BACKSTABBERS
a television series pitch deck
· A Darkly Comic Murder-Mystery TV Series
· Serialised, 12 x 30 minute episodes
OVERVIEW
1
PREMISE
When an awkward teen discovers a dead playwright, he must navigate a town full of secrets, lies, and absurdities to solve the mystery—and find himself.
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GENRE
Comedy, Murder-mystery, Coming-of-Age
3
SETTING
1979, in a fictitious East-Greater London suburb where the working class rub shoulders with the middle classes in the cut-throat world of theatre and amateur dramatics.
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THEME
The story balances themes of ambition and failure, truth and secrecy, and identity and self-worth, and the masks some wear to survive.
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AUDIENCE
Fans of comedy and murder mysteries will enjoy the ensemble cast and the layered character-driven story and quirky coming-of-age and heartfelt drama ensures broad appeal.
SYNOPSIS
Great Britain, 1979.​
Margaret Thatcher is the new Prime Minister.
Blondie are number one, and the leafy suburb of Falking Hill has a big problem: ​Members of a two-faced amateur dramatics community are falling foul to tragic accidents. ​
Stuart Ostridge - a socially awkward aspiring writer - has to choose between his own grab for stardom or saving the day.
Stumbling upon the body of a reclusive critic, Stu is torn between his mundane existence, dreams of proving himself as a writer and winning the affection of his unrequited crush, Lena Darrow. Stu juggles his investigative efforts with the surreal absurdities of small-town life, from eccentric theatre productions to his overbearing family.
As the body count rises due to a series of seemingly unrelated accidents, Stu must navigate rivalries, friendships, and his own insecurities—all while trying to solve the mystery before he becomes the next victim in a comedy of errors.
THEMES
The main theme of the series is The power of politics: How manipulation can get you what you want.
The series weaves political and economic turmoil into the story, observing the societal dynamics of 1979 and how they shape the characters’ interactions. Issues like gender roles and class disparities are prevalent.
The late seventies provide a rich cultural backdrop. A time of shifting cultural landscapes - e.g. conservative vs. progressive values, community and “fitting in” - allows for exploration and reflection. The lack of digital distractions forces characters to engage in face-to-fact conflicts.
References to the seventies paranoia in cinema and television impact the storyline through both comedic and dramatic moments.
Falking Hill is both a character and a cage, forcing its inhabitants to confront their dreams, failures, and relationships. In the end, Backstabbers is a story about finding your voice, even when the world seems determined to drown it out.
The story also deals with masks and identity, exploring the literal and figurative masks people wear; dual lives of public personas versus private desires.
TREATMENT
Falking Hill, East-Greater London, 1979.
Stuart Ostridge is an awkward school-leaver with literary aspirations but is trapped in a working-class town that values conformity over creativity. Stu dreams of escaping through his stories, though he often sabotages himself by being gripped by FEAR. Stu wrestles with self-doubt and the looming pressure from his family to fit in to society when all Stu really wants is to dare to dream.
After discovering the body of reclusive theatre critic Hartley Rumbelow, Stu becomes an accidental investigator; initially following his dream of being a writer, it leads him to the community of amateur dramatics—and discovers that his schoolboy crush, Lena Darrow, is a much-lauded/lusted-after actress. But with Stu’s arrival comes a string of bizarre accidents—and deaths.
With fear rising and the town’s reputation in the balance, the eccentric arts community pulls together, a community play is announced to unite the people of Falking Hill in a stand against fear. By another twist of fate, Stu’s play wins the competition. And that’s when the trouble really begins.
Stu’s attempt at social commentary (having based all the characters on the very actors who will be playing them) is altered beyond recognition into a musical farce, and thus begins Stu’s descent into a creative nightmare of backstabbing and fighting for artistic dominance. But, a writer is an observer—and Stu discovers clues which link the theatre to the death of Rumbelow: The death which started it all.
As more actors fall foul to “mishaps” and Lena is elevated through the ranks to lead actress, Stu’s paranoia increases. With the local press and politicians jumping on the bandwagon for their own personal gain, Stu is drawn into a wider conspiracy in the heart of Falking Hill.
On the opening night of the community play the harshest critic of all seeks to bring down the final curtain on the community. Only Stu stands in their way… if only he can face his fears and find the courage not to run away...
SERIES BREAKDOWN
1
ACCIDENTS WILL HAPPEN
