Awards Show Round Up: Tony Awards 2018

Hey, last night were the Tonys! I haven’t been entering as many Broadway lottos recently, so I’d only seen a couple nominees, but it’s always a fun show regardless, though I have some quibbles. (No theater fan needed that Springsteen monologue, but you know what we do want – the BEST PLAYWRIGHT’s speech!!!!)

Anyway, Josh Gorban and Sara Bareilles were super charming, and started the night with a dueling piano performance, which I was pretty into:

And the speeches started out great too. I love Andrew Garfield a lot:

Give Laurie Metcalf every award, always:

Lindsay Mendez is a National Treasure:

Carousel is one of the only things I had seen, and “Blow High, Blow Low,” is a highlight of this production so I was very glad they chose it for their performances:

(Also, Justin Peck is a genius, and I would have liked the opportunity to hear his speech as well. Thanks, CBS!)

It seems like Ari’el Statchel has an interesting life and I would like to read a long form profile of him, if any papers/writers out there are taking requests:

Then this moment happened with the Parkland theater kids and I just sobbed for a long time:

I’m not a filmmaker, but if I were, and she would agree to it (I don’t think she would), I would make a movie about Glenda Jackson’s life. This woman won 2 Oscars (without ever attending the ceremony to accept either) then quit acting to be a member of the British Parliament, then came back and won a Tony. (And get her director’s name wrong):

I actually very much enjoyed Frozen’s performance, because it felt like an old school musical and the score is good and I think I would like it:

Tony Kushner is the best. That’s just a fact:

I kind of can’t believe that this is Tony Shaloub’s first Tony:

Fashion wise it was a pretty standard night, but there were a few looks I loved!

 

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Carey Mulligan in Giambattista Valli (Photo Credit: Getty)

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Laurie Metcalf in Christian Siriano (Photo Credit: Getty Images)

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Lindsay Mendez in Randi Rahm (Photo Credit: Dimitrios Kambouris/Getty Images for Tony Awards Productions)

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Uzo Aduba in Christina Ottaviano (Photo Credit: Dimitrio Kambouris/Getty Images North America)

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Melissa Benoist in Dior (Photo Credit: Getty, WENN)

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Christine Baranski in Alexandre Vauthier (Photo Credit: Getty)

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Jessie Mueller in Lela Rose (Photo Credit: Getty)

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Hailey Kilgore in Zac Posen (Photo Credit: Getty)

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Best Picture Baking Project: Chicago

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Hey! Remember when I used to do this! It’s been over a year since the last one (which you may recall involved a botched attempt at mixing, cake, alcohol, and fire), but I finally got my act together last night and made some “Frango” mint brownies in honor of Chicago, the first musical to win Best Picture since 1969 when it won in 2003 (none as won since, though for about 3 minutes in 2016, La La Land thought they had…) Anyway, focusing on an actual best picture winner:

Had I seen this one before? 

Yes. As a musical theater middle and high schooler I watched this countless times. But I don’t actually remember when I last saw it. I had a glowing memory of it as a near perfect movie in my head, and…it doesn’t quite live up to that but it is a really fun adaptation that makes Bob Fosse mainstream somehow, which I appreciate.

Top 3 observations on this viewing? 

  1. Despite what my boyfriend referred to as, “a troubling pattern of violence against men,” this song holds up:
    And see Mya there! This movie is full of cameos! Including Dominic West! And Chita Rivera! And Lucy Liu! I’m sure that I was excited about Ms. Liu at the time, but last night I was the most excited to see Chita, since she was in the original broadway cast of Chicago and it’s pretty cool that she was included here.

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2. I remember people talked a lot about Richard Gere was miscast in a musical, because he can’t sing. But Billy Flynn isn’t a hard part to sing, the issue is that he can’t dance/give himself over to the unreality of a musical number. He sounds fine, he just looks so uncomfortable.

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Look at those shoulders! He is so tense

3. Every single character in this movie is a sociopath, except Amos (John C. Reilly). I knew it was about murders, and the beginnings of a vampiric crime press, but I mean seriously these are all the worst humans. Except Amos, bless his dumb little heart. He deserves so much better than these monsters.

