Last edited:
2019 Black Panther Academy Award Oscar Watch: BP got 3, Spike & Spider-verse WON!
- Thread starter playahaitian
- Start date
Last edited:
Last edited:
Damn
Im not up on this, what was a lie?
He aint tell one lie...
I used to NEVER believe in conspiracy theory etc
Involving rap music movies space program education sports
But damn it...
I just can't anymore.
Cause i see it like this, what would the nationwide hell worldwide reaction have been if black panther won?
A YEAR after the movie?
The free STEM classes i was able to help get funded for the community was a DIRECT response to Black Panther.
So i have concrete evidence of the positive real life result.
And let this sink in...
The ENTIRE broadcast they NEVER showed the director Ryan Coogler once.
@largebillsonlyplease @rage @ViCiouS @4 Dimensional @fonzerrillii @ansatsusha_gouki @godofwine
What say you?
Oscar Ratings Rise Over All-Time Low Of 2018 With Hostless ABC Show
by Dominic Patten
February 25, 2019 5:48am
Shutterstock
(UPDATED with Nielsen ratings reporting from Detroit, Pittsburgh, Cleveland, Columbus and Buffalo) On a night where Spike Lee turned his backon Green Book‘s Best Picture victory, the 91st Oscars will likely ultimately be remembered most for going hostless and getting a much desired ratings bounce.
Related
Oscars TV Review: Hostless Show Starts With Rock & Then Rolls Off The Rails
The Favourite‘s Olivia Colman shocked and delighted the crowd with her Best Actress win and her wonderful speech, and early numbers indicate viewers at home were taken with the ABC broadcast itself too. Running around 3 hours and 21 minutes and experimenting with no frontman or frontwoman for the first time since 1989, Sunday’s Oscars snared a 20.6/34 in metered markets results in the 8-11:15 PM ET slot.
Shorter than usual for the first time in several years, that’s a distinct ratings rise for the Academy of Motion Picture Art and Sciences’ show. In fact, in an era when awards shows across the board have been taking viewership and demographic hits, last night’s Oscars was up 9% over last year’s Jimmy Kimmel-hosted affair.
Now of course, numbers can be fluid, and we won’t have a full sense of how this will truly settle out until we see the final viewership later today from Nielsen.
However at this point, down 8% from the Best Picture debacle of 89th Academy Awards in the early numbers, the 91st Academy Awards looks to be close to the Jon Stewart-hosted 80th Academy Awards. With a 21.9 in the early metrics, that February 24, 2008 show was an all-time low before last year’s stumble. In a very different era of television, that ceremony saw No Country For Old Men take the Best Picture and around 32.0 million tune in.
Even though right now last night’s Oscars are the second lowest ever, getting near those kind of 2008 audience numbers would prove a win for the much criticized Academy of Motion Picture Arts and Sciences and ABC. Especially as the time-conscious net had to quell nervous advertisers this year after the Oscars fell beneath 32 million viewers and a 21.0 meter market rating for the first time last year.
On a night that also saw The Walking Dead on AMC and the Season 3 finale of True Detective on HBO, we’ll update with more Oscar ratings later. BTW, the latest run of True Detective starred Green Book‘s Mahershala Ali, who won his second Oscar for Supporting Actor in three years last night. Besides Colman and Ali, the other top acting categories went to Bohemian Rhapsody‘s Rami Malek for Best Actor and If Beale Street Could Talk‘s Regina King for Supporting Actress.
Oscars Erases Line Between Film & TV With Series Actors Winning All Trophies
While we await the final numbers for last night’s show, here is a look at how the Academy Awards have performed in the 21st century so far, who won Best Picture and who hosted:
2019: TBD, Green Book (No host)
2018: 26.5 million, The Shape of Water (Jimmy Kimmel)
2017: 32.9 million, Moonlight (Jimmy Kimmel)
2016: 34.4 million, Spotlight (Chris Rock)
2015: 37.3 million, Birdman (Neil Patrick Harris)
2014: 43.7 million, 12 Years a Slave (Ellen DeGeneres)
2013: 40.3 million, Argo (Seth MacFarlane)
2012: 39.3 million, The Artist (Billy Crystal)
2011: 37.9 million, The King’s Speech (Anne Hathaway/James Franco)
2010: 41.3 million, The Hurt Locker (Steve Martin/Alec Baldwin)
2009: 36.3 million, Slumdog Millionaire (Hugh Jackman)
2008: 32.0 million, No Country For Old Men (Jon Stewart)
2007: 40. 2 million, The Departed (Ellen DeGeneres)
2006: 38.9 million, Crash (Jon Stewart)
2005 42.1 million, Million Dollar Baby (Chris Rock)
2004: 43.5 million, The Lord Of The Rings: The Return of the King (Billy Crystal)
2003: 33.0 million, Chicago (Steve Martin)
2002: 41.8 million, A Beautiful Mind (Whoopi Goldberg)
2001: 42.9 million, Gladiator (Steve Martin)
https://deadline.com/2019/02/oscars-ads-abc-ratings-concerns-threshold-guarantees-1202562868/
by Dominic Patten
February 25, 2019 5:48am
Shutterstock
(UPDATED with Nielsen ratings reporting from Detroit, Pittsburgh, Cleveland, Columbus and Buffalo) On a night where Spike Lee turned his backon Green Book‘s Best Picture victory, the 91st Oscars will likely ultimately be remembered most for going hostless and getting a much desired ratings bounce.
Related
Oscars TV Review: Hostless Show Starts With Rock & Then Rolls Off The Rails
The Favourite‘s Olivia Colman shocked and delighted the crowd with her Best Actress win and her wonderful speech, and early numbers indicate viewers at home were taken with the ABC broadcast itself too. Running around 3 hours and 21 minutes and experimenting with no frontman or frontwoman for the first time since 1989, Sunday’s Oscars snared a 20.6/34 in metered markets results in the 8-11:15 PM ET slot.
Shorter than usual for the first time in several years, that’s a distinct ratings rise for the Academy of Motion Picture Art and Sciences’ show. In fact, in an era when awards shows across the board have been taking viewership and demographic hits, last night’s Oscars was up 9% over last year’s Jimmy Kimmel-hosted affair.
Now of course, numbers can be fluid, and we won’t have a full sense of how this will truly settle out until we see the final viewership later today from Nielsen.
