‘Crazy Rich Asians’, ‘Late Show’ Teams Win At Publicists Guild Awards

Read on: Deadline.

The publicity teams and campaigns behind Warner Bros’ breakout and groundbreaking romantic comedy Crazy Rich Asians and CBS’ The Late Show with Stephen Colbert led by CBS TV Studios’ Ryan Aguirre won the marquee Maxwell Weinberg Publi…

Costume Designers Guild Gives Top Prizes to ‘The Favourite,’ ‘Black Panther’

Read on: TheWrapTheWrap.

“The Favourite,” “Black Panther” and “Crazy Rich Asians” have been named the best-dressed films of 2018 by the Costume Designers Guild, which handed out its 21st Costume Designers Guild Awards on Tuesday night in Los Angeles.

“The Favourite” won in the Excellence in Period Film category, “Black Panther” in the Excellence in Sci-Fi/Fantasy Film category and “Crazy Rich Asians” in the Excellence in Contemporary Film category.

Of this year’s CDG winners, “The Favourite” and “Black Panther” are nominated for Oscars in the Best Costume Design category. “Crazy Rich Asians” is not.

In its previous 20 years, one of the CDG winners went on to win the costume-design Oscar nine times. Five of those winners came from the period-film category, two from the sci-fi/fantasy category and two from the now-defunct period/fantasy category.

Also Read: How Double Oscar Nominee Sandy Powell Tackled Both ‘The Favourite’ and ‘Mary Poppins Returns’

In the four television categories, the winners were “The Marvelous Mrs. Maisel” (period), “The Assassination of Gianni Versace” (contemporary), “Westworld” (sci-fi/fantasy) and “RuPaul’s Drag Race” (variety, reality-competition and live).

Childish Gambino’s music video “This Is America” won for short-form costume design.

Kate Walsh hosted the show, which took place at the Beverly Hilton Hotel. The Spotlight Award went to actress Glenn Close, the Career Achievement Award to costume designer Ruth E. Carter (who also won a competitive award for “Black Panther”), the Distinguished Collaborator Award to Ryan Murphy and the Distinguished Service Award to Betty Pecha Madden.

Also Read: How ‘Black Panther’ Designers Hannah Beachler and Ruth E Carter Built Wakanda With ‘a Root in Africa and Functionality’

The Costume Designers Guild Awards winners:

Excellence in Contemporary Film: “Crazy Rich Asians” – Mary E. Vogt

Excellence in Period Film: “The Favourite” – Sandy Powell

Excellence in Sci-Fi / Fantasy Film: “Black Panther” – Ruth E. Carter

Excellence in Contemporary Television: “The Assassination of Gianni Versace: American Crime Story” – Lou Eyrich & Allison Leach

Excellence in Period Television: “The Marvelous Mrs. Maisel” – Donna Zakowska

Excellence in Sci-Fi/Fantasy Television: “Westworld” – Sharen Davis

Excellence in Variety, Reality-Competition, Live Television: “RuPaul’s Drag Race” – Zaldy Goco

Excellence in Short Form Design: Childish Gambino: “This is America,” music video – Natasha Newman-Thomas

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Oscars Endgame: What Are ‘Roma,’ ‘Black Panther’ and Other Campaign Ads Really Trying to Say?

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No More Gary From Chicago: This Year’s Oscars Won’t Feature ‘Everyday People’

Isn’t It Romantic? Inside the Resurgence of the Beloved Rom-Com

Read on: TheWrapTheWrap.

About two weeks after Netflix released its hit summer romantic comedy “Set It Up,” screenwriter Dana Fox got a call to dust off an old rom-com screenplay — because the genre was back, baby!

After successes like “The Wedding Date,” “What Happens in Vegas” and “How to Be Single,” Fox went through years of struggle to get a rom-com made in the era of superhero blockbusters. But between Netflix and the surge of love for “Crazy Rich Asians,” the often-mocked genre is cool again — and Fox’s latest script, “Isn’t It Romantic,” hopes to ride the wave.

“I had been beaten up by studios so many times when I was trying to get movies made. I was told ‘we’re not making romantic comedies right now. It’s just not happening,’” Fox told TheWrap.

The meta Rebel Wilson comedy, which both embraces and mocks rom-com tropes, will try to ride the waft of love in the air left over from Valentine’s Day. Fox wrote the script with Erin Cardillo and “Set It Up” scribe Katie Silberman.

Also Read: ‘Isn’t It Romantic’ Film Review: Rebel Wilson’s Rom-Com Satire Scores Laughs But Lacks Bite

Fox and Silberman said they wanted to have their cake and eat it too, with a film that truly respects the genre while poking fun at it.

