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Nominees have been announced for the 76th annual Writers Guild Awards, and Star Trek: Picard squeaked in just under the wire.
The concluded Paramount+ quasi-revival saw its series finale nominated in the Episodic Drama category. Other first-time nominees include freshman shows Shrinking, The Last of Us, The Curse and The Diplomat.
More from TVLineThe Last of Us: Catherine O'Hara Confirmed for Season 2 Mystery RoleThe Diplomat Season 2: The West Wing's Allison Janney Elected Vice PresidentThe Last of Us Casts 100 Things to Do Before High School's Isabela Merced as Someone Very Important to Ellie
Of course, usual suspects like Succession,...
The concluded Paramount+ quasi-revival saw its series finale nominated in the Episodic Drama category. Other first-time nominees include freshman shows Shrinking, The Last of Us, The Curse and The Diplomat.
More from TVLineThe Last of Us: Catherine O'Hara Confirmed for Season 2 Mystery RoleThe Diplomat Season 2: The West Wing's Allison Janney Elected Vice PresidentThe Last of Us Casts 100 Things to Do Before High School's Isabela Merced as Someone Very Important to Ellie
Of course, usual suspects like Succession,...
- 2/21/2024
- by Michael Ausiello
- TVLine.com
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The 2024 Writers Guild Awards nominations have been revealed.
The nominees in the category of original screenplay are Air, Barbie, The Holdovers, May December and Past Lives.
In the adapted screenplay category the nominees are American Fiction, Are You There God? It’s Me, Margaret, Killers of the Flower Moon, Nyad and Oppenheimer.
In an unusual move this year, the WGA Awards will take place after the Oscars, with the winners awarded on April 14.
A complete list of this year’s nominees follows.
Screenplay Nominees
Original Screenplay
Air, Written by Alex Convery; Amazon MGM Studios
Barbie, Written by Greta Gerwig & Noah Baumbach; Warner Bros. Pictures
The Holdovers, Written by David Hemingson; Focus Features
May December, Screenplay by Samy Burch, Story by Samy Burch & Alex Mechanik; Netflix
Past Lives, Written by Celine Song; A24
Adapted Screenplay
American Fiction, Screenplay by Cord Jefferson, Based upon the novel Erasure by Percival Everett; Amazon MGM Studios
Are You There God?...
The nominees in the category of original screenplay are Air, Barbie, The Holdovers, May December and Past Lives.
In the adapted screenplay category the nominees are American Fiction, Are You There God? It’s Me, Margaret, Killers of the Flower Moon, Nyad and Oppenheimer.
In an unusual move this year, the WGA Awards will take place after the Oscars, with the winners awarded on April 14.
A complete list of this year’s nominees follows.
Screenplay Nominees
Original Screenplay
Air, Written by Alex Convery; Amazon MGM Studios
Barbie, Written by Greta Gerwig & Noah Baumbach; Warner Bros. Pictures
The Holdovers, Written by David Hemingson; Focus Features
May December, Screenplay by Samy Burch, Story by Samy Burch & Alex Mechanik; Netflix
Past Lives, Written by Celine Song; A24
Adapted Screenplay
American Fiction, Screenplay by Cord Jefferson, Based upon the novel Erasure by Percival Everett; Amazon MGM Studios
Are You There God?...
- 2/21/2024
- by Hilary Lewis
- The Hollywood Reporter - Movie News
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Exclusive: Former Disney TV studio executive and CAA agent Elizabeth Newman has joined Literate as its first new partner since the television-focused boutique management and production company was launched in early 2018 by founding partners A.B. Fischer and Dennis Kim.
With her background in television, publishing and book adaptations, Newman will manage a curated roster of film & TV writer/showrunners and will expand Literate’s business in representing screen rights for intellectual property creators, rightsholders, and estates. She also will work with authors, journalists, and playwrights transitioning to Hollywood.
This marks a return to representation for Newman who started her entertainment career at CAA. During her nearly 15-year tenure, she was a TV Literary & Media Rights agent, representing TV writer/creators, showrunners, producers, directors, and intellectual property, brokering major rights deals on behalf of bestselling authors such as Anne Rice and James Patterson.
At the end of 2019, Newman segued to the TV executive ranks,...
With her background in television, publishing and book adaptations, Newman will manage a curated roster of film & TV writer/showrunners and will expand Literate’s business in representing screen rights for intellectual property creators, rightsholders, and estates. She also will work with authors, journalists, and playwrights transitioning to Hollywood.
This marks a return to representation for Newman who started her entertainment career at CAA. During her nearly 15-year tenure, she was a TV Literary & Media Rights agent, representing TV writer/creators, showrunners, producers, directors, and intellectual property, brokering major rights deals on behalf of bestselling authors such as Anne Rice and James Patterson.
