The Irish crime caper Tall Tales & Murder has widened its European sales map before its UK transmission, adding Portugal, Spain and Central and Eastern Europe to a slate that already reaches Australia and Germany.
Two new European patches
Avalon has placed the series with Filmin for Portugal and Spain, and with Picbox for Central and Eastern Europe, Deadline reported. The series premiered on RTÉ in Ireland last month and is now headed to the BBC in the UK.
- Filmin: Portugal and Spain
- Picbox: Central and Eastern Europe
- Earlier sales: SBS in Australia, ZDF in Germany
- Home windows: RTÉ in Ireland, BBC in the UK
The new deals were confirmed while co-creator Chris Addison was at MIPCOM in Cannes meeting international executives.
Why a two-season order changes the pitch
The series is based on Caimh McDonnell’s ‘Dublin Trilogy’ and was ordered for two seasons from the outset. Avalon produces with Metropolitan Pictures; Stuart Carolan, creator of Love/Hate, writes.
Addison said the show has moved deep into its own territory. “Any adaptation is going to be different from the source material, it’s just the degree to which it’s different. We left the source material so far behind in the first season that coming into Season 2, you’re off the rock.”
His summary of the arc doubles as a positioning statement: the first season “starts out slightly odd and goes slowly bananas,” so Season 2 picks up from a “bananas” place.
The cast and the on-set signal
Ella Lily Hyland leads the cast as Bridget, alongside Aidan Gillen and Philippa Dunne. Hyland said the production was her first time shooting at home in Ireland with a local crew.
“There was a love on set that is rare,” she said. “Everyone worked really hard. It’s fair to say we had limited time to do all of the ambitious things that we wanted to do, so there was a sense of everyone being in it together.”
For buyers, those production details matter less than the cast and creative pedigree, but they feed the broader story of an Irish title produced close to its audience.
The sales pattern to watch
For distribution and scheduling teams, this is a territory-by-territory build rather than a single global streaming land-grab. A small home window, a known IP base, a major UK slot and early deals in Germany and Australia create a repeatable pitch for later markets.
The MIPCOM conversations show how festival meetings convert that asset into signed regional contracts while the first season is still fresh. It is not a headline-grabbing global deal, but it demonstrates how a writer-led comedy thriller with local roots can become a steady licensing asset when the creative team and distributor stay active in the market.
Source: Deadline
