Beauty vs Beast: Down & Out In Hollywood

Jason from MNPP here, and I'm ready for my close-up - we're devoting today's edition of "Beauty vs Beast" to the late great director Billy Wilder, who was born on this day 109 years ago. If you had to pick your favorite Wilder picture, what would you go with? It's a query that'll break the brain of many a cinephile, so rich stands his cinematic legacy even all these decades later. I personally am torn between The Apartment (so glad I was able to hang out in the bar that Fran and C.C. frequent before it closed) and today's competitive centerpiece, 1950's Sunset Boulevard (aka still the greatest movie about Hollywood ever made), but cases made for a couple other Wilder films could probably convince me they were his be all everything too. Point being Billy didn't used to be big, he is big, and it's the pictures that got small without him. In that vein...

PREVIOUSLY Last week we wished Helen Hunt a happy birthday with a look back at her and Jack Nicholson's 1997 Oscar wins for As Good As It Gets -- facing them off y'all were decidely Team Carol with her thundering past a full 3/4ths of the vote. Explained Denny:

"Loved this film then and like it now, despite all the shit it gets. Jack is on fire - somehow Melvin doesn't come off like the complete and utter cliche he is on paper, and it's solely due to Nicholson's unique charisma - but it really is all about Helen Hunt and her warm, deeply lived-in performance as Carol. Yes the "fucking HMO pieces of shit" bit is great, but where the character (and the actress) really sings for me is in the quieter, more intimate moments. She somehow ups everyone's game when she's in a scene with them, and that's no small feat. But really, Carol wins just for being able to handle Melvin and all his bullshit."

FYC: RuPaul's Drag Race for Best Reality Competition

We're almost at the end of our FYCs. Team Experience was asked to share their individual dream picks for Emmy nominations. Here's Manuel ...

I don’t even have to tell you how stale this relatively new Emmy category is (The Amazing Race has won 10 out of 12 times the statuette has been awarded with only 12 shows ever nominated) before I get to vocalize my frustration - if not surprise - at the fact that RuPaul’s Drag Race has even yet to be nominated.

I mean, is that okay?

Drag Race is that rare show that can sport an arched eyebrow that tells you we should take everything in good fun while offering a shoulder to cry on because the struggle is real, y’all. Its greatest strength as a television show is that its sentimentality isn't framed in opposition to its campy exterior or its ironic posturing, it's actually endemic to them. This, of course, wouldn't be possible without RuPaul, who can stage a heart to heart while sharing a tic tac for lunch. It's a show that can take a seeming contradiction ("I want to see the REAL you by having it come out through layers of make up and various wigs and affectations and gif-ready reaction shots") and improbably enough, make it werk.

Even after seven seasons, Drag Race remains a fascinating experiment in reality TV competition which doesn't just explicitly admit the strangeness of its own genre trappings but uses them to create the most cogent oral history of the trials of drag queen herstory since Paris is Burning. Think about it: this season alone dealt with the palliative powers of drag when it comes to dealing with addiction (Katya & Fame), trauma (Pearl, Kennedy), rejection (Jaidynn, Trixie), aging (Tempest, Mrs Kasha Davis), storylines that have become so familiar to the show only because they have become intrinsic to understanding the very nature of drag. That Logo and Ru can accomplish that while giving good gif, well, that's Emmyworthy.

Can I get an Amen up in here?

Happy Merylmas !

Last year we celebrated Meryl Streep's birthday with a list of 65 appropriate ways to celebrate... and all of those still apply, so click over there and do them today. To add a 66th item for her 2015 birthday, rewatch the trailers to Ricki & The Flash and Suffragette or just daydream about Florence Foster Jenkins (2016) in which she plays a terrible opera singer

Happy Merylmas. If you're not following our instructions, how are you celebrating? 