What did it beat? Did it deserve to win? 

Gangs of New York – I’ve never seen all of this, I’ve heard good things, and it’s Scorsese…

The Hours – I love this movie, but it is so small and quiet, this nomination feels like its win

The Lord of the Rings: The Two Towers  – I have attempted to watch this multiple times and fallen asleep each time. (I will eventually see it when I get to Return of the King on this list…I promise).

The Pianist – Ooomph. This one is a gut punch.

So, it was a real grab bag of a year. At the time I was thrilled for Chicago and probably I’d still give it to them today. The Pianist is probably a better film, but Chicago is a more impressive production, which is technically what the Best Picture award is for.

Bechdel Test pass? 

Yes! They may all be horrendous criminals who murder men for revenge or money but they also have names! And they talk about their ambitions and fears and crimes.

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I wanted an old timey Chicago dessert, and all I could think of was Frango mints. I found a recipe for Frango mint fudge. But longtime readers know how fudge tends to go for me. So I adapted this recipe for mint chocolate brownies (mostly by simplifying it) and invented my own version of the classic treat:

Frango Mint Brownies 

Ingredients 

  • 1 box of fudgey brownie mix
  • 2/3 cup vegetable oil
  • 1/2 cup water
  • 2 eggs
  • 2 cups powdered sugar
  • 8 tablespoons of butter softened to almost melted
  • 2 tablespoons of milk
  • 1.5 teaspoons mint extract
  • 6 ounces semi-sweet chocolate chips

Directions 

  • Mix and bake brownies in a 9 by 13 in pan (I baked mine only 28 minutes for more of a cakey texture)
  • While they’re baking/cooling (I popped mine in the freezer) combine powdered sugar, milk, butter, and mint extract in a large bowl using a mixer
  • When brownies are cool, spread mint cream mixture evenly over the top
  • Top with a layer of chocolate chips
  • Place in fridge or freezer to cool/solidify
  • Slice and serve!

 

 

 

Award Show Round Up: Oscars 2018

Well another awards season has come to a close, and while there were some great moments (and some important statements made) none of my personal favorites managed wins. (Except, of course, my role model Ms. McDormand – but more on that later).

Jimmy Kimmel did a good job last night of being charming, relatively inoffensive, and didn’t dwell on hatred of Matt Damon or the envelope snafu from last year.

I liked the jet ski for shortest speech gimmick (though honestly they could have played people off, that was a looooooong show.)

Mark Bridges, is living his best life up there. (Also, his costumes for Phantom Thread were so gorgeous.

Other than best picture, which I was sure was going to go to Three Billboards there weren’t many surprises with the winners. (Including unfortunately, Timothée Chalamet’s award going to a man in old age makeup yelling.)

I like Sam Rockwell a lot (though Willem DaFoe was robbed):

(Side note: Did we all know that Martin McDonagh and Phoebe Waller-Bridge were a thing? Because that’s awesome.)

I also really like Allison Janney (though Laurie and Lesley were also so amazing this year):

Kobe Bryant has an Oscar now. That’s not one I would have predicted!

Best presenters of the evening:

Though these two were pretty great too:

Jordan Peele deserved this:

I’m not sure if Guillermo deserved this or not, but I he gives good speech:

I love a good Meryl bit:

And most importantly: Frances. McDormand.

Fashion wise there was a lot of sparkle and bright bold colors, which I loved. Here were my favs:

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Sally Hawkins in Armani Privé (Photo Credit: WireImage)

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Jennifer Lawrence in Dior (Photo Credit: David Fisher/REX/Shutterstock)

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Kumail Nanjiani in Ermenegildo Zenga Couture and Emily V. Gordon in J. Mendel (Photo Credit: Frazer Harrison/Getty)

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Allison Williams in Armani Privé Couture (Photo Credit: Frazer Harrison/Getty Images) 

She looks beautiful, and I love that fairy-gossamer dress, but I am still not convinced she’s not going to murder someone.

