Hollyoaks creator says soaps aren’t “doomed” and are ‘only place to see working class drama on a regular basis’

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After more than 50 years in television, Sir Phil Redmond has noticed a funny thing: people often claim they don’t watch soap operas. But, he points out, they’ll quickly start discussing all the details of the storylines if you mention them, revealing the shows’ surprising hold on viewers, despite being seen as ‘working-class telly’.

With EastEnders celebrating 40 years and Coronation Street hitting 65, Hollyoaks – the youngest and most rebellious of the popular soap operas created by Redmond – is also marking a milestone: 30 years on television. Despite changes in the TV world, these shows continue to thrive.

To celebrate the latest developments in the long-running story of teenage life in Hollyoaks, the show is paying homage to one of its creator’s earlier works, Brookside. Original stars Ricky Tomlinson and Sue Johnston will reprise their roles as Bobby and Sheila Grant in a special crossover episode, with a guest appearance by the show’s creator himself – a move that comes thirty years after he faced criticism for proposing a similar idea.

I remembered Brookside was Channel 4’s most popular show in 1995, so I thought it would be a great way to advertise their new drama. I had characters from Brookside appear in Hollyoaks, but the broadcasting regulators weren’t happy – cross-promotion wasn’t allowed at the time.

When Hollyoaks invited me to participate in the crossover with Brookside for their 30th anniversary, I immediately thought it was a playful opportunity. I had previously gotten in trouble for similar ideas, but now they were being encouraged – it sounded like a lot of fun!

Redmond, Brookside, and Hollyoaks all existed within the same made-up universe. Brookside, famously filmed on a real street in Liverpool, started on November 2nd, 1982 – the same night Channel 4 launched – and changed the world of soap operas by honestly addressing difficult and controversial issues with a strong sense of social responsibility.

By the 1990s, he came up with a new concept. He’d been trying for years to convince television networks to create a show aimed at teenagers. Even in his earlier work, like the show *Brookside*, he always portrayed teenage characters, such as Damon Grant, with the same depth and complexity as the adult characters. While he’d created *Grange Hill* in 1978, it didn’t focus on older high school students. They did briefly follow the characters after school with a spin-off called *Tucker’s Luck* in the early 1980s, but it wasn’t successful long-term.

Channel 4 was looking to create a teen drama similar to American shows like Saved By the Bell. Having already worked on Grange Hill and Brookside, I understood what it took to make that kind of show successful. That’s essentially how Hollyoaks began – it was a direct result of the experience gained from Brookside.

After Channel 4 cancelled Brookside in 2003, Redmond stepped away from making TV shows, feeling increasingly disappointed with the industry. He believes the 1990 Broadcasting Act was deeply flawed. “It didn’t consider the impact of rules about things like ‘good taste’ and whether content could be copied or influence viewers,” he explains. He compares it to current debates about free speech, saying the Act tried to overly restrict creative expression.

As a film buff, I always find it fascinating to learn about the early days of television. Apparently, back then, if you had a daring idea, you couldn’t really run it by anyone for approval. You just had to put it out there and hope it didn’t cause trouble! The penalties for breaking the rules were pretty steep – up to 3% of your earnings – and that really stifled creativity. It basically meant that studios played it safe, avoiding anything remotely risky. It was a ‘better safe than sorry’ approach, and a lot of potentially great ideas probably never saw the light of day.

I became frustrated with constantly debating with people who were only interested in getting a job in television, but had no real stories to tell. The industry was being led by people who didn’t understand working-class lives or the complexities of how people interacted. They started hiring people who were just like them – often with degrees in English or media studies – which led to a lack of diverse perspectives and genuine insight. It feels like we’ve gone back to how things were in the 1970s, with the same privileged, Oxbridge-educated people dominating the scene.

Sir Redmond, recognized in 2020 for his contributions to broadcasting and the arts, remains active in the field. He now works as a speaker, teacher, and advisor, playfully describing himself as a seasoned veteran offering guidance to those currently working in the industry.

He’s involved in leading the UK City of Culture program, which combines his desire to help others and celebrate local heritage. He believes it’s important to discuss what culture really means for a place, and how to use it to create positive change and share meaningful stories. He sees a connection to his work in television dramas – both involve finding ways to tell compelling stories that resonate with people and reflect societal shifts.

Redmond believes TV dramas can still bring people together, shed light on the difficulties faced by working-class communities, and motivate positive change, though this happens less often now than it used to. While shows like ‘Mr Bates vs the Post Office’ are impactful, dramas focusing on these issues were much more common in the 1960s and 70s. Today, with tighter budgets, networks can’t afford to produce such shows as frequently, meaning working-class stories are primarily found in the more affordable format of soap operas.

Traditional soap operas still generate income for TV networks, which is why they’re sometimes called ‘bankers.’ However, they’re also viewed as somewhat outdated, and aren’t considered essential viewing anymore.

Streaming services and financial pressures are forcing long-running TV dramas to make cuts. Starting in January 2026, both Coronation Street and Emmerdale will air fewer episodes each week. To coincide with these changes, the two shows will feature a special crossover event called “Corriedale.” As always, the creative team behind these shows is leading the way with innovative ideas.

I’ve been following this guy’s career, and even though he used to avoid working on soap operas, he’s actually starting to see their potential. He says they’re incredibly compelling because you get to watch characters grow and change through *every* stage of their lives. He believes if you really commit to a soap and invest in its stories, it can go on for years! Interestingly, he doesn’t think streaming services are as dangerous to traditional TV as some people believe – he thinks streamers are mostly focused on reaching huge, worldwide audiences, which is a different goal.

I don’t believe soap operas will disappear anytime soon. We still rely on TV for storytelling, and soaps are well-positioned to deliver, particularly now that people can watch whenever it’s convenient for them. Plus, they’re perfect for those times when you’re endlessly scrolling through streaming services, trying to find something to watch for a quick half-hour!

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2025-10-14 03:00