Hello Insiders. The international biz descended on the UK for the London TV Screenings this week, and we were there to cover it in full. Jesse Whittock here to guide you through all the film and TV news.

Cannes Contenders

The buzz starts now: It might still be 10 weeks’ away but things are starting to feel a little bit Cannes Film Festival already. First, Triangle of Sadness director and two-time Palme d’Or winner Ruben Östlund was unveiled as jury president for its upcoming 76th edition, 50 years after his Swedish compatriot Ingrid Bergman served in the role. Then Andreas and Mel dropped this mega rundown of 32 films we might be watching on the Côte d’Azur in May. Among them is Martin Scorsese’s Killers of the Flower Moon, which teams two of the director’s favorite collaborators, Leonardo DiCaprio and Robert De Niro, and tells the story of the Osage Nation murders of the 1920s and the birth of the FBI. Seems locked on.

Predictive text: Also in heavy contention are Ridley Scott’s Napoleon, Indiana Jones and the Dial of Destiny and Wes Anderson’s Asteroid City. Our expert team noted the titles in contention provide encouragement Cannes will again be a platform for commercial films with global aspirations alongside buzz titles headed for the next awards season. Ken Loach (more on him below) will almost certainly debut The Old Oak, while the Johnny Depp and Maïwenn-starring Jeanne du Barry could be played on the Croisette, especially considering its French subject matter – Louis XV’s last royal mistress at the Court of Versailles. There’s a ton to dissect here, so grab some popcorn and read on.

London’s Time To Shine

Screen time: The London TV Screenings this week saw a whopping 26 distributors hosting events for international acquisitions execs. I’m old enough to remember when a few cheeky sales houses would quietly hold events in the UK’s capital in February, hoping to tempt buyers away from the BBC’s grand Showcase in Liverpool. Now look at them go. As we’ve reported before, many execs now see the sales event as second only to Mipcom Cannes. Further evidence for that is BBC Studios moving its event to London’s West End for the first time. While technically not part of the ‘official’ London TV Screenings events, the Showcase kicked off the week with a host of content agreements and talent deals with Nick Mohammed and Diane Morgan. Max spoke to the team behind comedy-thriller series Black Ops, which the Beeb was shopping on Monday and Tuesday, and also had an exclusive sit down with The Bridge creator Hans Rosenfeldt, whose big-budget adaptation of fantasy novel Ronja the Robber’s Daughter was on Viaplay’s sales slate. Fremantle debuted a new slate of formats and unveiled Game of Thrones star Natalie Dormer will front South African series White Lies, while there was buzz at the Warner Bros International Television screening about Korea’s next singing competition series Sing Again, which we revealed has landed a third season locally on JTBC and Discovery+. Several U.S. sellers were in town for the Screening, with Fox Entertainment Global decamping for the first time since its inception with shows such as Krapopolis and Animal Control. Fox scripted chief Michael Thorn told Max animated series Krapopolis could yield the next Homer Simpson, something that would delight buyers if it came to pass.

Until next year: Overall, there’s a been a mixed response to the new shows on offer, with nothing immediately standing out, but we’ll be checking in with buyers and reporting back with the latest. And make sure to go back and read our London TV Screenings digital mag for the event if you missed it earlier this week, featuring great features, slates and scene-setters. You can find all our web coverage here.

Danish Diversity Debate

The Bigger Picture: Over to Zac Ntim for this report… A controversial debate about diversity has been brewing within the Danish film and TV industry following the publication of a new visual campaign by the diversity action group ‘A Bigger Picture’ (Et Større Billede). The group, which was initiated by actress Sandra Yi Sencindiver (Bäckström), last month released a series of images online that recreated the posters from three high-profile Danish productions: Fathers and Mothers by Paprika Steen, Lars von Trier’s The Kingdom series, and Thomas Vinterberg’s upcoming TV2 series Families Like Ours. However, there was a twist. The campaign group switched out the original actors, who are all white, and subbed in an alternative lineup of performers from diverse backgrounds. The campaign quickly picked up traction in Denmark from national newspapers, and members of the collective have appeared on Danish television alongside government ministers to discuss the campaign. 