Aspiring writer Stu finishes school with no girlfriend and no future: Until he and his best friend Alan discover the dead body of reviled theatre critic, Hartley Rumbelow.
2
LUCKY NUMBER
Stu befriends would-be filmmaker Gary at a “masterclass” run by ex-TV actor Ivan Stroud. Gary introduces Stu to the world of amateur dramatics… and Lena Darrow. An aftershow party sours when Stu chances upon another body.
3
WHAT DO I GET?
Ivan pushes Stu to go deeper with his writing. Journalist Brookes pours cold water on Stu’s dreams, which spurs Stu into pursuing work at the local — and apparently haunted -theatre.
4
BAD MOON RISING
Disaster befalls Shepperton when his rep cast are hospitalised and the am-dram guild engage in hostile politics. A one-act play festival ends in critical savagery—and a dead body.
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I LOST MY HEART TO A STARSHIP TROOPER
Lena’s interest in Stu piques after he becomes a prime suspect—but he suspects her of being a murderer. A community play is announced to unite Falking Hill. Cue dead body...
6
BACKSTABBERS
A writing competition for the community play sparks rivalry… and a flaming inferno. Gary’s night at the cinema goes awry when a killer interrupts...
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I HOPE I GET IT
Stu finds himself at the centre of the community play, and under Celia’s thumb. Auditions seek to unearth hidden talent, but rehearsals reveal true feelings. Like jealousy and hatred.
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NO MORE HEROES
A new lead actress is required. Max puts the pressure on Stu to make his wife lead. The cast go on strike. Stu teams up with Brookes to uncover the truth… which lies in the history of the theatre.
9
TRESPASSERS WILL BE EATEN
Celia takes over the show. Gary and Alan investigate, uncovering a potential conspiracy. Big J throws a house-warming party, and things heat up—unlike Stu and Lena.
10
MASTERMIND
Brookes confronts two old arch-enemies. Stu is drawn into a conspiracy plot as more bodies pile up. Stu, Alan and Gary infiltrate a masquerade at a secretive lodge
11
KEEP YOURSELF ALIVE
Brookes pieces it all together. A march for peace attempts to unite Falking Hill and save its reputation. The play’s dress rehearsal proves to be electrifying...
12
THIS TOWN AINT BIG ENOUGH FOR BOTH OF US
12. An extended episode: The show goes on… and only Stu can save everyone from the final curtain.
TARGET AUDIENCE
The show appeals to fans of comedy, murder/mystery, will-they-won’t-they romance, nostalgia and the themes of unfulfilled dreams and the coming-of-age narrative will be relatable to all.
The episodes should be released weekly in order for the core audience to make discoveries together along the way. This also allows for a growing fan base discussion: This is conversation-at-the-water-cooler television!
  • · Fans of dark comedies like Hot Fuzz, with the heart and character of Gavin and Stacey.
  • · Viewers who enjoy ensemble mysteries such as Only Murders in the Building.
  • · Lovers of eccentric, character-driven stories where ambition and betrayal collide. The layered plot and absurd humour will keep audiences laughing, guessing, and coming back for more.
  • · A unique premise: A 1970s murder mystery set in the world of amateur theatre, blending satire, suspense, nostalgia and dark comedy.
  • · Relatable characters: Stu’s underdog journey and the eccentric ensemble cast create emotional resonance and humour.
  • · Blend of humour and suspense: The absurdity of the murders contrasts with the high stakes, keeping viewers engaged and entertained.
  • · Room for expansion: The unresolved questions and characters’ dreams set up future seasons.
TONE AND STYLE
The visual style will be cinematic, with exterior shots given a slightly over-exposed graininess and muted colour aesthetics. The visuals will hold an element of a hauntoglogical, other-worldly quality.
The show has a mix of dark humour, satire, and heartfelt drama. Balanced between witty, acidic dialogue and small town weirdness are reflective moments that explore the characters' inner lives.
Since Backstabbers is set in 1979, there will be many cultural references and period details of that era (fashion, food and drink, cinema, celebrities, analogue technology).
The music will often amplify or contrast for comedic effect (e.g. episode one opens with Stu discovering a dead body to the song ‘Accidents Will Happen’ by Elvis Costello). The music won’t necessarily rely on the “greatest hits” which have stood the test of time: The show will feature some lesser known/long-forgotten music to truly capture the era. Incidental music/instrumentals will be basic synth: Eerie and weird (think Tom Baker’s Dr. Who era!).
There will be a cosy nostalgia which will enhance the fun without becoming intrusive nor presented for the sake of a cheap laugh/wink to the audience.
There is also room for playful visual nods to films of that era, like the now legendary Spielberg dolly-zoom from Jaws.
FUTURE SEASONS
  • Each series is set in consecutive decades, with Backstabbers II set in the 1980s, Backstabbers III set in the 1990s and so on.
