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‘Watchmen,’ ‘The Mandalorian’ Pick Up First Emmys on Creative Arts’ Night Three

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“Watchmen” and “The Mandalorian” led the way on Wednesday night, giving our biggest hint yet of what may win this weekend.

For the first time in recent memory, the Emmys will be a weeklong affair. Historically, the annual TV awards were given out on consecutive weekends, with Creative Arts Emmys bestowed before the nationally televised primetime celebration. This September will see multiple nights of Emmys festivities, beginning with Monday night’s slate of nominees and winners.

Six months of virtual campaigning and a near-complete lack of traditional FYC events means that the ceremonies aren’t the only thing that will be unpredictable this year. Predicting potential winners is the hardest it’s ever been, but we at least know the structure of what has become a Creative Arts Emmys Week of sorts. Online celebrations of this year’s winners will continue on Wednesday and Thursday before a televised event on Saturday and the Jimmy Kimmel-hosted Primetime Emmy telecast on Sunday night.

After crowning plenty of winners in the documentary, unscripted, and variety realms, tonight marks this year’s first foray into comedy, drama, and limited series categories. Some of this year’s most nominees, like “Watchmen,” “Ozark,” “Succession,” and “The Marvelous Mrs. Maisel” will all take their first swings at Emmy gold in areas across cinematography, sound, editing, production design, and more.

For those looking to watch these initial nights, the Emmys website will stream the weeknight telecasts via YouTube, with Saturday’s Creative Arts Emmys culmination airing on FXX. These five broadcasts will be led by “Nailed It!” host Nicole Byer.

Below, you’ll find all the nominations for all of tonight’s categories. For easy tracking, we’ll bold and italicize all the winners as the evening goes on:

Outstanding Cinematography for a Limited Series or Movie

Jonathan Freeman, ASC, “Defending Jacob”
Rob Hardy, BSC, “Devs”
Martin Ahlgren, “The Plot Against America”
Xavier Grobet, ASC, AMC, “Watchmen”
Gregory Middleton, ASC, CSC, “Watchmen”

Outstanding Cinematography for a Multi-Camera Series

Patti Lee, ASC, “Bob Hearts Abishola”
John Simmons, ASC, “Family Reunion”
Donald A. Morgan, ASC, “The Ranch”
Gary Baum, ASC, “Will & Grace”

Outstanding Cinematography for a Single-Camera Series (Half-Hour)

Jas Shelton, “Homecoming”
Kira Kelly, “Insecure”
Ava Berkofsky, “Insecure”
Benedict Spence, “The End of the F***ing World”
Greig Fraser, ASC, ACS and Baz Idoine, “The Mandalorian”

Outstanding Contemporary Hairstyling

Araxi Lindsey, Robert C. Mathews III, and Enoch Williams, “black-ish”
Kelly Kline, Jonathan Hanousek, and Marlene Williams, “Grace and Frankie”
Annastasia Cucullo and Ana Sorys, “Schitt’s Creek”
Paul Elliot and Ewa Latak-Cynk, “The Handmaid’s Tale”
Chris Clark, Natalie Driscoll, and Havana Prats, “The Politician”
Michael Peter Reitz, Katherine Rees, Germicka Barclay, Renia Green-Edittorio, and Corey Hill, “This is Us”

Outstanding Fantasy/Sci-Fi Costumes

Joanna Eatwell, Clare Vyse, and Jennifer Lander, “Carnival Row”
Natalie Bronfman, Helena Davis Perry, and Christina Cattle, “The Handmaid’s Tale”
Joseph Porro, Julie Robar, Giovanna Ottobre-Melton, and Lauren Silvestri, “The Mandalorian”
Sharen Davis and Valerie Zielonka, “Watchmen”
Shay Cunliffe, Dan Bronson, Amanda Riley, Giorgia Tramontano, and Jo Kissack Folsom, “Westworld”

Outstanding Multi-Camera Picture Editing for a Comedy Series

Cheryl Campsmith, ACE, “One Day at a Time”
Brian Schnuckel, ACE, “The Conners”
Peter Beyt, ACE, “Will & Grace”
Joseph Fulton, “Will & Grace”

