J.J. ABRAMS' Approach to TV Storytelling
In the past decade, J.J. Abrams has been called a “TV wunderkind” (Paley Center for Media) and identified as a “visionary” (Entertainment Weekly). He has created some of the most iconic characters and shows in popular culture’s history, two of his series being on the Time’s Best TV Shows of All Time list.
In 1998, Abrams co-created his first TV Series FELICITY. The college drama ran for four years on the WB, gaining an average audience of 3.6 millions viewers per episode. It was produced by Imagine Entertainment's Brian Grazer (24, FRIDAY NIGHT LIGHTS) alongside Ron Howard.
In 2001, Abrams created ALIAS, following the secret adventures of an international spy. The show aired on ABC until 2006, watched by 8.7 millions people per week. ALIAS has been critically acclaimed, picked by the AFI as one of the Best TV Programs of 2003.
But Abrams’ biggest TV phenomenon is LOST. Co-created with Damon Lindelof, the Supernatural series is known for its mythology and mystery. It has been a massive success, winning two Primetime Emmys for its first season (Outstanding Drama Series; Outstanding Directing for a Drama Series, Pilot by J.J. Abrams). Over the course of the show, 13.5 millions fans tuned in every week.
Abrams has co-created other TV dramas: FRINGE, a Sci-Fi/Horror series revolving around FBI agents investigating supernatural cases and UNDERCOVERS, an action show focusing on two married spies. FRINGE airs on FOX and was renewed for fourth season. UNDERCOVERS was a highly anticipated show for NBC but was cancelled before the end of its first season due to low ratings. As a sole producer, J.J. Abrams was behind the ABC dramas WHAT ABOUT BRIAN and SIX DEGREES. This upcoming season, he will executive produce both PERSON OF INTEREST and ALCATRAZ.
Abrams’ body of work for TV is heterogeneous in terms of styles and genres. Nevertheless, similarities can be found in the substance and the meaning of those shows: what they are about. Therefore, one will first explore the content of the different series before focusing on their form.
Abrams shows explore the intricate layers of mystery, emphasize the role of destiny, point out we are all connected but also dig into Man’s heart. Mystery has always been a passion of J.J. Abrams. The man has a fascination for things not seen and for the possibilities of the unknown. To him, the exploration is every bit as good as the discovery. “That is to say, the experience (…) is as much a thrill as the result” (J.J. Abrams as guest editor of WIRED). This is perfectly illustrated in his shows with the “Mystery Box”. As a young child, Abrams was offered a mystery box. It was sold in magic stores and contained tricks, only one did not know which “illusions” were inside. 30 years later, he still hasn’t opened his box. (J.J. Abrams addressing TED). The mystery of what could be inside is much more intriguing and powerful than the reality of what is. In FELICITY, Meghan has a secret wooden box. In LOST, The Island is a metaphorical mystery box. Jack and the others are exploring it, every discovery leading to another search. In Abrams’ shows, mystery is constructed, just like characters are developed. In that way, Mystery becomes a “character”. Even if the former can seem secondary, the story builds up to making it the very core of the show. How? Solving this mystery becomes the characters’ desire. By uncovering the truth, they hope to fulfil their need: find out who they truly are. J.J. Abrams feels that in “telling stories, there are the things the audience thinks are important, and then there are the things that are actually important”. To the viewers following LOST’s Season 1, the hatch is everything. What is it? What does it hide? While, what’s truly the essence of LOST is why did Oceanic 815 crash on The Island? What’s the bigger picture, why those survivors?
However, J.J. Abrams creates his work in the hope to entertain and fascinate an audience. The key of mystery is that it keeps people hooked. It allows long-term story-telling (LOST ran for six seasons, ALIAS is 105 episodes long), teasing revelations. As pointed by Abrams himself, we live in the “Age of Immediacy” (WIRED). Through the Internet and Facebook, Twitter and blogs, information is shared in a second. Speculation too… The mystery is only as good as the never-ending questions, theories and answers. This creates a very important fan base, discussing and analyzing every episode of LOST, meticulously identifying any signs of The Pattern in FRINGE or digging into the Rambaldi Prophecy from ALIAS.