However at this point, down 8% from the Best Picture debacle of 89th Academy Awards in the early numbers, the 91st Academy Awards looks to be close to the Jon Stewart-hosted 80th Academy Awards. With a 21.9 in the early metrics, that February 24, 2008 show was an all-time low before last year’s stumble. In a very different era of television, that ceremony saw No Country For Old Men take the Best Picture and around 32.0 million tune in.
Even though right now last night’s Oscars are the second lowest ever, getting near those kind of 2008 audience numbers would prove a win for the much criticized Academy of Motion Picture Arts and Sciences and ABC. Especially as the time-conscious net had to quell nervous advertisers this year after the Oscars fell beneath 32 million viewers and a 21.0 meter market rating for the first time last year.
On a night that also saw The Walking Dead on AMC and the Season 3 finale of True Detective on HBO, we’ll update with more Oscar ratings later. BTW, the latest run of True Detective starred Green Book‘s Mahershala Ali, who won his second Oscar for Supporting Actor in three years last night. Besides Colman and Ali, the other top acting categories went to Bohemian Rhapsody‘s Rami Malek for Best Actor and If Beale Street Could Talk‘s Regina King for Supporting Actress.
Oscars Erases Line Between Film & TV With Series Actors Winning All Trophies
While we await the final numbers for last night’s show, here is a look at how the Academy Awards have performed in the 21st century so far, who won Best Picture and who hosted:
2019: TBD, Green Book (No host)
2018: 26.5 million, The Shape of Water (Jimmy Kimmel)
2017: 32.9 million, Moonlight (Jimmy Kimmel)
2016: 34.4 million, Spotlight (Chris Rock)
2015: 37.3 million, Birdman (Neil Patrick Harris)
2014: 43.7 million, 12 Years a Slave (Ellen DeGeneres)
2013: 40.3 million, Argo (Seth MacFarlane)
2012: 39.3 million, The Artist (Billy Crystal)
2011: 37.9 million, The King’s Speech (Anne Hathaway/James Franco)
2010: 41.3 million, The Hurt Locker (Steve Martin/Alec Baldwin)
2009: 36.3 million, Slumdog Millionaire (Hugh Jackman)
2008: 32.0 million, No Country For Old Men (Jon Stewart)
2007: 40. 2 million, The Departed (Ellen DeGeneres)
2006: 38.9 million, Crash (Jon Stewart)
2005 42.1 million, Million Dollar Baby (Chris Rock)
2004: 43.5 million, The Lord Of The Rings: The Return of the King (Billy Crystal)
2003: 33.0 million, Chicago (Steve Martin)
2002: 41.8 million, A Beautiful Mind (Whoopi Goldberg)
2001: 42.9 million, Gladiator (Steve Martin)
https://deadline.com/2019/02/oscars-ads-abc-ratings-concerns-threshold-guarantees-1202562868/
Oscars TV Review: Hostless Show Starts With Rock & Then Rolls Off The Rails
by Dominic Patten
February 24, 2019 8:22pm
AP
The 91st Academy Awards went full Grammys for its opening tonight with a high-octane performance from members of Queen and Adam Lambert, but, to paraphrase a tune by the once Freddie Mercury-led classic rock band, then the hammer fell.
Related
Oscars: ‘Green Book’ Wins Best Picture – Complete Winners List
This was the first Academy Awards not to have a host or hosts since the all-time rock bottom ceremony of the Oscars of 1989 – and it really showed. “We Will Rock You/We Are The Champions” had much of the well suited and booted Hollywood crowd on their feet and cheering. Sadly, the de facto opening monologue from non-hosts Amy Poehler, Tina Fey and Maya Rudolph that followed afterwards was a cruel glimpse of what could have and should have been, maybe.
For those of us watching in this era of declining ratings, the lack of a designated frontman after the Academy’s Kevin Hart debacle became an obvious problem quickly as Queen 2.0’s dry ice and pyrotechnics had wafted away. Miraculously, even without a host’s monologue to eat up precious minutes, the shindig ended up running over three hours and 17 minutes to what must be ABC’s severe chagrin – even though that was 36 minutes shorter than last year.
With a stage framed with what was either a Game of Thrones set reject or a Jeff Koons interpretation of Donald Trump’s hair, tonight’s bloated Oscars was a live ceremony that certainly lacked form, far too often function.
Sure, Julia Roberts showed up to present the Best Picture award and to see the Pete Farrelly directed and Viggo Mortensen and Mahershala Ali starring Green Book get the big win – and a remarkable back turning protest by Spike Lee in the Dolby Theatre.
Spike Lee Pulls A Kanye When ‘Green Book’ Takes Best Picture Oscar
In the other big categories, Alfonso Cuarón won Best Director for Roma and delivered Mexico its first Foreign Language film win too.Rami Malek rightly took the Best Actor win for his role as the late great Freddie Mercury in Bohemian Rhapsody. More than deserving the standing ovation she received, a truly regal Olivia Colman shocked many by snagging the Best Actress award for her royal stint in The Favourite.
And yes, Serena Williams, Barbra Streisand, a Spanish speaking and global culture- embracing Javier Bardem, Queen Latifah, Michael Keaton, the iconic Rep. John Lewis, Diego Luna, ex-Rage Against The Machine guitarist Tom Morello, Helen Mirren, a descending Keegan-Michael Key and a singing the Divine Miss M herself Bette Midler. There was all that star power, plus Mike Myers and Dana Carvey’s promise “not to hurl,” Bradley Cooper and Lady Gaga’s duet of the Oscar winning ‘Shallow,” Black Panther himself Chadwick Boseman, Game of Thrones’ Emilia Clarke, Nick Fury AKA Samuel L. Jackson, Awkwafina, James Bond AKA Daniel Craig, a tuxed Captain America AKA Chris Evans, Captain Marvel AKA Brie Larson, Jennifer Lopez, Charlize Theron, Tessa Thompson, Constance Wu and past Best Actress and Best Actor winners Frances McDormand and Gary Oldman too.
Despite such a plethora of blockbuster luminaries, the Donna Gigliotti produced and Glenn Weiss co-produced and directed show itself felt harried and disconnected. An end result that was more like the scroll of a Twitter feed and not Tinseltown’s biggest night.
