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The Oscars channelized the film industry during the transition period.

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The Oscars channelized the film industry during the transition period.


There are two ways to watch this year’s Academy Awards TV broadcast. One of them is not pretty. The other is strangely… hopeful. But both are talking about a strong transitional moment in which the film industry is being held right now.

Version #1: This year’s Oscar night ended with a weird kind of boring fizzle, crouching upside down to “reinvent” yourself. There was no sarcastic, star-based monologue that started a monologue. In theory, it seemed to be an enlightened way to keep up with the casualties and confusion that lasted for a year. But soon after, you began to crave oxygen for a few jokes. It is intended to illuminate the same atmosphere of endless socio-political homage and speech. The decision to introduce many candidates by thumbnail biographies threatened to turn the night into Wikipedia Oscars. Watching the talent sit at every velvet banquet, even though the Art Deco landmark Union Station, with its sunny windows and abstract art scattered around it was a fabulous atmosphere, it felt like an elite cabaret had been cut off. The public who is already scratching their heads with too many nominations. Television co-producer Steven Soderberg promised to play with the Oscars, but dismantled them and turned the awards into a hard-working British garden party. At some point I realized I was actually missing out on the Zoom acceptance speech at the house I saw at the Golden Globe. At least they were rude spontaneous

Version #2: The Oscars of the Year have been added to the awesome balanced action of dancing between the restrictions mandated by COVID-19 (no large auditoriums) and the promise of a post-closure world (face-to-face event without a mask!). The camera shook and flowed like a voyeur on a movie set, and Questlove laid a groove that touched our acoustic cinematic memory bank. And by shortening Snark, Ritual presented a film that was nominated with pride, presenting the myth of Hollywood’s image-making as the forefather of the moral revolution, showing the myth of Hollywood’s image-making (which is often the case). It’s true that the movies being shown aren’t popcorn hits, but most of them were passionate and powerful dramas that sparked the nerves of those who watched them. In honor of “Nomadland”, “The Father”, “Promising Young Woman” and “Judas and the Black Messiah”, the Academy has shown that even this pandemic year, the hottest and most famous films have been brutally put on hold. By cutting out the picture, the industry can provide you with a list of vivid films that the industry believes in.

Given the historically low ratings for this year’s Golden Globe and Grammy Awards show, it was all pre-determined that Oscar television broadcasts would of course follow it and generate viewership underground. However, too many people eager to jump into the cliff-down ranks as evidence that the Oscars (and perhaps the movies) are dying in the vine. This was a very special year. In the same spirit, so many are eager to declare that going to the cinema amid the anomalous of the plague has become the horses and bugs of our time and waiting to be grazed by the Qataritic. Convenience Of the streaming revolution.

Sorry. There is more to life than convenience. There’s also the excitement, the thrill of a collective experience (i.e. being part of the audience), and the magnificent addiction of art. It’s fashionable to see the future of cinema as a matter of inevitable “market power”, but it’s not like a predetermined algorithm determines whether or not people continue to look for a movie in the theater and what it is. To quote a cliché old song: That’s the choice we make. Despite winning seven categories, Netflix went through another year without winning a headline award at the Oscars. Perhaps Netflix will have to work hard to win the movie awards and at the same time kill the movies we know of.

Should the movie be a sight now? Is it the same level as a gladiator contest or a trip to the CGI planetarium? Many say so. However, if you only eat popcorn, you will need to see a doctor. Eating just popcorn can make Hollywood starve on its own. Now when we see adult movies (what we used to call movies) become the only realm for Netflix and other streaming services, those movies will be shown on TV (sorry, no other phrases). -Films, and they will be trivial and crude quality (since they don’t have to get close to greatness to meet the metric priorities of streaming services) and will be the magic of the film. will wither.

The film that won the Oscars this year wasn’t “a great escape.” Unlike old Hollywood movies; A great James Bond movie doesn’t. However, I would be willing to accept “Nomadland” with an elaborately cut-off sympathy for past Oscar winners such as “Out of Africa” ​​or “British Patient” and a devastated spirit of survivalist adventure. The film confirmed Chloé Zhao as the main voice (and Frances McDormond as the monotonous voice of our fundamental despair), and the people Couldn’t Escape when it was dramatic just by hanging on it.

