(Unlike most reviews, there are no spoilers ahead - continue without risk)

This afternoon I had an interesting quote arrive to me courtesy of Creative Screenwriting:

“Better, absolutely. The audience’s increased appreciation for complex and multi-episode narratives has opened up new possibilities for storytelling. It’s never been as exciting to be a television writer.”

- Vanished’s Josh Berman, when asked whether episodic network TV was getting better or worse

Immediately, I thought of Deadwood.

I can say without equivocance, that there has been no other show that has shackled me with such intense attention.

During the weekdays in-between episodes, I would find myself worried about what would happen to these characters Sunday night.

Who would be shot? Who would stand up to Hearst? Who would live and breathe and act like no other character has?

During the finale, I felt like I was going to throw up. I don’t want to ruin too much for those who haven’t had a chance to see it, but it is quite possibly the greatest ending for a series ever.

Audiences…feel compelled to watch a Dramatica-type movie again.

From the first episode of this season all the way to the last, there was a terrific buildup of tension. I was amazed each week how the tension continued to build and build without ever a release. Even up until the final minutes, when I thought for sure Bullock would come through for us all, the tension was there.

During one fight scene early on in this season, I was so rigid from the tension on screen that I began to shake - my stomach twisted in knots the same way it was when I took a ride in an old WWII warbird a couple of years ago.

The playful mindlessness of Entourage was always welcome after a bout with the gang from Deadwood.

But what is most interesting to me, and why I bring it up on this blog, is the fact that I couldn’t seem to fit one episode into the Dramatica paradigm.

So why did I enjoy those stories?

Experience has taught me that if the story doesn’t work, it’s usually because it is missing a part of the Dramatica puzzle.

Why then, were these great stories?

Episodic TV - The New Novel

My brother, also an avid screenwriter, has mentioned to me on several occasions that he considers episodic TV, primarily those on HBO, the new novel.

With the luxury of time, characters are allowed to develop and situations arise that could never fit into a single 2-hour film. Series like Deadwood, and another fantastic HBO series Big Love, take the time to develop a story over several weekly episodes - like the chapters in a book.

Often, when we have analyzed TV series in the past using Dramatica, we are able to find an episode or two that stands out and is a complete story in and of itself. I remember there was an episode of Ally McBeal that we took a look at, and the X-Files has had several Dramatica type stories, Beyond the Sea and Clyde Bruckman’s Final Repose are two that come to my mind.

While these TV series may have had an overall “bigger” picture story to them, these episodes could be watched out of context and still be appreciated as a complete story. Often, these episodes didn’t really contribute to the story as a whole.

Deadwood, on the other hand, never had an episode like that. I kept waiting for one each week that I could analyze with Dramatica and post for all to read here - but it never came. Instead, they all kind of flowed together in one seemless mass. And when I look back on this last season, I can’t narrow down a distinct throughline.

I mean, the Objective Story Throughline is there, certainly. Without a doubt, Hearst is the most evil Antagonist I’ve ever laid eyes on. In fact, I saw a shot of the actor who plays him, Gerald McRaney, in front of the Mann’s Chinese for some premiere, and just looking in his eyes, I could feel the anger welling up in me!

But beyond that I’m not really sure what I could identify as being part of the Dramatica paradigm.

Dramatica type stories always have two common threads:

• They have a greater underlying meaning to them beyond interesting characters and twisting plots
• They demand another viewing (or reading)

The first compels the second. Audiences, sensing that there is some greater meaning there, feel compelled to watch a Dramatica-type movie again. Don’t you feel that way about Shawshank Redemption or Casablanca or Chinatown? I know I do.

So then why do I have both season of Deadwood on DVD and why can’t I wait for the third to be released? Why, if I didn’t have so many children or a job or a life, do I feel the need to sit in a darkened room and watch this series over and over again?

I have no idea.

But curling up with this series, much like one would with a novel in the days of old, certainly sounds like a fun weekend…

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Somewhat related to this article

• Deadwood and the New Novel→

• Analysis of Deadwood: The Relationship Between Swearengen and Bullock→

• Start Writing→

• Story Diversion: Deadwood’s Unlikely Reworking of the Past→

• Deadwood: An Unlikely Partnership Between Foes→