“These are literally some of our favorite movies,” Fox said.

Some people love rom-coms and some love to hate them, the feel-good, often cliché films that are one of Hollywood’s oldest standbys. After a 10-year drought of reliable rom-com hits, the cycle has come around again.

At one point, Fox said she would pitch her films to studios as any genre other than rom-coms, even when they were definitely rom-coms.

“Crazy Rich Asians” screenwriter Peter Chiarelli even questioned whether Nora Ephron could get “When Harry Met Sally…” made today — “probably, but it might be tough,” he said.

“Studio heads don’t even want you to call their movies rom-coms,” said Comscore senior media analyst Paul Dergarabedian. “It just became a dirty word.”

Hollywood rekindled its love affair with rom-coms last summer. The breakout success of “Crazy Rich Asians” and the cultural-conversation dominating Netflix films “To All the Boys I’ve Loved Before” and “Set It Up” sculpted a narrative that romantic comedies had, like so many of the characters do in their final acts, made their inevitable score-swelling run through the streets and back into the hearts of their long-lost loves — in this case, audiences.

“Crazy Rich Asians” grossed $174.5 million at the domestic box office. The film was only the fifth romantic comedy to gross more than $100 million at the box office since 2009, when “The Proposal” ($164.0 million) and “It’s Complicated” ($112.7 million) both crossed the mark.

Hollywood has had some romantic successes in the last decade with films like “Valentine’s Day” ($110.5 million), “Silver Linings Playbook” ($132.1 million) and “Trainwreck” ($110.2 million).

But the new talk of a rom-com resurgence came after the one-two punch of Netflix’s “Set It Up” and “To All the Boys I’ve Loved Before” — Netflix’s most-streamed film of 2018, according to the company, which doesn’t reveal complete numbers.

Around 2009, as Marvel’s cinematic universe began its now decade-long journey and Hollywood turned its focus toward big-budget films with blockbuster potential, studios began to shy away from mid-budget movies, including rom-coms.

“It certainly hasn’t been the genre people have been chasing for the last 10 years. They’re not going to make $300 million,” Chiarelli told TheWrap. “I wish I wrote superhero movies, or horror movies.”

“Crazy Rich Asians,” however, has actually come close. The film, which had a production budget of $30 million, has pulled in $238.5 million worldwide.

Like it’s done for indies and a number of mid-budget genres, Netflix has changed the economics of making and releasing romantic comedies. Silberman said “Set It Up” received a lot of positive responses from studios before its release, but that they just weren’t willing or able to make it work.

Executives at Netflix, on the other hand, simply saw a movie they’d want to see and wouldn’t have to worry about selling to audiences.

“They went out of their way to say we want to make classic romantic comedies again,” Silberman said.

Netflix’s co-heads of Original Independent Film, Matt Brodlie and Ian Bricke, told TheWrap that they’re always looking for movies with a well-defined audience. Netflix has already honed in on stand-up comedy specials, teen comedies, independent dramas and sci-fi flicks; and Hollywood left an opening for romantic comedies.

Also Read: ‘To All the Boys I’ve Loved Before’ Sequel Officially a Go at Netflix

“We’re always looking for movies that will work well for a defined audience, whether it’s a genre, or arthouse film, or foreign language — it should be something that can cross-over and reach a lot of people,” Brodlie and Bricke said in an email. “So, when we were building our slate, we asked ourselves, ‘What genres feel like opportunities?’ Rom-coms were huge for studios in the past, and that type of movie isn’t made much anymore. But, they’re heavily watched on Netflix. Our hunch was there was an appetite for more — and we were right!

“We’re thrilled with the success of ‘The Kissing Booth,’ ‘Set It Up,’ and ‘To All the Boys I’ve Loved Before,’ and we’re excited to continue to bring films such as ‘The Breaker Upperers,’ ‘Someone Great’ and ‘The Perfect Date’ to our members.”

In addition to “Someone Great,” starring Gina Rodriguez and Lakeith Stanfield, “The Breaker Upperers” and “The Perfect Date,” Hollywood is pumping out a host of new rom-coms, including “Last Christmas” with Emilia Clarke and Henry Golding, “The Rosie Project” and “Long Shot.”

So far, 2019 has already given the box office three romantic comedies in “Isn’t It Romantic,” “Under the Eiffel Tower” and the “What Women Want” reimagining, “What Men Want.”

Paramount’s “What Men Want,” which was produced for $20 million, had a $22.0 million opening weekend, and “Isn’t It Romantic” is expected to open similarly, with $20.9 million, according to analysts at Box Office Pro.

