Secrets, lies and global appeal: ITV Studios’ take on the future of crime drama

Crime is certainly paying for ITV Studios, with Kate Barnes, senior VP of scripted content, outlining how the genre is evolving, the impact of the streamers and what the company has in store for Mipcom.

How do you explain the enduring popularity of crime dramas on TV?

Crime drama has a universal appeal because it taps into something very human: our fascination with secrets, lies, justice and the darker side of ordinary life. At its best, the genre delivers high-stakes storytelling and suspense while also exploring character, morality, and society in ways that resonate across cultures. Audiences know they’ll be taken on a compelling journey.

How is the genre evolving, in terms of tone, format and audience?

Crime is no longer confined to linear procedural storytelling; it’s becoming more character-driven, more cinematic. It’s a wide genre that can encapsulate many different tones, viewing moods and audiences. From high concept, sometimes genre-blending crime thrillers, to character-driven procedural returning series, cosier ‘blue sky’ crime series and shocking personal true crimes. Audiences want tonal variety within the genre they love, and we work hard with our producing partners to bring together a slate that offers something for everyone within the broad category of crime. Formats are flexible from highly successful long-running returning brands and shorter run, limited audience-grabbing miniseries.

What new shows in this genre will ITV Studios be unveiling at Mipcom?

As our clients have come to expect from us, we’re bringing another strong and deep crime slate to Mipcom this year with proven and beloved returners that include new seasons of Karen Pirie, Grace, Ludwig and The Crow Girl.

There will also be exciting new titles including Frauds (ITV), a returnable stylish and unique take on a heist drama, set in Southern Spain and starring an incredible award-winning cast led by Suranne Jones and Jodie Whittaker. Produced by Monumental Television. Then There’s Betrayal (ITV) – a tense, premium returnable four-part espionage thriller about trust and deception, starring Shaun Evans and Romola Garai, and produced by Mammoth Screen. Finally, there’s A Taste for Murder (BritBox) – a stunning and original blue-sky returnable crime, episodic series set in beautiful Capri, from Eagle Eye Drama, starring Warren Brown and Phylis Logan.

Alongside these, we’re also showcasing highly bingeable premium dramas that have recently launched in the UK: Coldwater, The Guest and The Hack. All are stunning, propulsive and captivating, featuring brilliant talent, and broaden the spectrum of what crime drama can be.

Frauds isn’t a traditional heist drama; what is unique about the show?

Frauds puts fantastically engaging characters and emotion at the centre of a propulsive story that goes beyond the mere mechanics of planning and executing the crime. The story follows Bert (Suranne Jones), released from prison after 10 years with a terminal diagnosis, and her old con partner in crime Sam (Jodie Whittaker), who has tried to leave that life behind in the hills of southern Spain but is unwillingly persuaded to accompany Bert on her dying wish for one last job.

Bert and Sam’s complicated friendship is pushed beyond its limits as the series blends the daring, tension, twists and fun of an art heist with themes of friendship, betrayal, ambition, and mortality, told through the prism of a toxic but magnetic friendship between two women.

Stylish, surprising, cinematic, action-filled and laced with dark humour, the show layers in a colourful world of forgers, cops, estranged family members and accomplices, but always comes back to the raw intensity of its central relationship. With Jones co-creating alongside Anne-Marie O’Connor, Frauds is relevant, ambitious and fun, making it highly addictive and distinctive.

Spy stories are in the resurgence – how does Betrayal claim its place in this popular genre?

There’s been a real resurgence in all kinds of spy dramas from action to humour from the grounded to the entertaining but highly improbable. Betrayal, written by the award-winning David Elridge and directed by the lauded Julian Jarrold, delivers a grounded story in the best tradition of British spy classics, but with relentless pace and intensity. Every episode is essential, every twist lands with impact.

For streaming audiences, it offers the instant gratification of a satisfying binge where momentum builds quickly while for broadcasters, it’s the kind of premium, high-stakes drama that cuts through the noise in a crowded market and drives appointment viewing. Betrayal shows just how powerful this genre can be: story, action and emotion packed into four powerful episodes that introduce us to characters and build a world we will want to return to season after season.

How does A Taste for Murder move the blue-sky crime genre forward?

A Taste for Murder is a mystery, it’s a crime show, it’s a character drama and it’s a sumptuous feast for the senses. The show is set in the stunning summer location of Capri, and the fusion of British and Italian influences gives it visual and cultural texture that differentiates it in genre. By seamlessly weaving together the high stakes of police investigations into murders, a father and daughter relationship as they heal from the loss of their wife and mother and the sensory detail of cooking and food in a family Italian restaurant, we are treated to engaging crime stories wrapped into an emotionally rich package. Each episode is packed with fantastic performances from the excellent cast lead by Warren Brown, Phyllis Logan and Cristiana Dell’Anna against the stunning escapist backdrop of the sun-drenched Mediterranean coast. It isn’t just about solving puzzles – it is about connection, and belonging and has stakes, and character that make it feel modern and resonant.

How are developments in streaming impacting demand for ITV Studios’ back catalogue of crime shows?

Streamers around the world have embraced second-run linear content, and heritage national brands and content that has driven an even stronger relationship between the ITV Studios’ back catalogue and our partners. Streamers want proven titles with strong brands and viewers are hungry to rediscover titles they loved, or watch shows they missed the first time round. ITV Studios’ incredibly rich and diverse catalogue of 1000s of hours of premium content from many of the greatest TV creators and stars of the past decades makes us a perfect partner to deliver to any content need. That longevity is one of the strengths of the genre – good crime drama never dates.

What are your thoughts on ITV Studios coproducing crime dramas with US or European partners?

Crime drama travels incredibly well, so partnering with international broadcasters and streamers allows us to tell ambitious stories at scale while tailoring them for global audiences. It also brings creative richness, as well as different perspectives and sensibilities.

How do you see true crime documentaries influencing fictional crime drama storytelling?

The true crime documentary boom has driven even more interest in crime drama from audiences and creators alike. Audiences expect authenticity, detail and a strong sense of the ‘real world’ in fictional storytelling. We’re seeing more dramas inspired by real cases, but also fictional shows borrowing the intensity, tone and structure of documentaries. It’s a healthy cross-pollination that keeps the genre fresh and relevant.