Warner Bros. Pictures via Everett Collection
With only a week and change having passed since the release of The Amazing Spider-Man 2, we no doubt feel the question living fresh in our minds: can we ever judge a remake without considering its predecessors? The conversation about the stark contrast in critical favor between Marc Webb's release and Sam Raimi's trilogy (the second installment of his franchise in particular) buzzed loudly, and we imagine the volume will keep in regards to Gareth Edwards' Godzilla. But it'll be a different sound altogether.
The original Godzilla, a Japanese film released in 1954, reinvented the identity of the monster movie, launched a 30-film legacy, and spoke legions about the political climate of its era. The most recent of these films — Roland Emmerich's 1998 American production — is universally bemoaned as a bigger disaster than anything to befall Tokyo at the hands of the giant reptile. With these two entries likely standing out as the most prominent in the minds of contemporary audiences, Edwards' Godzilla has some long shadows cast before it. And in approaching the new movie, one might not be able to avoid comparisons to either. It's fair — by taking on an existing property, a filmmaker knowingly takes on the connotations of that property. But the 2014 installment's great success is that it isn't much like any Godzilla movie we've seen before. In a great, great way.
This isn't 1954's Godzilla, a dire and occasionally dreary allegory that uses the supernatural to tell an important story about nuclear holocaust. A complete reversal, in fact, first and foremost Edwards' Godzilla is about its monsters. Any grand themes strewn throughout — the perseverence of nature, the follies of mankind, fatherhood, madness, faith — are all in service to the very simple mission to give us some cool, weighty, articulate sci-fi disaster. Elements of gravity are plotted all over the film's surface, with scientists, military men (kudos to Edwards for not going the typical "scientists = good/smart, military = bad/dumb" route in this film — everybody here is at least open to suggestion), doctors, police officers, and a compassionate bus driver all wrestling with options in the face of behemoth danger. The humanity is everpresent, but never especially intrusive. To reiterate, this isn't a film about any of these people, or what they do.
Warner Bros. Pictures via Everett Collection
The closest thing to a helping of thematic (or human) significance comes with Ken Watanabe's Dr. Serizawa, who spouts awe-stricken maxims about cryptozoology, the Earth, and the inevitable powerlessness of man. He might not be supplying anything more substantial than our central heroes (soft-hearted soldier Aaron Taylor-Johnson, dutiful medic and mom Elizabeth Olsen, right-all-along conspiracy theorist Bryan Cranston), but Watanabe's bonkers performance as the harried scientist is so bizarrely good that you might actually believe, for a scene or two, that it all does mean something.
Ultimately, the beauty of our latest taste of Godzilla lies not in the commitment to a message that made the original so important nor in the commitment to levity that made Emmerich's so pointless, but in its commitment to imagination. Edwards' creature design is dazzling, his deus ex machina are riveting, and the ultimate payoff to which he treats his audience is the sort of gangbusters crowd-pleaser that your average contemporary monster movie is too afraid to consider.
In fairness, this year's Godzilla might not be considered an adequate remake, not quite reciprocating the ideals, tone, or importance of the original. Sure, anyone looking for a 2014 answer to 1954's game-changing paragon will find sincere philosophy traded for pulsing adventure... but they'd have a hard time ignoring the emphatic charm of this new lens for the 60-year-old lizard, both a highly original composition and a tribute in its way to the very history of monster movies (a history that owes so much to the creature in question). So does Godzilla '14 successfully fill the shoes of Godzilla '54? No — it rips them apart and dons a totally new pair... though it still has a lot of nice things to say about the first kicks.
Oh, and the '98 Godzilla? Yeah, it's better than that.
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The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
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47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
Forget actors for once. Sunday night marked the night of awards season when we got to focus on the best musical artists of the year. That's right — it was the 55th annual Grammy Awards! And it was one hell of a show. From Adele to Mumford & Sons to Frank Ocean, the best of the best in the industry walked away with awards.
Check out the full list of winners below!
RELATED: Kim Kashkashian Wins A Grammy?!
