Index
Abbott, Paul 227
ABC, series bible and 254
actions and triangulation 217–219
Adler, Ali 222
“Adversary, The” (Westworld episode) 143
advice from staff writers 287–291; be a perfectionist 289–290; be a self-starter but seek advice 290–291; diversify 291; lean in to your strong suit 288–289; pay your dues 288
Affair, The (Showtime) 100, 236
agents 285–287; acquiring 286–287; Creative Artists Agency 285; vs. managers 287; pros and cons of hiring 285–286
All in the Family (CBS) 6, 151, 228, 234, 235
Altman, Robert 5
Amazon, series bible and 250–252
AMC, series bible and 251
American Gods (Starz) 19, 77, 80–82, 227
American Horror Story (FX) 115, 116, 118–119, 120
Andromeda Strain (film) 238
Angel (WB/UPN) 234
Animal Kingdom (TNT) 148, 228, 237
anthology series, limited 48, 118–120, 122, 123, 233
anxiety 102
Apatow, Judd 10
Arfin, Lesley 10
Aristotle 217
Atlanta (FX) 10, 25–28, 88, 148, 177, 259, 261, 270, xv
authenticity 5, 6, 8–9, 22, 25, 35, 139, 146, 176, 177, 261, 269, 270, 271–272, 295
autobiographical material, adapting 239–241; Peaky Blinders (Netflix) 240–241; UnREAL (Lifetime) 239–240
Baskets (FX) 10, 11, 13–16, 132, 177, 259, 261
Bates Motel (A&E) 169, 228, 237
Battlestar Galactica (Syfy) 234
being true to yourself 160–162
Berlanti, Greg 255
Bernard, Carlo 233
Better Call Saul (AMC) 148, 191–193, 196, 202, 228, 236–237
Better Things (FX) 10, 11, 25, 148, 259
“Bicameral Man, The” (Westworld episode) 143–144
“Big Bang, The” (Atlanta episode) 25–28
Big Bang Theory, The (CBS) 4, 7, 177, 237, 259
Big Little Lies (HBO) 50, 139–141, 198, 228, 236, 237, 248, 259
Big Ticket Entertainment 232
binge viewing 117, 176–177, 232, 238, 247
“Birth Day” (The Handmaid’s Tale episode) 76–77
Black List (website that hosts unproduced screenplays) 123
Black Mirror (Netflix) 44, 72, 73, 84, 120, xv
Bloodline (Netflix) 51, 69, 198, 248
Bloom, Rachel 10
blow off, in con series 57
Boardwalk Empire (HBO) 236, 281
Bochco, Steven 5–6, 35, 37, 38, 207
Bones (Fox) 223, 228, 232, 258
Brady Bunch, The (ABC) 239
Brancato, Chris 233
Breaking Bad (AMC) 59, 60, 68, 96, 108, 118, 131, 148, 169, 191, 193, 236, 279
breaking in to TV business 285–299; see also creative entrepreneur
Broadchurch (BBC America/Netflix) 49–50
Broad City (Comedy Central) 9, 294
Brooker, Charlie 73
Brooklyn Nine-Nine (Fox) 3, 7, 64, 260
Brooks, James L. 4
career insecurity 101
career strategies: creativity 285–298; Intellectual Property (I.P.) 228–241; rookie mistakes 265–282; series bible 243–262
Carnal Knowledge (film) 113
Carpenter, Bridget 228, 252, 261
Casual (Hulu) 10, 28, 246, 253
Catastrophe (Amazon) 10, 108, 235
CBS, series bible and 255
central mystery, series bible and 247–248
“Chapter 1: The Vanishing of Will Byers” (Stranger Things episode) 82, 219–221
character development and plotting 151–169; being true to yourself 160–162; cleanse, crossing the line and 168–169; devastating decisions, effects of 153–158; dilemma, creating 152–153; dilemma and perspectives 158–159; guilt, maturity and aspirations 166–168; Handmaid’s Tale, The (Hulu) 162; Homeland (Showtime) 153–158, 160; House of Cards (Netflix) 160–161; politics, power, and internal logic 160–163; This Is Us (NBC) 166–168; Transparent (Amazon) 160–162; “what if?” exercise 158
