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"Actually it's super easy, barely an inconvenience."
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The Screen Rant Pitch Meetings (Originally titled "Super Easy, Barely an Inconvenience - Screen Rant Pitch Meetings") are a series of comedic web videos by Screen Rant. Ryan George plays a Screenwriter pitching an existing movie to a Hollywood Producer (also played by Ryan George, without his glasses). Most of the humor comes from the Screenwriter's enthusiastic recounting a famous movie or TV Show in a pitch, often accentuating the flaws to the Producer, who in turn is adept at spotting the problematic aspects of whatever he's being pitched but is too much of an Extreme Doormat and too profit-obsessed to actually force any change. Further bringing humor is the fact that the Screenwriter's story decisions often bring serious questions about his thought process.

The videos, which are normally uploaded on Sundays, can be found on Screen Rant's YouTube channel.

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Compare with Screen Junkies' Honest Trailers, which the show has referenced.


Pitch Meeting provides examples of:

  • Absurd Phobia: The Producer is afraid of clouds, and said phobia is the reason why the antagonists of Green Lantern and Fantastic Four: Rise of the Silver Surfer are cloud-based. After all, those antagonists were meant to be threatening and scary, just like a cloud.
  • Accentuate the Negative: invoked The show will deliberately focus on flaws or Unfortunate Implications of a show's story, often to make the Screenwriter seem all the more insane. For example the pitch for The Lion King pays a lot of attention to the fact that based on how lion prides operate, Nala and Simba have to be either half-siblings or cousins. The Screenwriter is depicted as creepily obsessed with the idea of two lions in an incestuous romance, to the Producer's discomfort.
    Screenwriter: [Nala] is going to give him a look that says "You and I are gonna get it on, Brother".
    Producer: Feels like it's going to be difficult convey that expression on a cartoon animal.
    Screenwriter: Actually super easy, barely an inconvenience. Just get me in a room with your weirdest animator and I'll tell him exactly how it should look.
    Producer: Oh, I can't wait for you to be out of my office, you weirdo!
  • Accomplice by Inaction:
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    • Discussed in the pitch meeting for The Big Bang Theory. Leonard is described as the most socially adept of the group, and should be the one who best understands that his friends' behavior is inappropriate, but doesn't do anything to stop it, resulting in the Producer calling Leonard "an enabler."
    • Also discussed in the SHAZAM! pitch meeting, when talking about Billy beating up the bullies who are attacking his foster brother Freddie.
    Producer: I mean, anyone who witnessed something like that would step in. That's horrible.
    Screenwriter: Actually, there's a big crowd of people watching.
    Producer: Oh, there is?
    Screenwriter: Yeah, they don't do anything, and Billy only steps in because the bullies make a joke about moms.
    Producer: Oh, being a passive onlooker is tight.
    • In the Beauty and the Beast (2017) pitch meeting, the Producer can sort of understand why the Prince's servants get cursed for not doing anything about his bad behavior, but he's incredulous that their curse is worse than the Prince's(since they'll die if the Prince fails to break the curse), as well as the dog getting punished.
  • Acting for Two: invoked Ryan George plays both characters. Which doesn't stop from the Producer sometimes criticizing the Screenwriter's appearance.
  • Adaptation Induced Plothole: Discussed in the It pitch meeting, in which the Producer sometimes gets confused by various plot points that lack the explanation from the books. In at least one case, though, in which the Producer says that the kids are safe from Pennywise because they're "under the protection of a cosmic turtle god that vomited out the Universe", the Producer decides that it doesn't make sense.
  • Aesop Amnesia: In the pitch meeting for The Amazing Spider-Man 2, the Screenwriter vows not to fall into the same pitfalls that Spider-Man 3 did, only to make the same mistakes in a different way. People didn't like the relationship problems between Peter and MJ? This film has relationship problems between Peter and Gwen Stacy. People got annoyed with MJ getting kidnapped? Gwen Stacy runs into those dangerous situations herself. People thought that having a Big Bad Ensemble of Sandman, Venom, and Green Goblin Harry resulted in the film having too many villains? This time, the Screenwriter decides to include a different trio of villains; Rhino, Electro... and Green Goblin Harry, who was in the third movie.
  • All for Nothing: The Producer greenlights Fantastic Four (2015) despite its major problems in large part because it will keep the Fantastic Four out of Marvel's hands for a long time. Cue news article confirming that the Fantastic Four will join the MCU.
  • All There in the Manual: Darth Maul's survival in Solo is described as perfectly understandable, as long as the viewer has also seen the spinoffs where he appears.
  • All Your Powers Combined: In Fantastic Four: Rise of the Silver Surfer, Johnny somehow uses the "power switching" ability he got from the Silver Surfer to acquire Ben, Reed and Sue's powers without giving them any of his.
  • Alternate Catchphrase Inflection: "Screenwriter guy"'s catchphrase is "Super easy, barely an inconvenience", usually said enthusiastically but sometimes he says it in a monotone.
  • An Ass-Kicking Christmas: Die Hard is initially pitched as a Christmas movie, and described as an extremely violent one. The Screenwriter keeps insisting that it's a Christmas movie by virtue of taking place on Christmas Eve.
  • Angst? What Angst?: Invoked
    • In the pitch video for A New Hope, the Producer asks if Luke and Leia would be affected by the loss of the former's aunt and uncle and the latter's entire homeworld. The Screenwriter says that the former is "fine," while the latter is upset for 10 seconds. In the former case, the Producer also notices that Luke is more upset (if not for long) about the loss of a man he barely met than the aunt and uncle who raised him.
    • In the A Quiet Place pitch meeting, Evelyn concludes the film by giving a smirk and a Dramatic Gun Cock even though her husband just died. The Screenwriter says it's "a cool moment" on which to end the film.
    • In Fantastic Beasts: The Crimes of Grindelwald, Tina is said to have no reaction to her sister Queenie doing a Face–Heel Turn at the end.
    • In Fantastic Four: Rise of the Silver Surfer, Sue, after being brought Back from the Dead, simply asks, "What'd I miss?"
    • In The Last Airbender, Aang is sad "for several seconds" after hearing about his people being wiped out.
    • In the Independence Day pitch meeting, Captain Hiller is sad about his best friend's death "for an entire shot," then gets back to cracking jokes after punching out the alien.
  • Answer Cut: While most end-of-meeting cuts to articles fall into Description Cut, there are a few examples, such as the pitch meeting for the original The Lion King.
    Producer: Well, (The Lion King) sounds great. I can't wait to cash in on it a few times.
    Screenwriter: What do you mean, "a few times?"
    Cut to "The Lion King Gets A Summer 2019 Release Date"
  • Arbitrary Skepticism: Lampshaded in the pitch meeting for Fantastic Four: Rise of the Silver Surfer, when Ben refuses to believe Johnny's description of the Silver Surfer.
    Producer: The guy made out of rocks doesn't believe that his flying fire friend saw another flying guy?
    Screenwriter: Apparently not.
  • Artistic License – History: In the Super Mario Bros. pitch, the Producer expresses disappointment that Mario doesn't say his famous "It's-a me!" in the movie, even doing a brief impersonation of Charles Martinet's iconic Mario voice. However, both Martinet's first outing as the plumber and the first appearance of "It's-a me" were both in Super Mario 64... which was released three years after the movie.
  • Artistic License – Physics: In the pitch meeting for The Incredibles, the Screenwriter admits that he doesn't understand physics, when the parachuting Elastigirl falls faster than the destroyed plane's engine.
  • As You Know: This mode of exposition is mocked in Artemis Fowl.
    Producer: Are we gonna have characters saying "As you know" before telling each other things they already know?
    Screenwriter: You know it!
    Producer: Oh, as you know, that's tight.
  • Aside Glance:
  • A-Team Firing: In Captain America: The Winter Soldier, the Screenwriter says that Nick Fury has little trouble surviving the ambush until the Winter Soldier shows up because the people trying to kill him have horrible aim.
  • Attention Deficit... Ooh, Shiny!: The Producer can rarely remain focused on whatever criticism he has. In a video he also falls asleep when the Screenwriter starts explaining the lore too deeply. The Pacific Rim episode has him constantly ignoring the Screenwriter to just imagine scenes of Jaegers and Kaijus fighting.
