CBS’s SWAT will be moving from its usual Friday timeslot to Sundays when it returns from its winter break. Directed by Billy Gierhart from a script by Michael Gemballa, season five episode nine – “Survive” – will air on January 2, 2022 at 10pm ET/PT.
The season five cast is led by Shemar Moore as Daniel “Hondo” Harrelson. Alex Russell stars as Jim Street, Jay Harrington plays David “Deacon” Kay, Lina Esco is Christina “Chris” Alonso, Kenny Johnson is Dominique Luca, David Lim is Victor Tan, and Patrick St. Esprit stars as Commander Robert Hicks.
Guest stars include Benito Martinez, Tiago Roberts, Philip Anthony-Rodriguez, and Neiko Neal.
“Survive” Plot: When Deacon enlists Chris’ help on an off-duty private security detail, they struggle to survive when they’re attacked by a drug cartel looking to kidnap their wealthy VIP client.
Series Description, Courtesy of CBS:
Inspired by the television series and the feature film, S.W.A.T. stars Shemar Moore as a former Marine and locally born and raised S.W.A.T. sergeant, tasked to run a specialized tactical unit that is the last stop in law enforcement in Los Angeles. Torn between loyalty to where he was raised and allegiance to his brothers in blue, Daniel “Hondo” Harrelson strives to bridge the divide between his two worlds. However, Hondo is forced to question his professional identity when he is demoted from Squad Leader after going public to expose racial corruption within the LAPD.
The other members of Hondo’s elite S.W.A.T. unit include David “Deacon” Kay, an experienced S.W.A.T. officer and dedicated family man who always puts the team first; Christina “Chris” Alonso, a skilled officer and the team’s canine trainer; Dominique Luca, an expert driver who gets them in and out of high risk situations; newlywed Victor Tan, who started in the LAPD Hollywood Division and uses his confidential informants in the community to help the team; and Jim Street, the team’s cocky newest member. Responsible for the management of all Metro Division S.W.A.T. units is Commander Robert Hicks, a senior LAPD official with the Special Operations Bureau.
With Hondo no longer leading the charge, these dedicated men and women face an uncertain future as they bravely put themselves at risk to protect their community and save lives.
Four-time Oscar nominee Willem Dafoe believes his childhood memories of carnivals and sideshows helped him immediately understand the world of Guillermo del Toro’s Nightmare Alley. Dafoe stars as carnival barker Clem Hoatley in del Toro’s adaptation of William Lindsay Gresham’s novel, a character who doesn’t fit snugly as either hero or villain but instead dwells in the grey area in between. He cares for his employees but at the same time he’s capable of treating them as less than human if doing so brings in paying customers.
During a special Zoom press conference for Critics Choice Association members, Willem Dafoe provided insight into how he approached playing Clem, working with Guillermo del Toro, and stepping onto the set of Nightmare Alley.
How did Guillermo del Toro introduce Clem to you?
Willem Dafoe: “I have very strong memories as a child going to sideshows. They still were around when I was a kid. And those carnival people, particularly the people at the sideshows, were kind of darkly romantic figures. They were a little scary, but they were also sort of charming. They seemed, at least to me as a young kid growing up in Wisconsin, they seemed worldly because they were travelers and they could spin a story. So I have a pretty strong imagination from that experience of what it would be like to be a carnival barker. And then you arrive and you start to accumulate details and exterior things that get you even more deeply into the character, and then you apply yourself to the scenes.
I think what was really principal was my memories from when I was a kid. I had a very formed idea of carnivals. And then the reality that was created by the production design beautifully of this very complete, almost truly functional midway with essentially everything working…it was a beautiful world to enter, even though it’s a little dark.”
How do you think he reconciles his brutality and his humanity, and how did that inform your performance?
Willem Dafoe: “You know, you can’t judge the character; you can just give him opportunities. He’s pragmatic and you appreciate that he does take care of his own. But he’s also probably a guy that grew up, came of age during the Depression. He’s probably maybe even been in prison. He’s a guy that pragmatically sees the world as winners and losers, prey and predators. He’s got this kind of dark, fatalistic view of the world but at the same time, he cares about the people around him. He tries to sort of circle up the wagons.
And the way also that he expresses how to turn a man into a geek which is sort of a cruel story, you also have the sense that he doesn’t enjoy this – he’s just getting on. That doesn’t justify it but to his mind, the onus is on the nature of the people and human nature and the nature of desire and the nature of addiction and the nature of fate. That’s all sort of in the mix.
So, he is a dark character but he’s not out to destroy people and he’s not unthinking. He’s compassionate toward certain people. He’s human, but he’s a very flawed character if you judge him morally. But, of course, that’s not my job as an actor. My job as an actor is to try to imagine him as a full person capable of many contradictory behaviors.”
What was it like stepping onto the set? Did you make up little stories about each of the items in the jars in the tent to help you build the character?
Willem Dafoe: “Well, the production design was beautiful because of the detail. You’d drive to the set and it was built out in the country. It was built in an area where they had lots of land to build this carnival. You’d approach it – particularly at night – and you’d see the lights coming on. And you’d enter this world and it was like it was waking up as you entered it. People would start to move and the organization of the production itself kind of becomes the organization of the carnival. And then you see people you know, the characters you know, and there are all of these mirrorings of functions and worlds. But, it feels actual.
You start your day and the life of the movie is paralleled by the life of the carnival, so it’s a world that’s easy to enter. You have your job and always you have your function, so that’s a wonderful position to start in. And you have relationships to other people’s functions because your thing is not only to make the scene but also to make the carnival work. The production design was very important.
As far as the so-called ‘pickled punks,’ that is so ingrained in my brain because I was so traumatized by seeing those kinds of sideshows when I was a kid. No, I didn’t make stories for all of them but I made stories for a few.”
Do you think Nightmare Alley has something to say about what’s going on today?
