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Scriptnotes Transcript

Scriptnotes Episode 545: The Nuclear Episode, Transcript

June 3, 2022 Scriptnotes Transcript

The original post for this episode can be found [here](https://johnaugust.com/2022/the-nuclear-episode).

**John August:** Hello and welcome. My name is John August. This is Episode 545 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. Today on the show, we’ll be discussing nuclear energy, nuclear safety, and nuclear war, both the realities and how these issues are portrayed in Hollywood. Obviously, Craig Mazin would seem to be a great person to dive into these topics, since he made a show called Chernobyl, but he is off making his new show this week. Luckily, we have two bona fide experts joining us today.

Joan Rohlfing is President and COO of Nuclear Threat Initiative, a nonprofit, nonpartisan security organization focused on reducing nuclear and biological threats imperiling humanity. NTI also produced the docu-drama Last Best Chance that premiered on HBO. She’s held senior positions in the US Department of Energy and worked as an advisor to the US Ambassador to India in the wake of nuclear tests in India and Pakistan. Earlier in her career she oversaw nuclear weapons policy and acquisition programs for the Department of Defense and the Armed Services Committee at the US House of Representatives. Joan, thank you so much for being with us.

**Joan Rohlfing:** John, thank you so much for the invitation.

**John:** Now, my first question for you, Joan, is one of the questions that always comes up as we’re trying to pitch projects in Hollywood, is why now? What is it about this particular moment that makes this story relevant to be told on a big screen or on a small screen? Can you tell us why in April 2022 we should be paying attention to nuclear issues?

**Joan:** I think we’re at a moment where the danger is extremely high. In fact, I would argue it’s one of the highest points in the history of the nuclear era, rivaled perhaps only by the Cuban missile crisis in 1962. A lot of people who think nuclear weapons went away at the end of the Cold War are now realizing with this Ukraine crisis that nuclear weapons are still around. The nuclear threat is real. We have seen a major nuclear power, Russia, do nuclear saber-rattling and make both implicit and I would say rather explicit threats of nuclear use. We’ve seen conflict around nuclear reactor facilities in Ukraine. This is a moment where we are feeling these dangers palpably. Many people are frightened. What I hope we can talk about today is not only what’s frightening about the situation, but what can we do to help prevent a nuclear catastrophe from happening.

**John:** Great. We can talk about this as our responsibilities as citizens but also as storytellers and making sure we’re telling the stories that can get people thinking about this. Often on the show we’re doing a segment called How Would This Be A Movie, where Craig and I discuss a starting point of a story that comes up in the news. I want to introduce our second guest for that news angle.

David E. Hoffman is a contributing editor to the Washington Post. He’s worked as a diplomatic correspondent and the newspaper’s bureau chief in Jerusalem and Moscow, and also assistant managing editor for foreign news. He’s the author of several books, including The Dead Hand: The Untold Story of the Cold War Arms Race and Its Dangerous Legacy, which won the 2010 Pulitzer Prize for General Nonfiction. David, welcome to the show.

**David E. Hoffman:** Thanks for having me.

**John:** Now, you’ve covered these stories and probably assigned them. You’ve reported them yourself but also assigned them out to other writers. I’m curious what you think. Are these stories that are being under-reported or should be higher in the attention in the news media for us to be looking at in nuclear issues or nuclear safety?

**David:** We have a war going on, so I’d like to address nuclear weapons. I don’t know if people noticed, but just the other week, a missile fired by Russia, a cruise missile, landed within 15 kilometers of the border with Poland, a NATO nation. Had it hit inside Poland, the United States and all of NATO allies would’ve been committed to defend Poland. Meanwhile, a week or two after that, helicopters from Ukraine crossed the border into Russia and destroyed an oil depot in a place called Belgorod. When I see missiles and helicopters crossing this kind of border between East and West in the middle of a war, I am reminded that all the nuclear missiles, the intercontinental ballistic missiles of Russia and the United States are on launch-ready alert today.

People think that the Cold War’s over and we got rid of all of the hair trigger alert stuff, but those missiles, in the case of the United States, land-based missiles and submarine-based missiles, are ready to launch within minutes of the President of the United States giving an authorized order. In the case of land-based missiles, maybe 10 minutes. In the case of submarines, maybe 12 minutes.

We have this system, and I think the Russians still have it too, because during the Cold War we had a standoff. We had a cocked pistols standoff. It was called mutual assured destruction. It’s still there. It’s a recipe for mistake, for disaster, for catastrophe. We’ve never been able to remedy it. People have tried. Presidents have tried. They keep promising, we’ll set up a joint early warning, we’ll have a hotline. All of those efforts basically failed. At a time when both sides are really facing off in Ukraine, the idea that we still have the hair trigger alert, you don’t read about it in the headlines, but that’s what really worries me.

**John:** Let’s set the table for what we want to talk about on this episode. It sounds like when you talk about the escalating tensions between two nuclear powers, which seems like an old idea, it seems like the Russians were always our enemies in old movies or old TV shows and they disappeared off of that, but the conflict is hot now.

You talked about nuclear weapons, the possibilities of nuclear war, but I also want to talk about nuclear energy and safety, which those two things overlap, to a degree, because even just this past week we’re seeing stories as Russia pulled out of the Chernobyl region, the Russian soldiers, they were doing really dangerous things in that space. When you have military people interacting with nuclear areas, that’s a concern as well. We’ll try to have a conversation about the realities and the Hollywood portrayals of these things and what we need to do in terms of thinking about these portrayals in the next months and the next years going forward about nuclear issues. ‘’

Maybe let’s start with nuclear weapons and nuclear war, which is just an incredibly disappointing and frustrating thing to start with. Joan, can you give us a sense of how many nuclear weapons are in the world right now? Do we have a count? Do we have a sense of how many there are out there?

**Joan:** There are estimated to be some 13-15,000 nuclear weapons in the world, which is an excessive number of weapons when you think about the power of each individual weapon. A modern nuclear weapon is roughly 20 times the firepower of the nuclear weapons used in Hiroshima and Nagasaki.

That having been said, there is a positive message in here, which is that the number of weapons in the world today is just a fraction of how many we had several decades ago. The estimate is that at the high point there about 70,000 nuclear weapons in the world, the majority of those held by the United States and Russia. That’s still true today. The US and Russia together have about 90% of the remaining nuclear weapons in the world. Progress has been made to bring those numbers down, but the dangers are still there, greater than ever, a lot of complexity in the system, increasing the risk of use, and more players, and some of them have growing arsenals, so a dangerous moment.

**John:** I want to talk about the players, but first let’s focus on that story of dropping from 70,000 nuclear weapons down to 13-15,000. What happened? I wasn’t aware that it had dropped so much. What changed? What were the policies? What were the programs that actually got us down that low?

**Joan:** The short answer is arms control. During the Cold War and at the height of the Cold War, the US and Russia, at the time Soviet Union, both understood that we had a mutual interest, an existential common interest in trying to limit the dangers of nuclear weapons and prevent a nuclear exchange. Even though we were adversaries and had competing systems, we worked hard and diligently to reduce numbers to put limits around our arsenals and to do that in a way that was verifiable and relatively transparent. The verification provisions that we negotiated allowed a high degree of intrusiveness and inspections and regular reporting on our arsenals. It was quite extraordinary.

Unfortunately, many of the agreements we put in place, both around nuclear weapons and limitations around our conventional stockpiles, those agreements have come apart, fallen apart. Both the US and Russia have walked away from quite a few of those agreements. It leaves us in a much more dangerous place today.

**John:** David, can you give us some sense from the Russian perspective in terms of the number of weapons that are out there in the world and the reduction, but they still have a force there. What’s your reporting, what’s your experience like with the Russian side of this?

**David:** The real reason that we are at a lower level today, as Joan said, with these negotiations… You have to understand that behind this is a story of people and a story of political will. The reason we are where we are today are two men, Ronald Reagan and Mikhail Gorbachev. For separate reasons, they both came to the conclusion that the world was headed to an abyss, and they wanted to do something about it. When they finally had a chance to do something about it in the late 1980s, it had a big impact. When we talk often about the warheads and the numbers and the treaties and the verification, people just shouldn’t forget, these are always stories of human will and willpower.

I covered Reagan for a long time. It wasn’t until 1986 on a cold evening in Reykjavik that I realized, six years into his presidency, seven years after I started covering him, that he was a nuclear abolitionist. I think Gorbachev too kept his desires secret, because he was rising and became the General Secretary of the Communist Party. He couldn’t have announced right away what his intentions were. He did some extraordinarily courageous things that were not about building. You won’t get any statues in Russia or the former Soviet Union for what he did, because a lot of what he did was to prevent things from happening. Gorbachev prevented an arms race in space, personally. When the Soviet guys, the rocket men, brought him plans to match Reagan’s Star Wars and to have a nuclear arms race in space, Gorbachev put those plans in his bottom drawer and never said another word, and it didn’t happen.

Fast-forward to today, we’re 30 years beyond the end of the Soviet Union. We had a period in Russia, about 10 years, from 1991 to 2001, of a democratic market free period. It was the longest period of freedom in 1,000 years of Russian history. It was pretty chaotic and raucous. I lived there. During that time, Boris Yeltsin and Bill Clinton also decided that they didn’t need as many nuclear weapons. Things continued on a pretty good trajectory toward cooperation and reducing the risks. When Putin came in in 2000, handpicked by Yeltsin, he also was very, very cautious and didn’t really reveal his hand. As the time went by, in 2007 he gave a very hawkish speech, in 2011 he was faced with huge protests in Moscow, 2012. Putin gradually decided to reassert Russia’s aggressive posture toward the rest of the world. In my book in 2009 I wrote that Russia could sometimes be prickly but was not necessarily the enemy of the United States. Things have changed.

What we see now with this war in Ukraine, this war of aggression, a war without a cause, Russia has become a very, very determined adversary, and Putin is using nuclear weapons as a signal. He’s threatening them. He’s making all kinds of statements that are very worrisome. I’m not sure how he thinks about the consequences of actually using a nuclear weapon in combat, which hasn’t been used since Hiroshima. I’m very worried that this kind of bravado and theatrical signaling is going to create confusion and uncertainty. He’s been doing it. He started doing it very early in this conflict.

**John:** I want to highlight a thing you said there, because you talked about how the story of our nuclear arsenals being depleted and the decisions to back away from these things and Gorbachev or Reagan deciding they did not want to have an arms race in space, those are compelling ideas or compelling stories. It’s very hard to tell stories about things that didn’t happen. It’s hard to write about the space race that never was. We can do alternate scenarios for things like if there had been this race in space, but it’s hard for us to create popular entertainment that talks about things that did not happen. One thing we do talk about a lot though is the idea of things that could have happened or could be out there. We talk about nuclear disarmament and all these warheads being taken down.

Joan, can you tell us what actually happens when a nuclear weapon is taken offline? Is there any danger that those weapons are going to get loose, that that material is going to be out there, that warhead is going to be falling in the hands of somebody who should not have it?

**Joan:** When a weapon is dismantled, and I’ll talk about the US system, it’s broken down into its constituent components. You have metals and electronics. I would say the most important part of a nuclear weapon is the nuclear fuel, the fissile material that can produce a chain reaction and a great release of energy when the bomb is detonated. That’s a combination typically of plutonium and highly enriched uranium. Those materials are really important to safeguard. When they’re withdrawn from a weapon, they need to be stored in a very high-security facility. Obviously, the material coming out of weapons needs to be secured properly.

Even aside from weapons, there are pretty significant global stockpiles of these materials. Around the world, a big part of our global effort has been ensuring that those materials are secured to the highest possible standards so that they cannot be stolen by terrorist organizations to be put together again in a weapon form and detonated in a city around the world.

**John:** As recently as a year ago, when the word nuclear was brought up in terms of weapons, the concern was proliferation. The concern was that other nations around the world would have their own nuclear weapons. They were concerned about Iran. They were concerned about North Korea. Where are we at now with proliferation? Do we know how many nations have nuclear weapons? You say that 90% are probably still controlled by the US and Russia, but where are the rest of those weapons?

**Joan:** There are nine nuclear weapons states today. We continue to worry that other states may join the ranks in terms of the nine. In addition to the United States in Russia, you have the United Kingdom, France, China, India, Pakistan, North Korea, and although Israel does not publicly acknowledge that it has nuclear weapons, it is believed to have nuclear weapons. Those comprise the current nuclear weapon states, as all of us who read the news understand. We’re very worried about Iran developing nuclear weapons. They already know how to make the fissile material. We’ve heard states say, for example, Saudi Arabia, that if Iran becomes nuclear, they will also acquire nuclear weapons. We could imagine a cascade within the Middle East.

We have to worry about other countries in the future as well. There are other states that have the capacity to build nuclear weapons, they have the scientific know-how to build nuclear weapons. Some of them already have the capabilities to make the materials. What we do have are treaties that provide a pretty good set of brakes to further proliferation, but the political will to maintain those treaties needs to be maintained. That’s really essential. There are stories of hope though. Let me just offer that–

**John:** Please.

**Joan:** While there’s all this material in the world, highly enriched uranium and plutonium, we’re doing a better job of trying to quantify where it is, the quantities that exist around the world. In the wake of the dissolution of the Soviet Union, there was an agreement struck for many of the weapons that were being dismantled in Russia in particular to take some of the highly enriched uranium out of those weapons and convert it into a non-weapons usable form, a lower form of enrichment, which was sold to the United States to be used and burned in our power plants, so producing energy, a wonderful Swords to Plowshares story that was called the Megatons to Megawatts Program. We know how to do a lot of things that dramatically reduce the risk.

I also wanted to just pick up on David’s comment earlier about how important people are to the process of disarmament. He mentioned Reagan and Gorbachev and Putin giving very different examples of behavior. I would say the public at large plays an important role here. Public pressure played a role in President Reagan’s understanding. There was political pressure created around nuclear weapons. There was a palpable understanding of the nuclear threat at that time. We’re coming up on a 40-year anniversary in a couple of months of one of the largest anti-nuclear protests ever, certainly in the United States. About a million people gathered in Central Park to protest nuclear weapons. It’s hard to imagine today that kind of gathering, because nuclear weapons have so fallen off of the public’s radar screen.

I would say one of the very large storylines about nuclear weapons is frankly how undemocratic they are. When you look at the small number of states in the world that have weapons, vast majority of states have signed a treaty to never develop nuclear weapons in exchange for extracting a promise from the nuclear weapon states that they would eventually give up their nuclear weapons. That’s a 50-year-old treaty that’s under a lot of pressure right now.

The other way in which it’s undemocratic is we see the authority to use these weapons vested in a very small numbers of hands around the world. I’m really struck by, with the current crisis in Ukraine, the power of a single individual, in this case Putin, to use his nuclear weapons as a shield for absolutely egregious, illegal, aggressive, destructive behavior. If that’s not undemocratic, I don’t know what is.

**John:** David, I want to keep talking about the people involved in these stories, because I think as we’re looking forward to how we tell stories in this space, we adapt characters we can focus on. We say Gorbachev and Reagan, but who are the characters we might be looking at now who are going to be involved in this situation? Can you give us a sense of what a journalist working in this space would be doing and how they would be able to report on this when so much stuff would have to be top secret? Do you have a sense of what the roles of people working inside the government, the US government, or through other agencies would be doing to try to stop proliferation to intervene and keep a nuclear war from breaking out? Who are some of the people that you think are interesting for us to be following in this situation, the kinds of people?

**David:** John, before I answer that, I just want to go back to something about Gorbachev. I don’t think that it’s easy to just say nothing happened. I think that Gorbachev’s story is immensely important and is a hell of a drama. How does a guy rise in a dictatorship? How does he become the General Secretary of the Soviet Communist Party, keeping his ambitions to himself about wanting to end the Cold War and the arms race? It was an amazing struggle. He really saw the horrible weaknesses of the system and thought, I have to change it. He said, “We can’t go on living like this.” I haven’t seen that yet brought, that bravery and courage inside, not an open society, but a closed one. I haven’t seen anybody do that yet. I think it’s pretty amazing.

I would point out to you that there is a way to make stories out of things that don’t happen. Take just a look at Project Sapphire, which was this incredible effort by the United States to airlift a large amount of highly enriched uranium out of Kazakhstan. Uranium could’ve laid around there. The Iranians were sniffing around. They were hoping maybe to get that fissile material to build a bomb. Very, very bright and small group of Americans figured it out, flew some C-5As into there, loaded that stuff onto the planes, and they flew the longest flight in the history of a C-5A carrying highly enriched uranium back to the United States, so that it couldn’t be grabbed by Iran. I think that that storyline, Project Sapphire, that amazing secret operation, yeah, something didn’t happen. The Iranians didn’t get it, but it still was pretty amazing.

In all the cases of arms racing, it’s to me just as incredible to see an arms race in reverse or going downhill, people trying to stop this braking locomotive as it is to see the actual threat of things getting worse. I think we’re actually in a situation like that now. We see now the Chinese are very actively building silos for intercontinental ballistic missiles that could hit the United States or anyplace else in the world, hundreds of these silos. What are they thinking? They had 100 or 200 missiles. Now they seem to be aiming for more than 300. They had a system before where they did not use the hair trigger alert of the United States and Russia and now they’re edging more toward putting missiles on alert. What are we thinking?

If we now have three of our powers all racing to build a hypersonic glide vehicle that can evade the fences and be maneuverable at very low altitudes at high speeds, carrying a nuclear warhead, I don’t think we should take for granted the idea that all arms racing going forward is great. We ought to think about how to we break these things, how do we reverse the course. As drama too, I think actually being up against the machine is a pretty good narrative arc.

**John:** Let’s talk about then who the characters are, who would be up against this machine, and who would be breaking the progress of us going towards more nuclear conflict. Talk to me about a journalist who was investigating this. How challenging is it to report in this space?

**David:** It’s actually amazingly become easier. Certainly when I was the White House correspondent in the 1980s covering Reagan, almost everything was secret. We had to do a lot of what we called access journalism, meaning building up sources and getting people to leak stuff to us.

Now flash forward to today. This thing, for example, that I just mentioned about the Chinese building these silos, how did that become public? Two different, very smart experts in two separate organizations, not working for the government, use commercially available satellite imagery to discover these missile fields being built in China. They wrote reports and made it public. Open-source intelligence has become a very powerful tool in spawning dangers and warning us of trends. That kind of tool didn’t exist in the Cold War, but even people using their phones to spot military equipment rolling through Ukraine, the use of satellites is really advanced to the point where essentially people not in government can deploy intrusive measures of satellite photography to see what’s going on on the ground and alert us to what’s really happening.

**Joan:** John, can I build on that? David is absolutely right in highlighting people on the outside of the system. You were asking earlier about who are the people inside of the government who are going to save us from unclear wear, and a caveat here, I have the highest respect for colleagues in the government. I spend a good part of my career in the government. These are good people doing very hard jobs.

That being said, one of the reasons we have this spring-loaded, incredibly dangerous system in place, the one David was describing, with large numbers of forces on high alert, that there are many ways in which the system can fail and we could end up in a nuclear war, and worse yet, blundering into a nuclear war accidentally that nobody intended. There’s a really important question that we should all be asking ourselves, which is, why is it, after 75-plus years since the advent of nuclear weapons and some 60-plus years since we developed this operating system called nuclear deterrence. Three years since the end of the dissolution of the Soviet Union, why do we still have this really dangerous system in place? What is holding it in place? I think we need to look at the bureaucratic inertia and the vested interests, both financial and political, and power interests vested in the existing system.

I think there’s a really interesting story that can be told about people on the outside who are trying to disrupt those vested interests in order to enable the system to adapt to meet today’s threats and keep us safe from nuclear use, from a nuclear catastrophe. There are definitely stories about the people doing work to expose nuclear proliferation in other parts the world. There are people who are trying to build public pressure to bring about a different result. There are also brave voices who are working inside of the system, who are trying to push the change agenda. I think there are historical examples of that too, where people stood up and defied authority to prevent a launch from happening. The

he Soviet Union at the time, there are two Russian officers who are described as saviors of mankind during the Cuban Missile Crisis, a really interesting story about a guy named Vasili Arkhipov, who was on a Soviet submarine around Cuba and basically stood in the way of a launch order by the captain of the ship. By the way, that was turned into a movie that flipped roles called Crimson Tide.

**John:** I was going to ask if that was Crimson Tide.

**Joan:** Yeah, that was Crimson Tide, only Crimson Tide was obviously abut an American crew, same story. Another Russian officer, Stanislav Petrov, who prevented launch essentially when Russians had some faulty early warnings suggesting there were incoming US missiles. He was able to recognize that that was a mistake, an error of the system, and basically prevented that information from getting relayed up the chain where someone would take action on it. There are fascinating internal stories, but I think we should also be looking at stories in and around the system, at people willing to challenge it.

**John:** You brought up Crimson Tide. I want to do a quick segment on our portrayals of nuclear war in our movies and what’s realistic and what has changed in 2022 versus these movies from the ’80s and ’90s. I definitely grew up on the Day After Tomorrow, Terminator 2. We had this vision of oblivion basically in the event of a nuclear war. Joan, what would the reality of a nuclear war between the US and Russia look like now? Is it world-ending? What happens?

**Joan:** I’m sorry to report, it hasn’t changed since the time you and I were growing up. It would be absolutely catastrophic. If there was an exchange of weapons at any kind of scale, given the size of our arsenals, where we each have more than 1,000 incredibly powerful nuclear weapons deployed, it would be catastrophic not just for our countries, but for the globe, because we know that there are secondary effects.

For example, the potential for something called nuclear winter. All of the soot that would be lofted up into the atmosphere would create a darkening of the skies for a projected period of time. Some people have estimated up to a decade. It would affect agriculture and the ability to grow crops. It would cool the climate. We would expect to see mass starvation as a result of that prolonged global cooling.

One thing we don’t fully understand, because nobody has yet done the research to really study the impacts on critical infrastructures, power infrastructures, banking, health infrastructures, how would all those things… For example, if we lost power, and you might imagine that if there’s a major attack that we would lose power and then all of the systems that require power for their operation would cascade to failure. How can we imagine that we have any kind of governmental integrity in the face of that, where people are starving, where there’s no power, there’s no heat, there’s no water?

Not to sound too dire, but I actually think nuclear war is as bad as it’s ever been depicted in the worst of films from decades ago. What we’re missing, I would say though, in the filmmaking, that I think is really important, is a film that can give people some understanding that it doesn’t have to be this way. Many people are just despairing because they understand and are very frightened by nuclear threats, but they don’t see a way out. It would be great if we could begin to portray a world where we’ve somehow crossed the Rubicon to a safer set of practices for controlling nuclear technology that does not threaten the future of humanity.

**John:** David, in the reporting on Ukraine, I’ve seen the term tactical nuke brought up a lot. Can you talk to us about the idea of a tactical nuke and the difference from what we think about with nuclear weapons, intercontinental weapons?

**David:** An intercontinental ballistic missile flies across the oceans in 30 minutes. It’s a big rock. It goes into outer space, so there’s no air resistance. It can move 20 times the speed of sound and hit the target on the other side of the world in literally half an hour. Those were the weapons that terrified us in the Cold War. Also, the Cold War was partly a standoff in Europe. In Europe, both sides created smaller essentially battlefield nuclear weapons. We’re not talking about flying through space but flying through the atmosphere. There were even nuclear weapons that could be launched in an artillery piece, although it was called the Davy Crockett. It was a large recoiling rifle that would just shoot the nuclear bomb maybe a mile or two. It had a nickname. It was called an IQ test in a tube, because the chances that the soldiers that fired that thing would experience the blow-back of blast and radiation were pretty great.

It was never used, but the idea being that if the Soviet Bloc invaded NATO with a huge conventional advantage, which they had, the West would have to resort maybe to nuclear weapons to hold it off. It was a doctrine called flexible response. This kind of potential conflict caused both sides to create small nuclear weapons, bombs, artillery pieces, and so, for the European theater. When the Cold War ended, the United States withdrew a bunch of those tactical nuclear weapons. We left 100 in 5 bases in Europe. The Soviet Union and then Russia took its weapons, which were far greater in number, there are about 2,000 of them, and moved them to warehouses inside Russia where they are today. The concern about these weapons is that in some ways because they don’t involve that globe-spanning, terrifying ICBM, that it might be easier to use them on a battlefield or that they might tempt an angry leader who has been backed into a corner, with no recourse to use them.

Also, there’s been progress, if you could call it that, there’s been change in the way these nuclear weapons are engineered. The Russians and the United States have now created smaller nuclear weapons that are smaller in terms of yield. In other words the actual explosion is smaller, so that there are small weapons that would take out half an airfield with a nuclear bomb. The concern about this is that, is there really a way to do anything in a nuclear weapons explosion that’s small? How long could you expect the battle to go on if one side used even the smallest nuclear weapon? I think the ladder of escalation is just absolutely horribly rapid, and that there’s no time to think about the size. For that matter, if you’re on the receiving end of one of those two, for example, one side or the other started to roll tactical nuclear weapons into an active battlefield, do you think the other side would think, oh, no problem, they’re just little small tactical weapons? Of course not.

Unfortunately, the United States has also given in a little bit to this. The Trump administration built a lower-yield nuclear warhead, trying to match something that Russia had done. It’s arms arcing. I think it’s dangerous. Even more dangerous, there’s talk now about putting this lower-yield warhead on a cruise missile which flies under radar, which can be used for surprise attack, a naval cruise missile could be put on a boat somewhere, and just like those cruise missiles that hit Lviv in Ukraine a couple weeks ago, just 15 kilometers from the Polish border, you could put a nuclear warhead on one of those. I think we’re entering territory that is dangerous and worrisome. When it comes to nuclear warheads, they’re small, they’re big, they’re all very, very dangerous.

**John:** Now Joan, up until this Ukraine confrontation, we had wars between major powers. Instead, last 15, 20 years have all been about the concern of terrorists. One of the things that kept coming up was the idea of a dirty bomb. You don’t need actually a bomb that explodes in a nuclear way, but a bomb that has nuclear material in it that could be incredibly dangerous and poisonous to people around it. Where are we at now with dirty bombs? I don’t see that being reported in the news anymore. Have we just forgotten about it? Was it not really a huge worry? Tell us about dirty bombs.

**Joan:** It was and is a worry. Let me explain that when we talk about nuclear terrorism, there are two kinds of nuclear terrorism, at least two kinds, and I think we just discovered a third kind with the threats to the nuclear reactor facilities. There is a so-called dirty bomb. You’re right. You described it accurately. It’s basically conventional explosive wrapped around radioactive material. It does not produce a nuclear yield. There’s no mushroom cloud. There’s just a distribution of radioactive material. Depending on what kind of radioactive material one uses, it can have a pretty enormous economic impact if you were to detonate one in the heart of a city somewhere. It’s unlikely to kill any more people than the conventional explosive itself could, but it could render multi-square-block area uninhabitable due to the radiation for an extremely long period of time. It’d be very expensive to clean up and remediate.

We also still worry about nuclear terrorism using a real nuclear bomb, one that does produce nuclear yield, even if it’s a smaller yield, as opposed to highly sophisticated bomb from a major power. It could still devastate instead of a several-square-block area, an entire city. We have a model of what that looks like in looking at Hiroshima and Nagasaki, because I think it’s possible for a well-resourced terrorist group, and we know terrorist groups have said they’re trying to acquire nuclear capability, if they get the nuclear materials, the plutonium or highly enriched uranium, if they steal them, acquire them illicitly somehow, you have to worry about them putting together a crude nuclear device.

Nuclear terrorism is still very real. It’s something we’re going to have to worry about indefinitely. This is not a threat that we say, okay, we’re done, it’s gone away. It requires us to put in place and maintain indefinitely a really strong system of nuclear security around the facilities that have the capacity to make that material or that store that material. That’s true of any kind of radiation device that a dirty bomb could be crafted of as well.

**John:** Joan, you brought up the concern about terrorism around nuclear facilities. Obviously, this last week we saw that as Russians pulled out of the Chernobyl region, Russians were not being careful in that place. They were digging trenches and doing things they should not have been doing. It raised a concern about how vulnerable are nuclear power plants and to what degree do we need to be worrying about them in times of wars and also not in times of war, because so often we see nuclear power in our film and TV. We’re seeing Chernobyl. We’re seeing Silkwood. We’re seeing stories of things going horribly wrong.

Maybe we can segue into talking about what is the state of nuclear energy right now around the world, because I know I used to live in France, and France largely uses nuclear power and seems to do so quite successfully, yet in the rest of the world we’re trying to get rid of nuclear power plants. What is the state right now of nuclear energy around the world?

**Joan:** Nuclear energy around the world on balance is growing. It’s considered to be a key component in combatting climate change because it’s carbon-free energy. You rightly mentioned some states have decided to get out of that business. Japan obviously retrenched pretty significantly in terms of its draw on nuclear power. China is significantly growing its nuclear power. France many decades ago took a decision that it doesn’t have a lot of indigenous assets for energy production, and so they decided to embark pretty significantly. About 70% of their electricity comes from nuclear power. We do have these examples with Chernobyl, a pretty catastrophic disaster. That was really a safety incident. The world learned a lot about how to build reactors that are much, much safer. The kind of accident that happened at Chernobyl could not happen today. A lot of structures have been put in place.

What we’re seeing in real time, however, is a new set of challenges. We’re in uncharted territory here. It’s the first time we’ve ever experienced nuclear power plants in a conflict zone. That’s presenting some real challenges. We don’t yet globally have norms in place, certainly not norms that the combatant Russia is willing to live by in terms of not physically assaulting the facilities, making sure that the operators can operate the facility unimpeded, that continuous power supply which is critical for maintaining the cooling system for the reactor itself, as well as for the spent fuel ponds where used nuclear fuel is stored and needs to be kept cool so that it won’t burn and create a radioactive fire.

