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ATO BOLDON WINS EMMY
Ato Boldon is one of the most celebrated figures in global track and field—a four-time Olympic medalist, 1997 world champion, and one of the fastest sprinters of his era. After retiring from competition, he seamlessly transitioned into broadcasting, becoming NBC’s premier track and field analyst and a trusted voice of the sport for audiences around the world. His sharp insight, deep expertise, and unmistakable storytelling style have made him a defining presence in Olympic coverage for almost two decades. Winning an Emmy is more than just an award for Ato—it’s a powerful recognition of his excellence, dedication, and the brilliance he brings to every broadcast. It cements his legacy not only as an extraordinary athlete, but as one of the most respected commentators in sports today.
BEST COMEDY SCREENPLAY
WINNER of BEST COMEDY SCREENPLAY:
SANTA’S LOOKING FOR A WIFE
By Jennifer Barrette
and Jonathan Bissoondath
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From the opening pages, Santa’s Looking for a Wife comes across as a sharply conceived, lively comedy with a clear sense of tone and world-building. The premise — blending holiday mythology with a contemporary, often irreverent twist — is inherently fun, and the script wastes no time diving into it. The humour feels both situational and character-driven, springing as much from Santa’s awkward charm and Magnus’ officiousness as from the elves’ banter or fish-out-of-water moments in Trinidad. There’s a playfulness to the scenes that suggests the writers are confident in their comic instincts and willing to push the concept in fresh directions.
The characters are strongly etched, distinct in voice and energy — which gives the dialogue an appealing snap. Santa himself is drawn as an offbeat, younger, slightly dorkier version of the iconic figure, and that choice feels clever, allowing for vulnerability and comedy to coexist. Supporting characters like Magnus, the Caribbean elf Bindley, and Mrs. Claus (Anna) are equally vivid, providing plenty of room for both conflict and humour to flourish. There’s also a great economy to the dialogue: punchlines land cleanly, exposition is handled deftly, and jokes rarely overstay their welcome. It’s easy to imagine actors inhabiting these roles and finding even more humour in the subtext.
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Overall, it’s an inventive, fast-moving comedy with a lot of personality and a clear comedic voice. The premise has built-in broad appeal, but the execution feels specific and character-focused, which helps avoid the trap of becoming just another “Santa” spoof. The blend of sharp character work, economical dialogue, and playful tonal shifts suggests this could translate into something very funny — and very marketable — on screen.