Outstanding Period Costumes

Lou Eyrich, Sarah Evelyn, Tiger Curran, and Suzy Freeman, “Hollywood”
Bina Daigeler, Erin Byrne, Mila Hermanovski, Eileen Kennedy, Sheryl Willock, Bettina Seifert, and Erika Larner, “Mrs. America”
Analucia McGorty, Nicole Jescinth Smith, Alexa De Fazio, and Linda Giammarese, “Pose”
Amy Roberts, Sidonie Roberts, and Sarah Moore, “The Crown”
Donna Zakowska, Marina Reti, Sheila Grover, and Ginnie Patton, “The Marvelous Mrs. Maisel”

Outstanding Period Makeup and/or Character Makeup (Non-prosthetic)

Carleigh Herbert, Abby Lyle Clawson, Mo Meinhart, and Lawrence Mercado, “American Horror Story: 1984”
Eryn Krueger Mekash, Kim Ayers, Kerrin Jackson, and Ana Gabriela Quinonez Urrego, “Hollywood”
Sherri Berman Laurence, Nicky Pattison Illum, Chris Milone, Deja Smith, Jessica Padilla, “Pose”
Silvina Knight, Robin Beauchesne, David Williams, Peter De Oliveira, and Natalie Thimm, “Star Trek: Picard”
Patricia Regan, Claus Lulla, Joseph A. Campayno, Margot Boccia, Michael Laudati, Tomasina Smith, Roberto Baez, Alberto Machuca, “The Marvelous Mrs. Maisel”

Outstanding Production Design for a Narrative Contemporary Program (One Hour or More)

John Paino, Austin Gorg, and Amy Wells, “Big Little Lies”
Laurence Dorman, Beckie Harvey, and Casey Williams, “Killing Eve”
David Bomba, Sean Ryan Jennings, and Kim Leoleis, “Ozark”
Stephen H. Carter, Carmen Cardenas, George DeTitta Jr., and Ana Buljan, “Succession”
Elisabeth Williams, Martha Sparrow, and Robert Hepburn, “The Handmaid’s Tale”
John Paino, James F. Truesdale, and Amy Wells, “The Morning Show”

Outstanding Production Design for a Narrative Program (Half-Hour)

Todd Fjelsted, Valerie Green, and Cynthia Slagter, “GLOW”
Susie Mancini, Gary Warshaw, and Rachael Ferrara, “Space Force”
Andrew L. Jones, Jeff Wisniewski, and Amanda Serino, “The Mandalorian”
Kate Bunch, Aleks Cameron, and Shayne Fox, “What We Do in the Shadows”
Glenda Rovello, Conny Boettger-Marinos, and Peter Gurski, “Will & Grace”

Outstanding Prosthetic Makeup for a Series, Limited Series, Movie or Special

Mike Mekash and Vincent Van Dyke, “American Horror Story: 1984”
Vincent Van Dyke, Cary Ayers, and Bruce Spaulding Fuller, “Hollywood”
David Presto, Greg Pikulski, Brett Schmidt, Lisa First, and Keith Palmer, “Pose”
James Robert Mackinnon, Vincent Van Dyke, Richard Redlefsen, Alexei Dmitriew, Neville Page, and Michael Ornelaz, “Star Trek: Picard”
Brian Sipe, Alexei Dmitriew, Carlton Coleman, Samantha Ward, Scott Stoddard, Mike Ornelaz, Sabrina Castro, Scott Patton, “The Mandalorian”
Justin Raleigh, Chris Hampton, Thom Floutz, “Westworld”

Outstanding Single-Camera Picture Editing for a Dramatic Series

Cindy Mollo, ACE, “Ozark”
Vikash Patel, “Ozark”
Dean Zimmerman, ACE and Katheryn Naranjo, “Stranger Things”
Ken Eluto, ACE, “Succession”
Bill Henry and Venya Bruk, “Succession”
Andrew S. Eisen, ACE, “The Mandalorian”
Dana E. Glauberman, ACE and Dylan Firshein, “The Mandalorian”
Jeff Seibenick, “The Mandalorian”

