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"Actually it's super easy, barely an inconvenience."

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 (unless it's for the worse). Further bringing humor is the fact that the Screenwriter's story decisions often bring serious questions about his thought process.

Ryan George himself has mentioned on his website that the original idea for the Pitch Meeting series came from John Mulaney's standup routine where he describes re-watching Back to the Future as an adult. Much of the routine takes the form of two execs discussing the movie's pitch together.


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

Compare with Screen Junkies' Honest Trailers, which the show has referenced (and guest starred in).

Pitch Meeting provides examples of:

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    Tropes A-M 
  • Absurd Phobia: The Producer is afraid of clouds, and said phobia is the reason why the antagonists of Green Lantern (2011) 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.
  • Absentee Actor: In the pitch meeting for Pirates of the Caribbean: Dead Men Tell No Tales, the Producer complains that it makes no sense for Elizabeth to not participate in an adventure to save Will from his curse, but the Screenwriter says they can't afford to pay to hire Keira Knightley for a larger role.
  • Accentuate the Negative: invoked The show will deliberately focus on flaws or Unfortunate Implications of a film or 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!
  • Accidental Aesop: invoked For Soul.
    Producer: Well, I think it's important for kids to understand that their loved ones that died first of all didn't try hard enough to come back, and also weren't inspiring enough.
  • Accomplice by Inaction:
    • 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.
  • Action Prologue: In Quantum of Solace, James Bond escaping from the bad guys and revealing that he has Mr. White in a car is described as a particularly disorienting start to the movie, since Bond's other films are standalone.
  • Acting for Two: invoked Ryan George plays both characters. Which doesn't stop the Producer from 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.
  • Alien Non-Interference Clause: In Star Trek Into Darkness, it's mentioned that Kirk beaming Spock aboard the Enterprise with aliens around to see it would violate the Prime Directive, but freezing a volcano to stop an eruption would not, a contradiction that the Producer lets pass with barely any comment.
  • 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 in which 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" has the catchphrase "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.
    • In the The Tomorrow War pitch meeting, Dan shows no remorse for getting ten people killed to save one guy.
    • In Space Jam: A New Legacy, the people who got scanned into the server-verse are briefly terrified about being trapped in the server-verse if LeBron James loses... then cheer for Dom, who's helping the opposing team. Dom likewise feels no remorse for nearly dooming everyone to that fate.
  • 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"
  • Anthropic Principle: Often the Producer will question the plausibility of a plot point to which the Screenwriter will reply that it's there so the movie can happen.
  • Arbitrary Skepticism:
    Producer: The guy made out of rocks doesn't believe that his flying fire friend saw another flying guy?
    Screenwriter: Apparently not.
  • Artistic License – Biology:
    • In Transformers: Revenge of the Fallen, Sam's mom eats a pot brownie, and immediately becomes stoned enough to tackle someone, which the Screenwriter is confident is the natural result of eating one.
    • The Die Another Day pitch meeting is full of this. The Screenwriter gives an explanation for the process of creating a new identity that is full of scientific mumbo-jumbo, and Jinx somehow survives being drowned in freezing water because the cold kept her alive.
  • 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.
    • In the pitch meeting for Star Trek Into Darkness, the Screenwriter assumes that a cold fusion device can freeze a volcano because it has "cold" in the name.
    • In the pitch meeting for Home Alone 2, Kevin, who's in Central Park, can somehow hear his father yelling at him from the hotel. Somewhat rectified when the Producer agrees to get the Plaza Hotel for that scene, but it's clear that the Screenwriter doesn't care about whether it would be possible for Kevin to hear his father.
  • 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:
  • Ass Pull: invoked
  • 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.
  • Audience Surrogate: The Screenwriter justifies his decision to add Cole Young to the Mortal Kombat (2021) film by saying they needed a character for the audience to identify with, and he doesn't think any of the canon characters would do.
  • Awful Wedded Life: The Producer appears to have one, at least from his wife's perspective.
  • Bait-and-Switch: In the Frozen pitch, when the two are batting around ideas for a title for Elsa's big musical number, the Producer says that they should "let it go for now, and figure it out later."
    Screenwriter: Woah, wait, what was that?
    Producer: What?
    Screenwriter: Repeat that last thing you just said.
    Producer: I said, uh, "let it go."
    Screenwriter: Right, right, right, but the end part?
    Producer: I said "we'll figure it out later."
    Screenwriter: Yeah, we'll figure it out later! 'Cause I can't think of anything good right now.
    Producer: Oh. The way you got excited there, I thought I sparked an idea.
    Screenwriter: Oh, no, I just get really excited about procrastination!
  • Bait-and-Switch Comment:
    • Near the end of the Pirates of the Caribbean: On Stranger Tides pitch meeting, the Producer says that no one has grown or changed over the course of the movie, and the events haven't had any impact on anything... then says that's fine with him.
    • During the Loki (2021) pitch meeting, the Screenwriter talks about how Loki falls in love with Sylvie (a Loki variant), and the Producer says he can't imagine falling in love with yourself. The Screenwriter responds that he can as he stares at the Producer with a creepy smile, before clarifying that he meant that he can imagine it because he wrote that into the script, and isn't in love with the Producer and that they aren't the same person either. Because the Screenwriter wears glasses and the Producer doesn't.
  • Becoming the Mask In the Cruella pitch meeting, Estella adopting the Cruella persona to attend the Baroness's party results in her permanently becoming crueler to everyone else
  • 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." After hearing about Doc Brown using a dog to test his time machine in the Back to the Future pitch meeting, the Producer asks, "Is Doc the bad guy?"
  • Better Than a Bare Bulb: In the Halloween (1978) pitch meeting, both the Screenwriter and Producer realize it makes no sense for Michael Myers to know how to drive despite having spent most of his childhood, as well as his entire adolescence and adulthood, in a sanitarium. The Screenwriter decides to have the characters note how strange this is without explaining it "because a character pointed out it makes no sense, it's okay."
    • In Deadpool 2, the Screenwriter threw in a joke about "lazy writing" in order to cover up the various lazy choices he makes throughout the script.
  • 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.
  • Big-Lipped Alligator Moment: invoked In the Godzilla vs. Kong meeting, the Producer is a little confused at Godzilla emitting an Evil Laugh in the middle of his fight with Kong.
  • 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 to be a pretty 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.
    • In the Batman Forever pitch meeting, the Producer tells the Scriptwriter that he doesn't need the Producer's approval for the costumes unless it's "insane." The Screenwriter says that his costumes are "pretty straightforward stuff," while the camera shows the Screenwriter holding a piece of paper that says "BIG FREAKIN' NIPPLES" in large text and all capitals.
