Latest news with #BestLimitedSeries
Yahoo
15-07-2025
- Entertainment
- Yahoo
‘Adolescence,' ‘The Penguin,' ‘Disclaimer,' and more last-minute Emmy nominations predictions for Best Limited/Movie Directing
With 91 submissions, this year's Best Limited/Movie Directing category at the Emmys will have six finalists when the nominations are announced Tuesday. There are two series that were directed by a single person and thus had to submit the entire projects: Adolescence, directed by Philip Barantini, and Disclaimer, directed by Alfonso Cuarón. Both are virtually guaranteed to make the Emmy lineup. The Netflix psychological crime drama, whose episodes are each filmed in one single take, is currently projected to win Best Limited Series, while the Apple TV+ program has the four-time Oscar winner behind the camera, and is filled with striking images and beautiful cinematography. More from Gold Derby 'The Young and the Restless' leads Daytime Emmy predictions for Best Drama Series Why 'South Park' has vanished from streaming sites, explained For the other contending limited series, the submissions have ranged from one (Dying for Sex and Say Nothing) to four installments (The Penguin and Monsters: The Lyle and Erik Menendez Story). While single submissions are a wise strategy to prevent splitting the vote, the latter two shows are arguably more popular, with The Penguin having three of its four submissions nominated at the Directors Guild of America Awards earlier this year, and the Monster anthology nabbing two slots in this category for its previous season. It's safe to say at least one from each show has a spot reserved. For Monsters: The Lyle and Erik Menendez Story, there is one clear standout: the Michael Uppendahl-helmed 'The Hurt Man,' which takes place entirely in one room between two characters and filmed in a single take, a technique that is catnip for the directors' branch. Additionally, there are episodes by Carl Franklin ("Blame It on the Rain") and Paris Barclay ("Brother, Can You Spare a Dime?"), both of whom were nominated last season for other projects. The Penguin, meanwhile, is the alternative to Adolescence in Best Limited Series, so we expect the DC gangster series will get multiple slots in this category; the question is how many. One clear choice is the fourth episode, 'Cent'Anni,' by Helen Shaver, which examines the backstory of Sofia Falcone (Cristin Milioti). There is also the premiere by Craig Zobel — the only Penguin submission not nominated at the DGA — and the concluding two episodes, filled with action sequences and tragic, intimate character moments, notably the finale by Jennifer Getzinger. Kevin Bray, the director of the penultimate installment, is also on the ballot as the representative for Clipped, which chronicles the downfall of the notorious Los Angeles Clippers owner Donald Sterling. Speaking of finales, Say Nothing and Dying for Sex only entered their closers, featuring sequences that showcase the directorial achievements of Michael Lennox and Shannon Murphy, respectively. So, if either garner enough passion, they could find themselves among the six nominees. The rest look to be more long-shots, with Presumed Innocent entering its last two episodes, and Black Mirror putting up three episodes, with the latter anthology having never been recognized in directing, despite multiple writing bids. Rebel Ridge's Jeremy Saulnier has the best shot if the branch goes for a television movie. And another famous director on the ballot is Oscar nominee Ridley Scott for the premiere of Dope Thief — amid its three submissions — so he could be another qualifier if the show makes waves. Here is our breakdown of the 2025 Best Limited/Movie Directing category: Adolescence (Philip Barantini)The Penguin (Jennifer Getzinger, 'A Great or Little Thing') The Penguin (Helen Shaver, 'Cent'Anni')Disclaimer (Alfonso Cuarón)The Penguin (Kevin Bray, 'Top Hat')Monsters: The Lyle and Erik Menendez Story (Michael Uppendahl, 'The Hurt Man') Say Nothing (Michael Lennox, 'The People in the Dirt') The Penguin (Craig Zobel, 'After Hours') Dying for Sex (Shannon Murphy, 'It's Not That Serious') Monsters: The Lyle and Erik Menendez Story (Carl Franklin, 'Blame It on the Rain') Monsters: The Lyle and Erik Menendez Story (Paris Barclay, 'Brother, Can You Spare a Dime?') Presumed Innocent (Anne Sewitsky, 'The Verdict') Rebel Ridge (Jeremy Saulnier) Monsters: The Lyle and Erik Menendez Story (Max Winkler, 'Don't Dream It's Over')Presumed Innocent (Greg Yaitanes, 'The Witness') Dope Thief (Ridley Scott, 'Jolly Ranchers') Black Mirror (Toby Haynes, 'USS Callister: Into Infinity') Clipped (Kevin Bray, 'Winning Ugly') Best of Gold Derby Everything to know about 'The Pitt' Season 2, including the departure of Tracy Ifeachor's Dr. Collins Everything to know about 'Too Much,' Lena Dunham's Netflix TV show starring Megan Stalter that's kinda, sorta 'based on a true story' Cristin Milioti, Amanda Seyfried, Michelle Williams, and the best of our Emmy Limited Series/Movie Actress interviews Click here to read the full article.
