LOS ANGELES — Chuck Lorre, a prominent figure behind some of the most renowned sitcoms in television history, believes he’s unlocked the secret to creating successful shows, and it’s more straightforward than many might presume. Lorre recently shared his insights, emphasizing the importance of “great actors and great scripts,” stating that without one, the formula simply doesn’t work.

Lorre’s latest project, created in collaboration with his longstanding partners Steven Molaro and Steve Holland, is titled “Georgie & Mandy’s First Marriage.” This new series, which airs on CBS, serves as a sequel to their previous hit, “Young Sheldon.” The latter narrative acts as a prequel to the hugely popular “The Big Bang Theory,” a show that Lorre, Molaro, and Holland were integral to from its inception in 2007 until its conclusion in 2019.

Available on Thursdays, the CBS series features Montana Jordan and Emily Osment reprising their characters from “Young Sheldon.” Jordan embodies Georgie Cooper, Sheldon’s older brother, while Osment portrays Mandy McAllister, Georgie’s new spouse. Together, they navigate the challenges of young parenthood with their newborn daughter and adjust to their fresh marital life.

In a departure from their prior works, “Georgie & Mandy” draws on a nostalgic aspect of “The Big Bang Theory” by employing the classic multi-camera format, a technique that has roots in legendary sitcoms like “I Love Lucy” and “The Mary Tyler Moore Show.” This beloved style, characterized by live audience recordings, sets “The Big Bang Theory” apart as a standout modern sitcom, and “Georgie & Mandy’s First Marriage” intends to continue this tradition.

Holland, who serves as an executive producer alongside Lorre and Molaro, mentioned that the aim is to distinguish this series from its predecessor, avoiding a sense of mere repetition. “We wanted to ensure it didn’t feel like ‘Young Sheldon’ 2.0,” he said. He expressed a passion for the multi-camera format and the chemistry between the cast, noting that placing them in front of a live audience creates a unique theatrical experience.

Taking a step back from the character of Sheldon Cooper, played by Iain Armitage in “Young Sheldon” and by Jim Parsons in “The Big Bang Theory,” allows the creators to explore new narrative territory. Holland remarked that they felt they had extensively delved into that character over many seasons and found excitement in telling stories that ventured into less charted territory.

Before shooting began, Jordan shared his enthusiasm for working in a multi-camera format for the first time. “I just try to push away any nerves,” he remarked. He added, “People really connected with Georgie on ‘Young Sheldon,’ so I’m focused on continuing that.” His Southern drawl added charm to his optimism.

Osment, on the other hand, has experience with studio audiences, having starred in Disney Channel’s “Hannah Montana” and later in “Young & Hungry” for five seasons. She expressed her eagerness to reconnect with the experience of performing live. “I’ve kind of forgotten what that’s like,” she noted, highlighting her enjoyment of on-set moments when the cast breaks character due to laughter. “You can achieve some of the best takes when everyone is trying to keep it together,” she added, anticipating the humorous unpredictability of working with a baby on set.

The couple’s baby daughter, Ceecee, is portrayed by twins Isabelle and Zariah Booko. Osment shared that having a baby on set creates a nurturing atmosphere, where the cast and crew go out of their way to maintain a calm space. “They keep a low volume and give you space because holding this beautiful baby is the priority,” she commented.

When the twins are unavailable or Ceecee’s presence isn’t essential to the scene, an expensive animatronic baby is used instead. Osment joked about the additional care taken with the robot, saying, “They’re more anxious around that than the real baby!”

Lorre stressed that filming this series, set in the ’90s, in a multi-camera format was an essential choice. “Presenting a story as a play in front of an audience is foundational to effective storytelling,” he concluded.