creative writing film

50 Movies About Writers That Are Definitely Worth Your Time

From William Shakespeare to Toni Morrison to Joan Didion to J.R.R. Tolkien, it's no secret that folks who professionally put words on paper are endlessly fascinating individuals. Some writers find inspiration for their work from their own troubled lives and wild backgrounds. Others are simply born with imaginations the size of an aircraft carrier. However different they may be, authors, journalists, poets, and essayists all share the special ability of expressing themselves so well that they take up space in the minds of others.

With a gift so unique — and so fundamentally important to the movie industry — it's no wonder Hollywood loves making movies about writers. And it turns out, audiences truly enjoy watching the misadventures of the literarily inclined. However, movies about writers are all faced with the same problem: The actual act of writing is un-cinematic. There's nothing inherently that interesting about watching a person pound out sentences on a laptop or typewriter, even though the person doing the typing might be deeply interesting. Luckily, these great films have found unique and exciting ways of visualizing the writing process and the figures behind it, so read on to find out the best movies about writers (and don't worry, no one is just sitting behind a desk in any of these).

One of the best movies about a writer not surprisingly comes from the brain and fingertips of the meta movie master himself: Charlie Kaufman. Kaufman wrote the 2002 film "Adaptation," which tells a story about a fictional version of himself and his fictional twin brother, Donald. In "Adaptation," insecure and self-loathing screenwriter Charlie Kaufman ( Nicolas Cage ) suffers from writer's block, as he tries to adapt a book that seems impossible to translate to the screen. Meanwhile, his twin brother Donald (also Cage) decides that he wants to be a screenwriter too, and tries his hand at Charlie's life's work.

If a double performance from Cage isn't enough of a selling point, the fact that Kaufman wrote a movie about a screenwriter adapting a book should do the trick. In his hands, the story turns into a commentary on the Hollywood machine, the difference between reality and fiction, a semi-adaptation of Susan Orlean's real-life bestseller "The Orchid Thief," and an update of Sam Shepherd's classic stage comedy "True West."

Plus, it features a stacked supporting cast. Screen queen Meryl Streep delivers big time as author Susan Orlean, Chris Cooper serves as a perfect antagonist, and Brian Cox shows up to steal a few scenes as Robert McKee. Maggie Gyllenhaal and Tilda Swinton also appear in small roles. All of these actors bring a sense of quirky energy and make what could've been an overly heady movie into a fun ride. Viewers be warned though, anyone looking for a one-for-one recreation of "The Orchid Thief" should look elsewhere.

Midnight in Paris

Woody Allen's love letter to Paris in the 1920s is both a sweet high-concept comedy and an evaluation of the virtues of nostalgia. "Midnight in Paris" centers around Gil (Owen Wilson), a Hollywood script doctor, who dreams of writing a meaningful novel. While in Paris with his fiancée Inez (Rachel McAdams) and her parents, Gil discovers a car that takes him back to 1920s Paris at midnight. Gil goes on the trip of a lifetime, where he hangs out with literary and artistic greats like Hemingway, F. Scott Fitzgerald, Cole Porter, Salvador Dalí, Gertrude Stein, and many, many more.

"Midnight in Paris" plays like an art and literature lover's dream, as these legendary writers and artists get the chance to engage with someone who already knows their reputations and masterworks, which leads to some hilarious jokes. The casting in this film is excellent, as Tom Hiddleston proves to be an inspired choice as a young F. Scott Fitzgerald, while Adrian Brody is hilarious as a rhinoceros-obsessed Dalí. Any fan looking to get lost in a whimsical story featuring some of the most influential names of the 20th century need look no further than "Midnight in Paris."

Can You Ever Forgive Me?

2018's "Can You Ever Forgive Me?" is based on the true story of professional biographer Lee Israel (via Time ). Struggling to write her next book and pay the rent, Israel (Melissa McCarthy) uses her gift for getting into the lives of other people and forges letters from all sorts of famous folks, which she sells for a high price. What ensues is a deep look inside a damaged and lonely person, who's often more comfortable embodying others rather than herself.

McCarthy — who's typically scene-stealing in comedic vehicles like "Bridesmaids" — plays against type here and brings a prickly exterior to almost every scene she's in. In her hands, Israel becomes a lovable hard drinker and sailor-mouthed depressive. But underneath the movie's pain and drama lies a quietly devastating look at an author whose talents went under-appreciated in her time. Nobody turns to fraud for fun and "Can You Ever Forgive Me?" makes a strong case that forgery really is Israel's last resort.

It also makes pains to not overly romanticize its protagonist's gifts. Even though expertly crafting false biographical correspondence is no easy feat, the audience is never explicitly rooting for Israel to get away with it. It's akin to watching a talented friend burn their skills on a fruitless enterprise and here, the viewer grows to admire Israel's work before wishing she put her efforts towards something else.

Ruby Sparks

Zoe Kazan wrote and stars in "Ruby Sparks," a film about a fictional manic pixie dream girl come to life. Author Calvin (Paul Dano) writes about a character named Ruby Sparks, and is startled to see that this person on his page suddenly appears in the form of a living, breathing Ruby Sparks (Kazan). Calvin soon discovers that his writing about Ruby holds sway over Ruby in the real world.

This high-concept plot explores heady themes like how women are objectified in fiction by male creators or what it means for an author to engage with their material once it leaves the page and enters the real world. While the movie is based around this complex metaphor, it never fails to entertain. Dano and Kazan are wonderful in the lead roles and the cast is rounded out by the likes of Antonio Banderas, Annette Benning, and Steve Coogan — who's funny enough to read a phone book.

The film got mostly positive reviews by critics, including Roger Ebert , who wrote that "the movie's intriguing in its fanciful way." Directors Jonathan Dayton and Valerie Faris of "Little Miss Sunshine" fame bring Kazan's script to life here, and anyone looking for a meta tale about writing will be sure to enjoy "Ruby Sparks."

Virginia Woolf is an author whose work seems like it would be difficult to adapt for the big screen due to her focus on interiority, or the way that characters think and feel, which is hard to show on-screen. Luckily for Woolf fans, 2003's "The Hours" — based on a book of the same name by Michael Cunningham — heavily vibes on Woolf's " waves " length. 

The movie tells the story of three women in three different time periods, who are all interconnected by Woolf's novel "Mrs. Dalloway." There's Virginia Woolf (Nicole Kidman) trying to write in 1923, Laura Brown (Julianne Moore) trying to live in 1951, and Clarissa Vaughan (Meryl Streep) trying to throw a party in 2001.

Both the film and its source material owes a ton to Woolf's classic works like "A Room of One's Own" and "Mrs. Dalloway." In "The Hours," much like in Woolf's novels, each female protagonist puts on a face for the world (and men) around her, which hides all that she has going on underneath the surface.

All three actresses shine in "The Hours," as do supporting cast members like Richard Harris in a particularly tragic performance. For anyone unfamiliar with Woolf, "The Hours" is a fantastic and emotional ode to a woman who created art at a time that didn't understand her or want her to.

Bright Star

Academy Award-winning writer-director Jane Campion brought her signature light and considered touch to 2009's "Bright Star." The film depicts the romance between poet John Keats (Ben Whishaw) and Fanny Brawne (Abbie Cornish).

Today, Keats is a well-known 19th century Romantic poet. However, in his own time, Keats felt he was a failure. His published work received mostly middling reviews and he died at 25 of tuberculosis. This context brings a tinge of sadness to the film since anybody familiar with the poet is aware of the tragic future outcome of his budding romance with Fanny.

Campion keeps a movie about a romantic rather subdued. Instead of making Keats' and Fanny's relationship into a loud ball of anachronistic erotic behavior, she spends time on the intimate moments the pair share together. The tiny beats of silence they share, the expression on Fanny's face when she receives a letter from Keats, and the moments where the pair read poetry all create a gorgeous portrait of young love. In other words, Campion captures the romance people are capable of when just being around one another is enough. However sad though it may be, this beautiful movie is quietly excellent and not to be missed.

Becoming Jane

Jane Austen received the Hollywood biopic treatment in 2007's "Becoming Jane." While the movie is not a particularly accurate account of Austen's ascendance to the literary hall of fame, it is a fun romp through Austen's past. In the film, Anne Hathaway plays the budding literary superstar, who's marked by equal intelligence and charm. As she makes her way through the world, she encounters suitors of all shapes and sizes, from all manner of backgrounds both privileged and unprivileged alike.

The movie is framed as "the inspiration" for Austen's "Pride and Prejudice." Any fan looking for a granular recreation of Austen's process or life in the Regency Era be warned — "Becoming Jane" is firmly a rom-com with biopic window dressing. Most of its plot revolves around Austen's relationship with Tom Lefroy (James McAvoy). While Lefroy existed in real life, scholars aren't certain he was ever romantically involved with the author (via The Jane Austen Centre ). However, the fiction weaves into the film is more fun than issue.

"Becoming Jane" may not reveal anything particularly noteworthy about Austen or her literary process. However, it does allow Hathaway to put enough charisma on screen to fill her own novel. So, like a fun read, "Becoming Jane," entices audiences and doesn't overstay its welcome.

Some movies about authors are played for grins, while others — like 2005's "Capote" — are played deadly serious. This biopic details the six years that Truman Capote (Philip Seymour Hoffman) spends writing his magnum opus, "In Cold Blood," and the heavy toll that this work of investigating and writing about a heinous crime takes on Capote.

This book details the real-life murders of a family in Kansas, as well as the subsequent investigation into the killings, and the trial and executions of the men who committed them. In an interview with The New York Times , Capote discusses his revolutionary approach of writing this true story using the devices of fiction, which is widely credited as creating the non-fiction novel (via Brittanica.com ).

The late, great Philip Seymour Hoffman captures this dark material marvelously. He completely channels the author, and won his only Oscar for the performance. While many authors have led interesting lives, not many have worked on a story that fundamentally altered the course of their life, and "Capote" captures the destructive toll of creation marvelously.

Young Adult

In 2011's "Young Adult," Mavis Gary ( Charlize Theron ) is a former prom queen, who's now a stunted young adult fiction writer with a penchant for bitter put-downs and whiskey. Mavis returns to her hometown and embarks upon a doomed quest to win back her old high school flame, Buddy Slade (Patrick Wilson). That Buddy is happily married with a pregnant wife doesn't deter Mavis one bit, who tries to reconnect with her old flame, all while connecting in surprising ways with Matt (Patton Oswalt), a bullied ex-classmate she barely remembers.

While "Young Adult" could have played like a depressing slice-of-life movie, in the hands of screenwriter Diablo Cody and director Jason Reitman — who team up again after the wildly successful "Juno" — it subverts expectations to become something totally unique, which has as many laughs as dark moments.

Theron shines here, as she goes for broke and swerves between unbridled nastiness and vulnerability on a dime. She's matched only by stand-up comedian Patton Oswalt, who injects a fairly grim film with a much-needed sense of humanity and empathy. In fact, Oswalt's performance is so good that Roger Ebert described it as the "key to the film's success" in his review.

Almost Famous

2000's "Almost Famous" dramatizes the actual and envy-inducing early days of director Cameron Crowe's career in music journalism (via Rolling Stone ). In the movie, a teenager named William Miller (Patrick Fugit) gets hired by Rolling Stone editor Ben Fong-Torres (Terry Chen) to go on tour with a fictional band called Stillwater. Stillwater — with their long hair, sweet riffs, and infighting — acts an amalgamation of the legendary rock bands from the 1970s like Led Zeppelin and the Allman Brothers.

 The movie's secret sauce is its ability to express William's passion for writing. William, like his real-life counterpart Cameron Crowe, loves rock n' roll and Crowe is able to make this enthusiasm vibrate off the screen, so viewers can reach out and grab a fistful of William's lust for life and epic experiences. Plenty of movies deal with the troubled lives of writers and many make hay of the inspirations that lead to their most influential works. However, very few films explicitly show the audience what it feels like to care about something enough to write about it for a living and do so in such a warm, sweet way. If all of that didn't sell it, "Almost Famous" also features the most iconic use of Elton John's "Tiny Dancer" of all time. Seek this movie out wherever it can be found.

Stranger Than Fiction

"Stranger Than Fiction" is a somewhat odd movie. Its director Marc Forster was previously known for sad fare like "Monster's Ball," and it stars Will Ferrell in his first real dramatic role as IRS auditor Harold Crick. Crick lives life like any everyman. He works, he chats with friends, and he pines for romance — until this existence is suddenly interrupted by a disembodied voice narrating his life. Crick goes on a quest to find the source of this narrator, and soon discovers that he's the subject of the next novel by author Karen Eiffel (Emma Thompson), who's known for killing off her protagonists. 

"Stranger Than Fiction" uses its meta concept to explore the relationship between love, art, and creation, and it tackles these heady topics in a palatable and off-beat way thanks to Ferrell's turn as Harold Crick. Given the surreal nature of the story, Ferrell's acting chops fit into the movie's heightened world. In a film that dives into absurdity from its opening moments, Ferrell reveals a unique ability to reverse his usual funny man shtick. Instead of handling routine moments with absurdity, he handles absurd moments subtly. While the movie is about Harold Crick, it also relies on the relationship between Crick and Eiffel, as two people who discover the unexpected ways they influence each other. It speaks to that on a micro level as well as on a macro one, as Eiffel confronts her abilities and power as a writer, which is done perfectly in Thompson's hands.

Barton Fink

The Coen Brothers' "Barton Fink ” is a lot of things. It's a movie about writer's block — famously written during the Coen Brothers' own writer's block (via Cinephilia Beyond ) — it's a showcase of John Turturro's and John Goodman's acting abilities, and it might even be an allegory for the life of the mind . However, the one thing it most definitely is, is a fantastic movie.

The story follows Turturro's Fink — a successful New York playwright concerned with the common man — when he moves to Los Angeles in 1941 to write for a major Hollywood studio. Fink is assigned to write a wrestling picture and he immediately comes down with a case of writer's block. Fink sets out to find inspiration, which inevitably leads to various bizarre only-in-a-Coen-Brothers-movie-moments.

For the unfamiliar, the Coen Brothers are riffing on a real-life frequent 20th-century practice of the literary-minded heading out to Los Angeles in search of big paychecks and fame. According to the A.V. Club , the Coen Brothers loosely based the character of Fink on the playwright-turned-screenwriter Clifford Odets. In fact, it was their discovery that Nobel Prize-winning icon William Faulkner wrote a wrestling movie — 1932's "Flesh" — that initially inspired "Barton Fink" (and the film's character of W.P. Mayhew). Faulkner and the Coen Brothers? This movie is a novel head's dream.

My Salinger Year

Joanna Rakoff's memoir "My Salinger Year ” gets the Hollywood treatment this 2021 adaptation. The movie follows Rakoff (Margaret Qualley), as she begins her writing career by becoming an assistant to literary agent Margaret Westberg. Margaret (Sigourney Weaver) is a stand-in for real life literary agent Phyllis Westberg (via Variety ). Things take an interesting turn for Rakoff, when she begins taking phone calls from one of Westberg's most famous clients: J.D. "Jerry" Salinger.

"My Salinger Year" unfolds like a coming-of-age story shot through with "The Devil Wears Prada" energy. Over the course of her time working for Westberg, Joanna finds romance, renewed self-confidence in her own work, and makes decisions about where she wants her own life to go. While it doesn't have the same caustic wit that made "The Devil Wears Prada" so popular, "My Salinger Year" is most definitely an interesting snapshot into a career path most folks may not know anything about. And for any movie fan with dreams of writing, the idea of getting paid to talk to Salinger is surely catnip. 

Rob Reiner adapted Stephen King's 1987 novel "Misery" into a classic horror movie of the same name in 1990. The film follows famous romance author Paul Sheldon (James Caan), who gets into a terrible car accident. He's saved by Annie Wilkes (Kathy Bates), a super fan who decides to hold her favorite author hostage. "Misery" mimics Kings real life in different ways, both superficially as it's a chilling nightmare about obsessive fans, and on a deeper level, as he's noted that it's an allegory for his cocaine addiction (via Rolling Stone ).

Bates brings so much demented menace to the role that she not only makes the film, but also won an Oscar for her performance, which is extra impressive considering how infrequently horror films get recognized by the Academy. Seriously, in Bates' hand, Annie Wilkes enters the pantheon of great movie villains alongside Heath Ledger's Joker, the shark from "Jaws," and Darth Vader. For fans of the horror genre or movies about writers, run, don't walk to see "Misery." However, viewers be warned — after watching "Misery," you'll never look at a sledgehammer the same way ever again.

If you or anyone you know is struggling with addiction issues, help is available. Visit the Substance Abuse and Mental Health Services Administration website or contact SAMHSA's National Helpline at 1-800-662-HELP (4357).

Mary Shelley

Author Mary Shelley is remembered for her 1818 masterpiece "Frankenstein." While the chilling story of Dr. Frankenstein's attempt to play god and create life of his own is known to many, the details of its creator's life are likely not. So, in 2017, indie director Haifaa al-Mansour brought Shelley's miraculous and tragic life to the screen in the biopic "Mary Shelley."

The film follows a teenage Mary (Elle Fanning), who falls in love with famed Romantic poet Percy Bysshe Shelley (Douglas Booth). As she tries to navigate this relationship, Mary finds surprising inspiration for her "Frankenstein" during a night of telling ghost stories, and later struggles to get her book published.

Elle Fanning plays Shelley with the same vivaciousness she brings to her star performance as Catherine the Great on "The Great." Al-Mansour shoots the film like a romantic period piece, which makes this particular biopic unique. In reality, Mary Shelley lived through the Romantic art movement in Europe due to her relationship with Percy Shelley and friendship with Lord Byron, and her life itself is almost an inversion of a classic romance. Like typical romantic heroines, Shelley was a fiercely intelligent young woman of means, but her life did not wrap up in a neat happy ending. While she did fight her way through the period's sexist attitudes to publish arguably the greatest piece of horror fiction ever written, her life was also marked by various tragedies. "Mary Shelley" focuses on an influential moment of this authors life, and so communicates who Shelley was and her artistic achievements. For "Frankenstein" fans everywhere, it's a must see.

The Ghost Writer

In a time-honored Hollywood tradition, "The Ghost Writer" adapts another thriller by "Silence of the Lambs" author Robert Harris. Based on his novel "The Ghost," the movie follows an unnamed ghostwriter (Ewan McGregor), who's hired to complete the autobiography of former British Prime Minister Adam Lang (Pierce Brosnan). This being a Harris adaptation, it's not really a spoiler to say it's not long before the ghostwriter's assignment lands the working writer in a hot pile of intrigue.

While the movie's machinations don't move it much beyond standard political thriller fare, its cast most definitely does. McGregor is fantastic in the leading role, as is always and former James Bond Pierce Brosnan as the former PM Adam Lang, since the movie leverages Brosnan's singular charm like a weapon. All the things that made him attractive as 007 make him terrifying as a politician. The rest of the class includes some early work from the always wonderful Jon Bernthal and a superb cameo from Eli Wallach. Yes, Tuco from "The Good, the Bad, and the Ugly," shares a scene with Ewan McGregor. It's glorious.

Little Women

Greta Gerwig's 2019 "Little Women" is one of the great literary adaptations to hit the big screen. Besides the fact that it's based on one of the most beloved novels of all time (of the same name), it also features an incredible range of some of the most talented women in Hollywood.

"Little Women" the life and times of the four March sisters as they come of age, make career choices, get married, and grow up in the 19th century. Gerwig wisely decides to let the cast and Louisa May Alcott's wonderful source material do their thing. She also changes the novel's structure by moving between the "present" day (of 1868) and the past in flashbacks. However, originalists should have no fear. The flashbacks just add to the adaptation and ensure that the book's biggest moments all make it to the screen.

While "Little Women" focuses on all of the March sisters, it's Jo's story at heart, and she's played here by Saoirse Ronan. Jo is the writer of the bunch, whose imagination and creativity let her dream of a world beyond what she's told she can have. Ronan embodies Jo's free writer spirit to perfection, and her work is matched by Florence Pugh as bull-headed youngest sister Amy, Emma Watson as pragmatic eldest Meg, and Eliza Scanlen as kind-hearted Beth. The supporting cast includes Laura Dern as the girls' mother and Meryl Streep as their hilarious caustic aunt. Guided by writer-director Gerwig's confident and considerate hand, "Little Women" is a new classic in its own right.

Before Sunset

Ethan Hawke and Julie Delpy star 2004's "Before Sunset," the second entry of Richard Linklater's "Before" trilogy. Each film in the trilogy depicts a romantic rendezvous between Hawke's Jesse and Delpy's Celine and each meeting is set exactly nine years apart (via Vanity Fair ). What sets this series apart is that Linklater filmed and released each movie in real-time. The first came out in 1995, the second in 2004, and the third in 2013, which gives the "Before" movies a truly authentic touch, as the characters and actors grow and age in real life.

In "Before Sunset," Jesse has just published a novel that recounts his initial meeting with Celine in "Before Sunrise." Jesse hasn't seen Celine since their meeting in the first movie and hopes the book will draw her out. It does and the pair spend "Before Sunset" rekindling their relationship, as they walk around Paris.

Jesse's novel not only ties in the events of the first film in an impactful way, but also gives the trilogy a literary bent. Linklater's "Before" trilogy can almost be viewed as a living, breathing novel set in three distinct time periods of its central characters' lives. Like the most famous romance stories — think Edith Wharton's "Age of Innocence" or Jane Austen's catalog — the "Before" trilogy is all about the ways that love both changes and holds constant over time.

Swimming Pool

"Isolated writer" movies, wherein an author goes somewhere remote to focus on working until things begin to go bump in the night, is a fantastic sub-genre and 2003's "Swimming Pool" is one of its best entries.

Author Sarah Morton (Charlotte Rampling) goes on a retreat to her publisher's remote French country home to work on her next novel. However, her peace and quiet is quickly upended when the young and enigmatic Julie (Ludivine Sagnier) shows up, claiming to be the publisher's daughter. The two women immediately butt heads, as a war of strong personalities kicks off in earnest. However, instead of turning into a clash of the generations comedy, "Swimming Pool" instead becomes a slow burn thriller.

The movie's tension is so thick, the audience can dish it out with an ice cream scooper. Every exchange between Julie and Sarah results in another layer of mystery to untangle. Every guest Julie brings by the house's pool seems to annoy and arouse Sarah's interest more and more. And every answer Sarah gets from the elusive Julie only leads to more questions. By the film's end audiences will be wringing their hands in paranoia. For fans of movies with equal parts mystery, eroticism, and writing, "Swimming Pool" is for you.

Fear and Loathing in Las Vegas

Terry Gilliam, former Monty Python member and director of oddball wonders like "Brazil" and "Time Bandits," takes audiences on a weekend getaway they won't soon forget in 1998's "Fear in Loathing in Las Vegas." Based on Hunter S. Thompson's book of the same name, the film follows writer Raoul Duke (Johnny Depp) and his attorney Dr. Gonzo (Benicio del Toro) on a trip to Las Vegas. Duke is supposed to be covering an annual motorcycle race, but he winds up taking a laundry list of drugs and tapping into "the savage heart of the American dream." 

As in the book, the movie's Duke is based on countercultural icon Hunter S. Thompson, who wrote the novel out of his own experiences in Las Vegas on two separate writing assignments for Rolling Stone . The book is wonderful in its own gross, hilarious, and acid-dipped way. The movie has some difficulty transferring that plot to the big screen, since the plot is pretty thin to begin with. 

However, Gilliam wisely does what he can to capture the book's energy by letting the writing speak for itself. He lifts Thompson's brilliant prose off the page and puts it on-screen in voice over, and Thompson himself is brilliantly captured by Johnny Depp, who even nails the author's unique staccato speaking style. For any movie fan who's heard the Thompson name but never read any of his work, check out "Fear and Loathing" for scenes that capture the best of his writing. 

Out of Africa

1985's "Out of Africa" is a movie from a bygone era when movie stars headlined films as opposed to franchises. In other words, "Out of Africa's" selling point was the white hot charisma of Robert Redford and Meryl Streep, not its place in the Marvel Cinematic Universe. There's nothing wrong with franchise movies, but it's hard to watch a movie like "Out of Africa" and not fall in love with its leads.

Loosely on Karen von Blixen's 1937 memoir of the same name (written under her pen name of Isak Dinesen), the film follows von Blixen (Streep), as she moves to a British colony in Africa in the early 20th century and begins a doomed romance with Denys Hatton (Redford). These experiences and more shape a story that she later turns into her memoir.

The movie plays like a highlight reel of adventure romance novels. The pair has differences when they first meet, eventually learn to get along, and then learn how to really get along. Without spoiling how any of these things occur, it's no spoiler to say Redford and Streep are absolutely magnetic together on screen. Both are acting legends in their own right and together, the pair gives off enough steam to power the Trans Pacific Railroad. While writing may not always be at the forefront of the film, it definitely foregrounds the type of fun often reserved for the best beach novels.

Shakespeare in Love

For anybody who likes their romantic comedy served with a side of literary history, look no further than "Shakespeare in Love." The movie — starring Joseph Fiennes as The Bard and Gwyneth Paltrow as his love interest Viola — fictionalizes a forbidden romance between Shakespeare and a high-born lady, which inspires his next play: "Romeo and Ethel, the Pirate's Daughter." Or rather, inspires him to make some changes to it.

The movie is fun for a few reasons. The cast is clearly having a ball, Fiennes and Paltrow have fantastic chemistry, and Dame Judi Dench shows up as Queen Elizabeth I. Plus, "Shakespeare in Love" stays true to its namesake's talent by bundling low comedy, high comedy, and tragedy all into the same package. The movie was an enormous box office hit when it was released in 1998. It was a critical hit too, and won seven Oscars, including Best Picture (via IMDB ). Esteemed critic Roger Ebert gave the movie four stars when it first came out and he credited the film with presenting the reason so many people fall in love with theater.

Some basic knowledge of Shakespeare's works and history will definitely help a viewer pick up on some of the movie's in-jokes. However, Shakespeare essentially wrote for anyone who's ever suffered the trials and tribulations of this mortal coil, and "Shakespeare in Love" has the same broad appeal.

The late great Iris Murdoch remains one the greatest authors of the 20th century. Her writing ran headlong into every oddity that makes humans human, and she never looked away from the quirks of our better and worse angels. 

"Iris" follows Murdoch at different stages of her life, so here, Kate Winslet plays young Iris and Dame Judi Dench plays the elder Iris. For fans keeping score, that's two epic generational talents in the same movie. Iris' husband, writer and professor John Bayley, is portrayed by Hugh Bonneville and Jim Broadbent in his younger and older forms. 

Ultimately, this 2001 biopic about Murdoch's life and eventual battle with Alzheimer's couldn't hope to be as original as its subject , it's certainly worth the watch to learn more about the woman behind some of the best books of the last 100 years, and who saw the world a bit differently from others. Luckily, she shared it in ways that continue to shape writers and readers alike, and "Iris" captures Murdoch's essence and influence as best it can.

Sunset Boulevard

"Sunset Boulevard" is an all-time classic film. Set in 1950s Hollywood, the movie follows Joe Gillis (William Holden), a down-on-his-luck screenwriter, who's out of work and out of credit. Gillis hides from repo-men in what appears to be an abandoned palatial estate on Sunset Boulevard. However, he discovers the residence is actually home to reclusive actress Norma Desmond (Gloria Swanson). Desmond was a big star in the silent era and wants Holden to help her write a comeback movie.

"Sunset Boulevard" is a one-of-a-kind love letter to the Golden Age of Tinseltown. For starters, it was directed and co-written by Billy Wilder, who was arguably one of the best talents of the era (if not all eras) and wrote classics like "Ace in the Hole," "The Apartment," and "Some Like It Hot." The writing of the film is fantastic, as it examines Hollywood and screenwriting itself through a sharp and satirical lens. Its commentary on the film industry runs deep, as it looks at the studio system and in particular, the silent era. 

In some meta casting, the role of Norma Desmond is played by real-life silent starlet Gloria Swanson, whose film career was resurrected thanks to her Oscar-nominated turn in this stunning performance. The movie also features cameos from the likes of Cecille B. DeMille, Buster Keaton, and Erich von Stronheim. "Sunset Boulevard" is a truly iconic movie and shouldn't be missed.

Sylvia Plath gets brought to life in 2003's "Sylvia," which focuses on the life of one of the most influential American writers to ever put pen to paper. Sylvia (Gwyneth Paltrow) is studying at Cambridge, where she explores her writing and finds love in the form of the poet Ted Hughes (Daniel Craig). The two marry, but Sylvia struggles with depression and her writing career, all while taking care of her family.

Paltrow does a lot with a role that could have fallen into clichés by imbuing Plath with a warmth that makes her tragic suicide even more devastating, even though anybody familiar with Plath's story or work knows how it ends. "Sylvia" doesn't connect Plath's death directly to her work, but rather explores the deep sadness that she lived with her whole life, which informed her worldview. Come for more information about Plath herself, stay for Paltrow's performance, and leave with the knowledge that Plath still lives on in her beautiful grasp of language.

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The Lost Weekend

Writer-director Billy Wilder makes the list again with his 1945 adaptation Charles R. Jackson's novel of the same name, "The Lost Weekend." The movie follows the harrowing misadventures of alcoholic writer Don Birham (Ray Milland). Over the course of a single weekend, Birham begs, steals, and hits rock bottom in his search of another drink.

At the time, "The Lost Weekend" was one of the first stories to deal with the dark realities of alcoholism in American theaters (via FilmSite ). Thankfully, in Wilder's capable hands, the movie avoids diving into the exploitation deep end that is common in so many addiction narratives. Instead, Birham's addiction is treated with consideration and nuance and gets shown with warts and all.

Considering so many writers, including the author of "The Lost Weekend" (via The NY Times ), have contended with alcoholism and other addictions, it's refreshing to see a movie where the affliction is not romanticized. The Academy agreed as well. "The Lost Weekend" received Oscar wins for its director, screenplay, lead actor, and won the year's Best Picture award. While "The Lost Weekend," is by no means a light watch, it's certainly worth the weight of its heavy subject.

Miss Potter

For many, "The Tale of Peter Rabbit" is one the greatest children's books ever written and its imagery is recognizable the world over. In 2007, director Chris Noonan brought the story of the woman who created Peter Rabbit to the big screen with "Miss Potter." Beatrix Potter (Renée Zellweger) is an unconventional woman in the early 1900s: She is unmarried, and she dreams of writing a children's book based on her drawings of animals. Everything changes when she meets Norman (Ewan McGregor), a kind man who wants to publish her book, and with his help, Beatrix challenges a world that only sees women in the most limited light.

In the movie, Zellweger plays Beatrix Potter with a blend of quiet confidence and kind words. She is as sweet as Mary Poppins in the title role, but the movie's true creative stroke is the way it portrays Potter engaging with her creations, who spring to life on the page with lovely animated sequences. 

The brief inclusion of animation in a live action film goes a long way. It both reminds audiences of the impact of a story as seemingly simple as "The Tale of Peter Rabbit," and also illustrates just how powerful Potter's imagination really was. She had an incredible gift for storytelling, and "Miss Potter" shows how the sexist attitudes of her time almost prevented this gift from ever reaching the world. In the end, "Miss Potter" shows how belief — in oneself and in others — can be stronger than societal demands, and for anyone looking to get lost in pastoral Victorian England with a beloved author and her characters, "Miss Potter" is the film for you.

Spike Lee's "Malcolm X" tells the story of one of the most literally and figuratively revolutionary writers of all time. The movie follows Malcolm X (Denzel Washington) in a cradle-to-grave narrative, beginning with his childhood in Harlem as Malcolm Little and going into his prison time, in which he's reborn as Malcolm X.

The movie is a lot of things — entertaining, interesting, educational — but it's a showcase for Washington and Lee's indelible talents first and foremost. As the movie progresses deeper into Malcolm X's work and teachings for Black liberation and civil rights, Lee's direction gets more confidently stylized. The same goes for Washington's performance. It's almost as if the two men purposefully paced their originality on-screen to line up with the stages of Malcolm's life. 

While Malcolm X's only published work is his autobiography, his verse lives on through recordings and republished speeches. Unlike the majority of the other existing writers on this list, Malcolm didn't write fiction or craft stories. However, the impact of his work has arguably had the most to say about life in America, which is just one of many reasons why Spike Lee's "Malcom X" is an appointment viewing.

Saving Mr. Banks

"Saving Mr. Banks" recounts Walt Disney's efforts to woo author P.L. Travers to grant Disney the movie rights to her work. The work in question? The practically perfect-in-every-way "Mary Poppins." The movie's conflict revolves around Travers' (Emma Thompson) reluctance to let Walt Disney (Tom Hanks) turn her creation into a candy-coated Disney vehicle. The story is based on the real life production of "Mary Poppins." However, publications like Vulture  pointed out that this film excludes a number of things from the true story and in doing so, warps what happened. This makes sense considering Disney Studios released "Saving Mr. Banks," likely had to ensure the story fit their company's squeaky clean brand.

That said, "Saving Mr. Banks" is still a worthwhile watch for fans of Traver's books, the movie adaptation of "Mary Poppins," or both. It delves into the differences between her book and the movie, and it also explores Traver's childhood as an inspiration for the original. Most interestingly, however, "Saving Mr. Banks" depicts a story about an author losing control over the work they put out into the world. It may have too neat an ending for some folks' taste, but it's still an interesting question for a movie to address nonetheless.

Director Jim Jarmusch's "Paterson" is a love letter to folks who find beauty in things like taking the bus or having a beer at the same bar every night of the week, and is a must-watch for the poetically inclined. Paterson (Adam Driver) lives and drives a city bus in Paterson, New Jersey. Paterson is a kind and quirky man, who's also a wonderful poet. There's not much more to the plot than that: Poetry, routine, and the occasional disruption of that routine. 

While this may not sound like much of a story, Jarmusch is a master at communicating feelings. "Paterson" features lush sound design — like the distinct sound of a spoon hitting a cereal bowl in this scene — and marvelously composed shots that capture the granular details of each object in their frames. In other words, Jarmusch takes a movie about a poet and turns it into his own visual poetry.

"Paterson" is a beautiful movie to behold and its subtly meticulous crafting rewards multiple re-watches. Plus, the poetry in the film was written by established poet Ron Padgett (via PBS NewsHour ). It's an excellent showcase of the American author's work and lends the film a sense of authenticity that not many other movies about fictional artists have.

Set at the end of the 19th century, the 2018 biopic "Colette" charts the rise to prominence of the French female writing phenom Sidonie-Gabrielle Colette (Keira Knightly), as well as her abusive relationship with her husband and publisher Henry Gauthier-Villars a.k.a. "Willy" (Dominic West).

For the unfamiliar, Colette penned a popular series of French novels about a teenager named Claudine, as she comes of age in France. The novels were largely based on Colette's own life and were enormously popular with young women upon release. However, Colette's husband took credit for her work and originally published the Claudine novel with his name on them (via TIME ). It's probably not too much of a spoiler to say that Colette and Willy eventually divorced.

How Colette eventually gets credit for her own novels is the driving conflict of the film — so we won't spoil that information here with more historical facts. Finding out how she did it in "Colette" is definitely worth any fan's time. Critic Nell Minnow writes for Roger Ebert that Knightley "gives one of her best performances as a girl with spirit and talent who becomes a woman with ferocity and a voice." Knightly and West ooze chemistry — even when they're furious with one another — and the whole movie is a sultry affair about an author, who lived the way she wanted and eventually got the credit for writing the way she wanted too. Cheers to you sister.

The Shining

Stanley Kubrick's 1980 classic "The Shining" is not only perhaps the best of the "isolated writer" movie sub genre, but for many, it's one of the best horror movies of all time . Based on the novel of the same name by Stephen King, "The Shining" sees failed writer Jack Torrance (Jack Nicholson) move his family into the remote Overlook Hotel for the winter. Torrance takes a job as the hotel's winter keeper as a means to find peace, quiet, and money, while he attempts to write his novel. This being a King story, things in the Overlook Hotel take a turn for the supernatural fairly quickly. This being a Kubrick movie, the scarier things take a turn for the striking as they appear on screen.

It's hard to stress the impact of "The Shining" enough. The 1970s were marked by grizzly low-budget exploitation horror films like "The Last House on the Left" and the iconic "Texas Chain Saw Massacre," and "The Shining" kicked off the new decade like a behemoth nobody asked for or understood. At the time of its release, the movie was widely critically dismissed and even Stephen King panned it (via IndieWire ). 

However, time has been kind to "The Shining." Today, the fingerprints of "The Shining" are everywhere. Its score, cinematography, and classic lines are endlessly honored, parodied, and copied in everything from contemporary horror movies to episodes of "The Simpsons. " In cultural currency, "The Shining's" credit is more than " fine " — it's a perfect 850.

The Guernsey Literary & Potato Peel Pie Society

"The Guernsey Literary and Potato Peel Pie Society" is an early 20th century romantic drama with a dash of modern sensibilities and a great admiration for the power of book clubs. Based on Mary Ann Shaffer and Annie Barrows' book of the same name, the WWII-era film follows author Juliet Ashton (Lily James) on her writing assignment to the island of Guernsey. It's 1945 and Juliet travels to a small British Channel isle to investigate its book club, "The Guernsey Literary & Potato Peel Pie Society," which is rumored to have been founded under Nazi occupation. Once Juliet arrives, she discovers intrigue, book lovers, and the dashing Dawsey Adams (Michiel Huisman). 

While its plot is a tad predictable — Juliet is engaged before she embarks on her journey but that Mr. Adams is so handsome and charming that she may have to call her wedding off — the movie serves as a sweet love letter to literary fans. The story revels in the connection strangers find over their shared passion for great works of art. Anybody who's ever joined a book club or even an online fandom will appreciate "The Guernsey Literary & Potato Peel Society" for what it is: a familiar conversation for friends of the genre. Books don't always need to be big unwieldy challenging works; sometimes they just need to offer comfort to their readers. Luckily, Juliet and the rest of the "Potato Peel Society" offer comfort in spades.

Gary Oldman stars in a wonderful performance as the man who penned "Citizen Kane” in David Fincher's 2020 biopic "Mank." The movie centers around writer Herman Mankiewicz (Oldman) a.k.a. "Mank" and the drama surrounding the creation of arguably the best movie of all time . Most of this drama stems from the screenwriter himself. Mank is too smart for his own good. When he's not being over-served in bars, he's a hair's breath away from insulting whichever benefactor is bankrolling his good time. Whether it's titan of industry William Randolph Hearst (Charles Dance) or "Citizen Kane ” star and director Orson Welles (Tom Burke), nobody is safe from Mank's biting wit.

Director David Fincher also uses the movie to shine a light on an odd period of Hollywood history. The movie mirrors the structure of "Citizen Kane:" It unfolds in a series of moments (some fictionalized according to Vulture ), which Fincher argues likely impacted the final script that Mank handed over to Wells. In doing so, the movie dives into early 20th century American politics and the idea that Hollywood has acted as a political machine since its inception.

It's all very heady stuff. It's also all complicated by the feud between Welles and Mank over who really wrote which part of the screenplay. In fact, movie critic Pauline Kael first raised the issue in her 1971 essay " Raising Kane ." The debate around contribution to the screenplay has since continued, but one thing's for sure: "Mank" is a fantastic film about movies and the people who write them.

A Mouthful of Air

Based on the 2003 novel of the same name by Amy Koppelman — who also wrote and directed the film — "A Mouthful of Air" explores the realities of living with postpartum depression. Julie ( Amanda Seyfried ) is a new mom and children's book author, who attempts suicide. The movie then explores Julie's day-to-day life of trying to balance her depression against her various personal and professional responsibilities. 

Koppelman's various works have all dealt with mental health issues in different forms and her experience in depicting the topic in a thoughtful and multi-dimensional way shines through in "A Mouthful of Air." While the film's critical reception was mixed , critic Nick Schager pointed out that the movie's strongest element "is its refusal to propose a one-to-one explanation" for depression in his review for Variety . 

"A Mouthful of Air" tackles its tough subject with an abundance of empathy. It also features a strong central performance from Seyfried, whose inner feelings and conflicts are at odds with what the outside world sees: a woman who "has it all" and writes books that help readers confront their fears. "A Mouthful of Air" is not easy to get through. However, Koppelman's efforts resist exploitative tropes and create a story about understanding and the potential for healing.

If you or anyone you know is having suicidal thoughts, please call the National Suicide Prevention LiLifeline by dialing 988 or by calling 1-800-273-TALK (8255)​.

My Brilliant Career

1979's "My Brilliant Career" is about an aspiring author named Sybylla Melvyn (Judy Davis) and highlights the not-so-glamorous part of the life of the aspiring writer in late 19th century Australia. Sybylla lives on a farm, where she dreams of being a writer, although her parents see this as just a flight of fancy. Unable to afford the cost of her care, they ship her off to live with her wealthy grandmother, where Sybylla experiences love, a world outside of what she knows, and the means of making her dreams come true.

What sets "My Brilliant Career" apart from similar stories of young adults confronted by the unrelenting reality of responsibility is its refusal to look away from Sybylla's faults. She's bright and creative, yes, but like everybody, she's flawed. It's a truly fantastic character portrait that's definitely worth a watch. Audiences at the time agreed too. "My Brilliant Career" won 6 Australian Film Institute awards in 1979 including Best Film and Best Actress for Judy Davis' performance.

Wonder Boys

Based on Michael Chabon's 1995 novel of the same name, 2000's "Wonder Boys" follows Professor Grady Tripp ( Michael Douglas ) over the course of a few eventful days. Tripp wrote a successful novel some time ago, but in the present, his wife has left him and he passes his time getting high and teaching creative writing. Tripp is stuck with writer's block, but a weekend with two of his students Hannah (Katie Holmes) and James (Tobey Maguire) helps him find the story that he needs to tell. 

When the movie was released, it was met with great reviews from critics. Roger Ebert gave the movie four stars and felt Michael Douglas gave a career stand-out performance as Tripp. Douglas is usually enough reason to see any movie, but "Wonder Boys" also features fantastic turns from then upcoming stars like Toby Maguire and Katie Holmes. Francis McDormand also brings her singular personality to the movie as Tripp's love interest, and there's even a wonderful part for Rip Torn as an aging and mysterious writer named "Q."

A movie that's made with as much care as "Wonder Boys" shouldn't go unnoticed. Most folks who've spent time in a creative writing class will enjoy the movie's specificity; movie fans who haven't will simply enjoy the ride.

The Kindergarten Teacher

"The Kindergarten Teacher” is a pitch-black look at the pain of feeling like you have something to say but don't have the talent to say it well. The 2018 movie is a remake of a 2014 Israeli film of the same name and centers on Lisa ( Maggie Gyllenhaal ), an aspiring poet-turned-kindergarten teacher. Lisa is not a particularly good poet, but one of her students shows promise as a writer. Following in a long line of misguided anti-heroes, Lisa goes to extreme lengths to attempt to foster her student's talent.

Not surprisingly, Gyllenhaal is fantastic in this role, which Rolling Stone movie critic Peter Travers called a "new career peak" for the actress, who "[compels] us to understand a woman who maybe doesn't understand herself." Viewers be warned: "The Kindergarten Teacher ” is capital "D" Dark. Not since Salieri in "Amadeus" has a character so singularly captured the despair of a person coming to terms with their artistic limitations. It's an unfair fact of life that everybody isn't a genius. However, after "The Kindergarten Teacher,” the audience might feel blessed that at least they're better at coping with that reality than Ms. Lisa.

The bachelor party movie is a time-honored tradition in Hollywood. Most generations have their definitive version and some outings in the sub-genre even include Tom Hanks . Meanwhile, other takes like "Sideways" are helmed by director Alexander Payne, who seems to thrive on stories about human behavior that most audiences wish didn't exist. 

Miles (Paul Giamatti) and Jack (Thomas Hayden Church) are two old college buddies, who set off to California's wine country for Jack's bachelor party. Miles is a broke divorced writer with a finished manuscript that he's afraid to let anyone read and a drinking problem. Jack is a small-time actor, who's marrying for money and looking for a few more illicit affairs before he gets married and his good looks fade away entirely. Neither man is happy and neither man is what you might call a good person. For example, Miles robs his mother to pay for the trip and Jack beds a wine server early on in the trip.

