Gold Derby can exclusively reveal the 48 episodes entered as 2023 Emmy Award submission for the eight Best Drama Series nominees. Each program submits six episodes from this past season. Television Academy voters are asked to watch each of the episodes entered for that category before marking their ballots.
SEEover 150 video interviews with 2023 Emmy nominees
The complete list of submission for this category below:
Andor (Disney+):
“Announcement,” “Narkina 5,” “Nobody’s Listening,” “One Way Out,” “Daughter of Ferrix,” “Rix Road”
Better Call Saul (AMC):
“Point and Shoot,” “Fun and Games,” “Nippy,” “Breaking Bad,” “Waterworks,” “Saul Gone”
The Crown (Netflix):
“Mou Mou,” “Annus Horribillis,” “The Way Ahead,” “Gunpowder,” “Couple 31,” “Decommissioned”
House of the Dragon (HBO Max):
“The Heirs of the Dragon,” “The Princess and the Queen,” “Driftmark,” “The Lord of the Tides,” “The Green Council,” “The Black Queen”
The Last of Us (HBO Max):
“When You’re Lost in the Darkness,...
SEEover 150 video interviews with 2023 Emmy nominees
The complete list of submission for this category below:
Andor (Disney+):
“Announcement,” “Narkina 5,” “Nobody’s Listening,” “One Way Out,” “Daughter of Ferrix,” “Rix Road”
Better Call Saul (AMC):
“Point and Shoot,” “Fun and Games,” “Nippy,” “Breaking Bad,” “Waterworks,” “Saul Gone”
The Crown (Netflix):
“Mou Mou,” “Annus Horribillis,” “The Way Ahead,” “Gunpowder,” “Couple 31,” “Decommissioned”
House of the Dragon (HBO Max):
“The Heirs of the Dragon,” “The Princess and the Queen,” “Driftmark,” “The Lord of the Tides,” “The Green Council,” “The Black Queen”
The Last of Us (HBO Max):
“When You’re Lost in the Darkness,...
- 7/31/2023
- by Chris Beachum
- Gold Derby
John Aldred, the two-time Oscar-nominated British soundman who collaborated with Alfred Hitchcock, Charlie Chaplin, David Lean and Stanley Kubrick across a 50-year career, has died. He was 99.
Aldred died Dec. 15 in a hospital in Worthing, England, after a short illness, his family announced.
When he was first starting out, Aldred contributed to such films as The Four Feathers (1939), produced by Alexander Korda; The Thief of Bagdad (1940), co-directed by Michael Powell; In Which We Serve (1942), co-directed by Lean; and The Way Ahead (1944), helmed by Carol Reed.
He received his Oscar noms for his work on Anne of the Thousand Days (1969) and ...
Aldred died Dec. 15 in a hospital in Worthing, England, after a short illness, his family announced.
When he was first starting out, Aldred contributed to such films as The Four Feathers (1939), produced by Alexander Korda; The Thief of Bagdad (1940), co-directed by Michael Powell; In Which We Serve (1942), co-directed by Lean; and The Way Ahead (1944), helmed by Carol Reed.
He received his Oscar noms for his work on Anne of the Thousand Days (1969) and ...
- 1/22/2021
- The Hollywood Reporter - Film + TV
John Aldred, the two-time Oscar-nominated British soundman who collaborated with Alfred Hitchcock, Charlie Chaplin, David Lean and Stanley Kubrick across a 50-year career, has died. He was 99.
Aldred died Dec. 15 in a hospital in Worthing, England, after a short illness, his family announced.
When he was first starting out, Aldred contributed to such films as The Four Feathers (1939), produced by Alexander Korda; The Thief of Bagdad (1940), co-directed by Michael Powell; In Which We Serve (1942), co-directed by Lean; and The Way Ahead (1944), helmed by Carol Reed.
He received his Oscar noms for his work on Anne of the Thousand Days (1969) and ...
Aldred died Dec. 15 in a hospital in Worthing, England, after a short illness, his family announced.
