#The way she won her first (of many) Golden Globe Critics Choice and Emmy in one week

[beas-mind]

That’s Golden Globe, Critics Choice, EMMY Winner Ayo Edebiri, THANK YOU VERY MUCH 👏🏾

#The way she won her first (of many) Golden Globe Critics Choice and Emmy in one week #That’s what you call a MOTHER 💅🏾 #This is my favorite award look from her ( and of tonight honestly) #ayo edebiri #emmys 2024 #emmys

[loliwrites]

Okay I’m laying in bed supposed to be sleeping because I have an early class tomorrow but I can’t stop thinking about this one Alex/Addi idea!! Idk if we have talked about when or how their relationship goes fully public but what if like Addis movie with Alex is nominated for a massive award and they win it and in the heat of the moment instead of being a cast member Alex is such a happy and proud boyfriend he accidentally kisses her on live television💛😭

OhkAY ANONY. We’ve not talked about how their relationship goes public, but I’ve a sneaky suspicion we are about to 🥴

Now... is it important for us to dictate which awards ceremony it is...? I mean, not to knock the Critic’s Choice Awards, but I’d be willing to bet my life’s savings that more of the population watches the Oscars, Golden Globes, & Emmys over the CCAs. So obviously this little “happy accident” would have more added weight to it depending on the awards show. But aside from the general public finding out... Maybe it doesn’t even matter how many viewers an awards show gets, because at the end of the day, the tabloids are going to get ahold of the juicy information and just go to town.

And I love that you said he’s nominated for her movie. Because one, that means our girl’s first huge foray into the industry was a massive success. And two, that adds insane amounts of depth to this scenario. Alex’s nomination is not only an achievement for him, but as the writer, for her too. Maybe it’s for best actor in a leading role and Addi knows how difficult the role was because she wrote it. When everyone was brainstorming ideas for the lead, Addi’s first and only choice was Alex because she felt he was a fearless actor that didn’t shy away from complex roles. And this could really take the cake as one of the hardest roles of his career. So even being nominated was an accomplishment for him, but also indicated a job well done on her end. 

When his name was read from the envelope -- Alex heard Addi whisper a tiny “holy shit”. In the same moment they were rising to their feet and without a millisecond of hesitation, Alex turned towards her, cupped his hands around her neck and kissed her. Laid a good, old fashioned smooch right on her lips. She clung to his wrists and squeezed tighter when they rested their foreheads against each other’s for the briefest of moments before he made way for the stage to accept the award.

Addi didn’t hear a word of his acceptance speech. Didn’t process a goddamn thing. The moment she noticed a camera with a red light on top of it, following him to the stage, she realized the gravity of their mistake. Her heart jumped up into her throat and her body sunk back to her seat in the theater. They’d just kissed. In a theater full of people. At a nationally televised awards show. With hundreds of cameras in the room. And millions of viewers. And millions more who would read the articles about their faux pas.

Alex is pretty much on cloud nine. He’s thrilled that he won because the role was honestly so trying on him physically and emotionally. But he’s even more thrilled because of what it means to Addi. To know that the words she committed to paper gave him the foundation of the character. He was simply the vehicle to get her words out into the world. And the world was awarding him. But as he walked back to his seat, trophy in hand, his heart sank because Addi looked petrified. And in that moment, he realized why and his own anguish took over.

He placed his hand on her knee, keenly aware of the shocked glances from the other people in their row; made up of castmates, producers, etc. who had worked on the film with them. 

“Guess we’re public,” he whispered and handed his award to her.

She nodded, afraid to make any sudden movements lest it get the attention of one of the cameras.

“You alright there, slugger?”

Another nod. This time with a squeeze around the gold-plated statue. That in-and-of-itself grounded her. Brought her back to the present; here with Alex to witness this massive accomplishment. She looked up at him, wide-eyed. “Promise to still love me when the tabloids call me a gold-digger?”

He grinned and pressed another quick kiss to her temple, “only if you promise to still love me when they call me a cradle robber.”

#alexander skarsgard drabble #alexander skarsgard imagine #alex skarsgard #alexander skarsgard #good boy al #more alex and addi #relationship milestones #going public

[black-paraphernalia]

    WHO IS AVA DuVERNAY

A Producer,  director, writer, marketer and film distributor

I will first say I love her work and she is part of the new Black Renaissance in my opinion. There is a reason why I am posting on her now, her work is cover in social and racial injustice awareness of the black lives in American if not out right in your face. Ava has proven by her work that Black Lives Matter in many ways.

Ms DuVernay, has not only gave us fine and impeccable black entertainment but she has also raise the consciences not only of the black community but has shed a big spot light on System Racial Injustice on humanity of the Black race in America.

AVA IS DOING A EXCELLENT JOB OF POINTING OUT ONE OF THE MANY SYSTEMIC SYSTEM TO KEEP THE BLACK RACE IN THE USA OPPRESED AND DEHUMANIZED AS SECOND CLASS CITIZENS.

The Documentary also make the statement loud and clear the chains of slavery have been replace with hand cuffs and Jim Crow wears a fancy suit.

THE DOCUMENTARY and MOVIES THAT OPENED MANY EYES WERE

13TH (2016)

Selma Producer. (2014)

When They See Us Producer. (2019)

The Red Line (2020)

NOW THERE ARE MANY OTHER GREAT MOVIES THAT SHE HAS UNDER HER CREATIVE GENIUS HAT that point to racial in justices in the black community such as Queer Sugar shown on OWN network.

Black Paraphernalia Disclaimer - images from Google images

Ava Marie DuVernay (/ˌdjuːvərˈneɪ/ born August 24, 1972) is an American filmmaker. She won the directing award in the U.S. dramatic competition at the 2012 Sundance Film Festival for her second feature film Middle of Nowhere becoming the first black woman to win the award For her work on Selma (2014),

DuVernay became the first black woman to be nominated for a Golden Globe Award for Best Director, and also the first black female director to have her film nominated for the Academy Award for Best Picture. In 2017, she was nominated for the Academy Award for Best Documentary Feature for her film 13th (2016).

DuVernay's 2018 Disney children's fantasy film A Wrinkle in Time made her the first black woman to direct a live-action film earning $100 million at U.S. box office but had losses of up to $131 million.

The film received mixed reviews, with critics taking issue "with the film's heavy use of CGI The following year, she created, co-wrote, produced and directed the Netflix drama limited series When They See Us, based on the 1989 Central Park jogger case, which has earned critical acclaim.

The series was nominated for 16 Emmy Awards including the Primetime Emmy Award for Outstanding Limited Series and won the Critics' Choice Television Award for Best Limited Series.

In 2017, DuVernay was included on the annual Time 100 list of the most influential people in the world. In 2020, She was elected to the Academy of Motion Pictures Arts and Sciences board of governors as part of the directors branch. (source from Wikipedia)

#black paraphernalia #13th #ava duvernay #the first black #learn the truth

[thatsnotcanonpodcasts]

Movies, Smells & CRISPR

Movies coming in May - https://comicbook.com/movies/2019/04/30/movies-arriving-may-2019/#6

Bad sense of smell predicts early death - https://www.newscientist.com/article/2201021-a-bad-sense-of-smell-predicts-early-death-but-we-dont-know-why/

CRISPR storing GIFS - https://www.alphr.com/bioscience/1006302/scientists-have-used-crispr-to-store-a-gif-inside-the-dna-of-a-living-cell

Games currently playing

Buck

– Assassin’s Creed Unity - https://store.steampowered.com/app/289650/Assassins_Creed_Unity/

Professor

– Minecraft - https://www.minecraft.net/en-us/

DJ

– Mortal Kombat 11 - https://store.steampowered.com/app/976310/Mortal_Kombat11/

Other topics discussed

A Dog’s Journey (film)

- https://en.wikipedia.org/wiki/A_Dog%27s_Journey_(film)

Isle of Dogs (film)

- https://en.wikipedia.org/wiki/Isle_of_Dogs_(film)

The Professor (film)

- https://en.wikipedia.org/wiki/The_Professor_(2018_film)

John Wick: Chapter 3 – Parabellum (film)

- https://en.wikipedia.org/wiki/John_Wick:_Chapter_3_%E2%80%93_Parabellum

Clara (film)

- https://en.wikipedia.org/wiki/Clara_(film)

The Professor & the Madman (film)

- https://en.wikipedia.org/wiki/The_Professor_and_the_Madman_(film)

Aladdin (2019 disney film)

- https://en.wikipedia.org/wiki/Aladdin_(2019_film)

Sonic the Hedgehog (2019 film)

- https://en.wikipedia.org/wiki/Sonic_the_Hedgehog_(film)

Tolkien (film)

- https://en.wikipedia.org/wiki/Tolkien_(film)

Rock of Ages (film)

- https://en.wikipedia.org/wiki/Rock_of_Ages_(2012_film)

Bohemian Rhapsody (film)

- https://en.wikipedia.org/wiki/Bohemian_Rhapsody_(film)

Godzilla: King of the Monsters (2019 film)

- https://en.wikipedia.org/wiki/Godzilla:_King_of_the_Monsters_(2019_film)

Plucking nose hairs is not a good idea

- https://www.businessinsider.com.au/why-you-shouldnt-pluck-your-nose-hairs-2016-7?r=US&IR=T

How to pronounce GIF

- https://bits.blogs.nytimes.com/2013/05/23/battle-over-gif-pronunciation-erupts/

Ways to add CRISPR into the body

- https://www.technologyreview.com/s/608898/five-ways-to-get-crispr-into-the-body/

A New World Order podcast

- https://thatsnotcanon.com/anewworldorder

Big Fat Liar (film)

- https://en.wikipedia.org/wiki/Big_Fat_Liar

Y2K of GPS

- https://www.abc.net.au/news/science/2019-04-05/gps-rollover-global-positioning-system-receivers-satellites/10966218

Gal Gadot’s stunt double in Wonder Woman movie

- http://www.espn.com/espnw/culture/article/19510724/stunt-double-caitlin-dechelle-wonder-woman-real-life-superpowers

Maxwell Klinger (M*A*S*H character)

- https://mash.fandom.com/wiki/Maxwell_Q._Klinger

Shoutouts

27 Apr 1922 – Record breaking Sheila Scott was born, she later in life went on to become an accomplished female pilot. In 1966, Sheila made her first around-the-world flight, covering about 31,000 miles in 189 flying hours. It was the first such solo flight by a British subject, the longest-distance solo flight, and only the third around-the-world flight by a woman. Then records began to tumble: between London and Cape Town in 1967; across the North Atlantic the same year; across the South Atlantic in 1969; from equator to equator over the North Pole in 1971, becoming the first woman to pilot a flight circling the world by way of the North Pole in a light aircraft. After her record polar flight, she made a third around-the-world flight, earning her 100th world-class record, including a new time from Darwin, Australia, to London of three and a half days, beating the previous record by one and a half days. In 1967, she set 23 world records in just one year. - https://www.onthisday.com/articles/record-breaking-sheila-the-high-flying-aviator

29 Apr 2019 - Dragon Ball Creator Akira Toriyama has been nominated in the "Voters Choice" category for the Eisner Hall of Fame awards - https://comicbook.com/anime/2019/04/29/dragon-ball-akira-toriyama-eisner-award-nomination-2019/

30 Apr 1888 – 1888 Moradabad hailstorm: hail stones allegedly as big as oranges kill 246 people and some 1600 sheep and cattle in Moradabad, Uttar Pradesh - https://en.wikipedia.org/wiki/1888_Moradabad_hailstorm