Admittedly, none of this sounds like a good time. However, Payne shines a light on average folks at their worst in a way that can make everybody laugh at just how low human beings can go. "Sideways," like the 2004 novel it was based on, is side-splittingly funny. It also has a ton to say about wine, relationships, and things that inspire people to take big swings, like finally dusting off that old manuscript and letting someone read it.

Julie & Julia

Hungry viewers beware, "Julie & Julia” puts a bevy of famous chef Julia Child's signature dishes on screen and will make anyone who watches come down with a searing case of hunger. Julie Powell (Amy Adams) is an aspiring author, who's feeling a bit directionless. So, Julie decides to make all 524 dishes from Child's cookbook "The Art of French Cooking" in a year and keep a blog of this massive effort. At the same time, the film follows Julia Child (Meryl Streep) in the years before she becomes a world-renowned chef, when she is just an American in Paris, who enrolls in French cooking school. The film cuts back and forth between Julie and Julia, as each woman faces her own seemingly endless well of challenges in pursuit of her goals of self-discovery, and sharing that self with the world.

Based on two true stories, "Julia & Julia" draws from Julia Child's autobiography "My Life in France," as well as Julie Powell's memoir "Julia & Julia: My Year of Cooking Dangerously," which was the book that Powell published thanks to the popularity of her blog (via Variety ). Both Adams and Streep are marvelous actors in their own right, but it shouldn't be a surprise to hear "Julie & Julia" is very much Streep's vehicle. Her performance as Child plays like a loving tribute to a larger-than-life personality, who brought French cuisine to homes across the United States and world. This was the final film of writer-director Nora Ephron, and her assured hand plus the work of Streep and Adams all bring an infectious energy that is almost guaranteed to leave a smile on viewers' faces.

American Splendor

2003's "American Splendor" is all about the intersection of fact and fiction. The movie is based on a long-running comic series of the same name, which itself is based on the life of its author Harvey Pekar. The real-life Pekar narrates the film, while his on-screen counterpart is portrayed by Paul Giamatti.

While all of this may sound overly complex for a movie about a comic book writer, it's very in line with the spirit of "American Splendor." Unlike "Batman" or "X-Men" comics, Pekar is no superhero. In fact, his comics are very honest about what he is: a file clerk with a few ex-wives, who lives in Cleveland. This honesty is part of what makes his work so engaging. It also makes the movie a fairly unabashed look into the life and times of a very unique creator.

From the highs and lows of Pekar's moderate fame to his bout with cancer, "American Splendor" pulls no punches in covering its subject, which works considering its author never pulled any punches about himself either. The movie's style — a hybrid of documentary interviews with the real life Pekar and well-executed dramatic recreations with Giamatti as Pekar — place the film firmly in the indie category. However, its experimental style shouldn't be considered a barrier to entry. Much like its creator, "American Splendor" is shaggy and weird, but it's got a ton of heart.

2011's film adaptation of Kathryn Stockett's 2009 novel "The Help" was not only a smash hit with audiences , but also introduced a wide array of film viewers to the talents of Viola Davis and Octavia Spencer.

"The Help" is set during the early 1960s in the South, and kicks off in earnest when Eugenia "Skeeter" Phelan (Emma Stone), a young aspiring writer, returns home from college. Since leaving home, Skeeter has discovered a new way of seeing things, and finds that she's deeply uncomfortable with the way that white families in her hometown treat their Black maids. Skeeter begins interviewing domestic workers Aibileen (Viola Davis) and Minny (Octavia Spencer) in an effort to tell their side of the story. Soon, Skeeter's work causes trouble among the racist white community, particularly once the maids begin to demand better treatment from their employers.

Both the movie and novel have been widely criticized for centering the voices of its white characters. Davis herself told The New York Times  in an interview that she regretted her role in the film because "it wasn't the voices of the maids that were heard." So, in respect to Ms. Davis, appreciate "The Help ” for making her and actress Octavia Spencer household names since they are both seriously fantastic in this movie, but don't come to "The Help" for a detailed or thoughtful exploration on race relations in America.

The Diving Bell & The Butterfly

"The Diving Bell & The Butterfly" is the incredible true story of one writer's ability to dictate his entire memoir through a series of blinks after suffering a stroke. Jean-Dominique Bauby (Mathiew Amalric) is the French editor of the fashion magazine Elle. He's got a high-flying job, a loving family, and everything going for him until he suddenly has a stroke and wakes up to discover he has "locked-in syndrome." Jean-Dominque is almost entirely paralyzed, but his mental capacities remain as they were before, so he decides to write a book about his life.

Based on Bauby's 1997 memoir of the same name, "The Diving Bell & the Butterfly" deals with a subject matter that is often wildly moving and sometimes hopelessly upsetting. However, director Julian Schnabel deftly keeps the movie from falling into utter despair. It goes without saying, but anybody who can dictate an entire book just by blinking one eye to a speech therapist was born with an indomitable human spirit. It's this spirit and unbelievable energy that Schnabel, Amalric, and company bring to the screen. Come for the story's enrapturing hook and stay for a deep dive into a writer's soul.

Moulin Rouge!

Few people make movies like Baz Luhrmann. The director's more is more approach to filmmaking has produced visually striking movies like "The Great Gatsby” and "Romeo + Juliet," which are difficult to compare to much else and his 2001 musical "Moulin Rouge!" is no exception.

"Moulin Rouge!" follows Christian (Ewan McGregor), a young writer who sets off to find artistic fame and fortune with the Bohemian movement in turn of the century Paris. Christian doesn't find those things, but he does find an impassioned love affair at the Moulin Rouge with a theater singer and courtesan named Satine ( Nicole Kidman ). However, their love must be kept secret from the man who can save the Moulin Rouge from bankruptcy, but will only do so if he can have Satine all to himself.

This plot may sound clichéd, but Luhrmann's gift is to take clichés and infuse them with colors, movement, and set design so loud that any unoriginality is immediately drowned out by its fantastic surroundings. Plus, "Moulin Rouge!" is a jukebox musical. So, while there are a few original songs written for the movie, Luhrmann also repurposes anachronistic popular songs for this 1900 setting, like The Police's "Roxanne." The audience sees this world through naïve writer Christian's eyes, as he finally experiences love, a subject that he'd written about but never known for himself. Like the best airport romance novels, "Moulin Rouge!" turns the ridiculous into a great time. 

The End of the Tour

David Foster Wallace's seminal talent dominated the American literary field throughout the '90s. Chances are anybody who hasn't read his work has heard a portion of his famous "This is Water" speech  or perhaps has some ideas about the type of guy who lionizes Wallace, as Deirdre Coyle describes in "Men Explain David Foster Wallace to Me" for  Electric Lit . With all of that reputation preceding him, 2015's "The End of the Tour" is faced with the Herculean task of bringing Wallace from an idea into an intimate, human form.

Based on a true story, the movie is framed around a days-long interview in 1996 between Wallace (Jason Segel) and Rolling Stone contributor David Lipsky (Jesse Eisenberg). Lipsky accompanies Wallace on the last leg of his book tour for "Infinite Jest," and gets a surprising insight into the writer's life, at the moment when Wallace's life changes forever. 

In reality, Lipsky wrote about this time with Wallace for Rolling Stone , which Lipsky later turned into his memoir "Although Of Course You End Up Becoming Yourself." The memoir is the basis for "The End of the Tour," which is about two strangers connecting. Both Segel and Eisenberg are fantastic in this movie that's entirely carried by their ongoing riveting conversation. The movie isn't without its faults, as writer and former friend of Wallace Glenn Kenny wrote for The Guardian that "it gets everything wrong" about the writer. While the movie's not perfect, it's an interesting attempt to portray a singular artist on screen.

An Angel at My Table

Internationally renowned New Zealand author Janet Frame takes center stage in Jane Campion's 1991 biopic "An Angel at My Table." The film draws from the author's three autobiographies for its story: "To the Is-Land," "An Angel at My Table," and "The Envoy from Mirror City." Each book takes place in a different stage in the author's life and the movie follows suit with Alexia Keogh, Karen Fergusson, and Kerry Fox playing Frame in her childhood, teenage, and adult years. "An Angel at My Table" begins with Frame's childhood growing up in an impoverished household. In adolescence, she gets institutionalized for a misdiagnosis of schizophrenia, and finally finds fame on the page in adulthood.

With such a bevy of rich material to pull from, it's no surprise this movie is fantastic. It also doesn't hurt that it's directed by Oscar-winning director Jane Campion, whose characteristic empathy for her subjects radiates through "An Angel at My Table." In Roger Ebert's review, he says the movie gives "great attention to human detail." As usual, Mr. Ebert is dead-on. Campion does away with typical biopic clichés by simply focusing on the movie's one-of-a-kind protagonist and tell Frame's life story, which combines horror, perseverance, and brilliance.

In a Lonely Place

Humphrey Bogart does his noir thing in the 1950 classic "In a Lonely Place." Dixon "Dix" Steele (Bogart) tries to clear his name in a murder investigation, but it turns out, he has more problems than just being a murder suspect. He's a screenwriter who hasn't sold anything in a few years, his experience in WWII has left him prone to flights of rage, and he's not sure if his best girl actually wants to go through with their engagement.

Saying anything else ruins what makes film noir so special: the twists and turns. However, it's no spoiler to say that this is a classic of the genre. The movie is based on a novel of the same title by Dorothy B. Hughes. It was directed by studio system stalwart Nicholas Ray. Bogart's love interest and co-star in "In A Lonely Place" is played by Gloria Grahame Hallward, who brings a fantastic sense of "been there, done that" energy on screen that makes the movie that much more interesting. While this may be the oldest film on the list, it's not to be missed. They really, truly don't make 'em like this anymore.

"Spotlight" is named after the investigative team at The Boston Globe, and masterfully follows the newspaper's real 2002 investigation into allegations of child sexual abuse and systemic cover-ups within the Boston Catholic Church. This work won a Pulitzer Prize for The Boston Globe and set off a reckoning within the Catholic Church.

The movie — featuring a cast that includes Michael Keaton, Rachel McAdams, Mark Ruffalo, Stanley Tucci, and Liev Schrieber — is a masterclass in focusing on details. Director Tom McCarthy zeroes on the minutiae of investigative journalism. It captures everything from pouring over personnel files to interviewing victims to waiting for records to be made public to beating down doors to get answers. The actors are all fantastic from top to bottom and everybody gets a moment to shine.

While the movie is not entirely without moments of very loud, very righteous indignation, for the most part, it trades fireworks for the facts of the real investigation. It's a wise choice that highlights the impact that hard-nosed local journalism can still have on the world at large, which is partly what makes it one of the greatest movies about journalists ever. For many, it's the 21st century's "All the President's Men." If all that wasn't enough to convince anybody to check it out, it also won Oscars for Best Picture and Best Original Screenplay in 2016.

Elisabeth Moss gives a powerhouse performance in "Shirley," which adapts Susan Scarf Merrell's 2014 novel of the same. Like the book, the movie tells a fictionalized story about famed horror author Shirley Jackson. For the unfamiliar, Jackson's works include the novel "The Haunting of Hill House" and the short story "The Lottery." Her writing is terrifying and claustrophobic in equal measure. Jackson was a master at saying the quiet part out loud and could turn social anxiety into a reason to hide under the bed.

The movie follows a fictional couple, who move in with Jackson (Elisabeth Moss) and her husband Stanley Edgar Hyman (Michael Stuhlbarg), and are quickly brought into the strange and surprising world of Shirley Jackson. This framing of the story around outsiders who are brought into Jackson's home allows the audience to see various sides of the writer and her precarious approach to life. It also gives Moss the opportunity to put on an absolute show. Moss is never not fantastic but this role of Shirley Jackson gives her the opportunity to be mean, wounded, drunk, empathetic, brilliant, and anxious, all within the same scene. It should be in the conversation for some of her best work. Moss stans and horror fans, do yourselves a favor by putting "Shirley" on the top of your queue.

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Screenwriting Basics: A Beginner's Guide

If you're starting out, here's the basics to help you succeed..

'The Worst Person in the World'

Welcome to the captivating world of screenwriting! This post is deWhether you're a budding filmmaker or an enthusiast dreaming of seeing your stories come alive on the big screen, understanding the basics of screenwriting is crucial. This guide is designed to walk you through the fundamentals, offering both insight and practical tips to kickstart your screenwriting journey.

Understanding the Essence of a Screenplay

A screenplay is more than just a story. It's a blueprint for a film. It combines narrative, dialogue, and visual instructions to guide directors, actors, and the entire film crew.

Unlike a novel, a screenplay focuses on showing, not telling, and is written in a present-tense, concise style.

The Structure: Building Your Story's Skeleton

One of the first lessons in screenwriting is mastering the three-act structure:

• Act One – The Setup: This act introduces the main characters, setting, and the story's primary conflict. It often culminates in a 'turning point' that propels the story into the second act.
• Act Two –The Confrontation: The longest section of your script, this act deepens the conflict and develops your characters. It's filled with obstacles and often ends with a climax or a major setback for the protagonist.
• Act Three– The Resolution: This final act resolves the story's conflicts and questions, leading to a satisfying conclusion. Whether it's a happy ending or a tragic one, it should feel earned and true to the story.

Character Development: The Heart of Your Screenplay

Great films are driven by compelling characters. Your characters should have distinct personalities, desires, and flaws. A well-developed character arc , where a character evolves in response to the story's events, adds depth to your screenplay.

Dialogue: Giving Voice to Your Characters

Dialogue in screenplays serves multiple purposes. It reveals character, advances the plot, and delivers exposition. Strive for natural, engaging dialogue that reflects each character's unique voice.

Remember, less is often more. Avoid unnecessary exposition.

Show, Don't Tell

Screenwriting is visual storytelling. Instead of describing what's happening, illustrate it through actions and dialogue.

For instance, instead of writing "John is sad," show John looking at an old photo and wiping away a tear. This "show, don't tell" principle is key to engaging the audience.

The Importance of Format

Professional screenwriting demands adherence to a specific format. This includes using a 12-point Courier font, correct margins, and proper scene headings.

Software like Final Draft raft or Ce ltx can help you maintain the standard format.

Writing Your First Draft

Begin with an outline or a treatment, which is a narrative description of your story. Then, start writing your first draft.

Don't worry about perfection. The first draft is about getting your story down. Editing and polishing come later.

The Art of Rewriting

Screenwriting is as much about rewriting as it is about writing. Once your first draft is complete, take a break, then come back with fresh eyes. Look for plot holes, character inconsistencies, and opportunities to sharpen your dialogue. Feedback from trusted peers can be invaluable during this process.

Breaking Into the Industry

As a beginner, your focus should be on honing your craft. However, it's never too early to learn about the industry. Participating in screenwriting contests, workshops, and networking events can provide exposure and learning opportunities. Online platforms like The Black List or Inktip can be avenues to showcase your work.

Continuous Learning and Adaptation

'The Devil Wears Prada'

Credit: 20th Century Fox

The world of screenwriting is dynamic. Keep learning by reading screenplays, watching films, and staying updated with industry trends. Adaptability and a willingness to learn are key.

Embarking on a screenwriting journey is both exciting and challenging. Remember, every great filmmaker and writer started somewhere. Your unique voice and stories are what the film industry needs. Embrace the process, keep writing, and who knows–your screenplay might just be the next big hit on the big screen!

This beginner's guide is just the starting point. Screenwriting is a craft that takes time and practice to master. Stay curious, stay dedicated, and most importantly, keep writing.

Your journey in the world of screenwriting starts now!

Now go get writing.

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Risk It All For Creativity With Composer Nikhil Koparkar

Life is full of learning and detours..

Whether I'm ordering an instrument from Thailand that I didn’t know how to play, or just seeing what sounds I could come up with—whether I'm having 30 string players mimic the sounds of the wind and ocean, or having woodwind player Ashley Jarmack play ancient Mayan death whistles—working on the score for Dead Whisper taught me a valuable lesson. That lesson? The joy of creating and taking risks in the scoring process is the result of all the education and detours that came before it.

Every setback or challenge in my scoring career has provided me with the life experience to approach the art of scoring from a different perspective than otherwise possible, and the risk of failure proved to be a necessary stepping stone on the search for unique creative ideas.

When first starting my scoring journey in 2017, I connected with maestro santoor player Kunal Gunjal, which whet my appetite for exploring ancient traditional instruments and what they might sound like in different contexts (in this case, with western cinematic orchestral instruments). The result of that experience culminated in an album, Nature Of All Things , a talk At Google, and landing an Indian-Asian inspired fantasy feature, The Candle & The Curse .

My love for this style of music and experimentation grew, but as a composer in the beginning stages of my career, it was a struggle to find filmmakers willing to give me a chance. So, to find solace away from the screen, I turned to my other love of literature. This seemingly unrelated detour ended up being a career changer for me.

As I read The Wheel Of Time series by Robert Jordan and Brandon Sanderson I was compelled to write a theme that was essentially a love letter to the books. I used my savings to commission the Budapest Scoring Orchestra to play it, and sent the video to the production team at Amazon Studios, in hopes that it might get their attention.

Lucky for me, the fans embraced and shared it widely, as did Tor.com (the publisher website for the series). The music eventually came to the attention of composer Lorne Balfe, who promptly hired me to write music and project lead on the series, as well as write music on his other TV shows. Another lesson came from the experience: No matter the outcome, putting oneself out there authentically can lead to unique and fulfilling opportunities, as well as the experience to be ready when those opportunities arise.

I learned how to better write for orchestra, pitch myself as a composer, collaborate with a large team, and approach storytelling discussions with filmmakers from a deeper and more nuanced vantage point.

Those two years were like a bootcamp for me: hundreds of cues and several shows later (including Netflix’s Life On Our Planet, HBO’s His Dark Materials , and Hulu’s Victoria’s Secret: Angels & Demons ), I feel so grateful to have learned to work with a music team operating at such a high level, as well as learn how to receive and act on valuable feedback from Lorne, the showrunners and the networks.

I was also working on my own projects during that two year span, and using instruments from various cultures proved yet more valuable when recording the theme I wrote for Riot Games’ League Of Legends: Lunar Revel 2023 . The idea of writing a theme that represents such a cultural and spiritual aspect of Asian culture was a daunting prospect, but thankfully my experience combining Asian instruments with a western cinematic palette gave me a solid starting point.

The team at Riot (then led by Kole Hicks) really helped by giving valuable feedback and resources so we could record the score the right way, and do justice to our shared vision.

Cut to later that year when Conor Soucy contacted me to score Dead Whisper (our 4th project together), a couple of things happened that allowed the score to come to fruition: Conor and I had a friendship and trust that allowed him to give me agency to take creative risks with the score and try out ideas in search of something unique.

During our spotting session for the film, we would watch scenes, and I would immediately try out ideas on his piano in real time, allowing for deeper and more spontaneous collaboration.

Secondly, we won the SESAC New Music USA Reel Change Grant, which gave us the resources to hire the right players, experiment with bespoke sounds and invest in taking risks to push our creative limits. We got to work with Joy Music House , who helped produce the live recording sessions and make sure everything ran smoothly.

All the lessons from Nature Of All Things , recording exotic instruments for The Wheel Of Time , and reading all those books allowed Conor and I to talk story from a different vantage point, and try out ideas with the singular goal to make the best non-obvious choices in service of that story.

The resulting mammoth 57-minute score was a logistical challenge, but also an opportunity that resulted in recording master percussionist Bobak Lotfipour (Netflix’s Hellraiser , A24’s Green Knight ), vocalist Abby Lyons ( The Wheel Of Tim e), and a killer mix from Brian R. Taylor ( The Walking Dead: Dead City ). The end result is a juxtaposition between an organic, live instrument heavy score, and mangled / processed sounds, matching the throwback horror roots of the film, as well as its more modern influences.

The cliche, “it takes a village” feels especially apt here, as the amount of incredible support and trust I have received both from the filmmakers and composers I’ve worked with, and the people on my team for those projects brought these projects to fruition.

It’s a dream to be presented with a scoring opportunity where there is the trust and resources to put our best creative foot forward, and I’m so grateful for the career detours that allowed for it to happen as joyously as it did.

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• Join for Free

Creative Writing for Film and Theater

A course by gina stevensen , scriptwriter, actor, and dramaturge.

Learn the basics of scriptwriting for stage or screen, exploring everything from character development, plot, and dialogue to metaphors and symbolism

• Information

From raw human emotion to relatable universal experiences, films and plays mirror the essence of what it means to walk this earth. Screenwriter, actor, and dramaturge Gina Stevensen has dedicated an entire career to crafting purposeful, character-centered narratives that capture the depth of reality on stage and on screen. A self-proclaimed rule follower with a free spirit, Gina embraces the rhythm of story structure to pave the way for authentic, unbridled expression⁠—an approach that has earned her numerous recognitions such as the 2021 Kernodle New Play Award.

In this online course, grasp the fundamentals of scriptwriting and then veer off the beaten path to express your stories the way only you can. Explore practical structures to develop your characters, plot, and dialogue, later unleashing your imagination with metaphors and symbolism. Put your stories in the spotlight with scripts that speak to any audience.

What will you learn in this online course?

13 lessons & 29 downloads

• 100% positive reviews ( 37 )
• 2204 students
• 13 lessons (2h 16m)
• 29 additional resources (16 files)
• Online and at your own pace
• Available on the app
• Audio: English
• English , Spanish , Portuguese , German , French , Italian , Polish , Dutch
• Level: Beginner
• Unlimited access forever

What is this course's project?

Write a short, two-character scene for stage or screen using any topic you’re passionate about.

Projects by course students

By paula95diaz

By zinguiry

By dolores_de_flores

Who is this online course for?

Anyone with a story to tell, from complete beginners to seasoned writers.

Requirements and materials

No prior knowledge is required.

As for materials, all you need is a place to jot down your ideas and flesh out your script, whether it’s a computer or a notebook and pencil.

It was definitely an interesting course, that opened up for methods I wasn't using or hadn't considered.

pastorapogni

¡Me encantó! Gina es apasionada, clara y entrega información secreta de cómo acercarse a esta bella tarea de escribir guiones, ¡gracias!

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audrey.rmlx

Je fais du théâtre et j'ai monté ma propre compagnie. Ce cours est parfait pour écrire des scènes et une pièce complète. Je recommande vivement !

christianadrianrp84

Me gusto la parte que coloca sus experiencias con diferentes ejemplos

Excelente curso, muy profundo y fácil de comprender a la vez.

• More reviews

Gina Stevensen A course by Gina Stevensen

Gina Stevensen is a scriptwriter, actor, and writing instructor passionate about creating meaningful and character-driven narratives for theater and film. After exploring the world of the performing arts in her early years, she went on to study theater at NYU Tisch and playwriting at Columbia University. She has developed numerous performance pieces that have graced stages all across the US and England while simultaneously navigating the world of film with projects for HBO Max, BMW, and more.

Gina was the 2021 winner of the Kernodle New Play Award and the 2020 winner of the New Works Initiative. Her TV pilot “Summerland” was a finalist at the 2021 Big Apple Film Festival, as well as a semifinalist at the 2021 NYC International Screenplay Contest and the Reno-Tahoe Screenplay Contest. She has also served as a guest lecturer at the University of Arkansas, NYU, and Hunter College, and has taught screenwriting workshops in collaboration with The Writer's Rock, Tribeca Performing Arts Center, and more.

Introduction

The fundamentals of stage and screenwriting.

• The Central Dramatic Question
• Characters and Plot
• Sharpening the Dialogue
• Using the Imagination: Metaphors

Writing the Script

• Choosing the Form
• Your Connection with the Story
• Developing the Primary Characters
• Exploring Through Dialogue

Bringing the Script to Life

• Rewriting and Rehearsal 1
• Rewriting and Rehearsal 2
• Ideas for Sharing

Final project

What to expect from a domestika course, learn at your own pace.

Enjoy learning from home without a set schedule and with an easy-to-follow method. You set your own pace.

Learn from the best professionals

Learn valuable methods and techniques explained by top experts in the creative sector.

Meet expert teachers

Each expert teaches what they do best, with clear guidelines, true passion, and professional insight in every lesson.

Certificates Plus

If you're a Plus member, get a custom certificate signed by your teacher for every course. Share it on your portfolio, social media, or wherever you like.

Get front-row seats

Videos of the highest quality, so you don't miss a single detail. With unlimited access, you can watch them as many times as you need to perfect your technique.

Share knowledge and ideas

Ask questions, request feedback, or offer solutions. Share your learning experience with other students in the community who are as passionate about creativity as you are.

Connect with a global creative community

The community is home to millions of people from around the world who are curious and passionate about exploring and expressing their creativity.

Watch professionally produced courses

Domestika curates its teacher roster and produces every course in-house to ensure a high-quality online learning experience.

Domestika's courses are online classes that provide you with the tools and skills you need to complete a specific project. Every step of the project combines video lessons with complementary instructional material, so you can learn by doing. Domestika's courses also allow you to share your own projects with the teacher and with other students, creating a dynamic course community.

All courses are 100% online, so once they're published, courses start and finish whenever you want. You set the pace of the class. You can go back to review what interests you most and skip what you already know, ask questions, answer questions, share your projects, and more.

The courses are divided into different units. Each one includes lessons, informational text, tasks, and practice exercises to help you carry out your project step by step, with additional complementary resources and downloads. You'll also have access to an exclusive forum where you can interact with the teacher and with other students, as well as share your work and your course project, creating a community around the course.

You can redeem the course you received by accessing the redeeming page and entering your gift code.

• Communication
• Creative Writing

Courses you might be interested in

Writing for Film & TV

Online • bachelor’s degree, earn your writing for film & tv degree online.

Are you interested in cinematic storytelling? Learn to write well-structured stories with vivid, compelling characters to create scripts for film, TV and immersive media. Our online program prepares you to tell your unique story by exploring the screenwriting process from early creation to the final pitch.

Our online Bachelor of Science in Writing for Film & TV Degree Program challenges you to grow as a writer and storyteller. You’ll learn the conventions of the writing craft including long form and short form, punch up drafts, dialogue and more.

Our Bachelor of Science in Writing for Film & TV Degree is 120 credit hours and 36 months in length.

Full Course List

View Current Catalog

Featured Classes

Character creation.

Discover how characters drive a story. Students will come away from this course with a variety of writing techniques useful for creating well-developed characters. Learn to create interesting characters whose motives and actions are organic within the plot and relevant to the story’s thematic intentions. Through analysis and practice, students will understand and create engaging characters for film and television.

Dialogue Writing

Make every word count. This course allows students to practice techniques in creating active exposition, character-driven dialogue and dialogue that supports story progression. Students learn from iconic lines of dialogue that have become as legendary as their original films. By the end of the course, students will write a series of original scenes as well as re-writing another writer’s scenes within a script.

Writing for Production

Learn to take a script to screen. Students discover the difference between reading script drafts and production drafts. Students become familiar with the different stages of writing drafts as they move into production. Students are challenged with several production rewrites with the goal of incorporating changes and understanding why changes in the script at the later stages are out of necessity for production.

Your Writing for Film & TV TechKit ®

To bring your ideas to life, you’ll need the right gear and software to work with whenever inspiration hits. We equip you with the tools you need to to kickstart your creative journey, including:

Software Suite to Fuel Your Narrative:

• Final Draft:  Create professional-looking screenplays with industry-standard software, optimized for online learning through ECode access.
• Adobe Creative Cloud (Optional):  Elevate your storytelling by exploring additional tools for pre-production, character design, and storyboarding (available as a separate subscription).
• MS Office:  Manage your projects effectively with essential productivity software for collaboration, script revision tracking, and character development notes.

Hardware for Seamless Writing:

• MacBook Pro 14in:  Experience powerful performance and stunning visuals on a portable device, allowing you to write anywhere, anytime.
• Connectivity Hub:  Connect external devices like monitors or storage drives with ease.

The Student Experience Online

Our online degree programs bring the entertainment industry directly to you.  Learn from industry veterans through our secure Learning Management System (LMS). This user-friendly online platform lets you collaborate with classmates on projects, submit weekly assignments, and access instructor video lectures.

On-Demand Webinar

Check out our interactive webinar for details on:

• Online Programs  Overview of our degree types and concentrations, and a walk through of the gear and software you’ll receive for your degree.
• Student Life  Curious about how our online classes work?  We’ll show you.  You’ll also find how you can participate in our virtual and livestream events.
• Success Stories  Find out about what amazing projects our alumni have been working on.
• Paying for School  We walk you through your options for paying for school including: scholarships and grants, Federal Student Aid, military funding and cash payment options.

Hannah Lux Davis

Hannah with the band Pane at the ASCAP Experience

Brandon Trost

On the set of Extremely Wicked, Shockingly Evil and Vile with Zac Efron

Alex M. Ferrufino

Winner of HBO Latinx award for short film, Slipping Into Darkness

Kyle Newacheck

On the set of Murder Mystery with Jennifer Aniston and Adam Sandler

SUCCESS STORIES

Wondering where a degree from The Los Angeles Film School can take you?

At The L.A. Film School, we don’t just guide you, we  champion your success . Our dedicated  Career Development team  equips you with the tools you need to thrive, from resume writing and interview preparation to landing internships and building valuable industry connections. We’re with you every step of the way, supporting you on your exciting and challenging journey.

Did you know?  Oscar®-winning sound mixing  Phillip Bladh’s  career began here. Join our  legacy of alumni  who have contributed to Oscar®-winning films, GRAMMY®-nominated albums, and RIAA multi-platinum records.

Explore more  inspiring success stories

FINANCIAL AID & SCHOLARSHIPS

We understand that higher education is an investment, and we’re committed to helping you navigate your options. Financial Aid is available to those who qualify, and can include federal and private student loans, military benefits, grants and scholarships. Our dedicated Financial Aid team can help guide you through the process.

Ready to take that first step? Fill out the form and discover more about our career support, the incredible success stories of our alumni, and how your journey in the entertainment industry starts right here.

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Places available in Clearing

BA Film and Creative Writing

Annual tuition fees for 2024/25: £9,250 (UK) £22,860 (International) More detail .

• Am I likely to receive an offer for 2024?
• Course details
• Entry Requirements
• Teaching and assessment
• Employability

Do you want to develop your practical skills as a filmmaker and writer whilst exploring film, television and writing in their critical and industry contexts? Then studying at the University of Birmingham on our undergraduate BA Film and Creative Writing degree is for you.

With the guidance of our award-winning, industry expert staff, delve into all genres of creative writing, film and TV, including: 

• Children’s film and TV 
• Documentary filmmaking 
• Nonfiction writing
• Playwriting
• Screenwriting
• World cinema
• Writing for the media

You'll also hone your filmmaking skills in our state-of-the-art studio and editing suite. 

You can make use of our wide-ranging work-based placements and employability-focused modules, ensuring that you graduate with sought-after experience of the creative industries, including: 

• Editing 
• Film and TV
• Writing 

International undergraduate scholarships available in the College of Arts and Law

We are proud to offer 10 scholarships to international students in the form of £3,000 tuition fee awards for year one entry only.

Learn more about our scholarships and apply

I’ve really enjoyed taking part in both practical and more theory-based lectures, because it has allowed me to learn about some of my favourite films whilst being able to make one too. It has made me want a career as a writer in the industry! Amelia

Why study this course?

Our undergraduate BA Film and Creative Writing degree is for you if you want to: 

• Learn from experienced, global film industry experts – including filmmakers, camera operators, screenwriters, film editors and film writers and commentators.
• Find your voice amongst award-winning and bestselling authors – including 2021 Royal Society of Literature’s Ondaatje Prize winner Professor Ruth Gilligan; 2021 Forward Poetry Prize winner Professor Luke Kennard and one of Granta magazine’s 2023 best young novelists Dr Anna Metcalfe.
• Get a head start in the graduate market – with our diverse range of industry connections, ensuring you enter the workplace with the skills required to shape the creative agendas of the future. 
• Join a vibrant campus community – write for our newspaper, present for our TV and radio stations or join one of our many writing or film societies.
• Make our exciting city your home – get involved in the city’s numerous literature and film festivals and explore Birmingham’s many cultural attractions, including the country’s oldest working cinema and Europe’s largest regional library.

Please note: You will take 120 credits of modules in each year of study. The modules listed on the website for this programme are regularly reviewed to ensure they are up-to-date and informed by the latest research and teaching methods. Unless indicated otherwise, the modules listed for this programme are for students starting in 2025. On rare occasions, we may need to make unexpected changes to compulsory modules; in this event we will contact offer holders as soon as possible to inform or consult them as appropriate.

Compulsory modules

• Introduction to Film
• Filmmaking 
• Film Culture and Media Skills
• Creative Writing Foundation
• Contemporary Creative Writing

Detailed description of compulsory first year modules

Second year

Optional modules

• 120 credits of optional Film and Creative Writing modules, including, if you wish, work-based placement modules

List of second year optional modules

Year Abroad

You can apply to study abroad for a year in an approved university around the world. If you achieve a grade of 2.1 or above in your first year, you will be eligible to apply for a Year Abroad in your second year. If your application is successful, you will go abroad in your third year and return to us for your final year.

More about a Year Abroad

Compulsory module

• Dissertation (can take the form of a Film Studies Dissertation, Film Production Project or Creative Writing Project)
• 80 credits of optional Film and Creative Writing modules, including, if you wish, work-based placement modules

Detailed description of compulsory final year module and list of optional modules

For UK students beginning their studies in September 2024, the University of Birmingham will charge the maximum approved tuition fee per year. The fees for your first year of study will therefore be £9,250. Visit our tuition fees page for more information .

Fees for 2024/25 are as follows:

• UK: £9,250
• International: £22,860

Eligibility for fees can be verified with Admissions. Learn more about fees for international students .

For further information on tuition fees, living costs and available financial support, please see our pages on undergraduate fees and funding .

Tuition fees when studying abroad

For those spending a whole academic year abroad (where available):

• Students who are classed as UK for fees purposes are required to pay 15% of their normal annual tuition fee
• Students who are classed as International for fee purposes are required to pay 50% of their normal annual tuition fee

For those studying abroad for just one semester (where available), normal annual tuition fees apply.

Note - Study abroad opportunities vary between courses; please see the course description for details of study abroad options offered.

How To Apply

• Apply through UCAS at www.ucas.com .
• Learn more about applying .

Standard offer

International requirements.

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB). Holders of the Baccalauréat de l'Enseignement Secondaire (School Certificate) are not normally eligible for direct entry onto our undergraduate programmes without completion of a suitable foundation programme, such as one of our foundation pathways.

Please note:

• For Medicine country specific requirements, please visit our Applying to Medicine website .
• For Dentistry, please see the general entry requirements listed on the Dental Surgery course page

English Language

Students from Algeria need to meet the standard English language requirements for international students. 

The University will consider students who have taken GCE A Level examinations and the International Baccalaureate (IB) for entrance to undergraduate programmes.

Holders of the Bachillerato together with a recognised foundation programme, such as the Birmingham Foundation Academy, will be considered for entry to our Bachelor degree programmes.

Students who have completed the Senior Secondary School Diploma will be considered for entry to year 1 of an undergraduate programme based on the ATAR or OP score achieved as follows: A*AA = ATAR 94 or OP 1-3 AAA = ATAR 92 or OP 4 AAB = ATAR 90 or OP 4 ABB = ATAR 87 or OP 5 BBB = ATAR 85 or OP 6 Where a specific subject is required at A level this subject is required at grade 12 with an equivalent grade.

• For Dentistry, please see the general entry requirements listed on the Dental Surgery course page.

Holders of the Matura/Reifeprüfung with a minimum overall score of 'pass with distinction' (mit gutem Erfolg bestanden) and subject grades between 2-1/5 (gut-sehr gut - good-very good) will be considered for entry to the first year of our undergraduate degree programmes.  Please refer to the information below as guidance for grade comparisons to A-level entry requirements:  Holders of the Matura/Reifeprüfung will be considered with the following grade equivalencies:  A*AA - 1 overall plus 1, 1, 2 in elective subjects (inc any required subject/s)  AAA - 1 overall plus 1, 2, 2 in elective subjects (inc any required subject/s)  AAB - 1 overall plus 222 in elective subjects (inc any required subject/s)  ABB - BBB - 2 overall plus 222 in elective subjects (inc any required subject/s)  Subject specific grade equivalencies:  A* - 1  A - 1.5  B - 2 

• For Medicine country specific requirements please visit our Applying to Medicine website .

We may accept your English language grade from the Austrian Matura/Reifeprüfung if you achieved 2/5 (gut) in English (both written and oral examinations). Please note this is only valid for 2 academic years after qualification. 

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as the Foundation Pathways, for entrance to undergraduate programmes.

We will consider students who have taken GCE A Level examinations or the International Baccalaureate for entrance to onto our undergraduate programmes. Holders of the Al-Thanawiyan are not normally eligible for direct entry onto an undergraduate course without completion of a suitable foundation programme, such as one of our own foundation pathways.

Higher Secondary Certificate students will be required to take an approved Foundation Programme before they can be considered for entry to the first year of our Bachelor degree programmes (see Birmingham Foundation Pathways).

Holders of a Bachelor of Science, Arts or Commerce degree (with honours) of two, three, or four years in duration from a recognised institution in Bangladesh with a CGPA of 3.0/4 or 65% or higher may be considered for entry to the first year of an undergraduate degree programme.

For Medicine country specific requirements, please visit our Applying to Medicine website.

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as one of our Foundation Pathways, for entrance to undergraduate programmes.

For study on our Foundation and Undergraduate programmes, English language at grade C/6 or above in the Botswana General Certificate of Secondary Education Examination is sufficient to meet the standard English language requirements.

For Postgraduate programmes, Botswanan nationals with a degree from Botswana or another English speaking country (as on the University's approved list) are not required to submit an English Language test.

GCE A Level examinations (BBB to A*AA), the International Baccalaureate (IB) (32 points overall. HL 5,5,5 to 7,7,6), or a suitable foundation programme, such as one of our Foundation Pathways. Students who have successfully completed the first year of a Licenciatura or Bacharelado degree with an overall score of 7.5/10 or higher can be considered.

• Our BNurs and MNurs Nursing courses are only available to home/EU students.

The University will consider students who have taken A Level examinations and the International Baccalaureate (IB) for entrance to undergraduate programmes. Students from Brunei will usually undertake Brunei/Cambridge GCE A level examinations or Brunei Darussalam Technical and Vocational Educational Council (BDTVEC). Both qualifications allow students to apply for undergraduate degree courses.

Holders of the "Diploma za Sredno Obrazovanie, Diploma za Zavarsheno Sredno Obrazovanie, or Diploma za Sredno Spetzialno Obrazovanie" (Diploma of Completed Secondary Education) will be considered with the following grade equivalencies:

• A*AA = 5.8 overall with 5.8 in 2 Matura exams (to include any required subjects)
• AAA = 5.8 overall with 5.6 in 2 Matura exams (to include any required subjects)
• AAB = 5.6 overall with 5.6 in 2 Matura exams (to include any required subjects)
• ABB = 5.4 overall with 5.5 in 2 Matura exams (to include any required subjects)
• BBB = 5.2 overall with 5.5 in 2 Matura exams (to include any required subjects)

Students who hold Cameroon GCE A Levels with good grades or French Baccalaureat with minimum grades of 12/20-15/20 will be considered for entrance to undergraduate programmes.

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as one of our Foundation Pathways, for entrance to undergraduate programme.

Cameroon has two systems of education, one based on the British model, the other on the French - as long as a student has studied under the British system, they will be exempt from the standard international English requirements with the following grades:

For study on our Foundation and Undergraduate programmes, English Language at grade C or above in the General Certificate of Education Ordinary Level is sufficient to meet the standard English language requirements.

For Postgraduate programmes, Cameroonian nationals with a degree that was completed in English from Cameroon or another English speaking country (as on the University's approved list) are not required to submit an English Language test.

The University will consider students who have achieved good grades in their High School Graduation Diploma with at least 5 university-preparatory level (Grade 12) courses. For many of our programmes of study, students will need at least a B average, and possibly higher. 

Qualification Guidance

Unless otherwise stated qualification guidance is as follows:

Ontario System

A level requirements of AAA  = 85% overall in 6 x grade 12 U or U/C courses. Where an A level subject is required, the course must be at U or U/C level. 

A level requirements of AAB  = 80% overall in 6 x grade 12 U or U/C courses. Where an A level subject is required, the course must be at U or U/C level. 

A level requirements of ABB  = 75% overall in 6 x grade 12 U or U/C courses. Where an A level subject is required, the course must be at U or U/C level. 

For Maths and English GCSE equivalency the student must offer Maths and English at grade 11 minimum. (For UG programmes that require GCSE grade A equivalence, suggest 80% minimum). 

Other Canadian Provinces

British Columbia  - Grade 12 Senior Secondary Diploma with an average of at least 75% (ABB), 80% (AAB) and 85% (AAA) in 5 grade 12 subjects or Senior Secondary Graduation Diploma if awarded with at least five Bs (BBBBB) or above in acceptable grade 12 courses.

Manitoba - High School Graduation Diploma with an overall average of 75% (ABB), 80% (AAB) and 85% (AAA), including 5 credits awarded at the 300 level in at least 4 subject areas, and at least 65% in each subject.

Alberta, New Brunswick, Newfoundland, Northern W. T., Nova Scotia, P. Edward Island, Saskatchewan - General High School Diploma with an overall average of 75% (ABB), 80% (AAB) and 85% (AAA) in 5 subjects at Grade 12.

Nunavut - General High School Diploma with an overall average of 75% (ABB), 80% (AAB) and 85% (AAA) across five subjects at grade 12.

Québec - Diplôme d'Etudes Collègiales (DEC) with an overall average of 75% (ABB), 80% (AAB) and 85% (AAA).

Yukon - Senior Secondary Graduation Diploma with an overall average of at least 85% in 5 grade 12 subjects (including provincial examinations where applicable).

Entry to LLB for Graduates

We require a B+ average or a GPA of 3.0/4 in any non-law degree subject.

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as the Foundation Pathways, for entrance to undergraduate programmes. 

We will consider students who have completed GAOKAO for entry to our Undergraduate Programmes. Please refer to our  GAOKAO entry requirements  for further information.

Holders of the Chinese High School Certificate/Senior Middle School Graduation and a suitable foundation programme, and holders of two/three year Diplomas, with a good performance (80% average or above) from a recognised institution, will be considered for entry to undergraduate programmes.

If you have taken A level or IB diploma, please refer to the course you are interested in on our course finder and you will find entry requirements.

If you have taken exams which are from another country's national education system (e.g. the Arbitur from Germany or SAT and AP exams from the USA) you should consult that specific country page on our website for entry requirements.

The University will consider students who have taken GCE A Level examinations and the International Baccalaureate (IB) for entrance to undergraduate programmes. Holders of the Bachillerato together with a recognised foundation programme, such as the Birmingham Foundation Academy, will be considered for entry to our Bachelor degree programmes.

Candidates from Costa Rica generally require a) A levels or IB Diploma or b) Bachiller en la Enseñanza Media plus a recognised foundation programme or c) successfully completed the first year of the Bachiller or Licenciado with 8/10 or higher.

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as the Birmingham Foundation Academy, for entrance to undergraduate programmes.

Holders of the Maturatna Svjedodzba (Matriculation Certificate) will be considered with the following grade equivalencies:  A*AA-AAA= 5/5  AAB = 4.5/5  ABB-BBB = 4/5  Subject specific requirements:  A* - 5  A - 4.5  B - 4

Candidates offering the Caribbean Advanced Proficiency Examination (CAPE) qualification can be considered for entry to the first year of an undergraduate degree programme. CAPE is graded on a I to VI scale (I being the highest) and we would typically look for a minimum of II in each subject taken to include I in any required subject and for AAA-AAB offers to include a at least half the subjects at grade I.  Candidates offering an Associate degree from a recognised institution may also be considered for entry to the first year of an undergraduate degree programme. We would typically require a minimum GPA of 3.0 to include high grades in relevant and required subjects.

