SOUND MEETS STORY | LINDSAY GRAHAM

Podcasting has been around for 20 years, but it has been in the last 10 years where there have been a number of platforms, series, and networks that everyone talks about. Whether you’re into True Crime, Reality, Business, TV Commentary, etc there is a genre there to suit your interests. In the last 6 or so years, we came across Lindsay Graham who’s shows forcus on historial, business, and variations of True Crime as it pertains to history and/or business.

For years, we have heard his voice as he talks about various times in history and businesses that we engage with. We sat down with him to talk about his array of successful series, the final episodes of Business Movers, his production company Airship, how he came to his partnership with Wondery and his thoughts on podcasting as an industry that continues to eovolve.

ATHLEISURE MAG: It’s definitely a pinch me moment as we have enjoyed listening to your and your portfolio of podcasts for years!

We can’t remember which podcasts we started listening to that you created, but we think it was American Scandal with its first season which focused on BALCO. We tend to listen to shows that focus on True Crime and business so the intersectionality of those verticals is what drew us into that season and ultimately enjoying the other ones as well.

Before we start to delve into your podcasts. What is your background and how did you get into the podcast industry?

LINDSAY GRAHAM: It was by total accident! I have no business doing what I am doing right now. By education, I have an MBA in Marketing right?

AM: Right!

LG: So that is what I was doing for most of my working life really. I worked in non-profit marketing and I also worked in an insurance company. It was at that insurance company when I got fired and that was fine because I didn’t like them either. But as you can tell, you notice the guitars over my shoulder here, I have always been interested in music and in audio. I guess my dream job would have been Record Producer.

So, I have this little studio that I am still in. I thought after this moment of losing my job, I went to my wife and said, why don’t I try and do something with my life that I actually enjoy? So I tried. I cofounded a little audiobook company based out of Dallas here.

We put out a lot of audiobooks, but along the way that caught the attention of Hernan Lopez who was the Founder and CEO of a very young company called Wondery at the time.

One of the best decisions that I ever made in my life was that because it was a fictional show and because we were ad sponsored, we didn’t have a host. Most podcast ads are host read ads. So I decided to be the host! I figured that I would put my marketing degree to work. Well Hernan just really enjoyed how I wrote and read my ads. Then even though I gave up that audiobook company and crawled back to the world of Marketing, Hernan called me up and said, “hey, I’ve got this problem. We have a brand new podcast coming out and it’s hosted by a journalist who can’t do personal endorsements – would you do it? It’s called Dirty John.” In the same phone call, he also asked if I was a history buff and would I want to host and sound design a new concept for a show there that they were calling American History Tellers. I like to joke that these are not questions that you want to say no to! You say yes to all of them!

AM: Exactly.

LG: So I did! All of a sudden, I was a podcaster, but I was a part-time podcaster. There was no way that I was going to suddenly quit my job again and go back to this fantasy world of being in audio. So for a long time, I did History Tellers part-time on nights and weekends and it was rough with a full-time job, and a young daughter at home. But it was really rewarding and I was actually making more money then I was at my day job. So I said, “I’m not going to quit for 1 podcast. But what if I had 2? Because then I can distribute the risk and it’s a portfolio of revenue. So I went back to Wondery and I said that I had an idea for American Scandal. It’s very much so the formula of American History Tellers show but leans into the True Crimeish, but not so True Crime. They bought the rights to that show – I really wish that I didn’t sell all of it because who knows and who knew how successful it would be? But what I did was secure my place in podcasting. I had 2 successful chart topping shows with a young network on the make and I got to quit the day job to become a full-time podcaster.

Yeah, I’m here by accident sort of, but you take the reigns at some point.

AM: Your podcasts have gotten us through running around the city, heading to events, coming from showrooms, heading to set, navigating layouts for when the issue is about to drop and more! We started listening in 2018/2019, so for a period of time we were able to just go from one season to the next in a number of series. The sound production is just incredible. As a Telecom major with a focus in production, my ears are always enjoying the audio quality in each episode.

LG: Thank you! We put a lot of effort into it and I guess that is the audio background coming to the fore right?

AM: Exactly.

What are the kinds of stories that you are drawn to when you are coming up with the different podcasts? Are there subjects that you naturally lean towards?

LG: Yeah. At this point, these shows are run by talented and sort of medium sized teams. So, I don’t even know some of the topics that are being worked on until they are really far down the pike. But in the beginning when it was a smaller endeavor and we were all working together to try to figure this thing out, the thing that was most helpful was to try to find the central question of the rubric that this show is centered around. What is the kernel? For American History Tellers, we put you in the shoes of everyday ordinary people as history is being made. That’s kind of what we are trying to do. We try to stay out of the Halls of Power as much as we can. It’s not all Oval Office and Congressional floor. We really do try to put you at the kitchen table of when these things are happening. So that’s what makes that show special and when we started, it was a good question – what do we start with? What should be our debut topic? This was early on in the first Trump administration. If you remember, there were these weird sabor rattling moments with North Korea and Putin. I thought that we should remind the American public about the Cold War and how terrifying it was for a lot of people especially us Gen Xers who had to hide under our desks or whatever to some how avoid a nuclear apocalypse – that was going to protect us.

AM: They were thick tables!

LG: Oh yeah!

But it was always how did this affect the average American at that time and how does that reverberate now?

American Scandal was actually pretty similar although this one is very POV centered show. We follow certain characters and we try to anchor it in their perspective. It always comes down to and I think this is why it is such a character driven show because that is what we try to bring to that show.

All of my shows have some sort of center or central question to them that we use as sort of a touchstone to remind us of how we are telling the story.

AM: Where do you start creatively whether it’s a new season or an entirely new podcast series. What do you do when you may have such wide lanes?

LG: There are editorial discussions and marketing considerations like Oct is around the corner, do we have a spooky story? We’re in the media business so we try to do our best with calendarization and things like that.

How do we tell is to our audience in a manner that adds value to someone who may know a lot about it and is also unique to us and I think that that is how we go about it. We get so many suggestions from our listeners, our writers, and our researchers, and they don’t just quite fit.

AM: Tell us about Airship. How did it start and what are all the podcasts and projects that are involved in this company.

LG: So Airship is my production company that I founded really to just house my increasing podcast activities right? So it started with American History Tellers, then once American Scandal came along, then American Elections Wicked Game, then 1865, then History Daily, and so I knew that I needed a structure.

It’s a small podcast production company. We do our best to keep our output up with our resources lean. At our height, we were putting out 11 episodes a week for my shows and other shows. We kind of specialize in the history niche and we have recently taken over the entire turnkey process of American Scandal so that now includes scripting, that was something that previously Wondery did. So yeah, it’s just a little company that could.

AM: Do you guys have from an American Scandal perspective, do you guys have a soundboard so that people can give feedback? How does that work from thinking about a topic and making it an actual season?

LG: Yes, I have a critical employee, my Chief of Content, William Simpson, he actually works in the UK. A lot of that gets filtered to him first. So, all of the ideas will go into some document and we’ll get some form of vetting together. It does require some fair amount of effort to see which of these stories has the legs. We’re not in the enviable position to do any original reporting – we’re not diving into the archives with a weekly show or 4 or 5 weekly shows – how could you?

We need to rely on the existing reporting and the existing sources and that still requires a lot of effort to find out what’s out there and to validate it as well as we take truth telling very seriously. We want to make sure that the story can be told without bias. But then there are considerations of how we can tell the story that is unique to us. I have writers, a bunch of freelance writers, I have freelance showrunners and producers, I have my Chief of Content, I’m involved all of the time – it will all go through it’s filtering and funneling process and then we will come up with ideas.

AM: I love History Tellers and I also love History Daily. I’m always amazes about some item or event that happened on this day that I didn’t know about. How do you decide that? There doesn’t seem to be overlap and there is a new fact to uncover and listen to for that day.

LG: Well the good thing about history is that it is pretty old! There has been a lot of days. Even though that is true, I will back up and say that since you have listened to it, you realize that there is a recency bias. There’s a lot more 20th century stuff than there is 19th century stuff and that is again because of sourcing and other things. We don’t know what really happened in 4500BC – no one was writing it down, but I’m sure it was interesting. The point remains that so much was happening that we have the entire globe to cover! This isn’t American History Daily, it’s History Daily. We don’t choose days like this person was born or this person died. Those aren’t actually interesting days that’s just kind of an anniversary of something – it’s what that person did in their life that’s important. So we have all sorts of options. We get to find a date, anchor an episode around that date, but also storytell from both sides of that date. We’re not just a page a day kind of calendar that gives you a sentence or 2 on what happened.

AM: We’re bummed that Business Movers will end at the end of this month. It was really a series that we have enjoyed listening to as it is in that vein of The Men Who Built America on History Channel and those kinds of docuseries are always fascinating and it’s great to be able to deep dive into those companies and industries. How did that podcast come about and what do you want the legacy to be for that particular series?

LG: To tell you how these things get decided, their Sales team said that they were selling the crap from their business program ming. “Does Lindsay have any interest in a business show?” I thought it was perfect because I have a business degree as I’m a history podcaster with a business degree so the ingredients for that show started pulling together. Talking about the rubic or the central kernel of that show, that one has always been as I have articulated – there is a Character, a Crisis, and a Business Concept. In every episode, we will explore those 3 things. This character dealing with this crisis as it relates to this business concept. We’re not explicit about that, like we’re talking about inventory management or inflationary pressures or whatever the business concept is. Hopefully you pick it up and under every single episode, it is there. Can I just tell you that I had some of the most fun in that show because the personalities are so big, so dynamic, and they are consequential in our everyday lives. There is not a company that we covered that you don’t have some sort of personal relationship with whether it’s Disney, or Pepsi, or Microsoft. Even the ones that you think didn’t touch your lives, you would be captured by their journey as well. It was a fun show and I really enjoyed it. I am sad that it reached its end.

AM: We saw it on your LinkedIn when you announced it and that’s what made us reach out after being long time listeners! We listen to it to as there are so many nuggets to learn and apply it to things that we are working on or how we engage with other businesses. A number of those businesses have been those that we have worked or partnered with and it was great to hear things that we may not have known about their backstory or event looking ahead to where they planned to go. It was an enjoyable and invaluable podcast that will be missed for sure.

LG: Thank you very much, that is exactly the reaction that I would hope for from my listeners. That it is entertaining, but also surprisingly useful resource.

AM: 1865, we don’t know how we found out about it, it could have been a cross promotional episode that was somewhere else or an ad but it was enthralling to listen to, the sound, the voices – super immersive! How did this come about and what was your involvement in it?

LG: That came on the heels of the very first podcast of the fictionalized presidential elections so a friend of mine who was living in LA and he’san actor and writer and was trying to make things work, he had a play about 1865. It focused a little more on John Wilks Booth, but he had an idea for an adaptation and was pitching it around Hollywood to try and get a TV series. He heard Terms which was the audio drama that I made, and said why don’t we make an audio drama around this subject. It worked perfectly as I was already making a brand around history podcasts so we decided to partner on that and he is the Co-Creator and Head Writer of that show and I am the Co-Executive Producer as well as I composed all the music and did the sound design of that show as well.

AM: It was incredible to listen to and an audible delight.

LG: Well thank you again! Audible delight – I like it! Well it was a real labor of love. It tells a very important story that starts with the assassination of Abraham Lincoln and the immediate first days of Reconstruction and how difficult this period will be without Lincoln around. It is semi-dramatized, but everything that is said in there is true.

AM: Are there upcoming podcasts that you are able to share to keep an eye out? There are probably 5 names whether it’s the host or a production company but when I see them pop into my feed or I’m aware of a project that is coming up from them I follow immediately because if I hear your name or Airship I know it will be something I will enjoy from an audio perspective as well as the subject that is being presented.

LG: Probably not -

AM: That’s what we thought you would say.

LG: Nothing is fully greenlit at this point. The uncertainty at Wondery has certainly made it difficult to announce or do anything for sure right now. The changing nature of the podcast industry has also altered how I view my work. So, I don’t know. It’s not even a matter of us vetting it with legal yet. It’s a little uncertain right now. However, I will guarantee that there will be more stuff from me and my partners in the next 12-18 months.

AM: That’s great!

Just as you said, the podcasting landscape – I mean this industry has been around for quite some time. There are many people that feel that they can just jump in and make a podcast and that is debatable. But for those who do want to embark in this area, what are some tips that you have regardless of their genre – what are things that they should be thinking of?

LG: The barrier to entry to not just podcasting but to a bunch of New Media – short form video, or you could sign up for Substack right now and have a paid newsletter. All of it remains the same I think. There are tactics for hooking people or marketing to them and extracting economic value from their audience and I think that the only way to do that is in a world of increasing authenticity is to be yourself or to do what you do. You may not know what you do, and that is a hard question to answer and I don’t know if I have the fullest idea of what I do. No one is going to have a career if they approximate viral moments or they just start replicating other success. If you think back in every piece of media that is hailed as something worthwhile or is a watershed piece, it has no resemblance to what came before it, it broke the mold, it changed things, or twisted things or was so outrageously original that is forced itself into the world. I’m not saying that you have to be so violently original, but you do have to be authentic. In a moment where we are all reckoning with AI and it’s very slippery and seductive inauthenticity. I think that we will more and more be drawn to these small and obviously human moments.

AM: 100%.

Do you have any podcasts that you enjoy listening to?

LG: Here’s the secret!

AM: We know where this is going, but we just wanted to hear it directly from you ha!

LG: Once you make podcasts and enough podcasts for 8-10 hours a day, I drive home with the radio off. I really appreciate just the silence of driving home. That doesn’t mean I don’t enjoy podcasts, I’m just not the inveterate consumer that you might think that I am.

You know, I once visited a very famous celebrity chef at his home and his refrigerator was filled with champagne and an expired tin of caviar and nothing else!

AM: Yup!

LG: I think that there is a certain bit of the cobbler’s kids (Editor’s Note: this is a Spanish proverb that means that someone with a specific skill is often so busy assisting others that their own affairs go unattended) here. But Revisionist History is always one that I enjoy. Malcolm Gladwell has an amazing, quirky, and impish way of looking at the world and I just find him captivating. Even if he is wrong about his big point or is demonstratively apprehensive of the facts, it still is really entertaining and thought provoking.

A recent winner in the history podcast universe has been The Rest is History out of the UK. They have hit upon a formula that their parent company has been replicating quite a bit. They came out with The Rest is History and then all of a sudden, there is The Rest is Politics, The Rest is Politics: US, The Rest is Football, The Rest is Entertainment and the formula works! But it is rooted in 2 people who authentically enjoy each other and authentically know what they are talking about even if they just researched it and they are able to bring their own expertise to it. It’s not a new formula of 2 people talking about a subject, that is as old as podcasting. There is something where there is a chemistry between these 2 hosts and the way that they tackle topics is persistently interesting.

AM: Are there subjects that you have yet to tackle that you would love to see in a podcast where it’s a series or just an episode?

LG: I’m sure there are! I mean yes absolutely. I have a document hidden somewhere in the cloud of every single one of these ideas. Just at this moment, I can’t think of any of them!

There is 1 story that I am dying to tell and I do hope that I get to tell it and I want to do it in a live show setting. There was a man named Danny Faulkner that lived here in Dallas. Presumably, he was an illiterate house painter. But he started finding wealth and success in real estate deals and building condos. This is in the mid 80s and all of a sudden, everyone was buying, building, and swapping these condos. A lot of people were getting rich and it’s not surprising that is becomes an entire house of cards and a big Ponzi scheme – trading amongst each other, bidding the price way up there and then selling it to a rube! But, this illiterate house painter was the ring leader of it all and he crashed a bank! He pretty much started the real estate depression of the 1980s and it had a great affect on my family because my father was a home builder and all of a sudden, we had to move out of our house and find a new place.

It’s one of those stories that would be really good for American Scandal because it is very character forward, but it is pretty small and pretty localized, and is not international, but it meant a lot to a lot of people and it has a personal connection to me and that is why I want to do it in a live show setting where I can drive the personal connection!

AM: Wow!

When you were talking about it it sounded like something out of Texas Monthly.

When you’re not working on your podcasts, what do you like doing in your personal time?

LG: I just yesterday saw a clip from the comedian Jimmy Carr, and he was asked, what are your hobbies. He gave this response, “I’m lucky that my work is more fun than anything else than I can think of.”

AM: We have said that on a number of occasions.

LG: That’s kind of, sort of true for me. Of course, I have enough of it, I drive home in silence, I get to come home and spend time with my young daughter who is 11 and my wife. I play guitar. I love to cook. If there is ever a guitar playing cook podcast, I would be ready!

AM: That’s a nice little intersection there.

LG: I live a fairly quiet – well you know what? I’ll tell you this! For the last 7 or 8 weeks, I’ve been taking improv classes!

AM: What, oh wow!

LG: Yeah! Way back in the day, I used to run the tech, sounds, lights, and used to play music for an improv troop. I never got on the stage myself. I enjoyed it then and then I grew up. But recently I thought, I need to for my own benefit grow, step outside of myself, and to be silly! This is terrifying to me to get up on the stage and be silly and put on a voice or to move my body in an odd or awkward way! I don’t dance like no one is watching – that doesn’t make sense to me and I’m not going to dance at all! So I figured that I’m too locked up. So I have been taking this improv class and I have really been enjoying it and I signed up for level 2.

AM: Wow and is the goal to maybe have a small group of family and friends to watch the joys of what you have learned?

LG: No. That’s not the goal. I have enough things that my family and friends can consume if they want to hear what I’m doing. The improv is really just for me and I might get comfortable enough to enjoy it as well from a performance aspect. But it is really a brand new and very rewarding way of thinking.

IG @notthatlindsaygraham

PHOTOGRAPHY COURTESY | Lindsay Graham

Read the AUG ISSUE #116 of Athleisure Mag and see SOUND MEETS STORY | Lindsay Graham in mag.

AWARDS SEASON | PRIMETIME EMMYS WINNERS

Tonight, the Television Academy announced this year’s winners for the 77th Primetime Emmys which took place on CBS and streamed on Paramount+ and was hosted by Nate Bargatze. As we do throughout Awards Season, we share our predictions in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics.

Outstanding drama series

"Andor" (Disney+)

"The Diplomat" (Netflix)

"The Last of Us" (HBO Max)

"Paradise" (Hulu)

"The Pitt" (HBO Max)

"Severance" (Apple TV+)

"Slow Horses" (Apple TV+)

"The White Lotus" (HBO Max)

Outstanding comedy series

"Abbott Elementary" (ABC)

"The Bear" (FX)

"Hacks" (HBO Max)

"Nobody Wants This" (Netflix)

"Only Murders in the Building" (Hulu)

"Shrinking" (Apple TV+)

"The Studio" (Apple TV+)

"What We Do in the Shadows" (FX)

Outstanding limited or anthology series

"Adolescence" (Netflix)

"Black Mirror" (Netflix)

"Dying for Sex" (FX)

"Monsters: The Lyle and Erik Menendez Story" (Netflix)

"The Penguin" (HBO Max)

Outstanding television movie

"Bridget Jones: Mad About the Boy" (Peacock)

"The Gorge" (Apple TV+)

"Mountainhead" (HBO Max)

"Nonnas" (Netflix)

"Rebel Ridge" (Netflix)

Outstanding reality competition program

"The Amazing Race" (CBS)

"RuPaul's Drag Race" (MTV)

"Survivor" (CBS)

"Top Chef" (Bravo)

"The Traitors" (Peacock)

Outstanding talk series

"The Daily Show" (Comedy Central)

"Jimmy Kimmel Live!" (ABC)

"The Late Show with Stephen Colbert" (CBS)

Outstanding scripted variety series

"Last Week Tonight with John Oliver" (HBO Max)

"Saturday Night Live" (NBC)

Outstanding variety special (live)

"The Apple Music Super Bowl LIX Halftime Show Starring Kendrick Lamar" (Fox)

"Beyoncé Bowl" (Netflix)

"The Oscars" (ABC)

"SNL50: The Anniversary Special" (NBC)

"SNL50: The Homecoming Concert" (Peacock)

Outstanding variety special (pre-recorded)

"Adam Sandler: Love You" (Netflix)

"Ali Wong: Single Lady" (Netflix)

"Bill Burr: Drop Dead Years" (Hulu)

"Conan O'Brien: The Kennedy Center Mark Twain Prize For American Humor" (Netflix)

"Sarah Silverman: Postmortem" (Netflix)

"Your Friend, Nate Bargatze" (Netflix)

Outstanding game show

"Celebrity Family Feud" (ABC)

"Jeopardy" (ABC)

"The Price is Right" (CBS)

"Wheel of Fortune" (ABC)

"Who Wants to Be a Millionaire" (ABC)

Outstanding lead actress in a drama series

Kathy Bates, "Matlock"

Sharon Horgan, "Bad Sisters"

Britt Lower, "Severance"

Bella Ramsey, "The Last of Us"

Keri Russell, "The Diplomat"

Outstanding lead actor in a drama series

Sterling K. Brown, "Paradise"

Gary Oldman, "Slow Horses"

Pedro Pascal, "The Last of Us"

Adam Scott, "Severance"

Noah Wyle, "The Pitt"

Outstanding lead actress in a comedy series

Uzo Aduba, "The Residence"

Kristen Bell, "Nobody Wants This"

Quinta Brunson, "Abbott Elementary"

Ayo Edebiri, "The Bear"

Jean Smart, "Hacks"

Outstanding lead actor in a comedy series

Adam Brody, "Nobody Wants This"

Seth Rogen, "The Studio"

Jason Segel, "Shrinking"

Martin Short, "Only Murders in the Building"

Jeremy Allen White, "The Bear"

Outstanding lead actress in a limited or anthology series or movie

Cate Blanchett, "Disclaimer"

Meghann Fahy, "Sirens"

Rashida Jones, "Black Mirror"

Cristin Milloti, "The Penguin"

Michelle Williams, "Dying for Sex"

Outstanding lead actor in a limited or anthology series or movie

Colin Farrell, "The Penguin"

Stephen Graham, "Adolescence"

Jake Gyllenhaal, "Presumed Innocent"

Brian Tyree Henry, "Dope Thief"

Cooper Koch, "Monsters: The Lyle and Erik Menendez Story"

Outstanding supporting actress in a drama series

Patricia Arquette, "Severance"

Carrie Coon, "The White Lotus"

Katherine LaNasa, "The Pitt"

Julianne Nicholson, "Paradise"

Parker Posey, "The White Lotus"

Natasha Rothwell, "The White Lotus"

Aimee Lou Wood, "The White Lotus"

Outstanding supporting actor in a drama series

Zach Cherry, "Severance"

Walton Goggins, "The White Lotus"

Jason Isaacs, "The White Lotus"

James Marsden, "Paradise"

Sam Rockwell, "The White Lotus"

Tramell Tillman, "Severance"

John Turturro, "Severance"

Outstanding supporting actress in a comedy series

Liza Colón-Zayas, "The Bear"

Hannah Einbinder, "Hacks"

Kathryn Hahn, "The Studio"

Janelle James, "Abbott Elementary"

Catherine O'Hara, "The Studio"

Sheryl Lee Ralph, "Abbott Elementary"

Jessica Williams, "Shrinking"

Outstanding supporting actor in a comedy series

Ike Barinholtz, "The Studio"

Colman Domingo, "The Four Seasons"

Harrison Ford, "Shrinking"

Jeff Hiller, "Somebody Somewhere"

Ebon Moss-Bachrach, "The Bear"

Michael Urie, "Shrinking"

Bowen Yang, "Saturday Night Live"

Outstanding supporting actress in a limited or anthology series or movie

Erin Doherty, "Adolescence"

Ruth Negga, "Presumed Innocent"

Deirdre O'Connell, "The Penguin"

Chloë Sevigny, "Monsters: The Lyle and Erik Menendez Story"

Jenny Slate, "Dying for Sex"

Christine Tremarco, "Adolescence"

Outstanding supporting actor in a limited or anthology series or movie

Javier Bardem, "Monsters: The Lyle and Erik Menendez Story"

Bill Camp, "Presumed Innocent"

Owen Cooper, "Adolescence"

Rob Delaney, "Dying for Sex"

Peter Sarsgaard, "Presumecd Innocent"

Ashley Walters, "Adolescence"

Outstanding guest actress in a drama series

Jane Alexander, "Severance"

Gwendoline Christie, "Severance"

Kaitlyn Dever, "The Last of Us"

Cherry Jones, "The Handmaid's Tale"

Catherine O'Hara, "The Last of Us"

Merritt Wever, "Severance"

Outstanding guest actor in a drama series

Giancarlo Esposito, "The Boys"

Scott Glenn, "The White Lotus"

Shawn Hatosy, "The Pitt"

Joe Pantoliano, "The Last of Us"

Forest Whitaker, "Andor"

Jeffrey Wright, "The Last of Us"

Outstanding guest actress in a comedy series

Olivia Colman, "The Bear"

Jamie Lee Curtis, "The Bear"

Cynthia Erivo, "Poker Face"

Robby Hoffman, "Hacks"

Zoë Kravitz, "The Studio"

Julianne Nicholson, "Hacks"

Outstanding guest actor in a comedy series

Jon Bernthal, "The Bear"

Bryan Cranston, "The Studio"

Dave Franco, "The Studio"

Ron Howard, "The Studio"

Anthony Mackie, "The Studio"

Martin Scorsese, "The Studio"

Outstanding directing for a drama series

"Andor," Janus Metz ("Who Are You?")

"The Pitt," Amanda Marsalis ("6 P.M.")

"The Pitt," John Wells ("7 A.M.")

"Severance," Jessica Lee Gagné ("Chikhai Bardo")

"Severance," Ben Stiller ("Gold Harbor)

"Slow Horses," Adam Randall ("Hello Goodbye")

"The White Lotus," Mike White ("Amor Fati")

Outstanding directing for a comedy series

"The Bear," Ayo Edebiri ("Napkins")

"Hacks," Lucia Aniello ("A Slippery Slope")

"Mid-Century Modern," James Burrows ("Here's To You, Mrs. Schneiderman")

"The Rehearsal," Nathan Fielder ("Pilot's Code")

"The Studio," Seth Rogen & Evan Goldberg ("The Oner")

Outstanding directing for a limited or anthology series or movie

"Adolescence," Philip Barantini

"Dying for Sex," Shannon Murphy ("It's Not That Serious")

"The Penguin," Helen Shaver ("Cent'anni")

"The Penguin," Jennifer Getzinger ("A Great or Little Thing")

"Sirens," Nicole Kassell ("Exile")

"Zero Day," Leslie Linka Glatter

Outstanding writing for a drama series

"Andor," Dan Gilroy ("Welcome to the Rebellion")

"The Pitt," Joe Sachs ("2 P.M.")

