With the 27th annual SAG Awards exactly one month away (April 4), Variety editors Michael Schneider and Danielle Turchiano returned to Awards Circuit, presented by HBO, to take a deep dive into…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
With the 27th annual SAG Awards exactly one month away (April 4), Variety editors Michael Schneider and Danielle Turchiano returned to Awards Circuit, presented by HBO, to take a deep dive into the drama series ensemble category.
The category sees a couple of new contenders this year, from Shondaland’s first scripted series for Netflix, “Bridgerton,” to HBO’s “Lovecraft Country.” But the majority of the category consists of longer-running series and awards favorites: AMC’s “Better Call Saul” and Netflix’s “The Crown” and “Ozark.”
“The Crown” is not only the incumbent winner in the category, but it is also the only series nominated this year that has a win under its belt. Both “Better Call Saul” and “Ozark” were previously nominated in 2019.
Interestingly, four out of five of these shows not only received ensemble nods — a chance to celebrate the whole cast at once — but also spotlighted a few individual performers. “Bridgerton’s” Regé-Jean Page picked up a solo nom in the male drama actor category, as did “Better Call Saul’s “Bob Odenkirk,” “The Crown’s” Josh O’Connor and “Ozark’s” Jason Bateman. The female drama actor category is split between contenders from “The Crown” (Gillian Anderson, Olivia Colman, Emma Corrin) and “Ozark” (Julia Garner, Laura Linney).
“Lovecraft Country” is the lone nominee here that does not have the chance to celebrate its performers individually, which was part of the reason Turchiano made it her pick for the win. Schneider, meanwhile, showed some love for “Better Call Saul,” in part because of Rhea Seehorn’s continued outstanding performance, which was overlooked in the individual acting category.
Watch the full Awards Circuit video above.