Thursday, July 10, 2014


The Emmy Award nominations were announced today, and here’s what the Television Academy got perfectly right, and where they lost out on recognizing the best of TV for 2013-14


1. THE GOOD WIFE’s ‘big three’ got nominated: Last year, Julianna Margulies was denied an Actress – Drama nomination, despite there being seven nominated actresses. This year, the Academy has got it right by putting her among the six nominees. In addition to that, it’s great to see Josh Charles nominated for his amazing work during his last few episodes on the show. And the Academy love Christine Baranski anyway.

2. MASTERS OF SEX performances nominated: Lizzy Caplan delivered quite a performance in the freshman series. The Academy loves restraint and economy in performance, so it’s not really a surprise, but it’s good to see her name among the Actress – Drama nominees. Also, with Beau Bridges and Allison Janney among the Drama Guest Actor and Actress nominees, it’s good to know that good performances that may not be spoken about much still get recognized. Janney especially was excellent in the first season of the show.

3. GIRLS is not nominated for Outstanding Series – Comedy: This is a relief. Given its last two nominations in the category and a win at the Golden Globes, it unfortunately seemed like the show would stick around in these categories while other shows that are actually good are denied a spot. This year, however, it’s good to see that GIRLS is off that list.

4. Allison Janney got nominated for MOM: This wasn’t the kind of show that would be nominated for anything, and this is probably one of the only nominations it’ll ever get at the Emmys, but Allison Janney deserves this nod. She absolutely nails Bonnie’s one liners and callous attitude.

5. DOWNTON ABBEY is still going strong: Many felt that season four of DOWNTON ABBEY was not as good, and a few even said that the show should probably end, but I, in fact, felt like the writing was particularly strong in the most recent season. I’m happy to see that the Academy thinks so too, and has given it an Outstanding Series – Drama nomination this year as well. It’s also great to see the regulars like Michelle Dockery and Jim Carter in the acting mix, and of course, it would’ve been unfair to leave out Joanne Froggatt, given her outstanding portrayal of Anna dealing with being raped.


1. THE GOOD WIFE was denied an Outstanding Series – Drama nomination: Season five has arguably been the best season of the show, and it is undoubtedly the best network drama. Everyone who watched season five of THE GOOD WIFE would agree that it deserved to be on the list, except for the Academy. Sad.

2. BROOKLYN NINE-NINE didn’t make it to the Outstanding Series – Comedy list: It won the Golden Globe for Best Series – Comedy this year, and even though I didn’t agree with the HFPA’s choice at first, I grew to love this show, as I recognized how amazing it really is. I definitely think that it’s one of the best new comedies of the season that just ended, and it certainly should’ve got a spot among the six best comedy series of the season, overall.

3. MASTERS OF SEX and Michael Sheen lose out on nominations: A few episodes in, and I could see this show filling the void that MAD MEN will leave next year when it ends. It really did deserve a nod, and Michael Sheen’s excellent portrayal of the cold, yet deep and heavily layered William Masters definitely deserved some recognition.

4. Overacting performances from SCANDAL got undue credit: While the Academy does love restraint, it also tends to consider overacting as good acting, as is evident from them nominating Kerry Washington for a second time. Worse is that performers like Vera Farmiga (BATES MOTEL) and Elisabeth Moss (MAD MEN) have been left out of this year’s Actress – Drama list, while Washington’s over-the-top histrionics have made it. And if anyone has overacted as much, or more than her on the show, it would have to be Joe Morton, who plays Rowan Pope, and sadly, he’s been nominated for Guest Actor – Drama.

5. ORANGE IS THE NEW BLACK and SATURDAY NIGHT LIVE hog Guest Actress – Comedy: I’m sure ORANGE IS THE NEW BLACK has some great performances, but the nominee list suggests that these two shows are the only ones that had good performances by female guest stars. Also, I never understand how sketch performances on SNL outweigh performances by actors and actresses who put so much into building recurring guest characters. I don’t see how SNL fits into the regular fiction categories anyway.

