Here’s something many of you may not know is going on that is very irresponsible. Journalists and reporters use Twitter alot to get information out to the public as quick as possible. Yesterday, Donald Trump tweeted out how he went to visit Alexandria gunshot victim, Congressman Scalise, in the hospital. Trump said Scalise was in rough condition and to pray for him. Well, reporter, Jim Acosta, sent out a tweet saying the President never visited Scalise at the hospita!. This was read by thousands and even Jake Tapper took Acosta’s word and reported the findings. Well, it turns out Jim Acosta was wrong, and therefore Jake Tapoer. But instead of tweeting out a retraction saying he was wrong, Mr. Acosta just deleted the tweet and called it a day. No retraction, yet tens of thousands of people thought Trump just lied. Luckily real reporters who still believe in fairness captured an image of the tweet in error and tried to spread the correct version of events around while also publicly shaming Acosta. The fair reporters weren’t conservatives, but progressives. They just believe in the integrity of their profession
This is just one example of what is happening with the news we intake, but it’s becoming a fairly big problem with those in corporate media trying to rush stories out. If they make a mistake, instead ot correcting it, they’re just deleting it.
The National Board of Review is not made up of critics, but of “a select group of knowledgeable film enthusiasts and professionals, academics, young filmmakers and students” in the New York area. It owes its high profile in the awards picture to the fact that it has been picking the year’s best films since 1930, and that it had typically been the first body to announce its awards until the New York Film Critics Circle moved up its announcement a couple of years ago.
The NBR will hold its awards gala in New York City on Jan. 8, 2013.
Best Film: ZERO DARK THIRTY Best Director: Kathryn Bigelow, ZERO DARK THIRTY Best Actor: Bradley Cooper, SILVER LININGS PLAYBOOK Best Actress: Jessica Chastain, ZERO DARK THIRTY Best Supporting Actor:Leonardo DiCaprio, DJANGO UNCHAINED Best Supporting Actress: Ann Dowd, COMPLIANCE Best Original Screenplay: Rian Johnson, LOOPER Best Adapted Screenplay:David O. Russell, SILVER LININGS PLAYBOOK Best Animated Feature: WRECK-IT RALPH Special Achievement in Filmmaking:Ben Affleck, ARGO Breakthrough Actor: Tom Holland, THE IMPOSSIBLE Breakthrough Actress: Quvenzhané Wallis, BEASTS OF THE SOUTHERN WILD Best Directorial Debut: Benh Zeitlin, BEASTS OF THE SOUTHERN WILD Best Foreign Language Film: AMOUR Best Documentary: SEARCHING FOR SUGARMAN William K. Everson Film History Award: 50 YEARS OF BOND FILMS Best Ensemble: LES MISÉRABLES Spotlight Award: John Goodman (ARGO, FLIGHT, PARANORMAN, TROUBLE WITH THE CURVE) NBR Freedom of Expression Award: CENTRAL PARK FIVE NBR Freedom of Expression Award: PROMISED LAND
(in alphabetical order)
BEASTS OF THE SOUTHERN WILD
THE PERKS OF BEING A WALLFLOWER
SILVER LININGS PLAYBOOK
Writer and Filmmaker With a Genius for Humor
By CHARLES McGRATH
Nora Ephron, an essayist and humorist in the Dorothy Parker mold (only smarter and funnier, some said) who became one of her era’s most successful screenwriters and filmmakers, making romantic comedy hits like “Sleepless in Seattle” and “When Harry Met Sally,” died Tuesday night in Manhattan. She was 71.
The cause was pneumonia brought on by acute myeloid leukemia, her son Jacob Bernstein said.
In a commencement address she delivered in 1996 at Wellesley College, her alma mater, Ms. Ephron recalled that women of her generation weren’t expected to do much of anything. But she wound up having several careers, all of them successfully and many of them simultaneously.
