By: Sarah Chaisson-Warner
One of the best ways to learn the art of writing an excellent TV pilot and series is by studying some of the best shows out there. And in this golden age of television, there are plenty of shows to choose from that demonstrate some of the most important parts of screenwriting – including character development dialogue, plot, and more.
Below we’ve chosen five of the most successful and popular television shows on now – EUPHORIA, THE PITT, THE WHITE LOTUS, INDUSTRY, and THE BEAR – analyzing just one aspect that each show does well.
EUPHORIA: V.O. IN ACTION
EUPHORIA is a master class in effectively using voice-over to move the story forward. Using V.O. can be tricky – if it’s used too sparsely, it can come off as erratic and unnecessary, but if used too much, it can overpower the story and break the “show, don’t tell” rule of screenwriting.
Created by Sam Levinson, who adapted the show from an Israeli miniseries by the same name, the protagonist – Rue Bennett (Zendaya) – narrates the show in a seamless fashion. In many ways, her V.O. acts as both a narrator and a representation of her inner monologue – helping the audience weave together the complex storylines of the various members of the ensemble cast, while also giving the audience a peek into Rue’s thinking. This last part is particularly critical, given that Rue is an innately internal character – a naturally guarded young woman who doesn’t easily trust others.
THE PITT: REALLY, REALLY, REAL
Okay, what doesn’t THE PITT do well? Starring Noah Wyle of “ER” fame, THE PITT focuses on the lives of a set of health care professionals working together in a Pittsburgh hospital. Created by R. Scott Gemmill and executive produced by John Wells and Noah Wyle, THE PITT focuses on telling stories that are authentic to the experience of these characters. Relying less on big, massive crises to create drama (ie – the university next door just exploded and there are 1,000 victims!) THE PITT instead chooses to showcase a series of real-life challenges for each of the main characters, both personal and professional, luring the audience into a series of conflicts that are both interesting and relatable.
Similarly, the manner in which the episodes are shot – largely following characters through the hospital set rather than jumping from scene to scene – also enhances the authenticity of the approach. The audience feels like they are actively in the hospital setting with the characters, rather than getting a quick peek in each room.
THE WHITE LOTUS: EVERGREEN THEMES
With the highly anticipated season four about to film in the French Riviera, THE WHITE LOTUS excels at weaving a consistent theme centered around “haves” and “have nots” throughout each season. The first season, which was filmed in Hawaii, focused on the disastrous effects those with wealth – either intentionally or unintentionally – wreak on those without. Take Tonya and Belinda – Tonya is a wealthy heiress and Belinda is a massage therapist at the resort. Tonya dangles the possibility of funding Belinda’s dream business as a way to mitigate her own loneliness, but then pulls back her offer once she meets a new love interest at the resort.
Season two takes this same theme of haves and have nots but turns it on its head when the young prostitutes emerge largely unscathed (and even somewhat victorious) after their fraught engagement with the hotel manager and various guests. Season three further explores this theme largely through the Ratliff family as the daughter grapples with the guilt of her own family’s wealth while her father considers his family’s future as a have not. At the same time, Michelle Monahan’s character is the woman who has it all in her friend group, while Carrie Coon’s recently divorced character essentially feels as though she has nothing.
INDUSTRY: COMPLEX CHARACTER DEVELOPMENT
Although likely lesser known than some of the blockbuster TV shows listed above, INDUSTRY has developed a solid following among viewers for its strong character development. A show about a group of young people who join a prestigious London investment firm, INDUSTRY – as you might expect – doesn’t play nice.
What’s most interesting about its approach to character development, though, is in its commitment to its almost egregious centering of its characters’ flaws, rather than their redemptive qualities. INDUSTRY goes beyond having just one character who is the antagonist – instead, nearly every character serves as an antagonist to at least one other character, creating a complex web of protagonist-antagonist character arcs and storylines. In taking this approach to character development, the creators are almost daring the audience to not root for the main cast of characters – and this keeps the audience both engaged and enthralled.
THE BEAR: AUTHENTIC, UNAFRAID DIALOGUE
Centering on a group of family and employees who come together to rescue a restaurant after the devastating suicide of tits owner, THE BEAR has emerged as a master class in writing authentic dialogue. With most of the scenes set in the restaurant, largely in the back kitchen and offices, THE BEAR holds no punches and leans into both the natural intensity of this particular work environment, multiplied by the grief the family and employees feel from the death of one of their own.
The dialogue is marked by its intensity and natural flow – characters often interrupt one another and talk over each other, resulting in dialogue that feels perfectly erratic, yet strangely appropriate to the setting and context.
Solid execution of plot, theme, dialogue, and character development are key to writing a successful and enjoyable television show audiences can’t get enough of. If you’re looking to continue to hone your writing for TV skills, consider diving into our extensive collection of TV series bibles that are a must-read for every aspiring and seasoned scriptwriter.
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