Adam Sandler received some of his strongest reviews of his career for his performance in Netflix’s “Hustle,” which dropped on the platform back in June. The actor and producer has always seemed like an easy target for critics to unload in reviews however, Sandler has never pretended to be anything more than who he is: a guy who loves movies and loves making them with his friends.

“I like working hard,” Sandler says. “I like being around my friends who work hard. We push each other. ‘Hustle’ was a brand new vibe for us.”

On the film awards season premiere of the award-winning Variety Awards Circuit Podcast, Sandler sits down to discuss his performance in the Netflix sports dramedy “Hustle.” He discusses the awards buzz surrounding his role, whether or not we’ll ever get a full-length album of his music and the type of movie he’s dying to make. The answer just might surprise you.

Listen below:

Despite the Academy’s afflictions to comedic roles, and the unfortunate oversights of worthy Sandler turns such as “Uncut Gems” (2019) and “Punch-Drunk Love” (2002), Netflix is putting the actor and producer out in front for Oscar consideration in the best actor category.

Directed by Jeremiah Zagar, and written by Taylor Materne and Oscar-nominee Will Fetters (“A Star is Born”), “Hustle” tells the story of Stanley Sugarman (Sandler), a basketball scout who discovers a street ball player (Juancho Hernangomez) and sees the potential for him to get into the NBA.

The popularity for Adam Sandler and the dozens of movies he’s made over his career is undeniable. While visiting the offices of his film production company Happy Madison Productions in California, a tour of the space displayed posters of his most notable titles including “The Waterboy” and “Happy Gilmore.” He even had a music room, full of instruments where he often jams out with buddies.

During Variety’s conversation with Sandler, he reveals that he’s in conversations with “Saturday Night Live” creator and producer Lorne Michaels about returning to Studio 8H for another hosting stint. He was talking about doing it earlier in the season but recent hip surgery prevented him from making an appearance. He does say early 2023 could see him taking the stage for the show’s 48^th season.

When asked if he foresees an end to the long-running NBC sketch comedy series, Sandler says: “It’s a pretty special place that gets cooler and cooler. I don’t see it stopping. I don’t see Lorne stopping. He doesn’t sound to me like he’s stopping when I talk to him. He’s still excited about it.”

Sandler will be seen next in “Murder Mystery 2,” “Spaceman” and “You’re So Not Invited to My Bat Mitzvah” for Netflix.

Variety’s “Awards Circuit” podcast, produced by Michael Schneider, is your one-stop listen for lively conversations about the best in film and television. Each week “Awards Circuit” features interviews with top film and TV talent and creatives; discussions and debates about awards races and industry headlines; and much, much more. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts. New episodes post weekly.

[Editor’s Note: The following review contains spoilers for “Atlanta” Season 4, Episode 4, “Light Skinned-ed.”]

In Season 4, “Atlanta” isn’t just moving back to its titular hometown; it’s staging a comedic comeback.

Before getting to the sublime silliness in Episode 4, just look at what we’ve seen so far: The premiere opens with Darius (LaKeith Stanfield) delivering an exquisite, well-deserved dig on Marshall’s, before spending the rest of the episode being stalked by a (racist) woman steering a slow-rolling scooter. Alfred (Brian Tyree Henry) goes on a scavenger hunt run by a dead man. Tracy (Khris Davis) makes his triumphant return as a bossy receptionist (in what turns out to be a pretty impressive secret performance). Earn (Donald Glover) has to walk out of a meeting after a co-worker utters the gloriously oblivious phrase, “I just finished that book. It gave me a real paradigm shift on how things might not always be as they seem.” Even Van (Zazie Beetz), who’s sadly scarce from the final season, squeezes in a few quips at a haunted Atlantic Station.

Related

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“Atlanta” always has and always will be funny. Whether the jokes are dark or silly, they’re still baked in, but — even compared to the fretful “Robbin’ Season” — Season 3 drifts from nervous laughter to just plain nerves. In a way, a sense of unease is fitting. Who’s not a little extra worried when they’re away from home? Bad dreams (“Three Slaps”), bad trips (“New Jazz”), bad food (“Tarrare”) — not to mention the pointed commentary in most of the penultimate season’s one-off episodes — they all cast a pall on the group’s madcap journey; a pall that’s more noticeable in the light of Season 4 and especially in Episode 4, “Light Skinned-ed.”

