Ripley’s Pick: Season One of ‘True Blood’*

*That’s right, I said Season One. I haven’t seen a minute of Season Two, and won’t until it comes out on DVD. If Season Two contradicts everything I’ve said here, please bite your tongue–or leave your links in the comments section!

Here’s a secret: I love TV. Even more than I love movies. A television series can develop characters and story lines that are impossibly complex for a two-hour movie, and can really dig into themes and issues in ways movies can only touch upon. The high-quality television series is our generation’s answer to the 19th century serial novel–an excellent vehicle for cultural analysis and a popular genre (although most quality television is currently the domain of premium cable, which is, I admit, a problem).

A rare thing happened at work a few weeks ago: three of us (it’s a small business, and none of us has cable) started watching True Blood on DVD at the same time, allowing us to discuss a cultural object a little bit more complicated–and rewarding–than standard reality show fare.

To begin, in the words of my employer, since the show is on HBO, it’s already light years beyond anything else on TV–so even if it’s flawed, it’s hard to argue against watching (and enjoying) it.

True Blood, for the final few people unaware of the current vampire craze in the U.S., is set in small-town Louisiana a couple of years after vampires officially “came out of the coffin.” Supernatural figures and those with more mundane talents–like mind-reading and curing alcoholism & anxiety with fake exorcisms–populate Bon Temps. While the latter refers to the voodoo line True Blood refuses to cross, the former is the powerful ability of the main character, Sookie Stackhouse. (The show is based on Charlaine Harris’ series of novels about the heroine, which I haven’t read. But might.)

Rather than write a complete review of the entire first season (twelve 50-minute episodes), which I’m not sure how to do in the first place, I’ll highlight a few of the female characters and why I choose this series–despite its flaws–as a Ripley’s Pick.

Sookie Stackhouse (Anna Paquin)
Sookie, the star of the show, is a waitress who can read minds–unless she concentrates on not listening. What draws her most to Vampire Bill is that she can’t hear his thoughts, even if she tries. Now, Sookie conforms to a lot of vampire story tropes: she is chaste (at first), in a kind of distress that warrants supernatural intervention (mostly), very pretty, and scantily clad. She is all of these things, yet she subverts so many expectations that I think the show plays with these tropes more than conforms to them. Sookie is a virgin when the show begins, but it doesn’t take long for her to run for Bill (literally) after–in a Like Water for Chocolate moment–eating a pie her grandmother made (with love). She enjoys sex, and isn’t shamed by the ‘fangbanger’ accusations hurled at her. She’s strong, independent, smart, and ultimately powerful; and even if she does wear tiny, tiny dresses, she still beheads a serial killer with a shovel.

Tara Thornton (Rutina Wesley)
Sookie’s best friend, and my favorite character. Unlike most female characters on TV, Tara is a real woman with real problems. Aside from her shape-shifter boss/love interest, Sam, and her origins-yet-defined adolescent crush, Jason, Tara deals with isolation, loneliness, and an alcoholic Jesus-freak mother. She is independent and abrasive, and despite her best efforts, falls to the defense mechanisms of her mother (her go-to accusations of racism and sexism, drinking, demon exorcism for melancholy). She’s also wicked smart–the show opens with her reading Naomi Klein’s Shock Doctrine, and reminds us again and again that she reads for knowledge. She doesn’t always know what to do with her knowledge, however, as evidenced in her lashing out at the customer who interrupts her reading of Klein. Tara is legitimately angry, but hasn’t figured out how to direct her anger at anything but herself.

Amy Burley (Lizzy Caplan)
Amy Burley is a wolf in sheep’s clothing. On the surface she’s a beautiful, free-spirited wanderer who opens Jason’s eyes up to the wonders of the natural world–and vampire blood, an illegal substance with LSD qualities. While we’re charmed by her indie good looks and hippie-stuck-in-a-perpetual-summer-of-love ways, there’s something dark and evil underneath. She’s selfish and nasty, and will stop at nothing–including manipulating born-follower Jason, kidnapping, and murdering–to indulge her desire to escape into a drug-induced euphoria. Though her storyline isn’t a major one, it offers some straightforward cultural critique. Like some actual hippies in the ’60s, interested only in indulging selfish desires while Vietnam raged and the Civil Rights casualties mounted, Amy ignores reality in service of continuing her fantasy. (Those who critique the show as ultimately regressive might use her character as an example; selfish hippies are a conservative bugaboo. Or, she might just be an example of the destructive nature of human desire.)

