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nclkafilms · 4 years ago

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My 2021 Oscar Predictions

It seems like it was a decade ago, that I cheered for and celebrated a historic night for Parasite as Bong Joon-Ho first surprised by taking home the Best Directing Oscar ahead of Sam Mendes only for the film itself to surprise even further by taking home the biggest of them all. What a film, what a night! And what a year it has been since then; the film industry - as anything else in our lives - has been turned on its head by the global pandemic that continues to redefine our reality. Many big films and award contenders have been postponed. But where one could have feared that this would have given us a lacklustre group of nominees, this is in no way the case. Instead the lack of the big budget films has granted space for smaller, indie films treating us to interesting visions, stellar performances and new cinematic experiences. The biggest loss of course being the lack of cinema experiences; out of all the 56 nominees I have shockingly and sadly only seen 2 in the cinema: Tenet and Mank. I did, however, manage to see ALL nominated films before the show for the first time ever.

So who will win? Here are my predictions: (In paranthesis are my personal ratings of the films from 1-5)

Best Picture

The Father (4,5)

Judas and the Black Messiah (4,5)

Mank (3,5)

Minari (4,5)

Nomadland (5,0)

Promising Young Woman (5,0)

Sound of Metal (4,5)

The Trial of the Chicago 7 (4,0)

The biggest of them all seems likely to be one of the most predictable of them all. Chloe Zhao’s Nomadland, which triumphantly transcends the boundaries between documentary and fiction, has taken home close to every major award possible. The story of Fran, who’s lost everything and embarks on a spiritual journey through the America of the modern day nomads, is an awe-inspiring achievement and will be a deserved winner. The only films that might have a slight chance of causing upset seems to be my personal favourite, Promising Young Woman, the wonderful Minari, that could continue the Korean triumph of last year, and Aaron Sorkin’s Oscar-bait ensemble hit, The Trial of the Chicago 7, which could end up as the Green Book of this year. It is amazing to see films such as The Father, Judas and the Black Messiah and Sound of Metal be acknowledged with this particular nomination, but I don’t see them winning. Mank seems like an easy film to like, but a hard film to love and as such, I don’t see it winning - especially taking the preferential ballot system into consideration. I would have loved to see Soul continue the tradition of nominating animated features for its beautiful take on life.

Who will win: Nomadland

Potential spoiler: The Trial of the Chicago 7

Personal favourite: Promising Young Woman

Should have been there: Soul

Actor in a Leading Role

Riz Ahmed, Sound of Metal (4,5)

Chadwick Boseman, Ma Rainey’s Black Bottom (3,5)

Anthony Hopkins, The Father (4,5)

Gary Oldman, Mank (3,5)

Steven Yeun, Minari (4,5)

Chadwick Boseman is the only actor here, whose film is not nominated in the Best Picture race, but yet, he is the one on everyone’s lips before the big night. Sadly, this - of course - is partly due to his tragic and way to early death. The entire narrative surrounding his death and the fact that only he knew about the illness, while filming Ma Rainey, adds a truly tragic nuance to his powerhouse performance. To me, he does, however, balance on the edge of being too theatrical (goes for everything concerning that film) and it is mostly in his more subtle scenes that he surprised and impressed me the most. The performance of the year is undoubtedly Anthony Hopkins in The Father in my opinion; he manages to capture all the little nuances, confusions and frustrations of growing dementia. A truly ruthless performance! I also have tons of gratitude for Ahmed’s deeply moving and involving work in Sound of Metal, and Steven Yeun’s subtle performance in Minari. Gary Oldman is good as always in Mank, but yet, I see him as the one who could have been snubbed. I would have liked to see the likes of Delroy Lindo (Da 5 Bloods) or Mads Mikkelsen (Another Round) here.

Who will win: Chadwick Boseman

Potential spoiler: Anthony Hopkins

Personal favourite: Anthony Hopkins

Should have been there: Delroy Lindo/Mads Mikkelsen

Actor in a Supporting Role

Sacha Baron Cohen, The Trial of the Chicago 7 (4,0)

Daniel Kaluuya, Judas and the Black Messiah (4,5)

Leslie Odom Jr., One Night in Miami… (4,0)

Paul Raci, Sound of Metal (4,5)

Lakeith Stanfield, Judas and the Black Messiah (4,5)

This one is Daniel Kaluuya’s to lose. And he will not be doing that. While you can argue that he might close to a leading role in Judas, but that does not take anything from his truly stunning performance. Such an interesting actor creating such an interesting character! His closest competitors seem to be Cohen for a role that hopefully can open up more dramatic chances for him and Paul Raci, who creates an endearing character in Sound of Metal. Oh, I would also love for him to win! Leslie Odom Jr. will probably have more open doors in Hollywood after his deserved nomination and Lakeith Stanfield will be asking himself how come he ends up as a supporting role for a film in which he was clearly the leading force of the story. His performance, however, is brilliant and impressed me further upon a recent rewatch of Judas. Could have been great to see Bo Burnham here for Promising Young Woman, but honestly I do not see who he should have replaced apart from Stanfield, who - as said - belongs in another category.

Who will win: Daniel Kaluuya

Potential spoiler: Sacha Baron Cohen

Personal Favourite: Daniel Kaluuya / Paul Raci

Could have been there: Bo Burnham

Actress in a Leading Role

Viola Davis, Ma Rainey’s Black Bottom (3,5)

Andra Day, The United States vs. Billie Holiday (2,0)

Vanessa Kirby, Pieces of a Woman (3,5)

Frances McDormand, Nomadland (5,0)

Carey Mulligan, Promising Young Woman (5,0)

Perhaps the most unpredictable race of the evening! Everyone except Kirby has taken home a major award in the run-in to the Oscars. For that reason, I am having a hard time seeing Kirby take home the win for her otherwise stunning and powerful turn in mediocre Pieces of a Woman. Andra Day took home the Golden Globe, but I think the questionable quality (nicely put) of the film will make it hard for her to repeat that victory here. McDormand is beautifully subtle in Nomadland and could easily deserve the award, but the narrative is against her as she has already won two Oscars and took one just a couple of years ago. With this in mind, I think this is between Davis and Mulligan. Davis’ performance - not unlike Boseman’s in the same film - is close to being overdone, although it is a truly transformative performance. I will, however, say it should have been nominated as a supporting role. She took home the SAG and has a strong narrative for a win. Mulligan, in Promising Young Woman, is the best performance in my opinion and a minor favourite to win; she surprises with something completely new and risk-taking while still delivering the quality and nuance we have come to expect from her. A cheeky bid for who I would have liked to see, would be Jasna Duricic of Quo Vadis, Aida?, who I think carried that film on her shoulders with an intense performance.

Who will win: Carey Mulligan

Potential spoiler: Viola Davis

Personal favourite: Carey Mulligan

Could have been there: Jasna Duricic

Actress in a Supporting Role

Maria Bakalova, Borat Subsequent Moviefilm (3,5)

Glenn Close, Hillbilly Elegy (1,5)

Oliva Colman, The Father (4,5)

Amanda Seyfried, Mank (3,5)

Yuh-Jung Youn, Minari (4,5)

For a long time, Seyfried seemed like the one to beat here with a lot of buzz before Mank was released. While her performance is delightful, her role is, however, extremely limited and I actually ended up being surprised she was even there on nomination morning. Colman and Close famously battled for the leading actress award two years ago with Colman surprisingly (yet, deservedly) taking home the award. That left Close Oscar-less still, but while the narrative might be with her, it would be a shame to give her the award for this performance in this film. Bakalova is the surprise: raunchy and ruthless, she is not only the rare comedic nomination, but also one of the most daring performances of the year. I would love for her to win, and should she win it will not just be because of THAT hotel room scene. Her turn in Borat is surprisingly funny and layered. I do - however - think that everyone has been as charmed by Youn as I have been. Her grandmother in Minari is the heart of the film and she creates one of the most memorable on-screen grandmothers in recent time. I would have loved to see Dominique Fishback from Judas, although her role was also quite small.

Who will win: Yuh-Jung Youn

Potential spoiler: Maria Bakalova / Glenn Close

Personal favourite: Yuh-Jung Youn

Should have been there: Dominique Fishback

Animated Feature Film

Onward (3,5)

Over the Moon (3,0)

A Shaun the Sheep Movie: Farmageddon (3,5)

Soul (4,5)

Wolfwalkers (4,0)

Soul is winning this one with no real competitor. It is an amazing film by Pixar - both storywise, philosophically and in particular technically. But it is also daring as it is close to being there first truly film MAINLY for adults. Pixar competes against themselves, as Onward is also here. Netflix joins the animation race with the charming Over the Moon, while Aardman Studios are here with Farmageddon, which is a simply delightful children’s film. Wolfwalkers is perhaps the most interesting when it comes to animation style as the handdrawn animation follows the emotions of the characters.

Who will win: Soul

Potential spoiler: Wolfwalkers

Personal favourite: Soul

Cinematography

Sean Bobbitt, Judas and the Black Messiah (4,5)

Erik Messerschmidt, Mank (3,5)

Dariusz Wolski, News of the World (3,0)

Joshua James Richards, Nomadland (5,0)

Phedon Papamichael, The Trial of the Chicago 7 (4,0)

I was happy to see Judas being recognised here, but it hardly stands a chance, despite its great work with depth. The same can be said about Papamichael, whose nomination I honestly do not understand, and Wolski, who produces some stunning vistas in the otherwise disappointing News of the World. Messerschmidt’s black and white work on Mank is a joy to behold, and while the Academy typically love black and white cinematography, I only see it as a potential spoiler. Joshua James Richards manages the otherwise small Nomadland into a grand and stunning film with some of the most beautiful images that I cannot wait to enjoy in a cinema. I would have loved to see Hoyte van Hoytema be nominated for his work on the otherwise faulty Tenet.

Who will win: Nomadland

Potential spoiler: Mank

Personal favourite: Nomadland

Should have been there: Tenet

Costume Design

Emma (3,0)

Ma Rainey’s Black Bottom (3,5)

Mank (3,5)

Mulan (3,0)

Pinocchio (1,5)

This is Ma Rainey’s to lose with all of its broadway costumes. Personally I rate the costumes in both Pinocchio higher and I would have liked to see Promising Young Woman nominated, although I know how rarely contemporary nominees are in this category.

Who will win: Ma Rainey’s Black Bottom

Potential spoiler: Mank

Personal favourite: Pinocchio

Could have been there: Promising Young Woman

Directing

Thomas Vinterberg, Another Round (5,0)

David Fincher, Mank (3,5)

Lee Isaac Chung, Minari (4,5)

Chloé Zhao, Nomadland (5,0)

Emerald Fennell, Promising Young Woman (5,0)

It is a historic year for this category; the first time that two female directors are nominated in the same year. Chloé Zhao will also find her way into the history books as the only second female winner of the category for her work with Nomadland; a film which would never have existed without her. Fennell and Chung are her closest competitors, but despite their deeply personal and commited work they do not stand a chance. Mank is as Fincher as it gets, but the films is just not very good in the end. Finally, as a Dane, I am of course ecstatic to see Vinterberg here for his masterful work on Another Round. I would have loved to see Florian Zeller for The Father, though!

Who will win: Chloé Zhao

Potential spoiler: Lee Isaac Chung

Personal favourite: Chloé Zhao

Could have been there: Florian Zeller

Documentary (Feature)

Collective (4,5)

Crip Camp (4,0)

The Mole Agent (3,0)

My Octopus Teacher (4,0)

Time (5,0)

For a long time, Time or Collective seemed to be the ones to beat here. While Time, which I reckon to be one of the best, most impactful films of the year, remains my favourite, I think it might be too slow for some people. Collective shares the same issue as the entertaining The Mole Agent; they are in a foreign language. Thus, we end up with Crip Camp and My Octopus Teacher. The first is undoubtedly the most important of the two, but I do think that the heart-warming and surprisingly effective story of man and nature in Octopus Teacher will charm its way to a surprising Oscar! The fascinating micro-cosmos of American politics portrayed in Boys State was snubbed here!

Who will win: My Octopus Teacher

Potential spoiler: Crip Camp

Personal favourite: Time

Should have been there: Boys State

Documentary (Short Subject)

Colette (3,5)

A Concerto is a Conversation (3,5)

Do Not Split (4,5)

Hunger Ward (3,5)

A Love Song for Latasha (4,0)

Notoriously difficult to predict, this years documentary shorts are no exception. Four of them are mainly journalistic, with A Love Song for Latasha standing out with its artistic aspects. I think that will tip the votes in its favour.

Who will win: A Love Song for Latasha

Potential spoiler: A Concerto is a Conversation

Personal Favourite: Do Not Split

Film Editing

The Father (4,5)

Nomadland (5,0)

Promising Young Woman (5,0)

Sound of Metal (4,5)

The Trial of the Chicago 7 (4,0)

Traditionally the film featuring the most and the most clear cuts will take home this Oscar, making Trial the traditional favourite here. However, Mikkel E.G. Nielsen’s close collaboration with the sound designers of Sound of Metal seems to have pushed that film closer to a suprising yet deserved award. For me, however, the confusing, unstructured work of Yorgos Lamprinos in The Father is the best of the year. Mank would have liked to have this on nomination morning.

Who will win: Sound of Metal

Potential spoiler: The Trial of the Chicago 7

Personal favourite: The Father

International Feature Film

Another Round (5,0)

Better Days (3,5)

Collective (4,5)

The Man Who Sold His Skin (3,5)

Quo Vadis, Aida? (4,5)

Collective follows Honeyland’s example from last year with a double nomination for international and documentary, but it will not win despite its high quality. The Man Who Sold His Skin is an interesting and thought-provoking take on the refugee crisis and Better Days is a surprisingly effective YA adaptation with some criticism of the Chinese school system - they will be happy just be there. Quo Vadis, Aida? Is a really good film with a towering lead performance about one of the most gruesome historical events post WWII. However, and this is not just because I am Danish, Another Round will take this home. The film that grew from initially being a celebration of the Danish alcohol culture organically grew into a celebration of life in the shadows of a personal tragedy for director Vinterberg. At its heart is a beautiful performance from Mads Mikkelsen and a fascinating study of the Danish alcohol culture in the universally recognisable struggle of life. Its take on the built in paradox of our teenagers being stressed out in order to gain access to the same life that the film’s four protagonists desperately try to escape, is thought-provoking and well-portrayed.

Who will win: Another Round

Potential spoiler: Quo Vadis, Aida?

Personal favourite: Another Round

Makeup and Hairstyling

Emma (3,0)

Hillbilly Elegy (2,0)

Ma Rainey’s Black Bottom (3,5)

Mank (3,5)

Pinocchio (1,5)

Despite being a horrible film, the makeup and prosthetic work in Pinocchio ought to secure it an Oscar here. However, this will be given to the theatre makeup work in Ma Rainey.

Who will win: Ma Rainey’s Black Bottom

Potential spoiler: Hillbilly Elegy

Personal favourite: Pinocchio

Music (Original Score)

Da 5 Bloods (3,5)

Mank (3,5)

Minari (4,5)

News of the World (3,0)

Soul (4,5)

News of the World is a good yet classic western score, Da 5 Bloods is a nice score to listen to but does not fit in the film and Emile Mosseri’s brilliant score in Minari might be a bit too simple for some people. This means that this a battle between Trent Reznor and Atticus Ross and themselves for their buzzing 40’s score in Mank and amazing collaboration with Jon Batiste in Soul. Reznor and Ross will be taking the stage along with Batiste! It is close to robbery that Ludwig Göransson is not nominated for his towering Tenet score!!

Who will win: Soul

Potential spoiler: Mank

Personal favourite: Soul

Should have been there: Tenet

Music (Original Song)

“Fight for You”, Judas and the Black Messiah (4,5)

“Hear My Voice”, The Trial of the Chicago 7 (4,0)

“Husavik”, Eurovision Song Contest: The Story of Fire Saga (3,0)

“Io Si (Seen”), The Life Ahead (3,0)

“Speak Now”, One Night in Miami… (4,0)

“Husavik” is a great song and is the only of the songs to truly play a part in the film rather than just being a credits song and I think that should always be a factor! However, this is Leslie Odom Jr.’s for the beautifully subtle “Speak Now” - he is an amazing singer! “Green” from Sound of Metal should have been here, I have to say.

Who will win: “Speak Now”

Potential spoiler: “Husavik”

Personal favourite: “Husavik”

Should have been there: “Green”

Production Design

The Father (4,5)

Ma Rainey’s Black Bottom (3,5)

Mank (3,5)

News of the World (3,0)

Tenet (3,0)

The wonderfully simple, yet effective production design of The Father really should be winning this. However, The Academy always love representations of Hollywood and - to be fair - the work in Mank is incredibly detailed and beautiful to look at. Honestly, I would have loved to see Emma - that film was one of the most beautiful of the year!

Who will win: Mank

Potential spoiler: The Father / Ma Rainey’s Black Bottom

Personal favourite: The Father

Could have been there: Emma

Short Film (Animation)

Burrow (4,0)

Genius Loci (3,0)

If Anything Happens I Love You (4,5)

Opera (5,0)

Yes-People (3,0)

Yes-People is funny but uninteresting. Genius Loci is visually fascinating but also very abstract. Burrow is classic Pixar charm. If Anything Happens I Love You is an emotional gut-punch. Opera is transcending the film media being more of an art installation rather than an actual shortfilm; it is however both visually and visionary in a league of its own. So obviously, it will not win. Disappointing not to see Out here!