Also Read: Charlize Theron and Seth Rogen Navigate Politics, Love and Weed in ‘Long Shot’ Trailer (Video)

But not every romance begins beautifully: “Under the Eiffel Tower,” an indie released by The Orchard, opened in just 11 theaters and pulled in roughly $4,000.

Dergarabedian points out that simply because “Crazy Rich Asians” and other films succeeded recently doesn’t mean the genre is bullet-proof. Romantic comedies are fairly cheap and can be easily profitable, but they have to be good, Dergarabedian said.

Still, the future of the genre looks brighter now than it has in recent years.

“It’s changed significantly,” Silberman said. “You know, the way it always does in this industry when something works and gets people excited.”

Related stories from TheWrap:

Billy Eichner to Star in Rom-Com Directed by Nicholas Stoller at Universal

‘Crazy Rich Asians’ Breakout Constance Wu in Talks for Rom-Com at Screen Gems

‘How Stella Got Her Groove Back’ Director on Universal Appeal, Enduring Legacy of Black Rom-Com

Jimmy Kimmel Reimagines ‘Avengers: Infinity War’ as a Marvel Rom-Com (Video)

Pearl Studio Doubles Down on Stories That Will Appeal to Chinese and International Crowds

Read on: Variety.

No U.S.-China venture could have had a more auspicious start than Oriental DreamWorks. On a state visit to the U.S. in February 2012, then-Chinese Vice President Xi Jinping had lunch and watched a Los Angeles Lakers game with Jeffrey Katzenberg. That s…

Top-Grossing 2018 Films Had More Female and Racially Diverse Lead Roles, Study Says

Read on: TheWrapTheWrap.

The 100 top-grossing movies of 2018 featured more leading roles for both women and underrepresented races or ethnic groups, according to a new study released Tuesday by Stacy L. Smith and the USC Annenberg Inclusion Initiative.

The study found that 40 of the top 100 films in 2018 featured a female in the lead or co-lead role, which was is an increase from 2017 (eight-plus movies) and 2007 (20-plus movies).

Meanwhile, 11 films featured a female lead or co-lead from an underrepresented racial/ethnic group, which was nearly three times as many films as in 2017.

Also Read: Female-Led Films Earn More Than Movies Starring Men in the Lead, Study Finds

A further 28 top movies last year featured a lead or co-lead from an underrepresented racial/ethnic group, which is another significant increase from 2017 and from 2007.

“Widows” (pictured above), “Black Panther” and “Crazy Rich Asians” are among the hit films of 2018 that featured strong female characters and diverse casts.

Also Read: TV’s Gender Gap Widened Last Season Both on Screen and Off, New Study Finds

“2018 offers hope that industry members have taken action to create content that better reflects the world in which we live, and the box office seems to have rewarded them for it,” Smith, founder and Director of the USC Annenberg Inclusion Initiative, said in a statement. “This data shows us that it is possible for change to be achieved — companies must not grow complacent but continue the progress they have made in 2019 and in the years to come.”

“It is encouraging that 2018 brought a 12-year high in the number of films with a female lead or co lead driving the action,” Dr. Smith continued. “Perhaps most notably, we witnessed gains for women of color as leads or co-leads. While there is still a significant amount of change to be accomplished, this represents a step in the right direction toward intersectional inclusion in storytelling.”

Related stories from TheWrap:

TheGrill: ‘Rectify’ Star Abigail Spencer Says ‘Most of the Great Female Roles Are Happening on Television’

Benedict Cumberbatch Asks Male Actors to Turn Down Roles If Female Co-Stars Aren’t Paid Equally

#OscarsSoMale? Lack of Major Female Nominees Sparks Outcry

AMC Teams With #GoldOpen To Help Support Asian And “New Majority” Films

Read on: Deadline.

With the success of Asian-led films such as Crazy Rich Asians, Searching and Aquaman, #GoldOpen has partnered with AMC Theatres to help continue their initiative of championing Asian films. The first-of-its-kind partnership with AMC is designed to stre…

ADG Awards: ‘Black Panther’, ‘Crazy Rich Asians’ Take Home Trophies For Film, ‘Mrs. Maisel’ Honored For TV – Full Winners List

Read on: Deadline.

The trophies for the 23rd Annual Art Directors Guild Awards were handed out on Saturday night at the InterContinental Los Angeles Downtown with two of the most game-changing inclusive films of the year Black Panther and Crazy Rich Asians taking home aw…

Artios Awards: Casting Society Lauds ‘Green Book’, ‘Crazy Rich Asians’ & More – Complete Winners List

Read on: Deadline.