  • Awful Wedded Life: The Producer appears to have one, at least from his wife's perspective.
  • Bellisario's Maxim invoked In the Toy Story pitch meeting, after the Producer asks several difficult questions about toys coming to life, the Screenwriter asks him not to think too hard about it.
  • Berserk Button: Cruelty to animals seems to be this for the Producer. In the John Wick pitch meeting, after hearing about John's dog being killed, the Producer goes into a Stunned Silence for several seconds, and then says, "...Ok, some people better die for that."
  • Big Anime Eyes: Nearly all the thumbnails for the videos are edited stills or promotional images from the movie that's being pitched to warp the face into some goofy expression. The recurring exception is for Spider-Man movies. Since Spider-Man's mask already has very large eyes, small pupils and a mouth are photoshopped on to achieve the same effect. Another exception is used for Terminator: Dark Fate. Since the Terminator's head looks like a skull, he gets a goofy face for the same effect.
  • Black Comedy:
    • The pitch meeting for A Quiet Place, which was uploaded on March 28, 2020, while people were quarantining themselves in their homes during the coronavirus outbreak. The Screenwriter then talks about how the year is 2020, and how city streets are deserted 89 days after the alien attack.
    Producer: Oh, wow, completely empty streets in 2020. Can you imagine?
    Screenwriter: I know. It's crazy, right?
    • In the same video, when the Screenwriter explains how the father shows his son how the sound of a waterfall lets them shout without attracting the monsters, the producer idly wonders what kind of headspace the father had to be to have tried that the first time when in a world where monsters might kill you at the slightest sound. The screenwriter cheerfully confirms it had was a dark one.
  • Blackmail: According to the producer, this is the main reason respected actors agree to appear in so many crappy blockbusters.
  • Blatant Lies: The Screenwriter sometimes engages in this.
    Screenwriter: And Ares is going to be like "I will destroy you!"
    Producer: I mean... you're going to come up with a better line than that right?
    Screenwriter: (shiftily avoiding looking the Producer in the eyes) Uh-huh. Yup. I will.
    • In the Jurassic World episode, he claims that his idea for the movie's title was also Jurassic World, as the Producer suggested. A glance at his script cover reveals he actually planned to call the film Jurassic Circus.
  • Blunt "Yes":
    Producer: So we're really taking all the stuff that The Force Awakens set up and just throwing it out the window.
    Screenwriter: Pretty much, yeah.
    • Also from The Last Jedi, there's this exchange regarding Finn and Rose's subplot.
    Screenwriter: So then Finn and this new character, Rose, go on a suuuper long sidequest that doesn't work.
    Producer: It doesn't work at all?
    Screenwriter: Not even a little.
    • In the Fantastic Four (2005) pitch video, after the Screenwriter explains that Sue's invisibility powers require her to undress, but she becomes visible halfway through, enabling the characters and viewers to see her in her underwear. During the bridge scene, Sue has to use her powers to get by the cops and save the people, while Reed and Johnny inexplicably manage to do the same feat without powers that are conducive to stealth.
    Producer: Was this whole thing just an excuse to show a woman in her underwear?
    Screenwriter: Yeah, absolutely.
    • In the Return of the Jedi pitch meeting, the Producer asks the Screenwriter why he didn't have the Emperor lure the Rebels into a trap with fake intelligence, rather than the real way to destroy the second Death Star, and the Screenwriter justifies the decision by saying he needs the heroes to stand a chance.
    Producer: And for them to stand a chance, you had to make the Emperor an idiot?
    Screenwriter: That's right.
    • Shortly after the above, this is also the Screenwriter's response when asked why they bring C-3PO, a "big shiny gold robot," along on the Endor mission, when everyone else wears camouflage.
    • In the pitch meeting for A Quiet Place, the Screenwriter admits that the story is rather inconsistent about how much noise is necessary to attract the aliens' attention. When the Producer asks if it's possible to have more consistency, the Screenwriter gives a flat "No" in response.
  • Brick Joke: The pitch meeting for The Two Towers begins with talking about Gandalf's death and subsequent return as Gandalf the White. A few minutes later, the Producer dies and comes back as "Producer Guy the White", with pale pink hair and clothing. He remains like that for the rest of the meeting as well as the Return of the King meeting.
  • Bunny-Ears Lawyer: Say what you will about the Screenwriter's downright laziness and strange sense of creative choices, he HAS written some of the most influential and successful movies in all of cinema.
  • By "No", I Mean "Yes": In The LEGO Movie pitch meeting, the Screenwriter denies that he recycled the premise of The Matrix, before mentioning every single major plot element the two movies have in common.
  • Call-Back:
    • The Suicide Squad pitch meeting mentions Jared Leto's Joker's "damaged" tattoo. Said tattoo is referenced at the start of the Joker pitch meeting, with the Producer asking if the Screenwriter's going to add a "Very" to the "Damaged" tattoo.
    • In The Matrix Revolutions, the Producer says that the machines should have used tall towers to put solar panels above the clouds rather than use humans as batteries. The Screenwriter mentions that the original idea was to use humans as a neural network, and when the Producer asks why he scrapped the idea, the Screenwriter reminds the Producer that he asked for the change.
  • The Cameo: The Producer suggests that they should have a film theory about Joker and explains he has a theory guy. Theory Guy is played by Game Theory'''s MatPat, who has his own writer in the same pacing and visual style has Pitch Meetings.
  • Captain Oblivious: In Unbreakable the Producer is amazed that David Dunn can't remember that he's never taken a sick day, that he nearly drowned as a child or that he gets visions when he touches people. As the Producer puts it, "This guy's oblivious to most things!"
  • Captain Obvious Reveal: invoked In the Pokémon Detective Pikachu pitch meeting, the Producer quickly guesses the big twist about Detective Pikachu's identity, given the evidence at handnote . The Screenwriter unconvincingly tries to deny it.
    Producer: I don't think these twists you're setting up are going to be as twisty as you think they're gonna be.
  • Cardboard Prison: In the Daredevil pitch meeting, Daredevil's promising to be waiting for Kingpin when the latter gets out of jail is described as rather hollow, since it will result in an endless cycle of Daredevil sending the Kingpin to jail and him getting out.
  • Catch Phrase: Most of them as said Once an Episode. It can be said the show might as well be 50% catch phrase.
    Producer: "So, you have a [whatever the pitch is about] for me?"
    Screenwriter: "Yes, sir, I do!"
    • Sometimes it's played with, by having the Producer describe the pitch as something odd, like "so, you have an Avengers commercial for me?" for a Marvel movie.
    • "Well, okay then" and "Fair enough" said by the Producer whenever the Screenwriter justifies a terrible decision.
    • "X is/are tight!," where X is some actor, trend, or other thing the Producer is really into. Sometimes he's so into them that he doesn't care how they might not make sense with the narrative. Sometimes he doesn't think how that specific sentence is going to sound, and ends up regretting it.
    • "I'm gonna need you to get all the way off my back", said by the Screenwriter in response to the Producer pointing out something particularly odd about a pitch. Sometimes answered by the Producer saying "Alright, let me get off of that thing."
    • "Woops" "Woopsie!" said by the Producer and Screenwriter, in varying order, when the former points out a plot hole the Screenwriter didn't think of.
    • "Oh my god" delivered in a deadpan manner from the Producer, when the Screenwriter either reveals a surprising plot twist or plot hole or otherwise shocks the Producer.
    • "I don't know," "Because," or "Unclear!" said by the Screenwriter when the Producer asks him about a plot hole or the reason behind a specific plot element.
    • "And what's his/her/their deal?" is how the Producer always responds to a new character being mentioned.
    • "Wow wow wow. Wow," said by the Producer either when he's genuinely shocked and impressed, or more usually when he's only pretending to be to something that's actually underwhelming.
  • Catchphrase Interruptus: This happens in the SHAZAM! pitch meeting, when referring to how easily Billy's mother abandoned him. Not long afterward, the catch phrase is used without interruptions.
    Producer: I didn't know abandoning a child was so easy.
