As Mad Men's long-awaited Season 7 premiere inches ever closer, it's time to start planning that last minute Sunday night viewing soiree. Gather your ultra-fabulous vintage wear (the two Mrs. Drapers offer great inspiration), your je-ne-sais-quoi-infused cigarettes, and perhaps most importantly of all? Some really delicious cocktails – no Mad Men party is really quite complete without some classy alcohol, is it? (Though, be wary not to overindulge Don Draper style – you don't want to wake up in the local drunk tank).
And speaking of Don, we all know he's an old fashioned man, in more ways than one (har-har). Here's a recipe for an old fashioned of which Don would whole-heartedly approve:
Don’s Old Fashioned
*Created by Bobby “G” Gleason, Beam’s Master Mixologist
Ingredients:-2 parts Jim Beam Bourbon-2 dashes of aromatic bitters-1 cherry stem-1 half moon orange slice-1 - 3 sugar cubes
Preparation: In an old-fashioned glass, place sugar and 2 dashes bitters dissolved in water. Fill with ice. Pour 1-1/2 parts Jim Beam® Bourbon; add cherry, orange slice and lemon wedge.
What about the rest of Sterling Cooper & Partners? Well the mad men of Manhattan would surely be unable to resist the charms of this cocktail:
The Mad Man Manhattan
*Created by Bobby “G” Gleason, Beam’s Master Mixologist
Ingredients:-1-1/2 parts Jim Beam Devil’s Cut™-Dash of bitters-3/4 part dry vermouth-1 cherry stem-Ice
Preparation: Combine and stir Jim Beam Devil’s Cut™, dry vermouth, bitters and ice. Strain and pour into a cocktail glass. Garnish with a cherry.
And how about our silver fox friend, Roger Sterling? When he's not drinking vodka and milk (the milk helps his ulcer, okay?), his drink of choice is a good ol' smooth and sour. Here are the (delectable) ingredients for a drink that even Roger would be unable to scoff at:
Sterling’s Smooth & Sour
*Created by Bobby “G” Gleason, Beam’s Master Mixologist
Ingredients-2 parts Jim Beam Black Bourbon-1 part amaretto liqueur-1 part triple sec-2 parts sour mix-2 parts lemon-lime soda
Preparation: Serve shaken in a tall glass with cracked ice. Garnish with a squeeze of lemon.
Whether shaken or stirred, you've got the makings for a Mad Men celebration that would do party planning mastermind Megan Draper proud. So grab your drink of choice, pull up a chair, and buckle your metaphorical seatbelts for the premiere of Mad Men's seventh season.
Are you ready for the most captivating new series of the summer? One of Hollywood’s biggest directors, Steven Spielberg, is pairing with literary giant Stephen King for an out of this world CBS event. Under The Dome is a whirlwind of drama, intrigue, and jaw-dropping mysteries that is unlike anything else on TV.
Hollywood.com just finished screening the premiere episode of Under The Dome and we’re now counting down the seconds until you get to experience the sci-fi phenomenon for yourself. To help get you as excited as we are, we’ve got your first look at the brand new poster for King’s best-selling novel turned TV series.
Under The Dome centers on the small town of Chester’s Mill, which is suddenly sealed off by an invisible barrier and traps the citizens within the limited confines of the city’s border. Executive Producer Neal Baer promises that audiences will be blown away by the creative vision that Spielberg and King have created in this one-of-a-kind series.
"It seems like Steven Spielberg sees the best in humanity and Stephen King is always seeing the worst. But they do have a lot of similarities — they’re both really aggressive humanists. They both just love people so much and throwing them into extraordinary situations and seeing what happens," Baer says.
Don’t the series premiere of Under The Dome Monday, June 24th at 10 PM on CBS.
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“Wouldn’t it be interesting,” proposed one Craig Thomas to his friend and writing partner Carter Bays back during their youthful days of creative exploration at Wesleyan University, “to craft a television series around a grown man’s recollection of all the paths that led to the union of he and his eventual wife?”
“Perhaps,” Bays countered, “but what would really be interesting if we had that same man recalling all the paths that led to the union of his friends Robin and Barney.”
“Yes,” Thomas agreed. “We should probably just focus on that.” And they did. Thus, How I Met Your Mother.