Willem Dafoe: “Of course. I mean if it’s a human story – and I think it is – yeah. You can look at it lots of ways. It’s also an indictment a little bit of a certain kind of ambition, or a certain kind of capitalism, or a certain kind of exploitation of other people for your happiness. That’s always something we’ve got to talk about.”
How was the character of Clem unlike any other character you’ve played in the past?
Willem Dafoe: “That’s a good question – I’m not sure I have a good answer. The characters are all linked by the fact that they’re me but they’re also not me. Because who I am is conditioned by many things, and when I willfully choose to do something else, one character has nothing to do with another one.
Clem…I don’t know. I’ve got this thing…selective amnesia, let’s call it…every time I do a character I try to forget about any other character I’ve done. So, it’s a very difficult question. The truth is someone outside of me could probably answer the question better than I could because through the years I’ve developed a mechanism to make me believe that each time I’m doing something, it’s the first time I’m doing it. It’s the nature of pretending, you know? And then once you’ve done a character, you tend to move on. That’s not to disrespect what you’ve done…but it’s done and there’s no way to linger on it.
Some people ask, ‘Do you look at your old performances?’ And I never do because that was then, this is now.”
Do you prefer playing characters with a bit of a villainous side versus morally good ones?
Willem Dafoe: “Morally good ones can be a real pain in the ass, let’s face it. Villains at least have some sort of delicious taboo. We’re trained all through life not to be a bad person. Well, sometimes we’re trained so much to not be a bad person that you end up being a bad person. So in imagining if you can play a villain, it addresses you to a different kind of orientation that can free you from certain kinds of fears.
I think to play villainous characters ironically turns you into an angel. (Laughing) I’m sorry, but I’ve got to make a joke about it. But really I don’t want to say flat-out villains are more fun because you’re talking about function in the story, and sometimes villains can be flat and they can be a device. That’s not what you want. You want to play human beings; you want to play something with contradiction, with dimension. Whether it’s good or bad, that’s really so subjective. That’s kind of just, in a broad way, those labels help us to tell stories.
For example, people sometimes say, ‘Oh, you play so many villains.’ If I went through my filmography, I bet you – I would fight you to say I played many more moral, good people than villains. It’s just how you label things and how you identify certain characters.”
* * * * * * *
Searchlight Pictures’ Nightmare Alley opens in theaters on December 17, 2021.
Two-time Oscar winner Guillermo del Toro (The Shape of Water) directed and co-wrote the screenplay with Kim Morgan. In addition to Willem Dafoe, the Nightmare Alley cast includes Bradley Cooper, Cate Blanchett, Rooney Mara, Toni Collette, Ron Perlman, Richard Jenkins, and David Strathairn.
Take a good look at the brand new cast poster for Scream, the 2022 edition. Paramount Pictures and Spyglass Media Group released the new poster along with confirmation that the killer is in fact included somewhere on the poster.
The poster’s release was accompanied by Scream veterans Neve Campbell and Courteney Cox teasing the studio’s #12ScreamsForTheHolidays campaign which kicks off today. The Scream social media accounts will release a special Scream surprise on each of the next 12 days leading up to Christmas.
The cast of the 2022 release includes Campbell, Cox, and David Arquette, as well as Melissa Barrera, Kyle Gallner, Mason Gooding, Mikey Madison, and Dylan Minnette. Jenna Ortega, Jack Quaid, Marley Shelton, Jasmin Savoy Brown, and Sonia Ammar also star as either Ghostface or one of his/her potential victims. (I’m betting Ghostface is female this time around.)
Matt Bettinelli-Olpin and Tyler Gillett directed from a screenplay by James Vanderbilt and Guy Busick. The franchise is based on characters created by Kevin Williamson, with Williamson involved in this film as an executive producer. Chad Villella, Gary Barber, Peter Oillataguerre, Ron Lynch, Cathy Konrad, and Marianne Maddalena also executive produce. William Sherak, James Vanderbilt, and Paul Neinstein are on board as producers.
Scream will open in theaters on January 14, 2022.
The Plot:
Twenty-five years after a streak of brutal murders shocked the quiet town of Woodsboro, a new killer has donned the Ghostface mask and begins targeting a group of teenagers to resurrect secrets from the town’s deadly past.
Adam McKay’s comedy Don’t Look Up finds the planet in danger as a world-ending comet hurls toward Earth. Roland Emmerich’s Moonfall takes a more dramatic approach but also finds the planet on the verge of destruction, this time courtesy of the Moon.
Lionsgate’s teasing what’s in store with the online release of the first five minutes. The opening scene shows astronauts Jo Fowler (Oscar winner Halle Berry) and Brian Harper’s (Emmy nominee Patrick Wilson) entertaining argument over the lyrics to Toto’s “Africa” is cut short when something strange runs into their space shuttle and sends it spinning out of control.
The cast also includes John Bradley, Michael Peña, Charlie Plummer, Kelly Yu, Eme Ikwuakor, Carolina Bartczak, and Donald Sutherland.
Director Roland Emmerich co-wrote the screenplay with Harald Kloser and Spenser Cohen. Emmerich and Kloser also serve as producers.
Halle Berry (“Jocinda Fowler,” left) and Patrick Wilson (“Brian Harper,” right) as stranded astronauts in the sci-fi epic ‘Moonfall’ (Photo Credit: Reiner Bajo / Lionsgate)
Lionsgate released the following official synopsis for the sci-fi thriller:
“In Moonfall, a mysterious force knocks the Moon from its orbit around Earth and sends it hurtling on a collision course with life as we know it. With mere weeks before impact and the world on the brink of annihilation, NASA executive and former astronaut Jo Fowler (Berry) is convinced she has the key to saving us all – but only one astronaut from her past, Brian Harper (Wilson) and a conspiracy theorist K.C. Houseman (John Bradley, Game of Thrones) believes her.
