This year’s pilot season is considered ‘unfinished business’ by many, as pilots have been ordered but few to none were shot. Even so and in these unprecedented circumstances as we battle a global pandemic that halted jobs, careers, and numerous cinematic projects, it still feels like business as usual in May of 2020. Three of the five broadcast networks have begun picking up series from the pool of pilot orders.

‘B Positive’, CBS’ new comedy, is the only one based on a completed pilot. The others were straight-to-series orders encouraged by two or more scripts and the creative reputations of their proposed showrunners. Forced to deal with expensive decisions (a high-end drama series could go anywhere between $50 million and $80 million), the networks have taken some measures to minimize the risk of investment by opting for projects that are either based on well-known IP’s or come from popular and accomplished creators/producers. Also considered are any big stars or big commitments attached to the project, though ideally the networks do prefer a combination of two or more from the above.

CHUCK LORRE AT PALEYFEST 2013

Over the past couple of weeks, seven straight-to-series orders have been made. Two of them are reboots (‘The Equalizer’ from CBS with Queen Latifah, ‘Kung Fu’ from the CW), one is a sequel to an iconic film (‘Clarice’ from CBS, a follow-up to ‘The Silence of the Lambs’), and one is a book adaptation (‘Big Sky’ from ABC, based on Cassie Dewell’s book series). We’ll also be seeing a ‘Walker Texas Ranger’ reboot starring Jared Padalecki of ‘Supernatural’ fame, and ‘Superman & Lois’, both straight-to-series orders by the CW since January.

Greg Berlanti and Chuck Lorre are CBS and the CW’s aces up the sleeve. Mr Berlanti’s company produces ‘Kung Fu’ and ‘Superman & Lois’, while Mr Lorre is a co-creator and executive producer of ‘B Positive’. The former also has nine other series on the CW, while the latter has three successful comedies on CBS. On top of that, Alex Kurtzman, CBS All Access/CBS TV Studio MVP and the architect behind the newer ‘Star Trek’ universe and co-creator of ‘Hawaii Five-O’, will be taking on the ‘Clarice’ project—likely his most ambitious endeavour yet.

David E. Kelley, one of the best TV creators of the past thirty years, will be writing and executive producing ‘Big Sky’, while Kari Lizer of ‘The New Adventures of Old Christine’ fame will create and produce ‘Call Your Mother’, ABC’s newly picked comedy series featuring Kyra Sedgwick. ‘Young Rock’ will be put together by ‘Fresh Off the Boat’ creator Nahnatchka Khan and Dwayne Johnson for NBC, as well as ‘L.A. Mayor’, which will be helmed by Tina Fey and Robert Carlock.

While no one can blame any of the networks for trying to play it safe during the COVID-19 pandemic, it’s hard to deny the benefits of an actual pilot season, which has repeatedly been the way to go through screenings and testing of dark-horse projects that might end up being incredibly popular—CBS’s ‘Blue Bloods’ and ABC’s ‘Grey Anatomy’ are but two examples. Broadcasters still plan on shooting some pilots later this year, but most will be rolled into the next pilot season.

There are also a few promising titles based on original ideas that don’t bear the usual signatures of NBC and Fox producers, which are the only networks that haven’t yet ordered series for any of their pilots. Among them, NBC’s ‘Debris’ and ‘Ordinary Joe’ stand out, along with Fox’s ‘Blood Relative’.

The current disruption of the flawed broadcast development cycle is clear, though, and it comes with unexpected benefits in the long run. Today’s programming choices might seem conventional to most, but the pilot season has been forced to change its pattern. Many doubt it will ever go back to pre-pandemic standards, which might in turn help bring fresh ideas to the table and push broadcasters into taking more chances without hanging everything on a single pilot.

Better known for his roles as Pennywise in ‘It’ (2017) and The Kid in ‘Castle Rock’ (2018-2019), Bill Skarsgård has recently been chosen to play Swedish criminal Clark Olofsson in a six-part Netflix series titled ‘Clark’.

A Swedish language adaptation of Olofsson’s autobiography, ‘Clark’ will follow the convicted drug trafficker and bank robber’s criminal escapades dating back to the 1960s. He is the one who popularized the term ‘Stockholm Syndrome’, in which hostages forge an affinity with their abductor. This happened after a failed bank robbery in the Swedish capital in 1973.

BILL SKARSGÅRD

Jonas Åkerlund of ‘Lords of Chaos’ (2018) fame will direct the series, which is produced by Scandinavian Content Group. He will be joined by Fredrik Agetoft and Peter Arrhenius on the writers’ team, and he will also be the executive producer, along with Hans Engholm and Bill Skarsgård.

‘Clark Olofsson is, for good and bad, one of Sweden’s most colourful and fascinating individuals. I accept this challenge with delight mingled with terror and think that with Jonas and Netflix in the back, we can tell a ground-breaking story with a pace and madness we may not have seen on TV before’, said Mr Skarsgård.

Mr Åkerlund added: ‘Clark is the story about the most politically incorrect man, who lived the most politically incorrect life. These are the kinds of stories I always look for.’

Also known as Alexander Skarsgård’s younger and equally talented brother (not to mention Stellan Skarsgård’s son), Bill Skarsgård will also be seen in ‘The Devil All the Time’ (2020) on Netflix, later this year, and he’s due to feature in Edson Oda’s ‘Nine Days’ (2020) alongside Zazie Beetz and Winston Duke. While 2020 has been throwing some nasty curveballs at us, it looks as though things are looking up for us, cinephiles, since we’re bound to see more of Mr Skarsgård by December.

There have long been stories that address the ‘what if’ question regarding various aspects of human history. What if the German Nazis had won World War II? What if Charles Babbage had gone further with his Difference Engine, thus pushing Britain through a more technologically advanced Victorian Era? What if slavery had never been abolished? Crafting alternate pasts is but one subsection of the greater speculative fiction genre. It is also an incredibly creative process to imagine what an entire world would have been like, had certain events occurred differently or not at all.

