January 14, 2015

Oscars 2014: Nominations Eve

Filed under: Movies,Oscars — DB @ 8:00 pm
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It feels like I just finished writing about last year’s Oscar season, and here we are, back for another go-round.

Our story begins with Boyhood. Our story may well end with Boyhood too, but let’s not get ahead of ourselves. That’s a consideration for a different post. For now, we can head into the Oscar nominations knowing that Boyhood‘s slot is secure. Sitting pretty right alongside it are Birdman, The Imitation Game, and probably The Theory of Everything.

From there, the guesswork begins. Since early December, various regional critics associations from around the country have had their say, and if their influence is to be believed, then The Grand Budapest Hotel is a sure thing. For me, the film’s status as one of the three most honored movies of the year – alongside Boyhood and Birdman – has been one of the season’s biggest surprises. I remember the reviews being strong when the movie came out all the way back in early March, but not that strong. Its consistent presence as either a winner or nominee for Best Picture and Best Director among these many critics groups, as well as its appearance in several other categories, suggests that it will do well at the Oscars too. Or could it be a critical darling that doesn’t translate to the Academy? I’ve been burned with Wes Anderson before. Moonrise Kingdom seemed like a safe bet for a nomination here in 2012, but it didn’t materialize. Granted, Budapest is having an even stronger showing with these precursor awards than Moonrise did, but I’m still not 100% convinced. Even in crafts categories like Cinematography and Production Design, where Anderson’s films always shine, his work has never gained traction with the Academy. Only the Writer’s branch of the organization has ever warmed to him. If Moonrise Kingdom couldn’t catch a break here, can Budapest? It’s a bit darker and colder, whereas Moonrise Kingdom had a sweetness, innocence and charm that seemed more like Academy fare. Fact is, this shouldn’t even be a question. The critics have showered it with attention, it just scored a surprise Golden Globe win for Best Picture – Musical or Comedy over Birdman, and nearly every guild has nominated it so far, including the Producers Guild of America (PGA) and, just yesterday, the Directors Guild of America (DGA). Clearly the movie has support not just from critics, but within the industry, where it matters for Oscar voting. Only the Academy’s past lack of interest in Anderson leaves me skeptical…though that DGA nomination speaks pretty loudly. The movie’s got too much momentum to bet against it, and this entire paragraph has probably been a waste of time. But if one of tomorrow’s big surprises is that Budapest is MIA in this category, don’t say I didn’t warn you.

One last thing on this topic: if Budapest does land with the Academy, it will land big. Like, maybe the-most-nominated-film-of-the-year big, given how many categories it has the potential to hit.

So what else? Gone Girl? The Academy has taken a shine to David Fincher’s work in recent years (where were they in ’95, when Seven should have raked in the nominations?), and Girl has done well on the critic’s circuit, so it could find a place here, but it doesn’t feel like a lock. The Girl with the Dragon Tattoo had experienced love from both critics and industry guilds by this point in the 2011 Oscar season, making a Best Picture nomination seem likely. It didn’t happen. Then again, Gone Girl‘s depiction of a marriage gone wrong could prove more relatable to voters – which sounds really twisted assuming you know the details of the film or novel – but movies about troubled marriages (to put it gently in this case) can become conversation pieces and must-see movies for couples. That might give it more favorable odds than Dragon Tattoo had.

You can usually count on a couple of celebrated indie films to crack the Best Picture race, and the two this year that seem likely to follow in the footsteps of Precious, Winter’s Bone and Beasts of the Southern Wild are Nightcrawler and Whiplash. I’m pretty confident the former will make it, and almost as confident that the latter will as well. It’s always exciting to see smaller films like these emerge out of the festival circuit – be it early in the year at Sundance, where Whiplash won the Audience Award and the Grand Jury Prize, or in the fall festivals like Telluride or Toronto, where Nightcrawler first showed up – and inject themselves into the award season conversation because they’re genuinely good, and not because their plot descriptions or talent roster make them presumptive contenders. Unbroken and Into the Woods are two notable films that fall on that side of the line. Neither has borne out the strong showings that their pedigrees had us expecting, and despite being respectively received, both have struggled to find a foothold. Interstellar also came into the season with high hopes in top categories, but those ambitions haven’t panned out. If the PGA had included it among their 10 nominees, it might have still had a shot. The PGA often throws in a mainstream blockbuster (Star Trek, Bridemaids and Skyfall have made their list in recent years…as did Moonrise Kingdom, by the way), so if Interstellar didn’t make their cut, a Best Picture nod from the Academy seems more unlikely. Still, the PGA vote is coming just from producers, while the Academy’s Best Picture nominees are selected by the entire membership, including the artisans whose work is always well-served by Christopher Nolan – visual effects artists, production designers, etc. So while down, it’s not necessarily out. (Unbroken and Woods also missed with the PGA.)

Some people are worried about Selma‘s chances, as the movie hasn’t achieved the level of awards attention so far that would seem necessary to carry it into the Oscar race. It’s recognition from the guilds so far has been soft, but part of that is likely due to the fact that the movie was finished so late in the year that screener DVDs weren’t available to be sent out to guild and Academy members until late December. That was probably one factor in a high-profile miss with the Screen Actors Guild (SAG), but the same thing happened last year with The Wolf of Wall Street, and that would up doing just fine nomination-wise. Selma has key nominations from the Broadcast Film Critics Association (BFCA) and the Hollywood Foreign Press Association (HFPA), which hands out the Golden Globes, and even though its absence from the PGA, DGA and British Academy of Film and Television (BAFTA) lists is disappointing – all three organizations share crossover with the Academy membership, unlike the HFPA or BFCA – Selma is garnering strong attention and hitting the right notes. I think it’s in.

The remaining films that I could see going either way are Foxcatcher, Wild and American Sniper. I thought Foxcatcher would be a major force to be reckoned with, given the glowing reviews coming out of the Cannes Film Festival last summer. Yet it’s had a surprisingly weak showing with the critics groups. Still, it has received lifelines when it’s needed them most, in the form of SAG and Golden Globe nominations for Steve Carell and Mark Ruffalo, as well as a Best Picture nod at the Globes, and also nominations from the PGA, Art Directors Guild (ADG) and Writers Guild (WGA). Will its grim, unsettling aesthetic hold it back, or can it become director Bennett Miller’s third consecutive Best Picture nominee after Capote and Moneyball? As for Wild, the focus has been on Reese Witherspoon’s performance, but the movie comes from the same director as Dallas Buyers Club, which became last year’s little movie that could. Wild could have been a lot less interesting and well-made than it is, and though I’d call it a long-shot, it could crack the Best Picture race. American Sniper, meanwhile, just seems to be hitting its stride over the past two weeks, with nominations from the PGA, DGA, ADG, WGA and American Cinema Editors (ACE). That guild support demonstrates broad respect across disciplines. I think there are better, more deserving films out there (like A Most Violent Year and Inherent Vice, neither of which seem to have much of a shot here, though I suppose Year could sneak in), but Academy members aren’t particularly concerned with what I think.

The biggest question these days for Best Picture isn’t about what will be nominated, but how many nominees there will be. It could be anywhere from five to ten, and in every year since that rule was introduced, the list has held at nine. I’ll continue to expect that number until it comes in at something different, which it inevitably will one of these years. When the change was announced in 2011, the press release explained that the Academy’s accountants applied the new method to the Best Picture races from 2001-2008, and during that period there would been years with five, six, seven, eight and nine nominees (though never ten, interestingly). Until I see evidence to the contrary, I’m guessing we’ll get another field of nine this year.

American Sniper
The Grand Budapest Hotel
The Imitation Game
The Theory of Everything

Personal Picks:
A Most Violent Year
The Imitation Game

Back in July, I thought that come Oscar season I would have to make a case for Richard Linklater to be nominated for Best Director, citing his unique place in the filmmaking world and his determination to capture authenticity onscreen in a way that, as evidenced by Boyhood‘s 12 year production, few American filmmakers ever attempt. All for naught, as it turns out. There’s no case to be made and no minds to sway. Without any help from me, Linklater’s nomination is assured, and as of now he stands as the frontrunner for the prize. So perhaps I’ll save some of the comments I had in mind until a later time. Instead, let’s focus on who will be joining him, beginning with the category’s other sure thing, Birdman helmer Alejandro G. Iñárritu. If the Academy does embrace The Grand Budapest Hotel, Wes Anderson has to be a favorite here, although given the cold shoulder his work has gotten from the Academy before, I could also see the director’s branch denying him recognition. As I said above, Anderson did score his first DGA nomination, so that’s a a good sign. But the DGA and Academy almost never line up five for five in their nominations, so at least one name on their list is probably out with the Academy. In addition to Anderson, Linklater and Iñárritu, the DGA nominated Clint Eastwood for American Sniper and Morten Tyldum for The Imitation Game. Eastwood…I love the guy of course, but this is such a disappointing nomination. American Sniper is a solid movie, but we’ve seen it before. It has more than a little in common with The Hurt Locker, and there are just better, more original, more interesting movies that deserve this spot. Will Clint get the Oscar nod too? The Academy loves him, but they also love The Imitation Game…so much that some people think it could overtake Boyhood for the top award when all is said and done. Like Grand Budapest and Birdman, guild support for Imitation has been strong, indicating popularity across Academy branches. And if they love it that much, Tyldum may be an obvious choice for them to make, even if he lacks Eastwood’s name recognition.

So who else has a chance here outside of the DGA’s selections? I believe Ava DuVernay is still very much in this thing for Selma, though the DGA nod would have been a nice boost. The DGA has several thousand members (many from television) and tends toward popular picks, whereas the Academy’s directing branch has only a few hundred members (all working in film), and frequently looks outside the box. With that in mind, Whiplash director Damien Chazelle is a possibility, and a nod for Nightcrawler‘s Dan Gilroy is a longshot but not inconceivable. If they wanted to step way outside the box, Under the Skin‘s Jonathan Glazer would be a bold move, but that’s highly doubtful. There are plenty of names in the general mix, like David Fincher, Bennett Miller, James Marsh (The Theory of Everything) and J.C. Chandor (A Most Violent Year), but I feel like without a nomination from the DGA, those names are DOA. Chazelle and DuVernay seem like the only ones who stand a legitimate chance of breaking in. Linklater and Iñárritu should be fine, and I just don’t know about Anderson. He should be a no-brainer, but uncertainty keeps gnawing at me. My gut tells me Eastwood bumps him, but Grand Budapest‘s unwavering show of force throughout the season tells me he’s in. So maybe DuVernay gets squeezed out? AHHHHHHHH, this is so hard!

Alejandro G. Iñárritu – Birdman
Richard Linklater – Boyhood
Wes Anderson – The Grand Budapest Hotel
Morten Tyldum – The Imitation Game
Ava DuVernay – Selma

Personal Picks:
Alejandro G. Iñárritu – Birdman
Richard Linklater – Boyhood
Christopher Nolan – Interstellar
Ava DuVernay – Selma
Jean-Marc Vallée – Wild

For the second year in a row, the array of contenders in this category is stunning, and no matter what happens, some remarkable work is going to be left out. Let’s start with the four guys who have been considered the frontrunners since as early as October: Michael Keaton for Birdman, Eddie Redmayne for The Theory of Everything, Steve Carell for Foxcatcher, and Benedict Cumberbatch for The Imitation Game. It seemed impossible that any of these guys might not go the distance, but Carell’s standing has weakened considerably as he’s been omitted from the majority of critics awards nominations. He did get SAG and Golden Globe nominations, which are key, but he can no longer be counted on as a sure thing. I can’t imagine people aren’t impressed with the performance, so perhaps the problem has been that Carell’s character John du Pont falls somewhere between lead and supporting. He doesn’t have enough screen time to be called a lead, and Foxcatcher is really the story of Channing Tatum’s character. Yet du Pont looms large over the whole film, and his actions largely drive the story and set events in motion. So it’s a tough call. Sony Pictures Classics, the studio behind the film, opted to campaign Carell (along with Tatum) as a lead, but the BAFTA voters recognized him in the Supporting category. It does happen occasionally that voters ignore a studio’s campaign and move an actor into a different category than where they were promoted. So Carell is in an interesting position. Will his fellow actors honor him here, put him into Supporting Actor instead, or pass him over altogether?

If he doesn’t make it here, there is no shortage of worthy successors to take his place. Redmayne and Keaton – who both won Golden Globes this week – remain locks, and Cumberbatch is probably safe too, though I can absolutely see him being the guy everyone assumed was locked in who ends up out in the cold. If he makes it, that leaves two spots and a dozen contenders in addition to Carell. The two most likely to find their way in are David Oyelowo for Selma and Jake Gyllenhaal for Nightcrawler. Gyllenhaal has SAG, Golden Globe, BFCA and BAFTA nominations in his favor, and has been the most frequent winner amongst the critics next to Keaton, who has been the season’s big victor so far. Oyelowo’s place is less assured. He missed out on the SAG nomination, but as mentioned earlier, screeners were not available during SAG’s voting period, so there was no way that most voters would have been able to see his work yet. More surprising is his lack of a BAFTA nomination. Still, I get the sense that he – and Selma in general – is gaining steam.

Next are a pair of gentlemen who seem to be on the cusp: Ralph Fiennes in The Grand Budapest Hotel and Timothy Spall in Mr. Turner (also known to fans of the Harry Potter films as Voldemort and Wormtail.) Both are terrific in their roles, but neither has broken through with the momentum they would probably need to get nominated. Still, I wouldn’t count them out, with Fiennes standing the better chance of the two. He has a Golden Globe nomination (in the Musical/Comedy category; that division poses limitations in the jump to an Oscar nod, especially since he was up against Keaton), as well as a BFCA nomination (note that BFCA categories have 6 nominees vs. the Academy’s standard 5) and a BAFTA nomination. He’s also in a film that could turn into a big player with the Academy. Spall has none of these advanatges; just a couple of victories from high-profile critics groups (as well as a Best Actor win at Cannes, though that hardly translates), and the benefit of appearing in a Mike Leigh film. The Academy is quite fond of Leigh, so you can be sure Mr. Turner is on their radar, regardless of how well it ultimately does.

I should also mention Bradley Cooper, gunning (no pun intended) for his third consecutive nomination with American Sniper. I’ve stated my thoughts on Sniper, and they extend to Cooper. Nothing against him or his fine work, I think there are much more noteworthy performances that deserves the attention. But as I also mentioned earlier, American Sniper was gaining a foothold just as the deadline for Oscar nomination ballots was getting close. Ben Affleck recently stumped for Cooper, and his comments about why the film and Cooper’s performance are important at this moment in time could very well resonate with the Academy. He’s on the outside looking in, but he’s coming up fast.

But wait, there’s more! Although none of these people have a chance of making the cut, the fact is that all are worthy of a place at the table. In a just world, Chadwick Boseman would be in the thick of the conversation for his dazzling work as James Brown in Get On Up; reigning champ Matthew McConaughey crushes it once again with an emotional performance in Interstellar; Locke is set entirely in a car, in real-time, with Tom Hardy captivating as a driver who shifts from one cell phone call to another juggling huge personal and professional dilemmas; Oscar Isaac, who should have been nominated last year for Inside Llewyn Davis, deserves a spot again for his quiet, wonderfully specific work in A Most Violent Year; the similarly titled A Most Wanted Man features one of Philip Seymour Hoffman’s last performances, and even near the end his work was potent as ever; Joaquin Phoenix, who also should have been nominated last year for Her, is a hilarious but grounded guide through the beautifully strange trip of Inherent Vice; in Dawn of the Planet of the Apes, Andy Serkis continues to deliver rich, stirring work utilizing motion capture technology; Jude Law’s electric, uproarious turn in Dom Hemingway was completely ignored in the year-end critic’s accolades despite the universal praise he received when the movie came out in April; Channing Tatum is riveting as the centerpiece of Foxcatcher, as deserving of awards as his two co-stars who have been the ones getting honored; Whiplash star Miles Teller has also been overshadowed by a co-star’s success, but does fiercely committed work. There’s also Bill Murray in St. Vincent, Brendan Gleeson in Calvary, Jack O’Connell in Unbroken, and John Lithgow in Love is Strange – all performances that have generated buzz, though none have quite the force they’d need to make the cut even in a less crowded year.


Benedict Cumberbatch – The Imitation Game
Jake Gyllenhaal – Nightcrawler
Michael Keaton – Birdman
David Oyelowo – Selma
Eddie Redmayne – The Theory of Everything

Personal Picks:
Ralph Fiennes – The Grand Budapest Hotel
Jake Gyllenhaal – Nightcrawler
Michael Keaton – Birdman
David Oyelowo – Selma
Eddie Redmayne – The Theory of Everything

Sadly, as is too often the case, the embarrassment of riches in the male actor categories is not equaled here.The pickings aren’t slim exactly, but there are far fewer strong options than in Best Actor. The winner on the critics side so far, though not by a great distance, is Gone Girl‘s Rosamund Pike. When she was being touted as a contender around the movie’s early October release, I wasn’t sure she could sustain the buzz, but now she’s a frontrunner for the nomination. She is sure to be joined by Reese Witherspoon for Wild and Julianne Moore for Still Alice. In fact, ever since Alice debuted at the Toronto Film Festival, Moore has been dubbed the one to beat. Her march toward victory may have begun Sunday night with her Golden Globe win. We’ll see how she does from here with the BFCA, SAG and BAFTA. Felicity Jones, who plays Stephen Hawking’s wife in The Theory of Everything, is also a likely nominee.

The other actress to collect a fair share of critics prizes is Marion Cotillard. She has two shots, with excellent performances in The Immigrant and the French film Two Days, One Night. Some critics groups cited her for both, but Two Days, One Night has been the primary focus of attention. (I haven’t had a chance to see it, unfortuntely, as it just opened in Los Angeles this week.) I think Cotillard’s recognition ends with the critics. It’s unlikely that, in a crowded season with too many movies to see, enough voters will see this film to boost Cotillard into the final five. If she couldn’t make it this far in 2012 for Rust and Bone, with the wind of SAG, Golden Globe, BFCA and BAFTA nominations in her sails, I’d be surprised if she could make it here with none of those.

A surprising contender who does have those nominations in her favor except for BAFTA (I don’t think her film had been released in England in time to be considered) is Jennifer Aniston, who plays a hardened woman suffering from chronic pain in Cake. I could see things going either way for her, but it would be nice to see her land the nomination given that she’s still defined by her TV work. Cake is a dramedy and allows Aniston to utilize her well-honed comedic skills, but through a much darker, more bitter filter than we’re used to seeing. And she palpably carries her character’s extreme and constant discomfort. It succeeds as a change-of-pace performance, no doubt, but will enough voters find the time to see the movie?

