Saturday, September 21, 2024
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Gladys Knight Won the Super Bowl with Sublime Soulful National Anthem, She Is One Of Our Greatest Stars (Kennedy Center, Hear that?)

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Gladys Knight won the Super Bowl tonight. She is one of our very best singers, as good as Barbra Streisand, Tony Bennett, any superstar (even our late great Aretha). She should have a Kennedy Center honor already.

Watch her sing the National Anthem from tonight’s game. This is maybe the best version ever outside of Whitney Houston. We must all thank her for grace and eloquence. And that voice!

PS I hope she’s featured on CBS’s Motown 60 special taping next week. Gladys had MONSTER hits on Motown from 1968 to 1973 including “I Heard it Through the Grapevine” and “Neither One of Us.”

“Roma” Win at Directors Guild Suggests Oscar Gold is Around the Corner for Alfonso Cuaron and Maybe Marina DeTavira

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Alfonso Cuaron won Best Director last night at the DGA, as expected, for his brilliant movie “Roma.” It wasn’t unexpected. “Roma” is something that is going to happen whether we like it or not.

Me, I like it. “Roma” is a masterwork. It’s exceptional filmmaking. It’s not a blockbuster, no one knows how much money it’s made, or how much has been spent on its awards campaigns. It doesn’t matter.

Most DGA winners go on to win the Oscar– at least for directing. Cuaron seems to have a lock on that Academy Award. Will “Roma” win Best Picture? That’s the big question.

“Black Panther” won Best Ensemble from the SAG Awards. “Roma” wasn’t even nominated for Best Ensemble even though it has a great group of actors including Marina DeTavira and Yalitza Aparacio, each of whom where surprise Oscar nominees in acting categories. Go figure.

So is the Oscar race between “Roma” and “Black Panther”? Yes. What about “Green Book”? Well, it’s still in there. Mahershala Ali seems certain to win Best Supporting Actor. But “Green Book” didn’t show show in SAG, and Peter Farrelly didn’t win DGA. So the odds of Best Picture are diminishing.

Two movies that are out of the Best Picture race are “A Star is Born” and “The Favourite.” The former is really a disappointment. Bradley Cooper should have won for Best First Feature at the DGA. He wasn’t even nominated for an Oscar. He’s being punished for overachieving,. since “Star” has made $200 million at the box office, plus millions more from the soundtrack.

A “Roma” vs. “Black Panther” fight is good for ratings, good for movies. They are equals in trail blazing for film. If Cuaron wins Best Director and “Panther” wins Best Picture, the real irony will have been no Oscar nomination for Ryan Coogler, the director of the latter film. That will be the headscratcher to discuss for at least a few days. And then a new Oscar season will begin.

Sundance Festival Gives Awards to “Clemency,” Starring Alfre Woodard, “One Child Nation” About Chinese Adoption, “The Souvenir” with Tilda Swinton

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2019 SUNDANCE FILM FESTIVAL FEATURE FILM AWARDS

The U.S. Grand Jury Prize: Documentary was presented by Rachel Grady to: Nanfu Wang and Jialing Zhang, for One Child Nation / China, U.S.A. (Directors: Nanfu Wang, Jialing Zhang, Producers: Nanfu Wang, Jialing Zhang, Julie Goldman, Christoph Jörg, Christopher Clements, Carolyn Hepburn) — After becoming a mother, a filmmaker uncovers the untold history of China’s one-child policy and the generations of parents and children forever shaped by this social experiment.

The U.S. Grand Jury Prize: Dramatic was presented by Damien Chazelle to: Chinonye Chukwu, for Clemency / U.S.A. (Director and screenwriter: Chinonye Chukwu, Producers: Bronwyn Cornelius, Julian Cautherley, Peter Wong, Timur Bekbosunov) — Years of carrying out death row executions have taken a toll on prison warden Bernadine Williams. As she prepares to execute another inmate, Bernadine must confront the psychological and emotional demons her job creates, ultimately connecting her to the man she is sanctioned to kill. Cast: Alfre Woodard, Aldis Hodge, Richard Schiff, Wendell Pierce, Richard Gunn, Danielle Brooks.

The World Cinema Grand Jury Prize: Documentary was presented by Verena Paravel to: Tamara Kotevska and Ljubomir Stefanov, for Honeyland / Macedonia (Directors: Ljubomir Stefanov, Tamara Kotevska, Producer: Atanas Georgiev) — When nomadic beekeepers break Honeyland’s basic rule (take half of the honey, but leave half to the bees), the last female beehunter in Europe must save the bees and restore natural balance.

