Culture Representation: Taking place in Los Angeles, the comedy film “House Party” features a predominantly African American cast of characters (with a few white people and Latinos) representing the working-class, middle-class and wealthy.
Culture Clash: In this reboot of the 1990 comedy film “House Party,” two best friends—one who’s an aspiring musician, the other who’s an aspiring party promoter—throw an illegal party at the mansion of basketball superstar LeBron James while James is away on vacation.
Culture Audience: Aside from the obvious target audience of fans of the “House Party” comedy franchise, “House Party” will appeal mainly to people who don’t mind watching silly movie remakes that make African Americans look stupid and ridiculous.
Scott Mescudi (with his back to the camera), Tosin Cole, Karen Obilom and Jacob Latimore in “House Party” (Photo courtesy of Warner Bros. Pictures)
The 2023 reboot of “House Party” is nothing but a shallow cesspool of bad jokes, mindless characters and a relentlessly dull story. The house party doesn’t get started until almost halfway through this vapid movie. The original 1990 “House Party” (written and directed by Reginald Hudlin) was by no means a masterpiece, but it was a low-budget movie that had moments of charm and genuinely hilarious comedy. This 2023 version of “House Party” is just one of many examples of a very misguided and unnecessary movie reboot that is a complete waste of time and money.
Calmatic (whose real name is Charles Kidd II) makes his feature-film directorial debut with the 2023 version of “House Party,” which uses the same concept as the original 1990 “House Party”: Two best friends experience various hijinks during a raucous house party. Jamal Olori and Stephen Glover wrote the terrible screenplay for 2023’s “House Party.”
In 1990’s “House Party” movie, which takes place in an unnamed U.S. city, best friends Christopher “Kid” Robinson Jr. (played by Christopher “Kid” Reid) and Peter “Play” Martin (played by Christopher “Play” Martin) are teenagers in high school. The basic plot is about aspiring rapper Kid sneaking out of his house to go to a house party thrown by aspiring party promoter Play, while Play’s parents are away on vacation. The two pals also have a loudmouth DJ friend, possible love interests, and a trio of bullying thugs who also factor into the story.
The 2023 version of “House Party,” which takes place in Los Angeles, uses the same template of the original “House Party” movie, except the two best friends are in their mid-20s, not underage teens. But because 2023’s “House Party” is polluted with negative stereotypes of African American men, these two clowns are supposed to be financially broke and still living with family members. The two best friends, whose names are Kevin and Damon, both have low-paying day jobs as housecleaners for a company called Windsor Prestige House Cleaning, which has a lot of wealthy people as clients.
In 2023’s “House Party,” Kevin (played by Jacob Latimore) is an aspiring R&B singer/songwriter who shares custody of his toddler daughter Destiny with an ex-girlfriend named Cher (Destiny’s mother), who is never seen in the movie. Kevin lives with his father Pops (played by Bill Bellamy) and Pops’ wife Lisa (played by Nakia Burrise), who will soon be selling the house after Pops’ planned retirement. Kevin has a good relationship with his father and stepmother, but they’ve told Kevin that he will have to find another place to live after the house is sold. Kevin needs money to find a new home and because he wants to send Destiny to an elite private school.
Kevin’s best friend Damon (played by Tosin Cole), whose name is pronounced “Duh-mawn,” is an aspiring party promoter living with his aunt Jean (played by Renata Walsh), who is a cringeworthy stereotype of an “angry black woman” in the brief time that she’s on screen. She bursts into Damon’s bedroom during the day while he’s sleeping and yells at him to wake up. And because it isn’t enough for this horrible movie to portray Damon as lazy, “House Party” depicts him as someone with bad hygiene. Jean complains about the foul body odor in Damon’s bedroom with some insults that include: “It smells like someone fucked an onion in here!”
Just like in 1990’s “House Party,” the lighter-skinned friend is portrayed as the “responsible, smarter” one who is more likely to be worried about getting in trouble, while the darker-skinned friend is the “irresponsible, dumber” one who is more likely to do reckless things that will get the two pals in trouble. It might or might not be colorism from the “House Party” filmmakers, but it sure looks like colorism to a lot of people. Even if this apparent colorism wasn’t intentional, 2023’s “House Party” has so many other problems that can’t save this movie from being a complete flop.
Kevin is confronted on the street by three thugs who are looking for Damon. The leader of this dimwitted, scowling trio is Kyle (played by Allen Maldonado), who is almost always accompanied by sidekicks Larry (played by Melvin Gregg) and Guile (played by Rotimi), who are all cartoonish because of the stupid things that they say and do in the movie. The three bullies want to rough up Damon because they think that Damon has stolen a gold chain necklace from a woman named Daisy, who is Guile’s cousin.
Kevin manages to convince Kyle, Larry and Guile that he doesn’t know anything about this alleged theft. But don’t think this will be the last time that this trio of hoodlums will appear in the movie. Viewers will later find out if Damon really did steal that gold chain necklace. It’s such an uninteresting subplot that it might as well have not been in this “House Party” remake.
Damon and Kevin were hired by Windsor Prestige Housecleaners because Kevin’s ex-girlfriend Venus Bailey (played by Karen Obilom) has some type of managerial position at the company, and she was able to use her clout to get jobs for these two slackers. When it comes to Kevin’s love life, Kevin thinks of Venus as “the one that got away,” so you know what that means: Venus is Kevin’s obvious love interest.
One day, Damon and Kevin are doing a housecleaning job at a mansion, whose owner is away on vacation. It isn’t long before they discover from snooping around the house that the mansion belongs to basketball superstar LeBron James. Damon and Kevin find a private calendar showing that the family members who live in the house are all in India for a two-week spiritual retreat.
While Kevin and Damon are snooping around the mansion, they go into a trophy/memorabilia room, where they see LeBron’s awards and possessions related to basketball, including a championship NBA ring locked in a glass case. (And it’s easy to predict what will happen to the ring and the “race against time” that ensues.) The two pals also see that LeBron has a life-sized hologram of himself in this room, with the hologram giving self-esteem-boosting pep talks.
Why is there all this LeBron James promotion in 2023’s “House Party”? James is a producer of the movie through his SpringHill Company. He also makes a cameo as himself in the movie. Considering that James was a producer and had a starring role in the awful 2021 reboot/sequel “Space Jam: A New Legacy,” maybe it’s time for him to stop making inferior remakes of movies that weren’t very good in the first place.
Not long after Kevin and Damon find out that they’re in LeBron’s mansion, Venus calls them to let them know that Kevin and Damon have been fired. Why? During a previous housecleaning job for the company, Damon and Kevin were caught smoking marijuana on the house’s surveillance video, which was sent to the company.
Kevin is desperate for money, so he comes up with the idea of charging people money to party for one night at LeBron’s mansion, with the intention to mislead the invited people into thinking that LeBron will be at the party too. At first Damon doesn’t want to do it, but he changes his mind and ends up causing more problems during the party. Before they leave LeBron’s house for the day, Kevin and Damon smoke some marijuana on the property. (“House Party” over-relies on marijuana smoking as the gag in jokes that fall very flat.)
“House Party” is so ill-conceived, viewers are supposed to believe that two complete strangers can throw this type of illegal party in a celebrity mansion and that there would be no employees of the celebrity who would find out. In fact, there are no staffers of LeBron James during the party that attracts a few hundred people, including celebrities portraying themselves. The movie never bothers to explain why this mansion doesn’t have any of the James family’s security people or other employees hired to look after it while the family is on vacation. It’s all so mind-numbingly idiotic.
The movie also expects viewers to be morons and think that this party that was marketed as being hosted by LeBron is supposed to be a “secret,” as if word of mouth doesn’t exist. In addition, people at the party are shown filming themselves or taking photos to put on their social media. And yet, there’s a scene during the party when Kevin angrily yells at Damon for revealing the “secret” party because Damon put photos of the party on social media.
One of the worst things about the 2023 version of “House Party” is that all of the characters are boring or very obnoxious. (And so are the performances by the cast members.) Damon and Kevin hire a DJ friend named Vic (played by D.C. Young Fly), who is nothing but an irritating buffoon. He’s nowhere near as funny as Martin Lawrence’s DJ character Bilal in 1990’s “House Party.”
The female characters with prominent roles in the movie are presented as dull love interests or “video vixen” types. Venus has a cousin named Mika (played by Shakira Ja’nai Paye), who’s a very superficial and materialistic party girl. Grammy-winning singer Mya portrays herself in a bland role as LeBron’s neighbor who attracts the lustful attention of Damon.
A subplot from 1990’s “House Party” that isn’t in 2023’s “House Party” is showing how white police officers constantly harass the protagonists when the protagonists aren’t doing anything wrong. It’s a social issue that could have been in a “House Party” movie of the Black Lives Matter era, but apparently this subject matter was too challenging for the filmmakers of 2023’s “House Party.” It’s probably better that 2023’s “House Party” did not have racist police harassment/abuse of African Americans as part of the movie’s story, because it’s a real-life racial problem that’s too important to be in this garbage movie.
The closest that 2023’s “House Party” comes to addressing racial issues is by having a “token” white character named Peter (played by Andrew Santino), who is a nerdy and nosy neighbor of LeBron. Peter becomes the butt of a lot of the movie’s so-called jokes because he’s supposed to be the “clueless white guy” who fails miserably at trying to appear “cool” to black people. Peter inevitably goes over to the house when he sees some of the activity going on and because his female koala named Marley has wandered over to LeBron’s property.
When Kevin and Damon answer the door, Peter is surprised to see these two strangers, who can’t get their stories straight about why they’re at LeBron’s mansion. Before Peter leaves, he tells Damon and Kevin, “By the way, Black Lives Matter.” At various times during “House Party,” the movie uses the koala (which is an obvious fake replica, not a real koala) as a weak gimmick for more unfunny jokes that get run into the ground early, such as the koala getting a contact high from marijuana smoke at the party. The visual effects in this movie are very tacky and unrealistic.
The 2023 version of “House Party” overloads on useless celebrity cameos, as if seeing these celebrities is supposed to make this junkpile movie better. Among the stars who demeaned themselves to portray themselves in this dreadful dud are Snoop Dogg, Lil Wayne, Juvenile, Tinashe, Lena Waithe, Mark Cuban, Odell Beckham Jr., Tristan Thompson and Carl Anthony Payne II. Waithe, who is an Emmy-winning screenwriter in real life, embarrasses herself by portraying a marijuana-smoking party guest who is shown brainstorming ideas for a TV series, including a show that she wants to be like “Roots,” but “in reverse,” with black people enslaving white people.
Scott Mescudi (also known as rapper Kid Cudi) has a poorly written supporting role as himself; his character is another stoned party guest. He has some of the worst lines in the movie, which makes him look like a drug-addled dolt. The 2023 version of “House Party” takes a bizarre turn with a bloody and violent subplot that looks like it’s trying to be a horror-movie parody of 1999’s “Eyes Wide Shut,” but this subplot is neither scary nor funny. Original “House Party” stars Reid and Martin (also known as rap duo Kid ‘n Play) have a very quick cameo in this gruesome part of the movie.
The release of the 2023 version of “House Party” was delayed several times—an obvious indication that Warner Bros. Pictures knew that the movie was an irredeemable bomb. At one point, the movie wasn’t going to have a theatrical release and was supposed to be released directly to HBO Max. Even if people see this version of “House Party” without paying for a movie ticket, it’s still a painfully unfunny waste of time and so horrendously stupid, even the fake koala should be ashamed to be associated with this dreck.
Warner Bros. Pictures released “House Party” in U.S. cinemas on January 13, 2023.
Brendan Gleeson and Colin Farrell in “The Banshees of Inisherin” (Photo courtesy of Searchlight Pictures)
Stephanie Hsu, Michelle Yeoh and Ke Huy Quan in “Everything Everywhere All at Once” (Photo by Allyson Riggs/A24)
Editor’s note: Searchlight Pictures’ comedy/drama “The Banshees of Inisherin” and A24’s sci-fi/comedy/drama “Everything Eveywhere All at Once” lead all contenders, with five nominations each.
The following is a press release from the Screen Actors Guild:
Nominees for the 29th Annual Screen Actors Guild Awards® honoring outstanding individual, cast and ensemble performances for the past year were announced this morning by Ashley Park (“Emily in Paris”) and Haley Lu Richardson (“The White Lotus”) via Instagram Live. The nominees for outstanding action performances by film and television stunt ensembles were announced by SAG Awards® Committee Members Jason George and Elizabeth McLaughlin with an introduction by SAG-AFTRA President Fran Drescher. A replay of today’s announcement is available for viewing on instagram.com/sagawards. For a complete list of the 29th Annual Screen Actors Guild Awards nominations and fast facts, please visit the SAG Awards Press Kit page: https://sagawards.org/media/newsinfo/press-kit.
One of awards season’s premier events, the SAG Awards annually celebrates the outstanding motion picture and television performances from the previous calendar year (SAG Awards Eligibility Period: January 1, 2022 – December 31, 2022). Of the top industry honors presented to actors, only the SAG Awards are selected entirely by performers’ peers in SAG-AFTRA with 122,600 eligible voters. Final voting opens on Wednesday, Jan. 18 and closes at Noon PT on Friday, Feb. 24.
The 29th Annual SAG Awards will be broadcast live on Netflix’s YouTube channel, YouTube.com/Netflix, Sunday, February 26 at 8 p.m. ET / 5 p.m. PT from the Fairmont Century Plaza in Los Angeles. As announced this morning, the annual Screen Actors Guild Awards will stream live on Netflix globally beginning in 2024 thanks to a new multi-year partnership between Netflix and the SAG Awards.
About the 29th Annual Screen Actors Guild Awards®
The 29th Annual Screen Actors Guild Awards®, presented by SAG-AFTRA with Screen Actors Guild Awards, LLC will be executive produced by Jon Brockett and produced by Avalon Harbor Entertainment, Inc. For more information about the SAG Awards® and the latest updates, follow the SAG Awards on social (Instagram, Facebook, Twitter and TikTok), online at sagawards.org, and join the conversation by using the official hashtag #sagawards.
The Motion Picture Nominees are:
Outstanding Performance by a Male Actor in a Leading Role AUSTIN BUTLER / Elvis – “ELVIS” COLIN FARRELL / Pádraic Súilleabháin – “THE BANSHEES OF INISHERIN” BRENDAN FRASER / Charlie – “THE WHALE” BILL NIGHY / Williams – “LIVING” ADAM SANDLER / Stanley Sugerman – “HUSTLE”
Outstanding Performance by a Female Actor in a Leading Role CATE BLANCHETT / Lydia Tár – “TÁR” VIOLA DAVIS / Nanisca – “THE WOMAN KING” ANA de ARMAS / Norma Jeane – “BLONDE” DANIELLE DEADWYLER / Mamie Till-Mobley – “TILL” MICHELLE YEOH / Evelyn Wang – “EVERYTHING EVERYWHERE ALL AT ONCE”
Outstanding Performance by a Male Actor in a Supporting Role PAUL DANO / Burt Fabelman – “THE FABELMANS” BRENDAN GLEESON / Colm Doherty – “THE BANSHEES OF INISHERIN” BARRY KEOGHAN / Dominic Kearney – “THE BANSHEES OF INISHERIN” KE HUY QUAN / Waymond Wang – “EVERYTHING EVERYWHERE ALL AT ONCE” EDDIE REDMAYNE / Charlie Cullen – “THE GOOD NURSE”
Outstanding Performance by a Female Actor in a Supporting Role ANGELA BASSETT / Ramonda – “BLACK PANTHER: WAKANDA FOREVER” HONG CHAU / Liz – “THE WHALE” KERRY CONDON / Siobhán Súilleabháin – “THE BANSHEES OF INISHERIN” JAMIE LEE CURTIS / Deidre Beaubeirdra – “EVERYTHING EVERYWHERE ALL AT ONCE” STEPHANIE HSU / Joy Wang/Jobu Topaki – “EVERYTHING EVERYWHERE ALL AT ONCE”
Outstanding Performance by a Cast in a Motion Picture
BABYLON JOVAN ADEPO / Sidney Palmer P.J. BYRNE / Max (Ruth’s Asst. Director) DIEGO CALVA / Manny Torres LUKAS HAAS / George Munn OLIVIA HAMILTON / Ruth Adler LI JUN LI / Lady Fay Zhu TOBEY MAGUIRE / James McKay MAX MINGHELLA / Irving Thalberg BRAD PITT / Jack Conrad MARGOT ROBBIE / Nellie LaRoy RORY SCOVEL / The Count JEAN SMART / Elinor St. John KATHERINE WATERSTON / Estelle
THE BANSHEES OF INISHERIN KERRY CONDON / Siobhán Súilleabháin COLIN FARRELL / Pádraic Súilleabháin BRENDAN GLEESON / Colm Doherty BARRY KEOGHAN / Dominic Kearney
EVERYTHING EVERYWHERE ALL AT ONCE JAMIE LEE CURTIS / Deirdre Beaubeirdra JAMES HONG / Gong Gong STEPHANIE HSU / Joy Wang/Jobu Tupaki KE HUY QUAN / Waymond Wang HARRY SHUM JR. / Chad JENNY SLATE / Big Nose MICHELLE YEOH / Evelyn Wang
THE FABELMANS JEANNIE BERLIN / Hadassah Fabelman PAUL DANO / Burt Fabelman JUDD HIRSCH / Uncle Boris GABRIEL LaBELLE / Sammy Fabelman DAVID LYNCH / John Ford SETH ROGEN / Bennie Loewy MICHELLE WILLIAMS / Mitzi Fabelman
WOMEN TALKING JESSIE BUCKLEY / Mariche CLAIRE FOY / Salome KATE HALLETT / Autje JUDITH IVEY / Agata ROONEY MARA / Ona SHEILA McCARTHY / Greta FRANCES McDORMAND / Scarface Janz MICHELLE McLEOD / Mejal LIV McNEIL / Neitje BEN WHISHAW / August AUGUST WINTER / Melvin
Outstanding Action Performance by a Stunt Ensemble in a Motion Picture AVATAR: THE WAY OF WATER THE BATMAN BLACK PANTHER: WAKANDA FOREVER TOP GUN: MAVERICK THE WOMAN KING
The Television Program Nominees are:
Outstanding Performance by a Male Actor in a Television Movie or Limited Series STEVE CARELL / Alan Strauss – “THE PATIENT” TARON EGERTON / James Keene – “BLACK BIRD” SAM ELLIOTT / Shea Brennan – “1883” PAUL WALTER HAUSER / Larry Hall – “BLACK BIRD” EVAN PETERS / Jeffrey Dahmer – “DAHMER – MONSTER: THE JEFFREY DAHMER STORY”
Outstanding Performance by a Female Actor in a Television Movie or Limited Series EMILY BLUNT / Cornelia Locke – “THE ENGLISH” JESSICA CHASTAIN / Tammy Wynette – “GEORGE & TAMMY” JULIA GARNER / Anna Delvey – “INVENTING ANNA” NIECY NASH-BETTS / Glenda Cleveland – “DAHMER – MONSTER: THE JEFFREY DAHMER STORY” AMANDA SEYFRIED / Elizabeth Holmes – “THE DROPOUT”
Outstanding Performance by a Male Actor in a Drama Series JONATHAN BANKS / Mike Ehrmantraut – “BETTER CALL SAUL” JASON BATEMAN / Marty Byrde – “OZARK” JEFF BRIDGES / Dan Chase – “THE OLD MAN” BOB ODENKIRK / Jimmy McGill/Saul Goodman – “BETTER CALL SAUL” ADAM SCOTT / Mark Scout – “SEVERANCE”
Outstanding Performance by a Female Actor in a Drama Series JENNIFER COOLIDGE / Tanya McQuoid-Hunt – “THE WHITE LOTUS” ELIZABETH DEBICKI / Princess Diana – “THE CROWN” JULIA GARNER / Ruth Langmore – “OZARK” LAURA LINNEY / Wendy Byrde – “OZARK” ZENDAYA / Rue Bennett – “EUPHORIA”
Outstanding Performance by a Male Actor in a Comedy Series ANTHONY CARRIGAN / Noho Hank – “BARRY” BILL HADER / Barry – “BARRY” STEVE MARTIN / Charles-Haden Savage – “ONLY MURDERS IN THE BUILDING” MARTIN SHORT / Oliver Putnam – “ONLY MURDERS IN THE BUILDING” JEREMY ALLEN WHITE / Carmen “Carmy” Berzatto – “THE BEAR”
Outstanding Performance by a Female Actor in a Comedy Series CHRISTINA APPLEGATE / Jen Harding – “DEAD TO ME” RACHEL BROSNAHAN / Miriam “Midge” Maisel – “THE MARVELOUS MRS. MAISEL” QUINTA BRUNSON / Janine Teagues – “ABBOTT ELEMENTARY” JENNA ORTEGA / Wednesday Addams – “WEDNESDAY” JEAN SMART / Deborah Vance – “HACKS”
Outstanding Performance by an Ensemble in a Drama Series BETTER CALL SAUL JONATHAN BANKS / Mike Ehrmantraut ED BEGLEY JR. / Clifford Main TONY DALTON / Lalo Salamanca GIANCARLO ESPOSITO / Gus Fring PATRICK FABIAN / Howard Hamlin BOB ODENKIRK / Jimmy McGill/Saul Goodman RHEA SEEHORN / Kim Wexler
THE CROWN ELIZABETH DEBICKI / Princess Diana CLAUDIA HARRISON / Princess Anne ANDREW HAVILL / Robert Fellowes LESLEY MANVILLE / Princess Margaret JONNY LEE MILLER / John Major FLORA MONTGOMERY / Norma Major JAMES MURRAY / Prince Andrew JONATHAN PRYCE / Prince Philip, Duke of Edinburgh ED SAYER / Equerry IMELDA STAUNTON / Queen Elizabeth II MARCIA WARREN / Queen Elizabeth the Queen Mother DOMINIC WEST / Prince Charles OLIVIA WILLIAMS / Camilla Parker Bowles
OZARK JASON BATEMAN / Marty Byrde NELSON BONILLA / Nelson JESSICA FRANCES DUKES / Special Agent Maya Miller LISA EMERY / Darlene Snell SKYLAR GAERTNER / Jonah Byrde JULIA GARNER / Ruth Langmore ALFONSO HERRERA / Javi Elizonndro SOFIA HUBLITZ / Charlotte Byrde KEVIN L. JOHNSON / Sam Dermody KATRINA LENK / Clare Shaw LAURA LINNEY / Wendy Byrde ADAM ROTHENBERG / Mel Sattem FELIX SOLIS / Omar Navarro CHARLIE TAHAN / Wyatt Langmore RICHARD THOMAS / Nathan Davis DAMIAN YOUNG / Jim Rattelsdorf
SEVERANCE PATRICIA ARQUETTE / Harmony Cobel MICHAEL CHERNUS / Ricken Hale ZACH CHERRY / Dylan George MICHAEL CUMPSTY / Mr. Graner DICHEN LACHMAN / Ms. Casey BRITT LOWER / Helly Riggs ADAM SCOTT / Mark Scout TRAMELL TILLMAN / Seth Milchick JEN TULLOCK / Devon Hale JOHN TURTURRO / Irving Bailiff CHRISTOPHER WALKEN / Burt Goodman
THE WHITE LOTUS F. MURRAY ABRAHAM / Bert Di Grasso PAOLO CAMILLI / Hugo JENNIFER COOLIDGE / Tanya McQuoid-Hunt ADAM DiMARCO / Albie Di Grasso MEGHANN FAHY / Daphne Sullivan FEDERICO FERRANTE / Rocco BRUNO GOUERY / Didier BEATRICE GRANNÒ / Mia JON GRIES / Greg Hunt TOM HOLLANDER / Quentin SABRINA IMPACCIATORE / Valentina MICHAEL IMPERIOLI / Dominic Di Grasso THEO JAMES / Cameron Sullivan AUBREY PLAZA / Harper Spiller HALEY LU RICHARDSON / Portia ELEONORA ROMANDINI / Isabella FEDERICO SCRIBANI / Giuseppe WILL SHARPE / Ethan Spiller SIMONA TABASCO / Lucia LEO WOODALL / Jack FRANCESCO ZECCA / Matteo
Outstanding Performance by an Ensemble in a Comedy Series ABBOTT ELEMENTARY QUINTA BRUNSON / Janine Teagues WILLIAM STANFORD DAVIS / Mr. Johnson JANELLE JAMES / Ava Coleman CHRIS PERFETTI / Jacob Hill SHERYL LEE RALPH / Barbara Howard LISA ANN WALTER / Melissa Schemmenti TYLER JAMES WILLIAMS / Gregory Eddie
BARRY SARAH BURNS / Det. Mae Dunn D’ARCY CARDEN / Natalie ANTHONY CARRIGAN / Noho Hank TURHAN TROY CAYLAK / Akhmal SARAH GOLDBERG / Sally Reed NICK GRACER / Yandar BILL HADER / Barry JESSY HODGES / Lindsay MICHAEL IRBY / Cristobal GARY KRAUS / Police Chief Krauss STEPHEN ROOT / Monroe Fuches HENRY WINKLER / Gene Cousineau
THE BEAR LIONEL BOYCE / Marcus LIZA COLÓN-ZAYAS / Tina AYO EDEBIRI / Sydney Adamu ABBY ELLIOTT / Natalie “Sugar” Berzatto EDWIN LEE GIBSON / Ebraheim COREY HENDRIX / Sweeps MATTY MATHESON / Neil Fak EBON MOSS-BACHRACH / Richard “Richie” Jerimovich JEREMY ALLEN WHITE / Carmen “Carmy” Berzatto
HACKS CARL CLEMONS-HOPKINS / Marcus Vaughan PAUL W. DOWNS / Jimmy LuSaque Jr. HANNAH EINBINDER / Ava Daniels MARK INDELICATO / Damien JEAN SMART / Deborah Vance MEGAN STALTER / Kayla Schaeffer
ONLY MURDERS IN THE BUILDING MICHAEL CYRIL CREIGHTON / Howard Morris CARA DELEVINGNE / Alice Banks SELENA GOMEZ / Mabel Mora JAYNE HOUDYSHELL / Bunny STEVE MARTIN / Charles-Haden Savage MARTIN SHORT / Oliver Putnam ADINA VERSON / Poppy White
Outstanding Action Performance by a Stunt Ensemble in a Television Series ANDOR THE BOYS HOUSE OF THE DRAGON THE LORD OF THE RINGS: THE RINGS OF POWER STRANGER THINGS
Stephanie Hsu, Michelle Yeoh and Ke Huy Quan in “Everything Everywhere All at Once” (Photo courtesy of A24)
The following is a press release from the Critics Choice Association:
The Critics Choice Association (CCA) announced today the film category nominees for the 28th Annual Critics Choice Awards. The winners will be revealed at the star-studded Critics Choice Awards gala hosted by Chelsea Handler, which will broadcast LIVE on The CW from the Fairmont Century Plaza in Los Angeles on Sunday, January 15, 2023 (7:00 – 10:00 pm ET, delayed PT – check local listings).
