Alfonso Cuaron’s last movie, the dazzling space thriller “Gravity,” won seven Oscars and grossed more than $720 million worldwide. His new movie, “Roma,” is based on his childhood memories and was shot in black and white in the Mexico City neighborhood he grew up in.

With limitless opportunities at his disposal after the success of “Gravity,” Cuaron decided to go home. And the result — a neorealist blend of intensely personal filmmaking and overwhelming visual command — has been hailed as a masterpiece.

“There were huge and beautiful offers after `Gravity,’ and very tempting. And offers from a financial standpoint that were really appetizing,” Cuaron said in an interview. “But it was one of these things that I needed to do out of the deepest admiration for cinema that has to do with personal journeys.”

Days after “Roma” took the Golden Lion at the Venice Film Festival, Cuaron and the film arrived at the Toronto International Film Festival where the rapturous responses to his soul-searching continued unabated. “Roma,” which will have a limited theatrical release on Netflix this December, is Cuaron’s first Spanish-language film since his 2001 breakthrough, “Y Tu Mama Tambien.”

But for Cuaron, “Roma” is more than that. It’s a new beginning.

“It’s something that’s been brewing for a long, long, long time. I first started taking it seriously in 2006. It’s the film I was meant to do. It’s my first film. It’s the film in the sense that I made absolutely fearlessly. I threw away everything that I have learned to do this film,” said Cuaron. “Well, not everything because I wouldn’t have been able to do this before now.”

“Roma” is about domestic worker Cleo (Yalitza Aparicio, speaking in her native Mixtec), who devotedly works for a family that lives in the Mexico City neighborhood of Roma. Their home life, while pristine, is cracking (the father leaves his wife). And the tumult of early `70s Mexico, when student protests clashed violently with the police, is all around. Society is fraying, and it’s the women who bear much of the brunt of it.

“It’s an observation of a character journey as much as it’s an observation of a country, and a country that, like the United States and much of the world, has this perverse relationship between social class and race,” said Cuaron.

The production was unique. In the lengthy 108-day shoot, no crew member or actor had a screenplay. The only one beside Cuaron who did have a script was executive producer David Linde of Participant Media, who noted at the film’s Toronto premiere: “And I don’t speak Spanish.” Unlike most films, Cuaron also shot in absolute continuity.

“I didn’t want the actors or even the crew to have preconceptions or defined answers,” said Cuaron. “It was a process for everyone to be constantly searching. I was just honoring moments — the sense of time and space in those moments, but also honoring the emotional elements of those moments.”

Cuaron estimates that 90 percent of the film comes from his own memories and old photographs. He reproduced his family’s home, cast actors who looked as close as possible to his family members and obsessed over recreating the details of his early life. Cuaron served as his own cinematographer after his usual director of photography, Emmanuel “Chivo” Lubezki, had to pull out due to other commitments.

“I reproduced every inch of my childhood home with 70 percent of the original furniture,” Cuaron said. “We reproduced every single tile that existed in that house. We shot on the street of my childhood home. We shot in most of the places where those scenes took place.”

And though “Roma” is of a far smaller scale and more intimate than his “Gravity” or “Children of Men,” the 56-year-old filmmaker used many of the techniques he’s mastered from more spectacle-driven movies. He shot it digitally in 65mm and used Dolby Atmos for the lush sound design. In the film’s climactic moment, the sounds of the churning surf on a beach envelop the audience.

On the stage of the Princess of Wales Theatre in Toronto, Cuaron explained the journey of “Roma” to the crowd: “I really wanted to come to terms with the elements that forged me.”
…

The response to Bradley Cooper’s romantic saga “A Star Is Born” has been intense. Critics have boasted of crying uncontrollably. Fans outside theaters have swooned for its star, Lady Gaga. Words like “glorious,” “rapturous” and, of course, “gaga” are running rampant.

 

“Having been on the other side of it, when you do something that doesn’t do well, people tend to avoid you,” Cooper said in an interview alongside his co-star. “I don’t see people, like, going the other way as I’m walking down the street.”

