“All that 'it takes a village' crap is only good to a certain extent, because even the best-laid plans of your life go poof in your face. And in that case, you need to be strong, and independent, and educated, and a strong woman.” - Madeline

Structure to die for

HBO’s darkly comedic (but mostly drama) murder mystery is based on Liane Moriarty’s best-selling book of the same name. Originally intended as a mini-series, the HBO hit garnered a follow-up order for an additional seven episodes (marking 14 total) that Moriarty was tapped to write the story for, while the show’s creator David E. Kelley (Ally McBeal, Chicago Hope) penned both seasons for the screen. Like watching a surreal gossip magazine (or artsy The Real Housewives), we get to know the Monterey Five through flashbacks leading up to the murder that opens the series.

And the gossipers are the eager parents of the prestigious elementary school, Otter Bay, who play the part of a Greek chorus as they’re interrogated by Detective Adrienne Quinlan (Merrin Dungey), just further setting the stage for the larger-than-life leading ladies.

Thrilling cinematography

The Big Little Lies pilot is flashy in a monochrome color palette. A lot of cuts, flashbacks, camera angles that tell us someone’s watching — and someone is always watching in Monterey — and lingering scenes of nothing but angry ocean waves crashing on the beach indicating the untamed beauty of nature, and the nature of these women. Half the time, we’re not sure if we’re seeing something that’s already happened or possibly has yet to occur. It’s effectively disorientating, and we feel a little out of place and unsure, much like Jane (Shailene Woodley) admits to feeling as the new girl in town. We’re new to this place and the way these people live their lives.

But what is seemingly untouchable from the outside is soon revealed to have major cracks running below the surface. These women who “have it all” teeter on the edge of a mental cliff half the time... just like the real one Celeste (Nicole Kidman) often stares out at. That’s where Big Little Lies flourishes (aside from good story and killer talent, of course) — the visuals.

The show feels epic in quality, not just because of the incredible talents involved, but also its lush visual style. Shot mostly on location in Monterey, season one cinematographer Yves Bélanger (Jim Frohna took over for season two) along with director Jean-Marc Vallée (Dallas Buyers Club) shot everything in largely natural light in a hand-held style, lending even more intimacy to the overall feeling. We feel as though we’re literally people watching. And, during the uncomfortable moments, even intruding on these people’s lives when they’re at their most vulnerable.

Big-screen budget

The powerhouse players of Big Little Lies undoubtedly drew a crowd when it first aired in 2017. Nicole Kidman. Reese Witherspoon. Zoë Kravitz. Laura Dern. Alexander Skarsgård. Shailene Woodley. Meryl Streep. This is television, after all — but also proof that television became a very enticing and lucrative playground in the 2010s. Especially considering that Witherspoon and Kidman, who also served as co-producers on the show, had originally optioned Moriarty’s book to be a feature film. But with HBO behind you, the ability to linger in moments, play out story threads, and luxuriate in the details, television feels like a natural fit for a novel adaptation. Moriarty’s masterful characterization is also undoubtedly part of the reason creatives like Witherspoon and Kidman where interested in the first place. The second season, which dealt mostly with aftershocks from the plethora of lies that came to light in season one, was directed by Oscar®-winner Andrea Arnold.

In retrospect

Big Little Lies received 16 Primetime Emmy® Award nominations for its first season, of which they won eight, including Outstanding Limited Series and Best Director. Kidman, Dern and Skarsgård each won an Emmy and Golden Globe® for their performances, with Kidman and Skarsgård also picking up Screen Actors Guild Awards. Prestigious awards aside, the show’s success also played to levity, with Ellen DeGeneres turning one of Witherspoon’s deleted scenes (throwing ice cream at Meryl Streep) into a game on her show called Big Little Scoops.

Talk show antics aside, the show receives binge-able status for how it depicts its thrills. Strip away the money, privilege and appearances, these women had nuanced and very deep wounds they were dealing with that forces them to take extreme stances that in turn drives the intense action. I dare you to watch without finding at least one relatable moment as a friend, wife, husband, or parent. Those character arcs are what drive the story and keep the audience coming back for more. That, and the ingenious twist decision not to reveal who was murdered right from the get-go.

Screenwriters can read the pilot on ScriptSlug or binge both seasons on HBO.