The Casting Society of America held its annual Artios Awards tonight and gave its top film prizes to awards-season regulars Green Book (Big Budget – Comedy), Vice (Big Budget – Drama), Crazy Rich Asians (Studio or Independent Comedy) and Bl…

Awkwafina Had Doubts About Her Dramatic Turn in ‘The Farewell’: ‘I Never Thought I’d See a Script Like This’ (Video)

Read on: TheWrapTheWrap.

Awkwafina (Nora Lum) is blowin’ up. The rapper turned comedic actress starred in the critically acclaimed cultural moment that was “Crazy Rich Asians” and, alongside Sandra Bullock and Cate Blanchett, in “Ocean’s 8.” She even hosted “Saturday Night Live.”

During the monologue of that October 2018 SNL broadcast Awkwafina gave a shout out to her grandmother, which, taking into account her star dramatic turn in Lulu Wang’s buzzy Sundance flick “The Farewell,” was all too fitting.

In “The Farewell,” written and directed by Wang, Awkwafina stars as Billi, a Chinese-born writer who moved to America when she was 6 years old. The film centers around Billi’s family’s decision not to tell their beloved matriarch, Nai Nai, that she has been diagnosed with lung cancer and doesn’t have long to live. Instead they throw together a wedding back in China so that everyone in the family can, in effect, say their goodbyes.

Also Read: ‘The Farewell’ Film Review: Awkwafina Shows Range in Rich Intergenerational Drama

She told TheWrap that the idea of taking on what is her most dramatic role to date made her doubt herself.

“I definitely doubted myself at first. I didn’t know if I would be able to do it justice,” Awkwafina said at TheWrap’s studio during the Sundance Film Festival. “I did become emotionally invested in the character and in the story. It’s so beautiful and moving, I never thought that I would see a script like this in my career.”

She added, “You couldn’t just get a spec script on this and just be like, ‘Oh, that’s a fun fiction story.’ This is real, it’s coming from the heart, it’s written from the heart. The characters are based on very multi-dimensional Asian people, almost to the point where they’re accidentally Asian and they’re just human.”

TheWrap’s Carlos Aguilar described Awkwafina’s performance in “The Farewell” as melancholic, and she’s gotten rave reviews out of the festival for her first dramatic role. “The Farewell” was one of the festival’s hottest titles and was picked up by A24 for somewhere between $6 million and $7 million.

Also Read: A24 Acquires Awkwafina’s ‘The Farewell’ Following Sundance Premiere

The film is based on a true story, or “an actual lie,” as it’s described in the opening frame. Awkwafina serves as an avatar for Wang, who told the story on NPR’s “This American Life” podcast in a segment titled “In Defense of Ignorance” back in 2016.

“The Farewell” is told mostly in Mandarin, which Wang said was important to her. It’s actually a recurring theme in the film — Billi’s language limitations. Because she moved away from China as a child and grew up in New York, Awkwafina’s character is knocked for her poor Mandarin and for  culturally not quite fitting in.

“Very early in my career everyone was like, ‘You gotta find your voice, you gotta do something personal.’ What does that mean? How do you go find your voice?” Wang said. “Something personal, does that immediately mean something Asian when you’re in America? Because if I was an Asian filmmaker, making something personal wouldn’t mean being Asian, and so I struggled with that for a long time.”

Also Read: ‘Brittany Runs a Marathon’: Hilarious, Charming Film Earns Real Tears Amid Big Laughs

Wang was born in China, but grew up in the U.S. in Florida, and Awkwafina was born and raised in New York City’s Queens borough.

“That journey is real. I think any ‘dash-American’ person is going to experience that in their lives. They’re going to feel something missing in both areas,” Awkwafina said. “There is like a weird feeling of fitting in physically, you don’t feel like you’re different, but culturally you’re still an anomaly. That experience is real and I think ‘The Farewell’ really touches on that.”

Related stories from TheWrap:

Sundance 2019: Every Movie Sold So Far, From ‘Late Night’ to ‘The Farewell’ (Updating)

Sundance Shocker: Big-Money Acquisitions Take Indie Film Market by Surprise

Gurinder Chadha’s ‘Blinded by the Light’ Headed to New Line in Sundance’s Biggest Deal So Far

‘Crazy Rich Asians’ and ‘Deadpool 2’ Score GLAAD Media Award Nominations (Complete List)

Read on: TheWrapTheWrap.

The GLAAD Media Awards nominations have recognized “Blockers,” “Crazy Rich Asians,” “Deadpool 2,” “The Girl in the Spider’s Web” and “Love, Simon” as the outstanding film in the wide release category.

GLAAD announced their 30th annual nominations at the Sundance Film Festival on Friday. The Media Awards recognize and honor media for “their fair, accurate and inclusive representations of the lesbian, gay, bisexual, transgender and queer community and the issues that affect their lives.”

