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Creative Arts Emmys: The Complete Winners List (So Far)

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The Emmys may not take place until this weekend, but the festivities have already begun as the Creative Arts Emmys are unveiled in the days leading up to the September 20 ceremony.

From documentary categories to reality programming and so much more, there’s no shortage of recognition to be had in this creative arts field. Below, we’re rounding up the full list of winners from this year’s Creative Arts Emmys so far. Check back here each day to see which winners have been unveiled for the 2020 categories.

Queer Eye (Credit: Netflix)

Monday, September 14

Outstanding Documentary or Nonfiction Special

Apollo (HBO) – WINNER
Beastie Boys Story (Apple TV+)
Becoming (Netflix)
The Great Hack (Netflix)
Laurel Canyon: A Place in Time (EPIX)

Outstanding Hosted Nonfiction Series or Special

Comedians in Cars Getting Coffee (Netflix)
Leah Remini: Scientology and the Aftermath (A&E) – WINNER
Ugly Delicious (Netflix)
VICE (Showtime)
The World According to Jeff Goldblum (Disney+)

Outstanding Short Form Nonfiction or Reality Series

Between the Scenes – The Daily Show (Comedy Central)
Full Frontal With Samantha Bee Presents: Pandemic Video Diaries (TBS)
National Geographic Presents: Creating Cosmos: Possible Worlds (National Geographic) – WINNER
Pose: Identity, Family, Community (FX Networks)
RuPaul’s Drag Race Out of the Closet (VH1)

Outstanding Structured Reality Program

Antiques Roadshow (PBS)
Love Is Blind (Netflix)
Queer Eye (Netflix) – WINNER
Shark Tank (ABC)
A Very Brady Renovation (HGTV)

Outstanding Casting for a Reality Program

Born This Way (A&E)
Love Is Blind (Netflix)
Queer Eye (Netflix)
RuPaul’s Drag Race (VH1) – WINNER
The Voice (NBC)

Outstanding Cinematography for a Nonfiction Program

American Factory (Netflix)
Apollo 11 (CNN)
Becoming (Netflix)
The Cave (National Geographic) – WINNER
Sea of Shadows (National Geographic)
Serengeti (Rebirth)

Life Below Zero National Geographic

Life Below Zero (Credit: BBC Worldwide)

Outstanding Cinematography for a Reality Program

Cheer, “Hit Zero” (Netflix)
Life Below Zero, Series Body of Work (National Geographic) – WINNER
Queer Eye, “We’re In Japan!: Japanese Holiday” (Netflix)
RuPaul’s Drag Race, Series Body of Work (VH1)
Survivor, Series Body of Work (CBS)

Outstanding Directing for a Documentary/Nonfiction Program

American Factory (Netflix) – WINNER
Apollo 11 (CNN)
Becoming (Netflix)
The Cave (National Geographic)
The Last Dance, “Episode 7” (ESPN)
Tiger King: Murder, Mayhem and Madness, “Cult of Personality” (Netflix)

Outstanding Directing for a Reality Program

Cheer, “Daytona” (Netflix) – WINNER
LEGO Masters, “Mega City Block” (FOX)
Queer Eye, “Disabled But Not Really” (Netflix)
RuPaul’s Drag Race, “I’m That Bitch” (VH1)
Top Chef, “The Jonathan Gold Standard” (Bravo)

Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score)

Becoming (Netflix)
Home, “Maine” (Apple TV+)
McMillion$, “Episode 1” (HBO)
Tiger King: Murder, Mayhem and Madness, “Not Your Average Joe” (Netflix)
Why We Hate, “Tools & Tactics” (Discovery Channel) – WINNER

Outstanding Narrator

Kareem Abdul-Jabbar, Black Patriots: Heroes of the Revolution (History)
Chiwetel Ejiofor, The Elephant Queen (Apple TV+)
Angela Bassett, The Imagineering Story, “The Happiest Place On Earth” (Disney+)
Lupita Nyong’o, Serengeti, “Destiny” (Discovery Channel)
David Attenborough, Seven Worlds, One Planet, “Antarctica” (BBC America) – WINNER