30 Apr 1989 - World Wide Web (WWW) is first launched in the public domain by CERN scientist Sir Tim Berners-Lee - https://www.onthisday.com/people/tim-berners-lee

Remembrances

29 Apr 2019 – John Singleton, American film director, screenwriter, and producer. He was best known for directing Boyz n the Hood (1991), for which he was nominated for the Academy Award for Best Director, becoming, at age 24, the first African American and youngest person to have ever been nominated for that award. Singleton was a native of South Los Angeles, and many of his films, such as Poetic Justice (1993), Higher Learning (1995), and Baby Boy (2001), had themes which resonated with the contemporary urban population. He also directed the drama Rosewood (1997) and the action films Shaft (2000), 2 Fast 2 Furious (2003), and Four Brothers (2005). He co-created the television crime drama Snowfall. He died of a stroke at 51 in Los Angeles, California - https://en.wikipedia.org/wiki/John_Singleton

29 Apr 2019 – Les Murray, Australian poet, anthologist and critic. His career spanned over 40 years and he published nearly 30 volumes of poetry as well as two verse novels and collections of his prose writings. His poetry won many awards and he is regarded as "the leading Australian poet of his generation". He was rated by the National Trust of Australia as one of the 100 Australian Living Treasures. He died at 80 in Taree, New South Wales. - https://en.wikipedia.org/wiki/Les_Murray_(poet)

30 Apr 1792 - John Montagu, 4th Earl of Sandwich, a British statesman who succeeded his grandfather Edward Montagu, 3rd Earl of Sandwich as the Earl of Sandwich in 1729, at the age of ten. During his life, he held various military and political offices, including Postmaster General, First Lord of the Admiralty, and Secretary of State for the Northern Department. He is also known for the claim that he was the eponymous inventor of the sandwich. He died at 73 in Chiswick,England - https://en.wikipedia.org/wiki/John_Montagu,_4th_Earl_of_Sandwich

30 Apr 1974 - Agnes Moorehead, American actress whose 41-year career included work in radio, stage, film, and television. She is best known for her role as Endora on the television series Bewitched, but she also has notable roles in films, including Citizen Kane, The Magnificent Ambersons, Dark Passage, All That Heaven Allows, Show Boat, and Hush...Hush, Sweet Charlotte. Moorehead rarely played lead roles, but her skill at character development and range earned her one Primetime Emmy Award and two Golden Globe Awards in addition to nominations for four Academy Awards and six Emmy Awards. She was the first woman to host the Oscars ceremony. Her transition to television won acclaim for drama and comedy. She could play many different types, but often portrayed haughty, arrogant characters. She died of uterine cancer at 73 in Rochester, Minnesota - https://en.wikipedia.org/wiki/Agnes_Moorehead

Famous Birthdays

30 Apr 1921 - Roger L. Easton, American scientist/physicist who was the principal inventor and designer of the Global Positioning System (GPS), along with Ivan A. Getting and Bradford Parkinson. He was born in Craftsbury, Vermont - https://en.wikipedia.org/wiki/Roger_L._Easton

30 Apr 1985 – Gal Gadot, Israeli actress and model. At age 18, she was crowned Miss Israel 2004. She then served two years in the Israel Defense Forces as a combat instructor, and began studying law and international relations at IDC Herzliya college while building up her modeling and acting careers. Gadot's first international film role came as Gisele Yashar in Fast & Furious (2009), a role she reprised in subsequent installments of the film franchise. She went on to earn worldwide fame for portraying Wonder Woman in the DC Extended Universe, beginning with Batman v Superman: Dawn of Justice (2016), followed by the solo film Wonder Woman and the ensemble Justice League (both 2017). In 2018, Gadot was included on Time's annual list of the 100 most influential people in the world, and was listed among the highest-paid actresses in the world. She was born in Petah Tikva, Israel - https://en.wikipedia.org/wiki/Gal_Gadot

1 May 1738 - Kamehameha 1, Hawaiian conqueror who united the Hawaiian Islands and formally established the Kingdom of Hawaiʻi in 1810. He was born in Kohala, Hawaii

- https://www.onthisday.com/people/kamehameha-i

- https://en.wikipedia.org/wiki/Kamehameha_I

1 May 1923 - Joseph Heller, American author of novels, short stories, plays and screenplays. His best-known work is the novel Catch-22, a satire on war and bureaucracy, whose title has become a synonym for an absurd or contradictory choice. He was born in Brooklyn, New York - https://en.wikipedia.org/wiki/Joseph_Heller

Events of Interest

1 May 1786 - Wolfgang Amadeus Mozart's opera "Marriage of Figaro" premieres in Vienna with Mozart himself directing - https://www.history.com/this-day-in-history/mozarts-le-nozze-di-figaro-premieres-in-vienna

1 May 1840 - The Penny Black was the world's first adhesive postage stamp used in a public postal system was first issued. It was not valid for use until 6 May. The Penny Black features a profile of Queen Victoria. - https://en.wikipedia.org/wiki/Penny_Black

1 May 1994 – Three-time Formula One world champion Ayrton Senna is killed in an accident whilst leading the San Marino Grand Prix at Imola. - https://en.wikipedia.org/wiki/Death_of_Ayrton_Senna

1 May 1999 - SpongeBob SquarePants premiere on Nickelodeon after the 1999 Kids' Choice Awards. It has received worldwide critical acclaim since its premiere and gained enormous popularity by its second season. - https://en.wikipedia.org/wiki/Spongebob_squarepants

Intro

Artist – Goblins from Mars

Song Title – Super Mario - Overworld Theme (GFM Trap Remix)

Song Link - https://www.youtube.com/watch?v=-GNMe6kF0j0&index=4&list=PLHmTsVREU3Ar1AJWkimkl6Pux3R5PB-QJ

Follow us on Facebook - https://www.facebook.com/NerdsAmalgamated/

Email - [email protected]

Twitter - https://twitter.com/NAmalgamated

Spotify - https://open.spotify.com/show/6Nux69rftdBeeEXwD8GXrS

iTunes - https://itunes.apple.com/au/podcast/top-shelf-nerds/id1347661094

RSS - http://www.thatsnotcanonproductions.com/topshelfnerdspodcast?format=rss

#movies #nerd #pop culture #aladdin #minecraft #movie news #events of interest #biology #internet #science and tech #human biology

[blackkudos]

Viola Davis

Viola Davis (born August 11, 1965) is an American actress and producer. She is the only black woman to be nominated for three Academy Awards, winning one, and is the only black actress to win the Triple Crown of Acting. In 2012 and 2017, she was listed by Time Magazine as one of the 100 most influential people in the world.

After graduating from the Juilliard School in 1993, Davis began her career on stage and won an Obie Award in 1999 for her performance as Ruby McCollum in Everybody's Ruby. She played supporting and minor roles in several films and television series in the late 1990s and early 2000s, including the films Kate & Leopold (2001) and Far from Heaven (2002), and the television series Law & Order: Special Victims Unit. In 2001, she won the Tony Award for Best Featured Actress in a Play for her role as Tonya in the original production of August Wilson's King Hedley II. Davis' film breakthrough came in 2008 when her supporting role in the drama Doubt earned her several nominations, including the Golden Globe, SAG, and the Academy Award for Best Supporting Actress. Greater success came to Davis in the 2010s. She won the 2010 Tony Award for Best Actress in a Play for her role as Rose Maxson in the revival of August Wilson's play Fences. For her lead role as 1960s housemaid Aibeleen Clark in the comedy-drama The Help (2011), she received a nomination for the Academy Award for Best Actress among others, and won a SAG Award.

Since 2014, Davis has played lawyer Annalise Keating in the ABC television drama How to Get Away with Murder, and in 2015 she became the first black woman to win the Primetime Emmy Award for Outstanding Lead Actress in a Drama Series. Her portrayal also won her two SAG Awards in 2015 and 2016. In 2016, Davis played Amanda Waller in the superhero action film Suicide Squad and reprised the role of Rose Maxson in the film adaptation of Fences, for which she won the Academy Award, BAFTA Award, Critics' Choice Award, SAG Award and Golden Globe Award for Best Supporting Actress. Davis and her husband, Julius Tennon, are the founders of the production company JuVee Productions. Davis has starred in their productions Lila & Eve (2015) and Custody (2016).

Early life and family

Davis was born in St. Matthews, South Carolina, at her grandparents' house on the Singleton Plantation. She is the daughter of Mary Alice (née Logan) and Dan Davis, and is the fifth of six children. Her father was a horse trainer and her mother was a maid, factory worker and homemaker. Her mother was also an activist during the Civil Rights Movement. At the age of two, Davis was taken to jail with her mother after she was arrested during a civil rights protest.

Two months after she was born, her family moved to Central Falls, Rhode Island, with Davis and two of her sisters, leaving her older sister and brother with her grandparents. She has described herself as having "lived in abject poverty and dysfunction" during her childhood, recalling living in "rat-infested and condemned" apartments.

Davis is the second cousin of actor Mike Colter, who is known for portraying the Marvel Comics character Luke Cage.

Education

Davis attended Central Falls High School, the alma mater to which she partially credits her love of stage acting with her involvement in the arts. As a teen, she was involved in the federal TRIO Upward Bound and TRIO Student Support Services programs. When enrolled at the Young People's School for the Performing Arts in West Warwick, Rhode Island, Davis' talent was recognized by a director at the program, Bernard Masterson. Following graduation from high school, Davis studied at Rhode Island College, majoring in theater and graduating in 1988. She was awarded an honorary doctorate in Fine Arts from the college in 2002. After her graduation from Rhode Island, Davis attended the Juilliard School for four years, and was a member of the school's Drama Division "Group 22"(1989–1993).

Career

Davis received her Screen Actors Guild card in 1996 for doing one day of work, playing a nurse who passes a vial of blood to Timothy Hutton in the film The Substance of Fire. She was paid $528.

In 2001, she won the Tony Award and a Drama Desk Award for her portrayal of Tonya in King Hedley II, a "35-year-old mother fighting eloquently for the right to abort a pregnancy." She has also won another Drama Desk Award for her work in a 2004 off-Broadway production of Intimate Apparel by Lynn Nottage.

Davis appeared in numerous films, including three films directed by Steven Soderbergh – Out of Sight, Solaris and Traffic, as well as Syriana, which Soderbergh produced. Viola was also the uncredited voice of the parole board interrogator who questions Danny Ocean (George Clooney) in the first scene in Ocean's Eleven. She also gave brief performances in the films Kate & Leopold and Antwone Fisher. Her television work includes a recurring role in Law & Order: Special Victims Unit, starring roles in two short-lived series, Travelerand Century City, and a special guest appearance in a Law & Order: Criminal Intent episode entitled "Badge".

In 2008, Davis played Mrs. Miller in the film adaptation to the Broadway play Doubt, with Meryl Streep, Philip Seymour Hoffman, and Amy Adams. Though Davis had only one scene in the film, she was nominated for several awards for her performance, including a Golden Globe and an Academy Award for Best Supporting Actress.

On June 30, 2009, Davis was inducted into The Academy of Motion Picture Arts and Sciences. On June 13, 2010, Davis won her second Tony Award for her role as Rose Maxson in a revival of August Wilson's Fences. She is the second African-American woman to win the award, after Phylicia Rashad.

Davis played the role of Dr. Minerva in It's Kind of a Funny Story (2010), a coming-of-age film written and directed by Anna Boden with Ryan Fleck, adapted from the 2006 novel by Ned Vizzini.