And I’m sorry, but the Laura Dern fronted on-stage promo for the long-delayed Academy Museum and its hollow “the dream is a reality” pledge was pure filler in a ceremony that ABC desperately wanted to run as a tighter-than-usual ship.
Now, granted, there was the bunny covered caped Melissa McCarthy and Brian Tyree Henry’s truly inspired parody of Best Picture nominee The Favourite tonight – which made me think what good hosts the Can You Ever Forgive Me? and If Beale Street Could Talk stars could be down the line.
Honestly, there was also the instant classic line of “I can’t believe a film about menstruation just won an Oscar” from Period, End of Sentence’s director Rayka Zehtabchi, and near classic instance of the Mother of Dragons herself Clarke offering her GoT winged pals to Supreme Court Justice Ruth Bader Ginsburg.
That leaping hug between an Adapted Screenplay winning Spike Lee and his Jungle Fever star and frequent collaborator Sam Jackson was also the real for real deal.
Otherwise, there were few memorable moments or remarks amidst the revolving door of big screen and small screen A-listers.
And, that kind of kneecaps the point of an awards show doesn’t it?
On a live event where no one but the accountants know beforehand who the winners are, you want surprises and you really want water cooler moments. Yet, there were few to be had on the Academy of Motion Picture Arts and Sciences show on Sunday.
What there was, early on and in an Oscar tradition that unnecessarily exacerbates the political divide in the country, Lego Movie 2 star Maya Rudolph took the first dig at Donald Trump by quipping how Mexico is not paying for his Southern border wall. A line that by itself undoubtedly led to a number of TV sets in the Red states turning the Oscars off, if they were watching at all.
With the exception of a 2020 call to arms by Spike Lee later, the Trump-bashing was fairly low-key for the most part. It certainly was nowhere as low energy as tonight’s misfiring Oscars.
What is amazing is that of late the Emmys are down, the Grammys are down, the Golden Globes are down and the Oscars are down in demo and viewership to lows unimaginable just a few years ago. Yet, with that hard fact, no one seems to want to make the hard choices to try to fix things in this era of change.
Still stumbling from the face plant and deletion of the new Most Popular Film category,
the Academy seemingly rushed into announcing Kevin Hart for the host job. A move that ultimately saw the Oscars going hostless this year because of homophobic slurs in The Upside actor’s old tweets. The lack of rudimentary research on the part of AMPAS was mind blowing as was Hart’s inability or refusal to get a solid apology out to salvage the whole thing.
Then, with no one willing to take on what was seemingly a now thankless task, the Academy proclaimed they were also going to give out the Oscars for cinematography, editing, live action short, and makeup and hair during commercials to save broadcast time. Blowback from those guilds and the likes of Quentin Tarantino, Rachel Morrison, Spike Lee, Alfonso Cuarón, Guillermo del Toro, Martin Scorsese and more saw quickly AMPAS back down on that sleight.
Which meant nothing really changed on a show that desperately needs to change.
So, long review short, Dwayne Johnson please make some time in your busy calendar early next year. Make that call now AMPAS, know what I’m saying?
Otherwise, you’ll end up again like this bag Kevin Hart was unleashing on tonight — while the Oscars played in the background:
by Dominic Patten
February 24, 2019 8:22pm
AP
The 91st Academy Awards went full Grammys for its opening tonight with a high-octane performance from members of Queen and Adam Lambert, but, to paraphrase a tune by the once Freddie Mercury-led classic rock band, then the hammer fell.
Related
Oscars: ‘Green Book’ Wins Best Picture – Complete Winners List
This was the first Academy Awards not to have a host or hosts since the all-time rock bottom ceremony of the Oscars of 1989 – and it really showed. “We Will Rock You/We Are The Champions” had much of the well suited and booted Hollywood crowd on their feet and cheering. Sadly, the de facto opening monologue from non-hosts Amy Poehler, Tina Fey and Maya Rudolph that followed afterwards was a cruel glimpse of what could have and should have been, maybe.
For those of us watching in this era of declining ratings, the lack of a designated frontman after the Academy’s Kevin Hart debacle became an obvious problem quickly as Queen 2.0’s dry ice and pyrotechnics had wafted away. Miraculously, even without a host’s monologue to eat up precious minutes, the shindig ended up running over three hours and 17 minutes to what must be ABC’s severe chagrin – even though that was 36 minutes shorter than last year.
With a stage framed with what was either a Game of Thrones set reject or a Jeff Koons interpretation of Donald Trump’s hair, tonight’s bloated Oscars was a live ceremony that certainly lacked form, far too often function.
Sure, Julia Roberts showed up to present the Best Picture award and to see the Pete Farrelly directed and Viggo Mortensen and Mahershala Ali starring Green Book get the big win – and a remarkable back turning protest by Spike Lee in the Dolby Theatre.
Spike Lee Pulls A Kanye When ‘Green Book’ Takes Best Picture Oscar
In the other big categories, Alfonso Cuarón won Best Director for Roma and delivered Mexico its first Foreign Language film win too.Rami Malek rightly took the Best Actor win for his role as the late great Freddie Mercury in Bohemian Rhapsody. More than deserving the standing ovation she received, a truly regal Olivia Colman shocked many by snagging the Best Actress award for her royal stint in The Favourite.
And yes, Serena Williams, Barbra Streisand, a Spanish speaking and global culture- embracing Javier Bardem, Queen Latifah, Michael Keaton, the iconic Rep. John Lewis, Diego Luna, ex-Rage Against The Machine guitarist Tom Morello, Helen Mirren, a descending Keegan-Michael Key and a singing the Divine Miss M herself Bette Midler. There was all that star power, plus Mike Myers and Dana Carvey’s promise “not to hurl,” Bradley Cooper and Lady Gaga’s duet of the Oscar winning ‘Shallow,” Black Panther himself Chadwick Boseman, Game of Thrones’ Emilia Clarke, Nick Fury AKA Samuel L. Jackson, Awkwafina, James Bond AKA Daniel Craig, a tuxed Captain America AKA Chris Evans, Captain Marvel AKA Brie Larson, Jennifer Lopez, Charlize Theron, Tessa Thompson, Constance Wu and past Best Actress and Best Actor winners Frances McDormand and Gary Oldman too.
Despite such a plethora of blockbuster luminaries, the Donna Gigliotti produced and Glenn Weiss co-produced and directed show itself felt harried and disconnected. An end result that was more like the scroll of a Twitter feed and not Tinseltown’s biggest night.
