Jodie Comer should nominated for oscar for the last duel

I agree!!! I thought she knocked it out of the park! I thought The Last Duel was snubbed in so many ways, but Jodie was one of the most egregious. I thought she, AD, and also Ben Affleck gave killer performances and each of them should have gotten some serious attention and awards consideration. They were all great together. Matt Damon was too, but I think his performance was notably below that of the others. I also think the costume designer, Janty Yates, did a hell of a job that was just ignored. She was the costume designer on House of Gucci too.

Hi Max!

Would love to hear your thoughts on the Tony noms if you feel like sharing :)

Ok sorry to you and the others who asked I wanted to digest them.

Sharron D. Clarke's snub is unforgivable at the level of Gideon Glick's snub for Significant Other. Just like Gideon she should WIN. Like yes Linda shouldn't be in featured, but its what happened and she should have a Tony for that performance. And after last year's loss too.

Actor in a play is likely Sean Hayes... but it is a dynamic category and there is room for an upset by Wendell or Stephen.

Jefferson's snub was also horrendous. My fav performance of the year. I never thought he would win because it is a holiday show. But what I was not expecting was a nomination snub. And they didn't forget about the show because it got some technical nominations. One of the most cherished experiences I have had in the theatre. Favorite show of the year.

I always though Some Like it Hot would get the most noms even though I haven't seen it. I know enough to know that it has a lot of actors for noms, and it is one of the stronger ones so it was a lock for a lot of categories it was a lock for. Shocked about Borle getting in based off of those performances on TV. I was hoping for Burnap for that spot specifically. But I'm being a fanboy, I'll get back to this when I see Camelot on Sunday. Everyone is going for Platt or Groban... but it's totally gonna be J Harrison Ghee. They have the narrative. Platt a Groban will split the vote. I have doubts SLIH will take musical but they'll want to give it something. I bet it will win actor and maybe choreo

I actually thought Camelot wouldn't get a revival nom. So shocked that it did. Donica's nom was expected. (Early this season I thought he would get an easy win but Shucked coming out of nowhere and Alex getting put in actor instead of actress threw a wrench in that). The lack of a Soo nom is really a snub (especially with her pulling double duty this season), I was so impressed by her charisma in the Today performance. Again, Andrew Burnap is one of my favorite male actors in the GAME so I was rooting for him big time. So weird to see it get a revival nom but not a nom for the book or direction? Feels contradictory.

Jessica Hecht out of nowhere nomination. There's always one though.

Jodie Comer is probably the easiest lock out of all acting awards. I also think Uranowitz is a lock. That said, I wonder if how hyped Prima Facie is could backfire and they could go for Chastain who is magnificent and worthy of the award. I'm not seeing it until the end of June though... talk then.

Leopoldstadt will sweep and it will be done. Life of Pi may have a chance of sneaking in for direction? Maybe.

I don't know how I feel about score, but KA should get musical, book, actress, featured actress. The score isn't great though. There are a couple good ones... but if it wins it will win from a KA sweep in the writing categories and best musical. I know best actress in a musical is competitve... but Victoria is giving a masterclass. Annaleigh, while fantastic, doesn't reach the depths that Victoria does. And Victoria has lost her previous three noms, which I feel increases her chances. Micaela is really amazing from what I've seen but I think this is gonna be a platform for her to move on to other meaty roles.

I need to see Parade.... but like I don't understand why these very nice concerts are being lauded as great revivals. I adored Into the Woods! It is a very nice concert though. And that's not being dismissive, I know that these can be impactful. The revival of Chicago is a concert that was expanded into a slightly fuller staging and it is MASTERFUL. So concerts CAN be great revivals.... but I just don't see it like everyone else does. But I am a little at a loss at the fact that either Parade or Woods will win revival. (I'll be so pissy if Sweeney wins).

I loved Shucked. It's dumb and unsubstantial but a blast. Glad ti got love. It should win direction, set, and featured actor. And it has a good shot at set and after seeing Alex Newell... there's no WAY they won't win. It's a textbook featured performance win. Taking one song and shaking the house DOWN with it. And they found some great dramatic beats in a duet in the second act. And it's such a thin show that it made it more impressive.

