Script Pipeline

To be completely reductive, every story is about desire. A character wants something so much that they will do whatever it takes to achieve it, and the alternative is inconceivable to them. When writing dark comedy, things become more difficult: The main character’s goals tend to be less than noble, but the audience still needs to care about their journey. If the audience doesn’t empathize or sympathize with the characters, then what’s the point of watching? Set in the early 1990s, On Becoming a God in Central Florida, created by Robert Funke and Matt Lutsky, walks that fine line. Krystal Stubbs wants stability. She grew up poor, and now that she and her husband have infant daughter, she wants to make sure there’s food on the table and a roof over their heads. As she tells her husband, “I won’t be poor again.” About her husband: Travis wants more. He…

Character, character, character. At its heart, every story is about character. Characters who have wants and needs and flaws. Fleabag has wants. They mostly revolve around sex. Fleabag has needs. Love, specifically. And Fleabag has flaws. Oh my, does she have flaws. Fleabag, created by and starring Phoebe Waller-Bridge as the title character, is an equally hilarious and tragic character study of a single, perpetually horny British woman. She doesn’t get a name in the show, but she’s known to the audience as Fleabag. In the pilot, she describes herself as “a greedy, perverted, selfish, apathetic, cynical, depraved, morally bankrupt woman who can’t even call herself a feminist,” and although she’s being overly critical, she’s not far off. Despite all this, Fleabag comes across as charming, in no small part because of Waller-Bridge’s perfect performance. She’s one of the few actresses who can tell you exactly what they’re thinking with…

Story is conflict. It should seem obvious, but in order to have a compelling story, the characters need to face conflict and overcome obstacles with stakes high enough that the audience roots for the characters to succeed. The Martian takes these basic fundamentals and ratchets everything up to an 11. Based on the novel by Andy Weir and adapted by Drew Goddard, The Martian follows astronaut and botanist Mark Watney’s fight for survival after he is accidentally stranded on Mars. The premise is simple (and high-concept!) enough—it’s Castaway on a distant planet. From there, everything that can go wrong does. He’s running out of food and has to find a way to grow potatoes on Mars, he has to fix pretty much every piece of equipment including the base he’s living in, he has to find a way to contact Earth with outdated and outmoded technology… it’s the ultimate fight for survival. Weir…

Melodrama is perhaps the most derided genre there is. Often, critics use the word as a euphemism for entertainment with poorly written, on-the-nose dialogue and exaggerated emotions and performances. But when done right, melodrama draws audiences in and establishes an irresistible tone while exploring narratives with rich themes. Written by David E. Kelley from Liane Moriarty’s novella, Big Little Lies certainly has large emotions. At certain times, it feels like scenes exist solely for the murderers’ row of actresses (which includes—deep breath—Reese Witherspoon, Nicole Kidman, Laura Dern, Zoë Kravitz, and Shailene Woodley) to chew every piece of scenery in sight. However, every emotion is grounded and true to character. The show’s central characters—later dubbed the “Monterey Five” in season two—each has her own issues and conflicts to work through, including rape, spousal abuse, and bullying. Big Little Lies deals with these themes sensitively and insightfully, elevating what could have been…