So that’s that. Below is the list of all the acting and series nominations. If you wish to see all the technical nominations as well, click here. Do share your thoughts on what was well deserved, and who was unjustly denied a place in this list.

Outstanding Drama Series

Outstanding Comedy Series

Lead Actor in a Drama
Bryan Cranston, BREAKING BAD
Jeff Daniels, THE NEWSROOM
Jon Hamm, MAD MEN
Woody Harrelson, TRUE DETECTIVE
Matthew McConaughey, TRUE DETECTIVE
Kevin Spacey, HOUSE OF CARDS

Lead Actress in a Drama
Lizzy Caplan, MASTERS OF SEX
Claire Danes, HOMELAND
Michelle Dockery, DOWNTON ABBEY
Julianna Marguiles, THE GOOD WIFE
Kerry Washington, SCANDAL
Robin Wright, HOUSE OF CARDS

Lead Actor in a Comedy
Louis C.K., LOUIE
Don Cheadle, HOUSE OF LIES
Ricky Gervais, DEREK
Matt LeBlanc, EPISODES
William H. Macy, SHAMELESS

Lead Actress in a Comedy
Lena Dunham, GIRLS
Julia Louis-Dreyfus, VEEP
Melissa McCarthy, MIKE & MOLLY

Supporting Actor in a Drama
Peter Dinklage, GAME OF THRONES
Josh Charles, THE GOOD WIFE
Mandy Patinkin, HOMELAND

Supporting Actress in a Drama
Joanne Froggatt, DOWNTON ABBEY
Christine Baranski, THE GOOD WIFE
Christina Hendricks, MAD MEN

Supporting Actor in a Comedy
Adam Driver, GIRLS
Jesse Tyler Ferguson, MODERN FAMILY
Fred Armisen, PORTLANDIA
Tony Hale, VEEP

Supporting Actress in a Comedy
Allison Janney, MOM
Anna Chlumsky, VEEP

Guest Actor in a Drama
Paul Giamatti, DOWNTON ABBEY
Dylan Baker, THE GOOD WIFE
Robert Morse, MAD MEN
Beau Bridges, MASTERS OF SEX
Joe Morton, SCANDAL

Guest Actress in a Drama
Margo Martindale, THE AMERICANS
Allison Janney, MASTERS OF SEX
Kate Burton, SCANDAL

Guest Actor in a Comedy
Steve Buscemi, PORTLANDIA
Gary Cole, VEEP

Guest Actress in a Comedy

Outstanding Directing For A Drama Series
BOARDWALK EMPIRE ("Farewell Daddy Blues"), Tim Van Patten
BREAKING BAD ("Felina"), Vince Gilligan
DOWNTON ABBEY ("Episode 1"), David Evans
GAME OF THRONES ("The Watchers on the Wall"), Neil Marshall
HOUSE OF CARDS ("Chapter 14"), Carl Franklin
TRUE DETECTIVE ("Who Goes There"), Cary Joji Fukunaga

Outstanding Directing For A Comedy Series
EPISODES ("Episode 309"), Iain B. MacDonald
GLEE ("100"), Paris Barclay
LOUIS ("Elevator, Part 6"), Louis C.K.
MODERN FAMILY ("Vegas"), Gail Mancuso
ORANGE IS THE NEW BLACK ("Lesbian Request Denied"), Jodie Foster
SILICON VALLEY ("Minimum Viable Product"), Mike Judge

Outstanding Writing For A Drama Series
BREAKING BAD ("Ozymandias"), Moira Walley-Beckett
BREAKING BAD ("Felina"), Vince Gilligan
GAME OF THRONES ("The Children"), David Benioff and D.B. Weiss
HOUSE OF CARDS ("Chapter 14"), Beau Willimon
TRUE DETECTIVE ("The Secret Fate of All Life"), Nic Pizzolatto

