Narrative Analysis of Freaks and Geeks
Judd Apatow and Paul Feig’s Freaks and Geeks (1999 – 2000) is a comedy-drama series that held great potential to follow an infinite template, being “potentially endless” (Ianniello M and Batty C, 2021), but was cancelled with only 15 out of 18 episodes going to air on NBC, breaking the hearts of many. Its short duration would suggest the term mini-series (Dunleavy T, 2017), but its structure follows “the long narrative” (Douglas P, 2011), with all 18 episodes being 45 minutes in length, following the stories of two friendship groups – the freaks, and the geeks. Each episode weaves through a personal matter concerning a particular character, these stories often carrying ripple effects throughout the show. Despite some episodes being quite “contained” on the surface (Ianniello M and Batty C, 2021), the series introduces new characters as vehicles for the development of already established characters, i.e., Maureen moves to McKinley and befriends the Geeks, and Ken’s new girlfriend Amy discusses being intersex, conjuring up insecurities for Ken regarding his sexuality and what it would mean for him moving forward.
While much of the series is shown through the eyes of protagonist Lindsay or in connection to her, this mode alternates, offering new perspectives as a coming-of-age story set in 1980 can’t be told based on one’s experience alone. As there are elements of both containment and continuity in the TV show, Freaks and Geeks would be labelled a ‘series,’ as it “consists of a succession of self-contained narrative episodes that progress in a sequence” (Ndalianis A, 2005). The series follows a linear template, culminating in a brilliant final episode where Lindsay and Kim ride off on tour of the Grateful Dead.
‘Noshing and Moshing’ S1 E15 – Beat Sheet
Daniel notices Jenna Zank working at the corner store, who has since dropped out of school and acquired an alternative taste in fashion.
Before heading to school, Daniel’s mother insists that he pick up his father’s pain killers.
Arriving to school late, Daniel is spotted by girlfriend Kim in the hallway, where the pair argue about one another’s unreliability, breaking up.
Daniel comes back home and puts on a Black Flag record. Head-banging to ‘Rise Above’, he discovers an interest in punk rock.
In efforts to pick up Jenna, Daniel heads back to the corner store, where his charm pays off, and Jenna invites him to a gig.
While getting ready for the show, Daniel roughens up his clothes and forms liberty spikes in his hair to fit in with the crowd.
Nick and Ken laugh at the sight of Daniel as he arrives in his car, and the three head to the punk club.
Daniel spots Jenna at the club, ditching Nick & Ken to dance with her in the mosh.
The crowd is rougher than he expects, getting kicked in the head and left with an open wound.
Daniel heads to the bathroom and dresses his wound with a paper towel, feeling targeted by a comment about posers.
In efforts to impress Jenna, Daniel decides to get his nose pierced, only to see Jenna kiss another guy nearby.
Feeling defeated, Daniel drives to Kim’s house and reluctantly knocks on her door, which she opens with open arms.
References
Apatow Productions (producer) (2000) ‘Noshing and Moshing’ [television program], Freaks and Geeks (season 1, episode 15), DreamWorks, California.
Douglas P (2011) Writing the TV Drama Series: How to Succeed as a Professional Writer in TV, 3rd edn, Studio City: Michael Wiese Productions.
Dunleavy T (2017) Complex Serial Drama and Multiplatform Television, Abingdon: Routledge.
Ianniello M and Batty C (2021) ‘Serial offenders? Defining the boundaries of series and serial TV for screenwriting practice and theory’, Journal of Screenwriting, 12(1), pp 55–74.
Ndalianis A (2005) ‘Television and the neo-baroque’, in M. Hammond and L. Mazdon (eds), The Contemporary Television Series, Edinburgh: Edinburgh University Press, pg 84.