The movie NOBODY is badass. If you don’t believe, just get on the damn bus!
**(Note – the scene below is very violent)**
The movie NOBODY is badass. If you don’t believe, just get on the damn bus!
**(Note – the scene below is very violent)**

Every Monday night at 9:00 Central Time, my wife Sierra and I host a “Live Movie Tweet” event on X using the hashtag #MondayMuggers. We rotate movie picks each week, and our tastes are quite different. Tonight, Monday July 7th, we are showing NOBODY (2021), starring Bob Odenkirk, Aleksey Serebryakov, Connie Nielsen, Michael Ironside, Colin Salmon, RZA, and Christopher Lloyd.
The plot: A docile family man slowly reveals his true character after his house get burglarized by two petty thieves, which, coincidentally, leads him into a bloody war with a Russian crime boss.
So, if you think you might enjoy watching a “nobody” turn into a badass and take on the Russian mafia, and you’ve about 90 minutes to spare, then we’ve got the movie for you! Join us tonight for #MondayMuggers and watch NOBODY. It’s on Amazon Prime! I’ve included the trailer below:
As Brad mentioned earlier, today is Bruce Dern’s birthday!
Bruce Dern is a favorite actor of mine. He’s one of those performers who, over the course of his very long career, has appeared in all sorts of different and occasionally odd films, sometimes as a lead but most often as a character actor. He appeared in biker films, westerns, literary adaptations, and Oscar-winners. He killed John Wayne in The Cowboys. He introduced Peter Fonda to acid in The Trip. (Dern, for his part, has said that he the only person on the set of that film who has never done acid.) He captured the trauma of Vietnam in Coming Home. He played one of the great hyperactive cops in The Driver. He came close to playing Tom Hagen in The Godfather and was the original choice for the attorney who was eventually played by Jack Nicholson in Easy Rider.
In 2013’s Nebraska, he broke my heart.
In Nebraska, Dern plays Woody Grant, an elderly man who is convinced that he’s won a million-dollar sweepstakes. Everyone around him, including his wife (June Squibb) and his oldest son (Bob Odenkirk), realizes that the sweepstakes is a scam and that Woody has actually won nothing. But Woody is convinced that a million dollars is waiting for him. All he has to do is somehow make it from Montana to Nebraska. At first, Woody attempts to walk along the interstate. When that doesn’t work and the police end up arresting him and sending him home, his youngest son, David (Will Forte), agrees to drive Woody down to Lincoln, Nebraska. David knows that there’s not any money waiting for Woody but, unlike his mother and his older brother, David hasn’t given up on the idea of connecting with his father.
Nebraska is a road movie, with the majority of the film following David and Woody as the drive through rural and smalltown America. They stop off in Woody’s former hometown, where they meet Woody’s brother (Rance Howard) and also Woody’s former business partner, a bully named Ed (Stacy Keach). Ed is convinced that Woody stole money from him. Woody blames Ed for the loss of his air compressor. Their anger has simmered for years and, at first, it’s tempting to assume that it’s simply one of those grudge matches that old men seem to have a weakness for. But Ed turns out to truly be a rotten human being and Woody …. well, Woody his own problems but at least he’s not as bad as Ed.
Before I say anything else, I want to praise the entire cast. June Squibb, Bob Odernkirk, Stacy Keach, Rance Howard, Melinda Simonsen (who has a small role as a receptionist in Lincoln), they all bring their characters to memorable life. Will Forte is the heart of the film, trying to keep his family together and standing up for his father when it matters. If you only know Will Forte as MacGruber, you need to see Nebraska. That said, this film is dominated by Bruce Dern’s poignant, sad, and often very funny performance as Woody Grant. Woody is a flawed character and Dern wisely doesn’t try to sentimentalize or downplay any of those flaws. He drinks too much, he neglected his family when he was younger, he holds a grudge, and he’s incredibly stubborn. But, as played by Dern, you just can’t help but like Woody and hope that he finds some sort of happiness. Even though the viewer, like everyone else in Woody’s life, knows that the sweepstakes is a scam, it’s still hard not to spend the film hoping that Woody will prove everyone wrong when he makes it to Nebraska.
