2.1 Protagonist and antagonist

Protagonists and antagonists are the driving forces behind compelling storytelling. These characters shape the narrative, create conflict, and engage audiences. Understanding their types, traits, and relationships is crucial for crafting engaging television pilots.

Balancing protagonists and antagonists is key to creating a dynamic story. By carefully considering screen time, complexity, audience sympathy, and thematic relevance, writers can develop rich characters that captivate viewers and drive the plot forward.

Types of protagonists

• Protagonists can be categorized based on their level of activity, likability, relatability, and whether the story focuses on an individual or an ensemble cast
• The type of protagonist chosen shapes the tone, pacing, and audience engagement of the story

Active vs passive

Top images from around the web for Active vs passive

• 

  Han Solo vs. Indiana Jones (7/365) | Photos | JD Hancock View original

  Is this image relevant?

• 

  Effective Rhetoric and Presentation | Boundless Business View original

  Is this image relevant?

• 

  Frodo Baggins vs. Harry Potter (353/365) | Frodo Baggins: Ho… | Flickr View original

  Is this image relevant?

• 

  Han Solo vs. Indiana Jones (7/365) | Photos | JD Hancock View original

  Is this image relevant?

• 

  Effective Rhetoric and Presentation | Boundless Business View original

  Is this image relevant?

1 of 3

Top images from around the web for Active vs passive

• 

  Han Solo vs. Indiana Jones (7/365) | Photos | JD Hancock View original

  Is this image relevant?

• 

  Effective Rhetoric and Presentation | Boundless Business View original

  Is this image relevant?

• 

  Frodo Baggins vs. Harry Potter (353/365) | Frodo Baggins: Ho… | Flickr View original

  Is this image relevant?

• 

  Han Solo vs. Indiana Jones (7/365) | Photos | JD Hancock View original

  Is this image relevant?

• 

  Effective Rhetoric and Presentation | Boundless Business View original

  Is this image relevant?

1 of 3

• Active protagonists drive the story forward by making decisions, taking risks, and pursuing their goals (Indiana Jones in Raiders of the Lost Ark)
• Passive protagonists react to events and challenges thrust upon them, often struggling to find their agency (Frodo Baggins in The Lord of the Rings)
• Active protagonists tend to be more engaging and dynamic, while passive protagonists can be more relatable and allow for deeper exploration of internal conflicts

Likable vs unlikable

• Likable protagonists possess admirable qualities, make morally sound decisions, and are easy to root for (Atticus Finch in To Kill a Mockingbird)
• Unlikable protagonists have significant flaws, make questionable choices, and challenge the audience's sympathy (Walter White in Breaking Bad)
• Likable protagonists create a clear emotional connection with the audience, while unlikable protagonists offer complex character studies and subvert expectations

Everyman vs larger-than-life

• Everyman protagonists are ordinary individuals thrust into extraordinary circumstances, making them highly relatable (Jim Halpert in The Office)
• Larger-than-life protagonists possess exceptional skills, charisma, or status that sets them apart from the average person (James Bond in the 007 series)
• Everyman protagonists allow the audience to see themselves in the character's struggles, while larger-than-life protagonists provide escapism and wish-fulfillment

Singular vs ensemble

• Singular protagonists are the clear central focus of the story, with supporting characters playing secondary roles (Sherlock Holmes in the Sherlock Holmes stories)
• Ensemble protagonists share the spotlight with multiple main characters, each with their own arcs and subplots (the Pearson family in This Is Us)
• Singular protagonists allow for deep exploration of one character's journey, while ensemble protagonists create a richer, more diverse narrative tapestry

Protagonist traits

• Effective protagonists possess a combination of goals, flaws, and the capacity for change that makes them compelling and relatable to the audience
• These traits serve as the foundation for the protagonist's arc and their role in driving the story forward

Goals and motivations

• Protagonists must have clear, understandable goals that propel them through the story (Marlin's quest to find Nemo in Finding Nemo)
• Motivations are the underlying reasons behind the protagonist's goals, often rooted in their backstory, beliefs, or desires (Erin Brockovich's drive to seek justice for a community in Erin Brockovich)
• Well-defined goals and motivations create stakes, urgency, and a sense of purpose for the protagonist's journey

Flaws and weaknesses

• Protagonists' flaws make them human, relatable, and provide room for growth (Woody's insecurity and jealousy in Toy Story)
• Weaknesses can be physical, emotional, or psychological vulnerabilities that the protagonist must overcome (Harry Potter's struggle with fear and self-doubt in the Harry Potter series)
• Flaws and weaknesses create internal and external conflicts, challenge the protagonist, and make their successes more meaningful