"The Pitt," R. Scott Gemmill ("7 A.M.")

"Severance," Dan Erickson ("Cold Harbor")

"Slow Horses," Will Smith ("Hello Goodbye")

"The White Lotus," Mike White ("Full-Moon Party")

Outstanding writing for a comedy series

"Abbott Elementary," Quinta Brunson ("Back To School")

"Hacks," Lucia Aniello, Paul W. Downs and Jen Statsky ("A Slippery Slope")

"The Rehearsal," Nathan Fielder, Carrie Kemper, Adam Lock-Norton and Eric Notarnicola ("Pilot's Code")

"Somebody Somewhere," Hanna Bos, Paul Thureen and Bridget Everett ("AGG")

"The Studio," Seth Rogen, Evan Goldberg, Peter Huyck, Alex Gregory and Frida Perez ("The Promotion")

"What We Do in the Shadows," Sam Johnson, Sarah Naftalis and Paul Simms ("The Finale")

Outstanding writing for a limited or anthology series or movie

"Adolescence," Jack Thorne and Stephen Graham

"Black Mirror," Charlie Brooker and Bisha K. Ali ("Common People")

"Dying for Sex," Kim Rosenstock and Elizabeth Meriwether ("Good Value Diet Soda")

"The Penguin," Lauren LeFranc ("A Great or Little Thing")

"Say Nothing," Joshua Zetumer ("The People in the Dirt")

Outstanding writing for a variety series

"The Daily Show"

"Last Week Tonight with John Oliver"

"Saturday Night Live"

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AWARDS SEASON | CREATIVE ARTS EMMYS WINNERS

Yesterday and today, the Television Academy announced the winners for this year’s nominees for the Creative Arts Emmys at the Peacock Theatre in LA and an abbreviated version of the show will air on Sept 13th on FXX. Here are the winners from these epic nights.

SHORT FORM COMEDY, DRAMA OR VARIETY SERIES
The Daily Show, Desi Lydic, “Foxsplains”; Jennifer Flanz, Ramin Hedayati, Jocelyn Conn, Matt Negrin, Jason O. Gilbert

SHORT FORM NONFICTION OR REALITY SERIES
Adolescence, The Making of Adolescence

PRODUCTION DESIGN FOR A VARIETY SPECIAL
The Oscars, Misty Buckley, Alana Billingsley, John Zuiker, Margaux Lapresle

PRODUCTION DESIGN FOR A VARIETY OR REALITY SERIES
Saturday Night Live, Akira Yoshimura, Keith Raywood, Joe DeTullio, Andrea Purcigliotti, Patrick Lynch, Sara Parks

CHOREOGRAPHY FOR VARIETY OR REALITY PROGRAMMING
The Grammy Awards, Robbie Blue

MUSIC DIRECTION
Kendrick Lamar, Tony Russell

MUSIC COMPOSITION FOR A DOCUMENTARY SERIES OR SPECIAL
Chef’s Table, Duncan Thum, David Bertok

SOUND EDITING FOR A NONFICTION OR REALITY PROGRAM
Music by John Williams, Dmitri Makarov, Tim Farrell, Richard Gould, Ramiro Belgardt

SOUND MIXING FOR A NONFICTION PROGRAM
Beatles ’64, Josh Berger, Giles Martin

SOUND MIXING FOR A VARIETY SERIES OR SPECIAL
SNL 50: The Anniversary Special, Robert Palladino, Ezra Matychak, Frank Duca, Doug Nightwine, Christopher Costello, Caroline Sanchez, Josiah Gluck, Jay Vicari, Tyler McDiarmid, Geoffrey Countryman, Devin Emke, Teng Chen

SOUND MIXING FOR A REALITY PROGRAMMING
Welcome to Wrexham, Mark Jensen

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CASTING FOR A REALITY PROGRAM
Love on the Spectrum, Cian O’Clery, Sean Bowman, Emma Choate

EMERGING MEDIA PROGRAM
SNL 50 Special: Immersive Experience, Lorne Michaels, Michael DeProspo, Michael Scogin, Rick Rey, Matthew Celia

INNOVATION IN EMERGING MEDIA PROGRAMMING
White Rabbit

WRITING FOR A NONFICTION PROGRAM
The Daily Show Presents: Jordan Klepper

WRITING FOR A VARIETY SPECIAL
SNL 50, James Anderson, Dan Bulla, Megan Callahan-Shah, Michael Che, Mikey Day, Mike DiCenzo, James Downey, Tina Fey, Jimmy Fowlie, Sudi Green, Jack Handey, Steve Higgins, Colin Jost, Erik Kenward, Dennis McNicholas, Seth Meyers, Lorne Michaels, John Mulaney, Jake Nordwind, Ceara O’Sullivan, Josh Patten, Paula Pell, Simon Rich, Pete Schultz, Streeter Seidell, Emily Spivey, Kent Sublette, Bryan H. Tucker, Auguste White

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HOST FOR A GAME SHOW
Jimmy Kimmel, Who Wants to Be a Millionaire?

GAME SHOW
Jeopardy!

MAKEUP FOR A VARIETY, NONFICTION OR REALITY PROGRAMMING
SNL 50, Louie Zakarian, Jason Milani, Amy Tagliamonti, Rachel Pagani, Young Bek, Stephen Kelley, Joanna Pisani

HAIRSTYLING FOR A VARIETY NONFICTION OR REALITY PROGRAM
SNL 50, Jodi Mancuso, Cara Hannah, Inga Thrasher, Amanda Duffy Evans, Chad Harlow, Gina Ferrucci, Brittany Hartman, Katie Beatty

COSTUMES FOR VARIETY, NONFICTION OR REALITY PROGRAMMING
Beyoncé Bowl

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PICTURE EDITING FOR VARIETY PROGRAMMING (SEGMENT)
SNL 50, Ryan Spears, Paul Del Gesso, Christopher Salerno, Daniel Garcia, Sean McIlraith, Rhyan McIlraith

PICTURE EDITING FOR VARIETY PROGRAMMING
Cunk On Live, Damon Tai, Jason Boxall

PICTURE EDITING FOR A NONFICTION PROGRAMMING
Pee-wee As Himself, Damian Rodriguez

PICTURE EDITING FOR A STRUCTURED REALITY OR COMPETITION PROGRAM
The Traitors, Patrick Owen, Seddon-Brown

PICTURE EDITING FOR AN UNSTRUCTURED REALITY PROGRAM
Welcome to Wrexham, Sam Fricke, Jenny Krochmal, Mohamed El Manasterly, Michael Oliver, Tim Roche, Matt Wafaie, Steve Welch, Tim Wilsbach

CINEMATOGRAPHY FOR A REALITY PROGRAM
The Traitors, Siggi Rosen-Rawlings, Matt Wright, Jack Booth, Alex Bruno, Ned Ellis-Jones, Ollie Green, Quin Jessop, Guy Linton, Joshua Montague, Paul Rudge, James Spencer, Matt Thomson, Alex Took, Melvin Wright

CINEMATOGRAPHY FOR A NONFICTION PROGRAM
100 Foot Wave, Michael Darrigade, Vincent Kardasik, Alexandre Lesbats, Laurent Pujol, Karl Sandrock, Chris Smith

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DOCUMENTARY OR NONFICTION SERIES
100 Foot Wave, Vince Kardasik, Ryan Heller, Michael Bloom, Maria Zuckerman, Zachary Rothfeld, Joe Lewis, Chris Smith, Nancy Abraham, Lisa Heller, Bentley Weiner

DOCUMENTARY OR NONFICTION SPECIAL
Pee-wee As Himself, Emma Tillinger Koskoff, Matt Wolf, Ronald Bronstein, Benny Safdie, Josh Safdie, Paul Reubens, Candace Tomarken

NARRATOR
Barack Obama, Our Oceans

HOST FOR A REALITY OR REALITY COMPETITION PROGRAM
Alan Cumming, The Traitors

HOSTED NONFICTION SERIES OR SPECIAL
Conan O’Brien Must Go, Conan O’Brien, Jeff Ross, Jose Arroyo, Jason Chillemi, Sarah Federowicz, Jessie Gaskell, Mike Sweeney, Aaron Bleyaert, Jordan Schlansky, Matthew Shaw

DIRECTING FOR A REALITY PROGRAM
The Traitors, Ben Archard

DIRECTING FOR A DOCUMENTARY/NONFICTION PROGRAM
Pee-wee as Himself, Matt Wolf

COMMERCIAL
Brian Cox Goes To College, Uber One for Students

LIGHTING DESIGN/LIGHTING DIRECTION FOR A SERIES
SNL, Geoff Amoral, Rick McGuinness, William McGuinness, Trevor Brown, Tim Stasse, Frank Grisanti, Reginald Campbell

LIGHTING DESIGN/LIGHTING DIRECTION FOR A SPECIAL
67th Annual Grammy Awards, Noah Mitz, Andy O’Reilly, Patrick Boozer, Ryan Tanker, Erin Anderson, Madigan Stehly, Will Gossett, Bryan Klunder, Hannah Kerman, Matt Benson, Matthew Cotter, Guy Jones, Kevin Faust

TECHNICAL DIRECTION AND CAMERA WORK FOR A SPECIAL
SNL 50, Bill DiGiovanni, John Pinto, Paul Cangialosi, Anthony Tarantino, Dave Driscoll, Brian Phraner, Daniel Erbeck, Mike Knarre, Ansel Nunez, Rick Fox, Anthony Lenzo

TECHNICAL DIRECTION AND CAMERAWORK FOR A SERIES
Saturday Night Live, Bill DiGiovanni, John Pinto, Paul Cangialosi, Anthony Tarantino, Dave Driscoll, Brian Phraner, Daniel Erbeck

STRUCTURED REALITY PROGRAM
Queer Eye

UNSTRUCTURED REALITY PROGRAM
Love on the Spectrum

EXCEPTIONAL MERIT IN DOCUMENTARY FILMMAKING
Patrice: The Movie

DIRECTING FOR A VARIETY SPECIAL
SNL 50, Liz Patrick

DIRECTING FOR A VARIETY SERIES
Jim Hoskinson, The Late Show with Stephen Colbert

VARIETY SPECIAL (Pre-Recorded)
Conan O’Brien, The Kennedy Center Mark Twain Prize for American Humor

GUEST ACTRESS IN A COMEDY SERIES
Julianne Nicholson, Hacks

CONTEMPORARY MAKEUP (NON-PROSTHETIC)
The Penguin, Martha Melendez, Kim Collea, Maria Maio

PROSTHETIC MAKEUP
The Penguin, Michael Fontaine, Michael Marino, Crystal Jurado, Diana Choi, Claire Flewin, Jerry Constantine, Yoichi Art Sakamoto, Bobby Diehl

PERIOD OR FANTASY/SCI-FI MAKEUP (NON-PROTHETIC)
House of the Dragon, Amanda Knight, Sara Kramer, Harriet Thompson, Bonny Monger, Helen Currie, Natalie Wickens, Vickie Ellis

PERIOD COSTUMES
Bridgerton, John Glaser, Amanda McLaughlan, Dougie Hawkes, George Sayer, Anthony Brookman

CONTEMPORARY COSTUMES FOR A SERIES
The Studio, Kameron Lennox, Betsy Glick, Tyler Kinney

CONTEMPORARY COSTUMES FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE
The Penguin, Helen Huang, Kate Smith, Austin Wittick, Rebecca Freund, Esther J. Han

FANTASY/SCI-FI COSTUMES
Andor, Michael Wilkinson, Kate O’Farrell, Richard Davies, Paula Fajardo

PERIOD OR FANTASY/SCI-FI HAIRSTYLING
Bridgerton, Erika Ökvist, Farida Ghwedar, Grace Gorman, Laura Sim, Emma Rigby, Hannah Forbes

CONTEMPORARY HAIRSTYLING
The Penguin, Brian Badie, Jenn Vasilopoulos, Mariko Miyagi

PRODUCTION DESIGN FOR A NARRATIVE CONTEMPORARY PROGRAM (ONE HOUR OR MORE)
Severance, David Schlesinger, Chris Shriver, Ann Bartek, David Schlesinger

PRODUCTION DESIGN FOR A NARRATIVE PROGRAM (HALF-HOUR)
The Studio, Julie Berghoff, Brian Grego, Claire Kaufman

PRODUCTION DESIGN FOR A NARRATIVE PERIOD OR FANTASY PROGRAM (ONE-HOUR OR MORE)
Andor, Luke Hull, Toby Britton, Rebecca Alleway

CASTING FOR A DRAMA SERIES
The Pitt, Cathy Sandrich Gelfond, Erica Berger

GUEST ACTOR IN A COMEDY SERIES
Bryan Cranston, The Studio

CASTING FOR A COMEDY SERIES
The Studio, Melissa Kostenbauder, Francine Maisler

CASTING FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE
Adolescence, Shaheen Baig

STUNT COORDINATION FOR COMEDY PROGRAMMING
The Righteous Gemstones, Cory DeMeyers

STUNT COORDINATION FOR DRAMA PROGRAMMING
The Boys, John Koyama

STUNT PERFORMANCE
The Boys, Jennifer Murray, River Godland, Alec Back, Moses Nyarko

ANIMATED PROGRAM
Arcane

CHARACTER VOICE-OVER PERFORMANCE
Julie Andrews, Bridgerton

INDIVIDUAL ACHIEVEMENT IN ANIMATION (juried)
Arcane, background design
Arcane, color
Love, Death + Robots, Production Design
Love, Death + Robots, Character Animation
Love, Death + Robots, Character Design

CHOREOGRAPHY FOR SCRIPTED PROGRAMMING
Étoile, Marguerite Pomerhn Derricks

PICTURE EDITING FOR A SINGLE-CAMERA COMEDY SERIES
The Studio, Eric Kissack

PICTURE EDITING FOR A MULTI-CAMERA COMEDY SERIES
Frasier, Russell Griffin

GUEST ACTRESS IN A DRAMA SERIES
Merritt Wever, Severance

PICTURE EDITING FOR A DRAMA SERIES
Andor, Yan Miles

PICTURE EDITING FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE
Monsters: The Lyle & Erik Menendez Story

SPECIAL VISUAL EFFECTS IN A SEASON OR A MOVIE
Andor, Mohen Leo, TJ Falls, Luke Murphy, Neal Scanlan, Scott Pritchard, Joseph Kasparian, Sue Rowe, Paolo D’Arco, Jean-Clement Soret

TITLE DESIGN
Severance, Oliver Latta, Teddy Blanks

SPECIAL VISUAL EFFECTS IN A SINGLE EPISODE
The Penguin, Johnny Han, Michelle Rose, Alexandra Prod’homme, Erin Sullivan, Goran Pavles, Emanuel Fuchs, Ed Bruce, Nathaniel Larouche, Adrien Saint Girons

MOTION DESIGN (juried)
Octopus! Phoebe Waller-Bridge

SOUND EDITING FOR A COMEDY OR DRAMA SERIES
The Last of Us, Michael J. Benavente, Chris Terhune, Joe Schiff, Christopher Battaglia, Mitchel Lestner, Jacob Flack, Odin Benitez, James Miller, Randy Wilson, Justin Helle, Ron Mellegers, Maarten Hofmeijer, Stefan Fraticelli, Brandon Bak, Jason Charbonneau

SOUND EDITING FOR A LIMITED OR ANTHOLOGY SERIES, MOVIE OR SPECIAL
The Penguin, Rich Bologna, Lawrence Zipf, Michael McMenomy, Angela Organ, Tony Martinez, Wyatt Sprague, Diego Perez, Matthew Haasch, Ben Holiday, Luke Dennis, Gareth Rhys Jones

SOUND EDITING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR)
The Studio, George Haddad, Borja Sau Razquin, Stuart Martin, Randy Wilson, Justin Helle, Lorena Perez Batista, Jason Charbonneau, Stefan Fraticelli

SOUND EDITING FOR AN ANIMATED PROGRAM
Arcane, Brad Beaumont, Eliot Connors, Stephen P. Robinson, Janet Pascual, Dan O’Connell, John T. Cucci

SOUND MIXING FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE
The Penguin, Andy Kris, Rich Bologna, Christof Gebert, Julien Pirrie

SOUND MIXING FOR A COMEDY OR DRAMA SERIES (ONE HOUR)
Severance, Bob Chefalas, Jacob Ribicoff, David J. Schwartz, George A. Lara

SOUND MIXING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR) AND ANIMATION
The Studio, Lindsey Alvarez, Fred Howard, Buck Robinson, Ron Mellegers

PERFORMER IN A SHORT FORM COMEDY OR DRAMA SERIES
Desi Lydic, The Daily Show

MUSIC COMPOSITION FOR A SERIES (ORIGINAL DRAMATIC SCORE)
Severance, Theodore Shapiro

MUSIC COMPOSITION FOR A LIMITED OR ANTHOLOGY SERIES, MOVIE OR SPECIAL (ORIGINAL DRAMATIC SCORE)
The Penguin, Mick Giacchino

ORIGINAL MAIN TITLE THEME MUSIC
The White Lotus, Cristobal Tapia de Veer

MUSIC SUPERVISION
The Studio, Gabe Hilfer

ORIGINAL MUSIC AND LYRICS
The Boys, Christopher Lennertz, “Let’s Put the Christ Back in Christmas”

CINEMATOGRAPHY FOR A SERIES (HALF-HOUR)
The Studio, Adam Newport-Berra

CINEMATOGRAPHY FOR A SERIES (ONE HOUR)
Severance, Jessica Lee Gagné

CINEMATOGRAPHY FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE
Adolescence, Matthew Lewis

GUEST ACTOR IN A DRAMA SERIES
Shawn Hatosy, The Pitt

TELEVISION MOVIE
Rebel Ridge

Read the latest issue of Athleisure Mag.

AWARDS SEASON | CREATIVE ARTS EMMYS NOMINATIONS

Today, the Television Academy announced this year’s nominees for the Creative Arts Emmys which will take place on Sep 6th and 7th at the Peacock Theatre in LA and an abbreviated version of the show will air on Sept 13th on FXX. We all know that there have been a number of shows we have enjoyed and we’ll see what ends up walking away with a statue. As we do throughout Awards Season, we share our predictions in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics. On the night of the event, we will share who we predicted correctly as well as those we didn’t that won.

OUTSTANDING LIGHTING DESIGN/LIGHTING DIRECTION FOR A SERIES

American Idol • Songs Of Faith • ABC • Fremantle and 19 Entertainment

• Tom Sutherland, Lighting Designer

• James Coldicott, Lighting Director

• Hunter Selby, Lighting Director

• Andrew Law, Lighting Director

• Nathan Files, Lighting Director

• Chris Roseli, Gaffer

• Matt McAdam, Media Server Programmer

• Luke Chantrell, Video Controller

• Ed Moore, Video Controller

Dancing With The Stars • Semi-Finals • ABC • BBC Studios Los Angeles Productions

• Noah Mitz, Lighting Designer

• Madigan Stehly, Lighting Director

• Patrick Brazil, Lighting Director

• Joe Holdman, Lighting Director

• Matt Benson, Chief Lighting Technician

• Matt McAdam, Media Server Programmer

• Ed Moore, Video Controller

• Kevin Faust, Video Controller

RuPaul's Drag Race • The Wicked Wiz Of Oz: The Rusical! • MTV • World of Wonder

• Gus Dominguez, Lighting Designer

• Steve Moreno, Gaffer

Saturday Night Live • Host: Lady Gaga • NBC • SNL Studios in association with Universal Television Page 22 and Broadway Video

Saturday Night Live • Host: Lady Gaga • NBC • SNL Studios in association with Universal Television and Broadway Video

• Geoffrey Amoral, Lighting Director

• Rick McGuinness, Lighting Director

• William McGuinness, Chief Lighting Technician

• Trevor Brown, Moving Light Programmer

• Tim Stasse, Moving Light Programmer

• Frank Grisanti, Video Controller

• Reginald Campbell, Video Controller

The Voice • Live Finale (Part 1) • NBC • MGM Television and Warner Bros. Unscripted Television in association with Warner Horizon and ITV Studios The Voice USA, Inc.

• Oscar Dominguez, Lighting Designer

• Ronald Wirsgalla, Lighting Director

• Erin Anderson, Lighting Director

• Vanessa Arciga, Lighting Director

• Andrew Munie, Media Server Programmer

• Jeff Shood, Media Server Programmer

• Terrance Ho, Video Controller

Outstanding Lighting Design/Lighting Direction For A Special

The 67th Annual Grammy Awards • CBS • A Fulwell Entertainment production in association with The Recording Academy

• Noah Mitz, Lighting Designer

• Andy O'Reilly, Lighting Director

• Patrick Boozer, Lighting Director

• Ryan Tanker, Lighting Director

• Erin Anderson, Lighting Director

• Madigan Stehly, Lighting Director

• William Gossett, Lighting Director

• Bryan Klunder, Lighting Director

• Hannah Kerman, Lighting Director

• Matt Benson, Lighting Director

• Matthew Cotter, Media Server Programmer

• Guy Jones, Video Controller

• Kevin Faust, Video Controller

2024 Rock & Roll Hall Of Fame Induction Ceremony • ABC • Tenth Planet Productions

• Allen Branton, Lighting Designer

• Felix Peralta, Lighting Director

• Kevin Lawson, Lighting Director

• George Gountas, Lighting Director

• Bianca Moncada, Media Server Programmer

• Alex Flores, Gaffer

• Guy Jones, Video Controller

• J.C. Castro, Video Controller

SNL50: The Anniversary Special • NBC • SNL Studios in association with Universal Television and Broadway Video

• Geoffrey Amoral, Lighting Director

• Rick McGuinness, Lighting Director

• William McGuinness, Chief Lighting Technician

• Trevor Brown, Moving Light Programmer

• Tim Stasse, Moving Light Programmer

• Frank Grisanti, Video Controller

• Reginald Campbell, Video Controller

SNL50: The Homecoming Concert • Peacock • SNL Studios in association with Universal Television and Broadway Video

• Tom Sutherland, Lighting Designer

• Harry Forster, Lighting Director

• Hunter Selby, Lighting Director

• Bobby Grey, Moving Light Programmer

• Ryan Tanker, Moving Light Programmer

• Chris Roseli, Gaffer

• Matt Cotter, Media Server Programmer

• JM Hurley, Video Controller

• Bob Benedetti, Video Controller

Outstanding Sound Editing For A Comedy Or Drama Series (One Hour)

Andor • Who Are You? • Disney+ • Lucasfilm Ltd.

• David Acord, Co-Supervising Sound Editor/Sound Designer

• Margit Pfeiffer, Co-Supervising Sound Editor

• James Spencer, Dialogue Editor

• Josh Gold, Sound Effects Editor

• Alyssa Nevarez, Foley Editor

• John Finklea, Music Editor

• Ronni Brown, Foley Artist

• Sean England, Foley Artist

The Last Of Us • Through The Valley • HBO | Max • HBO in association with Sony Pictures Television, PlayStation Productions, Word Games, The Mighty Mint, and Naughty Dog

• Michael J. Benavente, Supervising Sound Editor

• Chris Terhune, Sound Designer

• Joe Schiff, Dialogue Editor

• Christopher Battaglia, MPSE, Supervising Sound Effects Editor

• Mitchell Lestner, Sound Effects Editor

• Jacob Flack, MPSE, Sound Effects Editor

• Odin Benitez, Sound Effects Editor

• James Miller, Sound Effects Editor

• Randy Wilson, Supervising Foley Editor

• Justin Helle, Foley Editor

• Ron Mellegers, Foley Editor

• Maarten Hofmeijer, Music Editor

• Stefan Fraticelli, Foley Artist

• Brandon Bak, Foley Artist

• Jason Charbonneau, Foley Artist

The Pitt • 7:00 P.M. • HBO | Max • Max in association with John Wells Productions, R. Scott Gemmill Productions, and Warner Bros. Television

• Bryan Parker, Supervising Sound Editor

• Kristen Hirlinger, Dialogue Editor

• Vince Tennant, ADR Editor

• Josh Adeniji, Sound Effects Editor

• Roland Thai, Sound Effects Editor

• Sam Lewis, Supervising Foley Editor

• Lyndsey Schenk, Foley Editor

• Nicholas Kmet, Music Editor

• Adam DeCoster, Foley Artist

• Alex Ullrich, Foley Artist

Severance • Chikhai Bardo • Apple TV+ • Fifth Season in association with Apple

• Jacob Ribicoff, MPSE, Supervising Sound Editor/Sound Designer

• Gregg Swiatlowski, Dialogue Editor/ADR Editor

• Eric Strausser, Foley Editor

• Sam Zeines, Music Editor

• Felipe Pacheco, Music Editor

• Marko Costanzo, Foley Artist

• Alex Wang, Foley Artist

Outstanding Sound Editing For A Comedy Or Drama Series (Half-Hour)

The Acolyte • Night • Disney+ • Lucasfilm Ltd.