The World Cinema Grand Jury Prize: Dramatic was presented by Jane Campion to: Joanna Hogg, for The Souvenir / United Kingdom (Director and screenwriter: Joanna Hogg, Producers: Luke Schiller, Joanna Hogg) — A shy film student begins finding her voice as an artist while navigating a turbulent courtship with a charismatic but untrustworthy man. She defies her protective mother and concerned friends as she slips deeper and deeper into an intense, emotionally fraught relationship which comes dangerously close to destroying her dreams. Cast: Honor Swinton Byrne, Tom Burke, Tilda Swinton.

The Audience Award: U.S. Documentary, Presented by Acura was presented by Mark Duplass to: Knock Down the House / U.S.A. (Director: Rachel Lears, Producers: Sarah Olson, Robin Blotnick, Rachel Lears) — A young bartender in the Bronx, a coal miner’s daughter in West Virginia, a grieving mother in Nevada and a registered nurse in Missouri build a movement of insurgent candidates challenging powerful incumbents in Congress. One of their races will become the most shocking political upset in recent American history. Cast: Alexandria Ocasio-Cortez.

The Audience Award: U.S. Dramatic, Presented by Acura was presented by Paul Downs Colaizzo to: Brittany Runs A Marathon / U.S.A. (Director and screenwriter: Paul Downs Colaizzo, Producers: Matthew Plouffe, Tobey Maguire, Margot Hand) — A woman living in New York takes control of her life – one city block at a time. Cast: Jillian Bell, Michaela Watkins, Utkarsh Ambudkar, Lil Rel Howery, Micah Stock, Alice Lee.

The Audience Award: World Cinema Documentary was presented by Ray Romano to: Sea of Shadows / Austria (Director: Richard Ladkani, Producers: Walter Koehler, Wolfgang Knoepfler) —The vaquita, the world’s smallest whale, is near extinction as its habitat is destroyed by Mexican cartels and Chinese mafia, who harvest the swim bladder of the totoaba fish, the “cocaine of the sea.” Environmental activists, Mexican navy and undercover investigators are fighting back against this illegal multimillion-dollar business.

The Audience Award: World Cinema Dramatic was presented by Mark Duplass to: Queen of Hearts / Denmark (Director: May el-Toukhy, Screenwriters: Maren Louise Käehne, May el-Toukhy, Producers: Caroline Blanco, René Ezra) — A woman jeopardizes both her career and her family when she seduces her teenage stepson and is forced to make an irreversible decision with fatal consequences. Cast: Trine Dyrholm, Gustav Lindh, Magnus Krepper.

The Audience Award: NEXT, Presented by Adobe was presented by Danielle Macdonald to: The Infiltrators / U.S.A. (Directors: Alex Rivera, Cristina Ibarra, Screenwriters: Alex Rivera, Aldo Velasco, Producers: Cristina Ibarra, Alex Rivera, Darren Dean) — A rag-tag group of undocumented youth – Dreamers – deliberately get detained by Border Patrol in order to infiltrate a shadowy, for-profit detention center. Cast: Maynor Alvarado, Manuel Uriza, Chelsea Rendon, Juan Gabriel Pareja, Vik Sahay.

The Directing Award: U.S. Documentary was presented by Yance Ford to: Steven Bognar and Julia Reichert, for American Factory / U.S.A. (Directors: Steven Bognar, Julia Reichert, Producers: Steven Bognar, Julia Reichert, Jeff Reichert, Julie Parker Benello) — In post-industrial Ohio, a Chinese billionaire opens a new factory in the husk of an abandoned General Motors plant, hiring two thousand blue-collar Americans. Early days of hope and optimism give way to setbacks as high-tech China clashes with working-class America.

The Directing Award: U.S. Dramatic was presented by Desiree Akhavan to: Joe Talbot, for The Last Black Man in San Francisco / U.S.A. (Director: Joe Talbot, Screenwriters: Joe Talbot, Rob Richert, Producers: Khaliah Neal, Joe Talbot, Dede Gardner, Jeremy Kleiner, Christina Oh) — Jimmie Fails dreams of reclaiming the Victorian home his grandfather built in the heart of San Francisco. Joined on his quest by his best friend Mont, Jimmie searches for belonging in a rapidly changing city that seems to have left them behind.