When he was first starting out, Aldred contributed to such films as The Four Feathers (1939), produced by Alexander Korda; The Thief of Bagdad (1940), co-directed by Michael Powell; In Which We Serve (1942), co-directed by Lean; and The Way Ahead (1944), helmed by Carol Reed.
He received his Oscar noms for his work on Anne of the Thousand Days (1969) and ...
- 1/22/2021
- The Hollywood Reporter - Movie News
It seems unlikely that, at 58, Hugh Grant is celebrating his first Emmy nomination after a career spanning more than three decades, and which started on the small screen. Indeed, after his big breakthrough in 1994’s Four Weddings and a Funeral, he became such a big star that much of his earlier, lesser-known TV work was hastily rushed out onto video with his face dominating the packaging, so hot was the market for all things Grant. But in the shockwave of stardom that followed Four Weddings, Grant mainly kept his sights locked on the big screen.
That makes Amazon’s A Very English Scandal Grant’s first major television project since his career took flight, as television’s golden age continues to erode notions of a classist separation between the forms. And the nomination itself—for Lead Actor, Limited Series—is no surprise. As Jeremy Thorpe, the British politician forced to...
That makes Amazon’s A Very English Scandal Grant’s first major television project since his career took flight, as television’s golden age continues to erode notions of a classist separation between the forms. And the nomination itself—for Lead Actor, Limited Series—is no surprise. As Jeremy Thorpe, the British politician forced to...
- 8/22/2019
- by Joe Utichi
- Deadline Film + TV
'Henry V' Movie Actress Renée Asherson dead at 99: Laurence Olivier leading lady in acclaimed 1944 film (image: Renée Asherson and Laurence Olivier in 'Henry V') Renée Asherson, a British stage actress featured in London productions of A Streetcar Named Desire and Three Sisters, but best known internationally as Laurence Olivier's leading lady in the 1944 film version of Henry V, died on October 30, 2014. Asherson was 99 years old. The exact cause of death hasn't been specified. She was born Dorothy Renée Ascherson (she would drop the "c" some time after becoming an actress) on May 19, 1915, in Kensington, London, to Jewish parents: businessman Charles Ascherson and his second wife, Dorothy Wiseman -- both of whom narrowly escaped spending their honeymoon aboard the Titanic. (Ascherson cancelled the voyage after suffering an attack of appendicitis.) According to Michael Coveney's The Guardian obit for the actress, Renée Asherson was "scantly...
- 11/5/2014
- by Andre Soares
- Alt Film Guide
Feature Alex Westthorp 28 Mar 2014 - 07:00
In a new series, Alex talks us through the film roles of the actors who've played the Doctor. First up, William Hartnell and Jon Pertwee...
We know them best as the twelve very different incarnations of the Doctor. But all the actors who've been the star of Doctor Who, being such good all-rounders in the first place, have also had film careers. Admittedly, some CVs are more impressive than others, but this retrospective attempts to pick out some of the many worthwhile films which have starred, featured or seen a fleeting cameo by the actors who would become (or had been) the Doctor.
William Hartnell was, above all else, a film star. He is by far the most prolific film actor of the main twelve to play the Time Lord. With over 70 films to his name, summarising Hartnell's film career is difficult at best.
In a new series, Alex talks us through the film roles of the actors who've played the Doctor. First up, William Hartnell and Jon Pertwee...
We know them best as the twelve very different incarnations of the Doctor. But all the actors who've been the star of Doctor Who, being such good all-rounders in the first place, have also had film careers. Admittedly, some CVs are more impressive than others, but this retrospective attempts to pick out some of the many worthwhile films which have starred, featured or seen a fleeting cameo by the actors who would become (or had been) the Doctor.
William Hartnell was, above all else, a film star. He is by far the most prolific film actor of the main twelve to play the Time Lord. With over 70 films to his name, summarising Hartnell's film career is difficult at best.
