Links: Rogue One, Hidden Figures, The OA

Gurus of Gold the latest Best Picture chart along with Globe predictions. I went out on a limb or two for fun because the Globes usually do at least one weird thing with winners.
Variety Guy Lodge on the foreign film finalist list 
Variety on the Peter Cushing visual fx in Rogue One and performers rights to their image after death (I suppose we should talk about this eventually but I am still really weirded out and uncomfortable about it)
Jezebel in case you missed the brouhaha about Tilda Swinton's conversation with Margaret Cho about whitewash casting in Doctor Strange 

Tracking Board Will Ferrell and Kristen Wiig to headline a new musical comedy Everything's Coming Up Profits: The Golden Age of Industrial Musicals
The Gothamist loves Netflix's mystery series The OA [SPOILERS] from the pair that brought us that eco-terrorist thriller The East (Brit Marling & Zal Batmanglij), remember that one? I have only watched two episodes. Not sure that I get it. Feels padded and expository to me. I'll give it one more episode
Guardian talks to Sigourney Weaver, still going strong 37+ years into her big screen stardom
Coming Soon Ewan McGregor behind the scenes on T2 Trainspotting
Variety profiles great new director Garth Davis (Lion, Top of the Lake)
In Contention tries to figure out what the Makeup Oscar people might like in next week's bakeoff
Playbill First look at Philippa Soo in Broadway's adaptation of Amélie
Awards Daily Hidden Figures plays the White House. Headed for a Best Picture nod? 
/Film Josh Boone's initial plans for the movie franchise version of The New Mutants 

List-Mania
THR 25 best performances of the year - usual Oscar buzzing people plus a few interesting off-consensus choices like Kathryn Hahn in Bad Moms
Guardian 50 best comedies of all time - as chosen by comedians. 
Pajiba best lines of the year on TV 
Film School Rejects 50 most beautiful shots in Star Wars universe 

Who's Joining Jenkins & Chazelle in the Best Director Shortlist?

While working on Oscar chart updates, Best Director suddenly felt quite loose and ripe for shifting favor. While the Directors Guild Nominations will surely clarify that race to an extent those aren't until January 12th, a week after Oscar nomination voting begins. Right now though the coveted nominations for Best Director look fairly up in the air beyond the two thirtysomething wonder boys who have been showered with the most honors already: Damien Chazelle (La La Land) and Barry Jenkins (Moonlight). 

La La Land is only Chazelle's third feature (though many would mistake it for his second) and Moonlight is only Jenkins second (though many would mistake it for his first) so they're relative newbies. Oscar, however, is an octogenarian institution and they aren't always comfortable handing everything over the reigns to fresh blood. In fact the Best Director's race isn't usually that amenable to multiple fresh faces. You have to go back to 2009 to find an Oscar year with two directors nominated that were this green in their filmmaking careers (Jason Reitman's Up in the Air was his third feature and Precious was Lee Daniel's second) and they definitely weren't the frontrunners. For a long this year we were predicting a shortlist of all first-time nominees in the directing category but that hasn't happened since 1999. It's not a common occurrence.

Oscar's love of long-since proven directors suggests good news for Gibson (Hacksaw Ridge), Eastwood (Sully) or Scorsese (Silence) but the only one of those films with any noticeable precursor heat is Hacksaw Ridge and are they really going to welcome Gibson back in the year of angry white men upsetting the world with their prejudices? 

Kenneth Lonergan and Denis Villeneuve both have heat with Best Picture probables Manchester by the Sea and Arrival respectively but performance pictures like Manchester can sometimes suddenly be absent when the director's nominations are read out and critically acclaimed sci-fi pictures can also stumble come nomination morning due to genre biases. They might be in but they might not.  In a year when the buzz hasn't totally settled on a handful of auteurs, Oscar can sometimes surprise with a left field foreign or indie choice but even that seems hard to parse this year since so many different pictures have small passionate devotees but not huge mouthy legions of them. 

Are we overthinking this? Check out the New Best Director and Best Picture chart and report back. 

Here's to the Ladies Who Lush

Year in Review. Each afternoon, a new wrap up list. Today Steven with our first wine soaked entry...

A lot of us were taken by surprise by the results of the election, and now we find ourselves living in a post “11/8” world. Since that day, how many of you have spent a quiet evening at home pondering the winding road ahead with a giant glass of red wine for company? I know I have. If you answered yes, you're not alone in this and you have fine actressy counterparts. Some of 2016’s best narrative moments have played out just this way. Our screens, large and small, have been filled with fierce femmes sipping some wine, reflecting on life, death, pain, joy…you know, existence.

Join us in tipping a glass to some of the best of those scenes (possible spoilers ahead)...

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It's Betty Grable's Centennial!

World War II's most popular pin-up girl, just ahead of Rita Hayworth, Betty Grable would have turned 100 years old today... 

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Christmas Classics: How the Grinch Stole Christmas! (1966)

A few members of Team Experience will be sharing posts on their favorite Christmas movies. Here's Tim...

Today we celebrate the 50th anniversary of a great classic: it was on December 18, 1966, that the world got its first look at the animated How the Grinch Stole Christmas, adapted from the 1957 book by Dr. Seuss and directed by cartoon legend Chuck Jones. There are too many ways we could quantity the importance of this television special: as the last of Jones's masterpieces before he settled into Elder Statesman status, as the progenitor of a line of generally strong Seuss adaptations that didn't stop until the beginning of the 1980s, as the third in a line of deathless cartoon Christmas specials that premiered one per year from 1964 to 1966 (Rudolph the Red-Nose Reindeer and A Charlie Brown Christmas are the others).

But since it's the holiday season, let's start with how this is one of the loveliest and most heartfelt stories of the True Meaning of Christmas ever filmed. That is, in no small part, because neither Seuss nor Jones were overt sentimentalists: the author had a slightly arch, caustic tone to his highly precise rhyming that's too self-aware to be saccharine, and Jones built his career on anarchic cartoon comedies, making no fewer than three films on the theme "how many ways can we shoot Daffy in the face?" And with that kind of attitude underpinning the proceedings, How the Grinch Stole Christmas ends up being a little bit saltier than most of the other canonical Christmas classics. Obviously, it gets to the expected place where we all learn important lessons and feel better and embrace tradition, but it works a little bit harder than usual to make sure that it's earned.

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