Del Newman serves as the patriarchal head of the Newman family and the primary architect of their public image, making him a complex, round, and dynamic character who functions as an occasional antagonist. On the surface, Del is the charismatic and commanding “creative motor” (11) behind Meet the Newmans, controlling every aspect of its production from writing to directing. This control extends to his family’s lives, as he carefully manages their finances and public personas. However, this projection of authority conceals deep-seated insecurities stemming from a poor childhood and his relationship with his estranged father. His large collection of classic cars is a key symbol of this inner conflict, representing both his attempt to project an image of success and the family’s precarious financial reality that his spending has created.

Del’s primary motivation is to maintain the idealized family image he has built, a “wholesome” (11) world that provides the security he lacked in his youth. This makes him resistant to change, and he clashes with network president James T. Aubrey because he wants to preserve the formula for success he has perfected over many years. His control stifles the artistic and personal growth of his family; he dismisses Guy’s ambition to direct and forces Shep to produce commercialized music.

His midlife crisis, triggered by the discovery of their dwindling finances and the arrival of the telegram from his father, begins before his accident. The car accident and subsequent coma act as the catalyst for his transformation by forcibly removing him from his position of power. When he awakens, he finds a world that has moved on without him: Dinah and Guy have assumed creative control of the show, and his carefully constructed financial world has been dismantled. His initial reaction is to try and reassert his authority, writing a “backup script” (346) and attempting to direct Guy on set. However, through confrontations with Kelly, Guy, and Dinah, Del is forced to confront his own obsolescence and the ways his control has harmed his family. He ultimately learns to collaborate, supporting Guy’s direction and Dinah’s revolutionary script, and in doing so, begins to repair his fractured relationships and find a new, more authentic role within the family.

Juliet Dunne is a deuteragonist whose role as a catalyst for the Newman family’s transformation helps to make her a round and dynamic character. An ambitious reporter for the Los Angeles Times, Juliet is frustrated by the rampant sexism of the 1960s newsroom, where she is relegated to the “Lifestyle” section and treated as a secretary by her male colleagues. She is driven by a desire to “tell the truth about the world” (33) and is haunted by a past incident where the press publicly branded her as “The Girl in the Fur Skin Rug” (32), reducing her to a groupie in a high-profile relationship. This experience fuels her determination to control her own narrative and her anger toward cultural figures like Dinah Newman, whom she initially views as perpetuating an outdated and harmful image of womanhood.

Juliet’s relationship with Dinah is the central engine of her development. Their first interview is confrontational, with Juliet challenging Dinah’s complicity in promoting a restrictive domestic ideal. However, this clash evolves into a powerful, if initially tense, collaboration. When Dinah hires her to co-write the finale, Juliet finds an unexpected opportunity to voice her feminist ideals on a national stage. She acts as Dinah’s guide to contemporary feminism, introducing her to The Feminine Mystique and encouraging her to question the restrictive roles she has accepted. Through their work, Juliet moves beyond her initial judgment and develops a sense of camaraderie and respect for Dinah, recognizing that women of different generations face their own unique struggles.

As a foil to Dinah, Juliet also represents the emerging second-wave feminist movement. Where Dinah’s rebellion is initially internal and subconscious, Juliet’s is overt and intellectual. Her partnership with Dinah is a symbolic merging of two generations of women, combining Dinah’s lived experience and cultural platform with Juliet’s modern perspective and passionate anger. In helping Dinah find her voice, Juliet also finds a more constructive outlet for her own, creating a revolutionary work of art instead of just reporting on the world around her. This drives a parallel journey of growth to Dinah’s, where Juliet succeeds in affecting the world around her, even standing up to the sexism of her male colleagues.

As the younger Newman son, Shep is a round and dynamic tritagonist who embodies the theme of The Corrosive Impact of Commerce on Art. He is a teen idol and rock-and-roll star whose public persona is a source of intense internal conflict. While his fame makes him a major commercial asset for the family and the network, Shep feels like a “prop” and a “ventriloquist’s dummy” (38), controlled by his father and CBS. His rebellious behavior, from reckless driving to his tell-all interview with Life magazine, is a direct reaction against this manufactured image. Shep’s music is a motif for this struggle; he resents the vapid pop hits he is contractually obligated to perform and longs to create the “searing and soulful and electric” (59) music that reflects his authentic artistic self.

