Steve Pond's Blog, page 2014
January 13, 2020
Oscar Nominations 2020: The Complete List
The Oscar nominations for the 92nd Academy Awards were announced live on Monday by “Star Trek” actor John Cho and “Insecure” star Issa Rae.
The Academy this year produced nine nominees for Best Picture, those being “Ford v. Ferrari,” “The Irishman,” “Jojo Rabbit,” “Joker,” “Little Women,” “Marriage Story,” “1917,” “Once Upon a Time… in Hollywood” and “Parasite.”
“Joker” led all films with 11 nominations, including for Best Actor Joaquin Phoenix and Best Director Todd Phillips. It was followed by “The Irishman,” “1917” and “Once Upon a Time…in Hollywoood.”
This year’s Oscars ceremony, which takes place the earliest ever in awards season, will take place on Feb. 9. And for the second year in a row, this year’s ceremony will have no host.
Below is the full list of nominees in all 24 categories.
Also Read: 8 Biggest Changes to the Oscars in the 2010s, From #OscarsSoWhite to Envelopegate
Best Picture
“Ford v Ferrari”
“The Irishman”
“Jojo Rabbit”
“Joker”
“Little Women”
“Marriage Story”
“1917”
“Once Upon a Time … in Hollywood”
“Parasite”
Best Supporting Actor
Tom Hanks, “A Beautiful Day in the Neighborhood”
Anthony Hopkins, “The Two Popes”
Al Pacino, “The Irishman”
Joe Pesci, “The Irishman”
Brad Pitt, “Once Upon a Time … in Hollywood”
Best Supporting Actress
Kathy Bates, “Richard Jewell”
Laura Dern, “Marriage Story”
Scarlett Johansson, “Jojo Rabbit”
Florence Pugh, “Little Women”
Margot Robbie, “Bombshell”
Best Costume Design
“The Irishman”
“Jojo Rabbit”
“Joker”
“Little Women”
“Once Upon a Time in Hollywood”
Best Original Score
“Joker”
“Little Women”
“Marriage Story”
“1917”
“Star Wars: The Rise of Skywalker”
Best Animated Short Film
“Dcera (Daughter)”
“Hair Love”
“Kitbull”
“Memorable”
“Sister”
Best Live-Action Short Film
“Brotherhood”
“Nefta Football Club”
“The Neighbors’ Window”
“Sariahs”
“A Sister”
Best Sound Editing
“Ford v Ferrari”
“Joker”
“1917”
“Once Upon a Time … in Hollywood”
“Star Wars: The Rise of Skywalker”
Best Sound Mixing
“Ad Astra”
“Ford v Ferrari”
“Joker”
“1917”
“Once Upon a Time in Hollywood”
Best Film Editing
“Ford v Ferrari”
“The Irishman”
“Jojo Rabbit”
“Joker”
“Parasite”
Best Actor
Antonio Banderas, “Pain and Glory”
Leonardo DiCaprio, “Once Upon a Time … in Hollywood”
Adam Driver, “Marriage Story”
Joaquin Phoenix, “Joker”
Jonathan Pryce, “The Two Popes”
Best Actress
Cynthia Erivo, “Harriet”
Scarlett Johansson, “Marriage Story”
Saoirse Ronan, “Little Women”
Charlize Theron, “Bombshell”
Renee Zellweger, “Judy”
Best Animated Feature
“How to Train Your Dragon: The Hidden World”
“I Lost My Body”
“Klaus”
“Missing Link”
“Toy Story 4”
Best Cinematography
“The Irishman”
“Joker”
“The Lighthouse”
“1917”
“Once Upon a Time in Hollywood”
Best Director
Bong Joon Ho, “Parasite”
Todd Phillips, “Joker”
Sam Mendes, “1917”
Martin Scorsese, “The Irishman”
Quentin Tarantino, “Once Upon a Time … in Hollywood”
Best Documentary Feature
“American Factory”
“The Cave”
“The Edge of Democracy”
“For Sama”
“Honeyland”
Best Documentary Short
“In the Absence”
“Learning to Skateboard in a Warzone (If You’re a Girl)”
“Life Overtakes Me”
“St. Louis Superman”
“Walk Run Cha-Cha”
Best International Feature
“Corpus Christi”
“Honeyland”
“Les Miserables”
“Pain and Glory”
“Parasite”
Best Makeup and Hairstyling
“Bombshell”
“Joker”
“Judy”
“Maleficent: Mistress of Evil”
“1917”
Best Original Song
“I Can’t Let You Throw Yourself Away,”
“Toy Story 4
“Into the Unknown” from “Frozen II”
“(I’m Gonna) Love Me Again” from “Rocketman”
“I’m Standing With You,” “Breakthrough”
“Stand Up” from “Harriet”
Best Production Design
“The Irishman”
“Jojo Rabbit”
“1917”
“Once Upon a Time … in Hollywood”
“Parasite”
Best Visual Effects
“Avengers: Endgame”
“The Irishman”
“The Lion King”
“1917”
“Star Wars: The Rise of Skywalker”
Best Adapted Screenplay
“The Irishman”
“Jojo Rabbit”
“Joker”
“Little Women”
“The Two Popes”
Best Original Screenplay
“Knives Out”
“Marriage Story”
“1917”
“Once Upon a Time in Hollywood”
“Parasite”
Related stories from TheWrap:
Why the Oscars Could Be Walking Into a Diversity Minefield This Season
Oscars Will Have 'No Traditional Host Again This Year,' ABC Boss Karey Burke Says
8 Biggest Changes to the Oscars in the 2010s, From #OscarsSoWhite to Envelopegate
Watch the Oscars Nominations Announced Livestream Here
If you’ve woken up before dawn like us to see which films will be contending at the Oscars this year, you’ve come to the right place. You can watch the announcement from Hollywood in the YouTube stream window above.
The announcements of all 24 categories will come in two parts, with the first starting at 8:18 a.m. ET/5:18 a.m. PT. The first categories to be announced (though not necessarily in this order) are: Actor in a Supporting Role, Actress in a Supporting Role, Costume Design, Film Editing, Original Score, Animated Short Film, Live Action Short Film, Sound Editing, and Sound Mixing.
At 8:30:30 a.m. ET/5:30:30 a.m. PT, the second batch — Actor in a Leading Role, Actress in a Leading Role, Animated Feature Film, Cinematography, Directing, Documentary Feature, Documentary Short Subject, International Feature Film, Makeup and Hairstyling, Original Song, Best Picture, Production Design, Visual Effects, Adapted Screenplay, and Original Screenplay — will be announced.
In addition to the livestream, the Oscar announcements will be aired simultaneously on “Good Morning America” on ABC.
Among the films expected to lead the field are Martin Scorsese’s “The Irishman” and Noah Baumbach’s “Marriage Story,” either of which could land Netflix their first Best Picture Oscar after “Roma” failed to do so last year despite winning three other Oscars.
And a year after Marvel’s “Black Panther” became the first comic book movie to get a Best Picture nomination, DC could bring the second with Todd Phillips’ “Joker,” which heads into Oscar season with the Golden Lion from the Venice Film Festival and the distinction of being the first R-rated film to gross over $1 billion at the box office. Joaquin Phoenix, who plays the Gotham City villain, is expected to be the odds-on favorite to win Best Actor.
Also Read: Why the Oscars Could Be Walking Into a Diversity Minefield This Season
Sam Mendes’ “1917,” fresh off a surprise Golden Globe victory and a No. 1 box office opening, will hope to keep riding its late surge to a big Oscar Sunday. With critical acclaim for its technical mastery — particularly for Oscar-winning cinematographer Roger Deakins — the WWI film could end up having the most nominations of any film.
Greta Gerwig’s “Little Women” is also expected to yield multiple Oscar nominations for its screenplay and cast, though it remains to be seen whether Gerwig will earn a Best Director nomination or if the field will remain all male as Hollywood gender parity advocates have feared.