• Brian Chumney, Supervising Sound Editor

• Kimberly Patrick, Sound Designer

• Angela Ang, Dialogue/ADR Editor

• David Chrastka, Sound Effects Editor

• Dee Selby, Foley Editor

• Alistair Hawkins, Music Editor

• Goro Koyama, Foley Artist

Agatha All Along • Darkest Hour / Wake Thy Power • Disney+ • Marvel Television

• Kim Foscato, Supervising Sound Editor

• Paula Fairfield, Sound Designer

• Richard Gould, Sound Designer

• Daniel Laurie, Supervising ADR Editor

• Jacob Riehle, ADR Editor

• Andre J.H. Zweers, Sound Effects Editor

• Kim B. Christensen, Foley Editor

• Fernand Bos, Music Editor

• Mary Parker, Music Editor

• Jana Vance, Foley Artist

• Ronni Brown, Foley Artist

The Bear • Doors • FX on Hulu • FX Productions

• Steve "Major” Giammaria, MPSE, Supervising Sound Editor

• Craig LoGiudice, Dialogue Editor/Sound Effects Editor

• Evan Benjamin, Dialogue Editor

• John Bowen, ADR Editor

• Jonathan Fuhrer, Sound Effects Editor

• Matt Snedecor, Sound Effects Editor

• Annie Taylor, MPSE, Foley Editor

• Jeff Lingle, Music Editor

• Jason Lingle, Music Editor

• Leslie Bloome, MPSE, Foley Artist

• Shaun Brennan, Foley Artist

The Righteous Gemstones • Prelude • HBO | Max • HBO in association with Rough Page 51 House Pictures

• Nicholas Renbeck, Supervising Sound Editor

• Alexa Zimmerman, Dialogue Editor

• Deborah Wallach, Supervising ADR Editor

• Rachel Wardell, Sound Effects Editor

• Ailin Gong, Foley Editor

• Michael Brake, Music Editor

• Tommy Stang, Foley Artist

The Studio • The Golden Globes • Apple TV+ • Lionsgate Television in association with Apple

• George Haddad, MPSE, Supervising Sound Editor

• Borja Sau, Dialogue Editor

• Lloyd Stuart Martin, Sound Effects Editor

• Randy Wilson, Supervising Foley Editor

• Justin Helle, Foley Editor

• Lorena Perez Batista, Music Editor

• Jason Charbonneau, Foley Artist

• Stefan Fraticelli, Foley Artist

Outstanding Sound Editing For An Animated Program

Arcane • The Dirt Under Your Nails • Netflix • A Riot Games and Fortiche production for Netflix

• Brad Beaumont, MPSE, Co-Supervising Sound Editor

• Eliot Connors, MPSE, Co-Supervising Sound Editor

• Stephen P. Robinson, Sound Editor

• Janet “PJ” Pascual, Foley Editor

• Dan O'Connell, Foley Artist

• John Cucci, Foley Artist

Love, Death + Robots • 400 Boys • Netflix • Blur Studio for Netflix

• Bradley North, MPSE, Supervising Sound Editor/Sound Designer

• Craig Henighan, Sound Effects Editor

• Matt Manselle, Foley Editor

• Matt Telsey, Foley Editor

• Brian Straub, MPSE, Foley Artist

Secret Level • Warhammer 40,000: They Shall Know No Fear • Prime Video • Amazon MGM Studios, Blur Studio

• Matt Yocum, MPSE, Co-Supervising Sound Editor

• Bradley North, MPSE, Co-Supervising Sound Editor

• Nolan McNaughton, MPSE, Sound Designer

• Ryan Sullivan, MPSE, Sound Designer

• Joseph Fraioli, MPSE, Sound Designer

• Christopher Battaglia, MPSE, Sound Effects Editor

• Harry Cohen, MPSE, Sound Effects Editor

• Matt Manselle, Foley Editor

• Matt Tesley, Foley Editor

• Brian Straub, MPSE, Foley Artist

Star Trek: Lower Decks • The New Next Generation • Paramount+ • CBS’s Eye Animation Productions, Titmouse, Secret Hideout, and Roddenberry Entertainment

• James Lucero, Supervising Sound Editor

• Drew Guy, Dialogue Editor

• Konrad Piñon, Dialogue Editor

• James Singleton, Sound Editor

• John Wynn, Sound Editor

• Amber Funk, Music Editor

• Michael Britt, Foley Artist

What If...? • What If...1872? • Disney+ • Marvel Animation Page 52

• Mac Smith, Supervising Sound Editor/Sound Designer

• Vanessa Lapato, Supervising Dialogue/ADR Editor

• Alyssa Nevarez, Sound Effects Editor

• Steve Bissinger, Sound Effects Editor

• Derek McGinley, Foley Editor

• Anele Onyekwere, Supervising Music Editor

• Carl Sealove, Music Editor

• Andrea Stelter Gard, Foley Artist

• Sean England, Foley Artist

Outstanding Sound Editing For A Limited Or Anthology Series, Movie Or Special

Adolescence • Episode 1 • Netflix • Warp Films, Matriarch Productions and Plan B for Netflix

• James Drake, Supervising Sound Editor

• Michele Woods, Dialogue Editor

• Emma Butt, ADR Editor

• Rob Davidson, Foley Editor

• Jessica Watkins, Foley Editor

• Oli Ferris, Foley Artist

• Sue Harding, Foley Artist

Black Mirror • USS Callister: Into Infinity • Netflix • Broke & Bones for Netflix

• Tom Jenkins, Supervising Sound Editor/Sound Designer

• Alex Sawyer, Supervising Dialogue Editor/ADR Editor

• James Hayday, Sound Designer

• Rob Davidson, Foley Editor

• Arthur Graley, Foley Editor

• Poppy Kavanagh, Music Editor

• Oliver Ferris, Foley Artist

• Sue Harding, Foley Artist

The Gorge • Apple TV+ • Apple Original Films in association with Skydance Media / Crooked Highway

• Ethan Van der Ryn, Co-Supervising Sound Editor/Sound Designer

• Erik Aadahl, MPSE, Co-Supervising Sound Editor/Sound Designer

• Paul Hackner, Co-Supervising Sound Editor

• Darren Maynard, MPSE, Sound Designer

• David Farmer, Sound Designer

• Frederic Dubois, Sound Designer

• David V. Butler, Supervising Dialogue/ADR Editor

• Stephanie Brown, Dialogue and ADR Editor

• Jonathan Greasley, MPSE, Sound Effects Editor

• Jason W. Jennings, Sound Effects Editor

• Nolan McNaughton, MPSE, Sound Effects Editor

• Sally Boldt, Music Editor

The Penguin • After Hours • HBO | Max • HBO in association with Acid and Tender Productions, 6th & Idaho Motion Picture Company, Dylan Clark Productions, Chapel Place Productions, Zobot Projects, DC Studios, and Warner Bros. Television

• Rich Bologna, Co-Supervising Sound Editor

• Larry Zipf, Co-Supervising Sound Editor

• Michael McMenomy, Dialogue Editor

• Angela Organ, Supervising ADR Editor

• Tony Martinez, ADR Editor

• Wyatt Sprague, Sound Effects Editor

• Diego Perez, Sound Effects Editor

• Matt Haasch, Foley Editor

• Ben Holiday, Supervising Music Editor

• Luke Dennis, Music Editor

• Gareth Rhys Jones, Foley Artist

Star Trek: Section 31 • Paramount+ • CBS Studios in association with Secret Hideout and Roddenberry Page 53 Entertainment

• Matthew E. Taylor, MPSE, Supervising Sound Editor

• Michael Schapiro, Sound Designer

• Austin Olivia Kendrick, Dialogue Editor

• Sebastian Sheehan Visconti, ADR Editor

• Sean Heissinger, ADR Editor

• Andrew Twite, Sound Effects Editor

• Alex Pugh, Sound Effects Editor

• Kip Smedley, Sound Effects Editor

• Deron Street, Sound Effects Editor

• Clay Weber, Foley Editor

• Moira Marquis, Music Editor

• Alyson Moore, Foley Artist

• Katie Rose, Foley Artist

Outstanding Sound Editing For A Nonfiction Or Reality Program

Beatles '64 • Disney+ • Apple Corps Ltd.

• Philip Stockton, Supervising Sound Editor

• Allan Zaleski, Sound Effects Editor

• John M. Davis, Music Editor

• Music By John Williams • Disney+ • Walt Disney Studios Motion Pictures

• Dmitri Makarov, Dialogue Editor

• Tim Farrell, Sound Effects Editor

• Richard Gould, Sound Effects Editor

• Ramiro Belgardt, Music Editor

100 Foot Wave • Chapter III - Cortes Bank • HBO | Max • HBO Presents, Topic Studios, Library Films, Amplify Pictures

• Kevin Senzaki, MPSE, Sound Designer/Sound Effects Editor

• Eric Di Stefano, Sound Designer/Sound Effects Editor

• Max Holland, Dialogue Editor

• Eli Akselrod, Sound Effects Editor

• Mika Anami, Sound Effects Editor

Pee-wee As Himself • HBO | Max • HBO Documentary Films presents an Elara & First Love Films production

• Daniel Timmons, Supervising Sound Editor

• Ian Cymore, Dialogue Editor

• Ryan Billia, Sound Effects Editor

• Jeremy S. Bloom, Sound Effects Editor

• Kelly Rodriguez, Sound Effects Editor

• Eric Caudieux, Music Editor

• Jonathan Zalben, Music Editor

SNL50: Beyond Saturday Night • Season 11: The Weird Year • Peacock • Peacock Original, Tremolo Productions

• William Harp, Dialogue Editor

• Sean Gray, Sound Effects Editor

Outstanding Sound Mixing For A Comedy Or Drama Series (One Hour)

Andor • Who Are You? • Disney+ • Lucasfilm Ltd.

• David Acord, Re-Recording Mixer

• Danny Hambrook, Production Mixer

• Geoff Foster, Scoring Mixer

• Richard Duarte, Foley Mixer

The Last Of Us • Through The Valley • HBO | Max • HBO in association with Sony Pictures Television, PlayStation Productions, Word Games, The Mighty Mint, and Naughty Dog

• Marc Fishman, CAS, Re-Recording Mixer

• Samuel Ejnes, CAS, Re-Recording Mixer

• Chris Duesterdiek, CAS, Production Mixer

• Jeffrey Roy, ADR Mixer

• Tami Treadwell, ADR Mixer

The Pitt • 6:00 P.M. • HBO | Max • Max in association with John Wells Productions, R. Scott Gemmill Productions, Page 54 and Warner Bros. Television

• Todd M. Grace, CAS, Re-Recording Mixer

• Ed C. Carr III, CAS, Re-Recording Mixer

• Von Varga, Production Mixer

• Tami Treadwell, ADR Mixer

Severance • Cold Harbor • Apple TV+ • Fifth Season in association with Apple

• Bob Chefalas, Re-Recording Mixer

• Jacob Ribicoff, Re-Recording Mixer

• David Schwartz, Production Mixer

• George Lara, Foley Mixer

The White Lotus • Amor Fati • HBO | Max • HBO in association with Rip Cord and MC Pictures

• Christian Minkler, Re-Recording Mixer

• Ryan Collins, Re-Recording Mixer

• Bea O'Sullivan, Production Mixer

• Jamison Rabbe, ADR Mixer

• Michael Head, Foley Mixer

Outstanding Sound Mixing For A Limited Or Anthology Series Or Movie

Adolescence • Episode 1 • Netflix • Warp Films, Matriarch Productions and Plan B for Netflix

• Jules Woods, CAS, Re-Recording Mixer

• Kiff McManus, Production Mixer

• Rob Entwistle, Production Mixer

• Adam Méndez, Foley Mixer

Black Mirror • USS Callister: Into Infinity • Netflix • Broke & Bones for Netflix

• James Ridgway, Re-Recording Mixer

• Stuart Piggott, Production Mixer

• Adam Méndez, Foley Mixer

• Sam Okell, Scoring Mixer

Monsters: The Lyle And Erik Menendez Story • Blame It On The Rain • Netflix • Ryan Murphy Productions for Netflix

• Jamie Hardt, Re-Recording Mixer

• Laura Wiest, Re-Recording Mixer

• John Bauman, Production Mixer

• Mehrnaz Mohabati, ADR Mixer

The Penguin • After Hours • HBO | Max • HBO in association with Acid and Tender Productions, 6th & Idaho Motion Picture Company, Dylan Clark Productions, Chapel Place Productions, Zobot Projects, DC Studios, and Warner Bros. Television

• Rich Bologna, Re-Recording Mixer

• Andy Kris, Re-Recording Mixer

• Cristof Gebert, Production Mixer

• Julien Pirrie, Foley Mixer

Zero Day • Episode 6 • Netflix • A Netflix Series / Grand Electric / Prologue Entertainment / Canal Productions, Inc/Glickmania / Whatever Lola Wants Productions, Inc.

• Pete Elia, CAS, Re-Recording Mixer

• Jason Coleman, CAS, Re-Recording Mixer

• Ken Ishii, CAS, Production Mixer

• Michael Perfitt, Scoring Mixer

Outstanding Sound Mixing For A Comedy Or Drama Series (Half-Hour) And Animation

The Bear • Doors • FX on Hulu • FX Productions

• Scott D. Smith, CAS, Production Sound Mixer

• Steve "Major” Giammaria, Re-Recording Mixer

• Patrick Christensen, ADR Mixer

• Ryan Collison, Foley Mixer

Mid-Century Modern • Sour Pickleball • Hulu • 20th Television in association with Ryan Murphy Television Page 55 and KoMut Entertainment

• Peter Nusbaum, Re-Recording Mixer

• Whitney Purple, Re-Recording Mixer

• Jeff A. Johnson, CAS, Production Mixer

Only Murders In The Building • Once Upon A Time In The West • Hulu • 20th Television

• Mathew Waters, CAS, Re-Recording Mixer

• Kyle O'Neal, CAS, Re-Recording Mixer

• Joseph White Jr., Production Mixer

• Alan Demoss, Scoring Mixer

Shrinking • The Drugs Don’t Work • Apple TV+ • Warner Bros. Television in association with Apple

• Earl Martin, Re-Recording Mixer

• Anna D. Wilborn, Production Sound Mixer

• Alex Jongbloed, Foley Mixer

• Trino Madriz, ADR Mixer

The Studio • The Golden Globes • Apple TV+ • Lionsgate Television in association with Apple

• Lindsey Alvarez, CAS, Re-Recording Mixer

• Fred Howard, Re-Recording Mixer

• Buck Robinson, Production Sound Mixer

• Ron Mellegers, Foley Mixer

Outstanding Sound Mixing For A Variety Series Or Special

The Daily Show • Jon Stewart & The News Team Live At The Chicago DNC • Comedy Central • Hello Doggie, Inc.

• John Neroulas, Audio Engineer

• Patrick Weaver, FOH Mixer

The 67th Annual Grammy Awards • CBS • A Fulwell Entertainment production in association with The Recording Academy

• Thomas Holmes, Production Mixer

• John Harris, Music Mixer

• Eric Schilling, Music Mixer

• Jamie Pollock, FOH Music Mixer

• Jeffrey Michael Peterson, FOH Production Mixer

• Michael Parker, Monitor Mixer

• Andres Arango, Monitor Mixer

• Juan Pablo Velasco, ProTools Mixer

• Aaron Walk, ProTools Mixer

• Christian Schrader, Supplemental Audio Mixer

• Eric Johnston, Playback Mixer

• Doug Wingert, VO MIxer

The Oscars • ABC • Academy of Motion Picture Arts and Sciences

• Paul Sandweiss, Production Mixer

• Tommy Vicari, Orchestra Mixer

• Steve Genewick, Orchestra Mixer

• Tom Pesa, Orchestra Monitor Mixer

• Biff Dawes, Music Mixer

• Pablo Munguia, Pre-Recorded Music Mixer

• Kristian Pedregon, Post Audio Mixer

• Patrick Baltzell, FOH Mixer

• Michael Parker, Monitor Mixer

• Christian Schrader, Supplemental Audio Mixer

• John Perez, VO Mixer

SNL50: The Anniversary Special • NBC • SNL Studios in association with Universal Television Page 56 and Broadway Video

• Robert Palladino, Production Mixer

• Ezra Matychak, Production Mixer

• Frank Duca, FOH Production Mixer

• Doug Nightwine, FOH Production Mixer

• Christopher Costello, Music Monitor Mixer

• Caroline Sanchez, FOH Music Mixer

• Josiah Gluck, Broadcast Music Mixer

• Jay Vicari, Broadcast Music Mixer

• Tyler McDiarmid, Playback Mixer

• Geoff Countryman, Supplemental SFX Mixer

• Devin Emke, Post Audio Mixer

• Teng Chen, Supplemental Mixer

SNL50: The Homecoming Concert • Peacock • SNL Studios in association with Universal Television and Broadway Video

• Thomas Holmes, Production Mixer

• Christian Schrader, Supplemental Audio Mixer

• Eric Schilling, Music Mixer

• Lawrence Manchester, Music Mixer

• Dan Gerhard, FOH Production Mixer

• Jason Crystal, FOH Music Mixer

• Jamie Pollock, FOH Music Mixer

• Juan Pablo Velasco, ProTools Mixer

• Anthony Lalumia, ProTools Mixer

• Mike Bové, Monitor Mixer

• Cesar Benitez, Monitor Mixer

• Talia Krause, Monitor Mixer

• Al Theurer, Playback Mixer

Outstanding Sound Mixing For A Nonfiction Program

Beatles '64 • Disney+ • Apple Corps Ltd.

• Josh Berger, Re-Recording Mixer

• Giles Martin, Re-Recording Music Mixer

• Music By John Williams • Disney+ • Walt Disney Studios Motion Pictures

• Roy Waldspurger, Re-Recording Mixer

• Christopher Barnett, CAS, Re-Recording Mixer

• Noah Alexander, Production Mixer

100 Foot Wave • Chapter III - Cortes Bank • HBO | Max • HBO Presents, Topic Studios, Library Films, Amplify Pictures

• Keith Hodne, Re-Recording Mixer

Pee-wee As Himself • HBO | Max • HBO Documentary Films presents an Elara & First Love Films production

• Johnny Mathie, Production Mixer

Yacht Rock: A Dockumentary (Music Box) • HBO | Max • HBO Documentary Films presents a Ringer Films Production in association with Margot Station

• Tony Solis, Re-Recording Mixer

• Paul Stula, Production Mixer

• Barry London, Production Mixer

Outstanding Sound Mixing For A Reality Program

The Amazing Race • Series Body Of Work • CBS • WorldRace ProPdaugceti o57ns, Inc.

• Jim Ursulak, Lead Production Mixer

• Allie Boettger, Production Mixer

• Paul Bruno, Production Mixer

• John Buchanan, Production Mixer

• Dean Gaveau, Production Mixer

• Ryan P. Kelly, Production Mixer

• Marcus Lominy, Production Mixer

• Richard Chardy Lopez, Production Mixer

• Mickey McMullen, Production Mixer

• Sean Milburn, Production Mixer

• Paul Orozco, Production Mixer

• Simon Paine, Production Mixer

• John Pitron, Production Mixer

• Jeff Zipp, Production Mixer

• Troy Smith, Re-Recording Mixer

• Ryan Gerle, Re-Recording Mixer

American Idol • Grand Finale • ABC • Fremantle and 19 Entertainment

• Patrick Smith, Production Mixer

• Randy Faustino, Music Mixer

• Michael Parker, PA Mixer

• Manny Barrajas, Monitor Mixer

• Christian Schrader, Suplemental Audio Mixer

• Jesse Dunham, Music Playback

• Barry Weir Jr., Re-Recording Mixer

• Adrian Ordonez, Re-Recording Mixer

Deadliest Catch • My Brothers Keeper • Discovery Channel • Original Productions, LLC for Discovery Channel

• Jared Robbins, Re-Recording Mixer

The Voice • Live Finale, Part 2 • NBC • MGM Television and Warner Bros. Unscripted Television in association with Warner

• Horizon and ITV Studios The Voice USA, Inc.

• Michael Abbott, Production Mixer

• Randy Faustino, Music Mixer

• Tim Hatayama, Re-Recording Mixer

• Christian Schrader, Supplemental Mixer

• Carlos Torres, Playback Mixer

• Andrew Fletcher, FOH Mixer

• Shaun Sebastian, Monitor Mixer

• Kenyata Westbrook, Reality Supervising Audio Mixer

• Colin Bonney, Reality Audio Mixers

• Servio Escobedo, Reality Audio Mixers

• John Koster, Reality Audio Mixers

• Robert P. Matthews Jr., Reality Audio Mixers

• Marlon Moore, Reality Audio Mixers

• Ryan Young, Re-Recording Mixer

Welcome To Wrexham • Down To The Wire • FX on Hulu • Boardwalk Pictures

• Mark Jensen, CAS, Re-Recording Mixer

Outstanding Production Design For A Narrative Contemporary Program (One Hour Or More)

The Last Of Us • Day One • HBO | Max • HBO in association with Sony Pictures Television, PlayStation Productions, Word Games, The Mighty Mint, and Naughty Dog

• Don MacAulay, Production Designer

• David Clarke, Supervising Art Director

• Jonathan Lancaster, Set Decorator

• Lisa Lancaster, Set Decorator

The Penguin • Homecoming • HBO | Max • HBO in association with Acid and Tender Productions, 6th & Idaho Motion Picture Company, Dylan Clark Productions, Chapel Place Productions, Zobot Projects, DC Studios, and Warner Bros. Television

• Kalina Ivanov, Production Designer

• Deborah Wheatley, Supervising Art Director

• Rich Murray, Set Decorator

• Richard Devine, Set Decorator

The Residence • The Fall Of The House Of Usher • Netflix • A Netflix Original Series in association with shondalandmedia

• François Audouy, Production Designer

• A. Todd Holland, Supervising Art Director

• Halina Siwolop, Set Decorator

Severance • Chikhai Bardo • Apple TV+ • Fifth Season in association with Apple

• Jeremy Hindle, Production Designer

• Chris Shriver, Art Director

• Ann Bartek, Art Director

• David Schlesinger, Set Decorator

The White Lotus • Amor Fati • HBO | Max • HBO in association with Rip Cord Page 2 and MC Pictures

• Cristina Onori, Production Designer

• Jeremy Woolsey, Supervising Art Director

• Letizia Santucci, Set Decorator

Outstanding Production Design For A Narrative Period Or Fantasy Program (One Hour Or More)

Andor • Who Are You? • Disney+ • Lucasfilm Ltd.

• Luke Hull, Production Designer

• Toby Britton, Supervising Art Director

• Rebecca Alleway, Set Decorator

Bridgerton • Romancing Mister Bridgerton • Netflix • A Netflix Original Series in association with shondalandmedia

• Alison Gartshore, Production Designer

• Antony Cartlidge, Supervising Art Director

• Natalie Papageorgiadis, Set Decorator

Dune: Prophecy • The Hidden Hand • HBO | Max • HBO presents a Legendary Television production in association with Flying Life Productions, Herbert Properties LLC, and Wandering Jew Productions

• Tom Meyer, Production Designer

• Guy Potgieter, Supervising Art Director

• Carolyn Loucks, Set Decorator

1923 • Wrap Thee In Terror • Paramount+ • Linson Entertainment, Bosque Ranch Productions, 101 Studios, MTV Entertainment Studios

• Cary White, Production Designer

• Lisa Ward, Production Designer

• Sean Ryan Jennings, Supervising Art Director

• Carla Curry, Set Decorator

Pachinko • Chapter Thirteen • Apple TV+ • Media Res / Blue Marble Pictures in association with Apple

• Ruth Ammon, Production Designer

• Larry Spittle, Supervising Art Director

• Eric Jeon, Supervising Art Director

• Ann Victoria Smart, Set Decorator

Outstanding Production Design For A Narrative Program (Half-Hour)

Hacks • A Slippery Slope • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment

• Rob Tokarz, Production Designer

• Jeanine Ringer, Art Director

• Jennifer Lukehart, Set Decorator

Mid-Century Modern • Working Girls • Hulu • 20th Television in association with Ryan Murphy Television and KoMut Entertainment

• Greg Grande, Production Designer

• Sam Kramer, Art Director

• Peter Gurski, Set Decorator

Only Murders In The Building • Gates Of Heaven • Valley Of The Dolls • Hulu • 20th Television

• Patrick Howe, Production Designer

• Casey Smith, Art Director

• Mila Khalevich, Set Decorator

The Studio • The Note • Apple TV+ • Lionsgate Television in association with Apple

• Julie Berghoff, Production Designer

• Brian Grego, Art Director

• Claire Kaufman, Set Decorator

What We Do In The Shadows • Headhunting • FX on Hulu • FX Productions

• Shayne Fox, Production Designer

• Hayley Isaacs, Art Director

• Aaron Noël, Art Director

• Kerri Wylie, Set Decorator

Outstanding Production Design For A Variety Or Reality Series

The Daily Show • Jon Stewart & The News Team Live At The Chicago DNC • Comedy Central • Hello Doggie, Inc.

• Dave Edwards, Production Designer

• Lauren Browning, Art Director

Jimmy Kimmel Live! • The Chanucorn & Hawk Tuah Girl’s Romantic Holiday Movie; Ft. Nikki Glaser, Nicholas Hoult, And Musical Guest Broadway Musical: “The Outsiders” • MAGA Elf On A Shelf; Ft. Josh Brolin, Clarence Maclin, And Musical Guest Raye • Jimmy Kimmel’s Aunt Chippy Meets Oscar The Grouch; Ft. Justin Theroux, Antoni Porowski And Musical Guest Sia • ABC • ABC Signature in association with Kimmelot

• David Ellis, Production Designer

• Hillarie Brigode, Art Director

• Heidi Miller, Set Decorator

Last Week Tonight With John Oliver • Mass Deportations • HBO | Max • HBO in association with Peyance Productions and Avalon Television

• Eric Morrell, Production Designer

• Hugh Zeigler, Production Designer

• Amanda Carzoli, Art Director

RuPaul's Drag Race • RDR Live! • MTV • World of Wonder

• Jen Chu, Production Designer

• Gavin Smith, Art Director

Saturday Night Live • Host: Lady Gaga • NBC • SNL Studios in association with Universal Television and Broadway Video

• Akira Yoshimura, Production Designer

• Keith Ian Raywood, Production Designer

• N. Joseph DeTullio, Production Designer

• Andrea Purcigliotti, Production Designer

• Patrick Lynch, Art Director

• Sara Parks, Set Decorator

Outstanding Production Design For A Variety Special

Beyoncé Bowl • Netflix • Jesse Collins Entertainment and Parkwood Entertainment for Netflix

• Willo Perron, Production Designer

• Brian Stonestreet, Production Designer

• Gloria Lamb, Art Director

• Jonathan Stoller-Schoff, Art Director

• Marina Skye, Art Director

The 67th Annual Grammy Awards • CBS • A Fulwell Entertainment production in association with The Recording Academy

• Julio Himede, Production Designer

• Kristen Merlino, Art Director

• Gloria Lamb, Art Director

• Ellen Jaworski, Art Director

• Margaux Lapresle, Art Director

• Kaydee Lavorin, Set Decorator

The Oscars • ABC • Academy of Motion Picture Arts and Sciences

• Misty Buckley, Production Designer

• Alana Billingsley, Production Designer

• John Zuiker, Art Director

• Margaux LaPresle, Art Director

SNL50: The Anniversary Special • NBC • SNL Studios in association with Universal Television Page 4 and Broadway Video

SNL50: The Anniversary Special • NBC • SNL Studios in association with Universal Television and Broadway Video

• Akira Yoshimura, Production Designer

• N. Joseph DeTullio, Production Designer

• Patrick Lynch, Art Director

• Melissa Shakun, Art Director

• Charlotte Hayes Harrison, Art Director

• Sabrina Lederer, Set Decorator

SNL50: The Homecoming Concert • Peacock • SNL Studios in association with Universal Television and Broadway Video

• Keith Ian Raywood, Production Designer

• Anthony Bishop, Supervising Art Director

• Aaron Black, Art Director

Outstanding Cinematography For A Series (Half-Hour)

Emily In Paris • Masquerade • Netflix • MTV Entertainment Studios, Darren Star Productions, and Jax Media for Netflix

• Seamus Tierney, Director of Photography

Georgie & Mandy's First Marriage • The 6:10 To Lubbock • CBS • Chuck Lorre Productions in association with Warner Bros. Television

• Buzz Feitshans IV, Director of Photography

Hacks • I Love LA • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment

• Adam Bricker, ASC, Director of Photography

The Righteous Gemstones • Prelude • HBO | Max • HBO in association with Rough House Pictures

• Paul Daley, Director of Photography

The Studio • The Oner • Apple TV+ • Lionsgate Television in association with Apple

• Adam Newport-Berra, Director of Photography

Outstanding Cinematography For A Series (One Hour)

Andor • Harvest • Disney+ • Lucasfilms Ltd.

