AngieBee1

Granted, the Academy's statement didn't mention Andrea Riseborough by name, everyone knows what actor's campaign they are questioning. I am incredibly put out that Danielle Deadwyler didn't get a nomination as she has been at the top of my Should Be Nominated list since October when I saw the film (as was Olivia Colman and Margot Robbie - others who did not gain a nomination). But I don't see how the alleged bit of cronyism helped Andrea Riseborough. Unless they prove a type of quid pro quo or gifting, voting for your friends' friend or whoever, isn't against the rules. The branch votes for who they want to vote for. It could just be that they preferred Riseborough over Deadwyler and Davis. If people want to believe that there is something more insidious going on like racism, then how does that account for the nominations of Brian Tyree Henry, Michelle Yeoh, Stephanie Hsu and Angela Bassett? I think for those outside of the AMPAS it looks highly suspect because, other than the Spirit Awards, Riseborough has had no presence. The first I heard of this film was when I received an invite for a virtual screening in November. Then again earlier this month when they had a screening (in the DGA's smallest theater) hosted by Demi Moore and moderated by Minnie Driver. The next morning there was a virtual screening Q&A hosted by Kate Winslet. Then an article about how Riseborough was emerging as a Dark Horse contender. So it seems pretty fast in the public sphere, but as articles recount there has events and pushes for it outside the public eye. All fair. Now MGM could have campaigned harder for Deadwyler, but Sony pushed hard for Davis.

I don't know why there is an issue with the Andrea Riseborough nomination. Yes, it was a very late entry into the Oscar race (it was being pushed for the Spirits but nothing more) and got celebrity backing but there were other celebrity backed films this year. It's just an upset. This film literally started their Oscar campaign about 3 weeks ago.

It's a nice film. It's not too cloying and the emotional beats don't feel overly manipulative. Great supporting cast.

I haven't watched the original pretty much since it came out. I remember loving it but now all of these years later I can't really recall what I loved about it other than the visuals, though I know I loved things about it beyond the visuals. Having seen AVATAR: THE WAY OF WATER, I am happy that the visuals have more stunning than ever, but I really loved the storyline and loved the new additions. This one sticks with me more. It's a beautiful film and wonderfully acted.

Cruise has that old school Jack LaLanne build. For that era he is fit but compared to the standards of male bodies today he's stocky. I attended a q&a with the director and the majority of the cast (everyone except Cruise and Connelly). The director intended for the beach scene to be shirts vs. skins but the actors -thinking it was to be shirtless- had all worked out and fasted for the scene and pushed for shirtless. For character purposes Lewis Pullman kept his shirt on.

I'm expecting a boycott, too. Even the "thank yous" have been muted. Before celebrities would be more effusive with their thanks to the HFPA. I will say, with the exception of lack of nomination for TILL, Danielle Deadwyler, WOMEN TALKING and anyone from that cast (my favorites are Jessie Buckley with Claire Foy close behind and easily deserved the slot more than Carey Mulligan who was staid in the equally staid SHE SAID) I think the nominations are wonderful. I've seen quite a bit of the films nominated and am very happy for the BABYLON love (Diego Calva, Margot Robbie and Brad Pitt are sensational in it) and Adam Driver's nomination for WHITE NOISE which is well-deserved. On the TV side I am dismayed that Brian Tyree Henry was not nominated for ATLANTA where he has given 1000% each season; and the continued absence of RESERVATION DOGS is a travesty.

Was very happy to see Lane Factor (Cheese) in Steven Spielberg's THE FABLEMANS. I miss seeing Cheese and the other every week.

I definitely lost sympathy for Pádraic along the way. I understood his broken heart over this loss of friendship, but when someone asks you to keep away, you keep away. If Colm were a female and Pádraic acted the same way as he did with Colm, I doubt people would feel sympathy for him in that situation. He was being completely selfish. It wasn't just costing him, it was obvious that Colm was hurt by the hurt he was causing Pádraic but he had to do what he felt right for him. The same with Siobhan leaving. You can't always live your life for others. You deserve your happiness. And truly good people accept that and let go with grace and love and just appreciate the relationship they had instead of clinging on so tightly that they end up making the other person miserable. My friend went to a test screening earlier in the year and then rewatched when it was released. He said what was exorcised in the final version was that in the cut he saw there was dialogue between Siobhan and Colm about how after their parents died Colm became a father figure to Pádraic. So he lost Colm on two fronts. As the awards season rolls on I have seen many films and while the actress category has a ton of stupendous potential nominees, for me, Colin is really the standout in the Best Actor realm. No male actor has really done it for me this year the way Colin has.