Who will win: If Anything Happens I Love You

Potential spoiler: Burrow

Personal favourite: Opera

Should have been there: Out

Short Film (Live Action)

Feeling Through (4,0)

The Letter Room (3,5)

The Present (4,0)

Two Distant Strangers (2,0)

White Eye (3,0)

Two Distant Strangers seems like a late frontrunner here, and while it is impossible to disasgree with the importance of the film’s topic, I simply did not like the film. I found it both exploitative and overly symbolic leaving me with a bad taste in my mouth; difficult opinions to have regarding a film about such an important topic. None of the other four truly stand out, but I would love to see the inclusive and touching Feeling Through receive the Oscar.

Who will win: Two Distant Strangers

Potential spoiler: The Letter Room

Personal favourite: Feeling Through

Sound

Greyhound (2,0)

Mank (3,5)

News of the World (3,0)

Soul (4,5)

Sound of Metal (4,5)

Rarely has a film been so defined by its sound as Sound of Metal. It is not only groundbreaking but also deeply fascinating, impressive and involving; a main factor in the film’s success. It is difficult to predict as this is the first year the two awards (Editing/Mixing) have been combined. Greyhound might have been able to grab an editing award had they been separated still…

Who will win: Sound of Metal

Potential spoiler: Soul

Personal favourite: Sound of Metal

Visual Effects

Love and Monsters (3,0)

The Midnight Sky (2,5)

Mulan (3,0)

The One and Only Ivan (3,0)

Tenet (3,0)

A category that would probably have been dominated by films such as Godzilla vs. Kong, Dune and Black Widow in a normal 2020, has now granted space for the charming animals of The One and Only Ivan and the surprisingly entertaining and heartfelt Love and Monsters. It does, however, seem like an obvious opportunity to give the supposed “saviour of cinema” Tenet one award.

Who will win: Tenet

Potential spoiler: The Midnight Sky

Personal favourite: Tenet

Should have been there: Soul

Writing (Adapted Screenplay)

Borat Subsequent Moviefilm (3,5)

The Father (4,5)

Nomadland (5,0)

One Night in Miami… (4,0)

The White Tiger (3,0)

The White Tiger is the odd one out here with its overly told and clumsy voice-over, whereas Borat is another example of the weird definition. While the main character is not new, the film is obviously an original story. One Night in Miami… is a much better adaption than Ma Rainey, but The Father is even more successful in its journey from stage to silver screen. Zeller’s screenplay is masterful and daring in its ruthless depiction of dementia. However, it faces stern competition from Chloé Zhao who might add her first of many Oscars of the evening with this award for a rare adaptation of a non-fiction work into a fictional story.

Who will win: The Father

Potential spoiler: Nomadland

Personal favourite: The Father

Writing (Original Screenplay)

Judas and the Black Messiah (4,5)

Minari (4,5)

Promising Young Woman (5,0)

Sound of Metal (4,5)

The Trial of Chicago 7 (4,0)

I was immensely happy to see Judas and Sound of Metal here as they told well-structured and well-paced stories, while this was the biggest nail in the coffin for Mank as David Fincher’s father missed out on a nomination for the film about one of history’s best screenplays. The battle is seems to be between the king of screenplays Aaron Sorkin and a certain promising young woman, Emerald Fennell, who has written the best screenplay of the year in my opinion. Look out for Lee Isaac Chung as he will be ready to pounce with his deeply personal screenplay for Minari, should the battle between Fennell and Sorkin fall flat. The extremely charming and funny Palm Springs should have been here!

Who will win: Promising Young Woman

Potential spoiler: The Trial of the Chicago 7

Personal favourite: Promising Young Woman

Should have been there: Palm Springs

I wish everyone the best of Oscar nights! May the best films win!

#Oscars #Oscars 2021 #Oscars Warm Up #My Oscar Predictions #Oscar Predictions #Academy Awards #Academy Awards Predictions #Nomadland #The Father #The Trial of The Chicago 7 #Sound of Metal #Judas and the Black Messiah #Minari #Mank #Promising Young Woman

4 notes · View notes

roughrudesea · 4 years ago

Note

top 5 Shakespeare monologues?

I DESERVE THIS 😤

1. Richard II 3.2

No matter where; of comfort no man speak: Let’s talk of graves, of worms, and epitaphs; Make dust our paper and with rainy eyes Write sorrow on the bosom of the earth, Let’s choose executors and talk of wills: And yet not so, for what can we bequeath Save our deposed bodies to the ground? Our lands, our lives and all are Bolingbroke’s, And nothing can we call our own but death And that small model of the barren earth Which serves as paste and cover to our bones. For God’s sake, let us sit upon the ground And tell sad stories of the death of kings; How some have been deposed; some slain in war, Some haunted by the ghosts they have deposed; Some poison’d by their wives: some sleeping kill’d; All murder’d: for within the hollow crown That rounds the mortal temples of a king Keeps Death his court and there the antic sits, Scoffing his state and grinning at his pomp, Allowing him a breath, a little scene, To monarchize, be fear’d and kill with looks, Infusing him with self and vain conceit, As if this flesh which walls about our life, Were brass impregnable, and humour’d thus Comes at the last and with a little pin Bores through his castle wall, and farewell king! Cover your heads and mock not flesh and blood With solemn reverence: throw away respect, Tradition, form and ceremonious duty, For you have but mistook me all this while: I live with bread like you, feel want, Taste grief, need friends: subjected thus, How can you say to me, I am a king?

WHAT CAN I SAY. I heard a friend do this monologue in an acting class almost a decade ago and even with zero context, I thought about it for years. Finally reading the play only made me love it more.

2. The Tempest 5.1

Ye elves of hills, brooks, standing lakes and groves, And ye that on the sands with printless foot Do chase the ebbing Neptune and do fly him When he comes back; you demi-puppets that By moonshine do the green sour ringlets make, Whereof the ewe not bites, and you whose pastime Is to make midnight mushrooms, that rejoice To hear the solemn curfew; by whose aid, Weak masters though ye be, I have bedimm'd The noontide sun, call'd forth the mutinous winds, And 'twixt the green sea and the azured vault Set roaring war: to the dread rattling thunder Have I given fire and rifted Jove's stout oak With his own bolt; the strong-based promontory Have I made shake and by the spurs pluck'd up The pine and cedar: graves at my command Have waked their sleepers, oped, and let 'em forth By my so potent art. But this rough magic I here abjure, and, when I have required Some heavenly music, which even now I do, To work mine end upon their senses that This airy charm is for, I'll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I'll drown my book.

A solemn air and the best comforter To an unsettled fancy cure thy brains, Now useless, boil'd within thy skull! There stand, For you are spell-stopp'd. Holy Gonzalo, honourable man, Mine eyes, even sociable to the show of thine, Fall fellowly drops. The charm dissolves apace, And as the morning steals upon the night, Melting the darkness, so their rising senses Begin to chase the ignorant fumes that mantle Their clearer reason. O good Gonzalo, My true preserver, and a loyal sir To him you follow'st! I will pay thy graces Home both in word and deed. Most cruelly Didst thou, Alonso, use me and my daughter: Thy brother was a furtherer in the act. Thou art pinch'd fort now, Sebastian. Flesh and blood, You, brother mine, that entertain'd ambition, Expell'd remorse and nature; who, with Sebastian, Whose inward pinches therefore are most strong, Would here have kill'd your king; I do forgive thee, Unnatural though thou art. Their understanding Begins to swell, and the approaching tide Will shortly fill the reasonable shore That now lies foul and muddy. Not one of them That yet looks on me, or would know me Ariel, Fetch me the hat and rapier in my cell: I will discase me, and myself present As I was sometime Milan: quickly, spirit; Thou shalt ere long be free.

I’m honestly shocking myself slightly by not listing “We are such stuff,” but even thinking about this part of the play gives me chills. I love the journey Prospero goes on in this: watching him give up his magic and decide to forgive his former enemies is so engaging--and the language is completely unmatched.

3. The Tempest 4.1

You do look, my son, in a moved sort, As if you were dismay'd: be cheerful, sir. Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Ye all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. Sir, I am vex'd; Bear with my weakness; my, brain is troubled: Be not disturb'd with my infirmity: If you be pleased, retire into my cell And there repose: a turn or two I'll walk, To still my beating mind.

Okay I lied -- had to include “We are such stuff.” How could I not? I’m a Tempest and a Prospero stan. How could I NOT list this one when it is like *THE* iconic monologue?

4. Hamlet, 3.3

O, my offense is rank it smells to heaven; It hath the primal eldest curse upon't, A brother's murder. Pray can I not, Though inclination be as sharp as will: My stronger guilt defeats my strong intent; And, like a man to double business bound, I stand in pause where I shall first begin, And both neglect. What if this cursed hand Were thicker than itself with brother's blood, Is there not rain enough in the sweet heavens To wash it white as snow? Whereto serves mercy But to confront the visage of offense? And what's in prayer but this two-fold force, To be forestalled ere we come to fall, Or pardon'd being down? Then I'll look up; My fault is past. But, O, what form of prayer Can serve my turn? 'Forgive me my foul murder'? That cannot be; since I am still possess'd Of those effects for which I did the murder, My crown, mine own ambition and my queen. May one be pardon'd and retain the offense? In the corrupted currents of this world Offense's gilded hand may shove by justice, And oft 'tis seen the wicked prize itself Buys out the law: but 'tis not so above; There is no shuffling, there the action lies In his true nature; and we ourselves compell'd, Even to the teeth and forehead of our faults, To give in evidence. What then? what rests? Try what repentance can: what can it not? Yet what can it when one can not repent? O wretched state! O bosom black as death! O limed soul, that, struggling to be free, Art more engaged! Help, angels! Make assay! Bow, stubborn knees; and, heart with strings of steel, Be soft as sinews of the newborn babe! All may be well.

3.3 is my favorite scene in Hamlet. I LOVE the tableau of Claudius praying, and Hamlet right behind him, ready to strike. Hamlet the character obviously has some incredible speeches, but this Claudius monologue is the one that always stands out to me: it is such a juicy glimpse into his inner psyche that is more carefully guarded for the rest of the play, and I love this moment (however brief) of unraveling.

5. Macbeth 5.5

She should have died hereafter; There would have been a time for such a word. To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Forgive me for being so basic but I would really be lying to myself if I didn’t list this. Although this one, more than others, really depends on the actor. I have seen some renditions of this monologue I really do not jive with, but when it’s done well, it is top tier.

#shakespeare #richard ii #the tempest #hamlet #macbeth #whereforebase

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writingformadderton · 4 years ago

Text

The Book of You and I - Part 12

Ship: Madderton

Word Count: 2591

Summary: Rocketman, a proposal, the Golden Globes and a wedding. We reached the end ;)

Additional Tags: fluff, proposal, slow dancing, Niall Horan, Rocketman, wedding

Dedicated to @taron-eggmcmuffin❤️

Part 11 Part 1

---

A few months late, the premiere of Rocketman in Cannes took place. It’s still unreal to Taron that they got a four minute standing ovation for it. He got to sing Rocketman with Elton at the beach and the whole evening happened in a blur.

It's November 2019 now and his birthday is getting close. This year was wild and full of adventures. He feels Richard wrapping his arms around him from behind and smiles softly when he presses a kiss onto his temple.

"Everything alright?" Rich asks and rests his head on his shoulder admiring the sight Taron has from their balcony. The sun was going down over London and the sky was covered in a beautiful soft red.

"Yeah, I was just thinking about this crazy year," he admits and leans his head against Richard’s.

"It really has been crazy," Rich admits, giggling. "You're the actor of the year."

Taron grins when he hears the proud in Richard’s voice. "Mm and my boyfriend is the most stylish man this year," he says just as proud making Richard smirk. He jumps up and pulls Richard onto his chair, sitting down on his lap, "I didn't imagine my life would take such a beautiful turn after the accident."

Richard watches him lovingly and nods. "Everything happens for a reason," he says and wraps his arms around his boyfriend, "And I'm glad you're my reason for that shit that happened."

"Well I'm glad you're my reason too," Taron says and starts playing with Richard’s curls. "I would be very lonely without you."

"Me too, bub."

Taron stands there with a smile as his friends sing Happy Birthday to him. They are at Elton's place and Rich and Elton invited some friends and family. Jamie, Bryce, Dex and Bernie. Keeley, Sophie and Joe. Richard’s and Taron’s parents and little sisters. Niall Horan, who became a great mate of Taron and Richard after a night out and a surprising meeting in a bar is also here.

"Make a wish!" Niall cheers as he leans down to blow out the candle and Taron closes his eyes shortly before blowing out the candles.

Richard wraps him into a hug and kisses him lovingly. "What did you wish for?" he whispers.

"I'll tell you when it happens," he whispers back and smiles at him adoringly.

A bit later, Taron sits on Richard’s lap, enjoying the company of his friends and family. Suddenly someone asks Niall and Elton to play some songs and all get up to dance. Rich tries to pull him up, "Come on let's dance."

"Why should I dance now?" he laughs and watches his boyfriend adoringly.

"You loved to do it," he says and smirks at him.

Taron starts to get nervous and plays with his hands, "I-I'm not sure if I'm still able to-."

"Trust me. I'll guide you," Richard says and Taron’s face softens as he gets up.

"Fine," Taron sighs and follows Richard onto the dance floor.

Niall starts singing the song that Rich suggested he could play. Taron used to love that song. "When you feel your love's been taken, when you know there's something missing," he starts his song Flicker.

Taron looks up at Richard and listens closely to the lyrics. "When you feel there's something missing. Sounds familiar," he jokes and Rich smirks.

I'm afraid that what we had is gone.

Richard thinks back to when Taron couldn't remember him that day in the hospital and swallows. Everything they had was gone, but it came back so much stronger.

They continue dancing both listing to lyrics and taking them in differently than they did before the accident.

When you lay there and you're sleeping

Hear the patterns of your breathing

And I tell you things you've never heard before

"You did that a lot. Telling me things I've never heard before," T giggles and Richard chuckles.

"True."

Then I look in my heart

There's a light in the dark

Still a flicker of hope that you first gave to me

That I wanna keep

Please don’t leave

When Richard meets Taron’s eyes again, they are filled with tears. "Why are you crying now?" he asks confused and carefully strokes over his cheek continuing to dance.

"I'll tell you later." he says and smiles up to him happily. He buries his face in his shoulder and breathes in Richards cologne. When the song ends all of their friends stop dancing and look at them.

"What's going on?" Rich asks laughing and Taron takes a step back.

Niall sits down on the edge of the stage and grins at his mates and Elton watches them from the piano stool. "Okay, here we go," Taron says and smiles at Richard. "I won't talk much because then I'll probably start crying, but there are a few things I wanna tell you," he says and Richard nods slowly not knowing what to expect, "When I met you, I didn't know about our past and we had a rough start because of that. But you gave me a choice and the chance to get to know you all over again. You took the time to get to know me all over again. And I don't think that anybody else would have done that." Taron shrugs his shoulders. "I changed. I don't have to remember the past to know that. But somehow you stayed," he smiles softly, "You're my flicker of hope, you've always been. I don't ever want to be parted from you as we were all this time ago," he kneels down and opens a little box with a ring. "I know this is pretty fast but when did we ever do something as it should be? Do you want to marry me, Richie?" he asks and sees his beautiful deep blue eyes fill with tears.

"Yes," Richard nods and his hands are trembling when Taron puts on the ring. They fall into a tight hug while the rest cheers and cry into each other's shoulder.

A bit later, they are standing outside on Elton’s balcony where Taron was honest about his feelings for the first time and enjoy the little time of silence. Richard looks at Taron curiously and turns towards him, leaning against the balustrade. “So what did you want to tell me after the dance?”

“I just realized you were my flicker of hope in all of this shit and I guess that made me a bit emotional.” Taron admits and blushes softly. “And my birthday wish turned true when you said yes.”

Rich looks at him speechless for a moment before he pulls him close and connects their lips to a loving kiss. “You are the cutest person I know,” he admits and smiles at him.

“Well, I hope so,” Taron giggles softly.

Only three months later they are back at the Golden Globes, Taron being nominated with his performance in Rocketman. He’s sitting next to Elton and even though he hides it really well, he feels a bit anxious about Richard not being with them. Richard had been away shooting in Spain and wasn’t able to make it in time, his flight back only attended ten minutes ago and he didn’t want to suddenly walk inside this room full of people.

When his name gets called Elton and David start cheering loudly next to him and Taron smiles shyly not believing his ears. He gets up nervously, hugging Lucy and Rami, who are at the same table and walks towards the stairs.

On stage, he quickly hugs Chris and Scarlett who give him his globe and takes a deep breath. He thanks everyone included on the movie, Elton, David, Dex and hopes he didn’t forget someone. Then he takes another deep breath and smiles, “And I wanna thank my fiancé Richard, who just came back home from shooting in Spain half an hour ago. I am eternally grateful for everything you did, and I’ll see you later,” he says and gets distracted by the audience starting to clap and cheer. Taron looks to his side a bit startled when he sees Scarlett stepping out of his vision. His eyes widen when he sees his fiancé standing there with a bright smile and nothing than pure adoration and proud in his eyes.

Richard chuckles feeling Taron falling into his arms and wraps his arms tightly around him. “I’m so proud of you.” he says and T pulls back beaming. Richard kisses him lovingly before letting him get his golden globe, stammering another thank you and coming back grabbing his hand. Rich leads them down from the stage and out of the room. As soon as they closed the door behind them, they are standing in the empty hallway and Richard cups his face with both hands kissing him hungrily.

