The Purge meets rom-com, and the rom-com is charming. Owen and Allie chase a condom through a city where sex is legal for one night a year, and the chemistry sparks. But the biosensors, golden statue heist and sewer-gate coin flip keep pulling you back to a dystopia nobody seems to mind. Is love still worth chasing when the government is watching every heartbeat? Find out if they get their sunrise.

Meara didn’t love Obsession, and he’s ready to say so. But before you reach for the pitchforks, he wants you to hear him out. Looking at Curry Barker’s screenplay through a creative executive’s eyes, he asks who this story is really about, why Nikki gets so little say, and whether Bear is the villain the film thinks he is. Then he makes the case for a few small changes that would give Nikki a real goal and turn a fun premise into something that bites, all within the film’s tiny budget. Read on for the full fix.

In this Kinolime episode, John talks with screenplay doctor Daniel Calvisi about horror writing. Dan explains how his years as a script reader shaped his four-act story maps, why the midpoint often sinks scripts, and how primal fears and escalating conflict drive a strong horror plot.

Ninety seconds is all you get per episode, and a hundred-plus of them means every ending has to pull the viewer toward the next tap. The craft lies in what you withhold: a question that sharpens, a secret that waits, a door that swings open at the worst moment. Some endings detonate slowly, some twist the story back on its hero, and some cut off mid-breath. Which one works, and why a single frozen face can make the difference, is where the real playbook starts.

The Addams Family thrives on "as if" humor, treating gothic absurdity as mundane reality. When a con artist poses as the missing uncle Fester to steal the family's fortune, Wednesday's suspicion triggers a plot that tests the impostor's resolve. Yet genuine bonds with the children crack his resolve, leading to redemption. The film's genius lies in its unwavering commitment to the family's macabre worldview, where danger and affection coexist naturally.

2,500+ scripts flooded in from writers across the community. You helped narrow them to 10 semifinalists. Now our judges are reading through the finalists to pick their top 3. On October 26, the vote comes back to you and you'll decide which scripts take the crown.

The WGA's 2023 deal shields writers from AI credit theft and forced AI use, but only at major studios. For everyone else: no rules exist yet. What protections actually cover you? Which writers fall through the gaps? Why does your personal AI standard matter more than ever? And what happens when the technology outpaces the law itself?

Nolan's Odyssey isn't Homer's story, it's a meditation on guilt, storytelling, and how retelling changes everything. Watch as an ancient hero confronts his own crimes, ambiguous gods fade into trauma, and a filmmaker asks: what survives when legends are told too many times?

Jason Scoggins, a former ICM agent and co-founder of companies acquired by Slated, reveals what agents actually look for in writers, how television development really works, and the unglamorous truth about pitching. From his fifteen years navigating both talent representation and independent film finance, Jason offers screenwriters practical insights on collaboration, the business side of storytelling, and what it takes to get your work made.

AI coverage reads your script in 90 seconds and nails what human readers miss. But here's the catch: it's systematically destroying what makes your writing yours. Find out where AI gets it dangerously wrong, and whether you should trust it at all.

Two women. One bride. Zero chill. Annie shows up to be maid of honor only to discover Helen, her polar opposite, is here to claim the best friend crown. And she's winning. Badly. As Annie spirals from bad decision to worse disaster, Bridesmaids mines comedy gold from humiliation, chaos, and the one friendship that matters more than Annie's ability to get out of her own way.

UK screenwriter Luke Riley discusses Prisoners of Air, a Script-to-Screen finalist about two men searching for the lost Franklin Expedition. He breaks down how a TV series sparked his research, why he rewrote real history to serve his story, and his unconventional writing process: no outline, two hours nightly, typing in Word. Luke challenges screenwriting formulas, shares how he handles feedback without compromising his vision, and reveals the creative habits that shaped his craft.

Ever wonder why a film with a nonsensical plot still works perfectly? Dive into the screenplay of The Rocky Horror Picture Show, from the iconic red lips opening to Frank-N-Furter's seductive introduction. Discover the Wizard of Oz casting trick hiding in plain sight, and learn how an early draft wrote Frank as transgender, not just a transvestite, a change that reshapes the whole story.

Think you need a budget or connections to start? Think again. John and Danny break down how Whiplash, Saw, and Napoleon Dynamite all began as scrappy shorts that convinced producers to bet big, plus modern stories of YouTubers, critics, and teenagers turning viral shorts into real features. No excuses left, just make something.

26 scripts made it through out of 2,518. Read them, vote, and help us pick the Top 10. It is in your hands now, take the reins and support your favorite scripts. Voting closes October 4th.

Two microbudget horror films just outdrew the big franchises, and Hollywood is asking why. John hands hosting duties to Danny, joined by Meara, to unpack what Obsession and Back Rooms reveal about original voices, Gen Z audiences, and the return of the 90s aesthetic. Read the full conversation below.

The perspective you choose determines everything. Whether audiences sympathize with your protagonist, what information they're given and when, and how they experience the plot's unfolding. Explore POV through The Usual Suspects, 500 Days of Summer, and Django Unchained and learn when supporting characters steal the spotlight from those meant to lead.

Spielberg's Disclosure Day had all the ingredients for brilliance, a thrilling premise, an A-list cast, David Koepp's name on the screenplay. But the execution collapsed. The script packed the story with three miracle devices that can do anything, cardboard villains, and a plot that's just chase scenes stitched together. Even the best directors can't phone it in when it comes to the fundamentals: characters worth caring about, stakes that matter, and a story that actually goes somewhere.

Meara breaks down why DC's Supergirl flopped, tracing the failure to a script where Kara and Ruthye never actually change each other. Comparing it to True Grit and Logan, he explains why mentor/mentee arcs need reciprocal transformation to work, shows where the film abandons its comic source material, and rewrites the story's back half to demonstrate what real character growth looks like.

Misery isn't just a horror classic, it's a lesson in the perfect elevator pitch. William Goldman's script strips a Stephen King story down to its rawest form: a trapped writer, an obsessive "fan," and a house with no way out. No subplots. No padding. Just Annie Wilkes, a typewriter, and pure, sustained dread, proof that the simplest premise, executed with precision, is often the most terrifying.