Holders of the Apolytirion of Lykeion with a minimum overall score of 18+/20 plus 2 GCE A levels will be considered for entry to the first year of our undergraduate degree programmes. The Apolytirio + 1 A level may be considered at the discretion of departments, if high grades and required subjects are offered.

Equivalent grades:

A*AA = 19/20 + A*A AAA = 19/20 + AA AAB = 18/20 + AA ABB = 18/20 +AB BBB = 18/20 + BB

Specific subject requirements:

A* - 19 A - 19 B – 18

Holders of the Vysvedceni o Maturitni Zkousce-Zkouška / Maturita will be considered with the following grade equivalencies:  A*AA-AAA: 1 overall  AAB: 1.5 overall  ABB-BBB: 2 overall  Specific subject requirements:  A* - 1  A = 1.5  B = 2

Holders of the Bevis for Studentereksamen (STX), Hojere Forberedelseseksamen (HF), Hojere Handelseksamen (HHX) or Hojere Teknisk Eksamen (HTX) will be considered with the following grade equivalencies in Level A Subjects (including any required subjects):

A*AA - 12,10,10 AAA - 10,10,10 AAB - 10,10,7 ABB - 10,7,7 BBB - 7,7,7

A* = 12 A = 10 B = 7

We may accept your English language grade from the Danish Studentereksamen if you achieved 10 in English. Please note this is only valid for 2 academic years after qualification. 

Candidates from Ecuador generally require a) A levels or IB Diploma or b) Senior Secondary School (Titulo de Bachiller en Ciencias) plus a recognised foundation programme or c) successfully completed the first year of the Licenciado (with 70% or equivalent GPA)

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB) for entry onto our undergraduate programmes.

Holders of the Thanawiyan are not normally eligible for direct entry onto an undergraduate course without completion of a suitable foundation programme, such as one of our own foundation pathways.

• For Medicine country-specific requirements, please visit our Applying to Medicine website .

Holders of the Riigieksamid (State Examinations) plus the Gümnaasiumi lõputunnistus (GI) (Secondary School Certificate) will be considered with the following grade equivalencies:

• A*AA - 4.5 average for GI and 83% average for 3 best state exams (excluding English taken as a SELT)
• AAA - 4.4 average for GI and 80% average for 3 best state exams (excluding English taken as a SELT)
• AAB - 4.3 average for GI and 79% average for 3 best state exams (excluding English taken as a SELT)
• ABB - 4.2 average for GI and 78% average for 3 best state exams (excluding English taken as a SELT)
• BBB - 4.1 average for GI and 77% average for 3 best state exams (excluding English taken as a SELT)

Specific subject requirements - required subjects must be studied at the highest level possible at school (year 12) with following grade equivalencies: A* = 90% A = 85% B = 80%.

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as one of our Foundation Pathways, for entrance to undergraduate programmes.

Students who have completed one or two years of a Bachelors degree from an Ethiopian university with excellent grades (A or 4 points) can be considered for entrance to undergraduate programmes.

Overall successful completion of Ylioppilastutkinto / studentexamen (Matriculation Examination) with the following grade equivalencies:  A*AA - 766  AAA - 666  AAB - 665  ABB - 655  BBB - 555  Subject specific requirements:  L (Laudator) = 7 = A*  E (Eximia cum laude approbatur) = 6 = A  M (Magna cum laude approbatur) = 5 = B

We may accept your English language grade from the Finnish Ylioppilastutkinto/Studentexamen if you achieved 5 (magna cum laude approbatur) in English. Please note this is only valid for 2 academic years after qualification. 

Holders of the Baccalauréat Général / Baccalauréat Technologique (BTn) / Baccalauréat de l'Enseignement du Second Degr and Diplôme de l'Enseignement du Second Degr / Option International du Baccalauréat (OIB) will be considered with the following grade equivalencies:  A*AA: 15/20  AAA-AAB: 14/20  ABB - BBB: 13/20  Option International du Baccalauréat (OIB)  A*AA: 14/20  AAA-AAB: 13/20  ABB - BBB: 12/20  Specifc subject requirements:  A* = 15/20  A = 14/20  B = 12/20  We will consider holders of the European Baccalaureate (EB) with the following grade equivalencies:  A*AA - 88  AAA - 85  AAB - 80  ABB - 77  BBB - 75  Subject specific requirement:  A* - 9  A - 8  B - 7

We may accept your English language grade from the French Baccalauréat de l’Enseignement du Second Degré if you achieved 14 (bien) or above. Please note this is only valid for 2 academic years after qualification. 

Holders of the Abitur/Zeugnis der Allgemeinen Hochschulreife, Zeugnis der Fachgebundenen Hochschulreife or Zeugnis der Fachhochschulreife will be considered with the following grade equivalencies:  A*AA: 1.4 overall in the Abitur  AAA: 1.5 overall in the Abitur  AAB: 1.6 overall in the Abitur  ABB: 1.7 overall in the Abitur  BBB: 1.8 overall in the Abitur  Specific subject requirements:  A* = 14/15  A = 13/15  B = 11/15  Please note: For applicants taking the Fachhochschulreife, we wouldn’t normally accept this qualification for entry to undergraduate programmes.  We will consider holders of the European Baccalaureate (EB) with the following grade equivalencies:  A*AA - 88  AAA - 85  AAB - 80  ABB - 77  BBB - 75  Subject specific requirement:  A* - 9  A - 8  B - 7 

We may also accept your English language grade from the German Abitur if you achieved 10 (gut) in English (taken as an achievement/main/ intensive course. Please note this is only valid for 2 academic years after qualification. 

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as one of our Foundation Pathways, for entrance to undergraduate programmes.

Students who hold a Higher National Diploma with a good profile of grades (distinctions and credits, or grades 1-3) will be considered for entrance to undergraduate programmes (first year entry).

Students who have completed the first year of a 4-year Bachelor degree from a recognised institution in Ghana with excellent grades (2.1, 3.0/4.0, 3.5/5.0) will be considered for entrance to undergraduate programmes (first year entry).

For study on our Foundation and Undergraduate programmes, English language at grade C or above (or in numerical terms, grade 6 or above) in the WAEC SSCE is sufficient to meet the standard English language requirements.

For Postgraduate programmes, Ghanaian nationals with a degree from Ghana or another English speaking country (as on the University's approved list) are not required to submit an English Language test.

Holders of the National Apolytirion of Geniko Lykeio, including three Pan Hellenics examinations will be considered for undergraduate programmes with the following overall average grade equivalencies in the Apolytirion:

A*AA – 19 AAA – 18.5 AAB – 18 ABB - BBB – 17.5

Plus, an average of 17+ from Pan-Hellenic exams (3 subjects)

Specific subject requirements (required both within the Apolytirio and as a Panhellenic exam):

A* - 19 A - 18 B – 17.5

The Apolyterion of Geniko Lykeion will also be considered alongside two A levels.

Candidates from Guatemala generally require a) A levels or IB Diploma or b) Bachillerato + foundation programme or c) Successful completion of first year of the Licenicado (with score of 70 or higher)

We will consider holders of the Hong Kong Diploma of Secondary Education (HKDSE) for entry to our undergraduate programmes with the grade equivalencies shown below (excluding Chinese and Liberal Studies).

A*AA = 5*55

Applicants for programmes with subject specific requirements will need to offer these as normal (please note that combined or integrated science will not normally be acceptable where a stated science is required i.e. Biology or Chemistry). Programmes requiring Mathematics as a specified subject will require both the Compulsory and either M1 or M2.

Higher level Diplomas and Associate Degrees can be considered for year one entry. A typical requirement would be an average grade of B (70-79%) or a GPA of 3.0 out of 4.0 in a relevant subject.

Holders of Higher Diplomas with a good performance (at least B+ or GPA 3.2 above) will be considered for entry to year 2 of relevant undergraduate degree programmes within Engineering and Computer Science.

Holders of the HKU SPACE Associate Degree programme with a good performance (at least B+ or GPA 3.2 above) throughout their studies may be considered for entry to year 2 of relevant undergraduate degree programmes.

Holders of the Erettségi / Matura with at least two subjects at advanced level (emelt szint) plus any required subjects at advanced level will be considered with the following grade equivalencies:  A*AA - 85%, 80% (Advanced level) plus 80%, 80%, 80% (Intermediate level)  AAA - 80%, 80% (Advanced level) plus 80%, 80%, 80% (Intermediate level)  AAB - 80%, 80% (Advanced level) plus 80%, 80%, 80% (Intermediate level)  ABB - 80%, 75% (Advanced level) plus 80%, 80%, 80% (Intermediate level)  BBB - 75%, 75% (Advanced level) plus 80%, 80%, 75% (Intermediate level)  Subject specific requirements (Advanced level):  A* - 85%  A - 80%  B - 75%

Holders of the Indian Standard XII will be considered for entry to the first year of our undergraduate degree programmes. 

• A*AA = 90% ISC, CBSE, Maharashtra or 85% West Bengal or 95% Other State boards
• AAA = 85% ISC, CBSE, Maharashtra or 80% West Bengal or 90% Other State boards
• AAB = 80% ISC, CBSE, Maharashtra or 75% West Bengal or 85% Other State boards
• ABB/BBB = 75% ISC, CBSE, Maharashtra and West Bengal or 80% Other State boards

Where a programme requires a specific A'level subject grade please refer to the guidance below for Indian Standard XII equivalent.

• A* = 90% ISC, CBSE, Maharashtra or 85% West Bengal or 95% Other State boards
• A = 85% ISC, CBSE, Maharashtra or 80% West Bengal or 90% Other State boards
• B = 80% ISC, CBSE, Maharashtra and 75% West Bengal or 85% Other State boards

Applicants with appropriate grades in Standard XII English (English Core/English Elective/Functional English in CBSE) do not require additional SELT qualifications.

• GCE A Level in three acceptable subjects.
• International Baccalaureate (IB) with 32 points overall.
• A Diploma (D3/D4), with good grades, from a recognised Indonesian institution.

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB) for entrance to onto our undergraduate programmes.

Holders of the Diplom-Metevaseth are not normally eligible for direct entry onto our undergraduate courses without completion of a suitable foundation programme, such as one of our own foundation pathways. 

Students who have completed the Pre-University Certificate (Peeshdaneshgahe) with a minimum overall GPA of 16/20 and students who have successfully completed the National Entrance Exam (Kunkur) will be considered for entry onto our undergraduate programmes.

Holders of the Sixth Form Baccalaureate/Iraqi high school leaving certificate are not normally eligible for direct entry onto our undergraduate courses without completion of a suitable foundation programme, such as one of our foundation pathways.

We will consider students who have completed the Bagrut and achieved grade 8 or above in 6 subjects.

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as one of our own foundation pathways, for entrance to onto our undergraduate programmes.

Holders of the Diploma di Esame di Stato will be considered with the following grade equivalencies:  A*AA - 95  AAA - 92  AAB - 90  ABB - 88  BBB - 85  Subject specific requirements:  A* - 15/15 OR 10/10  A - 14/15 OR 9/10  B - 13/15 OR 8/10

Students who hold the French Baccalaureat with minimum grades of 12/20-15/20 will be considered for entrance to undergraduate programmes.

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as the  Foundation Pathways  at the BIA, for entrance to undergraduate programmes.

• GCE A Level examinations or a recognised foundation programme
• International Baccalaureate (IB) - 32 points overall for entrance to most of our undergraduate programmes, certain courses will require specific grades and subjects at Higher Level

Many students who have studied in Japan have followed a 12 year education system. For admission onto an Undergraduate degree programme, the University of Birmingham requires all applicants to have studied for 13 years, and therefore you may need to take a foundation year before commencing your undergraduate programme. 

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB). Holders of the Tawjihi are not normally eligible for direct entry onto our undergraduate programmes without completion of a suitable foundation programme, such as one of our foundation pathways.

We will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as the  Birmingham International Academy , for entrance to undergraduate programmes.

We will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as one of our  Foundation Pathways, for entrance to undergraduate programmes.

For study on our Foundation and Undergraduate programmes, English language at grade C or above in the Kenya Certificate of Secondary Education (KCSE) is sufficient to meet the standard English language requirements.

For Postgraduate programmes, Kenyan nationals with a degree from Kenya or another English speaking country (as on the University's approved list) are not required to submit an English Language test.

We will consider students who have taken GCE A Level examination, or the International Baccalaureate (IB) for entrance to onto our undergraduate programmes. Holders of the Shahadat-al-thanwiia-al-a'ama are not normally eligible for direct entry onto our undergraduate courses without completion of a suitable foundation programme, such as one of our foundation pathways.

Candidates from Latvia generally require either A levels, an IB Diploma or a recognised foundation programme qualification in order to be considered for entry to the first year of an undergraduate degree programme. Holders of the Atestats par visparejo videjo izglitibu (Certificate of General Secondary Education) are not eligible for entry to the first year of our undergraduate degree programmes.

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB) for entry onto our undergraduate programmes. Holders of the Baccalaureat General (School Certificate) are not normally eligible for direct entry onto our undergraduate courses without prior completion of a suitable foundation programme, such as one of our foundation pathways.

The University will consider students who have taken GCE A Level examination, the International Baccalaureate (IB), or a suitable foundation programme (such as the Birmingham Foundation Academy), for entrance to undergraduate programmes.  Students who have completed a Higher Technician Diploma with minimum GPA of 65%, or a Bachelors degree from a Higher Technical or Vocational Institution with minimum GPA of 65%, may be considered for entry to the first year of an undergraduate degree programme.  Students who have the Secondary Education Certificate plus one year of a Bachelors degree from a recognised university with a minimum GPA or 65% may also be considered.

Holders of the Brandos Atestatas (Secondary School Diploma/Maturity Certificate) will be considered with the following grade equivalencies:  A*AA - 9.5 with 95% average in 3 state exams  AAA - 9.0 with 90% average in 3 state exams  AAB - 9.0 with 87% average in 3 state exams  ABB - 8.5 with 85% average in 3 state exams  BBB - 8.0 with 80% average in 3 state exams  Subject specific requirements (state exam):  A* - 95%  A - 90%  B - 85% 

Holders of the Diplôme de Fin d'Etudes Secondaires will be considered with the following grade equivalencies:  A*AA - 50/60  AAA - 48/60  AAB - 46/60  ABB - 44/60  BBB - 42/60  Subject specific requirements:  A* - 52  A - 48  B - 42 

In addition to the standard qualifications that we accept as proof of English language proficiency, the University accepts the following as proof of English language for students from Luxembourg: 6/10 in English Language I in the European Baccalaureate; or 8/10 in English Language II in the European Baccalaureat

We may also accept your English language grade from the Luxembourgish Examen de Fin d'Études Secondaires 45 (bien) in English. Please note this is only valid for 2 academic years after qualification. 

The University will consider students who have taken A Level examinations and the International Baccalaureate (IB) for entrance to undergraduate programmes.

Sigjil Tinggi Persekolahan Malaysian (STPM)

STPM is considered equivalent to A-levels and is acceptable for admissions to the first year of an undergraduate programme. Grades equivalent to the A-level requirement should be achieved in three out of the five subjects studied.

Malaysian Ministry of Education Matriculation Programme

Holders of the Malaysian Ministry of Education Matriculation Certificate in Science can be considered for entry to year one of Biosciences, Chemistry, Mathematics and Physics.

Certificates in Accountancy

Students with Certificates in Accountancy can be considered for entry to year one of the Accountancy, Economics, and Money, Banking and Finance programmes, provided a minimum GPA of 3.5 is obtained. In addition, a candidate must reach the appropriate level of English requirement for the particular course.

Canadian Pre-University (Ontario Grade 13)

A pass in 6 OACs (minimum of three at grade B, and three at grade C) is generally acceptable for admission to the first year of an undergraduate programme, although, some programmes may require higher grades.

South Australia Matriculation Programme (SAM)

For candidates offering the South Australian Matriculation qualification, a TER of between 90 to 98 is required.

Diploma and certificate

If you have completed a 2 year certificate or diploma at a local college, you may be considered for admission to undergraduate programmes in some subjects.

If you have obtained a 3 year diploma it is sometimes possible to gain 'advance standing' to the second year of some undergraduate programmes.

Unified Examination Certificate (UEC)

Holders of the UEC may be considered for entry onto the first year of an undergraduate degree course (except Medicine & Surgery or Dentistry) on the following basis:

Where a specific subject is required the following grades should be attained:  A Level grade A* -  UEC grade A1, A Level grade A - UEC grade A2, A Level grade B - UEC grade B3.  Where Maths A Level is required UEC Advanced Maths (I) or (II) should be provided at the appropriate grade.

For all courses not requiring A Level Maths UEC Maths must be studied, the grade required will vary by programme (C8 required for most programmes, some may require B6 or B3).

Direct entry to second year

Taylor's university.

The University has various twinning programmes with Taylor's University which can allow Taylors students entry into year 1, year 2 or year 3 of an Undergraduate Degree course, depending on their choice of subject and GPA score. Degree courses available through twinning agreements are: Biosciences, Computer Science, Chemical Engineering, Civil Engineering, Electrical Engineering and Mechanical Engineering.  We have a longstanding relationship with Taylor’s University (TU), and many students have joined us for a variety of Engineering and Computer Science programmes. Students from TU can enter Year 2, or Year 3 of a number of programmes. For more information please refer to the table below, or contact the TU University Placement Services office, or  [email protected] .

Students from UCSI are able to join Year 2 of the following Birmingham programmes:

• BEng or MEng Mechanical Engineering
• BEng or MEng Electronic and Electrical Engineering.

For more information please contact the UCSI Global Engagement Office, or  [email protected] .

INTI College and Prime College 

Students from INTI College and Prime College may be considered for direct entry to the second year of our Engineering programmes.

HELP Institute

Students from HELP Institute may be considered for direct entry to the second year of Computer Science programmes and those students completing the LSE Diploma may be admitted directly to the second year of Economics and Money, Banking and Finance programmes.

Direct entry from other colleges is unusual. If you are a student of any other college and you wish to be considered for second year entry, you must submit your full transcript and a copy of the syllabus you have followed so that we can assess your suitability.

• For Medicine country specific requirements, please visit our  Applying to Medicine website .

SPM 1119 or GCSE/IGCSE minimum grade C may be accepted for a range of programmes with a four year validity period. 

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as the  Birmingham Foundation Academy , for entrance to undergraduate programmes.

Holders of the Advanced Matriculation will be considered with the following grade equivalencies:  A*AA - AA (Advanced level) + AAA (Intermediate level to exclude Systems of Knowledge)  AAA - AA + AAB  AAB - AA + ABB  ABB - AB + BBB  BBB - BB + BBB  Subject specific requirements:  A* & A - A  B - B  NB no overall score given as of 2012.

Applicants with a GCSE English grade 4/C equivalent or a degree from the University of Malta are exempt from taking an English proficiency test.

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), the French Baccalaureate, or a suitable foundation programme, such as our Foundation Pathways, for entrance to undergraduate programmes.

For study on our Foundation and Undergraduate programmes English language at grade C or above in the CIE O Level or Cambridge High School Certificate is sufficient to meet the standard English language requirements.

For Postgraduate programmes Mauritian nationals with a degree from Mauritius or another English speaking country (as on the University's approved list) are not required to submit an English Language test.

• For Dentistry, please see the general entry requirements listed on the Dental Surgery course page .

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB). Holders of the Diplôme du Baccalauréat / Diplôme du Baccalauréat Technique (School Certificates) are not normally eligible for direct entry onto our undergraduate programmes without completion of a suitable foundation programme, such as one of our foundation pathways.

A High School Leaving Certificate is not sufficient for undergraduate courses. Applicants for UG study will require additional qualifications, such as A Levels or the IB.

Holders of the Voorbereidend Wetenschappelijk Onderwijs (VWO - University Preparatory Education) Diploma (Gymnasium A/B and Atheneum A/B) will be considered with the following grade equivalencies:  A*AA - 8.0  AAA - 7.7  AAB - 7.5  ABB - 7.2  BBB - 7.0  Subject specific requirements:  A* - 8.5  A - 8  B - 7.5 

NB Grades 9-10 rarely awarded

We may accept your English language grade from the Dutch Voorbereidend Wetenschappelijk Onderwijs (VWO) diploma if you achieved 8 (good) in English. Please note this is only valid for 2 academic years after qualification. 

The University has a number of agreements with foundation providers in Nigeria which allows students to be considered for admission to undergraduate programmes. Please contact us for more information.

Students who have completed the first year of a 4-year Bachelor degree from a recognised institution in Nigeria with excellent grades (2.1, 3.0/4.0, 3.5/5.0) will be considered for entrance to undergraduate programmes (first year entry).

For Postgraduate programmes, Nigerian nationals with a degree from Nigeria or another English speaking country (as on the University's approved list) are not required to submit an English Language test.

Holders of the Vitnemål for Videregående Opplaering (VVO – Upper Secondary School Leaving Certificate) with a minimum overall average score of 4/6 will be considered for entry to the first year of our undergraduate degree programmes.

Please refer to the information below as guidance for grade comparisons to A-level entry requirements:

A*AA = 5.0 overall in the Vitnemål for Videregående Opplaering AAA = 4.5 overall in the Vitnemål for Videregående Opplaering AAB = 4.5 overall in the Vitnemål for Videregående Opplaering ABB = 4.0 overall in the Vitnemål for Videregående Opplaering BBB = 4.0 overall in the Vitnemål for Videregående Opplaering 

Specific subject requirements: A*= 6, A=5, B=4

For GCSE, from the lower school leaving certificate (first year of the Vitnemål), the same equivalences would apply.

We may accept your English language grade from the Norwegian Vitnemål fra den Videregående Skole if you achieved 3 in English. Please note this is only valid for 2 academic years after qualification. 

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB) for entrance to onto our undergraduate programmes. Holders of the Thanawiyan are not normally eligible for direct entry onto our undergraduate courses without completion of a suitable foundation programme, such as one of our foundation pathways.

We will consider students who have taken A Level examinations and/or the International Baccalaureate (IB) for entrance to undergraduate programmes. We will also consider students who have successfully completed a Bachelors (Honours) degree of at least two years duration. Degrees must be from a Higher Education Commission recognised institution in Pakistan.

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB) for entrance to onto our undergraduate programmes. Holders of the Tawijihi are not normally eligible for direct entry onto our undergraduate courses without completion of a suitable foundation programme, such as one of our foundation pathways.

Candidates from Paraguay generally require a) A levels or IB Diploma or b) Título de Bachillerato Científico plus a recognised foundation programme  Candidates who have completed the Título Intermedio (2-3 years) can be considered for first and/or second year entry, depending on subject fit.

Candidates from Peru generally require a) A levels or IB Diploma or b) a recognised foundation programme or c) successfully completed the first year of the Título de Licenciado with at least 13/20.

Holders of the Matura / Swiadectwo Dojrzalosci (Secondary School Certificate) will be considered with the following grade equivalencies:  A*AA - 90%, 85%, 85% (extended level subjects) plus 75% overall  AAA - 85%, 85%, 85% (extended level subjects) plus 75% overall  AAB - 85%, 85%, 80% (extended level subjects) plus 70% overall  ABB - 85%, 80%, 80% (extended level subjects) plus 70% overall  BBB - 80%, 80%, 80% (extended level subjects) plus 70% overall  Subject specific requirements at extended level:  A* - 90%  A - 85%  B - 80%

Holders of the Certificado de fim de Estudos Secundários / Diploma de Ensino Secundario (previously Certificado do 12 ano) will be considered with the following grade equivalencies: 

A*AA - 18/20 overall with 19, 18, 18 in 3 year 12 subjects  AAA - 18/20 with 18, 18, 18 in 3 year 12 subjects  AAB - 17/20 with 18, 18, 17 in 3 year 12 subjects ABB - 17/20 with 18, 17, 17 in 3 year 12 subjects  BBB 17/20 with 17, 17, 17 in 3 year 12 subjects 

Subject specific requirements: 

A* - 19  A - 18  B - 17 

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB) for entrance to onto our undergraduate programmes. Holders of the Qatar High School Certificate, or the Thanawiyan Mustaqala are not usually eligible for direct entry onto our undergraduate courses without the completion of a suitable foundation programme, such as one of our foundation pathways.

Holders of the Diploma de Bacalaureat with a minimum overall score of 8/10 will be considered for entry to the first year of our undergraduate degree programmes.  Please refer to the information below as guidance for grade comparisons to A-level entry requirements:  A*AA - 9  AAA – 8.5  AAB - 8.3  ABB - 8  BBB - 7.5  Specific subject requirements:  A*/A - 9  B - 8

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as the  Birmingham International Academy , for entrance to undergraduate programmes.

The University will consider students who have taken A Level examinations, the International Baccalaureate (IB) or a suitable foundation programme, such as one of our Foundation Pathways, for entrance to undergraduate programmes.

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB) for entrance to onto our undergraduate programmes. Holders of the Thanawiyah are not normally eligible for direct entry onto our undergraduate courses without the completion of a suitable foundation programme, such as one of our foundation pathways.

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), West African Higher School Certificate (WAHSC), Cambridge Overseas Higher School Certificate COHSC), or a suitable foundation programme, such as one of our Foundation Pathways, for entrance to undergraduate programmes.

For Postgraduate programmes, Sierra Leonean nationals with a degree from Sierra Leone or another English speaking country (as on the University's approved list) are not required to submit an English Language test.

Students with suitable grades at A level or International Baccalaureate (IB) may be considered for entry to an undergraduate degree programme.

Students who have successfully completed a Polytechnic Diploma may be considered for entry to our undergraduate degree programmes (applicable subjects only). Students who achieve a B grade average or above with good scores in relevant subjects can be considered for direct entry to the second year. Students who achieve a C grade average should be considered for year one entry (a few exemptions apply for certain departments).

The University has established Advance Standing Agreements with 5 Polytechnics in Singapore (Singapore, Ngee Ann, Temasek, Nanyang, Republic) which provide guidelines for some of the Diplomas we will accept and scores required by certain departments (Business, Life Sciences, Engineering, Computer Science). Please contact your institution for further information. Departments that are not part of this list can still consider Diplomas for entry to undergraduate programmes. Diplomas that are not on the list will be considering on an individual basis and may require you to provide further details such as the curriculum and module transcripts to identify suitability.

Holders of the "Vysvedcenie o Maturitnej skúska/Maturita" will be considered with the following grade equivalencies:  A*AA: 1/výborný in four subjects (if any other subjects have been taken they must be graded no lower than 2)  AAA: 1/výborný in three subjects, other subject(s) taken must be graded no lower than 2  AAB: 1/výborný in two subjects, other subjects taken must be graded no lower than 2  ABB: 1/výborný in one subject, other subjects taken must be graded no lower than 2  BBB: 2 in all subjects   Subject specific requirements:  A* & A - 1  B - 2

Holders of the "Maturitetno Spricevalo"/"Matura"/Secondary School-Leaving Diploma/Technical Matura will be considered with the following grade equivalencies:  A*AA - Total score of 28/34  AAA - 27/34  AAB - 26/34  ABB - 24/34  BBB - 22/34  Required subjects need to have been at Higher Level:  A* - 8  A - 7  B - 6

We will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), or a suitable foundation programme, such as one of our Foundation Pathways, for entrance to undergraduate programmes. Applicants who hold the South African National Senior Certificate (SA NSC or IEB) (or pre-2008 the Senior Certificate with matriculation) will be considered for entry onto our undergraduate degree programmes. Students need these grades in 5 subjects, not including Life Orientation.

Grade equivalencies are as follows: A*AA = 77766 AAA = 77666 AAB = 76666 ABB-BBB = 66666

For study on our Foundation and Undergraduate programmes, English language at grade 5 (or C) or above in the South African National Senior Certificate (SA NSC or IEB) (or pre-2008 in the Senior Certificate) is sufficient to meet the standard English language requirements.

For Postgraduate programmes, South African nationals with a degree from South Africa or another English speaking country (as on the University's approved list) are not required to submit an English Language test.

Students with A levels, the International Baccalaureate, a 2 year Junior College Diploma, the NCUK International Foundation Year, a suitable foundation programme, or one or two years of university level study at a recognised institution in South Korea will be considered for entry to an undergraduate degree programme. Students need a sufficiently high score in their Diploma or University level study (3.0+/4.0 or 3.2+/4.5).

Holders of the Título de Bachillerato will be considered for undergraduate programmes with the following grade equivalencies:

A*AA - 9.0 AAA - 8.5 AAB - 8.2 ABB - 8.0 BBB - 7.7

Required subjects must be studied in Year 2 of the Bachillerato and the subject grade equivalencies are:

A* - 10/9 A - 9 B - 8

The Sri Lankan system is based on the English system. Holders of the Sri Lankan A-Levels will be considered for undergraduate programmes as an equivalent to GCE A levels. We accept local or Cambridge A Levels for entry.

Please note however that grading systems for local A Levels are as follows:

A = A grade B = B grade C = Credit S = Simple pass

For Medicine country specific requirements, please visit our Applying to Medicine website. For Dentistry, please see the general entry requirements listed on the Dental Surgery course page

Holders of the Fullständigt Slutbetyg från Gymnasieskolan / Slutbetyg från Komvux / Avgangsbetyg (previously Studentexamen) with the following grade equivalencies: A*AA: 10 subjects at A and the remainder at B. AAA: 10 subjects at A and the remainder at B. AAB: 9 subjects at A and the remainder at B. ABB: Majority of subjects at A, remainder at B BBB: Majority of subjects at B. Subject specific requirements: A*/A - A B - B 

We may accept your English language grade from the Swedish Fullständigt Slutbetyg från Gymnasieskolan/ Slutbetyg från Komvux / Avgangsbetyg if you achieved Grade C in English (numerical grade 15). Please note this is only valid for 2 academic years after qualification. 

Holders of the Federal Maturity Certificate/ Maturitatszeugnis can be considered for entry to year 1 of our undergraduate degrees. Grade equivalences: AAA* = 5.0 overall to include 5.5 in one subject and 5.0 in two further subjects AAA = 4.8 overall to include 5.0 in 3 subjects AAB-ABB = 4.8 overall to include 5.0 in 2 subjects BBB = 4.8 overall to include 5.0 in 1 subject Grade requirement for required subjects: A* = 5.5 A/B = 5.0

We may accept your English language grade from the Swiss Maturitätzeugnis / Certificat de Maturité / Attestato di Maturità (federal maturity certificate or federally-recognised cantonal maturity certificate) if you achieved 5 (gut / bien / bene) in English. Please note this is only valid for 2 academic years after qualification. 

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB) for entrance to onto our undergraduate programmes. Holders of the Thanewiyah are not normally eligible for direct entry onto our undergraduate courses without completion of a suitable foundation programme, such as one of our foundation pathways.

We will consider students who have taken A Level examinations and the International Baccalaureate (IB) for entrance to undergraduate programmes.

Students with 2 year Junior College Diplomas may be considered for entry to the first year of an undergraduate degree programme, where the college is recognised by the Ministry of Education in Taiwan and/or the BTCO and where the student achieves a sufficiently high score overall.

Students with 5 year Junior College Diplomas may be considered for entry to the first and/or second year of an undergraduate degree programme, where the college is recognised by the Ministry of Education in Taiwan and/or the BTCO and where the student achieves a sufficiently high score overall.

Students who hold the East African Advanced Certificate of Education (EAACE), Advanced Certificate of Secondary Education (ACSE), Cambridge Higher School Certificate (COHSC) and National Form VI Examination will be considered for entrance to undergraduate programmes.

For study on our Foundation and Undergraduate programmes, English language at grade C or above in the ACSE is sufficient to meet the standard English language requirements.

For Postgraduate programmes, Tanzanian nationals with a degree from Tanzania or another English speaking country (as on the University's approved list) are not required to submit an English Language test.

We will consider:

• GCE A Level we will usually consider students with 3 good subjects
• International Baccalaureate (IB) we will normally consider students with 32 points overall for entrance to most of our undergraduate programmes, certain courses will require specific grades and subjects at Higher Level
• High School Certificate (M6) and a recognised one year foundation qualification may be considered
• One or two years of university level study at a recognised university in Thailand, with a sufficiently high score overall in their university level study (3.0+/4.0), may be considered for entry to an undergraduate degree programme.

Candidates from Caribbean and West Indies generally require The Caribbean Advanced Proficiency Examination (CAPE).

The University will consider students who have grades required are I – II in six CAPE units, including 2 double-unit level courses with a minimum of II in each of these double-unit courses. The requirement for a subject taken to include I for A (A-level equivalent) and II for a B (A-level equivalent) in any required subject.

For any courses that accept general studies, we will consider the Caribbean studies and Communication Studies additional to the 2 double-unit level courses, to make up the six required units.

Candidates offering an Associate degree from a recognised institution may also be considered for entry to the first year of an undergraduate degree programme. We would typically require a minimum GPA of 3.0 to include high grades in relevant and required subjects.

For Engineering and Physical Sciences degree programmes that require an A level in Mathematics, we require CAPE Pure Mathematics.  

The University will consider students who have taken A level examinations and the International Baccalaureate (IB) for entrance to undergraduate programmes.  Students educated in the Philippine system require at least two years post-high school education at a recognised institution before entering a Bachelors degree programme at Birmingham.  Many students who have studied in the Philippines have followed a 12 year education system. For admission onto an undergraduate degree programme, the University of Birmingham requires all applicants to have studied for 13 years, and therefore you may need to take a foundation year before commencing your undergraduate programme.  We will consider students for entry to the Birmingham International Academy who have completed their first year at a recognised institution in the Philippines and obtained good grades in all subject areas. 

The University will consider students who have taken the Lise Diplomasi and a suitable foundation programme, such as one of our  Foundation Pathways , or GCE A Level examinations, or the International Baccalaureate (IB) for entrance to our undergraduate programmes.

Students who have taken the Lise Diplomasi or Lise Bitirme Diplomasi from certain schools will be considered for entry to our undergraduate degree programmes.  The scores required in grade 12 on the high school diploma vary according to the A level requirement for that programme:

Alternatively students who have also taken SAT (Scholastic Aptitude Test) and AP (Advanced Placement) tests will be considered for admission to Bachelor degree programmes.  For more details on SAT and AP requirements please refer to the USA country page. 

We will consider students who have taken GCE A Level examinations or the International Baccalaureate (IB) for entry onto our undergraduate programmes. Holders of the Tawjihiyya are not usually eligible for direct entry onto our undergraduate courses without completion of a suitable foundation programme, such as one of our foundation pathways.

Pre-sessional programmes

The Birmingham International Academy (BIA) also offers pre-sessional English courses, which you can take to improve your spoken and written English in preparation for academic study. If you have a conditional offer you can attend one of these courses instead of retaking IELTS.

Our pre-sessional programmes

The University will consider students who have taken GCE A Level examinations, the International Baccalaureate (IB), the Uganda Advanced Certificate of Education (UACE), Cambridge Overseas Higher School Certificate, East African Advanced Certificate of Education or a suitable foundation programme, such as one of our Foundation Pathways, for entrance to undergraduate programmes.

Applicants from the USA can  meet Maths and English (UK-GCSE) requirements with the following. We require Maths and English (or similar e.g. Calculus, Algebra) from any of the following: AP (min grade 4), SAT S/II (min score 650), Honours classes or College-level course (min B+), HSD (pass grade at grade 12 level), ACT composite score (min 28), SAT-R (min score 670), International Baccalaureate English, Standard or Higher Level, First or Second Language (min grade 5). Other English language requirements can be found here .

Applicants studying A levels or the International Baccalaureate Diploma, will be eligible for direct entry if you meet your chosen programme’s entry requirements.

Alternatively, applicants should satisfy the following:

1. A minimum score of 3.2/4.0 GPA on the High School Diploma (HSD) (non-weighted )

2. Three distinct subject tests are required from a combination of either: (These options can be used in various combinations to meet our standard 3 subject A level requirement)

• International Baccalaureate (IB) Higher Level (HL) Subject Tests
• Advanced Placement tests (APs)
• Honours classes (Year 11/12-(1 year duration)
• College Level /dual level classes (academic, full year)
• SAT II Subject Tests (prior to being discontinued in Jan 2021)

To offer greater flexibility, one of the following tests can be used to replace one of the three subject test requirements listed above:  (for a specific subject requirement this would not be accepted)

Composite ACT with a score of 28+ to replace one subject test ( not accepted to replace a subject requirement. )

• SAT-R with a score of 1350+ to replace one subject test ( not to replace a subject requirement. )  (SAT superscores are not accepted)

For example:

(For a course that requires: A level AAA (with no specific subject requirements).  This means you could present with an HSD (3.3) + ACT (28), AP History (5) and an Honours Earth/Environmental Science (A).)

( For a course that requires: A levels AAB (A level Mathematics required). This means you could present with an HSD 3.2+, 2 subject test and as A level Mathematics is required AP Calculus BC.)                                                                      

A table of accepted A level grade equivalents can be found below. Use this table to work out the equivalents to the A level entry requirements to your preferred course(s).

• Where a certain A-level subject is required for entry to the course students must present with a suitable subject test, or have studied that subject at Community College, at a USA University or during their Associate’s degree.  (We advise that you look at the  course pages  and select entry requirements to find out if there are specific subject requirements)
• For subjects requiring A-level Mathematics applicants must present with AP Calculus BC or International Baccalaureate HL Mathematics.  (We do not accept AP Calculus AB to fulfil this requirement). Please check the individual course pages for our typical A-level requirements and see below for the corresponding scores.
• IB Higher Level (HL) Subject Tests  should be shown on the transcript or through a certificate.
• Advanced Placement tests (APs)  should be the certified test, we will not accept just the classes. 
• Honours classes (Year 11/12-(1 year duration)  these should be shown on a HSD transcript named as 'H' Honours', 'Hons' and to be taken in the USA.
• College Level /dual level classes (academic, full year)  should be shown on a transcript or certificate and named as academic subject (rather than practical or recreational) to be taken in the USA.

As an alternative to the above HSD and 3 tests, we can accept an Associate’s Degree, or one year at a Community College or a USA University to be accepted onto the first year of an  undergraduate degree. 

Entry requirements for Medicine and Surgery MBChB :  SAT1 score of 1380 or ACT score of 29. Three AP subjects at grade 5, including Biology and Chemistry or three SAT subject test scores of 700, 700 and 700, including Biology and Chemistry. We will also accept appropriate combinations of SAT and AP scores (We cannot accept other test for this programme)

• For Medicine country specific requirements, please visit our Applying to Medicine website  look for International Applicants.
• Our BNurs -Adult courses detail international entry requirements and useful tips. 

As a reminder you don't need to have completed all of these tests to apply through  UCAS . So our admissions team can fully review your application, please include your already achieved academic qualifications and tests up to your senior year (including all target/predicted results for tests you are yet to complete)   in the Education section of UCAS. 

The Designated Institution Code for College Board: The University of Birmingham is 7390.

We are registered with  ACT , therefore if you wish to provide your qualifications to us you can find our details on their website.

Applicants from the USA may already meet the English language  requirement (UK-GCSE equivalent ) through one of the following English  related tests:  SAT II Subject test (min score 650), AP (min grade 4),  Honours classes or College-level course (min B+), HSD (pass grade at grade 12 level), ACT English composite score (min 28), SAT-R Evidence-Based Reading and Writing (min score 670), International Baccalaureate English, Standard or Higher Level, First or Second Language (min grade 5). Other English language requirements can be found  here .

We will consider students who have taken A level examinations and the International Baccalaureate (IB) for entrance to undergraduate programmes.  Holders of the Certificate of Secondary Education (Attestat o srednem obrazovanii) at grade 11 and a suitable foundation programme (or 2 years study at a recognised higher education institution) will be considered for entry to our Bachelor degree programmes.  For more information on our foundation programme, please visit the  Foundation Pathways  website.

Candidates from Venezuela generally require a) A levels or IB Diploma or b) a recognised foundation programme or c) successfully completed the first year of the Licenciatura/Título with 70% or equivalent overall.

• GCE A Level in three acceptable subjects, certain courses will require specific grades and subjects.
• International Baccalaureate (IB) with 32 points overall for entrance to most of our undergraduate programmes, certain courses will require specific grades and subjects at Higher Level.
• Students who have completed the first year of a University programme in Vietnam will be considered for direct entry of the undergraduate programme at the University of Birmingham.

Students holding the Cambridge Higher School Certificate (HSC) or ZIMSEC A Levels will be considered for entrance to undergraduate programmes.

We prefer applications from students offering at least one A level from our list of preferred subjects:

English Language, English Literature English Language and Literature, Modern Language, History, Law, Religious Studies, Media Studies, Film Studies, Theatre Studies.

IB Diploma : 6,6,5 in Higher level subjects plus 32 points overall, including one Higher Level subject from our list of preferred subjects: English Language, English Literature English Language and Literature, Modern Language, History, Law, Religious Studies, Media Studies, Film Studies, Theatre Studies.

BTEC qualifications: • BTEC Extended Diploma: DDM, plus a B at A level from the preferred subject/s mentioned above. • BTEC Diploma: DD, plus a B at A level in at least one subject from the preferred subject/s mentioned above. • BTEC Subsidiary Diploma: D, plus AB at A level to include in at least one subject from the preferred subject/s mentioned above.

Other qualifications are considered - learn more about entry requirements .

Alternative offers through our Pathways to Birmingham programmes and our Contextual Offer scheme

Students who are eligible and successfully complete a Pathways to Birmingham programme will receive special consideration from admissions tutors and an alternative offer (typically two grades below the standard offer). In addition, our Contextual Offer Scheme recognises the potential of students whose personal circumstances may have restricted achievement in school or college. If you are eligible to benefit from the contextual offer scheme, you will receive an offer which is one grade lower than the standard offer.

International Students

We welcome applications from international students and invite you to join our vibrant community of over 4500 international students who represent 150 different countries. We accept a range of qualifications, our country pages show you what qualifications we accept from your country.

Depending on your chosen course of study, you may also be interested in one of our foundation pathways, which offer specially structured programmes for international students whose qualifications are not accepted for direct entry to UK universities. Further details can be found on Birmingham International Academy web pages .

You will have access to a comprehensive support system to help you make the transition to higher education when you start at Birmingham. 

Personal tutors – You will be assigned your own personal tutor who will get to know you as you progress through your studies. They will provide academic support and advice to enable you to make the most of your time here at Birmingham.

Wellbeing Officers –You will also have access to dedicated wellbeing officers who provide professional support, advice and guidance to students across a range of issues. They can meet with you to discuss extensions, disabilities, reasonable adjustments, extenuating circumstances, or to talk through any problems you might be experiencing, and help you access wider support on campus and beyond if you need it.

Our Academic Skills Centre helps you to become a more effective and independent learner through a range of high-quality support services. The centre offers workshops on a range of topics, such as note-taking, reading, academic writing and presentation skills.

The Academic Writing Advisory Service (AWAS) provides guidance on writing essays and dissertations if you need it. You can receive individual support from an academic writing advisor and meet with postgraduate tutors who specialise in particular subjects too.

Our Student Experience Team will help you get the most out of your academic experience. They offer research opportunities, study skills support, and help you prepare for your post-university career. They also organise social events, including trips.

Teaching staff

Students at the University of Birmingham are taught by a mixture of professors, senior lecturers, lecturers and doctoral researchers, thereby receiving a rich diversity of academic knowledge and experience. Many of our teaching staff have published important works about their areas of expertise, whilst others have taught at international institutions and can offer unique perspectives of their subjects.

You can find out more about the members of staff (including their qualifications, publication history and specific areas of interest) in their academic profiles linked below.

• Staff in Film and Creative Writing

Contact Hours

All Birmingham degrees are set within a credit framework designed to measure your academic achievements. We expect all students to accumulate 120 credits in each full year of study which is equivalent to 40 hours of learning a week. Learning is considered to include contact learning (lectures and seminars), private study, revision and assessment.

For this programme, those 40 hours are estimated to be broken down and split into lectures, seminars and other guided teaching opportunities and then independent study. This is a general rule across the entire academic year and may change week by week.