Quentin Tarantino is also back with his acclaimed “Once Upon a Time… in Hollywood,” which is expected to land him his fourth Best Picture nomination and acting nominations for stars Leonardo DiCaprio and Brad Pitt. Tarantino has won two Oscars for his screenplays for “Pulp Fiction” and “Django Unchained,” but has never won Best Picture or Best Director.
Also Read: '1917' Turns Golden Globe Win Into $36.8 Million Box Office Opening
Finally, there’s the arthouse champion, “Parasite,” which has turned director Bong Joon-ho into a globally-known filmmaker and the movie itself into the first Korean film to win the Palme D’Or last year. The socially conscious thriller is seen as a lock to win the freshly renamed Best International Film category, but with its acclaim and crossover success, it also has a chance to become the first non-English film to win Best Picture.
Other outside contenders that could surprise today are Taika Waititi’s self-described anti-hate satire “Jojo Rabbit,” James Mangold’s racing biopic “Ford v Ferrari” and Rian Johnson’s murder mystery “Knives Out.” Acting contenders that could take a nomination include Taron Egerton’s turn as Elton John in “Rocketman,” Charlize Theron’s take on Megyn Kelly in “Bombshell,” Antonio Banderas’ Spanish-speaking performance in “Pain and Glory,” Lupita Nyong’o’s double duty performance as horror heroine and villain in “Us,” and Awkwafina’s dramatic turn in “The Farewell.”
Related stories from TheWrap:
Every Female Director Nominated for an Oscar, From Lina Wertmuller to Greta Gerwig (Photos)
10 Lessons Ahead of Monday's Oscar Nominations, From the Emerging Top 5 to a '1917' Achilles Heel
January 12, 2020
‘Lunana: A Yak in the Classroom’ and ‘Gay Chorus Deep South’ Win Palm Springs International Film Festival Audience Awards
“Lunana: A Yak in the Classroom” — the story about a young displaced teacher who travels to Bhutan and is taught his own life lessons from the happy and kind locals (including a yak) — won the Audience Award for Best Narrative Feature at The Palm Springs International Film Festival (PSIFF), it was announced Sunday.
“Gay Chorus Deep South” — a documentary following the San Francisco Gay Men’s Chorus as the group embarks upon a high-risk tour of the Deep South to spread a message of tolerance — won the Audience Award for Best Documentary Feature.
“Parasite” screenwriters Bong Joon Ho and Han Jin Won won the FIPRESCI Prize for International Screenplay for their tale about two Korean families — one wealthy and one poor — whose live intersect in the most unexpected way.
Among the acting awards, Bartosz Bielenia from “Corpus Christi” and Helena Zengel from “System Crasher” took top honors.
The jury award categories included the FIPRESCI Prize for films in the International Feature Film Oscar Submissions program; New Voices New Visions Award for unique viewpoints from first- and second-time directors; Best Documentary Award for compelling non-fiction filmmaking; Ibero-American Award for the best film from Latin America, Spain or Portugal; Local Jury Award for the film that promoted understanding and acceptance between people; and the Young Cineastes Award for the film chosen by the Youth Jury. Finally, the GoEnergistics (GoE) Bridging the Borders Award, presented by Cinema Without Borders, honors the film that is most successful in bringing the people of our world closer together.
See the complete list of winners below:
Audience Award for Best Narrative Feature
“Lunana: A Yak in the Classroom” (Bhutan), Director Pawo Choyning Dorji
Audience Award for Best Documentary Feature
“Gay Chorus Deep South” (USA), Director David Charles Rodrigues
FIPRESCI Prize for Best International Feature Film of the Year
“Beanpole” (Russia), Director Kantemir Balagov
FIPRESCI Prize for the Best Actor in an International Feature Film
Bartosz Bielenia from “Corpus Christi” (Poland)
FIPRESCI Prize for Best Actress in an International Feature Film
Helena Zengel from “System Crasher” (Germany)
FIPRESCI Prize for International Screenplay
“Parasite” (South Korea), Screenwriters Bong Joon Ho and Han Jin Won
Special Mention: “Antigone” (Canada), Screenwriter Sophie Deraspe
New Voices/New Visions Award
“Song Without A Name” (Peru/Spain/USA/Chile), Director Melina León
The Documentary Award
“Talking About Trees” (France/Sudan/Germany/Chad/Qatar), Director Suhaib Gasmelbari
Ibero-American Award
“Monos” (Colombia), Director Alejandro Landes.
Special Mention: “Workforce” (Mexico), Director David Zonana.
Local Jury Award
“Adam” (Morocco), Director Maryam Touzani
Young Cineastes Award
“Corpus Christi” (Poland), Director Jan Komasa
GoEnergistics (GoE) Bridging the Borders Award
“Advocate” (Israel/Canada/Switzerland), Director Rachel Leah Jones, Philippe Bellaiche
Special Mention: “The Australian Dream” (Australia), Director Daniel Gordon
The Palm Springs International Film Festival (PSIFF) is one of the largest film festivals in North America, welcoming 136,000 attendees last year for its lineup of new and celebrated international features and documentaries. The Festival is also known for its annual Film Awards Gala, which honors the year’s best achievements in cinema in front of and behind the camera.
Related stories from TheWrap:
Jennifer Lopez Is a 'Survivor' This Awards Season and 4 Other Things We Learned at Palm Springs 2020
Quentin Tarantino to Receive Director of the Year Award from Palm Springs Film Festival (Exclusive)
‘Westworld’ Season 3 Finally Gets Premiere Date From HBO
Unfreeze all motor functions: HBO has finally set the premiere date for “Westworld” Season 3.
The pay TV channel revealed via a promo on Sunday, which you can view above, that the third season of Jonathan Nolan and Lisa Joy’s sci-fi series will premiere March 15 at 9/8c — almost a full two years after Season 2 launched in April 2018. As TheWrap exclusively reported, Season 3 will consist of eight episodes, making it shorter than the first two.
Returning cast members for Season 3 include Evan Rachel Wood as Dolores, Thandie Newton as Maeve, Ed Harris as Man in Black, Jeffrey Wright as Bernard, Tessa Thompson as Charlotte, Luke Hemsworth as Stubbs, Simon Quarterman as Lee Sizemore and Rodrigo Santoro as Hector Escaton.
Also Read: 'Westworld' Season 3: Katja Herbers Says 'Infinite Copies' of Her Character 'Could Be Brought Back'
Newcomers for the third installment include Aaron Paul (“Breaking Bad,” “Bojack Horseman”), Vincent Cassel (“Black Swan”), Lena Waithe (HBO’s “A Black Lady Sketch Show,” “Master of None”), Scott Mescudi (HBO’s upcoming “We Are Who We Are”), Marshawn Lynch (“Brooklyn Nine-Nine”), John Gallagher Jr. (HBO’s “The Newsroom” and “Olive Kitteridge”), Michael Ealy (“Stumptown”) and Tommy Flanagan (“Sons of Anarchy”).
“Westworld” was created by Nolan and Joy, who executive produce along with J.J. Abrams, Athena Wickham, Richard J. Lewis, Ben Stephenson, and Denise Thé.
The series, based on the film written by Michael Crichton, hails from Nolan and Joy’s Kilter Films and Abrams’ Bad Robot Productions in association with Warner Bros. Television.
“Westworld” Season 3 premieres March 15 at 9/8c on HBO.
Related stories from TheWrap:
Everything We Know About 'Westworld' Season 3 – So Far
'Westworld' Season 3 Will Have Fewer Episodes Than First 2 Seasons (Exclusive)
Why the Oscars Could Be Walking Into a Diversity Minefield This Season
I suppose it’s good that one of my first reactions to the Golden Globe nominations on Monday and the Screen Actors Guild nominations on Wednesday was to check for the diversity of the nominees, because indifference to decades of slates of white male nominees is probably what allowed those slates to be the norm for so long.
