The outlook appears promising for showrunners Hank Steinberg and Barbie Kligman. Their adaptation of “Doc,” an Italian drama series, debuted successfully on Fox and Sony Pictures Television this week.
This show, starring Molly Parker, combines medical drama aspects with a broader enigma surrounding Dr. Amy Larsen, a determined surgeon who experienced an eight-year memory gap following a severe head injury. As she recovers her memories, she uncovers significant life transformations that occurred during those years, such as the loss of her son and the dissolution of her marriage. The narrative timeline jumps between 2016 and 2024, creating an engaging experience for viewers.
Steinberg is a skilled creator and executive producer of TV dramas, with past shows like “Without a Trace” on CBS, “The Nine” and “For Love” on ABC, and “The Last Ship” on TNT. He’s recognized for crafting sleek procedurals that address significant modern issues. Here, Steinberg shares insights into the creative process behind his debut medical series, produced alongside fellow drama veteran Kligman from the network.
How did the Italian rendition of “Doc” come on your radar?
After obtaining the rights, Sony passed it on to me, and I binge-watched all of Season 1 rather swiftly. My initial thought was about transforming the series for an American audience, making it unique. In the original Italian version, the main character was male, and there was a time gap of 12 years. For instance, the daughter was already in college. However, certain aspects remained the same. As I mulled it over, I felt the first step should be to swap the genders. I found this could add an intriguing twist for the American adaptation. I also appreciated the concept of the character becoming isolated and hardened following a traumatic event. I believe this response to grief is often portrayed in men on television, but not in women who were initially warm, compassionate, and empathetic. However, after the unfortunate incident, she transformed into someone challenging to connect with. This change, I felt, would give the American series a more innovative and distinct feel.
In one of the initial scenes, it’s surprising when the doctor, who’s taking care of a pregnant woman, bluntly states, “You don’t need to like me now, you can appreciate me once I’ve saved your life.” She certainly comes across as rather abrupt.
The early scenes include a scene where the doctor, attending to a pregnant patient, makes an unexpected statement, saying, “There’s no need for you to like me right now, but you can admire me later when I save your life.” She definitely gives off a no-nonsense vibe.
I found the idea more intriguing, considering we could potentially discover an exceptional actress to portray the nuances of this role. Additionally, I pondered that 12 years [of memory loss] might be too extensive a period. Instead, I believed the contrast between 2016 and 2024 would carry a significant impact. Furthermore, in search of a female collaborator, I turned to Barbie Kligman, whom I’ve known for some time. We jumped right into the project, and our partnership proved very productive. Molly is truly remarkable; she possesses such richness and complexity that allows her to play every aspect of the character flawlessly. Not only can she embody all aspects – arrogance, roughness, warmth, empathy – but she also processes these elements uniquely. As the series unfolds, you’ll see flashbacks revealing her past and present struggles in understanding who she once was and who she has become. Molly effortlessly conveys the best and worst versions of this woman, showcasing her capacity to grow and evolve as a character.
What’s your process with Barbie regarding task distribution on the program? Is there anything specific from her past that made her suitable for this role?
For many years now, Barbie and I have been acquainted. There was a time when we nearly teamed up professionally. As soon as I considered potential partners for a collaboration, Barbie sprang to mind. I knew she had a connection with her father being a doctor, and her writing contributions to several highly successful medical TV series. We both enjoyed watching the Italian adaptation together, appreciating similar aspects such as themes of second chances and the “Sliding Doors” element. Our bond developed swiftly, and the collaborative process was an enjoyable experience. Prior to the show’s greenlighting, we penned two scripts, just the two of us working closely with our shirtsleeves up. In these sessions, we determined the essence of the series and its characters.
I didn’t choose collaboration for this project because I needed a female writer to create a female character – just as men aren’t limited to writing male characters. Instead, I felt that collaboration would enhance the project given my other obligations, and her talent for humor seemed perfect for our show which requires it. Moreover, Barbie is not only funny but also empathetic, warm, and enjoyable to work with.
Securing Parker as our leading actor was a major coup. Many aspects of the plot would seem unconvincing if portrayed by a less skilled performer.
