Oscars 2016: the unintentional CB4 sequel

Way back in 1993, just after departing Saturday Night Live, Chris Rock starred in and co-wrote a pretty underrated comedy/musical on the hip-hop/r & b music scene of the day; not to mention a look at African-American culture as perceived by black people thinking of how white people saw them.  It was named CB4; and was ostensibly a parody and homage to Dr. Dre and N.W.A and Public Enemy along with other like minded artists.  Typical of audiences at the time, CB4 was give good write up yet meager box office.  It did not even matter that Phil Hartman was in this movie, as were a litany of important African-American celebrities.  Few Caucasian audiences saw CB4, nor even bothered to understand the social commentary within the laughter.

So we flash forward 23 years, and it is the night of the 88th annual Oscars, or Academy Awards if you are more perfunctory.  I watched it, and I was quite impressed with Chris Rock throughout the night.  I also applaud the Academy of Motion Picture Arts and Sciences in their commitment to be more diversified in their minority outreaches.  Yet, here is the rub: and mind you, I do say this being a white Caucasian man of 33.  As the night went on, the knowledge of the current African-American issues and the white counterparts were becoming a bit much.  Now, it was supposed to become a bit much.  However, it appeared that we were watching a real life CB4 occur.

By that I mean, a lot of what was mentioned was brilliant and thoughtful.  None the less, for every two brilliant observations, thee were at least the same amount of questionable and awkward moments.  Once again even the awkward moments were unintentional, yet there they were.  For instance,  was there a need for Stacey Dash's appearance? I am not so sure putting forth an appearance from a rare Republican-oriented celebrity was successful.  Also, while I do applaud the quick and important pledge drive for audience members to donate $65,000 for the Girls Scouts; it did come on the same night a number of African-American artists, including Ava Duvernay, were hosting a fundraiser in Flint, Michigan in support of alleviating the poisoned water crisis.  The donated totals for that fundraiser were less than the amount of money donated to the Girl Scouts on Oscar night.

In addition, when the three young Asian-American men were presented as members of Price Waterhouse Coopers, I think the joke fell flat on its face.  Fortunately, that is about the only missteps I had noticed.  Pretty much everything else was on point and rather hilarious.  What might be found as awkward are moments I thought were brilliant.  Now, there is a big difference between the Oscars and the Grammys:  in the Oscars, the awards matter along with the show.  Indeed, the awards make the show and always have.

Well, I was not 100% on my predictions. Indeed, some of my predictions were way off.  So, you may be wondering, what do I think of these newly minted award winners?  On the surface, I have few to no complaints whatsoever.  None the less, were I to go category by category, here is what I would consider of these award winners.

Best Visual Effects: I was genuinely surprised to see Ex Machina win.  A damn good movie, one in which I hope more people will look at in the near future.  It was amazing how Alicia Vikander looked in that movie.

Best Film Editing:  No surprise it went to Mad Max: Fury Road

Best Makeup and Hairstyle:  Once again it was Mad Max: Fury Road

Best Production Design:  Mad Max: Fury Road won the award.  I had an idea it would go that route.

Best Sound Editing:  it was Mad Max: Fury Road once again.  I of course am quite pleased with the decision.

Best Animated Short Film:  This was one of the biggest surprises of the night.  I was expecting World Of Tomorrow to have won the award.  In its place the Oscar went to Bear Story, which is unique in it is the first Chilean movie to receive an Oscar of any sort.

Best Live-Action Short Film:  The award went to Stutterer, a short film which I was not certain would win the Oscar.  I was not expecting it, and indeed I have yet to see the short film.  Hopefully it is well made.

Best Documentary Short Subject: I was hoping Claude Lanzmann: Spectres Of The Shoah would have taken the all important prize.  Seeing as how Shoah is one of the most important movies in recent memory, one would have thought a recognition by the Academy would suffice after a considerably long wait for recognition.  None the less, the award and perhaps some financial funding for the film makers' next project was given to A Girl In The River: The Price Of Forgiveness.  I did indeed get to see the documentary when it was on HBO, and it is quite compelling.  In point of fact, the reaction to A Girl In The River is promising, with the hope that honor killings in Pakistan will be eliminated.  Perhaps I should have taken the impact of a documentary on a government as more important than a legacy of a great film and its astounding director.

Best Costume Design:  I was hoping Sandy Powell would have received her Oscar for her impressive designs in Carol.  Alas, the award went to costume designer Jenny Beavan for her designs used in Mad Max: Fury Road.  I have no complaints on this matter, as the designs were quite important to the visual aspect of Mad Max, all four of the films to be precise.

Best Sound Mixing:  I was under the assumption that Gary Rydstrom would have received another Oscar due to his involvement in Bridge Of Spies.  None the less, the award went to Chris Jenkins, Gregg Rudloff and Ben Osmo for their sound designs utilized in Mad Max: Fury Road.  This marked the sixth award Mad Max: Fury Road won, the most of any movie.  And again, it was quite an important aspect for one of the bravest action movies to come in at least my lifetime.

Best Documentary Feature:  I was really expecting the Joshua Oppenheimer film The Look Of Silence to be honored.  Interestingly, the award went to Asif Kapadia and James Gay-Rees for their film Amy.  Sadly, I have yet to see this interesting documentary on Amy Winehouse; on that matter, I had thought the Nina Simone biographical documentary What Happened, Miss Simone? would have taken the award.  Perhaps I should now see Amy.

Best Animated Film:  Interestingly, I did get to see Anomolisa just before the Oscars.  And I was equally impressed and even emotionally floored with Charlie Kaufman's newest movie.  Heck, I think Tom Noonan should have gotten a Best Supporting Actor nomination, and you will know why once you see it. None the less, I was pleased when Pete Docter won the award for his movie Inside Out.  Do go see Inside Out, both children and parents.  You will not regret the experience.

Best Foreign Language Film:  No surprise, it went to Laszlo Nemes and his debut movie Son Of Saul.  I have only seen clips of this movie, so I do hope to get to see the full movie fairly soon.

Best Original Score:  In a rather touching and meaningful gesture, Ennio Morricone won his First Oscar outside of an honorary one for his work in The Hateful Eight.  I still have not seen that movie yet, though I have listened to the score and it is fantastic. I am not certain if it is among his best, though an award of this magnitude is legitimate.

Best Original Song:  I thought it was a given that Lady Gaga and Diane Warren were to win the Oscar this year.  Gaga's performance of Till It Happens To You had me in tears.  In a surprising move, Sam Smith won the Oscar for his song The Writing's On The Wall, as heard in Spectre.  It is a decent song, and I do commend Sam Smith for his interesting writing and performing.  Yet, it is far from being even among the best James Bond songs.  In my opinion, this one is.

Best Cinematography:  Well, Emmanuel Luzbeki won his second Oscar involving The Revenant.  Well deserved, though I am now wondering if Roger Deakins will ever receive an Oscar now.  Yet, that is irrelevant, as Luzbeki is one of the best DPs in the business these days.

Best Original Screenplay:  I am extremely pleased that Tom McCarthy won this award for Spotlight.  I have been impressed with McCarthy's prowess ever since he was involved with The Wire; and we can now see that early period pay off well.

Best Adapted Screenplay:  In a rather brave and ballsy move, Adam McKay won for the screenplay based on Michael Lewis' book The Big Short.  I thought it was quite an impressive storytelling technique and was pleased with the overall messages displayed.  Indeed, The Big Short has led me to reconsider McKay's other films, both with Will Ferrell and on his own.  Mr. McKay is a very socially and politically keen filmmaker.

Best Supporting Actor:  I was hoping Tom Hardy would have won and I was expecting Sylvester Stallone to win.  So you can imagine that it came as a complete surprise to see Mark Rylance win for his involvement in Bridge Of Spies.  I liked Bridge Of Spies and consider it to be one of Steven Spielberg's better films from his more recent period.  I was also impressed with the screenplay which involved the Coen Brothers.  Indeed, Mr. Rylance stood out in a role which marks only the second time an actor won for a Steven Spielberg film.

Best Supporting Actress:  I thought Rooney Mara sould have been the winner, and while I did not see The Hateful Eight I did see Jennifer Jason Leigh in her moving role in Anomolisa and hoped an Oscar would have come for her.  Instead, it went to Alicia Vikander in The Danish Girl.  I have yet to see that movie, and am aware that not everyone thought it was great.  I did however see Ex Machina, and was impressed with Ms. Vikander in that particular role. So for me, I feel Alicia Vikander won mainly for her role in Ex Machina, rather than The Danish Girl. In that regard, I can easily justify her Oscar win.

Best Actor:  Leonardo DiCaprio at long last won an Oscar in The Revenant.  Though I still think the Academy should have nominated more worthy candidates along with DiCaprio, including Michael B. Jordan, Abraham Atta, the cast of Straight Outta Compton, Jacob Tremblay and David Thewlis to name a few; Mr. DiCaprio deserved this Oscar and I a pleased with it.  To think, it has now been 25 years since he became a known actor, starting with one of the Critters movies.  How far we come.

Best Actress:  I liked Cate Blanchett and Saoirse Ronan in their movies, and think Charlotte Rampling is an underrated performer.  Yet I was happy to see Brie Larson win for her role in Room.  It is a most brilliant movie, and deserves the accolades it has received.  My only regret is that Jacob Tremblay was not nominated for Best Actor, and Joan Allen for Best Supporting Actress.  Of course Ms. Allen is well known, and I expect Ms. Larson and Mr. Tremblay to be well involved in films for years to come.

Best Director:  for the second year, the award went to Alejandro Gonzalez Innaritu for his film The Revenant.  Mr. Innaritu is one of the most visually impressive filmmakers around today, and The Revenant was quite the master work.