Beyond these six actresses, there are a handful of others who have dotted the award landscape so far, but none have any considerable momentum. Amy Adams is fine in Big Eyes, but there’s not a whole lot to the role that would seem to earn her a place here. She’s beloved by the Academy though, so she’s always a possibility. I’ve bet against her before and lost. She won the Golden Globe award in the Musical/Comedy category, and has a BAFTA slot that might have seemed destined for Cotillard, so she can’t be dismissed. Many critics groups have taken notice of Essie Davis, an Australian actress who impresses as a haunted single-mother in the psychological horror film The Babadook. She deserves consideration, but this movie is well outside the Academy’s comfort zone. Even with vocal championing from William Friedkin, director of The Exorcist – one of the rare horror films that did well with the Academy – I doubt enough people have seen the movie. Under the Skin‘s Scarlett Johansson, The Homesman‘s Hilary Swank, Obvious Child‘s Jenny Slate and Beyond the Lights‘ Gugu Mbatha-Raw have garnered a bit of attention from critics groups – Johansson’s received a fair amount, actually – but it’s hard to imagine any of them can land in the final five. It’s a shame that Shailene Woodley hasn’t been talked about, because she does really lovely work in The Fault in Our Stars and deserves serious consideration. You know who else does? Jennifer Lawrence in The Hunger Games: Mockingjay, Part I. The role of Katniss Everdeen has always been a rich one with a lot to offer, and Lawrence is an actress who knows what to do with it. She gets to play a lot of different beats in this movie, and shouldn’t be overlooked because the movie is seen as a blockbuster and nothing more. It’s more.

This is a category that could really benefit from a bold stroke or two this year. Whether that’s Lawrence or Johansson, Mbatha-Raw or Woodley, it would be nice to see a big surprise to make up for the lack of worthy roles.

Amy Adams – Big Eyes
Felicity Jones – The Theory of Everything
Julianne Moore – Still Alice
Rosamund Pike – Gone Girl
Reese Witherspoon – Wild

Personal Picks:
Marion Cotillard – The Immigrant
Jennifer Lawrence – The Hunger Games: Mockingjay, Part I
Julianne Moore – Still Alice
Shailene Woodley – The Fault in Our Stars
Reese Witherspoon – Wild

We already know who’s going to win this, but the game must be played nonetheless, so who will join Whiplash‘s powerhouse J.K. Simmons on the list of nominees? Start with Edward Norton, the only guy who could maybe give Simmons a reason to sweat. Birdman provides Norton with his meatiest role in ages, and he tears into it with all the gusto you’d expect from a guy with his talent. Next is Ethan Hawke, who has been a consistent nominee among critics groups for his convivial dad in Boyhood, and Mark Ruffalo for Foxcatcher. Ruffalo has been much more of a force than Carell among the critics groups, chalking up nominations from almost every organization that names nominees (as opposed to just citing a winner and maybe a runner-up). That doesn’t mean the performance is more appreciated than Carell’s, which most groups probably kept in the more crowded Best Actor discussion. It’s probably just a result of there being more room to play with in this year’s Best Supporting Actor arena.

Quite a bit of room, actually. The list of viable contenders here is unusually small. Robert Duvall in The Judge has SAG, Golden Globe and BFCA nominations, but with all due respect to a legendary actor who should have won a second Oscar by now, I’ll be hugely disappointed if the Academy wastes a spot on him for a movie that was as predictable as it gets, and a stock role that an actor of Duvall’s talent could play in someone else’s sleep. Instead, how about going for Josh Brolin in Inherent Vice? The acting branch responds well to the films of Paul Thomas Anderson, and although Vice didn’t land as an across-the-board player this year, Brolin’s turn as a no-bullshit cop with a vehement disdain for hippies is seen as one of its best chances for some Oscar love. As discussed in the Best Actor section, there’s also the possibility that Steve Carell pops up here for Foxcatcher. If that were to happen, I assume he’d be nominated alongside Ruffalo, rather than knocking his co-star out of contention (which would be an ironic turn of events given their character’s relationship). Riz Ahmed, who plays Jake Gyllenhaal’s naive co-worker in Nightcrawler, could potentially be the beneficiary of what appears to be a lot of admiration for that movie among Academy members, while Alfred Molina earned a couple of critics nods for Love is Strange. The Academy still owes him for Frida, so in the absence of a strong roster here, I’d be okay with that. Doubtful it will happen though. Equally doubtful: that Andy Serkis will finally break through. He deserved it back in 2002 for The Lord of the Rings: The Two Towers, and again in 2011 for Rise of the Planet of the Apes. I brought him up in the Best Actor section for Rise‘s follow-up Dawn of the Planet of the Apes, and if Academy members consider him at all, that’s really where they should do it, as his ape leader Caesar really is the lead performance. His co-star Toby Kebbell meanwhile, deserves the consideration in this category. But we must ease into these things, and the Supporting category is probably where any voters with the smarts to vote for Serkis at all would put him. If that’s what it takes, I’m okay with it. Alas, it’s all wishful thinking. Voters still have to come around to motion capture performances being given their due.

Steve Carell – Foxcatcher
Ethan Hawke – Boyhood
Edward Norton – Birdman
Mark Ruffalo – Foxcatcher
J.K. Simmons – Whiplash

Personal Picks:
Josh Brolin – Inherent Vice
Steve Carell – Foxcatcher
Edward Norton – Birdman
Mark Ruffalo – Foxcatcher
J.K. Simmons – Whiplash

Like Best Supporting Actor, this category has a way-out-in-front frontrunner in Boyhood‘s Patricia Arquette. She’ll likely be joined by Jessica Chastain for A Most Violent Year, Emma Stone for Birdman, and probably Kiera Knightley for The Imitation Game. Does Meryl Streep get the fifth nomination for Into the Woods? Most likely. She has the Golden Globe, SAG and BFCA nomination hat-trick, and she is, of course, Meryl Streep. Personally I was a somewhat underwhelmed by her performance as The Witch. I thought she didn’t do much of anything with the character.

Also in the running is Tilda Swinton, who fared well with the critics for her gleeful antagonist in Snowpiercer, though I wonder if that film was widely seen by voters. Laura Dern for Wild, Rene Russo for Nightcrawler and Katherine Waterston for Inherent Vice are all circling, and any of them could get lucky, but the biggest obstacle may be that the parts are all fairly small. That’s most true for Dern, although she does shine in the scenes she has. Russo meets the challenge of conveying a lot about her character in a short period and without always being able to get things across through dialogue, and the admiration for Nightcrawler is raising her profile. Relative newcomer Waterston (son of Law & Order‘s Sam), meanwhile, makes a strong impression in Vice, leaving her mark all over the movie even when she’s not on screen.

Naomi Watts snuck into the SAG race for her funny, enjoyable work as a Russian prostitute in St. Vincent, taking a slot that Chastain has occupied in most other races (like Selma, Chastain’s A Most Violent Year wasn’t able to get screeners out early in the season), but the chances of her repeating that with the Academy are slim. I would argue, however, that she deserves consideration for Birdman, even though the attention there has all been on Emma Stone. I’m also partial to Carrie Coon as Ben Affleck’s dour twin sister in Gone Girl. And Kristen Stewart was quite good as Julianne Moore’s perceptive daughter in Still Alice. The Polish film Ida, a possible nominee for Best Foreign Language Film, features an actress named Agata Kulesza who made a number of critics lists, but like several other films I’ve mentioned so far, it’s doubtful that enough voters have seen it to consider her. Assuming that turns out not to be a problem for Jennifer Aniston and Cake, voters could warm to Adriana Barraza. A nominee in this category in 2006 for Babel, Barraza does lovely work as the weary employee of Aniston’s prickly character.

The problem with many of these performances – even some of those most assured of a nomination – is that they aren’t as substantial as you would want an Oscar nominated (or winning) role to be. It’s frustrating, because the actresses all do excellent work, but this category features so few parts with the necessary screen time and/or character depth to really let them soar. If that’s just how it is, then one performance I’d mention that hasn’t garnered any talk in the precursor stage but which left an impression on me was Dorothy Atkinson’s in Mr. Turner. As the title character’s longtime housekeeper, Atkinson barely has any dialogue, but her awkward stance and pining eyes reveal a lifetime of experience. In a field that will mostly celebrate roles where the characters don’t have enough to do, Atkinson would be a welcome surprise.

Patricia Arquette – Boyhood
Jessica Chastain – A Most Violent Year
Kiera Knightley – The Imitation Game
Emma Stone – Birdman
Meryl Streep – Into the Woods

Personal Picks:
Dorothy Atkinson – Mr. Turner
Jessica Chastain – A Most Violent Year
Emma Stone – Birdman
Tilda Swinton – Snowpiercer
Katherine Waterston – Inherent Vice

If there’s one category where The Grand Budapest Hotel is a safe bet, this is it. It will easily be joined by the other two leaders of the award season, Birdman and Boyhood, with Nightcrawler also a near-guarantee. The fifth slot would likely have gone to Whiplash, until the Academy threw a late-in-the-game curve ball. Whiplash has won or been nominated for a number of Original Screenplay awards among critic groups, including the BFCA, as well as BAFTA and the WGA. But last week, news broke that the Academy had ruled the script an adaptation. Writer/director Damien Chazelle wrote Whiplash based on personal experience, then filmed a lengthy sequence from early in the script as a short film which he could use as a calling card to drum up – ha! –  financing for the feature. His effort was successful, and off he went. But because of that short film, which even won a prize at Sundance a year before the feature played the festival, the Academy considers Whiplash an adaptation.

Remember, the Adapted screenplay category is technically named Best Screenplay Based on Material Previously Produced or Published. In the case of Whiplash, they’re focusing on the “Previously Produced or Published” phrase, when what they should be paying attention to is the word “based.” Whiplash the feature is not based on material previously produced or published. It is based on an original screenplay, a portion of which was filmed as a contained short before the feature was made. If Whiplash had been conceived as a short film and then later expanded to feature-length – like another terrific film from this year, Obvious Child – then Best Adapted Screenplay would have been the proper place for it. But that wasn’t the case. Best Original Screenplay is where it really belongs, but the Academy has spoken (albeit so quietly that no one associated with the movie was told about the reassignment) and this category now has an open spot.

In addition to Whiplash, the WGA nominated Foxcatcher, Boyhood, Budapest, and Nightcrawler, but as always it’s important to note that prominent films are left off the WGA’s eligibility list each year, either because the writers aren’t WGA members, or because certain guild guidelines were not followed in the making of the film. The exact reasons for each omission are never explained. Whatever the causes, this year’s list of ineligible films on the Original side include Birdman, Selma, Mr. Turner and Calvary. Birdman will definitely right its course with an Oscar nomination, so can Foxcatcher repeat its WGA recognition and take the Oscar slot that would probably have gone to Whiplash? Possibly, but I’m inclined to think the space will go to Selma. One of the obstacles to making a movie about Martin Luther King for all these years has been the King estate’s refusal to grant rights to his speeches (from what I understand, they haven’t wanted to participate in a film about Dr. King that included references to his infidelities). So Selma proceeded without obtaining those rights, which partly meant channeling the spirit of Dr. King to write speeches that he never actually made, but which sound like he did.

Working against Selma‘s chances at recognition here is a dispute – a quiet one, to the credit of all involved – over writing acknowledgement. The original script for Selma was written by Paul Webb, a sixty-something British screenwriter. The project went through various incarnations on its way to getting made (Lee Daniels came close to doing it in 2010, and even had a cast in place that included Hugh Jackman, Liam Neeson, Cedric the Entertainer, Lenny Kravitz and Robert De Niro in addition to David Oyelowo, who remained onboard as King). When Ava DuVernay came on board to direct, she did significant re-writing that changed the structure of the script, shifted the focus, and included those originally-crafted speeches for King that I just talked about. But the story goes that Webb’s contract guaranteed him sole credit if he desired it, and that he chose to exercise that right despite the work to the script done by DuVernay. Because DuVernay is not a WGA member, she couldn’t fight for shared credit through the guild’s arbitration process. Without knowing the exact details or hearing Webb’s point of view, I’m left to think that his refusal to share credit is quite the dick move, similar to ones we’ve seen before. Just last year in fact, a similar situation arose with 12 Years a Slave, with writer John Ridley – who won the Oscar for Best Adapted Screenplay – choosing not to share credit with director Steve McQueen, who helped re-write the script after coming aboard. In 2009, Jason Reitman significantly re-wrote Sheldon Turner’s script on his own for Up in the Air, but Turner was allowed to retain co-credit, leading to some awkward appearances on the awards circuit that arguably cost the film an Oscar win. While the Selma situation hasn’t blown up into a public feud, it’s probably well-known in the filmmaking community, which could impact voters’ decision to nominate it. Will they ultimately decide to honor the work regardless of whose name is on it, or will fellow writers punish Webb by denying the nomination altogether? With admitted uncertainty, I’m going with the former. But if the nomination doesn’t happen, I’ll wonder if this was part of the reason.

If neither Selma nor Foxcatcher make it here, Mr. Turner is a possibility. The writer’s branch has nominated Mike Leigh five times before, so they obviously admire his work. J.C. Chandor’s first film Margin Call broke through in 2011 to win a nod, so while his latest A Most Violent Year seems to have been unfortunately lost in the crowd, the writing branch may take note. Animated movies get recognition here every now and again, so it’s not out of the question that the clever and witty script for The LEGO Movie could pop up. And while it is pretty much faded from the conversation, there was a time when Jon Favreau’s Chef was considered a strong contender for a spot here. I wish that buzz hadn’t evaporated.

Birdman – Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Armando Bo
Boyhood – Richard Linklater
The Grand Budapest Hotel – Wes Anderson
Nightcrawler – Dan Gilroy
Selma – Paul Webb

Personal Picks:
A Most Violent Year – J.C. Chandor
Birdman – Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Armando Bo
Chef – Jon Favreau
The Grand Budapest Hotel – Wes Anderson
Nightcrawler – Dan Gilroy

The expected nominees here are Gillian Flynn’s faithful adaptation of her own best-seller Gone Girl, and British Genius biopics The Imitation Game and The Theory of Everything. The addition of Whiplash into the mix shakes things up for the remaining two spots, one of which I’m sure will now go to Chazelle. Theory of Everything was ineligible for the WGA Awards and Whiplash was classified as an Original, so along with Gone and Imitation, the guild’s nominees were Wild, American Sniper and Guardians of the Galaxy. The latter two came as surprises, especially since Inherent Vice was passed over. Sniper‘s appearance here is a mark of its increased strength, though I’m not sure it can pull off the Oscar nomination. Guardians, meanwhile, has even less chance with the Academy, though it’s fun to think about. Its guild mention is the kind of happy twist that can occur when typically Academy-friendly fare is deemed ineligible. Wild and Inherent Vice are still probably the best bets to round out the category, but one of them will probably be pushed out because of Whiplash. Then again, they aren’t the only players in the game. If voters look elsewhere regardless of the Whiplash factor, they could throw a bone to Unbroken, which has the impressive line-up of writers William Nicholson (Gladiator, Les Misérables), Richard LaGravenese (The Fisher King, The Horse Whisperer) and Joel and Ethan Coen (no credit samples necessary). Into the Woods could also show up here, but without the guild nominations or the overall attention that movies of their stature might have received, Unbroken and Into the Woods remain long shots. Snowpiercer earned some critics groups nominations, but if the Academy were going to gravitate toward a genre film, Guardians seems a likelier candidate.

Gone Girl – Gillian Flynn
The Imitation Game – Graham Moore
The Theory of Everything – Anthony McCarten
Whiplash – Damien Chazelle
Wild – Nick Hornby

Personal Picks:
The Imitation Game – Graham Moore
Inherent Vice – Paul Thomas Anderson
Obvious Child – Gillian Robespierre
Whiplash – Damien Chazelle
Wild – Nick Hornby

Predicting this category is always challenging since the pool of contenders usually includes some foreign and independent films that have not received wide exposure. In addition, the number of nominees can vary based on how many films qualify by playing theatrically in Los Angeles. 20 animated features were submitted for consideration this year, but several had not yet held their qualifying runs at the time of that announcement in early November, and I don’t know how many of them have followed through. Assuming they all have, a slate of 20 contenders means there could be up to the maximum five nominees. Looking at the mainstream releases, we can safely say that The LEGO Movie, How to Train Your Dragon 2 and Big Hero 6 will score nominations. The Boxtrolls is probably in too. Among the remaining broad releases, only The Book of Life seems a viable candidate, having been mentioned by several critics organizations. (I’m disappointed that I missed both of these movies in theaters and neither has arrived on DVD yet.) Mr. Peabody and Sherman, Rio 2, and The Penguins of Madagascar have all been completely ignored so far, except for some Annie Award nominations, and I’d be surprised to see any of them suddenly earn an Oscar nomination. Aside from these selections and few others that got broad-ish U.S. releases but have absolutely no shot of getting nominated (sorry Legends of Oz: Dorothy’s Return and Planes: Fire and Rescue), the highest profile film in the running is The Tale of Princess Kaguya, a gorgeous and mature hand-drawn film from Japan’s beloved Studio Ghibli. There’s also a new film, Song of the Sea, from Irish animator Tomm Moore, whose previous film The Secret of Kells surprised everyone with an out-of-nowere nomination in 2009, illustrating that members of the animation branch were looking beyond the mainstream. So don’t count him out for return visit.

Big Hero 6
The Boxtrolls
How to Train Your Dragon 2
The LEGO Movie
The Tale of Princess Kaguya

Personal Picks:
Big Hero 6
How to Train Your Dragon 2
The LEGO Movie
The Tale of Princess Kaguya

Last year’s winner in this category was Emmanuel Lubezki for Gravity, and he finds himself at the front of the line again for his brilliant work on Birdman, which is intricately constructed to appear as if nearly the entire movie is one continuous shot. And as seems to be the case year after year, there is enough phenomenal photography to fill the category three times over. The American Society of Cinematographers, in addition to Birdman, selected Unbroken, Mr. Turner, The Imitation Game and The Grand Budapest Hotel. The only surprise was Imitation Game, which hasn’t received much attention for its camerawork, and which takes a spot that would better suit any number of other films. Where to begin? Gordon Willis, the great cinematographer who shot The Godfather trilogy and All the President’s Men among many others, passed away in May, but his spirit and style were very much alive in films like The Immigrant (shot by Darius Khondji), A Most Violent Year and Selma (both from relative newcomer Bradford Young). Under the Skin featured some of the year’s most striking images, as did the little-seen Dostoevsky adaptation The Double (which I have to say, I disliked so much that I turned it off before finishing, which I pretty much never do). On the opposite end of the indie/mainstream spectrum, Interstellar and Gone Girl each boasted the kind of impressive work we’re used to seeing in films from Christopher Nolan and David Fincher, while Dawn of the Planet of the Apes featured sensational compositions from beginning to end. Robert Elswit served up two L.A. stories this year, shooting Inherent Vice on film and going digital for Nightcrawler, with excellent results for both. The branch likes to go for black and white when it can, and some of the critics groups cited Ida, so that could be considered a long longshot to show up here. Fury, The Theory of Everything, Whiplash, Into the Woods, Wild…the members of this branch (and dorks like me who pretend that our selection on our dumb blogs mean something) have some hard choices to make.