• Christophe Nuyens, SBC, Director of Photography

The Day Of The Jackal • Episode 1 • Peacock • Peacock Original, Carnival Films

• Christopher Ross, BSC, Director of Photography

Étoile • The Swap • Prime Video • Amazon MGM Studios, Big Indie, Dorothy Parker Drank Here Productions

• M. David Mullen, ASC, Director of Photography

Pachinko • Chapter Nine • Apple TV+ • Media Res / Blue Marble Pictures in association with Apple

• Ante Cheng, Director of Photography

Severance • Hello, Ms. Cobel • Apple TV+ • Fifth Season in association with Apple

• Jessica Lee Gagné, Director of Photography

The White Lotus • Killer Instincts • HBO | Max • HBO in association with Rip Cord and MC Pictures

• Ben Kutchins, ASC, Director of Photography

Outstanding Cinematography For A Limited Or Anthology Series Or Movie

Adolescence • Episode 2 • Netflix • Warp Films, Matriarch Productions and Plan B for Netflix

• Matthew Lewis, Director of Photography

American Primeval • Episode 1 • Netflix • A Netflix Series / Grand Electric / Film 44

• Jacques Jouffret, ASC, Director of Photography

Disclaimer • I • Apple TV+ • Apple Studios, co-produced by Esperanto Filmoj and Anonymous Content

• Emmanuel Lubezki, ASC, AMC, Director of Photography

• Bruno Delbonnel, AFC, ASC, Director of Photography

The Penguin • Top Hat • HBO | Max • HBO in association with Acid and Tender Productions, 6th & Idaho Motion Picture Company, Dylan Clark Productions, Chapel Place Productions, Zobot Projects, DC Studios, and Warner Bros. Television

• David Franco, Director of Photography

Zero Day • Episode 2 • Netflix • A Netflix Series / Grand Electric / Prologue Entertainment / Canal Productions, Inc /

• Glickmania / Whatever Lola Wants Productions, Inc.

• John Conroy, ISC, Director of Photography

Outstanding Cinematography For A Nonfiction Program

Chef's Table • Jamie Oliver • Netflix • Boardwalk Pictures and David Gelb Planetarium for Netflix

• Adam Bricker, ASC, Director of Photography

100 Foot Wave • Chapter III - Cortes Bank • HBO | Max • HBO Presents, Topic Studios, Library Films, Amplify Pictures

• Michael Darrigade, Cinematography by

• Vincent Kardasik, Cinematography by

• Alexandre Lesbats, Cinematography by

• Laurent Pujol, Cinematography by

• Karl Sandrock, Cinematography by

• Chris Smith, Cinematography by

Ren Faire • Daddy's Dyin', Who's Got The Will? • HBO | Max • HBO Documentary Films presents a production of Elara Pictures in association with To Be Formed and Widow’s Peak

• Nate Hurtsellers, Director of Photography

Tucci In Italy • Tuscany • National Geographic • BBC Studios Specialist Factual Productions and Salt Productions for National Geographic

• Matt Ball, Director of Photography

Will & Harper • Netflix • A Netflix Documentary / A Wayfarer Studios Film / A Delirio Films Production / A Gloria Sanchez Production

• Zoë White, ACS, Director of Photography

Outstanding Cinematography For A Reality Program

The Amazing Race • Series Body Of Work • CBS • WorldRace Productions, Inc.

• Joshua Gitersonke, Director of Photography

• Bryan T. Adams, Camera

• Kathryn Barrows, Camera

• Kurt Carpenter, Camera

• Petr Cikhart, Camera

• Stephen A. Coleman, Camera

• David D'Angelo, Camera

• Matthew Di Girolamo, Camera

• Adam Haisinger, Camera

• Jamie Holland, Camera

• Kevin R. Johnson, Camera

• Jay Kaufman, Camera

• Ian Kerr, CSC, Camera

• Tim Laks, Camera

• Regan Letourneau, Camera

• Daniel Long, Camera

• Lucas Kenna Mertes, Camera

• Ryan Shaw, Camera

• Will Shipp, Camera

• Holly Thompson, Camera

• Alan Weeks, Camera

Life Below Zero • Series Body Of Work • National Geographic • BBC Studios

• Michael Cheeseman, Director of Photography

• Danny Day, Director of Photography

• Jason Hubbell, Director of Photography

• Ben Mullin, Director of Photography

• Charlie Beck, Director of Photography

• Dwayne Fowler, Director of Photography

• Jensen Walker, Director of Photography

• Brian Bitterfeld, Director of Photography

• Jeffrey Alexander, Camera

• Tyler Colgan, Camera

• Ashton Hurlburt, Camera

• Jayce Kolinski, Camera

• Wayne Shockey, Camera

Love On The Spectrum • Episode 7 • Netflix • Northern Pictures for Netflix

• Dave May, Cinematography by

• Cian O'Clery, Cinematography by

Survivor • Series Body Of Work • CBS • MGM Television

• Scott Duncan, Director of Photography

• Peter Wery, Director of Photography

• Russ Fill, Director of Photography

• Cullum Andrews, Camera

• Tim Barker, Camera

• Marc Bennett, Camera

• James Boon, Camera

• Paulo Castillo, Camera

• Rodney Chauvin, Camera

• Chris Ellison, Camera

• Ben Gamle, Camera

• Nixon George, Camera

• Marcus Hebbelmann, Camera

• Derek Hoffmann, Camera

• Matthias Hoffmann, Camera

• Toby Hogan, Camera

• Derek Holt, Camera

• Efrain "Mofi" Laguna, Camera

• Kyle McAuley, Camera

• Ian Miller, Camera

• Nico Nyoni, Camera

• Paul Peddinghaus, Camera

• Louis Powell, Camera

• Thomas Pretorius, Camera

• Erick Sarmiento, Camera

• Dirk Steyn, Camera

• John Tattersall, Camera

• Holly Thompson, Camera

• Paulo Velozo, Camera

• Christopher Barker, Director of Aerial Photography

• Granger Scholtz, Director of Aerial Photography

• Nic Van Der Westhuizen, Aerial Camera Operator

• Dwight Winston, Aerial Camera Operator

• Kenny Hoffmann, Aerial Camera Operator

The Traitors • Series Body Of Work • Peacock • Peacock Original, Studio Lambert

• Siggi Rosen-Rawlings, Director of Photography

• Matt Wright, Director of Photography

• Jack Booth, Camera

• Alex Bruno, Camera

• Ned Ellis-Jones, Camera

• Ollie Green, Camera

• Quin Jessop, Camera

• Guy Linton, Camera

• Joshua Montague, Camera

• Paul Rudge, Camera

• James Spencer, Camera

• Matt Thomson, Camera

• Alex Took, Camera

• Melvin Wright, Camera 

Outstanding Period Costumes

American Primeval • Episode 2 • Netflix • A Netflix Series / Grand Electric / Film 44

• Virginia B. Johnson, Costume Designer

• Donna Casey Aira, Costume Supervisor

• Tonya Barrett, Costume Supervisor

• Mila Hermanovski, Assistant Costume Designer

• Sueann Leung, Assistant Costume Designer

• April McCoy, Head of Workroom

Bridgerton • Into The Light • Netflix • A Netflix Original Series in association with shondalandmedia

• John Walter Glaser III, Costume Designer

• Amanda McLaughlan, Costume Supervisor

• Dougie Hawkes, Associate Costume Designer

• George Sayer, Assistant Costume Designer

• Anthony Brookman, Assistant Costume Designer

Monsters: The Lyle And Erik Menendez Story • Blame It On The Rain • Netflix • Ryan Murphy Productions for Netflix

• Stephanie Bradley, Costume Designer

• Michelle Sandvig, Costume Supervisor

• Shannon Campbell, Assistant Costume Designer

1923 • A Dream And A Memory • Paramount+ • Linson Entertainment, Bosque Ranch Productions, 101 Studios, MTV Entertainment Studios

• Janie Bryant, Costume Designer

• Gaby Acosta, Co-Costume Designer

• Jaclyn Tamizato, Costume Supervisor

• Kelly Chambers, Assistant Costume Designer

• Megan Guthrie-Wedemeyer, Assistant Costume Designer

Wolf Hall: The Mirror And The Light (MASTERPIECE) • Wreckage • PBS • A Playground and Company Pictures Production for BBC and MASTERPIECE in association with Banijay Rights Ltd.

• Joanna Eatwell, Costume Designer

• Havva Buckles, Costume Supervisor

• Clare Vyse, Assistant Costume Designer

Outstanding Fantasy/Sci-Fi Costumes

Agatha All Along • Follow Me My Friend / To Glory At The End • Disney+ • Marvel Television

• Daniel Selon, Costume Designer

• Ambre Wrigley, Costume Supervisor

• Christine Casaus, Assistant Costume Designer

• Maddison Carroll, Assistant Costume Designer

• Marilyn Madsen, Head of Workroom

• Greg Hopwood, Costume Illustrator

Andor • Harvest • Disney+ • Lucasfilm Ltd.

• Michael Wilkinson, Costume Designer

• Kate O'Farrell, Costume Supervisor

• Richard Davies, Assistant Costume Designer

• Paula Fajardo, Assistant Costume Designer

Black Mirror • USS Callister: Into Infinity • Netflix • Broke & Bones for Netflix

• Matthew Price, Costume Designer

• Lisa Mitton, Costume Supervisor

• Alice Woodward, Costume Supervisor

• Jennifer Geach, Assistant Costume Designer

• Calum Alexander Watt, Costume Illustrator

Dune: Prophecy • The Hidden Hand • HBO | Max • HBO presents a Legendary Television production in association with Flying Life Productions, Herbert Properties LLC, and Wandering Jew Productions

• Bojana Nikitović, Costume Designer

• Gábor Homonnay, Costume Supervisor

• Srdjan Perić, Assistant Costume Designer

House Of The Dragon • The Burning Mill • HBO | Max • HBO in association with Bastard Sword, GRRM and 1:26 Pictures Inc.

• Caroline McCall, Costume Designer

• Joanna Lynch, Costume Supervisor

• Polixeni Kyriacou, Assistant Costume Designer

• Aaron Timperley, Assistant Costume Designer

• Isabelle Conaghan, Assistant Costume Designer

Outstanding Contemporary Costumes For A Series

Emily In Paris • The Grey Area • Netflix • MTV Entertainment Studios, Darren Star Productions, and Jax Media for Netflix

• Marylin Fitoussi, Costume Designer

• Chloé Bartonio, Wardrobe Supervisor

• Herehau Ragonneau, Assistant Costume Designer

Hacks • Heaven • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment

• Kathleen Felix-Hager, Costume Designer

• Keely Crum, Costume Supervisor

The Righteous Gemstones • You Hurled Me Into The Depths, Into The Very Heart Of The Seas • HBO | Max • HBO in association with Rough House Pictures

• Christina Flannery, Costume Designer

• Elizabeth Tagg, Costume Supervisor

• Maura Cusick, Assistant Costume Designer

• Aughra Moon, Head of Workroom

The Studio • CinemaCon • Apple TV+ • Lionsgate Television in association with Apple

• Kameron Lennox, Costume Designer

• Betsy Glick, Costume Supervisor

• Tyler Kinney, Assistant Costume Designer

The White Lotus • Same Spirits, New Forms • HBO | Max • HBO in association with Rip Cord and MC Pictures

• Alex Bovaird, Costume Designer

• Eileen Sieff Stroup, Costume Supervisor

• Preeyanan 'Lin' Suwannathada, Costume Supervisor

• Brian Sprouse, Assistant Costume Designer

• Giulia Moschioni, Assistant Costume Designer

Outstanding Contemporary Costumes For A Limited Or Anthology Series Or Movie

Adolescence • Episode 2 • Netflix • Warp Films, Matriarch Productions and Plan B for Netflix

• Jessica Schofield, Costume Designer

• William Maher, Costume Supervisor

• Tracey Cliffe, Assistant Costume Designer

American Horror Stories • Backrooms • FX on Hulu • 20th Television

• Sara O'Donnell, Costume Designer

• Laura McCarthy, Wardrobe Supervisor

• Alyssa Bracken, Assistant Costume Designer

• Ashley Holvick, Assistant Costume Designer

Dying For Sex • Topping Is A Sacred Skill • FX on Hulu • 20th Television

• Melissa Toth, Costume Designer

• Kenn Hamilton, Wardrobe Supervisor

• Caroline Quiroga, Assistant Costume Designer

• Christine Rumery, Assistant Costume Designer

• David Burnett, Assistant Costume Designer

The Penguin • A Great Or Little Thing • HBO | Max • HBO in association with Acid and Tender Productions, 6th & Idaho Motion Picture Company, Dylan Clark Productions, Chapel Place Productions, Zobot Projects, DC Studios, and Warner Bros. Television

• Helen Huang, Costume Designer

• Kate Smith, Costume Supervisor

• Austin Wittick, Assistant Costume Designer

• Becca Freund, Assistant Costume Designer

• Esther J. Han, Assistant Costume Designer

Sirens • Exile • Netflix • LuckyChap, Quiet Coyote and On The Verge for Netflix

• Caroline Duncan, Costume Designer

• Paul Thompson, Wardrobe Supervisor

• Tricia Barsamian, Assistant Costume Designer

• Heather Breen, Assistant Costume Designer

• Sarah Babcot, Assistant Costume Designer

Outstanding Emerging Media Program

Impulse: Playing With Reality • META • Anagram, Floréal, France Télévisions, META, Agog, CNC

• Anagram

• Floréal

• META

• France Télévisions

• Agog

Shawn Mendes: Red Rocks Live In VR • META Quest • META, Dorsey Pictures, Light Sail VR, 7 Cinematics

• META

• Dorsey Pictures

• Light Sail VR

• 7 Cinematics

SNL 50th The Anniversary Special: Immersive Experience • META Quest • SNL Studios in association with Universal Television and Broadway Video, NBC, META, Light Sail VR

• Lorne Michaels, Executive Producer

• Michael DeProspo, Producer

• Michael Scogin, Producer

• Rick Rey, Producer

• Matthew Celia, Director

Outstanding Contemporary Hairstyling

Abbott Elementary • 100th Day Of School • ABC • Delicious Non-Sequitur Productions and Fifth Chance in association with Warner Bros. Television and 20th Television

• Moira Frazier, Department Head Hairstylist

• Dustin Osborne, Key Hairstylist

• Christina Joseph, Hairstylist

• Charolette Noon, Hairstylist

• Natita Stribling, Hairstylist

Emily In Paris • Back On The Crazy Horse • Netflix • MTV Entertainment Studios, Darren Star Productions, and Jax Media for Netflix

• Carole Nicolas, Department Head Hairstylist

• Miharu Oshima, Key Hairstylist

• Mike Désir, Personal Hairstylist

• Julien Parizet, Personal Hairstylist

• Stéphane Delahaye, Personal Hairstylist

Hacks • I Love LA • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment

• Aubrey Marie, Department Head Hairstylist

• Becca Weber, Key Hairstylist

• Marva Stokes, Hairstylist

• Alexis Sade Stafford, Hairstylist

• Jennifer Bell, Personal Hairstylist

The Penguin • Cent'anni • HBO | Max • HBO in association with Acid and Tender Productions, 6th & Idaho Motion Picture Company, Dylan Clark Productions, Chapel Place Productions, Zobot Projects, DC Studios, and Warner Bros. Television

• Brian Badie, Department Head Hairstylist

• Jenn Vasilopoulos, Key Hairstylist

• Mariko Miyagi, Hairstylist

The Studio • CinemaCon • Apple TV+ • Lionsgate Television in association with Apple

• Vanessa Price, Department Head Hairstylist

• Alexandra Ford, Key Hairstylist

• Lauren McKeever, Hairstylist

The White Lotus • Amor Fati • HBO | Max • HBO in association with Rip Cord and MC Pictures

• Miia Kovero, Department Head Hairstylist

• Derrick Anthony Spruill, Key Hairstylist

• Punchaya "Nern" Phorang, Key Hairstylist

• Teresa Hinton, Hairstylist

• Sudjai 'Jaiko' Tangsiripracha, Hairstylist

Outstanding Period Or Fantasy/Sci-Fi Hairstyling

Anne Rice's Interview With The Vampire • No Pain • AMC • An AMC Studios Production in association with GranVia Productions and Dwight Street Book Club

• Francesco Pegoretti, Hair Designer

• Marica Falso, Key Hairstylist

• Elena Fabbiani, Hairstylist

Bridgerton • Old Friends • Netflix • A Netflix Original Series in association with shondalandmedia

• Erika Okvist, Hair Designer

• Farida Ghwedar, Hairstylist

• Grace Stella Gorman, Hairstylist

• Laura Sim, Barber

House Of The Dragon • Smallfolk • HBO | Max • HBO in association with Bastard Sword, GRRM and 1:26 Pictures Inc.

• Rosalia Culora, Hair Designer

• Stacey Johnson, Hairstylist

• Kashiya Hinds, Hairstylist

• Tania Couper, Hairstylist

• Sarah Spears, Hairstylist

• Ella Burton, Hairstylist

Monsters: The Lyle And Erik Menendez Story • Hang Men • Netflix • Ryan Murphy Productions for Netflix

• Karen Bartek, Department Head Hairstylist

• Brittany Madrigal, Key Hairstylist

• Elissa Ruminer, Additional Hairstylist

• Analyn Cruz, Additional Hairstylist

• Kaity Licina, Additional Hairstylist

What We Do In The Shadows • The Finale • FX on Hulu • FX Productions

• Tamara Harrod, Department Head Hairstylist

• Amanda Nestico, Key Hairstylist

• Regan Noble, Hairstylist

Outstanding Hairstyling For A Variety, Nonfiction Or Reality Program

American Idol • Finale • ABC • Fremantle and 19 Entertainment

• Dean Banowetz, Department Head Hairstylist

• Amber Maher, Key Hairstylist

• Cory Rotenberg, Additional Hairstylist

• Ryan Randall, Additional Hairstylist

• Kathleen Leonard, Additional Hairstylist

• Theresa K. Casillas, Additional Hairstylist

• Lorenzo Martin, Personal Hairstylist

• Jayson Stacy, Personal Hairstylist

The Boulet Brothers' Dragula • Welcome To Hell • Shudder • A Boulet Brothers production in association with Shudder

• Marco Gabellini, Hairstylist

Dancing With The Stars • Halloween Nightmares • ABC • BBC Studios Los Page 21 Angeles Productions

Dancing With The Stars • Halloween Nightmares • ABC • BBC Studios Los Angeles Productions

• Kimi Messina, Department Head Hairstylist

• Joe Matke, Key Hairstylist

• Marion Rogers, Hairstylist

• Amber Maher, Hairstylist

• Florence Witherspoon, Hairstylist

• Brittany Spaulding, Hairstylist

• Melanie Ervin, Hairstylist

Fantasmas • The Void • HBO | Max • HBO in association with Irony Point, Fruit Tree, 3 Arts Entertainment, and Space Prince Inc.

• Amber Jasmin Morrow, Department Head Hairstylist

• Allison Imoto-Suh, Key Hairstylist

• Naomi Indira, Barber

SNL50: The Anniversary Special • NBC • SNL Studios in association with Universal Television and Broadway Video

• Jodi Mancuso, Department Head Hairstylist

• Cara Hannah, Key Hairstylist

• Inga Thrasher, Hairstylist

• Amanda Duffy Evans, Hairstylist

• Chad Harlow, Hairstylist

• Gina Ferrucci, Hairstylist

• Brittany Hartman, Hairstylist

• Katie Beatty, Hairstylist

The Voice • Live Semi-Final Performances • NBC • MGM Television and Warner Bros. Unscripted Television in association with

• Warner Horizon and ITV Studios The Voice USA, Inc.

• Jerilynn Stephens, Department Head Hairstylist

• Darbie Wieczorek, Key Hairstylist

• Marion Rogers, Hairstylist

• Kathleen Leonard, Hairstylist

• Dominique Diaz, Personal Hairstylist

• Conrad Hilton, Barber

Outstanding Contemporary Makeup (Non-Prosthetic)

Grotesquerie • Unplugged • FX on Hulu • 20th Television

• Kate Biscoe, Department Head Makeup Artist

• Tierra Richards, Assistant Department Head Makeup Artist

• Victor Del Castillo, Makeup Artist

• Naima Jamal, Personal Makeup Artist

The Last Of Us • Day One • HBO | Max • HBO in association with Sony Pictures Television, PlayStation Productions, Word Games, The Mighty Mint, and Naughty Dog

• Rebecca Lee, Department Head Makeup Artist

• Krystal Devlin, Key Makeup Artist

• Amber Trudeau, Key Makeup Artist

• Leslie Graham, Key Makeup Artist

• Jessica Wong, 1st Makeup

• Chelsea Matthews, 1st Makeup

Only Murders In The Building • Valley Of The Dolls • Hulu • 20th Television

• Arielle Toelke, Department Head Makeup Artist

• Kim Taylor, Key Makeup Artist

• Joelle Troisi, Makeup Artist

• Ana Sorys, Makeup Artist

The Penguin • Cent'anni • HBO | Max • HBO in association with Acid and Tender Productions, 6th & Idaho Motion Picture Company, Dylan Clark Productions, Chapel Place Productions, Zobot Projects, DC Studios, and Warner Bros. Television

• Martha Melendez, Department Head Makeup Artist

• Kim Collea, Key Makeup Artist

• Maria Maio, Makeup Artist

The Pitt • 7:00 P.M. • HBO | Max • Max in association with John Wells Productions, R. Scott Gemmill Productions, and Warner Bros. Television

• Merry Lee Traum, Key Makeup Artist

• Marie-Flore 'Ri' Beaubien, Makeup Artist

• Leesa Simone, Makeup Artist

The White Lotus • Full-Moon Party • HBO | Max • HBO in association with Rip Cord and MC Pictures

• Rebecca Hickey, Department Head Makeup Artist

• Michelle Kearns, Key Makeup Artist

• Wattana 'Geng' Garum, Key Makeup Artist

• Vicky Nugent, Makeup Artist

• Jeerasak 'Jojo' Srinuan, Makeup Artist

Outstanding Period Or Fantasy/Sci-Fi Makeup (Non-Prosthetic)

Anne Rice's Interview With The Vampire • Do You Know What It Means To Be Loved By Death • AMC • An AMC Studios Production in association with GranVia Productions and Dwight Street Book Club

• Vincenzo Mastrantonio, Makeup Designer

• Daniele Nastasi, Key Makeup Artist

• Adele Di Trani, Makeup Artist

• Charlene Williams, Makeup Artist

House Of The Dragon • The Red Dragon And The Gold • HBO | Max • HBO in association with Bastard Sword, GRRM and 1:26 Pictures Inc.

