Tag: Entertainment-Variety

Netflix has set an official premiere date for its “Little House on the Prairie” series, with the streamer also announcing the show has already been renewed for Season 2.

The new “Little House on the Prairie,” based on the beloved Laura Ingalls Wilder book series, will launch on July 9. The show was first announced with a series pickup in January 2025.

The logline states, “Part hopeful family drama, part epic survival tale, and part origin story of the American West, this fresh adaptation of Laura Ingalls Wilder’s iconic semi-autobiographical ‘Little House’ books offers a kaleidoscopic view of the struggles and triumphs of those who shaped the frontier.”

The cast includes Alice Halsey as Laura Ingalls, Skywalker Hughes as Laura’s older sister, Mary, Luke Bracey as Pa, aka Charles Ingalls, and Crosby Fitzgerald as Ma, Caroline Ingalls.

Rebecca Sonnenshine will serve as showrunner and executive producer on “Little House on the Prairie.” Joy Gorman Wettels of Joy Coalition will also executive produce along with Trip Friendly for Friendly Family Productions, Dana Fox, and Susanna Fogel. CBS Studios and Anonymous Content Studios will produce for Netflix. Directors on the series are Sarah Adina Smith (101), Julie Anne Robinson (102, 103), Kat Candler (104, 105), Erica Tremblay (106), Sydney Freeland (107, 108)

Friendly is the son of Ed Friendly, who executive produced the original “Little House on the Prairie” TV series.

“I’m incredibly grateful to our wonderful cast and crew, who put their hearts and hard work into making our first season come alive,” Sonnenshine said. “We can’t wait to share this new adaptation of the ‘Little House’ books with the world, and we’re thrilled that Netflix is giving us the opportunity to continue the story.”

Ingalls Wilder released eight “Little House” books in the 1930s and ’40s, while a ninth was published posthumously in 1971. The books are based on her childhood in the American Midwest in the late 1800s. More than 73 million copies of the books have been sold to date.

“We are delighted to renew this beautiful reimagining of ‘Little House on the Prairie’ for a second season ahead of its Netflix debut,” said Jinny Howe, Netflix’s head of US and Canada scripted series. “The exceptional work by Rebecca Sonnenshine and the entire cast and crew on Season 1 has established a rich foundation of storytelling for years to come. With its hopeful spirit and emotional authenticity, we’re confident that Little House will deliver even more of what fans truly love.”

TLC’s newest show about an insular religious community, “Suddenly Amish,” has almost wrapped its eight-episode first season, and despite the conservative reputation of the religious sect, it stars a churchgoing diva named James who delivers more drama than a whole season of “Real Housewives.” Below, I attempt to explain why this reality series — and James — have me riveted.

OK, what is this crazy show?

The premise of the reality series is that six English (Amish slang for “non-Amish people”) head to an Amish community in Lancaster, Pennsylvania, because they want to consider joining the lifestyle for…reasons? It’s all very unclear, but each one of them seems to have done a laughably poor job at even the most basic research, which would tell them the lifestyle is incompatible with their personalities.

To wit: Judah is bisexual, but that isn’t OK in Amish communities; Aaron’s hearing aids are bluetooth enabled by his cell phone, but cell phones aren’t allowed; Esme feels uncomfortable without makeup and fake nails, which aren’t a part of Amish life; Matt is divorced, which is forbidden; Kendra wears clothes with cleavage, which is a no-no; and Billie Jo says she’s an Amish fangirl, but also packed a sex toy in her luggage, which, wouldn’t you know, is not allowed in Amish culture.

Despite these extremely bumpy starts, Bishop Vernon, the patriarch of the community, is worried about the shrinking Amish population, so he wants to invite these people (and cameras) in to see that their way of life is calm and honest in an increasingly complex world.

Meet James (and his straw hat)

Amazingly, Vernon tasks James to be a leader for these curious English, and the journey is set to be his own redemption tale. Before the show, James was shunned from the community for cell phone use, so he’s working on proving that he’s godly enough to be seen as a positive influence and get back in good graces.

Seems simple, right? Brace yourself, because it quickly becomes clear that James is vindictive, conniving and stuck in a love triangle between one of the English and his third cousin.

James starts to unravel quickly, as it’s clear he has eyes for Kendra, a former dancer whose body he sees dressed immodestly one too many times. While her outfits are par for the course for an L.A.-based content creator, she inadvertently hypnotizes James, who takes special care in overseeing her journey and advocating for her.

James grabs an ax

Unfortunately for him, Matt quickly starts flirting more overtly with Kendra, which James clocks. During a group dinner in Episode 2, Matt mentions that he is divorced, which James notes is forbidden in the community, and he has to leave immediately. (“I’m not going to let them bring any evil in here … They could cause enough disharmony to the point that it topples the church,” James said, with a smirk, while discussing it in a testimonial.)

From there, James grabs an ax and, swinging it absentmindedly in his left hand, escorts his romantic rival off the property. It’s the kind of moment that likely made producers cheer, as well as pray that no one would get murdered with an ax during their shoot.

Once James returns to the dinner, Judah has the most sober analysis of the situation, saying in another testimonial: “James is crazy. James is a psycho.” Allen, a kind, older mentor in the community, agreed that James’ behavior wasn’t called for. “James driving Matt off … he should not have the ax in his hand. That gives Matt a very nasty picture of the Amish way of life.”

Twerking at the Rumspringa tailgate

Matt’s departure upsets Kendra, which James leverages by allowing her to use her hidden cell phone to call her mother. At this point, the English, Allen and James’ live-in third cousin Emma start regularly discussing his crush on Kendra.

It doesn’t take much longer for secrets to start spilling out from under James’ straw hat, as Matt returns to the community at the end of Episode 4 in order to see Kendra again. Things come to a head at a Rumspringa tailgate party, where young Amish people leave the community and temporarily live English in order to confirm they want to stay religious.

James drinks to excess and shows too much interest in Kendra twerking in her Amish garb, which upsets a jealous Emma. This causes the cousins to spend much of the evening play wrestling and caressing in ways that I personally avoid with family members. It’s gross, but although they claim they’ve never hooked up, they’ve done the math and confirm that they can.

As the cast notes the hypocrisy of James’ drinking and his PDA with Emma — both of which are not allowed for the Amish — blurry footage is shown of the cousins running around the house late at night, up to some funny business in both the bedroom and the bathroom.

Breakups and departures

The next day, Matt takes Kendra on a date and, after another confrontation with James, he decides to leave again, and she opts to stay with him at a motel for the night before he goes. James furiously grabs a lantern, a horse and a buggy and heads to the motel in order to confront the pair.

“There are many ways to be tempted: Serving the flesh, serving self … Kendra is somebody I want to protect. Kendra has a future here. Kendra has great potential. I don’t want her to be defiled,” James says, chillingly.

Despite James’ nonstop knocking, the pair doesn’t open the door, and when James arrives back home, Emma is angered by the stunt. This causes the relatives to finally get real in their testimonials, as both Matt and Kendra leave for good.

James, on Kendra: “She has this potential to be a good Amish wife. It would have been nice to have her around longer. There’s natural chemistry.”

Emma’s rebuttal: “If Matt and Kendra would have been given an honest chance, if we would have treated them right, they would have stayed. The biggest reason why they left is because of the way we didn’t do our part. We’ve done something extremely wrong, and there should be no reason why they want to leave.”

This disconnect causes Emma to flee the house and move out entirely due to James’ actions, but she’s hesitant to describe them at length — except via a late-night hidden camera, which catches her talking furiously with James.

