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    Christopher Nolan Wins DGA Award

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    After four losses, this is the first guild victory for the “Oppenheimer” director. Winners there have won the Academy Award 18 of the last 20 times.The Directors Guild of America on Saturday night handed its top prize for feature-film directing to Christopher Nolan for his hit biopic, “Oppenheimer,” starring Cillian Murphy as the physicist who helped design the atomic bomb. This is the latest major trophy Nolan’s film has won, after taking top honors from the Golden Globes and Critics Choice Awards last month.“The idea that my peers would think that I deserve this means everything to me,” the 53-year-old director said in his acceptance speech.Though this is Nolan’s first DGA win, he is a favorite of the guild and has received four other nominations that stretch back to his 2001 breakthrough, “Memento.” This year he was up against the filmmakers Greta Gerwig (“Barbie”), Yorgos Lanthimos (“Poor Things”), Alexander Payne (“The Holdovers”) and Martin Scorsese, whose nod for “Killers of the Flower Moon” — his 11th from this group — made him the guild’s second-most-nominated filmmaker after Steven Spielberg.Nolan is widely considered the front-runner for the best director Oscar, a bid that was only strengthened by his victory here, since the DGA winner has gone on to take home the Oscar 18 of the last 20 times. At the Academy Awards next month, he’ll once again face off against Scorsese and Lanthimos, though Oscars voters swapped Gerwig and Payne for Justine Triet (“Anatomy of a Fall”) and Jonathan Glazer (“The Zone of Interest”).Judd Apatow, who hosted the DGA Awards, alluded to Gerwig’s headline-making Oscar snub in a joke about how things could have been worse: “I’ve never even been mentioned in an article about the people who got snubbed!” he said.The DGA prize for the best first-time director went to Celine Song, whose romantic drama, “Past Lives,” was nominated for best picture at the Oscars. This award has gone to a female filmmaker three years in a row, a first for this organization, with Song following in the footsteps of Charlotte Wells (“Aftersun”) and Maggie Gyllenhaal (“The Lost Daughter”).“The best way I can honor this incredible recognition for my very first film is to promise that I’ll keep directing films as best as I can for as long as I can,” Song said. “I’m going to keep going. Thank you so much!”Here are the top winners. For the complete list, including reality shows and children’s programming, go to dga.org.FilmFeatureChristopher Nolan, “Oppenheimer”Read an interview with the director.First-Time FeatureCeline Song, “Past Lives”Read our review.DocumentaryMstyslav Chernov, “20 Days in Mariupol”Read our review.TelevisionDrama Series“The Last of Us,” Peter Hoar (for the episode “Long, Long Time”)Comedy Series“The Bear,” Christopher Storer (“Fishes”)Television Movies and Limited Series“Lessons in Chemistry,” Sarah Adina Smith (“Her and Him”) More

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      Christopher Nolan Leads Directors Guild Nomination

