Weekly Wilson - Blog of Author Connie C. Wilson - Welcome to WeeklyWilson.com, where author/film critic Connie (Corcoran) Wilson avoids totally losing her marbles in semi-retirement by writing about film (see the Chicago Film Festival reviews and SXSW), politics and books----her own books and those of other people. You'll also find her diverging frequently to share humorous (or not-so-humorous) anecdotes and concerns. Try it! You'll like it!

“Being Mary Tyler Moore” documentary screens at SXSW on March 13, 2023.

Director James Adolphus, who helmed the documentary “Being Mary Tyler Moore,” was asked about his exposure to Mary Tyler Moore before he undertook making this extraordinarily intimate two- hour film about her life.

He admitted that he had never watched any of her shows, that she was more a figure that his mother knew. (“I knew her from the lyric in the Weezer song.”) He then said, “It’s odd to make a film about someone you don’t know and to fall in love with someone after the fact. She felt like my cousin, my sister. She had to fight back against the patriarchy.”

The documentary is an attempt to reconcile the insecure woman who looked so proud and regal with the real woman inside who was not that way at all. It was an attempt to show the modest, humble person beneath the veneer. With the help of many clips from “The Dick Van Dyke Show” and “The Mary Tyler Moore Show,” it more than succeeds.

One week after the 18-year-old MTM graduated from high school, she got a job portraying Happy Hotpoint in television ads. The problem was that the young Mary had married Richard Meeker in 1954, when she was eighteen. She soon turned up pregnant, giving birth to her only child, Richard, and losing herHotpoint job in the process.

Later in the film we learn that Moiore’s own mother would gve birth to a daughter, Elizabeth, only a few months after Richard’s birth, giving Mary a sister, as well as a brother, John, who was 7 years younger. There were references to Mary’s mother’s alcoholism, but Moore’s parents were married more than 50 years. Her mother eventually sobered up and even took on duties caring for the two youngsters, Elizabeth and Richard, who were so close in age.

Mary’s marriage to Meeker did not last. She would separate and then marry again almost immediately, in 1962, to Grant Tinker, to whom she would remain married for 18 years. Her career, in 1959, included a stint as Sexy Sam, the faceless voice on “Richard Diamond, Private Investigator.” When Mary asked for a raise from her $85 per episode salary, she was fired.

Director James Adolphus of “Being Mary Tyler Moore” on March 13, 2023 at SXSW. (Photo by Connie Wilson).

Enter Carl Reiner, a comic mentor who envisioned her as the character Laurie Petrie, the wife in a 1960 pilot dubbed “Head of the Family,” The show eventually morphed into “The Dick Van Dyke Show.” When David Susskind suggested, in a somewhat offensive interview, that women should not work, Mary said, “I could waste a lot more energy sitting around chatting with other gals all day.” She became exactly what the network was horrified by: a contemporary woman. She also insisted on wearing pants on television, which broke new ground. (As a former junior high school teacher who insisted on wearing pants suits in 1969 at a time when they were banned by the school, I could relate.)

Throughout the documentary, we learn just how groundbreaking Mary Tyler Moore would become. This was just the beginning. In interviews, Mary referred to the period as “An unenlightened time. I believe in figuring out a way to contribute.”

At the end of the 5-year run of “The Dick Van Dyke Show” Mary was a hot property who charmed men without antagonizing their wives. She had a comic flair that no less an expert than Lucille Ball recognized and applauded. She was offered a picture deal with Universal and—unusual for the time—had the right to refuse to do pictures that she did not think would benefit her image.However, in order to be given permission to star in a musical version of “Breakfast at Tiffany’s” on Broadway, Mary would give up that right of refusal and, following the Broadway bomb the show became, would end up in films like “Change of Habit” (1969) opposite Elvis.

In 1968, when she was 32, a miscarriage led to her diagnosis as diabetic. With a blood sugar level of 700, she was fortunate to have been discovered to have the disease, which would end her life at the age of 80 in 2017. Friends credit her Dr. husband with extending her life at least ten years.

Broadway having bombed, CBS offered her her own show. Mary and Grant Tinker jumped at the chance. Tinker saw that forming their own company would be beneficial and Mary Tyler Moore Enterprises was born, with Tinker at the helm and Mary the major talent. At one point, the company had six shows on the air at once.

Meanwhile, Tinker hired Jim Brooks and Allan Burns to write the show, which would place Mary Tyler Moore in Minneapolis as a woman making it on her own at the age of thirty.I remember how groundbreaking it was for the goal to be not just to marry, but to be independent and live on one’s own. “That Girl” with Marlo Thomas had a similar single girl protagonist, but her main mission was to find a husband.

At this point, in real life Mary Tyler Moore had never been on her own, but had been married since she was 18 years old. The entire idea of society’s pushing young women into marriage was covered in 1979’s “Kramer versus Kramer,” where Meryl Streep articulated this “never been on my own” status all the way to 5 Oscars. As someone who lived it, I can vouch that the goal was to “have a ring on your finger” by the end of college, at the latest, a goal that did not appeal to my own working mother or to me. Like Mary Tyler Moore’s onscreen character Mary Richard, this was “ahead of the times.”

Mary Tyler Moore lived the fifties ideal of marriage after school and as soon as possible. She remained mired in marital bliss, marrying Tinker immediately after divorcing Meeker. She remained a married woman until she was 44 years old, when she and Tinker divorced (1980)and she moved to New York City. She remarried for a third time in 1982 to Dr. Robert Levine, 14 years her junior.

The show that Mary Tyler Moore launched, about an independent thirtyish woman making it on her own, was a risk. It was almost killed by a terrible time slot, until Fred Silverman took over CBS, axed a lot of comedies like “Green Acres’ and moved “The Mary Tyler Moore Show” into the best time slot on television. It was, as Rosie O’Donnell termed it, “Appointment TV.” Silverman placed her show on the same night as “All in the Family” and alongside Bob Newhart’s show on Saturday nights. The rest is history, as the talented cast garnered multiple awards and still has one of the best endings of any series sit-com on television, past or present.

Lena Waithe answers questions about “Being Mary Tyler Moore” onstage at the Zach Theater during SXSW 2023 on March 13, 2023.

Mary Tyler Moore won 7 Emmies, 3 Golden Globes, and earned an Oscar nomination (for “Ordinary People”). And, as the documentary terms it, “As Mary Tyle Moore goes, so goes the nation.” This meant welcoming the 1973 Supreme Court decision to allow women the right to decide whether or not to have an abortion.In 1980, immediately after her divorce from Tinker, Mary conquered Broadway with her performance replacing Tom Conti in the play “Whose Life Is It, Anyway?” Meanwhile, she described herself as “going through adolescence” in New York City, as she was said to be involved with Michael Lindsay-Hogg, the director of the play, and was socializing after years of marriage. However, she was drinking more than she should have been, and, as he noted, sometimes that could lead to belligerence. She would curb this possibly inherited tendency towards alcoholism by a stint at the Betty Ford Clinic.

In 1980, Mary Tyler Moore was nominated as Best Actress for her role as Beth in “Ordinary People” opposite Donald Sutherland and Timothy Hutton. Director Robert Redford said he had always been fascinated by the possibility of a dark side to MTM, who might have been brittle inside with a pensiveness, anger, hurt, and confusion over such issues as her inability to connect meaningfully with her son Richard.

Also in 1980, Mary’s son Richard, then aged 24, would die of a gun shot wound. The documentary says he had a gun collection, was inherently clumsy, and it was an accident. Three weeks after his death, MTM would be nominated for an Oscar as Best Actress for her role in “Ordinary People.” She would also lose her younger sister, Elizabeth, to a drug overdose at the age of 21. Her younger brother John would die of kidney cancer.