SO happy that Ruthie Ann Miles got in.

Prima Facie not being nominated for Best Play after WINNING the Olivier is gaggy

THREE new pulitzer prize winners for drama in best play. Gag.

Good News Alden Ehrenreich got his role in ironheart but bad news Billy Howle and Gil Birmingham got snubbed by emmy for under the banner of hevaen

Oh yay!! Alden was great in Solo so thats exciting that he’s joining the MCU! He’s a really underrated actor.

I’m glad that Andrew is nominated for Under the Banner of Heaven!! But those others you mentioned should have been as well. And it should have been nominated for best limited series. Also happy that Oscar Isaac, Zendaya and Jodie Comer got noms too! But there were a lot of snubs this year

It’s okay if people didn’t enjoy The Last Duel as a film but Jodie Comer still deserved to be recognised for her work as Marguerite de Carrouges. An acting masterclass, just phenomenal, and the amount of work she put into having to act from THREE different perspectives, the amount of nuance she showed... I’m so sad for her. Hollywood doesn’t deserve her talent if she’s not going to be appreciated for stellar work.

some of you are about to be real mad at me but it must be said. jodie comer has given us one of the BEST performances in all of television history. the way she brings such humanity to a literal assassin.. no words. she feels genuine and vulnerable one moment, but is murdering the next. she is a complex and well-written character, but i believe she mostly works because of jodie. she deserves this emmy.

so i love sandra and all the awards she’s getting for killing eve rn, but can they give credit to JODIE???? cause her acting was phenomenal and playing villainelle is no easy task, like come on. they need to stop snubbing my good sis

The nominations in the lead acting and outstanding series categories were rife with personal favorites, including Bill Hader’s stellar performance in Barry, Phoebe Waller-Bridge’s everything in Fleabag, and Jharrel Jerome’s awe-inducing turn in When They See Us. I squealed when I heard Billy Porter’s name in the outstanding lead actor in a drama category (for the wonderful Pose), and I started imagining the banter between Jodie Comer and Sandra Oh when they accept the outstanding lead actress in a drama award for Killing Eve (regardless of who wins, I feel fairly confident that they’ll both take to the stage).

[...]

There are some noticeable slights—Suranne Jones is mesmerizing in Gentleman Jack, but the gorgeous (and queer!) period drama failed to make an impression. 

[...]

But for me the most glaring omissions are Justina Machado and Pamela Adlon. As Penelope Alvarez on One Day At A Time, Machado has given a performance that’s warm, fierce, and layered, and proven that she can monologue with the best of them. ODAAT should have been nominated in the outstanding comedy category, as season three was its best and most empathetic yet, but how does anyone with good taste keep overlooking Machado’s multifaceted portrayal of a mother and veteran? And how does that same voting group miss out on the fact that Adlon has almost singlehandedly made Better Things one of the best things on TV? To see that show, which also recently aired its third season, shut out in the writing and directing categories is dismaying; but for Adlon to be left out of the lead actress in a comedy category despite having two consecutive nominations (for 2017 and 2018) is just baffling.

ROBBED: While Barry was deservedly all over the comedy categories, this year’s other brilliant breakout about a dysfunctional assassin, BBC America’s Killing Eve, wasn’t so lucky on the drama side. AMC’s Halt and Catch Fire delivered a final season for the ages that few voters (and viewers) watched, while The Deuce suffered the same Emmys fate as most of David Simon’s other series, even though Simon and George Pelecanos got movie stars to anchor this one.

ROBBED: Jodie Comer was every bit as important to what made Killing Eve work as Oh. Maggie Gyllenhaal works emotional magic in every episode of The Deuce. And while I wasn’t expecting Halt’s Kerry Bishé and Mackenzie Davis to suddenly be noticed by the voters now, I’m getting choked up just thinking about their final scenes together.

the way tessa thompson and ruth negga both delivered nuanced yet powerful performances about what it means to be a black woman in 1920s harlem and jodie comer delivered three different exemplary variations of lady marguerite’s account of what happened to her in medieval france yet they all got snubbed

Sandra Oh is a LOSER and I have receipts.