“Everything Everywhere All at Once” leads this year’s film contenders, earning fourteen nominations overall. In addition to Best Picture and Best Comedy nods, the film racked up several acting nominations including Best Actress for Michelle Yeoh and Best Supporting Actor for Ke Huy Quan. Both Jamie Lee Curtis and Stephanie Hsu are up for Best Supporting Actress, and the cast garnered a Best Acting Ensemble nomination. Daniel Kwan and Daniel Scheinert earned nods in both the Best Director and Best Original Screenplay categories, while Jason Kisvarday and Kelsi Ephraim were nominated for Best Production Design, along with Paul Rogers for Best Editing, and Shirley Kurata for Best Costume Design. The film was also nominated for Best Hair and Makeup and Best Visual Effects.
Steven Spielberg once again received a Best Director nomination, this time for Best Picture nominee “The Fabelmans,” plus a nod for Best Original Screenplay alongside Tony Kushner. In addition to receiving a Best Acting Ensemble nomination, several cast members were recognized for their standout performances including Best Actress nominee Michelle Williams, Best Supporting Actor nominees Paul Dano and Judd Hirsch, and Best Young Actor/Actress contender Gabriel LaBelle. Rounding out the project’s impressive eleven nominations, Janusz Kaminski earned a nod for Best Cinematography, while Rick Carter and Karen O’Hara are up for Best Production Design, and John Williams could take home the trophy for Best Score.
The list of Best Picture contenders also includes “Babylon” and “The Banshees of Inisherin,” which garnered an outstanding nine nominations each, along with “Elvis” and “Tár,” which collected seven nominations each. Rounding out the Best Picture nominees are “Avatar: The Way of Water,” “Glass Onion: A Knives Out Mystery,” “RRR,” “Top Gun: Maverick,” and “Women Talking.” There are eleven Best Picture nominees this year due to an exact tie. Additionally, the CCA expanded the Best Director category to include ten nominees.
“We are so proud to be recognizing this incredible group of films and the people who made them possible,” said Critics Choice Association CEO Joey Berlin. “This recognition comes from a diverse group of more than 600 critics and entertainment reporters who share their opinions about film and television with millions of people every day, all year long. Our collective opinion about the year’s finest achievements is truly meaningful to the creative community.”
As previously announced, “Abbott Elementary” leads the TV contenders for the 28th annual Critics Choice Awards, collecting nods in six categories. In addition to Best Comedy Series, the show earned several acting nominations including Best Actress in a Comedy Series for Quinta Brunson. Chris Perfetti and Tyler James Williams were both nominated for Best Supporting Actor in a Comedy Series, while Janelle James and Sheryl Lee Ralph both earned nods for Best Supporting Actress in a Comedy Series. “Better Call Saul” followed with an impressive five nominations overall, while “Gaslit”, “Reservation Dogs”, and “The Good Fight” tied with four nominations each.
It was also announced that Hollywood icon Jeff Bridges will receive the Critics Choice Lifetime Achievement Award at this year’s show.
The Critics Choice Awards are bestowed annually by the Critics Choice Association to honor the finest in cinematic and television achievement. Historically, they are the most accurate predictor of Academy Award® nominations.
The 28th annual Critics Choice Awards show will be executive-produced by Bob Bain Productions and Berlin Entertainment. The CCA is represented by Dan Black of Greenberg Traurig.
Follow the 28th annual Critics Choice Awards on Twitter and Instagram @CriticsChoice and on Facebook/CriticsChoiceAwards. Join the conversation using #CriticsChoiceAwards.
About the Critics Choice Association (CCA) The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 600 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the intersection between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.
About The CW The CW Network, LLC is America’s fifth major broadcast network, offering 14 hours of primetime programming, Monday through Sunday. The CW is 75%-owned by Nexstar Media Group, Inc. For more information about the network and its programming, visit www.cwtv.com.
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FILM NOMINATIONS FOR THE 28TH ANNUAL CRITICS CHOICE AWARDS
BEST PICTURE Avatar: The Way of Water Babylon The Banshees of Inisherin Elvis Everything Everywhere All at Once The Fabelmans Glass Onion: A Knives Out Mystery RRR Tár Top Gun: Maverick Women Talking
BEST ACTOR Austin Butler – Elvis Tom Cruise – Top Gun: Maverick Colin Farrell – The Banshees of Inisherin Brendan Fraser – The Whale Paul Mescal – Aftersun Bill Nighy – Living
BEST ACTRESS Cate Blanchett – Tár Viola Davis – The Woman King Danielle Deadwyler – Till Margot Robbie – Babylon Michelle Williams – The Fabelmans Michelle Yeoh – Everything Everywhere All at Once
BEST SUPPORTING ACTOR Paul Dano – The Fabelmans Brendan Gleeson – The Banshees of Inisherin Judd Hirsch – The Fabelmans Barry Keoghan – The Banshees of Inisherin Ke Huy Quan – Everything Everywhere All at Once Brian Tyree Henry – Causeway
BEST SUPPORTING ACTRESS Angela Bassett – Black Panther: Wakanda Forever Jessie Buckley – Women Talking Kerry Condon – The Banshees of Inisherin Jamie Lee Curtis – Everything Everywhere All at Once Stephanie Hsu – Everything Everywhere All at Once Janelle Monáe – Glass Onion: A Knives Out Mystery
BEST YOUNG ACTOR/ACTRESS Frankie Corio – Aftersun Jalyn Hall – Till Gabriel LaBelle – The Fabelmans Bella Ramsey – Catherine Called Birdy Banks Repeta – Armageddon Time Sadie Sink – The Whale
BEST ACTING ENSEMBLE The Banshees of Inisherin Everything Everywhere All at Once The Fabelmans Glass Onion: A Knives Out Mystery The Woman King Women Talking
BEST DIRECTOR James Cameron – Avatar: The Way of Water Damien Chazelle – Babylon Todd Field – Tár Baz Luhrmann – Elvis Daniel Kwan, Daniel Scheinert – Everything Everywhere All at Once Martin McDonagh – The Banshees of Inisherin Sarah Polley – Women Talking Gina Prince-Bythewood – The Woman King S. S. Rajamouli – RRR Steven Spielberg – The Fabelmans
BEST ORIGINAL SCREENPLAY Todd Field – Tár Daniel Kwan, Daniel Scheinert – Everything Everywhere All at Once Martin McDonagh – The Banshees of Inisherin Steven Spielberg, Tony Kushner – The Fabelmans Charlotte Wells – Aftersun
BEST ADAPTED SCREENPLAY Samuel D. Hunter – The Whale Kazuo Ishiguro – Living Rian Johnson – Glass Onion: A Knives Out Mystery Rebecca Lenkiewicz – She Said Sarah Polley – Women Talking
BEST CINEMATOGRAPHY Russell Carpenter – Avatar: The Way of Water Roger Deakins – Empire of Light Florian Hoffmeister – Tár Janusz Kaminski – The Fabelmans Claudio Miranda – Top Gun: Maverick Linus Sandgren – Babylon
BEST PRODUCTION DESIGN Hannah Beachler, Lisa K. Sessions – Black Panther: Wakanda Forever Rick Carter, Karen O’Hara – The Fabelmans Dylan Cole, Ben Procter, Vanessa Cole – Avatar: The Way of Water Jason Kisvarday, Kelsi Ephraim – Everything Everywhere All at Once Catherine Martin, Karen Murphy, Bev Dunn – Elvis Florencia Martin, Anthony Carlino – Babylon
BEST EDITING Tom Cross – Babylon Eddie Hamilton – Top Gun: Maverick Stephen Rivkin, David Brenner, John Refoua, James Cameron – Avatar: The Way of Water Paul Rogers – Everything Everywhere All at Once Matt Villa, Jonathan Redmond – Elvis Monika Willi – Tár
BEST COSTUME DESIGN Ruth E. Carter – Black Panther: Wakanda Forever Jenny Eagan – Glass Onion: A Knives Out Mystery Shirley Kurata – Everything Everywhere All at Once Catherine Martin – Elvis Gersha Phillips – The Woman King Mary Zophres – Babylon
BEST HAIR AND MAKEUP Babylon The Batman Black Panther: Wakanda Forever Elvis Everything Everywhere All at Once The Whale
BEST VISUAL EFFECTS Avatar: The Way of Water The Batman Black Panther: Wakanda Forever Everything Everywhere All at Once RRR Top Gun: Maverick
BEST COMEDY The Banshees of Inisherin Bros Everything Everywhere All at Once Glass Onion: A Knives Out Mystery Triangle of Sadness The Unbearable Weight of Massive Talent
BEST ANIMATED FEATURE Guillermo del Toro’s Pinocchio Marcel the Shell with Shoes On Puss in Boots: The Last Wish Turning Red Wendell & Wild
BEST FOREIGN LANGUAGE FILM All Quiet on the Western Front Argentina, 1985 Bardo, False Chronicle of a Handful of Truths Close Decision to Leave RRR
BEST SONG Carolina – Where the Crawdads Sing Ciao Papa – Guillermo del Toro’s Pinocchio Hold My Hand – Top Gun: Maverick Lift Me Up – Black Panther: Wakanda Forever Naatu Naatu – RRR New Body Rhumba – White Noise
BEST SCORE Alexandre Desplat – Guillermo del Toro’s Pinocchio Michael Giacchino – The Batman Hildur Guðnadóttir – Tár Hildur Guðnadóttir – Women Talking Justin Hurwitz – Babylon John Williams – The Fabelmans
NOMINATIONS BY FILM FOR THE 28TH ANNUAL CRITICS CHOICE AWARDS
AFTERSUN – 3 Best Actor – Paul Mescal Best Young Actor/Actress – Frankie Corio Best Original Screenplay – Charlotte Wells
ALL QUIET ON THE WESTERN FRONT – 1 Best Foreign Language Film
ARGENTINA, 1985 – 1 Best Foreign Language Film
ARMAGEDDON TIME – 1 Best Young Actor/Actress – Banks Repeta
AVATAR: THE WAY OF WATER – 6 Best Picture Best Director – James Cameron Best Cinematography – Russell Carpenter Best Production Design – Dylan Cole, Ben Procter, Vanessa Cole Best Editing – Stephen Rivkin, David Brenner, John Refoua, James Cameron Best Visual Effects
BABYLON – 9 Best Picture Best Actress – Margot Robbie Best Director – Damien Chazelle Best Cinematography – Linus Sandgren Best Production Design – Florencia Martin, Anthony Carlino Best Editing – Tom Cross Best Costume Design – Mary Zophres Best Hair and Makeup Best Score – Justin Hurwitz
THE BANSHEES OF INISHERIN – 9 Best Picture Best Actor – Colin Farrell Best Supporting Actor – Brendan Gleeson Best Supporting Actor – Barry Keoghan Best Supporting Actress – Kerry Condon Best Acting Ensemble Best Director – Martin McDonagh Best Original Screenplay – Martin McDonagh Best Comedy
BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS – 1 Best Foreign Language Film
THE BATMAN – 3 Best Hair and Makeup Best Visual Effects Best Score – Michael Giacchino
BLACK PANTHER: WAKANDA FOREVER – 6 Best Supporting Actress – Angela Bassett Best Production Design – Hannah Beachler, Lisa K. Sessions Best Costume Design – Ruth E. Carter Best Hair and Makeup Best Visual Effects Best Song – Lift Me Up
BROS – 1 Best Comedy
CATHERINE CALLED BIRDY – 1 Best Young Actor/Actress – Bella Ramsey
CAUSEWAY – 1 Best Supporting Actor – Brian Tyree Henry
CLOSE – 1 Best Foreign Language Film
DECISION TO LEAVE – 1 Best Foreign Language Film
ELVIS – 7 Best Picture Best Actor – Austin Butler Best Director – Baz Luhrmann Best Production Design – Catherine Martin, Karen Murphy, Bev Dunn Best Editing – Matt Villa, Jonathan Redmond Best Costume Design – Catherine Martin Best Hair and Makeup
EMPIRE OF LIGHT – 1 Best Cinematography – Roger Deakins
EVERYTHING EVERYWHERE ALL AT ONCE – 14 Best Picture Best Actress – Michelle Yeoh Best Supporting Actor – Ke Huy Quan Best Supporting Actress – Jamie Lee Curtis Best Supporting Actress – Stephanie Hsu Best Acting Ensemble Best Director – Daniel Kwan, Daniel Scheinert Best Original Screenplay – Daniel Kwan, Daniel Scheinert Best Production Design – Jason Kisvarday, Kelsi Ephraim Best Editing – Paul Rogers Best Costume Design – Shirley Kurata Best Hair and Makeup Best Visual Effects Best Comedy
THE FABELMANS – 11 Best Picture Best Actress – Michelle Williams Best Supporting Actor – Paul Dano Best Supporting Actor – Judd Hirsch Best Young Actor/Actress – Gabriel LaBelle Best Acting Ensemble Best Director – Steven Spielberg Best Original Screenplay – Steven Spielberg, Tony Kushner Best Cinematography – Janusz Kaminski Best Production Design – Rick Carter, Karen O’Hara Best Score – John Williams
GLASS ONION: A KNIVES OUT MYSTERY – 6 Best Picture Best Supporting Actress – Janelle Monáe Best Acting Ensemble Best Adapted Screenplay – Rian Johnson Best Costume Design – Jenny Eagan Best Comedy
GUILLERMO DEL TORO`S PINOCCHIO – 3 Best Animated Feature Best Song – Ciao Papa Best Score – Alexandre Desplat
LIVING – 2 Best Actor – Bill Nighy Best Adapted Screenplay – Kazuo Ishiguro
MARCEL THE SHELL WITH SHOES ON – 1 Best Animated Feature
PUSS IN BOOTS: THE LAST WISH – 1 Best Animated Feature
RRR – 5 Best Picture Best Director – S. S. Rajamouli Best Visual Effects Best Foreign Language Film Best Song – Naatu Naatu
SHE SAID – 1 Best Adapted Screenplay – Rebecca Lenkiewicz
TÁR – 7 Best Picture Best Actress – Cate Blanchett Best Director – Todd Field Best Original Screenplay – Todd Field Best Cinematography – Florian Hoffmeister Best Editing – Monika Willi Best Score – Hildur Guðnadóttir
TILL – 2 Best Actress – Danielle Deadwyler Best Young Actor/Actress – Jalyn Hall
TOP GUN: MAVERICK – 6 Best Picture Best Actor – Tom Cruise Best Cinematography – Claudio Miranda Best Editing – Eddie Hamilton Best Visual Effects Best Song – Hold My Hand
TRIANGLE OF SADNESS – 1 Best Comedy
TURNING RED – 1 Best Animated Feature
THE UNBEARABLE WEIGHT OF MASSIVE TALENT – 1 Best Comedy
WENDELL & WILD – 1 Best Animated Feature
THE WHALE – 4 Best Actor – Brendan Fraser Best Young Actor/Actress – Sadie Sink Best Adapted Screenplay – Samuel D. Hunter Best Hair and Makeup
WHERE THE CRAWDADS SING – 1 Best Song – Carolina
WHITE NOISE – 1 Best Song – New Body Rhumba
THE WOMAN KING – 4 Best Actress – Viola Davis Best Acting Ensemble Best Director – Gina Prince-Bythewood Best Costume Design – Gersha Phillips
WOMEN TALKING – 6 Best Picture Best Supporting Actress – Jessie Buckley Best Acting Ensemble Best Director – Sarah Polley Best Adapted Screenplay – Sarah Polley Best Score – Hildur Guðnadóttir
TELEVISION NOMINATIONS FOR THE 28TH ANNUAL CRITICS CHOICE AWARDS
BEST DRAMA SERIES Andor (Disney+) Bad Sisters (Apple TV+) Better Call Saul (AMC) The Crown (Netflix) Euphoria (HBO) The Good Fight (Paramount+) House of the Dragon (HBO) Severance (Apple TV+) Yellowstone (Paramount Network)
BEST ACTOR IN A DRAMA SERIES Jeff Bridges – The Old Man (FX) Sterling K. Brown – This Is Us (NBC) Diego Luna – Andor (Disney+) Bob Odenkirk – Better Call Saul (AMC) Adam Scott – Severance (Apple TV+) Antony Starr – The Boys (Prime Video)
BEST ACTRESS IN A DRAMA SERIES Christine Baranski – The Good Fight (Paramount+) Sharon Horgan – Bad Sisters (Apple TV+) Laura Linney – Ozark (Netflix) Mandy Moore – This Is Us (NBC) Kelly Reilly – Yellowstone (Paramount Network) Zendaya – Euphoria (HBO)
BEST SUPPORTING ACTOR IN A DRAMA SERIES Andre Braugher – The Good Fight (Paramount+) Ismael Cruz Córdova – The Lord of the Rings: The Rings of Power (Prime Video) Michael Emerson – Evil (Paramount+) Giancarlo Esposito – Better Call Saul (AMC) John Lithgow – The Old Man (FX) Matt Smith – House of the Dragon (HBO)
BEST SUPPORTING ACTRESS IN A DRAMA SERIES Milly Alcock – House of the Dragon (HBO) Carol Burnett – Better Call Saul (AMC) Jennifer Coolidge – The White Lotus (HBO) Julia Garner – Ozark (Netflix) Audra McDonald – The Good Fight (Paramount+) Rhea Seehorn – Better Call Saul (AMC)
BEST COMEDY SERIES Abbott Elementary (ABC) Barry (HBO) The Bear (FX) Better Things (FX) Ghosts (CBS) Hacks (HBO Max) Reboot (Hulu) Reservation Dogs (FX)
BEST ACTOR IN A COMEDY SERIES Matt Berry – What We Do in the Shadows (FX) Bill Hader – Barry (HBO) Keegan-Michael Key – Reboot (Hulu) Steve Martin – Only Murders in the Building (Hulu) Jeremy Allen White – The Bear (FX) D’Pharaoh Woon-A-Tai – Reservation Dogs (FX)
BEST ACTRESS IN A COMEDY SERIES Christina Applegate – Dead to Me (Netflix) Quinta Brunson – Abbott Elementary (ABC) Kaley Cuoco – The Flight Attendant (HBO Max) Renée Elise Goldsberry – Girls5eva (Peacock) Devery Jacobs – Reservation Dogs (FX) Jean Smart – Hacks (HBO Max)
BEST SUPPORTING ACTOR IN A COMEDY SERIES Brandon Scott Jones – Ghosts (CBS) Leslie Jordan – Call Me Kat (Fox) James Marsden – Dead to Me (Netflix) Chris Perfetti – Abbott Elementary (ABC) Tyler James Williams – Abbott Elementary (ABC) Henry Winkler – Barry (HBO)
BEST SUPPORTING ACTRESS IN A COMEDY SERIES Paulina Alexis – Reservation Dogs (FX) Ayo Edebiri – The Bear (FX) Marcia Gay Harden – Uncoupled (Netflix) Janelle James – Abbott Elementary (ABC) Annie Potts – Young Sheldon (CBS) Sheryl Lee Ralph – Abbott Elementary (ABC)
BEST LIMITED SERIES The Dropout (Hulu) Gaslit (Starz) The Girl from Plainville (Hulu) The Offer (Paramount+) Pam & Tommy (Hulu) Station Eleven (HBO Max) This Is Going to Hurt (AMC+) Under the Banner of Heaven (FX)
BEST MOVIE MADE FOR TELEVISION Fresh (Hulu) Prey (Hulu) Ray Donovan: The Movie (Showtime) The Survivor (HBO) Three Months (Paramount+) Weird: The Al Yankovic Story (The Roku Channel)
BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Ben Foster – The Survivor (HBO) Andrew Garfield – Under the Banner of Heaven (FX) Samuel L. Jackson – The Last Days of Ptolemy Grey (Apple TV+) Daniel Radcliffe – Weird: The Al Yankovic Story (The Roku Channel) Sebastian Stan – Pam & Tommy (Hulu) Ben Whishaw – This is Going to Hurt (AMC+)
BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Julia Garner – Inventing Anna (Netflix) Lily James – Pam & Tommy (Hulu) Amber Midthunder – Prey (Hulu) Julia Roberts – Gaslit (Starz) Michelle Pfeiffer – The First Lady (Showtime) Amanda Seyfried – The Dropout (Hulu)
BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Murray Bartlett – Welcome to Chippendales (Hulu) Domhnall Gleeson – The Patient (FX) Matthew Goode – The Offer (Paramount+) Paul Walter Hauser – Black Bird (Apple TV+) Ray Liotta – Black Bird (Apple TV+) Shea Whigham – Gaslit (Starz)
BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Claire Danes – Fleishman Is in Trouble (FX) Dominique Fishback – The Last Days of Ptolemy Grey (Apple TV+) Betty Gilpin – Gaslit (Starz) Melanie Lynskey – Candy (Hulu) Niecy Nash-Betts – Dahmer – Monster: The Jeffrey Dahmer Story (Netflix) Juno Temple – The Offer (Paramount+)
BEST FOREIGN LANGUAGE SERIES 1899 (Netflix) Borgen (Netflix) Extraordinary Attorney Woo (Netflix) Garcia! (HBO Max) The Kingdom Exodus (MUBI) Kleo (Netflix) My Brilliant Friend (HBO) Pachinko (Apple TV+) Tehran (Apple TV+)
BEST ANIMATED SERIES Bluey (Disney+) Bob’s Burgers (Fox) Genndy Tartakovsky’s Primal (Adult Swim) Harley Quinn (HBO Max) Star Trek: Lower Decks (Paramount+) Undone (Prime Video)
BEST TALK SHOW The Amber Ruffin Show (Peacock) Full Frontal with Samantha Bee (TBS) The Kelly Clarkson Show (NBC) Last Week Tonight with John Oliver (HBO) Late Night with Seth Meyers (NBC) Watch What Happens Live with Andy Cohen (Bravo)
BEST COMEDY SPECIAL Fortune Feimster: Good Fortune (Netflix) Jerrod Carmichael: Rothaniel (HBO) Joel Kim Booster: Psychosexual (Netflix) Nikki Glaser: Good Clean Filth (HBO) Norm Macdonald: Nothing Special (Netflix) Would It Kill You to Laugh? Starring Kate Berlant & John Early (Peacock)
NOMINATIONS BY PROGRAM FOR THE 28TH ANNUAL CRITICS CHOICE AWARDS
1899 (Netflix) – 1 Best Foreign Language Series
ABBOTT ELEMENTARY (ABC) – 6 Best Comedy Series Best Actress in a Comedy Series – Quinta Brunson Best Supporting Actor in a Comedy Series – Chris Perfetti Best Supporting Actor in a Comedy Series – Tyler James Williams Best Supporting Actress in a Comedy Series – Janelle James Best Supporting Actress in a Comedy Series – Sheryl Lee Ralph
ANDOR (Disney+) – 2 Best Drama Series Best Actor in a Drama Series – Diego Luna
BAD SISTERS (Apple TV+) – 2 Best Drama Series Best Actress in a Drama Series – Sharon Horgan
BARRY (HBO) – 3 Best Comedy Series Best Actor in a Comedy Series – Bill Hader Best Supporting Actor in a Comedy Series – Henry Winkler
BETTER CALL SAUL (AMC) – 5 Best Drama Series Best Actor in a Drama Series – Bob Odenkirk Best Supporting Actor in a Drama Series – Giancarlo Esposito Best Supporting Actress in a Drama Series – Carol Burnett Best Supporting Actress in a Drama Series – Rhea Seehorn
BETTER THINGS (FX) – 1 Best Comedy Series
BLACK BIRD (Apple TV+) – 2 Best Supporting Actor in a Limited Series or Movie Made for Television – Paul Walter Hauser Best Supporting Actor in a Limited Series or Movie Made for Television – Ray Liotta
BLUEY (Disney+) – 1 Best Animated Series
BOB’S BURGERS (Fox) – 1 Best Animated Series
BORGEN (Netflix) – 1 Best Foreign Language Series
CALL ME KAT (Fox) – 1 Best Supporting Actor in a Comedy Series – Leslie Jordan
CANDY (Hulu) – 1 Best Supporting Actress in a Limited Series or Movie Made for Television – Melanie Lynskey
DAHMER – MONSTER: THE JEFFREY DAHMER STORY (Netflix) – 1 Best Supporting Actress in a Limited Series or Movie Made for Television – Niecy Nash-Betts
DEAD TO ME (Netflix) – 2 Best Actress in a Comedy Series – Christina Applegate Best Supporting Actor in a Comedy Series – James Marsden
EUPHORIA (HBO) – 2 Best Drama Series Best Actress in a Drama Series – Zendaya
EVIL (Paramount+) – 1 Best Supporting Actor in a Drama Series – Michael Emerson
EXTRAORDINARY ATTORNEY WOO (Netflix) – 1 Best Foreign Language Series
FLEISHMAN IS IN TROUBLE (FX) – 1 Best Supporting Actress in a Limited Series or Movie Made for Television – Claire Danes
FORTUNE FEIMSTER: GOOD FORTUNE (Netflix) – 1 Best Comedy Special
FRESH (Hulu) – 1 Best Movie Made for Television
FULL FRONTAL WITH SAMANTHA BEE (TBS) – 1 Best Talk Show
GARCIA! (HBO Max) – 1 Best Foreign Language Series
GASLIT (Starz) – 4 Best Limited Series Best Actress in a Limited Series or Movie Made for Television – Julia Roberts Best Supporting Actor in a Limited Series or Movie Made for Television – Shea Whigham Best Supporting Actress in a Limited Series or Movie Made for Television – Betty Gilpin
GENNDY TARTAKOVSKY’S PRIMAL (Adult Swim) – 1 Best Animated Series
GHOSTS (CBS) – 2 Best Comedy Series Best Supporting Actor in a Comedy Series – Brandon Scott Jones
GIRLS5EVA (Peacock) – 1 Best Actress in a Comedy Series – Renée Elise Goldsberry
HACKS (HBO Max) – 2 Best Comedy Series Best Actress in a Comedy Series – Jean Smart
HARLEY QUINN (HBO Max) – 1 Best Animated Series
HOUSE OF THE DRAGON (HBO) – 3 Best Drama Series Best Supporting Actor in a Drama Series – Matt Smith Best Supporting Actress in a Drama Series – Milly Alcock
INVENTING ANNA (Netflix) – 1 Best Actress in a Limited Series or Movie Made for Television – Julia Garner
JERROD CARMICHAEL: ROTHANIEL (HBO) – 1 Best Comedy Special
JOEL KIM BOOSTER: PSYCHOSEXUAL (Netflix) – 1 Best Comedy Special
KLEO (Netflix) – 1 Best Foreign Language Series
LAST WEEK TONIGHT WITH JOHN OLIVER (HBO) – 1 Best Talk Show
LATE NIGHT WITH SETH MEYERS (NBC) – 1 Best Talk Show
MY BRILLIANT FRIEND (HBO) – 1 Best Foreign Language Series
NIKKI GLASER: GOOD CLEAN FILTH (HBO) – 1 Best Comedy Special
NORM MACDONALD: NOTHING SPECIAL (Netflix) – 1 Best Comedy Special
ONLY MURDERS IN THE BUILDING (Hulu) – 1 Best Actor in a Comedy Series – Steve Martin
OZARK (Netflix) – 2 Best Actress in a Drama Series – Laura Linney Best Supporting Actress in a Drama Series – Julia Garner
PACHINKO (Apple TV+) – 1 Best Foreign Language Series
PAM & TOMMY (Hulu) – 3 Best Limited Series Best Actor in a Limited Series or Movie Made for Television – Sebastian Stan Best Actress in a Limited Series or Movie Made for Television – Lily James
PREY (Hulu) – 2 Best Movie Made for Television Best Actress in a Limited Series or Movie Made for Television – Amber Midthunder
RAY DONOVAN: THE MOVIE (Showtime) – 1 Best Movie Made for Television
REBOOT (Hulu) – 2 Best Comedy Series Best Actor in a Comedy Series – Keegan-Michael Key
RESERVATION DOGS (FX) – 4 Best Comedy Series Best Actor in a Comedy Series – D’Pharaoh Woon-A-Tai Best Actress in a Comedy Series – Devery Jacobs Best Supporting Actress in a Comedy Series – Paulina Alexis
SEVERANCE (Apple TV+) – 2 Best Drama Series Best Actor in a Drama Series – Adam Scott
STAR TREK: LOWER DECKS (Paramount+) – 1 Best Animated Series
STATION ELEVEN (HBO Max) – 1 Best Limited Series
TEHRAN (Apple TV+) – 1 Best Foreign Language Series
THE AMBER RUFFIN SHOW (Peacock) – 1 Best Talk Show
THE BEAR (FX) – 3 Best Comedy Series Best Actor in a Comedy Series – Jeremy Allen White Best Supporting Actress in a Comedy Series – Ayo Edebiri
THE BOYS (Prime Video) – 1 Best Actor in a Drama Series – Antony Starr
THE CROWN (Netflix) – 1 Best Drama Series
THE DROPOUT (Hulu) – 2 Best Limited Series Best Actress in a Limited Series or Movie Made for Television – Amanda Seyfried
THE FIRST LADY (Showtime) – 1 Best Actress in a Limited Series or Movie Made for Television – Michelle Pfeiffer
THE FLIGHT ATTENDANT (HBO Max) – 1 Best Actress in a Comedy Series – Kaley Cuoco
THE GIRL FROM PLAINVILLE (Hulu) – 1 Best Limited Series
THE GOOD FIGHT (Paramount+) – 4 Best Drama Series Best Actress in a Drama Series – Christine Baranski Best Supporting Actor in a Drama Series – Andre Braugher Best Supporting Actress in a Drama Series – Audra McDonald
THE KELLY CLARKSON SHOW (NBC) – 1 Best Talk Show
THE KINGDOM EXODUS (MUBI) – 1 Best Foreign Language Series
THE LAST DAYS OF PTOLEMY GREY (Apple TV+) – 2 Best Actor in a Limited Series or Movie Made for Television – Samuel L. Jackson Best Supporting Actress in a Limited Series or Movie Made for Television – Dominique Fishback
THE LORD OF THE RINGS: THE RINGS OF POWER (Prime Video) – 1 Best Supporting Actor in a Drama Series – Ismael Cruz Córdova
THE OFFER (Paramount+) – 3 Best Limited Series Best Supporting Actor in a Limited Series or Movie Made for Television – Matthew Goode Best Supporting Actress in a Limited Series or Movie Made for Television – Juno Temple
THE OLD MAN (FX) – 2 Best Actor in a Drama Series – Jeff Bridges Best Supporting Actor in a Drama Series – John Lithgow
THE PATIENT (FX) – 1 Best Supporting Actor in a Limited Series or Movie Made for Television – Domhnall Gleeson
THE SURVIVOR (HBO) – 2 Best Movie Made for Television Best Actor in a Limited Series or Movie Made for Television – Ben Foster
THE WHITE LOTUS (HBO) – 1 Best Supporting Actress in a Drama Series – Jennifer Coolidge
THIS IS GOING TO HURT (AMC+) – 2 Best Limited Series Best Actor in a Limited Series or Movie Made for Television – Ben Whishaw
THIS IS US (NBC) – 2 Best Actor in a Drama Series – Sterling K. Brown Best Actress in a Drama Series – Mandy Moore
THREE MONTHS (Paramount+) – 1 Best Movie Made for Television
UNCOUPLED (Netflix) – 1 Best Supporting Actress in a Comedy Series – Marcia Gay Harden
UNDER THE BANNER OF HEAVEN (FX) – 2 Best Limited Series Best Actor in a Limited Series or Movie Made for Television – Andrew Garfield
UNDONE (Prime Video) – 1 Best Animated Series
WATCH WHAT HAPPENS LIVE WITH ANDY COHEN (Bravo) – 1 Best Talk Show
WEIRD: THE AL YANKOVIC STORY (The Roku Channel) – 2 Best Movie Made for Television Best Actor in a Limited Series or Movie Made for Television – Daniel Radcliffe
WELCOME TO CHIPPENDALES (Hulu) – 1 Best Supporting Actor in a Limited Series or Movie Made for Television – Murray Bartlett
WHAT WE DO IN THE SHADOWS (FX) – 1 Best Actor in a Comedy Series – Matt Berry
WOULD IT KILL YOU TO LAUGH? STARRING KATE BERLANT & JOHN EARLY (Peacock) – 1 Best Comedy Special
YELLOWSTONE (Paramount Network) – 2 Best Drama Series Best Actress in a Drama Series – Kelly Reilly
YOUNG SHELDON (CBS) – 1 Best Supporting Actress in a Comedy Series – Annie Potts
TELEVISION NOMINATIONS BY COMPANY FOR THE 28TH ANNUAL CRITICS CHOICE AWARDS
FX – 15 HBO – 15 Netflix – 15 Hulu – 14 Apple TV+ – 10 Paramount+ – 10 ABC – 6 HBO Max – 6 AMC – 5 NBC – 4 Starz – 4 CBS – 3 Disney+ – 3 Peacock – 3 Prime Video – 3 AMC+ – 2 Fox – 2 Paramount Network – 2 The Roku Channel – 2 Showtime – 2 Adult Swim – 1 Bravo – 1 MUBI – 1 TBS – 1
Taylor Swift at the 2022 American Music Awards at the the Microsoft Theater in Los Angeles on Nvoember 20, 2022 (Photo courtesy of ABC)
Taylor Swift broke her own record of the most wins of any artist in the history of the American Music Awards Sunday night by clinching the top spot in the winner’s circle with six wins at the “2022 American Music Awards” (AMAs), to bring her total count to 40 wins. The year’s hottest night in music represents top achievements in music determined by the fans, for the fans. Hosted by Wayne Brady, the thrilling evening filled with world premiere performances and pop-culture moments aired live on ABC from the Microsoft Theater at L.A. LIVE in Los Angeles.
Show highlights included the following:
Eight-time AMA nominee P!NKskated in from the streets of Los Angeles for an epic start to the AMAs, opening the show with a powerful world premiere performance of her brand-new single “Never Gonna Not Dance Again.” She later graced the stage for a moving and powerful performance of “Hopelessly Devoted To You” dedicated to the inspirational life and career of 10-time AMA winner Olivia Newton-John.
This year’s AMA host Wayne Brady bantered with the audience, singing about how he prepared to host the AMAs in his opening monologue. Brady also tapped into his “Dancing With The Stars” skills to perform a number alongside his current DWTS partner, Witney Carson. Later in the show, Brady tapped into members of his audience including Niecy Nash-Betts for a random selection of words, which he used to improvise a rap on stage.
Two-time nominee Bebe Rexha made her U.S. television performance debut of her global smash hit “I’m Good (Blue)” in an out of this world futuristic performance.
Global superstar and Favorite Female Latin Artist winner Anitta made her AMAs stage debut with her smash hit “Envolver” and was joined by two-time AMA winner Missy Elliottwho surprised fans hitting the stage to join Anitta for “Lobby.” The two danced through a hotel lobby celebrating the first-ever performance of their smash hit.
Country superstar, 17-time AMA winner and all-time Favorite Country Album record-holder Carrie Underwoodflew through the theater on a neon orb to the stage to perform her hittrack “Crazy Angels.”
First-time nominee GloRillamade her AMAs stage debut with a surprise performance alongside last year’s AMA host Cardi B for their hit “Tomorrow 2.”
Imagine Dragons hit the stage for a fiery performance, singing a medley of their hits including “Bones.” The band was later joined by Atlanta rapper J.I.D. for a striking performance of their duo hit “Enemy.”
Multiplatinum rapper Lil Babyperformed a medley of his smash hits “California Breeze” and “In a Minute” in a suave performance on the AMAs stage.
Artist, songwriter and actor Yola took the stage to perform her powerful original song “Break the Bough,” named the American Music Awards SONG OF SOUL, a spotlight moment that highlights an artist that uses music to invoke social change. Yola’s colorful performance showcased her vocal abilities and star power.
New Artist of the Year winner Dove Cameron made her AMAs stage debut in a theatrical performance of her hit single “Boyfriend.”
Presented by longtime friend Smokey Robinson, Lionel Richie received his 18th AMA awardwith the prestigious Icon Award. Later in the evening, stars joined together to honor Richie with tribute performances, including two-time AMA winner Stevie Wonder and two-time AMA nominee Charlie Puth,who performed a medley of Richie’s hit songs complete with dueling pianos and scat singing.
Superstars Jimmie Allen, Ari Lennox, Yola, Muni Long, Melissa Ethridge, Dustin Lynch, and Smokey Robinsonjoined Wonder and Puth on the stage for an epic surprise recreation of the 1986 AMAs performance of “We Are The World,” a nostalgic highlight of the evening with Lionel joining the group on stage.
Adding the musical connectivity to a night filled with superstar performances, tributes and pop culture moments, iconic DJ, producer/rapper and philanthropistD-Nicewas the resident 2022 AMAs House DJ.
In tribute to the life and career of Loretta Lynn, country star Jimmie Allentook the stage for a quick rendition of one of her greatest hits.
Host Wayne Brady led a moment of tribute to the late rapper Takeoff,speaking to his life, career and success in the music industry.
Winner Highlights of the “2022 American Music Awards”:
Taylor Swift broke her own record with six AMA wins, making the 40-time winner the most decorated artist in AMAs history. Her album “Red (Taylor’s Version)” earned the awards for Favorite Country Album, Favorite Pop Album and Favorite Music Video, while Swift also won Favorite Female Pop Artist, Favorite Female Country Artist and Artist of the Year. In 2013, Swift won the AMA for Favorite Country Album for the first version of her album “Red.”
Last year’s Artist of the Year winners BTS took home two AMAs this year, including the first-ever AMA for Favorite K-Pop Artist.
Six-time nominee this year Beyoncé won two awards tonight for Favorite Female R&B Artist and Favorite R&B Album for her latest album, “Renaissance.”
Ghost took home the first-ever AMA for Favorite Rock Album for their latest album “Impera.”
This year’s most-nominated artist, Bad Bunny, took home two AMAs for Favorite Male Latin Artist, Favorite Latin Album for “Un Verano Sin Ti.”
Elton John won his first AMA since 1998 for Collaboration of the Year for his hit “Cold Heart – PNAU Remix” with Dua Lipa. First-time AMA nominee Dove Cameron took home this year’s New Artist of the Year award.
Anitta, a first-time nominee this year, won the AMA for Favorite Female Latin Artist.
Presenters throughout the night included Dan + Shay, Dustin Lynch, Ellie Goulding, Jessie James Decker, Jimmie Allen, Karrueche Tran, Kelly Rowland, Kim Petras, Liza Koshy, Latto, Meghan Trainor, Melissa Etheridge, Niecy Nash-Betts, Roselyn Sanchez, Sabrina Carpenter, Sheryl Lee Ralph and Smokey Robinson.