Quite the contrary. Since making landfall at the Toronto International Film Festival, “A Star Is Born” has provoked the kind of mania rarely seen in even the feverish realm of a film festival. It’s been hailed as “a transcendent Hollywood movie” (per Variety) and “damned near perfect” (per Rolling Stone).

 

And it has predictably flown to the top of Oscar prediction lists in just about every category, including its original songs. It’s a breakthrough for Cooper, directing for the first time, and Gaga, who’s leading a movie for the first time.

 

“I have been trying not to read any reviews. But every once in a while, my friends will read over and go (shoving phone in face): ‘You have to see this!'” says Gaga. “But I have to say truly, I feel like an audience member now. Watching the film back, it really impacts me on a deep emotional level.”

And it seems to be impacting those in the audience similarly. Even its trailer, watched by millions on YouTube, has sparked a rare eagerness. Anthony Ramos, who plays a friend of Gaga’s character in the film, said he’s been constantly harangued about details making the film.

 

“It’s lighting in a bottle, man,” said Ramos. “From the moment I stepped on set, the way Bradley works and the way Stefani works, I was like, ‘This could be crazy.’ And sure enough, here we are and people are buggin’ out.”

 

Acclaim hasn’t been universal for “A Star Is Born,” which stars Cooper as the seasoned rock star Jackson Maine and Gaga as a struggling artist he falls in love with. Its sheer popularity is certain to engender the kinds of waves of backlash that are typical of any big cultural force parading through Oscar season.

 

Warner Bros. will release the film Oct. 5 and is planning a sizable awards campaign. It’s the third remake of the original 1937 film, following the 1954 version with Judy Garland and James Mason, and the more rocking 1976 version, with Barbra Streisand and Kris Kristofferson.

 

This remake was initially developed with Clint Eastwood directing and Beyonce potentially starring. Cooper first discussed the role with Eastwood, his “American Sniper” director, before ultimately taking the directing reins himself. In a gesture of encouragement, Eastwood visited the set the first day of shooting.

For Lady Gaga, the experience was transformational. She dyed her hair her natural color. She and Cooper performed songs live.

 

“There can be a 100 people in the room and 99 don’t believe in you, and just one does. And it can change everything,” Gaga said at the press conference. “I wouldn’t be here if Bradley didn’t believe me. My dad, and also Bradley.”

 

“I wanted to give everything that I had, every last drop of blood, all my fear, all my shame, all my love, all my kindness,” she added. “I wanted to give it to him.”
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Larry Probst will step down as chairman of the U.S. Olympic Committee, exiting with a complicated legacy that includes restoring the federation’s international reputation while leaving it saddled with as many problems on the home front as he faced when he arrived.

Probst, who announced his departure Monday, will step down at the end of the year, to be replaced by Susanne Lyons, a board member who recently finished serving as interim CEO following the resignation of Scott Blackmun in February.

Lyons and new CEO Sarah Hirshland are tasked with restoring credibility to a federation that has been widely criticized for its slow response to a mushrooming sex-abuse scandal in Olympic sports.

 

“I became chairman at a difficult time for the USOC and worked diligently with my colleagues here in the U.S., and around the world, to change the USOC for the better,” Probst said. “It’s now time for a new generation of leaders to confront the challenges facing the organization, and I have the utmost confidence in Susanne’s and Sarah’s ability to do just that.”

 

The 68-year-old Probst, a longtime executive at video-game behemoth Electronic Arts, spent hundreds of days overseas during his 10 years at the helm, helping repair badly fractured international relationships that stemmed from decades’ worth of financial disagreements with the IOC, to say nothing of the sometimes-curt style of his better-known predecessor, Peter Ueberroth.

 

Probst’s work helped bring the 2028 Olympics to Los Angeles, giving America a win after a number of embarrassments, including Chicago’s bid for the 2016 Games, and the mistaken, and ultimately aborted, choice of Boston as a candidate for 2024; both debacles came on Probst’s watch.