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      Greta Gerwig is also nominated for “Barbie.” Most but not all of the nominees for this prize often go on to Oscar nominations.The Directors Guild of America announced the nominations for its feature-film award on Wednesday, lending further momentum to nominee Christopher Nolan (“Oppenheimer”), who won the Golden Globe for directing on Sunday.The four other directors nominated for the top DGA Award were Greta Gerwig (“Barbie”), Yorgos Lanthimos (“Poor Things”), Alexander Payne (“The Holdovers”) and Martin Scorsese (“Killers of the Flower Moon”).Four of the five nominees will typically go on to receive an Oscar nomination for best director. Last year, DGA nominee Joseph Kosinski (“Top Gun: Maverick”) was the only man to miss out, supplanted at the Oscars by Ruben Ostlund (“Triangle of Sadness”), while the year before, DGA nominee Denis Villeneuve (“Dune”) was cut for Ryusuke Hamaguchi (“Drive My Car”).Since the Oscars often favor international auteurs over big-studio filmmakers, directors like Justine Triet (“Anatomy of a Fall”) and Jonathan Glazer (“The Zone of Interest”) still have a strong shot at making the Oscar lineup. But the DGA snub of Bradley Cooper (“Maestro”) is more concerning for his candidacy, especially since Cooper did make the DGA lineup five years ago for his directorial debut, “A Star Is Born.”Here is a rundown of the nominees in the major film and television categories. For the complete list, including reality shows and children’s programming, go to dga.org. The winners will be announced Feb. 10.FilmFeatureGreta Gerwig, “Barbie”Yorgos Lanthimos, “Poor Things”Christopher Nolan, “Oppenheimer”Alexander Payne, “The Holdovers”Martin Scorsese, “Killers of the Flower Moon”First-Time FeatureCord Jefferson, “American Fiction”Manuela Martelli, “Chile ’76”Noora Niasari, “Shayda”A.V. Rockwell, “A Thousand and One”Celine Song, “Past Lives”DocumentaryMoses Bwayo, Christopher Sharp, “Bobi Wine: The People’s President”Mstyslav Chernov, “20 Days in Mariupol”Madeleine Gavin, “Beyond Utopia”Davis Guggenheim, “Still: A Michael J. Fox Movie”D. Smith, “Kokomo City”TelevisionDrama Series“The Last of Us,” Peter Hoar (for the episode “Long, Long Time”)“Succession,” Becky Martin (“Rehearsal”)“Succession,” Mark Mylod (“Connor’s Wedding”)“Succession,” Andrij Parekh (“America Decides”)“Succession,” Robert Pulcini and Shari Springer Berman (“Tailgate Party”)Comedy Series“Ted Lasso.” Erica Dunton (“La Locker Room Aux Folles”)“Barry” Bill Hader (“wow”)“Ted Lasso,” Declan Lowney (“So Long, Farewell”)“The Bear,” Christopher Storer (“Fishes”)“The Bear,” Ramy Youssef (“Honeydew”)Television Movies and Limited Series“All the Light We Cannot See,” “Shawn Levy“Lessons in Chemistry,” Tara Miele (“Introduction to Chemistry”)“Lessons in Chemistry,” Millicent Shelton (“Poirot”)“Lessons in Chemistry,” Sarah Adina Smith (“Her and Him”)“Daisy Jones & the Six,” Nzingha Stewart (“Track 10: Rock ’n’ Roll Suicide”) More

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      Actors Authorize Potential Strike With Hollywood Writers Still Picketing

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      The NewsThe union that represents more than 160,000 film and television actors voted on Monday night to authorize a strike, two days before it is to begin negotiations on a new labor deal with the Hollywood studios. The result from members of the SAG-AFTRA union, with 98 percent authorizing a strike, was expected, and it came during the sixth week of a strike by Hollywood writers and just a day after the Directors Guild of America tentatively agreed to a new contract.“Together we lock elbows, and in unity we build a new contract that honors our contributions in this remarkable industry, reflects the new digital and streaming business model and brings ALL our concerns for protections and benefits into the now!” Fran Drescher, the president of the actors’ union, said in a statement.About 65,000 members cast ballots, or 48 percent of eligible voters. The actors’ current agreement with the Alliance of Motion Picture and Television Producers, which bargains on behalf of the studios, expires on June 30.Members of SAG-AFTRA supported the striking Writers Guild of America at a rally last month outside Warner Bros. Studios in Burbank, Calif.Chris Pizzello/Associated PressWhy It Matters: The actors have the same worries as the writers.Many of the actors’ concerns echo what the Writers Guild of America is fighting for: higher wages; increased residual payments for their work, specifically for content on streaming services; and protections against using actors’ likenesses without permission as part of the enhanced abilities of artificial intelligence. According to the writers, the studios offered little more than “annual meetings to discuss” artificial intelligence, and they refused to bargain over limits on the technology.The Directors Guild, in contrast, said on Sunday that it had reached a “groundbreaking agreement confirming that A.I. is not a person and that generative A.I. cannot replace the duties performed by members.” Details about what that meant were not revealed.Background: It has been a long time since the last actors’ strike.The last time the actors went on strike was in 2000, in a dispute over commercial pay. The strike lasted close to six months.What’s Next: Negotiations begin on Wednesday.With negotiations expected to begin on Wednesday, SAG-AFTRA is bullish about what this strike authorization means. “We’re obviously coming in from a position of strength, but we’re not looking to strike,” said Duncan Crabtree-Ireland, the union’s chief negotiator. “We’re here to make a deal.” He added: “But we’re also not going to accept anything less than what our members deserve. If a strike is necessary to achieve that, we’re prepared.”The Alliance of Motion Picture and Television Producers said in a statement that “we are approaching these negotiations with the goal of achieving a new agreement that is beneficial to SAG-AFTRA members and the industry overall.” More