character empathy/sympathy 127–149; allegiance and 148; alignment and 148; Big Little Lies (HBO) 139–141; creating, via plot strategies and film style 147–148; forgiveness 129–132; guilt and shame 139–141; hypothesis and 147–148; Insecure (HBO) 135–139; judgment and 133–134; points of view and 85, 132; reverting to type 132–133; stereotypes and 135–139; Straczynski on 126; success and 134–135; 13 Reasons Why (Netflix) 144–147; voids and, characters with 128; Westworld (HBO) 141–144
characters: character empathy/sympathy; destabilizing characters; iconic characters; wild card characters: anxiety 102; career insecurity 101; coping Powers 131–132; hypersensitivity to parental and societal expectations 102–103; impression of 129–132; listening to, in writing dialogue 223; quirks and flaws, in Girls (HBO) 101–103; relationship insecurity 101–102; selfishness and narcissism 102; with voids 128–129; see also character development and plotting
choices as storytellers of television series see story tentacles
Cipriano, Anthony 228
C.K., Louis 10; Baskets (FX) 10, 11, 13–16, 132, 177, 259, 261; Better Things (FX) 10, 11, 25, 148, 259; Louie (FX) 10, 13, 259
classic procedural 33
cleanse, crossing the line and 168–169
“Coat of Many Colors” (Parton) 237
Cochran, Robert 243
Coker, Cheo Hodari 228
comedy: dramedy differentiated from 6–7; Louis C.K. and disruptive force in 11–15; series bible for half-hour sitcoms 259–261; taboo relationships in 99
Community (NBC) 100
con series 55–69; Americans, The (FX) 61–62; blow off, the 57; Good Place, The (NBC) 63–64; long con 57–69; Night Manager, The (AMC/BBC) 62–63; Ozark (Netflix) 67–69; Patriot (Amazon) 64–67; play, the 56; put up, the 55; rope, the 57; short transactional con 57; Sneaky Pete (Amazon) 60–61; touch, the 57
content xiv
Coppola, Roman 10, 94, 185, 228
copyright, defined 229
copyright infringement, defined 229
Crazy Ex-Girlfriend (The CW) 8–9, 10, 208–211
Creative Artists Agency (CAA) 285
creative entrepreneur 285–298; advice from staff writers 287–291; agents 285–287; competition 292–293; proof of concept 293; think locally, act globally 293; web series, directing 293–298
Criminal Minds (CBS) 33
Crown, The (Netflix) 131, 194–196, 198
Cummings, Whitney 8
Cuse, Carlton 228
CW, The, series bible and 255
Daniels, Greg 227
Darabont, Frank 227
Daredevil (Netflix) 228, 237, 238, 269
Dawson’s Creek (WB) 112
Dead of Summer (Freeform) 256
Dear White People (Netflix) 10, 16–19
deception, power of 131
Delaney, Rob 10
destabilizing characters 191–198; Billy McBride and Patty Solis-Papagian in Goliath 197–198; Jimmy/Saul and Chuck, in Better Call Saul (AMC) 191–193; Queen Elizabeth and Princess Margaret in Crown, The (Netflix) 194–196, 198
Dexter (Showtime) 58, 73, 176, 228, 236