2022 AMERICAN MUSIC AWARDS WINNERS Artist of the Year: Taylor Swift New Artist of the Year: Dove Cameron Collaboration of the Year: Elton John & Dua Lipa “Cold Heart – PNAU Remix” Favorite Touring Artist: Coldplay Favorite Music Video: Taylor Swift “All Too Well: The Short Film” Favorite Male Pop Artist: Harry Styles Favorite Female Pop Artist: Taylor Swift Favorite Pop Duo or Group: BTS Favorite Pop Album: Taylor Swift “Red (Taylor’s Version)” Favorite Pop Song: Harry Styles “As It Was” Favorite Male Country Artist: Morgan Wallen Favorite Female Country Artist: Taylor Swift Favorite Country Duo or Group: Dan + Shay Favorite Country Album: Taylor Swift “Red (Taylor’s Version)” Favorite Country Song: Morgan Wallen “Wasted on You” Favorite Male Hip-Hop Artist: Kendrick Lamar Favorite Female Hip-Hop Artist: Nicki Minaj Favorite Hip-Hop Album: Kendrick Lamar “Mr. Morale & The Big Steppers” Favorite Hip-Hop Song: Future ft. Drake & Tems “WAIT FOR U” Favorite Male R&B Artist: Chris Brown Favorite Female R&B Artist: Beyoncé Favorite R&B Album: Beyoncé “Renaissance” Favorite R&B Song: Wizkid ft. Tems “Essence” Favorite Male Latin Artist: Bad Bunny Favorite Female Latin Artist: Anitta Favorite Latin Duo or Group: Yahritza Y Su Esencia Favorite Latin Album: Bad Bunny “Un Verano Sin Ti” Favorite Latin Song: Sebastián Yatra “Dos Oruguitas” Favorite Rock Artist: Machine Gun Kelly Favorite Rock Song (NEW): Måneskin “Beggin’” Favorite Rock Album (NEW): Ghost “Impera” Favorite Inspirational Artist: for KING & COUNTRY Favorite Gospel Artist: Tamela Mann Favorite Dance/Electronic Artist: Marshmello Favorite Soundtrack: “ELVIS” Favorite Afrobeats Artist (NEW): Wizkid Favorite K-Pop Artist (NEW): BTS
2022 AMERICAN MUSIC AWARD WINNERS BY ARTIST Taylor Swift (6): Artist of the Year, Favorite Music Video, Favorite Female Pop Artist, Favorite Pop Album, Favorite Female Country Artist, Favorite Country Album Bad Bunny (2): Favorite Male Latin Artist, Favorite Latin Album Beyonce (2): Favorite Female R&B Artist, Favorite R&B Album BTS (2): Favorite Pop Duo or Group, Favorite K-Pop Artist Harry Styles (2): Favorite Male Pop Artist, Favorite Pop Song Kendrick Lamar (2): Favorite Male Hip-Hop Artist, Favorite Hip-Hop Album Morgan Wallen (2): Favorite Male Country Artist, Favorite Country Song Tems (2): Favorite Hip-Hop Song, Favorite R&B Song Wizkid (2): Favorite R&B Song, Favorite Afrobeats Artist (NEW) Anitta (1): Favorite Female Latin Artist Chris Brown (1): Favorite Male R&B Artist Coldplay (1): Favorite Touring Artist Dan + Shay (1): Favorite Country Duo or Group Dove Cameron (1): New Artist of the Year Drake (1): Favorite Hip-Hop Song Dua Lipa (1): Collaboration of the Year Elton John (1): Collaboration of the Year “ELVIS” (1): Favorite Soundtrack for KING & COUNTRY (1):Favorite Inspirational Artist Future (1): Favorite Hip-Hop Song Ghost (1): Favorite Rock Album (NEW) Machine Gun Kelly (1):Favorite Rock Artist Måneskin (1): Favorite Rock Song (NEW) Marshmello (1): Favorite Dance/Electronic Artist Nicki Minaj (1): Favorite Female Hip-Hop Artist Sebastián Yatra (1): Favorite Latin Song Tamela Mann (1): Favorite Gospel Artist Yahritza Y Su Esencia (1): Favorite Latin Duo or Group
About the “2022 American Music Awards”:
The AMAs represents the year’s top achievements in music determined by the fans, for the fans. Last year’s show stands as the most social telecast of 2021 with 46.5 million interactions, underscoring the role fans play in the annual event. A vibrant night of non-stop music, the AMAs features a powerful lineup featuring first-time collaborations and exclusive world premiere performances from music’s biggest names – from Pop to Rap, R&B to Country, Latin to K-Pop – and more, as well as memorable moments that live on in pop culture.
As the world’s largest fan-voted awards show, the AMAs air globally across a footprint of linear and digital platforms in more than 120 countries and territories.
The “2022 American Music Awards” winners are voted entirely by fans.Nominees are based on key fan interactions – as reflected on the Billboard charts – including streaming, album and song sales, radio airplay, and tour grosses. These measurements are tracked by Billboard and its data partner Luminate, and cover the eligibility period of Sept. 24, 2021, through Sept. 22, 2022.
Airing live on ABC, the “2022 American Music Awards” are produced by dick clark productions and Jesse Collins Entertainment. Jesse Collins is showrunner and executive producer. Dionne Harmon, Jeannae Rouzan-Clay, and Larry Klein are also executive producers. For the latest AMA news, exclusive content and more, follow the AMAs on social (Facebook, Twitter, Instagram, TikTok, Snapchat and YouTube), online at theamas.com and ABC.com, and join the conversation by using the official hashtag for the show, #AMAs.
ABOUT DICK CLARK PRODUCTIONS dick clark productions is the world’s largest producer and proprietor of televised live event entertainment programming with the “Academy of Country Music Awards,” “American Music Awards,” “Billboard Music Awards,” “Golden Globe Awards,” “Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest,” “So You Think You Can Dance,” and the “Streamy Awards.” dick clark productions owns one of the world’s most extensive and unique entertainment archive libraries with more than 60 years of award-winning shows, historic programs, specials, performances and legendary programming. For more information please visit www.dickclark.com.
ABOUT ABC ENTERTAINMENT ABC Entertainment’s compelling programming includes “Grey’s Anatomy,” the longest-running medical drama in primetime television; ratings juggernaut “The Bachelor” franchise; riveting dramas “Big Sky,” “The Good Doctor,” “A Million Little Things,” “The Rookie” and “Station 19”; trailblazing comedies “Abbott Elementary,” “The Conners,” “The Goldbergs,” “Home Economics” and “The Wonder Years”; popular game shows, including “The $100,000 Pyramid,” “Celebrity Family Feud,” “The Chase,” “Press Your Luck” and “To Tell the Truth”; star-making sensation “American Idol”; “Judge Steve Harvey,” the network’s strongest unscripted series debut in a year; reality phenomenon “Shark Tank”; family favorites “America’s Funniest Home Videos” and “Holey Moley”; “General Hospital,” which heads into its milestone 60th season on the network; and late-night talk show “Jimmy Kimmel Live!”; as well as the critically acclaimed, Emmy®Award-winning “Live in Front of a Studio Audience” specials. The network also boasts some of television’s most prestigious awards shows, including “The Oscars®,” “The CMA Awards” and the “American Music Awards.”
ABOUT JESSE COLLINS ENTERTAINMENT Founded in 2012, Jesse Collins Entertainment (JCE) is a full-service television and film production company that has played an integral role in producing many of television’s most memorable moments in music entertainment. The Emmy® winning company has a multi-year overall agreement with ViacomCBS Cable Networks. On the film side, the company also has a first look on JCE’s film development projects which could include Viacom’s film entities such as Paramount Players. JCE’s award-winning and critically acclaimed television includes programming from its three divisions. From the scripted division: scripted series—Real Husbands of Hollywood, American Soul and miniseries—The New Edition Story and The Bobby Brown Story. From the unscripted division: unscripted series – Cardi Tries, My Killer Body with K. Michelle, DJ Cassidy’s Pass the Mic and Forward: The Future of Black Music, competition/game shows—Becoming A Popstar, Rhythm + Flow, Sunday Best, Hip Hop Squares and Nashville Squares, talk show – Face to Face with Becky G and children’s series—Bookmarks: Celebrating Black Voices (Emmy® Award winner). From the specials division: award shows—The American Music Awards, BET Awards, Soul Train Awards, BET Hip Hop Awards, Black Girls Rock!, BET Honors, UNCF’s An Evening of Stars and ABFF Honors, specials—The Super Bowl Halftime Show, CNN’s Juneteenth: A Global Celebration of Freedom, Martin: The Reunion, John Lewis: Celebrating A Hero, Love & Happiness: An Obama Celebration, Change Together: From The March On Washington To Today, A GRAMMY Salute to the Sounds of Change, Stand Up for Heroes, Dear Mama, Amanda Seales: I Be Knowin’, Def Comedy Jam 25, Leslie Jones: Time Machine, The All-Star Nickmas Spectacular and Rip the Runway. Emmy® winner Jesse Collins, Founder and CEO, is the executive producer of all programming. He is also an executive producer for the Grammy Awards. He produced the 2021 Oscars.
The following is a press release from the Recording Academy:
[Editor’s note: Beyoncé received the most nominations (nine), followed by Kendrick Lamar with eight, and Adele and Brandi Carlile with seven each.]
The 2023 Grammys, officially known as the 65th Grammy Awards, will air live on Sunday, Feb. 5, from Los Angeles’ Crypto.com Arena, and it will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET / 5-8:30 p.m. PT. The special ceremony’s broadcast time, hosts, presenters, and performers will be announced soon.
Below is the complete list of the nominees for the 2023 Grammy Awards:
General Field
1. Record Of The Year
Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist.
Don’t Shut Me Down ABBA Benny Andersson, producer; Benny Andersson & Bernard Löhr, engineers/mixers; Björn Engelmann, mastering engineer
Easy On Me Adele Greg Kurstin, producer; Julian Burg, Tom Elmhirst & Greg Kurstin, engineers/mixers; Randy Merrill, mastering engineer
BREAK MY SOUL Beyoncé Beyoncé, Terius “The-Dream” Gesteelde-Diamant, Jens Christian Isaksen & Christopher “Tricky” Stewart, producers; Brandon Harding, Chris McLaughlin & Stuart White, engineers/mixers; Colin Leonard, mastering engineer
Good Morning Gorgeous Mary J. Blige D’Mile & H.E.R., producers; Bryce Bordone, Serban Ghenea & Pat Kelly, engineers/mixers
You And Me On The Rock Brandi Carlile Featuring Lucius Dave Cobb & Shooter Jennings, producers; Brandon Bell, Tom Elmhirst & Michael Harris, engineers/mixers; Pete Lyman, mastering engineer
Woman Doja Cat Crate Classics, Linden Jay, Aynzli Jones & Yeti Beats, producers; Jesse Ray Ernster & Rian Lewis, engineers/mixers; Mike Bozzi, mastering engineer
Bad Habit Steve Lacy Steve Lacy, producer; Neal Pogue & Karl Wingate, engineers/mixers; Mike Bozzi, mastering engineer
The Heart Part 5 Kendrick Lamar Beach Noise, producer; Beach Noise, Rob Bisel, Ray Charles Brown Jr., James Hunt, Johnny Kosich, Matt Schaeffer & Johnathan Turner, engineers/mixers; Michelle Mancini, mastering engineer
About Damn Time Lizzo Ricky Reed & Blake Slatkin, producers; Patrick Kehrier, Bill Malina & Manny Marroquin, engineers/mixers; Michelle Mancini, mastering engineer
As It Was Harry Styles Tyler Johnson & Kid Harpoon, producers; Jeremy Hatcher & Spike Stent, engineers/mixers; Randy Merrill, mastering engineer
2. Album Of The Year
Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s).
Voyage ABBA Benny Andersson, producer; Benny Andersson & Bernard Löhr, engineers/mixers; Benny Andersson & Björn Ulvaeus, songwriters; Björn Engelmann, mastering engineer
30 Adele Shawn Everett, Ludwig Göransson, Inflo, Tobias Jesso, Jr., Greg Kurstin, Max Martin, Joey Pecoraro & Shellback, producers; Julian Burg, Steve Churchyard, Tom Elmhirst, Shawn Everett, Serban Ghenea, Sam Holland, Michael Ilbert, Inflo, Greg Kurstin, Riley Mackin & Lasse Mårtén, engineers/mixers; Adele Adkins, Ludwig Göransson, Dean Josiah Cover, Tobias Jesso, Jr., Greg Kurstin, Max Martin & Shellback, songwriters; Randy Merrill, mastering engineer
Un Verano Sin Ti Bad Bunny Rauw Alejandro, Buscabulla, Chencho Corleone, Jhay Cortez, Tony Dize, Bomba Estéreo & The Marías, featured artists; Demy & Clipz, Elikai, HAZE, La Paciencia, Cheo Legendary, MAG, MagicEnElBeat, Mora, Jota Rosa, Subelo Neo & Tainy, producers; Josh Gudwin & Roberto Rosado, engineers/mixers; Raul Alejandro Ocasio Ruiz, Benito Antonio Martinez Ocasio, Raquel Berrios, Joshua Conway, Mick Coogan, Orlando Javier Valle Vega, Jesus Nieves Cortes, Luis Del Valle, Marcos Masis, Gabriel Mora, Elena Rose, Liliana Margarita Saumet & Maria Zardoya, songwriters; Colin Leonard, mastering engineer
RENAISSANCE Beyoncé Beam, Grace Jones & Tems, featured artists; Jameil Aossey, Bah, Beam, Beyoncé, Bloodpop, Boi-1Da, Cadenza, Al Cres, Mike Dean, Honey Dijon, Kelman Duran, Harry Edwards, Terius “The-Dream” Gesteelde-Diamant, Ivor Guest, Guiltybeatz, Hit-Boy, Jens Christian Isaksen, Leven Kali, Lil Ju, MeLo-X, No I.D., NovaWav, Chris Penny, P2J, Rissi, S1a0, Raphael Saadiq, Neenyo, Skrillex, Luke Solomon, Christopher “Tricky” Stewart, Jahaan Sweet, Syd, Sevn Thomas, Sol Was & Stuart White, producers; Chi Coney, Russell Graham, Guiltybeatz, Brandon Harding, Hotae Alexander Jang, Chris McLaughlin, Delroy “Phatta” Pottinger, Andrea Roberts, Steve Rusch, Jabbar Stevens & Stuart White, engineers/mixers; Denisia “@Blu June” Andrews, Danielle Balbuena, Tyshane Thompson, Kevin Marquis Bellmon, Sydney Bennett, Beyoncé, Jerel Black, Michael Tucker, Atia Boggs p/k/a Ink, Dustin Bowie, David Debrandon Brown, S. Carter, Nija Charles, Sabrina Claudio, Solomon Fagenson Cole, Brittany “@Chi_Coney” Coney, Alexander Guy Cook, Lavar Coppin, Almando Cresso, Mike Dean, Saliou Diagne, Darius Dixson, Jocelyn Donald, Jordan Douglas, Aubrey Drake Graham, Kelman Duran, Terius “The-Dream” Gesteelde-Diamant, Dave Giles II, Derrick Carrington Gray, Nick Green, Larry Griffin Jr, Ronald Banful, Dave Hamelin, Aviel Calev Hirschfield, Chauncey Hollis, Jr., Ariowa Irosogie, Leven Kali, Ricky Lawson, Tizita Makuria, Julian Martrel Mason, Daniel Memmi, Cherdericka Nichols, Ernest “No I.D.” Wilson, Temilade Openiyi, Patrick Paige II From The Internet, Jimi Stephen Payton, Christopher Lawrence Penny, Michael Pollack, Richard Isong, Honey Redmond, Derek Renfroe, Andrew Richardson, Morten Ristorp, Nile Rodgers, Oliver Rodigan, Freddie Ross, Raphael Saadiq, Matthew Samuels, Sean Seaton, Skrillex, Corece Smith, Luke Francis Matthew Solomon, Jabbar Stevens, Christopher A. Stewart, Jahaan Sweet, Rupert Thomas, Jr. & Jesse Wilson, songwriters; Colin Leonard, mastering engineer
Good Morning Gorgeous (Deluxe) Mary J. Blige DJ Khaled, Dave East, Fabolous, Fivio Foreign, Griselda, H.E.R., Jadakiss, Moneybagg Yo, Ne-Yo, Anderson .Paak, Remy Ma & Usher, featured artists; Alissia, Tarik Azzouz, Bengineer, Blacka Din Me, Rogét Chahayed, Cool & Dre, Ben Billions, DJ Cassidy, DJ Khaled, D’Mile, Wonda, Bongo Bytheway, H.E.R., Hostile Beats, Eric Hudson, London On Da Track, Leon Michels, Nova Wav, Anderson.Paak, Sl!Mwav, Streetrunner, Swizz Beatz & J White Did It, producers; Derek Ali, Ben Chang, Luis Bordeaux, Bryce Bordone, Lauren D’Elia, Chris Galland, Serban Ghenea, Akeel Henry, Jaycen Joshua, Pat Kelly, Jhair Lazo, Shamele Mackie, Manny Marroquin, Dave Medrano, Ari Morris, Parks, Juan Peña, Ben Sedano, Kev Spencer, Julio Ulloa & Jodie Grayson Williams, engineers/mixers; Alissia Beneviste, Denisia “Blu June” Andrews, Archer, Bianca Atterberry, Tarik Azzouz, Mary J. Blige, David Brewster, David Brown, Shawn Butler, Rogét Chahayed, Ant Clemons, Brittany “Chi” Coney, Kasseem Dean, Benjamin Diehl, DJ Cassidy, Jocelyn Donald, Jerry Duplessis, Uforo Ebong, Dernst Emile II, John Jackson, Adriana Flores, Gabriella Wilson, Shawn Hibbler, Charles A. Hinshaw, Jamie Hurton, Eric Hudson, Jason Phillips, Khaled Khaled, London Holmes, Andre “Dre” Christopher Lyon, Reminisce Mackie, Leon Michels, Jerome Monroe, Jr., Kim Owens, Brandon Anderson, Jeremie “Benny The Butcher” Pennick, Bryan Ponce, Demond “Conway The Machine” Price, Peter Skellern, Shaffer Smith, Nicholas Warwar, Deforrest Taylor, Tiara Thomas, Marcello “Cool” Valenzano, Alvin “Westside Gunn” Worthy, Anthony Jermaine White & Leon Youngblood, songwriters
In These Silent Days Brandi Carlile Lucius, featured artist; Dave Cobb & Shooter Jennings, producers; Brandon Bell, Dave Cobb, Tom Elmhirst, Michael Harris & Shooter Jennings, engineers/mixers; Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters; Pete Lyman, mastering engineer
Music Of The Spheres Coldplay BTS, Jacob Collier, Selena Gomez & We Are KING, featured artists; Jacob Collier, Daniel Green, Oscar Holter, Jon Hopkins, Max Martin, Metro Boomin, Kang Hyo-Won, Bill Rahko, Bart Schoudel, Rik Simpson, Paris Strother & We Are KING, producers; Guy Berryman, Jonny Buckland, Will Champion, Jacob Collier, The Dream Team, Duncan Fuller, Serban Ghenea, Daniel Green, John Hanes, Jon Hopkins, Michael Ilbert, Max Martin, Bill Rahko, Bart Schoudel, Rik Simpson & Paris Strother, engineers/mixers; Guy Berryman, Jonny Buckland, Denise Carite, Will Champion, Jacob Collier, Derek Dixie, Sam Falson, Stephen Fry, Daniel Green, Oscar Holter, Jon Hopkins, Jung Ho-Seok, Chris Martin, Max Martin, John Metcalfe, Leland Tyler Wayne, Bill Rahko, Kim Nam-Joon, Jesse Rogg, Davide Rossi, Rik Simpson, Amber Strother, Paris Strother, Min Yoon-Gi, Federico Vindver & Olivia Waithe, songwriters; Randy Merrill, mastering engineer
Mr. Morale & The Big Steppers Kendrick Lamar Baby Keem, Blxst, Sam Dew, Ghostface Killah, Beth Gibbons, Kodak Black, Tanna Leone, Taylour Paige, Amanda Reifer, Sampha & Summer Walker, featured artists; The Alchemist, Baby Keem, Craig Balmoris, Beach Noise, Bekon, Boi-1da, Cardo, Dahi, DJ Khalil, The Donuts, FNZ, Frano, Sergiu Gherman, Emile Haynie, J.LBS, Mario Luciano, Tyler Mehlenbacher, OKLAMA, Rascal, Sounwave, Jahaan Sweet, Tae Beast, Duval Timothy & Pharrell Williams, producers; Derek Ali, Matt Anthony, Beach Noise, Rob Bisel, David Bishop, Troy Bourgeois, Andrew Boyd, Ray Charles Brown Jr., Derek Garcia, Chad Gordon, James Hunt, Johnny Kosich, Manny Marroquin, Erwing Olivares, Raymond J Scavo III, Matt Schaeffer, Cyrus Taghipour, Johnathan Turner & Joe Visciano, engineers/mixers; Khalil Abdul-Rahman, Hykeem Carter, Craig Balmoris, Beach Noise, Daniel Tannenbaum, Daniel Tannenbaum, Stephen Lee Bruner, Matthew Burdette, Isaac John De Boni, Sam Dew, Anthony Dixon, Victor Ekpo, Sergiu Gherman, Dennis Coles, Beth Gibbons, Frano Huett, Stuart Johnson, Bill K. Kapri, Jake Kosich, Johnny Kosich, Daniel Krieger, Kendrick Lamar, Ronald LaTour, Mario Luciano, Daniel Alan Maman, Timothy Maxey, Tyler Mehlenbacher, Michael John Mulé, D. Natche, OKLAMA, Jason Pounds, Rascal, Amanda Reifer, Matthew Samuels, Avante Santana, Matt Schaeffer, Sampha Sisay, Mark Spears, Homer Steinweiss, Jahaan Akil Sweet, Donte Lamar Perkins, Duval Timothy, Summer Walker & Pharrell Williams, songwriters; Michelle Mancini, mastering engineer
Special Lizzo Benny Blanco, Quelle Chris, Daoud, Omer Fedi, ILYA, Kid Harpoon, Ian Kirkpatrick, Max Martin, Nate Mercereau, The Monsters & Strangerz, Phoelix, Ricky Reed, Mark Ronson, Blake Slatkin & Pop Wansel, producers; Benny Blanco, Bryce Bordone, Jeff Chestek, Jacob Ferguson, Serban Ghenea, Jeremy Hatcher, Andrew Hey, Sam Holland, ILYA, Stefan Johnson, Jens Jungkurth, Patrick Kehrier, Ian Kirkpatrick, Damien Lewis, Bill Malina, Manny Marroquin & Ricky Reed, engineers/mixers; Amy Allen, Daoud Anthony, Jonathan Bellion, Benjamin Levin, Thomas Brenneck, Christian Devivo, Omer Fedi, Eric Frederic, Ilya Salmanzadeh, Melissa Jefferson, Jordan K Johnson, Stefan Johnson, Kid Harpoon, Ian Kirkpatrick, Savan Kotecha, Max Martin, Nate Mercereau, Leon Michels, Nick Movshon, Michael Neil, Michael Pollack, Mark Ronson, Blake Slatkin, Peter Svensson, Gavin Chris Tennille, Theron Makiel Thomas, Andrew Wansel & Emily Warren, songwriters; Michelle Mancini, mastering engineer
Harry’s House Harry Styles Tyler Johnson, Kid Harpoon & Sammy Witte, producers; Jeremy Hatcher, Oli Jacobs, Nick Lobel, Spike Stent & Sammy Witte, engineers/mixers; Amy Allen, Tobias Jesso, Jr., Tyler Johnson, Kid Harpoon, Mitch Rowland, Harry Styles & Sammy Witte, songwriters; Randy Merrill, mastering engineer
3. Song Of The Year
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
abcdefu Sara Davis, GAYLE & Dave Pittenger, songwriters (GAYLE)
About Damn Time Melissa “Lizzo” Jefferson, Eric Frederic, Blake Slatkin & Theron Makiel Thomas, songwriters (Lizzo)
All Too Well (10 Minute Version) (The Short Film) Liz Rose & Taylor Swift, songwriters (Taylor Swift)
As It Was Tyler Johnson, Kid Harpoon & Harry Styles, songwriters (Harry Styles)
Bad Habit Matthew Castellanos, Brittany Fousheé, Diana Gordon, John Carroll Kirby & Steve Lacy, songwriters (Steve Lacy)
BREAK MY SOUL Beyoncé, S. Carter, Terius “The-Dream” Gesteelde-Diamant & Christopher A. Stewart, songwriters (Beyoncé)
Easy On Me Adele Adkins & Greg Kurstin, songwriters (Adele)
GOD DID Tarik Azzouz, E. Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts & Nicholas Warwar, songwriters (DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy)
The Heart Part 5 Jake Kosich, Johnny Kosich, Kendrick Lamar & Matt Schaeffer, songwriters (Kendrick Lamar)
Just Like That Bonnie Raitt, songwriter (Bonnie Raitt)
4. Best New Artist
This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.
