New ‘Blake’s 7’ Series in Development by ‘The Last of Us’ Director Peter Hoar and ‘A Good Girl’s Guide to Murder’ Executive Matthew Bouch
EXCLUSIVE: Emmy-nominated director The Last of Us, Peter Hoar, is establishing a new production company and is set to reboot the British cult classic Blake’s 7.
Hoar has introduced “genre-based” independent firm Multitude Productions, partnering with A Good Girl’s Guide To Murder executive Matthew Bouch and West End producer Jason Haigh-Ellery. Together, they have acquired several intellectual properties, including Blake’s 7, which last aired on BBC 45 years ago.
Hoar, who directed the acclaimed episode “Long, Long Time” from HBO’s The Last of Us, intends to direct the upcoming reboot of Blake’s 7. This project will be presented to potential buyers soon, with Bouch expressing a desire for it to air on the BBC and suggesting the pursuit of co-production funding from American and European streaming networks.
Blake’s 7, created by Terry Nation—known for inventing the Daleks—ran for four seasons on the BBC from 1978 to 1981. The series followed political dissident Roj Blake (played by Gareth Thomas) and his band of rebels fighting against the totalitarian Terran Federation. Despite various attempts at rebooting the show over the years, none have gained significant traction. Multitude Productions has secured a deal with Nation’s estate and plans to begin discussions on casting and writing shortly.
Hoar and Bouch believe that the current landscape for genre shows presents a unique opportunity. With Doctor Who struggling to regain momentum and funding for high-end scripted content dwindling, they maintain that now is the ideal time to establish their new company. They have brought on executive producer Lizzie Worsdell, whose upcoming projects include The Carer, a film by Amrita Acharia.
“The Blake’s 7 story is legendary because it was given a slot initially intended for a police drama, with a budget that only allowed for minimal sets,” Hoar stated, recalling how the show made a significant impact on him personally. “You could tell they didn’t have much money, but it was a ride worth taking despite the wobbly sets.”
Drawing parallels with Disney+’s popular show Andor, Hoar noted that success stems not from budget but from “integrity, wit, and sophistication.”
He also pointed to Doctor Who as a cautionary tale, noting its recent exit from a significant co-production partnership with Disney+. “Despite the skills involved, something went wrong,” he remarked. “Having more money did not result in a better show, highlighting that the industry’s challenges are not solely financial.”
Multitude Productions: A Focus on Genre-Based British IP
Peter Hoar (left) and Matthew Bouch
According to Bouch, this mission aligns with Multitude Productions’ core purpose. “We’re motivated by passion but also by the realization of a significant gap in the UK market—especially since the decline of Doctor Who—for genre-focused British content,” he explained.
Bouch reflected on the nostalgia surrounding 70s and 80s genre material, noting the need to merge traditional British low-budget storytelling with international markets. He emphasized the need for economically viable solutions in a contracting U.S. landscape.
Multitude Productions is also working on a TV adaptation of Luke Rhinehart’s The Search for the Dice Man, the sequel to the cult classic Dice Man. Bouch mentioned an A-list star is already attached, with Danny Wallace writing and Tim Kirkby directing.
The company has secured the rights to Patrick Carman’s Skeleton Creek, which Hoar described as a blend of Stranger Things and Skins. Additionally, the team is developing adaptations of a well-known video game and a sci-fi series in collaboration with UK broadcaster ITV, though further details remain under wraps.
In pursuit of funding, Hoar and Bouch are also developing a version of Rikako Akiyoshi’s The Dark Maidens, receiving part funding from the Singaporean government. They are also collaborating with fraudster-turned-content creator Tony Sales on a crime series titled Scammers.
Both Hoar and Bouch advocate for a multi-writer model to reinvigorate the industry, noting its absence in the UK tradition. “Collaborative efforts often lead to better outcomes, even if the showrunner approach has become prominent,” Bouch asserted.
Bouch expressed optimism regarding Multitude’s approach amidst a challenging market that has led to the closure of numerous traditional drama companies. “Launching at this moment may seem counterintuitive, but we recognize the opportunity before us. Our expertise uniquely blends British sensibilities with international appeal,” he said. “Only time will tell if we succeed.”