Mary met Dr. Robert Levine, her third husband, when he cared for her ailing mother in 1982. The line in the documentary is that “She fell in love for the first time in her life.” Yet Grant Tinker’s children, who became her step-children, testify to the good years with Mary Tyler Moore as their step-mom. The 14-years-younger Levine would remain her husband till the end, caring for her in their bucolic Connecticut home. The couple was devoted to one another and Levine set the plans in motion to produce this documentary, despite turning down many earlier overtures.

The now 73-year-old Levine reached out to Lena Waithe (“Ready Player One,” “Master of None”) after reading an interview in “Vanity Fair,” in which she expressed an interest in doing a documentary about Mary Tyler Moore’s life.When asked about his decision to share his private film of Mary with Producer/Director/Writer Waite, Dr.Levine, an executive producer, said, to laughter, “To have a Black queer girl from the South side of Chicago want to tell her story. Are you kidding me?”

Dr. Levine was asked what surprised him after seeing the film. He responded, “I had never seen the bridal shower footage with Betty White and others. It was simple and natural. She talked about me making her a tuna fish sandwich in the middle of the night. Things like that had the most impact for her. It is the simple kindnesses that really have the most impact.The journey of her life was the journey of women in this country. As a human being, she felt the need to keep going forward. She was ahead of the times. I didn’t want a derivative feeling. A new voice coming forward (Lena Waithe) was interesting to me.”

Waithe added, “I wanted to give a real sense of how she was as a person.” The decision to use voice-over(s) rather than the talking head documentary approach was Waithe’s.

The documentary is long, at 2 hours, but it is very good. While an interview with Rona Barrett is over-used and David Susskind comes off poorly as an ultra-conservative fossil of the times in his onscreen interview, I would highly recommend this HBO documentary, funded by Fifth Season, if you are or were a fan of Mary Tyler Moore’s work. She helped raise over $2 billion for Juvenile Diabetes and gave so many other working women a model that remains groundbreaking.

Credits:

Venue: SXSW Film Festival (Documentary Spotlight)
Distributor: HBO
Production companies: HBO Documentary Films, Fifth Season, Hillman Grad, The Mission Entertainment, Good Trouble Studios
Director: James Adolphus
Producers: Ben Selkow, James Adolphus, Lena Waithe, Rishi Rajani, Debra Martin Chase, Andrew C. Coles, Laura Gardner
Executive producers: S. Robert Levine, Michael Bernstein, Nancy Abraham, Lisa Heller
Cinematography: James Adolphus
Editor: Mariah Rehmet
Archival Producer: Libby Kreutz
Music: Theodosia Roussos
2 hour

New David E. Kelly Series “Love & Death” Premieres at SXSW 2023

By Connie Wilson

On March 12, 2023

In Of Local (Quad Cities') Interest, Pop Culture, Reviews, Television, Texas

Lily Rabe, Jesse Plemons and Elizabeth Olson onstage after the Premiere of "Love & Death" at SXSW on March 11th, 2023. Jesse Plemons (“Breaking Bad”) appeared onstage at the Paramount Theater in Austin, Texas at SXSW with his castmates (Lily Rabe and Elizabeth Olsen) after the March 11th premiere of the first two episodes of the David E. Kelly series “Love & Death.” The series was written by Kelly but directed by Texas-born Leslie Linka Glatter. Plemons was a shadow of his former self, showing off a remarkable weight loss post series.

Co-star in this drama about the Candace Montgomery murder of her lover’s wife that took place in 1980 was Elizabeth Olson. HBO will be broadcasting the 6-part series.

True credit for the story of an affair gone horribly wrong goes to Texas Monthly articles that the Texas-born director had read, as had Kelly, whose many television shows include “L.A. Law,” “The Practice,” “Doogie Howser,” “Allie McBeal,” “Picket Fences,” and “Chicago Hope.”

The film starts in September, 1978, and, as we were told in the Q&A following the showing of the first two episodes, the series will delve deeply into the town and its residents before covering the same ground that was covering in the 1990 film “Murder in a Small town” or the 2022 Jessica Biel starring vehicle “Candy.” Evidence of Love: A True Story of Passion and Death in the Suburbs, a book examining the case and events following the trial, written by Dallas-based journalists John Bloom and Jim Atkinson, was published in January 1984. The HBO Max series will be released in April (2023).

Kelly, onstage after the screening, said, “If this story wasn’t true, you couldn’t make it up.” The creators commented on the lists of “dos” and “don’ts” that the couple make up prior to embarking on their sexual adventures. They are straight from the original lists the cheating lovers made up before embarking on their affair. Not to ruin the suspense of this story told so many times, but, although Candace Montgomery bludgeoned Betty Gore 41 times with a wood-hewing axe, she was found innocent on October 30, 1980, by a jury of 9 women and 3 men in McKinney, Texas.

Jesse Plemons in a still from the new series “Love & Death.”

The director said, “This is not a show about failing marriages. It’s about so much more.” “To be honest and have empathy, we didn’t want it to be just a true crime drama,” said the writer and director.

The interviewer from “Elle” magazine, asked, ”How could this happen?”

The answer, given by the director, was “Reality creeps up on our expectations. It’s really about how boredom and reality can creep into a long-time marriage.” Another cast member said, “We don’t play the ending (i.e., the murder). We play the moment.”

Jesse Plemons—in real life married to Kirsten Dunst and looking completely different onstage than he does in the film due to a huge weight loss— said, “They just wanted to be seen and heard. There is no hiding from what is true in yourself.” One scene that illustrates this is the one where Candace Montgomery attempts to snuggle with her spouse, saying that she knows that “Snugglepuss” was his favorite character. Her husband squirms free of Candy’s embrace and corrects her. “It’s Snagglepuss.”

Series director Leslie Linka Glatter (“Love & Death”).

I felt as though I had already seen multiple adaptations of this story, because I had. This one will cover ground already covered several times before. If you aren’t at all familiar with the crime, this one will be an in-depth examination. It may not have been re-examined and/or re-litigated as often as the JFK assassination, but the decade is young

“Caterpillar” Is Fascinating Documentary on Opening Night of 2023 SXSW Film Festival

By Connie Wilson

On March 11, 2023

In Education, Health/Medicine, Movies, Pop Culture, Reviews, Science and Medicine

“Caterpillar” documentary at SXSW.

SXSW 2023 is back with a vengeance.

I have not received Red Carpet placement for Opening Night since 2017, so I executed Plan B, planning to take myself over to the Alamo Drafthouse on Lamar Boulevard to see “Confessions of a Good Samaritan.” This was a film about a woman who donated a kidney to a stranger. When I arrived, the film had begun, so I took myself to “Caterpillar,” instead.

This was a fascinating documentary about a new YouTube fad, changing one’s eye color, which is done, surgically, in India. It sounded very dicey, and, as it turns out, it is.

The documentary, written and directed by Liza Mandelup of the Parts & Labor film enterprise, followed the journey of Raymond David Taylor of Miami as he set off for India to have his brown eyes turned into a color described as “frost.”

It seems that there is a thriving cosmetic industry in Cairo, Mexico, Panama, and India and, of course, the recent deaths of two American citizens in Matamoros, Mexico, (we now know), was a trip for cosmetic surgery. A friend of mine flew to Costa Rica for dental work, so I’m surprised I had not heard of this latest vision fad, but I don’t spend much time watching videos on YouTube.

David had a very rough childhood, even getting kicked out of the house while young, at one point, and he (and most of the other patients) seem to think that “Changing me will change my outlook on life.” As David says, “If I feel sad one more day, I don’t know if I’m going to make it.”

He doesn’t have the money for the surgery, but a well-written letter to BrightOcular explaining his desire for the implants brings an offer from them to come have the cosmetic procedure for free, if he will let the company use his story and his photos for advertising purposes.

