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Oscars 2020: ‘Parasite’ makes history with iconic Best Picture win for the Bong Joon-ho film

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It is finally the biggest night in the world of cinema — The Oscars and the epitome of all recognition — the most acclaimed one that we are all looking forward to being announced is the award for Best Picture

This year’s most recognized tales are that of a race that has survived the shackles of time, a child’s fantasy surrounding one of the world’s most prominent dictators, a gangster’s epic saga of loyalty and blood, a depressed comedian’s trials and tribulations, a realistic imagery of a marriage falling apart but a family staying together, the tales of four sisters braving societal storms, a Japanese family’s battle for survival, two brothers’ war dilemma, and an alternate universe portrayal of a stuntman vs the Manson cult.

The 92nd Academy Award nominations for Best Picture were ‘Ford v Ferrari’ (Disney/Fox), ‘The Irishman’ (Netflix), ‘Jojo Rabbit’ (Fox Searchlight), ‘Joker’ (Warner Bros.), ‘Little Women’ (Sony), ‘Marriage Story’ (Netflix), ‘1917’ (Universal), ‘Once Upon a Time in Hollywood’ (Sony) and ‘Parasite’ (Neon).

Taking the spotlight amid its equally acclaimed, the 2020 Oscar for Best Picture went to ‘Parasite’ and what a deserving and historic win for the Oscars this was, as director Bong Joon-ho’s film also won the International Feature at the 2020 Oscars. The award was presented by Jane Fonda.

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‘MLK/FBI’ Review: An Incendiary Documentary About the FBI’s Surveillance of the Secret Life of Martin Luther King Jr.

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At a moment when the personal lives of artists and celebrities are being placed under the spotlight as almost never before, the secret life of Martin Luther King Jr. now seems like more than the disquieting semi-submerged footnote it once did. It’s long been public knowledge that King, during most of the time of his leadership (which began in 1955, with the Montgomery Bus Boycott, and ended with his death, on April 4, 1968), had many adulterous affairs, and that the FBI, starting in 1963, put him under surveillance, surreptitiously recording hours and hours of King with his mistresses and other women in hotel rooms. How does this reality affect our perception of King’s greatness as a leader?

I expected that might be the subject of “MLK/FBI,” a tensely absorbing documentary about how the Federal Bureau of Investigation, under J. Edgar Hoover, came to see itself as part of an establishment war against King, one that wound up being waged with the cooperation of American leaders, notably Attorney General Robert. F. Kennedy and President Lyndon Johnson. (The Kennedys were allies of King and the Civil Rights movement, but it was Bobby Kennedy who first approved the use of FBI wiretaps on King.)

It’s no accident that the FBI recorded King in these sordid situations. By exposing the hidden side of King, the organization hoped to humiliate him and weaken his authority as a leader. Yet early on in the documentary, the historian Beverly Gage acknowledges that “when you construct a man as a great man, there’s nothing almost more satisfying than also seeing him represented as the opposite.” Gage is staunchly on King’s side, but what she’s evoking is a certain side of human nature — the part of us that wants to see that a saint isn’t really a saint, that even the greatest among us are as flawed as we are. Her comment expresses, with a fair degree of honesty, the voyeuristic element that’s embedded in the story of Martin Luther King Jr. and the FBI. Watching “MLK/FBI,” what we want is to know more — of what happened, and of what King’s life was about.

In many ways, however, the movie presents us with a limited version of more. You won’t hear a moment of what’s on those tapes; in 1977, a federal court order placed them in a vault in the National Archives, where they’ll remain under seal until February 2027. And the film, which is based on the book “The FBI and Martin Luther King, Jr.: From ‘Solo’ to Memphis,” offers little in the way of speculation as to how the knowledge of what’s on those tapes changes our perception of King as a leader and as a human being. (The only comments about that come during the closing credits.) That subject could use a full-on discussion — and, it fact, demands one. The documentary that looks at Martin Luther King Jr. in his warts-and-all complexity has yet to be made.

