The songs nominated for the 2022 Best Music and Lyrics Emmy are “Corn Puddin’” (“Schmigadoon!”), “Elliot’s Song” and “I’m Tired” (“Euphoria”), “The Forever Now” (“This Is Us”) and “Maybe Monica” (“The Marvelous Mrs. Maisel”). The last three shows are involved in a rematch after having all competed in the 2020 contest. In that case, “Euphoria” emerged victorious with the tune “All for Us.”
With its past win and pair of new notices, “Euphoria” seems like the one to watch this year. If vote-splitting doesn’t come into play, it should be able to beat “Maisel” and “This Is Us” again, but which of its songs should it push forward? And will TV academy members be able to resist “Corn Puddin’”? To determine which song most aligns with voters’ typical tastes, let’s take a look at each one individually. Be sure to make your Emmy predictions in this and 26 other...
With its past win and pair of new notices, “Euphoria” seems like the one to watch this year. If vote-splitting doesn’t come into play, it should be able to beat “Maisel” and “This Is Us” again, but which of its songs should it push forward? And will TV academy members be able to resist “Corn Puddin’”? To determine which song most aligns with voters’ typical tastes, let’s take a look at each one individually. Be sure to make your Emmy predictions in this and 26 other...
- 8/29/2022
- by Matthew Stewart
- Gold Derby
When composers are struggling on a piece, sometimes all it takes is one simple directive or another set of eyes — or ears, rather — to help them crack it. For “The Marvelous Mrs. Maisel” composers Thomas Mizer and Curtis Moore, everything became crystal clear when Amy Sherman-Palladino told them that the Harry Belafonte song they had to write should be a wedding toast, not a pop hit. The duo hails from the theater world, where often complete strangers help them unlock pieces.
“One of the things that we get the option of doing that’s so different from working in TV and film is that… we get to present it in front of an audience at a preview,” Mizer tells Gold Derby at our Meet the Experts: Composers panel group discussion with fellow Emmy nominees Brian Tyler (“1883”), Siddhartha Khosla (“Only Murders in the Building”), Christopher Willis (“Schmigadoon!“) and Theodore Shapiro...
“One of the things that we get the option of doing that’s so different from working in TV and film is that… we get to present it in front of an audience at a preview,” Mizer tells Gold Derby at our Meet the Experts: Composers panel group discussion with fellow Emmy nominees Brian Tyler (“1883”), Siddhartha Khosla (“Only Murders in the Building”), Christopher Willis (“Schmigadoon!“) and Theodore Shapiro...
- 8/9/2022
- by Joyce Eng
- Gold Derby
When Thomas Mizer and Curtis Moore joined “The Marvelous Mrs. Maisel” in the third season, they were tasked with writing ’50s-era pop hits for Shy Baldwin (LeRoy McClain). For Season 4, creator Amy Sherman-Palladino upped the ante: She asked them to write a song for Harry Belafonte (Josh A. Dawson).
“I think she likes to tease us,” Moore tells Gold Derby at our Meet the Experts: Composers panel (watch the exclusive video interview above). “No, I think with ‘Maisel,’ she’s always trying to push the envelope a little bit. And I think with this, she was really looking to just have an added bonus to what we’re already doing because we also wrote a song for Shy in that episode [‘City Lights’], his next hit. And obviously this moment with Shy this season was different. It’s sort of a bittersweet moment because we know his story at the end of...
“I think she likes to tease us,” Moore tells Gold Derby at our Meet the Experts: Composers panel (watch the exclusive video interview above). “No, I think with ‘Maisel,’ she’s always trying to push the envelope a little bit. And I think with this, she was really looking to just have an added bonus to what we’re already doing because we also wrote a song for Shy in that episode [‘City Lights’], his next hit. And obviously this moment with Shy this season was different. It’s sort of a bittersweet moment because we know his story at the end of...
- 8/9/2022
- by Joyce Eng
- Gold Derby
After her stunning Drama Actress victory in 2020, Zendaya returns to the Emmy Awards this year with triple the number of nominations (make that quadruple when her series bid as an executive producer gets finalized). In addition to her second nomination for acting in “Euphoria,” the multitalented star also nabbed two more in the Music and Lyrics category for penning the lyrics to “I’m Tired” and “Elliot’s Song.”
She faces off against a field that includes offerings from “Schmigadoon!,” “The Marvelous Mrs. Maisel,” and “This Is Us.”
“Euphoria” won this race back in 2020 for “All For Us,” which was penned by Labrinth, That tune bested two compositions from “Little Fires Everywhere” by Ingrid Michaelson: “The Black Godfather” co-written by Pharrell Williams, and “Watchmen” by Trent Reznor and Atticus Ross. It also edged out a song from “Last Week Tonight With John Oliver” and two of its 2022 rivals: “The Marvelous Mrs. Maisel...
She faces off against a field that includes offerings from “Schmigadoon!,” “The Marvelous Mrs. Maisel,” and “This Is Us.”
“Euphoria” won this race back in 2020 for “All For Us,” which was penned by Labrinth, That tune bested two compositions from “Little Fires Everywhere” by Ingrid Michaelson: “The Black Godfather” co-written by Pharrell Williams, and “Watchmen” by Trent Reznor and Atticus Ross. It also edged out a song from “Last Week Tonight With John Oliver” and two of its 2022 rivals: “The Marvelous Mrs. Maisel...
