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bibliophileiz · 1 year

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Ranking Keira Knightley movies I've seen

Found this ranking I made of Keira Knightley movies in one of my old notebooks and had to share with the world this new year's eve (worth noting that some of them like Imitation Game and Anna Karenina weren't originally on the list, so I added them tonight)

Star Wars Episode I: The Phantom Menace - Keira Knightley is not in it enough. when she is, she's indistinguishable from Natalie Portman. 1/10

Princess of Thieves - baby Keira Knightley chops off all her hair and makes me bisexual. is a cutie with a reasonable amount of chemistry with the charming love interest. wins over grouchy dad by saving england and being good at archery. 8/10

King Arthur - Keira's acting is great but i don't think the writers knew what to do with her. i do love her costumes though. 5/10

Never Let Me Go - i barely remember anything about this movie. book was probably better. -1/10

Atonement - OMG!!! the PASSION. the YEARNING. this is the first tragic WWII romance i ever experienced and it DELIVERS. mostly though it's the green dress. the one she's wearing when she has sex with the faun from the narnia movies. that green dress belongs in Titanic or something illustrious. i don't think this movie's appreciated enough. i think it's time for a rewatch. 12/10

The Nutcracker and the Four Realms - little known (no one but my mom and i ever saw it) but holy SHIT is the world missing out. Keira puts on this high-pitched voice as the EVIL SUGAR PLUM FAIRY in a giant tuto. she is by far the best thing about the movie which unfortunately is lackluster in every way. 6/10 and all 6 are for her

Seeking a Friend for the End of the World - this movie should not be allowed to be so darn cute when it's about the literal apocalypse but it is and Keira is cute in it. she gets to go on a roadtrip with Steve Carrell in hopes of seeing her parents again before a giant meteor hits the earth and kills everyone. has a surprisingly touching ending. 8/10

Begin Again - i like anything where Keira sings. she's also a good role model for mark ruffalo's daughter in this. not my favorite John Carnye movie (that would be Sing Street which came out three years later) but definitely watchable. 7/10

Love Actually - why didn't they let Keira do anything in this movie? -2/10

Imitation Game - more tragic WWII stuff, though not as gutting as Atonement. Keira gets a turn playing the normal (albeit v. smart) person playing opposite Benedict Cumberbatch being weird. she does just as good a job as Martin Freeman while being way hotter. (also helps that the movie is better written than Sherlock.) her story isn't the tragic part and i'm not going to make jokes about Alan Turing who deserved much better than he got. 7/10

Anna Karenina - despite plalying the character whose name is the title, Keira was not in this enough. costumes were good but movie was approximately 1000 years long. still haven't forgiven my college boyfriend for making me watch it. -5/10

Pride & Prejudice - not my favorite Austen adaptation but you can't say Keira's not having the time of her life. she's a little giggly -- Elizabeth is more dry -- but she's definitely pretty and does a good job with the material given. Rosamund Pike may be the only person as good as her. 6/10

Bend It Like Beckham - the movie that launched a thousand lesbians. Keira gets put on the map as a tiny cute blond tomboyish lesbian soccer (ahem, *football*) player. she's a treat. 10/10

Pirates of the Caribbean - THE Keira Knightley movies. the dresses? check. the sword fighting? check. Pirate King with men falling at her feet? check, check, and check. best thing about the triology. got to kiss three dudes (sao feng doesn't count), gives a rousing third act speech, and gets to be the character who got the "keeps removing weapons from more and more illogical places on her person" trope. plus she sings! (a little.) disney did not deserve her and neither did any man in those movies. (orlando came closest though) 10 million/10

#keira knightley #pirates of the caribbean #bend it like beckham #princess of thieves #atonement #imitation game #nutcracker #king arthur #pride & prejudice #begin again #seeking a friend for the end of the world #i actually have seen the duchess as well but i don't remember much about it either so i didn't include it.#also i can't stand ralph fiennes except in prince of egypt so #ALSO really want to see colette

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sophieseals · 3 years

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Back in 2014/2016 it really upset me to watch Sherlock and see that Martin and Benedict got amazing other work like the hobbit, positions at Marvel and other theatre works and to see Andrew Scott with nothing. Especially when he was in what four episodes in the entire series and is one of the most memorable and talented actors who was at the same level as Benedict and Martin. So to not only see him be a stand out years later in fleabag and have half of the country thirst after him and recognise him it really warms my heart.

#not saying #that Martin and Benedict did not deserve those roles #they did #what I’m saying is #recognition for Andrew #andrew scott #martin freeman #fleabag #pheobe waller bridge #i thank you #sherlock #jim moriarty #the hobbit #doctor strange #benedict cumberbatch

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seeksstaronmewni · 3 years

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The Bear Roots of Burbank Cartoons: A Lookback at Boo Boo Runs Wild

5 years ago, [adult swim] aired the greatest of all Yogi Bear / Ranger Smith episodes, “Boo Boo Runs Wild” (1999), on August 13th, 2016 A.D. at 4 AM.

Look and see, kids, how America’s not-so-average bear connects in the wide world of animation that produces many of the cartoons that you love in Burbank, Canada and more!

As and after I saw it, I knew that I found the greatest band of cartoonists out there, and that greatest band of cartoonists out there was none other than...

Spümcø, whose many creatives would end up working at Hanna-Barbera Cartoons, Cartoon Network Studios, and many other popular Burbank and Canadian studios that made the cartoons I grew up and beyond watching.

Obviously, the character design is rather different, but they still look like the right characters, even with the slight color changes...

and with their items of human attire out. Ranger Smith, on the other hand...

Ranger Smith is wildly off model, and probably on purpose, throughout the picture.

Only in one scene appears he with a more familiar face.

Now, I didn’t have to watch Wild Kratts (which, by the way, features 6 Spümcø Canada creatives) to learn that “there’s only one thing a bear likes more than raiding a pic-a-nic basket.”

As the title suggests, Boo Boo loses his temper when Ranger Smith restricts him from tearing bark and decides to go primal in returning to his bear roots: “From this day forth, I’ll not dress in the man’s attire, and I’ll not speak in the man’s tongue. From now on, it’s going on all fours and grunting for me!”

Boo Boo wreaks havoc for the trees with his natural bear roots.

Unlike past episodes, however, the artists went far wilder than the usual Hanna-Barbera cartoon, making the trees alive and screaming in pain! OH, WHAT TOURTUE! Not to mention how I love Boo Boo’s goofy/manical laugh, a beautiful product of John Kricfalusi’s voice (Yes; I know that he was a formerly abusive megalomaniac who still has ADHD, but God knows what cartoons would be like today—at least those produced in Burbank and Canada—if it wasn’t for the many layout artists that he led).

