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James L. Brooks Named The Recipient Of The Writers Guild Of America West’s 2018 Laurel Award For Screenwriting Achievement

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Iconic screenwriter-director-producer James L. Brooks, whose acclaimed films include Terms of Endearment, Broadcast News, and As Good As It Gets, has been named the recipient of the Writers Guild of America West’s 2018 Laurel Award for Screenwriting Achievement in recognition of his extraordinary career and body of work. He will be honored at the 2018 Writers Guild Awards West Coast ceremony on Sunday, February 11, at The Beverly Hilton in Beverly Hills.

“James L. Brooks looms large for writers in our business. His movie scripts walk a razor’s edge; they are comedies that are tinged with tragedy, they have moments of absurdity mixed with sharply observed truths. The beauty of his work is that you never hear the writer behind it, his characters talk like real people and his scripts feel like life. We at the WGAW Board of Directors consider it our honor to give him this award,” said WGAW President David A. Goodman.

One of the most revered and influential creative artists in film and television, Brooks is a three-time Academy Award winner, an 18-time Emmy Award winner, and four-time Writers Guild Award winner.

Brooks launched his TV writing career during the mid-’60s, landing a gig writing for CBS News broadcasts based in New York, before moving to Los Angeles to pen several episodes of The Wolper Specials documentary series. He then segued into scripted programming, writing for numerous TV series, including Men in Crisis, My Mother the Car, My Three Sons, The Andy Griffith Show, and That Girl, which earned him his first WGA Episodic Comedy nomination in 1968.

A WGAW member since 1965, Brooks soon emerged as a major force in television, going on to create or co-create, write, and produce numerous hit television series that helped define an era, including the ground-breaking The Mary Tyler Moore Show (1970-77, Created by Brooks and Allan Burns) – one of the first primetime TV series to feature an independent working woman at its center – and its trio of hit spin-offs, Rhoda (1974-78, Created by Brooks & Allan Burns, Developed by David Davis & Lorenzo Music), Lou Grant (1977-82, Created by Brooks and Allan Burns and Gene Reynolds, Developed by Leon Tokatyan), and Phyllis (1975-77, Created by Ed Weinberger & Stan Daniels) – as well as Taxi (1978-83, Created by Brooks and Stan Daniels and David Davis and Ed Weinberger).

After an extensive and prolific career in television during the ’60s and ’70s, Brooks made the transition to the big screen at the close of the decade, penning the screenplay for 1979’s Starting Over, based on the novel by Dan Wakefield, which he co-produced with Alan J. Pakula, which earned Brooks a WGA screenplay nomination (Comedy Adapted from Another Medium).

He went on to write, direct, and produce the acclaimed 1983 dramedy classic, Terms of Endearment, adapted from the novel by Larry McMurtry. The film, which garnered eleven Oscar nominations, earned Brooks three Academy Awards, including Best Writing (Screenplay Based on Material from Another Medium), Best Director, and a Best Picture Oscar, as well as a Writers Guild Award for his screenplay (Best Comedy Adapted from Another Medium) and a Golden Globe for Best Screenplay. Terms co-stars Jack Nicholson and Shirley MacLaine also earned Best Actor and Best Actress Oscars for their performances.

Next, he wrote, directed, and produced 1987’s Broadcast News, a sharp, incisive behind-the-scenes glimpse of a network TV news room based on his own experiences, which won the New York Dramas Critics Award for Best Picture and Best Screenplay, received Oscar noms for Best Picture and Best Original Screenplay, and earned WGA and Golden Globe screenplay noms.

Through his own Gracie Films production banner, established in 1984, Brooks executive produced the feature film Say Anything…, which was Cameron Crowe’s directorial debut, produced The War of the Roses (screenplay by Michael Leeson) and produced Big with Robert Greenhut, which was Anne Spielberg & Gary Ross’ first screenplay.

Brooks made a leap to the stage, writing, directing, and producing his debut play, “Brooklyn Laundry,” which premiered in Los Angeles in 1990. That same year, Brooks’ production company, Gracie Films, inked an overall deal with Sony Pictures. He produced two new series for ABC – primetime animated series The Critic and Phenom – as well as directed the innovative musical dramedy feature film, I’ll Do Anything. In 1996, Brooks executive produced, Bottle Rocket, the debut film co-written and directed by Wes Anderson, and produced Jerry Maguire, written and directed by Cameron Crowe, sharing a Best Picture Oscar nomination.

