Screenwriter’s Weekly News Wrap-up for Monday, November 25, 2024
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◊Why ‘Silo’ Showrunner Graham Yost Was Never Worried About Making an Accurate Book Adaptation
Graham Yost, showrunner for Apple TV's hit sci-fi series Silo, returned for its second season with a commitment to balancing creative freedom and respect for Hugh Howey's original book trilogy. Yost, known for his Emmy-winning work on Justified and for writing action classics like Speed, co-leads a talented writing team adapting Howey's dystopian tale about life in underground silos shielding humanity from a toxic world. Season one explored the first half of Wool, Howey’s first book, and season two will complete it, expanding minor book details—such as Juliette’s boyfriend George—to drive entire season-long arcs.
Yost emphasizes that effective adaptations require loving the source material without feeling bound to its structure. Drawing from his experience with Justified and Silo, Yost has crafted a show that centers on Juliette, played by Rebecca Ferguson, whose mystery-driven story remains the emotional and narrative anchor. While the season’s dual storylines—Juliette’s survival in Silo 17 and a revolution in Silo 18—add complexity, Yost promises a clear path to resolution, honoring the questions raised in Howey's books while creating a fresh, cinematic journey for audiences.
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◊Sweetpea Finale: Rhiannon’s Shocking Transformation Explained by Writer Kirstie Swain
The season finale of Starz's Sweetpea, written by Kirstie Swain and based on C.J. Skuse's novel series, explores the protagonist Rhiannon Lewis' transition into a serial killer. While the novels present her as an established murderer, the show delves into her origin story, with Ella Purnell portraying Rhiannon as a disgruntled administrative assistant turned vengeful killer. The season finale shocks as Rhiannon kills her supportive co-worker AJ (Calam Lynch), marking her first emotionally costly murder and cementing her transformation. Swain, also an executive producer, explains that the adaptation diverged significantly from the books to avoid well-trodden tropes, such as a rape-revenge narrative. Swain sought to maintain audience empathy for Rhiannon by portraying her as a relatable underdog, albeit one whose actions provoke discomfort. The show’s graphic violence was intentionally designed to emphasize the messy reality of her choices, drawing inspiration from darkly comedic dramas like Barry and Fargo. While critics’ reactions have been mixed, Swain appreciates the engaged audience response and teases potential for future seasons.
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◊"Cross" Creator Ben Watkins Unpacks Season Finale and Long-Term Vision for the Series
Ben Watkins, creator of Cross, discusses the Prime Video series’ gripping season finale and his ambitious four-year plan for the show, based on James Patterson’s Alex Cross novels. In the first season, Aldis Hodge plays Alex Cross, a detective-psychologist navigating grief, family threats, and a deadly game with two villains: serial killer Ed Ramsey (Ryan Eggold) and the surprising Miss Nancy (Karen Robinson). Watkins highlights his approach to complex relationships, particularly between Cross and his partner John Samson (Isaiah Mustafa), and the nuanced exploration of law enforcement’s relationship with the Black community. Despite challenges like balancing two major plotlines, Watkins crafted a layered thriller with deep character development. Season two is set to expand on seeds planted in the debut season, as Watkins aims for a 10-season run blending fresh stories with elements from Patterson’s books. Cross is streaming now on Prime Video.
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◊Hollywood Dialogue Powers AI Training, Raising Copyright and Ethical Concerns
https://www.theatlantic.com/technology/archive/2024/11/opensubtitles-ai-data-set/680650/
A new investigation confirms that dialogue from over 53,000 films and 85,000 TV episodes has been used to train generative AI models, often without writers’ consent. Companies including Apple, Anthropic, Meta, and Nvidia have utilized the OpenSubtitles database, a massive repository of subtitles extracted from media, as part of broader datasets like The Pile. This includes dialogue from The Godfather, Breaking Bad, The Sopranos, and even awards shows. These AI systems now replicate naturalistic speech and cultural references, fueling fears among screenwriters about the potential replacement of human creativity.
The use of these datasets raises legal questions about copyright infringement, with ongoing lawsuits challenging AI developers’ reliance on copyrighted materials. Tech companies argue that training AI systems constitutes "fair use," but this claim remains untested in court. Notably, Vince Gilligan (Breaking Bad) called generative AI “a complex and energy-intensive form of plagiarism” in a statement to the U.S. Copyright Office.