Writer and executive producer Stefani Robinson, who injected welcome vigor into the Season 3 finale (via Alexander Skarsgård’s bikini briefs and Van’s “Amélie”-esque reinvention), pens her first episode of Season 4 — one befitting the creator of Jackie Daytona (she’s a writer and E.P. on “What We Do in the Shadows,” as well) and author behind “Atlanta” episodes like “Barbershop” and “Juneteenth.” “Light Skinned-ed” makes a worthy successor, both in its self-contained story and uproarious laughs. Earn and his family are on their way to church — namely, his mother, Gloria (Myra Lucretia Taylor), his aunt, Jeanie (Michole Briana White), and his grandpa (Bob Banks). Earn’s father, Raleigh (Isiah Whitlock, Jr.) skips out, choosing instead to take some me-time at the mall, which turns into its own little misadventure.

From the second Raleigh drops a simultaneous “hi and bye” to his wife and son, Episode 4 offers one delightful surprise after the next. Gloria informs Earn of her secret plan: to “steal” grandpa from her sister. Then, without hesitation, she does just that: speeding away as soon as Earn and Jeanie step out of the car for church, with the old man still in the back seat. (The look on Earn’s face when he realizes his mother is about to ditch him — priceless.) Jeanie, a woman as controlling as she is judgmental, soon latches onto Earn, suspecting he knew his mother’s plan, and even follows him to a recording session with Alfred where she berates them both. (Earn and Jeanie’s one-word conversation — “So.” “So…” “So?” — would make Meisner proud.)

The ensuing phone calls between Jeanie and her siblings, then Jeanie and the cops, infuse the episode with pathos. (Gloria’s fragile relationship with her father is called out, then reinforced.) But just when you think things may slow down, the comic rhythm keeps pace. There’s little beats, like the way Alfred and Earn sit down on the couch, mirroring their shared frustrations over getting caught in a mess. There’s exciting cameos, like Katt Williams, back for the first time since his Emmy-winning guest turn in “Alligator Man.” And there are great lines: “You can’t kidnap your own dad,” Uncle Willy tells his desperate sister. “I don’t have time to explain it to you right now, but the word ‘kid’ is in it, so mathematically, it’s impossible.” And all of it — very much including Grandpa’s mistaken belief that he’s been “in Egypt” for two weeks — is buttressed by the telling reactions of Earn, Alfred, Willy, and Aunt Pearl (Teresa L. Graves), captured with loving precision by director Hiro Murai.

Guy D’Alema / FX

Side note: I love how Jeanie, Willie, Pearl, and Gloria are all framed the same way in their respective spaces — visually connecting the four siblings — but their behavior and surroundings distinguish their disparate personalities. While Willie cooks burgers (presumably for his family/guests), Pearl folds laundry (for her own family), and Gloria sits with her dad in a crowded mechanic’s waiting room, Jeanie is only captured alone, shouting increasingly desperate accusations. (Even when Murai’s camera moves closer, there’s an empty chair behind Jeanie, or Alfred and Earn are kept out of focus — like when the former raises his hand to politely request she not call the cops.)

Speaking of the beleaguered cousins, they finally realize their only way out of this mess is to leave Aunt Jeanie behind — physically and emotionally, at least for a little while. Raleigh conveyed as much to Earn earlier that day, when his son called for help from the church bathroom: “I’ve been dealing with this family for 30 years, you’ll be OK for one day,” Raleigh says, while enjoying his “me time” with a relaxed shoe-shine. “I’m sure you’ll do the right thing.” Traditionally, that would mean sticking by your family — even if your aunt is so far off the deep end, her own siblings admit to hating her — but for Earn, it’s the opposite. Rather than broker peace or wait for it all to blow over, he bows out, goes to dinner, and enjoys time with the family he actually cares about. He’s just following his dad’s lead, even if Raleigh could only follow his own advice so far. (He avoided the family drama, but couldn’t avoid the mall drama — I liked the hat, though!)

“Light Skinned-ed” draws curious parallels between Earn and Raleigh, especially in their ongoing quests for respect, but that’s a conversation for another time. Episode 4 ends like it began: on a laugh. Everyone is going to watch a Redbox tonight — much to Grandpa’s delight — while passing around their free basket of bread. Gloria got her dad back, Raleigh got his new phone, Earn spent time with his folks. For the Marks family, all’s well that ends well. For the “Atlanta” audience, Episode 4 is a damn good time all the way through. More please.