 

Probst also earned a highly coveted spot on the International Olympic Committee — a position that gave him insider status in the decision-making process. But critics said he didn’t use the position to advocate for U.S. athletes, especially on matters concerning Russian doping, where he rarely broke ranks with IOC president Thomas Bach, who supported Russia’s return to the Olympic fold despite solid evidence of wrongdoing.

 

In the United States, doping has been overshadowed of late by the sex-abuse scandal.

 

The USOC has gotten some credit for creating the U.S. Center for SafeSport to serve as a clearinghouse for all Olympic-related sex-abuse cases. But it has been criticized — and sued — for not acting quickly enough, or taking its share of responsibility. That played a part in Blackmun’s departure, and it’s no surprise to see Probst, whose greatest successes came with Blackmun at his side, follow him out shortly after.

 

Blackmun helped stabilize the federation after Probst and his board surprisingly dismissed CEO Jim Scherr following a successful 2008 Olympics and replaced him with Stephanie Streeter, whose short tenure was a complete failure. Many viewed Scherr’s firing as a self-inflicted mistake, and Probst was forced to spend a large part of his tenure rebuilding trust on both the domestic and international levels.

 

Among his successes were establishing a charitable foundation that raises multiple millions for Olympic athletes, the settling of a controversial revenue-sharing agreement with the IOC, and improving an already healthy financial situation under the tenure of Chief Marketing Officer Lisa Baird. (Baird left the Olympic movement last month.)

 

The U.S. also stayed atop the medals table in the Summer Games, and had largely successful Winter Olympics under Probst’s watch, though the U.S. team’s total of 23 in Pyeongchang earlier this year — its lowest haul in 20 years — raised some eyebrows.

 

That disappointing showing came as the Larry Nassar scandal was turning into front-page news, and one of the most-repeated critiques of the USOC was that its leaders cared about medals more than the people who won them.

The delicate task for Lyons and Hirshland will be to make sure the USOC keeps winning, while also changing the culture in their own organization, as well as in the various sports that make up the Olympics.

 

“I wish Susanne and Sarah the best of luck in handling the very complex and difficult scenario they find themselves in,” Scherr said.
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A new Indian movie about human trafficking starring Freida Pinto and Demi Moore is to be screened in towns and villages around the country to raise awareness of a crime that affects millions.

“Love Sonia,” which traces the journey of a young girl trafficked from rural India into the global sex trade, hits cinemas in the country this week after screenings on the international festival circuit.

Director Tabrez Noorani said he wanted to champion “hope and courage” and raise awareness of trafficking around the world.

“I want to show that the crime of trafficking is not restricted to, say, India or China. It’s a global problem,” Noorani told the Thomson Reuters Foundation by phone.

“Everyone has to be aware … that it’s happening in their backyard,” he said.

India is home to at least 8 million slaves, according to the latest figures from the Australian-based Walk Free Foundation. 

Government figures show the country recorded more than 8,000 human trafficking cases in 2016, 20 percent higher than the previous year, although rights activists say many cases go unreported.

Many victims are from rural areas and are often lured with promises of jobs in cities. Instead they are forced to work in brick kilns or farms, enslaved in homes as domestic workers, or sold to brothels.

The founder of anti-trafficking charity Shakti Vahini said movies were an effective way to raise awareness in rural areas — particularly if they featured major stars.

“We go out and do a lot of lectures. But when they see it in a movie, they see the danger as more real,” said Ravi Kant.Other films to have been used in this way include “Mardaani,” a 2014 film i

n which a woman police officer takes on a child trafficker.

“Mardaani” director Pradeep Sarkar said it was important to show traffickers were “regular, normal people living next door.”

“Love Sonia” is the directorial debut of Noorani, a veteran producer whose credits include “Slumdog Millionaire” and “Life of Pi”, and stars the acclaimed Indian actor Rajkummar Rao alongside Moore and Pinto.

Noorani said he wanted to make an “authentic film” on an issue he has worked on for many years as a board member of the Los Angeles-based Coalition to Abolish Slavery and Trafficking.