Not reflected was Oscars Best Picture nominee “Bohemian Rhapsody.” TheWrap reported on Thursday that GLAAD made the decision to remove “Bohemian Rhapsody” and the story of the queer icon Freddie Mercury from awards contention in the wake of new sexual misconduct accusations against the film’s former director, Bryan Singer.

Also Read: GLAAD Removes ‘Bohemian Rhapsody’ From Awards Contention After Bryan Singer Sexual Misconduct Accusations

Oscar contenders like “The Favourite” and “Can You Ever Forgive Me” were also among the films nominated in the Outstanding Film – Limited Release categories. GLAAD further recognizes achievements in TV, video games, journalism and more.

See the full list of nominees below:

Outstanding Film – Wide Release
“Blockers” (Universal)
“Crazy Rich Asians” (Warner Bros.)
“Deadpool 2” (20th Century Fox)
“The Girl in the Spider’s Web” (Sony Pictures)
“Love, Simon” (20th Century Fox)

Outstanding Film – Limited Release
“1985” (Wolfe Releasing)
“Boy Erased” (Focus Features)
“Can You Ever Forgive Me?” (Fox Searchlight)
“Disobedience” (Bleecker Street)
“The Favourite” (Fox Searchlight)
“Hearts Beat Loud” (Gunpowder & Sky)
“A Kid Like Jake” (IFC Films)
“The Miseducation of Cameron Post” (FilmRise)
“Saturday Church” (Samuel Goldwyn Films)
“We the Animals” (The Orchard)

Outstanding Drama Series
“Billions” (Showtime)
“Black Lightning” (The CW)
“Grey’s Anatomy” (ABC)
“The Handmaid’s Tale” (Hulu)
“Instinct” (CBS)
“Pose” (FX)
“Shadowhunters” (Freeform)
“Star” (Fox)
“Supergirl” (The CW)
“Wynonna Earp” (Syfy)

Outstanding Comedy Series
“Brooklyn Nine-Nine” (FOX, now NBC)
“Crazy Ex-Girlfriend” (The CW)
“Dear White People” (Netflix)
“Modern Family” (ABC)
“One Day at a Time” (Netflix)
“Schitt’s Creek” (Pop)
“Superstore” (NBC)
“This Close” (Sundance Now)
“Vida” (Starz)
“Will & Grace” (NBC)

Outstanding Individual Episode (in a series w/o a regular LGBTQ character)
“King in the North,” “Fresh Off the Boat” (ABC)
“Prom,” “Fuller House” (Netflix)
“Service,” “Law & Order: Special Victims Unit” (NBC)
“She,” “The Good Doctor” (ABC)
“Someplace Other Than Here,” “The Guest Book” (TBS)

Outstanding TV Movie or Limited Series
“American Horror Story: Apocalypse” (FX)
“The Assassination of Gianni Versace: American Crime Story” (FX)
“Life-Size 2” (Freeform)
“Sense8” (Netflix)
“A Very English Scandal” (Amazon Prime)

Outstanding Documentary
“Believer” (HBO)
“Call Her Ganda” (Breaking Glass Pictures)
“My House” (Viceland)
“Quiet Heroes” (Logo)
“When the Beat Drops” (Logo)

Outstanding Kids & Family Programming
“Adventure Time” (Cartoon Network)
“Andi Mack” (The Disney Channel)
“Anne with an E” (Netflix)
“She-Ra” (Netflix)
“Steven Universe” (Cartoon Network)

Outstanding Reality Program
“American Idol” (ABC)
“I Am Jazz” (TLC)
“Love & Hip Hop” (VH1)
“Queer Eye” (Netflix)
“RuPaul’s Drag Race” (VH1)

Outstanding Music Artist
Brandi Carlile, “By the Way, I Forgive You” (Low Country Sound/Elektra)
Brockhampton, “Iridescence” (RCA)
Christine and the Queens, “Chris” (Because Music)
Hayley Kiyoko, “Expectations” (Atlantic)
Janelle Monáe, “Dirty Computer” (Bad Boy Records)
Kim Petras, “Turn Off the Light, Vol. 1” (BunHead)
Shea Diamond, “Seen It All” (Asylum Worldwide)
Sophie, “Oil of Every Pearl’s Un-Insides” (Future Classics)
Troye Sivan, “Bloom” (Capitol Records)
Years & Years, “Palo Santo” (Polydor)

