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
For a long time, Teen Dramas were my guilty pleasure. I wasn’t into the standard stuff like 90210 or Party of Five. No, I either hated those shows, or I just never saw them. My favorites were shows like My So-Called Life or Freaks and Geeks. I think it was because, much like the characters on the show, I fell in love with them. Like soap opera fans, I became invested in the character’s relationships. But, unlike previous shows, The O.C. was one of those rare shows that gave you just enough drama that it didn’t go into full-blown melodrama.
Okay, that’s a lie. It gave you A Lot of melodrama at times. But for some strange reason, the show felt sincere. While many of these teen dramas at the time felt like they were writing episodes for ratings, the O.C. just felt like they were telling good stories.
Okay, that’s a lie. It gave you A Lot of melodrama at times. But for some strange reason, the show felt sincere. While many of these teen dramas at the time felt like they were writing episodes for ratings, the O.C. just felt like they were telling good stories.
- 6/20/2023
- by David Arroyo
- JoBlo.com
Each week you and I meet here in this virtual space to talk about Fargo, to compare notes and (sometimes) even find amusement in my struggles to make funny -- we've all got our hobbies -- but before we get rolling, I want to acknowledge that this might be the smartest episode of television I've ever watched. Did I hook you? Well, it's true. Creator Noah Hawley and writer Robert De Laurentiis have pulled together all the little threads and bits of nothing from this too-short season of Fargo to remind us that they're pretty good at this TV show-making thing. They still have a few hole cards left to turn over next week, but this next-to-last episode is a master class in character, plot, and mood.
We open on a quiet Minnesota residential street threatening to escape winter, the trees still flocked with snow. A man in a robe...
We open on a quiet Minnesota residential street threatening to escape winter, the trees still flocked with snow. A man in a robe...
- 6/15/2017
- by David Kozlowski
- LRMonline.com
Limited Series
“American Crime”
“Fargo”
“The Night Manager”
“The People v. O.J. Simpson: American Crime Story”
“Roots”
IndieWire’s Vote: “The People v. O.J. Simpson: American Crime Story”
As the great Ed Harris once said, “You gotta take a side.” And this year, you’ve got to choose between “The People v. O.J. Simpson” and “Fargo.” Sure, “The Night Manager” was a solid throwback thriller and “Roots” justified its reimagining with one helluva run (while “American Crime” remains a dangerously misguided acting exercise), but these two standout entries would be easy choices if they weren’t competing against each other. Noah Hawley’s second season was even bolder than his first, but we’ve got to stick with our TCA pals and back “The People.” Scott Alexander and Larry Karaszewski’s anthology did what many deemed impossible by making O.J. relevant again, and the craft applied to...
“American Crime”
“Fargo”
“The Night Manager”
“The People v. O.J. Simpson: American Crime Story”
“Roots”
IndieWire’s Vote: “The People v. O.J. Simpson: American Crime Story”
As the great Ed Harris once said, “You gotta take a side.” And this year, you’ve got to choose between “The People v. O.J. Simpson” and “Fargo.” Sure, “The Night Manager” was a solid throwback thriller and “Roots” justified its reimagining with one helluva run (while “American Crime” remains a dangerously misguided acting exercise), but these two standout entries would be easy choices if they weren’t competing against each other. Noah Hawley’s second season was even bolder than his first, but we’ve got to stick with our TCA pals and back “The People.” Scott Alexander and Larry Karaszewski’s anthology did what many deemed impossible by making O.J. relevant again, and the craft applied to...
- 8/18/2016
- by Ben Travers
- Indiewire
One Thing I Love Today is a daily column dedicated to putting a spotlight on some pop culture item worth your attention. After all, there's enough snark out there. Why not start every day with one quick shotgun blast of positivity? Noah Hawley is a True Believer. There is no reason whatsoever that a television show based on Fargo should work, but after finishing season two of the FX series, I am blown away by what he's accomplished and by the sheer force of his love for Joel and Ethan Coen. Homage and inspiration are similar, but not the exact same things. Homage is fine, but I think you can only go so far with it. Inspiration, though, is something else. Real inspiration is a springboard to something new, something that is genuinely yours. One person looks at something and sees and processes it a certain way, and someone else...
