The TV Showrunner's Roadmap
Page 43
A, B, and C stories: alternatives to 69; with ensemble casts 119; How I Met Your Mother 287–8; and series type 43–5; structural formats 171–5; and unifying theme 36, 53, 115, 138
Abbott, Paul 132
Abrams, J. J. 26
“aha moments” 213
Alias 160, 217
All in the Family 58–9
Ally McBeal 120
alternative programming 277
alternative reality 226–7
AMC business model 86
American Horror Story 35, 72, 95, 200
The Americans: dual point of view 117–18; family stories 72; sexual content 93; sweet spots 203–4; unifying theme 189
animated comedy series 171
Annie Hall 284
antagonists/protagonists 144–8
antiheroes 46, 62–3, 64–8, 255
Any Day Now 119–20
arcs, episode 36–7, 39, 287
arenas: defined 21; friendship shows and 87; popular settings 23–6; researching 22–3; synergistic/complementary 120; TV pilots 28
Arrested Development 171
audience trends 42–3, 46, 169
Awkward 94–5
backstories 226
Ball, Alan 230
Barnes, Juliette (character) 145
Bates Motel 157–8
Battlestar Galactica 120, 227–8
Bauer, Jack (character) 144
Bays, Carter 272; credits 284; interview 284–92
beat sheet 54
Beckett, Kate (character) 118
Benioff, David 134, 232
Berg, Peter 24–5
Bettelheim, Bruno 234
The Big Bang Theory 33, 118, 246
The Big C 111
Big Love 21
binge viewing 46, 169
Bissinger, H. G. “Buzz” 24
blue sky 39–40
Boardwalk Empire 216
Bones: character expertise 255; point of view 118, 120; sweet spot 204–5, 209–10
book adaptations 259–60
Booth, Seeley (character) 118
Botwin, Nancy (character) 147
Bradshaw, Carrie (character) 114–15
Braun, Lloyd 160, 161
Breaking Bad: central question 33; character development 62; character expertise 255; cliffhangers 244, 245; episodic structure 173; family dynamics in 74; hybrid series 46; point of view 112; structural format 174–5; sweet spots 203; teasers 198, 199; Vince Gilligan interview 64–71
Brennan, Temperance “Bones” (character) 102, 118
Brody, Nicholas (character) 116–17, 124–9, 147
Bucatinsky, Dan 273; interview 292
Buffy the Vampire Slayer 91
Bundy, Al (character) 146
Bunker, Archie (character) 58–9
Burn Notice 91, 96, 173
“the candy bag” 276
“case of the week” series franchise 29–31
Castle: character expertise 254; episodic structure of 172; point of view 118; slow burn relationship in 90; teasers 199
casual sex 92–3
CBS: character development and 57–8; primetime landscape 2, 18
censorship 95
central mystery: Bates Motel 157–8; Desperate Housewives 156, 164; Lost 158–9, 160–8; Mad Men 155–6; The Mentalist 156; Scandal 158; The Sopranos 154–5; The Walking Dead 178–9
“central mystery” franchise 33–4
“central question” franchise 32–3, 39
character arc 44–5, 139
character development: antiheroes 62–3; and familial role 76–7; Friday Night Lights 137–43; How I Met Your Mother 286; Parenthood 137–43; professional expertise 254–7; and viewer investment 57–61; Vince Gilligan interview 64–7
character weaknesses: David Shore interview 103–10; flaws and limitations 98–9; identification of 101–2; pacing of revelation 103; plot as revelation of 99; strengths and 100–1
Chase, Vincent (character) 114
Cheers 59, 90, 215
Cherry, Marc 156
cinematography 49
cinéma vérité style 25
cliffhangers 38, 44, 174, 242–7
closed-ended episodes 30–1, 43–4
Cold Case 120
cold openings 199–200
Colvin, Bunny (character) 144–5
comedy: cliffhangers 246; rules for 272; sketch format 277n3; structural formats 170; teasers 199–200; see also humor
commentary POV 120–1
complementary arenas 120
conflict 35, 144–8
