13 Wild Facts About Easy Rider

Dennis Hopper and Peter Fonda in Easy Rider (1969)
Dennis Hopper and Peter Fonda in Easy Rider (1969)
Sony Pictures Home Entertainment

Easy Rider’s tagline of “A man went looking for America and couldn’t find it anywhere” transcended moviedom. Once called The Loners, Dennis Hopper co-wrote, directed, and starred in the Oscar-nominated biker flick about two men riding motorcycles from Los Angeles to New Orleans to Florida during the tumult of the Vietnam-era ’60s. Peter Fonda and Jack Nicholson also starred, and Fonda co-wrote the script with Terry Southern and Hopper, and produced it.

Shot on a budget of well under $1 million, the 1969 guerilla film went on to gross more than $60 million worldwide; the Criterion Collection referred to the movie as “the definitive counterculture blockbuster.” After filming finished in 1968, it took Hopper one year to edit 80 hours of footage—which included scenes of real drug use and a jaw-dropping conclusion—into a 95-minute feature that premiered at Cannes on May 12, 1969. Despite a difficult shoot, it launched the prosperous New Hollywood period of moviemaking, and ignited a revolution in cinema that we haven’t recaptured since.

1. Easy Rider was made for the youth of the time.

Before Easy Rider, Hollywood was churning out happier films starring the effervescent Doris Day, but Dennis Hopper’s film changed that. “They were making films like Pillow Talk and The Glass Bottom Boat. Gidget? That’s not a kids’ film. Beach Blanket Bingo? C’mon,” Fonda told The Hollywood Reporter in 2015. “Those were not really films of the youth that I had grown into and up with, shutting away the establishment, going on their own. We made a movie for these people that didn’t have their own movie.”

Karen Black, who co-starred in the film, agreed with Fonda’s sentiment. “When you went to see a movie like Easy Rider and when you saw these guys really smoking grass by the fire, and really the camaraderie was warm, real, and rare, you went, ‘What the hell am I looking at? This has value! This has a completely different kind of value than Pillow Talk,” she said in the documentary Easy Riders, Raging Bulls. “This is something extraordinary. I want more of that. And then I think it went a bit far, because I kept seeing movie people vomit.”

2. The film's original ending involved Bill and Wyatt sailing into the sunset.

One of the most shocking things about Easy Rider is its ending, where both of the leads violently perish. “The initial idea had to do with a couple of young guys who are fed up with the system, want to make one big score, and split,” Terry Southern told Creative Screenwriting. “Use the money to buy a boat in Key West and sail into the sunset was the general notion, and that was slated to be the film’s final poetic sequence. It wasn’t until the end that it took on a genuinely artistic dimension—when it suddenly evolved into an indictment of the American redneck, and his hatred and intolerance for anything remotely different from himself—somewhat to the surprise of Den Hopper: ‘You mean kill ‘em both? Hey, man, are you outta your gourd?!?’ I think for a minute he was still hoping they would somehow beat the system and sail into the sunset with a lot of loot and freedom. But of course, he was hip enough to realize, a minute later, that their death was more or less mandatory.”

3. It was one of the first films to integrate found music.

Instead of hiring a musician to compose a score for the film, Hopper decided to use pre-recorded music from Bob Dylan, The Band, Steppenwolf, and Jimi Hendrix on the soundtrack. “No one had really used found music in a movie before, except to play on radios or when someone was singing in a scene,” Hopper told Interview Magazine. “But I wanted Easy Rider to be kind of a time capsule for that period, so while I was editing the film I would listen to the radio. That’s where I got ‘Born to Be Wild’ and ‘The Pusher’ and all those songs.”

The filmmakers had to show the movie to the different bands involved in order to get licensing approval, and each band received $1000. They showed it to Dylan, whose song “It’s Alright, Ma (I’m Only Bleeding)” was in two scenes, but Dylan said they couldn’t use it. “He said, ‘Have [Roger] McGuinn do this first part, but you can’t do it after that,’” Fonda told Daily Camera. “I said, ‘But, Bob, any good fight’s a combination of punches.” McGuinn covered Dylan’s song, and Dylan and McGuinn wrote the closing credit song, “The Ballad of Easy Rider,” which was sung by McGuinn, and didn’t have Dylan’s name on it.