Best Picture:  many times, a Best Director win means a Best Picture win.  So I was by the end of the night expecting The Revenant to collect the top prize.  Instead, Best Picture went to Spotlight, produced by Michael Sugar, Steve Golin, Nicole Rocklin and Blye Pagon Faust.  I have said before that Spotlight was the best movie I saw in 2015, and I am pleased the Academy of Motion Picture Arts and Sciences thinks the same way.  By the way, it is still in theaters and now on demand, as are many of the movies discussed in these past essays.  Do see them, and especially go see Spotlight.

Well, those are my thoughts on the Oscars this year, where social and political matters were rightfully at the forefront of the awards and ideas were presented.  I must say this needed to be published earlier.  None the less, I have been attempting to conjure what and how to respond to this ongoing political problem we call the 2016 Presidential Primaries.  It did make its way to the Oscars, of course.  None the less, we now have nine months for the election to take place.  And at some point, this will be warranted to be said when all heck breaks loose.

A more playful of the famous words Martin Lawrence uttered in Bad Boys 2.

Take care and more political discussions to come,

Robert

PS.  By all means, do go see CB4.  It is rather good and still topical.

And the Oscar goes to...

It has been nearly a week since the Academy of Motion Picture Arts and Sciences announced the nominees for 2015 films in the next Oscars telecast on February 28.  This will be the 89th annual Academy Awards ceremony, the most prestigious and important night for the motion picture industry centered in Hollywood.  It also happens to be one of the few awards shows I tend to watch as much as I can: they easily run overtime.  So, what do I think of the nominations this year?

For the past three years, after Roger Ebert passed away, I have been attempting to see movies that I know will be excellent.  That fortunately results in getting to look at movies year round that are quite good and are easily Oscar caliber.  That is not to say there were some clunkers I saw this past year, but they were few and far between.  In this regard, I was able to see many of the nominated movies this past year; the most recent of which is the Lenny Abrahamson movie Room, which I highly recommend though it is not for the faint of heart.  A great deal of these movies that I saw have one thing in common:  the filmmakers and people involved with these movies are lily white mostly.  Half of the films I saw this year only had white people.  This was not a choice of mine; the fact is the bulk of what is considered best in 2015 were what we may consider white movies.  There are exceptions: the newest Spike Lee masterwork Chi-Raq, Straight Outta Compton, Creed, possibly Sicario, and I would surmise Star Wars: The Force Awakens.  Those movies dealt with issues and people that are minorities.  Let it be known, I have not yet seen Quentin Tarantino's new film The Hateful Eight.

I want to take notice of Chi-Raq for a moment.  Any one that has seen Spike Lee's latest joint would immediately consider this not only among the best of 2015, yet perhaps Mr. Lee's most coherent and innovative movie in recent years.  I tend to think all of Spike Lee's movies, including recent films like Oldboy, are interesting and innovative.  By the way, I hope the three hour plus director's cut of Oldboy is released soon enough.  Back to Chi-Raq, it was a marvelous film; Teyonah Parris is a star in the making, Nick Cannon can actually act, and anytime Angela Basset, Jennifer Hudson and Samuel L. Jackson appear in a movie of this sort you know to expect some of the best method acting around.

And I watched it on Amazon Prime.

Yes, Amazon Prime.  Indeed, Jeff Bezos of Amazon teamed with Spike Lee's 40 Acres And A Mule Filmworks along with Roadside Attractions in financing this film.  Rather than what would be perceived as a one time deal; online streaming and financing is going to be the future of how we view movies.  We are seeing this in the realm of American television, wherein Netflix, Amazon, Vimeo, YouTube, Apple and other providers are not only distributing shows; these businesses are financing newer talent and taking the risks to produce quality series that networks are not prone to carry.  As a result of the web's omnipresence, the Hollywood Foreign Press Association (Golden Globes) and the Academy of Television Arts and Sciences (Emmys) have allowed web shows to qualify for their respective awards.

Up to now, there has not been a need for the Oscars to look at this web presence.  However, that is going to change; what with Chi-Raq being shown on Amazon and Netflix co-financing Beasts Of No Nations, a movie I have not yet seen.  Rest assured, as the trend continues for most multiplexes to show only the movies guaranteed to fill the box office, more important and thoughtful films will be exhibited online first.  And I am sad to say, this will affect African-American cinema; notably non-action based films by African-Americans.  It is already a rare sight when a black culture film like Dear White People is able to be released to theaters nationwide, much less been seen willingly by white people.  I mentioned that when I saw that movie, which by the way also starred Teyonah Parris, there were about a dozen or so in the theater seeing it; maybe two people in there were white, including me.

This brings me to something that has been brought to my attention, along with others recently.  The membership of the Academy happens to be some 80% white, and 76% of that 80% being men.  The average minimal age for most Academy members is 60.  As well, as much as we do not like to admit this, nearly all Academy members have not gotten over the end of the New Hollywood era; that period of time when the studios and their parent companies allowed free reign in what movies were made. Thus, the voting members tend to look at awarding people from that time (1963-1993) or those that remind the voters of that time period.  A noble and understandable gesture; yet it has been 23 years since what I consider the end of New Hollywood, when Steven Spielberg changed course in his movies starting with Schindler's List.  I hope to explain why I think it marked an end of an era later on.

It is rather obvious that, in this post Roger Ebert, post movie house era of films, AMPAS will need to alter their membership and outlook.  There have been small steps recently, including Spike Lee receiving an honorary Oscar and Cheryl Boone Isaacs becoming the first female African American President of the Academy.  Yet those are just small measures; far more important will be issues pertaining to qualifications for movies shown online or on demand first.  This will go along with a greater emphasis on independent films and more avant garde choices.  Perhaps there will be a newer New Hollywood that can emerge.

That being said, what are my Oscar predictions?  Well in short, I thought the best movie of 2015 was the Tom McCarthy directed Spotlight.  Quite obviously, Spotlight is a movie that fits the paradigm of what New Hollywood represented, and has the ability to show risk taking in a blockbuster or nothing environment.  It is my hope that Spotlight wins Best Picture, Tom McCarthy wins Best Director, and Mr. McCarthy along with Josh Singer win Best Original Screenplay at least.  I would like to see Leonardo Dicaprio win Best Actor in The Revenant, and I do hope Brie Larson or Soairse Ronan win Best Actress in either Room or Brooklyn, respectively.  I have not yet seen the Charlotte Rampling movie 45 years, yet I do consider Ms. Rampling to be one of the more iconic screen presences in her lifetime.  I think Rooney Mara should win Best Supporting Actress in Carol, though I have yet to see the Quentin Tarantino film The Hateful Eight which nabbed Jennifer Jason Leigh her first nomination.  Mind you, I did like Rachel McAdams in Spotlight.  And this might be a bit controversial; yet I think Tom Hardy is most deserving of a Best Supporting Actor win in The Revenant. Though of course, Mark Ruffalo is a great actor himself, particularly in Spotlight.

  Best Adapted Screenplay is a bit of a push: I liked what Emma Donoghue accomplished in writing her own screenplay to Room based on her novel.  I was also amazed at Adam McKay and Charles Randolph adapting Michael Lewis' book The Big Short into an impressive film.  Either one would be fine by me.  Best Cinematography should go to Roger Deakins who shot Sicario, though I would also think John Seale for his involvement with Mad Max: Fury Road would be a wise choice.  Best Editing should go to Margaret Sixel who edited Mad Max: Fury Road, though I was impressed with Tom McArdle and his approach to cutting Spotlight.  And I would like to see Carter Burwell finally win an Oscar for his musical score used in Carol.

There are of course other nominees and other categories to consider.  And I will be doing that in the week or so running up to the February 28 awards ceremony.  Right now, these are my inferences and hopes for who will take home the prize.  Just to let it be known: I will be watching and I do hope to either live blog the event or perhaps even record my reactions on video while it is still ongoing.  I commit to not delaying the live blogging like what happened last year; albeit that was also due to getting laid off from my previous job the day after last year's Oscars.  This time should be quite different.

One other thing I want to mention.  I am a subscriber to YouTube's Red paid membership site.  I am pleased that I can see content that otherwise would be restricted or ad driven on the free site.  None the less, I am hoping YouTube Red will be allowed to start streaming movies through the subscription service.  As of now, some movies of importance are allowed without paying extra.  Most of these films though are of this quality.

These are the sorts of films I watch when snow weekends are here.

One more week until the first primaries: stay tuned for my thoughts,

Robert

An (alleged) actor prepares for his next (alleged) role

I have been interested in the performing arts such as movies and theater for quite some time now.  Despite this interest and knowledge, I have yet to be considered an actor; much less any important person involved in film making and stagecraft.  However, in the past two years, I have been involved with an acting troupe that at least once every year puts on a show in front of an audience consisting of our families and others from the Town of Oyster Bay, New York.  It relates to the Town's Group Activities Program for the Disabled, for which I am considered due to having Asperger's Syndrome. 

Each Spring since 2013, I have been involved in acting in a play or musical of some sort.  In 2013, I was both Bill the candy store owner and a composite of the TV reporters in Willy Wonka and The Chocolate Factory.  The next year, we did something different in a number of us portrayed important singers over the past 60 years.  It was our take on a Legends in Concert performance you might see on a cruise ship.  For my part, I was John Belushi in his Blues Brothers alter ego.  This past May, I was the Chris Penn character Willard in an interesting hybrid staging of Footloose.  We took elements from both the film and the later Broadway musical.  So, I got to sing (gasp!) a couple different times, notably the Randy Newman sound alike Mama Says.  Now, try picturing me singing this.

Sadly, I did not get to do the full song.  Oh well, had to make it just under an hour and 10 minutes.

So, next month the GAP drama program gets back in business after having the summer off.  I am hoping we may be able to do something for the Christmas season, even though it might be at best a holiday themed Legends in Concert sort of occasion.  None the less, we are definitely going to put on a show sometime next year in either April or May.  I would like to believe that before the year is out, we will find out what play/musical act we are doing.

This is where you come in.  I have some ideas that I would hope receive the necessary traction and approval of the GAP leadership; though I am far from the only person jotting down ideas.  Here are quite a few that I have considered for what we could do.