- 3/26/2014
- by louisamellor
- Den of Geek
Even back when Britain was an industrial nation, films about industry were relatively rare: audiences who worked on assembly lines presumably wanted to look at something more glamorous on their night at the pictures. In Saturday Night and Sunday Morning (1960), Albert Finney snarled, "Don't let the bastards grind you down," a neat encapsulation of the working man's political philosophy, whereas I'm Alright Jack (1959) took a dismayed view of the hostile stand-off between Capital and Labor. That Boulting Brothers satire may have adopted a "plague on both your houses" stance, but in fact its sympathy was with management.
The Agitator (1945) is the product of a gentler age: it tries to be sympathetic to everybody, but again there's a hidden conservative bias. Still, as the product of a generation who had just won the war and were looking forward, some of them, to a bright socialist future of free education and health care,...
The Agitator (1945) is the product of a gentler age: it tries to be sympathetic to everybody, but again there's a hidden conservative bias. Still, as the product of a generation who had just won the war and were looking forward, some of them, to a bright socialist future of free education and health care,...
- 3/20/2014
- by David Cairns
- MUBI
His first column appeared in April 1963 and he would become the doyen of UK film critics. Having announced he will soon file his last column, he talks about meeting Chaplin, and Hollywood's greatest canine actors
Philip French's international reputation as a film critic is unrivalled. As recently as February, after a career with the Observer that began in 1963, an American film journal rated him as Britain's "greatest living movie analyst". But at the end of August he is to file his last column as this newspaper's film critic. After an illustrious half century, French, who was honoured with an OBE in January, has decided to step down following his 80th birthday the same month.
In his first column for the Observer, he bemoaned the lack of British films offering a believable picture of criminathe underworld. He noted "the tired vignettes of sub-Runyon characters" in The Small World of Sammy Lee starring Anthony Newley.
Philip French's international reputation as a film critic is unrivalled. As recently as February, after a career with the Observer that began in 1963, an American film journal rated him as Britain's "greatest living movie analyst". But at the end of August he is to file his last column as this newspaper's film critic. After an illustrious half century, French, who was honoured with an OBE in January, has decided to step down following his 80th birthday the same month.
In his first column for the Observer, he bemoaned the lack of British films offering a believable picture of criminathe underworld. He noted "the tired vignettes of sub-Runyon characters" in The Small World of Sammy Lee starring Anthony Newley.
- 5/4/2013
- by Vanessa Thorpe
- The Guardian - Film News
Peter Ramsey's festive animation is fun and frantic but, somewhere amid the boisterous bouncing off chimney pots and skittering across rooftops, logic and substance are lost
To celebrate the arrival of Rise of the Guardians, a 3D holiday spectacular from director Peter Ramsey, the Rome film festival erects a splendid Christmas tree outside the main auditorium. The tree points to a warm blue autumn sky and is festooned with so many lights and baubles that it becomes more bauble than branch. You find yourself wondering whether there's a tree there at all, whether there's any actual substance behind the gaudy decoration. As with the tree, so with the film.
Credit where it's due: Rise of the Guardians provides a welcome distraction at an event that has otherwise been rather too in thrall to broad continental comedy and over-familiar social-realist tropes. It's fun and frantic, a kind of festive riff on The Three Musketeers,...
To celebrate the arrival of Rise of the Guardians, a 3D holiday spectacular from director Peter Ramsey, the Rome film festival erects a splendid Christmas tree outside the main auditorium. The tree points to a warm blue autumn sky and is festooned with so many lights and baubles that it becomes more bauble than branch. You find yourself wondering whether there's a tree there at all, whether there's any actual substance behind the gaudy decoration. As with the tree, so with the film.
Credit where it's due: Rise of the Guardians provides a welcome distraction at an event that has otherwise been rather too in thrall to broad continental comedy and over-familiar social-realist tropes. It's fun and frantic, a kind of festive riff on The Three Musketeers,...