She was a journalist, a blogger, an essayist, a novelist, a playwright, an Oscar-nominated screenwriter and a movie director — a rarity in a film industry whose directorial ranks were and continue to be dominated by men. Her later box-office success included “You’ve Got Mail” and “Julie & Julia.” By the end of her life, though remaining remarkably youthful looking, she had even become something of a philosopher about age and its indignities.
“Why do people write books that say it’s better to be older than to be younger?” she wrote in “I Feel Bad About My Neck,” her 2006 best-selling collection of essays. “It’s not better. Even if you have all your marbles, you’re constantly reaching for the name of the person you met the day before yesterday.”
Nora Ephron was born on May 19, 1941, on the Upper West Side of Manhattan, the eldest of four sisters, all of whom became writers. That was no surprise; writing was the family business. Her father, Henry, and her mother, the former Phoebe Wolkind, were Hollywood screenwriters who wrote, among other films, “Carousel,” “There’s No Business Like Show Business” and “Captain Newman, M.D.”
“Everything is copy,” her mother once said, and she and her husband proved it by turning the college-age Nora into a character in a play, later a movie, “Take Her, She’s Mine.” The lesson was not lost on Ms. Ephron, who seldom wrote about her own children but could make sparkling copy out of almost anything else: the wrinkles on her neck, her apartment, cabbage strudel, Teflon pans and the tastelessness of egg-white omelets.
She turned her painful breakup with her second husband, the Watergate journalist Carl Bernstein, into a best-selling novel, “Heartburn,” which she then recycled into a successful movie starring Jack Nicholson as a philandering husband and Meryl Streep as a quick-witted version of Ms. Ephron herself.
When Ms. Ephron was 4, her parents moved from New York to Beverly Hills, where she grew up, graduating from Beverly Hills High School in 1958. At Wellesley, she began writing for the school newspaper, and in the summer of 1961 she was a summer intern in the Kennedy White House. She said later that perhaps her greatest accomplishment there was rescuing the speaker of the house, Sam Rayburn, from a men’s room in which he had inadvertently locked himself. In an essay for The New York Times in 2003, she said she was also probably the only intern that President John F. Kennedy had never hit on.
After graduation from college in 1962, she moved to New York, a city she always adored, intent on becoming a journalist. Her first job was as a mail girl at Newsweek. (There were no mail boys, she later pointed out.) Soon she was contributing to a parody of The New York Post put out during the 1962 newspaper strike. Her piece of it earned her a tryout at The Post, where the publisher, Dorothy Schiff, remarked: “If they can parody The Post, they can write for it. Hire them.”
“The Post was a terrible newspaper in the era I worked there,” she wrote, but added that the experience taught her to write short and to write around a subject, since the kinds of people she was assigned to cover were never going to give her much interview time.
In the late 1960s Ms. Ephron turned to magazine journalism, at Esquire and New York mostly. She quickly made a name for herself by writing frank, funny personal essays — about the smallness of her breasts, for example — and tart, sharply observed profiles of people like Ayn Rand, Helen Gurley Brown and the composer and best-selling poet Rod McKuen. Some of these articles were controversial. In one, she criticized Betty Friedan for conducting a “thoroughly irrational” feud with Gloria Steinem; in another, she discharged a withering assessment of Women’s Wear Daily.
But all her articles were characterized by humor and honesty, written in a clear, direct, understated style marked by an impeccable sense of when to deploy the punchline. (Many of her articles were assembled in the collections “Wallflower at the Orgy,” “Crazy Salad” and “Scribble Scribble.”)
Ms. Ephron made as much fun of herself as of anyone else. She was labeled a practitioner of the New Journalism, with its embrace of novelistic devices in the name of reaching a deeper truth, but she always denied the connection. “I am not a new journalist, whatever that is,” she once wrote. “I just sit here at the typewriter and bang away at the old forms.”
Ms. Ephron got into the movie business more or less by accident after her marriage to Mr. Bernstein in 1976. He and Bob Woodward, his partner in the Watergate investigation, were unhappy with William Goldman’s script for the movie version of their book “All the President’s Men,” so Mr. Bernstein and Ms. Ephron took a stab at rewriting it. Their version was ultimately not used, but it was a useful learning experience, she later said, and it brought her to the attention of people in Hollywood.