“You want Kendra,” she says. “I can’t associate myself with people who lie, with people who deceive … I’ve never heard so much bullshit in my entire life.” (Note: Profanity is, of course, not looked highly upon by the Amish.)

The biggest blow? When the cousins are in testimonial together, and Emma looks at James and says, “I feel like I did my best in setting a good example, but I need a better leader.” Ouch!

Lurching towards the finale

After sending his cousin fleeing, banishing two of the contestants, and quickly losing the trust of the elders that could help him get un-shunned, James is still acting like a villain to the remaining four English. The night before their Reckoning Day, when they determine if they’ll stay in the Amish community or not, James continues to toy with their emotions at a group dinner.

“Me and Allen could put in a good word — if we desire to,” James says, wiggling his eyebrows.

“There’s only one night left, and James is still playing games, playing with our emotions. When does it ever end?” Judah laments in a testimonial.

“I am very disappointed with James dealing with the English that way,” Allen says in his testimonial. “His viewpoints on the Amish lifestyle are very different from mine or my brothers. He can be very, very hard.”

Ultimately, James makes a compelling case for nature versus nurture when it comes to reality show villains. Unless he’s sneaking a smart TV into the communal phone shanty, he doesn’t realize he was born for this shit. Manipulative, mean, self-righteous — and that’s just in his first season!

Ultimately, while Allen is the sincere soul who makes the Amish lifestyle seem calm and forgiving, it’s great to know that, however secluded the community is, there are hot messes like James everywhere.

Watch James confront Matt before he grabs his ax in the scene below.

“Suddenly Amish” streams on HBO Max, and its first season finale — which includes Reckoning Day! — airs tonight on TLC.

Paramount Skydance’s $110 billion bid for Warner Bros. Discovery is not just a Hollywood deal. Powered by $24 billion from sovereign wealth funds in Saudi Arabia, Qatar and Abu Dhabi, the proposed merger is sparking debate over soft power, influence and media independence at a company that includes CNN and HBO.

Saudi Arabia’s Public Investment Fund (PIF), Abu Dhabi’s L’imad Holding Company, and the Qatar Investment Authority (QIA) are jointly putting up a total of $24 billion investment into the Hollywood mega merger — a power move that coincides with efforts to build local entertainment industries across the Middle East.

In an SEC filing, Paramount said the investors will not receive governance rights, including board seats or voting rights, so their involvement will not require a sign-off by the U.S. Committee on Foreign Investment (CFIUS).

The question, however, isn’t whether the Arab funds have formal voting rights — it’s whether a $24 billion stake can ever truly be passive inside a company that controls CNN, HBO and one of Hollywood’s most powerful IP libraries.

Before pulling out of the deal, Netflix co-CEO Ted Sarandos – speaking to the BBC in London on the morning after the recent BAFTA Film Awards – called the Gulf sovereign funds backing Paramount’s bid a “bad idea,” noting that they are from “a part of the world that is not very big on the First Amendment.” 

“It seems very odd to me with the level of investment that we’re talking about that they’d have no influence or editorial control over media in another country,” Sarandos added.

“They may be sleeping partners. But there will probably come a time when they are going to wake up and want to exert their influence” agreed Middle East analyst Neil Quilliam, partner at Azure Strategy in London.

“Big sovereign investors negotiate the level of visibility they want into strategy and major decisions,” said New York-based lawyer and analyst Irina Tsukerman. “They automatically get ongoing access to leadership and leverage tied to future financing, even without publicly acknowledged voting rights,” she pointed out.

“Would you spend that kind of money to just be a silent partner? “I doubt it,” said Dubai-based media consultant Mazen Hayek who is a former spokesman for regional broadcasting powerhouse MBC Group.

“Does it guarantee you direct influence? No, it doesn’t,” he added. “At least not in normal corporate America,” according to Hayek.

Quilliam underlined that the decision on the part of Saudi Arabia, Qatar and Abu Dhabi – which is part of the United Arab Emirates – to join forces on this Hollywood mega deal marks “an unusual three-way alliance,” especially at a time when tensions are simmering between Saudi and the UAE who are on opposite sides of Sudan’s civil war.

But these Gulf countries are casting aside their differences because “They’ve got their eye on the bigger prize,” Quilliam noted. That reward being that “all three Arab states want to occupy a major place in the global media space.” So they are “really stepping up to project their [soft] power beyond the region.”

“They are looking for ways to diversify from their oil-based economies,” said Georgetown University political economist Robert Mogielnicki. And “Pushing into the entertainment realm is an important part of their broader economic diversification strategies.”

But what’s in it for them?

Besides the prestige of being minority partners in the Hollywood mega merger “They get a piece of IP, a movie premiere, a movie shoot: all they care about is reputation and soft power,” says Hayek. At a more granular level, there could be synergies between Saudi-owned MBC’s Shahid streaming service and HBO Max, he noted.

Saudi Arabia – eight years after the removal of its religion-related ban on cinema – has major moviemaking ambitions as part of the kingdom’s larger efforts to transition from an oil-based economy to becoming a digital world player.

Hollywood, meanwhile, is beginning to move past the backlash caused by the grisly murder of U.S.-based journalist Jamal Khashoggi at the Turkish Embassy in 2018 which was attributed to Saudi agents following an investigation. The Saudi government denies involvement of its top leadership. 

Saudi money has already found its way in Hollywood through multiple splashy deals. To name one, Electronic Arts, the maker of video games like “Madden NFL,” “Battlefield,” and “The Sims,” in October was acquired by an investor group led by Saudi Arabia’s sovereign wealth fund in a massive deal valued at $55 billion. 

Qatar, after being put on the global map by Al Jazeera and the 2022 FIFA World Cup soccer tournament, is now turning to film and TV and courting Hollywood. This became crystal clear last November during the Industry Days component of the new Doha Film Festival that were attended by top executives from Sony Pictures and U.S. indie studios Neon, A24, Department M and Miramax that is jointly owned by Qatar’s beIN Media Group and Paramount Global.

Meanwhile, Hollywood-backed theme parks have been sprouting in the region. In May, the Walt Disney Company announced plans for its first theme park in the Middle East in Abu Dhabi, joining the nearby Warner Bros. World resort on Abu Dhabi’s Yas Island.

That said, the broader issue remains that “Hollywood is not used to Arab money in media,” Hayek pointed out. “They are used to Arab money in strategic places: in airports and football clubs and shopping malls,” he noted. But they are not comfortable with Arab countries owning even a relatively small interest in the parent company of a global news operation such as CNN.

CNN in fact could become the main stumbling block for the Paramount Warner Bros. merger from a regulatory standpoint. But it’s probably not an insurmountable obstacle.

François Godard, an analyst at Enders Analysis, has pointed out that the U.K. regulator recently blocked a deal for RedBird Capital Partners — backed by Abu Dhabi-based International Media Investments (IMI) to buy the Telegraph Media Group.

However the EU regulator is likely to be more lenient than its British counterpart since CNN is “not a significant player in Europe’s national media landscapes” said Max von Thun, director of Europe at the Brussels-based Open Markets Institute. Von Thun also noted that, more in general, the EU “rarely blocks merger deals.”

As for how the foreign investments would sit with the U.S. regulator, Mogielnicki said that for Arab sovereign funds in the U.S., there are now “fewer hurdles, and they are easier to get over than in the past.”

“The FCC, the Justice Department, and national security review bodies will still run through the formal processes,” said Tsukerman.

“But leadership in those institutions reflects the administration,” she added. Especially now, under U.S. President Donald Trump, “appointees tend to follow his instincts – and sometimes explicit direction – on foreign investment.”