I just want to give credit to, and this would be an interesting story, the Director General of the International Atomic Energy Agency, which is the UN watchdog responsible for overseeing the peaceful applications of nuclear power. He went to Ukraine the week before last, in order to try and negotiate some norms around those facilities, a set of basic common sense, what Russian troops should and should not be doing around nuclear power plants.

I would argue that all of Europe, including Russia, has an interest in preventing a catastrophic accident at a nuclear power plant. As I imagine, there has got to be a breakdown in the command system, because it’s completely irrational, the behaviors we’ve been seeing around the power plants. I think the jury is still out on the extent to which Russian troops themselves may have been irradiated at significant levels while they were occupying the exclusion zone around Chernobyl. We heard reports of soldiers with radiation sickness, acute radiation sickness, potentially even one death. Let’s see what we learn in coming days and weeks about that.

**John:** David, as we wrap up here, the Ukraine crisis and Russia’s invasion also has a nuclear energy component to it as well, because of course Germany is relying on energy from Russia, and at the same time Germany is closing down its own nuclear reactors, its own nuclear power plants. How do you see the story of nuclear energy being affected by the crisis of energy policy we’re going to be having over the next couple of years?

**David:** I’m not an expert on this, John, but I think you can just do the simple math that if Europe has to wean itself off of Russian oil and gas, it’s going to need substitutions. The transition to sustainable energy takes time. People are looking very hard at how quickly to get to sustainable energy, but it’s not going to happen, so nuclear’s going to have to fill part of that gap.

**John:** Joan, because you’re an expert here, I can ask you, is nuclear fusion always 10 years away? I would love nuclear fusion. Can you get it to us a little sooner?

**Joan:** I’m not an expert on nuclear fusion. I’m an expert on nuclear weapons, less so power. With that having been said, so with that caveat, I do know a number of people who are engaged with the fusion community and they believe we’re getting much closer and that there’s a shot at it in the relatively near future. No, it is not always going to be 10 years away. That is the good news.

**John:** That’s great. I want to thank both of you for both the information, but also helping us highlight some stories along the way. Some things I wrote down here, Project Sapphire feels like it’s an obvious choice for an adaptation. A Gorbachev biopic or a Gorbachev miniseries that’s focusing on that moment or how he rises as a hero within the system to challenge the bureaucracy and challenge the expectations of what Russia should be doing next. Vasili Alapov, what’s the name of the–

**Joan:** Archipov.

**John:** Archipov. That’s the one that’s not the Crimson Tide situation, but a different–

**Joan:** He is the Crimson Tide.

**John:** He’s Crimson Tide.

**Joan:** The other gentleman is Stanislav Petrov.

**David:** You can read about Petrov in The Dead Hand. It’s the opening of the book.

**John:** Fantastic. We’ll put a link in the show notes to your book so we can see that. The other thing you were really emphasizing, both of you, is that the stories that we tell about this, we think about them as centering on the people in power and the decisions they’re making, but so often it’s the people who are doing the investigation, doing the reporting, doing the activism to stop bad things from happening or to move us to a better place may be the more interesting stories for us to be following. As we look to try to tell stories in nuclear space over the next couple years, we don’t have to just focus on the people who are sitting in positions of power. It’s often the people who are not in power who are the most interesting to follow.

**David:** Go find Jeffrey Lewis and Hans Kristensen, two guys in non-governmental organizations who exposed these Chinese missile fields. That’d be a great example.

**John:** Fantastic.

**Joan:** Agree with that. Go take a look at Beatrice Fihn, who won the Nobel Prize for helping to bring about the treaty on the prohibition of nuclear weapons through her work with the International Campaign to Abolish Nuclear Weapons.

**John:** I love it. This is the time in the show where we do a One Cool Thing where we make some recommendation for our listeners about something they need to check out. Do either of you have a recommendation for something you would like them to be looking at?

**Joan:** Thanks for the questions. Atomic Veterans. There’s a filmmaker who’s done some interesting, very short videos with Atomic Veterans. Last name is Knibbe. He’s a Dutch filmmaker. A lot of people don’t realize this, but we tested nuclear weapons on thousands and thousands of human subjects who were soldiers right after the second World War ended. This gentleman, Morgan Knibbe has been really actively trying to interview the remaining survivors who were subjects of those tests, both in Great Britain and the United States. Some of the documentary work is just riveting. When you listen to these now-old men talk about these experiences, they are so vivid. It gives you a sense of the power of these weapons.

**John:** Fantastic. David, do you have a recommendation for our listeners?

**David:** John, I mentioned the story potential of one man up against the system. I’ve got a new book out in eight weeks. The title is Give Me Liberty. It’s about one man up against a dictatorship. He paid with his life for it. My suggestion is totally self-serving. Take a look at my new book, Give Me Liberty. It’s about a dissident in Cuba who fought Fidel Castro, fought him with no weapons, just pen and paper and an old wheezing Xerox machine. He got 35,000 Cubans to stand behind him and sign a petition for democracy against Castro’s dictatorship.

**John:** That sounds great. My One Cool Thing is, just to stick on the nuclear theme, is a couple years ago I got the chance to visit Hiroshima, which I’d always seen portrayed as being this bombed-out wreckage of a place. Then you go to visit Hiroshima, it’s actually beautiful. I was there over spring break. Cherry blossoms everywhere. It is remarkable combination of a vibrant city that has at its center this park that really shows what happened in the bombing. The museum behind it is fantastic. It both lets you not forget how horrifying the results are of a nuclear attack, but also it gives hope for the ability to rebuild after it. If you’re in Japan anyway and you’re wondering, “Should we go to Hiroshima? Is it going to be depressing?” It’s not going to be depressing. It’s going to be inspiring. I encourage anyone who has the opportunity to go visit Hiroshima.

David and Joan, thank you so much for joining us on the show today. I want to thank Hollywood Health and Society for putting this today. This is our third collaboration. You can go back and listen to Episode 412 on addiction and mental health and Episode 440 on incarceration.

Scriptnotes is produced, as always, by Megana Rao. It’s edited by Matthew Chilelli, who also did our outro this week. If you have an outro, you can send us a link to ask@johnaugust.com. That’s also the place where you can send longer questions. For short questions on Twitter, Craig is @clmazin, I’m @johnaugust. Joan and David, are you on Twitter? Are you reachable by social medias or not?

**Joan:** @joanrohlfing.

**John:** Fantastic.

**David:** I’m @thedeadhandbook.

**John:** That’s great. You can find the show notes for this episode and all episodes at johnaugust.com. That’s where you’ll find links to thinks we talked about. You’ll find transcripts and sign up for our weeklyish newsletter called Inneresting, which has lots of links to things about writing. You can sign up to become a Premium Member at scriptnotes.net, where you get all the back-episodes and Bonus Segments, like the one Megana and I are about to record about behind the scenes of the last two weeks, am I getting COVID or getting over COVID. I’m fine. Everything turned out fine. Joan and David, thank you so much for joining us. It’s absolutely a pleasure to get to talk with some experts on these subjects. Thank you so much for being with us.

**David:** Thanks.

**Joan:** Thank you.

[Bonus Segment]

**John:** Megana, I’m back talking with you. I’m no longer prerecorded. This is back happening live. We just finished recording the nuclear episode, which was not fun, but enlightening, and hopefully helpful.

**Megana Rao:** Yeah, terrifying.

**John:** I liked that they had specific examples of like, these are stories that have not been told that someone could tell. That’s great. We always like How Would This Be A Movies, How Would This Be A Series, and it looks like there’s some really good options there.

**Megana:** Yeah, super useful to hear from the expert side of things versus just the writer interpreting that information.

**John:** While I was gone, I got to listen to you and Craig talk about 20 questions in the longest episode of Scriptnotes I think that’s ever been recorded. It was so long. I’m not actually finished with it. I haven’t gotten to the Bonus Segment where you and Craig discuss and solve all generational issues. I’m looking forward to that. I have it saved for me.

**Megana:** Oh gosh, I think the Bonus Segment itself is 30 minutes and the raw audio of what we recorded is 2 and a half hours.

**John:** Oh my gosh.

**Megana:** I know. I got in a lot of trouble with Bo for that.

**John:** Bo of course is the person who controls Craig’s calendar and schedule, and so therefore you took two and a half hours out of his HBO show to talk about Scriptnotes stuff.

**Megana:** Oh god, now HBO’s going to hate me too.

**John:** You’re on the do not hire list for HBO. Absolutely do not hire her.

**Megana:** When I approached Bo, I was like, “Oh, I need less than an hour. This is going to be so quick.”

**John:** Oh, no.

**Megana:** Then in passing, because her birthday was the next week, I was talking to her on her birthday, and I was like, “Yeah, I have to cut 45 minutes out of this 2-and-a-half-hour episode.” She was like, “What are you talking about? You told me that that was going to be 45 minutes max.” I was like, “Oh, god.”

**John:** One of the things I’m always struck by when I hear Craig talking if I’m not part of the conversation is that Craig really does talk in complete sentences. I’m looking forward to the transcripts for it, because I feel like you could actually just take his answers to things and it would feel like he just wrote them. He actually speaks very much the way other people write.

**Megana:** I think that that’s true. He has really fully formed thoughts right out of the gate, and it’s so impressive.

**John:** Yeah, because he didn’t prepare at all.

**Megana:** Absolutely not.

**John:** He had no sense of what those questions were before you asked those questions.

**Megana:** I didn’t even think he knew that you weren’t going to be there. He just entered the Zoom in his —

**John:** He thinks he’s on this episode. He has no idea that we recorded an episode about nuclear stuff. One of the things that we talked about in the episode was this guy who was talking about whether to drop out of film school. He was having some success. He was like, “Should I stick around for the next two years of film school or should I not?” It was interesting hearing you and Craig have different opinions on this. Even before you said sunk cost fallacy, I was shouting to no one, “Sunk cost fallacy!” because that’s what it really felt like to me is that you’ve gone through this much of your higher education, why would you stop and leave it unfinished there. I totally understand the notion of finishing a thing. Yet I was on Team Craig where I would say, at least for now I think it’s time to step away and pursue this writing career that looks like it’s kind of started.

**Megana:** I’m surprised to hear you say that. I wonder if finishing this degree is going to be helpful to Please Help Me Drop Out of Film School make connections and have some sort of credibility. I don’t really know. Once people are passing your script around, nobody’s looking at your transcript or your resume. It’s a relationship-based industry where they’re like, “I vouch for this guy,” and because your friend vouches for this person, you’re going to read that script. In order to make those connections and get people to take you seriously, I wonder if having the completed degree helps.

**John:** I don’t honestly think it does much, because that person who has a finished film degree, certainly what I learned in the Stark Program at USC was tremendously valuable. The actual degree I got has not been valuable, because no one’s ever asked to see it. I would have those same relationships with my classmates if I’d finished or not finished, to some degree, not entirely. Going through an extra two years with those classmates would’ve been great and I would’ve definitely learned some things, but I don’t think the actual degree is useful in a way that a lottery is necessarily useful in an architecture degree, where you have to actually prove that you know how to do this thing. No employer is ever going to ask for that degree.

I think there’s a pride aspect of it though too is that the pride in finishing a thing can feel great. Making your parents proud, that they can see, “Oh, my son got this degree,” would be great. The compromised solution that you and Craig arrived at is maybe take a gap, take some time off, and be able to go back to it, if that’s possible. That makes sense to me.

**Megana:** We had some interesting follow-up that an added cost to taking time off and going back is that you do lose the momentum, you lose the routine, you lose living close to a college campus. I thought that that was an interesting thing to also take into mind, into that equation. I had another question I wanted to ask you.

**John:** Please.

**Megana:** Someone wrote in and asked, this big win that Please Convince Me To Drop Out of Film School was hanging their hat on was that when the script was sent to Paramount, Paramount had said that they wanted to recommend it to their team. What does that feedback mean to you? I didn’t think that that was necessarily as big of a win as this listener seemed to think it was, but I’m curious to hear your thoughts.

**John:** It sounds like he got good coverage or got a recommend from somebody at Paramount, which is great. It’s not nothing, but it’s not a lot. It’s not going to be a guaranteed next step. I think the most you can hope out of that is that they’re going to want to take a meeting with you, which is again another good step, but isn’t a guarantee of any success. Still, take those little wins when they come. It is good news. It’s encouraging that people are reading stuff that you’re writing and liking it to the degree they want other people around them to like it. The folks who have been in your job before you, who have all gone to have writing careers, a common thread I’ve noticed is when their stuff gets passed around without them knowing it’s getting passed around, that’s when things are starting to sizzle and that things are getting started there. Please Convince Me doesn’t sound like he’s quite there yet, but maybe he’s going to get there. Be happy for what you have there.

**Megana:** My other worry is that he’s getting all of this information from this director who has a vested interest in selling a certain narrative to the writer versus an agent who you would expect to act in your best interest or something.

**John:** That’s absolutely true. The gatekeeper function there of that director is worth noting. I would also say that if this guy does decide to drop out of film school, it shouldn’t mean that he should stop all networking and all other ways of meeting people. This might be a good opportunity then to take that improv class, join that other group, find some other writers, get in a couple different writing groups. Just make sure that you are still actively doing all the other things if film school is not where you’re spending most of your time and your money, so making sure you’re still out there doing the other kinds of things that help you learn about the job you’re trying to do.

**Megana:** If you, John August, were what, 21, just graduated from Drake, what would your next steps be in the industry?

**John:** I would’ve moved to Los Angeles, just because that’s where the center of things is. LA’s a city I always want to live in. It’s much easier to move when you’re 21 than it is when you’re 25 or when you’re 29. I would’ve moved here. I probably still would’ve applied to film school, because I just didn’t know anything coming into this business. Again, 21-year-old me now with the internet would be much better connected. I would listen to all of Scriptnotes. I would’ve had a better sense of what Craig and whoever the equivalent of me would be, the alternate reality John.

**Megana:** Alternate reality, yeah.

**John:** I would’ve moved here. I would’ve gotten started. I would’ve taken the improv classes. I would’ve taken some writing classes just to be with other writers. I would’ve been doing all those things and getting a job that was interesting but not so overwhelmingly active that I still would have time to write. I think that’s what that theoretical John August would be doing.

The idea of coming out of undergrad is particularly relevant, because I was just on a college tour. As you know, Mike and Amy and I went to do a college tour of the East Coast. We got to see college towns. We started in Montreal, went to Boston. Then the plan was to go on to see Ann Arbor and Chicago and other places. Of course, as you know, I promptly got COVID, whole family got COVID, and so we ended up spending nine days in a hotel room in Boston getting over COVID, which sucked, but was not deadly, was not dangerous, because vaccines, thank god. It all sorted out okay, but definitely got me thinking about Boston as a college town. You went to college there. Man, what a great place to go to school.

**Megana:** I know. It’s the perfect place to live when you are that age and going to college and you’re just surrounded by all of these other young people or academics. It’s just a really invigorating, thrilling place to be.

**John:** While we’re in our quarantining, we watched The Social Network, which is a movie I generally love, which is also, of course, set in Boston. It was weird to see that movie now and watch it with my daughter watching it and her eyes on how she perceives Facebook, how she perceives these characters. She said afterwards, “I’ve never been so non-consensually mansplained to by a movie.”

**Megana:** That’s amazing.

**John:** Then I wanted to talk to her about the history of Aaron Sorkin. She’s like, “No, you’re mansplaining right now.” There was no stopping it. As a man, you cannot say anything, because it will actually be mansplaining to explain why he has a history of mansplaining in his films and TV shows.

**Megana:** Oh my god, as someone who was a teenage daughter at some point, I know that it was very difficult for my parents during that period, but it seems particularly difficult to raise a Gen Z teenage daughter. Oh my gosh. I would just be canceled all of the time.

**John:** We’re always on eggshells. That’s what we’re going to do. Megana, thank you for holding down the fort while I was gone.

**Megana:** Of course. Glad to have you back.

**John:** Just for our listeners, should know going forward, Craig’s availability is really tight because of the show he’s shooting right now, so we’re not sure which episodes he’s going to be with us for the next couple weeks, but we’ll still have Scriptnotes and we’ll find a way to make it enjoyable and entertaining and do some different things while we figure this all out. Thanks.

**Megana:** Thank you.

Links:

* [Joan Rohlfing and the Nuclear Threat Initiative](https://www.nti.org/about/people/joan-rohlfing/) and on [Twitter](https://twitter.com/JoanRohlfing)
* [David E. Hoffman](https://www.washingtonpost.com/people/david-e-hoffman/) and his [books, including Pulitzer winner The Dead Hand: The Untold Story of the Cold War Arms Race and its Dangerous Legacy](https://www.penguinrandomhouse.com/books/81268/the-dead-hand-by-david–e-hoffman/)
* [Dall-E-2](https://openai.com/dall-e-2/)
* [MidJourney](https://www.readthepresentage.com/p/midjourney-ai-art-tool?s=r)
* [Atomic Veterans](https://www.naav.com/)
* Book [Give Me Liberty by David E. Hoffman](https://www.simonandschuster.com/books/Give-Me-Liberty/David-E-Hoffman/9781982191191)
* [Reykjavík summit of 1986 between Ronald Reagan and Mikhail Gorbachev](https://www.britannica.com/topic/Reykjavik-summit-of-1986)
* [Get a Scriptnotes T-shirt!](https://cottonbureau.com/people/scriptnotes-podcast)
* [Gift a Scriptnotes Subscription](https://scriptnotes.supportingcast.fm/gifts) or [treat yourself to a premium subscription!](https://scriptnotes.supportingcast.fm/)
* [Craig Mazin](https://twitter.com/clmazin) on Twitter
* [John August](https://twitter.com/johnaugust) on Twitter
* [John on Instagram](https://www.instagram.com/johnaugust/?hl=en)
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) by Matthew Chilelli ([send us yours!](http://johnaugust.com/2014/outros-needed))
* Scriptnotes is produced by [Megana Rao](https://twitter.com/MeganaRao) and edited by [Matthew Chilelli](https://twitter.com/machelli).

Email us at ask@johnaugust.com

You can download the episode [here](http://traffic.libsyn.com/scriptnotes/545standard.mp3).

Scriptnotes Episode 546: Limited Series, Transcript

June 1, 2022 Scriptnotes Transcript

The original post for this episode can be found here.

John August: Hello and welcome. My name is John August, and this is Episode 546 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. Today on the show we’re looking at the genre/form of limited series based on actual events with two of the writer/creators behind recent critically acclaimed shows.

Elizabeth Meriwether is the creator and showrunner of the limited series The Dropout. She began her career as a playwright in New York before transitioning to television where she created seven seasons of the amazing hit comedy New Girl. Her other credits include No Strings Attached, Bless This Mess, and Single Parents. Elizabeth Meriwether, Liz Meriwether, it is a damn pleasure to finally have you on the show after 546 episodes. I can’t believe it took this long. Hi.

Elizabeth Meriwether: Hi. That was a great interaction. Hello.

John: Thank you. You’re a little bit sick as we’re talking to you. Thank you very much for being with us. I’m sorry. It sucks being sick.

Meriwether: Much like Elizabeth Holmes, my voice is a little deeper, which is exciting.

John: Absolutely, but not a deliberate choice. You didn’t stand in front of the mirror practicing to get your voice to this pitch.

Meriwether: No, she says in quotation marks. Just kidding.

John: Our next guest is no stranger to this show. Liz Hannah is the executive producer and co-creator of Hulu’s limited series The Girl from Plainville. She also executive produced and wrote for The Dropout. Her other credits include The Post, Long Shot, All the Right Places, and Mindhunter. Liz Hannah, welcome back to Scriptnotes.

Liz Hannah: Thanks for having me. Hey, everybody.

John: It’s so good to have the two of you here. We have two guests named Liz, which will not get at all confusing.

Hannah: You could just go by last names. It’s the easiest.

John: I was going to say.

Meriwether: We were in a writers room together, and we had a third Liz, Liz Heldens, who’s incredible. We would just all call each other by our last names, so I’m probably going to be Meriwether and she’s probably going to be Hannah for today’s podcast.

John: Hannah versus Meriwether does feel like some sort of big title fight.

Hannah: We were also talking about Elizabeth Holmes. It was a very odd eight months of our lives.

John: For the rest of the show it’s Hannah and Meriwether.

Hannah: There you go.

John: You can call me August or John.

Hannah: Great.

John: Whatever you want to do. One of our recurring segments on this show, which I love and listeners like a lot too is How Would This Be a Movie, where we take a look at stories that are in the news and figure out how they could become movies or really basically limited series. You guys just both did. You both took things that were in the news and turned them into high-quality film and entertainment.

I want to obviously focus on your two shows, but also at the end I want to go through some other topics of things that are in the news right now and spitball ideas in terms of how you would adapt these into limited series down the road, if they were appealing to be adapted. I’ll bring up that one of the topics we proposed as a potential one, one of our guests said, “Could we not do that one? I’m actually looking at getting the rights right now.” That is how close to the source we’re getting to on these. We’ll get into that.

In our bonus topic for Premium members, let’s talk about showrunning and producing while pregnant, because that’s something you both had experience with, because Hannah very recently had a baby.

Hannah: He’s here. He’s very fresh.

John: I love it.

Hannah: He also has some fresh attitude that will maybe be chiming in. We’ll see.

John: That’s great. Rachel Bloom, when she was on this show, she was breastfeeding. We’re normalizing maternal things happening while-

Hannah: Look, we all have feelings. He has a lot of them right now and has to talk about them.

John: He’s got to express himself.

Hannah: Doesn’t know what hands are, so the only thing he can do is scream.

John: I love it. Let’s talk about this moment we’re in right now with limited series that are based on actual events, because there’s so many on TV right now. We have your two shows. We have The Dropout, The Girl from Plainville, but we also have We Crashed, The Thing About Pam, Super Pumped, Inventing Anna, Pam and Tommy, The Tinder Swindler. This is a moment where a lot of these things are happening. I want to start with your two shows. Maybe we’ll start with The Dropout. Miss Meriwether, how did The Dropout come to be? What was the first thing? Was this something you pursued? Did they come to you? What was the origin story The Dropout, the story of Elizabeth Holmes?

Meriwether: I was finishing New Girl, and Searchlight contacted me, because they had optioned the podcast The Dropout, which is incredible and anyone who’s interested in the story should listen to it. They had Kate McKinnon already attached, and it was already set up at Hulu. They were just like, “We have everything in place. We just need a writer.” Just a little thing.

John: A small thing.

Meriwether: I do feel like Searchlight, this was their first television show. I think they are coming at it with more of like the movie thing, of like, we just need to write. It’s like, no, welcome to television. I read Nick Bilton’s Vanity Fair article. There was a really big article. Vanity Fair with Theranos was falling apart. I’d read it, I think a couple of years before Searchlight contacted me, and I loved the story. I just hadn’t done anything with it. I was familiar with the story. By the time they contacted me, I just had that feeling like, there’s been a documentary, there’s been a book, there’s been a lot of reporting about it. I think at that point there were some companies in Silicon Valley that had Elizabeth Holmes Fridays or whatever. Didn’t we find that out, Hannah, that they had been dressing up like [inaudible 00:05:20]?

Hannah: When we were in the room, I was in Austin for something, and it was Halloween. I saw three Elizabeth Holmeses walk in. This was before the show. I think I texted you guys. I was like, “What goes next? Everybody already dresses like her.”

Meriwether: This story was definitely in the news. I had that question that I’m sure you had too, Hannah, which was just like why does this need to be dramatized, why does this need to be a limited series. I think the answer I came up with was that I felt like it hadn’t been told from her point of view. Her interior world hadn’t been explored. I thought it would add to the story. The only people who can do that are writers. It’s not the job of journalists to picture themselves in somebody’s shoes. I felt like that would really add to the story. I went in for the meeting. As I was talking about it in the meeting, I just got more and more animated. I just found myself getting really emotionally involved in the actual meeting. I had that out-of-body experience where I was like, “I really want this [inaudible 00:06:32] care about this story,” which is never good in the meeting.

Hannah: To realize it?

Meriwether: Yeah.

John: You’re talking yourself into it.

Meriwether: Then you’re like, “I’m not going to be able to walk away from this.” Then Liz Hannah hired Liz Heldens, incredible drama writers, because I had no drama experience, and really knew that I needed help in that way. Then we wrote it. We were supposed to start shooting March 2020. Then COVID happened, and we lost our director and Kate McKinnon, and then spent a year trying to put it all back together again.

John: I definitely want to focus on the writing of this, because I’m so curious what your process was going into it, because you’d run shows before where you’re cranking out 20 episodes, 24 episodes in a year. This is such a different beast. Before we get to the writing of it, I’m curious what the origin story was for The Girl from Plainville. This is again based on a real story of a young woman is accused of leading a man, another teenager, into suicide. What was the start of this? Was there a book? Was there an article? Who came to who with the idea of doing this?

Hannah: There was an article called The Girl from Plainville by Jesse Barron in Esquire. I had not read it. I’d heard about it. I’d obviously heard of the case, but really in a peripheral way, I think in maybe how we all knew it, which was I knew it happened. I knew less about that than I knew about Elizabeth Holmes upon being approached to do The Dropout. I hadn’t listened to the Dropout podcast but knew it existed and knew more about her, at least in the zeitgeist, than I did about Michelle Carter. The article existed, and then there was the documentary, I Love You, Now Die by Erin Lee Carr, that was on HBO. Universal had optioned the article.

Patrick McManus, my co-creator and co-showrunner, was attached to do it, but really wanted a partner on it, and didn’t feel that he could or wanted to tell the story all by himself. Elle Fanning was considering doing it. I had worked with Elle previously. We’d been looking for things to do again together. They brought it to me. I was like, “Hard pass.” We were still in the room on The Dropout I think when they approached. I was like, “What kind of… “ The similar approach was just like why do this, what is there to add to the story, but also I was like, “I just spent a long time unpacking the interior life of a quite complicated woman who everyone hates. I don’t know if I want to dive into that again.”

I didn’t read the article until Elle wouldn’t take no for an answer, and neither would Brittany Kahan Ward, who’s my manager and our producing partner. I read the article, and the thing that really struck me was, similar to Elizabeth Holmes, which there’s so much more to this girl to unpack, and also that I really felt like she had been depicted in a very salacious way in the media that maybe undercut some of the larger conversations to be had about the case itself and about the relationship itself, and I think very dismissively talked about suicide, rather than having a larger conversation about mental health and the toxicity of this relationship and the toxicity of technology and all of these things. It felt very of now to tell that story. This was in December 2019. Patrick and I sat down and tried the pilot. We were going to take it out, and then the pandemic happened.

The thing that I couldn’t relate to in the show was how you could be so consumed by your phone. I’m consumed by social media, but I don’t have a relationship with my phone, because I didn’t grow up with it. It’s a different experience to just not have been 12 and have an iPhone or a Twitter account, and to not necessarily understand the connection that you can have with somebody that’s so distanced between that. Black Mirror and then the pandemic happened, and every relationship I had was with everybody over a phone. It became very timely in a weird way.

That was really where it started, and very similar to why I was interested in doing The Dropout, which frankly was because Meriwether was doing it. I was like, there’s a why now aspect which I think is interesting, but there’s also a voice aspect, which I think Meriwether is one of the best writers I know. I wanted to work with her and hear that. That was really exciting. I think when you decide to do one of these things, it’s what we’ve been talking about, unless it’s going to be additive, then it just feels like we’re putting another thing on television. There’s enough.

John: From the start, did you guys know how many episodes this series was going to be. Meriwether, did you know that this was going to be x number of shows?

Meriwether: Isn’t this funny, because Hannah knows all the answers to these questions?

John: If your voice fails, Hannah can fill in.

Hannah: This one’s a really funny one.

Meriwether: First of all, I was terrified of drama, and I was terrified of drama-linked stories and drama-linked scripts. I was like, “Six, six, it’s definitely six,” which felt like the shortest amount that you could do. I was also like, “I don’t know how much the audience is going to want to engage with this story.” Then we started researching it and working on it and interviewing people, and it just kept getting bigger and bigger. It just became clear that six wasn’t going to be enough. For a long time it was seven or eight. It was either going to be seven or eight.

Hannah: Unless you’d asked Dan LeFranc, who still wants 10 episodes.

Meriwether: He’s still working on two more. Even after the writers room ended, Hulu was still like, “By the way… ” They were incredibly patient with me, but it was up to a point where they were like, “We need to know. We’re making a budget. We need to know if this is seven or eight episodes.” I finally was just like, “Eight,” because I needed them to budget in case it needed to be eight. I think what I was so afraid of was that the eighth episode was going to feel like it was just wrapping up. I think what was tricky about The Dropout story was that in my mind at least, and I think people who are familiar with the story, and anybody who’s seen All the President’s Men, that first article comes out and you’re like, “That’s the end of the story.” The more I was reading about what happened afterwards, I realized the article didn’t actually stop Theranos, that it was a mix of the article and just this federal agency.

Hannah: Bureaucracy.

Meriwether: Yeah, it’s bureaucracy. Then in the room, in the writers room, they talked a lot about wanting to end at Burning Man, which was always the dream, that we were going to end it with her and Billy at Burning Man.

Hannah: There was an acid trip in there at one point. There was a lot.

Meriwether: Hannah, we’ve never talked about this, but I credit [inaudible 00:13:35] for stopping the Burning Man dream, because what had been Burning Man turned into one woman getting into an Uber.

Hannah: It is actually amazing, the whole process that takes place in a short amount of time. There was an acid trip and there was a burning down of something. It’s the burning down of the building thing.