And I’m sorry, but the Laura Dern fronted on-stage promo for the long-delayed Academy Museum and its hollow “the dream is a reality” pledge was pure filler in a ceremony that ABC desperately wanted to run as a tighter-than-usual ship.
Now, granted, there was the bunny covered caped Melissa McCarthy and Brian Tyree Henry’s truly inspired parody of Best Picture nominee The Favourite tonight – which made me think what good hosts the Can You Ever Forgive Me? and If Beale Street Could Talk stars could be down the line.
Honestly, there was also the instant classic line of “I can’t believe a film about menstruation just won an Oscar” from Period, End of Sentence’s director Rayka Zehtabchi, and near classic instance of the Mother of Dragons herself Clarke offering her GoT winged pals to Supreme Court Justice Ruth Bader Ginsburg.
That leaping hug between an Adapted Screenplay winning Spike Lee and his Jungle Fever star and frequent collaborator Sam Jackson was also the real for real deal.
Otherwise, there were few memorable moments or remarks amidst the revolving door of big screen and small screen A-listers.
And, that kind of kneecaps the point of an awards show doesn’t it?
On a live event where no one but the accountants know beforehand who the winners are, you want surprises and you really want water cooler moments. Yet, there were few to be had on the Academy of Motion Picture Arts and Sciences show on Sunday.
What there was, early on and in an Oscar tradition that unnecessarily exacerbates the political divide in the country, Lego Movie 2 star Maya Rudolph took the first dig at Donald Trump by quipping how Mexico is not paying for his Southern border wall. A line that by itself undoubtedly led to a number of TV sets in the Red states turning the Oscars off, if they were watching at all.
With the exception of a 2020 call to arms by Spike Lee later, the Trump-bashing was fairly low-key for the most part. It certainly was nowhere as low energy as tonight’s misfiring Oscars.
What is amazing is that of late the Emmys are down, the Grammys are down, the Golden Globes are down and the Oscars are down in demo and viewership to lows unimaginable just a few years ago. Yet, with that hard fact, no one seems to want to make the hard choices to try to fix things in this era of change.
Still stumbling from the face plant and deletion of the new Most Popular Film category,
the Academy seemingly rushed into announcing Kevin Hart for the host job. A move that ultimately saw the Oscars going hostless this year because of homophobic slurs in The Upside actor’s old tweets. The lack of rudimentary research on the part of AMPAS was mind blowing as was Hart’s inability or refusal to get a solid apology out to salvage the whole thing.
Then, with no one willing to take on what was seemingly a now thankless task, the Academy proclaimed they were also going to give out the Oscars for cinematography, editing, live action short, and makeup and hair during commercials to save broadcast time. Blowback from those guilds and the likes of Quentin Tarantino, Rachel Morrison, Spike Lee, Alfonso Cuarón, Guillermo del Toro, Martin Scorsese and more saw quickly AMPAS back down on that sleight.
Which meant nothing really changed on a show that desperately needs to change.
So, long review short, Dwayne Johnson please make some time in your busy calendar early next year. Make that call now AMPAS, know what I’m saying?
Otherwise, you’ll end up again like this bag Kevin Hart was unleashing on tonight — while the Oscars played in the background:
Interesting
I was thinking the family was upset about the gay stuff. I assumed that was why Shirley didn't want it to be made until after he died
it was just a filled with lies and inaccuracies
and many involved were doing some foul sh*t in the past and present on some #metoo
and then Viggo said n*gger at a screening...
I could go on.
https://en.wikipedia.org/wiki/List_of_accolades_received_by_Black_Panther_(film)
https://en.wikipedia.org/wiki/Black_Panther_(film)#Accolades
Main article: List of accolades received by Black Panther (film)
Black Panther was nominated for seven Academy Awards (winning three),[288] one American Music Award (won),[289] nine BET Awards (winning two),[290] one Billboard Music Award,[291] one British Academy Film Award (won),[292] twelve Critics' Choice Movie Awards (winning three),[293] three Golden Globe Awards,[294] eight Grammy Awards (winning two),[295] seven MTV Movie & TV Awards (winning four),[296] one MTV Video Music Award (won),[297] sixteen NAACP Image Awards,[298] five People's Choice Awards (winning two),[299] fourteen Saturn Awards (winning five),[300][301] two Screen Actors Guild Awards (winning both),[302] and eleven Teen Choice Awards (winning three),[303] among others. Its nominations for the Academy Award for Best Picture and Golden Globe Award for Best Motion Picture – Drama were firsts for a superhero film.[304][305] Black Panther was named one of the ten best films of 2018 by the National Board of Review as well as one of the ten best films of 2018 by the American Film Institute.[306][307] The film was the top entertainment Google search of 2018 along with the sixth overall.[308]
https://en.wikipedia.org/wiki/Black_Panther_(film)#Accolades
Main article: List of accolades received by Black Panther (film)
Black Panther was nominated for seven Academy Awards (winning three),[288] one American Music Award (won),[289] nine BET Awards (winning two),[290] one Billboard Music Award,[291] one British Academy Film Award (won),[292] twelve Critics' Choice Movie Awards (winning three),[293] three Golden Globe Awards,[294] eight Grammy Awards (winning two),[295] seven MTV Movie & TV Awards (winning four),[296] one MTV Video Music Award (won),[297] sixteen NAACP Image Awards,[298] five People's Choice Awards (winning two),[299] fourteen Saturn Awards (winning five),[300][301] two Screen Actors Guild Awards (winning both),[302] and eleven Teen Choice Awards (winning three),[303] among others. Its nominations for the Academy Award for Best Picture and Golden Globe Award for Best Motion Picture – Drama were firsts for a superhero film.[304][305] Black Panther was named one of the ten best films of 2018 by the National Board of Review as well as one of the ten best films of 2018 by the American Film Institute.[306][307] The film was the top entertainment Google search of 2018 along with the sixth overall.[308]
The Oscars Made Progress This Year (But Green Book Was Still a Bad Choice)
By Mark Harris
Photo: Kevin Winter/Getty Images
What happened at the Oscars last night: A movie about a gay man that has made $210 million in America won four Academy Awards. A movie about a black man and a white man in the south of the 1960s won three, including Best Picture. A movie about a Mexican maid won three, and so did a movie about an African king. To my eyes, the first two of those films are unworthy choices on which history — which starts getting written the minute the Oscars are over — will not look kindly. And the other two are fantastic films that deserved everything they got and a great deal more. But voters disagreed, and Oscar-watchers like me should be wary of drawing any what-it-all-means conclusions about the Academy that are so cast in stone they can’t be completely revised at this time next year.
