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How to Write the Title of a TV Show Using APA

American Psychological Association, or APA, style establishes rules for writing and formatting social science papers, including how to format the titles of works such as books, websites and TV shows. The format of the title of a work depends on the section of your paper and whether the work stands alone or is part of a greater whole, according to the sixth edition of the Publication Manual of the American Psychological Association.

TV Episode Title

The title of an episode of a TV show should be placed inside quotations marks and written in title case within the body of the paper, according to the American Psychological Association. In title case, capitalize the first word of the title and subtitle; nouns, pronouns, verbs, adverbs and adjectives; and all words at least four letters long. For example, within the body of your paper, you would write "Chasing the Bus." When you write the title of a TV episode in your reference list, do not put the title in quotation marks or italics and use sentence case. In sentence case, capitalize the first word and proper nouns, as if you were writing a sentence. For example, in your reference list, you would write "Chasing the bus."

TV Series Title

The title of a TV series stands alone, so it should be italicized in both the body of your paper and the reference list, according to the American Psychological Association. The title should be in title case within the body of your paper and in sentence case in the reference list. For example, within the body of your paper you would write "CSI: Crime Scene Investigation," while the reference list would say "CSI: Crime scene investigation."

• American Psychological Association: How to Capitalize and Format Reference Titles in APA Style
• American Psychological Association: Title Case and Sentence Case Capitalization in APA Style
• Publication Manual of the American Psychological Association, Sixth Edition

Rebekah Richards is a professional writer with work published in the "Atlanta Journal-Constitution," "Brandeis University Law Journal" and online at tolerance.org. She graduated magna cum laude from Brandeis University with bachelor's degrees in creative writing, English/American literature and international studies. Richards earned a master's degree at Carnegie Mellon University.

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Blog • Perfecting your Craft

Posted on Mar 22, 2017

Netflix & Write: 8 Shows That Will Make You a Better Novelist

Reedsy editor and novelist Andrew Lowe highlights an excellent way to improve your writing craft without the need to read a word or skip a YouTube ad. You’ve probably already absorbed it without even knowing.

I’ll bet you have stacks of writing-advice books stashed away, unopened, on your Kindle, as well as reams of writing-advice features bookmarked in your browser or read-later apps. While you should absolutely adopt a learning mindset when it comes to becoming a better novelist , don’t forget that you can immerse yourself in a fine source of writing advice that’s probably already sitting right there on your TV, laptop, tablet and phone: streaming TV shows.

Unlike feature films, which have to accelerate character development and struggle, streaming shows need to pace themselves — gradually cranking up the heat, seeding recurring themes, applying subtle shifts and teases. Their job is to introduce — and market — a concept, then grow it over a pre-set period, keeping the consumer compelled and invested.

Like a novel.

So go ahead. Put on your 'critical thinking hat,' and catch up on eight shows that will teach you pretty much everything you need to know about characters, pacing, thematic development, and more! (Warning: major spoilers ahead!)

On starting a story — Better Call Saul

Thriller writers will be aware of the need to start a story with a bang : a Bond movie-style pre-credits action sequence, or an intense prologue that serves as an entry point to spike a reader’s attention before getting down to the initial, usually more sedate, stirrings of the narrative. Better Call Saul is even bolder.

The opening sequence of Series One shows a monochrome flash-forward with the character Breaking Bad fans recognize as sleazy-smart lawyer Saul Goodman, toiling in a branch of Cinnabon. His hair has thinned, and he seems limp and downtrodden as he prepares the gloopy mixture and locks up to head home for an evening with Mr. Jack Daniels. After the credits roll, we zoom back to the pre-glory days, with the nascent ‘Saul’ — Jimmy McGill — working his way up from the mailroom at an eminent law firm.

Showrunner Vince Gilligan poses a powerful question: how does it all go wrong? Since the show is a spin-off, and most viewers will be aware of the character’s eventual association with high-powered drug cartels, we’re being told to strap in for a serious fall-from-grace story. (Which can be just as compelling as a rise-to-power.)

In your writing, there are multiple techniques to grab a reader’s attention from the first page . Better Call Saul is a great example — particularly for series writers with characters who are already established — of how you can present a future ‘spoiler’ as a twisted sort of punchline , and then construct your story around the telling of the joke.

Where to watch? Netflix

On how to build suspense — The OA

A former tutor once gave me a great tip that applies to writing: don’t give away all your sweets at the start.

You need to engage your reader and get things moving early on, but if you reveal too much, too soon, you will struggle to maintain interest. Leave room to bring in side-themes, callbacks, reveals, reinforcements. You need to create a sense that more will be revealed and that it’s worth waiting for.

In The OA, the writers open the story with the sudden reappearance of an adopted young woman, Prairie, who has been missing for seven years. Though her blindness appears to have been cured, she has strange scars on her back, and she insists on calling herself “The OA”.

The show takes two hour-long episodes to examine Prairie’s family and her local connections. It then reveals how a near-death experience as a child led to her being captured and studied by an obsessive recluse bent on discovering the secret to immortality.

Those two hours are crucial in building the culture of the show and drawing the viewer into Prairie’s story. We begin the third hour almost overloaded with questions. Is she telling the truth? Why has she returned now? What has happened to the recluse’s other subjects? How did she get away? And, of course, is all of this true or is she just crazy?

Resist the urge to offer up too many answers in the initial part of your narrative . Mystery, wanting to know what happens next, second-guessing based on little teases and detail… It’s what keeps the reader turning the pages. Don’t worry about ‘losing’ them by not giving enough away. If you seed your early intrigue with care and craft, the reader will stay with you. It’s more powerful to place a question in their mind than it is to gratify them with an answer. Hold on to those sweets.

On creating interesting, relatable characters — Fargo

We all know that classic cardinal rule of storytelling: make me care. But there’s a myth that readers have to “like” a character in order to be engaged in what happens to them. All you really need to do is to make the character real, authentic, believable, human ; someone who looks, talks and acts like a relatable person; someone with all-too-typical human doubts, frailties, impulses; someone who doesn’t always make the “right” decision and is often forced to improvise. If you can get that right, then your reader will root for the character and be engaged with your story, because they will recognize little bits of themselves.

The underdog is a timeless character concept because all the readers not born into a life of easy privilege (i.e. most of them) will feel an instant personal connection to a story of survival against the odds.

In the second series of Fargo , beautician Peggy and her butcher husband Ed try to cover up their hit-and-run killing of a crime family’s youngest son. The writers portray Peggy and Ed as an average blue-collar couple swept into a vortex of gang warfare and in-fighting. They’re (relative) innocents who are bullied and hunted and brutalized, and when their fight-back finally comes, it’s loaded with righteous rage that will have every viewer cheering them on.

When you’re planning a piece of writing, pay close attention to your characters’ journeys (economic, social, emotional, romantic). Generally, the further the character has to travel, the more powerful the connection with the reader will be. If you can take a character from the lowest low to the highest high across the course of a novel , then you’ll have something almost fable-like in its universal appeal to empathy. (See Rocky, Slumdog Millionaire, even  Scarface .) This is also the reason why Die Hard is such a feel-good Christmas classic. (Ordinary guy trying to reconnect with his estranged wife becomes an overnight hero.)