Outstanding Single-Camera Picture Editing for a Limited Series or Movie

Skip Macdonald, ACE, “El Camino: A Breaking Bad Movie”
Robert Komatsu, ACE, “Mrs. America”
Henk Van Eeghen, ACE, “Watchmen”
David Eisenberg, “Watchmen”
Anna Hauger, “Watchmen”

Outstanding Sound Editing for a Comedy or Drama Series (One Hour)

“Better Call Saul”
“Star Trek: Picard”
“Stranger Things”
“The Boys”
“The Crown”
“Westworld”

Outstanding Sound Editing for a Comedy or Drama Series (Half-Hour) and Animation

“GLOW”
“Silicon Valley”
“Space Force”
“The Mandalorian”
“What We Do in the Shadows”

Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation

Stephen Tibbo, CAS, Srdjan Popovic, Brian R. Harman, CAS, Peter Bawiec, and Dean Okrand, CAS, “Modern Family”
Bryan Day and Martin Lee, “Schitt’s Creek”
Ben Patrick, John W. Cook II, and Bill Freesh, “Space Force”
Shawn Holden, Bonnie Wild, and Chris Fogel, “The Mandalorian”
Laura L. King, CAS, Bob La Masney, Kathy Oldham, and Ryan Kennedy, “The Ranch”

Outstanding Sound Mixing for a Limited Series or Movie

Alex Altman, Joe Earle, CAS, Doug Andham, CAS, Judah Getz, CAS, “American Horror Story: 1984”
Lisa Piñero, CAS, Mitch Low, Howard Bargroff, and Glen Gathard, “Devs”
Phillip W. Palmer, CAS, Larry Benjamin, CAS, Kevin Valentine, and Stacey Michaels, “El Camino: A Breaking Bad Movie”
John Bauman, CAS, Joe Earle, CAS, Doug Andham, CAS, and Bob Lacivita, CAS, “Hollywood”
Douglas Axtell, Joe DeAngelis, and Chris Carpenter, “Watchmen”

Outstanding Special Visual Effects

“Lost in Space”
“Stranger Things”
“The Mandalorian”
“Watchmen”
“Westworld”

Outstanding Special Visual Effects in a Supporting Role

“Devs”
“Tales from the Loop”
“The Handmaid’s Tale”
“Tom Clancy’s Jack Ryan”
“Vikings”

Nominees and Winners for Tuesday, September 15

Outstanding Short Form Variety Series

“Beeing at Home with Samantha Bee”
“Between Two Ferns with Zach Galifianakis: The Movie, Sorta Uncut Interviews”
“Carpool Karaoke: The Series”
“Jimmy Kimmel’s Quarantine Minilogues”
“The Randy Rainbow Show”

Outstanding Variety Sketch Series

“A Black Lady Sketch Show”
“Drunk History”
“Saturday Night Live”

Outstanding Variety Special (Live)

“73rd Annual Tony Awards”
“77th Annual Golden Globe Awards”
“Live In Front of a Studio Audience: ‘All in the Family’ and ‘Good Times’”
“Super Bowl LIV Halftime Show Starring Jennifer Lopez and Shakira”
“The Oscars”

Outstanding Contemporary Hairstyling for a Variety, Nonfiction, or Reality Program

“A Celebration of the Music from ‘Coco’”
“Dancing with the Stars”
“RuPaul’s Drag Race”
“The Oscars”
“The Voice”

Outstanding Contemporary Makeup for a Variety, Nonfiction, or Reality Program (Non-prosthetic)

“Dancing with the Stars”
“RuPaul’s Drag Race”
“The Little Mermaid Live!”
“The Oscars”
“The Voice”

Outstanding Costumes for a Variety, Nonfiction, or Reality Program

Daniela Gschwendtner, Steven Lee, Howard Sussman, Polina Roytman, and Karina Torrico, “Dancing with the Stars”
Christina Mongini, Annalisa Adams, and Cassandra Conners, “Drunk History”
Zaldy Coco, “RuPaul’s Drag Race”
Tom Broecker, Eric Justian, Christina Natividad, Ashley Dudek, Karena Sanchez, and Dale Richards, “Saturday Night Live”
Marina Toybina, Grainne O’Sullivan, Gabrielle Letamendi, and Candice Rainwater, “The Masked Singer”