Outstanding Picture Editing for a Nonfiction Program

American Factory (Netflix)
Apollo 11 (CNN) – WINNER
Beastie Boys Story (Apple TV+)
The Last Dance, “Episode 1” (ESPN)
McMillion$, “Episode 3” (HBO)
Tiger King: Murder, Mayhem and Madness, “Cult of Personality” (Netflix)

Cheer Season 1 Netflix

Cheer (Credit: Netflix)

Outstanding Picture Editing for a Structured Reality or Competition Program

LEGO Masters, “Mega City Block” (FOX)
Queer Eye, “Disabled But Not Really” (Netflix)
RuPaul’s Drag Race, “I’m That Bitch” (VH1) – WINNER
Survivor, “It’s Like a Survivor Economy” (CBS)
Top Chef, “The Jonathan Gold Standard” (Bravo)

Outstanding Picture Editing for an Unstructured Reality Program

Cheer, “God Blessed Texas” (Netflix) – WINNER
Deadliest Catch, “Cold War Rivals” (Discovery Channel)
Life Below Zero, “The New World” (National Geographic)
RuPaul’s Drag Race: Untucked, “The Ball Ball” (VH1)

Outstanding Sound Editing for a Nonfiction or Reality Program (Single or Multi-Camera)

Apollo 11 (CNN) – WINNER
Beastie Boys Story (Apple TV+)
Cheer, “Daytona” (Netflix)
Laurel Canyon: A Place in Time (EPIX)
McMillion$, “Episode 1” (HBO)
Tiger King: Murder, Mayhem and Madness, “Cult of Personality” (Netflix)

Outstanding Sound Mixing for a Nonfiction or Reality Program (Single or Multi-Camera)

Apollo 11 (CNN) – WINNER
Beastie Boys Story (Apple TV+)
Cheer, “Daytona” (Netflix)
Laurel Canyon: A Place in Time (EPIX)
RuPaul’s Drag Race, “I’m That Bitch” (VH1)
Tiger King: Murder, Mayhem and Madness, “The Noble Thing To Do” (Netflix)

Outstanding Writing for a Nonfiction Program

Beastie Boys Story (Apple TV+)
The Cave (National Geographic)
Circus of Books (Netflix)
Don’t F**k With Cats: Hunting an Internet Killer, “Closing The Net” (Netflix) – WINNER
McMillion$, “Episode 1” (HBO)

Last Week Tonight with John Oliver

Last Week Tonight with John Oliver (Credit: HBO)

Tuesday, September 15

Outstanding Short Form Variety Series

Beeing At Home With Samantha Bee (TBS)
Between Two Ferns With Zach Galifianakis: The Movie, Sorta Uncut Interviews (Netflix)
Carpool Karaoke: The Series (Apple TV+) – WINNER
Jimmy Kimmel’s Quarantine Minilogues (YouTube/JimmyKimmelLive)
The Randy Rainbow Show (YouTube)

Outstanding Variety Sketch Series

A Black Lady Sketch Show (HBO)
Drunk History (Comedy Central)
Saturday Night Live (NBC) – WINNER

Outstanding Variety Special (LIVE)

77th Annual Golden Globe Awards (NBC)
Live In Front Of A Studio Audience: “All In The Family” And “Good Times” (ABC) – WINNER
The Oscars (ABC)
Super Bowl LIV Halftime Show Starring Jennifer Lopez And Shakira (FOX)
73rd Annual Tony Awards (CBS)

Outstanding Contemporary Hairstyling for a Variety, Nonfiction, or Reality Program

A Celebration Of The Music From Coco (Disney+)
Dancing With The Stars, “Episode 2802” (ABC)
The Oscars (ABC)
RuPaul’s Drag Race, “I’m That Bitch” (VH1) – WINNER
The Voice, “Top 10” (NBC)

Outstanding Contemporary Makeup for a Variety, Nonfiction, or Reality Program (Nonprosthetic)