Meriwether: Who knows? What about you? Did you know what the amount of episodes was, Hannah? How did that work?

Hannah: I think we always knew it was eight. I don’t know, it felt like not 10 and not 6. That felt like a nice, round number.

John: Was that a creative decision or was that like, this is economically viable to do 8 episodes, whereas 6 is too few for us to pay out, and 10 is-

Hannah: It’s a bit of both. Six is really hard to convince a studio to do. They just don’t make money back when it’s six, for a sundry of reasons. I think you could maybe get away with seven if you were like, “Creatively it doesn’t make sense for us to have an eighth,” and you made a real case for it. In all frankness, I think there’s a bit of extension that happens in Plainville for the eighth episode, but at the same time we also knew that we wanted to give Conrad a full day, his last day as an entire episode, and give him his moment. Knowing that then backed us into the eight. We definitely never were like, “There’s more to the story after that.” Dan also wasn’t in the Plainville room. I’m sure had he been, we would still be talking about parts 9 and 10 of Plainville.

Meriwether: It was so foreign to me just as somebody who had spent eight years being told everything I had to do, and to the point where I think it was the first season when we were really a hit. After you plan a whole season, getting a call towards the end that’s like, “You need to put two more episodes on the air,” it’s… I almost felt like I had too much freedom, where I was just like, “How many episodes do you want this to be?” I’m like, “What? What is this alternate universe where I get to decide things?” I put off the decision for as long as I could.

Hannah: Length was also a weird thing for me. I know we did this in the room for Dropout 2 is… The page length, they were like, “If it has a five in front of it, that’s maybe a problem.” They wouldn’t push back on it. I don’t know if you had a similar experience, but in post it was like, we have the amount of minutes it had to be for international sales, and that was it. It was like, as long as it hits this, which I think for us was 42 minutes. Our episode length could really be anywhere from 42 to 60 minutes and could even go over if it needed to. We don’t, but we could’ve. We had that conversation. That was really weird and interesting to have this… There’s no handcuffs. If this is a 40-minute episode, then it’s a 40-minute episode. Do whatever is creatively right for it.

Meriwether: I strong-armed them. I am not good without limits. I was like, “Just tell me what is the best time for episodes to be.” They finally gave in and were like, “51, 52.” Then I went into post with that. This was so foreign to me. I was used to hitting 21:35 no matter what, and to the point where you’re like… We called it ball shaving. I don’t know if we should put-

John: That’s awesome.

Meriwether: To the point where I was in with the editor taking frames out of… It was so bizarre to me to have that kind of freedom.

John: Before you get to the ball shaving and the final post of it all, you have to write these episodes. Let’s talk about the writing of the two shows, because from what you’re describing it doesn’t sound like what I expected, because Hannah, I assumed you came in after there was a pilot and after there was an order, but it sounds like you were earlier than that. Hannah, let’s start with Girl From Plainville which I think might be a little bit more normal. You’re at Universal. They said, “We want you to do the show.” Then they’re going to take it to Hulu. Did you guys write a pilot episode first before you wrote everything else? Talk to me about that pilot? What other documents did you write at the same time?

Hannah: We wrote a pilot and a pitch document, and that was it. We also made the article. Erin Lee Carr was on as consulting producer on the show. We had Erin and Jesse there for anything. The pilot that we wrote, and then that was how we sold the show, aside from removing some scenes, is pretty close to what’s on the air. There’s not a lot that changed.

Meriwether: It’s so good, by the way.

Hannah: Thank you. There’s a writing motif, I was just telling somebody about this earlier, that we had in the show. I don’t know that we need past, present, fantasy, text fantasy, and then this other thing on top of it. That’s no longer in there. Other than that, it was that. We sold it to Hulu. It was the same partner as I’d worked with on The Dropout. Then we opened the room and it was pretty straightforward. We had a 20-week room. We wrote six out of eight in the room. Then I wrote seven, and then Patrick and I wrote eight. We had outlines I think for… We knew what eight was always going to be. We had that done and then we just had to write it, which we did about four days before we went into production.

John: Universal’s hiring you guys to write this pilot. You guys are writing this document and this pitch document before you’re going out to pitching it to the Hulus and the other potential distributors for it. What is the pitch document like for this? What’s in that? How long is it? Is it a keynote? Is it a pdf? What is a pitch document?

Hannah: The greatest thing that ever happened was that I didn’t have to drive to Santa Monica four times randomly over the course of two weeks, because it was all on Zoom. I don’t know that I’ll ever go back to pitching in person. It was glorious, because also, guess what. Little pages, document right up on my screen, you can’t see it and I can’t see you. I can just read, and it’s great. I can ad lib and do my little shtick. It was great. That was it.

The document was why we had come to the show. It was a synopsis of the pilot, because generally no one reads the pilot until they hear the pitch. Then they’re like, “Oh, maybe.” Then they read it. You remember when you read in the pilot, that you didn’t read, that these things happened. Then it was like a here’s what the show will be. We went into it with what are the ways that people will pass on this show. We knew putting the texting out there was a way to pass, because it’s the thing we’ve all been trying to figure out how to do for the last 20 years is put texting on screen and not make it just subtitles or just I’m reading my phone and seeing texting. Patrick in our very first meeting had pitched me the idea of their last conversation being in person. Then we took that and ran with it through the whole show of having these texting reenactments of them being in the same place together. That was in the pitch. Then we had the fantasies, the Glee fantasies in the pitch. They were not musical numbers yet, but they did have those.

John: This document, you’re saying it’s a pdf. Is it just text or do you have images to show-

Hannah: Just text. It’s interesting. I don’t do a visual component to pitching. I’ll either become too obsessive about it or I [inaudible 00:21:03] myself and then I don’t write the actual document. I’m like, “Look at all the pretty pictures.” I know people that do it. My husband is a writer/producer and he uses a visual component in his pitches, and it’s really effective. As the audience for his practice pitches, I find it very effective.

I do it with directing sometimes, because I think that’s a much more… You’re trying to be specific about your vision for this. We did a visual component when we did our final pitch-out of the season before we went into production and our production plan. That was when Lisa Cholodenko and Fred Elmes had come on, and so they had said how we were going to aesthetically deal with some of these things. It’s just words. Then at the end we were like, “Elle Fanning will star on it, so you should buy it.” That was about it.

John: You should buy it. Absolutely. Star of one of your other big series. Meriwether, for you, it was already set up at Hulu. You had a star. You had Kate McKinnon attached. It sounds like you actually brought in writers to help you from the start. Is that correct?

Meriwether: Yeah, it was really bizarre, also having now sold my next project as a limited series. I did it in a more traditional way. I’m realizing how strange The Dropout was. I came in and they were just anxious to get going. I had a conversation with Hulu. It was the classic Hollywood thing where they don’t tell you it’s a pitch. They don’t tell you it’s-

Hannah: It’s a meeting. It’s just a meeting. There’s no pressure.

Meriwether: No pressure. It’s a meeting. You would think I would know at this point. I had notes on my computer. I’d actually had an idea for what the structure was going to be, so I pitched them the loose structure of what the episodes were. Then we just got a room together and we started working on it. I think before the room began, I wrote out some document. I don’t remember what it was, but I think it was an overview of what the series was going to be and what each episode roughly was going to be. At that point I thought it was six episodes. It wasn’t the most accurate thing.

Hannah: The pilot was pretty… It was there.

Meriwether: I’d outlined it, right?

Hannah: Yeah, you had outlined the pilot. Then there was a few pages of what each episode then was going to be. A lot of how we would break that show in particular was by years, because so much time had passed. It was like this episode is between X and X years or X and X month, and then here’s everything that happens in that, and that’s what we’ll address. Then going into the room, it was like the weaning of that and finding where each story was.

Meriwether: We had that overview. I was used to getting into the breaking. Then we realized that we had to do so much research. We had to become engineers and chemists and talk to a bunch of people. The crazy thing was what I was simultaneously… Because they were in a hurry to get it out, joke was on them, ultimately. I was simultaneously running an ABC sitcom called Bless This Mess that was about a young couple on a farm. I had the two rooms going at the same time.

Hannah: We were on different sides of an office. It was one side of windows, and then the other side of windows.

John: Who gets Meriwether’s attention at this moment, and you’re trying pitch [inaudible 00:24:40]

Meriwether: I was running back and… It was the most strange reality of walking into one room and having conversations about chickens and-

Hannah: Microfluidity.

Meriwether: Chicken comedy. The call sheet for Bless This Mess would sometimes be four goats. It’s having those conversations, and then going into The Dropout room,we’re having very serious conversations about sexual assault and microfluidics and a lot of things.

John: These were actual rooms. This is also a difference, because this was pre-pandemic. You were literally together with bodies around a table figuring out this stuff and looking at the same whiteboard experience, which is not norm anymore. That’s all changed.

Meriwether: I think we had an awkward mixer, where it was the Bless This Mess writers mixer.

Hannah: Yeah, we had a lunch. It was kind of like step-kids meeting for the first time. It was very strange. Isn’t Cheaper By the Dozen about that? I think that was based on that lunch. We didn’t have that for Plainville.

John: Let’s talk about the difference between the Plainville room and this room.

Hannah: Do we have to?

John: The Plainville room, you had a pilot already, so you were hiring writers to come in to help you out on that. Everyone could look at the same master plan, like, “This is the pilot. This is the show we’re trying to make.” Then what was the process of figuring out from there how to break out this information across these episodes? Had you done this before?

Hannah: I hadn’t showrun before, no.

John: What was your approach?

Hannah: Fear, terror, a sense of humor about myself. “Yes, but” is what I would say about the pilot, because we had the pilot written, but the pilot is extremely different than the rest of the show, because it doesn’t… Conrad is not introduced, his timeline is not introduced until Episode 2, and the prosecution doesn’t begin until Episode 3, or the real investigation doesn’t begin until Episode 3. The pilot we had, and we had that for a total touchstone and pacing, but we were looking for writers. Patrick was about to go do Dr. Death. He had just wrapped the writers room for that around the time we had done The Dropout. There were a few writers on that that I met with and really loved and wanted to bring on. There was a continuity to it, particularly because Patrick was going into production on Death five or six weeks into the room.

The big thing for me about all the writers that came in was I wanted writers that didn’t want to write a true crime story. I wanted writers who didn’t have an interest in just being a straightforward true crime story. I wanted them to come in and do different things, which was similar to The Dropout, if not the same. I don’t think any of us had any interest. I don’t think anybody had really done true crime except sort of me with Mindhunter, but that doesn’t really count. There were a lot of playwrights in the room. Heldens, who’s the best, she’s the best of the Lizzes, had done network dramas for a long time.

Meriwether: Friday Night Lights.

Hannah: Friday Night Lights. We had talked about that, because we were obsessed with Friday Night Lights. I think I played it cool for two days and then was like, “Can we just talk about Friday Night Lights?” We all approached it from a very different way. Then Heldens would be like, “This is how a show is written.” We were like, “Copy.”

That was the approach that I took to Plainville was just having a bunch of interesting brains, not necessarily brains that were experienced in writing this material. We knew similarly with the structure, like what we were talking about before, we knew that the final episode was going to be… I actually think we thought the penultimate episode was going to be Coco’s last day, and then ultimately as we got into the breaking realized it was going to be the last episode. Then we had the spine of the investigation and the trial and things like that.

I would say the biggest obstacle we had is that nobody was interested in the trial, because we were like, “We’ve seen it.” It was similar with Elizabeth, where at a certain point we’re like, “We’ve reached this place where everybody knows her. How do you make it interesting? Everybody’s seen this part from documentaries.” I would say the trial and the breaking of that was by far the most difficult part of the process because we were hamstrung into making it. You have to tell the facts and you have to tell the story that I think is fascinating, of how did this girl convicted off of something she said, that we don’t know if she said, based off a text message to another friend. It’s a very flimsy thing to be convicted on. That was fascinating to me. We’ve also seen trials before, so how do you make it interesting?

John: Now Meriwether, for something like New Girl, you are breaking story, you’re writing an episode, you’re shooting an episode, you are posting an episode all at the same time. How different was it going from that to this where you went into production with these scripts written? It felt like you were doing one thing at a time.

Meriwether: Is that what you think happened?

John: Were there things that you would do differently based on what you learned through this?

Meriwether: Yeah. I learned an important thing, which is that I can’t run two shows at the same time. I certainly can’t-

John: I don’t understand how someone could.

Meriwether: A show on network that’s airing at the same time that I’m running another show, because the way you described my job on New Girl was my job on Bless This Mess 2. We were shooting, editing, and writing, and then I was also running this other thing. At a certain point I think I just couldn’t. I couldn’t anymore. It was too hard. I really am in awe of those showrunners that can do that. It was an important step for me to realize that I can’t. I’ll never put myself in that situation again.

John: I couldn’t do what you did on New Girl, where you’re running a show that’s filming right now.

Meriwether: I couldn’t do it either.

John: You did it for seven seasons, by the way. You did it for seven seasons, so I think-

Meriwether: I had a lot of help. It’s very hard. It’s not conducive to great television.

John: Or good life or happiness.

Hannah: It’s not conducive to life.

Meriwether: I didn’t have kids when I was on New Girl. I spent nights at the office. It was my entire life. It consumed my whole life. It’s just not a good way to work. I was so happy with all of the IATSE stories. I do feel like a lot of the way that television gets made needs to adjust a little bit.

John: Was this experience on The Dropout better in that way in terms of doing one thing at a time? What were the pros and what were the cons? I’ve definitely heard a lot of the cons, which was that sometimes the writing process was so divorced, by months or by a year, from the production process, that people end up being dragged across… A producer, in your case, could be still producing a show that they wrote a year ago, and they’re not getting paid any more money and they’re actually being pushed down towards scale levels of pay, because they’re still producing this thing, or the original writers can’t be involved with the actual production, because they’re now on three shows after this. Those are the cons.

Meriwether: The writers room on Dropout, I was doing a bunch of things at the same time, but we weren’t shooting it. That was different. I think the system hurts the younger writers the most, because I feel like working on New Girl was this amazing crash course for a lot of people, including myself, on television production. I think it’s so important and so great to see an episode from start to finish, and even if it gets rewritten a million times, but to be able to go to the table or hear what the notes are, hear how the genre handles the notes, go to set, all those things are invaluable. It’s honestly in a job that doesn’t have really a school that you can go to to figure out. It made me sad that the writers on The Dropout weren’t involved in the production at all. I was texting Hannah screenshots of the monitor. I was like, “This is your episode.” I really didn’t like that way of working. I felt like that was strange.

Hannah: COVID on top of it. At least for us, we couldn’t bring our writers to set. Even if you can, because now it’s just so rare to have the writer who wrote the episode cover the episode or even be a part of it. Even pre-COVID, I agree, it’s just not a typical thing anymore.

Meriwether: I felt guilty, because I was like, “You’re not being paid anymore. I can’t ask you to be on set.” It’s just crazy.

Hannah: When it’s disconnected like that, you’re still not in the writers room. It’s like [inaudible 00:33:32] what’s the incentive to do it, other than the learning experience? I think it’s really important for everyone to, if they can, just go visit for a couple days and be on set and observe and be a part of it. Because of COVID, we couldn’t do that for any of our writers. We couldn’t do it for any of our support staff, because we were on lockdown for… I think Dropout wrapped before us, because we started prep in June, and we wrapped in the middle of December. We were really fortunate to bridge both Delta and Omicron.

Meriwether: Oh my gosh.

Hannah: We were PCR testing every single day until two weeks after Thanksgiving. Then we were PCR testing three days a week. Then we got hit by Omicron two days before we wrapped. I turned to Dan Minahan, the director, and I was like, “Dan, I have to leave. I have to leave here, so you have to finish this episode of television before 2022. We have to finish it.” He was like, “There’s no one left to do the show.” I was like, “I don’t care. It’ll be you and me.” I agree. It’s a real bummer that writers… Being a writer in television is 30% of the job. Being a writer as a showrunner is 15% of the job. There’s so much more to it. If you’re not exposed to it, you have no idea.

Meriwether: I will say the pro for me was after the room was finished, and because we had COVID, and I had a year to sit with the scripts. It was the first time in my life. I guess when I was writing for theater I had the same time. That part of it was incredible. I just could sit with the scripts and think. I had nothing else to do. I just got to write. What a gift. That’s great. I think once we started production…

When you’re making network television, you’re getting constant feedback, and sometimes it’s great to incorporate that into the show, and sometimes it can be destructive, because you’re chasing numbers, or you read a tweet and then you change a whole storyline. I think when you’re making network television, you have to protect yourself a little bit of that. I was scared because I was like, “We’re not seeing anything. I’m not seeing anything. I don’t have any feedback. I don’t have any audience. I just have to keep going down this road.” That part of it was a little unnerving too. This is a very long answer to your question. I think for me it was a lot of pros and cons, in interesting ways. I feel like I learned a lot from doing it.

John: Let’s wrap up this pros and cons with our fantasy world, because you’re both people who have successfully run these limited series now. If you could set it up in your dream way, what would you do differently or how would it work? Is there a way to get those writers on the set? Is there a way to make sure that we can actually have that sort of apprenticeship that you learned, the good thing about New Girl? Is there any stuff that you can bring through to this process? Hannah, from features, is there stuff that we could be doing to make these even better?

Hannah: I’m laughing just because I’m like, I really just wanted more time and money and not having to-

John: A unique thing, yes.

Hannah: The COVID situation was really detrimental I think to everybody, and obviously everybody in the world, but I think to filmmaking and to television it was really detrimental. There was just so much that was impacted creatively in the show that that was really a bummer, and that bums me out. More time and money, please.

John: More time and money.

Hannah: I take it.

John: No COVID.

Hannah: I take it here. Thank you.

John: Structurally, is there a way to make the experience of doing these shows better for writers and ultimately [inaudible 00:37:11] creative project at the end? I’m just thinking ahead. If people who are setting up these shows now, what kinds of things could they ask for that would make it a better process for them as showrunners but also for their staff?

Hannah: I would just say I do think it has to do with money, which is making it part of your budget that you’re bringing the writer to set. I also think it’s a part of talking about how we make these shows, which is… Meriwether, you do this, and I know some other showrunners that do this, but not a lot of people do this. You talk about the showrunner, you don’t talk about the room, and normalizing the fact that television is not made by one singular person, that it’s a group of people that make it.

It’s similar to talking about being rewritten in features. When you’re rewritten in features, the first time it happens to you, you’re like, “What? This never happened. How is this happening?” Then you talk to a feature writer and you’re like, “Oh no, this happens in every single script. It will happen to you for the rest of your career. It does not matter how big you are, how little you are. It will happen forever. You have to just have conversations about it. There’s a good way to do it and a bad way to do it. We’ve talked about that before, if you’re the rewriter reaching out to the person you’re rewriting, however it is. I think that having a larger conversation of, this episode was written by this person, and this is the person who came up with this… There’s enough credit to go around. The only way that I think networks and studios will find it important to bring those people to set and empower them is if we empower them. We’re like, “We can’t do this without them. They know this.”

I was really fortunate to bring my number two in the room, Ashley Michael Hoban, to set because I was like, “I’ve never run a show before.” Patrick’s, it was in post on Death, I think, and then it was airing. I’m not doing this by myself. That’s a really quick way for me to lose my mind and for this to be a terrible show. Hoban was there the entire run of the show and covered set. It was amazing. I literally would not have survived without her, and the show would’ve not been good without her. I just think that took just convincing. I just think there’s enough credit to go around that we should just be like, “These are the people who need to be here to make it better.” You hire 9,000 PAs, because we can’t do these things ourselves. It’s not dissimilar to, we need writers around to make this better.

John: Let’s talk about the writer’s responsibility on the set, because I’m sure it varies from project to project. Liz, you were covering set sometimes, but you also had someone else helping you there, Liz Hannah. Meriwether, were you on set for the whole thing? What were your responsibilities on a day of shooting?

Meriwether: For your listeners who are going to hear the bonus content, I’ve just recently given birth. I know that I gave birth on April 10th, which is my son’s birthday, and we started shooting in June. I had an infant and also COVID. I was on a feed, which was… For me, it’s so hard.

Hannah: It’s horrible.

Meriwether: It’s so hard.

Hannah: It’s awful.

Meriwether: I really felt for the director, and trying to text notes that are complicated, that are like, “Can she move her… ” Putting that over a text message is crazy. I didn’t have a room anymore. Everything that Hannah just said was brilliant and exactly right. I loved the script coordinator who had been with me for the year, that after we had the room, Zach Panozzo, who I asked to be on set, so I just promoted him to associate producer, and he was on set every day. He had a really tough job of me texting him and him having to go and give notes to the director, who was occasionally not psyched that there was this dude here shoving a phone in his face.

Hannah: To be fair, they’re not always psyched when it’s you approaching them without the phone.

Meriwether: That was really hard. That being said, I think I also am glad I wasn’t there at every moment. I feel like on New Girl, sometimes when we got behind, I was always trying to fix things on set or fix story issues or character stuff on set. I liked having a little distance I think in the end, because I don’t know how to direct a drama. I think it was kind of good that I was on this couch in a weird little bubble, looking at a feed, pumping milk out of my breasts. It was a very weird existence.

John: Hannah, what were you doing?

Hannah: I was on location the whole time. We all moved to Savannah from June to December.

Meriwether: Oh my god.

Hannah: My husband and I drove across the country with our dog. Similarly, the day after we arrived in Savannah, I found out I was pregnant, which was not a plan that we had. That was a bit of a twist. I was pregnant the entire time we were shooting. By the time we wrapped I was seven and a half months pregnant. I was on set in Savannah in the summer. We’ll talk about it for the bonus. It’s great.

John: Obviously, as the writer covering set, you’re there to make sure that this scene is actually doing what you need it to do. You’re there as a second set of eyes and whispering to the director and getting stuff moved. Were you also rewriting or changing things?

Hannah: Yeah.

John: How much change on the day?

Hannah: Quite a lot. Not on the day necessarily, but there was a lot that changed before we went into production and prep. Patrick was there for prep. Ashley Michael was there for prep. I was there. Then our producing partner Brittany Kahan Ward was there. Brittany basically would body-block people from coming into our offices so we could write. We had seven of eight written. Patrick and I wrote eight. I think during prep, we turned in the first draft. Then I think our shortest script was 57 pages when we flew to Savannah or when we got to Savannah. That was exceptionally long. They all had to be cut. I think every script got cut between 7 and 11 pages. That was just a massive overhaul that we had to do to begin with.

Something that I really like to do, that we’ve done in the room, but haven’t been able to do with all the episodes, because obviously seven and eight weren’t written, we’ve done on this Mindhunter, was we pulled characters, storylines, put them in a final draft document, and treated them almost like they were features. We would have 400 pages of Wendy and would be like, how does she flow through the season? Then you put them back in and see how they speak to each other.

Meriwether: That’s so cool. That’s such a good idea.

Hannah: It was Courtenay Miles on Mindhunter, and Fincher, were like, “Can you take this character and do this?” I was like, “Yes.” Again, it was one of those things where I’m like, “That actually sounds like something that’s common sense to do,” and I’d never done it. I’d never done it for a feature either, just taking a character and being like, here are their scenes. We did that in Plainville with Michelle, in particular because her arc is so circular, and that if you watch the past timeline in the finale and then you watch the present timeline in the pilot, you’re fully caught up. There’s one hour that’s been skipped basically. We were able to do that and spend time on that. Then once a director and a cinematographer come on, this process was not super dissimilar from features in terms of Lisa and Fred were there for prep for a good amount of time and were very involved in how we were going to tell a lot of these stories.

We did I think four tone meetings for one and three and were really drilling down on it. That’s what we were doing for all the prep. Then I covered for one and three. Then Ashley Michael and Patrick did two. She covered me when I was directing. She also covered four and five. I would prep while they were covering. We basically just did that until we lost time, and now we’re here.

Meriwether: I always think a writer on set though… What I always found was so amazing about it was that they had this breadth of knowledge. They knew what every joke was supposed to be and why it was there. To me it was like this person who could speak to the choices that we had made in the writer’s room. I did feel that the lack of that and not having the right answer-

Hannah: It’s like an encyclopedia.

Meriwether: It’s an encyclopedia of what happened in the writers room, which I think is really important. Similarly, because of the situation, I had I think marathon tone meetings that Showalter I think is still scarred from. I think we were averaging about four hours an episode, which is pretty embarrassing.

Hannah: Yeah, but detailed. Very detailed.

Meriwether: I felt like I was just going to have to say everything. It actually did help I think in the end. A lot of rewrites came from the tone meeting, of just talking stuff through. I wasn’t actually doing that much rewriting on set, which was really helpful. I went into production not having written… I had a first draft of Seven, and I had not written Eight at all. I don’t recommend that.

Hannah: Having to write Eight while we were in production was brutal. This was the first time I was a director and I was covered on set, which was a fascinating experience. I was like, “I’ll be fine. I don’t need a writer to cover me. Of the two, I wrote one of them. It’ll be fine.” Then I got three days into production and I turned to Brittany and I was like, “I think I need Ashley Michael to come back.” She was like, “She’s coming back on Friday.”

Meriwether: You need it.

Hannah: It sounds silly, because it’s like, you wrote the episode, you’re a showrunner, why do you need a writer there. It’s because as the director, you’re not thinking about it.

Meriwether: Story.

Hannah: I don’t want to rewrite while I’m also trying to convey to an actor what the interpretation of the material is. I don’t want to have to figure out why the scene is not working in real life when it worked on the page while we have 10 hours to shoot, and then also having a producer on set. That’s the other thing. I was the producer on set when I wasn’t just the writer on set. There were things that would happen that I was like, I as the writer and director now cannot be the producer. You can’t wear all of the hats at once, as much as you want to. I was extraordinarily pregnant at that point and barely mobile. If anything, it doubled down the need for writers to be on set, for features, for TV, for everything. It’s just having another set of eyes is the best gift you could have. I don’t know why you wouldn’t want it.

John: A couple of terms that have come up here that I wanted to make sure we’re talking through. A tone meeting for the two of you is really walking through the script with director or other important department heads in terms of this is what’s happening in the scene, this is what it needs to be, make sure you’re not getting the wrong version of the scene at the end of the day. What else is important to cover in a tone meeting?

Hannah: Any questions they have for anything they don’t understand. The first tone meeting is usually when you get a lot of the notes from them. We did multiple tone meetings for every episode, just because it was just a bananas show and there was a lot that was confusing about it. We would do that. Then it’s really like you go through every line of dialog, every choice a character makes, every moment of the show.

Meriwether: It’s supposed to be your chance to talk to the director. In an ideal world, it’s like this is your version of communicating to the director how you would want it directed, I guess. On New Girl, once we were in production, the tone meeting unfortunately became my first real actually engaging with the director on an episode. A lot of the times our amazing line producer, Erin O’Malley, got the rhythm of that and would try to… While she was prepping with the director, she would know that things would pop up, and she’d text me like, “He’s doing this,” or, “She’s doing,” whatever, because there were certainly times when we’d get to tone meeting and I’d be like, “Wait, that’s completely [inaudible 00:49:24].”

Usually, the tone meetings are set for the Friday before we start shooting on Monday when you’re doing network. That’s too late to make big, big changes. I was trying to get ahead of that. We started calling them pre-tone meetings. They were taking so long that they just became the tone meeting, because nobody was going to do a pre-tone meeting and a tone meeting. All of the designers started listening in, just because so much comes up. For us in The Dropout, it became a concept meeting and a tone meeting, where it was talking through what everything was going to be. Television is supposed to be pretty organized with meetings and production and stuff. I think doing limited series, people are making different rules and what works for them a little bit more.

John: You’re halfway between how a feature would do things and how a normal series would do things, because in both of your shows, you had some sets you could come back to. Were either of your shows block shot or did you shoot episode by episode?

Hannah: Yeah.

Meriwether: Yeah.

John: You were block shooting. Defining terms, in block shooting you can group together all of an actor’s scenes or all of a set that you’re going to use that appears in multiple episodes, so you can efficiently shoot that out and then move on to the next thing. It’s always a question of how to best manage that time.

Meriwether: I’ve never done that before, because for network you don’t really block shoot, because the stuff is just not ready with enough time to block shoot. We block shot The Dropout Episodes 1-4.

John: Wow.

Meriwether: Repping for four drama episodes at the same time, it was like… I couldn’t-

Hannah: When you told me that, because you sent me a photo of old white guys in August, and I was like, “You guys are already on Episode 4?” You were like, “We’re block shooting four episodes.” I was like, “That’s terrible.” What a nightmare. I can’t believe you guys did that.

Meriwether: Keeping it all in your head where you’re like, “Wait, that’s a scene in Episode 4,” it’s just… Then after that we did two. It’s two at a time.

Hannah: We did two at a time, and then we had two solos. Two and Eight were single episodes.

John: Generally, in block shooting you have the same director and cinematographer who’d be working on those things so they could collaborate on that.

Hannah: We had an AV team swap it, going back and forth. Just going back to the tone meeting really quick, because I also toned Six and Seven with Patrick, which was a funny experience to… When you have a co-showrunner, there’s also a funny experience. It’s like who’s going to blink first on what they want to say the scene is about, to see if they’re wrong, because he and I would split scenes and then we’d do passes on each other’s scenes. I think with Seven, we were talking about something, and we were just like, “What do you think this should be about? How should we do this?” It’s fun. It’s a fun experience I encourage everybody to do.

John: That’s nice. Let’s wrap up this conversation and talk about stories based on true events, where these people are still alive. These are people who could come after the studio producers and stuff. At what point were there conversations with legal departments about these are things we can do and things that we can say or can’t say?