Arc and transformation

• A protagonist's arc is the journey of change and growth they undergo throughout the story (Rick Blaine's shift from cynicism to self-sacrifice in Casablanca)
• Transformation can be positive or negative, but it should be significant and tied to the story's themes (Walter White's descent into villainy in Breaking Bad)
• Compelling arcs demonstrate how the protagonist's experiences, choices, and relationships shape their identity and outlook

Relatability and empathy

• Relatability is the audience's ability to see aspects of themselves or their experiences in the protagonist (Jenna Hamilton's teenage struggles in Awkward)
• Empathy is the audience's capacity to understand and share the protagonist's feelings, even if they differ from their own (Tony Soprano's moral conflicts in The Sopranos)
• Relatability and empathy foster a strong emotional connection between the audience and the protagonist, making the character's journey more impactful

Types of antagonists

• Antagonists come in various forms, each presenting unique challenges and conflicts for the protagonist to overcome
• The type of antagonist chosen influences the story's stakes, themes, and the nature of the central conflict

Human vs non-human

• Human antagonists are characters with their own goals, motivations, and flaws that oppose the protagonist (The Joker in The Dark Knight)
• Non-human antagonists can be animals, forces of nature, supernatural entities, or abstract concepts (the shark in Jaws, addiction in Requiem for a Dream)
• Human antagonists offer the opportunity for complex relationships and moral dilemmas, while non-human antagonists can represent primal fears or societal issues

Active vs passive

• Active antagonists directly confront and challenge the protagonist, often driving the conflict themselves (Darth Vader in the original Star Wars trilogy)
• Passive antagonists may be more reactive or indirect in their opposition, creating obstacles or conditions that hinder the protagonist (the strict Hays Code in the film Trumbo)
• Active antagonists create a clear, personified threat, while passive antagonists can represent systemic or environmental challenges

Singular vs multiple

• Singular antagonists are the primary source of conflict, often embodying the story's central theme or the protagonist's main obstacle (Nurse Ratched in One Flew Over the Cuckoo's Nest)
• Multiple antagonists can work together or separately to oppose the protagonist, creating a more complex web of conflicts (the various gangs and rival crews in The Wire)
• Singular antagonists provide a focused, personalized conflict, while multiple antagonists can represent the many facets of a larger issue or challenge

Obvious vs hidden

• Obvious antagonists are clearly established as the protagonist's main opponent from the outset (Voldemort in the Harry Potter series)
• Hidden antagonists may initially appear as allies, neutral parties, or background characters before revealing their true nature (Keyser Söze in The Usual Suspects)
• Obvious antagonists create a clear sense of conflict and stakes, while hidden antagonists can surprise the audience and challenge the protagonist's perceptions

Antagonist traits

• Effective antagonists possess qualities that make them formidable, compelling, and thematically relevant opponents for the protagonist
• These traits contribute to the antagonist's role in driving the conflict and challenging the protagonist's goals and beliefs

Goals and motivations

• Antagonists must have clear goals that directly oppose or hinder the protagonist's objectives (Thanos' quest for the Infinity Stones in Avengers: Infinity War)
• Antagonists' motivations should be understandable, even if not agreeable, to create a sense of depth and complexity (Killmonger's desire for justice and empowerment in Black Panther)
• Strong antagonist goals and motivations raise the stakes, create tension, and challenge the protagonist's resolve

Power and abilities

• Antagonists often possess skills, resources, or influence that make them a significant threat to the protagonist (Hannibal Lecter's intelligence and manipulation in The Silence of the Lambs)
• The antagonist's power can be physical, psychological, social, or a combination thereof, depending on the story's genre and themes (Regina George's social dominance in Mean Girls)
• Formidable antagonist abilities test the protagonist's strengths, force them to adapt, and make their ultimate victory more satisfying

Flaws and vulnerabilities

• Antagonists' flaws humanize them, making them more than one-dimensional villains (Cersei Lannister's love for her children in Game of Thrones)
• Vulnerabilities provide opportunities for the protagonist to exploit or use as leverage in their conflict (Sauron's dependence on the One Ring in The Lord of the Rings)
• Flaws and vulnerabilities add depth to the antagonist, create potential for their own arc, and offer the protagonist a chance to gain the upper hand

Threat level and stakes

• The antagonist's threat level should be high enough to create significant challenges for the protagonist and maintain tension throughout the story (Darth Vader's immense power and ruthlessness in Star Wars)
• The stakes are the consequences of the protagonist failing to overcome the antagonist, and they should be severe enough to invest the audience in the outcome (the potential destruction of Earth in Independence Day)
• A high threat level and stakes raise the intensity of the conflict, keep the audience engaged, and make the protagonist's success more impactful

