Golden Globes – Page 3 – This Had Oscar Buzz

301 – Bernie

our old friend Kevin O’Keeffe and Texas native for a very Texas movie. Debuting in 2011 but arriving in theaters, Richard Linklater’s Bernie accounts a real-life Texan wink wink bachelor Bernie Tiede (played by Jack Black), beloved by the church ladies and local community. However, he is taken in by the town villain Margie (Shirley MacLaine) and ends up convicted for her murder, but not necessarily in the court of public opinion. Though the film was recognized as comedy (especially for Black’s delicate performance), its awards history was largely left as a footnote to the McConaissance.

This episode, we talk about the different vibes of Texas cities and the film’s spectacular ensemble of real-life witnesses. We also talk about Linklater’s outsider status to the Hollywood establishment, Black’s preceding failures, and reporter Skip Hollandsworth.

Topics also include “one of them CMT girls,” Linklater’s upcoming Merrily We Roll Along, and 2012 Best Actor.

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297 – To Wong Foo, Thanks for Everything! Julie Newmar

Why not derail an originally planned episode to close pride season with a beloved queer 90s film with three praised performances? In 1995, To Wong Foo, Thanks for Everything! Julie Newmar spun a tale of three drag queens on a road trip that get stranded in middle America. Its headliners were two macho movie stars in Patrick Swayze and Wesley Snipes and one emerging theatre actor in John Leguizamo, resulting in Globe nominations for Swayze and Leguizamo. One of a few of the 90s drag centric movie hits, To Wong Foo was ignored by the Academy for both its performances and its costumes, a category won by The Adventures of Priscilla, Queen of the Desert the previous year.

This episode, we unpack how the film has stood the test of time in the queer canon and the performances from these straight performers. We also discuss the film’s divine female ensemble, how the film holds up to contemporary expectations for queer cinema, and title punctuation.

Topics also include favorite outfits from Snipes’ Noxeema Jackson, the drag road trip movie tradition, and 1995 Best Supporting Actor.

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293 – Hair (with Natalie Walker) (70s Spectacular – 1979)

The 70s Spectacular comes to a close this week with actress Natalie Walker joining us to discuss 1979 and Milos Forman’s adaptation of Hair. The brainchild of Galt MacDermot, Gerome Ragni, and James Redo, Hair took Broadway by storm in the late 1960s for its narrative and political audacity, presenting the free-love and anti-war hippie movement of the time. Forman wanted to bring the musical to the screen after seeing the Off-Broadway production, but wouldn’t achieve that goal until after his One Flew Over the Cuckoo’s Nest Oscar victory. This delay turned the once ripped-from-the-headlines musical into old news when it eventually became a film.

This episode, we discuss the 2009 Broadway revival and the changes made to the film to give the story a more linear structure. We also discuss the best hair of 1970s cinema, Dustin Hoffman being a monster on the set of Kramer vs. Kramer, and Actors Fund Benefit concerts.

Topics also include the follow-up musical Dude, step and repeat falls, and “gliddy glop gloopy”.

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292 – New York, New York (with Katey Rich) (70s Spectacular – 1977)

The 1977 Oscar year is famously when Annie Hall triumphed over the cultural behemoth of Star Wars, but elsewhere Martin Scorsese followed up his Taxi Driver Best Picture nomination with a big swing and a miss. The Ankler’s Katey Rich is back on the show to discuss New York, New York, Scorsese’s attempt at a movie musical. Starring then-recent Oscar winners Liza Minnelli and Robert DeNiro as two post-WWII lovers whose creative ambitions clash with their relationship, the film received a critical drubbing for its pointed attempts at pastiche and its meandering length, and remains one of Scorsese’s least seen and discussed films.

This episode, we get into what does and doesn’t work in the film and how it gave us its indelible title track, later made infamous by Frank Sinatra. We also talk about the film’s tangled behind-the-scenes relationship to Star Wars, the music branch snubbing Saturday Night Fever, and the surprising lack of current availability for 1970s films.

Topics also include Vanessa Redgrave’s notorious Oscar speech, Al Pacino’s …And Justice for All hair, and Tell Me That You Love Me, Junie Moon.

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291 – The Ritz (with Christina Tucker) (70s Spectacular – 1976)

We’re on to 1976 (go sign up for our Patreon for 1975 and our Exception episode on Tommy!) and Christina Tucker rejoins us to talk about the 70s Spectacular’s wildest movie, The Ritz. From the play by Terrence McNally, the film is a mob farce set in a bathhouse with Jack Weston as a straight man hiding out from Jerry Stiller’s mob boss and living legend Rita Moreno as the sex establishment’s kooky cabaret headliner. Despite the pedigree of Oscar winner Moreno and then-newly-minted theatre icon McNally, The Ritz turned out to be a little too Looney Tunes for the stiff-upper-lip (and super straight) Academy.

This episode, we tackle the film’s harmless lunacy and McNally’s legacy. We also talk about Moreno’s Tony speech from the Broadway production, Rocky‘s victory over an incredible Best Picture lineup, and William Friedkin’s dour approach to producing the Oscar ceremony.

