The Writers Guild of America West (WGAW) and the Writers Guild of America, East (WGAE) have announced nominations for outstanding achievement in television, new media, news, radio/audio, and promotional writing during 2018. Winners will be honored at the 2019 Writers Guild Awards on Sunday, February 17, 2019, at concurrent ceremonies in Los Angeles and New York City.
TELEVISION, NEW MEDIA, AND NEWS NOMINEES
DRAMA SERIES
The Americans, Written by Peter Ackerman, Hilary Bettis, Joshua Brand, Joel Fields, Sarah Nolen, Stephen Schiff, Justin Weinberger, Joe Weisberg, Tracey Scott Wilson; FX Networks
Better Call Saul, Written by Ann Cherkis, Vince Gilligan, Peter Gould, Gennifer Hutchison, Heather Marion, Bob Odenkirk, Thomas Schnauz, Gordon Smith, Alison Tatlock; AMC
The Crown, Written by Tom Edge, Amy Jenkins, Peter Morgan; Netflix
The Handmaid’s Tale, Written by Yahlin Chang, Nina Fiore, Dorothy Fortenberry, John Herrera, Lynn Renee Maxcy, Bruce Miller, Kira Snyder, Eric Tuchman; Hulu
Succession, Written by Jesse Armstrong, Simon Blackwell, Jon Brown, Jonathan Glatzer, Anna Jordan, Lucy Prebble, Georgia Pritchett, Tony Roche, Susan Soon He Stanton, Daniel Zelman; HBO
COMEDY SERIES
Atlanta, Written by Ibra Ake, Donald Glover, Stephen Glover, Taofik Kolade, Jamal Olori, Stefani Robinson, Paul Simms; FX Networks
Barry, Written by Alec Berg, Duffy Boudreau, Bill Hader, Emily Heller, Liz Sarnoff, Ben Smith, Sarah Solemani; HBO
GLOW, Written by Liz Flahive, Tara Herrmann, Nick Jones, Jenji Kohan, Carly Mensch, Marquita Robinson, Kim Rosenstock, Sascha Rothchild, Rachel Shukert; Netflix
The Good Place, Written by Megan Amram, Christopher Encell, Kate Gersten, Cord Jefferson, Andrew Law, Joe Mande, Kassia Miller, Dylan Morgan, Matt Murray, Rae Sanni, Daniel Schofield, Michael Schur, Josh Siegal, Jen Statsky, Tyler Staessle; NBC
The Marvelous Mrs. Maisel, Written by Kate Fodor, Noah Gardenswartz, Jen Kirkman, Sheila Lawrence, Daniel Palladino, Amy Sherman Palladino; Prime Video
NEW SERIES
Barry, Written by Alec Berg, Duffy Boudreau, Bill Hader, Emily Heller, Liz Sarnoff, Ben Smith, Sarah Solemani; HBO
The Haunting of Hill House, Written by Meredith Averill, Charise Castro Smith, Mike Flanagan, Jeff Howard, Rebecca Leigh Klingel, Scott Kosar, Liz Phang; Netflix
Homecoming, Written by Micah Bloomberg, Cami Delavigne, Eli Horowitz, Shannon Houston, Eric Simonson, David Wiener; Prime Video
Pose, Written by Steven Canals, Brad Falchuk, Todd Kubrak, Janet Mock, Ryan Murphy, Our Lady J; FX Networks
Succession, Written by Jesse Armstrong, Simon Blackwell, Jon Brown, Jonathan Glatzer, Anna Jordan, Lucy Prebble, Georgia Pritchett, Tony Roche, Susan Soon He Stanton, Daniel Zelman; HBO
