Arts & Entertainment

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Swiss Feature “What’s Between Us” Husband’s Coming Out to Wife

 

Alice and Frank have been married for 18 years and are moving with their three children (and Taski their pet rabbit) to a new apartment in the Swiss countryside. From the outside they seem like the perfect nuclear family but as they arrange their furniture and settle into their new home, Alice notices that her husband seems far from excited about being there and is in fact positively distracted.  When she prods him about this, Frank simply denies that anything is wrong but she is far from convinced with his protestations.
During the next week when she is at home working on the computer the whole family share, an unfamiliar window suddenly pops up on the screen. It’s a ‘welcome back’ message from a gay cruising site for men to meet men.  An alarmed Anna nervously questions Robert her teenage son about the site and his sexuality, something which he just laughs off and tells her categorically he is 100% straight. When she questions Frank if it was him who had been on the Site, she got the answer that she had expected but certainly didn’t want.
Frank confesses that he was simply curious about other men, but Anna is not happy to leave it there, and over the next few weeks she continually chips away at him, until he eventually admits he has met a man and they have fallen in love with each other. Shocked and horrified Anna tries almost everything to understand her husband’s sexuality.  Initially she is calm and overly considerate, but then after they go out on a ‘date’ together she sets about physically seducing Frank which totally backfires and she is devastated when he rejects her sexual advances.
The no-turning back point comes courtesy of the computer again when Anna is viewing the photographs she has downloaded from a family trip when she accidentally comes across a video that someone has obviously shot on Frank’s phone.  It shows her husband dancing with Pablo his boyfriend amongst a crowd of other men and it is very clear that he is radiantly happy in a way that he has not been with her since they first get married.
Frank by now is staying out late most nights but although he still has very genuine feelings with Anna, the real reason he continues to come home is that their 7 year old daughter dotes on him.   When one final attempt at seducing him back fails, Anna demands that he leaves for good.
Bereft of the husband and feeling isolated in the country apartment a rather confused and depressed Anna dramatically takes to her bed crying her eyes out and refusing to eat for days on end.  Her two teenage children take charge of both her and their young sibling, until Anna finally realizes the helplessness of refusing to accept the change that has been heaped upon her.  When she does take that on board, repaints the apartment, buys some new furniture, get a more contemporary hairstyle, and most importantly gets laid again, then life can finally move and everybody can happily ever after.  Almost.
This taut wee Swiss drama neatly tackles the age-old problem of a marriage trying to survive when it becomes obvious that one of the partners should never had said ‘I do’ in the first place.  It’s hard enough for women to accept that men in their life can be gay or bi-sexual but when they discover that their own partner is suddenly questioning their own sexuality after being married for so long, its usually quite devastating.  Although newbie director and co-writer Claudia Lorenz says nothing new about this scenario, her take on this is compelling and very real, thanks mainly to her very talented cast.

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Nice LGBT Representation in Rock and Roll Hall of Fame 2015 Class

 

 The punk trio Green Day, poet of the New York underground Lou Reed and “Lean on Me” singer Bill Withers will lead a new class of inductees into the Rock and Roll Hall of Fame next year.

The hall announced Tuesday that it will also welcome Joan Jett & the Blackhearts, who famously sang about loving rock ‘n’ roll, and make Ringo Starr the fourth ex-Beatle enshrined as an individual. Besides Reed, the class includes other posthumous inductees Paul Butterfield and Stevie Ray Vaughan.

The 30th annual induction ceremony will be held at Cleveland, Ohio’s Public Hall next April 18. Public tickets go on sale Thursday.

Green Day made it in the group’s first year of eligibility. The Bay Area band led by Billie Joe Armstrong made the 1990s slackers anthem “Dookie” and hit a peak with the politically-themed concept disc “American Idiot” a decade later. Armstrong also starred in a Broadway musical based on “American Idiot.”

Reed, who died in October 2013 following complications from a liver transplant, is already in the hall as a member of the Velvet Underground. He was at his best exploring the underside of his home city, in the hit “Walk on the Wild Side” and fierce crack-era album “New York.”

Withers brought a jazz and funk touch to 1970s era singer-songwriter material like “Ain’t No Sunshine,” ”Use Me” and “Just the Two of Us.” He hasn’t released new music in nearly three decades.

Jett emerged from the all-female punk-era pioneers the Runaways to lead a band of men with punchy hits, none bigger than the declaration “I Love Rock ‘n’ Roll.”

“I’m still collecting my thoughts, but the feeling is surreal. I’ve always focused on making music for the art of it, and its ability to reach others,” Jett said in a written statement. “I am truly honored that my music has been recognized by the great rock and roll community that voted me in.”

The Paul Butterfield Blues Band married blues and rock during the 1960s, led by its leader’s harmonica and the lead guitar of Mike Bloomfield.

Blues guitarist Stevie Ray Vaughan was a 1980s prodigy for his work with band Double Trouble on songs like “Pride and Joy” and “Texas Flood.” Like hero Jimi Hendrix his life was cut short, dying in a 1990 plane crash.

Beatles drummer Ringo Starr is being given a special award for musical excellence. He anchored the Beatles’ sound and had a productive solo career, even beating his former mates to the top of the charts. He continues to record and tour with a revolving All-Starr Band. The Beatles are already in the hall, as are John Lennon, Paul McCartney and George Harrison as solo artists.

The “5” Royales will be inducted in the early influence category. The former gospel group recorded the original version of “Dedicated to the One I Love,” which became a hit later for the Shirelles and the Mamas & the Papas.

Inductees are chosen by a vote of more than 700 artists, historians and music industry representatives. An artist needed to have first released material no later than 1989.