    Screenwriter: Oh yeah, it's super easy, barely an-
    Producer: Hold on a second. (calls his wife to discuss abandoning their son)
  • Characterization Marches On: In the pitch meeting for The Last Jedi, the Producer is the one who came up with the idea of Leia surviving being blown into space, and using the Force to return to the ship, after the Screenwriter had proposed a beautiful death scene for Leia. While there are situations in which he puts his foot down and convinces the Screenwriter not to do something, the Producer seldom intervenes beyond vetoing a very bad idea, so it's rare to see him overrule a relatively sensible idea from the Screenwriter.
  • Chekhov's Gun: New Moon having Edward mention the Volturi, a committee of vampires that a vampire asks for permission to die, is described as a particularly blatant and unnatural example.
  • Cloudcuckoolander: The Screenwriter, full stop. As he's the brains behind any flaw the two are discussing. In the show's premise, these are always active, deliberate choices on his part. These can veer into odd directions when they stem from some particular fascinations of his. For example in The Lion King, Nala and Simba's romance entirely stem out of his obsession with animal incest. In Game of Thrones Season 8 most of his story decisions are motivated by his steadfast refusal to make more episodes. He's also unable to tell actors {and actresses) named Chris apart and thinks Christ Mas (Christmas) and Christian Mingle (A dating website) are actors.
    Screenwriter: Siri, define "logic."
    Producer: That's not a phone, that's your wallet.
    Screenwriter: Haha, it is.
    Producer: Did you really think that was a phone?
    Screenwriter: Sometimes my brain doesn't work so brain.
    Producer: That actually explains a lot.
  • Compressed Adaptation: The pitch meeting for The Last Airbender has the Screenwriter and Producer agree that taking hours of storytelling in the original series and condensing it into a 90-minute movie is a good idea, even if it results in the characters losing all semblance of personality.
  • Contrived Coincidence: The Screenwriter frequently relies on these to advance the plot. When the Producer calls them out his usual defense is simply "because the plot needs to happen" which tends to be enough for the Producer to let it go.
    • The pitch meeting for The Force Awakens, involves the Screenwriter describing a string of these that summarizes the entire plot, and saying that they could Hand Wave it as being "the will of the Force."
    • During the pitch for Home Alone 2, the Producer keeps having trouble with Kevin constantly running into the Wet Bandits and one particular lady Marv has creeped on several times while in New York. Especially when Harry and Marv were arrested in Chicago, so for their escape to happen to take them to New York at exactly the same time makes this even less likely. Apparently, this is because the Screenwriter thought that New York City only had a population of about 200 people, only to be informed that hundreds of millions of people live there, but he decides not to change his script to reflect that.
    • In the Batman Begins pitch meeting, Batman happens to be waiting for Jim Gordon on the one night he takes out the trash. The Producer then speculates that Batman must have been watching Gordon very closely to know when he would take out the trash, and that Jim would be the one to do it.
  • Corrupt Corporate Executive: Sillier and nicer than most, but some of what we know about Producer paints him as a borderline supervillain including, but not limited to, his intention to buy Canada, willingness to sell off his grandmother, and apparently he worships Satan, complete with the Voice of the Legion. Also his favorite hobby is throwing coins at poor people to see how they react.
    Screenwriter: Taking lives while music plays is going to be a really big part of this film.
    Producer: Death is great. Hail Satan.
    Screenwriter: What?
  • Covered in Gunge: The Producer and the Screenwriter agree that much of the humor in Men in Black should involve characters covered in alien bodily fluids.
  • Curse Cut Short: The Screenwriter does this when confronted about a Contrived Coincidence in Christmas with the Kranks
    Screenwriter: Odds don't matter when invokedI'm pulling all of this out of my... (interrupted by the Producer)
    • When discussing what role Patrick Stewart should play in The Emoji Movie, the producer says "I don’t know, maybe the piece of sh-" only to be cut off by the end of the episode.note 
  • Damned by a Fool's Praise: The series often indirectly mocks various ideas by having the Producer praise them for stupid reasons.
  • Dark and Troubled Past: The Screenwriter, hence some of his more disturbing ideas.
    Producer: What kind of awful stuff happened to you as a kid?
    Screenwriter: You couldn't possibly imagine.
  • Darker and Edgier:
    • The Man of Steel pitch video discusses the film's status as a "dark, gritty origin story" for Superman, and how it isn't the best idea for an Ideal Hero like Superman.
    • X-Men: The Last Stand repeatedly kills off characters, often with little focus on the repercussions of their deaths, so the Screenwriter can do "big boy" stuff with the story.
    • The Batman Begins pitch describes the film as a dark and gritty version of Batman's origin story, which is even referenced in the video's title. The Producer, however, finds it strange that they'd go this route for a superhero who dresses up as a bat and trained to be a Ninja in the film.
  • Description Cut: Every episode (except The Emoji Movie, which features the Curse Cut Short mentioned above) ends with a cut to a Screen Rant story that either contradicts or exacerbates the final lines.
  • Designated Villain: invoked In Toy Story, the Producer describes Sid's treatment of his toys, from blowing them up to grafting parts onto other toys, as "creative." He doesn't fully get why Sid's the villain, since Sid doesn't know the toys are alive.
  • Didn't Think This Through:
    • The Producer realizes that it's a terrible idea for the Abbot family in A Quiet Place to have a "screaming baby" while they're being stalked by aliens that hunt based on sound.
    • The Incredibles has this as the Producer's reaction to Syndrome immediately getting knocked out by the Omnidroid in the middle of his Engineered Heroics.
  • Disposable Women: In the John Wick pitch meeting, the title character "dies of being the wife of a main character in an action movie."
  • Disproportionate Retribution: In the Daredevil pitch meeting, the Producer is shocked by Bullseye killing the old woman next to him on his flight for talking too much, and describes Bullseye as "pure evil."
  • Distracted by the Sexy: Inverted: when the Producer expresses concerns over the necessity of Watchmen having Doctor Manhattan's junk uncensored just because the comic did so as well, the Screenwriter questions his concerns by asking if he would be distracted if he held up a picture of said junk while they talked... which he does. Not only is the Producer extremely put off by the picture, but he completely tunes out of the Screenwriter's explanation of Doctor Manhattan's powers due to being unable to stop staring at the picture.
  • Don't Explain the Joke: In the pitch meeting for Suicide Squad, this is mocked when the Producer says that all of the Joker's tattoos, from the laughing mouth on his hand to "JOKER" on his chest make sense "because he's the Joker."
  • Downer Beginning:
    • At the start of the X-Men pitch meeting, the Producer talks about how fun superhero movies are, only to hear that the film starts in a concentration camp.
    • In the Pokémon Detective Pikachu movie, the Producer's surprised that the film begins with a "very depressing" first twenty minutes, which leads into Mood Whiplash after the "super bubbly and over-the-top" Lucy is introduced.
    • Guardians of the Galaxy begins with Peter Quill's mother dying and him being abducted shortly afterward. The Producer, having been told the movie would be funny, thinks this is supposed to be a joke until the Screenwriter says otherwise.
  • Easily Forgiven: In the pitch for Guardians of the Galaxy Vol. 2, the producer wonders if Mantis can still be likable after being complicit in Ego killing all of his children, to which the screenwriter responds that no one will care due to her being naive and cute.
  • Easily Impressed: The Producer. The Screenwriter uses that often to plaster over any objection or criticism he has.
  • Early Installment Weirdness: The episode featuring The Last Jedi is far slower paced, and has the Producer asking what the Screenwriter's plans are for specific characters rather than just having the latter say his pitch. It doesn't open with the usual "So you have a (x) for me?". Ryan also uses the same voices for both characters.
  • Ending Fatigue: invoked In the pitch meeting for The Lost World: Jurassic Park, the Producer is under the impression that the main characters leaving the island is the end of the movie, only for the Screenwriter to interrupt him and bring up the part in San Diego. He says that he'd thought the movie was over, and that he found the entire San Diego sequence "unnecessary".
    Producer: Is it done now? Do you have any other short films you want to tack on to the end of this thing?
  • Everyone Calls Him "Barkeep": The Producer guy introduces himself as "Studio Executive Guy" in the end slate for the X-Men: The Last Stand pitch video...
    • His Name Really Is "Barkeep": ...and the Screenwriter guy takes it a step further by revealing that "Screenwriter Guy" is his actual legal name.
