We talk about developing Season 2, What happens when survival and ethics collide in one of Earth’s most isolated places and the 'And Then Moment'
In Cannes, we catch up with Ran Tellem, Head of International Development at Mediapro, and the creative force behind hit series The Head, to talk about the gripping second season. Set in one of the world’s most remote locations, The Head raises the tension with a mix of groundbreaking scientific discovery, murder, and moral dilemmas. Season 2 deepens the stakes, pushing characters to the edge of survival and sanity. Ran dives into the show’s evolving dynamics, the shift in character focus, and the unique energy that comes with working across cultures in an international cast.
Romy: I remember when I first interviewed you and John Lynch here in Cannes for the launch of The Head. Now here we are, with the show a global hit, sold into almost 100 territories. Congratulations for that! How did you come up with the premise for Season 2 when it was originally conceived to be a limited series?
Ran: We realised in our series there’s a moment —a really crucial one—where there’s this decision, a dilemma. One of the characters is a brilliant scientist who believes he can solve the climate crisis and save the planet, but he’s also a predator and a killer. So the group has to decide: do they turn him in and lose all the scientific work? Or do they stay quiet, keep him around, and continue the mission to save the world? That dilemma of pursuing justice versus survival is the heart of Season 1. And the characters facing this dilemma were still alive at the end of season 1 so why not continue? That was the lightbulb moment and it gave us the starting point for Season 2. Mariano Basilica and Jordi came on board as head writers, and that’s when the new season started to take shape.
That dilemma of pursuing justice versus survival is the heart of the series.
Romy: And you had to find a new isolated place for it! It's called called Point Nemo?
Ran: Exactly. Point Nemo is the loneliest place on Earth. The nearest land is 1600 miles away, and the closest human is an astronaut in space. It was perfect. And the scientists there discover this algae that could be the solution to the climate crisis. They’re celebrating, it’s a huge moment—like finding the vaccine for COVID. But the next day, one of the scientists is found dead. Decapitated. And that’s where it all starts again.
Romy: And then ... theres a Head! This season, we also get to see Arthur as a father. How was it bringing that aspect into his character?
Ran: It is one thing Working with John Lynch is a privilege. He’s an artist, and when he builds a character, it’s a whole process. In Season 1, Arthur is shown through different perspectives, so sometimes you see him as he really is, and other times he’s portrayed as this dark, menacing figure. But in Season 2, there are no multiple viewpoints; we’re seeing things as they happen. We had to figure out who Arthur truly is. The idea to make him a father came later. Originally, his storyline was tied to a love interest—an ambitious young woman. But it felt wrong, a bit too familiar. So we made the love interest his daughter instead, which added so much more depth. He abandoned her, and she resents him for it. Throughout the season, she starts to discover who her father really is—how vulnerable and complex he is. By the end, she’ll either reconcile with him or have her heart broken forever. John brings this emotional depth to every scene, and it’s beautiful to watch.
Romy: You’ve got this incredible ensemble cast that we just saw on stage and they seem to have so much chemistry. How important is that to the success of the show?
Ran: It’s huge. When we were casting, we had the freedom to choose actors from all over the world. We didn’t care about nationality—we just wanted the right fit for the characters. It’s like building a puzzle. But the real key was making sure everyone was a team player. If someone is difficult to work with, it can ruin the whole experience. We were in Tenerife for three months, staying in the same hotel, going to set together every day. You need that camaraderie, that sense of teamwork. And you feel it on-screen—the chemistry is real. We’re here to have fun, and if work isn’t fun, it’s just not worth it.
"One thing is John Lynch - it is that it’s a privilege to work with someone so deep, so invested—he’s an artist. He really builds the character ... Arthur is a 360-degree character. With John, it’s 720 degrees, and it’s beautiful."
Romy: You’ve said before that working internationally isn’t a burden—it’s the opposite. What have you learned from working across so many different countries?
Ran: For me, it’s simple: a good story is a good story. If it’s human and relatable, people will connect with it. Look at Squid Game. I didn’t understand half of what they were saying, but I was hooked. Audiences want something different, something authentic. Five years ago, primetime was full of American shows like Grey’s Anatomy. Now, viewers are craving more international content. And with The Head, we’re showing that we can produce something on par with the best, regardless of where it’s made.
Romy: You’ve taken stories from one country to another before. How do you make sure they still resonate?
Ran: It’s about finding the right place for the story. You can’t just throw it anywhere. It has to make sense. In Season 1, we set it in Antarctica, which is no man’s land—it belongs to no one, and that isolation was crucial. In Season 2, we placed the story on a ship in the middle of the ocean. Suddenly, you’ve got two groups of people—sailors and scientists—who are completely different, and that creates new friction, new dynamics. Everywhere you place a story, you gain something new if you really dig into it.
Romy: Like a social experiment, but with characters and location! And The Head is in over 90 countries now. Was it easier to get partners on board this time?
Ran: It’s never easy. There’s more demand, but also more competition. You’re fighting to stand out in a very crowded market. The key is to bring a story that’s different. When I pitch, I always aim for that “and then” moment—where the listener thinks they know where it’s going, but then I surprise them. That’s what storytelling is: taking someone to a place they didn’t expect.
"When I pitch, I always aim for that “and then” moment—where the listener thinks they know where it’s going, but then I surprise them. That’s what storytelling is: taking someone to a place they didn’t expect."
Romy: One question we’ve been asking around the world: What are you here for?
Ran: I’m here to be curious. That’s what excites me. Finding something new, something I didn’t know before, and being amazed by it. Whether it’s a hospital plaque in Rome or a post on Twitter, that sense of discovery is what keeps me going. And I’m lucky enough to be able to share that curiosity with others through storytelling.
Romy: One last question before we wrap up. What advice would you give to young storytellers who are trying to find their way in the creative world?
Ran: I think storytelling is more accessible now than ever before. Every post you write is a story, and people who can tell great stories on social media can become stars faster than we’ve ever seen. It used to take years—you had to write a book, make a movie, or create a series. Now, you can write a tweet, and ten minutes later, you might be the next big storyteller.
But what I really want young people to understand is that while it might look easy, it’s still hard work. It’s not just about going viral. Success usually doesn’t come without effort. If you want to be good, you have to be prepared to work really hard—much harder than you think. And don’t act based on what you’re earning right now. Act based on your desire to succeed. If you want to be truly successful, you need to keep searching, keep pushing, until you find the thing that sets you apart. It’s not easy, but it’s worth it.
Storytelling is more accessible now than ever before. Every post you write is a story, ... But what I really want young people to understand is that while it might look easy, it’s still hard work. If you want to be truly successful, you need to keep searching, keep pushing, until you find the thing that sets you apart.
Romy: I’ve heard people say, “Follow your passion,” but maybe it’s more about find what feels like play for you, and work for others - and lean into that and get really good at it.
Ran: Exactly. Even when you’re playing, you should play hard. That’s how you get to the top.
Romy: Here's to playing hard. Thanks so much for the interview.
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