4. Dennis Hopper claimed Terry Southern's only contribution to the film was the title.

“Terry Southern never wrote one f***ing word of Easy Rider. Only the title Easy Rider came from him,” Hopper told The Guardian in 2001. “He broke his hip; he couldn’t write. I used his office and I dictated the whole f***ing thing in 10 days.”

But Southern saw it in another way. “Peter was to be the actor/producer, Dennis the actor/director, and a certain yours truly, the writer,” Southern told Creative Screenwriting. “After they had seen a couple of screenings of it on the coast, I got a call from Peter. He said that he and Dennis liked the film so much they wanted to be in on the screenplay credits. Well, one of them was the producer and other was the director so there was no way the Writers Guild was going to allow them to take a screenplay credit unless I insisted.” Not listening to the WGA, Southern allowed them to have their credits on the film, which was largely improvised.

However, Fonda had more positive things to say about Southern’s contributions: “He gave us dark humor and a literary panache that Dennis and I did not have,” Fonda told The A.V. Club. “Having him with us as a writer on the script put it above periscope depth. People would say, ‘Wow, Terry Southern co-wrote that. I wonder what that's about?’” All three of them received Oscar nominations for the film’s screenplay.

5. Rip Torn sued Hopper over the Jack Nicholson role.

As the story goes, in 1967, Rip Torn had dinner with Fonda and Hopper, who were considering casting him in the role of lawyer George Hanson. Hopper went on The Tonight Show in 1994 and recounted how Torn pulled a knife on Hopper during the dinner, thus losing the gig. But Torn said it was the other way around: Hopper pulled the knife on him. (It was supposedly a butter knife.) “Dennis jumped back and knocked Peter on the floor, and I said, ‘There goes the job,’” Torn told The New York Times. Fed up with Hopper ruining his career, Torn sued Hopper for defamation and won almost $1 million.

Bert Schneider, one of film’s executive producers and financiers, then suggested Hopper cast Jack Nicholson as Hanson—as long as he agreed to work for scale, which was $392 per week. “I’ll tell you one thing mister, it was the best $392 I ever spent,” Fonda said at the AFI Life Achievement Award: A Tribute To Jack Nicholson banquet.

6. Nicholson knew the movie would be a hit.

Jack Nicholson in Easy Rider (1969)
Jack Nicholson in Easy Rider (1969)
Sony Pictures Home Entertainment

In an interview with Film Comment, the interviewer asked Nicholson if he knew the film would be a hit, and he said yes. “Bob [Rafelson] and I were involved in writing Head when Dennis and Peter brought in a 12-page treatment,” Nicholson said. “I felt it would be a successful movie right then. Because of my background with Roger Corman, I knew that my last motorcycle movie had done $6 to $8 million from a budget of less than half-a-million. I thought the moment for the biker film had come, especially if the genre was moved one step away from exploitation toward some kind of literary quality.”

Before Easy Rider, Hopper had starred in a biker movie called The Glory Stompers, Fonda did the Corman movie The Wild Angels, and Nicholson acted in Hells Angels on Wheels.

7. Fonda tried to get Hopper fired before the movie was even written.

Schneider and Rafelson created The Monkees and used that money to fund the film. They gave Hopper $20,000 to do some preliminary shooting in New Orleans, and if they liked what they saw, they would give him more money to shoot the entire thing. Hopper filmed the NOLA scenes using Bolex 16mm cameras, which gave the movie a psychedelic sheen. “Peter and Bill Hayward are recording me,” Hopper told Interview Magazine. “Every time I turn around they’re filming me—and I’m not sure why—but I’m saying things like, ‘We’re going to win Cannes, man! We’re young! We’re going to take our energy and our strength and we’re going to take this thing all the way! Just trust me and do what I’m saying! Nobody shoot any film until I tell them to!’ I mean, we were all in open fights with one another at the time. I didn’t find this out until Bert called me into his office after the movie was released, but Peter and Bill apparently wanted to pay him back the money he’d given us for Easy Rider and fire me. This is Peter and my brother-in-law, okay? This is before we’ve written a screenplay.”

Schneider didn’t care about the footage and told the guys, “Well, Hopper sounds really excited. He says he’s going to win Cannes. That sounds like a hell of an idea.” And of course the movie ended up winning a Best First Work award at the 1969 Cannes Film Festival, where it was also nominated for the Palme d’Or.