And, as Tsukerman noted, since Trump “has already been comfortable operating alongside Saudi-backed capital, regulators under him are unlikely to treat the same capital as automatically disqualifying in a media deal.”

Indian thespian Anupam Kher is developing a new film set in Varanasi that echoes the themes of his 1984 breakthrough “Saaransh” while unveiling his latest directorial effort “Tanvi the Great” for its global streaming premiere on Prime Video March 3.

“I’m working on a story about Banaras [Varanasi], about a person in Banaras,” Kher says of the new project. “I was discussing with [“Saaransh” director] Mahesh Bhatt… it’s a ‘Saaransh 2,’ basically. This time, the man is not passive in the sense he was aggressive in his thoughts. This time I just feel that I need to reinvent myself.”

The actor-director describes the Varanasi-set film as the story of “a 70-year-old man who feels like a 28-year-old man” – a reversal of his iconic debut where he played a 65-year-old character at age 28 in “Saaransh,” Bhatt’s 1984 drama about an elderly couple coping with the loss of their only son. That film, which was India’s entry for the Oscars, established Kher as a serious actor and remains one of his most celebrated performances. “When I was 28 I played a 65-year-old man role. Now at that time, I portrayed 65 what I thought 65 will be like, but I’m going to be 71 on March 7, I feel like a 28-year-old man,” he says. The new project will unfold “in the genre of a funny thriller, but human story. I don’t know how to tell other stories. I can only tell stories which are human, which have a human angle, which have a human feeling, but positive. I like happy endings.”

As Kher discusses his future projects, he’s simultaneously unveiling “Tanvi the Great” for its worldwide streaming debut, bringing the autism-centered drama to audiences worldwide after a festival and theatrical run. The film follows 21-year-old Tanvi Raina [debutant Shubhangi Dutt], an autistic woman who discovers her late soldier father’s unfulfilled dream – to stand at Siachen, the world’s highest battlefield, and salute the Indian flag – and becomes determined to fulfill this mission despite societal pushback and institutional barriers against autistic recruits in the military. The film portrays autism as a superpower rather than a disability.

Following its world premiere at the Cannes Film Market, “Tanvi the Great” screened in London, New York – where Robert De Niro attended – and Houston before being shown to the President of India, the army chief, and 2,000 cadets at the Indian National Defence Academy. The theatrical release in India came on July 18, alongside the blockbuster “Saiyaara.” “‘Saiyaara’ was like a tsunami, so it got lost in that,” Kher acknowledges, though the film found life through special screenings for 20,000 school students and a re-release that has now reached its 23rd week in limited theaters.

“If film is to be judged from a box office, it did not do well, but if it is to be judged by appreciation and the kind of response of the Autism Society of India, the army, the children, the school children, the people who saw it, is, it is, I think, priceless,” Kher says.

But perhaps the most meaningful validation came from De Niro, who had initially planned a brief 10-minute appearance at the New York premiere. “He had come for 10 minutes, but he stayed till the interval,” Kher recalls. De Niro, who Kher starred alongside in “Silver Linings Playbook,” later requested to see the complete film. “He said, ‘It’s very moving.’ And he told the girl [Dutt] that you are terrific, which I thought was the ultimate compliment for any actor in the world, that the God of acting is telling a person who has done her first film that you are terrific.”

The response from the autistic community has been particularly gratifying. “We have presented Tanvi as a superpower… they like that because they say that there is some special things about them,” Kher explains. “Usually, people portray them as helpless and tragic and this and that. They love the quirkiness of Tanvi. They loved that she takes up a job which her father could not fulfill. They love the portrayal of Shubhangi very well. They love the relationship of grandfather and granddaughter. That she can sing and she can do things and that she’s naughty. She’s not portrayed as somebody with a disability.”

As Kher unveils the film for its Prime Video release, he emphasizes its appeal as a rare family film in today’s market. “You very rarely can see films where the whole family sits together and can watch it,” he says.

Kher positions “Tanvi the Great” as an antidote to contemporary cynicism, particularly as it reaches a global streaming audience. “It makes you believe in humankind. And that’s what we need in today’s time. I think if you want to practice a religion today, that needs to be that of humanity. And this film makes you believe in that,” he says. “It also makes you feel that the only good people in this world are people who are neurodivergent.”

The director describes the viewing experience in evocative terms: “It’s like a first sip of coffee in the morning, which makes you feel good. It’s like sunshine in winter through a window. When I was in Shimla, on the winter nights, the sun used to filter through these chinar trees. I wait for that feeling to happen. It makes you feel warm, like you’re wearing a quilt of goodness around you.”

Lead actor Shubhangi Dutt from “Tanvi the Great” “is winning awards right now” and working on another Anupam Kher Studio production called “Flicker.” On the acting front, Kher has just completed “Khosla Ka Ghosla 2” and is finishing an untitled Sooraj Barjatya film. He’s also preparing a new musical play titled “Jaane Pehchaane Anjaane” (Intimate Strangers).

“Tanvi the Great” is produced by Anupam Kher Studio in association with India’s National Film Development Corporation, with music by Oscar winner M.M. Keeravani (“RRR”) and sound design by Oscar winner Resul Pookutty (“Slumdog Millionaire”).

The combo of Disney+/Disney Channel/Disney Jr. dominated Monday’s Children’s & Family Emmys, landing 19 wins — the most of any outlet — thanks to programs like “Descendants: The Rise of Red,” which was the evening’s most-awarded show, with five Emmys (including outstanding fiction special).

Disney also scored four wins for “Star Wars: Skeleton Crew,” which was named outstanding young teen series, and four for “Win or Lose,” which was named outstanding children’s or young teen animated series, among other prizes.

Other big winners for the evening included HBO Max’s “Sesame Street” (which has since moved to Netflix), with four wins — including outstanding preschool, children’s or family viewing series. “Sesame Street” was also recognized for its viral video “Andrew Garfield and Elmo Explain Grief,” which won for short form live action program, and Leslie Carrara-Rudolph (as Abby Cadabby & Tango) won for best puppetry.

Netflix earned the second-most Emmys of the evening, with 10, including five for “Sweet Tooth” (which won the supporting performer prize, for Nonso Anozie, and younger performer Emmy for Christian Convery).

Joe Locke won the Emmy in lead performer in a preschool, children’s or young teen program for playing Charlie Spring on Netflix’s “Heartstopper,” Ana Gasteyer landed the Emmy in outstanding voice performer in a preschool program for Disney+/Disney Jr.’s “RoboGobo,” and John Lithgow won the single role voice performer in a preschool program Emmy for Netflix’s “Spellbound.”

The National Academy of Television Arts & Sciences, which administers the Children’s & Family Emmys, moved the 4th Annual Children’s & Family Emmys to New York for the first time this year, at Jazz at Lincoln Center’s Frederick P. Rose Hall. Bill Nye received the Lifetime Achievement Award, and actor, director, writer, puppeteer, producer, and creator for television and theater John Tartaglia hosted.

Honorees, as determined by juried panels, for individual achievement in animation (in each of the six animation disciplines) and outstanding public service initiative were announced last month.

On Monday, here’s how the network tally stacked up: Disney (19), Netflix (10), HBO Max (5), YouTube (4), Nickelodeon (3), Apple TV (2), BYU TV (2), Nat Geo (2), PBS (1).