• Year 1 : 20% Lectures, seminars or similar and 80% Independent study
• Year 2: 15% Lectures, seminars or similar and 85% Independent study
• Year 3: 10% Lectures, seminars or similar and 90% Independent study

Assessment Methods

Assessments - you will be assessed in a variety of ways to help you transition to a new style of learning. At the beginning of each module, you will be given information on how and when you will be assessed. Assessments methods will vary with each module and could include:

• coursework, such as essays
• group and individual presentations

Feedback - you will receive feedback on each assessment within three weeks, so you can learn from each assignment. You will also be given feedback on any exams that you take. If you should fail an exam, we will ensure that particularly detailed feedback is provided to help you prepare for future exams.

The teaching, assessments, employability modules and work placements throughout our BA Film and Creative Writing undergraduate degree are designed to prepare you for the world of work. Not only will you generate industry connections and hone your skills as a writer and filmmaker, you’ll develop the capacity to think critically about a range of topics, argue, defend and advocate for your positions in presentations and written work and respond creatively to real-world challenges, skills that last you a lifetime and qualify you for many possible careers.

Past graduates from the Department of Film and Creative Writing have gone on to work in editing, literary agency, publishing, advertising, commerce, events management, law, marketing, media, public services, PR, teaching and TV production. Employers have included the BBC, Cosmopolitan, Headline Publishing Group, Mirror Group Newspapers, Oxford University Press and STUDIOCANAL.

Developing your career

The University of Birmingham is the top choice for the UK's major employers searching for graduate recruits, according to The Graduate Market 2024 report . Our Careers Network are here to offer you tailored, expert advice on your career plans and support you with finding and applying for jobs, internships and further study. There are hundreds of events to help you meet potential employers and learn more about the breadth of opportunities and career sectors available to you.

Support will be offered to you covering the whole job application process, including CVs, LinkedIn, application forms, interviews and assessment centres.  You can also email our experienced Careers Advisors and College Teams to review your applications or answer any careers related question, alongside our on campus and online 1:1 appointments.

We have a number of exclusive Internship Programmes such as our Cultural Internship, which will give you paid, professional experience to set you apart in the graduate market. We also offer work experience bursaries, which allow you to apply for funding to support you during any unpaid internships. 

First years can take part in The Birmingham Project , with themes including celebrating arts and culture and shaping a global society. There’s also a successful Mentoring Programme , where you can gain access to experienced Mentors who can empower, inspire and inform you about their experiences.  As a University of Birmingham student you will also be given access to LinkedIn Learning giving free access to real world training courses to kick-start your careers.

If you want to earn money WorkLink advertises convenient part-time job opportunities on campus to fit round your studies.  

Extra-curricular activities

To enhance your career prospects even further, you may want to engage in extra-curricular activities to broaden your skills and your network of contacts. Our employer-endorsed, award-winning Personal Skills Award (PSA) recognises your extra-curricular activities, and provides an accredited employability programme.

There are more than 500 student groups and volunteering opportunities offered by the Guild of Students (our Students’ Union) so you’re bound to find activities that you want to be involved in whilst meeting friends who share your interests.

• Check your eligibility
• Student life

Creative Writing

We all have stories to tell and unique ways of viewing the world. Oakland University's Creative Writing program will provide you with the opportunity to develop your craft and share your vision.

Our focus on literary history will introduce you to current writers who are producing exciting work in your genre, while also introducing you to the history of your genre, a foundation all writers need. You will work closely with faculty members who specialize in poetry, short stories, novels, screenwriting, literary nonfiction, comics, and multi-media texts.

No matter what you do in life, strengthening your writing skills will provide you with language and editing skills, as well as research and critical thinking abilities, that are easily transferable to any other profession or area of interest.

Program Requirements:

• Creative Writing - Fiction Specialization
• Creative Writing - Memoir and Essay Specialization
• Creative Writing - Poetry Specialization
• Creative Writing - Screenwriting Specialization
• Creative Writing - Minor Requirements

Advising Contacts

• Program Director: Jeff Chapman
• Program Adviser: Annie Gilson

Program Overview Apply Now Course Description Oakland Arts Review

The OU Creative Writing Program allows students to major or minor in four different genres: fiction, poetry, literary nonfiction, and screenwriting. OU Faculty include novelists, short story writers, poets, creative nonfiction writers, graphic novelists, and film-makers.

Our program's first priority is to provide students with excellent introductory, intermediate, and advanced-level workshop courses in the genre of their choice. These workshops are small and create opportunities for students to work closely with professors and peers building a vibrant community of writers and artists. Majors are also required to take courses in other genres (this can include courses in play-writing,offered through the Department of Music, Theater, and Dance, and in creative nonfiction courses offered through the Department of Writing and Rhetoric). We aim to demonstrate the overlap between various forms of creative writing while also helping students to develop their own voices through the honing of specific literary techniques. And because faculty members work in a variety of genres and styles, students are encouraged to experiment and explore, even as they also learn the traditional tools of craft and revision. Creative writing students also take cognate classes in contemporary literature and cinema in order to be immersed in the important voices of writers today.

Mentorship is another key to the success of our program. The relationships that our students build with faculty in formal and informal ways help to guide them into the professional realm, while also introducing them to the diversity of employment options. When students enter their junior and senior years, they are encouraged to do internships. They can also request alumni mentors. CW majors who work closely with faculty, internship site directors, and OU graduates are better able to make the transition from school to the working world; they also learn how to capitalize on their skills as talented writers.

Finally, we encourage and facilitate the engagement of our creative writing majors with the writing and publishing community at large, as they move toward becoming professionals in that community. Numerous innovative and multi-format events and activities support students' engagement with the larger writing community, both on the OU campus and elsewhere (see Student Engagement section on this website). As a culmination of their writing work, all senior creative writing majors have the option of participating in a capstone reading that is open to the university and larger community. This event takes place in April. Alumni can continue to be involved in our OU English Alumni Association.

Jeff Chapman, Fiction and Comics Jeff is Associate Professor of  English and Creative Writing and the director of the Creative Writing Program. His interests include comics, mythology,  classical Greek & Latin, and contemporary fiction. Thirty of his short  stories, graphic stories, and essays have been published in anthologies and  magazines, including South Dakota Review , Black Warrior Review , The  Florida Review , and Cutbank . He received his M.F.A. in creative writing  from Sarah Lawrence College, and his Ph.D. in creative writing and  literature from the University of Utah. In 2015, he received a Kresge  Artist Fellowship. Kitty Dubin, Playwriting Kitty is Special Lecturer in Theater  and has been  teaching beginning and advanced classes at Oakland University for the past  eighteen years. In that time, over one hundred of her students' plays have  been produced, received staged readings or won awards. Her own plays have  been produced at theaters throughout Michigan, including the Purple Rose,  BoarsHead, Performance Network, and the Fourth Street Playhouse. She is  Playwright-In-Residence at the Jewish Ensemble Theatre where she has had  six plays produced. She has also had her work performed in New York City,  Austin, Los Angeles, and Chicago and she is a frequent speaker at writers  conferences. This August, her play, CUTTING IT CLOSE , will be performed  at Boxfest, a one act festival in Detroit where all the plays are directed  by women. Kitty got her B.A. from Case Western Reserve University, a M.A.  in English from Wayne State University and a M.A. in Guidance and  Counseling from Oakland University. Annie Gilson, Fiction (literary and fantasy) ( www.annettegilson.com ) Annie is Associate Professor of English and Creative Writing and the advisor of the Creative Writing Program. Her first novel, New Light ,  came out from Black Heron Press (second printing, 2010). Annie also writes  Young Adult fantasy novels and is represented by Kelly Sonnack of the  Andrea Brown Literary Agency. She reviews contemporary fiction for a number  of periodicals, including Publishers Weekly , Rain Taxi , and American  Book Review . She received a B.A. in creative writing from Bard College and  a Ph.D. in Twentieth-Century Literature from Washington University in St.  Louis. Katie Hartsock, Poetry ( katiehartsock.com ) Katie is an Associate Professor of English and Creative Writing. Hartsock's second poetry collection,  Wolf Trees  (2023), weaves changing ecologies with personal worlds of motherhood and living with Type 1 diabetes. first full-length poetry collection,  Bed of Impatiens ,  was a finalist for the Able Muse Book Award, and was published in 2016. Hartsock teaches poetry and creative writing workshops, and literature courses including Classical Mythology, What Is Lyric Poetry?, and Disability Studies and Literature. Her poetry appears widely, in journals such as  Beloit Poetry Journal, Birmingham Poetry Review, Dappled Things, Image, Iron Horse Literary Review, Kenyon Review, Massachusetts Review, The New Criterion, Pleiades, Poetry, RHINO, The Threepenny Review,  and  THRUSH.  Her current manuscripts-in-progress include  The Last Crusade , a poetry collection (containing, yes, a few Indiana Jones poems), and  Songs of the Iliad , a hybrid text combining translation with vignettes of the epic's ancient audiences and creative commentary.  Selections of her translations of Homer appeared in University of Iowa's Exchanges: Journal of Literary Translation.  She holds a PhD in Comparative Literary Studies from Northwestern University and a MFA from the University of Michigan, where she received the major Hopwood graduate award in poetry. Peter Markus, Fiction Peter is Special Lecturer in Creative Writing; he  has also taught for 20 years as a writer-in-residence with the InsideOut  Literary Arts Project. He is the author of a novel, Bob, or Man on Boat ,  as well as five other books of fiction, the most recent of which is The  Fish and the Not Fish , a Michigan Notable Book of 2015. His fiction has  appeared widely in anthologies and journals including Chicago Review , Iowa  Review , Alaska Quarterly Review , Black Warrior Review , Quarterly West ,  Massachusetts Review , and Northwest Review , among many others. He received his  B.A. from University of Michigan and his M.F.A. from Western Michigan  University. In 2012, he was awarded a Kresge Arts in Detroit fellowship. Links to Peter's work: Novel excerpt: We Make Mud S hort story: Bird with One Wing I nterview: Fiction as Magic Language Spell R eview: Detroit Free Press - "Book of one-syllable words makes Peter Markus notable" Susan McCarty, Memoir and Essay Susan is Associate Professor of English and Creative Writing. Her first book, Anatomies , was published by Aforementioned Productions in 2015. She was the recipient of a Maryland State Arts Council Individual Artists' Award in 2015 and a Virginia Center for the Creative Arts residency in 2012. Her essays and stories have appeared in South Dakota Review , the Iowa Review , the Utne Reader , Conjunctions , Hotel Amerika, and other journals. She has an M.F.A. from the Vermont College of Fine Arts and a Ph.D. from the University of Utah. Before coming to Oakland, she was an assistant professor of English at Salisbury University on Maryland's Eastern Shore, and before that, she was an award-winning junior editor at Penguin and Avalon Books, a freelance copyeditor for Boston's Weekly Dig and the Beer Advocate , and an obituary writer at the Eastern Iowa Gazette.

Keep up with current events such as readings and contests by liking the program on our Creative Writing Department Facebook page. Please also consider applying for one or all of the scholarships that Creative Writing offers: Creative Writing Scholarships

• Carpenter  Scholarship in Poetry
• Iodice Scholarship for Creative Writing majors
• McCloskey Scholarship in Creative Nonfiction

You can find out more by visiting Oakland University Scholarships . Opportunities for Engagement OU Creative Writing Club The vibrant OU Creative Writing Club, advised by  Prof. Kathy Pfeiffer ,  gives our students a weekly meeting place to discuss their work, the work of writers who inspire them, and to share ideas that can help strengthen the program.  Check out our website  or  join us on the Creative Writing Club Facebook page . OU Screenwriters' Guild The OU Screenwriters' Guild, advised by Prof. David Shaerf , brings together aspiring screenwriters and  film-makers. It also offers opportunities for those interested in writing  film scripts to get together and workshop, attend lectures, and pitch  scripts to filmmakers to get made! No experience necessary. Contact faculty  advisor David Shaerf for additional information. The Oakland Arts Review (The OAR) The Oakland Arts Review, also known as The OAR, is a journal put out by  the Creative Writing Program devoted to undergraduate writing . Genres we publish include fiction, scripts, nonfiction,  poetry, and comics (can include excerpts of graphic novels). Students may  also submit images for cover art. The journal is overseen by Professor Susan McCarty. S tudents interested in working on the journal should complete the Intern and Volunteer Form and submit to   [email protected] . Contact Susan McCarty to request the Intern and Volunteer Form. Submit materials for publication to the Oakland Arts Reviews . Annual Reading Series "Every semester the Creative Writing Program sponsors readings and craft  talks by fiction writers, poets, screenwriters, and creative nonfiction  authors. Readings range from the avant-garde to traditional. We regularly  host round-tables on publishing and editing as well as workshops on  publication and on teaching creative writing in the public schools. These  events take place on the OU campus and information is  available on Creative Writing Department Facebook page. Our endowed poetry event, The Maurice Brown Reading Series, is the first event of the year. The event is funded by a generous donation from OU Professor Judith Brown in memory of her husband, OU Professor Maurice Brown, a great lover of poetry. T he reading series began in 1988; over the years, we have brought many leading American poets to campus, including those named for Poet Laureate and the Pulitzer Prize. Department Awards and Contests

Four contests run yearly:

• OU Flash Fiction Contest: Two separate  contests, one open to current undergrads, and one to everyone who is not an  undergrad
• OU Literary Non-fiction Contest:  Open to undergrads, faculty, staff, and alumni
• OU Ekphrasis Poetry Contest: Two separate contests, one open  to current undergrads, one to everyone who is not an undergrad
• OU  Screenplay Award: Open to undergrads

Mentoring Program Our Mentoring program pairs employed alums with English major juniors and  seniors, to help students make the transition into the working world. But  our students also maintain a thriving OU English Alumni Association. This  network is for you: we could host reading groups on campus, talk shop and  job searches, and even set up readings and writing groups for alumni!  Alumni are also welcome to attend meetings of the Creative Writing club. Internships The Creative Writing Program prioritizes student involvement in volunteer  and internship activities and in writing groups around the area. Students  intern in a wide cross-section of literary venues, including Dzanc Books  (small press), Wayne State University Press, 826Michigan (literacy and  creative writing outreach program), Midwestern Gothic (literary journal),  InsideOut Detroit (creative writing workshops in Detroit public schools),  Baldwin Center and Common Ground (community help centers), and Write A  House (Detroit literary nonprofit). Students are also free to design their  own internships. Study Abroad Opportunities Currently, students can take Fiction and Poetry Workshops at The University  of London, London, UK and at the University of East Anglia, UK.

Department of English, Creative Writing and Film

• Screenwriting

Master of Arts, Master of Fine Arts in Creative Writing

Master of Arts, Master of Fine Arts

Graduate Program in Creative Writing

Western helps to transform your passion for film and TV into a career. Build a customized portfolio with our supportive faculty of working screenwriters. Through a combination of small classes and one-on-one mentorship, you’ll develop your craft and immerse yourself in the business of Hollywood from the comfort of your own home.

Program Overview

Immerse yourself in the business of screenwriting.

As a student in Western’s MFA and M.A. in Screenwriting program, you’ll learn how to navigate the Hollywood system directly from current industry professionals. Recent guests have included –  Jason Grote ( Mad Men ), Glen Mazzara ( The Walking Dead ), J.D. Payne ( The Lord of the Rings: The Rings of Power ), Billy Ray ( The Hunger Games ), Mike Reiss ( The Simpsons ), Liz Sczudlo ( Jane the Virgin ), Emily Spivey ( Saturday Night Live ) and many more.

Students in our MA and MFA programs come from diverse backgrounds to build a supportive community and help one another develop their unique voices. Through a dynamic blend of coursework and hands-on experience, you’ll learn how to find your place in the industry and unleash your creativity.

Because the Screenwriting concentration offers both an MFA and an M.A., you’ll be able to choose a degree that best meets your personal and career goals, setting you up for professional success after graduation.

Industry insights

Interim Director JS Mayank discussing the screenwriting industry at the Summer Residency

• Program Requirements

At Western, course rotations are crafted to encompass a variety of subject fields for a comprehensive education and versatile degree. For required courses and degree plans, visit the official University Catalog . Below is a general overview of courses at Western Colorado University related to this area of study.

The Graduate Program in Creative Writing offers an MFA in Genre Fiction, Nature Writing, Poetry, or Screenwriting. Western's curricula differs from other low-residency programs by emphasizing intense training in craft, building of a writing community, close study of historically underrepresented writers, and exposure to the business of being a writer.

All programs require a high degree of commitment and excellence from candidates, who must maintain at least a 3.00 course average to complete the program. A minimum grade of B- in each course is required.

In all three summer semesters, MFA candidates complete a 3-credit intensive course in their concentrations. In their first summer, they take a first-year intensive course and also complete two credits of CRWR 600, The Common Read & Writing Craft. In their second summer, they take a second-year intensive course and also earn two credits for starting their thesis project. In their third summer, they take a final intensive course, plus a 1-credit elective which allows them to explore other concentrations.

During the Fall and Spring semesters of their first year, full-time students take two 6-credit courses for a total of 12 credits per semester. Students may anticipate spending between 25 and 30 hours per week on assigned coursework. The coursework typically consists of readings and viewings, asynchronous discussions, and writing assignments for which instructors offer online feedback. Students also participate regularly in live virtual classes and one-on-one meetings with faculty.

In the Fall semester of their second year, full-time students take one 6-credit course, plus three credits of mentor-guided thesis work, for a total of 9-credits, so that they can focus on the thesis project. In the Spring semester, students return to taking two 6-credit courses in their concentration, plus one final credit of mentor-guided thesis work.

Program Information

Western's low-residency MFA in Creative Writing offers a rigorous, terminal degree in the field, involving intensive creative work, development of critical and pedagogical skills, and study of the business of being a writer. Students select one of four concentrations, Genre Fiction, Nature Writing, Poetry, or Screenwriting, and are required to take a 1-credit elective during their final summer semester.

Full-time students require 25 months to finish the program, which comprises four academic semesters and three summer semesters. During the Fall and Spring semesters, students engage in courses using both live virtual classrooms and online learning tools. In each of the three summer semesters, students take courses online and attend an on-campus residency at the end of the summer term.

Total Credits for the MFA in Creative Writing

Requirements for full admission to the mfa in creative writing.

Candidate must submit:

• An official transcript of the bachelor's degree from a regionally accredited college or university showing recommended 3.0 cumulative GPA or higher.
• An 800- to 1,000-word personal statement describing the applicant's experience and commitment to writing. This statement should include a self-assessment of qualifications for admission to Western's Graduate Program in Creative Writing for the chosen degree and concentration.
• The Genre Fiction concentration sample should include 20 to 25 pages, ideally from a single work.
• The Screenwriting concentration sample should include a screenplay of 15-30 pages.  
• The Nature Writing concentration sample should include 20 to 25 pages, in any creative writing genre or a mix of genres. 
• The Poetry concentration sample should include 10 to 15 pages of poetry.
• The Publishing concentration sample should consist of a 3- to 5-page critical assessment of a story’s suitability for publication (story to be provided to applicant during application process).
• Two letters of professional recommendation from those capable of assessing the applicant's preparation to succeed in graduate-level work. All letters must be originals submitted on letterhead, must be signed by the person giving the recommendation, and must be less than a year old.
• Payment of university application fee

Provisional Admission to the MFA in Creative Writing

An applicant who does not meet the requirements for full admission to the Master of Fine Arts in Creative Writing may be considered for provisional admission upon the recommendation of the program director and approval by the Dean of Graduate Studies. A provisionally admitted student will have a maximum of one calendar year to complete any pre-requisite academic coursework. The program director or Dean of Graduate Studies may set additional timeline requirements.

Concentration in Genre Fiction

The Concentration in Genre Fiction includes instruction in writing for such forms as science fiction/fantasy, the mystery, romance, and other forms of mainstream commercial fiction. Study includes short and long written forms, as well as strategies and techniques for the effective teaching of creative writing. As the culmination of their work, MFA students complete a book-length manuscript or collection of short stories with the support of a professional mentor. 

The MFA Concentration in Genre Fiction requires the following 60 credits:

Genre Fiction as a Second Concentration

Students pursuing this second MFA concentration must earn 30 credits as follows:

Concentration in Nature Writing

The Concentration in Nature Writing brings students into the contemporary and complex conversation of environmental writing, introducing them to a wide range of authors, literary techniques, and styles relevant to the field. The concentration provides readings and training in all major sub-genres including memoir, personal essay, fiction, poetry, hybrid, and experimental work. Courses include significant reading in primary and secondary sources, workshop, and writing extensive short- and long-format work. As the culmination of their work, MFA students complete a creative thesis, which consists of part of a book-length manuscript, and engage in professional development for future publication and career opportunities.

The MFA Concentration in Nature Writing requires the following 60 credits:

Nature Writing as a Second Concentration

Students pursuing this concentration as a second area of emphasis must earn 30 credits as follows:

Concentration in Poetry 

The MFA Concentration in Poetry requires the following 60 credits:

Poetry as a Second Concentration 

Students pursuing this second MFA concentration must earn 30 credits as follows: 

Concentration in Screenwriting 

The Concentration in Screenwriting teaches screenwriting for both film and television. Each semester pairs an intensive analytical course with an intensive generative writing course. The concentration emphasizes story and scene structure, visual storytelling, character development, development of concept and theme, genre, dialogue-never forgetting that a screenplay is a document that will ultimately be translated to the screen. Through regular mentorship, students refine and consolidate their own best writing practices.

The MFA Concentration in Screenwriting requires the following 60 credits: 

Screenwriting as a Second Concentration

Faculty & Staff

Claire boyles, m.a..

Screenwriting and Nature Writing Faculty

Amy Fox, MFA

Screenwriting Faculty

Geoff Geib, MFA

Sarah goettsch.

Graduate Program in Creative Writing Coordinator

Mitali Jahagirdar, MFA

Js mayank, mfa.

Interim Director of Screenwriting

Ligiah Villalobos Rojas, MFA

Liz sczudlo.

Screenwriting Thesis Consultant

Anna Stileski, M.A.

Executive Assistant

Ligiah Villalobos Rojas

• Communication
• Copywriting
• Proofreading

Career Pathways

• Executive Producer
• Screenwriter
• Script Consultant
• Staff Writer
• Story Analyst
• Writer’s Assistant

Take the first steps toward your academic and personal growth.

Fostering your intellectual development is the primary focus of every academic program at Western. Our professors and Office of Career Services will help you identify your strengths, hone your skills, define your goals, and prepare for a fulfilling and enriched life after graduation.

The Program

Acquire critical skills and experience in an efficient and effective program.

Western’s graduate Creative Writing program follows a low-residency format. Faculty and students interact online through Zoom and Canvas during the academic year and gather in person on Western’s campus for one week in early August for intensive classes and to work closely with nationally recognized authors on their writing.

• Residency: MFA students attend three summer residencies. The first helps students develop a visual narrative style; the second focuses on workshopping short screenplays; and the third prepares graduates to present their work through pitches, table reads, and more. M.A. students only attend the first two residencies.
• Academic Year: During the academic year, full-time students take two courses each semester. These six-credit courses make use of video conferencing and web platforms for online work. MFA students complete four such semesters, and M.A. students complete two.
• Additional Opportunities: Guests compliment course instruction throughout the year, and students are often invited to guest lectures outside their home concentration. Students also have the opportunity to explore other concentrations through 1-credit summer elective courses.
• Matriculation: To complete the MFA, students spend their final semester working on a feature-length screenplay under the close supervision of a faculty mentor. These screenplays are then given a professional table read at the final residency. To complete the M.A., students complete the coursework of their two academic semesters and two residencies.

Modern storytelling

We believe in teaching our students how to find their place in this industry, elevate the norms, invite in the unexpected, and use this highly visual and theme-driven medium to shake up the world with their stories.

Opportunities and Partnerships

• Create a polished portfolio of 2-4 writing samples that showcase your voice (3-4 for the M.F.A. program, 2 for M.A.)
• Deepen your craft through peer workshops and one-on-one mentorships — both online and in person
• Practice the all-important fundamentals of structure for both film and television
• Experience intimate workshops with guests and visiting writers, recently including Jason Grote ( Mad Men ), Glen Mazzara ( The Walking Dead ), J.D. Payne ( The Lord of the Rings: The Rings of Power ), Billy Ray ( The Hunger Games ), Mike Reiss ( The Simpsons ), Liz Sczudlo ( Jane the Virgin ), Emily Spivey ( Saturday Night Live ) and many more
• Study the business of screenwriting, including how to seek representation and copyright your work
• Learn how to identify and pursue opportunities in the industry
• Develop a career plan, with personalized guidance from industry veterans
• Gain experience writing script coverage and feedback notes
• Access electives from the program’s other concentrations: Genre Fiction, Poetry, Nature Writing, or Publishing
• Opportunity to add a second concentration to your MFA degree, allowing for a dual emphasis in Screenwriting plus Genre Fiction, Nature Writing, or Poetry.

On-campus screenings

Screenwriting students Emily Nortnik and Keturah Price rehearse their short film at the 2023 Summer Residency.

News & Research

Western Colorado University Graduate Program in Creative Writing Announces New Screenwriting Director

Western Earns Accreditation from the Higher Learning Commission

Pride Month, Tokenism, and Being Queer at Western

Western Poetry Faculty Member Chosen for Prestigious Poetry Prize

Additional resources, admission requirements & application.

Western’s Graduate Program in Creative Writing considers applications in four waves throughout the year: Early Admissions, from July 1 through November…

Tuition & Fees

Full-time enrollment in the MFA extends over 25 months, spanning four non-residency semesters and three Summer Residencies. Students may also attend half-time or take a leave of…

Scholarships & Financial Aid

The GPCW is deeply committed to raising funds to support our students. Each year we offer substantial direct-funding scholarships. The GPCW is currently…

Summer Residency

The highlight of our academic year is the Summer Residency, held each July on Western’s beautiful campus in Gunnison, Colorado.

How can a low-residency format create a sense of community among students and faculty?…

Publications

Publications in the Creative Writing Graduate Program Explore the publications below to discover the depth and breadth of Western’s Graduate Program in Creative Writing: Think Journal Christine…

GPCW Mission, Indigenous Commitment and DEIA+ Statements

The Graduate Program in Creative Writing at Western Colorado University seeks to create transformative learning experiences for our students, built from a strong foundation that honors our students’ unique voices and is supported within inclusive environments established both virtually and at yearly residency gatherings.

Learn More about the GPCW

Interested in learning more about the Graduate Program in Creative Writing? There’s no better way to get to know our program than through the voices of our faculty and students. Tune in to watch this informational video about everything you’ll look forward to as a student in our program.

Related Programs

Genre Fiction

Master of Arts | Master of Fine Arts

Nature Writing

Master of Arts

Department Information

Director, Graduate Program in Creative Writing

Associate Director

Associate Director; Director, Poetry Concentration; Faculty, Nature Writing Concentration

Program Coordinator

Contact information.

970.943.2014

[email protected]

Campus Location

Western Colorado University Quigley Hall 117 1 Western Way Gunnison, CO 81231

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The 12 Best Creative Writing Colleges and Programs

College Info

Finding a dedicated creative writing program at a school you're excited about can be a real challenge, and that's even before you start worrying about getting in. Nonetheless, there are some great options. In order to help you find the best school for you, this list rounds up some of the best colleges for creative writing in the United States .

The Best Creative Writing Programs: Ranking Criteria

You should never take college rankings as absolute truth —not even the very official-seeming US News ones. Instead, use these kinds of lists as a jumping-off place for your own exploration of colleges. Pay attention not just to what the rankings are but to how the rankings are determined.

To help with that, I'll explain how I came up with this highly unscientific list of great creative writing colleges. I started by narrowing my search down to schools that offered a specific creative writing major. (If you don't see a school you were expecting, it's likely because they only have a minor.)

In ranking the schools, I considered five major criteria:

• #1: MFA Ranking —If a school has a great graduate creative writing program, it means you'll be taught by those same professors and the excellent graduate students they attract. Schools with strong MFA programs are also more likely to have solid alumni networks and internship opportunities. However, many schools with great undergrad programs do not offer MFAs, in which case I simply focused on the other four options.
• #2: General School Reputation —The vast majority of your classes won't be in creative writing, so it's important that other parts of the school, especially the English department, are great as well.
• #3: Extracurricular Opportunities —One of the key advantages of majoring in creative writing is that it can provide access to writing opportunities outside the classroom, so I took what kind of internship programs, author readings, and literary magazines the school offers into consideration.
• #4: Diversity of Class Options —I gave extra points to schools with a variety of genre options and specific, interesting classes.
• #5: Alumni/Prestige —This last criterion is a bit more subjective: is the school known for turning out good writers? Certainly it's less important than what kind of education you'll actually get, but having a brand-name degree (so to speak) can be helpful.

The Best Creative Writing Schools

Now, let's get to the good stuff: the list of schools! The exact numbering is always arguable, so look at it as a general trend from absolutely amazing to still super great, rather than fixating on why one school is ranked #3 and another is ranked #4.

#1: Northwestern University

Northwestern's undergrad creative writing program boasts acclaimed professors and an unparalleled track record of turning out successful writers (including Divergent author Veronica Roth and short-story writer Karen Russell).

Outside the classroom, you can work on the student-run literary journal, intern at a publication in nearby Chicago, or submit to the Department of English's yearly writing competition . The university is also home to a top journalism program , so if you want to try your hand at nonfiction as well, you'll have plenty of opportunities to do so.

#2: Columbia University

Like Northwestern, Columbia is home to both a world-class creative writing program and a top journalism school (plus one of the best English departments in the country), so you have a wide range of writing-related course options. Columbia also benefits from its location in New York City, which is bursting at the seams with publishing houses, literary journals, and talented authors.

#3: University of Iowa

The University of Iowa's big draw is the infrastructure of its graduate Writers' Workshop, which is often considered the best MFA program in the country.

As an English and Creative Writing major here, you'll take classes from great young writers and established professors alike, and get to choose from a wide range of topics. This major provides transferable skills important for a liberal arts major with a creative focus. You'll also have access to the university's impressive literary community, including frequent readings, writing prizes and scholarships, and the acclaimed literary journal The Iowa Review .

#4: Emory University

Emory is renowned for its dedicated undergrad creative writing program , which draws the very best visiting scholars and writers. Students here have the chance to attend intimate question-and-answer sessions with award-winning authors, study a range of genres, compete for writing awards and scholarships, and work closely with an adviser to complete an honors project.

#5: Oberlin College

A small liberal arts school in Ohio, Oberlin offers very different advantages than the schools above do. You'll have fewer opportunities to pursue writing in the surrounding city, but the quality of the teachers and the range of courses might make up for that. Moreover, it boasts just as impressive alumni, including actress and writer Lena Dunham.

#6: Hamilton College

Hamilton is another small college, located in upstate New York. It's known for giving students the freedom to pursue their interests and the support to help them explore topics in real depth, both inside and outside the classroom. Hamilton's creative writing program takes full advantage with small classes and lots of opportunities to intern and publish; it also has one of the best writing centers in the country.

#7: Brown University

Brown's Literary Arts program offers one of the top MFAs in the US as well as an undergraduate major . For the major, you must take four creative writing workshops and six reading-intensive courses, which span an array of departments and topics, from music and literature to Middle East studies and Egyptology.

#8: Washington University in St. Louis

Washington University has an excellent creative writing MFA program, lots of super specific class options, and a number of scholarships specifically earmarked for creative writing students. This school’s undergraduate English program also offers a concentration in creative writing that allows students to specialize in a specific genre: poetry, fiction, or creative nonfiction. If you’re interested in exploring your potential in a specific writing genre, Washington University could be a great pick for you.

#9: Massachusetts Institute of Technology

MIT might not be a school you generally associate with writing, but it actually has an excellent program that offers courses in digital media and science writing, as well as creative writing, and provides plenty of guidance on how graduates can navigate the tricky job market.

Not to mention the school is located in Cambridge, a haven for book lovers and writers of all kinds. Though it probably isn’t a good fit for students who hate science, MIT is a great place for aspiring writers who want to build writing skills that are marketable in a wide range of industries.

#10: University of Michigan

University of Michigan is one of the best state universities in the country and has a top-notch MFA program. This school’s undergrad creative writing sub-concentration requires students to submit applications for admittance to advanced creative writing courses. These applications give students crucial practice in both building a writing portfolio and articulating their interest in creative writing to an audience who will evaluate their work. If you're looking to attend a big school with a great creative writing major, this is a fantastic choice.

#11: Johns Hopkins University

Johns Hopkins is another school that's known more for engineering than it is for writing, but, like MIT, it has a dedicated writing program. As a major here, you must take not only courses in prose, poetry, and literature, but also classes on topics such as philosophy and history.

#12: Colorado College

Colorado College is a small liberal arts school known for its block plan , which allows students to focus on one class per three-and-a-half-week block. The creative writing track of the English major includes a sequence of four writing workshops and also requires students to attend every reading of the Visiting Writers Series.

Bonus School: New York University

I didn't include NYU in the main list because it doesn't have a dedicated creative writing major, but it's a great school for aspiring writers nonetheless, offering one of the most impressive creative writing faculties in the country and all the benefits of a Manhattan location.

How To Pick the Best Creative Writing School for You

Just because Northwestern is a great school for creative writing doesn't mean you should set your heart on going there. (The football fans are completely terrifying, for one thing.) So where should you go then?

Here are some questions to ask yourself when looking at creative writing programs to help you determine the best school for you:

Does It Have Courses You're Interested In?

Look at the course offerings and see whether they interest you. While you can't predict exactly what classes you'll love, you want to avoid a mismatch where what you want to study and what the program offers are completely different. For example, if you want to write sonnets but the school focuses more on teaching fiction, it probably won't be a great fit for you.

Also, don't forget to look at the English courses and creative writing workshops! In most programs, you'll be taking a lot of these, too.

What Opportunities Are There To Pursue Writing Outside of Class?

I touched on this idea in the criteria section, but it's important enough that I want to reiterate it here. Some of the best writing experience you can get is found outside the classroom, so see what kind of writing-related extracurriculars a school has before committing to it.

Great options include getting involved with the campus newspaper, working on the school's literary journal, or interning at the university press.

Who Will Be Teaching You?

Who are the professors? What kind of work have they published? Check teacher ratings on Rate My Professors (but make sure to read the actual reviews—and always take them with a grain of salt).

If you're looking at a big school, there's a good chance that a lot of your teachers will be graduate students. But that's not necessarily a bad thing: a lot of the best teachers I had in college were graduate students. Just take into consideration what kind of graduate program the school has. If there's a great creative writing MFA program, then the graduate students are likely to be better writers and more engaged teachers.

What Are the Alumni Doing Now?

If you have a sense of what you want to do after you graduate, see if any alumni of the program are pursuing that type of career. The stronger the alumni network is, the more connections you'll have when it comes time to get a job.

What About the Rest of the School?

Don't pick a school for which you like the creative writing program but dread everything else about it. Most of your time will be spent doing other things, whether hanging out in the dorms, exploring off campus, or fulfilling general education requirements.

Many schools require you to apply to the creative writing major, so make doubly sure you'll be happy with your choice even if you aren't accepted to the program.

What's Next?

Are you sure a creative writing major is the right fit for you? Read our post on the pros and cons of the major to help you decide what path to take in college.

For more general advice about choosing a college, check out our complete guide to finding the right school for you. Some major factors to consider include deciding whether you're interested in a small college or a big university , an in-state or out-of-state institution , and a public or private school .

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Home › Creative Writing & Film Summer School

Creative Writing & Film Summer School

Immerse Education’s Creative Writing & Film Summer Programmes are a unique interdisciplinary opportunity to flex your creative and analytical muscles across multiple mediums, preparing students for diverse careers spanning the visual arts, literature and technology. You’ll explore narrative structures, scriptwriting, and film analysis to build a comprehensive understanding of these disciplines. Through writing exercises, film projects, and collaborative workshops, you’ll hone your creative thinking, critical analysis, and storytelling skills. Guided by experienced writers and filmmakers, and tailored to your interests, the course encompasses various genres and media, helping you develop your unique voice. Individual feedback and expert advice will help you navigate the creative industries and refine your talents.

• Ages: 13-18
• Duration: 2 weeks
• Class size: 7-10 students
• Locations: London

Alumni globally

Participants would recommend Immerse

Where Do We Offer Creative Writing & Film?

Our Creative Writing & Film programme takes place in the vibrant city of London, with accommodation at UCL’s campus and workshops held throughout the city. Immerse yourself in the world of storytelling and cinematic arts with a Career Pathway designed to ignite your creative passion.

Career Insights Pathway

Industry Experience

Provides a comprehensive introduction to various professions. Suitable for students starting to consider their future careers and wishing to explore different professions. Learn more about Career Insights

Choose from a number of industries to explore in this densely packed capital. Experience the pulse of sectors like finance, fashion, and media, immersing yourself in key London hubs, from Canary Wharf’s financial centre to the West End’s theatre scene. Learn directly from industry professionals and get a sense of your future career.

What to Expect in an Creative Writing & Film Programme

Immerse Education’s Residential Creative Writing & Film summer schools offer a unique opportunity to dive deeply into the professional aspects of storytelling and filmmaking. The ‘Career Insights’ Pathway focuses on developing practical skills essential for success in the creative industries. Through workshops, hands-on projects, and collaboration with industry professionals, students will explore the full spectrum of creative writing and film production to build the beginnings of a competitive creative portfolio. You’ll enhance your creativity by learning to harness your imagination within writing and filmmaking, as well as embracing diverse perspectives and stories, fostering a richer, more inclusive and innovative approach to storytelling. Develop creative literacy by refining your understanding of language, storytelling structures, and visual composition. This pathway equips students with the practical skills, creative insight, and industry knowledge necessary to excel in the fields of writing and film, preparing them to pursue their creative ambitions.

Our In-person Programmes May Include

1-on-1 Tutoring

Group Workshops

Personal Research Project

Expert Seminars

Day Excursions

Certificate of Achievement

Meet some of our creative writing & film tutors.

Our creative writing and film tutors offer unparalleled support to passionate students. With successful backgrounds and a love for storytelling, they guide students through writing exercises, film analysis, and workshops. Their ability to share personal experiences and insights into the creative process ignites student creativity, and personalised guidance helps students find their unique voice. Tutors also assist ESL students in mastering the terminology they’ll need to discuss, study and work with literature and film in a global context.

What Do Our Alumni Have to Say?

Trusted by Parents

Current undergraduate of the Imperial College London

Academic Insights Sydney

The Immerse Education Difference

Top university placement.

Our students end up in top universities:
Including Oxford, NYU, Cambridge, Harvard, Imperial College London, University of Toronto, MIT, and many more.

Safe & secure environment

The safety and well-being of our participants is our number one priority, and all staff undergo enhanced background checks and receive thorough safeguarding training.

Accreditations, awards & partnerships

We are accredited with Aegis and BAC, and won: Queens Award for Enterprises, British Youth Travel: Best Educational product finalist, and Educational Investor Award 2023.

Post-programme benefits

Including Access to Membership Benefits and Events from Partners, Life-time Access to Learning Opportunities via the Immerse Alumni Network, Live Events, Exclusive Offers from our Partners.

Our expert mentors

All mentors on our programmes are past/current students at Oxford or Cambridge University All of our support staff are background-checked and receive training in providing an unforgettable experience for every Immerse student.

Schools Our Students Have Been Admitted To

Creative Writing & Film Summer Schools FAQs

What is the course about? Immerse™ Creative Writing & Film programmes provide participants with an exciting exploration of narrative creation through both written word and visual media. It covers a wide range of topics, from screenwriting to film production and storytelling techniques.

Why is it important to study Creative Writing & Film? Creative writing and film converge to create impactful storytelling. From scripts to cinematic experiences, creative writing influences media and entertainment. By studying Creative Writing & Film, you become a storyteller who shapes narratives in multiple mediums.

Creative Writing & Film graduates have a wide array of career prospects, including roles in filmmaking, screenwriting, publishing, media production, and content creation. These fields offer opportunities for storytelling, directing, editing, and producing across various platforms, from traditional publishing to digital media.

Immerse Education offers courses in London designed to nurture creativity and technical skills in storytelling, covering areas such as screenwriting, narrative construction, character development, and the fundamentals of film production. These courses aim to provide a comprehensive understanding of both creative writing and film, preparing participants for a future in the creative industries.

For the Creative Writing & Film course, participants should have a keen interest in storytelling and film, alongside a basic understanding of narrative techniques. No specific prior learning or experience is required, making the course accessible to those with a passion for creative expression and a desire to explore their potential in writing and filmmaking.

Topics studied in the Creative Writing & Film course include narrative structure, character creation, dialogue writing, visual storytelling, and the technical aspects of film production. Participants will explore the interplay between written narratives and visual storytelling, enhancing their ability to tell compelling stories across different mediums.

The Creative Writing & Film course is best suited for individuals with a passion for storytelling, whether through written word or visual media. Ideal participants are those looking to explore their creativity, develop their writing and filmmaking skills, and gain insights into the creative industries, regardless of their previous experience.

Immerse Education integrates Content and Language Integrated Learning (CLIL) to support ESL students. This approach combines academic content with language development, ensuring that students improve their English proficiency while engaging with subject-specific material. Our experienced tutors use a variety of techniques to enhance understanding and language acquisition. Additionally, they provide personalised feedback and support to help students master subject-specific terminology.

• English Literature
• Creative Writing
• Female Future Leaders
• Film Studies

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• An in-depth overview of our university and career preparation programmes.
• Get a glimpse into the life of an Immerse participant.
• Programme dates, Participant prerequisites and frequently asked questions.

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Subjects A-B

• Agriculture
• Ancient History
• Anthropology
• Archaeology
• Architectural Engineering
• Architecture
• Biochemistry
• Biological Sciences
• Biomedical Engineering
• Biomedical Sciences
• Bioveterinary Sciences
• Building and Surveying
• Business and Management

Subjects C-E

• Classics and Classical Studies
• Climate Science
• Computer Science
• Construction Management
• Consumer Behaviour and Marketing
• Creative Writing
• Criminology
• Engineering
• English Language and Applied Linguistics
• English Literature
• Environment

Subjects F-G

• Film & Television
• Foundation programmes
• Graphic Communication and Design

Subjects H-M

• International Development
• International Foundation Programme (IFP)
• International Relations
• Languages and Cultures
• Linguistics
• Mathematics
• Medical Sciences
• Meteorology and Climate
• Microbiology
• Museum Studies

Subjects N-T

• Pharmacology
• Physician Associate Studies
• Politics and International Relations
• Real Estate and Planning
• Speech and Language Therapy
• Surveying and Construction
• Theatre & Performance

Subjects U-Z

• Wildlife Conservation

Subjects A-C

• Business (Post-Experience)
• Business and Management (Pre-Experience)
• Classics and Ancient History
• Construction Management and Engineering
• Consumer Behaviour
• Creative Enterprise

Subjects D-G

• Data Science
• Digital Business
• Energy and Environmental Engineering
• Environmental Sciences
• Film, Theatre and Television
• Food and Nutritional Sciences
• Geography and Environmental Science
• Graphic Design

Subjects H-P

• Information Technology
• International Development and Applied Economics
• Physician Associate
• Project Management
• Public Policy

Subjects Q-Z

• Social Policy
• Strategic Studies
• Teacher training
• Typography and Graphic Communication
• War and Peace Studies

We are in the process of finalising our postgraduate taught courses for 2025/26 entry. In the meantime, you can view our 2024/25 courses.

BA Creative Writing and Film & Theatre

• UCAS code WW48
• A level offer BBB
• Year of entry 2025/26 See 2024/25 entry
• Course duration Full Time:  3 Years

Develop and hone your writing skills, and explore the important relationships between film and theatre, in our BA Creative Writing and Film & Theatre course.

Taught jointly by the Department of English Literature and the Department of Film, Theatre and Television , this multi-faceted course will:

• develop your creative writing in a small-group environment
• explore a variety of literary, dramatic and film texts
• provide practical and theoretical approaches to film and theatre.

Creative writing, film and theatre complement each other perfectly. Developing characters and narratives in your creative writing, and working to improve and refine them, will make you a better writer. This will enhance your ability to create compelling characters and narratives in your filmmaking and theatre work.

94% of students in the Department of English Literature said our teaching staff were good or very good at explaining things (National Student Survey, 2023).