Outstanding Writing For A Comedy Series
EPISODES ("Episode 305"), David Crane
LOUIS ("So Did The Fat Lady"), Louis C.K.
ORANGE IS THE NEW BLACK ("I Wasn't Ready"), Jenji Kohan and Liz Friedman
SILICON VALLEY ("Optimal Tip-to-Tip Efficiency"), Alec Berg
VEEP ("Special Relationship"), Simon Blackwell, Tony Roche, and Armando Iannucci

Sunday, June 01, 2014


AMC’s MAD MEN completed half of its final season last Sunday, and a lot has changed, but it’s still so hard to gauge where it’ll all end up. Let’s take a look at where these characters are at this point…

At the end of last season, Don Draper hit a certain realization. After years of keeping Dick Whitman hidden from the world, he finally let it all out. Accepting his ‘impoverished childhood’ (as Jim Cutler puts it in last Sunday’s mid-season finale), and how it affected him, was the only way he could remotely be happy, or probably simply be at peace with himself. Returning after a considerable amount of time, we saw Don keeping himself sober, leading a solitary life, doing his work. As much as I’ve hated his complete lack of commitment to relationships in the past and his extreme arrogance at work, I couldn’t help but find my heart going out to him. Yes, at heart, Don was always a loner—an onion that couldn’t be peeled. And stripped down to his bare reality, he seemed much more vulnerable, but still stronger than before. He did lose it a couple of times, when he got wasted again at the office, but he rose out of it almost instantly, again accepting where he was, with his new position at SC&P. He even goes on to gracefully accept that Peggy was his equal, and despite Lou Avery’s disregard, and Jim Cutler’s dismissive attitude, Don held his own. This almost Zen quality, to me, commanded a considerable amount of respect. However, the newfound attitude was not without emotion. The depth in Don Draper’s character has always been a driving force of MAD MEN, and that depth is probably at its most intense, currently, through the final season.

I don’t see anyone drawing a parallel, but I’ve definitely thought of Peggy as becoming so much like Pete, as far as his cantankerousness is concerned. She’s been short, snappy, complaining about everything, and generally whiny. While it’s mostly hilarious in Pete’s case, I really feel for Peggy’s state. I don’t blame her for it, despite seeing her through her career high. (Remember the days when she was just Don’s assistant?) I get the angst of an unsatisfied person, unhappy in her personal life, being abandoned by everyone she cares for, including the neighbor boy who hangs out in her apartment. At the same time, despite having accomplished a lot by the age of 30, professionally, she still has this deep insecurity, especially when it comes to Don’s return. She became a big deal in his absence and she was threatened with his comeback, but she was soon to realize that Don could never have been a threat. He was her mentor, and while he might have used tough love to groom her over the years, his admiration for the long journey she’s made to this point is like that of a proud father. Yet, in her times of frustration, he won’t molly-coddle her. Their slow dance in his old office was one of the most endearing moments of the season.

Roger Sterling has seemed to me as quite the vagabond since his divorce from Jane. He’s tried to be a father figure for Joan’s and his son, whom she’s raising as Greg’s, but he hasn’t been able to do what it takes for Joan to give in to anything he’s asked for. This season, embracing the energy of the late ’60s, he’s done things that aren’t really surprising for us, but just show us how he’s still nowhere close to being a guy who’ll actually grow up and have someone by his side in his golden years. Despite all of that, he tried to be a good father to his daughter, urging her to be a responsible mother, but that too backfired, and ended with him in a puddle of wet mud. His grief on Bert Cooper’s death was touching, despite the minimum expression. And at the end, despite all that’s not right and happy in his life, he’s adamant to keep the agency as it is, and his unwillingness to lose Don was expected, but still endearing.

