Abstract
Theories of transnationalism do not fully explain contemporary television production/funding practices. Rather, the concept glocalisation contributes, with perspectives that explain the co-existence of local-to-global players in television drama production. Crime series have been the essential constituent in the international distribution of Danish television drama and the co-funding composition of crime series appear exceedingly glocal. For that reason, the perspective in this chapter is commercial public service television crime series. Based on interviews with key informants, I analyse two recent crime series from TV 2, Greyzone (2018–) and Kriger/Warrior (2018), as different examples of glocal television drama production. These series and the history of crime drama production from TV 2 stress increased international collaboration as a common production model for commercial public service television production.
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