We then meet others on this medically unregulated journey, including Izzy, a woman from New Delhi, a young man from Japan, a male underwear model and a beautiful girl from Jamaica, but the focus is on David, which filmmaker/writer Mandelop explained was her attempt to initially start out with three main characters and trace their journeys, with one emerging as central to the story.

She described this engrossing film journey into eye surgery this way: “I wanted to visually convey it. I wanted to do something that people wouldn’t think was cinematic, like eye surgery, but make it cinematic. It became an emotional journey. David allowed me to make the film that I was craving.”

In the course of the journey, we meet David’s mother, who also suffered a rough, abusive life, but tried her best as a young single mother to care for her children on wages of $2.35 an hour. David’s mother and David don’t agree on a lot of things. She is okay with David’s being gay, but she says, “I cannot deal with that if you start cutting parts of your body off and adding stuff.” She adds that she thought he was a great female impersonator. Mom’s point-of-view is, “You’re stubborn. You don’t listen.” She adds, “You’re never satisfied with the way you look.” Others in the film describe the cosmetic procedure as “a bandaid to the past.” Most of the others have selected jade green as the color their brown eyes will be after surgery.

Writer/Director Liza Mandelup, “Caterpillar.”

It is a big blow to David when they do three patients’ surgeries simultaneously and, in the process, he is given jade green eye color by mistake, rather than frost. This will mean another eye surgery to fix the error.

If you are thinking, “This can’t be safe,” you’re right. It is only about four months post-surgery after David undergoes the procedure that he describes it as “the worst mistake of my life” when headaches and visual problems begin. All of the prospective patients seem to want to transform to some ideal person they have created in their heads. When the subject of the film appeared before us in person, however, the audience got the feeling that the subject of “Caterpillar” has, in fact, bettered his life, moving back to Brooklyn and now working as an EMT. He explained his mother’s absence from the showing as his way of “avoiding drama.”

Director Liza Mandelup and Raymond David Taylor, subject of the SXSW documentary “Caterpillar”on Opening Night, March 10, 2023.

Some other patients, we learn, who did not heed the United States opthalmalogists’ warning about the damage the implants have done (or are doing) to their eyes ended up blind or partially blind. One former patient whom David tracks down after he begins encountering headaches and blurry vision said that he woke up after 5 years with blood on his cornea. “I had to remove them or go blind.”

The unfettered access to the surgery and the patients seems quite unusual. That is, until we learn that the leadership of BrightOcular is very circumspect. No one ever comes forward to represent BrightOcular or another entity called Spectra. These agencies exist and are offering this service and heavily advertising how it will “change your life” on social media, with beautiful pictures of patients like David. They are not as forthcoming about the negatives of the procedure. The Indian physician who says he, personally, would not undergo the procedure knows this is a very risky way to change one’s outlook on life and seems to convey that through his reticence to heartily endorse the procedure.

David bought into it with words like, “This is my new beginning. I’m changing,” or “Beauty matters. Beauty gets you through the door.

Musical selections like “Stand By Me” and “I Want to Dance With Somebody,” selected by Music Supervisor Melissa Chapman, merge with the early upbeat theme of positive change seamlessly and add much to the extremely well-done production.

Afterwards, the writer/director (Liza Mandelup) and David, the chief subject, answered questions about the inspiration for the film and its aftermath. Liza said she had been doing research on the apps that can change one’s appearance when she learned of this eye surgery. She sent the BrightOcular company an e-mail asking if she could do a documentary about the process. They were very positive in their response and never really surfaced as an entity. Their leadership remains a mystery.

She cautions that David was one of the few patients who listened to the warnings from U.S. eye doctors, post-surgery, and had his implants removed fairly quickly. Others have faced the need to have cornea transplants and some have gone blind because they refused to give up the implants over a period of years. One patient, asked what she would be content with in regards to improving her appearance, answered, “What am I content with? Just more.”

Among the best compliments of the terrific job the filmmaker did with this riveting documentary was a woman who stood up in the back during the Q&A and said, in heavily accented English, “You mean this was a documentary? I thought it was a movie!”

SXSW Starts Tomorrow: March 10, 2023

By Connie Wilson

On March 9, 2023

In Movies, Of Local (Quad Cities') Interest, Pop Culture, Reviews, Television, Texas

Isla Fisher at the premiere of “The Beach Bum” at SXSW. (Photo by Connie Wilson).

SXSW, 2023, starts tomorrow, March 10th.

I will be trying to cover as much ground as I can, while battling some issues involving my e-mail not working right.

I picked up my badge and had my cameras tagged yesterday, and I’m ready to roll tomorrow, with a TV premiere of “Swarm” from Donald Glover, who will be here in person, and an earlier documentary, “Confessions of A Good Samaritan,” which is about a girl donating a kidney to a stranger.

The opening night film with Chris Pine (“Dungeons & Dragons”) does not sound like my kind of movie, but I am looking forward to the documentaries about Mary Tyler Moore (“Being Mary Tyler Moore”), Michael J. Fox (“Still”), and 91-year-old Captain Kirk, William Shatner, entitled “You Can Call Me Bill.”

All kinds of celebrities have come streaming back to Austin for SXSW, including the First Gentleman (Doug Emhoff), Joe Jonas and celebrity wife, Riley Keough (granddaughter of Elvis), Jen Psaki (former White House Press Secretary under Biden), Chelsea Manning, Eva Longoria, Liev Schreiber and a host of others. If that isn’t a varied range of talent, I don’t know what is! Something for everyone.

Scott Rogowski, Host of H.Q. Trivia, “live” in Austin at SXSW. (Photo by Connie Wilson). There is now a documentary about H.Q. called “Glitch,” featuring Scott Rogowski.

Anthony Whyte, owner of The Movie Blog, where my reviews will also appear, is flying in late tomorrow. I look forward to meeting my New York City boss for the first time.

Meanwhile, I continue to fight against a cellulitis infection and a bum knee, so bear with me.

Enjoy the two old pictures from previous SXSW festivals. I have been reviewing the films and documentaries here since 2017, the year that Ryan Gosling and Natalie Portman came with “Sound by Sound.” During the pandemic, it was pretty much all via streaming, but SXSW is back with a vengeance.

Last year, I had the opportunity to see “To Leslie” here, with one of this year’s Academy Award nominees, Andrea Riseborough. I hope my viewing this year will be as excellent as that indie film, and check here and on The Movie Blog for daily updates.

Texas Attorney General Paxton Racks Up $3.3 Million Settlement Bill & Wants Taxpayers to Pay

By Connie Wilson

On February 19, 2023

In Editorial, Essays on Politics: Best Political Essays & Ideology, News, Politics

[This editorial from the “Austin American-Statesman” is in reference to the $3.3 million settlement that Texas taxpayers are supposed to pick up the tab for. It ran on Wednesday, February 15^th.]

Image result for image of attorney general ken paxton texas

Texas Attorney General Ken Paxton

After agreeing last week to settle a whistleblowers’ lawsuit against him that will likely cost Texas taxpayers $3.3 million, ethically compromised Texas Attorney General Ken Paxton on Friday tried to falsely spin it as a win—for taxpayers.

“I have chosen this path to save taxpayer dollars and ensure my third term as Attorney General is unburdened by unnecessary distractions,” Paxton said in a statement.

Even for a public official as shameless as Paxton, this absurdist political spin is breathtaking. The fact is that Paxton’s firing of 8 whistleblowers who credibly accused him of bribery and abuse of office is almost certain to cost Texas taxpayers millions, just as it has cost the Texas attorney general’s office reputational damage that can only be repaired when Paxton, re-elected to a third 4-year term in November, is no longer in office.

