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GOOD DRAMA TV
Summer came early to Sky One with the arrival of The Flight Attendant – a “lively” HBO thriller that’s “the TV equivalent of a beach read”, said Daniel Fienberg in The Hollywood Reporter. Still, the plot – which is too slow to start – does get going, and Winslet aces a role that could have seemed clichéd in less skilled hands.
GOOD DRAMA SERIES
The series reminded me of BBC One’s Happy Valley, said Anita Singh in The Daily Telegraph, but I didn’t think it was in the same league as that top-notch drama. Everything and everyone feels “real”, and you care about “every tiny part” – not least Mare’s new relationship with an author and college lecturer, played by Guy Pearce, whom she picks up in a bar. Written by Pennsylvania native Brad Ingelsby, this is “a perfectly conjured study of a community”, said Lucy Mangan in The Guardian, focusing as much on how the locals endure these terrible events as on the process of finding the culprits.
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And then the body of another teenager, a young mother, is found. At the outset, she’s working on the case of a 19-year-old woman who disappeared a year ago. Make-up-free and “permanently sour-faced”, she plays Mare Sheehan, an “unhappy, junk-food-eating” detective in a small Pennsylvania town that “reeks of poverty and dead ends”. Kate Winslet is mesmerising in the new HBO crime drama Mare of Easttown, said Carol Midgley in The Times. Colman and Thewlis make a “Barbour-clad Bonnie and Clyde”, said Ed Cumming in The Independent, but the real hero is director Will Sharpe, who has managed to turn a “grim” murder story into a comedy, a love story, and even “a celebration of English eccentricity”. On the other hand, I have to admit this is “one of the most original dramas I’ve seen in years”. The bodies of the elderly couple were found only eight years ago if I were related to them, “I’d be furious” that their death is being served up as entertainment. Still, it does feel rather “off”, said Carol Midgley in The Times. Without the anchorage of the two leads, it could have turned into “so much experimental shrapnel” with it, it is “mesmeric and audacious”. The show then becomes a “writhing screen-Hydra” of techniques and moods, from black-and-white court scenes to a Western sequence. Their cocoon seems on the verge of shattering, and it does.
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We meet the killers in France, where they’re on the run. They then used their money to buy celebrity memorabilia, while spinning a web of lies explaining their disappearance. However, you do have to be careful – too much drama in a formal essay can start to seem distracting, and you don’t want to give the impression that you’re more committed to the entertainment value than to the research and analysis.Olivia Colman and David Thewlis star as real-life couple Susan and Christopher Edwards, the “Mansfield murderers” who, in 1998, killed Susan’s parents and buried them in a garden. These techniques, in combination with good research and persuasive logic, can turn a good essay into a great one. Every once in a while, you may also find a place for drama in formal essays, but you have to be careful.įor example, history essays are often more enjoyable to read if you craft them with a “dramatic” eye – focusing on a small set of main characters, contrasting these characters and their various desires, and fully describing the conflict at the center of the story. It offers opportunities to work on character development, story structure, and a whole other set of writing skills. Give a few funny lines to your characters, or add an amusing situation somewhere to cut the tension – just make sure that this comic relief arises naturally from the story and it doesn’t feel like you’re cramming it in.ĭrama is great for a creative writing project. Otherwise, the negative emotions will get overwhelming and the experience will be too unpleasant for the reader. Unless you’re writing a tragedy (see section 6), there should be at least some amount of humor in your drama. The conflict could be anything – the simplest example is political conflict or war, but you might also have competing love interests, clashes in personality, or simply a struggle against misfortune. All stories revolve around conflict, and this is especially true in drama. This way, the audience can relate to them and cares what happens to them. These characters should all be very distinct from one another, and the main characters should be authentic and life-like.
GOOD DRAMA PLUS
They have a cast of main characters (usually fewer than 10), plus a handful of supporting characters. The best dramas are usually character-driven.