Outstanding Directing for a Variety Series

Dime Davis, “A Black Lady Sketch Show”
Paul Pennolino and Christopher Werner, “Last Week Tonight with John Oliver”
Don Roy King, “Saturday Night Live”
David Paul Meyer, “The Daily Show with Trevor Noah”
Jim Hoskinson, “The Late Show with Stephen Colbert”
Linda Mendoza, “Tiffany Haddish Presents: They Ready”

Outstanding Lighting Design/Lighting Direction for a Variety Special

“62nd Grammy Awards”
“73rd Annual Tony Awards”
“Super Bowl LIV Halftime Show Starring Jennifer Lopez and Shakira”
“The Kennedy Center Honors”
“The Oscars”

Outstanding Music Direction

Sheila E., Jimmy Jam, and Terry Lewis, “Let’s Go Crazy: The Grammy Salute to Prince”
Lenny Pickett, Eli Brueggeman, and Leon Pendarvis, “Saturday Night Live”
Adam Wayne Blackstone, “Super Bowl LIV Halftime Show Starring Jennifer Lopez and Shakira”
Rickey Minor, “The Kennedy Center Honors”
Rickey Minor, “The Oscars”

Outstanding Picture Editing for Variety Programming

Jeff U’Ren, “Dave Chappelle: Sticks & Stones”
Brad Gilson, Chester G Contaoi, Jon Alloway, Pi Ware, Brian Forbes, “Dave Chappelle: The Kennedy Center Mark Twain Prize for American Humor”
Ryan Barger, “Last Week Tonight with John Oliver”
Anthony Miale, “Last Week Tonight with John Oliver”
Mike Choi, Tom Favilla, Nikolai Johnson, Mark Paone, Erin Shannon, Catherine Trasborg, Einar Westerlund, and Robert York, “The Daily Show with Trevor Noah”

Outstanding Production Design for a Variety, Reality or Competition Series

Jason Singleton, Katy Porter, and Naomi Munro, “At Home with Amy Sedaris”
Monica Sotto, Rae Deslich, and Linette McCown, “Drunk History”
Eric Morrell and Amanda Carzoli, “Last Week Tonight with John Oliver”
Thomas Rouse, “Queer Eye”
Eugene Lee, Akira Yoshimura, Keith Ian Raywood, and N. Joseph DeTullio, “Saturday Night Live”

Outstanding Production Design for a Variety Special

Brian Stonestreet, Kristen Merlino, Gloria Lamb, and Jason Howard, “62nd Grammy Awards”
Brian Stonestreet and Angel Herrera, “77th Annual Golden Globe Awards”
Bernard Vyzga, Richard Rohrer, and Ron Olsen, “Live In Front of a Studio Audience: ‘All in the Family’ and ‘Good Times’”
Misty Buckley, Joe Celli, and Jason Howard, “The Little Mermaid Live!”
Jason Sherwood and Alana Billingsley, “The Oscars”

Outstanding Sound Mixing for a Variety Series or Special

“62nd Grammy Awards”
“Dave Chappelle: Sticks & Stones”
“Last Week Tonight with John Oliver”
“The Daily Show with Trevor Noah”
“The Oscars”

Outstanding Technical Direction, Camerawork, Video Control for a Series

“Curb Your Enthusiasm”
“Jimmy Kimmel Live!”
“Last Week Tonight with John Oliver”
“Saturday Night Live”
“The Voice”

Outstanding Technical Direction, Camerawork, Video Control for a Special

“2019 American Music Awards”
“Dave Chappelle: Sticks & Stones”
“Live In Front of a Studio Audience: ‘All in the Family’ and ‘Good Times’”
“The Little Mermaid Live!”
“The Oscars”

Outstanding Writing for a Variety Series

“Full Frontal with Samantha Bee”
“Last Week Tonight with John Oliver”
“Late Night with Seth Meyers”
“The Daily Show with Trevor Noah”
“The Late Show with Stephen Colbert”

Nominees and Winners for Monday, September 14

Outstanding Documentary or Nonfiction Special

“The Apollo”
“Beastie Boys Story”
“Becoming”
“The Great Hack”
“Laurel Canyon: A Place In Time”