Yet “MLK/FBI” does something of incendiary fascination and value. It gives us an interior look at how the FBI operated — not just what the organization did but why, and how it was rooted in the G-man mythology. And in a crucial way, the film does bring us closer to King. Using an enthralling array of candid photographs and film footage, it captures what he was going through, and how the surveillance turned up the heat on what was already his pressure cooker of an existence. It’s astounding that he didn’t crack.

It’s also astounding that the news of his indiscretions never broke. The FBI sought to make public knowledge of King’s secret life, and to do so the Bureau distributed copies of the King tapes to church leaders and media outlets. In the media culture of today (the one we began to shift into around the time of the Gary Hart adultery scandal, in 1988), it’s unthinkable that a story like this one could ever have been kept under wraps. But back then it was considered off limits, and the media powers that be had an interest in protecting King. They were on his side, and weren’t about to blow a hole in the Civil Rights movement by printing the FBI’s dirt.

Sam Pollard, the director of “MLK/FBI,” is a veteran producer and filmmaker who co-directed two episodes of “Eyes on the Prize,” and he sets this saga within a close-up, flowing portrait of King in history. King had risen, almost overnight, to the status of American rebel-hero, and by the time of the March on Washington, which was built around King’s “I Have a Dream” speech, the establishment had come to fear his power. The March took place on Aug. 28, 1963, and two days later, in a memo dated Aug. 30, William C. Sullivan, the head of FBI domestic intelligence, wrote, “We must mark him now as the most dangerous Negro in the future of this nation.”

One of King’s close advisors was Stanley Levison, a white Jewish lawyer and CPA who had a history of association with Communist groups. The FBI, still embroiled in the war against Communism, saw the presence of Levison as a red flag, a sign that the Communist menace was embedded in the struggle for Civil Rights. We see a fascinating clip of King, in a television interview with Dan Rather, saying that he thinks it’s one of the miracles of the 20th century that so few African-Americans have turned to Communism, given their history of desperation and oppression. But King, invited to the White House, was personally told by JFK that he needed to distance himself from Levison. Instead, King maintained the association and lied about it. This incensed the administration, and it’s why RFK, in 1963, approved the FBI use of wiretaps against King.

Wiretapping means infiltrating phone lines, but then something happened that was more or less a coincidence. The FBI, in its surveillance plot against King, had arranged to tap the phone of Clarence Jones, who was King’s close friend and speech writer. King was staying over at Jones’ house for a couple of days, and it was during that time that the FBI learned, through sheer happenstance, that King was not monogamous.

The Bureau, at that point, made the scurrilous decision to target King’s extramarital life, which they did by arranging, through their contacts, to bug his hotel rooms. (Pollard visualizes all of this with graphic spy-movie elegance, showing us, for instance, the image of a tiny microphone implanted at the top of a lamp.) King traveled constantly, and by the time he would show up at his room in the Willard Hotel in Washington, D.C., the room had been completely bugged. The FBI also used informants who were African-American. Ernest C. Withers, the noted Civil Rights photographer, spent 18 years as a double agent for the FBI. Jim Harrison, a paid informant, worked in the Atlanta office of the Southern Christian Leadership Conference, sitting just a few feet from King. (Clarence Jones suspected that Harrison was an agent, and told King about it, so it’s unclear why they didn’t fire him.)

In “MLK/FBI,” the treacherous dance of King and the FBI becomes a sinister soap opera of espionage. The FBI sends a recording of King’s hotel room to King’s home in Atlanta, along with a message demanding that he kill himself; King’s wife, Coretta Scott King, listens to the tape but can’t discern what’s on it. (But did she know what was happening? One suspects that she couldn’t not have.) J. Edgar Hoover denounces King by calling him “the most notorious liar” in the U.S. (a baffling statement unless you know what he’s referring to). But King fires back and, at one point, actually meets with Hoover in his office, trying to make peace. Hoover acts friendly and conciliatory, but of course that’s all a ruse. Through it all, King is living with the daily anxiety that he’ll be exposed. Yet in no way does it tamp down on his activism. The film captures how radical the stand King took in 1967 against the war in Vietnam really was. He was willing to make an enemy of his former ally LBJ, and even his liberal supporters in the press attacked him.

