Humphrey Bogart's estate administrators are set to release their first film after funding the project via Kickstarter.com. Stephen Bogart, the movie icon's son with Lauren Bacall and the co-managing partner of the estate, has teamed with filmmaker Steve Anderson to launch a production company named Santana Films, and their first venture, This Last Lonely Place, will be released later this year (13).
Bogart tells The Hollywood Reporter, "In 1948, my dad was one of the first stars to leave the studio system, because he wanted to be free to make movies his way. He started his own independent film company, Santana Productions, named after his beloved sailboat. Starting Santana Films is the perfect way to carry on our family tradition."
And Anderson has revealed that the company will focus on low-budget films that studios consider to be risks. This Last Lonely Place was funded by a Kickstarter.com campaign utilising the Bogart estate's social media presence to raise more than $90,000 (GBP60,000).
He says, "Bogart was a risk taker. He took on challenging material and loved to work with other independent iconoclasts, like directors Nicholas Ray and John Huston. We're going to let ourselves be guided by this spirit.
"There's a demand out there for quality genre films, and we intend to meet that demand by embracing the Bogart legacy. As you’ll see with This Last Lonely Place, this means a focus on old Hollywood storytelling, great acting, and new Hollywood fundraising and marketing."
"Who is this Veronica Mars chick and why is she all over Twitter?"
It's a question that must have struck many Internet-savvy folks after Wednesday's Kickstarter project to raise money for the former UPN/CW crime drama's followup film took over social media. But Rob Thomas' Veronica Mars isn't just "some chick" all over Twitter, the teen series is an important piece of television history, and one whose light was snuffed out far too soon after being cherished by too few TV fans back in 2007. To put it simply, Veronica Mars is wildly significant, whether or not you were lucky enough to experience its magnificence.
RELATED: 'Veronica Mars' Movie Already Getting Backlash
I get it. Not everyone was glued to UPN on Wednesday nights, clamoring to see what bad assery Veronica (the impossibly loveable Kristen Bell) would pull this week to solve the next piece of a season-long mystery. If they were, we'd probably still be following Mars through her post-collegiate sleuthing adventures. The San Diego-based teen sleuth wasn't your cheesy caricature of a young detective, like some schlocky version of Harriet the Spy hits puberty. She was a complex, dark character who towed the line between the dark recesses of gang life and petty crime worlds and the equally dark realm of high school, and one who did so with all the pithy charm of Lauren Graham's Loreli Gilmore. In a landscape of teen dramas where the biggest problems were parents' rules and moody boyfriends, Veronica Mars gave us a series about high school that didn't talk down to us, that trusted its young audience with a truer, gritty depiction of the hell that is teen life.
Veronica Mars: Feminist Hero?
It wasn't just the realm of high school drama on television that got a boost from Veronica Mars. The realm of pop culture heroines got a bit of a payout from her entry into the television lexicon too. True, Veronica had her share of boyfriends - including rich boy with a heart of gold Duncan Kane (Teddy Dunn), rich boy with a penchant for bad behavior Logan Echolls (Jason Dohring), and for a short time the persistent young cop Leo D'Amato (Max Greenfield) — but even when that romantic drama was drawing us in (and leaving us gasping in terror when the final episode ever left the Veronica-Logan question unresolved), Mars' true draw was her wit, wisdom, fearlessness, and intelligience. Veronica really could do anything, and not because of some super power or element of uncanny access (if anything she had a lack of access as she and her private eye father lived in a cheesy San Diego apartment building on the wrong side of the tracks), but because of her lightning-fast brain and street smarts.
RELATED: Why Isn't There a Female James Bond?
Veronica is a character who solves the age-old problem of a strong lady sleuth overwhelmed by elements that undermine her abilities in many of the same ways Buffy Summers' vampire aggression did for teens in the horror genre. Even Alias' Sydney Bristow (Jennifer Garner) occasionally fell prey to the sexy femme fatale element of sleuthing that Bell's character manages to sidestep. Yes, Veronica was a sexually active character, but she is truthful to the truth of the teenage experience without wearing her sexuality on her sleeve. Her clothing of choice was a light jacket over a t-shirt and jeans, leather boots and her ever-present messenger bag. Even while her high school cohorts were tempting boys with short skirts and low-cut tops, Veronica was all business. At the end of the day, she was more concerned with helping her school mates and finding the truth than wearing the right clothes to attract some drooling dolt (one of whom was played to perfection on the series by the ever-present Ryan Hanson).