dialogue in digital era, writing 201–224; actions and triangulation 217–219; backstory (what they don’t say) 216–217; Crazy Ex-Girlfriend (The CW) 208–211; e-communication 222–223; Empire (Fox) 203–205; Fargo (FX) 218; get in late, get out early 205–206; Handmaid’s Tale, The (Hulu) 216; idiosyncratic voices 202–205; Last Man on Earth, The (Fox) 208–209; listening to characters 223; naturalistic dialogue 213–216; on the nose (OTN) dialogue 201, 207, 213; overlapping dialogue 219–221; point of view and subtext 208–211; profanity 213–216; shop talk 211–212; Silicon Valley (HBO) 205; specificity in 215; Stranger Things (Netflix) 219–221; verbal and non-verbal communication 206–208; Wire, The (HBO) 213–216; writing the oblique 201–202
digital television revolution 35, 36, 59, 81, 146, 232–233, 246, 271, 285
dilemma: creating 152–153; perspectives and 158–159
direct pick-up (DPU) 7
Diversity Program (CBS) 291
Doherty, Robert 227
dramedy 3–29; Atlanta (FX) 25–28; Baskets (FX) 11, 13–16; Better Things (FX) 11, 25; comedy differentiated from 6–7; cringe-worthy 7–8; Dear White People (Netflix) 16–19; disruptive force in, Louis C.K. and 11–15; female-driven 8–9; female gaze 19–21; I Love Dick (Amazon) 19–21; list of best recent 10; lives in disarray 13–16; Louie (FX) 11–13; love and death 25–28; Master of None (Netflix) 21–24; observation 21–24; philosophical vignettes 25; roots of 4–7; satire as weapon of reason 16–19; streaming 9
Duffer, Ross and Matt 82–83, 84
Dunham, Lena 8, 9, 10, 101, 269
duty/honor, power of 131
Dynasty (The CW) 234
dystopias 71–88; adjoining realms 86–88; American Gods (Starz) 77, 80–82; Black Mirror (Netflix) 72, 73, 84; Darwinism 72; defined 71; as entertainment/escapism 77–78; good, common denominators among 78; Handmaid’s Tale, The (Hulu) 71, 74–77, 78, 81, 84; ideas, constructive/destructive power of 74–77; Leftovers, The (HBO) 71–72, 77, 78, 80, 85; Man in the High Castle, The (Amazon) 86–88; microcosmic 80–82; paradox 73; pilot, questions for crafting 79–80; point of view 85; portals and multiverses 82–84; Stranger Things (Netflix) 80, 82–84, 85; utopia 72–73
“Easter in Bakersfield” (Baskets episode) 13–16
Ebersole, Lisa 290
Eden, Barbara 237
Ehrin, Kerry 228
11.22.63 (Hulu) 228, 237, 253, 261
11.22.63 (King novel) 252, 261
Ellison, Megan 226
empathy see character empathy/sympathy
empathy dependent, POV and 132
entrepreneurs see breaking into TV business
Esmail, Sam 54, 107, 245–246, 285
Exorcist, The (film) 116
fair use 229
“Faithful” (The Handmaid’s Tale episode) 74–76
Falk, Stephen 10
Fall, The (BBC America) 51, 235, 248
Fargo (FX) 36, 47–49, 50, 120, 132, 218, 227, 237, 248, 256, 294
Felicity (WB) 112
Flahive, Liz 10
FOMO (Fear Of Missing Out) xvi
Frasier (NBC) 234
Fresh Off the Boat (ABC) 7, 227, 284, 297
Friday Night Lights (NBC, DirecTV) 227, 237
Friends (NBC) 288
FUBAR (fucked up beyond all recognition) 73
Gaitán, Fernando 228
Game of Thrones (HBO) 80, 88, 104–106, 206, 227, 236, 237
Gatiss, Mark 227
genre: con series 55–69; dramedy 3–29; dystopia 71–88; redefining 3–4; rookie mistakes and 265–279
Get Out (film) 294
Gifford, Ed 297
Gilligan’s Island (CBS) 237
Girls (HBO) 8, 9, 10, 101–103, 269
Goddard, Drew 228