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      Hollywood Directors Reach Deal With Studios as Writers’ Strike Continues

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      The tentative agreement includes improvements in wages and guardrails around artificial intelligence.The union that represents thousands of movie and television directors reached a tentative agreement with the Hollywood studios on a three-year contract early Sunday morning, a deal that ensures labor peace with one major guild as the writers’ strike enters its sixth week.The Directors Guild of America announced in a statement overnight that it had made “unprecedented gains,” including improvements in wages and streaming residuals (a type of royalty), as well as guardrails around artificial intelligence.“We have concluded a truly historic deal,” Jon Avnet, the chair of the D.G.A.’s negotiating committee, said in the statement. “It provides significant improvements for every director, assistant director, unit production manager, associate director and stage manager in our guild.”The deal prevents the doomsday Hollywood scenario of three major unions striking simultaneously. On Wednesday, the Alliance of Motion Picture and Television Producers, which bargains on behalf of the studios, will begin negotiations for a new contract with SAG-AFTRA, the guild that represents actors; their current agreement expires on June 30. SAG-AFTRA is in the process of collecting a strike authorization vote.The entertainment industry will be looking closely at what the directors’ deal — and the actors’ negotiations — will mean for the Writers Guild of America, the union that represents the writers. More than 11,000 writers went on strike in early May, bringing many Hollywood productions to a halt.Over the last month, the writers have enjoyed a wave of solidarity from other unions that W.G.A. leaders have said they have not seen in generations. Whether a directors’ deal — or a possible actors’ deal later this month — undercuts that solidarity is now an open question.W.G.A. leaders had been signaling to writers late last week that a deal with the directors could be in the offing, a strategy that it said was part of the studio “playbook” to “divide and conquer.” The writers and the studios left the bargaining table on May 1 very far apart on the major issues, and have not resumed negotiations.“They pretended they couldn’t negotiate with the W.G.A. in May because of negotiations with the D.G.A.,” the W.G.A. negotiating committee told writers in an email on Thursday. “That’s a lie. It’s a choice they made in hope of breathing life into the divide and conquer strategy. The essence of the strategy is to make deals with some unions and tell the rest that’s all there is. It’s gaslighting, and it only works if unions are divided.“Our position is clear: To resolve the strike, the companies will have to negotiate with the W.G.A. on our full agenda,” the email continued.Representatives for the Alliance of Motion Picture and Television Producers declined to comment.The writers and the directors shared some priorities, including wages, streaming residuals and concerns about artificial intelligence. W.G.A. leaders had said that the studios had offered little more than “annual meetings to discuss” artificial intelligence, and that they refused to bargain over guardrails. The D.G.A. said Sunday that it received a “groundbreaking agreement confirming that A.I. is not a person and that generative A.I. cannot replace the duties performed by members.”Some of the writers’ demands, however, are more complex than those of the directors. W.G.A. leaders have described the dispute in urgent terms, calling this moment “existential,” and saying that the studios “are seemingly intent on continuing their efforts to destroy the profession of writing.”Despite the explosion of television production over the last decade, writers have said that their wages have stagnated, and their working conditions have deteriorated. In addition to improvements on compensation, the writers are seeking greater job security, as well as staffing minimums in writers’ rooms.The W.G.A. has vowed to fight on. The writers, who last went on strike 15 years ago for 100 days, have historically been united.“We are girded by an alliance with our sister guilds and unions,” Chris Keyser, a chair of the W.G.A. bargaining committee, said in a video message to writers last week. “They give us strength. But we are strong enough. We have always been strong enough to get the deal we need using writer power alone.” More

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      Hollywood Writers Strike Is ‘Going to Be a While’

