Meryl Streep || Academy Awards Wins/NominationsThere are some days when I myself think I’m overrated … but not today.
Meryl adds to her very, very long list of nominations. Read all the nominees here at Deadline: http://www.deadline.com/2014/01/oscar-nominees-2014-list-live-stream-academy-award-nominations/
The Televerse TV PODCAST #78- Caprica with Chris Piers/Spotlight on The Vampire Diaries and Spartacus
Thanks to the number of interesting TV episodes to discuss, the podcast this week is on the long side, perhaps inspired by the Oscars. After briefly previewing Tuesday night’s CBS pilot Golden Boy, we kick off a strong week in TV, including the Tuesday Comedies (New Girl, Mindy Project, Cougar Town), the Cult pilot,Justified, part one of the Top Chef Seattle finale, Southland, The Americans, the Thursday Comedies (Community, Parks and Rec x2, Archer), the Oscars telecast,The Amazing Race, Girls, and the winter (read: season, perhaps series) finale ofBunheads. Then, for the first time since episode 11, two shows share the episode spotlight- Spartacus: War of the Damned and The Vampire Diaries. Afterwards, we keep the genre talk going by welcoming Chris Piers of Television Zombies to the DVD Shelf to help us break down the flawed but intriguing Caprica.
Verisimilitude can be a terrible trap. Film is an inherently contrived medium, one nevertheless capable of insinuating itself into realms real, imaginary and psychic through cunning, trickery, and time-honored craft. But, for better and (usually) worse, the existence of the medium’s hidden powers doesn’t stop some contemporary filmmakers from tweaking established conventions in the hope of creating a more “realistic” experience.
Take Britain’s Tom Hooper, for instance. Given any chance, he’ll extol the virtues of his new filmic adaptation of the musical version of Victor Hugo’s Les Misérables. He’ll doubtlessly mention that it features live, in-camera vocal performances, forgoing the standard film-musical practice of utilizing studio-honed vocal performances that are then synced to the actors’ filmed performances. (Or, heaven forbid, hiring professional singers to handle that aspect.) His directorial style, which makes use of copious Steadicam and extreme closeup and Dutch angles, seeks to emphasize the presentness of said performances. This is to be a bold new vision of the movie musical. (Nevermind that the notion of the film’s purported “realness” doesn’t exactly mesh well with its status as an English-language musical set in France with a mostly-British cast.)
The trouble with his Les Misérables is that neither Hooper nor (most of) his cast is remotely up to the much-trickier-than-foreseen task; they’ve skipped straight to attempting to reinvent the wheel without any indication that they actually understood just how the damn thing actually worked in the first place.
Josh Spiegel swaps in for Ricky D, joining Simon Howell and Julian Carrington to discuss two late-year fest darlings – which, of course, also makes them Oscar hopefuls. First up is David O. Russell’s bipolar rom-com Silver Linings Playbook, with Bradley Cooper, Jennifer Lawrence, and Robert de Niro; next is the John Hawkes vehicle / bio-pic/ would-be tearjerker, The Sessions. Up for discussion: the MPAA and penises, the TIFF Audience Award track record, and whether it’s better to over-direct or not to direct at all.