The movie also includes the darkest episode in this saga: that in March 1968, William Sullivan updated King’s FBI file, adding to it the allegation of accessory to rape. It was said, in the file, that King was in his hotel room as a woman was being raped by a Baltimore minister, and that King “looked on and laughed.” The film’s commentators say the charge is highly dubious. It was handwritten (onto an otherwise typed document), and given that the FBI was working with audiotapes, why would the report have stated that King “looked on”? Nevertheless, the mud was splattered, and that kind of mud tends to stick.

“MLK/FBI” won’t leave you feeling at all resolved about these issues. How could it? Half a century on, there is still much to explore about the life and legacy of Martin Luther King Jr. — including the plausible possibility that his murder was the result of a government conspiracy. (Clarence Jones says in the film that he thinks King’s official killer, James Earl Ray, had nothing to do with the assassination.) “MLK/FBI” leaves you wanting more, but it provides a gripping chapter in the story of how the forces of American power set out to destroy one of America’s greatest leaders, even as his private behavior had the effect of handing them a weapon.

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Pregnant Coco Rocha Makes a Splash at Christian Siriano’s NYFW Show

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Coco Rocha always knows how to steal the show.

All eyes were on the pregnant model when she closed out Christian Siriano’s spring-summer 2021 runway show at his home in Westport, Conn.

Dressed in a red, over-the-top gown that flowed behind her, the 32-year-old expertly walked across Christian’s grassy backyard, before coming to a stop on a tiny bridge built across a pool. Like the models before her, Coco struck a pose at that point, but rather than strut away, the mommy to be decided to walk into the water wearing the dress, mask and hat that Siriano designed—Sarah Jessica Parker supplied the shoes.

In other words, the model made sure there was a grand finale the guests would never forget.

She eventually had to be assisted with getting out of the pool by someone else as she was weighed down by the soaked dress. 

All in all, Christian’s New York Fashion Week presentation was a success, even if one model fell while walking on the grass.

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Succession, Watchmen And Few Surprises

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In theory, we know what’s going to happen during the 2020 Primetime Emmy Awards on Sunday night. Well, in terms of who has the honor of receiving a virtual trophy that is. The socially distanced telecast itself? Eh, not so much. But when the Jimmy Kimmel hosted event comes to an end “Succession,” “Schitt’s Creek” and “Watchmen” are expected to be the big series winners of the night. That’s not to say, however, there isn’t a ton of nervousness among networks and nominees over a bunch of acting, writing, and directing categories.

READ MORE: Maya Rudolph and, yes, Quibi are the big winners on Creative Emmys night four

Which “Succession” actor will win Lead Actor in a Drama Series or will they split the vote? Can “Schitt’s Creek” really take both the Lead Actor and Lead Actress in a Comedy Series Emmys? Is Jim Parsons really going to win for his work in “Hollywood?” Really? Can “Schitt’s Creek” take both writing and directing honors over Prime Video’s powerhouse “The Marvelous Mrs. Maisel?” Can “The Crown” sneak win anywhere? Is “The Mandalorian” lurking in the shadows for a Drama Series surprise?

Just a few of the questions you should ponder as we present our predictions for the 72nd Primetime Emmy Awards.