Grade: A

“Atlanta” Season 4 releases new episodes Thursdays at 10 p.m. ET on FX, which are available the next day on Hulu.

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“Andor” Episode 4 just debuted on Disney+ in the “Star Wars” series’ second week of release (the first three episodes were dropped on premiere day), and more than anything, this installment of the series cements that the new show is a very different approach to a galaxy far, far away. And that, according to showrunner Tony Gilroy, was entirely by design.

“Andor” follows the radicalization of Cassian Andor (Diego Luna), who we last saw giving his life for the nascent Rebellion in “Rogue One.” The show eschews the almost videogame-like plotting of Lucasfilm’s breakout series “The Mandalorian” for something grittier and earthier; textures feel tactile; characters feel troubled and broken, they look for their way and move in with their parents; dialogue is emphasized. It might be the best thing Disney+ has produced. And most of that has to do with one man: showrunner and creator Tony Gilroy.

Gilroy worked on “Rogue One.” He has a screenwriting credit but some have suggested that he took over the actual direction of lengthy reshoots after an initial version proved lackluster, replacing, to one degree or another, original director Gareth Edwards.

When TheWrap joked with Gilroy that this was the longest rewrite job in Hollywood history (“Rogue One” was released back in 2016), he laughed. “I don’t spend a lot of time talking about ‘Rogue’ and I don’t really get into the weeds on it, but that was a mostly problem-solving, clinically driven, energized all-hands-on-deck kind of experience,” Gilroy said. “I mean, this is like building an entire civilization from scratch.”

Well, maybe not from scratch.

“Andor” was originally announced back in 2017 as one of several “Star Wars” projects being developed for Disney’s upcoming direct-to-consumer streaming platform, Disney+. It was initially developed by “Encanto” filmmaker Jared Bush, who wrote a pilot and created a series bible. By November 2018 Stephen Schiff had been installed as showrunner and in 2019, at the D23 Expo, Lucasfilm president Kathleen Kennedy announced the “Andor and K-2SO” show, introducing Luna and Alan Tudyk, who did the performance capture and provided the voice of K-2SO, onto the stage.

In 2019 it was announced that Gilroy had boarded the project, working alongside Schiff, but by 2020 he was announced as showrunner, head writer and executive producer of the series, now simply called “Andor.” As George Lucas once said, this situation rhymes, like poetry.

“They tried it a couple times. They tried it very admirably. When we finished ‘Rogue’ and then Kathy had the idea for doing this prequel, I thought that’s a cool idea, but the money wasn’t there,” Gilroy said. “You couldn’t really do a ‘Star Wars’ TV show. They didn’t have the money six years ago to do a show. Nobody’s doing shows like that. It just was economically unfeasible. There was no streaming. It just seemed like, ah, are you going to do some smaller version of something? It’s not a good idea.”

Still, Kennedy and Lucasfilm went ahead and attempted to develop the idea, one that Gilroy describes as “very credible.” Sensing that there were potential problems ahead, Kennedy gave the proposal to Gilroy for feedback. “And I said, ‘Look, I think it’s super pro, but it’s absolutely claustrophobic. You’re going to run out of road instantly. What can they do? They’re going to do the same thing every week. It doesn’t go anywhere.’ And she said, ‘Well … ‘” Gilroy recalled.

Gilroy composed a long memo about what the show should be, “as a friend in court, really more than anything else.” It ended up being, by Gilroy’s own admission, “a manifesto.” “It was insane and wildly expensive and crazy and all my dark s–t. And then they tried to do an upgrade of the other version that they had. And I think that in the end, they just kind of ran into the same problem,” Gilroy said. “It just ran out of road and they came back and they looked at this memo and they were like, ‘Oh, now we have the money to make these kind of shows and we really want to do this.’ And then we danced forward for six months and kept testing each other all the way through as we got closer and closer, but that’s the evolution.”

One of the things Gilroy insisted on was a finite amount of episodes: two seasons of 12. There are practical reasons behind not going on (“Diego would be too old” being one of them) but also storytelling considerations. “Seeing four episodes does not prepare you for how massive the show is going to be and how abundant it’s going to be and how overwhelming it is to make,” Gilroy said. “I don’t think anybody’s going to begrudge us only doing the two because you just physically couldn’t do it, I don’t think. I couldn’t.”