The Rock Hall of Fame, which is based in Cleveland, will open a new exhibit dedicated to the 2015 inductees.

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“Transparent” Shines as Amazon’s Latest Foray into TV Production

After NETFLIX’s phenomenal success creating original content for its streaming service with two Award winning television series, now AMAZON has also stepped into the area which was once the sole territory of network and cable television with the launch of TRANSPARENT it’s very first own series. If you haven’t caught it yet (it’s free for AMAZON PRIME subscribers) then you’re missing out as it is one of the most innovative and enjoyable family dramas that has been seen on television for years.
It’s the story of Mort Pfefferman who has indulged and spoilt his grown-up children for years and now that he has retired he wants to share with them something that is important to him.  When he asks them to gather to hear his news, they all just assume that it’s going to be something very tragic, like having terminal cancer.  What they are not prepared to learn is that Mort is going to become Maura.  This is the female who has been trapped inside him since he was a kid, and now he wants to be true to him (or rather her) self.
The news doesn’t go over too well as these three self-absorbed siblings are all wrapped in their own lives, none of which are going too well.  Sarah the oldest one feels trapped in an unhappy marriage and when Tammy her old college room mate with who she had a serious fling with shows up again, she finds an escape route.
Jay the middle one is a successful music producer and probably the most selfish of the three.  He is used to dating girls young enough to be his daughters, although that goes a little sour when one of them double crosses him at the record company where he works.  He finds salvation in religion.  Well to be more precise, in dating the female Rabbi.  His past will catch up with him in the end as is revealed in the final episode of this first series.
Then there is Ali the directionless brainy one who is too bright to hold down a day job so still relies on her father for handouts that she euphemistically calls ‘loans’. Her love life is equally impossible to define and when she starts dating a transman, her brother Josh jokes that there he is now the only one in his family that still likes ‘pussy’. Except his mother, but the mere thought of even contemplating his aged mother’s sex life is rather stomach turning.
She remarried soon after divorcing Mort years ago and her ancient new husband is now fading fast.  A fact that Shelly is annoyed about as not only is looking after him as his sole carer a great deal of hard work, but it interferes with her own life.
Amazon have billed this as a ‘downbeat comedy’ but what it is in fact is a wonderfully warm and funny series about the extraordinary journey that Maura is taking with such spirit and determination and how her choices are playing out with her family.  It’s an astonishing career-defining performance from veteran actor Jeffrey Tambor who imbues the character with empathy, dignity and resilience even though the transitioning process is not always easy or comfortable. Maura may not be the most natural or charming of women, but somehow Tambor compels us to be so completely drawn to her and so wanting her to succeed.
Great supporting cast that includes Jay Duplass, Melora Hardin, Gaby Hoffman, Kathryn Hain and Amy Landecker.  However the only other scene-stealer in piece (besides Tambor) is veteran actress Judith Light playing the classic Jewish mother/widow to the hilt.
The series is created and directed by Jill Soloway (Producer ‘Six Feet Under’) whose father revealed his own transitioning to her just three years ago. Although she claims that this is not at al autobiographical, she does nevertheless handle this potentially controversial subject superbly showing both remarkable insight and understanding.  They were a few mumblings when the idea was initially announce that they not going to cast a Transgender actor in the lead but no-one could possibly have portrayed Maura as superbly as Tambor. (Soloway did however make this a trans-friendly production hiring 20 in the cast and crew, and more than 60 were employed as extras.)
Transparent is both bold and groundbreaking and is sophisticated quality programing that is usually the Hallmark of BBC or HBO, and I cannot wait for Series 2 to arrive.

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“The Imitation Game” Proves Gay Genious Alan Turing’s Life Worthy of Exploration

‘Sometimes its the people no-one expects anything from who do the things no one expects’ is the oft repeated mantra in this compelling adaption of Andrew Hodges’s biography on Alan Turing the tortured soul who was the British genius who shocked everyone by cracking the Nazi’s infamous Enigma Code which changed the whole tide of World War 2.
Using a series of flashbacks this very classy period drama showed a teenage Turing being bullied at boarding school for being different. The difference in this case being his homosexuality and a streak of autism.  The action moves forward to the outbreak of the War and in one of the wittiest scenes in the movie, 26-year-old Turing, already a Fellow at Cambridge University, is being interviewed by a Navy Commander for a top secret wartime job. Well, it was meant to be secret but Turing shocks the Commander by revealing that he knows its about trying the crack the Germans top secret code, and without even a hint of conventional modesty goes on to insist that he is the only person in the world capable of undertaking this nigh on impossible task.

Set to work in a team under in the leadership of fellow cryptologist, an arrogant Turing totally lacking in any social skills and a complete loner, quickly alienates both his colleagues and his boss, and then totally frustrated at not being able to get his own way writes a letter to the Supreme Commander, none other than  Winston Churchill the Prime Minster. The movie doesn’t explain why, but Churchill himself himself known as quite a maverick, puts Turing in charge of the whole project and he thus gets to start building the expensive machine that he alone is convinced is the only option to crack the code that will enable them to decipher all of the German High Command’s secret messages.

Now that he is in charge, Turing persuades the Head of MI6, the British wartime Secret Service, to allow him to fire some of the classically trained cryptologists and employ some more unusual mathematicians who are also skilled at solving puzzles very fast.  One of the new intake is Sarah Clarke who turns out not just to be as good as her male counterparts but in fact much better, but Turing has to persuade her strict middle-class parents that this male-dominated work away from home was suitable for a young woman.
Clarke and Turing make a great pair both thinking out of the box and on the same wave length and when down the line she announces that her parents want her back home and married, Turing desperate to keep his brightest colleague, instantly proposes to her himself. His homosexuality was a well-kept secret not just because of the nature of his highly-classified work but the mere fact that it was illegal to be so in the UK.