Where to watch?  Hulu (US), Netflix (UK)

On character development — Breaking Bad, Designated Survivor, The Girlfriend Experience

We’re all works in progress, being molded and remolded by our choices and experiences. By the time your novel comes to its conclusion, your characters will feel more authentic if they’ve developed or diminished as a result of the story you’ve just told. The transformation can be radical or subtle, but the reader should not leave the characters as they found them.

Maybe they start the novel believing one thing, and the events shift them to the other end of the scale: from obedient automaton to wild-eyed advocate of free-thinking. (In Nineteen Eighty-Four, Winston Smith moves from one end of the scale to the other, and then back again.)

Maybe the story is all about them wanting something and having trouble getting it — and then, when they get it, their outlook has changed so much they’ve realized they don’t want it anymore. (This is what happens in Pixar’s Cars . Lightning McQueen starts the film thinking that life is all about being the fastest, the best. But by the end, he’s realized that slowing down and being connected to friends is more important.)

The effect of character change can be so satisfying, it’s possible to make it the subject of the entire story.

A familiar theme of transformation is often the shift towards more control. In Designated Survivor, Kiefer Sutherland’s Tom Kirkman moves from the powerless post of Secretary of Housing to the all-powerful POTUS. In The Girlfriend Experience, Riley Keough’s Christine transforms from a dead-eyed, bullied legal intern into a formidable high-class escort who, in the extraordinary final episode, becomes the puppet-master of a complex power play.

In Breaking Bad, high-school chemistry teacher Walter White (Bryan Cranston) transforms from nebbishy suburban dad in slacks to his badass alias, ‘Heisenberg’ — a brutal and venal meth kingpin, smiting his enemies with a remote-controlled machine-gun. The writers even found time to build in dialogue telegraphing the Breaking Bad character change, right there in Episode One, when Walter is teaching a class.

“Chemistry is the study of change. It is growth, then decay, then transformation.”

The trick is to manage the change, so it feels plausible and woven into the fabric of the story. Make it slow and subtle and deliberate and, crucially, close to the key theme or through-line. Walter White’s change is satisfying because of the way his morality is eroded by his situation. At the start, he justifies his behavior as something he has to do to provide for his family. But by the end, he freely admits that he did it all because he “liked it,” and the character has done more than just change in behavior and outlook; he has mirrored his academic discipline and alchemized from one state to another.

Where to watch? The Girlfriend Experience: Starz (US), NowTV (UK); Designated Survivor: Hulu (US), Netflix (UK);  Breaking Bad:  Netflix

On choosing your setting — Bloodline

Think of your novel’s geographical setting as a character , and you’ll realize you can do a lot more than just use the locations as a static backdrop. Incorporate the subtleties of the geography as a direct influence on your characters’ behavior, or as a way for them to achieve their goals, good or bad.

Bloodline explores the murky secrets of a dysfunctional family after they gather for an anniversary celebration at their seaside hotel in the Florida Keys. The idyllic tropical setting is an ideal contrast to the family’s interpersonal fault lines: a blissful natural exterior to offset the corrosive psychological interior. The oppressive heat mirrors the family’s simmering grudges, the isolated location ramps up the tension and enhances the horror of the violence, and of course, the local swamps are ideal metaphors for those hidden motives and long-concealed secrets.

If Bloodline were set in some out-of-town country hotel, in a mild climate and with good connections to nearby civilization, it would still be possible to tell the story, but the storytelling tools would be blunted, and the effect would be half as rich.

On finding your theme — Stranger Things

There are two questions non-writers will often ask writers.

• Where do you get your ideas from?
• What’s it about?

(1) varies from writer to writer, but if you can’t answer (2) with something solid and succinct, there’s a chance that your novel needs restructuring or simplifying .

As Stuart Horwitz puts it in his excellent Book Architecture (one of the writing-advice books you should definitely read), “A book can only be about one thing.” It can be about lots of individual struggles, but they should all orbit a single underlying theme.

It will enhance your story if the key characters all want different versions of the same thing, or if their change or development is influenced by a unifying theme. You don’t want characters to feel like ciphers; window-dressing for the story. You want them to be an integral part of the way the story functions. The way to do this is to be absolutely clear about your theme. You need to be able to answer that second question with total confidence; ideally, in the fewest possible words.

In the Duffer Brothers’ Stranger Things, they’ve boiled their theme down to a single four-letter word: loss. Joyce is a mother who’s lost her son, Will. Jim is a police officer who’s lost his daughter to cancer. Eleven is a young girl who’s lost her childhood. Mike, Dustin, and Lucas have lost a friend. Jonathan Byers has lost his younger brother and his father.

All the characters are pulling in the same direction, and so all the writers have to do is examine their differing motivations as the characters set about finding the things they’ve lost or achieving some kind of related redemption. If you can set your story around a potent central theme, then it will go a long way towards making your characters believable, your story multilayered and — a big bonus, this — because of the clear focus, that dreaded synopsis will be a lot easier to write.

Or if you want to read some of the books that inspired the series, check out our quintessential Stranger Things book list here !

Andrew Lowe is one of our top copy-editors on Reedsy, and you can visit his profile here. His novels The Ghost and Savages  are  available now.

What have you learned about writing by watching your own favorite TV series? Share your thoughts in the comments below, but be warned once more: there will be spoilers.

5 responses

Ginger Monette says:

23/03/2017 – 17:01

I write romance, and I often find inspiration for scenes and characters in TV series and movies. Last week I binged watched the Turkish drama Kurt Seyit and Sura on Netflix. The lead male was beyond outstanding. His every mannerism, facial expression, and tone of voice further supported his character's persona. Turns out he has the perfect personality for a novel I've been daydreaming about. Now that I have a 'real person' in mind (whom I observed for 46 episodes), I can imagine this character, his mannerisms, etc, as I weave him into my own story.

↪️ Ronel van Tonder replied:

12/01/2018 – 15:14

I do this often - use a person from a show I've watched as a template for my character. Luckily, by the fourth or fifth chapter they've already evolved into their own person, but it's such a great start!

Megan Saunders says:

23/03/2017 – 17:16

Personally, I love the character development over one of my favorite shows, CSI: Miami, particularly in the case of Horatio Caine. While his overall personality as a CSI changes only slightly in the first couple of seasons, we do see slight changes in the way he interacts with his family - his sister-in-law, his nephew, and (spoilers) his brother. All of these things subtly influence the way he handles his job - slowly making him harder. Things really ramp up in season 4, when the creators introduced a romantic angle for him - one that was short lived and ended in tragedy, but from that point on, we see him go to some very, very dark places and the change is striking and compelling. On the surface, very little changes for him - he remains soft spoken, gentle when interacting with children and women, and intensely devoted to his job. But the way he deals with the criminals he interacts with goes to a new level each time the creators hit him with a sucker punch in terms of his personal life and his interactions with his co-workers and subordinates.