Sandra Oh has been nominated 13 times for an Emmy Award and she has not won 13 times. Damn, gurl. What seems to be the problem here? You mean to tell me you weren't good enough not once, not twice, not thrice, not a dozen times, but THIRTEEN times?

Sorry, baby. It's all true. How do you spell "loser?" You spell it S-A-N-D-R-A-O-H. Okay, here's the thing. I'm only a few more weeks/days/hours/minutes/seconds from pulling the plug on WeAreVillaneve across every social media platform and since the show is dead, over, and buried, how much longer am I supposed to carry on? Gurl, please!

I'm all done with this "Yes, someone else was better than Sandra Oh for the 13th time, but oh well the writing wasn't that good and Zendaya was really good in Euphoria" bullshit.

Hey! Wasn't I supposed to be the star? WTF? Why are you smirking, Jodie, huh?

Sandra Oh has been nominated for an Emmy award 13 times and she has lost 13 times. Eleven times to a White woman and two times to a Black biracial woman and that is all well and good, but it is not. It really is not.

Sandra can style n' profile on the carpet and blow up social media by showing up rocking that Prince-inspired PURPLE in all her fierceness and ferocity, but when she actually steps inside, takes her seat, and sits quietly for the next three to four hours of jokes falling flat, commercial breaks, and categories she doesn't give a single shit about until they FINALLY get to Best Actress in A Drama and the actual award we tuned in to see, and once again loses because Someone Not Named Sandra Oh just oh-so happened to give a better performance than her it doesn't matter if their name is Claire Foy, Blythe Danner (x2), Katherine Heigel, Dianne Wiest, Jane Lynch, Zendaya (x2), Jodie Comer or Cherry "Who?" Jones.

All that matters is their name isn't Sandra Miju Oh. So yes, I AM blaming Sandra's 13th loss upon the fact that even White Liberal AF Hollywood is STILL located in Racist AF Amerikka and the fact is Sandra Oh is still too much of a badass, too unapologetic, too 50+, and too damn It's An Honor Just To Be Asian woman, and the Emmys ain't wit' it. Don't want to piss off those conservative corporations that buy up ad space on television and own movie studios or China by giving the Korean American Canadian her long-goddamn-overdue Emmy.

She can wait, right? Asian don't raisin, amirite?

Sandra Oh stood in the middle of the street in Pittsburgh after Asians had been targeted in Atlanta and across the U.S. and said I AM PROUD TO BE ASIAN AND I BELONG HERE and the Queen said it with her whole entire chest and damn whether or not White Liberal Hollywood was on board yet or not. Sandra spoke out when it would have been easier to not speak up.

Maybe that came back to bite her. Maybe it didn't. Maybe something else entirely, but I'm not going to treat Sandra being stubbed for the 13th and for all four seasons of Killing Eve as business-as-usual/somebody was better and ermigawd Zendaya is incredible!!!

Which she is. But is Zendaya and all the many other not-Sandras so much better than Sandra Oh? Sorry, but not sorry baby. Sandra Got Snubbed I give not one shit if Variety, The Hollywood Reporter, Deadline, Nikki Swift, the entire Killing Eve fandom in general, or you specifically agree with me or not.

Sandra Oh is Too Proud/Too Asian for Hollywood and that is fact and that is the truth. That's the truth and this 13th loss is the proof of it. I'm right and you're wrong and that's it. NOBODY loses thirteen damn times and it's just an unhappy coincidence. Don't be stupid or play me and Sandra like we are. We know what the Emmy wants and what it does not want to do is give Sandra Oh her Emmy.

So, roll up your excuses and do it any way you wanna but at the end of the day Sandra Oh was snubbed and I give not a single shit if Variety, The Hollywood Reporter, Deadline, Nikki Swift, and the entire Killing Eve fandom agree with me or not. Facts are facts, fam, and the facts are Sandra got screwed.

AGAIN.

Disagree all you want. I'm okay because reasonable people can disagree reasonably But then it's on you to show me where I'm wrong.

