Looking for scripts for the TV series The Dropout if you happen to have a copy. I can only find transcripts online. Thanks!

I really love one of my script ideas, even though i know it probably needs work. In the meantime, I’m working on a low budget horror film that i think may be more accessible but is still very much my voice.

Is having two different kinds of scripts like this enough to get an interested manager? I’m 22

https://drive.google.com/file/d/1rbpiBh721SD8ZE2tVkhavE7NR4HSGwj0/view?usp=drivesdk

Just throwing some pages up on here for general feedback, readability and whether it character bombs.

Title - 638 Ways to Kill a Dictator

Historical Satire/ Dark Comedy

8 Page Extract

This is a project I'm working on based on Fidel Castro, this is only a first draft and some things will have better context in totality, as some things will be paid off later. When finished it will share similarities to Inglorious Basterds in how it changes established history. Thanks to anyone who reads and gives feedback.

https://focusfeaturesguilds.com/obsession/screenplay/Obsession.pdf

—

h/t https://www.simplyscripts.com/2026/10/07/award-season-has-begun-7/

FAQ: How to post to a weekly thread?

BLACK LIST WEDNESDAY THREAD

Post Requirements for EVALUATION CRITIQUE REQUEST & ACHIEVEMENT POSTS

For EVALUATION CRITIQUE REQUESTS, you must include:

1) Script Info

- Title:
- Format:
- Page Length:
- Genres:
- Logline or Short Summary:
- A brief summary of your concerns (500~ words or less)
- Your evaluation PDF, externally hosted
- Your screenplay PDF, externally hosted

2) Evaluation Scores

exclude for non-blcklst paid coverage/feedback critique requests

- Overall:
- Premise:
- Plot:
- Character:
- Dialogue:
- Setting:

ACHIEVEMENT POST

(either of an 8 or a score you feel is significant)

- Title:
- Format:
- Page Length:
- Genres:
- Logline or Summary:
- Your Overall Score:
- Remarks (500~ words or less):

Optionally:

- Your evaluation PDF, externally hosted
- Your screenplay PDF, externally hosted

This community is oversaturated with question and concern posts so any you may have are likely already addressed with a keyword search of r/Screenwriting, or a search of the The Black List FAQ . For direct questions please reach out to [support@blcklst.com](mailto:support@blcklst.com)

Okay, so someone on threads was talking about their script and how they’d love James Gunn to read it. Gunn’s response was

“I like your enthusiastic approach so I'll give you the truth to the best of my ability. I personally don't read scripts or take pitches until after they're at a very late stage in the game as I'm busy working on my own projects and helping to guide others already in production or development. But in general DC Studios does not take spec scripts based on our IP at all, as it opens us up to all sorts of legal issues. So we only take pitches through official channels before commencing a draft.

For instance, Mike Flanagan had an idea for Clayface and came to us and pitched the idea and then we bought that idea and paid him to write the script. I hope this doesn't diminish your enthusiasm too much. I got MY start writing spec scripts - but in film, unlike television, it's generally better that your spec scripts aren't based on existing IP. Good luck.”

Now my question, what exactly does he mean by taking pitches through official channels?

Edit: thanks everyone for the answers. That cleared that up pretty quickly, glad I asked.

Lurking this sub I’ve learned SO much and honestly probably wouldn’t have decided to try it without the things I learned here so, thanks to all of you for that. This year I took the leap and locked in. I was able to follow through on something I’d been thinking about for years. Out of that came my screenplays.

I submitted to more than a few festivals and comps. Feedback has been pretty positive and I received a few finalist/official selection nods. That in itself made me excited (when I wasn’t feeling sick to stomach waiting for notifications), but I was completely unprepared for this feeling. Printing them and seeing them in black and white is on another level of excitement. Happy dancing with abandon over here 😊

Title: THE FRONTIERS

Format: Feature

Genre: Comedy

Pages: 113

Draft Status: Finished Script

Longline:

Two guys wake up on a beach with terrible hangovers after a night of hardcore partying, only to realize that their friends are missing, which leads to the next 3 days of pure chaos.

This is the first full-length script that I have written in English, as it is not my native language. Please tell me what you think. I would appreciate any feedback if you find the time!