The Directing Award: World Cinema Documentary was presented by Maite Alberdi to: Mads Brügger, for Cold Case Hammarskjöld / Denmark, Norway, Sweden, Belgium (Director: Mads Brügger, Producers: Peter Engel, Andreas Rocksén, Bjarte M. Tveit) — Danish director Mads Brügger and Swedish private investigator Göran Bjorkdahl are trying to solve the mysterious death of Dag Hammarskjold. As their investigation closes in, they discover a crime far worse than killing the Secretary-General of the United Nations.

The Directing Award: World Cinema Dramatic was presented by Ciro Guerra to: Lucía Garibaldi, for The Sharks / Uruguay, Argentina, Spain (Director and screenwriter: Lucía Garibaldi, Producers: Pancho Magnou Arnábal, Isabel García) — While a rumor about the presence of sharks in a small beach town distracts residents, 15-year-old Rosina begins to feel an instinct to shorten the distance between her body and Joselo’s. Cast: Romina Bentancur, Federico Morosini, Fabián Arenillas, Valeria Lois, Antonella Aquistapache.

The Waldo Salt Screenwriting Award: U.S. Dramatic was presented by Phyllis Nagy to: Pippa Bianco, for Share / U.S.A. (Director and screenwriter: Pippa Bianco, Producers: Carly Hugo, Tyler Byrne, Matt Parker) — After discovering a disturbing video from a night she doesn’t remember, sixteen-year-old Mandy must try to figure out what happened and how to navigate the escalating fallout. Cast: Rhianne Barreto, Charlie Plummer, Poorna Jagannathan, J.C. MacKenzie, Nick Galitzine, Lovie Simone.

A U.S. Documentary Special Jury Award for Moral Urgency was presented by Alissa Wilkinson to: Jacqueline Olive, for Always in Season / U.S.A. (Director: Jacqueline Olive, Producers: Jacqueline Olive, Jessica Devaney) — When 17-year-old Lennon Lacy is found hanging from a swing set in rural North Carolina in 2014, his mother’s search for justice and reconciliation begins as the trauma of more than a century of lynching African Americans bleeds into the present.

A U.S. Documentary Special Jury Award: Emerging Filmmaker was presented by Jeff Orlowski to: Liza Mandelup, for Jawline / U.S.A. (Director: Liza Mandelup, Producers: Bert Hamelinck, Sacha Ben Harroche, Hannah Reyer) — The film follows 16-year-old Austyn Tester, a rising star in the live-broadcast ecosystem who built his following on wide-eyed optimism and teen girl lust, as he tries to escape a dead-end life in rural Tennessee.

A U.S. Documentary Special Jury Award for Editing was presented by Alissa Wilkinson to: Todd Douglas Miller, for APOLLO 11 / U.S.A. (Director: Todd Douglas Miller, Producers: Todd Douglas Miller, Thomas Petersen, Evan Krauss) — A purely archival reconstruction of humanity’s first trip to another world, featuring never-before-seen 70mm footage and never-before-heard audio from the mission.

A U.S. Documentary Special Jury Award for Cinematography was presented by Jeff Orlowski to: Luke Lorentzen, Midnight Family / Mexico, U.S.A. (Director: Luke Lorentzen, Producers: Kellen Quinn, Daniela Alatorre, Elena Fortes, Luke Lorentzen) — In Mexico City’s wealthiest neighborhoods, the Ochoa family runs a private ambulance, competing with other for-profit EMTs for patients in need of urgent help. As they try to make a living in this cutthroat industry, they struggle to keep their financial needs from compromising the people in their care.

A U.S. Dramatic Special Jury Award for Vision and Craft was presented by Tessa Thompson to: Alma Har’el for her film Honey Boy / U.S.A. (Director: Alma Har’el, Screenwriter: Shia LaBeouf, Producers: Brian Kavanaugh-Jones, Daniela Taplin Lundberg, Anita Gou, Christopher Leggett, Alma Har’el) — A child TV star and his ex-rodeo clown father face their stormy past through time and cinema. Cast: Shia LaBeouf, Lucas Hedges, Noah Jupe.

