HBO’s “Task”: Brad Ingelsby on Writing Tension, Character, and the Art of TV Drama

When HBO announced Task, a taut new limited series from Brad Ingelsby — the creative mind behind the Emmy-winning Mare of Easttown — expectations and excitement soared. Known for his nuanced and troubled characters, atmospheric storytelling, and ability to wring suspense from the everyday lives of ordinary folks, Ingelsby has become a sought-after name in prestige television. In Task, he turns his attention toward a struggling Philadelphia community, exploring the ripple effects of an assignment that upends the lives of its residents.

We spoke with Ingelsby about the origins of Task, his process for layering tension with character, and why writing for television remains one of the most challenging, but rewarding, endeavors for a screenwriter today.

With the breakout success of Mare of Easttown, Brad Ingelsby established himself as a master of simmering, character-driven suspense, blending the grit of blue-collar America with emotional depth and turmoil. Now, with HBO’s Task, Ingelsby delivers another intricately-layered family crime drama. Task centers on an FBI task force formed in the wake of a series of drug ‘trap house’ robberies executed by a pair of Delaware County sanitation workers who are stealing drug money from a local motorcycle gang called the Dark Hearts. It stars Mark Ruffalo as FBI Agent Tom Brandis, Emilia Jones as Maeve, and Tom Pelphrey as Robbie.

In this interview with Creative Screenwriting Magazine, Ingelsby discusses the origins and writing process behind Task, the importance of authenticity, and the evolving landscape of elevated television.

The Spark of Task: Ordinary People, Extraordinary Pressure

Brad Ingelsby’s stories are known for their emotional heft and rich, lived-in worlds which are often cruel and unfair. When asked what inspired Task, he recalls an image that wouldn’t leave him: “I kept picturing a regular guy getting a note — just a few words, but it changes everything. How would that affect him, his family, his neighbors? I wanted to explore how a simple directive could unravel lives.”

Brad Ingelesby. Photo by Landon McMahon

The premise is deceptively simple: an anonymous note, a dangerous task, and a deadline. But as with Ingelsby’s best work, the heart of the series lies in the human fallout and knock on effects to friends and family. “I’m always drawn to stories where the tension comes from the choices people make under pressure,” he explains. “Task isn’t just about the mystery; it’s about what happens to a community when trust breaks down.”

He elaborates, “We all have things we’d rather keep secret. The show asks: what would you do to protect your own? And what happens when everyone has something to lose?”

Tom Brandis is an ex-chaplain who’s lost his faith. He’s now an FBI agent. He’s deeply embedded in Philadelphia. He drinks out of a Phillies Cup. He also needs to forgive his dead son. That’s a mountain of emotional baggage to work through over seven episodes. Ingelsby focused on creating Tom’s internal and extenal lives, his professional life, and his life as a father and family man. “And then once I have, and only then, am I really trying to figure out what the plot is,” Ingelsby declares.

Brad drew upon his years growing up as an Irish-Catholic in Pennsylvania and his struggles with faith and family relationships repeatedly tested. He wanted to be in the same house as these characters, allowing those relationships to breathe, and giving them space and permission to discuss how they’re impacting their lives.

Building a World: Authenticity on Every Page

One of Ingelsby’s hallmarks is his ability to evoke a strong sense of place. Task, like Mare of Easttown, is set in working-class Pennsylvania — a world Ingelsby knows intimately.

“There’s a rhythm to these neighborhoods: everyone knows each other, for better or worse. There’s a shared history, which is great for drama because it means every character has baggage, every relationship has layers,” he notes.

Robbie Prendergast (Tom Pelphrey) and Cliff Broward (Raúl Castillo) Photo courtesy of HBO

To ensure authenticity, Ingelsby spends months researching, visiting locations, and talking to locals. “I make playlists, collect photos, even write little biographies for the characters — what’s in their fridge, what keeps them up at night, what scares them, what gives them hope. All that detail matters, because if the world feels real, the audience will care more when things go wrong.”

He’s quick to credit his production team as well: “Great production designers and location scouts are worth their weight in gold. Sometimes they’ll find a street or a diner that immediately clicks — suddenly you can see the scene, hear the dialogue.”

Ensemble Storytelling: Weaving Interconnected Lives

Task follows an ensemble of characters, each affected in different ways by the central “task.”

Brad explains, “I love writing ensemble drama because it mirrors real life — everyone has their own problems, but they’re all connected. You get to play with perspective, showing how one choice can ripple out and affect a whole community.”

He stresses the importance of giving every character a purpose: “Even minor roles need dimension. I ask myself, ‘What does this person want? What’s their secret?’ If you know that, you can write a scene that feels alive,” he adds.

Brad Ingelsby isn’t interested in characterizing characters as being either heroes or villains; good or bad. He’s interested in them being understood. “We were always trying to write every character without judgment and be able to ask, why are they here? Why is Lizzie a state trooper? Why is Perry trying to save Jason? Why is he helping them? Why is Grasso lying? Why is Robbie doing these things?”