These unlikely heroes will mount an impossible last-ditch mission into space, leaving behind everyone they love, only to find out that our Moon is not what we think it is.”
Moonfall will open in theaters on February 4, 2022.
Fox’s Fantasy Island returns for a special two-hour holiday special airing on Tuesday, December 21, 2021 at 8pm ET/PT. The network just released new photos from the special which features series regulars along with guest stars Lindsey Kraft (Grace & Frankie), Eddie Cahill (NCIS: New Orleans), and Mackenzie Astin (You).
The cast is led by Roselyn Sánchez as Elena Roarke, a descendant of the iconic Mr. Roarke. Kiara Barnes (The Bold and the Beautiful) plays Ruby Akuda and John Gabriel Rodriguez (Rosewood) is Javier.
Fox officially renewed the one-hour drama in November 2021 but hasn’t yet announced a season two premiere date.
“Welcome to the Snow Globe” Plot: A businesswoman’s (guest star Lindsey Kraft) fantasy of a perfect Christmas and meeting Mr. Right (guest star Eddie Cahill) tests Roarke in unexpected ways. Meanwhile, Mr. Jones (guest star Mackenzie Astin) faces his past, while a new Secret Santa tradition has Ruby and Javier looking to the future.
Belfast and West Side Story topped the list of the 27th Annual Critics Choice Awards, earning 11 nominations each. Both films earned Best Picture and Best Director nominations as well as nods in acting and screenplay categories.
The film branch of the Critics Choice Association also embraced Dune and The Power of the Dog, with both films scoring 10 nominations. The epic sci-fi action thriller and the gritty character-driven Western will be competing in categories including Best Picture, Best Director, and Best Adapted Screenplay. Licorice Pizza and Nightmare Alley followed close behind with eight, and King Richard and Don’t Look Up picked up six nominations.
“We are so proud to be honoring this amazing list of films and the incredibly talented people who made them during this extremely challenging time,” stated Critics Choice Association CEO Joey Berlin. “All eyes are going to be on the Fairmont Century Plaza red carpet and ballroom on January 9th, when the biggest stars in movies and television will be gathered to celebrate the best of the best in entertainment this past year. In the safest possible environment, it will mark the return of the kind of glitz and glamor we haven’t been able to enjoy in far too long.”
The Critics Choice Association (of which I’m a member) is made up of more than 500 critics and has been the most accurate predictor of Oscar nominations. Winners in both the television and film categories will be announced during the Critics Choice Awards gala on Sunday, March 13, 2022. The awards show will be hosted by Taye Diggs and Nicole Byer and will air live on The CW and TBS beginning at 7pm ET/PT (tape-delayed on the West Coast).
27TH ANNUAL CRITICS CHOICE AWARDS FILM NOMINATIONS
BEST PICTURE
Belfast
CODA
Don’t Look Up
Dune
King Richard
Licorice Pizza
Nightmare Alley
The Power of the Dog tick, tick…Boom!
West Side Story
BEST ACTOR
Nicolas Cage – Pig
Benedict Cumberbatch – The Power of the Dog
Peter Dinklage – Cyrano
Andrew Garfield – tick, tick…Boom!
Will Smith – King Richard
Denzel Washington – The Tragedy of Macbeth
BEST ACTRESS
Jessica Chastain – The Eyes of Tammy Faye
Olivia Colman – The Lost Daughter Lady Gaga – House of Gucci
Alana Haim – Licorice Pizza Nicole Kidman – Being the Ricardos
Kristen Stewart – Spencer
BEST SUPPORTING ACTOR
Jamie Dornan – Belfast
Ciarán Hinds – Belfast
Troy Kotsur – CODA
Jared Leto – House of Gucci
J.K. Simmons – Being the Ricardos
Kodi Smit-McPhee – The Power of the Dog
BEST SUPPORTING ACTRESS
Caitríona Balfe – Belfast
Ariana DeBose – West Side Story
Ann Dowd – Mass
Kirsten Dunst – The Power of the Dog
Aunjanue Ellis – King Richard
Rita Moreno – West Side Story
BEST YOUNG ACTOR/ACTRESS
Jude Hill – Belfast
Cooper Hoffman – Licorice Pizza
Emilia Jones – CODA
Woody Norman – C’mon C’mon
Saniyya Sidney – King Richard
Rachel Zegler – West Side Story
BEST ACTING ENSEMBLE
Belfast
Don’t Look Up
The Harder They Fall
Licorice Pizza
The Power of the Dog
West Side Story
BEST DIRECTOR
Paul Thomas Anderson – Licorice Pizza
Kenneth Branagh – Belfast
Jane Campion – The Power of the Dog
Guillermo del Toro – Nightmare Alley
Steven Spielberg – West Side Story
Denis Villeneuve – Dune
BEST ORIGINAL SCREENPLAY
Paul Thomas Anderson – Licorice Pizza
Zach Baylin – King Richard
Kenneth Branagh – Belfast
Adam McKay, David Sirota – Don’t Look Up
Aaron Sorkin – Being the Ricardos
