The most important daily drama in the history of Spanish television. From 2019 until its final episode, I had the privilege of sharing a writers’ room with some of my favorite screenwriters: a team that turned out almost 400 pages of fiction every week and somehow fought through every obstacle to make sure the show never missed a single day on air.
The phenomenal success in Spain of Amar es para siempre — and especially of one of its central couples, Luisita and Amelia — led Borja Glez. Santaolalla and Diana Rojo to create this 21st-century reimagining of the characters. If the Apocalipsis Z fandom was big, this one was on another level, with fans all over the world (especially in Latin America) tweeting non-stop every time a new episode aired. I wrote La vecina indiscreta, the first episode of the third season, and even appeared as an actor in another one. But that, as Kipling would say, is another story.
Back in 2017, TVE (Spain’s public broadcaster) launched PLAYZ, a platform aimed at younger audiences, with very short series designed around transmedia storytelling. El punto frío was one of its projects over the following years, a drama built around the legend of the Santa Compaña. I don’t think it was much of a success, since they never commissioned a second season, but it gave me the chance to work with a production company full of genuinely lovely people. Sometimes that’s enough.