Characterization in Television

Character-driven vs. plot-driven.  It's an almost ubiquitous dichotomy in the debates and discussions that thread their way through the online story community.  When you read a book — or watch a movie, for that matter — is your opinion of it more likely to be influenced by the strength of its characterization or by the strength of its plotline?  In other words, are you a character-driven or a plot-driven reader (or viewer)?

For myself, I've never felt able to satisfactorily answer that question.  Because the real answer, in my own case, is neither.   When it comes to books and movies, I'm neither character-driven nor plot-driven.  (What I'm looking for differs slightly from one medium to another, but in general, and in somewhat oversimplified terms, my priorities are writing style, theme, and aesthetic.)

However!  I have realized in recent months that, while I can't parse my story preferences quite so distinctly when it comes to literature and film, I can give a hearty and unequivocal answer to the character vs. plot question when it comes to television.

When it comes to the TV shows I watch, I am almost 1000% character-driven.  

I'm not a huge television fan in general; I really crave the clean, concise nature of storytelling that film can offer me instead.  It's also easier for movies to deliver on the other things that matter most to me in story, as aforementioned:  aesthetic, theme, atmosphere, ideas, etc.  So it just makes sense that film would be my preferred medium.

Still, as everyone knows, I have plenty of dearly cherished television programs milling around my story pantheon, as well. 😉  And a TV show will have a much higher chance of making it into said pantheon if it offers me a cast of characters I can love.  My mindset is, if I'm going to spend this much time with these people, I had better be able to like them.  If I can't, I may watch the show for other reasons, but it probably won't become a favorite, and I'll be much less likely to re-watch it in full.  (As witness, my preference for Parks and Recreation over The Office.)

Of course, a show's not guaranteed to become a favorite of mine simply because it has strong characterization.  And not all of my favorite shows have strong characterization — at least, not the kind that I'm talking about in this post.  For today's purposes, I'm talking about shows that stand out to me in the arena of ensemble characterization.  Not just the shows that have one or two excellently written characters; no, the shows that manage to craft compelling arcs for all or nearly all of their characters.

It's also important to note that when I talk about these shows as having "strong characterization," I don't mean that the characterization is always consistent.  All of these shows feature leads who do out-of-character things, or who fall victim to stupid schticks or tropes for the purpose of advancing some weak and unnecessary dramatic agenda.  What sells me on the character development in these shows is the fact that they make me care enough about the characters to stick with them even when they're being idiotic little brats.  If I'm so invested in a character that I'm willing to give them a second, third, fourth, fifth, or twentieth chance, then I know that the character is strongly written, whatever else they may be.  

Those are the kinds of characters and shows I'm discussing in this post.  There are plenty of television ensembles that I love simply because they're lovable, or because they make me laugh.  But it's rarer for me to find a TV show that stops me in my tracks and makes me actually think about how well-written its characters are.  These are three such shows. ↓

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Leverage (TNT)

2008 - 2012

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My favorite found family in all of fiction?  Quite possibly.

Now, granted:  this show is repetitive and can be incredibly corny.  But the characters are worth the price of admission.  The Leverage crew may be a stock ensemble at first glance, with fairly generic backstories, roles, and personalities, but try to look me in the eye and tell me you don't care about each of them.  Try to tell me you didn't fall in love with them from the very first episode.  Try to tell me you didn't know exactly what the show was going to do with itself, and try to tell me you didn't want to watch it unfold anyway.

There are so many character subplots that are worth spotlighting, but one of my favorites (at least in recent years) is the developing relationship between Parker and Hardison.  (Minor spoilers to follow.)  I've heard this relationship be termed "forced" (*ahem*), but I maintain that it is a masterclass in how to write healthy romance.

Parker has A Lot of emotional baggage, and Hardison remains unfailingly supportive of, patient with, and sensitive to her unique needs throughout the entire trajectory of their relationship.  Instead of mocking or being annoyed by Parker's eccentricities, like so many, Hardison genuinely loves and enjoys them.  He lets her know that he's interested in becoming romantically involved someday if she ever wants to, but never pushes her to move faster in the relationship than she's comfortable doing, and never stops investing in the natural, easygoing friendship they already have.  (Which is good and right and definitely not the kind of thing he should be encouraged to stop doing, EliOT. *pointed looks*)

Conversely, Parker tries to be supportive of Hardison's passions and aspirations, even when she doesn't share them.  She values their differences, embracing the fun they have together despite their distinct interests.  As someone who can have difficulty communicating what she's feeling, Parker makes an active effort to recognize and respect Hardison's relational needs just as he recognizes and respects hers. 

Tl;dr:  Parker and Hardison are a fantastic fit for each other and I will die on that hill.   

But Parker and Hardison aren't the only worthwhile characters in the show (though they are the best 😉).  Leverage is, like most TV programs, an ensemble show, and the ensemble is the reason to watch it.  (Hence why a revival sans two-fifths of that ensemble isn't going to work for a lot of fans. *coughs*) 

Leverage has so much to offer a character-driven viewer:  the bromance between Eliot and Hardison (truly next-level stuff, absolutely iconic), the frenemy dynamic between the team and Sterling, the (dramatic and rather dysfunctional but still passable) romance between Nate and Sophie, and so on and so forth.   

A melodramatic mastermind, a mom-friend femme fatale, a grumpy hitman-turned-chef, an artistically inclined cyber genius, and an acrobatic thief with major squirrel energy?  Sounds an awful lot like a Robin Hood gang for the ages.      