  • Blunt "No": Sometimes the author won't even try to justify his reason for certain creative decisions and will just bluntly refuse to change what the producer has a problem with.
  • 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.
    • In the pitch meeting for Aladdin (2019), the Producer asks the Screenwriter if there was anything wrong with the original Aladdin, and the Screenwriter says no. He then says yes when asked whether they should replace Robin Williams as The Genie, and yes when asked about whether they should make the movie again. When the Producer asks if there's any reason people can't just rewatch the original, the Screenwriter says no.
    • In the Pirates of the Caribbean: On Stranger Tides, the Producer observes that there isn't any real reason for the audience to care what happens to the characters, and the Screenwriter says, "That's right."
    • In the pitch meeting for Black Widow (2021):
      Producer: Oh, we're gonna do a more grounded movie about the lady who jumped off a cliff on planet Vormir after a red-faced war criminal who's now a space ghost explained that that was the only way to get her hands on the magic rock she wanted before a muscle-bound purple alien got it and completed his power glove?
      Screenwriter: Yes.
      Producer: I love it!
    • In the pitch meeting for The Suicide Squad, the Producer asks if the movie is "a sequel, or a reboot, or a soft reboot" to Suicide Squad, to which the Screenwriter answers "Yes".
      • Later in the pitch meeting, the Screenwriter offers another one when the Producer questions Harley Quinn single-handedly taking down armed guards with martial arts.
  • Bond One-Liner: In the prologue of Die Another Day, the Screenwriter has Bond deliver his "saved by the bell" one-liner even though there's no one around to hear it.
  • Borrowed Catch Phrase: In the The Emoji Movie Pitch Meeting, the producer is the one who says that it will be "super easy, barely an inconvenience" to get T.J. Miller to do the voice of Meh.
  • 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.
    • An reference to this trope taking place in-story happens in the Transformers pitch meeting. The Screenwriter justifies Sam's unnatural-sounding speech about how "Fifty years from now, when you're looking back at your life, don't you want to be able to say you had the guts to get in the car?" by saying that Mikaela follows up on the speech near the end.
  • Broken Aesop:
    Screenwriter: The moral of this trilogy of movies that we squeezed out of a single book to get a fanbase to come give us their money is, "don't be greedy!"
    Producer: I see no irony in that whatsoever.
    • In the Batman Forever pitch meeting, Robin follows Batman's advice and refuses to kill Two-Face for revenge, which results in Two-Face taking Robin hostage. Later, Batman causes Two-Face to fall to his death by throwing many other coins as Two-Face throws his own coin. The Screenwriter justifies this by saying that murder is not OK, but causing someone to accidentally kill themself is fine, something the Screenwriter approves of.
  • 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 (who initially assumes this is going to be a Suicide Squad follow-up) 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.
  • Canon Character All Along: In Mortal Kombat (2021), the Producer is rather incredulous that Cole Young doesn't become Scorpion after awakening to his latent superpowers, despite being the latter's descendant.
  • 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.
    • Also in the The New Mutants, the producer immediately figures out what Dani's powers are and how they factor into the plot.
    • In the WandaVision pitch meeting, the Producer almost immediately guesses that Agnes is Agatha Harkness by checking his phone.
    • In the 300 pitch meeting, the Producer is not at all surprised that Ephialtes, the guy Leonidas snubbed, ended up betraying the Spartans, especially since Ephialtes was the only one besides Leonidas who knew about the goat path the Persians use to get around the army.
    • In the The Falcon and the Winter Soldier pitch meeting, the Screenwriter describes the Power Broker, then gives exactly the same description to Sharon Carter. The Producer immediately guesses that they're one and the same, and the Screenwriter tries in vain to deny it.
    • In the Batman Forever review, Batman, despite being the world's greatest detective, doesn't figure out that the employee who's obsessed with him and was fond of riddles before going insane is actually The Riddler.
  • 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 the Kingpin getting out.
  • Casting Gag:
  • Catchphrase: So many of them it has its own page.
  • 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)
    • In the Mortal Kombat (2021), the Producer is about to say that "getting your soul sucked is tight," but the Screenwriter stops him, saying he understands that he has to say that Catchphrase Once an Episode but it can be gross sometimes, so the Producer should get it out later when the Screenwriter is not around. The Producer says, "Getting it out later when you're gone is tight."
  • Celebrity Paradox: Pointed out in the pitch meetings for Avengers: Endgame, & WandaVision respectively, where the studio executive questions the Shoutouts the two MCU entries make to Hot Tub Time Machinenote  & The Big Lebowskinote  in the former, and Malcolm in the Middlenote  in the latter.
  • Character Filibuster: Near the end of The Falcon and the Winter Soldier, Sam lectures some senators and tells them not to call the Flag-Smashers "terrorists," a speech that lasts for four to five minutes.
  • 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.
    • Army of the Dead shows that the Screenwriter doesn't understand how the trope works when a character is blatantly shown with a cool-looking saw but never actually uses the saw.
    Screenwriter: If in the first act, you show a gun on the wall, then in the second act, just kinda have a good time.
    Producer: That's not how that goes.
  • Clark Kenting: In the Cruella pitch meeting, the Baroness doesn't recognize Cruella as her employee Estella, despite the latter making no real effort to hide her identity.
  • 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 politician Chris Christie, 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.
  • Conflict Ball: The Producer will often point out when characters are grabbing this for the sake of manufacturing cheap, easily-avoidable conflict. For example, in the Fantastic Beasts: The Crimes of Grindelwald Pitch Meeting, conflict is created between Newt and the female lead because of a newspaper misprint announcing that Newt was getting married (it was actually his brother who was getting married). Rather than say one sentence to her to quickly clear the misunderstanding up he lets the conflict run for almost the entire film.
  • Content Warning: Due to the quick lead time it takes for each Pitch Meeting video that's produced, almost every one that's done for either a new release or series finale at least less than 5 weeks after its debut will include a spoiler warning at the beginning almost regardless of the work's artistic quality and how they'll poorly age in the long run.note 
  • 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 7 million 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.
    • In the pitch meeting for Transformers, the car Sam buys just happens to be an Autobot sent to Earth to protect him.
    • In the pitch meeting for Pirates of the Caribbean: Dead Men Tell No Tales, one example sets the plot into motion.
    Producer: Wow, pretty wacky coincidence that Jack did the thing that releases Salazar just before meeting Henry, who just met Salazar, who told him to tell Jack that he(Salazar) would kill him(Jack).
    Screenwriter: Extremely wacky, sir; what are the odds?
    Producer: Impossibly slim, I'd imagine.
  • Conversation Cut: A point of discussion the Tenet pitch meeting.
  • 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?