Winners Announced Live:
1. Best Pop Solo Performance: "Set Fire To The Rain [Live]," Track from: Live At The Royal Albert Hall, Adele
2. Best Country Solo Performance: "Blown Away," Track from: Blown Away, Carrie Underwood
3. Song Of The Year: "We Are Young," Track from: Some Nights, Jack Antonoff, Jeff Bhasker, Andrew Dost, and Nate Ruess, songwriters (Fun. Featuring Janelle Monáe)
4. Best Urban Contemporary Album: Channel Orange, Frank Ocean
5. Best Rock Performance: "Lonely Boy," Track from: El Camino, The Black Keys
6. Best Pop Vocal Album: Stronger, Kelly Clarkson
7. Best Rap/Sung Collabortion: "No Church In The Wild," Track from: Watch The Throne, Jay-Z and Kanye West Featuring Frank Ocean and The-Dream
8. Best Country Album: Uncaged, Zac Brown Band
9. Best New Artist: fun.
10. Record Of The Year: "Somebody That I Used To Know," Track from: Making Mirrors, Gotye Featuring Kimbra
11. Album Of The Year: Babel, Mumford & Sons
1. Best Pop Duo/Group Performance: Gotye Featuring Kimbra, Track from: Making Mirrors
2. Best Pop Instrumental Album: Impressions, Chris Botti
3. Best Dance Recording: "Bangarang," Track from: Bangarang, Skrillrex Featuring Sirah
4. Best Dance/Electric Album: Bangarang, Skrillex
5. Best Traditional Pop Vocal Album: Kisses On The Bottom, Paul McCartney
6. Best Hard Rock/Metal Performance: "Love Bites (So Do I)," Track from: The Strange Case Of..., Halestorm
7. Best Rock Song: "Lonely Boy," Track from: El Camino, Dan Auerbach, Brian Burton, and Patrick Carney, songwriters (The Black Keys)
8. Best Rock Album: El Camino, The Black Keys
9. Best Alternative Music Album: Making Mirrors, Gotye
10. Best R&B Performance: "Climax," Track from: Looking 4 Myself, Usher
11. Best Traditional R&B Performance: "Love On Top," Track from: 4, Beyonce
12. Best R&B Song: "Adorn," Miguel Pimentel
13. Best R&B Album: Black Radio, Robert Glasper Experiment
14. Best Rap Performance: "N****s In Paris," Track from: Watch The Throne, Jay-Z and Kanye West
15. Best Rap Song: "N****s In Paris," Track from: Watch The Throne, Shawn Carter, Mike Dean, Chauncey Hollis, and Kanye West, songwriters (W.A. Donaldson, songwriter) (Jay-Z & Kanye West)
16. Best Rap Album: Take Care, Drake
17. Best Country Duo/Group Performance: "Pontoon," Little Big Town
18. Best Country Song: "Blown Away," Blown Away, Josh Kear and Chris Tompkins, songwriters (Carrie Underwood)
19. Best New Age Album: Echoes Of Love, Omar Akram
20. Best Improvised Jazz Solo: "Hot House," Track from: Hot House, Gary Burton and Chick Corea
21. Best Jazz Vocal Album: Radio Music Society, Esperanza Spalding
22. Best Jazz Instrumental Album: Unity Band, Pat Metheny Unity Band
23. Best Large Jazz Ensemble Album: Dear Diz (Everyday I Think Of You), Arturo Sandoval
24. Best Latin Jazz Album: ¡Ritmo!, The Clare Fischer Latin Jazz Big Band
25. Best Gospel/Contemporary Christian Music Performance: "10,000 Reasons (Bless The Lord," Track from: 10,000 Reasons, Matt Redman
26. Best Gospel Song: "Go Get It," Erica Campbell, Tina Campbell, and Warryn Campbell, songwriters (Mary Mary)
27. Best Contemporary Christian Music Song: "10,000 Reasons (Bless The Lord)," Track from: 10,000 Reasons, Jonas Myrin and Matt Redman, songwriters (Matt Redman)
28. Best Gospel Album: Gravity, Lecrae
29. Best Contemporary Christian Music Album: Eye On It, TobyMac
30. Best Latin Pop Album: MTV Unplugged Deluxe Edition, Juanes
31. Best Latin Album, Urban Or Alternative Album: Imaginaries, Quetzal
32. Best Regional Mexican Music Album (Including Tejano): Pecados Y Milagros, Lila Downs