That’s not the only dark secret that he must keep as when he finally breaks the Code the news is kept not just from the public but most of the British Military High Command to ensure that word of their success doest leak back to the Germans. It in effects means playing fast and loose with peoples lives as decisions have to be made to which of the German attacks the authorities should allow to proceed in order not to tip them off that their secret transmissions are no longer secret.

The movie starts and finishes after the war when in 1952,Turing back at Cambridge University as a Professor has his house burgled. The Police Detective sent to check out the robbery thinks it strange that nothing has been stolen and he is also intrigued by Turing’s laissez faire attitude to the incident. On a whim he decides to investigate further and a red flag is immediately raised when he discovers that Turing’s classified (highly secret) war record on file is totally empty. When he looks deeper he does in fact discover that Turing is not a Communist Spy as he had suspected, but he is in fact gay.
At the subsequent Trial the Judge gives Turing the option of a two year jail sentence, or undertaking a case of hormone therapy instead of prison which has been likened to male castration.  A year later, at the age of 41, the brilliant man commits suicide.

It takes a Norwegian filmmaker Morten Tyldum to capture this quintessential British story of this single-minded manic zealot who could crack the most difficult code in the world but could never fathom out the simplest form of human interaction. Genuinely uninterested, and for the most part unaware, of his ability to converse with anyone he considered intellectually insignificant, it gave first-time scriptwriter Graham Moore great scope in making such mundane incidents like ordering lunch into wonderfully funny scenes. Whilst Turing rose to the challenges of being baffled by the intricacies of breaking the Code, it seems like he never wanted to fathom out anything beyond this, and his life outside of work contained no joy at all.

Benedict Cumberbatch gives a tour-de-force career best performance as the troubled genius.  He is a sheer joy to watch as the man driven by the insatiable knowledge that he is right, and so has no time for social niceties that he feels just impedes his progress. We come to like Cumberbatch’s Turing way before his Bletchley Park colleagues do because we can see that there is no hint of malice in his actions at all, and under all that bluff exterior he is quite the charmer. Cumberbatch is nothing short of electrifying.

There is a stellar supporting cast with Mark Strong as the sly manipulative Head of MI6; a stalwart Charles Dance as the Navy Commander who is determined to crack Turing  before he can  crack the Code; Mathew Goode as the lead cryptologist who ends up being the closest male friend Turing eventually makes; and Keira Knightly as Sarah Clarke who’s happy enough solving problems rather than making out with Turing.

There is a wonderful old-fashioned feeling to the whole piece resulting in a crowd-pleasing movie that will delight more than just the members of the Academy Awards.

P.S. 50 years after the War the news of Turing’s success was finally made public.  In 2009 the British Prime Minister Gordon Brown issued a Public Apology on how Turing had been treated, and in 2013 The Queen granted him a posthumous pardon. The machine that Turing created to break the code was the first of what we now know as computers.

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Harvest of New Releases Yields a Musical Feast

Recently I was watching an episode of “The Goldbergs” entitled Mixtape. It made me think back to a time before the term “Mixtape.” I remember copying my mother’s records on to 8-Track Tapes for her to listen to her favorite songs in her car. I was a young teen then and luckily my mother appreciated new music as well as old stuff which only enhanced my music appreciation. Every once in a while I’d make her a tape of her old stuff and throw in something new of mine every third song. She is now passed but I kept that tradition going through the next format Cassettes and then CDs. I still do it today, mixing the old with the new. I’m the type that gets bored easily so I require variety to keep my interest flowing. I recently made myself a Mixtape from some new and well seasoned artists that I thought that our readers may delight in.

MELISSA ETHERIDGE – THIS IS M.E. – 10 SPOT MUSIC
I found it unbelievable that on her thirteenth release Melissa Etheridge sounds as crisp as her first release back in 1988. Even more surprising was the arena-rock content found throughout the set. Imagine numerous “I’m the Only One” inspired songs rolled into one package and that’s what you will enjoy in “This Is M.E.” Even though it’s a rocking piece her touch for the emotional ballad is not forgotten as the closing track “Who Are You Waiting For” revisits the tender side she captures equally as well.

BROKEN BELLS – AFTER THE DISCO – COLUMBIA MUSIC
The Broken Bells are pure ‘Electro-Heaven.’ After teasing the public with the single “Holding On For Life,” their second Album “After The Disco” contains many well crafted tracks which prevent repeating the same sound and expanding on that original idea. A morphed group with The Shins (James Mercer) and Danger Mouse Producer (Brian Burton) they remind me very much of the Finn Brothers old Split Enz group. Their first self titled outing from 2010 was strong on emotion and lyric, but After The Disco brings a slice of happy into the fold and the result is overwhelming satisfaction.

CHICAGO – NOW XXXVII – FRONTIERS MUSIC
Thinking about long forgotten sounds, the legendary band Chicago definitely comes to mind. Very few bands consistently carry the feel of “summer” in their catalog throughout the decades. “Now” is a return to the Chicago sound of the 70’s with brassy arrangements and their brand of jazz fused pop like only they can deliver. Gone are those high fructose Peter Cetera love crafted ballads of Lite FM Land. Yes, they had their place but that direction certainly stalled the groups’ output creatively. This new release has the remaining original members back on track showcasing what they originally planned; bringing horns into the rock showcase with complex melodies that give a new light to the average top 40 sound.