After not directing any of Season 1, Gilroy confirmed that he wouldn’t be directing any of Season 2 either. “We get such a bump when the directors come in from their excitement and their energy and their greed to have a new person who really wants to come and is really aggressively trying to make their bones,” Gilroy said. ”It’s a really good, after we’ve been working on something for six or seven months, to have them come in and get somebody in here with new energy. It’s really helpful.” The first season is directed by Toby Haynes, Susanna White and Benjamin Caron.

When I ask if there was anything that was hard to get through the approval process (in the first four episodes characters have sex and commit subterfuge and our “hero” murders two men in cold blood), Gilroy says that it wasn’t really an issue. “We’ve had very little adult supervision along the way. No kidding. We are very much left to our own devices here,” Gilroy said. “It’s a very small brain trust of people that figure out what to do.”

One of the coolest new ideas is the idea of a corporately owned planet, who sends out their own paramilitary force to hunt down Andor (to predictably disastrous results). Initially thought of as a starting point for Syril (Kyle Soller), a kind of overzealous corporate cop, it still fits perfectly into the world of “Star Wars.”

“It also is absolutely canonically pure. This is the moment as the Empire is absorbing everything else as they’re spreading. One of the things they’re doing is nationalizing all these corporate planets,” Gilroy explained. “By the time we’re done, we’ll have shown all the ways that the Empire, with all of its fascistic appetites, is being satisfied around the galaxy, in every variety of way – environmentally, corporately, economically, socially, every way. And it was a cool way to do that.” Yes, it was.

Much has been made about the way that “Andor” looks, too, eschewing the screen-based technology (called StageCraft) that powers “The Mandalorian” and its spin-off “The Book of Boba Fett.” While Gilroy acknowledges the benefits screen technology he also notes that it’s “a brand new tool.” “It’s a pretty simplistic tool with some pretty serious limitations. It’s a box and you can go in it, but you can’t go past a certain point. It’s very expensive. But the main thing about it is you have a completely different workflow,” Gilroy said.

One of the big downsides, according to Gilroy, is that “you have to do all the post work first.” “You shoot all your plates. All your stuff has to be figured out. The actors have to know exactly where we’re going to be, they can’t move. It’s all done before,” Gilroy said. “When we shoot, we’re just beginning.” Gilroy also pointed out that “The Mandalorian” and “Boba Fett” are half-hour shows with smaller stories. “We’re doing 12 hours of 190 speaking parts along the way. We’re going for an abundant show. And economically it’s a disaster to do that. And you can’t mix,” Gilroy said. “You can’t sort of say, ‘Oh, I’m going to be a vegetarian for the next two days. And then I’m going to go back to eating meat.’ You have to commit. It’s not a disagreement or an argument or a rejection. It’s just a matter of work and flow.”

And while it feels apart from what has been done in the “Star Wars” television space, “Andor” is still connected in a big way. Gilroy says that the final scene of the series is Andor boarding a ship to take him to the Ring of Kafrene, the orbital waystation where he meets Tivik, the informant character Daniel Mays plays in “Rogue One.” (It’s Tivik who first tells Andor about the Death Star.)

When asked if any other characters from “Rogue One” would be popping up in “Andor,” considering they are all still alive during the time period and many could potentially intersect, Gilroy bristled.

“Popping up is not something we’re doing. We’re not doing any popping up. If people are meant to be there, I mean, it’s logical to assume that if we’re going to go to Yavin at the end and there’d be who’s in Yavin,” Gilroy said. “And it’s logical to assume that everyone knows Forest Whitaker’s in here now as Saw Gerrera figures prominently into ‘Rogue.’ But no, there won’t be anything gratuitous. If people are there, they’re there for a reason.”

And maybe that’s the biggest difference between “Andor” and the earlier “Star Wars” television series on Disney+ — it doesn’t pander to the fan-base with unnecessary cameos and extraneous shout-outs. Even if it is technically a prequel series, it is a breath of fresh air.

New episodes of “Andor” stream on Disney+ every Wednesday.

CBS, ABC and Vice were among the top winners at the 43rd annual News and Documentary Emmy Awards on Wednesday.