  • Each series builds on the previous one, evolving the mystery, characters, and themes to reflect the changing times and the growing complexity of Stu’s personal journey.
  • By moving through the decades, the series explores the societal shifts and cultural and technological advancements that impact both Stu’s life and the world of Falking Hill.
  • Stu and Lena’s core will-they/won’t they relationship twists and turns through the years, increasingly impacted by the events of each series.
  • Themes of redemption, the past’s influence on the present, and the dangers of fame, ambition, and secrecy are explored in increasingly sophisticated and meta ways. Culminating in a final, satisfying conclusion to Stu’s long and tumultuous quest for creative recognition, where those who laugh last laugh the longest.
MAIN CHARACTERS
Stuart Ostridge
Awkward, introspective, and quietly ambitious, Stu is an underdog yearning to escape Falking Hill through his writing. Stu transforms from a self-doubting sixth-former, learning to be himself and let go of his need for external approval. Stu is drawn into the mystery despite his reluctance, finding unexpected courage and clarity as the murders escalate.
Lena Darrow
Enigmatic and independent, Lena is Stu’s schoolboy crush - yet she is dating his nemesis, Christopher Gothard. Her lack of emotional vulnerability renders her as someone who will possibly never be truly known. Lead roles come naturally to her, and her ambition leads her into destructive situations. Lusted after by the majority of the Am-Dram men and gushed over by her best friend Emily, Lena is unpredictable and single-minded about her wants and needs.
Alan Gould
Cynical yet humorous, Alan is Stu’s best friend and a struggling musician (think Thin Lizzy frontman Phil Lynott). Alan is hero-worshipped by Stu: in his eyes, Alan is living the dream as a pub rock singer, but as Alan’s negativity towards the world of Amateur Dramatics increases, Stu’s realises that Alan’s meagre celebrity is only fleeting. Often the voice of reason and sanity, Alan is led astray by Gary’s determination to find the killer.
Gary Blenny
A true renaissance man: would-be writer/filmmaker and good at neither. Outspoken (in the Johnny Rotten sense), headstrong with a mile-wide conspiracy theorist streak. His dry wit can be mistaken for cynical sarcasm. Gary is frequently the cause of woe for Stu. Gary has a rivalry with Stu (girls & creativity) which occasionally dips into “unfriendly”.
THE YOUNG TALENT
Ryan Deutsch
Pretentious am-dram director with an enormous ego. A mix of Werner Herzog/Klaus Kinski in the form of Gary Numan. Prone to descents into creative insanity. Treats actors like movable furniture.
Emily Fothergill
Lena’s lifelong over-protective best friend: Lumbering, Jane Austen-obsessed, prone to over-emoting on and off stage. Middle-class, considers herself part of the am-dram hierarchy, but in reality is part of the furniture. Sees Lena’s boyfriends as a threat to their friendship.
Jeremy "Little J" Wrigley
The other J: Diminutive am-dram actor with an obsession with the occult. The eyes and ears of the am-dram world, often appears in several plays at any given time. Understands “knowledge is power”, and how and when to use it.
Justin "Big J" Cathro
Self-loving puffed-up ladies man. Am-dram actor whose mildly handsome features and manly physique win him lead roles even though he is a notoriously bad actor. Claims to have been Bodie’s stunt double in ‘The Professionals’. A preening bully. Part of ‘The 2 J’s’.
THE AM-DRAM "OLD GUARD"
Celia Landaker
Grand dame of local am-dram: Leader of the arts guild, yearly winner of ‘best director’; rules with an iron first. Icily serene smile, glides on air, looks down on most. Once appeared in a sci-fi TV show which was cancelled after six episodes.
Hugh Batey
Broody, boozy thespian whose onstage intensity is matched by his brewer’s droop offstage. The son of an almost-famous Hollywood starlet, Hugh has drama in his blood.
Paula Fraygrent
Am-Dram actress resigned to playing the busty wench but dreams of playing the lead. Paula is an Evita-esque social climber in a race against time with her fading looks.
Viv & Vernon Prebble
The “Mum and Dad” of local Am-Dram: Guild leaders involved in the politics of am-dram, usually the voice of reason against Celia. A couple who dress alike, they live on a small-holding where they live “The Good Life” with their organic potatoes.
Max Monteith
Max considers himself “a professional writer” as he has written a handful of plays, but strives for recognition. A huge ego in a small body, he ensures his younger wife Melody knows her place, and woe betide any male glances...
Bedford Baker
Pompous am-dram actor who recently ditched his wife for a much younger Swedish archaeology student and a sports car. Bedford reaches far beyond his grasp by launching a community play based on the events of his life (including a showtune about the time he once nearly sold a drum kit to Ringo Starr).
THE LOCAL POWER
Brookes Manders
Slovenly ambulance-chasing journalist for the local newspaper, disregarded by most due to his propensity to peddle lies and sleaze. Yearns to be taken seriously, dreams of Fleet Street headlines and the power to destroy enemies.