In other words, there has never been a year like this one. And one of the key messages of the Oscars and streaming revolution is that it’s time for Hollywood to bring the best and the lowest and bring them back together to entertain, enlighten and provide an experience to the audience. need To escape from your house. In that sense, this year’s Oscars are full of reverence, but it was not just a temporary measure, but lessons, warnings, almost vaccinations that were removed from the show business and missed the important spark of grace and nobility, but vulgarity. The ceremony said: Yes, this is what the Oscars look like after being sealed off for a year. And no, we can’t do this again. Instead, it’s when the film industry is generally doing better than anyone else what it has done so many times before. It’s time to go back to the drawing board.





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Kevin Can F**k himself EP on Sitcom Inspirations, Casting Annie Murphy

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Kevin Can F**k himself EP on Sitcom Inspirations, Casting Annie Murphy


The premise of creating Valerie Armstrong’s first series came to her in a simple and distinct sequence. A woman leaves the living room of a traditional sitcom set and enters the kitchen. The studio lights change to regular light bulbs and she can force a smile on her face. Then, “She looked straight into the camera and said, ‘I hate my husband,'” says Armstrong.

Four years later, that inspiration grew to “Kevin Can F**k Himself.” In the eighth episode, the first season is followed by Worcester Allison, Massachusetts (Emmy winner Annie Murphy), followed by a slow awakening. Her husband (the title Kevin played by Eric Petersen) is destructive and manipulative. The sitcom space is a space where Kevin can talk, do terrible things and laugh, but the story takes Alison out of that space and leads to a single-camera structure, where she and the audience can think a little harder about her sitcom husband’s actions. , a neighbor and father managed to escape for decades.

“How to make a sitcom wife a real woman in that DNA?” Armstrong talks about the show. “Recognizing that she knew how miserable she was was very important to making a pilot. For the woman to be there, she cannot know that she is miserable. She must be sure that this is where she should be. [and] Her happiness will ultimately be in her marriage because she’s been told she’s good.

“So in the pilot it was ‘Kevin is funny, Kevin is a great guy. You just have to know how to get him to work.’ Then you have to go where he understands that he’s not accidentally destructive. It may be a mask, and it may not always be completely intentional, but he manipulates her and has been like that for a while. So, frankly, I don’t think he’s getting any worse over the course of the show, but I think he’s starting to realize his behavior,” she continues.

Armstrong, who previously wrote for “SEAL Team” and “Lodge 49” while developing the show, said that every question audiences have when they sit down to watch the premiere: part of the show goes into Alison’s head, is she crazy, or is it within the show? Is there a show element, and/or if something supernatural is going on. For the record, the answer to all of this is no. “What happens in the multi-camera world is just as real as what happens in the single-camera world, and the way people in the room see the event. ” explains Armstrong.

Armstrong had to write a lot of rules about what could and couldn’t happen in each of these worlds. The crux is that when Kevin, his father Pete (Brian Howe) or neighbor Neil (Alex Bonifer) appears on screen, “it made the world a little sitcom that could air on CBS,” Armstrong says. It’s said to be a multicam catalyst, but it doesn’t give you action you won’t find in other sitcoms, nor does it include “sitcom scenes that don’t fit that episode of the sitcom. This means that if she made an episode completely Kevin-centric, it would be 42 minutes of multicam. (She doesn’t know that the show will do something like this in the future, but she admits she doesn’t do that in season 1.) The show could shift perspective to other characters like Neighbor Patty (Mary Hollis Inboden). See action in a single camera format.

When making the sitcom, Armstrong said he wants the audience to feel like they’re “alive” but immersed in a long-running show that’s familiar. Physically, she was inspired by, for example, the sets of “That ’70s Show” and “Roseanne”, and “Frasier” helped tell the sitcom what she could perform (including a five-episode French play). .