This barely scratches the surface of True Blood, and I do think there are some legitimate critiques of the show–despite couching many of its themes in camp. My least favorite moments in the show involve its romantic plots, which are, frankly, boring and soap opera-esque, and pale in comparison to the show’s other interests.

True Blood–like creator Alan Ball’s previous series, Six Feet Under–definitely feels like a guilty pleasure, but both shows exhibit intelligence along with entertainment. I hope Season Two, which wraps this coming Sunday night, delves further into Southern identity, sexuality, and desire–rather than losing its smarts in a storm of supernatural battles.

Movie Posters: Are You Ready for Death/Love/Prison?

The Throat

Ladies, if you want to marry, date, fuck, and/or kill a man, getting dangerously close to the jugular is totally the way to go. That way, you can scare him into loving/dying (it’s apparently the same thing). Also, hold him down or push him against the wall; that’s the best way to ensure he’s freaked out enough to effectively fall into your loving and/or borderline stalker-murderous-psychotic arms.

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The Back

Awww, girls, look how quirky-cute you are, with your legs wrapped around your man (you can’t get away now, boys!) or your breasts on the verge of popping out of your mini-tank slash sports bra into the face of the guy you’re using as a tabletop. And these posters tell me so much about the films, too! Really:

1) your man is going to carry you away from your god-awful once man-less life
2) you’re going to ride the shit out of your man while … possibly selling your body?
3) boobs

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The Rope

First of all, the women of Blind Dating clearly represent all women that a man might potentially have the pleasure of one day blind dating. There are no female stereotypes in this poster at all whatsoever. And my god isn’t he so completely gorgeous and worthy of all this hot-girl worship? This poster doesn’t remind me at all whatsoever of films with average-joe male leads who somehow end up in a clusterfuck of girl-stalk. That would, in fact, be a ridiculous concept in general, one that would definitely never hold up as an actual movie plot. And Four Christmases, thanks for the Christmas present illustration. I’m not quite sure which obvious rom-com bullshit I’m supposed to take from that—their relationship is a gift? they’re in it together? ohmigod don’t leave me?—but thanks. Seriously, thanks.

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The Gag

See what women do, boys? Emasculate. Dominate. Take away your ability to, you know, speak. And don’t they look like they’re having a blast doing it?

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The Tie
Pretty Woman and Ghosts of Girlfriends Past are separated by, what, twenty years? Yet it’s the same. fucking. poster. Well, the newer version contains the bachelor’s previous girlfriends, looking all suspicious and conniving, like women do. But both posters still give off that grab-your-man-by-the-leash vibe. He needs to be tamed. By you. Before he can settle down and give you that nuclear family and ultimate feeling of completeness that all women desire. And Jennifer Aniston, every guy’s girl-next-door-girl, will totally either strangle Ben Stiller or help him loosen up and have fun! You go girl! If he needs changing and/or saving, you’re certainly the woman to do it.

The Ugly Truth Roundup


Despite a “rotten” rating of 16%, The Ugly Truth raked in another $7 million at the box office this past weekend (to compare, the by-all-accounts stellar Julie & Julia brought in just over $20 million), remaining in the top 10 two weeks after its release. The real ugly truth is that this kind of tripe continues to sell.

In our last Roundup, we collected discussions of a film that was controversial due, in part, to its played-for-laughs date rape. In this one, we have a romantic comedy, sold to women and packaged as a date movie/chick-flick, that rests on the age-old premise that women love with their minds, and men love with their dicks. Oh, and that successful career women need to be taken down a notch or two–preferably by a lowest-common-denominator-type buffoon–in order to be happy.

Is this just another crappy Rom-Com? Or is it something more? What about the fact that it was written and produced by women?

Here are some things other people are saying:

  • Women’s Glib might give Katherine Heigl a little too much credit, calling her a “part-time feminist,” but they do remind us that this kind of movie ought to be seen as just as offensive to men as it is to women.

And, in the What Were They Thinking? department:

In a shockingly unaware moment, Ruth McCann exemplifies what’s wrong with post-feminism: “But when Mike advises Abby to be ‘the saint and the sinner, the librarian and the stripper,’ how can the hardened, rom-com-hating Thinking Woman not bark a gruff and hearty ‘Ha!’?”

Um, really?

Leave your links & thoughts in the comments section.

Movie Posters: A Bitch Flicks Verbal Beatdown

Dear Filmmakers, Movie Promoters, Marketing Teams, Poster Designers, et al:

Recently, I spent some time gathering movie posters for several of last year’s top-grossing films. I noticed that in movies with male leads, the posters usually featured them prominently, with either up-close shots of their faces (smiling in a mocking “I’m hilarious!” way, or looking pretty bad-ass, like they’re about to do some shit). Or, the posters showed full-body shots of them already engaged in some kind of action.

