2024′s Oscar nominees have just been announced, and the team behind Oppenheimer, Killers Of The Flower Moon and Poor Things all have major cause for celebration.
But how are the picks chosen?
Well, you might have heard winners thank the Academy during their speeches. But you might not have known that The Academy of Motion Picture Arts and Sciences they’re referring to boasts “nearly 11,000” members who are divided into 17 branches.
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First of all, who are The Academy of Motion Picture Arts and Sciences?
They’re a massive group of experts who all work in the film industry across various disciplines. But that doesn’t mean they’re all in creative fields, like set design or acting ― some are executives or PR pros.
As president of The Academy of Motion Picture Arts and Sciences Janet Yang said at the start of the 2024 Oscar nominations, people vote in their area of expertise.
“The Oscar nominees in almost every category were voted upon by peers in the branch,” she explained. “Actors vote for actors; film editors vote for film editors; costume designers for costume designers; and so on.”
“Best Picture nominations, however, are determined by all Academy members,” she added.
Once nominees have been decided, all voting members can cast their ballot on who wins.
How do they vote once nominees have been selected?
The vote takes place online. For most categories, Academy members simply pick one favourite ― and the one with the most votes wins.
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Again, though, Best Picture is different.
In this case, a system called preferential voting is used, where Academy members rank every movie on the list ― and if one movie gets over 50% first-place votes in the first round, it wins immediately.
If no movie does this, the movie with the least first-place votes is eliminated ― then the remaining movies get bumped up a spot on the ballots. So, a movie that was someone’s second choice gets moved up to their first.
This keeps happening until a winner reaches the 50% mark. Hey, nobody ever said showbiz was easy…
If you’ve seen Barbie (and judging by its blockbuster popularity, you probably have), you’ll know that Ryan Gosling played Stereotypical Ken in the film.
His character, whose official job was “beach” and whose main hobby was “pining after Margot Robbie’s Barbie,” delighted audiences with his hilarious antics and, er, fascinating singing voice.
Ryan Gosling has been nominated for the 2024 Oscars awards for Best Supporting Actor as Ken. The song played by his character, I’m Just Ken, which is ― well ― all about Ken has been nominated for Best Original Song.
And while nobody’s doubting the actor’s hilarious performance (which was undeniably incredible, and definitely Oscar-worthy in our opinion), some on X (formerly Twitter) have noticed that Greta Gerwig, the film’s director, and Margot Robbie ― Barbie’s main lead and producer of the film ― have not received a Best Director or Best Actress nomination.
This, some point out, is ironic given the feminist message of the film.
Of course, America Ferrera did receive an equivalent nomination for her role as Gloria in the movie (she’s been nominated for Best Supporting Actress). Greta Gerwig’s screenplay, co-written with Noah Baumbach, did get nominated for Best Adapted Screenplay.
And Margot Robbie is indirectly nominated for Best Picture via her production work.
Still, people on X thought the Best Actress and Best Director omissions were… interesting. Here are some responses:
Seth Meyers on Thursday spotlighted just some of the “embarrassing mistakes” that Donald Trump’s lawyer, Alina Habba, has made during writer E Jean Carroll’s new defamation trial against the former president.
One flub stood out in particular to the Late Night comedian.
Meyers noted how US District Judge Lewis Kaplan became infuriated with Habba over “a ridiculous motion for mistrial” after Caroll’s lawyer objected to Habba’s line of questioning.
Kaplan responded, “Denied and the jury will disregard everything Miss Habba just said.”
Meyers commented, “Man, that is brutal.”
Habba is “so bad at this the judge is basically telling the jury, ‘Just pretend she’s not here,’” he added. “The judge is talking about her the way you talk to your kids about the weird guy on the subway.”
Originally scheduled for Sept. 18, the 75th Emmys Awards wiggled their way into this year’s awards season after the Screen Actors Guild and Writers Guild of America strikes put Hollywood on pause.
But the best television of 2023 will finally get its time to shine on Monday, when the Emmys air live from the Peacock Theatre in Downtown Los Angeles at 5 p.m. EST.