Outstanding Comic Book
“Batwoman,” written by Marguerite Bennett, K. Perkins (DC Comics)
“Bingo Love,” written by Tee Franklin (Image Comics)
“Exit Stage Left: The Snagglepuss Chronicles,” written by Mark Russell (DC Comics)
“Fence,” written by C.S. Pacat (BOOM! Studios)
“Iceman,” written by Sina Grace (Marvel Comics)
“Lumberjanes: The Infernal Compass,” written by Lilah Sturges (BOOM! Studios)
“Oh S#!t It’s Kim & Kim,” written by Magdalene Visaggio (Black Mask Comics)
“Runaways,” written by Rainbow Rowell (Marvel Comics)
“Star Wars: Doctor Aphra,” written by Kieron Gillen, Simon “Spurrier” (Marvel Comics)
“Strangers in Paradise XXV,” written by Terry Moore (Abstract Studio)

Outstanding Video Game
“Assassin’s Creed: Odyssey” (Ubisoft)
“The Elder Scrolls Online: Summerset” (Bethesda Softworks)
“Guild Wars 2: Path of Fire” (ArenaNet)
“Pillars of Eternity II: Deadfire” (Versus Evil)
“The Sims Mobile” (Electronic Arts)

Outstanding Variety or Talk Show Episode
“Mike Pence and ‘A Day in the Life of Marlon Bundo’,” “Last Week Tonight with John Oliver” (HBO)
“NRA Problems, Chicken Bone Problems, Birmingham Problems,” “Wyatt Cenac’s Problem Areas” (HBO)
“Trans Rights Under Attack,” “Full Frontal with Samantha Bee” (TBS)
“Troye Sivan Hopes ‘Boy Erased’ Reaches All Parents,” “The Late Show with Stephen Colbert” (CBS)
“Valedictorian Seth Owen,” “The Ellen DeGeneres Show” (syndicated)

Outstanding TV Journalism – Newsmagazine
“Conversion Therapy: God Only Knows,” “CBS Sunday Morning” (CBS)
“Gender: The Space Between,” “CBS News” (CBS)
“Legacy of Hope,” “Nightline” (ABC)
“Respect,” “SC Featured” (ESPN)
“South Texas Pride” [series], “KSAT News” (KSAT-TV [San Antonio, Texas])

Outstanding TV Journalism Segment
“Historic Number of LGBTQ Candidates on Ballots This Year,” “NBC Nightly News” (NBC)
“Mississippi Town Denies Pride Parade,” “Vice News Tonight” (HBO)
“Olympian Adam Rippon,” “New Day” (CNN)
“Same-sex Couple Reacts to Supreme Court Ruling,” “CNN Tonight with Don Lemon” (CNN)
“Trump: ‘Looking Very Seriously’ at Changing Transgender Definition,” “Velshi & Ruhle” (MSNBC)

Outstanding Newspaper Article
“He Took a Drug to Prevent AIDS. Then He Couldn’t Get Disability Insurance” by Donald G. McNeil Jr. (The New York Times)
“LGBTQ Parents Challenge Stereotypes in China” by Sue-Lin Wong, Jason Lee (Reuters)
“‘More Than Fear’: Brazil’s LGBT Community Dreads Looming Bolsonaro Presidency” by Marina Lopes (The Washington Post)
“Pistons’ Reggie Bullock to Transgender Community: ‘I see y’all as people that I love’” by Malika Andrews (Chicago Tribune)
“Transgender Students Asked Betsy DeVos for Help. Here’s What Happened.” by Caitlin Emma (Politico)

Outstanding Magazine Article
“21 Transgender Stars, Creators Sound Off on Hollywood: ‘I Want to Portray These Characters, and I’m Ready’” by Chris Gardner, Rebecca Sun, Lindsay Weinberg, Joelle Goldstein, Bryan White (The Hollywood Reporter)
“Can a Transgender Woman Get Justice in Texas?” by Nate Blakeslee (Texas Monthly)
“Ex-Scientologist Michelle LeClair Says Church Officials Humiliated Her After She Came Out as Gay” by Johnny Dodd, Tierney McAfee (People)
“Lena Waithe is Changing the Game” by Jacqueline Woodson (Vanity Fair)
“They are the Champions” by Katie Barnes (ESPN The Magazine)

Outstanding Magazine Overall Coverage
Billboard
Ebony
Entertainment Weekly
GQ
Variety

Outstanding Digital Journalism Article
“Across U.S., LGBTQ Christians Try to Change Hearts and Minds From the Pews” by Julie Compton (NBCNews.com)
“Bermuda Same-sex Marriage Ban Means Trouble for Tourism and Cruise Ships” by Ryan Ruggiero (CNBC.com)
“Deadnamed” by Lucas Waldron, Ken Schwencke (ProPublica.org)
“LGBTQ Caravan Migrants Marry While Waiting for Asylum in Tijuana” by Sarah Kinosian (INTOmore.com)
“Workplaces Need to Prepare for the Non-Binary Future” by Samantha Allen (TheDailyBeast.com)