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Outstanding Lead Actor in a Comedy Series

Anthony Anderson as Andre “Dre” Johnson, Sr. on Black-ish • ABC
Don Cheadle as Maurice “Mo” Monroe on Black Monday • Showtime
Ted Danson as Michael on The Good Place • NBC
Michael Douglas as Sandy Kominsky on The Kominsky Method • Netflix
Eugene Levy as Johnny Rose on Schitt’s Creek • Pop TV
Ramy Youssef as Ramy Hassan on Ramy • Hulu

Winner: Eugene Levy, “Schitt’s Creek
Should Win: Don Cheadle, “Black Monday”
Upset: Ramy Youssef, “Ramy”

Quick Take: I would not want to bet on this category in Vegas. Gut says Youssef takes it, but that Casting for a Comedy Series win for “Creek” was damn impressive. Levy by a hair. Maybe.

Outstanding Lead Actress in a Comedy Series

Christina Applegate as Jen Harding on Dead to Me • Netflix
Rachel Brosnahan as Miriam “Midge” Maisel on The Marvelous Mrs. Maisel • Amazon Prime Video
Linda Cardellini as Judy Hale on Dead to Me • Netflix
Catherine O’Hara as Moira Rose on Schitt’s Creek • Pop TV
Issa Rae as Issa Dee on Insecure • HBO
Tracee Ellis Ross as Dr. Rainbow “Bow” Johnson on Black-ish • ABC

Winner: Catherine O’Hara, “Schitt’s Creek”
Should Win:
O’Hara
Upset: Christina Applegate, “Dead to Me”

Quick Take: Like the Best Actor in a Comedy Series contest, this race is much tighter than it looks with either O’Hara, Applegate, or Broshahan pulling it out it. My hunch says O’Hara, she’s the one nominee the industry seems to be rooting for the most.

Outstanding Lead Actor in a Drama Series

Jason Bateman as Martin “Marty” Byrde on Ozark • Netflix
Sterling K. Brown as Randall Pearson on This Is Us • NBC
Steve Carell as Mitch Kessler on The Morning Show • Apple TV+
Brian Cox as Logan Roy on Succession • HBO
Billy Porter as Pray Tell on Pose • FX
Jeremy Strong as Kendall Roy on Succession • HBO

Winner: Jeremy Strong, “Succession”
Should Win:
Strong
Upset: Billy Porter, “Pose” or Jason Bateman, “Ozark”

Quick Take: Something tell us that Porter could possibly repeat after “Pose” was snubbed in the Drama Series category, but we’re going with Strong. It’s the performance that has seemingly resonated the most with the industry this year. The issue is whether he’ll split too many votes with co-star Brian Cox to win. Bateman could potentially be the biggest benefactor from said “Succession” split.

Outstanding Lead Actress in a Drama Series

Jennifer Aniston as Alex Levy on The Morning Show • Apple TV+
Olivia Colman as Queen Elizabeth II on The Crown • Netflix
Jodie Comer as Oksana Astankova / Villanelle on Killing Eve • BBC America
Laura Linney as Wendy Byrde on Ozark • Netflix
Sandra Oh as Eve Polastri on Killing Eve • BBC America
Zendaya as Rue Bennett on Euphoria • HBO

Winner: Laura Linney, “Ozark”
Should Win:
Linney or Olivia Colman, “The Crown”
Upset: Colman, Zendaya, “Euphoria,” Jennifer Aniston, “The Morning Show”

Quick Take: We expect Linney to win, but outside of “Killing Eve’s” Sandra Oh or Jodie Comer, no one in the remaining field would be a genuine surprise.

Outstanding Lead Actor in a Limited Series or Movie

Jeremy Irons as Adrian Veidt on Watchmen • HBO
Hugh Jackman as Dr. Frank Tassone on Bad Education • HBO
Paul Mescal as Connell Waldron on Normal People • Hulu
Jeremy Pope as Archie Coleman on Hollywood • Netflix
Mark Ruffalo as Dominick and Thomas Birdsey on I Know This Much Is True • HBO

Winner: Mark Ruffalo, “I Know This Much Is True”
Should Win:
Hugh Jackman, “Bad Education”
Upset: Jackman or Jeremy Irons, “Watchmen”

Quick Take: Ruffalo was fantastic playing identical brothers in “This Much Is True,” but very few viewers or critics adored that mini-series (quite the opposite in fact). It’s likely a different story for his peers.

