Steve Pond is TheWrap’s Executive Editor, Awards and has been writing and overseeing awards coverage on the site since 2009. He spent decades writing about film, television, music and the entertainment industry for the Los Angeles Times, Washington Post, Rolling Stone, Premiere, New York Times, Playboy and many other publications. He is the author of the L.A. Times bestseller “The Big Show,” a behind-the-scenes look at the Academy Awards based on 15 years of unprecedented access to that show.
Experience:
Resides In:
Los Angeles
Education:
Steve received a Bachelor of Arts degree in Journalism from California State University, Long Beach.
-
Critics’ Choice Awards Follow Oscars and Spirit Awards, Move 2021 Show to March 7
The awards also alter their eligibility dates to match the Oscars
-
‘You Should Have Left’ Film Review: Don’t Go in the Basement, Kevin Bacon!
David Koepp’s horror film plays like a scaled-down Blumhouse version of “The Shining”
-
‘7500’ Film Review: Joseph Gordon-Levitt Gets Tough in Nerve-Wracking Cockpit Thriller
German director Patrick Vollrath’s feature debut stays in a single claustrophobic location and is made up of long, uninterrupted takes
-
‘Mr. Jones’ Film Review: Uneven Period Drama Explores Soviet Atrocities
Director Agnieszka Holland is attuned to the depths and intricacies of human misery, but this film is more scattered than her Oscar-nominated “Europa, Europa” and “In Darkness”
-
Academy Postpones Next Year’s Oscars to April 25
This will be the latest the Oscars have been held since 1932; Academy Museum opening is also delayed because of coronavirus
-
Television Academy to Reshape Creative Arts Emmys Into a Virtual Event
The Academy also eliminates the Emmys Governors Balls, but still plans to keep the main Emmy show on its original date
-
‘Normal People’ Producer Ed Guiney Says Film and TV Production Isn’t Possible Without Quick COVID Testing
TheWrap Emmy magazine: “We have to face up to is that if we want to shoot, we’re going to be shooting in a coronavirus world,” producer says
-
Samantha Bee Says the Worst Part of Making Her Show at Home Is Staring Into Her Husband’s Eyes
TheWrap Emmy magazine: “It’s a much more intimate experience, watching my husband find me not funny,” says the host who now does shows from her back yard
-
‘Pose’ Star Billy Porter on the ‘Huge Connection’ Between Coronavirus and AIDS
TheWrap Emmy magazine: “We’re going to destroy ourselves if we don’t change some stuff,” the actor and activist says
-
‘The King of Staten Island’ Film Review: Judd Apatow Helps Pete Davidson Tell an Uncomfortably Personal Story
The film tiptoes carefully around fraught emotional issues and in the process manages, perhaps surprisingly, to be a fairly mature movie about a not-at-all mature guy
-
Oscars Academy Introduces New Inclusion Initiatives, Expands Best Picture Category
The Board of Governors voted for the changes after nationwide protests over systemic racism in the wake of the killing of George Floyd
-
How Rob McElhenney Pulled Off a Quarantine Episode of ‘Mythic Quest’: ‘It Was Absolute, Abject Hell’
TheWrap Emmy magazine: “I am glad we did it, but it was incredibly, exponentially more difficult than a normal production,” says the actor and creator of the episode shot entirely on iPhones by the actors themselves
-
Jennifer Connelly on How We’re All Living in ‘Snowpiercer’ Dystopia These Days (Video)
TheWrap Emmy magazine: “Everyone on (the train) has been separated from their communities, from the lives they had before, from all the places that they can’t visit anymore,” she says of the dystopian sci-fi miniseries
-
‘Artemis Fowl’ Film Review: There’s Not Enough Magic in Kenneth Branagh’s Fantasy Adventure
The film based on Eoin Colfer’s YA novel pays lip service to the power of myth, then settles for the Hollywood substitute, an efficient plot
-
‘Tiger King’ Directors Credit the Coronavirus’ ‘Captive Audience’ for Show’s Sensational Success
TheWrap Emmy magazine: “We knew it would be interesting to people, but in this time of the coronavirus, it caught fire in a way that it would never have,” says co-director Eric Goode
