Please listen to these chicks and take issue with whatever, including the stuff about any and all immigrants should pour into this country and who are we to say no? And how Jesus/Yeshua and Christianity are basically a branch of oppressive paternalism and corporate-industrial mind control, etc. Revolution is happening all over.

@nickshirleyyWhat do you think about their takes on these issues?♬ original sound – Nick Shirley

Lex Fridman’s four-day-old interview with Kevin Spacey is magnificent. Completely worth the two-hour-plus investment.

Lex Fridman? It’s spelled Friedman or Freedman.

The top photo is Le Sancerre, 87 Rue Des Archives, 75003.

The bottom was snapped on the steps leading down from Place Caulaincourt, just past Chez Ginette. The entrance to the Lamarck metro station is at the bottom of the steps. The yellow awning on the right is L’Escalier Bistro. The sloping street below is rue de la Fontaine-du-But.

Both taken in early May 2023.

If you’re any kind of Dr. No fanatic, this nearly 19-minute catalogue of shots, set-ups, sunlight challenges and other technical and logistical hurdles during the first day of shooting in Jamaica is fascinating. Really.

Wiki summary: “Filming began on location at Palisadoes Airport in Kingston, Jamaica, on 1.16.62. The primary scenes there were the exterior shots of Crab Key and Kingston. Shooting took place a few yards from Fleming’s Goldeneye estate, and the author regularly visited the filming with friends.[62] Location filming was largely in Oracabessa, with additional scenes on the Palisadoes strip and Port Royal in St Andrew. 2.21.62, production left Jamaica with footage still unfilmed due to a change of weather.”

I somehow hadn’t watched the Sing Sing trailer when I tapped out last Friday’s Best Picture projection piece, but now I’ve seen it and am persuaded…well, certainly that Colman Domingo will be right at the top of the Best Actor nominees list but also that Greg Kwedar and Clint Bentley‘s allegedly spirit-lifting prison drama, about a wrongfully imprisoned guy putting on a play alongside other cons, will probably end up with a Best Picture nom. Maybe.

Based on a true story about the Rehabilitation Through the Arts (RTA) program at New York’s Sing Sing prison, pic follows the friendship of two RTA alumni, John “Divine G” Whitfield (Colman Domingo) and Clarence “Divine Eye” Maclin (Clarence Maclin himself) as they work together to stage an original production. Vulnerability, trust, integrity, pride, etc.

Sing Sing will open limited on 7.12.24. Pic will expand in August.

I speculated on 5.7 that 2025’s strongest Best Picture contenders will probably be those that don’t feel especially woked-up or agenda-driven (i.e., POC narrative, #MeToo-assertive, LGBTQ- or trans-promotional).

That doesn’t mean there won’t be any agenda-driven nominees. Emilia Perez (Netflix) will almost certainly be nominated upon the shoulders of musical fans as well as gay and trans celebrationists.

I’m actually not detecting anything especially wokey about Sing Sing. Okay, it focuses on a mostly black cast with two or three white guys (including Sound of Metal‘s Paul Raci) on the side, and given the setting it has to be a little bit gayish…no? But mostly I’m sensing soulful and heartwarming.

Plus it automatically earns an extra five points for presenting itself within a 1.66:1 aspect ratio.

Over the years Academy and guild members have been trained like dogs to focus only on award-season releases (Labor day to Christmas) for potential Oscar contenders, but exceptions pop up every so often. Sing Sing may be one of them.

I am therefore projecting that the following eight films have the best chances of being nominated for Best Picture:

Todd Phillips‘ Joker: Folie à Deux (Warner Bros., 10.4)
Jacques Audiard‘s Emilia Perez (Netflix)
Steve McQueen‘s Blitz (Apple, undated but surely opening during award seaeon)
Sean Baker‘s Anora (Neon, 10.18)
Greg Kwedar and Clint Bentley‘s Sing Sing
Edward Berger‘s Conclave (Focus Features, 11.15)
Ridley Scott‘s Gladiator II (Paramount, 11.22)
Robert Zemeckis‘ Here

…is what Alfred Hitchcock’s Shadow of a Doubt (‘43) was, but absolutely not what Saboteur (‘42) was…not even close. Not that this concerned the Spanish poster illustrator. Sell whatever sizzle comes to mind; to hell with plot specifics.

Who in their right mind would want to see Barry Lyndon (1.66:1 aspect ratio) on a super-curved Cinerama screen?