Outstanding Lead Actress in a Limited Series or Movie

Cate Blanchett as Phyllis Schlafly on Mrs. America • FX
Shira Haas as Esther “Esty” Shapiro on Unorthodox • Netflix
Regina King as Angela Abar / Sister Night on Watchmen • HBO
Octavia Spencer as Madam C. J. Walker on Self Made • Netflix
Kerry Washington as Mia Warren on Little Fires Everywhere • Hulu

Winner: Regina King, “Watchmen”
Should Win:
King or Shira Haas, “Unorthodox”
Upset: Haas or Cate Blanchett, “Mrs. America”

Quick Take: King, a three-time winner, seems safe here. The only concern is Haas, who practically carried “Unorthodox” on her back.

Outstanding Supporting Actor in a Comedy Series

Mahershala Ali as Sheikh Ali Malik on Ramy • Hulu
Alan Arkin as Norman Newlander on The Kominsky Method • Netflix
Andre Braugher as Captain Ray Holt on Brooklyn Nine-Nine • NBC
Sterling K. Brown as Reggie on The Marvelous Mrs. Maisel • Amazon Prime Video
William Jackson Harper as Chidi Anagonye on The Good Place • NBC
Dan Levy as David Rose on Schitt’s Creek • Pop TV
Tony Shalhoub as Abe Weissman on The Marvelous Mrs. Maisel • Amazon Prime Video
Kenan Thompson as Various Characters on Saturday Night Live • NBC

Winner: Tony Shalhoub, “Marvelous Mrs. Maisel”
Should Win:
Kenan Thompson, “Saturday Night Live”
Upset: Thompson, Dan Levy, “Schitt’s Creek” or Mahershala Ali, “Ramy”

Quick Take: Shalhoub should repeat here. We’re just not confident enough that Dan Levy can take this competitive category despite the love for “Schitt’s Creek.” Watch out for Ali and Thompson though.

Outstanding Supporting Actress in a Comedy Series

Alex Borstein as Susie Myerson on The Marvelous Mrs. Maisel • Amazon Prime Video
D’Arcy Carden as Janet on The Good Place • NBC
Betty Gilpin as Debbie “Liberty Bell” Eagan on GLOW • Netflix
Marin Hinkle as Rose Weissman on The Marvelous Mrs. Maisel • Amazon Prime Video
Kate McKinnon as Various Characters on Saturday Night Live • NBC
Annie Murphy as Alexis Rose on Schitt’s Creek • Pop TV
Yvonne Orji as Molly Carter on Insecure • HBO
Cecily Strong as Various Characters on Saturday Night Live • NBC

Winner: Alex Borstein, “The Marvelous Mrs. Maisel”
Should Win:
Cecily Strong, “Saturday Night Live” or Annie Murphy, “Schitt’s Creek”
Upset: Murphy

Quick Take: “Maisel” is too popular not to take home some major wins and Borstein, like her co-star Shalhoub, is any easy repeat pick. If Murphy surprises here it will be a very, very big night for “Schitt’s Creek.”

Outstanding Supporting Actor in a Drama Series

Nicholas Braun as Greg Hirsch on Succession • HBO
Billy Crudup as Cory Ellison on The Morning Show • Apple TV+
Kieran Culkin as Roman Roy on Succession • HBO
Mark Duplass as Charlie “Chip” Black on The Morning Show • Apple TV+
Giancarlo Esposito as Gus Fring on Better Call Saul • AMC
Matthew Macfadyen as Tom Wambsgans on Succession • HBO
Bradley Whitford as Commander Joseph Lawrence on The Handmaid’s Tale • Hulu
Jeffrey Wright as Bernard Lowe on Westworld • HBO

Winner: Kieran Culkin, “Succession”
Should Win:
Nicholas Braun, “Succession”
Upset: Billy Crudup, “The Morning Show”

Quick Take: Having two other co-stars in this category doesn’t make it easy for Culkin, but we can’t see Crudup winning this. Perhaps we’ll be proven wrong.