Jodie Comer being snubbed at the Golden globes is my villain origin story I hope she doesn't get the same treatment from the academy 🤡

Sci-fi gets some Oscar Best Picture love

Of course, sci-fi and fantasy films have been nominated for, and even won, Best Picture at the Oscars before. But as a pair of genres they still remain often underrepresented at the various big awards beyond the technical categories.

So it was kind of nice to see two such films get Best Picture nods this year. Dune is the big one, receiving not only Best Picture but a bunch of other nominations, though primarily in the technical categories (and, if it wins the top prize, Dune will join a select group of Best Picture winners not to have their directors also nominated). I’ve yet to see it but everyone I’d heard from has raved about it and it’s certainly considered superior to the David Lynch/Alan Smithee version from 1984 (though that one is deservedly a cult classic and, hey, it’s got Agent Dale Cooper, Jean-Luc Picard and Sting in it - what’s not to like?).

The other is Don’t Look Up, I saw over the holidays. I know opinions vary widely on this film. I thought it was OK. It had a Thick of It vibe and it’s been a while since I’d seen a Jennifer Lawrence film I liked so that was good.

Of the two, Dune is the more likely winner, though of course there are other films in the category including some critical (if not public) darlings like the remake of West Side Story and the “all-star-cast” thriller Nightmare Alley which if it wins would join the storied list of box office bombs that went on to win Best Picture. There’s also Power of the Dog which appears to be this year’s Slumdog Millionaire - a film that most people likely have never heard of before today and will likely find its mainstream popularity after it wins (it and Belfast appear to be the favourites).

I’ve never been a huge Oscars fan but they are still the recognition of record and command a lot more respect than the infamous Golden Globes and the [Insert Magazine Title Here] Movie Awards. So I’m pulling for Dune (I said I liked Don’t Look Up but even sight unseen I can tell Dune is the superior film). Also, although I didn’t like the song as much as other recent Bond themes, I’m still hoping Billie Eilish’s theme from No Time to Die allows the Bond series to pull a trifecta for Best Original Song.

In terms of snubs - considering how few theatrical films I had any interaction with in 2021, I don’t have too many. I was hoping to see Jodie Comer get a nod for The Last Duel (the film was generally considered underwhelming but everyone raved about Jodie’s performance), and her other film released last year, Free Guy, deserved some technical-nomination love. I also was hoping to see Rita Moreno score a Supporting Actress nomination for West Side Story as it would have given her the rare opportunity to win an Oscar for appearing in an original and its remake 60 years apart.

Also, whenever nominations come out people often note how the most popular film of the year usually didn’t get a Best Picture nomination. Spider-Man: No Way Home got a Visual Effects nod, but despite being the biggest-grossing film ever, no Best Picture or other major nomination. Fact is, popularity is never a reliable gauge for whether a film is critically acclaimed enough to win awards. Nightmare Alley bombed, and obscure films have won - often to their benefit; just ask the producers of Slumdog Millionaire, a film that no one in North America had ever heard of before it won and became a box office hit here afterwards. And while I am not suggesting No Way Home is a bad film, there are plenty of movies that are big hits but really aren’t considered “Oscar-worthy”. Problem is put a guy in a costume and it becomes harder to cross that line (Michael Keaton and Christian Bale were both widely seen as Oscar nomination-deserving for their versions of Batman, and in decades to come, Robert Downey Jr. as Iron Man will be cited as an example of someone that deserved an Oscar nomination).

Will I be watching the Oscars? Possibly. After several years of messing about with the formula (some intentional changes, some dictated by C19) they’re going back to basics this year. I might watch as the nomination for No Time to Die might give the Oscars an excuse to do a 60th anniversary tribute to the Bond films, much like they did in 2012 for the 50th, and that was the year Skyfall won Best Song, too. I’m also curious to see who will host; in past years this was announced as much as a year in advance, but this time they’ve yet to announce even as the nominations have been revealed. Part of me hopes they play it safe and bring back a classic host, such as Billy Crystal (Whoopi is in people’s bad books right now, so I doubt it would be her). One can dream and hope for Ricky Gervais (that would be entertaining). Or even better, Ryan Reynolds (either as Deadpool or as himself; I’m not picky).

