It’s Wednesday and work is killing me right now but I had to link to some news and comment because there are some major developments out there this morning.
Lindsay Lohan will be in the Season 2 finale of Ugly Betty and guest on at least 5 episodes next season. While some peeps are up in arms about the scandal prone celebutante making an appearance, I’m actually excited for it. If she can drive while cracked out, imagine what she can pull off semi-sober and confined to a soundstage. I’m somehow rooting for you Lindsay, don’t disappoint or make me the fool. I will cut your mainbrakeline! Check out the pictures of LiLo in action as a Mean Girl to poor little Betty Suarez.
“Para bailar la cylon…” Esai Morales is Bill Adama’s Daddy! Battlestar Galactica’s spin-off series CAPRICA continues to add cast members and I’m frakkin’ excited. Not only is a Deadwood girl (Paula Malcolmson - though I wish it was my girl Molly Parker who will be swinging this summer) on board but fun fact… Esai and Edward James Olmos starred together in American Family so it’s all relative.
TV Talk with GMMR and Ducky is back! After 7 weeks, we were finally able to see each other and dish all the dirt on our favorite shows.
Big Bang Theory, How I Met Your Mother, House, Gossip Girl, American Idol, The Office, Grey’s Anatomy, Lost, Supernatural, Battlestar Galactica, Brothers & Sisters, So You Think You Can Dance, Ugly Betty, Greek and so much more.
We take some last minute listener questions on which finale’s we’re most looking forward to and also which hot summer movies our fave TV stars are popping up in. Not to mention Kath gets to wax The Office finale after one Canadian listener begs for finale information.
Also, be on the lookout for the return of TWO IDIOTS TALK LOST! We watch the show but we’re not experts, sue us.
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*UPDATED:Kristin Dos Santos at E! just released a piece with some of the same information as below but with quotes from showrunners and actors after this weekend’s monumental talks at least kind of confirming what’s below. Check it out.
TVGuide’s Michael Ausiello put together a pretty comprehensive list of when shows might return if and when the WGA Strike ends in the upcoming days/week. He claims its based on outlined network plans as well as inside scoop from a bunch of show moles.
As you scroll through the list keep in mind the number of shows some are claiming they can produce before summer. It’s shocking and ambitious in some cases. Again I urge the creators/writers to take their time and produce quality scripts that will be worth watching and loving instead of good scripts that are better than nothing. Think quality not quantity folks!
24
Expected to return this fall or January ‘09.
30 Rock
Expected to shoot 5 to 10 new episodes to air in April/May.
Back to You
Two pre-strike episodes remain. Future TBD.
Bionic Woman
No new episodes expected. Ever.
Bones
Four pre-strike episodes left. Unclear whether additional episodes will be produced for this season.
Brothers & Sisters
Expected to shoot 4 or 5 new episodes to air in April/May.
Chuck
No new episodes until fall.
Criminal Minds
Expected to shoot 4 to 7 new episodes to air in April/May.
CSI
Expected to shoot 4 to 7 new episodes to air in April/May.
CSI: Miami
Expected to shoot 4 to 7 new episodes to air in April/May.
CSI: NY
Expected to shoot 4 to 7 new episodes to air in April/May.
Desperate Housewives
Expected to shoot 4 or 5 new episodes to air in April/May.
Dirty Sexy Money
No new episodes planned until fall; three remaining pre-strike episodes will undergo some tweaking and kick off fall run.
ER
TBD.
Everybody Hates Chris
Twelve pre-strike episodes remain. No additional episodes expected for this season.
Friday Night Lights
No new episodes expected for this season. Future TBD.
Gossip Girl
Expected to shoot up to 9 new episodes to air in April/May/June.
Grey’s Anatomy
Expected to shoot 4 or 5 new episodes to air in April/May
Heroes
TBD.
House
TBD.
How I Met Your Mother
Expected to shoot 5 to 7 new episodes to air in April/May.
Jericho
Seven episodes remain. No additional episodes expected for this season.
Las Vegas
Three pre-strike episodes remain. No additional episodes expected for this season.
