guilt’ explore one story over two hours of television but in fact they won’t be airing together as a double, but instead we end series 5 with ‘Deal’ and kick off series 6 with ‘Survivor’s Guilt’. The two hours of storytelling mean we can delve into the story and particularly into the emotional fallout for our characters. In these two episodes we have the most explosive, emotionally charged and heart-rending episodes Law & Order: UK has ever done. We will end series 5 on an enormous cliffhanger and we believe for our loyal audience it’ll be worth the wait to find out what happens.
As a fan of the original Law & Order, can you sum up the series’ qualities? Why is it special? Do you have favourite episodes or stories?
There is something immensely satisfying about watching a case go from dead body to offender in the dock. It’s the whole story. I think this is the real magic of the formula – it’s a satisfying viewing experience which doesn’t leave a viewer wondering if the whole police case will get thrown out when it comes to court! In Law & Order we get to see the case thrown out for ourselves and usually our heroes find a way to retrieve things so all is right with the world in the end, if a little messy.
I have too many favourite episodes to mention them all but I’m very glad to be tackling two of my all time favourites in Season 5, ‘Angel’ and ‘Slave’ (‘Safe’ and Deal). They’ve both gone on huge journeys in adaptation and I’m immensely proud of them, but still love the original US eps too.
Your move from working in prisoner rehabilitation to becoming a leading TV writer sounds fascinating. Can you give some background on how this came about? When and what did you start writing, and how did your writing progress?
I worked in prison for eight years (1992-2000) using drama-based techniques to address offending behaviour and the work became the basis for my PhD. I was also writing plays during this period and wrote a novel (Freaky, 1999, Pulp Books). Freaky was optioned by Clerkenwell Films and developed for TV. Reading the scripts made me realise how much I wanted to write for television so I left my prison job, did a six-month retraining programme and started trying my luck as a TV writer.
It took a few years to get a break and a lot of projects that never made it to the screen, but I started out on EastEnders, then got the job writing one episode of Law & Order: UK – ‘Hidden’ for series 2. I was taken on to core team, then offered the job as Lead Writer/Co-Producer and now I’m incredibly fortunate to be in a position where I turn down more work than I can take on. Things have come full circle too and I’m now writing my own TV series with Clerkenwell Films for ITV1.
Jake and CPS director Henry Sharpe (Peter Davison)
How did your move to lead writer on L&O: UK come about? What is your role as lead writer?
My episodes in seasons 2-4 were very well received and when it became clear we would need to create new regulars for series 5 & 6, Executive Producer Andrew Woodhead asked me to take on the Lead Writer & Co-Producer role and create the new characters as well as shape the storytelling across series 5 and 6. I had a real vision of where I wanted our characters to go and their arc across the 13 episodes, so I jumped at the chance.
How does your expertise in prisoner rehabilitation influence your writing?
I spent eight years around offenders, looking right into the eyes of people who had done some really terrible things and trying to get to the heart of their behaviour in order to try and change it. It would be impossible to do that job and not find it influencing my writing now. I try and be as real as the format allows me to be. I like to explore morally complex and challenging territory without resorting to clichéd crime drama shorthand. I try and bring the truth of my experience with real offenders to my work on screen.
You’ve mentioned the ‘clichés’ that TV crime writers rely on. Which clichés do you think are prevalent these days on TV? What do you think are the best crime dramas?
There are a whole host of clichés that seem to surface in crime dramas – too many to mention. I suppose there are some that particularly wind me up – murderers with ridiculously complex motivations, most of the killers I met in prison actually had very simple motivations or more often the killings were spur of the moment and totally unplanned. I think you can be true to that reality and still weave a compellingly dramatic, complex and twisty tale that will keep viewers guessing. I think Forbrydelsen (The Killing) is the best crime drama in a long time. The characters are fantastic and the storytelling twists and turns keeping the audience on the edge of their seats throughout but also feels real. I love the layers, looking at one crime story evolve over 20 episodes from those three perspectives – the cops, the politicians and the victim’s family.
L&O: UKtackles some hard-hitting stories. How would you sum up the series’ approach to crime drama? Any unexplored stories/themes you’d like to get stuck into?
We try and make drama that feels relevant to a UK audience, rooted in an element of truth but dramatically entertaining. We like our audience to feel comfortable even when the territory we explore is difficult and challenging. In ‘Safe’ this season, we tackle some very dark territory, but Ronnie takes our audience on that journey and you can’t fail to feel safe in Ronnie’s capable hands. I’ve written 10 episodes in total and really think I’ve explored everything I wanted to within this format, but I’m enjoying tackling other aspects of criminal behaviour in my new series and other original projects.
Devlin in pursuit at St Pancras
Is there any scope or desire to do completely original stories for L&O: UK?
I guess it depends how long the show runs! There are 20 years of great stories to draw on from the Mothership and we take our episodes on quite a journey in adaptation. Sometimes it’s about adapting an original a writer loves and sometimes it’s about finding an original that could work as a vehicle to explore a theme or world the writer wants to look at, so it feels liberating rather than constrictive. I certainly feel that my episodes are original and very much mine because they travel such a long way from their US counterparts. I honestly never felt the desire to write completely original stories for the show, but I’ve left now so who knows what future series will bring.
In your downtime, what do you enjoy reading and watching on TV? Favourite authors/shows?
I rarely get to read these days unless it’s a script, research material or a book I’ve been asked to consider adapting, though that does mean I get to read some great crime novels! I’m adapting The Poison Tree by Erin Kelly for STV and that’s a great read. I do watch television though and lots of it. I think Misfits is probably the best written series on UK TV in a long time – just brilliant viewing. I found The Crimson Petal & The White incredibly compelling so will definitely be watching out for Lucinda Coxon’s next project – her writing’s beautiful.
All-time favourites include The Sopranos, The Wire, Dexter, Breaking Bad, The West Wing, Conviction, Afterlife, Funland and North Square. My light relief is 30 Rock and Curb Your Enthusiasm – they both make me laugh and all crime writers need to kick back now and then!
I also love Doctor Who and Torchwood and would secretly love to write an episode of Doctor Who and give it my spin, so if you’re reading, Mr. Moffat…

