Essential Reading – Screenplays and Pilots

Because of Halloween, October is the unofficial horror movie month (though, really, it’s our opinion that you can—and should—enjoy them all year round). Released in 2002, The Ring kicked off the early-aughts trend of PG-13 adaptations of Asian horror movies, and it remains one of the scariest movies of this century. Directed by Gore Verbinski and written by Ehren Kruger (with revisions by Scott Frank), The Ring is an Americanized remake of Hideo Nakata’s Ringu. The story follows Rachel Keller (an always amazing Naomi Watts), a reporter who investigates the origins of a cursed video tape after her (and, later, her son) watch it and receive the creepiest phone call of all time: A raspy voice whispering, “Seven days.” What follows are a series of well-executed set pieces that rely more generating dread than surprising its audience with empty jump scares. As a screenplay, The Ring is perhaps the best…

To be completely reductive, every story is about desire. A character wants something so much that they will do whatever it takes to achieve it, and the alternative is inconceivable to them. When writing dark comedy, things become more difficult: The main character’s goals tend to be less than noble, but the audience still needs to care about their journey. If the audience doesn’t empathize or sympathize with the characters, then what’s the point of watching? Set in the early 1990s, On Becoming a God in Central Florida, created by Robert Funke and Matt Lutsky, walks that fine line. Krystal Stubbs wants stability. She grew up poor, and now that she and her husband have infant daughter, she wants to make sure there’s food on the table and a roof over their heads. As she tells her husband, “I won’t be poor again.” About her husband: Travis wants more. He…

Character, character, character. At its heart, every story is about character. Characters who have wants and needs and flaws. Fleabag has wants. They mostly revolve around sex. Fleabag has needs. Love, specifically. And Fleabag has flaws. Oh my, does she have flaws. Fleabag, created by and starring Phoebe Waller-Bridge as the title character, is an equally hilarious and tragic character study of a single, perpetually horny British woman. She doesn’t get a name in the show, but she’s known to the audience as Fleabag. In the pilot, she describes herself as “a greedy, perverted, selfish, apathetic, cynical, depraved, morally bankrupt woman who can’t even call herself a feminist,” and although she’s being overly critical, she’s not far off. Despite all this, Fleabag comes across as charming, in no small part because of Waller-Bridge’s perfect performance. She’s one of the few actresses who can tell you exactly what they’re thinking with…

Story is conflict. It should seem obvious, but in order to have a compelling story, the characters need to face conflict and overcome obstacles with stakes high enough that the audience roots for the characters to succeed. The Martian takes these basic fundamentals and ratchets everything up to an 11. Based on the novel by Andy Weir and adapted by Drew Goddard, The Martian follows astronaut and botanist Mark Watney’s fight for survival after he is accidentally stranded on Mars. The premise is simple (and high-concept!) enough—it’s Castaway on a distant planet. From there, everything that can go wrong does. He’s running out of food and has to find a way to grow potatoes on Mars, he has to fix pretty much every piece of equipment including the base he’s living in, he has to find a way to contact Earth with outdated and outmoded technology… it’s the ultimate fight for survival. Weir…

Melodrama is perhaps the most derided genre there is. Often, critics use the word as a euphemism for entertainment with poorly written, on-the-nose dialogue and exaggerated emotions and performances. But when done right, melodrama draws audiences in and establishes an irresistible tone while exploring narratives with rich themes. Written by David E. Kelley from Liane Moriarty’s novella, Big Little Lies certainly has large emotions. At certain times, it feels like scenes exist solely for the murderers’ row of actresses (which includes—deep breath—Reese Witherspoon, Nicole Kidman, Laura Dern, Zoë Kravitz, and Shailene Woodley) to chew every piece of scenery in sight. However, every emotion is grounded and true to character. The show’s central characters—later dubbed the “Monterey Five” in season two—each has her own issues and conflicts to work through, including rape, spousal abuse, and bullying. Big Little Lies deals with these themes sensitively and insightfully, elevating what could have been…