Disney related.

Inside Out
Snow White and The Seven Dwarfs
Toy Story (any of the movies)
Wall-E
The Lion King

Jim Henson related.

The Muppet Movie
The Great Muppet Caper
The Muppet Show (a sort of best of sketches)
Sesame Street (perhaps some of the better sketches over the years)
Labyrinth
The Dark Crystal
The Cube
The Storyteller ( any of a number of episodes)
A number of different TV specials involving Jim Henson and/or the Muppets
Note:  There would be no need to use puppetry.  I would prefer those involved being ourselves, yet imitating our characters by wearing related costumes.  In the case of a character like Kermit The Frog, a sweater or onesie (jumpsuit pajama) will suffice.

All ages acceptable, musical or film based

The Last Unicorn
Fun Home
The Curious Incident of the Dog in the Night Time
Finding Neverland (possibly the movie version)
A Hard Day's Night
Help!
Yellow Submarine
Bye Bye Birdie
Star Wars (any of the movies; though I have not yet seen Episode VII yet)
The Sandlot
Wallace and Gromit
Shaun the Sheep
The Pirates
Fantastic Mr. Fox
E.T.

I like these, although opinions may vary

Company
West Side Story (no alterations to the ending)
Into The Woods
Starlight Express
Cats
My Dinner With Andre
Toys
The Wall
Me and Earl and The Dying Girl
The Land Before Time
The Odd Couple (preferably the Lemmon-Matthau film)
The Producers
Blazing Saddles
Monty Python's Flying Circus (any number of sketches)
Monty Python and the Holy Grail
Monty Python's Life of Brian
Spamalot


And a special section.  Should we be doing another Legends in Concert type show, I think we could do some of these artists.

Pink Floyd
Sir Paul McCartney
The Who
ABBA
Janet Jackson
Peter Gabriel
Joni Mitchell
The Temptations
Prince
George Harrison
Stevie Wonder
Billy Joel
The Pretenders
U2
Paul Simon
Kiss
Arcade Fire
Husker Du
The B-52's


Where you come in is as follows: I would like to know what you think of these suggestions.  I would also like to know if you have any ideas of what we could do for next year.  If you can, please either comment or post or like this essay either here or on Facebook.  I would like to hear from you.

Here is an added incentive:  you can give me a suggestion, and if anyone asks, I could post a video of me acting out a role from that particular character and/or play/musical/movie.  Think of it like a screen test, or rather one of those lip sync dubbing videos only it is me actually saying the lines.

If you want, I can post an idea for what sort of musical I might like, though others are not sure.  I really think we could do a play such as this; provided some material is altered.

Once again, let me know what all of you think about these ideas.  I would like to hear your ideas as well.

Surprisingly have not been to a Broadway show in quite a while,

Robert Kelly

That One Summer: Live On Broadway

Growing up, there were not many TV channels that showed stand up comedy.  By that I mean, an actual live stand up routine outside of a talk show or some special programming.  One of the few channels to watch both up and coming comics and seasoned veterans was HBO.  And it was HBO that broadcasted the first stand up special starring Robin Williams.  That was back in 1978 at The Roxy; a performance we know was fueled by Mr. Williams' addiction to cocaine yet was quite brilliant.  It must be seen to be appreciated. 

Robin Williams went on to star in quite a few more comedy specials, each shown on HBO.  Also, Mr. Williams became involved with Comic Relief for many years.  Each of those comedy stand up shows were hilarious and insightful.  Indeed, it is difficult to say which one of his specials was the best.  I can tell you that in the Summer of 2002, one of Mr. Williams' stand up shows was broadcasted live on HBO that nearly everyone wanted to see.  I can remember it being talked about days and even weeks afterwards.  It was Robin Williams: Live On Broadway.  And in short, I probably did not laugh as hard and as often as I did that night.

It was not even a year after 911, and for me it seemed that topical social political humor was about to be thrown out the window, as it were.  People then, as now, more interested and comforted in bathroom jokes and celebrity impersonations and parodies.  Yet, by 2002, that was changing and quite rightly so.  Bill Maher may have been the spark that got political humor going again; to say nothing of the likes of George Carlin and others leading the way.  Yet I think that night in July, it was Robin Williams that dared to go all out.  Of course, Mr. Williams always went all out in his beliefs.  A very good example involved this little gem.

"Oh, guess what?  Congress has passed a bill to secretly assassinate Saddam Hussein.

So what they have done, is announce the US' plans to secretly assassinate Saddam Hussein.

I wonder if he knows?"

The audience both live and watching just about fell to the floor laughing.  In that one humorous observation, Robin Williams told everyone what a waste of time and money an invasion of Iraq would be.  That of course was one of many different people and things he made fun of that night.  I honestly do not know where to start with the best bits.

Would it be his Scotsman explaining golf?

His look at the Winter Olympics in Salt Lake City?

Mr. Williams doing a very succinct Donald Rumsfeld?

His extremely hilarious look at religion?  Which I might add only Bill Maher was on par with in that department?

Robin Williams observing that after 911, not much has changed in New York attitudes? 

His takedown on our at the time growing plastic surgery and medicine for sex fetishes?

Whatever it was, that night Robin Williams showed a vitality and sharp mind that I suppose was undervalued given Mr. Williams' film roles and cheery personality.  Yet, Robin Williams had always been edgy in his stand up comedy.  Go back and look at his comedy specials before Live On Broadway and even afterwards and you will see his genius on full display.  Plus, if you had received the DVD version, there was a lot more where that came from. 

At that point in Mr. Williams' life, it seemed like he was at the top of his influence; possibly far more influential than at any other time in his life.  And there was still more to come from Robin Williams in 2002.  Indeed, by August movie audiences were treated to one of the defining roles Mr. Williams had done in his life and one which, for myself, I walked out of the theater feeling disturbed.  That movie was of course One Hour Photo; a role of his that I had thought would have garnered Robin Williams another Academy Award nomination.  Alas, it did not.  Yet, it was the culmination of a revitalization that should have, if given more of a look, been the spark that changed Mr. Williams' trajectory in his humor and his acting. None the less, we still have That One Summer.

An essay on One Hour Photo is forthcoming,

Robert

PS.  Here in its complete glory is the Live On Broadway special I was talking about. 

One Interesting Summer

You know it is Summer when the day is so unbearable, you need to install your air conditioners.  Luckily, my family and I lasted through June 11 without the need to crank up the AC.  It has taken the first and hopefully last 90 degree day in New York for that to change; to say nothing of an Air Quality Alert that went out today. 

All the same, with the start of summer my memories keep coming back to June-August 2002.  A lot of changes and discoveries had come to a then 19 year old male like myself who had begun to explore his place in the world and just the year before had found out; I had Asperger's Syndrome.  The one big celebrity I followed that Summer was Robin Williams.  It was in 2002 that Mr. Williams came back to doing stand-up comedy with a vengeance; culminating in his HBO special "Live On Broadway."  In the realm of movies, Robin Williams had starring roles in two films that showed a deeper and rather creepier side which we all felt was just for show.  Those movies, the Christopher Nolan classic "Insomnia" and the Mark Romanek  underrated "One Hour Photo", were clearly amongst the best films that year.  There was a hope that Mr. Williams would have received another Oscar Nomination for either of those movies.  Alas, it was not to be. 

Little did we know that those movies showed us a inner look into Robin Williams that opened his darker side.  It was that sort of depression, confusion and despair that had seeped into Mr. Williams life for a great deal of his 63 years which resulted in him killing himself on August 11, 2014.  I can only speak for myself when I say Robin Williams' passing has left a void in this world which has yet to be filled; nor could it ever be filled. 

In the days ahead I will be looking back at Insomnia, One Hour Photo, Live On Broadway and some other appearances and interviews Robin Williams had done that Summer of 2002 when it seemed like he was at the height of his influence and relevance.  This is not to say it went downhill from there; far from it.  Yet, in that year, Robin Williams I think had the pulse on the world in what we were going through; what we were feeling; and our deepest and darkest tendencies.  Little did we know how much this was tearing Mr. Williams apart in his private life.  Now we have the clues and the hints to look back in retrospect. 

To give you an idea of Robin Williams' genius and interesting outlook on life, here is an excerpt from his 1986 Live At The Metropolitan Opera TV special.  It is something we all know too well.

Talk to you fairly soon,

Robert

Going Deeper to explain While We're Young

Photography is truth. The cinema is truth twenty-four times per second.
Jean-Luc Godard, 1960.

The new Noah Baumbach movie While We're Young is, I think above all, a look at what one sort of people who grew up in one area consider the need for truth as opposed to another more youthful sort of people.  Now, at this point, I am going to explain more of the structures and plot this movie has towards the last half hour or so.  I mention this for a reason:  a number of film columnists and reviewers like Richard Roeper have said the film turns somewhat differently that for them dampened the movie from being amongst the better films this year.  I tend to disagree; if anything, the last half hour, while still humorous, goes deeper in thematic approach than one would consider.

For those not aware, the Ben Stiller character (Josh) begins to have many in his life tell him what needs to be done to have his documentary on war be presentable.  Quite obviously, the Charles Grodin character (Leslie) is the first to offer suggestions; namely that Josh (Stiiler's) film is 6 1/2 hours long with drawn out lectures, like a retelling of the Turkish Civil War, that could be cut.  Now, there are times when cutting something is completely asinine: the Claude Lanzmann masterpiece Shoah needs its 9 1/2 running time, for example.  Yet, in the movie, the Turkish Civil War discussion is roundly criticized by all but Josh.  While these reevaluations occur, Stiller's character notices in the documentary the Adam Driver character (Jamie) that it appears their interview subject, played by Brady Corbet, knew Driver and Amanda Seyfried's character well before. 

