1. “Daft Punk wins big at Grammy Awards.” Macklemore & Lewis take four honors, and Lorde gets song of the year and best pop solo performance.
“Daft Punk didn’t have to stay up all night to get lucky. The helmet-clad French pop duo swept the five categories it was in Sunday night at the 56th annual Grammys. Their album Random Access Memories picked up three honors, for album of the year, best dance/electronica album and engineered album, and their single with Pharrell Williams and Nile Rodgers, ’Get Lucky,’ was named record of the year and best pop duo/group performance. ’On the behalf of the robots, I’d just like to say, man, thank you,’ Williams said, accepting for the silent Daft Punk twosome and drawing a laugh from the crowd when mentioning they wanted to thank their families.”
2. “Off Off Off Broadway (at Your Multiplex).” Theater Producers Weigh HD Broadcasts in Movie Theaters.
“For audiences unable to get to New York during the run of a show like Romeo and Juliet, watching a broadcast in a movie theater may be the next best thing. Not everyone with a desire to see, say, Daniel Craig and Rachel Weisz in Betrayal can afford to schedule a visit during its brief run. (For that matter, many New Yorkers cannot afford Broadway ticket prices.) Still, the scattershot attempts to follow National Theater Live and the Met suggest that there is still plenty of head scratching about the financial and philosophical issues behind the idea of canning Broadway for mass consumption.”
3. “Inside the DGA Awards: Alfonso Cuaron Wins, Steven Soderbergh Gets a Surprise.” The Gravity director topped the 66th annual event, which featured appearances by Sandra Bullock, Tom Hanks and Bradley Cooper.
“The 66th annual Directors Guild of America (DGA) Awards unfolded in four-and-a-half hours on Saturday, Jan. 25, with a few surprises, several standing ovations and the top honor going to Gravity director Alfonso Cuaron. Cuaron was announced as the final winner of the night, but each of the five nominated film directors—Cuaron, Steve McQueen (12 Years a Slave), David O. Russell (American Hustle), Paul Greengrass (Captain Phillips) and Martin Scorsese (Wolf of Wall Street)—was honored with a presentation and a medallion at different points throughout the night. On the TV side, Breaking Bad’s Vince Gilligan was honored with the dramatic series award, while Beth McCarthy-Miller (30 Rock) received the award for comedy series.”
4. “Sundance 2014 Winners.” Whiplash takes home Grand Jury and Audience Awards.
“Whiplash, director Damien Chazelle’s story of a young jazz drummer, took home both the U.S. Grand Jury and Audience Dramatic awards at the Sundance Film Festival awards Saturday night. The film grew out of a short from Chazelle that won the Short Film Jury Award at Sundance in 2013. Rich Hill, a story about a community in rural Missouri, won the U.S. Documentary Grand Jury award and Alive Inside: A Story of Music & Memory, about how music can help dementia patients, won the U.S. Audience Documentary award. Co-screenwriters Craig Johnson and Mark Heyman were honored with the Waldo Salt Screenwriting Award for The Skeleton Twins, starring Bill Hader and Kristen Wiig. Cutter Hodierne won the U.S. Dramatic Award for Direction for Fishing Without Nets, his first feature film. The Prop 8 documentary The Case Against 8 brought home the U.S. Documentary Award for Direction for directors Ryan White and Ben Cotner. The Angelina Jolie-produced film about Ethiopia, Difret, won the Audience Award in the World Dramatic Competition.”
5. “Iowa Republican Party Posts Graphic Mocking Racism.” The post capped off a rocky one-year anniversary since the Republican Party announced it would redouble efforts to appeal to minority voters.
“The flowchart instructed the reader to determine racism as whether the person saying it is white and whether you like him. It includes the note, ’If you think this flowchart isn’t funny, then this flowchart is racist.’ According to the Daily Beast, the Iowa GOP quickly removed its posting from Facebook that night, and in its place now is an apology from Chairman A.J. Spiker. ’Earlier tonight, a contractor of the Iowa GOP made a post referencing a discussion on race that the GOP believes was in bad taste and inappropriate,’ it says. ’We apologize to those whom were offended, have removed the post and are ensuring it does not happen again.’”
Video of the Day: Lorde’s royal Grammy performance:
Oscars 2019: Who Will Win? Who Should Win? Our Final Predictions
No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them.
No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them. Cut out the montages, bring back honorary award presentations, give stunt performers their own category, let ranked-choice voting determine every category and not just best picture, overhaul the membership ranks, hold the event before the guilds spoil the surprise, find a host with the magic demographic-spanning mojo necessary to double the show’s recent audience pools, nominate bigger hits, nominate only hits. Across the last 24 days, Ed Gonzalez and I have mulled over the academy’s existential crisis and how it’s polluted this year’s Oscar race so thoroughly that it feels eerily similar to the 2016 election cycle all over again. We’re spent, and while we don’t know if we have it in us to do this next year, we just might give it another go if Oscar proves us wrong on Sunday in more than just one category.
Below are our final Oscar predictions. Want more? Click on the individual articles for our justifications and more, including who we think should win in all 24 categories.