Nebraska was nominated for Best Picture while both Bruce Dern and June Squibb picked up acting nominations. That year, the Best Picture race was dominated by 12 Years A Slave. Matthew McConaughey won Best Actor for Dallas Buyers Club while Lupita Nyong’o won Best Supporting Actress for 12 Years A Slave. Alexander Payne lost Best Director to Gravity’s Alfonso Cuaron. Gravity also won the Oscar for Best Cinematography, defeating Nebraska’s gorgeous black-and-white imagery.
Oscars or not, Nebraska is a wonderful, late career showcase for the great Bruce Dern.

Ilya Naishuller’s 2021 action-comedy Nobody caught everyone by surprise. Many thought it was just a quick cash-grab to take advantage of the success with the John Wick action series. Nobody was released in the middle of the pandemic, yet it was received very positive reviews from critics and audiences, alike.
It was a no-brainer that a sequel would be greenlit. It took awhile to happen but most of the cast and crew are back with the exception of director Ilya Naishuller. Indonesian director Timo Tjahjanto now takes the director’s seat with some new, but familiar faces (Sharon Stone and Colin Hanks) joining the previous cast (Bob Odenkirk, Colin Salmon, Connie Nielsen, Christopher Lloyd and RZA).
From this first trailer, Nobody 2 looks to retain the action-comedy tone of the first, but with the visual flair of Timo Tjahjanto (see The Night Comes for Us for example of how batshit crazy his action turn out).
Nobody 2 arrives in theaters on August 15, 2025.
Somehow, last night, I missed the Super Bowl spot for Nobody. Then again, I also somehow also missed the streaker running across the field. I was probably busy jotting down notes about the commercials that I had just seen. Who knows? It was a strange night.
Anyway, here’s the Super Bowl spot for Nobody!
Bob Odenkirk, action star! That’s kind of a strange idea but I guess it could happen. Bryan Cranston went from doing comedy to doing heavy drama. John Krasinski is another example. Watching The Office, you would never expect to see Jim Halpert blowing away the bad guys but that’s exactly what happened. Of course, it looks like there’s going to be a lot of humor to go along with all of the action in this film so I guess that’s good. Eventually, someone will cast Bob Odenkirk in one of those grim and depressing cop films where he’s like an alcoholic who spends all of his time looking at old case files and searching for that one clue that will put the murderer away. I fully support the right of Bob Odenkirk to do new and different things!
Here are the SAG nominations! I’ll be post my thoughts under the noms because — let’s be honest, the noms are what you’re here for:
BEST ENSEMBLE
Da 5 Bloods
Ma Rainey’s Black Bottom
Minari
One Night In Miami
The Trial Of The Chicago 7
BEST LEAD ACTOR (FEMALE)
Amy Adams – Hillbilly Elegy
Viola Davis – Ma Rainey’s Black Bottom
Vanessa Kirby – Pieces Of A Woman
Frances McDormand – Nomadland
Carey Mulligan – Promising Young Woman
BEST LEAD ACTOR (MALE)
Riz Ahmed – Sound Of Metal
Chadwick Boseman – Ma Rainey’s Black Bottom
Anthony Hopkins – The Father
Gary Oldman – Mank
Steven Yeun – Minari
BEST SUPPORTING ACTOR (FEMALE)
Maria Bakalova – Borat Subsequent Moviefilm
Glenn Close – Hillbilly Elegy
Olivia Colman – The Father
Youn Yuh-Jung – Minari
Helena Zengel – News Of The World
BEST SUPPORTING ACTOR (MALE)
Sacha Baron Cohen – The Trial Of The Chicago 7
Chadwick Boseman – Da 5 Bloods
Daniel Kaluuya – Judas And The Black Messiah
Jared Leto – The Little Things
Leslie Odom Jr. – One Night In Miami
BEST STUNT ENSEMBLE
Da 5 Bloods
Mulan
News of the World
The Trial of the Chicago 7
Wonder Woman 1984
BEST ENSEMBLE IN A DRAMA SERIES
Better Call Saul
Bridgerton
The Crown
Lovecraft Country
Ozark
BEST ACTRESS IN A DRAMA SERIES
Gillian Anderson – The Crown
Olivia Colman – The Crown
