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Martin Zandvliet On First TV Show ‘Harvest’ & ‘Succession’ Comparisons

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Land of Mine director Martin Zandvliet has just arrived back in Copenhagen after witnessing his debut television show, Harvest, premiere at Canneseries. Two episodes of the seven-part drama out of Denmark screened in competition, giving the audience an early taste of a show that hasn’t yet locked edits on later eps.

Billed as ‘Succession with tractors’ (not a moniker Vandliet is particularly fond of), the series stars the likes of Katrine Greis-Rosenthal, Elliott Crosset Hove, Lars Brygmann, and follows the story of a farming family at war. It kicks off when relatives gather to celebrate patriarch Gorm’s 65th birthday, but his decision to turn the family farm Feldumgaard over to his youngest daughter, Astrid (Greis-Rosenthal), bypassing his eldest son, Erik (Crosset Hove), tears the family apart.

Danish pubcaster DR and its in-house production division DR Drama are behind the show, which also has buy-in from the New8 European network financing club. Zandvliet is the writer, creator and director.

In an interview after the screening, he told us about the experience of making the show, distancing Harvest from the comparisons with HBO hit Succession. “Yeah, it’s a family in crisis because of a generation change, but this is a whole different atmosphere,” he said.

Zandvliet is best known for his Oscar-nominated 2015 movie Land of Mine, which was about the 1.3 million German landmines that were cleared from Danish shores and fields in the final stages of World War II. Harvest is an altogether smaller story, but still features the same vistas and is another meditation on Denmark and its history.

“It’s my responsibility as a filmmaker to make it visual,” he said. “Here, and on Land of Mine, it’s about the grand scale of it all.”

Deadline sat down with the director to talk through his experience following the world premiere in Cannes.

DEADLINE: How did it feel to screen the show at Canneseries?

MARTIN VANDZLIET: It was amazing for me and for the team to premiere it at Cannes, to see it on the screen and with the audience. I’ve never done TV before, but it’s not what you normally experience.

DEADLINE: How do you feel about this moniker that’s been attached to the show, ‘Succession with tractors?’

VANDZLIET: Harvest has nothing to do with Succession at all. Yeah, it’s a family in crisis because of a generation change, but this is a whole different atmosphere and a whole different kind of character. It’s not about money. It’s about harvesting, the climate and the environment. It’s similar in that sense that it’s about jealousy, shame and secrets, but what show isn’t about that? The resemblance is that it’s a family and generational change and how that ruins a family.

DEADLINE: Compared with the films you’ve made, such as Land of Mine, how different was it making this one? Do you feel it fits in with the canon of your work, or is this something completely new?

VANDZLIET: It’s something completely new, and then again, not, because I think my movies are always somewhat about family or the lack of family. It’s the same here. In Land of Mine, of course, you have the engine of the landmines underneath the sand and this is different because it’s just about people and their relationships. It has the same visual approach to – the beautiful scenery of Denmark. I like to make it as cinematic as possible, and I think it’s my responsibility as a filmmaker to make it visual. Here, and on Land of Mine, it’s about the grand scale of it all.

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DEADLINE: Television tends to favor certain precincts – the hospital, the courtroom, the police station. We see these tropes over and over again, but there aren’t that many with a rural setting. While I think ‘quiet’ is the wrong word, there is a difference in pacing here to many TV shows.

VANDZLIET: Exactly. I’m trying to make show TV, but I would like to tell a story with no guns or car chases, about ordinary people that I can relate to and hopefully the audience will relate to. There’s so much craziness going on in the world that normal people with normal problems should be enough to entertain us. I think we succeeded in that, but it’s definitely not ‘fast-forward TV making’ in that sense. I don’t think double-screening is something you do here – you need to look up, because it’s in the eyes and in the mimics.

DEADLINE: The show has a certain visual style with the tractors, the big sweeping vistas and the Scandinavian skies. In terms of cinematography, what did you have in mind?

VANDZLIET: Of course, we didn’t have the finances that big directors have, but just to be able to get up in the morning, catch the early sun, the magic hours, and shoot against it [was great]. I think it’s our responsibility as filmmakers to make it as cinematic as possible, not just talking heads in living rooms and hallways. When you’re doing a farming show, you owe it to the audience to be 80% exterior. I was very fortunate with the network, DR Drama.

DEADLINE: Talking of DR, one of the things that I think really makes them and other Scandinavian public broadcasters stand out is they’re very keen on projects that have some that say something about society and trigger debate. Fair to say this one is making some big statements about the way things are changing in Danish society?

