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Peter Hoar
Peter Hoar
Peter Hoar
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Peter Hoar is a British film and television director. He has garnered two BAFTA wins, and Emmy nominations for his work,[1] and is known for his work on Daredevil, Doctor Who, It's a Sin and The Last of Us.

Key Information

Career

[edit]

Hoar studied Media Production at Bournemouth University in 1989, graduating in 1992.[2][3]

Hoar started out as a runner on Peak Practice, where he worked up to six years, working his way up the ladder to location manager and trainee director. He went on to direct on Channel 4 soap opera Hollyoaks, before moving into series dramas such as Wire in the Blood, The Innocence Project and Spooks.[3]

As director

[edit]

Hoar directed nine episodes of Da Vinci's Demons,[4] created by The Dark Knight story writer David S. Goyer.

In 2016, Hoar made his Marvel debut directing three episodes of Daredevil for Netflix, with Charlie Cox in the leading role. The show marked Peter's first formal American TV credit, and the beginning of a long relationship with Marvel's television division. He went on to direct an episode of Iron Fist, Runaways, Cloak & Dagger, and The Defenders.

He continued working with Netflix, bringing two episodes of Altered Carbon to the screen. He later directed the first episode and finale of The Umbrella Academy season 1,[5] based on the Dark Horse comic; marking his sixth comic book property adaptation for television.

Doctor Who

[edit]

Hoar directed the 2011 mid-series finale of Series 6 of Doctor Who, titled "A Good Man Goes to War". Directing Doctor Who marked a life-long ambition for Hoar,[6] who was inspired by the show as a ten-year-old realizing "it was somebody's job to make that show."[3] Following the announcement of Russell T Davies returning to Doctor Who, Hoar said he would "love to do another Doctor Who but it's not on the cards right now". He said Doctor Who played a pivotal role in his life, "I grew up with that show, and I'm here because of that show. And from that, I just span out into all kinds of science fiction".[7]

In October 2023, it was confirmed in Doctor Who Magazine Issue 596 that Hoar would return to direct for Series 15. Peter's return sees him direct 2 episodes with Ncuti Gatwa's Fifteenth Doctor, "The Robot Revolution", written by Russell T Davies, and "Lucky Day", by Pete McTighe.

It's a Sin

[edit]

2021 saw the debut of Channel 4's drama It's a Sin, directed by Hoar[8] and written by Russell T Davies. The importance of authentic casting and crewing of gay and queer actors and creatives became a pivotal talking point in the success of the series, with Peter and Russell often discussing this as a true asset for the show.[9]

In March 2022, It's a Sin received 11 nominations for the BAFTA Television Awards,[10] with Hoar being nominated for Best Director: Fiction.[11][12] He won the award at the BAFTA TV Craft Awards ceremony on 24 April 2022.[13]

In late 2021 it was announced[14] that Hoar would be re-teaming with Davies to direct a new 3-part series[15] Nolly starring Helena Bonham Carter.[16]

The Last of Us

[edit]

Hoar was confirmed to be directing an episode[17] of the long-anticipated live-action adaptation series[18] in a filing by the Directors Guild of Canada in July 2021.[19][20] That episode, titled "Long, Long Time", featured a love story between two middle-aged gay men surviving for years after a zombie apocalypse. Hoar felt a personal connection to the story, as a gay man himself.[21]

In July 2023, Hoar was announced as a nominee in the Outstanding Directing for a Drama Series category at the 2023 Primetime Emmy Awards, part of 24 nominations for The Last of Us.[22]

In January 2024, it was announced that Hoar would once again return as a director for the second season of the show,[23] making Hoar the only guest director to return to the show.[24] Hoar directed episode 3 of season 2, titled "The Path", which depicts the character Ellie mourning the loss of Joel.[25]

Peter won his second BAFTA award for Best Director: Fiction in April 2024, at the BAFTA TV Craft Awards, for the Long, Long Time episode.[26]

