STAR WARS RUMOR ALERT: We heard she was up for the Rogue One role that eventually went to Felicity Jones, but Star Wars isn’t ready to give up on Orphan Black’sTatiana Maslany, it seems. The Wrap reports that she’s on the shortlist for the new female lead in Rian Johnson’s Episode VIII, alongside Golden Globe winner Gina Rodriguez (Jane the Virgin) and Me and Earl and the Dying Girl’sOlivia Cooke. They’ll supposedly be among the actresses who’ll chemistry read with John Boyega later this month.
Aside from the The Force Awakens stars expected to return
(including Boyega and Daisy Ridley, who’s signed for at least three
films) the only name we’ve heard connected with the second film is Benicio del Toro, who’s reportedly in talks to play a villain.
The Winner's Circle: The Social Network at the Golden Globes
It’s only 7pm and the night of the 68th annual Golden Globes and Facebook-based drama The Social Network is already a winner, with “Best Screenplay,” "Best Director" under it’s belt with David Fincher and “Best Original Score” by Trent Reznor and Atticus Ross.
Social networking– in fact, THE Social Network– has officially crossed into the awards show circuit. Starring Jesse Eisenberg and Justin Timberlake, The Social Network swept the country in October, 2010– in fact, I can’t think of a single person (Facebook friend or not) who didn’t see it at least once in theaters.
Can’t wait to see how the movie fares for the rest of the night- with other nominations for the evening including “Best Motion Picture, Drama” and Jesse Eisenberg in “Best Actor in a Motion Picture.”
Hollywood veteran MICKEY ROONEY has died, aged 93.
The actor passed away on Sunday (06Apr14). The cause of his death has not been released.
Rooney’s career spanned over nine decades. He started acting as a child and accumulated over 300 credits, including a series of films…
The Wrap is reporting three young actors are up for a lead role in Star Wars: Episode VIII to be directed by Rian Johnson: Golden Globe winner (“Jane the Virgin”), Golden Globe nominee Tatiana Maslany(“Orphan Black”) and “Me and Earl and the Dying Girl” star Olivia Cooke are considered the top contenders for the new female lead in Rian Johnson‘s “Star Wars: Episode VIII,” multiple individuals…
Honestly Les Mis 2012 is on TV in the UK and i hate that all the elitists on my facebook have crawled out of the woodwork like “DO NOT SEE THE MOVIE! SAVE UP YOUR MONEY AND GO AND SEE THE SHOW ON STAGE! GOLDEN GLOBE AWARD WINNER HUGH JACKMAN IS MEDIOCRE AT BEST AND RUSSEL CROWE DOES NOT PERSONALLY GIVE ME AN ERECTION” like fuck u snooty mcsnotwhine musicals as films are accessible to poor people i dont give a shit if you dont think the films good if someone hasnt seen les mis before and they want to leave off alright
PITTSBURGH, August 27, 2015 – David Duchovny , best known for portraying such iconic characters as “Fox Mulder” on “The X Files” and “Hank Moody” on “Californication,” will make his first-ever Wizard World appearance at Wizard World Comic Con Pittsburgh on Saturday, September 12 at the David L. Lawrence Convention Center. The two-time Golden Globe winner is currently starring in the NBC TV…
How To Get Away With Murder—starring the acting powerhouse and beauty that is Viola Davis—arrived just in time for me last season. I knew that my interest in Scandal was waning—I don’t watch the show at all now; no shade to Kerry Washington; I adore her—and I was interested in something new and with a Black woman as the lead as well. HTGAWM is quite a ride for a procedural drama. It puts my emotions all over the place and if I didn’t know that Viola Davis is an incredible actress prior to this show (I did), I would definitely know it now. She has already picked up Golden Globe, Emmy (winner still pending) and BET Award nominations and won the SAG Award, Critics Choice TV Award and NAACP Image Award for her role as Annalise Keating, the law professor and defense attorney on HTGAWM. Clearly, she’s killing it! But even without any awards at all, just watching her work is amazing and I know she’s good. (If you are unfamiliar with How To Get Away With Murder, check out a general synopsis or the episode guide on ABC’s website. Season 2 starts on Thursday, September 24, 2015 at 10pm Eastern on ABC.)