In August 2011, Davis played the role of Aibileen Clark, a housemaid in 1960's Mississippi, in the screen adaptation of Kathryn Stockett's novel The Help, directed by Tate Taylor. Davis described her performance in the film as channeling her mother and grandmother saying, "I feel like I brought my mom to life; I've channeled her spirit. I channeled the spirit of my grandmother, and I've kind of paid homage to how they've contributed to my life and the lives of so many people". For her performance, Davis garnered great critical acclaim, and eventually received two Screen Actors Guild Awards, as well as her second Academy Award nomination, which she ultimately lost to Meryl Streep. She also received Golden Globe Award and BAFTA nominations for the same performance.

In 2012, Time magazine listed Davis as one of the most influential people in the world. Also in 2012, Glamour magazine named Davis Glamour's Film Actress of the year. On June 12, 2012, Davis was presented with the Women in Film's Crystal Award by her friend and Oscar rival that year Meryl Streep. On June 25, 2012, The Walk of Fame Committee of the Hollywood Chamber of Commerce announced that Davis was part of the new group of entertainment professionals who have been selected to receive stars on the Hollywood Walk of Fame in 2013. On January 5, 2017, Davis received the 2,597th star on the Walk of Fame.

Davis reunited with The Help director Tate Taylor in Get on Up, a biopic of James Brown, playing Brown's mother. Her three-year-old daughter, Genesis also appeared in the movie.

In February 2014, Davis was cast in Peter Nowalk's pilot How to Get Away with Murder (executive produced by Shonda Rhimes for her ShondaLand production company) as the lead character. Her character, Annalise Keating, is a tough criminal defense attorney and professor who becomes entangled in murder plot with her students. Davis describes Keating as messy, mysterious, sexy, and vulnerable and noted the character was the first time a black woman, like herself, had ever been portrayed that way onscreen. It began as a series in September 2014. On September 20, 2015, she became the first black woman of any nationality to win the Primetime Emmy Award for Outstanding Lead Actress in a Drama Series. She received a second Primetime Emmy Award nomination for the role in 2016. In 2015 and 2016 Davis won a Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Drama Series for her role. She has also received nominations from the Golden Globe Awards for Best Actress – Television Series Drama and Critics' Choice Award for Best Actress in a Drama Series.

In 2015, Davis appeared in Blackhat, a Michael Mann-directed thriller film starring Chris Hemsworth. She also appeared in Lila & Evewith Jennifer Lopez. Davis also served as a producer.

In 2016, Davis starred in the courtroom drama Custody, on which she also served as an executive producer, and played Amanda Waller in the film Suicide Squad, an adaptation of a DC Comics series of the same name, and reprised her role as Rose Maxson for the film adaptation of Fences, for which she received her third Academy Award nomination and first win for the Academy Award for Best Supporting Actress, the Golden Globe for Best Supporting Actress, the BAFTA Award for Best Supporting Actress, and the Screen Actors Guild Award.

Awards and nominations

By winning the Academy Award for Best Supporting Actress for Fences, Davis became the first black actor to achieve the Triple Crown of Acting: winning a competitive Emmy, Tony and Oscar in acting categories. She is also the first African-American actress and the first woman of color to win five Screen Actors Guild Award.

Personal life

Davis married actor Julius Tennon, in June 2003. They have a daughter, Genesis, whom they adopted as a newborn in October 2011. Davis is stepmother to Tennon's son and daughter from previous relationships.

Davis has remained a booster of her hometown of Central Falls, Rhode Island. In 2016, she attended the groundbreaking of a community health center there. She has also raised and donated money for the city's library and the Central Falls High School.

Davis is a Christian and regularly attends services at Oasis Church in Los Angeles.

Wikipedia

#Viola Davis

[lizamartinee]

Actresses Who Were Considered to Be Wonder Woman

Wonder Woman is one of the most famous and loved superheroes in the DC Universe. And after a long wait, the character got its place on the silver screen. Many actresses have played the character of Wonder Woman since then and have received critical acclamation.

However, many actresses almost did the character of Princess Diana in other projects like in TV shows or films that never could make its way to the big screen. The article will be all about the actresses who played Princess Diana but did not get enough recognition.

Sources: https://lizamartinee.wordpress.com/2020/10/22/actresses-who-were-considered-to-be-wonder-woman/

Angelina Jolie

Joss Whedon signed Angelina Jolie in his 2005 Wonder Woman film. Whedon wrote the screenplay of the film. However, the script of the film got leaked online, and the movie never made its place on the big screen. Although Whedon shared that Angelina Jolie was his first choice. Jolie was the perfect actress for the part of Diana. The audiences are well known for her cool action sequences from the Tomb Raider series.

Jolie debuted as a child artist with her father Jon Voight in the movie Lookin’ to Get Out and started her career from a low budget movie, Cyborg 2. In the movie George Wallace, she featured in Hackers as a lead and won the Academy Award for Best Supporting Actress.

She got recognition from the movie Lara Croft: Tomb Raider, an adaptation of the Tomb Raider video games. The film was an international hit and made her image as a female action star.

Sarah Michelle Gellar

Sarah Michelle Geller has proved that she is perfect for the character of Wonder Wonder by her fantastic performance in Buffy The Vampire Slayer.

Sarah Michelle Prinze Gellar is a producer, actress, and also an entrepreneur. Her debut TV series An Invasion of Privacy in 1983 made her a recognized actress. She also did a few projects with Joss Whedon. Gellar was also one of the preferred choices for Wheadon’s Wonder Woman. Still, the project went under development hell, and Sarah never got an opportunity to portray the classic female superhero character.

Gellar won the Daytime Emmy Award for Outstanding Younger Actress in a Drama Series titled All My Children. For her Warner Bros. TV drama Buffy, the Vampire Slayer, Geller received nominations for a Saturn Award, five Teen Choice Awards, and a Golden Globe Award.

Megan Fox

In the 2000s, Megan Fox was rumored to play the character of Princess Diana, which was an early version of the Justice League. At that time, she was famous for her work in the Transformers franchise.

However, Fox separated her from consideration.  In one of her interviews, she described the character of Princess Diana as Lame, and she also said that she does not want to get the role. Her statement for Wonder Woman backfired her, and she ended up disappointed for her character in the Transformer as well. As in the set of the film, Fox was horribly treated by the director Michael Bay.

Megan Fox started her film career with the movie Holiday in the Sun in 2001. And got recognition from the sitcom Hope and Faith premiered in 2004. Later she did the blockbuster action movie Transformer in 2007.

Jessica Biel

When the project of Justice League was in its early stages, one of the actresses who got a lot of mention for the character of Wonder Woman was Jessica Biel. And Biel was a perfect choice for the role as she already had made her mark as an action star in the movie Blade: Trinity.

Jessica Claire Timberlake Biel is a model, producer, model, and singer. She is known for her role in The Texas Chainsaw Massacre as Erin Hardesty. Biel also featured in The Illusionist, Total Recall, Valentine’s Day, and Hitchcock. However, she never got the opportunity to play the role of Princess Diana.

Jamie Alexander

Jamie Alexander was another perfect option for the character of Princess Diana back in the 2000s. She was known for playing the action character Lady Sif in the Marvel Cinematic Universe’s Thor franchise.

However, Alexander and Marvel’s work contract was a significant barrier for her to achieve the role of DC’s Wonder Woman.

The above is the list of actresses who were in the consideration list for the character of Wonder Woman before Gal Gadot finally made it to the big screen.

#wonderwomen

[howardschatzphotography]

"A Day with Taraji Henson"

On Seeing: A Journal - #239 1/23/18

The marvelously talented Taraji Henson came to the studio for an interview, an “improv” session for "Actors Acting," and a formal portrait. Henson has had a remarkable career, to say the least. She studied acting at Howard University and began her Hollywood career in guest roles on several television shows before making her breakthrough in Baby Boy (2001). She received praise for playing a prostitute in Hustle & Flow (2005) and a single mother of a disabled child in David Fincher's The Curious Case of Benjamin Button (2008). She has received nominations for an Academy Award, a Screen Actors Guild Award, and a Critics Choice Award for Best Supporting Actress. Henson has also had a successful career in TV series such as The Division, Boston Legal, and Eli Stone. Henson went on to star in the ensemble film Think Like a Man (2012) and its 2014 sequel. In 2015, she began starring as Cookie Lyon on the hit drama series Empire, for which she became the first African-American woman to win a Critics' Choice Television Award for Best Actress in a Drama Series. She also won a Golden Globe Award, and was nominated for two Emmy Awards, in 2015 and 2016. In 2016, Time named Henson one of the 100 most influential people in the world on the annual Time 100 list. That year, Henson also released a New York Times best selling autobiography titled Around the Way Girl. Also that year, she received praise for her starring role as Katherine Johnson in the film Hidden Figures, for which she won a Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture. Here is some of her “work” from our studio session.

Mother to wailing baby: "If only you could tell me what's wrong."

Recently married woman walking unannounced into her husband's law office, seeing him pressing a pretty paralegal against the wall.

An actress whose career has stalled watching the Academy Awards on TV, seeing a hated rival not win an Oscar.

Fifteen years old, about to get "the talk" from her mother: "Oh, Mom, please!”

A young mother pushing a stroller in a mall, hearing a rapid volley of gun shots coming from the food court.

A six-year-old brat, told by her mother she can't have candy, throws a calculated tantrum in the supermarket...an invariably successful tactic.

THE INTERVIEW I’m very clear on why I do what I do. I am able to touch and change so many lives. That’s what propels me into what characters I choose, what stories I choose to tell. I feel like these women need a voice that’s not going to play them as a caricature, a person who’s going to bring real life. Whether she’s loud, whether she’s ghetto, whether she’s a valley girl. I’m interested in getting to why this person is the way she is.

My first character ever was in the most hood film you can imagine, Baby Boy, that John Singleton directed. This thumb-sucking sister from the hood could have been such a stereotype, but I made her a real girl. A lot of times the “why” of a character is in the script. Sometimes it’s not. Sometimes you create it, but whatever you create, you have to commit one hundred percent to it, to bring a character to life and make them a real, multi-dimensional person. I can’t judge.  f I judged, I wouldn’t have played half of the characters I portray. Shug, whom I played in Hustle & Flow, is a pregnant prostitute, and that’s basically all you know about her. You didn’t know where she came from, her back story… how did this girl end up here? What happened? Where are her parents? She’s so precious and delicate. All she has is love. When she turns tricks, it’s not about sex for money. It’s the only way she knows how to give love to another human being because somebody ruined her when she was little. That’s why everyone wanted to reach through the screen and grab her and hug her and take care of her.

Playing Queenie in Benjamin Button changed me forever, because I had just lost my father and my character constantly deals with death. It was surrounding her. She smelled it every day. It forced me to deal with the loss of my father, and it healed me.   I love what I do. I’m passionate about what I do. I believe I’m here for a reason, as we all are. I’m very clear on my reason and I stay focused on that.

Thank you, Taraji. Terrific!  

#Taraji Henson #Screen Actors Guild Award #Screen Actors Guild #Hidden Figures #The Division #Boston Legal #Empire #David Fincher #The Curious Case of Benjamin Button #acadamy awards #Queenie

[bigyack-com]

Golden Globes Nominations: What to Watch For

Will Netflix dominate with ‘The Irishman’ and ‘Marriage Story’?

