Review: ‘Baby Ruby,’ starring Noémie Merlant, Kit Harington and Meredith Hagner

April 15, 2023

by Carla Hay

Kit Harington and Noémie Merlant in “Baby Ruby” (Photo courtesy of Magnet Releasing)

“Baby Ruby”

Directed by Bess Wohl

Culture Representation: Taking place in upstate New York, the dramatic film “Baby Ruby” features a predominantly white cast of characters (with a few African Americans and Latinos) representing the working-class and middle-class.

Culture Clash: A popular lifestyle blogger experiences nightmarish scenarios soon after the birth of her first child. 

Culture Audience: “Baby Ruby” will appeal primarily to people who are interested in watching incoherent and repetitive movies about postpartum depression.

Noémie Merlant and Meredith Hagner in “Baby Ruby” (Photo courtesy of Magnet Releasing)

“Baby Ruby” wants to get viewers to think about postpartum depression, but this gimmicky and dull drama will just give some viewers a headache from all the baby screaming and mother’s hallucinations that the movie uses as weak filler. Before seeing “Baby Ruby,” some people might have the wrong impression that it’s a horror movie. “Baby Ruby” is more of a psychological drama that has nothing interesting to say and just shows a series of repetitive scenes of a new mother losing touch with reality. The movie’s ending is both annoying and underwhelming. “Baby Ruby” had its world premiere at the 2022 Toronto International Film Festival.

Written and directed by Bess Wohl, “Baby Ruby” (Wohl’s feature-film directorial debut) is inspired by Wohl’s experience with postpartum depression after the birth of her first child. In the “Baby Ruby” production notes, Wohl made this statement about this experience that describes, in part, how she was affected by being a first-time mother to a baby: “When I became a mother, I lost my mind … Suddenly, instead of floating on a cloud of oxytocin, I felt trapped in a nightmare. The doctors called my daughter ‘surprisingly alert’ which turned out to be code for fussy, sleepless, ravenous and insatiable. I had no idea how to soothe her; I couldn’t even soothe myself. My mind felt broken.”

Wohl’s statement continues: “My body felt like it was no longer my own. When I haltingly tried to tell people what I was experiencing, they assured me it was all ‘perfectly normal,’ and suggested that I just needed rest. But I couldn’t rest. I couldn’t calm down. I felt like I was dying, and, in a way, I was. Though I could never have articulated it at the time, what I was experiencing was the death of the person I had been before I had children.”

Those are perfectly valid feelings. The problem is that “Baby Ruby” is supposed to be a movie about postpartum depression, but the movie actually depicts someone going through the type of psychotic breakdown that doesn’t happen to most mothers—or to most people in general. The main conflict in “Baby Ruby” should have been more relatable to viewers, especially to those who’ve experienced postpartum depression. Instead, the movie goes so far off the deep end, it just becomes a very sloppy compilation of nightmarish visions.

In the beginning of “Baby Ruby,” protagonist Joséphine, nicknamed Jo (played by Noémie Merlant), is in her 30s and is about to give birth to her first child in less than a few weeks. Jo is a French immigrant living in an unnamed city in upstate New York. She is the owner of a women’s lifestyle blog called Love, Joséphine. The blog hasn’t made Jo rich, like Martha Stewart, but Jo is bringing in enough profits from the blog to live a comfortable, middle-class lifestyle.

Jo’s loving and supportive husband Spencer (played by Kit Harington), who is American, works as a butcher. Jo and Spencer have a solid marriage and are eagerly anticipating the birth of their first child. (Harington is British in real life, and he has a passable American accent in this movie.) Predictably, the marriage of Jo and Spencer becomes strained when Jo goes through her mental health issues after the baby is born.

The movie’s opening scene shows a baby shower party for Jo that is attended by about 10 to 15 of her work colleagues. Before the guests arrive, Jo is seen cutting these words out of felt material: “Welcome, Baby Ruby.” Spencer asks Jo if it’s weird that she’s throwing a baby shower for herself. Jo says no and adds, “It’s just because I need it to be perfect. It’s barely anything. Just people from work.” After the guests arrive, Jo’s assistant Caroline (played by Camila Canó-Flaviá) praises Jo as a “boss lady,” “entrepreneur” and “a leader.”

