The Writers Guild of America West (WGAW) and the Writers Guild of America, East (WGAE) tonight announced the winners of the 2018 Writers Guild Awards for outstanding achievement in writing for film, television, new media, videogames, news, radio/audio, promotional, and graphic animation categories at concurrent ceremonies at The Beverly Hilton in Los Angeles and the Edison Ballroom in New York City.
FILM WINNERS
ORIGINAL SCREENPLAY
Get Out, Written by Jordan Peele; Universal Pictures
ADAPTED SCREENPLAY
Call Me by Your Name, Screenplay by James Ivory; Based on the Novel by André Aciman; Sony Pictures Classics
DOCUMENTARY SCREENPLAY
Jane, Written by Brett Morgen; National Geographic
TELEVISION AND NEW MEDIA WINNERS
DRAMA SERIES
The Handmaid’s Tale, Written by Ilene Chaiken, Nina Fiore, Dorothy Fortenberry, Leila Gerstein, John Herrera, Lynn Renee Maxcy, Bruce Miller, Kira Snyder, Wendy Straker Hauser, Eric Tuchman; Hulu
COMEDY SERIES
Veep, Written by Gabrielle Allan, Rachel Axler, Ted Cohen, Jennifer Crittenden, Alex Gregory, Steve Hely, Peter Huyck, Erik Kenward, Billy Kimball, David Mandel, Ian Maxtone-Graham, Dan Mintz, Lew Morton, Georgia Pritchett, Will Smith; HBO
NEW SERIES
The Handmaid’s Tale, Written by Ilene Chaiken, Nina Fiore, Dorothy Fortenberry, Leila Gerstein, John Herrera, Lynn Renee Maxcy, Bruce Miller, Kira Snyder, Wendy Straker Hauser, Eric Tuchman; Hulu
ORIGINAL LONG FORM
Flint, Written by Barbara Stepansky; Lifetime
ADAPTED LONG FORM
Big Little Lies, Teleplay by David E. Kelley, Based on the Novel by Liane Moriarty; HBO
ADAPTED SHORT FORM NEW MEDIA
“Starboy” (Zac & Mia), Teleplay by Allen Clary and Andrew Rothschild, Based on the novel Zac & Mia by A.J. Betts; go90.com
ANIMATION
“Time’s Arrow” (BoJack Horseman), Written by Kate Purdy; Netflix
EPISODIC DRAMA
“Chicanery” (Better Call Saul), Written by Gordon Smith; AMC
EPISODIC COMEDY
“Rosario’s Quinceanera” (Will & Grace), Written by Tracy Poust & Jon Kinnally; NBC
COMEDY/VARIETY TALK SERIES
Last Week Tonight with John Oliver, Writers: Tim Carvell, Josh Gondelman, Dan Gurewitch, Geoff Haggerty, Jeff Maurer, John Oliver, Scott Sherman, Will Tracy, Jill Twiss, Juli Weiner, Ben Silva, Seena Vali; HBO
COMEDY/VARIETY SKETCH SERIES
Saturday Night Live, Head Writers: Chris Kelly, Sarah Schneider, Bryan Tucker, Writers: James Anderson, Kristen Bartlett, Jeremy Beiler, Neal Brennan, Zack Bornstein, Joanna Bradley, Megan Callahan, Michael Che, Anna Drezen, Fran Gillespie, Sudi Green, Steve Higgins, Colin Jost, Erik Kenward, Rob Klein, Nick Kocher, Michael Koman, Dave McCary, Brian McElhaney, Dennis McNicholas, Drew Michael, Lorne Michaels, Josh Patten, Katie Rich, Pete Schultz, Streeter Seidell, Will Stephen, Kent Sublette, Julio Torres; NBC Universal
COMEDY/VARIETY SPECIALS
39th Annual Kennedy Center Honors, Written by Dave Boone; CBS
QUIZ AND AUDIENCE PARTICIPATION
Hollywood Game Night, Head Writer: Grant Taylor; Writers: Michael Agbabian, Alex Chauvin, Ann Slichter, Dwight D. Smith; NBC
DAYTIME DRAMA
General Hospital, Head Writers: Shelly Altman, Jean Passanante; Writers: Anna Theresa Cascio, Suzanne Flynn, Charlotte Gibson, Lucky Gold, Kate Hall, Elizabeth Korte, Daniel James O’Connor, Dave Rupel, Katherine Schock, Scott Sickles, Christopher Van Etten, Christopher Whitesell; ABC
