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It took receiving a Google Alert on my name to see that a quote of mine on the excellent 2005 Joe Wright film Pride and Prejuduce was recently cited on the media site Daily Mail UK. Showbiz report Emma Guinness wrote a piece to cover the film’s streaming status on Netflix and used it as the crux of the headline. In fact, the quote comes from my Cinephile Hissy Fit podcast episode on the film submitted to Rotten Tomatoes than anything I’ve written on Every Movie Has a Lesson or Film Obsessive. They didn’t ask for my permission, but I don’t mind. Thanks for the reference and clicks!
Every now and then for the big new releases, Rotten Tomatoes will collect the tip-of-the-spear “first reviews” and highlight them in an editorial news column piece. If I can get my work in fast enough and it gets noticed, I have the chance of being selected and included in these round-up features. Recently, I was cited for Anaconda. For a guy like me, it’s the closest I’ll get to a pull quote anytime soon. It’s an honor to see my work recognized and mentioned next to some of my peers and the best critics in the business. Thank you, Christopher Campbell. Check out your boy!
You can read your script ten times and still miss what isn’t working. Not because you’re careless, but because you already know the story. You know why a character makes a choice. You know what happened off-screen.
You know where the ending is headed. A reader doesn’t have that advantage. They only experience what’s on the page, moment by moment. When something doesn’t add up, they feel it immediately.
That gap between what you intend and what actually lands is where screenplay coverage earns its value. A strong screenplay analysis doesn’t just judge your script. It shows you where the story breaks down and why a reader loses trust. And, most crucially, it will give you suggestions on how to fix it.
In this article, we’ll look at how plot holes form, why writers often miss them, and how professional screenplay coverage services catch problems before your script reaches agents, producers, or competitions.
When a story makes sense in your head but not on the page
As a writer, you’re carrying the full blueprint of the story in your mind. Even when something isn’t explained clearly, your brain fills in the gaps. Readers can’t do that. They only respond to what’s written.
A motivation that feels obvious to you might feel sudden to them. A reveal you’ve been building toward internally may arrive without enough groundwork.
These moments don’t always read as “wrong,” but they create confusion. Confusion is often the first sign of a plot hole.
Coverage readers approach your script without assumptions. That makes missing logic far easier to spot.
Why writers often miss plot holes of their own scripts
Time is one factor. After multiple drafts, scenes blur together. You remember earlier versions even when they no longer exist on the page.
Attachment is another. You may keep a scene because it feels powerful, even if it weakens the structure.
Feedback sources can also be a problem. Friends and peers tend to be polite. They may sense an issue but hesitate to push hard. Professional coverage removes that filter. The goal isn’t to spare feelings. It’s to make the script work.
What plot holes really are and why they break immersion
A plot hole isn’t always a glaring mistake. Sometimes it’s subtle. A character reacts too calmly to a major event. A rule of the world applies once and disappears. A decision contradicts what we were told earlier.
These moments pull readers out of the story. Once that happens, engagement drops fast. Industry readers don’t stop to debate whether something could work. They move on.
Strong coverage identifies these breaks clearly, before they cost you an opportunity.
The most common plot issues writers overlook
• Character goals that shift without explanation
• Coincidences that resolve conflict too easily
• Setups that never pay off
• Stakes that disappear halfway through the story
• Endings that rush emotional resolution
None of these mean the script is bad. They mean the story needs tightening. That’s exactly what coverage is meant to address.
How a professional screenplay analyst can expose problem you miss
Professional analysts read scripts for a living. They are often development executives, studio readers or working writers who have a lot of experience in the industry. They know what works, what doesn’t, and how to fix it. Most of all, they know what will cause industry gatekeepers to pass on a script.
When something doesn’t follow logically, they point to the exact moment it breaks. More importantly, they explain why it doesn’t land and help you fix the issue rather than you guessing at solutions.
