“As hosts and former hosts of series eligible for the Emmy Awards’ “Outstanding Writing for a Variety Series/Special” categories, we are profoundly disappointed by the Television Academy’s decision to not present this award during the 75th Primetime Emmy Awards’ televised ceremony on January 15, 2024,” the letter addressed to Television Academy chairman and CEO Cris Abrego and president and CEO Maury McIntyre, as well as Fox Entertainment’s CEO Rob Wade and Entertainment President Michael Thorn states.

“Our programs could not exist without the tremendous work of our writers – as proven by the writers’ strike that shut down late night television for 148 days,” it continues. “The Academy’s decision devalues their work, and our series, by sidelining writers from being honored during the Emmys’ main telecast.”

The letter’s signatories include Colbert, Fallon, Meyers, Michael Che, Adam Conover, Sam Jay, Bomani Jones, Colin Jost, Jimmy Kimmel,
Trevor Noah, John Oliver, Amber Ruffin, Jon Stewart and Robin Thede.

Additionally, over 1,400 Writers Guild of America Members have signed a petition urging for the category’s reinstatement as well, including Rachel Bloom, Leslie Jones, Ray Romano, Roy Wood Jr. and more.

“Writing is the bedrock of variety programming, and it is unthinkable that the Television Academy would choose to sideline our contribution to the genre only months after writers spent 148 days on strike to receive the recognition we deserve for the work we help create,” the petition reads. “The Academy’s decision to erase the variety writing award from the Primetime EmmyAwards broadcast dismisses writing as the foundation for excellence in television, and devalues our profession as a whole.”

The move comes just weeks after the WGA called out the Television Academy for deciding to remove the category from the broadcast, saying they did so “without any justification or defensible reason.”

This year’s nominees for “Outstanding Writing for a Variety Special” include “Carol Burnett: 90 Years of Laughter and Love,” “Chris Rock: Selective Outrage,” “John Mulaney: Baby J,” “Wanda Sykes: I’m An Entertainer” and “Would It Kill You to Laugh? Starring Kate Berlant & John Early.”

Representatives for the Television Academy did not immediately return TheWrap’s request for comment.

The post Colbert, Kimmel, Fallon and More Late Night Hosts ‘Profoundly Disappointed’ in Emmys Decision Not to Air Writing Category appeared first on TheWrap.

The ceremony was the last of four different ceremonies presented by the National Academy of Television Arts & Sciences between Friday and Sunday to hand out the Daytime Emmys and Children’s & Family Emmys.

Christopher Jackson hosted the show, which included the presentation of a Lifetime Achievement Award to voice performer Peter Cullen.

The winners:

Outstanding Preschool Series: “Sesame Street” (HBO Max)
Outstanding Children’s or Family Viewing Series: “The Muppets Mayhem” (Disney+)
Outstanding Young Teen Series: “The Crossover”(Disney+)
Outstanding Fiction Special: “The Guardians of the Galaxy Holiday Special” (Disney+)
Outstanding Non-Fiction Program: “1000% Me: Growing Up Mixed” (HBO Max)
Outstanding Preschool Animated Series: “StoryBots: Answer Time” (Netflix)
Outstanding Children’s or Young Teens Animated Series: “Zootopia+” (Disney+) 
Outstanding Animated Special: “Marvel’s Moon Girl and Devil Dinosaur,” “Moon Girl Landing” (Disney Channel)
Outstanding Short Form Program: “I Am Groot” (Disney+)

Outstanding Lead Performance in a Preschool, Children’s or Young Teen Program: Tony Hale as Mr. Benedict, “The Mysterious Benedict Society” (Disney+)
Outstanding Supporting Performance in a Preschool, Children’s or Young Teen Program: Adeel Akhtar as Dr. Aditya Singh, “Sweet Tooth” (Netflix)
Outstanding Younger Performer in a Preschool, Children’s or Young Teen Program: Mykal-Michelle Harris as Alice Baxter, “Raven’s Home” (Disney Channel)
Outstanding Puppetry Performance: Ryan Dillon as Elmo, “Sesame Street” (HBO Max)
Outstanding Voice Performance in a Preschool Program:  Eric Bauza as Bugs Bunny, Daffy Duck, Tweety Bird & Marvin the Martian, “Bugs Bunny Builders” (Cartoon Network)
Outstanding Voice Performance in a Children’s or Young Teen Program: Jack Black as Po, “Kung Fu Panda: The Dragon Knight” (Netflix)
Outstanding Younger Voice Performance in a Preschool, Children’s or Young Teen Program: Maria Nash as Pinecone, “Pinecone & Pony” (Apple TV+)
Outstanding Host: Tabitha Brown, “Tab Time” (YouTube Originals)

Outstanding Writing for a Preschool Animated Program: “StoryBots: Answer Time” (Netflix)
Outstanding Directing for a Multiple Camera Program: “Sesame Street” (HBO Max)

Outstanding Individual Achievement in Animation:

Kaz Aiwaza, Color Script Artist/Background Paint Lead, “Marvel’s Moon Girl and Devil Dinosaur” (Disney Channel)

Carl Anders Beu, Art Director, “Rise of the Teenage Mutant Ninja Turtles: The Movie” (Netflix)

Ellen Coons, Animator, “Shape Island” (Apple TV+) 

Stephen DeStefano, Character Designer, “Unicorn: Warriors Eternal” (Adult Swim)

Masa Inada, Visual Development Artist, “ONI: Thunder God’s Tale” (Netflix)

Robert Kondo, Production Designer, “ONI: Thunder God’s Tale” (Netflix)

Joey Pogoy, Senior Animator, “Sonic Prime” (Netflix)

Kyle Menke, Storyboard Artist, “Hamster & Gretel” (Disney Channel)

Lia Tin, Visual Development Artist, “ONI: Thunder God’s Tale” (Netflix)

Outstanding Public Service Initiative: “DreamWorks Gabby’s Kid Power Challenge” (YouTube)
Honorable Mention: “Sesame Street: Quest for Health Equity” (YouTube)

The post Children’s & Family Emmys: Complete List of Winners appeared first on TheWrap.

Other programs with multiple wins included Netflix’s “Lost Ollie,” which led all shows with five wins, and HBO Max’s “Sesame Street.”

Netflix was second to Disney in wins with nine, while Nickelodeon had five and Apple TV+ had three.