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      The writers and entertainment companies remain far apart on several key issues, including money, and the standoff could last for months.It’s not just posturing: As screenwriters continue their strike against Hollywood companies, the two sides remain a galaxy apart, portending a potentially long and destructive standoff.“Any hope that this would be fast has faded,” said Tara Kole, a founding partner of JSSK, an entertainment law firm that counts Emma Stone, Adam McKay and Halle Berry as clients. “I hate to say it, but it’s going to be a while.”The Writers Guild of America, which represents 11,500 screenwriters, went on strike on Tuesday after contract negotiations with studios, streaming services and networks failed. By the end of the week, as companies punched back at union in the news media, and striking writers celebrated the disruption of shows filming from finished scripts, Doug Creutz, an analyst at TD Cowen, told clients that a “protracted affair seems likely.” He defined protracted as more than three months — perhaps long enough to affect the Emmy Awards, scheduled for Sept. 18, and delay the fall TV season.The W.G.A. has vowed to stay on strike for as long as it takes. “The week has shown, I think, just how committed and fervent writers’ feelings are about all of this,” Chris Keyser, a chair of the W.G.A. negotiating committee, said in an interview on Friday. “They’re going to stay out until something changes because they can’t afford not to.”The Alliance of Motion Picture and Television Producers, which bargains on behalf of studios, streaming services and networks, has maintained that it hopes “to reach a deal that is mutually beneficial to writers and the health and longevity of the industry.” Privately, however, member companies say they are prepared to weather a strike of at least 100 days. The most recent writers strike, which began in 2007 and ended in 2008, lasted that long.“It’s fair to say there’s a pretty big gap,” Bob Bakish, chief executive of Paramount Global, told analysts and investors on a conference call on Thursday. Paramount and its CBS subsidiary are prepared to “manage through this strike,” he added, “even if it’s for an extended duration.”Among the writers’ demands is that studios not let artificial intelligence encroach on writers’ credit or compensation.James Estrin/The New York TimesBoth sides have insisted that the other needs to make the first move to restart talks. None are scheduled. For the moment, media companies have turned to contract renewal negotiations with the Directors Guild of America, which start on Wednesday. That contract expires on June 30.Like writers, directors want more money, especially regarding residual payments (a type of royalty) from streaming services, which have rapidly expanded overseas. Before streaming, writers and directors (and other creative contributors, including actors) could receive residual payments whenever a show was licensed, whether that was for syndication, an international deal or DVD sales. In the streaming era, as global services like Netflix and Amazon have been reluctant to license their series, those distribution arms have been cut off.In addition to raises, however, writers want media companies — Netflix, in particular — to make structural changes to the way they do business. The companies — Netflix, in particular — say that is a bridge too far.The W.G.A. has proposals for mandatory staffing and employment guarantees, for instance. The union contends that the proposals are necessary because entertainment companies are increasingly relying on what is known in Hollywood slang as a miniroom. In one example of a miniroom, studios hire a small group of writers to develop a series and write several scripts over two or three months. Because they have not officially ordered the series, studios pay writers less than if they were in a large, traditional writers’ room.And given the relatively short duration of the position, those writers are then left scrambling to find another job if the show is not picked up. If a show does get a green light, fewer writers are sometimes hired because blueprints and several scripts have already been created.“While the W.G.A. has argued” that mandatory staffing and duration of employment “is necessary to preserve the writers’ room, it is in reality a hiring quota that is incompatible with the creative nature of our industry,” the studio alliance said in a statement on Thursday.Writers responded with indignation. “We don’t need the companies protecting us from our own creativity,” said Mr. Keyser, whose writing credits include “Party of Five” and “The Last Tycoon.” “What we need is protection from them essentially eliminating the job of the writer.”Writers also want companies to agree to guarantee that artificial intelligence will not encroach on writers’ credits and compensation. Such guarantees are a nonstarter, the studio alliance has said, instead suggesting an annual meeting on advances in the technology. “A.I. raises hard, important creative and legal questions for everyone,” the studios said on Thursday. “It’s something that requires a lot more discussion, which we have committed to doing.”Mr. Keyser’s response: Go pound sand.“This is exactly what they offered us with the internet in 2007 — let’s chat about it every year, until it progresses so far that there’s nothing we can do about it,” he said. In that case, have fun on the picket lines, studio executives have said privately: It’s going to be hot out there in July.Over the last week, media companies conveyed an air of business as usual. On Thursday, HBO hosted a red carpet premiere for a documentary, while the Fox broadcast network announced a survivalist reality show called “Stars on Mars” hosted by William Shatner.“3 … 2 … 1 … LIFT OFF!” the network’s promotional materials read.With the exception of late-night shows, which immediately went dark, Mr. Bakish assured Wall Street, “consumers really won’t notice anything for a while.” Networks and streaming services have a large amount of banked content. Reality shows, news programs and some scripted series made by overseas companies are unaffected by the strike. Most movies scheduled for release this year are well past the writing stage.Shares climbed on Friday for every company involved with the failed contract talks; investors tend to like it when costs go down, which is what happens when production slows, as during a strike. If the strike drags into July, analysts pointed out, studios can exit pricey deals with writers under “force majeure” clauses of contracts.“The sorry news for writers is that, in declaring a strike, they may in fact be helping the streaming giants and their parent companies,” Luke Landis, a media and internet analyst at SBV MoffettNathanson, wrote in a report on Wednesday.Writers, however, succeeded in making things difficult for studios over the first week. Apple TV+ was forced to postpone the premiere of “Still,” about Michael J. Fox and his struggle with Parkinson’s disease, because Mr. Fox refused to cross a picket line. In Los Angeles, writers picketed the Apple TV+ set for “Loot,” starring Maya Rudolph, causing taping to halt. In New York, similar actions disrupted production for shows like “Billions,” the Showtime drama. Other affected shows included “Stranger Things” on Netflix, “Hacks” on HBO Max and the MTV Movie & TV Awards telecast on Sunday, which went forward without a host after Drew Barrymore pulled out, citing the strike.“The corporations have gotten too greedy,” Sasha Stewart, a writer for the Netflix documentary series, “Amend: The Fight for America” as well as “The Nightly Show With Larry Wilmore,” said from a picket line last week. “They want to break us. We have to show them we will not be broken.”Writers went into the strike energized. But a rally at the Shrine Auditorium in Los Angeles on Wednesday seemed to supercharge the group, in part because leaders from other entertainment unions turned out to support them — and in fiery fashion. During the 2007 strike, writers were largely left to stand alone, while a union representing camera operators, set electricians, makeup artists and other crafts workers blasted the writers for causing “devastation.”Ellen Stutzman, chief negotiator for the writers, received a standing ovation from the estimated 1,800 people who attended the rally. During the session, writers suggested expanding picket lines to the homes of studio chief executives and starting a public campaign to get people to cancel their streaming subscriptions.Some writers realized that Teamsters locals, which represent the many drivers that studios rely on to transport materials (and people), would not cross picket lines. So they started to picket before dawn to intercept them. (The W.G.A. has advised a 9 a.m. starting time.) At least one show, the Apple TV+ dystopian workplace drama “Severance,” was forced to shut down production on Friday as a result of Teamsters drivers’ refusing to cross. More