Here are the 4th Annual Children’s & Family Emmy Awards nominees and winners:

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Outstanding Preschool, Children’s or Family Viewing Series

“Jane” (Apple TV+) [Sinking Ship Entertainment]

“Kids Baking Championship” (Food Network) [Sonic Dog]

“Ms. Rachel” (Ms. Rachel – Toddler Learning Videos YouTube Channel) [Songs For Littles, LLC | Lifeboat Productions]

“Odd Squad” (PBS Kids) [Sinking Ship Entertainment | BBC Studios | Fred Rogers Productions]

WINNER: “Sesame Street” (HBO Max) [Sesame Workshop]

“Tab Time” (Tab Time YouTube Channel) [Kids At Play]

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Outstanding Young Teen Series

“Goosebumps: The Vanishing” (Disney+) [Sony Pictures Television]

“Heartstopper” (Netflix) [See-Saw Films]

WINNER: “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

“Sweet Tooth” (Netflix) [Warner Bros. Television]

“Time Bandits” (Apple TV+) [Paramount Television Studios | Anonymous Content | MRC Productions]

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Outstanding Fiction Special

“Alexander and the Terrible, Horrible, No Good, Very Bad Road Trip” (Disney+)

WINNER: “Descendants: The Rise of Red” (Disney+) [Disney Branded Television]

“Girl Haunts Boy” (Fifth Season) [Wonder Worldwide]

“Henry Danger: The Movie” (Nickelodeon)

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Outstanding Informational Program

“Building Outside the Lines” (Magnolia Network) [Painless Productions]

“Harlem Ice” (Disney+) [Imagine Entertainment]

“Makayla’s Voice: A Letter to the World” (Netflix)

WINNER: “A Real Bug’s Life” (National Geographic) [Plimsoll Productions]

“Super Animals” (FOX)

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Outstanding Preschool Animated Series

“Carl the Collector” (PBS Kids) [Spiffy Pictures | Fuzzytown Productions | Yowza! Animation]

“Daniel Tiger’s Neighborhood” (PBS Kids) [Fred Rogers Productions]

“Molly of Denali” (PBS Kids) [GBH Kids | Atomic Cartoons]

WINNER: “The Tiny Chef Show” (Nickelodeon)

“Xavier Riddle and the Secret Museum” (PBS Kids) [9 Story Media Group | Brown Bag Films]

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Outstanding Children’s or Young Teen Animated Series

“Big City Greens” (Disney+ | Disney Channel) [Dream Productions]

WINNER: “Win or Lose” (Disney+) [Pixar Animation Studios]

“Wolf King” (Netflix) [Lime Pictures Limited]

“Wylde Pak” (Nickelodeon)

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Outstanding Animated Special

“An Almost Christmas Story” (Disney+) [Cuarón’s Esperanto Filmoj | Titmouse | Maere Studios]

“Kiff: The Haunting of Miss McGravy’s House” (Disney+ | Disney Channel) [Titmouse, Inc.]

“Kiff: Lore of the Ring Light” (Disney+ | Disney Channel) [Titmouse, Inc.]

“That Christmas” (Netflix) [Locksmith Animation]

WINNER: “Ultraman: Rising” (Netflix) [Tsuburaya Productions]

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Outstanding Short Form Live Action Program

WINNER: “Andrew Garfield and Elmo Explain Grief” (Sesame Workshop YouTube Channel)

“Girls’ Voices Now” (Here TV)

“My Way” (PBS Kids) [Fred Rogers Productions]

“Together We Can” (PBS Kids) [Sesame Workshop]

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Outstanding Short Form Animated Program

“Acoustic Rooster: Jazzy Jams” (PBS Kids) [GBH Kids | Global Mechanic]

“Count on June Bug” (Thirteen)

WINNER: “Daffy in Wackyland” (HBO Max) [Warner Bros. Animation]

“Eva the Owlet” (Apple TV+) [Brown Bag Films | Scholastic Entertainment]

“How Not to Draw” (Disney+ | Disney Channel)

“Road Trip” (Disney+ | Disney Channel]

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Outstanding Lead Performer in a Preschool, Children’s or Young Teen Program

Kit Connor as Nick Nelson, “Heartstopper” (Netflix) [See-Saw Films]

Danya Griver as Gwendoline Mary Lacey, “Malory Towers” (BYUtv) [King Bert Productions]

Lisa Kudrow as Penelope, “Time Bandits” (Apple TV+) [Paramount Television Studios | Anonymous Content | MRC Productions]

Jude Law as Jod Na Nawood, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

WINNER: Joe Locke as Charlie Spring, “Heartstopper” (Netflix) [See-Saw Films]

David Schwimmer as Anthony Brewer, “Goosebumps: The Vanishing” (Disney+) [Sony Pictures Television]

Nina Toussaint-White as Sarah Robinson, “The Primrose Railway Children” (BYUtv) [BBC Studios]

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Outstanding Supporting Performer in a Preschool, Children’s or Young Teen Program

WINNER: Nonso Anozie as Tommy Jepperd, “Sweet Tooth” (Netflix) [Warner Bros. Television]

Rosalind Chao as Helen Zhang, “Sweet Tooth” (Netflix) [Warner Bros. Television]

Ellie Goldstein as Nancy, “Malory Towers” (BYUtv) [King Bert Productions]

Stefania LaVie Owen as Bear, “Sweet Tooth” (Netflix) [Warner Bros. Television]

Dara Reneé as Uliana, “Descendants: The Rise of Red” (Disney+) [Disney Branded Television]

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Outstanding Younger Performer in a Preschool, Children’s or Young Teen Program

Ravi Cabot-Conyers as Wim, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

Lucian-River Chauhan as Ben, “Me” (Apple TV+)

WINNER: Christian Convery as Gus, “Sweet Tooth” (Netflix) [Warner Bros. Television]

Ava Joyce McCarthy as Phoebe Robinson, “The Primrose Railway Children” (BYUtv) [BBC Studios]

Naledi Murray as Wendy, “Sweet Tooth” (Netflix) [Warner Bros. Television]

April V. Woods as Felicity Rivers, “Malory Towers” (BYUtv) [King Bert Productions]

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Outstanding Puppetry Performer

WINNER: Leslie Carrara-Rudolph as Abby Cadabby & Tango, “Sesame Street” (HBO Max) [Sesame Workshop]

Frankie Cordero as Purple Panda, Turtle-Lou & Penguin Referee, “Donkey Hodie” (PBS Kids) [Fred Rogers Productions | Spiffy Pictures]

Stephanie D’Abruzzo as Duck Duck, Harriett Elizabeth Cow, Mama Panda & Doc Skunk, “Donkey Hodie” (PBS Kids) [Fred Rogers Productions]

Ryan Dillon as Elmo & Felix, “Sesame Street” (HBO Max) [Sesame Workshop]

Carmen Osbahr as Rosita, “Sesame Street” (HBO Max) [Sesame Workshop]

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Outstanding Voice Performer in a Preschool Program

Pamela Adlon as Aunt Lola, “SuperKitties” (Disney+ | Disney Jr.) [Sony Pictures Television Kids]

Dee Bradley Baker as Nubs & Zeepohz, “Star Wars: Young Jedi Adventures” (Disney+) [Lucasfilm Ltd.]