The angry, young man, who’s growing old, but still has nothing other than his work. His new look and his affectionate attitude (remember him hugging Don?) may have showed how happy he was in California, but even his hot, new relationship there didn’t last, because of his dead marriage, and his denail of it. It’s not even a bad romance anymore, but he doesn’t think once about how his attitude towards Trudy could jeopardize his chance to even remotely be happy with someone. He’s still a fan of Don’s work, and cheers him on through the Burger Chef pitch, and that’s really endearing, especially when, at the end of that episode when Don and Peggy take him to Burger Chef, and they sit to understand the family dining concept that they’re going to pitch. In a strange way, they are the strongest version of a family any of them have. And not in a mushy, “aww” kind of way, but in a very practical, symbiotic way.

It was probably the most indiscreet end of a marriage, but there was something so poignant about the way things ended for Megan and Don. This had been a long time coming. Since season six, when Don promises to Megan that they’ll move to California, and then decides to stay, and she leaves anyway, most of us probably thought that it was going to end. But despite all that was wrong in that relationship, I really thought that Megan was good for Don. Initially she had seemed like just a pretty young thing, who would enjoy being Mrs. Don Draper, but over time, with her decision to get back to acting and other moves to establish her independence, it became clearer that she wasn’t going to be just someone who would feed Don’s ego. In the beginning of this season, we saw her at her independent best, not willing to even let Don buy her a TV set. It became clearer that not only was their relationship too complicated to last too long, but even Megan was not in a place where she needed him. Still, seeing a new side of humility in Don, in the episodes that followed, made me want to see them stay together. But even though he was ready to be more for her, and probably even needed her, she’d already moved on, and that final conversation was just so beautiful and heart-breaking at the same time. I hope this doesn’t mean that we won’t see Megan anymore. They’ve developed Betty’s character significantly even after she left Don, and I hope the same happens with Megan too, even if there are just seven more episodes to go.

Betty has been one of my favorite characters since the beginning of MAD MEN. She was always strong-willed, never took any nonsense from anyone, and I was happy to see her standing up for herself when she left Don. Since their marriage ended, I found her spiraling out of control, and she became a tad annoying, but it showed us a more vulnerable side of her, and soon enough, she was back to being the Betty I loved. Her snark and sarcasm have been at their best in the last two seasons, especially with her daughter. Sally has grown into a fine young lady, much like her mother, with her general demeanor and the tough exterior. The friction between mother and daughter has layers under the entertaining surface, and I see it as both of them being in denial of the fact that Sally is growing up to be just like Betty, and them fighting against that, but quite in vain. Betty’s marriage to Henry Francis has been almost perfect up until now. While they, most unnaturally, have ignored issues, and have stayed away from any confrontation, this season, it was quite apparent that he sees her as something of a trophy wife, and she was not going to stand for it. I never thought their marriage was completely solid, especially with Betty finding it completely fine to sleep with Don last season. And now, I doubt Betty will stay with Henry. I don’t really see her ending up with anyone. She and Don could have a dalliance in the final part of the show, and that would be fun to watch, but I don’t see them getting back together.

I feel for Joan when she tells Bob Benson that she deserves true love, and wasn’t going to settle for anything less. It was a time when Bob couldn’t be who he was, but Joan wouldn’t have him be untrue to himself or present a farce in the name of stability. Joan might be too strong for her own good at times, but I like that about her. I want to see her get her due, at work and otherwise. Yes, she’s a partner, but I still don’t see her shining through as much I would want to. In a strange way, I would really like to see her and Roger Sterling make a go for it, but she’s too much of a woman for him and I think they’d only work together if Roger really grows up now. Can that happen? Maybe. But then again, I don’t see the show ending with definitive happy endings with all loose ends being tied up for everyone.

