Television
Nathan began working in episodic television on the original staff of Law & Order'. He was subsequently on the original staff of ER as Co-Executive Producer and for that show received the industry’s coveted George Foster Peabody Award. His television credits include Executive Producer and showrunner, Law & Order: Criminal Intent; Co-Executive Producer, Law & Order; Co-Executive Producer, Law & Order: SVU; Co-Executive Producer, Dragnet; Executive Producer and showrunner, ABC’s Women’s Murder Club; Consulting Producer, USA’s Fairly Legal; Consulting Producer, FX’s Dirt; Executive Producer, showrunner, and co-creator, NBC’s Prince Street; and Executive Producer and showrunner, CBS’s The Client. For episodes of Law & Order and its sequels he received an Edgar Award nomination from the Mystery Writers of America, four Emmy nominations and a Humanitas Award nomination as a producer, The Shine Award, The Silver Gavel Award, and the GLAAD Media Award. For Paramount Television he was Executive Producer of James Ellroy’s L.A. Sheriff’s Homicide. In the 23-year history of the Law & Order franchise, the 1993 episode “Manhood,” from Nathan's teleplay with a story co-written by Walon Green, holds the only Emmy nomination in the category Outstanding Writing for A Drama Series.
Read more about this topic: Robert Stuart Nathan
Famous quotes containing the word television:
“What is a television apparatus to man, who has only to shut his eyes to see the most inaccessible regions of the seen and the never seen, who has only to imagine in order to pierce through walls and cause all the planetary Baghdads of his dreams to rise from the dust.”
—Salvador Dali (1904–1989)
“The technological landscape of the present day has enfranchised its own electorates—the inhabitants of marketing zones in the consumer goods society, television audiences and news magazine readerships... vote with money at the cash counter rather than with the ballot paper at the polling booth.”
—J.G. (James Graham)
“It is among the ranks of school-age children, those six- to twelve-year-olds who once avidly filled their free moments with childhood play, that the greatest change is evident. In the place of traditional, sometimes ancient childhood games that were still popular a generation ago, in the place of fantasy and make- believe play . . . today’s children have substituted television viewing and, most recently, video games.”
—Marie Winn (20th century)