Law & Order: SVU
TBD.
Life
No new episodes expected until fall.
Life Is Wild
No new episodes expected. Ever.
Lost
Six pre-strike episodes remain. Six additional episodes could air this season.
Medium
Six pre-strike episodes remain. No additional episodes expected this season.
Men in Trees
Eleven pre-strike episodes remain. No additional episodes expected this season.
Moonlight
No new episodes expected until fall.
My Name Is Earl
Expected to shoot 8 to 10 new episodes to air in April/May.
Well it looks like a miracle has finally occurred. The Writers Guild of America has struck a tentative deal. Below is the letter that went out this morning to the WGA Members from both Presidents prior to the bi-coastal meetings that are taking place today. More details will surely follow after the before mentioned meetings.
To Our Fellow Members,
We have a tentative deal.
It is an agreement that protects a future in which the Internet becomes the primary means of both content creation and delivery. It creates formulas for revenue-based residuals in new media, provides access to deals and financial data to help us evaluate and enforce those formulas, and establishes the principle that, “When they get paid, we get paid.”
Specific terms of the agreement are described in the summary at the following link - http://www.wga.org/contract_07/wga_tent_summary.pdf - and will be further discussed at our Saturday membership meetings on both coasts. At those meetings we will also discuss how we will proceed regarding ratification of this agreement and lifting the restraining order that ends the strike. Details of the Los Angeles meeting can be found at http://www.wga.org/subpage_member.aspx?id=2763.
Less than six months ago, the AMPTP wanted to enact profit-based residuals, defer all Internet compensation in favor of a study, forever eliminate “distributor’s gross” valuations, and enforce 39 pages of rollbacks to compensation, pension and health benefits, reacquisition, and separated rights. Today, thanks to three months of physical resolve, determination, and perseverance, we have a contract that includes WGA jurisdiction and separated rights in new media, residuals for Internet reuse, enforcement and auditing tools, expansion of fair market value and distributor’s gross language, improvements to other traditional elements of the MBA, and no rollbacks.
Over these three difficult months, we shut down production of nearly all scripted content in TV and film and had a serious impact on the business of our employers in ways they did not expect and were hard pressed to deflect. Nevertheless, an ongoing struggle against seven, multinational media conglomerates, no matter how successful, is exhausting, taking an enormous personal toll on our members and countless others. As such, we believe that continuing to strike now will not bring sufficient gains to outweigh the potential risks and that the time has come to accept this contract and settle the strike.
Much has been achieved, and while this agreement is neither perfect nor perhaps all that we deserve for the countless hours of hard work and sacrifice, our strike has been a success. We activated, engaged, and involved the membership of our Guilds with a solidarity that has never before occurred. We developed a captains system and a communications structure that used the Internet to build bonds within our membership and beyond. We earned the backing of other unions and their members worldwide, the respect of elected leaders and politicians throughout the nation, and the overwhelming support of fans and the general public. Our thanks to all of them, and to the staffs at both Guilds who have worked so long and patiently to help us all.
There is much yet to be done and we intend to use all the techniques and relationships we’ve developed in this strike to make it happen. We must support our brothers and sisters in SAG who, as their contract expires in less than five months, will be facing many of the same challenges we have just endured. We must further pursue new relationships we have established in Washington and in state and local governments so that we can maintain leverage against the consolidated multinational conglomerates with whom we bargain. We must be vigilant in monitoring the deals that are made in new media so that in the years ahead we can enforce and expand our contract. We must fight to get decent working conditions and benefits for writers of reality TV, animation, and any other genre in which writers do not have a WGA contract.
Most important, however, is to continue to use the new collective power we have generated for our collective benefit. More than ever, now and beyond, we are all in this together.
The WGA Strike continues well into the Day 90s so the television landscape is like no winter we’ve seen before. Kath and I are back to talk about Lost’s return as well as the return of American Idol.
Also on the agenda are Friday Night Lights, Terminator: The Sarah Connor Chronicles, Prison Break, American Gladiators, Paradise Hotel, Project Runway, Torchwood, Pushing Daisies, Comic-Con 2008 and much more.