It's an element that allowed Veronica, who was very much a high school student, to feel relevant to more than just teen audiences. The gritty reality of Veronica's character was something that could appeal to viewers from every demographic, even if the cheesy promos didn't do their best to draw those folks in.
Is that Veronica, or Phillip Marlowe?
One thing that drives careful TV viewers crazy is a mystery for the sake of a mystery. With the sheer number of crime shows on television, it's impossible not to be a whiz at solving a CSI or Law & Order mystery halfway through the episode (or if you're really good, five minutes into each episode). The beauty of the season-long and one-off mysteries on Veronica Mars is that they truly were mysteries and oddities. The answers were never predictable, but without the big reveal dropping in like the world's most obnoxious red herring. Mysteries on Veronica Mars didn't carry the schlocky feel that the word itself seems to contain; they felt real and immediate and most importantly, there was never a moment in which Veronica's journey ever felt safe. At any moment, our spunky blonde pixie could find herself in a world of hurt at the hands of Irish gangsters, weathly crooks, or even serial campus rapists. Veronica's uncovering of the truth never stopped short of the uncomfortable reality of her education-adjacent profession, the series consistently presented a more truthful reality for Veronica's chosen life.
Critics and even horror writer Stephen King compared the critically acclaimed series to beloved mystery writer Raymond Chandler and Thomas' teen sleuth to Chandler's hero Phillip Marlowe (famously portrayed by Humphrey Bogart in The Big Sleep). For any work of fiction aimed at mystery-solving, this is just about the highest compliment anyone could pay.
Sure, it could be argued that a hell of a lot trouble came upon this teenager, but much like Walter White asks for every bit of drug world drama he finds himself in, Veronica relentlessly goes looking for deeper, darker, and more dangerous mysteries. Also, her father is a P.I., so it's kind of her God-given mode of operation.
Most Importantly: It's Fun
Ideas of feminist progression and the high-minded praise of the series' eye for mystery aside, Veronica Mars is simply the best kind of entertainment: the fun kind. It combined the entertaining class-warfare of Fox's The O.C. with Chandler-level mystery and quippy dialogue that would make Amy Sherman-Pallidino (Gilmore Girls, Bunheads) proud. The audience draws were stacked, so much so that I still can't understand why more viewers weren't tuning into the impeccably-written drama.
Veronica's cohorts including her father (Enrico Colantoni), her best friends (Percy Daggs III and Tina Majorino), her nemeses (Ken Marino, Steve Gutenberg - yes, really - and Michael Muhney), and even guest stars (including Greenfield, Jessica Chastain, Amanda Seyfried, Krysten Ritter, and Dianna Agron, to name a few) were all fantastically complex characters too with their own mysterious backstories and skeletons in their respective closets. And some of them, namely Daggs, Marino, and Greenfield, were almost as hilariously witty as Veronica herself.
RELATED: How to Make the 'Veronica Mars' Movie Happen
Naturally, when this fantastic, teenage-experience-defining series ended abruptly with a cliffhanger and no hope of future resolution aside from a disappointing faux-trailer on the final season's DVD that teased Veronica heading off to join the FBI, fans were left writhing in withdrawal. If you can't understand the fervor from a place of experience, we understand, many a Veronica Mars fan was lonely in their praise of the short-lived series. But hopefully, with a little context, the outpouring of joy all over the Internet after the Veronica Mars movie met its $1 million goal in just a day finally makes sense. And if we (and Warner Bros.) are lucky, it just might give you the push to accept Veronica Mars, the incomperable spitfire, into your life too.
Of course, if all this pontificating isn't enough to convince you, you could always enjoy this compilation of great Veronica moments, complete with the full Dandy Warhols-provided theme song and everything:
Follow Kelsea on Twitter @KelseaStahler
[Photo Credit: The CW]
You Might Also Like:Topanga's Revealing Lingerie Shoot: Hello '90s! Stars Who Have Lost Roles For Being Too Hot (Celebuzz)
The only thing more feared on Valentine's Day than receiving a Whitman's sampler from your significant other which they clearly picked up from CVS on the way home, is being on the receiving end of of some truly awful pick-up lines from some creepy lonely heart. While some opt to say sweet nothings on candy hearts, some brave souls often test the waters with lines that can range from cheesy and embarrassing to sexy and flattering.
