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:
“There was a girl who was running the traffic desk, and there was a woman who was on the overnight for radio as a producer, and my desk assistant was a woman. So when the world came to an end, we took over.”
—Marya McLaughlin, U.S. television newswoman. As quoted in Women in Television News, ch. 3, by Judith S. Gelfman (1976)
“In full view of his television audience, he preached a new religion—or a new form of Christianity—based on faith in financial miracles and in a Heaven here on earth with a water slide and luxury hotels. It was a religion of celebrity and showmanship and fun, which made a mockery of all puritanical standards and all canons of good taste. Its standard was excess, and its doctrines were tolerance and freedom from accountability.”
—New Yorker (April 23, 1990)