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	<title>The MISP Screenwriting Blog &#187; Television Shows</title>
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		<title>The good lesson from &#8216;The Office&#8217;</title>
		<link>https://www.screenwritersbreakdown.com/the-good-lesson-from-the-office/</link>
		<comments>https://www.screenwritersbreakdown.com/the-good-lesson-from-the-office/#comments</comments>
		<pubDate>Fri, 18 Oct 2019 09:22:31 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Television Shows]]></category>
		<category><![CDATA[To root for]]></category>

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		<description><![CDATA[In the first version of the screenplay for First Blood, Rambo was pretty much just a sociopathic killer. However, when Sylvester Stallone came on board, he requested a substantial change to the script: that his&#8230;]]></description>
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		<title>The competence factor in interrogation scenes</title>
		<link>https://www.screenwritersbreakdown.com/the-competence-factor-in-interrogation-scenes/</link>
		<comments>https://www.screenwritersbreakdown.com/the-competence-factor-in-interrogation-scenes/#comments</comments>
		<pubDate>Sat, 23 Feb 2019 09:37:30 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Interrogation scenes]]></category>
		<category><![CDATA[Scene analysis]]></category>
		<category><![CDATA[Television Shows]]></category>

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		<description><![CDATA[A well written interrogation scene is a demonstration of competence by the interrogator. Competence – i.e. a method, the development of a previously prepared strategy, the progressive discovery of the plan followed by the detective&#8230;]]></description>
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		<title>Discussing Writers’ Rooms at the Milan SRN Conference</title>
		<link>https://www.screenwritersbreakdown.com/discussing-writers-rooms-at-the-milan-srn-conference/</link>
		<comments>https://www.screenwritersbreakdown.com/discussing-writers-rooms-at-the-milan-srn-conference/#comments</comments>
		<pubDate>Fri, 28 Sep 2018 19:49:28 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Television Shows]]></category>
		<category><![CDATA[The MISP]]></category>

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		<description><![CDATA[More than 170 participants from all over the world, 120 presentations, interesting Q&#38;As. Over the weekend of September 13-15, Università Cattolica del Sacro Cuore in Milan hosted the 11th Screenwriting Research Network Conference. (You can&#8230;]]></description>
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		<title>Stories and the Idea of Fate</title>
		<link>https://www.screenwritersbreakdown.com/stories-and-the-idea-of-fate/</link>
		<comments>https://www.screenwritersbreakdown.com/stories-and-the-idea-of-fate/#comments</comments>
		<pubDate>Thu, 26 Jul 2018 14:03:38 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Coincidence]]></category>
		<category><![CDATA[Irony of fate]]></category>
		<category><![CDATA[Television Shows]]></category>

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		<description><![CDATA[Narrative pleasure relies on a bunch of underlying ideas: that good and evil exist; that people can change; that change isn’t easy; that the effort to change and improve should result into a reward (see&#8230;]]></description>
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		<title>Netflix, “Slow-Burning TV,” and Narrative Quality</title>
		<link>https://www.screenwritersbreakdown.com/netflix-slow-burning-tv-and-narrative-quality/</link>
		<comments>https://www.screenwritersbreakdown.com/netflix-slow-burning-tv-and-narrative-quality/#comments</comments>
		<pubDate>Thu, 28 Jun 2018 05:40:44 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Television Shows]]></category>

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		<description><![CDATA[The Punisher, Mindhunter, Lost in Space, Jessica Jones, Bloodline, Gypsy, Seven Seconds, Luke Cage. What do all these shows have in common? Yes, they all stream on Netflix. But there’s more… They all have been&#8230;]]></description>
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		<title>&#8217;13 Reasons Why&#8217;’s Perspective on Life</title>
		<link>https://www.screenwritersbreakdown.com/13-reasons-whys-perspective-on-life/</link>
		<comments>https://www.screenwritersbreakdown.com/13-reasons-whys-perspective-on-life/#comments</comments>
		<pubDate>Sat, 02 Jun 2018 14:28:15 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Genres]]></category>
		<category><![CDATA[Television Shows]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=690</guid>
		<description><![CDATA[Stories have effects. Screenplays are machines built to produce emotions—and to open new perspectives on life. What are the implications of this truth when it comes to 13 Reasons Why? Much has been written about&#8230;]]></description>
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		<title>How much tragedy in Walter White’s ending?</title>
		<link>https://www.screenwritersbreakdown.com/how-much-tragedy-in-walter-whites-ending/</link>
		<comments>https://www.screenwritersbreakdown.com/how-much-tragedy-in-walter-whites-ending/#comments</comments>
		<pubDate>Sat, 10 Feb 2018 09:18:51 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Antihero]]></category>
		<category><![CDATA[Character]]></category>
		<category><![CDATA[Endings]]></category>
		<category><![CDATA[Television Shows]]></category>
		<category><![CDATA[Breaking Bad]]></category>

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		<description><![CDATA[This ending is a part of TV history now. (Spoilers ahead.) Walter White, mortally wounded, alone. His hand on the machinery he’d been using to demonstrate his immense talent for cooking meth. The Felina episode&#8230;]]></description>
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		<title>Save the date! A discussion in Milan about TV and cinema</title>
		<link>https://www.screenwritersbreakdown.com/save-the-date-a-discussion-in-milan-about-tv-and-cinema/</link>
		<comments>https://www.screenwritersbreakdown.com/save-the-date-a-discussion-in-milan-about-tv-and-cinema/#comments</comments>
		<pubDate>Sat, 18 Nov 2017 11:29:37 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Television Shows]]></category>

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		<description><![CDATA[I remember the moment perfectly. I’m sure each one of you can remember being similarly thunderstruck when it happened to you. For me it occurred in the summer of 1995, when NYPD Blue aired on&#8230;]]></description>
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		<title>Slow Pacing in &#8216;The Night Of&#8217;</title>
		<link>https://www.screenwritersbreakdown.com/slow-pacing-in-the-night-of/</link>
		<comments>https://www.screenwritersbreakdown.com/slow-pacing-in-the-night-of/#comments</comments>
		<pubDate>Thu, 09 Feb 2017 20:43:48 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Television Shows]]></category>
		<category><![CDATA[Steven Zaillian]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=556</guid>
		<description><![CDATA[Pace. Not a frequent topic in screenwriting discussions and analyses, yet an important element nevertheless. It’s something relevant to story tension, something important for suggesting the level of pressure typical of a particular dramatic arena.&#8230;]]></description>
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