Outstanding Hosted Nonfiction Series or Special

“Comedians In Cars Getting Coffee”
“Leah Remini: Scientology and the Aftermath”
“Ugly Delicious”
“Vice”
“The World According To Jeff Goldblum”

Outstanding Short Form Nonfiction or Reality Series

“Between the Scenes — The Daily Show”
“Full Frontal with Samantha Bee Presents: Pandemic Video Diaries”
“National Geographic Presents: Creating Cosmos: Possible Worlds”
“Pose: Identity, Family, Community”
“RuPaul’s Drag Race Out of the Closet”

Outstanding Structured Reality Program

“A Very Brady Renovation”
“Antiques Roadshow”
“Love is Blind”
“Queer Eye”
“Shark Tank”

Outstanding Casting for a Reality Program

Sasha Alpert, Megan Sleeper, and Caitlyn Audet, “Born This Way”
Donna Driscoll, Kelly Zack Castillo, and Megan Feldman, “Love is Blind”
Danielle Gervais, Beyhan Oguz, Pamela Vallarelli, Ally Capriotti Grant, and Hana Sakata, “Queer Eye”
Goloka Bolte, CSA and Ethan Petersen, “RuPaul’s Drag Race”
Michelle McNulty, CSA, Holly Dale, and Courtney Burns, “The Voice”

Outstanding Cinematography for a Nonfiction Program

Erick Still and Aubrey Keith, “American Factory”
Buzz Aldrin and Michael Collins, “Apollo 11”
Nadia Hallgren, “Becoming”
Muhammad Khair Al Shami, Ammar Sulaiman, and Mohammed Eyad, “The Cave”
Richard Ladkani, “Sea of Shadows”
Richard Jones, Michael W. Richards, Warren Samuels, and Matthew Goodman, “Serengeti”

Outstanding Cinematography for a Reality Program

“Cheer”
“Life Below Zero”
“Queer Eye”
“RuPaul’s Drag Race”
“Survivor”

Outstanding Directing for a Documentary/Nonfiction Program

Steven Bognar and Julia Reichert, “American Factory”
Todd Douglas Miller, “Apollo 11”
Nadia Hallgren, “Becoming”
Feras Fayyad, “The Cave”
Jason Hehir, “The Last Dance”
Eric Goode and Rebecca Chaiklin, “Tiger King: Murder, Mayhem and Madness”

Outstanding Directing for a Reality Program

Greg Whiteley, “Cheer”
Rich Kim, “LEGO Masters”
Hisham Abed, “Queer Eye”
Nick Murray, “RuPaul’s Drag Race”
Ariel Boles, “Top Chef”

Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score)

Kamasi Washington, “Becoming”
Amanda Jones, “Home”
Pinar Toprak and Alex Kovacs, “McMillion$”
Mark Mothersbaugh, John Enroth, and Albert Fox, “Tiger King: Murder, Mayhem and Madness”
Laura Karpman, “Why We Hate”

Outstanding Narrator

Kareem Abdul-Jabbar, “Black Patriots: Heroes of the Revolution”
David Attenborough, “Seven Worlds, One Planet”
Angela Bassett, “The Imagineering Story”
Lupita Nyong’o, “Serengeti”
Chiwetel Ejiofor, “The Elephant Queen”

Outstanding Picture Editing for a Nonfiction Program

Lindsay Utz, ASC, “American Factory”
Todd Douglas Miller, “Apollo 11”
Jeff Buchanan, ACE and Zoe Schack, “Beastie Boys Story”
Jody McVeigh-Schultz, Lane Farnham, James Lee Hernandez, Brian Lazarte, and Scott Hanson, “McMillion$”
Chad Beck, ACE, Devin Concannon, Abhay Sofsky, and Ben Sozanski, ACE, “The Last Dance”
Doug Abel, ACE, Nicholas Biagetti, Dylan Hansen-Fliedner, Geoffrey Richman, ACE, and Daniel Koehler, “Tiger King: Murder, Mayhem and Madness”

