Bruce Feirstein—writer of GoldenEye, Tomorrow Never Dies, The World Is Not Enough, and the New York Times best-selling book Real Men Don't Eat Quiche—talks to Cody Brotter about the changing landscape of the movie marketplace, what his screenwriting pet peeves are, his experiences as a Vanity Fair Contributing Editor, and the time he encouraged a random grad student on campus—Bill O’Reilly—to write a column in the BU newspaper.

Maureen Bharoocha talks to Cody Brotter about going from behind-the-counter at Sprinkles Cupcakes to going behind-the-camera as their first-ever Digital Content Director. She also talks about directing a short (starring Ron Funches), selling a screenplay to Mar Vista (and getting repped), working with Funny Or Die (and College Humor and Lauren Lapkus), getting on a UCB Digital Team, and directing segments for Jimmy Kimmel.

Michael Gunn talks to Cody Brotter about being in Aaron Sorkin’s writer’s room fro “The Newsroom,” writing and pitching (and selling) feature-length screenplays, getting on The Black List, working in casting at HBO, and writing on “The Whispers,” “Black Sails,” and “Designated Survivor.”

Daria Polatin talks to Cody Brotter about going from acting to playwriting to TV writing to novel-writing, working on “Dexter,” writing for a show created by a “Breaking Bad” writer, writing and producing a Hulu show, getting the encouragement from the late Jon Lipsky, becoming a bestselling author, and actively making the effort to diversify the theatre world.

Adam Finkelstein talks to Cody Brotter about the long journey from aspiring intern to full-time editor at Trailer Park and what it’s like to cut trailers for giant studio movies and television shows ranging from “Brave” to “Wonder Woman” to “Stranger Things” to “Mad Max: Fury Road”—the latter of which won three Clio Key Art Awards for film marketing and a Golden Trailer Award.

Corinne Marrinan talks to Cody Brotter about winning an Academy Award (at which she thanked the Academy for seating her next to George Clooney at the nominee’s luncheon), working at “CSI” for a full decade, the importance of diversity in writer’s rooms, and what it actually means to be called a “producer.”

Greg White talks to Cody Brotter about pitching and selling his own shows, finding his niche path in writing for animated half-hour comedies, being a part of the rebirth of “Animaniacs,” and how he manages his own managers in order to treat his TV writing career with the regularity of a blue collar job (advice Greg likely gleamed from his hero, New Jersey’s Bruce Springsteen).

Chelsea Kurtz talks to Cody Brotter about getting from a one-day “guest star” role on “Scandal” and getting asked back for seven more episodes, inspiring words of wisdom she received from LL Cool J (at a party with Nina Tassler and Michael Chiklis), twisting her ankle out of excitement when she booked her first role (on “Criminal Minds”), doing improv at UCB and Second City, her very unique “flexible actor day job” (trust me you haven’t heard this one), and the nitty gritty of going from “auditioning” to “pinning” to “booking.”

Chris Roewe talks to Cody Brotter about teaching himself VR, interning at Fox Sports Australia (before woking at Fox Sports San Diego), scoring a Production Assistant gig at the Boston Red Sox directly after graduation, and what it’s like to create content for the LA Chargers.

In this Summer 2017 Panel moderated by Kevin Ott (former WGA Foundation Communications Director), three women who went from BU to AMC's "Better Call Saul" talk about working as the Associate Producer (Jenn Carroll), Writer’s Assistant (Ariel Levine), and Executive Producer’s Assistant (Desa Larkin-Boutté) on the critically-acclaimed successor to “Breaking Bad.”