Emmy Analysis: Netflix dominates the Outstanding Period Costumes race

by Cláudio Alves

All five Outstanding Period Costumes Emmy nominees come from a Netflix, a strong indicator of that streaming titan's dominance over the kind of lavish prestige television that tends to the well in this category. Indeed, this well-appointed quintet is united by a glitzy love of glamour. Realism, or indeed historical verisimilitude, feels as if it's only ever pursued if it coincides with these shows' need for contrast and spectacle. Sometimes this feels at home with the material. In other instances, it comes off a bit forced, opulence for opulence's sake and to the detriment of the dramaturgy. Their wardrobes demand attention, catching the eye of even the most casual of viewers. Whatever the case may be, these are some eye-catching programs, so much so that it's difficult to predict who'll win. All five contenders feel like potential victors. The nominees are… 

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Nathaniel in Venice: "Atlantide" and "The Lost Daughter"

Nathaniel reporting from Venice. Day 2

"Atlantide" is a stunner. And better yet, Venice specific!

My second day of the fest was a day of high highs and low lows. The high (other than the movies) was that it was a full social day. That doesn't always happen at festivals but it is like a shot of energy for extroverts like myself. The fun began meeting two Spanish journalists on the ferry to the Lido who introduced themselves since they read The Film Experience. We had a great conversation about the new Almodóvar and they totally sold me on the idea of the San Sebastian Film Festival -- new goal! Then between films a quick drink with longtime friend Boyd van Hoeij (who you've heard on the podcast a couple of times) and then a late night very Italian dinner with our own Elisa Giudici. She's been our Italian correspondent at TFE for a year now (kicking it off with last year's Venice summary) but this was our first time actually meeting in person. She's such a delight in person, as personable and fun as her writing. I'm really quite chuffed to be sharing this Venice experience with her.

The low was very low realizing that this full day of screenings wasn't going to be the norm...

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Emmy Category Review: Best Lead Actress in a Drama Series

By Abe Friedtanzer

 

The lineup in this category was fairly expected, and it’s a superb list. Four of these actresses are here for the last – and in three cases, first – time for these roles, while the other two are past Emmy winners returning to the field of nominees. This race is worth watching because the past two years have resulted in thrilling upsets, first with Jodie Comer for season two of Killing Eve and then with Zendaya for Euphoria. Two nominees from likely Best Drama Series winner The Crown makes things more competitive, paving the way for another potential vote split after Olivia Colman went head-to-head with Jennifer Aniston last year and neither won. Could Mj Rodriguez beat Emma Corrin, or will someone else triumph? 

I’ll try to avoid major plot details in my analysis – but if you’d like more spoiler-filled descriptions, click on the episode titles. Let’s consider each nominee… 

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Happy Labor Day

This is what the holiday is really about, right?

Venice Diary #03 - D-Day: Diana, Dune and a huge hole in the ground

by Elisa Giudici

Today Venice lived its climax, with screenings of two of the most awaited movies of the entire year: Pablo Larraín's Spencer and Denis Villeneuve's Dune. The latter in particular is perceived by everyone as an event, even by Venice standards (where a lot of the protagonists of the last Oscar races have been premiered). The fight for tickets to the screenings was merciless. Every show  sold out in a matter of seconds and the artistic director of the Festival, Alberto Barbera, tried to answer the general audience and press's complaints with multiple tweets. Moreover, it is the first movie in the five years I've been attending in which every ticket holder is required to seal his phone in a bag for piracy prevention. Warner Bros faces more than a calculated risk here: Dune's box office can be the dividing line between the cinema experience as we used to know and something new and yet uncertain...

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