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Who’s Hosting And Where To Watch
Anthony Anderson is taking on hosting duties as the Emmys are broadcast live on Fox. The awards will be available on Hulu the following day.
Fashion fans can catch E!’s official red carpet show starting at 6 p.m. EST.
The best television of 2023 will finally get its time to shine on Monday, when the Emmys air live from the Peacock Theater in Downtown Los Angeles at 5 p.m. EST.
Michael Buckner/Variety/Penske Media via Getty Images
Who’s Nominated
Monday’s Emmys might give TV fans a minor dose of nostalgia. The 75th annual television awards considered programming that aired between June 1, 2022, and May 31, 2023, and announced its nominees last July.
Succession swept up 27 nominations with its final season, making the HBO drama the most-nominated series at this Emmys. HBO’s The Last of Us and The White Lotus also got major recognition, snagging 23 and 24 nominations apiece.
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Television’s Biggest Night
The fanfare of the 75th annual Primetime Emmys comes at a tricky time for the television industry.
Months of strike-related production delays drastically reduced the number of shows networks have in the pipeline, leaving the 2024 release calendar more sparse than usual.
Meanwhile, streaming services are trying to contend with stagnant subscription numbers and major mergers like HBO Max’s partnership with Discovery+ and Disney+’s takeover of Hulu.
See all the nominees for the 75th annual Primetime Emmys here:
Preparations for the 75th Emmy Awards were in full swing over the weekend, ahead of Monday’s show.
VALERIE MACON via Getty Images
Outstanding Drama Series
“Andor”
“Better Call Saul”
“The Crown”
“House of the Dragon”
“The Last of Us”
“Succession”
“The White Lotus”
“Yellowjackets”
Outstanding Lead Actor in a Drama Series
Jeff Bridges, “The Old Man”
Brian Cox, “Succession”
Kieran Culkin, “Succession”
Bob Odenkirk, “Better Call Saul”
Pedro Pascal, “The Last of Us”
Jeremy Strong, “Succession”
Outstanding Lead Actress in a Drama Series
Sharon Horgan, “Bad Sisters”
Melanie Lynskey, “Yellowjackets”
Elisabeth Moss, “The Handmaid’s Tale”
Bella Ramsey, “The Last of Us”
Keri Russell, “The Diplomat”
Sarah Snook, “Succession”
Outstanding Supporting Actor in a Drama Series
F. Murray Abraham, “The White Lotus”
Nicholas Braun, “Succession”
Michael Imperioli, “The White Lotus”
Theo James, “The White Lotus”
Matthew Macfadyen, “Succession”
Alan Ruck, “Succession”
Will Sharpe, “The White Lotus”
Alexander Skarsgård, “Succession”
Outstanding Supporting Actress in a Drama Series
Jennifer Coolidge, “The White Lotus”
Elizabeth Debicki, “The Crown”
Meghann Fahy, “The White Lotus”
Sabrina Impacciatore, “The White Lotus”
Aubrey Plaza, “The White Lotus”
Rhea Seehorn, “Better Call Saul”
J. Smith-Cameron, “Succession”
Simona Tabasco, “The White Lotus”
Outstanding Guest Actor in a Drama Series
Murray Bartlett, “The Last of Us”
James Cromwell, “Succession”
Lamar Johnson, “The Last of Us”
Arian Moayed, “Succession”
Nick Offerman, “The Last of Us”
Keivonn Montreal Woodard, “The Last of Us”
Outstanding Guest Actress in a Drama Series
Hiam Abbass, “Succession”
Cherry Jones, “Succession”
Melanie Lynskey, “The Last of Us”
Storm Reid, “The Last of Us”
Anna Torv, “The Last of Us”
Harriet Walter, “Succession”
Outstanding Comedy Series
“Abbott Elementary”
“Barry”
“The Bear”
“Jury Duty”
“The Marvelous Mrs. Maisel”
“Only Murders in the Building”
“Ted Lasso”
“Wednesday”
Outstanding Lead Actor in a Comedy Series