Protagonist-antagonist relationship

• The dynamic between the protagonist and antagonist is the heart of the story's central conflict
• The relationship's complexity, evolution, and resolution shape the narrative arc and the characters' development

Sources of conflict

• Conflict can arise from differing goals, beliefs, or values between the protagonist and antagonist (Professor X and Magneto's opposing views on human-mutant relations in the X-Men series)
• Personal history, grudges, or misunderstandings can fuel the conflict and make it more emotionally charged (Iago's jealousy and resentment towards Othello in Othello)
• Compelling sources of conflict create a strong foundation for the protagonist-antagonist relationship and make their interactions more meaningful

Contrasts and similarities

• Contrasts between the protagonist and antagonist can highlight their differing worldviews, methods, or personalities (Sherlock Holmes' logic vs. Moriarty's cunning in Sherlock)
• Similarities can reveal common ground, blurred lines, or the potential for the protagonist to become like the antagonist (Luke Skywalker and Darth Vader's shared Skywalker lineage and Force abilities in Star Wars)
• Contrasts and similarities add depth to the protagonist-antagonist relationship, create tension, and raise questions about the nature of good and evil

Shifts in power dynamics

• The balance of power between the protagonist and antagonist can shift throughout the story, creating a sense of unpredictability and tension (the back-and-forth battle between Neo and Agent Smith in The Matrix)
• Power shifts can be physical, psychological, or based on knowledge or leverage gained by either character (Clarice Starling's growing insight into Hannibal Lecter's mind in The Silence of the Lambs)
• Shifts in power dynamics keep the audience engaged, raise the stakes, and force the characters to adapt and grow

Climactic confrontation

• The climactic confrontation is the final, decisive encounter between the protagonist and antagonist, where their conflict reaches its peak (Harry Potter's battle against Voldemort in Harry Potter and the Deathly Hallows)
• The confrontation should be the culmination of the characters' arcs, the story's themes, and the escalating conflict (Walter White's final stand against his former allies in Breaking Bad)
• A satisfying climactic confrontation provides closure, resolution, and a sense of catharsis for the audience

Balancing protagonists and antagonists

• Effective stories strike a balance between the protagonist and antagonist, ensuring both characters are well-developed and serve their roles in the narrative
• Balancing the two characters involves considering their screen time, complexity, audience allegiance, and thematic relevance

Screen time and focus

• The protagonist should receive the most screen time and focus, as the story primarily follows their journey and growth (Woody's central role in the Toy Story franchise)
• The antagonist should have enough screen time to establish their presence, threat, and motivations without overshadowing the protagonist (the balance between Clarice Starling and Hannibal Lecter in The Silence of the Lambs)
• Appropriate screen time and focus ensure that the audience remains invested in the protagonist's story while understanding the antagonist's role in the conflict

Complexity and depth

• Both the protagonist and antagonist should be multi-dimensional characters with strengths, flaws, and clear motivations (the complex relationship between Jaime Lannister and Cersei Lannister in Game of Thrones)
• The antagonist's complexity should not overshadow the protagonist's, but rather serve to challenge and highlight their growth (the Joker's chaos testing Batman's resolve in The Dark Knight)
• Balancing complexity and depth between the two characters creates a more engaging, nuanced narrative that avoids simplistic good vs. evil tropes

Audience allegiance and sympathy

• The audience should primarily sympathize with and root for the protagonist, even if they are flawed or make mistakes (Tony Soprano's likability despite his criminal activities in The Sopranos)
• The antagonist can elicit some understanding or even sympathy, but not at the expense of the audience's allegiance to the protagonist (Erik Killmonger's understandable motives but extreme methods in Black Panther)
• Balancing audience allegiance and sympathy ensures that the audience remains emotionally invested in the protagonist's journey while acknowledging the antagonist's role in the story

Thematic relevance and resonance

• The protagonist and antagonist should both embody and explore the story's central themes, albeit from different perspectives (Professor X and Magneto's differing approaches to mutant rights in the X-Men series)
• The antagonist's role should serve to challenge and ultimately reinforce the story's themes through their conflict with the protagonist (the Wicked Witch of the West's tyranny highlighting the importance of friendship and courage in The Wizard of Oz)
• Balancing thematic relevance and resonance between the protagonist and antagonist creates a more cohesive, meaningful narrative that leaves a lasting impact on the audience