WINNER: Ana Gasteyer as Crabitha, “RoboGobo” (Disney+ | Disney Jr.) [Brown Bag Films]

Jay Thomas Manuel as Jeff Mouse, “Donkey Hodie” (PBS Kids) [Fred Rogers Productions | Spiffy Pictures]

Amber Riley as Ursula, “Disney Jr.’s Ariel” (Disney+ | Disney Jr.) [Wild Canary]

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Outstanding Single Role Voice Performer in a Children’s or Young Teen Program

Erik Todd Dellums as Aaravos, “The Dragon Prince” (Netflix) [Wonderstorm | Bardel Entertainment | MWM]

Cynthia Erivo as The Slink, “RoboGobo” (Disney+ | Disney Jr.) [Brown Bag Films]

Ernie Hudson as Marlon, “Angry Birds Mystery Island” (Prime Video | Amazon Kids+) [Titmouse Animation | Snipple Animation]

WINNER: John Lithgow as Bolinar, “Spellbound” (Netflix) [Skydance Animation]

John C. Reilly as The Folk Singer, “An Almost Christmas Story” (Disney+) [Cuarón’s Esperanto Filmoj | Titmouse | Maere Studios]

Maya Rudolph as Jean, “Dream Productions” (Disney+) [Pixar Animation Studios]

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Outstanding Multiple Role Voice Performer in a Children’s or Young Teen Program

Eric Bauza as Daffy Duck & The Do-Do, “Daffy in Wackyland” (HBO Max) [Warner Bros. Animation]

H. Michael Croner as Barry Buns, Rat, Chubbles Wubbington, Soda Jerk & Buffalo Security, “Kiff” (Disney+ | Disney Channel) [Titmouse, Inc.]

WINNER: David Errigo Jr. as Hamton J. Pig & Plucky Duck, “Tiny Toons Looniversity” (HBO Max) [Warner Bros. Animation]

Kate Mulgrew as Admiral Janeway & Hologram Janeway, “Star Trek: Prodigy” (Netflix | CBS Studios) [Nickelodeon Animation Studios]

Kari Wahlgren as Evelyn & Mrs. Grant, “Legends of Evergreen Hills” (Chick-fil-A Play App) [Bento Box]

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Outstanding Younger Voice Performer in a Preschool, Children’s or Young Teen Program

Summer Rose Castillo as Alma, “Alma’s Way” (PBS Kids) [Fred Rogers Productions]

Vanessa Huszar as Zuri, “Wonder Pets: In the City” (Apple TV+) [Nickelodeon Animation]

WINNER: Christopher Sean Cooper Jr. as Tate, “Wonder Pets: In the City” (Apple TV+) [Nickelodeon Animation]

Chanel Stewart as Kai, “Win or Lose” (Disney+) [Pixar Animation Studios]

Kensington Tallman as Riley, “Dream Productions” (Disney+) [Pixar Animation Studios]

Alkaio Thiele as Peter Parker, “Marvel’s Spidey & His Amazing Friends” (Disney+ | Disney Jr.) [Marvel Studios | Atomic Cartoons]

Ja’Siah Young as Dax, “RoboGobo” (Disney+ | Disney Jr.) [Brown Bag Films]

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Outstanding Children’s Personality

WINNER: Tabitha Brown, “Tab Time” (Tab Time YouTube Channel) [Kids At Play]

Yvette Nicole Brown, “Cookie Monster’s Bake Sale: Block Party” (HBO Max) [Sesame Workshop | RIVR]

Perdita Felicien, “All-Round Champion” (BYUtv) [Blue Ant Studios]

Alia Pope, “Chip Kids” (East Tennessee PBS YouTube Channel) [East Tennessee PBS]

June Squibb, “Storyline Online” (Storyline Online YouTube Channel) [The Story Garage]

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Outstanding Writing for a Preschool or Children’s Series

“Love in the Forest”, “A Real Bug’s Life” (National Geographic) [Plimsoll Productions]

“Odd Ones In”, “Odd Squad” (PBS Kids) [Sinking Ship Entertainment | BBC Studios | Fred Rogers Productions]

“Pan troglodytes”, “Jane” (Apple TV+) [Sinking Ship Entertainment]

“People We Care About”, “Secrets at Red Rocks” (BYUtv) [Libertine Pictures]

“Potty Training with Ms. Rachel”, “Ms. Rachel” (Ms. Rachel – Toddler Learning Videos YouTube Channel) [Songs For Littles, LLC | Lifeboat Productions]

WINNER: “When We Lose Someone”, “Tab Time” (Tab Time YouTube Channel) [Kids At Play]

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Outstanding Writing for a Young Teen Series

WINNER: “Journey”, “Heartstopper” (Netflix) [See-Saw Films]

“Kevin Haddock”, “Time Bandits” (Apple TV+) [Paramount Television Studios | Anonymous Content | MRC Productions]

“Pilot”, “Me” (Apple TV+)

“Stay Out of the Basement, Part I”, “Goosebumps: The Vanishing” (Disney+) [Sony Pictures Television]

“This Could Be a Real Adventure”, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

“This is a Story”, “Sweet Tooth” (Netflix) [Warner Bros. Television]

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Outstanding Writing for a Preschool Animated Series

“Daniel Finds Out What’s Fair”, “Daniel Tiger’s Neighborhood” (PBS Kids) [Fred Rogers Productions]

WINNER: “The Fall”, “Carl the Collector” (PBS Kids) [Spiffy Pictures | Fuzzytown Productions | Yowza! Animation]

“Save the Runaway Egg”, “Wonder Pets: In the City” (Apple TV+) [Nickelodeon Animation]

“Thanks-For-Giving”, “Molly of Denali” (PBS Kids) [GBH Kids | Atomic Cartoons]

“Tiny Chef’s Spooky Stump Spectacular”, “The Tiny Chef Show” (Nickelodeon)

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Outstanding Writing for a Children’s or Young Teen Animated Series

“Crushed”, “Marvel’s Moon Girl and Devil Dinosaur” (Disney+ | Disney Channel) [Flying Bark Productions]

“The Devourer of All Things, Part I”, “Star Trek: Prodigy” (Netflix | CBS Studios)

“Frand or Foe”, “Goldie” (Apple TV+) [Mercury Filmworks]

WINNER: “Pickle”, “Win or Lose” (Disney+) [Pixar Animation Studios]

“Worst Birthday Ever”, “Jentry Chau vs. The Underworld” (Netflix)

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Outstanding Directing for a Live Action Series

“The Chamber”, “Malory Towers” (BYUtv) [King Bert Productions]

“Journey”, “Heartstopper” (Netflix) [See-Saw Films]

“Kevin Haddock”, “Time Bandits” (Apple TV+) [Paramount Television Studios | Anonymous Content | MRC Productions]

“Love in the Forest”, “A Real Bug’s Life” (National Geographic) [Plimsoll Productions]

“Stay Out of the Basement, Part I”, “Goosebumps: The Vanishing” (Disney+) [Sony Pictures Television]

“This Could Be a Real Adventure”, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

WINNER: “A Trip to the Moon”, “Sesame Street” (HBO Max) [Sesame Workshop]

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Outstanding Directing for a Preschool Animated Series

“Auntie Freeze! | Goin’ Camping!”, “Super Duper Bunny League” (Nickelodeon) [Nickelodeon Animation Studios | Gigglebug Entertainment | Scull & Belt]

“The Battle of Tenoo”, “Star Wars: Young Jedi Adventures” (Disney+) [Lucasfilm Ltd.]