During a ceremony held at the Palladium Times Square in New York City and streamed online, the first night of the two-evening event celebrated the News categories, while the Documentary winners will be announced Thursday.

Scheduled presenters at the News portion included ABC News’ Linsey Davis, CBS News’ Margarat Brennan, CNN’s Omar Jimenez, NBC News’ Morgan Radford, Noticias Telemundo’s Julio Vaqueiro, Univision’s Teresa Rodrigues and Vice News’ Paola Ramos.

PBS NewsHour anchor and managing editor Judy Woodruff was the previously announced recipient of the night’s lifetime achievement honors during the News event, with McNeill/Lehrer NewsHour co-founder Robert McNeil chosen to present the award.

The full list of winners from the first night of the News & Documentary Emmy Awards ceremony is below.

Outstanding Live News Program

ABC World News Tonight with David Muir ABC

Anderson Cooper 360 CNN

CBS Mornings / CBS This Morning CBS (WINNER)

NBC Nightly News with Lester Holt NBC

The Lead with Jake Tapper CNN

Today NBC

Outstanding Recorded News Program

20/20 ABC

60 Minutes CBS (WINNER)

ABC News Soul of a Nation ABC

CBS Sunday Morning CBS

Nightline ABC

Outstanding Emerging Journalist

Anna Kook AJ+

Omar Jimenez CNN

Antonia Hylton NBC

Paola Ramos Vice

Rachel Scott ABC (WINNER)

Outstanding Live Breaking News Coverage

ABC News Special Events ABC
The January 6th Insurrection

Belarus: Inside a Manufactured Migrant Crisis CNN

CBS News CBS
Assault on the Capitol

Haitians Converge on the U.S. Mexico Border CNN

NBC News Specials NBC
January 6 Attack on the Capitol (WINNER)

PBS NewsHour PBS
PBS NewsHour’s Special Coverage of the Electoral College Count

Outstanding Edited Breaking News Coverage

60 Minutes CBS
January 6th

60 Minutes CBS
The Beast

A Reporter’s Video from Inside the Capitol Siege The New Yorker

ABC News Originals for Hulu Hulu
24 Hours: Assault on the Capitol

ABC World News Tonight with David Muir ABC
The Insurrection

Vice News
Inside the Battle for Jerusalem (WINNER)

Outstanding Continuing News Coverage: Short Form

ABC World News Tonight with David Muir ABC
Afghanistan Unraveling

ABC World News Tonight with David Muir ABC
The Climate Crisis (WINNER)

NBC Nightly News with Lester Holt NBC
Richard Engel – Afghanistan Continuing Coverage

The Coup in Myanmar CNN

VICE News Tonight Vice
India’s Deadly Delta Wave

VICE News Tonight Vice
Battle For Care

VICE News Tonight Vice
Haiti: Descent into Chaos

Outstanding Continuing News Coverage: Long Form

20/20 ABC
George Floyd

The Fall of Afghanistan CNN

VICE News Tonight Vice
Taliban’s Takeover of Afghanistan

VICE News Tonight Vice
Yemen: The Forgotten War (WINNER)

VICE News Tonight Vice
Six Weeks: Inside the Texas Abortion Ban

Outstanding Soft Feature Story: Short Form

ABC News Soul of a Nation ABC
Miss Lucille (WINNER)

CNN Digital CNN
Running as Equals

CNN Heroes CNN
Shirley Raines

The Undefeated Presents ESPN
Why We Kneel

Vice News Vice
Deaf in a Pandemic

Outstanding Soft Feature Story: Long Form

20/20 ABC
The Babies of 9/11: Twenty Years Later (WINNER)

48 Hours CBS
What Happened to the Perfect Child?

60 Minutes CBS
The Comeback

The New York Times Opinion Video The New York Times
How Life Looks Through My ‘Whale Eyes’

VICE News Tonight Vice
This Family of Black Cowboys Dates Back 5 Generations

Outstanding Hard News Feature Story: Short Form

Axum: Journey to a Sacred City CNN

Chinese Detective Turned Whistleblower Reveals Torture Against Uyghurs CNN

Searching for the Lost Graves of Louisiana’s Enslaved People The New York Times

The Lead with Jake Tapper CNN
9-Year-Old Afghan Sold into Marriage (WINNER)

