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The title is perfect! As someone who loves diving into the Gen Z psyche, this feels essential. It’s like SKAM France meets REALITY +

Thanks for asking.

FILTERED FOR LIFE is a sci-fi thriller with dark comedy elements, set in a near future where facial filters become permanently stuck after a global tech glitch. Society collapses because nobody can recognize anyone anymore from law enforcement to family, relationships, work, and identity itself.

As chaos grows, a group of teenagers tries to uncover the origin of the malfunction and quickly realizes the filters were never just cosmetic they were a control system.

The show explores themes like authenticity, technology addiction, social masks, and identity, while keeping a grounded and satirical tone.

The project is already fully written and protected (script + series bible registered), and I’m now looking for development and production partners.

If you’d like, I’d be happy to send the logline or arrange a short pitch.

Thanks again for reaching out.

Yeshua

Maurice Vaughan

You're welcome, Yeshua Manéré. FILTERED FOR LIFE sounds interesting and really unique! What hooked me was "set in a near future where facial filters become permanently stuck after a global tech glitch. Society collapses because nobody can recognize anyone anymore from law enforcement to family, relationships, work, and identity itself."

You could post your logline in the comments. That way, I can give you feedback on it (and other members if they want) and producers, directors, executives, etc. can see your logline.

Thanks Maurice Vaughan ! Here's the full pitch:

FILTERED FOR LIFE – A global tech glitch permanently attaches AR filters to people's faces. Society collapses when no one can recognize anyone anymore, not law enforcement, not families, not even themselves. Four teenagers discover the filters were never cosmetic... they were a control system.

FORMAT: 10 episodes × 30 minutes

GENRE: Dark sci-fi comedy / Satire

VIBE: Black Mirror meets Upload meets Don't Look Up

TARGET: 13-35 years old / International audience

AVAILABLE IN ENGLISH:

✓ Pilot script (Episode 1: "The World Is Beautiful Until 2:32 PM")

✓ Pitch deck (2 pages)

✓ Director's statement

✓ Original soundtrack (opening theme + 4 songs)

✓ 4K teaser trailer

✓ Legally protected (SACD registration in progress)

WHAT'S WRITTEN (in French, translation available upon request):

• Full season (10 episodes scripted)

• Complete series bible (50 pages)

• Character arcs, world-building, thematic breakdown

WHY THIS SHOW NOW:

We live in a world obsessed with appearance. This series explores what happens when the mask becomes permanent, when technology meant to enhance us becomes our prison, and when society realizes the filters were never about beauty, they were about control.

WHAT MAKES IT UNIQUE:

• Grounded sci-fi (credible 5G tech premise from a former telecom technician)

• Four teens outsmart adults and governments

• Moral dilemmas with no easy answers

• Dark comedy that doesn't shy away from consequences

• A community that REFUSES to go back to "normal"

I'm currently seeking development and production partners.

Full logline and materials: https://www.stage32.com/loglines/69239

Series bible available in French (English translation upon request).

Would love to discuss further if this resonates with you!

You're welcome, @Yeshua. I think your logline could be tightened up some, and I suggest adding the teens' goal to your logline.

Here’s a logline template that might help: After/when ______ (the inciting incident/event that sets the plot in motion), a _______ (the main flaw the protagonist has to overcome in the script or an adjective that describes the protagonist’s personality) _______ (the protagonist’s job/career/role) tries to/attempts to/fights to/struggles to/strives to/sets out to/fights/battles/engages in/competes/etc. _______ (goal of story and try to add the obstacles here) to/so/in order to ________ (stakes).

The inciting incident can also be at the end of the logline: A _______ (the main flaw the protagonist has to overcome in the script or an adjective that describes the protagonist’s personality) _______ (the protagonist’s job/career/role) tries to/attempts to/fights to/struggles to/strives to/sets out to/fights/battles/engages in/competes/etc. _______ (goal of story and try to add the obstacles here) to/so/in order to ________ (stakes) after/when ______ (the inciting incident/event that sets the plot in motion).

Loglines are one or two sentences. A one-sentence logline sounds better, and it takes less time for a producer, director, etc. to read it. Try to keep your logline to 35 words or less. Long loglines can make producers, directors, etc. pass on a project.

Avoid using “must” in loglines. “Must” usually means the protagonist is forced to do whatever they need to do in the story instead of doing it willingly. You might need to use “must” in a logline though, like when the protagonist is forced by another character to do something. Using “must” to choose between two options is fine.

