Forum Replies Created
May 13, 2016 at 5:58 am #1201833134
Ok woah woah woah, am I the only one who thinks that looks cheesy and Lifetime-y as hell?April 28, 2016 at 10:48 am #1201822342
Alison Wright knocked it out of the park. Would love to see a supporting nod for her.April 19, 2016 at 11:58 am #1201818509
I’ve enjoyed this season way more than the last two, but something about the overarching tone really irks me — it’s so uneven and inconsistent from one episode to the next, and sometimes even from one scene to the next. For instance, the first episode of the season is directed and written to be satirical and over-the-edge, with each character really living up to their own extreme and outsized personalities for comedic affect. Marnie, in particular, is given so many funny, sharp, and very weird lines that almost sound like they’re out of a Tina Fey show. Then we have her standalone episode — which also highlighted the extreme sides of her personality, but without such a biting and overtly comedic tone — that ended up being fantastic and much more effective at balancing the funny, absurd parts of her personality with her deeper, more dramatic problems. This also really got on my nerves with the last episode when Hannah is giving her monologue: she’s funny, self-aware, and childish, but all for the purpose of getting a laugh from the audience, and we sympathize with her because we actually understand where she’s coming from, despite being her typical exaggerated self. But just two episodes before, she’s running around a rest stop, yelling at Fran, and acting like a complete parody of herself — are we supposed to laugh at this for being absurd and ridiculous or genuinely believe that this is acceptable behavior and attempt to sympathize with her? Jessa and Adam going bonkers in the last episode — Kirke seemed to be overacting to play the moment for humor and absurdity, while Driver was fiercely serious and intense the entire time (per usual).
Did anyone else notice this as they were watching the season, or am I crazy? I can’t tell if the writing, direction, or performances are to blame, but while the tonal whiplash from episode to episode made me really appreciate the best moments (Marnie’s standalone episode, Jenny Slate’s incredible breakdown scene), it also made me really loathe the episodes and scenes that played into cheap and muddled parody for humor.April 19, 2016 at 7:03 am #1201818398
Oh sweetie, you need to read a book. Things can’t be “sexist” when they hold up and support the underrepresented and disenfranchised sex (aka women) — just like things like affirmative action aren’t racist because “race” is a system set up to inherently benefit white people, so any efforts to undo that imbalance and fight against that system is thus removed from it.
It’s not sexist when only 6 women have been nominated at the Grammys for Best Producer, and none have ever won. It’s not sexist when the first female to be nominated for a Best Engineered Album, Non-Classical Grammy was THIS YEAR. It’s called giving a voice — and a really fucking huge one, at that, thanks to Swift’s influence and power — to people who are constantly pushed aside in this industry.
And actually, it’s sexist for you to say that because she’s concerned with “making the best album” she NEEDS to work with men, because you are automatically disqualifying tons of women who, if given the opportunity, could potentially help her make a phenomenal album.April 15, 2016 at 8:01 am #1201746454
You know what I would actually love to see Taylor do, which I think would earn her mucho respect and my own personal nod of approval? (putting this here because, really, would any of us be surprised if FInal2 ended up actually *being* Taylor herself?): make an album that is entirely executed with female artists.
Only female writers like Tegan and Sara, Sia, Caroline Polachek, and Imogen Heap (again). Only female producers like Grimes, Shura, and Kara DioGuardi. Only female mixers, engineers, etc. People outside of her comfort zone like Sylvia Massy. Hell, get legends like Carole King in there. A completely woman-made album. She has the power, she has the money, she has the connections. This would be such an amazing feat that would work as both a genius PR move (her number one priority) and also make a strong musical statement (her second priority).
She got a shit ton of flack on social media for winning AOTY and coming up on stage with only men, so this would be the perfect passive aggressive, Taylor-esque clap back to that criticism. It’s a no-brainer.April 14, 2016 at 8:30 pm #1201674329
Sort of shocked Master of None made the list before Broad City has…April 13, 2016 at 9:05 am #1201674008
Wow, these reviews have me very excited — glad to see that Frears has handled the material with his typical authority over tone.