Creative writing

Creative writing allows you to explore your creativity from all angles: creating characters, shaping poems, drawing on your imagination. 

We offer a specially curated group of English literature modules, which are designed to complement your creative writing. You’ll gain knowledge of a variety of literary, dramatic and film texts, from a range of different periods. The course aims to foster your independent thinking, using the close reading and analytical skills that are fundamental to English literature, film and theatre.

We place a strong emphasis on small-group learning within a friendly and supportive environment. Workshops are central to our creative writing community, helping you to form relationships with your peers and feel more confident about your work.

Your learning environment

Modules are taught by practising, published authors who have strong links with professional writing communities. We regularly invite published authors to read from their work and participate in teaching.

We’ll help you develop your creative writing skills in a variety of settings:

• lectures concentrate on specific, practical issues such as how to construct a character or tackle a specific literary form
• seminars involve small group discussions, led by one of the teaching team, with short practical writing exercises
• workshops allow you to explore and develop your writing in small peer groups.

Creative community

The Department of English Literature fosters a creative writing community that is friendly, cohesive and committed. As well as learning from lecturers, you’ll learn from each other by sharing your work in progress.

Outside the classroom, you can share your ideas with the University’s creative writing group, Scribblers, which is run by and for students from across the University.

You will also have the opportunity to publish your work – and gain experience in editing and publishing – by participating in our online creative magazine .

Film and theatre

Your film and theatre modules will allow you to explore your passion for both mediums. You’ll also have the opportunity to study modules in television.

During your studies, you will:

• examine critical approaches to film, theatre and television
• have the opportunity to develop your practical and technical skills
• discover how theatre, film and television have been affected by different social and historical contexts.

You’ll be introduced to film and theatre from across the world and study narrative traditions from both theoretical and practical perspectives. This will enable you to understand how theoretical ideas are applied to, and have an impact on, the creative process. You’ll watch, interpret and debate a wide range of film, theatre and television.

You’ll have the opportunity to undertake selected group-based practical work, which will help you develop your creativity, storytelling and practical skills, and you’ll learn in the dynamic, fully-equipped spaces of Minghella Studios .

A key benefit of studying at Reading is our close proximity to London – undoubtedly the UK’s premier hub for all things film and theatre. You will have numerous opportunities to visit theatres and see performances as part of your degree.

Placements with BA Creative Writing and Film & Theatre

Throughout your degree you will be thinking about the career choices that will enable you to thrive after graduation: we will help you put in place the skills and experience that you need to launch that career. You also have the opportunity to undertake a Professional Placement Year in the third year of our degree. You will be assisted by our Placement Team who will support you to secure a placement and prepare for the year. Placements give you a fantastic opportunity to explore potential future careers and to put your academic learning to work in a professional context.

Study abroad

In your second year, you can spend a semester studying abroad at one of our partner institutions in the USA, Canada, Australia, or countries across Europe. To find out more, visit our Study Abroad site .

Entry requirements A Level BBB

Select Reading as your firm choice on UCAS and we'll guarantee you a place even if you don't quite meet your offer. For details, see our firm choice scheme . 

 Our typical offers are expressed in terms of A level, BTEC and International Baccalaureate requirements. However, we also accept many other qualifications.

Typical offer

BBB including a grade B in English Literature or a related subject. Related subjects include: English Language, English Language and Literature, Drama and Theatre Studies, and Creative Writing.

International Baccalaureate

30 points overall including 5 in English at higher level.

Extended Project Qualification

In recognition of the excellent preparation that the Extended Project Qualification (EPQ) provides to students for University study, we can now include achievement in the EPQ as part of a formal offer.

BTEC Extended Diploma

DDM (Modules taken must be comparable to subject specific requirement)

English language requirements

IELTS 7.0, with no component below 6.0

For information on other English language qualifications, please visit our international student pages .

Alternative entry requirements for International and EU students

For country specific entry requirements  look at entry requirements by country .

Pre-sessional English language programme

If you need to improve your English language score you can take a pre-sessional English course prior to entry onto your degree.

• Find out the English language requirements for our courses and our pre-sessional English programme

Compulsory modules

Introduction to creative writing.

Develop your skills in creative writing across a range of genres. You will develop an understanding of how to compose, criticise, revise, and polish your work through workshop discussions and the completion of a critical essay. 

Poetry in English

From the Renaissance to the present, uncover the history of poetry as you explore key genres related to love, politics, pastoral, elegy, satire, the sonnet, the ode, and the dramatic monologue. You’ll study poems drawn from the wider English-speaking world including Ireland, the Caribbean and North America, encountering the diversity of voices found in gender and sexuality.  

Analysing Theatre and Performance

Critically interpret theatre texts and performances, enhancing your understanding of the conventions of production, the organisation of meaning in performance, and deviations from mainstream conventions. Engage with performances from the late nineteenth century to the contemporary, focusing on their historical, cultural, stylistic and performative contexts.

Approaches to Film 

Critically interpret film texts and discover the conventions of fiction and non-fiction cinema. Explore cinema as a diverse, global and transcultural medium, focusing on historical and cultural contexts.

Optional modules

Introduction to drama.

Discover the genre of drama as you explore a historical range of texts from the early modern periods. You’ll focus on four plays as you explore comedy, tragedy, form, structure, and the elements of change and continuity found within the genre. 

Become acquainted with English literature’s material dimension and how writers, both past and present, have depicted the library as a symbol. As you study, you'll interpret poems, novels and plays, and investigate books and other archival documents as physical objects.

Modern American Culture and Counterculture

Discover American countercultures in work, from 1950s Beat poetry to fiction responding to the Black Lives Matter movement. You’ll study the perspectives of African-American, Native American and white American creatives in a variety of genres: poetry, short stories, YA fiction, science fiction, drama, songs, films, war reportage and the graphic novel.  

Comedy on Stage and Screen

Gain insights into how comedy intersects with film, theatre and television through a series of case studies. You’ll learn how humour highlights critical issues such as identity politics (gender, sexuality, race, ethnicity, disability), taboo, embarrassment, cult, cancel or outrage culture, and explore relevant production, industrial and socio-cultural contexts.

Radical Forms in Theatre and Performance

Discover the history, traditions, practices, and theoretical and analytical perspectives of radical theatre-making and experimental performance practice. You’ll learn to appreciate the cultural, political, and aesthetic significance of radical experimentation in theatre and performances, and express critical understanding of creative practice and risk-taking.

Thinking Translation: History and Theory

Learn about the current thinking on translation by exploring some specific case studies. The historical approach to translation will allow you to develop a critical awareness of the role played by: genres, readership, institutional influences, market constraints, gender attitudes and discourses, purpose. In seminars, you will explore the challenges facing translators when dealing with literary, scientific, philosophical and political texts

What is Comparative Literature?

Learn about the major critical and theoretical issues in the study of Comparative Literature, as well as the important methodologies for studying literature in a comparative context. Approach a cluster of texts from different cultural and historical traditions, you'll be be encouraged to reflect on the practices and consequences of reading transnationally.

Optional Language Modules 

Learn one of 10 languages offered by the University at a level appropriate for you. 

These are the modules that we currently offer for 2024/25 entry. They may be subject to change as we regularly review our module offerings to ensure they’re informed by the latest research and teaching methods.

Please note that the University cannot guarantee that all optional modules will be available to all students who may wish to take them.

You can also  register your details  with us to receive information about your course of interest and study and life at the University of Reading.

Film Forms and Cultures

Discover the rich variety of film forms and explore critical and conceptual issues of form, including theoretical perspectives, questions of form, and form’s meaning and politics.

Creative Writing: Creative Non-fiction

Study memoirs, essays, blog posts, long-form journalism, biography and auto-fiction as you explore the exciting and ever-evolving contemporary genre. As you study these texts, you’ll write your own piece of creative non-fiction and support others with creative feedback.  

Myth, Legend and Romance: Medieval Storytelling

Explore storytelling in medieval England as you take in the fantastical tales of ancient heroes, drama that blends comedy and religious devotion, and magic and supernatural beings. You’ll consider the stark contrast of narrative structure, character development and language use by medieval writers in contrast to our own.   

Creative Writing: The Short Story

Explore the process of the creative cycle, from reading literature to writing it. You’ll engage critically with a range of short stories as you encounter key debates about the form and write your own short fiction in response. 

Victorian Literature

Victorian literature consists of a period where authors began to consider people’s place in the world with God, the workings of the mind, and the role of class and gender in the construction of identity. You’ll engage with these ideas as you consider some of the greatest works of the period – from Dickens and Hardy to Tennyson and Elizabeth Barrett Browning. 

Contemporary Fiction

Study a selection of fiction from the 1980s to the present day, exploring the formal, thematic and cultural diversity of Anglophone fiction produced in this period. You’ll consider these texts within a number of social, political and historical contexts, such as multiculturalism, feminism and globalisation.  

Placement and Employment Skills

This module provides you with an opportunity for reflective learning and intensive research through an industry role of your choice. You’ll reflect critically on your career development and acquire transferable skills for future employment.

Documentary

Develop skills to critically analyse and produce non-fiction films and television through close analysis of texts and engagement with various industrial and technological contexts. You’ll engage with critical debates and conceptual issues and put ideas into practice. You’ll understand documentary-makers’ creative decision-making and their connection to ideological concerns.

Reworking Shakespeare in Performance

Understand Shakespeare as a powerful signifier of culture, explore adaptations of Shakespeare and learn how these relate to broader cultural and political contexts. You’ll learn about the practices and preoccupations that currently affect interpretation of Shakespeare and gain the ability to make connections between social and cultural concerns and their presentation on stage. 

Television and Contemporary Culture

Engage with issues of genre, globalisation, industry, and representation. You’ll examine the construction of critical and contextual frameworks that underpin television studies. Explore television’s international flows, build a picture of national industrial practices, and analyse digital media practices and platforms. You’ll develop a critical understanding of conventions and histories of selected genres and explore the implied impact of ideologies of representation.

Identity, Performance and Culture

Understand the construction, representation and performance of diverse modes of identity in theatre and in culture. You’ll develop skills of close textual and performance analysis, and learn how local, national and global contexts have influenced playwrights, theatre makers and theatre cultures.

Creative Writing: Poetry

Engage critically with a range of poems and key debates around form. You’ll write your own poetry in response, experimenting with the possibilities within the genre as you and your peers share constructive feedback.  

Writing in the Public Sphere

Study literature designed to prompt social and political change as you examine speeches, pamphlets, tracts and political posters from the early modern period to the present. Consider how such literature shapes debates on race, class, religion, nationality and women’s rights across Britain and Ireland.  

Modernism in Poetry and Fiction

Examine the concepts of modernity, modernism, and the history of early twentieth-century poetry and fiction. You’ll explore experimentation and innovation in poetic and narrative form, and their relation to wider social upheaval and cultural movements in the period. 

Enlightenment Revolution and Romanticism

Study the political revolutions that shook British society to its core during Age of Enlightenment (c.1680-1790): England’s bloodless ‘Glorious Revolution’ of 1688; the colonial revolution of American independence; and the French Revolution of 1789.

The Business of Books

You’ll cover the history and development of modern trade publishing and have focused sessions on some of its key players, including publishers and literary agents. Through a combination of theoretical, methodological, and hands-on teaching sessions and workshops, you’ll study the role and function of books in historical and institutional contexts including libraries, bookshops, publishing houses, and board rooms. 

Early Modern Literature

Discover the rich and fascinating literary culture of the early modern or Renaissance period. You'll explore the ways that English literature was shaped by, and helped to re-shape, English culture in the years between the Reformation and the Civil Wars.

Writing America: Perspectives on the Nation

Examine the construction of American national identity in American literature from a range of different perspectives. You’ll study a diversity of American voices and central themes including myths of the frontier, Manifest Destiny, personal and political liberty, and the construction of race, gender and sexuality.

Critical Thinking  

Approach familiar ideas and issues from unfamiliar angles that prompt you to re-examine the unspoken grounds on which common-sense ways of thinking are based. You’ll take part in exciting and rewarding discussions on issues of language, power, and identity, ideology, gender, and race.

Creative Writing Dissertation

Develop a sustained piece of independent writing such as a short story, a play, a screen play or a collection of verse. You’ll work closely with a peer community of creative writers to self-organise and conduct workshops as you develop your advanced research and writing skills.  

Film and/or Theatre Dissertation

Apply the knowledge and skills you’ve acquired in the previous modules to a major piece of independent work around an area you are interested in. Independently initiate and develop the project under the guidance of a supervisor.

Creative Research Project

Apply your previously gained knowledge and skills to a significant research-based project that includes a creative element and critical research and reflection. You’ll develop the project independently under supervision.

British Black and Asian Voices: 1948 to the Present

Examine a range of British texts (poetry, drama, novels, short stories, films) by writers of Black and Asian descent. You’ll read theoretical and historical material as you examine issues of cultural capital, national identity, and minority communities.   

Lyric Voices, 1340-1650

Explore lyric poetry from the Middle Ages and the renaissance. You’ll look at the presentation of themes such as love and longing, grief, and the fear of death, and compare the ways in which authors make use of literary conventions to present such themes.   

Creative Writing Masterclass: Poetry

Develop and design a short collection of poems with a view to submit to print or an online magazine. Engage with weekly workshops as you elaborate your style and voice, alongside focusing on emerging voices and subject matter.   

Performance and Design

Critically explore theatre and performance design by engaging with historical and contemporary scenographic practices. You’ll learn about the role of designers in shaping and reimagining theatre and performance. You’ll advance the ways you read, see and encounter the visual, aural, spatial, material and technological elements of design. Get involved in critical reading and discussions on a diverse range of international designers, methods and performance environments. You’ll gain exposure to professional contexts through visits to archives, talks or masterclasses from visiting designers and/or scholars. 

Literature and Mental Health

Discover how literature engaged with mental health in the first half of the twentieth century, a crucial turning point in psychology. You’ll consider the de-stigmatisation of mental health in the wake of World War I, the disciplines of psychiatry and psychology that emerged from it, and how literature engages with trauma, anxiety and obsession.   

Creative Writing Masterclass: Prose

Deepen your understanding of narrative techniques and sharpen your ability to write prose. You’ll use a range of short stories, narrative non-fiction and novel extracts as a springboard, advancing your knowledge on matters such as structure, characterisation, dialogue and quality.  

Writing Women: Nineteenth-century Poetry

Explore writing primarily by (but also about) women in the nineteenth century, including Christina Rossetti's Goblin Market and Elizabeth Barrett Browning's Aurora Leigh. Ask how women found a voice in a predominantly patriarchal society, what subjects were deemed suitable for female poets, and how such poets overcame the limitations of expectation.

Adaptions across Stage and Screen

Develop your knowledge and artistic practice in film, television and theatre through exploration of the processes of adaptation and engagement with critical, cultural and political considerations. You’ll have the opportunity to explore a range of practices, such as page to stage/screen, citation of iconic characters, fanfiction and digital reworkings, docudramas and documentary theatre, intercultural retellings and translations, contemporary retelling of historical narratives, and reworkings of productions in the same media.

Musical Theatre 

Explore the theories, themes, politics, and practices of contemporary musical theatre. You’ll focus on the research and development (R&D) of musical theatre, its dramaturgy, political context, modes of production, representation, and reception. 

Advanced Scriptwriting 

Create original scripts and develop your critical understanding of key storytelling issues such as narrative, character, dialogue, and place. Your scriptwriting practice will include both individual and collaborative forms of writing and rewriting, and you'll engage with discourses around scriptwriting emerging from both theatre pedagogy and screenwriting studies, including projects for decolonising stage and screen writing traditions

From Romance to Fantasy

Explore the role played by fantastical or wondrous elements in English literature from the middle ages to the present day. Focus on a range of key narrative structures (such as the quest), persistent motifs such as magical objects, and influential modes, such as the gothic. 

Children's Literature

Explore issues surrounding children’s literature and its criticism. Questions and analyse critical assumptions and formulations around authorship, memory, observation, readership, and identity.

The Bloody Stage: Revenge and Death in Renaissance Drama

Explore the representation of revenge and death in revenge tragedies performed on the Renaissance stage. Analyse the staging of death scenes and whether there are differences in the ways that men and women die on stage. 

Modern and Contemporary British Poetry

Study key trends in poetry's engagement with changing circumstances in England, Wales, and Scotland in the twentieth century and beyond. Consider issues including the aftermaths of modernism, gender and poetry, British poetry and post-war retrenchment, the 'poetry wars' of the 1970s and the perpetuation of 'Movement' ideals down to the present.

Decadence and Degeneration: Literature of the 1890s

Placing jane austen.

Examine the movements of Austen's characters through rooms and houses, the patterns of their dances in assembly halls, the paths of their journeys through town and country. Investigate how these movements sometimes represent changes of heart or class, of mind or fortune and how they are always significant for the carefully drawn lines of her narratives.

Screen Bodies

Discover how diverse bodies move on screen, and how those bodies engage the spectator’s body. You’ll explore how the screen representation of the body is shaped by culturally situated ideas about body and society, and power and desire – including creative traditions, influences, technologies, and innovations. As you examine how the screen body generates meaning, you’ll study access to representation, visibility, marginalisation, and consent.

Film Festivals and Programming

Gain advanced knowledge of modes of programming arthouse, alternative, and experimental venues, as well as organising festivals. Through seminars, workshops and group projects, you’ll explore how festivals (such as Cannes, Venice and Berlin) work as effective filters for wider distribution, and how festivals and programing are key to understanding the kinds of world cinema we watch.

New UK/Republic of Ireland students: £9,250

New international students: £25,250

*UK/Republic of Ireland fee changes

UK/Republic of Ireland undergraduate tuition fees are regulated by the UK government. These fees are subject to parliamentary approval and any decision on raising the tuition fees cap for new UK students would require the formal approval of both Houses of Parliament before it becomes law.

EU student fees

With effect from 1 August 2021, new EU students will pay international tuition fees. For exceptions, please read the UK government's guidance for EU students .

Additional costs

Some courses will require additional payments for field trips and extra resources. You will also need to budget for your accommodation and living costs. See our information on living costs for more details.

Financial support for your studies

You may be eligible for a scholarship or bursary to help pay for your study. In addition to university-wide scholarships, the department offers the Bulmershe Bursary that supports eligible students with £1,000 towards the costs of university life. It is open to all full-time UK or EU undergraduate students studying degrees offered by Film, Television, and Theatre including our joint honours programmes. Students can apply in semester 1 of each year. Students from the UK may also be eligible for a student loan to help cover costs. See our fees and funding information  for more information on what's available.

As a creative writing graduate, you will enter the job market with well-developed communication, research and writing skills, together with a high level of cultural literacy and critical sophistication. According to the latest Graduate Outcomes Survey 2020/21, 95% of our leavers are in work or further study within 15 months of graduation*.

To prepare you for the future, an emphasis on professional skills is built into all of our courses. Our flexible degrees are designed to develop the skills valued by both creative and commercial industries, providing you with a diverse range of career opportunities following graduation.

Many of our alumni work in the creative industries, in roles such as:

• theatre director
• arts management
• film director
• television producer

Graduates also go on to work in:

• commercial marketing and media
• advertising

*Based on our analysis of HESA data © HESA 2023, Graduate Outcomes Survey 2020/21; includes first degree English Literature responders.

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Writing the Film or TV Adaptation

Learn what makes a good adaptation for film or television as well as creative and practical methods for this unique and specific undertaking.    

What you can learn.

• Compare current adaptations to their source material
• Get insight into how to expand or condense a story or compress or expand time
• Pay attention to how the script must turn the source medium into a compelling tale rooted in visual storytelling
• Develop your own idea for an adaptation and experiment by adapting specific scenes to practice these craft techniques

About this course:

Fall 2024 schedule.

No meeting November 28.

Enrollment limited to 15 students; early enrollment advised. Visitors not permitted. Internet access required.

This course is held via video teleconference. Instructors use Zoom to offer live class meetings at the designated class meeting time. Students must be present at the course meeting time as each student’s final grade may include scores for participation. Please inform your instructor if you will miss a class meeting. You are responsible for any class information you missed. We suggest you arrange with a fellow classmate to share their notes when feasible.

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B.A. in Cinema Studies

As a student in the Martin Scorsese Department of Cinema Studies, you will focus on the history, theory, and criticism of motion pictures and related media, examining cinema as both an art form and as a form of mass culture.  Graduates of our program have gone on to successful careers in teaching, archival work, journalism, screenwriting, multimedia, network television, and filmmaking.

You’ll spend your four years taking a mixture of courses in the Martin Scorsese Department of Cinema Studies, Tisch, and other schools at NYU.

Cinema Studies

Courses in the Martin Scorsese Department of Cinema Studies are divided into four tiers.  Over your four years in the department, you’ll take a mixture of courses from each tier to complete the requirements for your major. 

The core curriculum for Cinema Studies majors includes five courses taken in sequence: Intro to Cinema Studies, Film History, Film Theory, Television: History & Culture, and an Advanced Seminar.  Recent Advanced Seminar topics have included Adaptation, Costume Design, Horror, Sci-Fi & Difference, Orson Welles, and Surrealism and Cinema .

Small lecture classes will give you the opportunity to delve into specific topics in the areas of film auteurs, genres, movements, national cinemas, television studies, and special topics.  Course topics change each semester, so there’s always something new to learn.  Recent topics have included American Film of the 1960s & 70s, Choreography and the Moving Image, Hitchcock, Korean Cinema, The Sitcom  and Special Effects .

Large lecture courses will give you a survey of American and international film history.  Each fall, courses focus on cinema up to 1960.  Each spring, courses focus on cinema from 1960 to the present.

Small theory/practice courses allow you to put your theoretical knowledge into practice in the areas of screenwriting, film criticism, and forms of filmmaking as well as other modes of moving image production such as new media.

General Education

Outside of Cinema Studies, you will complete a sequence of liberal arts courses in both Tisch and the College of Arts and Science’s College Core Curriculum .

Two expository writing courses, Art and the World and The World Through Art, are designed to foster an appreciation of how arts relate to each other and to society in a changing world, reflecting on a range of social and ethical issues as they pertain to your own creativity.

Foreign Language

Fluency in a foreign language is an important skill for becoming a member of the global community.  You can either take two semesters of a language or demonstrate proficiency at an intermediate level.

Foundations of Contemporary Culture

In the College Core Curriculum, you will be encouraged to engage both with your own perspectives and with the world at large by taking a sequence of courses that includes Texts and Ideas, Cultures and Contexts, and an approved social sciences course of your choosing.

Foundations of Scientific Inquiry

The College Core Curriculum also includes courses in Quantitative Reasoning and Natural Science to give you the knowledge you need to be an independent-minded citizen in a world increasingly shaped by science and technology.

To complement your Cinema Studies coursework, you will be required to declare a minor in a related area.  Popular minors include Producing, Creative Writing, Film Production, Business of Entertainment & Media Technology.

Your remaining coursework can be fulfilled in a variety of ways.  You can take more courses in Cinema Studies, beyond what is required.  You may choose to explore other general education coursework in the College of Arts and Sciences.  You may also take elective courses outside of either area in other departments at Tisch, or at the Stern School of Business, the Gallatin School of Individualized Study, or the Steinhardt School of Culture, Education & Human Development.

You are able to combine your minor and elective coursework to complete a second major in the arts, humanities, or social sciences.  You’ll have the opportunity to declare your double major once you arrive at NYU.  Popular double majors include Journalism, Dramatic Literature, and Film & Television.

Current students should consult the B.A. Handbook for rules and regulations.

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An award winning film director provides free creative writing and filmmaking courses

By Miyoshi Price

Click here for updates on this story

    FORT MYERS, Florida ( WFTX ) — A local film director uses his platform to spark imagination and hands-on projects for young people in Fort Myers.

Your Fort Myers community correspondent, Miyoshi Price, takes you into a classroom of future filmmakers, writers, and more.

An award-winning local film director, Curtis Collins, is teaching kids in southwest Florida how to write, produce, and direct films at Quality of Life Center in Fort Myers.

He says now is the time to give students the skills to express themselves.

“The only way to do that is to show them that if you create something, you can visually bring it to life,” says the leader instructor and award-winning director Curtis Collins.

Collins is known for his films, which are doing well at film festivals worldwide and even on some streaming platforms.

During the 10-week program, he brings in speakers for lighting and camera work, but first, each student must write their own story.

“What excited me about the class is just being able to express myself and getting this opportunity to write because I actually like to write, and I just love to write books,” says a student taking the course, Zion Merrick.

While in the program, Zion Merrick and Zakai Smart are in a competition for the best short story. “There are prizes and awards that I give out as a producer and an instructor in this class,” says Collins, the lead instructor of the course and award-winning director. “So for this assignment, we gave $150 to the kid that created the best story, male and female.”

The students in the program range from nine to sixteen. “So we have a judging contest between our students,” says Collins. The winner will have their film made and created by them at the center.

“I got excited, and it motivated me,” says Zakai Smart, another student taking the course.

Smart says his film is about him waking up and getting ready in the morning, which he calls relatable.

Another student did not talk much. Instructors told us that he was more on the shy side but was an incredible writer. We captured a few words from the student, Rashad. “I love the writing,” says Rashad.

Like many classes at the Q.L.C., the program’s goal is to give students trade skills so they can enter the workforce directly.

“I have a lot of occupations I like to do,” says Merrick.

She says the center helps her reach her goals.

Collins told us that if your child is a member of the center, they can take the course for free.

Please note: This content carries a strict local market embargo. If you share the same market as the contributor of this article, you may not use it on any platform.

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Writing Creatively to Make Sense of the Times We Live In

Journalist katrin schumann talks about why she writes fiction..

Updated July 12, 2024 | Reviewed by Davia Sills

• Studies show that the act of all kinds of writing hones our reflective abilities.
• Creative writing stretches our imagination, increases emotional resilience, and alleviates stress.
• Writers of nonfiction examine complex issues that are relevant to our times.
• Novelists examine the issues using characters as a vehicle for empathy.

Studies show that the act of writing hones our reflective abilities, stretches our imagination , increases emotional resilience , and alleviates stress . In my conversation with journalist-turned-novelist Katrin Schumann, we discuss how creative writing, in particular, is a worthy pursuit to understand the issues of our time. Schumann is the author of the nonfiction books Mothers Need Time Outs Too and The Secret Life of Middle Children, as well as the novels The Forgotten Hours and This Terrible Beauty .

You’re a trained journalist and the author of nonfiction books. Why, in the last few years, have you focused on writing fiction?

Writing nonfiction has been a way for me to examine complex issues that are relevant to our times, including psychological ones, but I’ve found that in recent years, I’ve been drawn to fiction because it allows me to get closer to the subject. In exploring thorny issues like loyalty and trust or co-dependency , I’m able to do more of a deep dive in fiction. The form allows me to sit with the complexities, to live in the gray areas with my characters.

I can’t always do this with nonfiction, where I’m approaching the topic from a specific angle, seeking solutions. In fiction, I have space to explore nuances that fascinate and confuse me and try to make sense of the inevitable contradictions. It’s messier and more delicate than nonfiction. For me, this feels more true to the human experience.

All writing involves deep reflection. Do you find the act of writing fiction to be a different kind of therapy?

Yes. Spending years creating characters and situations that grapple with serious, real-world problems lets me explore my own difficult experiences. For instance, I’d been wrestling with the aftermath of dealing with a narcissist when I started writing my first novel. By fictionalizing those challenges, I was able to find the courage to linger in the dark areas, examining them from all angles in order to find where the light might get in.

I discovered greater empathy and resilience in myself while also being able to acknowledge the trauma I’d been through. It’s using my imagination, combined with researching some very real and current psychological challenges, that ultimately feels most powerful to me and an effective way to reach readers.

How does fictionalizing the story give you more latitude or depth in exploring topics? You write about things like self-reliance and depression, and I’m wondering why not just write articles about it.

I write to figure out my own issues and to learn, but also to share. For me, fiction writing makes me work harder and go deeper. I’m trying to change people’s minds and hearts in subtler ways. I’m reflecting on experiences I’ve had, wrestling with what they mean, and how we can all learn from them and come out the better for it.

Yet, I don’t want to be prescriptive; I want people to draw their own conclusions. I research deeply about whatever topic I’m tackling.

To write my last novel, I studied the history of neuropsychology, dissecting studies on substance abuse . I conducted interviews. For all my books, I gather and study facts and figures, but with novels, I take that a step further. I put those facts and figures into play with my imagined characters to explore what happens. I imbue the impersonal with empathy and allow readers to try to figure out how they feel about how the characters contend with the issue. This approach leads me to meaningful personal discoveries while also taking the reader along on the emotional journey.

How do you decide whether to approach a topic in a nonfiction book or in a novel?

The more I’m personally involved with the topic, the more I want to explore it in fictional form. Ironically, for fiction, I feel like I should have an even better understanding of some of these psychological challenges than if I were covering them through straight nonfiction reportage. I first have to understand the topic and its history so my story is not only realistic but feels authentic.

I want readers to trust me, which means I have to be thorough. It’s my aim to take them on a ride that’s compelling as well as informative. And I love learning something new when I’m immersed in researching and writing fiction.

If writing fiction is about wrestling with your own demons, why not simply journal?

Journaling is, without question, a beneficial reflective activity. Yet what differentiates this kind of work from journaling about our problems or writing blog posts is that novelists are committing more time and energy to the deep dive on a specific topic. My last novel took almost three years to write, and during that time, I was reading everything I could get my hands on about the topic in order to distill it so that readers might find it relevant to their own lives.

At that stage, it’s not really about me anymore; it’s about the human condition. And in the end, that’s what readers relate to, I think. It’s what makes them call their friends and say, “I just finished this great book. You’ve got to read it.”

More about Katrin Schumann 's work

Lynne Griffin, R.N., M.Ed. , researches family life and is a novelist.

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Emmys 2024: list of nominees.

'Shogun' leads the nominations, which were unveiled Wednesday morning. Other top nominees include 'The Bear,' 'Only Murders in the Building,' 'True Detective: Night Country' and 'The Crown.'

By Hilary Lewis , Kimberly Nordyke July 17, 2024 9:54am

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Shogun leads the pack for the 2024 Emmys nominations, which were unveiled Wednesday morning. FX’s series landed 25 noms, including best drama series , setting several records in the process.

Also among the top nominees are FX’s The Bear (with 23 nominations, a comedy series record ), Hulu’s Only Murders in the Building (21), HBO/Max’s True Detective: Night Country (19) and Netflix’s The Crown (18).

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Tony Hale, Sheryl Lee Ralph and Television Academy chair Cris Abrego announced this year’s nominees from the El Capitan Theatre in a ceremony that was livestreamed . During the livestream, Abrego gave Abbott Elementary star Ralph the news that she had received another Emmy nom this year for best supporting actress in a comedy series, an award she won in 2022.

The 76th Emmys are set to air live from the Peacock Theater in Los Angeles on Sunday, Sept. 15 from 5-8 p.m. PT/8-11 p.m. ET on ABC. The Creative Arts ceremonies, where a majority of the Emmy trophies are handed out, are set for Saturday, Sept. 7, and Sunday, Sept. 8. A host for the ABC Emmys ceremony has not yet been named, but Jesse Collins, Dionne Harmon and Jeannae Rouzan-Clay are set to executive produce the telecast for the second year in a row.

The 2023 Emmys actually took place in January 2024, with the ceremony postponed due to the 2023 writers and actors strikes and airing on Monday, Jan. 15, Martin Luther King Jr. Day, on Fox. At that event, HBO’s Succession , FX’s The Bear and Netflix’s Beef were the big winners, taking home the top prizes in the drama, comedy and limited series categories, respectively. All three shows also won for writing and directing. With the 2023 Emmys honoring Succession’s final season, the drama field will see a new winner this year.

In order to be eligible for the 2024 Emmys, television programming had to air between June 1, 2023, and May 31, 2024.

Best Drama Series

The Crown (Netflix) Fallout (Prime Video) The Gilded Age (HBO) The Morning Show (Apple TV+) Mr. and Mrs. Smith (Prime Video) Shogun (FX) Slow Horses (Apple TV+) 3 Body Problem (Netflix)

Best Actress in a Drama Series

Jennifer Aniston ( The Morning Show, Apple) Carrie Coon ( The Gilded Age, HBO/Max) Maya Erskine ( Mr. and Mrs. Smith, Prime Video) Anna Sawai ( Shogun, FX)  Imelda Staunton ( The Crown, Netflix) Reese Witherspoon ( The Morning Show, Apple)

Best Actor in a Drama Series

Idris Elba ( Hijack, Apple) Donald Glover ( Mr. and Mrs. Smith, Prime Video) Walton Goggins ( Fallout, Prime Video) Gary Oldman ( Slow Horses, Apple)  Hiroyuki Sanada ( Shogun, FX) Dominic West ( The Crown, Prime Video)

Best Supporting Actress in a Drama Series

Christine Baranski ( The Gilded Age, HBO/Max) Nicole Beharie ( The Morning Show, Apple TV+) Elizabeth Debicki ( The Crown, Netflix) Greta Lee ( The Morning Show, Apple TV+) Lesley Manville ( The Crown, Netflix) Karen Pittman ( The Morning Show, Apple TV+) Holland Taylor ( The Morning Show, Apple TV+)

Best Supporting Actor in a Drama Series

Tadanobu Asano ( Shogun, FX) Billy Crudup ( The Morning Show, Apple TV+) Mark Duplass ( The Morning Show, Apple TV+) Jon Hamm ( The Morning Show, Apple TV+) Takehiro Hira ( Shogun, FX) Jack Lowden ( Slow Horses, Apple TV+) Jonathan Pryce ( The Crown, Netflix)

Best Guest Actor in a Drama Series

Best guest actress in a drama series.

Michaela Coel ( Mr. & Mrs. Smith, Prime Video) Claire Foy ( The Crown, Netflix) Marcia Gay Harden ( The Morning Show, Apple TV+) Sarah Paulson ( Mr. & Mrs. Smith, Prime Video) Parker Posey ( Mr. & Mrs. Smith, Prime Video)

Best Comedy Series

Abbott Elementary (ABC)  The Bear (FX) Curb Your Enthusiasm (HBO/Max) Hacks (HBO/Max) Only Murders in the Building (Hulu) Palm Royale (Apple TV+) Reservation Dogs (FX) What We Do in the Shadows (FX)

Best Actor in a Comedy Series

Matt Berry ( What We Do in the Shadows, FX) Larry David ( Curb Your Enthusiasm, HBO/Max) Steve Martin ( Only Murders in the Building, Hulu) Martin Short ( Only Murders in the Building, Hulu) Jeremy Allen White ( The Bear, FX) D’Pharaoh Woon-A-Tai ( Reservation Dogs, FX)

Best Actress in a Comedy Series

Quinta Brunson ( Abbott Elementary, ABC) Ayo Edebiri ( The Bear, FX) Selena Gomez ( Only Murders in the Building, Hulu)  Maya Rudolph ( Loot, Apple) Jean Smart ( Hacks, HBO/Max) Kristen Wiig ( Palm Royale, Apple TV+)  

Best Supporting Actor in a Comedy Series 

Lionel Boyce ( The Bear, FX) Paul W. Downs ( Hacks, HBO/Max) Ebon Moss-Bachrach ( The Bear, FX) Paul Rudd ( Only Murders in the Building, Hulu) Tyler James Williams ( Abbott Elementary, ABC) Bowen Yang ( Saturday Night Live , NBC)

Best Supporting Actress in a Comedy Series 

Best guest actor in a comedy series.

Jon Bernthal ( The Bear, FX) Matthew Broderick ( Only Murders in the Building, Hulu) Ryan Gosling ( Saturday Night Live, NBC) Christopher Lloyd ( Hacks, HBO/Max) Bob Odenkirk ( The Bear, FX)
 Will Poulter ( The Bear, FX)

Best Guest Actress in a Comedy Series

Olivia Colman ( The Bear, FX) Jamie Lee Curtis ( The Bear , FX) Kaitlin Olson ( Hacks, HBO/Max) Da’Vine Joy Randolph ( Only Murders in the Building, Hulu) Maya Rudolph ( Saturday Night Live, NBC) Kristen Wiig ( Saturday Night Live, NBC)

Best Limited or Anthology Series

Baby Reindeer (Netflix) Fargo (FX) Lessons in Chemistry (Apple TV+) Ripley (Netflix) True Detective: Night Country (HBO/Max)

Best Actor in a Limited or Anthology Series or Movie

Matt Bomer ( Fellow Travelers, Showtime) Richard Gadd ( Baby Reindeer, Netflix) Jon Hamm ( Fargo, FX) Tom Hollander ( Feud: Capote vs. the Swans, FX) Andrew Scott ( Ripley, Netflix)

Best Actress in a Limited or Anthology Series or Movie

Jodie Foster ( True Detective: Night Country, HBO/Max) Brie Larson ( Lessons in Chemistry, Apple)  Juno Temple ( Fargo, FX) Sofía Vergara ( Griselda, Netflix)  Naomi Watts ( Feud: Capote vs. The Swans, FX)

Best Supporting Actor in a Limited or Anthology Series or Movie

Best supporting actress in a limited or anthology series or movie.

Dakota Fanning ( Ripley, Netflix) Lily Gladstone ( Under the Bridge, Hulu) Jessica Gunning ( Baby Reindeer, Netflix) Aja Naomi King ( Lessons in Chemistry, Apple TV+) Diane Lane ( Feud: Capote vs. The Swans, FX) Nava Mau ( Baby Reindeer, Netflix) Kali Reis ( True Detective: Night Country, HBO/Max)

Best Directing for a Drama Series

Stephen Daldry ( The Crown, Netflix) Mimi Leder ( The Morning Show, Apple TV+) Hiro Murai ( Mr. & Mrs. Smith, Prime Video)
 Frederick E.O. Toye ( Shogun, FX) Saul Metzstein ( Slow Horses, Apple TV+) Salli Richardson-Whitfield (W inning Time: The Rise of the Lakers Dynasty, HBO/Max)

Best Directing for a Comedy Series

Randall Einhorn ( Abbott Elementary, ABC)
 Christopher Storer ( The Bear, FX) Ramy Youssef ( The Bear, FX)
 Guy Ritchie ( The Gentlemen, Netflix) Lucia Aniello ( Hacks, HBO/Max) Mary Lou Belli ( The Ms. Pat Show, BET)

Best Writing for a Drama Series

Peter Morgan, Meriel Sheibani-Clare ( The Crown, Netflix)
 Geneva Robertson-Dworet, Graham Wagner ( Fallout, Prime Video) Francesca Sloane, Donald Glover ( Mr. & Mrs. Smith, Prime Video) Rachel Kondo, Justin Marks ( Shogun, FX)
 Rachel Kondo, Caillin Puente ( Shogun, FX) Will Smith ( Slow Horses, Apple TV+)

Best Writing for a Limited or Anthology Series or Movie

Best writing for a comedy series.


Quinta Brunson ( Abbott Elementary, ABC) Christopher Storer ( The Bear, FX) Meredith Scardino, Sam Means ( Girls5eva, Netflix) Lucia Aniello, Paul W. Downs, Jen Statsky ( Hacks, HBO/Max) Chris Kelly, Sarah Schneider ( The Other Two, HBO/Max) Jake Bender, Zach Dunn ( What We Do in the Shadows, FX)

Best Talk Series

The Daily Show (Comedy Central) Jimmy Kimmel Live! (ABC) Late Night With Seth Meyers (NBC) The Late Show With Stephen Colbert (CBS)

Best Reality Competition Series

The Amazing Race (CBS) RuPaul’s Drag Race (MTV) Top Chef (Bravo) The Traitors (Peacock) The Voice (NBC)

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More from The Hollywood Reporter

Emmy nominations 2024: historic, record-breaking and otherwise notable nominees, tv ratings: republican convention finishes high but down slightly overall vs. 2020, ‘suits: la’ spinoff officially a go at nbc, jabari banks as will smith clashes with estranged father, banks family in ‘bel-air’ third season trailer, the incredible shrinking press tour, reggie watts did not prepare for this.

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Prime video bosses on drama push, emmy nominations & season 2 status of ‘fallout’ & ‘mr. & mrs. smith’, potential ‘jury duty’ followup, emmy nominations 2024: the complete list.

By Lynette Rice , Patrick Hipes

Reservation Dogs , The Gilded Age and The Traitors finally made the cut for the top categories, while Shōgun , The Bear and Abbott Elementary lived up to expectations that they would earn nominations for the 76th annual Emmy Awards , which were unveiled Wednesday morning.

Check out the full nominees list below.

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Late Night with Seth Meyers also earned a what-took-you-so-long nomination in Talk Series, while Amazon’s Fallout earned attaboys in Drama Series and Best Actor for Walton Goggins . And straight from the Better Late Than Never department, FX’s now-canceled Reservation Dogs earned its first nomination for Best Drama, as did star D’Pharoah Woon-A-Tai for playing Bear Smallhill.

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Overall, Shōgun led the nominations with 25, followed by The Bear at 23, Only Murders in the Building at 21 and True Detective: Night Country at 19. Other notable amounts include the 17 for Fallout, 11 for Baby Reindeer and six for The Gilded Age .

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If it seems like the 75th Emmys just happened, it’s because they pretty much just did . The 2023 ceremony, after being delayed due to the impact of the Hollywood strikes , took place January 15 — right as the film awards season was ramping up. For this year, the Emmys return to their regular September slot: the 2024 Emmys ceremony is September 15 live on ABC. No host for that yet.

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Below is the list of nominees in the marquee Emmy categories, followed by the noms by program , the noms by platform and the complete list of 2024 noms.

Outstanding Drama Series

The Crown Fallout The Gilded Age The Morning Show Mr. & Mrs. Smith Shōgun Slow Horses 3 Body Problem

Outstanding Comedy Series

Abbott Elementary The Bear Curb Your Enthusiasm Hacks Only Murders in the Building Palm Royale Reservation Dogs What We Do in the Shadows

Outstanding Limited or Anthology Series

Baby Reindeer Fargo Lessons In Chemistry Ripley True Detective: Night Country

Outstanding Lead Actress in a Drama Series

Jennifer Aniston Carrie Coon Maya Erskine Anna Sawai Imelda Staunton Reese Witherspoon

Outstanding Lead Actor in a Drama Series

Idris Elba Donald Glover Walton Goggins Gary Oldman Hiroyuki Sanada Dominic West

Outstanding Lead Actress in a Comedy Series

Quinta Brunson Ayo Edebiri Selena Gomez Maya Rudolph Jean Smart Kristen Wiig

Outstanding Lead Actor in a Comedy Series

Matt Berry Larry David Steve Martin Martin Short Jeremy Allen White D’Pharaoh Woon-A-Tai

Outstanding Lead Actress in a Limited or Anthology Series or Movie

Jodie Foster Brie Larson Juno Temple Sofia Vergara Naomi Watts

Outstanding Lead Actor in a Limited or Anthology Series or Movie

Matt Bomer Richard Gadd Jon Hamm Tom Hollander Andrew Scott

Outstanding Talk Series

The Daily Show Jimmy Kimmel Live! Late Night with Seth Meyers The Late Show with Stephen Colbert

Outstanding Reality Competition Program

The Amazing Race RuPaul’s Drag Race Top Chef The Traitors The Voice

Here are the nominees by program and by platform , followed by the complete 2024 nominations list in alphabetical order by category:

NOMINEES BY PROGRAM (2 or more)

Nominees by platform (3 or more).

