September 2022 – This Had Oscar Buzz

212 – The Bling Ring (with George Civeris)

StaightioLab cohost and Gawker editor George Civeris returns to us this episode, and we’re going to Paris’. In 2013, Sofia Coppola delivered another tale of disaffected youth, this time ripped from gossip column headlines with The Bling Ring. With a post-Harry Potter Emma Watson at the center, the film follows several Los Angeles celeb-obsessed teens who famously got busted for breaking into the homes of tabloid staples like Paris Hilton and Lindsay Lohan. Already demoted to Cannes’ Un Certain Regard section (after Marie Antoinette was notoriously booed in competition), the film was one of the director’s most harshly received films for its depiction of teen misguidedness.

This episode, we talk about our varying opinions on Watson’s performance and our picks for the weakest films in Coppola’s oeuvre. We also talk about comparisons to another film from A24′s first year, the film’s atypical portrayal of the gay teen experience, and the film’s precisely-timed soundtrack.

Topics also include how mid-aughts celeb culture has evolved to today, Secret Celebrity Drag Race, and another round of Alter Egos.

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Reunited at TIFF!

It’s an annual tradition! Joe and Chris (reunited for the first time in years!) are reporting on the films of the 2022 Toronto International Film Festival, including this year’s (Not Grolsch) People’s Choice Award winner: Steven Spielberg’s The Fablemans. And we’ve got bets against each other gaining some heat! This episode, we unpack our feelings about some of the festival’s biggest titles including Glass Onion, Women Talking, The Woman King, The Banshees of Inisherin, and The Inspection. We also discuss potential THOB titles of the future, Taylor Swift crowd control, and the dire Best Actor race. Topics also include the TIFF preroll ads, International Feature contenders, and TIFF’s history of People’s Choice winners and Oscar.

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211 – Mermaids

We’ve got a personal favorite coming to you today starring one of our most beloved icons! After winning her Best Actress Oscar for Moonstruck, Cher then conquered the world with the album Heart of Stone, and didn’t return to the cinema until 1990′s Mermaids. With Cher as a mother of two rebuking societal expectations, the film also starred the recently Oscar nominated Bob Hoskins, Christina Ricci in her debut, and the ascendant Winona Ryder. A female-led comedy about mothers and daughters, the film earned a Golden Globe nomination for Ryder, but ultimately missed out on Oscar while being released between two Best Picture winners from the dying Orion Pictures.

This episode, we talk about the film’s fraught beginnings with several replaced directors with differing tonal visions for the film and Ryder’s fast rise as prestige actress. We also talk about odd 1990 Golden Globe choices including Ghost and Green Card, life lessons learned too early from formative cinema, and Richard Benjamin’s directorial career.

Topics also include Cher joining TikTok, marshmallow snacks, and Bob Hoskins being hot.

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210 – 25th Hour

We talk about a lot of films dealing with the social and political aftermath of 9/11 but few like this week’s episode: Spike Lee’s 25th Hour. Filmed in New York City in the months after and adapted by David Benioff from his own novel, the film captures that dysphoria while following a drug dealer played by Edward Norton as he prepares to enter prison. Lee gives us several showstoppers, including the notorious “fuck you” mirror monologue from Norton and a fantasy finale told by Brian Cox. But the film was handled by Disney’s less awards-certified Touchstone Pictures and opened at the end of December 2002, famously crowded with contenders including what would make up the entire Best Picture lineup.

If 25th Hour got lost in the shuffle (and cultural-political moment), it now has its vocal fans like your two hosts! This episode, we’ll get into Lee’s long history as an Oscar outsider leading up to his recent success, Norton’s fast ascent with a trio of roles in a single year, and the prowess of Lee’s standby composer, the great Terence Blanchard.

Topics also include Cox’s scene stealing in 2002, Rosario Dawson bringing reliable realism, and 2002 Best Original Score.

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