Settlement Agreement Raises Questions About Use of Tax Dollars

The mediated tentative settlement agreement requires a $3.3 million settlement payment to 4 of the whistleblowers and an apology from Paxton to the plaintiffs, but not an admission of wrongdoing. The agreement raises serious questions about the propriety of asking Texas taxpayers to pay the settlement on Paxton’s behalf. The agreement is contingent on “necessary approvals for funding,” which means the Texas legislature may have to consider a funding request.

It’s certainly convenient for Paxton to ask taxpayers and Texas lawmakers to clean up the mess he made while professing he’s doing it “to save taxpayer dollars, but lawmakers must not let him off the hook easily, and should investigate whether the payment is an appropriate use of tax dollars.

Paxton has argued that Texas law allows for the expenditure of tax money to defend against multiple lawsuits filed against him during his tenure as attorney general. But Andrew Cates, who wrote a book called “Texas Ethics Law” said that doesn’t make it right, especially when the issue is a multi-million dollar settlement stemming from the firing of whistleblowers.

Cates said, “This is one of those just because you can doesn’t mean you should situations. I, personally, believe it would be more appropriate for him to take it out of his campaign fund.” Cates pointed to a Texas statute that allows campaign donations to pay the legal bills of a candidate or office-holder.

The whistleblower saga began in 2020 when 8 attorneys in the attorney general’s office—all of them appointed to their positions by Paxton—either resigned or were fired after telling federal investigators that they were concerned that Paxton was using the power of his office to help Austin investor Nate Paul, whose home and offices were searched by federal investigators in 2019. They accused Paxton of illegally using his office to help Paul, in exchange for benefits that included a $25,000 donation to his re-election campaign, remodeling Paxton’s home, and giving Paul’s alleged mistress a job. Overriding a decision by his agency’s Charitable Trusts division, Paxton also directed his office to intervene in a lawsuit against Paul lodged by The Mitte Foundation.

Paxton’s Legal Bills Are Adding Up

The allegations against Paxton are sadly unsurprising when considering his time in office. For 7 years he has been under federal indictment for securities fraud and the State Bar of Texas has sued to sanction him for his shameful role in trying to overturn the legitimate presidential election of 2020. Nor should Texans be surprised that, once again, Paxton is asking for a handout to help him pay for his legal fees. So far, according to the Dallas Morning News, Paxton has run up half a million dollars in legal fees. Instead of relying on state attorneys, Paxton hired outside attorneys, one of whom charged $540 an hour, paid by taxpayers.

After years of questionable behavior that has been rewarded by election to a third term, we’d be naïve to expect Paxton to become a paragon of virtue at this late stage of his career. …Texas needs an attorney general who is looking out for their best interests, not just his own

“Knock At the Cabin:” A Return to Form for M. Night Shymalan

By Connie Wilson

On February 8, 2023

In Movies, Of Local (Quad Cities') Interest, Pop Culture, Reviews

“Knock at the Cabin” is M. Night Shymalan’s return to, if not stardom, at least respectability. Most of the fans who have reviewed the film have liked it. The critics? Not so much.

As a critic, I vote with the people. Cal me more Ebert than Siskel.

I liked it, although—let’s face it, folks—it is going to be very difficult for Shymalan to ever live up to the “twist” of “The Sixth Sense.” He has had 7 films in a row that have opened at Number One at the box office and, as another review said, “He’s the rare brand-name filmmaker who prefers to be a low-budget outsider.” Apparently, Shymalan has been financing his own movies ever since the one about the girl who lived in the swimming pool (Bryce Dallas Howard, Ron’s daughter) with Paul Giamatti self-destructed back in 2006 (“Lady in the Water”). That one was a bit of a stinker, true.

I applaud Shymalan’s realization that, in order to control the final product, he would need “final cut” and one way to get that is by securing your own financing. He seems to be continuing to make films post that swimming pool disaster, so I’m guessing it’s turned out to be personally profitable. Since this one only cost $20 million to make, it should turn a profit, which means more movies from M. Night Shymalan (and more cameo appearances, a la Alfred Hitchcock), as we briefly see him in the infomercial about air fryers on television.

Let’s recap, post his breakthrough and most memorable 1999 film (“The Sixth Sense”), which was the second highest-grossing horror movie of all time.

“Unbreakable” – 2000. Budget – $75 million. Made worldwide: $248 million.

“Signs” – 2002. Budget $72 million. Made worldwide: $408 million.

“The Village” – 2004. Budget – $60 million. Made worldwide: $257 million.

“Lady in the Water” in 2006 lost money and got bad reviews.

“The Happening”- 2008. Budget $48 million. Made worldwide: $248 million.

“The Last Airbender” -2010. Budget $150 million. Made worldwide: $319 million. $98 million.

“Split” – 2017. Budget: $9 million. Made worldwide: $279 million.

“Glass” – 2019. Budget – $20 million. Made worldwide: $247 million.:

“Old” – 2021. Budget- $18 million. Made worldwide: $90 million.

“Knock at the Cabin” – 2023. Budget of $20 million. Opened with $14 million (#1) and has already grossed $21 million worldwide.

Profit on the 9 films above, 2,117 million for 9 films, or $235 million per film.

Split

- 2016
- James McAvoy, Anya Taylor-Joy

Old

- 2021
- Gael García Bernal, Vicky Krieps

Unbreakable

- 2000
- Bruce Willis, Samuel L. Jackson

Signs

- 2002
- Mel Gibson, Joaquin Phoenix

The Village

- 2004
- Sigourney Weaver, William Hurt

In his twenties, [Shyamalan] says, “I don’t think you could have told me that making thrillers for your whole life wasn’t a bad thing. At first it was a sense of, ‘Hey, I can make anything.’ But that’s hypocritical, because when I pick up an Agatha Christie novel in my library, I have a strong expectation. So, I get it … When I became happy with the idea of making thrillers for the rest of my life, everything went right.”[ This courtesy of Wikipedia.]

So, how thrilling is “Knock at the Cabin”? It held our interest, for sure.

The script, co-written by Shyamalan, Steve Desmond, and Michael Sherman (adapting Paul Tremblay’s book The Cabin at the End of the World), is a binary plot concept, not a twist. (Shymalan has abandoned the idea that every film he makes must have a “surprise” ending, even if audiences have not abandoned that expectation.)

For this one, you either have to accept the premise that the quartet of strangers who come upon little Wen (Kristen Cui) in the woods catching grasshoppers and putting them in a bug jar are truly psychic individuals, not unlike Richard Dreyfuss and troupe in “Close Encounters of the Third Kind” and have had a major league religious vision, or you don’t buy into that truth. The bugs seem(ed) symbolic, to me, of the soon-to-be-imprisoned family members.

My husband felt there were echoes of “10: Cloverfield Lane.” I’ve already mentioned the visions of the various folk in “Close Encounters of the Third Kind.” Reviewer Nick Allen felt that Jordan Peele’s “Us” echoed throughout the film, a comparison that did not resonate for me. Another mentioned Shymalan’s fascination with the End of Times (“The Happening”) and suggested he avoid the topic in the future. (Ahem).

The quartet breaks into the cabin and tells the family there that they must kill one of their three family members to prevent the end of the world. The major evidence to support their theory seems to be televised segments showing the catastrophes the quartet has predicted. The Four Horsemen (Malice, Nurturing, Guidance, Healing, says the script. Wikipedia says sword, famine, plague and the wild beasts of the Earth, among other listings.) could have pre-taped this “proof,” which Daddy Andrew points out. With all the bad people in the world, does Andrew really care about saving all (or any) of them? He’s not religious (we learn this from the adoption scene), but Eric is, and we can see that plot point coming a mile away, especially after the script says “Trust in something more than yourself.” [The uber religious will relate to that.]

