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The CW's Fall Schedule: Vampires, Models, and LA Singles

BuzzSugar — Thu, 21 May 2009 07:35:10 -0700

The CW wrapped up network Upfront week this morning by presenting its schedule for Fall 2009. And it's about what was expected, especially after the first photos leaked out yesterday: the three new series in the Fall lineup are Vampire Diaries, the Melrose Place reboot, and The Beautiful Life.

In terms of scheduling, Melrose will air on Tuesdays after 90210 (remake city!), while Beautiful Life gets the post-America's Next Top Model slot on Wednesdays (model city!). On Thursdays, the CW is breaking up its duo of Smallville and Supernatural to make way for Vampire Diaries; Vampire gets Smallville's old slot, while Smallville moves to Fridays.

For midseason, the network ordered the drama now being called Parental Discretion Advised (formerly known as Light Years, among other titles), which was apparently in a fierce battle with the Minka Kelly/Jason Dohring show Body Politic as late as Wednesday. It's a no-go for the Gossip Girl spinoff (update - at least for now, though it may still be a possibility for midseason), a third season of Reaper, a second season of Privileged, and all of the CW's comedies.

I'll have videos to share later today, but for now, to see the full schedule and the network's descriptions of its new shows, just read more.

MONDAY
8 p.m. Gossip Girl
9 p.m. One Tree Hill

TUESDAY
8 p.m. 90210
9 p.m. Melrose Place

WEDNESDAY
8 p.m. America's Next Top Model
9 p.m. The Beautiful Life

THURSDAY
8 p.m. The Vampire Diaries
9 p.m. Supernatural

FRIDAY
8 p.m. Smallville
9 p.m. America's Next Top Model repeats

The New Shows

Melrose Place - In an elegant Spanish-style apartment building in the trendy Melrose neighborhood of Los Angeles, a diverse group of 20-somethings have formed a close-knit surrogate family. Sydney Andrews (Laura Leighton, the original Melrose Place) is the landlady, still beautiful at 40, and a central figure in the lives of all her tenants, especially handsome and rebellious David Breck (Shaun Sipos, Shark). Sydney started an affair with David despite her turbulent history with his estranged father, Dr. Michael Mancini (Thomas Calabro, the original Melrose Place). Both father and son learned through experience that Sydney was not above using blackmail to control people. Another tenant, high-powered publicist Ella Simms (Katie Cassidy, Supernatural), once considered Sydney her mentor, but their friendship was destroyed by betrayal, and Sydney threatened to evict Ella and ruin her career. Sydney also played a pivotal role in the career of Auggie Kirkpatrick (Colin Egglesfield, All My Children). After they met at an AA meeting, she became Auggie's sponsor and encouraged his dream to become a chef. Now a successful sous chef at the trendy restaurant Coal, Auggie has been avoiding Sydney since she began drinking again. The other tenants include Lauren Yung (Stephanie Jacobsen, Terminator: The Sarah Connor Chronicles), a medical student in desperate need of money to pay her student loans, and Jonah Miller (Michael Rady, Swingtown), an aspiring filmmaker who has just proposed to his live-in girlfriend Riley Richmond (Jessica Lucas, Cloverfield), a first-grade teacher. The newest tenant, 18-year-old Violet Foster (Ashlee Simpson-Wentz, 7th Heaven), has just arrived in LA with her own secret connection to Sydney. When a bloody body is found floating in the courtyard pool, David is the leading suspect. However, as the police are soon to discover, almost everyone living at Melrose Place had a reason to want the deceased out of the way. An updated version of the popular 1990s series, Melrose Place is from CBS Television Studios with executive producers Todd Slavkin & Darren Swimmer (Smallville). Oscar-winner Davis Guggenheim (An Inconvenient Truth) is the director and executive producer of the pilot.