It’s one thing to change snippets of history to better fit a true story into its compressed silver screen format, like tweaking a character’s timeline or the order of events in a biopic, for example. Such modifications have led critics to accuse many films of historical inaccuracies. Some of cinema’s worst offenders on that topic include ‘Alexander’ (2004), directed by Oliver Stone and starring Colin Farrell and Angelina Jolie, ‘Argo’ (2012), directed by and starring Ben Affleck, and ‘Marie Antoinette’ (2006), directed by Sofia Coppola and starring Kirsten Dunst.

But it’s a whole other thing to change history altogether and envision a world that basically exists theoretically in a parallel universe. Alternate history is a gargantuan challenge, and few writers and screenwriters have successfully taken it on.

‘ARGO’ (2012)

In Literature

A champion of the subgenre is Philip K. Dick, one of the fathers of modern science fiction. ‘The Man in the High Castle’ imagines a different political map, one where the Second World War was won by the Germans and the Japanese. There have been other stories addressing a similar topic, such as Robert Harris’s ‘Fatherland’, but Mr Dick’s novel—a winner of the Hugo Award, does a phenomenal job of envisioning the struggles of an America split in half. The east belongs to the Reich, while the west is owned by the Empire of the Sun. The plot catches fire when proof emerges of a parallel world where the Allies won the war, instead of the Axis. We’ll meet ‘The Man in the High Castle’ again, later on.

Michael Chabon published ‘The Yiddish Policemen’s Union’ in 2007. During World War II, the temporary settlement for Jewish refugees fleeing Nazi persecution was established in Sitka, Alaska, in 1941, followed by the destruction of Israel’s fledgling state in 1948. The novel works as a detective story in present day, imagining a world where Sitka is a large, Yiddish-speaking metropolis. It won a slew of literary awards, including the Nebula, Locus and Hugo for its exceptional writing and daring creativity.

My third favourite novel of the subgenre was written by Ben H. Winters, titled ‘Underground Airlines’. It was published in 2016, and it presents an America where the Civil War never happened because Abraham Lincoln was assassinated prior to his 1861 inauguration. A version of the Crittenden Compromise passed, instead, leaving slavery legal in the so-called ‘Hard Four’ (Alabama, Louisiana, Mississippi, and a unified Carolina). The novel’s name is a nod to the Underground Railroad, a system used by freed and runaway slaves to escape the southern persecution—Harriet Tubman was one of its most proficient agents. ‘Underground Airlines’ does a phenomenal job of exploring racism through this alternate history mechanism, and I’m hoping to see a televised adaptation soon enough, since there have been reports of Mr Winters penning a pilot screenplay.

‘UNDERGROUND AIRLINES’ BY BEN H. WINTERS, ©MULHOLLAND/HACHETTE

On the Screen

Speaking of adaptations, and Philip K. Dick, in particular, ‘The Man in the High Castle’ (2015-2019) is one of the best series to come out of Amazon Studios. Created by Frank Spotnitz of ‘The X-Files’ (1998) and ‘Medici’ (2016-2018) fame, the dystopian drama features stellar performances from Alexa Davalos, Joel de la Fuente, Rufus Sewell, Cary-Hiroyuki Tagawa and Chelah Horsdal. It explores Mr Dick’s revised reality and a broken, trampled America where hope emerges in the form of a reel presenting a different ending to the Second World War.

It garnered plenty of applause, along with two Primetime Emmy Awards for Outstanding Cinematography for a Single-Camera Series and Outstanding Main Title Design, hitting the Prime Video streaming service in an era where the rise of nationalism and white supremacy were clogging news chyrons across the world. ‘The Man in the High Castle’ is as relevant today, in its televised form, as it was back in 1962, when its source material was first published.

‘THE MAN IN THE HIGH CASTLE’ (2015-2019), ©AMAZON STUDIOS

The alternate history subgenre has done exquisitely well without source material, too. Quentin Tarantino has given us two brazen movies exploring different realities. The first, ‘Inglourious Basterds’ (2009), follows a group of Jewish U.S. soldiers in Nazi-occupied France during WWII as they collide with a theatre owner in a bid to accomplish the same thing: the assassination of Hitler.

Sprinkled with plenty of ‘Tarantinian’ humour and the sharp thespian talents of Brad Pitt, Christoph Waltz, Diane Kruger and Eli Roth, the film went on to collect an Academy Award for Best Performance by an Actor in a Supporting Role, given to the aforementioned Mr Waltz. ‘Inglourious Basterds’ has plenty of the acclaimed director’s signature violence, as well, but its absurd hilarity and revenge movie vibe are what truly set it apart from other ‘revisionist’ endeavours. Plus, Hitler dies in this one, thus suggesting a different outcome for that war.

The second, ‘Once Upon a Time… in Hollywood’ (2019), bends time as it retells the Manson family murders of Sharon Tate and company. The gruesome events are not the backbone of the story, however, though the Manson family narrative is weaved through the movie—Spahn Ranch, Tex Watson, and ‘Charlie’ Manson, along with the presence of Margot Robbie’s Sharon Tate. The film focuses more on Brad Pitt and Leonardo DiCaprio’s characters, and it finally got Mr Pitt a much-deserved Oscar this year.

Mr Tarantino’s filmmaking bravura is crazy, to say the least, but it delivers bold, beautiful and brutal cinema. By most standards, ‘Once Upon a Time… in Hollywood’ is his best since ‘Kill Bill: Vol. 1’ (2003), and beyond his touches of banter and constant movie references, it’s easy to see the craft that’s at play here.

‘ONCE UPON A TIME… IN HOLLYWOOD’ (2019), ©COLUMBIA PICTURES

‘C.S.A.: The Confederate States of America’ (2004) is a lesser known but critically acclaimed work of alternate history fiction written and directed by Kevin Willmott of ‘BlacKkKlansman’ (2018) renown. The film takes a satirical and humorous nuance through the lens of a British ‘mockumentary’, though it frequently presents us with downright frightening tones as it peruses the history of an America where the South won the Civil War.