Dancing With The Stars, “Disney Night” (ABC)
The Little Mermaid Live! (ABC)
The Oscars (ABC)
RuPaul’s Drag Race, “I’m That Bitch” (VH1) – WINNER
The Voice, “Top 10” (NBC)

Outstanding Costumes for a Variety, Nonfiction, or Reality Program

Dancing With The Stars, “Halloween Night” (ABC)
Drunk History, “Fame” (Comedy Central)
The Masked Singer, “The Season Kick-Off Mask-Off: Group A” (FOX) – WINNER
RuPaul’s Drag Race, “I’m That Bitch” / “Costumes: RuPaul’s Costumes” (VH1)
Saturday Night Live, “Host: Eddie Murphy” (NBC)

The Masked Singer Season 3 T-Rex

The Masked Singer (Credit: Michael Becker / FOX)

Outstanding Directing for a Variety Series

A Black Lady Sketch Show, “Born At Night, But Not Last Night” (HBO)
The Daily Show With Trevor Noah, “Dr. Fauci Answers Trevor’s Questions About Coronavirus” (Comedy Central)
Last Week Tonight With John Oliver, “Episode 629” (HBO)
The Late Show With Stephen Colbert, “Live Show; Chris Christie; Nathaniel Rateliff” (CBS)
Saturday Night Live, “Host: Eddie Murphy” (NBC) – WINNER
Tiffany Haddish Presents: They Ready, “Flame Monroe” (Netflix)

Outstanding Lighting Design/Lighting Direction for a Variety Special

62nd Grammy Awards (CBS)
The Kennedy Center Honors (CBS)
The Oscars (ABC)
Super Bowl LIV Halftime Show Starring Jennifer Lopez And Shakira (FOX) – WINNER
73rd Annual Tony Awards (CBS)

Outstanding Music Direction

The Kennedy Center Honors (CBS) – WINNER
Let’s Go Crazy: The Grammy Salute To Prince (CBS)
The Oscars (ABC)
Saturday Night Live, “SNL At Home #1” (NBC)
Super Bowl LIV Halftime Show Starring Jennifer Lopez And Shakira (FOX)

Outstanding Picture Editing for Variety Programming

The Daily Show With Trevor Noah, “Trump’s Coronavirus Address (Bloopers Included) And Trevor’s Audience Tribute Song” (Comedy Central)
Dave Chappelle: Sticks & Stones (Netflix)
Dave Chappelle: The Kennedy Center Mark Twain Prize For American Humor (PBS)
Last Week Tonight With John Oliver, “Eat Shit Bob! (segment)” (HBO) – WINNER
Last Week Tonight With John Oliver, “The Journey of ChiiJohn: Chapter 2 (segment)” (HBO)

Outstanding Production Design for a Variety, Reality, or Competition Series

At Home With Amy Sedaris, “Outdoor Entertaining” (Travel)
Drunk History, “Bad Blood” (Comedy Central)
Last Week Tonight With John Oliver, “Episode 629” (HBO)
Queer Eye, “We’re In Japan!: The Ideal Woman” (Netflix)
Saturday Night Live, “Host: Eddie Murphy,” “Host: John Mulaney” (NBC) – WINNER

Outstanding Production Design for a Variety Special

77th Annual Golden Globe Awards (NBC)
62nd Grammy Awards (CBS)
The Little Mermaid Live! (ABC)
Live In Front Of A Studio Audience: “All In The Family” And “Good Times” (ABC)
The Oscars (ABC) – WINNER

The Oscars

The Oscars (Credit: Kevin Winter/Getty Images)

Outstanding Sound Mixing for a Variety Series or Special

The Daily Show With Trevor Noah, “Jessie Reyez” (Comedy Central)
Dave Chappelle: Sticks & Stones (Netflix)
62nd Grammy Awards (CBS)
Last Week Tonight With John Oliver, “Episode 629” (HBO)
The Oscars (ABC) – WINNER

