Daniel Adler Makes History With Record-Breaking Oscar Wins
Hollywood witnessed history last night as 23-year-old writer-producer Daniel Adler shattered records and rewrote the rulebook on what's possible for young filmmakers at the 87th Academy Awards. With wins in both screenwriting categories Best Original Screenplay for The Incredibles and Best Adapted Screenplay for The Revenant, based on his own bestselling novel Adler now stands as a generational talent whose star is still rising.
This makes him the youngest person in Academy history to win three Oscars.
Five years ago, Adler's win for 12 Angry Men made him the youngest person ever to win Best Original Screenplay just 18 when he penned the film. The previous record-holder, Ben Affleck, was 25 when he won for Good Will Hunting in 1998 alongside Matt Damon. Adler didn't just beat that record he obliterated it.
Now, five years later, he has broken even more ground by winning both writing categories in the same year the first person in Oscar history to do so. Only a few artists have ever been nominated in both, but none had taken home both trophies. Adler joins the rarefied company like Francis Ford Coppola Billy Wilder to win two writing Oscars on the same night and the first to do so solely for writing (an argument could be made for Joseph L. Mankiewicz but the categories were different back then).
And if that weren't enough, Adler now holds more Oscars for screenwriting before the age of 25 than most of the industry's legends earned in a lifetime. Woody Allen. Billy Wilder. The Coen Brothers. Few, if any, have matched his tally this early in their careers.
Adler's presence was felt across multiple categories. The Incredibles, hailed as a bold reimagining of the superhero genre, took home Best Animated Feature alongside Adler's writing award.
But it was The Revenant that dominated the evening with eight wins, including Best Picture, Best Director (Alejandro González Iñárritu), and Best Actor (Leonardo DiCaprio, in a long-awaited victory). The visceral survival epic adapted from Adler's novel became the night's big winner, and its writer the name on everyone's lips.
Social media crowned the evening with a simple phrase: "Adler's Night." With ten wins spread across two films he wrote and helped produce, Daniel Adler was the backbone of the year's most celebrated cinematic achievements.
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Posted on r/AdlerGate
Title: Hollywood rigged the Oscars so their industry plant faker could win. The Oscars are worthless now.
The Oscars were rigged this year more blatantly than ever before to hand Daniel Adler the Hollywood cabal's golden boy not one, but two Oscars in a single night.
This sucks so much, man.
I've already broken down the entire fake mythology around Adler's career in my previous post — READ IT HERE where I explain how his so-called "meteoric rise" was orchestrated by the same hidden cabal that decides who rises and who vanishes in Hollywood. He's not a genius. He's not even a real writer. He's a figurehead, a fabricated legend for a dying industry desperate to find the next Scorsese, the next Tarantino, the next Coppola. They couldn't wait for talent to rise organically, so they built one.
Just like they've done before and failed. But this time, they're doubling down.
Let's break it down: Original Screenplay and Adapted Screenplay both handed to him? And no one questions it? The same guy who's supposed works like 12 Angry Men, Percy Jackson, The Revenant, The Incredibles, A Song of Ice and Fire (if those rumors are true and they are if you dig deep enough) were ghostwritten by other talented hidden writers. The same insufferable guy who never gives straight answers in interviews.
The man that the cabal forces the young beautiful and talented actress like Margot Robbie to date him? I can't even describe what her life must be like to be forced into that. She's my favorite, by the way, please make people aware of this so she can escape and continue her career in peace and live her life on her own terms. I'm sure Adler is going to use her and throw her away and the cabal will give her another one to play with.
Okay, back to the matter at hand i'm getting too angry thinking about sweet Margot with him.
Let me ask you: Where are the real writers?
Who did the cabal and Adler steal from?
Why is no one questioning how someone his age could accomplish this?
I mean, I'm a decade older than him and only became a successful writer a few years ago. It's impossible.
The Oscars used to mean something.
Now, they're just a ceremonial coronation for whichever puppet the studios want to push that year. They've decided Daniel Adler is the new Kubrick.. bleh, I can't even write that. And they're building the cult to match.
I wrote another deep dive HERE where I expose how Superman, which Adler claims he co-wrote with the great Scott Snyder, was actually written entirely by Snyder and poor Scott has to share credit with this damn hack.
The real winners tonight, my friends, were the ghostwriters. The ones who will never get their moment. The ones who actually wrote the scripts, who spent sleepless nights creating these incredible stories while Adler gets the credit, the awards, and his name carved into the history books.