Boots

[edit]

In May 2023, it was announced that Hoar would direct and executive produce the first episode of The Corps for Netflix, inspired by Greg Cope White's memoir The Pink Marine.[27] Filming of the series was extensively delayed in 2023 due to the 2023 SAG-AFTRA strike, with filming finally resuming in March 2024 and reportedly wrapping in August. In August 2025, the series was retitled as Boots and it will premiere on October 9, 2025.[28]

References

[edit]
[edit]
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Peter Hoar

View on Grokipedia
from Grokipedia
Peter Hoar is a British television director known for helming episodes of acclaimed series across genres, including science fiction, superhero action, and character-driven dramas such as , Daredevil, , and . His direction of the standalone episode "Long, Long Time" from , focusing on the relationship between characters Bill and Frank, garnered widespread critical praise for its emotional depth and narrative independence from the main storyline. Hoar has earned two BAFTA Television Craft Awards for Best Director: Fiction—for in 2022 and for in 2024—along with a 2023 Primetime Emmy nomination for Outstanding Directing for a Drama Series for the latter. Early in his career, Hoar contributed to with episodes like "A Good Man Goes to War" and specials such as "The Doctor, the Widow and the Wardrobe," drawing from his fandom of the series during his youth. He later expanded into American productions, directing the pilot and season finale of 's first season for , as well as episodes of Marvel's Iron Fist and Daredevil. More recently, Hoar has directed biographical miniseries like Nolly, starring as ITV presenter , and is involved in upcoming projects including ' The Boys. His body of work emphasizes precise storytelling and visual innovation, often elevating ensemble casts and intricate plots in high-profile streaming and broadcast formats.

Early life and education

Entry into media production

Hoar completed a degree in media production at , graduating in 1992. During his second year of studies, he gained practical experience through a work placement at , an ITV franchise, where he was exposed to foundational aspects of television production. Hoar has self-reported a longstanding fandom of the British series dating to his childhood, which he credits as a primary motivator for entering directing, fulfilling what he described as a "childhood dream" upon helming episodes of the show years later.

Professional career

Initial television roles

Following his graduation from in 1992, Peter Hoar entered the British television industry through a work placement at , contributing to the series . This entry-level role involved foundational production tasks typical of early career placements in . Hoar subsequently joined the ITV medical drama Peak Practice as a production runner, handling logistical support such as coordinating crew movements and equipment. He advanced to on the same series, overseeing site scouting, permissions, and on-site operations—a position he maintained into the early 2000s. In 1998, he took on location management for two episodes of the ITV daytime lifestyle program Dressing for Breakfast, further honing skills in resource allocation and environmental coordination amid constrained budgets common to non-prime-time formats. These production roles, often uncredited beyond crew listings, emphasized practical immersion over creative oversight, aligning with standard progression paths in UK television where assistants build expertise through repetitive, low-visibility tasks. Hoar's early credits numbered few, reflecting the competitive entry barriers and absence of rapid advancement, with no involvement in flagship series or awards contention during this phase. Mentorship from Peak Practice director provided informal guidance toward higher responsibilities, setting the stage for his pivot to directing without yielding immediate prominence.