Yahoo
14-07-2025
- Entertainment
- Yahoo
‘Adolescence,' ‘Penguin,' ‘Black Mirror,' ‘Dying for Sex': Here are the front-runners, potential spoilers, and long shots for Best Limited/Movie Writing Emmy nominations
Who will have the write stuff at the Emmys? When it comes to Best Limited Series/Movie Writing, it becomes a bit of a numbers game. With 71 submissions, this year's Best Limited Series/Movie Writing category will have just five finalists when the nominations are announced Tuesday. This is only the second time since the expansion to the popular vote that this category will result in five nominees; the first since 2020. Last year, for example, there were six nominees, with Baby Reindeer ultimately prevailing. More from Gold Derby The 'Superman' Oscar nomination you (probably) didn't know existed 'Can it get any weirder?' Live Aid's last-minute headliner recalls offer to play for 2 billion people In the limited-series race, there are several shows with writers who scripted all their episodes and thus must enter their entire series: Adolescence by Jack Thorne and star Stephen Graham, Disclaimer by Alfonso Cuarón, and Dope Thief by Peter Craig. With Adolescence being the front-runner to win Best Limited since its premiere, the Netflix psychological crime drama is a lock for a writing bid. The other two, however, face a more challenging path to a nomination as there is less passion for them. And while four-time Oscar winner Cuarón is the most famous of the three, that recognition won't help, since scribes' names are not on the ballot. For the shows that had the option of putting up individual episodes, all major contenders went for either their premiere or finale. These installments feature gripping elements of suspense and twists as they either introduce pivotal characters or wrap up intense storylines. Those opting for the opening episode included Dying for Sex, Presumed Innocent, and Apple Cider Vinegar, while The Penguin, Say Nothing, and Clipped went with their closer. Due to the timing of their releases, The Penguin and Say Nothing were both eligible and cited at the 2025 Writers Guild of America Awards, with the former winning, effectively guaranteeing it a nomination and a face-off with Adolescence. And then there is Black Mirror, which has been a staple for the writers' branch, winning this category two consecutive years in 2017 and 2018. Having made its way back in last year after a series of genre shifts, this time the anthology has two tragic episodes on the ballot — both cowritten by showrunner Charlie Brooker. "Eulogy" is headlined by Paul Giamatti as a man reminiscing a past relationship when his ex-girlfriend passes away. "Common People" stars Rashida Jones and Chris O'Dowd as a couple who uses a subscription service for one to survive a terminal diagnosis. Television movies took up half this category two years ago, so we never know what the writers' branch has up its sleeve. Be on the lookout for WGA nominee Rebel Ridge by Jeremy Saulnier, which is also the frontrunner to win Best Television Movie, or Mountainhead penned by Jesse Armstrong, who was undefeated in the drama-series writing category for the four-season run of Succession. The only other double submitter in contention is Monsters: The Lyle and Erik Menendez Story, with its premiere and fifth episode. The latter episode, "The Hurt Man," is heavy with dialogue and takes place in one room between only two people as Erik Menendez (Cooper Koch) reflects on his childhood abuse to his lawyer (Ari Graynor). Here is how we see the 2025 Best Limited/Movie Writing Emmy category shaking out: Adolescence (Jack Thorne and Stephen Graham)The Penguin (Lauren LeFranc, 'A Great or Little Thing')Black Mirror (Charlie Brooker and Ella Road, 'Eulogy')Dying for Sex (Kim Rosenstock and Elizabeth Meriwether, 'Good Value Diet Soda')Say Nothing (Joshua Zetumer, 'The People in the Dirt') Disclaimer (Alfonso Cuarón)Presumed Innocent (David E. Kelley, 'Bases Loaded')Black Mirror (Charlie Brooker and Bisha K. Ali, 'Common People')Rebel Ridge (Jeremy Saulnier) Monsters: The Lyle and Erik Menendez Story (Ian Brennan, 'The Hurt Man')Monsters: The Lyle and Erik Menendez Story (Ryan Murphy and Ian Brennan, 'Blame It On The Rain')Dope Thief (Peter Craig)Mountainhead (Jesse Armstrong)Clipped (Rembert Brown and Gina Welch, 'Keep Smiling')Apple Cider Vinegar (Samantha Strauss, 'Toxic') Best of Gold Derby Everything to know about 'The Pitt' Season 2, including the departure of Tracy Ifeachor's Dr. Collins Everything to know about 'Too Much,' Lena Dunham's Netflix TV show starring Megan Stalter that's kinda, sorta 'based on a true story' Cristin Milioti, Amanda Seyfried, Michelle Williams, and the best of our Emmy Limited Series/Movie Actress interviews Click here to read the full article.