CHILDREN’S EPISODIC AND SPECIALS
“An American Girl Story – Ivy & Julie 1976: A Happy Balance” (American Girl), Written by May Chan; Amazon
DOCUMENTARY SCRIPT – CURRENT EVENTS
“Confronting ISIS” (Frontline), Written by Martin Smith; PBS
DOCUMENTARY SCRIPT – OTHER THAN CURRENT EVENTS
“The Great War, Part II” (American Experience), Written by Stephen Ives; PBS
NEWS SCRIPT – REGULARLY SCHEDULED, BULLETIN, OR BREAKING REPORT
“White Helmets” (60 Minutes), Written by Scott Pelley, Nicole Young, Katie Kerbstat; CBS News
NEWS SCRIPT – ANALYSIS, FEATURE, OR COMMENTARY
“Chief of Chobani” (60 Minutes), Written by Steve Kroft, Oriana Zill de Granados; CBS News
DIGITAL NEWS
“The Super Predators,” Written by Melissa Jeltsen, Dana Liebelson; Huffingtonpost.com
RADIO/AUDIO WINNERS
RADIO/AUDIO DOCUMENTARY
“CBS Radio 90th Anniversary,” Written by Dianne E. James, Gail Lee; CBS News Radio
RADIO/AUDIO NEWS SCRIPT – REGULARLY SCHEDULED, BULLETIN, OR BREAKING REPORT
“World News This Week: June 9, 2017,” Written by Tara Gimbel Tanis; ABC News Radio
RADIO/AUDIO NEWS SCRIPT – ANALYSIS, FEATURE, OR COMMENTARY
“Dishin’ Digital on WCBS-AM,” Written by Robert Hawley; WCBS
PROMOTIONAL WINNERS
ON-AIR PROMOTION (RADIO OR TELEVISION)
“CBS Comedy,” Written by Dan Greenberger; CBS Television
VIDEOGAME WINNER
OUTSTANDING ACHIEVEMENT IN VIDEOGAME WRITING
Horizon Zero Dawn, Narrative Director John Gonzalez; Lead Writer Benjamin McCaw; Writing by Ben Schroder, Anne Toole; Additional Writing by Dee Warrick, Meg Jayanth; Guerrilla Games
Emmy and Grammy-winning actor-writer-comedian Patton Oswalt (Happy!, A.P. Bio, Annihilation) hosted the WGAW’s West Coast ceremony. Presenters who appeared in Los Angeles included: Emmy and Golden Globe-winning actress Glenn Close (Damages, Albert Nobbs); Golden Globe-nominated actress Alison Brie (GLOW, The Post, The Disaster Artist); Emmy-nominated Better Call Saul star, The Post co-star, and Emmy-winning writer Bob Odenkirk; Oscar-nominated Lady Bird screenwriter-director Greta Gerwig; Oscar, Get Out co-star Bradley Whitford; Emmy, and Golden Globe-nominated actress and Speechless co-star Minnie Driver; Emmy and Golden Globe-winning actress Jane Lynch (Hollywood Game Night, Manhunt: Unabomber, Criminal Minds, Glee); Emmy and Golden Globe-nominated actor Sir Patrick Stewart (Logan, Blunt Talk); Emmy-nominated actress and Emmy-winning writer Wanda Sykes (black-ish); Brooklyn Nine-Nine co-star Terry Crews; SAG Awards-nominated Brooklyn Nine-Nine co-star and WGA-nominated Parks and Recreationwriter Chelsea Peretti; The Jim Jefferies Show star Jim Jefferies; LA to Vegas star and Golden Globe-winning actor Dylan McDermott; Emmy-winning comedian-actress-writer Sarah Silverman (Sarah Silverman: We Are Miracles, Bob’s Burgers); Emmy-winning comedian-actress Kathy Griffin (Kathy Griffin: My Life on the D-List); Ivory Aquino (When We Rise); Rob Riggle (Angie Tribeca, Modern Family, SNL); producers Doug Wick & Lucy Fisher (Divergent, The Great Gatsby); and a live performance by Puddles Pity Party.