Bill Hader, “Barry”
Jason Segel, “Shrinking”
Martin Short, “Only Murders in the Building”
Jason Sudeikis, “Ted Lasso”
Jeremy Allen White, “The Bear”
Outstanding Lead Actress in a Comedy Series
Christina Applegate, “Dead to Me”
Rachel Brosnahan, “The Marvelous Mrs. Maisel”
Quinta Brunson, “Abbott Elementary”
Natasha Lyonne, “Poker Face”
Jenna Ortega, “Wednesday”
Outstanding Supporting Actor in a Comedy Series
Anthony Carrigan, “Barry”
Phil Dunster, Ted Lasso”
Brett Goldstein, “Ted Lasso”
James Marsden, “Jury Duty”
Ebon Moss-Bachrach, “The Bear”
Tyler James Williams, “Abbott Elementary”
Henry Winkler, “Barry”
Outstanding Supporting Actress in a Comedy Series
Alex Borstein, “The Marvelous Mrs. Maisel”
Ayo Edebiri, “The Bear”
Janelle James, “Abbott Elementary”
Sheryl Lee Ralph, “Abbott Elementary”
Juno Temple, “Ted Lasso”
Hannah Waddingham, “Ted Lasso”
Jessica Williams, “Shrinking”
Outstanding Guest Actor in a Comedy Series
Jon Bernthal, “The Bear”
Luke Kirby, “The Marvelous Mrs. Maisel”
Nathan Lane, “Only Murders in the Building”
Pedro Pascal, “Saturday Night Live”
Oliver Platt, “The Bear”
Sam Richardson, “Ted Lasso”
Outstanding Guest Actress in a Comedy Series
Becky Ann Baker, “Ted Lasso”
Quinta Brunson, “Saturday Night Live”
Taraji P. Henson, “Abbott Elementary”
Judith Light, “Poker Face”
Sarah Niles, “Ted Lasso”
Harriet Walter, “Ted Lasso”
Outstanding Limited or Anthology Series
“Beef”
“Dahmer – Monster: The Jeffrey Dahmer Story”
“Daisy Jones & The Six”
“Fleishman Is in Trouble”
“Obi-Wan Kenobi”
Outstanding Television Movie
“Dolly Parton’s Mountain Magic Christmas”
“Fire Island”
“Hocus Pocus 2”
“Prey”
“Weird: The Al Yankovic Story”
Outstanding Lead Actor in a Limited or Anthology Series or Movie
Taron Egerton, “Black Bird”
Kumail Nanjiani, “Welcome to Chippendale’s”
Evan Peters, “Monster: The Jeffrey Dahmer Story”
Daniel Radcliffe, “Weird: The Al Yankovic Story”
Michael Shannon, “George and Tammy”
Steven Yeun, “Beef”
Outstanding Lead Actress in a Limited or Anthology Series or Movie
Lizzy Caplan, Fleishman Is in Trouble”
Jessica Chastain, “George & Tammy”
Dominique Fishback, “Swarm”
Kathryn Hahn, “Tiny Beautiful Things”
Riley Keough, “Daisy Jones & The Six”
Ali Wong, “Beef”
Outstanding Supporting Actor in a Limited or Anthology Series or Movie
Murray Bartlett, “Welcome to Chippendales”
Paul Walter Hauser, “Black Bird”
Richard Jenkins, “Monster: The Jeffrey Dahmer Story”
Joseph Lee, “Beef”
Ray Liotta, “Black Bird”
Young Mazino, “Beef”
Jesse Plemons, “Love and Death”
Outstanding Supporting Actress in a Limited or Anthology Series or Movie
Annaleigh Ashford, “Welcome to Chippendale’s”
Maria Bello, “Beef”
Claire Danes, “Fleishman Is in Trouble”
Juliette Lewis, “Welcome to Chippendale’s”
Camila Morrone, “Daisy Jones and the Six”
Niecy Nash-Betts, “Monster: The Jeffrey Dahmer Story”
Merritt Wever, “Tiny Beautiful Things”
Outstanding Animated Program
“Bob’s Burgers”
“Entergalactic”
“Genndy Tartakovsky’s Primal”
“Rick and Morty”
“The Simpsons”
Outstanding Character Voice-Over Performance
Julie Andrews, “Queen Charlotte”
Alex Borstein, “Family Guy”
Mel Brooks, “History of the World, Part II”
Maya Rudolph, “Big Mouth”
Wanda Sykes, “Crank Yankers”
Ali Wong, “Tuca & Bertie”
Outstanding Narrator
Mahershala Ali, “Chimp Empire”
Angela Bassett, “Good Night Oppy”
Morgan Freeman, “Our Universe”
Barack Obama, “Working: What We Do All Day”
Pedro Pascal, “Patagonia: Life on the Edge of the World”
Outstanding Variety Talk Series
“The Daily Show With Trevor Noah”
“Jimmy Kimmel Live!”
