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In many ways, 2011 was the year of Ryan Gosling. This was the peak \u201cHey Girl\u201d era, and this year alone gave us the critical darling hotness of Drive<\/i> and what we thought would suit the more traditional Academy tastes with The Ides of March<\/i>. He was so omnipresent that a weak Best Actor field had us thinking for a moment that Oscar could make room for his most charming work in the trifecta, Crazy, Stupid, Love. <\/i>Add him in to a cast of other beloved performers like Steve Carell, Julianne Moore, and Emma Stone, and you have a recipe for a real guilty pleasure.
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Though Gosling did nab a Globe nomination for his ab-flashing work, this one might have been wishful thinking anyway with Oscar, but then again: there\u2019s that pesky comedy bias. And while CSL<\/i> has its champions (particularly programmers of cable television networks), the film also has all the trademark contrivances in screenwriter Dan Fogelman\u2019s wheelhouse. This week we discuss Gosling\u2019s ascent as a major leading man, the film\u2019s creepy sexual politics, and how romantic comedies have failed Marisa Tomei.<\/p>\n
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