“Save Tate?”, “Wonder Pets: In the City” (Apple TV+) [Nickelodeon Animation]

WINNER: “Tiny Chef’s Spooky Stump Spectacular”, “The Tiny Chef Show” (Nickelodeon)

“The Ulti-Bat Rises”, “Batwheels” (HBO Max) [Warner Bros. Animation]

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Outstanding Directing for an Animated Series

“Guess Who’s Coming to Dinner”, “Marvel’s Moon Girl and Devil Dinosaur” (Disney+ | Disney Channel) [Flying Bark Productions]

WINNER: “Home”, “Win or Lose” (Disney+) [Pixar Animation Studios]

“Part 4: A Night to Remember”, “Dream Productions” (Disney+) [Pixar Animation Studios]

“The Rise of the Wolf”, “Wolf King” (Netflix) [Lime Pictures Limited]

“Welcome to Byjovia”, “Max & The Midknights” (Nickelodeon)

“Worst Birthday Ever”, “Jentry Chau vs. The Underworld” (Netflix)

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Outstanding Voice Directing for an Animated Series

“Francis Wants to Be Alone | The Sash”, “StuGo” (Disney+ | Disney Channel) [Titmouse Animation]

WINNER: “If This Be My Destiny…”, “Your Friendly Neighborhood Spider-Man” (Disney+) [Marvel Studios]

“Petey the Stargazer”, “Goldie” (Apple TV+)

“Save the Roly Poly!”, “Wonder Pets: In the City” (Apple TV+) [Nickelodeon Animation]

“Shoot for the Moon”, “Marvel’s Moon Girl and Devil Dinosaur” (Disney+ | Disney Channel) [Flying Bark Productions]

“Up All Night | Rotten Banana”, “Kiff” (Disney+ | Disney Channel) [Titmouse, Inc.]

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Outstanding Music Direction and Composition for a Live Action Program

“Descendants: The Rise of Red” (Disney+) [Disney Branded Television]

“Henry Danger: The Movie” (Nickelodeon)

“Love in the Forest”, “A Real Bug’s Life” (National Geographic) [Plimsoll Productions]

WINNER: “Open Your Mind a Little”, “Secrets at Red Rocks” (BYUtv) [Libertine Pictures]

“Welcome to Camp Nightmare”, “Goosebumps: The Vanishing” (Disney+) [Sony Pictures Television]

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Outstanding Music Direction and Composition for an Animated Program

WINNER: “Heart”, “WondLa” (Apple TV+) [Skydance Animation]

“Part 4: A Night to Remember”, “Dream Productions” (Disney+) [Pixar Animation Studios]

“Spellbound” (Netflix) [Skydance Animation]

“That Christmas” (Netflix) [Locksmith Animation]

“There’s Always a Fortune in the Cookie Factory”, “Gremlins: The Wild Batch” (HBO Max) [Warner Bros. Animation]

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Outstanding Cinematography and Technical Arts for a Single Camera Live Action Program

“Love in the Forest”, “A Real Bug’s Life” (National Geographic) [Plimsoll Productions]

WINNER: “The Road Ends Here”, “Sweet Tooth” (Netflix) [Warner Bros. Television]

“This Could Be a Real Adventure”, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

“Tiny Heroes Down Under”, “A Real Bug’s Life” (National Geographic) [Plimsoll Productions]

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Outstanding Cinematography and Technical Arts for a Multiple Camera Live Action Program

WINNER: “Happy Trails”, “Bunk’d: Learning the Ropes” (Disney+ | Disney Channel)

“Nigh is Now”, “Wizards Beyond Waverly Place” (Disney+ | Disney Channel) [Entertainment Force | Potato Monkey Productions]

“A Trip to the Moon”, “Sesame Street” (HBO Max) [Sesame Workshop]

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Outstanding Editing for a Preschool or Children’s Live Action Program

“Abby Taps into Kindness”, “Sesame Street” (HBO Max) [Sesame Workshop]

WINNER: “Love in the Forest”, “A Real Bug’s Life” (National Geographic) [Plimsoll Productions]

“Pan troglodytes”, “Jane” (Apple TV+) [Sinking Ship Entertainment]

“People We Care About”, “Secrets at Red Rocks” (BYUtv) [Libertine Pictures]

“The Primrose Railway Children” (BYUtv) [BBC Studios]

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Outstanding Editing for a Young Teen Live Action Program

“Makayla’s Voice: A Letter to the World” (Netflix)

WINNER: “The Real Good Guys”, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

“This is a Story”, “Sweet Tooth” (Netflix) [Warner Bros. Television]

“We’re Gonna Be In So Much Trouble”, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

“You Have A Lot To Learn About Pirates”, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

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Outstanding Editing for a Preschool Animated Program

“Adventure Night”, “Eva the Owlet” (Apple TV+) [Brown Bag Films | Scholastic Entertainment]

“The Battle of Tenoo”, “Star Wars: Young Jedi Adventures” (Disney+) [Lucasfilm Ltd.]

“Moon Girl and the Dino Dilemma | Hulk’s Squirrely Switch”, “Marvel’s Spidey & His Amazing Friends” (Disney+ | Disney Jr.) [Marvel Studios | Atomic Cartoons]

“Pillow Can’t Sleep”, “Gabby’s Dollhouse” (Netflix) [DreamWorks Animation]

“The Spider’s Stolen Silk”, “The Creature Cases” (Netflix) [Silvergate Media | TeamTO | Netflix]

WINNER: “Tiny Chef’s Spooky Stump Spectacular”, “The Tiny Chef Show” (Nickelodeon)

“The Ulti-Bat Rises”, “Batwheels” (HBO Max) [Warner Bros. Animation]

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Outstanding Editing for an Animated Program

“An Almost Christmas Story” (Disney+) [Disney Branded Television | Cuarón’s Esperanto Filmoj | Titmouse | Maere Studios]

WINNER: “Mixed Signals”, “Win or Lose” (Disney+) [Pixar Animation Studios]

“Part 4: A Night to Remember”, “Dream Productions” (Disney+) [Pixar Animation Studios]

“Spellbound” (Netflix) [Skydance Animation]

“That Christmas” (Netflix) [Locksmith Animation]

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Outstanding Sound Mixing and Sound Editing for a Live Action Program

“The Girl Next Door”, “Goosebumps: The Vanishing” (Disney+) [Sony Pictures Television]

“Jam Session Jam Up”, “Sesame Street” (HBO Max) [Sesame Workshop]

“Makayla’s Voice: A Letter to the World” (Netflix)

“Once a Pond a Time”, “A Real Bug’s Life” (National Geographic) [Plimsoll Productions]

“The Primrose Railway Children” (BYUtv) [BBC Studios]

WINNER: “You Have A Lot To Learn About Pirates”, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

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Outstanding Sound Mixing and Sound Editing for a Preschool Animated Program

WINNER: “The Battle of Tenoo”, “Star Wars: Young Jedi Adventures” (Disney+) [Lucasfilm Ltd.]

“I am Gwen Ifill | I am Matthew Henson”, “Xavier Riddle and the Secret Museum” (PBS Kids) [9 Story Media Group | Brown Bag Films]

“Moon Girl and the Dino Dilemma | Hulk’s Squirrely Switch”, “Marvel’s Spidey & His Amazing Friends” (Disney+ | Disney Jr.) [Marvel Studios | Atomic Cartoons]

“Music Meister Mayhem”, “Batwheels” (HBO Max)

“Stop Those Cars! | Self-Destruct”, “Hot Wheels Let’s Race” (Mattel Studios) [OLM Digital | Sprite Animation Studios]

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Outstanding Sound Mixing and Sound Editing for an Animated Program

“Dying Light”, “The Dragon Prince” (Netflix) [Wonderstorm | Bardel Entertainment | MWM]

“Fire in the Piazza”, “Jurassic World: Chaos Theory” (Netflix) [DreamWorks Animation]

“Home”, “Win or Lose” (Disney+) [Pixar Animation Studios]

“Part Two”, “LEGO Star Wars: Rebuild the Galaxy” (Disney+) [Lucasfilm Ltd.]