Outstanding Picture Editing for a Structured Reality of Competition Program

Samantha Diamond, Dan Hancox, Karl Kimbrough, Ian Kaufman, Kevin Benson, Josh Young, and Jon Bilicki, “LEGO Masters”
Ryan Taylor, Tony Zajkowski, “Queer Eye”
Jaime Martin, Michael Roha, Paul Cross, Michael Lynn Deis, and Ryan Mallick, “RuPaul’s Drag Race”
Michael Greer, Chad Bertalotto, Evan Mediuch, James Ciccarello, and Jacob Teixeira, “Survivor”
Matt Reynolds, David Chalfin, Mike Abitz, Eric Lambert, Jose Rodriguez, and Dan Williams, “Top Chef”

Outstanding Picture Editing for an Unstructured Reality Program

Arielle Kilker, David Nordstrom, Kate Hackett, Daniel McDonald, Mark Morgan, Sharon Weaver, and Ted Woerner, “Cheer”
Rob Butler, ACE, Isaiah Camp, Ben Bulatao, ACE, Joe Mikan, ACE, Ralf Melville, and Alexandra Moore, “Deadliest Catch”
Matt Edwards, Jennifer Nelson, Tony Diaz, Matt Mercer, Eric Michael Schrader, and Michael Swingler, “Life Below Zero”
Kendra Pasker, Yali Sharon, and Kate Smith, “RuPaul’s Drag Race: Untucked”

Outstanding Sound Editing for a Nonfiction or Reality Program (Single of Multi-Camera)

Eric Milano, “Apollo 11”
Martyn Zub, Paul Aulicino, and Pernell Salinas, “Beastie Boys Story”
Logan Byers, Kaleb Klinger, and Sean Gray, “Cheer”
Jonathan Greber and Lucas Miller, “Laurel Canyon: A Place in Time”
Ben Freer, Jordan Meltzer, and Jody Meltzer, and Jody McVeigh-Schultz, “McMillion$”
Ian Cymore, Rachel Wardell, and Steve Griffen, “Tiger King: Murder, Mayhem and Madness”

Outstanding Sound Mixing for a Nonfiction or Reality Program (Single of Multi-Camera)

Eric Milano, “Apollo 11”
William Tzouris, Jacob Feinberg, and Martyn Zub, “Beastie Boys Story”
Ryan David Adams, “Cheer”
Gary A. Rizzo, CAS, Stephen Urata, Danielle Dupre, and Tony Villaflor, “Laurel Canyon: A Place in Time”
Glenn Gaines, Ryan Brady, Erik Valenzuela, and Sal Ojeda, “RuPaul’s Drag Race”
Jose Araujo, Royce Sharp, Jack Neu, and Ian Cymore, “Tiger King: Murder, Mayhem and Madness”

Outstanding Writing for a Nonfiction Program

Mike Diamond, Adam Horowitz, and Spike Jonze, “Beastie Boys Story”
Rachel Mason and Kathryn Robson, “Circus of Books”
Mark Lewis, “Don’t F**k with Cats: Hunting an Internet Killer”
James Lee Hernandez and Brian Lazarte, “McMillion$”
Alisar Hasan and Feras Fayyad, “The Cave”

Looking for a way to watch this year’s Emmy nominees and winners? IndieWire’s full guide to all the contenders’ availability can be found here. (Products featured are independently selected by our editorial team and we may earn a commission from purchases made from our links.)

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Bargain Mansions: HGTV Orders New Episodes Starring Tamara Day

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‘Lovecraft Country’ Episode 7 Recap: Otherworldly

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Listen: Hippolyta Freeman has come unstuck in time. And space.

LOVECRAFT COUNTRY 107 -01

In this week’s solid installment of Lovecraft Country (“I Am”), Aunjanue Ellis’s Hippolyta Freeman takes center stage—literally, at one point—like Ji-ah last week and Ruby the week before that. Once again this is weird to say, considering how strong the performances of series leads Jonathan Majors and Jurnee Smollett are, but the show benefits from this side trip. And it is a trip.

It takes a while to get started, however. First, Hippolyta has to unlock the mystery of Hiram Epstein’s orrery, unlocking a hidden compartment that contains a key. This key will switch on machinery in an observatory in the middle of nowhere in Kansas, which…well, more about that in a moment.