If that kind of high dining experience is cult-ish and Chef Slowick is upheld like a god, it made sense to me that his staff would willing die alongside him. They were zealots. I think he ultimately late Margot go because she was neither like the other diners, nor was she blindly fawning of him like his staff. He was right that she didn't belong there but she didn't belong with them (diners) or "us" (he and his staff). She still criticized his food, lacked pretention by wanting a simple cheeseburger (without a fancy cheese, thank you) and for a moment, while he prepared it, it allowed him to feel that same joy he had in the old pictures she saw of him. She gave him a gift of reliving those days and he returned the favour by sparing her life.

I think maybe if I were a teen I romanticize the film more and think, "Poor Tom and Patrick - denied a chance to live a life together due to the era." But as an adult I'm considerably less sympathetic as Tom did not have to use Marion in order to not be caught out for being gay. I loved how the film peeled back the layers of the relationship: showing it from Tom's eyes, from Marion's eyes, the reveal that Marion knew much longer than the audiences suspected. I really enjoyed it and thought it was a beautiful film. However, I don't like how Tom and Patrick did not truly (in my eyes) make amends to Marion for their duplicity. Marion finding out and staying was her choice. That decision squarely lies with her. But she opens her home to Patrick because of her remorse for reporting him to the police, yet Tom never seems to show regret for lying to her about cheating on her and using her as a smokescreen. Patrick never gets a chance to show if he has any regrets or remorse for gleefully bringing Tom with him to Italy (the one place Marion dreamed of going) and remaining in their lives to act as a friend to Marion all the while sleeping with Tom. It truly rankles that she is the only who regret the hurt she caused, whereas the men are only focused on their hurt from not being with each other.

I am in the seemingly minority who doesn't believe Louis was being purposely holding back or that his memory is being muddled by Armand. Unless one has perfect recall we're all prone to be unreliable narrators. When we hear something or see something we're not taking a snapshot of the event - it is filtered through how we're hearing and how we perceive the situation to be. Or our feelings on the matter changes leading us to be more generous or more negative, depending on the situation. Now thrown in 100 years of distance and over-rationalizing and the truth becomes warped ("Was it raining, Louis?") or you shape a more palatable truth in your head. It's easier for Louis' mind to reconstruct Lestat's murder by his hands yet omitting the fact -until pressed - that he wouldn't allow Claudia to burn him. He needs to believe that he was killing Lestat for the both of them, but when it came down to it, by not allowing Claudia to truly finish Lestat off, he betrayed her. Every step of the way Louis was helping Lestat have a fighting chance, but he didn't want to face that that's what he was doing. You slit his throat? Great. But in doing so you released all the poisoned blood so he can eventually heal. You tossed him out with the trash instead of just leaving his body in the house to that people could possibly come and set fire to the house with his body within or some other tactic of torture. Nice. But by binning Lestat to be taken to the junkyard you provided him with a rodent buffet. Louis is hiding from himself still. I think that's why he wanted Daniel to delete the 1973 audio files and he burned the cassettes for good measure. He didn't want to be confronted with his feelings from the past because in the proceeding 49 years he has reflected and played on these events so much that a new truth has emerged. Other than the great big lie about Rashid the valet, I think has just been in denial and has played on his memories so much that they have been molded into a new truth. My favourite Louis reshaped truth is him telling Daniel that Lestat's version of "Come to Me" was inferior, but not inferior enough for him to not keep it all of these years. He loved the idea of Lestat making a song for him that he shattered Antoinette's version and had Lestat re-record it with is own vocals.

Liked it, didn't love it and that's because tonally it was uneven; understandably so because Coogler had to do rewrites after Boseman's passing. Loved the action stuff and all the Talocan and Namor stuff was sensational. The film was an extremely fitting tribute to Boseman and the character and does keep in line with everything we have been shown and told about how death isn't the end. Love Okeye. Danai Gurira is wonderful. My one major complaint - too little Michaela Coel.