Thinking this is way of revealing the documentary as being more fictionalized than anything, and after the Amanda Seyfried character effectively leaves Jamie (Driver), Josh heads to Lincoln Center where Jamie's film is premiering and a life achievement is being given to Leslie (Grodin).  I was rather impressed in how Stiller and Driver's discussion at the balcony is interspersed with first Peter Bogdanovich lamenting the form of documentaries from the past to how it is done recently, and then Grodin's acceptance speech citing truth and authenticity.  No fighting, no abject embarrassment, yet three actors speaking about the truth in cinema. 

Now, normally the movie would conclude with the fabricator exposed and everything going well for all other characters.  This is not that kind of movie.  In Noah Baumbach's script, the revelation of Jamie's loose interpretation of facts is given a shrug; including from Leslie!  How the other characters, including the Naomi Watts character, see it is that the truth of how a documentary is made matters little if the filmmaker has something important to say.  For instance, Werner Herzog has stated quite a few times that certain scenes in his documentaries are prepared before the camera rolls.  That fact , however, does not diminish the overall truth and knowledge brought forth on the subjects in question.  In the end, the filmmaker has the decision to choose where his or her documentary will be looked at by viewers.  What I think Baumbach has presented in While We're Young is that while people Josh's age will be drawn to the Robert Flaherty/Errol Morris examples of  their craft; people Jamie's age will feel more at ease with Herzog/Spike Lee/Michael Moore non-fiction films where the filmmaker is just as important as the subject.  Leslie's acceptance of this might baffle some, after a speech citing truth and realness as of significant matter.  Yet, it is still the truth to the filmmaker and the writer; just done differently.

The movie ends rather uniquely: Stiller and Watts' characters are on their way to Central America to take home their adopted one month old daughter, fulfilling a desire both had in expanding their family.  Driver is interviewed by Vanity Fair for the documentary on the Corbet character; thus indicating the form of filmmaker as both subject and journalist.  The last shots are of Josh (Stiller) looking at a two year old boy becoming some sort of a prodigy on his iPhone.  Their is in the movie, and was in the audience, both excitement and concern on this young man; again only reiterating Baumbach's thoughts on younger people and their adherence to technology that they feel has always been there and the sort of artificial worldview that comes with it. 

You know, for myself I tend to follow the idea that a filmmaker of a documentary is also eventually its subject; in that what he or she needs to say is the crux and important function of what we are seeing.  The idea for a movie needs to start somewhere for someone to get interested.  I tend to think Noah Baumbach might look at it that way as well, though it would be more interesting to merge the two fields of filmmaking.  Indeed, while we do not see the finished product of Josh's film, he does cut the Turkish Civil War sections as he appears to consider newer trends and esthetics.

Yet, perhaps at its heart, While We're Young is more a look at relationships today and what differs the older generations from those following their footsteps.  More time is discussed on these personal ideals than the ideals of truth and filmmaking itself.  It is that for me, this allowed Baumbach's film to elevate a rather typical romantic comedy outlet into a rather clever discussion of filmmaking and a growing if not yet noticed cultural shift taking place.  And as I mentioned before, certain works are presented as one idea yet in deeper analysis are more layered; bringing forth the need to view, read or hear at least a second time to fully grasp the author's intentions.  Noah Baumbach has made one of these multi layered films that I would hope gets viewed and even studied by many. 

It is intelligent filmmaking; a form of art that I feel is beginning to fade away.  In another weblog post, I will at some point present my ideas on why cinema is not what it once was; and where we as a collective people could now find common interests and discussions.  For me at least, I will amongst other things continue to do what I have done for the last 14 years: see for the most part one movie in theaters a week.  It is an art form that needs to be rediscovered before it loses its own purpose and ideals.

Talk to you again soon,

Robert

PS.  I will also have a lot more to say about the coming elections, both in the UK and the US, as the days and months go on.  In much of America, people follow politics.  Where I live in New York, politics follows You!  I am fine with it, but many I know are not.

Growing Up by way of Thinking Young

Noah Baumbach has become a most refreshing voice in independent cinema; a Gen X child who has blurred the eras between the self assertive adults and the technology saturated youth.  For those who do not know what a Gen X child is: A person of Generation X is generally an American born In the late 1960s and early 1970s who politically came of age during, I would say, the 1992 elections.  Many of the Gen X children at that time were first eligible to vote, and President Bill Clinton was their political figure who was rather hip, cool, with the times and smarter than others. 

Since the halcyon days of 1992-2000, which we hope may come again, Gen X people have somewhat become more like their parents than they realize.  Eventually careers, children, social economic and political ideals, nostalgia and uncertainty follow.  This will eventually come to people my age who were not even supposed to still be alive after the mid 1980s, if it has not happened already.  That sort of wistfulness and crossroads uncertainty has been apparent in many of Noah Baumbach's films: an amalgamation of Woody Allen humor, Peter Bogdanovich esthetics, Louis Malle intimacy, Whit Stillman East Coast sensibilities, Wallace Shawn writing and Andre Gregory philosophy.  One can see this in past works like Kicking and Screaming (1995), The Squid and The Whale (2005), or even films that he co-wrote for Wes Anderson; The Life Aquatic with Steve Zizzou (2004) and Fantastic Mr. Fox (2009), a personal favorite of mine.  It is in these ideals and personal concerns that Mr. Baumbach has written and directed a hidden gem that I think is one of the better films I have seen this year, even though it was completed in 2014.  This movie is named While We're Young, a rather funny, smart and opinionated film that I hope will find a wider audience before the year is out.

It stars Ben Stiller and Naomi Watts as a married couple without children in their early to mid 40s who are in the business of making documentaries.  While they have experience in wisdom and life, they do lack that certain something that makes fulfillment attainable.  Perhaps it could be the matter that Stiller's character (Josh) is trying to measure up to doing a great film like his father-in-law, played by Charles Grodin in a welcoming return to acting.  The current project Josh (Stiller) is doing has been 8 years in the making, largely due to hours upon hours of filmed interviews with a fictionalized version of Dr. Noam Chomsky.  That character, used intermittently yet with importance, is played by Peter Yarrow; yes, Peter of Peter, Paul & Mary.  What he says is of course correct in many ways of our political futures; though it was quite a shock to hear Mr. Yarrow drop the f-bomb at one point. 

Perhaps it is because their neighboring couple and best friends have a child of their own, a baby we see in the first shot while a toy piano version of the Sir David Bowie classic Golden Years is being played by James Murphy (LCD Soundsystem).  The couple with the child themselves seem to have moved forward, only slightly, from their more bohemian younger selves.  They are played rather convincingly by Tony Award winner Maria Dizzia and Adam Horowitz, better known to us as Ad-Rock from Beastie Boys.  Even though they have a child, and another on the way, there is still a sense that the most important people in their lives, as intimated by Horowitz later in the film, are still themselves.

This existential crisis Stiller and Watts have becomes further observed when they become friends in several ways than one with a younger married couple of mid 20s age that live a rather hipster throwback and artsy life.  These two, played by Adam Driver and Amanda Seyfried, are the sort of couple that many would think are what the Millenial kids should be at best: youthful with respect to their elders, yet also willing to consider ideas and objects their own to share.  Driver's character is also a filmmaker interested in documentaries, while Seyfried's character is kind of a free spirit who enjoys making organic artisanal ice cream and co-producing films.  There are of course different approaches to their documentary filmmaking; while Stiller's and Grodin's characters are presented in the same way as we see Robert Flaherty, Errol Morris, D.A. Pennebaker and the Maysles family (Albert Maysles having just passed away): Driver's filmmaking approach is clearly reminiscent of Michael Moore, Andrew Jarecki, Spike Lee and Werner Herzog, in which the filmmaker is as important as the subject. 

This comes at a certain point in which the Adam Driver character (Jamie) approaches Stiller and Watts for help with his eventual documentary.  It starts out as Jamie (Driver) decides to actually film a reunion with a Facebook friend from his high school days.  The friend, played by Brady Corbet, turns out to have served in Afghanistan and every so often has difficulties in emotional matters.  Thus, the documentary being made goes from one matter to another more important matter. 

What occurs afterward takes us to an interesting look at growing up, reconsidering priorities, the art of storytelling, reclaiming one's youth, and most surprisingly yet most tellingly how we tell stories in the newer forms of documentaries to at least make a personal statement.  These theories and ideals will be explained later in my next weblog post; one that will divulge into plot details and what Noah Baumbach, and to an extant Scott Rudin, are attempting with relative success to say regarding film and the person who claims authorship.  Unlike my review of It Follows, I do not think While We're Young is a film that needs the plot to be the end point of how we look at the movie.

Suffice to say, I came into seeing While We're Young expecting one entertaining look at relationships in our current age.  What came out of the screening was a lot more thoughtful and multilayered than even I would have expected.  In some ways, it is kind of like when you watch a program on Adult Swim; it presents itself as one thing, then becomes another thing entirely which becomes more ambiguous in message.  I think Movie Bob explains this concisely in a recent video of his when discussing the Adult Swim esthetic.

Getting back on point; the Noah Baumbach film While We're Young is one of the better films I have seen this year, and might still be among my personal favorites before 2015 ends.  Do go see this film; I will have more to say on this with my next weblog post.  Please do comment and reply if you are able to. 

More Coming, Stay Tuned,

Robert

Short yet necessary

Are the rumors true?  Is this the restart after 6 years that we have waited for?  Let us hope so!

It has been a long time coming.  One of my next posts will be a look back at Homestar Runner, I would think the most important non-political website that has influenced myself and many others. 

Do you remember 13 years ago

Robert

Forensically Analyzing a Senator

Well, now it has been confirmed.  Today, Sen. Ted Cruz (R-TX) announced, without any pretext, he is running for President Of The United States.  Let me point out that I have no intention of voting for Sen. Cruz.  I have for the past 15 years and continue to believe that New York Democratic Sen. and Sec. Of State Hillary Rodham Clinton is the eventual President we deserve.  When I say we, I also mean for those right wing sorts.  You may have forgotten; yet during Bill Clinton's Presidency, virtually most conservative economic agendas, along with tweaking a few social agendas, were initiated benefiting all.  Indeed, Tim Russert once said that the best thing to happen to Bill Clinton was then Rep. Newt Gingrich.  I did not always agree with the agenda, and have been proven right in the economic problems since.  Yet, it did work.