- 11/14/2012
- by Xan Brooks
- The Guardian - Film News
Grant Gee's likably loquacious documentary elegantly re-traces Wg Sebald's steps through the Suffolk countryside
In the summer of 1992, the author Wg Sebald, "irradiated by melancholy", set off on a physical and philosophical wander through the Suffolk countryside – a route that he later re-traced in his landmark book The Rings of Saturn. Grant Gee's likably loquacious, digressive documentary re-traces that re-tracing, complete with handy page references ("pg 41: Lowestoft") and erudite talking heads (Andrew Motion, Adam Phillips, Tacita Dean) to guide us through the psycho-geography.
The way ahead touches on everything from the nature of walking to the tenor of depression; from silkworms to bombing raids. In keeping with the spirit of Sebald's writing, Gee's film is teasing, elegant and perhaps inevitably unresolved: an invitation as opposed to a destination. The answers, presumably, are out there somewhere; lying low in the flat, monochrome landscape, or hunched at a table at a Lowestoft pub.
In the summer of 1992, the author Wg Sebald, "irradiated by melancholy", set off on a physical and philosophical wander through the Suffolk countryside – a route that he later re-traced in his landmark book The Rings of Saturn. Grant Gee's likably loquacious, digressive documentary re-traces that re-tracing, complete with handy page references ("pg 41: Lowestoft") and erudite talking heads (Andrew Motion, Adam Phillips, Tacita Dean) to guide us through the psycho-geography.
The way ahead touches on everything from the nature of walking to the tenor of depression; from silkworms to bombing raids. In keeping with the spirit of Sebald's writing, Gee's film is teasing, elegant and perhaps inevitably unresolved: an invitation as opposed to a destination. The answers, presumably, are out there somewhere; lying low in the flat, monochrome landscape, or hunched at a table at a Lowestoft pub.
- 1/27/2012
- by Xan Brooks
- The Guardian - Film News
Greek director Theo Angelopoulos has died in a road accident aged 76. Here we look back at his body of work, which included The Travelling Players, Ulysses Gaze and Landscape in the Mist
The Travelling Players (1975)
Theo Angelopoulos's breakthrough film is a political allegory in disguise; a leftist analysis of democracy, fascism and national identity, shrewdly gussied up as the tale of a theatre tour through the Greek provinces and shot under the noses of the country's military junta. Rigorous, spartan, and yet brimming over with pungent mythic allusions, The Travelling Players established its creator as one of the most distinctive European directors of his generation.
Landscape in the Mist (1988)
The director hit the road again with this stark, soulful tale of two runaways in search of their missing father. The way ahead leads through misty towns and snowy wilderness, while the early social-realist air tilts, by degrees, towards surrealism.
The Travelling Players (1975)
Theo Angelopoulos's breakthrough film is a political allegory in disguise; a leftist analysis of democracy, fascism and national identity, shrewdly gussied up as the tale of a theatre tour through the Greek provinces and shot under the noses of the country's military junta. Rigorous, spartan, and yet brimming over with pungent mythic allusions, The Travelling Players established its creator as one of the most distinctive European directors of his generation.
Landscape in the Mist (1988)
The director hit the road again with this stark, soulful tale of two runaways in search of their missing father. The way ahead leads through misty towns and snowy wilderness, while the early social-realist air tilts, by degrees, towards surrealism.
- 1/25/2012
- by Xan Brooks
- The Guardian - Film News
One thing that still causes me considerable pain is that prior to Jj Abrams‘ reboot, Star Trek had become a joke, and anyone who dared proclaim their admiration of the show was treated like a pariah and forced to sit miserably at home in their mock uniform-pj’s boldly going nowhere in particular, horribly alone. Oh, it’s cool now, because the new movie was so bad-ass, and Abrams’ name above the door made the grand old franchise accessible to a much larger general audience, at the same time as almost wiping out everything that came before it in the franchise by establishing a new history, but not so long ago it was all very different.
What has compelled me to write this article is the firm belief that there is still the potential for a Star Wars Trek TV show to work, and heal the considerable damage done by...
What has compelled me to write this article is the firm belief that there is still the potential for a Star Wars Trek TV show to work, and heal the considerable damage done by...