    • Screenwriter guy called the Producer "Producer Guy The White" after he dies and returns to life in The Two Towers. Producer Guy agrees that it is what people used to call him.
  • Everyone Has Standards:
    • The Producer is usually very willing to accommodate the Screenwriter, even the more insane and nonsensical ideas. In the It Pitch Meeting, however, when the Screenwriter talks about putting a scene of child-orgy, the Producer looks absolutely livid and Screenwriter wisely chooses to leave it out of the movie.
    • While the Screenwriter's the source of all those terrible ideas, even he questions whether it's a good idea to reboot Spider-Man again in the video about Spider-Man leaving the MCU.
    • The Producer will almost always willing to go along with the Screenwriter's Willing Suspension of Disbelief, no matter how insane they may be. But during the pitch for The Happening the Screenwriter describes a scene in which the main characters manage to "outrun the wind," and the Producer's only reaction is a flat "You're an idiot."
    • During the pitch meeting for The Nightmare Before Christmas, the Screenwriter is against making a sequel to the movie, since it would be a mere cash grab that would cheapen the original.
  • Evil vs. Evil: In the pitch video about Spider-Man leaving the MCU, both the Producer and his counterpart from Sony are both portrayed as greedy, even if the former comes off as marginally more stubborn. Downplayed in that while they aren't monstrously evil, they're both almost equally unsympathetic.
  • Executive Meddling:
    • invoked Generally surprisingly averted by the Producer. While he's often prone to find ways to milk money out of a work (for example through Sequelitis), he rarely causes much change to whatever the Screenwriter's pitch is. His attempts to point out flaws in the premise tend to be ignored or simply justified over by the Screenwriter (often with thin logic) and as the Producer is both an Extreme Doormat and has a very poor attention span, he'll rapidly just move on. There are however a few moments here and there where he adamantly insists something nonsensical be included in the movie that even the Screenwriter seems hesitant about.
    • Outright defied in the pitch for John Wick where the Producer Guy tries to order common studio mandates (adding a love interest, going into too much exposition) only to be shot down by the Screenwriter Guy. He outright says that he's having a hard time ruining the movie because of this.
  • Extreme Doormat:
    • The Producer will back down from any objection the moment the Screenwriter shows the slightest bit of opposition. The only exceptions are when these involve specific (and often esoteric) pet peeves of his.
    • Generally the Screenwriter almost always gets the Producer to back down by telling him to get off his back, which always makes the Producer relent.
  • Fake Shemp: In the SHAZAM! episode, the Screenwriter promises to end the film by showing Superman "in all his glory," but after learning that Henry Cavill will not be available, he amends it to showing Superman "from the shoulders down."
  • Faux Action Girl: In Guardians of the Galaxy, Gamora, "the deadliest woman in the galaxy," loses most of her fights and has to be saved multiple times.
  • Flat Character: In the Avatar episode, the Screenwriter says that since a film is only as good as its villain, he made sure to give Colonel Quaritch "a really compelling backstory and multi-layered character development." He then says he was kidding, and that Quaritch is "just a really mean military guy," so as to keep the runtime down.
  • Forgot About His Powers:
    • In the SHAZAM! pitch meeting, the Screenwriter says that the Seven Deadly Sins will forget to use their ability to turn into mist during the climax, as well as be surprisingly gentle toward their child opponents.
    • The The Last Airbender pitch meeting has the Producer notice how stupid it was to imprison Earthbenders in a place with a lot of earth, which they can manipulate with their earthbending. The Screenwriter admits that in canon, they were imprisoned on a metal ship out at sea, and that he changes things without understanding why he does so.
    • In the Fantastic Four (2015), it's mentioned that Doom doesn't use his instant-kill moves on the eponymous heroes, despite having used them on all his other foes.
    • In the Iron Man 3 pitch meeting, Killian forgets about his ability to breathe fire during the final battle.
  • Freudian Excuse: It’s implied a lot of the Screenwriter’s issues stem from his weird, messed up childhood. For example, the origin for Bruce and Rachel reminiscing about condensed milk in Batman Begins.
    Screenwriter: Don’t you remember when you were a kid and you'd say “Mother, can I please have some sweet, sweet condensed milk?”
    Producer: Uh....
    Screenwriter: And then she’d say [in a suddenly disturbed tone of voice] “Not until you’ve brushed Mother’s hair. Not until you brushed it well.”
    Producer: It sounds like you had a weird childhood.
    Screenwriter:[back to his normal cheery tone] Oh dang, that explains a lot.
  • Freudian Slip:
    • In the Detective Pikachu pitch meeting, the Screenwriter says that as Tim and Pikachu search for Tim's father, they will visit "Pokémon products." He tries to correct himself, but the Producer liked it better the first time.
    • In the Daredevil pitch meeting, as the Screenwriter discusses Matt's father being murdered in an alley, he calls Matt "Bruce".
  • Friendship Moment: After the Producer points out a major plot hole in the narrative of Toy Storynote , the Screenwriter deflates, realizing this breaks the plot. The Producer, worried, then tries to explain that the audience most likely won't notice, but when the Screenwriter begins repeatedly hitting himselfnote , the Producer suggests moving on past that.
  • Fridge Logic: invoked Discussed in the A Quiet Place pitch meeting, when the Producer keeps asking about things the family should have done differently to protect themselves from the aliens. The Screenwriter lampshades this trope.
    "Listen, the more you think about this concept, the more survival solutions you're gonna find, and I'm gonna need you to get off my back about all of them."
  • Gambit Roulette: In The Dark Knight, the Producer notices that the Joker's plans rely on people doing exactly as he expects them to, no matter how improbable.
  • Gender-Blender Name: Originally, Rey from the new Star Wars trilogy was going to be called "Raymond". According to the Screenwriter, he consulted the rest of the office, and according to him, "Everybody Loves Raymond".
  • Gesundheit: In the meeting for Thor: Ragnarok, the producer says "bless you" in response to hearing the word "Ragnarok", and later the writer says the same thing upon hearing the name Taika Waititi.
  • Gift-Giving Gaffe: In Toy Story, it's suggested that the toys shouldn't be that scared of being replaced, since except for the one who gave him Buzz Lightyear, his friends give him gifts like bed sheets and a lunchbox. The Screenwriter even admits that Andy's friends are horrible at giving gifts.
  • Godzilla Threshold: In the Captain Marvel pitch meeting, the Producer wonders why Fury only decided to contact Carol at the end of Avengers: Infinity War, and didn't consider the crises in the previous two films to be enough of an emergency to ask for her helpnote .
  • Hard Truth Aesop: In the Wreck-It Ralph pitch meeting, the moral of Ralph learning to be happy his role as a villain despite hating it is that people should accept their lot in life, no matter how bad it is.
  • Heel–Face Turn: In X-Men: Apocalypse, the Screenwriter points out that Apocalypse's Four Horsemen's main role is to betray him. Likewise, Magneto is Easily Forgiven for killing countless people because he helped the good guys at the end.
  • Heh Heh, You Said "X": The Fantastic Four (2015) has this after the Producer claims that superhero movie audiences like exposition more than action, adding that he's sure of that, "Unless I read the results backwards. (chuckle) I do do that sometimes." The Screenwriter points out the Producer's unfortunate word choice, at which point the Producer reminds the Screenwriter that this is why he's the one writing the screenplays.
  • Heroic Sacrifice: In Captain America: The First Avenger, the Producer briefly thinks that Steve jumping on the fake grenade at boot camp is proof that he's suicidal, rather than self-sacrificing.
  • His Name Really Is "Barkeep": The Screenwriter’s name is Screenwriter Guy, though he once claimed to be M. Night Shyamalan.
  • Hypno Fool: In the Cats meeting, the Producer clearly does not want to bankroll the movie, but is hypnotized into doing so (along with rolling his shoulders "seductively") by repetition of the word "Jellicle".
  • Hypocritical Humor: The Screenwriter and the Producer makes fun of Gollum for talking to himself in The Lord of the Rings: The Two Towers
    Screenwriter: This guy is frickin' nuts. I mean, at a certain point in the movie, he's just having a full-on conversation with himself.
    Producer: He's just talking to himself and replying as if he was two different people?
    Screenwriter: Yeah, he's frickin' nuts!
    Producer: Oho, this guy's got problems!
