M. Night Shyamalan's $81 Million Copyright Battle

The spotlight is on acclaimed director M. Night Shyamalan as he stands trial, facing serious allegations of copyright infringement related to his popular Apple TV+ series, *Servant*. The accusations come from Francesca Gregorini, an Italian director who claims Shyamalan essentially ripped off her 2013 film, *The Truth About Emanuel*, to create his show. Gregorini is pursuing a staggering $81 million in damages from Shyamalan and Apple.

During the opening statements in a Riverside, California federal court, Gregorini's attorney, Patrick Arenz, showcased stark similarities between the two projects. Both *Emanuel* and *Servant* feature a mother entrenched in madness who treats a reborn doll as her real baby, alongside a nanny who inadvertently supports this delusion. “This is a simple case,” Arenz asserted, illustrating his belief that *Servant* could not exist without the original concepts found in *Emanuel*.

Seated alongside the legal team were Shyamalan, producer Taylor Latham, and Apple’s programming head, Matt Cherniss. The writer of *Servant*, Tony Basgallop, also defended the project, receiving counterarguments from attorney Brittany Amadi. She claimed Basgallop began developing *Servant* well before *Emanuel* made its debut, insisting that the creators of *Servant* had no relation or access to the prior work.

The dispute traces back to January 2020, when Gregorini filed her lawsuit shortly after *Servant* premiered. Although a federal judge dismissed the case within a few months, it was reinstated by the 9th Circuit Court of Appeals in 2022, igniting a fierce legal firestorm. Judge Sunshine Sykes declined Apple’s plea for a summary judgment, setting the stage for a jury trial to determine the fate of both productions.

For the jury's education, both *The Truth About Emanuel* and the initial episodes of *Servant* will be screened in their entirety, offering viewers a direct comparison. The film, which featured Jessica Biel and Kaya Scodelario, premiered at the Sundance Film Festival but struggled commercially, earning a meager $226 in Los Angeles and a paltry $9 in Philadelphia.

Arenz contends that the independent film industry often operates at a loss, yet exposure is crucial for talented filmmakers like Gregorini. Since *Emanuel*, she has expanded her oeuvre to include directing episodes for series like *Killing Eve*.

To prove her case of copyright infringement, Gregorini's team must affirm substantial similarities between the two works and that Shyamalan had access to her film. Arenz pointed out that *Emanuel* was readily available on platforms like iTunes, asserting that Apple TV executive Max Aronson had previously recognized Gregorini’s work by keeping a link to *Emanuel* in his inbox.

Arenz also implicated the original scripts for *Servant*, which Bohgallop had penned, asserting they contained shocking elements that ultimately failed to garner interest until they seemingly shifted focus to the delusional mother narrative after *Emanuel*’s release.

However, Amadi responded vigorously by emphasizing the stark differences between the two narratives. “*Servant* is a supernatural thriller, while *Emanuel* is a coming-of-age drama,” she highlighted, arguing that creating original stories often involves drawing upon real-life inspirations, including the concept of reborn dolls utilized as therapeutic aids for grief.

Both attorneys portrayed contrasting backgrounds for their clients—Shyamalan with humble beginnings in India and Gregorini with a lineage rich in Hollywood connections, including her celebrity mother and stepfather, Ringo Starr. Arenz reiterated Gregorini's journey through a troubled upbringing to become a successful storyteller, emphasizing her courage to take on major industry players.

As this gripping case unfolds, participants and spectators alike are reminded that the world of film can sometimes blur the lines of creativity, inspiration, and ownership. The trial is expected to last around two weeks, with Shyamalan anticipated to take the stand among other key figures from *Servant*. Viewers of both productions and fans of Shyamalan are left on the edge of their seats as the truth of this artistic clash is unveiled. Will the jury side with Gregorini, or stand by the acclaimed filmmaker? Stay tuned!