Lars von Ire: “There’s a saying over here, the #MeToo wave hit Denmark and died,” group creator Sencindiver told Deadline. “The rest of the world has been having conversations about power and structural racism, but it’s not discussed in Denmark.” More than 40 members of the Danish film and TV industry have signed on in support of the Bigger Picture campaign, including actors like Jesper Christensen (Into the Darkness). However, the group hasn’t convinced everyone with its founding philosophy. “F**k me,” Dogville filmmaker and longtime provocateur Lars von Trier told the daily newspaper Berlingske when quizzed about the campaign. He added that works of art should only be completed under “total artistic freedom.” The group later shared that longtime Zentropa producer and von Trier collaborator Louise Vesth reached out and asked to discuss their ideas over coffee. Since then, Sencindiver has received invitations to meet and discuss a plan of action with the Danish Minister of Culture and the film and TV unions. Moving forward, Sencindiver told Deadline that the campaign plans to move away from public forms of disruption to focus on concrete legislation and ideas with their new partners.

ITV Finances

Profits slide: Now to Max Goldbart for some financial unpicking… No one said the long-term post-Covid recovery would be easy. ITV’s full-year results Thursday showed a 12% fall in EBITDA, reversing a major profit increase from the year prior. CEO Carolyn McCall was bullish, however, pointing to “planned investment in content and [new streamer] ITVX” as the reasoning behind the dip. With spend on shows for ITVX set to rise by a whopping £140M ($168M) in 2023, McCall is confident that profits can, nonetheless, return to growth. This is due to what she described as a “virtuous circle.” As more shows are given lengthy windows on ITVX before linear, digital advertisers will be keen to splash the cash, while many of these shows will be made by ITV Studios and can be sold around the world for profit. In this tough climate, observers will be keeping a keen eye on how this plays out. For what it’s worth, McCall talked up how “significant progress” is being made to diversify a traditional channels business during a time of major economic uncertainty. She also pointed to a strong year for ITV Studios, which, in contrast to the overall business, saw EBITDA shoot upwards by 22%.

Clarkson’s off – or is he?: Of course, no ITV results call in March 2023 would be complete without a question or two about petrolhead/sustainable farmer and Who Wants to be a Millionaire? host Jeremy Clarkson. Questioned on whether Clarkson and the quiz have been “canceled,” McCall insisted they hadn’t, while once again pointing out that the now-disgraced columnist is only contracted to one more season. His actions have “not had any washover onto the ITV brand,” she added. Clarkson’s much maligned article in The Sun newspaper, which contained some pretty horrendous stuff about Meghan Markle, holds the records for the most complaints in UK history and has led to speculation he’s been dropped not only by ITV, but also Amazon.

Ken Loach Defends Bectu

The absolute state of the union: Kes director Ken Loach has a reputation as a defender of the working class and he’s now warning the UK’s film and TV trade union is at risk of failing vulnerable industry workers. In Jake’s excellent investigation into tensions between union bodies Prospect and Bectu, the socialist filmmaker said a “clash of cultures” had been a damaging affair. There’s been much disquiet since workers’ rights body Prospect merged with the smaller Bectu, which represents entertainment industry professionals. Jake revealed four female Bectu members have resigned since from Prospect’s National Executive Committee in protest following clashes over budgets, accessing information, and disciplinary action against Bectu members deemed guilty of breaking union rules.

“Members should call the shots”: Those resigning have chosen to remain anonymous – a sign of how nasty things have gotten. Loach told Deadline Prospect appeared more focused on growing membership numbers than protecting film and TV industry workers from potential exploitation. “Our idea of a union is one in which members call the shots. Prospect officials seem to be more interested in control.” Lots more to digest here. It’s been a bad week in general for British entertainment industry workers, with BBC staff on Tuesday voting to hold their biggest strike in 13 years.

The Essentials

?️ Hot One: Max and Peter White revealed Season Two of The Night Manager is finally set to happen. 

?️ Another One: Malachi Kirby has boarded Steven Knight’s Disney+ drama series A Thousand Blows. 

? One for luck: Luke Arnold is among the leads on new Stan and Nine Network drama Scrublands, as I reported Monday. 

❤️ ‘Truelove’ 4eva: Julie Walters has exited Channel 4 drama series Truelove over health concerns. Lindsay Duncan stepped in to replace her, as Max told you. 

? Redlight? No, Greenlight: For The Traitors Season 2 on the BBC. 

? Done Deal: Christian Petzold’s Berlin Silver Bear Grand Jury Prize winner Afire sold to multiple territories, as Mel revealed.

?️ Interview: We sat down with Banijay Asia’s CEO Deepak Dhar. 