Majors’s Atticus and Smollett’s Leti have some business to attend to as well. Through an ill-timed visit to his father Montrose’s apartment, Tic discovers that his dad is gay (it seems he’s at least heard rumors to this effect before), and recoils in disgust, not so much for his old man’s sexuality itself but for the way he overcompensated by mercilessly beating Tic as a young man to keep him from being “soft.”

Tic then sets out to track down a cousin of his mother’s, in whom the Braithwhite bloodline might be traceable, and who might possess the missing copy of the Book of Names. Leti stays home to reconcile with her sister Ruby, who’s learned how the shape-shifting sausage gets made by Christina—she’s kept the corpses of William and Dell in the basement, turning their blood into magic shape-shifting potions. In the process, she discovers the orrery, and the coordinates to which Hippolyta must be traveling. She calls Tic to tip him off, and he arrives just in time to fight off some cops in the service of the sinister Captain Lancaster.

LOVECRAFT COUNTRY 107 -02

Then a portal to other worlds gets opened, sucking Tic and Hippolyta in. That’s when things get really strange. And, alternately, funny and endearing and just plain cool.

LOVECRAFT COUNTRY 107 -03

Hippolyta arrives in some kind of sci-fi alien-planet wasteland, as robotic being descend from a spaceship made from Lovecraftian “non-Euclidean geometry.” She then wakes up inside the craft, naked, with some kind of pinkish-bluish energy stored in panels surgically implanted in her wrists. A towering cyborg woman with an enormous afro—she’s played by Karen LeBlanc, and her name in the credits is listed as both “Seraphina” and, cheekily, “Beyond C’est”—tells Hippolyta she is not imprisoned, despite appearances to the contrary.

It takes some failed escape attempts and a partial dismantling of her surroundings for Hippolyta to figure out what her…captor? Benefactor? Well, whatever she is, it takes Hippolyta a bit to figure out what she means. When the alien being demands Hippolyta name herself and where she wants to be, Hippolyta says she’d like to be dancing on stage with Josephine Baker in Paris. And just like that, she is.

LOVECRAFT COUNTRY 107 -04A

So she’s not the quickest study in the world when it comes to dancing—sue her! But she takes to Josephine’s bohemian demimonde like a fish to water, carousing with the best of them. In a heart to heart with the famous performer, she speaks with bitterness about how her newfound freedom has shown her just how un-free she was back in her old life. “They found a smart way to lynch me without me ever noticing a noose,” she says of the white people who boxed her into her limited life. She hates them—and she hates herself for “letting” them make her feel so small.

One cry of “I am Hippoylta” later, and she finds herself in a sort of Night’s Watch swordfight training circle, surrounded by warriors who are all Black women. Her dueling technique is a bit more advanced than her dancing technique; before long she gets the best of her trainer, and is crowned by a queen with a golden helmet.

LOVECRAFT COUNTRY 107 -05

The next thing you know, she and her cadre of soldiers are slaughtering an entire platoon of Confederate troops. “We are here,” she proclaims after a quick but only temporary victory over the racist rebels, “because we did not beliee them when they told us that our rage was not ladylike, that our violence goes too far, that the hatred we feel for our enemies isn’t godlike.” If she was free to love and lust in Josephine Baker’s world, she’s free to hate and kill here—two faces of the same liberatory coin.

Hippolyta’s next journey, though, is one closer to home. She names herself “Hippolyta, George’s wife,” and just like that, she’s back in bed with her now not-so-late husband. (It’s good to see Courtney B. Vance back in action, albeit briefly.) There’s a funny little time jump that reveals Hippolyta has told George everything that’s happened to her in her jaunts between worlds—no pretending that everything’s status quo ante for her—and it’s all he can do to keep up. Hell, he’s not even sure he’s real, based on what she’s saying.

But he does take to heart her remonstrance that wittingly or no, he helped her “shrink” during her life. Even though he fell for her because he saw a “discoverer” in her insatiable curiosity, he allowed or encouraged her to become a mere support system for his work creating the traveler’s guide book while she stayed at home. This leads to her final transformation: “I am Hippolyta, discoverer.”