I didn't expect to get emotional about the finale, but I did. It ended perfectly in just the way it only could. And fantastic choice to end with Darius because Lakeith imbues so much openness, tenderness and ebullience that he has always made me want to go along for the ride. And like the ending of INCEPTION, to me, there's no grand mystery. It's real. He's awake. No thicc Judge Judy. -A true sign of a great guest actor is one who does the most with brief amount of screentime. I cared so much for Chi (Darius' brother) in so little time. -Loved the scene between Darius and Cree Summer's character. Bonus for actually getting see Cree this time as she voiced one of the children cartoon character in the B.A.N cereal ad. -I would never hang in public with someone like London because I don't want to go to jail, but get us behind closed doors for a few laughs and it would be great. -I laughed so loud at the cop quizzing her on how many seasons of HOMEBOYS FROM OUTER SPACE there were. -Demarcus looking like the Louis Farrakhan but of sushi killed me. He made a lot of good points, but good sir - eat your own fugu and then let the people make their decision. Obviously this takes place before we get to see BLACK PANTHER 2 starring Larenz Tate and Whoopi Goldberg (though I did see the actual Black Panther 2 -WAKANDA FOREVER tonight) because Demarcus wouldn't have to reach all the way back to QUEEN & SLIM to make a reference about Black people coming out and supporting Black owned businesses. The fact that the concession shelves were still up, as was the frame of the Blockbuster sign was too funny. I loved this cast. I loved this show.

10s across the board! Zero notes from me. The party band playing an instrumental of "Come To Me" just makes me envision drama queen Lestat making them rehearse it ad nasuem to ensure they do justice to his work.

The show came out swinging right from the gate. Great first two episodes. I love the leader Dick is and how they now feel like a true family. Maybe I'm jinxing it (heh), but if this is just a calm before the storm I will savor it as long as I can. My favorite Superboy run is when Kon returns from the dead and moves to Smallville to try to figure out who he is outside of being a Titan and try to figure out as much as he can about Lex outside of what everyone says/feels about him. In the comics (and they incorporated a bit of it in the animated Young Justice) where Superman wanted nothing to do with Conner and in that absence Lex is the one who felt an ownership over him considered him his son. So I love the show touched on that. It seems a big waste to eradict Titus Welliver so quickly, maybe there will be flashbacks featuring him. Pleasantly surprised to see a version of Bernard in this universe. There is already some handwringing over the age difference but there are fans who were doing the same handwringing over Conner and Blackfire's relationship.

Paper Boi is just like me. I could be in the middle of a dead sleep but if you call me I act like I am wide awake, just as bright as if it's the middle of the day. I could be bawling but that phone rings, I am clear-voiced - nothing is wrong, nothing has happened, I am good. You would never know. I don't give anything away. I'm a listener, I am a supportive friend, but I'm just not a share-r. The one I kept thinking of while watching this is Rick Ross. Rick has posted videos about keeping up his estate. I don't believe he uses it as a farm but he tills his own land. When he found out how much it would cost to professionally maintain his land he bought a tractor to do it himself. When he was quoted 1k a piece to cut down trees, he bought a heavy-duty chainsaw to do it himself. Waka Flocka Flame has a farm. He and his wife were trying to get a reality show off the ground about them leaving the city for farm life but I don't think it sold. Feral hogs are just ruthless. I have family in a tiny rural part of Texas and they talk about the calamity feral hogs brings, the deer who act like they own the roads and now are so gold to prance into your yards. The story of the woman being killed by feral hogs is true. Fatal attacks are rare, though, but they will attack. The music this season has been great. Sade, Mystikal, The Dungeon Family. They played a song featuring Quavo from Migos (RIP Takoff). The opening scene with Al firing the gun reminded me of the S1 episode where Migos were in the RV in the woods selling to Darius and Paper Boi. Paper Boi has come a long way. Al has found out that in fact, backhoes truly ain't loyal. I think Al is trying to find his balance. He wants a peaceful life and for some reason he thinks that peace also includes not being readily available to his circle, but I think with this conversation with Earn he's going to realize that there is value in being present and available.

It's the Dubai and New Orleans skyline.