• Amanda Knight, Makeup Designer

• Sara Kramer, Makeup Supervisor

• Harriet Thompson, Makeup Supervisor

• Bonny Monger, Makeup Artist

• Helen Currie, Makeup Artist

• Natalie Wickens, Makeup Artist

• Vickie Ellis, Makeup Artist

Monsters: The Lyle And Erik Menendez Story • Brother, Can You Spare A Dime? • Netflix • Ryan Murphy Productions for Netflix

• Miho Suzuki, Department Head Makeup Artist

• Sabrina Wilson, Assistant Department Head Makeup Artist

• Michael Anthony Ornelaz, Key Makeup Artist

• Ana Lozano, Personal Makeup Artist

The Righteous Gemstones • Prelude • HBO | Max • HBO in association with Rough House Pictures

• Leigh Ann Yandle, Department Head Makeup Artist

• Nataleigh Verrengia, Makeup Artist

• Alexander McPherson, Additional Makeup Artist

• Lori McCoy Bell, Personal Makeup Artist

What We Do In The Shadows • Come Out And Play • FX on Hulu • FX Productions

• Sarah Milk, Department Head Makeup Artist

• Lorna Thibodeau, Key Makeup Artist

• Cherie Snow, Makeup Artist

• Heather Holett-French, Makeup Artist

Outstanding Makeup For A Variety, Nonfiction Or Reality Program

The Boulet Brothers' Dragula • Welcome To Hell • Shudder • A Boulet Brothers production in association with Shudder

• The Boulet Brothers, Makeup Artist

Dancing With The Stars • Halloween Nightmares • ABC • BBC Studios Los Angeles Productions

• Zena S. Green, Department Head Makeup Artist

• Julie Socash, Key Makeup Artist

• Donna Bard, Additional Makeup Artist

• Lois Harriman, Additional Makeup Artist

• Brian Sipe, Additional Makeup Artist

• James MacKinnon, Additional Makeup Artist

• Tyson Fountaine, Additional Makeup Artist

• Angela Moos, 3rd Makeup

The Lion King At The Hollywood Bowl • Disney+ • Disney Concerts, Fulwell 73 Productions, AMP Worldwide and Live Nation-

• Hewitt Silva, Disney Branded Television

• Bruce Grayson, Department Head Makeup Artist

• Jill Cady, Assistant Department Head Makeup Artist

• Brielle McKenna, Makeup Artist

• James Mackinnon, Makeup Artist

• Rochelle Uribe, Makeup Artist

• Tyson Fountaine, Makeup Artist

• Angela Wells, Makeup Artist

A Nonsense Christmas With Sabrina Carpenter • Netflix • OBB Pictures, At Last Productions for Netflix

• Diana Oh, Key Makeup Artist

• Vanessa Dionne, Makeup Artist

• Alicia Carbajal, Makeup Artist

• Ashley Joy Beck, Makeup Artist

• Carolina Gonzalez, Personal Makeup Artist

RuPaul's Drag Race • Bitch, I’m A Drag Queen! • MTV • World of Wonder

• Natasha Marcelina, Department Head Makeup Artist

• David Petruschin, Department Head Makeup Artist

• Jen Fregozo, Makeup Artist

• Nicole Faulkner, Makeup Artist

SNL50: The Anniversary Special • NBC • SNL Studios in association with Universal Television and Broadway Video

• Louie Zakarian, Department Head Makeup Artist

• Jason Milani, Key Makeup Artist

• Amy Tagliamonti, Key Makeup Artist

• Rachel Pagani, Makeup Artist

• Young Bek, Makeup Artist

• Stephen Kelley, Makeup Artist

• Joanna Pisani, Makeup Artist

Outstanding Prosthetic Makeup

House Of The Dragon • The Red Sowing • HBO | Max • HBO in association with Bastard Sword, GRRM and 1:26 Pictures Inc.

• Waldo Mason, Prosthetic Designer

• Claire Cameron, Makeup Supervisor

• Heather McMullen, Prosthetic Makeup Artist

• Emma Faulkes, Prosthetic Makeup Artist

• Hannah Eccleston, Prosthetic Makeup Artist

The Last Of Us • Feel Her Love • HBO | Max • HBO in association with Sony Pictures Television, PlayStation Productions, Word Games, The Mighty Mint, and Naughty Dog

• Paul Spateri, Department Head Makeup Artist

• Barrie Gower, Prosthetic Designer

• Lucy Pittard, Key Prosthetic Makeup Artist

• Johnny Murphy, Key Prosthetic Makeup Artist

• Colum Mangan, Key Prosthetic Makeup Artist

• Gillian Jarvis, Key Prosthetic Makeup Artist

• Sarah Pickersgill, Key Prosthetic Makeup Artist

• Chris Devitt, Key Prosthetic Makeup Artist

The Penguin • After Hours • HBO | Max • HBO in association with Acid and Tender Productions, 6th & Idaho Motion Picture Company, Dylan Clark Productions, Chapel Place Productions, Zobot Projects, DC Studios, and Warner Bros. Television

• Mike Marino, Prosthetic Designer

• Michael Fontaine, Special Makeup Effects Artist

• Crystal Jurado, Special Makeup Effects Artist

• Diana Choi, Special Makeup Effects Artist

• Claire Flewin, Special Makeup Effects Artist

• Jerry Constantine, Special Makeup Effects Artist

• Yoichi Art Sakamoto, Special Makeup Effects Artist

• Bobby Diehl, Special Makeup Effects Artist

The Pitt • 4:00 P.M. • HBO | Max • Max in association with John Wells Productions, R. Scott Gemmill Productions, and Warner Bros. Television

• Myriam Arougheti, Department Head Makeup Artist

• Thom Floutz, Special Makeup Effects Artist

• Chris Burgoyne, Special Makeup Effects Artist

• Martina Sykes, Special Makeup Effects Artist

Saturday Night Live • Host: Timothée Chalamet • NBC • SNL Studios in association with Universal Television and Broadway Video

• Louie Zakarian, Department Head Makeup Artist

• Jason Milani, Key Makeup Artist

• Amy Tagliamonti, Key Makeup Artist

• Stephen Kelley, Makeup Artist

• Brandon Grether, Makeup Artist

• Tom Denier Jr., Makeup Artist

• Craig Lindberg, Makeup Artist

Outstanding Special Visual Effects In A Season Or A Movie

Andor • Disney+ • Lucasfilm Ltd.

• Mohen Leo, Visual Effects Supervisor

• TJ Falls, Visual Effects Producer

• Luke Murphy, Special Effects Supervisor

• Neal Scanlan, Special Creature Effects by

• Scott Pritchard, ILM Visual Effects Supervisor

• Joseph Kasparian, Hybride Visual Effects Supervisor

• Sue Rowe, Scanline Visual Effects Supervisor

• Paolo D'Arco, In-House VFX Supervisor

• Jean-Clément Soret, Digital Colourist

Dune: Prophecy • HBO | Max • HBO presents a Legendary Television production in association with Flying Life Productions, Herbert Properties LLC, and Wandering Jew Productions

• Terron Pratt, Visual Effects Supervisor

• Michael Enriquez, Visual Effects Supervisor

• Brennan Prevatt, Additional Visual Effects Supervisor

• Martyn Culpitt, Visual Effects Supervisor (Image Engine)

• Philip Engstrom, Visual Effects Supervisor (Important Looking Pirates)

• Peter Lames, Visual Effects Supervisor (Accenture Song VFX)

• Julien Hery, Visual Effects Supervisor (Rodeo FX)

• Vincent Poitras, Visual Effects Supervisor (Raynault VFX)

• Jed Glassford, On-Set Visual Effects Supervisor

House Of The Dragon • HBO | Max • HBO in association with Bastard Sword, GRRM and 1:26 Pictures Inc.

• Daði Einarsson, Visual Effects Supervisor (HBO Production)

• Lev Kolobov, Associate Visual Effects Supervisor (HBO Production)

• Thomas Horton, Visual Effects Producer (HBO Production)

• Mike Dawson, Special Effects Supervisor (HBO Production)

• Sven Martin, Visual Effects Supervisor (Pixomondo)

• Fausto Tejeda, Associate Visual Effects Supervisor (Pixomondo)

• Wayne Taz Stables, Visual Effects Supervisor (Wētā FX)

• Marcus Goodwin, Visual Effects Producer (Wētā FX)

• Martin Pelletier, Visual Effects Supervisor (Rodeo FX)

The Last Of Us • HBO | Max • HBO in association with Sony Pictures Television, PlayStation Productions, Word Games, The Mighty Mint, and Naughty Dog

• Alex Wang, Overall Visual Effects Supervisor

• Fiona Campbell Westgate, Overall Visual Effects Producer

• Jed Glassford, 2nd-Unit Visual Effects Supervisor

• Joel Whist, Production SFX Supervisor

• Stephen James, Visual Effects Supervisor (DNEG)

• Nick Epstein, Visual Effects Supervisor (Wētā FX)

• Dennis Yoo, Animation Supervisor (Wētā FX)

• Philip Engström, Visual Effects Supervisor (ILP)

• Andreas Giesen, Visual Effects Supervisor (RISE FX)

The Lord Of The Rings: The Rings Of Power • Prime Video • Amazon MGM Studios

• Jason Smith, Senior VFX Supervisor

• Tim Keene, VFX Producer

• Ann Podlozny, VFX Producer

• James Yeoman, VFX Co-Producer

• Daniele Bigi, VFX Supervisor (ILM)

• Greg Butler, VFX Supervisor (DNEG)

• Ara Khanikian, VFX Supervisor (Rodeo FX)

• Laurens Ehrmann, VFX Supervisor (The Yard)

• Ryan Conder, SFX Supervisor

Outstanding Special Visual Effects In A Single Episode

Black Mirror • USS Callister: Into Infinity • Netflix • Broke & Bones for Netflix

• James MacLachlan, VFX Supervisor

• Josie Henwood, VFX Producer

• Kubra Tanyel, VFX Production Manager

• David Schneider, Senior DFX Supervisor

• Tallulah Baker, VFX Producer

• Jane Paton, 2D Supervisor

• Jonathan Caruana, VFX Supervisor

• Filip Latal, VFX Supervisor

• Jamie Wood, VFX Supervisor

The Penguin • Bliss • HBO | Max • HBO in association with Acid and Tender Productions, 6th & Idaho Motion Picture Company, Dylan Clark Productions, Chapel Place Productions, Zobot Projects, DC Studios, and Warner Bros. Television

• Johnny Han, Overall VFX Supervisor

• Michelle Rose, Overall VFX Producer

• Alexandre Prod’homme, On-Set VFX Supervisor

• Erin Sullivan, VFX Editor

• Goran Pavles, Vendor VFX Supervisor

• Emanuel Fuchs, Vendor VFX Supervisor

• Ed Bruce, Vendor VFX Supervisor

• Nathaniel Larouche, Vendor VFX Supervisor

• Adrien Saint Girons, Vendor VFX Supervisor

The Residence • The Fall Of The House Of Usher • Netflix • A Netflix Original Series in association with shondalandmedia

• Seth Hill, VFX Supervisor

• Tesa Kubicek, VFX Producer

• John Nelson, VFX Supervisor

• Ryan Urban, VFX Supervisor

• Phillip Moses, VFX Supervisor

• Brandon Nelson, Creative Director

• Spencer Hecox, Compositing Supervisor

• Gabriel Vargas, CG Supervisor

• Burke Roane, Animation Supervisor

Severance • Hello, Ms. Cobel • Apple TV+ • Fifth Season in association with Apple

• Eric Leven, Production Visual Effects Supervisor

• Sean Findley, Production Visual Effects Producer

• Shawn Hillier, ILM Visual Effects Associate Supervisor

• Radost Ridlen, ILM Visual Effects Associate Supervisor

• Martin Kolejak, ILM Environments Lead

• Brian Holligan, ILM Producer

• Alex Lemke, ESE VFX Supervisor

• Michael Huber, ESE VFX Supervisor

• Djuna Wahlrab, On-Set VFX Supervisor

The Umbrella Academy • End Of The Beginning • Netflix • UCP for Netflix

• Everett Burrell, Overall VFX Supervisor

• Sabrina Arnold, VFX Producer

• Sophie Vertigan, Overall Special Effects Supervisor

• Laurent Spillemaecker, VFX Supervisor

• Gabriel Beauvais, CG Supervisor

• Maria Saade, VFX Producer

• Pier-Olivier Allard, Lead Animator

• Ryan Freer, Supervising VFX Supervisor

• Jeff Campbell, VFX Supervisor

Outstanding Technical Direction and Camerawork For A Series

After Midnight • Featuring Jonah Ray, Kumail Nanjiani, Emily Gordon • CBS • CBS Studios in association with Spartina Industries and Funny Or Die

• Christine Salomon, Technical Director

• Lauren Gadd, Camera

• Dawn Henry, Camera

• Chris Hamilton, Camera

• Cory Hunter, Camera

• Cary Symmons, Camera

• Jani Zandovskis, Camera

The Daily Show • Jon Stewart & The News Team Live At The Chicago DNC • Comedy Central • Hello Doggie, Inc.

• Michael Williams, Technical Director

• John Floresca, Camera

• Charlie Foerschner, Camera

• Jeff Latonero, Camera

• James McEvoy, Camera

• Matt Muro, Camera

• Tim Quigley, Camera

• Phil Salanto, Camera

• Michael Schmehl, Camera

• Rich York, Camera

Everybody's Live With John Mulaney • How Tall Are You? • Netflix • Multiple Camera Productions for Netflix

• Chris Salomon, Technical Director

• Bert Atkinson, Camera

• Ed Horton, Camera

• Karin Pelloni, Camera

• Cole Overholser, Camera

• George Prince, Camera

• John Perry, Camera

• Keyan Safyari, Camera

• Damien Tuffereau, Camera

• Suzie Weis, Camera

• Terrance Ho, Video Control

Saturday Night Live • Host: Jack Black • NBC • SNL Studios in association with Universal Television and Broadway Video

• Bill DiGiovanni, Technical Director

• John Pinto, Camera

• Paul Cangialosi, Camera

• Anthony Tarantino, Camera

• Dave Driscoll, Camera

• Brian Phraner, Camera

• Daniel Erbeck, Camera

The Voice • Live Finale (Part 1) • NBC • MGM Television and Warner Bros. Unscripted Television in association with Warner Horizon and ITV Studios The Voice USA, Inc.

• Allan Wells, Technical Director

• Manny Bonilla, Camera

• Mano Bonilla, Camera

• Martin J. Brown Jr., Camera

• Robert Burnette, Camera

• Suzanne Ebner, Camera

• Guido Frenzel, Camera

• Alex Hernandez, Camera

• Scott Hylton, Camera

• Scott Kaye, Camera

• Jofre Rosero, Camera

• Steve Thiel, Camera

• Danny Webb, Camera

Outstanding Technical Direction and Camerawork For A Special

Bono: Stories Of Surrender • Apple TV+ • Apple / Plan B Entertainment / RadicalMedia

• Erik Messerschmidt, Camera

• Mark Goellnicht, Camera

• Brian S. Osmond, Camera

• Vince Vennitti, Camera

• Charles Libin, Camera

• Christine Kapo Ng, Camera

• Richard Rutkowski, Camera

• Luke McCoubrey, Camera

An Evening With Dua Lipa • CBS • A Fulwell Entertainment and Radical 22 production

• Nick Kauffman, Camera

• Lincoln Abraham, Camera

• Gareth Beeson, Camera

• John Clarke, Camera

• Alex Dodd, Camera

• Curtis Dunne, Camera

• Dave Emery, Camera

• Dave Evans, Camera

• Ben Frewin, Camera

• Lisha Gilbert, Camera

• Matt Gladstone, Camera

• Dom Jackson, Camera

• Rob Mansfield, Camera

• Ali Miller, Camera

• James Neal, Camera

• Sophie Penwill, Camera

• Mark Sayers, Camera

• Alan Wells, Camera

• Shaun Willis, Camera

An Evening With Elton John & Brandi Carlile • CBS • A Fulwell Entertainment, Rocket, Phantom, EMI production

• Dan Winterburn, Technical Director

• Bill Ashworth, Camera

• Curtis Dunne, Camera

• Alex Dodd, Camera

• Ben Frewin, Camera

• Sam Keogh, Camera

• Marcus Leon Soon, Camera

• Lewis Mutongwizo, Camera

• Mark Sayers, Camera

• Andre Seraille, Camera

• Carl Veckranges, Camera

• Shaun Willis, Camera

• Alan Wells, Camera

The Lion King At The Hollywood Bowl • Disney+ • Disney Concerts, Fulwell 73 Productions, AMP Worldwide and Live Nation-Hewitt Silva, Disney Branded Television

• Brandon Smith, Technical Director

• Tim Farmer, Camera

• Jofre Rosero, Camera

• David Rudd, Camera

• George Prince, Camera

• Karin Pelloni, Camera

• Rob Palmer, Camera

• Bobby Delrusso, Camera

• Rob Vuona, Camera

• Austin Rock, Camera

• John Perry, Camera

• Adam Margolis, Camera

• Danny Bonilla, Camera

• Danny Webb, Camera

2024 Rock & Roll Hall Of Fame Induction Ceremony • ABC • Tenth Planet Productions

• Eric Becker, Technical Director

• Danny Bonilla, Camera

• Kary D'Alessandro, Camera

• Dave Driscoll, Camera

• Curtis Eastwood, Camera

• David Eastwood, Camera

• Nathanial Havholm, Camera

• Jeff Johnson, Camera

• Zachariah Jones, Camera

• Jay Kulick, Camera

• Dave Levisohn, Camera

• Adam Margolis, Camera

• Rob Palmer, Camera

• Tim Quigley, Camera

• Jofre Rosero, Camera

• David Rudd, Camera

• Chad Smith, Camera

• Matt Trujillo, Camera

• Easter Xua, Camera

• Tom Zaleski, Camera

• Jeremy Freeman, Camera

SNL50: The Anniversary Special • NBC • SNL Studios in association with Universal Television and Broadway Video

• Bill DiGiovanni, Technical Director

• John Pinto, Camera

• Paul Cangialosi, Camera

• Anthony Tarantino, Camera

• Dave Driscoll, Camera

• Brian Phraner, Camera

• Daniel Erbeck, Camera

• Michael Knarre, Camera

• Anthony Lenzo, Camera

• Ansel Nunez, Camera

• Rick Fox, Camera

Read the latest issue of Athleisure Mag.

AWARDS SEASON | PRIMETIME EMMYS NOMINATIONS

Today, the Television Academy announced this year’s nominees for the 77th Primetime Emmys which will take place on Sep 14th on CBS at 8pm ET and will be streamed on Paramount+ which will be hosted by Nate Bargatze. We all know that there have been a number of shows we have enjoyed and we’ll see what ends up walking away with a statue. As we do throughout Awards Season, we share our predictions in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics. On the night of the event, we will share who we predicted correctly as well as those we didn’t that won.

Outstanding drama series

"Andor" (Disney+)

"The Diplomat" (Netflix)

"The Last of Us" (HBO Max)

"Paradise" (Hulu)

"The Pitt" (HBO Max)

"Severance" (Apple TV+)

"Slow Horses" (Apple TV+)

"The White Lotus" (HBO Max)

Outstanding comedy series

"Abbott Elementary" (ABC)

"The Bear" (FX)

"Hacks" (HBO Max)

"Nobody Wants This" (Netflix)

"Only Murders in the Building" (Hulu)

"Shrinking" (Apple TV+)

"The Studio" (Apple TV+)

"What We Do in the Shadows" (FX)

Outstanding limited or anthology series

"Adolescence" (Netflix)

"Black Mirror" (Netflix)

"Dying for Sex" (FX)

"Monsters: The Lyle and Erik Menendez Story" (Netflix)

"The Penguin" (HBO Max)

Outstanding television movie

"Bridget Jones: Mad About the Boy" (Peacock)

"The Gorge" (Apple TV+)

"Mountainhead" (HBO Max)

"Nonnas" (Netflix)

"Rebel Ridge" (Netflix)

Outstanding reality competition program

"The Amazing Race" (CBS)

"RuPaul's Drag Race" (MTV)

"Survivor" (CBS)

"Top Chef" (Bravo)

"The Traitors" (Peacock)

Outstanding talk series

"The Daily Show" (Comedy Central)

"Jimmy Kimmel Live!" (ABC)

"The Late Show with Stephen Colbert" (CBS)

Outstanding scripted variety series

"Last Week Tonight with John Oliver" (HBO Max)

"Saturday Night Live" (NBC)

Outstanding variety special (live)

"The Apple Music Super Bowl LIX Halftime Show Starring Kendrick Lamar" (Fox)

"Beyoncé Bowl" (Netflix)

"The Oscars" (ABC)

"SNL50: The Anniversary Special" (NBC)

"SNL50: The Homecoming Concert" (Peacock)

Outstanding variety special (pre-recorded)

"Adam Sandler: Love You" (Netflix)

"Ali Wong: Single Lady" (Netflix)

"Bill Burr: Drop Dead Years" (Hulu)

"Conan O'Brien: The Kennedy Center Mark Twain Prize For American Humor" (Netflix)

"Sarah Silverman: Postmortem" (Netflix)

"Your Friend, Nate Bargatze" (Netflix)

Outstanding game show

"Celebrity Family Feud" (ABC)

"Jeopardy" (ABC)

"The Price is Right" (CBS)

"Wheel of Fortune" (ABC)

"Who Wants to Be a Millionaire" (ABC)

Outstanding lead actress in a drama series

Kathy Bates, "Matlock"

Sharon Horgan, "Bad Sisters"

Britt Lower, "Severance"

Bella Ramsey, "The Last of Us"

Keri Russell, "The Diplomat"

Outstanding lead actor in a drama series

Sterling K. Brown, "Paradise"

Gary Oldman, "Slow Horses"

Pedro Pascal, "The Last of Us"

Adam Scott, "Severance"

Noah Wyle, "The Pitt"

Outstanding lead actress in a comedy series

Uzo Aduba, "The Residence"

Kristen Bell, "Nobody Wants This"

Quinta Brunson, "Abbott Elementary"

Ayo Edebiri, "The Bear"

Jean Smart, "Hacks"

Outstanding lead actor in a comedy series

Adam Brody, "Nobody Wants This"

Seth Rogen, "The Studio"

Jason Segel, "Shrinking"

Martin Short, "Only Murders in the Building"

Jeremy Allen White, "The Bear"

Outstanding lead actress in a limited or anthology series or movie

Cate Blanchett, "Disclaimer"

Meghann Fahy, "Sirens"

Rashida Jones, "Black Mirror"

Cristin Milloti, "The Penguin"

Michelle Williams, "Dying for Sex"

Outstanding lead actor in a limited or anthology series or movie

Colin Farrell, "The Penguin"

Stephen Graham, "Adolescence"

Jake Gyllenhaal, "Presumed Innocent"

Brian Tyree Henry, "Dope Thief"

Cooper Koch, "Monsters: The Lyle and Erik Menendez Story"

Outstanding supporting actress in a drama series

Patricia Arquette, "Severance"

Carrie Coon, "The White Lotus"

Katherine LaNasa, "The Pitt"

Julianne Nicholson, "Paradise"

Parker Posey, "The White Lotus"

Natasha Rothwell, "The White Lotus"

Aimee Lou Wood, "The White Lotus"

Outstanding supporting actor in a drama series

Zach Cherry, "Severance"

Walton Goggins, "The White Lotus"

Jason Isaacs, "The White Lotus"

James Marsden, "Paradise"

Sam Rockwell, "The White Lotus"

Tramell Tillman, "Severance"

John Turturro, "Severance"

Outstanding supporting actress in a comedy series

Liza Colón-Zayas, "The Bear"

Hannah Einbinder, "Hacks"

Kathryn Hahn, "The Studio"

Janelle James, "Abbott Elementary"

Catherine O'Hara, "The Studio"

Sheryl Lee Ralph, "Abbott Elementary"

Jessica Williams, "Shrinking"

Outstanding supporting actor in a comedy series

Ike Barinholtz, "The Studio"

Colman Domingo, "The Four Seasons"

Harrison Ford, "Shrinking"

Jeff Hiller, "Somebody Somewhere"

Ebon Moss-Bachrach, "The Bear"

Michael Urie, "Shrinking"

Bowen Yang, "Saturday Night Live"

Outstanding supporting actress in a limited or anthology series or movie

Erin Doherty, "Adolescence"

Ruth Negga, "Presumed Innocent"

Deirdre O'Connell, "The Penguin"

Chloë Sevigny, "Monsters: The Lyle and Erik Menendez Story"

Jenny Slate, "Dying for Sex"

Christine Tremarco, "Adolescence"

Outstanding supporting actor in a limited or anthology series or movie

Javier Bardem, "Monsters: The Lyle and Erik Menendez Story"

Bill Camp, "Presumed Innocent"

Owen Cooper, "Adolescence"

Rob Delaney, "Dying for Sex"

Peter Sarsgaard, "Presumecd Innocent"

Ashley Walters, "Adolescence"

Outstanding guest actress in a drama series

Jane Alexander, "Severance"

Gwendoline Christie, "Severance"

Kaitlyn Dever, "The Last of Us"

Cherry Jones, "The Handmaid's Tale"

Catherine O'Hara, "The Last of Us"

Merritt Wever, "Severance"

Outstanding guest actor in a drama series

Giancarlo Esposito, "The Boys"

Scott Glenn, "The White Lotus"

Shawn Hatosy, "The Pitt"

Joe Pantoliano, "The Last of Us"

Forest Whitaker, "Andor"

Jeffrey Wright, "The Last of Us"

Outstanding guest actress in a comedy series

Olivia Colman, "The Bear"

Jamie Lee Curtis, "The Bear"

Cynthia Erivo, "Poker Face"

Robby Hoffman, "Hacks"

Zoë Kravitz, "The Studio"

Julianne Nicholson, "Hacks"

Outstanding guest actor in a comedy series

Jon Bernthal, "The Bear"

Bryan Cranston, "The Studio"

Dave Franco, "The Studio"

Ron Howard, "The Studio"

Anthony Mackie, "The Studio"

Martin Scorsese, "The Studio"

Outstanding directing for a drama series

"Andor," Janus Metz ("Who Are You?")

"The Pitt," Amanda Marsalis ("6 P.M.")

"The Pitt," John Wells ("7 A.M.")

"Severance," Jessica Lee Gagné ("Chikhai Bardo")

"Severance," Ben Stiller ("Gold Harbor)

"Slow Horses," Adam Randall ("Hello Goodbye")

"The White Lotus," Mike White ("Amor Fati")

Outstanding directing for a comedy series

"The Bear," Ayo Edebiri ("Napkins")

"Hacks," Lucia Aniello ("A Slippery Slope")

"Mid-Century Modern," James Burrows ("Here's To You, Mrs. Schneiderman")

"The Rehearsal," Nathan Fielder ("Pilot's Code")

"The Studio," Seth Rogen & Evan Goldberg ("The Oner")

Outstanding directing for a limited or anthology series or movie

"Adolescence," Philip Barantini

"Dying for Sex," Shannon Murphy ("It's Not That Serious")

"The Penguin," Helen Shaver ("Cent'anni")

"The Penguin," Jennifer Getzinger ("A Great or Little Thing")

"Sirens," Nicole Kassell ("Exile")

"Zero Day," Leslie Linka Glatter

Outstanding writing for a drama series

"Andor," Dan Gilroy ("Welcome to the Rebellion")

"The Pitt," Joe Sachs ("2 P.M.")

"The Pitt," R. Scott Gemmill ("7 A.M.")

