The Writer's Guild of America has announced its list of the 101 funniest screenplays. Woody Allen's Annie Hall topped out at No. 1, which isn't exactly surprising. (Allen also snapped up six other spots.) While we are happy to see a Diane Keaton-led film take first place, a deeper dig into the list reveals a disappointing dearth of female scribes.
Namely, zero scripts penned by female screenwriters broke into the top 10, and overall, women represent a mere 10% — at best — of the creatives on the list.
When Harry Met Sally (written by Nora Ephron) and Bridesmaids (written by Kristen Wiig and Annie Mumolo) came in at No. 15 and No. 16, respectively; but after that, a female byline doesn't pop up again until No. 44, with 1988's Big, which was co-written by Anne Spielberg and Gary Ross. It’s a Mad, Mad, Mad, Mad World (1963) — another co-writing effort, this time between husband-and-wife team William and Tania Rose — came in at No. 62, followed by South Park: Bigger, Longer & Uncut (1999) at No. 65, which is typically attributed solely to Matt Parker and Trey Stone but was also shaped by the talents of screenwriter Pamela Brady.
Clueless (1995) by Amy Heckerling snuck into the No. 71 spot, followed by 1985's Lost in America (by Albert Brooks and Monica Johnson) at No. 80. Tina Fey's Mean Girls (2004) landed at No. 84, with Meet the Parents (2000, story by Greg Glienna and Mary Ruth Clarke) and Mrs. Doubtfire (1993, screenplay by Randi Mayem Singer and Leslie Dixon) bringing up the rear, at No. 85 and No. 99. There you have it, folks: more evidence that women are vastly underrepresented in screenwriting gigs. All we have to say is thank goodness for Meryl Streep.
When Harry Met Sally (written by Nora Ephron) and Bridesmaids (written by Kristen Wiig and Annie Mumolo) came in at No. 15 and No. 16, respectively; but after that, a female byline doesn't pop up again until No. 44, with 1988's Big, which was co-written by Anne Spielberg and Gary Ross. It’s a Mad, Mad, Mad, Mad World (1963) — another co-writing effort, this time between husband-and-wife team William and Tania Rose — came in at No. 62, followed by South Park: Bigger, Longer & Uncut (1999) at No. 65, which is typically attributed solely to Matt Parker and Trey Stone but was also shaped by the talents of screenwriter Pamela Brady.
Clueless (1995) by Amy Heckerling snuck into the No. 71 spot, followed by 1985's Lost in America (by Albert Brooks and Monica Johnson) at No. 80. Tina Fey's Mean Girls (2004) landed at No. 84, with Meet the Parents (2000, story by Greg Glienna and Mary Ruth Clarke) and Mrs. Doubtfire (1993, screenplay by Randi Mayem Singer and Leslie Dixon) bringing up the rear, at No. 85 and No. 99. There you have it, folks: more evidence that women are vastly underrepresented in screenwriting gigs. All we have to say is thank goodness for Meryl Streep.