The ceremony gave out awards in more than 30 categories covering directing, writing, music and below-the-line crafts for children’s and family programming. An additional ceremony on Sunday will cover the rest of the Children & Family Emmys’ 54 categories.

In the writing categories, Emmys went to “Sesame Street,” “Life by Ella” and “Baymax.” Directing awards were given to “The Tiny Chef Show,” “Lost Ollie” and “The Cuphead Show.”

Baobab Studios’ “Galactic Catch’ won the award for Outstanding Interactive Media, while Nickelodeon won for promotional announcements.

With more than 50 categories, the Children & Family Creative Arts Emmys is the largest awards show overseen by NATAS, the National Academy of Television Arts & Sciences. (The Primetime Emmys, the best known of the many Emmy ceremonies, is produced by a the Television Academy, a different organization also known as the Academy of Television Arts & Sciences, or ATAS.)

The ceremony took place at the Westin Bonaventure Hotel in downtown Los Angeles. It was the third of four different Emmy shows that took place in a weekend marathon between Friday and Sunday. The string began with the Daytime Emmys on Friday evening, followed by the Daytime Creative and Lifestyle Awards on Saturday afternoon. The Children & Family Emmy Awards will take place on Sunday evening.

The full list of winners:

Outstanding Interactive Media: “Galactic Catch” (Baobab Studios)
Outstanding Promotional Announcement: Nickelodeon Brand Campaign – “Quartet,” “Car,” “We Make Fun” (Nickelodeon)
Writing for a Preschool or Children’s Program: “Sesame Street” (HBO Max)
Writing for a Young Teen Program: “Life by Ella” (Apple TV+)
Writing for a Children’s or Young Teen Animated Program: “Baymax!” (Disney+)
Directing for a Single Camera Live Action Program: “Lost Ollie” (Netflix)
Directing for a Preschool Animated Program: “The Tiny Chef Show” (Nickelodeon)
Directing for an Animated Program: “The Cuphead Show!” (Netflix)
Voice Directing for an Animated Series: “Marvel’s Moon Girl and Devil Dinosaur” (Disney+)
Music Direction and Composition for a Live Action Program: “Lost Ollie” (Netflix)
Music Direction and Composition for an Animated Program: “Kung Fu Panda: The Dragon Knight” (Netflix)
Original Song for a Preschool Program: “One Sacred Thing” from “Jam Van” (YouTube)
Original Song for a Children’s or Young Teen Program: “Finally Free” from “High School Musical: The Musical: The Series” (Disney+)
Main Title: “Marvel’s Moon Girl and Devil Dinosaur” (Disney Channel)
Cinematography for a Single Camera Live Action Program: “Sweet Tooth” (Netflix)
Cinematography for a Multiple Camera Live Action Program: “Family Reunion” (Netflix)
Editing for a Single Camera Live Action Program: “Lost Ollie” (Netflix)
Editing for a Multiple Camera Live Action Program: “Nick News” (Nickelodeon)
Editing for a Preschool Animated Program: “Star Wars: Young Jedi Adventures” (Disney+)
Editing for an Animated Program: “Baymax!” (Disney+)
Sound Mixing and Sound Editing for a Live Action Program: “Are You Afraid of the Dark?” (Nickelodeon)
Sound Mixing and Sound Editing for a Preschool Animated Program: “Star Wars: Young Jedi Adventures” (Disney+)
Sound Mixing and Sound Editing for an Animated Program: “I Am Groot” (Disney+)
Lighting, Camera and Technical Arts: “Lost Ollie” (Netflix)
Visual Effects for a Live Action Program: (TIE) “Jane” (Apple TV+), “Lost Ollie” (Netflix)
Casting for a Live Action Program: “Best Foot Forward” (Apple TV+)
Casting for an Animated Program: “Marvel’s Moon Girl and Devil Dinosaur” (Disney Channel)
Art Direction/Set Decoration/Scenic Design: “The Mysterious Benedict Society” (Disney+)
Costume Design/Styling: “The Guardians of the Galaxy Holiday Special” (Disney+)
Hairstyling and Makeup: “The Guardians of the Galaxy Holiday Special” (Disney+)
Puppet Design and Styling: “Sesame Street” (HBO )
Stunt Coordination: “The Guardians of the Galaxy Holiday Special” (Disney+)
Choreography: “Monster High: The Movie” (Nickelodeon)

The post Children & Family Creative Arts Emmys: Complete List of Winners appeared first on TheWrap.

According to the official rules: Juried category entrants are screened by a panel of professionals in the appropriate peer groups (Animation, Costume Design, Emerging Media Programming,Hairstyling, Makeup and Motion Design) with the possibility of one, more than one or no entry awarded an Emmy. As a result, there are no nominees but instead, a one-step evaluation and voting procedure. Deliberations include open discussions of each entrant’s work with a thorough review of the merits of awarding the Emmy.

There is an additional category for Outstanding Innovation in Emerging Media Programming that the juries decided to not award this year after a close review of entrants.

These below awards will be presented at the 75th Creative Arts Emmys, which will take place at the Peacock Theater in Los Angeles on Sat. Jan. 6, and Sun.
Jan. 7, 2024. An edited presentation will air Sat. Jan. 13, at 8pm EST on FXX.

The following juried award will be presented Saturday, Jan. 6:

Outstanding Motion Design
“Ms. Marvel” • Disney+ • Marvel Studios
Ian Spendloff, Director
David Lochhead, Designer
Daniella Marsh, Designer
David Stumpf, Designer
Philip Robinson, 3D Artist
Matthew Thomas, 3D Artist

To be presented Sunday, Jan. 7, are:

Outstanding Individual Achievement in Animation

Character Design
“Entergalactic” • Netflix • Netflix / Mad Solar / Khalabo Ink Society /
Edelgang
Meybis Ruiz Cruz, Lead Character Designer

Character Animation
“The Simpsons” • “Lisa the Boy Scout” • FOX • A Gracie Films Production
in association with 20th Television Animation
Nik Ranieri, Character Layout

Color
“More Than I Want to Remember” • Paramount+ • Mugeni Film LLC, MTV
Entertainment Studios
Maya Edelman, Animation Director

Production Design
“Star Wars: Visions” • “Screecher’s Reach” • Disney+ • PunkRobot
Studio, Lucasfilm Ltd.
Almu Redondo, Art Director