LONG FORM ORIGINAL
Castle Rock, Writers: Marc Bernardin, Scott Brown, Lila Byock, Mark Lafferty, Sam Shaw, Dustin Thomason, Gina Welch, Vinnie Wilhelm; Hulu
My Dinner with Hervé, Teleplay by Sacha Gervasi, Story by Sacha Gervasi & Sean Macaulay; HBO
Paterno, Written by Debora Cahn and John C. Richards; HBO
LONG FORM ADAPTED
The Assassination of Gianni Versace: American Crime Story, Writers: Maggie Cohn, Tom Rob Smith, Based on the book Vulgar Favors by Maureen Orth; FX Networks
The Looming Tower, Writers: Bash Doran, Dan Futterman, Alex Gibney, Shannon Houston, Adam Rapp, Ali Selim, Lawrence Wright, Based on the book The Looming Tower by Lawrence Wright; Hulu
Maniac, Writers: Nick Cuse, Cary Joji Fukunaga, Amelia Gray, Danielle Henderson, Mauricio Katz, Patrick Somerville, Caroline Williams, Based on the Norwegian television series Maniac by Espen PA Lervaag, Håakon Bast Mossige, Kjetil Indregard and Ole Marius Araldsen; Netflix
Sharp Objects, Writers: Ariella Blejer, Scott Brown, Vince Calandra, Gillian Flynn, Dawn Kamoche, Alex Metcalf, Marti Noxon, Based upon the book written by Gillian Flynn; HBO
SHORT FORM NEW MEDIA ORIGINAL
After Forever, Written by Michael Slade & Kevin Spirtas; Vimeo.com
Class of Lies, Written by Tessa Leigh Williams; Snapchat
Love Daily, Written by: Lauren Ciaravalli, Andrew Eisen, Aaron Eisenberg, Will Eisenberg, Alexis Jacknow, Nathaniel Katzman, Yulin Kuang, Nathan Larkin-Connolly, Alexis Roblan, Bennet D. Silverman, Ryan Wood; Go90.com
West 40s, Written by Mark Sam Rosenthal & Brian Sloan; West40s.com
SHORT FORM NEW MEDIA ADAPTED
The Walking Dead: Red Machete, Written by Nick Bernardone; AMC.com
ANIMATION
“Bart’s Not Dead” (The Simpsons), Written by Stephanie Gillis; Fox
“Boywatch” (Bob’s Burgers), Written by Rich Rinaldi; Fox
“Just One of the Boyz 4 Now for Now” (Bob’s Burgers), Written by Lizzie Molyneux & Wendy Molyneux; Fox
“Krusty the Clown” (The Simpsons), Written by Ryan Koh; Fox
“Mo Mommy Mo Problems” (Bob’s Burgers), Written by Steven Davis; Fox
“Send in Stewie, Please” (Family Guy), Written by Gary Janetti; Fox
EPISODIC DRAMA
“Camelot” (Narcos: Mexico), Written by Eric Newman & Clayton Trussell; Netflix
“The Car” (This Is Us), Written by Isaac Aptaker & Elizabeth Berger; NBC
“Episode 407” (The Affair), Teleplay by Lydia Diamond and Sarah Sutherland, Story by Jaquen Tee Castellanos and Sarah Sutherland; Showtime
“First Blood” (The Handmaid’s Tale), Written by Eric Tuchman; Hulu
“Paean To The People” (Homeland), Written by Alex Gansa; Showtime
“The Precious Blood of Jesus” (Ozark), Written by David Manson; Netflix
EPISODIC COMEDY
“Another Place” (Forever), Teleplay by Alan Yang and Matt Hubbard, Story by Aniz Adam Ansari; Prime Video