But in mystery resonates the supernatural. This leads to one of Abrams’ important themes: Destiny. Destiny relates to the belief that everything happens for a reason. “Something” guides one into fulfilling his or her purpose. Whether it is metaphorically in FELICITY or literally in LOST and FRINGE, Abrams’ characters tend to find their Destiny. In the FELICITY pilot, the voice-over says “Sometimes, it’s the smallest decisions that can pretty much change your life forever”. This refers to Felicity changing her college plan to follow Ben, her high school crush, across the country. The idea behind this tagline is that there is a reason why Felicity took this decision. Over the course of the show, she discovers who she is, what she wants and mostly she comes of age. It is made obvious this would not have been possible if she stuck with her original plan. In the series’ finale, when travelling back in time to choose Noel over Ben, Felicity only creates more chaos. It is striking Ben is the one she is supposed to be with. In LOST, the role of Destiny is central to the show (the tagline for Season 4 was “Destiny Calls”). In ALIAS, chosenness and prophecy is emphasized. Rambaldi (a fictional 14th century homo universalis) is the mastermind behind a complex prophecy about a Chosen One (Sydney) who will be able to “render the greatest power unto utter desolation”.
Nevertheless, J.J. Abrams does not reject Free Will, our ability to make choices. There is a reason why each of his characters is born. And those characters have to find these reasons. Jack is given the choice to become the new guardian of The Island. He uses his own judgement and accepts the role. By doing this, Jack puts Faith in the centre of LOST, as illustrated by the series finale. With the exception of M. Night Shyamalan, Abrams is one of the few entertainers and artists to emphasize spirituality: Joss Whedon, Michel Gondry, Andrew Niccol and more deal with existentialism in their works.
In Abrams shows, characters embrace their destinies to serve a bigger purpose. This echoes to the idea we, as human beings, are all connected. The “Milgram Small World Phenomenon” – most commonly known as the “Six Degrees of Separation” – marks J.J. Abrams’ series. This concept is extremely simple: everyone is six friends away from anyone on Earth. This compelling idea is illustrated in LOST through the numerous flashbacks. The survivors of Oceanic 815 keep bumping into each other; some of them are related… J.J. Abrams produced one show entirely based on this premise: SIX DEGREES. It is a drama following the intricate lives of six New Yorkers who, at first, do not know each other. It emphasizes the idea we are all one people, a “human web”. This shows a positive view of humanity: it is important to Abrams “that optimism be cool again” (TV Guide). He is very much providing his audience with escapism, especially with FELICITY and UNDERCOVERS.
In this “human web”, one can find individualities. Abrams’ shows always feature characters that feel different. This feeling is explored in many situations: in college, in the world of espionage, in a wild environment or in the face of the supernatural. These people have a hard time finding their place in the world. In every case, they find it through family. It is not always a literal family, such as the Bristow clan (ALIAS). Indeed, it can be a group of college friends (FELICITY), an FBI division (FRINGE), a spy couple (UNDERCOVERS) or crash survivors (LOST). The bonds of family are created from shared experiences. That aspect can be summed by the LOST quote: “We either live together or die alone”. Abrams feels like featuring a “family” makes his audience care and therefore deepen their involvement in the shows.
The form of Abrams’ TV dramas differs more. Nonetheless, it is possible to identify romanticism, a great use of effects and an efficient visual style as constants.
J.J. Abrams is a self-proclaimed romantic: “My favorite movies are incredibly romantic movies” (Jewish Journal). The evidence of this can be found in FELICITY. Abrams points out the ‘”the thing [he] loved about [Felicity] had nothing to do with her gender. It was her romanticism” (Jewish Journal). Indeed, the show thoughtfully details the coming of age of young males and females through their relationships. In UNDERCOVERS, Abrams explores the dynamics of a couple that lost the “spice”. When being reactivated, the two spies fall in love again. It is said this sentimental element could also be found in ANATOMY OF HOPE, a pilot – focusing on patients struggling with Cancer – directed by Abrams but never picked up by HBO.
The Love Triangle is a constant of Abrams’ narratives. The most iconic one is Felicity-Ben-Noel. During the show four seasons, Felicity is torn between them. Other examples are Vaughn-Sydney-Reed in ALIAS season 3, Kate-Jack-Sawyer in LOST first four seasons or to a lesser extent Samantha-Steven-Leo in UNDERCOVERS. This not only generates hundreds of plot and active character developments, it also divides the fans and therefore intensifies the popularity of the show.