VANDZLIET: Definitely, because there’s a lot of pointing fingers at farmers. Of course, there should be, because of climate change and pollution, but we also agreed that this is not a political show. It’s to give people a chance to look at a family who lives in this environment and then perhaps create a debate afterwards. How do we solve this problem? We still want food, and we still want cheap food, so what is actually the best choice and how do we get people to discuss this without being awful to each other? Maybe it was time to make a show about that, because there haven’t been one. There were Danish movies in the 1950s and 60s, but they were all about funny people in the countryside. This is a kind of realism. The pride of being a farmer has kind of gone away. I think that’s sad, because we’re still a farming country. I mean, 65% of our country is farm.

DEADLINE: And DR was helpful in putting your vision together.

VANDZLIET: They could have been very controlling, but they were, they were very interested making my vision, which I’m truly happy about.

DEADLINE: Is there an intention to take Harvest into a second season and maybe more, or does it wrap with the first one here?

VANDZLIET: I hope for a second season, but it depends on how the audience fall in love with the characters. It’s all about the characters. If they can relate to them, it will happen. If they can’t, well, then it’s a that was it.

DEADLINE: You’re a feature filmmaker primarily, and this is a new step for you into television. How did you find the experience versus the feature film experience?

VANDZLIET: It’s funny because I’ve been thinking a lot about it. What was different about it? It’s a lot longer shoot. We shot for 121 days here, and in Land of Mine, for an example, we shot for six six weeks. This is a long, long journey, which I enjoyed. I love being on set, I must admit. I really, really enjoy it, but then again, it’s also, it’s a long period of your life. Ultimately, it’s the same pacing – you work just as fast. Maybe it was different in the old days, I don’t know.

DEADLINE: Do you have other TV ideas?

VANDZLIET: I have a few ideas [for more TV shows], and I have a few things in the pipeline, but I don’t know. It all depends on how this season how it goes.

This interview has been edited and condensed for clarity.

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‘SNL’: Jalen Brunson Dunks On ‘High School Musical ‘ Lead In S52 Premiere

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Following the Knicks’ big win at Madison Square Garden, Jalen Brunson took the stage at 30 Rockefeller Center for his Saturday Night Live hosting debut.

On Saturday’s Season 52 premiere, the NBA Finals 2026 MVP showed off some comedic chops in an otherwise business-as-usual episode of the NBC sketch comedy show, which featured Katseye as its musical guest.

Introducing new cast members Grace Reiter and Saidah Belo-Osagie, Katseye returned to a parody season of The Debut: Dream Academy to crown a new girl group. The quartet also performed in a mini music video with the awkward group of ladies, also featuring Jane Wickline and Veronika Slowikowska.

The next sketch was a support group featuring Brunson as one of several men whose spouses were grinded on at Usher and Chris Brown’s The R&B Tour.

“When I spent $1,200 on that meet-and-greet, I never expected her to actually greet his meat,” said Brunson as the other group members comforted him.

Katseye on ‘Saturday Night Live’

Jeremy Culhane and Jalen Brunson in ‘Saturday Night Live’

Jalen Brunson, Jeremy Culhane and Ben Marshall on ‘Saturday Night Live’

Brunson also starred in the parody sketch High School Musical: The New Generation as an athletically gifted new student who hilariously keeps dunking on the new Troy Bolton stand-in (Jeremy Culhane) and steals his girlfriend (Slowikowska).

As Shark Tank judge Daymond John, Brunson asked if the invention Respectacles, a pair of glasses that sounds an alarm when the wearer looks at breasts, “works for ass.” The inventors’ (Culhane and Ben Marshall) presentation keeps getting interrupted as they check out Lori Greiner.

Saturday Night Live kicked off its 52nd season this weekend on NBC with host Brunson and musical guest Katseye. The season continues with guest hosts Dakota Johnson, Shane Gillis and Inde Navarrette, along with musical guests Turnstile, Rosalía and Gracie Abrams.

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‘SNL’ New Cast Members: How Season 52 Introduced Them

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For those wondering how SNL‘s new cast members factored into tonight’s season premiere, the answer is: not much.

The two new featured players, Saidah Belo-Osagie and Grace Reiter, were introduced together, as part of an early sketch on the search for reality competition The Debut: Dream Academy‘s next breakout girl group.

Belo-Osagie played Neelsa Boyce, a 17-year-old entrant who sought to become a pop star after playing Young Nala in The Lion King on Broadway when she was a kid.

Reiter got more screen time as Margle, who “only wear [s] flip flops because I keep passing out when I try to tie my shoes.”