SAM SMITH – IN THE LONELY HOUR – CAPITOL MUSIC
Each year an artist emerges that simply takes your breath away. Some fade away to obscurity and some continue to amaze the public with each release. Sam Smith is one of those artists that will be heading into that playground in the coming years. White Boy soul singers are a dime a dozen but certain ones you just can’t shake. Classic contenders like Van Morrison, Steve Winwood, or Daryl Hall certainly fit the bill. Sam Smith has a very good start with his Gospel-influenced track “Stay With Me.” Even though it’s just a little under 3 minutes, it undoubtedly packs a punch that is unforgettable. “In The Lonely Hour,” as a whole, is nothing less than outstanding with many moods, but oddly the weakest moments are the upbeat tracks as they tend to come off sounding like predictable filler with each listen. Mr. Smith’s voice is his true instrument as he unswervingly drips with unbridled passion in a ballad. I hope he finds a way to carry that essence into a buoyant format as with conquering both formats the possibilities for him are endless.

TOM PETTY & THE HEARTBREAKERS – HYPNOTIC EYE – WARNER BROTHERS MUSIC
There was a time when Tom Petty was considered underground. Looking back I can’t understand that classic rock singles like “Breakdown” and “American Girl” didn’t even make it on to Billboard Hot 100 Chart when released. Petty was unique in the beginning riding the fine line of Southern Rock and Alternative Rock in the later 70’s. His carefree vocal delivery and the slight blues feel of his guitar set him apart from others at the time. In the 80’s Music Videos shot him through the roof. Slick and clever production combined with his rawness became the ticket to making his mark in the industry. Future collaborations only strengthened that hold. Hypnotic Eye is return to that basic gruff he started with and has unpredicted results. His tone is a little lower but the strength in his delivery is ever present.

THE BLEACHERS – STRANGE DESIRE – RCA MUSIC
Jack Antonoff (Steel Train & Fun) has learned a lot of what works today with this new band. Shades of the 80’s Big Country, The Alarm, A-Ha and even U2 are layered throughout this synth-pop adventure and it sure helps to have Depeche Mode’s Vince Clark on board for credibility. The alternative landscape these days is all about energy. Aside from remixes the natural version of the song needs to be powerful for it to really work and The Bleachers have harnessed that moment here

TONY BENNETT & LADY GAGA – CHEEK TO CHEEK – STREAMLINE MUSIC
First I thought, such an odd paring, but it works in a sentimental way. Bennett is timeless and GaGa is surprisingly slick in this trip through torch and swing standards. The key to a project like this is having strong vocals and emotion that bursts uncontrollably with excitement. Tony Bennett is remarkable in this recording. Especially on the track “Firefly,” Bennett belts his lines like it was 1954. Compared to his smooth duets album with KD Lang, “Cheek To Cheek” let’s the man out of the box and shines a new light on Lady GaGa’s capabilities.

HOZIER – SELF TITLED – COLUMBIA MUSIC
Sometimes you stumble across a new artist that has a sound that can only be described as “epic.” When I say “epic” I mean Cecil B DeMille Technicolor Cinema-Scope Epic. Hozier is Andrew Hozier-Byrne, from Ireland, and he breaks into each track like a Twister with no place to land. Like Sam Smith, reviewed prior, the artist reaches into his soul with each chord, but what differs between the two is Hozier‘s music equals his powerful voice. Such intensity is forced to be shown, which is well displayed with the video against gay discrimination in Russia, for the song “Take Me To Church.“ You can view this on YouTube with the following link; http://youtu.be/MYSVMgRr6pw

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BLONDIE – GHOSTS OF DOWNLOAD – NOBLE ID MUSIC
It’s hard to distinguish a Blondie record from a Debbie Harry record, but in my book any new recording from this legend is a gift. The poster girl for early new wave is back with her band to celebrate their 40 years together even though they were mostly apart. In a special package you can get the new album  ‘Ghosts Of Download ‘ along with a Greatest Hits collection and an early DVD performance. Beware however the “Hits Package” are new re-recordings and the nicest thing I can say about that is some things are better left alone. As for the new songs there are 16 to choose from and with any Blondie album they are a mix of styles and some collaborations and generally good, but nothing landmark this time around. The one thing that differs is an odd remake of Frankie Goes To Hollywood’s “Relax.” Most of the song is done in a ballad/harmony form, then morphs into a dance track. This really caught my attention and left me wanting more. It’s surely time for a Blondie/Debbie Harry album of covers.

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GLAAD’s 2014 Studio Responsibility Index Ranks LGBT Representation In Hollywood

 

Seventeen major Hollywood movies may have included characters that identified as lesbian, gay, bisexual or transgender (LGBT) last year, but there’s still work to be done in terms of representing the community fairly and equally, a new report has found.

With many of those 17 films limiting LGBT characters to minor roles or cameos, GLAAD’s 2014 Studio Responsibility Index also found that many of these portrayals were “outright defamatory” representations, pointing to movies like “Pain And Gain” and “Riddick,” officials said.

The 17 films represented 16.7 percent out of 102 major Hollywood films released over the course of 2013. According to GLAAD’s statistics, 83.3 percent of those 102 movies did not feature any LGBT characters.

The report, which maps the “quantity, quality and diversity of images” of LGBT people as seen in movies released by Hollywood’s seven largest studios each year, found that the motion picture industry “may be doing more harm than good” when it came to a global understanding of the LGBT community, GLAAD’s CEO and President Sarah Kate Ellis said in an email statement.

“These studios have the eyes and ears of millions of audience members, and should reflect the true fabric of our society rather than feed into the hatred and prejudice against LGBT people too often seen around the globe,” she added.

None of the seven studios received an “excellent” rating, but Sony Columbia came in on top with a “good” score, thanks to movies like “Mortal Instruments: City of Bones,” which also nabbed a GLAAD Media Award. Meanwhile, Universal and Disney were among the studios to receive an “adequate” grade, while both Paramount and Warner Brothers were considered outright failures.