Also unnatural to a Hanna-Barbera cartoon is the extreme levels of slapstick, wackiness and graphic nature of cartoons since such shows as Mighty Mouse: The New Adventures, Beany and Cecil’s DiC reboot, and The Ren & Stimpy Show. Boo Boo and now Cindy Bear are licking away at all of the honey... and bees... with insanely long tongues (may be that they’re sloth bears?). This left Yogi Bear practically speechless.

The mere sequence of dialogue between Yogi and Ranger Smith, discussing what to do about Boo Boo, involved HEAVY work in the storyboards by Vincent Waller. So many expressions that they couldn’t fit in each of Spümcø’s 3-panel storyboard pages!

As you see, in addition to Vincent Waller’s storyboards, John K. added extra poses (storyboard revisions more or less, but definitely layout poses) under the respective scenes. That way, Vincent could focus on telling and writing the story in rough pictures. (source of storyboards)

I also love the sound design. While it’s definitely true to a Hanna-Barbera cartoon, John K. and the late Henry Porch were very creative with some weird, dated and out-of-context sound effects, similar to what they and Horta Editorial did on The Ren & Stimpy Show in the first two seasons. The production music (probably APM and Capitol Records) also gave it a vintage, nostalgic feel.

Ultimately, with the aforementioned abusive megalomaniac aside, Spümcø undoubtedly harbored some of the finest animators and artists ever. Such names as Bob Jaques (Spongebob Squarepants, Buy One, Get One Free*, The Baby Huey Show), Ben Jones (DC Super Hero Girls, Cats Don’t Dance, Teen Titans GO!), Vincent Waller (Spongebob Squarepants, Adventures of Sonic the Hedgehog), Albert Lozano (Inside Out, A Kitty Bobo Show), Todd White (Spongebob Squarepants), Eric Koenig (Atlantis: The Lost Empire, Madagascar, Cats Don’t Dance, The Simpsons, and The Tigger Movie), and Erik Wiese (Samurai Jack, The Mighty B!) are among the hundreds of creatives who ended up almost everywhere working in Burbank and Canadian animation.

Other names on the Spümcø team that one might recognize include Gabe Swarr (Dexter’s Laboratory, The Buzz on Maggie, Foe Paws, El Tigre), and even background artists such as Richard Daskas ( @rdaskas - Samurai Jack, Time Squad, Sym-Bionic Titan, Batman Beyond), Richard Ziehler-Martin (Tiny Toon Adventures, The Wacky World of Tex Avery), Hector Martinez (Tom and Jerry: Robin Hood and His Merry Mouse, Timone and Pumba, Captain N, Evil Con Carne, Dora the Explorer), and Tony Mora (MAD, Teen Titans GO! to the Movies, Pickle and Peanut). I mean: in short, these artists worked for Warner Bros. Animation, Disney Television Animation and Walt Disney Feature Animation, Nickelodeon, and Cartoon Network Studios!

Spümcø’s production assistants on Boo Boo Runs Wild feature Matt Danner —a fantastic character designer, storyboard artists, director and producer, whose credits range from (Johnny Test and The Legend of the Three Caballeros to Team Hot Wheels and The Looney Tunes Show—and Cartoon Brew editor Amid Amidi. Brian A. Miller was an executive in charge of production, not for but probably in association with Cartoon Network.

Spümcø’s creatives, as I said, are all over the place in Burbank animation. Other shows that still air on @adultswim have ex-Spümcø creatives. For example: today’s re-run of Samurai Jack EPISODE XVI features Chris Reccardi (The Powerpuff Girls, The Grim Adventures of Billy & Mandy)...

Scott Wills (Genndy Tartakovsky’s Primal, The Twisted Tales of Felix the Cat)...

Lynne Naylor-Reccardi (The Shnookums and Meat Funny Cartoon Show, Wander Over Yonder) and Jim Smith (YooHoo and Friends, Tom and Jerry Tales, McGee and Me)...

and Leticia Lacy (TRON: Uprising, Sym-Bionic Titan, Wander Over Yonder, Korgoth of Barbaria).

Even outside of Cartoon Network Studios, where most ex-Spümcø artists end up, @cartoonnetwork’s The Amazing World of Gumball, from Cartoon Network Studios Europe (AKA Hanna-Barbera Studios Europe), features ex-Spümcø artist Charlie Bean (The Powerpuff Girls, Robotboy, Batman: The Animated Series, Timone and Pumba, Creature Crunch) on The Cartoon Network Europe Development Team.

One of Cartoon Network’s biggest and craziest hits, Teen Titans GO!, also features such ex-Spümcø artists as storyboard artist, director and producer Luke Cormican (The Buzz on Maggie, Brandy and Mr. Whiskers, Brickleberry, The Replacements, El Tigre)...

Gerald de Jesus (The Book of Life, The Ricky Gervais Show, TMNT)...

and Eric J. Pringle (Fosters’ Home for Imaginary Friends, The Problem Solverz). What wacky cartoon filled with live-action images, unpredictable visual gags and extreme slapstick humor wouldn’t?

Relatively, you could even tune in to Nickelodeon, the original home of Spümcø’s ground-breaking hit, The Ren & Stimpy Show, and see names of creatives associated with Spümcø and Ren & Stimpy, such as Zeus Cervas (Star vs. the Forces of Evil, Spongebob Squarepants, Clarence) on today’s episode of The Patrick Star Show...

or even Gabe Del Valle (Mighty Magiswords, Spongebob Squarepants) on today’s episode of Middlemost Post!

Overall, Boo Boo Runs Wild introduced me to the cartoon studio whose works I took for granted and on which I was missing out all of my life, and I strongly encourage this generation to support this Yogi Bear / Ranger Smith episode, which you can watch RIGHT NOW on [adult swim]’s site. It was officially on their YouTube channel, but it was removed for unknown reasons. This short never even got a DVD or VHS release!

The last televised airing of Boo Boo Runs Wild on [adult swim] so far was January 6th, 2019 A.D., but Spümcø also produced “A Day in the Life of Ranger Smith” and “Boo Boo and the Man” (based on true events in the life of John Kricfalsui) for Cartoon Network.

