Netflix’s adaptation of Bella Mackie’s 2021 novel How to Kill Your Family has moved from development to production. The first set photos place Anya Taylor-Joy in London as Grace Bernard, and the shoot details point to a late-2027 or early-2028 window for the eight-part series.
The project is produced by Sid Gentle Films, the company behind Killing Eve. Emma Moran created and wrote the series; Josephine Bornebusch and Tom Kingsley split directing duties. Taylor-Joy also serves as an executive producer through her LadyKiller banner.
What the set photos establish
The London images show Grace wheeling a cream-and-tan suitcase to a Georgian front door in a long camel trench coat, white tee and black mini skirt. The production detail that has drawn attention is a luggage tag marked “AGP to LGW” — Málaga to Gatwick — which quietly confirms the character has just returned from Marbella. That is the kind of prop-level storytelling that gets fans reading early assets closely, and it gives the marketing team a repeatable visual language: polished surface, dark intention.
Netflix’s official logline describes Grace as “the forgotten child of Simon Artemis, a merciless billionaire” and frames the series around a revenge scheme. Clive Owen plays Simon Artemis; Orlando Norman and David Shields are attached in undisclosed roles.
The production maths
- Order: eight episodes
- Filming window: mid-October 2026 to mid-February 2027
- Locations: London, with a Marbella leg planned
- Likely release: late 2027 or early 2028
Why this matters for entertainment planners
This is not a release-week buying opportunity; it is a long-lead awareness asset. Netflix is pairing a bestselling novel with a star who already has an established Netflix audience from The Queen’s Gambit. That audience gets a fresh signal this week: Taylor-Joy appears opposite Chris Evans in Sacrifice, which arrives Friday. Planners can use that adjacent release as a low-cost listening point for the kind of audience that will later convert for How to Kill Your Family.
The Sid Gentle lineage also sets expectations. The producer’s Killing Eve track record suggests the series will be positioned as glossy, character-driven crime with international appeal rather than a narrow UK title. For media teams, that means monitoring teaser and first-look assets for audience overlap across dark comedy and thriller segments, and starting creative testing before Netflix confirms a date.
The biggest planning risk is treating the gap between now and launch as idle time. Smart teams will use the long runway to build audience maps and test positioning while the title is still cheap to plan against.
Source: What’s on Netflix