Outstanding Technical Direction, Camerawork, Video Control for a Series

Curb Your Enthusiasm, “The Spite Store” (HBO)
Jimmy Kimmel Live!, “Jimmy Kimmel Live in Brooklyn – Jon Stewart, Benedict Cumberbatch, Kelly Ripa, And Music From David Byrne” (ABC)
Last Week Tonight With John Oliver, “Episode 629” (HBO) – WINNER
Saturday Night Live, “Host: Woody Harrelson” (NBC)
The Voice, “Live Finale” (NBC)

Outstanding Technical Direction, Camerawork, Video Control for a Special

2019 American Music Awards (ABC)
Dave Chappelle: Sticks & Stones (Netflix)
The Little Mermaid Live! (ABC)
Live In Front Of A Studio Audience: “All In The Family” And “Good Times” (ABC) – WINNER

The Oscars (ABC)

Outstanding Writing for a Variety Series

The Daily Show With Trevor Noah (Comedy Central)
Full Frontal With Samantha Bee (TBS)
Last Week Tonight With John Oliver (HBO) – WINNER
Late Night With Seth Meyers (NBC)
The Late Show With Stephen Colbert (CBS)

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5 Ways Rey Is The Best Character (& 5 It’s Kylo Ren)

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Between Kylo Ren and Rey Skywalker, which is the better new addition to the Star Wars franchise?

The Star Wars Sequel Trilogy introduces some excellent characters to the saga, including main protagonists Rey and Kylo Ren. They have a unique bond that connects them throughout the films and makes for some great storytelling. In a way, they complement each other, with Rey feeling a pull to the dark side and Kylo feeling a pull to the light, and they act as a balance to the Force.

RELATED: Star Wars: 10 Ways That Rey Got Better & Better 

Both characters are similar; they both feel a pull to opposite sides of the Force and they both struggle to convince the other to join their side. Rey and Kylo are the heart of the sequel trilogy, and both have qualities that make them the best characters in the franchise.

10 Rey: She’s Brave

Rey’s journey begins as a scavenger on the planet Jakku. She goes to wreckages of old ships like Star Destroyers and makes a living by selling whatever she can find. She’s thrust into a world she never knew she had a part in and her bravery is part of why she doesn’t just turn around and say she doesn’t want anything to do with the Resistance.

9 Kylo: He Is Han & Leia’s Son

The Star Wars saga is all about legacy, and Kylo Ren’s journey throughout the sequel trilogy is all about his. He’s the son of Han Solo and Leia Organa, so he has a lot of pressure on him. He kills Han Solo, something that haunts him in the next two films, and Leia is still adamant that there is light in him. His parents are part of the reason why he goes to help Rey fight Emperor Palpatine at the end of The Rise Of Skywalker.

8 Rey: She Sees The Best In People

Rey continuously sees the best in people no matter what they’ve done. She trusts Finn even though he was a stormtrooper for the First Order, and she always seems to have faith that Kylo Ren will turn away from the dark side and into the light one day. It’s one of her best qualities as a character.

7 Kylo: Helping Rey By Killing Snoke

Although he takes Rey to Snoke in The Last Jedi, he surprised both Rey and the audience by killing Snoke and helping her fight off his guards. It’s one of the most memorable moments of the sequel trilogy and displays why Kylo Ren is such a good character.

RELATED: Star Wars: 5 Reasons Why A Ben Solo Spin-Off Series Is A Good Idea (& 5 Why It’s Not)

In the end, he helps Rey in order to try and get her to join him, not because he wants to turn, but definitely shows how vulnerable his character his.

6 Rey: She Doesn’t Give Up On Kylo

Rey is the only one who consistently refuses to give up on Kylo Ren throughout the whole trilogy. Once they realize they have a bond in The Last Jedi, she believes that he can still be turned. Naturally, it’s a lot more complicated than that but she doesn’t give up on him, even though the majority of their time in The Rise Of Skywalker is spent fighting one another.

5 Kylo: He Brings Rey Back To Life

At the end of The Rise Of Skywalker, Rey uses all of her energy in destroying Palpatine and dies. Kylo, or Ben at this point, uses his life Force to bring her back and they have a moment together before he disappears because he sacrificed himself to save her. It’s his last heroic act and his time as Ben Solo was iconic.