Anitta
Omar Apollo
DOMi & JD Beck
Muni Long
Samara Joy
Latto
Måneskin
Tobe Nwigwe
Molly Tuttle
Wet Leg
Pop
5. Best Pop Solo Performance
For new vocal or instrumental pop recordings. Singles or Tracks only.
Easy On Me Adele
Moscow Mule Bad Bunny
Woman Doja Cat
Bad Habit Steve Lacy
About Damn Time Lizzo
As It Was Harry Styles
6. Best Pop Duo/Group Performance
For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.
Don’t Shut Me Down ABBA
Bam Bam Camila Cabello Featuring Ed Sheeran
My Universe Coldplay & BTS
I Like You (A Happier Song) Post Malone & Doja Cat
Unholy Sam Smith & Kim Petras
7. Best Traditional Pop Vocal Album
For albums containing greater than 50% playing time of new traditional pop recordings.
Higher Michael Bublé
When Christmas Comes Around… Kelly Clarkson
I Dream Of Christmas (Extended) Norah Jones
Evergreen Pentatonix
Thank You Diana Ross
8. Best Pop Vocal Album
For albums containing greater than 50% playing time of new pop vocal recordings.
Voyage ABBA
30 Adele
Music Of The Spheres Coldplay
Special Lizzo
Harry’s House Harry Styles
Dance/Electronic Music
9. Best Dance/Electronic Recording
For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.
BREAK MY SOUL Beyoncé Beyoncé, Terius “The-Dream” Gesteelde-Diamant, Jens Christian Isaksen & Christopher “Tricky” Stewart, producers; Stuart White, mixer
Rosewood Bonobo Simon Green, producer; Simon Green, mixer
Don’t Forget My Love Diplo & Miguel Diplo & Maximilian Jaeger, producers; Luca Pretolesi, mixer
I’m Good (Blue) David Guetta & Bebe Rexha David Guetta & Timofey Reznikov, producers; David Guetta & Timofey Reznikov, mixers
On My Knees RÜFÜS DU SOL Jason Evigan & RÜFÜS DU SOL, producers; Cassian Stewart-Kasimba, mixer
10. Best Dance/Electronic Music Album
For vocal or instrumental albums. Albums only.
Renaissance Beyoncé
Fragments Bonobo
Diplo Diplo
The Last Goodbye ODESZA
Surrender RÜFÜS DU SOL
Contemporary Instrumental Music
11. Best Contemporary Instrumental Album
For albums containing greater than 50% or more playing time of instrumental material. For albums containing greater than 75% playing time of new recordings.
Between Dreaming And Joy Jeff Coffin
Not Tight DOMi & JD Beck
Blooz Grant Geissman
Jacob’s Ladder Brad Mehldau
Empire Central Snarky Puppy
Rock
12. Best Rock Performance
For new vocal or instrumental solo, duo/group or collaborative rock recordings.
So Happy It Hurts Bryan Adams
Old Man Beck
Wild Child The Black Keys
Broken Horses Brandi Carlile
Crawl! Idles
Patient Number 9 Ozzy Osbourne Featuring Jeff Beck
Holiday Turnstile
13. Best Metal Performance
For new vocal or instrumental solo, duo/group or collaborative metal recordings.
Call Me Little Sunshine Ghost
We’ll Be Back Megadeth
Kill Or Be Killed Muse
Degradation Rules Ozzy Osbourne Featuring Tony Iommi
Blackout Turnstile
14. Best Rock Song
A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Black Summer Flea, John Frusciante, Anthony Kiedis & Chad Smith, songwriters (Red Hot Chili Peppers)
Blackout Brady Ebert, Daniel Fang, Franz Lyons, Pat McCrory & Brendan Yates, songwriters (Turnstile)
Broken Horses Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)
Harmonia’s Dream Robbie Bennett & Adam Granduciel, songwriters (The War On Drugs)
Patient Number 9 John Osbourne, Chad Smith, Ali Tamposi, Robert Trujillo & Andrew Wotman, songwriters (Ozzy Osbourne Featuring Jeff Beck)
15. Best Rock Album
For albums containing greater than 50% playing time of new rock, hard rock or metal recordings.
Dropout Boogie The Black Keys
The Boy Named If Elvis Costello & The Imposters
Crawler Idles
Mainstream Sellout Machine Gun Kelly
Patient Number 9 Ozzy Osbourne
Lucifer On The Sofa Spoon
Alternative
16. Best Alternative Music Performance
For new vocal or instrumental solo, duo/group or collaborative Alternative music recordings.
There’d Better Be A Mirrorball Arctic Monkeys
Certainty Big Thief
King Florence + The Machine
Chaise Longue Wet Leg
Spitting Off The Edge Of The World Yeah Yeah Yeahs Featuring Perfume Genius
17. Best Alternative Music Album
Vocal or Instrumental.
WE Arcade Fire
Dragon New Warm Mountain I Believe In You Big Thief
Fossora Björk
Wet Leg Wet Leg
Cool It Down Yeah Yeah Yeahs
R&B
18. Best R&B Performance
For new vocal or instrumental R&B recordings.
VIRGO’S GROOVE Beyoncé
Here With Me Mary J. Blige Featuring Anderson .Paak
Hrs & Hrs Muni Long
Over Lucky Daye
Hurt Me So Good Jazmine Sullivan
19. Best Traditional R&B Performance
For new vocal or instrumental traditional R&B recordings.
Do 4 Love Snoh Aalegra
Keeps On Fallin’ Babyface Featuring Ella Mai
PLASTIC OFF THE SOFA Beyoncé
‘Round Midnight Adam Blackstone Featuring Jazmine Sullivan
Good Morning Gorgeous Mary J. Blige
20. Best R&B Song
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
CUFF IT Denisia “Blu June” Andrews, Beyoncé, Mary Christine Brockert, Brittany “Chi” Coney, Terius “The-Dream” Gesteelde-Diamant, Morten Ristorp, Nile Rodgers & Raphael Saadiq, songwriters (Beyoncé)
Good Morning Gorgeous Mary J. Blige, David Brown, Dernst Emile II, Gabriella Wilson & Tiara Thomas, songwriters (Mary J. Blige)
Hurt Me So Good Akeel Henry, Michael Holmes, Luca Mauti, Jazmine Sullivan & Elliott Trent, songwriters (Jazmine Sullivan)
Please Don’t Walk Away PJ Morton, songwriter (PJ Morton)
21. Best Progressive R&B Album
For albums containing greater than 50% playing time of newly recorded progressive vocal tracks derivative of R&B.
Operation Funk Cory Henry
Gemini Rights Steve Lacy
Drones Terrace Martin
Starfruit Moonchild
Red Balloon Tank And The Bangas
22. Best R&B Album
For albums containing greater than 50% playing time of new R&B recordings.
Good Morning Gorgeous (Deluxe) Mary J. Blige
Breezy (Deluxe) Chris Brown
Black Radio III Robert Glasper
Candydrip Lucky Daye
Watch The Sun PJ Morton
Rap
23. Best Rap Performance
For a Rap performance. Singles or Tracks only.
GOD DID DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy
Vegas Doja Cat
pushin P Gunna & Future Featuring Young Thug
F.N.F. (Let’s Go) Hitkidd & GloRilla
The Heart Part 5 Kendrick Lamar
24. Best Melodic Rap Performance
For a solo or collaborative performance containing both elements of R&B melodies and Rap.
BEAUTIFUL DJ Khaled Featuring Future & SZA
WAIT FOR U Future Featuring Drake & Tems
First Class Jack Harlow
Die Hard Kendrick Lamar Featuring Blxst & Amanda Reifer
Big Energy (Live) Latto
25. Best Rap Song
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Churchill Downs Ace G, BEDRM, Matthew Samuels, Tahrence Brown, Rogét Chahayed, Aubrey Graham, Jack Harlow & Jose Velazquez, songwriters (Jack Harlow Featuring Drake)
GOD DID Tarik Azzouz, E. Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts & Nicholas Warwar, songwriters (DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy)
The Heart Part 5 Jake Kosich, Johnny Kosich, Kendrick Lamar & Matt Schaeffer, songwriters (Kendrick Lamar)
pushin P Lucas Depante, Nayvadius Wilburn, Sergio Kitchens, Wesley Tyler Glass & Jeffery Lamar Williams, songwriters (Gunna & Future Featuring Young Thug)
WAIT FOR U Tejiri Akpoghene, Floyd E. Bentley III, Jacob Canady, Isaac De Boni, Aubrey Graham, Israel Ayomide Fowobaje, Nayvadius Wilburn, Michael Mule, Oluwatoroti Oke & Temilade Openiyi, songwriters (Future Featuring Drake & Tems)
26. Best Rap Album
For albums containing greater than 50% playing time of new rap recordings.
GOD DID DJ Khaled
I Never Liked You Future
Come Home The Kids Miss You Jack Harlow
Mr. Morale & The Big Steppers Kendrick Lamar
It’s Almost Dry Pusha T
Country
27. Best Country Solo Performance
For new vocal or instrumental solo country recordings.
Heartfirst Kelsea Ballerini
Something In The Orange Zach Bryan
In His Arms Miranda Lambert
Circles Around This Town Maren Morris
Live Forever Willie Nelson
28. Best Country Duo/Group Performance
For new vocal or instrumental duo/group or collaborative country recordings.
Wishful Drinking Ingrid Andress & Sam Hunt
Midnight Rider’s Prayer Brothers Osborne
Outrunnin’ Your Memory Luke Combs & Miranda Lambert
Does He Love You – Revisited Reba McEntire & Dolly Parton
Never Wanted To Be That Girl Carly Pearce & Ashley McBryde
Going Where The Lonely Go Robert Plant & Alison Krauss
29. Best Country Song
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Circles Around This Town Ryan Hurd, Julia Michaels, Maren Morris & Jimmy Robbins, songwriters (Maren Morris)
Doin’ This Luke Combs, Drew Parker & Robert Williford, songwriters (Luke Combs)
I Bet You Think About Me (Taylor’s Version) (From The Vault) Lori McKenna & Taylor Swift, songwriters (Taylor Swift)
If I Was A Cowboy Jesse Frasure & Miranda Lambert, songwriters (Miranda Lambert)
I’ll Love You Till The Day I Die Rodney Crowell & Chris Stapleton, songwriters (Willie Nelson)
‘Til You Can’t Matt Rogers & Ben Stennis, songwriters (Cody Johnson)
30. Best Country Album
For albums containing greater than 50% playing time of new country recordings.
For albums containing greater than 50% playing time of new vocal or instrumental new age recordings.
Positano Songs Will Ackerman
Joy Paul Avgerinos
Mantra Americana Madi Das & Dave Stringer With Bhakti Without Borders
The Passenger Cheryl B. Engelhardt
Mystic Mirror White Sun
Jazz
32. Best Improvised Jazz Solo
For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter’s name is in parenthesis for identification. Singles or Tracks only.)
Rounds (Live) Ambrose Akinmusire, soloist
Keep Holding On Gerald Albright, soloist
Falling Melissa Aldana, soloist
Call Of The Drum Marcus Baylor, soloist
Cherokee/Koko John Beasley, soloist
Endangered Species Wayne Shorter & Leo Genovese, soloist
33. Best Jazz Vocal Album
For albums containing greater than 50% playing time of new vocal jazz recordings.
The Evening : Live At APPARATUS The Baylor Project
Linger Awhile Samara Joy
Fade To Black Carmen Lundy
Fifty The Manhattan Transfer With The WDR Funkhausorchester
Ghost Song Cécile McLorin Salvant
34. Best Jazz Instrumental Album
For albums containing greater than 50% playing time of new instrumental jazz recordings.
New Standards Vol. 1 Terri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton & Matthew Stevens
Live In Italy Peter Erskine Trio
LongGone Joshua Redman, Brad Mehldau, Christian McBride, And Brian Blade
Live At The Detroit Jazz Festival Wayne Shorter, Terri Lyne Carrington, Leo Genovese & esperanza spalding
Parallel Motion Yellowjackets
35. Best Large Jazz Ensemble Album
For albums containing greater than 50% playing time of new ensemble jazz recordings.
Bird Lives John Beasley, Magnus Lindgren & SWR Big Band
Remembering Bob Freedman Ron Carter & The Jazzaar Festival Big Band Directed By Christian Jacob
Generation Gap Jazz Orchestra Steven Feifke, Bijon Watson, Generation Gap Jazz Orchestra
Center Stage Steve Gadd, Eddie Gomez, Ronnie Cuber & WDR Big Band Conducted By Michael Abene
Architecture Of Storms Remy Le Boeuf’s Assembly Of Shadows
36. Best Latin Jazz Album
For vocal or instrumental albums containing greater than 50% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.
Fandango At The Wall In New York Arturo O’Farrill & The Afro Latin Jazz Orchestra Featuring The Congra Patria Son Jarocho Collective
Crisálida Danilo Pérez Featuring The Global Messengers
If You Will Flora Purim
Rhythm & Soul Arturo Sandoval
Música De Las Américas Miguel Zenón
Gospel/Contemporary Christian Music
37. Best Gospel Performance/Song
This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.
When I Pray DOE; Dominique Jones & Dewitt Jones, songwriters
Kingdom Maverick City Music & Kirk Franklin; Kirk Franklin, Jonathan Jay, Chandler Moore & Jacob Poole, songwriters
The Better Benediction PJ Morton Featuring Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel Walls; PJ Morton, songwriter
Get Up Tye Tribbett; Brandon Jones, Christopher Michael Stevens, Thaddaeus Tribbett & Tye Tribbett, songwriters
38. Best Contemporary Christian Music Performance/Song
This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track, (including pop, rap/hip-hop, Latin, or rock.)
God Really Loves Us (Radio Version) Crowder Featuring Dante Bowe and Maverick City Music; Dante Bowe, David Crowder, Ben Glover & Jeff Sojka, songwriters
So Good DOE; Chuck Butler, Dominique Jones & Ethan Hulse, songwriters
For God Is With Us for KING & COUNTRY & Hillary Scott; Josh Kerr, Jordan Reynolds, Joel Smallbone & Luke Smallbone, songwriters
Fear Is Not My Future Maverick City Music & Kirk Franklin; Kirk Franklin, Nicole Hannel, Jonathan Jay, Brandon Lake & Hannah Shackelford, songwriters
Holy Forever Chris Tomlin; Jason Ingram, Brian Johnson, Jenn Johnson, Chris Tomlin & Phil Wickham, songwriters
Hymn Of Heaven (Radio Version) Phil Wickham; Chris Davenport, Bill Johnson, Brian Johnson & Phil Wickham, songwriters
39. Best Gospel Album
For albums containing greater than 50% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.
Die To Live Maranda Curtis
Breakthrough: The Exodus (Live) Ricky Dillard
Clarity DOE
One Deluxe Maverick City Music & Kirk Franklin
All Things New Tye Tribbett
40. Best Contemporary Christian Music Album
For albums containing greater than 50% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.
Lion Elevation Worship
Breathe Maverick City Music
Life After Death TobyMac
Always Chris Tomlin
My Jesus Anne Wilson
41. Best Roots Gospel Album
For albums containing greater than 50% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.
Let’s Just Praise The Lord Gaither Vocal Band
Confessio – Irish American Roots Keith & Kristyn Getty
The Willie Nelson Family Willie Nelson
2:22 Karen Peck & New River
The Urban Hymnal Tennessee State University Marching Band
Latin
42. Best Latin Pop Album
For albums containing greater than 50% playing time of new Latin pop recordings.
AGUILERA Christina Aguilera
Pasieros Rubén Blades & Boca Livre
De Adentro Pa Afuera Camilo
VIAJANTE Fonseca
Dharma + Sebastián Yatra
43. Best Música Urbana Album
For albums containing greater than 50% playing time of new Música Urbana recordings.
TRAP CAKE, VOL. 2 Rauw Alejandro
Un Verano Sin Ti Bad Bunny
LEGENDADDY Daddy Yankee
La 167 Farruko
The Love & Sex Tape Maluma
44. Best Latin Rock or Alternative Album
For albums containing greater than 50% playing time of new Latin rock or alternative recordings.
El Alimento Cimafunk
Tinta y Tiempo Jorge Drexler
1940 Carmen Mon Laferte
Alegoría Gaby Moreno
Los Años Salvajes Fito Paez
MOTOMAMI Rosalía
45. Best Regional Mexican Music Album (Including Tejano)
For albums containing greater than 50% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.
Abeja Reina Chiquis
Un Canto por México – El Musical Natalia Lafourcade
La Reunión (Deluxe) Los Tigres Del Norte
EP #1 Forajido Christian Nodal
Qué Ganas de Verte (Deluxe) Marco Antonio Solís
46. Best Tropical Latin Album
For albums containing greater than 50% playing time of new tropical Latin recordings.
Pa’lla Voy Marc Anthony
Quiero Verte Feliz La Santa Cecilia
Lado A Lado B Víctor Manuelle
Legendario Tito Nieves
Imágenes Latinas Spanish Harlem Orchestra
Cumbiana II Carlos Vives
American Roots Music
47. Best American Roots Performance
For new vocal or instrumental American Roots recordings. This is for performances in the style of any of the subgenres encompassed in the American Roots Music field including bluegrass, blues, folk or regional roots. Award to the artist(s).
Someday It’ll All Make Sense (Bluegrass Version) Bill Anderson Featuring Dolly Parton
Life According To Raechel Madison Cunningham
Oh Betty Fantastic Negrito
Stompin’ Ground Aaron Neville With The Dirty Dozen Brass Band
Prodigal Daughter Aoife O’Donovan & Allison Russell
48. Best Americana Performance
For new vocal or instrumental Americana performance. Award to the artist(s).
Silver Moon [A Tribute To Michael Nesmith] Eric Alexandrakis
There You Go Again Asleep At The Wheel Featuring Lyle Lovett
The Message Blind Boys Of Alabama Featuring Black Violin
You And Me On The Rock Brandi Carlile Featuring Lucius
Made Up Mind Bonnie Raitt
49. Best American Roots Song
A Songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Bright Star Anaïs Mitchell, songwriter (Anaïs Mitchell)
Forever Sheryl Crow & Jeff Trott, songwriters (Sheryl Crow)
High And Lonesome T Bone Burnett & Robert Plant, songwriters (Robert Plant & Alison Krauss)
Just Like That Bonnie Raitt, songwriter (Bonnie Raitt)
For albums containing greater than 50% playing time of new vocal or instrumental Global Music recordings.
Shuruaat Berklee Indian Ensemble
Love, Damini Burna Boy
Queen Of Sheba Angélique Kidjo & Ibrahim Maalouf
Between Us… (Live) Anoushka Shankar, Metropole Orkest & Jules Buckley Featuring Manu Delago
Sakura Masa Takumi
Children’s
59. Best Children’s Music Album
For albums containing greater than 50% playing time of new musical or spoken word recordings that are created and intended specifically for children.
Into The Little Blue House Wendy And DB
Los Fabulosos Lucky Diaz And The Family Jam Band
The Movement Alphabet Rockers
Ready Set Go! Divinity Roxx
Space Cadet Justin Roberts
Spoken Word
60. Best Audio Book, Narration, and Storytelling Recording
Act Like You Got Some Sense Jamie Foxx
All About Me!: My Remarkable Life In Show Business By Mel Brooks Mel Brooks
Aristotle And Dante Dive Into The Waters Of The World Lin-Manuel Miranda
Finding Me Viola Davis
Music Is History Questlove
61. Best Spoken Word Poetry Album
For albums containing greater than 50% playing time of new spoken word poetry recordings.