8. Fonda and Hopper had a falling out over money.

Fonda and Hopper clashed over writing credits and how Southern’s money should be split between the men. When Southern left the project, Fonda gave a percentage of Southern’s money to the production company and Hopper’s brother-in-law, Bill Hayward, who was an associate producer on the film. This made Hopper feel like Fonda cheated him. “I just think that [Hopper] was so caught up in his own megalomania and his own bitterness that he couldn't see that I treated him quite fairly and that I respected his genius and his work,” Fonda told The Independent.

Unfortunately, Hopper held a grudge until the day he died, in 2010. “Well, I knew that Dennis was dying and I made many attempts to see Dennis as did Bert Schneider,” Fonda said. “But he refused to see us. The funeral service was in a chapel in Taos, New Mexico. I rented a private jet and flew in, but I was not allowed in the chapel. So as much as I wanted to pay my respects, to Dennis and his family, I was not allowed to be a part of it.”

9. The "We blew it" line was filmed after the movie wrapped.

Near the end of the film, Wyatt and Billy sit around a campfire, and Wyatt’s excited about how rich they are. Wyatt looks into the fire and utters, “You know Billy, we blew it,” which foreshadows the ending, though is also open to interpretation. “It was two weeks after we wrapped the movie, we realized we didn’t have the last campfire scene,” Fonda told Daily Camera. “So we assembled the crew and went into the Santa Monica Mountains—if you don’t light it, you can’t see the difference—and we said we’re in Florida.”

Hopper and Fonda argued about the dialogue. “He wanted me to say all this stuff about how we blew our inheritance, we messed up our heritage ... We were elevating the level of our conversation.” Fonda wanted to mumble his line in a Warren Beatty way, and Hopper was at first against the idea, but once they filmed the scene Hopper was amenable.

“Lots of people have asked me over the years, ‘What did you mean by ‘we blew it’?’” Fonda said. “And I say, ‘Look out the window. If you don’t think we’ve blown it, you’ve got to take a closer look.’”

10. Fonda's famous dad didn't understand the movie.

The esteemed Henry Fonda saw a screening of his son’s film. “I had him come down and look at an early cut,” the younger Fonda told Daily Camera. “We had to get Dennis out of the room to get it below four hours. My dad watched it and then I went over the next day to his house. He was very serious. He said, ‘Look son, I know you have all your eggs in this basket. And I’m worried about it because the film is inaccessible. We don’t see where you’re going and why? I just don’t think many people will get it.’ Even after [it was successful] he thought I was just a loose cannon, until he worked for me for one day.”

11. You can pay to take the Easy Rider motorcycle tour.

If you like riding motorcycles, have 15 days to spare, and about $4300 to $7700 burning a hole in your pocket, you can sign up for the 50th Anniversary Easy Rider Movie Tour. The 2589-mile path ventures to some of the movie’s real filming locations, from L.A. to Death Valley to Colorado to New Orleans. According to the tour’s website, they’ve worked with Sony Pictures in authenticating the locales.

12. An original Captain America motorcycle sold for $1.35 million.

There’s been much dispute over who designed and built the four Harley-Davidson motorcycles, a.k.a. choppers, used in the movie. Cliff Vaughs said he did it, but Peter Fonda said he designed the sketches and built them: “I built the motorcycles that I rode and Dennis rode. I bought four of them from Los Angeles Police Department.” Vaughs worked on the movie for about a month before being fired, therefore his name doesn’t appear in the credits. Three of the bikes were stolen, and the final one was destroyed in the film’s finale but was later restored. Fonda gave the bike to actor Dan Haggerty, who eventually sold it to a collector named Michael Eisenberg. In October 2014, Profiles in History auctioned off the bike; the bike sold to an anonymous winner for $1.35 million and became the most expensive motorcycle in the world.

13. In 2012, an Easy Rider sequel was made.

Phil Pitzer, an Ohio lawyer and producer, realized the sequel rights to Easy Rider were available, so in 2007 he sued Bob Rafelson and Bert Schneider to prevent them from claiming they owned the rights. Pitzer won the case and moved forward with the sequel. The original title was Easy Rider: Scarlet Cross, but he changed the title to Easy Rider: The Ride Back. Unlike the first film, the sequel went straight to DVD and didn’t make a dent in American culture.

This story has been updated for 2019.