conflict/consequences 144–8, 148–53
Cooper, Sheldon (character) 101–2, 118
Crane, Frasier (character) 61
crime procedurals: character expertise 255; spin-offs 96; sweet spots 202; teasers 199
Crossing Jordan 151–2
crossover story structure 173
CSI franchise 2–3, 43, 99, 120, 173
Cuse, Carlton 157
Dallas 242
Damages 45, 217
Daniels, Greg 90–1, 276
daytime serialized dramas 45
DeKnight, Steven S.: interview 26
Desperate Housewives 91, 121, 156, 164
Dexter: antiheroes 46; central question 33; episodic structure of 171; hybrid genre of 96; point of view 111, 116; unifying themes 194–6
“direct address” POV 120, 279
direct pickup (DPU) storyline 170, 200
documentary POV 120, 279
Doogie Howser, M.D. 198
doppelganger (or double) conceit 34
Downton Abbey 119, 244
dragons 233
drama series: structural formats 170, 175; sweet spots 202; teleplay guidelines 176
dramatic character development 99
dramatic license 233–4
Draper, Don (character) 100, 103, 113, 145, 154–5
dual leads POV 116–18
Ehrin, Kerry 157
Elementary 255
Ellin, Doug 114
elliptical storytelling 172
embedded advertising 169
endings 163–4
Enlightened 59–60
ensemble casts 76–7, 119, 286
Entourage 114
episodic structure 171–5
E.R. 187–8, 244
extended families 73, 279
external narrator POV 122
family dynamics 73–4, 76–7, 279
family stories 72–3, 86–7, 139
family types 73–4
fate, man against 146
final discovery endings 216–18
final montage endings 216
The Finder 211
flashbacks 120, 122, 180
The Following 218
forbidden love 91
foreign television markets 46–7
foreshadowing 215
the fourth wall 32, 120
franchises: defined 27–9; launching of 215
franchise types: case of the week 29–31; central mystery 33–4; central question 32–3; hybrids, procedural–serialized 31
Friday Night Lights: arena 24; central question 33; love triangles 92; unifying themes 190
Friends 243–4
friendship stories 87
functional couples 89
Game of Thrones: arena 25–6; case study 134–5; central mystery 45; central question 33; episodic structure of 180; mythology 232–3; point of view 119
Gansa, Alex: interview 123–9
Ganz, Lowell 131
Gelbart, Larry 283
gender bias 90
genre hybrids 96–9
Ghost Whisperer 254n1
Gilligan, Vince: interview 64–71; on Walter White’s character 33
Gilligan’s Island 34
Girls: central question 32; pilot episodes 215; point of view 113–14; serial monogamy 93
The Good Wife: case study 135–7; character expertise 258; family dynamics 75; Michelle and Robert King interview 48–56; series type 31, 4
5
Goor, Dan 275
Gordon, Howard 124, 125
Gossip Girl 121
Grey, Meredith (character) 115–16
Grey’s Anatomy: character expertise 256; family dynamics 75; point of view 115; series type 45; Shonda Rhimes interview 78–82
Grimes, Rick (character) 145
group writing 289
Haber, Bill 259
handheld camera POV 25
Hanson, Hart: credits 204; interview 204–12
Happy Days 26n
Harris, Charlaine 230
Hatufim 124
Hawley, Noah 211
Heroes 152–3
Herskovitz, Marshall 138
Hickey, Earl (character) 146
historical mythology 233–4
Hofstadter, Leonard (character) 118
Holmes, Sherlock (character) 102, 111–12
Holzman, Winnie 138
home families 73, 75, 76
Homeland: Alex Gansa interview 123–9; cliffhangers 243, 246; franchise type 31; love triangle 91–3; pilot ending 217; point of view 116–17; sweet spots 203; unifying theme 188–9, 192–4
Horowitz, Adam: credits 234; interview 234–41
hospital shows 24
House, Gregory (character) 100, 103–10, 112
House, M.D. 30, 103–10, 112, 256–7
House of Cards 93, 121, 197–8
Howard, Ron 131