Caroline gushes to Jo, “You tripled our readership this year. You launched the online shop, you moved upstate, you did this insane renovation, by the way—all the while answering every single one of our readers’ comments personally. Oh, and by the way, making a human. We would all hate you if we didn’t absolutely love you. I feel so grateful to be a part of the Love, Joséphine family.”

Now that it’s been established that Jo is an overachiever and a bit of perfectionist, who seems to have an ideal life, it’s supposed to make it more unsettling for her when she feels she’s losing control over her life. “Baby Ruby” veers off course from the postpartum depression theme, in a scene where pregnant Jo goes to a store that sells baby clothes. While she’s looking at some of the merchandise, Jo notices a blonde woman staring at her.

The woman appears to be in the same age range as Jo. This mystery stranger asks Jo in a friendly tone when the baby is due. Jo tells her the due date is “any day now.” The woman then asks Jo, “Are you scared?” Jo replies, “Should I be?” The woman has a baby in a stroller. But when Jo asks to see the baby, the woman’s attitude becomes hostile. She pushes Jo’s hand away and says that sleeping babies shouldn’t be awakened.

A few days after this uncomfortable incident, Jo gives birth in a hospital to a healthy baby girl named Ruby (played by Gabriella Reese Thompson and Lucas Timothy Thompson). But more odd things start happening. At the hospital, Jo is told by an unnamed nurse (played by Mariela Villa) that Jo can’t leave the hospital until Jo has defecated. When Jo does that, Jo sees blood is in the toilet. And then, the nurse gives Jo the baby’s placenta, “in case you want to eat it,” says the nurse. Most people would say something to a medical professional at the hospital about these two strange incidents, but Jo says nothing.

During the car ride home, Jo hallucinates seeing a young mother on the street throwing her baby at the car. It’s one of those scenes that pretends to be “real,” but then viewers find out it was all in Jo’s mind. Get used to seeing more of these fakeout scenes in “Baby Ruby,” because this repetitively boring movie is full them.

“Baby Ruby” does not give details on how long Jo has been living in her current home, but she doesn’t have any friends in the neighborhood. Instead, Jo is irritated that the only person she might have for company while Spencer is away at work is Spencer’s meddling and overprotective mother Doris (played by Jayne Atkinson), who insists that Jo call her “Mom.” Doris isn’t mean-spirited, and she has good intentions, but it’s obvious that Doris expects Jo to do what Doris thinks Jo should do in taking care of Ruby, instead of respecting Jo’s parenting choices.

Not much is revealed about Jo’s side of the family, except for one comment that Jo makes when she and Spencer leave the hospital with Ruby: “I wish my mum were here.” In fact, one of the biggest flaws about “Baby Ruby” is there’s hardly anything revealed about Ruby and Spencer (other than their jobs) at all throughout this 93-minute film. Spencer just becomes a husband who reacts in stereotypical ways when his wife starts to have terrified reactions to things that other people can’t see.

That’s because most of this movie turns into a tired cliché of the “paranoid woman who is not believed,” which is very common in horror movies—except that “Baby Ruby” isn’t a horror movie. It’s a very superficial exercise in flimsy jump scares that are supposed to be manifestations of motherhood fears. Fans of Harington will be disappointed by how uninteresting his Spencer character is and how he isn’t in the movie as much as his co-headlining status for “Baby Ruby” would suggest.

Making matters worse, Jo and Spencer don’t do things that real couples do when they have a newborn baby in the home. They don’t talk about how they’re going to take turns getting the baby to go back to sleep at night when the baby wakes up screaming and crying. They don’t talk about who would take care of the baby if the baby’s parents and other relatives aren’t available. If Spencer has any friends, they are not seen or mentioned this movie. These are some of the many reasons why “Baby Ruby” looks so phony and unrelatable.

