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.
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Will Category Hogging Be a Thing of the Past at This Year’s Emmys?
The Television Academy has changed the rules to make it less likely, so one can always hope for less nomination domination
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How Riley Keough Found Joy in ‘Daisy Jones & the Six’ During Her Darkest Times
TheWrap magazine: “It helped pull me out of the suffering I was experiencing at the time,” the actress says
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Jason Isbell Thought He Was Making a Movie About Music and Ended Up With One About Marriage, Too
TheWrap magazine: “It turned out to be a huge pain in the ass, but also a pretty good story to tell,” says the singer-songwriter of “Jason Isbell: Running With Our Eyes Closed”
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How Michael J. Fox Pulled Davis Guggenheim Out of a Rut When They Made the Documentary ‘Still’
TheWrap magazine: “You start directing by rote when you get to a certain age, but Michael’s attitude toward his life reinvigorated me,” the director says
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‘Anatomy of a Fall’ Wins Palme d’Or at 2023 Cannes Film Festival
Cannes 2023: Acting awards go to Koji Yakusho for “Perfect Days” and Merve Dizdar for “About Dry Grasses”
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How Wes Anderson Created ‘Asteroid City’: Big Dinners, Music and a Helpful COVID Quarantine
Cannes 2023: “I don’t want to say (the pandemic) was good for the movie, but we used it in away that wasn’t bad,” Anderson said at Cannes
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‘Asteroid City’ Review: Wes Anderson Buries His Sci-Fi Story Under Fancy Piles of Eccentricity
Cannes 2023: Anderson’s movie looks amazing, of course, but it might well be the least involving film he’s ever made
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Cannes: ‘Anatomy of a Fall’ Lands Distribution Deal With Neon
The indie distributor is behind the last three Palme d’Or winners, “Parasite,” “Titane” and “Triangle of Sadness”
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Cannes: Netflix Buys Todd Haynes’ Festival Hit ‘May December’ for $11 Million
The pulpy film draws raves for stars Julianne Moore and Natalie Portman
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‘Fallen Leaves’ Review: Deadpan Comedy Brings Heart and Wit to a Tale of Lost Souls
Cannes 2023: Finnish director Aki Kaurismäki has complete control of a delicate tone that could easily go awry
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Cannes So Far: Sentimental Audiences Meet Unsentimental Movies
Cannes 2023: In its first six days, the prestigious festival showered love on Martin Scorsese and Harrison Ford but also showcased chilling films about the Holocaust and terrorism
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‘Anatomy of a Fall’ Review: Justine Triet’s Family Drama Keeps the Audience Guessing
Cannes 2023: Sandra Hüller plays a woman who may have murdered her husband in sophisticated film that delights in ambiguity
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‘The Breaking Ice’ Review: Portrait of Aimless Youth Has Beauty and Purpose
Cannes 2023: Anthony Chen has created a luminous “Jules and Jim” riff that manages to be both meditative and propulsive
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Martin Scorsese’s ‘Killers of the Flower Moon’ Brings the House Down in Cannes
Cannes 2023: The director unveiled his three-and-a-half-hour drama, and the festival audience was ready for more
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‘Banel & Adama’ Review: First-Time African Filmmaker Mixes Reverie With Calamity
Cannes 2023: Ramata-Toulaye Sy’s debut feature is a lyrical love story set in a parched, tradition-bound village in Senegal