Outstanding Costumes for Variety, Nonfiction or Reality Programming
“Beauty and the Beast: A 30th Celebration” • ABC • Done+Dusted in
association with Walt Disney Television Alternative and Electric Somewhere
Marina Toybina, Costume Designer
Grainne O’Sullivan, Costume Supervisor
Gabrielle Letamendi, Costume Supervisor
Courtney Webster, Assistant Costume Designer
Arleen Flores, Assistant Costume Designer
Danae McQueen, Assistant Costume Designer

“We’re Here” • “St. George, Utah” • HBO Max • HBO in association with
House of Opus 20 and IPC
Diego Montoya, Costume Designer
Marco Morante, Costume Designer
Joshua “Domino” Schwartz, Costume Designer
Blake Danford, Assistant Costume Designer
Sharon Malka, Assistant Costume Designer
Ricky Reynoso, Assistant Costume Designer

Outstanding Hairstyling for a Variety, Nonfiction or Reality Program
“We’re Here” • “St. George, Utah” • HBO Max • HBO in association with
House of Opus 20 and IPC
Abdiel “Gloria” Urcullu, Department Head Hairstylist
Tyler Funicelli, Hairstylist

Outstanding Makeup for a Variety, Nonfiction or Reality Program
“Beauty and the Beast: A 30th Celebration” • ABC • Done+Dusted in
association with Walt Disney Television Alternative and Electric Somewhere
Bruce Grayson, Makeup Department Head
James MacKinnon, Key Makeup Artist
Sam Fine, Makeup Artist
Julie Socash, Makeup Artist
Melanie Hughes-Weaver, Makeup Artist
Neicy Small, Makeup Artist
Alexei Dmitriew, Makeup FX Artist
Tyson Fountaine, Makeup FX Artist

Outstanding Innovation in Emerging Media Programming
No Emmys awarded; per juried procedure, the assembled panel of professionals
screened the entrants. Deliberations were open and arguments pro and con the
giving of an Emmy to an entrant were discussed. At the conclusion of the
deliberation, the panel determined that no Emmys would be awarded.

The post ‘Beauty and the Beast’ and ‘We’re Here’ Lead Juried Emmy Winners for 75th Ceremony appeared first on TheWrap.

Netflix followed with 61 nominations and Nickelodeon with 30, with AppleTV+ proving itself to be a rising player with 27 total nods.

“We are very proud of the growth experienced in year two of the Children’s and Family Emmys, especially in the development and cultivation of the new categories dedicated to puppetry,” said Rachel Schwartz, director of Daytime and Children’s & Family Emmy Awards, in a statement.

Among the notable actors who received nominations for acting categories included “The Santa Clauses” stars Tim Allen and Kal Penn, “National Treasure: Edge of History” player Catherine Zeta-Jones, Gina Rodriguez for Netflix’s “Lost Ollie,” and various voice performances were recognized for Hollywood vets such as Laurence Fishburne, Jack Black, Tom Kenny and Rob Paulsen.

Details for the ceremony are slated to drop sometime next week.

Below is a complete list of nominees for the Children’s and Family Emmys:

PRESCHOOL SERIES
“Blue’s Clues & You!” (Nickelodeon)
“Helpsters” (Apple TV+)
“Sesame Street” (Max)
“Slumberkins” (Apple TV+)
“Waffles + Mochi’s Restaurant” (Netflix)

CHILDREN’S OR FAMILY VIEWING SERIES
“Are You Afraid of the Dark” (Nickelodeon)
“Best Foot Forward” (Apple TV+)
“Jane” (Apple TV+)
“Malory Towers” (BYUtv)
“The Muppets Mayhem” (Disney+)

YOUNG TEEN SERIES
“The Crossover” (Disney+)
“Ghostwriter” (Apple TV+)
“High School Musical: The Musical – The Series” (Disney+)
“The Mysterious Benedict Society” (Disney+)
“XO, Kitty” (Netflix)

FICTION SPECIAL
“Chang Can Dunk” (Disney+)
“Fraggle Rock: Back to the Rock – Night of the Lights” (Apple TV+)
“The Guardians of the Galaxy Holiday Special” (Disney+)
“Ivy and Bean: Doomed to Dance” (Netflix)
“Prom Pact” (Disney Channel)

NON-FICTION PROGRAM
“1000% Me: Growing Up Mixed” (Max)
“All-Round Champion” (BYUtv)
“Mamas” (Roku)
“NBC Nightly News: Kids Edition” (NBC)
“Nick News” (Nickelodeon)

PRESCHOOL ANIMATED SERIES
“The Adventures of Paddington” (NICK Jr.)
“Spirit Rangers” (Netflix)
“Star Wars: Young Jedi Adventures” (Disney+)
“StoryBots: Answer Time” (Netflix)
“The Tiny Chef Show” (Nickelodeon)

CHILDREN’S OR YOUNG TEEN ANIMATED SERIES
“Baymax!” (Disney+)
“Big City Greens” (Disney Channel)
“Moon Girl and Devil Dinosaur” (Disney Channel)
“ONI: Thunder God’s Tale” (Netflix)
“Zootopia+” (Disney+)

ANIMATED SPECIAL
“Looney Tunes Cartoons – Bugs Bunny’s Howl-O-Skreem Spooktacular” (Max)
“Moon Girl and Devil Dinosaur – Moon Girl Landing” (Disney Channel)
“Reindeer in Here” (CBS)
“Rise of the Teenage Mutant Ninja Turtles” (Netflix)
“Snoopy Presents: Lucy’s School” (Apple TV+)
“The Wonderful Summer of Mickey Mouse” (Disney+)

SHORT FORM PROGRAM
“The Big Gathering” (PBS Kids)
“I Am Groot” (Disney+)
“Sesame Street: Wes’ First Barbershop Haircut” (YouTube)
“Sesame Street’s #ComingTogether Word of the Day Series” (YouTube)
“Storyline Online” (YouTube)

PROMOTIONAL ANNOUNCEMENT
Jurassic World: Camp Cretaceous – “Season 5 Campaign” (Netflix)
Nickelodeon Brand Campaign – “Quarter,” “Car,” “We Make Fun” (Nickelodeon)
PBS Kids – “Brand IDs” (PBS Kids)