But the SAG and Globe nominations – and, more importantly, the roster of films from which those voters made their picks – suggest to me that other awards bodies, up to and including the Oscars, are going to have a hard time if they want to avoid being slammed the way the Globes were for their failure to nominate a female director on Monday.
Yes, the SAG nominating committee did the minimum it needed to do to recognize contributions from women and people of color. It nominated both Cynthia Erivo (“Harriet”) and Lupita Nyong’o (“Us”) in the lead-actress category, when conventional wisdom said that Saoirse Ronan (“Little Women”) would probably have gotten one of those slots. It went for Jamie Foxx’s performance in “Just Mercy” in the supporting-actor category when it was expected to choose Anthony Hopkins for “The Two Popes,” Willem Dafoe for “The Lighthouse” or Alan Alda for “Marriage Story” instead.
Also Read: SAG Awards Nominations Analysis: 'Bombshell' and 'Parasite' Stand Out in a Typically Random Field
And in the ensemble-acting category, it chose one film whose cast is dominated by women, “Bombshell,” and one split 50-50, “Parasite,” to go with the male-dominated “The Irishman” and “Once Upon a Time … in Hollywood.”
Still, of the 30 nominations made by SAG, only three went to performances in films directed by women: Erivo for Kasi Lemmons’ “Harriet,” Jennifer Lopez for Lorene Scafaria’s “Hustlers” and Tom Hanks for Marielle Heller’s “A Beautiful Day in the Neighborhood.”
And if you look at the 34 films nominated in all categories by the Globes, nine of them were directed by women, but none of those made it into the two best-motion-picture categories – so it’s no surprise that Globes voters, about half of whom are women, came up with an all-male slate of directing nominees.
Is this an injustice? You can certainly argue that we’re so used to the male point of view that we don’t respond as well to films made by women, or you could lay the blame on an industry that doesn’t give women nearly as many opportunities as men.
Also Read: Golden Globes Voters Offer a Timid Slate of Nominees - Except for 'Joker'
Whatever the reasons, and they’re worth a healthy debate and a push for action, the Oscars will be facing a potential minefield when its voters cast their ballots. If you look at the predictions on the most recent Gurus of Gold chart at Movie City News, the top-ranked film directed by a woman is “Little Women,” from Greta Gerwig, at No. 7, followed by “The Farewell,” at No. 11 and “A Beautiful Day in the Neighborhood” at No. 18. The highest-ranked Best Director candidate is Gerwig at No. 6, who also happens to be the only one in the Top 12.
Even in Film Comment’s annual poll of its own critics, a more cineaste-oriented list that is not trying to predict awards success, only one of the Top 5 films is directed by a woman – Mati Diop, whose “Atlantics” comes in at No. 5. Three other films made the Top 20: Joanna Hogg’s “The Souvenir” at No. 6, Claire Denis’ “High Life” at No. 7 and Celine Sciamma’s “Portrait of a Lady on Fire” at No. 19.
So while you could argue that Oscar voters should take Gerwig and Heller very seriously, and should add Diop and Hogg and Sciamma and Alma Har’el (“Honey Boy”) and Chinonye Chukwu (“Clemency”) and Olivia Wilde (“Booksmart”) to their must-see lists, it likelier that they’ll stick with Scorsese and Tarantino and Mendes and Baumbach and Bong, and likelier that they’ll end up taking heat for it.
It might be worth pointing out, though, that almost all of the strongest Oscar contenders do have female producers involved. “The Irishman” has Jane Rosenthal and Emma Tillinger Koskoff, “Joker” also has Kosfoff, “Once Upon a Time … in Hollywood” has Shannon McIntosh, “1917” has Pippa Harris and Jayne-Ann Tenggren, “Jojo Rabbit” has Chelsea Winstanley, “Little Women” has Denise Di Novi, Amy Pascal and Robin Swicord, “Ford v Ferrari” has Jenno Topping, “The Two Popes” has Tracey Seaward, “The Farewell” has Anita Gou, Daniele Tate Melia and Jane Zheng, “Richard Jewell” has Jennifer Davidson and Jessica Meier, “Bombshell” has Beth Kono and Margaret Riley and “A Beautiful Day in the Neighborhood” has Leah Holzer.
Of the films in the Gurus of Gold Top 10, only “Marriage Story” and “Parasite” don’t have female producers. (Hmm, maybe that’s one reason why many people have found the former film much more sympathetic to Adam Driver’s character than to Scarlett Johansson’s.)
In the acting races, meanwhile, the Academy’s Actors Branch will need to do at least as well as SAG in recognizing non-white nominees — which might mean figuring out at the very least that Eddie Murphy warrants Best Actor attention, too.
The bottom line: Hollywood is becoming more aware of the fact that it doesn’t give enough work to female filmmakers and people of color, and awards shows are going to be in the crosshairs until that changes.
“Once Upon a Time … in Hollywood” / Columbia Pictures
“Once Upon a Time … in Hollywood” is in a very good position these days, and a dangerous one.
With nomination from the Hollywood guilds and professional organizations coming in, Quentin Tarantino’s period piece set in the Hollywood of 1969 is the only film to have essentially run the table so far. It has received nominations from the Make Up Artists and Hair Stylists Guild, the Art Directors Guild, The Costume Designers Guild, the Cinema Audio Society, the American Cinema Editors and the Screen Actors Guild.
It is the only film to be honored by all six of those guilds, and the only organization that hasn’t nominated it is the Society of Composers and Lyricists, for whose awards it wasn’t eligible. (It doesn’t have an original score.) “The Irishman,” “Jojo Rabbit” and “Joker” landed noms from five of the six (with “Irishman” and “Joker” missing CDG and “Jojo” missing CAS). “The Avengers: Endgame,” “Ford v Ferrari,” “Rocketman” and “Us” have all been nominated by four of the six groups, with “Avengers” moving up to five if you want to count the SAG stunt award. (I don’t really count it, because it doesn’t correspond to an Oscar category.)
Also Read: John Travolta Found a Historical Mistake in Quentin Tarantino's 'Once Upon a Time in Hollywood'
There’s always a pretty good overlap between the membership in the guilds (ADG, CDG, MUAHS) and professional societies (ACE, CAS) and the respective branches of the Academy, which means that these nominations are pretty reliable indicators of which way Oscar voters might be leaning in the craft categories. So you would think that the more of these nominations a film can rack up, the better off it should be going into Oscar voting.
And to a certain degree, you’d be right to think that. But if you think back a year, only one film almost ran the table with the guilds, landing nominations from all of the organizations that have announced so far, and nine more that will in the future: American Society of Cinematographers, Casting Society of America, Guild of Music Supervisors, Motion Picture Sound Editors, Society of Camera Operators and the Directors Guild, Producers Guild, Writers Guild and Screen Actors Guild.
That film was “A Star Is Born,” which looked like a potential Best Picture frontrunner around this time last year but faded quickly when awards started being handed out. It ended up with eight Oscar nominations but only one win, for Best Original Song. The film that won Best Picture, “Green Book,” had a far more modest haul from the guilds, with DGA, PGA, WGA, SAG and ACE nominations.
That’s hardly a reason for “Once Upon a Time … in Hollywood” to worry, but it might be a reason not to get too cocky.
*
Oh, one more thing: In this column last week, I wrote about the crazy amount of promotional swag that non-Oscar voters have been receiving this awards season. (The Academy doesn’t permit companies to send goodies to its members.) The swag had been arriving virtually every day leading up to Thanksgiving and had continued unabated afterwards.
Also Read: Sorry, Oscar Voters: Here's All the Swag They're Not Allowed to Send You
My story ran on the afternoon of Wednesday, Dec. 4. And since then, the closest thing to swag I’ve received is a couple of sheets of wrapping paper from Pixar. Otherwise, not a single package has shown up at the door.