BEST ADAPTED SCREENPLAY
Jane Campion – The Power of the Dog
Maggie Gyllenhaal – The Lost Daughter
Siân Heder – CODA
Tony Kushner – West Side Story
Jon Spaihts, Denis Villeneuve, Eric Roth – Dune
BEST CINEMATOGRAPHY
Bruno Delbonnel – The Tragedy of Macbeth
Greig Fraser – Dune
Janusz Kaminski – West Side Story
Dan Laustsen – Nightmare Alley
Ari Wegner – The Power of the Dog
Haris Zambarloukos – Belfast
BEST PRODUCTION DESIGN
Jim Clay, Claire Nia Richards – Belfast
Tamara Deverell, Shane Vieau – Nightmare Alley
Adam Stockhausen, Rena DeAngelo – The French Dispatch
Adam Stockhausen, Rena DeAngelo – West Side Story
Patrice Vermette, Zsuzsanna Sipos – Dune
BEST EDITING
Sarah Broshar and Michael Kahn – West Side Story
Úna Ní Dhonghaíle – Belfast
Andy Jurgensen – Licorice Pizza
Peter Sciberras – The Power of the Dog
Joe Walker – Dune
BEST COSTUME DESIGN
Jenny Beavan – Cruella
Luis Sequeira – Nightmare Alley
Paul Tazewell – West Side Story
Jacqueline West, Robert Morgan – Dune
Janty Yates – House of Gucci
BEST HAIR AND MAKEUP
Cruella
Dune
The Eyes of Tammy Faye
House of Gucci
Nightmare Alley
BEST VISUAL EFFECTS
Dune
The Matrix Resurrections
Nightmare Alley
No Time to Die
Shang-Chi and the Legend of the Ten Rings
BEST COMEDY
Barb & Star Go to Vista Del Mar
Don’t Look Up
Free Guy
The French Dispatch
Licorice Pizza
BEST ANIMATED FEATURE
Encanto
Flee
Luca
The Mitchells vs the Machines
Raya and the Last Dragon
BEST FOREIGN LANGUAGE FILM
A Hero
Drive My Car
Flee
The Hand of God
The Worst Person in the World
BEST SONG
Be Alive – King Richard
Dos Oruguitas – Encanto
Guns Go Bang – The Harder They Fall
Just Look Up – Don’t Look Up
No Time to Die – No Time to Die
BEST SCORE
Nicholas Britell – Don’t Look Up
Jonny Greenwood – The Power of the Dog
Jonny Greenwood – Spencer
Nathan Johnson – Nightmare Alley
Hans Zimmer – Dune
Caitriona Balfe stars as “Ma” and Jamie Dornan stars as “Pa” in director Sir Kenneth Branagh’s ‘Belfast’ (Photo Credit: Rob Youngson / Focus Features)
Despite the controversy surrounding the Hollywood Foreign Press Association’s lack of diversity and calls for boycotting of its annual awards, the HFPA today announced its 79th Annual Golden Globe Awards nominees. The 2022 Golden Globes represent the organization’s picks for the best films and television series of 2021.
Belfast and The Power of the Dog tied with seven nominations each including nominations in the Best Motion Picture – Drama and Best Director categories. Don’t Look Up increased its odds for further awards recognition by picking up four nominations in categories including Best Motion Picture – Musical or Comedy, Best Performance by an Actress in a Motion Picture – Musical or Comedy (Jennifer Lawrence), and Best Performance by an Actor in a Motion Picture – Musical or Comedy (Leonardo DiCaprio).
King Richard, Licorice Pizza, and West Side Story also earned four nominations, with Being the Ricardos, Dune, and Encanto netting three each.
On the television side, Succession topped the list with a well-deserved five nominations. (That season three finale will keep us talking until season four arrives!) The Morning Show and Ted Lasso tied with four nominations, and Dopesick, The Great, Hacks, Maid, Only Murders in the Building, Pose, and Squid Game picked up three nominations each.
Winners will be announced on Sunday, January 9, 2022.
BEST MOTION PICTURE – DRAMA
a. BELFAST
Focus Features
b. CODA
Apple TV+
c. DUNE
Warner Bros.
d. KING RICHARD
Warner Bros.
e. THE POWER OF THE DOG
Netflix
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
a. JESSICA CHASTAIN, THE EYES OF TAMMY FAYE
b. OLIVIA COLMAN, THE LOST DAUGHTER
c. NICOLE KIDMAN, BEING THE RICARDOS
d. LADY GAGA, HOUSE OF GUCCI
e. KRISTEN STEWART, SPENCER
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
a. MAHERSHALA ALI, SWAN SONG
b. JAVIER BARDEM, BEING THE RICARDOS
c. BENEDICT CUMBERBATCH, THE POWER OF THE DOG
d. WILL SMITH, KING RICHARD
e. DENZEL WASHINGTON, THE TRAGEDY OF MACBETH
BEST MOTION PICTURE – MUSICAL OR COMEDY
a. CYRANO
MGM
b. DON’T LOOK UP
Netflix
c. LICORICE PIZZA
MGM
d. TICK, TICK…BOOM!
Netflix
e. WEST SIDE STORY
20th Century Studios / Walt Disney Studios Motion Pictures
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY
a. MARION COTILLARD, ANNETTE
b. ALANA HAIM, LICORICE PIZZA
c. JENNIFER LAWRENCE, DON’T LOOK UP
d. EMMA STONE, CRUELLA
e. RACHEL ZEGLER, WEST SIDE STORY
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
a. LEONARDO DICAPRIO, DON’T LOOK UP
b. PETER DINKLAGE, CYRANO
c. ANDREW GARFIELD, TICK, TICK…BOOM!
