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The Screener

2026 American television miniseries From Wikipedia, the free encyclopedia

The Screener is an upcoming American comedy-drama limited series created, written, and directed by Jim Cummings and PJ McCabe.[1][2] Independently produced by Cool & Happy Limited, the five-episode series follows an indie filmmaker whose work leaks from a Hollywood talent agency, triggering a criminal investigation that escalates into a RICO prosecution.[3][2] The series had its world premiere in the Episodic program at the 2026 Sundance Film Festival.[1][4]

Created byJim Cummings
PJ McCabe
Written byJim Cummings
PJ McCabe
Directed byJim Cummings
PJ McCabe
Quick facts Genre, Created by ...
The Screener
GenreComedy-drama
Legal drama
Created byJim Cummings
PJ McCabe
Written byJim Cummings
PJ McCabe
Directed byJim Cummings
PJ McCabe
StarringShereen Lani Younes
Jim Cummings
Jon Rudnitsky
B.K. Cannon
Boni Mata
Kumail Nanjiani
Country of originUnited States
Original languageEnglish
No. of episodes5
Production
ProducersMichael J. McGarry
Thomas Cross
Production companiesCool & Happy Limited
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Premise

Minnie (Shereen Lani Younes), a queer Muslim independent filmmaker, screens the explicit uncut version of her latest film for a talent agency in their private screening room. When the agency uploads the film to its internal server without her permission and it subsequently leaks online, she decides to press criminal charges.[3][2] Los Angeles district attorney Tony Avaluto (Cummings) takes on the case, and his office pursues a RICO prosecution against the agency as a white-collar crime syndicate.[2]

Each episode functions as a chapter in the investigation: the first depicts the leak from the agency's perspective, while subsequent episodes expand to the DA's office and the legal proceedings.[5]

Cast

Production

Development

Cummings and McCabe, who have collaborated for approximately 20 years, were inspired by a pattern of real-life industry leaks.[5] After a talent representative told them an anecdote about seeing the Coen brothers' No Country for Old Men months before its theatrical release, the pair became interested in what they describe as "screener culture", or the practice of using prerelease copies of films as social currency within Hollywood.[2] Other reference points included the leak of Quentin Tarantino's The Hateful Eight screenplay, which an FBI investigation traced to a DVD screener, and the pre-release upload of X-Men Origins: Wolverine.[5][2]

Cummings initially wrote the first 30 pages as a potential feature film before the pair decided the scope of the story was better suited to a series format.[5] The duo co-wrote the scripts by workshopping dialogue aloud and performing scenes together, a method they described as essential to achieving naturalistic dialogue.[5]

The project was a continuation of their interest in the internal workings of talent agencies, which they had previously explored in their 2021 film The Beta Test, set against the backdrop of the 2019 WGA packaging dispute.[2]

Research

In preparation, Cummings and McCabe spent roughly two years interviewing current and former agents from major talent agencies, attorneys, court clerks, a former member of the Los Angeles District Attorney's office, FBI agents, and filmmakers who had been victims of leaks.[2][6] They collected accounts of practices such as DVD ripping in agency mailrooms and unauthorized access to film festival submission platforms.[2]

Filming

The series was independently produced through Cool & Happy Limited, outside the traditional studio system.[5] Cummings and McCabe raised the budget in approximately five and a half months by tapping investors from their previous projects.[2] The Screener features a mix of newcomers and industry veterans.[6][2]

Release

The Screener premiered at the 2026 Sundance Film Festival (January 22 to February 1, 2026) as part of the festival's Episodic program, with the first three episodes screening in person.[1][4][7]

As of March 2026, the series does not have a distributor. Cummings and McCabe have been holding in-person buyers' screenings in New York and Los Angeles, consistent with the series' thematic concerns about digital distribution of unreleased content.[2]

Reception

Writing for The Cut, Michel Ghanem gave the series a positive review, calling it worthy of enthusiasm.[3]The Hollywood Reporter's Mia Galuppo reported that the series generated significant word-of-mouth among industry attendees following its Sundance premiere, noting that entertainment lawyers, talent representatives, and other professionals continued discussing it in the weeks afterward.[2]

References

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