The Academy usually strays slightly from the guild, so I’m guessing Imitation Game misses. On the other hand, voters sometimes go for the movie they like the best even if it isn’t the most deserving showcase in a given category. Overall enjoyment of Imitation probably helped score it the guild nod in the first place, so that could repeat here. But I’m taking my chances and betting elsewhere. With so many options though, I might as well pick a name out of a hat.

Birdman – Emmanuel Lubezki
The Grand Budapest Hotel – Robert Yeoman
Interstellar – Hoyte van Hoytema
Mr. Turner – Dick Pope
Unbroken – Roger Deakins

Personal Picks:
Birdman – Emmanuel Lubezki
Dawn of the Planet of the Apes – Michael Seresin
The Grand Budapest Hotel – Robert Yeoman
Inherent Vice – Robert Elswit
Under the Skin – Daniel Landin

With 12 years worth of footage to sort through, even if shooting only occurred for a few days each go-round, Boyhood editor Sandra Adair had a delicate task in choosing how to transition the characters through their growth, so count on a nomination for her. As mentioned in the previous section, Birdman is presented largely as if it were one fluid take. That’s not possible, of course, so the work of editors Douglas Crise and Stephen Mirrione had to be even more invisible than editing usually is in order to sustain the effect. Put them down for a nomination too. The broad appeal of The Imitation Game will probably help it find a slot here as well. Whiplash definitely deserves a spot, and stands an excellent chance of making it, but I also wouldn’t be surprised to see it squeezed out by something that isn’t necessarily as impressive on the editing front but which gets marked down anyway because voters sometimes equate this category with Best Picture too blindly (a nod for The Theory of Everything would be an example of that trend). Given that I’m predicting a Best Picture nomination for Whiplash, my doubts may be unfounded. I just don’t think it’s completely safe, even if it should be.

Gone Girl and American Sniper were cited by the American Cinema Editors (ACE) in their Drama category (along with Boyhood, Imitation and Whiplash), and Gone Girl may have an edge. The Academy’s editing branch loves them some David Fincher, as evidenced by the surprise Oscar win in 2011 for The Girl with the Dragon Tattoo (a year after the same editors won for Fincher’s The Social Network). Sniper, meanwhile, is the kind of action-drama that voters like to reward here. There’s also Selma, which missed with the guild but could still break in with the Academy.

In ACE’s Musical or Comedy category, Birdman is nominated alongside The Grand Budapest Hotel, Into the Woods, Guardians of the Galaxy and Inherent Vice. Budapest and Into the Woods could show up, but Vice and Guardians are less likely. If the editors were eyeing a straight-up action blockbuster, they would do better to nominate Edge of Tomorrow than Guardians. Interstellar also has a chance, though only a small one in the absence of overall support for the movie. I’d love to see Wild make the list, but unless the film does really well across the board, it will probably be passed over.

American Sniper
The Imitation Game

Personal Picks:
Edge of Tomorrow

Hard as it is to believe, not one of Wes Anderson’s movies has ever been nominated for art direction and set decoration. The Royal Tenenbaums? Nope. The Life Aquatic with Steve Zissou? Nothing. The Darjeeling Limited? Uh-uh. Moonrise Kingdom? Didn’t happen. I still don’t know how that’s possible, but I’ve got to believe the pattern ends this year with the immaculate, exquisite design of The Grand Budapest Hotel. I refuse to entertain the notion that Adam Stockhausen’s phenomenal work will be passed over. In fact, forget the nomination; we should be jumping ahead to give him the Oscar right now.

Okay, now that I’ve gotten that out of the way…Voters in the design branches are always partial to period films and sci-fi/fantasy, so The Imitation Game, The Theory of Everything, Inherent Vice, Exodus: Gods and Kings, Unbroken, The Immigrant and Mr. Turner all have a claim to stake on the period side, while Into the Woods, Maleficent, Guardians of the Galaxy and Interstellar lead the charge for the sci-fi/fantasy vote…although Interstellar is really more grounded than your usual sci-fi movie, eschewing the fantastical settings usually expected in the genre. The Hobbit: The Battle of Five Armies should be mentioned too, though I have a feeling that series has run its course in these two races. Snowpiercer, with its many distinctive train cars from grimy and filthy to shiny and glistening, is standout work that deserves a shot, and Dawn of the Planet of the Apes‘ depiction of a decrepit San Francisco and the ape village in the redwoods was marvelous. Tim Burton and Terry Gilliam movies often do well with these branches, but Burton’s Big Eyes landed rather quietly this year, and Gilliam’s The Zero Theorem came and went with almost no attention paid (I enjoyed it, for what it’s worth). Also, despite my earlier comment that I couldn’t get through The Double, I’d be remiss not to mention it here too. It was a triumph of cinematography and production design, even if I wanted to punch every character in the face so badly that I had to stop watching.

Contemporary films rarely catch on in the sets and costume categories, but Birdman could be a rare exception thanks to the claustrophobic theater in which almost the entire movie is set. The way Emmanuel Lubezki’s camera prowls through the space shows it off in a way that makes it feel like its own character, and voters might respond to that.

The Grand Budapest Hotel
The Imitation Game
Into the Woods
Mr. Turner

Personal Picks:
Dawn of the Planet of the Apes
The Grand Budapest Hotel
The Zero Theorem

In the interest of time, I’m just going to grab the first paragraph from the previous section and use it again here, with a few minor tweaks:

Hard as it is to believe, not one of Wes Anderson’s movies has ever been nominated for art direction and set decoration costume design. The Royal Tenenbaums? Nope. The Life Aquatic with Steve Zissou? Nothing. The Darjeeling Limited? Uh-uh. Moonrise Kingdom? Didn’t happen. I still don’t know how that’s possible, but I’ve got to believe the pattern ends this year with the immaculate, exquisite design of The Grand Budapest Hotel. I refuse to entertain the notion that Adam Stockhausen’s Milena Canonero’s phenomenal work will be passed over. In fact, forget the nomination; we should be jumping ahead to give him her the Oscar right now.

The same rules apply to costumes as they do to sets, in terms of what Academy members gravitate toward, so once again The Imitation Game, The Theory of Everything, Inherent Vice, Exodus: Gods and Kings, The Immigrant, Mr. Turner, Into the Woods, Maleficent, The Hobbit: The Battle of the Five Armies, Guardians of the Galaxy, Selma and The Hunger Games: Mockingjay, Part I are all in play. Personally, I’d throw in mentions for The Two Faces of January and A Most Violent Year too.

The Grand Budapest Hotel
The Imitation Game
Into the Woods
Mr. Turner
The Theory of Everything

Personal Picks:
The Grand Budapest Hotel
Guardians of the Galaxy
The Imitation Game
Inherent Vice

This is the last piece of the post I’m trying to write, and I’m running out of time and patience, so I’ll keep this one uncharacteristically brief, and perhaps share a few more thoughts post-nominations. Steve Pond of The Wrap writes a comprehensive rundown of the eligible songs each year (there were 79 this time), so it’s a nice overview of the field. With so many choices, and with the notoriously idiotic rules by which the music branch votes, there’s usually at least one headscratcher in the bunch. We’ll see how it plays out. One song that I was disappointed not to see among the 79 possibilities is “I Love You All,” an odd yet oddly catchy and moving song from the movie Frank, about an eager, wannabe musician who stumbles into a gig with an avant garde indie band – The Soronprfbs – whose lead singer Frank wears a giant papier-mâché mask at all times. He’s played by Michael Fassbender, and that’s him singing.

Would have been fun to see them perform that on Oscar night. Oh well.

Lost Stars – Begin Again
I’m Not Gonna Miss You – Glen Campbell: I’ll Be Me
Everything is Awesome – The LEGO Movie
I’ll Get You What You Want (Cockatoo in Malibu) – Muppets Most Wanted
Glory – Selma

Personal Picks:
The Last Goodbye – The Hobbit: The Battle of the Five Armies
Everything is Awesome – The LEGO Movie
I’ll Get You What You Want (Cockatoo in Malibu) – Muppets Most Wanted
We’re Doing a Sequel – Muppets Most Wanted
Glory – Selma

Whether it’s standard rules and policies or bad calls specific to each year, you can always count on the music branch to fuck things up right from the outset. This year, they’ve obliged by disqualifying what should absolutely be one of the five nominees: Antonio Sánchez’s percussion-driven score to Birdman. The Academy’s reason, in short, is that they felt the film used too much pre-existing music in addition to Sánchez’s original work, thereby lessening the impact of the score. The Hollywood Reporter offered a thorough play-by-play of what took place, with excerpts of the letters written by Sánchez and director Alejandro González Iñárritu as part of an effort to appeal the decision, as well as the Academy’s response. Unfortunately, the decision stood, despite efforts to explain how essential Sánchez was not only to the finished film, but to the production. Unlike most composers, he was involved early, working with the actors and crew in ways that are wholly atypical to how film scores usually come about. (Sánchez described the process in an interview with In Contention in early November, and spoke to the site again the day that the appeal was rejected. Cinematographer Emmanuel Lubeski also brought up the score in a brief Hollywood Reporter story about the camerawork, explaining how key a role the music played in his own efforts.)

Sánchez’s work is essential to the film, underscoring beats physical, emotional and psychological, and functioning – like the camera and the sets – as yet another character occupying the labyrinth of the Broadway theater that serves as the movie’s primary locale. It’s a shame he won’t be included. Getting to who will be, the impossibly prolific Alexandre Desplat could be a double nominee for The Imitation Game and The Grand Budapest Hotel, with the former being the more certain nomination of the two. Hans Zimmer should also be a good bet for the rousing, propulsive score of Interstellar, and Jóhann Jóhannsson is a likely nominee for his classical work in The Theory of Everything. Trent Reznor and Atticus Ross, who won this category in 2010 for David Fincher’s The Social Network, stand a good chance of a return trip with their typically unsettling score for Gone Girl. John Powell was nominated that year too, for How to Train Your Dragon, so perhaps the sequel could repeat. And if the members of the music branch are feeling adventurous, we could see a nod for the eerie tones created by Mica Levi for Under the Skin. Other scores that seem unlikely to break in but not impossible are The Homesman, Noah, A Most Violent Year, Selma, Unbroken and Mr. Turner.

Gone Girl – Trent Reznor, Atticus Ross
The Grand Budapest Hotel – Alexandre Desplat
The Imitation Game – Alexandre Desplat
Interstellar – Hans Zimmer
The Theory of Everything – Jóhann Jóhannsson

Personal Picks:
Birdman – Antonio Sánchez (Hey, I don’t have to play by the Academy’s bullshit rules)
Gone Girl – Trent Reznor, Atticus Ross
The Homesman – Marco Beltrami
The Imitation Game – Alexandre Desplat
Interstellar – Hans Zimmer

Unlike the song and score categories, which have 79 and 114 possible nominees, respectively, the Makeup and Hairstyling category has only seven, an executive committee of branch members having been generous enough to review the full slate of options earlier and narrow it down. Three nominees will be chosen from The Amazing Spider-Man 2, Foxcatcher, The Grand Budapest Hotel, Guardians of the Galaxy, Maleficent, Noah and The Theory of Everything. If my opening comment sounds tinged with a bit of sarcasm, well, it is. I don’t know why this branch (and the Visual Effects branch, coming up next) continue to employ this whittling-down process ahead of the nominations instead of just letting branch members cast their vote as they like for whatever makeup and hairstyling achievements from the year appeal to them. The films listed above are all worthy, but so are Snowpiercer, Get On Up, Exodus: Gods and Kings, Unbroken, and probably some others I’m not mentioning.

Of the seven, there are really four that seem to have the edge, and that’s one too many. As Foxcatcher‘s work is mainly limited to transforming Steve Carell, I suspect that may be the one that misses in favor of my three guesses below. Then again, the same could be said about The Theory of Everything and Eddie Redmayne’s transformation into Stephen Hawking. But I give Theory the edge over Foxcatcher because a) it’s the movie more Academy members will probably enjoy and therefore nominate across multiple categories, and b) turning Redmayne into Hawking was a gradual process throughout the film, whereas turning Carell into John du Pont was a one-shot deal…applied daily, of course, but there was no variation to the makeup itself. The branch is no more inclined toward fantasy creations than it is toward realistic ones, so maybe Guardians gets nosed out by Foxcatcher. Or maybe those both make the cut and Grand Budapest gets bumped. So few contenders, so many possibilities.

The Grand Budapest Hotel
Guardians of the Galaxy
The Theory of Everything

Personal Picks:

TheoryStellar - Banne

Although the Visual Effects branch also culls the year’s offerings down to a select few for semi-final consideration, at least their longlist now features ten films and eventually five nominees. They used to match the Makeup branch with seven and three. This year, voters can choose from Captain America: The Winter Soldier, Dawn of the Planet of the Apes, Godzilla, Guardians of the Galaxy, The Hobbit: The Battle of the Five Armies, Interstellar, Maleficent, Night at the Museum: Secret of the Tomb, Transformers: Age of Extinction and X-Men: Days of Future Past.

I think we can dismiss Maleficent and Night at the Museum from the outset, buy any combination of the other eight seems possible. Every one of Peter Jackson’s Middle Earth films has been nominated, so the final adventure would seem a slum dunk. But is it? It’s the first of the films that doesn’t really have anything new to offer in the way of effects, and it’s easy to imagine that a bit of fatigue has set in where these are concerned. Neither of the previous Hobbit films has won, whereas all three Lord of the Rings films did. Telling, or just a matter of more groundbreaking competition from past two winners Life of Pi and Gravity? The Transformers movies are as ridiculous as ever, but their visual effects have always been superb. If only the scripts could be as good. Two of the three prior entries in the series were nominated. Where will this one fall? (If I’d seen it, it would probably make my personal picks, but I haven’t. It’s just so hard to sit through them…). None of the X-Men films have been able to crack this category, and I can’t recall much about the specifics or the quality of the work in Days of Future Past…except for that one fantastic Quicksilver/prison break scene which is so good that the movie could land a spot just based on that alone.

Dawn of the Planet of the Apes
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies
Transformers: Age of Extinction

Personal Picks:
Dawn of the Planet of the Apes
Guardians of the Galaxy
X-Men: Days of Future Past

I’m always repeating myself when this category comes around, but I should relax and acknowledge that nobody remembers what I write in these columns from year to year. I doubt anyone will remember in five minutes. I mean, c’mon…are you even still reading this? What the hell is wrong with you?

What I say every year is basically this: that nobody knows what makes good sound editing or sound mixing. Except for sound editors and sound mixers and maybe James Cameron. So even though I’ve finally got a handle on what the two crafts mean, that doesn’t really illuminate who or what should or will be nominated. In the giant guessing game that is Oscar predicting, the sound categories are among the guessiest. But I’ll try anyway. To quote directly from my post last year: the sound editors record or create sounds that could not be captured during filming, either because dragons nuclear-mutated lizards [I figured I’d at least update that bit] are not real (so I’m told) or maybe because the location was too noisy to get a usable recording of a particular real-world sound. Sound mixers then take all the sound effects and the music and the dialogue, and blend it all together in proper relation to each other.

So with this category, we’re looking at every action movie and summer blockbuster; we’re looking at sci-fi and fantasy; we’re looking at war movies; we’re looking at musicals or movies with big musical numbers; and we’re occasionally looking at animated films. It’s a wide field, and although my predictions don’t include The LEGO Movie, Begin Again, The Grand Budapest Hotel, Fury, Unbroken, Exodus: Gods and Kings, Gone Girl, Selma, or Whiplash, any of them could conceivably show up…as could any number of other titles. So how’s that for making a bold stand?

Sound Editing Predictions:
American Sniper
Guardians of the Galaxy

Sound Mixing Predictions:
American Sniper
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies
Into the Woods
Transformers: Age of Extinction

Another thing I always say about these categories is that I think, with my admitted lack of understanding of the sound field, that both of these categories should be eliminated in favor of one category recognizing overall Sound Design. It is in this fantasy category that I always select my personal picks…because I have no framework for making personal picks in the actual categories. My Sound Design nominees would be: Fury, Godzilla, Interstellar, Under the Skin and Wild.

Now then…having wasted more than enough of everyone’s time, my own included, that about wraps it up. As usual, I’m far too in the dark about the documentaries and foreign language films to venture any guesses, and forget about the short films; that’s just not happening.

The nominees will be announced tomorrow morning, and in a new experiment for the Academy, all categories will be unveiled live, beginning at 5:30am PST. (Usually the on-air announcement covers only Picture, Director, the acting categories, the writing categories, Animated Feature, Foreign Language Film and Documentary Feature.) Half the nominees will be announced by J.J. Abrams and current Best Director champ Alfonso Cuarón, then the rest – including those major categories I just mentioned – will be read by Academy president Cheryl Boone Isaacs and Chris Pine. For those who like to know exactly what they’re getting into, here’s how it will break down. (Jeez, they couldn’t have thrown Abrams and Cuarón one “major” category? Best Director might have been logical…)

I was going to leave you with a clip from a past Oscar show, but then I stumbled upon this, and that was pretty much that.

August 31, 2014

Movie Mixtape #2

Filed under: Movies — DB @ 11:00 am
Tags: ,

Well, it’s taken us long enough, but the wait is over. 14 months after the first release, and nearly 13 months after this compilation was started, we’ve finally got something to show for it. Without further ado, Burnce and Frants Present Movie Mixtape #2.


BA: Alright kid. Our first Movie Mixtape was clearly a huge success. Picked up on several blogs, shared by thousands of film lovers all over the world. Let’s not leave them wanting for too long. Also, let’s make clear that, honestly, maybe ten people total read our first Movie Mixtape, and most of the preceding claims here are lies. But hey, films are lies too, right?