Topics also include the Continental Baths, Challengers, and Post Malone’s 2024.

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282 – Music (Patreon Selects)

On top of all the horrors of the pandemic, let’s not forget that that time also gave us cringe cinema directed by Sia. This week, we come to you with another Patreon Selects, where sponsor listener Stuart has tasked us with that very film. Initially shot in 2017, Sia’s Music cast Kate Hudson as a troublesome drug dealer tasked with taking over the care of her younger autistic sister, played by Sia protege Maddie Ziegler. The ill-conceived film earned a deserved firestorm of outcry for Sia not casting a neurodivergent performer and the singer’s initial dismissive reactions to the controversy, but then earned two shock Golden Globe nominations in the Musical/Comedy categories.

This episode, we unpack all that makes this our presumed worst film we have yet to discuss. We also talk about supporting star Leslie Odom Jr.’s presence in the film in the same season as his dual Oscar nominations for One Night in Miami…, Hudson’s newfound music career, and the films that the Globes could have sensibly nominated in Music‘s place.

Topics also include whatever the hell Mary Kay Place is doing in this movie, Hudson and Odom Jr. in Glass Onion, and the current hideous Globe statue.

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278 – Annette

Coming out of the COVID-led doldrums of 2020, the Cannes Film Festival loomed large as a “movies are back!!” starting gate for global cinema. Its opening film, Annette, was a long-in-development rock opera with music by cult fave Sparks and directed by visionary auteur Leos Carax, returning to the Croisette with his first film in nearly a decade. With Adam Driver at the helm as a batboy shock jock comedian who falls in love with opera star Marion Cotillard to disastrous results, the film is a bizarre fantasia about destructive creative ego and features a puppet as the titular baby singer. Though the film drew raves and buzz around Driver and Sparks’ score, Annette was alas too freaky for the Academy.

This week, we talk about Driver’s career and how his unique physicality makes him a worthy successor to Carax’s usual collaborator Denis Lavant. We also talk about the other famous castings while the film sat in development, the 2021 Original Song contenders, and Simon Helberg’s supporting performance.

Topics also include Baby Annette in the gay stan wars, Carax’s filmography, and the 2021 Cannes Film Festival.

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276 – Spanglish

This week, we are talking about one of the biggest THOB titles that we haven’t yet discussed: 2004’s Spanglish. James L. Brooks returned nearly a decade after his Oscar success with As Good As It Gets with this story of two disparate families thrust together: an immigrant single mother and the rich Los Angeles family she works for. With Adam Sandler headlining one year after earning his first bout of buzz for Punch-Drunk Love, this looked to be a chance for the Academy to honor him as a serious performer within the Academy-beloved Brooksian seriocomic glow. But the movie… has some issues!

This episode, we talk about Cloris Leachman’s stellar boozy performance and Téa Leoni’s work tried to wrangle an impossible character. We also discuss Paz Vega as the film’s attempted breakthrough performance to American audiences, Brooks’ Oscar history, and the many mystery middle names in Hollywood.

Topics also include Mitski fans, the film’s cringe-inducing sex scene, and the history of the Tristar logo.

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273 – Under the Tuscan Sun (Patreon Selects)

This week, our Patreon Selects episodes continue and they’re staying in Europe! One of our sponsors has selected for us an Oscar nomination follow-up star vehicle for the divine Diane Lane, 2003’s Under the Tuscan Sun. Loosely adapted from Frances Mayes’ memoir, the film follows Lane as a new divorce gifted a Tuscan vacation who decides to feel the rain on her skin (no one else can feel it for her! only she can let it in!) and buys a Tuscan home to uproot her life. Fresh off an Unfaithful Best Actress nomination, the film launched in the fall but was quickly reduced to romcom fare unworthy of awards.

This episode, we talk about Lane’s career leading up to the critical groundswell that resulted in her Oscar nomination. We also talk about Lindsay Duncan going all La Dolce Vita, contemporary production design, and the 2003 Golden Globes Best Actress in a Musical/Comedy lineup.

Topics also include being Gay and Away at the Taco Bell hotel, Grey’s Anatomy, and the incoming Oscar nominations!

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270 – Sister Act (Patreon Selects)

All January we’ll be doing a series we call Patreon Selects with episodes chosen by members of our sponsor-level tier on Patreon (and they’ll be sharing their Oscar origin stories too)! First up is 1992’s megasmash musical comedy Sister Act! Originally designed as a showcase for Bette Midler, the film became a starring vehicle for Whoopi Goldberg hot off of her Oscar win for Ghost. With Whoopi as an on-the-run lounge singer who hides out in a convent and turns the church’s choir into a sensation, the film won the affection of audiences but not an Academy with a tricky relationship with comedy.

This episode, we talk about Whoopi’s career from theatre breakthrough to movie star to Oscar host. We also talk about Dame Maggie Smith’s two Oscar wins, the career of writer Paul Rudnick (who took his name off the film), and the divine Mary Wickes.

Topics also include Hook, Nuns Having Fun, and the MTV Movie Awards.

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