I always add a new crop of films to the sort every time, but I also find time to re-watch some of the old films… and Thanksgiving weekend proved to be a great time to do so.
One of the films was the delightful modern fantasy, Field of Dreams. Sharp-eyed readers will recall that it ranked #29 in 2016 and #22 in both 2014 and 2012. Given my reaction to the recent viewing, I won’t be surprised that it remains in my Favorite 50.
Perhaps it’s the human predilection for pattern recognition, but because of the recent passing of William Goldman, I’ve been thinking a good deal about writing as it relates to getting one’s writing produced in Hollywood… and how random the process can sometimes be.
I touched on notions of fandom with my Crisis of Infinite Star Treks series and certainly toxic fandom has been more on people’s minds in the past year or so in any case (see, for example, these pieces on CNET and in Wired).
There’s obviously more in the book than just the subject of fandom, but that’s the focus of the article. Certainly, BSG –as it’s often abbreviated– provided ample opportunity for toxic fan uproar from its short yet expansive stint on TV. I’m sure had it been made nowadays, the uproar and venting would have been omnipresent. Much of what they pulled off was nothing less than exceptional, but let’s just say I don’t want to be in a room of BSG fans discussing how the series ended. That’s just going to get unpleasant.
(I mean, it’ll probably be called “most bestest outstanding achievement in popular film” or something like that, but you know what I mean).
On the one hand, it’s their awards and award process, so change away. On the other hand, why shouldn’t they tweak and adjust and change their award categories and methodology as they have just about every decade?
(By the way, I absolutely think one of the tweaks should be adding “Best Stunt Choreography” category — and no, you don’t need to eliminate any of the other awards to add that).
But on the third hand –and it’s really better you don’t ask where the third hand comes from– there’s something of a whiff of desperation simultaneously coupled with a complete lack of understanding of why the general public does or doesn’t find the Oscars relevant that really should have been resolved during The Dark Knight “lack o’ Best Picture nom kerfuffle.”
It sounds like a bad idea to me… and it also sounds like a bad idea to Vox’s Todd VanDerWerff who has many thoughts on the subject. I agree with many of them, including the notion that maybe it’ll not turn out to a bad idea.
Their track record at nominating worthy “genre films” for Best Picture does not reinforce that notion however.
UPDATE: The crew at Vox came up with 6 categories to introduce rather than “Best Popular Film” and I’m happy to say it includes one for stunt choreography. I generally am down with all the categories. I think the “Best First Film” would really bring some excitement into the proceedings the same as I see similar awards in other places. The one caveat I’d suggest from chatting about the categories on social media is that the “Best Motion Capture Peformance” should be awarded to the performer and the lead artists/animators. I think that’d be a cool way to remind people of the team creative effort it is.
Every Spring, I get social media posts –usually very vague ones– from friends closely involved with “Pilot Season,” that period every year where writers, actors, and others hope to get staffed on potential TV shows that will go from potential to actual (i.e., they get “picked up” and move into production for additional episodes).
Okay, so what with streaming services, shorter TV seasons, and season premieres popping up whenever there’s a quiet moment, this list from the Hollywood Reporter doesn’t carry the same import, but I still find it interesting look over what’s been renewed, what’s ending, and what’s precariously on the bubble in terms of TV shows.
Somewhat riffing off my post from Wednesday, I’m once again considering our current golden age of television (aka Golden TV Age II: Serial Storytelling Boogaloo).
There’s so much great television to check out, there are whole series that have come and gone that I haven’t gotten to yet.
Alison Herman over at The Ringer delves into what this means for science fiction –and “genre fiction” in general– as they hold greater sway over pop culture on both the big and small screen (and yes, the screen definitions are becoming more moot in some ways). It raises many big and small questions. For example, will people who’ve read the Silmarillion more than once feel vindicated by Amazon’s 4,000 Tolkien series? Will Adam Savage make another appearance on The Expanse? Will I ever get around to watching more than the first episode of Lost?