A U.S. Dramatic Special Jury Award for Creative Collaboration was presented by Dennis Lim to: Director Joe Talbot for his film The Last Black Man in San Francisco / U.S.A. (Director: Joe Talbot, Screenwriters: Joe Talbot, Rob Richert, Producers: Khaliah Neal, Joe Talbot, Dede Gardner, Jeremy Kleiner, Christina Oh) — Jimmie Fails dreams of reclaiming the Victorian home his grandfather built in the heart of San Francisco. Joined on his quest by his best friend Mont, Jimmie searches for belonging in a rapidly changing city that seems to have left them behind. Cast: Jimmie Fails, Jonathan Majors, Rob Morgan, Tichina Arnold, Danny Glover.

A U.S. Dramatic Special Jury Award for Achievement in Acting was presented by Tessa Thompson to: Rhianne Barreto, for Share / U.S.A. (Director and screenwriter: Pippa Bianco, Producers: Carly Hugo, Tyler Byrne, Matt Parker) — After discovering a disturbing video from a night she doesn’t remember, sixteen-year-old Mandy must try to figure out what happened and how to navigate the escalating fallout. Cast: Rhianne Barreto, Charlie Plummer, Poorna Jagannathan, J.C. MacKenzie, Nick Galitzine, Lovie Simone.

A World Cinema Documentary Special Jury Award for No Borders was presented by Maite Alberdi to: Hassan Fazzili, for Midnight Traveler / U.S.A., Qatar, United Kingdom, Canada (Director: Hassan Fazili, Screenwriter: Emelie Mahdavian, Producers: Emelie Mahdavian, Su Kim) — When the Taliban puts a bounty on Afghan director Hassan Fazili’s head, he is forced to flee with his wife and two young daughters. Capturing their uncertain journey, Fazili shows firsthand the dangers facing refugees seeking asylum and the love shared between a family on the run.

A World Cinema Documentary Special Jury Award for Impact for Change was presented by Nico Marzano to: Tamara Kotevska and Ljubomir Stefanov, for Honeyland / Macedonia (Directors: Ljubomir Stefanov, Tamara Kotevska, Producer: Atanas Georgiev) — When nomadic beekeepers break Honeyland’s basic rule (take half of the honey, but leave half to the bees), the last female beehunter in Europe must save the bees and restore natural balance.

A World Cinema Documentary Special Jury Award for Cinematography was presented by Nico Marzano to: Fejmi Daut and Samir Ljuma, for Honeyland / Macedonia (Directors: Ljubomir Stefanov, Tamara Kotevska, Producer: Atanas Georgiev) — When nomadic beekeepers break Honeyland’s basic rule (take half of the honey, but leave half to the bees), the last female beehunter in Europe must save the bees and restore natural balance.

A World Cinema Dramatic Special Jury Award for Originality was presented by Ciro Guerra to: Makoto Nagahisa, for WE ARE LITTLE ZOMBIES / Japan (Director and screenwriter: Makoto Nagahisa, Producers: Taihei Yamanishi, Shinichi Takahashi, Haruki Yokoyama, Haruhiko Hasegawa) — Their parents are dead. They should be sad, but they can’t cry. So they form a kick-ass band. This is the story of four 13-year-olds in search of their emotions. Cast: Keita Ninomiya, Satoshi Mizuno, Mondo Okumura, Sena Nakajima.

A World Cinema Dramatic Special Jury Award was presented by Charles Gillbert to: Alejandro Landes, for Monos / Colombia, Argentina, Netherlands, Germany, Sweden, Uruguay (Director: Alejandro Landes, Screenwriters: Alejandro Landes, Alexis Dos Santos, Producers: Alejandro Landes, Fernando Epstein, Santiago Zapata, Cristina Landes) — On a faraway mountaintop, eight kids with guns watch over a hostage and a conscripted milk cow. Cast: Julianne Nicholson, Moisés Arias, Sofia Buenaventura, Deiby Rueda, Karen Quintero, Laura Castrillón.

A World Cinema Dramatic Special Jury Award for Acting was presented by Charles Gillbert to: Krystyna Janda, for Dolce Fine Giornata / Poland (Director: Jacek Borcuch, Screenwriters: Jacek Borcuch, Szczepan Twardoch, Producer: Marta Habior) — In Tuscany, Maria’s stable family life begins to erode as her relationship with a young immigrant develops against a backdrop of terrorism and eroding democracy.