10 Forgotten Rankin/Bass Christmas Specials

A scene from Rudolph's Shiny New Year (1976).
A scene from Rudolph's Shiny New Year (1976).
Rankin/Bass Productions

If you're prone to picturing your favorite Christmas characters as stop-motion puppets, you can thank Rankin/Bass. The production company founded by Arthur Rankin Jr. and Jules Bass found success in transforming holiday songs and myths into fully-developed television specials in the 1960s, '70s, and '80s. Their most popular specials, like Rudolph the Red-Nosed Reindeer and Frosty the Snowman, are still staples of holiday programming decades after they first aired.

But not every holiday film that played under the Rankin/Bass banner was an instant success. After adapting the most beloved Christmas stories, the company broadened its definition of holiday material, with varying degrees of success. Some films were forgettable, and others were so strange and unsettling that young viewers forced themselves to forget. Here are some Rankin/Bass specials that may be missing from holiday television marathons this year.

1. Rudolph’s Shiny New Year (1976)

Scene from Rudolph's Shiny New Year.
Rankin/Bass Productions

After the stressful events of his 1964 Christmas special, Rudolph deserved a vacation. In Rudolph's Shiny New Year (1976), the red-nosed reindeer barely has a day to rest before being sent on his next adventure. When Santa Claus and his reindeer return home to the North Pole after delivering presents on Christmas, they learn that Happy the Baby New Year is missing. It’s up to Rudolph to bring him home before midnight on New Year’s Eve or else the calendar will be stuck at December 31. And because it wouldn’t be a Rankin/Bass cartoon without a terrifying villain, a vulture named Eon the Terrible is racing to catch Happy first so he can live forever. Thankfully, Rudolph has a caveman, a Medieval knight, and Benjamin Franklin on his side.

2. The Little Drummer Boy, Book II (1976)

Scene from The Little Drummer Boy, Book II.
Rankin/Bass Productions

The Little Drummer Boy from 1968 ends with the birth of Jesus Christ, a.k.a. the events of Christmas. This meant that Rankin/Bass’s most overtly religious Christmas special wasn’t an obvious choice for a follow-up, but the studio still released one in 1976. The Little Drummer Boy, Book II is inspired by "Silver Bells"—a song whose lyrics have nothing to do with the first Christmas at Bethlehem. In the sequel, the drummer boy Aaron and the wise man Melchior join forces to protect silver bells made for baby Jesus from the Roman soldiers plotting to steal them.

3. Nestor, the Long-Eared Christmas Donkey (1977)

Scene from Nestor, the Long-Eared Christmas Donkey.
Rankin/Bass Productions

By the late 1970s, it was apparent that Rankin/Bass was running out of Christmas myths to expand into television specials. Nestor, the Long-Eared Christmas Donkey, their 1977 stop motion film, tells the story of an outcast donkey who experiences a series of traumatic events during the Roman Empire. After being bullied by other animals, left for dead by his owner, and suffering the loss of his mother, Nestor becomes a hero by carrying a pregnant Mary to Bethlehem, where she gives birth to Jesus. Needless to say, Nestor, the Long-Eared Donkey didn’t have the same cultural impact as Rudolph the Red-Nosed Reindeer.

4. The First Christmas: The Story of the First Christmas Snow (1975)

Scene from The First Christmas.
Rankin/Bass Productions

It may have a happy ending, but The First Christmas (1975) is the bleakest movie on this list. An orphaned shepherd named Lucas is taken in by a group of nuns after he’s blinded by lightning. When snow falls during the abbey’s Christmas pageant, Lucas miraculously regains his eyesight and sees snow for the first time. The story swaps Rankin/Bass's signature humor and fantasy for heavy-handed sentimentality, which may be why it didn’t land as well with kids as the company’s other holiday specials. One highlight is a voice performance by Angela Lansbury as the narrator.

5. Jack Frost (1979)

Scene from Jack Frost.
Rankin/Bass Productions

So this film from 1979 is technically a Groundhog Day special, but its connection to winter means it’s usually lumped in with the rest of Rankin/Bass’s Christmas programming. A groundhog named Pardon-Me-Pete (voiced by Buddy Hackett) narrates the story of Jack Frost. After Jack Frost falls in love with a woman on Earth, Father Winter agrees to make him human, with the catch that Jack will turn back into a sprite if he fails to obtain a house, a horse, a bag of gold, and a wife by the first sign of spring. The special is notable for its weird characters, including a villain with a clockwork horse and henchmen. And—spoiler alert!—because Jack doesn’t get the girl at the end, it’s one of the few Rankin/Bass films that doesn’t have a happy ending.