Taron moans into the kiss and kisses him back passionately. “Oh fuck I missed you so much!” he admits and Richard nods agreeing. It’s been the first time that they were parted longer than a week, at least for Taron.

“I missed you too, bubs. But now I’m here,” Rich smiles at him and hugs him tightly burying his face in his neck.

Taron fondles over his curls lovingly and smirks, “You’re tired from your flight?”

“Yeah. And I really wanna get out of this suit,” Richard groans and smirks up to him. “I can’t wait to fall asleep next to you tonight,” he says and bops Taron’s nose with his own.

“We’ll try to get out of here as soon as we can, I promise,” Taron says smiling and grabs his hands. “You’re gonna come with me so they can engrave my name on it?” he asks and Richard agrees immediately.

A little while later, Jamie is joining the table of all their friends and winks at T. “Seems like you have to pay for dinner,” He grins and pulls him into a strong hug. “Congratulations, mate. You deserve it!”

“Thank you,” Taron answers smiling and hugs him back. “Yeah, seems like I have to pay,” he giggles.

Richard nearly fell asleep in Taron’s arms during the talks with their friends and is incredibly tired already. When they finally leave, it’s already 2am and Richard rubs his face tiredly, yawning. He pats himself hard on his cheeks, trying to wake up enough to drive and T glances at him.

“You’re sure you wanna drive?” Taron asks worried and watches him closely. Richard looked terribly tired and exhausted.

“Yeah, I’ll be okay,” he says and yawns again, opening the car door.

“Richie, you’re exhausted,” T tries softly.

“Well, who should drive then, huh?” he asks confused and wants to get in.

“I-I could try,” Taron says barely audible. This was so stupid.

“Taron, love,” Richard starts softly, “It’s dark and already late. You barely drove short ways during the day so far. You really think that’s a good idea?”

“Not better than letting you drive now,” Taron mumbles and Richard watches him observantly.

Richard could see that Taron was scared. Scared of another accident, scared that something happened to them. He walks over to him and nods. “Okay, I trust you,” he says and hands him the keys. He hugs Taron tightly and presses a kiss onto his forehead, “I know you can do it and I’ll be right there.”

Taron nods and quickly gets in, taking a few deep breaths until Richard got in on the passenger side. T turns the key around and starts the car, buckling up. His fingers wrap themselves tightly around the steering wheel as he sets the blinking lights. “Okay, here we go,” He mumbles more to himself and bites his lower lip.

Richard glances over at him and sees how nervous and uncomfortable he looks. He reaches over to him and places his hand on his thigh, fondling him calmingly. “I know you can do it, bubs. Take a deep breath, focus on the street and don’t let anything stress you out. I’m right here,” He says calming and rubs tiny circles on his inner thigh before squeezing encouragingly.

Taron starts driving and his stomach protests against it almost instantly, but he decides to continue his drive. He is lucky about every red-light and Richard’s encouragements from time to time help him to focus. When he parks the car in front of their house he starts giggling, not believing he just drove them all the way home in the middle of a cold night in January. He rests his head on his hands on the steering wheel and groans, “OH my god, that was fucking scary!”

Richard watches him with a smirk and rubs his back. “I am so proud of you,” he says and grins widely as Taron looks up at him. “Look at you, my brave boy,” his voice gets soft and adoring as he fondles over his cheek.

Taron nestles his face in his hand and closes his eyes for a moment. “Wouldn’t have been able to do this without you next to me.” he places his hand on top of Richard’s and smirks, “Just like so many things.”

“Shut up,” Richard chuckles and connects their lips sweetly, “God, I am so proud of you after today.”

Taron blushes wildly, “You definitely need sleep,” He says and makes them both laugh into their kiss.

Their wedding day is the most emotional day Taron can remember. He’s crying most of the time, cuddled into Richard, overwhelmed by everything that’s going on. Richard takes it as it is and thinks it’s cute, cuddles him and showers him with kisses. Walking down the alley with his mum towards Richard was the scariest and most exciting thing he ever did and saying yes felt amazing. When he saw Richard’s deep blue eyes fill with tears as he saw him, his measured sweet lover crying just seeing him in his wedding suit, he knew he finally was where he belonged. Dancing to Your song, holding each other close, while sharing loving kisses from time to time and staring into each other’s eyes felt perfect.

He watches Richard talking to his little sisters and imagines him with children. How cute would be Richard as a father? His heart warms at that thought and he feels happy and peaceful.

Taron never thought he would ever be able to be happy again or just smile. The first couple months after the accident he went through hell, feeling useless and lost. A good cry was almost welcome, because it was those days, he didn’t feel numb.

Meeting Richard let those feelings disappear and then come back stronger after their first confrontation with a part of the truth. But the more time he spent with the Scottish and the closer they got again, the more he felt alive. Truly alive.

Maybe he would have never experienced how it feels to truly love someone. Maybe he would have never learned to take care of himself and be aware of his feelings. There were a lot more “maybes” on his list, but he knows one thing for sure-

“You’re alright?” he gets interrupted in his thoughts.

Taron looks up into his favorite pair of blue eyes. “Yes, I am more than alright,” he says.

“So, Mr. Madden, would you like to dance with me?” Richard asks and winks at him as he grabs his hand.

“I would love to,” Taron answers giggling and shakes his head.

- Richard Madden, his husband, was the realest and best thing that ever happened to him.

@multicoloredchicken @primaba11erina @maddertonmyheart @madderton-obsessed @fuseburner @sarahegerton96 @ispewglitter

#taron egerton #Richard Madden #madderton #the book of you and i #taron egerton fic #richard madden fic #madderton fic #taron egerton fluff #richard madden fluff #madderton fluff #fluff #proposal #slow dance #niall horan #Rocketman #Wedding

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sosation · 4 years ago

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On the Passing of Michael Brooks

I only relatively recently became aware of Michael, less than a year ago. In that time he has impacted my life more than any other media personality, more than anyone I’ve never met.

Even though the first time I voted was for Obama in 2008, my political consciousness really began during my 2nd stint of college at UTA circa 2014/15. My history undergrad was waking me up to the power dynamics and hegemonic systems that exist in our society. I was beginning to understand geopolitics under the tutelage of Dr. Joyce Goldberg and getting really wrapped up in 20th century diplomacy. The Snowden leaks had happened and the Michael Brown demonstrations in Ferguson were drawing attention to the militarization of our police forces and their tactics on US citizens. I began to see capitalism as consisting of, and causing and contributing too, countless problems. Then, the 2016 election cycle stoked my already burning interests.

During this time, there was little “left-tube” to be found. Since 2012, streaming on our X Box has been my wife and I’s primary means of entertainment. Slowly more and more of our time was being spent on YouTube. The Young Turks was really the only progressive voice on Youtube, to my knowledge, at that time. (I wasn’t yet aware of Pakman, Kulinski, Seder and Brooks.) And even though they were my primary source of news, I wasn’t crazy about the hyperbolic presentation, Cenk’s ego, or some of the attitudes expressed by various hosts at various times. That being said, I learned a lot. I was exposed to many many great journalists and they certainly helped me solidify and articulate many of the arguments I had been thinking and feeling during this time. I even became a Texas Wolf-Pac Volunteer right after Trump’s election.

I ended my bachelor’s and master’s programs under the Trump presidency. (May ‘17, Dec ‘18 respectively.) During this time I read and wrote more than I ever have in my life. Under Dr. Christopher Morris, Dr. Patryk Babiracki, and Dr. Pawel Goral, I read Marxist historical theory and studied the history of the Cold War from the perspectives of the US, USSR and Europe. I also began watching less and less TYT and more Secular Talk, David Pakman, and David Doel. While these shows are great, there was little to no international perspectives or geopolitical discussions happening. (Doel being Canadian accounts for something but, IMO, anyone who lives in the 5 Eyes is hardly a non-western perspective and therefore significantly less valuable in regards to gaining the insight of the peripheries of the globe. As the hegemonic “leader” of the world, Canadians, New Zealanders, Aussies and Brits, can point and laugh at the US all they want but they are taking our lead-systematically and economically.That’s not to say that their perspective is unimportant, just not the same as those outside the western sphere) Furthermore, there is still even less of a historical perspective being represented in regards to current events anywhere on YouTube. No one seems to have a long dureé, an understanding of how history plays out- again and again, and how capitalism is responsible for much of our recent history. Marx did. Michael did.

I began my teaching career in earnest last summer, 2019, as a Geography teacher. First time I’ve ever had a salary and the first time that I didn’t have to wear a hat (or hairnet) to work. My lunch was 2nd lunch, 12:35-1:15. Here in Texas, The Majority Report was live and it began showing up consistently on my youtube feed so I began watching them while I ate my sandwich and apple, before students from guitar club would show up for a quick lesson before 6th period. I had watched TMR before, particularly live streams on twitch during the first few primary debates this cycle. They reminded me a little too much of an east coast morning talk show for me to take them too seriously at first but I eventually began to see that while Sam is--well-- Sam, the others on the show had quite a lot to say and clear, logical and articulate reasons for their positions...especially this guy Michael. Once I heard that he had his own show it quickly became the most listened to podcast in my feed. (This in itself is no small feet. I’ve been listening to podcasts for hours a day (sometimes 8) since 2012. It, too, no doubt contributed to my education and understanding of our world during this same time period but that is another blog all itself.)

Michael was everything that I was looking for. He was unabashedly a Marxist. He was intelligent and enjoyed rigorous thinking and leftist theory. He was hilarious and did fantastic impressions. He also was compassionate, kind and empathetic. He was a humanist, in the truest sense of the word and he understood, and articulated to me, that Socialism is a humanist movement. After I became a patron, I once asked him on Discord what his credentials were and he said that his Bachelor’s was in International Relations, which explained so much. Again, he was the only media personality that I was aware of that was knowledgeable and curious about the same things I was. He understood history. He valued history and its importance, so much so that he dedicated a separate Sunday show just to “Illicit Histories” where he would invite Historians from all over the world to discuss leftist movements in their own countries and how we could apply those lessons here and vice versa. This was it. This is what was missing from our national discourse--an international perspective and voice, and a historical perspective and voice. Michael was both and he was damn good at it.

The Michael Brooks Show was an inspiration. Michael, Matt Lech and David Griscom were smart, eloquent, young men who articulated the systemic failures of our time, who critically discussed and analyzed our current political discourse and who pondered possible solutions based in history. The guests of TMBS, the network Michael created, really were the shining feature. Ben Burgis, Artesia Balthrop, Molly Webster, Glenn Greenwald, Adolf Reed, President Lula De Silva, Slavoj Žižek , Noam Chomsky, Dr. Cornel West, Dr. Richard Wolff...the list goes on and on and on. These people brought so much insight to the state of our world. Professors, Journalists, people who have spent their lives working on the cause, a cause for a better future, one based in humanity and empathy. Michael was able to bring his own empathy for humanity into his interviews, asking thoughtful direct questions that got to the heart of the issue-- while simultaneously bringing levity to a serious topic by making jokes in the voice of Gandhi, Mandela, Obama, or Bernie, to name a few. He, fucking, got it man. He understood how the world was connected. He understood that we are ALL humans, and that we all deserve to be treated with dignity, and he understood that Marx was right about a ton of shit and he wasn’t scared to remind you of that.

Michael, for me, was an exemplar. He was a role model. I looked up to him. I had no idea he was only 13 months older than me, I thought he was probably in his early 40’s just based on the amount of shit that he knew. My personal 10 year goal was to be on his show. I wanted to either become a writer or go back into academia. I even wrote into a show a couple of months back and asked him which was a better choice. He was honored to be asked such a heavy question but didn’t feel comfortable giving that kind of life advice and I don’t blame him. He recommended that I continue teaching high school if that’s what I enjoy doing, and I do, and I likely will. He has shown me how to speak up for ideals that are right, regardless of what people think. Like, I understood that in the abstract, but watching someone do it multiple times a week really put it in my head that I need to advocate for my position publicly. I tell people that I’m a marxist- which in Texas is unheard of, even among leftists. Mostly due to people not understanding labels and what that even means. So I tell them. Thanks to David’s weekly recommended readings I haven’t stopped reading leftist theory even though I finished grad school over a year and a half ago. If TMBS never existed I never would have had the opportunity to read any of that.

My heart bleeds for Matt and David. I can’t imagine what they’re going though. I want them to continue, to keep the community alive in his name. But I completely understand if that is just too painful.

I was thinking earlier, trying to find an appropriate historical comparison to his passing. There are many but as a North Texan, the one that I ended up landing on was the passing of Dimebag Darrell Abbot. He did a lot. He accomplished a lot in a short amount of time. He inspired many to do things like him. It was entirely unexpected and not one person, not one, has a bad thing to say about the guy. Dimebag was adored. He listened to people, strangers, fans. He was kind and open-hearted and treated everyone with respect. Which made it extra hard when he passed. The same can be said for Michael. For Michael, since Socialism is more than just music, he inspired us to educate ourselves, to ask questions, to remember the periphery-Latin America, Africa, and Asia,-- to remember history and value it, to be compassionate, to educate others and to be active in our own communities.

He will be sorely missed. The one thing I keep telling myself is that his death has the potential to bring even more attention to his message-- to help further catapult this movement into something undeniable. To bring more awareness to how power works and to finally activate us to become, as Michael said at Harvard on Feb 1, 2020: machiavellian.

“...we still have to put work into reminding everybody that (Dr. MLK Jr.) was on the left. He wasn’t a guy who came out once a year and said ‘everybody should treat each other nicely. ...The other thing I loved about this speech was he talked about the fallacy- that certain Christians misunderstand love as a seeding of power. And then Nietzsche came along and rejected christian morality because he thought it was denying someone’s vitality- the will to power in a healthy sense, and he said ‘Love without power is sentimental and anemic. And power without love is abusive and corrosive’ I’m paraphrasing. And that was when I saw, I thought, ‘well here, ok, we know the left-wing Dr. King. Well here is the machiavellian Dr King, and I love it.’ I want the left to have Machiavelli, so we can have the strategy, the ruthlessness, the clarity, to actually win these battles. And be ruthless with institutions. And then I want us to learn how to be really kind to each other, welcoming of a broad set, and actually have a movement that has the capacity to do that.”

Let’s do the best we can to make that happen. Educate yourself about power. Educate yourself about ideologies. Read Marx and Engels. Read Slavoj Žižek and Adolf Reed. Read Michaels book Against the Web: A Cosmopolitan Answer to the New Right. Don’t get caught up in identity politics. Never lose sight of class dynamics. Use this knowledge to educate others and make informed decisions. Register to vote. Run for office. Effectuate real change. Do the intellectual rigor that was happening on TMBS every week, multiple times a week. Thank you for all that you brought to us Michael, you will be sorely missed and I hope to see you at the clearing at the end of the path.

Anthony Sosa

7-21-20

#Michael Brooks #TMBS #History #Geopolitics #International relations #humanity #compassion #humanist #Socialsim #marx #economics

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fearsmagazine · 4 years ago

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HELD - Review

DISTRIBUTOR: Magnet Releasing

SYNOPSIS: Emma (Awbrey) and Henry's (Johnson) marriage is losing its spark. In an effort to reconnect, they vacation to a remote high-end rental, complete with automated smart house features and integrated security. However, after suspecting a nighttime intruder they decide to flee, only to become forcibly trapped inside by the automated security system. Emitting from the house, an unknown 'Voice' watches their every move through an array of hidden cameras, revealing an intimate and unsettling knowledge of their relationship. While the situation grows increasingly brutal, Emma and Henry must work together to uncover the truth and find a way out before it's too late.

REVIEW: In order to discuss elements of HELD there will be some spoilers. No major reveals, but some plot reveals will be addressed.

Given all that has been in the zeitgeist these past two years it is with little wonder that some of these issues should filter into entertainment. While you might see words like thriller, psychological, etc., just to describe these films almost all of them will include horror. It mostly likely begins in 2004 with “SAW” and the question of justice, which went on to spawn a franchise that some dubbed “torture porn.”

Then there is the 2020 film written and directed by Gerard Bush and Christopher Renz, “Antebellum.” The hero is an Africian American female civil rights and empowerment speaker who is abducted and taken to a modern working plantation with all the trappings of the Southern Confederacy and its atrocities. It’s a chilling tale that addresses many contemporary issues in a terrifying tale. As entertainment I would be hard pressed to say there was anything “entertaining” about it. In a conspiracy theory riddled and fake news world we live in it is horrifying to consider that something like this could happen. If there are people who can believe in “PizzaGate,'' or the election was stolen, why couldn’t there be an operational confederate plantation somewhere south of the Mason-Dixon line where unspeakable atrocities are taking place. It is a nightmare of our times given life in the cinema.

Now there is HELD. We meet Emma and Henry who we think are taken prisoner in this luxury smarthouse. As they fight for their survival, the film makes a hard left when their captor makes an error and Emma uncovers the truth behind their situation. They are not being held captive and everything she thinks she knows is wrong. Henry has engaged the services of a company called Eden. Their promise is to recondition a wife so that she becomes a more docile, subservient, “housewife.” The mysterious voice is Henry’s accomplice in this charade to break Emma. The place they are in is only one of the numerous locations throughout the globe to aid husbands in transforming their spouse. Henry is not simply after the mind control package but he wants some hard evidence to use against Emma so she remains loyal.