That led me to wonder about the movie posters with female leads and whether they would contain the same elements. I did some research, looking for movie posters that featured lead actresses, and making it a point to leave out the most offensive posters (extreme close-ups of body parts, etc) of which there were many. I specifically looked for posters where the female lead took up most, if not all of it, and I tried to favor facial close-ups.

In case you weren’t aware, many of the less offensive promotional movie posters featured below still led me to believe at least one of the following about the lead actress’s potential role in the film:

A. she will spend most of her time in the movie trying to fuck someone

B. she will spend most of her time in the movie trying to get fucked by someone

C. she will spend most of her time in the movie trying to kill someone

D. she will spend most of her time in the movie trying to avoid getting killed

E. she will spend most of her time in the movie trying to avoid killing herself

F. she will spend most of her time in the movie being adorable

I’m curious as to whether this was intentional, or if you’ve internalized so much of our cultural hatred toward women that you subconsciously cast them as passive objects rather than active subjects, even in cases where the actresses play very active roles in the films. (Case in point: The Pelican Brief. In this film, Julia Roberts spends some of the time trying to avoid getting killed and the rest of the time completely blowing open a government fucking conspiracy. Yet the poster merely suggests ohmygod fear.)

I will concede that there are certainly cases where the lead actress actually plays a passive object, but for the most part, that’s not the case. And for the record, using these posters to portray the leading ladies as seductresses and/or sexy yet crazed-looking potential serial killers does not constitute an active subject. Please advise.

Love,

Bitch Flicks

P.S. It’s fine with us if you want to put more women of color on movie posters. But that would require giving them their own movies, wouldn’t it?

Movie Preview: Push: Based on the Novel by Sapphire

Push: Based on the Novel by Sapphire. Starring Gabourey “Gabby” Sidibe, Mo’Nique, Paula Patton, Mariah Carey, and Lenny Kravitz. Written by Sapphire (novel), Geoffrey Fletcher, and Ramona Lofton. Directed by Lee Daniels.

I can’t wait to see this film. The Sundance Film Festival honored it with several awards, including the Grand Jury Prize, the Audience Award, and a Special Jury Prize for Acting for Mo’Nique’s performance. You can read an interview with Mo’Nique here, where she discusses her role as Precious’s mother, Mary.

Eric D. Snider summarizes the film as follows:

“The premise of Push: Based on a Novel by Sapphire is so unsettling and bleak that no one would blame you if you didn’t want to see it: It’s the story of an obese 16-year-old illiterate Harlem girl who’s pregnant (for the second time) by her own father, lives with her monstrously abusive mother, and has almost given up on life. But if you do see it, you’ll find that it’s compelling and artistic, punctuated with warm humor and masterful performances, and ultimately triumphant and hopeful.”

And Paul Moore writes the following: “During the Q&A after the screening I attended, a girl stood up and said, ‘I’m from Harlem and I know people like that, but I’ve never seen it on a screen before.’ She then thanked director Lee Daniels through her tears and sat down.”

Since it doesn’t release until November, I haven’t found too many reviews, but definitely check out Emanuel Levy’s review and Amber Wilkinson’s less enthusiastic review.

Now watch the trailer.

Releasing on DVD, Tuesday 7/28/09

Dollhouse, Season 1

Starring Eliza Dushku, Olivia Williams, Fran Kranz, Harry Lennix, Tahmoh Penikett, Enver Gjokah and Dichen Lachman. Created by Joss Whedon.

Much controversy occurred with the airing of Joss Whedon’s latest show, Dollhouse. Definitely take a look at Sady’s full analysis of the feminist elements of the show over at Tigerbeatdown. Here’s an excerpt containing the basic plot summary:

“Dollhouse is, pretty much specifically and entirely, a show about consent. It’s built around an organization—the titular Dollhouse—which erases volunteers’ personalities and memories and renders them childlike and passive, in order to implant them with new, built-to-order personalities custom made for wealthy clients who wish to order the ‘perfect’ person for a specific job. The purpose for which these mind-wiped folks (called ‘dolls,’ and I do not think that we are for a second supposed to miss how creepy that term is) are rented out is, primarily, sex. Also, they have no knowledge of or ability to consent to the ‘engagements’ for which they are rented out. Also, they seem, in large part, to not really be volunteers at all—most of the ones we know about, including the central character, Echo, have become dolls in order to get out of jail time or worse, and one woman in particular was literally sold into the organization. Also, several Dolls have been used for sex by Dollhouse employees, sometimes with the illusion of consent in place and sometimes not.”