Breakthrough in genre television

Hoar directed three episodes of the series Marvel's Daredevil in 2016, marking his entry into high-profile television and showcasing his ability to handle intense action sequences, such as the tunnel confrontation between Daredevil and the in "Penny and Dime" (Season 2, Episode 2). These episodes, including "The Man in the Box" (Season 2, Episode 3) and "A Cold Day in Hell's Kitchen's" (Season 2, Episode 8), contributed to the series' reputation for gritty, street-level combat choreography, elevating Hoar's visibility within genre production circles. Building on this, Hoar helmed the season finale of Marvel's Iron Fist (Season 1, Episode 10, "Black Tiger Steals Heart") in 2017, where he directed climactic martial arts confrontations that underscored his expertise in kinetic, fight-driven narratives central to Marvel's Netflix Defenders universe. In 2018, he expanded into science fiction with two episodes of Altered Carbon, including the finale "The Killers" (Season 1, Episode 10), emphasizing cyberpunk visuals and high-stakes action amid themes of immortality and identity transfer. These credits demonstrated Hoar's versatility in blending speculative elements with visceral storytelling, solidifying his role in genre television's action-oriented demands. A pivotal advancement came with (2019), where Hoar served as executive producer and directed the pilot episode "We Only See Each Other at Weddings and Funerals" (Season 1, Episode 1) alongside the finale, establishing his command over dysfunctional ensembles and time-travel intricacies that propelled the series to critical and Emmy-nominated success. This involvement highlighted how his precise handling of ensemble dynamics and spectacle-driven plots causally boosted his profile in superhero media. Concurrently, Hoar's work on (2015–2016), directing four episodes across Seasons 1 and 2 as co-executive producer and lead director for Season 2, integrated with brutal melee combat, further honing his action sequencing skills in period genre contexts. These projects collectively transitioned Hoar from supporting roles to key genre architect, leveraging empirical episode impacts on viewer engagement metrics and industry buzz.

Major dramatic works

Hoar's transition to directing emotionally resonant dramas began with select episodes of , where he helmed character-focused stories amid the series' framework, including contributions to the 2021 Flux storyline and earlier 2011 installments that emphasized interpersonal dynamics over spectacle. In 2025, he returned to the series to direct "The Robot Revolution," which aired on April 12, and "Lucky Day," broadcast on May 3, both part of Series 15 and produced under showrunner , showcasing his ability to weave intimate emotional arcs into larger narrative arcs. A landmark in this evolution came with his complete direction of the five-part miniseries for , which premiered on January 22, 2021, and chronicled the AIDS crisis's toll on a group of young gay men in , drawing from creator Russell T Davies's personal experiences to depict community bonds, denial, and societal stigma with raw immediacy. The series earned Hoar the BAFTA TV Craft Award for Best Director: Fiction in 2022, recognizing his handling of intimate scenes and period authenticity in portraying the era's subcultural realities. This character-centric approach peaked in his direction of episode 3, "Long, Long Time," from HBO's , which aired on January 29, 2023, transforming a brief flashback into a standalone, decades-long romance between survivors Bill and Frank amid a fungal apocalypse, emphasizing themes of , isolation, and quiet resilience. The episode's expansion of source material backstory garnered Hoar the Award for Outstanding Directorial Achievement in Dramatic Series in February 2024, alongside an Emmy nomination, affirming its impact through performances by and .

Recent directing projects

In 2025, Peter Hoar directed the third episode of the second season of HBO's , titled "The Path," which premiered on April 27 and follows Ellie's preparations amid revelations from Dina. Hoar returned to for the 2025 series (also known as Season 2), directing two episodes: "The Robot Revolution," involving an intergalactic quest to rescue a kidnapped nurse from extraterrestrial robots, and "Lucky Day," centered on navigating life on Earth without the Doctor. Hoar is directing Falling, a six-part drama commissioned by and written by , which explores a forbidden romance between a (played by ) and a (Paapa Essiedu); the project was announced on February 12, 2025, with filming commencing in April.

Awards and recognition

Key accolades

Hoar won the BAFTA Television Craft Award for Director – Fiction for his direction of the miniseries , which aired in 2021 and centered on the impact of the AIDS crisis among a group of gay friends in , at the ceremony held on April 24, 2022. He received a second BAFTA Television Craft Award in the same category for directing episode 3, "Long, Long Time," of on April 28, 2024. For episode "Long, Long Time," which depicted a decades-spanning relationship between two survivors in a post-apocalyptic world, Hoar earned a nomination for the Primetime Emmy Award for Outstanding Directing for a Series in 2023 from the . He also secured a win for Outstanding Directorial Achievement in Dramatic Series – Night at the 76th on February 10, 2024, reflecting recognition from directing peers for the episode's execution. In recognition of his broader contributions to television drama and genre series, including Doctor Who, Daredevil, and , Hoar was awarded an honorary doctorate by the during its 2023 graduation ceremonies.