That's because pick-up lines are, in the end, all about the pick-up artist. Would Ryan Gosling's cocky come-ons in Crazy Stupid Love have worked if they hadn't been coming out of that mug? How about Meg Ryan's request to "Take me to bed or lose me forever" in Top Gun?
RELATED: 6 TV-Inspired Valentine's Cards
But, even if you don't have Gosling-like looks (who among us mere mortals does?) it's all about the confidence. Case in point: Joey Tribbiani's (Matt LeBlanc) patented "How YOU doin'?" on Friends. The line isn't much, but it's all in the delivery. So, don't fear the pick-up lines on Valentine's Day, just take a cue from some of the best ones from television and movies. (And avoid the others we list at all costs). Check out our Best and Worst Pop Culture come-ons and pick-up lines below. Oh, and, how you doin'?
RELATED: 20 Hot (and Horrifying) Movie Sex Scenes
- "How YOU doin'?" Joey (Matt LeBlanc) on Friends
-"You should be kissed and often, and by someone who knows how." - Rhett Butler (Clark Gable) in Gone with the Wind
- “You make me want to be a better man.” - Melvin (Jack Nicholson) in As Good As It Gets
- "Haaaaave you met me?" Barney (Neil Patrick Harris) on How I Met Your Mother
- "I like you, very much. Just as you are."- Mark Darcy (Colin Firth) in Bridget Jones' Diary
- "Here's looking at you, kid" - Rick (Humphrey Bogart) in Casablanca
- "Mind if I get drunk with you?" - Dennis (Clark Gable) in Red Dust
Any of the following by Jacob (Ryan Gosling) in Crazy Stupid Love:
- "Suck me, beautiful" - Oz (Chris Klein) in American Pie
- "You should do something with that sourpuss, you're very beautiful" - Pete (Vincent Kartheiser) on Mad Men
- "My name is George. I'm unemployed, and I live with my parents." - George (Jason Alexander) on Seinfeld
- "I would like to extend to you an invitation to the pants party.” - Brick (Steve Carell) in Anchorman
- "Girl, you're more precious than Precious."- Tom (Aziz Ansari) in Parks and Recreation
- "Wanna play a game? You can be Little Red Riding Hood and I’ll be the Big Bad Wolf." - Jacob (Taylor Lautner) in Twilight
So bad and INCREDIBLY NSFW we can't even write it:
Proceed With Caution:
“Your eyes are amazing, do you know that? You should never shut them, not even at night.” - Paul (Olivier Martinez) in Unfaithful
[Photo credit: NBC]
There is something particularly unnerving about demon possession. It's the idea of something you can't see or control creeping into your body and taking up residence eventually obliterating all you once were and turning you into nothing more than a sack of meat to be manipulated. Then there's also the shrouded ritual around exorcisms: the Latin chants the flesh-sizzling crucifixes and the burning Holy Water. As it turns out exorcism isn't just the domain of Catholics.
The myths and legends of the Jews aren't nearly as well known but their creepy dybbuk goes toe-to-toe with anything other world religions come up with. There are various interpretations of what a dybbuk is or where it comes from — is it a ghost a demon a soul of a sinner? — but in any case it's looking for a body to hang out in for a while. Especially according to the solemn Hasidic Jews in The Possession an innocent young person and even better a young girl.
The central idea in The Possession is that a fancy-looking wooden box bought at a garage sale was specifically created to house a dybbuk that was tormenting its previous owner. Unfortunately it caught the eye of young Emily (Natasha Calis) a sensitive artistic girl who persuades her freshly divorced dad Clyde (Jeffrey Dean Morgan of Watchmen and Grey's Anatomy) to buy it for her. Never mind the odd carvings on it — that would be Hebrew — or how it's created without seams so it would be difficult to open or why it's an object of fascination for a young girl; Clyde is trying really hard to please his disaffected daughters and do the typical freshly divorced parent dance of trying to please them no matter the cost.