The Beautiful Life - The life of a high-fashion model appears glamorous and sexy, but as every new model quickly learns, behind the beautiful faade is a world of insecurity and cutthroat competition. Two teenage models who are about to discover this world for themselves are Raina Collins (Sara Paxton, Last House on the Left), a stunning beauty with a secret past, and Chris Andrews (Benjamin Hollingsworth, The Line), a strikingly handsome Iowa farm boy. When Raina makes an unforgettable impression at a show introducing the new line from designer Zac Posen (appearing in a cameo role), she steals the spotlight from her friend Sonja (Mischa Barton, The O.C.). Sonja has been out of the country for mysterious reasons and is now desperate to reclaim her standing as the reigning supermodel. While Raina and Sonja live at the top of the fashion food chain, Chris is starting at the bottom, having just been discovered by agent Simon Lockridge (newcomer Dusan Dukic) of the Covet Modeling Agency, which is owned by former supermodel Claudia Foster (Elle Macpherson). At his first photo shoot, Chris's inexperience almost derails his career until Raina comes to his rescue, showing him how to relax and work the camera. That afternoon, Raina brings Chris to the "models' residence" where she lives along with other young hopefuls, including Marissa Delfina (Ashley Madekwe, Secret Diary of a Call Girl), Egan (Jordan Woolley, As The World Turns), Issac (Corbin Bleu, High School Musical 2) and the current alpha-male-model known as Kai (Nico Tortorella, Twelve). At an exclusive industry party that night, Chris is again impressed by Raina's generosity when she steps aside to make sure Sonja lands a job that will resurrect her career. However, after an ugly scene with Simon, Chris is left to question whether he can survive in this world of dangerous excess and fleeting fame. The Beautiful Life is from Katalyst Films in association with CBS Television Studios and Warner Bros. Television with executive producers Ashton Kutcher & Jason Goldberg (True Beauty, Punk'd), Karey Burke (True Beauty), Mike Kelley (Swingtown, Jericho) and Carol Barbee (Swingtown, Jericho). Christian Duguay (Coco Chanel) directed the pilot.

Vampire Diaries - Four months after the tragic car accident that killed their parents, 17-year-old Elena Gilbert (Nina Dobrev, DeGrassi: The Next Generation) and her 15-year-old brother, Jeremy (Steven R. McQueen, Everwood) are still trying to cope with their grief and move on with their lives. Elena has always been the star student, beautiful, popular and involved with school and friends, but now she finds herself struggling to hide her sadness from the world. As the school year begins, Elena and her friends are fascinated by a handsome and mysterious new student, Stefan Salvatore (Paul Wesley, Army Wives). Stefan and Elena are immediately drawn to one another, and Elena has no way of knowing that Stefan is a centuries-old vampire, struggling to live peacefully among humans, while his brother Damon (Ian Somerhalder, Lost) is the embodiment of vampire violence and brutality. Now these two vampire brothers - one good, one evil - are at war for Elena's soul and for the souls of her friends, family and all the residents of the small town of Mystic Falls, Virginia. Based on the series of books by L. J. Smith, The Vampire Diaries is from Alloy Entertainment and Bonanza Productions Inc in association with Warner Bros. Television and CBS Television Studios with executive producers Kevin Williamson (Dawson's Creek, I Know What You Did Last Summer), Julie Plec (Kyle XY, Wasteland), Leslie Morgenstein (Gossip Girl, Privileged) and Bob Levy (Gossip Girl, Privileged). Marcos Siega (Dexter) directed the pilot.

Parental Discretion Advised - After spending all of her 15 years bouncing from one foster family to another in Portland, Oregon, Lux (Britt Robertson, Swingtown) has decided it's time to take control of her life and become an emancipated minor. Her journey through the legal maze leads Lux to her biological father, 30-something Nate "Baze" Bazile (Kristoffer Polaha, Mad Men), who owns a bar, lives like an aging frat-boy with two slacker roommates, and is astonished to learn that he has a teenage daughter. Lux is equally astonished when Baze reveals that her mother is Cate Cassidy (Shiri Appleby, ER), a star on the local Morning Madness radio show, along with her on-air partner and real-life boyfriend, Ryan Thomas (Kerr Smith, Eli Stone). Lux has been listening to Cate's voice on the radio as long as she can remember, so she feels an instant connection with the mom she's never met. Baze takes Lux to meet Cate, who is shocked and saddened to learn that Lux has grown up in foster care, but thrilled to finally meet her beautiful daughter. When a judge decides that Lux isn't ready for emancipation and unexpectedly grants temporary joint custody to Baze and Cate, they agree to try to get past the awkwardness and make a belated attempt to give Lux the family she deserves. Parental Discretion Advised is produced by Mojo Films in association with CBS Television Studios and Warner Bros. Television with executive producers Liz Tigelaar (Brothers and Sisters, What About Brian) and Gary Fleder (October Road). Gary Fleder directed the pilot.