Goliath (Amazon) 50, 148, 196–198, 197–198, 251
Good Fight, The (CBS All Access) 44–45, 234
Good Wife, The (CBS) 38, 44, 45, 234
Gore, Al 245
Greenblatt, Robert 257
Grimm (NBC) 81
Groundhog Day (film) 91–92, 99
Guggenheim, Marc 222
guilt: character development and plotting 166–168; character empathy/sympathy 139–141
Handmaid’s Tale, The (Hulu) 71, 74–77, 78, 81, 84, 162, 216, 228, 237, 299
Hawaii Five-0 (CBS) 228, 234, 247
Heller, Bruno 228
High Maintenance (HBO) 294–295
Homeland (Showtime) 50, 78, 107, 153–158, 160, 227, 235, 236
Horgan, Sharon 10
Horta, Silvio 228
House of Cards (Netflix) 96, 118, 160–161, 176, 227, 249
Hulu, series bible and 252–253
Hypersensitivity to parental and societal expectations 102–103
I Am OTHER 295
iconic characters: dialogue and, writing smart 201–224; empathy vs. sympathy in 127–149; John Tavner (Patriot) 64–67; paradox and 177; trapped by limitations 151–169; wild card characters and 173–199
ideas, constructive/destructive power of 74–77
I Dream of Jeannie (NBC) 237
I Hate My Teenage Daughter (Fox) 260
I Love Dick (Amazon) 10, 19–21, 90
imagination, power of 132
innocence, power of 131
Insecure (HBO) 2, 8, 10, 135–139, 177, 259, 295
Intellectual Property (I.P.) 228–241; autobiographical material, adapting 239–241; defined 229; glossary 229–237; having a known property 237–239; literary approach 239
Jane the Virgin (The CW) 227, 235, 255, 276
Jaws/Breaking Bad strategy 84, 279
Jessica Jones (Netflix) 118, 198, 228, 237
“Jezebels” (The Handmaid’s Tale episode) 76, 216
Johns, Geoff 222
“Jolene” (Parton) 237
Jones, Annabel 73
Judge Judy (CBS) 232
Kahnweiler, Jessie 296
Katims, Jason 227
Kelley, David E. 5, 196, 198, 228, 251
Key, Keegan-Michael 294
Key & Peele (Comedy Central) 294
King, Marlene 228
King, Stephen 82, 115, 252, 261
Knight, Steven 240
Kohan, Jenji 90, 93–94, 206, 227, 239
Kreamer, Ellen 260
Kreisberg, Andrew 222
Krisel, Jonathan 10
Last Man on Earth, The (Fox) 7, 77, 208–209
“Law of Vacant Places, The” (Fargo episode) 218
Law & Order (NBC) 33, 73, 179, 257
Lear, Norman 6, 35, 228, 234–235
Leftovers, The (HBO) 39, 50, 71–72, 77, 78, 80, 85, 227
Legion (FX) 227, 237, 256, 276
Lenkov, Peter M. 228
Lepore, Jill 70
limitation, characters trapped by see character development and plotting
limited series 59, 107, 267; anthology series 48, 118–120, 122, 123, 233; Big Little Lies (HBO) 50, 139–141, 198, 228, 236, 237, 248, 259; Dead of Summer (Freeform) 256; 11.22.63 (Hulu) 228, 237, 252–253, 261; Feud (FX) 111, 123, 233; Night Manager, The (AMC/BBC) 62–63, 228; unlimited 123
Lindsey, Jeff 236
Lisco, Jonathan 228
Lodal, Eric 38
Maier, Thomas 236
Mamet, David 57, 150, 151, 168, 169
Mamet, Zosia 101
Man in the High Castle, The (Amazon) 35, 50, 86–88, 198, 227
Martin, George R. R. 104
M*A*S*H (CBS) 5, 228, 237, 238
Master of None (Netflix) 10, 21–24, 148, 258, 259, 276
Masters of Sex (Showtime) 228, 236
Masters of Sex: The Life and Times of William Masters and Virginia Johnson, the Couple Who Taught America How to Love (Maier) 236
Mazzara, Glen 266
McKenna, Aline Brosh 10