  • Costume Porn: In the Cruella pitch meeting, Cruella's plan to upstage the Baroness through her outfits earns the Producer's approval, since it justiies this trope.
  • "Could Have Avoided This!" Plot: The Producer will frequently bring up how the entire plot of the movie could have been avoided if not for the characters making one, or several, totally illogical decisions in order to drive the events of the film forward.
  • 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.
  • Creator Provincialism: In the The Tomorrow War pitch meeting, the draft to fight a war in the future only seems to happen in America, which the Producer says is fair since America is making the movie.
  • Curse Cut Short:
    Producer: Wow, what are the odds of that?
    Screenwriter: Oh, odds don't matter when invokedI'm pulling all of this out of my... (interrupted by the Producer, who changes the subject)
    • 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.
  • Damned by Faint Praise:
    • The series will often have the Producer react to returning characters that the creator isn't fond of by saying, "I remember him! He was in the first movie!"
    • In the Old pitch meeting, the Producer notes that the Screenwriter's dialogue, such as having Trent ask the other beachgoers their names and occupations, as well as having a doctor say that a dead dog was only just alive, almost sounds like what real humans might say.
  • 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.
  • Dead Star Walking: In the Godzilla (2014) pitch meeting, the Producer is disappointed to learn that the character played by Brian Cranston is killed off in favor of his much less interesting and charismatic son, who has less of a personal stake in finding out the truth.
  • Death Is Cheap: The Screenwriter decides to say that "death is just another portal" in the Mortal Kombat (2021) pitch meeting, so that they can make sequels despite killing off the villains in this movie.
  • Deliberately Bad Example: In the Cruella pitch meeting, the Baroness's purpose is to make Cruella seem sympathetic by comparison.
  • Description Cut: Almost Every Episode Ending (with a few exceptions, many of whom enter Answer Cut) ends with a cut to a Screen Rant story headline that either contradicts or exacerbates the final lines.
  • Designated Hero: invoked In the 300 pitch meeting, the Producer has a hard time accepting the Spartans as the heroes after how horribly they treat their children.
  • 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.
    • In The Falcon and the Winter Soldier, John Walker is described as being unfairly condemned for his actions, especially killing someone who'd killed his friend, despite the fact that both Bucky and Sam have killed people before.
  • 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.
    • In Army of the Dead, Scott's daughter tries to go save her friend at the last minute, despite the fact that a nuke will be launched in an hour and they probably won't be able to make it back to the helicopter.
  • Disposable Woman: In the John Wick pitch meeting, the title character's wife "dies of being the wife of a main character in an action movie", to which the Producer remarks "that can be deadly."
  • 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:
    • In the Return of the Jedi episode, the Producer is refusing to let go of how stupid & contrived Luke's plan to rescue Han is until the Screenwriter mentions Leia's gold bikini and he immediately forgets all his objections.
    • 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.
  • Dream Within a Dream: In the pitch for The Wolverine:
    Producer: Ahh, a dream within a dream, ya got me!
    Screenwriter: Yeah, you thought he was done dreaming, but he's not!
    Producer: My concept of reality has been shattered and I don't know how to feel any more!
  • 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.
  • Dude, Where's My Respect?: In Transformers: Dark of the Moon, the government doesn't know who Sam is and Sam has trouble getting a job despite having saved the world twice.
  • 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.
    • The pitch meeting for Back to the Future has the Producer express disbelief that Marty's father would hire Biff, the man who tried to sexually assault his wife, to wax his car.
  • 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. Unlike later pitch meetings, the Screenwriter talks about various elements of the movie out of order rather than providing a rough summary of the movie's plot. It doesn't open with the usual "So you have a (x) for me?". Ryan also uses the same voices for both characters.
  • Eight Deadly Words: invoked In the Pirates of the Caribbean: On Stranger Tides pitch meeting, the Producer concludes that none of the characters looking for the fountain of youth actually want it- they just are looking for it on someone else's behalf, for the prophecy, or want to keep it out of someone else's hands- all of them are evil and Jack was dragged into someone else's adventure, it doesn't matter who gets there first. He then asks what part of the story viewers are supposed to care about.
  • 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?
    • And then there's the Return of the King example which even he didn't think would ever end.
  • Esoteric Happy Ending: invoked
    • Star Trek Into Darkness ends on a relatively happy note, with Kirk revived and Khan defeated, completely ignoring how tens of thousands of people died when Khan's ship crashed,
    • In the pitch meeting for The Hunger Games sequel, the Producer is incredulous that after the symbol of the revolution murders the leader of said revolution, everything turns out fine in a few years.
  • Establishing Character Moment: At the start of the 300 pitch meeting, the Screenwriter describes the Spartans inspecting babies for any signs of weaknesses and killing those that don't meet their standards. The Producer says this is a great way to introduce the villains, and is horrified when the Screenwriter says that the Spartans are the heroes.
  • Establishing Shot: Almost every episode of the series has opened with the same glass door that leads into the producer's office, with the only difference being that of the logo on the doorway always changing to reflect the studio and/or distributor of the films/shows that they're being pitched to.
  • 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 the child orgy scene from the book, 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.
    • The Producer is very put off by Jacob "imprinting" on Bella's newborn baby in the Twilight Breaking Dawn pitch, and the implications of what it entails. The Screenwriter does manage to distract him with thoughts of money, but he is later shown clearly struggling and actively forcing himself to focus on that when the imprinting comes up again, grimacing and muttering "money, money, money, money," to himself.
    • In Wonder Woman 1984 the Producer is highly disturbed that a stranger's consciousness gets taken over by Steve and then gets raped by Diana.
    • In the Pirates of the Caribbean: On Stranger Tides pitch meeting, the Screenwriter, who's usually enamored with his terrible ideas, admits he isn't all that invested in the romantic subplot between the missionary and the mermaid, but says they need a young couple.
    • In the Old pitch meeting, the Producer is rendered speechless by the Screenwriter's most disturbing proposal- having an aged-up six-yar-old boy and girl have sex, resulting in the latter quickly getting pregnant, giving birth and soon losing her baby- and how it will end up in the final movie. The Producer sighs, shakes his head and regrets the life choices he made that led him here... until he hears that the movie was based on an existing intellectual property, which causes him to cheer up.
    • In the Transformers: Age of Extinction, the Producer is disturbed by the idea of a 20-year-old man sleeping with a 17-year-old girl, and when the Screenwriter brings up the legal justification, he says he could just make the girl 18, and questions why the screenwriter has such detailed knowledge of this specific law.