How I Met Your Mother: Bays/Thomas interview 284–92; character development 148; comedy format 272; friendships in 87; point of view 122
humor, subjective nature of 272, 282, 290
hybrids: procedurals 31, 45; series 31, 45–6; sitcoms 290
iconic characters 58–61, 62–3
interview format 32, 120
Isles, Maura (character) 118
Joan of Arcadia 121, 207
Johannessen, Chip: credits 191; interview 191–6
“jumping the shark” 26
Justified 23–4
Kaling, Mindy 276
Kane, Tom (character) 146
Katims, Jason 131; credits 137; interview 138–43
Kelley, David E. 25
Kelley, Michael: credits 247; interview 247–53
The Killing 45; cliffhangers 245–6; pilot endings 218–25; pilot episodes 215; point of view 112; serialized episodes 45
King, Michael Patrick 275
King, Michelle 135; credits 48; interview 49–56
King, Robert 135; credits 48; interview 49–56
Kitsis, Edward: credits 234–41; interview 234–41
Kring, Tim: credits 148; interview 148–53
Kudrow, Lisa 273
Law & Order franchise: character expertise 255; closed-end format 43; point of view 120; series type 30; spin-offs 96
Lawson, Evan (character) 112
Lawson, Mark (character) 112
lead character POV 111–13
legal procedural series 43, 45, 48–56
Lenchewski, Andrew 40
Levitan, Steven 272
Lieber, Jeffrey 26
Lindelof, Damon 26, 50, 70; credits 160; interview 160–8
Linden, Sarah (character) 112, 147
Lloyd, Christopher 272; credits 278; interview 278–92
Lord of Light 232, 233
Lost: central mystery 33–4, 45, 158–9, 160–8; cliffhangers 244; ending 163–4; family dynamics 75, 97; flashbacks 26; Horowitz/Kitsis interview 234–41; pilot ending 217; pilot episode 162; teasers 198
love triangles 91–2
Mad Men: and AMC business model 86; antiheroes in 46; central question 33, 155–6; character expertise 257; cliff-hangers 244, 245; episodic structure 172; family dynamics 76; origins of 154; pilot ending 217; point of view 113; sexual dynamics 93; sweet spots 203; unifying theme 188, 190
Malone, Sam (character) 59
man against man 144
Mandel, Babaloo 131
marathons 46
Martin, George R. R. 25, 134, 232
Mathison, Carrie (character) 101, 116–17, 124–9
Mazursky, Paul 95
Mazzara, Glen: credits 177; interview 177–83
McDonald’s corporation franchise 27
McGoldrick, Bill 40
McNamara, Sean (character) 118
medical procedurals: character expertise 256–7; sweet spots 202; teasers 199
medical series 35–6, 44, 103–10
Medium 254n1
The Mentalist 156, 171, 173
Meriwether, Liz 90
The Mindy Project 94, 257, 276
mini-cliffhangers 246
miniseries 70
Modern Family: central question 32; Christopher Lloyd interview 278–92; cold openings 199–200; comedy format 272; pilot ending 217; point of view 120; unifying themes 190
Monk 23
Moonlighting 90
Moore, Ronald D. 227
Morgan, Dexter (character) 116
Mosley, Walter 213–14
movie pilots 28
Mulder, Fox (character) 118
multi-camera sitcoms 170–1, 175–6, 273–4
multiple forces, man against 147
multiple POV 119
multiple worlds 119–20
My So-Called Life 94, 137–8
mythology, series 45, 226–34
narrator POV 287
Nations, Gregg 167
“Naturalistic Science Fiction, or Taking the Opera out of Space Opera” (Moore) 227
nature, man against 146
NCIS 255
network approvals 40–1
New Girl 90
The Newsroom 217
nighttime serialized dramas 45
Nip/Tuck 118, 256
nonlinear storytelling 284
Nurse Jackie 111
NYPD Blue 244
objective POV 120
The Office 120, 258
omniscient POV 121
Once Upon a Time: central mystery 34–5, 45; love triangles 92; magical realms 26; mythology 231; parallel worlds 119; pilot episodes 215
one-hour drama series 31