Emma Corrin – The Crown
Julia Garner – Ozark
Laura Linney – Ozark
BEST ACTOR IN A DRAMA SERIES
Jason Bateman – Ozark
Sterling K. Brown – This Is Us
Josh O’Connor – The Crown
Bob Odenkirk – Better Call Saul
Regé-Jean Page – Bridgerton
BEST ENSEMBLE IN A COMEDY SERIES
Dead To Me
The Flight Attendant
The Great
Schitt’s Creek
Ted Lasso
BEST ACTOR IN A COMEDY SERIES
Nicholas Hoult – The Great
Daniel Levy – Schitt’s Creek
Eugene Levy – Schitt’s Creek
Jason Sudekis – Ted Lasso
Ramy Youseff – Ramy
BEST ACTRESS IN A COMEDY SERIES
Christina Applegate – Dead To Me
Linda Cardellini – Dead To Me
Kaley Cuoco – The Flight Attendant
Annie Murphy – Schitt’s Creek
Catherine O’Hara – Schitt’s Creek
BEST ACTOR IN A TV MOVIE/LIMITED SERIES
Bill Camp – The Queen’s Gambit
Daveed Diggs – Hamilton
Hugh Grant – The Undoing
Ethan Hawke – The Good Lord Bird
Mark Ruffalo – I Know This Much Is True
BEST ACTRESS IN A TV MOVIE/LIMITED SERIES
Cate Blanchett – Mrs. America
Cole – I May Destroy You
Nicole Kidman – The Undoing
Anya Taylor-Joy – The Queen’s Gambit
Kerry Washington – Little Fires Everywhere
Okay, my thoughts:
I guess the big news is that the SAG appreciated Hillbilly Elegy a bit more than the critics. Glenn Close picking up a supporting actress nom isn’t a huge shock but I do think a few people were a bit surprised to see Amy Adams nominated. Personally, I think Amy Adams was okay in Hillbilly Elegy but I’ll be kind of disappointed if — after all the great performance she’s given — this is the one that she picks up an Oscar for.
We all kind of laughed off Jared Leto picking up that supporting nomination from the Golden Globes but the SAG nominated him as well! Is this a sign of momentum or just a crazy coincidence? Either way, this doesn’t bode well for the Oscar hopes of Sound of Metal‘s Paul Raci. Raci’s picked up a lot of critical support but getting snubbed by both the Globes and SAG doesn’t seem like a good sign.
Speaking of signs, I’m going to assume that Sidney Flanigan’s Oscar hopes are pretty much gone. Like Raci, she seems like she would have needed either a GG or a SAG nomination to really break through.
Amanda Seyfried was not nominated. That took me by surprise but it didn’t upset me as much as Raci getting snubbed, largely because I like Sound of Metal considerably more than Mank.
I think Spike Lee’s Da 5 Bloods is the overrated film of 2020 but you still have to wonder how the film could pick up a Best Ensemble nomination without also getting best actor nomination for Delroy Lindo. Lindo was also snubbed by the Globes so again, the prospect of him getting nominated for an Oscar no longer seems like a sure thing.
Good news for Steven Yeun! Some people were writing him off after he didn’t get a Golden Globe nomination but the SAG nomination puts him right back into the hunt.
Finally, the SAG is one of the best precursors regarding what films and performances will actually receive Oscar nominations. So, whether or not I or anyone else agrees with all of the nominations, the nominees have to be feeling very happy right now. Best of luck to them all!
I’m totally turned off by the self-importance of the Golden Globes and I resent every time that I have to write about them.
That said, despite the fact that no one is quite sure who actually votes for the damn things and stories of corruption in the Hollywood Foreign Press Association have been rampant for years, the Golden Globes have still emerged as one of the main Oscar precursors. So, you kind of have to pay attention to them. Bleh.
There really aren’t any huge shocks in the list of nominees below, with the exception of maybe Jared Leto for Best Supporting Actor and James Corden’s Prom nomination. I mean, if you’re that determined to nominate someone for The Prom, why would you go for James Corden as opposed to Meryl Streep? That’s just odd.