- 4/23/2011
- by Simon Gallagher
- Obsessed with Film
A Screenwriting Workshop, “The Six Layers of a Great Film and Great Character” will be conducted by Hollywood’s renowned screenwriter David Freeman at the upcoming Ficci Frames 2011. Ficci Frames 2011, the annual convention of the media and entertainment industry, will be held through March 23-25, 2011in Mumbai.
A session on marketing Indian films abroad, “Gateways to the European Market” will be conducted by Juliane Schulze, Senior Partner, Peacefulfish , Germany. The session which will also include consultation, will involve detailed presentation on European film financing covering the core European markets (treaties, EU funding, national & regional funding, specialized funds and cash rebates.)
To register, visit http://www.ficci-frames.com/registration.htm.
Some other things of interest: (As stated in Ficci Frames Press Release, subject to change)
Making Cinema with Global Appeal: A Session with the Stalwarts
What goes into creating movies which appeal to a worldwide audience and can captivate countries together?...
A session on marketing Indian films abroad, “Gateways to the European Market” will be conducted by Juliane Schulze, Senior Partner, Peacefulfish , Germany. The session which will also include consultation, will involve detailed presentation on European film financing covering the core European markets (treaties, EU funding, national & regional funding, specialized funds and cash rebates.)
To register, visit http://www.ficci-frames.com/registration.htm.
Some other things of interest: (As stated in Ficci Frames Press Release, subject to change)
Making Cinema with Global Appeal: A Session with the Stalwarts
What goes into creating movies which appeal to a worldwide audience and can captivate countries together?...
- 3/19/2011
- by NewsDesk
- DearCinema.com
Francis Ford Coppola has made yet another film about father-son tensions – but this one is a self-indulgent mess
Francis Ford Coppola's latest film, which he has both written and directed, is not badly acted – not at all. But it is laboured, massively implausible, excruciatingly self-important and really quite staggeringly boring in the way only a deeply personal film from a deeply important film-maker can be. It's an Oedipal-lite fantasy, brooding on the nature of art, fatherhood and creation. Its message could be: those who resent the stultifying influence of a celebrated father-figure can exercise the Freudian prerogative of parricide, but they may then have to shoulder the terrible, fatal burden of patriarchy themselves.
In its opening act, Tetro has the feel of something by Tennessee Williams, and in fact it looks like the live TV transmission of a stage play. Bennie is a teenager, working on a cruise ship,...
Francis Ford Coppola's latest film, which he has both written and directed, is not badly acted – not at all. But it is laboured, massively implausible, excruciatingly self-important and really quite staggeringly boring in the way only a deeply personal film from a deeply important film-maker can be. It's an Oedipal-lite fantasy, brooding on the nature of art, fatherhood and creation. Its message could be: those who resent the stultifying influence of a celebrated father-figure can exercise the Freudian prerogative of parricide, but they may then have to shoulder the terrible, fatal burden of patriarchy themselves.
In its opening act, Tetro has the feel of something by Tennessee Williams, and in fact it looks like the live TV transmission of a stage play. Bennie is a teenager, working on a cruise ship,...
- 6/25/2010
- by Peter Bradshaw
- The Guardian - Film News
Slowly evolving from fad to Standard Blockbuster Procedure (the jury's still out on whether it'll slip back into "just a phase territory, but post-Avatar, that won't be for a while), 3D is going to Hogwarts. Yes, both chunks of Harry Potter And The Deathly Hallows will be converted to the format.According to the Heat Vision Blog, early 3D conversion tests for the Clash Of The Titans remake have been such a roaring success that Warners executives have decided that the format is clearly The Way Ahead. Or, at the very least, The Way To Squeeze More Cash Out Of The Punters give audiences the unique experience of seeing Harry and co in 3D.Warners was apparently closed-mouthed when asked to confirm, so until the official announcement this is technically a rumour. But that shoe is expected to drop before the week - and knowing the speed at which these...
