WRITING
Aaron G. Hale writes stories about wildly confident people making spectacularly questionable decisions.
His stories are filled with washed-up celebrities, self-appointed heroes, overzealous weirdos, and lovable idiots chasing impossible dreams with the unwavering confidence of someone who has completely misread the situation.
Drawn to characters who desperately want to matter, Aaron's work lives somewhere between heartfelt and ridiculous, finding comedy in oversized ambition, misplaced confidence, and the very human instinct to keep doubling down long after everyone else would have gone home.
No matter the genre, Aaron's work is driven by the belief that people are at their most interesting when they're chasing the version of themselves they desperately want to become... and at their funniest when they don't realize how absurd they look doing it.
PRODUCED WORK
SELECT PROJECTS
CORY IN ORBIT (Mockumentary Comedy Feature)
Cory Quaid was a teen idol in the ‘90s thanks to Cory in Orbit, a cheesy sci-fi sitcom that aired somewhere between TGIF and Nickelodeon. Now pushing 40, washed up, and still clinging to his former fame, Cory sees a chance at a comeback when a TikTok mocking the show goes viral. He recruits the president of his old fan club to help relaunch his career—despite having zero idea how. As a documentary crew follows the chaos, Cory’s delusion, desperation, and deep need for connection begin to collide in a hilariously tragic quest for relevance.
Waiting for Guffman meets Popstar: Never Stop Never Stopping with the sad-sack sweetness of American Movie.
Tagline: Every star burns out. Some just don’t know when to quit.
Tone: Cringe-funny, heartfelt, and deeply unserious — a mockumentary about fame, failure, and the world’s most awkward re-entry.
MATERIALS AVAILABLE UPON REQUEST
DEEP CUTS (TV Dramedy Pilot)
Laila, a grieving and fiery Arab-American music producer, leaves LA post-divorce and ends up in East Nashville crashing with Davey, her childhood best friend — a repressed former Christian Pop bassist turned real estate agent who’s just come out. Together, they stumble through the spiritual and emotional wreckage of mid-30s life: grief, reinvention, dating apps, music scenes, ex-religion wounds, and chosen family.
Fleabag meets High Fidelity, but more soulful, less cynical.
Tagline: When you lose your voice, pick up a mic.
Tone: Emotional, grounded, poetic — with room for music as healing and catharsis.
Co-written with Nathan Nix & Latifah Alattas
MATERIALS AVAILABLE UPON REQUEST
FLATWOODS (Sci-Fi, Coming-of-Age Drama Feature)
In the Summer of 1952, three thirteen-year-old boys venture into the Appalachian woods outside Flatwoods, West Virginia searching for a rumored stash of hidden porno magazines — hoping to finally unlock the secrets of girls, adulthood, and what it means to become men. But as strange lights begin appearing beyond the trees and their childish bravado starts to crack, the boys find themselves drawn toward an encounter that will bind them together forever.
Stand by Me meets Close Encounters of the Third Kind by way of 1950s pulp sci-fi Americana.
Tagline: Some secrets make you grow up.
Tone: Nostalgic, eerie, funny, and emotionally sincere — a cosmic coming-of-age mystery about boyhood, masculinity, friendship, and the unknowable things that shape us forever. Blending the warmth and awkwardness of adolescent adventure with the transcendent awe of classic UFO folklore, FLATWOODS treats its supernatural encounter not as horror to survive, but as a profound emotional experience that quietly alters the boys’ understanding of themselves and the world around them.
MATERIALS AVAILABLE UPON REQUEST
THE READING (Horror Feature)
In 1980s suburbia, a goth teen reluctantly takes over her aunt’s palm reading booth and her first customer is the worst: a smirking, sexist jock from school. But as she reads his palm, real visions begin to flood in — disturbing, violent ones — and the horrors she sees may not be far off.
Carrie meets Suspiria (1977) with the attitude of Jennifer’s Body.
Tagline: Sometimes the scariest thing isn’t what you see… it’s what you can’t unsee.
Tone: Stylized, unsettling, and vividly retro — a feminist horror throwback soaked in neon dread and teen rage.
MATERIALS AVAILABLE UPON REQUEST