"Severance," Dan Erickson ("Cold Harbor")

"Slow Horses," Will Smith ("Hello Goodbye")

"The White Lotus," Mike White ("Full-Moon Party")

Outstanding writing for a comedy series

"Abbott Elementary," Quinta Brunson ("Back To School")

"Hacks," Lucia Aniello, Paul W. Downs and Jen Statsky ("A Slippery Slope")

"The Rehearsal," Nathan Fielder, Carrie Kemper, Adam Lock-Norton and Eric Notarnicola ("Pilot's Code")

"Somebody Somewhere," Hanna Bos, Paul Thureen and Bridget Everett ("AGG")

"The Studio," Seth Rogen, Evan Goldberg, Peter Huyck, Alex Gregory and Frida Perez ("The Promotion")

"What We Do in the Shadows," Sam Johnson, Sarah Naftalis and Paul Simms ("The Finale")

Outstanding writing for a limited or anthology series or movie

"Adolescence," Jack Thorne and Stephen Graham

"Black Mirror," Charlie Brooker and Bisha K. Ali ("Common People")

"Dying for Sex," Kim Rosenstock and Elizabeth Meriwether ("Good Value Diet Soda")

"The Penguin," Lauren LeFranc ("A Great or Little Thing")

"Say Nothing," Joshua Zetumer ("The People in the Dirt")

Outstanding writing for a variety series

"The Daily Show"

"Last Week Tonight with John Oliver"

"Saturday Night Live"

Read the latest issue of Athleisure Mag.

THE ANCIENT WORLD | LARA WOLF

This month, we're already excited for new shows that will be part of our steady streaming as we navigate the summer! We sat down with Lara Wolf to talk about how she got into the industry, her approach to playing her characters, and her latest project, Those About to Die which is currently streaming on Peacock as a Peacock Original! With an incredible cast and the ability to take us back to Rome, Gladiator Games, and corruption - we knew that we wanted to find out a bit more about what she is up to as well as this series.

ATHLEISURE MAG: What was the first film or TV that made you aware of this industry?

LARA WOLF: Growing up, music was actually more prevalent than film and TV. It was always playing in our house, either from my dad's massive record collection or from him playing the guitar. And I would always sit with him and sing. That was a significant influence on me and the foundation for me seeking to be in the arts later. Of course, I watched every Disney cartoon, but it wasn't until I was a teenager with battles that films like Incendies, Control, Hunger, House of Sand and Fog made me feel a certain way, maybe made me feel understood. And so I started to develop a palette for film, and the more I watched, the more I wanted to be part of the world.

AM: When did you realize that you wanted to be an actor and where did you train to hone in on your craft?

LW: As a kid, I jumped at every opportunity to perform in front of an audience. It allowed me to express myself as a somewhat introverted child otherwise. I didn't grow up in an environment that would encourage performance art professionally, so it didn't cross my mind. But later on, when I was already in college going on to be a psychologist, something was missing, something I couldn't ignore. So, I started reconnecting with that childhood passion and picked vocal classes. This allowed me to release whatever I was holding in, which then snowballed into gigging in bars around town and performing, at the same time watching films, then enrolling in studying film, film history, and film theory, and finally realizing and admitting that I wanted to be in them! But that also required that I move to a place that would offer acting programs, a movie industry, and like-minded people. So, I moved to NYC from Zurich and studied at the Lee Strasberg Institute for 2 years. I have lived there since, continuously honing my actress, singer, and writer skills.

AM: I remember you in Quantico, how do you approach playing characters and what are you looking for when it comes to deciding on whether you want to be attached to a project?

LW: When I receive a script, I quickly notice if I fit into that world and if the character resonates with me. I look for similarities and differences and personalize as much as possible.

When deciding about a project, I ask myself if it is a story I want to tell and if it is something I would be interested in watching. I also get excited about collaborating with a director whose work I admire and with actors I look up to.

AM: We have heard great things about The Performance which is an Arthur Miller (Death of a Salesman, The Crucible, The Price) short story and is directed by Shira Piven (Claws, Sweetbitter, Divorce) and you acted opposite Jeremy Piven (Entourage, Wisdom of the Crowd, Sin City: A Dame to Kill For). Can you tell me about this film, your character Sira and why you wanted to be part of this?

LW: I remember seeing the breakdown that my agent at the time had sent me and thinking: if I don't book this part, then I won't book anything, because the way this character was described fits like a silk glove. They were looking for someone who spoke English, German, and French and could sing jazz. It's so rare that a role would check so many of my boxes. Aside from that, I was excited about the project itself, a period piece based on an Arthur Miller short story about a Jewish-American tap dance group in the 1930s that decides to fly to Europe for a tour right before the second WW and get themselves into a tricky situation. The film explores how far you are willing to go and what you are willing to risk and sacrifice for your passion. And when does your passion turn into greed? While it was a period piece, it's still incredibly relevant today, and I find that very rewarding. It was a blessing getting to work with the wonderful Shira Piven, Josh Salzberg (Welcome to Me, Walking Man, Welcome to Flatch), Robert Carlyle (Stargate Universe, Once Upon a Time, The Full Monty series), Jeremy Piven, and my colleagues, who were fantastic actors and brilliant tap dancers, and it was such a pleasure watching them do the choreographies. Our days were filled with music, dancing, singing, and acting - a dream! Our costumes were phenomenal, and the locations in Bratislava, like the State Opera, helped immensely to dive into the period.

AM: We're looking forward to Peacock Original's Those About to Die! What drew you to this series?

LW: All of it was appealing: the genre, the historical aspect, having Roland Emmerich (The Day After Tomorrow, Independence Day: Resurgence, Moonfall) - the master of big-scale disaster films - lend his expertise to this ancient story, shooting in Rome where it all happened, Sir Anthony Hopkins (The Silence of the Lambs, Nixon, Westworld series) playing the Emperor, and of course, getting to play the Judean Queen Berenice was a dream come true.

AM: What can you tell us about the show as well as your character Queen Berenice?

LW: Her life unfolded against the backdrop of the Roman-Jewish revolts when the Romans burned down the Second Temple and enslaved the Judeans. The Judean Queen Bernice was the daughter of King Agrippa I of the Herodian dynasty, and she was known for her strategic alliances and marriages. There were also rumors about an incestuous relationship with her brother, but there are no facts to prove it, and it might only show the threat she posed as a woman in power. Her most notable relationship was with the son of the Roman Emperor Vespasian (played by Anthony Hopkins), Titus, also known as the destroyer of Jerusalem and its temple. Naturally, this caused controversy and put her in the eye of public scrutiny on the side of the Romans and the Judeans. Despite this, her political acumen, diplomacy, and grace prevailed throughout history. And for me, it was an honor to be given the trust to play her and give voice to this incredibly powerful Queen in our history.

AM: It's a great cast that includes Sir Anthony Hopkins, Johannes Haukur Johannesson, and Iwan Rheon - what was your biggest takeaway from having this experience in this series?

LW: Every time I get to be on a set, it feels like the dream comes true again. My gratitude is beyond words. This is true, especially this time with this collection of incredibly talented actors, two top directors in our industry, and a production team that meets the highest standards. I love knowing that the people I work with are brilliant at their craft because it is a lot of fun working with them and motivates me to be a better actor. Ultimately, it's all about collaboration, honing your craft, getting as close as possible to the slippery idea of perfection, and seeing how it all comes together as a collective work of art.

AM: You've been acting for awhile and been in a number of series, but you are also a writer! When did you realize that you wanted to include this in your storytelling?

LW: From the moment I started this acting journey, different people in the industry encouraged me to write. Up until that point, all I had written were either essays or papers from when I was studying Psychology and Film, all in an academic tone. I had never imagined that I would ever write fiction and dialogue. I had never really seen myself as a writer, but I started dabbling in writing almost secretly and noticed how ideas would come up and evolve. Then, finally during the pandemic, the stories poured out of me, maybe because we were all cooped up and needed to sit still, which is typically not my forte. But it really allowed me to dig deep, improve and find the joy in writing. Currently, I'm working on a play I'm workshopping at the Primitive Grace Theatre Ensemble with Paul Calderón (Fear the Walking Dead, Bosch, Boardwalk Empire) and David Zayas (Michael Clayton, The Blacklist, Dexter) as co-directors.

AM: When you're not in the midst of a project, how do you take time for yourself?

LW: I guess that's exactly when I have the time to take time for myself. And I love getting back into a healthy food/sleep/exercise routine, which is often hard to maintain when working. I use the time between projects to reboot physically and mentally and feed myself creatively by writing or seeing art or plays. As I mentioned, I'm part of a theatre company in NYC which I'm very grateful for as it is my safe, creative place to work with other actors and writers and wonderful mentors. And then I also sing and write music and collaborate with other musicians.

AM: Do you have any upcoming projects that we should keep an eye out for?

LW: Keep an eye out for the film Reading Lolita in Tehran, directed by the renowned Eran Riklis (Shelter, Spider in the Web, A Borrowed Identity). It is based on the same-named NY Times bestseller memoir written by Professor Azar Nafisi and starring the Iranian icon Golshifteh Farahani (Pirates of the Caribbean: Dead Men Tell No Tales, Exodus: Gods and Kings, Invasion).

And there is a next project on the horizon, and I wish I could tell you, but my lips have to remain sealed for now. I can only say that it's an action/spy film with a stellar cast! And you can follow me on @laradwolf for all the updates. Thank you so much!

IG @laradwolf

PHOTOGRAPHY CREDITS | PG 158 Sharon Daniels | PG 161 - 165 Reiner Bajo/Peacock |

Read the JUL ISSUE #103 of Athleisure Mag and see THE ANCIENT WORLD | Lara Wolf in mag.

THE JOY OF ACCESSORIES | TONY DROCKTON, HAMMITT

Accessories are always the favorite part of our look and it's always great to add to our collection. Over a decade ago, we learned about a boho brand that allowed us to wear them with a number of our outfits, no matter the style we were rocking at the time. This brand is known for their leathers, fabrication, style, and very quickly become a go-to that you enjoy wearing!

We caught up with CEO/Founder, and Chief Cheerleader, Tony Drockton of Hammitt. His passion for this brand and its growth is undeniable. He believes in having fun in the workplace and creating memories for those that will wear the brand as they make it their own. We wanted to know more about how the brand started, how he came to the brand, the design aesthetic, and upcoming projects that we should keep an eye out for.

ATHLEISURE MAG: It’s such a pleasure to connect with you as we have been a fan of the brand for as long as it has been around! I also love that we have a few things in common from both of us being from the Midwest!

TONY DROCKTON: I’m from Cleveland and I get to make fun of it because I was born there. It was great growing up there, but then I just absolutely wanted more. I like going back, I’m grateful to have family there, but I’m also grateful as you know – you being on the East Coast and me on the West Coast, it’s great to be here! Where in Indiana?

AM: Indianapolis and my parents met and graduated from your Alma mater, Bowling Green State University!

TD: Oh wow! I’ll be back there in BG this month.

AM: Nice, I went to Indiana University.

TD: Yup, that’s a good one! BG, they have a thing called Entrepreneurship Week every year and I started going back last year and I’m going back this year. I get to speak and judge a competition it’s so fun!

AM: Before we delve into talking about the brand, can you tell me about your background and how you came to Hammitt?

TD: Well we are in our 16th year, quick start, I bumped into Stephanie Hammitt when she was making the bags locally and I fell in love with her as a person as she’s wonderful. She was looking for an investor and I loved the designs and the brand and thought, “let’s give this a shot.” That’s the nexus and once I got into this industry, I fell in love with it.

AM: I remember being gifted a back back in 2009 at an Editor event and I love a lot of the things about that bag that are still cornerstones of the brand. The hardware – the rivets are one of my favorite things, the beautiful fabrication, just how easy it is to wear. I would take them with me to TV segments, a number of events, and travels. I think that it is a testament to the brand that it has really held true as well as having grown into other categories, which is great!

TD: Thank you! The DNA of the brand has been since Stephanie Hammitt and it has really iterated along what we felt would improve the functionality, keep it relevant on the design side, and more importantly to last multiple generations. It’s really about standing the test of time like you mentioned. That’s what we look to do with every new design and also some of our earliest designs are some of our best sellers.

AM: For those that aren’t familiar with the brand, how would you describe what Hammitt is and what are those main things about the brand that people can always see?

TD: I’d say the joy of the brand is how I like to describe it. Like you said, years ago you ran into it and you still remember it and wear it. I think that whether you’re manufacturing footwear or handbags or furniture or cars, when you make something that people get joy out of being apart of, wearing, driving, being in a community of, you’ve nailed it. Think of the late Tony Hsieh, the founder of Zappos, I was just relistening to his biography and he talked about how he wasn’t a shoe guy, he was an experience guy and that he wanted to make sure that his internal team, his vendors, and his customers all had a great experience with Zappos. I follow that same lead with Hammitt.

AM: Being the CEO and the Co-Founder of the brand, tell me about your roles at Hammitt and I also love that you are the Chief Cheerleader which I think is awesome!

TD: Thank you! Well you know, when you’re the founder, you do it all. There’s just a couple of us in the office including our current designer, Jeanne Allen, she's on her 10th year. Then you grow into sort of more of a leadership role as a CEO. I stepped away and became Chairman and brought in a CEO for 7 years and then he just retired. We retired our first long time Hammitt person in March and now I'm CEO again! So I’m Founder, CEO, and also the Chief Cheerleader which has always sort of been my role. I go back to my football days where I was always the guy cheering them on whether I was on defense or offense saying, “we can do it, we can do it!” Whether we were down 1 or up as you want to keep up that energy.

I think it’s very important for people to have fun wherever they work and also cheerleading our team during some of the tougher years. It’s just as important to remind people to stay humble when things are going as well as they are right now and that’s a cheerleader right?

AM: Absolutely.

What’s an average day or week like for you at the brand?

TD: Ha! There isn’t one! You really want to have an open schedule for when people need you. I’m a big believer in keeping that so that I can have 1:1 time as needed. We also have a limited number of regular meetings that we all have within the company and then I try to spend as much of my time in front of our customers or in front of our retail sales associates at our 3 stores, or with our vendors out in some of our Wholesale partners. That’s the joy of standing by our collection in the middle of Minneapolis, and having people try it on and to ask them how they know Hammitt or standing in my store. Or it’s about walking down the street when someone has it on in the wild and asking them how they know about the brand? The next words they say are the words that energize me. Most of the time it’s, “oh I just love this bag, it was given to me by somebody,” or “that it has traveled with me all around the world.” Sometimes it’s simply how many memories that it has created. That’s what they usually talk about. That’s what is so wonderful!

AM: Well, I love the fact that you are so in tune from the customer side and also with your team. My background was in Wholesale, I worked at Lacoste so I dealt with a lot of our accounts. When you see someone that is in the C-Suite that’s rolling their sleeves up, it’s actually energizing not only from a customer perspective, but the actual team of employees that works together. So that’s amazing.

TD: You know Kimmie, in the earliest days, every new person had to work in our in-house distribution center for at least a week. They got to run the products, they got to ship them, pack them, write the handwritten notes when people purchased them, look at the repairs when they came in, and check in new product. That sort of energy can’t be recreated by starting in the office. We’re much bigger now so not everyone is in our fulfillment center, but many of us still spend time on the retail floor, and if we don’t do that, we absolutely spend time at our events. We throw a lot of events and our team always shows up to support. Being in front of the people that love the brand, it’s not work. If it’s work, get out! The greatest companies in the world do this all the time whether it’s in the fashion industry, or any other industry, or the service industry right?

AM: Yup! 100%

How would you define the Hammitt customer?

TD: Ooo. You know, laying aside demographics and laying aside the main psychographics, she loves life and that’s our customer.

AM: I love that! You never know what detailed answer will come with a question like that and it’s great when you hear it, but there is something simple and expansive about she loves life!

I love that the assortment is so diverse whether you’re minimal or not. Can you walk us through the assortment or major product types of the brand?

TD: Well, let’s start with some signature pieces that have been around for about 5-15 years. We have our Daniel which is our satchel and it’s carried all over the country. It can hold a notebook computer or it can hold just a couple of things for the day. We have the Bryant right next to that – those 2 go hand-in-hand. Our collectors have both. Then you go into our clutches and we have the VIP which has been around since almost the beginning and there is a whole series of VIP different styles around that. The belt bag is hot right now so Charles is in charge. There’s a slingback so you can wear it around or wear it as a crossbody it’s a great bag. Then we drop down into the bag that I like because it’s called The Tony!

AM: That’s fair!

TD: It’s a perennial winner when it comes to events. I’m sure for Athleisure Magazine, there are a couple of people that might like sports and you have to have a clear bag when you’re going into the stadiums! Then The Tony leather sits side by side that series. Then we have a new entrant called the Kyle. Kyle is small and goes everywhere for the woman who seeks joy and goes everywhere, she’s going to love Kyle!

AM: Wow! When does the Kyle come out?

TD: Let’s just say that it could be out by the time that people are reading this!

AM: Ok!

So if there had to be only 3 bags that a woman would take to start or round out her collection what would those essentials be in the world of Hammitt?

TD: If she’s going on a trip and she can only take 3, I think that she's going to pack the Charles for everyday and probably inside of that, she is going to have a Tony or a VIP to go out with friends or for some events. Those are the go-to bags that I see most women carrying.

I have to mention one more!

AM: See that’s what happens!

TD: It just came out and we just dropped our VIP Mobile which carries a mobile phone and everything that you need in a day.

AM: In terms of fabrication, I love that you just have so many colors and textures. What’s your approach when it comes to colorways in general or as it pertains to the different bodies?

TD: The beauty of having a brand that has been developed over this time, I have an amazing design team led By Jeanne and Collier Smith, they’re all about color theory and one just currently came back from over seas and the other is in Brazil right now. Additionally, they were in Paris, they have been to Milan, so they just finished choosing colors for Spring 25 and they’re already looking for colors for Summer 25. They really look at color as a combination of when the bags are going to come out and what is the inspiration for the collection. So, they have some pastels in our Fall collection for 24 and they’re pastels – they’re right on the runway in the Fall collections. They really try to align both with that woman that loves to be a little bit on the fashion edge while also always wanting something that is timeless. So they walk that line with color theory.

AM: In terms of hardware, I have always loved that about the brand as well. Is that the same thought that goes into that by maintaining certain elements of it and deviating a bit here and there depending on the styles that it is on?

TD: You know, we’re really consistent on our hardware. The reason for that is the DNA of the brand is actually the look of the the brand from far away and across the street. So that signature rivet detail either comes down on the side, the bottom, or the front of every design. It’s 1 size rivet and it’s spaced pretty consistently and that’s the main hardware. Then the other piece of hardware is interchangeable, for example, all of our straps are removable so you can move them from bag to bag especially when trends change. So, we’re pretty consistent. But I will let you in on a secret – we might be working on a new custom piece of hardware that may come out sometime this year and that’s new for us! What we will do also is that within the rivet, we may change finishes and we might even change to a custom rivet for one of our collectible editions. We have done a lot of collaborations. So we have done collaborations with different brands so there will be some customization on the actual rivet for a specific collection which you might have seen in the past on a few items and you’re definitely going to see that later on this year.

AM: Well that’s exciting.

What is your process in terms of your inline items when you’re thinking of adding items to the heritage of the brand versus keeping the core?

TD: Again, the design team, their call to action is that when they see a need in the market, then they’re going to bring us a new silhouette. So we don’t hamper them and say that we need 4,000 new silhouettes every week. In general, it comes down to about 4 times a year that they’re going to bring out a silhouette that fills a need as functionality is the backbone of the brand, but that is also probably on trend as we do have the classic silhouettes that are already in place. It’s a combination of the two and I will let you in on another one, every time that we launch a new silhouette, a single H rivet that we put on it is on the right corner and it signifies that it is brand new. It’s only on it when we launch it.

AM: I like that, it’s almost like a hidden Mickey when you go to Disney. When you know where to look.

TD: Yeah! I heard of this thing about the first pickle at Disneyland, have you heard about it?

AM: Yeah I had heard something about it!

TD: We have some Disney girls that work for us and if you’re the first one in the park and you run to the pickle vendor, you get the first pickle and then a button! I love Easter Eggs.

AM: Same!

TD: When I was a young kid playing video games and you would bump into the secret doorway or you would have to tap the keys in a certain way to open up another level, we have a lot of those in this brand!

AM: I love it!

TD: This catalog right here is our latest one and it has multiple hidden Easter Eggs inside of it. We have the H rivet on our bags, inside of our bags is a little vintage tag which actually says when it was made, every bag has a secret little red somewhere whether it’s outside or inside, and it goes on and on and on.

AM: That’s so fun because as people grow with the brand, they have these fun things to look for and there’s always something new to unveil which is what makes the brand so exciting.

TD: It is! People want familiarity, I believe and the familiarity is the consistency of our long term silhouettes and the signature of the detail and the high quality in the functionality. So they also want something new and when we launch a pure fashion collection, so right now it’s April, we just came out with a new colorway on the VIP that will only be launched now on that silhouette and when it’s gone it’s gone. So it’s a seasonal exclusive, now we also may have repeat seasonal colorways that we bring back every year and that would be normally on newer silhouettes or on other ones. So next year if a leather is really good and then we have our long time perennial leathers that we use over and over again and that’s what we call our bestseller collection. So we have the combination of the 3 and that really allows us to serve every customers needs.

AM: About how many launches would you say a year are taking place – or drops? Because I always love that in accessories it tends to be different then in apparel.

TD: They design in quarter periods. So this year, we call is 24.1, 24.2, 24.3, and 24.4, but traditionally they would call it I guess, Spring, Summer, Fall, Winter, Holiday, Cruise but within each one of those quarters, we have our monthly collections and within our monthly, we also have our weekly drops. So really, every week we’re dropping a new leather family and/or a new leather family with a new silhouette. Every month we have new combinations of either leather families or silhouettes and for every quarter, we have a new collection that tells a story.

AM: Your Sales Meetings must be interesting because that’s massive!

TD: Well, that’s our design team. I love it and they come up with everything. They get inspired and we’re in our 24.2 which is Summer. By the way, do you know Jose Canseco?

AM: Um of course one of the premier power hitters in MLB with the A’s and played for a number of teams including the Yankees!

TD: Well, our latest catalog as you can see here, this is his daughter Josie (Kygo Feat. Ella Henderson - Here for You video, Kith Park: SS2019 NYFW, The Surreal Life)! She’s adorable and amazing.

AM: When you first were talking about the catalog a few minutes back and I was looking at it, I thought wow Jessica looks really good but I know she is much older then the young girl that is on the cover, but wow that’s her daughter!

TD: That’s Josie, we shot her last month and this catalog is our summer collection and it was inspired by our hometown of Hermosa Beach which is where the brand is born and raised, where I live right now with my son, our offices, and Hermosa is a very eclectic town. It’s right next to Manhattan Beach, but it’s its own personality. They came back and that was about a year ago and they laid out what they thought would be a collection to honor our hometown and she was perfect. We shot her and everything came together in this collection of what I just told you about it. It has monthly drops, it has weekly drops, we had a big launch event on April 4th and that’s the first time that we have done this sort of launch. But it’s about bringing everyone together to honor our little town of Hermosa Beach – it’s been fun.

AM: How do you approach doing collaborations and partnerships. I love the work that you have been dong within Mary Fitzgerald of Netflix's Selling Sunset as I think she’s great and you can see how she is aligned with the brand.

TD: We love Mary, she was truly a fan for a long time like you, she knew Hammitt. She was a real estate agent right here on the South Bay where we’re from and then she went out to the West side and had the show, she already had our bags so she was already wearing them. That’s one way that we do collaborations when it seems to be a match. Another way is when my design team and myself love art! Art is my personal inspiration. I go to Art Basel, whenever I travel I go to a lot of modern museums so does Jeanne so does Collier and we found Alex Alpert who is our latest collaboration and we found him at Art Basel a couple of years ago and we’re launching with him this quarter next month. It’s graffiti and when you at look at the design, it’s actually all Hermosa Beach, it’s our city, its waves, volleyball, our logo and he drew this on leather and then we made it into the collection. And that rivet which you can see is a melting rivet.

AM: Which is pretty cool.

TD: So Alex is a fulltime artist, young, very cool and he has a collaboration that I can’t mention coming out with a global brand. He’s gotten really lucky and I don’t even know if he is even 30 yet! The commonality between Mary and Alex – it’s the ones that we think have a great personality. They love life and we want to really collaborate with people where we enjoy the relationship.

AM: Are there other collaborations that we should also keep an eye out for? Are you thinking about LA28 which is coming up? I could see some amazing things there.

TD: Yeah, so there’s a women’s rally launching in the Fall called the Princess Rally and it’s a 100 women driving sports cars from Southern California up to Northern California and it’s sponsored by Richard Mille, a luxury watch brand. We’re doing a collaboration between us, Richard Mille, and them.

Every September we have what we call the September Issue. We have a collaborative bag that will be coming out for that this year as well. Then at the end of the year, there is an artist that we have a collaboration coming out with and she is a print artist and that’s Dani Dazey. She has already posted about it and she's lovely! She’s so great and she did a beautiful print and we have a whole collection that we will be dropping before the end of the year with her. We’re already working on our collaborations for ’25.

AM: Haha I’m always thinking of something. Being that my background is in fashion, being a Fashion Stylist, as well as being an Accessory Expert, I love seeing true collaborations between people or brands that are amazing on their own, but when they are brought together, you truly have a whole new way of looking at something that you really appreciate.

TD: You know, it’s wonderful right? One of the things that we do is these pop-ups as we have 3 retail stores – Manhattan Beach, South Coast Plaza, and Le Jolla here in California. For Women’s Month in March last month, every Saturday, there were 5 of them and across 3 stores, we had 15 pop-ups of small artisans – candlemakers, hatmakers, flowers, and permanent jewelry. They came and set up in our stores on a Saturday and we welcomed in our customers to meet them and they brought their fans and we had champagne, drinks, and music pumping. It was a really great atmosphere and we will be bringing in a lot more of that as we go on throughout the year. It was very successful.

AM: Do you do pop-ups outside of California like here in NY? Or are you thinking of making a store in NY?

TD: We have had pop-ups throughout the country, not in the traditional open for 2 month set up. But we have sat inside a Kendra Scott store in The Hamptons or back in their hometown. We have been invited to do trunk shows all over the country with our retail partners and we still do. We just celebrated National Hammitt Day with our largest partner on a Saturday and they had a small gift for all of their clients and it was a lot of fun. NYC, it’s still on my map and my bucket list. In our earliest day, we used to do a week in the windows of Henri Bendel for Hammitt when they were around.

