Welcome to the Acorn TV Dispatch — and our "leading ladies" issue.
The ladies of Acorn TV are truly leading the way! In this issue, we’re celebrating the talented women out front and behind the scenes of your favorite series. On-screen, they’re detectives and doctors, lawyers and private investigators, senior citizens and socialites. And they’re not only leading the way in front of the camera but behind it, too — they’re screenwriters, creators, and producers, as well as actors, in some of our most popular series.
In this issue:
- An inside look at the ‘60s wardrobe for Ms. Fisher’s Modern Murder Mysteries, with commentary from costume designer Maria Pattison
- A Q&A with Midsomer Murders and Agatha Raisin writer Julia Gilbert
- An interview with Irish actress, writer, and producer Amy Huberman
- Profiles of some of our favorite female characters on Acorn TV
- A quiz to test your knowledge of Acorn TV characters
Enjoy our spotlight on the leading ladies of Acorn TV — and stream on!
Into the Wardrobe
Designing 1960s Australia
In 1964, the gorgeously reckless Peregrine Fisher is rocketed from a lonely, dissatisfying small-town life, into a career as a fearless investigator, supported by a coterie of remarkable women, who help her follow in the footsteps of her famous aunt Phryne.
Behind the scenes of Ms. Fisher's Modern Murder Mysteries, one of those women is costume designer Maria Pattison. Pattison was tasked with capturing the exuberance of the swinging '60s in the outfits worn by Geraldine Hakewill, who stars as Peregrine Fisher. She admits it was an intimidating assignment.
I knew it would be a huge task and there are a lot of expectations. But it was just so exciting, as there’s so much from the '60s that lends itself to creating a great costumed show.
Pattison’s preparation included a trip to Los Angeles, where she searched through thousands of garments from the '60s and immersed herself in magazines, books, and films from the period.
“I collected as many authentic, amazing pieces as I could, because nothing beats the real thing. In L.A. there were enormous amounts of incredible original '60s clothing and fabrics, so I was able to create an authentic color palette from that collection,” she says.
Recently, we chatted with Pattison about her career and the backstory on some of the show's best vintage looks.
What inspired you to become a costume designer?
I became interested in costume for theatre and took sewing lessons while I was still at school. While I went on to graduate in screenwriting and photography, I was still interested in costume, and there was soon an opportunity to work in the costume department of Where the Wild Things Are, shooting in Melbourne. Seeing how designers could create character through costume inspired me as it incorporated my interest in storytelling as well as my interest in the materiality of costume.
About the Look
The Little Black Dress
Paying homage to Givenchy’s little black dress in Breakfast at Tiffany’s, Peregrine had to have an LBD moment, and this was it! We went for a look that was classic and filmic. I wanted the neckline design to be bold and elegant, while the short hemline says something of Peregrine’s youthful and progressive spirit, the zeitgeist of the '60s.
The shaping of the dress was first imagined and then reimagined during fittings, where natural curves and shapes moved to follow Geraldine’s shape so that the design lines remained strong. The fabric had to have enough body and shine to demand some attention on-screen and to catch the light, and for this we found just enough luscious Italian designer remnant.
About the Look
The Travel Outfit
For Peregrine’s trip to the city, we wanted the look to reflect her humble beachside beginnings as well as her zest for adventure. For this look, I took some inspiration from the effortless style of French new-wave cinema actors such as Anna Karina, with her ever-classic car coat.
We needed something practical and safe to work with the actions of scaling a corrugated roof, dropping through a ceiling, and swinging from a chandelier — there’s no style guide for this!
The need for multiple sets of costumes to allow for harnessing meant that everything was manufactured in house. Many discussions took place regarding the action and stunts before the looks went into production.
How did Phryne and the Miss Fisher series inspire your approach to costume for the Modern spin-off series?
There was something about how being feminine and having glamour didn’t have to affect the power, intelligence, and wit of a woman. And about how to have fun with fashion and still be taken seriously. I think that’s the thread in terms of the role of costume in the show.
About the Look
The Cardigan
This look is all about color and texture. The skirt was made from original '60s fabric from International Silks & Woolens in Los Angeles and cut at just the right length to capture the hemlines of the decade. I saw the cardigan itself when I met with a vintage collector in Melbourne. The collection is extensive and high quality, however this was part of the collection, strictly not-for-hire or purchase.
It was a divine original, and I imagined the texture and color in contrast with the police station and next to Detective Steed’s tailored suits. After searching high and low for an alternative, nothing came close and we had very limited time.