And that’s not the way it should be either. While we have seen a strong character arc through the first half of the final season, for everyone, especially Don, I still can’t say where this will go over the last seven episodes. What’s the big end-game for creator and showrunner, Matt Weiner, if he has any? It’s still too soon to tell. But whether or not there’ll be a big closing chapter for MAD MEN, I am absolutely certain that however it ends, it’ll leave a lot of food for thought for us. With intriguing revelations at every level, it’ll all be done without the sensationalism, but definitely with the show’s typical quiet mysticism. 

Sunday, May 25, 2014


The fifth season of THE GOOD WIFE has been quite the tumultuous ride, with Alicia and Cary starting their own firm, Will Gardner’s death, and now Eli’s big question to Alicia. Here’s a look at where things could go from here…

When THE GOOD WIFE began almost five years ago, there were clear parallels between Peter and Alicia Florrick and Bill and Hillary Clinton. She stayed by his side when he was coming out of a sex scandal. She was the good wife. Alicia made the decision to support her husband, despite his massive betrayal, and that worked wonders for Peter when he continued his political career after getting out of jail. However, their marriage never went back to being perfect, despite a few good moments between the two over the years. In fact, Alicia even embraced the opportunity to be happy with Will Gardner (albeit shortly), when she found out about some more of Peter’s indiscretions from the past. It was then when it became clearer to us that she, who had been the victim all along, was not going to sit back and continue to be one. But even then, she had no intention of leaving her husband. On the contrary, she made the most of his (and hers, by extension) political clout.

Meanwhile, her rise at Lockhart-Gardner saw Alicia becoming an equity partner in the previous season, and she was settling into becoming increasingly ambitious. Even when it was time for her to define her relationship with Will and take that forward, at the cost of her marriage to the governor-elect, Alicia had her eyes set on taking her career forward, deciding to leave Lockhart-Gardner with Cary Agos. While initially, it may have been hard to see the gray in her character, over the last two seasons, she has unabashedly made the most of her position as Peter Florrick’s (and subsequently, Governor Florrick’s) wife. Without abusing the position, which she wouldn’t, being a woman of integrity, she continued to accept what came her way, and why shouldn’t she! She was the victim earlier, and something had to come out of her being resilient through her husband’s betrayal. If she endured the looks of pity from everyone when she was the victim, why shouldn’t she get something out of the looks of awe that people give her when they realize she’s the governor’s wife?

When I started watching the show, and saw the similarities between the Clintons and the Florricks, and I thought about the name of the series, I figured that there had to be a bigger purpose of Alicia Florrick being ‘the good wife’. As in the case of Hillary and Bill, I imagined Alicia emerging as the stronger component of her marriage with Peter—naturally on a moral high-ground, but even politically. Over the years, with the rise of Peter’s political career and him becoming the governor of Illinois, I’ve recalled some of my thoughts from back in the beginning, and I've been even more convinced that Alicia was headed for political greatness. However, with Alicia and Cary leaving Lockhart-Gardner, and all the drama that followed, Alicia’s potential political career took a backseat in my mind, and then Will died.

Will’s death came as a huge shock to everyone who watches the show, and we all knew that THE GOOD WIFE would never be the same again. That was quite unsettling for some, because who likes change! I had similar concerns when Alicia and Cary were starting their own firm, but that turn of events gave us what are possibly some of the best episodes of the series so far. And the fact is that even Will’s death would throw all the characters into places where we’ve never seen them, giving rise to storylines that we would’ve never imagined. And the episodes that have followed Will’s death have given us just that. Will’s death threw Diane into a losing battle to retain her position as Managing Partner at Lockhart-Gardner, and that has made her knock on the doors of Florrick, Agos & Associates, making them an offer they can’t refuse. Will’s death also made Alicia bond with Finn Polmar, leading to her urging him to run for state’s attorney. Eventually, following from that, Eli Gold asks Alicia the question of the season: “Alicia, would you want to run for state’s attorney?”