Now, maybe gift-giving season ended a little early this year. Maybe nobody has been sending promotional goodies in the past week to anybody.
But I do have to wonder: Was it something I said?
Related stories from TheWrap:
SAG Awards 2020: The Complete List of Nominations
New York Film Critics Circle Awards: 'The Irishman' Named Best Picture of 2019
Critics’ Choice Awards: The Complete List of Winners
The 2020 Critics’ Choice Awards honoring both film and television projects were presented Sunday night in Santa Monica, with Quentin Tarantino’s “Once Upon a Time… in Hollywood” winning the award for Best Picture.
Critics’ favorites Joaquin Phoenix and Renee Zellweger took home the trophies for Best Actor and Best Actress, respectively, for their work in “Joker” and “Judy.” Supporting Actor went to Brad Pitt for his role in “Once Upon a Time… in Hollywood” and Laura Dern for the Netflix drama “Marriage Story.” Those are the same four acting winners as at last weekend’s Golden Globes.
The cast of “The Irishman” won for Best Acting Ensemble, with Best Original Screenplay going to Tarantino for “Once Upon a Time… in Hollywood” and Best Adapted Screenplay to Greta Gerwig for “Little Women.”
Best Comedy was awarded to “Dolemite Is My Name,” Best Action Movie to “Avengers: Endgame,” Best Animated Movie to “Toy Story 4,” Best Sci-Fi Horror Movie to “Us” and Best Foreign Language Film to “Parasite.”
Also Read: 'The Irishman' Leads in Nominations at the Netflix-Heavy Critics' Choice Awards
HBO was the victor on the small screen front, with “Succession” winning Best Drama Series and Best Actor for Jeremy Strong, Best Actress in a Drama for Regina King and Best Supporting Actress for Jean Smart for their work in “Watchmen,” and Bill Hader for Best Actor in a Comedy Series for his performance in “Barry.”
“Fleabag” earned a trio of awards – for Best Comedy Series, Best Actress in a Comedy for Phoebe Waller-Bridge, Best Supporting Actor in a Comedy for Andrew Scott.
The show also presented a Lifetime Achievement Award to Eddie Murphy, who is also nominated for “Dolemite Is My Name,” and give the fourth annual #SeeHer Award to actress Kristen Bell.
The Critics’ Choice Awards are voted on by the members of the Critics Choice Organization, which was consolidated in the past year from the combined membership of the Broadcast Film Critics Association and the Broadcast Television Journalists Association. The organization is made up of more than 400 television, radio and internet critics and journalists. (TheWrap’s Steve Pond, Beatrice Verhoeven and Tony Maglio are members.)
Also Read: Eddie Murphy to Receive Career Achievement Award from Critics Choice Association
While the true indicators of who has the upper hand in a tight Oscar race will come with the Producers Guild Awards on Jan. 18, the SAG Awards on the 19th the Directors Guild Awards on the 25th, the Critics’ Choice Awards pride themselves on being an accurate predictor of the Oscars.
In recent years, about 70% of CCA winners have gone on to receive the Academy Award. The two shows have 18 categories in common, and the number of matching winners has ranged from a high of 16 in 2014 and 2018 to a low of only eight in 2015. Last year, Critics’ Choice voters went with the eventual Oscar winner in only 10 categories, missing picture, actor, actress and both screenplay categories, among others.
The Critics’ Choice winner has gone on to win the Oscar Best Picture 14 times in the CCA’s first 24 years, and six times in the last 10 years.
Taye Diggs hosted the show, which was broadcast on the CW Network.
See all the nominees and winners below.
FILM CATEGORIES
BEST PICTURE
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
1917
Once Upon a Time… in Hollywood **WINNER
Parasite
Uncut Gems
BEST ACTOR
Antonio Banderas – Pain and Glory
Robert De Niro – The Irishman
Leonardo DiCaprio – Once Upon a Time… in Hollywood
Adam Driver – Marriage Story
Eddie Murphy – Dolemite Is My Name
Joaquin Phoenix – Joker ** WINNER
Adam Sandler – Uncut Gems
BEST ACTRESS
Awkwafina – The Farewell
Cynthia Erivo – Harriet
Scarlett Johansson – Marriage Story
Lupita Nyong’o – Us
Saoirse Ronan – Little Women
Charlize Theron – Bombshell
Renée Zellweger – Judy **WINNER
BEST SUPPORTING ACTOR
Willem Dafoe – The Lighthouse
Tom Hanks – A Beautiful Day in the Neighborhood
Anthony Hopkins – The Two Popes
Al Pacino – The Irishman
Joe Pesci – The Irishman
Brad Pitt – Once Upon a Time… in Hollywood **WINNER
BEST SUPPORTING ACTRESS
Laura Dern – Marriage Story ** WINNER
Scarlett Johansson – Jojo Rabbit
Jennifer Lopez – Hustlers
Florence Pugh – Little Women
Margot Robbie – Bombshell
Zhao Shuzhen – The Farewell
BEST YOUNG ACTOR/ACTRESS
Julia Butters – Once Upon a Time… in Hollywood
Roman Griffin Davis – Jojo Rabbit **WINNER
Noah Jupe – Honey Boy
Thomasin McKenzie – Jojo Rabbit
Shahadi Wright Joseph – Us
Archie Yates – Jojo Rabbit
BEST ACTING ENSEMBLE
Bombshell
The Irishman **WINNER
Knives Out
Little Women
Marriage Story
Once Upon a Time… in Hollywood
Parasite
BEST DIRECTOR
Noah Baumbach – Marriage Story
Greta Gerwig – Little Women
Bong Joon Ho – Parasite **WINNER (tie)
Sam Mendes – 1917 **WINNER (tie)
Josh Safdie and Benny Safdie – Uncut Gems
Martin Scorsese – The Irishman
Quentin Tarantino – Once Upon a Time… in Hollywood
BEST ORIGINAL SCREENPLAY
Noah Baumbach – Marriage Story
Rian Johnson – Knives Out
Bong Joon Ho and Han Jin Won – Parasite
Quentin Tarantino – Once Upon a Time … in Hollywood **WINNER
Lulu Wang – The Farewell
BEST ADAPTED SCREENPLAY
Greta Gerwig – Little Women **WINNER
Noah Harpster and Micah Fitzerman-Blue – A Beautiful Day in the Neighborhood
Anthony McCarten – The Two Popes
Todd Phillips & Scott Silver – Joker
Taika Waititi – Jojo Rabbit
Steven Zaillian – The Irishman
BEST CINEMATOGRAPHY
Jarin Blaschke – The Lighthouse
Roger Deakins – 1917 **WINNER
Phedon Papamichael – Ford v Ferrari
Rodrigo Prieto – The Irishman
Robert Richardson – Once Upon a Time… in Hollywood
Lawrence Sher – Joker
BEST PRODUCTION DESIGN
Mark Friedberg, Kris Moran – Joker
Dennis Gassner, Lee Sandales – 1917
Jess Gonchor, Claire Kaufman – Little Women
Lee Ha Jun – Parasite
Barbara Ling, Nancy Haigh – Once Upon a Time… in Hollywood **WINNER
Bob Shaw, Regina Graves – The Irishman
Donal Woods, Gina Cromwell – Downton Abbey
BEST EDITING
Ronald Bronstein, Benny Safdie – Uncut Gems
Andrew Buckland, Michael McCusker – Ford v Ferrari
Yang Jinmo – Parasite
Fred Raskin – Once Upon a Time… in Hollywood
Thelma Schoonmaker – The Irishman
Lee Smith – 1917 **WINNER
BEST COSTUME DESIGN
Ruth E. Carter – Dolemite Is My Name **WINNER
Julian Day – Rocketman
Jacqueline Durran – Little Women
Arianne Phillips – Once Upon a Time… in Hollywood