As I come to a close, it’s worth noting that layout Ed Benedict, an animator and artist whose credits go all of the way back to the 1930s with Disney and continued with MGM and Hanna-Barbera/Cartoon Network Studios, originally worked on Yogi Bear episode “Yogi’s Birthday Party” as a layout artist, and reprised that very role for “Boo Boo Runs Wild”. What a legacy the animators and artists of this episode leave!

Always will I remember how Spümcø, whose legacy connects to my Cartoon Network-infused childhood, blessed me and graced me that fateful day, August 13th, 2016 A.D., with the ultimate example of the fine art of cartooning that is the Yogi Bear / Ranger Smith episode “Boo Boo Runs Wild”. I was living in the moment, and I thank God for it.

“For years they have [been] asking me to make new Yogi cartoons, but I can’t even get a half a million [dollars] to make one, probably because I actually like the characters, but 60-70 million $ to make walking corpses is economical.” - John Kricfalsui on Yogi Bear (2010)

Another Ranger Smith, Boo Boo or Yogi Bear cartoon from the people behind The Ren & Stimpy Show is highly unlikely today, due to the abuse and harassment of John K. angering the world to the point of hating and condemning the man who helped to shape not only Cartoon Network but also television animation—and animation as a whole—with an undeniable legacy of artists and animators who deserve way more credit and respect than we perhaps thought of giving as kids.

Tweet version of this post here.

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acsversace-news · 6 years

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Game of Thrones famously sat out the 2017 Emmys, clearing the way for a new class of drama winners. This year, the same thing is true for the comedy categories, where another venerable vet—Veep—is out of contention for the first time since 2012. Which show will step into that show’s potty-mouthed void? Will The Assassination of Gianni Versace: American Crime Story sweep the limited-series categories like its O.J. Simpson–focused predecessor did in 2016? And will Game of Thrones itself have a triumphant return to the awards—or will a certain group of crimson-clad handmaids stand in its way?

Vanity Fair’s team of awards experts attempts to answer all those questions and more below, with our official Emmy predictions. Feel free to use this as a cheat sheet when filling in your Emmys ballot—and don’t forget to check back during the show on Monday, September 17, to see how we did.

Limited Series

The Alienist The Assassination of Gianni Versace: American Crime Story Genius: Picasso Godless Patrick Melrose

While the second iteration of Ryan Murphy’s true crime anthology did not have quite as much must-watch juice as The People Vs. O.J. Simpson, it was still a remarkable achievement—and perhaps more importantly for its Emmy chances, it doesn’t have any real competiton here. The Alienst was pretty but dull; ditto Genius; Godless was great, but little-watched; ditto Patrick Melrose. Barring an enormous upset (perhaps the TV Academy has recently invited in a bunch of cowboys?), American Crime Story should reign once more.

Lead Actor, Limited Series or Movie

Antonio Banderas, Genius: Picasso Darren Criss, The Assassination of Gianni Versace: American Crime Story Benedict Cumberbatch, Patrick Melrose Jeff Daniels, The Looming Tower John Legend, Jesus Christ Superstar Live in Concert Jesse Plemons, U.S.S. Callister (Black Mirror)

The Assassination of Gianni Versace didn’t make quite the cultural impact of its American Crime Story predecessor about O.J. Simpson, but Darren Criss’s performance was easy to single out; playing the serial killer Andrew Cunanan as some combination of rejected puppy and bona-fide sociopath, Criss was magnetic and terrifying in a way he’d never been before onscreen, a compelling anchor in a series that rambled too far into darkness for some. Given the show’s muted reception, though, Criss might be usurped in the end by some of his competitors, most likely Benedict Cumberbatch (a previous winner for Sherlock) or maybe even John Legend, who recently earned EGOT status for producing Jesus Christ Superstar Live In Concert and might just add another Emmy for his titular performance. But if Emmy voters actually watched Versace, even in part, it seems difficult to look away from what Criss has accomplished.

Supporting Actor, Limited Series or Movie

Jeff Daniels, Godless Brandon Victor Dixon, Jesus Christ Superstar Live in Concert John Leguizamo, Waco Ricky Martin, The Assassination of Gianni Versace: American Crime Story Edgar Ramírez, The Assassination of Gianni Versace: American Crime Story Michael Stuhlbarg, The Looming Tower Finn Wittrock, The Assassination of Gianni Versace: American Crime Story

If Emmy voters love Versace as much as they loved American Crime Story—and significantly more than Nielsen families did—Ramirez may benefit from a wider sweep. If not, Emmys favorite Jeff Daniels—who, lest we forget, somehow managed to beat Jon Hamm, Bryan Cranston, Damian Lewis, Hugh Bonneville, and a pre-scandal Kevin Spacey for lead actor in a drama in 2013, for The Newsroom, of all things!—will take home gold. In fact, Versace may even work in Daniels’s favor: voters who feel bad about voting for Darren Criss over Daniels in the lead actor in a limited series category, where he’s nominated for his performance in 9/11 drama The Looming Tower, may well flock to boost him here. A consolation prize? Perhaps—but it’s nicer to think of it as a deserved win for Godless, which otherwise might well leave the awards empty-handed.

Supporting Actress, Limited Series or Movie

Sara Bareilles, Jesus Christ Superstar Live in Concert Penélope Cruz, The Assassination of Gianni Versace: American Crime Story Judith Light, The Assassination of Gianni Versace: American Crime Story Adina Porter, American Horror Story: Cult Merritt Wever, Godless Letitia Wright, Black Museum (Black Mirror)

Perhaps a surge of spillover love for Black Panther could propel burgeoning movie star Wright to an Emmy win; hey, it happened in 2011, when Bridesmaids arguably boosted Melissa McCarthy to her only best actress victory (which was, technically, for Mike & Molly). It seems much more probable, though, that the TV Academy will default to the biggest current movie star in this bunch: Cruz, who has less screen time in Versace than one would expect of someone literally playing Donatella Versace. Still, she manages to imbue her portrayal of an oft-caricatured public figure with real depth and sympathy. Honestly, Light’s performance in the same series—as the long-suffering wife of Andrew Cunanan’s third victim—is more powerful, and more deft; but Cruz has the nominally juicier role, which will make all the difference on Emmy night.

#acs versace #vanity fair #emmys 2018 #awards talk #article #darren criss #edgar ramirez #penelope cruz #judith light #september 2018

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mdwatchestv · 6 years

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Emmy Blog 2k18: Monday’s Revenge

That's right it's that very special time! Except this time that very special time falls on a MONDAY AFTERNOON when I will be at my job working hard to craft non-Emmy nominated television for you all. I feel personally attacked by this scheduling.