Anyway, here are the nominations:
Best Motion Picture, Drama
“The Father”
“Mank”
“Nomadland”
“Promising Young Woman”
“The Trial of the Chicago 7”
Best Motion Picture, Musical or Comedy
“Borat Subsequent Moviefilm”
“Hamilton”
“Music”
“Palm Springs”
“The Prom”
Best Director, Motion Picture
Emerald Fennell, “Promising Young Woman”
David Fincher, “Mank”
Regina King, “One Night In Miami”
Aaron Sorkin, “The Trial of the Chicago 7”
Chloé Zhao, “Nomadland”
Best Performance by an Actress in a Motion Picture, Drama
Viola Davis, “Ma Rainey’s Black Bottom”
Andra Day, “The United States vs. Billie Holiday”
Vanessa Kirby, “Pieces of a Woman”
Frances McDormand, “Nomadland”
Carey Mulligan, “Promising Young Woman”
Best Performance by an Actress in a Motion Picture, Musical or Comedy
Maria Bakalova, “Borat Subsequent Moviefilm”
Kate Hudson, “Music”
Michelle Pfeiffer, “French Exit”
Rosamund Pike, “I Care a Lot”
Anya Taylor-Joy, “Emma”
Best Performance by an Actress in a Supporting Role in any Motion Picture
Glenn Close, “Hillbilly Elegy”
Olivia Colman, “The Father”
Jodie Foster, “The Mauritanian”
Amanda Seyfried, “Mank”
Helena Zengel, “News of the World”
Best Performance by an Actor in a Motion Picture, Drama
Riz Ahmed, “Sound of Metal”
Chadwick Boseman, “Ma Rainey’s Black Bottom”
Anthony Hopkins, “The Father”
Gary Oldman, “Mank”
Tahar Rahim, “The Mauritanian”
Best Performance by an Actor in a Motion Picture, Musical or Comedy
Sacha Baron Cohen, “Borat Subsequent Moviefilm”
James Corden, “The Prom”
Lin-Manuel Miranda, “Hamilton”
Dev Patel, “The Personal History of David Copperfield”
Andy Samberg, “Palm Springs”
Best Performance by an Actor in a Supporting Role in any Motion Picture
Sacha Baron Cohen, “The Trial of the Chicago 7”
Daniel Kaluuya, “Judas and the Black Messiah”
Jared Leto, “The Little Things”
Billy Murray, “On the Rocks”
Leslie Odom Jr., “One Night In Miami”
Best Screenplay, Motion Picture
Emerald Fennell, “Promising Young Woman”
Jack Fincher, “Mank”
Aaron Sorkin, “The Trial of the Chicago 7”
Florian Zeller and Christopher Hampton, “The Father”
Chloé Zhao, “Nomadland”
Best Original Score, Motion Picture
Alexandre Desplat, “The Midnight Sky”
Ludwig Göransson, “Tenet”
James Newton Howard, “News of the World”
Trent Reznor and Atticus Ross, “Mank”
Trent Reznor, Atticus Ross and Jon Batiste, “Soul”
Best Original Song, Motion Picture
“Fight For You,” Judas and the Black Messiah”
“Hear My Voice,” The Trial of the Chicago 7”
“Io Sì (Seen),” The Life Ahead”
“Speak Now,” One Night In Miami”
“Tigress & Tweed,” The United States Vs. Billie Holiday”
Best Motion Picture, Animated
“The Croods: A New Age”
“Onward”
“Over the Moon”
“Soul”
“Wolfwalkers”
Best Motion Picture, Foreign Language
“Another Round”
“La Llorona”
“The Life Ahead”
“Minari”
“Two Of Us”
Best Television Series, Drama
“The Crown”
“Lovecraft Country”
“The Mandalorian”
“Ozark”
“Ratched”
Best Television Series, Musical or Comedy
“Emily in Paris”
“The Flight Attendant”
“The Great”
“Schitt’s Creek”
“Ted Lasso”
Best Limited Series, Anthology Series or a Motion Picture made for Television
“Normal People”
“The Queen’s Gambit”
“Small Axe”
“The Undoing”
“Unorthodox”
Best Performance by an Actress in a Television Series, Drama
Olivia Colman, “The Crown”
Jodie Comer, “Killing Eve”
Emma Corrin, “The Crown”
Laura Linney, “Ozark”
Sarah Paulson, “Ratched”
Best Performance by an Actress in a Television Series, Musical or Comedy
Lily Collins, “Emily In Paris”
Kaley Cuoco, “The Flight Attendant”
Elle Fanning, “The Great”
Jane Levy, “Zoey’s Extraordinary Playlist”
Catherine O’Hara, “Schitt’s Creek”
Best Performance by an Actress in a Limited Series, Anthology Series or a Motion Picture Made for Television
Cate Blanchett, “Mrs. America”
Daisy Edgar Jones, “Normal People”
Shira Haas, “Unorthodox”
Nicole Kidman, “The Undoing”
Anya Taylor-Joy, “The Queen’s Gambit”
Best Performance by an Actress in a Television Supporting Role
Gillian Anderson, “The Crown”
Helena Bonham Carter, “The Crown”
Julia Garner, “Ozark”
Annie Murphy, “Schitt’s Creek”
Cynthia Nixon, “Ratched”
Best Performance by an Actor in a Television Series, Drama
Jason Bateman, “Ozark”
Josh O’Connor, “The Crown”
Bob Odenkirk, “Better Call Saul”
Al Pacino, “Hunters”
Matthew Rhys, “Perry Mason”
Best Performance by an Actor in a Television Series, Musical or Comedy
Don Cheadle, “Black Monday”
Nicholas Hoult, “The Great”
Eugene Levy, “Schitt’s Creek”
Jason Sudeikis, “Ted Lasso”
Ramy Youssef, “Ramy”
Best Performance by an Actor in a Limited Series or a Motion Picture Made for Television
Bryan Cranston, “Your Honor”
Jeff Daniels, “The Comey Rule”
Hugh Grant, “The Undoing”
Ethan Hawke, “The Good Lord Bird”
Mark Ruffalo, “I Know This Much is True”