This wasn’t Willmott’s only foray into the ‘what if’ explorations concerning the fate of African Americans. His comedy feature ‘Destination Planet Negro’ (2013), where African American leaders respond to Jim Crow segregation by building a rocket to colonize Mars in 1939, didn’t receive the same level of praise as ‘C.S.A.: The Confederate States of America’, however. The latter succeeds in recreating the documentary style of Ken Burns while dispensing a most ambitious second reality—one which could’ve easily come to pass, had the Confederate South prevailed against the North.

‘C.S.A.: THE CONFEDERATE STATES OF AMERICA’ (2004), ©HODCARRIER FILMS

‘Swing Vote’ (1999), directed by David Anspaugh, gives us a world where Roe v. Wade was overturned by the Supreme Court. The State of Alabama has subsequently charged a woman with first degree murder for having an abortion. Andy Garcia’s Joseph Kirkland has just been appointed as a Supreme Court Justice, and he’s faced with an emotional issue, since he is basically the swing vote that could get Lisa Gay Hamilton’s Virginia Mapes convicted for murder.

The straight-to-TV film wasn’t as spectacular or as complex as other titles discussed above, but it does approach a topic that is important to most women today. Once again, considering the current social and political climate, it’s hard not to fearfully wonder what America would be like with the destruction of such crucial rights.

‘SWING VOTE’ (1999), ©COLUMBIA TRISTAR TELEVISION

Honourable mentions include ‘SS-GB’ (2017), the BBC television drama that follows a British homicide detective as he investigates a murder in German-occupied England—yet another speculation of the Second World War where the Third Reich claimed a crushing victory. ‘Red Dawn’ (1984) has Patrick Swayze and Charlie Sheen involved in a scenario at the dawn of World War III, when Soviet forces invade mid-Western America. Brian Flemming’s ‘Nothing So Strange’ (2002) mockumentary examines the 2^nd December 1999 assassination of Bill Gates, Microsoft CEO.

Truth be told, there are numerous pivotal points in our history where things could have gone the other way. It is our job as writers to continue imagining what such worlds would look like, not only for the purpose of creating extraordinary speculative fiction, but also to remind viewers of how important learning from our past truly is.

The thing with successful TV series is that fans can’t get enough of them. Alas, all good things must come to an end, but in a bid to satisfy the viewers and to keep profits high, producers often consider spin-offs as a solution. Often, spin-offs fall flat. In some cases, they’re more beloved than the originals from which they were forged.

Where the big screen is concerned, continuity is fundamental—especially with superhero flicks; vast universes and at least five sequels are planned before the first film has even gone into production. It’s not as easy for the small screen. There are certain do’s and don’ts that must be taken into account, and each of these elements could easily make or break the spin-off.

‘THE LONE GUNMEN’ (2001), ©20TH CENTURY FOX TELEVISION

The Yeas and the Nays

For example, it’s a great idea to take familiar characters in a new direction, like David Angell, Peter Casey and David Lee did with ‘Frasier’ (1993-2004). Another fruitful avenue is to offer new heroes within the same fictional world, which we’ve seen working beautifully with Disney’s ‘The Mandalorian’ (2019).

And who doesn’t like a good prequel by delving into the past of a much beloved character? Viewers welcomed Vince Gilligan and Peter Gould’s take on Jimmy McGill in ‘Better Call Saul’ (2015) with arms wide open, after he’d already sparked their interest in ’Breaking Bad’ (2008-2013).

‘JOEY’ (2004-2006), ©WARNER BROTHERS TELEVISION

On the other side of the spectrum, the most underwhelming spin-offs have failed for a variety of reasons. Rehashing what was already done has not, does not, and will never work. ‘Joey’ (2004-2006) more than proved it by feeding viewers worn-out jokes that made ‘Friends’ (1994-2004) appealing. Too much of the same was bound to backfire.

Another major mistake is to simply overestimate the popularity of a minor character; what worked in ‘The X-Files’ (1993-2018) for Byers et al quickly fizzled in ‘The Lone Gunmen’ (2001), because no one was ever truly interested in watching a show entirely dedicated to three misfit conspiracy experts who played second fiddle to Mulder and Scully a few times.

Asking questions that nobody cared about has tanked its share of spin-offs, too; the only ones who wondered about what Superman’s grandfather was like were the Syfy producers who gave us ‘Krypton’ (2018-2019), which somehow made it through two seasons before being put out of its misery; sure, David S. Goyer and Damian Kindler had good intentions, but there’s only so much one can extract from a cinematic universe that has been basically bled dry.

‘KRYPTON’ (2018-2019), ©SYFY

Hitting the Mark

Of the spin-offs that weren’t just as good as the original but managed to exceed expectations, I can easily and wholeheartedly refer you to ‘Star Trek: The Next Generation’ (1987-1994). Gene Roddenberry gave us a science fiction treasure trove with his tales of Starfleet adventures that took beloved heroes where no one has gone before. The original ‘Star Trek’ (1966-1969) embedded itself in television history as a revolutionary production that defied that era’s creative norms. It also made timeless stars out of William Shatner, Leonard Nimoy, George Takei, and Nichelle Nichols as Uhura—the first African-American woman to have a continuing co-starring role on TV who also gave us the first interracial onscreen kiss. ‘Star Trek’ deserved better than it got, in retrospect.

It generated a multitude of spin-offs and feature-length films, but only ‘Star Trek: The Next Generation’ was able to rise to the occasion. The show grew into a veritable grand space opera adventure that stayed loyal to its original whilst exploring new avenues through new and charming characters. Despite its rocky start, the series gathered a massive fanbase, conquering us with Patrick Stewart’s brilliant Captain Jean-Luc Picard and Brent Spiner’s Data, the latter most appealing through an effort to reconcile his own desire for humanity with his robotic design.