“The film heroes hope and courage,” Noorani said. “Education is the best way to fight human trafficking. People will hopefully walk out of theatres eyes wide open.”
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The first woman to win the Miss America crown without having to don a swimsuit says she’s glad she didn’t have to.

Nia Imani Franklin, who won the title Sunday night in Atlantic City while competing as Miss New York, said the changes in the 98-year-old are a welcome modernization.

Meeting reporters soon after winning the crown, Franklin said she’s glad there was no swimsuit competition because it enabled her to eat a little more.

“These changes, I think, will be great for our organization,” she said. “I’ve already seen so many young women reaching out to me personally as Miss New York asking how they can get involved because I think they feel more empowered that they don’t have to do things such as walk in a swimsuit for a scholarship.”

“And I’m happy that I didn’t have to do so to win this title tonight because I’m more than just that,” Franklin said. “And all these women onstage are more than just that.”

Her victory Sunday night resurrected a string of successes the Empire State has had in the pageant in recent years. Mallory Hagan, Nina Davuluri and Kira Kazantsev won the title from 2013 to 2015 competing as Miss New York.

A classical vocalist whose pageant platform is “advocating for the arts,” Franklin sang an operatic selection from the opera La Boheme on Sunday night.

She wrote her first song at age 5. It went “Love, love, love, love, is the only thing that matters to me, hey, hey, hey, hey, hey.” At the prompting of an Associated Press reporter, she sang the song at her post-victory press conference as audience members snapped their fingers.

Franklin won a $50,000 scholarship along with the crown in the first Miss America pageant to be held without a swimsuit competition.

She said during her onstage interview that she was one of only a small number of minority students in school growing up, but used her love for music and the arts to grow and fit in.

The fourth runner up was Miss Massachusetts Gabriela Taveras; third runner up was Miss Florida Taylor Tyson; second runner up was Miss Louisiana Holli’ Conway, and the first runner up was Miss Connecticut Bridget Oei.

The judges narrowed the field of 51 candidates during the pageant Sunday night from Jim Whelan Boardwalk Hall.

The decision to drop the swimsuit competition created a good deal of controversy and criticism of current Miss America leadership. Minutes before the nationally televised broadcast began, a comedian warming up the crowd mentioned that there would be no swimsuit competition this year, and was met with loud boos in the hall.

The swimsuits were replaced by onstage interviews, which have generated attention-grabbing remarks from contestants regarding President Trump, and NFL player protests, among other topics. 

Behind the scenes, a revolt is underway among most of the Miss America state organizations who demand that national chairwoman Gretchen Carlson and CEO Regina Hopper resign. 

The former Miss America, Cara Mund, says the two have bullied and silenced her, claims that the women deny. 

Upon taking over at the helm of the Miss America Organization last winter following an email scandal in which former top leaders denigrated the appearance, intellect and sex lives of former Miss Americas, Carlson and Hopper set out to transform the organization, dubbing it “Miss America 2.0.” 

Unhappy with how the swimsuit decision was reached, as well as with other aspects of Carlson and Hopper’s performance, 46 of the 51 state pageant organizations (the District of Columbia is included) have called on the two to resign. 

Mund only appeared at the very end of the pageant before the next winner was crowned. She was not allowed to speak live; instead a 30-second taped segment of her speaking was broadcast. 
…

The U.S. Open final suddenly appeared to be slipping away from Novak Djokovic. He dropped three consecutive games. He was angered by a crowd roaring for his popular opponent, Juan Martin del Potro. He was, in short, out of sorts.

And then came Sunday’s pivotal game, a 20-minute, 22-point epic. Three times, del Potro was a point from breaking and earning the right to serve to make it a set apiece. Three times, Djokovic steeled himself. Eventually, he seized that game — and del Potro’s best chance to make a match of it.

A year after missing the U.S. Open because of an injured right elbow that would require surgery, Djokovic showed that he is unquestionably back at his best and back at the top of tennis. His returns and defense-to-offense skills as impeccable as ever, Djokovic collected his 14th Grand Slam title and second in a row by getting through every crucial moment for a 6-3, 7-6 (4), 6-3 victory over 2009 champion del Potro at Flushing Meadows.