  • Everything Except Most Things: During the Jungle Cruise pitch meeting, the Screenwriter is very insistent that the movie has nothing to do with the Pirates of the Caribbean movies, then proceeds to list over half a dozen similarities to said movies, to the point the Producer calls him out on it multiple times.
  • Evil Versus 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.
  • Failed a Spot Check: In Cruella, the Baroness doesn't notice hundreds of people behind her as Cruella tricks her into "killing" Cruella in front of witnesses. It's "justified" by none of those witnesses saying a word or making a sound, which is just as improbable.
  • Failure-to-Save Murder: In Batman Forever, Two-Face becomes obsessed with killing Batman due to Batman not saving him from an acid attack despite how improbable it would be for Batman to be in the courtroom at the time.
  • 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:
    • A recurring gag is that the Screenwriter will introduce the merest bare bones of a character's role in the movie, such as "And then we meet the hero's girlfriend, Alice", prompting the Producer to ask "And what's her deal?" and be met with "I just told you."
    • 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.
    • The entire cast of Kong: Skull Island is defined by their occupations and skillsets, and the Screenwriter doesn't even know what a character arc is.
  • Flat "What": When Screenwriter is talking about Joe in Soul and how great his life is, only to then say he dies, Producer stares for a few seconds before offering a "what."
  • Foregone Conclusion: In the Cruella pitch meeting, the Producer questions why people would want to see a movie about a woman who will eventually become a puppy-skinning villainess.
  • Foreshadowing: In Old, the family discussing their interest in seeing the kids when they're older and how important it is to appreciate the moment is shown as a particularly clunky example of foreshadowing the beach's Rapid Aging properties.
  • 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".
    • The Kong: Skull Island pitch meeting has a few references to the Marvel Cinematic Universe early on, so at the end, the Screenwriter says the Sequel Hook will involve the Avengers Initiative, when he means the Monarch Initiative.
  • 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".
  • Generic Doomsday Villain: The pitch meeting for Zack Snyder's Justice League decides to remedy this trope applying to Steppenwolf in the original by having him in service to Darkseid... who qualifies for this trope himself.
  • 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 Andy's friends give him gifts like bed sheets and a lunchbox, with Buzz Lightyear being the only good gift. 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 .
  • Good All Along: In the pitch meeting for The Hunger Games sequels, the Producer is rather skeptical about Plutarch being a "good guy" all along, especially considering he was responsible for ordering public executions.
  • Hand Wave: Frequently utilized by the Screenwriter.
  • 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.
  • Harsher in Hindsight: Invoked in the The Hunger Games Sequels video (released January 31st 2021, but presumably set circa 2012).
    Screenwriter: So they want to storm the capital!
    Producer: Storming the capital is tight!
    Screenwriter: Yay yay yay!
    Producer: That's gonna age well right?
    Screenwriter: What is?
    Producer: That sentence I just said? That's going to age okay?
    Screenwriter: Why wouldn't it age well?
    Producer: I don't know I just got this weird feel- It's probably okay.
  • Heel–Face Turn: In X-Men: Apocalypse, the Screenwriter points out that Apocalypse's Four Horsemen's main role is to betray himnote . 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.
  • Held Gaze: Screenwriter uses this in The New Mutants between Mirage and Wolfsbane so he can indicate that they're in love without having to write anything. Screenwriter and Producer then spend several seconds staring at each other without saying anything.
  • Heroic BSoD: The Producer suffers two during the Twilight: Breaking Dawn pitch meeting, first at the revelation that Jacob imprints on Bella's baby in the romantic sense, and later when the sole exciting part of the whole four movie trilogy, a climactic battle, turns out to be a vision and nothing at all actually happens. Both times he falls silent and works his jaw for several seconds before expressing his dissatisfaction. The Screenwriter successfully refocuses him on all the money they'll make.
  • 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.
  • History Repeats: The Black Widow (2021) makes sure to note one In Name Only Marvel interpretation that somehow applied to two characters.
    Screenwriter: This villain called Taskmaster. I thought we could do a Deadpool kind of thing.
    Producer: Yeah, bringing a character people love to the big screen in an enjoyable way, sure!
    Screenwriter: No, I meant a Deadpool in X-Men Origins: Wolverine kind of thing.
    Producer: Oh, turning the character into a mind-controlled killing machine with no speaking lines or personality traits. Yeah, that works too!
  • Hoist by His Own Petard: In the Transformers pitch meeting, the Producer is surprised when Sam kills Megatron by shoving the Allspark into Megatron's chest.
    Producer: The thing he was trying to get his hands on immediately kills him when he touches it?
  • 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".
  • Hypocrite: In the Transformers: Age of Extinction pitch meeting, Harold Addiger doesn't want the Transformers to fight his battles for him... so he teams up with a Transformer to hunt them down.
  • 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.
    • The pitch for Home Alone 3 is so stupid that the Producer's ears start smoking from "a bunch of his brain cells giving up at once".
    • The pitch for Alien: Covenant has the Screenwriter blatantly say the movie doesn't work if anyone ever does something smart. At one point the Producer asks if every member of the cast has brain damage.
  • 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.
  • Incredibly Lame Pun: While discussing The Suicide Squad, the Screenwriter says he wants John Cena for the role of Peacemaker, which prompts this exchange:
    Producer: Oh, you know what? I can't see him in that role. <Beat as the Screenwriter looks unimpressed> Because of his catchphrase.
    Screenwriter: I understand the joke, sir, I just hate it.
    Producer: That's fair.
  • 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.
    • The pitch meeting for Back to the Future has Larry, a subordinate of the Producer's who looks and dresses like the Producer, save for not wearing a jacket.
  • 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.
  • Insane Troll Logic: In the Wonder Woman 1984, when the Producer says that Steve, who was a pilot in World War I, shouldn't know how to pilot a modern airplane, the Screenwriter says that, "A plane is a plane."
  • In Spite of a Nail: The Back to the Future pitch meeting points out how it doesn't make sense for some aspects of the new version of 1985 to stay the same as before in spite of everything Marty changed by time traveling. Examples include the family staying in the same house as before despite Marty's father being successful, Marty's brother staying with his folks despite having a good job in this timeline, and Marty himself having the memories and experiences of his old life in the new timeline.
  • 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."
  • Isn't It Ironic?: invoked After Screenwriter mentions a desire to have "Zombie" by The Cranberries play towards the end of Army of the Dead, Producer responds negatively by asking "Wasn't that song written in response to a tragedy where some children were killed?"
    Screenwriter: Well, that's a good point, but counterpoint: It has the word "zombie" in it.
  • It Is Pronounced "Tro-PAY": As it's done in The Meg, the Screenwriter keeps pronouncing the protagonist's name (Jonas) as "Joe-Nass".
  • Jerkass Ball: In The Hobbit: The Battle of the Five Armies, Thorin's "dragon sickness" is the reason why he turns into a "greedy jerk" who makes "frustrating, nonsensical decisions for 90% of the movie."