But, romanticism is not the only “genre” explored by Abrams. Each of his show is genre-heavy and uses and mixes them. Alias is a Spy TV show, with an emphasis on Sci-Fi. LOST is a supernatural drama, FRINGE is a horror/Sci-Fi series “with humor”. Insisting on genres helps the audience find what they like and get them addicted. This leads to Abrams cult status among the “geeks”… But above all, all of the above series focuses on literal or metaphorical families and it is the Human element that gets us hooked...
Being a “magic nerd”, Abrams is a fan of effects. His shows feature a lot of practical or special effects, delivering high-calibre spectacle to its viewers. With the exception of FELICITY, Abrams’ TV dramas are effects-packed. Every ALIAS episode is filled with action sequences (the 100th episode may be the most). LOST is CGI-heavy (Smoke Monster, Polar Bears, Cargo Explosion…). FRINGE is a mix of CGI (Monsters) and hands-on effects (props, melting bodies). UNDERCOVERS offers well-paced chases in the world’s most famous spots. Abrams’ passion for spectacle is an interesting backdrop to challenge his characters. But it also generates a great deal of enthusiasm from the audience, eager to be “wowed”. It creates anticipation, a key to success.
The visual style differs from one Abrams’ show to another. FELICITY is very traditional, shot 4:3. The colour palette is brown, emphasizing the life in dorms. ALIAS is much more gritty and quickly cut. LOST is closer to Nature with green, steadicam shots and organic cuts. FRINGE is dark to create an atmosphere of fear. UNDERCOVERS is extremely colourful, like a postcard for foreigners. But, there is one constant aspect to all those styles. Their goal is to serve the story. They never distract the viewer from what is important – from what is happening. The camera does not move around all the time, the takes are not 5 minutes long… The cinematic and visual fundamentals are respected and mastered to render the fullest and most accessible experience to the audience…
J.J. Abrams is consistent in dealing with the themes of destiny, difference and mystery; packing his shows with spectacle in order to create the most powerful, moving and enjoyable experience possible.
This may explain why J.J. Abrams is the mastermind of the most popular shows on Earth…
TZ,
March '11
In 1998, Abrams co-created his first TV Series FELICITY. The college drama ran for four years on the WB, gaining an average audience of 3.6 millions viewers per episode. It was produced by Imagine Entertainment's Brian Grazer (24, FRIDAY NIGHT LIGHTS) alongside Ron Howard.
In 2001, Abrams created ALIAS, following the secret adventures of an international spy. The show aired on ABC until 2006, watched by 8.7 millions people per week. ALIAS has been critically acclaimed, picked by the AFI as one of the Best TV Programs of 2003.
But Abrams’ biggest TV phenomenon is LOST. Co-created with Damon Lindelof, the Supernatural series is known for its mythology and mystery. It has been a massive success, winning two Primetime Emmys for its first season (Outstanding Drama Series; Outstanding Directing for a Drama Series, Pilot by J.J. Abrams). Over the course of the show, 13.5 millions fans tuned in every week.
Abrams has co-created other TV dramas: FRINGE, a Sci-Fi/Horror series revolving around FBI agents investigating supernatural cases and UNDERCOVERS, an action show focusing on two married spies. FRINGE airs on FOX and was renewed for fourth season. UNDERCOVERS was a highly anticipated show for NBC but was cancelled before the end of its first season due to low ratings. As a sole producer, J.J. Abrams was behind the ABC dramas WHAT ABOUT BRIAN and SIX DEGREES. This upcoming season, he will executive produce both PERSON OF INTEREST and ALCATRAZ.
Abrams’ body of work for TV is heterogeneous in terms of styles and genres. Nevertheless, similarities can be found in the substance and the meaning of those shows: what they are about. Therefore, one will first explore the content of the different series before focusing on their form.
Abrams shows explore the intricate layers of mystery, emphasize the role of destiny, point out we are all connected but also dig into Man’s heart. Mystery has always been a passion of J.J. Abrams. The man has a fascination for things not seen and for the possibilities of the unknown. To him, the exploration is every bit as good as the discovery. “That is to say, the experience (…) is as much a thrill as the result” (J.J. Abrams as guest editor of WIRED). This is perfectly illustrated in his shows with the “Mystery Box”. As a young child, Abrams was offered a mystery box. It was sold in magic stores and contained tricks, only one did not know which “illusions” were inside. 30 years later, he still hasn’t opened his box. (J.J. Abrams addressing TED). The mystery of what could be inside is much more intriguing and powerful than the reality of what is. In FELICITY, Meghan has a secret wooden box. In LOST, The Island is a metaphorical mystery box. Jack and the others are exploring it, every discovery leading to another search. In Abrams’ shows, mystery is constructed, just like characters are developed. In that way, Mystery becomes a “character”. Even if the former can seem secondary, the story builds up to making it the very core of the show. How? Solving this mystery becomes the characters’ desire. By uncovering the truth, they hope to fulfil their need: find out who they truly are. J.J. Abrams feels that in “telling stories, there are the things the audience thinks are important, and then there are the things that are actually important”. To the viewers following LOST’s Season 1, the hatch is everything. What is it? What does it hide? While, what’s truly the essence of LOST is why did Oceanic 815 crash on The Island? What’s the bigger picture, why those survivors?