“We tried to make a sitcom that was funny on its own. And the more you learn how destructive Kevin is, the harder it is to watch as a harmless sitcom, but we always try to make you laugh despite ourselves. So in the last episode, when things are the darkest, it’s like laughing at a funeral,” she says.

The series’ setting also helped with the timeless feeling she was going with, as she laughed “Worcester sometimes feels like she’s in the ’90s”.

Although Armstrong grew up in Connecticut and said, “I wanted to write people I knew and people I grew up with, and that meant repressed New Englanders,” she decided to set the show on a more “classic sitcom Blue Collar.” She thought most people thought of Connecticut.

“Wooster [was] My brother’s college roommate came from and he had a fascinating mix of shy and unaware of all his shortcomings, yet absolutely proud of his hometown. And he had the most fantastic intonation. I couldn’t distinguish Korea from a world ‘career’ like a job,” she recalls. “There was light and darkness. It looks like a place that Kevin could be proud of, but Allison sees everything as it is.”

Armstrong was originally looking for someone who would “surprise you just how much fun” on ‘SNL’ when casting Alison, who not only has to reliably move between the two worlds, but her worldview expands significantly as the first season progresses. they were.” Because the show “requested someone who didn’t take it too seriously. We noticed that the single-camera scene had a bad transfer. It can be tough. It can be very disappointing.” But eventually, Murphy, after spending the last six years on the Canadian sitcom “Schitt’s Creek” (who won an Emmy for comedy actor last year), got the show.

“Annie can do anything, so we went in a different direction,” Armstrong says.

Armstrong felt it was important to bring a bit of lightness and humor to the show’s single-camera world, even as Allison worked at a liquor store or reported that the car had been stolen, even as she plunges into non-luminous realities like pulling up a car. When she didn’t call him or when he didn’t come home when he expected her. She didn’t want people to feel uncomfortable watching single-camera scenes and eagerly wait to return to sitcom scenes. Especially since the single-camera scene really illuminates the system issues that both Allison and the audience must face.

“She goes through most of her first season, saying, ‘Kevin is the problem.’ She is pretty nearsighted,” Armstrong says. But “Kevin is just a symptom.”

“Kevin Can F**k Himself” airs on AMC Plus on June 13th and on AMC on June 20th at 9pm.





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Central Partnership, BF Films Partner on Horror Film ‘Schizophrenic’

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Central Partnership, BF Films Partner on Horror Film 'Schizophrenic'


Russian production and distribution powerhouse Central Partnership and Latin American film group BF Films announced their first co-production. Variety can be exposed.

“Schizophrenia” is a psychological horror film set in the real world of a serious mental disorder. Dark stories from real patients will be inspiring, and various schizophrenic symptoms, including conspiracy theories and altered reality perception, are part of the script.

The story was created by JP Jacobsen and the script is being written by Hernanny Perla (“Blink, “Revelation”, “Santería”), who has appeared twice on Hollywood’s blacklist. Perla is represented by Verve, Anonymous Content and attorney Marios Rush.

The film’s director and cast is currently scouting and will be announced in the coming months. The project will be filmed in English by an international team working in Russia at the end of 2021 or early 2022. Executive producers include Carlos Hansen, Partner and CEO of BF Films, Juliana da Cunha Jacobsen, Partner and Head of Acquisitions at the company, and Vadim Vereschagin, CEO of Central Partnership. .

“For over 15 years, we’ve been looking for the world’s best film projects and distributing them widely in Latin America,” Hansen said. “We know what works on our territory. Now is the time to work with our favorite international partners to develop and produce BF’s projects for the global market.”

Jacobsen said, “’schizophrenia’ is a vivid example of what BF Films is pursuing. “We all know that the horror genre is exploding around the world, and the challenge is to do something fresh to stand out in a complex market. This story has an interesting premise, two iconic female protagonists, and a lot of creative potential that we are sure will attract world-class talent.”

The film is distributed in Latin America by Central Partnership in Russia and BF Distribution. The company is also working as a partner to sell rights to other territories.