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Allison Janney in Reem Acra (Photo Credit: Getty Images)

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Phoebe Waller-Bridge in Vionnet (Photo Credit: Getty/Mike Stobe)

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Jane Fonda in Balmain (Photo Credit: Kevin Mazur/WireImage)

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Ashley Judd in Zameer Kassam and Mira Sorvino in Romona Keveža (Photo Credit: Frazer Harrison/Getty Images)

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Greta Gerwig in my favorite Oscars dress of all time which was designed by Rodarte (Photo Credit: David Fisher/REX/Shutterstock)

And the Nominees Are: Round “I Finally Saw Get Out”

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Happy Oscars Weekend! Usually by this point in the year I have a few straggler foreign or documentary nominees I’ve managed to fit in the last weeks of awards season. But this year, as anyone reading this blog even passingly could tell you, I had a major nominee blind spot that I kept pushing off seeing.

I hate horror movies. I have a very visual memory and I can’t stand gore, and I don’t understand the appeal of making myself anxious for two hours. (Thinking about this this week I’ve decided that it’s because I feel anxious a lot all on my own and I don’t experience this as a cathartic experience, instead I had to go through all of my anxiety remedies after finishing it to be able to fall asleep. But I only had one nightmare!! Healthy coping mechanisms for the win!)

OK, personal feelings on genre aside, I was told in no uncertain terms by many people, including my mother, that I had to watch this. So, I did. And, it’s really good. Like, worth watching a horror movie good.

It’ll probably win Best Original Screenplay, and it should. The premise is clever but grounded enough in reality that it never feels too far fetched (and it should, because the actual procedure is bonkers). The acting is astoundingly good. Daniel Kaluuya is a revelation, those eyes will be burned into my brain for a long time. And I don’t think I will ever be able to look at Allison Williams ever again without a shiver.

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Award Show Round Up: BAFTAs 2018

Sorry this post is a day late. I was out of traveling yesterday and I kind of completely forgot that I hadn’t done this. As far as BAFTAs go this one was a little strange. This may have been because it was first time since I started watching that Stephen Fry wasn’t the host, though Joanna Lumley was lovely. And it may have been because it was the British Time’s Up moment, but it didn’t feel quite as galvanized and united as the Golden Globes to me (is it possible that it’s just because the room was bigger?)

The other strange thing was that the show started with Best British Film going to Three Billboards Outside Ebbing, Missouri which is of course an incredibly American story. (It was also presented by Jennifer Lawrence, an American actress.) That movie went on to win basically everything, which didn’t bother me as much as it does some other people, but it’s not super exciting to me either. (Except it means lots of love for Frances McDormand, which I am never going to be mad about.)

EE Rising Star did go to a Brit, and yes, I promise I will see Get Out very soon. (Or before the Oscars at least.)

Legend!

(Side note: shout out to Timmy for walking him up the stairs. And though I knew it was going to happen last night, please stop giving Mr. Chalamet’s awards to Gary Oldman. Especially on nights when you are supposed to be lifting up the voices of women who have spoken out against their abusers. Thanks!)

We’re at that point in awards season where I begin to sound like a broken record, but I would’ve given this to Laurie, but I love Ms. Janney (and her strange space age shrug):

Speaking of women I love and their strange fashion choices:

And that speech is a good one to end on!

The all black dress code led to some unusual embellishment choices fashion wise, but there were a few looks I liked:

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Jennifer Lawrence in Christian Dior Haute Couture (Photo Credit: Getty)

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Gugu Mbatha-Raw in vintage Cardinali (Photo Credit: Lipstick Alley)

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Lily James in Burberry (Photo Credit: Getty/Mike Marsland)

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Lupita Nyong’o in Elie Saab (Photo Credit: David M. Benett/Getty Images)

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Natalie Dormer in custom Alberta Ferretti (Photo Credit: Mike Marsland/WireImage)

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Jamie Bell and Kate Mara in Dior (Photo Credit: Getty/Dav J. Hogan)

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Helena Bonham Carter (Photo Credit: Mike Marsland/WireImage)

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Florence Pugh in Miu Miu (Photo Credit: Getty)

And the Nominees Are 2018: Round 5

So, I was going to wait until I had finally watched Get Out before I posted this latest update, but it’s getting long so I guess I’ll share this now and continue to promise I’ll see it soon.

