It was just over a year ago when How I Met Your Mother pulled what I consider its most offensive move to date: the Barney-Patrice gambit that ultimately hooked Robin into realizing her feelings for the duplicitous suitor. It was in this experiment, one that advertised the impossibility of a fit central character drumming up feelings for a full bodied woman, that the CBS sitcom showed off a peak in immaturity — a long-gestating immaturity that had taken form in the hearts of Barney, Robin, and, most of all, our hero Ted.
Ted's vantage point has always celebrated a very specific idea of romantic love. The kind that you'd find in a decade-long Meg Ryan movie. In universe, Ted has endured some treacherous punishment for his pursuit of this singular manifestation of love — not even in pursuit of a return of that love, but of the love itself. Ted needs to love the way he understands love to take form. The restrictive, illogical, selfish, immature way that he (and, let's be honest, we) defines this all-consuming phenomenon. And although it's more enchanting to view love this way, it isn't fair.
It isn't fair to the people we love — to Robin, in Ted's case — or to the people doing the loving. To dismiss your feelings is deemed cynical by films and television shows like How I Met Your Mother. To get over someone after years of desperate, agonizing passion would render these years illegitimate. There is only one kind of love, the show has affirmed, and it doesn't change.
A third party to whom this mentality isn't fair: everyone else. Everyone who hasn't been loved like this, or who hasn't felt this specific kind of love. Anyone who didn't meet his or her soul mate on the first day of college (Marshall and Lily), who wasn't saved from a lifetime of destructive behavior by the only person "as messed up" as him (Barney), or who didn't spend nine years stealing blue French horns, setting up elaborate Christmas decorations, retrieving lockets, and destroying himself over the one (Ted). To everyone who hasn't experienced this kind of love and who has been made to feel like he or she is not experiencing real life because of it, this whole maxim isn't fair. And it's more or less a lie, too.
But for 199 straight episodes, How I Met Your Mother seemed bent on upholding the idea of love that it inherited from everything in between Casablanca and When Harry Met Sally, laying waste to the toxicity it instills in the lover and the lovee, a party reduced to an idealized end-goal who is robbed of her own industries, passions, and feelings of organic love as they are devalued as little more than roadblocks in this sprawling romantic quest (Robin). In universe, Ted was punished for his journeys, but we all knew that How I Met Your Mother was rewarding him for his "uniquely pure heart" by repeatedly crowning him a tragic hero. And to all those who've endured Ted's path before, the tragic hero title is a nice compensation prize, ain't it? Just enough to keep you going, to keep you adhered to the journey.
And then came the big 2-0-0, last week's episode, when we were treated to the backstory of the still nameless Mother. The episode, titled "How Your Mother Met Me," gave us the first big surprise of the season: Ted would not be her first love. Years before taking up with Mr. Mosby, The Mother was deeply and devotedly involved with another, Max, whose untimely death was the only cause for their relationship's end. No, he wasn't proven to be "not quite the one" (although a subsequent pre-Ted beau would). This Max, for all we know, would have made The Mother the happiest woman on Earth. But we were surprised to hear our old, traditionally immature friend How I Met Your Mother assure us that this doesn't mean Ted can't do the same. For the first time in its nine year span, the show admitted that there might not only be one kind of love.
A week later and our surprise is doubled. We find Ted on Central Park's Bow Bridge (the most romantic place in New York City, you know), begging his nutty ex Jeanette (Abby Elliott) to return the locket that he has been dying — really, killing himself! Contacting old girlfriends like Stella and Victoria and flying across country just to figure out where he stored the thing — to retrieve as Robin's wedding gift. In a rare moment of earnestness, the kooky Jeanette challenges Ted's judgment, insisting that he needs to get over Robin and that he's better off without the locket. But Ted disagrees. He can't stomach the idea of getting over Robin, as it would mean that his years of devotion to her meant nothing. And, as said love is what he used to define himself altogether, it would mean that he meant nothing. And for the first time, after so many romantic diatribes in which Ted has spelled out his aching, ceaseless, unwavering obsession with his own love, we see How I Met Your Mother take a different stance.
"I'm in love with her. If you're looking for the word that means caring about someone beyond all rationality and wanting them to have everything they want no matter how much it destroys you, it's love," Ted cries. "And when you love someone, you don't stop. Ever. Even when people roll their eyes or call you crazy. Even then. Especially then. You just — you don't give up. Because if I could give up, if I could just take the who world's advice and move on and find someone else, THAT WOULDN'T BE LOVE. That would be some other disposable thing that is not worth fighting for." And then, Ted manages one desperate, "That is not what this is," almost too worn out to convince Abby or himself.
For the first time, the show seems to understand that this isn't right. That this isn't how someone should feel about love. That it shouldn't be something that destroys you, or that you adhere to obsessively in an effort to become what you wish you were. And that if this is the sort of "love" you are experiencing, then you might be better off tossing your locket into The Ramble and Lake... which, of course, is what Jeanette does next. An act of malice on her part, but one that sets him free.
