‘All heroes are bastards’, ‘The Marchioness’, ‘Phoenix’ show new heroes

‘All Heroes Are Bastards’, a new series about migrants gaining superpowers and fighting injustice, was born out of frustration.

“We created this series because we felt very powerless. We wanted to build a world where we had the power,” said Esra Phul. She directed and produced the show for Picture Me Rollin with Patrick Phul.

“If we don’t tell these stories, no one will. As minority people, we can no longer rely on politics, the police or the press to challenge institutions, but instead act as their PR machine. So what’s left? This industry, because that’s where we get the chance to speak out.”

In Germany, however, the industry is still adding fuel to the fire.

“I attended a panel called ‘Up Next: Germany’ and HBO Max presented two series. Both were about criminal immigrants, and one was a prequel to ‘4 Blocks,’ which has been very damaging to our community. The Berlin police would have used it as material for their interns to show them who they would see on the street.”

“It was very difficult and we left the room. I can’t take it anymore and that’s how this show came to life: because of our anger. We suffer from these shows. We are good producers, we are successful, and it is important that we tell them what they are making.”

Speaking at the Berlinale Series Market panel ‘Rebel Rebel: Series Battling the Status Quo’, she added: ‘Wiedemann & Berg Film and HBO Max portray my people as criminals. We chose to show them as they are: as superheroes.’

The makers of the eco-thriller “Phoenix” spent four years developing the show and interviewing activists, legal experts and political observers to ensure young climate activists were portrayed “responsibly and with nuance,” said Philipp Kreuzer, CEO of Maze Pictures.

“We’re not trying to excuse radicalism, and we certainly aren’t celebrating it. What interested us was the moral dilemma: the moment when people who believe they are doing the right thing cross a line. This inner conflict has not often been explored in depth.”

Lawyer Kreuzer followed the legal team during the International Automobile Fair in Munich, which was met with large-scale protests.

“When you meet many of the activists, you realize that they are well-educated, committed and often deeply thinking people. At the same time, you feel a certain helplessness. When political or economic systems seem unresponsive, frustration can grow. Understanding those dynamics does not mean we have to condone radicalization, but if we want to prevent it, we have to understand how it develops.”

Entertaining programs can reach people who are normally not interested in politically charged topics.

“Growing up, one of my favorite shows was ‘The Fresh Prince of Bel-Air.’ It made me laugh, but it touched on important topics like black history, identity and injustice,” said Patrick Phul.

“With ‘All Heroes Are Bastards’ it’s superficially about action and superheroes, but it’s about real-life issues. We want to reach people who don’t have to deal with these topics every day.”

The superhero genre made it easier.

“There are some exceptions, like ‘Black Panther,’ but if you think of ‘Iron Man’ or ‘Batman,’ these heroes are billionaires. In real life, billionaires are usually the bad guys. In ‘All Heroes Are Bastards’ we try a different approach, but you still know who the villains are. To reach people, you can’t be too abstract.”

According to Pandora da Cunha Telles, creator of “The Marquise,” characters who question the status quo are exactly what the world needs right now.

“It is clear that an uprising is needed,” she said, noting that many women are still “trapped in petty acts of violence” from which they cannot escape. The main character of “The Marquise” is trapped in a monastery in the 18th century^e century.

“The message for someone trapped in her life is that she has the power to be a rebel and a leader. It’s not just the politicians; each of us can change something in our lives. Creating female characters who are not black and white helps contemporary viewers understand that.”

It was also crucial to ensure that women were on both sides of the camera.

“In Portugal, it is still difficult to put female creators in charge of shows. One of the biggest challenges is empowering screenwriters and creators. In our show we depict women enjoying cakes and long erotic scenes. In the editing room we heard: ‘Aren’t they too long?’ Would you ask the same thing if a man were directing these scenes? It was one of the shows I worked on with more women, and it was a whole new game.

“All Heroes Are Bastards,” “Phoenix” and “The Marquise” were all presented at the Berlinale Series Market Selects.

Rebellious natures can frighten decision makers. “Phoenix” was ultimately part of a public investigation in France.

“It was striking to see our series being discussed in parliament. In a country with such a strong tradition of political art and debate, it shows how sensitive these topics have become. But perhaps that is not a bad thing. If a story does not cause discomfort, it may not fascinate deeply enough,” said Kreuzer.

In today’s polarized climate, content creators must seek to represent all parts of our society, including those who feel unheard or “who vote differently than we would expect.”

“Ignoring that frustration won’t make it go away. Fiction can create space for understanding without necessarily agreeing.”

National broadcasters have a huge responsibility when it comes to inspiring change, says da Cunha Telles, with Kreuzer calling the European public broadcasting model ‘worth defending’.”

“It allows fiction to seriously address political and social issues. Commercial systems often prioritize different pressures, but our model allows space for stories that are not purely market-driven, and that space is valuable.”

Patrick Phul admitted that broadcaster ARD Degeto Film motivated them to ‘be real’. But getting to the table wasn’t easy.

“Coming from YouTube, we didn’t know anyone in this industry. We were lucky because someone with an immigration background opened the door for us,” said Esra Phul. The duo previously created ‘Hype’.

“We also built our own awards show, Talent Over Privilege. It’s very, very difficult for people like us to get into these rooms.”

Yet they did. And so can others.

“There are people in the industry who recognize good stories and give people a chance,” says Patrick Phul.

“Don’t give up.”