Have a question for Ducky and GMMR? There are a couple ways to contact us:
Free Voice Mail (Comments/Questions):
This is Dan and Kathie’s favorite method of contact because it allows us to hear from you and we use these messages live on our podcast to answer your burning television questions. It’s FREE and you don’t have to do anything but click RECORD BY PHONE on the box below and it will walk you through how to contact us!
It’s super easy and free to leave us a message:
Step 1: Click on “Record by Phone”
Step 2: Dial the number shown and enter the four digit code when prompted
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Day 92 of the WGA Strike and still no concrete evidence of the picket lines coming down any time soon. Rumors. The Hollywood Reporter just posted a good article about where the networks stand and which shows would be poised to return first if and when the WGA comes to a tentative agreement with the AMPTP.
You’ll surely be happy to learn shows like The Office and Lost could be fast tracked back into production and that the summer shows could seemlessly return but some of our faves are dead in the water until Fall where they may or may not have extended seasons. Read on my friends…
After a three-month lull, agents’ phones began ringing off the hook again Monday as word about an imminent end to the writers strike spread around Hollywood during the weekend.
The talks are still in the exploratory stage since the deal between the writers and the studios is still being finalized, but contingency plans put in place by the TV networks and studios will have existing series return on the air on average four weeks (for multicamera comedies) to six weeks (for dramas) after the official end of the strike.
How quickly each show can go back to production depends on the condition of the scripts started before the strike. The prep time needed is said to be two weeks for multicamera comedies and four weeks for more elaborate productions.
However, networks are not expected to ask every series to produce more episodes this season, which doesn’t necessarily mean that those shows will be automatically canceled.
“Each network needs to decide what shows it needs for the rest of the season,” one network executive said.
Some freshman and bubble series and heavily serialized dramas may not do more original episodes this season but would get pickups for next fall to give the creative team time to work on them, some sources said. Among the series rumored to possibly resume production in the summer are NBC’s serialized hit “Heroes,” which could do an extended run next season, and ABC’s promising freshman “Pushing Daisies.”
However, others cautioned that the networks may want to get more episodes of all of their series in the can as a contingency in case of a SAG strike in the summer.
Fox’s “24″ is among the shows expected to go back to production first. Despite the fact that the real-time drama won’t air new episodes this season, it will ramp up production quickly to avoid losing some of the actors needed for the entire 24-episode arc whose options will be up soon.
Also expected to resume production quickly are ABC’s “Grey’s Anatomy,” “Lost,” “Desperate Housewives” and “Brothers & Sisters”; CBS’ “CSI” franchise, “Without a Trace” and “Cold Case”; and such multicamera comedies as CBS’ “Two and a Half Men” and “The Big Bang Theory” and Fox’s ” ‘Til Death.”
NBC’s “The Office” has a script ready to shoot as production on the episode, which was slated to film the first week of the strike, was shut down because star Steve Carell refused to cross the picket line.
The end of the strike also will bring resolution to low-rated freshman series whose future was put in limbo because of the strike. No orders are expected for new episodes of such series as ABC’s “Big Shots,” CBS’ “Cane,” NBC’s “Journeyman” and Fox’s “K-Ville,” though some sources indicated the jury is still out on “Cane,” which has several scripts ready.
Things are murkier on the development front. All broadcast networks except NBC terminated a portion of their development last month, citing lesser needs because of the strike. The broadcast networks can still opt for a truncated pilot season, but by the time the strike is over, they will be at a point where they will have normally ordered all their pilots. To get pilots up and running, the nets will have to rely heavily on first drafts since very few scripts had been delivered before the work stoppage.
A few pilots, including Fox’s “The Oaks” and NBC’s movie/backdoor pilot “Knight Rider,” were filmed during the strike. Several more, including NBC’s “The Man of Your Dreams” and Fox’s dramas “The FBI” and “Saint of Circumstance,” are slated to go into production shortly after the strike ends.
Additionally, studios are prepping pitches to go out as soon as the strike is over.
An imminent end to the strike would mean virtually no disruption of cable networks’ scheduling plans.