VICE News Tonight Vice
The Central African Republic Is Enlisting Russians in its War Against Rebels

VICE News Tonight Vice
Death Threats: Election Officials Call It Quits

Outstanding Hard News Feature Story: Long Form

‘So They Know We Existed’: Palestinians Film War in Gaza The New York Times

Day of Rage: How Trump Supporters Took the U.S. Capitol The New York Times

Fault Lines Al Jazeera International USA
Buried Truths: America’s Indigenous Boarding Schools

NBC News Digital NBC
Southlake: Racial Reckoning in a Texas Suburb

VICE News Tonight Vice
A Christian Summer Camp’s History of Abuse (WINNER)

Outstanding Investigative News Coverage: Short Form

Anderson Cooper 360 CNN
The Lost Children of Xinjiang

CBS Evening News with Norah O’Donnell CBS
Norah O’Donnell Investigates: A Silent Epidemic in the U.S. Military

CBS Mornings and CBS Evening News CBS
Seatback Collapse

Ethiopia: Exposing the Hallmarks of a Genocide CNN

How a U.S. Drone Strike Killed the Wrong Person The New York Times (WINNER)

Outstanding Investigative News Coverage: Long Form

60 Minutes CBS
Handcuffed to the Truth

Fault Lines Al Jazeera International USA
Unrelinquished: When Abusers Keep Their Guns

FRONTLINE PBS
Yemen’s COVID Cover-Up (WINNER)

FRONTLINE In Partnership with the International Consortium PBS
of Investigative Journalists
The Pandora Papers

Nightline ABC
Blindsided

The Source Vice
The Shockwave

Outstanding Live News Special

ABC News Live ABC
Mission to Mars, Live!

ABC News Special Events ABC
The Inauguration of Joseph R. Biden Jr.

ABC News Special Events ABC
9/11 – Twenty Years Later – America Remembers

Deadline | White House MSNBC
Lives Well Lived

The 15th Annual CNN Heroes All-Star Tribute CNN (WINNER)

Outstanding Recorded News Special

60 Minutes CBS
9/11: The FDNY (WINNER)

ABC News Soul of a Nation ABC
Reckonings

ABC News Soul of a Nation ABC
Juneteenth: Together We Triumph

CBS Sunday Morning CBS
Behind the Badge

The Moms of Magnolia Street NBC

Return of the Taliban: A VICE News Special Report Showtime

Outstanding News Discussion & Analysis

A Fareed Zakaria Special CNN
A Radical Rebellion: The Transformation of the GOP

CBS News Face the Nation CBS
Afghanistan’s Collapse

CBS News Face the Nation CBS
Dr. Deborah Birx: A COVID Autopsy

Meet the Press NBC
Schools, America & Race (WINNER)

The Circus: Inside the Greatest Political Show on Earth Showtime
Reigning Chaos

This Week with George Stephanopoulos ABC
Capitol Insurrection

Outstanding News Analysis: Editorial and Opinion

Amanpour CNN
60 Years Ago, We Saw the Face of Evil

The New York Times Opinion Video The New York Times
Dying in the Name of Vaccine Freedom

The New York Times Opinion Video The New York Times
Blue States, You’re the Problem (WINNER, TIE)

The New York Times Opinion Video The New York Times
I’m a Trans Runner Struggling to Compete Fairly

The New York Times Opinion Video The New York Times
Greta Thunberg Has Given Up on Politicians (WINNER, TIE)

Outstanding Live Interview

ABC News Live Prime ABC
Unvaccinated Patient in Hospital Pleads for Others to Get Vaccine

Don Lemon Tonight CNN
Exclusive Interview with Officer Michael Fanone

Katy Tur Reports MSNBC
Haiti: Biden Administration Expels Migrants to Danger

State of the Union CNN
Dealing with Tragedy: Jake Tapper Interviews Rep. Jamie Raskin After Son’s Death and January 6″

State of the Union CNN
A Congressman’s Final Words: Jake Tapper Speaks to Rep. Paul Mitchell on his Deathbed

The New York Times DealBook Summit: One-on-One with Adam Neumann The New York Times (WINNER)

Outstanding Edited Interview
20/20 ABC
Escape from a House of Horror (WINNER)