- 2/25/2016
- by Drew McWeeny
- Hitfix
The Writers Guild of America has just announced the nominations for their annual awards for Best Screenplays (by writers who are guild signatories). That’s right, before you get nervous thinking that your favorite may have been left off the list, you must remember that the WGA is the group that is not all-inclusive and leaves out several of the top contenders each year due to them not being part of the guild or not following their very specific rules. For this reason, you won’t see Inside Out, The Hateful Eight, and Ex Machina in the Original Screenplay category or Room, Brooklyn, or Anomalisa in the Adapted screenplay category.
Taking a look at what’s left over for the nominations, we find many that were expected to make a showing, including Spotlight and Bridge of Spies for Original Screenplay, though they apparently had to sink to really low depths...
Taking a look at what’s left over for the nominations, we find many that were expected to make a showing, including Spotlight and Bridge of Spies for Original Screenplay, though they apparently had to sink to really low depths...
- 1/6/2016
- by Jeff Beck
- We Got This Covered
The Writers Guild of America announced some of its nominees for its 2015 awards on Thursday, including television, new media, and radio, and among the TV nominees are series both new and old, and all beloved.
In the comedy series category, freshman Netflix show "Unbreakable Kimmy Schmidt" scored a nomination for best series, as well as an overall best new series nod. "The Last Man on Earth" also landed in that latter category, and was singled out for its pilot episode writing, too.
On the drama side of the equation, lauded "Breaking Bad" spinoff "Better Call Saul" also got best series and best new series nominations, in addition to a an episode writing nod. Newly-minted Emmy winner "Game of Thrones" also scored a best drama citation, as well as an episodic writing nomination.
The full list of nominees released this week are below. Nominations in the theatrical and documentary categories will...
In the comedy series category, freshman Netflix show "Unbreakable Kimmy Schmidt" scored a nomination for best series, as well as an overall best new series nod. "The Last Man on Earth" also landed in that latter category, and was singled out for its pilot episode writing, too.
On the drama side of the equation, lauded "Breaking Bad" spinoff "Better Call Saul" also got best series and best new series nominations, in addition to a an episode writing nod. Newly-minted Emmy winner "Game of Thrones" also scored a best drama citation, as well as an episodic writing nomination.
The full list of nominees released this week are below. Nominations in the theatrical and documentary categories will...
- 12/3/2015
- by Katie Roberts
- Moviefone
Fargo Season 2, Episode 8 “Loplop”
Written by Bob DeLaurentis
Directed by Keith Gordon
Airs Mondays at 10pm Et on FX
“Loplop” is a return to Fargo‘s roots, both television and cinematic, evoking images of each with its cabin-in-the-woods setting and slight tilt (back) into the absurd. After last week’s disconcertingly fragmented hour, “Loplop” is a sigh of relief, filling in the many blanks leftover from “Did You Do This? No, You Did It!” and setting up a number of important dominoes to fall in the season’s highly anticipated final two episodes. It’s not a perfect hour, but it’s an abundantly promising one, a darkly hilarious, focused reprieve from the sprawling storytelling of recent episodes.
“Loplop” picks up where “Rhinoceros” ended, returning to the climatic events at the Blomquist home: now on the run with Dodd tied up in the trunk, Ed and Peggy find themselves in very different mindsets.
Written by Bob DeLaurentis
Directed by Keith Gordon
Airs Mondays at 10pm Et on FX
“Loplop” is a return to Fargo‘s roots, both television and cinematic, evoking images of each with its cabin-in-the-woods setting and slight tilt (back) into the absurd. After last week’s disconcertingly fragmented hour, “Loplop” is a sigh of relief, filling in the many blanks leftover from “Did You Do This? No, You Did It!” and setting up a number of important dominoes to fall in the season’s highly anticipated final two episodes. It’s not a perfect hour, but it’s an abundantly promising one, a darkly hilarious, focused reprieve from the sprawling storytelling of recent episodes.