Instead of showing Jo and Spencer as a realistic couple, “Baby Ruby” wastes a lot of time on a subplot about the mystery blonde coming back into Jo’s life. It happens when Jo is outside with Ruby in a stroller, on a residential street. A car speeds by, causing the stroller to tip over. Luckily, Ruby isn’t hurt.

But the rude blonde from the baby clothing store is nearby and witnesses this incident. She sees Jo and starts talking to Jo, as if she doesn’t remember how unfriendly she was to Jo the previous time that they talked. Her name is Shelly (played by Meredith Hagner), who is also married. Shelly’s baby is her first child. Shelly and Jo end up striking up a friendship where Shelly introduces Jo to a group of other young mothers in the neighborhood.

The movie goes off on an unrelated tangent where Shelly and Jo end up being sexually attracted to each other and start kissing each other passionately after a drunken night at a bar. But did this makeout session really happen? Or was it all in Jo’s imagination? Does anyone really care? Viewers shouldn’t care, because it’s ultimately a useless subplot.

When Jo is not having blackouts or being confused about what reality is, she sees things like a bony hand trying to get to Ruby in the crib while Jo is looking at a baby monitor in another room. When Jo rushes into the crib room to protect Ruby, there is no menacing intruder, and Ruby is safe and sound. These are the types of unimaginative scenes that litter the movie and do nothing to further the story’s plot.

“Baby Ruby” also has a weak and poorly written subplot that tries to mislead viewers into thinking that Ruby might be a “demon baby.” Even though Ruby is a newborn, Jo painfully finds out something shocking when she’s breastfeeding the baby: Ruby has a full set of teeth that normally wouldn’t grow so fast in a child this young. Jo’s obstetrician Dr. Rosenbaum (played by Reed Birney) dismisses this biological abnormality and says it’s not a big deal. Jo doesn’t question his assessment. It’s all just another clue that something is very wrong with Jo, and it’s another one of her hallucinations.

Jo also gets pestered by her assistant Caroline to share a photo of Ruby with the audience of Love, Joséphine. Before Jo gave birth, Jo had been blogging about her pregnancy journey on the website and had promised her audience that she would share photos of the baby after the baby was born. However, Jo keeps delaying making any photos of Ruby available to the public.

Ruby is kept hidden from Jo’s audience, but the audience of “Baby Ruby” will get a full-blast onslaught of this kid’s crying and shrieking, which intentionally gets louder and more frequent the more that Jo becomes unhinged. It’s an obvious and lazy way of trying to make viewers feel like they’re “losing their minds” too, because this incessant baby crying is part of what is supposed to be driving Jo over the edge into insanity. All it does is give an inaccurate, insulting and extremely “hysterical” version of postpartum depression.

All of the characters in “Baby Ruby” except Jo are very generic, with performances to match. Merlant seems to be doing her best in attempting to convince viewers that Jo is a complicated and tortured person. But the results just don’t look authentic, because Jo is depicted as being frequently shallow and vapid. The movie also makes a somewhat offensive and flippant mockery of the necessary steps to have someone involuntarily committed to a psychiatric institution. “Baby Ruby,” just like Jo, ends up being a very muddled mess with absolutely no depth and nothing substantial to say.

Magnet Releasing released “Baby Ruby” in select U.S. cinemas, on digital and VOD on February 3, 2023.

Review: ‘Eternals’ (2021), starring Gemma Chan, Richard Madden, Kumail Nanjiani, Brian Tyree Henry, Salma Hayek, Angelina Jolie and Lia McHugh

October 26, 2021

by Carla Hay

Kumail Nanjiani, Lauren Ridloff, Don Lee (also known as Ma Dong-Seok), Angelina Jolie, Richard Madden, Salma Hayek, Gemma Chan, Lia McHugh, Brian Tyree Henry and Barry Keoghan in “Eternals” (Photo courtesy of Marvel Studios)

“Eternals” (2021)

Directed by Chloé Zhao

Culture Representation: Taking place in various parts of the universe, the superhero action film “Eternals” features a racially diverse cast of characters (white, Asian, Latino and African American) portraying superheroes from outer space and human beings.