As you may know, I went on a bit of a film noir kick a few years back. Rewatched some that I already loved, like Double Indemnity. Discovered some new ones to love, like Out of the Past. Needless to say, I have developed quite an affinity for the genre, so I’m going to start Movie Mixtape #2 with one of my favorites. One of the many reasons I love this one is that it feels like the first Post-Noir film (not neo-noir). Most people tend to date the film noir movement from around ’41 to the late 50s. This film is from 1957, so it’s just under the wire there. And it has all the qualities you’d expect: the dirty city, corrupt and powerful men, duplicity, depravity, personal destruction. But it’s not about gangsters or detectives or police. It’s about a press agent and a gossip columnist. The noir elements are there, but the film’s been ‘miscast.’ That’s why it feels post-noir: someone said, “Hey, let’s make a noir, but let’s change up the characters.” It feels like the first major film that tipped its cap to the genre instead of being implicitly part of it.
The script is just wonderful, so many wonderful one-liners and rapid-fire back and forth (eat your heart out, Aaron Sorkin). The performances by Tony Curtis and Burt Lancaster are dripping with sleaze. I tell ya, it’s just tops.
Sweet Smell of Success
Dir. Alexander Mackendrick
Wrt. Clifford Odets, Ernest Lehman
DB: In one of this movie’s many great lines, Lancaster’s J.J. Hunsecker describes Curtis’ Sidney Falco (GREAT names, by the way) as “a cookie full of arsenic.” The same could be said of the movie itself. If only all poison went down so easily. I think studio executives often worry that a movie has to have a main character that the audience can relate to, and/or sympathize with. I’ve never agreed with that. I don’t have to like, admire or identify with the protagonists. I simply have to be interested in them. This movie could stand as Exhibit A in defending that position. Hunsecker and Falco are despicable through and through, but what fun it is to watch them play their games of power and manipulation. By making them so enjoyable to watch, the movie makes us complicit in their shady dealings at the same time that we’re rooting for the victims of their plotting to win the day. It’s a nifty trick of dramatic orchestration. You aren’t kidding about the performances, either. The physically imposing Lancaster keeps cool while personifying menace and malice, and Curtis shuffles between private anxiety and public confidence with artful ease, maintaining an underlying moral vacancy all along.
Our last mixtape touched on movies that captured the thrill of New York City on film, and this one really achieved that for me. Half of this movie feels like it’s happening at 1:00 in the morning, which seems fitting since Hunsecker and Falco are vampires of a sort. But no matter what time of day the events are happening, Mackendrick portrays a city that is pulsing with activity and energy. He gets some help in that department from Elmer Bernstein’s jazzy score and the cinematography from the great James Wong Howe.
Sweet Smell of Success hovers on the edge of the journalism world. For the follow-up, I give you a movie that brings us directly into that scene. This one spends a lot more time in the newsroom (while still plenty outside of it), as our lead characters – another two man team – exemplify a more virtuous side of the field than J.J. Hunsecker. They are sometimes forced to play games and manipulate too, but they do so toward more noble ends than their own power or personal glory. I’ve always enjoyed stories about the newspaper industry, and as it continues to fight for survival, this movie is the ultimate reminder of the important role that print journalism has played in American history.
All the President’s Men
Dir. Alan J. Pakula
Wrt. William Goldman
BA: There’s not much new insight I can bring to such an iconic film. As far as a ‘procedural’ goes, this one doesn’t let up. Peeling back layer after layer, starting to realize you’re poking a tiger, then that you’re poking a thousand tigers. It almost begins to play like a horror movie. But maybe because I recently rewatched Sydney Pollack’s Three Days of the Condor (’75), I do have something that feels worthy of pointing out. The Cold War gave something to film history that filmmakers have struggled to replace since the fall of the Soviet Union: a high stakes bad guy that everyone understood straight off. There was a constant bipolar tension in the world then. Damon Lindelof recently talked about the stakes in event films these days: once your budget passes $100 million, you have to save the world. That’s given us a crazy tent-pole season that I called The Summer of Peak Fist. But during the Cold War, the stakes were always that high, such that one man (like Redford’s Condor) could be running around the city, also trying to save the world. One mistake, one misunderstanding, could result in a simple button press and POOF, it’s all over. We don’t have that situation anymore. Die Hard gave us the “rogue terrorist” formula that worked well for years, and of course now we have the post-9/11 terrorism films, but terrorism plots, no matter how heinous, are almost always local. During the Cold War, the world needed saving every second of every day.
The spy film genre flourished under this situation, profiling the clandestine methods in which we kept the world from exploding. Criterion just released a fine example in The Spy Who Came In From The Cold (’65). What I want to point out here, though, is what the subject of All The President’s Men – the Watergate scandal and resulting cover-up – seemed to do to the genre. Before Watergate, there was always a double agent, a communist threat, a Russian spy. But then Watergate happened. And so look at Three Days of the Condor (spoiler ahead!!!): a hit on a CIA office, led by German Max Von Sydow, leads the audience to naturally assume, “It’s the commies!” But it turns out to be American spy agencies protecting their own operations.  Three Days of the Condor is a spy film that chooses as its bad guy not the Soviets but ourselves. And the movie doesn’t have any closure, but rather ends with the suggestion that the government can even tell the media what to print. Without closure, without “And that’s that,” the audience leaves the theater with a new mistrust of everything around them. That All The President’s Men was released the following year, also with Redford, almost feels like kismet: “See what we did in Condor? This is why it’s the new normal.”
This is all speculation, of course, heightened by the coincidence of me watching both films within a week of each other. But it feels right, no? Regardless, in looking for my next suggestion, I strove to find another historical event that changed the way filmmakers approached their storytelling. I arrived at World War II. Things were going well, and then BAM, war again. It gave us the gung-ho, USA!-USA! war hero films. It gave us more and more escapist musicals. It gave us the dark, dirty noir genre. And by the end of the war, it even gave us introspective looks at ourselves, in William Wyler’s The Best Years of Our Lives (’46). I almost recommended that one, but I thought I’d spice it up with a comedy. And so here’s an unexpected film made during the war, that deals with the over-patriotic hero worship in a surprisingly frank way. A man comes back to his hometown, having lied about going to war, and is honored as a hero. As with any comedy, the momentum of it all results in our ‘hero’ going along with it as best he can, as it snowballs out of control. With a kooky performance by Eddie Bracken, I give you wartime political satire that’s just as relevant today, even if the jokes feel a bit dated.
Wrt & Dir: Preston Sturges
DB: Excellent insights into two movies that clearly demonstrated Robert Redford’s disillusionment with the American government in the 1970’s…a sensibility that was shared by much of the country and which was reflected by so many of the great films of that decade (a decade bursting with great films). Interesting thoughts as well on the changing face of the movies’ big baddie over the last several decades.
There’s no bad guy to overthrow in Hail the Conquering Hero. Instead it’s the protagonist’s own shame that must be overcome, along with the tidal wave of adulation that prevents him from doing just that despite his repeated efforts. That was one element that prevented me from fully embracing the movie. I tend to lose patience with stories in which people won’t just shut up for a minute and listen to what someone is trying to tell them, which happens over and over again here as Eddie Bracken’s Woodrow Lafayette Pershing Truesmith tries to come clean with his hometown worshippers, only to be steamrolled each time by their frenetic enthusiasm and insistence on celebrating him. I also found the tone distractingly inconsistent. Was it a satire of what you called “overly-patriotic hero worship,” or was it the kind of broad, goofy comedy in which the band keeps playing at the wrong moment and the mayor is a buffoon? It couldn’t quite decide. Bracken’s performance seemed to belong in the latter, while much of the activity crowding around him seemed more of the former. This made it harder for me to buy into the relationship between Woodrow and Libby (played by the lovely Ella Raines). Her devotion to him never quite made sense to me, since they seemed like such an unlikely pair. Unlikely because while her performance was grounded, his was comically exaggerated. Only in the early scenes, prior to his newfound Marine buddies inventing the lie about his military service, and the climactic scene where he makes his confessional speech, did he seem like he was in the satire rather than the screwball comedy of errors. Still, I enjoyed Bracken’s performance on its own. I only knew him from his small role years later as Walley World founder Roy Walley in Vacation, so it was neat to see him in his heyday. There were a lot of colorful supporting performances as well, but I’m afraid the movie didn’t quite jell for me.
As it pertains to our mix tape endeavor, I did notice something interesting. Even at this early stage, we seem to be repeating a characteristic among our choices: movies about people who get caught up in a lie or misunderstanding, whether or not they themselves are responsible for it. Looking at the previous tape, we had Meet John Doe, The 39 Steps, and Doc Hollywood (and maybe you could argue Brewster’s Millions). I’m not sure whether my next pick perpetuates this coincidence or uses it as a jumping off point, but whereas the main characters of all those movies are aware of their circumstances and consciously dealing with them in one way or another, here the character in question is completely oblivious to the effect he has on those around him. In my mind, that separates it from the other selections.
He’s a simpleton who stumbles into the corridors of power and finds himself influencing policy at the highest level. Kind of like most of today’s Republican party…if the protagonist here was sinister, manipulative, and willfully ignorant and childlike as opposed to naturally so. (Sorry to get political, but as I write this, we’re nearly two weeks into the federal government shutdown, so idiots behaving like children while occupying positions of power are top of mind.) In cinematic terms, the character is like a forerunner to Forrest Gump, and he’s brought to life through a delightful performance by Peter Sellers that is every bit the equal of the classic character work he delivered in Dr. Strangelove and The Pink Panther films, but without makeup or funny accents to conceal him.
I look forward to hearing what strikes you about this movie, both because there are so many things in it that ring true nearly 35 years later, and because its final scene has the potential to reframe everything that’s come before it.
Being There
Dir. Hal Ashby
Wrt. Jerzy Kosinski

BA: Let me go grad student on you here: for me, so much of this film is about the power of filmmaking itself. If you were to turn this film on somewhere near the end, you’d find a charmingly quiet man standing at the bedside of a dying man. And when that dying man gives up his last breath, the quiet man reaches out and puts his hand across the dead man’s forehead. It’s a touching gesture, a moment of final human connection. But it’s none of that, because the quiet man – Peter Sellers’ brilliant portrayal of simpleton “Chauncey Gardner” – is just aping something meaningless from earlier: in the opening scenes, when his caretaker dies, the maid informs him that she felt his forehead, and he was cold as a fish. So he went upstairs to the dead body and felt the forehead. That’s what you do when there’s a dead body, he must think.

In a weird, infinity-mirror type of way, that’s the magic of a film. It shows you what it thinks you need to see, and the overall experience delivers a certain emotional journey. Here, that journey is of an ‘idiot’ being mistaken for a profound genius, because the people he’s interacting with haven’t seen the rest of his story and don’t bother to try. We as the audience are privy to it, and so the comedy comes from something we know that they don’t. On top of that, Gardner himself can only come across as competent – however accidentally – because he himself has spent a lifetime clicking around the television stations. He never stays on one show for very long, so what he’s seen of other people interacting with each other are to him out of context. So we have this crazy snowball effect, where a simple man who’s only seen snippets of filmed stories walks around repeating those snippets when a similar context arrives, and the people he repeats them to, themselves having only seen this snippet of his life, think they understand it just as he believes to understand a soap opera or exercise show. It’s only the audience that knows the whole story……
….. or do we? That last shot, for all its Christ-like allusions and state-of-mind easiness, delivers something else: there’s a magic in a film, unlimited possibilities. Even the audience, who have been in the know this whole time, is surprised by it. A common reaction may be to say, “How did that happen? Is there a sandbar or hidden floor? Is it literal or a metaphor?” But that’s beside the point, because the entire film is filled with people who simply accept what they’ve seen as what they think it is, no questions asked. They’re ‘experiencing’ life, not analyzing it. This is driven home when director Ashby includes end credit outtakes of Sellers and crew giggling through a particularly silly moment that didn’t appear in the film. Ashby gets the last word, pointing out, “And even YOU didn’t see everything. You only saw what I wanted you to see.” Sure, there are cynical lessons here about politics and media that are relevant today (and, I may add, continue the trend discussed earlier: Watergate changed the enemy, and from then on the natural artistic response is analysis [….President’s Men], a new reality […Condor], and finally, satire), but I think the real magic here is in the details themselves, and how they combine to form a complete and deliberate vision.
So, let’s stick with that. The telling of a story, the completeness of a life, and the limitations of two hours of screen time. This next film is crazy, in the best way. Your mind starts to reel at it all, but it kind of makes sense despite itself, because its progression is our progression. From the loony mind of a gifted writer, in his directorial debut.
Dir./Wrt. Charlie Kaufman
DB: Ooof. When I saw you had selected this movie, I was both excited and…I’m not sure what word to use. Overwhelmed? Excited because ever since I saw it when it first came out, I’ve wanted to see it again. Overwhelmed because the main reason I wanted to see it again is that it’s so dense and so heady and there’s so much going on that I had no idea what to make of it on first viewing, beyond being once again enraptured by the dizzying imagination of Charlie Kaufman. There could be an entire, semester-long course dedicated to this movie. My brother took a class in college on the James Joyce novel Finnegan’s Wake, which is so complex and challenging that there are actually companion books the class read in conjunction with the novel itself in order to help understand it. I feel like this movie would benefit from similar assistance.
If you and our reader(s) will indulge me a personal side note, you said something in your Being There commentary that struck me. Describing the characters in the movie, you said, “they’re experiencing life, not analyzing it.” I think that’s true of the different ways that you and I watch movies. I wrote at the top of my post about my favorite movies of 2012 that I experience movies emotionally, not intellectually. Maybe every now and then I have a more analytical take on something, but more often my response is a simple gut reaction. I’m all about the surface pleasures. So although I’m an avid movie watcher, I’m also a shallow one.  With this mixtape project of ours, that leaves me a bit outmatched as you continually extrapolate the most interesting, inside-out takes on these movies. Your thoughts on Being There are so far removed from anything that would ever occur to me. And then as if to highlight this contrast, you offer up fucking Synecdoche, New York. You magnificent bastard.
Still, when it comes to this movie, I can’t beat myself up. I don’t think anyone can watch it just once and walk away with more than a small amount of comprehension. And though this was my second time, it may as well have been my first given the passage of years since I initially saw it. There is so much happening both visually and thematically – and all at once – that it demands repeat viewings. One interesting thing I learned through the DVD’s special features is that Cotard, the last name of Philip Seymour Hoffman’s central character, is taken from a mental health condition called Cotard Delusion, or Cotard’s Syndrome, which finds the afflicted believing that they are dead or do not exist, or are slowly dying, or losing their blood and internal organs. Hoffman’s Caden Cotard is introduced as a death-obsessed hypochondriac, and his ongoing debilitation bears out the meaning of the name. The title itself is also loaded. “Synecdoche” is a term for part of something that is used to represent the whole, or vice versa. (Wikipedia offers the examples of a congregation being called “the church” or workers being referred to as “hired hands.”) See, before we even get into the actual movie itself, the work begins.
I don’t want to suggest that I’m uninterested in movies that make you think or make you work, but in the case of a movie as packed as this one, I rarely feel like I have the time to spend on thoughtful consideration. There’s just too damn much to do. Rumination at the level required by Synecdoche is a luxury I can’t afford. I know…poor me. So because I don’t possess the hours or the intellectual capacity to unpack this movie even superficially, let me hone in on one small aspect of it to finally lead us into our next track. (The flow of these posts don’t convey the time between movies, but it’s been nearly two months since you sent me this selection.)
Caden is a theatre director, married to an artist named Adele, and they have an adorable young daughter named Olive, upon whom both selfishly and ignorantly dump their neuroses. Adele soon takes Olive to Berlin for a work related trip, and never returns, even keeping her from Caden when he travels there to see her some years later. While Caden’s life goes on, and he sinks deeper and deeper into the quagmire of his massively staged, hopelessly layered, eternally unfinished creation, the loss of Olive is a throughline that haunts him. Not that he was ever fit to be a father, and he probably had no idea the damage he was doing to her when they were together, but his love for her was always sincere. There’s not much in this movie we can trust as real; in fact, I’m not even confident saying that Olive was ever real. But she’s certainly real to Caden, and so is the effect of losing her.
This is something we’ve seen before in art, and sadly in life. Children become pawns in the manipulations of their fucked-up parents. Maybe the parents really love their child, or maybe they’re incapable of loving anything beyond themselves. It’s a tragedy that was played out quite beautifully in a movie from just this past year. So with nothing but respect and admiration for Charlie Kaufman, I’m nevertheless unabashedly happy to pass the “Now Leaving Synecdoche, New York” sign and move on to this adaptation of an 1897 novel by Henry James, updated to the present day and starring Julianne Moore and Steve Coogan as the self-involved parents of a little girl who can’t even comprehend that she’s fighting to retain her innocence as she gets tossed around from guardian to guardian. The young actress at the center, Onata Aprile, will both warm and break your heart.
What Maisie Knew
Dir. Scott McGehee, David Siegel
Wrt. Nancy Doyne, Carroll Cartwright
BA: This touching and heartbreaking little film highlights two important parts of filmmaking. And with this particular subject matter, the two parts bump up against each other. The first is an established perspective. The entire film is from Maisie’s point of view, often with the camera literally at her level, the adults cut off at the top of frame. If the parents are arguing and Maisie wanders back to her room, we can no longer hear the argument. We’re just with Maisie as she avoids whatever it is the adults are yelling about and focuses on a book, or a drawing, or looking out the window. Having even a single scene without Maisie present would have broken the whole film apart. It’s not just that she has to be in the scene; the audience can only know what she knows. Only then can we really try to connect with her innocence emotionally, because we’re denied the full adult story if she tunes out or walks away.
Which brings up the second point: knowing your audience. What works against a film like this, where you’re trying to experience life as a young girl does (Onata Aprile’s quiet performance is lovely). The audience is very likely comprised wholly of adults, and adults will bring with them an understanding of what’s really going on. What the judge says, the petty underhanded fighting, one parent fishing for info on the other through seemingly innocent questioning of the daughter. WE know what they’re really up to, and we get protective of Maisie. Because we know she doesn’t hear that stuff and know what it really is. Thus, the film has to live in this in-between space: trying to portray the innocence of a child’s perspective to an audience that has already lost it. You can’t put the rabbit back in the hat, but you can remind us there was a time when the hat surprisingly produced a rabbit. It’s just that now, we’ve seen the hidden compartment.
That disconnect prevented me from all-out loving the film, though I did enjoy it completely. Maybe that disconnect is the filmmakers’ intention, too (there is a running theme about a moat, the barrier between a castle and the dangerous animals outside). But I’ve seen that story before. I wonder if you can even make a film that gives you a true experience of childhood to anyone other than a child. This isn’t the first time I’ve thought of it, either. I’ve been taking notes for at least 8 years on a film I’d like to find a way to write someday that completely captures, visually as well as emotionally, what it was like to be a kid. So far, it’s a bizarre mash-up of Willy Wonka Technicolor meets Gondry-like visual devices. Who knows? It’s hard to have an adult experience a story about childhood without the nostalgia element. Beasts of the Southern Wild got the closest, I’d say. And it required magical animals and a flooded landscape.
I knew pretty quickly what the next film on our mixtape should be. It also tells a story through a child’s perspective, an incomplete understanding of the realities of the adult world influencing conclusions about what’s what. Only here, we add the DNA of a spy film. An Embassy on foreign soil, an accidental death, and ever so many lies. Before Carol Reed and Graham Greene gave us the classic The Third Man, they gave us this unique thriller.
Dir. Carol Reed
Wrt. Graham Greene
DB: Our running theme of characters caught up in lies continues with this nifty little thriller. One of the key differences here, however, is that some of the falsehoods are of a much more innocent nature. Phillipe is told many lies during the course of the movie, and they are the same lies children are told everyday because the truth is too complicated, or beyond their comprehension. And as the film goes on, it becomes painful to watch this poor little boy try to work through the confusion that these lies have wrought. Every time he thinks he’s trying to do the right thing to help his friend Baines, his actions instead threaten to seal the man’s fate. It starts to feel like you’re watching a rag doll get kicked around. By the end, I just wanted the adults to listen to what he was so desperately trying to tell them…even though if they did, it would just mean another strike against Baines.