Louis is stuck STUCK. He was languishing in the house when Claudia was way; unable to escape his worry and pain because she was out there in the wind, but he gets her back, loses Lestat and he's still morose because he misses Lestat. He could be doing so much with his life (just as Claudia did by traveling) but he is bound in his own inescapable purgatory. - Louis and Lestat are the couple from hell. All this time Lestat's trying to woo Louis back he's shaking up with Antoinette and Louis - who is still fundamentally, profoundly unhappy with Lestat is still asking him to murder Antoinette. It's also still funny to me that Lestat raged at Louis that he heard his hurt dancing when he was with Jonah and what he and Antoinette had was different because there were no feelings involved and turns out he ends up with her for years and turns her. Lestat really is the best kind of worst person. - Which is crazier : Lestat having his side piece sing on the track trying to woo back his ex or Louis destroying the record and having Lestat re-record it? -While Lestat is the best kind of worst, I do enjoy it when he plays dirty. He wasn't going to Claudia escape and leave him yet again with a mournful Louis. Hell naw, he needed her around to keep Louis company while he was off with Antoinette.

I know there are people who think ATLANTA is overpraised but when they pull out episodes like this it's no question why. It's brilliant. Using backdrop of the origins of THE GOOFY MOVIE to front its own nod to THE SPOOK WHO SAT BY THE DOOR with Tom Washington's stumble into power at Disney and giving it the animated film an all-too-vivid and realistic documentary treatment speaking on its "blackness" paralleled to one man's identity struggles. Too good. Loved all the little great details like in Tom's flipbook the building he goes to after graduating is specifically the animation building on the Disney lot and the Disney font over everything, including footage of the L.A. riots. NY Times's Jenna Wortham adding legitimacy to the piece playing herself. The imagery of the heydays with Tom partying with Kadeem Hardison and Adina Howard! Is this why Goofy hats were featured so heavily in "New Jazz" last season? Everybody loving on The Goofy movie.

With Martha being sidelined right now I just don't buy them offing Bet. I love Mary and Roger Hammond. About time another Pennyworth get their leg over.

He said that he was growing his hair out while filming so they had to have a weave while it grew. They should have used a better quality of hair. I am sure doing a color match was hell on the hair they used hence the stringiness.

Rashid was completely blissed out while Louis fed on him. And he's so considerate with the pineapples and honey - just good lover etiquette.

A lot of people on Twitter are sad pandas about this episode and feel as if it serves as the character assassination of Lestat. I disagree. Especially with how many are saying that the writers don't know the characters yet was praising them prior to this episode. I think it is just further shining a light on his relationship with Louis. Two people who aren't happy together but refuse to part. People use Jacob Anderson's quote about Louis and Lestat being endgame and judge this episode against it questioning however could it be that that's true. But there are so many people who choose to remain in imperfect (understatement of the century) for reasons that only makes sense to them.

In S2 in that episode where Van and Earn goes to the German festival, she tries to pin Earn down and commit to her whereas he wanted them to continue as is. Now here it is all this time later and he's the one who is wanting more. I am hoping that Van hasn't been keeping Earn as her #1 all this time and waiting for him to come around. I really don't want her to go to Los Angeles with him. He spoke of his wants for their relationship, but what about hers? It was interesting to me that he mentions he's been thinking about this since Europe. I am guessing him seeing her wilding out made him realize he was in danger of losing her. I think he likes the idea of an omnipresent, responsible Van who is there when he needs her which is not the same as being in love. I give it to Earn though - once he got that needless "I wouldn't be alone for long" out the way, he talked a good talk. But my hope is that while Van was touched in the moment, upon rumination she realizes that she doesn't need a commitment from Earn; that they have transcended that. Plus, with Lottie not wanting him in their tent and wanting her grandparents there, I think she's not as accustomed to Earn being around (and surely got used to Van being gone during her stint in Europe), so it greatly annoyed me when Earn talked about only coming to Atlanta a few times a year to visit. It was as if he was giving her an ultimatum - come with him or he'll be more or less out her life. Which, really is the status quo considering at the start of the series he had just returned to town.

Now airing on Sky. Elliot is back and under the thumb of a shadowy organization whilst the Dumanis adjust to their new power and the Wallaces fight to reclaim their place.