  • Jumping Off the Slippery Slope: Anakin's sudden shift in Revenge of the Sith from being conflicted over defending Palpatine from Mace Windu to immediately agreeing to slaughter children is lampshaded and explained as "he's decided to be evil now."
  • 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 suggests a way to make the movie less convoluted- switch the Riot and Venom symbiotes around so that the former starts the movie inside the lab where it needs to end up, and the latter starts outside the lab where it can bond with Eddie. The Screenwriter, however, refuses, since despite the fact that filming hasn't started yet, he doesn't feel like changing it.
    • In the Transformers: Revenge of the Fallen pitch meeting, the inconsistencies with the first Transformers movie are because the Screenwriter forgot about the latter film and has no desire to rewatch it, albeit because he destroyed his DVD player while cooking a bagel.
  • Leave the Camera Running: The Halloween (1978) film suffers from a lack of a budget, so the Screenwriter proposes having long drawn-out shots of scenes to pad the runtime.
  • 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 scenariosnote  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.
  • Leitmotif: In Zack Snyder's Justice League, the screenwriter shows Wonder Woman's, which plays whenever she's on screen and whenever the Amazons do something. For the rest of the pitch meeting the screenwriter plays the song whenever he mentions her name.
  • 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 Load: In Army of the Dead, Kate exists to get everyone else on the team killed.
  • Locked Out of the Loop: In the pitch meeting for The Hunger Games sequels, Katniss is not let in on the plan to escape the dome in Catching Fire until after the plan is carried out because it makes for a better twist.
  • 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.
    • In the Die Another Day pitch meeting, the Producer gives a long list of everything Gustav Graves accomplished in the fourteen months since he barely survived the opening sequence and got a new identity, from earning billions to becoming an Olympic-level fencer to being knighted, with the Screenwriter cheerfully adding to the list.
  • MacGuffin:
  • 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!
  • Meaningless Meaningful Words: In The Falcon and the Winter Soldier, Karli Morgenthau's charisma is due to saying vaguely inspiring things such as "Our movement is strong, it's time to make ourselves heard," which inspire people despite not meaning anything.
  • 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.
  • Misplaced Retribution: In the The Hobbit: The Battle of the Five Armies pitch meeting, Smaug attacks Laketown in revenge for the dwarves invading his lair, despite the fact that the dwarves aren't even from Laketown. The Producer calls him "a strangely-motivated lizard."
  • 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.
    Tropes N-Z 
  • 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").
  • Negative Continuity: In the Pokémon Detective Pikachu episode, Screenwriter reveals that he has Ditto-esque eyes underneath his glasses which make him look completely normal, yet for some reason in the The Big Bang Theory episode, he's seen taking off his glasses, but has completely normal-looking eyes
  • 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.
  • New Powers as the Plot Demands: The Screenwriter likes to avoid defining the powers a person or object holds such as Loki or the Ten Rings so he can have them do whatever he needs for the sake of the plot.
  • No Ending: In the Halloween (1978) Pitch meeting, the producer asks what's going to happen after Michael gets stabbed and shot a bunch of times and then falls out of a window, only to disappear and leave no body behind. The Screenwriter replies by saying that, according to his calculations, that's where the production will completely run out of money so the film will just sort of stop there.
  • "Not Making This Up" Disclaimer: In a Leaning on the Fourth Wall manner, when the Producer suggests, instead of calling Back to the Future that title, they go with "Spaceman from Pluto", he says:
  • Not So Above It All: As it happens, the stipulation in The Polar Express' song about hot chocolate that you mustn't let it cool happened in part because of Screenwriter's severe insistence on drinking hot beverages hot:
    Producer: You need ta- you gotta let it cool a little bit.
  • 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.
  • Obligatory Joke: invoked Towards the end of the F9 pitch meeting, the Producer calls into question that the film is going to reveal that Dom has a brother, despite that never coming up before then:
    Producer: It's just, how is it possible that we've never seen this guy before, you know, how's that possible?
    Screenwriter: Maybe we get creative with casting!
    Producer: What?
    (hard cut to the Screen Rant article revealing John Cena got cast)
  • 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.
    • In the Twilight Breaking Dawn pitch, the Producer sigh and goes silent when the Screenwriter bring up Jacob bonding with a baby. When the Screenwriter says Jacob will first help raise the baby before entering in a romantic relationship with it, the producer sighs again and goes "You know that's somehow worse right? You know that?". Sadly the screenwriter distracts him by reminding him how much money they'll make.
  • 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.'
  • OOC Is Serious Business: Anything that can make the Producer lose his Perpetual Smile, such as learning that the dog dies in John Wick. After several seconds of Stunned Silence, the Producer very seriously states that people better die for that. Similarly, it takes an extremely stupid writing choice for him to actually put his foot down and give any negative feedback.
  • Orcus on His Throne: In Guardians of the Galaxy, the Screenwriter hypes up Thanos and says he "will do some real damage"... in 2018.
  • Overly Long Gag: In the Kong: Skull Island pitch meeting, the Screenwriter repeatedly says "And then Kong makes a helicopter crash" until the Producer begs him to stop.
  • 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.
    • The 300 pitch meeting has the film repeatedly go into slow motion in order to reach a feature film's runtime.
  • Permanent Placeholder: Invoked On a few occasions a particularly cliché bit of dialogue is described as being a placeholder the Screenwriter put in but never bothered changing, sometimes obviously lying about his intention to change it to the producer. For example, on "from my point of view, the Jedi are evil!"
    "It was placeholder dialogue, but I lost the login information for my laptop so we're kind of stuck with it now."
  • Perpetual Smiler: Both characters. While the smile was more subdued in the beginning, a few years into the series they were constantly beaming from one ear to the other.
  • 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 "save 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.
  • Precision F-Strike: In Old, the Screenwriter utters a bleeped-out "Shit!" when the Producer points out a Plot Hole in his attempt to explain the big twist of the movie- it's impossible to cover up the disappearance of hundreds of people on the beach, including a famous rapper, unless none of them told anyone where they were going on vacation. He soon recovers his composure enough to insist that the Producer get all the way off his back, though.
  • Product Placement: Space Jam: A New Legacy is highlighted for being one for Warner Bros. ("In practically every scene there's gonna be recognizable Warner Bros. property or someone saying Warner Bros!" "Amazing! Sounds like the cinematic equivalent of scrolling through our Wikipedia page!").
  • Prolonged Prologue: invoked The Producer says that the flashback to Diana's childhood at the start of Wonder Woman 1984 would be a good way to quickly establish one of the movie's themes, only to be told that the scene is 11 minutes long.