“Late Night With Seth Meyers”
“The Late Show With Stephen Colbert”
“The Problem With Jon Stewart”
Outstanding Scripted Variety Series
“A Black Lady Sketch Show”
“Last Week Tonight With John Oliver”
“Saturday Night Live”
Outstanding Variety Special (Live)
“The Apple Music Super Bowl LVII Halftime Show Starring Rihanna”
“Chris Rock: Selective Outrage”
“Elton John Live: Farewell From Dodger Stadium”
“The Oscars”
“75th Annual Tony Awards”
Outstanding Variety Special (Pre-Recorded)
″Carol Burnett: 90 Years of Laughter”
“John Mulaney: Baby J”
“Lizzo: Live in Concert”
“Norman Lear: 100 Years of Music & Laughter”
“Trevor Noah: I Wish You Would”
“Wanda Sykes: I’m an Entertainer”
Outstanding Hosted Nonfiction Series or Special
“The Light We Carry: Michelle Obama and Oprah Winfrey”
“My Next Guest Needs No Introduction With David Letterman and Volodymyr Zelenskyy”
“Stanley Tucci: Searching for Italy”
“Taste the Nation With Padma Lakshmi”
“United Shades of America With W. Kamau Bell”
Outstanding Structured Reality Program
“Antiques Roadshow”
“Diners, Drive-Ins And Dives”
“Love Is Blind”
“Queer Eye”
“Shark Tank”
Outstanding Unstructured Reality Program
“Indian Matchmaking”
“RuPaul’s Drag Race”
“Selling Sunset”
“Vanderpump Rules”
“Welcome to Wrexham”
Outstanding Competition Program
“The Amazing Race”
“RuPaul’s Drag Race”
“Survivor”
“Top Chef”
“The Voice”
Outstanding Host for a Reality or Reality-Competition Program
Bobby Berk, Karamo Brown, Tan France, Antoni Porowski, Jonathan Van Ness, “Queer Eye”
Nicole Byer, “Nailed It!”
Padma Lakshmi, “Top Chef”
Amy Poehler & Maya Rudolph, “Baking It”
RuPaul, “RuPaul’s Drag Race”
Outstanding Documentary Or Nonfiction Special
“Being Mary Tyler Moore”
“Judy Blume Forever”
“My Transparent Life”
“Pamela, A Love Story”
“Still: A Michael J. Fox Movie”
Outstanding Documentary Or Nonfiction Series
“Dear Mama”
“100 Foot Wave”
“Secrets of the Elephants”
“The 1619 Project”
“The U.S. and The Holocaust”
Exceptional Merit In Documentary Filmmaking
“The Accused: Damned or Devoted?”
“Aftershock”
“Last Flight Home”
“The Territory”
Outstanding Short Form Comedy, Drama or Variety Series
“Awkwafina Is Hangin’ With Grandma”
“Better Call Saul Filmmaker Training”
“Carpool Karaoke: The Series”
“I Think You Should Leave With Tim Robinson”
“Only Murders in the Building: One Killer Question”
Outstanding Actor in a Short Form Comedy or Drama Series
Kevin Hart, “Die Hart 2: Die Harter”
Tim Robinson, “I Think You Should Leave With Tim Robinson”
Ben Schartz, “Die Hart 2: Die Harter”
Outstanding Actress in a Short Form Comedy or Drama Series
Nathalie Emmanuel, “Die Hart 2: Die Harter”
Jasmine Guy, “Chronicles of Jessica Wu”
Paula Pell, “Die Hart 2: Die Harter”
Outstanding Short Form Nonfiction Or Reality Series
Her 2001 hit Murder On The Dancefloor is featured prominently in the divisive film’s final scene, which has led to the song ricocheting back into the top 10, landing at number eight last week.