The Meyerowitz Stories (New & Selected)

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So, I didn’t finish watching this movie. I got about 5 minutes into Ben Stiller‘s story and then I had to give up. I’ll admit that I have a mental block against Noah Baumbach (especially when not writing with Greta Gerwig) but this felt stilted and awkward. Obvously I can’t write a full review, but this wasn’t for me.

The Post

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My boss described this movies as solid. And that is exactly what it is. Steven Spielberg is an expert craftsman. The script is well structured, clever, timely, and moving. The supporting cast is filled with wonderful character actors who all play their parts well. Mr. Hanks is charming and charismatic. Meryl Streep is Meryl Streep.

I left the theater satisfied and unsurprised. (Except the opening scenes in Vietnam, which were unexpected but thematically helpful in reminding viewers what was at stake in the Pentagon Papers.)

I had learned about this historical momen in school, but I always absorb things better as a story, and Mr. Spielberg and his cast and crew sure know how to tell as story well.

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YOU CAN READ MY POEM ABOUT THIS FILM HERE.

Film Stars Don’t Die in Liverpool

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I read the memoir this was based on over Christmas, and while Peter Turner‘s love for Gloria Grahame was clear, his writing style was hard for me to connect to. But this film accomplishes that rarest of feats – it’s better than the book.

And more than that, it’s a beautiful work of art in its own right. The central couple, the icon Annette Bening as faded movie star Grahame, and Jamie Bell as Turner, have a compelling chemistry, that makes you believe the central love story, which could possibly have been played as a curiosity. Bening and Bell instead play every moment with a heart-wrenching vulnerability that made me ache for their situation.

I knew walking his that that film had great stars, but I was pleasantly surprised by the stylistic choices director Paul McGuigan made. The movie shifts timelines and perspectives with a beautiful fluidity and the different ways he presents each locale (Hollywood, New York, London, and Liverpool) echoes Peter’s journey through the fairy tale dreamland of first love to the dark realities of illness and scandal. Overall I was blown away by this one and I think it got lost in the end of the year shuffle. Seek if out if you can.

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YOU CAN READ MY POEM ABOUT THIS FILM HERE.

In the Fade

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Oomph… I literally cried so hard at the second act of this film that I injured my eye. That sounds like a joke but it isn’t. This is the only movie I’ve seen this season that made me say “Jesus Christ” our loud in the theater at multiple points.

The film follows a woman (Diane Kruger) in the aftermath of her family dying in a Neo-Nazi attack. It was terrifying and heart shattering and I owe Kruger an apology. I have always thought of her a beautiful woman who was often miscast, but here she proves that she is capable of a strong, layered performance. This isn’t an easy watch, at all, but if you do see it, please tell me. I’m dying to discuss the ending of this movie so much!

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YOU CAN READ MY POEM ABOUT THIS FILM HERE.

Paddington 2

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What a delightful (and frankly necessary) breath of fresh air. (Not coincidentally that’s what I said three years ago about the first one.) I’m all for a delightfully charming movie about a polite bear who teaches us how to be better humans with genuinely clever physical comedy and genuinely moving emotional stakes. Do yourself a favor and go.

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You can read my poem about this film here.

 

And the Nominees Are 2018: Round 4

All the nominations are out! You can see my reactions to today’s Oscar noms on Twitter. (They are generally positive!) But I haven’t done an update of what I’ve seen in awhile. I still have a couple of big nominees to see, and a lot of documentary and foreign films to catch up with, but I’m excited that the BAFTAs give me an opportunity to share a few other favorites!

Lady Macbeth

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I really thought I had written notes about this after I saw it. (This will be an unfortunate theme.) But other than my poem (link below) I don’t seem to have recorded my response to this anywhere. Which may have been a problem, except for certain images of this are burned into my memory.