Photos courtesy of The CW

Buzz News Roundup, 1/12

BuzzSugar — Mon, 12 Jan 2009 13:30:48 -0800

Hilary Duff is set to star as a young lawyer in the NBC sitcom Barely Legal. - The Hollywood Reporter
French actor, director, and producer Claude Berri has died at age 74. - AP
Kristin Scott Thomas has signed on to play John Lennon's aunt, Mimi Smith, in the movie Nowhere Boy. - Zap2It
Flight of the Conchords fans will now be able to purchase music from each episode the day after it airs. - The Hollywood Reporter
Brendan Fraser will join Harrison Ford in the drama Crowley. - ComingSoon
The Art Directors Guild has announced the nominations for its 2008 Excellence in Production Design Awards, including everything from Changeling and Iron Man to 30 Rock and Weeds. - Variety
Shiri Appleby will play a mom on the CW's hourlong pilot Light Years. - Zap2It

Source

Talking New Moon With Kellan Lutz and Ashley Greene

BuzzSugar — Mon, 16 Nov 2009 09:15:50 -0800

Robert Pattinson, Kristen Stewart, and Taylor Lautner may be dominating the promotional circuit right now, but they're not the only cast members with something to say about New Moon. I had the opportunity to chat with costars Kellan Lutz and Ashley Greene, aka Emmett and Alice Cullen, during their recent stopover in SF. They chatted about their characters, the vampire craze, and what it's like to be a "Twilight celebrity." Here are highlights:

On why so many people are crazy for the Twilight Saga:
Ashley: I think this film in particular is highly relatable. There are a lot of situations that people can relate to. The love story - everyone can relate to being in love or being in lust. You add the vampire, and it adds that next level fantasy. Vampires are mysterious and sensual and dangerous and unattainable. And everyone wants what they can't have. I think on another level that this came together at the perfect time. All the elements just fit, the casting was spot on, and we're in a difficult time right now with our economy. That's why you never have a drop in ticket sales because everyone wants an escape, and this movie is very much an escape from reality.
Kellan: It's a good escape but also it deals with so many situations, on so many positive notes. Just looking at it from the vampire coven to the wolf pack. It just deals with everyday issues just on bigger levels, in a way. And you have Bella as the keystone in many situations. You can just all relate from different countries to issues within the United States. It's easily relatable.

To read a lot more about working with three different directors and why they feel so lucky, just read more.

On how their portrayals of the Cullens are similar or different from the books:
Kellan: We got the jobs because we brought something new to it. You can interpret the characters each their own, but I think it's what we did alongside. Just like Kristen said - she's playing Bella but she's putting her Kristen spin on it, just like all of us are. And I think that's what's making it unique. We're still following the cheat sheets that Stephenie created by making the books, and there's Wikipedia. We have a lot of information to go off of. But I hope it's what I did in my audition that set it apart from the other guys trying out.

Ashley: I think it's mannerisms too. People do fall in love with this book, but I think part of it is that they always want more. You can't write out every human mannerism. You can imagine it, but seeing the emotion in someone's eyes and seeing them be affected it - it was kind of easy to give something to it, because we were just being people. We kinda just got lucky.
On how much more of the Cullens we can expect in the remaining movies:
Kellan: Realistically, we stick pretty close to the books. Obviously us Cullens would love to be in the books a lot more, which would mean we'd be in the movies a lot more. Talking New Moon, the scenes that the Cullens - except for Ashley, playing Alice who gets to go to Italy and be a main lead in the movie - us Cullens, we have to stick really close to the books, and the scenes that we're in are really crucial to the story, as you know - the birthday scene, the voting scene. I don't know, it was kind of a tease. Chris Weitz is such an amazing director, and for us, for myself - I only worked about a week on that movie. And it didn't even seem like I really got a taste for what it was.