And that brings me right back to what I’ve thought of all along: Alicia making it in politics. I’ve felt that, sooner or later, Alicia would go down the same road as her husband, and the series would end with her becoming the governor of Illinois. And now, it seems like that journey is finally going to begin for her. It makes me wonder obviously, what all of that means for everyone else, and for the episodic storytelling. Even with Alicia leaving Lockhart-Gardner, the legal drama could continue and characters like Diane and Cary and Kalinda could still be a big part of the show. With Alicia (potentially) as the state’s attorney, that seems a little more difficult. I’m sure her new position would create a conflict of interest with her being a partner of a law firm full of people that her office would be up against in court all the time. Of course, it would also change the procedural quality of the show considerably. However, with all that has happened in the last year—the new firm and Will’s death—the writers have still managed to keep all the important characters extremely relevant to the larger picture, and I doubt that that will change even if Alicia does become state’s attorney. And while I may be convinced that it will eventually happen, it may not even happen now. Maybe she’ll decide to run, but will lose the election. Maybe she’ll win in her second attempt. A lot can happen, and if the last year has taught us anything, it’s that change is inevitable, but I’m sure that we can all rest assured that the characters and storylines will continue to be compelling, engaging and extremely relevant to the larger picture, the series as a whole. 

Monday, March 03, 2014


This year’s Oscars was an out and out entertainment extravaganza, but not without heartwarming speeches and moving tributes. Here’s a look at the 86th edition of the biggest night in Hollywood

To See all the results of the 86th Oscars, click here.

Photo Courtesy: AMPAS 

ELLEN DEGENERES was the best thing that happened to the Oscars this year. Her bringing the show into the crowd was a simple, yet genius idea. From outrageously hilarious moments like ordering pizza (and then collecting cash for it, in Pharrell’s hat) to sitting in Zac Efron’s seat to say that he was the next presenter, Ellen knocked it out of the park this year. There were moments when we were laughing simply at the ridiculousness of what was going on, but it was inclusive, with so many of the big names in the front few rows participating in the mirth, so it didn’t matter. Not many can work a crowd like Ellen can. 

The selfie that Ellen made Bradley Cooper take, which has gone down as the most retweeted photo ever

Her selfie moment with Meryl Streep, Julia Roberts, Brad Pitt, Angelina Jolie Channing Tatum, Lupita Nyong’o, Jared Leto, Kevin Spacey, Jennifer Lawrence, Lupita’s brother and the photographer Bradley Cooper was priceless. History was made, as Twitter was out of service for a bit after the photo was retweeted a record number of times (the current count is over 1.1 million retweets). Even Ellen’s jibes and ribbing were tasteful and innocent, but still received roars of laughter, even from us watching at home. I especially enjoyed how she made fun of Jennifer Lawrence having a fall again this year, following her trip while climbing up the stairs last year to accept her Oscar.JLaw took it very sportingly, and then the best part: Ellen tells Jennifer that if she wins the Oscar this year, they should bring it to her and not make her climb up to the stage. Priceless!

Presenters Chris Hemsworth and Charlize Theron
Bringing the entertainment and humor to the crowd was not just Ellen’s doing. Even Pharrell Williams’ performance of the Oscar-nominated song ‘Happy’, early in the show, brought Lupita Nyong’o, Meryl Streep and Amy Adams to their feet as they danced along. And that was not all. The organizers seem to have kept in mind that the Oscars have been losing viewers, because of how the Oscar-nominated movies don’t always appeal to the moviegoers. This is probably why the tributes this year were those made to movies that the moviegoers love, including animation films, superhero movies and other blockbuster types. PRESENTERS also kept things fresh and entertaining. With moments such as Jim Carrey’s animated tribute to animation and Jamie Foxx’s background score to Jessica Biel presenting the Oscar for Best Original Score, there was hardly a boring moment during the entire show. Among other FUNNY MOMENTS not orchestrated by Ellen was Kevin Spacey briefly getting into character as Frank Underwood from HOUSE OF CARDS. There were other unintentionally funny moments also, like John Travolta’s ridiculous mispronunciation of Idina Menzel’s name, calling her ‘Adele Dazim’, and Charlize Theron (who was best dressed, according to me) not realizing it was her turn to speak, when presenting with Chris Hemsworth.

