Sean Bean to lead new BBC crime drama 'This City Is Ours'
Bean, a two-time BAFTA winner known for his roles in Game of Thrones and Time, leads a stellar cast that includes James Nelson-Joyce, Hannah Onslow, and Jack McMullen.
Renowned actor Sean Bean is set to take on the role of gang leader Ronnie Phelan in the upcoming BBC drama series This City Is Ours.
This highly anticipated Liverpool-set crime series is created by Stephen Butchard and produced by Left Bank Pictures, the team behind the critically acclaimed series The Crown, as confirmed by Deadline.
Bean, a two-time BAFTA winner known for his roles in Game of Thrones and Time, leads a stellar cast that includes James Nelson-Joyce as Michael Kavanagh, Hannah Onslow as Diana Williams, and Jack McMullen as Jamie Phelan.
Other notable cast members include Laura Aikman, Kevin Harvey, Saoirse-Monica Jackson, Mike Noble, Bobby Schofield, Darci Shaw, and Stephen Walters.
The series, directed by Saul Dibb, follows the complex dynamics within Ronnie Phelan's gang.
The storyline centers on Michael Kavanagh, played by Nelson-Joyce, who navigates the treacherous world of crime while falling in love for the first time.
This relationship brings new aspirations and vulnerabilities to his life, set against the backdrop of his gang's gradual disintegration, as per Deadline.
BBC drama boss Lindsay Salt expressed excitement about the project, stating, "It's a joy to see cameras rolling on This City Is Ours with a glorious cast who have made Stephen Butchard's sublime scripts even more exciting."
Sean Bean's involvement in This City Is Ours marks his return to the BBC following his acclaimed performance in the 2022 series 'Marriage'.
Bean also collaborated with Butchard previously, portraying Thomas Cromwell in Disney+'s Shardlake.
The series is part of a 12-strong BBC drama slate, which also includes another Left Bank production, Dear England.
According to Deadline, the budget for This City Is Ours ranges between Euro 2.5 million (USD 3.2 million) and Euro 3 million (USD 3.8 million) per episode.
The production is deficit-financed by Left Bank's parent company, Sony, reflecting the studio's strategy to create high-quality shows at lower price points.
This City Is Ours is penned by lead writer Stephen Butchard, with additional episodes written by Robbie O'Neill.
Simon Maloney, known for his work on Peaky Blinders and I May Destroy You, serves as the producer.
Executive producers include Andy Harries, Rebecca Hodgson, Sian McWilliams, Butchard, Dibb, and Jo McClellan for the BBC.
Sony Pictures Television will handle international distribution. The Liverpool Film Office also supports the series through the Liverpool City Region Production Fund, further embedding the show in its authentic Liverpool setting, as per Deadline.
As anticipation builds, fans and critics alike eagerly await the premiere of 'This City Is Ours', which promises to deliver a gripping and nuanced portrayal of crime and its human consequences.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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