Sandy Powell, Christopher Peterson – The Irishman
Anna Robbins – Downton Abbey
BEST HAIR AND MAKEUP
Bombshell **WINNER
Dolemite Is My Name
The Irishman
Joker
Judy
Once Upon a Time… in Hollywood
Rocketman
BEST VISUAL EFFECTS
1917
Ad Astra
The Aeronauts
Avengers: Endgame **WINNER
Ford v Ferrari
The Irishman
The Lion King
BEST ANIMATED FEATURE
Abominable
Frozen II
How to Train Your Dragon: The Hidden World
I Lost My Body
Missing Link
Toy Story 4 ** WINNER
BEST ACTION MOVIE
1917
Avengers: Endgame ** WINNER
Ford v Ferrari
John Wick: Chapter 3 – Parabellum
Spider-Man: Far From Home
BEST COMEDY
Booksmart
Dolemite Is My Name ** WINNER
The Farewell
Jojo Rabbit
Knives Out
BEST SCI-FI OR HORROR MOVIE
Ad Astra
Avengers: Endgame
Midsommar
Us **WINNER
BEST FOREIGN LANGUAGE FILM
Atlantics
Les Misérables
Pain and Glory
Parasite **WINNER
Portrait of a Lady on Fire
BEST SONG
Glasgow (No Place Like Home) – Wild Rose **WINNER (tie)
(I’m Gonna) Love Me Again – Rocketman **WINNER (tie)
I’m Standing With You – Breakthrough
Into the Unknown – Frozen II
Speechless – Aladdin
Spirit – The Lion King
Stand Up – Harriet
BEST SCORE
Michael Abels – Us
Alexandre Desplat – Little Women
Hildur Guðnadóttir – Joker **WINNER
Randy Newman – Marriage Story
Thomas Newman – 1917
Robbie Robertson – The Irishman
TELEVISION CATEGORIES
BEST DRAMA SERIES
The Crown (Netflix)
David Makes Man (OWN)
Game of Thrones (HBO)
The Good Fight (CBS All Access)
Pose (FX)
Succession (HBO) **WINNER
This Is Us (NBC)
Watchmen (HBO)
BEST ACTOR IN A DRAMA SERIES
Sterling K. Brown – This Is Us (NBC)
Mike Colter – Evil (CBS)
Paul Giamatti – Billions (Showtime)
Kit Harington – Game of Thrones (HBO)
Freddie Highmore – The Good Doctor (ABC)
Tobias Menzies – The Crown (Netflix)
Billy Porter – Pose (FX)
Jeremy Strong – Succession (HBO) **WINNER
BEST ACTRESS IN A DRAMA SERIES
Christine Baranski – The Good Fight (CBS All Access)
Olivia Colman – The Crown (Netflix)
Jodie Comer – Killing Eve (BBC America)
Nicole Kidman – Big Little Lies (HBO)
Regina King – Watchmen (HBO) **WINNER
Mj Rodriguez – Pose (FX)
Sarah Snook – Succession (HBO)
Zendaya – Euphoria (HBO)
BEST SUPPORTING ACTOR IN A DRAMA SERIES
Asante Blackk – This Is Us (NBC)
Billy Crudup – The Morning Show (Apple) ** WINNER
Asia Kate Dillon – Billions (Showtime)
Peter Dinklage – Game of Thrones (HBO)
Justin Hartley – This Is Us (NBC)
Delroy Lindo – The Good Fight (CBS All Access)
Tim Blake Nelson – Watchmen (HBO)
BEST SUPPORTING ACTRESS IN A DRAMA SERIES
Helena Bonham Carter – The Crown (Netflix)
Gwendoline Christie – Game of Thrones (HBO)
Laura Dern – Big Little Lies (HBO)
Audra McDonald – The Good Fight (CBS All Access)
Jean Smart – Watchmen (HBO) ** WINNER
Meryl Streep – Big Little Lies (HBO)
Susan Kelechi Watson – This Is Us (NBC)
BEST COMEDY SERIES
Barry (HBO)
Fleabag (Amazon) **WINNER
The Marvelous Mrs. Maisel (Amazon)
Mom (CBS)
One Day at a Time (Netflix)
PEN15 (Hulu)
Schitt’s Creek (Pop)
BEST ACTOR IN A COMEDY SERIES
Ted Danson – The Good Place (NBC)
Walton Goggins – The Unicorn (CBS)
Bill Hader – Barry (HBO) **WINNER
Eugene Levy – Schitt’s Creek (Pop)
Paul Rudd – Living with Yourself (Netflix)
Bashir Salahuddin – Sherman’s Showcase (IFC)
Ramy Youssef – Ramy (Hulu)
BEST ACTRESS IN A COMEDY SERIES
Christina Applegate – Dead to Me (Netflix)
Alison Brie – GLOW (Netflix)
Rachel Brosnahan – The Marvelous Mrs. Maisel (Amazon)
Kirsten Dunst – On Becoming a God in Central Florida (Showtime)
Julia Louis-Dreyfus – Veep (HBO)
Catherine O’Hara – Schitt’s Creek (Pop)
Phoebe Waller-Bridge – Fleabag (Amazon) **WINNER
BEST SUPPORTING ACTOR IN A COMEDY SERIES
Andre Braugher – Brooklyn Nine-Nine (NBC)
Anthony Carrigan – Barry (HBO)
William Jackson Harper – The Good Place (NBC)
Daniel Levy – Schitt’s Creek (Pop)
Nico Santos – Superstore (NBC)
Andrew Scott – Fleabag (Amazon) ** WINNER
Henry Winkler – Barry (HBO)
BEST SUPPORTING ACTRESS IN A COMEDY SERIES
Alex Borstein – The Marvelous Mrs. Maisel (Amazon) ** WINNER
D’Arcy Carden – The Good Place (NBC)
Sian Clifford – Fleabag (Amazon)
Betty Gilpin – GLOW (Netflix)
Rita Moreno – One Day at a Time (Netflix)
Annie Murphy – Schitt’s Creek (Pop)
Molly Shannon – The Other Two (Comedy Central)
BEST LIMITED SERIES
Catch-22 (Hulu)
Chernobyl (HBO)
Fosse/Verdon (FX)
The Loudest Voice (Showtime)
Unbelievable (Netflix)
When They See Us (Netflix) **WINNER
Years and Years (HBO)
BEST MOVIE MADE FOR TELEVISION
Brexit (HBO)
Deadwood: The Movie (HBO)
El Camino: A Breaking Bad Movie (Netflix) **WINNER
Guava Island (Amazon)
Native Son (HBO)
Patsy & Loretta (Lifetime)
BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Christopher Abbott – Catch-22 (Hulu)
Mahershala Ali – True Detective (HBO)
Russell Crowe – The Loudest Voice (Showtime)
Jared Harris – Chernobyl (HBO)
Jharrel Jerome – When They See Us (Netflix) **WINNER
Sam Rockwell – Fosse/Verdon (FX)
Noah Wyle – The Red Line (CBS)
BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Kaitlyn Dever – Unbelievable (Netflix)
Anne Hathaway – Modern Love (Amazon)
Megan Hilty – Patsy & Loretta (Lifetime)
Joey King – The Act (Hulu)
Jessie Mueller – Patsy & Loretta (Lifetime)
Merritt Wever – Unbelievable (Netflix)
Michelle Williams – Fosse/Verdon (FX) **WINNER
BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Asante Blackk – When They See Us (Netflix)
George Clooney – Catch-22 (Hulu)
John Leguizamo – When They See Us (Netflix)
Dev Patel – Modern Love (Amazon)
Jesse Plemons – El Camino: A Breaking Bad Movie (Netflix)
Stellan Skarsgård – Chernobyl (HBO) **WINNER
Russell Tovey – Years and Years (HBO)
BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Patricia Arquette – The Act (Hulu)
Marsha Stephanie Blake – When They See Us (Netflix)
Toni Collette – Unbelievable (Netflix) **WINNER
Niecy Nash – When They See Us (Netflix)
Margaret Qualley – Fosse/Verdon (FX)
Emma Thompson – Years and Years (HBO)
Emily Watson – Chernobyl (HBO)
BEST ANIMATED SERIES
Big Mouth (Netflix)
BoJack Horseman (Netflix) **WINNER
The Dark Crystal: Age of Resistance (Netflix)
She-Ra and the Princesses of Power (Netflix)
The Simpsons (Fox)
Undone (Amazon)
BEST TALK SHOW
Desus & Mero (Showtime)
Full Frontal with Samantha Bee (TBS)
The Kelly Clarkson Show (NBC)
Last Week Tonight with John Oliver (HBO)
The Late Late Show with James Corden (CBS) **WINNER (tie)
Late Night with Seth Meyers (NBC) **WINNER (tie)
BEST COMEDY SPECIAL
Amy Schumer: Growing (Netflix)
Jenny Slate: Stage Fright (Netflix)
Live in Front of a Studio Audience: Norman Lear’s All in the Family and The Jeffersons (ABC) **WINNER
Ramy Youssef: Feelings (HBO)
Seth Meyers: Lobby Baby (Netflix)
Trevor Noah: Son of Patricia (Netflix)
Wanda Sykes: Not Normal (Netflix)
Steve Pond contributed to this report.