Ashley: In the third film, you'll see a lot more of the Cullens because it's all of us collaborating and then getting ready to fight this war that's coming up. In the second one, my character got a much larger role because Alice is the Cullen, other than Edward, that really embraces Bella and they end up becoming best friends. In the beginning, you see her throw this huge party for Bella, and then Alice is the one who does, in fact, come back for Bella when everyone else decides to skip town. Alice is responsible for dragging Bella over to Italy, and she and I the whole time are fighting to save my brother's life. And then of course we get held up by the Volturi and stuff like that. My character got to grow a lot, which is really cool. You get to actually see the relationship develop between Bella and Alice, where in the first one you didn't. The first one was very much about the romance and showing the audience why these two people are willing to die for each other.
On working with a different director on each film:
Ashley: Each director is going to be very different. They're artists as well, and I don't think any of them are quite the same. The books, when you read them, all have very, very, different tones. So I think it's highly appropriate that we switch directors each go. The first one is very much a romance and is a very scenic, beautiful film. And Catherine's really, really great at capturing that. She's very high energy and works well in chaos and stuff like that. And it was fantastic because we didn't quite know what we were getting ourselves into, and so it was nice to have her to guide us when we were freaking out a little bit. She was just so high energy, and it was really contagious. We were sad to lose her and move on to the second film, but then we got Chris Weitz and he's the complete opposite! But great as well. He's so giving and caring and collaborative and created this atmosphere that was kind of a safe haven for us. And it was really nice because we didn't know, switching directors, if they were gonna embrace us or if they had a completely different vision than what we created in the first one. It was nice that he was right there on the same page with us. And the second one is a warmer film, even from the color scheme. The first one is very blue tones, and the second one is much richer and warmer and I think he did a great job at capturing that. And we just finished shooting with David Slade, and I think he's highly appropriate as well. He just finished shooting 30 Days of Night and Hard Candy, and they're both very dark, edgy films. And Eclipse is very much that. It's all centered around the anticipation and us getting ready to fight this huge war. We just finished filming, we haven't gotten to see much of it, but I think it's gonna be fantastic. He is, technically, the most advanced director. The angles that he shot and how he knows that tweaking something can affect a whole scene and the lenses. He was really nice to work with.
On coping with the fan effect and being a "Twilight celebrity"
Kellan: That's what blows my mind, 'cause I feel like it's really unearned in a way. The fans are making our careers. Without them, we wouldn't be working and doing the saga. There's so many times that trilogy books become a movie and the first one bombs, and then that's it. And you're always hopeful that you get to do them all. Especially since we're all in love with our characters. I love Emmett Cullen to death, he's my favorite character I've ever played. It's just so cool to have made it this far, and I think we all hope that we get to finish this series and do Breaking Dawn. This is such a blessing, it's every actor's dream to be part of something like this. It's not terribly hard either. We don't shoot halfway around the world; we don't shoot for a year of our lives. I know a lot of us have homes, we have pets, we have family. And it's really nice to shoot on the West Coast, either Portland or Vancouver, and have the chance to fly down if we need to. But it's definitely amazing to be part of something like this. And I don't think any of us knew how crazy it would be and how exhilarating it would turn out to be. Going to the premiere, really just, wow. I don't even remember it because I was really just starstruck by how many fans and signs and cameras. It felt like I was just walking through a strobe light room. It's amazing.

Ashley: I still think we can't really wrap our heads around what's going on and what's happening. We're still in the midst of filming and kept very busy from one film until the next. It's only these brief moments where you sit back and are actually able to take a breath where you go "Whoa. Wow. This is crazy." I mean, the amount of tickets they've already sold for New Moon - I'm pretty sure I can't even get a ticket if I tried to see my film in Jacksonville and it's mind boggling. We're just very lucky. I went into this film thinking "Oh my gosh, I got a job" and the it turned into the biggest break of my life. I think we all feel very blessed to be a part of this.
On how it feels to be part of Twilight fan fiction:
Kellan: It's an escape, in a way. We do live in a trivial time period right now. There's so much depression that it's kinda cool to be a part of something where people use it to be an escape. In a way that's kinda what Stephenie did -she had a dream and just elaborated on it. It became a huge success and it's really encouraging that people are doing the same and just making up this journey.

Ashley: That's why people love it so much I think. You can take it and make what you want of it. Before the demographic was teenage girls, but now it's women of every age and guys are starting to get into it, too. It's because there is that element of fantasy. If you're 8 years old you look at it one way; if you're 80 years old you look at it another. I think it's fantastic that we can draw such a huge crowd. The other thing is - it blows my mind but people are making connections over this film and over this book. there are mothers and daughters and grandmas who can all sit and talk about the same story and all fantasize about it and I think that's a really cool thing. I think it's rare.

To see all of our Twilight and New Moon coverage, check out TwilightSugar!

Mad Men, "Shut the Door. Have a Seat": This Week's 5 Maddest Moments

BuzzSugar — Mon, 09 Nov 2009 05:30:53 -0800

Wow. The biggest surprise of the third season finale of Mad Men isn't actually a plot point, but how light and almost exciting it manages to be. For a show that's normally so tense and tightly wound, this week's episode has a quick pace, and at times, a sense of humor. Of course, there is still disappointment and heartache; some of our predictions for the finale come true, but some go sadly unfulfilled.

Without further ado, let's talk about the door that closes and the one that opens this week, and as usual, the finale's five maddest moments, when you read more.