Culture Clash: The superheroes, who are known as Celestials, find out that their arch-enemy demon creatures, which are called Deviants, have not all been killed off and are back with a vengeance. 

Culture Audience: “Eternals” will appeal primarily to people who are fans of the Marvel Cinematic Universe (MCU), but viewers should know in advance that “Eternals” is much slower-paced and has a less straightforward narrative than a typical MCU movie.

Kumail Nanjiani and a Deviant in “Eternals” (Photo courtesy of Marvel Studios)

“Eternals” has the expected thrilling action scenes, but the non-action scenes might be too quiet and introspective for some fans of the Marvel Cinematic Universe. The movie suffers from too much timeline jumping. And there are some other problems with the film’s tone and pacing. However, the showdowns in the last third of the movie make up for the meandering story in the rest of “Eternals.” It’s a movie that tries to take a minimalist approach to a story that’s got maximalist content because it’s packed with characters and agendas.

If “Eternals” does not have the same consistently high-adrenaline pace that people have come to expect from MCU movies, that’s because “Eternals” is the first major studio movie (and fourth feature film) from Oscar-winning filmmaker Chloé Zhao, who made a name for herself as a writer/director of quiet and introspective independent films (such 2020’s “Nomadland” and 2018’s “The Rider”) about wandering and/or restless “ordinary” people. These “slice of life” low-budget movies are quite different from the blockbuster superhero spectacle that has become the defining characteristic of MCU movies. Zhao co-wrote the “Eternals” screenplay with Patrick Burleigh, Ryan Firpo and Kaz Firpo.

Sure, “Eternals” has big-budget visual effects, gorgeous cinematography and impressive production design, but the movie’s heart (under Zhao’s direction) remains in the artsy indie film culture of requiring viewers to think more about the psychology of the characters than about what’s shown on screen. There are many times in “Eternals” when what the characters do not say (and what they keep to themselves) can be as important as what they do say. “Eternals” is not a movie that spells things out easily for the audience.

However, with a large ensemble cast of characters that are based on Marvel Comics characters created by Jack Kirby, “Eternals” is disappointing in how these characters are introduced in such a jumbled way to movie audiences who might not be familiar with these characters. The movie’s title characters are Celestials: universe-wandering beings who look like humans but who actually have superhero powers, including the ability to fly, shoot lasers from their hands or eyes, and quickly heal from wounds.

Celestials, who can also live for centuries, are not immortal, but it’s rare for a Celestial to die. Celestials all share an energy source that can help them strengthen their superpowers. Celestials (just like humans) can feel emotions, have individual personalities, and make their own decisions. As such, Celestials can have varying degrees of personal connections to each other and to human beings.

Before the opening title sequence of “Eternals,” it’s explained that Celestials come from the planet Olympia and were created to combat gigantic demon-like creatures named Deviants on planet Earth. (There are many influences from Greek mythology in the “Eternals” story.) The Deviants can be as small as the size of an elephant or as large as the size of a dinosaur. The Celestials have been instructed by Arishem, their supreme being/prime Celestial, to only find and kill Deviants and not to interfere with any of Earth’s wars and crimes between any humans and other beings.

Over several centuries, the Celestials battled Deviants until it was believed that all of the Deviants were killed. With their goals seemingly accomplished, the Celestials went their separate ways. Most Celestials continued to live on Earth under the guise of being “normal” human beings. However, there would be no “Eternals” movie if things were that simple. To make a long story short: The Celestials find out that there are still more Deviants on Earth, and that Deviants might not be the only threat to the Celestials.

