The good news is that Hilary Duff is coming back to television! The Lizzie McGuire and Gossip Girl alum is teaming up with Sex and the City creator Darren Star (also good news) for an upcoming series. However, the show, called Younger, is going to air on... TV Land? This just got weird.
Now, one reason it may be coming to TV Land is the fact that the lead of the series is actually Sutton Foster, who plays 40 year-old Liza, a woman pretending to be a 29-year old working girl in the city. Left all alone after her child goes to college and her husband leaves her, Liza decideds to reinvent herself. Duff plays an unknowing new co-worker (Kelsey) who takes Liza under her wings.
This all sounds well and good, but even TV Land president Larry W. Jones had to admit that the series is a surprising move: “Younger’s serialized style is different for us, yet fits our brand with its humor and relatability..." Hilary Duff, herself a mom, still has a loyal following which could earn the network the attention of a younger demographic. But many of us will first have to get over that initial strangeness of turning on TV Land during primetime hours and watching something other than those amazing Three's Company reruns.
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Rashida Jones may have left NBC's Parks and Recreation, but we'll be seeing plenty of her (and her work) in the coming year. Not only does she have her own series coming to HBO (and Claws sounds awesome), but she's just been cast in the lead for Steve Carell's new sitcom, Tribeca. Folks, this is a very good thing.
So here's what you need to know. First off, Carell created the show with his wife, actress Nancy Carell (formerly known as Nancy Walls), and the two will write and executive produce the series for TBS. Tribeca will be a single-camera comedy (you know you love those), and it sounds like a Law & Order: SVU parody of sorts. Jones will be playing Angie Tribeca, one of a group of police in the LAPD's elite RHCU -- Really Heinous Crimes Unit. Yup. You know you want to see what this is all about.
According to The Hollywood Reporter, the series "explores an eccentric but brilliant group of people who investigate crime, reveal way too much personal information and refuse to rest until justice has been served ... sort of." That description alone is enough to make you LOL, so we're expecting some seriously good stuff. Throw in Carell as the director and the fact that Jones's character is a solo rider who suddenly gets hit with a new partner (we can't wait to find out who's taking on that role), and you have one highly-anticipated series. Has it been done before? Sure. But has it been done before with the incomparable Rashida Jones and Steve Carell, who is also quite awesome? No. No, it hasn't.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
The romantic action comedy Scott Pilgrim vs. the World is like nothing — and if you’re a person between the age of approximately 18 to 35 everything — you’ve seen before. British director Edgar Wright’s (Shaun of the Dead Hot Fuzz) adaptation of Bryan Lee O’Malley graphic novel is so densely laden with pop-culture references it often times feels less like a movie than a mixtape. Those who share the tastes of the film’s 31-year-old writer and 35-year-old director will find the experience to be exhilarating; those who don’t however will likely be at a loss to comprehend what all the fuss is about.
The list of ‘80s and ‘90s video game nods in Pilgrim alone is daunting: Tekken Super Mario Bros. Tetris Zelda and even retro titles like Galaga and Ms. Pac-Man are represented just to name a few. To fit all of it in Wright must practically invent a brand-new kind of filmmaking. Using techniques and iconography culled from the holy fanboy triumvirate of comic books video games and anime/manga and armed with a clearly generous effects budget he splatters the screen with a dazzling array of CGI visual aids as the action unfolds: informational pop-ups supply key details on each character as they are introduced; words like “Boom!” and “Pow!” burst forth when blows are landed during fight sequences; a “Level Up!” graphic indicating increased levels of key character attributes appears after the film’s hero triumphs in battle. Even the old Universal Studios logo has been revamped by Wright rendered in the rudimentary graphics and sound of the old 8-bit Nintendo Entertainment System. Call it easter-egg filmmaking.
At the center of this digital maelstrom is Scott Pilgrim a 22-year-old Canadian hipster waif played by 22-year-old Canadian hipster waif Michael Cera. Unemployed and in no great rush to find work he splits his time evenly between jamming with his middling band Sex Bob-Omb (a Super Mario Bros. reference) combing thrift shops for new additions to his near-limitless collection of ironic t-shirts and pining for Ramona Flowers (Mary Elizabeth Winstead) a beguiling New York City emigre whose signature attribute is her constantly-changing hair color.