33. Best Tropical Latin Album: Retro, Marlow Rosado Y La Riquena
34. Best Americana Album: Slipstream, Bonnie Raitt
35. Best Bluegrass Album: Nobody Knows You, Steep Canyon Rangers
36. Best Blues Album: Locked Down, Dr. John
37. Best Folk Album: The Goat Rodeo Sessions, Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile
38. Best Regional Roots Music Album: The Band Courtbouillon, Wayne Toups, Steve Riley, and Wilson Savoy
39. Best Reggae Album: Rebirth, Jimmy Cliff
40. Best World Music Album: The Living Room Sessions Part 1, Ravi Shankar
41. Best Children's Album: Can You Canoe?, The Okee Dokee Brothers
42. Best Spoken World Album: Society's Child: My Autobiography, Janis Ian
43. Best Comedy Album: Blow Your Pants Off, Jimmy Fallon
44. Best Musical Theater Album: Once: A New Musical, Steve Kazee and Cristin Milioti, principal soloists; Steven Epstein and Martin Lowe, producers (Glen Hansard and Marketa Irglova, composers/lyricists) (Original Broadway Cast With Steve Kazee, Cristin Milioti, and Others)
45. Best Compilation Soundtrack For Visual Media: Midnight In Paris, Various Artists
46. Best Score Soundtrack For Visual Media: The Girl With The Dragon Tattoo, Trent Reznor & Atticus Ross, composers
47. Best Song Written For Visual Media: Safe & Sound (From The Hunger Games), T Bone Burnett, Taylor Swift, John Paul White, and Joy Williams, songwriters (Taylor Swift Featuring The Civil Wars)
48. Best Instrumental Composition: "Mozart Goes Dancing," Track from: Hot House, Chick Corea
49. Best Instrumental Arrangement: "How About You," Track from: Centennial - Newly Discovered Works Of Gil Evans, Gil Evans, arranger (Gil Evans Project)
50. Best Instrumental Arrangement Accompanying Vocalist(s): "City Of Roses," Track from: Radio Music Society, Thara Memory and Esperanza Spalding, arrangers (Esperanza Spalding)
51. Best Recording Package: Biophilia, Michael Amzalag and Mathias Augustyniak, art directors (Björk)
52. Best Boxed Or Special Limited Edition Package: Woody At 100: The Woody Guthrie Centennial Collection, Fritz Klaetke, art director (Woody Guthrie)
53. Best Album Notes: Singular Genius: The Complete ABC Singles, Billy Vera, album notes writer (Ray Charles)
54. Best Historical Album: The Smile Sessions (Deluxe Box Set), Alan Boyd, Mark Linett, Brian Wilson, and Dennis Wolfe, compilation producers; Mark Linett, mastering engineer (The Beach Boys)
55. Best Engineered Album, Non-Classical: The Goat Rodeo Sessions, Richard King, engineer; Richard King, mastering engineer (Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile)
56. Producer Of The Year, Non-Classical: Dan Auerbach, El Camino (The Black Keys), Locked Down (Dr. John), Savage (Hacienda), Shakedown (Hacienda)
57. Best Remixed Recording, Non-Classical: "Promises (Skrillex & Nero Remix)," Skrillex, remixer (Nero), Joseph Ray, Skrillex, and Daniel Stephens, remixers
58. Best Surround Soung Album: Modern Cool, Jim Anderson, surround mix engineer; Darcy Proper, surround mastering engineer; Michael Friedman, surround producer (Patricia Barber)
59. Best Engineered Album, Classical: Life & Breath - Choral Works By René Clausen, Tom Caulfield and John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy and Kansas City Chorale)
60. Producer Of The Year: Blanton Alspaugh, Chamber Symphonies (Gregory Wolynec & Gateway Chamber Orchestra), Davis: Río De Sangre (Joseph Rescigno, Vale Rideout, Ava Pine, John Duykers, Kerry Walsh, Guido LeBron, The Florentine Opera Company & Milwaukee Symphony Orchestra), Gjeilo: Northern Lights (Charles Bruffy & Phoenix Chorale), In Paradisum (Brian A. Schmidt & South Dakota Chorale), Life & Breath - Choral Works By René Clausen (Charles Bruffy & Kansas City Chorale), Music For A Time Of War (Carlos Kalmar & The Oregon Symphony, Musto: The Inspector (Glen Cortese & Wolf Trap Opera Company)