Trailer

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Battlestar Galactica, The Complete Series

Starring Edward James Olmos, Mary McDonnell, Jamie Bamber, James Callis, Tricia Helfer, Grace Park, and Katee Sackhoff.

The release of the Battlestar box-set might just be the ass-kicking I need to finally watch this show. Everyone I know who’s seen it claims it’s the best sci-fi show to ever exist, and many people love it specifically for its feminist elements. However, Juliet Lapidos wrote an article for Slate called, “Chauvinist Pigs in Space: Why Battlestar Galactica is not so frakking feminist afterall,” which challenges the show’s supposed feminism. But before all you feminist Battlestar fanatics freak out, definitely read Annalee Newitz’s rebuttal to the Lapidos article, “The Men Who Make Battlestar Galactica Feminist.” Be aware of spoilers.

You can watch a fan-made trailer here.

Movie Review: 500 Days of Summer, Take 1

500 Days of Summer. Starring Zooey Deschanel, Joseph Gordon-Levitt, Geoffrey Arend, Chloe Moretz, Matthew Gray Gubler, and Clark Gregg. Written by Scott Neustadter and Michael H. Weber. Directed by Marc Webb.Within the past few years especially, independent films have developed a certain easily identifiable “indie charm,” and 500 Days of Summer most definitely fulfills the criteria. These films used to be termed “independent” due to budget constraints, but just like the big studio films, indie movies have essentially become marketable, targeting a very specific audience to the point that indie elements have basically become indie clichés:

—amazing alterna-soundtrack? check.
(see also: Juno, Garden State, Away We Go)

—strangely cartoonish, bubbly-lettered and/or pencil-sketched movie poster? check.
(see also: Juno, Away We Go, Wes Anderson movies, Napoleon Dynamite)

—quirky female lead? check.
(see also: Juno, Garden State, The Royal Tenenbaums, Reality Bites, Eternal Sunshine of the Spotless Mind)

—at least one scene that occurs in a ridiculous location? check.
(see also: Juno [furniture on the lawn scenes], Away We Go [department store bathtub scene, trampoline scene, stripper pole scene], Eternal Sunshine of the Spotless Mind [most of the scenes])

—tortured love, tortured souls, tortured existences? check.
(see also: every indie film ever made)


For interesting reading about independent film clichés, coupled with a good review of Away We Go, read this.

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Despite the fact that 500 Days of Summer is pretty much guilty of perpetuating all of the above indie clichés, I really liked it. Despite the completely conservative ending, I really liked it. Despite my two-week long depressive episode following my viewing of this film, alone, in a theater in Times Square, in the middle of the day, alone, I really liked it. And, for whatever reason, despite my initial ambivalence after leaving the theater, this movie managed to linger with me. Why?

Well, Joseph Gordon-Levitt, for starters. The distilled plot: he falls in love with a woman who doesn’t believe in love, which leads to his inevitable heartbreak. I hated watching Joseph Gordon-Levitt get his heart stomped on by [insert quirky hipster female love interest] Zooey Deschanel! Joseph Gordon-Levitt starred in Mysterious Skin! And Brick! And Third Rock from the Sun!

We love him!

The truth is, though, while I enjoyed watching a romantic comedy that changed-up the genre by turning the leading man into a mushy, self-loathing disaster who attempts to accept the reality of unrequited love, I hated how much the film still turned the female lead into a sidekick. In traditional romantic comedies, problematic as they are, the films at the very least focus on the couple, and you get to know the characters individually (The Break-Up, Eternal Sunshine, etc) by watching their interactions and conflicts as a couple.

But in 500 Days of Summer, the plot unfolds exclusively through the perspective of Joseph Gordon-Levitt’s character, Tom. Zooey Deschanel’s character, Summer, (haha, get it?) exists merely as a vehicle to further the audience’s identification with Tom. We never learn much about her. She likes Ringo Starr. She likes The Smiths. She likes karaoke. She doesn’t believe in true love.

Thankfully, we also know that she identifies as an independent woman who refuses to be tied down. She might even identify as a feminist, though she never explicitly states that.

I loved one scene in particular where she gets angry with Tom because of some performative alpha-male attempt to “defend her honor” in a bar fight. He might be defending himself a little too; after all, the initial punch happens after the other man says to Summer, “I can’t believe this guy is your boyfriend.” Harsh. But I would’ve loved the scene even more if it hadn’t been undercut by Summer showing up at Tom’s apartment later, soaking wet from the rain, to apologize for getting angry with him.

