The Actuary
“In 2077, time is money - and the poor pay with their lives. Jean
Allenson, a brilliant actuary, oversees the Exchange, a global
marketplace where the rich buy longer lifespans while the
underclass faces mandatory euthanasia. When she’s kidnapped by a radical resistance group, Jean must choose: remain the Exchange’s detached enforcer or become the impassioned revolutionary who burns it to the ground.”
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Michael HerrmannWriter
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Project Type:Screenplay, Treatment
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Genres:Sci-Fi, Thriller, Drama, Satire
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Number of Pages:16
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Language:English
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First-time Screenwriter:No
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Student Project:No
Originally from Brisbane, Australia, Michael has authored the crime comedy novels 'bigjesustrashcan' and 'breakfastinfur' (both published by Fremantle Press), and written books for the stage musicals 'Earth Girls Are Easy' (Village Gate Theatre, NYC, 2002) and 'Gabba Gabba Hey!', based on songs by the Ramones (Australian, German and Swiss seasons, 2004 – 2006).
In addition to 'The Actuary', Michael is working on a feature film script entitled 'Pretty/Vacant' (a biotech satire), he has recently completed pilot episodes for two TV series. The first, 'The Mother of All Lies', charts the unravelling of a seemingly normal family when a mother’s long-standing cancer diagnosis is exposed as a meticulously maintained hoax, while 'Divine Madness' is about a disillusioned Pope who, spurned by God for years, pleads for a sign there’s at least some love left in their relationship, only to wake up the next morning pregnant.
Michael’s big on unique characters, intriguing plots, absurdist comedy and sharp dialogue - all viewed through a queer lens. His influences include John Waters, Andy Warhol, Almodovar, Douglas Sirk, Jean Genet, Angela Carter and James Ellroy.
Michael works in corporate comms to pay the bills, but his first love is writing. He lives in Folkestone, UK, with his husband, Flynn, and their two Bernese Mountain Dogs, Rollo and Major Tom.
'The Actuary' is a sharp, provocative blend of 'Gattaca', 'Brazil' and 'Dr Strangelove', delivering a timely critique of MAGA culture’s inevitable hyper-capitalist endpoint.