The core of all storytelling is conflict. The basic structure has looked like this since the beginning: someone wants something, and someone (or something) else tries to stop them. This framework doesn’t just apply to the big picture, but also every single scene. Why? Because conflict is what molds a protagonist into who they need to be. Character development comes from constant hurdles.
And the biggest hurdle for our hero is the antagonist.
It’s easy to assume that we’re simply discussing the villain, or a “bad guy.” But look back to your favorite films, TV shows, plays or novels—these stories often have many bad guys standing in the way of the hero’s path. The antagonist, however, is the force that opposes the protagonist—both literally and figuratively. They embody the internal flaw within our main character; the protagonist’s arc is not complete until they defeat the antagonist. (“Defeat,” in this case, can mean many things, but we’ll get to that.)
Think of one of the most classic protagonist-antagonist examples in cinematic history: Luke Skywalker and Darth Vader in the “Star Wars” movies. Sure, Luke has to overcome a lot of secondary villains—Stormtroopers, Jabba the Hutt, even the Emperor himself. But Vader is his actual shadow figure, an example of who Luke would become if he went astray. In the end, Luke “defeats” Vader by not giving into his impulses, thus becoming the Jedi he was destined to be.
The term “antagonist” comes from our ancient Greek dramatic forefathers. It originates from “agonizestha” (“to contend with”) and “antagonistes” (“villain, opponent, or rival”). Slight discrepancies aside, the main point is the same: The antagonist directly opposes the protagonist, which comes from “protos” (“first in importance”) and “agōnistēs” (“actor”).
The Protagonist's Journey: How to Create + Play Great Main Characters Types of antagonists
Are all antagonists cut from the same cloth? Of course not! That’s the beauty of storytelling—it’s evolved so much further than the mustache-twirling evildoer in a black hat.
Classic villain: This doesn’t necessarily mean that the character has no nuance or complexity. It just isn’t hard to identify them as the antagonist. They actively work toward the protagonist’s failure—if not their death—for recognizably immoral reasons. Think of Lord Voldemort in the “Harry Potter” series or René Belloq in “Raiders of the Lost Ark.”
Subtle antagonist: This is the other side of the “classic villain” coin. These characters aren’t waving guns or scheming in the shadows. They’re “normal” people who nevertheless stand in the main character’s way. In John Hughes’ “The Breakfast Club,” vice principal Richard Vernon (Paul Gleason) is essentially doing his job—just in an aggressive, authoritarian way that impedes the journey of self-discovery the five main characters go on.
What Is a Deuteragonist? How to Write Great Secondary Characters Force of nature: Who says an antagonist has to be human? Think of the twister in “Twister,” the volcano in “Volcano,” the asteroid in “Armageddon.” But even here, the antagonist has to mean something significant for the protagonist. The shark in Steven Spielberg’s “Jaws” isn’t being malicious (he’s mostly just hungry). But it represents the dilemma faced by Martin Brody (Roy Scheider), who's wrestling with his decision to move his family from New York to a “safer” community like Amity Island—despite the fact that he’s afraid of water.
It can get complicated to identify a true antagonist in cases like these. In James Cameron’s “Titanic,” the iceberg certainly does present a problem for Jack (Leonardo DiCaprio) and Rose (Kate Winslet). But it’s actually Rose’s fiancé, Cal (Billy Zane), who best embodies the class divide keeping Jack and Rose apart.
Protagonist as antagonist: A simple way to explain this idea is “the protagonist getting in their own way.” Consider Jake LaMotta (Robert De Niro) in Martin Scorsese’s “Raging Bull.” The turbulent ebbs and flows of both his boxing career and personal life are caused by his own anger and ego, not the men on the other side of the ring.
For writers:
Strong wants: Don’t forget to give your antagonist goals and desires, especially those that go beyond just wanting to stop the protagonist. Consider Magneto in the “X-Men” movies. He wants to end the persecution of mutants, same as his rival Charles Xavier. He’s just willing to go to more extreme places to achieve it.
Mirror the protagonist: The best villains are often the twisted reflection of the hero. In Christopher Nolan’s “The Dark Knight,” Batman wants to bring order to Gotham City while the Joker wants utter chaos. David Fincher’s “Se7en” flips the dynamic. Serial killer John Doe is calculated and calm, while detective David Mills is impulsive and reactionary.
Sympathy: The audience shouldn’t root for the antagonist, but they should understand them. Loki (Tom Hiddleston) has acted as an antagonist across several Marvel Cinematic Universe projects. But his first appearance in Kenneth Branagh’s “Thor” establishes that all of the Norse god’s actions stem from a feeling of abandonment and not knowing who his true family is.
For actors:
The charm offensive: If you’re playing someone particularly despicable, it might be time to dig into the charisma and confidence toolbox. So many of cinema and TV history’s nastiest villains broke out because an actor knew how to ramp up the charm. Hans Landa in Quentin Tarantino’s “Inglourious Basterds” is deeply unlikable, but there’s still an unforgettable aura around him thanks to Christoph Waltz.
Remember the eyes: The key to storytelling is “show, don’t tell.” For performers, the eyes can say more than words. For a great example, watch any scene featuring Antony Starr as the vicious superhuman Homelander on “The Boys.” The character has to project a politician’s friendliness to the world, despite being a psychopath. Starr is an expert at using his eyes to tell the true story.
Have fun! Here’s the secret: Playing the antagonist can be way more fun than landing the hero role. It’s good to be bad! Don’t forget that. Robert Englund is clearly having a blast as Freddie Krueger, as is Glenn Close as Cruella de Vil in “101 Dalmatians” or Joe Morton as Rowan Pope on “Scandal.” Heed the advice of “House of the Dragon” casting director Kate Rhodes James, talking about Tom Glynn-Carney’s performance as bratty boy-king Aegon II Targaryen: “There’s always a slight wryness to what he does. He’s really enjoying it, so we’re really enjoying it.”