WINNER: “Ultraman: Rising” (Netflix) [Tsuburaya Productions]

“Welcome to Byjovia”, “Max & The Midknights” (Nickelodeon) [Jane Startz Productions]

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Outstanding Art Direction / Set Decoration / Scenic Design

WINNER: “Descendants: The Rise of Red” (Disney+) [Disney Branded Television]

“Everything Is Not What It Seems”, “Wizards Beyond Waverly Place” (Disney+ | Disney Channel)

“Kevin Haddock”, “Time Bandits” (Apple TV+) [Paramount Television Studios | Anonymous Content | MRC Productions]

“Messiest. Episode. Ever!”, “Surprise and Seek” (Prime Video | Amazon Kids+) [Imagine Entertainment | Amazon Kids+]

“Welcome to Camp Nightmare”, “Goosebumps: The Vanishing” (Disney+) [Sony Pictures Television]

“You Have A Lot To Learn About Pirates”, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

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Outstanding Costume Design / Styling

“Descendants: The Rise of Red” (Disney+) [Disney Branded Television]

“Here, There Be Monsters”, “Sweet Tooth” (Netflix)

WINNER: “Joy”, “Dandyland” (TELUS STORYHIVE YouTube Channel)

“Me”, “Yo Gabba Gabbaland!” (Apple TV+) [Yo Gabba Gabba, LLC]

“Way, Way Out Past the Barrier”, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

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Outstanding Hairstyling and Makeup

WINNER: “Descendants: The Rise of Red” (Disney+) [Disney Branded Television]

“Here, There Be Monsters”, “Sweet Tooth” (Netflix) [Warner Bros. Television | Netflix]

“Kevin Haddock”, “Time Bandits” (Apple TV+) [Paramount Television Studios | Anonymous Content | MRC Production]

“Losing My Religion”, “Beyond Black Beauty” (Prime Video) [Sinking Ship Entertainment | Leif Films | Saga Films | Amazon MGM Studios]

“Zero Friends Again”, “Star Wars: Skeleton Crew” (Disney+) [Lucasfilm Ltd.]

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Outstanding Original Song for a Preschool Program

WINNER: “Grow Your World”, “Rise Up, Sing Out” (Disney+ | Disney Jr.)

“I’m on My Way”, “Acoustic Rooster and His Barnyard Band” (PBS Kids) [GBH Kids | Global Mechanic]

“I Want To Go Home”, “Kindergarten: The Musical!” (Disney+ | Disney Jr.) [Oddbot Inc]

“Music, Music”, “Sesame Street” (HBO Max) [Sesame Workshop]

“One Colorful Ocean”, “Disney Jr.’s Ariel” (Disney+ | Disney Jr.) [Wild Canary]

“The Show Will Go On”, “RoboGobo” (Disney+ | Disney Jr.) [Brown Bag Films]

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Outstanding Original Song for a Children’s or Young Teen Program

“It’s Okay”, “Zombies: The Re-Animated Series” (Disney+ | Disney Channel)

“No Better”, “Ultraman: Rising” (Netflix) [Tsuburaya Productions]

“Red”, “Descendants: The Rise of Red” (Disney+) [Disney Branded Television]

WINNER: “Red Christmas”, “Descendants: The Rise of Red” (Disney Channel/Disney+)

“Still Haunted By You”, “Girl Haunts Boy” (Fifth Season) [Wonder Worldwide]

“The Way It Was Before”, “Spellbound” (Netflix) [Skydance Animation]

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Outstanding Show Open

“Dream Productions” (Disney+ [Pixar Animation Studios])

“Goosebumps: The Vanishing” (Disney+ [Sony Pictures Television | Sarofsky])

WINNER: “Jentry Chau vs. The Underworld” (Netflix)

“Star Wars: Skeleton Crew” (Disney+ [Lucasfilm Ltd.])

“Your Friendly Neighborhood Spider-Man” (Disney+ [Marvel Studios])

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Outstanding Visual Effects for a Live Action Program

“Goosebumps: The Vanishing” (Disney+ [Sony Pictures Television])

“Henry Danger: The Movie” (Nickelodeon)

WINNER: “Star Wars: Skeleton Crew” (Disney+ [Lucasfilm Ltd.])

“Sweet Tooth” (Netflix [Warner Bros. Television])

“Time Bandits” (Apple TV+ [Paramount Television Studios | Anonymous Content | MRC Productions])

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Outstanding Casting for a Live Action Program

“Descendants: The Rise of Red” (Disney+ [Disney Branded Television])

“Goosebumps: The Vanishing” (Disney+ [Sony Pictures Television])

“Malory Towers” (BYUtv [King Bert Productions])

WINNER: “The Primrose Railway Children” (BYUtv [BBC Studios])

“Star Wars: Skeleton Crew” (Disney+ [Lucasfilm Ltd.])

“Sweet Tooth” (Netflix [Warner Bros. Television])

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Outstanding Casting for an Animated Program

“An Almost Christmas Story” (Disney+ [Cuarón’s Esperanto Filmoj | Titmouse | Maere Studios])

WINNER: “Dream Productions” (Disney+ [Pixar Animation Studios])

“RoboGobo” (Disney+ / Disney Jr. [Brown Bag Films])

“Spellbound” (Netflix [Skydance Animation])

“Win or Lose” (Disney+ [Pixar Animation Studios])

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Outstanding Stunt Coordination for a Live Action Program

“Beyond Black Beauty” (Prime Video [Sinking Ship Entertainment | Leif Films | Saga Films | Amazon MGM Studios])

“Descendants: The Rise of Red” (Disney+ [Disney Branded Television])

“Goosebumps: The Vanishing” (Disney+ [Sony Pictures Television])

“Henry Danger: The Movie” (Nickelodeon)

“Star Wars: Skeleton Crew” (Disney+ [Lucasfilm Ltd.])

WINNER: “Sweet Tooth” (Netflix [Warner Bros. Television])

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Outstanding Choreography

WINNER: “Descendants: The Rise of Red” (Disney+ [Disney Branded Television])

“Henry Danger: The Movie” (Nickelodeon)

“Nickelodeon Kids’ Choice Awards 2024” (Nickelodeon [Done | Dusted])

“XO, Kitty” (Netflix [Awesomeness Studios])

On this week’s episode of “The Daily Show,” Jon Stewart went after President Donald Trump for keeping the press in the dark about his goal with America’s newly started war with Iran.

“Now, the interesting thing about this war, which just started, was that it was clearly a long time in the planning, and yet the American people have heard very little that is consistent about the war’s justification, or ultimate aims,” Stewart said. “In fact, the normally loquacious president had an opportunity with the national press on Sunday night after flying back from Mar-a-Lago to the White House, where I’m sure he’d want to clarify the public’s uncertainty and reassure us.”

Stewart then cut to a clip from CNN, in which an anchor claimed that Trump “completely ignored” the press on Sunday night, hours before the U.S. and Israel began their joint attack on Iran.

“Come on, that is fake news!” Stewart joked. “He’s not a doddering Mr. Magoo having full-on conversations with inanimate sculpted bronze.”

The show then cut to a clip from Sunday night. An off-camera reporter asks Trump, “Who do you want to lead Iran?” Trump, standing in front of a rose garden statue, replies, “Unbelievable statues, you’ll see.”