Evelyn L Morgan says:

25/03/2017 – 02:20

I really liked this piece. Some of these shows are my special favorites. I also like to watch with closed captioning because I also write screenplays and that really helps me hone my own dialogue.

Kristen Steele says:

11/04/2017 – 15:00

In my opinion, Breaking Bad is one of the best stories (not just TV shows) of all time. Writers can certainly learn a lot about character development and how to move a plot forward from watching this show.

Comments are currently closed.

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• Scriptwriting

Writing for Television — Format, Genre and Structure

W ith new streaming platforms emerging every year and binge watching becoming an art form, the television industry needs more writers than ever. Unfortunately, there is also more competition than ever. Breaking into the TV industry can be tough, but here are the fundamentals you need to know about becoming a television show writer as well as some actionable tips that will help you get that much closer to writing for television.

Watch: Anatomy of a Screenplay — Ultimate Guide

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Television script writing

Writing for television vs. film.

Although feature film screenplays and television screenplays have many similarities such as scene headings , formatting techniques , dialogue, and character descriptions there are many differences between writing for television and writing for film. To understand the differences, it's first important to understand how a TV show gets made. This Vox video conveniently breaks down the TV making process.

Understanding writing for television

1. Script Length: Most obviously, writing for television involves much shorter scripts than writing for features. The run time of a television show ranges from 30 minutes to 60 minutes while a feature film is at least 90 minutes long resulting in the difference in script length.

2. Story Engine: Feature films are meant to be resolved by the end of the film. Television shows, on the other hand, are meant to last multiple seasons. This means that writing for television is dependent on creating different driving forces than a film.

Films that last a whopping six to nine seasons are often very character driven, relying more on the audience's investment in the characters rather than the plot points themself.

Writing for television: Character and Develop Their Arc  •   Subscribe on YouTube

TV shows often have multiple central characters that move the show forward unlike features that typically have a single central protagonist. TV shows utilize multiple story lines otherwise known as A, B, and C story lines.

3. Structure: Because both the length and engine of a television show both differ from that of a film, the structure of a television show also differs. Writing for television aims to retain the audience's attention and set up following episodes.

4. Lack of immediate resolution: The episodic format of a television show means that each central narrative lasts over the course of multiple episodes or even seasons. For that reason, TV shows do not need to tie a neat bow on every episode with a resolution unlike a film.

Related Posts

• TV Writing & Development Master Class →
• FREE: Get started and write your television pilot today →
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How to write for tv

Television script structure.

In the past, writing for television has been formulaic across the board to fit the form of weekly episode releases. With the advent of streaming services and the phenomenon of binge watching, nearly every story structure is possible to achieve through television. 

Some TV series have even been described as ten-hour movies broken into episodes. Other TV series still follow the traditional sitcom format. No matter what, understanding the story structure that best serves your story is important. 

Among the best television series in history is Breaking Bad pilot script which uses a common four act structure. Check out this breakdown of the structure of Breaking Bad in this video from Lessons from the Screenplay.

Breaking Bad  •  Writing for television pilots

Next time you watch a great TV pilot, take note of how this structure applies. This will help you structure your TV show in similar ways that best serve the story. Once you understand the mechanisms of your show’s structure, you will need to create the necessary materials to pitch your TV show.

TV show writing format

Tv script format.

Structure also entails understanding how to format a script. Before you send out any script whether it is a spec or a pilot, you must make sure it follows standard script format. This will make it easier to read, more engaging, and more professional. 

To better understand TV script format and writing for television professionally, check out our formatting video below. We dive into everything from scene headers to slug lines to dialogue. Of course, when you use dedicated screenwriting software like StudioBinder, the formatting is done automatically.

How to Format a Screenplay: Writing for television  •   Subscribe on YouTube

Learning how to write for TV means understanding both story and TV script format. Understanding various formatting techniques such as parentheticals and slug lines will add to your repertoire of TV screenwriting tools. This will effectively make you a better television writer. 

TV Writing and Pitching

Components of a tv show pitch.

There is fundamental advice when it comes to learning how to pitch a TV show , but the quintessential tip is to be prepared . This means that you know your TV show inside and out and have materials that prove it and communicate it clearly.

1. Treatment

A story treatment helps get your concept or show in front of more readers. Television show concepts can be large and complex. Distilling your idea into a simpler, more condensed treatment will increase your chances that someone will read about your show.

How to Write a TV Show Treatment  •   Subscribe on YouTube

Treatments will help get your foot in the door. But when someone bites onto a treatment, it’s important to be prepared to have a full pilot script ready.

2. Pilot Script

Your pilot script is a huge determining factor to the success of your TV show idea. It conveys the story, your TV screenwriting style, and should prove the potential for future episodes. The pilot is the foundational building block for the entire show. So how do you write a great one? Check out our video breakdown that analyzes the Breaking Bad pilot and what made it successful.

How to Write a TV Show Pilot Script That Sells  •   Subscribe on YouTube

Finally, you need to be able to clearly and effectively pitch the concept of your show to TV executives when you’re not even in the room. This is where the show bible comes in.

3. Show Bible

Show bibles are used to present to TV and digital executives in order to get a show commissioned or picked-up for distribution. They should break down the entire concept of a show in a clear way. Learning how to make a TV show bible is a lot easier than you might think as long as you have fleshed out the idea of your show well enough.

How to Make a TV Show Bible  •   Subscribe on YouTube

TV show bibles should allow executives, writers, and readers to understand the concept of a show without you having to explain everything to them.

If you do get into a room to pitch your show, there are a few other tips that will help you beyond the materials you bring. Your presence and how you pitch are incredibly important to your pitch’s success. Here are a few do’s and don’ts when it comes to pitching a TV show idea .

How to write for TV: Pitching  •   Subscribe on YouTube

Now that you understand the necessary information of TV screenwriting, it's time to learn about the actionable steps you can take to get you that much closer to a career in TV writing.

• How to Write for TV: Loglines →
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• Get Started and Write Your Television Pilot Today →

How to write for TV

Tips to break into the tv industry.

Screenwriting for television and preparing a pitch does not happen overnight. In fact, it might take a lot of nights. But there are things you can do that will move your forward in your TV writing career outside of writing your own show.

1. Do your TV homework

Being well versed on television is the best way to learn about your craft. Keeping up to date with trending television series as well as watching classic television shows and dissecting how and why they work will help you better understand the mechanisms of a television show.

2. Write everyday

To get better at screenwriting for television, the only way to get better at your craft is to write. Whether it's writing your pilot, writing a treatment, or writing in a journal. Writing everyday will exercise the creative muscles you will need in the television industry where turn around times are fast and bright ideas need to appear out of thin air.

3. Write a spec

A spec script is written independent of any production entity with the intention to showcase your ability as a writer. Spec scripts can lead to the purchase of the script or even future assignments as a writer. Learning how to write a spec script is useful for anyone trying to break into the TV industry. It will also educate you on how to write for TV based on a pre-existing show. 