Netflix – 107 FX – 93 HBO / Max – 91 Apple TV+ – 72 ABC – 38 CBS – 38 Prime Video – 37 NBC – 33 Hulu – 26 Disney+ – 19 MTV – 10 Peacock – 9 Fox – 6 Paramount+ – 6 Comedy Central – 5 Showtime – 3

COMPLETE LIST OF NOMINATIONS FOR THE 76th EMMY AWARDS

Outstanding Animated Program

Blue Eye Samurai • The Tale Of The Ronin And The Bride • Netflix • A Netflix Series / 3 Arts Entertainment and Blue Spirit Productions Michael Green, Executive Producer/Directed by Amber Noizumi, Executive Producer/Written by Erwin Stoff, Executive Producer Jane Wu, Supervising Director/Producer Nick Read, Producer Michael Greenholt, Animation Director

Bob’s Burgers • The Amazing Rudy • FOX • 20th Television Animation Loren Bouchard, Executive Producer Nora Smith, Executive Producer Janelle Momary-Neely, Executive Producer Dan Fybel, Executive Producer Rich Rinaldi, Executive Producer Jon Schroeder, Executive Producer Steven Davis, Executive Producer Scott Jacobson, Executive Producer Holly Schlesinger, Executive Producer Jameel Saleem, Co-Executive Producer Lindsey Stoddart, Co-Executive Producer Katie Crown, Supervising Producer Bernard Derriman, Producer Brett Coker, Animation Executive Producer Lizzie Molyneux-Logelin, Written by Wendy Molyneux, Written by Tony Gennaro, Supervising Director Simon Chong, Supervising Director Ryan Mattos, Directed by

Scavengers Reign • The Signal • HBO | Max • Max in association with Titmouse Animation and Green Street Joseph Bennett, Executive Producer/Directed by/Written by Charles Huettner, Executive Producer/Directed by/Written by Chris Prynoski, Executive Producer Ben Kalina, Executive Producer Antonio Canobbio, Executive Producer Sean Buckelew, Co-Executive Producer/Written by James Merrill, Co-Executive Producer/Written by Benjy Brooke, Supervising Director Cho Junsik, Supervising Director Kim Hyeongtae, Animation Director Bae Ki-Yong, Director

The Simpsons • Night Of The Living Wage • FOX • A Gracie Films production in association with 20th Television Animation James L. Brooks, Executive Producer Matt Groening, Executive Producer Al Jean, Executive Producer Matt Selman, Executive Producer Rob LaZebnik, Co-Executive Producer Tim Long, Co-Executive Producer Brian Kelley, Co-Executive Producer Michael Price, Co-Executive Producer Jeff Westbrook, Co-Executive Producer Ryan Koh, Co-Executive Producer Christine Nangle, Co-Executive Producer Jessica Conrad, Supervising Producer Broti Gupta, Supervising Producer Loni Steele Sosthand, Producer Richard K. Chung, Producer Tom Klein, Animation Producer Mike B. Anderson, Supervising Director Matthew Faughnan, Assistant Director Scott Brutz, Lead Animation Timer Chris Clements, Directed by Cesar Mazariegos, Written by

X-Men ‘97 • Remember It • Disney+ • Marvel Studios Beau DeMayo, Executive Producer/Written by Victoria Alonso, Executive Producer Louis D’Esposito, Executive Producer Kevin Feige, Executive Producer Brad Winderbaum, Executive Producer Dana Vasquez-Eberhardt, Co-Executive Producer Jake Castorena, Supervising Producer Charley Feldman, Supervising Producer Danielle Costa, Producer Sean Gantka, Producer Meredith Layne, CSA, Voice Directing by Sang Hyouk Bang, Animation Director Yun Mo Sung, Animation Director Emi Yonemura, Directed by

Outstanding Production Design For A Narrative Contemporary Program (One Hour Or More)

Fargo • Trials And Tribulations • FX • FX Presents an MGM/FXP Production Trevor Smith, Production Designer Cathy Cowan, Art Director Amber Humphries, Set Decorator

The Gentlemen • Tackle Tommy Woo Woo • Netflix • Netflix, Moonage Pictures and Miramax TV Martyn John, Production Designer Fiona Gavin, Art Director Linda Wilson, Set Decorator

The Morning Show • The Kármán Line • Apple TV+ • Media Res in association with Apple Nelson Coates, Production Designer Thomas Wilkins, Art Director Lauree Martell, Set Decorator

True Detective: Night Country • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Daniel Taylor, Production Designer Jo Riddell, Art Director Charlotte Dirickx, Set Decorator

Outstanding Production Design For A Narrative Period Or Fantasy Program (One Hour Or More) Fallout • The End • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Howard Cummings, Production Designer Laura Ballinger Gardner, Art Director Regina Graves, Set Decorator

The Gilded Age • Close Enough To Touch • HBO | Max • HBO in association with Universal Television and Neamo Film and Television Bob Shaw, Production Designer Larry W. Brown, Art Director Lisa Crivelli Scoppa, Set Decorator

Palm Royale • Maxine’s Like A Dellacorte • Apple TV+ • Apple Studios Jon Carlos, Production Designer Mark Taylor, Art Director Amelia Brooke, Art Director Ellen Reede, Set Decorator

Ripley • Netflix • Showtime and Endemol Shine North America in association with Entertainment 360 and Filmrights for Netflix David Gropman, Production Designer Karen Schulz Gropman, Art Director Alex Santucci, Art Director Alessandra Querzola, Set Decorator

Shōgun • Anjin • FX • FX Productions Helen Jarvis, Production Designer Chris Beach, Art Director Lisa Lancaster, Set Decorator Jonathan Lancaster, Set Decorator

Outstanding Production Design For A Narrative Program (Half-Hour)

The Bear • Omelette • FX • FX Productions Merje Veski, Production Designer Lisa Korpan, Art Director Eric Frankel, Set Decorator

Frasier • Moving In • Paramount+ • CBS Studios in association with Grammnet NH Productions Glenda Rovello, Production Designer Conny Boettger-Marinos, Art Director Amy Feldman, Set Decorator

Hacks • Yes, And • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Rob Tokarz, Production Designer Jeanine A. Ringer, Art Director Jennifer Lukehart, Set Decorator

Only Murders In The Building • Opening Night • Hulu • 20th Television Patrick Howe, Production Designer Casey Smith, Art Director Rich Murray, Set Decorator

What We Do In The Shadows • A Weekend At Morrigan Manor • FX • FX Productions Shayne Fox, Production Designer Jody Clement, Art Director Aaron Noël, Art Director Kerri Wylie, Set Decorator

Outstanding Production Design For A Variety Or Reality Series

Last Week Tonight With John Oliver • Freight Trains • HBO | Max • HBO in association with Peyance Productions and Avalon Television Eric Morrell, Production Designer Amanda Carzoli, Art Director

RuPaul’s Drag Race • RDR Live! • Werq The World • MTV • World Of Wonder Gianna Costa, Production Designer Jen Chu, Production Designer Gavin Smith, Art Director

Saturday Night Live • Host: Josh Brolin • NBC • SNL Studios in association with Universal Television and Broadway Video Joe DeTullio, Production Designer Kenneth MacLeod, Production Designer Melissa Shakun, Art Director Kimberly Kachougian, Set Decorator

Squid Game: The Challenge • War • Netflix • Studio Lambert and The Garden for Netflix Mathieu Weekes, Production Designer Ben Norman, Production Designer Lizzie Chambers, Art Director

Outstanding Production Design For A Variety Special

Dick Van Dyke 98 Years Of Magic • CBS • Smart Dog Media and White Label Productions in association with CBS Steve Morden, Production Designer James Yarnell, Production Designer John Sparano, Set Decorator

66th Grammy Awards • CBS • Fulwell 73 Julio Himede, Production Designer Kristen Merlino, Art Director Gloria Lamb, Art Director Ellen Jaworski, Art Director Kaydee Lavorin Friel, Set Decorator

Hannah Waddingham: Home For Christmas • Apple TV+ • Done + Dusted in association with Apple Misty Buckley, Production Designer Laura Woodroffe, Art Director Richard Olivieri, Set Decorator

The Oscars • ABC • Academy of Motion Picture Arts and Sciences Misty Buckley, Production Designer Alana Billingsley, Production Designer John Zuiker, Art Director Margaux Lapresle, Art Director

76th Annual Tony Awards • CBS • White Cherry Entertainment in association with Tony Award Productions Steve Bass, Production Designer Aaron Black, Art Director Star Theodos Kahn, Art Director

Outstanding Casting For A Comedy Series

Abbott Elementary • ABC • Delicious Non-Sequitur Productions and Fifth Chance in association with Warner Bros. Television and 20th Television Wendy O’Brien, CSA, Casting by Chris Gehrt, Casting by

The Bear • FX • FX Productions Jeanie Bacharach, CSA, Casting by Maggie Bacharach, Casting by Jennifer Rudnicke, CSA, Location Casting Mickie Paskal, CSA, Location Casting AJ Links, CSA, Location Casting

Curb Your Enthusiasm • HBO | Max • HBO Allison Jones, Casting by

Hacks • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Jeanne McCarthy, CSA, Casting by Nicole Abellera Hallman, CSA, Casting by

Only Murders In The Building • Hulu • 20th Television Bernard Telsey, CSA, Casting by Tiffany Little Canfield, CSA, Casting by Destiny Lilly, CSA, Casting by

Outstanding Casting For A Drama Series

The Crown • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Robert Sterne, Casting by

The Morning Show • Apple TV+ • Media Res in association with Apple Victoria Thomas, CSA, Casting by

Mr. & Mrs. Smith • Prime Video • Amazon MGM Studios, Big Indie Pictures Carmen Cuba, Casting by Candice Alustiza-Lee, Location Casting Teresa Razzauti, Location Casting Alejandro Reza, Location Casting

Shōgun • FX • FX Productions Laura Schiff, CSA, Casting by Carrie Audino, CSA, Casting by Kei Kawamura, CSA, Location Casting Maureen Webb, CSA, Location Casting Colleen Bolton, Location Casting

Slow Horses • Apple TV+ • See-Saw Films in association with Apple Nina Gold, Casting by

Outstanding Casting For A Limited Or Anthology Series Or Movie

Fargo • FX • FX Presents an MGM/FXP Production Rachel Tenner, CSA, Casting by Jackie Lind, CSA, Location Casting Stephanie Gorin, CSA, Location Casting Rhonda Fisekci, CSA, Location Casting

Feud: Capote vs. The Swans • FX • FX Productions, 20th Television Alexa L. Fogel, CSA, Casting by

Ripley • Netflix • Showtime and Endemol Shine North America in association with Entertainment 360 and Filmrights for Netflix Avy Kaufman, CSA, Casting by Francesco Vedovati, Location Casting Barbara Giordani, Location Casting

True Detective: Night Country • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Francine Maisler, Casting by Deborah Schildt, Location Casting Alda B. Gudjónsdóttir, Location Casting

Outstanding Casting For A Reality Program

The Amazing Race • CBS • WorldRace Productions, Inc. Jesse Tannenbaum, Casting by

The Golden Bachelor • ABC • Warner Bros. Unscripted Television in association with Warner Horizon Jacqui Pitman, Casting by John Kennamann, Casting by Lindsay Liles, Casting by

Love On The Spectrum U.S. • Netflix • Northern Pictures for Netflix Cian O’Clery, Casting by Sean Bowman, Casting by Marina Nieto Ritger, Casting by Emma Choate, Casting by

RuPaul’s Drag Race • MTV • World Of Wonder Goloka Bolte, CSA, Casting by Ethan Petersen, CSA, Casting by Adam Cook, Casting by Michelle Redwine, Casting by

Squid Game: The Challenge • Netflix • Studio Lambert and The Garden for Netflix Rachael Stubbins, Casting by Emma Shearer, Casting by Robyn Kass, Casting by Erika Dobrin, Casting by

Outstanding Choreography For Variety Or Reality Programming

Dancing With The Stars • Routines: Moon River / La Vie En Rose • ABC • BBC Studios Los Angeles Productions Valentin Chmerkovskiy, Choreographer Jenna Johnson, Choreographer

Dick Van Dyke 98 Years Of Magic • Routine: Step In Time • CBS • Smart Dog Media and White Label Productions in association with CBS Alison Faulk, Choreographer Kiki Nyemchek, Choreographer

The Oscars • Routines: I’m Just Ken / In Memoriam • ABC • Academy of Motion Picture Arts and Sciences Mandy Moore, Choreographer

RuPaul’s Drag Race • Routines: Dance! / Queen Of Wind / Power • MTV • World Of Wonder Jamal Sims, Choreographer

76th Annual Tony Awards • Routines: Opening Number / Lifetime Achievement • CBS • White Cherry Entertainment in association with Tony Award Productions Karla Puno Garcia, Choreographer

Outstanding Choreography For Scripted Programming

The Idol • Routines: Rehearsal / Music Video Shoot / Dollhouse • HBO | Max • HBO in association with The Reasonable Bunch, Manic Phase, Tiny Goat, Bron, People Pleaser Productions and A24 Nina McNeely, Choreographer

Only Murders In The Building • Routines: Oliver’s Dream Sequence / Creatures Of The Night • Hulu • 20th Television John Carrafa, Choreographer

Palm Royale • Routines: The Rhumba / Maxine’s Entrance • Apple TV+ • Apple Studios Brooke Lipton, Choreographer

Physical • Routines: Jean Franc’s Advanced Aerobics Class / Figure 8’s Commercial / Xanadu & Dreams • Apple TV+ • Tomorrow Studios in association with Apple Jennifer Hamilton, Choreographer

Outstanding Cinematography For A Multi-Camera Series (Half-Hour)

The Conners • Fire And Vice • ABC • Werner Entertainment Donald A. Morgan, ASC, Director of Photography

Frasier • Reindeer Games • Paramount+ • CBS Studios in association with Grammnet NH Productions Gary Baum, ASC, Director of Photography

How I Met Your Father • Okay Fine, It’s A Hurricane • Hulu • 20th Television Gary Baum, ASC, Director of Photography

Night Court • A Night Court Before Christmas • NBC • After January Productions in association with Warner Bros. Television and Universal Television Wayne Kennan, ASC, Director of Photography

The Upshaws • Forbidden Fruit • Netflix • Savannah Sweet Productions and Push It Productions for Netflix Chuck Ozeas, Director of Photography

Outstanding Cinematography For A Single-Camera Series (Half-Hour)

The Bear • Forks • FX • FX Productions Andrew Wehde, Director of Photography

Hacks • Just For Laughs • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Adam Bricker, Director of Photography

Physical • Like A Rocket • Apple TV+ • Tomorrow Studios in association with Apple Jimmy Lindsey, ASC, Director of Photography

Reservation Dogs • Deer Lady • FX • FX Productions Mark Schwartzbard, Director of Photography

Sugar • Starry Eyed • Apple TV+ • Apple Studios Richard Rutkowski, ASC, Director of Photography

Outstanding Cinematography For A Series (One Hour)

The Crown • Ritz • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Sophia Olsson, FSF, Director of Photography

The Crown • Sleep, Dearie Sleep • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Adriano Goldman, ASC, BSC, ABC, Director of Photography

Shōgun • Anjin • FX • FX Productions Christopher Ross, BSC, Director of Photography

Shōgun • Crimson Sky • FX • FX Productions Sam McCurdy, ASC, BSC, Director of Photography

3 Body Problem • Judgment Day • Netflix • Netflix Studios / Bighead Littlehead / The Three-Body Universe / T-Street / Plan B Entertainment / Primitive Streak Martin Ahlgren, ASC, Director of Photography

Winning Time: The Rise Of The Lakers Dynasty • Beat L.A. • HBO | Max • HBO in association with HyperObject Industries, Steeplechase Amusements, Jim Hecht Productions and Jason Shuman Productions Todd Banhazl, ASC, Director of Photography

Outstanding Cinematography For A Limited Or Anthology Series Or Movie

All The Light We Cannot See • Episode 4 • Netflix • 21 Laps Entertainment for Netflix Tobias Schliessler, ASC, Director of Photography

Fargo • The Tragedy Of The Commons • FX • FX Presents an MGM/FXP Production Dana Gonzales, ASC, Director of Photography

Griselda • Middle Management • Netflix • A Netflix Series / Grand Electric Armando Salas, ASC, Director of Photography

Lessons In Chemistry • Little Miss Hastings • Apple TV+ • Apple Studios Zachary Galler, Director of Photography

Ripley • V Lucio • Netflix • Showtime and Endemol Shine North America in association with Entertainment 360 and Filmrights for Netflix Robert Elswit, Director of Photography

True Detective: Night Country • Part 6 • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Florian Hoffmeister, BSC, Director of Photography

Beckham • The Kick • Netflix • A Netflix Documentary Series / A Studio 99 Production in association with Ventureland Tim Cragg, Director of Photography

Girls State • Apple TV+ • Concordia Studio presentation of a Mile End Films production in association with Apple Laura Hudock, Director of Photography Laela Kilbourn, Director of Photography Daniel Carter, Director of Photography Erynn Patrick Lamont, Director of Photography Keri Oberly, Director of Photography Thorsten Thielow, Director of Photography Martina Radwan, Director of Photography

Jim Henson Idea Man • Disney+ • Imagine Documentaries Productions, Disney Branded Television Igor Martinovic, Director of Photography Vanja Cernjul, Director of Photography

Our Planet II • Chapter 1: World On The Move • Netflix • Silverback Films for Netflix Brad Bestelink, Cinematography by Kyle McBurnie, Cinematography by

Planet Earth III • Extremes • BBC America • A BBC Studios Natural History Unit Production co-produced with BBC America, ZDF and France Télévisions for BBC Luke Nelson, Director of Photography John Shier, Director of Photography

Outstanding Cinematography For A Reality Program

The Amazing Race • Series Body Of Work • CBS • WorldRace Productions, Inc. Joshua Gitersonke, Director of Photography Bryan T. Adams, Camera Kathryn Barrows, Camera Kurt Carpenter, Camera Petr Cikhart, Camera Diego J. Contreras, Camera David D’Angelo, Camera Matthew Di Girolamo, CSC, Camera Rob Gowler, Camera Adam Haisinger, Camera Jamie Holland, Camera Kevin R. Johnson, Camera Jay Kaufman, Camera Ian Kerr, CSC, Camera Tim Laks, Camera Regan Letourneau, Camera Danny Long, Camera Lucas Kenna Mertes, Camera Ryan Shaw, Camera Alan Weeks, Camera Stephen A. Coleman, Camera Willie Shipp, Camera

Life Below Zero • Bulletproof • National Geographic • BBC Studios Los Angeles for National Geographic Charlie Beck, Director of Photography Michael Cheeseman, Director of Photography Danny Day, Director of Photography Pedro Delbrey, Camera Operator

Survivor • Series Body Of Work • CBS • MGM Studios Peter Wery, Director of Photography Scott Duncan, Director of Photography Russ Fill, Director of Photography Tim Barker, Camera Marc Bennett, Camera Paulo Castillo, Camera Rodney Chauvin, Camera Chris Ellison, Camera Ben Gamble, Camera Nixon George, Camera Marcus Hebbelmann, Camera Derek Hoffmann, Camera Matthias Hoffmann, Camera Toby Hogan, Camera Derek Holt, Camera Efrain “Mofi” Laguna, Camera Ian Miller, Camera Nico Nyoni, Camera Paul Peddinghaus, Camera Nejc Poberaj, Camera Louis Powell, Camera Thomas Pretorius, Camera Jovan Sales, Camera Erick Sarmiento, Camera Dirk Steyn, Camera John Tattersall, Camera Holly Thompson, Camera Paulo Velozo, Camera Cullum Andrews, Camera Christopher Barker, Director of Aerial Photography Granger Scholtz, Director of Aerial Photography Nic Van Der Westhuizen, Ariel Camera Operator Dwight Winston, Aerial Camera Operator

The Traitors • The Funeral • Peacock • Studio Lambert Siggi Rosen-Rawlings, Director of Photography Matt Wright, Director of Photography

Outstanding Commercial

Album Cover – Apple iPhone 15 O Positive, Production Company Apple, Ad Agency

Best Friends – Uber One | Uber Eats O Positive, Production Company Mother, Ad Agency

Fuzzy Feelings – Apple – iPhone + Mac Hungry Man, Production Company TBWA\ Media Arts Lab, Ad Agency

Just Joking – Sandy Hook Promise SMUGGLER, Production Company BBDO New York, Ad Agency

Like A Good Neighbaaa – State Farm O Positive, Production Company Highdive, Ad Agency

Michael CeraVe – CeraVe Moisturizing Cream Prettybird, Production Company Ogilvy PR, Ad Agency

Outstanding Period Costumes For A Series

The Gilded Age • You Don’t Even Like Opera • HBO | Max • HBO in association with Universal Television and Neamo Film and Television Kasia Walicka Maimone, Costume Designer Patrick Wiley, Co-Costume Designer Isabelle Simone, Assistant Costume Designer Denise Andres, Costume Supervisor Rebecca Levin Lore, Costume Supervisor

The New Look • What A Day This Has Been • Apple TV+ • Apple Studios and DB-AK Productions Karen Muller Serreau, Costume Designer Catherine Boisgontier, Costume Supervisor Emmanuelle Pertus, Assistant Costume Designer

Palm Royale • Maxine Throws A Party • Apple TV+ • Apple Studios Alix Friedberg, Costume Designer Carolyn Dessert, Costume Supervisor Leigh Bell, Co-Costume Designer Lindsay Newton, Assistant Costume Designer Valerie Keiser, Head Of Workroom

Shōgun • Ladies Of The Willow World • FX • FX Productions Carlos Rosario, Costume Designer Carole Griffin, Costume Supervisor Kristen Bond, Assistant Costume Designer Kenichi Tanaka, Assistant Costume Designer Paula Plachy, Assistant Costume Designer

Winning Time: The Rise Of The Lakers Dynasty • What Is And What Should Never Be • HBO | Max • HBO in association with HyperObject Industries, Steeplechase Amusements, Jim Hecht Productions and Jason Shuman Productions Emma Potter, Costume Designer Maressa Richtmyer, Assistant Costume Designer Shannon Moore, Costume Supervisor

Outstanding Period Costumes For A Limited Or Anthology Series Or Movie

Feud: Capote vs. The Swans • Pilot • FX • FX Productions, 20th Television Lou Eyrich, Costume Designer Leah Katznelson, Costume Designer Emily O’Connor, Assistant Costume Designer Laura McCarthy, Costume Supervisor Hanna Shea, Assistant Costume Designer Miwa Ishii, Head of Workroom

Griselda • Paradise Lost • Netflix • A Netflix Series / Grand Electric Safowa Bright Bitzelberger, Costume Designer Joseph Castellanos, Assistant Costume Designer Jennifer Marlin, Assistant Costume Designer Serena Duffin, Costume Supervisor Joanne Mills Trotta, Head of Workroom

Lessons In Chemistry • Little Miss Hastings • Apple TV+ • Apple Studios Mirren Gordon-Crozier, Costume Designer Jen Kennedy, Assistant Costume Designer Kelli Hagen, Costume Supervisor

Mary & George • Not So Much By Love As By Awe • STARZ • Starz Originals in association with Sky, A Hera Pictures Production in association with Sky Studios and AMC Networks Annie Symons, Costume Designer Cédric Andries, Costume Supervisor Courtney McClain, Assistant Costume Designer Jovana Gospavic, Assistant Costume Designer Jason Airey, Assistant Costume Designer

Outstanding Fantasy/Sci-Fi Costumes

Ahsoka • Part Eight: The Jedi, The Witch, And The Warlord • Disney+ • Lucasfilm Ltd. Shawna Trpcic, Costume Designer Elissa Alcala, Assistant Costume Designer Devon Patterson, Costume Supervisor

Echo • Lowak • Disney+ • Marvel Studios Ambre Wrigley, Costume Designer Kizzie Martin Lillas, Assistant Costume Designer Kristina Elaine Taylor, Assistant Costume Designer Garnet Filo, Assistant Costume Designer Amanda Steeley, Costume Supervisor

Fallout • The End • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Amy Westcott, Costume Designer Amy Burt, Costume Supervisor Wendy Yang, Associate Costume Designer Jonathan Knipscher, Assistant Costume Designer Cherie Cunningham Collins, Head of Workroom

Loki • 1893 • Disney+ • Marvel Studios Christine Wada, Costume Designer Harriet Kendall, Assistant Costume Designer Kristen Ernst-Brown, Assistant Costume Designer Tom Hornsby, Costume Supervisor

What We Do In The Shadows • Pride Parade • FX • FX Productions Laura Montgomery, Costume Designer Kay Jameson, Costume Supervisor Amy Sztulwark, Assistant Costume Designer Anna Viksne, Assistant Costume Designer

Outstanding Contemporary Costumes For A Series

The Bear • Fishes • FX • FX Productions Courtney Wheeler, Costume Designer Lariana Santiago, Assistant Costume Designer Steven “Rage” Rehage, Costume Supervisor

The Crown • Sleep, Dearie Sleep • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Amy Roberts, Costume Designer Giles Gale, Costume Supervisor Sidonie Roberts, Associate Costume Designer

Hacks • Just For Laughs • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Kathleen Felix-Hager, Costume Designer Karen Bellamy, Costume Supervisor Rory Cunningham, Head of Workroom

Only Murders In The Building • Sitzprobe • Hulu • 20th Television Dana Covarrubias, Costume Designer Kathleen Gerlach, Wardrobe Supervisor Abby Geoghegan, Assistant Costume Designer

The Righteous Gemstones • For I Know The Plans I Have For You • HBO | Max • HBO in association with Rough House Christina Flannery, Costume Designer Maura “Maude” Cusick, Assistant Costume Designer Rebecca Denoewer, Costume Supervisor

Outstanding Contemporary Costumes For A Limited Or Anthology Series Or Movie

American Horror Story: Delicate • The Auteur • FX • 20th Television Jacqueline Demeterio, Costume Designer Jessica Zavala, Assistant Costume Designer Jennifer Salim, Assistant Costume Designer Jose Bantula, Costume Supervisor Jillian Daidone, Costume Supervisor

Baby Reindeer • Episode 4 • Netflix • A Netflix Series / A Clerkenwell Films Production Mekel Bailey, Costume Designer Imogen Holness, Costume Supervisor

Fargo • Insolubilia • FX • FX Presents an MGM/FXP Production Carol Case, Costume Designer Charl Boettger, Assistant Costume Designer Michelle Carr, Costume Supervisor

The Regime • The Heroes’ Banquet • HBO | Max • HBO in association with Hot Seat Productions and Juggle Productions Consolata Boyle, Costume Designer Marion Weise, Costume Supervisor Bobbie Edwards, Assistant Costume Designer Johanna Garrad, Assistant Costume Designer Jane Law, Head of Workroom

Outstanding Directing For A Comedy Series

Abbott Elementary • Party • ABC • Delicious Non-Sequitur Productions and Fifth Chance in association with Warner Bros. Television and 20th Television Randall Einhorn, Directed by

The Bear • Fishes • FX • FX Productions Christopher Storer, Directed by

The Bear • Honeydew • FX • FX Productions Ramy Youssef, Directed by

The Gentlemen • Refined Aggression • Netflix • Netflix, Moonage Pictures and Miramax TV Guy Ritchie, Directed by

Hacks • Bulletproof • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Lucia Aniello, Directed by

The Ms. Pat Show • I’m The Pappy • BET+ • Imagine Television, Lee Daniels Entertainment and Dae Light Media Mary Lou Belli, Directed by

Outstanding Directing For A Drama Series

The Crown • Sleep, Dearie Sleep • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Stephen Daldry, Directed by

The Morning Show • The Overview Effect • Apple TV+ • Media Res in association with Apple Mimi Leder, Directed by

Mr. & Mrs. Smith • First Date • Prime Video • Amazon MGM Studios, Big Indie Pictures Hiro Murai, Directed by

Shōgun • Crimson Sky • FX • FX Productions Frederick E.O. Toye, Directed by

Slow Horses • Strange Games • Apple TV+ • See-Saw Films in association with Apple Saul Metzstein, Directed by

Winning Time: The Rise Of The Lakers Dynasty • Beat L.A. • HBO | Max • HBO in association with HyperObject Industries, Steeplechase Amusements, Jim Hecht Productions and Jason Shuman Productions Salli Richardson-Whitfield, Directed by

Outstanding Directing For A Limited Or Anthology Series Or Movie

Baby Reindeer • Episode 4 • Netflix • A Netflix Series / A Clerkenwell Films Production Weronika Tofilska, Directed by

Fargo • The Tragedy Of The Commons • FX • FX Presents an MGM/FXP Production Noah Hawley, Directed by

Feud: Capote vs. The Swans • Pilot • FX • FX Productions, 20th Television Gus Van Sant, Directed by

Lessons In Chemistry • Poirot • Apple TV+ • Apple Studios Millicent Shelton, Directed by

Ripley • Netflix • Showtime and Endemol Shine North America in association with Entertainment 360 and Filmrights for Netflix Steven Zaillian, Directed by

True Detective: Night Country • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Issa López, Directed by

Outstanding Directing For A Variety Series

The Daily Show • Jon Stewart Returns To The Daily Show • Comedy Central • Central Productions, LLC David Paul Meyer, Directed by

Jimmy Kimmel Live! • Trump Still Mad About Oscars Joke And Thinks Jimmy Is Al Pacino, Chris Stapleton’s Ballad For John Stamos, Guest Rob McElhenney & The Return Of Our Outdoor Stage! • ABC • ABC Signature in association with Kimmelot Andy Fisher, Directed by

The Late Show With Stephen Colbert • December 21, 2023: GOP Wants Biden Kicked Off Ballot, Bankrupt Rudy Hawks Supplements, Elf On The Shelf For Parents; Meanwhile; Anderson Cooper & Andy Cohen; Louis Cato And The Late Show Band • CBS • CBS Studios Jim Hoskinson, Directed by

Outstanding Directing For A Variety Special Dave Chappelle: The Dreamer • Netflix • Netflix | Lathan TV | Pilot Boy Stan Lathan, Directed by

Dick Van Dyke 98 Years Of Magic • CBS • Smart Dog Media and White Label Productions in association with CBS Russell Norman, Directed by

The Oscars • ABC • Academy of Motion Picture Arts and Sciences Hamish Hamilton, Directed by

Tig Notaro: Hello Again • Prime Video • Amazon MGM Studios and Above Average Stephanie Allynne, Directed by

76th Annual Tony Awards • CBS • White Cherry Entertainment in association with Tony Award Productions Glenn Weiss, Directed by

Trevor Noah: Where Was I • Netflix • Bob Bain Productions, Inc. for Netflix David Paul Meyer, Directed by

Outstanding Directing For A Documentary/Nonfiction Program

Albert Brooks: Defending My Life • HBO | Max • HBO Documentary Films and Castle Rock Entertainment Rob Reiner, Directed by

Beckham • What Makes David Run • Netflix • A Netflix Documentary Series / A Studio 99 Production in association with Ventureland Fisher Stevens, Directed by

Girls State • Apple TV+ • Concordia Studio presentation of a Mile End Films production in association with Apple Amanda McBaine, Directed by Jesse Moss, Directed by

The Greatest Night In Pop • Netflix • A Netflix Documentary / An MRC Film / A Dorothy St Pictures Production in association with Makemake Entertainment Bao Nguyen, Directed by

Jim Henson Idea Man • Disney+ • Imagine Documentaries Productions, Disney Branded Television Ron Howard, Directed by

Steve! (Martin) A Documentary In 2 Pieces • Apple TV+ • Apple Original Films presents an A24 / Tremolo Production Morgan Neville, Directed by

Outstanding Directing For A Reality Program

Love On The Spectrum U.S. • Episode 7 • Netflix • Northern Pictures for Netflix Cian O’Clery, Directed by

RuPaul’s Drag Race • Grand Finale • MTV • World Of Wonder Nick Murray, Directed by

Squid Game: The Challenge • Red Light, Green Light • Netflix • Studio Lambert and The Garden for Netflix Diccon Ramsay, Directed by

The Traitors • Betrayers, Fakes And Fraudsters • Peacock • Studio Lambert Ben Archard, Directed by

Welcome To Wrexham • Shaun’s Vacation • FX • Boardwalk Pictures Bryan Rowland, Directed by

Outstanding Picture Editing For A Drama Series

Fallout • The End • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Ali Comperchio, Editor

Fallout • The Ghouls • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Yoni Reiss, ACE, Editor

Mr. & Mrs. Smith • First Date • Prime Video • Amazon MGM Studios, Big Indie Pictures Kyle Reiter, ACE, Editor Isaac Hagy, ACE, Editor

Shōgun • A Dream Of A Dream • FX • FX Productions Maria Gonzales, Editor Aika Miyake, Editor

Slow Horses • Footprints • Apple TV+ • See-Saw Films in association with Apple Zsófia Tálas, Editor

3 Body Problem • Judgment Day • Netflix • Netflix Studios / Bighead Littlehead / The Three-Body Universe / T-Street / Plan B Entertainment / Primitive Streak Michael Ruscio, ACE, Editor

Outstanding Picture Editing For A Multi-Camera Comedy Series

How I Met Your Father • Okay Fine, It’s A Hurricane • Hulu • 20th Television Russell Griffin, ACE, Editor

Night Court • Wheelers Of Fortune • NBC • After January Productions in association with Warner Bros. Television and Universal Television Stephen Prime, Editor

The Upshaws • Ain’t Broke • Netflix • Savannah Sweet Productions and Push It Productions for Netflix Angel Gamboa Bryant, Editor Brian LeCoz, Editor

The Upshaws • Auto Motives • Netflix • Savannah Sweet Productions and Push It Productions for Netflix Angel Gamboa Bryant, Editor

Outstanding Picture Editing For A Single-Camera Comedy Series

The Bear • Fishes • FX • FX Productions Joanna Naugle, ACE, Editor

Hacks • The Deborah Vance Christmas Spectacular • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Jess Brunetto, ACE, Editor

Only Murders In The Building • Sitzprobe • Hulu • 20th Television Shelly Westerman, ACE, Editor Payton Koch, Editor

Only Murders In The Building • The White Room • Hulu • 20th Television Peggy Tachdjian, Editor

Reservation Dogs • Dig • FX • FX Productions Patrick Tuck, Editor Varun Viswanath, ACE, Editor

What We Do In The Shadows • Pride Parade • FX • FX Productions Liza Cardinale, ACE, Editor A.J. Dickerson, ACE, Editor

Outstanding Picture Editing For A Limited Or Anthology Series Or Movie

Baby Reindeer • Episode 4 • Netflix • A Netflix Series / A Clerkenwell Films Production Peter H. Oliver, Editor Benjamin Gerstein, Editor

Black Mirror • Beyond The Sea • Netflix • Broke & Bones for Netflix Jon Harris, Editor

Fargo • The Tragedy Of The Commons • FX • FX Presents an MGM/FXP Production Regis Kimble, Editor

Ripley • III Sommerso • Netflix • Showtime and Endemol Shine North America in association with Entertainment 360 and Filmrights for Netflix Joshua Raymond Lee, Editor David O. Rogers, Editor

True Detective: Night Country • Part 4 • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Matt Chessé, ACE, Editor

True Detective: Night Country • Part 6 • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Brenna Rangott, Editor

Outstanding Picture Editing For Variety Programming

Dolly Parton’s Pet Gala • CBS • Sandollar Films in association with Noz Entertainment and Gunpowder & Sky Bill DeRonde, Editor James Collet, Editor Kari Heavenrich, Editor Stavros Stavropoulos, Editor

John Mulaney Presents: Everybody’s In LA • Paranormal • Netflix • Multiple Camera Productions for Netflix Kelly Lyon, ACE, Editor Sean McIlraith, Editor Ryan McIlraith, Editor

Nikki Glaser: Someday You’ll Die • HBO | Max • HBO in association with Done + Dusted Guy Harding, Editor

Ramy Youssef: More Feelings • HBO | Max • HBO presents a Cairo Cowboy and A24 production Joanna Naugle, ACE, Editor

Tig Notaro: Hello Again • Prime Video • Amazon MGM Studios and Above Average Kelly Lyon, ACE, Editor

Outstanding Picture Editing For Variety Programming (Segment)

The Daily Show • The Dailyshowography Of Vivek Ramaswamy: Enter The RamaVerse (segment) • Comedy Central • Central Productions, LLC Catherine Trasborg, Editor

Last Week Tonight With John Oliver • The Sad Tale Of Henry The Engine (segment) • HBO | Max • HBO in association with Peyance Productions and Avalon Television Ryan Barger, Senior Editor

Saturday Night Live • I’m Just Pete (segment) • NBC • SNL Studios in association with Universal Television and Broadway Video Ryan Spears, Editor

Saturday Night Live • Bowen’s Straight (segment) • NBC • SNL Studios in association with Universal Television and Broadway Video Paul Del Gesso, Editor Kristie Ferriso, Editor

Outstanding Picture Editing For A Nonfiction Program

Albert Brooks: Defending My Life • HBO | Max • HBO Documentary Films and Castle Rock Entertainment Bob Joyce, Editor

Beckham • Golden Balls • Netflix • A Netflix Documentary Series / A Studio 99 Production in association with Ventureland Michael Harte, Editor Paul Carlin, Additional Editor Chris King, Additional Editor

Escaping Twin Flames • Up In Flames • Netflix • Good Caper Content for Netflix Martin Biehn, Lead Editor Kevin Hibbard, Editor Troy Takaki, ACE, Editor Mimi Wilcox, Editor Inbal B. Lessner, ACE, Editor

Jim Henson Idea Man • Disney+ • Imagine Documentaries Productions, Disney Branded Television Sierra Neal, Editor Paul Crowder, ACE, Editor

The Jinx – Part Two • Chapter 9: Saving My Tears Until It’s Official • HBO | Max • HBO Documentary Films presents a Hit The Ground Running Production Richard Hankin, Supervising Editor Charles Olivier, Editor Lance Edmands, Additional Editor Sam Neave, Additional Editor Camilla Hayman, Additional Editor David Tillman, Additional Editor

Quiet On Set: The Dark Side Of Kids TV • Hidden In Plain Sight • Investigation Discovery • Maxine Productions and Sony Pictures Television – Nonfiction in association with Business Insider Daphne Gómez-Mena, Editor Jane Jo, ACE, Editor

Steve! (Martin) A Documentary In 2 Pieces • Then • Apple TV+ • Apple Original Films presents an A24 / Tremolo Production Alan Lowe, Editor

Outstanding Picture Editing For A Structured Reality Or Competition Program

The Amazing Race • Series Body Of Work • CBS • WorldRace Productions, Inc. Eric Beetner, Editor Kevin Blum, Editor Kellen Cruden, Editor Christina Fontana, Editor Jay Gammill, Editor Katherine Griffin, Editor Jason Groothuis, Editor Darrick Lazo, Editor Ryan Leamy, Editor Josh Lowry, Editor Steven Mellon, Editor Paul C. Nielsen, Editor Myron Santos, Editor Steven Urrutia, Editor

Queer Eye • Kiss The Sky • Netflix • Scout Productions Inc. and ITV Entertainment LLC for Netflix Toni Ann Carabello, Lead Editor Enrique Araujo, Editor Widgie Nikia Figaro, Editor Jason Szabo, Editor Kimberly Pellnat, Editor

RuPaul’s Drag Race • Werq The World • MTV • World Of Wonder Jamie Martin, Lead Editor Paul Cross, Editor Ryan Mallick, Editor Michael Roha, Editor

Top Chef • Series Body Of Work • Bravo • Magical Elves Steve Lichtenstein, Lead Editor Ericka Concha, Editor George Dybas, Editor Malia Jurick, Editor Brian Kane, Editor Chris King, Editor Eric Lambert, Editor Joon Hee Lim, Editor Matt Reynolds, Editor Jay M. Rogers, Editor Daniel Ruiz, Editor Reggie Spangler, Editor Annie Tighe, Editor

Outstanding Picture Editing For An Unstructured Reality Program

Below Deck Down Under • The Turnover Day • Bravo • 51 Minds Garrett Hohendorf, Supervising Editor Addison McCoubrey, Lead Editor

Deadliest Catch • Nautical Deathtrap • Discovery Channel • Original Productions, LLC for Discovery Channel Rob Butler, ACE, Supervising Editor Isaiah Camp, ACE, Supervising Editor Josh Stockero, Editor Alexander Rubinow, ACE, Editor Chris Courtner, Additional Editor Chris Meyers, Additional Editor Alberto Perez, Editor

Love On The Spectrum U.S. • Episode 7 • Netflix • Northern Pictures for Netflix Rachel Grierson-Johns, Editor Leanne Cole, Editor Toby Stratmann, Editor Gretchen Peterson, Additional Editor

RuPaul’s Drag Race: Untucked • Rate-A-Queen • MTV • World Of Wonder Matthew D. Miller, Lead Editor Kellen Cruden, Editor

Welcome To Wrexham • Up The Town? • FX • Boardwalk Pictures Michael Brown, Editor Josh Drisko, Editor Michael Oliver, Editor Bryan Rowland, Editor Steve Welch, Editor

Outstanding Emerging Media Program

Emperor • Meta Quest • An Atlas V, Reynard Films, France Télévisions production in association with Albyon Marion Burger, Director Ilan J. Cohen, Director Atlas V Reynard Films France Télévisions

Fallout: Vault 33 • Prime Video • Amazon MGM Studios, Kilter Films, Bethesda Game Studios Amazon MGM Studios Kilter Films Bethesda Studios

The Pirate Queen With Lucy Liu • Meta • Singer Studios and Meta Eloise Singer, Producer, Director Lucy Liu, Producer Singer Studios Siobhan McDonnell, Producer

Red Rocks Live In VR • Meta / Facebook • Meta, Dorsey Pictures, Lightsail VR, 7 Cinematics Meta Dorsey Pictures Lightsail VR 7 Cinematics

Wallace & Gromit In The Grand Getaway • Meta • An Atlas V, Aardman, Meta production in association with No Ghost and Albyon Finbar Hawkins, Director, Writer Bram Ttwheam, Director Atlas V Aardman Meta

Outstanding Contemporary Hairstyling

Abbott Elementary • Mother’s Day • ABC • Delicious Non-Sequitur Productions and Fifth Chance in association with Warner Bros. Television and 20th Television Moira Frazier, Department Head Hairstylist Dustin Osborne, Key Hairstylist Christina Joseph, Hairstylist

The Bear • Fishes • FX • FX Productions Ally Vickers, Department Head Hairstylist Angela Brasington, Key Hairstylist Melanie Shaw, Hairstylist

Hacks • Yes, And • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Jennifer Bell, Personal Hairstylist

The Morning Show • The Kármán Line • Apple TV+ • Media Res in association with Apple Nicole Venables, Department Head Hairstylist Jennifer Petrovich, Key Hairstylist Janine Thompson, Personal Hairstylist Lona Vigi, Personal Hairstylist

Only Murders In The Building • Opening Night • Hulu • 20th Television Jameson Eaton, Department Head Hairstylist Jimmy Goode, Key Hairstylist Leah Loukas, Hairstylist J. Roy Helland, Personal Hairstylist

Outstanding Period Or Fantasy/Sci-Fi Hairstyling

Ahsoka • Part One: Master And Apprentice • Disney+ • Lucasfilm Ltd. Maria Sandoval, Department Head Hairstylist Ashleigh Childers, Assistant Department Head Hairstylist Sallie Ciganovich, Key Hairstylist Marc Mapile, Hairstylist Alyn Topper, Hairstylist

The Gilded Age • You Don’t Even Like Opera • HBO | Max • HBO in association with Universal Television and Neamo Film and Television Sean Flanigan, Department Head Hairstylist Christine Fennell-Harlan, Key Hairstylist Jonathan Zane-Sharpless, Key Hairstylist Aaron Mark Kinchen, Key Hairstylist Tim Harvey, Hairstylist Jennifer M. Bullock, Hairstylist

Palm Royale • Maxine Rolls The Dice • Apple TV+ • Apple Studios Karen Bartek, Hair Designer Brittany Madrigal, Assistant Department Head Hairstylist Cyndra Dunn, Key Hairstylist Tiffany Bloom, Key Hairstylist Frida Aradottir, Personal Hairstylist Jill Crosby, Personal Hairstylist

Shōgun • A Stick Of Time • FX • FX Productions Sanna Kaarina Seppanen, Hair Designer Mariah Crawley, Key Hairstylist Madison Gillespie, Key Hairstylist Nakry Keo, Key Hairstylist Janis Bekkering, Key Hairstylist

Outstanding Hairstyling For A Variety, Nonfiction Or Reality Program

The Boulet Brothers’ Dragula • Trash Can Children • Shudder • A Boulet Brothers Production in association with Shudder Marco Gabellini, Hairstylist