There’s also the fact that Phillipe himself is lying to protect Baines, even though he mistakenly thinks Baines has just killed someone. It struck me immediately that the obvious follow-up to this movie would be Atonement, another story in which a bright but naive child sees something – or rather, doesn’t see what they think they’ve seen – and reacts in a dangerously misguided fashion because they don’t understand the truth. Those two movies would make for a nice double-feature. But I’m not picking that, since it’s a bit too much of the same. Children, misunderstandings, harmful lies…I think we need to go in another direction, which also rules out some other good follow-ups that I considered and which further involve the consequences of lies. Instead, I’m taking the concept down a different but related road. In The Fallen Idol, Baines has regaled Phillipe with tales of his adventures in Africa. We soon learn that these are lies as well, since none of the events ever took place. We don’t consider them to be lies though, do we? They’re stories, told for the boy’s amusement. But really, what are stories if not lies that we tell for the purpose of entertainment? And aren’t movies and TV shows the biggest lies of all? You brought up the same idea in the very first paragraph of this post. Acting, editing, sets, special effects….all tools to construct an illusion. This is an idea that plays directly into a project you’re working on right now, so I know you know what I mean.

For the last 15 years or so, reality television has blurred the lines even further. Sure, the situations may not be fictional exactly, but they are very much constructed; shaped to create a narrative, with real people jammed into roles of good guys and bad. These shows are not reality. They’re fiction, blatantly manipulated, yet audiences welcome these “lies.” They view the programs obsessively, and thus become active, willing partners in their own deceit. This next movie concerns one gigantic lie, designed to entertain the masses. And that it does. With the exception of the person at its center, everybody’s in on it, everybody’s caught up in it, and nobody has ever stopped to consider the cost because they’re all enjoying it too much.

The Truman Show
Dir. Peter Weir
Wrt. Andrew Niccol

BA: So the story goes that Andrew Niccol’s first draft of this script was a dark sci-fi thriller, set in NYC, and that Brian de Palma was going to direct. Makes sense coming from the guy who wrote (and directed) Gattaca, but what a different movie that would have been! Probably closer in tone to that same year’s Alex Proyas thriller Dark City. Once Peter Weir came on board, he began to craft it into the timeless setting of Seahaven.

I’ve seen this more than a few times, but it’s been a while. So this time around, two things really jumped out at me. First, it’s a lot quicker than I remembered. I think that’s a testament to the depth and detail of the film. The way we’re introduced to the world as if we’re watching the TV show, the way 99% of the camera shots are of the ‘hidden’ variety (almost a precursor to ‘found footage,’ in a way?). The structure of the film gives us Truman’s life, interrupted almost immediately by the light that falls from the sky. And then we get flashbacks, and then when we finally meet Christof (a little on-the-nose with that name), we do so via an interview during which we get to experience the entire life of Truman from birth to now. All of this in a lean hour-plus, which then takes us into Truman’s falling apart and eventual awakening. By the time he opens that door at the end and steps through, we’re hit hard with it, because we feel like we’ve been watching the show for decades as well.
Much of that, too, comes from the art direction. And that’s the second thing that jumped out at me. The music the characters listen to, the clothes they wear, their furniture and appliances feel like the 1950s. And yet there’s modern cars, computers, phones. It’s this odd mixture of past and present, which is really interesting when you step back and think about it. Part of it was no doubt to draw a solid line between Truman’s world and the modern world looking in at him (Christof’s production has all the tech he could ever need, even a Weathermaker!). Truman’s almost 30 in the film, which means that the show started in 1968. So even then, the 50s thing would’ve been somewhat dated. And yet it didn’t change. Maybe that’s the appeal of a familiar TV show: your favorite characters will always be in their familiar spots. The Cosby Show‘s living room, ER‘s hospital, 21 Jump Street‘s 21 Jump Street. It’s yet another trove of detail that shows you how deeply everyone involved with this film really thought it all out.
It’s off this latter point that I pivot to the penultimate film on our mixtape. The choice to film in the cookie-cutter town of Seaside, Florida really drove home the homogeny of the environment created around Truman. Rightfully so, too, because Christof wants complete control over what affects his main character. Seahaven is a blank slate, everything so alike and innocent that you don’t even notice it. Then all Christof has to do is start a fire, or make it snow, or throw in a love interest, and he’s guaranteed that the drama will come from that action, not something unexpected. But, like the false elevator wall Truman discovers during his ‘breakdown,’ things are never so cut and dry. Even in the picture perfect, let’s-move-to-the-suburbs, nuclear family/Donna Reed 50s that the art direction is modelled after, shit gets real.
Even during the 1950s themselves, filmmakers were pulling back the curtain and showing America that behind the ambrosia salad and rotary mowers, life really was ugly and imperfect. One director in particular made his name doing just that, and I give to you my favorite of his soapy, soapy films.
Dir. Douglas Sirk
Wrt. Peg Fenwick
DB: I’ve been wanting to see this movie for over a decade, ever since watching Todd Haynes’ 2002 film Far From Heaven, his homage to these “women’s pictures” on which Douglas Sirk made his reputation. All That Heaven Allows and Imitation of Life (which I also have yet to see) are considered the primary inspirations for that film, but I never got around to watching them after seeing it, despite my intentions. Now that this one is under my belt, its influence on Haynes is clear. And though I’d assumed his effort was just a thematic interpretation of Sirk’s work, now I see that Haynes also recreated Sirk’s stunning use of color.
Perhaps the colors stood out so much because the light was refracted through all of the suds in which the movie is lathered. Your description of “soapy” was apt. Melodramatic as it may be though, it was hard not to get caught up in the drama. Almost everyone in Cary’s life – from her college-age children to her so-called friends from the country club and cocktail party crowd – react so disdainfully to her romance with the younger, blue-collar Ron, and there were a few characters I found myself talking smack to out loud for their treatment of the couple. Yet at the same time that I felt defensive on behalf of their relationship, the romance felt a little rushed to me. I don’t think the movie did much to build up their attraction, which went from 0 to 10 in little more than the time it took to tour Ron’s rundown mill.

If I wanted to follow this up with another story of lovers battling outside forces that threaten to break them apart, there would be no shortage of movies to choose. But what will linger with me over time about this movie isn’t the story or the social commentary, but those vibrant, gorgeous colors. There were moments – think of those wide shots of Ron’s mill – that looked like they were animated. Cary and Ron might well have been walking around in a Disney cartoon. I mean, Jesus – there was even an adorable reindeer hanging around! A reindeer, Brantley!

So it’s color and cartoons that I’m thinking about as we wrap up this set. And while I have two movies in mind that might actually be more applicable than the one I’m going with, my ultimate selection accomplishes a couple of additional things. Yes, it elaborates on the idea of live actors in a world that sometimes seems (and at least briefly is) animated, but it also offers a nice bit of symmetry by serving as another riff – albeit a much lighter one – on the film noir origins that inspired your pick for our opener, Sweet Smell of Success. Lastly, it allows me to pay tribute to a terrific actor who recently left us. So enjoy revisiting this classic from our childhood, and raise a drink to Bob Hoskins as you do.

Who Framed Roger Rabbit
Dir. Robert Zemeckis
Wrt. Jeffrey Price & Peter S. Seaman

BA: What can you say about Roger Rabbit that any movie lover in our generation doesn’t already know? That they got the rights to cartoon characters from every conceivable studio. That Hoskins was asked to do the near-impossible, acting alongside greenscreens and practical gadgets that would later be drawn over. Watching it again, from start to finish, you can see all the noir tropes it’s supposed to have: a private detective, his trusty gal, a femme fatale, a musical number, a gin joint, a mystery in Los Angeles that (like Chinatown) is basically just a land grab. And as you said, a solid way to wrap up Movie Mixtape #2. Not just because we’ve bookended this thing with noir, but because in just two months, I’ll be getting married in the very movie theater in which I first saw Roger Rabbit. An old school Art Deco theater that would fit in quite nicely in Eddie Valiant’s world.

Coming Eventually: Movie Mixtape #3


August 24, 2014

Emmy Nominations 2013-14: Reaction Mishmash

Filed under: Emmys,TV — DB @ 9:45 am
Tags: , , , , , , ,

The Emmy Awards are upon us, and once again this year’s crop of nominees reminds us that there is an astonishing level of quality across today’s television landscape…if it can even still be referred to as television now that online entities like Netflix, Amazon and Hulu are presenting original programming. Unfortunately, it tends to be what isn’t nominated that serves as the reminder, for no matter what makes the cut, there remains so much great work that is left out. As I say every year, there is simply too much good work out there for all of it to receive the celebration it deserves come Emmy season. But that doesn’t stop TV critics and avid watchers from sounding off anyway. For the past couple of years I’ve offered a slate of write-ups for work that stood out to me as nomination worthy but went unrecognized. I really need to work on those throughout the season, while the shows are fresh in my mind, but I dropped the ball this year. Still, I have thoughts on what was and wasn’t nominated, and I’ll be damned if I’m just going to keep them to myself. I’m a blogger! So here’s a down-and-dirtier version of this annual post. I’m not making predictions here; the Emmys are far too erratic and offbeat for me to apply my Oscar mojo. This is just a rundown of the nominees, accompanied by thoughts and opinions where I have them. Maybe I’ll get my act together next year. Until then….


The Big Bang Theory
Modern Family
Orange Is The New Black
Silicon Valley

Thoughts: As entertainment award travesties go, the annual omission of Parks and Recreation is one for the books. How does this show get passed over year after year after year? With all respect to the fine Modern Family, Parks and Rec dances circles around it. It’s more ambitious in its storytelling, it develops its characters with greater depth and it continues to offer surprises each season while Modern Family and other shows just do more of the same…even if they do it well. And on top of all that, it’s hilarious and still has the best comedic ensemble on TV right now. I don’t watch The Big Bang Theory, but I’d bet it too falls short of Parks and Recreation in almost every metric.

On the upside, it’s nice to see Silicon Valley land a nomination for its debut season. The show came out of the gate strong and never faltered. I have yet to get around to Orange is the New Black, but by all accounts it’s a true original and a deserving nominee…if not necessarily the right fit for this category.

Lena Dunham – Girls
Edie Falco – Nurse Jackie
Melissa McCarthy – Mike & Molly
Julia Louis-Dreyfus – Veep
Amy Poehler – Parks and Recreation
Taylor Schilling – Orange is the New Black

Thoughts: At least Amy Poehler got some love for Parks and Rec, though the fact that she hasn’t won yet is every bit as scandalous as the show itself not being nominated. Yes, we all adore Julia Louis-Dreyfus, but she’s got plenty of Emmys at this point, and while her work on Veep is excellent, the character doesn’t have the range of Poehler’s Leslie Knope. She won her first Golden Globe for the role in January. Perhaps this will finally be her year at the Emmys as well?

Also, how about getting some Mindy Kaling up in this joint?


Louis C.K. – Louie
Don Cheadle – House of Lies
Ricky Gervais – Derek
Matt LeBlanc – Episodes
William H. Macy – Shameless
Jim Parsons – The Big Bang Theory

Thoughts: Ricky Gervais’ nomination for the Netflix series Derek is quite the surprise. The series hasn’t garnered the acclaim or noteriety of The Office or even Extras, so it’s a testament to Gervais’ appeal that he made the cut over more widely predicted people like Brooklyn Nine-Nine‘s Andy Samberg (who took the Golden Globe) and Silicon Valley’s Thomas Middleditch. I’m also giving a shout-out to the great Chris O’Dowd, who was a real joy as the lead in Christopher Guest’s mellow HBO comedy Family Tree.

As for the win, I gotta go with Louis C.K.

Mayim Bialik – The Big Bang Theory
Julie Bowen – Modern Family
Anna Chlumsky – Veep
Allison Janney – Mom
Kate McKinnon – Saturday Night Love
Kate Mulgrew – Orange is the New Black

Fred Armisen – Portlandia
Andre Braugher – Brooklyn Nine-Nine
Ty Burrell – Modern Family
Adam Driver – Girls
Tony Hale – Veep
Jesse Tyler Ferguson – Modern Family

Thoughts: Can someone explain to me how Fred Armisen is a Supporting Actor on Portlandia? He’s the co-lead and co-creator of the show. He doesn’t belong here, especially at the expense — yet again — of any member of the Parks and Recreation crew. Nick Offerman remains the show’s most egregiously overlooked cast member, but Chris Pratt, Aziz Ansari and Adam Scott are plenty deserving.

Silicon Valley also boasts an impressive group of supporting players, any of whom — T.J. Miller, Martin Starr, Kumail Nanjiani, Zach Woods or the late Christopher Evan Welch — would have been welcome additions here.

Returning nominees Adam Driver, Tony Hale and Ty Burrell all deserve a place once again, and Andre Braugher is a welcome addition for his deadpan precinct captain. His co-star Joe Lo Truglio would have been deserving too…though again, neither outshine the men of Parks and Rec. I really don’t get the Emmy’s aversion to that show.

I would love to see Driver take this. Reigning champ Hale is terrific, but Adam Driver is one of the most exciting actors anywhere right now. His work on Girls has been remarkable from day one, and he continues to take his character in fascinating and unexpected new directions.


Uzo Aduba – Orange is the New Black
Laverne Cox – Orange is the New Black
Joan Cusack – Shameless
Tina Fey – Saturday Night Live
Natasha Lyonne – Orange is the New Black
Melissa McCarthy – Saturday Night Live

The Guest Performer Emmys were handed out last weekend at the Creative Arts ceremony, and the prize went to Uzo Aduba. As I mentioned above, I have yet to see Orange is the New Black, but even I’m aware of her breakout character Crazy Eyes.

Steve Buscemi – Portlandia
Louis C.K. – Saturday Night Live
Gary Cole – Veep
Jimmy Fallon – Saturday Night Live
Nathan Lane – Modern Family
Bob Newhart – The Big Bang Theory

Thoughts: Another Parks and Recreation omission: is it not far past the time to recognize Ben Schwartz for his hilarious recurring work as Jean-Ralphio Saperstein? This is a show that has done such a phenomenal job of building up a roster of recurring characters to fill out the town of Pawnee, and none are funnier or more well-honed than hipster doofus Jean-Ralphio. His impact on the show has been significant enough that the creators gave him an equally hilarious sister Mona Lisa (Jenny Slate) and this past year introduced Henry Winkler as their father. Given how this show has been passed over by Emmy voters across the board, I can hardly expect Schwartz to be singled out. But he sure deserves it.

All that aside, the winner was Jimmy Fallon.


David Crane, Jeffrey Klarik – Episodes (Episode 305)
Louis C.K. – Louie (So Did the Fat Lady)
Liz Friedman, Jenji Kohan – Orange is the New Black (I Wasn’t Ready – Pilot)
Alec Berg – Silicon Valley (Optimal Tip-To-Tip Efficiency)
Simon Blackwell, Tony Roche, Armando Iannucci – Veep (Special Relationship)

Thoughts: Cheers to the voters for nominating the season finale of Silicon Valley, which featured one of the funniest sequences I saw anywhere all year: a serious discussion amongst software engineers about how one of them could theoretically jerk off 800 men in ten minutes. This was inspired. The best part is that, as with much of the show’s shop talk, the concept had to be worked out with the help of a legitimate engineering genius — 27 year-old MIT grad Vinith Misra. While discussing his work as an advisor to the show in this interview, he mentioned that his tasks included “performing a detailed mathematical analysis in support of a penis joke.” Fantastic.


Iain B. MacDonald – Episodes (Episode 309)
Paris Barclay – Glee (100)
Louis C.K. – Louie (Elevator, Part 6)
Gail Mancuso – Modern Family (Vegas)
Jodie Foster – Orange is the New Black (Lesbian Request Denied)


Breaking Bad
Downton Abbey
Game of Thrones
House of Cards
Mad Men
True Detective

Thoughts: Although I don’t watch The Good Wife, I gathered that it had a strong season. I couldn’t escape the news of a major cast member’s dramatic exit, so it’s surprising that the buzz didn’t translate into a nomination. Much as I enjoy Downton Abbey, I’m not sure if it belongs here when other acclaimed shows like Good Wife, The Americans, or Masters of Sex were shut out. The Bridge had an impressive debut run too. It would also be nice to see more genre shows join Game of Thrones. Neither The Walking Dead nor Bates Motel have Thrones’ prestige factor, but both are coming off high-quality seasons. And Hannibal is not only riveting, but one of the most visually arresting shows on the air. Also, I have to say, True Blood bounced back in a big way last year.

I’d like to think this will be the year that Game of Thrones triumphs, but it’s a tough call. It’s unanimously agreed that Breaking Bad’s final season completely nailed it, and might even have been the show’s best yet. But those episodes aired a year ago, and it may be too far out of mind to claim the prize for the second year in a row…though most fans of the show would say that only one Outstanding Drama Series win is not enough. True Detective is the big threat here. Fueled by the presence of Woody Harrelson and Matthew McConaughey, the show was highly anticipated and lived up to the potential. It was an instant hit — smart, engrossing and atmospheric. And it’s probably more in Emmy voters’ wheelhouse than Game of Thrones. One potential hiccup is that earlier this month, accusations surfaced that True Detective‘s creator Nic Pizzolatto plagiarized portions of the show’s dialogue. He and HBO have denied the charges, and the timing does seem suspicious. The show ended its run in March, but this story doesn’t hit until August, in the middle of the Emmy voting period? Sounds like the work of Tywin Lannister…

Lizzy Caplan – Masters of Sex
Claire Danes – Homeland
Michelle Dockery – Downton Abbey
Julianna Margulies – The Good Wife
Kerry Washington – Scandal
Robin Wright – House of Cards

Thoughts: Does Michelle Dockery really belong here? She does good work as Lady Mary, but in a crowded field, I can think of a few performances that have more going on than hers. How about Vera Farmiga, nominated last year for her wonderful work on Bates Motel? The Bridge’s Diane Kruger, might have been a more interesting choice as well. I don’t watch any of the following shows, but what I hear of Tatiana Maslany (Orphan Black), Keri Russell (The Americans), Connie Britton (Nashville), Katey Sagal (Sons of Anarchy) and the usually-nominated Elisabeth Moss (Mad Men) suggests that all are eminently Emmy worthy.