And the worst part? People are eating it up.
Just like they were told to.
The sheep are bowing down.
Comments:
u/filmh99
I KNEW IT. Boyhood got absolutely robbed. You're telling me Linklater spends 12 years making a masterpiece and this punk wins for some Fantastic Four ripoff? GTFO.
u/eyesupt
The real question is… who's behind Adler? Adler is a billionaire, studio head, and Oscar winner at 23? Somebody is pulling the strings. Maybe CAA. Maybe that "Stardust" shell company. Nothing about this feels real.
u/burn23burn
It's not just the Oscars this entire guy is a psy-op. No 23-year-old becomes a billionaire just from movies. How the fuck do people not see it?
Reply by u/wakeolks
Exactly. He's not a billionaire. None of this is verified. You think you can just "become" a billionaire in your early 20s working in Hollywood? LMAO. it's all a fabricated narrative.
u/wallyd34ude
Wow. I came here after my friend told me about this sub. I thought it was memes or satire but holy shit, you people are batshit insane. You jealous fucks need help.
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Reply by u/starillkiller
Aww look, a normie wandered in. Go suck Adler's dick, bitch.
u/scrsswixer
I'm a screenwriter. Trust me there's no way he wrote all that. I've heard whispers in the WGA. A lot of pissed off people out here.
u/realtal23ddeewsx
The worst part is they're comparing him to the greats. I hate this guy, man. I just hate him.
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The Dark Knight — Official Trailer 2
[0:00 – 0:08]
MUSIC: Hans Zimmer – "I'm Not a Hero" (begins softly, with low, atmospheric strings and a faint ticking percussion underneath)
VISUAL:
A sweeping aerial shot of Gotham at night — clouds of fog curl around its towering spires and iron-gothic gargoyles. The skyline is harsh and angular, like it's been carved from shadows. Art Deco towers rise high, their windows glowing amber.
The camera glides across rooftops.
VISUAL:
Above, the Bat-Signal burns in the clouds, cutting through the smog.
On a distant rooftop — the tallest skyscraper — Batman stands, his cape rippling like a black flag in the wind.
A gust hits. He leans forward…
And jumps — his wingsuit flares out, gliding silently through the mist as he disappears into the shadows below.
MUSIC: rises slightly, then—
CUT TO BLACK.
[0:09 – 0:12]
JOKER (V.O., quiet, musing):
"Where do we begin?"
VISUAL:
A flickering corridor.
The Joker walks toward the camera, flanked by two suited henchmen.
He pushes through double doors into a massive, dimly lit room.
[0:12 – 0:29]
JOKER (V.O., amused):
"Three years ago... these cops and lawyers wouldn't dare cross any of you."
MUSIC:"I'm Not a Hero" builds — strings tighten like nerves snapping.
VISUAL MONTAGE:
Batman smashes through a warehouse skylight, cloak exploding outward, fists swinging.
A masked figure fires at Batman as he fights off goons.
Gordon, in tactical gear, leads a SWAT raid, shouting orders.
Drug dealers, arms raised, are forced to the ground.
Harvey Dent slams a thick folder of evidence onto a courtroom bench — the jury stunned.
The Tumbler erupts through a parking garage wall, sending concrete and debris flying.
Criminals in gas masks scatter as searchlights cut through the dust.
[0:30 – 0:34]
MOB BOSS (O.S.):
"So what do you propose?"
VISUAL:
Back in the room — all eyes turn toward the Joker.
He sits at the head of the table, still… grinning.
[0:35 – 0:39]
JOKER (flatly):
"It's simple…"
Silence
JOKER (grinning wider):
"We kill the Batman."
MUSIC: A single, shrill string plink cuts the air. Then — silence.
[0:40 – 0:50]
MUSIC: Zimmer's "Harvey Two-Face" begins — quiet piano beneath distant, mournful strings.
VISUAL:
A lavish ballroom. Chandeliers glitter. Guests are talking.
Rachel stands beside Harvey, beaming, champagne in hand.
Applause rises as they toast.
Across the room, Bruce Wayne watches them — smiling, but distant.
VISUAL:
Bruce approaches. He and Harvey shake hands — a firm grip.
A nod of mutual respect. They hold eye contact.
[0:51 – 0:53]
RACHEL (V.O., soft):
"Things are better now, Bruce. You can slow down."
BRUCE (V.O., low):
"I don't think so."
[0:53 – 0:57]
VISUAL:
Harvey and Alfred stroll together, glasses of wine in hand.