60 Minutes CBS
The Facebook Whistleblower

ABC News Soul of a Nation ABC
Officer Dunn: Capital Cop

ABC News Special ABC
Alec Baldwin Unscripted

CNN Special Report CNN
COVID WAR: The Pandemic Doctors Speak Out

Outstanding Science, Technology or Environmental Coverage

CBS News: CBS Mornings, CBS This Morning, and CBS Evening News with Norah O’Donnell
CBS News: Eye on Earth CBS

CNN Special Report CNN
Eating Planet Earth: The Future of Your Food (WINNER, TIE)

Deforestation in the Deep: Forgotten Forests CNN

Unlivable Oasis ProPublica, TIME, Truly CA, Univision Noticias (WINNER, TIE)

World News Tonight with David Muir/Nightline ABC
Madagascar: The Children of Climate Change (WINNER, TIE)

Outstanding Health or Medical Coverage

CNN Special Report CNN
WEED 6: Marijuana and Autism

Nightline ABC
The Appointment

The New York Times Opinion Video The New York Times
Death, Through a Nurse’s Eyes

The New York Times Presents FX
Move Fast & Vape Things

VICE News Tonight Vice
Aging, Inc. (WINNER)

Outstanding Arts, Culture or Entertainment Coverage

20/20 ABC
Something’s Coming: West Side Story

60 Minutes CBS
The Final Act

ABC News Live Prime ABC
Soul of a Nation: Tulsa’s Buried Truth

The New York Times Presents FX
Malfunction: The Dressing Down of Janet Jackson (WINNER)

The Story Of Vice
A Thousand Miles

Outstanding Business, Consumer or Economic Coverage

60 Minutes CBS
A New Model

ABC News Originals for Hulu Hulu
GameStopped

Bloomberg Quicktake Bloomberg News
The Paycheck: The Systemic Overtaxing of Black Homes in America

FRONTLINE and NPR in conjunction with the Investigative Reporting Workshop PBS
The Healthcare Divide

FRONTLINE and The New York Times PBS
Boeing’s Fatal Flaw (WINNER)

Outstanding Crime and Justice Coverage

“Get Away from the Target” — Rescuing Migrants from the Libyan Coast Guard The Outlaw Ocean Project / The Guardian (WINNER)

20/20 ABC
George Floyd: A Man, A Moment, America Changed

48 Hours CBS
The Station Nightclub Fire: Who’s Responsible?

Dateline NBC NBC
The Investigation

Fault Lines Al Jazeera International USA
The Jim Crow Convictions

Best News Coverage—Short Form

Ethiopia: Exposing the Hallmarks of a Genocide CNN

How a U.S. Drone Strike Killed the Wrong Person The New York Times (WINNER)

Proud Boys Were Key Instigators in Capitol Riot The Wall Street Journal

The Coup in Myanmar CNN

VICE News Tonight Vice
BANNED: A Woman’s 200-Mile Journey to Get an Abortion

Best News Coverage—Long Form

“Get Away from the Target”—Rescuing Migrants from the Libyan Coast Guard The Outlaw Ocean Project / The Guardian
60 Minutes CBS
9/11: The FDNY

Return of the Taliban: A VICE News Special Report Showtime (WINNER)

VICE News Tonight Vice
Taliban’s Takeover of Afghanistan

VICE News Tonight Vice
Yemen: The Forgotten War

Outstanding News Program in Spanish
Al Punto Univision

Aquí y Ahora Univision

Noticias Telemundo en la Noche Telemundo

Noticiero Telemundo Telemundo

Noticiero Univision Univision (WINNER)

Outstanding Journalist in Spanish Language Media
Ilia Calderón Univision

Vanessa Huac Telemundo (WINNER)

Cristina Londoño Telemundo

Jorge Ramos Univision

Teresa Rodriguez Univision

Outstanding Coverage of a Breaking News Story in Spanish
Aquí y Ahora Univision
Crisis en Texas

España: volcán en erupción CNN en Español

Insurrección en el Capitolio CNN en Español

Noticiero Telemundo Telemundo
Enero 6- Asalto a la Democracia (WINNER)

Noticiero Univision Univision
Desafío a la democracia

Outstanding Investigative Journalism in Spanish
Aqui Y Ahora Univision
La oscura luz del mundo (WINNER)