However, J.J. Abrams creates his work in the hope to entertain and fascinate an audience. The key of mystery is that it keeps people hooked. It allows long-term story-telling (LOST ran for six seasons, ALIAS is 105 episodes long), teasing revelations. As pointed by Abrams himself, we live in the “Age of Immediacy” (WIRED). Through the Internet and Facebook, Twitter and blogs, information is shared in a second. Speculation too… The mystery is only as good as the never-ending questions, theories and answers. This creates a very important fan base, discussing and analyzing every episode of LOST, meticulously identifying any signs of The Pattern in FRINGE or digging into the Rambaldi Prophecy from ALIAS.
But in mystery resonates the supernatural. This leads to one of Abrams’ important themes: Destiny. Destiny relates to the belief that everything happens for a reason. “Something” guides one into fulfilling his or her purpose. Whether it is metaphorically in FELICITY or literally in LOST and FRINGE, Abrams’ characters tend to find their Destiny. In the FELICITY pilot, the voice-over says “Sometimes, it’s the smallest decisions that can pretty much change your life forever”. This refers to Felicity changing her college plan to follow Ben, her high school crush, across the country. The idea behind this tagline is that there is a reason why Felicity took this decision. Over the course of the show, she discovers who she is, what she wants and mostly she comes of age. It is made obvious this would not have been possible if she stuck with her original plan. In the series’ finale, when travelling back in time to choose Noel over Ben, Felicity only creates more chaos. It is striking Ben is the one she is supposed to be with. In LOST, the role of Destiny is central to the show (the tagline for Season 4 was “Destiny Calls”). In ALIAS, chosenness and prophecy is emphasized. Rambaldi (a fictional 14th century homo universalis) is the mastermind behind a complex prophecy about a Chosen One (Sydney) who will be able to “render the greatest power unto utter desolation”.
Nevertheless, J.J. Abrams does not reject Free Will, our ability to make choices. There is a reason why each of his characters is born. And those characters have to find these reasons. Jack is given the choice to become the new guardian of The Island. He uses his own judgement and accepts the role. By doing this, Jack puts Faith in the centre of LOST, as illustrated by the series finale. With the exception of M. Night Shyamalan, Abrams is one of the few entertainers and artists to emphasize spirituality: Joss Whedon, Michel Gondry, Andrew Niccol and more deal with existentialism in their works.
In Abrams shows, characters embrace their destinies to serve a bigger purpose. This echoes to the idea we, as human beings, are all connected. The “Milgram Small World Phenomenon” – most commonly known as the “Six Degrees of Separation” – marks J.J. Abrams’ series. This concept is extremely simple: everyone is six friends away from anyone on Earth. This compelling idea is illustrated in LOST through the numerous flashbacks. The survivors of Oceanic 815 keep bumping into each other; some of them are related… J.J. Abrams produced one show entirely based on this premise: SIX DEGREES. It is a drama following the intricate lives of six New Yorkers who, at first, do not know each other. It emphasizes the idea we are all one people, a “human web”. This shows a positive view of humanity: it is important to Abrams “that optimism be cool again” (TV Guide). He is very much providing his audience with escapism, especially with FELICITY and UNDERCOVERS.
In this “human web”, one can find individualities. Abrams’ shows always feature characters that feel different. This feeling is explored in many situations: in college, in the world of espionage, in a wild environment or in the face of the supernatural. These people have a hard time finding their place in the world. In every case, they find it through family. It is not always a literal family, such as the Bristow clan (ALIAS). Indeed, it can be a group of college friends (FELICITY), an FBI division (FRINGE), a spy couple (UNDERCOVERS) or crash survivors (LOST). The bonds of family are created from shared experiences. That aspect can be summed by the LOST quote: “We either live together or die alone”. Abrams feels like featuring a “family” makes his audience care and therefore deepen their involvement in the shows.