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      Daniel Kwan and Daniel Scheinert Win DGA Award for ‘Everything Everywhere All at Once’

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      The duo triumphed for “Everything Everywhere All at Once.” The guild’s winner has won the best director Academy Award 17 of the last 20 times.BEVERLY HILLS, Calif. — The Directors Guild of America gave its top prize for feature-film directing on Saturday night to Daniel Scheinert and Daniel Kwan for their sci-fi hit, “Everything Everywhere All at Once,” starring Michelle Yeoh as the unlikely savior of an embattled multiverse. It is only the third time in DGA history that a duo has won the best-director prize, after Robert Wise and Jerome Robbins (“West Side Story” from 1961) and Joel and Ethan Coen (the 2007 “No Country for Old Men”).“What the hell?” a gobsmacked Kwan said while accepting their prize at the ceremony, held at the Beverly Hilton in Beverly Hills.Scheinert, who said months ago that he had never expected their unusual film to become a major awards contender, was similarly stunned. “This is crazy!” he said.“Everything Everywhere” is the second film co-directed by Scheinert and Kwan, who began their career in music videos before making the leap to the big screen with their 2016 film “Swiss Army Man,” starring Daniel Radcliffe as a flatulent corpse.Their point of view is far quirkier than what the Directors Guild tends to go for, but earlier in the night, Kwan said he had been taught to think that being a director was more like being a party host than a general, and thanked his crew “for bringing their best selves to our ridiculous, absurd, beautiful, personal party.”Scheinert and Kwan triumphed over stiff competition, including Steven Spielberg (“The Fabelmans”), who is the most honored filmmaker in DGA history, with 13 nominations and three wins. The other nominees were Todd Field (“Tár”), Martin McDonagh (“The Banshees of Inisherin”) and Joseph Kosinski (“Top Gun: Maverick”).Next month’s best-director race at the Oscars will present another competitive matchup, with the same men nominated except for Kosinski, who was replaced by “Triangle of Sadness” helmer Ruben Ostlund. Still, Scheinert and Kwan can now be presumed to have the edge in that race, since the DGA winner has won the best director Oscar 17 of the last 20 times.Though no women were nominated in the feature-directing race, the DGA award for documentary filmmaking went to Sara Dosa for “Fire of Love,” about volcano-obsessed scientists. And the DGA prize for the best first-time filmmaker went to Charlotte Wells for the father-daughter drama “Aftersun,” which received an Oscar nomination for lead actor Paul Mescal. Since “The Lost Daughter” director Maggie Gyllenhaal won the same DGA trophy last season, this is the first time the first-timers’ award has gone to female filmmakers in back-to-back years.Here are the top winners. For the complete list, go to dga.org:Feature: Daniel Kwan and Daniel Scheinert, “Everything Everywhere All at Once”First-Time Feature: Charlotte Wells, “Aftersun”Documentary: Sara Dosa, “Fire of Love”Television Movies and Limited Series: Helen Shaver, “Station Eleven” (“Who’s There”)Dramatic Series: Sam Levinson, “Euphoria” (“Stand Still Like the Hummingbird”)Comedy Series: Bill Hader, “Barry” (“710N”) More

