See how the Netflix #1 comedy, Nobody Wants This, hits the Save the Cat! story beats.

Created and Written by: Erin Foster

S1 E1: “Pilot”

The World: Modern-day Los Angeles: the singles scene, the podcasting scene, and yes, the synagogue scene

Franchise Type: Buddy Love

Pilot Episode Genre: Buddy Love, with a touch of (Wo)Man with a Plan
The 3 elements of a BUDDY LOVE story are:

1. An incomplete hero who is missing something physical, ethical, or spiritual; (s)he needs another to be whole.
2. A counterpart who makes that completion come about or has qualities the hero needs.
3. A complication, be it a misunderstanding, personal or ethical viewpoint, epic historical event, or the prudish disapproval of society.

Platform: Netflix

TV Genre: Half-hour comedy

Story DNA:
Hero(es): Joanne, a brash podcaster, and Noah, a tenderhearted rabbi
Goal: To have a meaningful relationship in the romantic cesspool of L.A.
Obstacle: Their wildly different lives (Joanne is an agnostic gentile and Noah is a Jewish faith leader) and their broken compasses. (Joanne is terrified of vulnerability and Noah is the obedient son, always doing what is expected of him by his parents and community.)
Stakes: Everything, everything, their entire lives—love, professions, family—it’s all up for grabs

Opening Image/Sequence: Over Haim’s “Summer Girl,” which starts with the lyrics “L.A. on my mind, I can’t breathe…,” Joanne (Kristen Bell) dashes out of a restaurant; the camera pulls in close on her frustrated face as she sighs deeply, from her very toes (which are encased in a pair of très chic high heels, of course).

Theme Stated: Joanne bitches about yet another terrible first date to her sister Morgan (Justine Lupe), who responds with “This story you’re telling? It sounds very familiar.” The themes of habit, tradition, fear of the unknown, and the stories we tell ourselves to exist in a confusing and heartbreaking world, pull this romantic comedy into something deeper and more resonant (albeit with many, many laughs).

Set-Up: The thesis world of Joanne and Noah is delivered to us in a warp-speed set of circumstances: Joanne and Morgan are co-hosts for the up-and-coming “Nobody Wants This,” a sexually frank/TMI podcast about their sorry exploits in dating, and today’s episode is all about Morgan questioning Joanne’s ability to have, or even desire, a healthy relationship.

Meanwhile, Noah and his doofy but lovable brother Sasha (Timothy Simons) are preparing to watch a sports game with Noah’s longtime girlfriend, Rebecca (Emily Arlook), and within seconds, we see all the cracks in Noah and Rebecca’s bond, leading to the:

Catalyst: Noah spies an engagement ring on Rebecca’s hand and she admits she stole it out of his desk because he’s going to propose to her anyway, what’s the big deal?

Debate: The big deal is that Noah wanted to be spontaneous and romantic and now there’s a huge disconnect. The big deal is that Noah suddenly sees his whole life laid out for him by other people. The big deal is that there’s a reason he hasn’t proposed yet and it’s now all bubbling to the surface. Rebecca says “I don’t know what you were expecting to feel, but this? This is it.”

In Rebecca’s mind, she’s declaring that what she and Noah have together is “it,” the real thing. But what Noah hears is “this is all that you can expect.” And suddenly… he disagrees. He wants more.

Both Joanne and Noah want more; they have grown weary of being guided by their broken compasses and are trying to grow up a little bit.

Of course, it’s difficult to adult when the surrounding adults are not exactly adulting. Joanne and Morgan endure a painful dinner “celebrating” the divorce of their parents, Henry (Michael Hitchcock), a gay man loudly enjoying his sexual freedom, and Lynn (Stephanie Faracy), a quirky hypochondriac who’s obviously still in love with him. But, hey, at least the girls are getting some good news! Their podcast is on the verge of acquisition—provided that they remain firmly in their thesis world of unhealthy relationship dynamics and do not change.

Break into Two: Despite the odds being not at all in their favor, Joanne and Noah can’t help hoping. Their separate decisions to attend a dinner party thrown by Joanne’s best friend, despite knowing that it’s unlikely they’ll find someone among Ashley’s (Sherry Cola) entourage of lesbians, force an Act Two.

Fun and Games: Joanne and Noah meet cute-and-hot, immediately falling into a rhythm of repartee usually reserved for longtime friends or lovers. They each pump Ashley for information about the other, and get answers that are intriguing but probably deal-breaking. No, Joanne is not even a little bit Jewish; yes, Noah did just break up with his girlfriend and is in a romantic gray area; yes, Joanne has terrible taste and a tendency to torpedo romantic relationships; no, Noah is not going to abandon his belief in God to date a shiksa agnostic.

But in this disorienting antithesis world, there is no denying that Noah and Joanne have a spark that defies good sense or explanation. They are wildly attracted to each other, and even more terrifying, possibly soulmates. Their three-minute long conversation on the walk to Joanne’s car after the party has more connection, depth, and pathos than Noah’s years-long relationship with Rebecca or any of the charming asshole romances Joanne has had in her life.

B Story: Joanne and Noah’s relationships with their siblings and the hint of Morgan and Sasha’s relationship with each other will provide the pushback backdrop for Joanne and Noah’s romance. Any time they start to soar, their sibs are there to yank them back to earth.

Midpoint: In a false defeat, Joanne decides to stick to her guns and not sleep with Noah. She gets into her car and escapes temptation. Game over.

Bad Guys Close In: But, boy, it hurts. In an accelerated downwards tumble, we see Noah and Joanne quickly become distracted and out of sorts. She can’t sleep; he can’t pay attention. Joanne is more acidic than usual, ranting about Andrew Tate’s misogyny on her podcast and Noah can’t stop listening to, and being turned on by, her rant. She’s been sleeping with the fake fur coat she wore the night they met and he literally can’t keep his head in the (basketball) game with his brother. They’re a mess.

All Is Lost: Joanne is out on another terrible first date with a charming asshole, Noah dresses for his sermon at Temple Chai…

Dark Night of the Soul: … and they’re both miserable.

Break into Three: Joanne gets a text from Ashley that says Noah has been asking about her.

Five-Point Finale: Joanne gathers the team (herself, an Uber driver, and Google, looking up Temple Chai’s address) and executes the plan by dashing there just in time for Noah’s sermon.

It’s a high tower surprise for him, but he digs down deep and continues speaking the words he’d written, which just happen to be about having a chance to wake up and change the course of your life.

And when Noah talks about everyone being a part of God’s plan, Joanne doesn’t run screaming; she executes the new plan, to stay and be vulnerable. It’s the whiff of change that will launch us into an entire season of marvelous conflict and compromise.

Final Image: Joanne stands among the drab congregation in her red dress, Jezebel-ing for all she’s worth, as Noah approaches her in awe.

Contrasting the Opening Image, her face is open and tender, as she contemplates the possibility of a new, unfamiliar story. But lest we think this synthesis will come easily, the scene is buttoned with a new face—that of Noah’s enraged mother, Bina (Tovah Feldshuh). The ties to tradition and familiar tales are the ones that bind.

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