“Eternals” introduces for the first time in a live-action movie these 10 superhero Celestial/Eternal characters:

  • Sersi (played by Gemma Chan), who genuinely loves human beings overall and who works as a scientist at the Natural History Museum in London.
  • Ikaris (played by Richard Madden), who is serious-minded, ambitious and Sersi’s former love interest.
  • Ajak (played by Salma Hayek), who is the wise matriarchal leader of the group.
  • Thena (played by Angelina Jolie), who is a powerful warrior whose main weapons are supernatural swords, shields and tritons.
  • Druig (played by Barry Keoghan), who is an opinionated young rebel with the power to control minds.
  • Kingo (played by Kumail Nanjiani), who is a wisecracking jokester with an attraction to showbiz.
  • Phastos (played by Brian Tyree Henry), who is a master inventor and technopath with a sarcastic sense of humor and cautious nature.
  • Gilgamesh (played by Don Lee, also known as Ma Dong-Seok), who has extraordinary strength and a playful personality.
  • Makkari (played by Lauren Ridloff), who is described as “the fastest woman in the universe,” and she happens to be deaf.
  • Sprite (played by Lia McHugh), who is a shapeshifter but is frustrated that her real physical appearance of being a 12-year-old girl has not changed, even though she is centuries old.

If only these characters were introduced in “Eternals” in a way that would be easier to keep track of them and who they are. Some of the characters’ names aren’t even spoken right away, so viewers will be left wondering, “What is this character’s name? What is this character’s story?” Unless you’re a Marvel aficionado or someone who bothered to look up these characters before watching the movie, there will be some scenes in “Eternals” where you’ll be watching a bunch of people talking with no meaningful context of what their histories are with each other.

Because there are so many Celestial characters crammed into the movie, some of them inevitably get sidelined, or their personalities not given enough time to shine. For example, Thena barely says anything of substance, which seems like a waste of the talent of Oscar-winning Jolie. Thena has some standout fight scenes, but that’s about it. For reasons that are shown in the movie (but won’t be mentioned in this review because it’s spoiler information), Ajak is not in the movie as much as the “Eternals” trailers give the impression that she is. Gilgamesh gets the least amount of screen time out of the 10 Celestial superheroes in “Eternals.”

One of the biggest flaws of “Eternals” is that all the timeline jumping makes the movie look a bit unfocused. The movie goes back and forth from the present day to different past eras and locations. There’s one time jump scene that only lasts for a couple of minutes before it’s on to the next. At the same time, many of the conversations are slow-paced. It’s an odd mix.

The purpose of the zig-zagging between eras is to show what the Celestials looked like when they worked as a team in the past, compared to the present when they’ve become scattered in different places and leading different lives. Scenes take place in present-day London, Chicago or South Dakota, while the flashback scenes are in vastly different eras and places, such as Mesopotamia in 500 B.C.; Tenochtitlan in the year 1521; or Nagasaki, Japan, in 1945. (History buffs will immediately know the significance of the years and locations of these flashbacks.) For the present-day scenes, “Eternals” also has a not-so-subtle environmentalist message about climate change that factors into a pivotal part of the story.

And there’s a lot of deconstructing of macho superhero personas in “Eternals.” Without giving away too much information, it’s enough to say that Ikaris has several scenes where he cries. He sheds tears more than any other character in the movie. Madden gives a heartfelt performance in “Eternals,” but it’s easy to predict that all this superhero crying in “Eternals” will get some mixed reactions from audiences.

And speaking of melodrama, “Eternals” has a soap-opera-like subplot of Ikaris and Sersi’s love saga. After centuries of being together (and even having a wedding ceremony in India’s Gupta Empire in 400 B.C., as seen in the movie), Ikaris broke Sersi’s heart when he abruptly left after the Celestials disbanded. In present-day London, Sersi has moved on to a new love: a human named Dane Whitman (played by Kit Harington), who is a teacher/co-worker at the Natural History Museum.

In an early scene in the movie, Dane asks Sersi why she won’t move in with him. She plays coy. Dane also tries to guess what’s so different about Sersi, based on clues and hints that he’s been getting from Sprite, the Celestial who hangs out the most with Sersi. Sersi and Sprite have almost like a older sister/younger sister relationship. Dane incorrectly guesses that Sersi is some kind of wizard. The movie shows whether or not Sersi will tell Dane about her true identity.