Bryan Cranston – Breaking Bad
Jeff Daniels – The Newsroom
Jon Hamm – Mad Men
Woody Harrelson – True Detective
Matthew McConaughey – True Detective
Kevin Spacey – House of Cards

Poor Michael Sheen. The Masters of Sex star is always the bridesmaid to his co-stars. The Queen: Helen Mirren wins the Oscar, but he’s not nominated. Frost/Nixon: Frank Langella gets the Oscar nomination, Sheen is passed over. Now Lizzy Caplan is welcomed into the Emmy race for Masters while Sheen is yet again ignored. Perhaps he can take some consolation in the fact that as always, this is a jam-packed category. There’s really nobody here who doesn’t deserve their place. Some might say Jeff Daniels, who pulled off a surprise win last year, but critics and pundits just don’t like The Newsroom. Whatever they think of the show though, Daniels is terrific. Many expected James Spader to be a shoo-in for The Blacklist, and there were hopes that Matthew Rhys would find his way in for The Americans. But there can be only six.

Jon Hamm remains Emmy-less for Mad Men, which probably should be rectified at some point, but it’s unlikely to be this year. While Bryan Cranston could take it one final time for Breaking Bad, this award seems destined for McConaughey, who was spellbinding on True Detective. His first foray into series television further bolstered the hot streak that he’s been on in the movies. He’ll need some more shelf space to add all the True Detective awards he’s bound to win over the next six months to the swarm he already collected for Dallas Buyers Club. His next two projects are with Christopher Nolan and Gus Van Sant. Dude is crushing it.

Christine Baranski – The Good Wife
Joanne Froggatt – Downton Abbey
Lena Headey – Game of Thrones
Anna Gunn – Breaking Bad
Christina Hendricks – Mad Men
Maggie Smith – Downton Abbey

Thoughts: I’m always pleased by any recognition for the Game of Thrones cast, so I’m happy to see Lena Headey score her first nomination. I still say Maisie Williams is the cast’s most deserving female, but I’ll take what they give me.

I didn’t expect the Emmys to suddenly find room for The Walking Dead in a main category, but Melissa McBride certainly deserved a place here this year. McBride’s Carol has had the best character arc on the show, coming a long way from the meek, abused wife she was at the start to the badass warrior momma she is now, one of the toughest of the survivors, who makes difficult life or death decisions and then follows through, all for the greater good. Her evolution and do-what-needs-to-be-done attitude were crystallized in this season’s episode “The Grove,” which saw Carol execute her most heartbreaking decision yet. I had some issues with the how the story played out — I think the writing failed to explore the situation as fully as it needed to (and easily could have) before the ultimate solution was reached — but I have no issues with McBride’s performance. It was a textbook example of the kind of showcase episode that should earn an actor a nomination.

I also want to make a stand for Caitlin FitzGerald, from Masters of Sex. As the warm, supportive wife to Michael Sheen’s intense title character, FitzGerald had the challenge of taking a 1950’s housewife whose lot in life seems to be supporting her man, and turning her into a character who was, in her way, just as strong and compelling as Lizzy Caplan’s less conventional woman of the era. FitzGerald quickly evolved into my favorite character on the show, as I found myself looking forward to her scenes more than anyone else’s.

Lastly, while I can’t comment on Baranski, Gunn or Hendricks, I can say the category should have found room for The Newsroom’s Olivia Munn. Probably the least experienced of the show’s primary cast members when it debuted, she was strong from the start and does great work week in and week out. If she had been giving the same performance on The West Wing, she’d have been nominated.


Josh Charles – The Good Wife
Jim Carter – Downton Abbey
Peter Dinklage – Game of Thrones
Mandy Patinkin – Homeland
Aaron Paul – Breaking Bad
Jon Voight – Ray Donovan

Thoughts: Could sentiment be with Josh Charles, given his character’s high-profile departure from The Good Wife? Or will voters look to Aaron Paul one last time for Breaking Bad? No surprise, I’m rooting for Dinklage to win for a second time. His arc this season provided great material, both showy and subtle, and he was as stellar as ever. Unfortunately, he is once again the show’s sole representative. Several of his castmates could just as easily join him here, but all were overlooked. One particular absence stings because the character won’t be returning, and has been one of the standouts each year. I’m avoiding his name for spoilers sake, but those of you watching probably know who I mean. Frankly, if this entire category were comprised of Thrones actors,  it would be entirely justified.

Voters might also have considered Jeffrey Wright’s work on Boardwalk Empire. He was an excellent addition to the show, and a more interesting character than Bobby Cannavale’s Emmy-winning villain from the previous season.

Kate Burton – Scandal
Jane Fonda – The Newsroom
Allison Janney – Masters of Sex
Kate Mara – House of Cards
Margo Martindale – The Americans
Diana Rigg – Game of Thrones

Thoughts: Kate Mara? Really? Nothing against her or her performance, but her arc on House of Cards was pretty brief this year. Does she really deserve this slot? Diana Rigg is so good on Game of Thrones, but she was in much less of the season this year than last. If she didn’t win then, it’s unlikely that she would now.

And she didn’t. The award went to Alison Janney, and that’s hard to argue with. Janney was heartbreaking as a wife and mother experiencing her sexual awakening as she learns that her husband — fellow nominee Beau Bridges — is not the man she thought he was.

Dylan Baker – The Good Wife
Beau Bridges – Masters of Sex
Reg E. Cathey – House of Cards
Paul Giamatti – Downton Abbey
Robert Morse – Mad Men
Joe Morton – Scandal

Thoughts: Pedro Pascal came into the crowded Game of Thrones cast and immediately carved himself a place of honor with a compelling portrayal of a revenge-minded prince. He seemed a shoo-in for recognition here. I mean, it was a fun to see the great Paul Giamatti pop up on Downton Abbey, but I’d trade his one-episode appearance for Pascal’s pivotal season-long role in a heartbeat. It’s disappointing to see him passed over.

I’ve only seen half of these nominees — Giamatti, Bridges and Cathey. I’d have gone with Bridges’ wrenching turn as a married man grappling with his homosexuality. The scenes of his professional relationship — he plays Michael Sheen’s longtime friend and boss — are terrific, but the character’s personal struggles deepen the role and allow Bridges to do some beautiful work. Alas, the winner was Joe Morton (Miles Dyson, for all you Terminator 2 fans). Though I don’t watch Scandal, I’ve always liked Morton, so it’s nice to see a working actor like him get some recognition.

Moira Walley-Beckett – Breaking Bad (Ozymandias)
Vince Gilligan – Breaking Bad (Felina)
David Benioff, D.B. Weiss – Game of Thrones (The Children)
Beau Willimon – House of Cards (Chapter 14)
Nic Pizzolatto – True Detective (The Secret Fate of All of Life)


Tim Van Patten – Boardwalk Empire (Farewell Daddy Blues)
Vince Gilligan – Breaking Bad (Felina)
David Evans – Downton Abbey (Episode 1)
Neil Marshall – Game of Thrones (The Watchers on the Wall)
Cary Joji Fukunaga – True Detective (Who Goes There)

Thoughts: Without having seen the Breaking Bad episodes, I have no doubt both were expertly crafted. And the nominated episode of True Detective got a lot of attention for its lengthy tracking shot that moved in and out of several houses as it followed McConaughey’s character on an undercover assignment gone bad. But how can anything here compare to the directorial challenges and superb execution of the battle for Castle Black on Game of Thrones? The extensive use of visual effects to create so much of the surroundings, the multiple storylines playing out within the limited location, the ability to make it all look so impressive and cinematic on a TV budget. This is the first directing nomination Thrones has received in three seasons, and its omission from the past two years is absurd. It deserves the award not just for this episode, but as compensation for past mistakes.


American Horror Story: Coven
Bonnie & Clyde
The White Queen

Thoughts: American Horror Story is always a force to be reckoned with, but Fargo was the buzzy critic’s darling this year, and accomplished the impressive feat of standing on its own in the shadow of a classic piece of contemporary cinema. I wasn’t totally sold on it at first, but it grew on me steadily as it went along, and I still find myself thinking about it. I’ll definitely have to revisit it eventually.

Killing Kennedy
Muhammad Ali’s Greatest Fight
The Normal Heart
Sherlock: His Last Vow
The Trip to Bountiful

Helena Bonham Carter – Burton and Taylor
Minnie Driver – Return to Zero
Jessica Lange – American Horror Story: Coven
Sarah Paulson – American Horror Story: Coven
Cicely Tyson – The Trip to Bountiful
Kristen Wiig – The Spoils of Babylon

Thoughts: How awesome is it to see Kristin Wiig sneak into this line-up for her performance in the absurd comedic series The Spoils of Babylon? This show was totally ridiculous, and totally hilarious. Not everyone’s style of comedy, I’m sure, but for those who appreciated what they were going for, it was lots of fun, and Wiig was aces.

Benedict Cumberbatch – Sherlock: His Last Vow
Chiwetel Ejiofor – Dancing on the Edge
Idris Elba – Luther
Martin Freeman – Fargo
Mark Ruffalo – The Normal Heart
Billy Bob Thornton – Fargo

Thoughts: The delightful ubiquity of Martin Freeman is evident in the fact that half his fellow nominees are actors he’s worked with. He’s joined here by his Fargo co-star Thornton, as well as his Sherlock and The Hobbit pal Cumberbatch. Plus he and Ejiofor were both in Love, Actually. But they had no scenes together, so maybe that doesn’t count? You decide.

Jesus, this is a strong line-up. Tough, tough call.

Angela Bassett – American Horror Story: Coven
Kathy Bates – American Horror Story: Coven
Ellen Burstyn – Flowers in the Attic
Frances Conroy – American Horror Story: Coven
Julia Roberts – The Normal Heart
Alison Tolman – Fargo

Thoughts: No surprise that this category is dominated by ladies of American Horror Story. Bassett, Bates and Conroy were all fantastic. The latter two especially, had probably the best roles they’ve had in ages thanks to Ryan Murphy and his team, who can always be counted on to create roles that actresses can tear into. It’s no wonder they signed on to return for the upcoming season, American Horror Story: Freak Show. It will be a challenge to choose between them. So maybe the voters won’t, going instead for Allison Tolman’s wonderful breakout turn in Fargo.

Matt Bomer – The Normal Heart
Martin Freeman – Sherlock: His Last Vow
Colin Hanks – Fargo
Joe Mantello – The Normal Heart
Alfred Molina – The Normal Heart
Jim Parsons – The Normal Heart

Thoughts: This category is kind of a slap in the face to Taylor Kitsch. He was the only main cast member of The Normal Heart to be overlooked, and he was just as good as everyone else. He certainly had a bigger role than Joe Mantello, but Mantello had something that Kitsch unfortunately didn’t: a showstopping scene in which he took center stage and was allowed to fly. He was basically nominated for that one scene. All the other cast members had at least one standout moment like that. Kitsch’s character didn’t, and it probably cost the actor a nomination.

Brad Falchuk – American Horror Story: Coven (Bitchcraft)
Noah Hawley – Fargo (The Crocodile’s Dilemma)
Neil Cross – Luther
Larry Kramer – The Normal Heart
Steven Moffatt – Sherlock: His Last Vow
David Simon, Eric Overmeyer – Treme (…To Miss New Orleans)


Alfonso Gomez-Rejon – American Horror Story: Coven (Bitchcraft)
Adam Bernstein – Fargo (The Crocodile’s Dilemma)
Colin Bucksey – Fargo (Buridan’s Ass)
Stephen Frears – Muhammad Ali’s Greatest Fight
Ryan Murphy – The Normal Heart
Nick Hurran – Sherlock: His Last Vow

The Colbert Report
The Daily Show with Jon Stewart
Jimmy Kimmel Live
Real Time with Bill Maher
Saturday Night Live
The Tonight Show Starring Jimmy Fallon

Thoughts: The golden of age of television we continue to find ourselves in is not limited to fictional series. The late night field is also full of gems, as evidenced by how strong this category is. Saturday Night Live is always going to be hit or miss, but the rest of these shows are just great. Conan could easily be here too, as could some of the other shows which pop up in the Writing category below (despite the list of nominees, this isn’t actually a late night category). Last Week with John Oliver probably debuted too late in the season to qualify, but its chances next year are looking great. Strong as all of these shows are though, none of them equal the satirical brilliance of The Colbert Report, which finally won this award last year after a record-setting 10 years of domination by The Daily Show.

The Colbert Report
The Daily Show with Jon Stewart
Inside Amy Schumer
Key & Peele
The Tonight Show Starring Jimmy Fallon


Archer (Archer Vice: The Rules of Extraction)
Bob’s Burgers (Mazel Tina)
Futurama (Meanwhile)
South Park (Black Friday)
Teenage Mutant Ninja Turtles: The Manhattan Project

Thoughts: Much was made of the fact that for the first time in 23 years, The Simpsons wasn’t nominated. The consenus may be that the show is long past its prime, but I still probably laugh harder and more often during a Simpsons episode than I do at any other series. Now maybe Teenage Mutant Ninja Turtles is good…but better than The Simpsons? I seriously doubt it.


I’m looking forward to seeing how it all shakes out. Seth Meyers hosts the show, which airs tomorrow night, Monday, August 25, on NBC. Go Amy Poehler and Game of Thrones!

And now I leave you with another classic moment of Emmy past.


June 29, 2014

Sunday Mourning (A Lament for Game of Thrones)

Filed under: TV — DB @ 10:00 am
Tags: , , , , ,

This post is intended for those who are up-to-date on Game of Thrones. If you have yet to start watching the series or are not caught up, make like a heart tree — you know, the kind with the faces of the Gods carved on them  and leave.

It never gets easier. Another season of Game of Thrones ends, and the impact of the loss doesn’t really hit until a week after the finale, when there is no new episode to watch. Then you start to think about the 40 or so more weeks that you have to get through before the show will be back, and you try to get excited about True Blood, and sure it’s good to see Lafayette and Eric and Jessica again, but nothing can fill that hole. Here we are two weeks later, and still I can’t let go. Perhaps getting all of this out of my system will help.

If last year’s Red Wedding seemed like an untoppable twist of fate, that notion was dispelled early in the season with the first of what would be many high profile deaths this year. The only disappointment about Joffrey’s inevitable demise is that we no longer get to root for Joffrey’s inevitable demise. That, and we had to bid farewell to Jack Gleeson, who brought him to such brilliantly bratty life. George R.R. Martin and showrunners David Benioff and D.B. Weiss all said in interviews that they hoped watching Joffrey’s desperate gasps for breath would make people feel a little bit of pity for him, perhaps recognizing that at the end of the day he’s just a kid who’d been living out a grossly inflated sense of entitlement. If that was their goal, I’m sorry to say they failed. I don’t think anyone felt sympathy for this devil. He beheaded Ned Stark, endlessly tormented Sansa, abused prostitutes, pumped Ros full of arrows, ordered the murder of every dark-haired bastard in King’s Landing, respected nothing and nobody, ridiculed everyone around him from Tyrion to The Hound to Jaime to Tywin…he was a loathsome little fucker and the only thing people seemed to regret about his death was that it was neither painful nor prolonged enough. To that end, Vulture asked several of the cast members how they would have killed Joffrey, collecting a range of colorful answers…none of which go further than what one friend of mine suggested in an email:

Not good enough.  I wanted to see his flesh boiled away while he watched his mom penetrated by that knife dildo from Seven. After their nails were pulled out along with their teeth. After hungry pigs fed on their hands and feet. After they ate shit that spewed directly from a donkeys anus that had just eaten another donkey’s shit.

After the entire kingdom got to urinate on him.

Still glad to see him die though!

And of course, social media had plenty of fun reactions, several of which were supposedly tweeted by characters on the show, including Joffrey himself. In the end, as loathsome as he is on paper, a significant chunk of our feelings about Joffrey are due to Gleeson’s spot-on portrayal. Both he and the character will be missed, and if you’d like to bid a final farewell to the actor as he really is, here’s a 30 minute Q&A he did last fall at University College Dublin.

Joffrey’s death so early in the season was definitely among Thrones’ best surprises to date, but the most shocking moment I’ve witnessed on the show came with the eye-popping defeat of Oberyn Martell. Despite being a new addition to the story this year, Oberyn — so wonderfully played by Pedro Pascal — quickly earned everyone’s affection and seemed like a character destined to be around for a while, especially once he tied his fate to Tyrion’s. Even though Martin has proven that no one is safe in his stories, you kinda figure that some people are pretty safe…at least until the series gets closer to ending. I just didn’t believe that Tyrion was going to die, and so it stands to reason that going into his trial by combat, Oberyn was bound to prevail over Gregor Clegane, The Mountain Who Rides. But I should have known by now that if something seems so obvious, Martin will find another way. Even as The Mountain was gouging out Oberyn’s eyes, I was thinking, “Okay — he’s gonna stab The Mountain in the head and crawl out from underneath, and the cost of his revenge will be the loss of his eyes.” Nope! Martin took it further and had The Mountain pop Oberyn’s entire head like a watermelon at a Gallagher show. I will NEVER unsee that sight.

It was such a crushing loss (no pun intended, really), as Oberyn went into the fight brimming with confidence. His victory — again, given the Tyrion factor if nothing else — seemed a foregone conclusion. And although the headbusting is a demise I’ll not soon forget, I think the moment before that was the one that is truly seared in my brain – The Mountain pressing his thumbs into Oberyn’s eyes, blood seeping from around the edges as Oberyn wails in pain he was so certain he would not experience that day. I imagine that for most who haven’t read the books, Oberyn’s death doesn’t top the Red Wedding as far as killer twists go, but perhaps because I pretty much knew the Red Wedding was coming, the loss of Oberyn hit me even harder. Well…no — losing Robb, Catelyn and Talisa all at once like that hit me harder as a story point. But the grisly specifics of Oberyn’s death — that’s what I was referring to when I called it the most shocking moment I’ve seen on the show. Even the pregnant Talisa getting stabbed repeatedly in the abdomen didn’t get to me as much as this did.

It amused me that in interviews following the episode in question, Pascal (and maybe Benioff and Weiss, I can’t remember) pointed out that Oberyn’s Inigo Montoya-like prodding did in fact result in The Mountain confessing his crimes. I appreciate the attempt to find a silver lining, but I suspect the pressure one feels when their eyes are getting liquified and their skull is getting crushed would be too much of a distraction to really hear a confession, let alone take any satisfaction in it.

Though his time on the show was brief, Oberyn emerged as one of my favorite characters. I took his loss hard. While this is little consolation, I enjoyed seeing Pascal riff about how Oberyn’s funeral should play out, while illustrators for Vanity Fair transferred his description to paper.

The only problem with that drawing? There’s still a head on the body.

Joffrey and Oberyn are just the tip of the broadsword, of course. This season was a goddamn bloodbath. We lost so many characters — some major, some minor, but all essential parts of the fabric that make the show what it is. Jon Snow’s Night’s Watch brothers Grenn and Pyp may not have been key characters, but they were there with him at Castle Black since day one, and I was sad to lose them. Locke, the man who cut off Jaime’s hand, was a great character who met a rough end when his neck was snapped by a Bran-controlled Hodor. (Hodor.) We lost Ygritte and crazy Lysa Arryn along the way, and then came the season finale, knocking four primary players permanently off the board.

