Bergerac, the revitalized British detective series, is bound for American audiences after PBS Distribution acquired the first two seasons from Banijay Rights. The deal, announced ahead of the London TV Screenings on Feb. 25, paves the way for a U.S. launch later this year.
This isn’t a shot‑for‑shot remake of the 1980s original—think of it as a reimagining that keeps the spirit but modernizes the form. The action remains rooted on the island of Jersey, but the storytelling has shifted away from standalone episodes. Each season now unfolds as a single, six‑episode murder mystery, a choice that lets the writers deepen relationships, raise the stakes gradually, and build a slow‑burn suspense that works whether you binge it or watch week to week.
Behind the cameras, BlackLight TV (a Banijay UK label) teamed with Jersey’s Westward Studios to produce the show, with local partners like Visit Jersey and broadcasters U and U&DRAMA supporting the shoot. Filming on location isn’t just pretty postcard scenery; producers say the island itself operates almost like a character, its landscapes and communities woven into the plot. Toby Whithouse leads the creative vision, with scripts by Brian Fillis, Catherine Tregenna, Polly Buckle, Emilie Robson and, for season two, Ashley Sanders and Faebian Averies.
Casting mixes familiar faces with fresh talent. Damien Molony takes the lead as Detective Jim Bergerac, joined by Zoë Wanamaker as Charlie Hungerford, Philip Glenister as Arthur Wakefield, Chloé Sweet Love as Kim, Robert Gilbert as Barney Crozier, Lesley Sharp as Monica Barton and Adrian Edmondson as Nigel. The ensemble approach helps the show balance procedural intrigue with richer character work.
The reboot nods to its heritage—the original series, created by Robert Banks Stewart and famously played by John Nettles, ran on the BBC from 1981 to 1991—while updating tone and pace for contemporary viewers. You’ll still spot classic touches, like Jim Bergerac’s Triumph Roadster, but the narrative now favors serialized momentum and character-driven twists that reflect how audiences consume drama today.
The series found a solid home audience in the U.K: season one averaged about 2.4 million viewers across U and U&DRAMA, making it the network’s top-rated title in. Those strong numbers helped greenlight season two and accelerated interest from international buyers.
Banijay Rights has since sold Bergerac to a range of territories—WOWOW in Japan, NPO in the Netherlands, VRT in Belgium, SVT in Sweden, YLE in Finland, NRK in Norway, DR in Denmark, BBC First in Poland, TVNZ in New Zealand and ABC in Australia. Executives point to the show’s striking island visuals, period flourishes, and compact serialized mysteries as key selling points that translate well overseas.
For the U.S, PBS Distribution’s acquisition of the first two seasons fits into a staggered distribution strategy: give the show linear broadcast exposure first, while keeping streaming and follow‑on licensing options open. That approach requires careful rights clearance and timing. Behind the scenes, producers have been meticulous about export clearances, music licensing, location releases and talent agreements—small legal details that can make or break international rollouts. Coordinated marketing windows are crucial too; if promotional timings slip, it can delay premieres or limit where the series can air.
All told, this Bergerac balances respect for a beloved classic with a contemporary storytelling sensibility—an island mystery that aims to be both familiar and freshly suspenseful for international viewers.