Best Performance by an Actor in a Television Supporting Role
John Boyega, “Small Axe”
Brendan Gleeson, “The Comey Rule”
Daniel Levy, “Schitt’s Creek”
Jim Parsons, “Hollywood”
Donald Sutherland, “The Undoing”
2019’s Long Shot is a film that truly took me by surprise.
I have to admit that, when I first saw the trailer for Long Shot, I had my concerns. First off, it was an American political comedy and it’s been a while since there’s really been a good one of those. There’s been many attempts, especially after Donald Trump was elected in 2016. But, for the most part, the American films are always at their weakest when they try to be overly political. There’s always a disturbing lack of self-awareness that, when mixed with the type of strident tone that can only be maintained by people who have never seriously had their ideas challenged, tends to make for a very boring viewing experience. And, no, don’t you dare say, “What about Vice?” because Vice was freaking terrible.
Secondly, the trailer emphasized that Charlize Theron was playing the Secretary of State and that she was running to become the first woman elected President. This led me to suspect that the film might essentially be Hillary Clinton fanfic. Over the past few years, there’s actually been quite a few films and television show that have featured idealized versions of Hillary Clinton — i.e., all of the accomplishments without the albatross of her husband or the reputation for being casually corrupt. (For six seasons, there was a TV show called Madam Secretary that basically only existed to present an idealized version of Hillary.) Hillary fanfic, with its attempt to rehabilitate the image of a candidate so inept that she actually lost to Donald Trump, is always cringey.
Finally, as much as I hate to admit it, I was concerned that the film not only starred but was produced by Seth Rogen. And don’t get me wrong. I love Seth Rogen. Seth Rogen is literally my favorite stoner. I think that, with the right material, he can be one of the funniest performers around. The problem is that, in the past, Seth Rogen has always been brilliant as long as he wasn’t talking about politics. Whenever he started talking politics, he just turned into every other wealthy and rather self-righteous progressive. While Rogen’s political tweets were never as banal as the thoughts of uberboomer Stephen King, there was still nothing about them that suggested that Rogen would be capable of producing one of the funniest and most good-hearted political comedies to come out in the past few years.
And so, like a lot of people, I skipped Long Shot when it was playing in theaters. I waited until it was released on video to watch Long Shot and you know what? It turned out that almost everything that I had assumed about Long Shot was incorrect.
Yes, it’s a very political movie but it’s also far more self-aware than I was expecting it to be. Seth Rogen apparently knows that he has a reputation for being a very loud, knee-jerk leftie because he actually does a very good job of poking fun at his own image. Rogen plays Fred Flarsky, a loud and crude journalist who quits his job when he discovers that the underground newspaper that he was working for has been purchased by Parker Wembley (Andy Serkis, playing a not-at-all disguised version of Rupert Murdoch). Fred is about as far to the Left as one can be and he tends to assume that all of his associates agree with him, even though he never bothers to ask them. One of the best scenes in the film comes when his best friend, Lance (O’Shea Jackson, Jr.), reveals to a stunned Fred that he’s not only a Republican and a Christian but that he’s been one the entire time that he’s known Fred. Fred never caught on because he just assumed that Lance, being black, would naturally be a Democrat. When Lance asks Fred why he thought Lance wore a cross around his neck, a befuddled Fred can only reply that he thought it was “cultural.” It’s a great scene and one that’s wonderfully played by Rogen and Jackson and it works precisely because it remains true to what we’ve seen of both characters. Almost everything that Lance says over the course of the movie does reflect a traditionally conservative mindset but, like Fred, we don’initially don’t notice because Lance is being played by Ice Cube’s son. When Fred discovers that Lance is a Republican, it doesn’t change Fred’s mindset but it does teach him that progressives can be just as guilty as conservatives when it comes to making assumptions about people based on where they’re from or what they look like. As a stunned and chastened Fred puts it, “I’m a racist, you’re a Republican, I don’t know what the fuck’s going on.”