Everything That Happened at the 2021 Golden Globes

The first two months of the year are finally over and as the days grow longer, we can start to see the early signs of spring. With spring comes summer and with summer comes an influx of movie releases, with the majority of films that were put on hold last year scheduled to be released in the following months in cinemas across the world. You know, cinemas, as in those big rooms where you pay to sit and watch movies from start to finish without pausing it? Gosh have I missed the pre movie adverts, comfy chairs and super wide screens. It's not the same at home and despite Netflix, HBO and Amazon Prime thriving, we shouldn’t set anything in stone when it comes to the quality and accessibility of film. 

Cinema is tradition whereas On Demand is convenience and usually choosing convenience over tradition does impact the quality of work being distributed. There are a bunch of films on streaming platforms that would be too inappropriate for cinemas, seeing as they lack a cinematic or dramatic feel to them to be good enough for a big screen. This allows mediocre to downright awful films to find an audience via streaming platforms. All well and good, seeing as these platforms are great exposure for upcoming filmmakers but at the same time it's a capitalistic system that puts views above the quality of content. It doesn’t matter if what you’re watching on Netflix is bad, they just want you to keep coming back for more. This can be said for mainstream cinema too, but to a lesser degree seeing as cinemas typically release around 68 movies per month, whereas Netflix has the ability to add up to 200 releases on their platform per month. It makes perfect sense that Netflix has the viewers that it does, as we can see that it releases almost twice the content of cinemas per month. For the avid cinephiles, this leaves us wanting a lot more as we’re only able to enjoy maybe one or two films a month from online streaming services, because the quality is so inconsistent. I hope that cinemas open soon so that I can relax knowing that the film I’ve paid money for will be of a good quality. 

Speaking of good quality films, Chloé Zhao, director of Nomadland (2021) became the second woman in the 78 year history of the Golden Globes to win an award for directing. This is an exceptional triumph and from the moment I saw Nomadland, I knew that it would have an incredible impact on awards circuits this year. Nomadland also won Best Picture, which proves something that up and coming filmmakers may need to start getting their heads around. People may not necessarily be gravitating towards cinema for a chance of escapism any more. I thoroughly believe those days are behind us, buried in the 70s and 80s with films that defied the laws of filmmaking and went to extreme lengths to serve us an entire universe that we couldn’t even comprehend. However, as the world grows more fragile and people start to realise the fragility of life, we want to connect with one another authentically and realistically. 

The way that film can do this is by showing our real selves on screen, showing our pain, redemption, emotions, fear, honesty, laughter, race, gender, humanity, darkest secrets and biggest dreams using the backdrop of cinema to sell us a story. People want films that are honest and are a reflection of humanity as well as the current society we’re living in. Not necessarily “a slice of life”, but a slice of humanity that we never see because it’s never impacted us directly, yet we still want to be made to feel like it has through film. That’s the key to success in any film, making the viewer feel like they’ve experienced something on screen even when they haven’t. If the film is too far away from our own psyche or humanity, we switch off, as we can no longer relate or even want to relate to something so obtuse and boring. Nomadland was the complete opposite to this theory, bringing us humanity in all its glory; its sadness and pure emotion that affects millions everyday, especially in such a time when loneliness is rife.

This is why Mank (2020) lost out. In a time where the world is in a sensitive disposition, Mank came as ineffective to the world of film. Though triumphant in it’s making, the film proves the fundamental foundation of film that Mank failed to do; have a good story. Mank just wasn’t the story people wanted or needed to see and one can appreciate a filmmaker’s efforts to make films but at the end of the day, the story is truly the only thing that’ll carry a film and if it's uninteresting and impersonal, people switch off. And they clearly did, seeing as Mank lost out to all SIX of its nominations. Less is more, I suppose, seeing as Nomadland won two out of four awards, including the top prize of Best Picture. David Fincher even took a shot every time he lost a category. Better luck next time.Other snubs included Emerald Fennell’s Promising Young Woman (2021) starring Carey Mulligan ,which was released on VOD last month. The film was nominated for four prizes and I suppose the lack of release in cinemas worldwide or at a Film Festival meant the lack of hype for the film. Regina King’s One Night In Miami...failed to pick up a prize, having been nominated for three awards. King shouldn’t be too disheartened, seeing as her debut definitely got her the recognition she deserved.

