Script Apart with Al Horner

Ground control to Script Apart listeners – today on the show, we’re blasting off into the cosmos with three formidable sci-fi storytelling talents. Phil Lord and Chris Miller are the writer-director-producer pair responsible for films like Into The Spider-Verse, Across The Spider-Verse, 21 Jump Street, 22 Jump Street, The Lego Movie and Cloudy With A Chance Of Meatballs. Screenwriter Drew Godard, meanwhile, you may know from movies like Cloverfield, Cabin In The Woods, World War Z and Bad Times At The El Royale, which he also directed. Project Hail Mary is their new film, directed by Lord & Miller and written by Drew, and it’s one of the most entertaining and defiantly hopeful spectacles of the year so far – a tale of empathy and communication as a weapon against adversity, and another story of an astronaut adrift among the stars, adapted from an author who’s made that kinda his specialty. In 2015, Drew worked with Ridley Scott on The Martian – an adaptation of a novel by Andy Weir. A decade later, Drew teamed with Andy again on a film that, from the outside, might look like The Martian Part II. Project Hail Mary, though, is in fact a brilliant inversion of Andy’s breakthrough book, and of other similar-sounding space adventure yarns.It stars Ryan Gosling as junior high teacher Ryland Grace – a man who wakes up one day alone on a space shuttle with amnesia, and no recollection of what put him there. Soon he discovers himself to be at the centre of a mission to heal our solar system’s dying sun. This dude in a nice cardigan is somehow humanity’s last shot at salvation.“So, a bit like Sunshine by Danny Boyle?” I hear you ask. Not really! Despite the cosmic high-stakes involved in that premise, Project Hail Mary has a hilarious lightness of touch about it, and a message about friendship at its core that’s remarkable. In the spoiler conversation you’re about to hear, first with Drew, then handing over to Phil and Chris, you’ll hear exactly how the filmmakers arrived at that tone. Collectively, we break down every twist and turn in Project Hail Mary – including the inspirations behind Rocky, a character that let me be very clear, I would die for. Drew also gives me a couple of insights into what he’s cooking up with The Matrix 5, following the announcement a while back that he’s going to be helming the next instalment in that saga. Support for this episode comes from Final Draft's Big Break screenwriting competition.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage.Advertising Inquiries: https://redcircle.com/brands

Pandora beckons once more, guys. Amanda Silver and Rick Jaffa are back on the show today, spilling secrets from their screenplay for the recent third film in the Avatar franchise, Fire & Ash. The husband-wife duo came on the show around the release of Avatar: The Way of Water a couple of years back, and it’s always a good time chatting with them – I love the unapologetic earnestness of their storytelling and the habit they have of taking huge, billion dollar IP and using them as vehicles for stories about the wonder of nature and what we risk by not showing our environment the appropriate care.Rise Of The Planet Of The Apes. Dawn Of The Planet Of The Apes. Jurassic World. These are huge-scale blockbuster spectacles that, in an era of franchise films drenched in irony and a certain cynicism, make these very sincere pleas to appreciate animals. To revere and protect nature. Because to lose it or underestimate it leads to chaos and collapse. Fire & Ash is another film to bear that signature of theirs – and it’s an epic of mythic proportions. In the spoiler conversation you’re about to hear, we break down the intricacies of this latest collaboration with director James Cameron. They tell me about the moment in which a character very viscerally contemplates suicide, in a scene I was really surprised to see in a Disney tentpole movie. They tell me about the conversations that led to the heartbreaking moment in which Sam Worthington’s Jake Sully agonises over whether to do the unthinkable to save his Na’vi tribe. And we also get into the ending of the movie and what exactly is happening as series antagonist Colonel Quaritch, played by Stephen Lang, throws himself to his apparent demise. Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands

It’s officially that time of year again: Oscar season! We’re now just a few weeks away from the 98th Academy Awards and to celebrate, over the coming days and weeks we’ll be posting conversations about movies in the mix for all sorts of major awards at this year’s ceremony (not just the writing categories). We have of course ticked off a few of the front runners already on the show in recent months - scroll back in your podcast feed to hear our chats with Ryan Coogler about Sinners and Chloe Zhao about Hamnet. But there’s always room for more, right?Which brings us to Weapons – writer-director Zach Cregger’s astonishing Hansel and Gretel-esque horror fairy tale, structured like Paul Thomas Anderson’s Magnolia. The film hit cinemas last summer and quickly became a surprise box office smash, earning a Best Supporting Actress nomination for Amy Madigan along the way. It tells the tale of a town in Pennsylvania who wake up one morning to find their children missing. Ring camera footage reveals that at precisely 2:17am, an entire class of kids – bar one child – got up and ran from their homes, running through the night towards an unknown destination, with their arms spread wide. The film grapples with the aftermath of that mysterious event, zooming in one-by-one on members of this community as they wadde through the trauma, the confusion, the suspicion, the guilt. Julia Garner plays the alcoholic teacher of the class that disappeared. Cary Christopher plays Alex Lilly, the sole kid remaining. And Josh Brolin is in the mix too, as a dad besieged by strange dreams – including one of a giant assault rifle in the sky that doubles up as an alarm clock, in an image that set the internet ablaze with debate.What does it all mean? In the spoiler conversation you’re about to hear, Zach responds to the many different interpretations of the film among film fans – including the suggestion that it’s a response to the ongoing epidemic of school shootings in America. He tells me what he’s come to understand he was working through while writing the script – and we dig into details about his original draft for the film, titled Dancing In The Head, which began with 27 suicides and at one point had an entire segment dedicated to the inner-life of the film’s terrifying antagonist, Aunt Gladys. Support for this episode comes from Stowe Story Labs.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands

In Rental Family, the new Tokyo-set drama starring Brendan Fraser, writer-director Hikari poses the question: “Can fantasies and fictions ever fill the gaps left in our lives by the people we miss; the things that we long for?” It’s a question the filmmaker – real name Mitsuyo Miyazaki – sets up and then resists answering in any declarative way. Instead, the film – about a washed-up American actor named Phillip who begins playing roles in the lives of strangers – treads around the topic with curiosity and empathy. Loneliness and loss, this drama seems to say, are a part of life, and sometimes we as a species go to unusual lengths in search of a balm for that pain. That’s not necessarily healthy. It’s not necessarily unhealthy either. It’s just something that we do. And it leads to phenomena like “rental families” – a concept that really does exist in Japan, in which actors perform the role of a loved one in exchange for a fee. In today's spoiler conversation, Hikari – a former dancer and rap photographer, best known in film and TV for her work on the Netflix series Beef – joins Al to discuss what the growth of rental families in her home country of Japan says about where we’re at as a society. The filmmaker breaks down how she translated the universal loneliness epidemic that the rental family industry is testament to, into this beautifully understated tale.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands

The thing about machines is that we expect them to keep chugging on – to never break or falter. In the late 1990s, a mixed martial artist named Mark Kerr found himself struggling to shoulder the weight of that expectation. Mark was a winner – a muscular behemoth beloved by fans of a rising new fighting league, called Ultimate Fighting Championship, or UFC for short. His fans across the world knew little of his agonising behind-the-scenes struggle to keep up that facade, to keep entering the ring week after week, to keep The Smashing Machine as he was nicknamed chugging along – never breaking, never faltering. Addicted to powerful painkillers, the pressure to win was killing him.Which is why The Smashing Machine, the recent biopic about Kerr, from my guest today, writer-director Benny Safdie, is a sports movie unlike most others. Think of a sports movie you love. Break it down at its core and I bet you, it’s a tale about someone learning to win, right? Starring Dwayne Johnson and Emily Blunt, The Smashing Machine is about someone learning to lose. The liberation that comes with it. The power of realising that we’re not our accomplishments. What defines us is our actions out of the wrestling ring – whatever your version of that ring may be. On today’s episode, Benny tells me about the quote, “radical empathy” that guided this story – and how it was also perhaps present in his work up till now. Films and TV shows like the hugely acclaimed Good Time and Uncut Gems, both created with his brother Josh – and The Curse, created with Nathan Fielder. We get into all the key beats and scenes from The Smashing Machine in our usual spoiler-filled detail – including that mesmerising ending in which Dwayne Johnson seems to unburden himself of the expectation that he can never falter, not just within his performance of Mark Kerr, but also kind of as himself, this megawatt blockbuster star whose recent career took an interesting path to this story, filling it with metatextual meaning. Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands

Today on Script Apart – all aboard a conversation about The Lost Bus, with a writer who’s glued me to my screen time and time again over the last few years. Brad Ingelsby is the creator of Mare Of Eastown starring Kate Winslet from back in the pandemic. He also created this year’s stunning Task – an HBO drama with Mark Ruffalo about an FBI agent investigating a string of violent robberies in rural Delaware County, which is a recurring backdrop to his storytelling – and the Apple TV+ thriller Echo Valley. This year, you might also have caught his collaboration with director Paul Greengrass – a thriller that would have been an exciting throwback to the disaster cinema of decades past, were it not for one particular interesting texture to that film. The Lost Bus told the true life tale of a bus driver, Kevin McKay, played by Matthew Maconahey, who stepped up to save a class full of children amid devastating wildfires encroaching on the small town of Paradise, California. Those fires were in 2018. In January this year, California was devastated by all-new wildfires that cemented a sense of new normal. Climate scientists are warning in unison that we can expect more of the precise scenario depicted in this movie. So, how did that fact affect Brad’s approach to the script? What’s behind his love of stories set in rural communities not often depicted on-screen? Why is it that his storytelling often centres around parents being pushed away by children on the cusp of adulthood? And what lesson is there about writing and life in the fact that, at the end of The Lost Bus, McKay reaches a realisation: the only way out of the fire is through? Brad spills all in this riveting chat.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands

There’s a mystery afoot on today’s episode of Script Apart – and that mystery is how you write a film like Wake Up Dead Man, the new Knives Out movie from my guest today, Rian Johnson. How do you craft a whodunit that’s simultaneously gripping, hilarious and loaded with weighty reflections on religion’s use as a weapon of fear in our current political climate? In the words of Benoit Blanc, it “makes no damn sense” to me, “Compels me, though.”Which is why it was such a treat to ask the man himself. Rian’s a filmmaker who you might know from 2005 high school noir Brick, 2008’s The Brothers Bloom or the fantastic 2012 sci-fi Looper. He directed one of the best episodes of TV this side of the millennium in the form of Breaking Bad’s ‘Fly’ episode, and created the brilliant Poker Face, starring Natasha Lyonne. In 2019, he wrote and directed Knives Out, starring Daniel Craig as a Southern-accented sleuth, which was a huge sensation. A sequel followed in 2022, as part of a major deal with Netflix. And somewhere amid all that, he made a low-budget indie that probably completely passed under your radar because it was barely discussed upon release. Let me just check my notes here… Star Wars: The Last Jedi? Never heard of it personally.Wake Up Dead Man is maybe his most personal and politically-charged film yet, though, as you’ll hear in this conversation. Rian’s relationship with religion is… well, it’s complicated. In this spoiler conversation, he tells me about his lapsed faith and story of growing up in the Church… before leaving it. It’s a story that totally altered my perspective on The Last Jedi – a movie about lapsed faith – and shone a fascinating light on this latest adventure in the life of Benoit Blanc. We get into the overlap between the “cult of personality” church figurehead, Wicks, in Wake Up Dead Man and the politicians in our newspaper headlines each morning right now – many of whom position themselves of Christians and preach messages of fear; them against us. And Rian also tells me what the future perhaps looks like for him, twenty years on from Brick – the next steps in his storytelling to come.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands

Today on Script Apart, we’re off to see the wizards – the wonderful storytelling wizards, that is, behind the first ever musical we’ve covered on the show. In the early ‘00s, New York-born-and-raised playwright Winnie Holzman was, like the rest of the city, still reeling from the September 11 attacks that claimed 2977 lives. It wasn’t just the attacks themselves that haunted her – it was the division they wrought too. Racial minorities – America’s Muslim population, specifically – were scapegoated and othered. All of a sudden, a war stood on the horizon. And so, Winnie got to work with composer Stephen Schwartz on a musical that would subtly grapple with the skyrocketing racism of that moment. Soon, something Wicked was to come our way.Inspired by a book of the same name by author Gregory Maguire, Winnie and Stephen's Broadway extravaganza took one of the defining stories in cinematic history – the Wizard Of Oz – and invited audiences to look at it a little differently. What if the so-called Wicked Witch Of The West in that film – all green skin and shrill cackle – wasn’t actually the terroristic threat that Dorothy and viewers thought her to be? What if there was a more tender truth to this woman, who lest we forget, in that 1939 movie, was just trying to retrieve the ruby slippers worn by her dead sister, crushed by Dorothy’s house when it’s transported via tornado to Oz? Chances are you know what happened next. Forbes Magazine estimates that 65m people have seen Wicked since it hit Broadway in 2003, quickly expanding around the globe. It’s the fourth longest-running play in Broadway history. And now, it’s a blockbuster smash too. Last year, Winnie’s screen adaptation of the musical, written with my other guest today, Dana Fox, of Cruella fame, began its emerald takeover of movie theatres. That first film, simply titled Wicked and covering the first half of the stage play, was a smash. Now, Wicked For Good is here, bringing this tale to the end of its yellow brick road, and Winnie and Dana are full of emotion and reflection. In the spoiler conversation you’re about to hear, they tell me about the strangeness of this movie arriving in this particular political moment. I don’t know about you guys at home, but the sight in Wicked and Wicked For Good of marginalised groups – munchkins and animals – rounded up and forced from their homes in a year of ICE raids and anti-immigrant anger, struck a really heartbreaking chord for me. It’s not all politics, though, I promise! We also get into the prisons of perception that Elphaba and Glinda, played by Cynthia Erivo and Ariana Grande respectively, both exist in and have to break free of in this story. And you’ll also hear the pair’s reflections on the huge differences between this story about the Gregory Maguire original, which saw Elphaba join an underground terror cell. Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands

How well do you know Ryan Coogler? A couple of years ago, the Oakland-born filmmaker began “to reckon with the fact that the audience doesn’t truly know me at all.” Which might sound strange at first. At that point in his career, the writer-director was all but a household name. His 2013 debut Fruitvale Station had earned him the keys to the Rocky franchise, resulting in 2015’s acclaimed Creed. His next step was to helm a superhero movie that transcended the genre. That film, 2018’s Black Panther, wasn’t just another Marvel movie. It was a bold, operatic, Kendrick Lamar-soundtracked moment in the culture, that surpassed a billion dollars at the box office. In 2022, a sequel followed, grossing just shy of that mark and capping a remarkable decade: Coogler, critics raved, was a filmmaker who’d grown into the spectacle of blockbuster cinema as a Hollywood craftsman, without outgrowing or leaving behind the powerful character-based emotion and complexity that he delivered with Fruitvale Station.And yet still, the 39-year-old found himself concerned that for all that visibility, he perhaps hadn’t yet made a film that was wholly his– his personality, his history, his family lineage, imprinted in the page, pressed into celluloid. Those films were his takes on existing IP – or in the case of Fruitvale, a true story. And so, he got to work on something new. A film inspired in part by his uncle James, who loved blues music and told stories of a different America. A film that had plenty to sink your teeth in for genre cinema enthusiasts – but simultaneously dove into questions he was grappling with, in the wake of considerable loss. Ryan’s Uncle James died during post-production on Creed. Other family members had passed away too. And then of course there’s Chadwick Boseman, the star of Ryan’s Black Panther smash hit, who died following a battle with cancer in 2020, hitting the writer-director hard. Today on Script Apart, Ryan and I break down how those losses manifested in Sinners – one of the most critically acclaimed films of 2025. He tells me about the conversations with his Uncle James and his Grandmother that helped inform this vampire period piece, starring Michael B. Jordan as Smoke and Stack – twin brothers with a dream of opening a juke joint for their community. We also get into the meaning of Sinners’ dance sequence, in which Sammy – played by Miles Caton – summons the ghosts of Black musicians past and future. And we talk about why this is a story about the joy of community when you look past the blood shed – the defiant glee of deciding to build something of your own, in a world that lets you own so little. Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands

Today, Shane Black is back, returning to Script Apart four years since his last appearance on the show! His new film Play Dirty is a heist movie that in some ways he’s been waiting his whole life to make. Fans of his will know that Shane often centres stories around flawed male characters who are informed by the pulpy novels he grew up reading. After decades creating his own spins on the literary tough guys in those books – such as Riggs in Lethal Weapon and Harry Lockhart in Kiss Kiss Bang Bang – this new film goes straight to the source, directly adapting one of the novelists who inspired him at an early age: Donald E. Westlake, or Richard Stark as he was sometimes known. Westlake wrote 28 books in total about a career criminal named Parker – a cold, calculating loner who lives by a code: thou shalt not double-cross. Unless of course, he’s double-crossed first… In this spoiler conversation, Shane tells Al about what Parker means to him as a lonely bookworm adolescent, and how he threaded the needle between this quiet character and the quippy dialogue both he and star Mark Wahlberg specialise in when it came to telling his own Parker story. We get into how he constructs his action scenes, how his writing has and hasn’t changed as a result of CGI – and why there was only one outcome possible in this story for a certain character who doesn’t make it to the end credits.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands

Put down your briefcase and put on your dancing shoes, everybody, because today on Script Apart – a podcast about the first-draft secrets of great movies and TV shows – Mike Flanagan is back, tap-dancing through the end times with me in celebration of The Life Of Chuck. As I put it in my feature for Empire Magazine earlier this year, when I covered the movie’s theatrical release, the phrase “feel-good” isn’t often associated with the apocalypse. Nor, to be honest, with Mike’s work in general, as one of the streaming era’s premier fright-masters – a writer-director whose output so far have included vampire priests (Midnight Mass), acid showers (Fall Of The House Of Usher) and some of the most harrowing small-screen deaths in recent memory (The Haunting Of Hill House, I am still not over you)."Feel-good" is not how you’d typically describe the icon of literary terror he’s becoming closely associated with, either. The Life Of Chuck is the third time Mike has adapted the great Stephen King, after Gerald’s Game and Doctor Sleep (he also has new adaptations of Carrie and The Dark Tower on the way). But The Life Of Chuck is, nonetheless, as “feel-good” as apocalypse stories come. It stars Tom Hiddleston as an ordinary-looking man who mysteriously begins appearing on billboards as a divorced couple’s leafy suburban existence is interrupted by a series of globe-threatening disasters. The mystery of “Who is Chuck?” propels a story more still and sentimental than many viewers might expect from Flanagan, from King, from the end of the world.In the spoiler conversation you’re about to hear, Mike calls in from the set of Carrie, which he’s in production on at the moment, to break down the film in extensive detail. We get into the meaning of the Carl Sagan-inspired monologue that Mike added to King’s source text. We talk about the one detail in the film’s transcendent dance sequence that breaks my heart just to think about. And of course, we touch on that moving, ambiguous ending and how it fits into a body of work that often involves locked rooms. Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands

In space, no one can hear you scream. On Earth, however, around 9pm for the last seven or eight Tuesdays, you may well hear some shrieks of terror, emanating from nearby apartment windows – all thanks to one of the boldest and blood-soaked sci-fi shows to grace the small screen in recent memory. Alien: Earth is the new show from our guest today, Noah Hawley and it’s a masterclass in philosophical sci-fi. You probably don’t need to be told of the cultural significance of the Alien franchise, which began back in 1979 with Ridley Scott’s tale of a crew of space truckers hunted by an extraterrestrial killing machine. You certainly don’t need to tell Noah, who knew precisely the risks involved in bringing Xenomorphs to TV for the first time. Luckily, this is a writer, director and novelist we’re talking about who’s turned major movie IP into surprise TV smashes before. With five seasons of a brilliant TV adaptation of Fargo behind him, the 58-year-old understood the assignment in front of him. This week, the first season of the show reached its violent climax, capping the first chapter in the tale of Wendy – a terminally-ill child plunged into the body of a synthetic human adult, and subsequently caught up in a fight between corporations for five dangerous alien specimens. Listen in for Noah’s spoiler-filled revelations about the real-world inspirations behind its power-hungry trillionaire antagonists. Discover more about the huge swing for the fences the show takes in its final two episodes involving Wendy and a Xenomorph. And finally, learn what the future perhaps holds for these characters, with season two as yet unconfirmed…Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands

Where do we go and what happens next after the dust at long last settles on an experience that sent tremors through a community? That’s the question pondered in the final moments of Adolescence, the recent smash hit Netflix drama, which last night swept the 2025 Emmys. It’s also, in part, the question at the heart of our conversation today with the show’s co-writer – BAFTA-winning screenwriter and playwright Jack Thorne, who joins Al not just to discuss the show’s creation, but to wade through the impact of this show that shook Britain. Adolescence stirred real-life change in a way few TV shows can. It caused parents and legislators to ask important questions about the digital realms their kids disappear into behind closed doors. It’s been made available to every school pupil in Britain for free. And there are growing calls for a ban on smartphones in schools, all because of this one-take tale of a 13-year-old boy driven to unthinkable violence by corrosive content served to him on his phone. In the spoiler conversation you’re about to hear, Jack tells us his conflicted feelings over the show’s handling of Katie, the young girl whose death propels the show. He tells us about the fifth episode he would have loved to have written, focusing on Jamie’s friends. And you’ll also hear about Jack’s research into real-life online misogyny, preying upon the insecurities of boys like Jamie.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Advertising Inquiries: https://redcircle.com/brands