? Flying: Studiocanal’s truly back in the UK M&A market, as Jake revealed it’s taken a position in Phil Temple’s Birdie Pictures.

? Evicted: Harry and Meghan from their UK residence, Frogmore Cottage. 

? Making a splash: A24’s hit The Whale crossed $30M globally on Wednesday, as Nancy told you first.

Zac Ntim and Max Goldbart contributed to this week’s Insider

Sculptor turned director Wu Lang made a splash at the Berlin Film Festival with his debut feature “Absence” playing in the festival’s showcase Encounters section.

With a high-profile cast headed by Lee Kang-sheng (“What Time Is It There?” “The Wayward Cloud”) and Li Meng (“The Bad Kids,” “The Guillotines”) “Absence” is an art-house romance that uses skyscapes and urban landscapes as metaphors for inner feelings. The seduction starts with a man’s return to Hainan Island after ten years in jail and ends with a flock of sheep in an abandoned construction site.

Variety: This film has the same cast as your previous short film of the same title. In notes you’ve said that the two works are connected, but one is not an expansion of the other.

Wu: Shooting the first short film for me had two purposes. First, making a film is not easy in terms of financing and finding coproducers. So, first I wanted to make a short in order to get myself started.

My point is that the filming process is very precious to me. I didn’t want to simply make a short clip. I already wanted to focus on the relationship between the characters.

The construction of this story is actually my narrative about spatial change. I present the density of the relationship between the characters within the space.

When I was shooting the short, I discovered just how striking the inner landscape of the characters was as they travel through the space… Whether we are talking about the coconut forest or the clouds just before the storm arrives. In my film, I think everything is correlated with each other. Shooting the short film gave me a little more confidence in my cinematic exploration of this aesthetic.

Was this short-to-feature development particularly complicated? You took it to the HAF project market in Hong Kong.

We went to HAF in Hong Kong, but that was after the filming had taken place. So, it did not help with financing or pre-production. And I’d already invested my own money into the production of the film.

When most people think of Hainan, they typically think of China’s tropical island, all futuristic skyscrapers and hotels and the glamourous tourism of Sanya. But you show a very different side. What was your intention here?

On one hand, Hainan to me is a city that is very close to the sky. I first went to Hainan in 2009, and while I was living on a fifth floor, one day, when I looked out the window I saw a cloud passing by. I was convinced that it was a rocket ship. This experience triggered my visual imagination. I have lived in Hainan for about 10 years now.

There are actually two polar opposite sides of Hainan. One is the tall buildings and the tourist sites that you describe, complete with their growing pains. On the other hand, Hainan is actually a very slow city in terms of presentation and economics. These contrasts gave me plenty of food for thought. I wanted to contemplate on the middle ground between the fast and the slow.

It’s possible to view this film as a commentary on China’s current property sector crisis in which many buildings are not being completed and people are losing their deposits? You must have started this film before the crisis became manifest. How did how did you connect to this particular aspect of politics and society?

When we talk about this, we have to keep in mind just how important real estate is to Chinese citizens. And, significantly, this kind of problem had already emerged in Hainan 10-20 years ago. Their abundance and hostility are part of the heritage of this city.

Describe the look and the feel you were trying to present. For instance, it’s a film with not very much dialogue. It’s a film with some very interesting and curious camerawork, and at times, there’s even some surreal images.

When we talk about real estate issues or the absence of emotions in the film, we have to realise that there is always an underlying reality that is a different reality from the one that’s being presented.

What I wanted to achieve is to get close to the reality and the authenticity of the people in the film when they transition from one reality to the other. Through the aesthetics, I wanted to get closer to the characters’ inner mental landscapes.

Did your film have its Dragon Seal and all the approvals necessary for overseas exhibition?

Yes, we have all the approvals. In a sense, that’s progress for us.

In the last year, we have seen very few Chinese independent films travelling outside of the country. But there was half a dozen in Berlin. Is there a process that is now happening that is allowing films like this to travel again?

In the past few years COVID has been a really big factor, disrupting [the film industry]. My short film [also called ‘Absence’] travelled to Cannes in 2021. Now ‘Absence’ is in Berlin 2023. It’s great to see so many Chinese language films at Berlin this year. I hope that everybody can have more confidence in Chinese language cinema.

What do you mean by that use of ‘confidence’?

[Despite their absence from global screens] Chinese filmmakers have not stopped working. We kept moving forward.

