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10th Anniversary: A SERIOUS MAN

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Entries in Sam Rockwell (23)


Fosse/Verdon - Finale!

by Eric Blume

Michelle & Sam as Gwen & Bobby

Fosse/Verdon wrapped its 8-episode run this Tuesday, and here’s a quick recap on the final three episodes, and some overall thoughts on this captivating mini-series.

Episode Six, “All I Care About is Love” 
Episode six concerned Fosse’s heart attack during the editing of Lenny (1974) editing and rehearsals for Chicago on Broadway.  It was one of the weaker episodes of the series, especially coming off the previous episode, the almost-staged-play episode with the characters locked in a Hamptons house, arguably the show’s high-water mark.  That episode gave director Thomas Kail (who went from Hamilton to TV with graceful ease) the opportunity to put in the nails early on and keep screwing tightly, with all the actors laser-focused on their objectives and obstacles.  Episode Six, on the other hand, contained some material handled directly in All That Jazz, and it felt more like a transitional episode for the final narrative haul of the show...

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Fosse/Verdon - Ep. 5: “Where Am I Going?”

previously on Fosse/Verdon

by Dancin' Dan

Figures that the episode randomly assigned to the resident dance expert of Team Experience is the only episode of Fosse/Verdon so far that hasn’t had even the tiniest bit of dancing in it. I seem to be enjoying the show more than some of the rest of the team, and i've particularly marveled at the series’ recreations of some of Fosse’s best known pieces, some of which I have had the good fortune to dance myself. One of the choreographers who taught me told our ensemble that most of Fosse’s choreography is defined by tension - you must always be holding tension in your body somewhere in order to make it look and feel right. To that end, when we were dancing movements that were supposed to be more fluid, she told us to imagine that we were dancing through peanut butter. It’s an image that I now always associate with Fosse’s work, and I found it particularly apt for this episode. Even though there’s no dancing, there’s plenty of tension. Every character looks like they’re moving through peanut butter, pushing and straining to get what they want.

Bob Fosse had his unprecedented year of glory, and ended up in the Payne Whitney Psychiatric Clinic for his troubles...

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Fosse/Verdon - EP 4: "Glory"

previously on Fosse/Verdon

by Murtada Elfadl

I was looking forward to episode 4 of Fosse/Verdon because the trailers showed that it would mark the introduction of Margaret Qualley as Ann Reinking. Maybe Michelle Williams would get a real sparring partner to act against, as Sam Rockwell was not rising up to the occasion. That's mostly because the material he’s given is repetitive. How many notes can an actor ring out of tortured genius? Not many. Little did I know the actor who would actually match up fantastically with Williams wouldn’t be Qualley but rather Aya Cash as her best friend Joan Simon.

But before we get to that we have to deal with Bob Fosse’s mega year of 1973. This is the year he won an Oscar (for Cabaret), 2 Tonys (for Pippin) and 3 Emmys (for Liza with a Z)...

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Fosse/Verdon - EP 3: "Me and My Baby"

Previously: Episode 1 and Episode 2

by Eric Blume

Fosse/Verdon certainly isn’t flawless, but it’s very strong out of the gate in these first three episodes.  Hamilton director Thomas Kail guided the first two episodes with an assured hand, throwing us headfirst into the theater world with little set-up, allowing audiences to feel their way into the environment, and trusting that his two star performances will keep people hooked.  His instincts were right on, and despite some awkward editing and temporal shifts, the show is arresting, absorbing, and intelligent.

Episode Three is directed by Adam Bernstein, a very talented guy who won an Emmy for 30 Rock and was nominated for Fargo...

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Fosse/Verdon - EP 1: "Life is a Cabaret"

by Chris Feil

FX’s Fosse/Verdon begins with two intriguingly quiet moments for a series founded in musical theatre. First, an older Bob Fosse waits alone in a hotel room, and someone comes knocking. Then we flash back to the genius working in tandem with his wife and partner Gwen Verdon, perfecting a piece of choreography in his iconic style. Gwen offers a slight adjustment to his angular positioning, and they proceed. “Yours is better,” he says decisively. This kind of personal and creative symbiosis, which has made the two depicted here into the stuff of Broadway hallowed history, is sadly only fleeting in the premiere of this new limited series.

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Supporting Actor Fun: How were they nominated? What do they have in common?

RANDOM TRIVIA: Sam Rockwell is the only member of this shortlist that isn't tall! Did you know that 80% of the supporting actor category this year are 6'1" or taller? Only Sam Rockwell isn't at 5'8".

Did you know that 80% of the supporting actor nominees this year were born in California?! Now you do. Mahershala Ali (Green Book) was born in Oakland, Adam Driver (BlacKkKlansman) in San Diego, Sam Elliott (A Star is Born) in Sacramento, and Sam Rockwell (Vice) in Daly City. The only non-Californian is Richard E Grant (Can You Ever Forgive Me?) and though you might have assumed he was born in London, you'd be wrong. He was born in Swaziland, in the late 50s when it was still a British protectorate. The country has been independent for 50 years now and last year rechristened itself The Kingdom of Eswatini. 

On the newly updated Best Supporting Actor chart you can read more trivia about the nominees, vote on who you think is best in the category every day, and share in our speculation about how they snagged those coveted nominations this year. 

ICYMI: Picture & Director charts are also robustly updated. All other charts are updated with the official nominees and preference polls if you'd like to start voting but are not fully filled in yet otherwise.