It’s not a Shakespeare adaptation, but Florence Pugh‘s protagonist has the bard’s twisted lady’s cold power (and misguided passion) and she conveys more with a lifted corner of a lip than many actresses do with a monologue. This is a thriller not for the faint of heart. (I honestly don’t know if I would have gone if someone had told me the whole plot.) But it, like Mudbound actually now that I think about it, does a great job of exploring the ways that various forms of oppression and power intersect, magnify, and counteract each other, often with violent, heartbreaking consequences.

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You can read my poem about this film, here.

God’s Own Country

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I somehow forgot to write notes about this beautiful film after seeing it this fall. Which is a shame, because I remember being overcome with its beauty and humanity. It’s a quiet, lovely story about an isolated, fuck up of a farmer (Josh O’ Connor), meets and falls for the soft spoken migrant worker he hires to help with the lambing (Alec Secareanu).

The plot synopsis could make it sound like a romance novel, but in the hands of writer director Francis Lee, its a nuanced portrait of a young man coming to terms with the fact that he may not be as stuck as thinks (and therefore he has to take some responsibility for his actions.) It’s also a beautifully shot portrait of a life connected to the land of northern England, something that is disappearing in our modern age. (The farm it was filmed on had been converted to a housing development before the movie was released in the states.) But more than any of those philosophical things it’s a love story and it’s a good one and you should watch it.

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You can read my poem about this film, here.

Phantom Thread

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I went into this knowing that the folks at the Next Picture Show were planning to pair it with Hichcock’s Rebecca and so I spent a lot of the movie making connections between these two stories, and they aren’t hard to find. This is a moody, tense story of a relationship between a quiet young woman (the new-to-me but luminous Vicky Krieps) and a persnickety, yet glamorous older man (the always fantastically compelling Daniel Day-Lewis). There’s even a steely, Mrs. Danvers character in the form of his sister, Cecil (the creepily stoic Lesley Manville).

But, this movie also has its own, unique strange beauty. Although the relationship machinations are often excruciatingly awkward, the world they take place in, a post World War II London fashion house, is sumptuous and captured beautifully by Paul Thomas Anderson. (Of course, because he is a genius.)

My boyfriend called this an “emotional horror movie,” complete with jump scares and almost unbearable tension. He found it much harder to watch than I did, but the description is apt. But I mean that as a compliment, not a moment of screen time is wasted and while their actions get increasingly crazy as time progresses they never fall into cliché.

Also, the score, by Johnny Greenwood, is a fantastic indicator of mood and motion. It may be my favorite soundtrack of the year. (And I’ve already added two other film scores to my phone this year, which I never do.)

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You can read my poem about this film, here,

yI, Tonya

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Well, this one is wild. Its jarring tone could definitely be off-putting, but I loved it’s freewheeling, winking style. Tonya Harding’s story is so strange that is a screenwriter invented it, we wouldn’t buy it. But Steven Rogers gets around that by acknowledging the purely subjective and “wildly contradictory” accounts of those involved in the infamous case.

The performances are all fantastic. Allison Janney and Margot Robbie of course, but my favorite may have been Sebastian Stan as Jeff Gillooly. He best embodies the film’s quick careening from campy fun to chilling violence. He was a revelation for me.

Also, the skating scenes are great, and the soundtrack is outstanding.

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You can read my poem about this film, here.

All the Money In the World

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Michelle Williams is a marvel. She kept me interested in this mess of a movie, even as it went past the 2 hour a mark. To be fair, Christopher Plummer‘s last minute step-in is also a great turn, but this is really Williams’s movie and I’m here for that. (As for Mr. Wahlberg, I’ve liked him other things, but here he could be replaced by a cardboard-cut-out here and be equally compelling.)

I didn’t know much about the Gettys before this and their particular brand of conspicuous consumption and dysfunction is depressingly interesting, but I feel like Ridley Scott never decided exactly what he wanted the tone of this to be, so it felt a bit muddled.

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You can read my poem about this film, here.

The Greatest Showman

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I was baffled by the gulf between the ridiculing critical response to this and the incredibly enthusiastic audience reaction. Well, after seeing it last night, I think I understand, but am now slightly baffled by the film itself. This is a good old-fashioned movie musical. It’s bright and shiny and filed with large production numbers.