  • 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.
    • The Screenwriter claims that he was able to write the script for Home Alone 2 in 20 minutes by taking "every single story beat and plot point" from the first movie and making them more intense and elaborate.
  • Recycled IN SPACE!: Avatar is described as "Pocahontas but in space with some big blue kitty cats."
  • Released to Elsewhere: In the Wonder Woman 1984 pitch meeting, the Screenwriter justifies electricity causing the now catlike Barbara to fall asleep by saying that it's what happens to cats. According to him, his father told him that when his cat chewed through an extension cord, he fell asleep, then went to live on a farm. The Producer bluntly points out that the cat is actually dead.
  • 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.
    • During the Kong: Skull Island, the male lead asking for five times what he'd been offered, plus a bonus if he makes it back alive, is described as just being there to show how cool he is. The producer points out that the part about the bonus doesn't make sense, since he doesn't need money if he dies, but the Screenwriter tells him to get off his back.
  • 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 invokedsay 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.
    • The Screenwriter's defense for an inadequately explained element is "because I wrote it," or because the plot requires it to happen.
    • The series often makes fun of overly complex magical elements of the story (e.g. the fountain of youth from Pirates of the Caribbean: On Stranger Tides), particularly how the people involved know the specific instructions involved with them.
    • In the Venom pitch meeting, after a brief discussion on how "symbiote" is supposed to be pronounced, the Producer switches "be" and "buy" around.
    • In the Super Mario Bros. pitch meeting, the Screenwriter keeps answering the Producer's questions on why things happen with "I don't care."
    • The Producer having to distract himself with thoughts of money over how much he hates the Twilight: Breaking Dawn pitch.
    • In the pitch meeting for Willy Wonka & the Chocolate Factory, the Producer keeps bringing up both how horrifying the movie is and that Grandpa Joe is super sketchy.
    • The pitch meeting for Zack Snyder's Justice League has the Screenwriter play Wonder Woman's theme from his smartphone every time her name comes up.
    • The pitch meeting for The Falcon and the Winter Soldier sees the Screenwriter repeatedly talking about how terrible John Walker is and how sympathetic Karli is despite the plot showing the exact opposite. Such as Walker being terrible for killing the man who helped kill his partner but "Karli is doing her absolute best to kill Sam because she's a sympathetic character".
    • The Producer can never guess what the next The Fast and the Furious film will be named while the Screenwriter always thinks the answer is obvious, even though the naming convention is all over the place.
  • 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.
  • Screw This, I'm Outta Here!: The pitch meeting for Back to the Future shows the Producer's assistant, Larry, show up in the middle to deliver something to him. Only problem? He shows up when the Screenwriter explains Marty's plan to get George and Lorraine to fall in love with each other at the dance, with the worst word choices possible.
    Larry: (enters the room with some papers; clears throat) Sorry, sir, can I just, uh-
    Producer: Just a minute, Larry. (to the Screenwriter) So, what's- what's the plan?
    Screenwriter: Well, he's gonna pretend to force himself on his own mother, and then his father is gonna come in and beat him off, and that's really gonna impress the mom, and then she's gonna want to hook up with him instead of her own son.
    Larry: (stands silently) ... ... ...okay, I'm gonna go?
    Producer: You sure? You can stick around.
    Larry: (awkwardly leaves) No no, I incest- I insist.
    Producer: (to the Screenwriter) Not sure what that guy's problem was.
  • 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."
  • Selfless Wish: Defied in the Wonder Woman 1984 pitch meeting, in which, after being questioned by the Producer, the Screenwriter admits that the story only works if every single one of the billions of people around the world universally wishes for something "selfish and violent," and not selfless wishes or even understandable ones (being cured of their disease, feeding their starving child, etc.)
  • 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.
    • The pitch meeting for Zack Snyder's Justice League has Martian Manhunter show up and tell Batman that he's "here for any sequels you might be making," in a scene that the Producer says "feels tacked-on."
  • 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.
  • Shaped Like Itself: In the 300 pitch meeting.
    Producer: Tight thongs are tight!
  • Shoot the Shaggy Dog: In Army of the Dead, Kate gets everyone else killed while trying to save her friend Geeta, only for Geeta to presumably die in the helicopter crash at the end.
  • Shout-Out: Pitch Meeting was inspired by John Mulaney's stand up on rewatching Back to the Future, and describing what the pitch must've been like. So several jokes from the Back to the Future pitch meeting reference some of the jokes Mulaney makes (Such as how Marty's friendship with an elderly disgraced scientist is never explained or expanded upon).
  • 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.
    • In the Back to the Future pitch meeting, the Producer suggests calling the movie "Spaceman From Pluto". This really was the title that then-CEO of Universal Sid Sheinberg wanted to call the movie.
    • In the A Nightmare on Elm Street pitch meeting, he brings up the original ending of the movie, which would have heavily implied that the events of the film were all just a bad dream that the main character had.
  • Sincerity Mode: The Producer is capable of this on occasion. For example, in the Point Break Pitch Meeting, he asks why Bodhi would abandon his safe and effective "gone in 90 seconds" plan and go after the bank's vault in the final robbery of the film. When the Screenwriter replies that it's because this is the climax and he has to raise the stakes, the Producer replies by saying "That's fair" with complete sincerity.
  • Skewed Priorities:
    Producer: Risking your life so nobody sees your ding-dong is tight.
    • Hank McCoy in X-Men: First Class testing a serum to disguise his (at that point very mild) mutant disfiguration the night before an important mission is described as such. "Is he worried the bad guys are going to make fun of his weird feet?"
    • In the Transformers: Revenge of the Fallen pitch meeting, the Screenwriter says he can't rewatch the first one because he put a bagel in his DVD player, put both of them in the oven and set it to broil... because he still wanted the bagel, destroying an expensive piece of technology for a bagel that costs a dollar or less.
  • Slow-Paced Beginning: invoked Inverted in the Mortal Kombat (2021) pitch meeting, when the Screenwriter says that the movie will be all downhill after the intense beginning, and the Producer agrees, saying that once they get the audience's attention, they can stop trying.
  • Smart Ball: Depending on the situation, especially how funny it would be, the Producer or Scriptwriter may suddenly become a lot smarter than usual
    • During the John Wick meeting, the Producer actually thinks to look up Baba Yaga, the namesake for John's nickname, and wonders why he's being named after a hideous crone when his name's supposed to be a synonym for "the boogeyman."
    • During the Aladdin (2019) pitch meeting, the Producer asks the Screenwriter why they're remaking a beloved animated film despite the fact that they're unlikely to improve upon it.
  • Soft Water: Discussd in the The Tomorrow War pitch meeting, in which the Producer asks if falling hundreds of feet into a swimming pool would be deadly, but the Screenwriter insists the people who landed in the pool are fine.