“Chapter One: Make Your Mark” (Barry), Written by Alec Berg & Bill Hader; HBO
“Halibut!” (Santa Clarita Diet), Written by Victor Fresco; Netflix
“Kimmy and the Beest!” (Unbreakable Kimmy Schmidt), Written by Robert Carlock; Netflix
“Pilot” (The Kids Are Alright), Written by Tim Doyle; ABC
“Who Knows Better Than I” (Orange Is the New Black), Written by Jenji Kohan; Netflix
COMEDY/VARIETY TALK SERIES
Full Frontal With Samantha Bee, Writers: Kristen Bartlett, Samantha Bee, Ashley Nicole Black, Pat Cassels, Mike Drucker, Eric Drysdale, Mathan Erhardt, Joe Grossman, Miles Kahn, Nicole Silverberg, Melinda Taub; TBS
Last Week Tonight with John Oliver; Writers: Tim Carvell, Raquel D’Apice, Josh Gondelman, Dan Gurewitch, Jeff Maurer, Daniel O’Brien, John Oliver, Brian Parise, Owen Parsons, Ben Silva, Will Tracy, Jill Twiss, Seena Vali, Juli Weiner; HBO
Late Night with Seth Meyers; Supervising Writers: Sal Gentile, Seth Reiss; Writers: Jermaine Affonso, Alex Baze, Bryan Donaldson, Matt Goldich, Dina Gusovsky, Jenny Hagel, Allison Hord, Mike Karnell, John Lutz, Seth Meyers, Ian Morgan, Amber Ruffin, Mike Shoemaker; NBC Universal
The Late Show with Stephen Colbert, Head Writers: Jay Katsir, Opus Moreschi; Writers: Emmy Blotnick, Michael Brumm, Aaron Cohen, Stephen T. Colbert, Cullen Crawford, Paul Dinello, Ariel Dumas, Glenn Eichler, Django Gold, Gabe Gronli, Greg Iwinski, Barry Julien, Daniel Kibblesmith, Matt Lappin, Michael Pielocik, Kate Sidley, Jen Spyra, Brian Stack, John Thibodeaux; CBS
COMEDY/VARIETY SKETCH SERIES
At Home with Amy Sedaris, Writers: Cindy Caponera, Paul Dinello, Jodi Lennon, Meredith Scardino, Amy Sedaris; truTV
I Love You, America, Head Writer: Dave Ferguson; Writers: Glenn Boozan, Leann Bowen, Raj Desai, Kyle Dunnigan, John Haskell, Tim Kalpakis, Opeyemi Olagbaju, Gavin Purcell, Diona Reasonover, Jocelyn Richard, Christopher J. Romano, Sarah Silverman, Beth Stelling, Dan Sterling, Nick Wiger; Hulu
Nathan For You, Writers: Leo Allen, Nathan Fielder, Carrie Kemper, Michael Koman, Adam Locke-Norton, Eric Notarnicola; Comedy Central
Portlandia, Writers: Fred Armisen, Carrie Brownstein, Jonathan Krisel, Karey Dornetto, Megan Neuringer, Phoebe Robinson, Graham Wagner; IFC
Saturday Night Live, Head Writers: Michael Che, Colin Jost, Kent Sublette, Bryan Tucker; Supervising Writers: Fran Gillespie, Sudi Green, Streeter Seidell; Writers: James Anderson, Kristen Bartlett, Megan Callahan, Steven Castillo, Andrew Dismukes, Anna Drezen, Claire Friedman, Alison Gates, Steve Higgins, Sam Jay, Erik Kenward, Rob Klein, Nick Kocher, Michael Koman, Alan Linic, Eli Coyote Mandel, Erik Marino, Dave McCary, Brian McElhaney, Dennis McNicholas, Lorne Michaels, Nimesh Patel, Josh Patten, Katie Rich, Simon Rich, Gary Richardson, Marika Sawyer, Pete Schultz, Mitch Silpa, Will Stephen, Julio Torres, Bowen Yang; NBC Universal