4. Move to Los Angeles

This may not be news, but it is worth reiterating. A majority of production companies for both film and television as well as the writing jobs. Getting out there will give you a better chance at our next tip. Screenwriting for television involves a lot of our next tip — networking. And being in the hub of television is a great way to network.

Of course it's not all about who you know, but it certainly has a big impact. Rubbing shoulders with those already in the television industry as well as those in your shoes trying to break in will help open up doors to present and future opportunities.

6. Get a writer’s assistant job

Getting a job as an assistant to a television writer will help you get your foot in the door of the industry while also learning from those already working in it. It will also help you build relationships that will work in your favor.

7. Enter writing contests

There are plenty of writing contests out there with some heavy competition. While the odds may not work in your favor, someone does win. At the very worst writing for these competitions is great practice for any aspiring screenwriter to learn how to write for TV.

8. Have a positive attitude

In the world of film, people often work with each other for long hours and even longer months or even years. Being someone with a genuinely positive attitude will make you someone people want to work with which helps your odds at finding TV writing work.

How to Write a TV Treatment

Do you already have an idea for a television show, but have yet to flesh it out or put it on paper? Get started by creating a treatment. A treatment is a great way to determine whether your idea has legs to be a full blown television series.

Up Next: How to Write a TV Treatment →

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How do I style the title of a segment from a television news, talk, or comedy show?

Note: This post relates to content in the eighth edition of the MLA Handbook . For up-to-date guidance, see the ninth edition of the MLA Handbook .

As the  MLA Handbook notes, “A title is placed in quotation marks if it is part of a larger work” (25). Thus, enclose in quotation marks the title of a segment from a television news, talk, or comedy show, as shown in the following example:

In the final episode of  Saturday Night Live this season, Tina Fey, appearing on the segment “Weekend Update at Home,” poked fun at Zoom virtual backgrounds (“Weekend Update”). Work Cited “Weekend Update at Home.” Saturday Night Live , created by Lorne Michaels, performance by Tina Fey, season 45, episode 18, SNL Studios, 9 May 2020.

MLA Handbook.  8th ed., Modern Language Association of America, 2016.

How to Write a TV Show (A True Beginner’s Guide)

So, you want to write for television? To write the next big thing?  In an age of highly competitive television programming, there is certainly the scope for screenwriters to pursue their goals.

Television jobs indeed outnumber film jobs by two to one, as the Writers’ Guild of America tells us. If you are looking for numbers, Madeline DiMaggio estimates that around four hundred movies are made against around three thousand episodes of television per year. 

Streaming sites and broadcasters are fighting 24/7 for audience attention from Netflix to Amazon Prime, Hulu, HBO Max, Paramount Plus, and Disney Plus (we could name so many more!) 

But before we jump into the rest of the article, let’s do a refresher on what a TV script format even is and how they are structured.

TV script format refers to the organization and structure of a teleplay. Television scripts vary in length from 20-100 pages, with most half-hour shows spanning 25-30 pages and hour-long shows around 50-60 pages. In contrast to screenplays, teleplays adhere to strict formatting guidelines and are typically written for production purposes.

This does not mean that every single show on these platforms is of the same quality. Stephen V. Duncan is quick to remind us that series come and go, naming the key reason they fail is down to the lack of good quality writing that speaks to a wide audience. 

It is crucial in any form of screenwriting , whether it be film, television, or games, that you are constantly practicing your craft and ensuring you are the best writer you can be. Plus, it is always useful to form your own opinions on what works and does not work in TV. 

Now we are going to delve into how to write a script for a television show.

Also, stay tuned for our top tips at the end.

Start writing your script today with the Celtx Script Writing Editor – Sign up H ere (It’s Free!)

What is a TV Script?

Television scripts start life with an overarching concept, with a larger arc created for the plot and characters. Each script is an individual episode that tells a small piece of the longer story, almost like a puzzle piece. There are many types of television scripts:

• Limited Series

That is a lot of story, right? In the case of television, it is common for writers’ rooms to exist. Here, a group of writers gathers to discuss ideas for the entire season before it is divided into separate episodes assigned to one or more writers. 

Each writer or small group of writers then works on their episode or episodes before coming back to the room to clarify the stories. Just like the puzzle we talked about earlier: each episode needs to contribute to the series arc. The first episode of any series is called the pilot .

You will find that within the writers’ room there will usually be a showrunner who is responsible for and oversees the entire process.

Television vs. Film Writing

At first glance, you would not see a noticeable difference between the television and film script; both are formatted in the same way and written on screenwriting software. But scratch beneath the surface, and you will find several variations.

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A film will generally tell its story within 90 to 120 minutes and follows a basic three-act structure . Audiences sit down to watch the film and will have a complete story plus a conclusion to the protagonist’s journey. 

What is ideal in television is an ensemble of characters that will be together for a longer period across episodes and eventually, seasons. 

Especially successful shows such as NCIS are now entering 20+ seasons. Yes, the ensemble of characters may have changed in that time, but the overall premise and character development are what has kept the audience coming back. Plus, the original NCIS has multiple spin-off shows. 

Television scripts are generally shorter than movie scripts and have a different structure in terms of narrative, and allow for numerous beginnings, middles, and ends that could be possible within the overall plot and character arc for the series.

But do not rush to resolve things for your characters straight away; with a television series, you need to keep your audience interested and wanting more. 

Due to the longer series arc, television scripts are not bound to resolve every plot point or character story immediately. Those cliffhangers, red herrings, and slow-burning stories are all worth it in the end! 

K. Thompson sums it up nicely by explaining that an audience watches television in single episodes. While each episode may not seem extraordinary, things become more apparent the more we watch and consider the bigger picture. 

When we think of television, writers tend to think less cinematic, although more and more television shows are receiving bigger and bigger film budgets ! Generally, television scripts are driven more by dialogue. 

As you can probably tell, television has endless possibilities; from hour-long dramas, procedurals, and half-hour sitcoms to limited and mini-series, television continues to have infinite opportunities to evolve. It is an exciting time!

How to Write a TV Show Script

So, if you still think television writing is your calling, how do you go about writing a script? 

Before you even consider writing a television script, ask yourself this: does the story you want to tell fit the television format? Is television the best way to tell the story? Would a film, game or short film be more suitable?

If your answer is, yes, television is the right format for my story, then it is time to get writing.

TV Show Structures

As we know, television has a different narrative structure to film, so it is crucial to sharpen your knowledge of these structures. 

Structures do vary from TV show to TV show, but you must know the traditional rules:

The traditional sixty-minute television dramas are usually divided into four or five acts. Each Act break tends to be a commercial break so you can factor this in as you plan out your pilot.

Five-Act Structure

Act I – Introduce the characters and the problem they are facing.

Act II – Accelerate the problem.

Act III – The worst possible outcome.

Act IV – Characters scramble to overcome this worst-case scenario.