Djokovic was better than del Potro on their many lengthy exchanges, using his trademark body-twisting, limb-splaying court coverage to get to nearly every ball, sneakers squeaking around the blue court in Arthur Ashe Stadium, where the roof was closed because of rain.

This was Djokovic’s third championship in New York, along with those in 2011 and 2015. Add in the trophies he has earned at six Australian Opens, one French Open and four Wimbledons, most recently in July, and the 31-year-old Serb pulled even with Pete Sampras for the third-most majors among men, trailing only Roger Federer’s 20 and Rafael Nadal’s 17.

Federer lost in the fourth round in New York, while Nadal retired from his semifinal against del Potro because of a bad right knee. That put the 29-year-old Argentine back in a Grand Slam final for the first time since his breakthrough nine years ago, a comeback for a guy who had four wrist operations in the interim.

Del Potro spoke this week about the low point, in 2015, when he considered quitting the sport. But supported by a dozen or so friends from back home, whose “Ole!” choruses rang around the arena, he climbed up the rankings to a career-high No. 3 by thundering his 100 mph (160 kph) forehands and 135 mph (215 kph) serves.

Those produce free points against so many foes. Not against Djokovic, who always seemed to have all the answers.

Never was that more apparent than the game that stood out on this evening: with Djokovic serving while down 4-3 in the second set. They went back and forth, through eight deuces and all those break opportunities for del Potro, until he slapped one forehand into the net, and another sailed wide.

The game went so long that when it ended, with Djokovic holding to 4-all, spectators began leaving their seats, perhaps thinking it was time for a changeover, even though it wasn’t. That prompted to chair umpire Alison Hughes to chastise them.

It was a brief request, though, unlike her many other pleas for quiet, mainly as fans were shouting and chanting and clapping in support of del Potro. It all bothered Djokovic, who started yelling and gesturing toward the seats. At one moment, he pressed his right index finger to his lips, as if to say, “Shhhhhhh!” Later, after winning a point, Djokovic put that finger to his ear, as if to say, “Who are you cheering for now?!”

When it ended, thanks to a three-game closing run by Djokovic, he flung his racket away and landed on his back, arms and legs spread wide. Moments later, del Potro was in his sideline seat, crying.
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The 2018 football season quietly kicked off across the U.S. Sunday without the widespread player protests over alleged police brutality against African-Americans.

Only two players  both on the Miami Dolphins  protested police violence by kneeling during the national anthem.

Another Dolphins player raised his fist in defiance while a member of the San Francisco 49rs did the same. Two players with the Jacksonville Jaguars chose to stay in the locker room.

A number of players knelt or held their fists in the air throughout last season, prompting President Donald Trump to demand team owners fire players who, in his words, “disrespect our flag.”

The players say the protests had nothing to do with the flag. They said they wanted to draw attention to what they say is the large number of young black males shot, beaten, arrested, or harassed by police, sometimes minor infractions or even when they hadn’t committed a crime.

In a tweet, Trump said the low television ratings of an early-season Thursday game last week was because of the protests.

NFL owners attempted to set a policy requiring players to stand for the anthem or stay off the field. But they dropped the rule after the players union objected.

Former San Francisco player Colin Kaepernick, who began the protests in 2016, is suing the NFL for alleged collusion. He claims owners have conspired to keep him off all the teams.

Kaepernick is now the subject of a new advertising campaign by sports clothing company Nike, whose slogan is “Just Do It.” The ads feature a picture of Kaepernick with a caption reading “Believe in something. Even if it costs you everything.”

Nike reports a large jump in sales since it started running the ads.
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The U.S. Tennis Association fined 2018 U.S. Open runner-up Serena Williams $17,000 Sunday for violations during the women’s final the day before.

Williams will pay for three violations made during the extremely controversial match with 20-year-old Naomi Osaka, who claimed her first grand slam title.