Speaking of me, this is my second annual Emmy blog which means I have maintained this blog for over a year now! Yes that is correct I have actually shown commitment and follow-through on a project, I would like to thank the Academy.

Last year I was wildly unprepared for how long it would take to type such a blog so I'm not going to mess around with all the loving analysis of yesteryear. Also last year I simply had no idea how tired I would be this year, because I was too tired to imagine that far into the future. So you will get your analysis up front and then nothing but pure, unadulterated nominee sass.

As always we must mention last week’s Creative Arts Emmys- Congratulations to the casting winners Nina Gold + Robert Sterne (The Crown), Meredith Tucker, Jeanie Bacharach and Cindy Tolan (The Marvelous Mrs Maisel) and Courtney Bright + Nicole Daniels (The Assassination of Gianni Versace). See these casting names, know them, learn them, love them. Also it's bullshit Megan was not given an Emmy For Megan #justiceformegan

Last year I commented on how the Emmy's were beginning to reflect the increasing diversity in the television landscape. While progress on that front continues to be frustratingly slow, this year did boast a remarkable number of incredible roles for women! Not only are we seeing roles for women that extend beyond wives, mothers, and girlfriends, we are also seeing more series that STAR women! This year boasts some VERY EXCITING Best Actress categories, and I am HERE FOR IT. In contrast though most of the male categories are a total snooze fest, and the fact that AMC's The Terror wasn't nominated for ANYTHING shows that absolutely no one cracked the seal on their screeners. With an increasingly populated television landscape, it seems like voters went to old favorites rather than branching out and discovering some new gems. On some level this is to be expected, but at that same time there is an increasing disparity between what is recognized at these kind of events, and what is airing.

Okay on to the main event! Disclaimer: Once again these predictions are based on nothing but flights of fancy and raw gut instinct.

Supporting Actress in a Limited Series or Movie

Sara Bareilles (“Jesus Christ Superstar Live In Concert”) Penelope Cruz (“The Assassination of Gianni Versace: American Crime Story”) Judith Light (“The Assassination of Gianni Versace: American Crime Story”) Adina Porter (“American Horror Story: Cult”) Merritt Wever (“Godless”) Letitia Wright (“Black Museum” (Black Mirror))

God, wasn't AHS: Cult like six AHS's ago? Letitia Wright should win this because she won't get any other hardware for stealing Black Panther.

Supporting Actor in a Limited Series or Movie

Jeff Daniels (“Godless”) Brandon Victor Dixon (“Jesus Christ Superstar”) John Leguizamo (“Waco”) Ricky Martin (“The Assassination of Gianni Versace: American Crime Story”) Edgar Ramirez (“The Assassination of Gianni Versace: American Crime Story”) Michael Stuhlbarg (“The Looming Tower”) Finn Wittrock (“The Assassination of Gianni Versace: American Crime Story”)

There are plenty of actors I like, like in life here but.......sorry I fell asleep.

Lead Actor in a Limited Series or Movie:

Antonio Banderas (“Genius: Picasso”) Darren Criss (“The Assassination of Gianni Versace: American Crime Story”) Benedict Cumberbatch (“Patrick Melrose”) Jeff Daniels (“The Looming Tower”) John Legend (“Jesus Christ Superstar”) Jesse Plemons (“USS Callister”)

This category is insane. What do we got, a second Jeff Daniels nomination, a Black Mirror, John Legend for acting, Harry Potter, Benedict Cumberbatch who always seems to sneak into the Emmys, and Antonio Banderas. I am trying really hard to have an opinion about this. I’m going to pick my boyfriend Darren Criss just so I can put a gif of him on this blog.

Lead Actress in a Limited Series or Movie:

Laura Dern (“The Tale”) Jessica Biel (“The Sinner”) Michelle Dockery (“Godless”) Edie Falco (“The Menendez Murders”) Regina King (“Seven Seconds”) Sarah Paulson (“American Horror Story: Cult”)

Okay now here we go! Now this is a category! However the Laura Dern rule is in effect here, which is whenever Laura Dern is present in a category the choice MUST be Laura Dern.

Best Limited Series

“The Alienist” “The Assassination of Gianni Versace: American Crime Story” “Genius: Picasso” “Godless” “Patrick Melrose”

Can none of the above be an answer?

Supporting Actor in a Comedy Series

Louie Anderson (“Baskets”) Alec Baldwin (“Saturday Night Live”) Tituss Burgess (“Unbreakable Kimmy Schmidt”) Brian Tyree Henry (“Atlanta”) Tony Shalhoub (“The Marvelous Mrs. Maisel”) Kenan Thompson (“Saturday Night Live”) Henry Winkler (“Barry”)

Are we really nominating Alec Baldwin for that Trump impersonation? What a time to be alive. Tony Shalhoub is an Emmy darling, I think if he wins another he gets a free one on his punch card. Henry Winkler was pitch perfect on Barry, Kenan Thompson has been on SNL for a million years, and Brian Tyree Henry's performance on Atlanta is deceivingly effortless. I think Shalhoub, the Academy will likely have missed voting for him, it just comes so naturally to them.

Supporting Actress in a Comedy Series

Zazie Beetz (“Atlanta”) Alex Borstein (“The Marvelous Mrs. Maisel”) Aidy Bryant (“Saturday Night Live”) Betty Gilpin (“GLOW”) Leslie Jones (“Saturday Night Live”) Kate McKinnon (“Saturday Night Live”) Laurie Metcalf (“Roseanne”) Megan Mullally (“Will & Grace”)

Yes once again the ladies are LIT, tearing it UP. But no one tore it harder, and more literally, than Betty freakin Gilpin.

Lead Actor in a Comedy Series:

Donald Glover (“Atlanta”) Bill Hader (“Barry”) Anthony Anderson (“Black-ish”) William H. Macy (“Shameless”) Larry David (“Curb Your Enthusiasm”) Ted Danson (“The Good Place”)

This is a tough one, there are a lot of golden oldies here. I was surprised by how much I loved Bill Hader’s performance in Barry, but I think it was too weird and too dark to garner the votes needed. Atlanta had a lot of momentum and buzz last year, not sure if the Academy is going to pour the same love two years in a row. I’m going to go with Ted Danson, he’s impeccable on The Good Place and he’s also Ted Danson!

Lead Actress in a Comedy Series:

Pamela Adlon (“Better Things”) Rachel Brosnahan (“The Marvelous Mrs. Maisel”) Tracee Ellis Ross (“Black-ish”) Allison Janney (“Mom”) Lily Tomlin (“Grace and Frankie”) Issa Rae (“Insecure”)

Ray Bro.