Act V – The characters succeed.

Alongside these five acts, you will have up to three storylines running alongside each other. These are known as the A, B, and C stories.

A, B and C Stories

A Story – The protagonist’s story.

B Story – Secondary storyline to the protagonist’s story and drives the narrative

C Story – The smallest storyline, sometimes called the runner

Of course, once you are confident with these traditional rules, there is no reason why you can break them, and break them well! 

Want to know more about formatting? Check out our post here on how to format your screenplay.

But before you can start breaking rules, you will need to practice your writing and come up with unique ideas. You will need a speculative script. 

The Speculative Script

If you want to write for television, it is important to have a speculative script of your own. This showcases your talent and can be used as your calling card when putting yourself out there within the industry. It is the traditional way writers use to break into the TV industry.

There are two types of spec script you can write: a spec TV episode for an existing show, or a spec TV pilot for an original show. 

In the past, it was common for writers to focus on a spec script for an existing show, showing how they would develop characters and interpret current storylines. But this has become a lot less popular with the industry focusing on individual writers’ unique voices and views of the world. 

In essence, executives are looking for writers who can stand out from a large pile of scripts. And with screenwriting becoming more accessible, more and more people are writing screenplays. Showrunners will only read spec scripts for original television shows.

Despite this, it is recommended to have both an original spec and an existing spec; it has become increasingly more difficult for writers to have an original television script purchased, let alone produced. So have as many well-developed ideas and scripts as you can, both original and pre-existing to showcase your talents.

Be clever with what you select for your portfolio; if you have written an original spec, find a pre-existing show with a similar theme and tone, and write a script for that show. The more the works in your portfolio complement each other, the better.

Bear in mind that you should keep up to date with what is happening in the industry, including what shows each streaming service is buying. Madeline DiMaggio uses HBO as an example, a television network that searches for innovative, bold, adult entertainment.

HBO loves shows like The Sopranos, Sex and the City, The Wire, and Six Feet Under, shows which all fit with their branding: “It’s not TV. It’s HBO”. Similarly, if you look at the network, Showtime, they tend to gravitate towards shows with ‘edge’ like Weeds and Dexter. 

You must know where your project will fit from the start. Not sure on your idea just yet? Check out our post for some top tips to kickstart your creativity.

One Hour Drama

A one-hour drama is just that: sixty minutes. This does not always include commercial breaks. A lot of the time, procedurals follow this time frame. Shows like Hawaii Five-0, Monk, and Law and Order fit nicely into this category. 

The plot line develops across each episode, with a smaller story or case of the week. Each week would start with a teaser or hook (first 2-5 pages), followed by four or five acts. 

Thirty Minute Single Camera Comedy

Single-camera comedies can use handheld cameras, meaning they can seem like feature films in the way they are structured. 30 Rock, Brooklyn Nine-Nine, and Entourage are great examples.

Like a teaser, a single-camera comedy would begin with a cold open, followed by three acts. A final joke for the audience to take away, rounds off the show, is called a Tag. 

Thirty Minute Multi-Camera Comedy

Multi-camera comedies are traditionally filmed in front of a live audience. An audience that needs to be kept engaged and entertained constantly.

There is not a ‘one size fits all’ with these types of comedies as the formatting tends to be fast-paced and specific. If there is not a live audience, a laughter track is sometimes used instead.

With multi-camera comedies, think Friends, The Big Bang Theory, and How I Met Your Mother.

When writing sitcoms, especially, the characters should not change. Whilst they can learn, at the end of every episode, they essentially should be back where they started. 

Your spec script is your calling card and a conduit to showcase your talent. Spend as much time as you can, perfecting it. 

I’ve Written My TV Script, What Now?

You have written and edited your script , rewritten, re-edited, and then rewritten again; it is time to show your original pilot script off to the world! 

But before you do, you need to put together your pitch document. This is a collection of resources to support your script idea including a treatment, pilot script, and show bible. All of these can also be used separately depending on what a producer or potential buyer asks for.

A logline sums your series up in one or two sentences. It is brief, engaging, and draws the audience in. You can find examples of loglines on the descriptions for films and television shows across all the streaming services.  

All loglines must state:

• The setting
• The protagonist
• The protagonist’s problem
• The antagonist
• The protagonist’s goal

When creating your logline, you do not need to use this exact order. Experiment and play around with the order of each element and see which works best for your project.

Check out our post on creating killer loglines to find out more.

One-Page Synopsis for the Pilot

A one-page synopsis is an overview of your television idea. It gives a potential producer or buyer a snapshot of your characters and plot before delving into your series bible fully.

Your one-pager should include:

• The project title.
• Your name and contact details.
• The logline.
• A short writer’s statement on why you have decided to write this project.
• A short story summary.

Yes, we know it sounds a lot to cram onto one page, but screenwriters need to be able to summarize the absolute core of their story and vision.

This is usually a descriptive three-to-five-page document to bring your characters and story to life. When we write scripts, it is important to be economical with our storytelling. This is also true for the treatment, but make sure to expand on the visuals, theme, and tone of your script.

Think of it like the blurbs you find on the back of books, except for your television show.  

Pilot Script

Of course, you must not forget the script itself, the best possible version it can be. Before you begin sending out and pitching your script, seek feedback from your peers. 

Also, try and put the script away for a while before revisiting it for rewrites. We promise you it is worth it; you will spot things that need editing you never thought you would!

Remember to double-check your script’s formatting and that it meets industry standards. Spelling, grammar, and punctuation checks are always worth it to tighten the script up.

The pilot episode is not the end of your television show. You must think beyond that and where you see your show going. It is not standard practice to write the scripts for the entire season; this puts potential buyers and producers off; remember, television is a collaborative process.

Whilst you may not be writing the scripts for the whole season, you will know the overarching character and plot arcs. Your show bible is there for you to plan out the main series plot points as well as to explain the history of your characters and the world they are in. 

You will need to include character biographies for your principal characters, which give a brief overview of them and their lives before the series begins. You need potential buyers and producers to see possible reasons for character motivation and personality.

The Stranger Things show bible is renowned within the industry for both its content and visuals.

An example of a show bible with pure content, and content that jumps off the page we might add. In the hit HBO show, The Wire, writer David Simon goes into detail about the setting and the concept.  (Link to Full Script here)

He pays close attention to the overarching story arc, with the team’s first case solved by the end of episode 9 (the season finale). 

Simon wrote longer synopses for the episodes following the pilot; however, these only need to be half a page long per episode, following the three-to-five-page treatment for the pilot. Check out the awesome show bible here . 

Ideally, you will work through the elements of your pitch document first, even before writing the script itself. Establish your characters, plot, and structure, and then write the script. It makes writing the script itself a lot easier if you have everything plotted, and ready to go. 