Emma does overcome adversity and so some might consider HELD an anti-misogynistic horror film, especially in this era of the METOO movement. Again I’m not so sure. Although it is Travis Cluff and Chris Lofing who direct, it is written by the film’s female star, Jill Awbrey. So the film does have a feminie perspective. They put Emma through an ordeal, but here it is psychological and physical abuse. I found it painful as my family was raised with strong values and respect for women, and there were holidays where we gave of our time at women’s shelters. From a purely unemotional standpoint I get and understand what they are doing. However, is it entertainment? While it is a bitter pill to swallow, I did find it a bit disingenuous when Henry and the accomplice turn into these bumbling fools who begin to make numerous errors allowing Emma to best them. I think Emma deserved a bit better.

Held has an excellent cast, and I applaud Jill Awbrey for her acting and screenplay. There are some great effects, some excellent editing, the house is an amazing location, and the score by Richard Breakspear is extremely effective. Everything about the film draws the viewer in to take them on a harrowing cinematic journey.

HELD is a great film, a powerful viewing experience, but how do you recommend it? It certainly isn’t a Friday night dinner, popcorn, and a date movie. There are going to be some conversations after screening HELD. And therein lies the rub. HELD is not a film a viewer should go into totally blind to what they are about to experience, They need to be prepared. So I’m not sure if it is entertainment. It also left me with the nagging thought that if these filmmakers could imagine this might there be something like this actually in the world. Who wouldn’t think that at least once given our crazy times.While there are certainly many angles they could use to spinoff a sequel, I can only hope they move onto another, different story.

CAST: Jill Awbrey, Bart Johnson, Zack Gold, & Rez Kempton, CREW:. Directors - Chris Lofing & Travis Cluff; Screenplay - Jill Awbrey; Producers - Chris Lofing, Travis Cluff, & Kyle Gentz; Cinematographer - Kyle Gentz; Editors - Aaron Tharp & Andy Matthews; Score - Richard Breakspear; Costume Designer - Trina Short; Production Designer - Max Martinez; Special Effects - Renee Mason, Jason Moore, & Robert Vargas; Visual Effects - Lucas De La Torre. OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/eiVLLrwcos8 RELEASE DATE: In theaters and on demand April 9th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike) Reviewed by Joseph B Mauceri

#film review #movie review #magnet releasing #held #chris lofing #travis cluff #jill awbrey #horror #psychological #stalker #anti-misogynistic #joseph mauceri #joseph b mauceri

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rahenning · 4 years ago

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Forgotten and Overlooked Cartoon Movies

On this week’s discussion we will explore two cartoon movies that you either may have watched when you were a child and got you disturbed giving you nightmares or you watched as an adult but probably had the same reaction as if you were a little kid. Or maybe it was just me who felt very confused watching it. This brings to my mind a thought. Are cartoons/ animation movies strictly designed for a young audience? Can a cartoon that is designed for children bring themes that may bring valuable discussions at home and teach good lessons to a little mind in development? Finding Nemo suggests to kids that step out of your comfort zone is important and to never give up even having so many obstacles on your life journey. Mulan is a great representation and inspiration for little girls to know that they can and should fight for their rights with confidence and independence. The list of animation movies that can be very inspiring for children is extensive. Although not all the cartoons/ animations movies have a young audience target. Titles such as “Fritz the Cat” (1972), “South Park” (1999) and the outstanding autobiographical “Persepolis” (2007) are definitely movies that probably wouldn’t be a good idea to have your child sitting next to you in the living room while you watch it.

Some movies sometimes either get forgotten or overlooked in the history of cartoon movies. Today we will give the attention necessary and deserved to two adult cartoon masterpieces; “Fantastic Planet” (1973) directed by Rene Laloux and “Watership Down” (1978) directed by Martin Rosen. Both movies are incredible on bringing to the table topics such as violence and power, authoritarian leaderships, division of social classes, democracy, the seek of home and belonging. We will cover that in a moment but excuse me on giving you some spoilers first. Both movies are modeled and gives to the audience historical lessons about specific times, events, and political aspects in society.

“Fantastic Planet” (1973) was a landmark in the history of European animation directed by Rene Laloux. The movie is a completely though-through science fiction vision which may be for many breathtaking or an unnecessarily experimental miserable detour. The movie resonates with historical allegories and radical politics based on European aesthetic principles. I personally find the aesthetic of this movie very surrealistic and resembles Salvador Dali’s artworks. The film takes place on the planet Ygam and shows two tribles of organisms that live against each other. The gigantic, intellectual, and blue Draags and the small and pinkish Oms that were removed by their masters Draags from their planet. The Oms are domesticated and enslaved by the Draags. The story unfolds and is narrated by Terr, one of the members of the Oms who grows and matures being domesticated next to the Draags. Terr learns about the culture of the Draags and their strange rituals of learning, meditation, wisdom, and development. Through mental inducement devices to transmit knowledge to future generations the Draags open the collective wisdom of their race. Terr escapes his captors and joins a renegade group of Oms. As the Draags try to control the radical Oms the film concludes in the final confrontation between the two groups and a satellite known as the Fantastic Planet.

In 1968 the film faced obstacles in the middle of its production. Soviet tanks invaded Prague, where the film was being produced, and occupied the city. After the invasion, the production of the film was extended for four years and was only released in 1973. In many ways the film represents these events. The communist occupation not only in Czechoslovakia but also in other Eastern European countries, is directly reminiscent of the convenient enslavement of the Oms by the Draags. In addition, the analogy of the relationship between owner and animal is effective between representing the relationship between the Soviet Union and its satellite states. While animals and Oms experienced modest degrees of autonomy, this was always monitored and limited by their masters. In both cases these masters maintained the fate of their servants. During that time, the illusion of this need was fabricated and often promoted to praise the positive attributes in the master. Besides that, the illusion of freedom has always been available at a distance, but it was collected in small doses. The masters reinforced and affirmed the hierarchical relationship that subordinates had with their servants. Two other elements are also symbolic of social and historical phenomena. Firstly,the tactics and techniques used by the Draags to destabilize the Oms and the camps where they lived that resemble the Nazi concentration camps and gas cameras. The film does an excellent job portraying the terror that the Draags cause in the Oms. The threat is greater than the attacks themselves. Didactically shows how to psychologically demoralize a society. Fear and oppression can have much greater causes and penetrate the coincidence of their victims. The film is then a provocative incursion into the state-sponsored psychological terror and its behaviors.

The second movie in discussion is “Watership Down” (1978) by Martin Rosen. The movie is a British animation based on the novel “Watership Down” by Richard Adams. The film was successful in the UK but not so much in the US. The controversy around it is what brings more attention. At first the audience may think it is a movie about cute bunnies living on a field. Well, its not extremely wrong but it goes far beyond it and its sensitive and explicit content is what labels the movie as an adult animation. The plot focuses on a group of rabbit living in the countryside. The group learns that their land is being invaded and poisoned by a construction company. They try to persuade the chief to evacuate. The chief refuses and they make a breakthrough with other members of their community. Many altercations happen between the group and makes the plot more excited and intriguing. The violence and the rage of the rabbits are shocking for many viewers. This film was U rated, which means it is suitable for all ages. And that’s what makes it more controversy. It creeps adults out and I can only imagine all the nightmares kids would have after watching it. The story is simply enough to follow with some tips of comedy in between the dramatic violent and swearing scenes.

What most of the viewers may not know is that “Watership Down” was inspired by its novel author Richard Adams real life personal experiences. He revealed that many of the animals in the movie were designed and based on officers that he, as a lieutenant, commanded in the World War 2. Not just the characters but many of the stories lived by the bunnies were also based on his real-life experiences and specifically the Battle of Arnhem, which he fought for over nine days in September 1944. Many soldiers were killed, and it answers why we see so many deaths and violent scenes in the movie. The character Hazel was inspired in his commanding officer Gifford. Gifford survived the war, and so did Hazel. According to the author, Bigwig was based on Captain Desmond “Paddy” Kavanagh. Adams describes him as “afraid of nothing and sensationalist”. “Good stories ought to be exciting and if they are exciting, they are inevitably scary in parts”- Richard Adams.

Learning more about the two films and its context, I believe it is easier now to understand and visualize the shared topics prior mentioned. Both movies are a tremendous critic to abuse of power and the use of mental and physical violence by the leaders in both fictional and real society. Our contemporary society lived and still experiences all these aspects. The movies simple used real-life events to base their narrative on. The division between social classes is clearly visible specially on “Fantastic Planet”. In todays age we still see and fight against this variance. Socio-economics class division happens in every and each country around the globe and it can be even more endured when we add race and sexual orientation for example. The seek of home and belonging are also very well covered in both movies. All the groups in both films wanted a place to be free from oppression and without fearing for their lives. I believe that everyone around this planet first goal in life is to feel secure, free and have a place that they can finally have this feeling of belonging inside their hearts.

Movements such as the Black Lives Matter are a great example of an oppressed community who is (and has always been) standing up for themselves, making them and their stories heard and fighting against an oppressive system in order to gain equality, safety and freedom.

https://blacklivesmatter.com/

In reference to the movie “Watership Down” I would like to also use the MST (Landless Workers Movement) as an example of fighting for the right of obtaining living and a sense of belonging. The Brazilian social movement defines it’s as goals access to land for the poor workers through land reforms.

To learn more about the movement please visit their page.

https://mst.org.br/english/

We already know that in “Fantastic Planet” the system the Draags kept the Oms in is oppressive and limit their capability of learning. They were labeled as savage and domesticated Oms. This system pretty much reflects the society we live in. The system intentionally takes out the chances of the less fortunate on learning and growing as people. It creates a division either in the movie and in our society between the “intellectuals” and the “anti-intellectuals”. What happens is that most oppressed group does not even have the eager of gaining more knowledge and that is all a consequence of the system they live in. It is all meticulously orchestrated by the system and it only makes the so called “intellectual” group of society more powerful over the other groups.

To be able to overcome their reality, the Oms had to finally come together and unite against the Draags. They had to listen to the domesticated and now more educated Oms who had more information and knowledge at the time. Without uniting, the Oms would not be able to defend themselves and attack the Draags.

Back to “Watership Down” we also see how internal conflicts inside a group or community may ruin or delay a common goal. In the movie we have characters that could fall into the label of intellectual and anti-intellectual. The protagonist of the movie, Hazel, may fall into the label of “intellectual”. He is the lead of the group and his actions were always to benefit all the band of rabbits and specially protect the small ones. Blackcherry is Hazel’s main source of knowledge and guidance. For this reason, he can also be called an “intellectual” in the group. In other hand we have Strawberry, a large rabbit but with no knowledge of how to live in the wild. He wanted to learn, although his lack of understanding of the wilderness could always affect their group.

To make a quick correlation to our society, we could divide the rabbits into a younger and older group. For example, in the younger group we have Hazel, Fiver, Strawberry and Dandelion. A group of young but very loyal and fierce rabbits. All of them with their specific positive characteristics that could be substantially important to a success of a group. In the older group we have General Woundwort, Captain Campion, and Captain Holly. Although they may be strong and experienced some of their actions may be destructive to the well being of the group. The older group often questions if the younger really knows what they are doing by their lack of experience. It is often seeing in our society too. An example is how our society keep only trusting in old candidates for important positions in our government. Why not to trust in new faces and new ideas for our society? The chances to keep repeating the problems are high. Maybe new minds and new ideas can make a lot of positive changes.

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thezachrogers · 5 years ago

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The Best and Worst Films of 2019.

We are THREE days away from the Academy Awards and I know this is way overdue, but I made the deadline and have brought the films to watch and avoid that came out last year. We will be counting down from the films that were best all the way down to the worst.

2019 was the best year for film in a long time and I will go down saying I LOVED my top 26, I liked 27-65 and I only disliked/hated four films I saw last year. Overall an excellent year of endings to series, a great year for original films, and we are in for one of the most competitive Academy Awards yet. So here it is, counting down from best to worst, the 69 films I saw in 2019:

Avengers: Endgame - NOW AVAILABLE ON DISNEY+ nominated for 1 Oscar, one of the best films I have ever seen in my life and my current all time favorite comic book film.

Ford v Ferrari - nominated for 4 Oscars including Best Picture. Wow, wow, wow; what a movie, see this movie ASAP. Hands down the BEST performance of Matt Damon’s career, a definite snub for Best Actor, directed by 2017′s Logan’s James Mangold.

Jojo Rabbit - nominated for 6 Oscars including Best Picture, Best Director, and Best Supporting Actress, this film gives you all the feels. Border lining on the edge of offensive, this story is about a little boy growing up in the Nazi Regime learning that everything he loves about Nazi Germany and what he believes about Jews just doesn’t add up.

Marriage Story NETFLIX ORIGINAL - nominated for 6 Oscars including Best Picture, Best Director, Best Actor, Best Actress, and Best Supporting Actress, this cast brings it in this tragic story of marriage and divorce. I’m rooting for my boy Kylo Ren Sunday Night even though I know Joaquin Phoenix is going to win as the Clown Prince of Crime.

Bombshell - nominated for 3 Oscars including Best Actress and Best Supporting Actress (GO MARGOT ROBBIE), this is based on the true story of Roger Ailes’s firing at Fox News due to Gretchen Carlson’s accusations. Robbie gives the performance of her career and Charlize Theron plays a very convincing Megyn Kelly starting the “Me Too” movement.

The Two Popes - NETFLIX ORIGINAL nominated for 3 Oscars including Best Actor and Best Supporting Actor. This true story and Netflix original is about Anthony Hopkins portrays Pope Benedict leaving the position and asks the now Pope Francis (Jonathan Pryce) to fill his shoes.

Once Upon a Time...in Hollywood - Nominated for 10 Oscars including Best Picture, Best Director, Best Actor, Best Supporting Actor (guaranteed win), and Best Original Screenplay, Quentin Tarantino’s masterpiece is LOOSELY based on 60s Hollywood during the time of the Manson Family murders.

The Irishman - NETFLIX ORIGINAL Nominated for 10 Oscars including Best Picture, Best Director, and Two Best Supporting Actor Nominees, Scorsese brought it in this four hour Netflix Orginal.

1917 - Nominated for 10 Oscars including guaranteed Best Picture and guaranteed Best Director, 1917 takes place in real time and is shown in two takes. Brilliant cinematography and direction, this is one to see in theaters.

A Beautiful Day in the Neighborhood - Oscar Nominated for Best Supporting Actor, this movie brought me to tears. I grew up with Mr. Rogers and Tom Hanks absolutely kills it in this role.

The King NETFLIX ORIGINAL

Parasite - Nominated for 6 Oscars including Best Picture and Best Director. This Korean Film has the craziest plot I have ever seen in a movie. See it. You will be blown away.

Star Wars Episode IX: The Rise of Skywalker - Nominated for 3 Oscars including Best Score this was quite the underwhelming finale compared to Endgame, I mean a 42 year buildup and it just did not hit home like it should have. Now they ended the big three’s (Luke, Han, and Leia) arcs very well and FREAKING KYLO REN has become my all-time favorite character. We all need to thank Adam Driver for carrying this trilogy on his back as Rey, Finn, and Poe’s arcs where just meh. I do believe JJ did everything he could do with what he was given with The Last Jedi. All the fan service was amazing and very appreciated like bringing back Wedge, Lando, Han, Young Luke, Young Leia, Red 5, and Palpatine back for last ride. I will be in line at Target at 7am to pick up their exclusive packaged Ultra 4K Bluray and yes, I’ve already started the paperwork on financing the Best Buy exclusive complete Skywalker saga (I’m not joking).

El Camino: A Breaking Bad Movie NETFLIX ORIGINAL

Honey Boy PRIME ORIGINAL - 2019 was the comeback of Shia LaBeouf’s career. This movie was written by him and loosely based on his life. LaBeouf plays his father and brings the best performance of his career.

The Report PRIME ORIGINAL

Spider-Man: Far From Home

They Shall Not Grow Old NOW AVAILABLE ON HBO

Uncut Gems - Snubbed by the Golden Globes and the Academy Awards, the Safdie brothers deliver a masterpiece and the performance of Adam Sandler’s career.

Togo - DISNEY+ ORIGINAL

Frozen II - Nominated for Best Original Song, if it doesn’t win, lets riot.

Knives Out - Nominated for Best Original Screenplay, this Rian Johnson directed film was snubbed from every other category due to everyone remaining pissed off about The Last Jedi.

Toy Story 4 - NOW AVAILABLE ON DISNEY+ Nominated for Best Animated Film and Best Original Song, another underwhelming finale (that no one asked for, because we already got it with Toy Story 3), I still loved this movie and it is well deserved for best animated film but not more deserving than the snubbed Frozen sequel.

Little Women - Nominated for 6 Oscars including Best Picture, Best Actress, and Best Supporting Actress, Florence Pugh and the rest of the cast delivered in this reboot and this was a film I thoroughly enjoyed at home.

Richard Jewell - Nominated for Best Supporting Actress

The Peanut Butter Falcon

The Farewell

Harriet - Nominated for 2 Oscars including Best Actress

Klaus - NETFLIX ORIGINAL Nominated for Best Animated Film

Dolemite Is My Name - NETFLIX ORIGINAL Eddie Murphy’s triumphant comeback delivers. Definite snub, this is not the last we will see of Eddie in the coming months with Coming 2 America and Eddie’s much anticipated standup special

Missing Link - NOW AVAILABLE ON HULU Nominated for Best Animated Film

Joker - Leading the Oscars with 11 Nominations including Best Picture, Best Actor (guaranteed win), Best Director, Best Cinematography (Guaranteed win), Best Score (guaranteed win); Joaquin Phoenix delivers a career-defining performance (that still does not touch Heath Ledger’s) in a quite underwhelming plot with beautiful cinematography and a masterful score, this movie is turning the tides for the comic-book film genre.