Outstanding Digital Journalism – Video or Multimedia
“I Was Jailed for Raising the Pride Flag in Egypt” by Amro Helmy (Buzzfeed Video)
“The Latinx Drag Queens Spearheading HIV Activism on the Border” by Paola Ramos (Vice.com)
“March for Our Lives and LGBT activism: ‘They’re definitely linked for me,’ says Emma González” by Beth Greenfield (Yahoo! Lifestyle)
“Marielle and Monica: The LGBT Activists Resisting Bolsonaro’s Brazil” by Fabio Erdos, Marina Costa, Charlie Phillips, Jacqueline Edenbrow (TheGuardian.com)
“Trans Model Aaron Philip is Making a Space for Disabilities on the Runway” (NowThis)

Outstanding Blog
Gays With Kids
Holy Bullies and Headless Monsters
My Fabulous Disease
Pittsburgh Lesbian Correspondents
TransGriot

Special Recognition
“Nanette” (Netflix)
“TransMilitary” (Logo)

The full Spanish-Language Nominees:

Outstanding Scripted Television Series (Spanish-Language)
“Elite” (Netflix)
“Mi familia perfecta” (Telemundo)
“Mi marido tiene más familia” (Univision)
“Papá a toda madre” (Univision)

Outstanding TV Journalism – Newsmagazine (Spanish-Language)
“Denuncian trabas migratorias contra la comunidad transgénero,” “Un Nuevo Dia” (Telemundo)
“Entrevista con Luis Sandoval para National Coming Out Day,” “Despierta América” (Univision)
“No es fácil en EEUU ser un gay latino,” “Noticias Telemundo Mediodía” (Telemundo)
“La primera escuela para niños transgénero de Chile,” “Nuestro Mundo” (CNN en Español)

Outstanding TV Journalism Segment (Spanish-Language)
“Entrevista con Pat ‘Cacahuate’ Manuel” Noticias Ya Tampa Bay (Univision)
“LAFC Pride Republic” Noticiero Univision Los Ángeles (Univision)
“Madre hispana lucha contra un agresivo cáncer seno” Noticias Univision Arizona (Univision)
“Primera Pareja Gay en Casarse en un Consulado Mexicano” Noticias Telemundo Mediodía (Telemundo)
“Transpesina” Univision 21 Fresno (Univision)

Outstanding Digital Journalism (Spanish-Language)
“Apoyo y recursos para jóvenes LGBTQ y sus familias” por Virginia Gaglianone (LaOpinion.com)
“Así pinta la televisión hispana a los personajes LGBTQ, una representación preocupante” por Daniel Shoer Roth (ElNuevoHerald.com)
“Dallas: Para jóvenes LGBT con DACA, la lucha ha sido salir de dos clósets” por Jenny Manrique (AlDiaDallas.com)
“De la censura a la celebración: la historia de una exposición queer en Brasil” por Ernesto Londoño (NewYorkTimes.com/es)
“Desaliento y miedo en medio de celebración del Orgullo LGBT en NYC” por José Martínez (ElDiarioNY.com)

Special Recognition (Spanish-Language)
“House of Mamis” (INTOmore.com)

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SAG Awards Reveals First List Of Presenters: The Stars Of The Films Up For Best Ensemble Cast

Read on: Deadline.

The first group of presenters for Sunday’s 25th annual SAG Awards is out, and it’s a doozy of a list. The top stars from five of this awards season’s biggest movies will be on hand at Sunday at the Shrine Auditorium to introduce clips…

‘The Daily Show’: Ronny Chieng Disses ‘Crazy Rich Asians’ Oscars Snub, Sam Elliot’s Mustache (Video)

Read on: TheWrapTheWrap.

In a fun gag on Tuesday’s “The Daily Show,” correspondent Ronny Chieng had some unkind words for the Best Supporting Actor Oscar nominees — mainly because he himself wasn’t nominated.

Plenty of fans were taken by surprise Tuesday morning when “Crazy Rich Asians” didn’t receive a single Oscar nomination, and so was Chieng, who played supporting character Eddie Cheng in the hit romantic comedy.

“Who gives a s— about Best Picture,” Chieng asked when he came out to discuss the matter with Trevor Noah. “The story this year is all about the deserving nominees who were snubbed…. especially in the only category that anyone actually cares about: Best Supporting Actor.”