That said, I really hope Meryl’s next project (whatever it might be, since she has nothing lined up yet) veers away from these larger than life characters and back into her early-2000s career renaissance with the more nuanced and quiet characters of films like Adaptation, The Hours, and hell even Angels in America. I’ve seen the word “impression” pop up in more than one of these reviews, which I always find to be a bit of a negative euphamism when used to discuss her particular style of acting. Critics seem to have a really difficult time discerning when her performance is over the top rather than the character itself being over the top. She’s so so good at subtlety yet I feel that that’s been forgotten recently with her string of comedic films geared at “entertaining” an audience — the conversation has shifted from “Wow, look at how subtle she was and how much depth she brough to Devil Wears Prada” to “Wow, what a neat impression by a game performer that makes me laugh!”…has that tiny shift been bothering anyone else?
Then again, I would also love to see her return to her theatre roots and really knock it out of the park on Broadway — but I’m not holding my breathe for any of my silly little dreams.April 6, 2016 at 10:21 am #662336
Transparent is only considered a comedy because it’s a half-hour show. It is a drama, and should be in the drama categories. Hell, I’d probably give Tambor, Duplass, and maybe Landecker wins in drama.
Does it really just come down to length of episodes??? That’s absolutely bogus and makes zero sense!April 6, 2016 at 10:01 am #662332
Apologies if this has alreayd been discussed or if I’m missing something blaringly obvious, but I’m just catching up with Season 2 of Transparent and in no world is this a comedy. Yes, it has comedic moments, but the emotional and dramatic weight it places on its conflict points and cultural commentary are not comedic — they are strictly dramatic. Has there been any talk of seriously switching categories? If OITNB had to switch then I would be baffled to see Transparent not do the same.March 31, 2016 at 5:07 pm #661344
Just read a review for Crucible from Hollywood Reporter and it said the performances were very strong, esp. Ronan, Whishaw, and Okonedo…I know lead actress is stacked for Okonedo, but Ronan seems to have a fairly good chance, especially after coming off her great year with Brooklyn, no?March 25, 2016 at 10:42 am #601566
I actually think this is one of Streep’s most underappreciated performances ever, but I would still go with Blanchett.March 21, 2016 at 11:46 am #600324
The thing about Witherspoon, Bullock, and Roberts is that, while their wins were for the wrong roles, they deserve to be Oscar winners for other performances (all, interestingly enough, in superb comedic performances…Witherspoon in Election is honestly one of my favorite performances of all time). The same cannot really be said of Berry, Paltrow, or (in my opinion) Lawrence.March 21, 2016 at 11:40 am #600319
“When We Were Young” is still the best song off of “25.” Just b/c Adele’s team missed the window of opportunity to maximize on its hit potential doesn’t change that.
Third-ed. It’s a song that I wish would have caught on only because I can see entire stadium crowds singing along for years to come. It has an amazing nostalgic quality that brings out the power of the simple lyrics. It’s a shame it hasn’t gotten bigger.March 21, 2016 at 10:39 am #600309
Agreed that Williams is almost 100% getting in — Hilton Als at the New Yorker gave her a RAVE review.March 14, 2016 at 6:39 pm #416952
I’ve said it before, but everything she does seems like it is driven by spite. Taylor is a smart business woman, yes, but so are Beyonce, Lady Gaga, and Adele — but they also seem to be in this business because they love art, and I don’t see that similar drive in Taylor. She seems to be seeking more and more fame, and more and more spotlight, just to use that voice to bite back at people she thinks she has been wronged by. From bullies in high school to ex-boyfriends to Katy Perry and Camilla Belle, her songs come off as immature. She lost the AOTY Grammy for “RED” and is on RECORD saying she cried and went forth making a new album in order to make up for the pain of that loss. This is what fundamentally bothers me about her.
More has been said about this here.