In the case of Task, the Brandis’ extended family features cross-cutting between mundane aspects of their everyday lives.

The Slow Burn: Layering Characters

Unlike traditional high-action crime thrillers, Task is a very slow burn. Ingelsby’s scripts build tension gradually, focusing as much on emotional stakes as on plot twists.

“Anyone can write a shocking reveal, but if you haven’t earned it, the audience won’t care,” he states. “I try to make sure every surprise is grounded in character — if someone does something desperate, you need to understand why.”

He describes his writing approach as “layered revelation.” “I want viewers to feel like they’re uncovering secrets alongside the characters. Sometimes it’s more powerful to withhold information — to let a look, a pause, or a stray line of dialogue hint at what’s really going on,” he advises.

Brad compares his writing process to a math equation when deciding what and when to reveal character moments to the audience. “I’m gonna give you a little bit here, I’m going to give a little bit more out here. I’m going to surprise you with something you didn’t know here that deepens what you’ve seen before,” he ponders.

Layers are accumulated in their characters to better define and understand them – even if we don’t agree with their decisions.

Brad is also unafraid to allow characters to have many traits – even if they appear to be contradictory.

Maeve (Emilia Jones) and Tom Brandis (Mark Ruffalo) Photo courtesy of HBO

Dialogue and Subtext: The Power of What’s Unsaid

For writers, Ingelsby’s dialogue is a study in subtext. Conversations in Task are sparse, but loaded with meaning and intent. Arguments are mumbled rather than screamed.

“I always ask, what is this character trying NOT to say?” he explains. “People rarely come out and state their feelings directly, especially in tense situations. The tension is in the gaps, the things left unsaid,” he says.

He points to a scene between father and his teenage son: “They’re talking about a baseball game, but what they’re really saying is, ‘I’m scared for you,’ and ‘I don’t know how to help.’ If you let the audience sense that, it’s much more powerful than spelling it out.”

Ingelsby rewrites dialogue relentlessly: “My first draft is always too wordy. I cut, cut, cut — until every line matters. If an actor can play it with a look instead of a speech, even better.”

The Writing Process: No Outline Needed

As the showrunner, Ingelsby doesn’t run a regular writers’ room. He doesn’t like writing outlines and breaking story as a group align with his creative process. Ingelsby has a few key anchors in his scant outlines and later fills in the gaps as he progresses.

“The more I get to know the characters, the more dangerous I become,” he remarks. This affords him the freedom to take wild swerves as the plot develops.

Perry Dorazo (Jamie McShane) & Shane McReyolds (Colin Bates) Photo courtesy of HBO

Visual Storytelling: From Script to Screen

Ingelsby’s scripts are visual, filled with seemingly minor insertions that guide directors and crew. “I think in images,” he shares. “A cracked mug, rain on a window, a character sitting alone at dawn — those moments stick with a viewer.”

He collaborates closely with directors and department heads: “I love visiting set and watching how a scene changes once actors and crew get involved. Sometimes the best moments are improvised — a gesture, a line, a bit of business I never imagined.”

For Task, much of the atmosphere comes from the production design and cinematography. “We wanted a look that was grounded but cinematic — lots of natural light, handheld camera, muted colors. It had to feel like real life, but heightened.”

Writing Crime, Writing Humanity: Themes that Resonate

Although Task is built around a central crime, Ingelsby insists that the true drama unfolds in the characters’ moral choices. “The ‘task’ is almost a metaphor,” he says. “It’s about what we owe to each other — and what happens when fear or desperation makes us betray that.”

He’s influenced by writers like Richard Price, Dennis Lehane, and Alice Munro — storytellers who find poetry in the ordinary. “I want to write about people you might pass on the street, but whose lives are anything but ordinary. Crime is just the starting point; the real story is what happens inside.”

One recurring theme is community — how secrets, loyalties, and grudges bind people together and tear them apart. “I’m fascinated by how a single act can echo through a neighborhood for years,” Ingelsby shares.

The Future of Television: Opportunity and Challenge

Ingelsby is both excited and wary about the future of TV. “There are more shows than ever, which is great for writers, but it also means you have to fight for attention,” he observes.

He’s optimistic about streaming platforms and their willingness to embrace more unconventional stories. “Audiences are open to complexity now — they want ambiguity, flawed characters, and endings that make them think.”

He also sees more opportunities for diverse voices: “We need stories from all corners, not just the usual suspects. The next great show could come from anywhere.”

“At the end of the day, I hope viewers feel seen,” Ingelsby muses. “If someone watches and thinks, ‘That’s my family, my street, my struggle,’ then I’ve done my job.”

[More: Brad Ingelsby on ‘Mare of Easttown’]

by Staff Writer

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