After she’s first introduced onscreen, Margle shows up fully nude to a dance choreography session. We later learn that she and another eccentric contestant on the series named Duff (Jane Wickline) were only invited to participate after witnessing an executive behind the show, played by Ashley Padilla, committing a hit and run.

Margle is surprised to learn what Dream Academy is actually about, as a show: She says she thought it was a “show where you learned to control dreams.”

Subsequently, she pitches “Moose Knuckle” as a band name and the line “Newton’s Cradle, come and get it” during a songwriting exercise.

The sketch culminates with a performance by the final girl group, featuring Margle, who performs the hot new single “Newton’s Cradle” alongside The Debut Season 1’s KATSEYE (who happened to be the SNL season premiere’s musical guest).

Reiter made one other appearance tonight in the night’s final sketch, which opens on host Jalen Brunson (of the recent NBA Finals-winning New York Knicks) in the locker room. He won’t be meeting with reporters after tonight’s game, he says — though he’s visited regardless by a grey-haired Kenan Thompson, who reveals himself to be the NBA star’s third-grade coach — you know, the one who had a “really bad drinking problem”?

Coach Dennis has come around seeking a “small loan” and in hopes of getting Brunson to read his porno screenplay. Thompson introduces Reiter as Tonya, an immigrant who came to the U.S. eight years ago with a dream, who he hopes to rope into his porn. Kam Patterson also features in the sketch, which culminates in his, Reiter and Thompson’s characters stealing jerseys from the empty locker room and running away.

That was all the night had in the cards for Belo-Osagie and Reiter. Often, SNL will use its Weekend Update segment to help break in its new talent, though special segments of tonight’s presentation were instead devoted to special panelists Dario Amodei (played by Wickline) and Tucker Carlson (played by Jeremy Culhane).

Before returning for the new season, SNL said goodbye to Chloe Fineman and writer-performer Martin Herlihy, who was first introduced on the show as part of the trio Please Don’t Destroy. Other returning cast includes Kenan Thompson, Michael Che, Colin Jost, Mikey Day, Sarah Sherman, Marcello Hernández, James Austin Johnson, Andrew Dismukes, Ben Marshall, Tommy Brennan, Kam Patterson and Veronika Slowikowska.

Jalen Brunson, point guard for the 2026 NBA Finals-winning New York Knicks, hosted the kickoff episode for Season 52. Upcoming episodes will pair Dakota Johnson & Turnstile (October 3), Shane Gillis & Rosalía (October 10) and Inde Navarette & Gracie Abrams (October 31).

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‘SNL’s Weekend Update Mocks Paramount+, ‘Spider-Man’ & ‘The Odyssey’

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Saturday Night Live’s Weekend Update was back and focused on the movie business.

Jeremy Culhane returned as Tucker Carlson and he was giving his thoughts on the summer’s slate of blockbusters.

“It’s movie time, let’s find our seats, silence our cell phones and abandon Christian values,” he opened. “Of course, I’m talking about Paw Patrol: The Dino Movie. Let me get this right: Jesus didn’t live at the same time as the dinosaurs but Paw Patrol did? What are we doing? What’s going on?”

Other kids movies in the spotlight were Toy Story 5 and Minions and Monsters.

“It was also a big summer for Minions and Monsters and no I’m not talking about the children’s film, I’m talking about the Trump cabinet. That’s right, I’ve turned on Trump, I’m so brave,” he said.

On the fifth installment of Disney’s Tom Hanks-narrated film, he added, “Let me understand this, you’ve got a friend in me and his name is Woody?”

It wasn’t just the kids slate that took a hit. Culhane’s Carlson also had some words for Christopher Nolan’s The Odyssey, Spider-Man: Brand New Day and Obsession.

“The Hollywood cabal shoots its filth with millimeters, or what I like to call it, the gay edge. I like The Odyssey, it’s so nice to see Greek people do something other than make women feel uncomfortable,” he said.

On Tom Holland’s superhero flick, he said, “Everybody Loves Spider-Man: Brand New Gender. Spider-they, Spider-them, uses whatever bathroom it feels like.”

On Curry Barker’s horror movie, he added, “Obsession, the left’s idea of a horror movie is that a woman is forced to love a man. Oh no, help, I’m being chased by a heterosexual relationship.”

All of this came after Weekend Update anchor Michael Che took aim at David Ellison’s Paramount+ and Taylor Sheridan.

“The White House responded to major news networks canceling coverage of President Trump by launching a live stream called Trump TV. But if that’s Trump TV, what the hell is Paramount+?,” joked Che.

The shows on screen? Sheridan’s Yellowstone, prequel 1883, spinoff Dutton Ranch and Sylvester Stallone-led Tulsa King.

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