And so, we flash forward to the wedding weekend, with Ted sitting beside Robin on the beach as the sun comes up, waiting for Barney to stumble back from his drunken night of tutoring two young schmoes in the art of wooing women (the passing of the torch, you could call it), finally deciding that everything in his cold, concrete definition of love needed to change. And so, he decides to let her go. Forever. And more importantly, to let go of his belief that his love for Robin is not just the only thing worth fighting for, but worth living for. Because love doesn't have to be defined by Casablanca or When Harry Met Sally or Marshall and Lily. Some people find it in Paris, some people in road trips, some people in college hallways, some people in New York City pubs, some people on dating websites, some people through set-ups, and the list goes on. Some people find it once, some people find it over and over. It's different for every one who experiences it — any two cases are incomparable. Every case has its own, unique, honest story. And after trying to capitalize on everything he thought it should be for so many years, the fellow telling his story via Bob Saget voiceover to the two kids on his living room couch is finally ready to begin it.
Follow @Michael Arbeiter
| Follow @Hollywood_com
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
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.
Top Story: More Absences on Raymond Set
As production for the season premiere of CBS' Everybody Loves Raymond got under way Monday, two more co-stars--Peter Boyle and Doris Roberts--called in sick, while Brad Garrett remained on strike asking for an increase in salary, according to The Hollywood Reporter. Patricia Heaton, however, returned to work on Monday after calling in sick last week and delaying production. Dale Olson, a spokesman for Roberts, told The Reporter the actress was still grappling with pain from a knee injury she sustained Aug. 7 during a photo shoot for Glamour magazine at her Hollywood Hills home. "She has nothing to do at all with what else is going on there," Olson said. "It is just unfortunate timing." The trade paper reports a source close to the show said that Boyle has been struggling in recent months with adverse reactions to a prescription drug.
Azaria Wins Emmy in Animation
The Academy of Television Arts & Sciences announced Monday winners of the 55th annual Primetime Emmy Awards in selected animation categories, also called juried awards, which do not have nominations and may include more than one winner in each category judged by members of ATAS' animation peer group, Reuters reports. Hank Azaria won his third Emmy for his voiceover work on Fox's The Simpsons. Other winners included technical awards for Cartoon Network's Samurai Jack and HBO's Through a Child's Eye: September 11, 2001 . The juried animation awards will be presented Sept. 13 at the Creative Arts Emmy Awards ceremony at the Shrine Auditorium in Los Angeles, Reuters reports. The remaining Emmy Awards will be handed out Sept. 21.
Mystic Kicks Off New York Film Festival
Clint Eastwood's mystery/drama Mystic River will open the 41st annual New York Film Festival Oct. 3. Reminiscent of the Cannes Film Festival, other films in competition at the NY Film Fest includes Gus Van Sant's Elephant, which won the Palme d'Or at Cannes, Lars Von Trier's Dogville and Denys Arcand's The Barbarian Invasions. The festival runs Oct. 3-19.
Ferrell Honored by ShowEast
Former Saturday Night Live alum Will Ferrell will received the comedy star of the year award at ShowEast 2003, Variety reports. His upcoming film Elf, co-starring James Caan, Ed Asner and Bob Newhart, will be also shown at ShowEast. "Will Ferrell has proven to be one of the most exciting, versatile talents in comedy, and Elf represents a major step in his career, making it the ideal linchpin for this much-deserved award," ShowEast co-director Mitch Neuhauser told Variety. ShowEast is scheduled for Sept. 29-Oct. 2 in Orlando, Fla.
ABC Family has pulled the plug on Roseanne Barr's upcoming cooking show Domestic Goddess due to the actress's health problems, The Associated Press reports. The 50-year-old Barr is scheduled to undergo a planned hysterectomy on Wednesday and had only recently begun production on the new show, which was to begin airing Sept. 20. The reality show The Real Roseanne Show, which chronicled the development of Goddess, has been playing on ABC since Aug. 6. Despite low ratings, the reality show will run through Sept. 17.
Actor Max Baer Jr., who played Jethro on the popular '60s TV show The Beverly Hillbillies, is planning to capitalize on the show's theme by building a $54 million Hillbillies-style hotel-casino resort in Reno, Nevada, called appropriately Jethro's Beverly Hillbillies Mansion and Casino, AP reports. Some of the highlights will include a 200-foot-tall, flame-belching oil derrick, a "Granny's Shotgun Wedding Chapel," "Uncle Jed's Gift Shop," "Jethro's Buffet" and "Elly May's Buns Bakery." Baer also envisions a nine-screen movie theater and a dancehall-show lounge, AP reports.
T3 DVD Release To Follow Schwarzenegger's Political Run
Whether he'll be governor of California or not, the two-disc DVD of Arnold Schwarzenegger's Terminator 3: Rise of the Machines will be released Nov. 11, a month after California's gubernatorial recall election, AP reports. Schwarzenegger and director Jonathan Mostow recorded a commentary for the Warner Home Video version, which includes additional scenes, an on-set gag reel and four visual effects labs that allow viewers to build their own action scene, AP reports.
