Did acclaimed director M. Night Shyamalan plagiarize a fellow filmmaker's work for his psychological thriller series Servant? A recent federal court ruling answered with a resounding “No.” In a case that drew attention from cinephiles and legal experts alike, Italian director Francesca Gregorini accused Shyamalan and Apple of lifting key elements from her 2013 independent film The Truth About Emanuel. What followed was a courtroom drama almost as intense as the stories both films tell.
The Trial and Allegations
The trial, which lasted seven days, centered on Gregorini's claim that Servant “brazenly” copied her work. In her film, a delusional mother treats a baby doll as her real child, while a nanny indulges this fabricated reality. Servant revolves around a grieving Philadelphia couple who hire a nanny to care for their son Jericho, who, in a chilling twist, has been replaced by a lifelike doll after his death.
Gregorini argued that the shared premise—along with specific scenes and visual choices—constituted copyright infringement. She sought damages as high as $81 million, alleging that Shyamalan and his team had seen her film and used it as a blueprint.
The Defense and Verdict
Shyamalan, testifying under oath, firmly denied the accusations. “This accusation is the exact opposite of everything I do and everything I try to represent,” he told the jury, adding that he had never seen or heard of Gregorini's movie before the litigation. The jury, presented with both The Truth About Emanuel and the first three episodes of Servant, sided unanimously with Shyamalan and Apple, ruling that any similarities were coincidental and not actionable under copyright law.
The court's decision reaffirmed a key principle in copyright cases: shared themes and general ideas are not protectable, only the specific expression of those ideas. “It's a misunderstanding,” Shyamalan said, expressing relief at the outcome.
Context and Implications
This lawsuit is just one in a series of high-profile intellectual property disputes in the entertainment industry, as creators grapple with defining originality in an age of streaming platforms and content overload. The verdict also raises broader questions about the boundaries of inspiration and influence in storytelling—an art form that thrives on reinterpreting universal themes.
Servant, which debuted on Apple TV+ in 2020, concluded its four-season run last year. Despite its unsettling premise, the series was lauded for its atmospheric storytelling, psychological depth, and strong performances by Lauren Ambrose, Toby Kebbell, Nell Tiger Free, and Rupert Grint. Meanwhile, The Truth About Emanuel remains an under-the-radar indie film, appreciated for its intimate exploration of grief and delusion.
Personal Impressions
The verdict feels like a win not just for Shyamalan and Apple but for the broader creative community. While it's easy to see why Gregorini felt there were overlaps—both works deal with grief, delusion, and unconventional family dynamics—these are universal human experiences that countless filmmakers have explored. Shyamalan's style is distinct, blending suspense and supernatural elements in ways that stand apart from Gregorini's more grounded, character-driven approach.
At the same time, this case highlights the challenges faced by indie filmmakers trying to protect their work. While Gregorini's accusations didn't hold up in court, her fight underscores the importance of fostering a culture that values and credits originality.
Do you think copyright laws strike the right balance between protecting creators and allowing for artistic freedom? How can filmmakers ensure their work stands out in an increasingly crowded industry?