The acting is good, with Ben Aldridge playing Andrew and Jonathan Groff portraying Eric. Jonathan Groff was in “Frozen” and “Mindhunters” as well as a role onstage in “Hamilton.” I swear he had a recurring role in “GLOW,” but I cannot find his name among those credits, so please drop me a line if you remember him in “GLOW” (Great Ladies of Wrestling).

The pair in the cabin is a gay couple who have adopted 8-year-old (“8 in six days”) Wen from Asia. This fulfills the obligatory plot point a homosexual or lesbian relationship must at least be alluded to in present-day film(s). I was put off by the scene near the end when Wen is told to go sit in a treehouse and wear her headphones. She is then MIA from some pretty important developments, but it will take years of therapy to overcome what she has already witnessed. Seems like too little too late, plotwise, to rush her off to a leafy hideaway and tell her to tune out.

The four attackers are led by the gentle giant Leonard, played by Dave Bautista (“Guardians of the Galaxy,” “The Glass Onion”). Leonard is a second grade teacher from Chicago and seems quite apologetic about the quartet’s need to bring pain and suffering to the family in the remote wooded cabin. The biggest “name” actor of the four is Rupert Grint as Redmond (“Harry Potter and the Sorcerer’s Stone” of 2001).

We soon learn that Redmond might have a grudge against Ben, in particular, and may have actually attacked him in a bar many years before, in a fairly traumatic encounter. Is this a delayed vendetta of some sort? There are two women in the group of Crazies-or-Are-They: one is Nikki Amuka-Bird as Sabrina, a post-operative nurse. The other is Abby Quinn as Adriane. While Sabrina is a post-op nurse, Adriane seems to be a bit of a lightweight, mentally; she worked as a fry cook.

The entire 100 minute plot hinges on whether or not the intruders can convince the small family that they must sacrifice one of their own to save the world.

I thought how timely this entire plot concept of Q-Anon crazies is in a world beset with misinformation where, as we know, one such deluded fellow actually swallowed whole the entire story of Hillary Clinton operating a child trafficking ring out of a pizza parlor. There are enough lunatics on the national scene, currently, to populate a large city, and we saw many of them on January 6^th. The quartet is quite devoted to their cause, however, and use televised segments showing all of the horrible things that will occur if the family doesn’t capitulate. First, flood and earthquake. Then pestilence. Then planes falling out of the sky. Then fire. Later, we learn that the unifying device involved is the Four Horsemen of the Apocalypse, but please stop reading if you are unhappy that I have gone this far in discussing the plot. (I haven’t gone any further than the star of the film Dave Bautista has done in discussing the plot on national television, but I may from this point forward, so buckle up. Or don’t. Whatever. I’m going to discuss some plot concepts, and most of these plot points I have not seen discussed anywhere else.)

GAY THEME

I have seen various critics praise the idea of the family in the woods being gay saying, in effect, “Bring it on!” I have no argument with having the family be gay, bi-sexual, trans, lesbian or any other segment of the population. It seemed timely. While I applaud the culture for being accepting of any depiction of a loving family, I am more interested in the mechanics of trying to either accept or reject the binary plot points that will determine how this film plays out. It is overdue for minorities of various sorts to receive equal and fair treatment and opportunities; I wonder if the % of the plot occurrences will ever match the % of each minority in the nation as a whole?

SCRIPT

At one point, the script says, “There’s always a choice. Our choices make our destiny. Will you make a choice to save the world?” Psychology 101.

ONE WORD OF CAUTION

Why is acquiring a gun the salvation of the family? Does anyone other than me think we have way more guns (and gun owners) now than we need? Encouraging more people to go buy guns, if an unintended consequence of the film, was NOT the timely message I hoped for. However, once Daddy Andrew (Ben Aldridge) does get his hands on a gun, near the film’s climax, it makes no sense that he wouldn’t use it on Leonard. This didn’t really compute, for me, but, then, that is true of many points in many movies (as I’m sure you would agree.) I won’t hold that against Shymalan. Reminds me of the time my brother-in-law gave me a hard time in my first novel (“The Color of Evil”) because my psychotic killer clown escapes from a prison van while being transferred from one prison to another. Uncle Mark contended that massive amounts of security would have been on hand to transfer the dangerous criminal. Maybe he was right; maybe I was right. (I had addressed the staffing issue.) A bit of suspension of belief and leeway is due the creative guru IMHO.

TIMELY MESSAGES

On the other hand, all of the catastrophes that the quartet foretold are very timely (and well illustrated). Tsunamis (check). Cities flooding. (Check) Deadly plague (Check. See Covid). Planes plunging to Earth. (Check). Fire (California Burning.) Crazy people ranting (Marjorie Taylor Green, Q-Anon, and half of the Republican party). Plus the entire lack of faith in faith in anything (government, religion, marriage, etc.) on a lot of people’s parts, which this film also capitalizes upon.

MUSIC

As any good Hitchcock fan knows, the music can make the moment. Hitchcock’s partnership with Bernard Herrmann or Damian Chazelle’s partnership with Justin Hurwitz or Jordan Peele’s collaborations with Michael Abels are examples. Here, the composer of the score is Herdis Stefansdottir. The Music Supervisor was Susan Jacobs. The film really benefits from the music.

CINEMATOGRAPHY

Camerawork from Jarin Blaschke and Lowell A. Meyer is excellent. You will note that the choice to pull away from acts of intentional violence inflicted by the attackers on themselves is made by Shymalan. I’m always reticent to watch explicit gore of the splatter or any other variety. You may feel differently. Your choice, but I liked Shymalan’s discretion here.

CONCLUSION

M. Night Shymalan lives on a 125 acre estate near Philadelphia. His fans, like Taylor Swift’s “Swifties,” are quite devoted. Therefore, he has complete creative control, has garnered Oscar nominations for some of his films, does a great job, and is laughing all the way to the bank. This is not to suggest that just making money is any kind of criteria for works of art, but this latest offering is both enjoyable, interesting, well-done, and profitable. Like the Four Horsemen of the Apocalypse, that’s a dynamite combination. I didn’t like it as much as 2016’s “Split,” but I do think it was a return to form (from “Old”) for Shymalan. Try it, if you’ve liked any of his previous films.

Bill Nighy in “Living,” a Nominee for Two Oscars

By Connie Wilson

On January 29, 2023

In Movies, Pop Culture, Reviews

Bill Nighy is perhaps best-known to international audiences for his memorable performance as washed-up pop singer Billy Mack in Love Actually (2003), which won him a BAFTA for best supporting actor. He has also appeared in the “Shaun of the Dead” and “Hot Fuzz” films and has won numerous acting awards in a long career that goes back to the 1970s.

This year, Bill Nighy has been nominated for Best Actor in his film “Living” and he will have to compete against newcomer Austin Bishop (“Elvis”), Irish actor Colin Farrell (“The Banshees of Inishirin”), Brendan Fraser (“The Whale”), and Paul Mescal in “Aftersun.”

“Living” is a loose adaptation/remake of Akira Kurosawa’s “Ikiru” (aka “To Live“), a post-World War II drama about a Tokyo bureaucrat who goes on a similar journey after a terminal diagnosis of gastric cancer. Here, the Japanese setting has been traded for fifties London and Bill Nighy as Mr. Williams is the head of one of the many departments and bureaucracies that governments form. So often, the workers in such bureaucracies, become bogged down in it all. The screenplay’s term is “the sheer grind of it all.” The screenplay here was written by Kazuo Ishigero, based on the original Ikira Kurosawa work “Ikiru,” and is also nominated for an Oscar for Best Adapted Screenplay.