Sen. Cruz is, none the less, quite the intriguing political figure.  Like many of you, I had watched his speech today in Virginia and was not surprised at what was said.  What did surprise me was the immediacy of declaring a candidacy and effectively setting the agenda for the next year.  This is before many other political leaders, including Hillary Clinton, have announced their candidacy.  This is also before the unwritten campaign occurs; the behind the scenes discussions as to whether or not President Barack Obama decides to run for a third term. 

So what do I make of Sen. Ted Cruz?  In short, I think Sen. Cruz is one of the two Republicans to potentially get the nomination; the other person being Gov. Scott Walker (R-WS).  Yet, there is a lot more that needs to be discussed, and I still am attempting to parse my words and present my thoughts.  With that in mind, I will soon post another essay regarding this interesting character in Sen. Cruz; this one more thorough and analytical.  Here though is a parable by Dr. Seuss that I assume Sen. Ted Cruz has read and is familiar with. 

The highway in modern terms is, I think, organized religion, conglomerates, and multi-national leadership outside the US.  It will leave the uneducated in America standing in their tracks not budging if no one is aware.

By the way, Liberty University is in my opinion not a legitimate university.  It is as legitimate as For Profit Online University, only the latter is a clear joke.  Be aware if you have given personal information to Howard.

Talk to you by tomorrow,

Robert

An Idea for revisiting an old favorite

Nickelodeon used to have a very good lineup of animated programs that were entertaining and told an engaging story.  This was especially true in their Nick Toons era of 1991-1998.  One of their greatest accomplishments was initially distributing an animated series created and co-written by Jim Jenkins named Doug. 

Doug began in 1991, and ended in 1999 after six seasons, one movie, and Doug being shown on ABC and distributed by The Walt Disney Company; this occurred after Jenkins' company, Jumbo Pictures (now Cartoon Pizza), was acquired by Disney in 1996.  Both eras of Doug were quite good; although the earlier Nickelodeon/Viacom era of Doug (better known as the Billy West era) were more acclaimed and liked by many.  I had always wondered what would be like to revisit Doug after some 16 years when it ended.  I remember it ended when the father of Patty Mayonnaise got married to Doug's English teacher in BeBe Bluff Junior High; along with Doug Funnie's older sister, Judy, going to university.  Of course, the shows were presented in a journal entry format.  So what would happen if we revisit the town of Bluffington and its inhabitants today?  Here is what I think would occur.

In 2015, Doug Funnie is now a noted writer, web personality, and comic book creator.  In this world, some years after high school or college graduation, Doug finally is able to get published his super hero alter ego, Quail Man.  Quail Man becomes a big part of the Marvel Universe; and by extension gets talked about over the web, in the trades, and becomes a part of the popular culture.  The notoriety and importance of Doug Funnie and Quail Man has only been expanded when it is announced that Quail Man is getting his own movie in the Marvel Cinematic Universe. 

All should be okay for Doug, right?  Well, there are some concerns about the timing of releasing the movie; it plans to come out only a week or so after the new Man O Steel Man movie is released.  Also, Doug jotted down a screenplay which is constantly being tweaked to fit the needs of a movie-going public; particularly of concern is how to address Quail Man's origins.  Another thing; Marvel/Disney are interested in shooting some on location scenes in Bluffington. 

The latter concern is more problematic for Doug; he has not been back home for at least a year plus after getting his own home out of state.  What will it be like to return to where it all began?  Did leaving create a void in some respects in the Funnie household?  Does Patty Mayonnaise still have feelings for Doug?  How do the townsfolk fel about exaggerated versions of themselves being portrayed in Quail Man? Is Roger Klotz still kind of a prick? And are the rumors true that the creature at Lucky Duck Lake has returned? 

I seem to have an idea of where this may be going.  Yet, like all ideas, it takes some time and refine to make it presentable.  Every so often, I will reveal an idea or section of a proposed new Doug movie that will detail more on the Doug universe and how I see it playing out.  Perhaps as this comes along others will join in the creative process.  Maybe people from Disney or Cartoon Pizza or even Viacom/CBS.  I will say; if a new Doug movie ever gets made, Billy West has to return as Doug and Roger.  The other guy, Thomas McHugh, was mediocre at best. 

So I will have more as time goes on.  And there will be more to come on so many other matters and different ideas of social media to come.  Do feel free to join me in this conversation by commenting on this and other posts.  I end this with a montage of every time in old school Doug Fred Newman would use the Beeyou sound.  This happened when embarrassing stuff went down.

Talk to you all later,

Robert

The 6 remaining Oscars and their implications

Well, much of the rest of the 87th annual Academy Awards are devoted to presenting an award and seeing an acceptance speech.  The sort of unique performance aspect has been tapped out.  And, unlike the Grammys were the awards producers seem not to give a worth about the awards themselves; the Oscars are valued immensely.

First we have Best Original Screenplay going to Alejandro Gonzalez Inarritu and his collaborators winning for Birdman.  One of three of the remaining awards that I thought would go to Richard Linklater and Boyhood.  Now, Inarittu winning the award is interesting.  You do have to understand, though; a movie that looks at the movie industry, or in this acting on stage, will garner the awards being presented.  This being one of the better movies that look at our celebrity fixation, the awards given out are quite legitimate. 

Best Adapted Screenplay went to The Imitation Game: adapted for the screen by Graham Moore.  I did not put this movie amongst my best in 2014; yet I was immensely pleased with the movie itself.  I of course would have preferred Paul Thomas Anderson to win.  Yet, I think Graham Moore made more of a compelling acceptance speech; perhaps the best of the night.  I am not sure if Mr. Moore's younger insecurities were due to his orientation or his beliefs; yet I and quite a number of others have been down that road before.  I never attempted suicide, though I know the feeling of being different than others.  Yet, so be it; you and I are different.  So too was Alan Turing.  Sadly, Alan Turing ended his life feeling alienated.  It should be, and hopefully will be, different this time around.

I also want to point out the interesting choices of Eddie Murphy and Oprah Winfrey in presenting the screenwriting awards.  In some respects, it is an ingenious move.  Perhaps a way to showcase their importance to film and making up for not winning competitive Oscars.  And yes, I think Eddie Murphy deserved to win Best Supporting Actor in Dreamgirls; why the heck did Norbit need to be released weeks before the Oscars in 2006? 

This is a bit off; yet I want to discuss Best Actor and Best Actress first.

Best Actor did not go to Steve Carell or Michael Keaton.  In somewhat of a surprise, it went to Eddie Redmayne in The Theory Of Everything.  I have still not seen the movie, though I really should.  I will say, though; Mr. Redmayne is a genuinely nice and affable person.  He was one of the few elements in Les Miserables that I liked.  And Eddie seemed surprised and humbled to win the award.  Plus, I think the approval of Stephen and Jane Hawking to have this film be made convinced AMPAS members to vote for this performance.

Best Actress did not go to Marion Cottiald.  Though she did win as Edith Piaf in La Vie En Rose.  The Oscar went to Julianne Moore in Still Alice.  It is another movie I have not seen; though I might soon enough.  I like Julianne Moore, and think she is one of our better actresses and amongst the coolest celebrities.  I have to wonder if Ms. Moore receiving the Oscar now is to make up for not winning for better movies.  This has occurred over the years to people like Al Pacino, James Coburn, Shirley MacLaine, James Stewart, Sir John Gielgud, Sir Sean Connery, Denzel Washington and others . None the less, a win is a win. 

Best Director went to Alejandro Gonzalez Innaritu regarding Birdman.  Again, I thought Richard Linklater would win it; though Innaritu is quite a good choice.  A.G.I. is one of our better and more innovative filmmakers; this was a long time coming. 

And Best Picture of the Year went to Alejandro Gonzalez Innaritu and Birdman.  By this point, it would have been awkward for Boyhood and Richard Linklater to win only Best Picture.  Possibly emphasized when Ben Affleck presented Best Director; an award Mr. Affleck would have received had he been nominated.  Also a bit of a tell when Sean Penn presented Best Picture.  Mr. Penn teamed up with A.G.I. to make 21 Grams, one of the best films of 2003 and over the last 20 odd years. 

I do think, between Birdman winning four Oscars and from last year Alfonso Cuaron winning Best Director regarding Gravity (the film winning another 5 technical Oscars); the members of the Academy of Motion Picture Arts and Sciences are willing to accept and recognize the New Wave of Mexican Cinema.  I would regard the storytelling elements and visual innovations in that form of cinema to be amongst the most important in the current movie culture. 

Something else to note: Mr. Innaritu has only made 5 important movies: Amores Parros, 21 Grams, Babel, Biutiful and Birdman.  Each one of these movies is fantastic.  Babel I think is one of the best films in recent memory.  I do hope to see where these Oscar wins will lead A.G.I. in future projects.  And yes, the same goes for Michael Keaton; who gave a shorter thank you speech when the movie won Best Picture.  What is next is anyone's guess; yet a path has been made for better works to come.

Well, that is my look and live blogging for this year's Oscars.  I do have other ideas that I would like to make known and to discuss.  Maybe these will not take multiple posts, even though I do commit to finish what was started.  Because you may want to know what I'm thinking.  What indeed is on my mind?

I think you may know what I picked this video. 

Catch up with you soon,

Robert

Live Blogging the Oscars Part 2: The Tape Delayed Editon

Well thanks to the usage of On Demand software form Verizon, I am now able to give you my continued live blog of what went on during the 87th annual Academy Awards.  Mind you, we know what happened already.  So this is more an opinion piece than anything else. 

Here's what I initially missed while away from my laptop on Sunday night.