Soon enough the creepy voices calling to Emily from the box convince her to open it up; inside are even creepier personal objects that are just harbingers of what's to come for her her older sister Hannah (Madison Davenport) her mom Stephanie (Kyra Sedgwick) and even Stephanie's annoying new boyfriend Brett (Grant Show). Clyde and Stephanie squabble over things like pizza for dinner and try to convince each other and themselves that Emily's increasingly odd behavior is that of a troubled adolescent. It's not of course and eventually Clyde enlists the help of the son of a Hasidic rabbi a young man named Tzadok played by the former Hasidic reggae musician Matisyahu to help them perform an exorcism on Emily.
The Possession is not going to join the ranks of The Exorcist in the horror pantheon but it does do a remarkable job of making its characters intelligent and even occasionally droll and it offers up plenty of chills despite a PG-13 rating. Perhaps it's because of that rating that The Possession is so effective; the filmmakers are forced to make the benign scary. Giant moths and flying Torahs take the place of little Reagan violently masturbating with a crucifix in The Exorcist. Gagging and binging on food is also an indicator of Emily's possession — an interesting twist given the anxieties of becoming a woman a girl Emily's age would face. There is something inside her controlling her and she knows it and she is fighting it. The most impressive part of Calis's performance is how she communicates Emily's torment with a few simple tears rolling down her face as the dybbuk's control grows. The camerawork adds to the anxiety; one particularly scary scene uses ordinary glass kitchenware to great effect.
The Possession is a short 92 minutes and it does dawdle in places. It seems as though some of the scenes were juggled around to make the PG-13 cut; the moth infestation scene would have made more sense later in the movie. Some of the problems are solved too quickly or simply and yet it also takes a while for Clyde's character to get with it. Stephanie is a fairly bland character; she makes jewelry and yells at Clyde for not being present in their marriage a lot and then there's a thing with a restraining order that's pretty silly. Emily is occasionally dressed up like your typical horror movie spooky girl with shadowed eyes an over-powdered face and dark clothes; it's much more disturbing when she just looks like an ordinary though ill young girl. The scenes in the heavily Hasidic neighborhood in Brooklyn look oddly fake and while it's hard to think of who else could have played Tzadok an observant Hasidic Jew who is also an outsider willing to take risks the others will not Matisyahu is not a very good actor. Still the filmmakers should be commended for authenticity insofar as Matisyahu has studied and lived as a Hasidic Jew.
It would be cool if Lionsgate and Ghost House Pictures were to release the R-rated version of the movie on DVD. What the filmmakers have done within the confines of a PG-13 rating is creepy enough to make me curious to see the more adult version. The Possession is no horror superstar and its name is all too forgettable in a summer full of long-gestating horror movies quickly pushed out the door. It's entertaining enough and could even find a broader audience on DVD. Jeffrey Dean Morgan can read the Old Testament to me any time.
No, you won't be hosting a Writers' Guild Awards night in your swanky Soho loft or participating in the office pool to see who wins, but the WGA awards are a measure of the success that often goes unnoticed: writing. It's the backbone of any great series or episode and while it's not exciting, it's always wonderful to see great shows get some of the recognition they so greatly deserve. This year's nominees include many of my personal favorites like Homeland, Louie and Parks and Recreation, so don't mind me while I smile proudly and do a mini-fist pump for each nominee.