‘STAR TREK: THE NEXT GENERATION’ (1987-1994), ©PARAMOUNT TELEVISION

Mentioned earlier, ‘The Mandalorian’ is another prime example of a spin-off that hits the mark. It also shows how a creative team can mine TV gold from a well-known source. The series is based on a movie franchise, rather than a series, but Jon Favreau is triumphant in recreating the original ‘Star Wars’ look, imagining what happened once the Mandalorian character left the trilogy.

The show’s protagonist, Mando, has become an instant hero, splendidly brought to life by Pedro Pascal of ‘Narcos’ (2015-2017) and ‘Game of Thrones’ (2011-2019) fame. On top of that, few expected The Child, better known as Baby Yoda, to have such an impact on audiences. Favreau manages to take imagery from the past and craft it into something that stands to be highly anticipated in the future, as well.

‘THE MANDALORIAN’ (2019), ©LUCASFILM/WALT DISNEY STUDIOS

‘Better Call Saul’ doesn’t surpass ‘Breaking Bad’ which, to this day, is still a prime example for the television medium as an artform. The spin-off is excellent, however, as it is slated for a 6^th season in 2021. Chronicling the trials and tribulations of Jimmy McGill in a time before his strip-mall law office in Albuquerque, New Mexico, ‘Better Call Saul’ offers us glimpses of other characters from the main series, such as Maximino Arciniega’s Krazy-8 and Jonathan Banks’s Mike Ehrmantraut, who show up from time to time like a blast from… well, the future, since it’s a prequel.

The show offers something fresh by digging into the past, collecting an impressive number of award nominations along the way and without making the viewers wonder about Saul/Jimmy’s post-‘Breaking Bad’ career managing a Cinnabon in Nebraska. It is absolutely delightful because it shows us how Saul truly came to be, in a sense.

‘BETTER CALL SAUL’ (2015), ©NETFLIX

‘Buffy the Vampire Slayer’ (1997-2003) took an average movie and turned it into a ground-breaking cult classic series. Joss Whedon changed the matrix of fantasy television with his take on vampires and the supernatural. One memorable and much-loved character that got his own spin-off was Angel, the vampire cursed with a soul, played by David Boreanaz. ‘Angel’ (1999-2004) came after two seasons of the original and lasted for five of its own, applauded for darker and more adult storylines.

Buffy, as a character, was designed to grow up with her audience, while Angel simply trusted that his viewers were already there and ready to go beyond the worries and distractions of high-school and college life. The show was also proficient in the art of crossovers, with more than one episode bringing the two threads together and never afraid of pulling punches. In fact, ‘Angel’ is considered by many as one of the rare instances in which the spin-off is better than the original.

‘ANGEL’ (1999-2004), ©20TH CENTURY FOX TELEVISION

‘Frasier’ recorded a similar success in its 11-season run. Building from the beloved ‘Cheers’ (1982-1993) which gave us memorable comedic performances from Ted Danson, Shelley Long and Rhea Perlman, to name but a few, ‘Frasier’ took Doctor Frasier Crane to Seattle to become a radio show psychiatrist.

The show struck gold with its eloquent, witty and intelligent humour, as Frasier—the oddball former member of the ‘Cheers’ blue-collar ensemble—doled out advice to his listeners. Focusing on the social ineptitude of its characters, the spin-off went on to win 37 Emmy awards, including five years in a row for Outstanding Comedy.

‘FRASIER’ (1993-2004), ©PARAMOUNT TELEVISION

Crashed and Burned

‘Bones’ (2005-2017) will always stand out as one of the better procedurals, mainly over the onscreen chemistry between empirical forensic anthropologist Temperance ‘Bones’ Brennan and tough all-American FBI Agent Seeley Booth, beautifully portrayed by Emily Deschanel and David Boreanaz, respectively. Hart Hanson tried to whip up the same magic with ‘The Finder’ (2012), which takes place in the same fictional world but fails miserably.

Its backdoor pilot premiered on the sixth season of ‘Bones’, and the show itself focuses on the investigative adventures of Walt Sherman who, after a traumatic brain injury during the Iraq War, can see patterns that others can’t. Geoff Stults, Michael Clarke Duncan, Mercedes Masohn and Maddie Hasson headlined the spin-off, which, like the original, was based on books—in this case, ‘The Locator’ by Richard Greener. It only lasted a season, lacking the appeal that kept viewers glued to their TV screens during ‘Bones’.

‘THE FINDER’ (2012), ©20TH CENTURY FOX TELEVISION

‘Happy Days’ (1974-1984) was a gem of American television, made memorable by the likes of Ron Howard and Henry Winkler, among others. It also launched a fruitful franchise on ABC, with several popular spin-offs such as ‘Mork & Mindy’ (1978-1982), which brought Robin Williams into the spotlight, and ‘Laverne & Shirley’ (1976-1983). ‘Joanie Loves Chachi’ (1982-1983), with Scott Baio as Chachi Arcola and Erin Moran as Joanie Cunningham, however, flopped and then some.

Considered as one of the worst spin-offs of all time, ‘Joanie Loves Chachi’ followed its protagonists as they tried to break into the music business in the mid-1960s. It started off well, with its first season penned by the writers behind ‘Happy Days’, but it nosedived into its second season, leaving most audiences bewildered and disappointed. People wanted more of the Fonz, not Joanie and Chachi.

‘JOANIE LOVES CHACHI’ (1982-1983), ©PARAMOUNT TELEVISION

When Russell T. Davies took over ‘Doctor Who’ (2005), it opened the door to a plethora of spin-offs with varied degrees of success. ‘Torchwood’ (2006-2011) gave us wicked times with John Barrowman, and ‘The Sarah Jane Adventures’ (2007-2011) was an absolute hit with younger audiences during its impressive run. ‘Class’ (2016) is one of the lesser ‘children’, mainly because it missed the ‘Doctor Who’ demographic by years, choosing to focus on a group of teenagers attending the Coal Hill School, where the Doctor once acquired his first companions.