Should the strike end in the next month or so, writing would start right away on TNT’s “The Closer” and “Saving Grace,” which would be back on track for their summer runs as originally scheduled.
As for USA, a spokesperson said that the network’s summer programming also would remain pretty much intact if the strike ends over the next few weeks. Premiere dates for certain shows likely have to be pushed back but only by a few weeks.
With the second season of “The Tudors” wrapped, filming on “Brotherhood,” “Dexter” and “Californication” not scheduled to begin until June and “Weeds” in production with a waiver for producer Lionsgate, Showtime’s filming schedule also won’t be affected.
By now you’ve heard all about the strike coming to a possible tentative resolution this week. While you should be cautious about jumping for too much joy, there seems to be some validity to the rumors. Regardless, here is a letter from the Presidents of the Writers Guild of America cluing us in on the latest developments and telling WGA members to continue fighting.
To Our Fellow Members,
While fully mindful of the continuing media blackout, we write you to address the rumors and reports that undoubtedly you have been hearing.
The facts: we are still in talks and do not yet have a contract. When and if a tentative agreement is reached, the first thing we will do is alert our membership with an e-mail message. Until then, please disregard rumors about either the existence of an agreement or its terms.
Until we have reached an agreement with the AMPTP, it is essential that we continue to show our resolve, solidarity, and strength.
Picketing will resume on Monday. Our leverage at the bargaining table is directly affected by your commitment to our cause. Please continue to show your support on the line. We are all in this together.
While many folks gear up to cheer on their favorite football teams and the Boston Police Department gears up to keep some form of peace in a city that’s known to riot at a win and/or a loss, the members of the Writers Guild of America sit anticipating news of whether a new deal with the AMPTP is possible in the near future.
It’s Day 91 and the L.A. Times is reporting that contract outlines have been agreed upon by both sides of this strike. After the jump is also news from United Hollywood cautioning everyone about getting too excited:
Hollywood’s striking writers and major studios have reached the outlines of a new employment contract, resolving key sticking points over how much writers should be paid for work that is distributed over the Internet, people familiar with the negotiations said Saturday.
A final contract could be presented to the Writers Guild of America board as early as Friday, according to three people close to the talks who asked not to be identified because the negotiations are confidential.
The 3-month-old strike is expected to end once the board approves the contract.
The tentative deal came after two weeks of talks that culminated in a marathon bargaining session Friday that was attended by News Corp. President Peter Chernin, Walt Disney Chief Executive Robert A. Iger and Writers Guild of America negotiators David Young, Patrick M. Verrone and John F. Bowman.
Progress had been made in previous meetings on payment for work sold online, but Friday’s session saw a breakthrough on the most contentious issue: compensation for the free streaming of films and TV programs over the Internet.
Representatives of the Writers Guild and the Alliance of Motion Picture and Television Producers, which represents the studios, declined to comment, citing a media blackout.
Attorneys from the studios and the guild were meeting over the weekend to discuss contract language for the proposed agreement, which would need to be ratified by the union’s 10,500 members. Even before a vote by members, the strike would probably be called off if board members strongly endorse the deal.
There are some issues that have yet to be resolved, including defining what qualifies as promotion on the Internet. The debate centers on the extent to which networks can run video clips and other materials on their websites to promote TV programs before paying writers.
Both the writers and the studios faced rising pressures to find a way to end Hollywood’s costliest strike in two decades.
Concluding the strike would allow thousands of workers who lost their jobs when television production shut down to return to work. It would also allow the broadcast networks to salvage the upcoming fall season. Production of pilots is scheduled to begin this month.
An end to the strike would also ensure that Hollywood’s most glamorous party, the Feb. 24 Academy Awards, would air on ABC as scheduled. Last month’s Golden Globes were dramatically scaled back after writers and many actors refused to cross the picket line. The Oscars would likely have faced similar boycotts.
The writers began their strike Nov. 5 in a fight largely about securing their future as digital technology transforms the film and TV industry.