In fact, the biggest issue I take with this film is how often it undercuts Summer’s independence. The conclusion, which I won’t give away here, completely disappoints in that regard. Not only is it an easy, throwaway ending, but it doesn’t do justice to Summer’s independent-woman persona, and instead (and again), exists only as a plot point that encourages the audience to sympathize with Tom.

We barely know Summer, but why does the little bit we do know about her have to get unnecessarily lost in the end?

There are also no other important women characters. Tom occasionally solicits advice from his younger sister, who’s like, twelve, and I found it appropriately cute and indie-funny. And he goes on a blind date once, where he spends the entire time complaining to his date about Summer. (To the film’s credit, the woman he’s on the date with defends the shit out of Summer, rather than veering off into traditional rom-com female competitive-jealous territory.) Other than those few women though, it’s all about Tom.

However, if this movie can claim anything, it can claim inclusion of some seriously awesome meta shit. Movies within movies within movies, oh my! We get clips and parodies of The Graduate, Persona, and some other French films I didn’t recognize. And one can’t ignore the hilarious bursting-into-song scene, complete with full group-dance sequence and cartoon birds. The film also uses a style of storytelling that moves back-and-forth within time, and that works too, keeping the viewer slightly off-kilter and in the same headspace as its hero.

With all this film fun, you ask, then what’s my problem?

I think it has much to do with what I wanted for Summer. For her to go on being her quirky, independent-hipster self, unabashed and unapologetic. For her to never come across as potentially manipulative or dishonest, because she isn’t either of those things. And for the writers and/or director to have taken as much care in creating a 3-dimensional female lead as they did in creating a fully fleshed-out male lead who picks himself up, dusts himself off, and goes out and accomplishes shit.

They’re calling it a romantic comedy, after all. Even in the traditional “girl meets boy” then “boy breaks girl’s heart” then “boy realizes he really loves girl” then “boy and girl live happily ever after” bullshit, and its pointless variations, the male and female characters get mostly equal screen time. In cases where that might not happen, the audience at least comes to understand each of the characters’ motivations at some point.

(I’m by no means defending the rom-com, but at least in most female-driven rom-coms, like Pretty Woman and He’s Just Not That Into You, I know that I’ll have the pleasure of watching both of the characters one-dimensionally participate in a recreation of 1950s gender roles, ha.)

But in 500 Days of Summer—the female love interest exists, but she exists in the background as a supporting character, her main purpose being to help flesh out the hero. In turn, she becomes nothing more than an extension of him, just a quirky after-thought, another one of his personality traits.

500 Days of Summer could’ve (and should’ve) found a way to avoid that.

Yet at the end of the day, despite its shortcomings, I couldn’t help but really like this “story about love.” It felt authentic, at least in its illustration of relationship conflicts, from the initial courtship phase to the inevitable dissolution. Deschanel maintains her complete adorability and Gordon-Levitt, well, we love him! Their on-screen chemistry, intermingled with all kinds of mopiness and feel-goodness and splashes of The Smiths and Regina Spektor … look, who cares about my criticisms? You should probably just go see this.

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Check out some insightful reviews here, here, here, and here.


Movie Posters: Bad Boys vs Bad Girls

The Spirit has all kinds of shit wrong with it. According to these movie posters, Samuel L. Jackson apparently plays a gun-wielding, trench coat wearing badass, who most definitely takes an active role, probably killing people who made the unfortunate mistake of trying to face his power. On the other hand Eva Mendes plays … um … a woman, who … um … has a long neck and um … pretty lips … and um … she has been a very, very bad girl.

For a while, I thought Sin City and The Spirit were the same movie. Same marketing. Same brooding male action hero with a gun, risking his life in the rain for god’s sake. Same beautiful and, don’t forget, merciless woman who will obviously take people down with her tongue and her manipulative vagina. In the rain.

Yes, I realize these posters aren’t from the same film. But I believe they’re relevant to each other, in that these actors both star in these movies, and receive top billing. Also, the posters feature them both holding some seriously gigantic guns, and something tragic with America is probably occurring … flags, Las Vegas, extinction, “public enemies,” evil, etc. Yet we get Depp in a full suit, complete with trench coat, black leather gloves, and a hat, while Jovovich barely made it off the stripper pole in time to grab a couple of guns and destroy some shit. And watch out, she might be coming to do bad things to you, boys, hehe! (But what the hell is Depp looking at?)

Star Trek, revised taglines:

Man: I’m going to murder the fuck out of you.

Woman: I’m going to fuck the shit out of you.