Hannah: Constant. All the time.

Meriwether: All the time.

John: You’re going to have to make choices about how you’re portraying these events. There’s certain things which are going to be easily, factually documentable. These text messages happened or didn’t happen. There’s going to be things that you are inventing because you’re inventing a show. At what stage did legal get involved? How early did it happen? How much was it a factor in the story you ended up being able to tell? Let’s start with Girl From Plainville. Obviously, the trial happened. There’s documentation about a lot of stuff. As I watch the show, there is an opening credit thing saying this is based on real events but they’re fictional things. What was the conversation?

Hannah: The short conversation is that we talked to legal I think before we even sold the show. We talked to legal when we were writing the pilot. There were a number of things, not the least of which was Glee, that we knew had to be in the show. We didn’t get the okay to use Glee until three weeks before the show premiered, four weeks before the show premiered.

John: Wow.

Hannah: There was a lot that there were plan B’s on. That was a constant conversation.

Meriwether: That’s crazy. Sorry.

Hannah: We had the okay to do Make You Feel My Love when we shot it. We reshot that in December. That was originally shot with the way that you could cut basically seeing Glee out or only use fair use, which was about three to five seconds, and then you really get into it and it’s two and a half seconds, which meant nothing. We had that version. It just did not work. The whole point was to see it. Patrick spoke to our partners at Hulu. Then we all got on the phone with everybody and were like, “We want to re-shoot it, but we don’t want to re-shoot it unless we can use Glee.” We got that. We were in our last week of shooting. It was early December probably. Then we didn’t get the rights to do the rest of Glee until right before it premiered. We were constantly talking to legal.

Then because we had the text messages, the one thing I really learned from The Dropout that I brought onto this show was having a dedicated researcher, hiring somebody specifically to be a researcher, because there was so much more than even we thought we would need to know in The Dropout and then very quickly realized… I have no idea what microfluidics still is. I think once, I could write a sentence about it and it maybe was accurate, but it’s gone now.

Meriwether: Tiny fluids.

Hannah: I know that, but how they work.

John: Teeny, tiny fluids.

Hannah: We had somebody draw a diagram of the box for us on a whiteboard, because we did not understand it. By the way, it didn’t work, so there’s a reason we didn’t understand it. It was very confusing to us. I hired a dedicated researcher named Patrick Murphy, who’s incredible. He came on very soon at the beginning and made all the text messages searchable for us and made them consumable so that it wasn’t just like literally scrolling through text. Then that was given to our lawyers at the studio so that they could vet every script. Every text message conversation in the show is either exactly the conversation they had or paraphrased for time or they were like, “Heart you,” things like that. It was constant. Then we changed the names of anybody who was underage during the show, except for Conrad in the show.

Meriwether: I obviously never worked with a lawyer on anything that I’d ever written.

John: New Girl wasn’t going to liable anybody. New Girl was happy reality-esque.

Meriwether: It was interesting, because I think at first I was really thrown by it. I think that we started having conversations with legal as soon as we started turning material in. Hannah was there for a lot of it. It was just so exhaustive and just every tiny thing and our amazing writers assistants and script coordinators having to answer a lot of these legal emails and things with our research and being able to-

Hannah: Annotations.

Meriwether: Back it up and annotations, yeah. I think at a certain point, I started really appreciating the conversation. I started thinking about it like it’s keeping you honest in many ways. As a writer you can get really caught up in the story and just trying to tell it in the best way that you think. Often, the real story has nuances and gray areas and just contradictions that are interesting. I think it definitely was frustrating at times. Then other times I feel like it veered us in better directions than it would’ve otherwise. The other thing about legal notes is sometimes they sound really big. They sound really global. There’s really scary legal language where it’s like defamation and all this. Then when you get down to it, it’s like, can you change this glass to a plastic cup?

Hannah: I was going to say.

Meriwether: That was one particular example of that.

Hannah: It’s still one of my favorite legal conversations to use as an example in the room, where I’m like, “When you get this note, this is how you can do it,” which is there’s a scene in the show where… It’s in the trailer, but I don’t think it’s in the show, which is funny. Sunny was going to throw a glass at Elizabeth, and it was the green juice, and it shattered down the hall. It was a 20, 30-minute conversation about this glass and what it could mean.

John: A glass that shattered could be dangerous, whereas a plastic cup is not.

Hannah: Yes. Meriwether was like, “What if it’s plastic?” They were like, “Yeah, totally, that would work.” We were like, “That’s 20 minutes of our lives that we’ll never get back.” Again, it makes sense, and you know why they’re doing it. They’re doing their job. That’s why they have their job, and I don’t. When you break it down to that minimal of a thing and you’re very stressed out about being sued, it’s…

Meriwether: Beyond being stressed out about being sued, I felt, and I’m sure Hannah felt this too, just an enormous responsibility. I thought about it constantly. It was something that I was constantly worried about.

John: Meriwether, there’s legal and there’s ethical. You were telling a story, and some of these people will not have their own chance to tell the story, so you’re going to be the public representation of what they were thinking, what they were doing. I think your show, Hannah, about the ethical and moral responsibilities of portraying teen suicide… While there’s a warning card and there’s all this stuff and there’s resources available, it must have been a constant discussion about how are we going to responsibly portray this real thing that happened in a way that’s interesting but that’s not going to be glamorizing. What were some of the conversations you had about that? Who else did you involve in those conversations?

Hannah: There was a lot of conversation about that before we even agreed to do the show, because it was like, “Is this the right thing to do? Does this need to exist?” Ultimately, I do think it does, again, for what we were talking about. I think it can hopefully be additive to a conversation about the three-dimensionality of mental health, that mental health is health and we should talk about it, and that I think with Coco in particular, and to some extent Michelle, that his suicide was so abrupt and shocking to his family, and who he was with Michelle was not the person that he was with everyone else, and that also he had a really good day the day before he died, or he had a really good morning the day of his death, and that suicidal ideation and depression is not a contiguous line. It’s not a straight line. It’s a roller coaster. You get flipped upside down. You go backwards and forwards. I think that not just expecting somebody who’s depressed to present as depressed I think was a conversation that we’ve been having for a long time and was something that I thought… I thought that this show could help be additive in that conversation, in that depiction.

Also, I’m not a mental health worker. I don’t have any experience in that. We brought on the American Foundation for Suicide Prevention, which was the foundation we’d worked with on Bright Places as well. Their team read every outline and read every script. They watched the cuts. They were extremely additive in avoiding triggers or being aware of triggers. There were certain things. Conrad dies by suicide in the show. That was something that obviously is going to have to happen in the show. Being able to tell that in a way that doesn’t feel grotesque or gratuitous or horrific or any of those things was extremely important to us, that we were telling responsibly.

Meriwether: I thought you did that so well in the pilot with them-

Hannah: Thank you.

Meriwether: …discovering his body. I love that the camera stayed on the police officer and that you just were getting the information that you needed from… I think there’s obviously a lot that is done in the writing, but it should be such a conversation with the director and how things are being shot and the way that they’re being represented.

Hannah: I think all of our directors met with AFSP to have those conversations as well. That in particular was something that we talked to them about was how to show… We never show his body on the show in that way. Obviously, we have images of it or glimpses of it. That was quite gratuitous to me in particular, and to Patrick. We didn’t want to do that.

Something that I learned on the show that I never knew before, and I’d made a movie that dealt with similar issues, was that the terminology or the phrasing of it is died by suicide, because committed puts the blame and onus on the person who’s suffering. That depression that leads to suicide is like cancer. That is like taking the blame off of that person, which for me was a revelation and was really honestly that very small, which was in our very first conversation with AFSP, that very small… They corrected me. They were like, “Hey, just so you know, this is how we talk about it.” That really actually opened up the whole conversation of Conrad’s journey and trying to be respectful.

I absolutely live in fear that the thing I don’t want to do is ever make somebody feel not seen because of the show or because of something that we were trying to say and feel ignored or that we did something salacious or anything like that. We really actively tried to avoid that at all times.

John: Even thinking about that moment where the body is discovered, we stay with Norbert Leo Butz’s character, who calls to say there’s yellow tape everywhere, doesn’t even say that it’s death. It’s just that it’s about the moment or the situation and not the evaluation of what’s happened there.

Hannah: Going to what Meriwether said, that’s actually what Co said to Lynn. In that truth is stranger than fiction or more emotional than fiction, everything that happens in the pilot is something that was sourced. A lot of the conversation were things that we got from court transcripts or interviews. Jesse Barron had done a lot of interviews and had a lot of material that couldn’t make it into the Esquire article that we had. Lynn in particular for me is somebody that I felt an enormous amount of responsibility for, in telling her story. She was actually the reason I leaned into the show in a lot of ways. I love her. I think she’s such a fascinating woman. The way she speaks is so eloquent. What she’s gone through is horrific. I feel a real responsibility, of course.

John: Great. Now, we’ve had a long conversation about some of the shows you’ve made. I don’t think we have time to do a big deep dive on how these other things could be a movie. I want to hit the headlines here. We’ll put links in the show notes for what we were going to talk about more fully. Maybe we can vote on which of these three things is most interesting for you guys to pitch as a future limited series.

The first one we want to talk through was Birds Aren’t Real, which is early 2017, Peter McIndoe was studying psychology at the University of Alabama, and he went to a protest, and he wanted to be a counter-protester, and he held up a sign called Birds Aren’t Real, which was just a joke. Then he became an improvver who was going on this whole big fake conspiracy about birds not being real. My teenage daughter loves it. I think it’s a great meme. Is there a story to be told about Birds Aren’t Real?

Hannah: Yes.

John: Either of our Lizzes, do you think there’s something to be made there?

Hannah: I’m trying to pull up the… Maybe I won’t, because it’s actually my One Cool Thing is this article, so I won’t say it. I would say that there’s something to be made about the society that does that, that we’re the society that two years ago one of the most famous NBA stars in the League is like, “The Earth is flat.” That’s where we’re at in our space.

Meriwether: I feel like it’s such an amazing story about young people too. That part of it really jumps out at me as just what it feels like to be a young person right now where you’re living in this absurd time and it coming out in that absurd way. That feels really funny to me. Or you lean in and you just do a documentary about how birds are real, as if you’re explaining birds to somebody.

Hannah: It’s the Pelican Brief. We actually watch the documentary.

John: We love it.

Meriwether: That’s such a dad joke.

Hannah: I know. You’re welcome. It happens though.

John: I do also love that he’s homeschooled and that he says that that’s a big part of how he has this feeling about… Being raised in the bubble of homeschooling and in a very Christian upbringing is interesting.

You’ve both made great series about young blonde women who are the center of a story in which mental health becomes a big thing. Let’s talk about the Britney Spears conservatorship and the end of the Britney Spears conservatorship. What is the series we might make about Britney Spears? One of the things we always are wrestling with when Craig’s on the show with us is where do you start and where do you end the story. Is there a story to be made about the conservatorship and her being trapped in this and breaking free of it? Do you start the story earlier? What kind of Britney Spears limited series would be interesting to make?

Hannah: I’m just laughing because I feel like I’m going to end up making this show, because Elle and I recently discovered I’ve only worked with blonde actresses in my career. I’m just going to make another blonde story.

Meriwether: The gaslighting part of it is really interesting to me. I think that the experience of realizing that you’re trapped in this thing… The story that really jumped out at me about all of it was the putting a bug in her room, that her dad put a bug in her room. Just the feeling of safety with the family and then slowly realizing that that family is against you I think is fascinating. I feel like that would be what I would focus on, as long as you could have a lot of big musical numbers, I guess.

Hannah: Obviously. The thing that makes me the saddest of that story is that Britney did need help. She needed help. She needed somebody to help her get out of a very dark place. They took advantage of her in that way. She still didn’t get help. That’s the part that ultimately is so tragic to me is that she didn’t get what was the only thing she needed. The way we talk about mental health, and particularly women, and maybe just because I had a baby, but postpartum…

The thing that sticks with me that she talked about was her sitting in that restaurant with her two kids because the paparazzi were outside, and nobody would help her. Everyone was making fun of her in that restaurant. That’s horrific. I’m not Britney Spears, and I could not imagine my child having a meltdown and everyone being horrible to me in a crowded place. I find that so tragic.

Meriwether: That’s interesting. Would you start the story there? It’s a rock and a hard place. She’s either going to be out in public on her own and totally under attack, or she’s going to be in her family where she thinks is safe, is actually-

Hannah: The complete opposite.

Meriwether: …against her. I think that’s fascinating. My agent who’s no longer my agent, early on when I started writing, I was talking to him about wanting to go to therapy. He was like, “No, don’t go to therapy. I need you to keep writing, keep making scripts.” He was joking, but I think that mindset of just keep producing, just keep producing, and nothing else-

Hannah: Don’t take care of yourself.

Meriwether: Yeah. That part of it’s interesting. I also love that in the Britney Spears story, that Instagram becomes this outlet for her is fascinating.

Hannah: I’m really into this. Should we do it?

John: By the time this episode comes out, you guys could start this up. I feel like the two of you together [inaudible 01:10:04].

Meriwether: I do think that question of would we need that-

John: Do we need it?

Meriwether: Her story has been taken from her so many times. It would be very interesting. At this point she needs to tell her own story, I feel.

John: Finally, MacKenzie Scott, so MacKenzie Bezos Scott. I only knew her as Jess Bezos’s ex-wife, who has been giving away all her money. I wasn’t clear on her backstory. She actually has a really interesting backstory. In some ways it reminds me of The Dropout, Elizabeth Holmes, in that she grew up with a lot of money, all the money went away. She struggled to get through her writing degree.

Meriwether: She had to leave high school because they couldn’t pay for her school, right?

John: Yeah, but then ends up becoming quite a good writer and then being with Jeff Bezos and helping him start Amazon. She was a much more interesting character. Now I have to say, she has dark hair, so that may just rule her out from Liz Hannah’s-

Meriwether: Oh, Jesus.

Hannah: Didn’t read the article because of that. I was like, “Ah.”

Meriwether: By the way, I did make a show with an actress with dark hair for a very long time.

John: Famously dark hair and bangs.

Hannah: Also, I just want to be clear that I’m a brunette, so let’s not make this a situation. I just think it’s funny. That’s all.

John: Is there a MacKenzie Bezos story to be told that is not set around Jeff Bezos? What are you thinking about her as a character at the center of a series? Is there a series to be made there? I’m not sure there is, but tell me what your instinct is.

Meriwether: I love that she’s given away $12 billion. I think about that all the time, just happening into so much money. I think I would start it in the middle of her marriage or the beginning of the end of the marriage and then just track the experience of getting divorced from the world’s richest man. Then she falls in love with a high school teacher, which I think is amazing, and then starts giving away… She’s given away more money than anybody else in the world, I think, if I remember.

Hannah: I think in that amount of time.

John: Meriwether, what you’re describing though is… I wonder whether you need to tell the actual real person’s story or if it’s just an interesting jumping-off place, because you could imagine a woman who gets divorced and ends up with a crazy amount of money. It doesn’t have to be billions, but just a crazy amount of money, and then falls in love with the chemistry teacher. That’s an interesting premise in and of itself, somebody who is so-

Hannah: I smell a rom-com.

John: I’m just wondering if it’s a Marry Me. I think there’s something more classically comedic about it.

Meriwether: That’s interesting. I don’t know. It’s such a marriage and a couple that I feel like people want to know about. That’s another interesting one, because she’s really, really private. I think it would have to be a question if you’d want to invade that privacy.

John: There’s also the possibility of where… Succession isn’t technically about the Murdochs.

Meriwether: That’s true.

John: It’s sort of about the Murdochs. Maybe you could do a show that’s not exactly them, but that high-profile divorce is at the center of it.

Meriwether: That’s a great idea.

John: I’ll sell that one. Divide the three [inaudible 01:13:20].

Meriwether: Ours is about Sydney Beers.

Hannah: I also can’t believe we’ve been talking for 90 minutes and Succession just got brought up, and neither of us were the ones that brought it up.

John: Hey. [Crosstalk 01:13:33].

Hannah: An interesting twist. Didn’t expect it. I love the idea that while Jeff Bezos and Elon Musk are both trying to buy Twitter and flying into outer space, she’s just writing checks for billions of dollars.

John: To the YMCA, yeah.

Hannah: It’s like the best way to get back on your asshole ex-husband is be a really good person and make him look even shittier. It’s kind of amazing.

Meriwether: I also think it’s amazing all she wanted to do was publish a book, and then she ends up in a relationship with the man who’s killing bookstores, and then she can’t sell her…

John: That irony is amazing.

Meriwether: Maybe you can do an insane First Wives Club with Melinda Gates. By the way, I do love true stories. I know there’s probably now too many of them and we’re going to go in a different direction. My dad is a journalist. I feel like there’s something interesting to me. I do get excited about them.

John: You were describing at the start of the conversation that you want people to tell you what the rules are, what the boundaries are. What’s nice about reality is there’s some boundaries there, and that does help [inaudible 01:14:42].

Meriwether: Having you repeat that back to me was like therapy. I’m like, oh yeah, I do like when people tell me what the rules are.

Hannah: I also think what you said about the interior life and that… Giving purpose to true story is I think the important thing. For me, it serves a purpose if you’re telling the interior story, and that can’t be told by journalists, or shouldn’t, or that’s not their job, as you said. I thought that was really smart. I’m also somebody who’s literally made a career doing true stories, and so I apologize. So sorry.

John: It’s come time for our One Cool Things on the show. I have two very related things. These are two AI-powered art generation tools. This is where you give them a prompt and they come back at you with just amazing artwork that has been generated by your prompt. One’s called Midjourney. The other one’s Dall-E. Let me see if I can share this in the Zoom so you guys can see. I’ll share a link here so you guys can see this. The thing I loved most about Dall-E was there’s an example of The Matrix if directed by Wes Anderson. That was the prompt.

Meriwether: Do I want that?

Hannah: That’s amazing.

Meriwether: I think I do. I think I do want that.

John: [Crosstalk 01:15:57].

Hannah: Is that Fantastic Mr. Fox?

John: Sort of, yeah.

Hannah: I was trying to think of, with some of these things, who’s the filmmaker or the storyteller to do the jumping-off point for that. There’s something interesting about a David Lynchian Birds Are Real story.

Meriwether: The whole thing is just a man in a room with a curtain behind him talking about birds.

Hannah: Or he controls all the birds in the world.

Meriwether: You could also do, Hannah… I’m sorry I’m still stuck on this.

Hannah: This is great.

Meriwether: You could do a bird as the main character talking about how it’s not real.

Hannah: He’s having a crisis.

John: A dissociative disorder.

Meriwether: This is amazing.

Hannah: What’s that movie where Amy Schumer thought she was like Emily Ratjkowski, that movie I Feel Pretty, but you do that with a bird, where a bird thinks he’s a human. Is that where we go? I feel like, guys, we’re set on this one. We’ve got a few shows and movies.

John: 100%. The concept art will all be generated by-

Hannah: I love this.

John: …these two great AI things, which are remarkable. Bart Simpson by Pablo Picasso is also fantastic. Literally, if a real person painted this, I would buy these paintings. I just think they’re terrific.

Hannah: These Spider-Man ones are dope.

Meriwether: This is awesome.

Hannah: I love this.

John: The same stuff’s coming for writing, which is scary, but also interesting. We’ll see where we’re at. Ten years from now I’ll be talking to the AI people who created the next-

Hannah: I know. People already think writers are expendable, so let’s just make a computer app to do it.

John: Hannah, do you have a One Cool Thing to share with us?

Hannah: I do. There’s this article in The Atlantic that I read yesterday that I saw people going around. If you haven’t read it, I really recommend it. Also, if I listened to it as a podcast, because now these… I love that you don’t have to read them, you can hear them. Why the Past 10 Years of American Life Have Been Uniquely Stupid by Jonathan Haidt. Strong recommend. It’s fascinating. The long and short of it is that social media’s the devil and none of us should be on it.

John: That feels right.

Hannah: I shared it on Instagram. It felt very weird.

John: Perfect.

Meriwether: Perfect spot for it.

John: Hypocrisy.

Hannah: I thought it was great. I thought it was exactly where it should live.

John: Meriwether, do you have a One Cool Thing to share with us?

Meriwether: I just recently re-watched, for the millionth time, Notorious, the Alfred Hitchcock movie. I just love it so much. That’s not super cutting edge. It’s definitely not AI-generated art. There’s this scene between Cary Grant and Ingrid Bergman. When I go back and rewatch things, I often just find myself on Wikipedia reading about it. I didn’t realize there’s a scene in the beginning where they’re kissing for so long. Apparently, they had to break up the kiss after two minutes, and then they would go back to kissing, because of the code. They weren’t allowed to kiss for longer than two minutes. If you watch it, they’re kissing and then they break apart and then they start kissing again, and then they break apart and then they start kissing again.

John: I feel like I’ve seen the movie, but a long time ago. I can’t even imagine two minutes of kissing. That just feels like that’s a long kiss.

Meriwether: Wait, it must’ve been shorter than that. I don’t know. I’m sorry, I’m misquoting it. It was definitely because of the code they had to keep breaking up the kissing.

John: That’s great.

Meriwether: It’s so hot. It always blows my mind.

John: Love it.

Meriwether: They’re not even allowed to open their mouth when they kiss each other. Most of it is them just smelling each other’s faces. You’re like, why is that the hottest thing?

John: I find characters who are about to touch, that’s the most tantalizing moment. When they actually touch, great.

Meriwether: The To Catch A Thief scene where… I obviously love Hitchcock. They’re watching fireworks. They’re not even touching. It’s Grace Kelly and Cary Grant watching fireworks. Maybe they were just all really beautiful. I don’t know. Anyway, I love that movie.

Hannah: I was going to say, it’s also Ingrid Bergman and Cary Grant. I would watch them-

Meriwether: That’s true.

John: Beautiful people.

Hannah: I think that’s a Hitchcock thing though, convincing you you’ve seen something that you haven’t and finding the tension in that.

John: Hitchcock would’ve been a great director for you guys’ show because he loved pretty blondes. He would’ve made a hell of a Dropout. Elizabeth Holmes and Hitchcock together, come on. She’s an icy blonde.

Meriwether: Can you imagine Hitchcock directing television? Can you imagine him sitting through a tone meeting?

John: No, I don’t think that would work especially well.

Meriwether: That was another thing in the Wikipedia page. There was a moment when Ingrid Bergman had one idea on set, and he loved her so much that he took the idea. It actually made it onto the Wikipedia page because actors were so-

John: It’s so remarkable.

Meriwether: …afraid to not speak in his presence. I don’t know.

John: That is our show for this week. Scriptnotes is produced by Megana Rao. It’s edited by Matthew Chilelli. Our outro this week is by Nico Mansy. If you have an outro, you can send us a link to ask@johnaugust.com. That’s also a place where you can send longer questions. For short questions on Twitter, Craig is @clmazin, I am @johnaugust. Are the two of you on Twitter?

Hannah: I am.

John: Talk about social media and the evils of social media.

Meriwether: I was hacked, and I never got back on.

John: Smart choice there, Meriwether. Hannah, where are you on Twitter?

Hannah: @itslizhannah, same on Instagram. I don’t have Twitter on my phone anymore, which feels like a real-

John: That’s smart.

Hannah: I became obsessive, and it needs to go away. I also sit around with a child now. I’m just scrolling. It’s doom scrolling constantly.

John: Not good.

Meriwether: Instead of following me on social media, watch that scene in Notorious.

John: That’s how you get the real, full Liz Meriwether experience.

Hannah: Read the article about how social media’s destroying our lives.

John: You can find the show notes for these episodes and all episodes at johnaugust.com. That’s also where you find transcripts and sign up for our weeklyish newsletter called Inneresting, which has lots of links to things about writing. We have T-shirts and hoodies. They’re great. You can find them at Cotton Bureau. You can sign up to become a Premium Member at scriptnotes.net, where you get all the back-episodes and Bonus Segments like the one we’re about to record on babies and having babies and being pregnant while making television programs. Liz Hannah and Liz Meriwether, absolute delight having you on the show. You are always welcome back any time, even without a new series.

Hannah: This was great.

Meriwether: What a dream.

Hannah: Thank you.

Meriwether: What a dream. Thank you.

[Bonus Segment]

John: Let’s talk about babies, because I think people who’ve listened to the show for a long time know that I absolutely adore babies. I’m obsessed with babies. If I could just be a part-time baby nurse, I would be delighted. Give me a baby. You guys have babies. Hannah, you were describing that during production you showed up to set and you found out you were pregnant and went through all of your pregnancy while there.

Hannah: I had an OB in Savannah. It was a bizarre experience.

Meriwether: Oh my goodness.

Hannah: Was it a thing? Did production know that you were pregnant? What were your choices there? What were the decisions?

Meriwether: I told my manager, our producing partner, who’s the EP that was on the ground with me. I told her four seconds after I told my husband. I told my assistant, because I was like, “I can’t tell… “ You’re not supposed to tell anybody until you’re 12 weeks. I think we started production, or we were close, it was a week out when I hit 12 weeks. Then I through it told a few people. I told Elle and I told our costume designer, Mirren, who I’ve worked with a number of times and love. I didn’t really tell anyone. I didn’t look pregnant, quote unquote, until the last week of production. I just looked like I was gaining production weight the whole time, which I also did, so that was fun.

Meriwether: That’s what we called the Peggy on Mad Men.

Hannah: I did the Peggy. I basically just pretended I was eating for two but only one.

Meriwether: By the way, it must be nice that you didn’t look pregnant. I wouldn’t know how that feels.

Hannah: I did, and now I still look like I’m pregnant, eight weeks after giving birth. That was actually fine. I really loved being pregnant. I was really happy that I had something that had to distract me from doom scrolling about pregnancy and what could happen and all of the horrific things that went through my mind of what could happen to my child, and then also had a distraction from the show.

I wasn’t necessarily able to, although I’m sure my partners just completely disagree, take it too seriously. I took it seriously enough in that it was my job and I wanted it to be as good as it could, but I was also like, “I have a baby, and that feels really important.” It didn’t become all-consuming until we were… We were in post while we were doing the show, but we were in post for the last four episodes, five episodes when we got back. Then I was eight, nine and a half months pregnant doing post, and that was really brutal. I had amazing partners. I only did one conference call from the hospital after giving birth.

John: Now, Meriwether, you were in the same boat. You were pregnant during production.

Meriwether: Yeah. It was my second baby. For my first baby, I was also pregnant and… It’s a very common experience. I don’t believe in the don’t tell people until 12 weeks, as somebody who’s had a miscarriage, because I feel like if you want to tell people right away and then you have a miscarriage, people also need to know that.

Hannah: Absolutely.

Meriwether: It’s really important, unless you just don’t want to share. Then that’s also fine. I guess I just feel like the rule about don’t tell people until after 12 weeks is just to preserve other people, not to help you.

Hannah: I think for me it was my superstition of being very jinxy. It was like, “If I tell people, then something will go wrong,” which that’s not true. My husband also wore the same clothes during the March Madness, because we kept winning, which I’m sure affected the game. I agree. I think it’s normalizing all of that.

Meriwether: In a strange way, Zoom helped a lot, because it wasn’t immediately apparent that I was pregnant. I think it’s obviously totally unspoken at this point because people have been drained, but there is that feeling of, oh no, is this going to mean that we can’t… I got pregnant when we were in this real transition moment with the project. There was definitely a feeling of, is this going to mean the end of this, because we’re not going to have her focus?

I did a lot of overcompensating of just like, “I’m going to hire a million nannies.” I wish that wasn’t the go-to thing. I obviously completely believe in family leave, and it’s so important. It’s just really hard with production, because when it… The Dropout, we’d been sitting waiting for a year. Then when they tell you it’s time, there’s really nothing you can do. You just have to take each day at a time and listen to yourself and think the thing that you’re doing is really important, but also taking care of yourself is really important and just having to check in with yourself a lot.

I think for me I don’t like being pregnant. I am not overly fond of infants, because I feel it’s sort of just terror. Then it started being fun later on when it wasn’t just pure terror. I think having something else to do, having something else to think about I think was really helpful for me. I will say for certain I think male executives, if you’re in a fight with them and then you just start rubbing your pregnant belly, sometimes you win arguments that you shouldn’t win, because there’s a Mother Earth goddess over here. I definitely think sometimes it works in your favor.

Hannah: I definitely also didn’t, I think, give enough credit to… I thought people would think I was a burden, or similarly, I couldn’t do my job, just because I think that’s what’s ingrained in all of us, whereas my assistant knew from the beginning and was amazing, and then our crafty women found out, because I just kept eating constantly, and they were like, “Is she okay?” They literally took care of me the entire time in production. They kept it a secret until I was ready to tell people or until I started to show. Then they would check on me all day every day. They were like my mothers on set. These were two women who I’d never met until we went to Savannah. The community of women and parents, I wouldn’t say it was even gender-specific, I would just say of parents on the show that took care of me, was really remarkable. I didn’t necessarily expect that. Yes, there were times that I was hysterically crying. I was like, “Guys, I’m fine. This is just a thing that’s going to happen, and move on. I’m not as sad as I could feel right now.” I think that was really something that I had never anticipated was the open arms of people taking care of me on that. Even in arguments on set, it was I think a little more subdued.

The first three months I was so stressed out and so freaked out about the show and so freaked out about being pregnant, I really did think I was going to lose the baby, because I was not in a good place. I held that in for a really long time. Talking about it, going to what you were saying, Meriwether, freed me up to start preemptively dealing with all of the emotions I was dealing with.

