A Screwball Comedy About Open Marriages - All Of It with Alison Stewart

Podcast Summary: All Of It with Alison Stewart

Episode: A Screwball Comedy About Open Marriages
Air Date: September 2, 2025
Guests: Director/Co-writer/Actor Michael Angelo Covino (“Paul”), Co-writer/Actor Kyle Marvin (“Carrie”)
Film Discussed: Splitsville

Episode Overview

This lively episode dives into the screwball relationship comedy Splitsville, a new film exploring the chaos that unfolds between two married couples—one navigating a divorce, the other in an open marriage—when infidelity and friendship collide. Host Alison Stewart welcomes writer-director Michael Angelo Covino and co-writer Kyle Marvin (who both star in the film), to discuss their creative process, inspirations, and the film’s exploration of modern relationships, class, and the true messiness of love.

Key Discussion Points & Insights

1. Genesis and Themes of Splitsville

The film’s premise was sparked by conversations about love and modern relationships among friends. Covino and Marvin wanted to move beyond intellectualized discussions of open marriages and see what happens when friends actually face these situations.
Kyle Marvin [01:40]:
“There is a question of like, what would we do if actually faced with one of the scenarios that we talked about… As soon as we knew that that was a perfect setup or a perfect way to explore the dynamics of those relationships, we were like, we have to do this movie.”

2. The Origin and Crafting of the Fight Scene

Central to the film (and the writers’ initial excitement) is a massive, physical fight scene—an absurd but emotionally authentic outburst after a friend sleeps with another’s wife.
Michael Angelo Covino [02:35]: “We wrote, there will be a ten-page fight scene after that... And they won’t talk. They’re just gonna fight.”
The fight’s choreography emerged from the duo’s comfort with escalating comedic beats and slapstick, but is grounded in the deep, messy love between the two main characters.

3. Balancing Absurdity with Authenticity

The film draws on 1970s and 1990s comedies, blending grounded character work with increasingly wild scenarios.
Kyle Marvin [03:21]:
“We love films from the 70s that have this sort of absurdist look at love and relationships... We wanted to set up real stakes and real characters...and then proceed to give them sort of absurd, ever escalating, absurd circumstances.”

4. Physical Comedy with Emotional Core

The slapstick elements (like burning off eyebrows or carrying a dog like a baby) stem from the actors’ real relationships and their desire to push their characters to the brink, both for comedy and insight.
Marvin [04:32]:
“They really foundationally love each other... Part of the fun of doing a fight scene like this... we wanted to sort of explore what it was like for these two friends who kind of love each other and understand each other, but are sort of losing control...”

5. Character Deep Dives

Paul (Covino): A flashy, insecure real estate broker whose bravado masks deep anxieties.
- Covino [06:07]: “You think he’s just this showy, obnoxious, overly confident guy. But... by the end of the film... it’s all built... like a house of cards built around insecurity.”
Carrie (Marvin): An earnest, optimistic teacher, almost comically wholesome—down to his Golden Doodle.
- Marvin [07:47]: “Carrie is trying to make it work. He’s not aware that things are tough... He’s looking for the best in the world. And by looking for the best, I think he hopes the world will work out for him.”

6. Social Satire and Class Dynamics

Splitsville lightly satirizes social climbing and class anxiety, as characters aspire to lifestyles they can’t really afford and feel envy even in absurd situations.
Covino [08:37]: “Everyone’s sort of chasing something... maybe a little bit of the grass is always greener. By the end... they might recognize that the grass is still always greener, but... they’re gonna be happy with what they have in life.”
Marvin [09:37]: “Part of that class is it happens everywhere... The dynamics of love and jealousy and relationships sort of span all cultures.”

7. Directorial Choices & Comedy Tone

Balancing realism in character with big comedic set pieces posed creative challenges—like the roller coaster goldfish gag.
Covino [11:29]: “We set out to make a film that deals with very human emotions with sort of very realistic performance. And, you know... we decided to put in sort of big comedy set... But those were easy choices because they’re so entertaining and fun.”
Actors were encouraged to play everything straight, not for laughs, with comedy emerging naturally from character and circumstance.
Covino [13:44]: “No one is in a comedy... everyone sort of needs to believe the situation they’re in... and experience it in earnest. The comedy emerges out of that, rather than winking at the camera...”

8. Ensemble Performance & Improvisation

Collaborations with Adria Arjone and Dakota Johnson, who play the wives, were praised for their spontaneity and authenticity.
Marvin [12:36]: “[Arjone] can both deliver emotion and then right away just bring absolute chaos... Dakota is so present in the scenes. For me, it was a gift to be able to work across from her.”
Minimal ad-libbing due to highly choreographed camera work, but some improvisational sensibility found its way through timing and delivery.

9. Open Marriages: Belief vs. Reality

Script excerpt [16:18–17:45]: The film explores complexities and comic rationalizations of nontraditional relationships:
- “We are not monogamous. He can do what he wants, and I don’t want to know about it unless I do want to know...” (Ashley/Julie/Paul dynamic)
Marvin [18:41]: “My character, I think, certainly does [believe in open marriage]...whatever way makes people happy is the way that should be traveled.”
Covino [19:14]: “No, I don’t think so... My character is sort of a hopeless romantic who really is genuinely in love with one person, but... he’s in over his head.”

Notable Quotes & Memorable Moments

On friendship and betrayal:
- “These are two people who love each other….and then proceed to give them sort of absurd, ever escalating circumstances that they have to work their way through.”
  — Kyle Marvin [03:21]
On comedic influences and tone:
- “No one is in a comedy... The comedy emerges out of that, rather than winking at the camera, playing it for a joke.”
  — Michael Angelo Covino [13:44]
On the fight scene origin:
- “We said, and we’ll write a ten-page fight scene. And they won’t talk. They’re just gonna fight.”
  — Michael Angelo Covino [02:43]
On the audience’s response:
- “The best feedback ever is sitting in a theater with a bunch of people and hearing them laugh....that’s the greatest compliment I could ever receive.”
  — Kyle Marvin [19:58]

Timestamps for Key Segments

[00:09–01:22]: Episode intro & guest introductions
[01:25–02:50]: Genesis of the script & the central fight scene
[03:03–04:24]: 1970s/’90s influences & mapping out absurd set pieces
[04:32–05:09]: Physical comedy and emotional truth in the fight scene
[06:07–07:03]: Character breakdown: Paul’s bravado & insecurity
[07:47–08:12]: Character breakdown: Carrie’s optimism
[08:37–10:21]: Satirical elements and class dynamics
[11:14–12:23]: Directorial choices and comedic challenges
[12:36–13:34]: Ensemble cast & working with Arjone and Johnson
[13:44–14:55]: Acting style – playing it straight, not for laughs
[15:51–17:45]: Dialogue excerpt: explaining “open marriage” to Carrie
[18:33–19:49]: Characters’ true beliefs about open marriage
[19:58–20:23]: Audience response and validation

Tone & Final Thoughts

The conversation was light-hearted yet sincere, reflecting both the absurdist tone of Splitsville and its underlying emotional truths. Stewart, Covino, and Marvin balance laughter about dogs and goldfish with thoughtful takes on love, jealousy, and the fluidity of modern relationships—making this episode as rich and unpredictable as the film itself.