At the final hour (when we were doing camera tests) the buyer, Christiana, appeared with the cardigan — it was like some kind of miracle! It’s ‘The Cardigan,’ I told the crew. Sometimes the most simple, unassuming pieces can be the most difficult to get right. I’m quite sure we popped some champagne after that!
About the Look
A Pop of Color
This blouse is an original, one-of-a-kind, handmade number from Vintage Clothing in Sydney, who provided some of the most special pieces in the show. The colors in the blouse both popped and complemented the interiors of the apartment.
Later, when Peregrine heads to the TV studio, we add a coat and boots. This look captures the moment where Peregrine begins to mix the youthful silhouettes and fun fashion with the more sophisticated ‘on the job’ elements of the trench and patent boots as we head into the second telemovie. The design involved this kind of plotting, not only to move with the different worlds of each telemovie but also to balance these moments between free spirit and sophisticated intent.
Do you have a favorite costume from the series?
I’m not sure! For me, favorites often eventuate in a milieu of fabric, design, and interaction with the set and the character, as well as the effort and (sometimes) drama in achieving a look! The lime dress worn by Peregrine, Barbie, and the mannequin remains a favorite for me. With the color and feel of the original '60s silk fabric, as well as its simple design that pays homage to designers such as Courrèges and in situ Blair’s Emporium, it all worked together.
It was also one of the first things we made, so we had a little more leeway to perfect the detail. The workroom did a beautiful job, and it’s an object in its own right. I think it’s a piece that, at some point, passed under everyone’s hands in the costume department, so it felt like a real collaboration.
About the Look
Black & White Op-Art
This is a nod to ‘Op-art,’ as termed by TIME magazine in 1964. As a movement fashion-wise, it appeared a little later in the decade, but it was hard to resist! I found this dress at a flea market in Los Angeles, and it needed some love and a lot of tailoring. We wanted something a bit more out there, since she was about to spend a whole lot of time in uniform in the facility.
We used this dress in the display of Florence’s shop window when Detective Steed visits in the first telemovie; it was bold and brave, in line with the Adventuress spirit. I love black and white on-screen; the silhouette really speaks to the era. True, it’s not the most anonymous look to be snooping around a government facility, but perhaps that’s what makes it fun.
About the Look
The Nod to Youthquake
This look was especially designed to add a burst of color to the facility for the final scenes of the episode. In line with the tone of the facility, we were channeling Get Smart with a fashion-forward, Youthquake, feminine look inspired by Mary Quant. This is Peregrine being Peregrine, set against a world of science, lab coats, and hazmat suits after solving much of the crime in her tea lady uniform. These were original '60s boots, and admittedly a little small, but Geraldine was happy to suffer for the art, since contemporary boots simply didn't work as well!
What do you think Peregrine would wear in 2019?
I think she’s wearing sustainable fashion! I think making a statement in fashion has shifted, and those who have the means are much more geared toward pieces that last and are conscious about environmental and social impact and supply chain — the new politics of fashion. I think she’d still have a classic trench coat collection, and I can’t imagine her out of the '60s look.
Rewriting the Book
Turning the written word into television
Julia Gilbert never appears on our television screens – but her work is on view in some of Acorn TV’s most popular series. One is the long-running fan favorite Midsomer Murders, which is based on the books by Caroline Graham. The other is more recent hit Agatha Raisin, which is adapted from the novels of M.C. Beaton.
Gilbert is a screenwriter for both series, one who does the basing and the adapting. Acorn TV recently talked with her about her work and the art of turning great stories on paper into wonderful drama on TV.
Is there a Midsomer Murders book for each episode in the series? And if not, what is your starting point for an episode?
We “ran out” of books by Caroline Graham a few seasons ago. That means the writer and the production team have to work from absolute scratch.
The starting point is the same for every episode — coming up with two different “worlds.” Like a circus and an abattoir, that sort of thing. The two worlds don’t have to be related. It’s the characters that link them.
I’ve just gotten approval from the producers for an idea I pitched: the world of beekeeping and the world of yoga.
Once you settle on the worlds, what are the next steps?
I develop an episode by writing it out in prose, divided into seven acts. That’s to accommodate six commercial breaks — something Acorn TV viewers don’t have to deal with! Along the way the murders happen. That’s the fun part, figuring out weird and extravagant ways to die!
I do the big denouement at the end of the seventh act. Getting this final scene right often requires three or four drafts. Everything has to win producer approval before the episode goes to scriptwriting.
