The new film Golda – starring a bewitching Helen Mirren as Golda Meir, the Iron Lady of Israel, was written and produced by Nicholas Martin. Martin is best known for writing the 2016 film Florence Foster Jenkins. With two amazing biopics about strong, defiant women, we talk about how to find the moment that defines a character and how to focus the story on a short period of time instead of a cradle-to-grave saga. For Florence Foster Jenkins, it’s her journey to Carnegie Hall and for Golda Meir, it’s the 18-day Yom Kippur War. To Martin’s surprise, that focus on the war turned the film Golda into a thriller. 

“The structure was dictated by the phases of the war,” says Martin. “So, it was really a thriller and a war film rather than a personal drama about a woman’s struggle to command a nation at war. That’s what gave it its thriller shape.” 

To pinpoint that moment, Martin turned to a quote from Winston Churchill. 

“He famously said at the beginning of the Second World War, when he became Prime Minister, ‘All of my mistakes have brought me to this point.’ … And then I thought I think this is the same for Golda… We’ve got such a thumping narrative of the Yom Kippur War, such a clear beginning, middle and end and she’s under so much pressure, I think if we cut away from this it would dilute the tension and it would be mixing genres in a way. So, it seems that just sticking to this one story which is complicated enough, let’s try and keep it simple, tell this one story well,” says Martin.   

Listen to this episode to find out more about Martin’s research process, how learning to use a spreadsheet upped Martin’s structure game, and hear why Meryl Streep threatened to never speak to Martin again while making Florence Foster Jenkins. 

The Apple TV+ series Physical, starring Rose Byrne, is set to launch its third and final season on August 2. Set in the idyllic but fragile beach paradise of sunny 1980s San Diego, Physcial is a half-hour dark comedy following Sheila Rubin (Rose Byrne) as she navigates her personal demons, most of which come in the form of noxious self-talk and an eating disorder.  

I talked with series creator and showrunner Annie Weisman about writing this highly personal show that explores the dark undercurrents of the feminine experience. “I think about things like beauty culture and diet culture and it’s easy to dismiss them as something women are locked in, are trapped in,” says Annie, “but in many ways, for a lot of women, that’s all the control they have is their appearance. One of the goals of the show is to show a woman who feels really trapped in that way, really torturing herself, and have her go on this journey of discovering a way – this opening a door – into a new way to be in her body, a new way to be in the world, and a sense of empowerment. But I wanted to be honest about the struggle of it, it’s not easy! It takes three seasons of this show for her to get somewhere!”  

We also discuss her beginnings as a playwright and her journey to making the transition from stage to television. “I didn’t necessarily know a lot about visual storytelling – that was what I had to learn,” says Annie. “My first television scripts were filled with dialogue, I didn’t really understand how the camera worked, I had characters entering and exiting in every scene. I had to learn about the way time works in television and film.”   

Annie also shares her advice for writing original TV pilots and using your own authentic voice. Take a listen. 

When one woman's business trip turns into a quest to find her family, things get super funny in the new comedy Joy Ride, a raunchy road trip movie with a global spin. The film stars Oscar-nominee Stephanie Hsu, Ashley Park, Sherry Cola and Sabrina Wu. 

Screenwriters Teresa Hsiao and Cherry Chevapravatdumrong, who wrote the movie with writer/director Adele Lim, sat down with Final Draft to talk about writing a passion project they never thought would get made. “We were just going to write this dumb thing together and it's going to be just for us and then all of a sudden people are like, oh, we like it we want to make it, we're like, right now?” Hsiao said.

The writers were thrilled, and they had worked together years before on the animated show Family Guy. “We were well versed in being collaborative and working together so when we started writing the spec it was very natural,” says Chevapravatdumrong.

Listen to Final Draft's Write On podcast to hear about the writing process, the laughs and making a movie they never thought would get made.

Joy Ride is out in theaters July 7.

The world out there is a brutal place. If you have a hankering for some of the rough justice you remember from old-school lawman Raylan Givens – you’re in luck. Justified: City Primeval is about to drop on FX starring the same Raylan (Timothy Olyphant), we all came to know and love in the six seasons of the hit-show Justified. His hair has more sliver streaks, partly due to age but also due to worrying about his precocious 15-year-old daughter Willa (played by Olyphant’s real-life daughter Vivian), in this thrilling 8-episode limited series.

I talked with showrunner Michael Dinner about evolving Elmore Leonard’s beloved lead character in this spinoff that’s set in the mean streets of Detroit, while staying true to the risk-taking Raylan who’s not afraid to get his hands dirty in the hollers of Kentucky. Now the father of a teenaged girl, Raylan’s priorities have shifted – so will he still reach for his gun with the same ease as before?

“In a way, this is the second chapter of his life,” says Dinner. “His first chapter is, ‘You can’t go home again.’ We pick him up 8 or 10 years later, he’s divorced, he has a daughter. I look at the work in these 8 episodes and it’s more adult and I feel he’s made another step – not the actor, but the character. So, I think it’s interesting to look at it with that kind of perspective, that it is a character who is further down the road.”

Dinner also shares his advice for creating characters who ignite conflict and push each other’s buttons in ways that help sustain a show over time and engage the audience in deeper ways. Also, I ask the question, who is Raylan Givens without Boyd Crowder (Walton Goggins), and if we might see Boyd Crowder anytime soon. Dinner’s answer may surprise you! Click to hear more from our podcast with Dinner about the new limited series Justified: City Primeval. Hear more in Final Draft's Write On podcast. 

Justified: City Primeval comes to FX on July 18.