Why early feedback saves time and rewrites
Waiting until the script feels “finished” often leads to bigger rewrites later. Structural problems grow as drafts pile up. Fixing them late can mean rebuilding entire sections.
Early coverage helps you course-correct while changes are still manageable. A clearer setup. A stronger motivation. A cleaner transition. Small fixes early prevent major overhauls later.
That’s especially valuable if you’re preparing to submit or query on a timeline.
The difference between vague feedback and usable notes
Hearing that a script “needs work” doesn’t help. Neither does “the pacing feels off.” Usable notes explain what’s happening on the page and how it affects the reader. For example, instead of “the pacing feeling off,” the analyst might point out that a particular scene is unnecessary because it’s a double beat and, therefore, can be cut. Or suggest that the inciting incident happen earlier in the script. Or come up with ideas on how to raise the stakes of the script. In other words, the analyst will help you fix what’s broken.
Coverage Ink’s CI Standard Analysis provides 10 to 14 pages of detailed notes, a full synopsis, and a clear score grid. You also receive a PASS, CONSIDER, or RECOMMEND rating that reflects how the script reads at an industry level.
This type of screenplay coverage service gives you direction, not just opinion. It shows you where to focus and why those changes matter.
Conclusion
Plot holes don’t mean you’ve failed as a writer. They mean you’re too close to the material to see everything clearly. That’s normal. Every professional writer relies on outside eyes.
Screenplay coverage gives you that perspective before your script reaches people who won’t explain their rejection. With clear, honest feedback from experienced readers, you’re not guessing anymore. You’re improving with purpose.
And when the story holds together from start to finish, readers stay with you. That’s always the goal.
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Do bonuses affect long-term loyalty?
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If you are reading this, you probably know the feeling.
It’s Friday night. You are in the mood for a specific classic, maybe Michael Mann’s The Insider, or perhaps a re-watch of 28 Days Later. You open Netflix. Not there. You check Prime Video. "Rent or Buy." You check Max. Gone.
We were promised a digital utopia where everything would be at our fingertips. Instead, we got "The Streaming Purge."
As rights contracts expire and studios fracture into their own walled gardens, the average cinephile is finding it harder, not easier, to watch the films they love. We are paying more money for less access. Cinema has been reduced to "Content"—disposable, rotatable, and algorithmically suppressed.
But in 2026, a quiet revolution is happening among film purists. We are stopping the chase. We are moving to "Super-Hubs."
The Fragmented Nightmare
The problem with the current landscape isn't the quality of the films; it's the impermanence of the library. Netflix focuses on "Originals" that they own forever, quietly removing the back-catalog of 70s, 80s, and 90s cinema that defines our culture.
For a film critic or just a serious fan, this is a disaster. You cannot rely on a service that deletes The Godfather to make room for a reality dating show.
This frustration has driven a massive migration toward independent, comprehensive media lockers. These aren't just "IPTV services" used to pirate a football game; they are evolving into Digital Cinematheques.
The Rise of the "Forever Library"
Platforms like the Apollo Group TV service have quietly become the go-to secret for industry insiders not just because of the price, but because of the catalog.
Unlike the "Big Three" (Netflix, Disney, Amazon), which operate on a scarcity model, these emerging Super-Hubs operate on an abundance model.
The "Video Store" Experience: Remember walking into Blockbuster and seeing everything? That is what the new VOD (Video On Demand) interfaces feel like. You aren't fed what the algorithm wants you to watch; you are given access to 130,000+ titles, including the obscure indie films and foreign classics that the major streamers ignore.
Visual Fidelity: With the rollout of 8K-ready servers, the argument that "physical media looks better" is shrinking. We are finally seeing bitrates that respect the cinematographer's vision.
Preserving the Art Form
There is an ethical argument to be made here. If the major studios refuse to make their older libraries accessible, are they being good stewards of the art form?
When I log into a consolidated hub, I don't feel like a consumer being milked for subscriptions. I feel like a curator of my own experience. I can jump from a Criterion Collection classic to a 1980s slasher flick without switching apps or inputs.