Her first screenplay, written with her friend Alice Arlen, was for “Silkwood,” a 1983 film based on the life of Karen Silkwood, who died under suspicious circumstances while investigating abuses at a plutonium plant where she had worked. Ms. Arlen was in film school then, and Ms. Ephron had scant experience writing for anything other than the page. But Mike Nichols, who directed the movie (which starred Ms. Streep and Kurt Russell), said that the script made an immediate impression on him. He and Ms. Ephron had become friends when she visited him on the set of “Catch-22.”
“I think that was the beginning of her openly falling in love with the movies,” Mr. Nichols said in an interview, “and she and Alice came along with ‘Silkwood’ when I hadn’t made a movie in seven years. I couldn’t find anything that grabbed me.” He added: “Nora was so funny and so interesting that you didn’t notice that she was also necessary. I think a lot of her friends and readers will feel that.”
Ms. Ephron followed “Silkwood” three years later with a screenplay adaptation of her own novel “Heartburn,” which was also directed by Mr. Nichols. But it was her script for “When Harry Met Sally,” which became a hit Rob Reiner movie in 1989 starring Billy Crystal and Meg Ryan, that established Ms. Ephron’s gift for romantic comedy and for delayed but happy endings that reconcile couples who are clearly meant for each other but don’t know it.
“When Harry Met Sally” is probably best remembered for Ms. Ryan’s table-pounding faked-orgasm scene with Mr. Crystal in Katz’s Delicatessen on the Lower East Side, prompting a middle-aged woman (played by Mr. Reiner’s mother, Estelle Reiner) sitting nearby to remark to her waiter, indelibly, “I’ll have what she’s having.”
The scene wouldn’t have gotten past the Hollywood censors of the past, but in many other respects Ms. Ephron’s films are old-fashioned movies, only in a brand-new guise. Her 1998 hit, “You’ve Got Mail,” for example, which she both wrote (with her sister Delia) and directed, is partly a remake of the old Ernst Lubitsch film ‘The Shop Around the Corner.”
Ms. Ephron began directing because she knew from her parents’ example how powerless screenwriters are (at the end of their careers both became alcoholics) and because, as she said in her Wellesley address, Hollywood had never been very interested in making movies by or about women. She once wrote, “One of the best things about directing movies, as opposed to merely writing them, is that there’s no confusion about who’s to blame: you are.”
Mr. Nichols said he had encouraged her to direct. “I knew she would be able to do it,” he recalled. “Not only did she have a complete comprehension of the process of making a movie — she simply soaked that up — but she had all the ancillary skills, the people skills, all the hundreds of things that are useful when you’re making a movie.”
Her first effort at directing, “This Is My Life” (1992), with a screenplay by Ms. Ephron and her sister Delia, based on a novel by Meg Wolitzer about a single mother trying to become a standup comedian, was a dud. But Ms. Ephron redeemed herself in 1993 with “Sleepless in Seattle” (she shared the screenwriting credits), which brought Tom Hanks and Meg Ryan together so winningly that they were cast again in “You’ve Got Mail.”
Among the other movies Ms. Ephron wrote and directed were “Lucky Numbers” (2000), “Bewitched” (2005) and, her last, “Julie & Julia” (2009), in which Ms. Streep played Julia Child.
She and Ms. Streep had been friends since they worked on “Silkwood” together. “Nora just looked at every situation and cocked her head and thought, ‘Hmmmm, how can I make this more fun?’ ” Ms. Streep wrote in an e-mail on Tuesday.
Ms. Ephron earned three Oscar nominations for best screenplay, for “Silkwood,” “Sleepless in Seattle” and “When Harry Met Sally.” But in all her moviemaking years she never gave up writing in other forms. Two essay collections, “I Feel Bad About My Neck: And Other Reflections on Being a Woman” (2006) and “I Remember Nothing” (2010), were both best sellers. With her sister Delia she wrote a play, “Love, Loss, and What I Wore,” about women and their wardrobes (once calling it “ ‘The Vagina Monologues’ without the vaginas”) and by herself she wrote “Imaginary Friends,” a play, produced in 2002, about the literary and personal quarrel between Lillian Hellman and Mary McCarthy.