Late Night PRIME ORIGINAL

John Wick Chapter 3: Parabellum NOW AVAILABLE ON HBO

Shazam! NOW AVAILABLE ON DC UNIVERSE

Fighting With My Family NOW AVAILABLE ON HULU

Long Shot NOW AVAILABLE ON HULU

Doctor Sleep

Hustlers

Fyre: The Greatest Party That Never Happened NETFLIX ORIGINAL

The Highwaymen NETFLIX ORIGINAL

The Laundromat NETFLIX ORIGINAL

The Aeronauts PRIME ORIGINAL

Always Be My Maybe NETFLIX ORIGINAL

Maleficent: Mistress of Evil - Nominated for Best Hair and Makeup

Chasing Happiness PRIME ORIGINAL

Good Boys

Fast and Furious Presents: Hobbs and Shaw

Aladdin NOW AVAILABLE ON DISNEY+

Captain Marvel NOW AVAILABLE ON DISNEY+

The Lego Movie 2: The Second Part NOW AVAILABLE ON HBO AND HULU

Isn’t It Romantic NOW AVAILABLE ON HULU

Detective Pikachu NOW AVAILABLE ON HBO AND HULU

Lady and the Tramp DISNEY+ ORIGINAL

MIB: International NOW AVAILABE ON HULU

6 Underground NETFLIX ORIGINAL

Noelle DISNEY+ ORIGINAL

Ad Astra - Nominated for Best Sound

The Lion King - NOW AVAILABLE ON DISNEY+ Nominated for Best Special Effects

It Chapter Two

Ready or Not

The Lighthouse - Nominated for Best Cinematography

Dumbo NOW AVAILABLE ON DISNEY+

Little NOW AVAILABLE ON HULU

Happy Death Day 2U NOW AVAILABLE ON HULU

Triple Frontier NETFLIX ORIGINAL

Extremely Wicked, Shockingly Evil and Vile - NETFLIX ORIGINAL Another gem from Netflix, Zac Efron gives the acting performance of his career as Ted Bundy.

Glass NOW AVAILABLE ON HULU - The final film in the Unbreakable trilogy that no one asked for...yet we didn’t know we wanted. This film was highly anticipated for a sad (yes, tears) ending to same great characters. Glass does not hold a candle to Unbreakable, nor Glass, but it is still loads of fun.

Dark Phoenix - They say they save the best for last...well it X-Men’s case, they don’t. This film was a polished turd with great acting from McAvoy and Sophie Turner.

Murder Mystery - NETFLIX ORIGINAL Oh look, another movie where Adam Sandler went on vacation with his buddies and said “lets get Netflix to pay for a Eurotrip by making a movie,” and then you get Netflix’s Murder Mystery. Looks like they will be paying for another vacation with 2021′s Murder Mystery 2. No, I am not kidding.

Wine Country NETFLIX ORIGINAL- This film had literally all the SNL power women except for Kristen Wiig...I wonder why? JK, horrible...no wonder it went straight to Netflix

Us NOW AVAILABLE ON HULU - The worst and most overrated movie of the year. I was so excited, I went to the theater opening night. What a disappointing follow up to Get Out and a complete waste of time. Do not watch this movie.

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confused-and-hurtzo · 6 years ago

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Grey’s S15

So... I pranked myself like I always do, and I decided to do a mini grey’s rewatch of seasons 12-15. To be completely honest, I didn’t watch season 13 or 14 entirely, and I wanted to understand this past season better. (I lowkey also wanted to see Deluca’s character development b/c I want to understand the man that Mer just said ‘I love you’ to). So here is a review of Grey’s S15, what I hope to see in S16, a rant on some comments I have seen on the internet about. I just need to let my thoughts out.

First of all, I am a big Grey’s Anatomy fan. Although I roll my eyes every time I say it's been running this long, this show has a special place in my heart. I started watching the show during my formative years, Cristina Yang basically raised my teenage self. I started in middle school, and now we are here, a year away from graduating my undergrad at UofT. I don’t want to discredit the amazing women that raised me, but I also don’t want to not mention Shondaland and its influence on who I am today. Overall, Grey’s is kind of like my bible, I rewatch it every time I need to feel comfortable, validated, and reasonable. Its storytelling has allowed me to understand so many things, such as addiction (s/o to Private Practice and Amelia Shepherd), family issues, loyalty, love, empowerment. Its most important lesson is that life goes on. No matter how hard it gets, it just keeps going, and that's the beauty of it. We all can take whatever it throws at us, and come on the other side, stronger and wiser. I hate it when people say that they miss the old Grey's, that they miss Derek or Cristina. It’s all very valid, I miss them too. However, that is life, people die, people move across the globe, and you just have to deal with that and move forward.

I really enjoyed this season because of its attention to detail. I know this sounds very odd, but, after watching S12, 13, and 14, I feel that this season was packed with references. It mostly stayed true to the characters' storylines and amended some plot holes from previous seasons. I love that the Mer-Tatcher storyline had a conclusion, I always wondered what happened to him after Lexie died. I also enjoyed meeting Alex’s mom, she is honestly a sweetheart. Benley’s story was so exciting, I am never concerned about them because they are perfect, but it is good to see them going through hard times. They brought back Teddy, which allowed Owen’s character to move forward. I loved that they gave Amelia a chance, we got a better explanation of why her family was not there, and her story became full-circle. There is more reference to the Mer’s kids, making us remember that she is a mom LOL. Finally, although he is a more recent character, I love Schmidt so much. He cracks me up, and his story is so underrated.

In this part, I will focus more on my favorite characters of the show and what I liked about them this season:

Meredith: I have to admit, I always thought I was Cristina Yang, but the more I reflect on this, the more I realize that I am more of a Meredith Grey. I am so proud of how far she has come, professionally and emotionally. She is a warrior. I love how happy she is this season. It's partly because of her new relationship, but also she is very stable now, with her kids, her award, her friendships. She is always working really hard to be a better person, and it takes a courageous person to admit that you need to improve and actually doing the work to be better. She understands her past and moves forward, motivating the people that love her the most to do the same thing. She has changed, for good. And, people may say that she is not the Meredith Grey she was in season 1, and I say that this is a good thing. She has grown up and learned from her mistakes (some of them, she was still afraid of I love you’s and committed insurance fraud, but some things don’t change lol). Cece was such a central character for her storyline, I loved how she allowed her to believe in herself and in life-after-love (yes, this is a Cher reference), which is why Merluca is a thing now. I high-key believe that Cece intentionally created the Link-Andrew-Meredith love triangle for Deluca to step up his game and show her how much she wants to be with her. After all, Cece was there when they talked about the kiss, she saw something, and finessed her way into making it a reality. I can’t help but smile at the fact that Mer is smiling like a teenager again, it fills my heart. I too loved Derek, but he died. That happens, it sucks. But, Mer has every right to move on and fall in love again. She deserves finding love again.

Alex: Alex as chief was my favorite thing this season. I love how he just got the job randomly, but this job allowed him to prove himself what he is capable of. Don’t get me wrong, I love Bailey as chief, but we all knew that she was going to be a great chief someday. I always root for the underdog, and in this particular situation, he was the underdog. My favorite part is when Bailey and Weber realized how good he was at the job because he understands that delegating is a thing (lol). I liked meeting his mom, that storyline just re-states how pure he is. I love how he doesn’t realize that Merluca is a thing, he is just completely oblivious. It broke my heart to see him freaking out about Jo because it made me realize how much Izzie scared him. He is the Most Improved Character of the show. Period.

Amelia: I love Amelia so much. She is often very misunderstood by some fans, but you all need to watch private practice to understand her better. I liked this season because it made justice to her and her journey. We learned a bit more about Christopher. We saw her being a mom with both Betty and Leo. We saw her helping Betty through her addiction. We saw her standing up for herself and end a relationship that had become very toxic. We saw her talk to her family and, more importantly, talk to her mom. We saw her rise above her love for Owen and let him be happy with Teddy. She has grown so much and this season allowed her to do that, which I am very grateful for. After rewatching S15, I now am a full Amelink stan. I love how they start their first significant interaction with Link word-vomiting his feeling about the overdose wave. He talks a lot, just like her, and he is willing to listen to her talking. One reason why Omelia didn’t work out was that Owen didn’t talk and Amelia felt that she shouldn’t talk either, leading to significant miscommunications. I also love that Link understands addiction a bit better than Owen, which is already a sign that this relationship has potential. I loved Omelia, they had a very awkward, sometimes funny, sometimes dark relationship and helped each other in very dark moments. They did love each other, in their own twisty way. However, I think that it kind of became an addiction for them to be together despite all the red flags, which is not healthy.

Jackson: I love Jackson, he has such a big heart. Kind of salty about Japril not being endgame, but we gotta move on. I loved how supportive he was with Catherine during the tumor surgery, their chemistry is so good. Like. It’s hard for me to believe that they are not actually mother and son. I love that he is a high-key Merluca shipper and how much he respects Richard Webber. I hope he doesn't die.

Deluca: OK... so I just going to say that I want him to be in peds so bad, he is the SOFTEST character atm, I am in love. He has also grown this season. I think its partly because the writers want us to believe he has now that he is dating THE Meredith Grey, but we stan this evolution. People always complain about how he didn’t want to date Maggie b/c she was his boss, and I would like to disagree with that to an extent. Yeah... the problem was that she was his boss, but the main issue was because he was afraid of the favoring situation, meaning that he didn’t love Maggie because was not willing to put up with what others would think about them. Sigh. Anyways... I enjoy how much depth his character is getting, learning about his family was important because we now understand the difficulties he has faced. He has shown that he is no longer an intern. I cringe every time people try to invalidate his character by pointing out how immature he was. No one on Grey’s is their intern self. Look at Alex, Mer, Bailey, SCHMIDT... everyone has grown out of their intern mistakes, so why should we just bring up Andrew’s to justify why Merluca shouldn’t be a thing? (and so what if he is not as mature as Mer? Mer wasn’t as “mature” as Derek, and no one batted an eye... double standards am I right?). The being beaten up by Alex storyline really shook him. He did say some irrational things, but how are you supposed to be 100% rational when you went through a very untenable situation? He deserves the benefit of the doubt and a second chance. Don’t tell me you all have never said impulsive things or had inappropriate crushes. Smh.

What I want to see in S16

Meredith in jail and her village supporting her.

Jo and Alex dealing with Jo’s depression in a compassionate and empowering way.

Teddy and Owen being parents and being in love.

I want a Towen wedding, just because I want everyone to look pretty AF.

Owen and Amelia being good friends. As much as I think Omelia is no longer a viable love relationship, I really like their chemistry, and I would like to see them becoming good friends.

Merluca being domestic with the kids and talking about their past. I want Mer to tell him about her losses, her feelings, her fears. I want them to talk about the age difference in a positive way. I honestly don’t see Mer getting pregnant, but like I always think about Ben and Bailey and how Ben just became Tuck’s dad and he loves him like his own son. I can see Andrew loving Mer’s kids in that way.

Andrew choosing peds and Alex mentoring him, just like Arizona. Team Peds 2.0?

I want to see Carina more, more insight into her character. She is always someone’s lover or just Andrew’s sister, but we don’t get to see her by herself.

Andrew just dealing with the sister trifecta. I want funny, light, comic relief interactions.

Knowing where the fuck Jackson is. I am ready to see him go, but I am also not prepared to see him go.

#grey's anatomy #meredith grey #alex karev #amelia shepherd #jackson avery #andrew deluca #merluca #amelink #omelia #towen #jolex

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fics-for-my-heart · 6 years ago

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Award (b.h.)

Summary: What really happened at the viewing party?

Word count: 1765

Warning: none, maybe some cussing

A/N: I’ve been going back and forth on if I wanted to post this or not lol. Hope you guys enjoy it! Also, you should see my docs, someone give me some motivation bc I have so many WIPs 😬

Masterlist

“Y/N?” Ben's voice was muffled by the music you had playing as you danced around getting ready for the viewing party. Being apart of Bohemian Rhapsody was a huge step in your career, but sadly only Rami was invited to the Globes.

You were so caught up in getting your makeup finished and singing along that you didn’t realize Ben standing behind you. “A gathering of angels appeared above my head. They sang to me this song of hope and this is what they said. They said come sail away come sail away.”

“Come sail away with me.” Ben sang in response.

You jumped around and laughed before continuing. “Come sail away, Come sail away”

Ben took your hand in his and spun you. “Come sail away with meeeeeeeee.”

As you spun away you paused the music, still laughing. “Well don’t you look sharp.” You adjusted his tie before wrapping your arms around him. “I missed you.”

He kissed your head, returning the hug. “You look very lovely yourself. And I missed you too.” He smiled, pulling away and watching you slip into your shoes. “Are you ready? Joe and Gwil are already there.”

You grabbed your clutch and nodded, taking Ben’s extended elbow and heading to the car.

“Are you nervous?” He asked, watching you twist your bracelet on your wrist as the city speed by the window.

“Kinda? It’s the first award the movies been up for. Also Rami deserves it, he did so well. I just wish we could have been there.”

“Me too. But, at least we all still get to be together.” He patted your hand, leaving his over yours for a few beats before pulling away. The conversation easily went into the progress of the most recent projects you’d each been working on.

That’s how it always had been with Ben. Easy conversation, just kinda clicking. But you two weren’t together, although you wouldn’t say no if he asked. After spending every second together from shooting the film to falling asleep together during movie nights, the two of you had grown close.

There had been a few almosts for you. Like when you woke up curled into him and he looked so peaceful that it took everything in you not to kiss him. Another time was when you were sick and he stayed with you all day even though he was suppose to be on set. He made you soup and tea and he even read to you. You felt so soft about it, it was difficult not to confess your feeling right then.

When the car pulled up to the building, there were a few photographers outside the mini red carpet. Ben helped you out of the car and lead you with a hand on your lower back. The two of you stopped for a few pictures and to talk with some people but seeing as this wasn’t a big event, there weren’t many interviewers.

“That never gets easier, does it?” You asked Ben as the two of you made your way inside.

He laughed, swiping two flutes of champagne from a passing waiter, handing one off to you. “If you know the interviewer it’s not as bad. But you just have to have fun with it.”

Before he could say anything more you were each wrapped in a pair of arms. “About time!” Joe's head was propped onto Ben's shoulder as Gwil rested his chin on your head. “Y/N, you look absolutely lovely.”

Gwils head moved over yours in agreement. “Thank you. How’s the party so far?”

The boys released you and Ben, giving you the opportunity to hug Joe while he filled you in. “Lucy went to the red carpet with Rami, but she will be here for the viewing party. I know Rami is coming here after the show, his mom and brother are here somewhere.” He lead you away from Ben and Gwil, who seemed to be in a serious conversation, and took you to the buffet. “Food and drinks are all here and they have a bunch of screens set up for when the show starts.” Joe handed you a plate, taking one for himself and starting on the food.

“Wow they really went all out. It smells amazing.” Your stomach silently grumbled as you scooped some potatoes into your plate.

Once you and Joe had plates, you followed him to a table and started eating and talking with everyone else at the table. When you first pictured the party, you had this hectic idea in your head, and you were glad it wasn’t as crazy. There was some mellow music playing and chatting all around. It was all very nice.

As conversations continued, you started remembering all it took to get here. Creating a bond with the boys and Lucy, all the retakes and late nights. The pranks you’d all pull, and getting to know Brian and Roger.

You hadn’t realized you’d zoned out till something icy touched your bare shoulder. “Ah! Cold!”

Ben pulled the chair closer to you and sat down. “Sorry love, I brought you a beer.”

After a long sip you sighed. “Thank you. Where’ve you been? You were having a pretty deep conversation and the poof you were gone.” You pokes his leg with your toe.

“Oh, nothing. That was just about the rugby game.” His face was flushed, but you couldn’t tell if it was from the alcohol or not.

“Well, I’m glad you joined us.” You smiled, tapping the neck of your beer against his.

“Me too.” He responded as you turned back to listen to Gwil, you missed the dreamy look in his eyes.

About an hour later, everyone had eaten and was moving around talking when the show started. You’d just finished speaking with Ramis brother when you noticed Ben watching you with a soft look. You raised an eyebrow and he smiled, nodding to the spot beside him.

“Thanks for saving me a seat.”

“No one else I’d rather sit beside.” He laughed, nudging you slightly with his shoulder.

“Except me.” Joe said, wiggling his way to the other side of Ben. “I’m just glad you separated them.” He pointed at Ben then at Gwil who was sat beside you.

Gwil mocked shock. “I take great offense to your lack of support, Joseph.”

“You didn’t mind his lack of support of our love.” Joe huffed, crossing his arms.

“Boys. Boys. There’s enough of me to go around.” Ben said, holding his arms up.

“You sure Y/N would want to share you?” Gwil asked.

You picked up your drink from the table and sat back, thankful they could see the heat rising up your neck. “He’s all yours boys.”

They bickered back and forth for a bit before Lucy showed up. She talked about how exciting it was to walk the carpet with Rami, and how nervous he was, and before long it was the start of the show.

