Stories are often constrained by the medium through which they are told. Shakespeare’s five act play structure lent itself well to the amount of time people could sit/stand through a play at the Globe. Dickens’ instalment-stories leant themselves well to regular publications in periodicals. And for the past few decades Blockbuster movies have slavishly followed the Hero’s Quest style narrative with great, multi-billion dollar success. And we have the original Star Wars trilogy to thank for this, or should that be blame? Effects-heavy, stereotype-rich and plot-lite is the typical approach for your average Blockbuster – there are basically only 90 minutes to tell the story of one main character (usually a man) doing a series of heroic (usually violent) things culminating in an explosive climax. Meanwhile, in-depth characterisation and moral ambiguities are ignored. Endless films keep using this formula backed up by a growing library of how-to books based on questionable psychology and claims that the Hero’s Quest is the best structure for a good story. Really!?

But that was then and this is now, and there’s a new hero in town, namely the television series. Attracting mammoth budgets, very special effects, stellar casts and nuanced plots – each 45 minute episode is now a bit like an instalment of a Dickens classic. These stories can involve multiple characters and multiple plot strands as well as having the time to explore bigger questions beyond the best way of blowing something up. We finally have an antidote to Hero Quest-itis, we’re no longer just watching the story of one man desperately trying to invest in staving off a midlife crisis. This is no longer the story of the lone hero getting by with a little, token help from his friends, it’s when the friends get to become actual characters with depth, backstory and plot. It’s not just Leia, R2D2, Chewie et al being plot devices in Luke’s success, it’s about opening up heroism (in all its forms) to the whole group. It’s basically the movie Pride.

Based on a true story this tells the tale of the group Lesbians & Gays Support the Miners who raised money for striking Welsh miners in the 1980s. One of the pioneers of the group was Mark Ashton, a young, London based activist, and Pride could have been The Story of Mark – how he went from living your average life in London to being a hero of the Civil Resistance to the 1970s/80s Conservative Government, how he had to face obstacles (discrimination, violence etc) but triumphed over them to glory. But no, this film wasn’t just about Mark, it was about tens of people – a mix of gays, lesbians, miners, protestors, parents, friends, families, women, men, homophobes, naysayers, and bigots. The film portrayed the lives of many people, not just one, and gave depth and personality to a range of characters – quite a feat given that they didn’t have at least 20 episodes to do it in. Multiple protagonist stories abound (Calendar Girls, August: Osage County, Shakespeare’s canon) and they are a good antidote to the idealised, hero story. Pride tells a very different story – that of the Heroic Community perhaps.

The simple point is that we don’t have to look far to see beyond the structural limitations of the Hero’s Quest – for too long this go-to plot has been gone to by movie makers because it lends itself brilliantly to 90-minute, Blockbuster, cash-making extravaganzas. But the bit that really bugs me is the huge amount of literature, science and philosophy that is used to justify the endless use of the Hero’s Quest (ahem, Joseph Campbell). Fortunatley, we can retaliate by populating our stories with diverse characters and not being afraid to diverge from the predictable path of the hero. TV, comics, books, plays and video games are already streaming ahead (and have been for a long time) and now mainstream cinema needs to catch up.