Meanwhile, to assess individual films, GLAAD officials developed the “Vito Russo Test,” which examines how multidimensional a LGBT character is, as well as how significant he or she may be to the plot of a specific movie. Seven out of the 17 major studio films featuring LGBT characters passed the test this year, according to the report.

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Emmy Nominations 2014: ‘Breaking Bad,’ ‘Orange Is The New Black’ Among Top Nominees

 

 At last, it’s time to meet the victors of the outstanding 2013-14 television season. Mindy Kaling and Carson Daly announced the Emmy nominations on Thursday morning, live from the Television Academy headquarters in Los Angeles. We’re around for all of the big revelations. Below you’ll find the list of nominations, which we’ll update as the categories are unveiled. Stick around HuffPost TV to see who was snubbed, how the nominees are reacting and what we make of this year’s crop. You can start by comparing the list below to the suggestions we made weeks ago for who should make the cut.

COMEDY AWARDS

Outstanding Comedy Series
“The Big Bang Theory”
“Louie”
“Modern Family”
“Orange is the New Black”
“Silicon Valley”
“Veep”

Outstanding Lead Actress in a Comedy Series
Lena Dunham, “Girls”
Edie Falco, “Nurse Jackie”
Julia Louis-Dreyfus, “Veep”
Melissa McCarthy, “Mike & Molly”
Amy Poehler, “Parks and Recreation”
Taylor Schilling, “Orange is the New Black”

Outstanding Lead Actor in a Comedy Series
Louie C.K., “Louie”
Don Cheadle, “House of Lies”
Ricky Gervais, “Derek”
Matt LeBlanc, “Episodes”
William H. Macy, “Shameless”
Jim Parsons, “The Big Bang Theory”

Outstanding Supporting Actress in a Comedy Series
Mayim Bialik, “The Big Bang Theory”
Julie Bowen, “Modern Family”
Anna Chlumsky, “Veep”
Allison Janney, “Mom”
Kate Mulgrew, “Orange is the New Black”
Kate McKinnon, “Saturday Night Live”

Outstanding Supporting Actor in a Comedy Series
Fred Armisen, “Portlandia”
Andre Braugher, “Brooklyn Nine-Nine”
Ty Burrell, “Modern Family”
Adam Driver, “Girls”
Jesse Tyler Ferguson, “Modern Family”
Tony Hale, “Veep”

Outstanding Guest Actor in a Comedy Series
Steve Buscemi, “Portlandia”
Louie C.K., “Saturday Night Live”
Gary Cole, “Veep”
Jimmy Fallon, “Saturday Night Live”
Nathan Lane, “Modern Family”
Bob Newhart, “The Big Bang Theory”

Outstanding Guest Actress in a Comedy Series
Uzo Aduba, “Orange is the New Black”
Laverne Cox, “Orange is the New Black”
Joan Cusack, “Shameless”
Tina Fey, “Saturday Night Live”
Natasha Lyonne, “Orange is the New Black”
Melissa McCarthy, “Saturday Night Live”

Outstanding Writing for a Comedy Series
“Episodes” — “Episode 305” (David Crane)
“Louie” — “So Did The Fat Lady” (Louie C.K.)
“Orange Is the New Black” — “I Wasn’t Ready” (Jenji Kohan and Liz Friedman)
“Silicon Valley” — “Optimal Tip-To-Tip Efficiency” (Alec Berg)
“Veep” — “Special Relationship” (Simon Blackwell, Tony Roche and Armando Iannucci)

Outstanding Directing for a Comedy Series
“Episodes” — “Episode 309” (Iain B. MacDonald)
“Glee” — “100” (Paris Barclay)
“Louie” — “Elevator, Part 6” (Louie C.K.)
“Modern Family” — “Vegas” (Gail Mancuso)
“Orange Is the New Black” — “Lesbian Request Denied” (Jodie Foster)
“Silicon Valley” — Minimum Viable Product” (Mike Judge)

DRAMA AWARDS

Outstanding Drama Series
“Breaking Bad”
“Downton Abbey”
“Game of Thrones”
“House of Cards”
“Mad Men”
“True Detective”

Outstanding Lead Actress in a Drama Series
Lizzy Caplan, “Masters of Sex”
Claire Danes, “Homeland”
Michelle Dockery, “Downton Abbey”
Julianna Margulies, “The Good Wife”
Kerry Washington, “Scandal”
Robin Wright, “House of Cards”

Outstanding Lead Actor in a Drama Series
Bryan Cranston, “Breaking Bad”
Jeff Daniels, “The Newsroom”
Jon Hamm, “Mad Men”
Woody Harrelson, “True Detective”
Matthew McConaughey, “True Detective”
Kevin Spacey, “House of Cards”

Outstanding Supporting Actress in a Drama Series
Christine Baranski, “The Good Wife”
Joanne Froggatt, “Downton Abbey”
Anna Gunn, “Breaking Bad”
Lena Headey, “Game of Thrones”
Christina Hendricks, “Mad Men”
Maggie Smith, “Downton Abbey”

Outstanding Supporting Actor in a Drama Series
Jim Carter, “Downton Abbey”
Josh Charles, “The Good Wife”
Peter Dinklage, “Game of Thrones”
Mandy Patinkin, “Homeland”
Aaron Paul, “Breaking Bad”
Jon Voight, “Ray Donovan”

Outstanding Guest Actor in a Drama Series
Dylan Baker, “The Good Wife”
Beau Bridges, “Masters of Sex”
Reg E. Cathey, “House of Cards”
Paul Giamatti, “Downton Abbey”
Robert Morse, “Mad Men”
Joe Morton, “Scandal”