  • Something Completely Different: In the 200th episode, rather than doing another pitch for a movie or TV Show, the Screenwriter and Producer try to get to know each other personally as well as recap their Catch Phrases.
  • Spotlight-Stealing Squad: When asked whether Cole Young and his family from Mortal Kombat (2021) will take time away from the Mortal Kombat characters fans came to see, the Screenwriter says, "Oh, most definitely! A ton of it!"
  • 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."
  • Static Character: Alfrid in The Hobbit: The Battle of the Five Armies never changes for the better at all despite the large amount of screentime he gets.
  • Stating the Simple Solution: Comes up often. Usually, the Screenwriter will describe characters doing something elaborate and dramatic but totally nonsensical when there is a much more straightforward solution to the problem that the Producer will point out.
    • A variation of this happens in the Venom Pitch Meeting, only directed at the Screenwriter himself as opposed to the characters in the film. At the beginning of the film, the two Symbiotes land in Malaysia, and Venom is taken back to the lab, and Riot escapes. The Screenwriter then talks about all the legwork he had to do in order to get Eddie Brock into the lab so that he could bond with Venom as well as get Riot into the lab so that it could bond with Drake.note  The screenwriter even says that it will probably be the "least fun" part of the movie but he needed to somehow get everyone into their positions so that the plot could get going in earnest. The Producer points out that he could eliminate the need to do all that legwork by simply having Venom be the one who escapes at the beginning. He refuses to change it because he "doesn't want to."
  • 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.
  • Strictly Formula: In the pitch meeting for Pirates of the Caribbean: Dead Men Tell No Tales, both the Producer and the Screenwriter agree that since it's a Pirates of the Caribbean, they already know how the plot's going to go. Though the Producer asks the Screenwriter to elaborate anyway.
  • Strong as They Need to Be: When Loki in Loki (2021) manages to move an entire skyscraper with his mind, the Producer asks if he could aways do that, prompting the Screenwriter to admit he just makes Loki as strong or as weak as he needs for the plot.
  • Stunned Silence:
    • As mentioned above, the Producer goes silent after hearing that in John Wick, the villains kill the eponymous character's dog.
    • In the Twilight Breaking Dawn pitch meeting, this is the Producer's reaction when he learns that the awesome fight sequence at the climax was just a vision.
  • 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 the one with the highest chance of survival, 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.
    • In Kong: Skull Island one soldier sacrifices himself for no apparent reason, and ends up accomplishing nothing.
    • In Transformers: Revenge of the Fallen, in ancient times, several Primes (the only ones who can kill the Fallen) sacrificed themselves to seal the Matrix of Leadership ("the key to the Fallen's death machine") right next to said "death machine."
  • Subverted Catchphrase:
    • The Screenwriter once says that something would be "super difficult, very much an inconvenience," the opposite of the series' best-known Catchphrase.
      Producer: It's gonna be hard for audiences to feel any stakes if the scoring is arbitrary.
      Screenwriter: Actually...yep.
      Producer: It's gonna be hard to end on a happy note with Bugs Bunny dying.
      Screenwriter: Actually it's gonna be super easy, barely an inconvenience.
    • The pitch meetings usually begin with the Screenwriter saying, "Yes, sir, I do," in response to the Producer asking if he has a movie to pitch, At the start of the Transformers pitch meeting, the Screenwriter instead says, "Actually, no, sir, I don't," then explains that he was told the producer was looking for "feature-length commercials with kind of a storyline." The Producer then tells the Screenwriter that's what he calls "movies."
  • 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.
  • Suspiciously Similar Substitute:
    • The pitch meeting for The Suicide Squad draws similarities between different characters from it and Suicide Squad, namely Deadshot and Bloodsport, and Killer Croc and King Shark.
    • In the pitch meeting for Quantum of Solace, the Producer immediately asks if Spectre is the villainous organization in the film. The Screenwriter asks if the Producer has the rights to legally use Spectre, and when the Producer says no, the Screenwriter has Quantum, "a completely different organization with the exact same concept," be the villain in the film.
  • Suspiciously Specific Denial: Frequently. Lampshaded in the video for The Matrix Reloaded;
    Screenwriter Guy: This way we get to show off our new CGI technology that does not make humans look like rubber in any way!
    Studio Executive Guy: Kinda suspicious of you to specify that unprompted...
  • 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".
    • Late in the Star Trek Into Darkness pitch meeting, after the Screenwriter and Producer mention how Kirk's Heroic Sacrifice is a role reversal of Spock's from Star Trek II: The Wrath of Khan, you can see the Producer wearing the Screenwriter's clothes and sitting in his place, while the Screenwriter has the Producer's clothes and is in his place, showing that the two characters switched spots.
  • 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 assume the film is a follow-up to Suicide Squad and 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 Suicide Squad returns to this point, with the Screenwriter saying that the main characters all have sad backstories and the Producer thinking that they'll all have forehead tattoos to make that clear.
    • 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 pitch meeting 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.
    • The Fifty Shades of Grey video covers the entire trilogy in only four minutes and especially takes shots at second and third movies, stating the former is like a Rom Com but without any romance, comedy, or likable characters. The summary of the third movie is simply "They're married now so they go on a honeymoon... and... yeah."
    • The Transformers: Revenge of the Fallen movie is described as "a bunch of explosive action scenes with some dialogue in between that kind of explains why they're happening."
    • The Pirates of the Caribbean: Dead Men Tell No Tales pitch meting, not even the Producer thinks much of the Screenwriter's plan to have Carina turn out to be Barbossa's daughter, disdainfully noting that he seems rather enamored with that plot element and asking him about it at the end. The news article at the end brings up how Rey turns out to be Palpatine's granddaughter in The Rise of Skywalker.
    • During The Lord of the Rings: The Two Towers pitch someone off-screen is heard saying "That's perfect, I love it!" It turns out this is M. Night Shyamalan, who routinely eavesdrops on the pitch meetings looking for story ideas. The scene being described is the Ents assault on Isengard, so Shyamalan's idea is for a movie where trees start attacking people, which both the Screenwriter and the Producer agree is going to be terrible.
    • In the Batman Forever pitch meeting, the Producer claims to have gotten affected by an intelligence-draining ray like the one the Riddler used, and says he likes cartoons more now.
  • Tap on the Head: The Pirates of the Caribbean pitch meeting has the Producer ask whether Will's master bashing Jack on the head and knocking him unconscious will cause brain damage, but the Screenwriter says it causes the "wacky" kind of head trauma without permanent damage.
  • Technobabble: If a movie makes use of this, there's a good chance the pitch meeting will lampshade it.
    Screenwriter: [James Bond] gets approached by the CIA to help find this Russian scientist guy who helped develop a bioweapon involving nanobots.
    Producer: Nanobots?
    Screenwriter: Yeah, see, nanobots are this thing where if you write "nanobots" in the script, they can do whatever you want and you don't really have to explain it.