LEAD PERFORMANCE IN A PRESCHOOL, CHILDREN’S OR YOUNG TEEN PROGRAM
Tim Allen as Scott Calvin/Santa, “The Santa Clauses” (Disney+)
Ella Bright as Darrell Rivers, “Malory Towers” (BYUtv)
Veda Cienfuegos as Emily, “Circuit Breakers” (Apple TV+)
Tony Hale as Mr. Benedict, “The Mysterious Benedict Society” (Disney+)
Gina Rodriguez as Momma, “Lost Ollie” (Netflix)

SUPPORTING PERFORMANCE IN A PRESCHOOL, CHILDREN’S OR YOUNG TEEN PROGRAM
Adeel Akhtar as Dr. Aditya Singh, “Sweet Tooth” (Netflix)
Nonso Anozie as Tommy Jepperd, “Sweet Tooth” (Netflix)
Kal Penn as Simon Choksi/Santa, “The Santa Clauses” (Disney+)
Neil Sandilands as General Abbot, “Sweet Tooth” (Netflix)
Catherine Zeta-Jones as Billie Pearce, “National Treasure: Edge of History” (Disney+)

YOUNGER PERFORMER IN A PRESCHOOL, CHILDREN’S OR YOUNG TEEN PROGRAM
Mykal-Michelle Harris as Alice Baxter, “Raven’s Home” (Disney Channel)
Marta Kessler as Constance Contraire, “The Mysterious Benedict Society” (Disney+)
Matilda Lawler as Betty, “The Santa Clauses” (Disney+)
Rupali Redd as Grace, “The Santa Clauses” (Disney+)

PUPPETRY PERFORMANCE
Leslie Carrara-Rudolph as Abby & Tango, “Sesame Street” (Max)
Frankie Cordero as Purple Panda, Penguin Referee & Gregory, “Donkey Hodie” (PBS Kids)
Ryan Dillon as Elmo, “Sesame Street” (Max)
Haley Jenkins as Donkey Hodie, “Donkey Hodie” (PBS Kids)
Eric Jacobson as Bert, Oscar & Grover, “Sesame Street” (Max)
Eric Jacobson as Animal/Baby Animal, “The Muppets Mayhem” (Disney+)

VOICE PERFORMANCE IN A PRESCHOOL PROGRAM
Eric Bauza as Bugs Bunny, Daffy Duck, Tweety Bird & Marvin the Martian, “Bugs Bunny Builders” (Cartoon Network)
Erin Fitzgerald as Bo, Eleanor Smartypants, Story StoryBerg, Ranger Dot, Oog the CaveBot & Fun Fact Hairdresser, “StoryBots: Answer Time” (Netflix)
James Monroe Iglehart as Mr. Puppypaws/Announcer, “Superkitties” (Disney Junior)
Cree Summer as Lizard & DeeDee, “Spirit Rangers” (Netflix)
Fred Tatasciore as Bang, BlimBlam the Barbarian & Chef Pierre, “StoryBots: Answer Time” (Netflix)

VOICE PERFORMANCE IN A CHILDREN’S OR YOUNG TEEN PROGRAM
Bob Bergen as Porky Pig, “Looney Tunes Cartoons” (Max)
Jack Black as Po, “Kung Fu Panda: The Dragon Knight” (Netflix)
Laurence Fishburne as The Beyonder, “Moon Girl and Devil Dinosaur” (Disney Channel)
Tom Kenny as SpongeBob SquarePants, “SpongeBob SquarePants” (Nickelodeon)
Rob Paulsen as Pinky, Dr. Scratchansniff & Yakko, “Animaniacs” (Hulu)

YOUNGER VOICE PERFORMANCE IN A PRESCHOOL, CHILDREN’S OR YOUNG TEEN PROGRAM
Talon Proc Alford as Eddy Skycedar, “Spirit Rangers” (Netflix)
Juliet Donenfeld as Piper, “Interrupting Chicken” (Apple TV+)
Maria Nash as Pinecone, “Pinecone & Pony” (Apple TV+)
Melissa Povenmire as Gretel, “Hamster & Gretel” (Disney Channel)
Isis Celilo Rogers as Summer Skycedar, “Spirit Rangers” (Netflix)
Momona Tamada as Onari, “ONI: Thunder God’s Tale” (Netflix)

HOST
Valerie Bertinelli & Duff Goldman, “Kids Baking Championship” (Food Network)
Tabitha Brown, “Tab Time” (YouTube Originals)
Emmanuel Carter, “Noggin Knows” (Noggin)
Taylor Cassidy, Benjamin de Almedia, Kahlil Greene, Tejas Hullur, Jane McManus & Jillian Smith, “Nick News” (Nickelodeon)
Juanpa Zurita, “Elmo’s Mindfulness Spectacular!” (YouTube)

WRITING FOR A PRESCHOOL OR CHILDREN’S LIVE ACTION PROGRAM
“Helpsters” (Apple TV+)
“Jane” (Apple TV+)
“Lost Ollie” (Netflix)
“Raven’s Home” (Disney Channel)
“Sesame Street” (Max)

WRITING FOR A YOUNG TEEN PROGRAM
“Chang Can Dunk” (Disney+)
“The Crossover” (Disney+)
“Growing Up” (Disney+)
“Life by Ella” (Apple TV+)
“The Mysterious Benedict Society” (Disney+)

WRITING FOR A PRESCHOOL ANIMATED PROGRAM
“The Adventures of Paddington” (NICK Jr.)
“Daniel Tiger’s Neighborhood” (PBS Kids)
“Interrupting Chicken” (Apple TV+)
“Molly of Denali” (PBS Kids)
“StoryBots: Answer Time” (Netflix)
“The Tiny Chef Show” (Nickelodeon)

WRITING FOR AN ANIMATED CHILDREN’S OR YOUNG TEEN PROGRAM
“Baymax!” (Disney+)
“Craig of the Creek” (Cartoon Network)
“Karma’s World” (Netflix)
“Moon Girl and Devil Dinosaur” (Disney Channel)
“My Dad the Bounty Hunter” (Netflix)

DIRECTING FOR A SINGLE CAMERA PROGRAM
“Circuit Breakers” (Apple TV+)
“The Guardians of the Galaxy Holiday” (Disney+)
“Lost Ollie” (Netflix)
“The Muppets Mayhem” (Disney+)
“The Mysterious Benedict Society” (Disney+)