Outstanding Guest Actress in a Drama Series
Kate Burton, “Scandal”
Jane Fonda, “The Newsroom”
Allison Janney, “Masters of Sex”
Kate Mara, “House of Cards”
Margo Martindale, “The Americans”
Diane Rigg, “Game of Thrones”

Outstanding Writing for a Drama Series
“Breaking Bad” — “Ozymandias” (Moira Walley-Beckett)
“Breaking Bad” — Felina” (Vince Gilligan)
“Game of Thrones” — “The Children” (David Benioff and D.B. Weiss)
“House of Cards” — “Chapter 14” (Beau Willimon)
“True Detective” — “The Secret Fate of All Life” (Nic Pizzolatto)

Outstanding Directing for a Drama Series
“Boardwalk Empire” — Farewell Daddy Blues” (Tim Van Patten)
“Breaking Bad’ — “Felina” (Vince Gilligan)
“Downton Abbey” — “Episode 1” (David Evans)
“Game Of Thrones” — “The Watchers on the Wall” (Neil Marshall)
“House Of Cards” — “Chapter 14” (Carl Franklin)
“True Detective” — “Who Goes There” (Cary Joji Fukunaga)

MOVIE/MINISERIES AWARDS

Outstanding Miniseries
“American Horror Story: Coven”
“Bonnie & Clyde”
“Fargo”
“Luther”
“The White Queen”
“Treme”

Outstanding Television Movie
“Killing Kennedy”
“Muhammad Ali’s Greatest Fight”
“The Normal Heart”
“Sherlock: His Last Vow”
“The Trip to Bountiful”

Outstanding Lead Actress in a Miniseries or a Movie
Helena Bonham Carter, “Burton and Taylor”
Minnie Driver, “Return to Zero”
Jessica Lange, “American Horror Story: Coven”
Sarah Paulson, “American Horror Story: Coven”
Cicely Tyson, “The Trip to Bountiful”
Kristen Wiig, “The Spoils of Babylon”

Outstanding Lead Actor in a Miniseries or a Movie
Benedict Cumberbatch, “Sherlock: His Last Vow”
Chiwetel Ejiofior, “Dancing on the Edge”
Idris Elba, “Luther”
Martin Freeman, “Fargo”
Mark Ruffalo, “The Normal Heart”
Billy Bob Thornton, “Fargo”

Outstanding Supporting Actress in a Miniseries or a Movie
Frances Conroy, “American Horror Story: Coven”
Kathy Bates, “American Horror Story: Coven”
Angela Basset, “American Horror Story: Coven”
Allison Tolman, “Fargo”
Ellen Burstyn, “Flowers in the Attic”
Julia Roberts, “The Normal Heart”

Outstanding Supporting Actor in a Miniseries or a Movie
Matt Bomer, “The Normal Heart”
Martin Freeman, “Sherlock: His Last Vow”
Colin Hanks, “Fargo”
Jim Parsons, “The Normal Heart”
Joe Mantello, “The Normal Heart”
Alfred Molina, “The Normal Heart”

Outstanding Writing for a Miniseries, Movie or a Dramatic Special
“American Horror Story: Coven” — “Bitchcraft” (Ryan Murphy and Brad Falchuk)
“Fargo” — “The Crocodile’s Dilemma” (Noah Hawley)
“Luther” (Neil Cross)
“The Normal Heart” (Larry Kramer)
“Sherlock: His Last Vow” (Steven Moffat)
“Treme” — “…To Miss New Orleans” (Eric Overmyer and David Simon)

Outstanding Directing for a Miniseries, Movie or a Dramatic Special
“American Horror Story: Coven” — “Bitchcraft” (Alfonso Gomez-Rejon)
“Fargo” — “The Crocodile’s Dilemma” (Adam Bernstein)
“Fargo” — “Buridan’s Ass” (Colin Bucksey)
“Muhammad Ali’s Greatest Fight” (Stephen Frears)
“The Normal Heart” (Ryan Murphy)
“Sherlock: His Last Vow” (Nick Hurran)

VARIETY AWARDS

Outstanding Variety Series
“The Colbert Report”
“The Daily Show With Jon Stewart”
“Jimmy Kimmel Live”
“Real Time With Bill Maher”
“Saturday Night Live”
“The Tonight Show Starring Jimmy Fallon”

Outstanding Variety Special
“AFI Life Achievement Award: A Tribute To Mel Brooks”
“The Beatles: The Night That Changed America”
“Best Of Late Night With Jimmy Fallon Primetime Special”
“Billy Crystal: 700 Sundays”
“The Kennedy Center Honors”
“Sarah Silverman: We Are Miracles”

Outstanding Writing for a Variety Series
“The Colbert Report”
“The Daily Show with Jon Stewart”
“Inside Amy Schumer”
“Key & Peele”
“Portlandia”
“The Tonight Show Starring Jimmy Fallon”

Outstanding Writing for a Variety Special
“The Beatles: The Night That Changed America”
“Billy Crystal: 700 Sundays”
The 71st Annual Golden Globe Awards
“Sarah Silverman: We Are Miracles”
67th Annual Tony Awards

Outstanding Directing for a Variety Series
“The Colbert Report” — “Episode 9135” (James Hoskinson)
“The Daily Show With Jon Stewart” — “Episode 18153” (Chuck O’Neil)
“Portlandia” — “Getting Away” (Jonathan Krisel)
“Saturday Night Live” — Jimmy Fallon (Don Roy King)
“The Tonight Show Starring Jimmy Fallon” — Will Smith/U2 (Dave Diomedi)

Outstanding Directing for a Variety Special
“The Beatles: The Night That Changed America” (Gregg Gelfand)
The Kennedy Center Honors (Louis J. Horvitz)
The Oscars (Hamish Hamilton)
“Six By Sondheim” (James Lapine)
“The Sound Of Music Live!” (Beth McCarthy Miller)

REALITY AWARDS

Outstanding Reality-Competition Program
“The Amazing Race”
“Dancing with the Stars”
“Project Runway”
“So You Think You Can Dance”
“Top Chef”
“The Voice”

Outstanding Structured Reality Program
“Antiques Roadshow”
“Diners, Drive-Ins and Dives”
“MythBusters”
“Shark Tank”
“Undercover Boss”
“Who Do You Think You Are?”