What’s with the men on these posters looking away (Depp, this guy, Law, Owen) while most of the women stare head-on? I’ll tell you: the male gaze, baby! These women are straight-up going to do you. Men have more important things on their minds, like taking action, looking for action, or looking right at you in that “I’m about to kill some bitches” kind of way (which, yes, is problematic in its own right). But in fairness, even though the G.I. Joe poster objectifies the woman by depicting her entire backside, the poster with the man isn’t much better. Check out his chest! I’ll admit it; this poster sorta makes me want to do him.

A List, An Archive, and Some Wishes

Today I’m posting some great links to things other people wrote. Enjoy!

  • Melissa at Women & Hollywood has created a “highlight reel” of some of her best posts. This is must-read material for anyone interested in movies and the role women play in (making) them. Help her celebrate her 1000th post by sending a donation.
  • The IFC has created a list of the 50 Best Movie Trailers. I’d spend all day watching them if I could. What’s your favorite?

2009 Emmy Nominations

Check out the Emmy-nominated women below. I haven’t included all categories, but you can check out the entire list of Emmy nominees here.

Outstanding Directing For A Comedy Series

30 Rock • Reunion • NBC • Broadway Video, Little Stranger, Inc. in association with
Universal Media Studios
Beth McCarthy, Director

Outstanding Directing For A Miniseries, Movie Or A Dramatic Special

Generation Kill • Bomb In The Garden • HBO • Company Pictures and Blown Deadline
Productions in association with HBO Films
Susanna White, Director

Little Dorrit • Part 1 • PBS • A co-production of BBC Productions and WGBH Boston
Dearbhla Walsh, Director

Outstanding Directing For Nonfiction Programming

Roman Polanski: Wanted And Desired • HBO • Milwood Pictures, Graceful Pictures, BBC, Antidote Films in association with HBO Documentary Films and ThinkFilm
Marina Zenovich, Director

Outstanding Lead Actress In A Comedy Series

The New Adventures Of Old Christine • CBS • Kari’s Logo Here in association with
Warner Bros. Television
Julia Louis-Dreyfus as Christine

Samantha Who? • ABC • ABC Studios
Christina Applegate as Samantha Newly

The Sarah Silverman Program • Comedy Central • Central Productions/Eleven Eleven
O’Clock Productions/Oil Factory Inc.
Sarah Silverman as Sarah Silverman

30 Rock • NBC • Broadway Video, Little Stranger, Inc. in association with Universal
Media Studios
Tina Fey as Liz Lemon

United States Of Tara • Showtime • Showtime presents in association with DreamWorks Television
Toni Collette as Tara Gregson

Weeds • Showtime • Showtime Presents in association with Lionsgate Television and
Tilted Productions, Inc.
Mary-Louise Parker as Nancy Botwin

Outstanding Lead Actress In A Drama Series

Brothers & Sisters • ABC • ABC Studios
Sally Field as Nora Walker

The Closer • TNT • The Shephard/Robin Company in association with Warner Bros.
Television
Kyra Sedgwick as Brenda Leigh Johnson

Damages • FX Networks • FX Productions and Sony Pictures Television
Glenn Close as Patty Hewes

Law & Order: Special Victims Unit • NBC • Wolf Films in association with Universal
Media Studios
Mariska Hargitay as Detective Olivia Benson

Mad Men • AMC • Lionsgate Television
Elisabeth Moss as Peggy Olson

Saving Grace • TNT • Fox Television
Holly Hunter as Grace Hanadarko

Outstanding Lead Actress In A Miniseries Or A Movie

Accidental Friendship • Hallmark Channel • A Muse Entertainment and Automatic
Pictures Production
Chandra Wilson as Yvonne

Coco Chanel • Lifetime • Lux Vide S.p.A, Pamp Productions and Alchemy Television
Group
Shirley MacLaine as Coco Chanel

Grey Gardens • HBO • Specialty Films and Locomotive in association with HBO Films
Drew Barrymore as Little Edie

Grey Gardens • HBO • Specialty Films and Locomotive in association with HBO Films
Jessica Lange as Big Edie

Prayers For Bobby • Lifetime • Once Upon The Times Films, LTD in association with
Permut Presentations and Sladek Taaffe Productions
Sigourney Weaver as Mary Griffith

Outstanding Supporting Actress In A Comedy Series

Pushing Daisies • ABC • Living Dead Guy Productions, The Jinks/Cohen Company in
association with Warner Bros. Television
Kristin Chenoweth as Olive Snook

Saturday Night Live • NBC • SNL Studios in association with NBC Studios and Broadway Video
Amy Poehler as Various Characters