Nighy has been giving us convincing portraits of men whose chief desire (as with Mr. Williams) was to “be a gentleman” for years, but he also has run the gamut from zombies to alcoholic singers. It is perhaps ironic that Nighy in this role has been dubbed “Mr. Zombie” by the only female staffer, Aimee Lou Wood as Margaret, because he has, in fact, often been cast as a zombie.

In this particular film, however, it is the shock of his terminal diagnosis that reveals to the aging bureaucrat just how he has lost the joy of living. You just know that, in the time that he has left, he will attempt to regain his lust for life. As he says, “I remember what it was like to be alive like that.” As Miss Harris (Margaret, portrayed by Aimee Lou Wood) describes zombies, “they’re sort of dead, but not dead.” Margaret has quite a few nick names for her co-workers, including, “the hoverer” and “the confused chimney,” most of which have to do with the shuffling of papers by her co-workers, without any real progress.

Stacks of paperwork in each employee’s in/out basket show that they are busy, but what they seem to be busiest doing is giving regular Londoners the run-around—especially a group of neighborhood women who are dead set on getting a new playground. Alex Sharp as new employee Mr. Wakeling is ultimately someone who absorbs the life lesson that Williams, in his final weeks, attempts to share. He begins trying to become part of the solution rather than part of the problem. The boss who will succeed Mr. Williams, however, Mr Middleton (Adrian Rawlins) remains set in cement and, while talking a good game about progress, completely misses the point of the lesson that Mr. Williams’ last few months of life were meant to illuminate.

Another theme handled very delicately deals with the difficulty of a parent in communicating with the younger generation. When Williams learns of his approaching death, he wants to confide in his son, Michael (Barney Fishwick). He even practices what he will say in the hall mirror. Still, he cannot breach the gulf between them; Michael is just as tongue-tied and helpless at really communicating with his father, as Michael’s wife browbeats him about talking to his dad concerning Nigh’s platonic friendship with Aimee Lou Wood as Margaret Harris. In the fifties setting, an old man befriending a much younger colleague who is female is simply not done. Everyone assumes the worst, and the son and daughter-in-law want to put a halt to gossip. The film very accurately reflects how times have changed since the fifties in society. Nighy, at 73, certainly has the necessarily lengthy career to have seen these changes.

The film, directed by Oliver Hermanus, is elegantly old-fashioned. I mean that in all the best ways. The score, by Emilie Levienaise-Farrouch swells with the full orchestration of olden days in this 1 hour and 42 minute movie. The cinematography by Jamie Ramsay is spot-on and all of the supporting players are excellent in their parts. It should be noted that the script is also Oscar nominated as Best Adapted Screenplay by Kazuo Ishiguro. There’s a definite feeling of a beginning, a middle, and an end and we even get a life lesson that we all should take to heart. To me, the other film that seems old-fashioned in this good way is “A Man Called Otto” with Tom Hanks. I don’t agree that there is a “merging” of films like “A Fistful of Dollars,” derived from their Japanese source.

I found it interesting reading that Ishiguro had wanted to script a remake of the Akira Kurosawa film for years and was only able to pitch it to Bill Nighy (whom he always viewed as the actor best suited to play the role of Mr. Williams) when he and his wife ended up sharing a cab with Nighy after a party. Nighy had never seen “Ikiru,” but once he watched it, he enthusiastically signed on to the project. He now approaches the pinnacle of an acting career—a possible Oscar win.

The front-runner to win the Oscar for Best Actor is “The Whale’s” Brendan Fraser. The five-minute ovation at Cannes and his come-back story, not to mention his superb acting, will be hard to beat, but the confined sets for “The Whale” and the depressing subject matter might give other veteran actors a chance. Colin Farrell, for instance, has also gone many years without a vehicle worthy of his talent. Only “Elvis’” Austin Bishop is a break-through performance. Which of the three veteran nominees—-Nighy, Farrell, or Fraser—is likely to take home the statuette in March? We’ll all have to watch to find out. (And, of course, to make sure that nobody gets clocked unnecessarily during the broadcast.) The fifth and final nominee, Paul Mescal in “Aftersun,” barely has a shot.

Here’s an interesting quote from Bill Nighy about awards, in general, uttered in 2007 when the Golden Globes honored him: “I used to think that prizes were demeaning and divisive until I got one, and now they seem sort of meaningful and real.”

“Vengeance” Hits Amazon: Enjoy

By Connie Wilson

On January 25, 2023

In Humor and Weird Wilson-isms, Movies, Reviews, Texas

“Vengeance,” the B.J. Novak debut directorial debut with Ashton Kutcher as a cast member, is now available on Amazon Prime.

It is one of my favorite films of 2022, and I highly recommend it. It was way better than “Bullet Train,” which we saw the next night.

Try it. You’ll like it.

Oscar Nominees Are Announced for March 7th, 2023 Awards Ceremony

By Connie Wilson

On January 25, 2023

In Movies, Of Local (Quad Cities') Interest, Pop Culture, Reviews

Oscar Nominees

Best Picture

“All Quiet on the Western Front”

“Avatar: The Way of Water”

“The Banshees of Inisherin”

“Elvis”

“Everything Everywhere All at Once”

“The Fabelmans”

“Tár”

“Top Gun: Maverick”

“Triangle of Sadness”

“Women Talking”

Actress in a Supporting Role

Angela Bassett, “Black Panther: Wakanda Forever”

Hong Chau, “The Whale”

Kerry Condon, “The Banshees of Inisherin”

Jamie Lee Curtis, “Everything Everywhere All at Once”

Stephanie Hsu, “Everything Everywhere All at Once”

Actor in a Supporting Role

Colin Farrell on the Red Carpet at the 50th Chicago Film Festival.

Brendan Gleeson, “The Banshees of Inisherin”

Brian Tyree Henry, “Causeway”

Judd Hirsch, “The Fabelmans”

Barry Keoghan, “The Banshees of Inisherin”

Ke Huy Quan, “Everything Everywhere All at Once”

Actor in a Leading Role

Cate Blanchett

Austin Butler, “Elvis”

Colin Farrell, “The Banshees of Inisherin”

Brendan Fraser, “The Whale”

Paul Mescal, “Aftersun”

Bill Nighy, “Living”

Actress in a Leading Role

Cate Blanchett, “Tár”

Ana de Armas, “Blonde”

Andrea Riseborough, “To Leslie”

Michelle Williams, “The Fabelmans”

Michelle Yeoh, “Everything Everywhere All at Once”

Best Director

Martin McDonagh, “The Banshees of Inisherin”

Daniel Scheinert and Daniel Kwan, “Everything Everywhere All at Once”

Steven Spielberg, “The Fabelmans”

Todd Field, “Tár”

Ruben Ostlund, “Triangle of Sadness”

In the “Best Picture” category, I have seen 7 of 10. By the time of the March 7^th broadcast, I will have seen 8, minimum. It is always difficult to see all of the films if you don’t live in a major metropolitan area. It is especially difficult if the film is an international offering and has poor distribution. No predictions or comments until I complete my viewing of the nominated films prior to the March 7^th awards ceremony.

Actress in a Supporting Role – I’ve seen all of these nominated performances. I did not enjoy the “Everything, Everywhere All At Once” film, so I’m not blown away by the nomination of 2 actresses from that film. I did appreciate the film more after reading that, basically, a very few people put this film together. I do acknowledge that the lead role would be quite demanding. I will make some predictions closer to March 7^th.

Actor in a Supporting Role: I’ve seen all of these performances. My initial thoughts on the nominees here is that Judd Hirsch, although good in his role in “The Fabelmanns,” is barely in the film. “The Causeway” film was underwhelming (a Jennifer Lawrence indie film) although Brian Tyree Henry was good in a small film. I can see where Hirsch might get the vote for his long career, but, for me, Brendan Gleeson was the best of these 5.