Of these, the one that most fans will probably be least troubled by is Bran’s spiritual guide and fellow warg, Jojen Reed, but I’ll miss him. He didn’t appear until Season Three, and even with two years on the show we didn’t get to spend as much time with him as I would have liked. In my previous GoT post, I wondered whether Bran’s gift would allow him to eventually discover the identity of Jon Snow’s mother — a question that is bound to be important down the line — because I was under the impression that everyone who might know the answer is dead. But someone reminded me that Jojen and Meera’s father, Howland Reed, was a close friend to Ned Stark who was with him during Robert’s rebellion and might well know the truth about Jon’s lineage. Though we haven’t met him yet, Howland Reed is alive and well in the north. With Jojen now gone, Meera lives on (for now, at least) to potentially help connect those dots. (Speaking of Jon’s mystery mother, Kit Harington recently weighed in on the subject, but read at your own risk: this article reveals the prevailing theory, and touches on a few other Snow-related theories that could be considered slightly spoiler-ish.)

Tyrion lived to see another day, but the same can’t be said for Shae or Tywin. Finding Shae in his father’s bed must have been an even bigger heartbreaker for Tyrion than when she lied about him at the trial. Now he’s fleeing Westeros for the free cities, something that Shae repeatedly begged him to do ever since his near-murder at the Battle of Blackwater. Their love story dissolved so tragically this season, from him cruelly dismissing her early on in an effort to save her life, to her lies about him at the trial, to that final violent encounter. Poor Tyrion. Even killing Tywin was surely a conflicted act, given that no matter what an asshole his father was, Tyrion always sought his love and approval. He might have even settled for grudging respect, which Tywin tried to sell him while sitting on the loo, but it was too late.

Losing Tywin is rough. He’s easily one of the show’s strongest characters, as fascinating to watch when he’s silently writing a letter as when he’s confidently manipulating everything and everyone around him. Charles Dance has nailed this guy so perfectly, right from his first appearance back in Season One when he was skinning a stag and lecturing Jaime. I guess it goes back to no one being safe. As Weiss said in Entertainment Weekly‘s March cover story, “There are several characters whose loss would [hurt the show]. But that doesn’t mean they won’t die.” Tywin is one of many we’ve lost who proves that point. Let’s take a moment to enjoy him in this deleted scene from Season Three, shall we? (I love this because it also pays off that great non sequitur gag from the Season One finale in which Grand Maester Pycelle reveals his true self.)

The last death in the finale is also a hard one to take, and who would have thought back in the show’s early days that The Hound would emerge as such a vital presence? But over the past season and a half in particular, he’s become a standout. Pairing him with Arya was a stroke of genius, and their scenes together have been dependable highlights of the show. Rory McCann really stepped up to the demands of the role, as the normally monotone, stoic warrior showed his vulnerable side, talking to Arya about his childhood burning at the hands of his brother, and ultimately begging her to end his suffering. His fight with Brienne was a heartstopper — not just physically intense, but emotionally as well since both characters are so great that no matter who wins, we lose. I suppose there’s a chance we could still see him next season — perhaps Littlefinger, Sansa and Robin Arryn will come upon him while exploring the Vale. But even if we see him again, survival is hard to imagine.

As if all of these deaths weren’t bad enough, the show found other ways to break my heart this season, starting with Daenarys and Jorah. From the beginning, Jorah has been one of my favorite characters, so to see the spying he did on Daenarys in their early days together catch up with him now, after he’s been such a loyal adviser, kinda devastated me. It’s a significant plot development, and I think the show could have emphasized it a little more. I wanted Jorah to make more of a case for himself, and I wanted Dany to consider all the support he’s given her. How the scene plays out in the books I can’t say, but it felt like the impact should have been bigger. Regardless, seeing those two “break up” breaks me up. I stumbled upon a small spoiler about what the future holds for Jorah, and I’m definitely intrigued, but it doesn’t indicate much. I can only hope that he and Dany will eventually reconcile. After she dismissed him, I imagined a few seasons down the road, Dany is finally in Westeros, she’s in the throes of a battle for the Iron Throne, and just as an opponent is about to attack her, Jorah steps in and saves her life, having been tracking her movements and continuing to fight for her from afar. It’s a totally clichéd, “hero” moment…and therefore something Martin would never do. I’m sure he’ll come up with something much more interesting. I just worry that it will be interesting and soul-crushing instead of interesting and redemptive.

Also bumming me out? The likelihood that we’ve seen the last of Tyrion’s sellsword pal Bronn. He didn’t die, so I can be thankful for that at least, but he no longer seems to have a role to play in the story now that he’s marrying some King’s Landing noblewoman and Tyrion is sailing across the Narrow Sea. Perhaps he’ll show up again down the line, but at the moment there doesn’t seem to be a place for him. Now I have to add him to the list of characters who have departed the story for now and who I can only hope will return someday, like Gendry, Thoros of Myr, Bryndyn “The Blackfish” Tully and as of earlier this season, Olenna Tyrell, Littlefinger’s co-conspirator in taking out Joffrey. Love her.

Another of the season’s most notable events was the revelation that Jon Arryn’s murder — which set this whole game of thrones in motion from the very first episode — was committed by his wife Lysa, at the behest of Littlefinger. (Lysa wrote to Catelyn claiming the Lannisters were responsible.) Even knowing what a cunning player Littlefinger is, I could not believe that he had been pulling the strings from the beginning. If there was any doubt that his name belongs on Arya’s list, this clinches it.

So what’s next? Books Four and Five of Martin’s saga take place concurrently, covering different sets of characters, so both will serve as source material for the coming season. These books are considered to be less eventful that the previous three, but I’m expecting plenty of juicy developments nonetheless, considering that the board is so shaken up at the end of this season. Season One concluded with nearly every main character positioned in an exciting way, and this season accomplished the same. Arya is off to Braavos, where she will hopefully hook back up with Jaqen H’ghar; Tyrion and Varys are headed across the sea as well, and whatever that duo gets up to, you know it will be terrific. I loved Stannis and Davos meeting up with Jon Snow, and can’t wait to see where that storyline goes. Did you note that loaded stare exchanged between Jon and Melisandre? We should also be getting more of Mance Rayder now that he’s Stannis’ prisoner. Bran will finally start learning about his destiny and how his special gifts will serve him; and Dany is going to be pretty lonely with her dragons locked up, Jorah banished, and Grey Worm and Missandei getting lost in each other’s eyes. Ser Barristan is good company, but the Khaleesi is fast becoming acquainted with the challenges — and the isolation — of leadership.

Oh, and can we talk about Sansa for a minute? She always gets a bad rap, but sometimes playing the game means being smart enough to keep quiet and not ruffle any feathers. (This solid piece from TV Guide makes a strong case for the eldest Stark daughter.) You may remember back in Season Two when Joffrey was tormenting Sansa in the throne room, ordering Ser Meryn to beat her and tear her clothes off while onlookers stood and watched. Tyrion came to her rescue, and while he escorted her out of the room, he asked quietly if she wanted out of her arranged marriage. Sansa composed herself and replied that she was loyal to her beloved Joffrey. As he watched her walk away, Tyrion remarked to himself that Sansa might survive them yet. If she manages to wrap Littlefinger around her little finger, Tyrion’s assessment may prove correct. Littlefinger’s interest in Sansa grows ever more creepy. There is a mentor/student-like quality to their relationship, but he also appears to have some sketchy romantic intentions toward her, likely seeing traces of his beloved Catelyn when he looks at her. Sansa seems wise to his interest, and now appears to be playing it to her own benefit, as evidenced by her detailed lie about Lysa’s death and the mature confidence that she’s suddenly wearing along with her decidedly more daring new outfit. Can a player of Littlefinger’s stature be played, and by a novice like Sansa at that? Time will tell.

Lastly, let’s not forget the shitstorm that awaits at King’s Landing. Tyrion’s escape will have Cersei seeing red just as Tywin’s death returns her to a position of considerable power. Surely she’ll have no doubt that Jaime helped Tyrion escape, which should lead to some damning repercussions. Their relationship was already tenuous this past season, and even though she reignited their flame in the finale, I am dubious of her true intentions. As Tyrion said to Oberyn, “Making honest feelings do dishonest work is one of her many gifts.” Maybe her renewed affection toward Jaime was genuine, but it was also a power play against Tywin, coming immediately after she made it clear to her legacy-obsessed father that the rumors about her and Jaime were true. Her subsequent moves on Jaime could be a calculated effort to keep him in check. Not that it worked — even after their romp on the table he still helped Tyrion flee. With Tommen still too young to take the throne, Cersei will once again be flexing her power. Who will be the new Hand of the King? Where will this leave Margaery? Her planned marriage to Tommen, like her marriage to Joffrey, was an alliance of Tywin’s design. But Cersei is no fan of Margaery — I believe “doe-eyed little whore” was one description she used — and without Tywin there, who will stop Cersei from making whatever arrangements she wants?

By the way, how much does it suck to be the kid who played Tommen in the first three seasons? He barely gets to say two words, and then when things start to get interesting for the character, they re-cast the part! Imagine you’re Tommen, and Margaery Tyrell sneaks into your bedroom at night wanting to share secrets with you and talk of your future wedding. You would probably experience the entirety of puberty right at that moment. Now imagine you’re the actor playing Tommen, doing that scene with Natalie Dormer. The result would probably be about the same.

Even the storylines that are less shaken up at the moment promise to remain interesting. What kind of leadership will Roose and Ramsay Bolton impose on the North, and where will Theon Reek fit in? What’s the next move for Theon’s father and sister? After letting Arya slip away, will Brienne and Podrick (another of the story’s inspired, unexpected, sitcom-worthy pairings) have better luck finding Sansa? And even if they do, what then?

How about new characters and locations? The show is supposed to travel to Oberyn’s homeland of Dorne next season, where we can expect to meet at least some of Oberyn’s daughters, plus reconnect with Cersei’s daughter Myrcella. Maybe Oberyn’s special ladyfriend Ellaria Sand will be featured more prominently. She didn’t have much to do this season, but with no reason to stick around King’s Landing, she would presumably head back to Dorne.

I gather that the show has started to diverge from the books with greater frequency and has even started moving beyond the books, a point which garnered a lot of attention midway through the season when a White Walker took one of Craster’s last sons, carried him into some sort of ritualistic setting, touched an icy fingertip to the baby’s forehead and turned him into a blue-eyed, frost-lipped MiniMe. It was chilling…and not just because of those sub-zero northern temperatures. This scene was called out as a major spoiler, but I think you have to be keeping up with the books to understand why. For those of us just watching the show, I don’t see what’s been spoiled.

Yet it does reinforce that the show is on the precipice of not just catching up to the books, but moving beyond them. “The locomotive is coming up behind me and I’m still laying the tracks,” Martin told EW.com at Comic-Con last year. He is still working on The Winds of Winter, the sixth book of his planned seven, and I don’t think anyone expects it to be published before Season Five of the show hits next spring. Then again, just this week he offered some hints — which I haven’t read — about what readers can expect, so who knows. Maybe the tease is meant to suggest that he’s further along than we realize. And just recently there was buzz about Martin needing eight books to finish his story, though that sounded more like wishful thinking on the part of his editor than anything to which Martin has lent genuine credence.

When it comes to the show, Benioff and Weiss have stated this year that seven seasons is their current trajectory, which means we’re now more than halfway through, with two full books yet to be completed. On the other hand, this article — which says that the showrunners spent a week with Martin last year learning about his plans for the final books so that they can guide the show accordingly — mentions eight seasons total and the possibility of multiple seasons once again covering one book, just as Seasons Three and Four were both based on Book Three. Yet I’ve read other comments from them that contradict that. In other words, nobody knows how this timeline will shake out. While I haven’t read beyond Book Two and so have no idea what’s coming in Books Four and Five let alone after that, three more seasons doesn’t feel like it will be enough. Martin doesn’t think so either, and whatever the number works out to be, he has understandable concerns about the conclusion of the series being depicted on the show before he gets to write it. He’s suggested that once the show catches up to him, it should go on hiatus until he completes the last book, and then wrap up with a movie, adding that a feature film budget might be required to visualize the scope of his endgame. “Those dragons get real big,” he said (and from this picture, which he says accurately represents his vision of a full grown firebreather, he ain’t kidding).

THE WORLD OF ICE AND FIRE - Aegon_on_Black_Dread_J.Gonzalez

A movie is not a bad idea, but the usual season of TV would be preferable for HBO, and unless there’s a big time jump to come, the show’s kids — those that survive up to that point — aren’t going to be kids anymore. Hell, look at how young they are in that picture below from a 2009 book signing with Martin. That was posted two years before the pilot aired. That kid in the glasses is Jon Snow! And none of them are showing their age more than Isaac “Bran” Hempstead-Wright. If for no other reason than all of this dramatic growth, the show needs to conclude sooner than later. Everyone involved — not least of all Martin — wants to see the story wrap up on the page, his way, before it’s exposed on television. Martin, Benioff, Weiss and HBO have been considering these scenarios for over a year now, addressing all of these points in an interview after Season Three’s finale (which I think I included in my corresponding post last year.) But with the passing of another season, the concerns grow more acute.

The irony of all this is that the show has probably slowed down Martin’s progress on the books considerably. His fame has blown up since the show began, and though he only writes one episode per season, there are premieres and events to attend, press interviews to give throughout each season, talk shows to guest on and other related activities and appearances. If the guy could be left alone to write, he might be well into A Dream of Spring, the seventh (and if plans hold, final) book by now, instead of still at work on Book Six.

The Emmy nominations will hit in a few weeks, and hopefully Thrones will be well-represented in the top categories. It was certainly a strong, compelling season. For Best Drama Series it will likely be up against the final batch of Breaking Bad episodes, a well-received run of Mad Men, the breakout True Detective and possibly The Good Wife, which had a lot of positive attention this year. House of Cards, Homeland, Downton Abbey, Boardwalk Empire, Scandal, The Newsroom and Masters of Sex will also be jockeying for the six available slots, but I have to think Thrones will make the cut. But can it finally win?

Peter Dinklage is also a safe bet to earn his fourth nomination, and just might be able to win again this year, for the first time since Season One. His trial episode gave him some showy moments, and everyone assumes that will the one he submits for Emmy consideration. But I think he did even stronger work in the following episode, which featured three lengthy scenes in Tyrion’s prison cell: one with Jaime, one with Bronn and one with Oberyn which instantly took its place among the series finest scenes ever. Between the three, he found unexpected moments of humor in Tyrion’s dark hours, and did some of the best reacting he’s done yet on a show where his reacting is never less than perfection.

Not sure what to expect beyond that. The acting roster is certainly full of deserving nominees, but few ever break through. Emilia Clarke was nominated last year, but if I could only pick one cast member aside from Dinklage to represent the ensemble, it would be Maisie Williams, who is a ceaseless wonder as Arya. Unfortunately, the Emmys almost never nominate child actors. Only one episode, meanwhile — season finale “The Children” — was submitted for writing consideration, and it would be really nice to finally see the show earn directing nomination, which hasn’t happened since the pilot. Nothing for Season Two’s “Blackwater,” nothing for Season Three’s “The Rains of Castamere.” Maybe “The Watchers on the Wall” can break in this year. Any episode would be fine, really. It’s a spectacularly well-directed show, week in and week out. (Here are this season’s submissions for Emmy consideration in the acting, writing and directing categories.) Fantasy and sci-fi always face an uphill battle winning top awards from these voting bodies, but Thrones has undoubtedly proven its worth. Hopefully the big wins it deserves will come to pass. Bran, any visions?

As usual, I’m pleased to share some of my favorite Thrones-inspired creations from around the internet, beginning with the continuation of the stunning Beautiful Death series, which had plenty of fodder this season. I’ve reduced the size of these, but you really need to check out the larger versions via the link above to appreciate the details. Fantastic.


Geekdom ambassador Wil Wheaton applied The Brady Bunch credits to the twisted relationships of Westeros, resulting in this amusing mash-up.

Those who wish the show was more family friendly so they could share the joy with their kids can at least indulge in the make-believe of Walt Disney Pictures’ Game of Thrones, as some artists have been doing. In addition to the selections in that link, there’s Bran and Hodor (Hodor), Arya and The Hound, and a White Walker. A Google Images search will reveal plenty more Disney/Thrones mash-ups, but these are my favorites. The collection by Anderson Mahanski and Fernando Mendonça hits the nail on the head. I hope they keep adding more to their gallery.

Getting back to R-rated territory, have you heard of Gay of Thrones? Jonathan Van Ness is a hairstylist in L.A.’s upscale Westwood neighborhood who recaps each episode for his clients in this hilarious Funny or Die series. Here’s his take on the season finale, which includes an amusing cameo near the end. Before you watch it though, it may help to review this handy guide that covers some of his nicknames for the characters. (Cersei = Blonde Cher, Melisandre = Stevie Nicks Red Riding Hood or Evil Gloria Estefan and Grey Worm = Baby Barack Obama). The list isn’t even complete, so the video still holds some surprises. His character names alone make the recaps worth watching. (The link also includes embeds of two earlier episodes, including one featuring Alfie “Theon” Allen as Jonathan’s customer.)

For the mathematically inclined among you, Vulture examines the show through charts and graphs such as these.

Those who appreciated all those YouTube videos last year of viewer reactions to the Red Wedding should relate to College Humor’s Watching Game of Thrones with People Who Haven’t Read the Books.

Did you hear that Queen Elizabeth II and Prince Philip visited the Thrones set in Belfast last week? I don’t know if this took place simply because the show is such a popular export from her kingdom, or if it was because the Queen of England and her husband are fans, holing up in Buckingham Palace on Sunday nights to watch just like the rest of us commoners. Naturally, that’s what I prefer to think. Who wouldn’t love the idea of the Queen watching Littlefinger instruct a pair of his whores as they practice the art of oral pleasure on one another, or Oberyn get his head smushed, or Theon get castrated? While some fans were disappointed she didn’t sit on the Iron Throne, I’m just utterly charmed by the fact that she was even there.

There’s actually a 47 minute video of the entire visit online, which includes the Royal entourage meeting Benioff and Weiss in the parking lot before going into one set to view a display of the show’s props and costumes, then the throne room set, where cast members Maisie Williams (Arya), Sophie Turner (Sansa), Rose Leslie (Ygritte), Kit Harington (Jon), Conleth Hill (Varys) and Lena Headey (Cersei) were on hand. You can’t hear any of the conversation unfortunately — how I would love to know what they all talked about — but it still fascinates me to see some of the interaction. (Skip ahead to the 22 minute mark for the Queen’s arrival; the video inexplicably begins with 20 minutes of mostly static Iron Throne footage.) I can only assume that from here, she was off to visit the Crawleys at Downton Abbey.

And finally, this. Because there’s nothing better I could leave you with than this. Not even the Queen of England admiring the Iron Throne from a rather wise, cautious distance. I posted this to my Facebook page when I discovered it in May, but if you missed it, or just need another taste, click the picture. Seriously. Click the picture.