Outstanding Supporting Actress in a Drama Series

Helena Bonham Carter as Princess Margaret on The Crown • Netflix
Laura Dern as Renata Klein on Big Little Lies • HBO
Julia Garner as Ruth Langmore on Ozark • Netflix
Thandie Newton as Maeve Millay on Westworld • HBO
Fiona Shaw as Carolyn Martens on Killing Eve • BBC America
Sarah Snook as Siobhan “Shiv” Roy on Succession • HBO
Meryl Streep as Mary Louise Wright on Big Little Lies • HBO
Samira Wiley as Moira Strand on The Handmaid’s Tale • Hulu

Winner: Helena Bonham Carter, “The Crown”
Should Win:
Carter
Upset: Julia Garner, “Ozark” or Meryl Streep, “Big Little Lies”

Quick Take: Garner could easily earn her second Emmy while Streep could take her fourth. And no one should be shocked if either of their names are announced. That being said, Carter’s work in her submitted episode is devastating and the Television Academy has already shown their love for previous stars of Peter Morgan’s series.

Outstanding Supporting Actor in a Limited Series or Movie

Yahya Abdul-Mateen II as Calvin “Cal” Abar / Doctor Manhattan on Watchmen • HBO
Jovan Adepo as Young Will Reeves on Watchmen • HBO
Tituss Burgess as Titus Andromedon on Unbreakable Kimmy Schmidt: Kimmy vs. The Reverend • Netflix
Louis Gossett Jr. as Will Reeves on Watchmen • HBO
Dylan McDermott as Ernest “Ernie” West on Hollywood • Netflix
Jim Parsons as Henry Willson on Hollywood • Netflix

Winner: Yahya Abdul-Mateen, “Watchmen”
Should Win:
Abdul-Mateen
Upset: Jim Parsons, “Hollywood”

Quick Take: We’ll ask the question one more time: We know the Television Academy loves Parsons, but that much? Really? Abdul-Mateen is more known in acting circles than people think. That might just push him over the top.

Outstanding Supporting Actress in a Limited Series or Movie

Uzo Aduba as Shirley Chisholm on Mrs. America • FX
Toni Collette as Det. Grace Rasmussen on Unbelievable • Netflix
Margo Martindale as Bella Abzug on Mrs. America • FX
Jean Smart as Laurie Blake on Watchmen • HBO
Holland Taylor as Ellen Kincaid on Hollywood • Netflix
Tracey Ullman as Betty Friedan on Mrs. America • FX

Winner: Jean Smart, “Watchmen”
Should Win:
Jean Smart, “Watchmen” or Toni Collette, “Unbelievable”
Upset: Collette

Quick Take: It better be Smart and that’s all we have to say on that.

Outstanding Directing for a Comedy Series

The Great (Episode: “The Great”), Directed by Matt Shakman • Hulu
The Marvelous Mrs. Maisel (Episode: “It’s Comedy or Cabbage”), Directed by Amy Sherman-Palladino • Amazon Prime Video
The Marvelous Mrs. Maisel (Episode: “Marvelous Radio”), Directed by Daniel Palladino • Amazon Prime Video
Modern Family (Episode: “Finale, Part 2”), Directed by Gail Mancuso • ABC
Ramy (Episode: “Miakhalifa.mov”), Directed by Ramy Youssef • Hulu
Schitt’s Creek (Episode: “Happy Ending”), Directed by Andrew Cividino and Dan Levy • Pop TV
Will & Grace (Episode: “We Love Lucy”), Directed by James Burrows • NBC

Winner: Andrew Cividino and Dan Levy, “Schitt’s Creek”
Should Win:
Amy Sherman-Palladino, “It’s Comedy or Cabbage”
Upset: Sherman-Palladino or Ramy Youssef, “Ramy”

Quick Take: This one is so damn hard to call. Could surprise.