This year’s Best Picture winner is, I believe, an unimpressive and retrograde selection, especially given the high quality of much of the competition. The night’s most schizophrenic moment surely came when the two screenwriting prizes were handed out — one to Green Book (yes, Nick “There were Muslims on those rooftops” Vallelonga is now an Academy Award winner) and one to BlacKkKlansman, another movie about a black man and a white man confronting bigotry together that seems crafted with a bone-deep awareness of everything that makes Green Book specious. What would these movies make of each other? Have these two groups of voters even met?
When the nominations were announced last month, I called the Academy a house divided — I found the eight Best Picture nominees to be fascinatingly reflective of an Academy that is half in paroxysm, half in transition. That played out in the wins: All eight movies in the top race went home with at least one Oscar, and none with more than four.
Olivia Colman, looking genuinely shocked to beat Glenn Close in a moment that was both exciting and bittersweet and thus exactly what we want from the Oscars. We got a hot-to-death duet between Lady Gaga and Bradley Cooper that was staged and shot with unusual thought and dramatic flair for an awards show. We got a fair number of spirited political speeches about immigrants that were on point and heartfelt without being glibly performative. We got Spike Lee bowing to Barbra Streisand. And — it cannot be said enough — we got Spike Lee, Oscar in hand, period. If I sound glass-half-full, it’s not just because the empty half of the glass is a complete abyss, but because half-steps are the only steps the Academy Awards can ever really take in a given year. And at least last night, some of those were half-steps forward.
By Mark Harris
Photo: Kevin Winter/Getty Images
What happened at the Oscars last night: A movie about a gay man that has made $210 million in America won four Academy Awards. A movie about a black man and a white man in the south of the 1960s won three, including Best Picture. A movie about a Mexican maid won three, and so did a movie about an African king. To my eyes, the first two of those films are unworthy choices on which history — which starts getting written the minute the Oscars are over — will not look kindly. And the other two are fantastic films that deserved everything they got and a great deal more. But voters disagreed, and Oscar-watchers like me should be wary of drawing any what-it-all-means conclusions about the Academy that are so cast in stone they can’t be completely revised at this time next year.
This year’s Best Picture winner is, I believe, an unimpressive and retrograde selection, especially given the high quality of much of the competition. The night’s most schizophrenic moment surely came when the two screenwriting prizes were handed out — one to Green Book (yes, Nick “There were Muslims on those rooftops” Vallelonga is now an Academy Award winner) and one to BlacKkKlansman, another movie about a black man and a white man confronting bigotry together that seems crafted with a bone-deep awareness of everything that makes Green Book specious. What would these movies make of each other? Have these two groups of voters even met?
When the nominations were announced last month, I called the Academy a house divided — I found the eight Best Picture nominees to be fascinatingly reflective of an Academy that is half in paroxysm, half in transition. That played out in the wins: All eight movies in the top race went home with at least one Oscar, and none with more than four.
Olivia Colman, looking genuinely shocked to beat Glenn Close in a moment that was both exciting and bittersweet and thus exactly what we want from the Oscars. We got a hot-to-death duet between Lady Gaga and Bradley Cooper that was staged and shot with unusual thought and dramatic flair for an awards show. We got a fair number of spirited political speeches about immigrants that were on point and heartfelt without being glibly performative. We got Spike Lee bowing to Barbra Streisand. And — it cannot be said enough — we got Spike Lee, Oscar in hand, period. If I sound glass-half-full, it’s not just because the empty half of the glass is a complete abyss, but because half-steps are the only steps the Academy Awards can ever really take in a given year. And at least last night, some of those were half-steps forward.
So you not happy for Octavia Spencer who also got an award for her role on the film?
Green Book’s Producers Watched Green Bookto Get Over the Controversy Surrounding Green Book
Before Green Book won Best Picture at Sunday night’s Oscars, there were whispers that it was the subject of a smear campaign. When the movie’s producers were asked about the rumor in the Oscars’ press room, they revealed how they dealt with it: by watching Green Book a couple more times, naturally. “Yes, it was discouraging,” producer Jim Burke said of the press attention to screenwriter Nick Vallelonga’s Islamophobic tweets, Peter Farrelly’s history of pranking actors by flashing his penis, and criticism of the movie from the family of its main character, Dr. Don Shirley. “But we always went back to the film. And when we had a bad day, we’d pop in the movie, and we were reminded that we’re all really proud of this film, all of us and all of the over 500 people who helped make it.” That’s one way to look at it!
Before Green Book won Best Picture at Sunday night’s Oscars, there were whispers that it was the subject of a smear campaign. When the movie’s producers were asked about the rumor in the Oscars’ press room, they revealed how they dealt with it: by watching Green Book a couple more times, naturally. “Yes, it was discouraging,” producer Jim Burke said of the press attention to screenwriter Nick Vallelonga’s Islamophobic tweets, Peter Farrelly’s history of pranking actors by flashing his penis, and criticism of the movie from the family of its main character, Dr. Don Shirley. “But we always went back to the film. And when we had a bad day, we’d pop in the movie, and we were reminded that we’re all really proud of this film, all of us and all of the over 500 people who helped make it.” That’s one way to look at it!
Why I said this is because Mahershala Ali did the honorable thing and apologized to Dr. Shirley's family......
Mahershala Ali Apologized To ‘Green Book’ Character’s Family After Their Film Criticism
The actor, who got a Golden Globe nod for his performance, reached out to pianist Don Shirley’s relatives after they called the movie “a symphony of lies.”
By Elyse Wanshel
Roy Rochlin via Getty Images
Mahershala Ali attending a ‘Green Book’ New York screening in November.
1.8k
In November, Shirley’s nephew Edwin Shirley III and the pianist’s 82-year-old brother, Maurice Shirley, told NPR’s 1A Movie Club that the film is brimming with inaccuracies. Maurice went as far as to describe it as “a symphony of lies” to Shadow and Act.