    [Both of them laugh awkwardly]
  • Idiot Ball:
    • In the Artemis Fowl pitch meetings, Artemis Fowl takes off the sunglasses protecting him from the elves' mind control while asking if he can trust them.
    • In the pitch meeting for The Incredibles, Mirage, despite having initially contacted Mr. Incredible through "a super secret tablet thing," calls the Parr family residence the second time. The Screenwriter tries to Hand Wave it by claiming that Mirage "got lazy," only to be told that it sounds more likely that he did.
  • Idiot Plot: Invoked a few times. For example much of the pitch for Home Alone 2 is dedicated to pointing out how everyone involves needs to be an idiot for the movie to ever happennote .
    Producer: So we're taking another break from Logic so this can happen?
    Screenwriter: We're going to be taking LOTS of those.
    Producer: I guess we have to.
  • Immediate Self-Contradiction: In the pitch meeting for The Amazing Spider-Man 2, the Screenwriter tells about how Norman Osborn never imagined that he would end up dying the way he did... of a rare disease that only affects the Osborn family and which Norman started suffering from when he was his son's age.
  • Imperial Stormtrooper Marksmanship Academy: The stormtroopers' inability to hit anything in the Trope Namer is mocked, especially after Obi-Wan's remark that the laser shots fired at the sandcrawler were too precise to come from the Tusken Raiders.
  • Inexplicably Identical Individuals: According to one episode, everyone on the planet except for film actors look the same, hence why there are countless identical Screenwriter guys and Producer guys. The Casino Royale episode introduces the British version of the pair, played by a different actor so presumably everyone in England looks like this guy. MatPat apparently exists in this world as two people as well.
    • The pitch meeting for The Meg offers an alternative explanation by revealing the Producer used plastic surgery to look exactly like the Screenwriter for no other reason than because he could afford to. The Screenwriter never questioned it because he assumed he was going insane.
    • In the pitch meeting for Spider-Man leaving the Marvel Cinematic Universe, the Producer from Sony looks exactly the same as the other Producer, apart from a different-colored shirt.
  • Informed Ability: In the 'SHAZAM!' pitch meeting, Billy, despite getting the wisdom of Solomon, is goofier in his hero form than as a teenager. The Producer asks if "the wisdom thing was pretty much nothing," and the Screenwriter says yes.
  • Informed Attribute: In Captain Marvel, Yon-Rogg repeatedly criticizes Carol for being too emotional despite her barely showing any emotion.
  • Instant Expert: This trope is lampshaded in the pitch meeting for 'SHAZAM!', when Billy's foster siblings learning how to use their powers during the climax, despite just having received them, is described as "super easy, barely an inconvenience."
  • It Is Pronounced "Tro-PAY": As it's done in The Meg, the Screenwriter keeps pronouncing the protagonist's name (Jonas) as "Joe-Nass".
  • Kangaroo Court: In Toy Story, the other toys quickly turning on Woody for supposedly causing Buzz's death without even giving Woody time to explain himself is described as this.
  • Karma Houdini:
  • Kick the Dog: In the Christmas with the Kranks, Luther is said to not only not have a Pet the Dog moment like other unlikable protagonists, but he even goes so far as to accidentally step on and even freeze his cat.
  • Killed Mid-Sentence: In the meeting for Avengers: Infinity War, the writer disintegrates in the middle of his catchphrase.
  • Lazy Bum: One interpretation of why the Screenwriter makes as many mistakes as he does. In the Venom pitch meeting, the Producer offers him a way to make the movie less convoluted- switch the Riot and Venom symbiotes around so that the former doesn't have to spend a long time getting to the lab, and the story doesn't need a contrived excuse to get Eddie to the lab. The Screenwriter, however, refuses, since despite the fact that filming hasn't started yet, he doesn't feel like changing it.
  • Let Me Get This Straight...: Used in the Home Alone pitch meeting.
    Producer: So just to be clear, we need to have all those extremely unlikely scenarios play out, one after another, just to get this kid alone at home by himself?
    Screenwriter: That's right.
    Producer: And this um, suspension...
    Screenwriter: Suspension of disbelief.
    Producer: Right. With that, people will be okay with all of that?
    Screenwriter: Pfft, apparently, yeah.
    Producer: Allll of that. All of that.
    Screenwriter: Yeah, pretty cool, right?
    Producer: Well, then awesome.
  • Lighter and Softer: SHAZAM! is said to be an attempt at a course correction after the rest of the gritty DCEU movies. This, however, doesn't stop the Screenwriter from having an angsty teen protagonist or a main villain who murders his father, brother and several other people on-screen.
  • The Long List: The producer comes out with one of these when mentioning the product placement he already has lined up for Jurassic World:
    Producer: Just a couple like Beats By Dre, Starbucks, Converse, American Airlines, Coca-Cola, Samsung, Pandora, Margaritaville, Hilton, Triumph, Verizon Wireless, Columbia, Nissan, Nike, Oakley, IWC, Ben and Jerry’s, Brookstone, IMAX, Mike and Ike, and like a crapload of Mercedes.
  • MacGuffin: In the pitch meeting for Ant-Man and the Wasp, the item Hope needs to buy from Sonny Burch is said to serve no purpose apart from bringing him into the movie.
  • Magic Pants:
    • In X-Men: The Last Stand, Wolverine's pants remain intact despite the rest of his clothes being destroyed in order to keep the film at a PG-13 rating.
    • In New Moon, the Screenwriter says that while Jacob has to go around shirtless because his werewolf transformations destroy his clothes, his pants are unaffected. He says that the Producer should "get all the way off (his) back" unless he wants to talk about "the technicalities of werewolf junk."
  • Man of Steel, Woman of Kleenex: Brought up indirectly in Fantastic Four (2005). The Producer wonders how Johnny bangs his nurse when she's just measured his internal temperature at roughly 200 degrees.
    Producer: Oh, Physically impossible lovemaking is TIGHT!
  • Metaphorgotten: The Screenwriter is prone to this, as seen in The Meg episode. Often to confuse the Producer into agreeing.
    Screenwriter: People say you can't have your cake and eat it too.
    Producer: Right, my point exactly.
    Screenwriter: But we're talking about a 70 foot shark here. This thing can eat anything it wants to!
    Producer: I guess that makes sense.
    Screenwriter: Trust me. It does.
    Producer: Fantastic!
  • Minimalist Cast: The cast is just Ryan George playing two guys. One episode has a brief interlude in England where another actor plays the British Producer and Screenwriter guys. Another episode has Matthew Patrick playing another two guys. Other than that, it's entirely a one man show.
  • A Minor Kidroduction:
    • The Star Trek pitch meeting mocks this trope, with the Producer saying that showing a young Kirk and Spock will prove that the two were once children, rather than being born as fully-grown adults.
    • In Fantastic Four (2015), the Producer asks whether it's necessary to show Reed and Ben as children. The Screenwriter says that showing the heroes as kids has been a required part of superhero origin stories ever since Batman Begins, even if it forces them to hire more actors.
  • Monochrome Casting: In the Friends Pitch:
    Producer: And I'm guessing since it's in New York, there's gonna be a lot of diversity.
    Screenwriter: Everyone will be white.
    Producer: Oh.
  • Monumental Damage:
    • The Producer hates the Golden Gate bridge and demands it be destroyed in his movies. According to the Screenwriter, it's common among all Producers.
    • The Independence Day pitch meeting has the Screenwriter propose that the aliens destroy landmarks "'cause it's gonna look cool in the trailer."
  • Mood Whiplash:
    • Discussed in the Shazam! pitch meeting, when, after discussing Billy's fooling around with his superpowers, the Screenwriter brings up Dr. Sivana brutally killing his father and brother, along with the rest of the board of directors. The Producer then lampshades the massive tonal shift, asking whether the film is a kids' movie or a horror movie.
    • In the X-Men: Apocalypse pitch meeting, the Screenwriter mentions a fun sequence involving Quicksilver, followed by Havoc dying, much to the Screenwriter's surprise.
  • Morality Pet: In the The Lost World: Jurassic Park episode, the Screenwriter says that Ian's daughter will sneak onto a trailer so that he'll have someone to care about, rescue and serve as his motivation. The Producer then reminds him that Ian was originally there to save his girlfriend, so this is unnecessary.
