The Furniture: Who Should Win the Emmys for Production Design

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

Last year, I made a pitch to the Academy of Television Arts and Science on the subject of production design. Hopefully you also remember that amazing table tennis parlor from Penny Dreadful. But what you might not remember is that not a single one of the nominees I recommended actually won. Not even Lemonade, about which I am still annoyed.

But here I am, one year later, trying again. Here’s who should win each of the five production design Emmys. (At least Game of Thrones isn’t eligible this year, or they’d be winning for the fourth year in a row.)

Outstanding Production Design for a Narrative Contemporary or Fantasy Program (One Hour or More)
The Young Pope is almost dizzyingly lush. It’s here as a “contemporary” program, but much of it feels just as fantastical as the other nominees. It revives the gilded extravagance of the old Catholic Church, back when the Pope presented himself as more of an emperor than a priest. One is reminded of the clerical fashion show from Fellini’s Roma, but with a much darker undercurrent.

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Weak Weekend Box Office - Did You Go To the Movies?

It was a rather tepid week and weekend at the box office aside from some milestones further down the list. Wonder Woman continues to break records despite falling out of the top 15. In its 12th weekend its just passed by Sam Raimi's Spider-Man (if you don't adjust for inflation) making it the top grossing origin story superhero film. In other happy news for fans, both Girls Trip and Baby Driver passed the important $100 million mark this week. The Girls Trip figure isn't as unusual as the internet seems to be  pretending -- how quickly people forget that The Color Purple, Hidden Figures and The Help, which all centered on black women, were megahits and two of those in the very recent past! But the Baby Driver milestone is rarer. It's a first for director Edgar Wright who has had a devoted fanbase for years but never quite crossed over in this way. More after the jump...

Weekend Box Office (Aug 18th-20th)
W I D E	L I M I T E D
1. 🔺 THE HITMAN'S BODYGUARD $21.6 NEW	1. AN INCONVENIENT SEQUEL $300k (cum. $2.9) 514 screens  REVIEW
2. ANNABELLE CREATION $15.5 (cum. $64)	2. A TAXI DRIVER $266k (cum. $842k) 41 screens
3. 🔺 LOGAN LUCKY $8 NEW   REVIEW	3.🔺 INGRID GOES WEST  $265k (cum. $438k) 26 screens REVIEW
4. DUNKIRK  $6.7 (cum. $165.5) PODCAST | TOM HARDY	4. 🔺  MENASHE $230k (cum. $715k) 86 screens REVIEW

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Difficult People S3 E1-2: Woody Allen, Depression Shadows, and Protest Rats

Difficult People is back and Chris and Spencer will be chatting about this season!

Julie and Billy begin the season doing community service for wrecking a live televised musical. Billy lands a gig as the audience warmup for a new Larry Wilmore talkshow, while Julie tries to score some new antidepressants to get through Passover dinner.

CHRIS: That opening live musical joke was a great capsule of the show's humor: a blend of mass entertainment and niche references with a huge serving of outrage. I'd have an even harsher revolt to Bazinga in the Park with George however.

SPENCER: But if anything, it gives us that brief gag where they’re picking up trash along the Nathan Lane Roadway Memorial. It’s such a great way of keeping that world-building alive and comical.

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Link is an Open Door

let's catch up on news stories...

• Tracking Board ABC developing a live-action sitcom remake of The Jetsons
• Vulture a tribute to the bungled non-release of Tulip Fever
• Criterion a Joan Crawford double feature Daisy Kenyon and Sudden Fear on filmstruck
• Cinema Enthusiast polled cinephiles on the best films of 1969. Lots of opinions though it's beyond troubling that They Shoot Horses, Don't They? which runs laps around almost everything produced in 1969, just barely squeezes into the top ten 

more after the jump including but not limited to Wonder Woman 2, Obi Wan Kenobi, mother!, Frozen, and The Conjuring.

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New Oscar Chart ~ Foreign Hopefuls including Spain

Last month we shared speculation about what countries Argentina, Chile, Denmark, and The Czech Republic among others might submit to the Oscars this years. And we'll soon have more charts up. Spain narrowed down their finalists to three which is worth noting. The most successful countries in terms of Oscar in the later portions of the alphabet are Spain (19 nominations and 4 wins), Sweden (14 nominations and 3 wins) and Poland (10 nominations and 1 win). If you include the former Soviet Union stats with Russia's stats since 1992, they're approximately tied with Sweden.

Maribel Verdú in "Abracadabra" which is a finalist for Spain

Spain is currently in their longest dry spell of all time in this Oscar category (their last nominee The Sea Inside, which won, was 13 whole years ago). They will select their submission on September 7th but they've narrowed down their choice to the following three pictures: 

• 1898: Our Last Men in the Philippines [This film is available to stream on Netflix]
  Luis Tosar and Javier Guteirrez star in Salvador Calvo's war epic about soldiers who held a town square under seige for almost a year in the Philippines even after Spain had surrended and The Philippines had become a free country.
• Summer 1993 This is the first narrative feature from director Carla Simón who has previously made shorts and documentaries. It's in the Catalan language and about a six-year-old girl trying to adapt to a new life with her uncle after her mother's death. Simón won two prizes at Berlinale for this debut.
• Abracadabra - My favorite Spanish submission of the past ten years was the great Snow White themed black and white silent Blancanieves.  The director (Pablo Berger) and star (Maribel Verdú) of that memorable entry (which inexplicably didn't make the finals) reunite for a colorful film which the director describes as a "paella of genres" but is at least partially a comedy about a woman who thinks her husband is possessed. Antonio de la Torre (Volver, The Last Circus) co-stars

I couldn't tell you which they'll choose as there's a definite pro for each, statistically. Consider: War films are often submitted to Oscar. Childhood-focused dramas are often beloved in this category. Countries generally like to return to directors they've submitted before. 

The foreign submission charts will be updated this weekend.