The beginning was slow, and rough. The opening was cringe worthy, and it took awhile for them to actually start announcing winners. It was exciting to see Rami, Brian, and Roger sitting front row, and the closer it got to the end the more the energy in the room shifted to a nervous one.

When Julianne Moore and Richard Gere walked out and started talking the entire room went silent. Ben's hand slowly wrapped around yours as he leaned forward a little.

“And the golden Globe goes to...Rami Malek!” Juliann said as the room erupted.

Cheers and whoops and hugs went around as Rami made his way to the stage. Ben wrapped his arms around you in a hug and gave a sigh of relief before turning and hugging Joe, still keeping his arm over your shoulder.

Ramis speech was beautiful. Joe yelled “come at me” when he said he was going to tackle the boys, and when he dedicated the award to Freddie you couldn’t hold back the tears.

Ben's thumb gently swiped under your eye and he pulled you closer. The room grew quiet again as Nicole Kidman walked out and introduced the last category. Everyone stood still, even the waiters stopped moving around to listen.

“And, the Golden Globe goes to...Bohemian Rhapsody!” She announced, as once again the room erupted.

You started crying again, as Bens arms went straight up and he wooed. Everyone was hugging and cheering. When Ben turned back to you, he had a huge grin on his face as both hands cupped your cheeks, wiping the tears away again before closing the distance and kissing you.

Everything stopped, all you could feel was Ben's lips on yours as you kissed back. Your ears were ringing, and when you pulled away you realized it was because everyone was cheering again, this time for you and Ben.

“I’ve wanted to do that for so long.” He laughed, resting his forehead against yours. You licked your lips and just looked at him for a long moment. His eyes grew worried the longer you took to respond. “I’m sorr-..”

You covered his lips with your finger and shook your head. “I’ve wanted to do that for a while too.”

A boyish grin was on his face again as he scooped you up and spun you, kissing you once more.

“Fork it over.” You heard Gwil say, his hand out as Joe grumbled under his breath while digging in his wallet.

“The one time I’m wrong. And I lose $50.” He slapped the bill into Gwils hand. “About damn time though.” A smile spread across his face as he hugged you both at once. “I’m going to get us a round of shots to celebrate!”

Gwil move closer and whispered. “Ben told me he was thinking about doing it, and he sounded pretty serious. But I may have down played it when I told Joe.” He laughed, kissing the top of your head. “I’ll give him back his money at the end of the night. Maybe.” He patted Ben’s back before following after Joe.

Ben looked down at you and smiled. “Hi.” He whispered. Wrapping both arms around your waist.

“Hi.” You couldn’t stop the smile that spread across your face.

Slowly, he moved closer, and you pushed up on your toes, meeting him halfway. This time the kiss was more serious, everything you’d wanted to say to each other but weren’t sure how.

When you pulled away, Ben laughed. “Rami may have won a globe but I think I got the best award of the night.”

Tags:

@hermionedeservesbetterthanron @unlikelysamwinchesteronahunt

#ben hardy #ben hardy fluff #ben hardy x you #ben hardy x reader #ben hardy fanfic #ben hardy imagine #bohemian rhapsody #borhap

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brandi-the-fine-girl · 6 years ago

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76th Golden Globe Awards Predictions

Let’s be real here. The Golden Globes are the biggest joke of Hollywood (right after the Emmy’s that is). Remember when they nominated The Tourist in the Comedy/Musical category? Or when they gave the Golden Globe for Best Supporting Actress to Jennifer Lawrence instead of Lupita Nyong’o? Or when Get Out was nominated in Comedy/Musical (even though, yes, it was a dark comedy at times)?

So it comes as no surprise that this year’s list of nominees follows the same path. The Golden Globes are the biggest wild card of all award shows and the Hollywood Foreign Press loves to throw curveballs. With that said, here are my predictions for the 76th Golden Globe Awards.

Best Motion Picture - Drama

Will win: A Star Is Born

Should win: A Star Is Born

Dark Horse: Black Panther

Look, I loved Black Panther. And the fact that it has gained this much momentum during award season is a victory for Marvel Studios. But I’m expecting a sweep for A Star Is Born. Now, that doesn’t mean ASIB will maintain this momentum for the rest of award season. The HFPA likes to play favorites and I’m sure ASIB will be this year’s Three Billboards Outside Ebbing, Missouri (which won four Golden Globes last year). But a win for Black Panther would be huge and make it a bigger contender for the Oscars.

Best Motion Picture - Comedy/Musical

Will win: Green Book

Should win: Crazy Rich Asians

Dark Horse: Mary Poppins Returns

The Comedy/Musical category is always the oddball category (see above about The Tourist and Get Out). And it’s typically the category where anyone can win. I’m going to go with Green Book since it won the People’s Choice at TIFF this year but with a diverse voting roster (it is the Hollywood FOREIGN Press after all), I wouldn’t count out Crazy Rich Asians.

Best Director

Will win: Alfonso Cuaron, Roma

Should win: Alfonso Cuaron, Roma

Dark Horse: Adam McKay, Vice

For me, I believe this is the only category A Star Is Born will not win. Cuaron’s beautifully stunning and heartbreaking semi-autobiographical film was featured on Obama’s list of films he saw in 2018. Bradley Cooper’s first directorial feature is a stunning accomplishment but it doesn’t match Cuaron’s ability to paint the anguish and loss in Roma.

Best Actor in a Motion Picture - Drama

Will win: Bradley Cooper, A Star Is Born

Should win: Rami Malek, Bohemian Rhapsody

Dark Horse: John David Washington, BlacKkKlansman

With a possible loss in the Directing category, Bradley will most like scoop up the Actor in a Drama award. Sure, his character was doomed from the start and it makes for a great challenge for an actor like Bradley. But Rami’s complete transformation into Freddie Mercury has me convinced he should win. Don’t count out John David Washington in BlacKkKlansman though. He’s new to the scene as an actor (he is Denzel Washington’s son) but his performance is definitely one to look out for.

Best Actress in a Motion Picture - Drama

Will win: Lady Gaga, A Star Is Born

Should win: Glenn Close, The Wife

Dark Horse: Melissa McCarthy, Can You Ever Forgive Me?

Once again, I’m predicting a sweep for A Star Is Born but I don’t think Lady Gaga will snag two Oscars come Oscar night (that is, if she is nominated for songwriting and Best Actress). Glenn Close is well overdue for some awards love and it seems like her time might come.

Best Actor in a Motion Picture - Comedy/Musical

Will win: Christian Bale, Vice

Should win: Christian Bale, Vice

Dark Horse: Lin-Manuel Miranda, Mary Poppins Returns

It’s hard for me to choose anyone else when Christian Bale is in a category. This is the man that got rail thin for his roles in The Machinist and The Fighter (the latter of which he did win Best Supporting Actor at the Oscars) and bulked up for Batman Begins (gaining 100 pounds) almost six months after filming The Machinist. His transformation into the notorious Dick Cheney seems like typical awards bait to me. But let’s not count out the lovable Lin-Manuel Miranda. The man works hard on stage and screen. I’d love to see a win for him

Best Actress in a Motion Picture - Comedy/Musical

Will win: Olivia Colman, The Favourite

Should win: Constance Wu, Crazy Rich Asians

Dark Horse: Emily Blunt, Mary Poppins Returns

The category is such a wild card for me. I’m sure by the end of 2019, everyone will know who Olivia Colman is. From the little bit I’ve seen of The Favourite, she’s amazing. However, I do think Constance Wu is more deserving of the accolades. This category could really go to anyone and with the lovable Emily Blunt also nominated, it could possibly go to the legendary Mary Poppins herself.

Best Supporting Actor in a Motion Picture

Will win: Mahershala Ali, Green Book

Should win: Timothée Chalamet, Beautiful Boy

Dark Horse: Adam Driver, BlacKkKlansman

Look, before you rip me to shreds, here me out. I have loved Mahershala Ali since he was on House of Cards and he was painfully robbed in 2017 when the HFPA gave Best Supporting Actor to Aaron Taylor-Johnson instead of Mahershala. It feels like Mahershala deserves the accolades as a “sorry we gave it to someone else and then you ended up winning the Oscar anyways.” However, I just watched Beautiful Boy last night and Timothée kills it. I’m not some crazy fangirl. I just know a good performance when I see one. Let’s not count out Adam Driver, though, who knocks it out of the park in BlacKkKlansman.

Best Supporting Actress in a Motion Picture

Will win: Amy Adams, Vice

Should win: Regina King, If Beale Street Could Talk

Dark Horse: Claire Foy, First Man

Since Amy Adams most likely won’t win for Best Actress in Mini Series (more on that later), I’m hoping this is where she gets her due. The woman is long overdue for the awards love (a lot like Glenn Close). She’s basically the female Leonardo DiCaprio, if you must. The fact that Regina King did not nab a SAG Award nomination for If Beale Street Could Talk is a little ominous (side note: the acting branch is the largest branch of the Academy and a lack of SAG nomination is very telling). I like to hope that she can pick up a Globe as recognition for her stunning work. To me, Rachel Weisz and Emma Stone split the vote so my Dark Horse goes to Claire Foy. I wouldn’t be surprised if HFPA voters’ obsession with her throws us a curveball in this category.

Best Screenplay

Will win: Adam McKay, Vice

Should win: Alfonso Cuaron, Roma

Dark Horse: Bryan Hayes Currie, Peter Farrelly, Nick Vallelonga, Green Book

This is usually a difficult category considering the Oscars split the Screenplay category into Adapted and Original. The HFPA likes to play it safe by awarding previous winners and nominees so I’m going with Adam McKay who won the Oscar for The Big Short. Alfonso Cuaron is equally deserving if Best Director doesn’t go his way. But come Oscar time, I’m expecting a win for Green Book.

Best Original Score

Will win: Alexandre Desplat, Isle of Dogs

Should win: Ludwig Goransson, Black Panther

Dark Horse: Marco Beltrami, A Quiet Place

Alexandre Desplat won last year for The Shape of Water (a well-deserved win if I do say so myself) but I feel Ludwig Goransson may have a chance here.

Best Original Song

Will win: “Shallow”

Should win: “Shallow” or “All The Stars”

Dark Horse: “Girl in the Movies”

Probably the easiest category of the evening. You can’t turn on any radio station without hearing “Shallow.” And rightfully so. The dynamic between Bradley and Gaga is mesmerizing and Gaga’s high note is the most memorable part of it. However, I wouldn’t mind some recognition to “All The Stars.” Personally, I feel like “Pray For Me” is the better song but let’s give some love to Kendrick and SZA if we can.

Best Animated Feature Film

Will win: The Incredibles 2

Should win: The Incredibles 2

Dark Horse: Spider-Man: Into the Spider-Verse

I mean, no contest, this one goes to The Incredibles 2. Very rarely does Pixar lose an award (exceptions go to Cars 2 and Monsters University) but if it does, Spider-Man: Into the Spider-Verse might take it.

Best Foreign Language Film

Will win: Roma

Should win: Roma

Dark Horse: Girl

Again, no contest, Roma. But Girl could take it since it won the Caméra d’Or and the Queer Palm at the Cannes Film Festival in 2018. Unfortunately, the film did not make the short list for the Best Foreign Language Film category for this year’s Oscars so maybe it may get its due here.

Best Television Series - Drama

Will win: The Americans

Should win: The Americans

Dark Horse: Pose

After six seasons, The Americans ended on a high note. It felt painfully under-appreciated at the Emmys this year, so maybe this is where it will get its due. However, don’t overlook Pose since everything Ryan Murphy touches turns to awards gold.

Best Television Series - Comedy/Musical

Will win: Barry

Should win: Barry

Dark Horse: Kidding

After winning big at the Emmys, I’m predicting some major love for Barry. The Marvelous Mrs. Maisel is last year’s winner which may hinder Barry’s chances but the HFPA does tend to choose different winners every year.

Best Actor in a Television Series - Drama

Will win: Matthew Rhys, The Americans

Should win: Matthew Rhys, The Americans

Dark Horse: Richard Madden, Bodyguard

After scooping up an Emmy, Matthew Rhys will probably continue his awards sweep with a Golden Globe. Billy Porter may give him a run for his money in Pose (he was also wonderful in American Horror Story: Apocalypse). If we want a shocker, the HFPA could go with Richard Madden in Bodyguard. Good looks aside, Madden portrays a former British Army sergeant with PTSD fantastically. It is unclear if Bodyguard has been greenlit for a second season but a Globes win might cement that status.

Best Actress in a Television Series - Drama

Will win: Sandra Oh, Killing Eve

Should win: Keri Russell, The Americans

Dark Horse: Julia Roberts, Homecoming

One half of our emcees for the evening, expect Sandra Oh to pick up a Globe as well. Keri Russell was horribly robbed at the Emmys so she is more deserving for her final season of The Americans. America’s Sweetheart Julia Roberts is a threat to these two with the inaugural season of her Amazon Prime series Homecoming. Here’s where you can possibly expect a big shocker but I’m still sticking with Ms. Christina Yang herself.

Best Actor in a Television Series - Comedy/Musical

Will win: Bill Hader, Barry

Should win: Bill Hader, Barry

Dark Horse: Jim Carrey, Kidding

I’ve always had a soft spot for Bill Hader since he was on Saturday Night Live. Starring as a former Marine-turned hitman-turned aspiring actor is the most Bill Hader thing that Bill Hader could possibly do. Jim Carrey has been placing himself more in the comedy/drama (aka “dramedy”) category as of recent years so don’t count him out in this race.

Best Actress in a Television Series - Comedy/Musical

Will win: Rachel Brosnahan, The Marvelous Mrs. Maisel

Should win: Alison Brie, GLOW

Dark Horse: Kristen Bell, The Good Place

Rachel Brosnahan could possibly be a repeat winner here. Season two of The Marvelous Mrs. Maisel is getting just as great reviews as season one did (if not as great, then better). Personally, I feel Alison Brie deserves it but Candice Bergen may come through with the win as well. However, this Kristen Bell’s first-ever Golden Globe nomination so she could very well take it.

Best Actor in a Miniseries or Television Film

Will win: Darren Criss, The Assassination of Gianni Versace: American Crime Story

Should win: Darren Criss, The Assassination of Gianni Versace: American Crime Story

Dark Horse: Hugh Grant, A Very English Scandal

We’ve come a long way since A Very Potter Musical, haven’t we? Darren Criss’s portrayal as Versace’s murderer Andrew Cunanan is one of the best performances I’ve seen in recent years. The creepy smile underneath his hand as he sees the news that Versace has been killed makes him a lock for this category.

Best Actress in a Miniseries or Television Film

Will win: Laura Dern, The Tale

Should win: Amy Adams, Sharp Objects

Dark Horse: Regina King, Seven Seconds

Like I said above, I’m hoping Amy Adams will get her due in the Best Supporting Actress category because it seems like she won’t get it here. Laura Dern is a favorite of the HFPA so she most likely will win. Amy Adams is the more deserving here but if things don’t work out for Best Supporting Actress, I’m hoping the HFPA does a flip-flop gives it to her here. Regina King won the Emmy for Seven Seconds but she seems like a long shot here.

Best Supporting Actor in a Series, Miniseries, or Television Film

Will win: Henry Winkler, Barry

Should win: Edgar Ramirez, The Assassination of Gianni Versace: American Crime Story

Dark Horse: Kieran Culkin, Succession

It’s always been odd to me that the Golden Globes don’t split their supporting television categories. Sure, it makes for great competition but it’s also incredibly unfair. I’m going with Henry Winkler in Barry (who was well overdue for that Emmy) but Edgar Ramirez definitely should be the winner in my eyes. Kieran Culkin (the only nominee for HBO’s Succession) could pull a surprise win here.

Best Supporting Actress in a Series, Miniseries, or Television Film

Will win: Penélope Cruz, The Assassination of Gianni Versace: American Crime Story

Should win: Penélope Cruz, The Assassination of Gianni Versace: American Crime Story OR Patricia Clarkson, Sharp Objects OR Thandie Newton, Westworld

Dark Horse: Yvonne Strahovski, The Handmaid’s Tale

This is, quite possibly, the most competitive category of the entire award show. And, yet again, another reason why it’s absurd that the Golden Globes don’t split their supporting television categories. Alex Borstein and Thandie Newton both have the upper hand in this category since they both won Emmys in the supporting actress categories in comedy and drama, respectively. But their recent Emmy wins could cancel them out, making way for either Penélope Cruz or Patricia Clarkson to nab the award. I’m going with Penélope though since she was robbed of the Emmy. I am hoping for an Emmy win for Patricia Clarkson come September.

Best Miniseries or Television Film

Will win: The Assassination of Gianni Versace: American Crime Story

Should win: The Assassination of Gianni Versace: American Crime Story

Dark Horse: A Very English Scandal

Riveting from start to finish with stunning performances from the cast, Versace is a lock. In any other year, I’d give it to Sharp Objects but the show also lagged a bit. If I hadn’t read the book, I might have been bored. The series was more of a performance piece for the actors instead of being a masterpiece as a whole. Versace has it all. And, of course, it’s another Ryan Murphy masterpiece.

Andy Samberg and Sandra Oh host the 76th Golden Globe Awards on Sunday, January 6 at 8 pm EST/5:00 pm PST.

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reelgalsofglasgow-blog · 6 years ago

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The Golden Gals: The Reel Gals Academy Awards

The time has come. The envelopes have been sealed (with the right cards in each - we hope). We’ve been sewn into our best outfits. In lieu of an exuberant opening musical number featuring the ubiquitous James Corden, please enjoy a short clip of the best Oscars moment ever:

youtube

Honestly, if this year’s ceremony doesn’t open with just those fourteen seconds on a loop for a solid seven minutes, we’ll be sorely disappointed.

