You can never go home is how the saying goes, and Pawel Pawlikowski‘s latest movie, Fatherland, illustrates that through the latter life of Death in Venice author Thomas Mann.

He returns to his homeland Germany post war 1949, a place he’s fled. The director billed it as a five-day road movie, with Mann journeying his citizen of the world daughter, Erika; the duo unable to attend the funeral of Klaus, Mann’s son, Erika’s brother; due to their obligations on the road. Mann has been invited to commemorate the 200th anniversary of the birth of Goethe, Germany’s greatest man of letters. Both sides of the new border want to claim both Goethe and Mann as their own. However, the Mann family, who have fled to America, have problems with this given their disgruntlement with even the post Hitler state of their homeland.

At today’s press conference, a journo asked Pawlikowski to draw a parallel as to how the movie speaks to today’s current events, and how history is repeating itself: “What year do you think we’re in right now? 1936, 1943, 1949?”

“I don’t think it’s a good question…nothing is ever like anything else. It’s very specific. There are new technologies, a digital universe,a brave world we’ve entered — brave new world and barbarism at the same time. It’s unprecedented situation. I’m lost today. That’s why I make movies that take place in the past.”

The filmmaker didn’t want to make a biopic, but was rather drawn to the intimacy of the Mann family on a road trip. Mann’s wife was also on the trip, but the director cut her out in favor of spotlighting Erika who was the more intriguing, spitfire actress and scribe.

In fact, it was by focusing on the characters that made the feature more universal for Pawlikowski.

“It’s about finding the story and the possibility of what reflect who you are at a particular moment, he said at the Cannes presser, “One of the advantages of not making films toooften, is that I get to live in between.”

“You try to make a film that isn’t narcissistic or biographical through strong scenes, scenes which don’t explain, but put you in the place and give you room to imagine,” said the filmmaker about his style.

“That helps to make it universal: Some enter that space, others won’t. I try not to use arguments of today, rather enter the logic of the time.”

Fatherland is a Mubi theatrical release. That late time Pawlikowski was here in 2018 he won Best Director for Cold War.

Turns out TV is also like a box of chocolates.

BritBox has ordered period drama Chocolate Wars (working title) alongside UKTV and Sony Pictures Television. The scripted series is inspired by a book chronicling confectionery empire-building in the 19th-century, during which time British Quaker dynasty the Cadbury family established themselves among Britain’s biggest chocolate makers.

Sony-backed Fable Pictures is producing in association with Freddie Highmore’s Alfresco Pictures, with Chloë Mi Lin Ewart (All Creatures Great and Small, Beyond Paradise) writing. The series will premiere in 2027 on BritBox and on UKTV streamer U and U&Drama in the UK.

Deadline revealed BritBox was nearing a deal for the series back in January, with The Good Doctor star Highmore attached. As we reported at the time, the drama has been in the works for more than eight years, is inspired by the 2010 historical book of the same name by Deborah Cadbury, an Emmy-winning TV producer who belongs to the Cadbury dynasty. Highmore will be an exec producer on the project.

BritBox is billing Chocolate Wars as “a warm-hearted family drama following the visionary Cadbury family, the underdogs of the cocoa world, on their journey towards creating the world-famous Cadbury’s chocolate bar.”

Per the logline: “In 1860s Birmingham, when chocolate as we know it doesn’t yet exist, two very different brothers, Richard and George Cadbury, find themselves in charge of their family’s failing cocoa business. Between them, they have the radical genius and burning ambition to turn Cadbury’s into one of the world’s most beloved confectioners. But first, they must learn to trust and rely on each other. And to stop bickering for long enough to actually invent some chocolate.”

The series will run to six parts, with exec produucers comprising Faye Ward, Highmore, Hannah Price and Claire Londy, with Jess O’Riordan and Jon Farrar executive producing for BritBox and Helen Perry for UKTV.

Directors for the series will be Tom McKay (After the Flood) and Jill Robertson (Ludwig), with Hannah Farrell from Fable the series producer. Chloë Mi Lin Ewart leads the writing team, alongside Eve Hedderwick Turner and Karim Khan.