So long, Connie: It's eccentric hotelier Conrad Hilton that breaks the news to Don that rival agency McCann is buying PPL, and Sterling Cooper along with it. Don's plenty irate, as it's Hilton's fault that he was signed into a three-year contract and is thus, trapped. However, Don's bitterness quickly turns to ambition, when he rallies Burt, then Roger, to buy back Sterling Cooper from PPL. Pryce is unhelpful in even supplying the purchase price for the men, quashing the buyback plans, but then another scheme is launched: Pryce fires Don, Roger, and Burt so they can form a new agency.
Draper Dissolution: While an exciting change is happening for Don in his career, back at home a bleak change is coming. Betty informs Don that she's seen a divorce lawyer and advises him to do the same. It's painful watching these two spar, and I wanted so much for them to figure out how to fix it - but the ball is clearly in Don's court and he does nothing to sway Betty to call off the divorce. Sure, he tells her to, and even suggests that she might need psychiatric help. Oh, and he tells her that he gave her everything she wanted materially, insinuating that should be enough. Don may know what his clients want, but in his marriage, he has no idea what Betty wants.
Irreconcilable differences: Don sheepishly tolerates the divorce talk until he's having drinks with Roger, who spills the beans about Betty taking up with Henry Francis (I do have to say, it is rather nice to see these two getting along, acting like buds). This sends a drunken Don home to wake up Betty for a confrontation about her indiscretion, and things get nasty and uncomfortably physical. Again, Don manages to push Betty into even more resolve, and she tells him that she's going to Reno to initiate the divorce. Don and Betty devastate the kids with the news of their separation, and Betty makes good on her threat to go to Reno after Don softens a tiny bit - to tell her that he won't fight her.
Don, at your service: One of my favorite parts of this episode? Seeing Don put through the paces by Pete and Peggy. He's always treated them like underlings, and they finally have the opportunity to assert themselves. Don obliges them both and tells them how valuable they are, but not before Peggy pushes back. Her backbone straightens when she's first told of the new company and assures Don that she's had "other offers." Luckily, Don doesn't take no for an answer, and visits Peggy at home, telling her he'd spend the rest of his life trying to hire her if she turned him down now. It's so touching to see Don put aside his ego to acknowledge these others, and it makes me sad that he can't do something similar for Betty.
Sterling Cooper Draper Pryce: The gang's back together! It's thrilling good fun watching the new company assemble - Roger and Don get the agency's most prized employees one by one, plus my favorite: Joan! She's a necessity to help find all the files and materials in the office, and, they realize, a force that had been holding the company together. Her role in Sterling Cooper Draper Pryce (can you say "Michael Scott Paper Company"? I told you these two shows have a lot in common!) is a given. With everything coming together so perfectly, though, I wondered why Sal isn't also called in. I suppose we have next season to look forward to for that. Speaking of, next Summer can't come fast enough.

It's interesting that the finale also weaves in flashbacks of Don's early childhood, as this season's premiere did. What Don is remembering now, though, is how his father died. The elder Whitman was faced with losing his home, and after breaking free of the cooperative, readies a trip to the city to sell his crop. His spooked horse kicks him in the head, killing him, with the young Don as witness. It's an obvious parallel to Don's circumstances, who's losing his home, as in his marriage; and, losing his home, as in his life's work. Of course, he only manages to take control of one of those.

So what did you think? Did this season wrap up the way you wanted it to? And even though we won't see the Draper family or the worker bees of Sterling Cooper Draper Pryce until the fourth season returns, you can still join the Mad Men group in the community to chat about the show year-round.

Photo courtesy of AMC

New Music: Norah Jones's "Light as a Feather"

BuzzSugar — Thu, 05 Nov 2009 05:30:00 -0800

It's been seven years since Norah Jones burst onto the music scene with her debut album and mega-hit "Don't Know Why," and the talented chanteuse has continued to make beautiful, jazzy music (and one movie, which we'll just forget about) ever since.

Her latest album is The Fall, which comes out Nov. 17, and I'm already entranced by the soft, haunting "Light as a Feather." It's not just Jones's smoky voice that makes it worth listening to; it was co-written by alt-country icon Ryan Adams. To hear the song for yourself, just read more.

The Boys Are Back: A Quiet Film With a Few Heart-Tugs

BuzzSugar — Fri, 09 Oct 2009 08:30:26 -0700

Has Clive Owen - a man who's best known for playing con artists, spies, and other brooding alpha males - gone soft? It appears so, and he's surprisingly good at it. In The Boys Are Back Owen plays Joe Warr, a recently widowed sports reporter raising two boys in the Australian wilderness. And thanks to his understated performance, what could've been an overwrought tearjerker worthy of a made-for-cable movie turns into something quietly moving.

Based on the memoir The Boys Are Back in Town by Simon Carr, the film opens with Joe driving on the beach with his son Artie. Did I mention Artie is sitting on the hood of the car with Joe at the wheel?! Parental guidelines haven't been a priority in the Warr household ever since Joe's wife passed away from cancer. Now, he has to explain her death to Artie, while his older son Harry from his first marriage moves into the house. Left to their own devices, the two boys play soccer in the hallway, zip line across the yard, and even defrost a chicken in the bathtub.

Typical parenting? Not so much. For more on the film, read more.