LOS ANGELES — It is Netflix’s world. Hollywood just lives in it.When nominations for the 77th Golden Globes are announced Monday morning, Netflix is expected to dominate the film categories to a jaw-dropping degree. The streaming giant has only been a competitor on the film side of the Globes since 2016, when it received a sole nomination for Idris Elba in “Beasts of No Nation.” This time around, handicappers at Gold Derby, an entertainment honors site, predict that Netflix will receive at least 18 nominations in the 11 film categories alone.“The Irishman,” Martin Scorsese’s lavish gangster yarn, and “Marriage Story,” Noah Baumbach’s unnerving portrait of divorce, will almost certainly receive best drama nominations, with Fernando Meirelles’s Vatican succession dramedy “The Two Popes” possibly taking a third slot. Those Netflix movies and others from the service, including the Eddie Murphy vehicle “Dolemite Is My Name,” are expected to monopolize the actor, supporting actor and screenplay categories.Sprinkle in expected nominations for films from Amazon Prime Video (“The Report,” “Late Night”), and a cascade of TV entries from Netflix, Amazon, Apple TV Plus and possibly even Disney Plus (“The Mandalorian”), and it could be the year that streaming services and their seemingly bottomless checkbooks topple the Hollywood power structure: Out with the old.Or not.The group behind the Globes, the Hollywood Foreign Press Association, has shed some of its reputation for eccentricity, but it still makes calculated choices — spreading nominations far and wide to ensure that every studio boss attends; honoring younger stars in an attempt to boost ratings. Members continue to split their top film prize into two categories, drama and comedy-musical, often in bewildering ways. Quentin Tarantino’s “Once Upon a Time … in Hollywood” will compete as a comedy, perhaps landing a nod alongside the Nazi-themed “Jojo Rabbit.” Because what is funnier than the Manson murders and the Holocaust? In another puzzler, especially for an awards contest adjudicated by journalists from overseas, foreign-language films are ineligible for the marquee best-picture categories. So don’t look for much guidance on the Oscar hopes for Lulu Wang’s “The Farewell,” one of the few bright spots in indie cinema this year ($17.6 million in ticket sales), or “Parasite,” Bong Joon Ho’s acclaimed tale of economic inequality ($18.3 million).In truth, the Globes do not predict much. The press association only has about 90 voting members; roughly 9,000 film industry professionals vote on the Academy Awards. The top winning films at the Globes have only gone on to win the Oscar for best picture 50 percent of the time over the last decade. (They matched last year, however. “Green Book” was the big winner at both ceremonies.)NBC will broadcast the Globes on Jan. 5. Organizers decided to bring back the British comedian Ricky Gervais for a fifth time to host. Here are five more things to consider before Globes nominations are unveiled starting at 8 a.m. Eastern time.

The nominations could give films a shot in the arm.

The Globes are mostly coveted as marketing tools. Studio advertising executives will immediately roll out new TV commercials and digital billboards based on the nominations. Multiple nods for Greta Gerwig’s “Little Women” could help Sony generate interest in the film’s Christmas Day release in theaters. Ditto for Clint Eastwood’s “Richard Jewell,” which looks at the bombing at the 1996 Olympics and arrives from Warner Bros. on Friday.As a stop on the road to the Oscars, the Globes could focus fresh attention on Taron Egerton, who seemed like a lock for the best actor race in the first half of the year for his risk-taking performance as Elton John in “Rocketman.” But now that heavy hitters like Leonardo DiCaprio and Robert De Niro have entered the fray, he finds himself in the middle of the pack. Similarly, Globe voters could push Cynthia Erivo (“Harriet”), Alfre Woodard (“Clemency”) and Lupita Nyong’o (“Us”) deeper into the Oscar conversation.

The male acting races will be competitive.

Ahh, the year of the man. It seems strange given the #MeToo and Time’s Up movements.But take a look at this year’s films. The number of notable male performances is rather staggering. Joaquin Phoenix (“Joker”), De Niro (“The Irishman”) and Adam Driver (“Marriage Story”) are favorites for best actor in a drama, but where does that leave Antonio Banderas (“Pain and Glory”), Jonathan Pryce (“The Two Popes”), Adam Sandler (“Uncut Gems”), Christian Bale (“Ford v Ferrari”) and Paul Walter Hauser (“Richard Jewell”)? Best actor in a comedy or musical is only slightly less competitive. Murphy is a lock for a nomination for his outrageous “Dolemite” performance, as is DiCaprio (“Once Upon a Time … in Hollywood”). Egerton (“Rocketman”) should nab a nod. Vying for the remaining two slots are Daniel Craig (“Knives Out”), Himesh Patel (“Yesterday”), Shia LaBeouf (“The Peanut Butter Falcon”) and Roman Griffin Davis, the young “Jojo Rabbit” star.

Get ready to scratch your head over the best comedy and best drama categories.

Remember when the press association deemed the Matt Damon stranded-in-space odyssey “The Martian” a comedy? This kind of thing happens when studios try to game the system, submitting films and stars in categories sized up as more winnable. The press association received so much ridicule when “The Martian” was named best comedy in 2016 that members amended the rules to state that “dramas with comedic overtones should be entered as dramas.”That didn’t stop A24 from submitting its jeweler thriller “Uncut Gems” as a comedy this year. The press association bounced it to the drama group. But Sony’s submission of “Once Upon a Time … in Hollywood” as a comedy was allowed to stand.

A nomination for ‘Cats’ could be a boon for the movie.

“Cats,” set for release by Universal on Dec. 20, should be a shoo-in for best comedy or musical. But the filmmakers have been scrambling to finish the movie … err, make the fur visual effects less traumatic than they were in that infamous trailer. To make the movie eligible for consideration, Universal showed voters a rough version last week.Does the foreign press association go out on a limb and include “Cats” in the (meow) mix? It could certainly boost ratings to have Taylor Swift walking the red carpet, even if she leaves her Bombalurina tail at home. But voters could also be opening themselves up to disparagement.

The TV contenders include Baby Yoda.

The big question in the television categories is whether two new streaming services, Disney Plus and Apple TV Plus, can break into the best drama race.Globes voters have never been very keen on the “Star Wars” franchise, but Disney Plus hit a critical and cultural nerve last month with “The Mandalorian,” which introduced Baby Yoda. Apple’s centerpiece series, “The Morning Show,” received middling reviews from most critics, but there has recently been a backlash to the backlash. The soap, which stars Jennifer Aniston and Reese Witherspoon, has a 94 percent approval rating among Rotten Tomatoes users.Globes voters have a habit of falling in love with new shows — they like to be seen as cultural arbiters — but more established series may be impossible to resist. “Succession” wrapped up its rapturously reviewed second season on HBO in October. “Game of Thrones” has never won best drama at the Globes — it has won a record-tying four times at the Emmys — and it will have one final Globes shot this year. “The Crown,” which won best drama at the Globes in 2017 and has adroitly reimagined itself with a new cast, is also a favorite. And don’t count out “Killing Eve,” “Big Little Lies” or “Pose.”On the comedy front, Amazon’s “Fleabag” and its creator and star, Phoebe Waller-Bridge, are the heavy favorites. The show already won big at the September Emmys ceremony. Not that many people noticed: the Emmys hit a new ratings low, attracting just 6.9 million viewers. Honoring “Fleabag” would also be a redemption move for Globes voters; last time around they inexplicably named “The Kominsky Method” best comedy.Best actress in a drama is another category to keep an eye on. It could shape up as a battle of the titans: the Oscar winners Olivia Colman (“The Crown”) and Nicole Kidman (“Big Little Lies”), the Emmy winner Jodie Comer (“Killing Eve”), the singer-actress Zendaya (HBO’s druggie “Euphoria”) and Aniston, who last won a Globe in 2003 for “Friends.”John Koblin contributed reporting from New York. Source link Read the full article

[therachelperspective]

BOOK ⎟ Not That Kind of Girl: A Young Woman Tells You What She's ‘Learned’ by Lena Dunham

For many people, a simple mention of the name Lena Dunham is enough to strike up an insane amount of disdain and loathing. And if you’re one of those people, you have either stopped reading at this point or scrolled past this post entirely. You’re mind is incredibly made up about her already. I understand.

But for those of you willing to read further – thank you. And let’s chat.

I often question what drew me to read Lena Dunham’s book, considering I did not follow her or her work in the media, save for the passing glance in entertainment news. I wasn’t a fan in the least. So why did I ask for and receive her book as a Christmas gift? After much thought (and years later, might I add), I think I’ve narrowed it down to these two things:

1] When it was released, it fell into the category of my innate curiosity and wanting to read about other people’s lives. Meaning, in short, I’ve been obsessed with memoirs and biographies for the last couple of years. She was (and at times, still is) being hailed as an important feminist and a “voice of the people.” Consider my curiosity piqued. 

But also, 2] I strongly believe in forming my own opinions. I’m one of those seemingly-naive people that refuse to believe the worst things about others without having experienced it for myself. Lena Dunham’s status included. 

I may not have kept tabs on her, but that doesn’t mean I was entirely disinterested.

Not That Kind of Girl: A Young Woman Tells You What She’s “Learned” was published in September 2014. It was named one of the best books of the year by multiple media outlets, and the book placed #2 on the New York Times Best Sellers list. Praise, advanced or otherwise, used the words “hilarious,” “wise,” “candid,” and “witty,” though my favorite comment from NPR said that “We leave more empowered than we came.” Based on these, my expectations and anticipations were pretty high going into this book; however, I was also very cautious due to the number of negative reviews in the years since. 

A recollection of stories from Lena’s life, spanning a slew of topics, NTKOG covers it all. Without even luring us in with any tales of her background, childhood, or family life, we jump right into the book with a section about “Sex.” Immediately I was fascinated. Not about the sex reports (which good lord there are so many in this entire book), but rather the choice of putting sexual encounters as the very first topic of a memoir. It’s obvious that Lena Dunham is no ordinary gal, and her candidness is clearly abundant in NTKOG. Followed by “Body,” “Friendship,” “Work,” and “Big Picture,” this non-chronological narrative covers just about everything a 20-something can discuss. And some things you wish she hadn’t. 

Very specifically, there are a handful of distinct scenarios in which Lena may have overstepped her bounds; you’ll find hoards of articles online discussing them and how they make Lena Dunham a seemingly horrible person. It is more likely they are scenarios that certain people blew entirely out of proportion with their own commentary. Simple Google searches for “Lena Dunham,” especially connected to NTKOG, will result in *MAJOR BOOK SPOILERS* articles discussing a rape accusation people believe Lena falsified, fierce allegations that she molested her sister when they were both children, criminalizing of a phrase she used to describe trying to win her sister’s affections (also at a young age), and the appalling way she also outed her sister to their parents. Of the incriminating things the populace condemns Lena Dunham for, I will say that I only truly agree with that last one.

What you learn about Lena Dunham in her book is that she is not a perfect human being, as well as the fact that she grew up in a very unique way. The Dunham household was a very open, non-conformist sort of place one would have with artistic parents that I don’t think many criticizers of her book completely understand. Lena’s childhood was a very curious and experimental one, in ways many others are not. But it seems those against her don’t accept “a child’s curiosity” as an explanation, nor do they take a phrase like “using tactics a sex offender would use” with a grain of salt [describing how she tried to get her sister to like her when they were children]. Not the best phrase for the subject matter, I agree, but are you going to deny the parallels? Also, the backlash regarding Lena’s college rape story is exactly the reason more people don’t speak out about such traumas. Because someone, somewhere will try to disprove it and thus say you are a liar, calling into question the matter of consent and turn it into a battle of “your word vs. theirs.” Rather than applaud her willingness to be so outspoken about incidents in her life, both in childhood and adulthood, Lena is instead incriminated for them. Even more so when quotes are taken out of context. 