6. Rudolph and Frosty's Christmas in July (1979)

Scene from Rudolph and Frosty's Christmas in July.
Rankin/Bass Productions

In 1979, Rankin/Bass gave two of its most iconic Christmas characters—Frosty the Snowman and Rudolph the Red-Nosed Reindeer—their own movie. The studio was so confident in the product that Rudolph and Frosty's Christmas in July even had a brief theatrical release overseas. But the film has failed to take the place of the original specials in the public consciousness—maybe because seeing snow snakes terrorize Rudolph and watching an evil wizard transform into a tree were too much for younger viewers to handle.

7. Pinocchio's Christmas (1980)

Scene from Pinocchio's Christmas.
Rankin/Bass Productions

The story of Pinocchio may not be the first thing that comes to mind when you think of Christmas, but that didn’t stop Rankin/Bass from turning the classic Italian fairytale into a holiday special. Pinocchio's Christmas (1980) features many of the same themes and characters as The Adventures of Pinocchio—only this version of the tale centers around the puppet’s first Christmas. Santa Claus even makes a cameo appearance.

8. The Stingiest Man in Town (1978)

Scene from The Stingiest Man in Town.
Rankin/Bass Productions

Charles Dickens’s A Christmas Carol is one of the most widely adapted stories of all time, so of course it shows up in Rankin/Bass’s filmography. An insect named B.A.H. Humbug narrates this musical retelling from 1978, with Walter Matthau starring as Ebeneezer Scrooge. The Stingiest Man in Town joins Frosty the Snowman as one of the few Rankin/Bass Christmas productions made with traditional 2D animation instead of stop-motion.

9. The Leprechauns' Christmas Gold (1981)

Scene from The Leprechaun's Christmas Gold.
Rankin/Bass Productions

Rankin/Bass’s streak of mashing up Christmas with other holidays reached peak weirdness in 1981. That’s when the studio released The Leprechauns' Christmas Gold—a story that follows a young Irish sailor who helps a clan of leprechauns protect their gold from an evil banshee named Old Mag the Hag. By trying to create a special that could air around Christmas and St. Patrick’s Day, the filmmakers ended up with something that made little sense at any time of year.

10. The Life and Adventures of Santa Claus (1985)

Scene from The Life and Adventures of Santa Claus.
Rankin/Bass Productions

In 1970, Rankin/Bass explored how Kris Kringle became Santa Claus with Santa Claus Is Comin’ to Town. Fifteen years later, the studio produced a film that provided an alternate origin story for the character, based on L. Frank Baum's 1902 children's book of the same name. This second special wasn’t as well-received as the first. It starts with an antler-sporting sorcerer called the Great Ak finding an abandoned baby in the forest. The child is taken in and raised by wood nymphs, eventually growing up to become a jolly man who delivers toys to children—all while fighting monsters called Awgwas on the side. It ends with a council of mythical beings granting Santa Claus immortality. What was arguably Rankin/Bass’s most unusual Christmas special was also the last to use stop-motion animation.

2020 Golden Globes: The Full List of Nominees

Andrew Scott stars in Fleabag.
Andrew Scott stars in Fleabag.
Steve Schofield/Amazon Studios

Awards season is officially upon us and we're all rushing out to the movie theater—or, more frequently, our own couches—to load up on some of the year's biggest movie and television titles.

Now that the 2020 Golden Globe nominations have been announced, it's clear that Netflix's investment in original content like Martin Scorsese's The Irishman and Noah Baumbach's Marriage Story, which scored the most nominations with six, was a wise decision.

On the television side, streaming emerged victorious as well; The Crown landed a total of four nominations while Phoebe Waller-Bridge's Amazon hit Fleabag earned three, including one for "Hot Priest" Andrew Scott, who was a notable Emmy snub. Amazingly, Game of Thrones was nominated for just a single award: a Best Actor in a Drama Series nomination for Kit Harington.

Below is the full list of nominees for the 77th annual Golden Globe Awards, which will take place on January 5, 2020.

