to know they didn’t want it?’
Ahhhhhhh, beautiful!
I lower my camera, leaving it to record just in case he offers me any more nuggets of TV gold, but it really doesn’t matter what happens now. I’ve got what I need. A confession. An end to my scene. The police can take it from here; I’ll follow it up with them.
And I’m wrapped in time for lunch. Damn, I’m good at my job!
‘Nailed it,’ I say, throwing the camera cards down on my boss’ desk.
‘What, he confessed?’ says Adam in his usual grating way – thrilled about the footage, worried he might have to praise me.
‘Yup. The perfect confession. I got him, I told you I would.’
‘OK Tara, stop acting like you’re in an ITV cop drama. He was an easy target.’
‘An “easy target”? I had to lock myself alone in a small room with him for hours to get that. There was nothing easy about it.’
Adam gets up from his desk and, taking the camera cards with him, walks into the main office, where he waves them and says, ‘We got him.’ There is a round of applause, as everyone realises that the show we have been plugging away at for months has a good ending. I stand behind Adam, watching him take the praise, wishing I had the guts to scream, ‘THERE IS NO FUCKING “WE”. I GOT THIS ALL BY MYSELF.’ But of course, there is no ‘I’ in team.
‘OK, Tara, Andrew, Samuel – can we have a quick meeting in the snug, please?’ Adam says, urging the three of us to follow him into a little room with multicoloured walls, bean bags, magazines, a TV and a big circular IKEA rug. It was designed to motivate creativity and it’s where the development team come and pretend to work. They sit and watch hours of TV, read books, magazines and study the MailOnline to come up with ideas for TV shows. There are three of them, led by Samuel, and in the last two years only one of their ideas has actually made it to the screen. Not that it matters, but I’m on my fifth.
I dread these meetings, as I have to deal with three very strong male egos who all know I am amazing at my job but can’t bring themselves to admit it. There is Andrew – Head of Production, Samuel – Head of Development, and Adam – the boss. People say TV is a male-dominated industry, and the reality of that is certainly true. It’s odd though, because there are actually loads of women in television and a lot of them have high-ranking jobs. The problem is that when it comes to viewing figures, the general consensus is that women will watch male-centric programming, but men won’t watch anything too female. So if everything is more male than female, then broadcasters won’t lose the ‘football’ audience. Already, before a single programme has been made, they are saying that what women want to watch is less important than what men want to watch. This sexism filters up through the industry to the people who make the shows, and you can find it in all its glory right here in the offices of Great Big Productions.
As we sit down on the brightly coloured plastic bean bags, my faux-leather trousers make an enormous fart sound. Everyone, of course, knows what caused the noise, but I can sense an element of doubt, and possibly hope, that I did just humiliate myself with a real guff. There is a pause for aroma, and when the air is confirmed clear, Adam starts the meeting.
‘OK, so … oh no, wait, we need coffee,’ he says, calling in his PA, Bev. I knew he would do this; he takes any opportunity he can to show me he is the boss, and this is a classic move of his. ‘Can we get three coffees please, and some water?’ he says as Bev enters the snug. She’s wearing a skirt that’s a little too short for work, and a white shirt that you can see her pink bra through. ‘Chop chop,’ he adds, hurrying her along so he can get on with his plan, which is to stare at her arse and make weird grunting noises as she walks away. There is a ‘Phwoar’ and a quiet, ‘How’s a guy supposed to get any work done?’, a few other snorty sounds and of course, the glance at me, to make sure I am watching it all. I look directly at him, leaving no doubt that I have acknowledged his fake sexual intentions.
This is how Adam has tried to mask his homosexuality from me, since a moment two years ago when I walked in on him watching a men only three-way on the Internet. He panicked when he realised I could see his screen reflecting on the window behind him, and told me it was research for a show he was developing.
‘About gay orgies by swimming pools?’ I asked.
‘Yes,’ he answered, closing his computer but not getting up.
We never mentioned it again, and of course, I never saw a treatment for a show about gay orgies.
Since then, Adam has taken every opportunity he can to show me that he fancies women. Objectifying his assistant, Bev, is his signature move. I don’t know why he isn’t just honest about it, but he’s more interested in being the big guy than the gay guy. I actually feel quite sorry for him, that level of denial must be exhausting.
‘Shall we talk about work?’ I suggest, wanting to move things along.
To cut a long story short, we are a TV production company who has realised that the future is online. Therefore, we are working to create digital content and multiple web series to build our online presence so that when TV becomes irrelevant, we are still relevant. We will make shows predominantly about real people in real situations, and I have been pulled in to head this up because I have a history of making brilliant TV shows about all echelons of society that my boss thinks would work excellently in fifteen-minute webisodes. He’s right, because he’s very clever, despite being incredibly rude and annoying. It’s a massive deal for me as I’ve worked tirelessly for years on long-running and low-budget productions and now finally have this opportunity to make much ‘edgier’ (horrible TV word) programmes, with less Ofcom and more swearing. We’re launching with my sexual harassment doc. It’s going to be brilliant, and kind of my dream job. The downside is I have to spend a lot of time with these three.
‘Just because we’re now working on online content doesn’t mean we can be more relaxed about money. The budgets are small. You realise that, don’t you?’ says Andrew, looking at me patronisingly, as if I have no concept of being thrifty. He’s not particularly good at his job, and knows it. He uses rudeness to mask his fear of getting fired.
‘Don’t worry, Andrew. I won’t use the budget to buy tampons and shoes. I think I can control myself.’ I use rudeness to stick up for myself.
‘And the hours will be long. Low budgets mean long days,’ he continues, knowingly.
Oh, here we go! This is where I have to re-explain my situation, even though they already know it very well.
‘I have to leave at five p.m. to pick Annie up from childcare,’ I say. I am careful to say ‘childcare’, instead of ‘my mum’s’. They take it more seriously when they think I pay for it.
Queue the eye rolls from Adam, the stroppy huffing from Andrew, the switch of crossed legs from Samuel as I admit to being, as Andrew once put it, ‘uncommitted’. They know exactly what they’re doing, and they also know it will be fine.
‘I can’t get childcare beyond five thirty on weekdays,’ I continue. ‘You know this.’
‘Can’t you get your mum to have her when we get busy?’ says Adam, pushing his luck.
‘No, I can’t,’ I say, defiantly. Of course Mum could have her, but that isn’t the point. I want some time with my daughter. I leave