Best Comedy Series

“Atlanta” (FX) “Barry” (HBO) “Black-ish” (ABC) “Curb Your Enthusiasm” (HBO) “GLOW” (Netflix) “The Marvelous Mrs. Maisel” (Amazon) “Silicon Valley” (HBO) “The Unbreakable Kimmy Schmidt” (Netflix)

Unlike the Best Drama Series category, which I am going to drag through the dirt at the end of this post, there is a lot of goodness here. These shows are not only very different, but also compelling in their own ways. (Although The Good Place absolutely deserves to be here). While I fell in love with Barry this year, and think Atlanta has maintained a consistent brilliance for two seasons, I think the delightful confection that is Mrs Maisel has the awards momentum to take this category.

Supporting Actor in a Drama Series

Nikolaj Coster-Waldau (“Game of Thrones”) Peter Dinklage (“Game of Thrones”) Joseph Fiennes (“The Handmaid’s Tale”) David Harbour (“Stranger Things”) Mandy Patinkin (“Homeland”) Matt Smith (“The Crown”)

And just like that my Betty Gilpin high has dissipated. I can't believe Homeland is still on. Do we reward David Harbour for having the perfect dad bod, or Matt Smith for being the perfect fuckboy? Decisions, decisions. If Matt Smith wins he needs to break that trophy in half and give it to Claire Foy. He can keep the globey part, but she gets the body and the stand.

Supporting Actress in a Drama Series

Alexis Bledel (“The Handmaid’s Tale”) Millie Bobby Brown (“Stranger Things”) Ann Dowd (“The Handmaid’s Tale”) Lena Headey (“Game of Thrones”) Vanessa Kirby (“The Crown”) Thandie Newton (“Westworld”) Yvonne Strahovski (“The Handmaid’s Tale”)

I had to consciously uncouple from The Handmaid’s Tale this year, but that doesn’t mean those actresses stopped being brilliant in their performances. Ann Dowd is a Laura Dern in the sense that I will usually always pick her in a category, but Thandie Newton did arguably carry season 2 of Westworld almost on her own. There are a lot of good unique performances here, but I am going to say Vanessa Kirby because she crushed on The Crown (and for the last time).

Lead Actor in a Drama Series

Jason Bateman (“Ozark”) Sterling K. Brown (“This Is Us”) Ed Harris (“Westworld”) Matthew Rhys (“The Americans”) Milo Ventimiglia (“This Is Us”) Jeffrey Wright (“Westworld”)

Guys can we be really, really honest with ourselves, like look in the mirror and come face-to-face with cold hard truths honest? WERE these the best performances this year? I love all these guys, but are they really turning in their best performances on these shows? Truly? The only exception is Matthew Rhys who is in his final year of a tour-de-force role on The Americans so my money is on him.

Lead Actress in a Drama Series

Claire Foy (“The Crown”) Tatiana Maslany (“Orphan Black”) Elisabeth Moss (“The Handmaid’s Tale”) Sandra Oh (“Killing Eve”) Keri Russell (“The Americans”) Evan Rachel Wood (“Westworld”)

Now, this, THIS IS A CATEGORY. LOOK AT THESE WOMEN. I love all of these actresses, and some of these performances are truly among the best I've ever seen on television. That is not a hyperbole, it is a true. I would be happy with almost anyone winning this slot, but I really feel like Sandra Oh is going to take it. I FEEL IT OKAY.

Best Drama Series

“The Handmaid’s Tale” “Game of Thrones” “This Is Us” “The Crown” “The Americans” “Stranger Things” “Westworld”

KILLING EVE IS THE BEST DRAMA SERIES OF THIS YEAR AND ITS EXCLUSION IS A HORRIBLE MISTAKE!!!!! Like IS Westworld REALLY the Best Drama Series??? IS IT? Is Game of Thrones??? Yes they are highly enjoyable and I watch them both, but are they THE BEST? REALLY? Was Stranger Things season 2 THE BEST, or are we just charmed by the children? Was The Handmaid’s season 2 THE BEST, or did we just vote for it out of habit and a misguided feeling that it’s win would stave off Kavanaugh’s confirmation? The Americans should win.

Okay I feel good now that that’s off my chest. I have a lot of thoughts of feelings, and please let me know yours! Phoebe Waller-Bridge forever!

xo Martha

#martha writes #emmys #emmy predictions #emmy snark #tv writing #tv gifs #other tv #emmy awards

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silentauroriamthereal · 6 years

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I hate Mary Morsan too

When I first saw this, I thought about just saying something like, “yay, high five!”, but then I reconsidered. Expressing hate for any woman, even a fictional one, is always a bit troubling for me. I truly am a feminist to the core of my being, and as someone who is known for writing the character of Mary as I truly see her in the canon, I’m already uncomfortably aware that people see me as a Mary hater. Johnlock shippers have been getting this since 2014 now: if you hate Mary, it’s only because she gets in the way of your ship, and the Johnlockers hate all of the female characters in Sherlock.

The second is patently untrue. That said, I’ll allow that Moffat and Gatiss are notoriously poor at writing female characters. (This has been well covered in many articles.) They, Moffat in particular, have a troubling way of aligning the concepts of female power with abuse (Irene uses sex to extort people for the terrorist she works for, Mary shoots people when they threaten to show her for the assassin and criminal that she is, even Molly and Mrs Hudson resort to violence in so-called moments of “strength” - Molly with her slapping and Mrs Hudson pulling a gun and handcuffs on Sherlock before having a bunch of men throw him into the trunk of her car). Moffat and Gatiss have an issue when it comes to writing a well-rounded, believable female character whose entire purpose doesn’t revolve around the male main character(s) and doesn’t come off as… well, a man trying to write a woman. That said, filling things out and making them work is also part of the joy of writing fanfic, and I, along with many other Johnlock writers, have definitely done my best to do that. I’ve even given several women on Sherlock their own stand-alone stories, told from their points of view, even Mary! If you’re curious:

Janine POV: The Green Carnations

Mary POV: Moving on/Making do (split between Mary and John’s POVs), Stand-in, Want (split between Sherlock, John, and Mary’s POVs)

Molly POV: The Red Roses, The Clouded Eye (split between Molly and Sherlock’s POV)

Sally Donovan & Mrs Hudson POV (first and last sections of Inappropriate)

Irene (not her POV, but definitely featuring her): From the Bottom of the Well

I’ve done my best to round these women out and give them credit where credit is due, whether or not I personally like them. I didn’t make them two-dimensional. And I didn’t write them the same every time (for those whose POVs I wrote more than once), either! Molly in The Red Roses is vulnerable, strong, self-sacrificing, and brave. Molly in The Clouded Eye is manipulable, jealous, possessive, yet (I hope) still understandable, pitiable. The point, ultimately, is the same as with any character: to be able to see their complexities, their depth, and to observe their actions objectively.