In 1997, Brooks co-wrote, produced, and directed the box-office smash, As Good As It Gets (Screenplay by Mark Andrus and James L. Brooks, Story by Mark Andrus). The well-received film received seven Academy Award nominations, including Best Picture and Best Writing (Screenplay Written Directly for the Screen), as well as Best Actor and Best Actress wins for co-stars Jack Nicholson and Helen Hunt. Brooks also earned a Writers Guild Award (Best Screenplay Written Directly for the Screen), shared with co-screenwriter Andrus.

Following up the critical and commercial success of As Good As It Gets, Brooks wrote and directed the 2004 dramedy Spanglish, and in 2007 Brooks co-wrote and produced The Simpsons Movie, the big-screen version of Fox’s hit animated series, the longest-running scripted series on television to date. In 2010, Brooks wrote and directed the romantic comedy How Do You Know, and most recently produced the 2016’s Edge of Seventeen, written and directed by Kelly Fremon Craig, making her directorial debut.

Brooks’ other TV writing credits include creating the trail-blazing high school drama Room 222, which aired from 1969-1974 and was notable as one of the first TV series to feature a black male in a lead role, as well as co-creating The Tracy Ullman Show (Created by Brooks, Jerry Belson, Ken Estrin, Heide Perlman), a boundary-pushing comedy-variety series which ran from 1987-1990 and debuted The Simpsons characters in a series of inspired animated shorts, which ultimately led to the launch of The Simpsons animated TV series (Created by Matt Groening, Developed by Brooks, Matt Groening, Sam Simon) that would leave an indelible mark on pop culture, and the telefilm, Thursday’s Game, which he wrote and produced. Brooks was also part of the writing team for TV’s Stand Up to Cancer telethons in 2008 and 2010, which raised millions to combat cancer.

In addition to his acclaimed film career, Brooks has received numerous accolades for his work on television: In addition to multiple Emmy noms for his work on The Mary Tyler Moore Show, including noms Outstanding New Series and Outstanding Comedy Series for its debut season, and WGA Episodic Comedy noms for MTM in 1973 and 1978, Brooks earned an Emmy for Outstanding Writing Achievement in Comedy (shared with Allan Burns) in 1971, a trio of shared Emmys for Outstanding Comedy Series in 1975, 1976, and 1977, as well as a ’77 Emmy for Outstanding Writing in a Comedy Series for the series’ memorable final episode, “The Last Show” (shared with co-writers Burns, Ed Weinberger, Stan Daniels, David Lloyd, and Bob Ellison). In addition, MTM spin-off shows – from sitcom (Rhoda) to drama (Lou Grant) – earned Brooks Emmy noms for Outstanding Drama Series (Lou Grant, 1978) and Outstanding Comedy Series and Outstanding Writing in a Comedy Series (Rhoda, 1975).

Brooks followed his MTM run by garnering three Outstanding Comedy Series Emmys for the critically acclaimed comedy series Taxi in 1979, 1980, and 1981. In addition to multiple Emmy noms, Brooks shared an Emmy win for Outstanding Variety, Music or Comedy Program for The Tracey Ullman Show in 1989, as well as an Emmy for Outstanding Writing in a Variety or Music Program in 1990. As a co-developer and executive producer of Fox’s The Simpsons, Brooks has received numerous Emmy noms over the show’s decades-long run and earned ten shared Emmys for Outstanding Animated Program between 1990 and 2008.

In 1998, Brooks received the WGAW’s Paddy Chayefsky Laurel Award for Television Writing Achievement, the Guild’s highest honor for television writing, shared with his frequent TV writing partner Allan Burns. In 2006, Brooks received the WGAE’s Herb Sargent Award for Comedy Excellence, given to a writer who “embodies the spirit, commitment, and comic genius” of the late Sargent.

In 2007, he received the Gold Derby TV Award for lifetime achievement, in 2015 he received TCA’s Career Achievement Award, and in 2017 received the PGA’s Lifetime Achievement Award in Television for his prolific career.

Next up, Brooks is in the home stretch to finish his latest screenplay.

The WGAW’s Laurel Award for Screenwriting Achievement is awarded to a Writers Guild member who has advanced the literature of motion pictures and made outstanding contributions to the profession of the screenwriter. Past recipients include Elaine May, Oliver Stone, Harold Ramis, David Mamet, Robert Towne, Tom Stoppard, Paul Mazursky, Lawrence Kasdan, Eric Roth, and Steven Zaillian.