...

We know that all you’ll be thinking about now is that clip and basking in how gloriously weird it is… so maybe take a few minutes, watch that clip another eight or so times just to be sure; grab yourself a cuppa and settle in - because it’s time to announce our own Reel Gals Academy Award winners! The ‘Osc-hers’, if you will.

Ask any professional in TV - and they’ll tell you that the best entertainment always starts not with an idea or any spark of passion… but with a spreadsheet. Spreadsheets are the equivalent of Amino Acid for British TV programmes. Boring, but true. So we put together a spreadsheet listing each category and, depending on how many nominees, numbered them 1-5 (or 1-8 in Best Picture’s case) where 5 = favourite nominee. Then the magic spreadsheet worked out the average for us because damn, we’re not NASA.

With all our votes cast (unfortunately four of the categories had to drop as we just couldn’t get viewing copies in time - sorry Documentaries, Short Docs, Live Action Shorts and Foreign Language films!) our WhatsApp group chock full of planning for hectic last-minute trips to the cinema, trailer breakdowns, Spotify playlists, Adam Driver spam [Sorrrrry ~ Jen] and late night Netflix binges - we’re ready to present our own personal winners of each category - JUST in time for the ceremony itself.

Will we be as off-the-mark as the Academy not putting Emily Blunt up for a Lead Actress nomination for her stellar work in A Quiet Place? Or will it turn out that we are actually a collective of omniscient New Age Mystics, ordained by the gods of Hollywood themselves - imparting our sage wisdom and knowledge of the Future? Who can tell? Not us. (Or can we??)

So, get Red Carpet ready and join us for our 2019 Oscars picks and their close-fought runners-up, as voted for by us!

LEAD ACTOR

1. Christian Bale - Not gonna lie, it’s difficult to completely lavish Bale with praise considering that a major part of the prep in his transformation into the illusive Dick Cheney was “eating a LOT of pies”. If I was paid on the premise of my pie eating abilities, I’m pretty sure I would be up for an award too, just sayin’. Anyway, he does a pretty good damn job of depicting someone that no one really knows a great deal about in the first place, especially viewers outside the UK (I had to google him twice). His flair for delivering an all consuming, intense and seminal performance is as apparent as ever despite the layers of latex and make up to contend with. Particularly during the heart attack scene in which I found myself worryingly questioning how much red meat and cream I’d had in the last month. It worth saying that his performance owes a great deal to the aforementioned hair and makeup team, whose work is nothing short of astonishing. It’s literally the only Christian Bale film in which I’ve never been attracted to Christian Bale, for real. Considering that his last Oscar win was in 2011 for The Fighter, another dramatic, transformative role then he might be in with a chance. The voters have shown time and time again that they award convincing portrayals of famous figures so I reckon It’s a toss up between Malek and Bale this year, although with utmost respect to Malek, I hope it’s the latter. [~Marie]

RUNNERS UP:

2. Viggo Mortensen

3. Rami Malek

LEAD ACTRESS

1. Olivia Colman - So, I always hear “Olivia Colman can do no wrong” and I have to admit that The Favourite is absolutely no exception. I first stumbled across her while heavily invested in Peep Show during my late teens, but it was really in Broadchurch that I fell in love with her as an actor (and while watching her acceptance speech for her recent BAFTA win, I fell in love with her as a person). I know that us Reel Gals were definitely a little divided regarding The Favourite as an overall film, but I don’t think any of us will have any major qualms if she picks up the Oscar this weekend. Her performance and portrayal of Queen Anne more than deserve it, and I stumbled around looking for the perfect phrase to express this embodiment, and her ability to make us empathize with this rather “brutish” historical figure. In the end what sums it up is Colman’s lack of fear to exhibit ‘grotesque charm’ balanced with her open vulnerability in the role of Queen Anne that (along with the other female-lead performances) kept the film afloat for me. [~ Kayleigh]

RUNNERS UP:

2. Yalitza Aparicio

3. Lady Gaga

BEST SUPPORTING ACTOR

1. Mahershala Ali - Ali, to me is one of those faces (handsome faces) that, when you see, you can't quite put your finger on and when you IMDb search him you find yourself saying “Oh yeah, that's what he's in”, and to me that includes the fact that I forget about his Academy Award winning performance in Moonlight. After Green Book I don't think I'll be forgetting him again and us Gals believe he should be receiving his second Oscar tonight to join his BAFTA and Golden Globe for the performance. His portrayal of Classical and Jazz pianist Dr Don Shirley is the perfect accompaniment and antithesis to the uncouth Tony Lip portrayed by Viggo Mortensen. I don't know enough about Dr Don Shirley to say that Mahershala embodies him, but I don't think that matters as much as the feeling watching his performance gives the viewer. You can feel his frustration with Tony during their road trip, you can feel his loneliness in the hotels at night, you can feel his passion for music and playing the piano, you can feel his anger at how he is treated by the ignorant white southerners purely based on the colour of his skin and you can feel his love in the tear inducing final scene. Any performance that can make me empathise with the emotions of an American male, mid-30s, black, upper-class, talented performer trying to overcome racism and ignorance in the American Deep South in the 60s (and if you hadn't guessed I fit none of those categories), is a powerful performance indeed. Good luck Mahershala! [~Robyn]

JOINT RUNNERS UP:

2. Richard E Grant / Adam Driver

BEST SUPPORTING ACTRESS

1. Regina King - This may well have been the easiest category for me to vote on. (Even though I actually felt that this year showcased a whole lot of strongly-delivered performances, by so many talented women.) Regina King - wow - what a badass lady right there. I thought that the acting from all parties in If Beale Street Could Talk was so incredibly sincere, but especially that of King's. Together with the colour palette, soundtrack and cinematography, I was honestly so moved by the whole film (and am *entirely gutted* that it's been overshadowed by its competitors). I have only one complaint about IBSCT and that is that Regina King should have got more screen time. Everything I've seen King in I've loved and I have to admit that I was just happy to see this nomination, let alone think that her performance in IBSCT was flawless and even although she has some tough competition, that she fully deserves to win the Oscar. If Beale Street Could Talk represents love, passion, strength and power, whilst addressing themes such as race and equality - everything this film stands for, Regina King embodies in herself as a person and channels in her character, Sharon Rivers. It was refreshing to watch King and just believe her, believe in her character and believe in her as woman and a mother. You will forever be one of my heroes Regina, thank-you for sharing your talent. [~Katie]

RUNNERS UP:

2. Rachel Weisz

3. Emma Stone

BEST DIRECTOR

1. Spike Lee - I’m almost pained to admit that my first experience of a Spike Lee film only came about during my 3rd year of studying film at uni (for shame). The module was ‘The Importance of Soundtrack’ and in particular, the inclusion of pop, hip-hop & R&B music to accentuate social commentary and help establish mood, setting and underlying tension that any director worth their salt can’t express through dialogue alone. I remember leaving the tiny Gilmore cinema on a Tuesday afternoon having watched Do the Right Thing and feeling unusually energised, awake and slightly angry - but in a good way. Cut to roughly 7 years later, I’m leaving Cineworld, on my 29th birthday, no less, after a screening of BlacKkKlansman, still vibrating with anger and frustration 5 minutes after the film ended. It’s the most powerful last 10 minutes of a film, but it’s not Spike Lee’s best. Nor do I think it’s the best film of the year (although I’m possibly in the minority of my Reel Gals peers in saying that). However, in light of a barrage of recent injustices in the US - social and political - it cannot be considered anything less than a vital and timely film which (despite its shortcomings) deserves all the Oscar attention it gets. Lee is a complete master in his unique ability to inject comedy and style into a hard-hitting subject matter such as blind, racial hatred. Since next year will mark the 30th year since Lee’s first infamous Oscar snub, I feel like it’s only right that the academy should Do the Right Thing (heh, you see what I did there..?) and honour him for managing to stay angry (or #woke, if you prefer) and keeping us angry - in a good way. [~Marie]

RUNNERS UP:

2. Alfonso Cuarón

3. Yorgos Lanthimos

BEST ANIMATED FEATURE

1. Spider-Man: Into the Spider-Verse - If you were to pause this film on any frame, you could print it and hang it on your wall. Every single frame is a work of art. The Best Animated Feature category was extremely strong this year with the usual gorgeous Pixar and Disney outings that ordinarily would have snatched the title as they have done in previous years. Such is the power and unique brilliance of this film to take on the two Animation behemoths at their best and come out on top. Boasting twice the normal number of animators (177!!) to bring to life Phil Lord and Christopher Miller’s vision for Miles Morales’ colourful and diverse world, it utilises a glorious twist of new and old forms of animation as well as ideas from print - halftones, hatching and overprinting as well as inserting comic cells and onomatopoeic graphics (“THWIP!” and “BAGEL!” are particular favourites). Not only have we mixtures of frame-rates for characters within the same frame (Whaaaaat?!) to denote Miles’ initial clumsiness versus the other Spider-People’s practised grace; but we’re treated to mixtures of graphic styles with Manga, Noir and classic American cartoon for each of the Multi-Verse Spiders - which shouldn’t work, but does here so, SO well. It’s easy to understand how 10 seconds of final cut content took an entire year for 177 people to create. Lovely little touches like characters stepping into Noir’s space being affected by his immediate ‘windy’ environment and the hand-drawn overlays and inserted comic style frames make this the most exciting, innovative and beautiful-looking animated film not only of 2018 but we believe also of the last decade. It is a true cinematic experience and one that not only deserves the Oscar, but also deserves recognition for changing the landscape of what’s possible for film animation. Also, not going to lie - a lot of us came out of the film inexplicably attracted to Peter B Parker and wish he was real. We would buy that man as many bagels as he wants, for sure. [~Jen]

RUNNERS UP:

2. Isle of Dogs

3. Ralph Breaks the Internet

BEST ANIMATED SHORT

1. Bao - Pixar shorts. They are great. One of the Reel gooduns is, Bao. It’s kinda silly, it’s a bit weird, but ultimately it does what Pixar does best. It taps into very touching, emotional aspects of the human condition. Bao is a 2018 computer-animated short film written and directed by Domee Shi and produced by Pixar Animation Studios. It was released with Incredibles 2 on June 15, 2018. It’s the shortest film of the shorts-lineup. Focusing on a middle aged mother is a wonderful perspective to choose. The film is about an ageing Chinese-Canadian mother, suffering from empty nest syndrome. She receives a rather unusual second chance at motherhood when she makes a baozi dumpling that comes to life as a boy. The film takes you by surprise at several points, after being lulled into a place of “OK, maybe this human baozi is something I can get on board with”, but it ends on a beautiful note. So, as Danny Devito once put it: “I like it, I love it, I want more of it”. [~ Caroline]

RUNNERS UP:

2. Late Afternoon

3. One Small Step

BEST ADAPTED SCREENPLAY

1. BlacKkKlansman - Last year Get Out won the award for best original screenplay for its haunting, hilarious, terrifying, and almost ridiculously scary tale. Some thought this tale of fiction was too simple in its over-the-topness, but the message it wanted to pass was far from it. This year, the equally unbelievable and extremely important story of racism and bigotry comes in an adapted script form based on the true reports of police officer and KKK infiltrator Ron Stallworth. Released as a memoir in 2014 by Stallworth, screenwriters David Rabinowitz and Charlie Wachtel were shocked to find out that no studios even bothered buying the rights to this unbelievable tale and independently adapted the work. It’s not just a brilliant story cause of what happened. It’s not just an amazing comedy cause of the clever dialogue. Its ingenuity, lies on how contemporary this ‘period’ piece reads. From dialogue that feel as if you’re reading the latest Trump supporter’s tweets, to the unbelievable and unapologetic beliefs some have and march for even today. And in case quotes from the Grand Duke of the KKK like ‘I just want to make America great’ didn’t give the film a terrifying enough case of the ‘history is repeating itself’, the brilliant end scene sure does. Thank you for your public service, one day *hopefully* we’ll learn from past mistakes. [~ Lia]

RUNNERS UP:

2. Can You Ever Forgive Me?

3. The Ballad of Buster Scruggs

BEST ORIGINAL SCREENPLAY

1. Green Book - Well, I can genuinely say that Green Book is one of the most beautifully written and delivered films I have been blessed with watching at the cinema in a long time. Based on a true story, it invites the audience to join a world class African-American pianist and his Italian-American driver from the Bronx, on a concert tour of the Deep South in the 60′s - a difficult storyline, fraught with potential pitfalls, executed in a gentle and respectful way. Named after a legitimate travel guide that listed businesses that would accept African-American custom, Green Book confronts infuriating themes such as racism, segregation, class and sexuality – all of which are still issues today. The story encapsulates the growth of an unlikely partnership between the musician Dr Shirley (Mahershala Ali) and Tony Lip (Viggo Mortensen) – quick note to talk about how outstanding, heart-warming and believable their performances were – as with time, the begin to respect, understand and care for each other. [Obviously there are questions about why Green Book would frame a story about racism in the Deep South around a white man’s experience - and have the man of colour take a back seat. Literally. My takeaway from the film was mostly that people aren’t defined by their class as much as they aren’t by their colour - just because Dr Shirley is black does not mean he ought to fall into tired old stereotypes - just because Tony is poor (by comparison) and working class, doesn’t mean he can’t enjoy the ‘perceived spoils of the upper classes’ - classical music or any of the rest of it. Dr Shirley expands Tony’s experience and understanding with regards race - while Tony expands Dr Shirley’s in class. In a post-Brexit and Trump world, where working class people are feeling increasingly marginalised and are partaking in scapegoating of people of colour as a result, perhaps Green Book (however problematic it may still be) presents a message that might get through to those people in today’s political climate? But of course, all of this is my opinion as a lower middle-class white lassie from the UK. ~Jen]

As such, Peter Farrelly, Brian Currie and Nick Vallelonga (notably Tony Lip’s son) presents us with a rather Hollywood (in other words: soft) version of this story, resulting in a mixed response for this film (not from us down at Reel Gals HQ, we loved it), however, he tries to carefully balance out the hard-hitting, dark scenarios that our duo face on the road with the cleverly written dialogue and characterisation running into some really special, incredibly warm moments of character-driven humour.

All in all, I would say Green Book is a cinematically stunning piece of work as well as a story of growth and respect; a feel good film that deserves the Oscar (I'm going to give Roma a quick S/O, as I do believe that it it too would be a worthy winner). I can also say that Farrelly really surprised me after some of the (in my opinion) trash that he’s previously had his name on (Dumb and Dumber, I’m looking at you). You will leave the film feeling warm, with faith in cinema and the inability to stop thinking about how much you want to fold up an entire pizza and eat it like a sandwich – I know I did. [~ Katie]

RUNNERS UP:

2. Roma

3. Vice

BEST CINEMATOGRAPHY

1. Roma - Rumour has it that the revolution will not be televised, and up until recently, the category for Cinematography was almost relegated to the ad-breaks. Why John Bailey, why? Thankfully, after a public ballyhoo, we will be able to see the award presented via live stream (as well as Editing, Live-Action Short, and Makeup and Hairstyling). So why is Cinematography so vital to us?

Let’s go back forty-eight years for a moment. Director, Norman Jewison once talked about how he created the warm, earthy haze of Fiddler on the Roof (1971) with the director of photography, Oswald Morris. They lined a lens with a pair of brown nylons seen on a woman on set (hello, 1970’s Hollywood!). Though Jewison shrugged this story off as a lucky spur-of-the-moment decision, it was made and carried out to stunning effect. Watch it and see. Almost half-a century later, and cinematography has continued to thrive in ingenuity and style.

The Reel Gals have come together to appreciate Alfonso Cuarón’s, cinematographic mastery in Roma. Originally, Emmanuel Lubezki was set to take on this task, but there was an availability clash. Cuarón took over as well as writing the screenplay and directing the film. Lubezki remained an influence to Cuarón who said in an interview with Variety that Lubezki’s voice was in the back of his mind as he worked.

Roma is a semi-autobiographical take on Cuarón's upbringing in the Colonia Roma neighbourhood of Mexico City. Cuarón said of his stylistic choices:

“I would say it’s the ghost of the present that is visiting the past, without getting involved, just observing, not trying to make a judgment or commentary.”

With this in mind, I can see why he shot it in black and white. Actually, he shot it in colour with the Alexa 65, then paired it back to black-and-white, like a photo-realistic painter. The effect of this is that the film is crisp, and each scene seems almost 3D. When you take the colour away, other senses become heightened. The sounds in Roma, for example, are so much more present. The less you see, the more you fill in with your mind. Strangely, things seem more vivid in black and white.