Upon hearing their comments on NPR, Ali reportedly called both Maurice and Edwin the same day the episode aired.
“I got a call from Mahershala Ali, a very, very respectful phone call, from him personally. He called me and my Uncle Maurice in which he apologized profusely if there had been any offense,” Edwin told Shadow and Act. “What he said was, ‘If I have offended you, I am so, so terribly sorry. I did the best I could with the material I had. I was not aware that there were close relatives with whom I could have consulted to add some nuance to the character.’”
A rep for Ali told HuffPost that Ali was not apologizing “for the film” itself, but gave no further details about his apology.
“Green Book,” which has been nominated for numerous Golden Globe Awards, including for supporting actor for Ali, follows the unlikely friendship between Tony “Lip” Vallelonga (Viggo Mortensen), a working-class, tough-talking Italian from the Bronx, and Shirley (Ali), a black and queer piano prodigy with a doctorate who lives in a luxury apartment above Carnegie Hall.
CINE 54
Tony “Lip” Vallelonga. (Viggo Mortensen) and Don Shirley (Mahershala Ali) in “Green Book.”
In the film, Shirley hires Tony Lip to act as a driver and bodyguard as he embarks on a musical tour of the Jim Crow South in the early 1960s. During the road trip, the duo are guided by the Negro Motorist’s Green Book, a travel guide for black motorists that which was given to Tony Lip by Shirley’s record label. Shirley is portrayed as being estranged from his family and the black community and even seems embarrassed by his blackness. He’s well-educated and brilliant, but he drinks alone in his hotel room each night after gigs. Tony Lip is charming but rough and is overtly racist. The two bond after Tony Lip introduces Shirley to Little Richard and fried chicken, and he saves Shirley from multiple racist incidents. By the end of the film, Tony Lip is less racist and is said to have become lifelong friends with Shirley.
Subscribe to the Entertainment email.
Don't miss a beat. Your culture and entertainment cheat-sheet.
The film was co-written by Tony Lip’s son Nick Vallelonga, who based the screenplay on his father’s recollections of the road trip. Vallelonga and director Peter Farrelly (“Dumb and Dumber” and “There’s Something About Mary”) have stressed the film’s accuracy in the press.
“Everything in the film is true,” Vallelonga said on “NBC Nightly News.” “The only creative license we took was combining some stories, time-wise, what happened in this state might have happened in another state. But everything was true, and that was really important to me and Pete the director, that we told the truth.”
Shirley’s family members disagree, however, and are furious about the portrayal of their relative in “Green Book.”
They told NPR that the film is “full of lies,” that Shirley was not estranged from his family or the black community, and that he “had definitely eaten fried chicken before.”
The family told Shadow and Act that there wasn’t a close friendship between Tony Lip and Shirley and that their dynamic “was an employer-employee relationship,” according to Patricia Shirley, Maurice’s wife.
The family also told Shadow and Act that the movie had been pitched to Shirley while he was alive and he didn’t want it made.
“I remember very, very clearly, going back 30 years, my uncle had been approached by Nick Vallelonga, the son of Tony Vallelonga, about a movie on his life, and Uncle Donald told me about it,” Edwin said. “He flatly refused.”
Shirley’s niece, Carol Shirley Kimble, also called NPR and left a voice message, which was played on air.
She told 1A Movie Club:
“There was no due diligence done to afford my family and my deceased uncle the respect of properly representing him, his legacy, his worth and the excellence in which he operated and the excellence in which he lived. It’s once again a depiction of a white man’s version of a black man’s life. My uncle was an incredibly proud man and an incredibly accomplished man, as are the majority of people in my family. And to depict him as less than, and to depict him and take away from him and make the story about a hero of a white man for this incredibly accomplished black man is insulting, at best.”
https://www.huffingtonpost.com/entry/mahershala-ali-apology-green-book_us_5c17f6c3e4b0432554c2fa06
Why didn't he do it before he got the Oscar?Why I said this is because Mahershala Ali did the honorable thing and apologized to Dr. Shirley's family......
Mahershala Ali Apologized To ‘Green Book’ Character’s Family After Their Film Criticism
The actor, who got a Golden Globe nod for his performance, reached out to pianist Don Shirley’s relatives after they called the movie “a symphony of lies.”
By Elyse Wanshel
Roy Rochlin via Getty Images
Mahershala Ali attending a ‘Green Book’ New York screening in November.
Actor Mahershala Ali has reached out to the family of jazz pianist Don Shirley — the character he portrays in the award-season darling “Green Book” — to apologize for the film’s portrayal of Shirley, according to the news site Shadow and Act.
1.8k
In November, Shirley’s nephew Edwin Shirley III and the pianist’s 82-year-old brother, Maurice Shirley, told NPR’s 1A Movie Club that the film is brimming with inaccuracies. Maurice went as far as to describe it as “a symphony of lies” to Shadow and Act.
Upon hearing their comments on NPR, Ali reportedly called both Maurice and Edwin the same day the episode aired.
“I got a call from Mahershala Ali, a very, very respectful phone call, from him personally. He called me and my Uncle Maurice in which he apologized profusely if there had been any offense,” Edwin told Shadow and Act. “What he said was, ‘If I have offended you, I am so, so terribly sorry. I did the best I could with the material I had. I was not aware that there were close relatives with whom I could have consulted to add some nuance to the character.’”
A rep for Ali told HuffPost that Ali was not apologizing “for the film” itself, but gave no further details about his apology.
“Green Book,” which has been nominated for numerous Golden Globe Awards, including for supporting actor for Ali, follows the unlikely friendship between Tony “Lip” Vallelonga (Viggo Mortensen), a working-class, tough-talking Italian from the Bronx, and Shirley (Ali), a black and queer piano prodigy with a doctorate who lives in a luxury apartment above Carnegie Hall.
CINE 54
Tony “Lip” Vallelonga. (Viggo Mortensen) and Don Shirley (Mahershala Ali) in “Green Book.”
In the film, Shirley hires Tony Lip to act as a driver and bodyguard as he embarks on a musical tour of the Jim Crow South in the early 1960s. During the road trip, the duo are guided by the Negro Motorist’s Green Book, a travel guide for black motorists that which was given to Tony Lip by Shirley’s record label. Shirley is portrayed as being estranged from his family and the black community and even seems embarrassed by his blackness. He’s well-educated and brilliant, but he drinks alone in his hotel room each night after gigs. Tony Lip is charming but rough and is overtly racist. The two bond after Tony Lip introduces Shirley to Little Richard and fried chicken, and he saves Shirley from multiple racist incidents. By the end of the film, Tony Lip is less racist and is said to have become lifelong friends with Shirley.