COMEDY/VARIETY SPECIALS
2018 Rose Parade Hosted by Cord & Tish, Written by Will Ferrell, Jake Fogelnest, Andrew Steele; Prime Video
Drew Michael Stand-Up Special, Written by Drew Michael; HBO
The Fake News with Ted Nelms, Written by John Aboud, Andrew Blitz, Michael Colton, Ed Helms, Elliott Kalan, Joseph Randazzo, Sara Schaefer; Comedy Central
The Oscars 2018, Written by Dave Boone, Carol Leifer, Jon Macks; Special Material Written by Megan Amram, Tony Barbieri, Jonathan Bines, Joelle Boucai, Gonzalo Cordova, Adam Carolla, Devin Field, Gary Greenberg, Josh Halloway, Sal Iacono, Eric Immerman, Jesse Joyce, Bess Kalb, Jimmy Kimmel, Molly McNearney, Danny Ricker, Joe Strazzullo; ABC
QUIZ AND AUDIENCE PARTICIPATION
Hollywood Game Night, Head Writers: Ann Slichter, Grant Taylor; Writers: Michael Agbabian, Alexandra Kokesh, Dwight D. Smith; NBC
Jeopardy!, Written by Matthew Caruso, John Duarte, Harry Friedman, Mark Gaberman, Deborah Griffin, Michele Loud, Robert McClenaghan, Jim Rhine, Steve D. Tamerius, Billy Wisse; ABC
Paid Off with Michael Torpey, Head Writer: Ethan Berlin; Writers: John Chaneski, Rosemarie DiSalvo, Leigh Hampton, Katie Hartman, Amanda Melson, Larry Owens, Jennie Sutton, Michael Torpey, Jeremy Weiner; truTV
Who Wants To Be A Millionaire, Head Writer: Stephen A. Melcher, Jr.; Writers: Kyle Beakley, Tom Cohen, Patricia A. Cotter, Ryan Hopak, Gary Lucy, James Rowley, Ann Slichter, Dylan Snowden; Disney/ABC Syndication
DAYTIME DRAMA
Days of Our Lives, Head Writer: Ron Carlivati; Writers: Sheri Anderson, Lorraine Broderick, David Cherrill, Joanna Cohen, Lisa Connor, Carolyn Culliton, Richard Culliton, Rick Draughon, Cydney Kelley, David Kreizman, David A. Levinson, Rebecca McCarty, Ryan Quan, Dave Ryan, Katherine Schock, Elizabeth Snyder, Tyler Topits; NBC
General Hospital, Head Writers: Shelly Altman, Christopher Van Etten; Writers: Barbara Bloom, Anna Theresa Cascio, Suzanne Flynn, Charlotte Gibson, Lucky Gold, Kate Hall, Elizabeth Korte, Daniel James O’Connor, Donny Sheldon, Scott Sickles; ABC
CHILDREN’S EPISODIC AND SPECIALS
“Carnivorous Carnival: Part One” (A Series of Unfortunate Events), Teleplay by Joe Tracz; Netflix
“The Ersatz Elevator: Part One” (A Series of Unfortunate Events), Teleplay by Daniel Handler; Netflix
“For The Last Time” (Andi Mack), Written by Jonathan S. Hurwitz; Disney Channel
“Picture Day” (Alexa & Katie), Written by Ray Lancon; Netflix
“Warehouse Towel Fight” fka “Emil Strikes Back” (Prince of Peoria), Written by Marty Donovan; Netflix
CHILDREN’S LONG FORM
No nominees.