Black Men Are Precious Ethelbert Miller
Call Us What We Carry: Poems Amanda Gorman
Hiding In Plain View Malcolm-Jamal Warner
The Poet Who Sat By The Door J. Ivy
You Will Be Someone’s Ancestor. Act Accordingly. Amir Sulaiman
Comedy
62. Best Comedy Album
For albums containing greater than 50% playing time of new recordings.
The Closer Dave Chappelle
Comedy Monster Jim Gaffigan
A Little Brains, A Little Talent Randy Rainbow
Sorry Louis CK
We All Scream Patton Oswalt
Musical Theater
63. Best Musical Theater Album
For albums containing greater 51% playing time of new recordings. Award to the principal vocalist(s), and the album producer(s) of 50% or more playing time of the album. The lyricist(s) and composer(s) of 50 % or more of a score of a new recording are eligible for an Award if any previous recording of said score has not been nominated in this category.
Caroline, Or Change John Cariani, Sharon D Clarke, Caissie Levy & Samantha Williams, principal vocalists; Van Dean, Nigel Lilley, Lawrence Manchester, Elliot Scheiner & Jeanine Tesori, producers; Jeanine Tesori, composer; Tony Kushner, lyricist (New Broadway Cast)
Into The Woods (2022 Broadway Cast Recording) Sara Bareilles, Brian d’Arcy James, Patina Miller & Phillipa Soo, principal vocalists; Rob Berman & Sean Patrick Flahaven, producers (Stephen Sondheim, composer & lyricist) (2022 Broadway Cast)
MJ The Musical Myles Frost & Tavon Olds-Sample, principal vocalists; David Holcenberg, Derik Lee & Jason Michael Webb, producers (Original Broadway Cast)
Mr. Saturday Night Shoshana Bean, Billy Crystal, Randy Graff & David Paymer, principal vocalists; Jason Robert Brown, Sean Patrick Flahaven & Jeffrey Lesser, producers; Jason Robert Brown, composer; Amanda Green, lyricist (Original Broadway Cast)
Six: Live On Opening Night Joe Beighton, Tom Curran, Sam Featherstone, Paul Gatehouse, Toby Marlow & Lucy Moss, producers; Toby Marlow & Lucy Moss, composers/lyricists (Original Broadway Cast)
A Strange Loop Jaquel Spivey, principal vocalist; Michael Croiter, Michael R. Jackson, Charlie Rosen & Rona Siddiqui, producers; Michael R. Jackson, composer & lyricist (Original Broadway Cast)
Music for Visual Media
64. Best Compilation Soundtrack For Visual Media
Award to the principal artist(s) and/or ‘in studio’ producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).
ELVIS (Various Artists)
Encanto (Various Artists)
Stranger Things: Soundtrack from the Netflix Series, Season 4 (Vol 2) (Various Artists)
Top Gun: Maverick Harold Faltermeyer, Lady Gaga, Hans Zimmer & Lorne Balfe
West Side Story (Various Artists)
65. Best Score Soundtrack For Visual Media (Includes Film And Television)
Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, or other visual media.
The Batman Michael Giacchino, composer
Encanto Germaine Franco, composer
No Time To Die Hans Zimmer, composer
The Power Of The Dog Jonny Greenwood, composer
Succession: Season 3 Nicholas Britell, composer
66. Best Score Soundtrack for Video Games and Other Interactive Media
Award to Composer(s) for an original score created specifically for, or as a companion to, video games and other interactive media.
Aliens: Fireteam Elite Austin Wintory, composer
Assassin’s Creed Valhalla: Dawn Of Ragnarok Stephanie Economou, composer
Call Of Duty®: Vanguard Bear McCreary, composer
Marvel’s Guardians Of The Galaxy Richard Jacques, composer
Old World Christopher Tin, composer
67. Best Song Written For Visual Media
A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Be Alive [From King Richard] Beyoncé & Darius Scott Dixson, songwriters (Beyoncé)
Carolina [From Where The Crawdads Sing] Taylor Swift, songwriter (Taylor Swift)
Hold My Hand [From Top Gun: Maverick] Bloodpop® & Stefani Germanotta, songwriters (Lady Gaga)
Keep Rising (The Woman King) [From The Woman King] Angelique Kidjo, Jeremy Lutito & Jessy Wilson, songwriters (Jessy Wilson Featuring Angelique Kidjo)
Nobody Like U [From Turning Red] Billie Eilish & Finneas O’Connell, songwriters (4*Town, Jordan Fisher, Finneas O’Connell, Josh Levi, Topher Ngo, Grayson Villanueva)
We Don’t Talk About Bruno [From Encanto] Lin-Manuel Miranda, songwriter (Carolina Gaitán – La Gaita, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto – Cast)
Composing/Arranging
68. Best Instrumental Composition
A Composer’s Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
African Tales Paquito D’Rivera, composer (Tasha Warren & Dave Eggar)
El País Invisible Miguel Zenón, composer (Miguel Zenón, José Antonio Zayas Cabán, Ryan Smith & Casey Rafn)
Fronteras (Borders) Suite: Al-Musafir Blues Danilo Pérez, composer (Danilo Pérez Featuring The Global Messengers)
Beginningless Beginning Chun-Tien Hsia & Qing-Yang Xiao, art directors (Tamsui-Kavalan Chinese Orchestra)
Divers William Stichter, art director (Soporus)
Everything Was Beautiful Mark Farrow, art director (Spiritualized)
Telos Ming Liu, art director (Fann)
Voyeurist Tnsn Dvsn, art director (Underoath)
72. Best Boxed Or Special Limited Edition Package
Artists Inspired By Music: Interscope Reimagined Josh Abraham, Steve Berman, Jimmy Iovine, John Janick & Jason Sangerman, art directors (Various Artists)
Big Mess Berit Gwendolyn Gilma, art director (Danny Elfman)
Black Pumas (Collector’s Edition Box Set) Jenna Krackenberger, Anna McCaleb & Preacher, art directors (Black Pumas)
Book Paul Sahre, art director (They Might Be Giants)
In And Out Of The Garden: Madison Square Garden ’81 ’82 ’83 Lisa Glines, Doran Tyson & Dave Van Patten, art directors (The Grateful Dead)
73. Best Album Notes
The American Clavé Recordings Fernando González, album notes writer (Astor Piazzolla)
Andy Irvine & Paul Brady Gareth Murphy, album notes writer (Andy Irvine & Paul Brady)
Harry Partch, 1942 John Schneider, album notes writer (Harry Partch)
Life’s Work: A Retrospective Ted Olson, album notes writer (Doc Watson)
Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition) Bob Mehr, album notes writer (Wilco)
74. Best Historical Album
Against The Odds: 1974-1982 Tommy Manzi, Steve Rosenthal & Ken Shipley, compilation producers; Michael Graves, mastering engineer; Tom Camuso, restoration engineer (Blondie)
The Goldberg Variations – The Complete Unreleased 1981 Studio Sessions Robert Russ, compilation producer; Martin Kistner, mastering engineer (Glenn Gould)
Life’s Work: A Retrospective Scott Billington, Ted Olson & Mason Williams, compilation producers; Paul Blakemore, mastering engineer (Doc Watson)
To Whom It May Concern… Jonathan Sklute, compilation producer; Kevin Marques Moo, mastering engineer (Freestyle Fellowship)
Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition) Cheryl Pawelski & Jeff Tweedy, compilation producers; Bob Ludwig, mastering engineer (Wilco)
Songwriting
75. Songwriter of the Year, Non-Classical
A Songwriter’s Award. (Artists names appear in parentheses.)
Amy Allen
For My Friends (King Princess) (S)
The Hardest Part (Alexander23) (S)
If We Were A Party (Alexander23) (S)
If You Love Me (Lizzo) (T)
Magic Wand (Alexander23) (T)
Matilda (Harry Styles) (T)
Move Me (Charli XCX) (T)
Too Bad (King Princess) (S)
Vicious (Sabrina Carpenter) (S)
Nija Charles
Cozy (Beyoncé) (T)
Ex For A Reason (Summer Walker With JT From City Girls) (T)
Good Love (City Girls Featuring Usher) (S)
Iykyk (Lil Durk Featuring Ella Mai & A Boogie Wit Da Hoodie) (T)
Lobby (Anitta & Missy Elliott) (S)
Ride For You (Meek Mill Featuring Kehlani) (T)
Sweetest Pie (Megan Thee Stallion & Dua Lipa) (S)
Tangerine (Kehlani) (T)
Throw It Away (Summer Walker) (T)
Tobias Jesso Jr.
Boyfriends (Harry Styles) (T)
Can I Get It (Adele) (T)
Careless (FKA Twigs Featuring Daniel Caesar) (T)
C’mon Baby Cry (Orville Peck) (T)
Dotted Lines (King Princess) (T)
Let You Go (Diplo & TSHA) (S)
No Good Reason (Omar Apollo) (T)
Thank You Song (FKA Twigs) (T)
To Be Loved (Adele) (T)
The-Dream
Break My Soul (Beyoncé) (S)
Church Girl (Beyoncé) (T)
Energy (Beyoncé) (T)
I’m That Girl (Beyoncé) (T)
Mercedes (Brent Faiyaz) (S)
Rock N Roll (Pusha T Featuring Kanye West and Kid Cudi) (T)
Rolling Stone (Brent Faiyaz) (T)
Summer Renaissance (Beyoncé) (T)
Thique (Beyoncé) (T)
Laura Veltz
Background Music (Maren Morris) (T)
Feed (Demi Lovato) (T)
Humble Quest (Maren Morris) (T)
Pain (Ingrid Andress) (T)
29 (Demi Lovato) (T)
Production
76. Best Engineered Album, Non-Classical
An Engineer’s Award. (Artists names appear in parentheses.)
Adolescence George Nicholas & Ryan Schwabe, engineers; Ryan Schwabe, mastering engineer (Baynk)
Black Radio III Daniel Farris, Tiffany Gouché, Keith Lewis, Musiq Soulchild, Reginald Nicholas, Q-Tip, Amir Sulaiman, Michael Law Thomas & Jon Zacks, engineers; Chris Athens, mastering engineer (Robert Glasper)
Chloë and the Next 20th Century Dave Cerminara & Jonathan Wilson, engineers; Adam Ayan, mastering engineer (Father John Misty)
Harry’s House Jeremy Hatcher, Oli Jacobs, Nick Lobel, Mark “Spike” Stent & Sammy Witte, engineers; Randy Merrill, mastering engineer (Harry Styles)
Wet Leg Jon McMullen, Joshua Mobaraki, Alan Moulder & Alexis Smith, engineers; Matt Colton, mastering engineer (Wet Leg)
77. Producer Of The Year, Non-Classical
A Producer’s Award. (Artists names appear in parentheses.)
Jack Antonoff
All Too Well (10 Minute Version) (Taylor’s Version) (From The Vault) (Taylor Swift) (T)
Dance Fever (Florence + The Machine) (A)
I Still Believe (Diana Ross) (T)
Minions: The Rise Of Gru (Various Artists) (A)
Part Of The Band (The 1975) (S)
Dan Auerbach
Dropout Boogie (The Black Keys) (A)
El Bueno Y El Malo (Hermanos Gutiérrez) (T)
Nightmare Daydream (The Velveteers) (A)
Rich White Honky Blues (Hank Williams Jr.) (A)
Something Borrowed, Something New: A Tribute To John Anderson (Various Artists) (A)
Strange Time To Be Alive (Early James) (A)
Sweet Unknown (Ceramic Animal) (A)
Tres Hermanos (Hermanos Gutiérrez) (T)
Young Blood (Marcus King) (A)
Boi-1da
Chronicles (Cordae Featuring H.E.R. & Lil Durk) (T)
Churchill Downs (Jack Harlow Featuring Drake) (T)
Heated (Beyoncé) (T)
Mafia (Travis Scott) (S)
N95 (Kendrick Lamar) (T)
Nail Tech (Jack Harlow) (T)
Not Another Love Song (Ella Mai) (T)
Scarred (Giveon) (T)
Silent Hill (Kendrick Lamar) (T)
Dahi
Buttons (Steve Lacy) (T)
Count Me Out (Kendrick Lamar) (T)
Die Hard (Kendrick Lamar) (T)
DJ Quik (Vince Staples) (T)
Father Time (Kendrick Lamar Featuring Sampha) (T)
Give You The World (Steve Lacy) (T)
Mercury (Steve Lacy) (T)
Mirror (Kendrick Lamar) (T)
Rich Spirit (Kendrick Lamar) (T)
Dernst “D’mile” Emile II
Candy Drip (Lucky Daye) (A)
An Evening With Silk Sonic (Bruno Mars, Anderson .Paak And Silk Sonic) (A)
Good Morning Gorgeous (Mary J. Blige) (S)
Sometimes I Feel Like A Motherless Child (Jazmine Sullivan) (S)
78. Best Remixed Recording
A Remixer’s Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.
About Damn Time (Purple Disco Machine Remix) Purple Disco Machine, remixer (Lizzo)
BREAK MY SOUL (Terry Hunter Remix) Terry Hunter, remixer (Beyoncé)
Easy Lover (Four Tet Remix) Four Tet, remixer (Ellie Goulding)
Slow Song (Paul Woolford Remix) Paul Woolford, remixer (The Knocks & Dragonette)
Too Late Now (Soulwax Remix) Soulwax, remixers (Wet Leg)
79. Best Immersive Audio Album
For vocal or instrumental albums in any genre. Must be commercially released on DVD-Audio, DVD-Video, SACD, Blu-Ray, or burned download-only/streaming-only copies and must provide a new immersive mix of four or more channels. Award to the immersive mix engineer, immersive producer (if any) and immersive mastering engineer (if any).
Divine Tides Eric Schilling, immersive mix engineer; Stewart Copeland, Ricky Kej & Herbert Waltl, immersive producers (Stewart Copeland & Ricky Kej)
Memories…Do Not Open Mike Piacentini, immersive mix engineer; Mike Piacentini, immersive mastering engineer; Adam Alpert, Alex Pall, Jordan Stilwell & Andrew Taggart, immersive producers (The Chainsmokers)
Picturing The Invisible – Focus 1 Jim Anderson, immersive mix engineer; Morten Lindberg & Ulrike Schwarz, immersive mastering engineers; Jane Ira Bloom & Ulrike Schwarz, immersive producers (Jane Ira Bloom)
Tuvayhun — Beatitudes For A Wounded World Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Nidarosdomens Jentekor & Trondheimsolistene)
80. Best Engineered Album, Classical
An Engineer’s Award. (Artist names appear in parentheses.)
Bates: Philharmonia Fantastique – The Making Of The Orchestra Shawn Murphy, Charlie Post & Gary Rydstrom, engineers; Michael Romanowski, mastering engineer (Edwin Outwater & Chicago Symphony Orchestra)
Beethoven: Symphony No. 6; Stucky: Silent Spring Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
Perspectives Jonathan Lackey, Bill Maylone & Dan Nichols, engineers; Joe Lambert, mastering engineer (Third Coast Percussion)
Tuvayhun – Beatitudes For A Wounded World Morten Lindberg, engineer; Morten Lindberg, mastering engineer (Anita Brevik, Nidarosdomens Jentekor & Trondheimsolistene)
Williams: Violin Concerto No. 2 & Selected Film Themes Bernhard Güttler, Shawn Murphy & Nick Squire, engineers; Christoph Stickel, mastering engineer (Anne-Sophie Mutter, John Williams & Boston Symphony Orchestra)
81. Producer Of The Year, Classical
A Producer’s Award. (Artist names appear in parentheses.)
Works By Florence Price, Jessie Montgomery, Valerie Coleman (Michael Repper & New York Youth Symphony) (A)
Classical
82. Best Orchestral Performance
Award to the Conductor and to the Orchestra.
Adams, John Luther: Sila – The Breath Of The World Doug Perkins, conductor (Musicians Of The University Of Michigan Department Of Chamber Music & University Of Michigan Percussion Ensemble)
Dvořák: Symphonies Nos. 7-9 Gustavo Dudamel, conductor (Los Angeles Philharmonic)
Eastman: Stay On It Christopher Rountree, conductor (Wild Up)
John Williams – The Berlin Concert John Williams, conductor (Berliner Philharmoniker)
Works By Florence Price, Jessie Montgomery, Valerie Coleman Michael Repper, conductor (New York Youth Symphony)
83. Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists, and to the Composer and Librettist (if applicable) of a world premiere Opera recording only.
Aucoin: Eurydice Yannick Nézet-Séguin, conductor; Barry Banks, Nathan Berg, Joshua Hopkins, Erin Morley & Jakub Józef Orliński; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Blanchard: Fire Shut Up In My Bones Yannick Nézet-Séguin, conductor; Angel Blue, Will Liverman, Latonia Moore & Walter Russell III; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Davis: X – The Life And Times Of Malcolm X Gil Rose, conductor; Ronnita Miller, Whitney Morrison, Victor Robertson & Davóne Tines; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)
84. Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
Bach: St. John Passion John Eliot Gardiner, conductor (English Baroque Soloists; Monteverdi Choir)
Born Donald Nally, conductor (Dominic German, Maren Montalbano, Rebecca Myers & James Reese; The Crossing)
Verdi: Requiem – The Met Remembers 9/11 Yannick Nézet-Séguin, conductor; Donald Palumbo, chorus master (Michelle DeYoung, Eric Owens, Ailyn Pérez & Matthew Polenzani; The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
85. Best Chamber Music/Small Ensemble Performance
For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
Award to the Instrumental Soloist(s) and to the Conductor when applicable.
Abels: Isolation Variation Hilary Hahn
Bach: The Art Of Life Daniil Trifonov
Beethoven: Diabelli Variations Mitsuko Uchida
Letters For The Future Time For Three; Xian Zhang, conductor (The Philadelphia Orchestra)
A Night In Upper Town – The Music Of Zoran Krajacic Mak Grgić
87. Best Classical Solo Vocal Album
Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with greater than 50% playing time of new material.
Eden Joyce DiDonato, soloist; Maxim Emelyanychev, conductor (Il Pomo D’Oro)
How Do I Find You Sasha Cooke, soloist; Kirill Kuzmin, pianist
Okpebholo: Lord, How Come Me Here? Will Liverman, soloist; Paul Sánchez, pianist (J’Nai Bridges & Caen Thomason-Redus)
Stranger – Works For Tenor By Nico Muhly Nicholas Phan, soloist (Eric Jacobson; Brooklyn Rider & The Knights; Reginald Mobley)
Voice Of Nature – The Anthropocene Renée Fleming, soloist; Yannick Nézet-Séguin, pianist
88. Best Classical Compendium
Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 50% playing time of the album, and to the Composer and Librettist (if applicable) with over 50% playing time of a world premiere recording only.
An Adoption Story Starr Parodi & Kitt Wakeley; Jeff Fair, Starr Parodi & Kitt Wakeley, producers
A Concert For Ukraine Yannick Nézet-Séguin, conductor; David Frost, producer
The Lost Birds Voces8; Barnaby Smith & Christopher Tin, conductors; Sean Patrick Flahaven & Christopher Tin, producers
89. Best Contemporary Classical Composition
A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
Akiho: Ligneous Suite Andy Akiho, composer (Ian Rosenbaum & Dover Quartet)
Gubaidulina: The Wrath Of God Sofia Gubaidulina, composer (Andris Nelsons & Gewandhausorchester)
Puts: Contact Kevin Puts, composer (Xian Zhang, Time for Three & The Philadelphia Orchestra)
Simon: Requiem For The Enslaved Carlos Simon, composer (Carlos Simon, MK Zulu, Marco Pavé & Hub New Music)
Music Video/Film
90. Best Music Video
Award to the artist, video director, and video producer.
Easy On Me Adele Xavier Dolan, video director; Xavier Dolan & Nancy Grant, video producers
Yet To Come BTS Yong Seok Choi, video director; Tiffany Suh, video producer
Woman Doja Cat Child., video director; Missy Galanida, Sam Houston, Michelle Larkin & Isaac Rice, video producers
The Heart Part 5 Kendrick Lamar Dave Free & Kendrick Lamar, video directors; Jason Baum & Jamie Rabineau, video producers
As It Was Harry Styles Tanu Muino, video director; Frank Borin, Ivanna Borin, Fred Bonham Carter & Alexa Haywood, video producers
All Too Well: The Short Film Taylor Swift Taylor Swift, video director; Saul Germaine, video producer
91. Best Music Film
For concert/performance films or music documentaries. Award to the artist, video director, and video producer.
Adele One Night Only Adele Paul Dugdale, video director
Our World Justin Bieber Michael D. Ratner, video director; Kfir Goldberg, Andy Mininger & Scott Ratner, video producers
Billie Eilish Live At The O2 Billie Eilish Sam Wrench, video director; Michelle An, Tom Colbourne, Chelsea Dodson & Billie Eilish, video producers
Motomami (Rosalía Tiktok Live Performance) Rosalía Ferrán Echegaray, Rosalía Vila Tobella & Stillz, video directors
Jazz Fest: A New Orleans Story (Various Artists) Frank Marshall & Ryan Suffern, video directors; Frank Marshall, Sean Stuart & Ryan Suffern, video producers
A Band A Brotherhood A Barn Neil Young & Crazy Horse Dhlovelife, video director; Gary Ward, video producer
The 2023 GRAMMYs, officially known as the 65th GRAMMY Awards, returns to Los Angeles’ Crypto.com Arena on Sunday, Feb. 5, 2023, and will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT.
The eligibility period for the 65th GRAMMY Awards is Friday, Oct. 1, 2021 – Friday, Sept. 30, 2022. All eligible awards entries must be released within this timeframe.
The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy’s Voting Membership.
