What did you think of WandaVision?

by Nathaniel R

DO NOT READ OR COMMENT IF YOU HAVEN'T WATCHED WANDAVISION - SPOILERS

Today we were treated to the final episode of Disney+'s hit WandaVision, returning us to the Marvel Cinematic Universe by way of streaming sidebar. Watching WandaVision was a like a meta experience on steroids. The show itself was intentionally constructed that way using Wanda Maximoff's (Elisabeth Olsen) love of TV sitcoms to comment, however broadly on them, but more pointedly on nostalgia and the human need for escapism...

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Showbiz History: It's "One Night in Miami" day!

8 random things that happened on this day, February 25th, in showbiz history...

Feb 25th, 1964 in history (left) and reenacted in 2020 for One Night in Miami... (right)

1950 Your Show of Shows premieres on NBC. The live variety show starring Sid Caesar and Imogene Coca, was a stepping stone for legendary comedy writers like Mel Brooks and Neil Simon. The show helped create the  variety genre and inspired both the TV classic The Dick Van Dyke Show and the movie My Favorite Year.

1956 Poets Sylvia Plath and Ted Hughes meet at a party. Their doomed romance is dramatized in the 2003 film Sylvia starring Gwyneth Paltrow and Daniel Craig...

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Lunchtime Poll: When was the last time a movie or show gave you whiplash?

by Nathaniel R

- Tell me who you are!
- I'm the worst mistake you'll ever mistake.

Watching I Don't Care (reviewed by Christopher) was a whiplash experience. I was absolutely loving it until I suddenly wasn't. Thirty-six minutes into the movie Dean (Chris Messina) arrives into Marla's (Rosamund Pike) office, to start what is essentially act two of a three act. Two sharks begin speaking in human voices, their teeth gleaming imagining fleshy bites and blood in the water. It's a superb scene. A few minutes later another violent verbal duet with Dianne Wiest.  All three actors are on absolute fire with impeccably judged reaction shots, expressive body language, and nastily imaginative line-readings. I Care A Lot felt, in that ten minute stretch, like it was taking off into the stratosphere. This is an "A" grade pitch-black comedy! The movie throws everything at you thereafter -- incidents, twists, more verbal duels, violence, and a score so aggressively present you want to remind it that Rosamund Pike has top billing-- but it's a case of either too much or rapidly dimishing returns.  I was actively annoyed and disappointed for the entire third act. 

When was the last time this happened to you? Love and hate in almost equal measure while watching a movie?

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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