Williams’ first violation for allegedly receiving coaching during a game cost her a warning and $3,000. A second violation, slamming her racket and breaking it, led to a point penalty and a fine of $4,000. The third violation, what umpire Carlos Ramos called verbal abuse when Williams’ called him a “thief” for the point penalty, resulted in her losing a game to penalty and an additional fine of $10,000.

The penalties drew criticism from fans of Williams and many in the tennis world, where a game penalty is extremely rare.

“When a woman is emotional, she’s “hysterical” and she’s penalized for it. When a man does the same, he’s “outspoken” & and there are no repercussions,” Billie Jean King, former World No. 1 professional tennis player and a long-time advocate of women athlete’s rights and equality wrote on Twitter Saturday. “Thank you, @serenawilliams, for calling out this double standard. More voices are needed to do the same.”

​

With her 6-2, 6-4 victory Sunday, Osaka won Japan’s first tennis Grand Slam title.

Williams’ defeat cost her tying for Margaret Court’s record of 24 major titles.
…

The swimsuits are gone, but there has been plenty of controversy surrounding this year’s Miss America competition that could keep viewers tuning in.

       The next Miss America will be crowned around 11 p.m. Sunday on a nationally televised broadcast on ABC from Atlantic City.

 

       This year marks the first time the broadcast will not include a swimsuit competition.

 

       It has been replaced by onstage interviews, which have generated attention-grabbing remarks from contestants regarding President Trump, and NFL player protests, among other topics.

 

       And behind the scenes, a revolt is underway among most of the Miss America state organizations who demand that national chairwoman Gretchen Carlson and CEO Regina Hopper resign.

 

       The outgoing Miss America, Cara Mund, says the two have bullied and silenced her, claims that the women deny.

 

       Through it all, the 51 young women vying for the crown and a $50,000 scholarship have tried to remain focused.

 

       “I am just having the time of my life,” said Miss Massachusetts Gabriela Taveras, who won Friday’s onstage interview preliminary with comments on how Americans traveling abroad should let people from other nation’s know that America supports and wants to help them. “I don’t know what will happen; I just really shared myself as much as I could.”

 

       The 98th Miss America competition will be held at Jim Whelan Boardwalk Hall in the city where it started nearly a century ago as a bathing beauty contest designed to extend the summer tourism season for another week after Labor Day.

 

       Upon taking over at the helm of the Miss America Organization last winter following an email scandal in which former top leaders denigrated the appearance, intellect and sex lives of former Miss Americas, Carlson and Hopper set out to transform the organization, dubbing it “Miss America 2.0.”

 

       The most consequential decision was to drop the swimsuit competition and give the candidates more time to talk onstage about themselves, their platforms and how they would do the job of Miss America. Supporters welcomed it as a long-overdue attempt to make Miss America more relevant to contemporary society, while others mourn the loss of what they consider an integral part of what made Miss America an enduring part of Americana.

 

       Unhappy with how the decision was reached, as well as with other aspects of Carlson and Hopper’s performance, 46 of the 51 state pageant organizations (the District of Columbia is included) have called on the two to resign.

 

       Adding to the intrigue was a remarkable letter released by Mund, the outgoing Miss America, who said Carlson and Hopper had bullied, silenced and marginalized her. They deny doing any of that, saying they have been working tirelessly to move the organization into the future. It remains unknown if Carlson will speak or appear during the broadcast finale.

 

       Onstage interview comments have raised some eyebrows during three nights of non-televised preliminary competition. On Friday, Miss West Virginia Madeline Collins was asked what she feels is the most serious issue facing the nation.

 

       She replied, “Donald Trump is the biggest issue our country faces. Unfortunately he has caused a lot of division in our country.”

 

       A day earlier, Miss Virginia Emili McPhail was asked what advice she would give to NFL players about whether to stand or kneel for the national anthem.

 

       She said not standing during the anthem “is a right you have. But it’s also not about kneeling; it is absolutely about police brutality.”