AM: I remember! I loved that store and still miss it!

TD: I loved it too and I liked us being there. So I have always wanted to come back to NY in style and be on 5th Ave for our own pop-up and it will happen one day!

AM: That is so amazing and I can’t wait for that. Are there any pop-ups in your local area that you want to share that are taking place this Spring or Summer that we can keep an eye out for for our readers?

TD: I would say that in our 3 stores at least 1 to 2 times a month we have small artisans and makers that will be coming in and so look out for those. On May 17th is our Annual Investors Day. So we did a crowd funding and we have a lot of collectors who invested and we are bringing them all together and it’s a day of joy and fun. We can share our results and what we’re doing moving forward. This will be the first time that we have done that. So this will be great. Then once a year we usually have an in-person event that is in Nov where people fly in from all over the country and it’s a theme. Last year’s was Mama Mia and it was a Greek theme and people get to come and be in that theme to have fun, food, and great cocktails. It’s also a great way for them to be able to see all of our latest designs.

AM: Obviously as we’ve been talking, it’s a women’s brand, but there are a lot of pieces that translate for a man as well. Would you ever create a men’s capsule collection or go in that direction in some way?

TD: [Smiles]

AM: I thought so!

TD: I don’t know, maybe you’re on to something haha!

AM: What have been some of the things that you have been proud of for this brand?

TD: I mean, I’m always the proudest when someone comes up to me and tells me how much they have loved my Hammitt. It’s always what they do with them, where they traveled, who they got it from, what memories they have created, and the second piece of it is our team! I was so proud of Angel who was just in NYC.

AM: Yup, I saw him and had the chance to chat with him at the Accessories Council event at Tin Building by Jean-Georges.

TD: He started at our retail store 3 years ago and I asked him what he wanted to do and he told me that he wanted to work at our headquarters. I said great and I told him that when he was ready, let’s go.

AM: What are things that are taking place with the brand whether it’s holiday season or whatever that you’re able to share that it longer term that we can keep an eye out for.

TD: I just saw our Holiday collection. It just came in and it’s mind blowing. It’s the colors, the textures, and it’s going to take it to another level and is a celebration of who we are. I gave you the secrets of Fall – the Princess Rally is going to be great, our September Issue, wait until you see it. That’s all I can give you for now!

IG @hammittla

@styleprofit

PHOTOGRAPHY CREDITS | Hammitt

Read the APR ISSUE #100 of Athleisure Mag and see THE JOY OF ACCESSORIES | Tony Drockton, Hammitt in mag.

HUMANITY DEFINES HIS MUSIC | MIYAVI

This month's cover marks the 20th year of MIYAVI being a force in the music industry. Known as the Samurai Guitarist, he brings a message of passion and peace to those he plays for whether they're the fans that attend his shows or the refugees that he performs for as a Global Ambassador of the UNHCR where he gives his time to the camps when they are seeking relief from the crisis around him. He also talks about his 14th studio album, MIYAVIVERSE which covers anime songs. MIYAVI is also an actor who has done voiceover work in an Emmy-nominated anime show, Arcane: League of Legends as well as appearing in movies with Angelina Jolie in Maleficent 2 as well as Unbroken that she directed. We talk about his need to stay creative, collaborating with brands and continuing to challenge himself.

ATHLEISURE MAG: When did you realize that you wanted to be a musician?

MIYAVI: When I lost my dream to be a professional soccer player when I was 14 years old. I was on a youth team of a professional soccer team in Osaka on the west side of Japan. Every single day, I was going to the soccer field and I got injured and then I lost my dream. The thing is I really really wanted to be a professional player, but at the same time, the practicing was really competitive to be on the team. I actually got tired of it because it was tough for me being a 14 year old boy to keep going to the field which was pretty far from my hometown. It was like a 90 minute train ride and that was really tough for me every single day. I was the captain of the local team for a very long time, but when I started going to the professional team, I lost my friends as well because I was not in the group anymore. I was the only one going to the professional team as well.

To me, it was really stressful and then it was really shocking to me that tmoment that I stopped going to that professional team, I was really relieved! It was really weird because soccer was my motivation and my passion every day that I was playing. But the moment that that happened, I was relieved not to play soccer because it was so stressful for me. That was the moment that I quit soccer and again, when you lose your dream, you lose yourself as well and you lose that shine so I was hanging out with my friends and I was doing bad things and then I got the guitar and I thought, “oh this might be it!” It might take me someplace else and I wanted to get out of my hometown anyway. This thing might be the one that takes me out. Now, I’m traveling the world and talking to you!

AM: Exactly and that’s quite a story.

How do you define the MIYAVI sound?

M: People call me the Samurai Guitarist and I’m honored to be called a Samurai! Samurai is such an important word for Japanese people. It’s such a big determination and it’s a really really big deal. For me, instead of katana, the Japanese sword, I play the guitar and I make people dance. I feel good that I can spread that positive message. As an artist which I am always trying to pursue the edgy style, but at the same time, I’m also a Goodwill Ambassador for UNHCR which is The United Nations Refugee Agency. So it’s about positivity and the moment that you feel the future, it’s really really crucial!

So yeah, it’s kind of like a guitar rock, dance kind of music. At the same time, to me, it’s about the attitude and how you enjoy my show is really really important. After people get back home, I want them to feel energized and motivated. Of course, I want you to have fun, we’ll have fun always – but I want to create something that people can feel and that it’s the future and is productive. It’s not just about being entertaining.

AM: How do you get inspired in terms of approaching creating your music?

M: You know, I like to watch movies or sometimes be in a movie. When I play a role in a film, I learn from that character and I want to be able to absorb and take it into my body. That’s also an inspirational source, to me. Again, I can learn things from my kids as well. As a parent, it’s kind of a learning process as well. Again, at the refugee camps, to witness those cruel devastating situations and the paths that those people had to go through – this is also a huge inspiration. I can’t look away from that fact and our generation is facing this crisis. So that’s not quite an inspiration it’s –

AM: It’s more of a driving force.

M: Yes, it’s more of a driving force. It’s a reason why I keep moving forward. It’s really really responsible.

AM: You’re so talented and from the music standpoint as a songwriter, producer, you play instruments – what’s your favorite part of working on a song?

M: To be honest, the most important thing is to put the message or the lyrics as a core part. The most fun part is just playing the guitar without thinking about anything. You just go free, that’s the fun part. That’s what I can do on stage once I’m done. Giving birth is the most hardest part, the most painful experience as we all know – the ladies. They give birth and it’s painful, but it’s also worth it for the real happiness. So doing what I do, it doesn’t actually hurt like that, but at the same time, when you’re making a song, it’s a really really tough process. But then again, it’s worth it. But playing the guitar, that’s the fun part!

AM: When you’re collaborating with other artists, what are you looking for when you’re deciding that you want to partner with them?

M: Just chemistry always! I know my world and I know how to maintain and to remain in my sound. I know my style and I know that it works. When I work with somebody else, I want to see new dimensions and to also feel that chemistry and to have a new me. Something that I never experienced or that I never thought to even try. That’s kind of a benefit and that’s the same with life. You don’t know what’s going to happen tomorrow. Sometimes it doesn’t go as well as you expected, but that’s life. That kind of encountering a new part of myself in that way is nice.

AM: Earlier this year, you partnered with K-Pop superstar Kang Daniel with Hush Hush which also became a theme song for the Korean drama show Rookie Cops on Disney+ and you also collaborated with him again. What did you love about working on these projects with him?

M: Again, K-Pop is a global and phenomenal movement. I’m half Japanese and half Korean and I do respect the effort and the creative force that is there. Kang Daniel is a rising star and as an Asian, I do respect him. Again, it’s a totally different style and it does seem like he is building his own style right now. So it’s really really interesting to be part of the creation that we make together and then we see the shift as well. His style is really different from mine and it’s not like it’s a middle ground – it’s more like a 3rd or new destination! You can only find that with your collaborator. That’s why I said, a new me or a new world or a new dimension. I love his dedication for the creation and he’s so humble. It’s great to feel that different wave in the younger generation.

AM: You’ve been in the industry for over 20 years and you’re currently in a 19 city, 20 show tour here in North America. What does it mean to you to reach this achievement and to look back on all of the work that you have done?

M: I’m never satisfied and that’s the reason why I keep on doing this. I’ve done pretty much all of these different things not only in musi,c but acting, the fashion thing, humanitarian work, so it’s such a pleasure to be able to explore the many worlds and to encounter new people and I’m learning every single time. It might have been easier if I just focused on a music career or an acting career or a fashion career, but again there is also that chemistry when I take on a challenge of doing something different every time. I feel that chemistry and then I learn from it. Then I can be a new me and I can be stronger and I do just appreciate everyone that I have worked with and also the fans that are supporting me the whole time even if I changed my music style – not just costumes, but the music itself – the groove. Then doing acting and the fashion thing so I really really appreciate their support.

AM: So what can you tell me about your 14th studio album that is coming out?

M: That’s a cover album and I am covering anime songs. It’s a really really interesting path and also a process because those tracks are made by somebody else and they’re really popular ones like the song for Evangelion or song for City Hunter, the song for Naruto. At the same time as an artist, I’m really confident to make any song into MIYAVI’s world which is why we named this album, MIYAVIVERSE. That’s my world and that’s the sound that MIYAVI and the team creates. Every song has a great melody and there is a chemistry, there is a totally different sound in production and form. We’re kind of making a new style. It’s a really exciting project.

AM: In addition to your music career and you have also said this as we’ve been talking, you’re the face of a number of brands such as Gucci and you’ve been with Dell and McLaren. What does that mean to you to be able to crossover like that?

M: You know, it’s a new discovery of myself and then it’s such a pleasure to work with those top top brands that are trendsetting and leading their industries. It’s great to see what happens when I dive into those different worlds. I’m not a car geek or a car lover, but the attitude that McLaren and MIYAVI have really resonates. I’m not just making music for a business and they’re not just making a car for a business, we’re making history and we’re making a different thing. It might be easier to make some kind of a good pop stuff and there might be an easier path to become famous, but for it’s not. It’s about being more integrated. We would not be able to be satisfied with the answer. With Dell as well. The creativity that technology brings – they are expanding that as well. The honor to be part of it and to just explore together is great.

AM: In terms of your acting, you have a number of credits that you’re getting out there. You were cast in Angelina Jolie’s Unbroken and you worked with her again in Maleficent 2. What was it like to be in those projects?

M: It’s fun. Again, the music when it comes to the process, it’s all about me. I say it sounds like this, it should be like that, I am the producer. So I am doing the producing, the acting and the playing myself. But the movie, as an actor, there is a bigger part of it especially when the role is not that big. It’s a tiny part of it. But, it’s still you’re part of it. You’re performing and whatever you do in that work, it’s going to affect the entire creation – it’s teamwork a team achievement. To be able to work with those top top people from Disney or Pixar those people are the real deal! It’s really creative and more free. They are enjoying the flow and they are making something new in the flow. It‘s really fun!

AM: You’ve done voice overs for Arcane: League of Legends which won an Emmy recently for Outstanding Animated Series. Why did you want to be part of this show?

M: Why not?

AM: Love that!

M: Yeah! Why not? When I got the offer, I heard that Sting was on board, Imagine Dragons was on board. You know, those top artists were there and then the creation itself was really really great – a high level and a big passion. I was working with Christian Linke the Executive Producer. He’s like Steve Jobs like – he has the characters, the world, passion and even the music as well. It was simply a pleasure and honor to be part of it and then the music and also doing the voice acting for a little bit for a little role. That was such a surprise and that kind of flexibility and spontaneous kind of decision is the fun part of creation you know. You can change your creation drastically in the last minute. That’s all on you so it’s all about the passion and the clear vision. He had a clear vision and I was so happy to be part of it.

AM: Throughout this interview, you have been talking about your humanitarian work and working with the United Nations. Can you tell us more about what you are doing?

M: So my humanitarian work as an ambassador for UNHCR, is life work and it’s really volunteering. It’s not something that I get paid to do. Every single time I go to the refugee camps, I feel purified well as it is a special process to me. Anything that you can do for the future, global warming, animals, human rights – anything. But for me, I met Angelina Jolie – Angie, she’s the one that inspired me and opened the door and who met me. I was really surprised and amazed at how much she dedicates for this crisis and as an artist, I wanted to be able to do something if I could. I went to the refugee camp in Lebanon for the first time right after the Syria crisis exploded. It started around 2011ish but around 2014/2015, the refugees increased rapidly and I was really scared. I didn’t know what to do as an artist and still, I can’t play the guitar to people that just escaped from their countries because imagine the situation of it being do or die, you can’t enjoy the music at that moment. But still, after that first emergency phase, we call that Developmental or Sustainable Phase – people need to feel that dignity of a human being. We are not just living here a human being. We are not just living here, we are living here and standing on our own feet. That’s what everyone needs to feel and especially at the refugee camps, that set of circumstances is really hard to feel that way. Then art and culture like music and sports, can do many things to connect people and to make them feel alive. That’s my role as an ambassador. The thing about refugees is that you feel like a dark, serious burden – it's a serious issue. But at the same time, those people are like us! They used to be a professional musician, they used to be a writer, they used to be a politician. So my mission as an ambassador is to bring those kinds of bright sides of people and positivity. So we feel that we are the same and it could happen to us. When you think about a crisis that could happen like another war – I don’t even want to say, but you have that conflict that happens and it could happen to us if the place you are living in is so no longer safe. It’s really really important to me to keep doing this so that I can realize that I can redefine my mission of the reason why I keep moving forward. I keep creating and this is really really important now.

AM: Honestly, the way that you explained that this person who is a refugee had a life where they were a doctor or the fact that they had a life that they were part of. I think that that really puts a different type of life on it as opposed to saying this group of people had this devastating series of circumstances. It does give back the humanity and compassion to see it in that light.

M: Some of them used to be a doctor. Some of them used to be a professor.

AM: What do you want your legacy to be as an artist, as an actor, a humanitarian and as a father?

M: That’s a big question – the ultimate question. It’s interesting. It makes me rethink about the shift in me as an artist. I wanted to play the guitar when I was younger, but I'm not playing the guitar because I want to play the guitar now, I’m playing because I want to play music. That’s why I’m playing the guitar – I want to spread my message. It’s why I make music and then I play the guitar. I need to spread the message to help make this world better somehow. I want to dedicate myself somehow and that’s why I play music. That’s why I play the guitar. It used to be like – I want to be a legend playing the guitar. I do play it and it’s my thing and I will never quit playing the guitar. I’m not going to become obsessed by being a guitarist. It’s a tool to deliver my message to the audience. So, I don’t know about the answer to your question because for me, anything is fine. That’s why I am an actor and modeling as well because as long as you can just spread the message and the idea of peace, I think that that’s it!

IG @miyavi_ishihara

PHOTOGRAPHY CREDITS | PG 16 - 27 + 32 Courtesy MIYAVI | PG 28 Mairo Cinquetti/Pacific -Press/Alamy | PG 30 UPI/Alamy |

Read the OCT ISSUE #82 of Athleisure Mag and see HUMANITY DEFINES HIS MUSIC | MIYAVI in mag.

THE SCIENTIST OF MOVEMENT | TANISHA SCOTT

This month's cover is 3X MTV VMA nominated Creative Director, Choreographer, Performance Coach and dancer, Tanisha Scott. You've seen her iconic work as a choreographer with Sean Paul in Gimmie the Light and has continued to work with an array of artists from Beyoncé, Rihanna, Lil Nas X, Drake and more. She currently serves as Creative Director for Lizzo, Cardi B and H.E.R. A number of videos and performances that she created have become part of major cultural moments in Hip Hop and those movements have found their way into memes, Tik Tok videos and on an array of dance floors.

Her ability to bring her love of dancehall, freestyle and knowing what is natural to the body transcends her work for music videos across genres, touring and award show performances. We talk about her love for dance, getting into the industry, those she collaborates with, continuing to add to her skill sets and how she continues to leave her mark.

ATHLEISURE MAG: What was the moment that you realized that you fell in love with and wanted to dance?

TANISHA SCOTT: Honestly, dance has been part of my life and I can literally say this without it being cliché – for forever. My parents are Jamaican , my father loves music and he was actually a DJ on the side – not just house parties, but he would go out with his friends and spin. Before I was even born, music was all around within the family. I knew it was something that was super special to me not only because of my shadow – my brother, my sister and my dad playing, but I just knew how much it helped me feel good. It helped me to really open up. I’ll tell you this, when I was really, really young, I had an issue with stuttering and I found that through dance, I didn’t have to speak that much and I can speak through movement and I can express myself and people would smile and laugh and would want to dance too without me having to actually say something and feeling insecure about it. I knew I loved dance and that dance was actually a part of me and a very important part because of that journey. I didn’t realize that until I got older and saw that it actually made a difference for me in my life.

AM: That’s amazing. You were a background dancer for Mya when you first started. How did you transition from being a dancer to a choreographer and adding that to your body of work?

TS: Yeah, reluctantly, I can say that I didn’t want to call myself a choreographer for about a year after Gimmie the Light happened. Gimmie the Light happened because my dearest closest friend, Director X (DMX What’s My Name, Sean Paul Gimmie the Light, Drake Hotline Bling) is also from Toronto. He and Taj Critchlow who is his longtime manager have been so close to me! He didn’t ask me to choreograph the video, he told me I had to! I fell into it, I was scared out of my mind not knowing what to do because I felt that I was a freestyle dancer and that’s all I knew – how would I put moves together for other people? He just told me to figure it out. It wasn’t until I reached out to my mentor, Luther Brown (Janet Jackson Dammmn Baby, Lizzo Juice, Ozuna BAILA BAILA BAILA) who is the king of Hip Hop and stepping in Toronto and he mentored me and a bunch of other kids. It wasn’t until I reached out to him and let him know that I didn’t know how to choreograph and how would I do it? He broke it down to me and said what I would do especially is go to the mirror, figure out some moves, see what looked good on me, put it on some people and make sure that it looks good on them and there you go – from the basic aspect of it.

I choreographed the music video and I was like it’s not going to be much. Sean Paul was singing this song which was older at the time when it came out in North America. Being of Jamaican descent, you know that we’ve heard this song for forever. So it was like, I’m going to do this video for Sean Paul – yes. It wasn’t anything that I had to think of when it came to the movement because it’s what we did in the clubs, in the basement parties so I put all of our moves together and felt how it should flow – did the video and that’s it. Nobody knew that Gimmie the Light was going to blow up the way that it did in North America! No one had any clue of it. That’s how it happened and then before I knew it, people were like, you need to get this choreographer. I would say, the dancer, because I danced in that video but I didn’t feel like a choreographer – so reluctantly it happened – blame it on X!

AM: How does your love for dance, dancehall and being from Toronto inspire and infuse your work?

TS: Oh gosh, I think the reason why it inspires my work is that it’s the only thing that I know innately that I wasn’t taught to do. I was not taught in any kind of professional dance when I was younger, we just did dancehall because I come from a Jamaican lineage, music is all around and that’s what we’re going to do right? I just dance the way I knew to dance where it’s already in my blood. So that, no matter what project I do, you’ll always find a piece of it. I find that my choreography is organic and authentic. I don’t do traditional movement for anything that is cool or in, in style or whatever the trend is. I literally follow suit to what the music calls for. If it’s dancehall, then I’m going to give you dancehall, if it’s Hip Hop, I’m going to give you Hip Hop and if it’s something else, then I am going to give you that. I attribute that to the fact that I am a freestyler where I actually watch and I pickup visually a lot easier and do things that makes me feel good in my body as if I’m about to freestyle as opposed to putting together a segment of moves that are regimented in a specific style or technique of a dance. So I think that that’s how I get to flip flop. You’re always going to get a little piece of dancehall, but at the same time, I’m a battler at heart so if I see somebody do something, I’m going to do it and do it better and that’s the way that I choreograph.

AM: I like that and that’s why it’s authentic because you’re freely leaning into fluidity because that’s what you’re feeling.

As a choreographer, what are you looking for when you’re working with an artist or maybe someone who isn’t even a dancer – is it hard to work with someone like that who doesn’t dance, but they’re going to need to dance for that video? How do you go about that process of making that story and making them feel comfortable and let them dance?

TS: You know what? Would you believe me if I said that I actually prefer artists who don’t dance?

AM: I would actually understand why you would like that because you don’t have to breakdown or have someone unlearn what they do and you can just flow!

TS: Exactly! It’s for this one main reason, they end up becoming a little more fearless in what they do. Because I’m not a trained dancer, I understand the fear or being unsure of how to move, what to do and what looks good. Because of that, I find it very easy to look at someone and tell what their strengths and weaknesses are. I work with both to create something that is signature to them.

For instance, Kelis and Bossy – her whole walk thing, Rihanna obviously with her hips, anything that I do with any artist – Alicia Keys with her walk how she does it to the side and plays the piano with the side – using one hand on the piano but doing it while leaning – it’s so much more interesting to create something that is signature to that person.

Honestly, anybody can choreograph – literally. It’s just a series of movements together to express whatever you want to express. Some people just want to have trendy moves, some people want to tell a story, some people are just a little more intrinsic with their movements – there are an array of things. What gives me joy is working with artists and giving them their own signature imprint so that the choreography is not a Tanisha Scott choreography that so and so is doing. It’s what Tanisha Scott has created that is based off of this artist and that it is an imprint so the dancers look like them, they move in a certain way and that’s what I find more interesting is working with someone from the core and being able to build from the ground up – who are you, what is your persona, what is the zhuzh, what is the story that you want to tell. That is more intriguing and satisfying!

Now, artists that can dance, the palette is open – let’s try tap, let’s do jazz, silks – there is an array of things! What pulls at my heart strings where I just become the scientist of movement, is when I’m like, “ooo this will be amazing” and then you see them blossom, it means the absolute world to me. That is much more fulfilling.

AM: Love that! Going back to Gimmie the Light video, what do you think it is about this video that after all of these years, that reaction is still there? The feeling is still there. Since that video, we have seen tons of amazing things and technologically there are different things, but the song and visually there is that feeling that you still get when you see it. How does it have such staying power?

TS: I’ll tell you something, I feel that it’s because it is so organic and it’s so freeing like you can’t even explain or break it down to how everybody moves in that music video. It was just captured in the right way and it was just a vibe! Like, you can’t fuck up a vibe! Like you can’t not feel a feeling – you know what I’m saying? It wasn’t technical at all! It was just people moving and grooving in a way that was just something that felt good naturally in your body that connected to the music perfectly. Individuals captured it and it made it cool. It was swaggy, it was fun! You had PonyTailz doing the Spidermen, you had Dainty Crime which was a crew of guys in there jumping up and down, it was entertaining. It also didn’t feel like you couldn’t do the moves. Everybody at home wanted to try because it felt like, “oh I think I could do this.” That’s what makes it so good and continues to be so.

It’s like YMCA, everyone can do that and you want to jump in – that’s what I think it is.

AM: I think so too and conversely, we were on set shooting one of our covers and Hotline Bling came out. I hadn’t seen the video yet and we’re all prepping for the shoot and I was asked if I had seen the video. We’re watching this video and I knew it was Director X, but the vibe had elements of Gimmie the Light as well. Of course, I find out that you did that and I can see why I felt those homages to the other video. What was it like being on this project and obviously another Toronto connection – and it was fire!

TS: Yo, Hotline Bling, what made it so special from the beginning is because it was Director X, who had me involved and of course, it was Drake. I remember Drake saying, I need that Tanisha Scott/Gimmie the Light moment. So, I’m like, “let’s do it brother” and I had previously worked with him before. He said he just wanted to let loose – almost like not taking anything too seriously and to just move and vibe. So I was like, let’s go – literally. What made the video so amazing is of course it was beautifully shot, but it was that synergy once again. It was the visuals, it was X's understanding what it takes, it’s Drake that’s part of it. Let me tell you one thing, that man has his finger on the pulse of not what’s new or next, but 2 slots or 4 years ahead. He knew more than anybody, he knew that this was something. He is so smart and he said, let’s just vibe and we had fun. We freestyled and we literally just had fun on set joking around and it became what it became.

Who would have seen me coming up with dances that actually became a meme, people are doing it and it’s a signature Drake move! It was a blessing because I’m working with my friends and we’re honestly friends where we trust each other so much that there’s no micromanaging of anything. It’s like, I’m going to do this and this makes sense to this and it makes sense to that – so let’s do that. Then Drake is like let’s do this and we just made it happen. So trust and just going with your gut and not just doing things that you think is right or what someone else thinks is right.

AM: Well once again, it’s just beautiful and it will be 20 years from now where there will be those relevant elements that have a different vibe in respect to Gimmie the Light but it still has that warmth –

TS: That simplicity.

AM: It’s so simple and I do love an over the top production as well, but I also like when things are paired down and you can focus. No matter how many times you watch it, there’s something that pops up and it just figures that you were involved as well!

So it’s always fun to see your work as a dancer and a choreographer but it’s interesting to see you as both in the same project. Does it feel like a balanced moment when we get to see you as both the dancer as well as the choreographer?

TS: That to me – being a dancer during doing something that’s choreographed, unless I’m freestyling – doesn’t really feel good. But, if I’m on camera choreographing doing what I do, that feels balanced. But if I’m dancing, I can’t perform to my best when I know that I have choreographed for other people are around me and I’m looking for where they are in their space. I’m still thinking as a choreographer as well as what is my artist doing and I feel like I’m cheating – it doesn’t feel good. Because when I dance, I zone out and I let go to be free. In that moment, I’m not on guard. When I’m choreographing and I’m on camera doing choreography or creative, I feel like I’m at home. I’m able to not just express what it is that I do and get the job done, but I want other people to learn as well. There are other levels to creative direction and different aspects of it as well as even for the dancers. There are a lot of things that we can do because the longevity of a dancer is not that long so you have to think of other things to do that can still play into your love of dance – you don’t lose it, but you just evolve.

AM: You look at a person like Debbie Allen who she can still –

TS: I mean queen, queen, queen!

AM: You just look at her and even when you watch her in something that she isn’t dancing in like when she is in Grey’s Anatomy, she has a flow to her movement that when she crosses over to the other side of the room, you’re transfixed!

TS: Preach Kimmie!