These moments of chaos are fun to watch and add levity to the heavier subject matter, but the movie really shines in the conversations that Joe has with his sons as he helps them grieve - Artie for his mother; Harry for a childhood void of a father. Neither boy really knows how to mourn his loss, but then again, neither does Joe. Instead, he relies on the parental guidance of his deceased wife in the form of visions and voice-overs to help rebuild his family. (This felt very heavy-handed to me, but luckily it was really the only part of the film that crossed over into overly contrived.)

Does it seem out of place to have man's man Owen pillow fight with a 6-year-old and shed tears? A bit. But because he almost seems uncomfortable with the sentimentality, he ends up playing the role with the light touch needed for the part.

The young actors who play his sons are brilliant, even at times stealing the spotlight right out from underneath him. (Not an easy feat when you act - and look - like Owen.) Their performances feel very real despite their ages, and they give us some of the film's most tender moments.

I also must mention the fourth character of the film: the Australian landscape. Oscar-winning director Scott Hicks (Shine) beautifully captures the countryside from sweeping fields to oceanside beaches strewn with rocks, and when paired with music by Icelandic group Sigur Ros, every frame feels almost like a sleepy dream.

All in all, The Boys Are Back is a nicely done portrait of the relationships between fathers and sons. It's not out to be a huge blockbuster, but if you appreciate a good character study kind of film, it's a solid choice for a subdued Saturday afternoon.

Photos courtesy of Miramax Films

Announcing the 2009 Emmy Winners!

BuzzSugar — Sun, 20 Sep 2009 23:32:15 -0700

Well, the Emmys are over, and we have our full list of winners. Were you guys surprised by this year's picks? (Check out all my Emmy polls here.) I thought the show started out pretty unexpectedly when underdogs Kristin Chenoweth and Toni Collete took home trophies, and there were a few other surprises along the way. Towards the end, though, the big wins seemed pretty predictable with Mad Men for drama, 30 Rock for comedy - no surprises there.

I had a lot of favorite moments of the night - more on those later - but mainly, I just enjoyed seeing Neil Patrick Harris as host. I loved everything from his opening to Dr. Horrible, and most of you thought his opening number was pretty great, too.

For the full list of 2009 Emmy winners, just read more.
COMEDY SERIES
30 Rock

DRAMA SERIES
Mad Men

MINISERIES
Little Dorrit

ACTOR IN A COMEDY
Alec Baldwin, 30 Rock

ACTOR IN A DRAMA
Bryan Cranston, Breaking Bad

ACTRESS IN A COMEDY
Toni Collette, United States of Tara

ACTRESS IN A DRAMA
Glenn Close, Damages

MADE FOR TELEVISION MOVIE
Grey Gardens

REALITY HOST
Jeff Probst, Survivor

REALITY COMPETITION PROGRAM
The Amazing Race

ACTOR IN A MINISERIES OR MOVIE
Brendan Gleeson, Into The Storm

ACTRESS IN A MINISERIES OR MOVIE
Jessica Lange, Grey Gardens

SUPPORTING ACTOR IN A COMEDY
Jon Cryer, Two and a Half Men

SUPPORTING ACTOR IN A DRAMA
Michael Emerson, Lost

SUPPORTING ACTOR IN A MINISERIES OR MOVIE
Ken Howard, Grey Gardens

SUPPORTING ACTRESS IN A COMEDY
Kristin Chenoweth, Pushing Daisies

SUPPORTING ACTRESS IN A DRAMA
Cherry Jones, 24

SUPPORTING ACTRESS IN A MINISERIES OR MOVIE
Shohreh Aghdashloo, House Of Saddam

WRITING FOR A COMEDY
30 Rock ("Reunion," Matt Hubbard)

WRITING FOR A DRAMA
Mad Men ("Meditations in an Emergency," Kater Gordon, Matthew Weiner)

WRITING FOR A VARIETY, MUSICAL OR COMEDY SERIES
The Daily Show With Jon Stewart (Steve Bodow, Jon Stewart, David Javerbaum, Josh Lieb, Rory Albanese, Kevin Bleyer, Jason Ross, Tim Carvell, John Oliver, Sam Means, Rob Kutner, J.R. Havlan, Rich Blomquist, Wyatt Cenac, Elliott Kalan, Rachel Axler)

WRITING FOR A MINISERIES, MOVIE, OR DRAMATIC SPECIAL
Little Dorrit (Andrew Davies)

DIRECTING FOR A COMEDY SERIES
The Office ("Stress Relief," Jeff Blitz)

DIRECTING FOR A MINISERIES, MOVIE, OR DRAMATIC SPECIAL
Little Dorrit (Dearbhla Walsh)

DIRECTING FOR A VARIETY, MUSIC, OR COMEDY SERIES
American Idol ("The Final Three," Bruce Gowers)