Actor in a Leading Role: I’ve only seen 3 of the 5 nominees. This was partially because two of the films did not have as wide a release, and partially because of my own health issues. I still need to see Paul Mescal and Bill Nighy before commenting. With the three I have seen, I am torn. I appreciate the acting tour de force that Brendan Fraser gave us in an overall depressing film that was almost like a stage play in having taken place on one set. I’ve watched “Elvis” three times, but I have always felt that Colin Farrell deserved more recognition for his work and Austin Butler is a newcomer. I met Colin Farrell in Chicago at the premiere of the Liv Ullman-directed film “Miss Julie.”

Actress in a Leading Role: I’ve seen all of the nominees. I actually like Andrea Riseborough’s performance in “To Leslie” the best of these nominees. She was great opposite Marc Maron! I am puzzled as to why the lead in “Till” didn’t make the cut. One also wonders about the Jennifer Lawrence role in “Causeway” and the diss of Viola Davis in “The Woman King.”

Best Director: I’ve seen all the nominees except “Triangle of Sadness” director Ruben Ostlund. I’m a longtime fan of Martin McDonagh (“Three Billboards Outside Ebbing, Missouri,” and “In Bruges”). Everyone is a longtime fan of Steven Spielberg, which may work against him, since he has won previously. “Tar” was a great performance from Cate Blanchett, but it was not a great movie for the audience. Likewise, unless “Everything, Everywhere, All At Once” begins a sweep—which will happen without me being onboard—I would vote for either McDonagh or Spielberg.

More predictions and commentary to come. These, for me, are the Big Categories, and, of nominess, I’ve seen 28 of 35 of the Big Ones. While this is only 80%, I had the kind of 2022 that makes it amazing I saw that many!

Critics’ Choice Awards Given on January 15, 2023

By Connie Wilson

On January 15, 2023

In Local, Movies, Music, News, Of Local (Quad Cities') Interest, Pop Culture, Reviews, Television

Critics’ Choice Awards 2023: WINNERS

FILM

BEST PICTURE

Avatar: The Way of Water

Babylon

The Banshees of Inisherin

Elvis

Everything Everywhere All at Once – WINNER

The Fabelmans

Glass Onion: A Knives Out Mystery

RRR

Tár

Top Gun: Maverick

Women Talking

BEST ACTOR

Austin Butler – Elvis

Tom Cruise – Top Gun: Maverick

Colin Farrell – The Banshees of Inisherin

Brendan Fraser – The Whale – WINNER

Paul Mescal – Aftersun

Bill Nighy – Living

BEST ACTRESS

Cate Blanchett – Tár – WINNER

Viola Davis – The Woman King

Danielle Deadwyler – Till

Margot Robbie – Babylon

Michelle Williams – The Fabelmans

Michelle Yeoh – Everything Everywhere All at Once

BEST SUPPORTING ACTOR

Paul Dano – The Fabelmans

Brendan Gleeson – The Banshees of Inisherin

Judd Hirsch – The Fabelmans

Barry Keoghan – The Banshees of Inisherin

Ke Huy Quan – Everything Everywhere All at Once – WINNER

Brian Tyree Henry – Causeway

BEST SUPPORTING ACTRESS

Angela Bassett – Black Panther: Wakanda Forever – WINNER

Jessie Buckley – Women Talking

Kerry Condon – The Banshees of Inisherin

Jamie Lee Curtis – Everything Everywhere All at Once

Stephanie Hsu – Everything Everywhere All at Once

Janelle Monáe – Glass Onion: A Knives Out Mystery

BEST YOUNG ACTOR/ACTRESS

Frankie Corio – Aftersun

Jalyn Hall – Till

Gabriel LaBelle – The Fabelmans – WINNER

Bella Ramsey – Catherine Called Birdy

Banks Repeta – Armageddon Time

Sadie Sink – The Whale

BEST ACTING ENSEMBLE

The Banshees of Inisherin

Everything Everywhere All at Once

The Fabelmans

Glass Onion: A Knives Out Mystery – WINNER

The Woman King

Women Talking

BEST DIRECTOR

James Cameron – Avatar: The Way of Water

Damien Chazelle – Babylon

Todd Field – Tár

Baz Luhrmann – Elvis

Daniel Kwan, Daniel Scheinert – Everything Everywhere All at Once – WINNER

Martin McDonagh – The Banshees of Inisherin

Sarah Polley – Women Talking

Gina Prince-Bythewood – The Woman King

S. S. Rajamouli – RRR

Steven Spielberg – The Fabelmans

BEST ORIGINAL SCREENPLAY

Todd Field – Tár

Daniel Kwan, Daniel Scheinert – Everything Everywhere All at Once – WINNER

Martin McDonagh – The Banshees of Inisherin

Steven Spielberg, Tony Kushner – The Fabelmans

Charlotte Wells – Aftersun

BEST ADAPTED SCREENPLAY

Samuel D. Hunter – The Whale

Kazuo Ishiguro – Living

Rian Johnson – Glass Onion: A Knives Out Mystery

Rebecca Lenkiewicz – She Said

Sarah Polley – Women Talking – WINNER

BEST CINEMATOGRAPHY

Russell Carpenter – Avatar: The Way of Water

Roger Deakins – Empire of Light

Florian Hoffmeister – Tár

Janusz Kaminski – The Fabelmans

Maverick – WINNER Miranda Claudion – Top Gun Maverick

Linus Sandgren – Babylon

BEST PRODUCTION DESIGN

Hannah Beachler, Lisa K. Sessions – Black Panther: Wakanda Forever

Rick Carter, Karen O’Hara – The Fabelmans

Dylan Cole, Ben Procter, Vanessa Cole – Avatar: The Way of Water

Jason Kisvarday, Kelsi Ephraim – Everything Everywhere All at Once

Catherine Martin, Karen Murphy, Bev Dunn – Elvis

Florencia Martin, Anthony Carlino – Babylon – WINNER

BEST EDITING

Tom Cross – Babylon

Eddie Hamilton – Top Gun: Maverick

Stephen Rivkin, David Brenner, John Refoua, James Cameron – Avatar: The Way of Water

Paul Rogers – Everything Everywhere All at Once – WINNER

Matt Villa, Jonathan Redmond – Elvis

Monika Willi – Tár

BEST COSTUME DESIGN

Ruth E. Carter – Black Panther: Wakanda Forever – WINNER

Jenny Eagan – Glass Onion: A Knives Out Mystery

Shirley Kurata – Everything Everywhere All at Once

Catherine Martin – Elvis

Gersha Phillips – The Woman King

Mary Zophres – Babylon

BEST HAIR AND MAKEUP

Babylon

The Batman

Black Panther: Wakanda Forever

Elvis – WINNER

Everything Everywhere All at Once

The Whale

BEST VISUAL EFFECTS

Avatar: The Way of Water – WINNER

The Batman

Black Panther: Wakanda Forever

Everything Everywhere All at Once

RRR

Top Gun: Maverick

BEST COMEDY

The Banshees of Inisherin

Bros

Everything Everywhere All at Once

Glass Onion: A Knives Out Mystery

Triangle of Sadness

The Unbearable Weight of Massive Talent

BEST ANIMATED FEATURE

Guillermo del Toro’s Pinocchio – WINNER

Marcel the Shell with Shoes On

Puss in Boots: The Last Wish

Turning Red

Wendell & Wild

BEST FOREIGN LANGUAGE FILM

All Quiet on the Western Front

Argentina, 1985

Bardo, False Chronicle of a Handful of Truths

Decision to Leave

RRR – WINNER

BEST SONG

Carolina – Where the Crawdads Sing

Ciao Papa – Guillermo del Toro’s Pinocchio

Hold My Hand – Top Gun: Maverick

Lift Me Up – Black Panther: Wakanda Forever

Naatu Naatu – RRR – WINNER

New Body Rhumba – White Noise

BEST SCORE

Alexandre Desplat – Guillermo del Toro’s Pinocchio

Michael Giacchino – The Batman

Hildur Guðnadóttir – Tár – WINNER

Hildur Guðnadóttir – Women Talking

Justin Hurwitz – Babylon

John Williams – The Fabelmans

TELEVISION

BEST DRAMA SERIES

Andor (Disney+)