LOVECRAFT COUNTRY 107 -06

Then she and George find themselves in, basically, a No Man’s Sky planet, or a world from one of the Star Wars prequels, communing with adorable aliens and cataloguing the far-out day-glo flora and fauna. Only after this does she decide to return to her original life, to be there for her daughter Dee.

Only it’s Atticus, not Hippolyta, whom we see fall back to earth through the portal in the observatory. Fleeing the oncoming cops, he grabs a copy of a mysterious book called Lovecraft Country, written by his uncle George—but he doesn’t notice the handmade comic created by Dee wedged partially under the slain cop’s corpse. That can’t be good.

Lovecraft Country, I’d now venture to say, is pretty good. Which is not to say I don’t have problems with it still. The CGI effects are still often shockingly poor—there’s an outrageously fake-looking digital blood-spread across a decapitated Confederate’s shirt that’s particularly egregious; meanwhile, imagine how much more impressive last week’s episode would have been if Ji-ah’s tentacular tails had been practical effects a la John Carpenter’s The Thing and weep for what might have been. And there’s an innate corniness to some of the proceedings, like the math equations superimposed over Hippolyta as she crunches the multidimensional numbers; how has this particular device survived years of ruthless memeification?

LOVECRAFT COUNTRY 107 -07

But it should hardly need saying that a mainline injection of Afrofuturism in the form of Seraphina and her world-warping technology—not to mention a Sun Ra voiceover describing Black people as living myths, or the massacre of the Confederacy’s protofascist infantry by Black women with swords—is something of a balm in these troubled times. Aunjanue Ellis, meanwhile, is expected to dance like Josephine Baker and swordfight like Wonder Woman in the space of a single episode, which she does with fearless aplomb.

I still don’t find Lovecraft Country scary, except insofar as it chronicles racist realities, rather than horrific fantasies; the two have yet to properly meld. But I do find it engaging, for three episodes in a row now. It’s a start.

Sean T. Collins (@theseantcollins) writes about TV for Rolling Stone, Vulture, The New York Times, and anyplace that will have him, really. He and his family live on Long Island.

Watch Lovecraft Country Episode 7 (“I Am”) on HBO Max

Watch Lovecraft Country Episode 7 (“I Am”) on HBO Now

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Samuel L Jackson lands Marvel’s Nick Fury show on Disney Plus

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Nick Fury will be returning to duty in the Marvel Cinematic Universe — this time on Disney+.

Variety is reporting that Samuel L Jackson is being lined up to reprise his role as the former Director of SHIELD for his own live-action streaming series, though Disney+ has yet to officially confirm the project.

This MCU spin-off show will be written by Primetime Emmy Award nominee Kyle Bradstreet, a veteran of critically-acclaimed TV thrillers Mr Robot and Berlin Station.

There are no other casting details yet, nor is there any information on where Nick Fury’s next adventure will be taking him within the Marvel Cinematic Universe.

Marvel Studios

Related: Disney+ debuts new Marvel series with Nick Fury

Jackson’s Nick Fury most recently appeared in Spider-Man: Far From Home, where a post-credits twist revealed that he’d sent a Skrull imposter to pose as himself on earth while he was travelling in space.

The actor hinted soon after Far From Home‘s release that Marvel fans had definitely not seen the last of the elusive Fury.

“He’s gotta retool right now,” he told Digital Spy last summer. “As he says in this film, ‘I used to know everything and now I know nothing.’ Now we’ve gotta retool, figure out how the world has changed while he’s gone and who he can recruit and where he can recruit.”

Fury resurfacing for his own adventure series comes at an interesting time, since Disney+ is set to introduce a new shadowy agency into the MCU with the release of WandaVision.

captain marvel, nick fury, samuel l jackson

Marvel StudiosDisney

Related: What’s happening in Marvel Phase 4?

That series will feature The Vision and Wanda Maximoff encountering SWORD (Sentient World Observation and Response Department), an intelligence group created to contain extraterrestrial threats on earth.

Knowing Marvel Studios boss Kevin Feige, the timing is anything but a coincidence…

WandaVision will premiere on Disney+ before the end of 2020.


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