Pharrell Williams performing 'Happy' from Despicable Me 2

I thought that even the PERFORMANCES added value to the show, especially those by Pharrell, Pink, Idina Menzel and Bette Midler. Nothing seemed to be overdone. The 'In Memoriam' segment didn’t draw out too long and even the presentations of the Best Picture nominees were done in sets of three, avoiding nine presentations and clips.

(Left-Right) Oscar winners Matthew McConaughey, Cate Blanchett, Lupita Nyong'o and Jared Leto

Steve McQueen making his speech while 
accepting the Best Picture Oscar for 12 Years A Slave
The AWARDS were paced out well, with a good mix of less popular categories with the big film categories throughout the show. Most of the results weren’t all that hard to predict, with Gravity winning almost in all the expected categories. So much so, most people seemed to have been expecting it to win Best Picture also, but 12 Years A Slave took away the top prize, much to the delight of Brad Pitt and his entire 12 Years… team. The film won three Oscars, as did Dallas Buyers Club, the pride of Matthew McConaughey and Jared Leto. All the acting results—McConaughey, Leto, Cate Blanchett (Blue Jasmine) and Lupita Nyong’o (12 Years A Slave)were predictable, but extremely deserving. It was good to see that The Great Gatsby won where it deserved to. Unfortunately American Hustle didn’t win anything, but the competition was pretty stiff. Frozen, Her and Blue Jasmine were the other big winners of the evening.

Jared Leto making his speech while accepting the 
Supporting Actor Oscar for Dallas Buyers Club

Most of the ACCEPTANCE SPEECHES were quite endearing and funny. I loved Lupita Nyong’o’s, because of how she started, saying that it didn’t escape her how so much joy in her life was due to so much pain in someone else’s. Jared Leto talking about his mother, with such admiration for her story, and then dedicating his statuette to the people who lost the battle to AIDS and faced injustice for who they are and who they love, was pure gold. Kristen Anderson-Lopez and Robert Lopez’s recital of their speech (on winning Best Original Song for Frozen’s ‘Let It Go’) was funny and touching, with the closing message to their daughters.

Alfonso Cuarón making his speech while accepting the Best Direction Oscar for Gravity

With moments to remember from all aspects of the show, and hardly any boring moments that I can point out, I would say that the Oscars were quite a success this year. The largely satisfactory results also made it good for me.

What are your thoughts on how things went down at the Oscars this year? Did the show live up to expectations?

Sunday, March 02, 2014


A quick look at the Oscar nominees this year, and what I think will happen with them Oscar night…

Picture: American Hustle, Captain Phillips, Dallas Buyers Club, Gravity, Her, Nebraska, Philomena, 12 Years A Slave, The Wolf Of Wall Street
Direction: David O Russell, American Hustle; Alfonso Cuarón, Gravity; Alexander Payne, Nebraska;
Steve McQueen, 12 Years A Slave; Martin Scorsese, The Wolf of Wall Street

These last few years, it seems like there’s always a movie that’s a technical marvel, among the Oscar nominated films. Last year, it was Ang Lee’s Life Of Pi, the year before that, Martin Scorsese’s Hugo, and this year, it’s Alfonso Cuarón’s Gravity. However, while the latter two were acknowledged to quite a large extent for their brilliance, with Ang Lee also winning Best Direction last year, this year, I feel that Gravity is going to get much more than that. It’s safe to say that Cuarón will walk away with an Oscar for direction, but I also feel that Gravity will be named Best Picture this year. The closest frontrunner, 12 Years A Slave was a really moving film, but while it was well made and had some stellar performances, it wasn’t something we haven’t seen before. If it does win, it’ll probably be because of the Academy’s love for biopics and dramatic retellings of true stories. The other frontrunner, American Hustle has lost momentum in the race for the Oscars, since its Best Picture, Comedy at the Golden Globes in January. All said and done, this year, the frontrunners can’t compare with last year’s films, especially Argo, Lincoln and Les Misérables, so the result will not be as satisfactory in any case. I personally think that the smaller films, like Dallas Buyers Club are more deserving of the top prize, but we all know that that’s not going to happen. I think it will be Gravity this year.