Starring Greg Austin, better known as Travis Leich in ‘Hunters’ (2020), ‘Class’ was supposed to appeal to younger viewers with subtle nods to shows such as ‘Buffy the Vampire Slayer’ and ‘Teen Wolf’ (2011-2017). Despite its initial stellar reviews, the show began to slide into poor ratings, having found its rescue in a series of audio dramas from Big Finish. The small screen doesn’t want it anymore.

 ‘CLASS’ (2016), ©BBC AMERICA

The One That Got Away

Of all the TV series that fans would absolutely love to get a spin-off from, ‘Supernatural’ (2005-2020) has missed the mark three times with backdoor pilots that never got a full season order. The supremely adored cult favourite and genre-masher has been around for fifteen years and is currently saying goodbye with its final season. Given the superb dynamic between Jensen Ackles’ Dean and Jared Padalecki’s Sam, further aided by a slew of memorable characters such as the angel Castiel (Misha Collins), the demon king Crowley (Mark Sheppard), veteran hunter Bobby Singer (Jim Beaver) and Lucifer (Mark Pellegrino), to name but a few, it’s hard not to imagine a good spin-off coming out of this gargantuan TV accomplishment.

‘SUPERNATURAL’ (2005-2020), ©KRIPKE ENTERPRISES/WARNER BROS. TELEVISION

But CW President Mark Pedowitz explained during a press tour at the 2018 Summer Television Critics Association that none of the three proposed spin-off projects had the promise of the ‘Supernatural’ boys past the first episode. Truth be told, Ackles and Padalecki have shouldered the series for a decade and a half, and the show’s writers have struggled to bring the same pizzazz to other pilots within the same universe. Mr Pedowitz has not fully dismissed the idea of a ‘Supernatural’ spin-off in the future, but most hopes were dashed when the ‘Wayward Sisters’ episode failed to get a greenlight.

In the end, spin-offs remain as elusive as ever. Sometimes they work and even surpass the originals. Sometimes they fail because the plot and characters weren’t strong enough to stand on their own. And occasionally, the original is just too powerful to allow an adjacent story to survive beyond the writers’ room. Caution is advised, either way, because a spin-off will always be faced with the challenge of following in the footsteps of giants.

BBC Writersroom have just launched InterConnected, an initiative to create new scriptwriting opportunities in these unparalleled times. Four of the best scripts will be produced and released on BBC platforms throughout April.

In the words of Anne Edyvean, Head of BBC Writersroom: ‘Here at BBC Writersroom we believe in the power of stories and storytellers to keep us hopeful, entertained and to help us make sense of the world, particularly in such a strange and unprecedented time as the one we find ourselves in now.’

Script requirements:

BBC Writersroom are looking for original short-form scripts, 5-10 minutes long, about 2-4 characters who now find themselves in isolation, but who are communicating via video conferencing. They may be friends, lovers, neighbours, colleagues, family or strangers. But they’re all alone together and using modern technology to stay connected.

Anne Edyvean: ‘We want stories that take place throughout and via a conference call. Stories that show a moment of human interaction in an otherwise socially distanced world. Though of course, when it feels like the end of the world, the things we choose to say or the truths we reveal to one another may be the most surprising.

We want scripts that are compelling and hook us in. Ideas that have warmth and spirit, that astonish, amuse or enlighten us. They should be set now or in the near future.’

Aside from having their script turned into a short film, the winning writers will each receive £300 for their script.

Application deadline: Monday 30th March at 12 noon.

For more information, as well as to apply, visit the BBC Writersroom website.

The RTS Programme Awards 2020 took place on 17 March and it was the very first time for the awards ceremony to be live-streamed, a decision prompted by the coronavirus outbreak which forced the majority of live shows to be postponed or cancelled.

Writer and comedian Paul Merton revealed the winners and crowned them in absentia.

NCUTI GATWA AS ERIC IN SEX EDUCATION. PHOTO BY SAM TAYLOR/NETFLIX

A few notable wins of this year’s edition were Phoebe Waller-Bridge who received the award for Writer (Comedy) for her terrific work on ‘Fleabag’, Ncuti Gatwa’s Comedy Performance (Male) award for his brilliant portrayal of Eric in the teen TV comedy show ‘Sex Education’, and Stephen Graham’s win in the ‘Actor (Male)’ category for his heart wrenching performance as Joseph in ‘The Virtues’.

Phoebe Waller-Bridge’s short but exceptional track record makes her a force to be reckoned with. Award-winning actress, producer and scénariste extraordinaire, Phoebe has also written and created the smash hit TV series ‘Killing Eve’, and was asked to work her scriptwriting magic on the new Bond film, ’No Time to Die’, set to release later this year.

STEPHEN GRAHAM AND SHEA MICHAEL SHAW IN THE VIRTUES. © DEAN ROGERS/CHANNEL 4

Stephen Graham’s win comes as no surprise, as the actor has had a fantastic 2019, doing a magnificent job in a few outstanding small and silver screen productions, such as portraying Anthony ‘Tony Pro’ Provenzano in Martin Scorsese’s Oscar-nominated ‘The Irishman’, Dick James in the Elton John biopic ‘Rocketman’, and Detective Sergeant John Corbett in the hit detective TV series ‘Line of Duty’.