Perhaps the biggest surprise at this year’s Oscars was Olivia Colman taking the Best Actress trophy. In the lead up, most pundits assumed the competition was between Lady Gaga and perennial nominee Glenn Close, but Colman managed to swoop in and nab the prize. It was an unexpected moment, but one that was incredibly well-deserved. Directed by Yorgos Lanthimos and written by Deborah Davis and Tony McNamara, The Favourite takes historical figure Anne, Queen of Great Britain and Ireland, and uses her life to craft a compelling story of loss, romance, and the pursuit of power. Davis and McNamara place Anne at the center of a love triangle as Sarah, Duchess of Marlborough (Rachel Weisz), and Sarah’s estranged cousin Abigail Hill (Emma Stone) compete to curry Anne’s favor. Sarah is the Queen’s current “favourite”—she’s Anne’s righthand woman and also lover, and Abigail envies her for it. What pursues is a…

It’s always nice when the Oscars get it right. It doesn’t happen every time, but Spider-Man: Into the Spider-Verse’s Best Animated Feature win was incredibly well-deserved—it was one of last year’s best movies, animated or live-action. Directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman and written by Phil Lord and Rothman, and based on Marvel’s Spider-Verse comics, the story follows Miles Morales as he explores his nascent spidey-powers after (spoiler) Peter Parker’s death and helps other Spider-People from elsewhere in the multiverse return to their respective universes. One issue superhero movies can run into is stakes. Unless, for example, Chris Evans wants to retire from the role, you’re not gonna see Captain America die (apologies for the potential Avengers: Endgame spoiler). So it’s necessary for writers and directors to include compelling relationships for the hero to raise the stakes. In Into the Spider-Verse, Miles’ relationships with his father and…

Perhaps the most important element for every television show is concept. Unlike movies, television shows need to convince audiences not only to watch the pilot but also to watch two or three or more seasons. This means combining a high-concept premise with compelling characters. Breaking Bad had that “wow” factor, as did stuff as diverse as Weeds, The Wire, and Killing Eve. But perhaps my favorite recent example is The Other Two. Here’s the premise in a nutshell: Imagine a teenager who becomes famous overnight after his Youtube music video goes viral (not unlike Justin Bieber). The show isn’t about him; it’s about his two older siblings, who are well into their late twenties and are not even remotely successful. It’s about them—the “other two.” Written by Chris Kelly and Sarah Schneider, the pilot’s teaser does an excellent job depicting that disparity. The show opens with 13-year-old sensation Chase Dubek…

When it was released in 1993, Groundhog Day became a critical and commercial success, but its real legacy is its narrative. In the years since, countless movies and TV shows have played with the temporal loop structure Groundhog Day helped establish, in such diverse works as Edge of Tomorrow, Happy Death Day, Run, Lola, Run and at least one episode of nearly every sci-fi show the last two decades. The second most-recent example (barely beat out by Happy Death Day 2U—now in theaters!) is also the one that best exploits the premise from a thematic and philosophical perspective. Created by Natasha Lyonne, Leslye Headland, and Amy Poehler, Russian Doll takes the basic Groundhog Day premise and exploits it for all the existential dread it can muster. Although ostensibly a comedy (there are plenty of laughs to be had at the expense of NYC hipsters and with the dark comedy death…

Romantic comedy can be one of the most difficult genres to write. Sure, the ubiquity of mediocre romcoms might imply otherwise, but truly great movies in the genre are rather rare. For a good romantic comedy, the audience needs to not only care about the characters but also care about the stakes and believe that those stakes have real weight and real consequences. Over the summer, Crazy Rich Asians burst into theaters and became an immediate sensation—in equal parts because it provided much-needed representation of a group Hollywood often underrepresented and because it’s a damn good story. Directed by Jon M. Chu and written by Peter Chiarelli and Adele Lim from Kevin Kwan’s novel, Crazy Rich Asians, the story follows Rachel Chu (Constance Wu) who travels to her boyfriend Nick Young’s (Henry Golding) hometown in Singapore to attend his best friend’s wedding and meet his family, who are crazy-rich and…

