I’ve been neck-deep in production for our higher-polished, Zoom+ versions of Dream Machine, so I haven’t been doing much writing. But on a walk the other night, I found myself thinking of a scene for a later episode, the planned Thanksgiving story that will probably end up being number eight out of a planned ten episode season.
I typically find the important, high-emotion moments to be the easiest to envision, as they involve the intrinsic character struggles rather than any technical kind of plotting. That stuff I find requires MUCH more planning and figuring out. The only trouble is when I post what I’m drafting, it tends to spoil the most dramatic moments.
A journey I want the character of Meredith to go through is the idea that she has the skills and potential to helm productions herself, but first has to learn to see herself as the kind of person who can take that leadership role. Right now she defines most of her self-esteem in being of service to others, and the idea of “all these important people NEED me, they couldn’t find their butts without me.” But she has the potential for more, and she has to learn to attack it.
I thought Ryan would be a good person to challenge her thinking on this. As a producer with a long track record behind him, he would be able to recognize her potential and point it out to her. And it’s a way to develop their relationship, as I want each member of the main cast to have individual relationships with each other.
It also leads into a thing for Ryan, that I’m hoping to start building in the next episode, 1.06– that Ryan’s estranged from his kids, and might have a chance, now that he’s sober, to start rebuilding the connection.

“Glorified Babysitters”
from Dream Machine episode 1.09, Friendsgiving
By Phoebe Roberts
~~~
MEREDITH
There you have it. The nightmare ends; I release you. Was it as torturous as you thought?
RYAN
Pretty much. Though considering what I had planned for myself… this was probably a healthier option.
Beat.
RYAN
You know, you’re good at this.
MEREDITH
What, forcing vegan Thanksgiving dishes down people’s throats?
RYAN
No. Organizing, and rallying, and herding the cats, and making things happen even when everything’s a mess.
MEREDITH
Yeah, well. When you’re a creative assistant, you get a lot of practice with human mess.
RYAN
Assistant, nothing. That’s producer work. I think you have what it takes.
MEREDITH
What? No. Me? No.
RYAN
Do you think I’d say just anybody can do my job? Or you could, if you start working toward it.
MEREDITH
But— Leah needs me. Without me, she’d die under a pile of soda cans and body doubles!
RYAN
You ask me, you’re wasted keeping Leah from playing in traffic. Take it from me, being a glorified babysitter is a lot more rewarding when the baby’s a whole picture.
She dithers, flattered, but not ready to handle it.
MEREDITH
Yeah. Well. I won’t keep you any longer. You probably can’t wait to get back to the man-cave you planned on spending the day in.
RYAN
Yeah, about that… I got a phone call I’ve been meaning to make all day. Would it be cool if I just did it here, before I go?
MEREDITH
Yeah, yeah, knock yourself out. I gotta go… sort the leftovers by color! No problem!
She rushes out as Ryan takes a seat on the couch.
He takes put his phone and the little white business card Veronica gave him, and after a long moment, makes a call. It rings three times, enough to make him give up for lost. But finally there is an answer.
MERYL (V.O.)
Hello?
RYAN
(choked a beat) Meryl?
MERYL (V.O.)
This is she.
RYAN
Hey, honey. It’s me.
Beat.
MERYL (V.O.)
Hi, Dad.
FADE OUT.
I typically find the important, high-emotion moments to be the easiest to envision, as they involve the intrinsic character struggles rather than any technical kind of plotting. That stuff I find requires MUCH more planning and figuring out. The only trouble is when I post what I’m drafting, it tends to spoil the most dramatic moments.
A journey I want the character of Meredith to go through is the idea that she has the skills and potential to helm productions herself, but first has to learn to see herself as the kind of person who can take that leadership role. Right now she defines most of her self-esteem in being of service to others, and the idea of “all these important people NEED me, they couldn’t find their butts without me.” But she has the potential for more, and she has to learn to attack it.
I thought Ryan would be a good person to challenge her thinking on this. As a producer with a long track record behind him, he would be able to recognize her potential and point it out to her. And it’s a way to develop their relationship, as I want each member of the main cast to have individual relationships with each other.
It also leads into a thing for Ryan, that I’m hoping to start building in the next episode, 1.06– that Ryan’s estranged from his kids, and might have a chance, now that he’s sober, to start rebuilding the connection.

“Glorified Babysitters”
from Dream Machine episode 1.09, Friendsgiving
By Phoebe Roberts
~~~
MEREDITH
There you have it. The nightmare ends; I release you. Was it as torturous as you thought?
RYAN
Pretty much. Though considering what I had planned for myself… this was probably a healthier option.
Beat.
RYAN
You know, you’re good at this.
MEREDITH
What, forcing vegan Thanksgiving dishes down people’s throats?
RYAN
No. Organizing, and rallying, and herding the cats, and making things happen even when everything’s a mess.
MEREDITH
Yeah, well. When you’re a creative assistant, you get a lot of practice with human mess.
RYAN
Assistant, nothing. That’s producer work. I think you have what it takes.
MEREDITH
What? No. Me? No.
RYAN
Do you think I’d say just anybody can do my job? Or you could, if you start working toward it.
MEREDITH
But— Leah needs me. Without me, she’d die under a pile of soda cans and body doubles!
RYAN
You ask me, you’re wasted keeping Leah from playing in traffic. Take it from me, being a glorified babysitter is a lot more rewarding when the baby’s a whole picture.
She dithers, flattered, but not ready to handle it.
MEREDITH
Yeah. Well. I won’t keep you any longer. You probably can’t wait to get back to the man-cave you planned on spending the day in.
RYAN
Yeah, about that… I got a phone call I’ve been meaning to make all day. Would it be cool if I just did it here, before I go?
MEREDITH
Yeah, yeah, knock yourself out. I gotta go… sort the leftovers by color! No problem!
She rushes out as Ryan takes a seat on the couch.
He takes put his phone and the little white business card Veronica gave him, and after a long moment, makes a call. It rings three times, enough to make him give up for lost. But finally there is an answer.
MERYL (V.O.)
Hello?
RYAN
(choked a beat) Meryl?
MERYL (V.O.)
This is she.
RYAN
Hey, honey. It’s me.
Beat.
MERYL (V.O.)
Hi, Dad.
FADE OUT.