Yahoo
10-03-2025
- Entertainment
- Yahoo
Amanda Seyfried Revealed What Happened When Her "Boobs Fell Out" In Front Of Glen Powell At The 2023 Critics Choice Awards
Allow Amanda Seyfried to take you way, way back to the 2023 Critics Choice Awards. For the event — in which Amanda took home the Best Actress in a Movie/Miniseries trophy for The Dropout — the actor wore an archival Dior gown that was crafted from a single piece of gold lamé chiffon. That's where the problems started. "It keeps breaking. I'm not kidding, it keeps ripping. It's actually like breaking," Amanda said during a red carpet interview with Access Hollywood — and when she went onstage to accept her award during the ceremony, she appeared to be holding her dress together from the back. When The Dropout won Best Limited Series later on in the night, Amanda had donned a jacket onstage — suggesting that something went seriously wrong in the dress department. In a new interview with People, Amanda revealed that the dress eventually fell apart entirely — and in front of a surprising person, too. 'My boobs fell out of my dress at the 2023 Critics Choice Awards,' she explained. 'I was wearing this amazing vintage dress. I made my stylist dress up in it before I went just for fun. It was kind of sewn together and it started truly falling apart, literally falling off of me on the red carpet, and I think there were even interviews where I'm saying it's breaking off." 'I was talking to Glen Powell in the corner near my table, and we were joking around about something and I lifted my arms up, and my boobs were just out. My dress fell apart." Amanda says that her and Glen both "screamed" when it happened, but that he was quick to help cover her up and be polite about the whole endeavor. 'We both screamed, and like the gentleman he is, he covered me," she said. "He didn't look…I think. None of us were expecting that, but that dress had truly just given up.' Amanda also confirmed that wearing the jacket onstage later on was a last-minute improvisational effort to cover up after the dress more or less gave out entirely. 'I ended up wearing someone else's jacket on stage. Because, well, it would've just been my boobs.' Here's to quick thinking!
Yahoo
18-02-2025
- Entertainment
- Yahoo
L.A. Wildfires: How The International Industry Responded & What Happened Next
Two years after relocating to Hollywood, BBC Studios exec Mark Linsey had a week he wouldn't forget. On January 5, 2025, the seasoned Brit beamed in the crowd at the Beverley Hilton Hotel as BBC Studios took home multiple gongs for hits including Baby Reindeer and Conclave at the Golden Globes. Richard Gadd mused on Reindeer's success as he accepted a Best Limited Series prize, saying people were 'kind of crying out for something that spoke to the painful inconsistencies of being human.' Awards season was in full swing. More from Deadline NBCUniversal Formats Takes Global On Audience Playalong Show 'Win Win!' Ahead Of London TV Screenings Deals Closed On Mark Gatiss' UKTV & PBS Series 'Bookish'; Beta Film Seals Presales & Unveils London TV Screenings Lineup 'Come Dine With Me': Why Enduring 20-Year-Old Format Is "The Quickest Way To Understand The Brits" & How Narrator Dave Lamb Prepares Two days on, and with Gadd and co heading home, Linsey's focus had shifted spectacularly. 'Elation at the beginning of the week and absolute devastation at the backend,' was his read. The 'devastation' is a reference to the seven fires that swept through Los Angeles from January 7, killing 29, forcing 200,000 to evacuate and destroying more than 18,000 homes. What felt at the time like a nightmare is now the cause of a great deal of introspection. It has led internationally-facing execs like Linsey to take stock over where the global TV industry sits when Hollywood is struck by disaster, and as American producers descend on the English capital for the London TV Screenings, has created space to mull the wider shifts that have tormented the sector over the past couple of years. 'As soon as I landed [in L.A. in early 2023] there was the writers' strike, then the actors' strike,' says Linsey. 'There was a slump in the market, which I describe as a crash really, and then just as you feel we're easing out of it, you get the wildfires. It has been an extraordinary time.' 'It looked like Dresden after the war' Linsey, a Brit, was of course not the only international exec impacted by the disaster. When harking back to that fateful week, ITV America boss David George recalls his time living in New York. 'I don't think I've ever seen that sort of destruction,' he says. 