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A scriptwriting master, a TV addict and a tech whizz argue about film and TV.Each week these three friends discuss the writing, the meanings and the emotions behind all time classics, new releases and hidden gems from the big and the little screen.
Required Pod Score for this show. PitchCentric checks your profile against host openness, topical fit, and audience signals before you generate a pitch.
Contact path
Public web form
Booking probability
28%
Guest openness
Selective
Sign up to generate a grounded pitch for Fighting Over Fiction.
Signup to Generate a PitchFighting Over Fiction is a tv podcast hosted by Unknown Host, with 14 episodes on record and a Required Pod Score of 80. PitchCentric scores this show on Booking Probability, Listen Score, and live audience signals refreshed every 24 hours.
Unknown Host hosts Fighting Over Fiction, a tv show with 14 episodes published.
Our AI reads these to draft pitches. Use them as grounding for a pitch that cites a real guest and a specific topic.
Fighting Over Fiction
We watch How to Train Your Dragon and ask... Does How to Train Your Dragon prove that animation is at its best when it make the impossoble feel emotionally real? Is the films emotional impact driven by it's animation or its plot? Does the animation make Toothless feel more human than the human characters? Is it a great family film because it trusts kids with big emotions?
Episode #2
We watch Titanic and ask... Does Titanic romanticise tragedy to make its audience feel more deeply? Does the romance strengthen the tragedy or overshadow the real disaster? Does the film’s spectacle enhance the tragedy or diatract from it?
Fighting Over Fiction
We watch Everything, Everywhere All At Once and ask... Is EEAAO a masteclass in maximilist filmmaking or just overwhelming? Is the film’s chaotic editing and genre hopping emotionally purposeful? Is the humour a good counter balance to the heavier themes? Does the film ultimately reject nihilism or repackage it as existentialism?
Episode #6
We watch Fleabag and ask... Is Fleabag’s fourth-wall breaking a successful tool for audience connection? Do the fourth-wall breaks bring us closer to Fleabag, or keep us at a safe distance? How does the fourth wall breaking change the emotional weight of key moments? Would Fleabag be as compelling without the fourth wall breaks?
Episode #5
We watch Top Gun : Maverick and ask... Does Maverick prove that a sequel can be as good if not better than the original?
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Based on semantic analysis of episode topics and host coverage, this show is a strong guest fit for executives in:
Industry fit is computed by PitchCentric using vector embeddings of the show's episode catalog.
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