She also became an enthusiastic blogger for The Huffington Post, writing on subjects like the Las Vegas mogul Steve Wynn’s accidentally putting a hole in a Picasso he owned and Ryan ONeal’s failing to recognize his own daughter and making a pass at her.
Several years ago, Ms. Ephron learned that she had myelodysplastic syndrome, a pre-leukemic condition, but she kept the illness a secret from all but a few intimates and continued to lead a busy, sociable life.
“She had this thing about not wanting to whine,” the writer Sally Quinn said on Tuesday. “She didn’t like self-pity. It was always, you know, ‘Suck it up.’ ”
Ms. Ephron’s first marriage, to the writer Dan Greenburg, ended in divorce, as did her marriage to Mr. Bernstein. In 1987 she married Nicholas Pileggi, the author of the books “Wiseguy” and “Casino.” (Her contribution to “Not Quite What I Was Planning: Six-Word Memoirs by Writers Famous and Obscure,” edited by Larry Smith, reads: “Secret to life, marry an Italian.”)
In addition to her son Jacob Bernstein, a journalist who writes frequently for the Styles section of The Times, Ms. Ephron is survived by Mr. Pileggi; another son, Max Bernstein, a rock musician; and her sisters Delia Ephron; Amy Ephron, who is also a screenwriter; and Hallie Ephron, a journalist and novelist.
In person Ms. Ephron — small and fine-boned with high cheeks and a toothy smile — had the same understated, though no less witty, style that she brought to the page.
“Sitting at a table with Nora was like being in a Nora Ephron movie,” Ms. Quinn said. “She was brilliant and funny.”
She was also fussy about her hair and made a point of having it professionally blow-dried twice a week. “It’s cheaper by far than psychoanalysis and much more uplifting,” Ms. Ephron said.
Another friend, Robert Gottlieb, who had edited her books since the 1970s, said that her death would be “terrible for her readers and her movie audience and her colleagues.” But “the private Nora was even more remarkable,” he added, saying she was “always there for you with a full heart plus the crucial dose of the reality principle.”
Ms. Streep called her a “stalwart.”
“You could call on her for anything: doctors, restaurants, recipes, speeches, or just a few jokes, and we all did it, constantly,” she wrote in her e-mail. “She was an expert in all the departments of living well.”
The producer Scott Rudin recalled that less than two weeks before her death, he had a long phone session with her from the hospital while she was undergoing treatment, going over notes for a pilot she was writing for a TV series about a bank compliance officer. Afterward she told him, “If I could just get a hairdresser in here, we could have a meeting.”
Ms. Ephron’s collection “I Remember Nothing” concludes with two lists, one of things she says she won’t miss and one of things she will. Among the “won’t miss” items are dry skin, Clarence Thomas, the sound of the vacuum cleaner, and panels on “Women in Film.” The other list, of the things she will miss, begins with “my kids” and “Nick” and ends this way:
TODAY IN HISTORY: First Recorded Case Of Electric Shock Treatment for Homosexuality: 1935. The idea had been floated around for quite a while among therapists practicing a brand new, non-Freudian form of psychology known as Behavioral Therapy. The premise for this form of therapy goes back to Pavlov’s dog, which was trained to salivate whenever it heard a bell ringing. Behavioral Therapy used various systems of rewards and punishments — mostly punishments — to instill desired behavior in their subjects. And therapists were always on the lookout for new, effective forms of punishment. Shocking patients with a dose of electricity was seen as one promising avenue, but improperly administered, electric current could be lethal, as prisons from Sing Sing to San Quentin demonstrated on a regular basis. But in early 1934, that problem was solved. New York University’s Louis William Max introduced a new device that he invented to safely administer a painful electric shock to his patient at a meeting of the New York branch of the American Psychological Association. The following year, Dr. Max traveled to Ann Arbor, Michigan, to present a brief talk before the American Psychological Association’s annual meeting about his attempts to cure homosexuality using his new electric shock device. On Friday, September 6th at 2:00 p.m., the APA convened a panel on Abnormal Psychology at the University of Michigan’s Chemistry Amphitheater (room 165, to be exact), where Dr. Max gave his talk. The transcript of the talk itself is not available, but this brief synopsis appeared the following month in the APA’s Psychological Bulletin:
Breaking Up a Homosexual Fixation by the Conditioned Reaction Technique: A Case Study. Louis Wm. Max, New York University.