ORIGINAL MUSIC AND LYRICS
81st Annual Academy Awards" ("Hugh Jackman Opening Number")

VARIETY, MUSIC, OR COMEDY SERIES
The Daily Show With Jon Stewart

DIRECTING FOR A DRAMA SERIES
ER ("And in The End," Rod Holcomb)

LIST OF WINNERS IN THE CREATIVE ARTS CATEGORIES

GUEST ACTOR IN A COMEDY SERIES
Justin Timberlake, Saturday Night Live

GUEST ACTOR IN A DRAMA SERIES
Michael J. Fox, Rescue Me ("Sheila")

GUEST ACTRESS IN A COMEDY SERIES
Tina Fey, Saturday Night Live: Presidential Bash 2008

GUEST ACTRESS IN A DRAMA SERIES
Ellen Burstyn, Law & Order: SVU ("Swing")

GOVERNORS AWARD
Sheila Nevins, HBO Documentary Films

ANIMATED PROGRAM (FOR PROGRAMMING ONE-HOUR OR MORE)
Destination Imagination (Foster's Home for Imaginary Friends)

ANIMATED PROGRAM (FOR PROGRAMMING LESS THAN ONE HOUR)
South Park ("Margaritaville")

ART DIRECTION FOR MULTI-CAMERA SERIES
How I Met Your Mother ("Shelter Island, Not A Father's Day")

ART DIRECTION FOR A SINGLE-CAMERA SERIES
Pushing Daisies ("Dim Sum Lose Some")

ART DIRECTION FOR A MINISERIES OR MOVIE
Grey Gardens and Little Dorrit

ART DIRECTION FOR VARIETY, MUSIC, OR NONFICTION PROGRAMMING
American Idol ("Episode 821-822") and 2008 MTV Video Music Awards

CASTING FOR A COMEDY SERIES
30 Rock

CASTING FOR A DRAMA SERIES
True Blood

CASTING FOR A MINISERIES, MOVIE, OR SPECIAL
Little Dorrit

CHOREOGRAPHY
81st Annual Academy Awards ("Musicals Are Back") and So You Think You Can Dance ("Adam and Eve/Silence")

CINEMATOGRAPHY FOR A HALF-HOUR SERIES
Californication ("In Utero")

CINEMATOGRAPHY FOR A ONE-HOUR SERIES
The Tudors ("Episode 303")

CINEMATOGRAPHY FOR A MINISERIES OR MOVIE
Little Dorrit: Part 1

CINEMATOGRAPY FOR NONFICTION
Anthony Bourdain: No Reservations ("Laos")

CINEMATOGRAPHY FOR REALITY PROGRAMMING
Out of the Wild: The Alaska Experiment ("What Did I Sign Up For?")

COMMERCIAL
"Heist," Coca-Cola

COSTUMES FOR A SERIES
Pushing Daisies ("Bzzzzzzzzz!")

COSTUMES FOR A MINISERIES, MOVIE, OR SPECIAL
Little Dorrit: Part 3

COSTUMES FOR A VARIETY/MUSIC PROGRAM OR A SPECIAL
So You Think You Can Dance ("Episode 415-416A")

DIRECTING FOR A VARIETY, MUSIC OR COMEDY SPECIAL
"Beijing 2008 Olympic Games Opening Ceremony" (Bucky Gunts)

DIRECTING FOR NONFICTION PROGRAMMING
Roman Polanski: Wanted and Desired (Marina Zenovich)

MAIN TITLE DESIGN
United States of Tara

MAKEUP FOR A SERIES, MINISERIES, MOVIE, OR A SPECIAL (PROSTHETIC)
Grey Gardens

MAKEUP FOR A SINGLE CAMERA SERIES (NON-PROSTHETIC)
Pushing Daisies ("Dim Sum Lose Some")

MAKEUP FOR A MULTI-CAMERA SERIES OR SPECIAL (NON-PROSTHETIC)
MADtv ("Episode 1405")

MAKEUP FOR A MINISERIES OR MOVIE (NON-PROSTHETIC)
The Courageous Heart of Irena Sendler (Hallmark Hall of Fame Presentation)

MUSIC DIRECTION
"Streisand: The Concert"

MUSIC COMPOSITION FOR A SERIES (ORIGINAL DRAMATIC SCORE)
Legend of the Seeker ("Prophecy")

MUSIC COMPOSITION FOR A MINISERIES, MOVIE, OR A SPECIAL
Into the Storm

ORIGINAL MAIN TITLE THEME MUSIC
Great Performances

PICTURE EDITING FOR A DRAMA SERIES (SINGLE-CAMERA)
Breaking Bad ("ABQ")