Ten Top Tips for Writing a TV Script

Here are ten things you should be bearing in mind when developing your television idea:

• We have already talked about how important it is to do your research on television and where any of your scripts could potentially fit tonally and thematically. But you should also make sure that you know your TV history, what has worked and what has not. 
• You should be fully aware of which audience you have in mind for your show. Where do you see your show airing? Which television channel or streaming network? Is your show’s content suitable for your chosen service and its target audience?
• Related Article by Celtx: How to Breakdown a Script
• Binge-watching is also totally fine if you are looking to be a television writer! Do not forget to also read as many scripts as you can to see how current television writers work and structure shows. 
• Consider how many cast members you will have. Whilst many shows have the main protagonist, they will usually be supported by three to five other key characters. Check shows in a similar vein to yours and see how they do things.
• Conflict is king. When creating your characters, consider how their personalities and individual goals can create conflict themselves.
• When it comes to other writers, it is important to build a network with your peers and executives as you are developing your scripts. Collaboration, feedback, and networking are key elements in the television industry in addition to the writing itself. 
• Writing assistant roles are also great if you are looking to get a firsthand look into a writers’ room. It is a great opportunity to observe and learn as much as you can. 
• Keep writing! It does not need to be every single day but build yourself a routine that you can stick to. 
• Use professional screenwriting software like Celtx . Not sure which one to use? Check out our ultimate list of the best screenwriting software !

In short, we recommend not limiting yourself to just television scripts. Even though the television industry has grown massively over the past decade, it is still tricky to break into. 

Writing a television pilot and devising long character and plot arcs can be extremely rewarding, so you should pursue writing your script.

But also have as many strings to your bow as you possibly can. Build a portfolio of not just television, but feature and short film scripts and ideas. Write a pilot for a drama, a sitcom, or a limited series. Be diverse with your work. 

Any script, whether film, television, or even games, could be your path into the industry, so do not be so quick to disregard anything. 

Using your unique voice, keep coming up with new ideas, and most importantly, keep writing!

Natasha is a UK-based freelance screenwriter and script editor with a love for sci-fi. In 2022 she recently placed in the Screenwriters' Network Short Film Screenplay Competition and the Golden Short Film Festivals. When not at her desk, you'll find her at the theater, or walking around the English countryside (even in the notorious British weather)

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• What To Watch

Best TV Shows to Write an Essay About: A Comprehensive Guide to the Small Screen

The invention of the television completely revolutionized our ways of entertainment. From its introduction in 1927, its audiovisual storytelling format captivated many, appealing to the human senses in ways never imagined. As the popularity of TV grew, creators took the opportunity to grace our screens with a vast array of genres, spanning from gripping dramas, adventure series, and mythical journeys to hilarious comedies, keeping us engaged and entertained. And as TV sets became cheaper and more accessible, they connected the world, turning it into one big village where people could easily experience cultures and perspectives abroad without leaving their homes. However, all materials on our screens are not worth writing about. Others aren’t even worth a recommendation. In this piece, we’ll explore some winning TV shows to write an essay about. So, grab your notebook and ride along!   

TV Shows to Write About and Their Cultural Impact

Have you ever wondered why producers work so hard and spend so much money to create and stream TV shows? You’re not alone. While many consider the programs a primary entertainment source, their role transcends that simplistic view. TV shows play a critical role in our society. Their influence affects all facets of our lives. However, it’s their impact on our cultures, social norms, and society in general that are more evident.  

To begin with, TV shows serve as a mirror, reflecting and shaping our values, beliefs, and behaviors. No matter how creative a program is, it can’t be based on “nothingness.” Even the SCI-FI and mythical series borrow from society, building their characters to reflect our history, present, and probable future. Watching a show like The Wire opens your eyes to the realities of drug abuse and dealings in the USA, especially in Baltimore. While viewing series like 24 and Designated Survivor reinforces our beliefs in patriotism and upholding the rule of law. If these aren’t enough to write about a TV show in an essay, I don’t know what is.   

Additionally, play a significant role in shaping our perspectives on social issues, politics, the economy, and personal relationships. You can’t view friendships in the same way after watching “Friends.” Your understanding of politics and its intricate games will also change after watching the House of Cards and Game of Thrones. While some people blame Blacks for their economic situations, watching The Wire might change their minds as it highlights the underlying structural issues that make it hard for them to break the vicious circle of poverty. Its captivating narratives and relatable characters broke the fallacies, changing many people’s perspectives of the social issues in America.  

Moreover, TV shows continue to influence and spark music, fashion, and other lifestyle trends. For example, after the famous movie Finding Nemo, the demand for wild clownfish skyrocketed, pushing the species to the brink of extinction in its native habitats, such as Thailand, Sri Lanka, and the Philippines. And let’s not forget the influence of Stranger Things on the demand for Eggo Waffles.   

Lastly, TV shows provide a platform for underrepresented voices –minorities- and promote diversity and inclusivity. For example, Hollywood increasingly gives a voice to the minority and special categories, e.g., black main actors and other people of color. The movies Moana, Black Panther, and Michiko and Hatchin are just a few examples.

From Characters to Themes: The 6 Top TV Shows to Write an Essay About

With so many great TV shows to choose from, what qualifies one for essay writing? If you love watching series, this can be one of the most challenging questions to answer. However, our choice of the best TV shows to write about has been influenced by a few factors: compelling storytelling, plot twists, thought-provoking themes, solid societal insights, and impactful characters. Overall, it was about leaving an impression.  

Breaking Bad

Is there a show that has done drug dealing a favor like this one? We doubt it. Mr. White, a high school chemistry teacher, transforms from an innocent professional suffering from cancer to a deadly drug dealer manufacturing top-rated methamphetamine right before our eyes. The moral complexities presented in the show are mind-blowing. Not to mention the character development.

Designated Survivor

Consider this show if you want a perfect TV show to write essays about. After the 9/11 terrorist attacks in the USA, the world has been alert to similar or worse events. This series captures how acts of terrorism and saboteur can completely alter a country’s leadership’s direction. The twists and turns in the show provide innumerable themes to explore in an essay. If you have any difficulties creating a relevant topic or backing up your claims, don’t hesitate to contact CustomWritings for essay help and a reasonable quote. It’s a trustworthy writing service with years of experience in movie reviews.   

This is hands-down our pick for the best TV show ever produced. Unlike your traditional series filled with graphics and CGI, the show differs. We strongly believe no series is more realistic in analyzing the social, political, and economic issues affecting society. Set in Baltimore, it explores the interconnectedness of law enforcement, drug trade, and city institutions with award-winning acts.

Game of Thrones

The world stood still for a moment as Game of Thrones aired on HBO . No other TV show has pulled many people and created many conversations and reactions online. It’s hard to tell if it was about its sacrificing of major characters, dramatic plot twists, or superior acting. Nevertheless, Game of Thrones excelled at examining the themes of power, politics, and morality.

Stranger Things

Stranger Things couldn’t have come at a better time. This supernatural thriller is set in the 1980s when government operations were opaque, and conspiracy theories reigned. Its subtle and family-centric approach to examining the themes of friendship, loyalty, and government machination makes it one of the best TV shows for students. The show’s nostalgic appeal, added to its great acting, makes it memorable and suitable for education.  

