How does splitting 'character functions' enhance theme?

We are often told that our 'protagonist' needs to be a active. That they need to be compelling. That they need to change. And - old faithful - that they need to be likeable. But after looking at MAD MAX: FURY ROAD, STAR TREK (2009), THE FIGHTER, and SICARIO, Chas and Stu learn that your primary character does not need to do all these things. In fact, they learn that splitting these functions between your primary characters can reinforce theme and create potential for different types of narratives.

And stick around for backmatter if you want to hear Stu go on a rant. For a change.

EPISODE LINKS

John August: What's the difference between Hero, Main Character and Protagonist?
Screen Anarchy: Destroy All Monsters: All We Have Are Our Bodies On FURY ROAD
MAD MAX: FURY ROAD by George Miller, Brendan McCarthy & Nico Lathouris
- Watch it on iTunes and Stan (AU)
STAR TREK (2009) by Roberto Orchi & Alex Kurtzman
- Watch it on iTunes and Netflix
Bitter Script Reader: How STAR TREK INTO DARKNESS gave us the Kirk we deserve
THE FIGHTER screenplay by Scott Silver and Paul Tamasy & Eric Johnson; story by Paul Tamasay & Eric Johnson & Keith Dorringon
- Watch it on iTunes and Netflix
SICARIO by Taylor Sheridan
- Watch it on iTunes and Stan (AU)
DZ-03: Making Unlikeable Protagonists Compelling
DZ-19: Car-Crash Characters
DZ-20: Writing Strong Secondary Characters
DZ-24: Forging Story Rules in TV Pilots

BACKMATTER LINKS

Done Deal Pro Forums: Podcast Recommendations

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DZ-33: Protagonist vs Hero - Dawn of Character Function

Draft Zero: a screenwriting podcast