Podcast: Emmy Nods & Oscar Worries

with Nathaniel R and Murtada Elfadl

Hey, it's a wee break from our smackdowning for an old school podcast of rambling conversation!

Index (68 minutes)
00:01 We're back talking about what we've been watching
08:13 Emmy nomination theories and viewing habits. The Mandalorian and more
19:13 Comedy series nominees: Insecure, What We Do in the Shadows, etc...
27:20 Limited Series is what we're both most invested in: Little Fires Everywhere, Unorthodox, Normal People, Mrs America and various acting categories
49:00 Emmy's "creative arts" - why not televised? 
53:00 What kind of an awards season and Oscar race are we heading into? Fall festivals are announcing but not really happening. The movie calendar is in disarray
01:05:00 Critics groups will also postpone their awards

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you? 

Emmy Reactions and Oscar Worries

Comment Party: Against-type casting... pro or con?

by Nathaniel R

Mo: He came slammin' into my shop...
Freddie: Who struck the first blow?
Whitey: The first blow -- what are you kidding? -- there was only one blow. 

Do you enjoy against-type casting? I couldn't stop thinking of this practice while watching Boys Town (1938) the other night to fill in a notable Best Actor gap (Spencer Tracy won the Oscar as do-gooder Father Flanagan who started the titular home for abandoned / delinquent boys). In the film Mickey Rooney's "Whitey" tests Father Flanagan's theory that 'there are no bad boys' and his tough guy shtick feels very over the top especially coming from a teen star who was then best known for boisterous enthusiasm in comedy and song and dance.  But then a funny thing happened. Halfway through the picture, while still bristling against this relentless posturing, it suddenly worked for the movie; OF COURSE Father Flanagan is right and Whitey's tough guy callousness is a performance. This little jerk acts tough but he's actually a softie beneath the sneering.

Do you like watching actors playing the opposite of their typical persona, whether or not they succeed? What's your go to example of this sort of thing.

Doc Corner: 'A Thousand Cuts'

By Glenn Dunks

The first word that came out of my mouth at the conclusion of A Thousand Cuts was simply, ‘Phwoar!’ Which is surprising because I don’t think it’s a word I use on the regular. But this new film by renowned Filipino-American filmmaker Ramona S. Diaz had the dizzying, alarming sensation of being put through the wringer. It’s an ever shrinking and claustrophobic box of political corruption and democratic destruction that is so confident in itself that it leaves arguably it’s biggest and most damning moment to the end credits.

Diaz’s film predominantly follows Maria Ressa, a prominent journalist in the Philippines who in 2018 was co-named Time magazine’s Person of the Year and who has become a significent recipient of scorn from the nation’s bullish President, Rodrigo Duterte. Through her website Rappler, she has sought to uncover the violent criminality of his regime, but through public rallies, abusive televised press conferences and through packs of angry political surrogates and supporters, she has become Duterte’s public enemy number one. They have sought to silence her and leverage his power to have her arrested multiple times and spread fake, damaging information and threats to her and her outlet.

Sound familiar?

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The Furniture: Visual Rhyming in Babyteeth

Daniel Walber's series on Production Design. Click on the images to see them in magnified detail.

This week we’re keeping it brief. Is it because I’m tired? Is it because this year isn’t the best so far in terms of production design? Is it because Hurricane Isaias is really dampening the mood? Who can say?

It’s also because Babyteeth is a movie with admirable graphic simplicity. Director Shannon Murphy and her design team (Sherree Philips, Bil Goodes, Ishtar Cavagnino and costume designer Amelia Gebler) use a limited color palette to express their themes, a concise visual language built upon the clashing personalities of their characters. It speaks for itself.

The frequent textual incursions, for example, might become grating in another film. Here, they fit in among the other accents. This one rhymes with Anna’s (Essie Davis) dress, which then underlines the fact that she sticks out like a sore thumb against Henry’s (Ben Mendelsohn) dull office - and his dull clothes.

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Introducing the Smackdown Panelists for '05

The Supporting Actress Smackdown season is roaring along. Up next on August 20th, in two weeks time we'll talk 2005.  Let's meet the panelists!

PLEASE WELCOME (IN ALPHA ORDER)... 

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