Saturday Night Live • NBC • SNL Studios in association with NBC Studios and Broadway Video
Kristin Wiig as Various Characters

30 Rock • NBC • Broadway Video, Little Stranger, Inc. in association with Universal
Media Studios
Jane Krakowski as Jenna Maroney

Ugly Betty • ABC • ABC Studios
Vanessa Williams as Wilhelmina Slater

Weeds • Showtime • Showtime Presents in association with Lionsgate Television and
Tilted Productions, Inc.
Elizabeth Perkins as Celia Hodes

Outstanding Supporting Actress In A Drama Series

Damages • FX Networks • FX Productions and Sony Pictures Television
Rose Byrne as Ellen Parsons

Grey’s Anatomy • ABC • ABC Studios
Sandra Oh as Dr. Christina Yang

Grey’s Anatomy • ABC • ABC Studios
Chandra Wilson as Dr. Miranda Bailey

In Treatment • HBO • Leverage, Closest To The Hole Productions and Sheleg in association with HBO Entertainment
Dianne Wiest as Gina

In Treatment • HBO • Leverage, Closest To The Hole Productions and Sheleg in
association with HBO Entertainment
Hope Davis as Mia

24 • FOX • Imagine Television and 20th Century Fox Television in association with
Teakwood Lane Productions
Cherry Jones as President Allison Taylor


Outstanding Supporting Actress in a Miniseries or Movie

The Courageous Heart Of Irena Sendler (Hallmark Hall Of Fame Presentation) • CBS • Jeff Most/Jeff Rice Productions in association with Hallmark Hall of Fame Productions
Marcia Gay Harden as Janina

Grey Gardens • HBO • Specialty Films and Locomotive in association with HBO Films
Jeanne Tripplehorn as Jackie O.

House Of Saddam • HBO • HBO Films in association with BBC
Shohreh Aghdashloo as Sajida

Into The Storm • HBO • Scott Free and Rainmark Films production in association with the BBC and HBO Films
Janet McTeer as Clementine Churchill

Relative Stranger • Hallmark Channel • A Larry Levinson Production
Cicely Tyson as Pearl

Outstanding Guest Actress In A Comedy Series

The Big Bang Theory • The Maternal Capacitance • CBS • Chuck Lorre Productions, Inc. in association with Warner Bros. Television
Christine Baranski as Beverly Hofstadter

Monk • Mr. Monk And The Lady Next Door • USA • Universal Cable Productions in association with Mandeville Films and ABC Studios
Gena Rowlands as Marge

My Name Is Earl • Witch Lady • NBC • 20th Century Fox TV
Betty White as Crazy Witch Lady

Saturday Night Live • Presidential Bash 2008 • NBC • SNL Studios in association with NBC Studios and Broadway Video
Tina Fey as Governor Sarah Palin (Spoof)

30 Rock • The One With The Cast Of ‘Night Court’ • NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studios
Jennifer Aniston as Claire

30 Rock • Christmas Special • NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studios
Elaine Stritch as Colleen Donaghy

Outstanding Guest Actress In A Drama Series

Grey’s Anatomy • No Good At Saying Sorry (One More Chance) • ABC • ABC Studios
Sharon Lawrence as Robbie Stevens

Law & Order: Special Victims Unit • Swing • NBC • Wolf Films in association with
Universal Media Studios
Ellen Burstyn as Bernadette Stabler

Law & Order: Special Victims Unit • Persona • NBC • Wolf Films in association with
Universal Media Studios
Brenda Blethyn as Linnie Malcolm/Caroline Cantwell

Law & Order: Special Victims Unit • Ballerina • NBC • Wolf Films in association with
Universal Media Studios
Carol Burnett as Bridget “Birdie” Sulloway

The No. 1 Ladies’ Detective Agency • The Boy With The African Heart • HBO • Mirage
Enterprises and Cinechicks in association with The Weinstein Company, BBC and HBO
Entertainment
CCH Pounder as Mrs. Curtin

Outstanding Host For A Reality Or Reality-Competition Program

Project Runway • Bravo • Magical Elves for The Weinstein Company, Full Picture, Bravo
Heidi Klum, Host

Top Chef • Bravo • Magical Elves, Bravo
Padma Lakshmi, Host
Tom Colicchio, Co-Host

Outstanding Variety, Music Or Comedy Special

Kathy Griffin: She’ll Cut A Bitch • Bravo • Rickmill Productions, Bravo

Outstanding Writing for a Miniseries, Movie or a Dramatic Special

Grey Gardens • HBO • Specialty Films and Locomotive in association with HBO Films
Michael Sucsy, Writer
Patricia Rozema, Writer

I plan on updating this with some fun statistics later.