Writers fear being shortchanged as the studios rush to distribute their TV shows and movies on the Web, cellphones, video iPods and other devices. The payments they receive when their material is reused, known as residuals, help writers weather the feast-and-famine cycles of the business. Studios, confronted with rising marketing and production costs and flattening DVD revenue, have been reluctant to commit to the guild’s new-media pay demands when the economics of the Internet and other digital technologies are uncertain.
The latest round of discussions began two weeks ago after directors quickly negotiated their own accord with studios.
In Hollywood, the first union to reach a contract often sets the template for the other talent unions in a process known as pattern bargaining.
The tentative writers’ agreement is largely modeled on the directors’ pact, which doubles residual payments for films and TV shows sold online, secures the union’s jurisdiction over shows created for the Internet (above certain budgets) and establishes payments for shows that are streamed on advertising-supported websites.
A number of top screenwriters and TV writer-producers known as show runners had in recent weeks lobbied their leaders to use the Directors Guild deal as template for their own agreement, eager to put the town back to work.
The directors’ deal, however, stirred a debate among striking writers. Many complained that the directors’ contract offered meager residuals on shows that were streamed free on advertising-supported websites. Another criticism was that the directors’ deal limited the union’s jurisdiction over shows created for the Web at a time when online entertainment is burgeoning.
That complaint was echoed a few days ago by the Screen Actors Guild, whose leaders publicly disparaged the directors’ contract.
On Friday, however, studios offered some key concessions to ease those concerns and keep the talks on track. Those included more favorable pay terms for streaming than those offered to directors. Studios also offered “separated rights” provisions for shows created for the Web, ensuring, for example, that writers would receive extra compensation and credit for online shows that spawn TV pilots, two people close to the talks said.
Writers made some important concessions of their own earlier when they dropped demands to unionize work on animated movies and reality TV shows — both of which had been viewed as non-starters by the studios.
The agreement was negotiated on the studio side by Chernin and Iger, who had been designated by the heads of the other studios to negotiate on their behalf.
That stood in contrast to previous sessions with the writers in which top media executives weren’t at the bargaining table and were led instead by Nick Counter, president of the producers association, and labor relations executives from the major studios.
Having done the heavy lifting, Chernin and Iger will now step back and rely on labor relations executives to formalize contract language this week.
Guild negotiators Young, Verrone and Bowman on Monday are expected to brief the union’s 17-member negotiating committee and board of directors on the proposed contract.
Mark Evanier provides some very wise precautionary words on his blog News From Me, putting what’s happening in negotiations in the context of past strike experiences. Here’s an excerpt:
… it’s a fine, even prudent idea to not get one’s hopes too high. It is a not uncommon negotiating technique to get the other side into the mindset that the deal is done, and then to throw in a last second demand. In past WGA-AMPTP contracts, negotiating has even continued after the deal was made and ratified. Weeks, even months after the ‘81, ‘85 and ‘88 strikes were settled and work resumed, reps from the studio side were still arguing over what had been agreed to, insisting that their notes said we’d agreed to X when we were certain we’d consented to Y. And even when we all agree on what we all agreed upon, we can’t always agree on the interpretation of some clauses and codicils.
This video had me rollin’! Jerry O’Connell is really channeling something great in this mockery of the Tom Cruise Scientology video we’ve all seen 1000x by now.
The manic laughing and clapping is so great! The KFC line is brilliant. The shout out to the WGA is priceless.
CHUCK will air it’s final two hours of pre-strike episodes tonight at 8/7c (”Chuck Versus The Undercover Lover“) and 10/9c (”Chuck Versus The Marlin“).
I’m almost ashamed to admit this but I’m not even excited to see them. This strike has really put a lot of shows into my out of sight, out of mind category and Chuck’s apparently high atop that list because I’m not even going to watch them tonight.
I’ll record them but I’m not watching them until the weekend probably. That’s what the strike has done to me y’all… Chuck Bartowski isn’t even a priority in my life anymore. Ho-hum.
Watch a Preview Clip of “Chuck Versus The Undercover Lover” (8/7c)
Watch a Preview Clip of “Chuck Versus The Marlin” (10/9c)
Thanks to Rae for letting me steal her code for these clips. I’m lazy.