61. Best Orchestral Performance: "Adams: Harmonielehre & Short Ride In A Fast Machine," Michael Tilson Thomas, conductor (San Francisco Symphony)
62. Best Opera Recording: "Wagner: Der Ring Des Nibelungen," James Levine and Fabio Luisi, conductors; Hans-Peter König, Jay Hunter Morris, Bryn Terfel and Deborah Voigt; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
63. Best Choral Performance: "Life & Breath - Choral Works By René Clausen," Charles Bruffy, conductor (Matthew Gladden, Lindsey Lang, Rebecca Lloyd, Sarah Tannehill, and Pamela Williamson; Kansas City Chorale)
64. Best Chamber Music/Small Ensemble Performance: "Meanwhile," Eighth Blackbird
65. Best Classical Instrumental Solo: "Kurtág & Ligeti: Music For Viola," Kim Kashkashian
66. Best Classical Vocal Solo: "Poèmes," Renée Fleming (Alan Gilbert and Seiji Ozawa; Orchestre National De France & Orchestre Philharmonique De Radio France)
67. Best Classical Compendium: "Penderecki: Fonogrammi; Horn Concerto; Partita; The Awakening Of Jacob; Anaklasis," Antoni Wit, conductor; Aleksandra Nagórko and Andrzej Sasin, producers
68. Best Contemporary Classical Composition: "Hartke, Stephen: Meanwhile - Incidental Music To Imaginary Puppet Plays," Track from: Meanwhile, Stephen Hartke, composer (Eighth Blackbird)
69. Best Short Form Music Video: "We Found Love," Rihanna Featuring Calvin Harris
70. Best Long Form Music Video: "Big Easy Express," Mumford & Sons
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[Photo Credit: Kevork Djansezian/Getty Images]
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The Writers Guild of America, west and East announced nominations for outstanding achievement in writing for the screen, television and radio during the 2003 season.
Nominees in the original category went to independent art-house films, including Gurinder Chadha, Paul Mayeda Berges and Guljit Bindra for Fox Searchlight's Bend It Like Beckham; Steven Knight for Miramax's Dirty Pretty Things; and Tom McCarthy for Miramax's The Station Agent.
Nominees for the adapted category went mostly high-profile releases, including Anthony Minghella for Miramax's Cold Mountain; Frances Walsh & Philippa Boyens & Peter Jackson for New Line's The Lord of the Rings: The Return of the King; and Gary Ross for Universal's Seabiscuit.
WGA noms are closely tracked as an indicator of Academy Awards sentiment. Guild winners in the original screenplay category have matched Oscar choices in 11 years over the past 21 while the WGA adapted screenplay award has matched with the Oscar winner in 14 years during the same period.
The films eligible for Writers Guild Awards were released in the year 2003 under the jurisdiction of Writers Guild of America, East and west and affiliate guilds in Australia, Canada, French Canada, Great Britain, Ireland, and New Zealand.
In television, the nominated scripts were originally broadcast between December 1, 2002, and November 30, 2003.
The winners will be announced Saturday, February 21, 2004, at the 56th Annual Writers Guild Awards ceremonies on both coasts.
The Writers Guild of America, west ceremonies will be held in Los Angeles at the Century Plaza Hotel, and the Writers Guild of America, East ceremonies will be held in New York at The Pierre Hotel.