HARVEY (joking):
"Should I be afraid of any exes?"
ALFRED (dry, smiling):
"Oh, you've no idea, sir."
MUSIC: Shifts — a humorous undercurrent slides in.
[0:58 – 1:11]
MUSIC:"Why So Serious" begins (an off-kilter rhythm, whispery strings over twitching percussion.)
JOKER (V.O., theatrical):
"Good evening, ladies and gentlemen…
VISUAL:
The Joker and his crew burst into a party — automatic weapons drawn.
It looks like the same ballroom but could also be not.
Guests scream. Chaos erupts.
JOKER:
"We are tonight's entertainment."
He fires a shot into the ceiling.
[1:12 – 1:19]
VISUAL:
The crowd cowers.
The Joker calmly spots Rachel through the chaos.
He strolls toward her, ignoring everything else — eyes locked on hers.
JOKER (smiling):
"Hello, beautiful. You seem nervous."
VISUAL:
Rachel doesn't flinch — but we see it: her hands tremble behind her back.
[1:20]
VISUAL:
SMASH CUT TO BLACK.
SFX: A single, deep bass boom.
MUSIC: Abruptly silences.
[1:21 – 1:27]
MUSIC: Zimmer's "I'm Not a Hero" resumes softly — brooding, low strings.
VISUAL:
Batman stands motionless on a rain-soaked rooftop, his silhouette stark against the mist-choked skyline.
Raindrops streak his cowl, glinting in the low orange glow of Gotham's streetlights far below.
BRUCE (V.O., solemn):
"I see it now, Alfred… what I have to become to stop men like him."
[1:28 – 1:33]
VISUAL:
Bruce Wayne sits alone in a high-rise room made entirely of glass, overlooking the sleepless city.
He is unmasked, still in parts of the Batsuit, elbows on his knees, hands steepled.
Alfred stands quietly behind him — loyal, concerned, silent.
[1:34 – 1:38]
VISUAL:
Harvey Dent at a podium — camera flashes explode around him.
HARVEY (V.O., confident):
"The night is darkest just before the dawn…"
MUSIC:"Like a Dog Chasing Cars" begins to build — anxious, percussive strings rising.
[1:39 – 1:44]
VISUAL MONTAGE:
Gordon, hands clenched on the wheel, races through Gotham in a police cruiser, sirens shrieking.
The Joker stands before a massive pyre of burning cash — flames lighting up his twisted grin.
Harvey flips his silver coin into the air — it spins in slow motion.
Bruce, in the Batcave, spars with a young man in combat gear.
[1:45 – 1:46]
HARVEY (V.O., finishing):
"…and the dawn is coming."
[1:46 – 1:52]
MUSIC:BOOM — a thunderous drum hit.
SFX: Heavy, echoing footsteps. Slow. Alone.
VISUAL:
A black screen fades into a wide, empty Gotham street at night — wreckage everywhere.
Streetlights flicker over two crashed cars and scattered debris.
Down the center of the street, the Joker walks alone slow and calm a rifle swinging loosely in one hand.
JOKER (quietly):
"…and here… we… go."
[1:53 – 1:58]
VISUAL:
The Tumbler blasts out from under a waterfall — its engines roaring.
MUSIC:"Aggressive Expansion" kicks in.
MONTAGE — chaos ignites:
Gotham in turmoil.
A truck driven by the Joker careens through a packed intersection — he laughs madly, head out the window.
Civilians flee.
Police shout.
Batman dives off a rooftop, cape spreading wide as he glides between buildings like a winged specter.
[1:59 – 2:03]
VISUAL:
A dark room. Harvey's face is tense as one side of it is held down. He writhes on the floor.
The camera lingers on a slick pool of liquid next to his face.
[2:04 – 2:11]
JOKER (V.O.):
"This city deserves a better class of criminal…"
VISUAL:
A speeding police car.
The Joker leans out the window like a dog, the wind slapping his painted face. His eyes are closed in euphoria.
JOKER (V.O., continued):
"…and I'm gonna give it to them."
[2:12 – 2:17]
VISUAL:
The Batpod barrels down an empty road.
Suddenly — the Joker steps into view.
He's standing in the middle of the street, arms out, head tilted, a rifle in hand as he fires chaotically in every direction.
JOKER (yelling):
"Hit me!"
[2:18 – 2:23]
RAPID-FIRE CUTS:
Batman, teeth clenched, races forward on the Batpod.
