Dominic Treadwell-Collins on how the ’80s informed queerness in Rivals and *that* sex montage

As a long-time fan and admirer of the world of soap operas, I can wholeheartedly appreciate the profound impact and skill demonstrated by the creators of Rivals. With their rich storytelling background from Eastenders, they have managed to weave an intricate web of secrets, emotions, and character development that is truly captivating.

The Rainbow Crew represents a continuous interview collection that honors outstanding LGBTQ+ portrayals in the media. In each episode, we highlight individuals contributing behind and in front of the camera, such as queer artists and supporters of the community.

Next up, we’re speaking to Rivals writer/producer Dominic Treadwell-Collins.

Rivalries can be all-consuming, and the same is true of Rivals, Disney’s new show that pits a former Olympic champion against a successful TV producer in the fictional English county of Rutshire.

As a gamer, I must say the intense rivalry between Rupert Campbell-Black (Alex Hassell) and Lord Tony Baddingham (David Tennant) is nothing short of epic drama. They’re like two characters in an RPG game, gathering allies who are equally self-absorbed, either battling it out or engaging in relationships with each other. It’s a spectacle to behold!

Although Rivals may not shy away from its ’80s atmosphere, with bold and boisterous displays of wealth and intimacy, this doesn’t necessarily imply that it’s deliberately crude or sensationalistic.

In Dominic Treadwell-Collins’ adaptation of Jilly Cooper’s novel “Rivals”, he strives for more than just startling or amusing the audience. Indeed, the show delivers on both shock value and entertainment, but it offers a depth of complexity that may surprise you, particularly in its handling of sexual themes and queerness.

I recently had a chat with Treadwell-Collins about the portrayal of LGBTQ+ topics in his work, and how his experience on Eastenders prepared him for the delicate balance needed in creating Rivals.

Competitors instantly grasps the distinct essence of the setting right from the opening scene on the Concorde, where the 80’s ambiance is palpable and vibrant. Walk us through your approach to reimagining this particular milieu, yet with a contemporary perspective.

At the outset, we made sure our tone was spot-on, and it can be quite challenging to strike this balance. I’ve managed to achieve this tone in the show “A Very English Scandal.” For that production, we were meticulous about maintaining a tone that was both humorous and thought-provoking, carrying an undercurrent of gravity. It’s like walking a tightrope – it’s difficult to keep the balance just right.

In the process of crafting my screenplay for Rivals, our goal was to create an engaging setting that would entice the viewers to immerse themselves in it. This involved the music, style, and cuisine, among other elements. However, as the story unfolds, there can be a subtle introduction of more intense moments, giving the narrative a bit more depth and complexity.

In the first episode, Tony casually mentions to Cameron Cook that he arrived by boat earlier. Throughout the series, there are subtle and overt instances of prejudice and hostility that we should be mindful of. For instance, there’s an underlying homophobia towards Charles that is never explicitly addressed or challenged in the scene because no one chose to address it at the time.

1986 serves as the backdrop for the story. On my wall, there was a detailed timeline showing the world’s events. I made it a point to record Thatcher’s administration, Section 28, and the associated mindset. I recall the graveyard at school. I remember being at school and thinking, “Because I am gay, I am destined to die.” (This version preserves the original meaning while using simpler language and more conversational tone.)

“We were very careful to create a tone that was funny, but that also makes you think.”

Our creative team was a vibrant mix of society, including individuals identifying as LGBTQ+, people of various races, genders, and ages. Together, they discussed setting the story in 1986 while making it relatable to today’s audience. The music and hairstyles were impressive, yet it’s astonishing how much progress we’ve made since then, and yet, there’s still so much left to achieve.

Disney has been remarkable and incredibly helpful throughout our project. While it’s grown-up Disney, they’ve given us the freedom to explore new territories. They’ve granted us the opportunity to infuse our production with depth and emotion, which I believe sets Rivals apart from potential silliness. However, there are moments where we intentionally inject a touch of silliness as well.

The explicit scene at the end of episode one effectively illustrates this equilibrium. In a different show, such a scene could have been merely humorous or trivial; however, in this series, sex serves to reveal significant character development. Remarkably, it accomplishes this inclusively, reflecting the message that each character is complex, with their own desires and sexuality. It’s almost as if the show is declaring its intent: to portray characters as multifaceted beings, driven by their passions and desires.