Casting is underway, with filming in Birmingham, UK, near the home of the Cadbury factory, set to begin this summer. Sony Pictures Television will handle worldwide sales as international distributor and plans to introduce it buyers at the LA Screenings at the Sony Pictures lot in Culver City on Sunday (May 17). Creative UK has provided regional support through the ERDF-funded West Midlands Production Fund.

Jess O’Riordan, Commissioning Executive and executive producer at BritBox said: “Full of warmth and charm, this true story brings the Cadbury family story to life with depth and imagination. We’re excited to partner with UKTV, Sony Pictures Television and Fable Pictures on a period drama we know BritBox audiences will truly savor.”

“I can’t wait to unwrap the story of the Cadbury family and for viewers to be captivated by the delicious tale of the underdogs in the cocoa world,” added Emma Tibbetts, Director of Scripted Programming at BBC Studios-owned UKTV.

EXCLUSIVE: Paramount’s $110 billion acquisition of Warner Bros. Discovery (WBD) is expected to create complications for its SkyShowtime partnership with Comcast, Deadline can reveal.

Industry sources said Paramount’s proposed ownership of HBO Max will likely put the David Ellison-run company in breach of its joint venture agreement for SkyShowtime, a streaming service available in 22 European markets, boasting more than 9 million subscribers, per insiders.

SkyShowtime and Paramount declined to comment. Comcast did not respond to a request for comment.

Deadline understands that the 50-50 pact between Paramount and Comcast means they do not compete with SkyShowtime in the territories where the streamer is available. 

Paramount+ is accessible in seven European markets, but there is no overlap with SkyShowtime. Indeed, Paramount+ withdrew from Sweden, Norway, Denmark, and Finland in 2022 to make way for SkyShowtime. Comcast has not rolled out Peacock internationally, and SkyShowtime is not available in the UK, where the company owns Sky.

Paramount absorbing HBO Max would significantly change this dynamic. HBO Max operates in 21 of SkyShowtime’s 22 markets, including key territories such as Spain and the Nordics. Ellison has signalled that he intends to combine Paramount+ and HBO Max. “That would go against the whole joint venture thing,” said a well-placed person.

Sources close to SkyShowtime said Paramount’s WBD deal had created palpable uncertainty among employees, leading to speculation about how the mega-merger will affect SkyShowtime’s shareholder structure. 

Change is anticipated, with sources suggesting that it would make sense for Paramount to take over the SkyShowtime arrangement, or at least become the dominant partner. Comcast co-CEO Mike Cavanagh indicated as recently as March that the company was focused on its U.S. streaming strategy.

“A scenario in which Paramount assumes full control of the [SkyShowtime] platform and integrates it into its operations in EMEA is increasingly viewed as a likely strategic outcome,” said a source familiar with the thinking.

Paramount is currently seeking regulatory approval for the WBD deal and has said that it expects the acquisition to close in the third quarter of this year. 

Deadline revealed last year that Paramount and Comcast have invested at least $1 billion into SkyShowtime since its launch, but sources said they do get a return on their investment because the streamer buys their content and generates subscription and ad revenue. 

SkyShowtime is stocked with series like Sky Studios’ The Day of the Jackal and Taylor Sheridan’s Yellowstone, which has been a driver of subscriptions. It also hosts originals, such as Swedish drama Where the Sun Always Shines, which recently cast Game of Thrones star Kristofer Hivju. The streamer made an operating loss of €543.7M ($632M) in 2024, which was 3% down on 2023, when its losses stood at €561.9M.

SkyShowtime is based out of Sky’s campus on the outskirts of central London, but brought together its 300 employees for an all-hands offsite meeting in Budapest in January. Those present said CEO Monty Sarhan was in an ebullient mood, high-fiving employees, talking up the company’s performance, and committing to a new set of leadership pledges. 

According to a copy of the commitments seen by Deadline, they included the pledge: “Try to maintain a positive and optimistic outlook, even in the face of challenges. Things are never as good – or as bad – as we think they are.”

Sources said this has not been straightforward amid shareholder uncertainty, and that some internal employee mood metrics have been below benchmarks. SkyShowtime’s position is that employee feedback after the Budapest gathering was “overwhelmingly positive.”

A Paramount spokesperson said: “SkyShowtime continues to operate under its established joint venture agreement. We don’t comment on speculation about contractual matters between shareholders.”