Got a good idea for a “wunza” movie or TV show? 

How many times have you seen a movie or show that mashes up two different genres or characters, and lets their differences play out in strange and unusual ways? 

Well, that very idea was coined as a “wunza” movie or TV show. 

Wunza movies, also known as “wunza films” or “wunza pictures,” are a type of Hollywood film that combines two or more familiar genres or elements to create a unique and often entertaining hybrid.

In this article, we will explore the history and evolution of wunza movies, examine some of the most successful examples from different eras, and discuss their impact on the film industry and popular culture.

Let’s get started. 

What’s a “Wunza” Movie or TV Show?

Wunza movies are a fascinating genre of film that blends two or more seemingly incompatible genres or elements to create a unique and often surprising viewing experience.

Let’s start with a strict definition and then have some fun. 

Wunza Movie and TV Show Definition 

A wunza movie or TV show is a term used to describe a film or TV show that combines two or more familiar genres or elements to create a unique and often entertaining hybrid. The term “wunza” comes from the phrase “one’s a,” and is a playful way to describe a movie or TV show that is a mix of different genres or characters from very different backgrounds. 

Wunza movies and TV shows often blend disparate genres, such as horror and comedy, action and romance, or science fiction and westerns. By combining these genres, wunza movies and TV shows create a unique tone or atmosphere that sets them apart from other movies or TV shows.

While some critics argue that wunza movies and TV shows can be formulaic and predictable at times, they also have the potential to break new ground and push the boundaries of traditional genre conventions.

Who Came Up With the “Wunza” Phrase? 

Roger Ebert writer Gerardo Valero used the term “wunza movie” (sometimes spelled “wunza” or “wunza movie”) to refer to a type of formulaic Hollywood film that combines two or more familiar genres or elements. For example, a wunza movie might be described as “a wunza romantic comedy and action movie” or “a wunza horror and sci-fi movie.”

In his review of the movie Rush Hour, Ebert writes, “Rush Hour is our reliable friend, the Wunza Movie, pairing two opposites: Wunza legendary detective from Hong Kong, and wunza Los Angeles cop. And wunza Chinese guy, and wunza black guy. And wunza martial arts expert and wunza wisecracking showboat. Neither wunza’s original casting idea, but together, they make an entertaining team.”

Ebert used the term in his reviews to describe movies that he felt were unoriginal or uninspired, and that relied too heavily on tried-and-true formulas rather than taking risks or breaking new ground. He coined the term as a playful way to criticize these types of movies, and it became a part of his signature style of film criticism.

But he also always left room for these movies to surprise and entertain him. 

What Makes Wunza Movies and TV Shows Fun? 

As a writer, I have to admit I’m drawn to these sorts of films. Not only do they present interesting and divergent characters to write, but they allow you to play in two different genres, which can boost creativity and allow you to think outside the box. 

Wunza movies and TV shows can be fun for several reasons:

1. They offer a fresh take on familiar genres: By combining different genres or elements, wunza movies and TV shows can create a unique and often unexpected blend of storylines, characters, and settings. This can be a refreshing change from more predictable movies and TV shows that stick to a single genre.

2. They appeal to a wider audience: Since wunza movies and TV shows combine different genres, they can appeal to a wider range of viewers who may not typically enjoy a particular genre on its own. For example, a horror-comedy film may appeal to both horror fans and comedy fans.

3. They can be humorous: Many wunza movies and TV shows incorporate humor into their storylines, which can make them entertaining and enjoyable to watch. The mix of genres can also create comedic situations, as characters from different worlds or genres interact with one another.

4. They can be action-packed: Wunza movies and TV shows often combine action and adventure with other genres, such as science fiction or fantasy. This can make for exciting and dynamic viewing experiences that keep audiences engaged.

Exploring Wunza Characters in Movies and TV 

Wunza characters in movies and TV shows are typically designed to embody and interact with the different genres or elements that are being blended. These characters can be complex and multifaceted, but they often have certain characteristics that are associated with the genres they represent. Here are some examples:

1. Action heroes with comedic personalities: Wunza movies and TV shows that blend action and comedy often feature characters who are skilled fighters or action heroes but who also have humorous personalities. These characters may crack jokes during fights or use sarcasm to defuse tense situations.

2. Horror movie characters who are aware of horror movie tropes: Some wunza horror movies and TV shows feature characters who are aware of the conventions and tropes of horror movies. These characters may be self-aware and able to comment on the horror movie genre itself, which can add an extra layer of humor or satire to the story.