Meriwether: It’s tough, because in an ideal world, aka Europe, there’s help. There’s help built in to being a citizen of that country and just getting childcare. I just said in my answer, I’m going to hire a bunch of nannies, which was sort of a joke, but I can afford that. It was absolutely crucial to me being able to do this show. I wonder if there’s some way to build that in. I don’t want to say studios should have to pay for… It’s absolutely a necessary thing that you need, and I would not be able to do it without… I had a baby nurse and a nanny, because I have two kids. I don’t know. I think that’s really important and sometimes gets left out of the conversation. It’s just like, oh she was pregnant and she did the show. It’s like, no, I had an enormous amount of help that I was paying.

Hannah: I love that Melanie Lynskey thanked her nanny when she won a Craig’s Choice Award. I got so emotional seeing that, because I have a night nurse for my son. I literally could not function as a human, nor do my job. I released the show two weeks after I gave birth. I could not do that without help. My husband couldn’t do it on his own. My husband is super involved, but I don’t know how we could do all of that. There’s an enormous amount of privilege in me being able to say that sentence, the fact that I was able to do anything because I could afford a night nurse, or I can get sleep because of that. I can make choices about my life because of it. I can continue to work. There’s an enormous amount of privilege that is very unfair in I think how we deal with children.

Meriwether: The other thing I would say is also postpartum. I think that’s also hugely important. When we shot the Bless This Mess pilot, I was pumping, and I had to pump in an actual barn where we were shooting, near cows, real cows. That was a low point. A low point for my assistant was carrying that milk, I’m sure, back to the freezer. I think just the difficulty in the logistics of pumping and breastfeeding as it relates to production I think is something that isn’t talked about a lot. How do you make sure that there’s a place to pump on set for people who need it?

John: We had Jack Thorne on the podcast recently. He was talking about disability access for members of crew. I don’t want to medicalize or fragilize pregnancy, which is such an incredibly common thing, but it feels like those accommodations and accessibility for people who need to pump breast milk or just have a place to sit down because they need to be able to sit down, it feels like it’s part of the same conversations, like how do you make sure that-

Meriwether: Yes, humans.

John: …sets are designed for everybody who needs to be there and who can be there, because otherwise people are going to get excluded. You guys were running the shows. They had to figure out ways to accommodate you. If you weren’t, it would’ve been tougher. There wouldn’t have been the same-

Meriwether: Absolutely. It’s infuriating. It’s totally infuriating. You’re right, it’s not just pregnancy. It’s just accepting that people working on shows, on sets, are human beings, and writers rooms too.

Hannah: I’m going to shout out my dad. My dad’s a designer, and he wrote a book called Access By Design 30 years ago, which is about not having disability access, but having just access for humanity. You don’t have stairs and a ramp. You just have a ramp, because people who are able to walk on two legs can walk up a ramp. We don’t need stairs to differentiate. Having door handles that everyone can use rather than specifically calling out somebody who can’t use it. That to me is something of just like we don’t have to have the pod where I go in and do this thing. We just should have it all be accessible at all times to whatever any individual’s need is, because nobody’s the same. Sorry I cut you off, Meriwether, but what you were talking about with writers room I agree with.

Meriwether: The short seasons of these streaming shows are also not conducive to women taking leave. That’s another thing that’s complicated, because on New Girl people were able to go away for a month or two and come back. When I first started New Girl, a male writer came to me and was like, “My wife’s having a baby.” My showrunners, who are great men, but they were just telling me how things work, and they were like, “He gets a week off.” I was like, “Okay.” I to my dying day regret it, but I was like, “Okay, you get a week off.”

I think that mentality, like this is how it’s always been done, if you take any more than that you’re being overly precious about it, is totally wrong. I also understand the difficulty of shorter seasons where you’re like, if I take a month off, I’m missing half of the room or something. It’s all a bit complicated. If you want to put it in purely cynical terms, that’s how people do their best work. If you want good shows, if you want good content, make the experience pleasant and livable. It took me a while to learn that, by the way. I really had to figure that out.

Hannah: I also think shorter order and limited series, because at least with ongoing series you have a hiatus of some kind and there’s some consistency. If you get more seasons you know [inaudible 01:35:51]. Limiteds you can just stack on top of each other. They can be happening any time. Patrick, like I said, was doing Death and Plainville at the same time. He had done another show before that. He has a family and was basically gone from his family for three years. Though there’s a benefit, I creatively really enjoy doing limiteds, because I feel like I’m able to express everything in a short span. I get to take risks and do some things that I wouldn’t necessarily have the opportunity to do and something ongoing. I also think there’s benefits of things that are ongoing that you don’t have on limiteds. I think for me it was baby steps. It was like I’ll do a 2-hour and then an 8-hour and then I’ll be okay maybe doing 13.

That I think is really an expectation now in this industry, particularly with showrunners that are experienced in doing limiteds, is that you just have the next one lined up and you’re ready to go. It’s really, really, really hard. It’s the hardest thing I have ever professionally done was make this show, and regardless of having a child, need a break, but then I also was pregnant and had a child and my maternity leave was my quote unquote vacation, which FYI it’s not. Also, there’s not really a maternity leave.

Meriwether: You didn’t think it was a… I had the time of my life.

Hannah: I’ve been sipping Mai Tais and just waving at my child from afar because he’s perfect. My husband just texted me and he’s like, “How’s it going?” because he’s losing his shit.

Meriwether: I know, I have to go put my kids to bed.

John: We can wrap this up. Thank you so much for this conversation on babies. We’ll circle back in 10 years and see whether the industry’s improved how we handle pregnancy and babies.

Hannah: I don’t think so.

John: There’s no way to say anymore.

Hannah: We may have the David Lynchian Birds Aren’t Real show.

Meriwether: I would like to see that.

John: We’ll follow up.

Meriwether: Thank you so much.

John: Thanks.

Hannah: Bye.

John: Bye.

Links:

  • The Dropout on Hulu and The Dropout Podcast
  • The Girl from Plainville Show and the Esquire article by Jesse Barron
  • Liz Meriwether
  • Liz Hannah on Twitter
  • Why the Past 10 Years of American Life Have Been Uniquely Stupid by Jonathan Haidt for the Atlantic
  • Notorious Alfred Hitchcock Film
  • AI art – MidJourney and Dall-E
  • Get a Scriptnotes T-shirt!
  • Gift a Scriptnotes Subscription or treat yourself to a premium subscription!
  • Craig Mazin on Twitter
  • John August on Twitter
  • John on Instagram
  • Outro by Nico Mansy (send us yours!)
  • Scriptnotes is produced by Megana Rao and edited by Matthew Chilelli.

Email us at ask@johnaugust.com

You can download the episode here.

Scriptnotes, Episode 547: Good Energy, Transcript

June 1, 2022 Scriptnotes Transcript

The original post for this episode can be found [here](https://johnaugust.com/2022/good-energy).

**John August:** Hello and welcome. My name is John August, and this is Episode 547 of Scriptnotes, a podcast about screenwriting and things that are interesting screenwriters.

Today on the show, we live on a planet experiencing climate change, yet the stories we tell tend to ignore this uncomfortable fact. We’ll look at ways writers can address that with two of the folks behind a new campaign to put some good energy out there. In our Bonus Segment for Premium Members, we’ll talk about how you ask for money, be that for making a movie or for launching a campaign to save the planet.

First, producer Megana Rao is here, and we have some follow-up to get through. Megana, what stuff has come in through the mailbox that we need to address on this podcast?

**Megana Rao:** Tony wrote in regarding Episode 545, the nuclear episode. He recommended this great film about Stanislav Petrov, The Man Who Saved the World. I’ll include a link in the show notes.

**John:** This had come up as like, oh, someone should make a movie about Stanislav Petrov, who’s the Russian who did not start a nuclear war. I said on the thing, “We don’t do movies about people who didn’t do things.”

**Megana:** Exactly.

**John:** Who stood in the way of things. I looked through the trailer of it, because it says, oh, all these famous people are in this. Wow. How did I never hear about this? It’s a documentary that has reenactment footage in it. It’s a hybrid in between, but it’s not a full-on normal feature.

**Megana:** Scripted, exactly.

**John:** We’ll put a link in the show notes for that. What else have we got?

**Megana:** In Episode 530, Jack Thorne introduced us to the 1in4 Coalition, which is an organization that focuses on accommodations for disabilities in the UK entertainment industry.

**John:** That’s right. He was talking to us about simple things like bathrooms that are accessible for everybody and making sure that there’s a person on set whose responsibility it is to really focus on making sure that people can do their jobs and that there’s nothing holding them back because of accessibility issues. They’ve made some good progress in the UK based on his speeches and other people doing work on the ground.

**Megana:** Absolutely. Then the Inevitable Foundation, which is the American equivalent of that 1in4 Coalition, just released an accommodations report this week. They created a calculator to look at the cost of what it would actually cost production to have X percentage of disabled people on their sets or in their writers room. One of their missions is that they want to close the disability gap between real life and film and television, because disabled people make up over 20% of the population, but represent less than 1% of writers behind the screen. They mostly focus on mid-level screenwriters. In this project they looked at two budgets. One was for a 24-week writers room. They looked at the cost if there were 25% disabled writers versus 100% disabled writers. Then they looked at a 20-week budget for a 10-episode show and then did the same thing and calculated the cost there.

**John:** Great. We’ll put a link in the show notes and to the report, and also to this Hollywood Reporter article which does a good job of walking through it. This is Richie Siegel and Marisa, who you and I had actually spoken with before, because I did a little thing with them for the Inevitable Foundation.

One of the things that’s interesting is they’re putting some real numbers on what those costs would be, because I think sometimes you’re scared to walk into those conversations. It’s like, “Oh my god, it’s going to be so expensive.” What I like about the report is they’re focusing on some of the really small things. It could just be adjustable chairs for different height people. That is a simple thing. Some things are more expensive like ASL interpreters for a thing. Also, it scales differently with how many people need that thing on your set. If you need an ASL interpreter for one person, that can scale up to more than that one person. It helps the whole production when you have that stuff figured out in advance. Some of the costs really weren’t that big. I think the percentage cost for those writer rooms, it was sometimes 1% to 12%, but it wasn’t a crazy, crazy number. Compared to the things we spend money on in Hollywood, it was not a huge number.

**Megana:** Totally. They break down all of the costs in this really easy-to-read way that feels so obvious, like some of the things that they’re asking for are $4. It also brings up that I think when you are someone who is lower level on a production or it’s your first day at work, you’re like, “Who do I ask for these things?” It can be so uncomfortable to ask for really small things that might make going to the bathroom easier.

**John:** That’s what I think Jack Thorne was really emphasizing, I think, in their report. They were talking about having trained disability coordinator people, so that you know there’s a person you can go to to ask for that thing, so you’re not the person who has to go ask the producer for the thing. You can go to the specific person, just the same way we have a COVID testing coordinator and we have intimacy coordinators. There’s a person whose job it is to really think about that for the production, and so it doesn’t fall on the line producer or some other job.

**Megana:** In the report they survey 35 artists, writers, directors, showrunners, actors, and the combined projects that those people have worked on are 600 productions. Something that I was so struck by is that productions are spending money on accommodations to make things more accessible, but it seems like the people that they’re trying to help are being left out of those conversations. In one example, the production had hired an ASL interpreter, but this person actually didn’t-

**John:** They learned ASL on YouTube. They were not actually qualified to be doing the job that they were trying to do.

**Megana:** Someone had Celiac’s disease and someone gave them a gluten-filled doughnut and lied to them about it. I was so surprised by, and I guess it makes sense, that it seems like the discomfort around dealing with people who are differently abled is preventing any sort of communication from happening, whereas it’s very normal for us to now ask, “Do you have any dietary restrictions?” I think it’s just a new way of framing how we approach people and set expectations before going into things.

**John:** That’s actually a good segue to framing expectations about how we are going to be working on sets and telling our stories as we transition to talking about climate. Maybe we’ll introduce our guests for this week. First, I’m going to introduce Anna Jane Joyner. She has been working for over 15 years in climate communication strategy and campaigning. Her work has been featured in Rolling Stone, Glamor, MTV, the Associated Press, New York Times, and more. Most recently, Anna Jane is the founder and director of Good Energy, which has released a playbook for how film and TV can welcome feature storylines on climate issues. Welcome, Anna Jane.

**Anna Jane Joyner:** Thank you so much for having me.

**John:** An absolute pleasure to be here. I saw you first at a presentation that happened this last week where you’re rolling out this big playbook, which is a big, giant event at the Academy Theater. I want to get into how this all came to be and where you’re at. Where are you at at this very moment? Just this past week, are you on a high? Are you trying to get your energy back? How are you feeling?

**Anna Jane:** Yeah, a combination. We’ve been working on the overall project for about three years, but on the playbook itself for a year. It was a whirlwind year. It felt very surreal to see it actually come to life and be out there in the world and have this great reception, both at the event at the Academy Museum, but also a lot of press around it and just general excitement, so definitely on a cloud.

**John:** We’re going to be putting a link so people can read it, but I really want to talk through some of the workable ideas from it on this podcast. To help us out with that, Quinn Emmett is a screenwriter, investor, father of three small humans. He also created Important, Not Important: Science for People Who Give A Shit, which is both a podcast and a newsletter. It covers science news, from climate to COVID, heat to hunger, agriculture to AI ethics. Quinn Emmett, I can’t believe you’re finally on the show. Welcome.

**Quinn Emmett:** I know. I was wondering how many times my wife would make the cut before I did. Then every time I think about that, I think you should just keep having my wife on the show probably.

**John:** Quinn’s wife is Dana Fox Emmett, who is one of my favorite humans in the world. I got to see her married off to you at a great celebration in Virginia many years ago.

**Quinn:** So long ago. So long ago. Thank you for having me. You are a mentor to me. I’m delighted to be here and to help Anna Jane any way I can.

**John:** The hook for this episode really is that this thing has just come out. Can you tell us what the playbook is, Anna Jane?

**Anna Jane:** It’s a playbook for screenwriting in the age of climate change, which is really just an array of both inspiration and information. It has all the classic things you would think of, information on impacts, the science, solutions, but all of it ties back to story itself, in screenwriting in particular. Then it has a lot of fun sections on characters and a cheat sheet, a lot on climate psychology, because obviously that’s very related to character development. It’s really just an array of both great information and tips, but also a lot of just inspiration and ideas that we hope people steal.

**John:** Now when Quinn first described it to me, I was expecting it to be a book or a pdf, some sort of physical printed document. While there is a small version of that, it’s mostly a website. If you go to goodenergystories.com, you’ll see all the stuff that you have built out. It’s a very elaborate array of… I think it’s designed so you can just fall into it and spend hours inside it, looking through stuff. Quinn, you’ve been writing about climate issues for all these years for Important, Not Important. How’d you get involved with it, and what was the hook for you?

**Quinn:** Time is a flat circle, and I don’t remember much. I don’t remember how I got roped into this/inserted myself, but I have been aware and so impressed by Anna Jane’s journey over the past decade and all the contributions she’s made to the movement, from her personal story to her greater effect in climate communications. I got into this because I was screenwriting, and mostly sci-fi and tech and things like that. I devised this fire hose of, hey, what’s the latest in science and tech and medicine and things like that. I realized a lot of my friends weren’t seeing that same news, folks who were interested in it. They were getting their news from Facebook, which turns out, not so great for everyone. That’s just what it’s been. It’s been this journey of, hey, how do I help people keep up with these things, but do something about it?

What Anna Jane was working on was such a bizarre intersection of my two jobs, which was it’s very difficult to keep up with what’s happening with this stuff to truly try and understand it, to decipher disinformation from what really matters, and if at all possible, to guess where we’re going, but more importantly, to really identify with the folks who were already being affected, whether by choice or not, and the folks that are working, as I like to say, on the front lines of the future, to do something about this, whether through mitigation or adaptation. There’s a million different ways. That’s people and stories and characters and struggles. Anna Jane said, “We need to build something so that the folks in Hollywood who have a hard enough time making movies and TV and all that can find ways to build the most important story of our time into the most prolific storytelling mediums of our time. I feel like what you built is just an incredible version of that.

**John:** Quinn, you’re trying to distinguish between news, which is information and facts, it’s a kind of storytelling, but it’s not the kind of storytelling that involves characters. Anna Jane, we often do a segment on this show called How Would This Be A Movie. Imagining you as a protagonist who’s building this organization, what is your character origin story? What gets you into doing this kind of work for 15 years?

**Anna Jane:** It’s a journey. I grew up in a conservative, evangelical community. My dad is a megachurch pastor, so definitely not who most people think of becoming a climate activist and communications guru. I went to UNC Chapel Hill, and I took environmental science, because it was supposed to be the easy science class, and learned about climate change. For me, the actual entry point was mountaintop removal coal mining, which is this kind of coal mining where they blow the tops off of mountains in Appalachia. I grew up in western North Carolina in the mountains, and then on the summers on the gulf coast of Alabama. That hit me in a very visceral, emotional, personal way just imagining the mountains near me being blown up and those communities being impacted. That’s what really got me into working on coal and environmental activism and climate.

A few years later, when I was the campaign director for a regional nonprofit in North Carolina, I was approached by Years of Living Dangerously, which is a Showtime documentary series on climate. They wanted to follow me trying to convince my dad that climate change is real for a year. We had a celebrity cohost, Ian Somerhalder. We spent a year trying to convince my dad, by introducing him to faith leaders who are climate leaders, but also some of the best climate scientists in the world. I intellectually understood the climate crisis and how severe it was, but when I did that, I was like, “Okay, I really need to read up on all of this and really immerse myself in the latest climate news.”

I was just listening to a TED Talk by David Roberts, who’s an amazing journalist. He just went through it in such a simple way, the climate crisis and the impacts. It just hit me. I just had this moment, I remember, where I was driving, where I really emotionally understood what we were up against, and from that moment on, knew that there was never anything else I could do. Also, working on Years of Living Dangerously introduced me to just the power of cinematic storytelling and the fact that we don’t have enough of it. That is what really turned me more. I was also passionate about climate stories. Growing up in religion is a masterclass in storytelling, so I knew the power of it. That’s what really got me into TV and film and thinking about how to portray it on screen.

**John:** Thinking about you as a protagonist, we always talk about a protagonist has to leave home and go on a journey and be transformed in this. Was it that speech that was the transforming moment or was it the first class that transformed you? What are the moments along the way that made you feel like, oh, this is what I meant to do, this is what scares me, maybe this is the cave I fear to enter that I must enter? What were those moments?

**Anna Jane:** That was definitely a big one, David Roberts. It showed you, if we’re at two degrees, this is the world, and six degrees, and just in this powerful, simple way, and that just showed how terrifying it was, frankly. It was a bet that somebody on Twitter had waged at him that he couldn’t talk about climate change in 11 minutes or explain it in 11 minutes. At the end he just said, “Your job, anyone who knows this, is to make the impossible possible. That is what we are up against. That’s all of our roles.” I really took that to heart. There’s that car moment listening to a TED Talk.

Then I would say the other piece is, so about six years ago I was working in New York for a company that was a B corporation, had a nonprofit climate arm, and we had a creative agency in-house. I got to do a bunch of my own documentaries and short films and work with a really amazing creative team. I decided to move back to the Gulf Coast of Alabama, which is where my mom’s family’s from. I had this romantic idea of, I’m going to move back to this place that my family’s been for five generations, that’s very sacred to me, that’s beautiful. It’s right on the water and is also on the front lines of climate change. My little town of 500 people is a peninsula, and it’s been called one of the most vulnerable places in the country to climate.

When I got down there, I was not anticipating the real trauma and stress of living on the front lines of climate changes. It’s now six months a year of hurricane season. It’s just every couple weeks, one of these starts forming, and you just have to stop everything you’re doing and prepare. It’s traumatic. It’s also morally complex, because you’re praying that it doesn’t hit you, but that means that it hits somebody else. Being down on the Gulf Coast has certainly brought climate home to me in a very, very personal way. I already had a lot of emotions and feelings about it, but it certainly upped that experience of just really profound grief and anxiety about how this is already impacting us.

**John:** Let’s talk about the emotions, because you said grief and anxiety, but also it sounds like this initial TED Talk was fear. Basically, they’re showing there’s a monster there and we have to fight this monster, yet the storytelling can’t only be about fear and grief and anxiety. There has to be positive things to talk about there as well, and hope and optimism and courage. As you’re trying to develop this playbook for people to be telling the stories in the space, how do you find those other emotions? I feel like the movies we’ve seen have always been about just doom. How do you key into those other things?

**Anna Jane:** I think you’re right. The tropes that we do see are the apocalypse and doom, or they’re a character who’s shaming another character about their plastic straws or SUV or what you, or they’re ecoterrorists. There’s a lot of those too. We would love to see some more versions of climate stories, which is really the purpose of the playbook is to expand that, and then you have possibilities. I have two feelings about it.

Dr. Britt Wray, who’s an expert on climate psychology and mental health, has this great line of thinking or quote that grief and anxiety isn’t inherently bad and hope isn’t inherently good. Grief and anxiety are pointing you toward something. She says this: climate, it’s not a pathology to feel anxiety about it. There’s a reason we feel anxiety about it. If you can really process that and turn towards doing something that this anxiety is pointing you towards doing, that is a really amazing transformation. Seeing characters go through that and really reckon with their difficult emotions around climate can very much not only help the writer process their own difficult emotions, but the audience as well. I really love those stories where the emotions show up and it’s hard and you see how people work through them and reckon with them. That’s a form of finding courage. A lot of great stories are that dark night and then you come out of it and then you find courage to go up against the impossible odds. I think that that’s huge.

Dr. Kate Marvel, who’s a climate scientist and was one of our advisors and wrote the climate science section. She’s also a beautiful essayist and storyteller. She has this great quote that we need courage, not hope to fight climate change. Re-framing it that way for me was just so powerful, because there are moments where it’s hard to find hope. It is a really big challenge. Even just what we’re already seeing with Hurricane Ida when it hit New Orleans last years, I just cried for two days. The Gulf Coast is going to change. There’s nothing we can do. For me, it’s more about finding courage, like how do we face this thing, which is such a lot of what stories are about. Everything from Star Wars to Lord of the Rings to the Jesus story is about going up against really big odds. I do think you can find hope. There’s definitely still hope. We can still avoid the apocalypse outcome for our children. No matter what direction we’re going toward scientifically, we can build a society that can actually take care of each other, so that as we’re going through these impacts and transformations of our physical world, we can still take care of each other.

**John:** Now, obviously, the actual changes need to happen. There are some individual changes, but there’s more societal changes, political changes. Those are the wheels that need to turn. You’re focusing on what Hollywood’s role is and what the storytelling can be. I want to take a moment to think back about what impact has Hollywood actually had over the years in social issues, and to what degree is it just reflecting things or to what degree is it actually moving the needle. At our meeting we were talking through trying to brainstorm what are examples of situations where Hollywood and film and TV actually did have an impact. One of the things I was thinking about was smoking. People used to smoke on screen. You just don’t see smoking on screen. Smoking numbers have gone down. I think that is related. I think there’s less smoking and it’s not perceived as being cool anymore. That’s an example.

A negative example, we see the CSI effect. Because everyone watches CSI shows, in which there’s perfect crime forensics, the expectation for juries is that there should be perfect crime forensics. It should be fast and easy, and there should be DNA tests for everything. It should be easy and infallible. There’s definitely an impact that Hollywood can have in terms of what Americans think is normal. I think you’re trying to move the needle in terms of what Americans are thinking about in terms of climate.

**Anna Jane:** Absolutely.

**John:** Quinn, help me think through some of these other examples of bigger issues. Designated drivers, that’s a thing that I think I see in movies a lot now and in TV shows. It’s not okay to be driving drunk. That’s one. Other examples that you can think of?

**Quinn:** You guys have covered… I don’t remember, it was sometime in the last 100 episodes. You talked about the portrayal of dark government and those sort of things and realizing, hey, it might not be okay to keep showing these sort of things with how little we trust institutions these days, for better or worse.

Also, the goal of this isn’t to put the onus completely on Hollywood. I think one of the things Anna Jane and I talked about a lot is it was really important, in the language and the tone and the vernacular, to not say, “You’re not doing a good enough job.” It was important for us to say, “We need you. You’re the best in the world at this. If there’s anything you can get out of this, if one line prompts you to include one line in your movie or TV or you have an entire show, entire movie, entire series you want to bring out of this, that’s great too,” because as Anna Jane was alluding to, 30,000 feet to come on down.

In the past 15 years or so, as we’ve scaled up solar and wind and batteries and things like that, we’ve actually gotten rid of a lot of the worst-case scenarios with these eight degrees of warming, seven, six, five, four. Just this week there’s a big article in Nature saying if every government fulfilled just their current pledges, which to be clear, aren’t that great, we can keep it under two degrees. Of course, that’s a big ask. That’s actually enormous. Every tenth of a degree really does matter. When you ask the question, okay, what is it going to require for those governments to do that, it’s going to require the kitchen sink, just like defeating smoking wasn’t just not showing people smoking on TV and movies anymore. It was the warning labels we put onto the packages. It was all the lawsuits. It was all those things. It was banning it in restaurants and all these different places.

The answer, and where I work a lot, is people saying, okay, this is all great, but what can I do? The best answer to that, usually, whether it’s COVID or climate or whatever it might be, is what can you do, John? What is the intersection of your interests and your skills, and then I’ll give you 70 different ways that are very measurable where you can have an impact. What Hollywood screenwriters, or if you live in the UK, wherever it might be, Bollywood, wherever it might be, what you do is so impactful and has such reach and can have such exponential impact. Any publicity is good publicity. Look what happened with Don’t Look Up. That matters so much.

Again, the onus isn’t you’re not doing well enough. It’s we need you because you do this one thing so well, while people like Kate Marvel, who’s again an incredible essayist but also one of our most impactful atmospheric scientists, all of these people are going to make a difference, and the impact that screenwriters can have, and showrunners and story editors and people who work below the line to build these worlds that writers imagine. Everyone can have such a substantial impact. If we can provide a tool for people to answer that question of what can I do, then that’s the least we can do. It just will help move the needle so much. The answer is we’ve made a lot of progress, and we can make so much more, but we need everybody on board.

**John:** Let’s focus on some of the smaller things and bigger things in terms of what screenwriters and TV writers can do to show impact of climate change and solutions to climate change on screen. We’ll put a link in the show notes to the page we’re talking through. This is Climate Solutions On-Screen. Anna Jane, can you talk us through just some of the simple things? Then we can also get into the bigger things. I know Norman Lear is involved in this organization as well. I think what he did with The Jeffersons, which was portraying a successful Black family on screen, and putting it in everyone’s living rooms, did have an impact. There could be as big a thing about a climate-centered series like Scott Burns is doing, or we also had Gloria Calderon Kellett on the show to talk about One Day At A Time and how she did little small things on the show, like if they’re on the roof, they’re going to show some solar panels. There’s bigger things and smaller things. Can you give us a sense, from this playbook of these smaller things that we could be looking at for our characters in existing shows or movies?

**Anna Jane:** Definitely. Lynn and Norman Lear have been great champions of seeing more climate on screen. You’re exactly right. We talk about it as a spectrum. On the smaller things are almost more the set dressing. If you’re showing a roof, show solar panels on it. If you have a kitchen scene, show an electric stove, not a gas stove. If you have a car scene, have an EV. When on set, don’t have single-use plastic in your scenes. Have a water bottle. Those are just the really easy things that almost any production could do.

**John:** Those are things you’re not even really acknowledging in the course of the scene. It’s just normal to see that there.

**Anna Jane:** We know that that works, because it’s worked with smoking and it’s worked with other issues and it normalizes these behaviors and makes them sexy, depending on the context. Of course, that’s what we want. We want to make these things really desirable and sexy. Then I think from there it’s talking about it just in passing. You’re seeing that show up more, just in shows where it’s an ongoing story that isn’t about climate, but the character brings it up in passing conversation. We know that that is powerful, because again, it normalizes talking about it.

There’s this really strange dynamic that’s happening in the country where now according to Yale’s most recent research, 75% of American adults are concerned about climate change, everything from cautious to deeply alarmed. The deeply alarmed is now the biggest American audience of all the audiences they study. It’s a really small percentage of people who ever talk about it in their normal, day-to-day lives. It’s creating this sensation of feeling very isolated and also like you’re being gaslit by the world, which how the characters in Don’t Look Up felt, like there’s a meteor headed towards us and nobody seems to care. We also consistently, according to research, underestimate how much those around us care about it. We think that we care more than the other people around us, but that’s not true.

Just having it come up in passing conversation for a character that you’re already attached to and a story that you’re already attached to is really, really powerful. Then I think we see the more in-depth engagements with shows like Years and Years, where it’s not focused on climate, but it’s a consistent theme that impacts the family and the story because it’s set in the future.

**John:** Let’s go back and take a look at that middle ground thing where it’s not just set dressing, but it’s coming up in conversation, because I think the classic example you go back to in terms of one character makes a comment and that changes the whole industry is Merlot. In the movie Sideways, Paul Giamatti has his tirade against Merlot, and it actually has a demonstrable impact on Merlot sales for decades afterwards. It literally changed what grapes are planted in California based on the result of that movie and people not buying Merlot. If you have characters you care about, who you believe would be saying this thing, but are voicing a concern about this thing or that thing or a preference of this over that, that could have a real impact if it’s the right show, the right message, the right timing of it. It’s being judicious when you’re doing that.

**Anna Jane:** It’s huge. Dr. Katharine Hayhoe, another amazing climate scientist, says that the number one thing that anyone can do about it is talk about it, is really being honest about the fact that this is impacting our lives and our psychology and our mental health and our physical environment. Having your characters do that I think also is just an honest portrayal of the world we’re living in now. If these characters were out there in the real world, it would be impacting their lives, and they would be thinking about it. Also, just for the impact on the audience, it really does a lot to normalize people’s own concerns and courage and thinking about it and saying it’s okay to be worried. These characters are also worried.