Aaron Sorkin most notably won Best Screenplay for his amazing picture, The Trial of the Chicago 7. I had the fortune of catching this in cinemas and the musicality of this screenplay was unreal. An incredibly authentic, riveting and honest piece of work, I believe we can safely say that Aaron Sorkin is the greatest writer for cinema and TV in our day and age. Sorkin is used to being showered with accolades, from Primetime Emmys with The West Wing, to an Oscar with David Fincher’s The Social Network.

The late Chadwick Boseman was honoured in full glory, having won the award for Best Supporting Actor in a Motion Picture for his role as Levee in Ma Rainey’s Black Bottom. An exceptional performance that reeks with Oscar success, Boseman is the first actor to be awarded the prize posthumously.

What’s also to be noted is the amount of British nominees and winners at this year’s ceremony. It seems like the American Film & TV market is wide open for Brits, seeing as Emma Corrin, Josh O'Connor, Daniel Kaluuya, Sacha Baron Cohen, Rosamund Pike, John Boyega and Anya Taylor Joy all won awards for acting. Helen Bonham Carter, Olivia Coleman, Vanessa Kirby, Riz Ahmed, Gary Oldman, Antony Hopkins, Dev Patel, James Corden, Hugh Grant, Jodie Comer, Lilly Collins and Nicolas Hoult all received nominations and were all born in the UK. The Crown in particular just seems to be getting more successful with each year and despite its controversy, the show has won Netflix 7 Golden Globes and 10 Emmys. What does this tell us about our actors and their ability in comparison to our friends overseas? Is it just a stroke of luck that the majority of actors who won this year are British or are we doing something different? Only time will tell as more British actors begin to be recognised for their flare over in the US.

If anything, we’ve learnt that The Golden Globes is for everyone. Anyone can win an award despite their background as long as those who control the awards ceremony are willing to give a variety of films a chance, not just ones directed by David Fincher. Nomadland is certainly an underdog for cinema, one that may not have done as well had other films been released last year. COVID-19 created space for this film to be seen and has truly been taken in as a work of art, proving that films of the same kind deserve to be seen in the up and coming future. British actors can and have made it big in Hollywood and it seems like American audiences welcome them with open arms. Sacha Baron’s Cohen’s humour in Borat Subsequent MovieFilm wasn’t unrequited, seeing as it won Best Musical / Comedy at this year’s award season, meaning every moment of that film (incriminating or not) WAS WORTH IT. Even though Regina King and Emerald Fennell lost out on their respective films, their work has been courageous and profound in helping to give space to women in the film industry. The fact that they were even nominated along with Chloé Zhao, was an achievement in itself and has women like me looking up to the success of these three women and realising that I could have the same shot. Mank came at the wrong time, and though good visually, it lacked a beating heart that the Golden Globes could identify with enough to give it at least one award. Soul was named Best Animation Feature Film of the year, also winning an award for music with a beautiful score by Atticus Ross, Trent Reznor and Jon Batiste. The Queen’s Gambit also reigned supreme, as Anya Taylor Joy won Best Actress for a performance in a mini series / tv film and the overall series won Best Television Mini Series / Television Film.

This has to be the best Golden Globes I’ve ever witnessed. Not only did it champion diversity in the film categories, British Actors and female directors, it actually gave consumers as well as judges, something that actually wanted, which was to see underdogs thrive in an environment that’s usually laid bare for the same characters. Let’s keep this up for the next ceremony !

ig @ratingtheframe

@awardshows thanks for finally noticing Jodie Comer but why y'all snubbing Sandra Oh. They both deserve to be nominated.

Give Sandra Oh her Emmy this year and give Jodie Comer her Emmy next year.

They both deserve it but Sandra has been snubbed multiple times at the Emmy's and it's about goddamn time.

Then, next year, Jodie can win because she also so very much deserves it.

And then both our leading ladies will be Emmy winners.