Although the sociological issues within it bring up very important discussions, this is about Lena Dunham’s book. And despite what you think of her and the aforementioned topics above, Not That Kind of Girl gives insight into a very distinctive individual. When we see her today, we see a young woman importantly challenging the typical imagery of “Hollywood” both in life and in art (i.e. her body positivity while being larger than a size 2 and her comfort in nudity, plus her incredibly flawed character on Girls), while also being open about her own mental illnesses (anxiety and OCD). From reading her novel, we discover that she has been this sort of “different” her entire life so far. Her views of life have deviated from the norm since childhood, a divergence that surprisingly enough this reviewer can relate to. People say that she is not old enough to write a memoir; they say that she is narcissistic, entirely too self-involved, and self-indulgent. While I do think that the book is a hot mess and I question how much of it is truly real, the discussion about her life and her views is actually what makes it interesting. Anyone ripping NTKOG entirely to shreds for having no wisdom or insight were taking this book too much at face value. What memoir-writing celebrity is not self-involved? Once again, Lena Dunham is one of the few being condemned for it.

I’m not saying that I give this book 5 stars, because I don’t, nor am I entirely sure if I would recommend it. I'm not even going to agree that Lena Dunham is the “voice of the people” or the “voice of a generation.” But her book, and her perspective, is not entirely faulted. Maybe it’s just my ability to find insightful passages in literally every book I read. Or maybe, she really does just have her moments.

The reality is that, even if Lena is just a voice for herself and herself alone, her sentiments towards things like... 

Losing her virginity – “No floodgate had been opened. No vault of true womanhood unlooked. She remained and she was me.”

Her own attractiveness – “Not ugly enough to be repulsive and not beautiful enough to seal the deal.” 

Gaining weight as a child – “All of it was alien and alienating.”

Womanhood – “I consider being female such a unique gift, such a sacred joy[.]”

Being an Adult – “Soon you will find yourself in more and more situations you don’t want to run away from.”

... and other matters discussed in Not That Kind of Girl, well... they are not entirely out in left field. 

Despite the fact that her voice (and by default, her book) can be dripping with white feminism and privilege, equally so that a lot of her troubles spawn from her own creation, my notes for this book prove – at least to me – there is a smidgen of quality to her writing. Whether opposers like it or not, there are people out there that will still relate to her book, enjoy her book, and find value in her essays, no matter the flaws others may see in her. 

I ventured into Lena Dunham’s Not That Kind of Girl in order to devise my own opinions about a person so disliked by the masses. The truth is that I finish it almost as indifferent as when I started. I don’t love her, but nor do I hate her. I would say I simply understand her better, supported in part by identifying with the “weirdness” she encompasses. I personally know what it’s like to be different, and I think that is what contributed to my ability to, as some might say, even finish the book in the first place.  

Lena Dunham is the creator, executive producer, writer, director, and star of the critically-acclaimed HBO series Girls. She has been nominated for eight Emmy awards and has won two Golden Globes (including Best Actress) for her work on her show. She was the first woman to win the Directors Guild of America award for directorial achievement in comedy, and she has also written/directed two feature length films. Dunham is also a frequent contributor to The New Yorker. [from the book inside flap] Not That Kind of Girl by Lena Dunham Random House | September 2014 | 265 pages MY RATING: ★ ★ ★ ✩ ✩  I still don’t know entirely how I feel about this book, to be completely honest. It was worth reading once, to strangely find comfort in the fact that there are weird famous people out there, who are pushing the status quo in more ways than one. But I completely understand where people can find this “too weird” and “unrelatable.” By Goodreads’ rating system, this book’s 3 stars means it was “good.” Which it was. To a certain point.

I don’t think she’s entirely strange and unusual because I too am strange and unusual (haha, sorry for that reference), but I also don’t say she’s the feminist idol people portray her to be either.  I am intrigued enough by NTKOG to watch Girls in the future, to witness the critical-acclaim for myself. But Lena Dunham to me is just... Strange Little Lena.  I feel like I want to like her because my gut tells me that I relate to her on quite a few levels, but I'm also just not sure that I do.

#book review #books #not that kind of girl by lena dunham #not that kind of girl #lena dunham #girls tv show #girls #HBO #hannah horvath #review #reviews

[jessicakehoe]

A Guide to Sounding Smart at Your Oscars Viewing Party

Whether you’re a film buff or not, we can all agree that awards season is a lot to keep up with. For starters, there are just so. many. awards shows. It all starts with the Golden Globes, which lead to the SAGs, the Critics’ Choice Awards, the Independent Spirit Awards, all the Guild Awards, culminating, finally, with the Academy Awards. With each awards show comes the analysis of all the snubs, surprises, and shoo-ins. There are think pieces about box office success versus critical acclaim. There are controversies about the lack of diversity. There are Twitter Moments and memes aplenty.

There’s a lot to parse in the months-long lead-up to the Oscars, but some key pieces of news do tend to break through all the noise. This year, for instance, even if you haven’t been paying close attention, chances are you know the following: 1) South Korean film Parasite has a solid shot at taking home the biggest prize of the night, Best Picture. 2) Brad Pitt’s got a knack for memorable acceptance speeches. 3) Once again, there are very few women and female-led films up for awards outside of the acting categories. 4) JLo got snubbed.

Now, that’s not enough to keep up with all the chatter at the Oscars viewing party you’re bound to attend this weekend. So here’s a pro tip. Come awards season, The Hollywood Reporter, Variety and The New York Times each begin rolling out their annual video series focused on the year’s biggest awards contenders. From roundtables with stars to directors breaking down crucial scenes from their critically acclaimed films, the videos offer a behind-the-scenes look at some of the most talked about films of the year. Give some of these a watch ahead of Sunday. It may not be enough to win you the Oscars pool but at least you’ll be clued in enough to drop little anecdotes or factoids here and there over the course of the evening.

The Hollywood Reporter Roundtables One of the most keenly anticipated series of awards season, the THR Roundtables invite the year’s most buzzed about actors, directors, writers and producers to sit around a table with their peers and chat about their craft, their inspirations and their struggles. This year, the Actresses Roundtable features Jennifer Lopez, Laura Dern, Awkwafina, Lupita Nyong’o, Scarlett Johansson and Renée Zellweger talking about everything from imposter syndrome to being typecast to working with female directors to how #MeToo has improved life for women in Hollywood. Watch their conversation so you can say stuff like “Did you know that Noah Baumbach [who directed Laura Dern and Scarlett Johansson in Marriage Story] doesn’t let his actors change even a single word of the script?” at the party later.

.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }

Variety Actors on Actors Taking a leaf from Interview’s playbook, in which celebrities and artists interview each other, Variety’s video series sets two actors down in a room for a one-on-one free-wheeling conversation. This year, tune in to watch Jennifer Lopez chatting with Robert Pattinson about taking chances as an artist, Chris Evans and Scarlett Johansson debating the merits of superhero films vs auteur-driven “cinema,” and Brad Pitt and Adam Sandler mainly trading compliments for an hour. Fun fact: Once Upon a Time in Hollywood director Quentin Tarantino only told Brad Pitt right before they started shooting that the end of the film would involve his character tripping on acid.

.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }

The New York Times’ Anatomy of a Scene In Anatomy of a Scene, film directors narrate a scene from one of their movies, breaking down what influenced them to construct the scene the way they did. Greta Gerwig, who wrote and directed Little Women, dissects the scene in which Saoirse Ronan and Timothee Chalamet’s characters, Jo and Laurie, dance wildly with each other on the porch outside of a formal party. “I wanted everything to feel very shimmery and very beautiful,” says Gerwig of the scene. “And we shot with a certain filter to give it that certain feeling and it has this warmth.” The series also sees Bong Joon Ho talking about Parasite, Marielle Heller narrating a scene from A Beautiful Day in the Neighbourhood, and Jay Roach offering a peek into the making of Bombshell.

.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }

And if you’re a fan of dropping little-known facts into casual conversation, BBC has a roundup of 17 “quirky facts” about this year’s Oscars that warrants a quick read. For instance, if Cynthia Erivo wins Best Actress for her role as Harriet Tubman in Harriet, she would become the youngest person ever to score an EGOT. (She has previously won a Tony, Grammy and Daytime Emmy for her work in the Broadway revival of The Color Purple.) Another fun fact: this is the first time that a real-life couple will compete for the Best Picture prize. Greta Gerwig and Noah Baumbach, who recently welcomed their first child together, both have films up for the award this year: Little Women and Marriage Story, respectively.

The post A Guide to Sounding Smart at Your Oscars Viewing Party appeared first on FASHION Magazine.

A Guide to Sounding Smart at Your Oscars Viewing Party published first on https://borboletabags.tumblr.com/

[mastcomm]

Netflix Spent Big on Oscar-Worthy Films. That May Not Be Enough.

LOS ANGELES — Ballots for the coming Academy Awards are still being tabulated. But it already seems clear: This will not be Netflix’s year.

The streaming giant will arrive at Sunday’s Oscar ceremony leading the field, with 24 nominations. That’s up from 15 last year and eight the year before, a trajectory that highlights the success that Netflix has had in building a prestige film operation with a minimal presence in actual movie theaters. But the company could end the evening with only two wins, according to Gold Derby, which compiles the predictions of 28 awards handicappers, despite dumping truckloads of cash into awards-oriented marketing campaigns. Competitors estimate that Netflix has spent at least $70 million, a startling sum even by Hollywood’s profligate standards. Netflix declined to comment.

“The Irishman,” Martin Scorsese’s gangster character study, nominated for 10 Oscars and relentlessly hyped by Netflix as “one of the best films of the decade,” is expected by awards forecasters to get shut out completely. Prognosticators like Mark Harris of Vanity Fair and Scott Feinberg of The Hollywood Reporter base their opinions on how films have performed at predictive awards ceremonies leading up to the Oscars.

At the same time, Oscar voters are poised to shower statuettes on films from old-line studios that received traditional runs in theaters, including the late-arriving World War I drama “1917” (Universal), which is the front-runner to win best picture.

It raises unpleasant questions for Netflix. Spending freely on awards campaigning is one of the ways it has been able to woo marquee filmmakers like Mr. Scorsese. But with some analysts starting to question the return — Netflix already had a poor outcome at the recent Golden Globe Awards — will the streaming giant change its ways?

While there are those who would argue that competing films like “1917” and “Once Upon a Time … in Hollywood” (Sony) are simply better, the film establishment has been wary of Netflix. Could the lack of statuettes be a backlash to a tech giant that is upending entertainment-industry business practices and threatening Hollywood power hierarchies?

Ted Sarandos, Netflix’s chief content officer, said losses at awards shows leading to the Oscars in no way represented an uprising against the company.

“A pushback? Nobody can say that with a straight face,” he said last week at the Academy of Motion Picture Arts and Sciences annual nominee luncheon. “We got 24 nominations, the most of any studio. Our films have been honored across the board.”

The academy’s old guard has resisted a dogged push by Netflix to join the best picture club, arguing that, since the streaming service does not release its films in a traditional theatrical manner, its offerings should be better considered by Emmy voters. (Helen Mirren, onstage at the most recent National Association of Theater Owners convention, used an expletive to refer to the company.) Some longtime academy members say that Netflix’s campaigning has turned them off, in part because it reminds them of the days when Harvey Weinstein solicited Oscar votes with no-stone-unturned vigor.

“Obviously, there is one company that is spending more than the others, but that’s not going to affect how I will vote — nor do I think it will affect other members,” said Hawk Koch, a producer and former president of the academy, who recently wrote a memoir about his long career in Hollywood. “There is an awful lot of wasteful money being spent that could be used for making movies rather than trying to win an award.”

