FX

It was to be the year of Shōgun. In one of the cleanest sweeps since Succession ended, the show won virtually everything at this year’s Emmys, including Best Drama Series, Lead Actress in a Drama for Anna Sawai and, unsurprisingly, Lead Actor in a Drama for the phenomenal Hiroyuki Sanada, who triumphed in a category that had some equally strong choices (Gary Oldman for Slow Horses), as well as some more perplexing ones (Idris Elba for Hijack and, bizarrely, Dominic West for The Crown). Shōgun took a record-breaking eighteen Emmys in total, with showrunner Justin Marks remarking of its makers Hulu and FX, “You guys greenlit a very expensive subtitled Japanese period piece whose central climax revolves around a poetry competition.” It proved to be a good bet.

Since the vast success of Game of Thrones, every streaming service has tried its best to come up with an epic series that will be held in the same estimation as the earlier seasons of Thrones. (The HBO flagship drama's rise was rivaled only by the rightful contempt in which the final series is still held, which one day will be the subject of a genuinely jaw-dropping long read or book.) There have been some close calls (House of the Dragon, Outlander), some misses (Lord of the Rings) and a couple of outright horrors; I doubt that you could pay me, or anyone else, to sit through the diabolical Wheel of Time again. But now Hulu has finally joined the action, with an apparently unlimited budget, to adapt James Clavell’s much-beloved bestselling 1975 novel Shōgun over ten episodes.

Before Taika Waititi achieved his current state of half-ironic, half-irritating ubiquity, he made small, often brilliant films. One of the most notable ones was the 2014 New Zealand comedy horror picture What We Do in the Shadows, which he co-created and co-directed with Flight of the Conchords star Jemaine Clement. Horror comedies are notoriously tricky to get right tonally, but the film — which admittedly leant far more heavily on the comedic aspects — was a modest box-office hit and became yet another step on Waititi’s stroll to Hollywood dominance.