DOCUMENTARY SCRIPT – CURRENT EVENTS
“Black Hole Apocalypse” (Nova), Written by Rushmore DeNooyer; PBS
“Blackout in Puerto Rico” (Frontline), Written by Rick Young; PBS
“The Gang Crackdown” (Frontline), Written by Marcela Gaviria; PBS
“Trump’s Takeover” (Frontline), Written by Michael Kirk & Mike Wiser; PBS
DOCUMENTARY SCRIPT – OTHER THAN CURRENT EVENTS
“Bitter Rivals: Iran and Saudi Arabia – Part 1” (Frontline), Written by David Fanning & Linda Hirsch & Martin Smith; PBS
“The Circus, Part One” (American Experience), Written by Sharon Grimberg; PBS
“The Eugenics Crusade” (American Experience), Written by Michelle Ferrari; PBS
“Into The Amazon” (American Experience), Written by John Maggio; PBS
NEWS SCRIPT – REGULARLY SCHEDULED, BULLETIN, OR BREAKING REPORT
“Catastrophe” (60 Minutes), Written by Scott Pelley, Katie Kerbstat, Nicole Young; CBS News
“Las Vegas Massacre” (CBS Evening News with Anthony Mason), Written by Jerry Cipriano and Joe Clines; CBS News
“The Spotted Pig” (60 Minutes), Written by Anderson Cooper and Oriana Zill de Granados; CBS News
NEWS SCRIPT – ANALYSIS, FEATURE, OR COMMENTARY
“100,000 Women” (60 Minutes), Written by Scott Pelley and Oriana Zill de Granados; CBS News
“On Broadway: Rodgers and Hammerstein” (CBS Sunday Morning), Written by Mo Rocca and Kay M. Lim; CBS News
“War Crime” (60 Minutes), Written by Scott Pelley, Katie Kerbstat, Nicole Young; CBS News
“Wounds of War” (60 Minutes), Written by Scott Pelley, Katie Kerbstat, Nicole Young; CBS News
DIGITAL NEWS
“D.C.’s Biggest Homeless Shelter Is About to Close. Will Amazon Take Its Place?,” Written by Emma Roller; Splinter
“How To Not Die In America,” Written by Molly Osberg; Splinter
“Inside The Culture Of Sexism At Riot Games,” Written by Cecilia D’Anastasio; Kotaku.com
RADIO/AUDIO NOMINEES
RADIO/AUDIO DOCUMENTARY
“2017 Year in Review,” Written by Gail Lee; CBS News Radio
“RFK: 50 Years After Shots Rang Out at The Ambassador Hotel,” Written by Andrew Evans; ABC News Radio
RADIO/AUDIO NEWS SCRIPT—REGULARLY SCHEDULED, BULLETIN, OR BREAKING REPORT
“5pm CBS News Radio Glor Newscast,” Written by James Hutton; CBS News Radio
“ABC News 6p Hourly 9-27-2018,” Written by Stephanie Pawlowski; ABC News Radio
“Remembering The Good, The Bad and the Brilliant,” Written by Gail Lee; CBS News Radio
“World News This Week 9-21-2018,” Written by Joan B. Harris; ABC News Radio
RADIO/AUDIO NEWS SCRIPT – ANALYSIS, FEATURE, OR COMMENTARY
“John McCain: A Life of Service,” Written by Gail Lee; CBS News Radio
“A Tribute to Le Grand Orange,” Written by Thomas A. Sabella; CBS Radio News
PROMOTIONAL WRITING NOMINEES
ON-AIR PROMOTION (RADIO OR TELEVISION)
“FBI 2018 Promo Reel,” Written by Ralph Buado; CBS
“Tribute to Star Trek for the 2019 Creative Arts Emmys,” Written by Sean Brogan; CBS
“Westworld: Season 2 Promo (Super Bowl spot),” Written by Jonathan Nolan; HBO
TELEVISION GRAPHIC ART AND ANIMATION
No nominees.
TV
Sweetpea
Sweetpea is a new dark comedy series created by Kristie Swain and adapted from a novel series by CJ Skuse. The series stars the ethereal goddess that is Ella Purnell (Fallout, Yellowjackets) using her actual English accent!
Purnell plays a young woman whose name is not actually Sweetpea, though she is very much a wallflower. Though even Wallflower might have too much gravitas, Rhiannon (Purnell) is treated by those around her like a weed. She is stepped on and ignored by everyone except her dad and pet chihuahua. Many have argued that Purnell is just ‘too pretty’ to be that abjectly ignored by everyone. However, Purnell is an amazing actress who plays the washed-out, doe-eyed, shrinking ‘sweetpea’ so convincingly.
Rhiannon was bullied heavily in school which led to her developing trichotillomania (a hair-pulling disorder) which ultimately caused bald patches on her scalp. She still keeps an unconvincing brunette wig in a drawer in her bedroom. Rhiannon’s dad is constantly encouraging Rhiannon to stand up for herself. Unfortunately (light spoiler!) Rhiannon’s Dad dies from his illness in the first episode, leaving her alone in the world.