Secondly, the film’s romance is incredibly charming. Charlize Theron plays Charlotte Field, the Secretary of State who used to be Fred’s babysitter. After they run into each other at a reception, Charlotte hires Fred to work as a speech writer for her nascent presidential campaign. You would not expect Charlize Theron and Seth Rogen to have a ton of romantic chemistry but they do. Theron is an underrated comedic actress and there’s a lot of fun to be had in just listening to her and Rogen bounce lines off of each other. In fact, as funny as Rogen is, I’d have to say that Charlize Theron is even funnier. One of the highlights of the film is when Fred and Charlotte sneak away to a club, where they dance and end up taking ecstacy. Over course, as soon as the drugs kick in, a major diplomatic crisis breaks out and an extremely high Charlotte has to deal with a hostage crisis. Theron appears to be having a ball with the role and really, this is the film for which she should have been Oscar nominated. Theron convinces us that 1) she’s a masterful diplomat, 2) that she could be elected President of the United States, and 3) that she could fall in love with someone as messy as Fred without sacrificing her own ambitions.
Long Shot has its flaws, of course. Andy Serkis is a bit too over-the-top in his villainy and the film has a 125-minute running time, which is way too long for what is essentially a fairly simple romantic comedy. Some of the scenes of Fred and Charlotte traveling around the world probably could have been cut without harming the story. There’s an environmental subplot that feels a bit too obvious and there’s a joke about Fred accidentally ejaculating on his own face that’s never as funny as the film seems to think that it is.
That said, Long Shot is often a surprisingly charming film. (I know what some of you are saying: “Yes. Lisa Marie, Seth Rogen ejaculating on his beard sounds really charming.” I know, I know. But the majority of the film is charming.) If you missed it when it came out the first time, give it another chance.
In a few hours, the 2019 Emmy nominations will be announced!
Since I love awards and I love making lists, it’s an annual tradition that I list who and what would be nominated if I had all the power. Keep in mind that what you’re seeing below are not necessarily my predictions of what or who will actually be nominated. Many of the shows listed below will probably be ignored tomorrow morning. Instead, this is a list of the nominees and winners if I was the one who was solely responsible for picking them.
Because I got off to a late start this year, I’m only listing the major categories below. I may go back and do a full, 100-category list sometime tomorrow. Who knows? I do love making lists.
Anyway, here’s what would be nominated and what would win if I had all the power! (Winners are listed in bold.)
(Want to see who and what was nominated for Emmy consideration this year? Click here!)
(Want to see my picks for last year? Click here!)
(Want to see my picks for 2012? I know, that’s kinda random. Anyway, click here!)
Programming
Outstanding Comedy Series
Barry
Brooklyn Nine-Nine
GLOW
It’s Always Sunny In Philadelphia
The Marvelous Mrs. Maisel
One Day At A Time
Veep
Vida
Outstanding Drama Series
Better Call Saul
Dynasty
Flack
Game of Thrones
The Magicians
My Brilliant Friend
Ozark
You
Outstanding Limited Series
Chernobyl
Fosse/Verdon
The Haunting of Hill House
I Am The Night
Maniac
Sharp Objects
True Detective
A Very English Scandal
Outstanding Television Movie
The Bad Seed
Bandersnatch (Black Mirror)
Brexit
Deadwood
King Lear
Native Son
No One Would Tell
O.G.