'I couldn't go home to my apartment for a few months after 9/11 and [the wildfires] reminded me of that.' Shark Tank EP Phil Gurin, who runs an international TV sales outfit, speaks to Deadline during a two-hour long commute that he says has more than doubled since the wildfires. The native New Yorker says he always anticipated earthquakes in L.A. but was totally unprepared for fires and the accompanying trauma, which set in immediately. 'It looked like Dresden after the war,' adds Gurin, who says he had gathered his belongings of most sentimental value in case of the need to evacuate during the fires. 'I have way too many friends who lost everything. A friend and his wife who live in the Palisades went to work one morning and then had nothing but what was in their briefcases.' Throughout these last few weeks, Gurin has been laser-focused on keeping the company lights on, but he says an event like the L.A. wildfires makes one consider the bigger picture. 'You find yourself feeling silly talking about TV with people who lost their homes,' he says. 'You see the small 'mom and pop' stores and neighbourhood shops that have been lost and think you're lucky that a lot of people in the entertainment biz have some means to weather the storm. Although, of course, not everyone.' Linsey, who had spent the past couple years being speedily inducted into the Angeleno way of life, says half his staff had to relocate or evacuate in the days following January 7, but he has been impressed by the 'remarkable resilience' of the community, which was 'fortunate to get back on its feet quickly.' At the same time, the response from the international community was 'so heartwarming,' with phones pinging constantly with messages from concerned well wishers. Sources note that industry meetings were understandably delayed in the first half of January, but much of the day-to-day work has remained remarkably BAU. One L.A. resident who works with global buyers says the competitive nature of Hollywood means that senior execs were keen to keep things ticking throughout. Ian Russell, who runs international for the UK's ITN Productions (ITNP) and spends much of his time in the States, says: 'It felt BAU with network execs, but presumably production is going to be devastated. Our relationship [with American contacts] has quickly returned to normal. We had a lot of emails saying 'I've been evacuated; I hope to get back in the next week or so' and by now people are communicating as before.' ITN produces the news for UK nets ITV, Channel 4 and Channel 5, and Russell describes a strange scenario whereby what he was watching on rolling news networks and social media was the very thing that was impacting his colleagues, contacts and friends. 'It seemed somewhat surreal sitting here and watching it on our news feeds,' he adds. 'Most of our key exec relationships were impacted and in one case one of them lost their house.' ITNP resolved to do whatever it could in a way best suited to its strengths by making a doc for Channel 4 titled Inferno: LA on Fire. At just 72 hours turnaround time, ITNP exec Caroline Short says this was one of the toughest challenges she has faced. '[Channel 4 news boss] Louise Compton said we had to make it quick and we had to make it look like it hadn't been done at speed,' explains Short. Along with the lightning fast production time, Short's team had to be cognisant of how the fires were affecting the execs they were working with, which added a new dimension. 'We would be on a call with them and alarms are going off on their mobiles and we were like, 'Wow, do you need to go?'. We had to be really careful about their care, but knew they felt they were doing something positive.' Documenting these frantic few days was so much more than just 'telling a story about rich celebs losing everything,' Short stresses, and she believes this is a common misconception informed by the global media's view of L.A. 'This was about saying, 'We are all equal and look at what we are facing,'' she adds. L.A. exodus Looking to the near future, as execs begin heading to London for the TV Screenings, ITV's George wonders if natural disasters like the wildfires will discourage people from moving to L.A. or cause an exodus. He flags one industry buddy who has already relocated to Austin, Texas, while others are said to be considering upping sticks to alternative production hubs like Atlanta. George adds: 'If you think about the wildfires and what will happen from a real estate standpoint, there was already this housing crisis and now it will be harder to find housing and harder to find insurance. I think a lot of people will sit back and say, 'Do I want to be here or do I need to be here?'