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November 10, 2020 at 8:23 am #1203826803
Keep discussing in Part 2.November 10, 2020 at 8:29 am #1203826831
This might be one of the most iconic supporting actor/actress trio nominations ever…
FYC OSCARS : PROMISING YOUNG WOMAN IN ALL CATEGORIES (ESP. ACTRESS – Carey Mulligan AND ORIGINAL SCREENPLAY — EMERALD FENNELL), VANESSA KIRBY FOR "PIECES OF A WOMAN", ESSIE DAVIS FOR "BABYTEETH"November 10, 2020 at 8:36 am #1203826851
Review from bloggers Tom & Lorenzo, also Rotten Tomato reviewers.
It’s a positive review, and has good things to say about Corrin and Anderson. They suspect that Anderson will win some awards, but also say that her portrayal feels a bit strained at times and takes a while to get used to. They also note that Corrin is great and that there are moments where she is so much like Diana, it will take the viewers’ breath away. Also interesting to note that the episodes with depictions of Diana’s eating disorder (rightly, I think) have content warnings.November 10, 2020 at 8:47 am #1203826890
Looks like Colman’s winning chances have been boosted.
The Guardian’s review.
Emma Corrin, fresh out of drama school, is a wonder as Diana. She first appears dressed as a tree, hiding behind a plant pot, impish and youthful to the point of child-like. Later we see her dancing to Blondie when Charles first telephones, having spied the potential of what she might have to offer him, or what he might take from her. That hunting metaphor, we know, is about to become all the more pertinent. The role is demanding, and asks a lot of Corrin; with the assistance of Josh O’Connor, who has emerged as one of the true stars of the saga, she pulls it off with remarkable skill.
I imagine Gillian Anderson’s Thatcher will be divisive: she is remarkably un-Anderson-like, devoid of that icy cool that she does so well, and her mannerisms and posture are uncannily good, her tone of voice unwavering. Her meetings with Olivia Colman’s Queen are one of the real treats of the season, as the two attempt to understand each other, side-stepping the notion that “two women running the country”, as Phillip puts it, should be immediately compatible, all the while carefully negotiating the trappings of the imbalances between them, whether of class, or power, or experience. To see Thatcher wriggle under Princess Margaret’s thumb – Thatcher begs her pardon; Margaret witheringly tells her that “begging for anything is common” – is even more fun.
This is The Crown at its best, jumping from beautiful location to beautiful location like an episode of Countryfile with a jaw-dropping budget. All of the drama of the 1980s bubbles away underneath, and its soapiness rarely jars like it once did. It is a delicious stage for brilliant actors to do their best work. Colman, who seemed, perhaps, a little too nice for the part last time, has chilled off fabulously. This makes it hugely enjoyable television, indulgent and rich, tailor-made for settling into, during these long, dark nights.
FYC OSCARS : PROMISING YOUNG WOMAN IN ALL CATEGORIES (ESP. ACTRESS – Carey Mulligan AND ORIGINAL SCREENPLAY — EMERALD FENNELL), VANESSA KIRBY FOR "PIECES OF A WOMAN", ESSIE DAVIS FOR "BABYTEETH"November 10, 2020 at 8:50 am #1203826902
Why are we treating reviews as proof of an Olivia Colman resurgence when she was acclaimed in the same for season three making her seem unbeatable until we all watched…November 10, 2020 at 8:51 am #1203826911
FYC OSCARS : PROMISING YOUNG WOMAN IN ALL CATEGORIES (ESP. ACTRESS – Carey Mulligan AND ORIGINAL SCREENPLAY — EMERALD FENNELL), VANESSA KIRBY FOR "PIECES OF A WOMAN", ESSIE DAVIS FOR "BABYTEETH"November 10, 2020 at 8:56 am #1203826934
I’m not trusting the reviews for Colman’s performance until we see it they eat up everything she does.November 10, 2020 at 9:11 am #1203826991
Why are we treating reviews as proof of an Olivia Colman resurgence when she was acclaimed in the same for season three making her seem unbeatable until we all watched…
I’m confused. Corrin and Anderson are sucking up all the attention and that won’t change when it’s officially released.
Looks like Colman’s winning chances have been boosted. The Guardian’s review.
I thought UK reviews were gonna be a lot better, but I’m not seeing any 5/5 ratings.November 10, 2020 at 11:23 am #1203827320
I think that I still slightly prefer the second season. That one had such momentum with Claire Foy’s performance, which was complemented by Matt Smith’s and Vanessa Kirby’s. Not really a fault of Olivia Colman, the queen just seems to have less going on in the period that this season depicts, so the season lacks an anchor. Diana’s arc is more of a through line, but she is also a less consistent presence. I do love that The Crown still values the episode as a narrative device, as that is increasingly and regrettably lost in the age of streaming. A few times this season, I would feel unsure early in the episode at what seemed like the exploration of a tangential plot thread, but I would be won over by the end. Still though, the season eventually seems to become just a little disjointed.
This is nitpicking in the sense that this is still a very good season and it could be my drama winner, but I suppose that what I am trying to get across is that this is not an addition for me to the pantheon of all-time great television seasons. It is not necessarily anyone’s fault, as history does not follow the logical structure of fiction.
What elevates this season is how much more mature the writing is. Whereas it always felt in the first three seasons like we were getting a bit of a rosy look at the royals because I assumed that Peter Morgan wanted to maintain cordial relations with them, the gloves are off this time. Charles is downright horrible, hence I am hesitant to predict him for nominations, but the queen also comes to come across very poorly as well. This is more interesting and layered dramatic storytelling. The writing is subtle in undermining the queen, who remains oblivious to the full picture and consequences of her actions. There are even nods to Philip’s adultery, which had been glossed over previously.