Rhiannon returns home to the large empty house she once shared with her dad. After yet another tragic incident Rhiannon looks at her life, her thirst for revenge is obvious. Particularly against her main school bully Julia Blenkingsopp (Nicôle Lecky).
Rhiannon sees Julia as having a perfect life and didn’t peak in high school “like bullies are supposed to do!”. When Rhiannon returned to work as an admin assistant for a local paper, not only did none of her colleagues notice her absence but they didn’t acknowledge her return. The only person who appears to talk to her is her boss Norman played by Jeremy Swift (Ted Lasso) who condescendingly calls her “sweetpea” and demands tea.
Rhiannon’s mental state declines enough for her to finally confront Julia in a club. Julia and her friends laugh at Rhiannon which brings memories of school back and anxiously tugging at her hair. This leads Rhiannon to commit a horrifying yet liberating crime when leaving the club leading to a whole new way of expressing herself.
What I Liked:
I enjoyed watching Rhiannon’s confidence grow throughout the series. Purnell herself spoke about the production of subtlety added makeup to subconsciously influence the change in her. Rhiannon transformed from a shrinking girl to a hip-swaying, go-getting career woman. Yet its clear there is a lot of mental turmoil within Rhiannon. Purnell (2024) jokes that she actually “got kinda jacked” due to the tension she held in her body whilst suppressing Rhiannon’s rage. Purnell also comments on how freeing it was to let it all out which Rhiannon does many times and is just as satisfying for the audience!
Initially, I found every character rather one-dimensional and stale compared to Purnell. However, as the show progresses most characters become multifaceted, particularly Julia. The narrative of the show really makes you question your own morals and sense of justice. You find yourself making excuses for Rhiannon and almost cheering her on when you really, really shouldn’t.
I also enjoyed how the show explores the victim complex. Is Rhiannon really a victim or has she taken on this mantle and lived her life accordingly? Sweetpea expertly plays with the shades of grey in the ideas of what makes someone a bully and what makes someone a victim.
Sweetpea fits in perfectly in the genre of British black comedy. Scenes like when Rhiannon is clearing out her chest freezer and then climbs in herself to see if it could potentially fit a body. The door of the freezer almost closes on her but she catches it just in time. This scene perfectly captures just what kind of character Rhiannon is.
I also liked how the character’s houses were used as metaphors for their lives. The home Rhiannon shared with her father is messy and cozy yet in desperate need of TLC and repair much like Rhiannon herself. You can tell it’s a well-loved home with a long history much like Rhiannon and her father’s relationship. In stark contrast to Julia’s fiercely stylish and minimalistic home which she shares with her fiancé. It’s sleek and modern yet ultimately empty with little sign of love.
The opening credits and music choices are also fire.
What Could Be Improved:
Like many others, I didn’t quite believe someone as beautiful as Purnell would be completely ignored by the general public. It did look at times like they were relying on drab clothing and too light foundation to make her look mousey. However, as stated, Purnell’s performance does save it.
The main ‘love triangle’ (if could even call it that) was a bit forced. Calam Lynch’s portrayal of Rhiannon’s colleague ‘AJ’ was a bit too enamored with Rhiannon with no real build-up. However, I found myself really enjoying Jon Pointing’s portrayal of ‘Craig’ and wishing his arc had been explored more.
I really wanted the show to lean more into the exploration of ‘abuser’ and the ‘abused’ and take it to a deeper level. Maybe in series 2?
All in all, I enjoyed this traverse through Sweetpea’s world. I am interested to see where they go with it in the future.
Three and a half stars.
Movie
Is This the Scariest Movie Ever?
It’s been called the scariest movie ever. Or the grimmest, bleakest, and most brutal. The post-apocalyptic drama; Threads, has only been aired three times, its premiere in 1984 (appropriate year), 1985, and 2024 for its 40th anniversary. Threads has also been made available on streaming services. The anniversary has stirred up memories from its initial release which has been dubbed ‘the night Britain did not sleep!’
Threads is a BBC-produced TV movie which explores what would happen if a nuclear bomb was dropped on the English city of Sheffield.