Me and You and Everyone We Know (film) 147
Melrose Place (Fox) 38, 234, 290, i
Mensch, Carly 10
Miller, Arthur 146
Miller, Brent 234
Miller, Bruce 74, 75, 228, 299
mini-bibles 251, 253, 261; see also series bibles
mini-series: Murphey, Ryan and 111–124; Night Manager, The (AMC/BBC) 62–63; Night Of, The (HBO) 40–43; Young Pope, The (HBO) 103–104
Miro, Doug 233
mistakes see trips, traps, tropes
Mr. Robot (USA Network) 35, 78, 106–108, 131, 148, 173–179, 181, 198, 236, 245–246, 285
Modern Family (ABC) 3, 7, 100, 259
Moffat, Steven 227
Molaro, Steve 237
More, Sir Thomas 72
motivations see wild card characters
Mozart in the Jungle (Amazon) 10, 94–95, 179–185, 228, 239
multi-camera sitcoms 4, 6, 7, 33, 206, 234, 237, 259, 277
multiverses, in dystopias 82–84
Murder in the First (TNT) 38
Murder One (ABC) 37
Murphey, Ryan 110, 111–124, 247, 255, 256; American Horror Story (FX) 115, 116, 118–119, 120; Feud (FX) 111, 123, 233; Glee (Fox) 117, 121; key to success 113; limited anthology series 48, 118–120, 122, 123, 233; Nip/Tuck (FX) 113–115, 117, 122; Normal Heart, The (HBO) 120, 122; obsessions of 112–113; People v. OJ Simpson: American Crime Story, The (FX) 35, 119, 121, 122, 228, 233; pop culture 118; tone 112, 114; writing career, beginning of 111–112
Murphy, Pete 60
narcissism 102
Narcos (Netflix) 233
NC-17 rating 80
NCIS (CBS) 33
Netflix, series bible and 249–250
New Adventures of Old Christine, The (CBS, Lifetime) 260
New Girl (Hulu) 99
Night Manager, The (AMC/BBC) 62–63, 228
Night Of, The (HBO) 32, 40–43, 228, 248
90210 (The CW) 234
Nip/Tuck (FX) 113–115, 117, 122
non-verbal communication, in writing dialogue 206–208
Normal Heart, The (HBO) 120, 122
Noxon, Marti 239
Nunan, Tom 242
OA, The (Netflix) 39, 50, 80, 84–86
Odes, Rebecca 296
Office, The (NBC) 64, 85, 100, 227, 235, 284
“Off the Grid” (Transparent episode) 161–162
on the nose (OTN) dialogue 201, 207, 213
option and purchase of rights, defined 229
Orange Is the New Black (Netflix) 75, 90, 93–94, 118, 134, 160, 169, 206, 227, 239, 249, 261
Orange Is the New Black: My Year in a Women’s Prison (Kerman) 93, 239, 249
Orci, Roberto 228
Originals (The CW) 234
“Our Man in Damascus” (Homeland episode) 156
paradox: in dystopias 72, 73; in empathy vs. sympathy 128; in iconic characters 177, 178, 181, 185; in Murphy’s work 111, 114, 123; in season-long procedural 40; in story tentacles 103; in unlimited limited series 123; in writers’ room 290; in writing style 273
“Parents” (Master of None episode) 21–24
Parks and Recreation (NBC) 21, 64, 100
Parton, Dolly 237
Peaky Blinders (Netflix) 240–241
Peele, Jordan 294
Penny Dreadful (Showtime) 81
People v. OJ Simpson: American Crime Story, The (FX) 35, 119, 121, 122, 228, 233
Perrotta, Tom 227
persuasion, power of 131
pilot, questions for crafting 79–80
“Pimento” (Better Call Saul episode) 192–193
play, in con series 56
Poehler, Amy 294
Poetics (Aristotle) 217