Later in the show, Stewart covered Pete Hegseth’s press conference on the war, during which Hegseth repeatedly said that he was “not going to go into the exercise of what we will or will not do” because that would be “foolish.” When asked if there was any “concern of this spiraling into a long war,” he snapped back, “Did you not hear my remarks?”

“I know you’re the defense secretary, but you don’t need to get so defensive,” Stewart joked.

Stewart then zeroed in on another quote from Hegeth about the President: “There’s no better communicator than our president. He has shown an ability to do that other presidents can’t quite seem to have the aperture to do.”

“Laser focused,” Stewart said of Trump. “You’re not some three-year-old that gets easily distracted by something shiny on the wall.”

The show then cut to the President talking at a Medal of Honor ceremony.

“We’re improving the building. See that nice drape? I picked those drapes in my first term,” Trump said. “I always liked gold. But I think we can save a lot of money. I just saved — I just saved curtains. But it will be, it will be spectacular. It’ll be the most beautiful. I believe it because I have built many a ballroom. I believe it’s going to be the most beautiful ballroom anywhere in the world.”

“I can’t believe that our bombs are now smarter than our president,” Stewart said.

Watch the entire monologue below.

Christina Applegate‘s memoir “You With the Sad Eyes” publishes March 3 and an exclusive excerpt is now available to read on Vulture in which the Emmy winner writes candidly about her body image struggles while filming “Married… with Children.” Applegate starred as Kelly Bundy on all 11 seasons of the classic Fox sitcom. She originally passed on the show after “I read the script and thought it was trash.”

“To me, and to my mom, it read like a bunch of poorly written potty humor,” Applegate explains. “I’d turned down ‘Married …,’ so the pilot featured another kid in the role of Kelly, but it just didn’t work so they came back to me. The casting director sent me a VHS of the pilot, and my mom and I reluctantly watched it one evening. I’m not sure what we thought we’d see, or why we even watched it in the first place as I was dead set against it. Boy, how much we wanted to hate it. We sat there like two little snotty actory assholes who’d spent their lives doing Shakespeare. And then, as the show played, we realized we could not stop laughing. I looked at my mom. She looked at me. ‘Fuck!’ I said. ‘It’s funny. It’s good.’”

Applegate already suffered from body dysmorphia and anorexia prior to being cast as Kelly Bundy, and the character only worsened the damaging effects on her body. Kelly was the Bundy family’s promiscuous and rebellious teenage daughter who played into “dumb blonde” tropes.

“I dug myself into a hole with that character, though, because I had to be skinny,” Applegate writes. “I had a vision of the specific clothes I wanted her to wear, and to wear those clothes — clothes that would show if you ate something as tiny as a single grape — I had to lean even deeper into my eating disorder.”

She continues, “If I was going to eat something as horrendously huge as a bagel, say, I would scoop it out and maybe have half of it, or half of a half. That would be my food intake for an entire day. Sometimes I’d punish myself and wouldn’t eat at all. I was a size 0, and the costume people on ‘Married …With Children’ would often have to take my clothes in. I was bone, bone, bone.”

“I worked so hard on my body, but I was never satisfied,” Applegate adds. “There were days when I’d go to a spin class, then work out with my trainer, then go to a dance class for two and a half more hours, always chasing the unobtainable, abusing my body in the service of a quest for perfection that was as damaging as any addiction.”

Playing Kelly meant Applegate often wore clothes that showed off her bare midriff. She writes that the clothes became “tighter” and the skirts “shorter” as the show progressed.

“By season five, my God: I could walk into the living room, as I did in episode 13, ‘The Godfather,’ in a leather fringed jacket over a short red shirt and there would be a five-second break in the scene while the crowd hollered lustily at me,” she writes. “I look at all this now and cringe. The show was indeed
broad, and lewd, and it wouldn’t have a shot in hell of being made these days. That’s a good thing: It’s hard enough for young women to thrive in a world of appearances.”

But Applegate does not hold any resentment towards the cast and crew of the show, nor does she blame anyone for the ways in which playing Kelly impacted her anorexia.

“Sure, it was always part of the show that I would be an object for men to leer at, but I wanted to wear those Kelly Bundy dresses, “Applegate writes. “And as hard as it may be to believe, I was genuinely innocent of my effect on people. I was just a kid. I knew my self‑denial of food and my generally damaging relationship with it were all trauma‑based.”

Head over to Vulture’s website to read the full excerpt from Applegate’s memoir, “You With the Sad Eyes.”

Ben Affleck and Matt Damon are getting into business with Netflix, setting a first-look streaming deal for Artists Equity at the streamer.

Their company has forged a multi-year production and distribution pact with the tech giant. Under the terms of the partnership, Artists Equity will handle creative and production for its movies. This deal only covers straight-to-streaming titles. Artists Equity has an existing theatrical feature film agreement with Sony Pictures, under which the company will develop and produce films for the big screen.

“This is an incredible milestone for Artists Equity and one that validates the vision we’ve been working towards since 2022,” Damon and Affleck said in a statement. “From the jump, we’ve seen this growing need for an independent supplier comfortable across the entire creative process, from development to final cut. Netflix is a great match for our work.”

They praised Netflix Film’s chairman Dan Lin and his team for their “unique connection with the modern viewer and the ability to unite audiences over a shared cultural moment” before concluding, “we can’t wait to create many more ambitious, globally resonant stories together.”

This announcement follows the January launch of “The Rip,” an action thriller starring Damon and Affleck that spent three weeks at No. 1 on Netflix’s global top 10 charts. The movie got 112.3 million views over six weeks, according to the streamer’s vague metrics. Later this year, Netflix will release Affleck’s next directorial feature, “Animals,” in which he’ll also act alongside Kerry Washington, Gillian Anderson and Steven Yeun. “Animals” follows a Los Angeles mayoral candidate and his wife who have to come up with ransom money after their son is kidnapped.

“We’re expanding our partnership with Artists Equity because they share our mission — to make bold, original films,” Lin said. “Ben and Matt don’t wait for opportunities, they create them: from making and starring in ambitious, original films, to building an innovative studio model. Audiences worldwide are loving ‘The Rip,’ and we can’t wait to share the thriller ‘Animals’ later this year. Formalizing this relationship means we will be making even more memorable movies together.”

Artists Equity is a production venture backed by RedBird Capital Partners that aims to expand profit participation and provide a “talent-friendly” environment to creatives. Affleck and Damon have said their goal is to “fill a substantial gap in the marketplace as an outside supplier with the full capabilities of a traditional studio — developing, financing, producing, and overseeing all aspects of the creative process.” Artists Equity currently operates across three divisions: scripted film and television, unscripted, and advertising.

Since launching in November 2022, Artists Equity has released films including the Nike drama “Air,” starring Damon and Affleck; inspirational sports story “Unstoppable” led by Jennifer Lopez; the Affleck and Jon Bernthal-led crime sequel “The Accountant 2 and the “Kiss of the Spider Woman” remake with Lopez, Diego Luna, and Tonatiuh, at studios including Amazon MGM, Lionsgate and Roadside Attractions.

While promoting “The Rip,” Damon pulled back the curtain on working for the streamer. He said Netflix executives want their movies to restate the plot “three or four times in the dialogue” because they know that viewers are on “their phones while they’re watching.”

“The standard action movie [has] three set pieces. One in the first act, one in the second, one in the third,” Damon said on Joe Rogan’s podcast. “You spend most of your money on the third act. That’s your finale. And now they’re like, ‘Can we get a big one in the first five minutes? We want people to stay. And it wouldn’t be terrible if you reiterated the plot three or four times in the dialogue because people are on their phones while they’re watching.’”