d. COOPER HOFFMAN, LICORICE PIZZA
e. ANTHONY RAMOS, IN THE HEIGHTS
BEST MOTION PICTURE – ANIMATED
a. ENCANTO
Walt Disney Studios Motion Pictures
b. FLEE
Neon / Participant
c. LUCA
Walt Disney Studios Motion Pictures
d. MY SUNNY MAAD
Totem Films
e. RAYA AND THE LAST DRAGON
Walt Disney Studios
BEST MOTION PICTURE – NON-ENGLISH LANGUAGE (FORMERLY FOREIGN LANGUAGE)
a. COMPARTMENT NO. 6 (FINLAND / RUSSIA / GERMANY)
Sony Pictures Classics
b. DRIVE MY CAR (JAPAN)
Janus Films
c. THE HAND OF GOD (ITALY)
Netflix
d. A HERO (FRANCE / IRAN)
Amazon Studios
e. PARALLEL MOTHERS (SPAIN)
Sony Pictures Classics
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE
a. CAITRIONA BALFE, BELFAST
b. ARIANA DEBOSE, WEST SIDE STORY
c. KIRSTEN DUNST, THE POWER OF THE DOG
d. AUNJANUE ELLIS, KING RICHARD
e. RUTH NEGGA, PASSING
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
a. BEN AFFLECK, THE TENDER BAR
b. JAMIE DORNAN, BELFAST
c. CIARÁN HINDS, BELFAST
d. TROY KOTSUR, CODA
e. KODI SMIT-MCPHEE, THE POWER OF THE DOG
BEST DIRECTOR – MOTION PICTURE
a. KENNETH BRANAGH, BELFAST
b. JANE CAMPION, THE POWER OF THE DOG
c. MAGGIE GYLLENHAAL, THE LOST DAUGHTER
d. STEVEN SPIELBERG, WEST SIDE STORY
e. DENIS VILLENEUV,E DUNE
BEST SCREENPLAY – MOTION PICTURE
a. PAUL THOMAS ANDERSON, LICORICE PIZZA
b. KENNETH BRANAGH, BELFAST
c. JANE CAMPION, THE POWER OF THE DOG
d. ADAM MCKAY, DON’T LOOK UP
e. AARON SORKIN, BEING THE RICARDO
BEST ORIGINAL SCORE – MOTION PICTURE
a. ALEXANDRE DESPLAT, THE FRENCH DISPATCH
b. GERMAINE FRANCO, ENCANTO
c. JONNY GREENWOOD, THE POWER OF THE DOG
d. ALBERTO IGLESIAS, PARALLEL MOTHERS
e. HANS ZIMMER, DUNE
BEST ORIGINAL SONG – MOTION PICTURE
a. “BE ALIVE” — KING RICHARD
Music by: Dixson, Beyoncé Knowles-Carter
Lyrics by: Dixson, Beyoncé Knowles-Carter
b. “DOS ORUGUITAS” — ENCANTO
Music by: Lin-Manuel Miranda
Lyrics by: Lin-Manuel Miranda
c. “DOWN TO JOY” — BELFAST
Music by: Van Morrison
Lyrics by: Van Morrison
d. “HERE I AM (SINGING MY WAY HOME)” — RESPECT
Music by: Carole King, Jennifer Hudson, Jamie Hartman
Lyrics by: Carole King, Jennifer Hudson, Jamie Hartman
e. “NO TIME TO DIE” — NO TIME TO DIE
Music by: Billie Eilish, Finneas O’Connell
Lyrics by: Billie Eilish, Finneas O’Connell
Jeremy Strong, Kieran Culkin, and Brian Cox in ‘Succession’ season 3 (Photo by Graeme Hunter/HBO)
BEST TELEVISION SERIES – DRAMA
a. LUPIN NETFLIX
b. THE MORNING SHOW APPLE TV+
c. POSE FX
d. SQUID GAME NETFLIX
e. SUCCESSION HBO/HBO MAX
BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA
a. UZO ADUBA, IN TREATMENT
b. JENNIFER ANISTON, THE MORNING SHOW
c. CHRISTINE BARANSKI, THE GOOD FIGHT
d. ELISABETH MOSS, THE HANDMAID’S TALE
e. MICHAELA JAÉ RODRIGUEZ, POSE
BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA
a. BRIAN COX, SUCCESSION
b. LEE JUNG-JAE, SQUID GAME
c. BILLY PORTER, POSE
d. JEREMY STRONG, SUCCESSION
e. OMAR SY, LUPIN
BEST TELEVISION SERIES – MUSICAL OR COMEDY
a. THE GREAT HULU
b. HACKS HBO/HBO MAX
c. ONLY MURDERS IN THE BUILDING HULU
d. RESERVATION DOGS FX
e. TED LASSO APPLE TV+
BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – MUSICAL OR COMEDY
a. HANNAH EINBINDER, HACKS
b. ELLE FANNING, THE GREAT
c. ISSA RAE, INSECURE
d. TRACEE ELLIS ROSS, BLACK-ISH
e. JEAN SMART, HACKS
BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – MUSICAL OR COMEDY
a. ANTHONY ANDERSON, BLACK-ISH
b. NICHOLAS HOULT, THE GREAT
c. STEVE MARTIN, ONLY MURDERS IN THE BUILDING
d. MARTIN SHORT, ONLY MURDERS IN THE BUILDING
e. JASON SUDEIKIS, TED LASSO
BEST TELEVISION LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION
a. DOPESICK HULU
b. IMPEACHMENT: AMERICAN CRIME STORY FX
c. MAID NETFLIX
d. MARE OF EASTTOWN HBO/HBO MAX
e. THE UNDERGROUND RAILROAD AMAZON PRIME VIDEO
BEST PERFORMANCE BY AN ACTRESS IN A LIMITED SERIES, ANTHOLOGY SERIES, OR A MOTION PICTURE MADE FOR TELEVISION
a. JESSICA CHASTAIN, SCENES FROM A MARRIAGE
b. CYNTHIA ERIVO, GENIUS: ARETHA
c. ELIZABETH OLSEN, WANDAVISION
d. MARGARET QUALLEY, MAID
e. KATE WINSLET, MARE OF EASTTOWN
BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES, ANTHOLOGY SERIES, OR A MOTION PICTURE MADE FOR TELEVISION
a. PAUL BETTANY, WANDAVISION
b. OSCAR ISAAC, SCENES FROM A MARRIAGE
c. MICHAEL KEATON, DOPESICK
d. EWAN MCGREGOR, HALSTON
e. TAHAR RAHIM, THE SERPENT
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE ON TELEVISION
a. JENNIFER COOLIDGE, THE WHITE LOTUS
b. KAITLYN DEVER, DOPESICK
c. ANDIE MACDOWELL, MAID
d. SARAH SNOOK, SUCCESSION
e. HANNAH WADDINGHAM, TED LASSO
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE ON TELEVISION
a. BILLY CRUDUP, THE MORNING SHOW
b. KIERAN CULKIN, SUCCESSION
c. MARK DUPLASS, THE MORNING SHOW
d. BRETT GOLDSTEIN, TED LASSO
e. O YEONG-SU, SQUID GAME
NBC’s new half-hour comedy series American Auto is set in Detroit and follows a group of executives at a car company that’s led by a new CEO who knows nothing about automobiles. The new workplace comedy comes from the creative mind behind the critically acclaimed Superstore, Justin Spitzer, and will have a special two-episode premiere on Monday, December 13, 2021 at 10pm ET/PT. The series will move to its regular Tuesdays at 8pm ET/PT timeslot on January 4, 2022.
