Good question, Matt.

Good question, Matt. Just throwing a number out here: 90% of movies and limited TV series involve a unity arc. That is, the Protagonist begins the story living an inauthentic life. As Joseph Campbell says of the hero’s journey, “They are just making do… they need to change.” Their journey (psychologically) is (my language) from Disunity to Unity, hence, the unity arc.

This is where the synthesis concern comes in. In The Godfather: Part I, Michael’s want is really his father’s desire to keep Michael out of the mobster business. Michael’s need is to embrace his mobster DNA. By the end, he *is* the godfather, members of his crew literally kissing the ring on his finger. There need supplants want. That is the synthesis.

Sometimes need *transforms* want. In SW:IV, Luke wants to go to the Academy. His need is to become a Jedi and learn to use the Force. His plans are transformed by Fate intervening with the arrival of the droids, the death of his aunt and uncle, intersecting with Obi-Wan, etc.

Sometimes a character is so connected to their want, they deny their need. That’s the case in Nomadland. Fern *needs* to process the grief she has, not only in losing her husband (dead), but also their lifestyle where they had jobs, a stable income, and a home. She *needs* to land somewhere and start a new life… and she actually *has* that opportunity placed before her on a metaphorical platter. But her want — to proudly, even stubbornly resist the help of others, resist allowing herself to open up emotionally to others — squashes her need. She refuses to change.

So you see, the synthesis — or not — of Want and Need is a telling way of tracking a Protagonist’s arc.

I hope that helps!