Law & Order: UK, ITV1 PREVIEW

Win some, lose some – the Law & Order: UK team (all pics © ITV)

Rating: ★★★★

ITV1, Thursdays 9pm from 9 Sept

CCTV footage of two children leading a six-year-old boy to his murder offers a clear parallel to the James Bulger case. With it, this third series of Law & Order: UK is back with an explosive opener.

From the first scenes, Broken is an emotionally strong episode. There’s the discovery of the body in a derelict South London flat, the tearful police, and DS Ronnie Brooks’ summation – ‘Just when you think you’ve seen it all…’

On this estate of deprivation, where mums work 12 hours a day, the kids are left to babysit each other. Brooks and his partner, DS Matt Devlin, aided by the CCTV cameras, are soon mortified to realise two older girls may be responsible for the shocking murder.

This harrowing storyline was a brave one for the makers to take on. It is sensitively told while not ducking the harsh, sometimes self-interested choices made by police and lawyers.

‘I want that girl in a hospital, not a prison’ 
There’s the ugly legal horse-trading, the careerist barrister and the whole issue of how the law should deal with child offenders.

And it has the courage to wear its convictions on its sleeve, particularly when the mother of the murdered boy says she doesn’t want the girl who is the main suspect, Rose, to be tried for murder. She wants to know who was really responsible for the girl’s atrocious behaviour.

Then, despite the public lynch mobs, tabloid hysteria and the DPP wanting to nail the girl, the director of the Crown Prosecutors, George Castle, announces, ‘I want that girl in a hospital, not a prison.’

It’s a controversial, powerful opening drama for the series, but one that makes me glad the show’s back. When it was imported from the US in 2009, it received lukewarm reviews, but has averaged around 5.9 million viewers an episode.

The US has grown tired of the original after its 20-year run, the plug being pulled by NBC in May.

But here it has hit its stride. At a time when the shambolic The Bill has had to be locked away, Law & Order: UK‘s snappy, assured storytelling and atmospheric location work makes good viewing. The formula, with each episode split equally between the cops and the prosecutors, is as reliable as an old pair of sturdy handcuffs.

Bradley Walsh and Jamie Bamber
And the cast is engaging, with Bradley Walsh as ex-alky and copper’s copper DS Brooks, and Jamie Bamber as the suave Devlin. Bill Paterson (George Castle), Ben Daniels (senior prosecutor James Steel) and Harriet Walter (very believable as the not-to-be-messed-with DI Chandler) all deliver. Even Doctor Who‘s ex-partner Freema Agyeman just about holds down her brief as Alesha Phillips.

The final key to its success is that the stories are intriguing, ambiguous affairs, rarely tied up in a neat solution – and that’s certainly the case with Broken.

Great scene: when Ben Daniels lays into Rose’s callous mother in the dock

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