While AI creators leverage these works for chatbots and translation models, the ethics of exploiting writers’ creativity without attribution or compensation remain hotly debated. As lawsuits proceed, Hollywood writers and artists may face an uphill battle to protect their intellectual property in the digital age.
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◊Zack Snyder Teams with Netflix for Grounded LAPD Action Thriller
Zack Snyder is diving into the gritty world of law enforcement with an untitled LAPD action thriller for Netflix. Known for his larger-than-life spectacles (300, Rebel Moon, Army of the Dead), Snyder shifts gears to direct and co-write this grounded feature with longtime collaborator Kurt Johnstad (300, Rebel Moon). The film centers on an elite LAPD unit navigating intense moral dilemmas in high-stakes scenarios. This marks Snyder’s fourth directorial project for Netflix and his sixth collaboration under his Stone Quarry banner, co-run with wife Deborah Snyder and Wesley Coller. Snyder’s first attempt at an LAPD film, S.W.A.T., over 20 years ago was abandoned due to creative differences, making this a full-circle moment in his career.
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◊Copyright Lawsuit Against Don’t Look Up Dismissed, Author Given Opportunity to Refile
A copyright lawsuit accusing Adam McKay, Netflix, and his production company of copying the novel Stanley’s Cometfor the Oscar-nominated Don’t Look Up has been dismissed, though the author, William Collier, may amend and refile. U.S. District Judge Sherilyn Peace Garnett ruled that the alleged similarities, such as the dark comedic tone and societal critiques, are too generic for copyright protection. While both works feature scientists warning about a comet colliding with Earth and public apathy, the court emphasized key differences—such as the comet destroying Earth in McKay’s film versus skimming past in Collier’s novel.
Collier alleged McKay gained access to the book via his daughter, who worked for Jimmy Miller Entertainment, where McKay was a client. McKay, however, stated he wrote Don’t Look Up in 2019, inspired by various sources, including journalist David Sirota, who received a co-writing credit. Collier has 21 days to revise and refile his lawsuit.
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◊Alex Weinberger to Lead YA and Comedy Series at Amazon MGM Studios
Amazon MGM Studios has appointed Alex Weinberger as the head of ongoing Young Adult (YA) and comedy series, expanding its focus on series continuity and success beyond their initial seasons. Weinberger will oversee titles such as Cruel Intentions, We Were Liars, Motorheads, Off Campus, and Every Year After, among others. She will report directly to Laura Lancaster, Amazon MGM's head of co-produced television and ongoing series.
Weinberger’s background includes over two decades at Disney, where she was instrumental in managing Shondaland's iconic series such as Grey’s Anatomy, Scandal, Private Practice, and Station 19. She also has experience in comedy development from her tenure at Touchstone Television, providing her with a robust foundation to manage Amazon MGM's expanding slate of YA and comedic storytelling.
Potential Outcomes for Screenwriters
Opportunity for Emerging Talent: Amazon MGM's focus on YA and comedy may lead to the company seeking fresh voices that resonate with younger audiences, opening doors for new writers.
Expanded Series Lifespans: Weinberger’s experience with long-running series may ensure better support for ongoing shows, allowing writers to further develop characters and plots across seasons.
Stronger Story Arcs: Her background in high-profile dramas and comedies suggests a preference for tightly constructed narratives and character-driven storytelling, which offers writers opportunities to experiment with depth and humor in their scripts.
Alignment with Studio Trends: Writers targeting Amazon MGM could benefit from tailoring their pitches to YA and comedy, focusing on relatable, engaging, and socially relevant content that aligns with the studio’s priorities.
Weinberger’s addition reflects Amazon MGM's commitment to nurturing existing properties while elevating their storytelling potential, a positive signal for writers aiming to work in YA and comedic genres.
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◊Nick Antosca to Write and Showrun Cape Fear TV Series for Apple TV+
Nick Antosca, the writer and showrunner behind acclaimed true-crime dramas such as A Friend of the Family and The Act, is bringing his expertise to a reimagining of Cape Fear for Apple TV+. Antosca, who has an overall deal with UCP, is crafting the 10-episode series, described as a Hitchcockian thriller exploring America’s fascination with true crime.