A homosexual neurosis in a young man was found upon analysis to be partially fetishistic, the homosexual behavior usually following upon the fetishistic stimulus. An attempt was made to disconnect the emotional aura from this stimulus by means of electric shock, applied in conjunction with the presentation of the stimulus under laboratory conditions. Low shock intensities had little effect but intensities considerably higher than those usually employed.on human subjects in other studies, definitely diminished the emotional value of the stimulus for days after each experimental period. Though the subject reported some backsliding, the ” desensitizing ” effect over a three month period was cumulative. Four months after cessation of the experiment he wrote, ” That terrible neurosis has lost its battle, not completely but 95% of the way.” Advantages and limitations of this technique are discussed. [10 min.]
Behavioral techniques to try to “cure” homosexuality took many forms, from electric shock therapy on adults and adolescents, to so-called “mild swats” on four-year-old boys like Kirk Andrew Murphy who underwent behavioral therapy at the hands of George Rekers. You can learn more about the role of Behavioral Therapy in attempts to “cure” homosexuality inBlind Man’s Bluff, an epilogue to our original investigation, What Are Little Boys Made Of?, about Kirk’s treatment at UCLA under Rekers.
The legendary Liza Minnelli is coming to the The Tennessee Performing Arts Center! Liza will sing sensational American Standards in a glamorous and intimate concert. The show will feature some of the greatest songs of all time performed in their purest, most intimate form with Liza and her quartet. Liza will be accompanied by Billy Stritch.
Liza Minelli was born on March 12, 1946 in Los Angeles, California to the actress/songwriter Judy Garland and Vincente Minelli, the film director responsible for such classics as “Meet Me in St. Louis” and “An American in Paris”.
She began her career at a very early age, co-starring with her mother in the movie “In the Good Old Summertime” in 1949. At the age of 10, Liza hosted the first-ever TV broadcast of “The Wizard of Oz“, reaching a viewing audience of about 45 million people. By the time she was 19, she had landed the lead role in “Flora, the Red Menace”. This Broadway performance won her a Tony for the Best Actress in a Musical. In 1967 she went on to star in several films that showcased her superb acting abilities (“Charlie Bubbles”, “The Sterile Cuckoo”, and “Tell Me That You Love Me, Junie Moon”).
In 1972, her movie career peaked when she played Sally Bowles in “Cabaret“. The film won eight Oscars, including the Best Actress for Liza. The role also earned her a Golden Globe and a British Film Academy Award. The unqualified success of “Cabaret” put Liza on the covers of Time and Newsweek in the same week.
Liza also starred in the first concert ever filmed for live television in 1972. “Liza with a Z” produced a Top 20 album and won the Emmy for Outstanding Single Program. It has been released in recent years as a DVD.
Liza went on to appear opposite Robert DeNiro in the musical “New York, New York“, directed by Martin Scorsese, in 1977.
In 1981, she co-starred with Dudley Moore in the movie “Arthur“, going on to make the sequel “Arthur 2” in 1998.
Liza added a second Golden Globe to her already impressive list of awards in 1985 wither her performance in “A Time to Live”, a made-for-TV movie.
In 1989, she produced an album with Britain’s Pet Shop Boys called “Results” that was a huge hit all over Europe.
In 1997, Liza took over from an ailing Julie Andrews in Broadway’s “Victor/Victoria“. Andrews had to leave the show to undergo a vocal cord surgery which was not completely successful. Liza later underwent the identical surgical procedure and made a full recovery.