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Monarch of the Glen (BBC)

2000 - 2005

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I recently re-watched this show, and I kid you not — as soon as the first scene started playing, with the household assembling in their trademark chaotic manner, my very first thought was, "Man, it's good to be back with these people."  

And that feeling persisted throughout the remainder of the show.  It was good to be watching those characters again.  They're so worth watching.  They're all flawed: they can all be silly and petty and mule-headed.  But I still love them all:  spirited, struggling Lexie; long-suffering, ambitious Archie; sweet, hapless Duncan; quiet, stubborn Golly; charming, elegant Molly; incorrigible, inimitable Hector; and so many more.

Monarch does fall victim to one of the classic blunders:  attempting to keep the show going after the majority of the original cast have left by introducing new characters who function as poorly concealed replacement attempts.  However, I'm willing to forgive that misstep in this particular instance, because each new character is genuinely lovable in their own right.  Yes, I miss the OGs when they leave, but that just makes the ones who stay that much more special, and the new faces quickly become just as meaningful to me.  

As I've shared before, I especially love Lexie's character arc.  I love the way that the script slowly reveals the real sweetness, loyalty, and strength underlying her sassy, flirtatious exterior.  Despite her confident persona, Lexie is actually deeply insecure, and she has to work hard to conquer her demons and acknowledge her own worth.  Her journey of self-discovery is a long one, often messy and frustrating, but ultimately rewarding.

*Minor spoilers*:  One of my favorite moments of that journey is when Duncan comes in clutch for Lexie at one of her lowest points, when he finds her falling apart in that tool shed because she thinks she's going to lose Archie to one of his exes.  His pep talk in that scene is EPIC, on its own small scale, and I love it.

Friendship, in general, is one of the most significant themes of the show.  The members of this "clan" are all so tight-knit — you could essentially pick any two characters at random and find a deep and individualized kinship existing between them, no matter what their connection to each other.  

There are so many reasons to watch Monarch.  Watch it for the setting:  an authentic and beautiful trek into early-2000's Scotland.  Watch it for the plot:  a fairly standard (but still layered) exploration of family drama.  Most of all, though, watch it for the characters:  the foppish patriarchs, the delightful matriarchs, the struggling scions; the witty cooks, the taciturn ghillies, the easygoing locals.   

The characters may be imperfect, but they're also profoundly lovable.  They may fight, they may hurt each other, they may make stupid mistakes (and believe me, they do) — but at the end of the day, they love each other more than life and they make Glenbogle home.

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Once Upon a Time (ABC)

2011 - 2018

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Is this show a literal soap opera?  Yes.  Is the script often completely absurd?  Yes.  Is the CGI so terrible that it makes the BBC Narnia movies look good?  Yes.  Is the overacting a rampant and significant problem?  Yes.  (Is one of the most important and long-awaited episodes ruined because the showrunners decided that it would be a terrific idea to turn it into a freaking musical?!?  Yes.  Is it highly probable that I will never forgive said showrunners for this travesty?!?  Yes.)

BUT DO I CARE????  

NO, I DO NOT.

Because I love the characters.  I can get past the frightfully overt messages and the purple cloud magic and the cringey dialogue and the awkward acting because I really, really love these people.  I love watching their stories unfold from start to finish.  I love watching the found family bonds that form between the most unlikely allies — and, more often than not, the most unlikely enemies.  I love the romances (*many squees*), the friendships, the grudging acceptance-ships.  

I love watching Emma give herself permission to heal, to become the best version of herself without ever sacrificing who she already is.  I love watching Killian realize that a life of evil isn't worth the toll it takes: that vengeance is meaningless and that he would rather channel his energy into rebuilding his integrity.  I love watching Regina surrender her bitterness and accept the love of the people she once hated.  

I love the kinship that Victor and Red forge out of their mutual trauma. I love the connection that August and Emma share. I love the way that Archie tries to befriend even the worst of his neighbors.

I love the surplus of redemption arcs that pepper the series.  Sometimes it's an individual character who's redeemed, and sometimes it's a relationship; sometimes the redemption is complete and ongoing, and sometimes the reconciliation is piecemeal and brief; but either way, the idea of repentance and reconstruction is very strong with this one.  Since I know of no nobler theme, that pleaseth me muchly.

not my emotions

In short, I love a lot about Once Upon a Time.  And most of that love revolves, in some part, around the characters.  As a matter of fact, the show contains a couple of my absolute favorite fictional characters ever, which is saying quite a bit.  But in addition to them, it boasts a huge ensemble cast that I love in close to its entirety, which is saying even more.  

For all that the show does wrong — and it does quite a bit wrong — the one promise it never fails to keep is that of providing unique, three-dimensional reinventions of beloved fairytale figures for its viewers to love, hate, and cry over.

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Fan Videos

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Now, because I am what the indelicate might call a 'hoe' for a good fan video, and because I think they play an essential part in successfully pitching any show, I'm going to share a few for the ones I've just covered. 😉  (With the exception of Monarch — the pickings are regrettably slim for my underrated little gemstone. *le sigh*)

**There may be SPOILERS in these videos.**

{ Leverage }

{ Once Upon a Time }

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Now, tell me!  

What some TV shows that stand out to you in the arena of strong characterization?  

(Robin Hood, Agent Carter, Call the Midwife, and Sherlock are all runners-up for me. 😉)