With an excited fanbase and even more exciting plot twists, the drama/thriller series Cruel Summer is back for Season 2 on Freeform. Final Draft sat down with showrunner Elle Triedman to talk about murders, music from 1999 and the show's impressive ratings. (Season 1 was the most watched series in the Freeform's history!).  

This delicious show tackles teenage friendships, betrayals and characters with very big flaws. Triedman says one of her favorite parts of the show is all the room to play with morality. "Saints are boring. No one wants to write a saint, no actor wants to play a saint," she says.

Character flaws make things interesting, she says. And teenage life is about the bond you create with those around you. “It is that ride-or-die, it is the person where you call and you say I need you to help me... you know, bury a body and they say where should I meet you? That sort of crazy intense with all the highs and all the lows. And so, to build that friendship from ground zero and then blow it up,” she says. It's not only super fun to create, it's fun to watch. Click to hear more from our podcast with Triedman about the new season of Cruel Summer.

The surprise hit and breakout role for Jenna Ortega as the titular character in Netflix's spin off of the Addams Family, Wednesday, was just as exciting to create as it is to watch. "The writer's room started the first week of lockdown, so writing a Wednesday show during a global pandemic felt on brand," says creator Al Gough about writing the pilot before selling the show to Netflix. 

Final Draft's Write On Podcast sits down with Gough and his co-creators Miles Millar to hear about how they revitalized this character with a modern twist and brought back nostalgia with the return of Christina Ricci in the 8-episode series that follows Wednesday's life as she attends a boarding school for other teens with magical abilities. 

Wednesday is currently streaming on Netflix.

Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World tells the emotional journey of the world famous boxer from his poor upbringings in Texas to his rise to Heavyweight Champion of the World and then onto reinventing himself when it was time to look beyond the gloves.

Final Draft's podcast Write On sits down with writer/director George Tillman Jr. (Soul Food, The Hate U Give) to hear the inspiration behind this film. "Biopics are very complicated to do, so I just started falling in love with the idea of this journey that this man took from a young man to an older one," says Tillman Jr. on how he chose Foreman's story. "Everybody knows him as the grill guy, so we really showed how he became the pitchman that led to the grill you know." Listen to hear more about bringing this larger than life man to the big screen. 

Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World released in theaters April 28.

The story of how Daisy Jones & the Six went from book to TV show is a fascinating one. Scott Neustadter, best known for comedies like 500 Days of Summer and The Disaster Artist, was sent the unpublished manuscript about the rise of a rock band in Los Angeles in the 1970s, on a whim.

Little did he know it would become a bestseller. At the time, he had given the book to his wife, with whom he had never worked before. But she just so happened to be at Reese Witherspoon’s production company, Hello Sunshine. They loved the book and his adaptation and the show was born. Now, Neustadter is the co-creator and co-showrunner of the Amazon show.

Final Draft’s podcast Write On sat down with Neustadter to hear about his process. “If you're going to write television– it's an important, huge undertaking so you have to have passion, you have to love the thing... It isn't something you can do on the side. It will become your whole life, so you better love it,” he said.

Daisy Jones & the Six is available on Amazon Prime.

Please note: this podcast was recorded prior to the WGA Strike.

Final Draft's Write On podcast series sits down with co-creator Rafael Casal on the second season of his half-hour comedy series Blindspotting. The show centers on Ashley, who lives in Oakland, Calif. When her partner (who is also the father of her son) is sent to prison, she must move in with her mother-in-law, played by Helen Hunt. “That’s a part of writing for actors. You know what they're capable of and so sometimes in the script you're not writing everything they do, but you're writing the window into them having the freedom to do what they do best,” Casal says about writing for actors.

He also discusses what he looks for in a writer when hiring to fill his room. “I don't want somebody who's just trying to color within the lines book, especially for a show like ours that is really non-traditional. I'm looking for people that are willing to kick out an idea and try something even if it only works 70% of the way but you took the swing,” he says.  

Blindspotting airs on STARZ.

Written by screenwriter Dana Stevens, The Woman King is a historical epic about an all-female warrior unit that protected the West African kingdom of Dahomey during the 17^th to the 19^th centuries. The film is set in the 1820s and stars Viola Davis who is tasked with training the next generation of young warriors.  Stevens chatted with Final Draft about discovering the “richness of the story” while writing the script. “I just could not believe that I did not know this story, that I had never heard of it,” Stevens said. “And the more I delved into it, just on my own… I mean, I was watching things on YouTube, like things in French, you know, I was just I was just blown away.”

When asked for advice to aspiring screenwriters trying to break into the industry or write a passion project such as The Woman King, Stevens had some inspiring words. “Go ahead and write. Write a lot. Have a few things you're working on. Have your personal project that you just love, that you think maybe no one will ever make, but also maybe have another project that's your, you know, more commercial thing,” she says. 

The Woman King is now available on a variety of streaming platforms.

Triangle of Sadness is a satirical black comedy from writer/director Ruben Ostlund. The film, staring Woody Harrelson, takes the world of luxury boating to the next level with its wry comedy that exposes many upstairs/downstairs differences among the characters. Ostlund discusses the importance of pitching his project before he starts writing. “If you are a writer or if you are a director, your profession is to be the artistically responsible for the product that you are producing. You are the one that is deciding what ideas should be put into this, what should taken be taken out,” he says.

The film won the top prize at the Cannes Film Festival. This was Ostlund’s second win at Cannes. He talked about how special it is to him to have had these successes. “I have been kind of lucky because every time that I have finished a previous film and we have had a premiere of the film in Cannes, there's a little table on a small cafe where I walk to with my producer and my mentor. Two of my best friends and we sit down and we talk about what is going to be the next project that we are working on. And so, it is kind of how to say astonishing that we have been on this little cafe and exactly the same table four times now and decided which next project is.”