Hey, can I talk to you? Over 25 years ago, on September 29th, 1998, we watched a brainy girl with curly hair drop everything to follow a guy she only kind of knew all the way to college. And so began Felicity. My name is Juliet Litman, and I'm a Felicity Superfan. Join me, Amanda Foreman, who you may know better as Megan, the roommate, and Greg

Grunberg, who you may also know as Sean Blunberg, as the three of us revisit our favorite

moments from the show and talk to the people who help shape it. Listen now to Dear Felicity

on Spotify or wherever you get your podcasts.

It is Friday, March 15th.

It's a story as old as Hollywood.

Screenwriter finishes a script, sends it off to his or her agent or manager.

They take it out to the town, try to get a star or director attached.

Then there's no takers.

And weirdly, another very similar project pops up,

eerily similar.

And the writer discovers that the talent involved in that project had access to his first

script.

Hmm.

Happens all the time.

And last week, a writer named Simon Stevenson, he wrote the Pixar movie, Luca, he claimed that the Holdovers, the Oscar-nominated script by David Hemingson, that was plagiarized from his script called Frisco, he says, which was on the prestigious blacklist in 2013, and on two separate occasions was in the possession of Alexander Payne,

who went on to commission the holdover script and directed.

Stevenson told the WGA that his script was, quote, plagiarized line by line from Frisco,

and that anyone who reads both will believe the theft to be, quote, brazen.

I'm not so sure. I read most of Frisco. It's online. There are

thematic similarities and even some similar scene constructions. But Frisco is about a middle

age doctor who looks after a terminally ill teen girl. The holdovers is, of course, about an

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