People wanted so badly to like Mary. They wanted to love the strong woman that John Watson chose to marry. I didn’t see any hate leading up to series 3 at all, neither toward the character of Mary Morstan, nor toward the person who played her. I saw open-mindedness and a wiliingness to take her into the collective fandom heart. For me, I was always wary, I’ll admit. I thought from the start that it was a mistake to take such a miniscule role from the original canon and make it such a big deal. I thought then that Moffat and Gatiss were trying to stomp out the Johnlock ship and rumours of their queer-baiting. Surely if John got married, we couldn’t possibly see it as gay anymore, right??? I saw their choice of actor as a deliberate attempt to parry the natural chemistry Benedict and Martin have onscreen, and I thought then that it was an overly desperate attempt. I maintain that to this day: I think it backfired. But that generosity of spirit was there toward Mary, even after series 3, for the most part. I saw many, mahy Johnlockers try to include Mary as part of a newly-formed OT3. I saw them identifying with Mary, trying their very best to love her.

Many of them still may. I don’t. For me, feminism means being seen as a human being first, and if a person’s experience as that type of human being has meant some kind of persecution or prejudice or abuse, it helps understand their actions. But not to excuse them. It doesn’t make it okay to murder people if you manage to look cute while doing it. It doesn’t make it okay if you did it to protect your own interests. That’s just selfishness, and defending it isn’t feminism. That’s just making excuses. Mary is a person who, in some unexplained backstory, chose a career wherein she kills and gets paid for it. She worked, to quote her, for the highest bidder. It wasn’t something she did out of a moral position, for love of country, for self-defense, for a cause, however just, as a cog in some great war machine. She didn’t do it do defend people she loved, or innocent bystanders, or children, or people too weak to defend themselves. She didn’t do it for some satisfying and long-deserved vengeance: she did it for money. Tawdry, dirty, blood money. And then she built a mountain of deceit, fed it to a man who was grieving, his trust broken and all but lost, and sold him a house of lies. And when his clever best friend discovered her, she shot him in cold blood, threatened him while under the influence, and hunted him down like an animal to put an end to him.

Pardon me if I don’t find that “cute” or “strong” or anything I feel like modelling myself after, anything I would want young women or my own nieces to look up to and admire.

I’ve talked about this before, but Mary is also extremely problematic in terms of blurring where the moral centre of Sherlock and John is. The thesis of the show has always been that Sherlock and John are damaged, problematic people, but ultimately good men. Ultimately, they’re on the side of the angels. Mary isn’t. Mary is on the side of the terrorists. She’s on the side of whoever will pay her the most to be on their side. In a way, that’s almost worse. Sherlock may “flirt” with Moriarty or Irene (though I always saw it as pretty one-sided on the latter) in the same way that he flirts with danger, with addiction, with obsessive behaviour, but he would never align himself with any of them. He may admire a clever plan, but his far greater fascination and draw is to the plain goodness of John Watson, extraordinary in its very ordinariness, yet it’s hardly ordinary, either. John can pull off making it look ordinary, but for someone who’s been through what he’s been through, it’s amazing that he IS still, ultimately, despite his own problematic behaviour, a good man. He and Sherlock both are, and it’s what they admire in each other, calling one another things like the best and the bravest and the kindest. That’s what they both seek, temporary fascinations with the devil they face every day in their line of work notwithstanding. Mary and Irene are both faces of this evil that Sherlock and John oppose. It’s the way things are: Sherlock and John are on the side of the angels. Mary and Irene work for the terrorists. Having Sherlock and John align themselves with Mary is incredibly problematic.

I maintain that everything about Mary Morstan was a mistake. It was a mistake to bring her onto the show, a mistake to try to make her 1000% more interesting than she ever was in the original canon, and certainly a mistake to have had John go back to her, to have had him and Sherlock put themselves on her side, to have made themselves accomplices to her crimes by the very act of helping bury her past. It was a mistake to then not see her arc through the way it began, her irritating ghost appearances bearing no resemblance to her canonical behaviour, and her proprietary brokerage of Sherlock and John’s friendship completely out of place and undeserved.

So yeah: in a response that’s probably 5,000 times longer than you were hoping for (apologies!), it takes a lot to make me admit that I hate another woman, even a purely fictional one. But Moffat and Gatiss succeeded on this one. I do hate Mary Morstan. I hate her because she’s an unrepentant murderer and liar, a narcissist whose only motivations are what she wants and feels would be good for her, and did everything in her power to tear Sherlock and John apart, and failing that, to outright kill Sherlock or manipulate him into killing himself. I see absolutely nothing admirable about this character and am just so glad she’s off the show. I wish she’d never been there in the first place.

#sherlock #mary morstan #john watson #johnlock #rosefellova

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papermoonloveslucy · 7 years

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Lucy the Disc Jockey

S3;E26 ~ April 12, 1965

Synopsis

Lucy wins a mystery sound contest on the radio, winning $25 and the chance to be disc jockey for a day. Naturally, things don't go smoothly when she takes over the studio.

Regular Cast

Lucille Ball (Lucy Carmichael), Vivian Vance (Vivian Bagley), Gale Gordon (Theodore J. Mooney)

Guest Cast

Pat Harrington (Gordon Felson) is probably best remembered as Schneider on the 1975 sitcom “One Day at a Time.” Between 1959 and 1960 he played the recurring role of Pat Hannigan in “Make Room for Daddy” also shot at Desilu. He died on January 6, 2016 at age 86.

His nickname is “Fair Felson”.

Variations on the title of this episode include “Lucy and the Disc Jockey” and “Lucy is a Disc Jockey.”

This episode was not intended to be the season finale, “Lucy the Stockholder” (S3;E25) was. It was shot in late 1964 and was supposed to air on March 15, 1965 but it kept getting pre-empted so it ended up being the season three finale.

This episode employs dozens of sound effects, many more than a usual “Lucy Show” episode. Sound Engineer Eldon E. Campbell and Glen Glen Sound Company deserve credit for their creativity.