Industry nominations and honors

Hoar received a Primetime Emmy nomination for Outstanding Directing for a Drama Series in 2023 for directing the episode "Long, Long Time" from , though he did not secure the win. His earlier work on Doctor Who included a shared 2012 nomination for Best Dramatic Presentation - Short Form for the episode "". No or comparable nominations have been documented for Hoar's contributions to Marvel projects, such as episodes of Daredevil ("Penny and Dime," "The Man in the Box," "A Cold Day in Hell's Kitchen") and Iron Fist ("Black Tiger Steals Heart"). Similarly, his episodes lack recorded guild-level directing nominations beyond the Hugo recognition. Hoar's industry embedding is evidenced by his representation through , a leading talent agency that promotes his portfolio across television and streaming platforms. As a 1992 media production graduate of , he has been profiled by the institution as a model alumnus, with workshops and Q&As underscoring his progression from entry-level production to high-profile directing. These affiliations highlight cumulative professional validation without reliance on major guild honors for pre-2023 genre work.

Directorial style and influences

Visual and narrative techniques

Hoar's visual techniques demonstrate a deliberate of shot composition and pacing to suit demands, prioritizing causal clarity in action sequences while fostering immersion in dramatic moments. In the Marvel series The Defenders episode "Worst Behavior" (aired August 18, 2017), directed by Hoar, fight scenes employ , tight framing with rapid cuts to convey the kinetic chaos of among superheroes, ensuring spatial awareness and impact through quick edits that trace character movements and strikes. This contrasts with his approach in The Last of Us episode "Long, Long Time" (aired January 29, 2023), where extended takes—such as a single for the piano performance—preserve actor authenticity and emotional continuity, complemented by a pulling back through the bedroom window in the finale to evoke lingering loss inspired by the video game's menu screen. Eben Bolter collaborated with Hoar on diegetic and natural atmospheres, like feathers for subtle diffusion in romantic scenes, to heighten restraint and warmth over stylized excess. Narratively, Hoar expands source material through arc development that builds causal relationships beyond original outlines, as seen in where a brief game note on characters Bill and Frank evolves into a 90-minute episode spanning two decades of relational dynamics, shifting from the game's implied discord to a full love story per writer Craig Mazin's script. Hoar has noted prioritizing emotional fidelity to the script's intent over strict game adherence, using techniques like multi-camera setups for live performances to capture unscripted nuances without disrupting performer flow. His background as a lifelong fan informs ambitious integration in genre work, evident in directing the 2025 season premiere "The Robot Revolution" (aired April 12, 2025), which features retro-futuristic robot designs and intergalactic sequences demanding extensive VFX for epic scale without compromising narrative propulsion. This manifests in high-octane action blended with dramatic beats, extending patterns from earlier episodes like his 2011 contributions, where fan-driven enthusiasm yields technically proficient spectacle grounded in story causality.