After a few abortive encounters Scott finally gets Ramona to reciprocate his affections. Thus begins the quest — or "campaign " as gamers call it — portion of the film as Scott soon discovers that in order to secure Ramona’s hand he must defeat each of her seven evil exes (six boys and one girl) in spontaneous death matches of decreasing novelty. (A few of them could easily have been excised without harming the narrative but that might invite the ire of comic book fans who typically demand nothing less than absolute adherence to the source text.) With a variety of found power-ups and an entirely implausible collection of fancy kung-fu moves he faces off against among others a pompous vegan straight-edge (Brandon Routh) a self-absorbed action star (Chris Evans) a spiteful lesbian (Mae Whitman) and a smarmy record producer (Jason Schwartzman).
I expect Scott Pilgrim vs. the World will polarize audiences and not just because of Wright’s distinctively dizzying directorial style. (Which I thoroughly enjoyed even though it occasionally overdoses on manufactured quirk and is a bit too proud of its cleverness.) The film glosses over Scott and Ramona’s wooing process in its rush to commence with its succession of comic-book battles which grow somewhat tedious toward the end. It’s simply assumed that Ramona would fall for our protagonist as it’s likewise assumed that we already have. But not everyone will embrace Scott’s castrati hipster affect which too often comes across as grating rather than charming. (The movie’s funniest moments come courtesy of Scott’s sassy gay roommate played by Kieran Culkin who is never without a clever barb for his lovelorn pal.) And beneath Cera’s self-effacing sheen exists an unmistakable whiff of pretentiousness that isn’t entirely justified — at least not yet. Far less debatable is the appeal of Winstead whose spunky Ramona appears every bit worth the hassle of fending off seven or more ex-lovers.
God knows what she sees in him.
The Writers Guild of America has announced its nominations for outstanding achievement in screen in 2002.
Antwone Fisher, Bowling for Columbine, Far From Heaven, Gangs of New York and My Big Fat Greek Wedding have been nominated for the WGA's best original screenplay award.
About a Boy, About Schmidt, Adaptation, Chicago and
The Hours meanwhile will contend for best adapted screenplay.
Antwone Fisher, Written by Antwone Fisher; Fox Searchlight
Bowling for Columbine, Written by Michael Moore; United Artists/Alliance Atlantis/Salter Street Films/Dog Eat Dog Films
Far From Heaven, Written by Todd Haynes; Focus Features
Gangs of New York, Screenplay by Jay Cocks and Steven Zaillian and Kenneth Lonergan, story by Jay Cocks; Miramax Films
My Big Fat Greek Wedding, Written by Nia Vardalos; Gold Circle Films/HBO/MPH Entertainment/Playtone
About a Boy, Screenplay by Peter Hedges and Chris Weitz & Paul Weitz, based on the novel by Nick Hornby; Universal Pictures/Studio Canal/Working Title Films/Tribeca Productions
About Schmidt, Screenplay by Alexander Payne & Jim Taylor, based on the novel by Louis Begley; New Line Cinema
Adaptation, Screenplay by Charlie Kaufman and Donald Kaufman, based on the book The Orchid Thief by Susan Orlean; Columbia Pictures
Chicago, Screenplay by Bill Condon, based on the musical play, book by Bob Fosse and Fred Ebb and the play by Maurine Dallas Watkins; Miramax Films
The Hours, Screenplay by David Hare, based on the novel by Michael Cunningham; Paramount Pictures/Miramax Films
Animation--any length--one airing time (new category)
"The Bart Wants What It Wants" (The Simpsons), Written by John Frink & Don Payne; Gracie Films in association with 20th Century Fox Television; Fox
"Blame It on Lisa" (The Simpsons), Written by Bob Bendetson; Gracie Films in association with 20th Century Fox Television; Fox