Vereshchagin said, “We are excited to start a new chapter in the history of Central Partnership and to start a joint project with our outstanding partner BF Distribution, one of the largest independent content distributors and creators in Latin America.” “’Schizophrenia’ makes a strong statement and is perfectly positioned to be a successful horror film. This story appeals to one of the most relatable human fears. It will be understood and felt by a wide audience not only in Russia and Latin America, but also around the world.”

The project was announced at the Key Buyers Event held online from June 8-10. Also on the slate of the Central Partnership during the KBE is “The World Champion” (pictured), a drama based on the legendary 1978 chess match between Soviet world champion Anatoly Karpov and dissident Viktor Korchnoi. the 1920s drama “December”, which follows the last days of Sergei Yesenin, a famous Russian poet and American dancer in love with Isadora Duncan; ‘Row 19’ is a psychological thriller centered on a young doctor and a 6-year-old daughter who is caught in a storm by her 6-year-old daughter on a red-eye flight.





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‘Love, Victor’ Season 2 Captures Parents’ Struggle to Accept Gay Son

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'Love, Victor' Season 2 Captures Parents' Struggle to Accept Gay Son


Spoiler warning: Don’t read if you haven’t seen season 2 of “Love, Victor” streaming on Hulu right now.

The second season of ‘Love, Victor’ (a spin-off series on the 2018 groundbreaking feature ‘Love, Simon’) begins where Atlanta teenager Victor Salazar (Michael Cimino) tells his parents he’s gay, where the first stops. Start. . After waiting a year, audiences will finally see how Armando (James Martinez) and Isabel (Ana Ortiz) react to their son’s announcement.

no scary – No tears or screams, no accusations or rejections. But at first, neither parent accepts who Victor is. Armando at least awkwardly asks about his girlfriend (i.e. an attempt to convince him that Victor can be with a girl) and wonders out loud when he decides he’s gay.

But Isabel remains silent. When Victor finally asks her to say something, she whitens.

“Well, I think I should get some rest,” she said, barely listening. “And we can talk about it tomorrow.”

When the episode ended 10 weeks later, Victor and Isabel still hadn’t talked about it. As the season begins, Armando attends a meeting of the local chapter of the LGBTQIA+ alliance support group led by Simon’s father Jack (Josh Duhamel), working to understand his son, while Isabel tries to accept the fact that Victor is gay. really struggling for

Co-showrunner Brian Tanen said, “It’s dishonest when he comes out and everything goes well. “In 2021, parents just want to hug their children and say that everything will be fine. But our job on this show was to tell a different opening story than what Simon had in the movie.” – Simon’s parents understood and embraced him almost immediately.

“Love, Victor” shows a different course, which is a bit more subtle. When Victor begins his first same-sex relationship with boyfriend Benji (George Sheer), Isabel doesn’t spend time with Benji, not to mention flinching and admitting that she’s dating her son.

Ortiz said about Isabel’s arc in season 2, “It’s going to sound a little weird, but I was actually a little excited when they told me,” Ortiz says. “It was really exciting to play. It was really different.”

In the stories that usually come up, a mother is someone who understands and is committed to her LGBTQIA+ children. Ortiz played the role perfectly as Hilda Suarez, fiercely protecting her young gay son Justin (Mark Indelicato) in ABC’s beloved telenovela “Ugly Betty.” So she enjoyed the twist.

“I thought Continuously” Ortiz says about the difference between Hilda and Isabel. “They are two sides of the same coin, right? Hilda will fight anyone who sees Justin in the eye. Isabel, on the other hand, thinks people are too clingy to her, her family, and to thinking of her as a mother. ‘How can you raise a gay son? If it were me, I wouldn’t make him gay. ‘ I’ve heard quite a bit from people in my community. ‘I do not know, no — Say he can’t be gay. Tell her you can’t do that. ‘”

Ortiz saw these dynamics at work within his family. She conveys how her late cousin Freddy devoted herself to her paternal grandmother Ramona, even though for a long time Ramona could not accept the fact that Freddy was gay. That dynamism helped inform Ortiz’s understanding of why it took Isabelle so long to support Victor.