In addition, the WGAW presented several honorary awards during its West Coast ceremony: Emmy-winning Serving in Silence: The Margarethe Cammermeyer Story star Glenn Close presented the WGAW’s Paddy Chayefsky Laurel Award for Television Writing Achievement to Emmy-winning writer-producer Alison Cross (Serving in Silence: The Margarethe Cammermeyer Story, Roe vs. Wade, S.W.A.T.); Doug Wick & Lucy Fisher presented the WGAW’s Laurel Award for Screenwriting Achievement to Writers Guild and Academy Award-winning screenwriter-director-producer James L. Brooks (Terms of Endearment, Broadcast News, As Good As It Gets); When We Rise co-star Ivory Aquino presented the WGAW’s Valentine Davies Award to Writers Guild and Academy Award-winning screenwriter and LGBTQ rights activist Dustin Lance Black (Milk, When We Rise) for his social activism which has positively impacted the LGBTQ community; Washington Post Executive Editor Martin “Marty” Baron presented the WGAW’s Paul Selvin Award to The Post screenwriters Liz Hannah and Josh Singer, whose Post screenplay embodies the spirit of constitutional and civil rights and liberties, including the First Amendment and freedom of the press.
Attendees at the WGAW’s show included: The Big Sick co-screenwriter/star Kumail Nanjiani and co-screenwriter Emily V. Gordon; Big Little Lies creator David E. Kelley and actress Michelle Pfeiffer (The Wizard of Lies, mother!); TV host Jimmy Kimmel (Jimmy Kimmel Live, 90th Academy Awards); Oscar-nominated Get Out screenwriter/director Jordan Peele; Oscar-nominated The Shape of Water co-screenwriter/directorGuillermo del Toro & co-screenwriter Vanessa Taylor; Get Out co-star Catherine Keener; Molly’s Game screenwriter Aaron Sorkin; Good Behavior co-star Joey Kern; The Honorable Adam Schiff; L.A. City Councilman Paul Koretz; The OA co-creator/star Brit Marling; Call Me by Your Name screenwriter James Ivory; Nathan For You co-creator/star Nathan Fielder; and Portlandia writer-star Carrie Brownstein. In addition, the Guild commemorated the 70th anniversary of the Hollywood Blacklist, honoring Blacklist survivors Marsha Hunt and Norma Barzman who were in attendance.
The WGAE’s East Coast Ceremony was hosted by writer and comic Amber Ruffin (Late Night with Seth Meyers). Presenters who appeared in New York City included Golden Globe-winner Rachel Brosnahan (The Marvelous Mrs. Maisel); Emmy Award-winner Ann Dowd (The Handmaid’s Tale); SAG Award-winner Anna Chlumsky (Veep); Academy Award-nominee Lucas Hedges (Lady Bird); two-time Emmy Award-winner Jane Pauley (CBS News Sunday Morning); Writers Guild Award-nominee Anthony Atamanuik (The President Show); late night host Robin Thede (The Rundown with Robin Thede); actress-writer Julie Klausner (Difficult People); late night host Jordan Klepper (The Opposition with Jordan Klepper); and correspondent-writer Laura Grey (The Opposition with Jordan Klepper).
The WGAE presented three honorary awards at the East Coast ceremony. It was a reunion for Saturday Night Live and 30 Rock alums as Tracy Morgan and Rachel Dratch presented Tina Fey and Robert Carlock with the Herb Sargent Award for Comedy Excellence and Mentorship. Ken Burns presented the Ian McLellan Hunter Award for Career Achievement to his long-time collaborator Geoffrey C. Ward (The Vietnam War, The Roosevelts, The Civil War). Courtney Simon (As the World Turns) presented the Richard B. Jablow Award for Devoted Service to the Guild to Hamilton Nolan (Splinter News / Gizmodo Media Group).
Attendees at the WGAE’s show included the Guild’s President and House of Cards creator Beau Willimon; Call Me By Your Name author André Aciman; The Disaster Artist co-screenwriter Michael H. Weber; The Immortal Life of Henrietta Lacks writer-director George C. Wolfe; late night host Seth Meyers; Feud: Bette and Joan writer-producer Michael Zam; The Deuce writer-producer George Pelecanos; Unbreakable Kimmy Schmidt actress Ellie Kemper; The President Show actor and executive producer Adam Pally; The Americans creators Joe Weisberg and Joel Fields; Law & Order: Special Victims Unit creator Warren Leight; Ozcreator Tom Fontana; Dirty Dancing screenwriter Eleanor Bergstein; Doonesbury creator Garry Trudeau; acclaimed actor Lawrence Arancio; SAG-AFTRA’s Senior Advisor John McGuire; Teamsters Local 817 President Tommy J. O’Donnell; IATSE International President Matthew Loeb; Writers Guild Initiative President Michael Weller; and former WGAE Presidents Chris Albers and Michael Winship.
Production credits for the WGAW’s show included: Executive Producer Hugh Fink; Producers Tara Power and Joselyn Allen; Co-Producer Kelly Brock; Director Nick Murray; Head Writer Joe O’Brien; Writers Hugh Fink, Danielle Koenig, Ed Lee, Janine Brito, Mike Drucker, Gerry Duggan, Matt Oswalt; Creative Consultant Shelly Goldstein; Line Producer Shannon Walden; and Production Designer Chris Giammalvo.