I cannot see Helena Bonham Carter getting nominated at the precursors. She only has a few lines in the first six episodes, then the seventh episode is Margaret-centric, but pretty standalone. She is not even in the eighth and goes back to figuring little after that. So it is both noticeable how long it takes for her to do anything and her showcase is also just early enough that she is forgotten by the end, being overwritten in memory by plot developments from the climax.
I saw a lot of praise here for the cinematography in the trailer, but Ben Caron and Adriano Goldman seemed to sit out more episodes than usual this season and I felt their absence in that I found the visuals less cohesive. The premiere would be a fine nomination for Caron, but the third episode is heartbreaking. It is Diana’s big one and Emma Corrin is outstanding. I will be rooting all season for her to win. She gets more big episodes and I previously mentioned that the season ends on her.
Gillian Anderson is very good too, but Corrin has much more of a rooting factor. We just saw Jeremy Strong beat Brian Cox. It is important though that the Globes awarded Cox without nominating Strong though and I could see the same happening here. It is just not a surprise that Anderson can give a big performance. This is a star-making performance by Corrin and the show itself is fully on her side. Diana is the hero of the season and she basically always comes across well opposite the established royals. I do not know where the sympathetic Charles that we got last season went, but I suppose that I am glad that we got to spend that time with him while we could.
There is never quite a Thatcher-centric episode in the way that Diana owns the third episode, Margaret owns the seventh, Michael Fagan owns the fifth and so on. The second episode is on track to be one, but she swaps out for its second half. The Thatcher storyline also takes a while to build and I wondered for much of the season whether the show would just keep to a rosy view like it had previously done for the royals. Like so many things this season though, it does end up coming around. “Fagan” is probably the best example of one where I was not on board initially, but I might recommend it as the writing submission now. My assessment is that either Anderson and Corrin vote-split or Corrin overcomes it. Maybe it does not matter in a plurality vote, but Thatcher’s larger-than-life mannerisms are inherently going to make impressions of her somewhat divisive.
This is a better performance by Colman than last season, but I cannot see her winning for it. Poor Tobias Menzies and Charles Dance. I cannot see them getting nominated after being snubbed when deserving last year with so much more material. I am sure that Menzies had a blast filming this season at least. It reminds me of Vera Farmiga coming back as a playful ghost for the final season of Bates Motel.November 10, 2020 at 11:42 am #1203827370
Thank you for your interesting thoughts @9
Glad we finally found out that Emma Corrin was the person who you said earlier on was your winner in your personal awards. I noticed you had Anderson ahead at SAG and actually in second only behind Linney. I was just wondering is that because you think Anderson’s “over the top” (I don’t mean this in a bad way) type of loud performance is one that would appeal to SAG voters?
Would you say that the maturity in the writing might give the show a boost for example at WGA and also would you say this is the undeniable series winner/frontrunner or do you think it’s vulnerable (due to its disjointedness) like seasons 1 and 3 were to being overshadowed later on during this Emmy season?November 10, 2020 at 12:49 pm #1203827554
This is the most anticipated Netflix series, let’s see what happens in the Golden Globes.November 10, 2020 at 12:55 pm #1203827561
Obviously I’ll have to see what they do next this season, but given the likely empty field, I can imagine Menzies and Dance getting makeup nods for last year’s snubs. I imagine Menzies will drop down to supporting most likely?
It’s interesting, cause I was thinking Corrin could be a Jeremy Strong type. Looks like that idea isn’t unfounded. I’ve personally been more hyped for her than Anderson since the beginning, but that’s likely due more to Diana being more interesting to me than the Iron Lady.
It is sad to hear that Colman never really got the role that Foy had, but as more impetus to players come along, it makes sense that you can’t always have so much focus on the Queen. Also sad for HBC getting pushed aside, but to be fair, a lot of us were already expecting something like that to happen.
It’s interesting, cause I’ve seen other reviews that claim that while Charles is much more unlikable here, he’s still given a sympathetic side. I guess we’ll see how the average viewer feels about him then moving forward. Speaking of Charles, is Fennell guest eligible this time, and more importantly, does she actually do anything this season? Any other possible guest contenders?November 10, 2020 at 1:10 pm #1203827615
The general opinion I’m seeing from several critics’ reviews is that it’s a great season but still not as good as Season 2 (which is fair since I think Season 2 will continue to be hard to beat). In terms of performances, I’m surprised to read that Anderson is somehow more divisive than I was expecting but I’m definitely not surprised to see unanimous praise for Corrin, especially when Diana is such a likable character. It’ll be interesting to see what happens with O’Connor because while many critics are calling his performance a standout, they’re also saying that Charles comes off as extremely unlikable this season.
Basically, in the reviews I’ve read, most of the praise is centered on the cast and their performances and the directing. On the other hand, most of the criticism (when I’ve seen any) is directed towards the somewhat “scattered” nature of the season and the writing at times, where this season doesn’t have as much of a central arc as Season 2 does. So, I can definitely see likely wins for acting and directing but I don’t feel as confident with writing wins for now, depending on the competition.
Though there are only 11 critics’ reviews in so far on Metacritic, I’m surprised the score for the 4th season (83 as of right now) isn’t higher. Do we expect the score to rise or drop as more reviews come in?November 10, 2020 at 1:21 pm #1203827655
Though there are only 11 critics’ reviews in so far on Metacritic, I’m surprised the score for the 4th season (83 as of right now) isn’t higher. Do we expect the score to rise or drop as more reviews come in?
Honestly, not by much. I think it’ll settle in that range in the end. But is it just me or TV critics in general seem to be much harsher in their ratings this year, at least compared to their film counterparts?
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