  • Motive Decay: In Home Alone, the burglars eventually forget about their initial goal of robbing the McCallister house and decide to murder Kevin instead.
  • Nameless Narrative: The two on-screen characters don't have names, they're just the Producer guy and the Screenwriter guy.
    • Subverted in one episode where the Screenwriter guy reveals that his actual legal name is... Screenwriter Guy. The same appears to be true with Producer Guy (or sometimes "Movie Executive Guy").
  • Nepotism: The reason why Johnny was brought on board in Fantastic Four (2015) despite the fact that building his own car isn't that impressive of an achievement; he just happens to be the son of the man in charge.
  • Never Trust a Title: In the pitch meeting for Avengers: Age of Ultron, the Producer is surprised to hear that the film takes place over "a couple of days," and asks the Screenwriter if he knows what "age" means.
  • No, You: In the pitch meeting for The Amazing Spider-Man 2, when the Screenwriter insists that since he needs the plot to move forward, not everything will end up making sense.
    Producer: Feels like you should have stuff make sense.
    Screenwriter: Feels like you should have stuff make sense.
  • Obviously Evil:
    • The Producer immediately realizes who the Big Bad of Pokémon Detective Pikachu is after the Screenwriter mentions the villain's motives, despite the Screenwriter's attempts to deny that the character is a villain.
    • In Daredevil, Matt needs his Living Lie Detector abilities to find out that the rapist on trial is lying, even though he's barely trying to hide his guilt.
  • Oh, Crap!: Both the Sony Screenwriter and the Producer get a major one when they see the online reactions regarding their decision to withdraw Spider-Man from the MCU.
  • Only in Florida: After the Producer expresses concern that Tiger King is too implausible and unrealistic sounding to be a real documentary, the Screenwriter states it's filmed in rural Oklahoma and Florida. That instantly assuages the Producer's unease.
  • Only Sane Man: The two characters generally alternate between this, oftentimes trying to shoot down a particularly outlandish suggestion to no avail. It's usually the Producer guy who is the one trying to shoot things down. The episode on Game of Thrones Season 8 plays this the straightest, where the Producer guy (representing HBO) is entirely reasonable and completely steamrolled by the Screenwriter.
  • Only the Author Can Save Them Now: invoked Implied in the pitch meeting for Return of the Jedi, when the Screenwriter, when pressed, explains that he had to "make the Emperor an idiot" so the protagonists would be able to win.
  • Padding: invoked In the Unbreakable pitch meeting, the Screenwriter says that if the Producer wants to make the movie last longer than ten minutes, they'll have to resort to this trope. This includes adding shots of characters staring, inserting long dramatic pauses into dialogue, having characters take a long time to explain things and making David slow to realize that he's never taken a sick day before
    Producer: Oh, unnecessary dramatic pauses in the middle of sentences are... (pauses for seven seconds) ...tight.
  • Orcus on His Throne: In Guardians of the Galaxy, the Screenwriter hypes up Thanos and says he "will do some real damage"... in 2018.
  • Pet the Dog: Invoked a few times by the Screenwriter, usually as a defense of a protagonist who should otherwise be unlikable but he insist is fine because of a minor good deed early in the film.
    • In the Hellboy episode he calls those a "rescue the cat" moment so he has... Hellboy rescue a bunch of cats. He doesn't think it's a problem that by keeping them next to him during the fight with Samael, he's putting them in danger.
    • In the The Amazing Spider-Man episode, it's Peter defending a kid from a bully and Screenwriter guy assumes that this absolves Peter's behavior for the rest of the movie.
    • Defied in the Christmas with the Kranks pitch video, in which the Screenwriter says the entire cast is unlikeable, after being asked if there's any obligatory "save the cat" moments.
  • Plot-Irrelevant Villain: In Ant-Man and the Wasp, Sonny Burch's role amounts to serving as the leader of "a group of punching bags" that let the heroes have car chases and fights without the FBI getting involved.
  • Police Are Useless: In the Die Hard pitch meeting, the police are made unbelievably stupid because if they were competent, the movie would come to a premature end.
  • Recycled Script: invoked The Lion King (2019) is described as this to The Lion King (1994). For a moment, the Producer is disappointed/concerned when the Screenwriter promises something totally original, but is relieved when the Screenwriter admits to having been kidding. The Screenwriter proposes making a copy of the previous film except for the parts that can't be done with real life animals.
  • Recycled In Space: Avatar is described as "Pocahontas but in space with some big blue kitty cats."
  • Remember the New Guy?:
    • In The Amazing Spider-Man 2 pitch meeting, Harry is said to be a long-time friend of Peter's despite never having been mentioned in the first movie, which also dealt with Oscorp. The Producer points out that Peter's memory is horrible.
    • In Ant-Man and the Wasp, the Producer is confused as to why Ghost wasn't shown earlier if she was part of SHIELD for many years.
  • Rouge Angles of Satin: Parodied in the Rogue One pitch meeting, in which the Producer briefly thinks it's Rouge One, and references how many people online get the two terms mixed up.
  • Rule of Cool: invoked Many of the Screenwriter's decision outright stem from this.
    • Outright name dropped in the Mission: Impossible and Pacific Rim videos.
    • During the meet for Spider-Man: Into the Spider-Verse, the Producer questions how Peter's DNA getting mixed up in the dimensional portal machine caused several characters who are not him to cross over. After several offered explanations are rejected, the Screenwriter points out the alternative is to not have a bunch of fun, alternate versions of Spider-Man in the movie; the Producer gets off his back because he definitely does want that.
  • Running Gag:
    • The Screenwriter saying that because the movie is an origin story, they have to show the character as a kid. Usually in response to the Producer pointing out that no info the childhood scene conveys couldn't be given through the rest of the film.
    • The Producer on the fly coming up with an interesting plot development only for the Screenwriter to agree and say they are not going to do that.
    • In the Ready Player One pitch meeting, whenever the Screenwriter feels as though he's losing the Producer, he brings up a pop culture reference to distract him.
    • The producer is pretty adept at pointing inconsistencies in plot, characterization, or even if the work is suitable for adaptation to a new medium. But he folds like a deck of cards the moment screenwriter mentions its potential money-making ability.
    • In the Venom pitch meeting, after a brief discussion on how "symbiote" is supposed to be pronounced, the Producer switches "be" and "buy" around.
  • Sanity Slippage: The screenwriter is left slightly unhinged by attempting to turn Cats into a movie.
  • Saved by the Awesome:
    • Mocked in the Fantastic Four (2005) pitch meeting, in which the Screenwriter justifies the police's decision to let Ben go despite planning on arresting him for the chaos he caused on the bridge, simply because the onlookers clapped for him.
    • Also mocked in Indiana Jones and the Kingdom of the Crystal Skull, in which it's pointed out that Indy's heroism clearing him of suspicion of working for the Communists is rather hard to swallow when there isn't even any proof of that heroism.
  • Self-Insert: Bill from It: Chapter Two being a Screenwriter making a horror movie for Warner Bros. is played as this; the Screenwriter even slips up and calls him "me."
  • Sequel Hook: The pitch meeting for The Last Airbender makes fun of the decision to tease a sequel by introducing Azula at the end of the movie, in spite of how terrible the finished product ended up being.
  • Series Continuity Error: In the pitch meeting for Fantastic Beasts: The Crimes of Grindelwald, the Screenwriter protests that as popular as Professor McGonagall is, she hasn't yet been born as of her cameo in the movie. He's forced to give in when the Producer threatens to set Quebec on fire after he completes his plan to buy Canada, and agrees to McGonagall's cameo.
  • Show, Don't Tell:
    • Inverted in The Last Airbender pitch meeting, in which the Screenwriter mentions having the protagonists free several villages offscreen, narrating about Sokka and Yue falling in love and telling about the Moon Spirit in extensive detail. It is then parodied by some out-of-nowhere narration detailing how Screenwriter Guy and Producer Guy apparently save the world from aliens and become co-Presidents of the United States off-screen.
    Screenwriter: Well, I'm following the first rule of screenwriting, sir; tell, don't show.
    Producer: Oh, I think you got that backwards.
    • The Screenwriter uses the same phrase in the Avatar pitch meeting, when describing why he decides to have much of the exposition come from Jake giving video reports.
