Like Devin Faraci, one death in Jurassic World stuck out for me, because it didn’t feel deserved. But was does “deserved” really mean?
As a screenwriter, I’m always looking for ticking clocks to increase the tension in a story. One my favorite sub-tropes is the Automatic Gate.
Craig, John, and Aline record the 200th episode of Scriptnotes live with a worldwide audience listening in — and chiming in — as they discuss TV showrunning and whether quality really counts at the box office.
Linda Holmes examines what we mean when talk about Cinderella.
As longtime readers know, I love me a supercut. This one by Roman Holiday explores the trope of characters sitting up in bed after a nightmare.
John and Craig look at the nature of fluke hits, everything from #alexfromtarget to huge spec sales. Is luck just luck, or is it about how often you play the game? Where does talent fit in?
Craig and John discuss the 31 superhero movies slated for the next few years. Is it good business or a trainwreck in the making?
Craig loves the 1990 blockbuster Ghost. John? Ditto. Written by Bruce Joel Rubin and directed by Jerry Zucker, Ghost set the template for the modern romantic drama. It was Twilight before Twilight, Titanic before Titanic. It won hearts, weekends and Oscars, including best screenplay.
Chloe Angyal has a great look back at My Best Friend’s Wedding, which in many ways subverts rom-com tropes.
Gregory Maguire, author of the novel Wicked, takes a look at screenwriter Noel Langley’s early draft of the script for The Wizard of Oz.
John and Craig look at the implicit contract made between screenwriters and readers — and ultimately, movies and their audience. That’s a natural introduction to our Three Page Challenge and the three new entries we look at this week.
In this special bonus episode, John and Craig answer listener questions from the 100th episode with help from guests Rawson Thurber and Aline Brosh McKenna.
It’s a week of pondering other people’s opinions. First, Craig and John take a look at the Bechdel Test: is it a useful metric for screenwriters, or just meaningless checkbox-ticking?
To some degree it’s a self-fulfilling prophecy: if you make most of your blockbusters PG-13, most blockbusters will be PG-13.
I’ve only just started reading Danny Rubin’s How to Write Groundhog Day, but it’s promising enough that I think many screenwriters will want to take a look at it this weekend.
Theresa Couchman wishes Pixar hadn’t played into princess tropes for their first female-driven movie.
In the spirit of the season, let us say thanks to Wikipedia for this comprehensive list of fictional diseases.
Wait, how did I not know the Manic Pixie Dream Girl existed as a trope?
NY Times has a nice piece on Aline Brosh McKenna, screenwriter of “the BlackBerry 3.”
Superhero movies continue to make money, but the rise of very profitable R-rated comedies is the box office story of the summer.
Bruce Sterling publishes a list of Lovecraft’s undeveloped story ideas.
The Lazy Self-Indulgent Book Reviewer asks why graduates of Starfleet Academy lug around physical cylinders that emit light from one end? Why don’t they all have chip implants in their palms that glow when activated?
Tad Friend points out that funny women in movies must not only be gorgeous; they must fall down and then sob, knowing it’s all their fault.
It’s remarkable how much my appreciation for Google has shifted over the last year or two. I use their products, but I don’t love the company anymore. In fact, I’m kind of nervous about them.
While I’m worrying about higher education as philanthropy, Samuel Arbesman dares to question the value of a Hogwarts education.