Leading Actor: Christian Bale, American Hustle; Bruce Dern, Nebraska; Leonardo DiCaprio, The Wolf of Wall Street; Chiwetel Ejiofor, 12 Years A Slave; Matthew McConaughey, Dallas Buyers Club
Leading Actress: Amy Adams, American Hustle; Cate Blanchett, Blue Jasmine; Sandra Bullock, Gravity; Judi Dench, Philomena; Meryl Streep, August: Osage County
Supporting Actor: Barkhad Abdi, Captain Phillips; Bradley Cooper, American Hustle; Michael Fassbender, 12 Years A Slave; Jonah Hill, The Wolf of Wall Street; Jared Leto, Dallas Buyers Club
Supporting Actress: Sally Hawkins, Blue Jasmine; Jennifer Lawrence, American Hustle; Lupita Nyong'o, 12 Years A Slave; Julia Roberts, August: Osage County; June Squibb, Nebraska

Last year, the race for Leading Actress was quite uncertain, with Jessica Chastain and Jennifer Lawrence vying for the prize as frontrunners. This year, it seems quite obvious that it will be Cate Blanchett. Her performance in Blue Jasmine may have been too subtle in parts, but she nailed the messed up character in a way that even in Jasmine’s seemingly normal moments, you still know the underlying insecurities and anxiety that caused her nervous breakdown.
In the race for lead actor, again, the result is quite predictable. While they’re almost all worthy performances, especially Leonardo DiCaprio’s, the one that stands out the most is Matthew McConaughey’s. He’s winning this one for sure. His costar would be another extremely deserving winner. Jared Leto nailed the part of Rayon. What initially didn’t seem like a jaw-dropping portrayal of a transvestite turned into so much more, as the character’s layers were stripped and we saw Rayon coming to life.
Supporting Actress is the only acting category that isn’t predictable this year. While the strongest contender is Lupita Nyong’o—who I think will win, even if it’s just for her blood-curdling screams in 12 Years A Slave—we could just as well see Jennifer Lawrence taking home the gold for a second consecutive year. Lawrence was excellent in American Hustle, but then so was Julia Roberts, who I personally believe should be a frontrunner. However, I really think it should and will be Nyong’o.

Original: Before Midnight, Captain Philips, Philomena, 12 Years A Slave, The Wolf Of Wall Street
Adapted: American Hustle, Blue Jasmine, Dallas Buyers Club, Her, Nebraska

At least one of the writing categories often ends up being a consolation prize to a film that’s a frontrunner, but won’t quite make Best Picture. This year, if Gravity does end up winning the big prize, there will be two consolation prizes. 12 Years A Slave will win Original Screenplay. While I think Blue Jasmine deserves the second award, it’s most likely going to be Her winning Adapted Screenplay.

If Gravity doesn’t win Best Picture, it will at least sweep up a slew of other technical awards. Sound Editing and Mixing just being two of them.

Gravity will in Cinematography, Visual Effects, and possibly even Film Editing. However, in the latter, it could just as easily be 12 Years A Slave or even American Hustle.

I would give Costume Design to The Great Gatsby, but I think American Hustle will win. I believe Production Design should also go to The Great Gatsby, but Gravity will win. Dallas Buyers Club will win for Make-up and Hairstyling.

Who are your picks for this year’s Oscar winners? Do you think Gravity will in fact win Best Picture, or will it be 12 Years A Slave?