The NEXT Innovator Prize was presented by juror Laurie Anderson to: Alex Rivera and Cristina Ibarra, for The Infiltrators / U.S.A. (Directors: Alex Rivera, Cristina Ibarra, Screenwriters: Alex Rivera, Aldo Velasco, Producers: Cristina Ibarra, Alex Rivera, Darren Dean) — A rag-tag group of undocumented youth – Dreamers – deliberately get detained by Border Patrol in order to infiltrate a shadowy, for-profit detention center. Cast: Maynor Alvarado, Manuel Uriza, Chelsea Rendon, Juan Gabriel Pareja, Vik Sahay.

The following awards were presented at separate ceremonies at the Festival:

SHORT FILM AWARDS:
Jury prizes and honorable mentions in short filmmaking were presented at a ceremony in Park City on January 29. The Short Film Grand Jury Prize was awarded to: Aziza / Syria, Lebanon (Director: Soudade Kaadan, Screenwriters: Soudade Kaadan, May Hayek). The Short Film Jury Award: U.S. Fiction was presented to: Green / U.S.A. (Director: Suzanne Andrews Correa, Screenwriters: Suzanne Andrews Correa, Mustafa Kaymak). The Short Film Jury Award: International Fiction was presented to: Dunya’s Day / Saudi Arabia, U.S.A. (Director and screenwriter: Raed Alsemari). The Short Film Jury Award: Nonfiction was presented to: Ghosts of Sugar Land / U.S.A. (Director: Bassam Tariq). The Short Film Jury Award: Animation was presented to: Reneepoptosis / U.S.A., Japan (Director and screenwriter: Renee Zhan). Two Special Jury Awards for Directing werepresented to: FAST HORSE / Canada (Director and screenwriter: Alexandra Lazarowich) and The MINORS / U.S.A. (Director and screenwriter: Robert Machoian). The Short Film jurors were Young Jean Lee, Carter Smith and Sheila Vand. The Short Film program is presented by YouTube.

SUNDANCE INSTITUTE | ALFRED P. SLOAN FEATURE FILM PRIZE
The 2019 Alfred P. Sloan Feature Film Prize, presented to an outstanding feature film about science or technology, was presented to The Boy Who Harnessed the Wind. The filmmakers received a $20,000 cash award from Sundance Institute with support from the Alfred P. Sloan Foundation.

SUNDANCE INSTITUTE | AMAZON STUDIOS PRODUCERS AWARDS
Carly Hugoand Matt Parker received the 2019 Sundance Institute | Amazon Studios Producers Awards for Feature Film. Lori Cheatle received the 2019 Sundance Institute | Amazon Studios Producers Award for Documentary Film. The award recognizes bold vision and a commitment to continuing work as a creative producer in the independent space, and grants money (via the Sundance Institute Feature Film Program and Documentary Film Program) to emerging producers of films at the Sundance Film Festival.

The Sundance Institute / NHK Award was presented to Planet Korsakov (Japan) / Taro Aoshima.

Directors Guild DGA Awards: “Roma” Alfonso Cuaron Wins Best Feature, But Big Surprises in First Feature (“Eighth Grade”), Documentary (“Three Identical Strangers”), TV Comedy (“Barry”)

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Alfonso Cuaron won Best Director for “Roma.” He will win the Oscar, but not necessarily Best Picture.

The DGA Awards have produced some big surprises tonight. Bill Hader and “Barry” beat the Palladino’s and “Mrs. Maisel” for directing in TV comedy. What? The choreography, the complex direction of each “Maisel” episode is an art.

Morgan Neville lost Documentary Best Director to Tim Wardle and “Three Identical Strangers.”

First Feature went to Bo Burnham for “Eighth Grade.” He beat Bradley Cooper for “A Star is Born.” This is really a shock. Bradley Cooper did an excellent job. In Toronto we felt this was a movie to beat. Something has gone wrong over the months. Nevertheless, “A Star is Born” made $200 million. So someone liked it. As for “Eighth Grade,” I thought it was “Lady Bird” lite.

A bright spot: Ben Stiller winning Best Director of a movie/mini-series for “Escape at Dannemora.”

Adam McKay, director of “Vice,” won Best Director for a TV drama for his episode of HBO’s “Succession.” Go figure. The mystery of all TV drama nominations in all awards shows is why “Billions” is totally ignored all the time.