Dancing With The Stars • Finale • ABC • BBC Studios Los Angeles Productions Kimi Messina, Department Head Hairstylist Dwayne Ross, Key Hairstylist Joe Matke, Hairstylist Jani Kleinbard, Hairstylist Amber Maher, Hairstylist Marion Rogers, Hairstylist Brittany Spaulding, Hairstylist

Saturday Night Live • Host: Ryan Gosling • NBC • SNL Studios in association with Universal Television and Broadway Video Jodi Mancuso, Department Head Hairstylist Cara Hannah, Key Hairstylist Inga Thrasher, Hairstylist Joseph Whitmeyer, Hairstylist Amanda Duffy Evans, Hairstylist Chad Harlow, Hairstylist Gina Ferrucci, Hairstylist Elliott Simpson, Hairstylist

So You Think You Can Dance • Challenge #2: Broadway • FOX • Sony Pictures Television – Nonfiction’s 19 Entertainment and Dick Clark Productions Crystal Broedel, Department Head Hairstylist Cynthia Chapman, Key Hairstylist Antoinette Black, Hairstylist Ashley Sedmack, Hairstylist Rie “Leay” Cangelosi, Hairstylist Victor Paz, Hairstylist

We’re Here • Oklahoma, Part 3 • HBO | Max • HBO in association with The Intellectual Property Corporation (IPC) Abdiel “Gloria” Urcullu, Department Head Hairstylist Tyler Funicelli, Hairstylist

Outstanding Lighting Design/Lighting Direction For A Variety Series

America’s Got Talent • Episode 1818 • NBC • Fremantle and Syco Entertainment Noah Mitz, Lighting Designer Will Gossett, Lighting Director Hannah Kerman, Lighting Director Ryan Tanker, Lighting Director Patrick Boozer, Lighting Director Matt Benson, Gaffer Terrance Ho, Video Control Scott Chmielewski, Media Server Programmer

American Idol • Top 14 Reveal • ABC • Fremantle and 19 Entertainment Tom Sutherland, Lighting Designer James Coldicott, Lighting Director Nathan Files, Lighting Director Bobby Grey, Lighting Director Ed Moore, Video Control Luke Chantrell, Video Control Scott Chmielewski, Media Server Programmer

Dancing With The Stars • Semi-Finals • ABC • BBC Studios Los Angeles Productions Noah Mitz, Lighting Designer Patrick Brazil, Moving Light Programmer Andrew Law, Moving Light Programmer Casey Rhodes, Lighting Director Hannah Kerman, Lighting Director Matt Benson, Gaffer Ed Moore, Video Control Stu Wesolik, Video Control Matt McAdam, Media Server Programmer

Saturday Night Live • Host: Kristen Wiig • NBC • SNL Studios in association with Universal Television and Broadway Video Geoffrey Amoral, Lighting Director Rick McGuinness, Lighting Director Trevor Brown, Moving Light Programmer Tim Stasse, Moving Light Programmer William McGuinness, Chief Lighting Technician Frank Grisanti, Video Control

The Voice • Live Finale, Part 2 • NBC • MGM Television and Warner Bros. Unscripted Television in association with Warner Horizon and ITV Studios The Voice USA, Inc. Oscar Dominguez, Lighting Designer Dan Boland, Moving Light Programmer Ronald Wirsgalla, Lighting Director Erin Anderson, Lighting Director Andrew Munie, Media Server Programmer Jeff Shood, Media Server Programmer Terrance Ho, Video Control

Outstanding Lighting Design/Lighting Direction For A Variety Special

The Apple Music Super Bowl LVIII Halftime Show Starring Usher • CBS • Jesse Collins Entertainment, DPS and Roc Nation Al Gurdon, Lighting Designer Ben Green, Lighting Director Harry Forster, Lighting Director Mark Humphrey, Lighting Director Eric Marchwinski, Lighting Director Alen Sisul, Gaffer

Billy Joel: The 100th – Live At Madison Square Garden • CBS • A Sony Music Vision and Enliven Entertainment Production / A Grammy Studios Production in association with Maritime Pictures Steve Cohen, Lighting Designer Mark Foffano, Lighting Consultant Justin Cheatham, Lighting Director Tad Inferrera, Lighting Director Adrian Bassett, Chief Lighting Technician

66th Grammy Awards • CBS • Fulwell 73 Noah Mitz, Lighting Designer Andy O’Reilly, Lighting Director Patrick Boozer, Lighting Director Ryan Tanker, Lighting Director Madigan Stehly, Lighting Director Bryan Klunder, Lighting Director Matt Benson, Lighting Director Will Gossett, Lighting Director Erin Anderson, Lighting Director Terrance Ho, Video Control Guy Jones, Video Control Matt Cotter, Media Server Programmer

2023 Rock And Roll Hall Of Fame Induction Ceremony • ABC • Tenth Planet Productions Allen Branton, Lighting Designer Kevin Lawson, Lighting Director Felix Peralta, Lighting Director George Gountas, Lighting Director Alex Flores, Gaffer Billy Steinberg, Video Control JC Castro, Video Control Bianca Moncada, Media Server Programmer

76th Annual Tony Awards • CBS • White Cherry Entertainment in association with Tony Award Productions Robert Dickinson, Lighting Designer Noah Mitz, Lighting Director Ed McCarthy, Lighting Director Tyler Ericson, Lighting Director Harry Sangmeister, Lighting Director Richie Beck, Chief Lighting Technician J.M. Hurley, Video Control Ka Lai Wong, Video Control Jason Rudolph, Media Server Programmer

Outstanding Main Title Design

Fallout • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Patrick Clair, Creative Director Lance Slaton, Art Director Raoul Marks, Animator Scott Geersen, 3D Artist

Lessons In Chemistry • Apple TV+ • Apple Studios Hazel Baird, Creative Director Rob Cawdery, Creative Director Ben Jones, Designer Phil Davies, 3D Artist

Palm Royale • Apple TV+ • Apple Studios Ronnie Koff, Creative Director, Designer Rob Slychuk, Animator Nader Husseini, Animator Lexi Gunvaldson, Editor

Shōgun • FX • FX Productions Nadia Tzuo, Creative Director Mike Zeng, Designer Alex Silver, Animator Lee Buckley, Animator Ilya Tselyutin, Animator Evan Larimore, Animator

3 Body Problem • Netflix • Netflix Studios / Bighead Littlehead / The Three-Body Universe / T-Street / Plan B Entertainment / Primitive Streak Patrick Clair, Creative Director Raoul Marks, Creative Director Eddy Herringson, Designer

Outstanding Contemporary Makeup (Non-Prosthetic)

The Bear • Fishes • FX • FX Productions Ignacia Soto-Aguilar, Department Head Makeup Artist Nicole Rogers, Key Makeup Artist Justine Losoya, Makeup Artist Zsofia Otvos, Additional Makeup Artist

Hacks • Yes, And • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Keith Sayer, Personal Makeup Artist

The Morning Show • Strict Scrutiny • Apple TV+ • Media Res in association with Apple Cindy Williams, Department Head Makeup Artist Liz Villamarin, Key Makeup Artist Angela Levin, Personal Makeup Artist Tracey Levy, Personal Makeup Artist Keiko Wedding, Makeup Artist Amy Schmiederer, Makeup Artist

Only Murders In The Building • Opening Night • Hulu • 20th Television Arielle Toelke, Department Head Makeup Artist Kim Taylor, Key Makeup Artist Joelle Troisi, Makeup Artist

True Detective: Night Country • Part 5 • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Peter Swords King, Department Head Makeup Artist Natalie Abizadeh, Makeup Supervisor Kerry Skelton, Personal Makeup Artist Flóra Karítas Buenaño, Makeup Artist Hafdís Pálsdóttir, Makeup Artist

Outstanding Period Or Fantasy/Sci-Fi Makeup (Non-Prosthetic)

The Crown • Ritz • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Cate Hall, Makeup Designer Emilie Yong-Mills, Makeup Supervisor

Fallout • The Head • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Michael Harvey, Department Head Makeup Artist Kimberly Amacker, Key Makeup Artist David Kalahiki, Makeup Artist

Feud: Capote vs. The Swans • Beautiful Babe • FX • FX Productions, 20th Television Jacqueline Risotto, Department Head Makeup Artist Kristen Alimena, Key Makeup Artist Christine Hooghuis, Makeup Artist Kyra Panchenko, Personal Makeup Artist

Palm Royale • Pilot • Apple TV+ • Apple Studios Tricia Sawyer, Makeup Designer Marissa Lafayette, Assistant Department Head Makeup Artist Kenny Niederbaumer, Key Makeup Artist Marie DelPrete, Key Makeup Artist Simone Siegl, Personal Makeup Artist Marja Webster, Personal Makeup Artist

Shōgun • The Abyss Of Life • FX • FX Productions Rebecca Lee, Makeup Designer Krystal Devlin, Key Makeup Artist Amber Trudeau, Key Makeup Artist Andrea Alcala, 1st Makeup Leslie Graham, 1st Makeup Krista Hann, 1st Makeup Mike Fields, 1st Makeup Emily Walsh, 1st Makeup

Outstanding Makeup For A Variety, Nonfiction Or Reality Program

The Boulet Brothers’ Dragula • Terror In The Woods • Shudder • A Boulet Brothers Production in association with Shudder The Boulet Brothers, Department Head Makeup Artist

Saturday Night Live • Host: Ryan Gosling • NBC • SNL Studios in association with Universal Television and Broadway Video Louie Zakarian, Department Head Makeup Artist Jason Milani, Key Makeup Artist Amy Tagliamonti, Key Makeup Artist Rachel Pagani, Makeup Artist Young Bek, Makeup Artist Brandon Grether, Makeup Artist Joanna Pisani, Makeup Artist

Taylor Mac’s 24-Decade History Of Popular Music • HBO | Max • HBO Documentary Films in association with Content Superba presents a Telling Pictures and Pomegranate Arts production in association with Fifth Season and Nature’s Darlings Anastasia Durasova, Makeup Designer

The Voice • Live Finale, Part 1 And Live Finale, Part 2 • NBC • MGM Television and Warner Bros. Unscripted Television in association with Warner Horizon and ITV Studios The Voice USA, Inc. Darcy Gilmore, Department Head Makeup Artist Gina Ghiglieri, Key Makeup Artist Kristene Bernard, Personal Makeup Artist Nikki Carbonetta, Additional Makeup Artist Carlene Kearns, Additional Makeup Artist Elie Maalouf, Additional Makeup Artist Anthony Nguyen, Personal Makeup Artist Marylin Lee Spiegel, Additional Makeup Artist

We’re Here • Oklahoma, Part 3 • HBO | Max • HBO in association with The Intellectual Property Corporation (IPC) Tyler “Laila” Devlin, Makeup Artist Kalyd Sebastian Odeh, Makeup Artist

Outstanding Prosthetic Makeup

Ahsoka • Part Eight: The Jedi, The Witch, And The Warlord • Disney+ • Lucasfilm Ltd. Alexei Dmitriew, Makeup Designer Cristina Waltz, Makeup Designer Ana Gabriela Quinonez Urrego, Key Makeup J. Alan Scott, Prosthetic Designer Ian Goodwin, Makeup Cale Thomas, Makeup Alex Perrone, Makeup Scott Stoddard, Makeup

Fallout • The Beginning • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Jake Garber, Special Makeup Effects Department Head Rich Krusell, Prosthetic Makeup Artist Lindsay Gelfand, Key Prosthetic Makeup Artist Gregory Nicotero, Prosthetic Designer Vincent Van Dyke, Prosthetic Designer Lisa Forst, Prosthetic Makeup Artist

Shōgun • A Dream Of A Dream • FX • FX Productions Toby Lindala, Special Makeup Effects Department Head Bree-Anna Lehto, Key Prosthetic Makeup Artist Suzie Klimack, Special Makeup Effects Artist

True Detective: Night Country • Part 3 • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Dave Elsey, Prosthetic Designer Lou Elsey, Prosthetic Designer Brian Kinney, Prosthetic Makeup Artist

The Witcher • The Cost Of Chaos • Netflix • A Netflix Original Series Mark Coulier, Prosthetic Designer Deb Watson, Makeup Designer Stephen Murphy, Prosthetic Makeup Artist Josh Weston, Prosthetic Makeup Artist

Outstanding Music Composition For A Series (Original Dramatic Score)

The Crown • Sleep, Dearie Sleep • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Martin Phipps, Composer

Mr. & Mrs. Smith • First Date • Prime Video • Amazon MGM Studios, Big Indie Pictures David Fleming, Composer

Only Murders In The Building • Sitzprobe • Hulu • 20th Television Siddhartha Khosla, Composer

Palm Royale • Maxine Saves A Cat • Apple TV+ • Apple Studios Jeff Toyne, Composer

Shōgun • Servants Of Two Masters • FX • FX Productions Atticus Ross, Composer Leopold Ross, Composer Nick Chuba, Composer

Slow Horses • Strange Games • Apple TV+ • See-Saw Films in association with Apple Daniel Pemberton, Composer Toydrum, Composer

Outstanding Music Composition For A Limited Or Anthology Series, Movie Or Special (Original Dramatic Score)

All The Light We Cannot See • Episode 4 • Netflix • 21 Laps Entertainment for Netflix James Newton Howard, Composer

Fargo • Blanket • FX • FX Presents an MGM/FXP Production Jeff Russo, Composer

Lawmen: Bass Reeves • Part I • Paramount+ • MTV Entertainment Studios, 101 Studios, Bosque Ranch Productions and Yoruba Saxon Chanda Dancy, Composer

Lessons In Chemistry • Book Of Calvin • Apple TV+ • Apple Studios Carlos Rafael Rivera, Composer

The Tattooist Of Auschwitz • Episode 1 • Peacock • Synchronicity Films, Peacock, SKY Studios Kara Talve, Composer Hans Zimmer, Composer

Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)

Albert Brooks: Defending My Life • HBO | Max • HBO Documentary Films and Castle Rock Entertainment Marc Shaiman, Composer

Beckham • Seeing Red • Netflix • A Netflix Documentary Series / A Studio 99 Production in association with Ventureland Anže Rozman, Composer Camilo Forero, Composer

Jim Henson Idea Man • Disney+ • Imagine Documentaries Productions, Disney Branded Television David Fleming, Composer

Planet Earth III • Extremes • BBC America • A BBC Studios Natural History Unit Production co-produced with BBC America, ZDF and France Télévisions for BBC Jacob Shea, Composer Sara Barone, Composer Hans Zimmer, Composer

Rock Hudson: All That Heaven Allowed • HBO | Max • HBO Documentary Films presents an Altitude Film Entertainment Production in association with Berlanti/Schechter Films and Dog Star Films Laura Karpman, Composer

Outstanding Music Direction

The 46th Kennedy Center Honors • CBS • Done + Dusted in association with ROK Productions Rickey Minor, Music Director

Late Night With Seth Meyers • Episode 1488 • NBC • Universal Television and Broadway Video Fred Armisen, Music Director Eli Janney, Music Director

The Oscars • ABC • Academy of Motion Picture Arts and Sciences Rickey Minor, Music Director

2023 Rock And Roll Hall Of Fame Induction Ceremony • ABC • Tenth Planet Productions Adam Blackstone, Music Director Don Was, Music Director Omar Edwards, Music Director

Saturday Night Live • Host: Ryan Gosling • NBC • SNL Studios in association with Universal Television and Broadway Video Lenny Pickett, Music Director Leon Pendarvis, Music Director Eli Brueggemann, Music Director

Outstanding Original Music And Lyrics

Girls5eva • New York / Song Title: The Medium Time • Netflix • Universal Television for Netflix Sara Bareilles, Music & Lyrics

Only Murders In The Building • Sitzprobe / Song Title: Which Of The Pickwick Triplets Did It? • Hulu • 20th Television Benj Pasek, Music & Lyrics Justin Paul, Music & Lyrics Marc Shaiman, Music & Lyrics Scott Wittman, Music & Lyrics

Saturday Night Live • Host: Maya Rudolph / Song Title: Maya Rudolph Mother’s Day Monologue • NBC • SNL Studios in association with Universal Television and Broadway Video Eli Brueggemann, Music Maya Rudolph, Lyrics Auguste White, Lyrics Mike DiCenzo, Lyrics Jake Nordwind, Lyrics

True Detective: Night Country • Part 5 / Song Title: No Use • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger John Hawkes, Music & Lyrics

Outstanding Original Main Title Theme Music

Feud: Capote vs. The Swans • FX • FX Productions, 20th Television Thomas Newman, Composer

Lessons In Chemistry • Apple TV+ • Apple Studios Carlos Rafael Rivera, Composer

Masters Of The Air • Apple TV+ • Apple Studios with Amblin Television / Playtone Blake Neely, Composer

Palm Royale • Apple TV+ • Apple Studios Jeff Toyne, Composer

Shōgun • FX • FX Productions Atticus Ross, Composer Leopold Ross, Composer Nick Chuba, Composer

Outstanding Music Supervision

Baby Reindeer • Episode 4 • Netflix • A Netflix Series / A Clerkenwell Films Production Catherine Grieves, Music Supervisor

Fallout • The End • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Trygge Toven, Music Supervisor

Fargo • The Tragedy Of The Commons • FX • FX Presents an MGM/FXP Production Maggie Phillips, Music Supervisor

Mr. & Mrs. Smith • A Breakup • Prime Video • Amazon MGM Studios, Big Indie Pictures Jen Malone, Music Supervisor

Only Murders In The Building • Grab Your Hankies • Hulu • 20th Television Bruce Gilbert, Music Supervisor Lauren Marie Mikus, Music Supervisor

True Detective: Night Country • Part 4 • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Susan Jacobs, Music Supervisor

Outstanding Lead Actor In A Comedy Series

What We Do In The Shadows • FX • FX Productions Matt Berry as Laszlo Cravensworth

Curb Your Enthusiasm • HBO | Max • HBO Larry David as Larry David

Only Murders In The Building • Hulu • 20th Television Steve Martin as Charles-Haden Savage

Only Murders In The Building • Hulu • 20th Television Martin Short as Oliver Putnam

The Bear • FX • FX Productions Jeremy Allen White as Carmy

Reservation Dogs • FX • FX Productions D’Pharaoh Woon-A-Tai as Bear Smallhill

Outstanding Lead Actor In A Drama Series

Hijack • Apple TV+ • 60Forty Films / Idiotlamp Productions in association with Apple Idris Elba as Sam Nelson

Mr. & Mrs. Smith • Prime Video • Amazon MGM Studios, Big Indie Pictures Donald Glover as John Smith

Fallout • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Walton Goggins as The Ghoul

Slow Horses • Apple TV+ • See-Saw Films in association with Apple Gary Oldman as Jackson Lamb

Shōgun • FX • FX Productions Hiroyuki Sanada as Yoshii Toranaga

The Crown • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Dominic West as Prince Charles

Outstanding Lead Actor In A Limited Or Anthology Series Or Movie

Fellow Travelers • Showtime • SHOWTIME Presents a Fremantle and Showtime Studios Production Matt Bomer as Hawkins “Hawk” Fuller

Baby Reindeer • Netflix • A Netflix Series / A Clerkenwell Films Production Richard Gadd as Donny

Fargo • FX • FX Presents an MGM/FXP Production Jon Hamm as Roy Tillman

Feud: Capote vs. The Swans • FX • FX Productions, 20th Television Tom Hollander as Truman Capote

Outstanding Lead Actress In A Comedy Series

Abbott Elementary • ABC • Delicious Non-Sequitur Productions and Fifth Chance in association with Warner Bros. Television and 20th Television Quinta Brunson as Janine Teagues

The Bear • FX • FX Productions Ayo Edebiri as Sydney Adamu

Only Murders In The Building • Hulu • 20th Television Selena Gomez as Mabel Mora

Loot • Apple TV+ • Universal Television in association with Apple Maya Rudolph as Molly Novak

Hacks • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Jean Smart as Deborah Vance

Palm Royale • Apple TV+ • Apple Studios Kristen Wiig as Maxine Simmons

Outstanding Lead Actress In A Drama Series

The Morning Show • Apple TV+ • Media Res in association with Apple Jennifer Aniston as Alex Levy

The Gilded Age • HBO | Max • HBO in association with Universal Television and Neamo Film and Television Carrie Coon as Bertha Russell

Mr. & Mrs. Smith • Prime Video • Amazon MGM Studios, Big Indie Pictures Maya Erskine as Jane Smith

Shōgun • FX • FX Productions Anna Sawai as Toda Mariko

The Crown • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Imelda Staunton as Queen Elizabeth II

The Morning Show • Apple TV+ • Media Res in association with Apple Reese Witherspoon as Bradley Jackson

Outstanding Lead Actress In A Limited Or Anthology Series Or Movie

True Detective: Night Country • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Jodie Foster as Detective Elizabeth Danvers

Lessons In Chemistry • Apple TV+ • Apple Studios Brie Larson as Elizabeth Zott

Fargo • FX • FX Presents an MGM/FXP Production Juno Temple as Dorothy “Dot” Lyon

Griselda • Netflix • A Netflix Series / Grand Electric Sofía Vergara as Griselda Blanco

Feud: Capote vs. The Swans • FX • FX Productions, 20th Television Naomi Watts as Babe Paley

Outstanding Supporting Actor In A Comedy Series

The Bear • FX • FX Productions Lionel Boyce as Marcus

Hacks • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Paul W. Downs as Jimmy Lusaque, Jr.

The Bear • FX • FX Productions Ebon Moss-Bachrach as Richard “Richie” Jerimovich

Only Murders In The Building • Hulu • 20th Television Paul Rudd as Ben Glenroy

Abbott Elementary • ABC • Delicious Non-Sequitur Productions and Fifth Chance in association with Warner Bros. Television and 20th Television Tyler James Williams as Gregory Eddie

Saturday Night Live • NBC • SNL Studios in association with Universal Television and Broadway Video Bowen Yang as Various Characters

Outstanding Supporting Actor In A Drama Series

Shōgun • FX • FX Productions Tadanobu Asano as Kashigi Yabushige

The Morning Show • Apple TV+ • Media Res in association with Apple Billy Crudup as Cory Ellison

The Morning Show • Apple TV+ • Media Res in association with Apple Mark Duplass as Chip Black

The Morning Show • Apple TV+ • Media Res in association with Apple Jon Hamm as Paul Marks

Shōgun • FX • FX Productions Takehiro Hira as Ishido Kazunari

The Crown • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Jonathan Pryce as Prince Philip, Duke Of Edinburgh

Outstanding Supporting Actor In A Limited Or Anthology Series Or Movie

Fellow Travelers • Showtime • SHOWTIME Presents a Fremantle and Showtime Studios Production Jonathan Bailey as Tim Laughlin

The Sympathizer • HBO | Max • HBO in association with A24, Rhombus Media, Moho and Team Downey Robert Downey Jr. as The Congressman/Ned Godwin, The Professor/Robert Hammer, The Auteur/Nicos Damianos, The Priest/Captain’s Father

Baby Reindeer • Netflix • A Netflix Series / A Clerkenwell Films Production Tom Goodman-Hill as Darrien

True Detective: Night Country • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger John Hawkes as Hank Prior

Fargo • FX • FX Presents an MGM/FXP Production Lamorne Morris as North Dakota Deputy Witt Farr

Lessons In Chemistry • Apple TV+ • Apple Studios Lewis Pullman as Calvin Evans

Feud: Capote vs. The Swans • FX • FX Productions, 20th Television Treat Williams as Bill Paley

Outstanding Supporting Actress In A Comedy Series

Palm Royale • Apple TV+ • Apple Studios Carol Burnett as Norma Dellacorte

The Bear • FX • FX Productions Liza Colón-Zayas as Tina

Hacks • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Hannah Einbinder as Ava Daniels

Abbott Elementary • ABC • Delicious Non-Sequitur Productions and Fifth Chance in association with Warner Bros. Television and 20th Television Janelle James as Ava Coleman

Abbott Elementary • ABC • Delicious Non-Sequitur Productions and Fifth Chance in association with Warner Bros. Television and 20th Television Sheryl Lee Ralph as Barbara Howard

Only Murders In The Building • Hulu • 20th Television Meryl Streep as Loretta Durkin

Outstanding Supporting Actress In A Drama Series

The Gilded Age • HBO | Max • HBO in association with Universal Television and Neamo Film and Television Christine Baranski as Agnes van Rhijn

The Morning Show • Apple TV+ • Media Res in association with Apple Nicole Beharie as Christina Hunter

The Crown • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Elizabeth Debicki as Princess Diana

The Morning Show • Apple TV+ • Media Res in association with Apple Greta Lee as Stella Bak

The Crown • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Lesley Manville as Princess Margaret

The Morning Show • Apple TV+ • Media Res in association with Apple Karen Pittman as Mia Jordan

The Morning Show • Apple TV+ • Media Res in association with Apple Holland Taylor as Cybil Richards

Outstanding Supporting Actress In A Limited Or Anthology Series Or Movie

Ripley • Netflix • Showtime and Endemol Shine North America in association with Entertainment 360 and Filmrights for Netflix Dakota Fanning as Marge Sherwood

Under The Bridge • Hulu • ABC Signature, Best Day Ever Productions, Felix Culpa Lily Gladstone as Cam Bentland

Baby Reindeer • Netflix • A Netflix Series / A Clerkenwell Films Production Jessica Gunning as Martha

Lessons In Chemistry • Apple TV+ • Apple Studios Aja Naomi King as Harriet Sloane

Baby Reindeer • Netflix • A Netflix Series / A Clerkenwell Films Production Nava Mau as Teri

True Detective: Night Country • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Kali Reis as Detective Evangeline Navarro

Outstanding Guest Actor In A Comedy Series

The Bear • Fishes • FX • FX Productions Jon Bernthal as Michael Berzatto

Only Murders In The Building • Co Bro • Hulu • 20th Television Matthew Broderick as Matthew Broderick

Saturday Night Live • Host: Ryan Gosling • NBC • SNL Studios in association with Universal Television and Broadway Video Ryan Gosling as Host

Hacks • The Deborah Vance Christmas Spectacular • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Christopher Lloyd as Larry Arbuckle

The Bear • Fishes • FX • FX Productions Bob Odenkirk as Uncle Lee

The Bear • Honeydew • FX • FX Productions Will Poulter as Luca

Outstanding Guest Actor In A Drama Series

Shōgun • Anjin • FX • FX Productions Néstor Carbonell as Rodriguez

Mr. & Mrs. Smith • A Breakup • Prime Video • Amazon MGM Studios, Big Indie Pictures Paul Dano as Hot Neighbor

Winning Time: The Rise Of The Lakers Dynasty • The New World • HBO | Max • HBO in association with HyperObject Industries, Steeplechase Amusements, Jim Hecht Productions and Jason Shuman Productions Tracy Letts as Jack McKinney

Slow Horses • Footprints • Apple TV+ • See-Saw Films in association with Apple Jonathan Pryce as David Cartwright

Mr. & Mrs. Smith • Second Date • Prime Video • Amazon MGM Studios, Big Indie Pictures John Turturro as Eric Shane

Outstanding Guest Actress In A Comedy Series The Bear • Forks • FX • FX Productions Olivia Colman as Chef Terry

The Bear • Fishes • FX • FX Productions Jamie Lee Curtis as Donna Berzatto

Hacks • The Roast Of Deborah Vance • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Kaitlin Olson as DJ Vance

Only Murders In The Building • Sitzprobe • Hulu • 20th Television Da’Vine Joy Randolph as Donna Williams

Saturday Night Live • Host: Maya Rudolph • NBC • SNL Studios in association with Universal Television and Broadway Video Maya Rudolph as Host

Saturday Night Live • Host: Kristen Wiig • NBC • SNL Studios in association with Universal Television and Broadway Video Kristen Wiig as Host

Outstanding Guest Actress In A Drama Series

Mr. & Mrs. Smith • Infidelity • Prime Video • Amazon MGM Studios, Big Indie Pictures Michaela Coel as Bev

The Crown • Sleep, Dearie Sleep • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Claire Foy as Queen Elizabeth II

The Morning Show • Update Your Priors • Apple TV+ • Media Res in association with Apple Marcia Gay Harden as Maggie Brener

Mr. & Mrs. Smith • Couples Therapy (Naked & Afraid) • Prime Video • Amazon MGM Studios, Big Indie Pictures Sarah Paulson as Therapist

Mr. & Mrs. Smith • Double Date • Prime Video • Amazon MGM Studios, Big Indie Pictures Parker Posey as Other Jane

Outstanding Performer In A Short Form Comedy Or Drama Series

Desi Lydic Foxsplains – The Daily Show • YouTube • Central Productions, LLC Desi Lydic as Desi Lydic

RZR • Gala Film • Exertion3 Films in partnership with Gala Film Mena Suvari as Detective Thompson

Outstanding Character Voice-Over Performance

The Simpsons • Cremains Of The Day • FOX • A Gracie Films production in association with 20th Television Animation Hank Azaria as Moe Szyslak

Family Guy • Teacher’s Heavy Pet • FOX • 20th Television Animation Alex Borstein as Lois Griffin

Invincible • I Thought You Were Stronger • Prime Video • Amazon MGM Studios, Skybound Animation Sterling K. Brown as Angstrom Levy / Angstrom #646

Big Mouth • The Ambition Gremlin • Netflix • Netflix Maya Rudolph as Connie the Hormone Monstress

Krapopolis • Big Man On Hippocampus • FOX • Fox Entertainment and Bento Box Entertainment Hannah Waddingham as Deliria

Outstanding Narrator

Planet Earth III • Human • BBC America • A BBC Studios Natural History Unit Production co-produced with BBC America, ZDF and France Télévisions for BBC Sir David Attenborough, Narrator

Queens • African Queens • National Geographic • Wildstar Films Angela Bassett, Narrator

Life On Our Planet • Chapter 1: The Rules Of Life • Netflix • A Netflix Documentary Series / A Silverback Films Production in association with Amblin Television Morgan Freeman, Narrator

Secrets Of The Octopus • Masterminds • National Geographic • Sealight Pictures, Wildstar Films and Earthship Productions Paul Rudd, Narrator

Lost Women Of Highway 20 • Vanished • Investigation Discovery • Orit Entertainment and October Films Octavia Spencer, Narrator

Outstanding Host For A Reality Or Reality Competition Program

RuPaul’s Drag Race • MTV • World Of Wonder RuPaul Charles, Host

Shark Tank • ABC • MGM Television in association with Sony Pictures Television Mark Cuban, Host Lori Greiner, Host Kevin O’Leary, Host Barbara Corcoran, Host Robert Herjavec, Host Daymond John, Host

The Traitors • Peacock • Studio Lambert Alan Cumming, Host

Top Chef • Bravo • Magical Elves Kristen Kish, Host

Survivor • CBS • MGM Studios Jeff Probst, Host

Outstanding Host For A Game Show

Celebrity Family Feud • ABC • Fremantle Steve Harvey, Host

Jeopardy! • ABC/Syndicated • Quadra Productions in association with Sony Pictures Television Ken Jennings, Host

Weakest Link • NBC • BBC Studios Los Angeles Productions in association with Universal Television Alternative Studio Jane Lynch, Host

Password • NBC • Fremantle in association with Universal Television Alternative Studio and Electric Hot Dog Keke Palmer, Host

Wheel Of Fortune • ABC/Syndicated • Quadra Productions, Inc. / Sony Pictures Studios Pat Sajak, Host

Abbott Elementary • ABC • Delicious Non-Sequitur Productions and Fifth Chance in association with Warner Bros. Television and 20th Television

The Bear • FX • FX Productions

Curb Your Enthusiasm • HBO | Max • HBO

Hacks • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment

Only Murders In The Building • Hulu • 20th Television

Palm Royale • Apple TV+ • Apple Studios

Reservation Dogs • FX • FX Productions

What We Do In The Shadows • FX • FX Productions

The Crown • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix

Fallout • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks

The Gilded Age • HBO | Max • HBO in association with Universal Television and Neamo Film and Television

The Morning Show • Apple TV+ • Media Res in association with Apple

Mr. & Mrs. Smith • Prime Video • Amazon MGM Studios, Big Indie Pictures

Shōgun • FX • FX Productions

Slow Horses • Apple TV+ • See-Saw Films in association with Apple

3 Body Problem • Netflix • Netflix Studios / Bighead Littlehead / The Three-Body Universe / T-Street / Plan B Entertainment / Primitive Streak

Outstanding Limited Or Anthology Series

Baby Reindeer • Netflix • A Netflix Series / A Clerkenwell Films Production Richard Gadd, Executive Producer Wim De Greef, Executive Producer Petra Fried, Executive Producer Matt Jarvis, Executive Producer Ed Macdonald, Executive Producer Matthew Mulot, Producer

Fargo • FX • FX Presents an MGM/FXP Production Noah Hawley, Executive Producer Warren Littlefield, Executive Producer Joel Coen, Executive Producer Ethan Coen, Executive Producer Steve Stark, Executive Producer Kim Todd, Executive Producer Thomas Bezucha, Co-Executive Producer Bob DeLaurentis, Co-Executive Producer April Shih, Co-Executive Producer Caitlin Jackson, Co-Executive Producer Regis Kimble, Producer Dana Gonzales, Producer Leslie Cowan, Produced by

Lessons In Chemistry • Apple TV+ • Apple Studios Hannah Fidell, Executive Producer Rosa Handelman, Executive Producer Susannah Grant, Executive Producer Natalie Sandy, Executive Producer Louise Shore, Executive Producer Jason Bateman, Executive Producer Michael Costigan, Executive Producer Brie Larson, Executive Producer Lee Eisenberg, Executive Producer Elijah Allan-Blitz, Co-Executive Producer Mfoniso Udofia, Co-Executive Producer Boo Killebrew, Co-Executive Producer Elissa Karasik, Co-Executive Producer Bonnie Garmus, Co-Executive Producer Tracey Nyberg, Co-Executive Producer Teagan Wall, Supervising Producer Nicole Delaney, Supervising Producer

Ripley • Netflix • Showtime and Endemol Shine North America in association with Entertainment 360 and Filmrights for Netflix Steven Zaillian, Executive Producer Garrett Basch, Executive Producer Clayton Townsend, Executive Producer Guymon Casady, Executive Producer Benjamin Forkner, Executive Producer Philipp Keel, Executive Producer Sharon Levy, Executive Producer Charlie Corwin, Executive Producer Ben Rosenblatt, Co-Executive Producer Enzo Sisti, Producer Andrew Scott, Producer

True Detective: Night Country • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Issa López, Executive Producer Mari Jo Winkler-Ioffreda, Executive Producer Jodie Foster, Executive Producer Barry Jenkins, Executive Producer Adele Romanski, Executive Producer Mark Ceryak, Executive Producer Chris Mundy, Executive Producer Nic Pizzolatto, Executive Producer Matthew McConaughey, Executive Producer Woody Harrelson, Executive Producer Steve Golin, Executive Producer Richard Brown, Executive Producer Cary Joji Fukunaga, Executive Producer Alan Page Arriaga, Executive Producer Princess Daazhraii Johnson, Producer Cathy Tagnak Rexford, Producer Layla Blackman, Producer Sam Breckman, Produced by

Mr. Monk’s Last Case: A Monk Movie • Peacock • UCP Randy Zisk, Executive Producer Tony Shalhoub, Executive Producer Andy Breckman, Executive Producer David Hoberman, Executive Producer Lena Cordina, Produced by

Quiz Lady • Hulu • 20th Century Studios Alex Brown, Executive Producer Erika Hampson, Executive Producer Will Ferrell, Produced by Jessica Elbaum, Produced by Maggie Haskins, Produced by Itay Reiss, Produced by Jen D’Angelo, Produced by Awkwafina, Produced by Sandra Oh, Produced by

Red, White & Royal Blue • Prime Video • Amazon MGM Studios, Berlanti/Schechter Films Casey McQuiston, Executive Producer Michael Riley McGrath, Executive Producer Matthew López, Executive Producer Michael S. Constable, Executive Producer Greg Berlanti, Produced by Sarah Schechter, Produced by

Scoop • Netflix • Netflix presents a Lighthouse Film and Television production in association with Voltage TV Sam McAlister, Executive Producer Sanjay Singhal, Executive Producer Radford Neville, Produced by Hilary Salmon, Produced by

Unfrosted • Netflix • Netflix presents A Columbus 81 Production / A Skyview Entertainment Production / A Good One Production Andy Robin, Executive Producer Barry Marder, Executive Producer Cherylanne Martin, Executive Producer Jerry Seinfeld, Produced by Spike Feresten, Produced by Beau Bauman, Produced by

The Daily Show • Comedy Central • Central Productions, LLC Jon Stewart, Executive Producer/Host Jennifer Flanz, Executive Producer James “Baby Doll” Dixon, Executive Producer Ramin Hedayati, Co-Executive Producer Justin Melkmann, Co-Executive Producer Zhubin Parang, Co-Executive Producer Ian Berger, Supervising Producer Max Browning, Supervising Producer Pamela DePace, Supervising Producer David Kibuuka, Supervising Producer David Paul Meyer, Supervising Producer Elise Terrell, Supervising Producer Sushil Dayal, Supervising Producer Dan Amira, Producer Jocelyn Conn, Producer Jeff Gussow, Producer Brittany Radocha, Producer Shawna Shepherd, Producer Beth Shorr, Producer Ronny Chieng, Host Jordan Klepper, Host Michael Kosta, Host Desi Lydic, Host Dulcé Sloan, Host

Jimmy Kimmel Live! • ABC • ABC Signature in association with Kimmelot Jimmy Kimmel, Executive Producer Erin Irwin, Executive Producer David Craig, Executive Producer Molly McNearney, Executive Producer Jennifer Sharron, Executive Producer Doug DeLuca, Co-Executive Producer Gary Greenberg, Supervising Producer Tony Romero, Supervising Producer Josh Weintraub, Supervising Producer Seth Weidner, Supervising Producer Danny Ricker, Supervising Producer Rory Albanese, Supervising Producer Josh Halloway, Supervising Producer Ken Crosby, Producer Patrick Friend, Producer Nancy Fowkes, Producer Craig Powell, Producer

Late Night With Seth Meyers • NBC • Universal Television and Broadway Video Lorne Michaels, Executive Producer Emily Erotas, Supervising Producer Sarah Jenks-Daly, Supervising Producer Henry Melcher, Supervising Producer Kevin Miller, Supervising Producer Jeremiah Silva, Supervising Producer Alex Baze, Producer Sal Gentile, Producer Hillary Hunn, Producer Eric Leiderman, Producer Haleigh Raff, Producer Jen Sochko, Producer Mike Shoemaker, Produced by Seth Meyers, Host

Outstanding Scripted Variety Series

Last Week Tonight With John Oliver • HBO | Max • HBO in association with Peyance Productions and Avalon Television John Oliver, Executive Producer/Host Tim Carvell, Executive Producer Liz Stanton, Executive Producer Jeremy Tchaban, Co-Executive Producer Catherine Owens, Supervising Producer Whit Conway, Producer Kaye Foley, Producer Laura L. Griffin, Producer Christopher McDaniel, Producer Kate Mullaney, Producer Matt Passet, Producer Megan Peck Shub, Producer Wynn Van Dusen, Producer Marian Wang, Producer Charles Wilson, Producer Rebecca Etchberger, Producer Nicole Franza, Line Producer

Saturday Night Live • NBC • SNL Studios in association with Universal Television and Broadway Video Lorne Michaels, Executive Producer Javier Winnik, Supervising Producer Erin Doyle, Producer Tom Broecker, Producer Caroline Maroney, Producer Steve Higgins, Produced by Erik Kenward, Produced by

Outstanding Variety Special (Live)

The Apple Music Super Bowl LVIII Halftime Show Starring Usher • CBS • Jesse Collins Entertainment, DPS and Roc Nation Shawn Carter, Executive Producer Desiree Perez, Executive Producer Jesse Collins, Executive Producer Dionne Harmon, Co-Executive Producer Dave Meyers, Co-Executive Producer Aaron B. Cooke, Supervising Producer Phil Sino-Cruz, Line Producer Chelsea Gonnering, Line Producer Usher, Performer

66th Grammy Awards • CBS • Fulwell 73 Ben Winston, Executive Producer Raj Kapoor, Executive Producer Jesse Collins, Executive Producer Eric Cook, Co-Executive Producer Patrick Menton, Co-Executive Producer Jeannae Rouzan-Clay, Co-Executive Producer Trevor Noah, Producer/Host Hamish Hamilton, Producer David Wild, Producer Tabitha Dumo, Producer Alexandra Papa, Producer Rita Maye Bland, Producer Hilary Gladstein, Line Producer

The Greatest Roast Of All Time: Tom Brady • Netflix • Casey Patterson Entertainment, 199 Productions and Hartbeat Productions for Netflix Casey Patterson, Executive Producer Tom Brady, Executive Producer Kevin Hart, Executive Producer/Host Jeff Clanagan, Executive Producer Jeff Ross, Executive Producer Carol Donovan, Executive Producer Mike Gibbons, Co-Executive Producer Rob Paine, Co-Executive Producer Barbra Dannov, Supervising Producer Pete Diobilda, Supervising Producer Steven Kaplan, Line Producer

The Oscars • ABC • Academy of Motion Picture Arts and Sciences Raj Kapoor, Executive Producer Molly McNearney, Executive Producer Katy Mullan, Executive Producer Rob Paine, Co-Executive Producer Taryn Hurd Bleckner, Producer Sarah Levine Hall, Producer Jimmy Kimmel, Host

76th Annual Tony Awards • CBS • White Cherry Entertainment in association with Tony Award Productions Ricky Kirshner, Executive Producer Glenn Weiss, Executive Producer Jesse Craine, Supervising Producer Sarah Levine Hall, Produced by Ariana Debose, Host

Outstanding Variety Special (Pre-Recorded)

Dave Chappelle: The Dreamer • Netflix • Netflix | Lathan TV | Pilot Boy Dave Chappelle, Executive Producer/Performer Rikki Hughes, Executive Producer Stan Lathan, Executive Producer Sina Sadighi, Producer

Dick Van Dyke 98 Years Of Magic • CBS • Smart Dog Media and White Label Productions in association with CBS Craig Plestis, Executive Producer Chris Wagner, Executive Producer Clara Plestis, Executive Producer Ashley Edens, Executive Producer Deena Katz, Executive Producer Arlene Van Dyke, Executive Producer Stephanie Wagner, Supervising Producer Brittany Cherry, Producer Ariel Kubit, Producer Chelsea Gonnering, Line Producer

Nikki Glaser: Someday You’ll Die • HBO | Max • HBO in association with Done + Dusted Nikki Glaser, Executive Producer/Performer Chris Convy, Executive Producer David Jammy, Executive Producer Alex Murray, Executive Producer Bill Urban, Co-Executive Producer Chris McQueen, Producer

Trevor Noah: Where Was I • Netflix • Bob Bain Productions, Inc. for Netflix Trevor Noah, Executive Producer/Performer Sanaz Yamin, Executive Producer Bob Bain, Executive Producer Norman Aladjem, Executive Producer Derek Van Pelt, Executive Producer Benn Fleishman, Supervising Producer Danny Sanchez, Line Producer David Paul Meyer, Produced by

Outstanding Short Form Comedy, Drama Or Variety Series

Carpool Karaoke: The Series • Apple TV+ • CBS Studios in association with Fulwell 73 and Apple Ben Winston, Executive Producer James Corden, Executive Producer Eric Pankowski, Executive Producer David Young, Co-Executive Producer Blake Webster, Producer

The Eric Andre Show • Adult Swim • Abso Lutely Productions and Williams Street Eric Andŕe, Executive Producer Kitao Sakurai, Executive Producer Dan Curry, Executive Producer Dave Kneebone, Executive Producer Mike Rosenstein, Executive Producer Walter Newman, Executive Producer

Late Night With Seth Meyers Corrections • NBC • Sethmaker Shoemeyers Productions and Universal Television Seth Meyers, Executive Producer Mike Shoemaker, Executive Producer

Only Murders In The Building: One Killer Question • Hulu • Hulu Janice C. Molinari, Executive Producer Dave Roth, Executive Producer Zuriht Serna, Executive Producer Trisha Choate, Executive Producer Jillian Novak, Executive Producer Xavier Salas, Executive Producer