Ana Gasteyer (The Goldbergs) stars as Payne Motors’ CEO Katherine Hastings. The season one cast also includes Harriet Dyer (The Other Guy) as Sadie, Jon Barinholtz as Wesley, Humphrey Ker (Mythic Quest: Raven’s Banquet) as Elliot, Michael B. Washington (The Boys in the Band) as Cyrus, Tye White (Greenleaf) as Jack, and Emmy nominee X Mayo (The Daily Show) as Dori.
Spitzer writes and executive produces, with Jeff Blitz directing the pilot episode. Aaron Kaplan and Dana Honor are also on board as executive producers.
NBC released the following description of season one:
“From the creator of Superstore comes a new workplace comedy that takes the wheels off the automobile industry. Set in Detroit, the corporate executives of Payne Motors are at a crossroads: adapt to the changing times or be sent to the junkyard. Shaking things up is the new CEO, whose leadership, experience and savvy is only slightly offset by her complete lack of knowledge about cars. Luckily, her team has some of the best minds in the business – when they aren’t fighting or trying to outwit each other.
From the corporate office to the factory floor, the crew of Payne Motors is driving home the laughs.”
The Pilot: Payne Motors gets a new CEO on the same day they’re rolling out a new self-driving (and problematic) vehicle.
Episode 2 “White Van” Plot: Katherine deals with the PR fallout of a serial killer driving a Payne. Jack tries to figure out his role in the company.
Michael Benjamin Washington as Cyrus, Ana Gasteyer as Katherine, Humphrey Ker as Elliot, Harriet Dyer as Sadie, and Tye White as Jack in ‘American Auto’ (Photo by: Greg Gayne/NBC)Tye White as Jack and Harriet Dyer as Sadie in episode 1 (Photo by: Greg Gayne/NBC)Ana Gasteyer as Katherine in episode 1 (Photo by: Greg Gayne/NBC)Jon Barinholtz as Wesley and Harriet Dyer as Sadie in episode 1 (Photo by: Greg Gayne/NBC)Tye White as Jack in season 1 episode 1 (Photo by: Greg Gayne/NBC)Tye White as Jack, Harriet Dyer as Sadie, Michael Benjamin Washington as Cyrus, and Humphrey Ker as Elliot in episode 1 (Photo by: Greg Gayne/NBC)
Jefferson White in ‘Yellowstone’ season 4 episode 7 (Photo Credit: Paramount Network)
Jimmy (Jefferson White) is hard at work on the 6666 Ranch as Paramount Network’s Yellowstone season four episode seven gets underway. Over at the Yellowstone Ranch, John (Kevin Costner) warns Carter he needs to make things right with Beth. After all, she’s the reason he has a place to live and food in his belly.
Elsewhere, Monica (Kelsey Asbille) briefly panics when she can’t find Tate. She relaxes when she spots her son and his dad walking around outside. Their new furry family member’s spotted deer tracks and Kayce (Luke Grimes) gives Tate (Brecken Merrill) a lesson in how to read the deer’s movements.
Kayce’s decided he’s going to put their dog to good use tracking the missing horses. Monica continues to be jealous about Kayce working for “Miss Pouty Lips,” but Kayce reminds her he works for the State of Montana – not Avery. He digs a hole for himself by saying he’ll only work for unattractive women from now on, and Monica latches onto the fact he thinks Avery’s pretty.
Tate’s decided naming the dog “Dog” sucks pickled ass. His mom chastises him but changing the subject to the dog’s name gives Kayce a reprieve. Tate tells his dad he owes him one after Monica walks away.
Carter brings Beth (Kelly Reilly) flowers and she accuses him of being one of those men who use gifts to say they’re sorry. She tells the boy she doesn’t want his flowers and Carter’s about to walk away dejected when he changes his mind. He asks for a ride into town and explains he’s decided to take his chances in foster care. Carter doesn’t want to shovel barns and doesn’t have any friends at the Yellowstone, so he’s done.
Beth asks what he hopes to do with his life and he becomes emotional. “I don’t have any dreams,” says Carter. “I’m too busy trying to figure out what I’m going to eat and where I’m going to sleep.”
Beth lays down the law, telling Carter he needs to do what she says when she says it. Also, he can’t lie and needs to ask questions if he doesn’t understand something. Carter claims he can make that promise and keep it. They shake on it and Carter asks his first question. If he doesn’t give a woman flowers when he’s sorry, when should he give them?
“You give them for no reason, buddy,” replies Beth. “No reason at all.”
Back at the 6666, Jimmy’s summoned back to the main buildings where he’s immediately given a sleeve to place over a horse’s penis. He struggles to keep the massive appendage in place and then realizes what he’s doing. Needless to say, he’s shocked his new job entails masturbating stallions.
Over at Jamie’s new place, his former girlfriend Christina (Katherine Cunningham) chats with his biological dad, Garrett (Will Patton), while Jamie (Wes Bentley) spends time with his baby boy. Garrett thinks Jamie’s going to be a good dad, but Christina’s doubtful given that John Dutton raised him. Garrett believes Jamie learned how not to father from John but is capable of change.
Garrett reveals part of his plan, planting the seed that Jamie would make a good governor.
