A 2020 finalist in the BlueCat screenplay competition. 1of 5 final shorts selected out of over 1,000 entries.
Two teen best friends playing in the snow find their winter wonderland disrupted by monsters. These monsters stalk them from the trees but are nowhere near as terrifying as the monsters lurking within themselves. Only when they confront and embrace their own monstrosity can they reclaim the joy of their winter wonderland, separate from the adults who can’t quite see its beauty. Allegorical, atmospheric, determined to surprise and unmoor, ready to make your heart ache and soar, centered around the truths of all female-identifying individuals, Hat Weather showcases a lot of what marks Allison’s writing as distinct. Think the scope and symbolic resonance of The Leftovers and Pan’s Labyrinth meets the dark, but wry character work of Barry and Fleabag with the twisty narrative satisfaction of Dead to Me and Gone Girl.
The Doctor's Children
Dr. Sarah Crowe never wanted to have children for fear she'd have a child like Maisie. Her daughter is all she dreaded--a bad girl, a wicked child, a monster, the devil...at least, that's what Sarah sees and she has no reason to doubt her own perceptions; even if her own fertility doctor has dark secrets of his own; even if she, too, has long hidden the real reason she did not want kids.The Doctor's Children pokes at the reason we have children--the stories we tell ourselves about why we do and who they might turn out to be--exposing the darkness that just might lie beneath those reasons. Like Hereditary and The Witch, The Doctor's Children explores the connection between mythical evil and emotional turmoil, yet remains far more interested in how the devil makes you feel than whether or not he is real. As with all of Allison's writing, The Doctor's Children dances across the tightrope separating mystery from revelation while remaining defined by an emotional, character-driven resonance and a strong, (and in this case) uneasy atmosphere.
The Gospel Of
A drama centered around the Gannon family matriarch's dying wish. Daughters and granddaughters can't resist the power of that wish (and all said matriarch desires), though they think they can and have (sometimes). It is an almighty, eternal power that binds
and condemns and moves them all.
The Gospel Of delves into the secrets of a large, multi-generational, Irish-Catholic family and asks us to consider just what keeps us tied to one another; to the ideas and beliefs; memories and stories that haunt and animate our lives. Like Conor McPherson's The Weir and Jez Butterworth's The Ferryman, The Gospel Of prods at the porous boundary between the living and the dead; the tenuous line between faith and doubt; the gossamer border between the past and present; and the pain that often lies at such intersections.
A misfit group of college mockers (mock trial competitors) learn to embrace their power in the fictional courtroom. That embrace, though, does not resemble the feel-good triumph of the outcast a la Glow or Glee. Trophies (er, inscribed gavels) can’t quiet insecurities, dispel resentments, dismantle stereotypes, or alter the very real legal and emotional consequences that arise when you will give a polished, winning performance, no matter the cost.