Spooks (series 3)
The third series of "Spooks" was produced by Kudos Film and Television for the BBC. Much of the production crew from the first two series returned. New crew members were brought in with the requirement that they were fans of the series and have ambition, so that they can understand "Spooks". Andrew Woodhead was the series producer, with Jane Featherstone, Simon Crawford Collins and Gareth Neame as executive producers. Collins, who was the producer for the first two series, had to step back to executive producer, as he was overcommitted producing Kudos crime series "Hustle". Woodhead replaced him as he was accustomed to the show, but also added more vitality to the show. Christopher Aird was the assistant producer. The third series included five writers. Howard Brenton wrote the first, second and eighth episodes. Rupert Walters wrote the third and ninth episodes. Ben Richards wrote the fourth, sixth and tenth episodes. Richards previously wrote the ninth episode of series two, and accepted the offer to return. His script in the second series was his first script for television; he found writing easier as time went by. Raymond Khoury wrote the seventh episode. Series creator David Wolstencroft wrote the fifth episode. Wolstencroft was poised to write the next episode, but found himself committed to other projects.
Spooks (series 7)
The writers and producers got together to discuss what direction they would take for the seventh series. They wanted to repeat the same style for series six, which was to add a serial element to be carried throughout the duration of the series. They got together to think about what they would believe to be a big political story that would affect politics in the United Kingdom in within twelve to eighteen months after their initial meetings early in 2008. They settled on using Russia, which was facing a resurgence in power after the Cold War, which the producers felt, in subtle ways, would threaten the security of the west. Sometime through the writing process, the producers set up a story-arc, Sugarhorse, to be a threat throughout the series and have it resolved by the finale. The writers enjoyed making the Sugarhorse storyline because it was one of the instances that "really brings Harry to the edge" and causing him to doubt everything he has done or achieved. The writing team took several meetings together to discuss what it is and how it should work into the storyline. Christian Spurrier noted it was "kind of a headache" to figure out how to "weave it in" to the series and work out what parts would be used in which episodes. The producers wanted to use a scene relating to Sugarhorse as the finale scene of every episode it was featured in, as the producers believed it would provide a "right hook" to the audience. Adding the new storyline would allow the series to return to the world of spying, truth, and who the characters should trust.