It’s difficult to summarize Sorry to Bother You. Written and directed by rapper Boots Riley (his debut film as both writer and director), the film is easily the most original of 2018, and it’s got things to say. The story follows Cassius Green (Lakeith Stanfield), who really needs a job. The only place that’s hiring (and will also hire anyone) is a local telemarketing firm. At first, everyone Cash calls almost immediately hangs up on him, which is not so great since Cash works on commission. Eventually, he takes the advice of his coworker Langston (Danny Glover) and begins to use a “white voice,” which sounds exactly like David Cross. (Cross’s voice was dubbed over to hilarious results.) Soon, he becomes the firm’s number one telemarketer, and his life begins improving. That is, until the fratty CEO Steve Lift (Armie Hammer) takes an interest in Cash. From there, things quickly…

There’s always that one movie you meant to watch in theaters but just never got around to seeing. I knew I had to see Annihilation after watching the trailer, with its beautiful visuals, unique synthesized score, and amazing cast. But for whatever reason, I didn’t make it in time, and honestly, missing it was a huge mistake. Written and directed by Alex Garland (whom we’ve talked about previously) and based on the novel by Jeff VanderMeer, the movie starts with a simple premise: There’s a mysterious and expanding sci-fi anomaly called The Shimmer in the southern United States, and every team the government has sent in has disappeared, except for one man, who mysteriously shows up a year after his trip inside. His wife Lena (Natalie Portman), a cellular biologist and military veteran, volunteers to go into The Shimmer with a team led by psychologist Dr. Ventress (Jennifer Jason Leigh). From…

American Vandal has no right being as good as it is. Created and written by Tony Yacenda and Dan Perrault, the show ostensibly parodies true crime shows (most predominantly fellow Netflix series Making a Murderer), but like any good comedy, it aims to satirize contemporary life. For the first season, the show’s central mystery revolves around an act of graffiti in which a student draws phallic imagery on every faculty car at their high school, and it seeks to answer, to quote the show’s constant refrain, “Who drew the d*cks?” Is it crude? Most definitely. But despite how crude American Vandal is (and it is—even more so its second season), the show somehow transcends its sophomoric humor and becomes one of the most compelling mysteries on television. The pilot mostly presents the characters and the list of potential suspects and establishes the tone. Like Making a Murderer, the show’s “documentarians”…

Within the first 15 minutes of The Sinner, you know who the killer is. There’s no doubt about it—you see it happen, and dozens of witnesses see it too. Although a mystery, The Sinner isn’t as interested in the whodunnit, but the whydunnit. And centering the series on that aspect helps make The Sinner a taut, suspenseful, unpredictable thriller. Written and developed by Derek R. Simonds and based on the novel by Petra Hammesfahr, the story opens with Cora (a spellbinding Jessica Biel in a powerhouse performance that’s currently up for an Emmy) going through a typical day. We get a subtle sense that she’s unhappy, troubled in some way, and our suspicions are confirmed almost immediately when she stabs a stranger on a crowded beach in broad daylight. From there, the question becomes why she did it, and detective Harry Ambrose (Bill Pullman) is the man pursuing it. Flashbacks…

There’s no way around it: To make an effective horror or thriller movie, you need tension. Lots of it. (You also need characters the audience will care about, but that should be a given for any screenplay.) One of the classic horror set pieces is the killer stalking a potential victim, who then hides in the closet or in the bathroom or under the bed and struggles not to make a single sound. Dozens of movies probably just popped into your mind with that brief description. But what if that classic horror moment became the premise of an entire feature? A Quiet Place, written by Bryan Woods & Scott Beck and John Krasinski and directed by Krasinski, makes that premise a reality. In the near future, Earth has been attacked by extraterrestrials and most of the world’s population has been wiped out. The catch? These aliens have ultra-sensitive hearing, so…