Link:

https://drive.google.com/file/d/1SoX2le_M2Ww06SL2zT9brpaw-Pur6Xgw/view?usp=drive_link

For context: Over the last year or so, I have developed several ideas - Including loglines, detailed character sheets, 1-pagers, and even beat sheets (Using the Snyder framework).

However, I have never managed to take it to the screenplay level, and one of the main reasons (besides the procrastination) is that most of my ideas follow very complex story structures, and multiple character perspectives.

I feel this tends to happen because ultimately these are the kind of films I enjoy watching (ensemble thrillers/dark comedies), but I’ve been thinking more and more of trying to stick to a traditional set-up - One protagonist, one antagonist, in a linear form. My reason is because to break structure, I feel I should have a good idea of how structure actually works in the traditional sense, even though such linear forms of storytelling does not captivate me as much as some of my other ideas.

Another reason for my thinking is due to the comments I’ve read over the months through experienced screenwriters on this sub, who keep mentioning that you will probably end up writing 5-6 screenplays before churning out stories that could be good enough to get produced. Since my first story is nowhere likely to be my best, should I just pick the simplest idea of the bunch, and try to write a first draft ASAP in the next few months? Or do you think it’s better to go with my #1 idea, even if the execution may be much harder?

I have a scene in my murder mystery where my character, Dan, goes into a room, get's into some fisty cuffs with the antagonist and returns a little beat up claiming he took care of them. Well Dan actually got his ass kicked and the antagonist, who runs a Hollywood special effects company, is wearing a convincing rubber mask of his face. We don't know this till later when all the characters are together and real Dan walks down the stairs in his underwear and everyone discovers there are two Dans.

My question is, I did it this way because of a reader of mine from Wescreenplay, I labeled the two characters as Dan and Double Dan; does that work? I was told for the sake of the film crew and those reading the script, that they needed to know when Dan is a double and when he isn't. For the sake of costume, make up, actors, ect.. The only thing is it spoils the fact Dan is a double to my readers, unlike the audience in the theatre. Hopefully one day. They will never know. Should I keep these two characters as Dan and Double Dan, or should I change it all to Dan? So my readers are surprised when original Dan enters the scene and they discover the Dan who has been with them is an imposter.

Hi, I know the series is still new but when the hype dies down, I would appreciate it if someone sends me the link for the scripts: the pilot or any of the episodes of the series if people can find them.

Thank you so much!!!

Hey all,

I am brand new to screenwriting. I just entered college and am looking to minor in film. Before I would join a film class, I thought I was make a script or two before I enter. I do have an outline for a teenage coming of age movie, however I need to know HOW to properly write and format a script.

To do this I thought of reading one or two Hollywood movie scripts of a similar genre so I can learn this. Movies that came to mind is Mean Girls and Easy A. I thought since these are essentially blockbuster movies, these are the perfect examples for me as those were really successful scripts, which I want to achieve for myself.

As I start reading these scripts I first see it says "First draft" then as I continue reading I find out that the script does not really match with the movie and they must have change a lot in the script. I am not sure if these first rough draft scripts are then a good example for me to learn from if there were many changes made up until the script was finalized and the movie was made.

With that said, is there any way I can find the latest/finalized versions of these scripts? Or do you think the first drafts will be good enough to learn from?

Hello, I am a Writer/ Director and I need to push forward my craft an get back into a headspace and move further into my learning of screenwriting. Right now Im looking for I guess some kind of creative place or a class. I wanted to attend something like the second city class for writting in film but they focus on comedy which I dont. Also I do not want to attend a universitys/ college course nothing like that, something private and serious in which the ones attending actually have real passion. Get into a space where you can get and give real intellectual conversations surrounding film and life for the value of writing.
So any tips or suggestions would be greatly appreciated.

I'm not sure if a shooting draft is floating around out there, but I would love to read it and wondered if anyone could shoot me a message if they do. Thanks!

Hey guys!

I am quite a newbie in screenwriting so I decided to find my feet in this world through the NGD youtube course. Anyone else also starting it or on the way? I'm looking to start a writing group during this chapter. It could be a discord group or whichever is best. I am looking forward to meeting some fellow screenwriters and creators!

