Emmy Watch: Outstanding TV Movie

by Juan Carlos Ojano

In a year when most categories saw the number of their submissions drop, the Outstanding TV Movie category stands out as one of the few that actually had an increase in submissions (41 submissions from last year’s 28). On the flipside, this year saw even less high-profile contenders, adding to the growing indifference towards this category. Perhaps last year’s winner Bad Education set a high bar in how a “TV movie” can be received critically, faring well even in traditional film awards. The COVID-19 pandemic continued to blur what is considered a film and television, with streaming services now arbitrarily pushing some for Oscars and some for Emmys.

This year, let’s take a look at the field of contenders that we have (per platform)...

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Why I love Bo Burnham's "Inside"

by Cláudio Alves

In 2016, Bo Burnham announced he was quitting live comedy. The artist, whose career started on Youtube, attributed the decision to a series of panic attacks he'd had while on stage during the tour of his latest show. When transforming said show, Make Happy, into a Netflix special, Burnham built the ending to resonate with a sense of finality that went beyond the end of the stand-up act. The smirking meta-performance reaches its zenith with a parody of a Kanye West rant, interrupted midway through by unexpected sincerity, a confession of the comedian's anxieties. After saying he hopes the audience is happy, he leaves, and the camera follows. Not backstage, but into Burnham's home, a nondescript white room with a lonely keyboard. The special ends with the instrument left behind after one last song, the funny man exiting through the door on the corner. He goes out of the shot, out of the show, out of his life as a comedian.

Five years later, after redirecting his attention to cinema both as a writer, director, and actor, Bo Burnham is back in that room. He's alone, performing once more. Like most of us, for the better part of 2020, he's Inside…

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Emmy FYC: Marielle Heller in "The Queen's Gambit"

by Cláudio Alves

As we all found out this past October Marielle Heller is a woman of many, perchance infinite, talents. Since 2015, Heller has been dazzling cinephiles everywhere with her work as a writer/director. The Diary of a Teenage Girl was one of the best American debuts of the decade. If possible, Can You Ever Forgive Me? and A Beautiful Day in the Neighborhood were even better, analyzing complicated real-life personalities with as much humanistic gentility as razor-sharp precision. All that, and we now know that Heller is also an amazing actress. Returning to her first vocation in splendorous fashion, Marielle Heller delivers the best performance in the popular Netflix awards juggernaut The Queen's Gambit…

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On the Globes cancellation

You probably heard the news today that NBC has cancelled the Golden Globes for January 2022. The past couple of days have been a flurry of stars and distributors and PR firms condemning the Globes and boycotting them. Or 'stepping back from' to use Scarlett Johansson's gentler euphemism. But we find the timing of this sudden wave of condemnation to be suspicious and more than a little hypocritical of the industry given their own ethics problems and systemic racism and sexism. First and foremost, it's all happening three whole months after the Golden Globes exposé in the Los Angeles Times which touched a nerve with its revelation that the organization, which is made up of 87 people, had no black members. (Exacerbating that particular problem -- though nobody likes to try to understand structural problems as it's easier to simply condemn and move on -- is that they only allow one member to represent each "foreign" country and many aren't as diverse as the US; that 'per country' rule, at least, will have to go.)

Did Hollywood rise up against the Globes after that expose? Nope. They went right on courting their favor until awards season had entirely played itself out! There were awards to be won and films and tv shows to promote. No stars boycotted the ceremony and neither did any studios. But now, everyone is in the clear for another year. Distributors don't have to think about campaigning for awards or promoting their films and television shows in that particular way for a while now...

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Review: "Stowaway" on Netflix

by Matt St Clair

Shamier Anderson is the titular "Stowaway"

One common trope in space movies is daddy issues. Whether it involves trying to find one’s dad in space or a sad father dealing family issues, as this 2019 Vulture article points out, it's a constant in outer-space movies. That's been especially true of this last decade with First Man, Interstellar, Ad Astra, and Netflix’s very recent space venture The Midnight Sky. But a surprise development! The new space movie Stowaway, from writer/director Joe Penna, is the rare film to abandon that trend altogether. The central quartet have struggles but not one of them is a daddy issue. 

Commander Marina Barnett (Toni Collette), botanist David Kim (Daniel Dae Kim), and medical researcher Zoe Levensen (Anna Kendrick) barely touch on their respective home lives as they make their way to Mars for a two-year space mission...

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