 

 

 

 

 

Winners to be announced beginning 9:30pm Eastern Time:
*Winners in bold

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN FEATURE FILM

Bradley Cooper, A Star Is Born
Alfonso Cuarón, Roma
Peter Farrelly, Green Book
Spike Lee, BlacKkKlansman
Adam McKay, Vice

OUTSTANDING DIRECTORIAL ACHIEVEMENT OF A FIRST-TIME FILM

Bo Burnham, Eighth Grade
Bradley Cooper, A Star Is Born
Carlos López Estrada, Blindspotting
Matthew Heineman, A Private War
Boots Riley, Sorry to Bother You

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN DOCUMENTARY

Morgan Neville, Won’t You Be My Neighbor?
RaMell Ross, Hale County This Morning, This Evening
Elizabeth Chai Vasarhelyi and Jimmy Chin, Free Solo
Tim Wardle, Three Identical Strangers
Betsy West and Julie Cohen, RBG

BEST VARIETY SERIES DIRECTING Don Roy King, “Saturday Night Live” Paul Pennolino, “Last Week Tonight with John Oliver” Sacha Baron Cohen, “Who is America” Jim Hoskinson, “Late Show with Stephen Colbert” Paul G. Casey, “Real Time with Bill Maher”

BEST MOVIE/MINISERIES DIRECTING Jean-Marc Vallee, “Sharp Objects” Ben Stiller, “Escape at Dannemora” David Leveaux and Alex Rudzinski, “Jesus Christ Superstar” Cary Joji Fukunaga, “Maniac” Barry Levinson, “Paterno”

BEST COMEDY DIRECTING Hiro Mirai, “Atlanta” (“Teddy Perkins”); Daniel Palladino, “The Marvelous Mrs. Maisel” (“We’re Going to the Catskills!”); Amy Sherman-Palladino, “The Marvelous Mrs. Maisel” (“All Alone”); Bill Hader, “Barry”; Donald Glover, “Atlanta” (“FUBU”)

BEST DRAMA DIRECTING Chris Long, “The Americans” (“START”) Daina Reed, “The Handmaid’s Tale” (“Holly”) Jason Bateman, “Ozark” (“Reparations”) Adam McKay, “Succession” (“Celebration”) Lesli Linka Glatter, “Homeland” (“Paean to the People”)

DGA’s Variety/Talk/News/Sports specials winner is Louis J. Horvitz for the 60th Grammy Awards

In Virginia, Lt. Governor Justin Fairfax Speaks Out About Governor’s Blackface Scandal: “I cannot condone the actions from his past”

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The Lieutentant Governor of Virginia, Justin Fairfax, has spoken out about Gov. Ralph Northam’s blackface scandal. He says despite the fact that Northam has been a friend and treated him well, Fairfax “cannot condone” what happened in the governor’s past. You can read it below.

Fairfax is right. Most everyone agrees Northam must resign. He can’t remember if he’s the man in the yearbook photo wearing blackface? That is a line from Donald Trump’s playbook. I’m two years older than Northam. If I’d seen him like that, or with a darkened face to be in a Michael Jackson costume, I’d remember. It was unacceptable in 1984 and unforgivable in 2019.

Isn’t it amazing, by the way, the irony: he darkened his face to be Michael Jackson. A few years later, Michael whitened his face. If Northam had just waited a decade, he wouldn’t have needed to be in blackface. But that’s another story.

Lucky for Virginia, Fairfax has a great history and will be an excellent governor. He’s also an actual Democrat. Northam, who voted for George W. Bush twice, was not so solid.

Pop: Backstreet Boys Land First Number 1 Album in 18 Years, All CD and Downloads, No Streaming, 236K Copies

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Backstreet Boys, middle aged men who used to be a boy band, are back on top of the charts.

Their “DNA” album is their first in 18 years to hit number 1 on the charts.

A little more than I predicted earlier in the week, “DNA” sold 236,000 copies. They were almost CDs and paid downloads, and very little streaming. Their older audience wanted it that way.

But their older audience also didn’t actually buy those CDs and downloads. “DNA” came with concert tickets. Backstreet Boys are a nostalgia act now, and they’re wisely cashing in on good feelings from fans who loved them in the 90s. The albums were part of the price of the ticket. The RIAA counts those as sales.

Next week when the ticket bundle is gone, “DNA” will sink at least 80% or maybe drop out of the top 50 altogether. There’s nothing to support it on the charts, no hit single. The days of “I Want It That Way” are over.