- 7/23/2022
- by David Buchanan
- Gold Derby
Deadline has launched the streaming site for its second annual Sound & Screen, an award-season composer showcase of original music for television.
Click here to launch the streaming site.
The event May 5 at UCLA’s Royce Hall featured a 50-person orchestra spotlighting the music from composers Daniel Pemberton, Sean Callery, Amanda Jones, Dan Romer, Jeff Russo and Nico Muhly; composer-songwriters Tom Mizer & Curtis Moore; and music supervisor Jen Malone all of whom took part in post-performance Q&As to discuss their work. The night also featured a special virtual performance by Mick Jagger.
The studios and streamers who took part included Amazon Studios/Prime Video with The Marvelous Mrs. Maisel; Apple TV+ with Pachinko, Slow Horses and The Afterparty; CBS Studios with Star Trek: Picard and The Man Who Fell to Earth; HBO/HBO Max with Euphoria, Station Eleven, Somebody Somewhere and A Black Lady Sketch Show; National Geographic with Welcome to Earth...
Click here to launch the streaming site.
The event May 5 at UCLA’s Royce Hall featured a 50-person orchestra spotlighting the music from composers Daniel Pemberton, Sean Callery, Amanda Jones, Dan Romer, Jeff Russo and Nico Muhly; composer-songwriters Tom Mizer & Curtis Moore; and music supervisor Jen Malone all of whom took part in post-performance Q&As to discuss their work. The night also featured a special virtual performance by Mick Jagger.
The studios and streamers who took part included Amazon Studios/Prime Video with The Marvelous Mrs. Maisel; Apple TV+ with Pachinko, Slow Horses and The Afterparty; CBS Studios with Star Trek: Picard and The Man Who Fell to Earth; HBO/HBO Max with Euphoria, Station Eleven, Somebody Somewhere and A Black Lady Sketch Show; National Geographic with Welcome to Earth...
- 5/9/2022
- by The Deadline Team
- Deadline Film + TV
When it came to creating original period-style songs for The Marvelous Mrs. Maisel’s fourth season, composers-songwriters Tom Mizer and Curtis Moore say the thoroughly music-savvy creator Amy Sherman-Palladino frequently throws them challenging curveballs.
During an onstage interview at Deadline’s Sound & Screen awards-season music event, the duo revealed that was the case in composing “Maybe Monica,” which was sung at the wedding of closeted pop singer Shy Baldwin (LeRoy McClain) by his best man, real-life calypso hitmaker Harry Belafonte (Josh A. Dawson).
“We had to think about both a song that could conceivably be a pop song of the era, but also his best friend has written a song, who he’s sort of leaving behind to do this,” said Mizer.
“Usually every time that we get an assignment to write a song, we send them two or three or four various bits of songs: ‘Is this kind of a way to go?...
During an onstage interview at Deadline’s Sound & Screen awards-season music event, the duo revealed that was the case in composing “Maybe Monica,” which was sung at the wedding of closeted pop singer Shy Baldwin (LeRoy McClain) by his best man, real-life calypso hitmaker Harry Belafonte (Josh A. Dawson).
“We had to think about both a song that could conceivably be a pop song of the era, but also his best friend has written a song, who he’s sort of leaving behind to do this,” said Mizer.
“Usually every time that we get an assignment to write a song, we send them two or three or four various bits of songs: ‘Is this kind of a way to go?...
- 5/6/2022
- by Scott Huver
- Deadline Film + TV
Deadline’s Sound & Screen, a showcase of television’s most moving and lauded original music from some of the industry’s top-most talent, has lifted the baton for its second edition tonight live and in person at UCLA’s Royce Hall.
Attendees of the awards-season event, which kicked off at 6:30 p.m. Pt, will be transported through the melodic sounds of these programs from a 50-piece orchestra, followed by sit-downs with the composers, conductors and music supervisors behind the works.
Scores facilitate in carrying the audience’s emotions and heighten senses in a way that would not be possible with just dialogue. Imagine HBO’s Euphoria without its hypnotic and genre-bending soundtrack? Or being marched ahead through the final frontier in CBS Studios’ Star Trek: Picard without its ethereal score? Or being carried through the sweeping migrant saga of Apple TV+’s Pachinko without its gentle orchestral melodies?
This year,...
Attendees of the awards-season event, which kicked off at 6:30 p.m. Pt, will be transported through the melodic sounds of these programs from a 50-piece orchestra, followed by sit-downs with the composers, conductors and music supervisors behind the works.
Scores facilitate in carrying the audience’s emotions and heighten senses in a way that would not be possible with just dialogue. Imagine HBO’s Euphoria without its hypnotic and genre-bending soundtrack? Or being marched ahead through the final frontier in CBS Studios’ Star Trek: Picard without its ethereal score? Or being carried through the sweeping migrant saga of Apple TV+’s Pachinko without its gentle orchestral melodies?
This year,...
- 5/6/2022
- by Diana Lodderhose
- Deadline Film + TV
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