A scene from “Duran Duran: A Hollywood High.” Pictured from left to right: John Taylor, Roger Taylor, Simon LeBon, Anna Ross, Erin Stevenson, Dom Brown and Nick Rhodes. (Photo courtesy of Abramorama)
Directed by Gavin Elder, Vincent Adam Paul and George Scott
Culture Representation: Taking place in Los Angeles in March 2022, the documentary film “Duran Duran: A Hollywood High” features British pop/rock band Duran Duran performing the group’s first rooftop concert.
Culture Clash: In the documentary interviews, members of the band talk about the culture shock they experienced the first time they visited and performed in Los Angeles.
Culture Audience: Besides the obvious target audience of Duran Duran fans,“Duran Duran: A Hollywood High” will appeal primarily to fans of pop music artists who had their biggest hits in the 1980s.
A scene from “Duran Duran: A Hollywood High.” Pictured from left to right: Roger Taylor, John Taylor, Anna Ross, Erin Stevenson, Simon LeBon, Dom Brown and Nick Rhodes. (Photo courtesy of Abramorama)
Even though the British pop/rock band Duran Duran is mostly known for the band’s hits from the 1980s, the concert documentary “Duran Duran: A Hollywood High” is an admirable showcase of a still-vibrant Duran Duran performing songs from the 1980s to the 2020s. This 75-minute documentary is good but not outstanding or comprehensive. Avid fans of Duran Duran will consider this movie a must-see. Everyone else might watch out of curiosity to see the 2022 version of Duran Duran and what kind of live performance the band has to offer, 41 years after Duran Duran’s 1981 self-titled debut album was released.
Directed by Gavin Elder, Vincent Adam Paul and George Scott, “Duran Duran: A Hollywood High” at least has a unique concert setting for Duran Duran, because it shows the band performing its very first rooftop concert. The documentary was filmed in March 2022, at The Aster (a hotel and members’ club) in Los Angeles’ Hollywood district. The concert took place months before The Aster officially opened in October 2022. About 200 to 250 people were in the audience of this concert.
This particular concert location was chosen because The Aster is across the street from the iconic Capitol Records building, whose famous circular shape is designed to look like stacked vinyl records on a turntable. Capitol Records was the U.S. record label for Duran Duran from 1981 to 1999, the years when the band had its biggest hits. During the concert film, there are several sweeping shots of the band performing with the Capitol Records building as a backdrop.
The documentary begins with an approximately 15-minute introduction of background information (a mixture of archival footage and new footage) explaining Duran Duran’s history with Los Angeles. Duran Duran formed in 1978, in Birmingham, England. Bass player John Taylor and keyboardist Nick Rhodes co-founded the band; drummer Roger Taylor (no relation to John Taylor) joined in 1979; and lead singer Simon LeBon joined in 1980. Roger Taylor quit in 1986, and John Taylor quit in 1997, but both Taylors have been part of Duran Duran’s reunited lineup since 2001.
The documentary very briefly mentions Andy Taylor (no relation to John Taylor and Roger Taylor), who was Duran Duran’s guitarist from 1980 to 1986, and from 2001 to 2006. Since 2006, Dominic “Dom” Brown has been Duran Duran’s touring and recording guitarist. In the documentary, Rhodes has high praise for American guitarist Warren Cuccurullo, who worked with Duran Duran from 1986 to 2001. Rhodes says meeting Cuccurullo for the first time in Los Angeles was the most important and impactful meeting that Duran Duran ever had in Los Angeles.
In the documentary, Roger Taylor says in an exclusive interview that his experience of visiting Los Angeles for the first time in 1981 was almost like being in another world, because Los Angeles is so different from Birmingham, England. He mentions that sunshine and palm trees “are in real short supply” in Birmingham. And he remembers what his first impression was of Los Angeles: “I thought I’d arrived in paradise.”
Rhodes comments that when he thinks of Los Angeles, he always thinks of the Sunset Strip and Los Angeles’ obsession with fame. Two iconic Sunset Strip buildings are mentioned in this introduction: The Roxy nightclub (the first venue in Los Angeles that Duran Duran played during the band’s 1981 U.S. tour) and the now-defunct Continental Hyatt House, which was nicknamed the Continental Riot House, because it was a notorious party spot for rock stars and other celebrities. (The hotel has been renamed several times and has been known as the Andaz West Hollywood since 2009.) In true rock-star fashion, Duran Duran was expelled from the Continental Hyatt for some troublemaking antics during the band’s first U.S. tour. John Taylor, who has lived in Los Angeles since the 1990s, comments that Los Angeles is “a very uplifting place to be.”
LeBon says that New York City and Los Angeles are so different from each other, they’re like separate planets. He compares New York City to being like the grit of punk rock, and Los Angeles to being like the decadence of rock and roll. LeBon shares a vivid first-impression memory of Los Angeles having oil rig machines and an immense number of billboards on the Sunset Strip.
“I’d never seen so much commercial advertising,” he recalls. LeBon also says that Nina Simone was invited to Duran Duran’s first Los Angeles show, but she couldn’t attend. However, she sent him a hand-written note with an apology that she couldn’t be there and to wish Duran Duran the best. LeBon says he still has the note, and it’s one of his most-treasured possessions.
In addition to the documentary having archival footage of Duran Duran in Los Angeles (including the band’s 1984 press conference at Magic Castle Hotel and the band’s 1993 ceremony to get a star on the Hollywood Walk of Fame), “Duran Duran: A Hollywood High” includes a brief new clip of Rhodes talking with music producer David Kershenbaum, who remixed the band’s 1982 album “Rio,” which became Duran Duran’s international breakthrough album after the album was remixed. Rhodes expresses gratitude to Kershenbaum for playing a pivotal role in Duran Duran’s career. Kershenbaum comments on working with Duran Duran in the early 1980s, “It was a magical time.”
If all of this sounds like the documentary is on a nostalgia trip, think again. The concert, which is the majority of “Duran Duran: A Hollywood High,” has a range of Duran Duran songs from the 1980s to tracks from the band’s 2021 album “Future Past.” Clad in black and white outfits, Duran Duran (accompanied by backup singers Anna Ross and Erin Stevenson) perform a setlist that’s not really a greatest-hits collection but more like a hodgepodge of Duran Duran songs from the 1980s, 1990s and the early 21st century.
The 12 songs performed in the documentary are (in order):
“A View to a Kill” (1985)
“Invisible” (2021)
“All of You” (2021)
“Notorious” (1986)
“Come Undone” (1993)
“Give It All Up” (2021)
“Pressure Off” (2015)
“White Lines” (1995)
“Anniversary” (2021)
“Ordinary World” (1993)
“Tonight United” (2021)
“Hungry Like the Wolf” (1982)
The concert begins with a lot of great energy, but it really starts to hit its stride when Duran Duran performs “Notorious.” Backup singers Ross and Stevenson get their moments to shine with solo refrains in songs (Ross on “Come Undone,” Stevenson on “Give It All Up”), while guitarist Brown has a standout moment with his soloing in “Ordinary World.” Because the stage is so small, John Taylor, LeBon and Brown don’t do a lot of running around back and forth and basically stay in the same positions on the stage.
The documentary’s cinematography stays mainly focused on stage, with a fair balance of wide shots and close-ups of the band members. Any glimpses of the audience are very brief, so as not to distract the documentary viewers from what’s happening on stage. There are multiple shots of keyboardist Rhodes, a longtime photographer, taking photos and videos on his phone from his vantage point behind the keyboards. The movie’s sound editing and sound mixing get the job done well enough, but nothing in this documentary is exceptional enough to be award-worthy.
The concert’s energy level is at its peak with Duran Duran’s blistering cover version of Melle Mel’s “White Lines” that the band turns into a stellar dance-rock party song. The band’s poignant rendition of “Ordinary World” is an example of why this ballad is a timeless Duran Duran classic. “Tonight United” and fan fave “Hungry Like the Wolf” were among the other standout performances. The main drawback to the documentary is that it seems too short, considering all the beloved Duran Duran songs that could have been in the movie but aren’t.
The vocals of many lead singers of rock bands usually don’t get better with age, but LeBon’s voice as a live performer has better tone and control than it did in the 1980s. LeBon, Roger Taylor, John Taylor and Rhodes are still solid and stylish performers, but understandably not as flashy and prone to doing the expected rock-star stage moves that were part of Duran Duran’s act in the 1980s. In other words, Duran Duran is aging gracefully and can still deliver a concert that’s worthy of the band’s memorable songs and unique sound.
Abramorama in association with Fathom Events released “Duran Duran: A Hollywood High” for a limited engagement in U.S. cinemas on November 3, 2022.
Culture Representation: Taking place in Los Angeles on May 30 and May 31, 2020, the dramatic film “Traveling Light” features a predominantly white cast of characters (with a few African Americans and Asians) representing the working-class and middle-class.
Culture Clash: Various strangers, who end up crossing paths each other in some way or another, have different ways of coping with quarantine lockdowns and other restrictions caused by the COVID-19 pandemic.
Culture Audience: “Traveling Light” will appeal primarily to people who are fans of stars Danny Huston, Stephen Dorff and Tony Todd and any rambling and aimless movies that are a complete waste of time.
Stephen Dorff and Olivia d’Abo in “Traveling Light” (Photo courtesy of Xenon Pictures)
One of the many unfortunate effects of the COVID-19 pandemic on the entertainment industry is that it’s spawned a lot of awful movies with a COVID-19 theme. “Traveling Light” is one of these cinematic abominations. It’s utterly incoherent and pointless.
How bad is “Traveling Light”? When I saw the movie in a New York City movie theater, at a screening attended by members of the ticket-buying public, there were only three people in the room, including myself. By the end of the movie, the other two people—who clearly disliked the movie and couldn’t take watching it anymore—had walked out in disgust. One person left about halfway through the film, while the other person had enough of “Traveling Light’s” nonsense about three-quarters of the way through the movie.
Because I planned to review the film, I stayed until the bitter end. “Traveling Light” (written and directed by Bernard Rose) is so sloppily made, the end credits are very incomplete. The only end credits that showed up on screen were quick listings of the music composers and songwriters whose work could be heard in “Traveling Light.” There are student films and amateur YouTube videos that are more professionally made than “Traveling Light.”
“Traveling Light” writer/director Rose is best known for directing and co-writing the 1992 horror film “Candyman,” which spawned several inferior sequels and a 2021 reboot/sequel. “Candyman” and Rose’s 1994 drama “Immortal Beloved” (starring Gary Oldman) are probably Rose’s best-received movies by critics. All of Rose’s other movies have been considered middling or forgettable flops with critics and general audiences.
Rose’s connection to the original “Candyman” movie explains why original “Candyman” star Tony Todd is in “Traveling Light” in a completely underdeveloped and embarrassing role. Rose apparently also used his past working relationship with longtime British actor Danny Huston (who usually plays American characters in American-made movies) to lure Huston into the junkpile trap of making “Traveling Light.” Rose and Huston previously worked together on the the 2012 comedy/drama “2 Jacks” and a substandard 2015 remake of the horror classic “Frankenstein.”
“Traveling Light” takes place in Los Angeles during a 24-hour period from May 30 to May 31, 2020, during the pre-vaccine quarantined lockdown days of the COVID-19 pandemic. The movie is somewhat trying to be an experimental, avant-garde 2020 version of the 2005 Oscar-winning drama “Crash,” a movie showing various Los Angeles residents who are seemingly strangers to each other, but it’s eventually revealed how they cross paths and affect each other lives.
If “Crash” had any influence on “Traveling Light,” it’s not worth bragging about, since “Crash” is considered one of the worst Best Picture winners of all time at the Academy Awards. And “Traveling Light” is far from award-worthy. “Traveling Light” is such an obscure bomb, it’s not even notable enough to get on the radar of the Razzie Awards.
In “Traveling Light,” the movie goes back and forth between showing various neurotic characters who are mostly middle-aged. Harry (played by Huston) is a famous spiritual guru who has a cult-like following. He has gatherings in the homes of affluent people, under the guise that these gatherings are spiritual enlightenment seminars/retreats. “Traveling Light” shows one of these gatherings, which is really just a party where people take all sorts of drugs with Harry. Being a celebrity guru has taken an emotional toll on Harry’s marriage to his long-suffering wife Blue (Rosie Fellner), who is living in Harry’s shadow.
Todd (played by Stephen Dorff) is a semi-famous actor who is one of Harry’s devoted followers. Todd feels so restless and bored in his marriage to his loyal and responsible wife Mary (played by Olivia d’Abo), it’s not unusual for Todd to disappear for several days, so that he can avoid having to interact with Mary. After Todd does a virtual group meditation session with Harry, a star-struck Todd comments to Mary about Harry’s supposed genius skills: “I don’t think I can meditate that fast. He’s channeling something.”
Caddy (played by “Candyman” star Todd) is a brooding bachelor loner who has come out of retirement (his previous job is never mentioned) during the pandemic to become a rideshare driver because he doesn’t want to be cooped up in his house during a quarantine. Caddy is adamant that he and other people around him need to wear face masks during this pandemic. He is superstitious about getting infected with COVID-19, so he carries a bag of juju and a crucifix with him as good luck charms. Caddy is also dealing with the emotional pain of looking for his missing adult son Cecil, who is homeless and has mental health issues.
Arthur (played by Matthew Jacobs) is a British oddball with a fixation on trying to monitor people who are not wearing a mask and/or not social distancing. In one aggravatingly stupid sequence in the movie, Arthur uses his phone to video record a homeless couple named Anne (played by Jen Kuhn) and Blaster (played by Jeff Hilliard) because Anne and Blaster are not wearing masks and not social distancing while out on a public street. Anne and Blaster get annoyed when they see Arthur video recording them and tell him to stop. He refuses.
Arthur’s video recording is creepy but not illegal, as long as he doesn’t use the footage for any commercial purposes that would require signed release forms. For example, people on a public street can be recorded without their permission for security surveillance, for private (non-commercial use), or for news-gathering purposes. The problem is that Arthur refuses to tell Anne and Blaster where he’s going to put the video footage that he took of this homeless couple.
It leads to a confrontation where Anne and Blaster chase after Arthur on the street. They corner Arthur and get into a physical altercation with him, until Arthur agrees to delete the video footage. This sequence is neither amusing nor interesting. And it just makes Arthur look weird and petty, because homeless people have a lot bigger problems to worry about than a stranger trying to shame them for not social distancing on a street during this pandemic.
Arthur is acquainted with another eccentric who also has a very meddling and preachy attitude about whether or not people are wearing face masks in public. This busybody is named Gretchen (played by Vanessa Yuille), who has gone as far as making hand-held signs with slogans lecturing people to wear face masks. “Traveling Light” has some contrived and awkward-looking scenes where Arthur and Gretchen communicate by phone or meet each other in person to come up with schemes to catch people aren’t wearing face masks.
As far as Gretchen and Arthur are concerned, people who aren’t wearing face masks during the pandemic are health terrorists who are putting other people’s lives in danger. Gretchen proudly shows Arthur one of her hand-held signs, which says: “Don’t be a [dick], wear a mask!” Instead of the word “dick,” she put an illustration of a penis on the sign. Gretchen thinks the penis illustration is appropriate, while Arthur does not, and they debate about it. This is what’s supposed to pass as comedy in “Traveling Light.”
“Traveling Light” makes a very superficial attempt at having a social conscience, when the movie shows in its opening scene that Caddy (who is African American) is watching with despair some TV news about the civil rights protests following the death of George Floyd by police brutality. As most people know by now, Floyd was an unarmed, 46-year-old African American man who was murdered on a Minneapolis street by a white police officer who put his full body weight on Floyd’s neck, while three of the cop’s colleagues stood by and prevented bystanders from helping Floyd, who was begging for help. Floyd’s murder (which happened on May 25, 2020) was documented on video and led to worldwide protests over racist police brutality.
Unfortunately, “Traveling Light” does nothing substantial with the movie being set during the history-making anti-police-brutality protests in the days and weeks after Floyd’s murder. The movie could have explored the added anxiety that Caddy must have felt in knowing that his homeless son Cecil, a mentally ill African American man, is especially vulnerable to police brutality or unlawful arrests/detainments. Instead, these issues are tossed aside in “Traveling Light” like a discarded pandemic mask.
“Traveling Light” has tedious scenes showing the drug-induced ramblings of attendees at one of Harry’s retreats at a hillside mansion, where Harry hands out an unidentified liquid psychedelic drug that he calls an “elixir.” Harry repeats, “I ask for forgiveness, and I give forgiveness.” Todd is at one of these “retreats,” where various other drugs are consumed, including marijuana, cocaine, pills and alcohol. Expect to see some predictable druggie scenes that go nowhere and mean nothing.
Two people in their 20s named Clara (played by Lena Gora) and Sydney (played by Duke Nicholson) meet at this party and seem to have an attraction to each other. Too bad their drugged-out conversations are just the verbal equivalent of diarrhea. Sydney is so stoned, he can barely stand, let along comprehend what’s going on around him.
Clara then flirts with Todd when they end up alone together in a walk-in closet. Todd’s worried wife Mary suddenly shows up at the party and angrily demands to know what Clara is doing with recovering drug addict Todd, who is supposed to be clean and sober. Todd and Clara deny that anything sexual is going on between them. And then, Clara pretends that Sydney is her boyfriend. This part of the movie is like watching someone’s drugged-addled idea of a soap opera.
It should come as no surprise that some of these characters end up as passengers in Caddy’s car, as if he’s the only rideshare driver in Los Angeles. Caddy says at one point in the movie that he’s only been a rideshare driver for one day. The way that he berates some of his customers for not wearing masks, you get the feeling that he won’t last much longer as a rideshare driver because of all the bad reviews he’s going to get from customers. All of the cast members’ performances in “Traveling Light” range from lackluster to excruciatingly horrible.
At one point in this dreadful movie, Harry leads a group chant where he roars like an animal, because he’s so whacked out on drugs. His followers love it, because they think whatever comes out of Harry’s mouth is supposed to have some deeper meaning. “Traveling Light” is one of those pretentiously bad films that tries to make people think it has deeper meaning too, but it’s all just a sham that’s nothing but a load of rubbish and hot air.
Xenon Pictures released “Traveling Light” in select U.S. cinemas, beginning in Los Angeles on June 10, 2022, and in New York City and Seattle on August 19, 2022.
Culture Representation: Taking place in Los Angeles and Mexico, the dramatic film “Emily the Criminal” features a racially diverse cast of characters (Latin, white, Asian and a few African Americans) representing the working-class and middle-class.
Culture Clash: A woman, who works at a low-paying job for a food delivery company and is heavily in debt, turns to a secret life of crime to pay off her debts.
Culture Audience: “Emily the Criminal” will appeal primarily to people are are fans of star Aubrey Plaza and well-acted movies about desperate people who do desperate things.
Aubrey Plaza and Theo Rossi in “Emily the Criminal” (Photo courtesy of Roadside Attractions and Vertical Entertainment)
More than being typical crime caper, “Emily the Criminal” is also a scathing portrayal of getting trapped in gig economy work and student loan debt. Aubrey Plaza gives an intense and memorable performance in this suspense-filled drama that might leave some viewers divided about how the movie ends. “Emily the Criminal” doesn’t pass judgment on the people involved in the criminal activities that are depicted in the movie. Instead, “Emily the Criminal” puts a spotlight on why some people commit these desperate acts in the first place.
Written and directed by John Patton Ford, “Emily the Criminal” is Ford’s first feature film, and the movie had its world premiere at the 2022 Sundance Film Festival. The movie’s protagonist and namesake is Emily Benetto (played by Plaza), who is in almost every scene in the movie. Emily, who is in her 30s, lives in Los Angeles and is a bachelorette with no children. “Emily the Criminal” opens with a scene of Emily being interviewed for a job in an office at an unnamed medical company. Within the first minute, it’s obvious that things aren’t going well for Emily in the interview.
The interviewer (a man who is not seen on camera) informs Emily that a full background check was done on her before the interview. Emily admits that she has a DUI (driving under the influence) arrest on her record. She says the DUI was a mistake on her part, and the incident happened when she drove a drunk friend home from a concert. The interviewer then mentions that the background check also revealed that Emily was convicted in 2016 of assault, which she does not deny either.
The interviewer then tells Emily in a very condescending manner: “This is a very important job. You’d be handling important medical files.” At this point, Emily knows she’s not getting hired at this place. She snaps at the interviewer: “Fuck you! I don’t want this job!” And then she quickly leaves the office in a huff.
Why is Emily looking for a job? She has student loan debt totaling about $70,000. And she currently works as a delivery person for a company that’s similar to Uber Eats or DoorDash. It’s the type of job where the delivery employees are considered independent contractors, and are therefore not entitled to full-time staff benefits, such as health insurance or a retirement plan, even if they work at least 40 hours a week.
It’s also an example of “gig economy” work, which is the term for any work that relies heavily on independent contractors or freelancers. Worker turnover is high in these types of jobs, because the salaries are usually low, the jobs are short-term, and the workers have to pay for certain job-related expenses that would be covered by the company if the workers were full-time staff employees. Gig economy workers are almost never represented by unions.
Emily is barely making enough money to pay her other bills that are not related to her student loan debt. She currently lives with two roommates, who stay out of Emily’s personal life, and she stays out of theirs. It’s revealed later in the movie that Emily went to a prestigious liberal arts university and majored in art (her specialty is painting portraits), but she hasn’t able to find any work as an artist. Emily feels bitter and hopeless about her situation.
One day, a co-worker named Javier Santos (played by Bernardo Badillo) asks Emily on short notice to cover a delivery shift for him. It’s a work shift that Emily is reluctant to take because it’s in downtown Los Angeles at night, which can be unsafe. But she needs the money, so she takes the shift.
Javier is aware that Emily is having financial problems because he says that he can hook her up for a “dummy shopper” job that would pay her $200. He gives her a phone number to text for more information. An anonymous person replies that she can make $200 an hour for this job and gives her an address to go to the next morning if she wants more details.
The night before she goes to this mystery job, Emily goes to a bar to hang out with her talkative and extroverted friend Liz (played by Megalyn Echikunwoke), who works as a photo editor at a fashion magazine. Liz and Emily know each other because they went to the same high school in their hometown of Newark, New Jersey. Emily is embarrassed that her art career is going nowhere, while Liz is thriving in her chosen profession.