Outstanding Directing for a Drama Series

The Crown (Episode: “Aberfan”), Directed by Benjamin Caron • Netflix
The Crown (Episode: “Cri de Coeur”), Directed by Jessica Hobbs • Netflix
Homeland (Episode: “Prisoners of War”), Directed by Lesli Linka Glatter • Showtime
The Morning Show (Episode: “The Interview”), Directed by Mimi Leder • Apple TV+
Ozark (Episode: “Fire Pink”), Directed by Alik Sakharov • Netflix
Ozark (Episode: “Su Casa Es Mi Casa”), Directed by Ben Semanoff • Netflix
Succession (Episode: “Hunting”), Directed by Andrij Parekh • HBO
Succession (Episode: “This Is Not for Tears”), Directed by Mark Mylod • HBO

Winner: Mark Mylod, “Succession”
Should Win:
Mylod or Benjamin Caron, “The Crown”
Upset: Caron

Quick Take: Caron could surprise, but Mylod has been doing this a long time and is partially responsible for “Succession’s” impressive run. He’ll get rewarded for it.

Outstanding Directing for a Limited Series, Movie, or Dramatic Special

Little Fires Everywhere (Episode: “Find a Way”), Directed by Lynn Shelton • Hulu
Normal People (Episode: “Episode 5”), Directed by Lenny Abrahamson Hulu
Unorthodox, Directed by Maria Schrader • Netflix
Watchmen (Episode: “It’s Summer and We’re Running Out of Ice”), Directed by Nicole Kassell • HBO
Watchmen (Episode: “Little Fear of Lightning”), Directed by Steph Green • HBO
Watchmen (Episode: “This Extraordinary Being”), Directed by Stephen Williams • HBO

Winner: Stephen Williams, “This Extraordinary Being”
Should Win:
Williams
Upset: Lynn Shelton, “Find A Way” or Maria Schrader, “Unorthodox”

Quick Take: Shelton could win with the sentimental vote, but Williams’ work is timely and is the pivotal episode of what will be an Emmy-winning Limited Series.

Outstanding Writing for a Comedy Series

The Good Place (Episode: “Whenever You’re Ready”), Written by Michael Schur • NBC
The Great (Episode: “The Great”), Written by Tony McNamara • Hulu
Schitt’s Creek (Episode: “Happy Ending”), Written by Dan Levy • Pop TV
Schitt’s Creek (Episode: “The Presidential Suite”), Written by David West Read • Pop TV
What We Do in the Shadows (Episode: “Collaboration”), Written by Sam Johnson and Chris Marcil • FX
What We Do in the Shadows (Episode: “Ghosts”), Written by Paul Simms • FX
What We Do in the Shadows (Episode: “On the Run”), Written by Stefani Robinson • FX

Winner: Dan Levy, “Schitt’s Creek”
Should Win:
Tony McNamara, “The Great”
Upset: Michael Schur, “The Good Place”

Quick Take: It’s insanely hard to pull off a great finale episode of a long running series. That’s something both Levy and Schur accomplished. A flip ’em, but we’re going with Levy.

Outstanding Writing for a Drama Series

Better Call Saul (Episode: “Bad Choice Road”), Written by Thomas Schnauz • AMC
Better Call Saul (Episode: “Bagman”), Written by Gordon Smith • AMC
The Crown (Episode: “Aberfan”), Written by Peter Morgan • Netflix
Ozark (Episode: “All In”), Written by Chris Mundy • Netflix
Ozark (Episode: “Boss Fight”), Written by John Shiban • Netflix
Ozark (Episode: “Fire Pink”), Written by Miki Johnson • Netflix
Succession (Episode: “This Is Not for Tears”), Written by Jesse Armstrong • HBO

Winner: Jesse Armstrong, “Succession”
Should Win:
Armstrong or Peter Morgan, “The Crown”
Upset: Morgan

Quick Take: Armstrong for the second straight year. ‘Nuff said.