4 Rey: She’s Strong

Rey is one of the strongest characters and Force users in the Star Wars Saga. While she struggles with holding back the darkness within her, we get to see some of her powers in The Rise of Skywalker. She singlehandedly destroys a First Order transport ship with lightning powers she never knew she had. She also channels the energy of all of the Jedi before her to defeat Palpatine.

3 Kylo: He’s Complex

Kylo Ren is by far one of the most complex characters that Star Wars has to offer. He constantly struggles with the pull to the light, with Rey and his parents still hoping he will.

RELATED: Star Wars: 10 Questions About Kylo Ren & Rey’s Relationship, Answered

He’s a character that’s been manipulated by the dark side and let down by his family, yet everything he does to hurt them he ends up regretting. Rey healing him and his mother dying is the last straw to bring him back, but even then, he’s never totally been on one side.

2 Rey: She Honors The Skywalker Legacy

Rey’s background is confusing and a little complicated. Her parents were nobodies but her grandfather is Emperor Palpatine, yet she finds the most belonging in characters like Han, Luke, and Leia. In a way, she chooses her family when she takes the Skywalker name and calls herself Rey Skywalker. It’s a fitting conclusion to her journey of self-discovery because she gets to carry on their legacy.

1 Kylo: He’s An Awesome Villain

Kylo Ren is a pretty formidable villain. His red cross bladed lightsaber is a threatening weapon and he has powers and a sense of darkness that he can’t control, despite being so young. He’s ruthless enough to kill his own father and he has a lot of temper tantrums, but he really is one of Star Wars’ best villains.

NEXT: Star Wars: 10 Things That Led To The Rise Of Skywalker 


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10 Star Wars Storylines That Were Completely Abandoned


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Sacha Baron Cohen’s ‘Borat 2’ to Release on Amazon Before Election Day

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The original “Borat” grossed over $260 million worldwide and earned Cohen a Golden Globe award.

Update September 29: Amazon Studios has acquired worldwide rights to “Borat 2,” Deadline confirms. The sequel will debut on the streaming platform in late October ahead of Election Day. The movie will launch around the world in 240 countries on Amazon Prime. The sequel is reportedly titled “Borat: Gift of Pornographic Monkey to Vice Premiere Mikhael Pence to Make Benefit Recently Diminished Nation of Kazakhstan.” As always, Cohen risked his life to shoot the project in secret. Deadline reports the comedian had to wear a bulletproof vest on two different shooting days to stay safe in case a scenario got out of hand.

Earlier: A sequel to Sacha Baron Cohen’s blockbuster 2006 comedy “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan” has been shot and screened “for a select few industry types,” Collider’s Jeff Sneider reports based on confirmations from multiple sources. The sources say “Borat 2” finds Cohen’s Kazakh journalist “thinking he’s a big movie star after the success of the original 2006 film made him famous, so he’s trying to hide from the public by pretending to be someone else, and starts meeting and interviewing people incognito.”

Cohen has been popping up in the news over the last several months for public pranks, leading many fans to speculate as to whether or not he was cooking up a second season of his Showtime series “Who Is America?” or a new project. At the end of June, Cohen made headlines for crashing a far-right rally in Olympia, Washington and convincing the crowd to sing a racist song with him. The event was a “March for Our Rights 3” rally organized by the Washington Three Percenters, a far-right militia group known for its gun advocacy. Cohen appeared dressed in overalls and a fake beard, and his song included lyrics about injecting kids with the “Wuhan flu.”

Another Cohen prank made its way into the news in early July when former New York Mayor Rudy Giuliani revealed to The Post that Cohen ambushed a July 7 interview at the Mark Hotel in New York City. Giuliani believed he was going to be interviewed about the White House’s response to the coronavirus pandemic, but in the middle of the conversation with a female journalist a man stormed in “wearing a crazy” outfit that included “a pink bikini, with lace, underneath a translucent mesh top.” Giuliani called the prank “absurd.”