Real Time With Bill Maher: Overtime • HBO | Max • HBO in association with Bill Maher Productions Bill Maher, Executive Producer Sheila Griffiths, Executive Producer Marc Gurvitz, Executive Producer Billy Martin, Executive Producer Dean E. Johnsen, Executive Producer Matt Wood, Producer

Outstanding Short Form Nonfiction Or Reality Series

After The Cut – The Daily Show • YouTube • Central Productions, LLC Jon Stewart, Executive Producer Jennifer Flanz, Executive Producer Ramin Hedayati, Co-Executive Producer Jocelyn Conn, Producer Folake Ayiloge, Produced by Daniel Radosh, Produced by

The Crown: Farewell To A Royal Epic • Netflix • Once Upon A Time / Netflix Kelly Caton, Supervising Producer Kia Milan, Producer Melissa Mills, Producer Alison Deknatel, Producer Justin Alcantara, Producer Alison Gross Kalmick, Producer

Saturday Night Live Presents: Behind The Sketch • NBC • SNL Studios in association with Universal Television and Broadway Video Lorne Michaels, Executive Producer Grace Shaker, Producer Dina Moles, Producer Matt Yonks, Producer Daniel D’Lauro, Producer

Shōgun – The Making Of Shōgun • FX • FX Networks in association with More Media Stephanie Gibbons, Executive Producer Sally Daws, Executive Producer Kenna McCabe, Executive Producer Melanie Pimentel, Supervising Producer Joel Kazuo Knoernschild, Senior Producer Andie Newell, Producer

Outstanding Documentary Or Nonfiction Special

Albert Brooks: Defending My Life • HBO | Max • HBO Documentary Films and Castle Rock Entertainment Rob Reiner, Produced by Michele Reiner, Produced by Matthew George, Produced by

Girls State • Apple TV+ • Concordia Studio presentation of a Mile End Films production in association with Apple Amanda McBaine, Produced by Jesse Moss, Produced by Nicole Stott, Executive Producer Jonathan Silberberg, Executive Producer Davis Guggenheim, Executive Producer Laurene Powell Jobs, Executive Producer

The Greatest Night In Pop • Netflix • A Netflix Documentary / An MRC Film / A Dorothy St Pictures Production in association with Makemake Entertainment Larry Klein, Producer Harriet Sternberg, Producer Lionel Richie, Producer Bruce Eskowitz, Producer George Hencken, Producer Julia Nottingham, Produced by

Jim Henson Idea Man • Disney+ • Imagine Documentaries Productions, Disney Branded Television Brian Grazer, Produced by Ron Howard, Produced by Sara Bernstein, Produced by Margaret Bodde, Produced by Justin Wilkes, Produced by Mark Monroe, Produced by Christopher St. John, Produced by

Steve! (Martin) A Documentary In 2 Pieces • Apple TV+ • Apple Original Films presents an A24 / Tremolo Production Morgan Neville, Producer Meghan Walsh, Producer Charlise Holmes, Producer Caitrin Rogers, Executive Producer Ben Cotner, Executive Producer Emily Osborne, Executive Producer Nicole Quintero Ochoa, Co-Executive Producer

Outstanding Documentary Or Nonfiction Series

Beckham • Netflix • A Netflix Documentary Series / A Studio 99 Production in association with Ventureland John Battsek, Produced by Nicola Howson, Produced by Fisher Stevens, Produced by Billie Shepherd, Produced by David Gardner, Executive Producer Gary Neville, Executive Producer Jonathan Sides, Co-Executive Producer Craig South, Co-Executive Producer

The Jinx – Part Two • HBO | Max • HBO Documentary Films presents a Hit The Ground Running Production Charlotte Kaufman, Producer Sam Neave, Producer Andrew Jarecki, Executive Producer Zac Stuart-Pontier, Executive Producer Kyle Martin, Executive Producer Nancy Abraham, Executive Producer Lisa Heller, Executive Producer Sara Rodriguez, Executive Producer

Quiet On Set: The Dark Side Of Kids TV • Investigation Discovery • Maxine Productions and Sony Pictures Television – Nonfiction in association with Business Insider Mary Robertson, Executive Producer Emma Schwartz, Co-Executive Producer Eli Holzman, Executive Producer Aaron Saidman, Executive Producer Lisa Kalikow, Co-Executive Producer Nicholas Carlson, Executive Producer Kate Taylor, Executive Producer Joel Stonington, Executive Producer Pamela E. Deutsch, Executive Producer

Telemarketers • HBO | Max • HBO Documentary Films presents a production of Elara Pictures and All Facts in association with Rough House Pictures Claire Read, Produced by Adam Bhala Lough, Executive Producer Sam Lipman-Stern, Executive Producer Benny Safdie, Executive Producer Dani Bernfeld, Executive Producer Josh Safdie, Executive Producer Danny McBride, Executive Producer Nancy Abraham, Executive Producer Lisa Heller, Executive Producer Tina Nguyen, Executive Producer

Outstanding Hosted Nonfiction Series Or Special

Conan O’Brien Must Go • HBO | Max • Max in association with Conaco Jason Chillemi, Producer Sarah Federowicz, Producer Jessie Gaskell, Producer Matt O’Brien, Producer Mike Sweeney, Producer Conan O’Brien, Executive Producer / Host Jeff Ross, Executive Producer Aaron Bleyaert, Supervising Producer Jordan Schlansky, Supervising Producer Njål Lambrechts, Line Producer

Finding Your Roots With Henry Louis Gates Jr. • PBS • WETA Washington D.C., McGee Media, Inkwell Media, Kunhardt Films Kevin Burke, Producer Matthew Cesario, Producer John F. Wilson, Executive Producer Dyllan McGee, Executive Producer Henry Louis Gates Jr., Executive Producer Sabin Streeter, Senior Producer Natalia Warchol, Series Producer Deborah C Porfido, Supervising Producer Robert L. Yacyshyn, Line Producer Peter Kunhardt, Executive Producer

How To With John Wilson • HBO | Max • HBO in association with Blow Out Productions, Johnsmovies and Atlantic Pictures Shirel Kozak, Produced by Nathan Fielder, Executive Producer John Wilson, Executive Producer/Host Michael Koman, Executive Producer Clark Reinking, Executive Producer

My Next Guest With David Letterman And John Mulaney • Netflix • Jax Media and Worldwide Pants, Inc. for Netflix Tommy Alter, Producer Tom Keaney, Executive Producer Mary Barclay, Executive Producer Michael Steed, Executive Producer Séamus Murphy-Mitchell, Executive Producer Justin Wilkes, Executive Producer Jake Fuller, Executive Producer

The Reluctant Traveler With Eugene Levy • Apple TV+ • Twofour in association with Apple Claire Kunzel, Producer Eugene Levy, Host/Executive Producer David Brindley, Executive Producer Nic Patten, Executive Producer Sara Brailsford, Executive Producer Alex Menzies, Executive Producer Stephen Pain, Series Producer Tracey Smyth, Senior Producer

Exceptional Merit In Documentary Filmmaking

Beyond Utopia (Independent Lens) • PBS • Ideal Partners in association with 19340 Productions, XRM Media, the Random Good Foundation and the Human Rights Foundation Jana Edelbaum, Producer Rachel Cohen, Producer Sue Mi Terry, Producer Lois Vossen, Executive Producer

Going To Mars: The Nikki Giovanni Project • HBO | Max • Confluential Films and Rada Studio in association with JustFilms | Ford Foundation in association with Bertha Doc Society Joe Brewster, Produced by Michèle Stephenson, Produced by Tommy Oliver, Produced by

Stamped From The Beginning • Netflix • A Netflix Documentary / A One Story Up production Alisa Payne, Producer Roger Ross Williams, Producer David Teague, Producer Dr. Ibram X. Kendi, Executive Producer Geoff Martz, Executive Producer Mara Brock Akil, Executive Producer Susie Fitzgerald, Executive Producer

Outstanding Structured Reality Program

Antiques Roadshow • PBS • GBH

Diners, Drive-Ins And Dives • Food Network • Knuckle Sandwich and Citizen Pictures

Queer Eye • Netflix • Scout Productions Inc. and ITV Entertainment LLC for Netflix

Shark Tank • ABC • MGM Television in association with Sony Pictures Television

Outstanding Unstructured Reality Program

Below Deck Down Under • Bravo • 51 Minds

Love On The Spectrum U.S. • Netflix • Northern Pictures for Netflix

RuPaul’s Drag Race: Untucked • MTV • World Of Wonder

Vanderpump Rules • Bravo • Evolution Media

Welcome To Wrexham • FX • Boardwalk Pictures

The Amazing Race • CBS • WorldRace Productions, Inc.

RuPaul’s Drag Race • MTV • World Of Wonder

Top Chef • Bravo • Magical Elves

The Traitors • Peacock • Studio Lambert

The Voice • NBC • MGM Television and Warner Bros. Unscripted Television in association with Warner Horizon and ITV Studios The Voice USA, Inc.

Outstanding Game Show

Celebrity Family Feud • ABC • Fremantle

Jeopardy! • ABC/Syndicated • Quadra Productions in association with Sony Pictures Television

Password • NBC • Fremantle in association with Universal Television Alternative Studio and Electric Hot Dog

The Price Is Right At Night • CBS • Fremantle

Wheel Of Fortune • ABC/Syndicated • Quadra Productions, Inc. / Sony Pictures Studios

Outstanding Sound Editing For A Comedy Or Drama Series (One Hour)

Avatar: The Last Airbender • Legends • Netflix • A Netflix Series in partnership with Nickelodeon Tim Kimmel, MPSE, Co-Supervising Sound Editor Luke Gibleon, Co-Supervising Sound Editor/Sound Designer John Matter, Dialogue Editor Bradley C. Katona, Sound Effects Editor Justin Helle, Foley Editor Micha Liberman, Music Editor Stefan Fraticelli, Foley Artist Jason Charbonneau, Foley Artist William Kellerman, Foley Artist

Fallout • The Target • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Sue Gamsaragan Cahill, Supervising Sound Editor Daniel Colman, MPSE, Sound Designer Joseph Fraioli, Sound Designer Jane Boegel-Koch, Dialogue Editor Sara Bencivenga, ADR Editor Jonathan Golodner, Sound Effects Editor Karen Triest, Sound Effects Editor Randall Guth, Foley Editor Christopher Kaller, Music Editor Clint Bennet, Music Editor Nancy Parker, Foley Artist Katie Rose, Foley Artist

Shōgun • Broken To The Fist • FX • FX Productions Brian J Armstrong, MPSE, Supervising Sound Editor Benjamin Cook, MPSE, Sound Designer James Gallivan, Sound Designer John Creed, MPSE, Dialogue Editor Ayako Yamauchi, ADR Editor Mark Hailstone, Sound Effects Editor Ken Cain, Foley Editor Melissa Muik, Music Editor Matt Salib, Foley Artist Sanaa Kelley, Foley Artist

Star Trek: Strange New Worlds • Hegemony • Paramount+ • CBS Studios in association with Secret Hideout and Roddenberry Entertainment Matthew E. Taylor, Supervising Sound Editor Michael Schapiro, Sound Designer Sean Heissinger, Dialogue Editor Kip Smedley, Sound Effects Editor Ian Herzon, Sound Effects Editor Deron Street, Sound Effects Editor Clay Weber, Foley Editor John Sanacore, Foley Editor Rick Owens, Foley Artist Jesi Ruppel, Foley Artist

Outstanding Sound Editing For A Comedy Or Drama Series (Half-Hour) And Animation

Ahsoka • Part Four: Fallen Jedi • Disney+ • Lucasfilm Ltd. Matthew Wood, Co-Supervising Sound Editor Bonnie Wild, Co-Supervising Sound Editor David Acord, Sound Designer James Spencer, Dialogue/ADR Editor Vanessa Lapato, Dialogue/ADR Editor Stephanie McNally, Dialogue/ADR Editor Trey Turner, ADR Editor Kimberly Patrick, Sound Effects Editor Tim Farrell, Sound Effects Editor Joel Raabe, Foley Editor Chris Tergesen, Music Editor Ronni Brown, Foley Artist Heikki Kossi, MPSE, Foley Artist Shelley Roden, MPSE, Foley Artist

The Bear • Forks • FX • FX Productions Steve “Major” Giammaria, Co-Supervising Sound Editor Andrea Bella, Co-Supervising Sound Editor Evan Benjamin, Dialogue Editor Jonathan Fuhrer, Sound Effects Editor Annie Taylor, Foley Editor Jason Lingle, Music Editor Jeff Lingle, Music Editor Leslie Bloome, Foley Artist Shaun Brennan, Foley Artist

Blue Eye Samurai • All Evil Dreams And Angry Words • Netflix • A Netflix Series / 3 Arts Entertainment and Blue Spirit Productions Myron Nettinga, Co-Supervising Sound Editor Paulette Lifton, MPSE, Co-Supervising Sound Editor Sam Hayward, MPSE, Sound Designer Jared Dwyer, MPSE, Sound Designer Andrew Miller, MPSE, Sound Designer Johanna Turner, MPSE, Sound Effects Editor Justin Helle, Foley Editor Iko Kagasoff, Music Editor Stefan Fraticelli, Foley Artist Jason Charbonneau, Foley Artist

Only Murders In The Building • Sitzprobe • Hulu • 20th Television Mathew Waters, Co-Supervising Sound Editor Danika Wikke, Co-Supervising Sound Editor Taylor Jackson, Dialogue Editor Meredith Stacy, Sound Effects Editor Erika Koski, Foley Editor Micha Liberman, Music Editor Sanaa Kelley, Foley Artist Iris Dutour, Foley Artist

Star Trek: Lower Decks • The Inner Fight • Paramount+ • CBS’s Eye Animation Productions, Titmouse, Secret Hideout and Roddenberry Entertainment James Lucero, Supervising Sound Editor Drew Guy, Dialogue Editor Mak Kellerman, Sound Effects Editor John Wynn, Sound Effects Editor Michael Britt, Foley Editor

Outstanding Sound Editing For A Limited Or Anthology Series, Movie Or Special

All The Light We Cannot See • Episode 4 • Netflix • 21 Laps Entertainment for Netflix Craig Henighan, MPSE, Co-Supervising Sound Editor Ryan Cole, MPSE, Co-Supervising Sound Editor Emma Present, Dialogue Editor Jill Purdy, Dialogue Editor David Grimaldi, Sound Effects Editor Matt Cloud, Sound Effects Editor Gina Wark, Foley Editor Dan DiPrima, Music Editor Steve Durkee, Music Editor Steve Baine, Foley Artist

Fargo • The Tragedy Of The Commons • FX • FX Presents an MGM/FXP Production Nick Forshager, Supervising Sound Editor Joe Bracciale, Supervising Dialogue/ADR Editor Dustin Harris, Dialogue Editor Alex Bullick, Sound Effects Editor Brad Bakelmun, Foley Editor Ben Schor, Music Editor Jason Charbonneau, Foley Artist Stefan Fraticelli, Foley Artist

Ripley • III Sommerso • Netflix • Showtime and Endemol Shine North America in association with Entertainment 360 and Filmrights for Netflix Larry Zipf, Co-Supervising Sound Editor/ Sound Designer Michael Feuser, Co-Supervising Sound Editor Michael McMenomy, Dialogue Editor Lidia Tamplenizza, Supervising ADR Editor David Forshee, Sound Effects Editor Bill R. Dean, Sound Effects Editor Wyatt Sprague, Sound Effects Editor Angelo Palazzo, Sound Effects Editor Matt Haasch, Supervising Foley Editor Igor Nikolic, Foley Editor Dan Evans Farkas, Music Editor Ben Schor, Music Editor Jay Peck, Foley Artist Sandra Fox, Foley Artist

True Detective: Night Country • Part 6 • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Martín Hernández, MPSE, Co-Supervising Sound Editor Stephen Griffiths, Co-Supervising Sound Editor Tom Jenkins, Sound Designer/Sound Effects Editor Michele Woods, Supervising Dialogue/ADR Editor Andy Shelley, Supervising Dialogue/ADR Editor Jake Fielding, Sound Effects Editor Stuart Bagshaw, Foley Editor Barnaby Smyth, Foley Artist Rebecca Glover, Foley Artist Ben Smithers, Music Editor

Outstanding Sound Editing For A Nonfiction Or Reality Program

The Greatest Night In Pop • Netflix • A Netflix Documentary / An MRC Film / A Dorothy St Pictures Production in association with Makemake Entertainment Richard Gallagher, Dialogue Editor

Jim Henson Idea Man • Disney+ • Imagine Documentaries Productions, Disney Branded Television Daniel Timmons, Supervising Sound Editor Jeremy S. Bloom, Sound Designer Ian Cymore, Dialogue Editor Ryan Rubin, Music Editor

Planet Earth III • Freshwater • BBC America • A BBC Studios Natural History Unit Production co-produced with BBC America, ZDF and France Télévisions for BBC Jonny Crew, Sound Editor Tim Owens, Sound Editor Ellie Bowler, Foley Editor Paul Ackerman, Foley Artist

Steve! (Martin) A Documentary In 2 Pieces • Apple TV+ • Apple Original Films presents an A24 / Tremolo Production Bob Edwards, Supervising Sound Editor Kim B. Christensen, Sound Effects Editor Joel Raabe, Sound Effects Editor

Welcome To Wrexham • Goals • FX • Boardwalk Pictures Shaun Cromwell, Dialogue Editor William Harp, Dialogue Editor Jon Schell, Sound Effects Editor Sean Gray, Sound Effects Editor

Outstanding Sound Mixing For A Comedy Or Drama Series (One Hour)

The Crown • Sleep, Dearie Sleep • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Lee Walpole, Re-Recording Mixer Martin Jensen, Re-Recording Mixer Stuart Hilliker, CAS, Re-Recording Mixer Chris Ashworth, Production Mixer

Fallout • The Target • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Keith Rogers, CAS, Re-Recording Mixer Steve Bucino, CAS, Re-Recording Mixer Tod A. Maitland, CAS, Production Sound Mixer

Loki • Glorious Purpose • Disney+ • Marvel Studios Karol Urban, CAS, Re-Recording Mixer Paul Munro, Production Mixer

Shōgun • Broken To The Fist • FX • FX Productions Steve Pederson, Re-Recording Mixer Greg P. Russell, Re-Recording Mixer Michael Williamson, CAS, Production Mixer Takashi Akaku, ADR Mixer Arno Stephanian, Foley Mixer

Outstanding Sound Mixing For A Limited Or Anthology Series Or Movie

Black Mirror • Beyond The Sea • Netflix • Broke & Bones for Netflix James Ridgway, Re-Recording Mixer Richard Miller, Production Mixer Adam Méndez, Foley Mixer Daniel Kresco, Scoring Mixer

Fargo • The Tragedy Of The Commons • FX • FX Presents an MGM/FXP Production Martin Lee, Re-Recording Mixer Kirk Lynds, CAS, Re-Recording Mixer Michael Playfair, CAS, Production Mixer Michael Perfitt, Scoring Mixer

Masters Of The Air • Part Five • Apple TV+ • Apple Studios with Amblin Television / Playtone Michael Minkler, CAS, Re-Recording Mixer Duncan McRae, Re-Recording Mixer Tim Fraser, Production Mixer Thor Fienberg, Scoring Mixer

Ripley • Vll Macabre Entertainment • Netflix • Showtime and Endemol Shine North America in association with Entertainment 360 and Filmrights for Netflix Michael Barry, Re-Recording Mixer Larry Zipf, Re-Recording Mixer Maurizio Argentieri, Production Mixer Michael Perfitt, Scoring Mixer

True Detective: Night Country • Part 6 • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Howard Bargroff, Re-Recording Mixer Mark Timms, Re-Recording Mixer Skúli Helgi Sigurgíslason, Production Mixer Keith Partridge, Foley Mixer

Outstanding Sound Mixing For A Comedy Or Drama Series (Half-Hour) And Animation

The Bear • Forks • FX • FX Productions Steve “Major” Giammaria, Re-Recording Mixer Scott D. Smith, CAS, Production Mixer Patrick Christensen, ADR Mixer Ryan Collison, Foley Mixer

Curb Your Enthusiasm • Ken/Kendra • HBO | Max • HBO Earl Martin, Re-Recording Mixer Chuck Buch, CAS, Production Mixer Trino Madriz, ADR Mixer Sam C. Lewis, Foley Mixer

Hacks • Just For Laughs • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment John W. Cook II, Re-Recording Mixer Ben Wilkins, Re-Recording Mixer Jim Lakin, Production Mixer

Only Murders In The Building • Sitzprobe • Hulu • 20th Television Mathew Waters, CAS, Re-Recording Mixer Lindsey Alvarez, CAS, Re-Recording Mixer Joseph White Jr., CAS, Production Mixer Alan DeMoss, Scoring Mixer Derik Lee, Music Mixer

What We Do In The Shadows • Local News • FX • FX Productions Diego Gat, CAS, Re-Recording Mixer Samuel Ejnes, CAS, Re-Recording Mixer Rob Beal, CAS, Production Mixer

Outstanding Sound Mixing For A Variety Series Or Special

Billy Joel: The 100th – Live At Madison Square Garden • CBS • A Sony Music Vision and Enliven Entertainment Production / A Grammy Studios Production in association with Maritime Pictures Brian Riordan, Re-Recording Mixer Phil DeTolve, Re-Recording Mixer Peter Gary, Music Mixer Brian Flanzbaum, Production Mixer Josh Weibel, Monitor Mixer Brian Ruggles, FOH Mixer

66th Grammy Awards • CBS • Fulwell 73 Thomas Holmes, Production Mixer John Harris, Music Mixer Eric Schilling, Music Mixer Jeff Peterson, FOH Production Mixer Jaime Pollock, FOH Music Mixer Michael Parker, Monitor Mixer Andres Arango, Monitor Mixer Juan Pablo Velasco, ProTools Mixer Aaron Walk, ProTools Mixer Eric Johnston, Supplemental Mixer Christian Schrader, Supplemental Mixer Kristian Pedregon, Post Audio Mixer

2023 Rock And Roll Hall Of Fame Induction Ceremony • ABC • Tenth Planet Productions Al Centrella, Production Mixer Bob Clearmountain, CAS, Music Mixer John Harris, Music Mixer Dan Gerhard, FOH Mixer Robert Scovilm, FOH Mixer Mike Bove, Monitor Mixer Simon Welsh, Monitor Mixer

Saturday Night Live • Host: Kristen Wiig • NBC • SNL Studios in association with Universal Television and Broadway Video Robert Palladino, Production Mixer Ezra Matychak, Production Mixer Frank Duca, FOH Mixer Christopher Costello, Monitor Mixer Josiah Gluck, Music Mixer Jay Vicari, Music Mixer Lawrence Manchester, Music Mixer Tyler McDiarmid, Playback Mixer Caroline Sanchez, FOH Mixer Geoff Countryman, Supplemental Mixer Teng Chen, Supplemental Mixer Devin Emke, Post Audio Mixer

Outstanding Sound Mixing For A Nonfiction Program

The Beach Boys • Disney+ • Walt Disney Pictures Gary A. Rizzo, CAS, Re-Recording Mixer John Rampey, Production Mixer Sabi Tulok, Production Mixer Dennis Hamlin, Production Mixer

Jim Henson Idea Man • Disney+ • Imagine Documentaries Productions, Disney Branded Television Tony Volante, Re-Recording Mixer Michael Jones, Production Mixer

Planet Earth III • Deserts And Grasslands • BBC America • A BBC Studios Natural History Unit Production co-produced with BBC America, ZDF and France Télévisions for BBC Graham Wild, Re-Recording Mixer Oliver Baldwin, Re-Recording Mixer Olga Reed, Re-Recording Mixer

STAX: Soulsville U.S.A. • Chapter Two: Soul Man • HBO | Max • HBO Documentary Films presents in association with Concord Originals, Polygram Entertainment, Warner Music Entertainment, A Laylow Pictures production, A White Horse Pictures production Tony Volante, Re-Recording Mixer Andre Artis, Production Mixer

Steve! (Martin) A Documentary In 2 Pieces • Apple TV+ • Apple Original Films presents an A24 / Tremolo Production Pete Horner, Re-Recording Mixer Dennis Hamlin, Production Mixer Barry London, Production Mixer Emily Strong, Production Mixer

Outstanding Sound Mixing For A Reality Program

The Amazing Race • Series Body Of Work • CBS • WorldRace Productions, Inc. Troy Smith, Re-Recording Mixer Jim Ursulak, Production Mixer Jim Blank, Production Mixer Emerson Boergadine, Production Mixer Paul Bruno, Production Mixer John Buchanan, Production Mixer Jerry Chabane, Production Mixer Alfredo R. Del Portillo, Production Mixer Freddie DiPasquale, Production Mixer Dean Gaveau, Production Mixer Ryan P. Kelly, Production Mixer Richard Chardy Lopez, Production Mixer Mickey McMullen, Production Mixer Sean Milburn, Production Mixer Simon Paine, Production Mixer John A. Pitron, Production Mixer Jody Stillwater, Production Mixer Jeff Zipp, Production Mixer

Deadliest Catch • Nautical Deathtrap • Discovery Channel • Original Productions, LLC for Discovery Channel Jared Robbins, Re-Recording Mixer

RuPaul’s Drag Race • Series Body Of Work • MTV • World Of Wonder Sal Ojeda, Re-Recording Mixer Erik Valenzuela, Re-Recording Mixer Ryan Brady, Audio Supervisor David Nolte, Production Mixer Andrew Papastephanou, Production Mixer

Welcome To Wrexham • Giant Killers • FX • Boardwalk Pictures Mark Jensen, CAS, Re-Recording Mixer

Outstanding Special Visual Effects In A Season Or A Movie

Ahsoka • Disney+ • Lucasfilm Ltd. Richard Bluff, Visual Effects Supervisor, Production Jakris Smittant, Visual Effects Producer, Production Paul Kavanagh, Animation Supervisor, Production TC Harrison, Associate Visual Effects Supervisor Scott Fisher, Special Effects Supervisor Enrico Damm, ILM Visual Effects Supervisor Justin van der Lek, ILM Associate VFX Supervisor Rick O’Connor, ILM Animation Supervisor J. Alan Scott, Legacy Effects Supervisor

Avatar: The Last Airbender • Netflix • A Netflix Series in partnership with Nickelodeon Marion Spates, Overall Visual Effects Supervisor Jabbar Raisani, Overall Visual Effects Supervisor Adam Chazen, Visual Effects Producer Niklas Jacobson, Visual Effects Supervisor Nick Crew, Visual Effects Supervisor Emanuel Fuchs, Visual Effects Supervisor Khalid Almeerani, Visual Effects Supervisor Ross Wilkinson, Visual Effects Supervisor Thomas Schelesny, Visual Effects Supervisor

Fallout • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Jay Worth, Visual Effects Supervisor Andrea Knoll, Visual Effects Producer Grant Everett, On-Set Visual Effects Supervisor Jill Paget, Visual Effects Editor Jacqueline VandenBussche, Visual Effects Production Manager Devin Maggio, Special Effects Supervisor Andreas Giesen, Visual Effects Supervisor (RISE) Ahmed Gharraph, Visual Effects Supervisor (Important Looking Pirates) Joao Sita, Visual Effects Supervisor (Framestore)

Loki • Disney+ • Marvel Studios Christopher Townsend, Visual Effects Supervisor Allison Paul, Visual Effects Producer Sandra Balej, Additional VFX Supervisor Matthew Twyford, VFX Supervisor Christopher Smallfield, VFX Supervisor John William Van der pool, Special Effects Supervisor Steve Moncur, VFX Supervisor Julian Hutchens, VFX Supervisor Kevin Yuille, VFX Supervisor

Shōgun • FX • FX Productions Michael Cliett, Overall Visual Effects Supervisor Melody Mead, Production Associate Visual Effects Producer Jed Glassford, Onset Visual Effects Supervisor Cameron Waldbauer, Special Effects Coordinator Philip Engström, Visual Effects Supervisor: ILP Chelsea Mirus, Visual Effects Production Manager: ILP Ed Bruce, Visual Effects Supervisor: SSVFX Nicholas Murphy, Visual Effects Producer: SSVFX Kyle Rottman, Visual Effects Supervisor: Refuge

Outstanding Special Visual Effects In A Single Episode

All The Light We Cannot See • Episode 4 • Netflix • 21 Laps Entertainment for Netflix Charlie Lehmer, VFX Supervisor Swen Gillberg, VFX Supervisor Viet Luu, VFX Producer Tessa Roehl, VFX Associate Producer Paolo Acri, VFX Supervisor Harry Bardak, VFX Supervisor Sylvain Theroux, VFX Supervisor John Britto, VFX Supervisor Laurence Berkani, VFX Producer

The Crown • Dis-Moi Oui • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Ben Turner, Overall VFX Supervisor Reece Ewing, Overall VFX Producer Oliver Bersey, VFX Supervisor Julia Stannard, VFX Producer Joe Cork, VFX Supervisor Tim Zaccheo, CG Supervisor Aurélien Ronceray, VFX Concept Supervisor Joseph Dymond, VFX Supervisor Elena Pagliei, VFX Production Manager

True Detective: Night Country • Part 1 • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Barney Curnow, Visual Effects Supervisor Jan Guilfoyle, Visual Effects Producer Eggert “Eddi” Ketilsson, Production SFX Supervisor Simon Stanley-Clamp, VFX Supervisor Manuel Reyes Halaby, CG Supervisor Tiago Faria, VFX Supervisor Panos Theodoropoulos, VFX Producer Cale Pugh, VFX Supervisor Tim Zaccheo, VFX Supervisor

Winning Time: The Rise Of The Lakers Dynasty • Beat L.A. • HBO | Max • HBO in association with HyperObject Industries, Steeplechase Amusements, Jim Hecht Productions and Jason Shuman Productions Raymond McIntyre Jr., Visual Effects Supervisor Victor DiMichina, Visual Effects Producer Damien Stantina, Visual Effects Supervisor for BUF Javier Menéndez Platas, VFX Supervisor for PFX

Outstanding Stunt Coordination For Comedy Programming

The Brothers Sun • Netflix • A Netflix Series / Brad Falchuk Teley-Vision Justin Yu, Stunt Coordinator

The Gentlemen • Netflix • Netflix, Moonage Pictures and Miramax TV Mark Mottram, Stunt Coordinator

The Righteous Gemstones • HBO | Max • HBO in association with Rough House Cory DeMeyers, Supervising Stunt Coordinator

Twisted Metal • Peacock • Sony Pictures Television Studios, Universal Television, PlayStation Productions, Electric Avenue, Artists First, Make It With Gravy, Inspire Entertainment, Wicked Deed, Reese Wernick Productions Clay Cullen, Stunt Coordinator

What We Do In The Shadows • FX • FX Productions Tig Fong, Stunt Coordinator JF Lachapelle, Stunt Coordinator

Outstanding Stunt Coordination For Drama Programming

Fallout • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Casey O’Neill, Stunt Coordinator

FBI: Most Wanted • CBS • Universal Television in association with Wolf Entertainment and CBS Television Studios Declan Mulvey, Stunt Coordinator

Mr. & Mrs. Smith • Prime Video • Amazon MGM Studios, Big Indie Pictures Stephen Pope, Stunt Coordinator

The Rookie • ABC • ABC Signature and Entertainment One David Scott Rowden Sr, Stunt Coordinator

Warrior • HBO | Max • Max in association with Bruce Lee Entertainment, Perfect Storm and Tropper Ink Brett Chan, Stunt Coordinator Johnny Yang, Stunt Coordinator

Outstanding Stunt Performance

The Continental: From The World Of John Wick • Theatre Of Pain • Peacock • Lionsgate, Thunder Road, Reese Wernick Productions, King of Brockton Inc, Last Man Standing Films, Cool-ish Productions Jay Hawkins, Stunt Performer Jerry Quill, Stunt Performer Ivy Haralson, Stunt Performer

Fallout • The Target • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Justice Hedenberg, Stunt Performer Hannah Scott, Stunt Performer Adam Shippey, Stunt Performer Noelle Mulligan, Stunt Performer

Mr. & Mrs. Smith • A Breakup • Prime Video • Amazon MGM Studios, Big Indie Pictures Tara Macken, Stunt Performer

The Righteous Gemstones • Burn For Burn, Wound For Wound, Stripe For Stripe • HBO | Max • HBO in association with Rough House Ryan Disharoon, Stunt Performer Mike Endoso, Stunt Performer Jett Jansen Fernandez, Stunt Performer Rich King, Stunt Performer

Outstanding Technical Direction and Camerawork For A Series

America’s Got Talent • Finale Performances • NBC • Fremantle and Syco Entertainment Allan Wells, Technical Director Zach Greenberg, Technical Director Kary D’Alessandro, Camera John Gardner, Camera Helena Jackson, Camera Mark Koonce, Camera Ron Lehman, Camera Dave Levisohn, Camera Adam Margolis, Camera David Plakos, Camera Brian Reason, Camera Dann Webb, Camera Easter Xua, Camera

Dancing With The Stars • Finale • ABC • BBC Studios Los Angeles Productions Charles Ciup, Technical Director Dave Bernstein, Technical Director Bert Atkinson, Camera Jonas Brueling, Camera Mike Carr, Camera Jimmy Garcia, Camera Bruce Green, Camera Nathanial Havholm, Camera Ron Lehman, Camera Bettina Levesque, Camera Adam Margolis, Camera Rob Palmer, Camera Derek Pratt, Camera Brian Reason, Camera Jofre Rosero, Camera Daniel Schade, Camera Daryl Studebaker, Camera Cary Symmons, Camera Easter Xua, Camera

Last Week Tonight With John Oliver • Elon Musk • HBO | Max • HBO in association with Peyance Productions and Avalon Television Dave Saretsky, Technical Director Jerry Canćel, Camera Franco Coello, Camera Dante Pagano, Camera Mark Britt, Camera Joe DeBonis, Camera

The Late Show With Stephen Colbert • April 8, 2024: Strange Eclipse Behavior, NYC’s Earthquake, Mt. Etna Blows Smoke Rings, Trump’s $50m Fundraiser; Meanwhile; Rep. Alexandria Ocasio-Cortez; Tyla • CBS • CBS Studios Karen Obel Cape, Technical Director Roberto Lopez, Camera Brian V. Cimino, Camera Joe DeBonis, Camera John Hannel, Camera John Harrison, Camera Wade Latz, Camera Dante Pagano, Camera

Saturday Night Live • Host: Timothée Chalamet • NBC • SNL Studios in association with Universal Television and Broadway Video Bill DiGiovanni, Technical Director John Pinto, Camera Paul Cangialosi, Camera Anthony Tarantino, Camera Dave Driscoll, Camera Brian Phraner, Camera Daniel Erbeck, Camera

Outstanding Technical Direction and Camerawork For A Special

The Apple Music Super Bowl LVIII Halftime Show Starring Usher • CBS • Jesse Collins Entertainment, DPS and Roc Nation Eric Becker, Technical Director Rod Wardell, Technical Director Rob Balton, Camera Danny Bonilla, Camera Kary D’Alessandro, Camera Suzanne Ebner, Camera Sean Flannery, Camera Kevin French, Camera Helena Jackson, Camera Tore Livia, Camera Adam Margolis, Camera Allen Merriweather, Camera Jofre Rosero, Camera Keyan Safyari, Camera J.M. Hurley, Video Control Matt Conrad, Video Control Terrance Ho, Video Control

Billy Joel: The 100th – Live At Madison Square Garden • CBS • A Sony Music Vision and Enliven Entertainment Production / A Grammy Studios Production in association with Maritime Pictures Jon Pretnar, Technical Director Rob Balton, Camera Mark Britt, Camera Bobby Del Russo, Camera Daniel Erbeck, Camera Nick Fayo, Camera Pete Forrest, Camera Jonny Harkins, Camera Shaun Harkins, Camera Ray Hoover, Camera John Kosmochewski, Camera Jay Kulick, Camera Kevin Murphy, Camera Lyn Noland, Camera Jimmy O’Donnell, Camera Chris Piazza, Camera Mark Renaudin, Camera Ed Staebler, Camera Mark Whitman, Camera Rich York, Camera Jeff Siegel, Camera Brett Turnbull, Camera J.M. Hurley, Video Control Michael Maiatico, Video Control

66th Grammy Awards • CBS • Fulwell 73 Eric Becker, Technical Director Rod Wardell, Technical Director Danny Bonilla, Camera Mike Carr, Camera Suzanne Ebner, Camera Sean Flannery, Camera Helena Jackson, Camera Ron Lehman, Camera Tore Livia, Camera Adam Margolis, Camera Allen Merriweather, Camera Rob Palmer, Camera David Plakos, Camera Brian Reason, Camera Jofre Rosero, Camera Keyan Safyari, Camera Easter Xua, Camera Daniel Schade, Camera Ryan Campbell, Camera Scott Hazel, Camera Peter Drinco, Camera Greg Hoffman, Camera

Hannah Waddingham: Home For Christmas • Apple TV+ • Done + Dusted in association with Apple Chuck Crampton, Technical Director Lincoln Abraham, Camera Charlie Bryan, Camera Mark Cruickshank, Camera Paul Davis, Camera Alex Dodd, Camera Curtis Dunne, Camera Guiseppe Ingrao, Camera Lewis Mutongwizo, Camera Andre Seraille, Camera Jeremy Mackie, Camera Joseph Hallgate, Camera Jon Kassell, Camera Simon Wood, Camera

Outstanding Writing For A Comedy Series

Abbott Elementary • Career Day • ABC • Delicious Non-Sequitur Productions and Fifth Chance in association with Warner Bros. Television and 20th Television Quinta Brunson, Written by

The Bear • Fishes • FX • FX Productions Christopher Storer, Written by Joanna Calo, Written by

Girls5eva • Orlando • Netflix • Universal Television for Netflix Meredith Scardino, Written by Sam Means, Written by

Hacks • Bulletproof • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment Lucia Aniello, Written by Paul W. Downs, Written by Jen Statsky, Written by

The Other Two • Brooke Hosts A Night Of Undeniable Good • HBO | Max • Max in association with Broadway Video, Above Average, Jax Media, Kelly/Schneider and MTV Entertainment Studios Chris Kelly, Written by Sarah Schneider, Written by

What We Do In The Shadows • Pride Parade • FX • FX Productions Jake Bender, Written by Zach Dunn, Written by

Outstanding Writing For A Drama Series

The Crown • Ritz • Netflix • Left Bank Pictures and Sony Pictures Television for Netflix Peter Morgan, Written by Meriel Sheibani-Clare, Written by

Fallout • The End • Prime Video • Amazon MGM Studios and Kilter Films in association with Bethesda Game Studios and Bethesda Softworks Geneva Robertson-Dworet, Written by Graham Wagner, Written by

Mr. & Mrs. Smith • First Date • Prime Video • Amazon MGM Studios, Big Indie Pictures Francesca Sloane, Written by Donald Glover, Written by

Shōgun • Anjin • FX • FX Productions Rachel Kondo, Written for Television by Justin Marks, Written for Television by

Shōgun • Crimson Sky • FX • FX Productions Rachel Kondo, Written for Television by Caillin Puente, Written for Television by

Slow Horses • Negotiating With Tigers • Apple TV+ • See-Saw Films in association with Apple Will Smith, Written by

Outstanding Writing For A Limited Or Anthology Series Or Movie

Baby Reindeer • Netflix • A Netflix Series / A Clerkenwell Films Production Richard Gadd, Written by

Black Mirror • Joan Is Awful • Netflix • Broke & Bones for Netflix Charlie Brooker, Written by

Fargo • The Tragedy Of The Commons • FX • FX Presents an MGM/FXP Production Noah Hawley, Written by

Ripley • Netflix • Showtime and Endemol Shine North America in association with Entertainment 360 and Filmrights for Netflix Steven Zaillian, Written for Television by

True Detective: Night Country • Part 6 • HBO | Max • HBO in association with Peligrosa, Neon Black, Anonymous Content, Parliament of Owls and Passenger Issa López, Written by

Outstanding Writing For A Variety Series

The Daily Show • Comedy Central • Central Productions, LLC Dan Amira, Head Writer Lauren Sarver Means, Senior Writer Daniel Radosh, Senior Writer David Angelo, Writer Nicole Conlan, Writer Devin Delliquanti, Writer Zach DiLanzo, Writer Jennifer Flanz, Writer Jason Gilbert, Writer Dina Hashem, Writer Scott Hercman, Writer Josh Johnson, Writer David Kibuuka, Writer Matt Koff, Writer Matt O’Brien, Writer Joseph Opio, Writer Randall Otis, Writer Zhubin Parang, Writer Kat Radley, Writer Lanee’ Sanders, Writer Scott Sherman, Writer Jon Stewart, Writer Ashton Womack, Writer Sophie Zucker, Writer

Last Week Tonight With John Oliver • HBO | Max • HBO in association with Peyance Productions and Avalon Television Daniel O’Brien, Senior Writer Owen Parsons, Senior Writer Charlie Redd, Senior Writer Joanna Rothkopf, Senior Writer Seena Vali, Senior Writer Johnathan Appel, Writer Ali Barthwell, Writer Tim Carvell, Writer Liz Hynes, Writer Ryan Ken, Writer Mark Kramer, Writer Sofía Manfredi, Writer John Oliver, Writer Taylor Kay Phillips, Writer Chrissy Shackelford, Writer

Saturday Night Live • NBC • SNL Studios in association with Universal Television and Broadway Video Kent Sublette, Head Writer Streeter Seidell, Head Writer Alison Gates, Head Writer Gary Richardson, Writing Supervised by Will Stephen, Writing Supervised by Celeste Yim, Writing Supervised by Bryan Tucker, Senior Writer Rosebud Baker, Written by Dan Bulla, Written by Steven Castillo, Written by Michael Che, Written by Mike DiCenzo, Written by Alex English, Written by Jimmy Fowlie, Written by Martin Herlihy, Written by John Higgins, Written by Steve Higgins, Written by Vannessa Jackson, Written by Colin Jost, Written by Erik Kenward, Written by Ben Marshall, Written by Dave McCary, Written by Lorne Michaels, Written by Jake Nordwind, Written by Ceara O’Sullivan, Written by Ben Silva, Written by Julio Torres, Written by Asha Ward, Written by Auguste White, Written by Pete Schultz, Weekend Update Head Writer Megan Callahan-Shah, Weekend Update Written by Dennis McNicholas, Weekend Update Written by Josh Patten, Weekend Update Written by KC Shornima, Weekend Update Written by

Outstanding Writing For A Variety Special

Alex Edelman: Just For Us • HBO | Max • HBO in association with Above Average Alex Edelman, Written by

Jacqueline Novak: Get On Your Knees • Netflix • Animal Pictures and Irwin Entertainment for Netflix Jacqueline Novak, Written by

John Early: Now More Than Ever • HBO | Max • HBO in association with Abso Lutely Productions John Early, Written by

Mike Birbiglia: The Old Man And The Pool • Netflix • Jax Media for Netflix Mike Birbiglia, Written by

Outstanding Writing For A Nonfiction Program Conan O’Brien Must Go • Ireland • HBO | Max • Max in association with Conaco Jessie Gaskell, Written by Conan O’Brien, Written by Matt O’Brien, Written by Mike Sweeney, Written by

How To With John Wilson • How To Watch The Game • HBO | Max • HBO in association with Blow Out Productions, Johnsmovies and Atlantic Pictures John Wilson, Written by Michael Koman, Written by Allie Viti, Written by

Jim Henson Idea Man • Disney+ • Imagine Documentaries Productions, Disney Branded Television Mark Monroe, Written by

The Jinx – Part Two • Chapter 7: Why Are You Still Here? • HBO | Max • HBO Documentary Films presents a Hit The Ground Running Production Andrew Jarecki, Written by Sam Neave, Written by Zac Stuart-Pontier, Written by

The Reluctant Traveler With Eugene Levy • Scotland: My Mother’s Country • Apple TV+ • Twofour in association with Apple Alan Connor, Written by David Reilly, Written by Christine Rose, Written by

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