points of view (POV) : Affair, The (Showtime) 100; dilemma and perspectives 159, 160, 162; dystopias 84–86; empathy dependent on 132; Mozart in the Jungle (Amazon) 94–95, 179–185, 228, 239; OA, The (Netflix) 84–86; shifting, connecting with 85, 86; surprise and shifting 84–86; 13 Reasons Why (Netflix) 145; in writing dialogue in digital era 208–211
politics, power, and internal logic 160–163
pop culture 118
power dynamics see wild card characters
Prestwich, Dawn 228
Pretty Little Liars (The CW) 228, 237
Price, Richard 32, 41, 43, 228
“Pride and Prejudice” (Goliath episode) 197
Primetime Propaganda (Shapiro) 34
proof of concept 293
public domain, defined 230
put up, in con series 55
Rashomon style 100
relationship insecurity 101–102
remake, defined 235
Riches, The (FX) 59
rights acquisition 231
rookie mistakes 265–282; genre, becoming experts in 265–279; know the industry but be innovative 279–281; rushing 281–282; see also trips, traps, tropes
rope, in con series 57
Rosemary’s Baby (film) 116
Rosenberg, Melissa 228
Rust, Paul 10
Savage, Fred 5
Savage, Stephanie 228
scam-of-the-week format 59
Schur, Michael 64
Schwartz, Josh 228
Schwartz, Sherwood
Schwartzman, Jason 10, 94, 228
screenwriting and/or writing for TV contests and fellowships 291–292
season-long procedural 33–52; Americans, The (FX) 61–62; Broadchurch (BBC America/Netflix) 49–50; Fargo (FX) 47–49, 50; Good Fight, The (CBS All Access) 44–45; long con series 57–69; mystery underlying the crime 40–43; Night Of, The (HBO) 40–43; OA, The (Netflix) 39, 50, 80, 84–86; procedural within a procedural 44–45; Search Party (TBS) 46–47; season-long mystery 35–40; season- to-season pivot 49–50; something from nothing 46–47; state of mind 47–49; truth and consequences 50–51
“Seen But Not Heard” (Nussbaum) 96
Seeso 4
Seitzman, Michael 227
selfishness and narcissism 102
Sequin Raze (Lifetime) 239
serialization 35, 38, 40, 59, 152, 233, 246–247, 255, 256, 257, 259
series bibles 243–262; ABC 254; Amazon 250–252; AMC 252; CBS 255; central mystery and 247–248; current use of 244–246; CW, The 255; drafting 261–262; Fox 255–256; FX 256–257; goal of 247; half-hour sitcoms 259–261; HBO 258–259; Hulu 252–253; NBC 257–258; Netflix 249–250; past use of 243–244; for reassurance 246–247; Showtime 258–259; Sony Crackle 253–254
sex and violence, explicit scenes of 80
Shameless (Showtime) 108, 227, 235
Shapiro, Ben 34
Shapiro, Sarah Gertrude 239
Sheindlin, Judy 232
Sherman-Palladino, Amy 200, 208
Shining, The (film) 116
shop talk, in writing dialogue 211–212
“Short History of Weird Girls, A” (I Love Dick episode) 21
Showtime, series bible and 258–259
Silicon Valley (HBO) 7, 177, 186–189, 205, 259
single-camera sitcoms 4, 6, 7, 181, 206, 237, 259–260, 274, 277
Sliding Doors (film) 158
slow-burn procedural format see season-long procedural
“So Does the Fat Lady” (Louie episode) 11–13
Soloway, Jill 10, 19, 21, 90, 258, 296, xiv–xv
Son, Diana 228
Sony Crackle, series bible and 253–254
specificity, in writing dialogue 215
spoiler alerts xvi
Star Trek: Discovery (CBS All Access) 88, 228, 234
Sting, The (film) 58