In our conversation, we delved deeply into the topic of intimacy, emphasizing that every instance of it in the series is not merely for sensational purposes. Instead, each sexual scene serves a purpose in advancing the narrative.

Laura Wade and I closely examined Lizzie Vereker’s voiceover that concluded episode one. We scrutinized it thoroughly because it underscores the montage sequence, and its message is that everyone behaves like animals, though many use sex for diverse purposes and often harbor hidden agendas beneath their actions.

In our careful assembly of that montage, we aimed to avoid it appearing awkward or unnecessary. Interestingly enough, among the diverse array of characters, there’s a gay couple. This scene offers a broad spectrum of relationships. It entices viewers to follow Charles and Gerald throughout the series, along with all the other intriguing characters.

In the third episode, a poignant scene unfolds as Charles collapses following Gerald’s decision not to live with him. It was particularly lonely being gay during that era, prior to social media, making it both remarkable and painful to witness such a narrative set in the ’80s.

In the game world, I took special care to flesh out my character, who shares the name with one from the show, making him more dynamic than his book counterpart. I crafted unique story arcs for him that were all his own.

In our discussions, we delved deeply into the experiences of being gay in 1986, a time marked by the looming fear of AIDS. Our aim was to create a profound and challenging love story for the characters Charles and Gerald. We wanted their relationship to be on par with any other couple’s, so we crafted it in such a way that they persevere despite the harder circumstances they face.

“That was really important to us, to give our our gay characters emotional heft.”

As an admirer, I found myself echoing the sentiments of the younger scribes: “Couldn’t they just coexist?” However, as a seasoned writer, I firmly believed and expressed, “Alas, it seems they cannot.

There’s so much stigma attached to it, and with Gerald being a conservative politician, he’s got to keep his sexuality secret. That’s what would have happened in those times.

What we’re hoping is that Charles and Gerald, along with Rupert and Taggie (or Freddie and Lizzie), can spend as much quality time together as possible. We want you to be invested in their love stories. This emotional depth for our gay characters was significant to us throughout the entire process, and it’s been a priority from the start.

In a more casual and relatable manner: “Why do you feel so strongly about telling unique, British queer stories? After all, your work seems to have a distinctly British flavor.

Throughout my professional journey, I’ve harbored a desire to share my personal experiences bit by bit. This inclination dates back to my time on the show EastEnders, where I introduced Danny Dyer as a character. In the early stages of his appearance, his son revealed his sexual orientation to him. To reflect this moment authentically, we had Danny Dyer’s character offer emotional support, wrapping an arm around him and expressing, “I love you.

That was really powerful. That’s how you change the world. You make the world more accepting and a better place by telling these stories on a big, broader canvas that’s very mainstream, like the BBC. I had all these letters from dads and kids saying that allowed me to come out or allowed me to accept my gay son.

In a production such as “Rivals“, my aim is to captivate the audience and foster affection for both Charles and Gerald. Even if viewers might have harbored some preconceptions prior to attending the show, I believe that we can subtly shift perspectives by presenting gay narratives in mainstream entertainment.

Occasionally, certain lesser-known, yet superb gay dramas might not attract viewers who could potentially shift their perspectives slightly.

“Lost Boys and Fairies” was an absolute masterpiece in my opinion. It blew me away! My spouse and I ended up watching it, and it resonated with me on numerous levels. However, I believe a less tolerant generation might find it too explicit… My husband mentioned that our parents wouldn’t have appreciated this show due to its mature content.

I believe sharing diverse, queer narratives within mainstream media can help shape the world and influence people’s perceptions.

In your tenure as a writer for EastEnders, you introduced the show’s first trans character, Kyle Slater, portrayed by a trans actor. Unfortunately, he was written out after you left. Did you harbor any aspirations that he would continue to be part of the square for an extended period? How did this development make you feel?

I had specific ideas for each character in my story. However, you must understand that eventually, you have to relinquish control and let everyone go – including Kyle, whom I considered like my own creations. When you depart, you need to entrust them to the next executive or producer so they can shape these characters according to their vision, because otherwise, it could be emotionally distressing.

“There’s a snobbery about soap opera, but when at its best, you’re telling big, emotional stories”

I am tremendously proud of the work we accomplished on “Eastenders,” particularly with the characters Kyle and Johnny Carter. In essence, Johnny Carter was a representation of me. Through that character, I shared my own coming-out story – a narrative I wished I could have had with my real father. I poured every bit of myself into that show, and I am incredibly proud of the stories we managed to tell. Such narratives are instrumental in shaping public opinion and fostering awareness. That’s how we bring about change in the world.