Liza returned to the state in December 1999 to pay tribute to her father in a show called “Minnelli on Minnelli” at New York’s Palace Theater.
Shortly after the CD of “Minnelli on Minnelli” was released in February 2000, Liza was hospitalized for encephalitis. The prognosis was grim: she was told that she would never walk, talk, dance, or sing again. But Liza’s incredible will, determination and relentless hard work proved them wrong, and by June 2002, she was back on stage at the Beacon Theater in New York. Her triumphant comeback CD entitled “Liza’s Back!” was released in October 2002 and she was seen as Lucille Austero in TV’s critically-acclaimed Arrested Development.
In 2008 Liza returned to Broadway with “Liza’s at the Palace…” which went on to win the Tony Award for Best Special Theatrical Event. It’s Liza’s fourth Tony. She recreated the show at the MDM Grand where her performance was filmed for a public television special and a DVD. The show’s cast recording was nominated for a Grammy Award.
Liza continues her extraordinary music career with ongoing concert tours in the U.S. and Europe, as well as recording a new album.
In the midst of it all, however, another significant event began shaping the lives of those present and those to come — although today, many don’t know it ever happened.
On June 28, 1969, an early morning confrontation took place between the police and gay rights activists outside New York City‘s Stonewall Inn. The row turned into riots, and the event later became as significant for the gay and lesbian community as Rosa Parks holding her bus seat did for civil rights.
The title, Crist says, is not just a marker of how long it’s been since the actual event; it’s also a nod to her own age while writing it, a time of looking back at what you thought your life would become versus what it actually is.
Along those lines, the play’s main character, Demetrius “Dee” Bradbury, has a chance to revisit his own past in the ’60s and ’70s, when he moved to New York as a wide-eyed high school grad from Tennessee. Dan McGeachy, a veteran of stages in both Nashville and New York, takes on the role in what he considers a “peak experience.”
“It’s astonishing what it brings up,” he says. McGeachy, now 57, moved from Nashville to New York in 1973, and remembers what it was like to live as a gay man there at that time. The year after the riots, they were commemorated with what became the first Gay Pride march, now held annually nationwide.
“Initially, the riots were thought of as almost a joke,” McGeachy says. “People who did know about them thought it was just silly gay people, drag queens, fighting with the police. . . . But I will never forget being part of the Gay Pride parade much later, in 1992, and seeing thousands and thousands of people being able to just celebrate who we are. That is what Stonewall began.”
History of tolerance
McGeachy’s character has a sister, Lolly, played by actor Lisa Marie Wright. Lolly serves as heterosexual perspective in the play, accepting of her brother’s lifestyle but also very curious.
Wilhelm Peters, Billy Rosenberg and Chris Basso also take part, with Basso playing a younger version of “Dee.”
Some audience members, Wright says, will walk away with a greater understanding of the riots’ historical impact. “But I do hope some will walk away with their eyes more open to the whole idea of tolerance, too,” she says.
Crist, who assumed the role of artistic director after founder Julie Alexander moved to England, says it was the end of last year when she realized Rhubarb had done nothing to mark the 40th anniversary of the riots.
“And since Rhubarb’s longtime focus has been about tolerance and diversity, generally with gay issues, I thought that was a missed opportunity for us,” she says. She wanted to create a comedy/drama that was accessible to all, however, including the younger generation who could not imagine what tensions were like.
Katie Veglio, for one, the piece’s 26-year-old stage manager, admits that when she first heard of the project, she wasn’t familiar with the riots at all.
“To hear the things that people went through, the abuse that went on mentally and physically, it’s heartbreaking that it would ever have happened,” Veglio says.
McGeachy, who has gay friends that are Veglio’s age, admits that they “can have a whole different experience than I did,” he says. “And I’m glad.”