On Friday afternoon, the Official Charts Company confirmed that Murder On The Dancefloor had risen even further this week, missing out on the top spot by just one place.
This puts the track in the same chart position it reached upon its release more than 20 years ago, when it was held off the top spot by Daniel Bedingfield’s Gotta Get Thru This.
Can the continued popularity of Saltburn push Sophie’s track to a new peak next week, and finally hit number one? We’ll have to wait and see.
Sophie previously said of her song’s renewed chart success: “One thing I’ve always loved about my work is its ability to surprise me.
“Murder On The Dancefloor is a song I’ve been singing for 20 years, and I’m on really good terms with it. I love singing it, I love performing it and what’s happening at the moment is kind of magical, actually.”
But Murder On The Dancefloor isn’t the only 2000s hit that Saltburn has helped propel into the charts.
Saltburn is available to stream now on Amazon Prime.
Kaley Cuoco may play a flight attendant on TV, but nothing could’ve prepared her for the drama that ensued during her first flight with her baby over Thanksgiving.
During a stop by Jimmy Kimmel Live on Monday, Cuoco told a story about flying with her now 9-month-old daughter, Matilda, and how a fellow passenger wasn’t helpful to her and her boyfriend, fellow actor Tom Pelphrey.
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Cuoco said she was “so terrified” to fly with Matilda that she and Pelphrey took every precaution possible, including bringing Matilda’s sound machine on the flight in order to get her to sleep.
“So she’s crying [on the plane],” the actor said. “She finally falls asleep and she’s on Tom, and the sound machine is on and we were finally like [ugh].”
But for one passenger in particular, things were just getting started.
Cuoco had a bit of a tiff on her first flight with her daughter, Matilda.
Jimmy Kimmel Live/YouTube
“The steward comes over and he’s like, ‘Hey, one of our passengers would love it if you would turn the sound machine off’ … and I’m sitting there and I’m like, ‘Oh my god. Oh my god,’” Cuoco said.
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“And I can feel Tom be like, ‘Hey, ask the passenger if she wants to hold our screaming child when we turn it off.’ I mean, the ice went into his veins,” she continued.
While Kimmel expressed sympathy for the flight attendant that had to deliver the message, Cuoco said she and her husband “were so angry” at the passenger.
“So then we landed, and it was the woman right in front of us. And so we get up and now Matilda is like, ‘Haha, life is great.’ The lady turns around and she goes, ‘Oh, so your daughter does know how to smile,‘” the Big Bang Theory actor said. “It was in that moment where I understood why women end up on ‘Dateline.’ I could have strangled her.”
“I could have thrown that woman off the plane,” Cuoco added, before advocating for people to be more understanding of babies (and their parents) on planes.
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Cuoco announced that she and Pelphrey were expecting back in October 2022. They later welcomed their daughter, Matilda Carmine Richie Pelphrey, in March 2023.
The actor previously revealed that having a kid “just wasn’t on my radar” until she met her now-partner.
“As a young girl I dreamed of it, but I became involved in my career,” she told Emmy magazine back in May. “Then when we met, it was instantaneous — ‘Oh my God, I want to have a kid with you.’”
The elevator doors opened to reveal a woman who also appeared to be in her mid-20s. Pausing for her to step out, I noticed that she was wearing a button pinned on her shirt. It read, “Be kind to me. I’m grieving.”
As she moved past me, I wanted to stop her. I wanted to reach out with a gesture or words that would capture her attention. I wanted to let her know that I understood, to explain that my mom had died earlier that year, to tell her that I knew what it was to grieve. But before I had the chance, she was walking across the lobby and through the building’s automatic doors, so I stepped into the elevator, thinking about the loss I always carried with me and wondering what it felt like for her to carry a loss too.