Near the end of August, a viral Tik Tok video of Cohen dressed in character as Borat speeding down the highway starting making the rounds on social media. The video increased buzz that Cohen would be resurrecting Borat for a sequel, but it was unclear whether or not this would be related to the earlier pranks conducted over the summer. Based on Collider’s plot synopsis for “Borat 2,” it appears Cohen was filming the sequel this whole time. A source described the project to Collider as “Cohen playing Borat playing Cohen.”

“Borat” was a box office winner in 2006, grossing over $260 million worldwide. Cohen won the Golden Globe for Best Actor in a Motion Picture Comedy or Musical, and the film went on to land an Oscar nomination for Best Adapted Screenplay at the 79th Academy Awards. IndieWire has reached out to Cohen’s representatives for further comment.

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Matt Bomer on Having to Emotionally ‘Go There’ With Jim Parsons in ‘Boys in the Band’

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A top-notch cast, including Jim Parsons, Matt Bomer and Zachary Quinto, anchor producer Ryan Murphy’s film adaptation of the groundbreaking play The Boys in the Band. In 1968 (the year the play debuted off-Broadway), bitter, boozy Michael (Parsons) gathers a group of gay friends at his New York duplex to celebrate the birthday of their sarcastic pal Harold (Quinto).

“This apartment is their safe space to be themselves,” explains Bomer, who plays Michael’s earnest ex, Donald, and, with the rest of the cast, starred in Murphy’s 2018 Broadway production. (Joe Mantello directed both.) If the subject matter is foreign, you’ll find familiarity in the themes, like the struggle for self acceptance.

Below, Bomer elaborates.

(Credit: Scott Everett White/NETFLIX ©2020)

Watching the film, it reminded me of what was happening then and what is happening now. Was that something you and your castmates talked about?

Matt Bomer: Well, of course. This is a piece that’s about the cost of stagnation. It was such a revolutionary act from Mart Crowley to have written this piece and put it on stage. It was the first real gay play written for a mainstream audience and so it was such a radical act at the time and took so much courage on his part.

But I don’t know how anybody in that time could have gone to see the play and not realized, “Oh, we need change.” This was written just months before Stonewall so it contains a lot of that ugliness and furor that happens right before a revolution, you know, between the characters. There is something in it that still resonates with people, particularly people who weren’t familiar with the piece coming into it.

How would you describe the relationship between Michael (Parsons) and Donald? There’s a friendship there but they also seem so different.

Formerly, they were more than just friends so they had that familiarity with each other. I think there’s an openness to Michael that’s really appealing to someone like Donald, who’s more of an introvert. I think they cared deeply about each other and if Michael’s character could control his drinking, I think Donald would be open to being more than friends but he knows that may not happen anytime soon. But he loves him deeply, and I think it’s very clear from the way they behave around each other in the first few minutes of the piece. You can see how comfortable they are in front of each other.

(Credit: Scott Everett White/NETFLIX ©2020)

How was it returning to the production and getting reacquainted with Donald?

I wish every movie I did I had done a full Broadway run of it first with the same cast and the same director. There is an implicit sense of trust amongst the ensemble, especially when you’ve had to do that play together where it’s all nine of you on stage every night. There was a comfortability between us and we had a sense of how we all like to work. Because we had lived in the material so much, it was great just to get to play from take to take and see how it translated to a medium that’s inherently so much more intimate.



You and Jim have such great scenes together throughout the film. How did you approach them, especially the one big one late in the story?

With all the scenes, I don’t think any of us wanted to rely on just going into it the way we did initially. We wanted to try to use things that we knew seem to translate well, that you find over the course of a run, but [also] be very open to things. Actually, I think in that scene [near the end of the film] it was really Joe Mantello who pushed us and said, “No, you’re not getting off the hook in this scene. You have to go to Hell. You have to go to Hell in this scene.” I’ll never forget that piece of direction and just gave us this sense of, “OK, we better … It’s time to just go there.”

The Boys in the Band, Movie Premiere, Wednesday, September 30, Netflix

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