John and Craig pay their respects to Harold Ramis with an episode devoted entirely to Groundhog Day.

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.

Craig and John get in your head to talk procrastination, pageorexia and generalized anxiety. They also move beyond the psychopathology to discuss all the changes in the industry, from cable mergers to lawsuits to disruptive technologies. You’re not as paranoid as you think you are.

John and Craig tackle the greatest controversy in screenwriting: how many spaces to put after the period. From there, it’s follow-up on the Final Draft episode, including some behind-the-scene details.

The makers of Final Draft pay us a visit to clear up John and Craig’s misconceptions of, well, everything. It’s double the umbrage for your money.

In the tradition of the Raiders and Little Mermaid episodes, John and guest host Aline Brosh McKenna discuss and dissect the award-winning, record-setting, paradigm-shifting Frozen. But this time, we have the writer on hand to answer our questions.

Carolyn Strauss, executive producer of Game of Thrones, joins John and Craig to discuss female directors and the death of pilot season. In one short hour, they solve all the intractable problems facing the film and television industry. (Not true. Not even remotely.)

John and Craig took a look at Final Draft 9 and the futility of Twitter arguments before launching into three brand-new Three Page Challenges.

It’s a week of big egos as Craig and John take a look at when (or whether) filmmakers will be able to pull a Beyoncé and surprise-release a feature film, and what Mrs. Carter’s tussle with Amazon and Target means for the future of retail DVD.

John, Craig, and guests take questions from the audience at the Scriptnotes Holiday Spectacular. Topics include TV writing careers, what to do once you have an agent, overcoming gender stereotypes, rewriting Dodgeball, and more.

‘Twas the Holiday Scriptnotes and at our behest, Craig and John were joined by our six favorite guests.

John and Craig offer advice for super-rich aspirants about the film and television industry. If you have enough money to do anything, what should you do first? Do you want to make money, or make art? Or do you just want to hang out with famous people? No judgements.

Writer/director/actor/comedian Mike Birbiglia joins John and Craig to talk about writing for yourself, and how his one-man shows have translated into his films Sleepwalk With Me and My Girlfriend’s Boyfriend. We talk movies and television, stand-up and screenplays, and the upside of failure.

Craig and John talk readers and coverage, centering their discussion on profound_whatever’s infographic charting 300 submissions and the lessons screenwriters can take from it.

Aline Brosh McKenna joins John and Craig to discuss watching movies with an open mind and why it’s important to befriend other writers.

John and Craig wind back the clock with writer-director Richard Kelly to look at the origins of Donnie Darko, and how a recent film-school grad gets a movie made.

John and Craig take an extended look at how sound works in movies, and how screenwriters can take advantage of it on the page.

Craig and John love women and jeopardy, but folks, we gotta stop kidnapping girlfriends as plot devices. We discuss ways to avoid this trope.

Craig and John head to the Austin Film Festival for another live edition of Scriptnotes. Everything is bigger in Texas, including the crowd for this packed show featuring Looper writer/director Rian Johnson and Saving Mr. Banks screenwriter Kelly Marcel.

This week, John and Craig go big to look all things blockbuster. First, Anita Elberse’s new book Blockbuster argues that giant movies are a comparatively safe bet for Hollywood. Meanwhile, Gravity is the movie on everyone’s lips, but will we learn the right lessons, or just try to put more movie stars in space?