Production credits for the WGAE’s show included: Co-Executive Producers Bonnie Datt and Shannon Walker; Head Writer Ann B. Cohen; Writers Ashley Nicole Black, David Steven Cohen, Timothy Cooper, Bonnie Datt, Tarik Davis, Alex English, Ziwe Fumudoh, Jenny Hagel, Don Hooper, Shantira Jackson, Dewayne Perkins, Dan Perlman, Amber Ruffin, Bill Scheft, Craig Shemin and Shannon Walker; Line Producer LBI Audio, Video & Scenic Solutions; and Clips/Tribute Reels Craig Shemin.
TW: Discussions of Sexual Assault.
I did myself a favour and watched the cult classic Jennifer’s Body (which I highly recommend you do, too). Watching this clever, funny, thought-provoking movie in 2025, it is hard to believe that it was a major flop when it was released in 2009.
‘00s nostalgia spurts throughout the film. From the frosted eyeshadow to the digital cameras, it’s enough to bring a tear to a millennial’s eye. However, not everything about the film is dated. In fact Jennifer’s Body is hailed today as a modern feminist classic.
This is particularly intriguing when remembering how badly the film bombed in 2009. Looking at Rotten Tomatoes scores, Jennifer’s Body has a rather pitiful 46% critic score and an even worse 36% audience score. Was this comedy-horror simply ahead of its time? Many believe so.
In pre-#MeToo 2009, Jennifer’s Body was marketed as a fun, sexy romp aimed at straight men. Sex symbol Megan Fox in the starring role as Jennifer, fresh from her scantily-clad Transformers fame, audience thought they knew what to expect from the actress. And Fox is wrist-achingly beautiful in the film; there is no doubt about that, but many complained she remained disappointingly fully clothed. There was also the promised same-sex kiss between Fox and Amanda Seyfrie,d which was framed more as an uncomfortable, confused, and tragic scene between two childhood friends rather than sexy.
In short, Jennifer’s Body was marketed for the male gaze, even with a female writer (Diablo Cody) and director (Karyn Kusama) instead of what it is, which was a commentary about the treatment of female bodies (the clue was in the title, really).
Many have theorised that the film is essentially a rape-revenge fantasy. The premise is (spoilers!) that Jennifer is kidnapped by an indie boyband after a gig. The group’s plan is to sacrifice young Jennifer to Satan in exchange for fame (obviously). Their plan goes awry when Jennifer lies about being a virgin, when she is not in fact even a “backdoor virgin”. This little lie causes Jennifer to turn into a creature-monster-succubus-type thing. This is a clear commentary on how women are only seen as useful or worthy if their virginity is intact. Also, how the music industry sacrifices young women to the altar of male lust.
Later that night, Jennifer appears at her childhood friend Needy’s (Amanda Seyfried) home drenched in blood and covered in bruises, with a vacant stare. After this, Jennifer begins to indiscriminately kill young men from her school.
I theorise that the film is cleverly inverting the expectation of young women being targeted. Jennifer is indiscriminate in her choosing of victims. A school jock, a sensitive emo guy, and a foreign exchange student walking home alone at night. She lures them to secluded areas with the promise of sex and tears them apart until they look like “lasagne with teeth”.
With Jennifer’s murder spree terrifying the small town, its young men are warned not to go anywhere alone. Johnny Simmon’s character, Chip, is even given mace by his mother to protect him on prom night.
Jennifer’s Body cleverly inverts many of the horror movie tropes. For example, the ‘nerdy girl’, Needy is not a virgin either. Needy and her boyfriend Chip actually have regular, no-consequence sex, which is unusual for a female character in a horror movie.
This cult classic may have died on its initial release but it was resurrected by the dashboards of Tumblr and feminist blogs. Seyfried even teased the possibility of a sequel soon. Suffice to say there is definitely more to Jennifer’s Body than meets the eye!
Indian cinema has long been known for its ability to weave myth, culture, and grandeur into powerful storytelling. The latest addition to this tradition, Hanuman, directed by Prasanth Varma, is an ambitious retelling of one of India’s most beloved mythological characters. A cinematic marvel, Hanuman is a bold attempt to blend ancient epic with modern storytelling techniques, creating an experience that resonates with audiences of all ages.