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      Steven Spielberg Gets a Record 13th Directors Guild Award Nomination

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      The all-male list omitted major contenders this season like James Cameron, Baz Luhrmann, Sarah Polley and Gina Prince-Bythewood.The Directors Guild of America announced its feature-film nominees on Wednesday, awarding a record 13th nomination to Steven Spielberg, who also won the best director Golden Globe this week for “The Fabelmans.” The four other directors nominated for the DGA’s top prize were Todd Field (“Tár”), Daniel Kwan and Daniel Scheinert (“Everything Everywhere All at Once”), Joseph Kosinski (“Top Gun: Maverick”) and Martin McDonagh (“The Banshees of Inisherin”).Several big names were shut out, including James Cameron (“Avatar: The Way of Water”) and Baz Luhrmann (“Elvis”), who directed two of the year’s most successful films. And though the last two DGAs for feature-film directing were won by Jane Campion (“The Power of the Dog”) and Chloé Zhao (“Nomadland”), representing the first time in the guild’s history that women triumphed in that race in back-to-back years, all five of this year’s nominees were men, as contenders Sarah Polley (“Women Talking”) and Gina Prince-Bythewood (“The Woman King”) failed to make the shortlist.Typically, four of the five DGA nominees are also nominated for the best-director Oscar: Last year, DGA nominee Denis Villeneuve (“Dune”) was the only one to not make the cut, as Oscar voters chose “Drive My Car” director Ryusuke Hamaguchi instead. The year before, DGA pick Aaron Sorkin (“The Trial of the Chicago 7”) fell short and was replaced in the Oscar nominations by Thomas Vinterberg (“Another Round”).Here is a rundown of the nominees in the major film and television categories. For the complete list, including commercials, reality shows and children’s programming, go to dga.org.FilmFeatureTodd Field, “Tár”Joseph Kosinski, “Top Gun: Maverick”Daniel Kwan and Daniel Scheinert, “Everything Everywhere All at Once”Martin McDonagh, “The Banshees of Inisherin”Steven Spielberg, “The Fabelmans”First-Time FeatureAlice Diop, “Saint Omer”Audrey Diwan, “Happening”John Patton Ford, “Emily the Criminal”Antoneta Alamat Kusijanovi, “Murina”Charlotte Wells, “Aftersun”DocumentarySara Dosa, “Fire of Love”Matthew Heineman, “Retrograde”Laura Poitras, “All the Beauty and the Bloodshed”Daniel Roher, “Navalny”Shaunak Sen, “All That Breathes”TelevisionDrama SeriesJason Bateman, “Ozark” (“A Hard Way to Go”)Vince Gilligan, “Better Call Saul” (“Waterworks”)Sam Levinson, “Euphoria” (“Stand Still Like the Hummingbird”)Aoife McArdle, “Severance” (“Hide and Seek”)Ben Stiller, “Severance” (“The We We Are”)Comedy SeriesTim Burton, “Wednesday” (“Wednesday’s Child Is Full of Woe”)Bill Hader, “Barry” (“710N”)Amy Sherman-Palladino, “The Marvelous Mrs. Maisel” (“How Do You Get to Carnegie Hall?”)Christopher Storer, “The Bear” (“Review”)Mike White, “White Lotus” (“BYG”)Movies for TV and Limited SeriesEric Appel, “Weird: The Al Yankovic Story”Deborah Chow, “Obi-Wan Kenobi”Jeremy Podeswa, “Station Eleven” (“Unbroken Circle”)Helen Shaver, “Station Eleven” (“Who’s There”)Tom Verica, “Inventing Anna” (“The Devil Wore Anna”) More