Best Motion Picture, Drama

1917
The Irishman
Joker
Marriage Story
The Two Popes

Best Motion Picture—Musical or Comedy

Once Upon a Time in Hollywood
Jojo Rabbit
Knives Out
Rocketman
Dolemite Is My Name

Best Motion Picture—Foreign Language

The Farewell
Pain and Glory
Portrait of a Lady on Fire
Parasite
Les Misérables

Best Director, Motion Picture

Bong Joon Ho, Parasite
Sam Mendes, 1917
Todd Phillips, Joker
Martin Scorsese, The Irishman
Quentin Tarantino, Once Upon a Time … in Hollywood

Best Screenplay—Motion Picture

Noah Baumbach, Marriage Story
Bong Joon-ho and Han Jin-won, Parasite
Anthony McCarten, The Two Popes
Quentin Tarantino, Once Upon a Time in Hollywood
Steven Zaillian, The Irishman

Best Original Score, Motion Picture

Alexandre Desplat, Little Women
Hildur Gudnadottir, Joker
Randy Newman, Marriage Story
Thomas Newman, 1917
Daniel Pemberton, Motherless Brooklyn

Best Original Song—Motion Picture

Beautiful Ghosts, Cats
I'm Gonna Love Me Again, Rocketman
Into the Unknown, Frozen II
Spirit, The Lion King
Stand Up, Harriet

Best Actor in a Supporting Role in Any Motion Picture

Tom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time in Hollywood

Best Actress in a Supporting Role in Any Motion Picture

Kathy Bates, Richard Jewell
Annette Bening, The Report
Laura Dern, Marriage Story
Jennifer Lopez, Hustlers
Margot Robbie, Bombshell

Best Actor in a Motion Picture—Musical or Comedy

Daniel Craig, Knives Out
Roman Griffin Davis, Jojo Rabbit
Leonardo DiCaprio, Once Upon a Time in Hollywood
Taron Egerton, Rocketman
Eddie Murphy, Dolemite Is My Name

Best Motion Picture—Animated

Frozen II
How to Train Your Dragon: The Hidden World
Missing Link
Toy Story 4
Lion King

Best Actor in a Motion Picture—Drama

Christian Bale, Ford v Ferrari
Antonio Banderas, Pain and Glory
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes

Best Actress in a Motion Picture—Drama

Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy

Best Actress in a Motion Picture—Musical or Comedy

Awkwafina, The Farewell
Ana de Armas, Knives Out
Cate Blanchett, Where'd You Go, Bernadette
Beanie Feldstein, Booksmart
Emma Thompson, Late Night

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television

Christopher Abbott, Catch-22
Sacha Baron Cohen, The Spy
Russell Crowe, The Loudest Voice
Jared Harris, Chernobyl
Sam Rockwell, Fosse/Verdon

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television

Kaitlyn Dever, Unbelievable
Joey King, The Act
Helen Mirren, Catherine the Great
Merritt Wever, Unbelievable
Michelle Williams, Fosse/Verdon

Best Television Limited Series or Motion Picture Made for Television

Catch-22, Hulu
Chernobyl, HBO
Fosse/Verdon, FX
The Loudest Voice, Showtime
Unbelievable, Netflix

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Patricia Arquette, The Act
Helena Bonham Carter, The Crown
Toni Collette, Unbelievable
Meryl Streep, Big Little Lies
Emily Watson, Chernobyl

Best Performance by an Actor in a Television Series, Drama

Brian Cox, Succession
Kit Harington, Game of Thrones
Rami Malek, Mr. Robot
Tobias Menzies, The Crown
Billy Porter, Pose

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Alan Arkin, The Kominsky Method
Kieran Culkin, Succession
Andrew Scott, Fleabag
Stellan Skarsgård, Chernobyl
Henry Winkler, Barry

Best Television Series—Drama

Big Little Lies, HBO
The Crown, Netflix
Killing Eve, AMC
The Morning Show, Apple TV+
Succession, HBO

Best Performance by an Actress in a Television Series, Drama

Jennifer Aniston, The Morning Show
Olivia Colman, The Crown
Jodie Comer, Killing Eve
Nicole Kidman, Big Little Lies
Reese Witherspoon, The Morning Show

Best Television Series—Musical or Comedy

Barry, HBO
Fleabag, Amazon
The Kominsky Method, Netflix
The Marvelous Mrs. Maisel, Amazon
The Politician, Netflix

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