Subscribe to the Entertainment email.
Don't miss a beat. Your culture and entertainment cheat-sheet.
The film was co-written by Tony Lip’s son Nick Vallelonga, who based the screenplay on his father’s recollections of the road trip. Vallelonga and director Peter Farrelly (“Dumb and Dumber” and “There’s Something About Mary”) have stressed the film’s accuracy in the press.
“Everything in the film is true,” Vallelonga said on “NBC Nightly News.” “The only creative license we took was combining some stories, time-wise, what happened in this state might have happened in another state. But everything was true, and that was really important to me and Pete the director, that we told the truth.”
Shirley’s family members disagree, however, and are furious about the portrayal of their relative in “Green Book.”
They told NPR that the film is “full of lies,” that Shirley was not estranged from his family or the black community, and that he “had definitely eaten fried chicken before.”
The family told Shadow and Act that there wasn’t a close friendship between Tony Lip and Shirley and that their dynamic “was an employer-employee relationship,” according to Patricia Shirley, Maurice’s wife.
The family also told Shadow and Act that the movie had been pitched to Shirley while he was alive and he didn’t want it made.
“I remember very, very clearly, going back 30 years, my uncle had been approached by Nick Vallelonga, the son of Tony Vallelonga, about a movie on his life, and Uncle Donald told me about it,” Edwin said. “He flatly refused.”
Shirley’s niece, Carol Shirley Kimble, also called NPR and left a voice message, which was played on air.
She told 1A Movie Club:
“There was no due diligence done to afford my family and my deceased uncle the respect of properly representing him, his legacy, his worth and the excellence in which he operated and the excellence in which he lived. It’s once again a depiction of a white man’s version of a black man’s life. My uncle was an incredibly proud man and an incredibly accomplished man, as are the majority of people in my family. And to depict him as less than, and to depict him and take away from him and make the story about a hero of a white man for this incredibly accomplished black man is insulting, at best.”
https://www.huffingtonpost.com/entry/mahershala-ali-apology-green-book_us_5c17f6c3e4b0432554c2fa06
Dr. Shirley family had been mentioned the falseness of the film so I'm sure Mahershala Ali could have told his family this long time ago.
Why now?
Mahershala believed the filmmakers about their research on Dr. Shirley & he found out they weren't telling the truth.
Ok but how come he didn't do his research first then?
Why play a role when you don't know if it's true or not?
Especially when the family members of the person are avaliable to speak with and ask about that person?
The filmmakers said that Dr. Shirley's family wasn't around and mostly had died & he believed the filmmakers.
there is whole THREAD on here about that stuff.
Why I said this is because Mahershala Ali did the honorable thing and apologized to Dr. Shirley's family......
Mahershala Ali Apologized To ‘Green Book’ Character’s Family After Their Film Criticism
The actor, who got a Golden Globe nod for his performance, reached out to pianist Don Shirley’s relatives after they called the movie “a symphony of lies.”
By Elyse Wanshel
Roy Rochlin via Getty Images
Mahershala Ali attending a ‘Green Book’ New York screening in November.
Actor Mahershala Ali has reached out to the family of jazz pianist Don Shirley — the character he portrays in the award-season darling “Green Book” — to apologize for the film’s portrayal of Shirley, according to the news site Shadow and Act.
1.8k
In November, Shirley’s nephew Edwin Shirley III and the pianist’s 82-year-old brother, Maurice Shirley, told NPR’s 1A Movie Club that the film is brimming with inaccuracies. Maurice went as far as to describe it as “a symphony of lies” to Shadow and Act.
Upon hearing their comments on NPR, Ali reportedly called both Maurice and Edwin the same day the episode aired.
“I got a call from Mahershala Ali, a very, very respectful phone call, from him personally. He called me and my Uncle Maurice in which he apologized profusely if there had been any offense,” Edwin told Shadow and Act. “What he said was, ‘If I have offended you, I am so, so terribly sorry. I did the best I could with the material I had. I was not aware that there were close relatives with whom I could have consulted to add some nuance to the character.’”
A rep for Ali told HuffPost that Ali was not apologizing “for the film” itself, but gave no further details about his apology.
“Green Book,” which has been nominated for numerous Golden Globe Awards, including for supporting actor for Ali, follows the unlikely friendship between Tony “Lip” Vallelonga (Viggo Mortensen), a working-class, tough-talking Italian from the Bronx, and Shirley (Ali), a black and queer piano prodigy with a doctorate who lives in a luxury apartment above Carnegie Hall.
CINE 54
Tony “Lip” Vallelonga. (Viggo Mortensen) and Don Shirley (Mahershala Ali) in “Green Book.”
In the film, Shirley hires Tony Lip to act as a driver and bodyguard as he embarks on a musical tour of the Jim Crow South in the early 1960s. During the road trip, the duo are guided by the Negro Motorist’s Green Book, a travel guide for black motorists that which was given to Tony Lip by Shirley’s record label. Shirley is portrayed as being estranged from his family and the black community and even seems embarrassed by his blackness. He’s well-educated and brilliant, but he drinks alone in his hotel room each night after gigs. Tony Lip is charming but rough and is overtly racist. The two bond after Tony Lip introduces Shirley to Little Richard and fried chicken, and he saves Shirley from multiple racist incidents. By the end of the film, Tony Lip is less racist and is said to have become lifelong friends with Shirley.
Subscribe to the Entertainment email.
Don't miss a beat. Your culture and entertainment cheat-sheet.
The film was co-written by Tony Lip’s son Nick Vallelonga, who based the screenplay on his father’s recollections of the road trip. Vallelonga and director Peter Farrelly (“Dumb and Dumber” and “There’s Something About Mary”) have stressed the film’s accuracy in the press.
“Everything in the film is true,” Vallelonga said on “NBC Nightly News.” “The only creative license we took was combining some stories, time-wise, what happened in this state might have happened in another state. But everything was true, and that was really important to me and Pete the director, that we told the truth.”