Beth puts in her first appearance at Market Equities and isn’t impressed with how they’ve decorated her corner office. She wants everything removed and informs her assistant, Cal, that not only will she design it herself, but he should also probably stop sleeping with the receptionist and find a new job.
“I’m 0 for 3 with assistants anyway,” says Beth. “Turns out working for me is pretty f**king dangerous.” Cal has no idea how to respond and Beth makes it clear he’s fired.
Beth puts in an appearance at a design meeting led by Ellis Steele in which a map’s displayed showing all of the different phases of construction. Much of what is on the map isn’t in Market Equities’ portfolio, and Beth asks to see an ownership map over the projected buildings. She’s told who owns specific properties isn’t relevant, and she points out if the first stage is to build roads and sewers for all stages of development then ownership is definitely relevant.
Beth’s unable to hide her shock at seeing the area her family’s called home for decades built into a 52-gate airport and resort town to rival Park City. The model of the area shows the development stretching miles beyond what was initially proposed, with dozens of high-rise buildings populating the design.
Ellis warns this is the first test of Beth’s loyalty.
Back at the Yellowstone, the cowboys are sorting through the cattle and Rip (Cole Hauser) informs John he’s letting Walker and Lloyd take the day off to heal. Walker (Ryan Bingham) picks that moment to emerge from the barn ready to go to work. He looks a bit stiff, but Rip sends him off to help the men sort heifers.
John instructed Rip to fire all the women, but Teeter (Jen Landon) hasn’t left yet and wants a word with John. John, who admits he can’t understand a word that comes out of her mouth, rides over with Rip and Teeter pleads her case. She was always the first one up, never caused a problem, and was always the last to be done. Rip confirms no one works harder than she does, but when John asks if she ever got together with anyone in the bunkhouse, Teeter doesn’t lie but does say she was never told she couldn’t.
John’s about to dismiss her when Teeter shows the Yellowstone tattoo on her chest and asks if Yellowstone for life is all a lie. John sends her away for a minute and asks Rip when Teeter received her tattoo. Rip explains it was when they “took care of that thing in the forest” and John’s shocked he’s just now been made aware that everyone involved now wears the ranch’s brand.
Rip says it happened the night before the attack and reluctantly confirms Kayce knows about the new brands. John doesn’t explicitly say Teeter is rehired, but Rip understands that’s a given as John rides off.
Teeter gives Rip an awkward hug when he tells her to put her gear back in the bunkhouse. She’s relieved and overcome with emotions, and Rip tells her the brand does in fact mean something. (Rip never wanted to fire her but followed John’s orders without question, as always.)
Governor Lynelle Perry (Wendy Moniz-Grillo) shows up unexpectedly and John anticipates bad news when she asks him to walk with her. She announces she’s running for the Senate because she believes that’s where she can make a difference. Lynelle suggests Jamie would be the perfect candidate for governor, and John’s reaction is immediate and negative. He believes that’s too much power for Jamie to handle, but Lynelle says he’s the only one who wants the same thing for Montana that they do. He’s the devil they know.
Lynelle jokingly suggests she’d back John if he made a play for the position and is stunned when he accepts her endorsement. John truly believes Jamie would be horrible and if he’s the only option, then he’ll run for governor to avoid Jamie obtaining that much power.
John’s certain Jamie would destroy everything and Lynelle reminds him the press will cover him hard. John claims to be okay with that and won’t even try to defend his past actions. He suggests “Damn right I did it” as his campaign slogan.
In other news, Beth spots Summer (Piper Perabo) among the protesters outside the J. R. Hall Master Furrier store. She decides to use Summer to help her fight Market Equities without letting Summer know what she’s up to.
Beth tells Summer 15 people in front of a store yelling isn’t changing anyone’s mind; Summer’s not actually making a difference.
“This store is the caboose of the problem. The engine of the problem doesn’t know you exist. This isn’t saving the environment, sweetheart. This is just inflating your ego with very little effort,” says Beth. She adds that Summer will eventually go away and yet the world will continue getting raped.
Summer falls into Beth’s trap by asking what Beth could possibly know about protecting the environment. Beth replies by describing the international airport going in just 15 miles outside a national park along with a massive ski resort. Condos and shopping plazas will disrupt the most fragile ecosystem in North America. Beth adds a few snarky comments about Summer’s mob of protestors while Summer, again, responds exactly as Beth planned. Beth proves she didn’t make up anything about the airport or other developments while telling Summer a protest against it will take effort, strategy, sacrifice, and risk.
Beth explains it’s all about how much money people can make and no one involved cares about the animals that will be killed to build it.
Luke Grimes in ‘Yellowstone’ season 4 episode 7 (Photo Credit: Paramount Network)
Elsewhere, Mo (Mo Brings Plenty) and Kayce follow Kayce’s dog as he picks up the scent of the horses and follows their tracks. When Kayce says they’ve just been calling the dog “Dog,” Mo says he does the same with his but in Lakota. Kayce likes that idea and asks if he can steal it, deciding “Sunka” is a better name than “Dog.”
When Kayce yells out Sunka, the dog stops and looks his way. Sunka, it is.
Sunka leads them to a pen in the middle of nowhere with a sign declaring it’s a Mustang Control Facility run by the US Department of the Interior, Bureau of Land Management. Kayce introduces himself and Mo to the officer guarding the pen, explaining the horses belong to the Confederated Tribes of Broken Rock. The officer claims they’re wild mustangs but Kayce points out wild mustangs don’t have shoes and brands.
The officer agrees there’s been a mistake and reveals they were about to be sold at auction. Mo produces proof the horses belong to the tribe and the officer says they can have them if they get them out before Friday. It’ll be difficult because the area is inaccessible to trucks.
The day’s work is finished but Carter’s not done. Carter listens as Rip instructs him on the proper way to tie knots while Beth relaxes on the couch with a beer. She’s called up to the big house and Rip tells her to drive. He doesn’t want her eaten by a bear and chuckles when she reminds him a bear knows better than to f**k with her.