**John:** Choices in transportation feel like a really natural way to do that, because the choice of whether to get that bigger car, to get the smaller car, or to not get a car and use public transportation, those are things that are moments we can see on screen where characters are making choices. We can think about like, oh, what choice would I make if I were in that situation. You might make a different choice. Just because you see a bunch of big trucks around you, you might be the person who doesn’t get the big truck because of something that you saw on screen or a choice that someone else made that was different, because of a show you saw or a movie you saw.

**Quinn:** Going from the ground level back up, there’s some fascinating research that says the single most influential lever for why someone might get solar panels is whether their neighbor has them. That’s been measured a thousand times. We know that the biggest levers to pull, no question, are elections, legislation, and candidates who might be able to win races, that will vote for that sort of legislation that pulls a lever. We also know that that really doesn’t usually happen until it’s swelled from the ground up, until social norms have been changed, so when there’s been a paradigm shift.

If TV is like the friends that are in your living room every week or you’re binging them or whatever it might be or these big impactful movies, if we’re able to show those things more and more, whether it’s solar panels or a smaller car or it’s water issues or whatever it might be, that’s going to help build that. That’s going to help build it up to the point where it’s really tough for the folks who are in charge, who are able to have the biggest impact to ignore. Again, there’s a million different roles that people can play. When you ask, what can I do, it’s the same thing.

I reread Anne Lamott’s book Bird By Bird recently, which I love and I’ve dogeared a thousand times. It’s just these wonderful character questions like what do they dream about and what are they scared of and all this. It’s the same thing, just looking at your characters and going, “What can they do? How can they get involved in some way, whether it’s subtle or not?” The more you see that, the more you go, “That’s a job I didn’t know existed.”

**Anna Jane:** I think the way that we talk about it in the playbook is a climate lens, which is also just another generative, creative opportunity, thinking through how would this be impacting my story world, and my characters can open up all these new possibilities around plot and character development. I think that that’s exactly right. It’s just thinking through, if this character was alive in our world today, what would they be dreaming about, and how might they be engaging or thinking about this. Then I think Gloria Calderon Kellett at the event did such a good job of showing what that looks like in her show, where it’s a sitcom. It’s not about climate change, but one of the characters is really passionate about social justice issues. It was very natural to have that character dress up as Greta Thunberg for Halloween. There were some great jokes. It was funny. It totally worked for their characters and their story.

Then also talked to Scott Z. Burns, who just created an Apple Plus show that will come out I think next year, that’s heavily focused on climate. His co-showrunner and writer Dorothy Fortenberry has this great line that if climate isn’t in your story, then it’s science fiction. I think that that’s going to continue to be the case. In 10 years, if your characters aren’t acknowledging climate, it’s going to feel so outdated, because that is just going to increasingly impact our real lives and our real world.

**Quinn:** Now when I watch any show that is about an oncoming pandemic or something, or I see medical situations where people aren’t wearing masks, I’m like, “Put on your mask!” It feels really crazy. I love love love the show Station Eleven, but it started to be filmed before our pandemic. We see all these medical situations, and there’s a pandemic coming. I’m like, “Where are your masks?” It does feel like some sort of weird alt timeline universe that people are not acknowledging what we all know to be true.

**Anna Jane:** That was one of my favorite shows recently, because obviously it’s not a climate show but it does show how do these characters find beauty and joy in the midst of pretty harrowing circumstances. I think we need a lot more stories about that, around climate. That stuff can’t go away, as things continue to get more intense. We’re humans. We need stories. We need art. We need joy and beauty. Also, on the flip side, I was like, “This is set 15 years in the future. There’s a lot of climate change happening. They just don’t talk about it.” It would be so easy to just have thrown a little bit in there to acknowledge that their world is very changed.

**John:** We’d be focusing on the little things we can do or how the characters talk about it. Let’s zoom back out. There’s a page in your playbook called the Cheat sheet, which is bigger, broader things to be thinking about. One of the big frameworks you have for it is the climate crisis is here now. I think so often we talk about it as the day after tomorrow. We’re always jumping ahead 10 years like, “Oh, this is how bad it’s going to be,” and not acknowledging what you’re experiencing on the Gulf Coast, which is that it’s happening to you every day. There’s constant problems. The wolf’s not at the door. The wolf’s in the house. We have to deal with the wolf that’s in front of us.

Let’s talk through some of the other things in this cheat sheet, because there are things you might skip past but I think are important for us to be looking at. One of them is your idea of no shame, because I think so often it’s easy to think about, oh, they’re saying that, but then they’re also flying someplace, so they’re hypocrites. You have a quote there from Bill McKibben that says, “Everyone’s a climate hypocrite. The hypocrisy is the price of admission in this battle.” You to be doing this, you had to fly here to Los Angeles to do this presentation. You have an impact as well. That doesn’t negate the good that you’re doing.

**Anna Jane:** Yeah, it’s really huge. I think it’s actually an intentional narrative that’s been seeded by the fossil fuel industry, who very much understands the power of storytelling. They commissioned a movie glorifying oil in the 1950s. It’s intentional. BP actually coined the term carbon footprint, and it was very much to put the onus of guilt and shame on the individual instead of the systemic problems, the fossil fuel industry, the governments that are allowing this to happen.

I think that when we do shame each other over flying, plastic straws, what have you… In the Deep South some people need trucks. EV trucks haven’t become affordable. Shame is a very good emotion for shutting you down. It doesn’t provide a psychological mindset for moving into a place of agency and action. That’s a very intentional thing that was done by the fossil fuel industry. I encourage people not to play into that. It’s easy to fall into. It also tends to set up the character who does care as the nag, like a lot of the annoying neighbor bitching at you about your recycling. We want to show characters who care who you like, or you don’t like, but they’re somebody who’s fascinating and not just bitching at you, ideally.

**John:** I think one of the other tropes and expectations we get to is that character, that nag, is a white person who is going after you. One of the things that I see you doing in this is that you’re trying to really center Black and indigenous people in this conversation. You had Reverend Lennox Yearwood Jr., and one of the lines he said that I thought was so smartly crafted was, “From the front line to the fence line,” and really focusing on communities that are impacted by these things and centering them in the solution to it, and not just the victim of the problem.

**Anna Jane:** It’s huge. I think it’s very in line with a lot of representation and diversity conversations already happening in Hollywood. When it comes to climate, historically marginalized communities, largely BIPOC, are the ones who are near the fossil fuel industries that are poisoning air and water, Cancer Alley in Louisiana, largely Black communities. They’re also in the front lines. We see Standing Rock and all kinds of pipeline fights and fights against different fossil fuel infrastructure led by Black and indigenous leaders. It’s really important when we’re telling climate stories, those people are leading on the stories that they’re in.

**John:** There’s not a white savior who comes in-

**Anna Jane:** Exactly.

**John:** …just to solve the problem for them.

**Anna Jane:** They’re a part of the actual storytelling process, because they are largely the ones who are experiencing it first and worst.

**John:** Let’s try to wrap this up with some action steps, because this feels very much like a Quinn newsletter thing, like here’s what you can do. Obviously, any of our listeners can go to the climate playbook right now. It’s goodenergystories.com, and take a look at those things. What are some steps that you’d like people to take this week, this month, in terms of if you were a showrunner working on a show, what are some practical things they could do to start having these conversations in the room? What would you like them to do?

**Anna Jane:** Certainly reading it, but also sharing it with your writers and making sure that other people have access to it and are aware of it. We’re definitely trying to distribute it far and wide. The more that folks can do that, the better. We’re also offering workshops, and we’re happy to come into writers rooms and bring it to life off the page. Happy to do that. Definitely reach out to me if you’re interested in that. It’s like climate change, just talking about it, sharing it.

**John:** Great. How will you know if what you’re doing is successful. How will you know whether this good energy playbook has had the impact that you want to have? I know you have people involved who are data folks. Will you have a sense of whether this has worked?

**Anna Jane:** Yeah. We worked with USC’s Media Impact Project to study how often climate and any adjacent conversation is showing up in TV and film. It’s 2.8% between 2016 and 2020 showed up in scripted entertainment. We are going to continue measuring that to see how it’s going up. That was before Don’t Look Up. I’m curious how much that impacted audiences. Just looking, definitely going to study how does this change over time, and not only just the frequency, but how are the stories showing up. What are the narratives that are showing up?

**John:** Small sidebar. You don’t have to weigh in on this. I fully respect Don’t Look Up, and I’m so happy Don’t Look Up happened, but I do worry that it’s going to feel like that’s how you make a climate change movie. I don’t know that you’re going to have the impact you’re going to have, because I do worry that those people involved telling that story has just made it feel like it’s a Hollywood movie about this thing that’s really… It’s a metaphor. The meteor’s a metaphor for something else. I don’t know that it’s going to connect the dots in the ways that it all could. I’m happy that movie exists, but I think we could do so much more granular work to actually get some stuff happening.

**Anna Jane:** On Don’t Look Up, I do think that it opened a lot of doors by having a successful movie that was a metaphor, also for climate explicitly. They were very clear about that. Definitely want to see climate show up more in non-analogies, in real ways. One of the movies that I just loved that did that was First Reformed. I just re-watched it, because we do a bunch of case studies in the playbook. It’s just so beautifully written. I just feel like anyone who says that you can’t write climate without being preachy or didactic or boring or too technical, that movie just to me completely debunks that, because it’s just gorgeously written. That’s a lot of faith and climate intersections too, which I always find fascinating. I really love that one. It’s dark, but it ends on this moment of possibility and expansiveness. I really love those stories, where it’s helping you to befriend uncertainty but also letting you imagine something that happens.

**Quinn:** I always try to take the perspective of we’ll take whatever we can get here. One of the things I tried to emphasize as Anna and her team constructed this incredible tool, is we always have to remember how difficult it is for anyone at any stage in their career in Hollywood to get anything made. I watch my wife, who is the most hardworking, incredible human, and about as successful as it gets, struggle to get things made. One of our goals was literally anything you can get out of this, great, we’ll take it, because that 3% number can only go up. If you skim one page and you grab one thing, that’s something else, and that starts to change that social norm. We’ll take whatever we can get. Don’t Look Up felt the same way, whether it’s something more fantastical like Beasts of the Southern Wild about the Gulf Coast or it’s First Reformed or whatever it might be, the movie about the big forest fire last year.

**John:** Angelina Jolie?

**Quinn:** Yes. The point is, if you think there’s a limited number of stories to tell, you are just incredibly off base, because the folks that are already being affected by this have such a wide, beautiful variety of lived experiences who have stories to tell, who are already contributing, because their answer to what can I do is, it’s what I have to do. I have to make sure that my frontline community is getting the money or is electrifying buildings or whatever it might be. We’ll take any of these stories, because all of them make a difference.

**John:** They do. The other thing I would just stress is that you don’t necessarily have to announce your intentions. You don’t have to say, “Oh, we’re going to put a climate change story into this episode.” No, just do those little, small things. The network, or the studio, they’re not even necessarily going to notice that you did it. You’re making choices for your story that are the right choices, but also help tell the message.

**Quinn:** This’ll date me. It doesn’t need to say, “A very special episode of Parks and Rec.” We don’t need that. Just make it part of the world, and people will identify with it so much more.

**Anna Jane:** I really love it when it shows up very authentically. I think that’s really powerful. I do think people love the drama of my story, like the climate activist goes up against climate denier megachurch pastor father. All of us have fascinating stories. All of us are experiencing this in unique ways. There are literally billions of climate stories, because every single person in this world is affected, and every person to come will be affected.

**John:** Cool. It has come time for our One Cool Things, where we share something with our audience. I’ll start off. I’m going to start with Redactle, which is a new daily game, in the tradition of Wordle, because now there has to be a daily everything, a place you go to. Redactle is really tough. What it does is it takes an article on Wikipedia, one of the top 10,000 articles, so not something super obscure, but then it redacts almost all the worlds. Then you plug in words to uncover what it is. You have to figure out what is this actual article about. It’s really hard, but really challenging. If you’re a puzzley kind of person, you’re just trying to figure out what this could possibly be. I spent about a half an hour yesterday trying to figure out what an inclined plane article was, also known as a ramp. It’s rewarding. You do feel that sense of accomplishment when you actually have uncovered the thing. Redactle will be my One Cool Thing for this week. Quinn, why don’t you go next. What do you have for yours?

**Quinn:** I’m going to cheat. My One Cool Thing is my wife.

**John:** Aw.

**Quinn:** Besides just being an incredible human on her own, I was privileged enough to choose to do this work. She has been supportive in 10,000 different ways, including there’s really no way to get into this work without having some dark moments, even if you’re as privileged as I am. I deal with air pollution a lot less, now that I left California. I don’t want for clean water and food and things like that. The scope of it and what’s here and what’s coming can be very difficult. She’s found me under a blanket on the couch some nights, going, “Oh boy.” She’s the most incredible human alive. On the other hand, if you want to laugh with everything that’s going on, her new movie is fantastic. It’s a blast. It’s a throwback. It’s a delight.

**John:** That would be The Lost City. You have to actually name the movie.

**Quinn:** Yeah, The Lost City.

**John:** The Lost City.

**Quinn:** Yeah, that’s helpful. Sorry. It’s been so long. We’re so in it. Lost City, Sandra Bullock, Channing Tatum. He takes off his pants. I don’t know what else to tell you.

**John:** Good stuff. Anna Jane, do you have a One Cool Thing to share with us?

**Anna Jane:** I’m going to go with Russian Doll Season 2.

**John:** I’m excited to watch it. Are you enjoying it?

**Anna Jane:** I loved it. I binged it. It was my treat after launch. We launched on Tuesday. I was bringing on Wednesday. I’m like, “The universe gave me Russian Doll Season 2 as a gift.” The first season was really profoundly moving to me.

**John:** I watched it twice.

**Anna Jane:** I think I watched if four times. Just personally, I was going through stuff that it really helped with. On a global scale, working on climate can feel like you’re in this crazy death loop and like you’re going a little crazy, especially the first 10 years. Now everybody else is waking up too, which is great. This season goes back into her story. She is working through trauma from her family and history. I have a lot to do with that as well. I hear rumors that if they get a next season they might jump into the future. If you want to talk about climate, reach out to me. That show has just been profoundly life-changing for me.

**John:** Fantastic. Great. That is our show for this week. Scriptnotes is produced by Megana Rao. It’s edited by Matthew Chilelli. Our outro this week is by Jade Carta. If you have an outro, you can send us a link to ask@johnaugust.com. That’s also the place where you can send longer questions. For short questions on Twitter, Craig is @clmazin, I’m @johnaugust. Anna Jane, are you on Twitter? Are you a Twitter person?

**Anna Jane:** I am. I’m @annajanejoyner.

**John:** Fantastic. We can also follow, is it @goodenergy?

**Anna Jane:** It’s @goodenergystory.

**John:** @goodenergystory. You can follow their Twitter account as well. Quinn Emmett, you are on Twitter? I don’t remember now.

**Quinn:** I am, yeah. Yes, when I’m not dealing with my children. It’s @quinnemmett.

**John:** Fantastic. You can find the show notes for this episode and all episodes at johnaugust.com. That’s also where you’ll find transcripts and sign up for our weeklyish newsletter called Inneresting, which has lots of links to things about writing. While you’re signing up for newsletters, you should also sign up for Quinn’s newsletter and podcast. Quinn, plug away.

**Quinn:** You can find that newsletter at newsletter.importantnotimportant.com. You can find the podcast there as well. It’s weekly. It’s free. I don’t know. A lot of folks find some value in it.

**John:** Of course, goodenergystories.com is the place where you can get the playbook and find all that information there. If you would like a T-shirt, we have T-shirts. They are great. They’re available at Cotton Bureau. We have hoodies like the one I’m wearing. They’re very comfortable. Are you wearing a Scriptnotes T-shirt at this moment, Quinn?

**Quinn:** No, I should’ve. That was a real mistake, because I have a closet full of them.

**John:** Yes, we all have our closets full. You can sign up to become a Premium Member at scriptnotes.net, where you get all the back-episodes and Bonus Segments, like the one we’re about to record on asking people for money. Anna Jane and Quinn, thank you so much for coming on the show.

**Quinn:** Thanks, John.

**Anna Jane:** It’s been such a pleasure. Thank you.
[Bonus Segment]

**John:** Anna Jane, to do this work, you had a vision, you had a goal, but again, we talk about you as a protagonist. At some point you, to enact this vision, had to get people to give you money to do this thing. Can you talk to me about how you approach people and say, “Hey, would you give me money to do this thing, this vision that I have for this organization?”

**Anna Jane:** I would say I’m still learning the art form, but I have been pretty successful with this particular project. I basically had the idea after consulting on Madam Secretary, on a storyline that was loosely based off of my story, but was like, why aren’t we seeing this show up more, and just started a personal… It really came from a very personal passion. I love TV and film. I’ve been a book nerd since I was little. It was very much like you follow your personal passion, and that opens up doors. I just started talking to as many writers as possible to figure out how we could help, what was going on.

From there, I went to the Sierra Club, who was my first climate home. I’ve worked with them off and on over the years a lot. I was like, “I think this is an opportunity that nobody seems to be looking at.” I think just the uniqueness and the fact that it intersected with what felt like we were craving more and more, that certainly opened up doors. The art of going out and dancing in front of billionaires to get money for work that you care about, I just… I think stories are powerful. We worked with a story scientist as an advisor, and just learning with him about the psychological reasons that stories impact you so much more than facts or data and can lead to action as a result of that. Not only was it just a vision for something that was missing, we really did the deep work of making the case from a just practical, psychological space that was really needed.

**John:** Vision is great, but at some point you are probably writing things. You can talk to us about writing podcasts. Talk to us about what you were writing and meeting with and slides. What was the work from, “Okay, we have this vague vision.” You went to the Sierra Club. With Sierra Club, did you go in and have a meeting? Did you have a pitch deck? Did you have a written document? What were you going into them with? When did you have the name Good Energy? How does all that stuff come together?

**Anna Jane:** That was in the spring of 2019. They were fairly easy, just because I already had a relationship with them. They could pretty quickly see the vision. Certainly in working with Bloomberg Philanthropies, who was our next big partner that came on, we had to be really intentional about piloting. That’s what we did with the Sierra Club was we talked to so many writers. We did two events. We really made the case that there was an opening for this and there was an appetite for it, but also practical things. Our creative director is a magician. All of our materials, including our pitch deck-

**John:** Your materials look great.

**Anna Jane:** It’s beautiful. I think we just created… It wasn’t just a vision. It was how we packaged it. We’ve tried, and some things didn’t work, and we learned from it and we tried again. Definitely when you’re doing something that hasn’t been done before, there’s a lot of trial and error. Certainly, I think not only leaning into the vision and getting evidence, scientific evidence and also just qualitative evidence based on interests, but also really packaging it in a super beautiful way.

**John:** Sierra Club is seed money to get you started and do some little small events that are test of concept, proof of concept for a thing. Then you’re going to Bloomberg. Also I see you have Annenberg. You had that USC connection, because they could do some researchy stuff for you. It feels like there’s places out there that want to do things, that they want someone to come to them saying, “This is how we do the thing.” Is that what your function is?

**Anna Jane:** Yeah, I definitely think people, including foundations, have this esoteric, like storytelling matters, but doing research on other organizations who do this… Define American was a huge inspiration for us.

**John:** I don’t know what that is.

**Anna Jane:** Sorry. It’s very similar. They do story consulting for immigration storylines. They’ve done research on the impact. It’s very significant. Looking at other organizations who do similar things, adopting it for climate, and showing that there’s this very practical model really helped. We took this esoteric vision and we brought it down to what does this actually look like.

**John:** Talk to us about going into a Bloomberg, going into a big foundation. How do you get the first meeting? What’s the process for going in there to ask for money? Do you know what dollars you’re asking for when you go into those things where you’re just saying, “Hey, please be a partner.” What’s that like?

**Anna Jane:** I want to acknowledge that there’s a lot of privilege inherent in this. I had been working in the climate space for a long time and I had a reputable name. I’d done work that had done well before. I just knew a lot of people. I met the woman at Bloomberg, Lindsay Firestone, who’s been just pivotal not only for getting us money, but also just helping us really think through the model and grow it. Bloomberg is very data-driven. That is their thing. We really had to show that we could measure this, we could measure the impact, in addition to presenting the vision and really the practical steps for what this could look like. That continues. We’re getting better and better at it. We’re getting more evidence. We’re getting more data that shows that this is possible to do. It’s like Hollywood. A lot of it is relationships. That has to be combined with something, a really solid idea, and that’s packaged very well.

**John:** Now, as I went to this event, I noticed that there were a bunch of other organizations that were part of it. Bloomberg is obviously writing big checks, but you clearly partnered with a bunch of other organizations who are doing related things. Are they advisors? When did those people come on board with the process?

**Anna Jane:** Absolutely. Our other big funder is Walton Family Foundation and Doc Society. Then we have a bunch of great funders at smaller levels. Our network of partners is so critical for just bringing diversity of voices and a lot of stories. A lot of these organizations work with people on the ground. A lot of them work with BIPOC communities, so access to character inspirations and stories. Hip Hop Caucus is one of our partners who does incredible work not only on climate justice, but also on racial justice. They’ve worked with a lot of musicians in the hip-hop community. They really get the impact of culture work. Now they’re doing more and more storytelling work as well.

Then Center for Cultural Power is our anchor partner. They’ve done a lot of amazing work at the intersection of art and story and climate, but also gender justice and racial justice. They’ve just been pivotal. They were editors on the playbook, advisors. Then the Sierra Club. CA Foundation, the Writers Guild East has really helped us. Both of those organizations really helped us think through the audience. What really helped too is that my two co-writers on the playbook were TV writers, or are TV writers. That’s Carmiel Banasky and Rae Binstock. We not only were connecting with advisors who were writers the entire process, we actually brought in writers to help us craft it. That was hugely important. Writers Guild East also just really helped us think through.

**John:** Just going back to the writing again, so when we say writing, are you guys writing in Microsoft Word? Are these Google Docs? How are you putting together this very complicated site? How are you gathering all of this material and making sure it all feels like it has a consistent editorial voice?

**Anna Jane:** It was a herculean effort. It was a huge Google Doc that we were inputting into. We had a ton of guest writers. We also brought in Kate Marvel. One of my favorite sections is we worked with a consultant to Marvel’s world-building empire, and then also climate scientist Dr. Pete Kalmus. They really took the science and worked to project what these two worlds that we’re heading towards, one or the other or somewhere in between, would look like. We follow a character who’s born today and grows up in the best-case scenario, which is honest. It’s still harrowing. It does get worse. There’s nothing we can do to avoid that. It’s a lot better than the scenario we’re headed towards right now, which is more three degrees. You get to see what do these two different worlds look like at 2050 and then towards the end of the century. We brought in just a lot of amazing guest writers and also worked with TV… It was really intentional and important to us that the tone was… Fun is a weird word when it’s coming to climate, but there are moments of humor in there.

**John:** It’s inviting and it’s engaging. You’re not screaming as you’re going through it.

**Anna Jane:** Not too technical. We wanted it to be very accessible to storytellers and writers. It was important to us that the writing was really good, because our audience was writers. We also worked with a really amazing copywriter. We were intentional the entire time about making sure the writing was really solid.

**John:** Quinn, you got cut out of that whole segment. Anything you want to say?

**Quinn:** That’s the way it should be. Are you kidding me? I’m just a paperweight here.

**Anna Jane:** Quinn was an amazing advisor throughout the entire process.

**Quinn:** Anna’s amazing. Every time I read something new, it was just like, oh man. It’s incredible. My whole goal was just trying to always come back to the measurable outcome, which was is this section designed so that a screenwriter can easily and understandably get something practical out of it. It wasn’t, hey, let’s write 100 pages on all the climate science. That’s not going to be as helpful. It was always with that goal in mind. What’s out there is just so helpful. Again, it’s one of those things that seems so obvious once you have it. It’s because of course, this is a tool for these people to use. It just didn’t exist.

**John:** When you see it at the final product, of course that’s how it was going to be, and then you don’t see all the process that got you to that point. At what point did you know it was a website and not a printed thing?

**Anna Jane:** I have to shout out the Walton Family Foundation who made that possible, as well as the research. Originally, we only had funding for a pdf version. When we got maybe a third of the way in, we were just like, “This has to be a website.” Also, we talked to over 100 TV and film writers to inform the playbook and just realized through those conversations that it would be way more accessible on a website, so we shifted maybe four months in and were like, “We’ve got to figure this out.” We raised more money so that we can make it a website.

**John:** Great. Again, thank you very much for coming on the show and talking through this whole plan, and especially that’s how we raise money to make these things happen.

**Quinn:** Absolutely.

**Anna Jane:** It’s an art form. Still learning.

**Quinn:** Thanks for having us, John.

**John:** Cool. Thanks.

**Anna Jane:** Thank you so much.

Links:

* [Stanislav Petrov, The Man Who Saved the World](https://www.imdb.com/title/tt2277106/) Documentary
* [Download The Cost of Accommodations Report](https://inevitable.foundation/cost-of-accommodations/download) from the Inevitable Foundation and read more on [The Hollywood Reporter](https://www.hollywoodreporter.com/movies/movie-features/the-inevitable-foundation-disability-accommodations-cost-study-movies-tv-1235131680/?_hsenc=p2ANqtz–L2n-kjr_qiSGqFieZri6yrMikpnCpb_V7he_SrT2rQcnerEPKQAfUJHYpZkE3lJxquHEz)
* [Good Energy Stories Playbook](https://www.goodenergystories.com/playbook)
* [David Robert Ted Talk on Climate Change](https://www.youtube.com/watch?v=A7ktYbVwr90)
* [Years of Living Dangerously Clip with Anna and her Dad](https://www.youtube.com/watch?v=C0d09DIv8vY)
* [Subscribe to Important, Not Important](https://www.importantnotimportant.com/)
* [Dana Fox](https://twitter.com/inthehenhouse) on Twitter and checkout [The Lost City](https://www.youtube.com/watch?v=nfKO9rYDmE8) Movie
* [Russian Doll Season 2](https://www.netflix.com/title/80211627?source=35)
* [Redactle Game](https://www.redactle.com/#)
* [Get a Scriptnotes T-shirt!](https://cottonbureau.com/people/scriptnotes-podcast)
* [Gift a Scriptnotes Subscription](https://scriptnotes.supportingcast.fm/gifts) or [treat yourself to a premium subscription!](https://scriptnotes.supportingcast.fm/)
* [Anna Jane Joyner](https://twitter.com/annajanejoyner) on Twitter
* [Quinn Emmett](https://twitter.com/quinnemmett) on Twitter
* [Craig Mazin](https://twitter.com/clmazin) on Twitter
* [John August](https://twitter.com/johnaugust) on Twitter
* [John on Instagram](https://www.instagram.com/johnaugust/?hl=en)
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) by Jade Carda ([send us yours!](http://johnaugust.com/2014/outros-needed))
* Scriptnotes is produced by [Megana Rao](https://twitter.com/MeganaRao) and edited by [Matthew Chilelli](https://twitter.com/machelli).

Email us at ask@johnaugust.com

You can download the episode [here](http://traffic.libsyn.com/scriptnotes/547standard.mp3).

Scriptnotes Episode 548: Made for Streaming, Transcript

June 1, 2022 Scriptnotes Transcript

The original post for this episode can be found here.

John August: Hello and welcome. My name is John August. This is Episode 548 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters.

Today on the show, films may have returned to theaters, but many of them are still being made exclusively for streamers. We’ll talk about the pros and cons of going straight to streaming, with the writers of two upcoming films.

First off, we have the writing team of Dan Gregor and Doug Mand, whose credits include How I Met Your Mother, Crazy Ex-Girlfriend, Most Likely To Murder, Pretty Smart, and the upcoming Chip ’n’ Dale: Rescue Rangers, debuting later this month on Disney Plus. Dan and Doug, it’s a pleasure to have you on the show.

Doug Mand: Thank you.

Dan Gregor: Excited to be here. Thank you for having us in your upstairs backroom.

John: Which of you is Chip and which of you is Dale?

Dan: I guess I was accused of being Dale. We did early recordings for temp voice. I was Dale and Doug was-

Doug: Chip.

Dan: We got dropped very quickly.

Doug: Emotionally, because it is a movie about friendship and partnership.

Dan: Through long-term Hollywood careers.

John: The people actually playing your roles in the movie, they’re newcomers, right? They’re no one you’ve ever heard of.

Dan: Nobody you’ve ever heard of. The character inspired by me is played by a young upstart named Andy Samberg.

Doug: The character inspired by me is a little whippersnapper named John Mulaney, who we all have high hopes for, but you never know in this business.

John: Things could turn on a dime.

Doug: Oh my gosh. We’re pulling for him though.

John: We are so excited to welcome our very own Aline Brosh McKenna, who’s recording… You’re going to be in the editing room for your upcoming Netflix feature, but now I see a library behind you, so you’re back at home, correct, Aline?

Aline Brosh McKenna: Indeed. We turned in a cut yesterday. We’re getting towards the end.

John: This would be a cut of Your Place Or Mine, her feature for Netflix. We’re so excited to see it. Do we have a release date for your film yet?

Aline: We do not.

John: Soon. I want soon.

Aline: It’s up to the folks who decide those sorts of things.