“Loplop” picks up where “Rhinoceros” ended, returning to the climatic events at the Blomquist home: now on the run with Dodd tied up in the trunk, Ed and Peggy find themselves in very different mindsets.
- 12/1/2015
- by Randy Dankievitch
- SoundOnSight
"This is a true story."After a week away from Peggy, Ed and Dodd (Jeffrey Donovan), "Fargo" spent an entire episode filling us in on what they've been doing. And wouldn't you figure, it was a lot. In another 90-minute entry (60 minutes without commercials), we watched as Peggy had the most self-assured nervous breakdown possible, Ed made a quick decision to sell Dodd for his family's protection and Ohanzee hunted down his boss. By the end of it, though, Peggy seemed to be her happiest self, Ed's deal was in the toilet and Ohanzee was on his own (or at least ready to go on the run). "Loplop" marked an eventful, streamlined hour-plus of television, marked with perfectly-placed moments of levity that helped break up some truly tense scenes. In likely the best episode since the first, director Keith Gordon and credited writer Bob Delaurentis started us on the beginning of the end.
- 12/1/2015
- by Ben Travers
- Indiewire
A review of tonight's "Fargo" coming up just as soon as I show you which part's the flank steak... "Yeah. Tired of this life." -Hanzee I assumed, based on the structure of last week's episode and the brief allusions to what Ed and Hanzee and the others were up to, that tonight's installment would be largely devoted to showing their perspective on that same time period. And that's what "Loplop" turned out to be, though we got to see more of Lou and Hank(*) than I had expected going in. (*) The early Lou/Hank scenes at Peggy and Ed's house at least drove home how injured and out of sorts Hank was, which goes at least a little way way to explaining why he didn't think to go into the house first and check on Peggy. But even though I don't know the terrain in and around Luverne and how...
- 12/1/2015
- by Alan Sepinwall
- Hitfix
Fargo, Season 2, Episode 3, “The Myth of Sisyphus”
Written by Bob DeLaurentis
Directed by Michael Uppendahl
Airs Mondays at 10pm (Et) on FX
The title of this week’s episode references Albert Camus’ essay on the philosophy of the absurd, specifically the titular fourth chapter, which tells the story of Sisyphus, a man doomed by the gods to push a boulder up a hill, only to watch the boulder fall down, where he’d begin pushing it up the hill again. It is Camus’ metaphor for the modern life in the shadow of the Industrial Revolution and of course, the framing device for Fargo season two’s terrific third episode, an hour that explores the futility of men fighting against the inevitability of the world, about how no matter how many times we push the boulders in our lives up hills, there’s still plenty of slippery shit laid along that...
Written by Bob DeLaurentis
Directed by Michael Uppendahl
Airs Mondays at 10pm (Et) on FX
The title of this week’s episode references Albert Camus’ essay on the philosophy of the absurd, specifically the titular fourth chapter, which tells the story of Sisyphus, a man doomed by the gods to push a boulder up a hill, only to watch the boulder fall down, where he’d begin pushing it up the hill again. It is Camus’ metaphor for the modern life in the shadow of the Industrial Revolution and of course, the framing device for Fargo season two’s terrific third episode, an hour that explores the futility of men fighting against the inevitability of the world, about how no matter how many times we push the boulders in our lives up hills, there’s still plenty of slippery shit laid along that...
- 10/27/2015
- by Randy Dankievitch
- SoundOnSight
A review of tonight's "Fargo" coming up just as soon as I make you sound like a prog rock band... "It's been real 'High Noon,' my day." -Lou Midway through "The Myth of Sisyphus," Peggy tries to butter up Ed by telling him, "You've been a real Paladin," referring either to an actual medieval knight, or to Paladin, the heroic gunslinger from '50s TV Western "Have Gun, Will Travel." (Perhaps best known for its closing theme song.) By episode's end, though, it's clear that the title can only be applied to one Lou Solverson, who has himself quite the day of staring death right in the face, but acquits himself well throughout. Patrick Wilson has been very good so far, but this is his first big showcase of the season, and he's superb in it. The scene where Lou faces off against the entire Gerhardt mob by...