  • Shown Their Work: In The Matrix pitch meeting, the Screenwriter describes his idea about how the machines are using humans as a neural network, only for the Producer to not understand the concept and make him change it to the humans being used as batteries so the audience can understand it. This is actually what happened when the Wachowskis pitched The Matrix to Warner Bros.
  • Smart Ball: Depending on the situation, especially how funny it would be, the Producer or Scriptwriter may suddenly become a lot smarter.
  • Stalking Is Love:
    • After the Screenwriter brings up how Peter stalked Gwen Stacy every day while they were broken up in The Amazing Spider-Man 2, the Producer describes stalking as "a super romantic gesture," and the Screenwriter agrees, as long as the stalker isn't ugly.
    • In the pitch meeting for The Nightmare Before Christmas, Sally's stalking an oblivious Jack is described as "romantic," and Jack constantly ignoring her is described as "super romantic."
  • Stealth Pun: When discussing the creepy and misogynistic behavior of the cast of The Big Bang Theory, the Producer says that he hopes that there won't be a social movement to hold people accountable for that kind of behavior. The Screenwriter says "Me too."
  • Stockholm Syndrome: Namedropped when referring to Belle's romance with her captor, the Beast, in Beauty and the Beast (2017), when she falls in love with the Beast after he's nice to her a handful of times.
  • Stupid Sacrifice:
    • In the A Quiet Place pitch meeting, the Screenwriter decides to have Lee perform a Heroic Sacrifice to draw the alien's attention rather than throw his axe to cause a noise somewhere else and distract it, because sacrifices are dramatic.
    • In Fantastic Beasts: The Crimes of Grindelwald, Leta Lestrange's Heroic Sacrifice in the climax is said to amount to her offering to handle a situation that she can't handle, then getting herself killed.
    • In Avengers: Endgame, the producer asks why Captain Marvel, the most powerful hero on the battlefield and thus the one with the highest survival rate, doesn't just use the gauntlet and snap away Thanos' forces when she has the chance. The screenwriter says that she doesn’t so Tony Stark can have his Heroic Sacrifice.
    • In Captain America: The First Avenger, Steve crashing the plane into the ocean is described as a plot device to get him frozen so that he can return in the present day.
  • Subverted Catchphrase: The Screenwriter once says that something would be "super difficult, very much an inconvenience," the opposite of the series' best-known Catch Phrase.
  • Superman Stays Out of Gotham:
    • In the Iron Man 3 pitch meeting, not even the Screenwriter knows why the rest of the Avengers didn't help Tony out in this film.
    • In the Captain America: The Winter Soldier pitch meeting, this is discussed. The Screenwriter wanted to include the other Avengers, but the Producer overrules him, saying they don't have the budget for it. The Screenwriter laments that it will be difficult to make solo movies from here on out.
  • Superpower Lottery: In X-Men, Senator Kelly being hit by Magneto's mutation machine gives him the power to liquefy himself and slip through the bars of his cell. The Screenwriter says that Magneto couldn't have predicted what powers Kelly would get, or else he would have responded accordingly. He admits that if Kelly had somehow become strong enough to kill Magneto, "Magneto would have died."
  • Sure, Let's Go with That: In the meeting for Jurassic World, the writer asks the producer to imagine the next step up from a park, and the producer suggests "I don’t know, the world?". The writer then says that yes, the new movie is called Jurassic World...while holding a treatment titled Jurassic Circus.
  • Surprise Incest: Lampshaded in the Return of the Jedi pitch meeting. After hearing that Leia will be revealed as Luke's sister, the Producer says "that kiss they shared is real weird now," and the Screenwriter cheerfully agrees.
  • Swapped Roles: After the Screenwriter mentions in the The Emoji Movie pitch that his dream pitch for the main character is T.J. Miller, believing such casting is impossible, the Producer is the one to state how it would be "super easy, barely an inconvenience".
  • Take a Third Option: In the Spectre pitch meeting, James' ability to not only save the girl but also survive in the climax is said to be "super easy, barely an inconvenience."
  • Take That!: The videos not only take shots at the movies being covered, but frequently give the same treatment to other movies, creators and various unrelated targets.
    • The episode for The Emoji Movie starts out strong with the revelation that the Screenwriter never bothered to actually write a plot.
      Producer: So, what's the story?
      Screenwriter: The what?
      Producer: The story, like, what's the movie about?
      Screenwriter: (unsure) Oh, yeah, uh, (flips through papers) yeah, no, I-I've got a bit of that in here...
      • And then, later on, it's revealed that the reason why the movie is laden with Product Placement (with the characters going through the apps on the phone) is because the Screenwriter more or less gave up after the first act.
        Screenwriter: Do you think people will be bothered by the product placement?
        Producer: No, people love product placement!
        Screenwriter: Oh, well, that's great, 'cause I literally have nothing planned for the second act of the film.
    • In the episode for Season 8 of Game of Thrones, the Screenwriter's comment that Daenerys "forgot about the Iron Fleet" in "The Last of the Starks," is frequently mocked by way of bringing forgetfulness up as an excuse for various plot holes.
    • In The Last Jedi pitch meeting, the Screenwriter defends his decision to discard the plot threads set up in The Force Awakens by saying that J. J. Abrams didn't know the answers himself. When asked why he thinks that, he brings up Lost as an example.
    • Not only does the Suicide Squad pitch meeting make fun of Jared Leto's Joker, the Joker pitch meeting has the Producer ask if the Screenwriter's going to add a "very" to the "damaged" tattoo on the Joker's head. Notice that the Screenwriter, of all people, seems to think this is a terrible idea.
    • The pitch meeting for the Fantastic Four: Rise of the Silver Surfer doesn't waste any time getting to the Take That, describing the film as "an obligatory sequel to a moderately successful superhero movie." It's never a good sign when even the Producer is less than enthusiastic from the get-go.
    • In the Artemis Fowl pitch meeting, the Screenwriter admits that he only has a vague idea what the books are about, and it's revealed that the only reason Judi Dench's agent got her into both this film and Cats is because the agent hates her.
    • The Batman Begins pitch meeting doesn't shy away from making fun of the Darker and Edgier approach to a superhero who dresses as a bat, but the biggest Take That! is saved for the article at the end. At the end, when the Producer cautions the Screenwriter against going too dark, the Screenwriter asks, "What could go wrong with that, though?" Cue Answer Cut to an article about Batman V Super Man Dawn Of Justice being critically panned, with the implication being that the film being even more dark and edgy than the Dark Knight trilogy was one of its flaws.
    • In the Dark Phoenix meeting, Sophie Turner is cast as Jean Grey because she's popular due to playing Sansa Stark on Game of Thrones, a series that the Screenwriter says is associated with good writing. The Producer says that will always be true, and he can't wait for the last season.
    • The Iron Man 3 pitch meeting mocks the idea of "subverting expectations," which the Screenwriter sets out to do by having Tony not use his Iron Man suits for most of the film, and have the Mandarin turn out to be an actor.
    Screenwriter: It doesn't matter if they enjoyed it. What matters is that I subverted their expectations.
    • The Transformers: The Last Knight has the Screenwriter admit that he consulted his five-year-old nephew for ideas on the story. The Producer then says that the Russians taught him how to use "Kompromat" to get famous actors to star in bad movies, then lists a lot of bad movies, most involving Robert de Niro.
  • Teens Are Monsters: When the Producer hears that the bullies in SHAZAM! hit a disabled kid with their car and then kick him in the stomach, he says, "Those aren't bullies- those are literal psychopaths."
  • Tempting Fate:
    • Almost every video ends with the Screenwriter and/or Executive saying something that will get proven wrong by a screenshot of an article in the next shot.
    • It's fairly common for the Producer to offer feedback (usually positive) on one of the Screenwriter's ideas for a character or plot element under the assumption that it will be important to the story, only to find that the Screenwriter has virtually no plans to use what they'd just discussed.
  • That Came Out Wrong: In the pitch meeting for Ant-Man and the Wasp, this happens when discussing Janet's quantum powers.
    Screenwriter: Janet is going to make Ghost feel better by using her(Janet's) fingers.
    Producer: (excited) Ohhh!
    Screenwriter: Not like that.
    Producer (disappointed) Oh.