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BAFTA Nominations Put '1917' in the Awards Spotlight Again – and 'Joker,' Too
Golden Globes Have a Prime Position on the Awards Calendar, but Do They Matter?
10 Lessons Ahead of Monday’s Oscar Nominations, From the Emerging Top 5 to a ‘1917’ Achilles Heel
The Golden Globes are over. I got through a weekend of one awards show and seven parties (skipping a few of the others), and then two days of two more awards shows and six nomination announcements.
And now that the dust has cleared, at least for a minute or two, it’s time to take stock and figure out what it all means. Or, at least, what I’ve learned in the wake of the Golden Globes, the BAFTA, DGA, PGA and WGA nominations and everything else that has happened in the first week of 2020.
So here are the lessons I can take from the past week.
1. People who should know better continue to overestimate the importance of the Golden Globes.
It’s a TV show, people. The stars show up because people watch, and people watch because the stars show up. The voters are 87 foreign journalists, a voting body about as far from the Oscars as you can imagine. And yet some Oscar-watchers discuss the results as if they could influence the Academy. The New York Times, no less, called the Globes’ shutout of “The Irishman” “a moment when the Hollywood establishment pushed back against the streaming services that have aggressively arrived on the scene.”
I mean, what did the Hollywood Foreign Press Association put in that vegan soup they served on Sunday night to make the New York Times think the HFPA represented “the Hollywood establishment?” It’s a group of full- and part-time journalists who are treated nicely by the Hollywood establishment, but to interpret their choices as indicative of anything besides their own peculiar tastes is just dumb.
And yes, sometimes their tastes coincide with the tastes of other voting bodies, including the Academy. But that doesn’t mean they affect those other voters.
Did any Oscar voters watch the Globes on Sunday and think, “Hey, I’d better watch that ‘Once Upon a Time … in Hollywood’ movie before I vote on Tuesday?” Of course not — if they haven’t seen it already, they’re not going to. Did any of them say, “Well, I guess I don’t need to watch ‘The Irishman’ now that it hasn’t won anything?” Again, of course not.
It’s possible that a handful of members — out of almost 8,500 voters — were prompted to watch “1917,” the most late-breaking of the major contenders. But I bet most of them would have done it anyway.
What the Golden Globes change is not the Oscar race, but some people’s perception of the Oscar race. And that’s too bad.
Also Read: Golden Globes Analysis: The Stars Ignore Ricky Gervais on a Night of Surprises
Netflix/Neon/Fox Searchlight/Sony/Universal
2. We now have a Top 5.
Three movies have now been nominated by the Directors Guild, Producers Guild and Writers Guild, and have received an ensemble nomination from the Screen Actors Guild: “The Irishman,” “Jojo Rabbit” and “Parasite.”
A fourth, “Once Upon a Time … in Hollywood,” has the SAG, DGA and PGA noms, and was only bypassed by the WGA because its rules make it ineligible. (If Quentin Tarantino’s script had qualified for the guild award, there’s absolutely no question he would have been nominated.)
And a fifth, “1917,” was nominated by DGA, PGA and WGA, missing only the SAG ensemble nomination that would always be a long-shot for a film that for the most part focuses on two cast members. (SAG likes its ensemble nominees to have big casts.)
Those films are all likely Oscar nominees and potential winners at this point, a feeling that is reinforced by the fact that they’re the five Directors Guild nominees — because as long as the DGA has been giving out awards, which it started doing in 1948, no film has ever won the Oscar for Best Picture without its director first being nominated by the guild.
3. “1917” has a potential Achilles heel.
Still, the lack of an ensemble or an individual acting nomination for “1917” is troubling for supporters of the film. That’s because Sam Mendes’ WWI drama has a pretty good chance of being left out of the Oscar acting and screenwriting categories, a double whammy that history says would be fatal to its Best Picture chances.
If it does land a Best Original Screenplay nom, which it could do since it was nominated by the Writers Guild, “1917” could be in the same boat as 2008 Best Picture winner “Slumdog Millionaire,” which won without any acting nominations. But if it misses acting and writing, you’ll have to go back to “Grand Hotel” in 1932 to find a film that won Best Picture without recognition in at least one of those other two categories.
And “Grand Hotel” is such an outlier that it shouldn’t even count — it was only nominated in one category, Outstanding Production (a.k.a. Best Picture), which it won.
Also Read: '1917': How Sam Mendes & Co. Re-Created World War I in a Single Take
4. The acting races are looking awfully settled.
You can’t use the Golden Globe results to argue for the fact that Joaquin Phoenix, Renée Zellweger, Brad Pitt and Laura Dern are the likely Oscar winners for acting. And if they win this weekend at the Critics’ Choice Awards, that won’t seal the deal either.
But it’s an understatement to say that it’s looking good for all four. Jennifer Lopez’s best chance at beating Dern came with the star-happy voters at the Globes, but she fell short. Now Dern, Pitt, Zellweger and Phoenix seem primed to run the table at Critics’ Choice, SAG and the Oscars — unless Charlize Theron pulls off an Olivia Colman-style upset or Phoenix’s obvious discomfort with the whole idea of awards tips the scales toward Adam Driver. (But Driver isn’t the most enthusiastic campaigner, either.)
“Marriage Story” / Netflix
5. A few movies could really use some good news about now.
Speaking of Driver, his film “Marriage Story” has quietly slipped out of the top rank of contenders, despite the no-holds-barred campaign being waged by Netflix on its behalf. Its WGA and PGA nominations suggest that it should still coast to a Best Picture nomination, but Noah Baumbach’s family drama no longer feels as formidable as it did when critics were the only ones sounding off.
Other films that have stumbled a bit but are still in the running are “Little Women,” which could turn everything around if Greta Gerwig lands a Best Director nod from the Academy; “Ford v Ferrari,” which has only the PGA among the major guilds; “The Two Popes,” which once seemed like a tailor-made awards film until the guilds started ignoring it; and “Bombshell,” which scored with a SAG ensemble nod but faded when the other guilds bypassed it. (But two of its stars, Charlize Theron and Margot Robbie, are in good shape.)
As for “Uncut Gems,” “The Farewell,” “Booksmart,” “Just Mercy,” “A Hidden Life” and a lot of others — well, hope springs eternal.
Also Read: The Safdie Brothers Detail the 10-Year Journey to Make the Adam Sandler Drama 'Uncut Gems'
6. Critics and pundits are underestimating “Joker.”
Since seeing Todd Phillips’ dark drama at the Toronto Film Festival, I’ve been thinking that Joaquin Phoenix is a shoo-in for a Best Actor nomination but the film itself might be on the bubble for a Best Picture nomination. But the nod from the Producers Guild and Writers Guild suggest that I’m wrong, and the field-leading 11 BAFTA nominations make that point just as clearly.