John confesses he’s lonely and that his great-grandfather built this house so his family could stay together. He also confesses he wants Rip and Beth to move in, and Beth says he’ll need to ask Rip himself. John would really rather she ask Rip but Beth refuses. If this is what John wants, he needs to ask – not tell – Rip himself.
Beth’s just about to leave when John informs her he’s – reluctantly – running for governor to keep Jamie out of the position. Beth grabs him up in a big hug and is happy that now they’ll control the narrative. She leaps into campaign mode and tells her dad to start dismantling everything Jamie’s done. However, John shuts her down pretty quickly when he asks that she help him find a way out of running. He doesn’t want to leave the ranch for four years.
Beth reminds him the ranch will be there and that as governor he’ll have the power to shut the airport down and reverse state land grants. She runs down the list of everything he’ll be able to do if he wins and insists this is the way to save the ranch without selling.
John admits everything she said is true and Beth promises to help him with the campaign.
Lloyd (Forrie J. Smith) returns to the bunkhouse as everyone’s watching TV. Teeter’s teasing Colby and Laramie’s still there with Walker but when Lloyd arrives, they all stand and focus their attention on him. Earlier in the episode, Lloyd pawned his one-of-a-kind belt buckle to replace Walker’s guitar, and Walker takes a look at his new guitar and is impressed. It’s better than his old one and Lloyd smiles in relief. (Why didn’t Laramie leave when Rip told her to pack her stuff?)
Walker asks what Lloyd wants to hear and Lloyd doesn’t care – he just wants Walker to play a song. The bunkhouse is silent as Walker dedicates “The Poet” to Lloyd.
The following day John’s having a rough time figuring out how to ask Rip about moving up to the lodge. He blurts out, “The lodge is where family belongs,” and then realizes that doesn’t sound like a question. Rip figures out what John’s asking and reminds him they’ve got the stray kid. John’s fine with that but not stray dogs and Rip says he doesn’t like dogs. (Rip, you’re breaking my heart! Don’t make me re-think my support of a Rip/Beth spinoff.)
Mo and Kayce gather a bunch of men and get the process of herding the stolen horses underway. As soon as the pen’s door is open, the horses race off and the men have a hard time keeping up. Fortunately, they’re heading in the right direction and the men are able to bring them home. The family cheers and Avery (Tanaya Beatty) smiles as Kayce suggests she get some trail cameras in case this happens again.
Thomas Rainwater (Gil Birmingham) thanks Kayce and says although this is a little victory, it mattered. Thomas chuckles as he warns Kayce to watch out for Avery.
Avery grabs a moment alone with Kayce and asks if he believes in love at first sight. He says that’s how he felt about Monica. Avery confesses that’s how she felt about him but Kayce believes it can’t be love. “God wouldn’t let you love something that can’t love you back,” says Kayce.
Season four episode seven ends with Governor Perry hosting a press conference and Jamie mistakenly believing she’s about to endorse him to run for governor while she runs for the Senate. Jamie’s confused to see John and Beth but is still taken completely by surprise when Perry announces she’s endorsing John Dutton’s run for governor.
John steps in front of the press as Jamie pauses on the stairs to consider what just happened. John tells the assembled press that a war is being waged against their way of life as Beth whispers to Jamie, “This is just the beginning.”
John explains he’s going to protect Montana and its land. “If they get it, it will never look like our land again. That is progress in today’s terms. So, if it’s progress you seek, do not vote for me. I am the opposite of progress. I am the wall that it bashes against and I will not be the one who breaks,” declares John.
CBS’s FBI: Most Wanted season three episode nine finds innocent shoppers trapped inside a mall with a shooter. Directed by Ken Girotti from a script by Elizabeth Rinehart, episode nine will air on Tuesday, December 14, 2021. The midseason finale airs at 9pm ET/PT.
The season three cast includes Julian McMahon as Supervisory Special Agent Jess LaCroix, Alexa Davalos as Special Agent Kristin Gaines, YaYa Gosselin as Natalia “Tali” LaCroix, and Roxy Sternberg as Special Agent Sheryll Barnes. Keisha Castle-Hughes plays Special Agent Hana Gibson and Miguel Gomez is Special Agent Ivan Ortiz.
Terry O’Quinn, Jen Landon, Fedna Jacquet, Oriana Bustamante, and Mat Hostetler recur in season three.
“Run-Hide-Fight” Plot: While holiday shopping, Barnes and Jess are caught in the middle of a mall shooting, with the exits rigged so no one can escape. Also, Gaines, Hana and Ortiz try to help from the outside, knowing their team’s family members are inside and at risk.
FBI: Most Wanted Series Description, Courtesy of CBS:
From Emmy Award winner Dick Wolf and the team behind FBI and the Law & Order brand, FBI: Most Wanted is a high-stakes drama that focuses on the Fugitive Task Force, an elite unit that relentlessly pursues and captures the notorious criminals on the Bureau’s Most Wanted list.
Led by Supervisory Special Agent Jess LaCroix, an expert tracker and profiler with a complicated past, the team includes: Special Agent Sheryll Barnes, a former NYPD detective and forensics expert who is raising one child with her wife with another on the way; Special Agent Hana Gibson, a gifted millennial computer whiz with a sharp wit and mad hacking skills; and Special Agent Kenny Crosby, a young Army vet and brash Oklahoma farm boy who specializes in weapons and tactics; Special Agent Ivan Ortiz, a transplant from Los Angeles with a street cop’s instincts and a gift for undercover work; and their newest member, Special Agent Kristin Gaines, a Navy veteran who became a star in the FBI’s Miami Field Office as a result of her dogged pursuit of cold cases.
Always in the field and always on the run, FBI: Most Wanted is a weekly adrenaline shot about the thrill of the chase.