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At that time, my grief was still so fresh and so heavy. It was still hard to put it into words, to make others understand, and, as the elevator rose, I remember envying that stranger’s button, the way she so easily communicated to the rest of the world that her world had been forever changed. I needed to be able to do that, to help others to see my grief. I didn’t know if it would lessen the weight of it, but I thought that it might make it feel less consuming. Maybe it would help me process what the rest of my life would look like without my mom in it. Maybe doing so would be able to make me feel less alone.
Dan Levy’s new Netflix film, Good Grief, which he wrote, produced, directed and stars in, does all of the things that I wished I could have done for myself back then; it makes grief tangible.
The movie opens as if it’s a holiday film instead of a drama. Ella Fitzgerald’s Sleigh Ride plays as the first shot, a beautiful London townhouse decorated for Christmas and filled with people, appears on the screen. Inside, Marc (Dan Levy) is talking to his friend Thomas (Himesh Patel). It quickly becomes evident through Thomas’ simultaneously entertaining and self-deprecating story that he is dating someone awful, and he asks Marc, “Are there any decent men in this city?” Before Marc can respond, Thomas tells him that he can’t have an opinion because Marc’s “hot, wealthy husband is about to lead a singalong by a roaring fire.”
Himesh Patel as Thomas and Daniel Levy as Marc in “Good Grief.”
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What follows is The Before, a glimpse of the joyful and colourful life Marc shares with his hot, wealthy husband, Oliver (Luke Evans). There’s laughing and friendship and very nice clothes and a beautiful home and the freedom that exists when you’re married and childless and have exorbitant wealth. But as the singalong begins, as everyone sings “Every day will be like a holiday / When my baby, when my baby comes home,” it foreshadows what the rest of the movie will explore, what happens to Marc and his two closest friends when his baby can’t come home.
Without knowing the fate of Oliver, this seemingly perfect scene could function as the beginning of a cozy Christmas movie, but there are clues that this life, this party, is not only a “shimmering success,” as Oliver calls it, but also a flickering façade. Without giving away the plot, it’s enough to say that the dialogue and actions of the characters are brilliantly written to reveal the discord underlying the charmed life they appear to lead. Dan Levy’s writing and directing set the stage for a complicated grief.
In a movie with grief in the title, it spoils nothing to reveal that The Before becomes The After when Oliver leaves the party in a cab to go to Paris for work. The cab makes it only a block before he’s killed in a car crash. All of this takes place in the first nine minutes of the film in a scene that ends with Marc running toward the sirens he heard from inside his apartment and the flashing blue lights he saw out the window. As he runs down the street toward the accident, the viewer is left looking out the window. The music stops, the image fades and the title “Good Grief” appears on the screen.
This is when The After begins. The next scene opens without music as Marc lies in bed with his eyes closed. His world is deprived of colour. His face is in shadow. As the somber score slowly begins to play, he opens his eyes. What follows in the next 80 minutes is a realistic and intimate portrayal of the messiness of grief that takes place in a highly stylised world (the cinematography, sets, and costumes are beautiful).
From attending the funeral to dealing with the legal and financial logistics of someone being gone to entering a new season (in this case spring) that the person you love will never see and bemoaning the exhaustion and physical toll of grieving while questioning when it’s necessary to stop mourning and start living (in this case dating again), Good Grief portrays absence and the void it creates. This part of the movie, while short, feels weighty and reminds me of Joan Didion’s The Year of Magical Thinking, which chronicles the year after the sudden death of her husband, writer John Gregory Dunne. In the final pages of the memoir, at the end of that first year, she writes, “I also know that if we are to live ourselves there comes a point at which we must relinquish the dead, let them go, keep them dead.”
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“What follows in the next 80 minutes is a realistic and intimate portrayal of the messiness of grief that takes place in a highly stylized world (the cinematography, sets, and costumes are beautiful).”
For many, that anniversary is that point. Marc’s friend Sophie (Ruth Negga) says as much at the end of the 14-minute sequence. It’s December again, and she encourages Marc to go out to a party instead of staying at home with a bag of takeout.
“We have been here for you whenever you’ve needed us for almost a year now. We built you the nest, and we sat on you for a year. It’s time to hatch.”
The bulk of the movie takes place after this scene. Marc invites his two best friends, Thomas and Sophie, to Paris, and the pace of the movie slows down to capture the days immediately surrounding the anniversary of Oliver’s death.