PICTURE EDITING FOR A COMEDY SERIES (SINGLE OR MULTI-CAMERA)
30 Rock ("Apollo, Apollo")

PICTURE EDITING FOR A MINISERIES OR MOVIE (SINGLE-CAMERA)
Taking Chance

PICTURE EDITING (SHORT FORM)
81st Annual Academy Awards and "Stand Up to Cancer"

PICTURE EDITING FOR A SPECIAL (SINGLE OR MULTI-CAMERA)
"Chris Rock: Kill the Messenger"

PICTURE EDITING FOR NONFICTION PROGRAMMING
This American Life ("John Smith")

PICTURE EDITING FOR REALITY PROGRAMMING
Project Runway ("Finale Part 1")

HAIRSTYLING FOR A SINGLE-CAMERA SERIES
Mad Men ("The Gold Violin")

HAIRSTYLING FOR A MULTI-CAMERA SERIES OR SPECIAL
Dancing With the Stars ("Episode 709")

HAIRSTYLING FOR A MINISERIES OR A MOVIE
Grey Gardens

CREATIVE ACHIEVEMENT IN INTERACTIVE MEDIA - NONFICTION
"The Late Night with Jimmy Fallon Digital Experience," nbc.com

CREATIVE ACHIEVEMENT IN INTERACTIVE MEDIA - FICTION
"The Dharma Initiative," DharmaWantsYou.com.

LIGHTING DIRECTION (ELECTRONIC, MULTI-CAMERA) FOR VARIETY, MUSIC, OR COMEDY PROGRAMMING
American Idol ("Finale")

VARIETY, MUSIC, OR COMEDY SPECIAL
"The Kennedy Center Honors"

SPECIAL CLASS PROGRAMS
"Beijing 2008 Olympic Games Opening Ceremony"

SPECIAL CLASS - SHORT-FORMAT LIVE-ACTING ENTERTAINMENT PROGRAMS
"Dr. Horrible's Sing-Along Blog," drhorrible.com.

SPECIAL CLASS - SHORT-FORMAT NONFICTION PROGRAMS
"Writer's Draft"

CHILDREN'S PROGRAM
Wizards of Waverly Place

CHILDREN'S NONFICTION PROGRAM
Grandpa, Do You Know Who I Am? With Maria Shriver and Nick News with Linda Ellerbee: Coming Home: When Parents Return from War

NONFICTION SPECIAL
"102 Minutes That Changed America"

NONFICTION SERIES
American Masters

REALITY PROGRAM
Intervention

EXCEPTIONAL MERIT IN NONFICTION FILMMAKING
The Memory Loss Tapes

WRITING FOR NONFICTION PROGRAMMING
Roman Polanski: Wanted and Desired

SOUND EDITING FOR A SERIES
Battlestar Galactica ("Daybreak: Part 2")

SOUND EDITING FOR A MINISERIES, MOVIE, OR SPECIAL
Generation Kill: The Cradle of Civilization

SOUND EDITING FOR NONFICTION PROGRAMMING (SINGLE OR MULTI-CAMERA)
"102 Minutes That Changed America"

SOUND MIXING FOR A COMEDY OR DRAMA SERIES (ONE HOUR)
House ("House Divided")

SOUND MIXING FOR A MINISERIES OR MOVIE
Generation Kill: The Cradle of Civilization"

SOUND MIXING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR AND ANIMATION)
Entourage ("Pie") and Weeds ("Three Coolers")

SOUND MIXING FOR A VARIETY OR MUSIC SERIES OR A SPECIAL
81st Annual Academy Awards and The 51st Annual Grammy Awards

SOUND MIXING FOR NONFICTION PROGRAMMING (SINGLE OR MULTI-CAMERA)
"102 Minutes That Changed America"

SPECIAL VISUAL EFFECTS FOR A SERIES
Heroes ("The Second Coming/The Butterfly Effect")

SPECIAL VISUAL EFFECTS FOR A MINISERIES, MOVIE, OR SPECIAL
Generation Kill: The Cradle of Civilization

STUNT COORDINATION
Chuck ("Chuck Versus the First Date")

TECHNICAL DIRECTION, CAMERAWORK, VIDEO CONTROL FOR A SERIES
American Idol ("Episode 834A")

TECHNICAL DIRECTION, CAMERAWORK, VIDEO CONTROL FOR A MINISERIES, MOVIE, OR SPECIAL
"Beijing 2008 Olympic Games Opening Ceremony"

VOICE-OVER PERFORMANCE
The Simpsons ("Father Knows Worst")

WRITING FOR A VARIETY, MUSIC, OR COMEDY SPECIAL
"Chris Rock - Kill The Messenger"