"Godfellas" (Futurama), Written by Ken Keeler; 20th Century Fox Television; Fox
"Jaws Wired Shut" (The Simpsons), Written by Matt Selman; Gracie Films in association with 20th Century Fox Television; Fox
"My Own Private Rodeo" (King of the Hill), Written by Alex Gregory & Peter Huyck; 20th Century Fox Television Productions in association with Deedle-Dee Productions, Judgmental Films and 3 Arts Entertainment; Fox
Santa Baby! Written by Peter Bakalian & Suzanne Collins; Rankin/Bass; Fox
Original Long Form--over one hour--one or two parts, one or two airing times
Dor to Door, Written by William H. Macy & Steven Schachter; Turner Pages, Inc.; TNT
The Gathering Storm, Teleplay by Hugh Whitemore, Story by Larry Ramin and Hugh Whitemore; a Scott Free Production in association with HBO Films; HBO
Sins of the Father Written by John Pielmeier, based on the magazine article that appeared in Texas Monthly by Pamela Colloff; Artisan; FX
Strange Relations, Written by Tim Kazurinsky; Showtime; Granada Entertainment; Showtime
Adapted Long Form--over one hour--one or two parts, one or two airing times
"Batogne" (Band of Brothers), Written by Bruce C. McKenna, based on the book by Stephen E. Ambrose; DreamWorks/Playtone/HBO; HBO
Hysterical Blindness, Teleplay by Laura Cahill, based on the play by Laura Cahill; Hysterical Films, Inc.; HBO
Last Call, Screenplay by Henry Bromell, based on the memoir Against the Current: As I Remember F. Scott Fitzgerald by Frances Kroll Ring; Room 520/Barnstorm Films; Showtime
Mark Twain's Roughing It, Teleplay by Steven H. Berman, based on the book Roughing It by Mark Twain; Larry Levinson Productions; Hallmark Channel
Episodic Drama--any length, one airing time
"Game On" (The West Wing), Written by Aaron Sorkin & Paul Redford; John Wells Productions in association with Warner Bros. Television; NBC
"In Place of Anger" (Six Feet Under), Written by Christian Taylor; Six Feet Productions; HBO
"Nino Del Polvo" (Resurrection Boulevard), Written by Robert Eisele; Showtime; Viacom Productions, Inc.; Patagonia House; Showtime
"On the Beach" (ER), Written by John Wells; Constant C Productions; Amblin Television; Warner Bros. Television; NBC
Pilot (The Education of Max Bickford), Written by Dawn Prestwich & Nicole Yorkin; 20th Century Fox Television; CBS
"Whoever Did This" (The Sopranos), Written by Robin Green & Mitchell Burgess; Soprano Productions, Inc.; HBO
Episodic Comedy--any length, one airing time
"Change of Address" (Sex and the City), Written by Julie Rottenberg & Elisa Zuritsky; Darren Star Productions in association with HBO Original Programming; HBO
"I Heart NY" (Sex and the City), Written by Michael Patrick King; Darren Star Productions in association with HBO Original Programming; HBO
Pilot (The Bernie Mac Show), Written by Larry Wilmore; Regency Television in association with 20th Century Fox Television; FOX
"My First Day", (pilot, Scrubs), Written by Bill Lawrence; Touchstone Television Productions; NBC
"Plus One is the Loneliest Number" (Sex and the City), Written by Cindy Chupack; Darren Star Productions in association with HBO Original Programming; HBO
"Rooms With a View" (Frasier), Written by Dan O' Shannon & Lori Kirkland & Bob Daily; Grub Street Productions in association with Paramount Pictures; NBC
"The Wedding" (Ed), Written by Rob Burnett & Jon Beckerman; Viacom Productions in association with Worldwide Pants, Inc. and NBC Studios; NBC
Comedy/Variety---Music, Awards, Tributes--Specials--any length
The Kennedy Center Honors Written by Don Baer and George Stevens, Jr., Film Sequences Written by Sara Lukinson; A George Stevens Jr. Presentation - Kennedy Center Television Productions, Inc.; CBS