We all knew this was coming so no one should be surprised that other networks are following CBS’ lead in dropping the number of pilot scripts they’re looking at for the upcoming fall television season. FOX and THE CW make some cuts to both their comedy and drama lineups.
Per The Hollywood Reporter:
Fox and the CW on Tuesday followed CBS’ lead and cut their development slates. Fox let go of about two dozen scripts, while the CW dropped about a dozen.
ABC is said to be close to implementing a similar slate reduction, while NBC has been mum about its plans.
The Fox scripts are said to be about evenly split between comedy and drama. Most of them hail from Fox’s main supplier, 20th Century Fox TV, including a drama from writer Josh Berman and a comedy from writer Rob Hanning. Also affected are projects from Warner Bros. TV — including a comedy from the Wayans brothers — as well as ABC Studios, Sony Pictures TV and CBS Paramount Network TV.
“In the current environment, we’ve been forced to take a hard look at our needs for the upcoming season, and as a result we’re going to target a more focused range of projects,” Fox said.
The CW, which also cut comedy and drama scripts, issued a similar statement.
“Due to the ongoing work stoppage, the CW will be taking a more targeted approach to what is certain to be a truncated pilot season,” the network said. “As a result, we are releasing some scripts that had been in development in order to dedicate our creative energy and resources to those projects we choose to pursue.”
While the WGA and the AMPTP are due to engage in “informal discussions” that may or may not lead to both sides returning to the negotiations table, one network is taking action. CBS has decided to cut it’s pilot season order by 20 projects. That means 20 comedy/drama scripts got killed by CBS this weekend. Is CBS the first of many, only time will tell. My guess is “um, yeah!”
In the latest fallout from the writers strike, CBS has trimmed its development slate, letting go of about 20 projects, most of them dramas.
On Friday, the network contacted the reps for the projects, most of which hail from CBS’ primary supplier, sister studio CBS Paramount Network TV. Also affected are scripts from Sony Pictures TV, 20th Century Fox TV and ABC Studios.
The list of terminated projects is said to include CBS Par’s drama “Brothers Grimm,” from writer Stephen Carpenter and Sean Hayes’ Hazy Mills Prods., and a 20th TV-produced comedy from writer Barbie Adler.
“Due to the ongoing writers strike, our development needs for the upcoming pilot season have changed, and we have released some comedy and drama scripts,” CBS said. “This year’s pilot season, at best, will be played out in a very compressed time frame. In this landscape, we are better served creatively, financially and strategically by focusing our development on a more targeted number of projects.”
Other networks also might truncate their 2008-09 development slates because of the strike.
Fox declined comment on its plans citing competitive reasons. NBC also declined comment, while reps for ABC couldn’t be reached for comment.
Yesterday it was announced that the Directors Guild of America had struck a tentative deal with the AMPTP even though their contracts weren’t up for months. The WGA on the other hand has been picketing and fighting daily to get what they deserve and neither side has been willing to talk. Regardless, a deal has been struck so now we need to think about what this means to the WGA Strike (and us) going forward.
It also appears that the AMPTP is kind of reaching out to start informal talks with the Writers Guild in hopes of moving closer to a resolution. From the AMPTP statement:
We hope that this agreement with DGA will signal the beginning of the end of this extremely difficult period for our industry. Today, we invite the Writers Guild of America to engage with us in a series of informal discussions similar to the productive process that led us to a deal with the DGA to determine whether there is a reasonable basis for returning to formal bargaining. We look forward to these discussions, and to the day when our entire industry gets back to work.
These baby steps to some sort of resolution got me thinking about whether or not I’m ready for television to return before Fall 2008. In my head this thing was dragging out until summer so I’d made peace with the fact that most of the shows I love and adore would not be in my life again until the fall foliage was about to turn.
A resolution in the next couple weeks (however improbable that may be) could fast track some shows back into production and on the air before spring which means the TV hiatus I was looking forward to would be cut short. It’s like going on vacation only to find out that your house caught fire and you need to go home to identify the remains of the toddler you left behind with a book of matches and a stack of old magazines. It’s kind of a drag.