The Verdict
I will always love the theater experience. Nothing replaces the sticky floors and the smell of popcorn. But for home viewing, the "Subscription Wars" have left the consumer as the loser.
It is time to stop renting access to a rotating carousel of content. It is time to unlock the full library.
If you care about cinema history and actually being able to find it, it might be time to look beyond the Big Three. The future of film watching isn't about fragmentation; it's about consolidation.
About the Author: James K. is a freelance film historian and digital media critic based in London. He specializes in the preservation of physical media and the ethics of streaming distribution
Image courtesy of Columbia TriStar Motion Pictures Group
ANACONDA— 3 STARS
Somewhere in the last ten years, when anyone with a Letterboxd account could be their own critic, we’ve reached a hyperbolic point of tribalism where too many movies are being declared “trash” or “masterpieces” with little to no nuance in between. Add the internet courage fisticuffs of social media communities into it, and we now have this bumpy and problematic “hands down,” “fight me,” or “and I won’t be taking any questions on this” landscape of proverbial hills people are prepared to die on. None of this vitriolic muck is necessary if people could properly define and, more importantly, allow for “guilty pleasures.” 1997’s Anaconda was one of them, and its 2025 quasi-reboot, reimagining, and/or spiritual sequel (depending on who in the movie you ask) hopes to celebrate these necessary declarations of devotion. To that end, a mini-rant is necessary.
LESSON #1: THE NECESSITY OF GUILTY PLEASURES— In a 2016 piece, Den of Geek chose violence, declaring that guilty pleasures was a phrase that deserved to die. This critic and writer will happily push back on that. Everyone is allowed their bunting of freak flags and shouldn’t be shamed for loving what they love. However, some onus and honesty should be put on the lover. Those individuals need to look at the full landscape of the art form to know a beloved movie’s broader place as much as its personal worth, in that those values sometimes are not anywhere close to equal. The guilt is not necessary if you’re honest about what the movie is. Rather than argue about those differences, embrace them within yourself first, and then do the same for others. You get yours. They get theirs. End rant.
Plenty of this is the impossible objective vs. subjective and best vs. favorite arguments, but there’s a middle ground called the two-way street of acceptance. Anyone who watched the Luis Llosa-directed creature feature Anaconda knew they were watching B-movie schlock. That’s why they bought the ticket to see it in the first place in spring of 1997 or nabbed the box to rent at Blockbuster that fall. The fact that the movie was done with thrilling panache and capable technical prowess to become entertaining and rewatchable is what granted it guilty pleasure and “cult classic” (a whole other term worth its own corrective rant) statuses and ratings better than “trash.” It was never going to—nor should it—win legitimate awards. We knew that, and we still loved it. Curiously and frustratingly, too much of the film community has lost the “knew that” part and yelled at everyone who disagreed or had other measures of supposed greatness.
It is safe and even encouraged to return to that place of acceptance with the new Anaconda. Recognize silly stuff done for pure enjoyment. Value it as exactly that, yet allow the flowers to stop there. Not every great time at the movies has to be the Best. Movie. Ever., on par with the true pillars of cinema. Sometimes, it’s precisely the momentary escapism it needs to be, no more, no less. Anaconda understands that limiting bar and relishes in the zone under it.
In this new take, box office studs Paul Rudd and Jack Black play a pair of fifty-something best friends named Griff and Doug. Back in high school in Buffalo, they made an ambitious DIY monster movie with their friends called “The Quatch,” which was an experience that inspired their young Hollywood dreams. In the thirty-plus years since then, only Rudd’s Griff has chased that aspiration, spending years toiling as a background actor with debt and few notable acting credits to show for it. Meanwhile, Black’s Doug settled for a “B-plus” life with his accepting wife (the long-lost Ione Skye of Say Anything…) in the business of wedding videography, where, in the back of his mind, he considers his monotonous creative output to still be “films.”