NBC 75th Anniversary Special, Written by Doug Abeles, James Anderson, Robert Carlock, Tina Fey, Charlie Grandy, Steve Higgins, Lorne Michaels, Paula Pell, Herb Sargent, Michael Schur, Michael Shoemaker; Broadway Video in association with NBC Studios; NBC
Comedy/Variety--(including talk) Series
Dennis Miller Live, Written by Eddie Feldmann, Jose Arroyo, Richard Dahm, David Feldman, Jim Hanna, Rob Z. Kutner, Kirsten McFarland, Dennis Miller, Jacob Sager Weinstein; Happy Family Productions; HBO
Late Night With Conan O'Brien, Written by Mike Sweeney, Chris Albers, 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; Broadway Video; NBC
Mad TV, Writing Supervised by Scott King, Written by Dick Blasucci, Garry Campbell, Lauren Dombrowski, Bryan Adams, Bruce McCoy, Michael Hitchcock, Steven Cragg, Chris Cluess, John Crane, Jennifer Joyce, Tami Sagher, Devon Shepard, Rich Talarico, Jim Wise, Kal Clarke, Sultan Pepper, Bill Kelley, Maiya Williams, Dino Stamatopoulos; QDE/Girl Group; FOX
Saturday Night Live, Written by Tina Fey, Doug Abeles, Leo Allen, James Anderson, Max Brooks, James Downey, James Eagan, Hugh Fink, Charlie Grandy, Jack Handey, Steve Higgins, Erik Kenward, Dennis McNicholas, Lorne Michaels, Corwin Moore, Matt Murray, Paula Pell, Matt Piedmont, Ken Scarborough, Michael Schur, Frank Sebastiano, T. Sean Shannon, Eric Slovin, Robert Smigel, Emily Spivey, Andrew Steele, Scott Wainio, Jerry Collins, Tom David; Broadway Video in association with SNL Studios; NBC
Guiding Light, Written by Millee Taggart, Lucky Gold, Christopher Dunn, Tita Bell, Jill Lorie Hurst, Penelope Koechl, David Kreizman, Eleanor Labine, Alan Madison, Danielle Paige, A.J. Pierce, Janet Reed Ahearn, Susan Rice, David Rupel, Melissa Salmons, Eddie Sanchez, Lisa Seidman, David Smilow; Procter & Gamble; CBS
The Young and the Restless, Written by Kay Alden, Trent Jones, John F. Smith, Jerry Birn, Jim Houghton, Natalie Minardi, Janice Ferri, Eric Freiwald, Joshua McCaffrey, Michael Minnis, Rex M. Best; Columbia TriStar; CBS
Elmo's World: Happy Holidays!, Written by Christine Ferraro; Sesame Workshop; PBS
Off Season, Written by Glenn Gers; Showtime Networks, Inc.; Showtime
Our America, Teleplay by Gordon Rayfield, Based on the book "Our America: Life and Death on the South Side of Chicago" by Lealan Jones, Lloyd Newman and David Isay; Joseph Stern Productions; All Media, Inc.; Showtime
The Red Sneakers, Teleplay by Mark Saltzman, Story by Jeffrey Rubin; Lynch Entertainment, Tom Lynch Company, RS Productions, Ltd., Showtime Networks, Inc.; Showtime
Bioterror (Nova), Written by Matthew Collins; A Nova Production by the New York Times/ Granada Factuals USA and Lone Wolf Pictures, Inc., for WGBH/ Boston in association with Channel 4 Television; PBS
The Man Who Knew (Frontline), Written by Michael J. Kirk, Kirk Documentary Group; PBS
9/11, Written by Tom Forman & Greg Kandra; Goldfish Pictures, Inc.; CBS
Rollover: The Hidden Story of the SUV (Frontline), Written by Marc Shaffer & Barak Goodman; 10/20 Productions; PBS
Documentary--Other Than Current Events
America's First River, Part One, Written by Tom Spain; WNET/Educational Broadcasting Corp.; Public Affairs Television; PBS
Empire State Building Ironworker (A Day in their Lives), Written by Peter Hankoff; Termite Art Productions; History Channel; History Channel
Evolution of a Revolution (Founding Brothers), Written by Kelly McPherson and Melissa Jo Peltier & Allison MacEwan; MPH Entertainment Inc.; History Channel; History Channel
Monkey Trial (American Experience), Written by Christine Lesiak; WGBH Educational Foundation; PBS
News--Regularly Scheduled, Bulletin or Breaking Report
Attack on America Written by Jerry Cipriano, Paul Fischer, Thomas Harris, Hugh Heckman, Bruce Meyer; CBS Evening News; CBS
September 11th Controllers, Written by Jonathan W. Kaplan; CBS