The film is structured like a documentary; with a voiceover speaking to the audience in a clipped, received pronunciation BBC English. The narrator speaks over what is possibly stock footage of a spider weaving its web, or its threads. The narrator explains how in urban society everything connects and how we all rely on one another’s skills to survive. Ominously the narrator points out how fragile these threads are.
THREAD 1 – FAMILY
The film then cuts to our two leads Ruth (Karen Meagher) and Jimmy (Reece Dinsdale). These two young lovebirds are in a car over looking the Sheffield countryside. A fighter jet flies overhead as Ruth remarks how “peaceful” it is. We follow Ruth Beckett and Jimmy Kemp as they navigate an unplanned pregnancy.
The film plays like a ‘kitchen sink drama’. I have heard ‘kitchen sink’ described as an ‘anti-Hollywood’ where everyone has their natural teeth and skin texture. The film looks similar to a British soap opera.
Whilst the narrative at this point just skirts around somewhat boring, it is clear something is playing out globally in the background. We see it on newspaper covers and hear snippets on radios and TVs. There is a situation unfolding in the Middle East with tensions building between the Soviets and the USA. Troops are mobilized and more importantly, nuclear warheads are moved.
And then it happens.
THREAD 2- SECURITY
At almost 50 minutes in, the bomb finally drops. The literal bomb that is. The omnipresent narrator tells us it is 8.30 am in the UK meaning it is 3.30 am in Washington DC; Western response will be at its slowest.
The bomb scene is incredibly powerful. This is where the ‘kitchen sink’ realism really comes into its own. It looks like any other British high street but people are running around screaming looking for shelter amidst the blaring siren. Children are being scooped up from their prams and the panic is palpable. Infamously one businesswoman is staring up at the blooming mushroom cloud rising above the city, the camera pans to see urine running down her trouser leg and pooling at her 80’s white heels.
There is constant screaming as buildings explode, windows smash, and curtains catch fire.
Text informs us that 210 megatons in total fell on the UK with an estimated 2.5 – 9 million casualties.
THREAD 3 – SOCIETY
Ruth exits her parents’ destroyed house to look for Jimmy. In her old neighborhood she is greeted by a horrendous sight. The whole street looks like that of The Blitz; with dead pets and both parents and children looking for each other. A shell-shocked woman covered in ash asks Ruth; “have you seen our Mandy?” she is proffering what looks to be a child’s coat, as if Mandy forgot her coat when going outside to play. A charred corpse with perfect white intact teeth (probably dentures) is embedded into a building. A staring woman is clutching the burnt remains of her infant.
After this, the horrific scenes come thick and fast.
Food has become the new currency and food stores are protected by force. It is here we see the figure who has haunted many viewers nightmares. The armed traffic warden with the bandaged face. Played by an extra who actually was a traffic warden in real life!
Hospitals are overrun with the injured. The harried staff are using sheets as bandages and table salt to disinfect contaminated water. Doctors resorting to amputation with no anesthetic.
THREAD 4 – CHILDREN
Ruth gives birth to a healthy child. A little girl named Jane. Ruth gives birth alone in a barn and has to bite through the umbilical cord. Later, on Christmas Day no less, a group of survivors gathers around a fire in the barn looking like a macabre nativity scene.
But what sort of world has Ruth brought her daughter into? We are told it is ten years later and society has returned to medieval times with the nuclear winter and UV damage affecting the crops. Jane does not call Ruth ‘mum’ only ‘Ruth’ and has no reaction when Ruth finally dies. Are the people in this society so profoundly broken by the sheer amount of loss and trauma that they can no longer form familial bonds? Has that thread been cut?
There is clearly little regard for human life anymore. Jane walks past three corpses hanging in the foreground paying them no attention. Is this a mass suicide or an execution? The corpses are also bare. Have people stolen their clothes to protect themselves from the harsh nuclear winter? Images such as these, shown for mere seconds can tell you so much about the situation.
