The above-quoted title of the panel certainly reflects these emphases by containing two examples: ‘showrunners’, describing the leading writer-producers with ‘managerial oversight’, 11 on the side of production and ‘antiheroes’, as a textual feature.
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8 Public statements by practitioners 9 and papers that circulate in the industry 10 indicate that ‘quality TV’ has been especially understood through textual characteristics of certain US series and through their reported production methods, which are said to differ from the ones used in Germany.
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Besides German-language academia 6 and the feuilleton, 7 German TV professionals have taken up the discussion of such television and the Anglicism linked to it.
4 These negotiations have continued earlier debates on German cinema and its arguable lack of ‘international’ appeal 5 and have been accompanied by an evaluation discourse on so-called quality TV. In the last decade, similar discussions have been raised in the television industry and trade magazines, 3 as well as in television criticism and the feature pages of newspapers. The unofficial Berlinale event, where industry attendees applauded this news, and the following media coverage on the US export of Deutschland 83, 2 are just a few examples of the recent, ongoing discourse on the transnational circulation of German TV drama.
Also during the festival, its sale to the US – a market particularly valued in a Western, transnational context – was announced. ‘Showrunners and Antiheroes – What Does the German Series Need for International Success?’ 1 was the title of an industry panel held adjacent to the 2015 Berlin International Film Festival, or Berlinale, at which the first season of the espionage coming-of-age drama Deutschland (2015-2020) premiered.
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