In response to Shonda Rhimes’ assertion that she is normalizing television through diversity, Viola Davis mentioned this on Deadline.com:
And how I interpret normalizing diversity, it’s to show people the full spectrum of humanity who we are, our sexuality, our pathology, is like anyone else’s. I am just as sexual, I am just as much of a woman, I dream as much as anyone else. I am as complicated and messy as anyone else in this body. I became a professional actor when I was 23. I’m now 50 years old. I have waited 27 years for a role like Annalise. For someone to have an imagination to just write, not to just write color, not to write age, not to write sex, to just write. I think that is what is catapulting television into the 21st century, because I don’t think it’s happened in the past. There is nothing about Annalise that you can define as just black.
While just like Annalise Keating, anyone can experience difficulties—extreme job stress, infidelity in their marriage, a difficult relationship with one’s mother, and guilt over difficult and even terrifying choices—race, gender and intersectionality do impact these experiences and this impact doesn’t necessarily have to be ignored in order to understand Annalise or recognize the gravity of this character that Viola portrays. Annalise is in an interracial marriage; clearly that’s not a “generic” experience, especially since Black women in real life interracially marry at a rate lower than anyone else. In one scene during season 1, Wes (one of her law students, portrayed by Alfred Enoch) walks in on her being orally pleasured by Nate (a Black cop, portrayed by Billy Brown), whom Annalise has had an off again on again affair with. A Black woman, older, with dark skin, as the recipient of sexual pleasure, as a sexual being, who is choosing this experience, does matter outside of the context of “any” actor or “any” woman. That moment on screen pushed back on colourism and misogynoir that plagues Black women’s lives, in general. Annalise as a sexual person (though of course not all Black women are interested in sex, or are heterosexual) is important on screen. I honestly cannot recall the last time I’ve seen an older, darker complexioned Black woman be a love interest and a sexual interest on screen in this manner. I am definitely not interested in weighing the “morality” of her having an affair—I truly yawn at the notion that she should be “moral” and “respectable” on screen to be a “role model” to Black women who are adults and don’t need “role models”—especially since her husband Sam (portrayed by Tom Verica) has an affair as well. I am interested in what choices she has in terms of how she engages sexually.
In one episode during season 1, Annalise overhears White women who suggest that she’s an animal and not human just because she is determined and ruthless in the courtroom. These are not “everyday” insults, especially to Black women who have literally been called these things with the heavy racial subtext and centuries of oppression that accompany them. In another episode, Annalise has a difficult relationship with her mother because they both experienced sexual abuse, among other issues. It is clear that there is love between them, but there is also the difficulty of history and complex experiences between Black women, between mother and daughter, that fills the screen; the kind things often unsaid and the harsh things said too often. Certainly sexual abuse victims come in every race and gender. But the fact that Black girls and Black women face very high rates of sexual abuse in real life—especially so for older generations of Black women where sexual assault of domestic workers and other poor Black women was almost as commonplace as they were during actual enslavement—impacts how I think of these scenes with these complex moments between Annalise and her mother Ophelia (portrayed by Cicely Tyson). Being that 60% Black girls in real life experience sexual abuse before the age of 18, there’s no way that I could engage Annalise’s character as a survivor without thinking of this reality.
Finally, two of the most powerful scenes in the entire season involved Annalise Keating’s interior life, her thoughts when alone, when she had the space to actually be vulnerable; be afraid. So often such space is denied not just Black female characters on screen but actual Black women in real life. One of these scenes is when Annalise strips of her wig and her makeup and sits there with herself, her rich dark skin, her natural hair, her “armor” removed. So rare is it to see natural hair (that’s not curly, but actually kinky and short) and no makeup on a face and beautiful dark skin on screen. That moment rippled through Twitter that night in such an unforgettable way. This was not just a scene for the character Annalise but for the actual actress and Black woman, Viola Davis, a moment of both vulnerability and power. The fourth wall exploded in that moment. (This is not to say that makeup is always “armor” and no makeup is then automatically “strength,” or vice versa; I would never suggest something so simple. I am speaking to the very particular context in this moment during season 1.) The second moment is when Annalise locked herself away during the holiday season to mourn her mistakes, mourn her role in covering up Sam’s death, mourn her pain, mourn her reality. This was time on screen where she didn’t have on her “armor” of a more socially acceptable appearance, nor her students or employees at her beck and call, nor her status. Just her alone; hurting; reflecting; being vulnerable; living.
