Letting Go of "Looking" Has Not Been Easy

This article originally appeared in Nathaniel's column at Towleroad. It is reprinted here with minor adjustments. 

The first Sunday night without HBO's "Looking" came and went. Of course there would have been no "Looking" this past Sunday night even had the show been renewed, since the second much improved season had just wrapped. One of the funniest things I heard after the cancellation was this:

The good news is Looking thinkpieces are also cancelled."

Well, yes. Those are almost at an end, too.

The autopsy reports have to run their course and so does the mourning process. And if HBO makes good on its promise of a wrap-up movie (believe it when you see it), the cycle starts all over again in miniature even if the end point is still goodbye. Given all this finality, it's strangely apt that the second season's finest episode "Looking for a Plot" took places at a funeral (Doris's father) and sent Dom, Doris and Patrick spinning emotionally, even if they didn't quite realize it at first. But the mourning is real. At least for those of us who loved the show for what it actually was. More...

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Brandy. Whitney. Bernadette. It's Cinderella... Again

Cinderella Week continues with Andrew Kendall on a true event in showbiz history...

On our journey through Cinderellas we take a stop in 1997 for an unlikely entry in the canon. Unlike the animated version it did not change a cinematic form, nor like the Julie Andrews version did it launch a star. When the 1997 TV production of Rodgers and Hammerstein’s Cinderella premiered in 1997 it was hailed as one of the most successful TV musicals in years and audiences did, love it, 60 million of them. But, it has endured as little more than a footnote on the résumé of its fêted cast and crew.

This would be the second remake of the Rodger and Hammerstein’s Cinderella written for Julie Andrews in 1957 (the first remake a Lesley Ann Warren version in 1965). And, still, I’d swear on the altar of all things magical that this is the finest adaptation of the Cinderella story. Myriad reasons, but principally because this Cinderella has more on its mind than just the girl at the centre…

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Back to Five? Back to Reality. (On the Best Picture Problem)

Back from a fantasy, yes...

By now you have read the rumor that the Academy is considering going back to only five Best Picture nominees per year. I've been amused by the headlines about this as they're extremely telling before you even get to the editorials. Consider Awards Daily's jaded / defeated "As They've Always Wanted" (Sasha likes the expanded field) or In Contention's even angrier / more insulting "Wants to Go Backward" (Gregory also likes the expanded field). Oscar bloggers have, for the most part, enjoyed the expansion because it gave us more to write about.

I never personally liked it. Oh sure it was fun the first couple of years in the way sudden upheavals in any tradition can feel thrilling in either an adventure film or horror film way. It also prompted fun guessing games about what might have been nominated in years past. But as a lover of Oscar history who enjoys comparing all eras too each other in out-of-time conversation, it was ultra-disruptive. How to compare years with 5 versus years with 8 versus 9 versus 10? Pick a number and stick with it. I understand that people have enjoyed the diversity of genres that the expanded field brought us but that only worked the first two years. [Lots more...]

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Black History Month: Monster's Ball and Representation

We were just wrapping up Black History Month when I heard from longtime reader/commenter Philip Harville who wanted to discuss Monster's Ball (2001). I wasn't touching that one with a ten foot pole (!) but here's Philip with a guest column on this perpetual hot potato. -Editor

As we know, black films are hard to come by and good black films can be even harder to come by.  This raises the question of what exactly a black film is. Is it simply a film that focuses on black characters? Or do we need to also have a black crew telling the story? The conversations unraveling from that thought are endless, but watching a certain film recently got me thinking. Monster’s Ball’s Leticia (Halle Berry) really suffers from a white male perspective behind the camera. The film gained a wide audience crowning Halle Berry as the first black woman to win the Best Actress Oscar, but did it create the conversation it should have? Good black films aren’t exactly churned out with the frequency of superhero movies (or Tyler Perry movies), so a flawed complicated film is a gift in its own right.

The film isn’t set in a definitive year, though it seems to be in a time where lynching and protesting were out of style, and casual racism has become the norm. We see the generational divide on the issue between the three males in the central family. [More...]

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Black History Month: Morgan Freeman Enters The Conversation

Our celebration of Black History Month is, naturally, also an Oscar History Celebration. Today Nathaniel looks at Morgan Freeman's original claim to fame.

When you think of Morgan Freeman what's the first thing that comes up? Given his revered stature in contemporary cinema the answer is undoubtedly pulled from the following character types: wise mentor, savvy professional, trusted friend, quiet confidante, brilliant academic, noble leader. Freeman brings such natural authority and wise but warm old men sass onscreen that playing God in the comedy Bruce Almighty wasn't even a stretch but a light bulb "of course it's Freeman!" moment. So it's a little startling to remember or discover that his first of five Oscar nominations -- he's the most celebrated black actor in Oscar history outside of Denzel Washington -- and indeed his breakthrough in cinema does not fit the Morgan Freeman mold in virtually any way. 

This ho said you wanted to meet me so here I am. 

No, Morgan Freeman's original claim to big screen fame was as a vicious pimp named "Fast Black" in a largely forgotten journalist-plays-with-fire drama called Street Smart (1987). [More...]

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