Not a time goes by that I think Liam Neeson was robbed of an Oscar in Schindler's List.  You see kids, before Neeson became the hard as nails grandfatherly action star; he was quite the great actor. 

Adam Levine is practically everywhere.  While it is not a bad thing; he may be overexposing himself.  I really would hope Maroon 5 would create another pathos led work like Songs About Jane.

So the award for Best Costume Design is being shown. 

The winner is not Coleen Atwood.  It goes to The Grand Budapest Hotel!  I am very pleased with the result. 

I was right about The Grand Budapest Hotel winning Best Make-Up and Hair Design.  Also well deserved. 

About an hour and a half later, we return to where we left off.  And it is a rousing Common and John Legend performance of Glory.  Brilliant all around.  I also am liking the social political concerns being made in the ceremony.  Frankly, more people in different fields need to speak up on what concerns them. 

Since the songs nominated have been performed, it is now time I think for another performance. 

And right we are; 50 years ago, the Robert Wise film The Sound Of Music was completed.  I must say, it is nice to see Dame Julie Andrews mentioning her ideas and memories on that time.

I am in awe every time Lady Gaga performs.  Every time!  Definitely one of the best singers to come out over the last 10 years.  And she did not need a TV talent show to do it. 

Now we go to Best Original Score.  And it looks like Alexandre Desplat does not cancel himself out.  He wins for his work in The Grand Budapest Hotel.  I like how Wes Anderson is starting to be treated quite seriously with AMPAS.

Idina Menzel is presenting Best Song.  And just to prove there are no hard feelings, here comes John Travolta.  He is starting to remind me of Senor Cardgage.  I do not know whether to laugh or feel scared.

Anyway, Glory won Best Song. Some important truths were mentioned by Common and John Legend on current human rights needed. 

Well, there is going to need to be a part 3.  I have quite a bit to say on who won the remaining 6 awards.  By the time you and I are reading this; we have known what happened.  So, in addition to my continuing running commentary on the ceremony; I will have more to say on these winners.

Kindest Regards,

Robert

PS.  By the way, this is whom I am referring to as Senor Cardgage.  For anyone that loved Homestar Runner, you will instantly know.


Now let us hope the next Homestar Runner cartoon is shown sooner rather than later.

The 15 Oscars we will be talking about next week

At long last, here is the second and more interesting section of this year's Oscar nominees.  As well, if I had a ballot or were a member of the Academy of Motion Picture Arts and Sciences, here is whom I would vote for.


Best Costume Design

Coleen Atwood - Into The Woods
The Grand Budapest Hotel - costumes designed by Milena Canonero
Inherent Vice - costumes designed by Mark Bridges
Maleficent - costumes designed by Anna B. Shepard
Mr. Turner - costumes designed by Jacqueline Durran

Although my preference would be for Canonero or Bridges to receive this award; I must admit it will be very difficult to topple Coleen Atwood.  Ms. Atwood, even with a not great yet still well made movie like Into the Woods, has become one of the most important designers in film.  This award is Coleen Atwood's for the taking.

Best Cinematography

Roger Deakins - Unbroken
Emmanuel Lubezki - Birdman
The Grand Budapest Hotel - Robert Yeoman, director of photography
Ida - Lukasz Zal & Ryszard Lenziewski, directors of photography
Mr. Turner - Dick Pope, director of photography

Even though Roger Deakins has his 12th nomination, he will not have his first win.  The clear winner is Emmanuel Lubezki; having shot and filmed a movie that for the most part seems as if it was shot in one take.  I was particularly impressed in the camera movements Birdman had achieved, and thus I think Mr. Lubezki is most deserving to win Best Cinematography.

Best Documentary Feature: the award going to the movie's primary filmmakers

Laura Poitras,  Mathilde Bonnefoy & Dirk Wilutsky - Citizen four
Wim Wenders,  Laila Wanick Salgado & David Rosier - The Salt Of The Earth
Finding Vivian Maier - directed by John Maloof  & Charlie Siskel
Last Days In Vietnam - directed by Rory Kennedy & Keven Mcalester
Virunga - directed by Orlando von Einseindel & Joanna Natasgera

Wim Wenders is one of the most important and influential filmmakers of our time.  Yet he has never won an Oscar.  Having seen The Salt Of The Earth a while back; I am hopeful Mr. Wenders will be able to finally receive his Oscar.  Perhaps as a way for AMPAS to compensate for not even considering Paris, Texas and Wings Of Desire all those years ago.  Citizen four could be an upset, though it is rather doubtful.

Best Song

Glen Campbell & Julian Raymond - I'm Not Gonna Miss You - Glen Campbell: I'll Be Me
Common and John Legend - Glory - Selma
Diane Warren - Grateful - Beyond The Lights
Everything Is Awesome - The Lego Movie - music and lyric by Shawn Patterson
Lost Stars - Begin Again - music and lyric by Gregg Alexander & Danielle Brisebois

This award is going to Common and John Legend, and rightly so.  Like many, I am still peeved that Selma only received 2 nominations; and not any for acting, director, or technical achievement.  It is cold comfort, yet it is much deserving. 

Best Original Score

Alexandre Desplat - The Grand Budapest Hotel
Alexandre Desplat - The Imitation Game
Hans Zimmer - Interstellar
Mr. Turner - music by Gary Yershon
The Theory Of Everything - music by Johan Johansson

I think Alexandre Desplat should be in the vicinity to win an Oscar, particularly with respect to The Grand Budapest Hotel.  Yet, Mr. Desplat being nominated twice might be a cancellation of ballots.  So, I would not be surprised to see Hans Zimmer win another Oscar for his interesting score for Interstellar.  Mr. Zimmer of course is much deserving of acclaim and appraisal. 

Best Animated Film: awarded to the primary filmmakers

Dean Deblois & Bonnie Arnold - How To Train Your Dragon 2
Isao Takahata & Yoshiaki Nishmura -  The Tale Of The Princess Kaguya
Big Hero 6 - directed by Don Hall,  Chris Williams & Roy Conti
The Boxtrolls - directed by Anthony Stacchi, Graham Annable & Travis Knight
Song Of The Sea - directed by Tomm Moore & Paul Young

Although I really liked How To Drain Your Dragon 2; I found the Isao Takahata movie The Tale Of The Princess Kaguya to be more interesting once I had gotten a chance to see it.  Bear in mind, I am quite a fan of anime and Studio Ghibli anime in particular.  Thus this cerebral film is of more qualification to receive this award.

Best Foreign Language Film: awarded to the directors

Pawel Powlikaski - Ida
Abderrahammne Sissako -  Timbuktu
Zaza Ushadze -  Tangerines
Leviathan - directed by Andrey  Zyginiftsev
Wild Tales - directed by Damian Szifron

Having seen recently the Pawel Polwlikakski film Ida; I am certain this will deservedly win Best Foreign Language Film.  I also feel it could have contended for many of the leading Oscar categories.  Ida was well made and quite moving.

Best Original Screenplay

Wes Anderson & Hugo Guinness - The Grand Budapest Hotel
Alejandro Gonzalez Inarritu, Nicolás Giacobone, Alexander Dinelaris, Jr. and Armando Bo - Birdman
Richard Linklater - Boyhood
Foxcatcher - screenplay by E. Max Frye & Dan Futterman
Night crawler - screenplay by Dan Gilroy

Alejandro Gonzalez Inarritu and his co writers might be able to win this Oscar; considering Birdman went through numerous ideas that would not be found in a conventional movie.  I would much more prefer Richard Linklater to receive this Oscar, however.  Once again, the uniqueness of Boyhood is quite prevalent for movies in 2014.  Wes Anderson may need to wait a bit longer.

Best Adapted Screenplay

Paul Thomas Anderson - Inherent Vice - from the Thomas Pynchon novel
Damian Chazelle - Whiplash - from Chazelle's initial short movie
Chris Kyle, Jim DeFelice & Scott McEwen - American Sniper - adapted for the screen by Jason Hall
The Imitation Game - screenplay by Graham Moore from the Andrew Hodges biography Alan Turing: The Enigma
The Theory Of Everything - screenplay by Anthony McCarten from the Jane Wilde Hawking memoir Traveling To Infinity: My Life With Stephen

As odd as it may seem, Paul Thomas Anderson has never won on Oscar.  Not for Sydney, Boogie Nights, Magnolia, Punch Drunk Love, There Will Be Blood or The Master.  If for adapting Thomas Pynchon to the big screen, Anderson would be deserving to win.  Yet, Damian Chazelle did expand upon his student film to detail the hard life of a jazz musician.  So I would not be surprised if Chazelle's expansion of Whiplash receives the Oscar.  My preference of course would be for Paul Thomas Anderson; clearly one of the best filmmakers alive today.

Best Supporting Actor

Robert Duvall - The Judge
Ethan Hawke - Boyhood
Edward Norton - Birdman
Mark Ruffalo - Foxcatcher
J.K. Simmons - Whiplash

As remarkable as Hawke, Norton & Ruffalo were in their respective films; J.K. Simmons damn well nailed it in Whiplash.  In point of fact, I think this role of Simmons' might be looked at by up and coming filmmakers and actors at how best to, as they say, chew the scenery. 

Best Supporting Actress

Patricia Arquette - Boyhood
Laura Dern - Wild
Keira Knightley - The Imitation Game
Emma Stone - Birdman
Meryl Streep - Into The Woods

This is a two person race between Patricia Arquette and Emma Stone.  In the end, I believe Ms. Arquette will deservedly receive her Oscar, in a role that while not physically transforming is an evolutionary role in ideas and stature.  I was amazed and continue to be awed at Ms. Arquette's talents.

Best Actor

Steve Carell - Foxcatcher
Bradley Cooper - American Sniper
Benedict Cumberbatch - The Imitation Game
Michael Keaton - Birdman
Eddie Redmayne - The Theory Of Everything

This is a two person race between Steve Carell and Michael Keaton.  I am guessing Mr. Keaton will win an Oscar for basically playing a highly exaggerated version of himself and his Batman character.  It is an award which will be much admired by his peers. 