Hugh Jackman is as charming and magnetic as always. Michelle Williams, though underutilized as an actress here, is luminously beautiful and can sing! The assembled “human oddities” Jackman’s P.T. Barnum collects are all talented. The duet between Zendaya and Zac Efron is genuinely moving.

But…um…I have about a million questions.

  • Why didn’t they use the score of the already written, Tony- winning musical about P.T. Barnum?
  • If this was set in the 1800s why are they dancing like they are in a Michael Jackson video? Or an old-timey installment of High School Musical? 
  • What are Michelle Williams and Rebecca Ferguson doing here? Give them something to do or don’t waste their time.
  • Is it wishful, revisionist history to look at Barnum’s “freak shows” as spaces of empowerment for the marginalized? I’d like to read actual scholarship on this if anyone knows of any.
  • But like, again, they could have had this song:

 

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You can read my poem about this film, here.

Awards Show Round Up: SAG Awards 2018

So, none of my favorites seem to be winning this season. But, it was still a pretty great night. And I have always loved the “I’m an actor” opening:

I’ve seen I, Tonya finally (a new nominees post is coming tomorrow I promise!) and Allison Janey is great! I still would give the award to Laurie Metcalf I think. But this category is really stacked this year.

Apparently, Sam Rockwell is going to win an Oscar this year. I like him a lot, so I’m not mad in principle, except I feel like shouting into some sort of abyss, “WILLEM DAFOE WAS ROBBED!!!!!”

Unsurprisingly, this was one of my favorite moments of the night:

I know there’s a lot of jokes to be made about how long Nicole Kidman’s speeches are, but she gave this speech with the flu. As you may recall, when I had the flu, I couldn’t keep my eyes open to watch a speech. She’s amazing.

Speaking of good speeches, Sterling…always the best:

Also, I’m happy for the whole This Is Us crew. I know everyone thought it would go to Handmaid’s but I love how SAG always throws a curveball in this category. Remember how many times they gave it to Downton? And Sterling’s face at the announcement was pretty priceless:

(Go to 0:40 for his reaction.)

For the record: STOP GIVING GARY OLDMAN TIMOTHÉE CHALAMET’S PRIZES.

I would give this award to Saoirse as you know. (Let’s be real I’d give every prize ever to Saoirse.) But Frances is pretty wonderful:

So with this cast win it looks like our Best Picture race is between Three Billboards and Shape of Water which I’m…sort of unenthused about…but I guess I’m team Billboards:

Fashion wise, it was a night of strangely aggressive sequins and bows, but here were my standouts:

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Mandy Moore in Ralph Lauren (Photo Credit: Frazer Harrison/Getty Images)

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Trcee Ellis Ross in Ralph & Russo (Photo Credit: Rex Shutterstock)

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Sarah Silverman in Romona Keveza

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Sam Rockwell and Leslie Bibb (Photo Credit: Frederick M. Brown/Getty Images)

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Saoirse Ronan in Louis Vuitton (Photo Credit: Stewart Cook.WWD/Rex/Shutterstock)

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Odeya Rush in Dior Haute Couture (Photo Credit: Frederick M. Brown/Getty Images)

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Dakota Fanning in Prada (Photo Credit: Getty Images)

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Zoe Kazan in Miu Miu (Photo Credit: Frederick M. Brown/Gett Images)

 

Awards Show Round Up: Critics Choice Awards 2018

So, I have to start with a confession. I slept through most of this show last night. It wasn’t the show’s fault. I actually thought Olivia Munn did a great job hosting and despite the fact that pretty much none of the film awards went to who I would given them too, there were some great speeches. (No love at all for Lady Bird, I mean…come on.) But I had the stomach flu this week so…I was out of it.