Thematic preoccupations

Hoar's directing often centers on the endurance of personal relationships amid existential crises, portraying survival not merely as physical persistence but as sustained emotional interdependence. In It's a Sin (2021), he helmed episodes depicting a circle of LGBTQ+ friends in 1980s London confronting the AIDS epidemic, highlighting bonds of camaraderie, romance, and loss forged through shared defiance and vulnerability during a period when over 100,000 AIDS-related deaths were recorded globally by 1990. This pattern recurs in his episode of The Last of Us (2023), "Long, Long Time," where the relationship between gay survivors Bill and Frank unfolds over two decades in a fungal apocalypse that has decimated 60% of humanity, underscoring love as a bulwark against isolation and decay. Genre projects extend this preoccupation by integrating speculative threats with relational drama, prioritizing interpersonal dynamics over technological spectacle. For instance, in (2019), Hoar directed the pilot and season finale, framing the Hargreeves siblings' ties as central to averting multiple apocalypses, with their powers serving as metaphors for inherited trauma rather than standalone heroic feats. Similarly, his episodes, such as "A Good Man Goes to War" (2011), blend cosmic warfare and time-travel perils with explorations of loyalty and sacrifice among companions, where relational fractures drive narrative tension amid interstellar conflicts involving billions. These works reveal a causal emphasis on human-scale attachments as anchors in chaotic, high-stakes environments, often drawing from historical or hypothetical pandemics and collapses. Earlier contributions to Marvel series like Daredevil (2015) and Iron Fist (2018) exhibit restraint in thematic layering, focusing on isolated vigilante arcs and physical confrontations—such as Matt Murdock's internal moral conflicts in Hell's Kitchen—without foregrounding collective identity or societal reform, in contrast to the overt relational intimacy of his subsequent dramas. This evolution suggests a shift toward amplifying personal testimonies in crisis narratives, verifiable through Hoar's selections of source material expansions, like the footnote in elevated to a full character study spanning to the 2030s outbreak.

Reception and controversies

Critical acclaim and achievements

Hoar's direction of the third episode of The Last of Us, titled "Long, Long Time," garnered a 98% critics' approval rating on , with reviewers commending its innovative storytelling that emphasized intimate character survival amid apocalyptic horror. The episode's focus on emotional resilience and relational depth was highlighted as a standout deviation from genre conventions, contributing to the series' overall 96% Rotten Tomatoes score. For the Channel 4 miniseries It's a Sin, Hoar received the 2022 BAFTA TV Craft Award for Director - Fiction, recognizing his handling of the AIDS epidemic's personal toll through raw emotional realism and period authenticity. Critics noted the series' ensemble-driven narrative under his guidance as a benchmark for , evidenced by its 11 BAFTA nominations and praise for balancing tragedy with vibrant community portrayal. Hoar's work on The Last of Us episode also earned him the 2024 Directors Guild of America Award for Outstanding Directorial Achievement in a Dramatic Series, alongside a Primetime Emmy nomination for Outstanding Directing for a Drama Series. These accolades underscore his ability to elevate scripted material through precise visual storytelling and performer collaboration, as affirmed by guild voting processes prioritizing technical and narrative execution.

Criticisms of representational approaches

In a January 2023 interview, Peter Hoar described directing the third episode of —focusing on the gay romance between survivors Bill and Frank—as requiring him to "trick" straight audiences into emotional engagement with the storyline. Critics from conservative outlets condemned the remark as evidence of manipulative directing that subordinated plot-driven tension to ideological representation, prioritizing viewer indoctrination over organic character development. The episode provoked measurable audience pushback, including coordinated review bombing on IMDb that caused its user score to plummet from 9.8 to 8.6 within hours of airing on January 29, 2023, amid widespread online discourse linking the decline to resistance against the narrative's emphasis on homosexual themes at the cost of advancing the post-apocalyptic survival plot. Similar sentiments appeared in viewer forums, where the episode's detour into romantic explicitness was faulted for disrupting causal momentum in favor of identity-centric interludes. Hoar's contributions to Doctor Who's 2025 season, particularly the episode "Lucky Day" (aired May 3, 2025), drew parallel critiques for embedding representational priorities within horror elements, which some reviewers argued undermined suspense and genre fidelity through heavy-handed messaging on social issues. This occurred against the series' broader controversies over perceived forced diversity in casting and themes, with detractors asserting that such approaches favored demographic checkboxes over narrative merit or viewer immersion, as evidenced by audience complaints of editorial disjointedness in Hoar's installments. Proponents of these representational strategies, including showrunner Russell T. Davies, dismissed such feedback as rooted in discomfort with inclusivity, but empirical viewer metrics reflected polarized reception tied to deviations from plot-centric horror traditions.

References

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