Outstanding Unstructured Reality Program
“Alaska: The Last Frontier”
“Deadliest Catch”
“Flipping Out”
“Million Dollar Listing New York”
“Wahlburgers”
“Wild Things With Dominic Monaghan”

Outstanding Host For A Reality Or Reality-Competition Program
Betty White, “Betty White’s Off Their Rockers”
Tom Bergeron, “Dancing With The Stars”
Jane Lynch, “Hollywood Game Night”
Heidi Klum & Tim Gunn, “Project Runway”
Cat Deeley, “So You Think You Can Dance”
Anthony Bourdain, “The Taste”

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“Winter Journey” Tells Tale of Troubled Relationship in Troubled Russia

The theft of a pair of headphones are the start of an unusual and extremely volatile relationship for a refined conservatory student and an animalistic street thug in Winter Journey (Zimney put), the directorial debut of Russian actors Sergei Taramajev and Liubov Lvova.

The controversial title, which has attracted attention because of its inclusion of gay characters in a time when gay “propaganda” is forbidden in Russia, has only been screened at a few smaller festivals at home (it was turned down by the major Russian film events), has now started to screen abroad and has reportedly finally been cleared for release in Russia sometime this spring with an 18+ rating.

Western viewers will probably find the whole controversy a storm in a teacup, since the film contains all of one same-sex kiss and no nudity or sex. That said, the camerawork of Mikhail Krichman, the cinematographer of Andrey Zvyagintsev’s The Return and Elena, and the fully inhabited performances of lead actors Aleksei Frandetti and Evgeniy Tkachuk, ensure that Winter Journey is worth seeing, even if the ending doesn’t exactly make the film the feature-length equivalent of an It-Gets-Better video.

The title, sometimes translated as Winter Path in English, refers to the Winterreise cycle of Schubert songs that Erik (Frandetti), a conservatory student, is preparing for an all-important audition. After his teacher has told him he’s useless and needs to focus and work harder, the day gets even worse when, on the bus ride home, a vagrant ruffian, Lyokha (Tkachuk), simply takes Erik’s headphones and phone. The aspiring singer is too stunned and probably also too scared to do anything, though when law enforcement officials chase Lyokha when the bus stops, Erik finds himself in the possession of the criminal’s key hanger.

Taramajev and Lvova, who make their debut here not only as directors but also as screenwriters, quickly establish that Lyokha is as ferocious and dangerous as Erik’s refined and non-aggressive. Though his teacher recommends a steady diet of sleep, walks and Schubert, Erik feels lost and frustrated and instead hangs out with his sort-of boyfriend (Vlamidir Mishukov) and decadent gay friends until the boozy early morning hours (these scenes’ll feel like something from decades ago for Western audiences).

Not disturbed in the slightest by his criminal ways — one actually gets the impression the mugger is quite proud of how he manages to scrape by — Lyokha uses Erik’s stolen cell phone to get hold of Eric and ask him to return his key hanger, which is a kind of talisman. This brings the two together again and initiates an uneasy dance of sorts in which both characters start to realize they might be attracted to the other or at least want to spend more time in each other’s company, probably exactly because they seem to be polar opposites.

The writer-directors don’t push the two into a relationship but instead linger on the strange, sometimes magical and occasionally disturbing moments before their only kiss might take things to the next level. Among the best scenes is a playful, almost child-like frolic in the snow and Erik’s final audition, three days later, with Lyokha waiting in the hall, clearly moved by the singing of his new, sort-of friend but at the same time disturbed by admitting to himself he has these feelings at all. It’s also clear from the get-go that their their attraction is as much based on their contrasting backgrounds and class differences as on their shared loneliness; the fact they are both men almost feels incidental.

Krichman’s roving handheld camerawork is the opposite of his precisely composed images for Zvyagintsev and his images here suggest that the amorphous quality of the men’s rapport is so shapeless the camera has to constantly roam around them, on the frozen and wintry streets of Moscow, in order to try and capture it. The beautifully performed Schubert songs are the other highlight of this low-budget film’s technical credits.

Tashkent-born theater actor Frandetti has a striking face on which his character’s troubling thoughts are effortlessly projected, while Turkmenistan-born rising star Tkachuk (The Edge) is a frightening presence with an imposing physicality who slowly seems to mellow but who finally remains an enigmatic and unpredictable person even for himself.

“Winter Jouney” will be shown at Frameline 38 San Francisco International Film Festival Monday, June 23 at 9:55 p.m. at the Victoria Theatre.  Go to www.frameline.org.

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“My Straight Son” Makes Big Political Impact

 

The first Venezuelan film to win the Goya Award for Best Latin American Film in 2013 hit screens for the first time on November 27, 2012. Since then, Ferrari’s directorial debut has won over audiences and critics alike for its unique and diverse portrayal of the Venezuelan middle class.

“My Straight Son” follows young and successful Caracas based photographer Diego (played by Guillermo García), whose same-sex partner Fabrizio falls into a coma following a homophobic attack. To make matters worse, while Diego struggles to come to terms with the situation, he must take care of his estranged and bitter teenage son, Armando (Ignacio Montes) who’s visiting from Spain.