Richard Shepperton
Creative director at the theatre. Melancholic and nostalgic for the good old days, Shepperton is the apprentice of former theatre overseer, Sir Bernard Saucier. A bitter defender of the stage, the thought of the amateur dramatics guild infiltrating his domain churns his stomach, especially Celia.
Ivan Stroud
Former rep-cast member of the theatre, Ivan branched out into TV as “second thug on the right” on such shows as The Sweeney and The Professionals. Fame withered, and he is back in town with a one-man show, igniting an old grudge with ex-colleague Shepperton. Ivan is a no-nonsense mentor figure who pushes Stu to confront uncomfortable truths in his writing.
Graham Hastings
Hairy ex-roadie and key-master to the local arts community. Owns a record shop where Alan works. Regards the rest of the world as morons. Has too much power for such a petty man.
Alastair Kristers
A mysterious figure, a face in the background when it comes to town hall politics. A master puppeteer and orchestrator in the Mayor’s dealings; seeks to steer the local news to his personal advantage.
Lawrence Wintercoat
A minor writing celebrity, having written for such shows as ‘Catweazel’, Wintercoat is admired/envied by most. Wintercoat strives to keep a healthy distance from theatre, having escaped unscathed—yet when an old friend begs for a favour, Wintercoat finds himself dragged back in...
CASTING SUGGESTIONS
CHARLES DANCE
Lawrence Wintercoat
RICHARD E. GRANT
Bedford Baker
STEVEN BERKOFF
Ivan Stroud
ADRIAN SCARBOROUGH
Vernon Prebble
RICKY HARNETT
Brookes Manders
RUPERT EVERETT
Richard Shepperton
BERTIE CARVEL
Max Monteith
LEE MACK
Graham Hastings
SOPHIE THOMPSON
Vivienne Prebble
COMPARABLES
HOT FUZZ
  • Why It’s Similar: A small-town murder mystery where the bizarre and sinister collide. The blend of over-the-top deaths, sharp humour, and a protagonist trying to make sense of escalating absurdity.
  • Key Shared Elements: Quirky rural setting, satirical take on murder mysteries, dark humour, and unexpected violence.
TWIN PEAKS
  • Small-Town Secrets & Mystery – Both Backstabbers and Twin Peaks revolve around death in a quirky, close-knit towns where dark secrets lurk beneath the surface.
  • Eccentric Characters & Dark Humour – Larger-than-life personalities whose interactions create moments of absurdity, satire, and tension within the unfolding mystery.
  • Identity & Self-Discovery – Just as Agent Cooper gets drawn into Twin Peaks’ mysteries, Stu’s investigation into Falking Hill’s secrets mirrors his own struggles with ambition, self-worth, and belonging.
SCREAM
  • Meta Commentary on Genre Tropes – Like Scream, Backstabbers plays with the conventions of its genre, satirising murder mysteries, small-town dramas, and artistic rivalries.
  • Dark Comedy & Suspense – Both blend sharp humour with genuine tension, using witty dialogue and self-aware characters to balance comedy with moments of danger.
  • A Whodunit with Twists – Both feature murder mysteries filled with red herrings, shifting suspicions, and characters hiding secrets, keeping audiences guessing until the final reveal.
GLEE
  • Why It’s Similar: Though focused on music, Glee shares the heightened drama, interpersonal rivalries, and over-the-top antics of an ensemble cast in a small community.
  • Key Shared Elements: Small-town theatre and performance culture, and biting humour.
THE WRITER
Andrew Wright is a screenwriter and author who has worked in various roles in the film and television industry, alongside Lord Richard Attenborough (Jurassic Park), Dominic West (The Wire), and Kathy Burke (Nil By Mouth). His first student film was co-funded by Terry Gilliam (12 Monkeys).
PRAISE FOR BACKSTABBERS
Praise for ‘Backstabbers’
"I enjoyed (your script)... it successfully transported me back to the period you are writing, the way you write characters is authentic and relatable. There are some lovely moments in the script where you really capture the setting with great atmosphere and texture." - Phil Hunter, Exec. Producer, Tall Story Pictures (Criminal Record, Vera, Midsomer Murders)
"... It’s very well written with excellent characters, dialogue and a thorough grasp of story structure. The story world is engaging and well-crafted... The period elements... give the piece a distinctive feel and also compliment the comedy itself. It is funny, and the overall tone is fun and engaging... there’s real potential here. RECOMMENDATION: READ" - Gobby Girl Productions
The media on Andrew's writing:
"I can't wait to see your first film!" - Quentin Tarantino (Pulp Fiction, Once Upon a time in Hollywood)
MUSIC PLAYLIST
You can also hear the opening and closing credit songs!
CONTACT

Linktree

andwrighting | Instagram | Linktree

Novelist/scriptwriter who enjoys cinema, reading and a good cuppa.

www.linkedin.com

Bluesky Social

Andrew Wright (@andwrighting.bsky.social)

Writer of novels, film/tv scripts, and short bio's. Read my stuff at https://awright.substack.com http://linktr.ee/andwrighting

They want to take your place.