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Dragon Ball Daima – A Fresh, Nostalgic Adventure for Dragon Ball Fans

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Rating: ★★★★☆ (4/5)

Dragon Ball Daima has landed on Crunchyroll, and it’s a wild, unexpected, yet nostalgic ride that blends the classic energy of Dragon Ball with some bold new twists. This latest addition to the Dragon Ball universe doesn’t just revive the beloved characters and world – it reimagines them, serving up fan-favorite elements while introducing some surprises that make it feel fresh.

In Dragon Ball Daima, the story takes an exciting turn when a mysterious magic spell transforms Goku, Vegeta, and others into children. This reversion back to childlike forms brings a fun, youthful energy to the series that harks back to Dragon Ball GT. Yet, unlike GT, which was often divisive among fans, Daima leverages the “de-aging” twist to delve into new adventures with an old-school vibe. As the characters face familiar threats with newfound challenges in their younger bodies, the plot offers a balance of high-stakes action and a humorous, nostalgic tone that longtime fans will love.

Toei Animation outdid themselves with Dragon Ball Daima. The colors are vibrant, the action sequences are fluid, and the character designs blend the retro look of Dragon Ball Z with a modern twist. The reimagined character designs – especially seeing iconic fighters like Vegeta and Goku as kids again – add a fresh visual layer that makes the series feel lighthearted yet intense, capturing the unique spirit of Dragon Ball.

One of the best aspects of Daima is how it allows fans to reconnect with the characters in a fun new context. Goku’s mischievous personality shines in his younger form, and seeing Vegeta adjusting to being small again is a constant source of amusement. Their dynamic is still strong, yet with new challenges in the mix. The voice acting is top-notch, with Masako Nozawa (Goku) and Ryo Horikawa (Vegeta) bringing the characters to life in ways that feel familiar yet fresh.

Dragon Ball Daima doesn’t hold back on the action, delivering the classic fast-paced, energy-charged battles that fans love, albeit with some interesting limitations due to the characters’ transformed states. The action scenes are a perfect blend of old and new, with each battle sequence bringing out the strategic side of the characters as they work around their changed abilities. The pacing is also well-balanced, keeping the story engaging without feeling rushed or dragging on.

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Anime Review: Tower of God

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Rating: 8.5/10

Tower of God is a unique anime that dives deep into a mysterious world filled with peril, ambition, and complex character motivations. Based on the popular South Korean webtoon by SIU, the series combines fantasy, action, and psychological drama in a way that keeps viewers engaged with every episode.

The story follows Bam, a boy who’s spent his entire life in a dark cave until he meets Rachel, his only friend. When Rachel disappears to climb the mysterious Tower in search of something greater, Bam sets out to find her, stepping into a world full of strange creatures, powerful individuals, and unyielding rules. The Tower promises anything to those who reach the top, from wealth to power, and even the realization of one’s deepest desires. However, each level is a deadly challenge, and Bam soon discovers that the Tower’s residents—both friends and foes—have their own motives and secrets.

The art style is unique, slightly rough but incredibly fitting for the otherworldly setting of the Tower. While some of the animation might feel less polished compared to high-budget series, Tower of God’s style has an authentic, almost raw feel that captures the danger and mystery of each level. The color palette shifts from dark tones to striking colors, setting the mood for each scene and making the intense battles and emotional moments stand out.

One of the show’s biggest strengths is its cast. Bam, the protagonist, is intriguing as he starts naive and innocent but quickly grows more complex as he learns the reality of climbing the Tower. Khun, a strategic and cunning character, becomes a fan favorite due to his loyalty and calculated mindset. Then there’s Rak, a battle-hungry giant with a hilarious personality, bringing some much-needed humor. The character dynamics are strong, and each character’s backstory adds depth, making them feel real and memorable.

Tower of God explores themes of friendship, betrayal, and the lengths people will go to achieve their goals. It also delves into how power and desire shape individuals and relationships. The Tower itself serves as a metaphor for the hurdles people face in pursuit of what they want most, and it challenges the characters’ morals and values along the way.

Soundtrack: The soundtrack, composed by Kevin Penkin, is exceptional and elevates the anime to another level. The music captures the mystery and tension of the Tower while bringing an almost haunting beauty to the series. Tracks like “Against the Sky” are intense and epic, fitting the show’s dramatic tone.