Both must adapt. While Diego attempts to find common ground with his straight son, Armando tries to come to terms with his personal insecurities, his father’s sexuality and Diego’s surrounding LGBT lifestyle.

Meanwhile, Diego’s friend, transgender Delirio Del Río helps Armando learn to dance tango in a bid to win a girl’s heart and Perla Marina attempts to break free of her abusive boyfriend.

Over the years Venezuelan movies have not been a huge global success story due to their recurring primary focus on poverty and crime. “My Straight Son,” on the other hand, strays away from the norm, highlighting other issues such as discrimination, familial relationships, domestic abuse and hate crimes in the country. Drawing on socially embedded insecurity, intolerance and the fragile positions of those facing daily threats of violence, which is both a local and global problem, “My Straight Son” hits home with audiences everywhere.

LGBT rights are largely ignored in Venezuela and though same-sex sexual relations are not illegal, same-sex couples and households are not eligible for the same legal protections as opposite-sex couples and it remains illegal to change your legal gender on identification papers. Despite a somewhat thriving LGBT community in the country, hate crimes and social homophobia subsequently remain a prominent unaddressed issue. For that reason Ferrari’s film is one to break down more than just the traditional Venezuelan movie theme. He also addressed a currently unaddressed issue.

However, despite being an LGBT themed movie, Ferrari was able to capture far more diverse and complex range of Venezuelan mindsets and lifestyles than just the LGBT community.

Ferrari uses a simple yet complex approach to portray the diversity and importance of love, whether friendship, family or romance, which helps encapsulate the realities of Venezuelan society today. He also addresses the brutality of hate crimes and the relationship between father and son, even further complicated by Diego’s sexuality.

With a beautiful musical score, composed by Spanish pianist Sergio de la Puente, the film takes us on a loving, heartbreaking and often hilarious journey through the characters’ relationships, as they navigate personal struggles while also finding ways to help one another.

The film is both a protest against discrimination and a celebration of diversity and love.

The strongest character, both comical and courageous, was Del Río (played by Hilda Abrahamz) whose loud-mouthed boldness got her in and out of trouble and kept the audience on their feet throughout.

Hugely likable, Del Río broke through the traditional transgender roles in films, transforming her suffering into empowerment through acts of bravery and optimism. Del Río was Ferrari’s greatest triumph: both a tribute to the transgender community, whose voice remains largely restricted in film and society alike, and a voice of hope for those searching for a better future.

“My Straight Son” will be shown at Frameline 38 San Francisco International LGBT Film Festival at the Victoria Theatre Saturday, June 28 at 4 p.m.

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“Floating Skyscrapers” Actors Soar in Sexually Provocative Polish Film

 

In today’s conservative, predominantly Catholic Poland, an open homosexual relationship is more likely to trigger gay bashing than gay pride; so it is in Tomasz Wasilewski’s sophomore feature, the feel-bad coming-out drama “Floating Skyscrapers.” Although the lead character is something of a lout as well as an emotional and intellectual cipher, this artfully shot, sexually provocative feature nabbed the Karlovy Vary fest’s East of the West competish kudo and is making the festival rounds.

Buff, macho, bantam-sized, twentysomething Kuba (Mateusz Banasiuk) has been training as an elite swimmer for the past 15 years. He spends most of his time working out and having hot sex with his pretty blonde girlfriend, Sylwia (standout Marta Nieradkiewicz), who lives with him and his attractive, controlling mother, Ewa (Katarzyna Herman, star of Wasilewski’s first film, “In a Bedroom”). The relationship between the two women is tense, exacerbated by Sylwia’s inconsiderate behavior and Ewa’s calls for her son to rub her back while she’s in the bathtub.

Otherwise, Kuba seems to have few responsibilities or interests, apart from being a dab hand in the kitchen and indulging in wordless sexual encounters with men in bathroom stalls at the gym. When Sylwia drags Kuba to an art opening, he ungraciously decamps to a balcony, where he shares a joint and a long conversation with effeminate-looking college student Michal (Bartosz Gelner). Glimpsing the two men from across the room, Sylwia glowers at the way they seem to be really into each other. She soon has a lot more to scowl about, as Kuba abandons her and their plans every time Michal calls.

A subplot addresses Michal’s relationship with his parents. His mother (Iza Kuna) sympathizes with his sexual preference, yet still encourages him to date girls. His father (Miroslaw Zbrojewicz), however, plays deaf when Michal tries to come out publicly during a family dinner.

One of the weaknesses of the film is that while Kuba convincingly comes across as a closeted, self-loathing gay man, his sudden declaration of love for Michal at the one-hour mark seems out of character. Indeed, their relationship is shown to revolve around physical desire; we never get to hear their conversations or find out what makes the not particularly likable Kuba tick.

As evidenced by his debut feature, Wasilewski is interested in provocative sexual behavior and has no problem getting his actors to play intimate, graphic scenes. However, he’s less successful when it comes to creating appealing characters in which the audience can take a rooting interest. Nevertheless, “Skyscrapers” marks a big step up from the low-budget “Bedroom” and showcases the director’s flair for composition and intelligent use of sound.

The acting is strong, with the actresses managing to suggest more about their characters than their male counterparts do with theirs. Eye-catching widescreen production design makes interesting use of water motifs, while sophisticated soundscapes leave some sexual activity to the imagination.

“Floating Skyscrapers” will be shown at Frameline 38 San Francisco International LGBT Film Festival at the Victoria Theater Saturday, June 21 at 9:30 p.m. and at the Roxie Theater Thursday, June 26 at 9:30 p.m.  Go to www.frameline.org.

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