Curiously, the Boys didn’t turn to their old songwriters for tracks on the new album. The result is good vocals applied to not very compelling songs. And the Boys don’t have any publishing credits on the songs, so they’re not going to get that revenue.

Without the “DNA” sales, overall sales of music would have been pretty skimpy this week. An album by rapper Future, whose insistence on using his own music instead of Curtis Mayfield’s destroyed the “Superfly” remake last year, sold 57,000 copies– mostly via streaming.

“Bohemian Rhapsody,” “The Favourite,” “Spider Verse,” “Mrs. Maisel” Take Home Coveted EDDIE Awards for Film and TV Editing

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At the Eddie Awards, for film editing:

“Bohemian Rhapsody” and “The Favourite” garnered the Best Edited Feature Dramatic and Comedy while “Spider-Man: Into The Spider-Verse” took the Animated prize.  “Atlanta” “The Marvelous Mrs. Maisel” “Bodyguard,” and “Killing Eve,” took home the TV awards.

The editors came out of their edit bays for one night to the famed Beverly Hilton International Ballroom. Filled with Oscar nominees including Spike Lee, Bradley Cooper, Alfonso Cuaron and more, the vibe was non-jaded, not usual in that room especially, with a quirky funny host, Tom Kenny the voice of SpongeBob.

While wanting to go a bit racy, Tom remarked, “I can’t be swearing SpongeBob tonight; Viacom will send a Swat team of lawyers like [the ones who went to] Roger Stone’s house.”  Sincerity was present as kudos were paid to Anthony Bourdain, his CNN  show won, and more huzzahs went the winning docu award, “Robin Williams: Come Inside My Head.”

Octavia Spencer gave her “Shape of Water” director Guillermo del Toro the Golden Eddie.  Game Guillermo explained his stomach ailment as “as assassination attempt by a piece of chicken on a salad I ate with Jim Cameron on Tuesday.”  He praised editors by saying, “an editor recognizes the movie when it goes by, stops it and talks to it.”  He went on to quip that meetings in the industry are often times in a three-piece suit but editors and cinematographers are “the people that you meet in your curlers, your pajamas and with morning breath.”

The editors have a pretty good hitting average when predicting the Best Picture Oscar; they’ve predicted 17 of the past 28 winners.

Here is the complete list of winners at the 69th annual ACE Eddie Awards:

BEST EDITED FEATURE FILM (DRAMATIC)
Bohemian Rhapsody, John Ottman, ACE

BEST EDITED FEATURE FILM (COMEDY)
The Favourite, Yorgos Mavropsaridis, ACE

BEST EDITED ANIMATED FEATURE FILM
Spider-Man: Into the Spider-Verse, Robert Fisher, Jr.

BEST EDITED DOCUMENTARY (FEATURE)
Free Solo, Bob Eisenhardt, ACE

BEST EDITED DRAMA SERIES FOR NON-COMMERCIAL TELEVISION
Bodyguard: “Episode 1”, Steve Singleton

BEST EDITED DRAMA SERIES FOR COMMERCIAL TELEVISION
Killing Eve: “Nice Face”, Gary Dollner, ACE

BEST EDITED COMEDY SERIES FOR NON-COMMERCIAL TELEVISION
The Marvelous Mrs. Maisel: “Simone”, Kate Sanford, ACE

BEST EDITED COMEDY SERIES FOR COMMERCIAL TELEVISION
Atlanta: “Teddy Perkins”, Kyle Reiter

BEST EDITED DOCUMENTARY (NON-THEATRICAL)
Robin Williams: Come Inside My Mind, Greg Finton, ACE & Poppy Das, ACE

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION
Escape at Dannemora: “Better Days”, Malcolm Jamieson & Geoffrey Richman ACE

BEST EDITED NON-SCRIPTED SERIES
Anthony Bourdain: Parts Unknown – “West Virginia” Hunter Gross, ACE

STUDENT COMPETITION WINNER
Marco Gonzalez – Boston University

Grammy Awards Will Salute Motown’s 60th Anniversary with TV Special Taped Two Days After Show

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Maybe the greatest TV Music special ever was “Motown 25,” taped back in 1983. That’s when Michael Jackson moonwalked across the stage to “Billie Jean” and history was made.