DIRECTING FOR A MULTIPLE CAMERA PROGRAM
“Hello, Jack! The Kindness Show” (Apple TV+)
“Kids’ Choice Awards 2023” (Nickelodeon)
“Raven’s Home” (Disney Channel)
“Sesame Street” (Max)

DIRECTING FOR A PRESCHOOL ANIMATED PROGRAM
“Ada Twist, Scientist” (Netflix)
“The Adventures of Paddington” (NICK Jr.)
“Mickey Saves Christmas” (Disney Channel)
“Spirit Rangers” (Netflix)
“The Tiny Chef Show” (Nickelodeon)

DIRECTING FOR AN ANIMATED PROGRAM
“Baymax!” (Disney+)
“The Cuphead Show!” (Netflix)
“Kung Fu Panda: The Dragon Knight” (Netflix)
“ONI: Thunder God’s Tale” (Netflix)
“Zootopia+” (Disney+)

VOICE DIRECTING FOR AN ANIMATED SERIES
“Ada Twist, Scientist” (Netflix)
“The Ghost and Molly McGee” (Disney Channel)
“Kiff” (Disney Channel)
“Moon Girl and Devil Dinosaur” (Disney Channel)
“Spirit Rangers” (Netflix)

MUSIC DIRECTION AND COMPOSITION FOR A LIVEACTION PROGRAM
“The Guardians of the Galaxy Holiday Special” (Disney+)
“Ivy and Bean The Ghost Who Had to Go” (Netflix)
“Lost Ollie” (Netflix)
“Monster High: The Movie” (Nickelodeon)
“The Mysterious Benedict Society” (Disney+)

MUSIC DIRECTION AND COMPOSITION FOR ANIMATED PROGRAM
“Animaniacs” (Hulu)
“Kung Fu Panda: The Dragon Knight” (Netflix)
“Looney Tunes Cartoons” (Max)
“Star Wars: Young Jedi” (Disney+)
“Tom and Jerry: Cowboy Up!” (Cartoon Network/Max)

ORIGINAL SONG FOR A PRESCHOOL PROGRAM
“The City of Brotherly Love,” Jam Van (YouTube Kids)
“Community is Everything,” Sesame Street (Max)
“The Hat Makes The Hatter,” Alice’s Wonderland Bakery (Disney Junior)
“One Big Family,” Mira, Royal Detective (Disney Junior)
“One Sacred Thing,” Jam Van (YouTube Kids)

ORIGINAL SONG FOR A CHILDREN’S OR YOUNG TEEN PROGRAM
“Coming Out of the Dark,” Monster High: The Movie (Nickelodeon)
“Finally Free,” High School Musical: The Musical – The Series (Disney+)
“Roll the Dice,” The Cuphead Show! (Netflix)
“These Kids,” Snow Day (Nickelodeon)
“You Never Know,” High School Musical: The Musical – The Series (Disney+)

MAIN TITLE
“Kiff” (Disney Channel)
“Moon Girl and Devil Dinosaur” (Disney Channel)
“The Mysterious Benedict Society” (Disney+)
“National Treasure: Edge of History” (Disney+)
“Star Wars: Young Jedi Adventures” (Disney+)
“Superkitties” (Disney Junior)

CINEMATOGRAPHY FOR A SINGLE CAMERA LIVE ACTION PROGRAM
“Jane” (Apple TV+)
“Lost Ollie” (Netflix)
“The Mysterious Benedict Society” (Disney+)
“The Santa Clauses” (Disney+)
“Sweet Tooth” (Netflix)
“Waffles + Mochi’s Restaurant” (Netflix)

CINEMATOGRAPHY FOR A MULTIPLE CAMERA LIVE ACTION PROGRAM
“Family Reunion” (Netflix)
“Raven’s Home” (Disney Channel)
“The Villains of Valley View” (Disney Channel)

EDITING FOR A SINGLE CAMERA LIVE ACTION PROGRAM
“Lost Ollie” (Netflix)
“The Muppets Mayhem” (Disney+)
“National Treasure: Edge of History” (Disney+)
“Sweet Tooth” (Netflix)
“Waffles + Mochi’s Restaurant” (Netflix)

EDITING FOR A MULTIPLE CAMERA LIVE ACTION PROGRAM
“Erin & Aaron” (Nickelodeon)
“Family Reunion” (Netflix)
“Nick News” (Nickelodeon)
“Sesame Street” (Max)
“That Girl Lay Lay” (Nickelodeon)
“Young Dylan” (Nickelodeon)

EDITING FOR A PRESCHOOL ANIMATED PROGRAM
“Ada Twist, Scientist” (Netflix)
“Frog and Toad” (Apple TV+)
“Get Rolling With Otis” (Apple TV+)
“Star Wars: Young Jedi Adventures” (Disney+)
“StoryBots: Answer Time” (Netflix)

EDITING FOR AN ANIMATED PROGRAM
“Baymax!” (Disney+)
“Cars on the Road” (Disney+)
“Moon Girl and Devil Dinosaur” (Disney Channel)
“My Dad the Bounty Hunter” (Netflix)
“Reindeer in Here” (CBS)
“The Wonderful Summer of Mickey Mouse” (Disney+)
“Zootopia+” (Disney+)

SOUND MIXING AND SOUND EDITING FOR A LIVE ACTION PROGRAM
“Are You Afraid of the Dark” (Nickelodeon)
“Freeridge” (Netflix)
“Lost Ollie” (Netflix)
“Monster High: The Movie” (Nickelodeon)
“Waffles + Mochi’s Restaurant” (Netflix)
“Z-O-M-B-I-E-S 3” (Disney+)

SOUND MIXING AND SOUND EDITING FOR A PRESCHOOL ANIMATED PROGRAM
“Let’s Go Luna!” (PBS Kids)
“Ridley Jones” (Netflix)
“Santiago of the Seas” (Nickelodeon)
“Sesame Street: The Nutcracker, Starring Elmo and Tango” (Max)
“Star Wars: Young Jedi Adventures” (Disney+)

SOUND MIXING AND SOUND EDITING FOR AN ANIMATED PROGRAM
“Batman and Superman: Battle of the Super Sons” (Warner Bros.)
“I Am Groot” (Disney+)
“Kung Fu Panda: The Dragon Knight” (Netflix)
“Rise of the Teenage Mutant Ninja Turtles” (Nickelodeon)
“Star Trek: Prodigy” (Nickelodeon)

The post Disney Leads 2023 Children’s and Family Emmys With 93 Nominations appeared first on TheWrap.