Even as one of the better episodes of the present season, this week’s “Lobster Crawl” falters in regards to one incredibly important element: Ted. All season long, with the exception of the filler material involving him with Victoria, Ted has been used as set dressing. He offers a nerdy quip or a… well, actually, no. There is no “or.” Even his comedy is pretty one-dimensional these days. Ted is there to push the episodes to their full 22 minutes while Robin and Barney bat around their confusing feelings for one another, and while Lily and Marshall deal with the nonissue of having a kid that can be conveniently placed offstage and forgotten about whenever a scene calls for it.
It’s okay to have an episode or two that shafts Ted to the background — his friends, as full and important characters, deserve their due time at the center of the plot. But week after week lately, we learn nothing about Ted or his journey. We don’t delve further into his quest to meet the future Mrs. Mosby, but instead pass the time, without witnessing any evolution for the so-called star, until the eventual introduction of whoever she’s supposed to be. It’s hard to really invest anymore — the show has long run dry on passion.
Sure, even long after The Office tumbled to deplorability did it manage the great sendoff it gave hero Michael Scott. So maybe, just maybe, we’ll still manage a wonderful, magical conclusion for Teddy Westside. But with all respect to Josh Radnor, he hasn’t yet displayed the tragic sensibilities exhibited by Steve Carell (an underrated dramatic actor, for sure). Furthermore, the four-camera format doesn’t lend as generously to fulfilling emotion as does the single camera perspective. But all that aside, acting and direction notwithstanding, it’s the writing that dominates. And How I Met Your Mother, while still capable of cranking out a fine joke here or there, or a feasibly well-crafted speech about friendship or love or mayonnaise salads or whatever it be, doesn’t hold the golden pen it once did.
This week, Ted plays the devoted babysitter for Lily and Marshall, reveling in all of young Marvin’s “firsts” that he witnesses, much to Lily’s chagrin. It is realized by the married couple that their friend is overcompensating with Marvin due to the emptiness in his own life resultant of both a lack of family and children and having no projects to work on since he finished designing that building… wait, is anyone else having a hard time remembering Ted finishing a building? Was it a really long time ago, or is it just a really uninteresting plotline?
At the forefront of the episode is Robin, working desperately (and pathetically) to attract Barney sexually in an effort to have one last fling and get him out of her system. In a sequence calling back to HIMYM’s favored “The Playbook” episode, Robin attempts a slew of half-cocked ideas (the “damsel in distress” routine, flirting with a bunch of guys in front of him, and putting on a seductive show with another woman) to woo Barney. And this series of scenes, the latter especially, brings up an important question.
How old are these people? On my count, they should be about 35 by now, give or take. Now, I’m not shooing the idea of remaining youthful and fun loving into maturity. But there comes a point at which dancing up on a brain-dead coworker to arouse a dude who says the word “bro” about 18 times a day is no longer charming. Perhaps I’m taking this too seriously, but it isn’t funny when Robin wrangles her weathergirl Brandi to turn Barney on, it’s uncomfortable. They’re too old for this kind of shtick now. On with the mother-meeting, please. Adulthood is inevitable, stop pushing it away!
Robin’s final attempt to attract Barney, a candid expression of her desires, is yet another failure. She shows up at his apartment only to find him engaged in a game of Crazy Eights with her nuisance of a coworker Patrice. See, following the Robin/Brandi show, Barney high tails it back to the television studio to sleep with Brandi… before realizing that she and this life are hardly what he really wants. As such, he forms a bond with the earnest Patrice, there working late, and the two begin a courtship of sorts bound to drive Robin batty. She really hates Patrice.
We haven’t long until the winter finale — the possible union of Robin and Barney, meeting of Ted and Whoever, jokes-about-sex-and-ghosts of Lily and Marshall. Surely Patrice will serve as some vehicle to get Barney to the altar (whether he’ll remain there is as of yet ambiguous). And as much as I have traditionally rooted for Barney and Robin, I’m ready for their back-and-forth to be done with. It’s tiresome, crowded, without any of the ballerina’s balance that an early seasons Ross and Rachel once shared… and I know, they’re always the control group, but what are you gonna do? They kind of nailed it.
So hopefully, we’ll soon see Barney and Robin tie the knot for good. Hopefully, we’ll see Ted and his wife-to-be find one another. I’m ready for these people to grow up, to start their lives, to get their payoff. I, as do many fans, still hold onto the great characters we once knew. And they deserve to find happiness, once and for all.