  • Time Skip: The pitch meeting for Solo makes it clear that the Screenwriter has no interest in showing Han's time in the Imperial army, and it's just an excuse to pass enough time for Q'ira to join up with Dryden Voss.
  • Tom the Dark Lord: In the Captain America: The First Avenger pitch meeting, the Producer complains that calling the Red Skull by his actual last name, Schmidt, is a lot less cool.
  • Tone Shift: The Screenwriter is prone to those. For example in Pokémon: The First Movie he describes the lighthearted Pikachu's Vacation short before immediately following with "[The movie] begins with an omnipotent murder clone having a homicidal existential crisis". Many of those shifts make the Producer give an emphasized "Oh my god."
    Producer: Oh, my god. You really shifted the tone there. It's Jarring!
    Screenwriter: Oh, Whoops!
    Producer: Whoopsie!
  • Too Dumb to Live:
  • Totally Radical: When pitching The Emoji Movie, the writer is fairly sure he’s got a handle on "cool young people talk".
  • Touché : During the "Spider-Man leaves the MCU" Pitch Meeting, the Marvel producer points out to the Sony producer that Sony "doesn't know how to make a Spider-Man movie anymore, but when we do it we make a billion dollars." The Sony executive is quick to point out that they also made Spider-Man: Into the Spider-Verse which "is, like, a masterpiece!" to which both the screenwriter and the Marvel producer admit that it is indeed an awesome movie. When the Sony producer says that they also made Venom which is "just as great," however.
    Screenwriter Guy: Well...
    Marvel Producer: Well...
    Sony producer: Well...
  • Trailers Always Spoil: In the Venom pitch meeting, it's discussed when they mention the final scene and how it will be advertised.
    Producer: If there's one thing people want to see in a movie trailer, it's the final scene of a movie.
  • Turbine Blender: The Producer is rather disturbed to hear that two people end up dying this way in The Incredibles.
  • Two-Part Trilogy: Lampshaded repeated in The Matrix Reloaded pitch, where the fact that the first Matrix was a fine standalone movie and the two sequels are basically the one sequel split up:
    Producer Guy: It does sound like a solid part one.
    Screenwriter Guy: Well, technically it's part two.
    Producer Guy: Of course, but also, absolutely not.
    Screenwriter Guy: Right.
  • Unfortunate Implications: invoked The series often mocks the various ways movies and TV shows fall into this trope, often followed by a "Whoops!" "Whoopsie!" exchange. One example is The Big Bang Theory pitch meeting, in which the Producer realizes that making fun of Raj being Indian might be racist, insinuating that he and Howard are a gay couple and playing those insinuations for laughs might be homophobic, and making Penny less intelligent than the guys might be sexist.
  • Unintentionally Unsympathetic: invoked
    • In the Die Hard pitch meeting, the Producer asks whether the tragic part of Powell mistakenly shooting a kid in the backstory is that a kid died or Powell "lost his cop mojo". After hearing that it's the latter, the Producer says "Interesting", and upon hearing that Powell's character arc involves him becoming able to kill people again, flatly says, "Well, good for him."
    • In Unbreakable, the Producer feels more sympathy for the woman on the train who rejects David Dunn (who's trying to cheat on his wife) than he does for David himself, despite the fact that the scene is trying to make the latter more sympathetic..
  • Unlimited Wardrobe: In the Spectre pitch meeting, James and Madeleine having new outfits in each scene is said to be due to them shopping while offscreen.
  • Verbal Backspace:
    • In the Return of the Jedi pitch meeting, the Producer is concerned about the holes in Luke's plan to free Han, which the Screenwriter tries to Hand Wave with "the Force".
    Producer: We're gonna have to address the fact that Luke's plan is insane.
    Screenwriter: Princess Leia's going to be in a golden bikini along the way.
    Producer: (without missing a beat) Plan's probably fine as-is.
    • In the X-Men: The Last Stand pitch meeting, the Screenwriter suggests that Jean Grey will destroy Wolverine's clothes with her Phoenix powers, only for the Producer to remind him that it's a PG-13 movie. At that point, the Screenwriter hastily says that she'll destroy his shirt and leave his pants intact.
  • Villain Team-Up:
    • Discussed in the The Amazing Spider-Man 2 pitch meeting, in which Electro and the Green Goblin team up to fight Spider-Man in the climax, only to take turns doing so, with Green Goblin attacking after Electro is defeated.
    • In the Batman & Robin pitch meeting, Mr. Freeze and Poison Ivy team up despite their goals- freezing the world and covering it with plants, respectivey- being at odds with each other.
  • Vocal Evolution: In the early episodes, Ryan George played the characters with his normal voice. Around mid 2018, he began shifting the characters voices to have a cheery tone.
  • What Year Is It?: In the Star Trek pitch meeting, the Producer suggests that if Nero had known he traveled far enough back in time to save his homeworld, he might not have become evil.
  • Who's on First?: The first 40 seconds or so of the It pitch meeting involve the Producer getting confused as to what the title of the book that inspired the film is.
  • Willing Suspension of Disbelief: Invoked by the Screenwriter to justify some of his more egregious leaps in logic and realism, to the point where he believes the trope itself is less of a description of how viewers might choose to overlook certain unrealistic aspects of a work for the sake of their own enjoyment, and more a get-out-of-jail-free-card that lets him do whatever he wants with a script with no regard for whether it makes any sense. He namedrops the trope in the Home Alone pitch meeting and openly says that he intends to take full advantage of this trope.
  • World of Jerkass:
    • Christmas with the Kranks is said to have an entirely unlikeable cast, and the Screenwriter doesn't even make the bare minimum effort to remedy this.
    • In Beauty and the Beast (2017), the Producer concludes that "everyone we've met so far is just awful," after hearing about how much Belle hates living in her village and how they hate her in return.
  • Would Hit a Girl: In Daredevil, the Producer complains about how Matt's willingness to fight a girl doesn't make him look very good, and neither does Elektra's willingness to fight a blind man.
  • Would Hurt a Child: The Men in Black being willing to hire the one candidate who thought to shoot the girl with the quantum physics books and ignored any possible reasons she might have for carrying them is described as proof that they operate under this principle.
  • Writer on Board: The Jurassic World pitch meeting posits that Zara's horrible, drawn-out death that she clearly doesn't deserve was written in purely as a way for the Screenwriter to get back at his ex-girlfriend.
  • Writers Cannot Do Math:
    • The Screenwriter has trouble with numbers. From calculating probabilities to calculating how many eyeballs three people have in total.
    • In a more specific example, there's the sand path in A Quiet Place. The Producer says that filling his kid's sandbox takes 100 pounds of sand, so making a path into town would require literally tons of sand.
    • For Home Alone 2, he estimated that New York City is only populated by about 200 people, only to be informed that the actual population is in the hundreds of millions.
  • You Have Outlived Your Usefulness: In the Rogue One pitch meeting, the Screenwriter says that he kills off all the characters when they serve their purpose.
    "If someone's no longer useful to me, why would I keep them alive, right?"
  • You Kill It, You Bought It: The The Santa Clause pitch meeting has the Producer force the Screenwriter to tone down his original plan to have Scott Calvin kill Santa with a gun, and instead have Scott accidentally startle Santa. Even so, the Producer wonders what would happen if a "meth-head" killed Santa and put on his clothes, and the Screenwriter hopes that "the meth-head has a lot of Christmas spirit."
  • Your Approval Fills Me with Shame: During the Avengers: Endgame Re-Release
    Screenwriter: We could have a Stan Lee tribute
    Producer: Oh, lure [The Audience] in with sadness, I love it.
    Screenwriter: That's not how I saw it. That sounds evil.
    Producer: (Hyped) We're gonna make so much extra money off their sadness!!
    Screenwriter: (Clearly Dejected) Okay...
  • Your Mom: In the Star Trek pitch meeting, the Producer is incredulous that after dozens of attempts to try to anger Spock, the young Vulcan bullies never think to insult his mother.


"Yes sir, I do!"
 
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Pitch Meetings

Ryan George plays both the writer and producer in Screen Rant's "Pitch Meetings." The characters lampshade this in the 100th episode, and also let the audience in on an editing trick to make such a scene look natural.

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Main / ActingForTwo

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