Now the Grammys, Ken Ehrlich, and AEG are going to tape “Motown 60” two days after the Grammys in Los Angeles on February 12 th. This seems to be the reason Diana Ross is getting a special spot on the actual Grammy Awards.

Of course, a lot of Motown performers are gone. But many are still with us, including Diana, Stevie Wonder, and Smokey Robinson. Mary Wilson of the Supremes lives in Los Angeles, so it won’ t be hard to have her on the show.

Alas, all but one of the original Temptations is gone. And Levi Stubbs from the Four Tops is in heaven, crooning away. So is Marvin Gaye.

But there are plenty of ex-Motowners from the various groups in Los Angeles, and in Detroit. The Isley Brothers, who had a monster hit with “This Old Heart of Mine,” on Motown, are available. The Contours– “Do You Love Me?”– are still working. So is the great Martha Reeves, and the Vandellas.

Sounds like a very promising and fun show! And on point since the Temptations musical “Ain’t Too Proud” is opening on Broadway soon. You can bet that show will be featured!

 

A Media Era Comes to An End: Jann Wenner Totally Out of Rolling Stone as Penske Media Buys Up Rest of Company

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Jann Wenner is out.

It’s been 51 years since Wenner started Rolling Stone as a broadsheet from San Francisco. It used to fold in half and come out twice a month. Everything was fresh, and if you loved music, you were instantly dependent on it.

But you know, Time Life is gone. Conde Nast teeters, as does Hearst. Everything’s different now.

Tonight, Penske Media bought up the rest of Rolling Stone from Wenner and Singapore-based BandLab Technologies, the people Wenner had sold a minority interest to a couple of years ago. The announcement was made in Deadline.com, also owned by Jay Penske.

Penske now has full control of Rolling Stone, which believe it or not is still a worthwhile brand name. Even the website produces traffic. Alexa.com ranks it at 596 in the US, which is pretty good.

The Deadline story quotes an internal release Penske sent to the RS staff: “In the 12 months since PMC’s initial investment into this incredible team and legendary brand, the need to consolidate the Rolling Stone business has become abundantly clear and something that BandLab and their leadership team also recognized and were in full support of. It’s with their confidence and blessing that we were able to put together a deal that was best for all parties. We continue to have shared goals and will continue to collaborate in the future. This strategic transaction is a key move for what will be many years of future growth and expansion for Rolling Stone, both domestically and abroad.”

The end of Wenner is not bittersweet, it’s just bitter. Rolling Stone was his fiefdom. For years he ran it petulantly, as described in at least two biographies. He loved making and breaking writers, rock stars, photographers. He used the magazine as leverage in running the Rock and Roll Hall of Fame. And now the party is over.

Penske has achieved what Wenner could not: a media empire. Wenner at one point had US Weekly and Mens Journal. They’re all gone now. Penske owns RS, Variety, WWD, Hollywood Life, Deadline, TV Line.

Goodbye, Jann. It was…interesting.

 

“Hello, Dolly!” Opens in Los Angeles to Raves, and Wow, Wow, Wow with Betty Buckley in Carol Channing’s Signature Role

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Betty Buckley, playing Dolly Gallagher Levi in the National Tour of “Hello Dolly”, proves she is one of our shining divas of stage, screen and TV. Betty grabs the role with gusto; infusing her Dolly with pathos, humor, regret, love and hope. Betty has played numerous iconic roles on stage, TV and film, think “Carrie,” “Sunset Blvd,” “Eight is Enough,” “Split.” Buckley’s talent lies in instantly making the characters she plays human, accessible and relatable. Betty’s Dolly is singularly Buckley.

Based on Thornton Wilder’s 1955 play “The Matchmaker” with a book by Michael Stewart, directed by Jerry Zaks, and of course the glorious score by Jerry Herman which includes such classics as “Before the Parade Passes By,” “It Only Takes A Moment,” and the crowd adoring showstopper “Hello, Dolly!” The costumes and sets by Santo Loquasto add to the magic of it all. The cast and chorus are all wonderful, exuberant and perfection.

Legendary Carol Channing, who played Dolly for over thirty years and is most associated with that role, would have turned 98 today. Her star on the Hollywood Walk of Fame is front and center outside the Pantages. She would most certainly have approved of Betty’s powerhouse performance, so says her longtime publicist Harlan Boll who was there last night. “Carol would have considered Betty Buckley to be her kind of Broadway. She’d be comforted to know that her dear Dolly will indeed never go away.”