Other inductees include ABC News correspondent John Quiñones, Meruelo Media president and CEO Otto Padron, documentarians and cofounders of DCTV Jon Alpert and Keiko Tsuno and ABC News senior national correspondent Steve Osunsami.

The honorees will be recognized at the 44th News & Documentary Emmy Awards on Sept. 27 and Sept. 28.

The Gold and Silver Circle, per NATAS, inducts “exceptional professionals who have performed distinguished service within the television industry, setting standards for achievement, mentoring, leadership and professional accolades for 50 or 25 years, respectively.”

As announced earlier, Wolf Blitzer and Barbara Kopple will receive the Lifetime Achievement Honors at the ceremony. Blitzer will receive his honor on Sept. 27, and Kopple will received hers on Sept. 28.

Read on for the full list of Gold and Silver Circle inductees from this year’s ceremony:

Gold Circle – 2023 News Inductees:

David Martin, National Security Correspondent (CBS News)

John Quiñones, ABC News Correspondent, “20/20,” “Nightline,” “Good Morning America” and “What Would You Do?” (ABC News)

Dan Rather, Anchor, Journalist, Founder of News and Guts

Silver Circle  – 2023 News Inductees:

Steve Fastook, Senior Vice President of Operations (CNBC)

Kim Godwin, President (ABC News)

Rand Morrison, Executive Producer, CBS News Sunday Morning (CBS News)

Steve Osunsami, Senior National Correspondent (ABC News)

Otto Padron, President and CEO (Meruelo Media)

Thomas Snowden, Editor (NBC News)

Gold Circle  – 2023 Documentary Inductees:

Jon Alpert, Documentarian, Journalist, Cofounder of DCTV

Keiko Tsuno, Documentarian, Journalist, Cofounder of DCTV

Silver Circle  – 2023 Documentary Inductees

Daniel H. Birman, Documentarian (Birman Productions)

Lois Vossen, Executive Producer (Independent Lens)

Chris White, Executive Producer (American Documentary)

The post Dan Rather, Kim Godwin Among Gold and Silver Inductees at News and Documentary Emmy Awards appeared first on TheWrap.

Lakshmi is nominated for Outstanding Host For A Reality Or Competition Program for “Top Chef” and Outstanding Hosted Nonfiction Series for “Taste the Nation.” Lakshmi believes her work on “Taste the Nation” helped her earn a nomination for “Top Chef,” which she has hosted for 17 seasons before announcing her exit in June.

“I think that the last two years, I’ve gotten the host nomination because of my work on ‘Taste the Nation,’ even though the category is for ‘Top Chef.’ I think it was because the Academy and its members saw me in another hosting role that it made them look at my work on ‘Top Chef’ again,” she explained.

The two shows are very different — as are Lakshmi’s roles on them. On “Top Chef,” she is a host and judge for some of the finest professionals in the industry; on “Taste the Nation,” she visits immigrant communities across America and explores the food stories of everyday cooks.

“So much of food television, including, my beloved show ‘Top Chef,’ is either analytical, like we do on judge’s table, or it’s demonstrational, like all the stand-and-stir food shows that you see on many networks. Many also have the competition element. But food is so interwoven into every aspect of our lives that it takes on a highly emotional value. Whether you’re a professional in the food world or an accountant or whatever, food is still very central in your life. And so it occupies this very deep emotional and cultural place,” she explained.

“There are a lot of travel food shows out there, mine is not the only one. Most of them are, again, analyzing the food, and are very lifestyle,” she continued. “And I really wanted to go deeper on a cultural human level, because I could sense how people continue to have such a fascination with ‘Top Chef.’ There’s so much to get through because of how many contestants we have and all the challenges and the getting to taste everything that there’s not much room to really explore that emotionality we do with the contestants. There’s so much joy and pathos that comes from that Olympic-level competition. It’s why we watch the Olympics every four years. But I wanted to take the time and slow down and really look at the cultural implications of food and why and how people are so connected to food as a source of their identity.”

As a South Asian immigrant herself, Lakshmi realized she wanted to use her platform to educate about immigrant communities in the United States, including Nigerians thriving in Houston, Texas or Cambodians in Lowell, Massachusettes.

“I think as an artist and as a storyteller, it is important to seek out new stories. That’s why I created ‘Taste the Nation.’ I’m very thankful for my whole time, which was significant, on ‘Top Chef,’ but I think I have done whatever I’ve set out to do there. I look forward to watching the show and its new evolution with Kristen [Kish]. But I did want to challenge myself, to push myself and my creativity into new places. And I think that’s important for my audience, as well. I also want to reflect the culture as it is today. And I think that immigration is an issue that’s really important, not only to our country, politically, and food-wise, but also for the environment, and agriculturally.”

Lakshmi is equally proud of her final season on “Top Chef,” a “World All-Stars” edition that was filmed entirely in London and Paris — a series first.

“I was very, very glad we went internationally on ‘Top Chef’ because I think it was important to challenge us as a show, a crew, but also to challenge the notion of what it means to be the best food competition show. Can we really say that it’s world-dominating? Well, it is, but let’s test that within the confines of the competition. It was a huge task for us to undertake. And I am really glad that we pushed ourselves.”

Lakshmi has pushed herself on “Taste the Nation,” which she calls “a much smaller show” compared to “Top Chef.” She’s not only the creator and host/executive producer, she also has her hand in every aspect of production.

“On ‘Taste the Nation,’ I sometimes have to get up at like 5:30 am. I will often get up before my alarm because I’ll be my mind is racing — I’ll want to add another question that I want to ask or see if we can do we can squeeze in another little recipe to demonstrate for the viewers because the culture is so interesting. And I’m always taking notes. I’m giving notes on five different edits of each episode, I attend every color-correcting session and post-production, I attend every sound mixing session. I write my own voiceover. I speak very closely with all of my field producers constantly. And so even when I’m not out in the field shooting, I’m back home in New York, prepping for the next episode, and also wrapping the previous one and giving notes of what happened in the field to my editors.”

Despite the emotional investment put into both shows, Lakshmi couldn’t be more grateful.