John: On this podcast we’re going to be discussing movies made for streamers and the uncertainty of when do our movies come out. We’ll also talk in our Bonus Segment for Premium Members about getting work done when you have a newborn, because Doug and Dan, you both have really young kids. I want to talk to you about that and the strategies you’re employing for actually getting things done when you have a small, screaming infant in your house.

Doug: Work a lot less.

Dan: Whoop, sorry, Premium.

John: A very short segment. First, we have some follow-up. Megana, can you help us out with some follow-up from previous episodes?

Megana Rao: In Episode 545 we spoke with Elizabeth Meriwether and Liz Hannah about How Would This Be A Movie. One of our topics was MacKenzie Scott. We talked about what a limited series about MacKenzie Scott would be like. Teresa tweeted at us, saying, “FYI, there is a TV comedy inspired by MacKenzie Scott, sort of, coming out on Apple TV Plus. It’s a Matthew Hubbard, Alan Yang show, and it stars Maya Rudolph.”

John: The combination of these people, Aline and I know. Maya Rudolph is incredibly funny. This would be inspired by MacKenzie Scott, but not really… Doug, I see a puzzled look on your face.

Doug: That’s just my resting face, but yeah, go ahead.

John: MacKenzie Scott was Jeff Bezos’s ex-wife who’s now giving away all this money. I looked at the show description for this new show. “Rudolph will star as Molly, a woman whose seemingly perfect life is upended when her husband leaves her with nothing but $87 billion.”

Doug: That’s great. That’s a very funny line.

John: That’s a good premise. When people talk about how do you write a good log line, that’s it. That’s a [crosstalk 00:03:25].

Doug: That’s a great log line. That’s fantastic.

Dan: That sounds great.

John: Kudos to Matthew Hubbard and Alan Yang for a very funny log line. May the show live up to it.

Dan: I think it’s really smart. I was listening to that episode, and I also was like, don’t get caught up in all the nonsense of how they met and their relationship. I just want to see-

Doug: Get right to it.

Dan: What’s it like to be a regular lady with $87 billion?

Doug: I don’t need the first episode to be like, “We met and it was all so great and he was just a regular guy.” I don’t care.

Dan: It’s really a funny premise.

Doug: Go spend that money. Let’s get to Brewster’s millions.

John: We like it. Now, Megana, you and I had a Bonus Segment a couple weeks back talking about murder houses and murder house architecture. We got some follow-up from Penelope about this.

Megana: Penelope from Melbourne said, “I was listening to your segment on murder house architecture, and it made me think of Tom Anderson’s brilliant essay film, Los Angeles Plays Itself, released in 2003. He explores in detail why modernist architecture is so often used as the headquarters of villains in movies and TV. It’s such a great documentary, well worth a look if you haven’t seen it yet.”

John: We’ll look at the trailer. I’ll link to the trailer in the show notes. I really liked this. It did really strike to me, if you see a modernist house in a movie, it’s almost always the villain who lives there. Even Charlie’s Angels, the villain lives in the Chemosphere, the most haunted modernist house of all time. In this trailer, I was looking, even LA Confidential, which I think of as being such a period movie, it was a period movie in a modernist era, and the bad guys live there.

Dan: Did you see Westworld?

John: Oh yeah.

Dan: It’s the deep future, and they mostly take place in the Old West. Still, when they ever leave, the villains are still living in the exact same evil modernist houses.

John: Frank Lloyd Wright’s-

Doug: Exactly.

John: …[inaudible 00:05:09] house.

Dan: Exactly. It’s 2030000 and we can’t ever have our mean people live anywhere but Frank Lloyd Wright.

Doug: It was wild that when CAA moved, also they moved to what looks like a large spaceship that’s ready to be sent off into the atmosphere.

Dan: Into the core of the earth.

Doug: There is an evil feeling when you roll in there. I love the CAA. It was just so perfect, it felt villainous, just their new location.

John: Now, Aline, in your film, do you have your characters living in modernist architecture or more traditional? Your film is set in Los Angeles, correct?

Aline: It is set in New York and Los Angeles. We have a little spin on that trope, which is that the person who needs to explore emotional growth lives in a rather modern, arid environment. The person who also needs to experience emotional growth but is a little bit more female, for starters, lives in a more cluttered, craftsman-y, Echo Park, not modern home. I guess I’m using those tropes as well, in a different format.

John: We love it. Last bit of follow-up. We had something from Adam in Brighton, England. Megana, help us out.

Megana: Adam wrote in and said, “On your last episode, I think it was Liz Hannah who said that six-episode seasons struggle to make a profit. As someone who often feels that shows are stretched too thin, I’ve long wondered if the problem is driven by business needs. Do you have any insight that you could share?

John: I have no insight, but we have a lot of people who have made a lot of TV here. Dan, help us out. Talk to us about shorter seasons and the economics and why you don’t see really short seasons.

Dan: The thing that seems pretty clear is that it’s amortized costs. If you have to build a set, all of a sudden that set for a couple episodes is very expensive, but if you’re doing it for a bunch of episodes, it’s expensive. Same thing with basically all of your contracts. Doug had a show that was a 10-episode order. I’m sure you had a sense of what… What would happen if you pushed it more or less?

Doug: I listened to that episode as well. I was like, “Oh, that is interesting,” because I had not had the six-episode discussion. Once you’re up and running, it’s a lot less money to do it, especially a show like Pretty Smart, which was a multi-cam, so the set’s built and you have everything in place. That’s the most I know about it. I didn’t know about the model for six to eight episodes, six episodes being a cutoff. I did not know about that. Neither of us have ever pitched something that would be that long.

John: Aline, Crazy Ex-Girlfriend obviously was… You were 13 episodes and then even longer I think at some times. What was the decision process for like… Originally you were a Showtime show, and then you went to CBS. How did the number of episodes factor into the budget?

Aline: They told us how many episodes to make. It was not our choice. We made 2 18-episode seasons and 2 13-episode seasons. It was based on the network studio and their needs. We ended up making 62 episodes. That would’ve been maybe five, six episodes of streaming or cable. We just made them in the overlapping network system, where everything was happening at the same time. We weren’t able to separate out the phases of production. That made it especially taxing and complicated, but it also allowed us to compress a lot of stuff into a relatively short amount of time.

John: You were able to do 18 episodes of a season within just a course of a calendar year, which as opposed to some of these limited series streaming things, it’s dragged out over 2 years just to do 6 or 8 episodes which is allotted.

Aline: I Love Lucy did 50.

Dan: A season?

Aline: Something like that.

Dan: Oh my god. How I Met Your Mother was a 22, 24, 25 one year, a season kind of show. They were talking about the creative problem of all that, which is you have these middles of the season where you’re like, “We’ve just got to keep these characters in a stasis for a chunk of time so that we can keep our plot endgame primed for where we wanted to go at the end.” You just don’t want to burn out. One of the things we learned on those shows was, man, every meaningful plot point is so priceless. You just don’t want to over-dole them out too quickly, because you really need them to last. The short episode orders are a joy for like, “No, just do it, do it, do it.” That’s why it’s great.

John: Now, Aline, also, you have a TV development deal. In shows that you’re developing, how early on in the conversation do you know how many episodes they want the show to be? If you’re setting up a pilot, do they already have a discussion of like, “Okay, this needs to be at least eight episodes. It needs to be at least 10.” When does that conversation happen?

Aline: That’s interesting. We have a couple pilots that are moving down the highway at some degree of velocity. We haven’t totally nailed it down yet. I think it might also have to do, at this point, with actors and how much time they want off and need off, and the idea now that actors really do go back and forth between not just TV and film, but multiple TV series, and so setting it up so that the actors… If you get a very famous actor and they have a specific number of episodes that they do or don’t want to do, I imagine that that would factor into it.

I’m interested in the idea, from a crafty point, of how much story you eat, because sometimes you can feel that deliberate slowing of the story eating, because creators don’t want to burn too much, because if you burn too much, you get into soap territory very quickly. One of the mini-series I have most admired recently, and by admired I mean was obsessed with, The Dropout. In The Dropout they eat a tremendous amount of story in the pilot. At the end of that pilot, you think, my god, I have been through so much already. I admire that, because it’s giving you the amount of story that you might get in a movie really at that point. Then I think we’ve all gotten to the place where we are accustomed to those episodes, which as Dan said, are between Episodes 4 and 7, where it seems like we’re going to do a flashback episode about the first time this person learned how to use a payphone. That’s going to be the whole episode.

John: We’ve been talking about TV, but I really want to focus on features this time, because you guys are both in the middle of making features for screenwriters. We’ll start with Doug and Dan. Chip ‘n’ Dale: Rescue Rangers, this was obviously a passion project from a very young age. You always dreamed of making a Chip ‘n’ Dale.

Doug: It actually was. It was my favorite cartoon. I have drawings from my childhood that my parents dug up of me cosplaying the Rescue Rangers in different outfits.

John: That’s amazing. Rescue Rangers is not even something that’s on my radar at all. It was very specific. You were just the right age for the Rescue Rangers to be a thing.

Doug: It’s an old, mid-old millennial kind of niche. All of those cartoons aired on the Disney afternoon, which was right when you’d come home from school. They were on repeat. You’d see these episodes hundreds of times, and so you memorized them.

John: It wasn’t the kind of IP where it was like everyone in the world was like, “Oh my god, we have to make a Rescue Rangers movie.”

Dan: That’s why they came to us.

Doug: Exactly.

John: When did they come to you, Doug, to do this?

Doug: I just did a timeline, just because it’s coming out and I just wanted to look at it. They came to us in I guess maybe the beginning of 2015. They were like, “We’re thinking about doing this.”

John: Who is they that came to you?

Doug: It was Louie Provost over at Disney, who is still there, which is a miracle that we had the same executive, and Mandeville Pictures. We had done some work with both of them. We had had meetings with them. They were like, “We think you guys would be great for this.” Our initial response was, “Why? Maybe not.”

Dan: What you’re saying exactly, which is like, does anyone even know who they are? It’s so niche. Even to me, who was obsessed with it for a little period of time, it was again the fourth-most important out of four cartoons. It’s really not a big deal.

Doug: It was, I think, a big deal in our career too. We weren’t getting a lot of IP brought to us. To Disney’s credit and to Mandeville’s credit, they were very much like, “Come to us with anything, any version of it.” Dan and I started talking about it. We took the essence of the why even do this and put that within the picture of the film.

Dan: The original title of the movie was The Chip ‘n’ Dale’s Reboot That Nobody Asked For.

John: How many years ago was this?

Doug: 2015 was our first pitch.

John: This is way before Disney Plus.

Doug: This was sold as a feature.

John: A Disney feature film.

Doug: Exactly. We were both scratching our heads. We pitched this movie that was a noir and had elements of LA Confidential in it.

Dan: Just to give the premise of it really quickly, it’s basically Chip and Dale are these two chipmunks, who in the early ’90s, this Disney afternoon, they would basically do what’s happening right now, which is they would repurpose old Disney characters, put them in new outfits, new adventures, give them new personalities. This was one of them. Chip and Dale were Donald Duck’s foils in the ’50s, ’60s. They were just nonspeaking chipmunks who ate peanut butter.

Doug: They were background actors or secondary actors. We play them as actors who played these roles.

Dan: They basically get put into… The concept is that they are the actors who played the Rescue Rangers in this early ‘90s sitcom. Now it is 30 years later. They are washed up actors, over the hill. In a Tropic Thunder, Three Amigos kind of storyline, they get embroiled in a real world mystery plot, very reminiscent of a Roger Rabbit kind of world.

John: Great. There’s some animation, but it’s mostly a live action feature.

Dan: It’s live action hybrid. It’s as much as it could be a hybrid as possible, because it’s as if cartoons are real people who live in real Hollywood and the real world, like Roger Rabbit.

John: Roger Rabbit rules.

Dan: Exactly.

John: Fantastic. You have this idea. You’re pitching it to Disney. They’re saying, “Fantastic. That’s great.” The feature version of that is incredibly expensive, the theatrical feature, not only to make it, but also to release it. What happens?

Dan: There are so few slots. We’re writing this, and we’re like, “They’re not going to make this movie.”

John: Yeah, because there’s always going to be a princess movie to make.

Doug: There’s a princess movie, and then there’s the Marvel movies that you have to contend with.

Doug: Star Wars, all of it.

Dan: Again, this is a movie that like, do people really need to see… Are people clamoring to see this, when they have four Thors to make? We’re writing it and we’re really enjoying it, and the response is really positive. That’s not always the case, even when you’re proud of something. Eventually it gets to the place of-

Dan: It just peters out, because they’re trying to figure out how could this be a much bigger four-quadrant movie. We’re like, “That’s just not what this is. It’s a weird offbeat comedy wrapped in a mystery.” Then it just peters out and it just sits dormant.

John: It becomes dormant and eventually gets [crosstalk 00:16:16].

Dan: It gets put on the shelf, but to their credit, which you don’t always get, our producers at Mandeville were big fans. Somewhere they met Akiva Schaffer…

Doug: Akiva Schaffer.

Dan: …who’s wildly funny and a great director…

Doug: From the Lonely Island.

Dan: …from the Lonely Island. They were like, “He might be good for this.” They show him the script. He laughs at the title, The Rescue Rangers Reboot That No One Wants. He reads it and he’s like, “I do like this.” At this point, Disney Plus exists now. The combination of those two things gave it new life. Akiva was like, “I’m interested in this.” Disney was excited about him and the idea that maybe you could make a movie that doesn’t have to be-

John: The pressure’s off of it, because it doesn’t have to open on a weekend and make $8 million.j

Doug: It doesn’t have to be a four-quadrant, like Dan is saying, in the same way.

John: Aline, I want to talk to you about your film, because talk about movies they don’t make anymore or movies that’d be hard to make. What was the origin story for Your Place Or Mine? It feels like the kind of romantic comedy that used to be made theatrically a lot, and now it’s harder to make. How did this movie get set up?

Aline: The origin story was that in 2010 when we were making Morning Glory, I needed a place to stay in New York because my per diem wasn’t really covering all of it. Our friend Ted Griffin had a lovely apartment in New York I knew that he wasn’t using full-time, so I asked him if I could stay there. He was living such a bachelor life at the time, that I really enjoyed being a mom in a bachelor space. I thought it would be funny to do a movie about two friends, where the mom is living in the bachelor’s space, and the bachelor is living in the mom’s space. I had that idea for a long time. A lot of the ideas that I’ve ended up doing, I carried around in my brain for a long time. Crazy Ex was one too. What I do is I cradle these little puppies in my arms, and then I wait for someone that I want to raise the puppy with.

My old friend Michael Costigan partnered with Jason Bateman. They had a deal with Netflix, which I think originated around the Ozark series. I had breakfast with them at John Benny’s. It was similar to when I met Rachel and as I was talking to Rachel I went, “You know what? Crazy Ex, she’s going to dig it.” At this breakfast I said to Jason and Michael… I pitched them the idea. They really loved it. The setting up process was, because they had this relationship with Netflix, we just went to Netflix and told the story to our exec at the time, Sarah Bowen, who’s no longer there. It was really easy and straightforward. I didn’t do what I normally have done with pitches, which is to go everywhere and sit in a million rooms. That was a great relief. The development process, the style of development was very different. I don’t actually know to what… I know that part of that is the culture of these streamers. Part of it is the individuals that I was working with. It was a more straightforward, business-like process in an interesting way.

John: Did you feel like when you made your deal at Netflix that it was a deal to develop a script or basically like, “We’re going to have you write the script and we’re probably going to make it.”

Aline: It did feel more like that. We who have been doing this screenwriting gig for a long time have sold in a number of different configurations. Sometimes you’re pitching stuff and everyone’s going, “I don’t know. We’ll give this a shot. Let’s see what happens.” Sometimes you’re writing in a situation where they have an actor, they’re in a rush. They need to do it. You think it might get made. It’s your football to drop. In this case, there was a feeling that they wanted to do romantic comedies that were with stars, maybe bigger stars on the platform. That was the design of it. I felt like that was something that they had identified a need for. As a writer, that’s always the best situation to be in.

What Dan and Doug are describing is you’re making a dish that wasn’t necessarily ordered, in which case the dish has to be that much better. When you’re making a dish that has been ordered, with Devil Wears Prada, not only had that dish been ordered, but people were banging on the table saying, “Where is it?” There’s a relationship between your product and your project and their appetite, but a really great script can overcome what might be a natural disinclination towards the project, which is what Dan and Doug overcame with the inventiveness of their writing.

John: Dan and Doug, it sounds like, holding this metaphor of the dish no one ordered, it was like, “Oh, this is really, really good. We have nothing we can do with it.” Then the world changed, and suddenly, oh, there’s actually a place that this would be perfect for. It sounds like the kinds of movies that Aline likes to make and this idea that she had… Aline, your movie would’ve been hard to set up at a conventional studio, unless you’d actually already had those big actors attached, correct?

Aline: That’s correct. Even then, because it was a star-dependent movie, we had to then get stars. One of the things about being a writer is it’s a fast-moving river. It’s always been. It is now more than ever. The number of buyers, who’s buying, what they’re looking for, it changes really quickly. It’s also interesting, as I said, for John and I, who came up in a quite calcified system where there were only certain types of jobs. I know that people are bemoaning the lack of predictability and consistency in the marketplace right now, but I think there’s a way to look at that as opportunities. When there is this transitional stuff happening, there are people who need certain kind of content. If you can identify who’s looking for what, then you can figure out who wants to buy your particular brand of pierogis.

Dan: Also, something you were saying about cradling your puppies, even more so, nothing’s ever really dead. That’s the other part that is… It’s heartbreaking when things seem like they go away or they die, but they never really do. They’re always gestating in your mind. They’re gestating in the larger business. There very well might be another time where it just makes sense to come back to life in a totally different iteration or a different concept.

John: We’re going to have a question later on that’s really about that, when do ideas actually just come back, or do you just wait for the right time for that idea to come back. Let’s talk about, in addition to the studio features we’ve made, you’ve also made indie features. I’m thinking about Most Likely To Murder, which to me feels like a movie that if it had come out in a streaming time, probably would’ve gone to streaming and it would have had a better home.

Dan: That was a movie that we… I wish that it got more clear traction. I think if it had been made for a Netflix, it would’ve been something that made a lot of sense. We made it. We did it for Lionsgate, but without a clear plan. They were just launching a thing called Studio L, a wisp in the wind, that no one really has any idea what the hell that is anymore. For a moment they were like, “We’re going to make digital movies.” Also they were trying to make straight-to-video comedies. That was not what we were making. It didn’t even really fit in their business model. We ended up selling it as part of a deal to Hulu, but it didn’t get the launch that I think it would’ve gotten if it was something that-

John: My movie The Nines, we debuted at Sundance, had a big debut there, sold off of that. It went to theatrical, but it was just like it never found that home. Two years later, if it had gone to Sundance, a streamer would’ve bought and it would’ve showed up on a streamer, and I could say, “Oh, it’s on Netflix,” or I could point to where they could see it. People tweet at me now, it’s like, “Where can I see your movie?” You could download it on iTunes. It’s frustrating.

Doug: You can buy it on Amazon, which is sort of something, but it’s not-

Dan: The deal with Hulu just ran out, so we’re [crosstalk 00:24:01].

Aline: Side note is that Doug Mand delivers an incredibly hilarious performance in that movie. If you want to see Doug Mand on screen in a film, he’s really funny.

Dan: With one of the more egregiously terrible facial hair performances in history.

Doug: It’s more my facial hair that’s doing the performance and I’m just along for the ride.

John: Dan, you brought up straight-to-video. I had forgotten that term, weirdly, because it just-

Dan: It doesn’t mean anything anymore.

John: That was the equivalent I think of what we’re talking about with streamers, like different genres there. You could make a movie for theatrical or you could make a movie for straight-to-video. There was a pejorative quality saying something goes straight to video. There were things that that was the right place to put that genre of film.

Dan: There’s something great about, again, the marketplace of content now, where yeah, if you want to make a small movie for a particular audience, then great, that’s fine. That’s part of the market.

John: I want to wrap up this part of the conversation by talking about a thing that is different about the actual features or straight to video is really the back end, because there was a clear model for what the back end was going to be like for movies that were made for the actual release or made for home video, because there were residuals. There was ways that you could make your money out of these things. We can share as much as we want to share about what are deals are looking like for this. Aline, for your movie, I hope it’s a huge, ginormous success. I hope that Netflix takes out those little ads saying how big it is, like how Ryan Reynolds’s movies are so big. That won’t impact your financials very much at all. I see you shaking your head. As you are making your deal going into it, are you trying to account for that? How are you thinking about that?

Aline: They gave me an opportunity to direct a movie with big stars and adequate resources. I think in the long run that will benefit me, if you’re looking at the bottom line, which I don’t tend to do that much, but it will benefit me that way. That’s really how I think about that one. With Cruella, it was an outgrowth of the pandemic that it got released day and date during the pandemic. I ended up getting the best upfront definition, because it was on whatever you call pan-demand, which is our best definition. It was day and date with the release. Obviously, the release was depressed by the pandemic. That ended up having a backend that I just didn’t expect.

I think that that’s going to change and evolve and will probably be driven somewhat by actors, because I think the upfront money might evolve as these companies have more data about what the revenue is actually accruing to them from these packages, because right now it’s guesswork. The actors have been, as with Scarlett and Disney, the actors have been on the forefront of trying to figure out exactly how much money these folks are making and trying to draft off of that. My personal thing didn’t impact me that much, but I can see coming up Prada and 27 Dresses happened to come out in the middle of the DVD boom.

John: Your residuals on those movies but be absurd.

Doug: God bless.

Dan: Oh boy.

Doug: Just make it public, Aline. Let’s open the books up.

Dan: Just write it down and show us.

John: I don’t want to nail you down to a dollar figure, but [crosstalk 00:27:16].

Aline: It’s a lot.

John: Millions of dollars.

Aline: They were right in that zone. Really what money means for a writer is time to do stuff you love. Those were so meaningful to me early in my career in terms of, hey, I’m going to take a break and do Crazy Ex, which was a pay cut for me in certain respects, because I have a pretty steady residual stream. All these new models are going to affect writers in terms of the kinds of choices they can make. I will say that the opportunities that streamers have almost everyone that came up in my generation to do things that they’d always wanted to do, that there wasn’t necessarily outlets to make in either the network television or the traditional studio, which seemed to take turns being the sausage factory. It used to be that TV was grinding out mid-range hot dogs and then it was features that were doing that and then the TV became fancy and now it feels like there’s a little bit of a shift going underway. All of those changes that you have to track as a writer, in my particular case I was balancing the fact that they were giving me a great opportunity with I wouldn’t get the backend.

Dan: Rescue Rangers, we signed the deal as a theatrical and so there was no discussion of it whatsoever. There’s a writing credit.

Doug: The writing credit bonus.

Dan: The writing credit bonus…

Doug: [Inaudible 00:28:42].

Dan: …that we’ll get when this comes out. I don’t know when we’ll actually get it. Even all that stuff, the movie was in this weird little flux where it was all of a sudden going well, and then there was a moment where they were discussing, “Maybe we will switch it to theatrical.” Then COVID happened. Then they were like, “Nobody’s ever going to go to the movies again.” They started just assuming it was going to be Disney Plus again. Then they started signing all of the actors to Disney Plus, to streaming-only contracts. All of a sudden they got to a point where they’re like, “Oh, we’re back in a world where there is theatrical.” Now we couldn’t even switch back to theatrical if they wanted, because they can’t renegotiate the contract now.

John: It’s a weird time.

Aline: I know some people who made movies just pre-streamer to be in either independent films or festival films and then tried desperately to sell them to a streamer, and in certain instances it was too complicated to do that. They had to watch their movies come out and plunge like zeppelins that’d been stabbed with a pencil. I think streamers are really great for getting movies out there that are just not being made in any other way. I guess that’s probably the most banal statement I could possibly make. There’s just such a huge menu, budget range of things that are being made. It’s almost more like silent films, where they were cranking out, we’re going to make a Tom mix, we’re going to make a romance, we’re going to adapt Lady Chatterley’s Lover, we’re going to do a whole mix of things. John and I will tell you, features for a good 8 to 10 years were not that. It was a very, very limited menu and a very limited genre area that we were given to work in.

John: Let’s transition back to TV, because we have some questions from our listeners that you guys are incredibly well suited to answer. Megana, can you help us out with Christopher’s question here.

Megana: Christopher asks, “A recent deadline article on the 2022 pilot season cited networks as increasingly opting for, quote, ‘presentations’ instead of filming pilots. I’m familiar with this practice for unscripted shows, and to a lesser extent, one-hour dramas, but I’ve never encountered it before for sitcoms. I know John has some experience with the mechanics of a presentation from his DC show with the WB, but I can’t find anything about what a presentation would look like for a sitcom, especially a network sitcom which is already only around 22 minutes long.”

John: Doug, can you talk to us about… Didn’t you do a presentation for your show?

Doug: We did not. That show Pretty Smart for Netflix was a pitch. They saw a place for it. It made sense for their schedule.

John: Did you shoot a pilot or you shot series?

Doug: We went right to series.

Aline: Weirdly enough, I’ve done one.

John: Talk about presentation, Aline.

Aline: I did a presentation, I’m going to say 20 years ago, or maybe even more. It’s a fancy word for no money, to make a scratch track. It’s a bummer. It’s really hard.

Dan: It goes right in the trash. That’s the worst part is you make it, and it’s usually under different contracts, or a lot of the time it’s just different crews. It doesn’t even look the way that the show would look. It’s just a proof of concept.

Doug: This is how we got our break really. It’s where I think presentation should be, which is myself, Dan, and Adam Pally, all best friends, still are, and we had an idea for a sitcom, and then we went out with our own money, none of us had representation, and shot a cold open for the show and an opening credit sequence at under a thousand dollars and then sent it to everyone we knew. That was a proof of concept. I think that’s what presentation should be, as opposed to doing 22 minutes. Better to do like, give me that money and let me show you an example of, for a sitcom, what the comedy feels like, what these characters are like.

Dan: Our next one, we paired with a producer who financed a presentation. They financed maybe a 12-minute presentation for a half-hour sitcom. It was one of those things where again it was super useful. We still ended up selling it to the CW. Before, they were looking to only do dramas, but then Crazy Ex broke that cycle. It was super helpful. They’re great. It’s a lot of work and a lot of money.

Doug: You can’t say that this is what 22 minutes is going to look like, because you’re asking me to do it at a third of the cost, maybe even less. I don’t like the idea of them shifting to that, because that’s just saying let’s just squeeze out as much money as we can. I’d rather say give me that budget and let us do six minutes of the show.

John: It’s Always Sunny in Philadelphia, that was famously a presentation where they shot it themselves. It was a proof of concept for, this is the chemistry between these guys, this is the idea, and that could change everything, as opposed to DC, when I taught that presentation, the idea was that it was a cheaper pilot, so basically you had your pilot script and then you would pick certain screens from that pilot script and have only those. We were shooting things that had to fit back into the original pilot. It was the worst of both worlds. The only thing I would say was helpful for that-

Doug: Wait, I’m sorry, so like Scene 1, Scene 5, Scene 12.

John: Yeah.

Dan: They wanted to use it. If they were going to make a show, they were like, we’re not going back and shooting this.

John: There you go.

Doug: That’s even more make-believe, isn’t it?

Dan: That is all the [crosstalk 00:34:02].

Aline: It’s such a vote of semi-confidence too. It’s like you match with someone on Hinge, and instead of going to dinner with them, you’re like, “I’ll meet you for coffee 15 minutes at 9 a.m.” They’re not going into it with… It’s such a meh. It’s so hard to make things even when everyone is so enthusiastic. When we did it, it just also allowed them to change things and give crazy notes. We ended up with an 11-minute presentation that is one of the craziest documents in my career everywhere. It’s somewhere in there, that closet, on a VCR cassette. It was bonkers. It’s in a weird way better to wait until people really care about what you’re doing and can give you a little support. It also strikes me as hilarious. You know how you can never explain to your parents what you do?

Doug: Oh, god.

Aline: Try explaining a pilot presentation to your parents.

Dan: I will say I think for corporations, shifting the development process towards that is stupid and ridiculous and it’s just a weird way to not pay as much money. I will say this forever. If you can get a little bit of your own money together to make your own pilot presentation, I do think a well-made piece of film can go much farther than a script can sometimes for someone on the come-up.

Doug: Especially if you’re not established.

John: [inaudible 00:35:25] Adam Pally on it. That can show his-

Doug: Exactly. We had an unknown Ellie Kemper in that presentation, at the time, she hadn’t booked anything at that point, and a bunch of people who ended up doing great things. This is always the advice we give to up-and-coming writers is to go out, find your community, and shoot things. It’s hard to get people to read your writing if know one knows you.

Aline: Now you can put them on TikTok. TikToks can go up to five minutes now.

John: There you go.

Dan: Basically a feature.

Aline: You can make something great with your friends and put it on TikTok.

John: Megana, what else do you have for us?

Megana: Jeffery asks about writing gender-agnostic characters. He says, “In my work in progress, my two main characters are women, and I want to encourage gender-neutral casting for everyone else. When describing what these characters do, I’m toying with the idea of using they pronouns for them. For example, Senator McMartin rushes in late for the news conference. They step to the mic, only to spot their former business partner in the front row. Do you think this would be a good general approach to avoid using a default he/she, or do I risk getting a reader who thinks I don’t know how to write? Would this be worth using a reader’s note before the script begins?”

John: Before we discuss this, I want us each to vote, good idea or bad idea. Dan, good idea, bad idea?

Dan: Bad idea.

John: Doug?

Doug: I lean towards bad idea.

John: Aline?

Aline: I lean towards an explanatory note.

Doug: Didn’t vote, Aline. I would’ve leaned towards that too if I knew that was an option, Aline.