Black Mirror

This is a relatively new show whose first episode was produced in 2011. While many series create episodes to build upon each other, the Black Mirrors’ were written independently, exploring a diversity of genres. Even though they seem everywhere, they’re centered around the dark side of technology and its impact on society. It’s one of the most relevant TV shows to this generation.

Watch to Learn, Develop, and Write Better!

TV shows remain one of the most significant sources of entertainment for many. They take us on magical journeys filled with critical life lessons and enjoyment. While some are relatable and inspirational, others are downright funny. But don’t confuse them for sources of entertainment alone; they play a critical role in shaping our lives and societies. If watched keenly, you can learn many lessons not taught in your classroom. Their diverse themes, plots, and styles provide enough materials to write about. While our list contains good TV shows to write a paper on, you can always explore others to develop solid arguments.

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How to Cite TV Shows in Academic Papers

• by Lesley V.
• December 15, 2023

Essays about your favorite TV shows are some of the most exciting papers to write. 

The only thing students dislike about such tasks is the need to cite their sources. 

Luckily, I’m here to help you with the references for the entire show and specific episodes!

How to Cite TV Shows: APA

If your paper is in the APA format, you’ll need to start your bibliography reference by listing the executive producers of the TV series and then mention the dates when it ran (or when it started running). Then, include the italicized title of the show and the production company or companies it’s connected with.

Here’s what the result should look like:

As for specific episodes, you’ll have to start by mentioning the writers and director of that one. If it’s written and directed by the same person, write “(Writer & Director)” after their name. Then, mention the date when it aired, the title of the episode, the season where it’s featured, and end with a brief reference to the TV show itself.

Here’s an example of the result you’re looking for:

How to Cite a TV Show: MLA

If you cite a TV series in MLA, you’ll need to start by finding the page of that show on Netflix or any other streaming service. List the creators mentioned there and include the URL leading to the series page. 

Note that the names of the TV show and the streaming service are italicized.

If you’re citing some dialogue from one specific episode, it’s better to cite that exact one. In such cases, you’ll need a link to the episode you’re citing, its air date, and the season. The rest will be just the citation of the TV show in a different order,  like this:

How to Cite TV Shows: In-Text

The in-text citation is a parenthetical reference you use after the end of each direct or indirect quotation to indicate the source. With TV shows, you don’t have page numbers to mention there, but you have time codes. Let’s see how that works.

APA in-text citations

While MLA has a different system, please treat TV series like any other sources in APA (1). That means you must include the name of its creator and the years when the show started and ended. 

For example, an in-text for “Black Mirror” will look  like this:

• (Brooker et al., 2011-present).

If the TV series you’re citing has been only running for one year, you should include that information. 

MLA in-text citations

Since MLA treats the titles of TV shows the same way it treats the titles of movies, you’ll need to italicize it in your in-text citation, including the time codes for relevant sections.  For example:

• ( Black Mirror  01:34-01:55).

You’ll have to cite a specific episode to make sure that your readers understand where your quotes are from. However, you don’t need to mention the season or the series name for a specific episode in your in-text citation. Just go with the title of that episode, as well as the start and end time of the quoted section.

For example:

• (“Fifteen Million Merits” 52:00-54:30).

Over to You

Now that you know how to insert a quote from any TV series in your essay, it’s time to try citing what you need! Don’t worry: 

You can always use this article as a guide and double-check all the necessary parameters, including italics and parentheses.

Although people use streaming services instead of television nowadays, the formatting for the shows from Netflix, Amazon, and other platforms is the same. All you need to do is understand the basics of creating a bibliography citation and not forget about the in-text mentions after every quote.

References:

• https://owl.purdue.edu/owl/research_and_citation/apa_style/apa_formatting_and_style_guide/reference_list_audiovisual_media.html

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Ewan McGregor Charms in ‘A Gentleman in Moscow’, but Can’t Turn the Hit Novel Into a Compelling Show: TV Review

By Alison Herman

Alison Herman

• Ewan McGregor Charms in ‘A Gentleman in Moscow’, but Can’t Turn the Hit Novel Into a Compelling Show: TV Review 2 days ago
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Based on the bestselling novel of the same name by Amor Towles, “A Gentleman in Moscow” follows Rostov through the doors of the Metropol and stays there through decades of Russian history, from the formation of the Soviet Union to Stalinist repression to World War II and beyond. Writer and showrunner Ben Vanstone (“All Creatures Great and Small”) renders Rostov’s journey in eight hourlong episodes, a length at once condensed from Towles’s 500-page tome and distended from where the story feels most comfortable onscreen. “A Gentleman in Moscow” may present Rostov and his kind as an endangered species, but the series is part of an all-too-common trend: a limited series built around a star performance that’s engaging, but not enough to stretch a movie-sized idea into a TV-sized narrative.

But none of these characters ever compete with Rostov for the center of the series’ attention. They are, at best, accessories to his maturation from unserious dilettante to an impassioned protector of his adopted family, or an audience to his anecdotes about a bygone era. McGregor gamely sports a mustache and animates Rostov with a boyish naiveté. (After “Fargo,” “Halston” and “Obi-Wan Kenobi,” the actor seems to have taken to TV as a showcase for his talents.) His Rostov is compelling, yet also familiar — Towles’ novel was published in 2016, just a couple years after Ralph Fiennes portrayed a similar figure in Wes Anderson’s “The Grand Budapest Hotel,” which brought its namesake property to life with much more stylistic brio than directors Sam Miller and Sarah O’Gorman bring to the Metropol. There’s a ceiling to how much McGregor can do with a protagonist who clings to such established contours of vintage propriety caught up in the tides of history.

There’s also the matter of context. “The Grand Budapest Hotel” took place in a fictional country, but it referenced the rising tide of European fascism in the 1930s, a theme with obvious resonance for contemporary viewers. “A Gentleman in Moscow” deals with Communist repression, which is both a throwback to Cold War anxieties and an inherently political subject for a stubbornly apolitical show. Rostov’s college friend Mishka (Fehinti Balogun) hails from a more proletarian background and ends up on the opposite side of the revolution, but their differences stem more from personal strife than ideology. In their school days, Rostov thwarted Mishka’s romance with his sister, an intervention with tragic results.

“A Gentleman in Moscow” otherwise avoids having Rostov question whether his former lifestyle ever came at others’ expense or cultivating his views on current events beyond melancholy regret. This absence might be less conspicuous were the show more overtly abstract and allegorical á la “The Regime,” another series set largely within the walls of a requisitioned hotel. But the Metropol, while clearly constructed on a soundstage, is realistic enough to invite questions about the outside world. Towles could relay those developments in writing; on TV, we can’t see how Russia is changing because we’re trapped inside with Rostov, a deliberate choice that nonetheless leads to visual monotony and cuts off a potential source of plot.

The first episode of “A Gentleman in Moscow” is now available to stream on Paramount+ and will air on Showtime on March 31 at 9 p.m. ET, with remaining episodes streaming weekly on Fridays and airing on Sundays.