The form of Abrams’ TV dramas differs more. Nonetheless, it is possible to identify romanticism, a great use of effects and an efficient visual style as constants.
J.J. Abrams is a self-proclaimed romantic: “My favorite movies are incredibly romantic movies” (Jewish Journal). The evidence of this can be found in FELICITY. Abrams points out the ‘”the thing [he] loved about [Felicity] had nothing to do with her gender. It was her romanticism” (Jewish Journal). Indeed, the show thoughtfully details the coming of age of young males and females through their relationships. In UNDERCOVERS, Abrams explores the dynamics of a couple that lost the “spice”. When being reactivated, the two spies fall in love again. It is said this sentimental element could also be found in ANATOMY OF HOPE, a pilot – focusing on patients struggling with Cancer – directed by Abrams but never picked up by HBO.
The Love Triangle is a constant of Abrams’ narratives. The most iconic one is Felicity-Ben-Noel. During the show four seasons, Felicity is torn between them. Other examples are Vaughn-Sydney-Reed in ALIAS season 3, Kate-Jack-Sawyer in LOST first four seasons or to a lesser extent Samantha-Steven-Leo in UNDERCOVERS. This not only generates hundreds of plot and active character developments, it also divides the fans and therefore intensifies the popularity of the show.
But, romanticism is not the only “genre” explored by Abrams. Each of his show is genre-heavy and uses and mixes them. Alias is a Spy TV show, with an emphasis on Sci-Fi. LOST is a supernatural drama, FRINGE is a horror/Sci-Fi series “with humor”. Insisting on genres helps the audience find what they like and get them addicted. This leads to Abrams cult status among the “geeks”… But above all, all of the above series focuses on literal or metaphorical families and it is the Human element that gets us hooked...
Being a “magic nerd”, Abrams is a fan of effects. His shows feature a lot of practical or special effects, delivering high-calibre spectacle to its viewers. With the exception of FELICITY, Abrams’ TV dramas are effects-packed. Every ALIAS episode is filled with action sequences (the 100th episode may be the most). LOST is CGI-heavy (Smoke Monster, Polar Bears, Cargo Explosion…). FRINGE is a mix of CGI (Monsters) and hands-on effects (props, melting bodies). UNDERCOVERS offers well-paced chases in the world’s most famous spots. Abrams’ passion for spectacle is an interesting backdrop to challenge his characters. But it also generates a great deal of enthusiasm from the audience, eager to be “wowed”. It creates anticipation, a key to success.
The visual style differs from one Abrams’ show to another. FELICITY is very traditional, shot 4:3. The colour palette is brown, emphasizing the life in dorms. ALIAS is much more gritty and quickly cut. LOST is closer to Nature with green, steadicam shots and organic cuts. FRINGE is dark to create an atmosphere of fear. UNDERCOVERS is extremely colourful, like a postcard for foreigners. But, there is one constant aspect to all those styles. Their goal is to serve the story. They never distract the viewer from what is important – from what is happening. The camera does not move around all the time, the takes are not 5 minutes long… The cinematic and visual fundamentals are respected and mastered to render the fullest and most accessible experience to the audience…
J.J. Abrams is consistent in dealing with the themes of destiny, difference and mystery; packing his shows with spectacle in order to create the most powerful, moving and enjoyable experience possible.
This may explain why J.J. Abrams is the mastermind of the most popular shows on Earth…
TZ,
March '11
References:
Time’s Best TV Shows of All Time
“The Magic of Mystery”, J.J. Abrams as Guest Editor of WIRED, May 2007
J.J. Abrams addressing TED, March 2007.
Can Star Trek “Make Optimism Cool Again”? J.J. Abrams Hopes So in TV GUIDE.
Now It’s J.J. Abrams’ Turn to ‘Trek’ in JEWISH JOURNAL. May 6, 2009.
“The Magic of Mystery”, J.J. Abrams as Guest Editor of WIRED, May 2007
J.J. Abrams addressing TED, March 2007.
Can Star Trek “Make Optimism Cool Again”? J.J. Abrams Hopes So in TV GUIDE.
Now It’s J.J. Abrams’ Turn to ‘Trek’ in JEWISH JOURNAL. May 6, 2009.