While I often see many White women reveling in the notion of a “badass” (I really have come to hate this word, to be honest) female character who does not experience vulnerability, I am not interested in “‘strong women’ characters” all of the time; my Black womanhood is interpreted as strong to the point of sheer inhumanity already. Further, I don’t think that Black female characters on television have to exist solely for “empowerment.” I am not really interested in speaking of Viola Davis’ role on How To Get Away With Murder as Annalise Keating in terms of “feminism” (I don’t watch shows solely to label them “feminist” or not) nor “role model,” but as an interesting portrayal on screen. I have zero need for her to be “feminist” to actually enjoy the show nor discuss/critique it; I can choose to be entertained and/or choose to engage media with a critical womanist lens as well. Annalise Keating feels like a person who could exist—with her brilliance, with her sexuality, with her vulnerability, with her flaws, with her huge moral dilemmas. This may sound simple to people who don’t have a full grasp on how difficult it is to get interesting portrayals of Black women on television, especially considering the history and present of racism, sexism and misogynoir in society at large and in film/television. But for me, this is not simple. Viola Davis’ character coming across as an actual person? Huge. Anytime a Black female character can, it’s huge. As a character, Annalise Keating doesn’t fit into any controlling image (i.e. mammy, Sapphire, Jezebel), stereotype (i.e. ”welfare queen,” “emasculating matriarch”), or archetype (Strong Black Woman, Angry Black Woman) because she’s actually a full person. Whether or not she’s a perfect person is irrelevant to me, because like other viewers, I live tweet about/critique those flaws of the characters and of the show itself. Instead, it’s important to me that Annalise Keating gets to exist as a full person on screen. I am definitely interested in seeing who that person becomes in season 2.
Golden Globe and Academy Award winner Marlee Matlin (Children of a Lesser God, The West Wing) is coming to the Great White Way. The actress will make her Broadway debut in the new Deaf West Theater production of Spring Awakening, set to hit Broadway this fall.
It looks as though ‘Star Wars 8’ casting is kicking up a notch… as three young actresses find themselves linked to the new female lead in the upcoming ‘Star Wars’ sequel.
According to The Wrap, ‘Star Wars 8’ casting has seen several young females up for a leading role… and that includes former ‘Rogue One’ hopeful, Tatiana Maslany.
“Golden Globe winner Gina Rodriguez, Golden Globe nominee Tatiana Maslany and ‘Me and Earl and the Dying Girl’ star Olivia Cooke are considered the top contenders for the new female lead in Rian Johnson‘s ‘Star Wars: Episode VIII’.”
Tatiana Maslany is perhaps best known for ‘Orphan Black’ – a Canadian sci-fi TV show about the moral and ethical implications of human cloning. But she’s also been linked to the ‘Star Wars’ universe before, rumoured to be in the running for ‘Star Wars: Rogue One’.
Gina Rodriguez recently made waves in ‘Jane the Virgin’ – an American comedy-drama which follows a young woman who becomes pregnant after accidentally being artificially inseminated.
Olivia Cooke currently stars as Emma Decody in the American TV show, ‘Bates Motel’ which depicts the lives of the iconic screen killer Norman Bates prior to the classic Hitchcock film, ‘Psycho’.
“Insiders insist it’s early in the casting process and that Johnson is still auditioning actresses, with several rising stars yet to read for him. Others suggest that Johnson is narrowing down the field and that Rodriguez, Maslany and Cooke will be among a group of girls slated to chemistry-read with ‘The Force Awakens’ star John Boyega before the end of the month.”
Unfortunately, there are no further details on what this mystery role might be… but after hints of a chemistry read with John Boyega, there’s already speculation that this could turn out to be a love interest for the lightsaber-wielding Finn.
But where does that leave Daisy Ridley’s Rey?
For now, that remains unclear… and with ‘Star Wars 7’ still not in cinemas, we might have a bit of a wait before we find out how it all pans out.