Rock Singer Gets Three Years Probation
Scott Weiland, lead singer for the band Stone Temple Pilots and Velvet Revolver, was sentenced last Thursday to three years' probation on two felony drug possession charges, Reuters reports. Weiland, 35, was arrested in May during a traffic stop in Burbank, Calif., when police found drug paraphernalia inside the car. Weiland went to prison in 1999 on similar drug charges after he repeatedly violated his probation and failed to complete a rehab program. This time the singer is required to continue counseling and rehab sessions, as well as submit to random drug testing.
Top Story: Britney's No Virgin
Britney Spears is no longer a virgin, despite her oath she would remain one until marriage. In an upcoming interview in the August issue of W magazine, the pop princess confessed she had sex with her former boyfriend, singer Justin Timberlake, because she believed she'd marry him someday. "I've only slept with one person my whole life," she said in the interview. "It was two years into my relationship with Justin, and I thought he was the one. But I was wrong!" Spears continued, "The most painful thing I have ever experienced was that breakup. We were together so long and I had this vision. You think you're going to spend the rest of your life together. Where I come from, the woman is the homemaker, and that's how I was brought up--you cook for your kids. But now I realize I need my single time."
Jolie Talks About Sex, Self-Mutilation
Angelina Jolie is admitting she's done some pretty wild things in her past but has since changed her ways. In an interview with Barbara Walters set to air Friday on ABC's 20/20, the Oscar-winning actress talked about her brief but passionate marriage to ex-husband Billy Bob Thornton as well as her past fascination with knives and self-mutilation, Reuters reports. Describing her relationship with Thornton, Jolie said, "We're not friends, no. It's like we just changed." Jolie added she has been transformed by motherhood after adopting a Cambodian-born boy last year. "I think when you make a decision to have a child, you cannot think about suicide again and you can't be self-destructive." The interview will air Friday on ABC's 20/20.
Blake's Lawyer Wants New Witness's Testimony
Robert Blake's lawyer Thomas Mesereau Jr. has asked for a special pretrial session to question a new witness, Diane Mattson, in the murder case against Blake, The Associated Press reports. Mattson claims she overheard Christian Brando--the son of actor Marlon Brando, who had had a relationship with Blake's wife, Bonny Lee Bakley, before her shooting death in May 2001--tell two stuntmen that Bakely should be shot "in the head." Mesereau Jr. told AP Mattson is "scared to death" of Brando, fearing for her life, and wants to preserve her testimony now to discourage anyone from causing her injury or trying to prevent her from testifying at the trial, AP reports. A hearing to determine the urgency of this testimony has been set for Thursday. An official trial date has not been determined.
Angels Nonchalant About Box Office Numbers
Although their new film Charlie's Angels: Full Throttle hasn't met up to expectations at the U.S. box office, having taken in only $67 million in over two weeks, money apparently doesn't matter to stars Cameron Diaz, Lucy Liu and Drew Barrymore. On the film's press tour in Europe, the three best pals agreed Tuesday they didn't really care how much the film made, just so long as they were able to make the movie together, Reuters reports. "It doesn't mean anything to us," Diaz said in an interview with journalists in Berlin. "I'm not interested in breaking records." Full Throttle's debut weekend brought in $38 million, just below its predecessor Charlie's Angels, which opened in 2000 with $40 million.
Former Stripper Sues Stripperella Creators
An ex-stripper from Florida is suing over new TNN animated series Stripperella, about a tough lady who strips for a living but moonlights as a superhero, claiming she was the one who came up with the original idea, AP reports. Named in the suit are actress Pamela Anderson, the voice of the character; comic legend and Stripperella creator Stan Lee and TNN. Janet Clover, 37, claims she came up with the idea during a private dance session with Lee a year ago. "I'm just trying to get this off TV because it's not his idea," Clover told The Daytona Beach News-Journal. "I can't remember much about Mr. Lee, little bits and pieces come back. You know, I meet a lot of men."
Role Call: Zellweger and Crowe in Cinderella Story, Malkovich Is Found in the Street
Renee Zellweger and Russell Crowe are set to star in Ron Howard's Cinderella Man for Miramax Films and Universal Pictures. Variety reports Crowe will play Jim Braddock, the Depression-era boxer who became a folk hero by winning a brutal 15-round match against heavyweight champion Max Baer in 1935. Zellweger will play Braddock's wife…John Malkovich's production company, Mr. Mudd, has taken on the film project Found in the Street, based on the novel by Patricia Highsmith. According to The Hollywood Reporter, the indie film will be a psychological suspense thriller about a chance encounter between several people in New York's Greenwich Village, including a middle-aged security guard, an artist, his bisexual wife and a lesbian waitress/model. A series of events leads to murder and blame.
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