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This is where the movie gets messy. This is where the complications foreshadowed in the opening scene come to light and where Marc’s grief transforms from a private experience imbued with Didion-like magical thinking to a lived experience with long-term ramifications.
After my mom died, I learned that the transformative power of grief is not only personal but also relational. My mom’s death changed me as much as it did my relationships with the people around me. The closer I was to those people, like my husband, brother and best friends, the more those relationships shifted. This often-unexplored aspect of grief is what I found to be the most cathartic feature of Levy’s movie, and it was especially realistic because it highlighted the characters’ flaws, their imperfections becoming even more noticeable and relatable as they struggled through their grief.
While the film is about Marc’s individual grief, the section of the movie in Paris shows the way that loss ripples outward, complicating his relationship with his best friends, who are facing their own “messy secrets and hard truths.”
I don’t want to spoil what those complications are or where it leads them, but, as someone who also lost a loved one at Christmastime (my mom died 10 days before Christmas), I was grateful for the experience of bearing witness to Marc’s and his friends’ journey out of magical thinking and into the world, especially at a time of year when the rest of the world is bright and festive and joyful.
In a recent interview with NPR, Levy said the movie ”came from my own confusion around feelings of grief and what it all meant and whether I was honouring the people that I was mourning appropriately. In my case, it was my grandmother. And then five days before I wrote the screenplay, my dog of 10 years passed away, and so it was a very raw and confusing time. I couldn’t speak the feelings. I could only write them, and the feelings in it were the only way I could kind of make sense of my own.”
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In the immediate aftermath of my mom’s death, I don’t think I would have been ready to watch a movie like Good Grief, but now, five years later, I’m thankful for the honest, raw messiness of it. The film captures both the confusion and isolation of what it feels like to grieve and how that grief can become hope, how there can be a goodness that occurs when we let the dead be dead, even when the relief of doing so becomes its own type of pain and loss.
In the movie, Levy compares that loss to an ulcer in one’s heart that never goes away, and it doesn’t. We always carry our grief with us, but, as his movie shows, it can be transformed into something better, something good.
If you’re expecting a funny, Schitt’s Creek-esque take on grief, this is not the movie for you. But if you are grieving and want to feel like someone out there understands what you’re going through, you can stream Good Grief now on Netflix.
Koy’s opening monologue got mixed reviews at best, to the point where he blamed the show’s comedy writers when jokes didn’t hit.
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But the most devastating burn may have been the silent reaction Swift gave when Koy joked, “The big difference between the Golden Globes and the NFL? On the Golden Globes, we have fewer camera shots of Taylor Swift…”
As the clip below amply demonstrates, the singer was not impressed, offering a blank look as she sipped a drink. The response to the joke even led to Koy apologising.
In an interview with GMA3, Koy admitted that the Swift joke was “a little flat” and “was a weird joke, I guess”.
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Still, he insisted that Swift wasn’t the butt of the joke.
“I was trying to make fun of the NFL using cutaways and how the Globes didn’t have to do that. So it was more of a jab toward the NFL. But it just didn’t come out that way,” he said.
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It has only taken our culture over a decade to reckon with the truth: We absolutely did Katherine Heigl dirty.
Scrubbing back into some mid-aughts “Grey’s Anatomy” drama, Ellen Pompeo has come to her former co-star’s defence more than a decade after she controversially exited the long-running medical drama.
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Heigl was branded as a villain for clashing with the powers behind the ABC series after publicly criticising the harsh working conditions on set and later withdrawing her name from Emmy contention over lacklustre material.
But Pompeo is now praising Heigl for making “ballsy” comments at the time.
“I remember Heigl said something on a talk show about the insane hours we were working, but she was 100% right — and had she said that today she’d be a complete hero, but she was ahead of her time,” she said in an episode of her “Tell Me” podcast.
“Of course, let’s slam a woman and call her ungrateful when the truth is she’s 100% honest, and it’s absolutely correct what she said,” Pompeo continued. “And she was fucking ballsy for saying it. And she was telling the truth. She wasn’t lying. Also, when you’re younger, you’re so excited to be there and you’re so happy to be invited to the party that you’re willing to do whatever it is they’re asking you to do.”
