Echoes of Hollywood

Up until mid-December, Murphy immersed himself in various materials. Combining Michael Dobbs' novel and the television series he had watched, he gradually outlined the first season's story and direction in his mind. He quickly completed the script outline.

Meanwhile, the writing team Stanton Studios recruited was established. Given the current limited status and remuneration of screenwriters in Hollywood, finding writers skilled in political drama wasn't difficult as long as the money was there.

However, Hollywood's common political dramas usually fall into two distinct styles: for instance, "House of Cards" and "Veep." Both are political dramas, but their style and depth differ. The former typically highlights the darkness and brutality of political struggle, while the latter is a classic American comedy filled with political jokes.

Hence, on the first day the recruited writers signed their contracts, Murphy summoned everyone involved in the project, including Gal Gadot and Paul Wilson, who had flown in from the UK, to a meeting at Stanton Studios.

With the final season of "Game of Thrones" already completed, Paul Wilson was set to direct and produce this series, also participating in the writing process.

The purpose of this meeting was to emphasize some fundamental principles in the writing and production process.

"This series needs distinct characters, powerful and engaging dialogue, with almost every episode being a standalone story yet closely linked, making the audience unable to stop watching," Murphy said quickly, standing at the front of the meeting table. "More importantly, it must satisfy the audience's desire to peek into the lives of top political figures and high-level politics, showing scenes they've only imagined and never seen before, feeling fresh and thrilling!"

Nodding to Gal Gadot, she distributed a story outline for the first season to everyone. Murphy continued, "I'm not particularly well-versed in the American political system. If there are any mistakes regarding the political system in the story, you need to promptly remind me to correct them while ensuring the main plot remains unchanged."

This was one of the purposes for spending millions of dollars to assemble this writing team. While not top-tier writers, they were experienced in writing political themes, compensating for his biggest shortcoming.

Paul Wilson raised his hand, and Murphy nodded, "Go ahead, Paul."

"I think from the project's inception, we should unify our message, claiming that 99% of the series' content is real, with prototypes found in Washington's political life!" Paul Wilson laughed, "Let the audience believe they can understand the top-secret political struggles through this series."

"Mm!" Murphy highly agreed with Paul Wilson's point, instructing his assistant, "Note this down."

Political themes have always been challenging due to numerous insider secrets and unspoken rules. If one isn't knowledgeable, it shows. Even for those well-versed, balancing the content is difficult.

Hence, many political themes remain undeveloped.

Paul Wilson's point aligned with Murphy's vision: the greatest charm of "House of Cards" lies in its seemingly extraordinary realism.

"It's not just a portrayal of American politics," Murphy continued, "but an exaggerated yet meticulously real depiction of the dark struggles of a political figure."

To enhance realism, Murphy specifically marked on the outline to include frequent drinking scenes. In America, drinking is a way of life, not only a social lubricant but a necessity, even for congressmen and presidents who keep a few bottles in their offices.

Like Nixon loved Lafite, Clinton various beers, Bush had a DUI in his youth, and Obama even had a small brewery in the White House, these are well-known facts.

"As Paul said..." Murphy emphasized to the writers, "we need to make the audience feel this series deeply analyzes American politics."

The writers listened intently, aware that Murphy, despite his positive industry reputation, would not hesitate to replace them if they failed to meet his standards. Finding another high-paying job wouldn't be easy.

"You can adapt real examples appropriately into the script," Murphy suggested.

Reportedly, many scenes in the original series were based on real examples, adding to its realistic feel, especially for those outside the political sphere.

Murphy knew the dark and cynical political portrayal in "House of Cards" would resonate with today's audiences, tired of overly positive protagonists.

"Also," Murphy continued, "the original author Michael Dobbs was once the Deputy Chairman of the Conservative Party, making the novel particularly credible, enhancing the show's appeal."

"Traditional Hollywood political dramas operate on the premise that our political system is fundamentally good," Paul Wilson added, "with individual bad actors causing problems. However, our research indicates a shift: now, Americans generally view the political system as deeply flawed. In a recent poll, Congress ranked very high among the most disliked entities."

Murphy nodded, "This environment benefits us greatly. You all..."

He pointed to the writers, "In any future interviews, claim that 99% of our plot is real, the only fictional 1% being that we managed to pass an education bill, which hasn't happened in reality."

He glanced at Gal Gadot, who made a note on her laptop: "Include this in the relevant contracts."

Looking around, Murphy concluded, "We must boldly depict all characters as antagonists, showcasing human evil and political darkness!"

In political dramas, personal ambition is the backbone, and the flesh and blood are the details of confronting power, ambition, and corruption.

The meeting ended, and the writers dispersed. Murphy kept Paul Wilson behind.

"You did an excellent job on 'Game of Thrones,'" Murphy praised without reservation, "I trust you with this series."

Paul Wilson smiled, "Murphy, without you, I wouldn't be where I am today. Whenever you need me..."

Murphy raised a hand, interrupting, "After directing the first season, pursue whatever you want."

After a pause, Paul Wilson nodded firmly. Every director has their own film dreams.

Over the past years, directing "Game of Thrones" had earned him substantial experience and money. Had Murphy not personally called, promising to invite Oscar-caliber actors, he might not have accepted this series.

"Paul..." Murphy leaned back, "After the New Year, I'll personally call Kevin Spacey and Charlize Theron. You and Bill will visit them."

Hearing these names, Paul Wilson's spirits lifted, "You're planning to cast Kevin Spacey as Frank Underwood and Charlize Theron as Claire Underwood?"

Murphy nodded, "That's the plan."

"Kevin Spacey is easier," Paul Wilson noted, "He hasn't had notable works recently, and his status has declined. But Charlize Theron..."

Paul Wilson acknowledged the difficulty. Convincing a still-popular A-list movie star to take on a TV role wasn't easy.

Murphy thought for a moment, "You handle Kevin Spacey. Once I'm less busy, I'll meet with Charlize Theron."

"Paul..." he added, "For now, you're in charge of writing. Keep me informed."

With "Diego Ross" about to premiere, Murphy needed to shift focus to its promotion.

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