Best Actress

Marion Cottiald - Two Days, One Night
Felicity Jones - The Theory Of Everything
Julianne Moore - Still Alice
Rosamund Pike - Gone Girl
Reese Witherspoon - Wild

This should, I hope, go to Marion Cottiald.  She has become one of the most interesting and versatile presences in film,  allowing a movie to be become far more interesting just by being in it.  Please do not be alarmed that the movie is in the French language.  It is a well made and excellent film in every way possible. 

Best Director

Wes Anderson - The Grand Budapest Hotel
Alejandro Gonzalez Inarritu - Birdman
Richard Linklater - Boyhood
Bennett Miller - Foxcatcher
Morten Tyldum - The Imitation Game

Bennett Miller might not win considering Foxcatcher did not receive a best picture nod.  That leaves either Anderson, Gonzalez Inarritu, or Linklater.  I think and am confident Richard Linklater will receive Best Director.  And about damn time too.

Best Picture - awarded to the producers

Wes Anderson, Scott Rudin, Steven Raines & Jeremy Dawson - The Grand Budapest Hotel
Clint Eastwood, Robert Lorenz, Bradley Cooper, Andrew Lazar & Peter Morgan - American Sniper
Eric Fellner, Tim Bevan,  Lisa Bruce & Anthony McCarten - The Theory Of Everything
Alejandro Gonzalez Inarritu, John Lesher & James W. Skotchdople - Birdman
Richard Linklater & Cathleen Sutherland - Boyhood
Oprah Winfrey, Christian Colson, DeDe Gardner & Jeremy Kleiner - Selma
The Imitation Game - produced by Nora Grossman, Ido Ostrowsky & Teddy Schwartzman
Whiplash - produced by Jason Blum,  Helen Easterbrook & David Lancaster

While The Grand Budapest Hotel, Birdman, Selma and Whiplash were amongst the best movies in recent years; there can only be one Oscar winner.  And that movie is Boyhood.  In a way, Boyhood deserving to and likely winning Best Picture is a career achievement award for Richard Linklater; easily one of the most original and interesting filmmakers of his era.  To devote 12 years to tell a story of a young man from grade school to first year at the University of Texas is quite the feat. 

Another matter too: when he was alive, Roger Ebert had a series of essays devoted to what he deemed The Great Movies.  Were Ebert still alive, I have little doubt this would immediately go into the pantheon of Great Movies.  Waking Life was already on there, and it was possible Bernie might have made it too.  In short, this is not only of the best movies in recent years; Boyhood may well be amongst the best to be made.  Mr. Linklater should now be ranked up there with many of the great filmmakers in bringing this to life.  I cannot wait for his next film. 

Well, that is whom I hope and believe will and should win Oscars this year.  None the less, I do wonder what you might think of these movies and the nominees.  If you are able to, please leave a comment on this article; the interactivity would be of interest to many.  Do remember to have a Google or G Mail account to have all things be verified.

Talk to you all tomorrow,

Robert

PS.  Remember when Maroon 5/Adam Levine were considered edgy?  Remember the first time you heard anything off of Songs About Jane?

Do you remember those days?  Well, Pepperidge Farm remembers.

Who Should win an Oscar This Year: A First Post

Here are some of the lesser known but equally important categories that the Academy of Motion Picture Arts and Sciences give Oscars to each year.  For myself, if I had a ballot, this is what I think would be the top of my ballot to receive the award.

Best Live Action Short Film:

Aya
Boogaloo & Graham
Butter Lamp
Parvarneh
The Phone Call

Having seen The Phone Call on YouTube a while back; I believe it will and deserves to win the Best Short Film Oscar.  It has Sally Hawkins and Jim Broadbent in the movie.  Do take a look if you can.

Best Documentary Short Subject:

Crisis Hotline: Veterans Press 1
Joanna
Our Curse
The Reaper
White Earth

I had gotten a chance to see Crisis Hotline: Veterans Press 1 a while back on HBO. It is my hope that this short film can win an Oscar; continuing the sterling efforts HBO has done in their documentary division. 

Best Animated Short Film:

The Bigger Picture
The Dam Keeper
Feast
Me & My Moulton
A Single Life

I was amazed at the creativity Feast presented; considering the lack of consistent dialogue and relative brevity.  I do believe Feast deserves to win, and will win the Oscar.

Best Sound Editing:

American Sniper
Birdman
The Hobbit: The Battle Of The Five Armies
Interstellar
Unbroken

I am hoping Interstellar wins at least one Oscar; as I think it needed to have been nominated for far more awards than was given.  I would not be surprised if Birdman wins this category however.  It is essentially a two film race.

Best Sound Mixing:

American Sniper
Birdman
Interstellar
Unbroken
Whiplash

The sound mixing on Whiplash was quite unique and was, pun intended, instrumental in making the movie succeed.  It should be given the award for sound mixing, though a close second would go to Interstellar.  Birdman also has a shot at this.  My preference though would be for Whiplash to win this.

Best Production Design:

The Grand Budapest Hotel
The Imitation Game
Interstellar
Into The Woods
Mr. Turner

The production design in The Grand Budapest Hotel was, I think, crucial for the film to be as interesting as it was .  Wes Anderson has a clear visual outlook that I think will deservedly pay off with an Oscar in this category.  I should say that Interstellar's production design was not that far behind.  I rather liked it.  This is also a two film race here.

Best Make-Up and Hair Styling:

Foxcatcher
The Grand Budapest Hotel
Guardians Of The Galaxy

All three choices would be well deserving.  And while I would choose Guardians Of The Galaxy amongst the three in this category; I think the Oscar will go to The Grand Budapest Hotel, due in large part to its usage in a non action film where the visual is as important as the human touch. 

Best Visual Effects:

Captain America: The Winter Soldier
Dawn Of The Planet Of The Apes
Guardians Of The Galaxy
Interstellar
X-Men: Days Of Future Past

Interstellar should by all means win this award, and I think it just might.  None the less, I was impressed with Guardians Of The Galaxy in its character effects becoming as lifelike as could be.  Yet, Interstellar blew all others out of the water.

Best Film Editing:

American Sniper
Boyhood
The Grand Budapest Hotel
The Imitation Game
Whiplash

The amount of editing Sandra Adair had done in assembling Boyhood would be tasking for an amateur.  To assemble 12 years of filmmaking into a smooth transition over time without being obvious in the approach is astounding.  Boyhood will deservedly win Best Film Editing.

These are the categories that are more on the specialized and technical side of filmmaking.  There are still another more individualized 15 categories that people are now and will still be talking about long after the award ceremony takes place. I will have more on the leading awards to be given out in a short time. 

One other thing that is off the subject.  A baseball player should not be apologizing for entertaining us.  We should be apologizing to a baseball player for asking for much and giving little to nothing in return.  We ask for our wants in the world of sports, and yet never see the side of those doing the dirty work for us.  Are we not entertained? 

Talk to you again,

Robert

Real Time

I mentioned in my most recent post the turn of the events surrounding the lives of Brian Williams and Jon Stewart.  A process which, I think, is beginning to resemble Freaky Friday, in one wants to be the other.  Yet, unlike those that we hear about recently; Bill Maher has not been like that.  Indeed, for Bill Maher, it has always been him using comedy as a form of political activism and commentary that has been tapped by only a select few of the comedy greats. 

And yes, this does extend to Maher's pre-Politically Incorrect and Real Time days.  This also, indeed, extends to some of the more lower budget comedies Bill Maher starred in during that time frame.  Perhaps Cannibal Women In The Avacado Jungle Of Death was not that explicit, or even that good.  Yet I do remember being a young kid and seeing every so often on Comedy Central Maher's 1991 horror/political comedy Pizza Man.  It is not readily available to view now, save some clips on YouTube.  Yet, Maher's political leanings were always there.

What made me want to follow Bill Maher was his courage and gumption to say important ideas at a time when most media were censoring themselves in order to catapult the war propaganda.  In that same 2001-2005 period I mentioned when NBC News and Brian Williams were no different than the Cheney-Bush people, Jon Stewart was a bit timid at best to go against the grain.  Bill Maher was not like that.  Indeed, in the immediate aftermath of 9/11, I can remember only two people in the television media that were aghast at the responses and jingoism that were afoot from an event which we all know was not what we were told.  Of course, Maher was the leading figure; the immediate result was the cancellation of Politically Incorrect.  The other I can remember was Rev. Fred McFeely Rogers; whom we all knew as Mr. Rogers.  You know, it has always been a quizzical coincidence to me that hostilities in Iraq by the US Military began After Mr. Rogers had died.  One wonders what would have been different had he been alive. 

Luckily for us, Bill Maher did not take the cancellation sitting down.  Indeed, in the 12 years it has been on, Real Time with Bill Maher has been immeasurably superior.  Personally, I prefer Real Time than The Daily Show due to a greater interest in interviewing iconoclasts and unique leaders.  For instance, you may not have ever seen Noam Chomsky, another hero of mine, on commercial television.  Yet Dr. Chomsky has been on Real Time.  There is also a sense of actually attempting to bring forth change in the political landscape with Maher's ideas, including expanding horizons by executive producing Vice. 

What also makes Real Time a more important show are the New Rules at the end.  They usually are quite funny, with some good uses of photo shop.  Maher usually ends the show with a New Rule extended commentary that is both funny and thoughtful on a medium that does not seem to do both.  In point of fact, just this past night, Maher's final New Rule says it all, I think, on the current Nightly News landscape.

In short, Bill Maher has been far more valuable in giving people the news along with even making the news.  There are often times when I am amazed that Maher has not become an overtly political candidate. 

Yet, this is where Bill Maher falls short.  They have not gone where Tom Dobbs went; seeking the office and winning the office of President.  For those who do not know, Tom Dobbs was a fictional television political commentator and humorist played by Robin Williams in the Barry Levinson film Man Of The Year.  Easily one of the better political satires in recent memory, alongside films like The Campaign, Man Of The Year does not get enough traction for its interesting plot and commentary.  Sadly, it was hardly mentioned at all after Robin Williams died. 