AM: I love flow and it doesn’t just exist in dance, but when you see those who are dancers and they still have that style in other portions of their life, it’s beautiful to see! You can tell the flow and musicality that some people have even when there isn’t anything being played.

TS: She doesn’t know this and I never met her but she is such an inspiration.

AM: She’s amazing! She has that eye and you know she’s watching.

There are so many videos where your fingerprint has graced those productions and moments. How is that for you to do it from a video standpoint versus being on someone’s tour with Rihanna versus doing something for TV like the BET Awards? Do you have to think differently Awards? Do you have to think differently for space or just the mediums that are being used?

TS: I do and I’m glad that you asked that question. I think that that’s what keeps me excited because it’s not the same thing over and over again. It allows me to stay on my toes.

So when we breakdown for a music video, a music video has edits and the primary thing about a music video is centering around the artist. So if there is choreography involved, it’s for a specific section. I always have enough dialogue with the director understanding what the environment is – are we dancing in a box, dancing on platforms, dancing on a wet floor, what are the costumes, what is the vision and go from that. I choreograph in sections that I know will be used. If you were to choreograph the whole song, you already know half of that isn’t even going to be seen or used unless the artist is in it. But even so, there are different things that we have to see. That’s one way and how I deal with music videos.

When it comes to tours, I have to now consider not just what the director of the music video is shooting, the type of frame that it is – is it overhead, is it specifically for the camera. With a tour, I choreograph for the naked eye. The naked eye means the expansion of it – it’s entrances and exits because we see everything. You can’t control what one person is seeing when you have thousands of people watching. So it’s the beginning of the song, the ending of the song and how the next song comes in. So it’s the thread that I use and the bigger purpose and I also choreograph the movement for me which is never little. It’s always a lot bigger because I tend to choreograph for those in the nosebleeds that aren’t so close – they have to have some kind of entertainment so that they can see and feel it and you have a successful show.

For an awards show, it’s a hybrid of both. I actually prefer the awards shows because I get to hone in on the director portions that I went to school for about 6 months at the NY Film Academy to learn music video directing. Not so much to be a music video director, I wanted to know how to choreograph and to speak to actors, actresses and dancers and to know what different frames were so I could be better choreographer. So I get to hone in on that when I am creative directing and choreographing the awards shows, I’m able to set the tone – the feeling of this is The Wiz so it’ll be different colors here and there, we have a yellow brick road and we formulate that. Now, how do we put in the choreography into it – this person enters here, that person enters there. Ok great, now with the camera, what do I need to see first? I need a close up shot of the artists walking on the yellow brick road and now I add a steady cam with a 360 turn to a smaller lens where I see 1 person pop up and then the next. We then go to a jib for a wide so I get to utilize everything that I have learned to put together a piece which hopefully, my next dream or chapter, is to be able to do Broadway. That to me is everything from when I do these awards shows because I get to think outside of the box and actually create a real piece. I have my hands in all aspects from set design to lighting – it’s everything to tell what that story is for what I want in that moment.

AM: I really like getting that insight and I expected a lot of what was said, but I really liked hearing about the hybrid environment of an awards show that is a defined box but still a little more open versus other areas. To hear your process in how you work that makes me think of our photoshoots where we’re creating that set, bringing in the team, sketching out the moodboard, bringing in the styling etc to create this concept. So by the time I arrive to the actual set day, I have played so many things in my mind for those hours.

TS: Prep is no joke!

AM: For sure! At some points as you’re actually seeing it all together, you feel like it already happened because you were so immersed and bringing it life in every way.

TS: Oh my God I swear, I think we’re twins!

AM: When you’ve seen videos that you’ve done that have been given various awards, obviously a video is the culmination of what you’re doing, the talent, creative teams, director etc – with all those things coming together and showing everyone’s versatility and work – what does it mean to you to have that award given to a project you were involved in?

TS: I feel so accomplished, so much more than even if I were personally receiving it for myself. When people hire me, I sign a contract in the air – it’s not a real one but it’s where they trust me to deliver to the best. When they are awarded, the team is awarded and/or the video is awarded – I know that I have done my job and that I have gained the trust. I know that what I set out and put out to do happened. I’m definitely a woman of my word. If I say I’m going to show up, I show up. If I say I am going to make something happen, I’m going to make something happen. With these videos, it’s definitely a collaboration – you have a director at the helm, but nothing is independent from one another. The gaffers, the stylists, the stage PAs, like we’re working and a lot of times, you don't know these people and you have never worked with them before, so you have to get on board and have the same common goal. When that’s achieved and it’s achieved with an award at the highest point, I feel so much more pleased with the job because it’s good and then It’s onto the next! It’s all about hurry up and wait and then on to the next.

AM: So with everything that you have done from a video perspective, you’ve also done other things from campaigns to commercials to even working outside of the genre of Hip Hop. You’ve extended the multi-hyphenate nature of your work beyond creative director, dancer and choreographer, but also performance coach. What is a performance coach as you worked with Sarah Jessica Parker for her campaign with Intimissimi.

TS: Ok Kimmie, I like you, I swear you’re asking all the questions. Ok, so a performance coach is involved when there are no specific movements given. But it is having somebody portraying the emotion that they want them to portray through their body through movement. So it can be anything that you do, but it’s just narrowing it down to 10 beats. Now they have the freedom to choose which beat they want to use at this time. They may switch at another time. But it’s always showing you the vein or the box that you need to be within. Like, here are all the treats, you have 20 treats and this is the box. It allows them to be more individuals in that sense.

AM: That’s very interesting. I think it’s great to have those that are multi-hyphenates because they are able to pull from a range of skill sets and that it can be applied to a fuller spectrum so that you’re able to do more than one thing and you have longevity in other places too. The touchpoints that you have crossed by being able to take those skills and to work with George Clooney and large brands etc – it was interesting to see the research and how you have really optimized your talents and why it’s important for people to do more than just one thing.

You’ve been the creative director for Cardi B and H.E.R. which is amazing and what does that role involve for those that may not know what that means in this part of the industry?

TS: I work very closely with both of them and Lizzo is a new client of mine as well in this role. I basically sit with them and it starts off with a conversation about what it is and how they want their music and themselves to translate visuallly numbers that we wanted to add in. It was only supposed to be 1 episode and it ended up being more and it just happened that way.

AM: We saw her recent hosting and performances on SNL. Were you involved in that choreography?

TS: Yes!

AM: Loved it!

TS: It was cute right?

AM: I was watching it and was like, that’s her too.

TS: Yaaas! I did that and I did the creative for it. You know, it’s a new album, it’s going to be a dope album and really good. She is singing, the vibe is so fun – it’s funky. So we’re like, what do we do? SNL is one of the most iconic running shows in the world and I’m like we just need to have people hear and listen to the song. So instead of making a big dramatic set, let’s keep it simple, but golden and sparkly with lights. We just needed to give what the song gives. It was good and a good time and with her hosting too!

AM: Such a fan of her work but to have her hosting and performing on SNL while her series is streaming on Prime Video was amazing.

We’re living in a number of moments right now and in this body inclusivity time we’re in to give space to everyone that has an interest and the talent to do so, I think Lizzo’s show to have someone such as yourself who has worked with so many people to work with these women, really drives home the point that it’s not cool to identify those based on their race, gender, sexuality, body type etc and to dismiss them from opportunities where they can be present and own their gifts. This show is a great way to draw awareness to the opportunities that do exist for people.

TS: I love that! To me, what am I doing this job for – for what? When I think of what my legacy is, I just want everybody to have an opportunity and a moment to have what they want to have and then it’s up to them to continue with it. So give people the tools to be great to do what they want. It’s literally limitless. You’re right, it’s not cool to tell someone that they are not the right look for something. If you have the capability and the chops to do something – absolutely you should. Who is making the decision to defining what the perfect look is for something that is specific. You can have it in your box for what you do, but it should never be generalized.

With the girls, I said listen, we’re going to open up this door and you need to kick it down because I can only do so much for you. There is that aspect of being real and of course, it’s a sisterhood and we’re not here to put anybody down. We’re here to motivate and to uplift but at the same time, I’m very real and I know the kinds of circumstances that I have been through. I’ve been the dark-skinned girl where there was no makeup for you so before for those young kids that didn’t know, there was nothing. So I’d come in with my hat down low because X is calling me and Hype is calling me and telling me to get to set. I’m the first one in the makeup chair and the last one getting my makeup done. So, I’d put on a hat so that no one could see that I didn’t have makeup on. Or the fact that I’m chocolate, you can only have 1 of the 4 girls in the audition that will be chosen. Half the time that I’m auditioning, I’m like, "hey girl, hey girl” who is it going to be this time – well you got the last one so I’m going to be picked this time. You know what I’m saying? I’m not a Size 0 so having to get sample sizes was never the thing so my outfit was always the other outfit. My butt is big. Not being a trained dancer, I couldn’t do pirouettes, leaps and jumps. To this day, I still put myself in class learn and I am in beginners’ classes.

I’m not afraid to learn and that’s also what I tried to teach the girls. You control what happens to you in your life. Regardless of what people want to say and doors that have closed. We have all heard the stories about what happened to Tyra Banks and getting so many doors closed and then of course look at her now. We’ve all had that! But you have to keep pushing and once you push and that door opens, then you have to make sure that you stomp so hard that your foot is cemented into the ground and that they cannot deny you.

That’s what I got, I said don’t look at my face, I put my hat down, I didn’t need makeup, I’ll be there on time, I’ll wear my own outfit – I wasn’t doing choreography, so I was doing freestyle and every time out of those 100 music videos that I did, I freestyled that. I made sure that every single time I freestyled that I would get a standing ovation that would make them clap to make myself memorable. People would say, who was that girl that did this or who is that girl that did that and that’s how I made my mark. I think that that is the reason that I am where I am now because of all the no’s, I took them like a champ and I’m not saying that I never cried or wanted to give up, but I just kept going and every time there was an opportunity, I just said yes and let me figure it out when I get there.

AM: Tell me about the B Project campaign with Good American.

TS: Ok, yaaas! That was so fly to me Baroline Diaz is a VP of A&R at Interscope Records. We had never met before and she reached out to me and a few other women in her network that she didn’t know but admired and wanted all 12 of us to be part of her campaign. It was strictly for boss women that were self-made who didn’t have anything easy but are doing their damn thing. She just wanted to celebrate us and to be able to recognize others. Honestly before I even met her, I thought this sounds fire and when I met her, we had dinner and had some drinks and I’m like, “you are like everything that we need as a network for women that really do truly empower one another.” She doesn’t just say it, she lives it. We even have a chat that we still everyday talk with one another. Baroline is on it! She’s on our Instagram and our socials and she lets us know about so and so who does this and we say, “yes.” Or someone will say that they have something and will ask to get our addresses and they send it out. I’m going to help out someone else in the group with one of her artists. There are a couple of people in that group where we’re all super connected and we’re going to work with each other and help lift each other as well. There are just a lot of convos that go on in the group chat whether we’re helping one another out, sending scriptures or just getting projects going. It is such a great good sisterhood and it’s such a great campaign that I was able to be part of!

AM: It feels like you’re someone who is always flowing from one project to the next project or maybe it’s 80 projects that are all running at the same time! What do you have coming up that you are able to share that you’re excited about?

TS: I can share 2 things – 1 halfway. I am doing something with Disney and in NY so that should be cool! It’s kind of like wowzers and then another thing that is coming soon is that I’m working with Tom Holland and Sasha Lane on this Apple+ TV show, The Crowded Room. I can’t give anything away with this show, but I am so excited! I have the BET Awards coming up with Lizzo! H.E.R. right now is on tour opening up for Coldplay as well as her own tour. I did the creative direction for that. And working with Coldplay too!

AM: Saw that, I’m a huge Coldplay fan. I was like look at her rocking more spaces then just her spaces!

TS: RIGHT! And then Lizzo’s tour is coming and we’ll be announcing soon!

AM: In looking at other things that you have done, I know that at one time you were the choreographer for the Brooklyn Nets Kids dance team! How long were you with them and why did you want to do be involved in this?

TS: I started once Barclays opened up and the Brooklyn Nets became a thing. So I started working with the kids for about 5 years and then I passed it onto the assistant of mine at the time only because I started traveling for work and I couldn’t physically be there! I actually got the job through Jay-Z and my friend who is one of the directors for the female dancer’s entertainment group. For me, I chose to work with the kids because honestly for me, it’s not work for me when I work with children. Because they’re so fearless and they want to try everything, because they’re always so ready to go – I get a lot from them. I just feel really good being one of their first teachers to show them direction on how to learn, how to be, how to respect choreographers, how to walk in and just being part of their journey and helping to help them find who they are whether they want to do this or don’t want to do this as a career. Whether they want to continue or not, to me, that’s the world. I love working with kids.

AM: It’s so important to have a positive influence for dance. I remember growing up that I started in ballet and tap at a really young age. I liked ballet and I remember that the teacher told me that due to my body type there wasn’t a place for me in that arena and that there weren’t any Black ballerinas and that I shouldn’t do it. So, we’re talking the early 80s, I didn’t do it and I just did tap instead. The teacher, I thought at the time, was super nice and I believed what she said.

So to have a teacher that makes sure that you feel seen and allows you to go after something if that is your interest without putting barriers up, made me think that what you did for those kids was amazing.

Now do we know if I would have really done ballet – but I know you shouldn’t tell a 3 or 4 year old that they shouldn’t.

TS: No that’s absolutely right! That shouldn’t have happened. You said it perfectly, we need voices that allow people to be seen and to encourage them and to let them know you’re good enough. You should hone in on what you have and what you want. Golly, you need a second opinion sometimes.

AM: I know! But it was back then, so I didn’t know that there would be a Misty Copeland that would come along and at the time and where I grew up, there was no reference. But it did make me realize from then on that when I would go in whatever space, I fought for myself and place there and if it was something I wanted to do, I would make it happen regardless of what was said.

You also worked for a program with the Block Institute for Autism. Why did you want to be involved in this?

TS: Because I realized that there are things that are bigger than me and that there are things that are more rewarding than the biggest celebrity and the biggest brand. Does it even matter if you can’t enrich the lives of those that are not seen. People are important and if there is a need and especially with dance and what it has done for me and how it makes me feel, I want to be able to work with and teach and empower those that are in my reach. When I got the opportunity it was through a friend of mine that I talked with who worked with the Block Institute. I asked what they did and he explained that they provide extracurricular activities and I asked about dance. He explained that sometimes they would go in the gym and I let them know that I would come in and help and I did it for 3 years.

Life is short. God gave me a gift and it’s not for myself and it’s not for the riches or the popularity – it’s to enrich and to give hope, love and acceptance to others. I’m not keeping this to myself. I don’t like to dance alone! I want everybody to come and dance with me! It was pretty easy and a very quick yes from me. I actually miss doing it and I do want to start something up like that again. I really really do and I just have to make time for it. Thanks for reminding me about it! It’s important.

AM: I liked seeing that. We have been covering various autism stories from Autism Speaks Gala which included noted chefs and Andrew Zimmern was one of the hosts of the night, his son is autistic. It was a beautiful gala at Cipriani’s downtown and then Prime Video has a series streaming now, ‘As We See It’ which focuses on autistic adults and how they engage in the world and their relationship to one another, their families and they aid. It showed the depth of what it means to be autistic and how that can be from one person to the other as it’s not a monolithic experience. So to have someone such as yourself to give of your time in addition to everything you do, to infuse something you love to them is pretty awesome.

TS: Thank you. I really need to do more and it’s not enough.

AM: You do what you can in the hours of a day and I have taken 1 24 hour clock and made it 72 hours!

TS: Ha yes you’re right – let me stop!

AM: So when you’re not doing projects, how do you take time for yourself to have a reset? Because when you’re working with so many people and playing checkpoint, you’re doing 72 hours in a 24 hour cycle and you’re being 25 people!

TS: I’ve never heard it so eloquently stated like that! I literally when I have that time and I’m searching for it right now, I drop everything and go to Jamaica. I’m gone – the beach, the sand, the air – that’s what I need. If I can’t get away, then I’m in my bed watching any type of reality TV – like Love Island!

AM: Have you watched The Ultimatum yet?

TS: I just started! Because I just finished –

AM: Love is Blind!

TS: Yes, I’m still in the first episode, are you watching it?

AM: I already watched it. I am a queen binger because that is how I decompress! I love reality shows for a number of reasons – obviously it’s interesting to be able to see the people, you’re seeing designers coming through and there’s a lot of education that you can learn from the area that’s being covered, regional knowledge, restaurants etc and to know that that’s not you watching it all go down! Because I’m here for the drama as long as it’s not my own!

TS: Yes, same here!

AM: Who are 3 people that assisted you to be where you are today in your career?

TS: Director X, like I said, I’ve never met her before but Debbie Allen. She mentors me from afar there are things that she has done that are just so impressive. I’ll also say, my closest friends that are like my family and my brother and sister. They’re always like, how did you do this – this is great – keep going! Do t his and do that. They also ignite my fire. They give a lot of reassurance from them.

IG @tanishascott

PHOTO CREDIT | FRONT + BACK COVER, PG 18, 21, 26 Carey Bradshaw | PG 22, 25, 29, 30, 32 Courtesy Tanisha Scott | PG 35 + 36 Amazon/Watch Out For the Big Grrrls | PG 39 Ali Page Goldstein/HBO Max | PG 40 HBO MAX/Legendary | 9LIST STORI3S PG 180 Mohamed Sadek/GapFit |

Read the APR ISSUE #77 of Athleisure Mag and see THE SCIENTIST OF MOVEMENT | Tanisha Scott in mag.

THE KNOCKOUT WITH BRANDI RHODES

If you don't know Brandi Rhodes, you're missing out on this stunner who embodies #GirlPower and #CoupleGoals. While you get to know more about her through her social, you can catch her wrestling with Women of Honor alongside her hubby Cody Rhodes (as she is apart of wrestling royalty)! You can also catch her this month in the debut season of E! WAGS Atlanta, where she is one of the breakout stars.

In addition to shooting her fabulous editorial for our anniversary issue, we talked with her about how she got into the industry from modeling, her start in the WWE, being in ROH/WOH, her busy schedule and how she maintains her site, Not a Basic B for her fans to get to know her more!

ATHLEISURE MAG: Tell us how you got into wrestling and what your journey was into the sport?

BRANDI RHODES: I was scouted by WWE as I was modeling in Miami, FL. They contacted my modeling agency and expressed interest. From there I had meetings and then a try out to assess my athleticism. Then I was offered a contract to come to Florida Championship Wrestling and begin training. The rest is history!

AM: We know you were with the WWE and are currently with WOH - can you tell us about your experiences with both and what you're looking forward to within this league?

BR: With WWE I was an announcer, and unable to wrestle (which is what I wanted to do all along, but once it was discovered that I was good on the mic, I was placed in that position and
unable to transition away from it). In WOH I am of course a wrestler and am able to spread my wings and grow and learn so much! I also am able to work with my husband in ROH which is so
much fun. ROH/WOH allow me to do everything in the realm of wrestling, which is very challenging and fun.

AM: What's it like being married to Cody, who is also a wrestler and is in ROH?

BR: I’m the luckiest woman in the world to be married to Cody. He is incredibly smart, ambitious, handsome and has such a big heart. It’s inspirational to get to work with him in ROH. I learn a lot from him, and I have a front row seat to this time, being the most successful of his career. In Wrestling, many times wives have to stay home and watch their spouses compete from afar. I’m grateful to be on the road with him and able to see some of his most important
matches.

AM: How do you balance your schedules as we interviewed WWE Superstar Natalya Neidhart last year and Danielle Moinet/Summer Rae last year and know that as an athlete, you guys travel a lot to global matches? When your husband is also doing these, how do you connect
and find balance?

BR: We are big on having our fun. We plan our downtime just like anyone else. This month we are looking forward to a long awaited ski trip after heading to Japan for WrestleKingdom, one of the biggest wrestling events of the entire year! But sometimes it’s a trip to Disney or Universal Studios to recharge and connect, others it’s a trip to our favorite movie theater, and other times, we have to find time to have dates on the road! Last week we had to see The Last Jedi, in New Jersey because we were working, but refused to miss out on seeing the movie right when it came out. No matter how busy our schedules are, we can always find time to do things we love together. We make it if we have to!

AM: When we looked through your blog, Not Another Basic B - we were obsessed with your accessories and style - tell us more about your blog, why you created it, and how important is it to you as a creative outlet?

BR: Initially I created Not Another Basic B as a way to express my creativity. I was very bored and just not satisfied in my previous career. I couldn’t control that at the time, but I could challenge myself by creating the blog and the content that I put into it. I loved fashion and often would have people tweeting me trying to find out what brands I was wearing on TV, and this blog made it easier to connect with these folks and get them that information! From there, the blog took off to become more than fashion. I started sharing my travels, things about my
family and my marriage and personal stories as well. Now people look to the blog as a place for everyone. From the fashionista to the wrestling fan, to the traveler! I’m so proud of what it has
become!

AM: How did you become apart of the cast of WAGS Atlanta?

BR: I was living in LA working on another TV project and Casting reached out to my management asking if I would be willing to do a Skype interview to get to know me. I did the interview and a week later was sent over a contract to do the show! It was really fast! I later
found out that I was the last member cast. They were looking for someone who had an existing fan base and presence, and thankfully I have the most loyal fan base and following from the
wrestling world and they are really excited to see me on the show!

AM: We know that the season just started, but would you come back for another season, and/or be open to future reality shows?

BR: There are a lot of factors that come into play when determining what happens next and when. But I am happy to have this opportunity to be a part of the E! family, and for viewers and our existing fans to have the opportunity to get to know us a little better!

AM: How do you stay in great shape?

BR: I train very hard daily! My workouts are 6 days a week and incorporate weight training, interval exercises and plenty of cardio. I’ve found a balance with training, it’s something that challenges me, but also that I enjoy greatly.

AM: What do your workouts look for a match versus just maintaining when you may be in a few days of downtime?

BR: I really don’t deviate from routine when I have a match coming up. I compete pretty frequently, sometimes multiple times in one week, so for me it’s important to stay consistent at all times. In the summer, however, I do tend to add runs into my workouts simply because I love running outside!

AM: What are 3 go-to power foods when you're working out versus 3 splurges when you're treating yourself?

BR: When I’m working out I love a good protein shake, my favorite is from a place called Kale Me Crazy. I’m also very big on tuna packets, because I can take them anywhere and they do the trick! Then I love almond butter. Put it on my toast every morning. Splurge foods: pizza, burgers and any kind of cake. I have a ridiculous sweet tooth!

AM: You travel frequently what are 3 beauty products that you swear by that keep your skin fresh and vibrant?

BR: I always travel with Foreo. It’s a face cleansing device (similar to Clarisonic) but they come in Travel sizes and are so easy to use and keep clean! I also need my Dermologica face lotion
which is lightweight and SPF50! Lastly, I always have a good mask with me, I tend to go back and forth between charcoal and mud masks.

AM: How do you take time for yourself?

BR: Honestly... I watch the Hallmark Channel and HGTV and grab a glass of wine in my big moments of relaxation ha! I’ll take a bubble bath if I’m feeling REALLY edgy :)

AM: What do you wear when you go out for brunch, versus when you're running errands?

BR: I definitely dress up for brunch! A sundress with jewelry and heels in always up my alley. For errands, however, most of the time I am dressed “gym fab” because I’ve either just
come from the gym, or I’m on the way to the gym! Often time that’s head to toe Lululemon or Lorna Jane!

AM: What are your goals this year in wrestling, business, the site, family etc?

BR: This year I’m hoping to chase the dream of becoming WOH Champion! I’m looking forward to taking the blog to new heights this year with some upcoming partnerships! There are a few exciting things underway so just keep your eyes and ears open for me!

AM: What charities/philanthropies do you give your time to?

BR: I’ve always had an interest anything that helps with cancer research. Over the past few years my family has known too many families that have lost kids to childhood cancer. I’m always passionate in that research and spreading the word about ways to help.

AM: Anything else you'd like to share?

BR: The best ways to connect and interact with me! Those are my social pages: @TheBrandiRhodes - Twitter and IG and of course NotAnotherBasicB.com! Aside from that I’d like to wish everyone an amazing 2018! It’s going to be as great as we make it!

Read more from the Jan Issue and see The Knockout with Brandi Rhodes in mag.

CHRISTIAN LOUBOUTIN X STAR WARS

In a galaxy not so far away, Christian Louboutin who is known for not only making covet-worthy shoes but also putting his own take thematically in shoes sat down Disney and Lucasfilm to create heels for the four leading ladies of The Last Jedi - Rey, Admiral Holdo, Captain Phasma and Rose Tico.

Rose Tico

As a maintenance worker in the Resistance, her design includes utilitarian details, as told by the block heel surrounding an inner stiletto, and a sandy ribbon ankle strap reminiscent of the color of her uniform.

You can bid on these shoes from now to December 20th with benefits going to Starlight Children's Foundation, which supports critically ill children in hospitals, on behalf of Star Wars: Force for Change.

Rey

This shoe features a leather wrap ankle strap inspired by the belt on her costume. The translucent straps are a nod to "her Jedi powers and the Force she embodies," the brand said in a statement. The tiny blue brass hue on the heel is a tribute to her lightsaber.

The winning bid for each of these shoes which are signed by the designer AS WELL AS the Star Wars actress isn't all that they will receive! The winner will receive an additional pair of shoes and a chance to visit Lucasfilm headquarters, tour the studio, and view a special screening of The Last Jedi in San Francisco on January 16. (travel and accommodations are not included.) The bids currently range from $2,000 to $3,250, but the packages have an estimated value of $10,000 each. There is another item that is being added to the auction on Dec 9th and will be unveiled at the movie premiere (they will be guarded by a pair of Praetorian Guards clad in glossy red armor). The shoe is inspired by the film and Louboutin's extreme Ballerina Ultima heel.

Captain Phasma

This silver style showcases sleek lines and metallic color scheme. The criss-crossing straps imitate the curves of her armor.

Star Wars: The Last Jedi opens in theaters on December 15.

Vice Admiral Amilyn Holdo

This regally plum pump is inspired by the Vice Admiral who rocks lavender hair in the film. The drapery on the shoe mimics the fabric of her costume.