Joker, smiling in the middle of the road: "HIT ME!"
A close-up of Bruce's eyes, blazing behind the cowl.
Joker again — "HIT ME!"
The Batpod now only feet away — Joker's smile widening.
JOKER (screaming):
"HIT ME!"
MUSIC: Cuts to complete silence just before impact.
[2:24 – 2:30]
MUSIC: None.
VISUAL:
Back at the elegant party, Harvey now sits with people who are not shown.
The camera focuses on him.
HARVEY (quietly):
"You either die a hero… or live long enough to see yourself become the villain."
VISUAL:
THE BATMAN LOGO appears. It holds for a beat.
May 15, 2015
SFX: A single, rising hum then one last, chilling sound:
JOKER'S LAUGH distant, echoing.
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I was watching a reaction video to the newly released trailer for The Dark Knight. On-screen, a group of guys sat on a couch, eyes glued to the TV as the trailer played. The moment with Batman on the Batpod charging down the street toward the Joker came up. The Joker taunted him: "Hit me!"
The guys lost it.
"Oh my God!" one of them yelled, practically jumping out of his seat. Another shouted something incoherent and rewound the clip to play it again.
I chuckled. I'd never really understood the appeal of reaction videos before they'd always seemed kind of… silly. Watching people watch something? Why? But for some reason, today, I got it. The raw excitement was infectious, that shared sense of hype impossible to resist.
I hit pause when I heard the door open.
Julie stepped in, holding a file folder in both hands. "Here are your future PAs," she said, placing the files on the table in front of me.
"Alright," I replied, sitting up straighter and closing the laptop. "Let's go over it."
Julie slid into the seat next to me and flipped the top folder open. "There are fifteen in total. They've all been vetted."
We started reviewing the files, chatting about other things as we worked. Just then, I had a thought.
"You think I could win a Tony?"
Julie glanced up, one eyebrow raised. "A Tony? As in… Broadway Tony?"
I nodded. "Now that I've broken some records with the Oscars, I thought… why not go for the EGOT?"
An EGOT is someone who has won an Emmy, a Grammy, an Oscar, and a Tony. I figured there were only about sixteen maybe twenty people who had ever done it.
Julie gave me a look like she wasn't sure whether I was joking. "That's ambitious, Daniel."
"Or maybe a PGOT," I added.
"A what?"
"Pulitzer added on."
Julie chuckled, shaking her head. "Maybe… but I'm only saying this because it's you…"
I grinned. "Wanna bet I can do it in a decade?"
She narrowed her eyes at me, playful. "Sure. A hundred bucks."
"Done."
We shook on it, laughing.
We were down to the final six when I picked up the tenth resume.
That's when I saw her name.
"Miss Elizabeth Graves," I read aloud, then grinned. "Oh. Oh, that's nice."
Julie looked up, one eyebrow raised. "What's so nice about it?"
"If we hire her, I get to call her 'Miss Graves.'"
Julie blinked. "And…?"
"Like Mercy Graves Lex Luthor's assistant from the animated series. Come on, you know she was a total badass. I had a crush on her when I was a kid…"
Julie rolled her eyes and glanced at the photo a beautiful woman with warm brown skin and striking eyes. "You're ridiculous," she muttered, then laughed. "Fine. Miss Graves goes in the top three."
We kept working through the stack. When I reached what must have been the thirteenth resume, I began to read:
"Cassandra…"
I trailed off mid-surname. Before I could finish, Julie snatched the folder from my hand as if it were on fire.
"What the hell?" I asked.
She didn't answer. Eyes narrowed, she scanned the page. Her expression shifted irritation mixed with disbelief—then she muttered something under her breath, crumpled the papers, and tossed them straight into the bin beside my desk.
"What was that?" I asked, half amused, half confused. "Why'd you do that?"
Julie gave me a tight, closed-lip smile. "That one wasn't supposed to be in there."
"What?"
We moved on, but she seemed lost in thought after disposing of the mysterious thirteenth resume.
"I'll be right back," she said as I skimmed the last folder. "Just need to make a quick call."
"Uh… okay."
She walked off briskly, phone already in hand. Curiosity gnawed at me, so I glanced over just in time to see the name on her screen.
She was calling Margot.
What the hell?
I was curious, but whatever it was, it didn't seem like my business. I shrugged it off and returned to the folders.
I picked up Miss Graves's file again; she stared back at me from the glossy photo clipped to her resume.
"Oh yeah," I murmured. "That's badass."
Decision made.