I recommend this article as it gives much more information about the visual decisions which were made. All I can say at this point is that as viewers, we intuitively respond to what has been crafted for us, and this craft should be celebrated. Alfonso Cuarón has given us an incredible film which (like Fidder) will be talked about by new generations of Reel Gals in another fifty years. [~ Caroline]

RUNNERS UP:

2. Never Look Away

3. A Star is Born / The Favourite

BEST FILM EDITING

1.Vice - Of all of the films shortlisted for the Oscars, one has stood out as being one with as many ideas laid out in the edit as it was in the writing and shooting of the piece. Hank Corwin makes use of syncopation like the greatest of musicians - very frequently going places creatively you would never expect… cuts to black; use of archive; the visuals quite often were at odds with the sound, but in the best possible ways. It is frantic, meta, fourth-wall busting, juxtaposition-filled mania with a persistent overarching feeling of extreme unease and increasing dread - perfectly fitting for Cheney’s journey into Power.[~ Jen]

RUNNERS UP:

2. BlacKkKlansman

3. Bohemian Rhapsody

BEST SOUND MIXING

1. Bohemian Rhapsody - So quickly, for those of you (like myself before casting my votes) who didn't know the difference between Sound Editing and Sound Mixing, Sound Editing is the creation and use of sound effects, Sound Mixing is the overall use of soundtrack including music, dialogue, sound effects, the whole shebang really. Overall, although I thoroughly enjoyed Bohemian Rhapsody, I'm not sure I agree with the amount of award attention this movie is getting. Maybe being a big Queen fan the movie left me feeling like it was mostly a celebration of them as a band and lacked any profound revelation. However what can be truly marvelled at in this movie is the recreation of Freddie Mercury's performances; credit where it's due, Rami Malek did a great job of becoming him on screen; but the reproduction of that incredible voice and Queen’s Greatest Hits is what really makes the film what I would call “The Queen Experience”. After seeing the movie and rediscovering an old love by listening to the soundtrack on repeat I noticed that it included live tracks and demos, and doing a bit of digging I discovered that for the concert scenes they used the real live sound from the concerts being recreated, in fact these sequences were chosen around the choice of recording (although don't quote me on that, my sources are from the internet, could be fake news). Also, to make the Freddie Mercury voice perfect some of the recordings were mixed with Canadian Christian Rock artist Marc Martel whose voice is so similar you can barely tell the difference. All of this attention to detail along with the cinematic surround sound effects means that for millennials like us, unfortunately too young to have seen Freddie perform live ourselves, can feel like we were actually at Live Aid (sorry Adam Lambert, you don't quite cut it). That sounds award worthy to me. [~Robyn]

RUNNERS UP:

2. A Star is Born

3. First Man

BEST SOUND EDITING

1. First Man - As I mentioned above, for those of you who don't know, the Sound Editing category celebrates the creation and use of Sound Effects. There are certain members of the Reel Gals that would disagree with me on my analysis of First Man - I found it boring and too long and to be 90% Ryan Gosling not really acting and mostly just being mopey (and this is coming from someone who loves Ry-Go as much as the next girl). However I can appreciate that creating the illusion of space travel relies heavily on sound effects, on this I cannot fault the film. Any scene that features people in the cockpit of a space rocket or bouncing about the face of the moon (spoiler - Neil Armstrong is the “first man” to take one small step for man and one… blah blah blah you know the rest), is beautifully soundtracked with what I imagine since I have never been to the moon, realistic sound effects. [Like Pavlov’s Dog - if I ever hear that intense rattling from this version of the cockpit of Apollo 11 again, I will take a serious whitey. ~Jen] There are no dodgy Wilhelm Screams during the upsetting cockpit fire scene or Star Trek-like door “wooshes” here. Now maybe if these types of sounds had been included I would have been more entertained, but the sound effects were so realistic and in the moon landing scene almost beautiful. So well done to the sound team for keeping me too firmly in reality with this film. [~Robyn]

RUNNERS UP:

2. A Quiet Place

3. Bohemian Rhapsody

BEST PRODUCTION DESIGN

1. Mary Poppins Returns - I thought it was impossible to make a new Mary Poppins film and that attempting to remake a classic was just Hollywood proving it had run out of ideas but in the case of Mary Poppins Returns’ production designer John Myhre strikes a fine balance of appealing to the old eyes who watched the original and the fresh new ones experiencing this story for the first time. If you’re the one wearing the nostalgia glasses then each and every set in this film will make you feel like the kid you were all those years ago - from the cobbled streets of the reimagined 1930s London to the whimsical wonder that is the upside down house. This is where Myhre’s talent shines as he pays homage to the old while never quite replicating it. The house of 17 Cherry Tree Lane still looks and feels as if it has been lifted from Emile Kuri’s original designs but feels reimagined, the fingerprints of Michael Banks life as an adult are prevalent in every room - especially in the attic. Taking a trip up there feels like throwing yourself back in time filled with a clutter of old easter eggs that would thrill any fan of the first film - you don’t have to look far to spot the blocks used by Julie Andrews in ‘Spoonful of Sugar’ or the sash worn by Jane’s mum and of course the most notable throwback of all - the kite. In the end, this is a real house for a real man, in real depression who has lived a very real life but then cue Mary Poppins. The drab, brown and grey colour palette across the set bursts into colour as her mere presence turns this gritty reality into a magical fantasy. The mix of fantasy and reality blends seamlessly together so much so that even the expertly recreated scenes like Big Ben’s tower have a flare of magic to them.

I hadn’t realised until the credits started to roll that somewhere along the way I had taken my nostalgia glasses off and started to view this film as its own entity. Through beautifully crafted sets that meld seamlessly into the classic stylings of the animations, meticulous in detail, it captures the spirit of its predecessor but has an identity very much of its own. So, now I am prepared to eat my earlier retort and believe in the words of Mary Poppins herself - “everything is possible, even the impossible.” [~Isla]

RUNNERS UP:

2. Black Panther

3. The Favourite

BEST ORIGINAL SONG

1. Shallow - A Star is Born - I have to admit, I’m rather gutted that All The Stars missed out on our number one spot (thanks Gals) but Shallow undoubtedly is a bit of a banger. “Is there somethin’ else you’re searching for” - Shallow poetically (when I say poetically, I mean pretty darn obviously) offers the audience an insight to both Ali and Jackson’s character growth throughout the film: Ali, looking to get more out of her life than it was offering her and Jackson, his deterioration in light of his dying career (is that a spoiler? Surely not!). Don’t get me wrong, I loved A Star is Born and genuinely think Lady Gaga and Bradley Cooper *pauses for Bradley Cooper’s voice* have an undeniable connection, the way they perform together - both in this song and the film as a whole - left me with chills (an opinion shared by fewer than half of the Reel Gals) [I may have hated the film, but that won’t stop me beltin’ this mother out at the karaoke ~ Jen] - Shallow will live on and I am sure will be leaving with Academy award, however in my opinion, it’s not particularly inspiring or lyrically imaginative. Still love you, Gaga. [~ Katie]

RUNNERS UP:

2. All The Stars - Black Panther

3. The Place Where Lost Things Go - Mary Poppins Returns

BEST ORIGINAL SCORE

1. BlacKkKlansman by Terence Blanchard - BlacKkKlansman marks the 19th project and 30th year of a Spike Lee/Terence Blanchard partnership and wowzers! Blanchard has composed a score that beautifully enhances the exquisite direction of Lee, capturing a sound that really drives the audience’s emotion throughout the film. Although I found it almost impossible to choose between all the nominations for Best Score, Blanchard has stolen top spot at the Reel Gals’ Academy Awards and to be honest, rightfully so! Terence Blanchard uses “his passion and desire to serve the story” when it comes to anything he composes, which is just one of the reasons he is fully deserved of the Oscar when it comes to the BlacKkKlansman score. He pulls in influences of Hendrix with the electric guitar (which in my opinion really captures Ron Stallworth’s character as a whole) and couples it with the power of brass, a combination that successfully delivers both chilling and comedic moments – alluding to what the audience should be feeling, rather than being on the nose. Terence Blanchard had the responsibility of composing for an unbelievable and haunting TRUE story and respectfully does so, joining Spike Lee in telling the a story of hate from the 70s and leaving the audience with the hard-hitting truths that we still deal with similar hate, even now. [~ Katie]

RUNNERS UP:

2. Mary Poppins Returns by Marc Shaiman & Scott Wittman

3. Black Panther by Ludwig Goransson

BEST MAKEUP AND HAIR

1. Vice - Makeup and hair are such a crucial part of building the characters we see on screen - they help the actors embody the person they’re playing (literally!). The outcry when the Academy dared to suggest that they might bump this and other critical categories (Cinematography and Editing to name a couple for gawd’s sake - HOW DO YOU MAKE A FILM WITHOUT THOSE??!) to being hidden in the ad breaks was so vehement - and rightly so. I don’t know how many times I walked past the poster and ad screens for Vice and had next to no recognition at all for any of the main cast. When I eventually read the names under the pictures, I remember very loudly going “WHAT?! WHAAAAAAT?! all the way down the escalator in our local Cineworld (my partner can attest to his embarrassment at my outburst)… Steve Carell, Sam Rockwell, Amy Adams… and then we have Christian “So Method” Bale.

Some people might argue that his transformation was mostly down to, as Marie suggests in our Lead Actor category, his increased pie intake and his unmatched ability to give himself over completely to the character. But without the design and hard work every day of Greg Cannom, Kate Biscoe and Patricia Dehaney, he would have just been “Thicc, Evil Christian Bale” - not an almost-indistinguishable-from-the-real-thing embodiment of political monster Dick Cheney.

There is an absolutely excellent article I found in which Cannom talks website Vox through his design and daily process and it’s frankly incredible. < find it here > More incredible still, once he had a cast of Bale’s head (whom he says was wary of the process of SFX makeup and prosthetics as he hadn’t done it before) he only had two weeks to design and build the various ages of Cheney onto Bale’s very differently-shaped head. The quality of the skin (given a sweaty shine by an application of KY Jelly as a final step to the process, hilariously) is impeccable; the build of the silicone to completely change the shape of Bale’s face is grotesquely gorgeous. Across the board this is one of the most impressive examples of practical makeup and hair SFX I’ve ever seen - and in an age of CGId top lips to remove stubborn moustaches and digital de-ageing processes getting more and more advanced, this film proves the practical way is as strong and vital as ever and fully deserving of taking centre stage - on air - at the Oscars. [~Jen]

BEST COSTUME DESIGN

1. Black Panther - I couldn’t possibly pretend to be an expert on costume design or on the numerous African Tribal influences that have given these costumes their heart and soul. But, I can say that while watching Black Panther I was utterly blown away with the attention to detail, combined with the bold bursts of colour and creativity. I also can’t explain my sheer relief and empowerment of watching fierce female characters kick ass without the carbon copy, over sexualized outfit with matching heels. Now I don’t want my first blog post to cause too much of a divide, but I’m definitely referring to my eye roll during Wonder Woman right after I spotted those raised golden beauties... and just for the record, I actually loved Wonder Woman (and I love heels) but it was just so refreshing, and practical, without losing any of the superhero escapism we all long for. The head costume designer Ruth E. Carter absolutely fulfilled all my ‘tribal-warrior-female-fantasy’ dreams (is that a category from RuPaul’s Drag Race?) and I left the cinema envious of her talent. Some of the costumes were literally pieces of wearable art and will no doubt be celebrated as such. [~ Kayleigh]

JOINT RUNNERS UP:

2. The Favourite / Mary Poppins Returns

BEST VISUAL EFFECTS

1. Ready Player One - This was one of the most difficult categories to vote for. All five films brought amazing innovations in the art of cinema and definitely deserve to be recognised for them and you know what, Reel Gals will! First Man combined a mixture of diverse sources for its aesthetic; visual effects, special effects, and even archival footage of the NASA launch. Solo gave us the perfect visual effect adaptation of the legend that Star Wars fans everywhere know as the 12 parsecs run. Christopher Robin created a photoreality mixed with shot on location footage so good, that its parody Trainspotting mashup video attests to its VFX perfection. Avengers: Infinity War had two different effects teams (TWO!) building the most realistic performance from Brolin’s onset one and could possibly land Marvel with their first ever effects Oscar. However, Ready Player One, created an entire virtual world that immersed characters and viewers alike by combining effects with animation. Remember The Overlook Hotel part from The Shining in the film? The blood? The scary twins and old lady turned into a zombie? That’s right, hand them that award now and then in true Mean Girls fashion, break it up and share with the rest. You’re all VFX queens. [~Lia]

RUNNERS UP:

2. Avengers: Infinity War

3. First Man

Which leaves us with just one more award to lay out… it’s the big’un. Can you guess what it might be, from our voting habits above?

BEST PICTURE

1. BlacKkKlansman - Winning our Best Picture vote - based on a true story, BlacKkKlansman is a spectacularly timely look at institutional and societal racism and bigotry - holding a mirror up squarely in the face of modern audiences. Set against the backdrop of the Ku Klux Klan’s ‘organised hate’ in 1970’s Colorado, it is equal parts horrifying and hilarious; poignant and relevant. The performances are compelling and perfectly balanced - most notably, the relationship between buddy cops John David Washington’s ‘Ron Stallworth’ and Adam Driver’s ‘Flip Zimmerman’ is nuanced and brimming with mutual respect, both for one another in character and as actors. The two have spectacular comic timing - but they both also boast the finely-honed acting chops to carry the Singularity-strength gravity of the themes presented by Ron Stallworth’s incredible true story. The beautifully-composed shots and off-kilter score compliment Spike Lee’s characteristically brave and politically-biting choices as director, exemplified particularly in the closing scene of his latest Joint, which (after a moment of levity and possibly the biggest laugh of the film) is affecting, desperately sad and deeply terrifying - and will stay with you for a long time. [~ Jen]

RUNNERS UP:

2. Green Book

3. Roma

And that’s that. The audience’s sugar levels are low… The ‘get off the stage’ music has started playing… and the awards organisers are threatening to cut to an ad break. But before they can send the heavies onto the stage to forcibly remove us - it’s NOT OVER YET - *grabs microphone* here are some nominations we would have added:

BEST PICTURE: First Man [Genuinely thought this was a shoe-in! ~Jen]

BEST SONG: Sunflower by Post Malone & Swae Lee for Spider-Verse [Honestly, the entire score for Spider-Verse was spectacular and I'm gutted it didn't get a nomination either, although it was tough enough as it is for best original score, as all nominations are stunning - BUT BEST SONG, where is this nomination? And WHY, GOD WHHHY is ‘I'll Fight’ on there? It genuinely made me want to pull out my eyeballs ~ Katie] [Couldn’t agree more. Ruth Bader Ginsberg deserves more than this old-fashioned early 2000s-style credit-roller ballad. You’re better than this, J-Hud. ~ Jen]

LEAD ACTRESS: Emily Blunt for A Quiet Place

LEAD ACTRESS: Viola Davis for Widows

LEAD ACTOR: John David Washington for BlacKkKlansman [This omission I think has slightly tarnished Driver’s well-deserved nomination for Best Supporting; with a lot of people asking why the ‘white guy is the only one to receive an acting nom from a film about a black man’s struggles with the KKK’. I would suggest that Driver’s character Flip, as DJW’s character Ron states: “Also has skin in the game”, being Jewish - it’s hardly him doing a ‘Scarlet Johansson’, given the point of the story is that he’s Ron’s proxy and crucial to his takedown of the chapter. But then it *is* difficult to argue that the intentions of the Academy were (whether subconsciously or not) entirely well-intentioned on the matter of not including Washington in the nominations. ~ Jen]

LEAD ACTOR: Steve Carell for Beautiful Boy

BEST SUPPORTING ACTOR: Steve Carell (again - what a year he’s had!) for Vice

BEST SUPPORTING ACTOR: Timotheé Chalamet for Beautiful Boy

BEST SUPPORTING ACTRESS: Danai Gurira for Black Panther

VISUAL EFFECTS: Welcome to Marwen [This!! ~ Kayleigh]

BEST DOCUMENTARY FEATURE: Whitney [I would also say the editing of this was fantastic, if it's good enough for the Edinburgh Film Festival then it’s good enough for an Oscar consideration ~Robyn]

And despite the outwardly more-diverse-than-usual (which still isn’t saying much) nominee list this year thanks to an extremely influential #OscarsSoWhite campaign and hopefully the beginnings of a turning of the tide for Hollywood (we hope - it's about bloody time something improved) - it seems the Academy aren’t quite there with equality and representation yet...

BEST DIRECTOR: A woman. Any women, for goodness’ sake. It’s 2019! A nod to Glasgow-born Lynne Ramsay for You Were Never Really Here, Marielle Heller for Can You Ever Forgive Me? and Debra Granik for Leave No Trace. Just in case the Academy didn’t think they had enough choice! [~Marie]

At time of writing, the other main awards events for the year have been and gone - and the differences in nominations and winners laid out by the Oscars, BAFTAs, Globes and Critics’ Choice nominees lists vs the reality of women’s film work in 2018 are still quite stark - specifically in contrast with events like the Independent Spirit Awards - (admittedly films like Green Book and blockbusters etc wouldn’t qualify) - who lavished their awards last night on films like If Beale Street Could Talk; You Were Never Really Here, Leave No Trace and Sorry to Bother You - notably with many of the winners crying out for more female representation in the nominations for Directing and other categories in film in general.

2018 was the strongest year for representation of women in film yet - with places like the BFI Film Festival presenting more female-led films than ever before in its history and how vociferous the support is getting for equal opportunity and recognition - importantly not only from women - in calling out these omissions-by-gender, here’s hoping the Academy will catch on. Eventually.

But until that time… thanks for joining us for our little pre-Oscars ceremony and our first proper blog! Cheers for reading, sharing and any hits of the like button are greatly appreciated… Thank you to the Academy… we’d also like to thank our parents, everyone who believed in us, Adele Dazeem, dogs (all of them) for being excellent...

*Rugby-tackled by security guards and dragged off-stage*

Xx ~ The Reel Gals

(Find us on instagram: reel_gals_of_glasgow | twitter: ReelGalsGlasgow)

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