[Photo Credit: Carin Baer/Fox]
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At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
Oh how Pixar has spoiled us. After a decade and a half of the studio releasing one classic after another from 1995’s Toy Story to last year’s Up! we’ve grown accustomed to animated films both visually stunning and emotionally captivating. And when another studio’s animated offering however solidly-crafted falls short of these impossibly high expectations it’s inevitably damned with the faint praise of “It’s not Pixar but...” Such is the plight of Dreamworks’ How to Train Your Dragon a movie only superior to say 65% of live-action films as opposed to 99% of them.
Based on the children’s novel by Cressida Cowell How to Train Your Dragon is set on the mythical island of Berk home to a tribe of macho stubborn Vikings who refuse to relocate despite near-constant attacks from fire-breathing dragons. The most macho and stubborn of the tribe is the their chief Stoick the Vast (Gerard Butler) a brave and burly ginger beast whose teenage son Hiccup (Jay Baruchel) inherited virtually none of his father’s traits. Scrawny self-effacing and intellectually curious — making him pretty much the anti-Viking — he’s a constant source of shame to his mighty father.
Eager to win his dad’s approval — and by extension the respect of his tribe — he enrolls in Dragon Training where young Vikings learn to slay the winged demons that prey upon Berk. But Hiccup is ultimately a pacifist at heart and when he manages to wound a highly-prized Night Fury dragon he can’t bring himself to finish off the injured creature choosing instead to nurse it back to health. He names the creature Toothless develops a tight bond with it and evolves into a sort of Jane Goodall of dragons learning how to subdue and eventually domesticate them.
As 3D-animated experiences go How to Train Your Dragon ranks among the best of them surpassing recent entries like Cloudy With a Chance of Meatballs and even Pixar’s last Oscar-winning release in its exploitation of the burgeoning format. An airborne sequence in which Hiccup pilots Toothless on their first test run together is truly exhilarating as is the film’s chaotic opening battle sequence between the Vikings and their dragon nemeses. But its story lacks the same energy its humor the same punch and its pace too often drags — a fatal flaw for a movie tasked with occupying the minds of fidgety pre-teens for 98 minutes.
Oh and don’t bother trying to figure out why all the child Vikings in How to Train Your Dragon have American accents while the adults have Scottish ones. Remember this is the same studio that gave us Shrek featuring another inexplicable Scottish brogue. The artists at Dreamworks just have a weird Scot fetish.
Will it take a Hollywood production to alert the masses about the current oil crisis facing the world which leaves no person unaffected? Does Syriana have the makings to be such a wide-reaching film? Well probably not but it does make a noble stab at it. Much of the way through Syriana has the feel of a documentary although it ultimately falls into the pattern of the popular interwoven narratives that are so popular these days. Among the interwoven: A beleaguered CIA agent (George Clooney); a wary and inquisitive Washington lawyer (Jeffrey Wright); an opportunistic energy analyst (Matt Damon) and his wife (Amanda Peet) who have just lost their young son; and a Persian Gulf prince (Alexander Siddig) who helps China in an oil deal thus antagonizing the U.S. The cast assembled here includes some of this era's finest actors. That no single actor steals the show is mostly a testament to on-screen time split justly. Clooney is the big story here and he should be: Rare is the sex symbol superstar of his enormity who dares to don a gut and a beard as he does here. With his trademark physical attributes obscured Clooney's acting is allowed to shine and his character's tension is palpable. As for Wright the quintessential chameleon of an actor his performance is as flawless and brilliant as always. Damon provides a reliable turn but it's onscreen wife Peet who adds the truly raw emotion that the film lacks overall. Rounding out the ensemble are two under-appreciated stalwarts: Chris Cooper nailing the role of a shrewd oilman and Christopher Plummer perfectly cast as the head of a law firm. Stephen Gaghan has displayed his writing chops in the past—most famously in 2000's Traffic for which he won an Oscar—and he certainly has a solid mentor behind him in (executive producer) Steven Soderbergh. After making his directorial debut with the 2002 flop thriller Abandon he finds far better luck with this star-studded politically charged film having traveled the world to gain insight into Robert Baer’s book which serves as source material. Unfortunately Gaghan’s stirring documentary/handheld-cam filmmaking is contradicted by the overall convoluted feel of the movie which comes to a too-neat conclusion that leaves several characters hanging. Although Gaghan has a bold and daring take on a topical problem there's a reason a topic like this with so many disparate lives and ideas is not often tackled on the big screen: film is just not a vast enough medium.
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