Tower of God is a must-watch for fans of dark fantasy and psychological thrillers. It combines a complex storyline with unpredictable twists, layered characters, and thought-provoking themes. However, it does leave some questions unanswered and ends on a cliffhanger, so it may feel incomplete without a continuation. Overall, Tower of God offers a fresh take on the fantasy genre and a deep, rewarding journey up the Tower for anyone willing to follow Bam’s quest.

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Anime Review: A Certain Scientific Railgun

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Rating: 9/10

A Certain Scientific Railgun is an electrifying anime that mixes superpowers with science fiction in a city brimming with secrets. It’s part of the Toaru (A Certain) franchise, which also includes A Certain Magical Index, but it stands out by focusing on the everyday lives, struggles, and mysteries surrounding some of Academy City’s most intriguing characters. Railgun captures the blend of friendship, science, and action, wrapped in a plot filled with suspense and heartfelt moments.

The story revolves around Mikoto Misaka, a powerful “Level 5” esper known as “Railgun” for her ability to shoot electricity like a railgun. Set in Academy City, a futuristic place dedicated to advancing human potential, the series follows Misaka and her friends—Kuroko Shirai, a teleporting “Judgment” officer; Ruiko Saten, a Level 0 with no esper abilities; and Kazari Uiharu, a cheerful tech enthusiast. The story flows between slice-of-life moments and intense action arcs, especially as Misaka digs deeper into Academy City’s dark side.

Each season introduces distinct plot arcs, like the “Level Upper” arc, where a mysterious device temporarily boosts students’ powers with dangerous side effects, and the “Sisters” arc, which reveals a shocking experiment involving Misaka’s DNA and a massive cloning project. The story is well-paced, taking viewers from lighter episodes that build relationships and humor to episodes packed with suspense and powerful emotional twists.

The animation by J.C. Staff is fantastic. Academy City feels vibrant and alive, with futuristic buildings, labs, and tech that set a high standard for a sci-fi city. The fight scenes are beautifully animated, especially when Misaka uses her electricity powers, creating brilliant sparks and electric blue streaks that are visually stunning. The art style balances the serious with a light, polished touch, keeping the show visually appealing across action-packed and everyday scenes alike.

The heart of Railgun is its cast. Mikoto Misaka is a strong, complex protagonist who’s both a powerful esper and a kind, sometimes awkward teenager. Her determination to protect others, combined with her own vulnerability, makes her a compelling character. Kuroko adds humor and loyalty as her supportive friend and partner, often lightening tense moments. Saten and Uiharu, while less powerful, bring warmth and relatability, especially as they grapple with what it means to be “Level 0” in a society that values power.

One of the most memorable aspects of Railgun is how it balances power dynamics and character development. Unlike many shows focused solely on high-powered heroes, Railgun values its entire cast, showing how even ordinary people play vital roles in challenging corruption and protecting the city.

A Certain Scientific Railgun dives into themes of friendship, power, and ethics, especially the moral cost of scientific advancement. The series raises questions about the value of one’s abilities versus character, and how people handle failure or the absence of power. Misaka’s personal journey, especially in the Sisters arc, highlights the responsibilities that come with power, as she learns her DNA was used to create clones exploited for a deadly experiment. This arc adds emotional weight to the series, as Misaka battles guilt, anger, and a desire to right the wrongs done in her name.

The soundtrack in Railgun is energetic and fitting, enhancing the tone of every scene, whether it’s a high-stakes battle or a quiet moment among friends. The opening themes, especially “Only My Railgun” by fripSide, are iconic and perfectly capture Misaka’s fierce, independent spirit. The background music subtly enhances each scene, adding a layer of suspense, excitement, or warmth as needed.

Final Thoughts: A Certain Scientific Railgun is a must-watch for fans of science fiction and action anime with strong character development. It manages to deliver both powerful story arcs and entertaining slice-of-life moments, giving viewers a sense of attachment to Academy City and its residents. The storylines are not only thrilling but thought-provoking, making you question the impact of scientific progress on human lives.

While it helps to know a bit about the Toaru universe, Railgun stands on its own with an engaging story and cast that will appeal to newcomers and seasoned fans alike. With thrilling fights, heartwarming friendships, and an electrifying main character, A Certain Scientific Railgun is a standout in the genre. If you’re looking for a series that’s equal parts action, heart, and intrigue, this is it.

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