From the WGA:
Boardwalk Empire, Written by Bathsheba Doran, Dave Flebotte, Howard Korder, Steve Kornacki, Itamar Moses, Margaret Nagle, Terence Winter; HBO
Breaking Bad, Written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett; AMC
Game of Thrones, Written by David Benioff, Bryan Cogman, Jane Espenson, George R.R. Martin, D.B. Weiss; HBO
The Good Wife, Written by Courtney Kemp Agboh, Meredith Averill, Corinne Brinkerhoff, Leonard Dick, Keith Eisner, Karen Hall, Ted Humphrey, Michelle King, Robert King, Steve Lichtman, Matthew Montoya, Julia Wolfe; CBS
Homeland, Written by Henry Bromell, Alexander Cary, Alex Gansa, Howard Gordon, Chip Johannessen, Gideon Raff, Meredith Stiehm; Showtime
30 Rock, Written by Jack Burditt, Hannibal Buress, Kay Cannon, Robert Carlock, Tom Ceraulo, Vali Chandrasekaran, Tina Fey, Jon Haller, Matt Hubbard, Colleen McGuinness, Dylan Morgan, John Riggi, Josh Siegal, Ron Weiner, Tracey Wigfield; NBC
Curb Your Enthusiasm, Written by Alec Berg, Larry David, David Mandel, Jeff Schaffer; HBO
Louie, Written by Pamela Adlon, Louis C.K.; FX
Modern Family, Written by Paul Corrigan, Abraham Higginbotham, Ben Karlin, Elaine Ko, Carol Leifer, Steven Levitan, Christopher Lloyd, Dan O’Shannon, Jeffrey Richman, Brad Walsh, Ilana Wernick, Bill Wrubel, Danny Zuker; ABC
Parks & Recreation, Written by Greg Daniels, Katie Dippold, Daniel J. Goor, Norm Hiscock, Emily Kapnek, Dave King, Greg Levine, Aisha Muharrar, Chelsea Peretti, Amy Poehler, Brian Rowe, Michael Schur, Mike Scully, Emily Spivey, Alan Yang, Harris Wittels; NBC
Episodes, Written by David Crane, Jeffrey Klarik; Showtime
Game of Thrones, Written by David Benioff, Bryan Cogman, Jane Espenson, George R.R. Martin, D.B. Weiss; HBO
Homeland, Written by Henry Bromell, Alexander Cary, Alex Gansa, Howard Gordon, Chip Johannessen, Gideon Raff, Meredith Stiehm; Showtime
The Killing, Written by Linda Burstyn, Jeremy Doner, Soo Hugh, Dan Nowak, Nic Pizzolatto, Dawn Prestwich, Veena Sud, Nicole Yorkin, Aaron Zelman; AMC
New Girl, Written by Nick Adams, Rachel Axler, Brett Baer, Donick Cary, Dave Finkel, Berkley Johnson, Josh Malmuth, Elizabeth Meriwether, J.J. Philbin, Joe Port, Luvh Rakhe, Joe Wiseman; Fox
“A Dangerous Maid” (Boardwalk Empire), Written by Itamar Moses; HBO
“The Age of Reason” (Boardwalk Empire), Written by Bathsheba Doran; HBO
“Box Cutter” (Breaking Bad), Written by Vince Gilligan; AMC
“End Times” (Breaking Bad), Written by Thomas Schnauz & Moira Walley-Beckett; AMC
“The Good Soldier” (Homeland), Written by Henry Bromell; Showtime
“Just Let Go” (Dexter), Written by Jace Richdale; Showtime
“Caught in the Act” (Modern Family), Written by Steven Levitan & Jeffrey Richman; ABC
“Goodbye Michael, Part 2” (The Office), Written by Greg Daniels; NBC
“Mother’s Day” (Modern Family), Written by Dan O’Shannon & Ilana Wernick; ABC
“Object Impermanence” (Weeds), Written by Stephen Falk; Showtime
“PDA” (The Office), Written by Robert Padnick; NBC
“Queen of Jordan” (30 Rock), Written by Tracey Wigfield; NBC
For the full list, click here.
BEVERLY HILLS, Calif., March 19, 2000 - Rene Russo, the actress, didn't win any awards for her head-turning performance in "The Thomas Crown Affair." But tonight here at the Beverly Hilton, Rene Russo, the haircut, did. Welcome to the first-ever Hollywood Makeup Artist and Hair Stylist Guild Awards, where the above-the-title stars take back seats to behind-the-scenes primping professionals.
Yes, it was the beauty folks' turn to make Oscar-like acceptance speeches and bask in the praise of thankful A-list celebrities who they've made look good, "day after day, year after year, facelift after facelift," as host Rita Rudner drolly put it.
"It's the American dream that I've heard so much about. It's happening to me right now," hair stylist Enzo Angileri said, accepting the so-called Georgie award for doing Russo's do in "Thomas Crown," named best contemporary hairstyling work.
Decades ago, hair and make-up people were treated like celebrities themselves. But the list of big names attending the awards ceremony showed that, while movie and TV beauticians may no longer make it into the gossip columns, they nonetheless are held in high esteem by those who do.