Midsomer’s two main protagonists have always been males. Might DCI Barnaby ever have a female assistant?
A new female sidekick would be great. I would be all up for that. Things are changing a lot in the industry. So I wouldn’t be surprised if that happens. It’s strange – writers of the original books in this genre are often women. Yet female screenwriters have had a hard time breaking in. Change is coming here, too, though.
How do you explain the enduring popularity of the series?
The shows are beautiful to watch and just full of wonderful locations. But I really think the appeal is the contrast between the perfect, “chocolate box” villages and the ghastly murders. This is definitely dark chocolate!
There’s also the escapism of it all – people know these murders can’t really happen. The humor in the episodes is an important element, too.
You also write for Agatha Raisin. What’s your starting point, here?
The first thing is the book. M.C. Beaton books have so many plots and characters. So we work hard on distilling it down. Beaton is extremely generous – she knows her books have to change for the screen. She trusts the screenwriters and the producers to get it right.
What do you particularly enjoy about the series?
It’s the friendship aspect of it all – how “the gang” help Agatha solve the case. Viewers love these characters. My favorite is Charles. (Though Agatha herself doesn’t really need a man, of course!)
My other favorite is Mrs. Boggle. She doesn’t appear much in the books. But as I tell the actress who plays her, I try to weave her in as much as possible.
How is it to work with Ashley Jensen?
Ashley is such a fantastic actress. “Give me as much physical humor as you can,” she tells us. She’s so good at it. We’re just now finishing a new episode called The Haunted House. There’s a scene where Agatha walks through a field – in heels. You’re laughing even before she opens her mouth and says a word. That’s her physical humor!
What else should we look for in the new season? Anything on the James Lacey front? Will Agatha settle in to life in the Cotswolds?
You’ll enjoy the scene where Agatha and James go to the chapel. But I’ll say no more about that. Be ready for a nice twist!
Agatha also becomes an accredited private investigator. So it looks like she is putting down roots. Now, she will always be a bit of an oddity in the village, a duck out of water. Locals will never understand her footwear or her refusal to leave the house without makeup.
But you know what? She doesn’t care – and it doesn’t matter. Agatha’s innate charm always wins people over anyway.
More on Midsomer Murders and Agatha Raisin:
Amy Huberman Steps Behind the Camera
The beloved Irish actress adds more strings to her bow
She might come across as “the girl next door,” but Amy Huberman has been defying labels and categorization for much of her life.
You know her from Acorn TV series such as The Clinic, Striking Out, and Finding Joy — in the first she’s a character, in the second the lead, and in the third Joy herself. Huberman is an Irish Film & Television Awards winner for her acting, but even as her on-screen profile has risen, she has been developing her skills behind the camera as well.
In the wake of Finding Joy’s success, we chatted with Huberman about her unfolding career, on-screen and off.
AS IF MY OWN CHILD WAS OUT THERE
"Mad!"
That’s how she describes her experience on Finding Joy. Not only did Huberman play the main role, but she created and produced the series as well. “So much of the hard work is done before the actors get involved,” she says. “There’s a whole life to the project before that — pre-production, funding, writing, and so on.”
Not surprisingly, the project felt very personal to her.
It was as if my own child was out there on display. I hated the first week of working with the editor and the director. The editing process could break your heart!
By week two she was loving it — even when that meant having to cut 30 more seconds to allow for commercials. And even though the heavy workload left her exhausted (“wrecked”) at the end of every day.
A NEW VANTAGE POINT
Moving behind the camera was a positive experience for Huberman. “The crew really is ‘your family,’” she says. “On a set you become vulnerable emotionally. Barriers get broken down quickly.”
The casting process was also enlightening. “Actors take it very personally if they don’t get a role,” she confides. “I’ve done that myself.” But working on the other side of the camera allowed her to see things from a different perspective: “As an actor you just have to be the right fit at the right time. Finding that out was comforting in a way.”
GOING GLOBAL
American audiences are increasingly seeing Irish actresses on their television screens. “TV is traveling more,” Huberman enthuses about this development.
There really is a viewing community all across the world. Now I can go to a casting in L.A. and someone will say, ‘I loved you in The Clinic.’ And I think, ‘Wow – they know The Clinic!’
She admits this all makes a difference in how she writes. “I used to say: ‘Will an English audience get this? Will they understand the Irish humor?’ But now you have to think in terms of the American audience, too.”