Names in loglines are usually for biopics, well-known stories, and franchises (like Mission: Impossible).

Sometimes I put the location and date that the story takes place in instead of the inciting incident if it’s a Period Piece script.

All stories don’t follow this logline template. Biopics, documentaries, and Experimental scripts might not follow the template. The series logline for a TV show can follow this template, but the pilot logline and episode loglines for the show might not.

Hi Jon, I would be interested in learning if you can kindly share. I have a $3.5 M - Musical Drama feature based on true events with Grammy winners, Cast and Crew locked and 55% Government incentives. Thanks!

Jon Shallit yeah, I know there’s an interest payment. My production team doesn’t think this is a good way for us to go, but now I’m just curious about the process. It’s a learning opportunity.

One of the pluses is that it seems that DF doesn’t take any equity in the film, which gives the producers a greater share and obviously greater leverage when talking to actors about back-end payments.

Geoff Hall What is the film’s budget? Typically, most projects finance about a third or roughly 33% of it through debt. 100% debt would be incredibly risky for the investor unless of course you have serious collateral.

Kenneth George thanks, Kenneth. Well, my learning opportunity was cut short as the firm cited in the Screen International email did reply to my enquiry!

Geoff Hall Congratulations on your progress. Quick reply is debt is okay for film tax incentives, pre-sales, unsold territories. As a vehicle for funding other than cash flowing the film's assets, it's a challenge, expensive, not very common. Never make a personal guarantee (PG), which is most likely the only way non-asset backed loan would be made, imho.

Writing to budget is something you get better at the more films you actually produce. Location moves are a pain, costing time and money. If you have one actual location that can serve as two or more in the script, that’s ideal.

I co-produced a film with a centrally located production office in the same building where we shot in the lobby. Then we shot in our rented offices. Then on the streets, alleys, and parking lots all in walking distance.

I just worked on a werewolf picture that was mostly a siege at a cabin in the woods, the rest IN the woods.

I’m writing something now that is four locations, and even that may be too many.

My favorite low budget example is Buried, where Ryan Reynolds spends 90 minutes in a box with a light and a cell phone. And it’s riveting.

Watch the movie THE WONDER 2022, it will blow you away when you see how they filmed it , because it’s included in this historic drama movie.

After I saw it I had a serious rethink about costs/budgets.

I have done a lot of no-budget filming. The problem with outdoor scenes is the weather, and wind noise. There may also be interruptions due to sudden sounds from traffic. So in my most recent script 4/5 of the scenes are indoor. But some indoor locations give more problems than others.

It depends.

The cheapest and most flexible way to do things is to use an existing location that requires minimal decoration and then set everything at night by covering any windows. That location would need to be away from a busy road, not be next to occupied spaces, and not contain equipment that interferes with sound.

There's actually some facilities you can write around, such as empty factories in LA that have themed rooms, wifi, access lifts, secure parking, and such.

The trade off can be production value.

Always worth having a spec script set somewhere like a warehouse.

Thank goodness for Central and Eastern Europe, then, CJ - there's plenty of architecture of that type over there... and it's cheap, too.

love those topics: memory, time, human connections—through a speculative lens. I’d he happy to chat with you about that. (I’m an unpublished writer myself—not a producer.)

Hi, Umme Maria. Welcome to the community. Beneath the Bed of Time sounds interesting. I write Sci-Fi too.

Stage 32 has a blog that'll help you navigate the platform and connect with creatives and industry professionals all over the world. www.stage32.com/blog/how-to-successfully-navigate-the-stage-32-platform-...

Stage 32's November Community Open House was last Tuesday. It'll help you navigate Stage 32 and connect with creatives and industry pros. The recording is up now. It's free to watch. www.stage32.com/education/products/stage-32-s-november-community-open-ho...

Reach out to the Success Team at success@stage32.com. Geoff and his team can help you connect with reps, executives, and more.

You could post your script on your profile. Producers search profiles for projects. That and networking are how I sold four short scripts to a producer. Click the gear symbol in the top right-hand corner and select “Edit profile” in the drop-down menu. Scroll down to “Loglines” and click “Add/edit loglines” to the right of “Loglines.” You can also post your script on your profile this way: www.stage32.com/loglines (near the top where it says “Add a Logline”)

Thanks for the introduction!

R

Rodgers Wilson You're welcome. Hope you'll come to one of our virtual drop ins!

