Luke Skywalker. Michael Corleone. Tony Soprano. Ellen Ripley. Clarice Starling. The moment we hear these names, we know who they are. These are, undoubtedly, main characters. But notice how they’re not all cut from the same cloth. Whether they’re 100% good (Luke Skywalker) or irredeemably bad (Tony Soprano), the fact is, we’re watching their journey.
And that makes them the protagonist.
The protagonist is the central character in a given story, whether in film, on TV, in a novel, or in a play. Their wants, desires, flaws, and actions drive the plot. Protagonists have the strongest goal, the toughest obstacles, and the most drastic arc. Altogether, their journey—and the changes it brings both internally and externally—represents the theme of the piece.
For example, take a look at the titular ogre of Andrew Adamson and Vicky Jenson’s “Shrek.” The plot only happens because Shrek’s status quo (living in solitude) is interrupted by a host of fairy-tale creatures who were ordered to move to his swamp. When Shrek sets out, his goal is to return to that status quo, which itself is based on his internal flaw: He thinks he deserves to be alone because of his perceived monstrousness. Everything that follows stems from that decision, and the arc of the film can’t come to a satisfying conclusion until Shrek embodies the theme—that love comes from who you are, not what you look like.
Like many dramatic terms, the word “protagonist” comes from ancient Greek: “prōtos” (“first”) and “agōnistēs” (“actor”).
Understanding Character Arcs: A Full Guide for Writers + Actors Types of protagonists
Some protagonists, such as Harry Potter and Luke Skywalker, fit into the classic hero mold. They’re complex but ultimately moral people whose goals align with the betterment of the world. But protagonists don’t have to be good. Take Tony Soprano from “The Sopranos.” All of his wants and actions actively make everything and everyone in his orbit worse—but the audience is tuned in anyway.
Things can get complicated when it comes to ensembles. Films such as “Glengarry Glen Ross” or TV shows such as “Modern Family” have multiple main characters, but none of them are singularly driving the story engine. The opposite would be something like Steven Soderbergh’s “Ocean’s Eleven.” That movie features a large cast of colorful, unique characters, all with their own individual goals. But it all feeds back to Danny Ocean (George Clooney)—his goal of reconnecting with estranged wife Tess (Julia Roberts) is the reason the team comes together.
Can there be dual protagonists? Yes, but it’s not very common. Perhaps one of the best examples is Michael Mann’s “Heat.” The crime epic follows the cat-and-mouse game played between LAPD detective Vincent Hanna (Al Pacino) and bank robber Neil McCauley (Robert De Niro). The lines become blurred because both characters' well-defined wants and actions intertwine with each other instead of occurring separately.
Strong goals: This might sound like writing 101…because it is. A protagonist’s goal—the want that sends them on their journey—can make or break the script. It needs to be both dynamic and relatable enough to keep the audience interested. Keanu Reeves’ titular assassin in “John Wick” isn’t just getting revenge over the death of a dog—it’s a dog his deceased wife gave him as a final gift.
Active, not passive: The story happens because of protagonists, not to them. Whenever your protagonist faces an obstacle, they either need to overcome it or, at the very least, learn and change from it. In Ridley Scott’s “Gladiator,” Maximus (Russell Crowe) doesn’t get a lot of opportunities to make his own choices; he’s sold into slavery and forced to fight in the Colosseum. But his drive to survive at all costs keeps us invested, and his pursuit of freedom twists and changes as he rises in the gladiator ranks.
Character Development: A Guide for Actors Complexity: Good protagonists often have both a notable talent and a crippling flaw—in great ones, those two things contradict each other. Sherlock Holmes is the smartest man in every room—and that means he pushes people away, even those he loves. Indiana Jones is a world-traveling, tough-as-nails adventurer who is also deathly afraid of snakes.
Charisma: When you look back at some of the most memorable protagonists in film and TV—such as Tony Stark (Robert Downey Jr.) from the Marvel Cinematic Universe, Rick Blaine (Humphrey Bogart) in “Casablanca,” or Lucy Ricardo (Lucille Ball) on “I Love Lucy”—many of them have the so-called juice. These actors elevate the roles even beyond the page through sheer charisma and confidence. For actors, remember that you’re romancing the viewer and get them on your side.
Embrace vulnerability: Protagonists have to earn the change they find at the end of the story. That means actors need to portray every blow it takes to get there. Tap into those emotions and show your vulnerable side. Think of Charlize Theron as Furiosa in George Miller’s “Mad Max: Fury Road.” (Yes, she is the protagonist, not Tom Hardy’s Max.) Theron took what was already a memorable role (because she kicks so much tail) and elevated it to icon status with the sadness and desperation she subtly layers into her character.
