Our childhood dream of making a movie became a reality 🎥

Cheap isn't sustainable. In this clip, director Adam Wingard, discusses Obsession, the low-budget film that isn't the business model it looks like. Obsession was made for around $750,000 and earned over $500 million at the box office, but that success didn't reach the below-the-line crew's wages. The cheap movie is a way in the door. It's not how you make a living. In the full episode, Adam, the filmmaker behind Onslaught, Godzilla vs. Kong, and The Guest, talks about pitching Onslaught to A24 with nothing but a photo of The Fog on his phone, and why passion projects and sustainable careers aren't always the same thing. Watch or listen to the full conversation on YouTube, Spotify, and Apple Podcasts.

Matthew Rhys in Widow’s Bay blends deadpan comedic timing and chilling horror flawlessly. #AppleTVPartner Episode 110, “We Hope You Enjoyed Your Time!” Written by Katie Dippold Directed by Hiro Murai

Storytelling is more than just dialogue. #AppleTVPartner Pluribus, episode 101: “We is Us” Written and directed by: Vince Gilligan

Michelle Pfeiffer brings an honest, relatable vulnerability to her Emmy nominated performance in Margo’s Got Money Troubles that captures the unfiltered reality of motherhood. #AppleTVPartner Episode 101, “The Hungry Ghost” Written by David E. Kelley Directed by Dearbla Walsh

Kate O’Flynn shines as a relatable fan favorite and an unforgettable party host. #AppleTVPartner #WidowsBay Widow’s Bay, Episode 104 - “Beach Reads” Written by Mackenzie Dohr Directed by Sam Donovan

The cast of Widow’s Bay brilliantly balances deadpan comedy with moments of looming terror. #AppleTVPartner The show has earned 19 Emmy nominations, including Outstanding Comedy Series, as well as nominations for acting, writing, and directing. Episode 105 - ‘What to Expect on Your Trip’ Written by: Colton Dunn Directed by: Andrew DeYoung

One of the most powerful scenes of 2026 was even more explicit on the page. Here’s how the filmmakers removed key lines from Project Hail Mary and made the emotional reveal hit even harder.

OBSESSION’s ending was scripted differently until two last-minute changes reshaped the final scene. In the original script, Bear swallows the pills, accepts his fate, and walks out to Nikki. Actor Michael Johnston suggested adding a moment where Bear panics and tries to throw the pills back up. Writer/Director Curry Barker kept it, and that single change turns Bear's death from a sacrifice into a final act of cowardice. Barker also revealed the film was originally written to end with Nikki taking her own life, but his father and a few collaborators pushed him to try a version where she survives. He shot a single take of it, sure he'd never use it, then realized the bleaker image of Nikki left alive and screaming in the aftermath was the stronger ending and kept it. Which ending would you have chosen?

Your “terrible idea” might be the one worth making. Michael Sarnoski, writer/director of PIG, A QUIET PLACE: DAY ONE, and THE DEATH OF ROBIN HOOD, explains why. Watch the full interview: piped.video/N_fwlRsj1Ik?is=QXrT…

Some movie ideas sound wrong on paper. A man searching for his pig. A horror prequel about someone who does not want to survive. Another Robin Hood story. Michael Sarnoski explains why those are exactly the ideas worth chasing. Full interview: piped.video/N_fwlRsj1Ik?is=QXrT…

Most people get this backwards. The best ideas are not always the ones you plan. Sometimes they come from the weird, messy, unplanned moments you almost ignore. In our conversation, Michael Sarnoski talked about writing The Death of Robin Hood by instinct. Not by trying to force the perfect version of the story. By writing a messy first draft and paying attention to what kept surprising him. Characters appeared that he did not expect. The brutality of the story revealed itself. The philosophy of the movie started to come through. And the deeper he got, the more he realized the story had been with him for years. He had been thinking about Robin Hood’s death since he was 10. That is what makes this so interesting. A story can feel like a “terrible idea” at first, then become personal because you keep following what refuses to leave you alone. The lesson for writers: Do not dismiss the strange part of the idea too quickly. Sometimes the thing that feels random is the thing telling you where the story actually wants to go. Watch the full conversation: piped.video/AIr9Gq_xgHQ

Nicolas Cage as a 1930s noir Spider-Man sounds impossible. That’s exactly why it’s interesting. Spider-Noir showrunner Oren Uziel breaks down how the show was built, from tone and character to making a superhero story feel completely different. Full interview on YouTube: piped.video/hSeD-HGq85o

How does a TV show actually get made? Megan Gallagher breaks down running ‘All Her Fault’ from the writer’s room to the final cut: adapting the story, building suspense, shaping characters, and crafting a twist that only works if the audience is emotionally invested. Full interview: piped.video/kbLrG46rGd0?is=fgQ3…

What’s it like to run a Marvel show? Andrew Guest, showrunner of Wonder Man, joins Screenplayed Breakdown to talk Kevin Feige, Dan Harmon, Tina Fey, writing on 30 Rock and Community, and how TV has changed from the writers’ room era to streaming. Listen here: podcasts.apple.com/us/podcas…

How do you turn a bestselling thriller into a show that still surprises people? Megan Gallagher, showrunner of All Her Fault, joins Screenplayed Breakdown to talk adaptation, suspense, character, and the choices that make a mystery work on screen. New episode is live! podcasts.apple.com/us/podcas…

Jason Segel and Harrison Ford in Shrinking remind us what happens when powerful writing and unforgettable performances meet. #AppleTVPartner Episode 311 — “And That’s Our Time” • Written by: Bill Lawrence (@vdoozer), Brett Goldstein (@brettgoldstein) & Neil Goldman • Directed by: Randall Keenan Winston • Story Editor: Sasha Garron • Created by: Bill Lawrence, Jason Segel & Brett Goldstein

Spider-Noir co-showrunner Oren Uziel joins us to talk about going from attorney to screenwriter, developing Spider-Noir with Nicolas Cage, breaking in without film school, and writing in the age of AI. Watch/listen: linktr.ee/screenplayed