- 1/26/2010
- EmpireOnline
Is David Lynch's 2001 spellbinder an exposé of Hollywood mores? Or is it a wild white rabbit chase into the mind of Lynch himself? Who knows, and what does it matter when the result is this entrancing
Mulholland Drive, like its namesake, twists and turns along the fringes of Hollywood, past misty vistas and discreet, gated secrets. The way ahead is slippery and treacherous, and halfway up even the most surefooted traveller risks losing their way. When the film was released back in 2001, director David Lynch helpfully provided a list of directions ("Notice appearance of the red lampshade. Where is Aunt Ruth?", etc). But were these road signs or red herrings? There are times when we wonder if even Lynch knows precisely where he is leading us.
I interviewed the director at the tail-end of 1999 when he told me about this TV pilot he'd been working on; how the network...
Mulholland Drive, like its namesake, twists and turns along the fringes of Hollywood, past misty vistas and discreet, gated secrets. The way ahead is slippery and treacherous, and halfway up even the most surefooted traveller risks losing their way. When the film was released back in 2001, director David Lynch helpfully provided a list of directions ("Notice appearance of the red lampshade. Where is Aunt Ruth?", etc). But were these road signs or red herrings? There are times when we wonder if even Lynch knows precisely where he is leading us.
I interviewed the director at the tail-end of 1999 when he told me about this TV pilot he'd been working on; how the network...
- 12/30/2009
- by Xan Brooks
- The Guardian - Film News
Is David Lynch's 2001 spellbinder an exposé of Hollywood mores? Or is it a wild white rabbit chase into the mind of Lynch himself? Who knows, and what does it matter when the result is this entrancing
Mulholland Drive, like its namesake, twists and turns along the fringes of Hollywood, past misty vistas and discreet, gated secrets. The way ahead is slippery and treacherous, and halfway up even the most surefooted traveller risks losing their way. When the film was released back in 2001, director David Lynch helpfully provided a list of directions ("Notice appearance of the red lampshade. Where is Aunt Ruth?", etc). But were these road signs or red herrings? There are times when we wonder if even Lynch knows precisely where he is leading us.
I interviewed the director at the tail-end of 1999 when he told me about this TV pilot he'd been working on; how the network...
Mulholland Drive, like its namesake, twists and turns along the fringes of Hollywood, past misty vistas and discreet, gated secrets. The way ahead is slippery and treacherous, and halfway up even the most surefooted traveller risks losing their way. When the film was released back in 2001, director David Lynch helpfully provided a list of directions ("Notice appearance of the red lampshade. Where is Aunt Ruth?", etc). But were these road signs or red herrings? There are times when we wonder if even Lynch knows precisely where he is leading us.
I interviewed the director at the tail-end of 1999 when he told me about this TV pilot he'd been working on; how the network...
- 12/30/2009
- by Xan Brooks
- The Guardian - Film News
PARIS -- Oliver Stone's World Trade Center will have a 20-minute preview screening in the Cannes Classics section of the Festival de Cannes, organizers announced Wednesday. The teaser, a world premiere, will unspool after the showing of a new print of Stone's Platoon. The director and principal members of the cast are expected on the Croisette for the screening. The Cannes Classics section, which screens restored copies of classic films as well as documentaries about cinema, will pay tribute this year to the late Carol Reed. Put together by Granada International in conjunction with the British Film Institute, the tribute will screen four of the Oscar-winning director's classic movies: The Fallen Idol, Odd Man Out, The Way Ahead and A Kid for Two Farthings.
PARIS -- Oliver Stone's World Trade Center will have a 20-minute preview screening in the Cannes Classics section of the Festival de Cannes, organizers announced Wednesday. The teaser, a world premiere, will unspool after the showing of a new print of Stone's Platoon. The director and principal members of the cast are expected on the Croisette for the screening. The Cannes Classics section, which screens restored copies of classic films as well as documentaries about cinema, will pay tribute this year to the late Carol Reed. Put together by Granada International in conjunction with the British Film Institute, the tribute will screen four of the Oscar-winning director's classic movies: The Fallen Idol, Odd Man Out, The Way Ahead and A Kid for Two Farthings.
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