Sure, it might be too divisive to win, because the Oscars’ ranked-choice voting uncovers the consensus favorite in the final round of voting. But lots of voters find it powerful and compelling, and it has finally dawned on me that those of us who thought it was on the bubble are probably dead wrong.
David Heyman with Bong Joon Ho at the Golden Globes / Getty Images
7. Bong Joon Ho is the life of every party.
Oh, the South Korean director isn’t working the room for votes or hitting the dance floor or anything like that. But anytime he and his “Parasite” cast members show up at an awards-season event, you can count on them being the center of attention, fawned over by everyone from Brad Pitt (at the AFI awards lunch) to Noah Baumbach, Laura Dern, Rian Johnson, Edgar Wright and Leonardo DiCaprio (at a Guillermo del Toro-hosted Sunset Tower soiree).
Director Bong, who travels with a translator who says she also wants to direct, doesn’t exactly bask in this attention, though he’s clearly appreciative. When he came to TheWrap offices a couple of months ago and I introduced him to our film team, who told him how much they loved his movie, he grinned sheepishly and said, “This is getting embarrassing.” And one Oscar voter who was at the Sunset Tower party said that at one point he and his wife had found a quiet corner to relax when they were joined by Bong, who was looking for a bit of refuge himself.
But the guy is an undeniably hot property, which leads to my next lesson.
Also Read: How 'Parasite' Director Bong Joon Ho Created the Year's Most Dangerously Charming Film
Neon / Sony
8. The odds of another picture/director split are growing.
In five of the last seven years, Best Picture and Best Director have gone to different films — in most cases, the former award to an actor-driven drama and the latter to a more impressive technical accomplishment.
This year, a split seemed unlikely, because the top picture contenders — Scorsese’s “The Irishman,” Tarantino’s “Once Upon a Time … in Hollywood,” Mendes’ “1917,” Bong’s “Parasite” — were such clear, strong directorial statements that the two awards seemed to go hand in hand.
But is that really true? Bong has become such a favorite on the awards circuit that I could now see him winning Best Director even if voters think it’s enough to give his movie Best International Feature Film and leave Best Picture for somebody else’s movie. Or Mendes could get the directing prize for his technical accomplishment, or the award could turn into a de facto career award for Tarantino.
I’m not ready to predict a split yet, but I’m not going to write it off the way I would have a month ago.
Producers Guild Awards / Getty Images
9. The Producers Guild Awards has gotten very, very important.
In a year as unsettled as this one, sifting the tea leaves and trying to figure out what the nominations are telling us is one thing. But what we really need to make sense of things is for a guild composed of actual filmmaking professionals to give out awards and tell us who’s on top.
And the first major guild that will do that is also the one that means the most: the Producers Guild Awards, the only other Hollywood voting body that uses the same preferential or ranked-choice method of counting ballots that the Academy does. The PGA will deliver its verdict on Jan. 18, and it’ll be by far the clearest indicator of what the true frontrunner is.
Still, Oscar voters won’t even begin to cast their final ballots until almost two weeks after the Producers Guild Awards, which could give people time to change their minds. And while the PGA and Oscars matched eight times in the 10 years since both groups expanded their best-picture categories and instituted ranked-choice, their winners didn’t match in 2015 or 2016.
So the guild will be important, just not infallible.
Also Read: 'Parasite,' 'The Irishman,' '1917' Land Producers Guild Nominations
10. “Once Upon a Time … in Hollywood” has a punctuation problem.
OK, this is a minor thing, but it bugs the hell out of me.
When it was released, Quentin Tarantino’s film was titled “Once Upon a Time … in Hollywood,” with the ellipses between Time and in. That’s how it was listed in the Cannes catalog when it premiered at that festival in May, that’s how it was advertised and that’s how it’s listed in the Academy’s Reminder List of Productions Eligible for the 92nd Academy Awards on the AMPAS website.
But according to their press releases, the Directors Guild and Producers Guild both nominated “Once Upon a Time in … Hollywood,” with the ellipses between in and Hollywood. And as I mentioned in this space before, that’s also the punctuation used on screeners of the film that were sent to voters — and now that it’s been released to home video, that’s the way it shows up on the DVD boxes as well.
The original punctuation makes more sense thematically, setting the movie up as a fairy tale (which it is) and then pausing before giving it a setting. And that original punctuation, according to a spokesperson for the film, is the correct one.
So why does the Academy use one version and the guilds use another? Why did Sony release it one way and then put it on home video the other way?
Why, oh why, is that damn ellipses moving?
But if this is a story about what I’ve learned so far this awards season, I guess this isn’t something I’ve learned. Instead, it’s something I want to learn.
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BAFTA Nominations Put '1917' in the Awards Spotlight Again – and 'Joker,' Too
Golden Globe Awards 2020: Win or Lose, the After-Parties Rocked
5 Awards Shows on One Night! Inside the Most Crammed Awards Season Ever
‘Good Fight’ Star Nyambi Nyambi Says He Was ‘Called the N-word’ in ‘So Many Different Ways’ After This Season 3 Scene (Video)
“The Good Fight” star Nyambi Nyambi says he was “called the n-word” on Twitter in “so many different ways” after his character’s “It’s time to punch a few Nazis” scene in Season 3 of the CBS All Access drama.
“When it aired…the backlash that I was getting on Twitter,” Nyambi began Sunday at the Television Critics Association (TCA) press tour. “I heard so many different ways to, like, be called the ‘n-word’ — it was crazy.”
“But that’s what it is to be an artist, I guess, the kind of artist I want to be. Somebody who isn’t afraid to question the status quo and play in that arena,” he continued. “It was an interesting time, but one that I am really, really proud of.”
Watch Nyambi perform the soliloquy as character Jay Dipersia in the video above. The scene comes from Season 3, Episode 5 of the “Good Wife” spinoff.
Also Read: Michael J Fox to Reprise His 'Good Wife' Role on CBS All Access's 'The Good Fight'
Also Sunday at TCA, series co-creator Robert King announced that Michael J. Fox will reprise his “Good Wife” role of attorney Louis Canning on “The Good Fight’s” upcoming Season 4.
Additionally, Hugh Dancy is joining the cast as “one of the lawyers at the firm” Reddick, Boseman & Lockhart, King said. Zach Grenier, who played lawyer David Lee on “The Good Wife,” has been added to the show as a “regular.”
We do not yet have a premiere date for Season 4 of “The Good Fight,” but we do have the following description:
Season four of “The Good Fight” finds Reddick, Boseman & Lockhart navigating a very different landscape. After they lost their biggest client, Chumhum, and their founding partner’s name was tarnished, Reddick, Boseman & Lockhart was forced to accept an offer by a huge multi-national law firm, STR Laurie, to become a small subsidiary. Suddenly, all of their decisions can be second-guessed by the giant firm that is literally on top of them. While STR Laurie initially seem like benevolent overlords, we find Diane Lockhart (Christine Baranski) and her colleagues chafing at their loss of independence.
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‘Bombshell’ Dominates at Make-Up Artists and Hair Stylists Guild Awards
The make-up and hair artists who made Charlize Theron look like Megyn Kelly and Nicole Kidman look like Gretchen Carlson were the big winners at the 7th Annual Make-Up Artists and Hair Stylists Guild Awards, which took place on Saturday evening in Los Angeles.
“Bombshell,” Jay Roach’s film about the women at Fox News who called out Roger Ailes for sexual misconduct, won in three of the five categories, taking awards for contemporary make-up, contemporary hair styling and special make-up effects. “Joker” won the award for period and/or character make-up, while “Downton Abbey” took the prize for period/character hair styling.
All three of those films are on the Oscar shortlist for Best Makeup and Hairstyling, with “Bombshell” the clear favorite for a nomination and win. (The Academy refers to the disciplines as makeup and hairstyling, one word each, while the guild hyphenates make-up and splits hair styling into two words.)