Aline: Really political over here today.

John: I’m going to vote bad idea. I’ll give my context and then everyone can weigh in. I totally respect what Jeffery’s trying to do, but I also think that in 2022 they/them pronouns is for characters who identify as not being on the gender binary. To throw up your hands like, “I don’t care,” is actually worse in some ways. I think as a writer you’re making a choice about who you’re putting in there. You cannot be as specific as you want to be if you’re not actually even deciding with the gender of this character is. That’s my instinct here.

Dan: Thank you for taking the lead on that, John.

Aline: Sorry, the question is how do I leave it open to as many types… You can say Officer Rao, and then in parentheses you can say male, female, or nonbinary, parentheses. Then you can say, “I will be using he,” so that they know that… I’m assuming they’re trying to keep it open, not write a nonbinary character, because obviously those would be different things. If you want to encourage them to keep it open, you can give them a gender-neutral name and then note that it could be played by…

Dan: I also want to know when I’m reading someone, especially I haven’t read before, what they envision the character to be. I think that’s okay to do. Then when casting discussions come around, you can always pull back and go, “You know what? This could actually be XYZ and I didn’t think about that.” I think specificity helps. You’re painting a picture for these people with your words.

Doug: Specificity’s everything. It’s everything.

Dan: It becomes more obtuse and more like, okay. It’s a choose your own adventure of like, oh, this is who I’m going to imagine then.

John: Exactly. It’s hard to put that scene in your head if you don’t know what am I even looking at, who is this person. A line is going to read differently from this character versus that character.

Dan: Completely. It’s a non-decision in your script.

Aline: I disagree. I think there’s a lot of times, especially when you’re writing a smaller part, that you can write parentheses, any gender, or parentheses, any ethnicity, so that you’re leaving it open. We’ve done that. We did that a lot.

John: Certainly for characters that basically have essentially no lines, and they’re purely functional, sure, great. You’re doing that sporadically. As Jeffery’s describing, encourage gender-neutral casting for everyone else, you can encourage that when you hand in the script, but you cannot just write that in on the page.

Dan: It’s fine to put a note that says, “Hey, whoever finances and makes this project, please cast openly with gender-neutral casting as much as possible.” It just seems a little cart before the horse. It doesn’t belong in the body of the script in my mind.

John: Also, generally, I think by choosing not to make a choice, if you have a social goal in mind for this, you could make some choices to make some of these roles female that would not always be female, or could be nonbinary that would not otherwise be. Specificity there can actually push your gender forward. Megana, what else do you have for us?

Megana: Great. Margaret asks about page density. She says, “I have a rom-com that is currently 104 dense pages. I snipped and squooshed and killed orphans to get to that svelte size, but now I’m wondering if more white space would make it a more enjoyable read. Do you think slenderness in the hand, measured by number of pages, or ease of quick reading is more important? If the latter, do you have any thoughts about how to put a dense script on a white-space-expanding diet? Where would the extra space be most useful, margins or between lines or everywhere? Nowhere do I have more than four lines of action or description or dialog, but still it looks dense.”

Aline: I’m going to quote Craig Mazin here, which is the return key is your friend. I never do a line of description more than… Rarely more than two, but definitely not more than three.

John: If you read through a bunch of scripts, there’s a wide range of stuff. There’s not one perfect thing to do for this. Judy Kay, don’t change the margins. Don’t try to make your margins bigger. That’s not going to help anybody. Also look at maybe what kind of script are you writing? If you’re writing a script with a lot of dialog, there’s going to be some natural white space there anyway, just because the margins have set in for that. I worry you may be worrying about the wrong things.

Dan: Look, my feeling on page stuff is that it’s purely a psychological tool for the person who’s receiving the script. We’ve all made enough scripts to know that the page count is functionally meaningless. Our shooting script for Rescue Rangers was 175 pages. The actual practical thing, when they re-transcribe the thing you’ve actually put on screen, every little um, eh, huh, it becomes 175 pages, but the movie’s 90 minutes. It doesn’t mean anything, the page count really. It’s just the way that people will receive it in development. Do they feel like it moves? Do they feel like it flows? Does it feel too heavy in their hand? It’s just that dumb stuff. I go home on my weekend read and they have a pile of six screenplays. They’re going to go to the thinnest one first, because they don’t want to take more time.

Aline: It’s a sales document, you’re right. If you open it and you see big, chunky, 10-line paragraphs, you’re like, “No, I’m not in the mood for that.”

John: 100%.

Doug: I don’t want to be prescriptive on it either, but I do think that first page… If I see a first page that is all scene direction, and I like reading… If there’s anything, I’d be like, look at those first couple pages and see what can you thin out to draw the reader in.

Dan: There’s nothing worse than the actions… We’ve done a lot of action movies, a lot of action movie rewrites. When you come in on an action movie where you’re seeing just pages and pages of the action described, you’re telling me the kind of machine gun they’re using, I don’t care. It’s a slog of a read. It’s not particularly interesting. It’s never character-forwarding. That’s probably the biggest thing is that it’s very-

Doug: Character or story.

Dan: Exactly. It just becomes meaningless details. It’s not fun. It’s not a good read.

Aline: I think from a writing standpoint, don’t you guys also think that most of the mistakes people make is too much stuff, not not enough stuff? A lot of times when you’re reading it, it’s like, she’s got a purple T-shirt and a button-down and Levis, and she walks over to the car and she opens it with her right hand. You’re like, which of those things do I care about? Which one of those are you pointing out? You can figure out what color the car is and what shoes they’re wearing later if the important thing is that she’s right-handed because later someone’s going to get stabbed with a left-handed knife or something. That’s what you have to highlight. I think beginning writers often, and I would include myself as a beginning writer for sure, there’s just a tonnage of extraneous detail, because you’re trying to show how beautifully and exquisitely you’ve imagined everything. You can’t do that. It’s like lighting. You’re trying to direct everyone’s attention to exactly where you want it to be.

Dan: You just said it. It’s directing. When you get late in a process and you’re having production meetings and you need to get every single detail in someone’s head, that’s the time to really get granular. Most of that stuff doesn’t need to be in there. You’re just trying to give a vibe a lot of the time.

Doug: You have to ask yourself what matters, I guess. If you’re telling me about the clothing, this is a person who just wears yellow, or you’re telling me what hand they use to open the door, do they have a broken right arm so they have to use their left. I think you have to ask yourself those questions of does this really affect the story, the character. If it doesn’t, it doesn’t need to be there, most likely.

John: Megana, another question for us?

Megana: JJ asks, “On a recent episode, John mentioned how near impossible it is to get a musical going at the moment. I have a musical out to buyers right now, and it’s been a lot of passes so far. The feedback has all been positive. People love the script, but more than a handful of buyers have said they simply can’t get a musical across the line right now. I wrote it in 2019 before the unsuccessful theatrical runs of a few notable musicals changed the landscape. My question is, what do you do when a script that excited agents, producers, and the director at the time it was written is ready to hit the market at a less than friendly time for the genre? Is a second chance possible a few years down the road? Is it dead? I’m very bummed at the moment and not too optimistic about the remaining places we are out to. Has this ever happened to either of you before?”

John: Yeah, this just happened to be. JJ could basically be just me writing. I did take a musical out. We basically went to all the streamers. Going into it, I’d heard musicals are really tough because of Dear Evan Hansen, because of West Side Story not working, but also just a whole slew of things, and so that certain streamers are saying no. They didn’t want to hear a pitch, because they said no. Other places, like, “Oh, we’re excited to hear the pitch.” I go in, it’s like, “It’s just so good. No, we can’t do a musical. I can’t get this approved,” which is heartbreaking but it feels [crosstalk 00:45:40].

Doug: You told me this the other day, and my heart sunk, because I am in the thick of a musical that I sold with Rachel Bloom to Amazon. On the other part of the subject, this is a movie that Rachel and I had developed a handful of years ago, took it out to all the places that do this stuff, all nos. We were like, “All right, it’s dead.” Then several years later, there was an executive shakeup at Amazon. The junior exec who loved it got promoted. His boss left. He had a new boss. He was like, “I have different directives. I’ve been thinking about this movie for years. Are you guys still open to do it with me?” We were like, “Yeah.” It again came back to life in this way that we had totally put it to bed. We’re in the thick of developing a musical for Amazon. I hope that all these things are conditional, because I would like for it to be a real movie.

John: It sounds like your movie’s already a little bit set up at a place. That definitely helps. It’s already in the track. Whether it’ll get that green light is the question.

Doug: Exactly.

John: You also have the track record of you and Rachel working on it. It also reminds me of Rescue Rangers, which is basically like there was a moment in which this was the way, the place that we could make it, and then it just goes away again. With musicals, we are just putting a pin in it. We will revisit after… There’s musicals that are in the pipe right now that could be huge hits.

Aline: It’s original musicals that are the problem, because Mamma Mia, Glee, things that draw on existing songs do way, way better. Having backed ourselves against the wall with this, with Crazy Ex, the thing I will share, when we were testing the Crazy Ex pilot, Rachel starts singing 10 minutes in. When you test TV, you have dials. The episode starts, and people are into it. People always responded extremely well to Rachel. People are enjoying the pilot. You can see the enjoyment line going up, up, up, up, up. There’s a scene she quits her job. Then the second she starts singing, when I’m telling you nosedive, it was as if everyone in the testing had just yanked their dial to zero. I remember turning to Rachel and saying, “That’s a traditional show tune, so maybe that’s why.” Then later in the episode there’s an R and B song with a rap solo in it, which has Rachel in her underwear for most of it. Same thing, they’re loving it, the dial’s really high. The second people start singing, the whole audience cranks it to the left.

If you looked at it, audiences have an innate allergy to songs they haven’t heard before in that format. I’m not sure why that is. It is a humongous overcome. If you’re doing Bohemian Rhapsody or the Elton John movie or Mamma Mia, people get excited when they hear those songs. I wonder if there’s ever a world where you take the Olivia Rodrigo album, and before you even release it as an album, you already have some sort of script ready to go so that once that becomes a hit, you have something that you can put into production with existing songs that are already a hit. It has to be a hit somewhere else in order to live in a comfortable… It’s very, very difficult. While our show had a certain cult status, we were for many, many months the lowest rated show on network television.

Doug: I don’t know if we were going to get to this before. I think it’s all connected in terms of when you let go of a project after you’ve made it and maybe it has been passed on. To talk about Rescue Rangers for a second, something that Dan and I actually haven’t spoken about that much is the idea of open writing assignments and doing free work. We were brought in on a different open writing assignment and asked to do free work, being like, “What’s your take on this property?” We spent a lot of time breaking out a take. We were like, “Why would we do this? This is such a long shot anyway.” We really liked the take. Then they passed on it. Then when Rescue Rangers came around, we were like, “There are some parts of this that are helpful.”

I think that it just goes to show that… There was a feeling of like, all that work was for absolutely nothing. I don’t think that’s ever the case. That’s the bit of silver lining in it. This is not to tell people to go out and do free work ad nauseum. There is an aspect of like, oh, that came back. That’s not done. It doesn’t have to be someone else green-lighting the same, exact thing. There were elements of it that we were like, “Let’s look back at that,” and be like, “There are elements that we can pitch for the Rescue Rangers and create around them.” That was very rewarding, because we’ve done so much. We all have done pitching on things that never went anywhere, never got paid to do. That time spent developing an idea is not a wasted time.

John: I’ll say that this musical that I wasn’t able to get set up, I did have 12 good meetings with places, and I have relationships with those places that I didn’t before. I didn’t get the thing going, but at least I know which of those executives I like. I definitely know which executives I will never, ever, ever work with. There’s a list of two or three people I kept telling my agents, “I will never work with her.”

Doug: Great.

John: That was good too.

Doug: Also, there’ll be a hit musical in five years.

John: Exactly.

Doug: All of a sudden there’ll be a boom for musicals, and then this’ll come back to life.

John: The two things that are in production right now that will come out soon. There’s 13 at Netflix, which could be great, but no one knows the songs. Then Ryan Reynolds and Will Ferrell have a movie for Apple TV Plus, a Christmas Carol story, which is-

Aline: The two-part Wicked movie.

John: The two-part Wicked movie will also happen. That’s already known properties. On the animation side, I have Toto, which is a musical, but it’s also animation, which has special rules.

Aline: It has special rules. With respect to the projects, you have that, you own that. That’s in your computer and in your brain. My company is called Lean Machine, but I often had this joke that I was going to call it Dead Horse Productions because if I believe in it, I will drag it around indefinitely. A lot of the things that I’ve gotten made are things that I just would not give up on. Crazy Ex was one of those. Every single television network that you’ve ever heard of has passed on it multiple times. I am a big believer, it’s a good idea… John, you’ll be sitting at [inaudible 00:52:10] with someone and they’ll say, “I’m looking for this.” You’ll say, “That’s funny, because I happen to have one of those.”

John: It’s time for our One Cool Things. My One Cool Thing is a television show which I loved when it came out. My daughter had never seen it. We watched the pilot to Lost this past week.

Doug: Oh my god, [crosstalk 00:52:27]. We got to talk about this.

Dan: We were just talking about it.

Doug: I actually have this debate constantly. I’m sorry to interrupt your One Cool Thing.

John: I believe the pilot to Lost holds up remarkably well, incredibly well. I’m going to put a link in the show notes to the pilot script for it, which I never actually read. It’s very, very dense on the page. It’s not what I would normally like to read. It’s so good. It includes a bunch of scenes that are dropped out of the show. As I was watching it, I was just noting the act breaks in it and how long before we get to that first act being done. It’s just a genius thing. I feel like in many ways, the same… Aliens was the script that I always kept going back to to look at how you write action. I feel like people should need to look at the Lost pilot script again just in terms of how you do that show, because I’ve seen so many versions of that show that are trying to be the Lost pilot. The Lost pilot is just so much better, so smartly done.

Dan: The Lost pilot is spectacular. There’s so many episodes of that show that are spectacular. Can you divorce the ending from any other part of it? This is my fear and feeling, that the ending abandons so many of the things that were needed and asked of the audience that I don’t think it’s a fair ask to start it.

John: To start watching Lost?

Dan: I don’t think it’s appropriate.

John: Oh my gosh. I think Lost is an absolute delight. I encourage people to watch Lost. You cannot watch Lost without watching the Lost pilot. Really, what I’m encouraging everyone to do is just watch the Lost pilot. It’s on Hulu right now.

Dan: It’s a great pilot. It’s going nowhere, guys.

Doug: It goes somewhere for a very long time.

Dan: It leads to nothing.

Doug: I don’t completely agree with that.

Dan: It’s a winding road down into a dirt pit.

Doug: You might be sending your daughter down a path that will be ultimately depressing and unsatisfying, but that journey is fantastic.

John: I had David Lindelof on the show. One of the things he says is the the experience of people who watch Lost all at once is so different than the experience that we had watching it week after week. Things like when there’s two characters who get trapped in a jail thing for six weeks or something, six episodes I think, it’s excruciating, but the people who watched those episodes all together, it was like, oh, that actually tracks and makes a lot of sense. I do feel like a person who’s watching Lost now is getting a very different experience than we did having it strung out over the course of-

Dan: Also, they have access to all the spoilers immediately. Maybe that’s to the benefit, where the what’s in the box question isn’t as loaded, because they know where this is going. They’re signing up for it.

John: The single best cold open ever on an episode was when you get inside the hatch for the first time.

Dan: Oh my god, I think about that all the time. It’s seared into my brain. I’m like, “We’re going in. We’re going in.”

Doug: I sing that song to myself all the time.

Dan: Exactly. Again, I was just so obsessed with that show, to the point where it was actually one of the things that I started really connecting with my wife about when we started dating. We went to a Lost exhibit, where they showed us all of the props from the show. I was so deeply, deeply in love. We were getting into all the weird Fibonacci math equation mysteries. Megana remembers that.

Doug: You guys were made for each other.

Dan: There’s a personal aspect to this.

John: Doug, do you have a One Cool Thing for us?

Doug: Yeah, I actually do. It is music-related. It is an app that’s been around I think for a while, but no one ever seems to know it when I talk about it. It’s called Radioooo with four O’s. It’s world music that is really fun. The music is curated by country and decade. You just go on and you can either let them pick randomly for you… This morning, I was driving my daughter to school. We were listening to music from Angola in the 1980s, and she loved it. You’re discovering things that you’re not getting on your Discover Weekly. It goes all the way from 1900 to 2020. It covers almost every single country in the world. It’s really, really great.

Dan: That’s awesome.

John: Dan, do you have a One Cool Thing to share with us?

Dan: Aline knows that the pandemic, I became a real sauce boy. I love condiments.

Doug: I think he was always a sauce boy.

Aline: Gregor and I were threatening during the pandemic to start an Instagram account called Condimentally Yours.

Doug: We were like, “Wait, is this a full TV show?”

Dan: Condiments, spices, sauces are really my obsession right now. My favorite one-stop shop for Middle Eastern spices, because that’s my favorite cuisine, is New York Shuk.

John: It’s an online store or LA?

Dan: I think it has a brick and mortar in New York, but it’s an online store. It goes all over the world. It’s beautiful packaging, great website. You get your preserved lemons there, your harissa, get your hawaij, get your za’atar. Get all the stuff, baharat, a lot of really important things.

Doug: All things you didn’t know you needed.

Dan: Exactly. A lot of important secondary stuff.

Aline: Gregor and I are both children of sabras, so we have that Middle Eastern stuff in common.

Dan: Exactly. You can even get a harissa spice and just put harissa spice in stuff without the sauce.

John: Harissa’s great.

Dan: Harissa’s great.

John: That’s great.

Dan: I highly recommend you go to New York Shuk, S-H-U-K, and buy their stuff. I’m not being paid.

Doug: You should be.

Dan: I love them.

John: Aline, you have a One Cool Thing for us?

Aline: I do have a One Cool Thing. My One Cool Thing is Megana, because I’ve been listening to… I listened to the 20 questions episodes. I find that I have a little leap of joy in my heart when I know Megana’s going to be on an episode, because I really enjoy hearing from younger writers, and especially younger women. I think there is lots to learn from writers that are older, but I honestly learn so much from not just writers but executives, the people at my company who are younger. I love to hear about what they’re experiencing and what the market looks like for them and how they’re breaking in. I love Megana and Craig. That’s one of my favorite duos. Then Megana and John have their own special magic. I really enjoy it when I have that little leap that you have when you are watching an episode of your favorite TV show and you see that Reese Witherspoon is guest starring on Friends or something. I think Megana is a rather modest person, but she’s actually, I think, inviting a lot of people into Scriptnotes. She works her butt off. Megana, you are my One Cool Thing.

Doug: Wow. What a voice too.

Megana: Oh my gosh. I’m sorry, I have to go. I have to go lie down. I don’t know how to process how happy I am. That’s so nice. Thank you.

Doug: No, we need you. That’s the whole point. We need your voice.

Megana: Thank you so much. That’s so kind, Aline.

Aline: I love it. I wish there had been someone like that when I was a young writer. I wish there had been someone that I could listen to who was also trying to figure out how to put all these pieces together. You’re trying to figure out an entire industry and your own voice at the same time. I was cleaning out some cabinets. I came across a file that I had of original ideas that I was going to pitch. Oh my god. It was so scattershot. I was trying to work in every genre and tone imaginable. They’re insane. I love that period of your life when you’re trying to synthesize all these things. I have kids who are on their way to being grown. My son is graduating from college. I think embracing that time in your life when you’re on the on-ramp… I really love to hear from people like that. It’s been a nice addition to Scriptnotes and the Gen X codgers that we are.

John: That was our show for this week. We are still trying to sort out our schedule. Next week is likely to be a best of episode as we get back onto our normal Tuesday schedule. Scriptnotes is always produced by our amazing Megana Rao, our One Cool Thing Megana Rao. It is edited by Matthew Chilelli. Our outro this week is by Pedro Aguilera. If you have an outro, you can send us a link to ask@johnaugust.com. That’s also the place where you can send longer questions. For short questions on Twitter, Craig is @clmazin, I’m @johnaugust as long as I stay on Twitter. Dan, Doug, are you guys on Twitter?

Dan: Yeah, @gregorcorp, C-O-R-P.

Doug: I’m @thedougmand, M-A-N-D.

John: @thedougmand. Aline, you’re using Twitter right now?

Aline: I’m @alinebmckenna.

John: Fantastic.

Aline: You’ll find important things like what is the best Kansas song. I’ve got important things on my Twitter. I really do.

John: Stuff you’d need to know. We have T-shirts and they’re great. You can find them at Cotton Bureau. You can find the show notes for this episode and all episodes at johnaugust.com. That’s also where you can find transcripts and sign up for our weeklyish newsletter called Inneresting, which has lots of links to things about writing. You can sign up to become a Premium Member at scriptnotes.net, where you get all the back-episodes and Bonus Segments, like the ones we’re about to record on having a newborn in the house. Aline, Doug, Dan, thank you so much for coming on.

Dan: Thank you.

Doug: Thank you. This was great.

Aline: Woot woot.

[Bonus Segment]

John: Doug and Dan, you have very young kids. Dan, I know your baby was born at the very start of the pandemic.

Dan: Yeah, March 20th.

John: Wow, that’s just right in the heart of it.

Dan: Right at the start.

John: Doug, one kid, two kids? Where are you?

Doug: One child, born end of 2017.

John: A little more experience then on this. You had to be doing a lot of writing work while this new life was living in your house. I want to talk a little bit about becoming a new parent and trying to maintain your career and trying to maintain your life, because I remember when I had our daughter, that first month was just so, so, so bleak. Then the moments where I would try to sneak away and actually write, I felt guilty for abandoning my other half and my child. What are some strategies that, Dan, you’re implementing right now with your kid?

Dan: Honestly, this is a very ritzy strategy, but I have an office in my house. I had the place I would go and work. At a certain point, my daughter turned a cognition corner and no longer lost track of me when I closed a door.

John: Object permanence happened.

Dan: Exactly. She would just bang on the door, just completely just bang until I’d come back out. Working at home became actually impossible. Me and my wife rented a little studio apartment down the street. We’d just walk down the street to go write in this little studio apartment.

John: You throw some goldfish on the floor for your daughter.

Dan: Exactly.

Doug: A big jug of water.

Dan: We put her in a bubble and just let her roll around the house with some water and goldfish. Just a little bit of private space has been by far the thing that has enabled it. I know that’s not necessarily available to everyone. That’s my first advice. Doug, do you have any particulars?

Doug: I do think a room of one’s own is really important to get out. Right before the pandemic, a year before… I have an office as well. My wife is a writer. I would go to a workspace. I loved it. I just loved writing from there. Then coming back home, it was really hard when the pandemic hit, because the guilt is what I felt. I have a garage where I can work out of. The bathroom was inside. I would go in. I’d be like, “No, dad’s not home right now. I’m just here.” There was a guilt. It’s like, you’re home, why aren’t you with your daughter? These are amazing, precious moments. I think if you can create a space, even if that’s, now that the pandemic is not as intense… It’s still quite real. Go somewhere to work. I think that’s helpful.

Also, just be vigilant with your scheduling, just being like, “This is the time that I write.” I think we all waste probably a lot of time not writing when we say we’re writing. If you have an hour, write for an hour. You’ll probably find that you’re getting more done in that time. Don’t beat yourself up for that. Then when you’re with your child, I would say whenever you can not bring your phone in, that’s been a big thing. Your child can sense when you’re not there emotionally. You’re looking at your phone. I try to give my daughter at least 20, 25 minutes where my phone is in another room and I’m just there with her. That makes me feel like not such an absentee father.

John: We’re recording this in the space over my garage. It was an absolute godsend when we had a kid. We would just make a show like, “Papa’s going off to work, bye.” I would walk up the stairs.

Doug: Close the window blinds so she can’t see you.

John: My former assistant, Stuart, was working downstairs. At a certain point she became mobile, and she would come in and talk to Stuart, but she had no idea that I worked upstairs.

Doug: Oh my gosh.

Dan: Oh my gosh.

John: I’d just be very, very quiet. Then eventually she started to wonder, “Why is Papa’s car still here?” It was like, “Oh, he must’ve walked to work.” Not technically a lie. I did walk to work.

Doug: Yes, you did.

John: Eventually, when it became clear, like, “Does Papa work upstairs?” we had a conversation about, “This is workspace. This is home space. You’re basically not allowed up there.”

Dan: The sneaking around my child is the most ludicrous thing. If I have to stop back in during the middle of the day, I will use the backdoor, I will tiptoe. I will pray to God that I am getting out of her line of vision so that she doesn’t see me, because if she sees me in the middle of the day then it’s like, I got put in a half hour.

Doug: At what age did you tell your daughter? Was there any-

John: Blow-back?

Doug: “That’s what’s been going on this whole time.”

John: She was either four or five before she really understood that-

Doug: She still doesn’t know [crosstalk 01:06:14].

John: Then at a certain point, they stop caring completely. Aline, we should talk about… We have older kids now.

Aline: I’m on the other end of it, because my kids are 19 and 22. In case anybody is feeling really guilty about it, I left… A friend of mine gave me an office in his office when my Charlie, my older son, was 18 months old. I always had an office outside the house after that. I have neurotically asked my children many, many times if they felt deprived by having a parent, specifically a mother who was working. They insist that it was fine and they actually liked it. That’s either what they’re saying to me so that I can continue paying their rent or they actually believe that. If you’re used to writing and you’re used to expressing yourself and that makes you happy, in whatever way writing can make you happy, but if that is a form of self-care, just remember that a happy, fulfilled parent is a wonderful thing. Specifically, I hope that moms don’t beat themselves up about finding a workspace for themselves.

Doug: It’s a great thing for your child to see.

Aline: Yeah, is that you’re being productive.

Doug: Yeah, this is Mom working, this is Dad working. It’s also part of life.

Aline: Definitely. One of the things that August and I have in common is a deep love of babies. Man, I love a baby.

John: Oh god, I love babies so much.

Aline: I spend so much time trying to spend time with Gregor and Rachel’s baby, especially during the pandemic, I was getting tested as much as I could so I could go and see her and see them. One time Dan said to Rachel, “Aline does know that this is just a baby, right, and it’s not her baby?”

Dan: I just want to make sure you know.

John: [crosstalk 01:07:55] those contracts like all output isn’t shared.

Dan: Exactly.

John: You’re writing partners.

Dan: Exactly.

Aline: Man, I loved it. It’s nice also, you get to work and you get to go home and have this most magnificent thing to interact with that takes your mind off of work and who doesn’t care that you got notes about you need to dig deeper.

Dan: Doug said this, but a writing day for me, my writing process truly was like, ease in around 11, and then do nothing for 6 hours. Then in my mind I was like, I’m only good at writing for a really intense burst from 8 p.m. to 11 p.m. That’s how I lived my whole life. I was like, “I’m a late-night writer.” Boy, that went out the window with a kid. To Doug’s point, it’s just like, no, I’m clocking in. It just got me much better at the idea of clocking in, clocking out. These are my work hours, and I need to be able to make this a functional day job in a very real sense, where it’s like I need to be home by 5:30 to start doing bedtime kid stuff.

Aline: That’s why we did the Crazy Ex room the way we did. We had so many parents. My kids were 10-ish and 13-ish. I’d just want to get out of there. We had a lot of parents in that room. As the show went on, we had more and more. I had learned from my kids being little, yeah, you become much more efficient, and you want to get the eff out of there. We also didn’t do a lot of post-room lingering. It does make you more focused and efficient.

Doug: I would also say, if you don’t have the means, also I really like writing in a library. I had been doing that a lot. There’s something about being around other people working. If it’s not a workspace, there are wonderful libraries in most cities and towns. You really feel like you’re clocking in. I like that feeling of… It’s work that I enjoy. In there you’re really like, “I don’t want to be here all day. I’m going to do an hour and a half, two hours.”

Dan: I don’t want to go the bathroom.

Doug: Yeah, don’t want to go the bathroom and I don’t want to look at… Looking at websites and browsing the internet in the library is a very just gross feeling. You’re just like, “Just let’s write. Let’s just do it.” That’s a resource that a lot of people don’t use.

John: One challenge with being gone for most of the day and coming back at 5, 5:30, that’s often the absolute worst time of day for a kid. That’s often the time when they’re most upset. I think sometimes a vicious cycle happens where you feel bad for being gone all day, but your kid feels bad because it’s 5:30 and they’re hitting unhappy hour, and so you’re the bad parent who’s returned. You may need to adjust your schedules a little bit just so you can get a little bit more happy time with your kid too.

Dan: I haven’t had that yet. Thankfully, she’s still pretty decent at that hour. I’m sure it’ll get worse.

John: It’ll get worse. Thank you guys so much again for this conversation about parenthood.

Doug: Thank you.

Dan: Thank you. Thanks, Aline.

Aline: Thanks, Scriptnotes peeps.

Links:

  • Chip ’n Dale: Rescue Rangers May 20th on Disney+
  • Your Place or Mine coming soon!
  • Los Angeles Plays Itself
  • Presentations versus Pilots
  • New York Shuk for Saucy Boys
  • Radiooooo App
  • Lost Pilot read the script here.
  • Get a Scriptnotes T-shirt!
  • Gift a Scriptnotes Subscription or treat yourself to a premium subscription!
  • Dan Gregor on Twitter
  • Doug Mand on Twitter
  • Aline Brosh Mckenna on Twitter
  • Craig Mazin on Twitter
  • John August on Twitter
  • John on Instagram
  • Outro by Pedro Aguilera (send us yours!)
  • Scriptnotes is produced by Megana Rao and edited by Matthew Chilelli.

Email us at ask@johnaugust.com

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