Meanwhile, Ikaris comes back into Sersi’s life. Can you say “love triangle”? Except, not really, because Dane is not in most of this movie. Dane’s biggest scenes are at the beginning and at the end of “Eternals.” Instead, the big romance angle in the story is all about making viewers wonder if Sersi and Ikaris will get back together as a couple. Expect to see Ikaris and Sersi give each other predictable longing glances, or their hands deliberately touch in certain scenes. The problem is that Madden and Chan don’t have much believable chemistry as former lovers who are supposed to still be hot for each other.

The only other Celestial who’s shown having a love life in “Eternals” is Phastos, who is openly gay and is married to a loving and supporting human husband named Ben (played by Haaz Sleiman), whose occupation is never mentioned in the film. Phastos (or “Phil” as he calls himself in his domesticated Earthly life) and Ben have a precocious and energetic 10-year-old son named Jack (played by Esai Daniel Cross), who is the reason why protective dad Phastos is very reluctant to go back to any Celestial duties. Ben knows about Phastos’ true identity as a Celestial. As for the much-hyped “first MCU superhero gay kiss,” it’s very tame. It’s in a scene where Ben and Phastos kiss each other goodbye, as Phastos temporarily leaves home to go with the Celestials to save the world again, as you do if you’re a superhero.

Speaking of being a superhero, “Eternals” has some confusing scenes about Celestial superpower strength. For example, in more than one scene, Celestials can be seen healing themselves and each other when they sustain serious bloody injuries in a fight. However, there’s a scene in the movie where one of the Celestials is able to knock out another Celestial unconscious with one blow from a rock to a head. You’d think that the Celestial who was hit could recover and regain consciousness quickly, based on the Celestial superpowers, but that’s not what happens.

“Eternals” has a serious tone overall, but the movie does attempt to have some comic relief, mainly through the characters of Kingo and Phastos. Sprite can be a bit of a moody brat, so her cynical attitude toward life is occasionally mined for laughs. Druig and Makkari are romantically attracted to each other and have some cute flirtatious banter. However, some of the movie’s comedy seems forced and something out of a TV sitcom.

There’s a somewhat annoying subplot about Kingo being a Bollywood star and insisting on making a “documentary” (which is actually just Kingo’s one-camera vanity project) about the Celestials’ exploits when this superhero group gets back together. Tagging along for the ride is Kingo’s valet named Karun (played by Harish Patel), who is nothing more than a buffoon character posing as a Bollywood director. “Eternals” also has lots of references to social media and pop culture that will not age well over the years.

With all that being said, “Eternals” does deliver some exciting action sequences and meaningful character development, especially in the last 50 minutes of this 157-minute movie. There are some visually stunning outdoor scenes, which have become part of Zhao’s signature style in her films. Just expect to sit through a lot of dialogue that can be dull and somewhat trite before getting to the best parts of “Eternals.” The movie’s mid-credits scene (which has the MCU debut of two buddy characters, of which one is portrayed by a former teen idol) and end-credits scene (which has Dane by himself and showing why he told Sersi earlier that his family history is “complicated”) should have viewers anticipating the next movie in the “Eternals” saga.

Marvel Studios will release “Eternals” in U.S. cinemas on November 5, 2021.

2020 Golden Globe Awards: presenters announced

January 3, 2020

by Carla Hay

The Hollywood Foreign Press Association (the organization the votes for the Golden Globe Awards) and Dick Clark Productions (which co-produces the Golden Globes telecast) have announced the presenters of the 2020 Golden Globe Awards ceremony, which takes place January 5 at the Beverly Hilton in Beverly Hills California. NBC will have the U.S. telecast of the show, beginning at 8 p.m. Eastern Time/5 p.m. Pacific Time.

