Hunger

“Hunger” is the story of a thrupple. But not in that way. It is the story of Martin and Tyler’s unconventional, hedonistic marriage and how it is altered by the arrival of a high-maintenance and morally berserk dependant. Additionally, the series offers an archaeology of a failed education system from both ends; the decadence of higher education, no less that the austerity-hit crumbling public sector. Both Martin and Tyler have series long work-related arcs through which is explored the sexism and institutional nepotism of our educational institutions. In addition to all this is Paco, who slowly negotiates life in a new country that only appears to irritate and threaten him. He struggles to comprehend the modern concept of an open marriage, takes issue with the bespoke dating app Disability Match etc. This is also a man with a Manichean sense of right and wrong, and, accordingly, he assumes the personal burden of amending all perceived injustices. There will be incidents, therefore, of Paco cold calling the NRA, of Paco “mansplaining” to a tenured Professor the clear ethics of theft. Socially, in short, the man is a wrecking ball. Thematically speaking “Hunger” is eponymous. In both a literal and metaphorical sense this is its central concern. To what extent are our actions and relationships dictated by hunger? How can we satisfy, satiate, or repel these cravings? Have we even any right to deny them? The theme heavily informs each of the protagonists. For Paco it is ever-present, primal and all consuming. Given his body-type, it quite literally shapes him. It is so pervasive and controlling, in fact, that he lacks a traditional arc. Instead, the journeys of Tyler and Martin are sparked by living with a victim of an uncontrollable and unwilled hunger and amending accordingly their own forms of self-imposed, First World emotional restlessness. For a copy of the pilot script please contact samuelbluegibson@gmail.com