open-ended cases 30, 31
open-ended episodes, serialized 44–5
origin stories 28
outlines: in episodic structure 181; How I Met Your Mother 288; internal process and 53–4; length of 41; in situation comedy 281–2
pacing 31, 52, 70, 103
parallel worlds 119–20
Parenthood 32, 131–2
Parks and Recreation 92, 275, 276
Pate, Josh 194
Person of Interest 254
pilot episodes: Breaking Bad 67; defined 29; endings 215–16; Game of Thrones 134–5; The Good Wife 48–50, 135–7; Lost 162; Parenthood 131–2; and restaurant franchises 28; Shameless 132–3; The West Wing 133–4
plot: cliffhangers 242–7; foreshadowing 215; as revelation 214; unpredictability of 37–8
point of view (POV): documentary/interview commentary 120–1; dominant lead character with ensemble 113–14; dual leads 116–18; ensemble cast/multiple POV 119; external narrator looking back 122; handheld camera as 25; Homeland 124–9; omniscient 121; parallel/multiple worlds 119–20; playing with time 123; single-lead protagonist 111; single main protagonist with sidekick 111–12; voice-over (VO) narration 114–16
police procedural series 43, 96
political scandals 48
Pope, Olivia (character) 101, 103, 113, 144
positive/negative consequences 35
power dynamics 88
Prestwich, Dawn: interview 200
procedural formats: structure of 170–1; sweet spots 202
procedural series 96
production schedules 41, 290–1
product placement 169
protagonists/antagonists 144–8
ratings sweeps 242
Rauch, Michael: interview 35–41
reality TV 42
research 21–3
Revenge: central question 33; flash-backs 119; Michael Kelley interview 247–53; p
oint of view 111; unifying themes 190
The Revolution Was Televised (Sepin-wall) 154
rewriting 290
Rhimes, Shonda 115; interview 78–84
Rizzoli, Jane (character) 118
Rizzoli & Isles 118, 259–71
romantic relationships 87–8, 89–95
Roos, Don 273; interview 292
Royal Pains: arena 25; character expertise 256; Michael Rauch interview 35–41; point of view 112–13
runners (C and D storylines) 172
Scandal: central mystery 158; character expertise 257; family dynamics 76, 78–80; forbidden love 91; franchise type 30; hybrid series 45; pilot ending 217; point of view 113
Schur, Mike 275
screenplay formats 175–6
script development 41, 176
Scully, Dana (character) 118
secondary POV 117
self, man against 145
semi-serialized series 45–6
Sepinwall, Alan 154
serialized series 31
serial monogamy 93–4
serials, structural formats of 170
series types 43–6
servicing the franchise 29
settings, analysis of popular 22–6
Sex and the City 113, 114–15
sex for money, power, political gain 93
sexual addiction 93
sexual relationships 87–8
Shameless 132–3
The Shield: character expertise 255; pilot ending 217; teasers 198
Shore, David: interview 103–10
showrunning: best and worst of 84, 183, 283, 292; complicated nature of 54–5; essential skills for 210–11, 270; family dynamics and 79; journalism comparisons 263–4; primary goal of 30
The Simpsons 86
single-camera sitcoms 170–1, 176, 272–5
sitcoms: basic formats 273; basic formula 276–7; character development in 57–61, 99, 146, 280, 291; cliffhangers 246; families in 72; golden rule of 44; multi-cam format 170, 274; script formats 169; structural formats 175, 275–6; sweet spots 202; unifying themes 190
six-act structure 50
Six Feet Under 21
sketch comedy format 277n3
slow-burn relationships 90–1
Sluchan, Michael 40
social media feedback 55–6, 283
society, man against 144–5
“soft” concept shows 32
Sons of Anarchy: arena of 21; character expertise 255; episodic structure of 172