Here are the presenters in alphabetical order:

  • Tim Allen
  • Jennifer Aniston*
  • Christian Bale*
  • Antonio Banderas*
  • Jason Bateman
  • Annette Bening*
  • Cate Blanchett*
  • Matt Bomer
  • Pierce Brosnan
  • Glenn Close
  • Daniel Craig*
  • Ted Danson
  • Ana de Armas*
  • Leonardo DiCaprio*
  • Ansel Elgort
  • Chris Evans
  • Dakota Fanning
  • Will Ferrell
  • Lauren Graham
  • Tiffany Haddish
  • Kit Harington*
  • Salma Hayek
  • Scarlett Johansson*
  • Elton John*
  • Nick Jonas
  • Harvey Keitel
  • Zoe Kravitz
  • Jennifer Lopez*
  • Rami Malek*
  • Kate McKinnon
  • Helen Mirren
  • Jason Momoa
  • Gwyneth Paltrow
  • Amy Poehler
  • Brad Pitt*
  • Da’Vine Joy Randolph
  • Margot Robbie*
  • Paul Rudd*
  • Wesley Snipes
  • Octavia Spencer
  • Bernie Taupin*
  • Charlize Theron*
  • Sofia Vergara
  • Kerry Washington
  • Naomi Watts
  • Rachel Weisz
  • Reese Witherspoon*

*2020 Golden Globe Awards nominee

Ricky Gervais is hosting the show. Tom Hanks will be receive the Cecil B. DeMille Award for career achievement, while Ellen DeGeneres will be getting the Carol Burnett Award, which is given to people who have excelled in comedy. The Carol Burnett Award debuted at the Golden Globes in 2019, and Burnett was the first recipient of the prize. Dylan and Paris Brosnan (sons of Pierce Brosnan) will serve as the 2020 Golden Globe Ambassadors.

Click here for a complete list of nominations for the 2020 Golden Globe Awards.

2019 Primetime Emmy Awards: presenters announced

September 11, 2019

The following is a press release from the Academy of Television Arts and Sciences:

The Television Academy and Emmy Awards telecast producers Don Mischer Productions and Done+Dusted announced the first group of talent set to present the iconic Emmy statuettes at the 71st Emmy Awards on Sunday, September 22.

The presenters include:

  • Angela Bassett* (9-1-1 and The Flood)
  • Stephen Colbert* (The Late Show with Stephen Colbert)
  • Viola Davis* (How to Get Away with Murder)
  • Michael Douglas* (The Kominsky Method)
  • Taraji P. Henson (Empire)
  • Terrence Howard (Empire)
  • Jimmy Kimmel* (Jimmy Kimmel Live)
  • Peter Krause (9-1-1)
  • Seth Meyers* (Late Night With Seth Meyers and Documentary Now!)
  • Billy Porter* (Pose)
  • Naomi Watts (The Loudest Voice)
  • Zendaya (Euphoria)
  • The cast of Game of Thrones: Alfie Allen*, Gwendoline Christie*,
    Emilia Clarke*, Peter Dinklage*, Kit Harington*, Lena Headey*, Sophie Turner*, Carice van Houten*, Nikolaj Coster-Waldau*, and Maisie Williams*

September 17, 2019 UPDATE:

More presenters have been announced for the 2019 Primetime Emmy Awards:

  • Anthony Anderson* (black-ish)
  • Ike Barinholtz (Bless the Harts)
  • Cedric the Entertainer (The Neighborhood)
  • Max Greenfield (The Neighborhood)
  • Bill Hader* (Barry)
  • Julia Louis-Dreyfus* (VEEP)
  • Cast of VEEP: Anna Chlumsky, Gary Cole, Kevin Dunn, Clea DuVall, Tony Hale, Sam Richardson, Reid Scott, Timothy Simons, Sarah Sutherland, Matt Walsh
  • Gwyneth Paltrow (The Politician)
  • Amy Poehler* (Duncanville and Russian Doll)
  • Maya Rudolph (Bless the Harts and The Good Place)
  • RuPaul* (RuPaul’s Drag Race)
  • Lilly Singh (A Little Late with Lilly Singh)
  • Ben Stiller* (Escape at Dannemora)
  • Phoebe Waller-Bridge* (Fleabag)
  • Cast of Keeping Up with the Kardashians: Kim Kardashian, Kendall Jenner, Kylie Jenner

The 71st Emmy Awards will air live from the Microsoft Theater in Los Angeles on Sunday, September 22, (8:00-11:00 PM ET/5:00-8:00 PM PT) on FOX.

For more information, please visit Find out Where to Watch.

*71st Emmy Awards Nominees

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