The Many Faces of Ann Dowd ~ 25 Years in Film & TV

As this new week begins, I need to take a moment to express gratitude for what made last week special. Ann Dowd was gracious with her time and thoughts for a special guest blog day. In case any of you missed it, it was neat to get an insight into her work on The Leftovers, hear about her teenage reaction to Romeo & Juliet, and more. I particularly enjoyed her comments on falling in love with acting and advice for young actors. Regarding the latter, I'm not an actor but it resonated with me strongly and I think it's great advice for any career that requires risk, heart, soul, and the ability to handle considerable peaks and valleys.

Which is quite a few careers if you stop to think about it.

Ann Dowd's film and television career began in earnest 25 years ago in 1990 with a role in the Golden Globe Comedy winner Green Card and guest appearances on two different TV series The Days and Nights of Molly Dodd and The Baby-Sitter's Club.

this is just scratching the surface

Her gallery of characters has been growing ever since but with critical raves and a few prizes for her riveting film-carrying work as a duped fast food manager in Compliance (2012) audiences finally starting putting a name to the face. Ever since we've been blessed with more and more of her. The Leftovers was arguably her greatest showcase yet. If Emmy voters don't notice what casting directors already have, it'll be their loss. 

What's your favorite Ann Dowd character and did her Guest Blog Day make you long for more peeks into your favorite character actors? (I'll take suggestions)

Weekend Highs: Inside Emotions, Dinosaur Thrills, Prison Love

Two separate films earning over $90 million in a single weekend? Impressive. That didn't leave a ton to money to go round for other films, though. Spy is a solid performer at the box office but I'd actually expected it to be much bigger since it's the funniest film of the year. But all the action was at the dinosaur theme park and Pixar's return to form, the delightful Inside Out. The new film follows the emotions inside an 11 year old girl's head as she moves to a new city. I was resistant to the concept, which seemed too gimmicky and "Herman's Head" like, but resistance was futile: it's wonderful. Better still they didn't even remotely give the best stuff away in the trailer and that's such a surprise nowadways!

WIDE RELEASE BOX OFFICE
June 19th-21st Weekend
01 Jurassic World $102 (cum. $398.2) Jurassic Articles 
02 Inside Out NEW $91 Inside Out Articles
03 Spy $10.5 (cum. $74.3) Rose Byrne FYC
04 San Andreas $8.2 (cum. $132.2)
05 Dope NEW $6 Sundance capsule
06 Insididous Chapter 3 $4.1 (cum. $45.3)
07 Pitch Perfect 2 $3.3 (cum. $177.5) Review & Sequel
08 Mad Max: Fury Road $2.8 (cum. $143.6)  Review & Podcast & Random Articles
09 Avengers: Age of Ultron  $2.7 (cum. $451) Review & Marathon & Podcast
10 Tomorrowland $2 (cum. $87.6)  Review

The opening weekend for Dope was solid especially for a film with zero stars. It was one of the big sales at Sundance (7 million) and it nearly nabbed that back on opening weekend. Good word of mouth (which is likely - the film is very funny and likeable) could turn it into a minor hit. None of the miniscule limited releases caused a stir at the arthouse but The Overnight (also from Sundance -- why do they wait till all the heat dissipates to release those films?) took in $62,000 on 3 screens.

What did you see this weekend?
I'd already seen Inside Out so I started on the Smackdown movies -- Key Largo is so good. I hope y'all are watching along at home. I also went to a reunion concert for the original cast of Into the Woods . Let me just say that it was basically heaven on earth. I'm still high from it... and not just from the always sublime Bernadette Peters. I went in expecting more of a talk with a few musical numbers but they did several from each act. As it turns out the original Cinderella (whose voice is still ridiculously pretty) and the original Cinderella's Prince/Wolf got married in real life and they have kids now. Joanna Gleeson was still amazingly funny as the Baker's Wife,and so on.

And of course I took in a couple more episode of Orange is the New Black. I'm absolutely loving this newly low-key character-driven season. Gone are the distractions of the outside world that marred the otherwise brilliant Season 1, the absence of a focus pulling villain like season 2's Vee (Lorraine Toussaint's Emmy worthy work aside) means more focus on the complicated network of friendships and rivalries among the women in the prison and ways that they cope, or don't. I'm just loving it.

You?