Additional Facts IF YOU GO What: Rhubarb Theater Company premieres Trish Crist’s comedy/drama 41 Where: Darkhorse Theater, 4610 Charlotte Ave. When: Friday through Aug. 7. Performances at 7:30 p.m. Wednesdays-Saturdays and 2:30 p.m. Sundays Tickets: $12. The play contains no sexual content, but some adult language. Contact: 397-7820 or firstname.lastname@example.org
The Gay Best Friend has become as integral to romantic comedies as a Katherine Heigl pratfall. Invariably wise and mostly asexual, GBF’s mince through every fifth scene to drop a snappy one-liner and a piece of sage advice to the “poor” heroine. Violet Tendencies (showing soon at NewFest and Outfest) refreshingly knocks that trope on its ass and suggests that these typical problem solvers are, in fact, the problem. Violet (The Facts of Life‘s Mindy Cohn), Manhattan’s most prolific hag, is used to hiding behind rooftop landscaping while her gay roommate hooks up at parties. But at 40 she’s suddenly confronted with the hard truth that her GBF’s are her biggest cockblocks.
Breezy and funny, Violet Tendencies boasts its share of genre subversion (Violet’s GBF’s are just as harried and horny as she is) while provoking discussion on the unspoken homo/hetero social schisms and the limiting fallout they unnecessarily perpetuate. That, and a great performance from an unconventional but absolutely charming leading lady (Mindy, who knew?!), make Violet Tendencies more than just another gay movie.
Violet Tendencies will debut at New York‘s NewFest Saturday June 12 and Los Angeles‘ Outfest Saturday July 10.
Award Recipients for the 21st Annual GLAAD Media Awards – Los Angeles
GLAAD Media Award recipients were announced in five of this year’s 32 media categories at the 21st Annual GLAAD Media Awards presented in Los Angeles presented by ABSOLUT Vodka® at the Hyatt Regency Century Plaza on Saturday, April 17. Additional awards were presented in New York on March 13 and will be presented in San Francisco on June 5 at the Westin St. Francis.
Outstanding Spanish-Language TV Journalism Segment – “Polémicas Adopciones” Noticiero Telemundo
ADDITIONAL AWARD ANNOUNCED IN LOS ANGELES
Outstanding Los Angeles Theater: Lydia by Octavio Solis
ENGLISH-LANGUAGE AWARDS ANNOUNCED IN NEW YORK
Outstanding Drama Series: Brothers and Sisters (ABC)
Outstanding TV Movie or Mini-Series: Prayers for Bobby (Lifetime)
Outstanding TV Journalism Segment: “Why Will Won’t Pledge Allegiance” American Morning (CNN)
Outstanding Digital Journalism Article: Two-Way Tie: “‘We Love You, This Won’t Change a Thing'” by John Buccigross (ESPN.com); “Why Can’t You Just Butch Up? Gay Men, Effeminacy, and Our War with Ourselves”by Brent Hartinger (AfterElton.com)
Outstanding Film-Limited Release: Little Ashes (Regent Releasing)
Outstanding Individual Episode: “Pawnee Zoo” Parks and Recreation (NBC)
Outstanding Daily Drama: One Life to Live (ABC)
Outstanding Talk Show Episode: “Ellen DeGeneres and Her Wife, Portia de Rossi” The Oprah Winfrey Show (syndicated)
Outstanding TV Journalism – Newsmagazine: “Uganda Be Kidding Me” (series) The Rachel Maddow Show (MSNBC)
Outstanding Newspaper Article: “Kept From a Dying Partner’s Bedside” by Tara Parker-Pope (The New York Times)
Outstanding Newspaper Columnist: Frank Rich (The New York Times)
Outstanding Newspaper Overall Coverage: The New York Times
Outstanding Magazine Article: “Coming Out in Middle School” by Benoit Denizet-Lewis (The New York Times Magazine)
Outstanding Magazine Overall Coverage: The Advocate
Outstanding Comic Book: Detective Comics by Greg Rucka (DC Comics)
Outstanding New York Theater: Broadway & Off–Broadway: A Boy and His Soul by Colman Domingo
Outstanding New York Theater: Off–Off Broadway: She Like Girls by Chisa Hutchinson