Hi everyone. My name is Mukesh Parikh. I am writer and Producer. My short went on Cannes on the American pavilion. Currently in pre-production of international Musical drama feature based on true events with Grammy winners. Cast and crew on board. Hunting for Executive producers/co pro/equity partners. I am also working on 2 more projects one of them an action/dark comedy. Excited, passionate and super blessed to be with you ALL.

Mukesh Parikh Welcome Mukesh!

We have our weekly Tuesday drop in on December 9, at 2pm Pacific, on google meet.

Tuesday, December 9 · 2:00 – 3:00pm

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Have you thought about sending him a message, Billy Kwack?

Hi Maurice, Santa is the vampire hunter.

Are you gonna write the script or are you just testing out the idea, Mark Deuce?

YES!!! It's all about finding a new angle... like what if it's like 1800 and the only wrapping paper is brown-- there is a disgruntled artist elf who is burned out and sick of the same old wrapping paper every year and wants to change the designs but is labeled an. outcast and must buck the system to include santa, elves, and reindeer in the designs?

Exactly, Libby Wright. Finding a new angle. That's a fantastic Christmas movie idea! The origin of Christmas-themed wrapping paper.

Always thought The Big Bad Wolf could turn out pretty bad under different circumstances. You could also put Sleeping Beauty into a coma with a bit more meds.

Maurice Vaughan half a century ago, the words to goosey goosey gander freaked me out as a child

At one time, "Ring Around the Rosie" (or "Ring a Ring a Roses") was thought to be a reference to the Great Plague, but scholars dispute that now. The old nursery rhyme "Three Blind Mice" remains creepy and possibly was a reference to the persecution of Protestants under Catholic Queen Mary in the 1550s (according to Google's AI). It says "its popular, darker version appeared in children's literature in 1842.

use the one that is a child's favorite on tictoc

One...two... Freddy's coming for you.

Hi, Wyman Brent. That's great! I move easily from one genre to another too. It's more about being able to tell a story than the genre in my opinion.

I love moving around in generes - it keeps my ideas fresh!

Hi Wyman. I'm a poet and songwriter and I love to blend genres together. I've been a fan of Spanish music for several decades and love writing lyrics in Spanish. I also love writing in Russian, Ukrainian and I'm trying to learn more Hebrew as it was one of the languages my great grandfather spoke. I find learning different languages makes my mind sharper.

There are a lot of things to do after receiving good feedback like this, but a good place to start may be to ask them. Who on their judging pannel read it? What potential did they see in it? How would they leverage it? If you have a group of people that have read and liked your script they'd be an excellent place to start.

Hi Craig Farlinger Congratulations! Like many others, I’d be interested in reading at least the logline and synopsis.

I still haven't found where on my profile I could upload the coverage pdf so that I can give a link to all of you. ​It would be very instructive for a lot of screenwriters. Very clear criteria.

Here is a google drive link to the coverage pdf: https://drive.google.com/file/d/1P6cMwvH1e4B1vAzSGnSzrMh08jxwX75D/view?u...

Hi, Craig Farlinger. You can post your coverage pdf on your profile the same way you post a script. Click the gear symbol in the top right-hand corner and select “Edit profile” in the drop-down menu. Scroll down to “Loglines” and click “Add/edit loglines” to the right of “Loglines.” You can also post your coverage pdf on your profile this way: www.stage32.com/loglines (near the top where it says “Add a Logline”)

Thanks for posting the video, Ehsan Rahimpour. Spectacular ideas do come from the mundane situations of life. I also get ideas from combining movies/shows, misreading things, etc.

True in part Maurice Vaughan; misreading can be useful, and I’d add that mashups work only if there’s a clear thread tying them together.

Yeah, Ehsan Rahimpour, like combining The Mask and How the Grinch Stole Christmas. The script could be about a man who puts on a mysterious mask and becomes a manic superhero that tries to stop a Grinch type character from ruining Christmas.

Hands down, the reason I wanted to become a screenwriter. From the very first frame of Boogie Nights. I remember scouring the internet for interviews with PTA back in the day. It's awesome to go back through and see some of these, but the one that has stuck with me since the first time I saw it, when I started writing, was "Write without Fear." That one has followed me. Thank you for posting this.

You're welcome Martin Graham. For you, I wish the writing of brave and great stories. PTA’s interviews are always fascinating, and that line—"Write without Fear."—really stands out.