At its core, Hanuman reimagines the tale of Lord Hanuman, the divine devotee of Lord Rama, known for his strength, loyalty, and courage. The movie isn’t just a retelling of traditional episodes from the Ramayana; it infuses these timeless stories with fresh perspectives, exploring themes of duty, faith, and the triumph of good over evil. While the script takes creative liberties, it stays rooted in the cultural and spiritual essence of Hanuman, making it both an engaging narrative and a respectful homage.
One of the standout features of Hanuman is its visual grandeur. The VFX team has outdone themselves, creating breathtaking battle sequences, celestial landscapes, and larger-than-life depictions of Hanuman’s legendary feats. The use of cutting-edge technology elevates the storytelling, offering audiences a visual feast that rivals global fantasy epics. The cinematography, led by seasoned artist Dasaradhi Sivendra, captures the mythological tone beautifully, blending vibrant palettes with the dark hues of conflict and sacrifice.
Teja Sajja, in the titular role, delivers a performance that is both commanding and heartfelt. His portrayal of Hanuman captures the character’s divine strength and endearing humility, making him an ideal hero. Supporting performances by Amritha Aiyer, Varalaxmi Sarathkumar, and Vinay Rai add depth to the narrative, bringing a spectrum of emotions to the screen.
Director Prasanth Varma deserves applause for his vision and execution. Tackling a subject as revered as Hanuman could have easily resulted in a cautious or overindulgent approach. Instead, Varma strikes a balance, creating a story that is both reverent and relatable. The screenplay moves at a brisk pace, though some moments, particularly the expository sequences, could have benefited from tighter editing.
The film’s music, composed by Gowrahari, Anudeep Dev, and Krishna Saurabh, is an emotional anchor, blending traditional Indian sounds with a modern orchestral touch. The background score heightens the drama and spirituality, particularly during pivotal moments like the crossing of the ocean and the climactic battle sequences.
Hanuman is a cinematic achievement that successfully reimagines a beloved figure for modern audiences. While it occasionally stumbles in pacing and exposition, these are minor flaws in an otherwise spectacular production. For fans of mythology, fantasy, and visually stunning cinema, Hanuman is a must-watch. It is a testament to Indian cinema’s ability to merge tradition and innovation, reminding us why stories of gods and heroes continue to inspire across generations.
Rating: 4.5/5
This film not only celebrates the timeless tale of Hanuman but also sets a new benchmark for mythological storytelling in Indian cinema.
Genre: Action, Adventure, Drama
Duration: 179 minutes
Director: Om Raut
Writer: Om Raut
Stars: Prabhas, Saif Ali Khan, Kriti Sanon, Sunny Singh
Rating: ★★☆☆☆ (2/5)
Netflix’s Adipurush aims to reimagine the Indian epic Ramayana in a modern cinematic style, delivering a tale of righteousness, devotion, and the eternal conflict between good and evil. Helmed by Om Raut, the film follows Raghava (Prabhas) as he embarks on a journey to rescue his wife Janaki (Kriti Sanon) from the clutches of the demon king Lankesh (Saif Ali Khan). With a narrative that spans vast landscapes and incorporates mythological grandeur, the film had immense potential but falters in its execution.
While the premise remains faithful to its legendary source, the execution feels lackluster. The screenplay struggles to balance a modern audience’s expectations with the gravitas of its traditional essence. The dialogues, often stilted, fail to evoke the emotional depth and poetic resonance required for a story of such magnitude.
Prabhas, portraying Raghava, delivers a restrained performance that lacks the heroic intensity one expects from the character. Kriti Sanon as Janaki does her best with limited material, bringing grace to her role, while Saif Ali Khan’s over-the-top portrayal of Lankesh is polarizing, leaning more into theatricality than menace. The supporting cast, including Sunny Singh, adds little to elevate the film.
One of the film’s most significant drawbacks is its visual effects. Despite the high budget, the CGI appears subpar, often detracting from the immersive experience. The underwhelming special effects undermine key battle sequences and fantastical elements, which should have been highlights of the film.
On the brighter side, the musical score by Ajay-Atul manages to shine, offering moments of grandeur and emotional heft. The film’s costume design and some set pieces are visually appealing, hinting at what could have been with more polished execution.
Adipurush is a well-intentioned attempt to bring the epic Ramayana to life for a global audience, but it stumbles in critical areas, including visual effects, pacing, and character depth. While it offers a few moments of spectacle and an engaging musical score, the overall experience feels hollow and unworthy of its mythological roots. Fans of the epic may find some moments of nostalgia, but casual viewers are likely to be left disappointed.
Adipurush is a missed opportunity to create a definitive modern retelling of an Indian classic.
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