The series draws from both the 1962 film directed by John Lee Thompson and Martin Scorsese’s 1991 adaptation, as well as the original novel The Executioners by John D. MacDonald. Antosca is known for his ability to blend psychological tension with grounded character-driven storytelling, as seen in his previous works. This makes him well-suited to reinterpret Cape Fear’s gripping narrative about the Bowden family’s terrifying encounter with the relentless Max Cady.
In addition to writing and showrunning, Antosca is an executive producer alongside Martin Scorsese, Steven Spielberg, Javier Bardem, and others. This series further solidifies Antosca’s reputation for bringing layered, suspenseful stories to the screen.
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◊Nicholas Stoller to Write and Direct Judgment Day Starring Will Ferrell for Amazon MGM Studios
Nicholas Stoller, known for his comedic hits like Forgetting Sarah Marshall and Neighbors, is both writing and directing Judgment Day, a comedy feature starring Will Ferrell. The story follows a young convict who takes a TV courtroom hostage, blaming the show’s judge (played by Ferrell) for ruining his life with an unfair ruling. Stoller’s proven skill in crafting sharp, character-driven humor makes him a natural fit for this absurd premise.
Stoller and Ferrell have previously collaborated on You’re Cordially Invited, a wedding comedy debuting on Amazon’s Prime Video in January 2025. Stoller’s screenwriting portfolio includes The Muppets, Yes Man, and Fun With Dick and Jane, showcasing his ability to balance heartfelt comedy with broad appeal. Additionally, his recent work includes co-creating Platonic for Apple TV+, a series renewed for a second season.
Ferrell, who is producing the project alongside Jessica Elbaum and Alex Brown via Gloria Sanchez Productions, continues to expand his comedic repertoire following high-profile projects like Barbie and his voice roles in Despicable Me 4 and Strays. Stoller, represented by UTA, joins a growing list of creators exploring unique comedic takes for Amazon MGM Studios.
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◊Justin Piasecki Pens Paranoid Thriller Relay Starring Riz Ahmed
Justin Piasecki is the screenwriter behind Relay, a tense thriller starring Riz Ahmed as a mysterious fixer who brokers deals between whistleblowers and corporations. Directed by David MacKenzie (Hell or High Water), the film explores the high-stakes world of corporate whistleblowing. Ahmed’s character adheres to strict anonymity and protocols, but when a potential client (played by Lily James) reaches out, the narrative shifts into a dangerous game of survival. Sam Worthington co-stars in this gritty, suspense-filled story.
Piasecki, who is relatively new to high-profile projects, takes on a complex narrative that combines moral ambiguity with the thriller genre. With Relay, he joins forces with Black Bear Pictures, known for producing gripping dramas like I Care a Lot. The film premiered at TIFF and is set for a theatrical release in 2025 via Bleecker Street.
The project brings together an impressive team of producers, including Basil Iwanyk (Sicario), Gillian Berrie (Outlaw King), and Teddy Schwarzman (The Imitation Game). The distribution deal was negotiated by UTA Independent Film Group and CAA Media Finance, with international rights handled by Black Bear.
This marks an exciting entry for Piasecki, whose work will likely garner attention as the thriller genre continues to evolve in exploring themes of corporate secrecy and personal morality.
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◊Promise Studio Pioneers Generative AI Entertainment with Industry Backing
Promise, a new entertainment studio focused on generative AI, is launching with significant backing from Peter Chernin’s North Road Company and venture capital giant Andreessen Horowitz (a16z). Led by George Strompolos (former Fullscreen CEO), Jamie Byrne (ex-YouTube creator partnerships head), and filmmaker Dave Clark, the studio aims to integrate AI technology at every stage of the filmmaking process. Promise’s proprietary MUSE software will help creators enhance productions with AI tools, blending traditional filmmaking expertise with cutting-edge technical innovation.
Promise is positioning itself as a creator-centered entity, addressing industry apprehensions about AI while collaborating with Gen AI artists, Hollywood talent, and rights-holders to develop a slate of films and series. The studio’s launch comes amid industry concerns highlighted during recent WGA and SAG-AFTRA strikes, which spotlighted the need for clearer guidelines and compensation for AI-driven projects.
Potential Outcomes for Screenwriters
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