Performer
Outstanding Lead Actor in a Comedy Series
Iain Armitage in Young Sheldon
Ted Danson in The Good Place
Bill Hader in Barry
Pete Holmes in Crashing
Glenn Howerton in A.P. Bio
Andy Samberg in Brooklyn Nine Nine
Outstanding Lead Actor in a Drama Series
Penn Badgley in You
Jason Bateman in Ozark
James Franco in The Deuce
John Krasinski in Tom Clancy’s Jack Ryan
Bob Odenkirk in Better Call Saul
Dominic West in The Affair
Outstanding Lead Actor In a Limited Series
Hugh Grant in A Very English Scandal
Jared Harris in Chernobyl
Jonah Hill in Maniac
Chris Pine in I Am The Night
Sam Rockwell in Fosse/Verdon
Henry Thomas in The Haunting of Hill House
Outstanding Lead Actor In An Original Movie
Benedict Cumberbatch in Brexit
Anthony Hopkins in King Lear
Rob Lowe in The Bad Seed
Ian McShane in Deadwood
Timothy Olyphant in Deadwood
Jeffrey Wright in O.G.
Outstanding Lead Actress In A Comedy Series
Melissa Barrera in Vida
Kristen Bell in The Good Place
Alison Brie in GLOW
Rachel Brosnahan in The Marvelous Mrs. Maisel
Julia Louis-Dreyfus in Veep
Zoe Perry in Young Sheldon
Outstanding Lead Actress in A Drama Series
Emilia Clarke in Game of Thrones
Gaia Girace in My Brilliant Friend
Maggie Gyllenhaal in The Deuce
Laura Linney in Ozark
Margherita Mazzucco in My Brilliant Friend
Anna Paquin in Flack
Outstanding Lead Actress in a Limited Series
Amy Adams in Sharp Objects
India Eisley in I Am The Night
Carla Gugino in The Haunting of Hill House
Charlotte Hope in The Spanish Princess
Emma Stone in Maniac
Michelle Williams in Fosse/Verdon
Outstanding Lead Actress in an Original Movie
Shannen Doherty in No One Would Tell
Chelsea Frei in Victoria Gotti: My Father’s Daughter
McKenna Grace in The Bad Seed
Paula Malcolmson in Deadwood
Molly Parker in Deadwood
Christina Ricci in Escaping The Madhouse: The Nellie Bly Story
Outstanding Supporting Actor In A Comedy Series
Fred Armisen in Documentary Now!
Andre Braugher in Brooklyn Nine Nine
Anthony Carrigan in Barry
Tony Hale in Veep
Sam Richardson in Veep
Stephen Root in Barry
Outstanding Supporting Actor In A Drama Series
Jonathan Banks in Better Call Saul
Nikolaj Coster-Waldau in Game of Thrones
Peter Dinklage in Game of Thrones
Giancarlo Esposito in Better Call Saul
Peter Mullan in Ozark
Luca Padovan in You
Outstanding Supporting Actor In A Limited Series
Stephen Dorff in True Detective
Timothy Hutton in The Haunting of Hill House
Chris Messina in Sharp Objects
Stellan Skarsgard in Chernobyl
Justin Thereoux in Maniac
Ben Whishaw in A Very English Scandal
Outstanding Supporting Actor In An Original Movie
Jim Broadbent in King Lear
Bill Camp in Native Son
Theothus Carter in O.G.
Rory Kinnear in Brexit
Gerald McRaney in Deadwood
Will Poulter in Bandersnatch (Black Mirror)
Outstanding Supporting Actress in A Comedy Series
Caroline Aaron in The Marvelous Mrs. Maisel
Alex Borstein in The Marvelous Mrs. Maisel
Anna Chlumsky in Veep
Sarah Goldberg in Barry
Rita Moreno in One Day At A Time
Sarah Sutherland in Veep
Outstanding Supporting Actress In A Drama Series
Summer Bishil in The Magicians
Elisa Del Genio in My Brilliant Friend
Julia Garner in Ozark
Lena Headey in Game of Thrones
Elizabeth Lail in You
Shay Mitchell in You
Outstanding Supporting Actress In A Limited Series
Jessie Buckley in Chernobyl
Patricia Clarkson in Sharp Objects
Sally Field in Maniac
Patricia Hodge in A Very English Scandal
Connie Nielsen in I Am The Night
Emily Watson in Chernobyl
Outstanding Supporting Actress In An Original Movie
Kim Dickens in Deadwood
Florence Pugh in King Lear
Margaret Qualley in Favorite Son
Emma Thompson in King Lear
Emily Watson in King Lear
Robin Weigert in Deadwood
So, I finally sat down and watched the 2017 film, The Post.