This actress is exceptional and truly versatile. When faced with numerous scenes for a production, she effortlessly manages to delve into various aspects of her characters while maintaining depth and complexity, even in challenging situations. Her presence is profound, and there’s simply no end to the praise I can heap upon her.
This production seems challenging due to its complex timeline and gradual unveiling of how Amy recovers her lost memory.
In the opening episode, her recollections and occasionally those of her lover are portrayed as brief flashes back. As the story progresses, however, we employ omniscient flashbacks to fill in the years she can’t recall, giving viewers insight into the missing periods. Furthermore, certain episodes incorporate flashbacks from other characters’ perspectives, offering additional viewpoints.
It appears that “Doc” combines traditional weekly patient cases with the ongoing enigma of Amy’s memory loss. Could this be a contemporary twist on the traditional network television medical drama format?
Indeed! In the second installment, I’m still recuperating in the hospital, so the week’s mystery unfolds through my roommate instead. From episodes three to ten, it’s usually a blend of two medical tales intertwined. Simultaneously, my character’s ongoing struggle with memory loss forms the serialized aspect, depicting her personal journey and hardships. Each episode also includes a flashback narrative, providing insights into the past. These flashbacks aren’t rigidly structured; they manifest in various ways, but there’s always a glimpse into the past that clarifies what came before. It’s quite engaging how these elements harmoniously coexist. Normally, I’m engaged in one medical case, while some secondary characters tackle another. However, these cases often intersect thematically.
You’ve got a lot of plates spinning.
I frequently find myself dealing with a substantial amount of content, and I often wish there were more minutes (say 48) instead of the 42 we have. Yet, despite this, we’ve consistently managed to fit everything in, a pattern I’ve noticed on all network shows I’ve been part of. I always aim for an extra five to six minutes and fewer acts. It’s easier to handle act breaks in medical shows compared to police shows, as everything in a hospital is quite emotional, allowing us to utilize emotions instead of plot twists for these breaks. This way, the narrative doesn’t feel overly forced or contorted. Creating a suspenseful turn every seven minutes can be incredibly challenging.
In the past, you’ve worked on several network TV series. How does the production process differ now compared to before? And, interestingly, your show premieres on Fox, but is available for streaming on Hulu the following day. Does this dual release affect the way you approach and conceptualize the show?
I’ve been quite fortunate with where my TV shows have been placed. “Without a Trace” followed “CSI” during its peak, which gave it a significant boost. However, not all of my shows have enjoyed such advantageous time slots. Tuesday at 9 seems to work well for us, as we get a decent lead-in and Hulu serves as our secondary marketplace. This means the metrics used to measure success are changing from what they were in the past. It appears there’s a more comprehensive approach to evaluating ratings and a greater level of patience towards new shows compared to before. Consequently, I find myself less worried about initial performance. Additionally, network and studio executives no longer call with overnight ratings because they are no longer significant indicators. This is a welcome change from the past when we would be anxious every morning after our show aired at 6 a.m.
Where do you shoot?
In Toronto, we employ the exterior of a nearby hospital as a backdrop, and for significant areas such as the entrance hall and a dining area (similar to a cafeteria), we construct stunning stages. This way, we can create an authentic yet enhanced environment for filming our scenes.
Warning: The incident leading to her memory loss is revealed in the story. Given the seriousness of this issue, wouldn’t it be appropriate to include an anti-texting-while-driving public service announcement at the end of the first episode instead?
In simpler terms, I’d like to emphasize that what we’re dealing with here is exceptionally risky, possibly even more perilous than driving under the influence. In the Italian adaptation of our story, her injury is quite dramatic – she gets shot in the head by an upset patient. To make this incident feel more relatable and impactful for her character, I’ve decided to base it on something that fits her workaholic personality. It’s late at night, and she’s wrapping up work. She’s exhausted, preoccupied, and can’t help but glance at her phone for an incoming message. This scenario doesn’t require a public service announcement because seeing it unfold, one might think, “I don’t want this to happen to me.
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2025-01-10 23:17