Aquí y Ahora Univision
Guerra del Agua

Noticiero Telemundo Telemundo
Secuestrados

Noticiero Telemundo Telemundo
Coyotes

Noticiero Telemundo Telemundo
Asi son las cocinas de los narcos
Outstanding Feature Story in Spanish

Aqui Y Ahora Univision
Carne de cañón

Noticiero Telemundo Telemundo
Galápagos una ventana hacia el futuro

Op-Docs The New York Times
The Death Cleaner

Op-Docs The New York Times
57 Days

Univision News Digital Univision
La lucha de mujeres negras e hispanas contra la amenaza del desalojo

VICE News Tonight Vice
Después de la tormenta

Outstanding Writing: News
20/20 ABC
Escape from a House of Horror (WINNER)

60 Minutes CBS
9/11: The FDNY

60 Minutes CBS
Handcuffed to the Truth

ABC News Live Prime ABC
Soul of a Nation: Tulsa’s Buried Truth

Return of the Taliban: A VICE News Special Report Showtime

Outstanding Research: News
20/20 ABC
Nowhere to Run: The Ahmaud Arbery Story

Ethiopia: Exposing the Hallmarks of a Genocide CNN (WINNER)

The New York Times Presents FX
Move Fast & Vape Things

Vice News Vice
The Shockwave

VICE News Tonight Vice
Handle With Care: Investigating the For-Profit Foster Care System

Outstanding Direction: News

20/20 ABC
911 Babies: Twenty Years Later
Director: Michaela Dowd

ABC News Soul of a Nation ABC
Juneteenth: Together We Triumph
Director: Tine Fields (WINNER)

ABC News Soul of a Nation ABC
Director: James Adolphus

January 6th CNN
Director: Reza Baktar

The 15th Annual CNN Heroes All-Star Tribute CNN
Director: Brett Kelly

Outstanding Video Journalism: News
60 Minutes CBS
The Green River Drift

Return of the Taliban: A VICE News Special Report Showtime (WINNER, TIE)

Unlivable Oasis ProPublica, TIME, Truly CA, Univision Noticias

VICE News Tonight Vice
Inside the Battle for Jerusalem (WINNER, TIE)

VICE News Tonight Vice
After the Flood

Outstanding Editing: News
20/20 ABC
George Floyd: A Man, A Moment, America Changed

Day of Rage: How Trump Supporters Took the U.S. Capitol The New York Times

Return of the Taliban: A VICE News Special Report Showtime

Unlivable Oasis ProPublica, TIME, Truly CA, Univision Noticias

Vice News Vice
The Shockwave (WINNER)

Outstanding Graphic Design and Art Direction: News
ABC News Soul of a Nation ABC
Graphic Open

CNN Digital CNN
QAnon Letter

CNN Digital CNN
The Hippie Trail (WINNER)

The New York Times Opinion Video The New York Times
Joe Did It. But How?

The Secret IRS Files ProPublica

VICE News Tonight Vice
Pandemic Time

Outstanding Technical Achievement

48 Hours & CBS News CBS
The Queen Carries On: A Gayle King Special

ABC News Live ABC
Mission to Mars, Live!

CBS Mornings CBS
NEW Challenge

TODAY NBC
Jenna Skydives Live with U.S. Army (WINNER)

Outstanding Regional News Story: Spot or Breaking News

7 News at Six WSVN-TV (Miami, FL)
Surfside Condo Collapse

Battleground Salt Lake KSL 5-TV (Salt Lake City, UT) (WINNER)

Local 10 News WPLG-TV (Miami-Ft.
Condo Collapse – The 10:00 Hour Lauderdale, FL)

NBC 7 News At 11 KNSD-TV (San Diego,
Wildfire Triggers Evacuations CA)

WAVE 3 News WAVE 3 (Louisville, Louisville’s First Weekend of Protests KY)

WFAA at 10pm WFAA-TV (Dallas – Not Cancun… Fort Worth, TX)

Outstanding Regional News Story: Investigative Report

ABC15 News KNXV-TV (Phoenix, Full Disclosure AZ)

CBS 2 Chicago 10pm WBBM-TV (Chicago, My Name Is Anjanette Young IL) (WINNER)

KARE 11 News KARE-TV
KARE 11 Investigates: Cruel & Unusual (Minneapolis, MN)

FOX31 KDVR-TV (Denver, Police, Paramedics, and Ketamine: What Happened to Elijah McClain CO)