Also Read: Oscar’s Longest Losing Streaks: 12 People With 10-Plus Nominations and No Wins (Photos)

Chieng laid into the “no-name hacks” who were nominated, starting with Sam Elliott (“A Star Is Born”).

“Everyone in the business knows his mustache is doing all the acting. I could have grown a mustache like that, but I care too much about the craft to rely on cheap facial props like that. Also my lip can’t do that.”

Next up, Adam Driver (“BlacKkKlansman”) “Big deal, he played a Jewish guy pretending to be in the KKK. I was playing a Chinese person from Hong Kong, when I’m really a Chinese person from Malaysia. That’s range.”

Also Read: Oscar Nominations by the Numbers: Disney, Fox Searchlight Lead Among Studios

Chieng also had some funny jokes about Mahershala Ali (“Green Book”), Sam Rockwell (“Vice”), and Richard E. Grant (“Can You Ever Forgive Me”), but we won’t spoil them. Watch the whole clip above.

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It’s Official! Michelle Yeoh ‘Star Trek’ Spinoff In Development At CBS All Access

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Just hours after Crazy Rich Asians won the Best Comedy award at the Critics’ Choice Awards last night, Michelle Yeoh has scored another win with a Star Trek series of her own.
As Deadline exclusively reported back in November, CBS All Access has …

‘Crazy Rich Asians,’ ‘Black Panther,’ ‘Pose’ Campaigns Nominated for Publicists Awards

Read on: TheWrapTheWrap.

The publicists responsible for the campaigns for “Black Panther,” “Bohemian Rhapsody,” “Crazy Rich Asians,” “Halloween,” “A Quiet Place” and “Spider-Man: Into the Spider-Verse” have been nominated for the top film awards at the International Cinematographers Guild’s 56th Annual ICG Publicists Awards, which will be handed out on Feb. 22 at the Beverly Hilton.

Television nominees are the publicists responsible for the campaigns for “The Alienist,” “The Late Show With Stephen Colbert,” “Mayans, M.C.,” “Pose” and “Single Parents.”

The ICG Publicists Awards nominees:

THE MAXWELL WEINBERG PUBLICIST SHOWMANSHIP OF THE YEAR FOR MOTION PICTURES
The union publicists that worked on publicity campaigns on behalf of:
“Black Panther” (The Walt Disney Studios)
“Bohemian Rhapsody” (Twentieth Century Fox)
“Crazy Rich Asians” (Warner Bros. Pictures)
“Halloween” (Universal Pictures)
“A Quiet Place” (Paramount Pictures)
“Spider-Man: Into the Spider-Verse” (Sony Pictures)

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THE MAXWELL WEINBERG PUBLICIST SHOWMANSHIP OF THE YEAR FOR TELEVISION
“The Alienist” – Gabriela Zapata (Paramount Television and Turner’s Studio T)
“The Late Show with Stephen Colbert” – Ryan Aguirre (CBS Television Studios)
“Mayans, M.C.” – Chris Kaspers (Fox 21 Television & FX Productions)
“Pose” – Yong Kim (Fox 21 Television & FX Productions)
“Single Parents” – Shari Rosenblum (Twentieth Century Fox Television & ABC Studios)

THE PRESS AWARD
Chris Cavell, The Ellen DeGeneres Show
Justin Chang, Los Angeles Times
Erik Davis, Fandango
Tom O’Neil, Gold Derby
Andy Reyes, Entertainment Tonight

THE INTERNATIONAL MEDIA AWARD
Vera Anderson, HFPA/Mexico
Nelson Aspen, Sunrise, Australia
Jami Philbrick, Mtime, China
Jeremy Kaye, Screen International
Adam Tanswell, HFPA/UK

THE EXCELLENCE IN UNIT STILL PHOTOGRAPHY AWARD FOR MOTION PICTURES
Murray Close
Claire Folger
Matt Kennedy
Merrick Morton
Hopper Stone

THE EXCELLENCE IN UNIT STILL PHOTOGRAPHY AWARD FOR TELEVISION
Beth Dubber
Richard Cartwright
Colleen Hayes
Macall Polay
Van Redin

THE LES MASON AWARD (highest honor the Publicists can bestow on one of its own members)
Riki Arnold, Senior Publicist, Photo Editor (The Walt Disney Studios)
Gabriela Gutentag, Unit Publicist
Sheryl Main, Unit Publicist
Ernie Malik, Unit Publicist
Rochelle Romanelli, Senior Publicist (Paramount Pictures International)

As previously announced, the publicists will honor legendary actress Jamie Lee Curtis with the Lifetime Achievement Award and acclaimed director Jon M. Chu with the Motion Picture Showman of the Year Award. Still to be announced is the Television Showman of the Year Award.

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