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‘Borat,’ ‘Promising Young Woman’ Win at Writers Guild Awards

This image released by Amazon Studios shows Sacha Baron Cohen in a scene from "Borat Subsequent Moviefilm." (Amazon Studios via AP)
This image released by Amazon Studios shows Sacha Baron Cohen in a scene from "Borat Subsequent Moviefilm." (Amazon Studios via AP)
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‘Borat,’ ‘Promising Young Woman’ Win at Writers Guild Awards

This image released by Amazon Studios shows Sacha Baron Cohen in a scene from "Borat Subsequent Moviefilm." (Amazon Studios via AP)
This image released by Amazon Studios shows Sacha Baron Cohen in a scene from "Borat Subsequent Moviefilm." (Amazon Studios via AP)

Sacha Baron Cohen’s “Borat Subsequent Moviefilm” was partly improvised and scripted by nine writers, but it still walked away Sunday night with one of the Writers Guild Awards’ top honors, best adapted screenplay.

At the guild’s virtual, pre-recorded 73rd annual awards, the biggest winners were a pair of awards-season dark horses. Best original screenplay went to the script for the feminist revenge thriller “Promising Young Woman,” by writer-director Emerald Fennell. The film, which is nominated for five Oscars including best picture, triumphed over Aaron Sorkin’s “The Trial of the Chicago 7,” along with “Sound of Metal,” “Judas and the Black Messiah” and “Palm Springs.”

The “Borat” sequel win came over “Ma Rainey’s Black Bottom,” “News of the World,” “One Night in Miami” and “The White Tiger.” Due to guild regulations, several of this year’s best-picture nominees at the Academy Awards weren’t nominated, including “Mank,” “Nomadland,” “Minari” and “The Father.”

Baron Cohen and his fellow eight credited writers for the film’s screenplay and story accepted the award by Zoom.

“Thank you for this incredible award, though I can’t help thinking we won it because 60% of the Writers Guild worked on this movie,” said Baron Cohen. “A film like this is extremely hard to write partly because it stars real people whose behavior is completely unpredictable. Well, apart from Rudy Giuliani who did everything we hoped for.”

Kal Penn hosted the show, streamed privately for invitees, from his living room. He began dressed in a tuxedo and ended in his pajamas.

Other awards included “Ted Lasso” for comedy series; “The Crown” for drama series; “The Great” for episodic comedy; and “Ozark” for episodic drama.

The guild’s awards came after the conclusion of a two-year battle with talent agencies over potential conflicts of interest as representatives of film and TV writers. Last month, WME became the final big agency to sign the guild’s agreement over an industry practice known as “packaging.”

“Our agency campaign has made us true partners again with our agency representatives,” said David Goodman, president of the WGA West.

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Entertainment

Demand for Japanese Content Booms Post 'Shogun'

The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
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Demand for Japanese Content Booms Post 'Shogun'

The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File

But "Shogun", based on the 1975 novel by Australian-British writer James Clavell, broke the mould when the period drama series -- mostly in Japanese and hailed for its authenticity -- won 18 Emmy awards in September.
Other recent Japanese works have also become worldwide hits.
Franco-US-Japanese show "Drops of God", based on a manga of the same name, won best drama series at the International Emmy Awards in November.
Netflix's 2023 adaptation of the manga superhit "One Piece" -- starring Mexican actor Inaki Godoy as the lead -- was hailed by viewers and critics alike and will return for a second season.
More adaptations of major manga and anime hits are in the works, including the superhero adventures of "My Hero Academia" and the ninja escapades of "Naruto".
"Demand from Western markets is clearly increasing," said Kaori Ikeda, managing director at TIFFCOM, the content trade fair affiliated with the Tokyo International Film Festival.
But Japanese companies lack "know-how" when it comes to things like negotiating rights, she told AFP.
So TIFFCOM has organized Tokyo Story Market, a space to facilitate networking and meetings between international producers and Japanese publishers.
'Whitewashing'
Foreign studios are also getting better at avoiding some of the pitfalls of the past, such as the 2017 film version of the manga "Ghost in the Shell" starring Scarlett Johansson.
Critics accused the movie, whose main actors except Takeshi Kitano were all non-Japanese, of "whitewashing".
Similarly, the 2017 supernatural thriller "Death Note" was panned for veering too far from the original manga.
"Manga authors are highly respected and fan communities are very vigilant," said Klaus Zimmermann, producer of "Drops of God".
His adaptation takes some liberties, such as starring a French actor as one of the main characters, but Zimmermann insists it was developed in collaboration with the authors of the original manga.
"It was about finding the spirit of the manga so as not to distort it," he told AFP.
Yuki Takamatsu, a rights negotiator at the manga's publishing house Kodansha, said the process of adapting "Drops of God" was "amazing".
"Everyone was open to tackling those challenges together... At every step, everyone was understanding about how we should do it," he said.
Past failures were in part down to publishers struggling to communicate their wishes to foreign producers, who in turn lacked a proper understanding of manga and anime, Takamatsu said.
"Back just 15, 20 years ago, most of the enquiries we received from those big studios were like, hey, I know 'Dragon Ball', do you have 'Dragon Ball' IP?" Takamatsu told AFP.
"But nowadays, especially since Covid, the producers in their 30s, 40s, they watch anime together with their kids on Netflix or Amazon" and then reach out, he said.
Japanese TV goes global
Japanese broadcasters have also become "better and better (at) presenting and marketing their content" abroad, said Makito Sugiyama, executive director at the Broadcast Program Export Association of Japan (BEAJ).
This includes their participation at global events such as MIPCOM in Cannes, an annual trade show for the television industry, Sugiyama said.
Japanese broadcasters have long had success selling show concepts abroad, like the one for "America's Funniest Home Videos", known in Britain as "You've Been Framed".
Now, some Japanese dramas are also finding a wider echo abroad.
Nippon TV's original drama "Mother" became a hit thanks in part to its Turkish remake, and has been broadcast in around 50 countries.
Western viewers have overcome their initial reluctance to watch series with Asian actors, believes Masaru Akiyama, chief executive of the BEAJ.
"They have got used to it, they don't care anymore. They want to see, they want to feel the stories."
"Shogun" was "a game changer for Japan," he added, and Ikeda agrees.
"That a samurai story with such attention to historical detail can become mainstream entertainment is proof of the potential" of Japanese content, she said.