Shirley’s family members disagree, however, and are furious about the portrayal of their relative in “Green Book.”
They told NPR that the film is “full of lies,” that Shirley was not estranged from his family or the black community, and that he “had definitely eaten fried chicken before.”
The family told Shadow and Act that there wasn’t a close friendship between Tony Lip and Shirley and that their dynamic “was an employer-employee relationship,” according to Patricia Shirley, Maurice’s wife.
The family also told Shadow and Act that the movie had been pitched to Shirley while he was alive and he didn’t want it made.
“I remember very, very clearly, going back 30 years, my uncle had been approached by Nick Vallelonga, the son of Tony Vallelonga, about a movie on his life, and Uncle Donald told me about it,” Edwin said. “He flatly refused.”
Shirley’s niece, Carol Shirley Kimble, also called NPR and left a voice message, which was played on air.
She told 1A Movie Club:
“There was no due diligence done to afford my family and my deceased uncle the respect of properly representing him, his legacy, his worth and the excellence in which he operated and the excellence in which he lived. It’s once again a depiction of a white man’s version of a black man’s life. My uncle was an incredibly proud man and an incredibly accomplished man, as are the majority of people in my family. And to depict him as less than, and to depict him and take away from him and make the story about a hero of a white man for this incredibly accomplished black man is insulting, at best.”
https://www.huffingtonpost.com/entry/mahershala-ali-apology-green-book_us_5c17f6c3e4b0432554c2fa06
th
Why I said this is because Mahershala Ali did the honorable thing and apologized to Dr. Shirley's family......
Mahershala Ali Apologized To ‘Green Book’ Character’s Family After Their Film Criticism
The actor, who got a Golden Globe nod for his performance, reached out to pianist Don Shirley’s relatives after they called the movie “a symphony of lies.”
By Elyse Wanshel
Roy Rochlin via Getty Images
Mahershala Ali attending a ‘Green Book’ New York screening in November.
Actor Mahershala Ali has reached out to the family of jazz pianist Don Shirley — the character he portrays in the award-season darling “Green Book” — to apologize for the film’s portrayal of Shirley, according to the news site Shadow and Act.
1.8k
In November, Shirley’s nephew Edwin Shirley III and the pianist’s 82-year-old brother, Maurice Shirley, told NPR’s 1A Movie Club that the film is brimming with inaccuracies. Maurice went as far as to describe it as “a symphony of lies” to Shadow and Act.
Upon hearing their comments on NPR, Ali reportedly called both Maurice and Edwin the same day the episode aired.
“I got a call from Mahershala Ali, a very, very respectful phone call, from him personally. He called me and my Uncle Maurice in which he apologized profusely if there had been any offense,” Edwin told Shadow and Act. “What he said was, ‘If I have offended you, I am so, so terribly sorry. I did the best I could with the material I had. I was not aware that there were close relatives with whom I could have consulted to add some nuance to the character.’”
A rep for Ali told HuffPost that Ali was not apologizing “for the film” itself, but gave no further details about his apology.
“Green Book,” which has been nominated for numerous Golden Globe Awards, including for supporting actor for Ali, follows the unlikely friendship between Tony “Lip” Vallelonga (Viggo Mortensen), a working-class, tough-talking Italian from the Bronx, and Shirley (Ali), a black and queer piano prodigy with a doctorate who lives in a luxury apartment above Carnegie Hall.
CINE 54
Tony “Lip” Vallelonga. (Viggo Mortensen) and Don Shirley (Mahershala Ali) in “Green Book.”
In the film, Shirley hires Tony Lip to act as a driver and bodyguard as he embarks on a musical tour of the Jim Crow South in the early 1960s. During the road trip, the duo are guided by the Negro Motorist’s Green Book, a travel guide for black motorists that which was given to Tony Lip by Shirley’s record label. Shirley is portrayed as being estranged from his family and the black community and even seems embarrassed by his blackness. He’s well-educated and brilliant, but he drinks alone in his hotel room each night after gigs. Tony Lip is charming but rough and is overtly racist. The two bond after Tony Lip introduces Shirley to Little Richard and fried chicken, and he saves Shirley from multiple racist incidents. By the end of the film, Tony Lip is less racist and is said to have become lifelong friends with Shirley.
Subscribe to the Entertainment email.
Don't miss a beat. Your culture and entertainment cheat-sheet.
The film was co-written by Tony Lip’s son Nick Vallelonga, who based the screenplay on his father’s recollections of the road trip. Vallelonga and director Peter Farrelly (“Dumb and Dumber” and “There’s Something About Mary”) have stressed the film’s accuracy in the press.
“Everything in the film is true,” Vallelonga said on “NBC Nightly News.” “The only creative license we took was combining some stories, time-wise, what happened in this state might have happened in another state. But everything was true, and that was really important to me and Pete the director, that we told the truth.”
Shirley’s family members disagree, however, and are furious about the portrayal of their relative in “Green Book.”
They told NPR that the film is “full of lies,” that Shirley was not estranged from his family or the black community, and that he “had definitely eaten fried chicken before.”
The family told Shadow and Act that there wasn’t a close friendship between Tony Lip and Shirley and that their dynamic “was an employer-employee relationship,” according to Patricia Shirley, Maurice’s wife.
The family also told Shadow and Act that the movie had been pitched to Shirley while he was alive and he didn’t want it made.
“I remember very, very clearly, going back 30 years, my uncle had been approached by Nick Vallelonga, the son of Tony Vallelonga, about a movie on his life, and Uncle Donald told me about it,” Edwin said. “He flatly refused.”
Shirley’s niece, Carol Shirley Kimble, also called NPR and left a voice message, which was played on air.
She told 1A Movie Club:
“There was no due diligence done to afford my family and my deceased uncle the respect of properly representing him, his legacy, his worth and the excellence in which he operated and the excellence in which he lived. It’s once again a depiction of a white man’s version of a black man’s life. My uncle was an incredibly proud man and an incredibly accomplished man, as are the majority of people in my family. And to depict him as less than, and to depict him and take away from him and make the story about a hero of a white man for this incredibly accomplished black man is insulting, at best.”
https://www.huffingtonpost.com/entry/mahershala-ali-apology-green-book_us_5c17f6c3e4b0432554c2fa06
Props to the brother Mahershala Ali!!...
An honorable man....Props to the brother Mahershala Ali!!...