For the last six consecutive years, the winner in the MUAHS’ period and/or character make-up category has gone on to win the Oscar — and for the last two years, that film has also won the special make-up effects category. This year, though, “Joker” won the first category and “Bombshell” the second.
Also Read: How 'Bombshell' Director Jay Roach Tackled 'Male-Pattern Bulls-' at Fox News and Beyond
In the television categories, MUAHS wins went to “Big Little Lies” and “Fosse/Verdon,” each of which won awards for make-up and for hair, and “Chernobyl,” which won for special make-up effects. “Saturday Night Live” won three awards, while “Dancing With the Stars,” “Deadwood: The Movie,” “The Real” and “A Series of Unfortunate Events” also won.
“Pose” was honored for its commercials and promo campaign, while theatrical awards went to “Cats” and “Hamilton.”
The ceremony took place at the NOVO by Microsoft at L.A. Live in downtown Los Angeles and was hosted by MUAHS president Julie Socash and business representative Randy Sayer.
Also Read: 'Joker' Director Teases Joaquin Phoenix in Makeup as the Clown Prince (Video)
Actor Patrick Stewart received the guild’s Distinguished Artisan Award, while Lifetime Achievement Awards went to make-up artist Thomas Burman and hair stylist Martin Samuel.
The full list of winners:
Feature-Length Motion Pictures
Best Contemporary Make-Up: “Bombshell,” Vivian Baker, Cristina Waltz, Richard Redlefsen
Best Period and/or Character Make-Up: “Joker,” Nicki Ledermann, Tania Ribalow, Sunday Englis
Best Special Make-Up Effects: “Bombshell,” Kazu Hiro, Vivian Baker, Richard Redlefsen
Best Contemporary Hair Styling: “Bombshell,” Anne Morgan, Jaime Leigh McIntosh, Adruitha Lee
Best Period Hair Styling and/or Character Hair Styling: “Downton Abbey,” Anne Nosh Oldham, Elaine Browne, Marc Pilcher
Television Series, Mini-Series or New Media Series
Best Contemporary Make-Up: “Big Little Lies,” Michelle Radow, Erin Good-Rosenmann
Best Period and/or Character Make-Up: “Fosse/Verdon,” Debbie Zoller, Dave Presto, Jackie Risotto
Best Special Make-Up Effects: “Chernobyl,” Daniel Parker, Barrie Gower, Paul Spateri
Best Contemporary Hair Styling: “Big Little Lies,” Jose Zamora, Lorena Zamora, Lona Vigi
Best Period and/or Character Hair Styling: “Fosse/Verdon,” Christopher Fulton, Christen Edwards, Christine Cantrell
Television Special, One Hour or More Live Program Series or Movie Made for Television
Best Contemporary Make-Up: “Saturday Night Live,” Louie Zakarian, Amy Tagliamonti, Jason Milani
Best Period and/or Character Make-Up: “Saturday Night Live,” Louie Zakarian, Amy Tagliamonti, Jason Milani
Best Special Make-Up Effects: “Saturday Night Live,” Louie Zakarian, Jason Milani, Tom Denier Jr.
Best Contemporary Hair Styling: “Dancing with the Stars,” Mary Guerrero, Kimi Messina, Gail Ryan
Best Period and/or Character Hair Styling: “Deadwood: The Movie,” Melissa Yonkey, Laine Trzinski, Jose Zamora
Daytime Television
Best Make-Up: “The Real,” Melanie Mills, Uzmee Krakovszki, Motoko Honjo-Clayton
Best Hair Styling: “The Real,” Roberta Gardener-Rogers, Noogie Thai, Ray Dodson
Children & Teen Television Programming
Best Make-Up: “A Series of Unfortunate Events,” Rita Ciccozzi, Tanya Hudson, Krista Seller
Best Hair Styling: “A Series of Unfortunate Events,” Julie McHaffie, Dianne Holme
Commercials & Music Videos
Best Make-Up: “Pose”: Promo Campaign, Kerry Herta, Sherri Lawrence
Best Hair Styling: “Pose”: Promo Campaign, Joe Matke, Fernando Navarro, Barry Lee Moe
Theatrical Production (Live Stage)
Best Make-Up: “Cats the Musical,” Jakey Hicks, Sierra Peterson
Best Hair Styling: “Hamilton,” Charles LaPointe, Daryl Terry
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‘The Biggest Loser': Things Get Heavy During Contentious TCA Panel for USA Reboot
USA Network’s preview of its upcoming “The Biggest Loser” reboot got heavy when host Bob Harper, trainers Erica Lugo and Steve Cook, and USA exec Heather Olander were grilled by journalists at the Television Critics Association press tour Saturday about how healthy the weight-loss competition series actually is for its participants — and for viewers at home.
“When we brought the show back, one of our big things was that we get 17 years of success on NBC,” Olander, who heads up unscripted programming for USA, said when asked about what changes were made for the updated take to make it safe for contestants. “It’s a beloved show … but we did want to think a little bit about the format and make sure that we’re reflective that health and fitness today. 2020 is very different than a decade ago when the show first came on the air.”
“One of the things that we did look at was the competition elements,” she continued. “What we decided was that the competition is going to be part of the storytelling of the show. It’s a motivating factor for the contestants, but it’s also part of the story of their situation as well, both their failures and their successes over the course of the season impacted who they were at the end.”
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Olander added: “To that end, one of the big changes we made this season was the aftercare packages for the eliminated contestants. Because we wanted to give the people who did go home early in the process the best chance at a healthy lifestyle … We just want to make sure that, maybe they don’t win the money, but we still wanted to give them a chance at a great life.”
One journalist asked the panel, “You talked a lot about how the show’s been updated for 2020 but there has been a considerable amount of the show over the years, particularly in the health of the contestants after, and how it’s normalized fat-shaming, and the idea that anyone can go lose weight if they just try hard enough. So what is your responsibility to people who are not out there being able to exercise 20 hours a day?”
Harper, who graduated from being a coach on NBC’s old version of “The Biggest Loser” to hosting USA’s reboot, responded: “For me, I’ve worked with a lot of people that the show has really helped inspire. Weight loss is controversial any way you look at it.”
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When pressed on what precautions were taken to make sure contestants don’t endanger themselves in their attempts to win the prize money that comes with being “The Biggest Loser,” Olander said, “From the format standpoint — and we obviously know that these people are coming onto the show — we want to make sure that they are losing the weight, but also in the healthiest environment they can be.”
“So though not shown on the series, behind the scenes, we did have a nutritionist write individualized meal plans for each of the contestants,” she added. “We had two doctors on set and a set of trainers that vetted all of the challenges and the workouts that they did and to make sure they were constantly monitored, to make sure all of their vitals were where they needed to be and that they were losing weight at a healthy rate.”
Cook says that each contestant needed “to hit a certain amount of calories” and each week “we all sat down with the dietician and the doctor and went over bloodwork, as well as each person’s specific diet for the week and their training protocol.”
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“So if there was ever somebody that was overtraining, we had to come up with a different way to train them,” Cook said. “And I think you see it, this is the healthiest way to lose weight, the way to go about it, with the doctors, with the dietitians. They’re drinking lots of water, staying hydrated. and it shows in their bloodwork.”
The group was also asked by a reporter about how they feel about the use of the word “fat” in particular, which Lugo and Cook say they “never” used on the show.
“I don’t use that word,” Harper said. “Yeah, I’m trying to think, I don’t really use that word. It’s always about the weight issues, right? It’s one of those things– I guess, being gay, I can say the F-word, but if you say it I’m gonna have a problem with you. So it’s, like, I don’t have a weight problem, so I don’t think it’s really my right to be throwing that word around, loosely.”
“The Biggest Loser” reboot premieres Jan. 28 at 9/8c on NBC.
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