- 10/27/2015
- by Alan Sepinwall
- Hitfix
It has been a decade since Ryan Atwood (Benjamin McKenzie) had his first entree into life in "The O.C.," bringing fans of teen soap along for a look at life inside the mansions of Newport Beach. The Fox drama, which premiered on August 5, 2003, was filled with envelope-pushing sexual encounters, Juicy Couture jumpsuits, Death Cab for Cutie, trips to T.J. and much, much more.
Josh Schwartz was a day shy of 27 when "The O.C." first hit the airwaves, which made him the youngest TV creator ever and probably, one of the only ones who would admit to penning a highly-acclaimed pilot in his boxer shorts.
From the real story behind Mischa Barton's departure to the Cohens' original name, and the missed coupling opportunities to the star who didn't even make it onto "The O.C.'s" first poster, read on to see what Schwartz revealed to The Huffington Post while...
Josh Schwartz was a day shy of 27 when "The O.C." first hit the airwaves, which made him the youngest TV creator ever and probably, one of the only ones who would admit to penning a highly-acclaimed pilot in his boxer shorts.
From the real story behind Mischa Barton's departure to the Cohens' original name, and the missed coupling opportunities to the star who didn't even make it onto "The O.C.'s" first poster, read on to see what Schwartz revealed to The Huffington Post while...
- 8/5/2013
- by Jaimie Etkin
- Huffington Post
Bob DeLaurentis has joined ABC's new series "The Unusuals" as showrunner alongside creator Noah Hawley.
The duo will serve as showrunner/exec producers on the series from Sony Pictures TV. The ensemble dramedy, set in a New York police precinct, co-stars Amber Tamblyn, Jeremy Renner, Terry Kinney, Harold Perrineau and Adam Goldberg.
"Unusuals," which was given a series pickup last month, marks Hawley's first show as a creator.
DeLaurentis' credits include serving as exec producer on Fox's "The O.C." and executive producer/showrunner on NBC's "Providence." He is repped by Endeavor.
The duo will serve as showrunner/exec producers on the series from Sony Pictures TV. The ensemble dramedy, set in a New York police precinct, co-stars Amber Tamblyn, Jeremy Renner, Terry Kinney, Harold Perrineau and Adam Goldberg.
"Unusuals," which was given a series pickup last month, marks Hawley's first show as a creator.
DeLaurentis' credits include serving as exec producer on Fox's "The O.C." and executive producer/showrunner on NBC's "Providence." He is repped by Endeavor.
- 9/9/2008
- by By Kimberly Nordyke
- The Hollywood Reporter - Movie News
Fox has recruited Bob DeLaurentis as executive producer/showrunner of its newly picked-up drama series The O.C., from Warner Bros. TV. Meanwhile, Jeff Melvoin has joined Rod Lurie and Marc Frydman as an executive producer on another of this year's crop of pilots that have been given early series orders -- ABC's drama Lines of Duty, from DreamWorks TV and Touchstone TV. The O.C., co-starring Peter Gallagher, focuses on a street-smart teen who winds up in the affluent world of Orange County, Calif. DeLaurentis will executive produce the series alongside McG, Josh Schwartz and Joseph Dougherty. DeLaurentis executive produced NBC's drama Providence and the network's pilot Chestnut Hill. Lines of Duty, starring Leslie Bibb, Leslie Hope and David Paymer, centers on a regional FBI office's fight against organized crime. Melvoin will help series creator Lurie, who has a busy feature schedule, execute the show on a day-to-day basis. Melvoin won an Emmy in 1992 as part of the producing team of CBS' Northern Exposure. He most recently was a co-executive producer on NBC's midseason drama Mister Sterling.
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