The winners in full:

Actor (Female)

WINNER – Tamara Lawrance – The Long Song (Heyday Television and NBCUniversal International Studios for BBC One)

“Captivating and full of humanity, conveying an almost unimaginable strength in the darkest of moments”

Nominees:

• Niamh Algar – The Virtues (Warp Films and Big Arty Productions for Channel 4)
• Suranne Jones – Gentleman Jack (A Lookout Point Production in association with HBO for BBC One)

Actor (Male)

WINNER – Stephen Graham – The Virtues (Warp Films and Big Arty Productions for Channel 4)

“Utterly mesmerising and steeped in a real rawness – we were seeing an actor discovering new places to go emotionally in his work”

Nominees:

• Jared Harris – Chernobyl (Sister, The Mighty Mint and Word Games in association with HBO for Sky Atlantic)
• Micheal Ward – Top Boy (Cowboy Films, Easter Partisan Films, Dream Crew and SpringHill Entertainment for Netflix)

Arts

WINNER – Bros: After The Screaming Stops (Fulwell 73 for BBC Four)

“Remarkable access, and a masterful study in the tensions and triumphs of the creative process that was – at times – brutally honest, but ultimately moving”

Nominees:

• imagine…James Graham: In the Room Where It Happens (BBC Studios for BBC One)
• Superkids: Breaking Away From Care (Expectation for Channel 4)

Breakthrough Award

WINNER – Tanya Moodie – Motherland (Merman Television and Delightful Industries for BBC Two)

“Genuinely, a star in the making”

Nominees:

• Aisling Bea – This Way Up (Merman Television for Channel 4)
• Tim Renkow – Jerk (Roughcut TV and Primal Media for BBC Three)

Children’s Programme

WINNER – Zog (Magic Light Pictures for BBC One)

“This felt special, a real piece of inclusive quality television full of positive messages and warmth.”

Nominees:

• The Athena (Bryncoed Productions for Sky Kids)
• Step Up to the Plate (Lion TV for CBBC)

Comedy Performance (Female)

WINNER – Saoirse-Monica Jackson – Derry Girls (Hat Trick Productions for Channel 4)

“A truly stand-out performance in a brilliantly funny series, she confidently commits to the character despite the craziness of the world she inhabits”

Nominees:

• Phoebe Waller-Bridge – Fleabag (Two Brothers Pictures in association with All3Media International for BBC Three and Amazon Prime Video)
• Diane Morgan – Motherland (Merman Television and Delightful Industries for BBC Two)

Comedy Performance (Male)

WINNER – Ncuti Gatwa – Sex Education (Eleven Film for Netflix)

“Perfectly balanced, combining slapstick and big comic set pieces with moments of tender emotion and great heart in a truly wonderful series”

Nominees:

• Alex Murphy & Chris Walley – The Young Offenders (Vico Films and Rotator for BBC Three)
• Youssef Kerkour – Home (Jantaculum and Channel X for Channel 4)

Daytime Programme

WINNER – The Repair Shop (Ricochet for BBC One)

“The passion pours through the screen. Produced with great confidence and real commitment, it’s a show that feels just right for today’s audience”.

Nominees:

• Good Morning Britain (ITV Studios Daytime for ITV)
• Beat the Chef (Twofour and Motion Content Group for Channel 4)

Documentary Series

WINNER – The Choir: Our School By The Tower (Twenty Twenty Productions for BBC Two)

“A genuine insight into lives that we rarely see captured so vividly and so carefully on television”.

Nominees:

• Hometown: A Killing (7 Wonder for BBC Three)
• Crime and Punishment (72 Films for Channel 4)

Drama Series

WINNER – Gentleman Jack (A Lookout Point Production in association with HBO for BBC One)

“Sharply written, beautifully acted and directed, and all built around relationships which genuinely caught the audience’s imagination”

Nominees:

• The Capture (Heyday Television and NBCUniversal International Studios for BBC One)
• Ackley Bridge (The Forge Entertainment for Channel 4)

Entertainment

WINNER – RuPaul’s Drag Race UK (World of Wonder Productions for BBC Three)

“In its own unique way, it said something rather unexpected and fun about being British, as well as being full of warmth and laughs”.

Nominees:

• Love Island (ITV Studios Entertainment/Motion Content Group for ITV2)
• Britain’s Got Talent (Thames/Syco for ITV)

Entertainment Performance

WINNER – London Hughes Don’t Hate The Playaz (Monkey Kingdom for ITV2)

“Authentic, witty, and with an infectious personality”.

Nominees:

• Mo Gilligan The Lateish Show with Mo Gilligan (Expectation and Momo G for Channel 4)
• Stephen Mulhern In For A Penny (ITV Studios Entertainment/Mitre Television for ITV)

Formatted Popular Factual

WINNER – The British Tribe Next Door (Voltage & Motion Content Group for Channel 4)

“Genuinely innovative, bravely breaking new ground as a format, an idea realised and executed impeccably well”

Nominees:

• The Circle (Studio Lambert & Motion Content Group for Channel 4)
• Celebrity Gogglebox (Studio Lambert for Channel 4)

History

WINNER – Jade: The Reality Star Who Changed Britain (Blast! Films for Channel 4)

“A provocative, highly revealing piece of work full of many challenging questions still to be answered”

Nominees:

• Spotlight on The Troubles: A Secret History (BBC NI for BBC Four and BBC One Northern Ireland)
• The Last Survivors (Minnow Films for BBC Two)

Live Event

WINNER – Stormzy At Glastonbury 2019 (BBC Studios for BBC Two)

“This transcended the event to become a significant national moment, as well as an outstanding television spectacle”

Nominees:

• The Royal British Legion Festival of Remembrance (BBC Studios for BBC One)
• The BRIT Awards 2019 (BRITs TV for ITV)

Mini-Series

WINNER – The Long Song (Heyday Television and NBCUniversal International Studios for BBC One)

“An extraordinary achievement in storytelling and a stand-out piece of important television”

Nominees:

• Chernobyl (Sister, The Mighty Mint and Word Games in association with HBO for Sky Atlantic)
• Years and Years (Red Production Company for BBC One)

Presenter

WINNER –  Mobeen Azhar Hometown: A Killing (7 Wonder for BBC Three)

“A uniquely engaging and compelling presence on screen”

Nominees:

• Vicky McClure Our Dementia Choir with Vicky McClure (Curve Media co-produced with The Open University for BBC One)
• Fred Brathwaite A Fresh Guide to Florence with Fab 5 Freddy (BBC Studios for BBC Two)

RTS Channel of the Year

WINNER – Channel 5

“A confident broadcaster reaping the rewards of years of steady growth and development – a channel that increasingly now both surprises and delights”

Nominees:

• BBC Three
• Sky Atlantic

Science and Natural History

WINNER – The Parkinson’s Drug Trial: A Miracle Cure? (Passionate Productions for BBC Two)

“Produced with immense care over a long period, it was informative, packed with drama and emotion”.