NEW OPPORTUNITIES FOR WOMEN?
Huberman identifies another positive development. She believes there are now more acting parts for women – and better ones, too.
In her view, women are being represented “with greater honesty” on screen: “Traditionally, men could get away with more. They could play rogues but still be lovable. That wasn’t the case for women characters. If they stood up for themselves, they would be branded as harsh and dislikeable.”
Things are changing, Huberman concludes. But there’s still room for improvement. Her ideal is a place where we don’t consciously think in terms of “man” or “woman” roles, to a place where gender is no longer a factor.
SUPPORT SYSTEM
The support of men and women alike helped Huberman in her career. This included her parents.
“That didn’t mean they would pay to put me through drama school,” she admits. “When I went to university I had to do something that was practical and ‘safe,’ like science. But my parents always wanted me to succeed and to achieve.”
She has the same hopes for her own young son and daughter. “If I’m a role model at all, I hope it’s for my kids. Beyond that, if my example can encourage one other person to achieve their potential, that’s great.”
MRS. CAPTAIN IRELAND
Huberman is married to former rugby star Brian O’Driscoll. As captain of the national team, he was once one of the country’s most famous sportsmen. At the time of her wedding, the Irish press came up with an interesting name for Huberman – “Mrs. Captain Ireland.”
How does she react to hearing the term again? Offense? Irritation? A shrug of the shoulders? Far from it. She laughs out loud. “It makes me sound like a superhero!” she exclaims.
Girl next door or superhero – actor, writer, or producer. Amy Huberman is defying labels. And with much more to come.
Find more on Amy Huberman:
He Said/She Said
Test your TV knowledge with the Acorn TV quiz
Some Acorn TV characters are known for their words of wisdom, and others for their witty punchlines. Can you match these quotes (profound and otherwise) to their rightful characters?
(Pictured: Marta Dusseldorp as Sarah Adams in A Place to Call Home)
The New Normal
Acorn TV Women Who "Lean In"
Since the women’s liberation movement of the 1960s to today’s “Lean In” generation, American women have been champions for gender equality. In different settings and various eras, the leading ladies of Acorn TV have also made a difference.
As shown by the examples below (sleuth, exec, cop, mom, and sales reps), they have done so in a most British manner – and all with a determination not to take “no” for an answer.
The Overlooked Elder
Jane Marple in Agatha Christie's Marple
Her gender and age lead others to disregard and dismiss Jane Marple and what she has to say. She’s seen as an elderly lady with little to contribute to any unfolding mystery or unsolved case.
Marple is undeterred. Time and again, she buttonholes the (inevitably male) investigating police officer. With politeness and persistence, she shares with him events she has seen, clues she has spotted, or confidences she has overheard. As Marple herself puts it, “I just observe, dear.”
Watch how Marple observes – and gets past the doorkeeper of a gentlemen’s club – in “The Blue Geranium.”
The Top Executive
Caroline Fairchild in Executive Stress
When Caroline Fairchild informs her husband she wants to go back to work, he tells her she already has a job – looking after him. He then suggests a part-time job in a local flower shop. But Caroline has different ideas. She tells him that, after stepping away from her career for 20 years to raise their family, she wants to return to the publishing business.
Caroline does go back to publishing. In fact, she gets a job at Donald’s company. But it’s not just any old job – she’s his new boss.
Watch the “Back to Work” episode in Executive Stress.
The Daring Detective
Viv Deering in No Offence
Whether she’s pursuing an elusive crook or an evasive boss, DI Viv Deering is not easily put off the trail. When her superior officer brings their conversation to an end by stepping into the men’s room at the police station, Deering follows him in.
Ignoring his shock at seeing her, Deering has more to say. The conversation – more a monologue by her – continues while he stands at the urinal, a captive audience.
Watch Deering pursue her boss in the Series 1 premiere episode of No Offence.
The Super Mom
Della Garry in Raised by Wolves
By any measure, Della Garry is an unconventional single mother. A cigarette-smoking, back-to-nature individualist, she lives with her six socially isolated children in a three-bedroom council house in Wolverhampton.
When one of her daughters mopes over the death of the Sea-Monkeys she keeps in a jar in her bedroom, Della’s tough love comes out. “You can’t be that sad about something you can’t see with the naked eye,” she says. “Now push all that sadness deep down inside, plaster on a smile, and let’s crack on with Tuesday.”
Watch Della’s tough love in “Hand Jam” in Raised by Wolves.