My other issue is that I don’t want rushed and crappy scripts just so that networks have something to air. I’d rather each show take their time and give us incredible episodes that we didn’t realize we couldn’t live without than just give us 2nd rate storylines that we’ll be tricked into thinking are great because they’re better than nothing at all.
I’m torn
I’m all out of faith
This is how I feel
I’m cold and I am shamed
Lying naked on the floor
Illusion never changed
Into something real
I’m wide awake and I can see the perfect sky is torn
You’re a little late
I’m already torn
The 65th Annual GOLDEN GLOBE AWARDS winners were announced tonight during a hideous hour long “news special” instead of the normal glitz and glam. Our hosts? The impossibly fake and totally douchey Billy Bush (seriously what was with his hair) and Nancy O’Dell. You couldn’t have picked two worse and unqualified talking heads to host this borefest. Their “banter” over the merits of winners or losers was insipid at best and NBC could have done themselves a favor by just doing a minute long rundown of the winners between episodes of American Gladiators.
Regardless, the once prestigious crystal ball to the Oscars and Emmy’s was squashed thanks to the WGA Strike so bully to them. Chalk one up for the little guys (in the industry’s eyes, not mine. The writers are gods to me)!
And if I have to hear about how sad it was that the nominees didn’t get their moment in the spotlight (as if their bloated paychecks aren’t enough gratification considering its not like they’re curing AIDS or stopping the war in Iraq) I’m going to rip my eyelids off. Hollywood’s back-patting is a little much even on their worst day so really we could do without the fanfare and idolatry for a bit if it means giving the writers their due. Just remember everyone, without the writer’s these “great” actors would have nothing to do. Believe me, left to their own devices many of these folks would be dribbling baffoons so give the writer’s their fair share!
*jumps off soapbox*
And The Winners Are…
Best Series, Drama
Big Love
Damages
Grey’s Anatomy
House Mad Men
The Tudors
Best Actor, Drama Series
Michael C. Hall, Dexter
Jon Hamm, Mad Men
Hugh Laurie, House
Jonathan Rhys Meyers, The Tudors
Bill Paxton, Big Love
Best Actress, Drama Series
Patricia Arquette, Medium Glenn Close, Damages
Minnie Driver, The Riches
Edie Falco, The Sopranos
Sally Field, Brothers & Sisters
Holly Hunter, Saving Grace
Kyra Sedgwick, The Closer
Best Series, Comedy or Musical
30 Rock
Californication
Entourage Extras
Pushing Daisies
Best Actress, Comedy or Musical Series
Christina Applegate, Samantha Who?
America Ferrera, Ugly Betty Tina Fey, 30 Rock
Anna Friel, Pushing Daisies
Mary-Louise Parker, Weeds
Best Actor, Comedy or Musical Series
Alec Baldwin, 30 Rock
Steve Carell, The Office David Duchovny, Californication
Ricky Gervais, Extras
Lee Pace, Pushing Daisies
Best Supporting Actress, Series, Miniseries or TV Movie
Rose Byrne, Damages
Rachel Griffiths, Brothers & Sisters
Katherine Heigl, Grey’s Anatomy Samantha Morton, Longford
Anna Paquin, Bury My Heart at Wounded Knee
Jaime Pressly, My Name Is Earl
Best Supporting Actor, Series, Miniseries or TV Movie
Ted Danson, Damages
Kevin Dillon, Entourage Jeremy Piven, Entourage
Andy Serkis, Longford
William Shatner, Boston Legal
Donald Sutherland, Dirty Sexy Money
Best Miniseries or TV Movie
Bury My Heart at Wounded Knee
The Company
Five Days Longford
The State Within
Best Actress, Miniseries or TV Movie
Bryce Dallas Howard, As You Like It
Debra Messing, The Starter Wife Queen Latifah, Life Support
Sissy Spacek, Pictures of Hollis Woods
Ruth Wilson, Jane Eyre (Masterpiece Theatre)
Best Actor, Miniseries or TV Movie
Adam Beach, Bury