Updated: An earlier version of this review misidentified the showrunner.

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'This Town': Everything We Know About the New Series From the Creator of 'Peaky Blinders'

From the creator of ‘Peaky Blinders’ comes a story of crime and music in 1980s Birmingham.

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Does 'this town' have a release date, where can you watch 'this town', is there a trailer for 'this town', what is 'this town' about, who stars in 'this town', how many episodes are there in 'this town', who is making this town (and who’s writing the music).

Peaky Blinders creator Steven Knight is taking audiences back to Birmingham with his new BBC series This Town . Set in the West Midlands in the 1980s, at a time of great political unrest, the show follows the formation of a band against such a backdrop of terror and violence and sparked a revolutionary chapter in the history of modern music. Knight’s iconic crime drama Peaky Blinders was also set primarily in Birmingham, but This Town is a more personal project for the British screenwriter, director, and producer, as it’s set during a time that he lived through and experienced first-hand. The music-themed series recounts the explosion of ska and two-tone that united youths and artists of all races and ages from the late 70s through the 80s in Coventry and Birmingham.

Considering Knight’s previous work, fans are expecting the show to have plenty of gripping crime thriller elements, but what sets This Town apart is its musical side. The show’s music, a mix of originals and classics, has been crafted with help from Universal Music Group, who are co-producing the series through their Mercury Studios label. There’s no denying This Town has the potential to be our new favorite musical drama series, joining the ranks of acclaimed and popular shows like Prime Video’s Daisy Jones and the Six and Netflix’s The Get Down . As the all-new period drama series arrives this March, check out all the details, including the plot, trailer, cast, characters, and everything we know so far about This Town .

Though the series doesn’t have a US release date yet , viewers in the UK can watch This Town on BBC iPlayer starting on March 31, 2024 (Easter Sunday). All six episodes of the series are expected to be released on the streaming service on the same day. The first two episodes of This Town will also be broadcast on BBC One on March 31 and April 1, 2024.

For viewers in the UK, BBC iPlayer will be the primary home of the series, and that’s where you’ll be able to watch the show in its entirety. BBC iPlayer is a free service within the UK, so there’s no subscription required. However, the streaming service has location restrictions and cannot be accessed from IP addresses based in the US. It’s also been announced that the first two episodes of This Town will air on BBC One at 9 pm GMT on March 31 , then again at the same time on April 1.

Unfortunately, there has been no word yet on where This Town will be available in the US. The series does have a confirmed international distributor, Banijay Rights, so it’s likely to get a US release at some point. And if and when it does, you can probably expect the series to land on platforms like AMC, Prime Video, Netflix, or other streamers that regularly host other similar BBC titles. Meanwhile, there are a host of other popular and well-acclaimed BBC series that you can watch right now, which are available on streaming in the US.

Released on March 15, the official This Town trailer kicks off in Birmingham in the year 1981. It’s a time of violence and tension. Dante ( Levi Brown ) is a struggling poet who finds a new sense of purpose when he forms a band with Jennie Keefe ( Eve Austin ). But, as you might imagine, the band members soon find themselves facing new struggles, from drugs to the IRA. One of the band members is seen being pressured to join the IRA by his militant father, while Dante gives into the temptation of the “sex, drugs, and rock n’ roll” lifestyle.

If the video is anything to go by, This Town looks like it’s going to be a madcap journey of music, crime, and thrills, with strong themes of family bonds and friendship thrown into the mix. While the trailer presents plenty of violence and grit, a sense of humor underlying the chaos makes it even more appealing. You can’t quite call it a comedy, but there’s no denying the delightful tongue-in-cheek wit that the trailer highlights. It’s also got tons of energy, with constant movement and an ever-escalating narrative. The trailer does seem to give away most of the plot, which honestly seems quite predictable. However, that humor and energy, mixed with the show’s hypnotic mix of poetry and music, gives This Town the potential to be a wildly entertaining series.

The official synopsis of This Town reads as follows:

Set in a world of family ties, teenage kicks and the exhilarating music of a generation, This Town tells the story of a band’s formation against a backdrop of violence, capturing how creative genius can emerge from a time of madness. Both a high-octane thriller and a family saga, This Town opens in 1981 at a moment of huge social tensions and unrest. Against this backdrop, it tells the story of a group of young people fighting to choose their own paths in life, and each in need of the second chance that music offers.

The young stars at the heart of This Town are Levi Brown ( Loss and Return ) as Dante, Jordan Bolger ( The Book of Boba Fett ) as Gregory, Ben Rose ( The Innocents ) as Bardon, and Eve Austin ( You ) as Jeannie. The series also boasts an ensemble supporting cast filled with acclaimed talent like multiple Emmy-nominated Downton Abbey star Michelle Dockery , who plays a character called Estella. Geraldine James , who co-starred with Dockery in the 2019 Downton Abbey film as Queen Mary, plays Marie in This Town.

Other announced cast members of This Town include Nicholas Pinnock ( The Book of Clarence ) as Deuce Williams, David Dawson ( My Policeman )as Robbie Carmen, Peter McDonald ( The Batman ) as Eamonn, Freya Parks ( The School of Good and Evil ) as Fiona, Shyvonne Ahmmad ( Annika ) as Matty, John Heffernan ( The Pursuit of Love ), Stefan Asante-Boateng ( Coronation Street ) as Wire, Séainín Brennan ( The Fall ) as Mrs Porter, and George Somner ( Sex Education ) as Tyro, as well as Brendan Gibson ( Peaky Blinders ) in an undisclosed role.

This Town is a six-episode series. The show is expected to be a miniseries, so those six episodes are likely the whole story. The series is directed in its entirety by Paul Whittingham (who has previously directed episodes of Netflix’s The Crown ) and written by creator Steven Knight. As mentioned above, all six episodes of This Town are expected to debut on the same day on BBC iPlayer.

This Town is from the mind of Peaky Blinders creator Steven Knight, who created, wrote, and executive produced the series. Knight originally began working on the project in 2020, with producer Nick Angel . Knight has described the show as a “love letter to Birmingham and Coventry”. This Town is directed by Paul Whittington and produced by Tim Whitby and Charlotte Surtees . Other executive producers of the series apart from Knight include Karen Wilson , Katie McAleese , and Martin Haines for Kudos, and Jo McClellan for the BBC. Matthew James Wilkinson (Stigma Films), Nick Angel, and Laura Conway (Kudos North) are co-executive producers, with Alice Webb and Marc Robinson as co-producers.

Considering This Town is a musical series, the original songs used in the show are a major part of the production. To that end, Universal Music Group’s Mercury Studios is co-producing the series, providing the musical backdrop for the story. This Town ’s music has been written by producer and songwriter Dan Carey and musician, novelist, and poet Kae Tempest . The series also features music by Sekou , Gregory Porter , Celeste , Olivia Dean , Ray Laurél , and Self Esteem , all of whom have also recorded new cover versions of their tracks to be used for the show’s closing credits.