story tentacles 91–108; Affair, The (Showtime) 100; character quirks and flaws 101–103; ensembles and backstories 100–101; Game of Thrones (HBO) 104–106; Girls (HBO) 101–103; inevitable yet predictable 91–93; macro/micro approach 103–106; Mr. Robot (USA Network) 106–108; Mozart in the Jungle (Amazon) 94–95; Orange Is the New Black (Netflix) 93–94; points of view 100–; smart story adjustments 93–94; Switched at Birth (Freeform) 96–99; taboo relationships in comedy 99; unreliable narrator 106–108; Young Pope, The (HBO) 103–104
Straczynski, J. Michael 126
Stranger Things (Netflix) 39, 50, 80, 82–84, 85, 131, 198, 219–221, xiii, xv
streaming: Amazon 250–252; dramedies 9; first streaming show 74; Netflix 235, 249–250; on-demand 38–39, 86; remakes 235; services 4, 117, xiv; spec pilots 244–245; subscription fees 117; SVOD 80, 235
“Streets on Lock” (Atlanta episode) 25–28
Suber, Howard 172
Supergirl (The CW) 222
Surnow, Joel 243
SVOD (Streaming Video On Demand) 80, 235
Switched at Birth (Freeform) 96–99
sympathy see character empathy/sympathy
taboo relationships in comedy 99
13 Reasons Why (Netflix) 50, 144–147, 222, 228
This Is Us (NBC) 50, 166–168, 257
touch, in con series 57
“Tragedy of the Common Man, The” (Miller) 146
Transparent (Amazon) 10, 90, 160–162, 258, 259, 296
Trial & Error (NBC) 260
triangulation, actions and 217–219
trips, traps, tropes: “The Dialogue/Style/Tone Are Uninspired”272–274; “The Good Stuff Appears Too Late”279; “Great Pilot, But What’s the Series?”266–267; “It Doesn’t Feel Authentic”271–272; “It’s Confusing”270; “It’s Just Talking Heads”277; “It’s Too Long”274; “It’s Too Superficial”278; “It’s Too Wrapped Up”267; “The Plotting Is Tepid”275–276; “The Premise Is Weak”270–271; “There Are Too Many Characters”278–279; “There’s No Sense of Place or Time”269–270; “The Stakes Are Not High Enough”276–277; “What’s the Franchise?”268; “Who Are We Rooting For?”268–269; see also rookie mistakes
truth, power of 131
TV Outside the Box: Trailblazing in the Digital Television Revolution (Landau) 36
Twin Peaks (the revival, Showtime) 39, 80, 228, 235–236, 248
2 Broke Girls (CBS) 8
Walking Dead, The (AMC) 71, 77, 78, 116, 207, 227, 234, 237, 252, 266, 276
Waller-Bridge, Phoebe 10
Walter, Richard 230
WB 112
web series, directing 293–298; Broad City (Comedy Central) 294; EastSiders (YouTube) 297–298; High Maintenance (HBO) 294–295; Insecure (HBO) 295; Key & Peele (Comedy Central) 294; Mis-Adventures of Awkward Black Girl (a/k/a ABG) (YouTube) 295; Skinny, The (Hulu) 295–296; 37 Problems (Amazon) 296–297
Westworld (HBO) 71, 72, 141–144, 237, 238
“what if?” exercise 158
wild card characters 173–199; disrupting an institution 189–191; Mr. Robot (USA Network) 173–179; Mozart in the Jungle (Amazon) 179–185; roommate/friend/business partner/mentor 186–189; roommate soulmate 185–186; Silicon Valley (HBO) 186–189; with a twist 173–179; Unbreakable Kimmy Schmidt (Netflix) 185–186; wild card’s wild card 179–185; Young Pope, The (HBO) 189–191; see also destabilizing characters
Williams, Pharrell 295
Wire, The (HBO) 26, 39–40, 41, 86, 202, 213–216, 236, 261, 266–267
Without a Trace (CBS) 37
writers’ room 100, 112, 245–248, 252, 254, 255, 257, 259, 288, 290–292