At the end of 2019, Newman segued to the TV executive ranks,...
- 9/19/2023
- by Nellie Andreeva
- Deadline Film + TV
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[Editor’s Note: The following article contains spoilers for “The Underground Railroad,” Episode 7, “Fanny Briggs.”]
Few kindnesses can brighten a critic’s day like an unexpectedly brief episode of TV. Whether it’s a tight 45-minute entry popping up amid an established hourlong series or a new comedy-drama hybrid choosing the more fuel efficient route, those shaved minutes mean so much more to those of us tasked with watching entirely too much television.
But any relieved sighs are about more than just viewing fatigue. Shorter entries can signify resourcefulness — they stand out for giving the story exactly as much time as it needs, rather than doubling back to make up for past oversights, extending scenes to underline story points, or simply running long because they can. Sure, sometimes brevity is a bad thing — there is such a thing as too short — but the list of programs blighted by bloat is far longer than those failing from fugacity.
When it comes to excessive episode lengths,...
Few kindnesses can brighten a critic’s day like an unexpectedly brief episode of TV. Whether it’s a tight 45-minute entry popping up amid an established hourlong series or a new comedy-drama hybrid choosing the more fuel efficient route, those shaved minutes mean so much more to those of us tasked with watching entirely too much television.
But any relieved sighs are about more than just viewing fatigue. Shorter entries can signify resourcefulness — they stand out for giving the story exactly as much time as it needs, rather than doubling back to make up for past oversights, extending scenes to underline story points, or simply running long because they can. Sure, sometimes brevity is a bad thing — there is such a thing as too short — but the list of programs blighted by bloat is far longer than those failing from fugacity.
When it comes to excessive episode lengths,...
- 8/24/2021
- by Ben Travers
- Indiewire
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A little girl not named Grace sits quietly at the center of Barry Jenkins’ “The Underground Railroad.” Introduced in the third episode holding a finger to her lips, “Grace” — played by Mychal-Bella Bowman and whose real name constitutes a minor yet precious spoiler — has been hiding in a cramped attic for many, many months, waiting for the real, operational, underground railroad to whisk her out of North Carolina and into safer, less confined spaces. Grace isn’t the show’s lead, or even one of the leads, though she does cross paths with Cora (Thuso Mbedu), the chief protagonist and most seasoned traveler, when the grown runaway crawls into Grace’s stooped refuge, seeking similar concealment from the malevolent forces out for them both.
Like so much of the Amazon Prime Video limited series, Grace blends literal and figurative interpretations; she’s a flesh-and-blood character and an ethereal embodiment of...
Like so much of the Amazon Prime Video limited series, Grace blends literal and figurative interpretations; she’s a flesh-and-blood character and an ethereal embodiment of...
- 5/12/2021
- by Ben Travers
- Indiewire
![A.B. Fischer](https://m.media-amazon.com/images/M/MV5BMTIwNjU2OGItMjUzMC00Mjc0LWI3N2ItYmRiNTBmYzk3NzI4XkEyXkFqcGdeQXVyMTIyNDM1NjIz._V1_QL75_UX140_CR0,1,140,207_.jpg)
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Kelly Miller has joined Literate, A.B. Fischer and Dennis Kim’ television-focused boutique management and production company, as a manager. Miller moves to Literate from Paradigm, where she served as a theater-to-tv crossover agent.
The move to Literate is a return to management for Miller, who before her stint at Paradigm was a manager at The Shuman Company. It also reunites her with Fischer, with whom she worked at The Shuman Co., where Fischer was a Partner before leaving to form Literate in a year ago.
Miller will continue to focus on representing female, trans and diverse writers, as well as expanding Literate’s list of playwright clients who have crossed over into film and television including: Jihan Crowther (Man In the High Castle), Etan Frankel (Shameless), Andrew Hinderaker (Away), Robert Horn (Partners), Geraldine Inoa (The Walking Dead), Laura Jacqmin (Get Shorty), Kyle Jarrow (Valor), Mona Mansour, Daria Miyeko Marinelli, Laura Marks...
The move to Literate is a return to management for Miller, who before her stint at Paradigm was a manager at The Shuman Company. It also reunites her with Fischer, with whom she worked at The Shuman Co., where Fischer was a Partner before leaving to form Literate in a year ago.
Miller will continue to focus on representing female, trans and diverse writers, as well as expanding Literate’s list of playwright clients who have crossed over into film and television including: Jihan Crowther (Man In the High Castle), Etan Frankel (Shameless), Andrew Hinderaker (Away), Robert Horn (Partners), Geraldine Inoa (The Walking Dead), Laura Jacqmin (Get Shorty), Kyle Jarrow (Valor), Mona Mansour, Daria Miyeko Marinelli, Laura Marks...
- 1/17/2019
- by Nellie Andreeva
- Deadline Film + TV
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