The Toggle runs an optimized you in the background — so the moments that matter never depend on the moods that don't.It runs an optimized you in the background. Eventually you forget which one everybody's been talking to.
It's a comedy.
Until it's better at being you than you are.
A miserable tech-support worker buys a device that runs an optimized version of himself — and likes it so much he stops showing up to his own life. The people who love him start to prefer the upgrade.
Colin Davies is drowning — a dead-end tech-support job, a wedding he can't face, a girlfriend, Kailey, who deserves a better version of him. So he buys one. The Toggle is a neural assist device from a wellness-tech company called WholeLife: flip it on, and an optimized Colin takes the wheel. Smoother. Funnier. Present. Everything he isn't.
It works. That's the horror. The optimized Colin is so much better at being Colin that the real one keeps the Toggle on a little longer each day — until the people in his life are falling for a version of him that he isn't, and can't be. A comedy about self-optimization that curdles, beat by beat, into something closer to dread.
The film lives inside the language of a wellness brand that has quietly redefined what it means to be present. The world is fully built — and every reassurance is a small betrayal.
Corporate-uncanny dread, body-horror about self-optimization, and a Midwestern comedy of people being too polite to say the obvious — until it's far too late.
The articulate everyman who's barely holding it together. He doesn't want power — he wants a day off from himself. The Toggle gives it to him, and keeps it.
A nurse, and the film's conscience — the audience's eyes. Her slow turn isn't villainy. It's exhaustion. The horror is that she means it.
The appetite is established. Severance turned clinical workplace dread into a defining prestige hit. The Substance turned a contained, single-conceit body-horror into critical and commercial reward. Audiences are leaning directly into stories about optimizing, splitting, and outsourcing the self.
It's built to be made. A contained premise — one device, a handful of grounded locations, a small ensemble — that scales to an independent budget without losing the high concept. Elevated genre with festival reach and a clear commercial hook.
Actor and writer working in dark comedy, horror, and drama. Clifton writes the roles he wants to play and produces them so they get made — and brings a founder's and attorney's discipline to structuring, financing, and protecting the work. cliftonandrewdennis.com
Co-creator of The Toggle and the slate of features and series he writes with Clifton Dennis. An intellectual-property and business attorney whose practice represents creative professionals — so the project's rights, contracts, and chain of title are protected from the first page. A fellow Indiana native.
The full screenplay and pitch deck are available to qualified producers, financiers, and representatives on request.