But from what I did see, and what I’ve put together from YouTube this morning here were some highlights:

Once again I’m skipping ahead to my favorite feminist moment, the #SeeHer Award, which this year went to the totally deserving Gal Godot:

One of the awards I was wholeheartedly excited about, was Brooklynn Prince for The Florida Project. This was totally deserved and she managed to say more with her speech than most of the adult winners:

Another winner I’m never mad about…Ann Dowd:

Now for awards I would have given to others, but I can’t really be mad about:

(Actually not mad at all about James Ivory, Call Me By Your Name is being criminally under sung.)

I mean, you knew I was going to post a speech that included that final sentiment right?

Also, her friendship with Saoirse Ronan makes me very happy (I can’t wait for Mary Queen of Scots): 

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Photo Credit: RTÉ

I think Christopher Nolan is being really snubbed for Director’s honors this year. Dunkirk was really a technical and storytelling marvel, but Guillermo del Toro is pretty adorable:

And now, dresses! It was a strange night, fashion wise, I like that the women are taking risks, but that means sometimes they just look crazy. But here were my favs:

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Laura Dern in Balmain (Photo Credit: Getty Images)

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Betsy Brandt (Photo Credit: Frazer Harrison/Getty Images North America)

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Mary J. Blige in Vivienne Westwood Couture (Photo Credit: Getty/Steve Granitz)

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Alison Brie in Roberto Cavalli (Photo Credit: Kevin Mazur/WireImage)

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Rachel Brosnahan in Zuhair Murad (Photo Credit: Christopher Polk/Getty Images)

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Saoirse Ronan in Michael Kors (Photo Credit: Frazer Harrison/Getty Images)

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Constance Wu in Galia Lahav (Photo Credit: Getty Images)

 

Award Show Round Up: Golden Globes 2018

Well, that was quite a night huh? I saw a lot of handwringing on the internet last week, about how the Time’s Up call for women to wear black would make the night seem funereal and dour. But it didn’t at all, the sisterhood and solidarity on display felt like a celebration. And while there were still of shady men winning awards, I think it’s pretty clear that the women in that room (and watching along with me on Twitter) don’t have any patience for it anymore.

I know I usually go chronologically with these recaps, but lets be real this moment matters more than anything Seth said at the top (though I did like his “Jokes Seth Can’t Tell” segment):

This moment had me crying and texting my mom, and it was everything. And then it was followed with this and my world was made:

(Sorry about the weird lightning bolt, I coulnd’t find a clean clip of this.)

I wasn’t actually jazzed about a lot the winners. (Willem Dafoe was robbed! As was Timothée Chalamet (screw you Gary Oldman, you talented abuser)! Three Billboards was over-awarded!) But there were some truly spectacular speeches:

I wanted Laurie Metcalf to win this category, but I’m never going to be mad to listen to an Allison Janey speech:

(And I haven’t actually seen I, Tonya yet, but it’s on the calendar for this week!)

Speaking of things I haven’t seen, I still have to watch The Marvelous Mrs. Maisel but I am so here for Amy Sherman-Palladino winning awards and wearing hats:

My favorite won Best Actress in a Comedy, and she’s the cutest thing!

Amy Poehler joked a few years back at this very show, that Frances McDormand is the only awards guest she would save in a fire, and well, there are a lot of women in that room I would save, but I’m pretty happy she got to give this speech even if she was clearly censored even when not swearing. (You can’t say “shift” now apparently):

And then THIS HAPPENED!!:

All in all a great kickoff to the season!

And the all-black look was fantastic as a cultural choice, but also some of the gowns were really cool:

 

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Connie Britton in Lingua Franca sweater (Photo Credit: Getty)

 

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Viola Davis in Brandon Maxwell (Photo Credit: Getty/Steve Granitz)

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Samia Wiley (Photo Credit: Elle Sweden)

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Kelly Clarkson in Christian Siriano (Photo Credit: Rob Latour/REX/Shutterstock)

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Octavia Spencer in Tadashi Shoji and Jessica Chastain in Armani Privé (Photo Credit: Getty)

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Laura Dern in Armani Privé (Photo Credit: Neilson Barnard/NBCUniversal/NBCU Photo Bank via Getty Images)

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Sally Hawkins in Dior Haute Couture (Photo Credit: Getty)

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