About This Campaign

Following the successful completion and upcoming premiere of first season, we are pleased to announce that DIESEL is moving into development on its second season.

Logline

A post-apocalyptic web series about a woman forced to travel the dangerous roads of a fallen Ireland for one reason — to find the person she loves, who is out there alone because of her.

Concept Poster for Season Two of the Web Series "Diesel"

Synopsis

Ruby is the central character of Season Two, introduced for the first time in the closing moments of Season One of DIESEL.

Ruby and Anna are a couple living together. On the day the apocalypse begins, Ruby returns home after a gruelling day at work and, in the course of a conversation with Anna, accidentally says something that deeply hurts her. Anna decides to leave. She gets in her car and drives to her mother's house — far away, on the other side of the country. Ruby tries to stop her — but the words have already been said. The car pulls away. Ruby is left alone.

(Story Visualization & Concept Development Diesel:RUBY — Season Two)

Somewhere in the distance, sirens. She doesn't pay attention.

That night, the world changes forever.

Days later, Ruby emerges from a barricaded house. She doesn't know what has happened to Anna. She doesn't know where she is — or whether she is alive. Ruby takes a photograph of Anna from the wall and makes a decision — to find her.

Ahead lies danger, uncertainty, and a road through a post-apocalyptic Ireland. But Ruby is driven by love, by guilt, and by one single desire — to bring back the person she loves.

(Story Visualization & Concept Development Diesel:RUBY — Season Two)

What Makes This Season Distinct

Season One of DIESEL was built around a single dramatic question: how far will a person go to stay alive? The narrative was lean, contained, and deliberately stripped of sentimentality — one man, one road, one destination.

Season Two reframes the premise entirely. Ruby is not a trained survivor. She is not a protagonist defined by physical capability or tactical thinking. She is a woman whose journey is powered by something more psychologically complex: the need to undo what she did. The post-apocalyptic landscape of Ireland functions here not merely as setting, but as an externalisation of her internal state — every threat on the road a reflection of the moral weight she carries.

The Irish terrain — its coastlines, its fog-covered motorways, its abandoned rural infrastructure — continues to define the visual grammar of the series, with each location chosen to serve both atmosphere and character.

(Still Frames from Season One of the Web Series "Diesel".)

Season Two: What Changes

Season Two represents a substantial expansion of the DIESEL universe across every production dimension.

• Expanded Scale. Twelve episodes at twenty minutes per episode, compared to six episodes at fifteen minutes in Season One. The extended run time allows for deeper character development and more complex narrative architecture.
• Multiple storylines. Where Season One maintained a single, linear point of view, Season Two develops several parallel narrative threads — unfolding simultaneously in the present and in the past. The structure invites the audience to assemble a broader picture of the world and its collapse across the course of the season.
• Expanded ensemble. Ruby encounters a range of new characters on the road — each with a distinct backstory, a distinct survival logic, and a distinct relationship to what has happened to the world. The series moves from a solo character study toward something closer to a ensemble drama.
• Dialogue-driven. Season One was intentionally sparse in dialogue, reflecting the isolation of its protagonist. Season Two foregrounds character interaction — conflict, alliance, negotiation, and betrayal — as the primary dramatic engine alongside the action.
• Action sequences. Season Two features an increased number of staged action sequences, including combat between survivors and the infected, as well as armed confrontations between living characters. The scale of the threat — and the cost of surviving it — is significantly elevated.
• The origin revealed. Season One deliberately withheld the nature of the catastrophe. Season Two answers the central question that has remained open since the pilot: what happened, and why.

Production Status

Season One of DIESEL is complete. Six episodes, fifteen minutes each, shot on location across Ireland. The series premieres in June 2026.

This campaign funds the development phase of Season Two. All proceeds will be allocated to:

• Screenplay — twelve-episode arc, full development and revision cycle
• Character development — Ruby, Anna, and the new figures who populate Season Two
• Location scouting — identifying and securing key shooting locations across Ireland
• Casting — lead actress and supporting roles
• Pitch package — production materials for investor and co-production outreach

The Filmmaker

Yauheni Tsitko — Showrunner · IMDb

Yauheni Tsitko is an independent filmmaker currently based in Ireland. His filmography includes over ten short and narrative film projects, a number of which have received international festival recognition. As the creator and showrunner of DIESEL, he oversees the project across all creative departments. His work is rooted in a lifelong passion for horror, road movies, and post-apocalyptic survival narratives.

Rewards

Development Timeline

July 2026

• Launch of the Season Two development campaign

August – September 2026

• Screenplay development — concept, structure and full script across all twelve episodes
• Character development — Ruby, Anna and all supporting roles
• Casting — search, auditions and confirmation of lead and supporting cast

September – November 2026

• Project pitching — preparation of full pitch package including treatment, lookbook, budget breakdown and production schedule
• Financing — outreach to independent investors, production companies, film funds and co-production partners
• Development of a full production campaign for Season Two

Join the Project

Backing this campaign means entering the project at its earliest creative stage — before the script is locked, before the cast is announced, before a single frame is in the can. Your support directly enables the development work that makes production possible.

Help Ruby find Anna.