LESSON #2: THE DREAMS OF FIFTY-SOMETHINGS— While coming back to the Queen City to celebrate Doug’s birthday and gift him a surviving VHS copy of “The Quatch,” Griff declares he has the rights to Anaconda. Twisting the arm of finally going for that unfulfilled dream before it's too late and the chance to make something to impress his children, Griff convinces Doug and the original filmmaking buddies, Kenny (cringe comedy lightning rod Steve Zahn) and Claire (Emmy winner Thandiwe Newton, immediately classing up the joint), to dream up a dynamite script and sink their money into venturing to Brazil to remake their favorite college-era guilty pleasure. Thanks to a silly line, there’s an air of “what’s waiting for us will change our lives.” Leave it to fiftysomethings to take post mid-life crises to far and expensive lengths with reckless abandon.
After securing a screwloose snake wrangler named Santiago (Selton Mello, in a complete departure from his Oscar-nominated breakout I’m Still Here from last year) and his constricting “snakety snake” BFF pet, our Buffalonians, out of their element, hit the mighty Amazon River with cameras rolling. Straightaway, they find themselves mixed up in a destructive gold-mining pursuit involving their commandeering barge pilot Ava (Daniela Melchior of Road House). Once they hilariously find themselves needing a new star snake after an on-set mishap, our humans find themselves IN Anaconda instead of making it.
LESSON #3: WE MUST HAVE THEMES!— While Anaconda launches the fireworks and bloodthirsty tropes of a proper Creature Feature, leave it to the wide-eyed and gobsmacked personas of Jack Black and Paul Rudd to manufacture put-upon epicness inside the mayhem and hilarity. Speaking like the wise cinephiles they pretend to be, they seek gravitas out by attaching “themes” (and, yes, the quotes are intentional to convey their looseness) to their adventure picture. They merrily commemorate each mishmashed layer as “Now, it’s about something.” The original did it with its National Geographic documentary quest, and so does the new one in its own selectively justifable way. Besides, “who doesn’t love intergenerational trauma” in their monster movie?
Anaconda lunges heavily towards the comedy specialties of the ensemble cast. Directed by Tom Gormican, no stranger to piling on the meta after The Unbearable Weight of Massive Talent genuflected at all things Nicolas Cage a few years ago, most of the wow factor in this new film comes from gags more than propulsive reptilian dangers. Raising the stakes and, thereby raising the snakes, means camp more than chomp whirling through the slimy special effects of Frazer Churchill and pounding score for David Fleming (Superman). Those looking for an updated thriller, unafraid to crush more than funnybones, should look overseas to a 2024 Chinesereinterpretation.
To like or love this version of Anaconda is to embrace guilty pleasures because this one, through and through. At its core, this movie is nonsensical and terrible, but there’s a surly and emphatic fun factor to being around the outpoured love for a cult classic. Tributes and the flutters of nostalgia exist for the weirdest things in the oddest places, even for a cheesy 1997 movie that made $65 million after being #1 for two whole weeks. It was a helluva time to be alive then, and it’s helluva time to be alive now to see Anaconda both lampooned with love and gilded with the guts of its many victims…err… fans.
LOGO DESIGNED BY MEENTS ILLUSTRATED (#1363)
from Review Blog https://everymoviehasalesson.com/blog/2025/12/movie-review-anaconda
It took receiving a Google Alert on my name to see that a quote of mine on the sumptuous 2005 Joe Wright film Pride and Prejuduce was recently cited on the media site Metro. TV reporter Charlotte Minter wrote a piece to cover the film’s streaming status on Netflix and how it would be perfect for home viewing during the Christmas holiday. In fact, the quote comes from my Cinephile Hissy Fit podcast episode on the film submitted to Rotten Tomatoes than anything I’ve written on Every Movie Has a Lesson or Film Obsessive. They didn’t ask for my permission, but I don’t mind. Thanks for the reference and clicks!