    Producer: Well, I guess [James Bond] could try using that EMP watch to disable [the poison nanobots].
    Screenwriter: No, he can't do that.
    Producer: Why not?
    Screenwriter: Well, 'cause... [stammering] nanobots!
  • 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.
    • The Producer will often express the hope that certain elements of the plot won't be criticized, or that problematic elements of older films will age well.
  • 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.
    Screenwriter: But when he gets into a stranger's vehicle in the middle of the night, his whole life is going to change.
    Producer: (horrified) Oh god!
    Screenwriter: No, like in a fun, Christmas-y way.
    Producer: Oh thank god.
  • That Makes Me Feel Angry: Generally if the Producer straight up announces how a given plot development makes him feel, you can rest assured it's either an Intended Audience Reaction that didn't work in real life, or it's not what the Screenwriter was going for at all.
  • They Wasted a Perfectly Good Character: In-Universe:
    • Producer Guy thinks that Huntress should be the main character of Birds of Prey (2020), but relents on making Harley Quinn the protagonist instead when Screenwriter Guy points out that Huntress has not proven to have mass market appeal yet.
  • They Wasted a Perfectly Good Plot: In-Universe:
    • Producer Guy thinks that Rosalie's tragic backstory from Eclipse sounds like a much more interesting movie than the one they're making and wonders if that's a bad sign.
    • The Producer is much more interested in the Japanese and American pilot putting aside their differences to survive against King Kong and becoming friends than he is in the rest of Kong: Skull Island.
    • In the The Falcon and the Winter Soldier, the story cuts away before Bucky's old Japanese friend reacts to hearing the news that Bucky killed the man's son during Bucky's days as the Winter Soldier. The Screenwriter is rather disappointed that a plot thread that was built up for the entire season never gets resolved.
  • This Is Gonna Suck:
    • Invoked by the screenwriter for The Last Airbender when he bluntly says that watching them bend the elements won't be enjoyable.
    • Both of them agree that Mulan (2020) won't be fun to watch.
  • 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.
  • Title Drop:
  • Token Romance: In the Jurassic World pitch:
    Screenwriter: Anyway, so then Claire and Owen kiss in the middle of this big attack.
    Producer: What? Why?
    Screenwriter: Oh, well, they're both attractive, so...they're in love now.
    Producer: Right, makes sense.
  • Tom the Dark Lord:
  • 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:
    • In the The Amazing Spider-Man 2 pitch meeting, the Screenwriter decides to "fix" the problem of MJ ending up in danger by having Gwen go straight into danger herself. He also mentions that New Yorkers form crowds to watch Spider-Man as he fights dangerous supervillains.
    • A Quiet Place points out how, after Lee averted a disaster by taking the batteries out of his son Beau's toy, Beau later put the batteries back in and activated it, causing his death. It's pointed out that the rest of the family helped cause this by their negligence and poorly thought-out decision to bring Beau along, even though they've survived for three months. Evelyn getting pregnant and "bringing a screaming baby into the world" also is mentioned as being particularly foolish.
    • In Godzilla (2014), the military starts the timer on the atomic bomb before it reaches its final destination, just so the movie can have higher stakes.
    • In Kong: Skull Island, the helicopter pilots respond to Kong destroying a helicopter with a thrown tree by flying in close to him and shooting at him. Predictably, he destroys them all.
    • In Alien: Covenant, the cast is so dumb that the Screenwriter openly states how the movie would fail if anyone wasn't stupid. It gets to the point that when a cast member does something suicidally stupid (such as sticking their face into a xenomorph egg), the Producer just mutters "Okay".
  • 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.
  • Uncertain Doom: In the Army of the Dead pitch meeting, the Screenwriter is disappointed to realize that it's never shown whether Kate's friend, whom she ran off to rescue, thereby getting everyone else killed, survived the helicopter crash at the end, although she's presumed dead.
  • 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.
    • In Godzilla: King of the Monsters (2019), the Producer is skeptical that Emma's last-minute sacrifice was enough to atone for her actions that nearly got millions of people killed.
    • In the WandaVision pitch meeting, the series ends with Wanda walking out of Westview, with the citizens angry with her for what she put them through, only for Monica to point out that they don't know what she sacrificed for them. The Producer points out that Wanda mentally tortured them, and when the Screenwriter counters that she had to say goodbye to her "imaginary boyfriend," the Producer gives an unconvinced "ehh, okay" in response.
    • During the The Falcon and the Winter Soldier pitch meeting, the Producer repeatedly asks if they're going to stop pretending Karli Morgenthau is sympathetic, such as when she blows up a building full of innocent people or tries to murder Sam. The Screenwriter keeps insisting that she's very 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.
  • Villain Decay: In the Transformers: Age of Extinction pitch meeting, the Screenwriter pretends that Galvatron(aka Megatron) has a chance of winning against the Autobots despite the heroes having defeated him in the previous three movies.
  • 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, respectively- being at odds with each other.
  • Visual Pun: In the Twilight: Eclipse pitch meeting, the Screenwriter mentions that they have to name the movie as such because the book has that name and their hands are tied. Cue both Screenwriter and Producer holding up their hands to show that their hands are literally tied together.
  • 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 the Hell Is That Accent?:
  • 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.
  • Why Do You Keep Changing Jobs?: While the Screenwriter is presumably a freelancer, the Producer works for a different studio every episode... although his office always looks oddly familiar save for a studio logo on the door.
  • Why Don't You Just Shoot Him?: In the Batman Forever pitch meeting, the Producer notes how stupid it is for the Riddler to not let Two-Face kill Bruce(aka Batman) when Bruce survives being shot in the face.
  • 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 it.
  • Won't Take "Yes" for an Answer: Right from the get go, at the start of the Sharknado pitch meeting, we get the implication that the Screenwriter had tried pitching this movie prior to this meeting, with the title alone being the deal breaker:
    Screenwriter: Yes sir, I do. It's called Sharknado...
    Producer: (interested) Okay, I'm listening.
    Screenwriter: (apologetic) I completely understand, thanks for your t- (shocked) Wait, you're listening?!
  • 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 her fellow residents 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 around 7 million at the time the film was made. Kevin's father is furious with him for spending $967 on room service, despite the fact that he'd paid to fly 14 people across the country twice, implying that the Screenwriter doesn't know how much those plane tickets would cost.
    • In the Sharknado Pitch Meeting, when the producer asks what the odds of Finn jumping out of a helicopter and into a random shark's mouth and that just so happening to be the same shark that ate his girlfriend earlier in the movie are, Screenwriter Guy replies by saying that the odds are "50 percent, either it was or it wasn't."
    • In the Wonder Woman 1984 Pitch Meeting, the Screenwriter insists that a selfless wish, especially one like "World Peace" or "Curing all disease" would be One In A Million Chance, only for the Producer to point out that there are billions of people in the world.
    • In the Godzilla (2014) pitch meeting, the Producer calculates that if Ford wants to get a nuclear bomb 20 miles from the city in five minutes, he will have to go 240 miles per hour, showing that the Screenwriter gravely underestimated how fast he would have to go in order to manage the task.
    • In the Army of the Dead pitch meeting, the Producer notes that $200 million in $100 bills would probably weigh thousands of pounds.Calculations  The Screenwriter "solves" this problem by having the protagonists use backpacks.
  • 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 until the incident shown early on in the movie.
  • You Say Tomato: In the pitch meeting for Venom (2018), the Screenwriter and Producer argue over how "symbiote" is pronounced. The Screenwriter says "sim-bee-ote" and the Producer says "sim-buy-ote." Out of spite, the Producer switches the pronunciations of the words "be" and "buy" for the rest of the meeting.
    Producer: Listen, as long as people go out and be a bunch of Venom merchandise, I don't care how they feel.
    Producer: We're gonna have two super dark aliens fighting at nighttime? It sounds like it's gonna buy kinda hard to see what's happening.

"Yes sir, I do!"

Video Example(s):


The Powerbroker is [Spoiler?]!


The Screenwriter reveals the identity the Power Broker on Falcon & Winter Soldier, which the Producer already figured out.

How well does it match the trope?

5 (10 votes)

Example of:

Main / CaptainObviousReveal

Media sources:

Main / CaptainObviousReveal