BEND IT LIKE BECKHAM, Written by Gurinder Chadha and Paul Mayeda Berges and Guljit Bindra, Fox Searchlight Pictures
DIRTY PRETTY THINGS, Written by Steven Knight, Miramax Films
IN AMERICA, Written by Jim Sheridan & Naomi Sheridan & Kirsten Sheridan, Fox Searchlight Pictures
LOST IN TRANSLATION, Written by Sofia Coppola, Focus Features
THE STATION AGENT, Written by Tom McCarthy, Miramax Films
AMERICAN SPLENDOR, Written by Robert Pulcini & Shari Springer Berman, Based on the Comic Book Series by Harvey Pekar and the Novel by Harvey Pekar and Joyce Brabner, HBO Films/Fine Line Features
COLD MOUNTAIN, Screenplay by Anthony Minghella, Based on the Novel by Charles Frazier, Miramax Films
THE LORD OF THE RINGS: THE RETURN OF THE KING, Screenplay by Fran Walsh & Philippa Boyens & Peter Jackson, Based on the Novel by J.R.R. Tolkien, New Line Cinema
MYSTIC RIVER, Screenplay by Brian Helgeland, Based on the Novel by Dennis Lehane, Warner Bros. Pictures
SEABISCUIT, Screenplay by Gary Ross, Based on the Book by Laura Hillenbrand, Universal Pictures
Episodic Drama --any length--one airing time
"ABOMINATION (Law & Order: SVU), Written by Michele Fazekas & Tara Butters; NBC
"BOUNTY (Law & Order), Written by Michael S. Chernuchin; NBC
"DISASTER RELIEF (The West Wing), Teleplay by Alexa Junge, Story by Alexa Junge & Lauren Schmidt; NBC
"LOSS (Law & Order: SVU), Written by Michele Fazekas & Tara Butters; NBC
"PILOT (The O.C.), Written by Josh Schwartz; Fox
"7:00 P.M. -- 8:00 P.M. (24), Written by Evan Katz; Fox
Episodic Comedy--any length--one airing time
"DAY CARE" (Malcolm in the Middle), Written by Gary Murphy & Neil Thompson; Fox
"MALCOLM FILMS REESE" (Malcolm in the Middle), Written by Dan Kopelman; Fox
"NO SEX, PLEASE, WE'RE SKITTISH" (Frasier), Written by Bob Daily; NBC
"A WOMAN'S RIGHT TO SHOES" (Sex and the City), Written by Jenny Bicks; HBO
Original Long Form--over one hour--one or two parts, one or two airing times
AND STARRING PANCHO VILLA AS HIMSELF, Written by Larry Gelbart; HBO
Episode 1, "BEYOND THE SKY" and Episode 2, "JACOB AND JESSE" (Taken), Written by Leslie Bohem; USA
CAESAR, Written by Peter Pruce and Craig Warner; TNT
WILDER DAYS, Written by Jeff Stockwell; TNT
Adapted Long Form--over one hour--one or two parts, one or two airing times
NORMAL, Teleplay by Jane Anderson, Based on the play Looking for Normal by Jane Anderson; HBO
OUT OF THE ASHES, Teleplay by Anne Meredith, Based on the book I Was a Doctor in Auschwitz by Dr. Gisella Perl; Showtime
RUDY: THE RUDY GIULIANI STORY, Written by Stanley Weiser, Based on the book Rudy! by Wayne Barrett; USA
THE STRANGER BESIDE ME, Teleplay by Matthew McDuffie and Matthew Tabak, Based on the book by Ann Rule; USA
Animation--any length--one airing time
"THE DAD WHO KNEW TOO LITTLE" (The Simpsons), Written by Matt Selman; Fox
"MOE BABY BLUES" (The Simpsons), Written by J. Stewart Burns; Fox
MY MOTHER THE CARJACKER" (The Simpsons), Written by Michael Price; Fox
"REBORN TO BE WILD" (King of the Hill), Written by Tony Gama-Lobo & Rebecca May; Fox
"RESCUE JET FUSION" (The Adventures of Jimmy Neutron, Boy Genius), Written by Steven Banks; Nickelodeon
"THE STING" (Futurama), Written by Patric M. Verrone; Fox
Comedy/Variety--Music, Awards, Tributes -- Specials -- any length
THE KENNEDY CENTER HONORS, Written by George Stevens, Jr., Sara Lukinson and David Leaf; CBS
THE 75TH ANNUAL ACADEMY AWARDS, Written by Hal Kanter, Rita Cash, Buz Kohan, Special Material Written by Steve Martin, Beth Armogida, Dave Barry, Dave Boone, Andy Breckman, Jon Macks, Rita Rudner, Bruce Vilanch; ABC
