There’s a common thread between this year’s Emmys limited/anthology series or TV movie acting contenders — most of them delivered some particularly dark performances. In the…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
There’s a common thread between this year’s Emmys limited/anthology series or TV movie acting contenders — most of them delivered some particularly dark performances.
In the latest episode of Variety‘s Awards Circuit presented by Showtime, TV editor Michael Schneider and senior features editor Emily Longeretta discuss the four performance categories in the limited series race, which overwhelmingly consists of serial killer depictions and overall morbid subject matter.
Early nomination predictions for actor in a supporting role include Ray Liotta and Paul Walter Hauser in “Black Bird,” Richard Jenkins in “Dahmer – Monster: The Jeffrey Dahmer Story,” Domhnall Gleeson in “The Patient” and Jesse Plemons in “Love & Death.”
While the supporting category will likely be dominated by dramatic deaths, the lead actor race could have a few surprising additions, including Daniel Radcliffe for the TV movie “Weird: The Al Yankovic Story.” Other potential contenders include Michael Shannon in “George and Tammy,” Steven Yeun in “Beef” and Taron Egerton in “Black Bird.” However, “Monster” lead Evan Peters could be the category’s frontrunner, according to Longeretta.
Peters’ “Monster” co-star Niecy Nash is also up for consideration, vying for best supporting actress. Nash could be joined by Olivia Colman in “Great Expectations,” Merritt Wever in “Tiny Beautiful Things” and Claire Danes for “Fleishman Is in Trouble.”
“Love & Death” stars Lily Rabe and Elizabeth Olsen could also be up for nomination for their respective supporting and leading roles. Olsen may be joined by “WandaVision” co-star Kathryn Hahn for her role in the adapted series “Tiny Beautiful Things.”
Other possible nominees are Ali Wong in “Beef,” Rachel Weisz in “Dead Ringers,” Riley Keough in “Daisy Jones & the Six,” as well as recent SAG-AFTRA award winner Jessica Chastain for her work on “George and Tammy.”