Bad Sisters (Apple TV+)

Better Call Saul (AMC) – WINNER

The Crown (Netflix)

Euphoria (HBO)

The Good Fight (Paramount+)

House of the Dragon (HBO)

Severance (Apple TV+)

Yellowstone (Paramount Network)

BEST ACTOR IN A DRAMA SERIES

Jeff Bridges – The Old Man (FX)

Sterling K. Brown – This Is Us (NBC)

Diego Luna – Andor (Disney+)

Bob Odenkirk – Better Call Saul (AMC) – WINNER

Adam Scott – Severance (Apple TV+)

Antony Starr – The Boys (Prime Video)

BEST ACTRESS IN A DRAMA SERIES

Christine Baranski – The Good Fight (Paramount+)

Sharon Horgan – Bad Sisters (Apple TV+)

Laura Linney – Ozark (Netflix)

Mandy Moore – This Is Us (NBC)

Kelly Reilly – Yellowstone (Paramount Network)

Zendaya – Euphoria (HBO) – WINNER

BEST SUPPORTING ACTOR IN A DRAMA SERIES

Andre Braugher – The Good Fight (Paramount+)

Ismael Cruz Córdova – The Lord of the Rings: The Rings of Power (Prime Video)

Michael Emerson – Evil (Paramount+)

Giancarlo Esposito – Better Call Saul (AMC) – WINNER

John Lithgow – The Old Man (FX)

Matt Smith – House of the Dragon (HBO)

BEST SUPPORTING ACTRESS IN A DRAMA SERIES

Milly Alcock – House of the Dragon (HBO)

Carol Burnett – Better Call Saul (AMC)

Jennifer Coolidge – The White Lotus (HBO) – WINNER

Julia Garner – Ozark (Netflix)

Audra McDonald – The Good Fight (Paramount+)

Rhea Seehorn – Better Call Saul (AMC)

BEST COMEDY SERIES

Abbott Elementary (ABC) – WINNER

Barry (HBO)

The Bear (FX)

Better Things (FX)

Ghosts (CBS)

Hacks (HBO Max)

Reboot (Hulu)

Reservation Dogs (FX)

BEST ACTOR IN A COMEDY SERIES

Matt Berry – What We Do in the Shadows (FX)

Bill Hader – Barry (HBO)

Keegan-Michael Key – Reboot (Hulu)

Steve Martin – Only Murders in the Building (Hulu)

Jeremy Allen White – The Bear (FX) – WINNER

D’Pharaoh Woon-A-Tai – Reservation Dogs (FX)

BEST ACTRESS IN A COMEDY SERIES

Christina Applegate – Dead to Me (Netflix)

Quinta Brunson – Abbott Elementary (ABC)

Kaley Cuoco – The Flight Attendant (HBO Max)

Renée Elise Goldsberry – Girls5eva (Peacock)

Devery Jacobs – Reservation Dogs (FX)

Jean Smart – Hacks (HBO Max)

BEST SUPPORTING ACTOR IN A COMEDY SERIES

Brandon Scott Jones – Ghosts (CBS)

Leslie Jordan – Call Me Kat (Fox)

James Marsden – Dead to Me (Netflix)

Chris Perfetti – Abbott Elementary (ABC)

Tyler James Williams – Abbott Elementary (ABC)

Henry Winkler – Barry (HBO) – WINNER

BEST SUPPORTING ACTRESS IN A COMEDY SERIES

Paulina Alexis – Reservation Dogs (FX)

Ayo Edebiri – The Bear (FX)

Marcia Gay Harden – Uncoupled (Netflix)

Janelle James – Abbott Elementary (ABC)

Annie Potts – Young Sheldon (CBS)

Sheryl Lee Ralph – Abbott Elementary (ABC) – WINNER

BEST LIMITED SERIES

The Dropout (Hulu) – WINNER

Gaslit (Starz)

The Girl from Plainville (Hulu)

The Offer (Paramount+)

Pam & Tommy (Hulu)

Station Eleven (HBO Max)

This Is Going to Hurt (AMC+)

Under the Banner of Heaven (FX)

BEST MOVIE MADE FOR TELEVISION

Fresh (Hulu)

Prey (Hulu)

Ray Donovan: The Movie (Showtime)

The Survivor (HBO)

Three Months (Paramount+)

Weird: The Al Yankovic Story (The Roku Channel) – WINNER

BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

Ben Foster – The Survivor (HBO)

Andrew Garfield – Under the Banner of Heaven (FX)

Samuel L. Jackson – The Last Days of Ptolemy Grey (Apple TV+)

Daniel Radcliffe – Weird: The Al Yankovic Story (The Roku Channel) – WINNER

Sebastian Stan – Pam & Tommy (Hulu)

Ben Whishaw – This is Going to Hurt (AMC+)

BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

Julia Garner – Inventing Anna (Netflix)

Lily James – Pam & Tommy (Hulu)

Amber Midthunder – Prey (Hulu)

Julia Roberts – Gaslit (Starz)

Michelle Pfeiffer – The First Lady (Showtime)

Amanda Seyfried – The Dropout (Hulu) – WINNER

BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

Murray Bartlett – Welcome to Chippendales (Hulu)

Domhnall Gleeson – The Patient (FX)

Matthew Goode – The Offer (Paramount+)

Paul Walter Hauser – Black Bird (Apple TV+) – WINNER

Ray Liotta – Black Bird (Apple TV+)

Shea Whigham – Gaslit (Starz)

BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

Claire Danes – Fleishman Is in Trouble (FX)

Dominique Fishback – The Last Days of Ptolemy Grey (Apple TV+)

Betty Gilpin – Gaslit (Starz)

Melanie Lynskey – Candy (Hulu)

Niecy Nash-Betts – Dahmer – Monster: The Jeffrey Dahmer Story (Netflix) – WINNER

Juno Temple – The Offer (Paramount+)

BEST FOREIGN LANGUAGE SERIES

1899 (Netflix)

Borgen (Netflix)

Extraordinary Attorney Woo (Netflix)

Garcia! (HBO Max)

The Kingdom Exodus (MUBI)

Kleo (Netflix)

My Brilliant Friend (HBO)

Pachinko (Apple TV+) – WINNER

Tehran (Apple TV+)

BEST ANIMATED SERIES

Bluey (Disney+)

Bob’s Burgers (Fox)

Genndy Tartakovsky’s Primal (Adult Swim)

Harley Quinn (HBO Max) – WINNER

Star Trek: Lower Decks (Paramount+)

Undone (Prime Video)

BEST TALK SHOW

The Amber Ruffin Show (Peacock)

Full Frontal with Samantha Bee (TBS)

The Kelly Clarkson Show (NBC)

Last Week Tonight with John Oliver (HBO) – WINNER

Late Night with Seth Meyers (NBC)

Watch What Happens Live with Andy Cohen (Bravo)

BEST COMEDY SPECIAL

Fortune Feimster: Good Fortune (Netflix)

Jerrod Carmichael: Rothaniel (HBO)

Joel Kim Booster: Psychosexual (Netflix)

Nikki Glaser: Good Clean Filth (HBO)

Norm Macdonald: Nothing Special (Netflix) – WINNER

Would It Kill You to Laugh? Starring Kate Berlant & John Early (Peacock)