Outstanding Writing for a Limited Series, Movie, or Dramatic Special

Mrs. America (Episode: “Shirley”), Written by Tanya Barfield • FX
Normal People (Episode: “Episode 3”), Written by Sally Rooney and Alice Birch • Hulu
Unbelievable (Episode: “Episode 1”), Written by Susannah Grant, Michael Chabon and Ayelet Waldman • Netflix
Unorthodox (Episode: “Part 1”), Written by Anna Winger • Netflix
Watchmen (Episode: “This Extraordinary Being”), Written by Damon Lindelof and Cord Jefferson • HBO

Winner: Damon Lindelof and Cord Jefferson, “Watchmen”
Should Win:
Lindelof and Jefferson
Upset: Anna Winger, “Unorthodox” or Susannah Grant, Michael Chabon and Ayelet Waldman, “Unbelievable”

Quick Take: This is pretty much a lock, but writers like to throw in a surprise or two.

Outstanding Comedy Series

Curb Your Enthusiasm • HBO
Dead to Me • Netflix
The Good Place • NBC
Insecure • HBO
The Kominsky Method • Netflix
The Marvelous Mrs. Maisel • Amazon Prime Video
Schitt’s Creek • Pop TV
What We Do in the Shadows • FX

Winner: “Schitt’s Creek”
Should Win:
“Schitt’s Creek”
Upset: “Dead to Me” or “The Marvelous Mrs. Maisel”

Quick Take: The casting win during the Creative Arts Emmys pretty much sealed the deal.

Outstanding Drama Series

Better Call Saul • AMC
The Crown • Netflix
The Handmaid’s Tale • Hulu
Killing Eve • BBC America
The Mandalorian • Disney+
Ozark • Netflix
Stranger Things • Netflix
Succession • HBO

Winner: “Succession”
Should Win:
“Succession”
Upset: “The Mandalorian” or “Ozark”

Quick Take: It should be “Succession,” but there are wildcards. “Ozark” was one of the buzziest shows of the stay-at-home period and “The Mandalorian” (five Creative Arts Emmys so far) is the “Game of Thrones” in terms of popularity in this category.

Outstanding Limited Series

Little Fires Everywhere • Hulu
Mrs. America • FX
Unbelievable • Netflix
Unorthodox • Netflix
Watchmen • HBO

Winner: “Watchmen”
Should Win:
“Watchmen”
Upset: “Unorthodox” or “Unbelievable”

Quick Take: The five Creative Arts Emmy wins so far pretty much demonstrate this is “Watchmen’s” to lose.

Outstanding Variety Talk Series

The Daily Show with Trevor Noah • Comedy Central
Full Frontal with Samantha Bee • TBS
Jimmy Kimmel Live! • ABC
Last Week Tonight with John Oliver • HBO
The Late Show with Stephen Colbert • CBS

Winner: Last Week Tonight with John Oliver
Should Win:
Full Frontal with Samantha Bee
Upset: Um, no

Quick Take: Honestly, the biggest lock of the night.

Outstanding Competition Program

The Masked Singer F• ox
Nailed It! • Netflix
RuPaul’s Drag Race • VH1
Top Chef • Bravo
The Voice • NBC

Winner: “RuPaul’s Drag Race”
Should Win: “RuPaul’s Drag Race”
Upset: “Nailed It!” Or “The Masked Singer”

Quick Take: “Masked Singer” and “Nailed It!” earned just two nominations each. “Singer” took a very deserving Costumes Emmy in the Creative Arts ceremonies and “Nailed It’s” Nicole Beyer could steal the Outstanding Host Emmy Saturday night. Is that enough to beat “Drag Race” which has already won four Creative Arts Emmys? We think not.

The 2020 Primetime Emmy Awards will be televised on ABC from all over the world live this Sunday, Sept. 20 at 5 PM PT, 8 PM ET.

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