New on DVD: Explicit Ills

Explicit Ills. Written and directed by Mark Webber. Starring Rosario Dawson, Paul Dano, Lou Taylor Pucci, Tariq Trotter, Naomie Harris, Frankie Shaw, and Francisco Burgos.

EXPLICIT ILLS is actor turned helmer, Mark Webber’s directorial debut. The film follows four inter-connecting stories revolving around love, drugs and poverty in Philadelphia. Babo, an asthma ridden seven-year-old lives with his mother in the badlands of North Philly. His neighbor Demetri transforms himself into a well-read “smart” boy in order to get the girl. Michelle, a well-off art student is quick to fall into a drug induced love-affair with her dealer Jacob. Kaleef and Jill’s marriage is strained as they pursue their dreams of bringing “produce to the people” as their teenage son Heslin focuses on competing in the World’s Strongest Man competition. The lyrical and moving drama finds its core as all members come together in their fight for justice and self-discovery.

As a directorial debut, I imagine some criticisms in uneven reviews of the film are probably correct, but this still looks interesting. Comparisons to Crash and Babel seem more convenient than accurate, and I hope it doesn’t make the mistake of confusing prejudice with more complex issues of race and class–an error Crash (aka the worst movie of 2005) egregiously committed.

Watch the trailer:

Ripley’s Pick: ‘Smiley Face’

Anna Faris in Smiley Face
Anna Faris in Smiley Face

 

Written by Amber Leab.

Contrary to popular belief, you need not be stoned to enjoy a stoner comedy. You just need to be a dude.

Or so I thought, when I came upon Smiley Face, starring Anna Faris as a stoner who happens to be female, starring in a movie that offers mindless entertainment but still manages to be smart.

Faris eating pot cupcakes
Jane eating pot cupcakes

 

The plot is typical stoner-flick, road-movie material: character has a destination/goal and encounters obstacles on the way there, which are funny and at times poignant. Jane F. (Faris), a twenty-something wannabe actress/pothead, has a busy day ahead of her: she needs to pay the electric bill to avoid the power being shut off, and go to an audition–all while not eating her roommate’s plateful of cupcakes in the fridge marked “These cupcakes are RESERVED for SCI-FI EXTRAVAGANZA-CON!!! Do NOT eat! That means YOU Jane.” In a fit of mid-morning munchies, she eats said cupcakes, and you can probably guess why Steve wrote such an enthusiastic note about them.

Why do I love this movie? Jane graduated summa cum laude with a degree in economics, yet she’s half-heartedly trying to be an actress, though her only experience seems to be a regional root beer commercial. In other words, she’s not lazy or stupid, just a slacker. We have so many twenty- and thirty-something male slackers in film, and we’re all supposed to just adore them. (Boys being boys! Slobs in need of feminine domestication!) Female slackers are a rarity. Women in movies are supposed to be highly functioning and successful. They fall in love with slackers (who then save them from their uptight, bitchy selves). Jane isn’t interested in love, or romance, or success. She’s interested in saving her thousand-dollar mattress from the dealer who threatens to take it if she doesn’t pay her debt.

Jane getting high
Jane getting high

 

There are major differences between this and other stoner movies I’ve seen. First, and most obvious, is that we’ve never had a female protagonist. Sure, there have been stoned girlfriends and minor lady players, but never have I seen the main character of a stoner comedy be a woman. Second, and just as important, Jane does not have buddies who get stoned with her. She’s all alone (after a brief debate with her dealer about the state of marijuana as a black market item in a “laissez-faire paradigm, or whatever”), stoned and entirely alienated from the world around her. Her interactions are all with people who are sober and generally hostile toward her, from a casting agent to a manager in a pork processing plant, to the guy (Krasinski) she uses for a ride to Venice, who happens to be madly in love with her. Her utter alienation allows viewers to solely identify with her, regardless of the viewer’s gender. That’s pretty cool.

Jane freaking out
Jane freaking out

 

Alienation might just be the theme of the whole movie. Jane might have lost her friends by failing to repay the money she borrowed from them, but she’s also a woman walking around in a male genre. It’s no coincidence that the book accompanying her on the journey through L.A. declared alienation a necessary requirement for the functioning of capitalism (I’ll leave it up to you to analyze that final, wonderful scene with the manuscript). Jane is alone and lost in a world that seems to be suspicious of her every (paranoid, high) move, but with a few strange helper characters, she might get where she’s going.

Or not.