“She’s not a monster,” Ortiz says. “She loves her son and loves her family. The road that got me in was to think about Freddie and Ramona and how much we all loved her in spite of its flaws. She was still there for Freddy, but there was always a little thing until it wasn’t there. Until the light changes.”

Ana Ortiz as Victor’s mother Isabel and George Sear as Victor’s boyfriend Benji in “Love, Victor”
Courtesy of Michael Desmond/Hulu

The “Love, Victor” writers also mined personal experiences that come to their parents as they craft Isabel’s journey this season. Postpone a difficult conversation with Victor to another day with Isabel’s initial reaction.

“The idea that there is no answer to people who don’t accept the idea that their parents are coming out right away is something we hear over and over,” Tanen says. “The idea that the parents are just hesitant and don’t want to say one side or the other is a bit shocking for A and B doesn’t want to say anything negative, but they are traveling.”

One of the biggest stubbornnesses between Victor and Isabel is Victor’s refusal to tell his brother Adrian (Mateo Fernandez) that he is gay. This is a development that stemmed from a small argument when “Love, Victor” first moved out of their home. From Disney Plus to Hulu Before Season 1

Tanen said this move helped the show, allowing Season 2 to portray the sex life of Victor and Benji in a rare, candid way, but decided that “Love, Victor” couldn’t be on a more “family-friendly” Disney Plus. “It sparked an interesting conversation in the writer’s room about whether LGBT issues are inherently more adult.”

“They are in some ways a discussion of sexuality, and sexuality is more of an adult subject,” he continues. “We wanted Isabel to think about whether it’s okay to have these conversations with the kids. Of course it is. This is a conversation about people. are.”

When Adrian learns that Victor is gay, he accepts it without thinking again, and Isabel faces the biggest obstacle between her and Victor: a lifelong commitment to the Catholic Church. Early in season 2, Isabel also asks her bride about Victor. He advises her to help her son get back to Jesus, that is, stop homosexuality.

“When Victor agrees to be reluctant to come out, she doesn’t want to hear it,” Tanen says. “Looking at her face, she wants the bride to turn her around on this matter. Her heart and mind are elsewhere.”

Later, when Adrian tells Isabel that the bride hinted that Victor’s soul is in danger, there is the same light switch moment Ortiz’s grandmother had with Ortiz’s cousin Freddy, and she marched into the bride’s room to announce him. do.

“I was brought up to believe in a lot of ugly things, Dad,” she says. “It seems like it will take me to forget the rest of my life, but I will.”

Ortiz liked the scene, but said the director had to keep reminding her to reverse her reaction. “My instinct is, ‘Free me!'” she said with a laugh. “But that’s not Isabel. She still conquers a lot more about it.” (Still, Tanen remembers “people clapping” after the scene ended while she was reading the table for the episode.)

Tanen, who’s been writing Ortiz’s scenes after “Ugly Betty,” wrote the second episode of the season, in which Isabel finally tells Victor the desperate story he wants to hear: “I accept you, Victor. I love every part of you.”

That kind of happy ending doesn’t reflect every parent’s reaction to their child’s sexuality, but Tanen says it fits the larger mandate for “Love, Victor” to avoid the trauma of coming out.

“We want to feel inspired and uplifted at the heart of the show,” he says. “It can be an emotion in a writer’s room when people recall their journey, but it can also be incredibly cathartic. And it’s also a chance to make some wishes come true. Even if it’s not perfect, it’s an opportunity to rewrite history to show the LGBT audience, ‘This is the way to go.'”

Even telling queer stories in place empathy can lead to unexpected places.

“It is now a little easier to talk to someone in the family. [homophobic] Look,” she says. “Before I go to dinner and have a screaming argument. Now I think we can talk to them and take a closer look at them from their side.”

“I think it’s really important to have those conversations. “Now everyone is so angry. I mean, the world is upside down. But when it comes to family, when it’s a loved one… You can keep these conversations calm. And you can watch the show with them and say, ‘Now we can talk about it.’”





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