The pool of employed WGA screenwriters is smaller than the NFL roster pool and dwarfed by the total number of professional athletes in the United States.

You've got A24 making wrestling movies, mainstream critics writing think-pieces about WWE storylines, Netflix throwing money to stream live events, and a President deploying kayfabe tactics from the White House. The art form once relegated to late-night cable is now analyzed like prestige television.

In a LinkedIn post regarding his transmedia efforts on behalf of the Ultraman franchise, Jeff Gomez said, “Tokusatsu Heroes Are Like Santa Claus.” I had no idea this was the case. So I tapped my LLM pals to school me on the relationship between monster suit performers and the audiences who kayfabe them as really real.

Lessons from game designer Justin Gary every scribbler can learn from to sharpen drafts, pitches, and story worlds.

Audiences are tired of living in algorithmic taste jail. They’re hungry for stories that feel human-recommended, not machine-optimized. That’s Algorithm Fatigue. And it’s your creative opportunity.

I've been chatting with my sons about the benefits of friction. How doing hard things makes us stronger and teaches us what we’re capable of.

They look like toys. They're not. They're bug-eyed prophets of a new entertainment age where characters are a lifestyle OS, emotional anchors, and maybe the next great leap in IP design.

When life feels uncertain, people cut back on significant expenses but happily splurge on small, emotionally satisfying treats. Maybe it’s a $6 latte with latte art, a $200 Gracie Abrams concert ticket they’ll talk about for months, or that limited-edition Sunny Angel collectible they don’t need but must have.

How to write fiction that sounds as good as it reads.

Six research-backed traits that separate the scribblers who command the room from those who fade into the furniture.

How to Steal Like an Artist (and Actually Make Something Cool)

Growing up obsessed with science fiction and fantasy, I learned: stories don't just entertain us - they literally rewire how we see the world. Narrative entertainment can build walls between people or build bridges to connect them.

One of my sons attends Renaissance Faires dressed in metal armor and fights others with blunted swords and shields. Another son is obsessed with turning his college dorm room into a Tiki Bar. What’s up with the recent hunger for immersive IRL experiences?

We've trained audiences to expect simple villains and violent solutions because that's what gets hearts racing and tickets sold. But if we're entering an era where people desperately need positive outlets, maybe it's time to rethink how we create compelling conflict.

Tom Sachs doesn't believe in scribbler’s block. His advice? "If at first you don't succeed, give up immediately."

We scribblers know our words have power. But we don’t always stop to ask who’s reading or watching our stuff, and what crazy shizz our stories might inspire audiences to attempt.

AI is the ultimate research assistant who never sleeps and has read everything. Like having a super-powered intern who can crunch patterns faster than my ADHD brain on its most caffeinated day. But it can't feel the weight of a character's choices or know when to break the rules for emotional impact. That's still our gig. For now.

Can you direct movies by describing feelings to very smart robots?

You're a screen scribbler staring down something new. Something tempting. The blank page of short fiction.

While everyone's freaking out about AI taking over creative jobs, Gen Z is doing the exact opposite of what you'd expect — they're flooding into art schools like their lives depend on it. Maybe they aren’t running away from the age of SkyNet, but chasing what machines can't touch — that messy, unpredictable, deeply human act of making weird stuff with our hands.