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 3)
In producing the third series, the goal was to "raise the bar" higher to satisfy and surprise the audience. The second series finale "Smoke and Mirrors" ended on a cliffhanger which left Tom's fate open. The producers were unsure whether Macfadyen would return at the time they began storylining. Brenton had already written the first two episodes as if he was not coming back. When Macfadyen announced his return for those episodes, they had to be rewritten. Brenton went through a "nightmare" rewriting the first episode as he "dug this enormous hole, and [he] had no idea how to get out of it." It became a long process of growing the story where Tom turns the tables against Joyce. To make a suitable send off to the character, Brenton did not want Tom to be disillusioned; instead he wanted him to "sort of [become] a human being," as there have been real life instances where spies are attracted to the idea that "the world's a stage to them all the time," but later on they start to unravel.