Heigl addressed those comments while endorsing the International Alliance of Theatrical Stage Employees strike in a lengthy Instagram post in September, remarking that she got her “ass kicked for speaking up.”
Pompeo, who now also serves as one of the executive producers on “Grey’s Anatomy,” explained that the culture has thankfully evolved since Heigl’s days, adding that “happier actors” mean there’s “not as much drama.”
“I’m very lucky now with my schedule on ‘Grey’s,’” she said. “I get to cut back, and overall I’m happy for the production as a whole because we have cut back tremendously. Back in the day, we used to do crazy, crazy hours.”
While Heigl has since starred in a slew of projects, including Netflix’s “Firefly Lane,” she has spoken about how being labeled “difficult” took a serious toll on both her career and mental health.
“I may have said a couple of things you didn’t like, but then that escalated to, ‘She’s ungrateful,’ then that escalated to, ‘She’s difficult,’ and that escalated to, ‘She’s unprofessional,’” she told The Washington Post in an interview last year. “What is your definition of difficult? Somebody with an opinion that you don’t like? Now, I’m 42, and that shit pisses me off.”
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Heigl said that she was “quickly told to shut the fuck up” amid the fallout from her comments.
“I asked my mom and my husband to find me somewhere to go that could help me because I felt like I would rather be dead,” she told the Post. “I didn’t realize how much anxiety I was living with until I got so bad that I had to really seek help. You can do a lot of inner soul work, but I’m a big fan of Zoloft.”
Heigl previously expressed interest in returning to the series and wrapping up her character’s arc, but creator Shonda Rhimes has said she’s unequivocally “done with that story.”
“I’ve turned that idea over in my mind a thousand times and thought about how it would go,” Rhimes told TVLine back in 2013. “And I don’t think so.”
“Grey’s Anatomy,” currently standing as the longest running medical drama in television history, was renewed for a 19th season in January. Apart from Pompeo, Chandra Wilson and James Pickens Jr. are the show’s only remaining original cast members.
","type":"video","meta":{"author":"The Late Late Show with James Corden","author_url":"https://www.youtube.com/channel/UCJ0uqCI0Vqr2Rrt1HseGirg","cache_age":86400,"description":"James invites Hugh Grant and Chris Pine to play a game of Spill Your Guts or Fill Your Guts — answer something personal or eat whatever disgusting food is in front of you (unless it’s the ale). 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Hugh Grant wouldn’t mind if a certain film suddenly got dropped from his filmography.
The “Love Actually” star revealed during an appearance on “The Late Late Show with James Corden” that he would “happily shred my IMDb page” because he “specialised in being bad for decades, really.”
“As you know as someone in the industry, [it’s] one thing for me to say I was bad, but I can’t bring down the rest of the wonderful colleagues who work with me on any film by saying it was bad,” Grant said, before naming the film he’d like make disappear.
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“The Lady and the Highwayman,” Grant finally said, as Corden and fellow actor Chris Pine laughed about the title of the 1988 film.
“Mid-’80s, made for television film,” Grant explained. “I’m a highwayman. I’m meant to be sexy.”
“Low-budget, bad wig, bad hat,” he added, just as the show pulled up a look at Grant in the film:
Hugh Grant and Lysette Anthony pictured in “The Lady and the Highwayman.”
RGR Collection / Alamy
While Grant attempted to take pains to not insult any of his previous colleagues, he did make a rather frank admission about his former co-star, Drew Barrymore, just two weeks ago. The two starred in the 2007 romantic comedy “Music and Lyrics” together.
“Drew Barrymore was in that film with me, and I don’t think she’d mind me saying her singing is just horrendous,” he said, laughing, during an interview with Wired. “I’ve heard dogs bark better than she sings.”
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Despite his blunt confession, Grant told Barrymore on her talk show in 2021 that the movie the two made is “impossible to hate.”
“I love to hate the films I’ve been in, and I do hate some of them,” Grant said. But ‘Music and Lyrics,’ it’s impossible to hate. We’re so good in it, and so charming.”