In a way, though, Robin Williams was more potent and politically influential than the three I mentioned.  More than half of Williams' stand up was social-political oriented.  Heck, go look at any of Robin Williams' stand-up and be amazed at the insight he had.   There is one point in his 2009 D.C. show that looks at the ten years prior as if someone was coming out of a drug haze.

A lot of truth in those nearly 4 minutes.  And perhaps a tough act and person to follow. 

So I look at it this way.  In speaking the truth, whichever it may be, and usually it is one's opinions and memories:

Brian Williams is a spokesperson and a guy just eager to get into the cool kids' club.
Jon Stewart is a humorist that would rather be a journalist.
Bill Maher is whom he has always been, and is one of the bravest people in the media.
Robin Williams was a brilliant man with a brilliant mind, and more of a leader than others think.

You see the differences?  Looking at Brian Williams alone, his suspension came during a week when New York Times media columnist David Carr died suddenly just a day after making his opinions known on the Brian Williams matter.  In that same time period, CBS News foreign and 60 Minutes correspondent Bob Simon died in a traffic accident .  Two newsmen and columnists that, foibles notwithstanding, remained newsmen and columnists.  And I know Stewart may fancy himself a newsman and columnist; quite the change from his non-essential MTV years (and yes I remember those years too!). 

So, knowing this sea of change, what will Brian Williams do next?  Would it be a surprise to anybody that he becomes someone who becomes the news for what he says than for what he does?  Would it be out of the ordinary for him to be involved in, say, the fake news division of the next Grand Theft Auto game?  I am not sure.  I do know that while news and entertainment can and do mix (infotainment); the need to be with the entertainment side can really hurt a person who is a newsman.  I do not blame Brian Williams for doing what he did.  Indeed, some of these stories could fit well in a book. 

Yet, just as Alison Williams has no desire to follow directly in her parents' footsteps in journalism; it does not mean Brian Williams could follow in a way the trajectory of Alison Williams.  Obviously what Alison does to entertain people is not what Brian does or would do to purportedly inform people; yet the allure is there.  Indeed, as Bill Maher mentioned, much of the news today described on a half hour program means little.  Is it any wonder people will look elsewhere for their news and information?  And is it not interesting that it takes a humorist like Maher or Robin Williams, or Jon Stewart, or going back some years George Carlin, Mort Sahl, Bill Hicks, Paul Mooney, Joy Behar or even Mark Russell to give people a more truthful interpretation of the news than most newsmen today? 

In the end, for me, when the news went full jingoistic in the months and years post-911, I lost my trust in the mainstream media.  That is collectively than on an individual basis.  Indeed, I happen to like Brian Williams at times.  Yet, somewhere along the way, he thought himself a celebrity only and not what his employment is; a newsman. 

In memoriam for two newsmen:  Bob Simon (1941-2015) and David Carr (1956-2015).  My thoughts and well wishes and prayers go out to their families and loved ones.

Well, that ends my spiel on the news today.  Though there are times when a news day is basically waking up, falling out of bed; dragging a comb across your head.

A final chord that can never be duplicated.

Catch up with you all soon,

Robert

PS.  Go see Kingsman: The Secret Service.  I will explain more later.

Channel Awesome forgetting to be Awesome (Part 4)

As I mentioned before, the five short films that made up The Uncanny Valley were amongst the best work Channel Awesome had done.  Each had a theme about the drawbacks of living and dealing in an online world. 

One of them, produced and co created by Phelan Porteous, was a humorous look at cats overtaking the web and most political governments as, I believe, a form of blowback from exploitation of their foibles and tricks in viral videos.

Brad Jones had done what would turn out to be a pilot for a series of his that resembled the actions of Michel Gondry's underrated gem Be Kind Rewind.  I rather liked it, Jones' warped humor being of interest.

Mike Jeavons of Shameful Sequels, Informercialism and That Sock, had a very funny and yet awkward video regarding what can go wrong with online dating.  In this case, Jeavons has a blind date set for him.  It turns out to be Mathew Buck, of all people.  Hilarity ensues.

Doug Walker, along with Rob Walker and Brian Heinz, managed to create Dragonbored,  This might be Doug's most original and best work outside of the Nostalgia Critic.  What would happen if your video game avatar came to life and was a better person than you, the gamer?  This question is answered quite conclusively in Dragonbored.  I think it is best summed up with a line given that sounds chhesy, but really is not.

Man losing everything due to playing games:  You ruined my life!

Doug Walker's character:  No. I lived it!

Each one of the four was quite funny.  It was the fifth and final part of The Uncanny Valley that may have caused some more problems with the brass at the website.

The last one on internet etiquette involved Mat Williams and Holly Christine Brown bringing forth a serious dissertation on the issues of dealing with fans, trolls, and other travelers on the world wide web.  Allison Pregler, Lewis Lovhaug, and others were interviewed where they spoke important truths that would usually not be permissible on the website.  In the end, Welshy and Holly more or less told viewers to consider the fact that web reviewers, indeed, have lives and other ideas for living a securely financial life.

While there was no objection to any of the short films; the leadership at Channel Awesome might not have been too pleased with the Williams/Brown collaboration that, for me, should be required viewing for any person willing to put themselves online.  As a result, more departures came forth.

Welshy pretty much decided to retire from doing web reviewing.  He did however finish with one last collaboration with Julian Diaz (Sad Panda), who himself decided to focus on his YouTube account and his native French Language videos.  Yet while the Sad Panda Q&A guys managed to leave somewhat on their own terms; the same could not be said for Holly.  Days after having undergone a successful surgical procedure for a long standing medical condition, Holly Christine Brown was summarily terminated from the website by primarily Mike Michaud and Rob Walker.  This did not and does not sit well with the long term fan base. 

And yet, that was only a prelude of what was to come.  The point of demarcation was January 23, 2014.  It was on that day Channel Awesome changed permanently.  Justin Carmical, nearly 43 and in financial difficulty, locked himself in his bathroom.  Though his wife and others begged for him to come out, Carmical took out a gun he owned and killed himself.  I became aware of this some two days later, while reading Brad Jones' Twitter feed.  Subsequently, within moments many Channel Awesome people past and present went to pay respects to him, his wife Jennifer, the Carmical extended family, and others. 

This ended a lot of things Channel Awesome had been doing up to that point.  It ended the anniversary specials, many of the interlocking storylines, You Can Play This, along with far too much to even mention.  I think it also became the  onus for the Walker brothers and Michaud to practically remake the website to fit their ideas. 

In the last year alone, those who either left or were dismissed from Channel Awesome in the post JewWario era have included:

Mike "Birdman" Dodd, Hope Chapman (jesu otaku), Andrew Dickman, Lupa/Allison Pregler, Phelous/Phelan Porteous, Kyle Kallgren, Lindsay Ellis, just about anyone affiliated with Phelous' website, and pretty much anyone affiliated with Chez Apocalypse; Lindsay Ellis' own web hosting platform.  That latter section also includes Paw (Paul Schuler), Nella and Elisa, and Todd In The Shadows.  Fortunately, the recent Chez Apocalypse departures were made on their  own terms., with the exception of Kallgren.  In that case, Kyle, along with Dickman, Lupa and Phelous were summarily dismissed last month in a terse statement.  That has since revealed through Tumblr accounts and other posts the lack of communication and transparency in finances that have gone on through Channel Awesome.

It does not help that the site is starting to become more comedy sketch oriented as opposed to telling a good story and bring forth a fair analysis of a movie or series and such.  Many that still are part of the website like Linkara, Bennett the Sage, and Brad Jones have not been affected in this change of attitude.  However, you do see that in other reviewers like Rap Critic, Eddie Rodriguez, Some Jerk With A Camera (the guy that reviews theme parks), and others; comedy is the name of the game.  Whether this is a direct reflection of the Walkers' original works, including even Doug's commentary on movies that unintentionally could border on humor, remains to be seen. 

Oh, yes; one other big change.  That Guy With The Glasses no longer exists.  Both the website and the character.  Here is how it ended.  Admittedly, it is rather clever.

 https://www.youtube.com/watch?v=U-nac6uFUD0

So, it is now Channel Awesome.  Starring Doug Walker, and created by Doug Walker.  Produced by Doug Walker.  Edited by Doug Walker.  Written by Doug Walker and Rob Walker.  Did I mention this is Doug Walker's site?  Well, Doug and Rob Walker host this Doug Walker site.  There are others, but you are just here for Doug Walker, right? 

Hopefully, the talent searches and pilots will pay off and be shown to all.  For myself, any producer could be found on YouTube, Disney/Maker/Blip, or their own websites and blogs.  I pretty much check out Channel Awesome to see the new Leon Thomas piece, and if the Walkers have anything interesting in mind.  Apart from that; it just has become in a way what Cinemassacre has been for a long time; a website devoted to one web producer mostly. 

What will happen next to the website and the Walkers and Michaud's relationship with other producers is entirely and only in their hands.  In short, I think individuality has taken hold with web series and reviewers.  Obviously, this was learned the most difficult way with Justin Carmical's death.  The aftermath is not one we had sought; yet here it is.

Well, that finishes my look at Channel Awesome.  Perhaps in another time I will make a video on another like minded web series analysis.  Thank you all again for viewing these posts. 

By the way, the title refers to a catch phrase and motto the Vlog Brothers use at the end of their videos and collaborations.  That would be Hank Green and John Green, both writers of considerable acclaim; John having written The Fault In Our Stars.  The motto is "don't forget to be awesome."  Channel Awesome has seemingly lost that credo, even if they never adopted it.

Talk to you all again soon,

Robert

PS.  Creedence Clearwater Revival were Never nominated for a Grammy.  That is how much relevance in awards the Grammys are.  The performances are good, though.