Netflix made its Oscar ambitions clear in 2018, when it hired one of Hollywood’s top awards campaign strategists: Lisa Taback, who cut her teeth at Miramax with Mr. Weinstein in the 1990s and whose résumé includes best-picture winners like “The King’s Speech” and “Spotlight.” She orchestrated a costly Oscar push for Netflix’s black and white “Roma” for last year’s Academy Awards. That film received 10 nominations, including one for best picture (Netflix’s first), and won three: director (Alfonso Cuarón), cinematography (Cuarón) and foreign film. It was a very solid outcome, one that seemed to signal the academy’s warming to Netflix.

This time around, Netflix seemed to be holding an even stronger hand. It had a living legend in Mr. Scorsese. His ambitious “Irishman,” which cost at least $160 million to make, brought Joe Pesci out of retirement and paired him with Al Pacino and Robert De Niro. Netflix also had “Marriage Story,” Noah Baumbach’s unnerving portrait of divorce; “Dolemite Is My Name,” a flamboyant comeback vehicle for Eddie Murphy; and “The Two Popes,” a well-reviewed drama about Vatican politics starring Jonathan Pryce and Anthony Hopkins.

“Marriage Story,” with six Oscar nominations, is expected to win for Laura Dern’s supporting performance as a formidable divorce lawyer. “Dolemite” did not receive any Oscar nominations. “The Two Popes” received three nods, but is not expected to win any on Sunday.

Another win for Netflix is expected to come from “American Factory,” a documentary backed by Michelle and Barack Obama that looks at a clash between a Chinese entrepreneur and blue-collar Ohioans.

“That’s a lot of campaigning for not a lot of hardware,” said Sue Fleishman, the head of September Media, a corporate communications consultancy, and the former communications chief at Warner Bros. and Amblin Partners.

In truth, no film wins the top Oscar without spending. All nine of this year’s best-picture nominees have been draped in for-your-consideration campaigns for months. Sony has certainly not been stingy with its “Once Upon a Time … in Hollywood” get-out-the-vote effort, which included a 28-minute special about its themes (“a love letter to making movies”) that ran on two Los Angeles television stations. Neon, the scrappy indie with the potential best-picture disrupter “Parasite,” has been spending money like a major, hopeful that the love for the genre-defying South Korean film will help it make Oscar history.

But Netflix has taken campaigning to a new level. Most studios put their firepower behind a couple of contenders. Netflix pitched eight films to awards voters this year, including two that received nominations for best animated film: “Klaus,” a hand-drawn holiday story that triumphed at the BAFTAs, Britain’s equivalent of the Oscars, and “I Lost My Body,” about an amputated hand. About 60 people work in Ms. Taback’s department, which also includes talent relations.

“Think of all of our awards work as a really smart way to make us the best home for talent in the world,” Reed Hastings, Netflix’s chief executive, said during a quarterly earnings call last month. “The business benefit is that we will win deals that we wouldn’t have otherwise.” Netflix may be spending a lot on awards campaigns. But the sum is a rounding error when you consider the company is poised to spend $17.3 billion on content this year.

Like all studios, Netflix flies stars to ceremonies that are seen as campaign stops, advertises in trade publications and sends swag to reporters (a pair of red slippers to support “The Two Popes,” for instance). But Netflix has also gone a great deal further, promoting films in ways that have raised eyebrows.

Rather than rely on trade news outlets, Netflix has opted to create its own, including a thick, expensive-looking magazine called “Queue,” filled with glossy photos and essays from high-profile contributors like Roxane Gay, and two separate podcasts from the former entertainment journalists Kris Tapley and Krista Smith (now consultants for Netflix).

The company rented out the famed Belasco Theater on Broadway to screen “The Irishman” and reopened the defunct Manhattan single-screen theater the Paris with a long-term rental deal. The company is still conducting talks to buy the historic Egyptian theater in Hollywood.

In December The Washington Post revealed that Netflix courted members of the Broadcast Film Critics Choice Association, which puts on the Critics’ Choice Awards, with free trips to Los Angeles and New York for private access to filmmakers and stars. Members of the association who accepted stayed in luxury hotels like the Four Seasons. The group awarded Netflix films and television shows with nine trophies, including best acting ensemble for “The Irishman.”

In a statement this week, Netflix responded to The Post article, saying, in part: “Promotional tactics like junkets, screenings and festivals are standard industry practice and not just for awards.”

“Netflix is not violating any rules. They just have lots of resources,” said Joe Pichirallo, a producer and a professor at New York University’s Tisch School of the Arts. “They do it to gain credibility and legitimacy and to let skittish auteur directors know that if you make a movie for Netflix, they will go all out to get you an Oscar, just like the studios.”

Even without winning big on Sunday, the company has already won. Netflix’s many nominations mean that 30 million people in the United States will watch a celebration of a lot of movies that they have not seen in theaters. Netflix will have succeeded in creating an emotional and intellectual shift — high-caliber original films associated with television sets and computer screens.

The streaming giant’s bruising night at the Globes certainly didn’t cast a pall over its after-party. Many of the night’s biggest stars made the soiree their first — and perhaps only — stop on the evening’s celebration circuit.

Brad Pitt and Leonardo DiCaprio huddled alongside “The Irishman” cast in a cordoned-off corner of a tented structure in Beverly Hills as waiters offered fried-chicken sandwiches, mini corn dogs and specialty Casamigos cocktails. Scarlett Johansson, Ms. Dern and Jennifer Aniston all showed up to pay their respects to the town’s deepest pockets, and that was before Tiffany Haddish grabbed the DJ’s mic and started rapping.

“We ready,” Ms. Haddish shouted into the microphone, while holding a glass of white wine in her other hand. “Netflix putting food on people’s tables.”

from WordPress https://mastcomm.com/netflix-spent-big-on-oscar-worthy-films-that-may-not-be-enough/

#Entertainment

[rachelbrosnahanweb]

New Update has been published on Rachel Brosnahan Web

New Post has been published on http://rachel-brosnahan.org/2018/08/24/press-photos-modern-luxury-people-magazine/

Press/Photos: Modern Luxury + People Magazine

Rachel is looking amazing on the September cover of several Modern Luxury brand magazines. I’ve add photos from them, as well as August 20th People Magazine scans, to the gallery. Check out the corresponding article below.

Rachel Brosnahan’s story reads like aspiring-actress lore. Her career, up until recently, was comprised of a series of impressive recurring roles—the type of roles that would render her face “recognizable” without making her a household name. There was a memorable multiple-season stint on House of Cards as Rachel Posner, a high-end lady of the night who suffered an unfortunate end, which earned her an Emmy nom. There were two seasons of the critically acclaimed Manhattan and a several-episode role on Blacklist, as well as guest stints on Grey’s Anatomy, Orange Is the New Black and several other hit shows. Then came the big one, the career-changing role: She was cast as Miriam “Midge” Maisel in Amazon’s award-winning The Marvelous Mrs. Maisel, co-created by husband-and-wife duo Amy Sherman-Palladino and Daniel Palladino of Gilmore Girls fame. That was when things really took a turn.

As the story goes, Brosnahan was so sick during her audition she could have blacked out. What she does recall involves her sweating profusely and her shoes coming off. “When you don’t feel well or you’re overexhausted, all of your inhibitions fall away,” says Brosnahan, who lives in New York City, where Maisel is shot. “You do some of your most fearless work because you have nothing to lose.” That was clearly a good thing because the now-27-year-old got the role. Adding to the string of good luck, Amazon bought two seasons of the series based solely on the pilot. (It was recently announced the show has been renewed for a third season as well.) And, before many people had even seen the show, Brosnahan was onstage clutching a Golden Globe for best actress in a musical or comedy series (the show, too, won for best television series, musical or comedy). Just like that, Brosnahan was in need of recurring roles no more: She was a bona fide star. “Sometimes the awards stuff can feel awkward and strange,” says Brosnahan when I meet her for breakfast at The London West Hollywood. “The Globes were a nice reminder that [awards shows] are giant commercials in the best way possible. So many people reached out after the Globes saying, ‘I started watching the show,’ which was really encouraging.”

The Marvelous Mrs. Maisel centers around a 1950s traditional, Jewish, Upper East Side housewife who discovers her husband—a businessman-by-day and aspiring-stand-up comedian by night—has been lifting his act from Bob Newhart and cheating on her with his secretary. In her anger and shock, Midge takes to the stage herself, proving she’s the one with actual talent. “Midge doesn’t start as a stand-up,” says Brosnahan. “She starts as a really funny woman whose life falls apart. And she’s sharp; she’s smart; she’s single-minded; she’s driven; and she finds her voice through stand-up comedy.” During Midge’s impromptu act, she—in a wine-fueled rage—flashes the crowd, sending her to jail for indecent exposure. Oh, and all of that happens in the pilot. “I get very frustrated by gratuitous nudity; it’s tired and distracts from storytelling, but I appreciated this pilot’s relationship to nudity because I think it’s funny,” says Brosnahan. “It’s not about sex or being sexualized. [Midge was] hitting a bottom she couldn’t have imagined.”

It’s ironic that the show, which premiered in March 2017, is now being watched in the shadow of the #MeToo and Time’s Up movements. After all, Midge starts off as a Stepford-esque character (one who takes off her makeup after her husband has fallen asleep and wakes up before him to reapply it), but she quickly becomes a self-reliant, strong, outspoken, modern woman. “The show was made before this moment erupted into what it is now, but it affected the way the audience viewed it and added another layer to the story,” says the actress.

Brosnahan is petite and pretty, dressed in a floral silk dress on the morning we meet. Her hair is down, and she’s in full makeup, which feels a bit surprising for 11am on a Sunday. I quickly find out it’s because she has already had to do press for the show that morning. If she’s tired, she doesn’t show it. Her demeanor is warm and down-to-earth, no doubt a reflection of her Midwestern roots (she was raised in Highland Park, Ill., outside Chicago). In high school, Brosnahan was a multihyphenate, both an athlete and a theater kid. She was on the wrestling—yes, wrestling—team and was a snowboarding instructor. But she soon realized performing was what truly had her heart. “I think it was something I always knew, but in high school I realized I never really wanted to do anything else,” says Brosnahan. “I loved performing and storytelling, and they were the only things I had interest in. At that point, I started pursuing it in an active way with an eye toward a future career.” She went on to NYU, landing roles throughout her time in college and yet still graduating because she promised her parents she would. “My dad made a deal with me when acting started to pick up,” she says. “He said, ‘I will cover your college tuition if you graduate. If you don’t graduate, you owe me every cent of tuition I have paid up until that point.’ I’m so grateful he pushed me to graduate because I don’t think I’d be here without such a well-rounded education,” she adds.

Brosnahan did graduate, but those initial roles led to bigger roles, and, finally, to her current much-buzzed-about Golden Globe-winning role. “The show is very theatrical,” she says. “It’s like shooting a miniplay a day. We do a lot of scenes where the camera is doing a dance with us. It’s heavily choreographed. I lost about 15 pounds shooting the first season, and I think it was just from the repetition of the walking and talking at such a fast pace.”

While Brosnahan plays a woman aspiring to be a successful stand-up, she harbors no secret desire to become one herself. “I have so much respect and admiration for stand-up comedians,” she says. “It makes me want to crawl into a hole. It takes a particular breed of brilliant masochist, and I’m happy to cheer them on from the sidelines.” Yet, playing a stand-up on TV has also given her a small glimpse into the difficult career choice’s appeal. “Toward the end of the season, I began to notice the difference between when the audience was laughing because they had to and when they were laughing because I made them laugh. I understood for the first time that thrill. It certainly would never make me want to go try stand-up myself, but I’m looking forward to doing more of it on the show.”