"It's an art form," said actor Billy Bob Thornton, an award presenter. As if to prove that point, Thornton showed up in full make-up (complete with oily gray hair) and costume (a Slim Whitman-meets-Colonel Sanders outfit) from "Waking Up In Reno," a film he's now shooting, in which he plays an aging country singer.
"A lot of people don't realize how much time we spend in make-up, how many hours we spend being literally transformed by these artists," he said.
Other name brands handing trophies included: Holly Hunter, Brendan Fraser (greeted by cat-calls from the audience), Ellen Burstyn, Mimi Rogers, and cast members from TV shows like "That 70's Show," "Freaks and Geeks," and "Providence." Before the event, crowds of fans and electronic lined the Beverly Hilton lobby as the stars rolled in.
Tony Curtis presented the lifetime achievement award to makeup artist Monty Westmore, who recently retired after a 50-plus-year career that included more than 100 films, ranging from "The Treasure of Sierra Madre" with Humphrey Bogart to the forthcoming "How the Grinch Stole Christmas" with Jim Carrey.
Unlike the Oscars, which have been plagued by mishaps this year despite 72 years of experience, the Georgies basically survived their first go-round with almost no problems. Ballots were mailed out to the 1,100 members of the International Alliance of Theatrical Stage Employees Local 706, who voted on the 17 different award categories. And the golden statuettes, which look vaguely Oscar-like, didn't disappear en route to the event.
But note the phrase: Almost no problems. Amid the celebration, two important items were missing: The champagne and sunglasses. The champagne ordered for the ceremonies never arrived, and was believed to have been delivered to another hotel. And the Calvin Klein shades that were to be supplied by the designer label and given out to the presenters, also were no-shows.
When informed of this caper, actress Christina Applegate (of "Jesse" fame) was understandably dejected.
"Was I supposed to get some glasses?" Applegate said. "Darn."
Here's a complete look at the night's winners:
Best Contemporary Makeup (Feature) Toni G and Will Huff "The General's Daughter."
Best Period Makeup (Feature) Leonard Engleman, "Tea With Mussolini."
Best Character Makeup (Feature) Kevin Yagher, Peter Owen, Elizabeth Tag and Paul Gooch, "Sleepy Hollow."
Best Effects Makeup (Feature) Greg Cannom and Wesley Wofford, "Bicentennial Man."
Best Contemporary Hair Styling (Feature) Enzo Angileri "The Thomas Crown Affair."
Best Period Hair Styling (Feature) Vivian McAteer, for Cher in "Tea With Mussolini." Television TELEVISION
Best Contemporary Makeup (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) James MacKinnon and Stephanie Fowler, "Thank You Providence," "Providence."
Best Period Makeup (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Cheri Montesanto-Medcalf, Kevin Westmore and LaVerne Basham, "Triangle," "The X-Files."
Best Character Makeup (Television) Jennifer Aspinall, Felicia Linsky and Ed French, Episode #507, "Mad TV."
Best Makeup Effects (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Kenny Myers, Todd A. McIntosh, Robin Beauxchesne, Douglas Noe, and Brigette Myre-Ellis, "Living Conditions," "Buffy The Vampire Slayer."
Best Period Makeup (For a Mini-Series or Movie of the Week) Sue Cabel, Matthew Mungle and Joe Hailey, "And The Beat Goes On: The Sonny and Cher Story."
Best Character Makeup (For a Mini-Series or Movie of the Week) Douglas Noe, for Cicely Tyson in "A Lesson Before Dying."
Best Contemporary Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Darrell Fielder, Jonathan Hanousak and Joy Zapata, "The Final Frontier," "Mad About You."
Best Period Hair Styling (For a Single Episode of a Regular Series -- Sitcom, Drama or Daytime) Gabriella Pollino, Deborah Piper, Valerie Scott and Cindy Costello, "Prom Night," "That 70's Show."
Best Character Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Josee Normand, Charlotte Parker and Gloria Montemeyor, "Bride of Chaotica," "Star Trek Voyager."
Best Innovative Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Josee Normand, Charlotte Parker and Gloria Montemeyor, "Dragon's Teeth," "Star Trek Voyager."
Best Period Hair Styling (For a Mini-Series or Movie of the Week) Marlene Williams and Tim Jones "And The Beat Goes On: The Sonny & Cher Story."