From September 1964 to August 1965 (from shoot date to air date) Lucille Ball had her own daily radio show “Let’s Talk To Lucy” on CBS Radio. Although she did not play music, she talked to celebrities as herself, not in character, about a variety of subjects.

Viv stayed up watching “The Late Late Show” on TV. They were airing the James Cagney movie where he push the grapefruit into his girlfriend's face. Viv is referring to The Public Enemy (1931). The film featured Sam McDaniel (Hattie's brother) who was the first African American face on “I Love Lucy” in “The Great Train Robbery” (ILL S5;E5).

After playing the mystery sound, Felson announces the return to “the swing sounds of Jan Garber.” Jan Garber (1894-1977) was born in Morristown, New Jersey, and became a bandleader known for ‘sweet’ and ‘swing’ jazz. His nickname was “The Idol of the Air Lanes.”

There couldn’t be a show about radio without Lucy’s trusty red transistor radio. It turns up in every season of “The Lucy Show” - even when Lucy moves to California.

Listening to the hourglass (egg timer) a sleepy Viv makes a joke about hearing Lawrence of Arabia calling for help. Lawrence of Arabia is a 1962 epic historical film based on the life of T.E. Lawrence and taking place mostly in the desert. It won seven Oscars including Best Picture.

Lucy once again has trouble with the kitchen sink garbage disposal unit just as she did in “Lucy, the Coin Collector” (S3;E13, right). Before Lucy turns it on to hear what sound it makes, Viv asks her if the plumber fixed it. These two episodes would have been aired closer together had “Lucy the Disc Jockey” not been pre-empted so often.

Mr. Mooney says that the 'Name the Sound' contest is the silliest thing since Mrs. Hush. The Mrs. Hush contest was a feature of “Truth or Consequences” radio show in 1947. The quiz show had already sponsored a Mr. Hush contest, where listeners had to identify the voice of a person of note from whispered clues. After more than two and a half months of guessing, Mrs. Hush turned out to be Clara Bow. The winner received a new car, private plane, home appliances, a mink coat, diamond ring and other assorted prizes totaling $23,000 in value.

When Mr. Mooney hears the cacophony of Lucy and Viv trying out different sounds on various household objects, he calls it a “Housewives Hootenanny.” “Hootenanny” was a television variety show featuring folk music acts that aired on ABC from 1963 to 1964. Lucy's daughter Chris mentioned the show in “Chris Goes Steady” (S2;E16) aired in January 1964.

Mr. Mooney compares the noise in Mrs. Carmichael's kitchen to a Spike Jones rehearsal. Lindley Armstrong ‘Spike’ Jones (1911–65) was an American musician and bandleader specializing in satirical arrangements of popular songs and classical music. Songs receiving the Jones treatment were punctuated with gunshots, whistles, cowbells and outlandish and comedic vocals. Jones was born four months after Lucille Ball and died two weeks after this episode finally aired.

Angry that Mr. Mooney has also entered (and won) the contest after he said it was silly, Lucy calls him a “banking Benedict Arnold.” Benedict Arnold (1741-1801) was an American soldier in the revolutionary war who defected to fight for the British. His name has become synonymous with a traitor ever since.

Lucy asks why Mrs. Mooney wasn’t the one defrosting the fridge. Mr. Mooney replies that she was out chopping wood, contributing to the series’ verbal depiction of Mrs. (Irma) Mooney as a sturdy woman.

Mr. Mooney deems any voice contest between him and Lucy like comparing Walter Cronkite to Donald Duck. Walter Cronkite (1916-2009) was the voice and face of CBS News for nearly fifty years. He reported on some of the most dramatic events of the 20th century, such as the Kennedy Assassination, the Vietnam War, and the space program. He was considered to be “the most trusted man in America.” Donald Duck is one of Walt Disney's most enduring cartoon creations. He first appeared in 1934 and his squawking raspy voice was provided by Clarence Nash.

For the contest, Mr. Mooney is prepared to recite the Gettysburg Address, Hamlet's Soliloquy, and Edgar Allen Poe's “The Raven.” Lucy is prepared to recite Twinkle Twinkle Little Star, Little Bo Peep, and Tubby the Tuba.

Instead, Mr. Felson asks them to do traditional tongue-twisters. They first are asked to say “Big Black Rubber Baby Buggy Bumpers” and then (after Mr. Mooney loses to Lucy and threatens to examine the radio station's mortgage) “Red Leather Yellow Leather,” each three times, fast and clear. Lucy wins again and receives applause from the studio audience for her performance.

The call letters of the radio station are WLDJ representing the first letter of each word in the episode's title: “Lucy the Disc Jockey.”

WLDJ is a one-man radio station with one sponsor: Spangle Soda Pop. Gordon Felson says he hasn't had a day off in nine years. Although the name Spangle Soda Pop is fictional, there was a chew-able candy in England names Spangles.

This is one of the rare episodes in which a character actually speaks the title of the episode in the dialogue!

While reading a sports report on the air, Lucy announces that Maury Thompson is at bat. Maury was the camera coordinator for this episode as well as on “I Love Lucy.” In “Drafted” (ILL S1;E11) Ricky receives a letter from the War Department signed by Maurice A. Thompson.

When Lucy tries to see the title of the song on the spinning turntable and gets dizzy, she says “No wonder. It's a Dean Martin album.” This is a joke about Martin's drinking. She also made a joke about Dean Martin and his proclivity for alcohol in “Lucy the Stockbroker” (S3;E25). A year later, Lucy Carmichael dates Dean Martin. His stuntman is named Eddie Feldman, which sounds similar to Eddie Felson, the radio host played by Pat Harrington.

Lucy gets a phone request to play a song dedication to: Hilda and Babs and Jan and Ella and Molly and Dotty and Roselle and Mimi (like Eisenhower) and Mildred and Doris and Nora and Emma and Maryann and Evelyn and Sadie and Emma (a redhead) and SueEllen (one name) and Gertrude and Estelle and Joan and Connie and Sylvia.

The man wants her to play “You're the One for Me.” The song was sung by Freddie Rose in 1927, so it is no surprise Lucy can’t find the record. Instead, she plays “Bing Crosby Sings Stephen Foster.” The Crosby album was released in 1946. For the ‘record’ (no pun intended), President Johnson's wife was named Mamie, not Mimi.

When Lucy puts the needle down on the record, a voice sounding very much like Crosby’s sings to the tune of “Camptown Races”:

“Bum bum bum bum bum bum bum Stephen Foster.”

And then suddenly stops!