Beyond the incredible cast of characters that make up the show, including Tony Shalhoub and Marin Hinkle as Midge’s parents, and Michael Zegen as her philandering husband, there is another major character that cannot be ignored: the clothes. “[Costume designer] Donna Zakowska’s process is so thorough,” says Brosnahan. “She pours through vintage magazines and looks for inspiration from Audrey Hepburn, Grace Kelly and other fashion icons of the time. Donna is a real storyteller through the clothes.” According to the actress, approximately 85 to 90 percent of Midge’s costumes in the first season are built from scratch. “I knew I wasn’t allowed because we had a second season, but, one day, I am going to steal all of those clothes,” she says with a laugh.

Off camera, Brosnahan is far more casual when it comes to clothes, an unsurprising reaction to how formal her character is. “Comfort is key in my personal style,” she says. “The more I work, the more I go the other way in my real life. I’m someone who lives mostly in jeans and T-shirts.” When Brosnahan took home the Golden Globe she was in Vionnet. “I love discovering new young designers,” she says. “I just like to have fun with style. I’m learning a lot about designers I didn’t know before.”

Our breakfast meeting comes right before Brosnahan begins shooting the show’s second season, which she says will continue to dive into Midge’s evolution as an independent woman. “In season two, we will be further exploring the tension between her separate worlds: her life as a mother, a housewife, a daughter; and her life as a new working woman; and her life as an emerging stand-up comedian,” says Brosnahan. “I look forward to exploring all of the ways her different realities bump up against each other.”

As Brosnahan’s character evolves, so too does the woman playing the role. She hopes the industry she’s in follows suit. “I feel hopeful about the future, not only about the industry, but also the country,” she says. “I’m hopeful that women are empowered in a new way and that this is a historic moment we won’t look back from. But this is not the first—we are building on something that many generations of women before us started a long time ago.”

Source: Modern Luxury

#magazine #maiseltv #midge maisel #modern luxury #mrs. maisel #people #rachel brosnahan #scans #the marvelous mrs. maisel #Magazine Scans #Photos #Press

[latestnews2018-blog]

Maura Tierney And The Allure Of 'The Affair'

New Post has been published on https://latestnews2018.com/maura-tierney-and-the-allure-of-the-affair/

Maura Tierney And The Allure Of 'The Affair'

“Wait, you’ve seen the first six episodes?!”

That was Maura Tierney’s surprise reaction when we spoke in early June about Season 4 of “The Affair.” It was a couple of weeks before the premiere, and Showtime had provided me with early access to the as-yet-to-be-aired episodes. But Tierney, who plays Helen Solloway on the show, hadn’t watched one bit of the new season yet.  

“I’ve seen nothing. You’ve seen way more than me!” she said.

But even if she had the opportunity to check out the new season, Tierney probably wouldn’t have watched anyway. She said she tends to scrutinize her scenes, seeing “missed opportunities” and ways she could improve.

“I don’t really watch the show. Sometimes I’ll watch it later. Sometimes I watch the other paths that I’m not in because I like the other actors’ work,” she said. “I’m very critical, so it’s hard for me to watch. If I’m doing press, I should watch the first episode. It’s a little irresponsible. It’s not something I relish.”

That doesn’t mean Tierney isn’t aware of the plot, of course. After all, Helen faces a lot of changes in Season 4. She moves to Los Angeles with her partner, Dr. Vic Ullah (Omar Metwally), and her two younger kids with her ex, Noah Solloway (Dominic West). She’s in therapy and still dealing with Noah, who moves to LA in an effort to be closer to their children. Through it all, Helen is extremely self-aware ― probably the most of any character on the show.

“This season is about what are you willing to let go of? What are you able to let go of? What are you capable of releasing in order to find some peace and happiness? So all of the four characters are kind of examined through that,” Tierney said. “All of us have new partners, and it’s kind of an examination of who’s holding on to it the tightest and what that experience is like for them. A lot of the characters’ choices are unwise and lead them toward the darker parts of themselves.”

Paul Sarkis / Showtime

“Helen makes a lot of decisions that I would not personally make,” Tierney said.

Those darker parts surface as the season progresses. By Episode 3, which airs Sunday, Helen gets some bad news about Vic’s health. The way Helen handles the challenges, though, is quite different from how Tierney would deal with it in her own life.

“The issue of mortality is very much tackled in Helen’s storyline and how she’s dealing with it and how Vic’s dealing with it,” Tierney said. “Helen makes a lot of decisions that I would not personally make. So it’s a little difficult for me because I’m not Helen, and Helen’s not me. I would never do that … There are choices that character makes that I just wouldn’t. But that’s acting … Sometimes the bad decisions are fun. And then other times they’re kind of hard. They felt selfish to me. But people do make selfish decisions. That’s life, right?”

Paul Sarkis / Showtime

Vic (Omar Metwally) and Helen (Tierney) in a scene from Season 4 of “The Affair.”

Tierney said that Sarah Treem, a creator of “The Affair,” would tell her, “Well, you’re not Helen. You are a nicer person than Helen.”  

Treem can’t say enough nice things about Tierney, calling her a “genius” and an “unbelievable collaborator.”

“As an actor, she has more impulses in three seconds on her face than some people have in a whole movie,” Treem told HuffPost. “She’s so deeply complicated as a performer, and it makes it so exciting to write for her.”

And others have taken notice. Tierney won a best supporting actress Golden Globe for “The Affair” in 2016. 

When asked what that meant to her, now with some reflection, she said, “I’m very flattered and happy, and I’m really happy to represent the show. I’m really glad the show got recognized. Of course, it’s really nice to be recognized for your work, but I do think it’s kind of a dangerous trap to make your work more valuable because you won a prize for that. I’m not in any way lessening the significance of that, which was very moving to me. Every job you do can’t win a Golden Globe — well, if you’re Meryl Streep, you can. Or Daniel Day-Lewis. For most of us, sometimes the work really means a lot to you, and you don’t win the Emmy, or you don’t win whatever. That’s OK. The work still means a lot. It still exists. It’s still done with care and passion and commitment.”

Speaking of other projects, Tierney has a few in the works. She’s starring alongside Steve Carell and Timothée Chalamet in the upcoming film “Beautiful Boy,” which chronicles the heartbreaking experience of survival and recovery in a family coping with addiction over the course of many years. And this summer, she’ll be in London and Japan to perform a play with the Wooster Group.

Meanwhile, it’s unclear whether “The Affair” will get picked up for a fifth season or if this will be its last. Although Treem has a plan in mind for one final run, the show’s fate likely won’t be decided until later this summer.

“From what I know from Sarah’s plan, it sounds interesting and a little lighter,” Tierney said.

So, what will life for Tierney be like after “The Affair” ends?

“Life after ‘The Affair’ might be right now, for all I know,” she said. “I might be in it.”

“The Affair” airs Sundays at 9 p.m. on Showtime.

!function(f,b,e,v,n,t,s)if(f.fbq)return;n=f.fbq=function()n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments);if(!f._fbq)f._fbq=n; n.push=n;n.loaded=!0;n.version=’2.0′;n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)(window,document,’script’,’https://connect.facebook.net/en_US/fbevents.js’); fbq(‘init’, ‘1621685564716533’); // Edition specific fbq(‘init’, ‘1043018625788392’); // Partner Studio fbq(‘track’, “PageView”); fbq(‘track’, ‘ViewContent’, “content_name”:”Maura Tierney And The Allure Of ‘The Affair'”,”content_category”:”us.hpmgent” ); fbq(‘trackCustom’, ‘EntryPage’, “section_name”:”Entertainment”,”tags”:[“@health_gad”,”@health_pain”,”@health_depression”,”@health_adhd”,”@health_models”,”@health_hiv”,”@health_erectile”,”@health_ibs”,”arts-and-entertainment”,”maura-tierney”,”the-affair-tv-series”,”sarah-treem”],”team”:”us_enterprise_culture”,”ncid”:null,”environment”:”desktop”,”render_type”:”web” ); waitForGlobal(function() return HP.modules.Tracky; , function() /* TODO do we still want this? $(‘body’).on(‘click’, function(event) HP.modules.Tracky.reportClick(event, function(data) fbq(‘trackCustom’, “Click”, data); ); ); */ );

[luxus4me]

Entrepreneur: Latest Articles http://j.mp/2fD3mHF

You may not know of Ivanna Chubbuck, but you have heard of her students. Her clientele, such as Charlize Theron, Brad Pitt and Halle Barry, have won multiple Academy Awards, Emmys, Golden Globes and Tony Awards. She is the multimillionaire coach and founder behind the Ivana Chubbuck Studio. In addition to her personal one-on-one coaching, her Los Angeles-based studio has 16 ongoing classes, and Chubbuck regularly facilitates classes overseas. "The celebrity whisperer" has been featured in The New York Times, People, USA Today, Paris Vogue and various television shows in the U.S. and abroad.

Chubbuck is also the creator of the cutting edge and widely adopted Chubbuck Technique which is taught by accredited teachers in over 16 countries. Her book explaining the technique, The Power of the Actor, is an international bestseller. Her methods spark change in the participants' lives, not just their work, and have been so effective for so many that Chubbuck has recently begun facilitating corporate workshops in addition to acting intensives.

I was excited to get to interview a member of Hollywood royalty about how to be an effective coach, grow a massive coaching business and achieve success in both business and life. Here are my top eight lessons from our conversation.

Figure out what you enjoy.

As you know as a reader of Entrepreneur, finding a niche is vital in business. Once you realize you want to be a coach or consultant, narrow down on your favorite topics. Chubbuck had great advice for figuring things out.

"When things are really interesting to you, time goes really fast. But, it's the same amount of time but it feels really fast, so an hour becomes a minute and an hour could also feel like 10 hours, depending on your enthusiasm, your passion and your connection to whatever it is you're doing ... when I was teaching actors, the time went by super-fast, and when I was acting it went so slow," she said. She added that even her 12-hour intensive sessions fly by. Ask yourself when time speeds up for you as a guide for where to place your focus.

Be willing to sacrifice.

Chubbuck explained that for years she "lived small." She didn't expect to get paid large fees at first, since her struggling actor clients were surviving on ramen noodles, sometimes even living out of their cars. But money, to her, was the gravy. The work itself was the steak, so she didn't mind the sacrifices.

"I skipped meals, I walked to places to save on gas. I mean, I've lived very small, and I was fine with that because I was following my passion."

Her first big break was about 10 years into coaching, but before that she explained it was "a slow and steady incline."

Be willing to let go.

Chubbuck's method is now a certified program for other coaches. She has coaches and schools teaching her technique all over the world. How did she achieve that kind of scale? "You have to give up control."

You may not want to license your materials, but if you want to grow your practice beyond what you alone can coach each month, for example through self-study online programs or hiring support staff to take on some of the load, you're going to have to give up some control.

Chubbuck also mentioned the importance of letting go of what others think. She said she would consider this one of her keys to success. "Don't care what people think, you just keep plugging along and follow your passion. Your passion is infectious .... You may have a down time, but you'll get back on top, and I've seen this happen a whole bunch of times."

She also advises that you let go of your specific path to success. She initially thought she was going to be an actress, but listened to her intuition and stayed open to the possibilities. "If you contain yourself in any shape or form -- to a certain aspect of things that you think that you want to do, or that you [believe is] the dream -- you've also contained other things from coming in. You ... basically took away the possibility of success."

Capitalize on momentum.

