Podcasting is Going Visual and Eating TV's Lunch

How do you keep characters consistent when the world is too big for any one brain to track? Ask them.

Maybe the real intangible of the Warner Bros sale might not be antitrust, but the innovator’s dilemma facing the buyer.

When I worked with Alex Kurtzman and the late, great Roberto Orci, I watched them do something unusual with their early drafts. Before the action lines, before the scene descriptions, before the translation into screenplay form, they often created a version that was dialogue only.

A deep work flow for beating the Algorithmic Antagonist.

The Hollywood Guilds still think the threat is AI. The real threat is a kid in Korea with an iPhone and NanoBanana.

If you're going to pour your time, money, and creative energy into a short film for a class, why not make it capable of doing more than collecting dust on Vimeo?

Why a hundred years of Hollywood history matters more as data than entertainment.

Industries need a villain, and they’re reaching for the robots.

These maxims were aimed at game designers, but they map cleanly to anyone building interactive stories, cross-platform narratives, or character driven worlds.

A physical home for your post-cinema content factory.

EDGLRD is building a lifestyle brand with its own production tools inside the walls. Creator studios will merge entertainment, fashion, and social identity into a single offering.

Why screen-scribblers need to pick a lane if they want to survive the next five years.

9:16 storytelling is rewriting my widescreen brain.

How micro-dramas revived the B-movie hustle for the swipe generation.

Once upon a time, every filmmaker had to make a pilgrimage to LA. Now, the next wave of auteurs can set up shop in Albuquerque, Austin, anywhere rent's cheap, and the tax laws are film-friendly.

Modern viewers approach new shows the same way they approach new apps. If it’s confusing in the first two minutes, they bail faster than you can say “previously on.”

On a recent episode of The Treatment, Elvis Mitchell asked Edgar Wright how he uses costume to announce characters. Wright talked about color coding, silhouettes, and the idea that a character should be memorable enough to draw from memory.

I just read a great piece by Lauren Greenwood on Substack: What I Learned Watching 16 Movie Pitches Back to Back. If you're interested in the topic, it's absolutely worth a look. Lauren's post inspired me to reflect on my own experiences hustling stories in Hollywood.

Pitching isn't about explaining your plot. It's about performing your story and proving you're the only person to tell it. Here's what you need to know.