Globe chaos: A deep dive into the Comedy or Musical nominees

By: Patrick Gratton

At long last, the second phase of the awards race is well underway. This past week we had Globe and SAG and Critics Choice nominations and then the Oscar shortlists. Normally all of this takes place earlier but this season is elongated and fragmented to. Originally, I though that the abnormality of this race would give way to industry groups following the critic’s leads and anoint, say, Riz Ahmed, Carey Mulligan, Paul Raci, and Youn Yuh-jung, as frontrunners following the critical tallies. Clearly I was wrong, The HFPA saw this possible route, and instead chose violence. 

First things first, let’s just contextualize the Comedy or Musical designation within the framework of the Golden Globes themselves. The drama/comedy division of Picture and Lead Acting awards by genre started in 1951, when the HFPA awarded both A Place In the Sun and An American In Paris as their "Motion Picture, Drama" and "Motion Picture, Comedy or Musical" winners. The HFPA would later divide Motion Picture Comedy and Musical into separate categories in 1958, only to reinstate the category as we know it in 1963...

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Sundance: The Best Way to Go Out in “How It Ends”

By Abe Friedtanzer

It’s been quite revealing to see how the film and television industries have responded to the limitations imposed by stringent regulations during the pandemic. We saw a few shows like Connecting… and Social Distance, the Coastal Elites special, and radically different release strategies from studios and streamers. What excites me most is the way that filmmakers have used new approaches to create stories that don’t directly reference what’s going on now in the world but try something innovative instead. To best illustrate this, let’s look at How It Ends, the new collaboration between Zoe Lister-Jones and Daryl Wein, who were last at Sundance with White Rabbit in 2018.

It’s the end of the world – a comet is headed towards Earth and so there’s literally going to be no tomorrow...

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Gay Best Friend: George Hanson (Paul Rudd) in The Object of My Affection (1998)

Series by Christopher James looking at the 'Gay Best Friend' trope

Doesn't it look like these two crazy, beautiful kids would make a cute couple? Think again.Another week, another 1998 comedy about the relationship between a woman and her gay best friend starring a cast member of Friends. You have to love a specific subgenre. While Lisa Kudrow and Martin Donovan traveled across the country to find Christina Ricci in The Opposite of Sex, Jennifer Aniston stayed in New York in a more familiar genre -- the romantic comedy.

As the title The Object of My Affection suggests, Aniston falls in love. Unfortunately for her, the titular role is her new gay best friend, a first grade teacher played by a baby-faced, charming Paul Rudd. Wendy Wasserstein’s adaptation of the Stephen McCauley book of the same name uses genre tropes to sand some of the thorny elements of the premise. Yet, this not-always-perfect movie gives a really interesting look at a codependent friends who love each other, but also hold each other back...

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Sundance: “On the Count of Three” review

By Abe Friedtanzer

 

Meeting characters at a moment where they want to end their lives is a complicated endeavor. It’s important to introduce them and explain who they are while communicating what has happened to get them to this mental place. Such narratives are often melancholy, but they can also be unexpectedly funny, as is the case with On the Count of Three...

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The Best of Cloris Leachman (1926-2021)

by Nathaniel R

We've lost one of the true greats. The one and only Cloris Leachman has died at 94 years of age of natural causes. The showbiz bug hit early, as it often does with plays as a teenager and by the time she was 20 in 1946 she was a Miss America contestant. Her career developed slowly as many truly enduring careers do, with numerous small roles in film and television (and some large ones onstage) before the big breakthrough. That breakthrough was a double whammy, as befits hard-working but late-breaking fame. In short succession she made a huge impression as Phyllis the landlady on The Mary Tyler Moore Show in the 1970/1971 first season and in October 1971 she was also on the big screen, flexing very different acting chops, in the soon to be Oscar-winning classic, The Last Picture Show (1971).  

Though she is best remembered today for television sitcoms which she did on and off throughout her career, she was an actress of verve and versatility...

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