"It'd been 10 years before it got to me, and all of a sudden Halle Berry says my name at the Academy Awards and it went 'Booooooom!'" Chubbuck recalled the frenzy of business after that night. She knew she needed to capitalize on what was happening, so she wrote her book. I went, 'Now I'm gonna do something with that.'"

Chubbuck's book spent weeks on the Los Angeles Times Top 10 Bestsellers List and has now been translated into 12 languages. In my personal experience growing my brand, building up The Pursuit, getting more speaking and writing opportunities, etc., this tactic has been critical. The second you catch a break, ask yourself how can I ride this wave? How can I make the most of this? How can I use this to take myself to the next level?

Talk with people, not at them.

I asked Chubbuck what she believed caused coaches to fail with their students or as a business. She answered that too often coaches take a "mountain top" stance, shouting down to everyone what they need to do. But, no one likes being talked down to. She also shared the importance of vulnerability with students.

"If they feel that you, too, have the same issues, all of a sudden they feel more open, not alone ... as a team, we are going to learn ... both of us are going to grow as a result of this relationship," she said. "The other thing: Never judge."

Chubbuck went on to share that she sees the coach/student relationship as a symbiotic one. "When I feed them and I see greatness happen out of them, you know what, that feeds me."

Embrace your business sense.

As an artist who coaches artists, she has heard the "creative" excuse many times. She says that this excuse is denying one's business sense, which most people can find and improve. Personally, I started my career as a musician and graphic designer; I have learned the value -- and fun -- in strengthening the "left side" of my brain. Chubbuck embraced both sides of herself early on.

"I start off with this concept of how to make the business plan work, and I go, Well, this part's working, but this part's not .... I'm gonna change the part that's not working ... it's a creative process if you choose to look at it that way. This is my business cap, now I take that off and put my creative cap on. And I like them both, because they both connect the dots together for me."

Never stop learning.

Want to be a millionaire coach? How many books are you reading? How many courses are you taking? Actually, in today's information-saturated world, maybe the better question is, are you regularly absorbing and implementing new things? Like almost everyone I interview, Chubbuck places a high importance on learning and personal development.

"Educators should always learn ... if you stop learning in your process, and [this is for any and every job] if you stop learning then you stop living. Living is all about education. Raising the bar, meeting the bar, raising the bar."

Choose to overcome.

I was inspired when I researched Chubbuck's methods because all of her work focuses on not the hardships or the feelings, but on the overcoming. As entrepreneurs, we understand how devastating setbacks can be not just to the bottom line, but to our morale as well.

"You have a choice to make. [When bad things happen you can] say, This is something that I'm going to self-destruct with, bad things always happen to me, be defeated by it, and stop. [Or you could say], You know what? I'm gonna win in spite of it, because people said I couldn't."

She shared that most of us face many bad things in life, but they aren't all bad if you choose to see the circumstances as fuel.

"It's fuel to inspire you ... I'm not ever gonna let this happen again, and that person's never going to do that to me again, and this is how I'm going to succeed. Without retribution, without being mean or trying to get comeuppance, but just to prove them wrong."

Watch in-depth interviews with celebrity entrepreneurs on The Pursuit with Kelsey Humphreys

Related: 8 Tactics to Build a Multimillion-Dollar Publishing Business

Entrepreneur Network is premium video network providing entertainment, education and inspiration from successful entrepreneurs and thought leaders. We provide expertise and opportunities to accelerate brand growth and effectively monetize video and audio content distributed across all digital platforms for the business genre.

EN is partnered with hundreds of top YouTube channels in the business vertical and provides partners with distribution on Entrepreneur.com as well as our apps on Amazon Fire, Roku and Apple TV.

Click here to become a part of this growing video network.

http://j.mp/2fArLgI via Entrepreneur: Latest Articles URL : http://j.mp/2fzIDYF

#News

[snicole5087]

TRH Productions will present Natalie Dormer and David Oakes in the West End premiere of David Ives’ hit Broadway play Venus in Fur this autumn for a strictly limited nine-week engagement at the Theatre Royal Haymarket. This critically-acclaimed two-hander will run from 6 October to 9 December with opening night for press on 17 October.

Tickets are on sale now from £15 www.trh.co.uk / 020 7930 8800

Enigmatic actress Vanda Jordan appears unannounced for an audition with director Thomas Novachek. She’s determined to land the leading role in his new production – despite seeming wrong for the part. Over one evening in downtown Manhattan, their charged meeting becomes a seductive dance to the end.

Directed by Patrick Marber, designed by Rob Howell with lighting by Hugh Vanstone and casting by Executive Producer Ilene Starger, Venus In Fur is an intoxicating dark comedy of desire, fantasy and the innate love of fur.

Natalie Dormer is to play Vanda Jordan. Dormer is known globally for film and television roles including Margaery Tyrell in HBO series Game of Thrones, Anne Boleyn in The Tudors for Showtime, Cressida in The Hunger Games: Mockingjay Parts 1 and 2, Focus Features’ The Forest, Ron Howard’s Rush, and Ridley Scott’s The Counselor.  Upcoming, Dormer stars opposite Sean Penn and Mel Gibson in The Professor and the Mad Man, and the independent thriller In Darkness, which she also co-wrote. She is currently in production on FremantleMedia’s Picnic at Hanging Rock in Australia. Venus in Fur sees Dormer reunite with Patrick Marber, who wrote After Miss Julie (Young Vic) for which she received widespread critical acclaim in the title role. Her other stage credits include Sweet Nothings (also at the Young Vic) and .45 (Hampstead Theatre).

David Oakes is to play Thomas Novachek. Oakes is best known for portraying Juan Borgia in the Emmy Award-winning Showtime Original series The Borgias, for playing William Hamleigh in Emmy Award-winning mini-series The Pillars of the Earth, for BBC’s The White Queen in the role of George, Duke of Clarence and, most recently, on screen as Prince Ernest in ITV’s Victoria, for which he is currently filming the second series. Stage credits include Kit Marlowe in Shakespeare In Love (Nöel Coward Theatre) and Mr Darcy in Pride and Prejudice (Regent’s Park Open Air Theatre). Oakes will also appear in the film adaptation of Albert Sánchez Piñol’s thriller Cold Skin set for release later this year.

Patrick Marber is an award-winning playwright, screenwriter, actor and director. His productions of his own work includes Dealer’s Choice (NT & Vaudeville), After Miss Julie (BBC TV), Closer (NT, Lyric & Music Box NY) Howard Katz (NT), Three Days in the Country (NT) Don Juan in Soho (Wyndhams). His other directing credits include Travesties (Menier Chocolate Factory/ Apollo Theatre) The Caretaker (Comedy Theatre), Blue Remembered Hills  (National Theatre), ‘1953’ (Almeida) and The Old Neighborhood (Royal Court Theatre). Other plays include The Red Lion, The Musicians, The School Film (all for NT) and Hoop Lane (BBC Radio 3). His film credits include Closer (directed by Mike Nichols), Notes on a Scandal (directed by Richard Eyre), Old Street and Love You More. For television his co-writing credits include The Day Today and Knowing Me, Knowing You With Alan Partridge.  More recently Ivo van Hove directed Marber’s version of Ibsen’s Hedda Gabler for the National Theatre starring Ruth Wilson. His plays have won Evening Standard, Olivier, Time Out, New York and London Critics’ Circle and Writers’ Guild Awards. His TV work has received BAFTA, British Comedy and Royal Television Society Awards. His screenplays have been nominated for Golden Globe, BAFTA and Academy Awards. He received the British Independent Film Award for Notes on a Scandal.

David Ives was nominated for a Tony Award for Best Play for Venus In Fur, which has been produced all over the country and the world, and was turned into a film by Roman Polanski. He is also well known for his evenings of one-act comedies All In The Timing and Time Flies. Other plays include New Jerusalem: The Interrogation of Baruch de Spinoza; The Liar (adapted from Corneille); The School For Lies (adapted from Molière); The Metromaniacs (adapted from Alexis Piron); Is He Dead? (adapted from Mark Twain); Ancient History, and Polish Joke. A Chicago native, he lives in New York City.

Rob Howell has worked extensively in costume and set design in theatre and opera within the UK and abroad including at the Royal Court, Almeida, Donmar Warehouse, National Theatre, Royal Shakespeare Company, Welsh National Opera, Royal Opera House and Metropolitan Opera, New York as well as at numerous other West End and Broadway Theatres. Recent credits include The Ferryman (Royal Court) and Groundhog Day (UK and Broadway). He has received three Olivier Awards and multiple nominations for Tony and Olivier Awards for both Set and Costume Design, including the Olivier Award for Best Set Designer for Troilus and Cressida, Vassa and Richard III in 2000 and for Hedda Gabler in 2006. He received an Olivier Award in 2012 and a Drama Desk Award, Outer Critics Circle Award, Tony Award in 2013 and for his designs for Matilda the Musical in New York and London.

Hugh Vanstone has designed the lighting for over 200 productions and worked extensively with UK national companies and on Broadway. He has received many awards including three Oliviers, a Tony and a Molière. As associate artist at The Old Vic, he has recently lit Art, No’s Knife, Groundhog Day (UK and Broadway), The Caretaker, The Master Builder and  Future Conditional. Other work includes: Dreamgirls (Savoy), Welcome Home, Captain Fox and  Closer (Donmar); The Red Lion (National Theatre, Dorfman); Closer (Donmar and in New York); An Act Of God (New York & tour); Matilda (RSC and internationally); Strictly Ballroom (Australian tour);  Don Quixote (Royal Ballet); Tanz Der Vampire (throughout Europe & Russia); Shrek The Musical (New York, West End & UK tour); Ghost (London and internationally).

Ilene Starger is a Casting Director and Producer. West End theatre credits include The Libertine (as Casting Director/Executive Producer for TRB and TRH); Breakfast at Tiffany’s (as U.S. Casting Director for 2009 TRH production; also for 2016 UK tour.) Broadway credits include Waiting for Godot, No Man’s Land, Breakfast at Tiffany’s (Casting Director & Associate Producer), Marlene, The Elephant Man, Dance of Death, The Diary of Anne Frank, Dirty Blonde, Closer (Artios Award.) Film credits include Custody (also Associate Producer), The Rewrite, Pink Panther 1 & 2, Music and Lyrics, Two Weeks’ Notice, Night at the Museum (Artios Award), School of Rock (Artios Award), Sleepy Hollow, A Simple Plan, The Parent Trap, First Wives’ Club, Marvin’s Room, Robin Hood: Prince of Thieves, No Way Out. TV credits include: Witness to the Mob, The Great Gatsby, Earthly Possessions. Starger is a former VP of Casting for Walt Disney and Touchstone Pictures.

An adaptation of Leopold von Sacher-Masoch’s 1870 novel Venus in Furs that inspired the term masochism, Venus in Fur was first performed off-Broadway, New York in 2010 with Nina Arianda and Wes Bentley, before transferring to the Samuel J. Friedman Theatre on Broadway with Nina Arianda reprising the role of Vanda Jordan alongside Hugh Dancy as Thomas Novachek. Both productions were directed by Walter Bobbie and won Arianda multiple awards including the 2011/12 Tony Award for Best Performance by an Actress in a Leading Role in a Play. In 2012, Roman Polanski directed a film version of the play, in French, starring Emmanuelle Seigner and Mathieu Amalric.

Natalie Dormer to make stage return in UK Premiere of Venus in Fur @VenusOnStageLDN TRH Productions will present Natalie Dormer and David Oakes in the West End premiere of David Ives’ …

#Natalie Dormer #Theatre Royal Haymarket #UK Premiere