Shep’s development centers on his journey toward maturity, both personally and artistically. His relationships are a key part of this process. He is drawn to Eileen Weld precisely because she sees through his bravado and treats him as a person rather than a celebrity. His unscripted kiss with her on set is a significant act of rebellion, prioritizing a moment of genuine emotion over the demands of the production. Simultaneously, his brief relationship with Lorrie Cabot results in an unplanned pregnancy, which forces him to confront the consequences of his impulsive lifestyle and consider responsibilities beyond himself. This contrasts with his on-screen persona as a carefree teen who never gives his parents “any real worry” (11).

By the end of the novel, Shep takes significant steps toward integrating his private self with a new, more authentic public identity. The Life magazine interview, while causing a crisis for the family, is his declaration of artistic independence. Dinah later granting him creative control over the music for the finale allows him to fully realize his independence. The original song he performs, “The Girl That Doesn’t Leave You,” is a culmination of his growth, blending his artistic integrity with his newfound emotional maturity. He moves from being a symbol of commercial teen stardom to an artist who has found his own voice.

Guy Newman is the elder son of Del and Dinah, a round and dynamic tritagonist whose arc is defined by his struggle against The Negative Influence of Public Life on Private Identity. He is introduced as the reliable, self-sufficient son, the one his parents “never had to worry about” (4). Onscreen and off, he is expected to be the responsible straight arrow, a role model pursuing a law degree just like his television counterpart. This pressure contributes to his quiet suffering, which he experiences as anxiety attacks and a feeling of being a secondary character in his own life, overshadowed by his famous father and brother. His secret dream is to be a director, an ambition his father dismisses, and his most significant private reality is his romantic relationship with his roommate, Kelly Faber, which must be hidden to protect the family’s conservative “wholesome” image.

Guy’s transformation begins when Del’s accident provides him the unexpected opportunity to direct the show. Though he initially struggles with the responsibility and his father’s lingering influence, he gradually finds his confidence and his own leadership style, creating a more collaborative and relaxed set. This professional growth runs parallel to his personal one. He is forced to confront the conflict between his private life and public image when James T. Aubrey demands he enter a sham marriage with Eileen Weld to quell rumors about his sexuality. His ultimate refusal to go through with the wedding, supported by Eileen, is an important turning point where he prioritizes his personal integrity over the commercial needs of the show and his family.

Ultimately, Guy finds his voice by confronting his father directly, both about his desire to direct and his love for Kelly. In a key conversation, he adapts one of Del’s own lessons, telling him he is ready to ride his bike without training wheels and needs to be allowed to do so on his own terms. By the end of the novel, Guy has successfully directed the revolutionary finale, asserted his identity to his family, and taken a major step toward living a more authentic life, fully embracing his role behind the camera rather than in front of it.

Kelly Faber is Guy Newman’s roommate and romantic partner. A round and supportive character, Kelly represents the private truth that Guy must hide to maintain his public image. He provides a grounding force for Guy, encouraging him to pursue his directing ambitions and offering emotional stability. As a film actor who has also had to manage a fabricated public romance, he understands the pressures Guy faces. Kelly also functions as the story’s conscience, participating in civil rights protests and challenging Del’s outdated perspectives, bringing a political awareness to the narrative that contrasts with the Newmans’ intentionally apolitical brand.

Eileen Weld is a young actress cast as Guy’s on-screen love interest but functions as Shep’s offscreen romantic interest. A dynamic character, she refuses to be a pawn in the network’s plans when James T. Aubrey demands she enter a real-life sham marriage with Guy, demonstrating a strong sense of self-possession. She is a catalyst for both Newman brothers. She provides Guy with the support he needs to reject the marriage plot, and her intelligent and forthright nature captivates Shep, inspiring him to mature and pursue a genuine relationship, which is a stark contrast to his usual fleeting romances.

James T. Aubrey is the president of CBS Television and one of the novel’s major antagonistic figures. As a flat and static character, he embodies the ruthless commercialism of the entertainment industry, valuing ratings and demographics above all else. Nicknamed the “Smiling Cobra” (46), his primary motivation is profit, and he pushes the Newmans to abandon their wholesome formula in favor of whatever he believes will appeal to a younger, more profitable audience. His demands to focus on the sons, create a sham wedding, and sideline Del and Dinah create the central conflict that forces the family to fight for their artistic and personal integrity.