Comedy/Variety--(including talk) Series
LATE NIGHT WITH CONAN O'BRIEN, Written by Mike Sweeney, Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Jonathan Glaser, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Andrew Secunda, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg; NBC
MAD TV, Writing supervised by Scott King, Written by Dick Blasucci, Lauren Dombrowski, Bryan Adams, Bruce McCoy, Michael Hitchcock, Steven Cragg, Chris Cluess, John Crane, Jennifer Joyce, Tami Sagher, David Salzman, Richard Talarico, Jim Wise, Kal Clarke, Sultan Pepper, Bill Kelley, Maiya Williams, Dino Stamatopoulos, Rick Najera, Brooks McBeth, Jason Kordelos, Michael McDonald, Stephnie Weir; FOX
PENN & TELLER: BULLSHIT!, Written by Penn Jillette, Teller, David Wechter, John McLaughlin; Showtime
REAL TIME WITH BILL MAHER, Written by Billy Martin, Scott Carter, David Feldman, Brian Jacobsmeyer, Jay Jaroch, Chris Kelly, Bill Maher, Ned Rice, Paul F. Tompkins; HBO
ALL MY CHILDREN, Written by Agnes Nixon, Megan McTavish, Gordon Rayfield, Anna Theresa Cascio, Frederick Johnson, Jeff Beldner, Janet Iacobuzio, Lisa Connor, Addie Walsh, Victor Miller, Mimi Leahey, Bettina F. Bradbury, John PiRoman, Karen Lewis, Amanda Robb, Rebecca Taylor, Christina Covino, David A. Levinson; ABC
ONE LIFE TO LIVE, Written by Josh Griffith, Michael Malone, Shelly Altman, Lorraine Broderick, Richard Backus, Ron Carlivati, Anna Theresa Cascio, David Colson, Leslie Nipkow, Michelle Poteet Lisanti, Becky Cole, James Fryman, Katherine Schock, Ginger Redmon, Daniel Griffin; ABC
"DON'T LOOK BACK" (Out There), Written by Willie Reale and Mark Palmer; PBS
FULL COURT MIRACLE, Written by Joel Silverman and Joel Kauffmann & Donald C. Yost; Disney Channel
I WAS A TEENAGE FAUST, Written by Thom Eberhardt; Showtime
THE MALDONADO MIRACLE, Teleplay by Paul W. Cooper, Based upon the novel "The Maldonado Miracle" by Theodore Taylor; Showtime
Documentary - Current Events
"TRUTH, WAR AND CONSEQUENCES" (Frontline), Written by Martin Smith; PBS
"THE WAR BEHIND CLOSED DOORS" (Frontline), Written by Michael J. Kirk; PBS
Documentary - Other Than Current Events
BECOMING AMERICAN: THE CHINESE EXPERIENCE--BETWEEN TWO WORLDS (PART 2), Written by Thomas Lennon & Mi Ling Tsui and Bill Moyers; PBS
"CYBER WAR!" (Frontline), Written by Michael J. Kirk; PBS
"THE ELEGANT UNIVERSE: THE STRING'S THE THING" (Nova), Written by Joseph McMaster; PBS
"THE ELEGANT UNIVERSE: WELCOME TO THE 11TH DIMENSION" (Nova), Written by Julia Cort & Joseph McMaster, PBS
"THE MURDER OF EMMETT TILL" (The American Experience), Written by Marcia Smith, PBS
"SEABISCUIT" (The American Experience), Written by Michelle Ferrari; PBS
News - Regularly Scheduled, Bulletin or Breaking Report
"PASSING OF MUSIC LEGENDS" (CBS News Sunday Morning), Written by Robert Mank;
"CBS SHOWDOWN WITH SADDAM" (CBS News), Written by John Craig Wilson; CBS
News - Analysis, Feature, or Commentary
"BAPTISM BY FIRE" (60 Minutes), Written by Barbara Dury & Morley Safer; CBS
"WALL STREET" (NOW with Bill Moyers), Written by Michael Winship & Bill Moyers; PBS
AUTISM: SHADES OF GRAY, Written by Julia Kathan; ABC News Radio
AFTERNOON DRIVE, Written by Bill Spadaro; 1010 WINS Radio
WORLD NEWS THIS WEEK, Written by Stuart H. Chamberlain, Jr.; ABC News Radio
News--Analysis, Feature or Commentary
REMEMBERING ED BLISS, Written by Mike Silverstein; ABC News Radio
THE ROAD TO LAUGHTER: A TRIBUTE TO BOB HOPE, Written by Steven Gosset; CBS Radio Network
On-Air Promotion (Radio or Television)
BUFFY/ENTERPRISE, Written by Eric Jacobson; CBS/UPN