“One of my greatest blessings has been the ability to make a living with what I naturally love doing,” she reflected. “Whether that’s being a host on ‘Top Chef’ and getting to meet all these wonderful chefs as both competitors and judges and talk shop all day, to traveling the country and embedding myself for a week in each of these communities, I would never ever get to know the country the way I have if it wasn’t for my television career.”

“Top Chef” is streaming on Peacock and “Taste the Nation” is streaming on Hulu.

The post How Padma Lakshmi’s Dual Emmy Noms Represent a Career High – and a Turning Point appeared first on TheWrap.

When production resumed to capture the fallout from the scandal, Neurauter and her story teams sprung back into action. “Our producers were able to come back on and start searching through footage for more like clues,” Neurauter recalled. “We had all these puzzle pieces. And it felt like they were from different puzzles, and we didn’t know how to put them together. So it was helpful when you know the ending that you’re looking for.”

In an interview with TheWrap, Neurauter details when the “Vanderpump Rules” editors was first clued into the “Scandoval,” the challenges of pulling the additional episodes together, and what’s in store for Season 11.

Congratulations on the Outstanding Unstructured Reality Program and Outstanding Editing Emmy nominations. How does it feel?

Neurauter: This is the show’s first two nominations. And to be honest, docusoaps are recognized so infrequently that it feels like a tremendous honor.

Production had fully wrapped when the “Scandoval“ broke and cameras went back up. How did that impact your timeline?

We had locked through Episode 11 and thought we had three more episodes left for the season. Everything was put together. But there was a little bit of footage that didn’t make sense to us, footage that we were mulling over at the time.

And that footage clued you in that something was amiss?

After the beach day, we had Rachel come into SUR the next day for brunch. She had stayed the night at Tom Sandoval’s house and [Tom] Schwartz was there. And that was why she was late. The three of them had hung out a lot that year so it didn’t seem strange. But the way they all spoke about it is what made it stand out to us. The fact that the guys lied about it. That didn’t make a lot of sense to us until the affair was revealed.

[Editors note: Watch the “SUR” scene play out below]

You watched a significant amount of the footage that came in. Was there anything else from your initial viewings that felt off?

It feels obvious in retrospect, but one thing that I remember vividly not making sense to me is the fact that Tom didn’t want to move forward with fertilizing Ariana’s eggs. Because it was something that he had seemed really keen on in the past. And that the second she started talking about it with him again. He was shutting it down. And that felt strange to me. And it didn’t fit with everything we had known about his desire for children in the past.

And Lala Kent. She sometimes sees things that other people miss. And a lot of times she’ll throw out things that sounds so wild and off the wall, that we have to really wonder if she’s saying it for attention or saying it to be funny? We should never think of her that way because she sees things, especially when she’s just slightly removed from them.

What about Rachel? Were there any flags?

Nothing that jumps out at me.

I think what we recognized in Rachel last season is that, on the heels of her breakup with James Kennedy, she seemed a much more confident version of herself. And so, for most of the season, that is what we saw: a young woman trying new things and diving headfirst into her life and her friendships.

Not only did you have to finish the final episodes of the season that filmed real-time, you also had to prepare for the reunion that had already been on the books.

In a situation like that, where everything is happening at once, it feels like bells going off everywhere. For me, the only thing that’s ever worked [in those situations] is having a wonderful team and trusting them to do their jobs. Because you can’t do it all yourself. Everyone comes to it from a place of creativity and love for the cast, and also for figuring out the most interesting way to present their truth to the world. So I think that’s the only thing that that saved it.

Now that you’re several months removed from the “Scandoval” frenzy, how does it feel looking back?

It’s definitely a mix of emotions because I’m very proud of the work that everyone did to make things come together. But it’s hard not to think pretty constantly of how much the lives of the cast have been changed forever because of it. And that changes things. You know, it is not a show that you can sit down and like write an episode of and put on TV like “White Lotus” and have no layered feelings about what’s happened.

It’s funny, because it still feels like we’re in it having begun filming Season 11 so soon after. But in general, I just have always felt lucky to work on a show where the cast is so open and vulnerable. And you know, people behind the scenes put such care into how they work on it and tell the stories that I’m happy that all of that is being recognized for what it is.

Season 10 of “Vanderpump Rules” is currently streaming on Peacock.

The post ‘Vanderpump Rules’ EP Reveals When Story Editors Were First Clued Into ‘Scandoval’: Footage ‘Didn’t Make a Lot of Sense to Us’ appeared first on TheWrap.

After the first season of the show won five Emmys, including Outstanding Animated Program, it’s back in the mix this year, once again vying for the Outstanding Animated Program award.

The nominated episode, “Shadow of Fate,” is a breathtaking tale that splits up our heroes — human Spear and dinosaur Fang. Fang falls in love with another dinosaur (Red), but has to make the heartbreaking decision of whether to try and find a new life with this dinosaur or to stick with her human.

TheWrap spoke to Tartakovsky about what it was like shaping the second season of the series, how he came up with “Shadow of Fate” and what the future for both “Primal” and his other animated series from this year, “Unicorn: Warriors Eternal,” will hold.

When you started out doing “Primal,” did you think of it as two seasons, two chapters?
Honestly, it kind of started as a pilot just to see if it’s going to work. And then after the first couple of weeks of getting animation in, I was like, “Yeah, this is going to start working.” So then we went into more episodes, and after the first 10, I don’t think I thought of more, not in a serious way.

Originally I had a very big, sprawling story with an Egyptian overlord, that type of thing, but it just all felt very cliché. But there was always a bigger story that we’re going to in the initial idea.

Then once we started doing the first season, I changed all that and made it all very simple. Going into the second season, I changed it to be something very different, but still making the story bigger. I felt like I was always afraid that if we did 10 more like the first season, it would lose its luster. It would just feel like we’re done with it. It had to escalate.

Did you hit any roadblocks that you weren’t anticipating?
Well, the first roadblocks was just clichés. In this genre, a lot’s been done between “Stargate,” “10,000 BC,” all that stuff. There’s a lot of it out there. You want to do something that feels original or unique at least, or that we can put our spin on it. And so that was the first hurdle. And let’s change the storytelling. Let’s change our style. Let’s be more surprising, that there’s a mystery and nobody can really tell where one episode goes to the next. Then with the fifth episode curveball, throw that in. And so it makes people uncomfortable because you’re never sure what to expect.