You can’t look back. Otherwise madness lies that way.

Would you be willing to discuss any ideas or storylines that you wished could have developed further, had you continued with EastEnders for a longer period?

Working on “Eastenders” left me completely drained. It was an extraordinary period in my career, yet it felt like constantly running on a never-ending treadmill since the series airs non-stop. So, I decided it was time for a change and moved onto another project.

I maintain connections with many members of both the cast and crew, and that period remains one of the most joyful times in my life. However, there came a time when it was necessary for me to move on.

To be truthful, I’d say that after work each day, I found myself deeply engrossed in the world of “EastEnders.” It wasn’t a mere coincidence; as soon as I parted ways with “EastEnders,” I crossed paths with my husband and entered a new chapter in my personal life. [Laughs]

In a more casual manner, you could say: “Rivals isn’t exactly a traditional soap opera, but it has dramatic moments scattered throughout. Working on Eastenders taught me some skills that I’ve been able to use while working on Rivals. What did you pick up from your time on Eastenders that you’ve found useful here?

Alex Lam, one of the executive producers on the show, and I were part of the story team for the TV series “Eastenders” in the past. For many years, we spent hours huddled around a computer, crafting long-term storylines that would unfold over time. We meticulously planned these narratives for periods ranging from two to three years. This ability to strategize and plant seeds for future development was something we carried over to “Rivals,” where we’ve subtly introduced clues, secrets, and hints that would later resurface.

Despite some people looking down on soap operas, at their finest, they deliver grand, emotionally impactful narratives. They manage to evoke laughter and tears from viewers. Moreover, there’s a knack for weaving intricate storylines over extended periods, subtly planting clues that pay off later.

Since “Rivals” had an extended shooting schedule, it gave us ample time to review the footage and observe each actor’s performance. This allowed us to subtly tweak the characters and narratives during production.

“I’ve made a lot of things in my career that I’m proud of, and this is the thing I’m most proud of.”

The charm of EastEnders lay in its ability to captivate me, even during office hours. The actors’ performances were so compelling that I found myself suggesting we explore those aspects more deeply. We did something similar with Rivals. I believe great TV isn’t just scripted; it has an organic, improvisational quality as well.

Do you already have plans for a second season of Rivals?

We’re continually looking forward to having more. We have the rights to all Jilly Cooper’s novels at our disposal. Since we manage to get through roughly half of each book in this series, there’s a good chance that there will be more to come. It is hands-down the most remarkable project I’ve been involved with, and I take great pride in it. I don’t make such statements lightly. This particular project is what I feel proudest about among all the accomplishments of my career.

Reflecting on the past, can you recall a specific instance of queer characters depicted on screen that particularly touched or connected with you during your younger years?

To me, the show Queer as Folk holds an immense significance. Many people might not realize it, but for me personally, it was a source of comfort, validation, and joy during a time when I felt misunderstood and marginalized. Watching it secretly, I couldn’t help but think, “Wow, this is me, and it feels amazing.” It was the representation I needed, and it was empowering to see characters who proudly embraced their identities at a time when society often told us that being different meant being wrong or dirty. The show was a beacon of acceptance and self-love during a period when it was desperately needed.

In simpler terms, Russell T Davies’s work and the characters he created significantly impacted me. They offered me a sense of hope during difficult times. Years later, when I was collaborating with him on “A Very English Scandal”, I expressed to him, “You transformed my life, gave me hope, and provided me with representation.

As a writer and producer, it’s essential for me to consistently strive for that: To offer hope and present strong, positive representations of the LGBTQ+ community on screen, particularly for younger audiences who are tuning in. “Queer as Folk” served as an inspiring guide in my life.

I must say, it’s simply astonishing to have been the one who passed on the news to Russell. Let me tell you, I’m thrilled to pieces knowing that your work on Eastenders, A Very English Scandal, and now Rivals is not only captivating audiences like us, but also serving as a guiding light for younger viewers. Truly remarkable!

Thank you. We were sitting outside Norman Scott’s (A Very English Scandal) house. I had a Jeep, and I’d driven Russell to this house. I turned to him, and I said,” I bought a Jeep because Stuart has a Jeep. This is all because of you.” I always thought when I’m older, I wanted to have a jeep. That was my main thing. A boyfriend and a jeep [Laughs].

Rivals is available on Disney Plus.

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2024-10-18 13:21