Nominees:

• The Planets (A BBC Studios Production with NOVA and WGBH Boston for BBC, PBS co-produced by Tencent Penguin Pictures. A BBC Open University Partnership for BBC Two)
• 8 Days: To the Moon and Back (BBC Studios, PBS & The Open University, The Science Unit for BBC Two)

Scripted Comedy

WINNER – Fleabag (Two Brothers Pictures in association with All3Media International for BBC Three and Amazon Prime Video)

“Beautifully accomplished, supremely well written and performed”

Nominees:

• Stath Lets Flats (Roughcut TV for Channel 4)
• Derry Girls (Hat Trick Productions for Channel 4)

Single Documentary

WINNER – War in the Blood (Minnow Films for BBC Two)

“A consummate piece of work…subtle and unsensational, immaculately balanced but uncompromising”

Nominees:

• Undercover: Inside China’s Digital Gulag (Hardcash Productions for ITV)
• David Harewood: Psychosis and Me (Films of Record co-produced with The Open University for BBC Two)

Single Drama

WINNER – The Left Behind (BBC Studios for BBC Three and BBC Cymru Wales)

A smart piece that shone a light on the real state of the nation, telling multi-layered stories in an emotional and nuanced way”

Nominees:

• Brexit: The Uncivil War (House Productions in association with HBO for Channel 4)
• Doing Money (Renegade Pictures for BBC Two)

Soap and Continuing Drama

WINNER – Casualty (BBC Studios for BBC One)

“Excellent central dramatic performances combined with an authentic and gripping story”

Nominees:

• EastEnders (BBC Studios for BBC One)
• Coronation Street (ITV Studios for ITV)

Sports Presenter, Commentator or Pundit

WINNER – Alex Scott 2019 FIFA Women’s World Cup (Input Media [now known as Gravity Media] and BBC Sport for BBC One, BBC Two, BBC Four and BBC iPlayer)

“A former player willing to draw on immense knowledge of the game to bring confident, concise analysis in a refreshing, inspiring way”. 

Nominees:

• Nasser Hussain The Ashes (Sky Sports for Sky Sports Cricket)
• Gareth Thomas 2019 Rugby World Cup (BBC Sport for BBC One)

Sports Programme

WINNER – ICC Cricket World Cup Final (Sky Sports & Sunset+Vine for ICC TV and Sky Sports Cricket)

“A spectacular and extraordinary moment in sporting history, captured brilliantly by a production team clearly right at the top of their own game”

Nominees:

• 2019 Rugby World Cup (ITV Sport for ITV)
• FIFA Women’s World Cup 2019 – Semi Final: England v USA (Input Media [now known as Gravity Media] and BBC Sport for BBC One)

Writer (Comedy)

WINNER – Phoebe Waller-Bridge Fleabag (Two Brothers Pictures in association with All3Media International for BBC Three and Amazon Prime Video)

“Every now and then, a show comes along that’s so unique and distinctive you know there’ll never be another remotely like it…and that’s the sign of a truly special creative mind”

Nominees:

• Laurie Nunn Sex Education (Eleven Film for Netflix)
• Danny Brocklehurst Brassic (Calamity Films for Sky One)

Writer (Drama)

WINNER – Craig Mazin Chernobyl (Sister, The Mighty Mint and Word Games in association with HBO for Sky Atlantic)

“It was a complex story told with a compulsive narrative shape – profound and affecting. The writer unflinchingly presented prescient and relevant themes”

Nominees:

• Roy Williams Soon Gone: A Windrush Chronicle (A Douglas Road and Young Vic Production for BBC Four)
• Neil Forsyth Guilt (Happy Tramp North and Expectation for BBC Scotland and BBC Two)

Judges’ Award

WINNER – Jane Featherstone (Founder and Chief Executive, Sister Pictures)

The recipient of this prestigious honour is a Producer of drama who – over the last twelve months in particular – has shown that her time has truly come.

In light of the rapid developments in the global coronavirus (COVID-19) outbreak and in response to the Prime Minister’s statement on Monday urging the UK public to avoid unnecessary social contact, RTS have made the decision to live stream the RTS Programme Awards 2020 this year.

The RTS Programme Awards 2020, in partnership with Audio Network, will be live streamed for the very first time at 7pm on 17 March. The awards ceremony will be hosted by Paul Merton who will crown the winners in absentia.

The full list of nominations are as follows:

Actor (Female)

Niamh Algar – The Virtues (Warp Films and Big Arty Productions for Channel 4)

Suranne Jones – Gentleman Jack (A Lookout Point Production in association with HBO for BBC One)

Tamara Lawrance – The Long Song (Heyday Television and NBCUniversal International Studios for BBC One)

Actor (Male)

Jared Harris – Chernobyl (Sister, The Mighty Mint and Word Games in association with HBO for Sky Atlantic)

Micheal Ward – Top Boy (Cowboy Films, Easter Partisan Films, Dream Crew and SpringHill Entertainment for Netflix)

Stephen Graham – The Virtues (Warp Films and Big Arty Productions for Channel 4)

Arts

Bros: After The Screaming Stops (Fulwell 73 for BBC Four)

imagine…James Graham: In the Room Where It Happens (BBC Studios for BBC One)

Superkids: Breaking Away From Care (Expectation for Channel 4)

Breakthrough Award

Aisling Bea – This Way Up (Merman Television for Channel 4)

Tanya Moodie – Motherland (Merman Television and Delightful Industries for BBC Two)

Tim Renkow – Jerk (Roughcut TV and Primal Media for BBC Three)

Children’s Programme

The Athena (Bryncoed Productions for Sky Kids)

Step Up to the Plate (Lion TV for CBBC)

Zog (Magic Light Pictures for BBC One)

Comedy Performance (Female)