With the studio covered in the white foam from the fire extinguisher, Lucy sings a bit of “White Christmas” as the episode (and season three) fade out. "White Christmas" is a 1942 Irving Berlin song. The Bing Crosby version is the best-selling single of all time. In 1965 The Supremes recorded it for their Christmas album.

SIGNING OFF!

This is the last episode featuring Vivian Vance as a regular co-star. She will return for guest-star appearances in 3 future episodes.

This is the last new episode to be broadcast by CBS in black and white. When season four begins, viewers will finally see Lucy's hair in color!

This is the last time Lucy and Mr. Mooney will live in Danfield, NY. The pair relocate to California at the start of season four.

Some insiders say that Vivian Vance had decided to leave the show unless she got more creative control. Ball's advisers tell her Vance wanted a partnership, which wasn't true. It was decided not to meet Vivian's demands, and Vance leaves the series. Lucille felt hurt and betrayed. This is a decision Ball regrets for the rest of her life. Without Vivian, Lucille toys with the idea of ending the series. Vivian wanted to have the stories revolve more around her if she was going to keep commuting to the set from Connecticut. She was exhausted and her marriage to John Dodds was deteriorating because he was bisexual and seeing other men when she wasn't around. Vivian also felt that Lucille let her down.

The closing scene for this episode (Lucy crying amid the radio station destruction) was featured in the season four kaleidoscope opening credit sequence.

“The Lucy Show” was replaced for the summer (June-September) by “Vacation Playhouse,” an anthology series of unsold TV pilots.

Callbacks!

Lucy Ricardo was on the radio twice, both times on a quiz show hosted by Freddy Fillmore (Frank Nelson): “The Quiz Show” (ILL S1;E5) and “Lucy Gets Ricky on the Radio” (ILL S1;E32).

Both of those episodes featured an illuminated “ON THE AIR” sign, just like “Lucy the Disc Jockey.”

When Lucy flips an unlabeled switch on the console, it turns on a fan that blows away all her note cards. In “Redecorating the Mertzes Apartment” (ILL S3;E8) a fan mistakenly activated blows feathers from the recently disemboweled armchair all over the room, ruining all their hard work.

Blooper Alerts!

Ice Box Inconsistency! For this episode, Lucy's modern refrigerator has been replaced by an older model in order to facilitate the stunt of pulling the guts out of it. The refrigerator has also moved locations to make the gag physically possible.

Sitcom Logic Alert! Why would there be a switch for a free-standing oscillating fan on the console of a radio station control board?

Laugh Track! When the shelf of records comes crashing to the floor, Gary Morton’s loud guffaw can be heard on the soundtrack.

Hoser! Instead of plain water, the fire hose emits soapy suds, likely to imitate the foam that comes from a hand-held extinguisher. A fire hose would only produce plain water, not foam.

Name Game! When taking a song request, a caller gives a long list of women’s names. Repeating them as she jots them down, Lucy says the name “Emma” twice and adds “That the same Emma you mentioned? Oh, a redhead.” This may be a scripted line, but it sounds very much like an ad lib by Ball to cover herself after repeating the name.

“Lucy the Disc Jockey” rates 3 Paper Hearts out of 5

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acsversace-news · 6 years

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Part 3: Limited Series/TV Movie

And now, to wrap up, the Limited Series/TV Movie. Admittedly, its a little harder for me to work up enthusiasm this time out. With Fargo ineligible and Twin Peaks inexplicably ignored, I have a lot fewer dogs in the hunt than I have the last three. That said, there are still some good candidate, and I think I’ll carry on for completeness’ sake. (Besides, given HBO and Showtime’s llineup for next season, that is likely to be far more exciting.)

BEST LIMITED SERIES

Patrick Melrose was extremely good, and Godless deserves more respect than it got. But really, this is an easy choice. The Best Limited Series over the period (save for Twin Peaks, of course) was The Assassination of Gianni Versace. The second installment of Ryan Murphy’s American Crime Story wasn’t as good as it’s first, but considering the world that existed then and now, it is no less relevant. And it accomplished what, for all its great achievements, The People Vs. O.J. Simpson did not do — put us inside the heads of both the killer and his victims. Look for another big night for Ryan Murphy.

Should Win/Will Win: The Assassination of Gianni Versace.

BEST LEAD ACTOR IN A TV MOVIE/LIMITED SERIES

Even without Kyle MacLachlan being present, there are still some extremely strong candidates in the mix. My personal inclination would be to reward Benedict Cumberbatch for his multi-faceted performance in the title role of Patrick Melrose, mainly because it was a complete reverse from what we’ve seen of him in the past. But the winner is most likely, and deserves to go to, Darren Criss for his work as Andrew Cunanan in Gianni Versace. With the reverse chronology of the series, we got to see the true origin story of a psychopath and a liar who could never tell the truth, even to himself. Criss did something I wouldn’t have thought possible — he made us feel sympathy for a serial killer. That’s an achievement on its own.

Should Win: Cumberbatch.

Will Win: Criss.

BEST SUPPORTING ACTOR IN A TV MOVIE/LIMITED SERIES

There are some good candidates here, as there have been for several season, but I think it comes down to picking which nominee from Gianni Versace will prevail. All of them are good candidates — Ramirez as the flawed title designer who turned his life around, Ricky Martin as his lover and husband, and Finn Wittrock as the true love of Cunanan’s life. My personal preference is for Martin, who was subject to both affection and abuse during Versace’s life and in the immediate aftermath of his death. I think there’s more of a chance it’ll go to Ramirez, though, mainly because he had more scope than almost any of the other characters within the series.

Should Win: Martin.

Will Win: Ramirez.

BEST SUPPORTING ACTRES IN A TV MOVIE/LIMITED SERIES

Though part of me really wants to see Merritt Wever win for Godless, if only to see if she can think of anything more to say this time out, again this seems to be a choice between two Versace nominees. Judith Light made a huge impact as the widow of one of Cunanan’s victims, who comes to learn that her husband is gay because of his murder, and Penelope Cruz managed to create a whole new vision of Donatella Versace from those whose only glimpse of her came through old SNL parodies. I give the barest of edges to Cruz. (And for those voters who somehow decided that Laura Dern’s work on Twin Peaks wasn’t worthy of even a nomination, I can only say “F — — you, Academy!”)

Should Win: Cruz.

Will Win: Light/Cruz.

I look forward to seeing you all on Monday.

#acs versace #medium #emmys 2018 #awards talk #darren criss #ricky martin #edgar ramirez #penelope cruz #judith light #article #september 2018

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