What’s that you hear? The sound of Meryl Streep’s 21st Oscar nomination? Or is it the sound of Tom Hanks making it back in to the Best Actor category after getting shut out for Sully? Or maybe it’s Steven Spielberg‘s return to the Oscars following Bridge of Spies? It might be all three now that Streep and Hanks have teamed up on a new political drama helmed by Spielberg that has awards season written all over it.
Meryl Streep is getting another opportunity to spit some political fire all over the Dolby Theatre on Sunday. Today the Academy revealed that yes, of course Streep would be among the presenters at this year’s ceremony, probably hoping for another rousing speech from the actress who’s made it known that she won’t take any nonsense from anyone, not even from the highest office in the land.
You know the old saying about how it’s an honor just being nominated? It is. An Academy Award nomination is a win no matter the final outcome on Oscar night. For one thing, it guarantees a major boost in profile and an upgrade in the caliber of roles an actor gets offered. There’s no way, for example, that any Oscar nominee will accept the sorts of roles you’re about to see below.
The most widely recognized iterations of Batman’s constant foe the Joker would probably have to be Heath Ledger as the unchained mad-dog of The Dark Knight, Jack Nicholson as an urbane creep in Tim Burton’s 1989 film, and to a lesser extent, Cesar Romero’s campy turn in the goofy TV series from the ’60s. But Mark Hamill logged more hours as the Clown Prince of Crime than the rest of them put together, voicing the Joker in the long-running animated series and its many spin-offs. The man with the greatest claim to the Joker persona dusted off his special crazy-voice this week for a more pointedly political purpose than the usual cocktail-party entertainment.
When Meryl Streep took the stage at the Golden Globes ceremony and delivered an impassioned speech calling out President-Elect Donald Trump as an overbearing bully, everyone had their reaction. Many rose up in support of the esteemed actress, celebrating her fiery diatribe as a heroic display of speaking truth to power. Others took issue with her anti-Trump stance, painting the woman as another pampered Hollywood liberal trapped within her bubble of privilege. A third, smaller faction of mixed martial arts enthusiasts took grave offense to Streep’s fleeting diss leveled at MMA and NFL football, and invited the multiple Academy Award winner to settle the matter in the octagon.
J.J. Abrams has long since kept a hand in TV after his movie career, but Meryl Streep isn’t a name we expected to see on the small screen anytime soon, let alone together. So it is, that Streep is likely to lead a TV adaptation of breakout Nathan Hill satire The Nix, as directed and produced by none other than Abrams himself.
On October 25, 1944, a 76-year-old socialite who had absolutely no vocal talent sold out Carnegie Hall in just two hours. Florence Foster Jenkins had no pitch, no sense of rhythm, and couldn’t hold a tune for her life. Yet audiences flocked to the theater that night to witness the spectacle of a woman blissfully unaware of her lacking talent.
Rejoice, it’s a ‘Devil Wears Prada’ and an ‘Into to Woods’ reunion!
Last year we saw (and heard) Meryl Streep sing in Jonathan Demme and Diablo Cody’s wonderful (and very underrated) Ricki and the Flash. This year Streep will sing again, but this time will be completely different…and awkward…and maybe kind of awful — the singing, anyway. It’s yet to be determined if Florence Foster Jenkins (the film) is actually any good, but the trailer for Stephen Frears’ upcoming biopic at least confirms that Streep’s singing will be terrible.
It’s 1912 and Maud Watts (Carey Mulligan), a 26-year-old mother, is working as a laundress at a London factory, the same one she’s worked at since her early teens. Like the many other women in the sweltering warehouse, Maud works a third more hours than her husband (Ben Whishaw) and the other male employees, and makes considerably less. But this is the 20th century, a time where women were expected to do no more than birth children and bring home an income to feed those children. In Suffragette, screenwriter Abi Morgan (Shame, The Iron Lady) and director Sarah Gavron take us back to that era to remind us of the fight that eventually earned women the right to vote in the U.K. in 1928.