News Nuggets: Should the Oscars be more like the Tony Awards?

Why can’t the Oscars be more like the Tonys? “… until entering the Beacon Theatre in New York for the Neil Patrick Harris-hosted Tony Awards, which I did as a reporter Sunday night, I didn’t realize just how myriad the Oscars problems were. Nor had I ever seen firsthand the mechanics of a well-done award show or how enjoyable that show  could be — yes, even one that had to balance the needs of the room with the desires of the TV viewer … A respectful but still playful tone comes almost effortlessly to the Tonys … From the self-mocking ’50 Shades of Gay’ joke in the opener to several riffs on actors’ vanity to a closing number that was (by design) incomplete, many of the bits suggested that producers loved what they were there to honor but still had a sense of humor about it — because, in fact, what they do is often funny.” LOS ANGELES TIMES

Dolby christens its Oscar home: “Christening its new sponsorship of the home of the Oscars, Dolby devoted Monday to unveiling fresh signage for the Dolby Theater in Hollywood as well as the venue’s introduction of Dolby Atmos sound system. Dolby, which in May signed a 20-year naming rights deal for the theater (replacing Kodak), is wasting little time in using the locale as a global launching point for Atmos, though its effect on the Oscars themselves is yet to be determined. Nevertheless, with 164 loudspeakers installed, averaging one speaker for every 20 guests in the 3,400-capacity theater, the impact doesn’t figure to be a quiet one.” CHICAGO TRIBUNE

Tom O’Neil appears on “Showbiz Tonight” to discuss the Daytime Emmy battle between “The View” and “The Talk“: “Showbiz Tonight investigates which show has a better shot at bringing home the treasured Daytime Emmy award. ‘The View’ snagged the prize back in 2003, but it’s been years since the ABC talk show has been honored with a second. while CBS’ ‘The Talk’ is the newcomer to the category, earning its first nomination since its 2010 debut. But both shows still face other threats – ‘The Ellen DeGeneres Show‘ has been a big hit in past years, and Regis Philbin could steal the category with a win for his farewell episode on ‘Live! with Regis and Kelly.'” HLN

A wild year for movies and miniseries in the hunt for Emmys: “One of the oddest contests in the entire Emmy race is the made-for-TV movies/miniseries category. How can you compare a two-hour movie with a 12-part miniseries? And how can you keep track of which is what when contenders switch categories on you? In this year’s strange race, 2011 winner ‘Downton Abbey‘ (PBS) moves to the drama series category after success gave it a second season. FX’s ‘American Horror Story,’ which also has a second season coming up, looked like a drama but has qualified for the movie/mini competition as an ‘anthology,’ supposedly improving its Emmy chances. ‘It’s very confusing,’ says one voter, producer Joey Berlin. ‘And no human can see everything on TV.'” HOLLYWOOD REPORTER

James Corden says winning a Tony is “a lovely thing”: “James Corden is this year’s recipient of the 2012 Tony Award for Best Performance by an Actor in a Leading Role in a Play for ‘One Man, Two Guvnors.’ The funny-man got serious with BroadwayWorld in the Tony press room following his win, showing us just how genuinely humbled he is by the honor. Corden is best known for his roles in ‘One Man, Two Guvnors’ (Broadway, National Theatre) and ‘The History Boys’ (National Theatre, Broadway and international tour) … Bob Boyett and The National Theatre of Great Britain’s production of ‘One Man, Two Guvnors’ is currently playing at the Music Box Theatre (239 West 45th Street).” BROADWAY WORLD

Downton Abbey” costume designer submits the second season premiere for Emmy consideration: “Costume designer Susanna Buxton won an Emmy for best costumes in a movie/miniseries in 2011 for ‘Downton Abbey’ … For her 2012 Emmy submission, she chose the Masterpiece Theatre show’s two-hour premiere (‘Fall 1916 — Spring 1917’) that introduces the start of World War I. As well as making precise and historically accurate British officers and enlisted men’s uniforms, Buxton’s challenge was to depict how the war impacted British society through fashion’s silhouettes and fabrications, while maintaining the clarity of the British class distinctions. ‘We had moved into a period when there was less emphasis on decoration and more on the cut and the line of the dresses,’ says Buxton. ‘Things got simpler because they had to.'” HOLLYWOOD REPORTER

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