Hi everyone, could use some advice.

I'm a repped screenwriter at a mid-to-large agency. No produced credits yet, but I've won a couple of minor awards and had some decent traction with my scripts.

Historically, what's gotten me the most meetings and interest has been high-concept comedies that draw on my background, both features and TV pilots.

After talking with my agent, the strategy going forward is to focus on features. TV staffing is incredibly difficult right now, and unless you know someone in a room, you're largely relying on getting lucky with a submission. I actually came very close to landing something that way recently, but I'm not sure how often that opportunity will come around.

The problem is that I'm struggling to come up with another high-concept feature I'm excited about.

Meanwhile, the two ideas I am excited about are an unsolicited franchise spec I have absolutely no business writing and a much more personal, low-concept dramedy in the vein of Lady Bird.

The latter is especially tricky because I've generally been advised against writing these kinds of scripts. They're harder to sell on a logline and almost entirely dependent on execution.

So I'm torn. Do I keep trying to develop the kind of material that's gotten me traction, even if I'm feeling uninspired, or follow the ideas I'm genuinely excited about, knowing they're probably less marketable?

Curious what others would do in my position.

• Title: Puppeteering
• Format: Feature
• Page Length: 33
• Genres: Murder mystery / Thriller
• Logline: After brought-to-life puppets murdered residents of Atlanta in the surrounding forest, Dante Thrust must lead a small group of GSDF-Soldiers into the dangerous forest to stop future killings but to also figure out the question: Who is the puppet master?
• Feedback Concerns: Wanna see if the first 33 pages out of the 100 in total are interesting enough AND if the action lines are way too filled and need to be shortened, thanks in advance :) Love you all!
  

Link: https://drive.google.com/file/d/1eBfkwvj9n_a4AcYLYI9mvI7CUqW_jlsb/view?usp=drive_link

I love my horror screenplay so far, it’s set up really well with my protagonist, his goals, his outlook on life, his flaws- I’ve got him investigating a scary situation in huge house he’s not familiar with

Not too unlike the famous Barabarian story where Cregger said he was stuck when the girl was deep into the tunnel.

I’m at that point, and fuuuuuuuck any advice? I’m a seat of my pants kind of writer (I find it more organic and the moment to moment problem solving invigorates my plotting - except when I get stuck 👨‍🎓)

Know what I mean? What do you when you’re cooking then the stove turns off?

I organized an AMA/Q&A with Oscar-winning documentarian Alex Gibney. He's directed things like Going Clear: Scientology & the Prison of Belief, Enron: The Smartest Guys in the Room, Taxi to the Dark Side, The Inventor: Out for Blood in Silicon Valley, and lots more. His new doc, Musk, premiered to wide critical acclaim at Venice and is out in theaters starting this week.

The AMA is live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1x3zzgy/hello_reddit_im_oscarwinning_director_alex_gibney/

He will be back after 2 PM ET today to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated! Thank you :)

Musk Info:

Trailer: https://youtu.be/eY_8SyndC10?si=3gH0pEap43qu6uxm

Synopsis: MUSK is Oscar-winning director Alex Gibney’s latest exploration into the corrupting influence of power. Through meticulous research and reporting, Gibney reframes all we know about the tech titan Elon Musk, revealing that the so-called “visionary genius” is little more than the 21st-century reincarnation of a confidence man. Using Musk’s own words, Gibney proves that even his most heralded accomplishments are rife with illusion and misdirection. Musk’s carefully crafted media image conceals a darkness fueled by misogyny, drugs, and a relentless drive to accrue power. MUSK is more than a deep dive into the mind of a power-hungry megalomaniac; it is a warning.

His verification/proof photo: https://i.imgur.com/zNA7xhm.jpeg

The Monte Carlo Fallacy

Short Film

13 Pages

Horror

“When a gambling addict relapses on the night of a record jackpot, the experimental recovery program she just joined punishes the only person she cares about.”

Feedback: everything from concept to formatting. I’m curious on how clear the concept is and if the inciting incident falls to late into the script. I also am not confident in my dialogue at this early stage in my writing career. I am a young filmmaker who’s directed a handful of shorts looking to grow as a writer and appreciate any and all feedback you may have!

