A24 Triumphs in High-Stakes Bidding War for Upcoming Thriller Series
When it comes to redefining the landscape of film and television, few studios have had the cultural impact of A24. Known for pushing creative boundaries with modern hits such as Moonlight, Hereditary, Midsommar, The Lighthouse, Uncut Gems, Everything Everywhere All at Once, and the recent critical darling Marty Supreme, A24 has also asserted itself in the world of prestige television with standout series like HBO’s Euphoria, Netflix’s Beef, and the award-winning The Sympathizer starring Robert Downey Jr.
The Latest Win: ‘We Are the Dead’
The studio’s latest coup? Outbidding nearly twenty rival production powerhouses to secure TV rights to Laura Shepherd-Robinson’s highly anticipated mystery thriller novel, We Are the Dead. This accomplishment comes on the heels of major interest sparked at the Frankfurt Book Fair, underscoring the novel’s considerable allure well before its publication.
Unveiling the Plot: Gritty Crime and London Intrigue
We Are the Dead marks Shepherd-Robinson’s first foray into contemporary crime thrillers. The novel introduces Brontë Hayes, the head of a specialized London police team tasked with the city’s most sensitive cases. The narrative launches with a chilling hook: a beheading in the Tower of London, the first in centuries, sets off a national scandal. Hayes is pulled into a labyrinthine investigation after the victim is revealed to be the former Commander of the British Army, someone deeply entrenched in the tight-knit military community residing within the Tower’s historic walls.
The premise alone positions the series to explore not just the mechanics of modern policing, but also the rich undercurrents of British history and elite institutions. Fans of dark procedurals like Broadchurch or Bodyguard will likely find themselves at home with the icy tension and prestige production qualities A24 is set to deliver.
Building a Franchise
With early buzz pointing to We Are the Dead as the first in a potential book series centred on Hayes, the TV adaptation comes with serious world-building potential. Shepherd-Robinson’s narrative expertise — previously displayed in her historical fiction works like The Art of a Lie, The Square of Sevens, and Daughters of Night — ensures there’s a deep literary foundation for long-format adaptation.
Driven by a heroine whose leadership stacks up against the genre’s most compelling female detectives, the series seems primed to blend character-driven drama with well-crafted crime storytelling. Readers and future viewers can expect storylines that intertwine procedural realism, psychological depth, and contemporary social issues.
A24’s UK Vision: More Than Just Movies
The acquisition was overseen by Piers Wenger and Rose Garnett, key figures in A24’s UK expansion strategy. For those tracking the studio’s broader ambitions, this isn’t a solo play: other UK television projects on A24’s slate include Apple TV’s upcoming The Husbands starring Juno Temple, Channel 4’s much-anticipated soccer drama Major Players from director Molly Manning Walker, and the new Michaela Coel project First Day on Earth for both BBC and HBO. Each of these projects highlights A24’s commitment to cross-Atlantic innovation and its readiness to tackle new genres with top-tier creative voices.
The adaptation of We Are the Dead is in its formative stages, with the creative team and casting yet to be revealed. There’s anticipation about which platform will ultimately host the series, but with A24’s history of collaborating with streaming titans like HBO, Netflix, and Apple TV, expect something that quickly finds its way into genre conversations and award shortlists alike.