 

       Wednesday night’s preliminary winners were Miss Florida Taylor Tyson for talent, and Miss Wisconsin Tianna Vanderhei for onstage interview. Thursday night, McPhail won the interview preliminary and Miss Louisiana Holli’ Conway won for talent. Friday, Taveras won for onstage interview and Miss Indiana Lydia Tremaine won for talent. 
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Tiffany Haddish led an African-American sweep of Emmy Awards for TV series guest actors, a milestone in the entertainment industry’s effort to reflect a diverse society.

 

       Haddish was honored at Saturday’s creative arts Emmys for hosting “Saturday Night Live,” while Katt Williams won the guest comedy actor award for “Atlanta.”

 

       Ron Cephas Jones of “This Is Us” and Samira Wiley of “The Handmaid’s Tale” accepted guest acting honors in the drama series categories.

 

       Cephas, who plays a father who reconnects with his son (series star Sterling K. Brown) after a difficult life of drug addiction and loss, was asked backstage if his character would have been on TV in the past.

 

       “No. Not in this incarnation. … Not that the audience wasn’t ready for it. But maybe the executives, or people that have a say in the writing, probably wouldn’t have been ready for this kind of thing. But now we are. We’re moving forward and moving ahead.”

 

       In another step forward Saturday, Shauna Duggins became the first woman to win an Emmy for stunt coordination for a comedy or variety series for “GLOW,” about women’s wrestling in the 1980s.

 

       The creative arts Emmys set the table for NBC’s Sept. 17 main ceremony, which could also advance inclusivity on-screen and off. Donald Glover, the star and creator of “Atlanta,” won trophies last year for acting and directing and is a multiple nominee again, with his show a top contender for best comedy.

 

       Tracee Ellis Ross of “black-ish” and Issa Rae of “Insecure” are competing for comedy series acting honors. On the drama side, Brown could repeat as best actor for “This Is Us,” while “Killing Eve” star Sandra Oh could become the first actress of Asian descent to win the top award.

 

       Haddish, a hot property since her breakout performance in the movie “Girls Trip,” has been an Oscar presenter and MTV Movie & TV Awards host. She co-stars in the sitcom “The Last O.G.”

 

       She was a no-show at the Emmys, but presenter Tichina Arnold had fun accepting for her.

 

       “Tiffany couldn’t be here tonight. But, guess what, Tiffany! I’ve got your award, girl!” Arnold said, holding up the statuette triumphantly.

 

       “I think you’re going to have to give that back,” presenter Gerald McRaney (“This Is Us”) teased her.

 

       The “Star Trek” television franchise received the Governors Award. William Shatner, star of the original 1960s series, and Sonequa Martin-Green of 2018’s “Star Trek: Discovery” accepted the award, along with other actors with “Star Trek” credentials including Walter Koenig, Jeri Ryan and Levar Burton.

 

       'Star Trek' has endured because it represents an ideal that is greater than the sum of our parts," Shatner said. "The hope ofStar Trek’ is not just that it shows us what we can be tomorrow. But the real hope is how it’s been embraced and watched and reached to see the best version of ourselves.”

 

       An edited version of the two-part creative arts ceremony, held Saturday and Sunday, will be telecast on FXX at 8 p.m. EDT Saturday, Sept. 15.

 

       Among other awards presented Saturday:

       * Character voice-over performance: Alex Borstein, “Family Guy.”

 

       * Animated program: “Rick and Morty.”

 

       * Short-form animated program: “Robot Chicken.”

 

       * Short-form comedy or drama series: “James Corden’s Next James Corden.”

 

       * Actor in a short-form comedy or drama series: James Corden.

 

       * Actress in a short-form comedy or drama series: Christina Pickles, “Break A Hip.”

 

       * Television movie: “USS Callister (Black Mirror).”

 

       * Commercial: “The  Talk,” P&G.

 

       * Music composition for a series (original dramatic score): Ramin Djawadi, “Game of Thrones: The Dragon and the Wolf.”

 

       * Music composition for a limited series, movie or special (original dramatic score): Cyrille Aufort, “March Of The Penguins 2: The Next Step.”
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