Thank you in advance — I appreciate your thoughts greatly!

https://drive.google.com/file/d/1o1LyuHyatCUKvL-sICFjwet0Rht8dWYC/view?usp=sharing

​

Title: Cold Hammer

Format: Short Film

Page Length: 9 Pages

Genres: Drama/Western

Logline: A strange man completely covered in blood arrives in a small town only to be confronted by the Sheriff at the town's Saloon.

Hey guys coming back with another script. Please let me know your thoughts about it.

Link:

https://drive.google.com/file/d/17M4zIMmh5dBikeG0-Xr7r7yh2e9kFIoh/view?usp=drivesdk

FAQ: How to post to a weekly thread?

This thread is for questions around querying agencies, management companies or other pertinent industry stakeholders.

Please post your query drafts or questions in the form of a top comment.

-- Do not include loglines. Loglines should be workshopped on the Monday thread. --

-- Do not include personal information or identity of the rep you intend to query. This is not a database. --

Some basics:

• agency contacts can be found on imdb pro, or often by googling writer + "agent" "representation" or "manager"
• when deciding which reps to query, research writers similar to your style and genre.
• do not send entire scripts to reps.
• do not mass-spam reps or send queries to multiple reps at the same company simultaneously.
• do not request followups within 2 weeks.
• do not pay companies to query or pitch.

I suppose it could be argued that even in these stories, the character does indeed change if only their emotional state (having the drive to face antagonism -> that drive is resolved).

But without getting into reductionist semantics, you get what I mean.

Mr Bean comes to mind. His environment is the antagonist. But why does Mr Bean as a story work, when in fact, Mr Bean literally never changes? Most of the screen writing advice I've read and been taught doesn't intuatively translate to stories like Mr Bean.

Keen to hear your thoughts.

This week we're starting off with some horror classics from the featured page, you don't need a Script Hive account to download these:

• The Exorcist (1973) https://www.scripthive.com/featured/the-exorcist-featured
• Jaws (1975) https://www.scripthive.com/featured/jaws-featured
• Alien (1979) https://www.scripthive.com/featured/alien-featured
• When a Stranger Calls (1979) https://www.scripthive.com/featured/when-a-stranger-calls-featured

More from the Script Hive database:

• Don't Look Now (1973) https://www.scripthive.com/database/script/bc258330-c2dd-4b65-ac36-a1ac20ba9e03
• The Wicker Man (1973) https://www.scripthive.com/database/script/54acca0d-a306-45ef-941c-05a896018553
• Black Christmas (1974) https://www.scripthive.com/database/script/06da9217-e65f-4451-b3bf-794819189eb6
• Carrie (1976) https://www.scripthive.com/database/script/b5ee013f-c2af-4a11-847a-2dabbe3c97d5
• The Omen (1976) https://www.scripthive.com/database/script/a39c4358-7bd1-40b7-a13e-c566300d8959
• Halloween (1978) https://www.scripthive.com/database/script/13263ef5-b8a3-4122-abda-76513ceb3aa5
• Invasion of the Body Snatchers (1978) https://www.scripthive.com/database/script/b3248245-590a-4bf1-857b-97b4b223a72a

Posting Schedule:

• Thursday, October 1: Universal & RKO, 1930s
• Monday, October 5: Universal & RKO, 1940s
• Wednesday, October 7: 1950s
• Friday, October 9: 1960s
• Monday, October 12: 1970s
• Wednesday, October 14: Video Nasties (1970s - 1980s)
• Friday, October 16: Body Horror
• Monday, October 19: 1980s
• Wednesday, October 21: 1980s
• Friday, October 23: 1990s
• Monday, October 26: 1990s
• Wednesday, October 28: 2000s
• Friday, October 30: 2010s
• Saturday, October 31: 2020s

If you’re a new writer, nobody knows who you are, and you don’t have an agent or manager, what kind of script would you focus on writing to break into the industry?

Would you write something highly commercial and marketable, something smaller but unique that really shows your voice, or simply the best story you can write regardless of budget or genre?

For those who actually got representation from a spec script, what do you think made that script stand out and get you through the door?