Awards

A classic song for time-looping, surprising tunes for political campaigns, music for angst-ridden teenagers and wacky scores for dysfunctional families. All of these musical elements helped set the tone and make subtle storytelling points in much-talked-about comedies this television season. Netflix’s “Russian Doll” used a Harry Nilsson song (“Gotta Get Up”) as its signature tune,
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Alexa Fogel was studying theater directing in college and working on an “off-off-Broadway” production, she recalls, when the casting director left mid-process and she “pieced it together.” Although may she joke that she fell into a career in casting in that moment, she ended up filling her resume with ground-breaking small screen series from “Oz”
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Gone are the days when the worlds of such characters as Lucy Ricardo, Mary Richards and Jerry Seinfeld were largely limited to living rooms, workplaces and a handful of fixed locales. Since shifting toward single-camera storytelling, world-building in television comedy has radically expanded, providing rich universes — environments frequently shot off soundstages on location —
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Workplace environments such as traditional corporate offices, branches of the government and even bars have provided colorful characters for decades, but as of late, half-hour formats have increasingly embraced the setting of television productions. It is a unique world, full of specific details about which a storyteller in the space must often educate its audience,
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When uber-producer Marti Noxon read Gillian Flynn’s debut novel, “Sharp Objects,” she says she most admired the “incredible” and “unique” tale. But then she couldn’t shake it. The story — particularly its central figure, Camille, a troubled journalist who returned to her small hometown to investigate a series of brutal murders — stayed on Noxon’s
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Television’s fascination with crime stories dates back decades, but in order to capture an audience’s attention today, when it is pulled in multiple directions by 500 scripted series alone, a deeper dive inside the mind of those who do wrong has proven to be a recipe for successful storytelling. More specifically, there has been an
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The making of one of filmmaker Bob Fosse’s early triumphs, the sizzling “Big Spender” sequence from the 1969 musical “Sweet Charity,” kicks off the opening moments of the first episode of FX’s bio-limited series “Fosse/Verdon” in the same sultry style for which the legendary director-choreographer was known. It juxtaposes the film’s dancers in a sinuous,
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Emerald Fennell and Steven Canals are new to the Emmy race. Although Fennell’s show (“Killing Eve”) was eligible last year, she hadn’t joined the team, let alone taken the reins, in that first season. And Canals’ “Pose” premiered just after the eligibility window closed. Both series received critical acclaim and other awards attention first —
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