3. Western characters in modern-day settings: Wunza movies and TV shows that blend western and modern-day elements often feature characters who embody the classic western archetype, such as the lone gunslinger or the lawman, but who exist in a modern-day setting. These characters may have old-fashioned attitudes or values that clash with modern sensibilities, which can create tension and conflict.

4. Science fiction characters with human emotions: Wunza science fiction movies and TV shows often feature characters who are from other worlds or who have advanced technology, but who also exhibit human emotions and characteristics. These characters may struggle with human relationships or have relatable fears and desires, despite their otherworldly abilities.

Wunza characters are designed to embody and interact with the different genres or elements that are being blended together. By combining different character archetypes and traits, wunza movies and TV shows can create unique and entertaining storylines and interactions.

Wunza Movie Examples 

Here are a few examples of movies that could be considered “wunza movies” based on their genre combinations:

• Cowboys & Aliens (2011) – A wunza western and sci-fi movie
• Sharknado (2013) – A wunza disaster and creature feature movie
• Snakes on a Plane (2006) – A wunza action and horror movie
• Zombieland (2009) – A wunza horror and comedy movie
• The Mummy (1999) – A wunza action and adventure movie with horror elements
• Abraham Lincoln: Vampire Hunter (2012) – A wunza historical drama and horror movie

These movies combine genres in unique ways to create a distinct tone or atmosphere, but some critics argue that they can be formulaic and predictable.

However, it’s important to note that not all movies that mix genres should be considered “wunza movies” and that the term itself is subjective and can be used differently by different critics and audiences.

Rush Hour as a Wunza Movie 

Rush Hour (1998) is an action-comedy film that could be considered a “wunza movie” because it combines elements from two familiar genres – action movies and buddy comedies. The film stars Jackie Chan as a Hong Kong detective and Chris Tucker as a fast-talking LAPD detective who are forced to work together to solve a kidnapping case in Los Angeles.

The movie features the fast-paced action and fight scenes that are common in action movies, but also includes a lot of comedic banter between the two lead characters. The humor in the movie often comes from the cultural differences between Chan’s character, who speaks limited English, and Tucker’s character, who is more brash and outspoken.

By combining these two genres, Rush Hour creates a unique tone that sets it apart from other action movies or buddy comedies. While some critics may argue that the film relies too heavily on formulaic elements from both genres, its success at the box office and its popularity with audiences suggest that it struck a chord with viewers who were looking for a fun and entertaining movie that freshly blended action and comedy.

Wunza TV Show Examples 

Of course, the wunza phenomenon doesn’t just delegate to movies, we see it in television as well. It’s a great way to have an ongoing series about an odd couple that has to learn to live or work with each other. 

Here are a few examples of TV shows that could be considered “wunza TV shows” based on their genre combinations:

• The Odd Couple (1970 / 2015) – A wunza neat freak, wunza slob comedy series
• Buffy the Vampire Slayer (1997-2003) – A wunza horror and teen drama series
• Lost in Space (2018-) – A wunza science fiction and family drama series
• Wynonna Earp (2016-2021) – A wunza western and supernatural series
• The Good Place (2016-2020) – A wunza comedy and philosophical series
• Stranger Things (2016-) – A wunza science fiction and horror series
• Ash vs Evil Dead (2015-2018) – A wunza horror and comedy series

These TV shows combine genres in unique ways to create a distinct tone or atmosphere that sets them apart from other shows. While some critics may argue that they can be formulaic and predictable at times, they also have the potential to break new ground and push the boundaries of traditional genre conventions, just like wunza movies.

I love all these shows and think the genre-blending opened them up to new stories and stakes we usually don’t see on TV. 

Summing Up The Wunza Movie and TV Show Definition and Examples 

Wunza movies and TV shows are an interesting and innovative genre of film that offer a fresh and exciting take on familiar genres. Their ability to blend two or more seemingly incompatible genres or elements creates unexpected and engaging storylines and characters that can be both entertaining and emotionally impactful.

They push the boundaries of traditional genre conventions, resulting in innovative approaches to filmmaking that can influence the future of cinema and TV. Their appeal to a wide range of audiences also makes them accessible and appealing to many viewers. With their unique blend of genres and unexpected twists, wunza movies will continue to captivate audiences and push the boundaries of filmmaking for years to come.

Let us know what you think in the comments.