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      Directors Guild Nominations Focus on Veterans Like Jane Campion and Steven Spielberg

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      The Directors Guild of America announced its feature-film nominees on Thursday, recognizing Paul Thomas Anderson (“Licorice Pizza”), Kenneth Branagh (“Belfast”), Jane Campion (“The Power of the Dog”), Steven Spielberg (“West Side Story”) and Denis Villeneuve (“Dune”). Branagh is the category’s sole first-time nominee; the others have each been nominated by the guild before and Spielberg holds the record for most DGA wins with three.All five of the nominated directors also saw their films recognized earlier Thursday by the Producers Guild of America, which suggests they comprise the upper tier of this Oscar season’s best-picture contenders. The Directors Guild’s nominees also tend to match four out of five when it comes to the Oscars’ best-director category. Last year, only DGA pick Aaron Sorkin (“The Trial of the Chicago 7”) fell out; he was replaced in the Oscar nominations by Thomas Vinterberg (“Another Round”). The year before, the Oscars went for Todd Phillips (“Joker”) instead of Taika Waititi (“Jojo Rabbit”).Campion’s inclusion marks the first time in DGA history that women were nominated in back-to-back years: Last season, both Emerald Fennell (“Promising Young Woman”) and eventual winner Chloé Zhao (“Nomadland”) made the cut. And in the DGA category recognizing first-time filmmakers, four of the six nominees were women this year.Here is a rundown of the nominees in the major film and television categories. For the complete list, including commercials, reality shows and children’s programming, go to dga.org.FilmFeaturePaul Thomas Anderson, “Licorice Pizza”Kenneth Branagh, “Belfast”Jane Campion, “The Power of the Dog”Steven Spielberg, “West Side Story”Denis Villeneuve, “Dune”First-Time FeatureMaggie Gyllenhaal, “The Lost Daughter”Rebecca Hall, “Passing”Tatiana Huezo, “Prayers for the Stolen”Lin-Manuel Miranda, “Tick, Tick … Boom!”Michael Sarnoski, “Pig”Emma Seligman, “Shiva Baby”DocumentaryJessica Kingdon, “Ascension”Stanley Nelson, “Attica”Raoul Peck, “Exterminate All the Brutes”Ahmir “Questlove” Thompson, “Summer of Soul”Elizabeth Chai Vasarhelyi and Jimmy Chin, “The Rescue”TelevisionDrama series“Succession,” Kevin Bray (for the episode “Retired Janitors of Idaho”)“Succession,” Mark Mylod (“All the Bells Say”)“Succession,” Andrij Parekh (“What It Takes”)“Succession,” Robert Pulcini and Shari Springer Berman (“Lion in the Meadow”)“Succession,” Lorene Scafaria (“Too Much Birthday”)Comedy series“Hacks,” Lucia Aniello (“There Is No Line”)“Ted Lasso,” MJ Delaney (“No Weddings and a Funeral”)“Ted Lasso,” Erica Dunton (“Rainbow”)“Ted Lasso,” Sam Jones (“Beard After Hours”)“The White Lotus,” Mike White (“Mysterious Monkeys”)Television Movies and Limited Series“The Underground Railroad,” Barry Jenkins“Dopesick,” Barry Levinson (“First Bottle”)“Station Eleven,” Hiro Murai (“Wheel of Fire”)“Dopesick,” Danny Strong (“The People vs. Purdue Pharma”)“Mare of Easttown,” Craig Zobel More