The Post is something of an odd film. Imagine if someone made a film about the production of a movie. And imagine if, instead of focusing on the actors or the members of the crew or even the director, the film was instead about the studio executives sitting back in Hollywood and debating whether or not they should agree to give the director another million dollars to complete the film. Imagine dramatic scenes of the execs meeting with their accountants to determine whether they can spare an extra million dollars. Imagine triumphant music swelling in the background as one of the execs announces that they’ll raise the budget but only in return for getting to pick the title of the director’s next film. The Post is kind of like that. It’s a film about journalism that’s more concerned with publishers and editors than with actual journalists.
To be honest, The Post‘s deification of the bosses shouldn’t really be that much of a shock. This is a Steven Spielberg film and a part of Spielberg’s legend has always been that, of all the young, maverick directors who emerged in the 70s, he was always the one who was the most comfortable dealing with the studio execs. As opposed to directors like Martin Scorsese, Brian DePalma, and Francis Ford Coppola, Spielberg got along with the bosses and they loved him. While his contemporaries were talking about burning Hollywood down and transforming the culture, Spielberg was happily joining the establishment and reshaping American cinema. No one can deny that Spielberg is a talented filmmaker. It’s just that, if anyone was going to make a movie celebrating management, you just know it would be Steven Spielberg.
Taking place in the early 70s, The Post deals with the decision to publish The Pentagon Papers, which were thirty years worth of classified documents dealing with America’s involvement in the Vietnam War. Since the Pentagon Papers revealed that the government spent several decades lying to the American people about the situation in Vietnam, there’s naturally a lot of pushback from the government. It all leads to one of those monumental supreme court decisions, the type that usually ends a movie like this. And while the film does acknowledge that there were journalists involved in breaking the story, it devotes most of its attention to editor Ben Bradlee (Tom Hanks) and publisher Katharine Graham (Meryl Streep).
Gasp as Ben and Katharine debate whether to publish the story!
Shudder as Katharine tries to figure out how to keep the Post from going bankrupt.
Watch as Ben Bradlee talks to the legal department!
Thrill as Katharine Graham learns that her family friends, John F. Kennedy and Lyndon B. Johnson, weren’t always honest with her!
And listen, I get it. The Post isn’t as much about Nixon and the Vietnam War as it’s about Trump and the modern-day war on the media. And yes, we get plenty of scenes of Tom Hanks explaining why freedom of the press is important and the movie ends in typical Spielberg fashion, with triumphant music and all the rest. But watching The Post, it’s hard not to think about other films that celebrated journalism, films like All The President’s Men and Spotlight. Both of those films featured scenes of editors supporting their reporters. In fact, All The President’s Men featured Jason Robards playing the same editor that Tom Hanks plays in The Post. But Spotlight and All The President’s Men focused on the journalists and the hard work that goes into breaking an important story. Robards and Spotlight‘s Michael Keaton played editors who were willing to stand up and defend their reporters but, at the same time, those films emphasized that it was the underpaid and underappreciated reporters who were often putting their careers (and sometimes, their lives) on the line to break a story. Whereas Spotlight and All The President’s Men showed us why journalism is important, The Post is content to merely tell us.
The Post was a famously rushed production. Shooting started in May of 2017 and was completed in November, all so it could be released in December and receive Oscar consideration. Production was rushed because Spielberg, Streep, and Hanks all felt that it was important to make a statement about Trump’s treatment of the press. While I can see their point and I don’t deny that they had noble intentions, a rushed production is still going to lead to a rushed film. The Post is a sloppy film, full of way too much on-the-nose dialogue and scenes that just seem to be missing Spielberg’s usual visual spark. It feels less like a feature film and more like a well-made HBO production. Tom Hanks and Meryl Streep give performances that are all surface. Streep’s performance is all mannered technique while Hanks occasionally puts his feet up on his desk and furrows his brow.
It gets frustrating because, watching the film, you get the feeling that there’s a great movie to be made about the Pentagon Papers and the struggle to publish them. I’d love to know what the actual reporters went through to get their hands on the papers. But The Post is more interested in management than the workers.
All through 2017, The Post was touted as being a sure Oscar front-runner. When it was released, it received respectful but hardly enthusiastic reviews. In the end, it only received two nominations — one for best picture and one for Streep. In a year dominated by Lady Bird, Shape of Water, Get Out, and Three Billboards Outside Ebbing, Missouri, The Post turned to be a nonfactor. For all the hype and expectations, it’s the film that you usually forget whenever you’re trying to remember everything that was nominated last year.