Picture: Green Book
Director: Alfonso Cuarón, Roma
Actor: Rami Malek, Bohemian Rhapsody
Actress: Glenn Close, The Wife
Supporting Actor: Mahershala Ali, Green Book
Supporting Actress: Regina King, If Beale Street Could Talk
Original Screenplay: Green Book
Adapted Screenplay: BlacKkKlansman
Foreign Language: Roma
Documentary Feature: RBG
Animated Feature Film: Spider-Man: Into the Spider-Verse
Documentary Short: Period. End of Sentence
Animated Short: Weekends
Live Action Short: Skin
Film Editing: Bohemian Rhapsody
Production Design: The Favourite
Cinematography: Cold War
Costume Design: The Favourite
Makeup and Hairstyling: Vice
Score: If Beale Street Could Talk
Song: “Shallow,” A Star Is Born
Sound Editing: First Man
Sound Mixing: Bohemian Rhapsody
Visual Effects: First Man
Oscar 2019 Winner Predictions: Picture
The industry’s existential crisis has polluted this race so thoroughly that it feels eerily similar to the 2016 election cycle all over again.
“I’m hyperventilating a little. If I fall over pick me up because I’ve got something to say,” deadpanned Frances McDormand upon winning her best actress Oscar last year. From her lips to Hollywood’s ears. No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them. Cut out the montages, bring back honorary award presentations, give stunt performers their own category, let ranked-choice voting determine every category and not just best picture, overhaul the membership ranks, hold the event before the guilds spoil the surprise, find a host with the magic demographic-spanning mojo necessary to double the show’s recent audience pools, nominate bigger hits, nominate only hits.
But first, as McDormand herself called for during her speech, “a moment of perspective.” A crop of articles have popped up over the last two weeks looking back at the brutal showdown between Saving Private Ryan and Shakespeare In Love at the 1999 Academy Awards, when Harvey Weinstein was at the height of his nefarious powers. Every retrospective piece accepts as common wisdom that it was probably the most obnoxious awards season in history, one that indeed set the stage for every grinding assault we’ve paid witness to ever since. But did anyone two decades ago have to endure dozens of weekly Oscar podcasters and hundreds of underpaid web writers musing, “What do the Academy Awards want to be moving forward, exactly? Who should voters represent in this fractured media environment, exactly?” How much whiskey we can safely use to wash down our Lexapro, exactly?
Amid the fox-in-a-henhouse milieu of ceaseless moral outrage serving as this awards season’s backdrop, and amid the self-obsessed entertainers now wrestling with the idea that they now have to be “content providers,” all anyone seems concerned about is what an Oscar means in the future, and whether next year’s versions of Black Panther and Bryan Singer’s Bohemian Rhapsody have a seat at the table. What everyone’s forgetting is what the Oscars have always been. In other words, the industry’s existential crisis has polluted this race so thoroughly that it feels eerily similar to the 2016 election cycle all over again, and Oscar’s clearly splintered voting blocs may become ground zero for a Make the Academy Great Again watershed.
In 1956, the Oscars took a turn toward small, quotidian, neo-realish movies, awarding Marty the top prize. The correction was swift and sure the following year, with a full slate of elephantine epics underlining the movie industry’s intimidation at the new threat of television. Moonlight’s shocking triumph two years ago was similarly answered by the safe, whimsical The Shape of Water, a choice that reaffirmed the academy’s commitment to politically innocuous liberalism in artistically conservative digs. Call us cynical, but we know which of the last couple go-arounds feels like the real academy. Which is why so many are banking on the formally dazzling humanism of Alfonso Cuarón’s Roma and so few on the vital, merciless fury of Spike Lee’s BlacKkKlansman.
And even if we give the benefit of the doubt to the academy’s new members, there’s that righteous, reactionary fervor in the air against those attempting to “cancel” Green Book. Those attacking the film from every conceivable angle have also ignored the one that matters to most people: the pleasure principle. Can anyone blame Hollywood for getting its back up on behalf of a laughably old-fashioned but seamlessly mounted road movie-cum-buddy pic that reassures people that the world they’re leaving is better than the one they found? That’s, as they say, the future that liberals and Oscar want.
Will Win: Green Book
Should Win: BlacKkKlansman
Oscar 2019 Winner Predictions: Adapted Screenplay
After walking back almost all of its bad decisions ahead of this year’s Oscars, there’s no way AMPAS isn’t going to do the right thing here.
Eric and I have done a good job this year of only selectively stealing each other’s behind-the-scenes jokes. We have, though, not been polite about stepping on each other’s toes in other ways. Okay, maybe just Eric, who in his impeccable take on the original screenplay free-for-all detailed how the guilds this year have almost willfully gone out of their way to “not tip the Oscar race too clearly toward any one film.” Case in point: Can You Ever Forgive Me? winning the WGA’s adapted screenplay trophy over presumed Oscar frontrunner BlacKkKlansman. A glitch in the matrix? We think so. Eric and I are still in agreement that the race for best picture this year is pretty wide open, though maybe a little less so in the wake of what seemed like an easy win for the Spike Lee joint. Nevertheless, we all know that there’s no Oscar narrative more powerful than “it’s about goddamn time,” and it was so powerful this year that even the diversity-challenged BAFTAs got the memo, giving their adapted screenplay prize to Lee, Charlie Wachtel, David Rabinowitz, and Kevin Willmott. To bamboozle Lee at this point would, admittedly, be so very 2019, but given that it’s walked back almost all of its bad decisions ahead of this year’s Oscars, there’s no way AMPAS isn’t going to do the right thing.
Will Win: BlacKkKlansman
Could Win: Can You Ever Forgive Me?
Should Win: BlacKkKlansman