Dorothy Dandridge @ 100: "Carmen Jones"

Team Experience is revisiting a few Dorothy Dandridge movies for her centennial

by Baby Clyde

Groucho Marks famously described Grace Kelly’s Best Actress win at the 1954 Oscars as ‘The greatest robbery since Brinks’. I think we can all agree that a terrible crime was committed, but Judy Garland wasn’t the only victim on the night of March 30th, 1955. Dorothy Dandridge was a sensation in Carmen Jones becoming the first Black woman to receive a Best Actress nomination. In any other year, her loss would be seen as a huge scandal but because of Judy’s legendary star turn in A Star Is Born the fact that Ms Dandridge was also deserving has been almost entirely overshadowed...

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Breaking: "Hot Ones" now a genuine stop during Oscar campaigns

by Nathaniel R

img via "Hot Ones" on YouTube

We're not the first to observe this but lately Oscar winners/hopefuls have been appearing on "Hot Ones". The popular YouTube show features celebrities testing their tolerance for increasingly molten hot sauce on chicken wings. They then try and promote their work while in visible pain. The show launched seven years ago and went viral in its second season with a Key & Peele episode. The early seasons were mostly musicians, comedians, and tv personalities but major actresses are appearing regularly now. Cate Blanchett's episode was released yesterday...

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Almost There: Marilyn Monroe in "Some Like It Hot"

by Cláudio Alves

September started with the Venice Film Festival where Andrew Dominik's controversial Blonde premiered and closes with its arrival on Netflix. As a Marilyn Monroe fan who tried and failed to get through Joyce Carol Oates' doorstop of a novel, I had early apprehensions about this production and its fictionalized account of the star's troubled life. However, the combination of a gorgeous-looking trailer and moralistic backlash online led me to anticipate the movie with bullish optimism. Yet, having seen the thing, I'm afraid I can't sincerely take on a contrarian positive take nor defend most aspects of the misbegotten mess.

Worst of all, I'm stricken by the picture's puddle-deep purview of stardom, image-making, and Monroe herself as a person and phenomenon. Considerations of her as an actress are similarly shallow, verging on nonexistent. This is especially disheartening because, above all else, she was an amazing actress whose talent is often overlooked, either obfuscated by the glare of tragedy or dismissed by those who can't see beyond media objectification. So, to combat both narratives, let's remember Marilyn Monroe, the actress, in one of her best films – Billy Wilder's Some Like It Hot…

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Best Actress Predictions and that Michelle Williams kerfuffle

by Nathaniel R

As you have undoubtedly heard by now, Michelle Williams has opted for a Lead Actress campaign for Steven Spielberg's memoir film The Fablemans. This shocked both the armchair and professional pundit community a good percentage of whom had already handed her the Best Supporting Actress statue a week ago. This despite it being a full six months until Oscar night (March 12th) with other movies yet to screen when everyone decided to call it.

Some people are angry because they feel the role is clearly supporting but most seem angry because they thought they had it all figured out already. But opinions vary (like they always do) about what constitutes a leading role versus a supporting one. Consider...

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TIFF: Austria’s Oscar entry ‘Corsage’ starring Vicky Krieps

By Abe Friedtanzer

Actress Vicky Krieps, who was introduced to American audiences in a big way in a performance that should have earned her an Oscar nomination for Phantom Thread, is getting a lot of work lately. She had a prominent role in M. Night Shyamalan’s Old and stars in Mathieu Amalric’s Hold Me Tight, which is now playing in theaters. Most notably, she tied for the best performance prize in the 'Un Certain Regard' section at Cannes this summer for Corsage. It's a movie she both conceived of and executive produced, and now it's become Austria’s official Oscar entry.

Krieps plays Elisabeth, the Empress of Austria in 1878. The popular royal figurehead is turning forty, and she’s also watching her life slip away as her husband, Emperor Franz Joseph (Florian Teichtmeister), relegates her to uninteresting duties that don’t serve any true purpose...

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