Industry Interviews & Spotlights
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Eric Kripke on Ending ‘The Boys’: “Character Is Plot”
June 24, 2026 -
Leah McKendrick Talks How ‘Voicemails for Isabelle’ Started as a Spec Script
June 24, 2026 -
From ‘Mare of Easttown’ to ‘Task’: Brad Ingelsby's Rules for Creating Compelling Drama
June 15, 2026 -
‘The Paper’ Creators Greg Daniels and Michael Koman Reveal Why Mockumentary Still Works
June 9, 2026 -
'Dexter' Showrunner Clyde Phillips Reveals His 'Pre-Magic Draft' Writing Process
June 3, 2026 -
Inside Dunk: Showrunner Ira Parker Talks 'A Knight of the Seven Kingdoms'
June 1, 2026 -
How 'DTF St. Louis' Creator Steven Conrad Turned Middle-Aged Dread Into a Hitchcockian Whodunit
May 22, 2026 -
Oscar Winner Daniel Roher Talks Grappling with Creative Self-Doubt with ‘Tuner’
May 22, 2026 -
Curry Barker Breaks Down the Writing of 'Obsession'
May 13, 2026 -
‘Off Campus’ Showrunner Louisa Levy on Adapting New Adult Romance for TV
May 13, 2026 -
Give Them What They Want, But Different: Jeremy Slater’s Approach to Writing 'Mortal Kombat II'
May 11, 2026 -
2025 Big Break Thriller/Horror Winner Tim Daly Secures Producer for Script
May 1, 2026 -
“Scare Yourself First”: How Damian McCarthy Wrote 'Hokum' from the Inside Out
May 1, 2026 -
Lee Cronin Talks Bringing Horror Home in 'The Mummy'
April 27, 2026 -
How Big Break Category Winner Xavier Burgin Sold His Script
April 22, 2026 -
Writing Hero and Villain as Mirrors: Jeremy Robbin’s Unique Approach to Character in ‘Apex’
April 22, 2026 -
Ed Solomon on Writing ‘The Christophers’, Creative Constraints, and Not Hoarding Your Reveals
April 13, 2026 -
How Daniel Goldhaber and Isa Mazzei Reframed ‘Faces of Death’ for the Internet Age
April 8, 2026 -
The Big Break Win that Helped ‘Deafblind’ Get Optioned
April 8, 2026 -
Screenwriter Lily Houghton Talks How ‘Forbidden Fruits’ Evolved from Stage to Slasher (with Help from Diablo Cody)
April 3, 2026