.' In future, Linsey wonders whether those who may have thought about relocating will 'no longer want to base their family in L.A.' owing to the potential for natural disasters, although he notes he is not feeling this at present. Even before the fires, Deadline's tax credit feature for the MIPCOM market pointed to a steep decline in filming in Hollywood as buyers seek cheaper alternatives in filming hubs such as Central Europe and the Middle East. This being said, there is a concerted effort to get TV cameras rolling again in Tinseltown, aided by the nascent Stay in L.A. campaign, which has so far amassed 20,000 signatures and is backed by high-profile stars including Jonathan Nolan and Paul Feig. This is crucial to helping those lower down the chain who are in desperate need of work and for whom the fires may have had an outsized impact. 'We need to ask to shoot our shows in L.A.,' Hacks co-creator Paul W. Downs urged at the recent Critics Choice Awards. Gurin reveals he and a group of local producers are having tight-lipped discussions over what they can do to get production back to L.A. in a big way, with conversations taking place over the urgent need to improve local tax credits, for example. 'There has to be a way of keeping business here,' he says. 'If you've built up an industry over 100-plus years and the whole economics of L.A. are geared around this industry and it leaves then that is terrible,' he adds. 'Whether international shows begin returning to L.A. to roll cameras remains to be seen.' Industry economics Driven by strategic rethinks mainly from the American entertainment giants, the economics of the industry have certainly been shaken up over the past couple of years and the ripples have been felt across the world, which execs say was brought into clearer focus by the wildfires. 'It's just another thing we didn't need,' says Gurin. Chatter and trade reporting has been dominated so far this year by Americans' exit from the high-end co-pro market, which is having major knock-on effects on getting shows made. One of Linsey's initial tasks when he touched down in L.A. was to seek co-pro opportunities but he says this has shifted to a double-down on formatted IP such as CBS comedy Ghosts and NBC gameshow The Weakest Link — both BBC Studios properties. 'When I agreed to come out here, it was a time when demand for British content was high and there were lots of co-pros, but that has fallen away,' he adds. 'Producers are having to be more aware of the global market and more aware of the costs.' With financing in mind, ITV America's George says co-pros, which have become so commonplace in completing a high-end TV show's budget, are dipping because, ironically, they add to a show's costs. 'Any fat in a budget now has to get trimmed,' he adds. 'With co-pros there are multiple people you are trying to service and that drives costs up. Everyone is looking for the cleanest model.' But Sony Pictures Television's Wayne Garvie, who played a part in one of the splashiest co-pro deals of this decade, the BBC-Disney+ Doctor Who regeneration, strikes an optimistic tone as he brands the current state of play a 'short term blip,' — music to many ears. 'Although funding and appetite is not what it was, I suspect this is a recalibration and things will pick up later this year,' adds Garvie. Intriguingly, Garvie ponders whether another recent shift in America — the return of a certain Donald Trump to the White House — will start influencing how the American majors play in the TV market. 'How the industry comes to terms with the fact that Trump won the popular vote and how the entertainment industry responds will be quite fascinating,' he adds. 'You might see a change in the kind of content that gets picked up. But again that is part of the constantly changing flux, which is one of the reasons we are in this game.' Garvie rejects the notion that the current strife proves that the international TV industry has become overly reliant on the States and says there is money to be found from the likes of Australia and Western Europe. The execs we speak with are bound by the hope that the industry will find its way out of the current malaise and TV execs are nothing if not problem solvers. Linsey harks back to Jan 5, when Gadd, the creative genius behind Baby Reindeer, was bringing down the house at the Globes. 'What has happened with the wildfires has been reminiscent of Covid,' adds Linsey. 'People work out how they are going to carry on in a creative industry with certain restrictions around them. You have to believe in the quality of your ideas.' Best of Deadline 2025 Awards Season Calendar: Dates For Oscars, Spirits, Tonys, Guilds & More How To Watch Sunday's 'SNL50: The Anniversary Special' Online & On TV Everything We Know About Christopher Nolan's Next Film – 'The Odyssey': Release Date, Cast And More