“Shadow of Fate” is the episode that’s nominated for the Emmy. When did you hit on this idea of another dinosaur?
We knew we were going to separate them in Episode 11, and so in 12, which is “Shadow of Fate,” we started talking about, “Well, what happens if they’re separated?” And then now that they both suffered loss for such a long time, it felt right to have a love story for Fang.

Meanwhile, Spear meets a more civilized world he enters into. And so that’s it. Then it started to click. It’s like, “Oh, wait, so Fang falls in love and then they meet, but it’s another dinosaur that wants to kill humans.” And then it kind of hit us like, “Oh, right, it’s a love triangle.”

Once we hit that idea, this bizarre love triangle, that was the gold. We always look for something to do with character and emotion. There’s got to be some kind of a personal stake that’s involved. And once we hit that, it’s like, “This is going to be the most incredible one because without dialogue, without anybody verbalizing what’s happening, can we communicate that in feelings and the frustration that Fang has?” She loves this guy, and then she loves her buddy Spear, right? They’re family. And so now what happens and can we stage all that and can we make the audience feel? And then obviously the horrific loss at the end.

The first season was such a huge hit and Emmy winner. Were you surprised by the response?
For sure, because it’s a very specific, unique show. And in the middle of making it, I go, “I don’t even know who this is for.” I love it. And I know 12-year-old me, 16-year-old me, 25-year-old me, 35-year-old me would all watch this show. And so can we get enough audiences to get into it? Then once it came out, dinosaur people love it, fantasy people like it and the audience starts to build.

Something that was very different about this season was Episode 5, which is set in Victorian England. Where did that come from?
It came from two things. We’re breaking the story down and we’re like, “OK, this is starting to feel linear. We know where this is going. We knew what Episode 6 was. We knew that Episode 3 was him discovering the old civilization, having a lot of big thoughts about it that were clear, but there’s a lot of interpretation. So I wanted to do some kind of a grounding episode.

I was also inspired by an old Robert E. Howard short story where there’s these English scientists talking about caveman times, and then it flashes to caveman times and we see their story for real, how it happened. And I loved reading that short story and like, “Oh, cool, we start with these Victorian dudes, and then you go into this Frank Frazetta-styled caveman story.” I liked the feeling of it. I’ve talked about it before, but I do think “Primal” could be an anthology. And so this was kind of a mini-test to see if it can work as a standalone, but it thematically completely ties into what we were doing through the season.

“Primal” was announced as returning for Season 3. Will it still be in the primeval world or will it have a new setting?
I don’t want to say anything.

You also had “Unicorn: Warriors Eternal” debut this year. Is there any news on Season 2?
I think we’re waiting to hear, still no word yet. And we’ve started Season 3 of “Primal,” and so I don’t know.

The studio is still finding its feet, so I’m not pushing it. “Primal 3″ I was pushing because I was raring to go and I had an idea and the whole thing. “Unicorn,” I’m waiting for the dust to settle a little more, and it’d be nice for the studio to go like, “Oh, Genndy, we want more episodes. It was really successful.” I think ideally, to be honest, I’m waiting for that moment to happen.

But you want it to continue?
Yeah. “Unicorn” is designed as a big sprawling epic, four-tiered series, 40 episodes or whatever. It’s a gigantic story.

All episodes of “Primal” are streaming now on Max.

The post ‘Primal’ Creator Genndy Tartakovsky Says He Views Season 2 as ‘a Love Triangle’ Between 2 Dinosaurs and a Caveman appeared first on TheWrap.

The winner, native Hawaiian Sasha Colby, became the first Polynesian queen to be crowned America’s Next Drag Superstar over Anetra, a queen of mixed Filipino heritage. It marked the first time since Season 3 that the two finalists were of AAPI descent.

Colby was joined by Season 15 contestant Aura Mayari and executive producer Mandy Salangsang in a conversation with TheWrap about representation on the franchise — which is nominated for Outstanding Reality Competition and eight additional Emmy awards this year — and the unique challenges and rewards they faced as AAPI drag queens.

“I was a performer when I was a kid,” recalled Mayari, who immigrated to the United States from the Philippines. “As a viewer, I never saw anybody that looked like me. So that discouraged me. And even auditioning for musicals, even though you could have done better than the other person, [they got the part] because they’re Caucasian.”

But Mayari found drag to be an art that showcased her culture and her skills. “Drag really filled that emptiness that I had with my creative outlets.” Mayari’s drag name was even inspired by her heritage. “It’s gay lingo,” she explained. “I kept hearing this thing called ‘awra.’ It’s always a video of somebody strutting in the streets or being ridiculous. Over the top. I was like, ‘OK, that’s funny.'”

Colby grew up in a conservative Jehovah’s Witness family. “I was always discouraged from being creative and doing anything secular. You only did it for Jehovah.”

It wasn’t until she graduated and went to drag shows and met the queer “aunties and uncles” that she realized how prevalent the trans culture was, even before the term entered more Western/American lexicon.

“There’s so many trans people, trans men and trans women in Polynesian culture. In Hawaii, someone in your family’s trans; someone you know or that you are close with or even grew up with is trans. So that’s always kind of been there,” Colby recalled. “It’s very cool that I get to show the ease of that in drag.”

Colby paid homage to heritage throughout the season, beginning with her tattooed warrior goddess entrance look. “In Hawaiian culture, where you put your tattoos is very sacred… People get big tattoos to mark a big thing in their life: death, marriage, birth. So when we put them in certain places, it’s actually marking point of transition. What was perfect for me was a trans person who is in transition… having a tattoo I was saying yes, we are all in transition in life.”

She also stressed the importance of aloha or respect and love: “Anything I do — especially for work — I was always taught you remember where you came from, be nice to everyone and treat everyone with respect. You’ll get that back.”

Longtime executive producer Salangsang said the contestants’ background stories are the heart and soul of the show.

“There are 50 to 100 various Asian cultures,” she explained. “To promote an understanding and to combat myths, misperceptions and prejudice, [we] really tried to foster a real appreciation for these rich cultures that are full of pageantry and tradition and storytelling.”

Click the video above to watch the entire conversation, including how Colby and Mayari are giving back to their communities.

Season 15 of “Drag Race” is currently streaming on Paramount+.

The post ‘RuPaul’s Drag Race’ Queens Sasha Colby, Aura Mayari Talk Showcasing AAPI Excellence in Season 15 (Video) appeared first on TheWrap.