With that, I leave you to endure the long winter in your own way. May we all find peace of mind as we wait for the game to resume in 10 months. 10 long, torturous, meaningless, empty months. Valar dohaeris.



April 6, 2014

Game On

Filed under: TV — DB @ 2:31 pm
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This post is intended for those who are up-to-date on Game of Thrones. If you have yet to start watching the series or are not caught up, sprint away like a direwolf and don’t look back.

Sweet relief! Game of Thrones is about to return.

People seemed to appreciate my attempt last year to provide a reminder of where things stood at the end of the previous year, so let me try that again. Or you can watch this 25 minute HBO special recapping the season, which would be much cooler and only slightly less time-consuming.

Obviously the effects of the infamous Red Wedding will be felt as the season begins. Robb Stark, his wife Talisa and his mother Catelyn are all dead, killed in an ambush orchestrated by Walder Frey with the backing of Tywin Lannister and the assistance of Roose Bolton, a Stark bannerman who turned against the house to which he owed his allegiance. In addition to his hand in this slaughter of the Stark army, Tywin Lannister made other moves to assure his family’s continued stranglehold on the Seven Kingdoms. He orchestrated the marriage of Tyrion to Sansa Stark, and blackmailed Lady Olenna Tyrell into betrothing Loras to Cersei. Joffrey and Margaery’s wedding approaches, and the queen-to-be is proving a much more cunning political player than the naive Sansa. Tyrion is being as decent as he can to his reluctant bride, while trying to hold onto his secret relationship with Shae, who continues to pose as Sansa’s handmaiden.

Jaime finally made it back to King’s Landing after an arduous journey on the road that saw him first antagonize and then later bare his soul to Brienne of Tarth, sharing with her the true story behind his murder of the Mad King that long ago earned him the derisive label “Kingslayer.” His vulnerable confession came after his sword hand was chopped off by Locke, a solider of House Bolton who captured Jaime and Brienne after they had been sent to King’s Landing by Catelyn Stark. And speaking of House Bolton, the sociopath who took such pleasure in fucking with Theon Greyjoy, torturing him physically, emotionally and psychologically, and ultimately cutting off his manhood, turned out to be Bolton’s bastard Ramsay Snow. So…nice gene pool.

Jon Snow, a much more likable bastard of the north, who went undercover with Mance Rayder’s wildlings, scaled The Wall but was forced to reveal his true loyalties when his fellow travelers wanted to murder an innocent farmer. Jon killed the antagonistic Orell before nearly being killed himself by Ygritte, who shot him with three arrows before he managed to ride out of range. He barely made it back to Castle Black alive. He was found there by Pyp (unseen since Season One) and Sam, who made it back to The Wall not long before, having endured his own harrowing series of events. He escaped a revolt plotted by some unsavory brothers of the Night’s Watch, who killed their host Craster as well as Lord Commander Mormont. Sam fled with Craster’s daughter Gilly and her newborn son, leading her to Castle Black and discovering along the way that an arrow carved from obsidian could destroy the White Walkers.

Upon reaching The Wall, Sam and Gilly crossed paths with Bran Stark and his companions Hodor (“Hodor”) and siblings Meera and Jojen Reed. The Reeds, from a family loyal to the Starks, sought Bran out so that Jojen could help Bran understand and develop his newfound gift of “sight” — an ability to see future, past and present that the two young men share. Their talent also allows them to enter the minds of animals and control them, but Bran discovered he could take that gift even further when he entered the head of Hodor (“Hodor!”) and briefly controlled him too, an ability which Jojen has never heard of before. Bran and company are headed beyond the wall on a vision quest to find the three-eyed raven (get out of my dreams, get into my wheelbarrow). Bran sent his younger brother Rickon to seek safety with Stark bannermen the Umbers, under the protection of Osha, the wildling girl turned caretaker of the Stark boys. And then there’s the remaining Stark sibling Arya, who had been so close to reuniting with Robb and Catelyn before their murder, and who now remains in the company of The Hound. When last we saw her, she was handling the Braavossi coin given to her by Jaqen H’ghar, who had offered to help her follow in his footsteps and become a deadly assassin who can travel unseen and literally change his face. God, I hope she does it.

gendryOver on Dragonstone, Stannis Baratheon continues to plot his next move against Joffrey. Melisandre attempted to help by delivering Stannis’ nephew — Robert’s bastard son Gendry — who she intended as a sacrifice for the power of his king’s blood. But Stannis’ advisor Davos Seaworth helped Gendry escape, and then convinced Stannis and Melisandre not to execute him for treason by sharing news from The Night’s Watch: that an army of White Walkers is amassing north of the wall and moving south. Even Melisandre admitted that this threat was real, and more important than the ongoing struggle for the Iron Throne.

Finally, Daenerys’ quest to reach the Seven Kingdoms and reclaim the Iron Throne for the Targaryen family continues to be delayed, more recently because she insists on freeing the slaves of every city she comes across. She now has three growing dragons, the enormous, highly skilled army of Unsullied under her command, and the loyalty of Missandei (the C-3PO of the Seven Kingdoms and beyond…because she can speak, like, every language), Jorah Mormont, Barristan Selmy and now Daario Naharis, a warrior for an army called the Second Sons, who has pledged his loyalty — and his heart — to the former Khaleesi. What will she do with all these slaves she keeps freeing, and how many more cities will she liberate before crossing the Narrow Sea?

Did I say finally? Don’t forget about Littlefinger, who sailed away from King’s Landing en route to the Eyrie, where he is expected to marry Catelyn’s sister Lysa Arryn, last seen fuming when Tyrion managed to win his freedom from her with the help of Bronn’s skillful swordplay. Before leaving the capital, Littlefinger disposed of Ros, the prostitute who had become his business associate but was reporting to Varys behind his back. Varys, meanwhile, unsuccessfully tried to convince Shae to leave Westeros so that she would not continue to be a complication for Tyrion, who he believes is one of the few people in the kingdoms who could bring peace and stability. She seemed to think that Tyrion had asked Varys to make this proposal on his behalf, though I don’t think that’s true. Will we ever learn about Shae’s past? If you recall the drinking game she played with Tyrion and Bronn in Season One, she clearly doesn’t fit the profile of the typical Westerosian whore. What’s her story?

The show’s ability to juggle all of these characters and storylines is among its most impressive feats. And while more will surely die this year, others will arrive. The most notable new addition set to join the cast is a character named Oberyn Martell, from the kingdom of Dorne (where Tyrion sent Cersei’s daughter Myrcella for protection). Known by the badass nickname The Red Viper, Oberyn is expected to stir up some serious shit with the Lannisters.

As we enter the new season, many of my curiosities center around supporting characters and their fates. With such a vast and complex story, I worry for some reason that figures on the periphery might disappear. Catelyn’s uncle Brynden (The Blackfish) managed to escape the Red Wedding and will presumably be headed for the Eyrie, so perhaps he’ll be back in play when Littlefinger arrives. Catelyn’s brother Edmure, meanwhile — the guy whose marriage put the “wedding” in Red Wedding – is in the dungeons at the Twins, where he is newly tied to the worst in-laws e-v-e-r. Will he be forgotten, or does his story continue? Will we see Gendry again, or is his fate irrelevant now that Melisandre seems to see the battle north of the Wall as more pressing than the quest for the Iron Throne? What about Rickon and Osha? How important is the youngest and heretofore most narratively undeveloped Stark child? Will we see more from the Brotherhood Without Banners, that underground rabble led by seven-times killed, seven-times revived Beric Dondarrion and Thoros of Myr, the Red Priest with a fondness for alcohol, who has served as the Red God’s vessel for those seven resuscitations? And what happened to the rest of the Night’s Watch? In the chaos of the mêlée at Craster’s Keep, it wasn’t clear what happened to the ones who were not part of the rebellion. Did Grenn and Doleful Edd make it out alive? What’s in store for Rast, the surly brother who killed Commander Mormont and has it out for Sam? It looks like he appears briefly in the first trailer for the new season, laying a baby down in the snow.

I’m sure that all of these characters will be revisited eventually, even if not this season. I’m encouraged on that point by a glimpse of Alliser Thorne in the trailer above. Not seen since Season One, Thorne is the veteran Night’s Watchman who butted heads with Jon and was eventually sent to King’s Landing by Mormont in order to warn King Joffrey and his advisors of the White Walkers and wights — reanimated dead, impervious only to fire. (In a rare bit of failed continuity, Cersei and the Small Council learned of this news by other means; it was not delivered by Thorne.) He’s back now, just as Barristan Selmy returned last season as protector to Daenarys after being dismissed from Joffrey’s Kingsguard in Season One. So I’m optimistic that these other supporting characters’ storylines will continue.

What’s interesting about the series’ enormous roster of characters is that it came about almost by accident. Showrunners David Benioff and D.B. Weiss have said in interviews, including this one last year from Deadline, that when they were putting together the first season, their inexperience with television led to most of the episodes being too short, sometimes by 10 to 12 minutes. So they had a brief period of time in which to write and shoot several new scenes that would be primarily dialogue driven, since there was no budget left for battles or other expensive setpieces. This led to great scenes that didn’t exist in the books, like the lengthy, almost warm conversation between King Robert and Cersei after Robert has dismissed Ned as Hand of the King for opposing his plan to have Daenarys murdered.

That six-minute scene of two people talking is still among the series’ best ever, and it was born as an afterthought of sorts. It provided depth to characters who weren’t much more than ciphers in George R.R. Martin’s books. That’s not meant to be a slight against the source material. Martin’s approach is to focus on a select group of characters, of which neither Cersei nor Robert were included. They and many others are developed only in the context of their relationship to and interactions with Martin’s chosen few. But Benioff and Weiss were forced to create such scenes, and therefore able to develop more characters more richly. I’ve assumed that many of the great scenes between Varys and Littlefinger came about for the same reason, since neither one is a “point of view” character in the books.

So what’s in store when the saga resumes? Plenty of questions are on my mind. How is Littlefinger going to feel about the death of his beloved Catelyn? Will he feel the need to exact his own revenge, or will he continue to play his role and serve Joffrey and the Lannisters in order to climb to power? (“The climb is all there is.”)

What consequences await Jon now that he’s back with the Night’s Watch at Castle Black? He killed his brother Qhorin Halfhand in order to gain the trust of the wildlings — though it was Qhorin’s idea, and he all but forced Jon to kill him — and then he broke his vow of celibacy by getting steamy in a hot springs cave with Ygritte. And he gave away a few Night’s Watch secrets along the way. Even if Maester Aemon absolves him, Ygritte and charismatic wildling Tormund Giantsbane are still out for his blood. Assuming Ygritte really does want him dead. Does she love him enough to spare him? She did shoot him full of arrows, but at least she seemed conflicted about it. In Westeros, that could pass for an expression of love most true.

What will happen to Theon now that he’s been castrated and psychologically broken? Ramsay Snow sent Theon’s father Balon his boy’s appendage, and Balon immediately wrote his son off. But Theon’s sister Yara took a crew of her best men and left to rescue her brother. To which I  say, that’s nice…but fuck you Yara. Instead of being an asshole to your brother from the moment he returned home to Pyke, humiliating him and treating him like shit, you could have stood in solidarity with him against your father’s cruelty. I’m glad you’re going to get him now, but your sudden loyalty is too little too late. I look forward to eventually watching you and father die.

Will Cersei’s marriage to Loras come to pass? She told Tyrion with confidence in the season finale that she would not be marrying him. Tywin certainly intends otherwise, so how might she avoid it? Does she have something dastardly in store for the Knight of Flowers? How will Jaime’s return affect the plans? And how will Tywin look at his eldest son now that he’s lost his hand and with it his greatest asset? I’m excited to see Jaime and Tyrion together again, as Jaime is the only Lannister who actually loves his brother.

What will Stannis be up to? Have the concerns about what’s happening north of The Wall completely eclipsed his desire to unseat Joffrey and take the Iron Throne, or is the threat of the White Walkers still too remote to deter him from another attack on King’s Landing? Are we to accept that Melisandre’s Red God really is the great power that she claims? We’ve now seen her birth the creature that killed Renly. We’ve seen Thoros revive Beric after The Hound sliced his body in half. We’ve seen Robb die after Stannis cast three leeches that had drawn blood from Gendry into the fire, naming Robb, Joffrey and Balon Greyjoy as each bloodsucking worm shriveled in the flames. Is Robb’s death really the work of the Red God? If so, Balon and Joffrey should follow. But how soon, and by what means?

What’s in store for Bran beyond The Wall? What will his abilities allow him to accomplish? And why is he seeking the three-eyed raven there? When they met in Bran’s dream early in season three, Jojen said of the bird, “You can’t kill it you know…the raven is you.” So if the raven is Bran, why is he going beyond the Wall to find the raven? There’s got to be a more hospitable location for some soul-searching. In the longer term, will Bran’s gift allow him to learn the truth of Jon Snow’s lineage? The identity of Jon’s mother might not seem important, but when Benioff and Weiss first approached Martin about adapting his books for television, the question he posed to them to test their grasp on the material was about Jon’s mother. They offered their thoughts, and Martin was obviously satisfied. I’m guessing that their theory is widely held among fans of the story, and if it’s true, I don’t see how anyone alive in Westeros or beyond could possibly know the truth. Which means if it is to eventually come out, it would take someone with Bran’s abilities to discover it. But I’m sure we’re talking Season Six or Seven material now, so I shouldn’t get ahead of myself.

Over the past two days, HBO has been running marathons of the series starting from the beginning, so I’ve been catching snippets here and there. Revisiting past episodes isn’t just a treat because the show has been so good from day one, but because the evolution of this stunningly rich story has been so carefully crafted. I re-watched the scene when Robb says goodbye to Bran before departing Winterfell with his army. Just after he leaves Bran’s room, Rickon enters, upset about everyone leaving. Bran assures him that Robb will return with their father, and that Catelyn will soon be back too. “No they won’t,” Rickon answers with eerie certainty. Early onset cynicism, or does Rickon have insights of his own into the future? When Bran dreamed of his father’s death, he discovered that Rickon had experienced the same dream. Moments later, Bran learned the news of Ned’s beheading. So what’s the deal with the youngest Stark?

Another of my favorite scenes from the series that I caught again is the one in which Renly tries to convince Ned to move swiftly against the Lannisters. It kills me. Everything he says is right, but Ned will have none of it because it conflicts with his code of honor…even though you can see in his eyes that he recognizes the truth in Renly’s argument. So much tragedy could be avoided if Ned does the smart thing instead of the honorable thing, but that’s not Ned…and so the die is cast.

Yes yes, I know things couldn’t have gone any other way. As I wrote at the conclusion of Season Three about the heartbreak of the Red Wedding and how it might have been avoided, “what if” scenarios are futile. Whatever we may want characters to do in order to avoid such painful ends, the story wouldn’t be as thrilling if it didn’t play out exactly as it does. Valar Morghulis, or All Men Must Die, as the new season’s slogan prominently declares. Rewatching Season Three in its entirety over the past several weeks, I was also reminded how beautifully the show has planted its seeds, which also came to mind over the last two days as I looked back even further into Seasons One and Two. In the same post-Season Three piece mentioned above, I pointed to how the song “The Rains of Castamere” was used earlier in the season to foreshadow the Red Wedding, and it turns out there were even more examples that I missed. Thoros was singing the song when he and his Brotherhood compatriots first encountered Arya and Gendry. And later in the season, an instrumental version played over the end credits of the episode “The Bear and the Maiden Fair.” There was also that wonderful scene before Tyrion and Sansa’s wedding when Cersei told Margaery the story of House Castamere’s fall. This kind of intricate storytelling makes looking back just as enjoyable as looking forward.

And so in these final hours —or at this rate, minutes — of looking forward, I once again use these posts as an opportunity to collect some of my favorite Game of Thrones material that the internets have offered since last June.

This chart came from a piece in Vulture that created infographics for several Pixar movies.

Anyone who has attempted to explain the series to the uninitiated in the hopes that they might jump on the bandwagon knows what a daunting task it is. From his Basic Instructions series, artist Scott Meyer offers some help.

I always say that the highest pop culture honor possible is not an Oscar or a Pulitzer, but an homage on The Simpsons. Game of Thrones achieved this a couple of years ago when its opening credits served as inspiration for a Simpsons couch gag, which I referenced at the time. This more recent recognition is unofficial, but still pretty cool.

Simpsonsized(Click here for larger version)

South Park got in on the action last November, skewering Game of Thrones, the madness of Black Friday, the Playstation vs. Xbox console wars and more in an epic three-episode arc that was a typically inspired affair from Trey Parker and Matt Stone. And Vulture had some fun cross-pollinating Thrones with a few other TV shows to create pictures like this reimagining of Arrested Development.


The guys behind Parks and Recreation are huge Game of Thrones fans, and have bequeathed their love of the show to Adam Scott’s character Ben. This clip from a recent episode is their latest tribute.

There’s also an extended clip if you, like Ben, can’t get enough.

As cool as the Iron Throne is, George R.R. Martin said on his blog last year that he envisioned something even more grand and twisted, which just wouldn’t be possible on the show. But check out artist Marc Simonetti’s painting of the throne as imagined by Martin.

That is fucking badass.

Thrones continues to be a rich source of inspiration for artists. The pictures I use along the top and bottom of these posts are usually taken from the Cast a Large Shadow tumblr, which spotlights an ever-growing collection of art based on the show. Some of the work that has appeared there recently comes from a spinoff tumblr called Beautiful Death, for which artists have created incredibly cool, stylized posters representing every significant death the show has delivered since it began. Here are a few of my favorites, but these are all amazing and there’s more on the site, broken down by episode.


This rendering of The Wall on a London sidewalk is amazing for its illusion of depth, and check out the larger versions of these four posters, which have some nice details relating to four of the show’s strong women.

My favorite recontextualization of Game of Thrones to date has got be this series by Toyko-based artist Mike Wrobel, who placed the characters into 1980’s/1990’s wardrobe. See them all here. They’re mixed in with some other work, but this was the best venue I could find for seeing all 22 in one place. I love these.


For anyone interested in some audio appreciation of Thrones, here’s an entire album’s worth of rap songs inspired by the show. Common and Big Boi are among the contributors, and though I haven’t heard of the rest of these guys, there’s some good stuff here.

And finally, to provide a bit of light before the darkness arrives, here are some photos from the red carpet of the Season Four premiere, with the actors looking decidedly happier, chummier and cleaner than they do on the show. It’s really weird seeing Kristofer Hivju — aka Tormund Giantsbane — in a suit. And here are some videos taken during the photo shoot for the show’s current Vanity Fair cover story.


Two others are available as well — one in which the actors consider what advice they’d give their characters, and another about who they think should sit on the Iron Throne.

Okay, since I was unable to get this post done yesterday as I’d intended, you’re now left with about 10 minutes before the new season begins if you’re on the east coast. So that’s enough from me. See you in Westeros…hopefully not at a wedding.



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