Script Reviews

The Office opens with an understated awkwardness that quickly defines its tone. Set within the mundane environment of a paper […]

Modern Family opens with clarity, warmth, and a strong sense of rhythm, immediately establishing its mockumentary style and ensemble cast.

The Good Wife pilot opens on a press conference — a politician’s public confession, a wife standing beside him, her

GLOW arrives with a premise that is, on its face, an industry comedy: a struggling actress in 1980s Los Angeles

The Walking Dead pilot does something almost no other genre show attempts: it takes its time. Frank Darabont’s adaptation of

Charlie Brooker’s Black Mirror arrives with a premise so baldly confrontational that summarising it is itself a provocation: the British

The Mad Men pilot withholds its protagonist’s name for four minutes. It is a small decision with large implications. We

Most dramas give you a protagonist and an obstacle. Billions gives you two protagonists — and makes them each other’s

The Gangs of London pilot announces itself with one of the most visceral opening sequences in recent British television —

The inciting incident of Beef is a road rage altercation in a Lumber Yard car park that lasts approximately ninety