THREAD 5 – LANGUAGE
In the second half of the film, there is barely any dialogue. Any words spoken by Jane and her peers are some strange form of pidgin English. Many fans have argued that language would not degrade that quickly. However, these children have been brought up by deeply traumatized parents (if they had parents at all). People barely speak anymore and death and disease are extremely common. Is it any surprise that mankind has been brought down to its most basic level? Or is this the cognitive effects of growing up around high levels of radiation?
Many fans comment how Threads gives no hope. But there appears to be a rudimentary school system-cum-workhouse with Jane and her peers watching an old educational video. Although the last scene definitely takes away from the tepid hope we are shown.
SO IS IT SCARY?
Well….as I had heard about the film through cultural osmosis I knew what to expect. I appreciate that during the 80’s, living in the fog of the Cold War, a nuclear holocaust was looking more and more likely. Having a film at that time showing exactly what it would look like if it were to happen in a typical British city would be horrifying.
With the film being set up as a documentary speaking to some unknown in the future, it is interesting when you are watching from the future. Before COVID I would think it was so unrealistic; the way a lot of people didn’t take the crisis seriously until they were practically underneath the bomb. Now I know differently. Everything is fine until it’s not and we don’t tend to tackle a crisis until it is right on our doorstep. Like Mr Kemp with his trousers down on the loo as the bomb went off, we are so ill-prepared. And all the systems (or threads) in place that you thought would protect you, such as the government, are just ill-equipped.
It is an extremely well-done film especially when I learned the budget was £400,000 (about 1.2 million today). The acting is superb and I can see why it’s such an iconic film. In today’s current climate Threads is more relevant than ever. Would highly recommend it.
Five Stars.
Streaming
Nobody Wants This on Netflix
Rating 8 10
Nobody Wants This, Netflix’s 2024 rom-com series, strikes a rare balance between familiar genre tropes and genuine originality. A surprising hit, it uses its single season to dive into the messiness of modern romance and human connection with a witty yet sincere approach that lingers after each episode.
At its heart, Nobody Wants This is a deep dive into everyday chaos, capturing life’s unfiltered messes in an unexpectedly heartfelt way. The show centers on two vastly different individuals brought together by chance, forced into a string of awkward encounters and life-defining moments. It’s a refreshing twist on classic rom-com setups, letting its characters face the consequences of their choices in a realistic way. Watching them stumble, adapt, and connect is like watching a slice of real life—raw, funny, and unexpectedly moving.
The writing shines with sharp, clever dialogue that feels both authentic and emotionally rich. Conversations capture not just how people speak but how they connect, creating exchanges that feel ripped straight from real life. Moments of verbal sparring and raw emotion are as delightful as the iconic banter of rom-coms like When Harry Met Sally, yet the story stays grounded, playing with the unpredictability of genuine connection. The direction adds another layer, framing everyday moments—like missed calls and clumsy first dates—with a cinematic flair that highlights the beauty in life’s chaos.
The chemistry between the lead actors is palpable, and their performances are infused with an authenticity that makes their characters’ flaws endearing. They grow with each episode, making the journey feel impactful and rewarding. The supporting cast adds even more depth, complementing the storyline without overshadowing the central romance.
Beyond romance, Nobody Wants This explores themes of self-discovery and connection, capturing the unpredictability of finding oneself—and perhaps someone else—in the chaos of life. Without giving too much away, the season finale is both heart-wrenching and uplifting, striking a perfect balance between realism and hope. It’s a conclusion that feels genuine, giving viewers a satisfying emotional payoff.
In a world where rom-coms can often feel formulaic, Nobody Wants This brings new life to the genre. It celebrates love’s imperfections, the inevitability of mistakes, and the connections that emerge in spite of it all. This series is more than entertainment; it resonates deeply, leaving viewers laughing, crying, and rooting for its characters.
As Roger Ebert once said, “Movies are like a machine that generates empathy.” While Nobody Wants This is a series, it achieves this empathy with grace, proving that even the simplest stories can have a profound impact.