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“Mamma Mia!” brings in audiences with its retro musical numbers and gleefully soapy plot — two charming factors that Berkeley Playhouse’s adaptation mostly manages to capture.
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The surprising success of “Fleabag,” along with a historic win for Billy Porter, made this year’s Emmys ceremony a pleasantly entertaining affair.
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In this episode of ‘Reel Talk,’ Daily Cal Arts & Entertainment editors Anagha Komaragiri, Areyon Jolivette and Grace Orriss make predictions for the 2019 Emmy Awards. Questions addressed include: Does ‘SNL’ deserve to win an Emmy this year? Is ‘Fleabag’ worth the media hype? Is ‘Ozark’ a show for dads?
Part of the justification for the show’s first Emmy win for Outstanding Variety Sketch Series in 2017 was a desire to reward its cogent, funny and sobering coverage of the 2016 election. But since that well-deserved win, the show’s political humor has been lacking.
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HBO’s willingness to take risks when it comes to unique narrative ideas and a commitment to quality programming has allowed it to snag an abundance of nominations for a relatively small lineup of eligible series.
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Iranian film director, screenwriter and producer Abbas Kiarostami embraced the idea that the reality of others can often serve as some of the most powerful, impactful material for our consumption.
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Season two of “Mindhunter” matches the horrors of season one while also stretching its narrative focus in new and interesting ways.
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The general narrative among diehards is that Sony needs to “put story over money” — a hypothetical restructuring of priorities that essentially requires Sony to hand over its highest-earning property to Disney, no matter the cost or ramifications.
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The film is a thoroughly entertaining and original entry into the horror-comedy canon, an irresistibly fun blend of B-movie bloodbaths and smart-alecky satire.
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As her summation of herself at the top of her act suggests, Gill isn’t all that interested in personas. She prefers instead to roll out her raw personality, with the volume dialed up about 10 notches.
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