Diane Morgan – Motherland (Merman Television and Delightful Industries for BBC Two)

Phoebe Waller-Bridge – Fleabag (Two Brothers Pictures in association with All3Media International for BBC Three and Amazon Prime Video)

Saoirse-Monica Jackson – Derry Girls (Hat Trick Productions for Channel 4)

Comedy Performance (Male)

Alex Murphy & Chris Walley – The Young Offenders (Vico Films and Rotator for BBC Three)

Ncuti Gatwa – Sex Education (Eleven Film for Netflix)

Youssef Kerkour – Home (Jantaculum and Channel X for Channel 4)

Daytime Programme

Beat the Chef (Twofour and Motion Content Group for Channel 4)

Good Morning Britain (ITV Studios Daytime for ITV

The Repair Shop (Ricochet for BBC One)

Documentary Series

The Choir: Our School By The Tower (Twenty Twenty Productions for BBC Two)

Crime and Punishment (72 Films for Channel 4)

Hometown: A Killing (7 Wonder for BBC Three)

Drama Series

Ackley Bridge (The Forge Entertainment for Channel 4)

The Capture (Heyday Television and NBCUniversal International Studios for BBC One)

Gentleman Jack (A Lookout Point Production in association with HBO for BBC One)

Entertainment

Britain’s Got Talent (Thames/Syco for ITV)

Love Island (ITV Studios Entertainment/Motion Content Group for ITV2)

RuPaul’s Drag Race UK (World of Wonder Productions for BBC Three)

Entertainment Performance

London Hughes – Don’t Hate The Playaz (Monkey Kingdom for ITV2)

Mo Gilligan – The Lateish Show with Mo Gilligan (Expectation and Momo G for Channel 4)

Stephen Mulhern – In For A Penny (ITV Studios Entertainment/Mitre Television for ITV)

Formatted Popular Factual

The British Tribe Next Door (Voltage & Motion Content Group for Channel 4)

Celebrity Gogglebox (Studio Lambert for Channel 4)

The Circle (Studio Lambert & Motion Content Group for Channel 4)

History

Jade: The Reality Star Who Changed Britain (Blast! Films for Channel 4)

The Last Survivors (Minnow Films for BBC Two)

Spotlight on The Troubles: A Secret History (BBC NI for BBC Four and BBC One Northern Ireland)

Live Event

The BRIT Awards 2019 (BRITs TV for ITV)

The Royal British Legion Festival of Remembrance (BBC Studios for BBC One)

Stormzy at Glastonbury 2019 (BBC Studios for BBC Two)

Mini-Series

Chernobyl (Sister, The Mighty Mint and Word Games in association with HBO for Sky Atlantic)

The Long Song (Heyday Television and NBCUniversal International Studios for BBC One)

Years and Years (Red Production Company for BBC One)

Presenter

Fred Brathwaite – A Fresh Guide to Florence with Fab 5 Freddy (BBC Studios for BBC Two)

Mobeen Azhar – Hometown: A Killing (7 Wonder for BBC Three)

Vicky McClure – Our Dementia Choir with Vicky McClure (Curve Media co-produced with The Open University for BBC One)

RTS Channel of the Year

BBC Three

Channel 5

Sky Atlantic

Science and Natural History

8 Days: To the Moon and Back (BBC Studios, PBS & The Open University, The Science Unit for BBC Two)

The Parkinson’s Drug Trial: A Miracle Cure? (Passionate Productions for BBC Two)

The Planets (A BBC Studios Production with NOVA and WGBH Boston for BBC, PBS co-produced by Tencent Penguin Pictures. A BBC Open University Partnership for BBC Two)

Scripted Comedy

Derry Girls (Hat Trick Productions for Channel 4)

Fleabag (Two Brothers Pictures in association with All3Media International for BBC Three and Amazon Prime Video)

Stath Lets Flats (Roughcut TV for Channel 4)

Single Documentary

David Harewood: Psychosis and Me (Films of Record co-produced with The Open University for BBC Two)

Undercover: Inside China’s Digital Gulag (Hardcash Productions for ITV)

War in the Blood (Minnow Films for BBC Two)

Single Drama

Brexit: The Uncivil War (House Productions in association with HBO for Channel 4)

Doing Money (Renegade Pictures for BBC Two)

The Left Behind (BBC Studios for BBC Three and BBC Cymru Wales)

Soap and Continuing Drama

Casualty (BBC Studios for BBC One)

Coronation Street (ITV Studios for ITV)

EastEnders (BBC Studios for BBC One)

Sports Presenter, Commentator or Pundit

Alex Scott – 2019 FIFA Women’s World Cup (Input Media [now known as Gravity Media] and BBC Sport for BBC One, BBC Two, BBC Four and BBC iPlayer)

Gareth Thomas – 2019 Rugby World Cup (ITV Sport for ITV)

Nasser Hussain – The Ashes (Sky Sports for Sky Sports Cricket)

Sports Programme

2019 Rugby World Cup (ITV Sport for ITV)

ICC Cricket World Cup Final (Sky Sports & Sunset+Vine for ICC TV and Sky Sports Cricket)

FIFA Women’s World Cup 2019 – Semi Final: England v USA (Input Media [now known as Gravity Media] and BBC Sport for BBC One)

Writer (Comedy)

Danny Brocklehurst – Brassic (Calamity Films for Sky One)

Laurie Nunn – Sex Education (Eleven Film for Netflix)

Phoebe Waller-Bridge – Fleabag (Two Brothers Pictures in association with All3Media International for BBC Three and Amazon Prime Video)

Writer (Drama)

Craig Mazin – Chernobyl (Sister, The Mighty Mint and Word Games in association with HBO for Sky Atlantic)

Neil Forsyth – Guilt (Happy Tramp North and Expectation for BBC Scotland and BBC Two)

Roy Williams – Soon Gone: A Windrush Chronicle (A Douglas Road and Young Vic Production for BBC Four)

You can watch the RTS Programme Awards 2020 at 7pm on Tuesday 17 March here.