Emily swallows her pride and tells Liz that she desperately needs a job, and if she can’t find one, she’ll probably have to move back to New Jersey to live with her stepfather. There’s some unspoken history in this conversation implying that Emily doesn’t like her stepfather, and moving back in with him would be a very unwelcome last resort for Emily, who is an only child. Emily’s mother is apparently deceased.
Liz is sympathetic to Emily’s plight and tells her that she will inquire about any openings at Liz’s place of work and recommend Emily for any job that fits Emily’s qualifications. Liz is confident that something will work out because Liz says that her boss Alice (played by Gina Gershon) admires Liz. Emily and Liz then do cocaine in the bar’s restroom and enjoy the rest of their time in the bar. Later in the movie, Liz helps set up a job interview for Emily at the place where Liz works. It leads to one of the best scenes in the movie in showing how Emily reacts when things don’t sit well with her.
Emily might be desperate, but she’s no pushover, and she hates it when people try to take advantage of her. Her assault record indicates that she will get into physical conflicts. The details of why she was arrested for assault are left purposely vague in the movie, which keeps people guessing on how much of a “bad girl” Emily is willing to be to get what she wants.
Out of curiosity and with nothing to lose, Emily goes to the address of the mystery job. It’s at a warehouse-styled building, where she is immediately asked to hand over her driver’s license. The license is then photocopied and given back to her. She is then sent to a room, where there are about 20 other people gathered.
The leader of this group interview is named Youcef (played by Theo Rossi), who tells all of these job applicants up front that the job they would be expected to do is illegal. He says that if anyone has a problem with doing something illegal, they should leave immediately. Some people leave, but Emily decides to stay and hear more.
Youcef then explains that the job is to take stolen credit card information that’s on forged credit cards, go to stores to purchase big-screen TVs with these forged credit cards, and then hand over the TVs to the people working for his shady operation at a pre-determined drop-off location. The workers (who are responsible for whatever cars they use in these thefts) are told that they have to leave the store in eight minutes or less after making the purchase, which is the approximate time needed before the store finds out that the credit card is fraudulent. The pay is $200 a hour for this job. A worker cannot go to the same store twice.
It’s already revealed in the movie’s title and in the movie’s trailer that Emily ends up working for this criminal operation. Emily soon finds out that during the time that this orientation meeting was taking place with the potential workers, her driver’s license photo that was copied when she arrived was turned into a fake photo ID with someone else’s name on it. It’s the photo ID that she uses to get the TVs with the fraudulent credit cards. Later, Emily finds out that she can make $2,000 a day from this operation if she gets involved in actually forging credit cards by using the necessary equipment.
At first, Emily thinks it’s just an easy way to make money, but what she ends up going through is intense and harrowing. Complicating matters, Emily and Youcef have a growing attraction to each other. It’s a relationship where their loyalty to each other will be tested. In this operation, Youcef reports to his cousin Khalil (played by Jonathan Avigdori), who is a ruthless thug who doesn’t hesitate to get violent.
One of the most accurate things about “Emily the Criminal” is how it shows that committing crimes can be addicting for criminals. Many thieves say that it’s often not about the money but the adrenaline rush of committing a crime and getting away with it. Emily’s criminal record is a sign that she’s no stranger to getting in trouble with the law. However, viewers will get the sense that her involvement in this group of thieves has a lot to do with getting back at a system that punishes her for having a criminal record when she’s trying to find honest work.
“Emily the Criminal” is gripping not just because of the story but also because of Plaza’s fascinating performance. There’s nothing trite or stereotypical about it. Emily is not a hero, but Plaza gives a nuanced performance indicating that not everything about Emily is a villain either. From Emily’s perspective, life is not completely black and white. She’s someone who prefers to think of life of being in shades of grey.
Some viewers might not like how the movie doesn’t reveal too much about Emily’s background to explain why she makes the decisions that she does. However, it’s ultimately a wise choice to keep her background vague, because the point of the movie is to explain who Emily is now (not who she was in the past), and that she made these decisions of her own free will and under terrible financial strain. Her life of crime is not something that can be blamed on a bad childhood or someone in her life who led her astray. On a wider level, the lack of background information about Emily is the movie’s way of saying that the circumstances that led to her choosing this life of crime could happen to a lot of people of any background who find themselves in dire financial situations.
“Emily the Criminal” is not a perfect movie, since the last third of the film seems to cram in a lot of problems for Emily in a way that looks a bit too contrived. However, writer/director Ford has a knack for intriguing storytelling, and he made very good casting decisions with this movie. “Emily the Criminal” does not make Emily’s choices look glamorous, but it is an effective story in showing how this unhappy and restless person has to come to terms with who she really is and what type of life she really wants to have.
Roadside Attractions and Vertical Entertainment will release “Emily the Criminal” in select U.S. cinemas on August 12, 2022. The movie is available to rent on DirecTV, as of August 30, 2022. DirecTV has exclusive rental rights for a limited time.
Rain Spencer in “Good Girl Jane” (Photo by Jake Saner)
“Good Girl Jane”
Directed by Sarah Elizabeth Mintz
Culture Representation: Taking place in the Los Angeles area, from 2005 to 2006,the dramatic film “Good Girl Jane” has a predominantly white cast of characters (with some African Americans, Latinos and Asians) representing the working-class, middle-class and criminal underground.
Culture Clash: A quiet teenage misfit falls in with a druggie crowd at her high school, begins dating her drug dealer, and descends deeper into drug addiction, while she tries to hide her addiction from her family.
Culture Audience: “Good Girl Jane” will appeal primarily to people who are interested in watching well-acted cautionary tales about how easily drug addiction can take over someone’s life.
Rain Spencer and Andie MacDowell in “Good Girl Jane” (Photo by Jake Saner)
The dramatic film “Good Girl Jane” could have been yet another “good girl gone bad” story about a teenage drug addict. Rain Spencer’s emotionally stirring performance is the main reason to watch when the plot becomes predictable. This is not a movie that is groundbreaking, but some of it is heartbreaking, even if it’s told from the privileged perspective of a protagonist who is more likely to go to rehab than go to prison for drug crimes. “Good Girl Jane” had its world premiere at the 2022 Tribeca Film Festival in New York City, where it won two grand jury prizes: Best U.S. Narrative Feature and Best Performance in a U.S. Narrative Feature, a prize awarded to Spencer.
Written and directed by Sarah Elizabeth Mintz, “Good Girl Jane” hits a lot of familiar beats and tones of movies that have covered the same subject matter of middle-class American teenagers who become drug addicts. If it’s a teenage girl, she usually has a “good girl” reputation with no previous history of drug use. And then, she meets someone or a group of people who are heavy drug users. And in order to be “accepted” into this social circle, she starts doing drugs and becomes addicted. It’s a cliché because it happens all too often in real life.
If you know this is the plot of “Good Girl Jane,” then you know what’s coming even before the movie starts. Fortunately, “Good Girl Jane” is not preachy, nor does it try to put most of the blame on the druggie clique that influences the protagonist to start doing drugs. The mistakes and self-destructiveness are the full responsibility of the person who made these lifestyle choices.
In “Good Girl Jane” (which takes place in the Los Angeles area, from 2005 to 2006), the title character is Jane Rosen (played by Spencer, in her feature-film debut), who goes from being a shy loner to a “wild child” drug addict in a matter of months. The movie begins in the autumn of 2005, when 17-year-old Jane has transferred from an elite private school to a public school, where she hasn’t yet made any friends. The reason for the transfer is revealed in bits and pieces throughout the story.
Jane lives with her sister Izzie Rosen (played by Eloisa Huggins), who’s about 15 or 16 years old, and their divorced mother Ruth Rosen (played by Andie MacDowell), who is a therapist. It’s never specified how long Ruth and her ex-husband Elliott Rosen (played by Gale Harold) have been divorced. However, Elliott doesn’t live too far away, and he has visitation rights.
Elliott is a busy executive who works at an unnamed music company. Part of his job is to go to concerts and nightclubs. Elliott is only in a few scenes in the movie, but it’s easy to see why he and Ruth got divorced: He’s a very inattentive and flaky parent.
For example, Jane and Izzie are scheduled to spend a weekend of visitation time with Elliott. It was already pre-arranged that Jane and Izzie would be staying at Elliott’s place for the weekend. Instead, he takes them to dinner at a restaurant, and then rushes them through the meal because he says that after this dinner, he has to go to a nightclub for work-related reasons. Jane and Izzie are too young to go to the nightclub with him.
At the restaurant, Elliott also tells Jane and Izzie that they can’t stay for the weekend at his place after all because he’s too busy with work. Elliott then drops off Jane and Izzie back at their mother’s house with half-hearted apologies for backing out of this father-daughter visitation. Ruth is furious, but she tries not to have a loud argument with Elliott in front of their children.
Ruth wants to emotionally connect with Jane, but Ruth’s attempts to uplift moody and withdrawn Jane just come across as criticism that Jane doesn’t want to hear. For example, when Jane is at home, she’s usually on her laptop computer (where she frequents Internet chat rooms) while listening to hardcore heavy metal music. Ruth doesn’t like Jane’s choice of music and tells Jane that the music can have a negative effect on Jane’s attitude. Ruth might have noticed that Jane is unhappy. But instead of Ruth asking Jane what’s wrong and asking how she can help as a parent, Ruth chooses to complain about Jane’s taste in music.
Jane secretly smokes cigarettes at school. When Ruth picks up some of Jane’s clothes to do laundry, Ruth smells cigarette smoke on the clothes and says in a condescending voice, “Please don’t smoke,” and starts to lecture Jane about how smoking is unattractive and bad for her health. Jane denies that she smokes cigarettes and says the cigarette odor is from being around people who smoke cigarettes at school.
Ruth is not a deliberately alienating parent. However, Ruth gives the impression that she knows more about what’s going on in her clients’ lives than she knows what’s going on in Jane’s life because Ruth spends more time asking the right questions of her clients. On the other hand, Jane doesn’t give Ruth much leeway to have a close emotional bond with her, because Jane is the type of sulky and secretive teen who would most likely say everything is fine if a parent asked her what’s bothering her.
Jane likes to wear baggy clothes and hooded sweatshirts. She often walks with a slight slouch, as if she wants to be invisible yet noticed as being “aloofly cool” at the same time. At school, when she tries to sit at a table with some other students, they tell her that the seat she wants is saved for someone else. It’s a predictable “social outcast” scene in movies about teenage misfits.
Even though Izzie and Jane go to the same school, they rarely speak to each other when they’re at school. Viewers find out later that Izzie, who has an upbeat and outgoing personality, is having an easier time adjusting to this transfer and is making more of an effort than Jane to befriend other students. There are also hints that Jane feels like their mother loves Izzie more than she loves Jane.
There’s a reason why Jane seems to be anti-social: She was cruelly bullied at her previous school, which is the main reason why Jane and Izzie have transferred to their current school. The details of the bullying are eventually revealed in the movie. But there are indications that some of the bullies are still harassing Jane online, based on the messages she gets when she’s on her computer.
One day, after classes have ended for the day, some of the school’s stoners are taking a SUV ride near Jane while she’s walking somewhere, and they invite her to party with them. A rebellious brat named Bailey Avett (played by Odessa A’zion) is the driver. The other pals in the SUV are tall and blue-haired Benji (played by Diego Chiat), easygoing Kaya (played by Jules Lorenzo) and androgynous Abel (played by Olan Prenatt). Jane already knows about this clique’s druggie reputation.
At first, Jane is hesitant to go with them, because she says she has to be at home by a certain time. But she changes her mind when they say that where they’re going won’t take long. Inside the car, the partiers are smoking weed, and Benji snorts some cocaine. They all go to the rooftop of a house, where more marijuana is smoked, cocaine is snorted, and apparent tabs of LSD are consumed, but Jane declines to partake in any of these drugs.
Instead, Jane takes a drink of alcohol offered by Kaya. During this rooftop party, these new acquaintances somewhat taunt Jane for being a “good girl” for not doing drugs with them. And you know what that means: In order to fit in with them and prove them wrong, Jane is going to start doing the same drugs.
That moment comes one night when Jane goes to a house party that she was invited to by this group of stoners. It’s where Jane does cocaine for the first time. And it’s also the first time that Jane feels like she has found a group of people at her school who could be her friends.
Also at the party is the group’s main drug dealer. He’s a 21-year-old Irish immigrant named James “Jamie” McKenna (played by Patrick Gibson), who projects an image of laid-back confidence. Although Jane and Benji had a mild flirtation with each other when they first met, Jane ends up being more interested in Jamie. After eyeing each other with some interest, Jamie and Jane sense their mutual attraction, they start talking, and then have a dip together in the house’s swimming pool.
It’s the beginning of a very co-dependent and toxic relationship. The more experienced Jamie pursues Jane, who plays hard to get, but eventually she gives in to Jamie’s persistent and amorous attention. He showers her with compliments and says many other things that Jane wants to hear. Not much is known about Jane’s dating history, but there are plenty of hints that Jamie is the first adult whom Jane has ever dated.
It isn’t long before Jane has lost her virginity to Jamie in the back seat of his car. It’s not as romantic as Jane expected because it’s on the same night that Jane finds out that Jamie is a meth addict who has occasional seizures because of his addiction. Jane quickly gets addicted to cocaine, which she usually snorts. But she also joins Jamie in his meth-smoking binges because she wants to know what it feels like. Jamie also injects meth if he wants a quicker and more intense high.
You know where all of this is going, of course. The only questions are how low will Jane go in her drug addiction and if anything will happen to set her on a path to possible recovery. Jane gets so caught up in her relationship with Jamie that she starts skipping school to hang out with him. And that includes accompanying Jamie to some of his drug deals. Jane witnesses some things that are shocking to her but won’t be that shocking to people who’ve seen enough of these kinds of “drug addict downward spiral” movies.
Spencer’s performance as Jane is particularly effective in showing how quickly someone’s boundaries and tolerance for being in demeaning and dangerous situations can change when drug addiction is involved. It would be easy to blame Jamie for being a “bad influence” on Jane. But the truth is that Jane already had low self-esteem going into this relationship, and she made the wrong choices in where to get emotional validation. Her drug use was a direct result of her own free will.
“Good Girl Jane” is also authentic in showing how denial is a huge part of the disease of drug addiction. People try to tell Jane some unsavory things about Jamie, but Jane brushes off those concerns as just unsubstantiated gossip. Some of the things she hears about Jamie are that he sleeps around with a lot of the teenage girls who are his drug-buying customers and that he’s legally married to someone whom Jane has never met.
A cliché that “Good Girl Jane” thankfully avoids is showing a scenario where divorced parents put aside their differences to come to the rescue of a drug-addicted child. That doesn’t happen in “Good Girl Jane,” which takes a more realistic approach that emotionally distant parents don’t automatically change their ways when a child is crying out for help. The movie also shows that even when someeone is a therapist, that person still might have a hard time accepting and dealing with painful truths about having a drug addict in the family.
One of the best things about “Good Girl Jane” is showing how Izzie reacts to finding out that Jane is a drug addict. Spencer and Huggins have some emotionally powerful scenes together that are among the movie’s standout moments. And there’s a particularly impactful scene that Spencer and MacDowell have toward the end of the movie. This mother-daughter scene is a like a tidal wave of the pent-up despair that Jane has been feeling before and after Jane’s drug addiction.
There’s nothing particularly extraordinary about this tale of a teenager who becomes a drug addict. Sadly, what happens to Jane happens to people from all walks of life. However, one of the movie’s faults is that it seems to willfully take for granted that Jane is a lot better off than many drug addicts because she has the privilege and resources to get professional rehabilitation for her drug addiction.
And it goes without saying that if Jane were a person of color or if she were poor, she would most liklely be treated very differently by law enforcement if her illegal drug activity resulted in her getting entangled in the criminal justice system. It’s a reality that’s implied, based on things that are shown in the movie. “Good Girl Jane” doesn’t really explore these social inequality issues in-depth, because even with Jane’s privilege, what she goes through is enough to show that drug addiction can be a nightmare for anyone.
Devin Das and Parker Seaman in “Wes Schlagenhauf Is Dying” (Photo by Tom Banks)
[Editor’s Note: After premiering at the 2022 Tribeca Film Festival, “Wes Schlagenhauf Is Dying” was acquired by Gravitas Ventures, which changed the movie’s title to “Wes Is Dying.”]
Culture Representation: Taking place on the West Coast of the United States in 2020 (with some flashbacks to 2017), the comedy film “Wes Schlagenhauf Is Dying” features a predominantly white cast of characters (with a few Asians, Latinos and African Americans) representing the working-class and the middle-class.
Culture Clash: Two aspiring filmmakers, who are best friends and work partners, go on a road trip from Los Angeles to Boise, Idaho, to visit a quarantined friend who has been infected by COVID-19.
Culture Audience: “Wes Schlagenhauf Is Dying” will appeal primarily to people who are interested in comedies with a COVID-19 theme, no matter how silly and time-wasting those comedies are.
Devin Das and Parker Seaman in “Wes Schlagenhauf Is Dying” (Photo by Tom Banks)
Dull and very manipulative, “Wes Schlagenhauf Is Dying” is the worst type of filmmaking with a COVID-19 theme. Viewers will have a hard time caring about the self-absorbed cretins at the center of this insipid comedy. It’s yet another movie about the COVID-19 pandemic that fails to have much purpose other than to try to cash in on this horrific pandemic that has killed millions of people.
Directed by Parker Seaman, “Wes Schlagenhauf Is Dying” also represents the type of self-referential filmmaking that has insecure filmmakers desperately trying to make themselves look cool by constantly telling everyone watching the movie how cool they are. In these types of movies, the filmmakers usually portray versions of themselves while they go on rants or excursions where they trade barbs that are supposed to be witty and hip but are actually very mindless and juvenile, with no self-awareness of how awful and boring the filmmaking is. “Wes Schlagenhauf Is Dying” had its world premiere at the 2022 Tribeca Film Festival in New York City.
Unfortunately, a large chunk of “Wes Schlagenhauf Is Dying” is a road trip, so viewers are stuck with the two obnoxious main characters who make fools out of themselves on this trip. Parker (played by Seaman) and Devin (played by Devin Das), also known as Dev, are best friends, work partners and aspiring feature film directors who live in Los Angeles. Parker and Dev, who are both in their 20s, pay their bills by working as co-directors of commercials and music videos, until they can get their first big break in the movie industry. Seaman and Das co-wrote the terrible screenplay for “Wes Schlagenhauf Is Dying.”
The movie opens in 2017, on the set of a commercial that Parker and Dev are directing. They’re having a hard time because their stoner/slacker friend Wes Schlagenhauf (playing a version of himself) has a job to dress up as a dancing bear for this commercial, but Wes is being difficult. Parker and Dev want Wes to look like he’s dancing naturally. Wes whines in response: “You’re telling me to dance naturally in a fucking bear costume!”
Parker and Dev remind Wes that even though he’s their friend, and they are the co-directors of this commercial, it wasn’t easy to get him cast for this acting gig. More arguing ensues, until Wes snaps and walks off of this non-union job. Wes yells before he heads out the door while still in the costume: “You poked a bear, you guys! Huge mistake!” After he leaves, Parker and Dev wonder how they’re going to get another bear costume in time to finish this commercial.
The movie then fast forwards to 2020, at the beginning of the COVID-19 pandemic lockdowns. Parker and Dev now work from home. Within the first 10 minutes of the movie, it’s obvious that Parker thinks he’s the bossy “alpha male” of this duo. Parker acts like he thinks he’s not only smarter than Dev but also smarter than almost everyone Parker meets. Parker’s arrogance isn’t backed up with any real intelligence, since he continues to make irrational and moronic decisions.
A conversation reveals that after Wes’ meltdown in the bear costume, Wes abruptly quit the entertainment business, and he decided to move back to his hometown of Boise, Idaho. Not much is known about Wes, except he’s described as someone who “loves baseball, cocaine and LSD.” Wes hasn’t really kept in regular touch with Parker and Dev, who both still have a little bit of resentment over how Wes wrecked the job opportunity they gave to him and how he suddenly decided to leave Los Angeles.
However, things aren’t so bad with Parker, Dev and Wes that they’ve stopped communicating with each other. During a video conference call, Wes tells Dev and Parker that he’s sick with COVID-19 and is quarantining at home, where Wes lives with his mother and stepfather. Contrary to what the movie’s title suggests, Wes never gives the impression in this phone call that he’s dying or that he needs to go to a hospital.
Parker immediately thinks that Dev and Parker should visit Wes by going on a road trip to Boise, and that they should make a documentary about it. Dev is reluctant at first, but Parker convinces Dev to go. During the road trip, Parker and Dev check in on Wes on a regular basis to see how he’s doing.
Actor/filmmaker Mark Duplass has a cameo as a version of himself in “Wes Schlagenhauf Is Dying.” Mark shows up on video because he’s on the roster for a service called Cameo, which has famous people sending personal video messages to people who pay a fee for these video messages. Parker and Dev have signed up to have Mark do a personal “get well soon” message for Wes.
The rest of the movie is an idiotic slog, as Parker and Dev have some not-very-funny misadventures during their road trip, where they predictably have agruments with each other. The first of many signs that “Wes Schlagenhauf Is Dying” is a bad movie is when Parker and Dev, who work with digital technology in their jobs and are supposed to be tech-savvy, get lost on their road trip. Viewers are supposed to believe that these two bozos suddenly don’t know how to use a smartphone to get directions. It’s just a lazy way to stretch out the already very thin plot.
Parker and Dev share the same agent, whose name is Chelsea (played by D’Arcy Carden), and they have a deal where Parker and Dev are always supposed to work together on jobs that they get. But there’s a tedious subplot about how one of these director pals betrays his friend by going behind the other’s back to take a lucrative commercial job for himself. As part of the deceit, he tells Chelsea that the other friend knows and approves of this decision to work solo, which is a dumb lie because Parker and Dev having the same agent means that the lie will inevitably be exposed. The movie also keeps repeating a very unfunny joke of Parker trying to persuade Dev to tell Parker the password for Dev’s Disney+ account.
It gets worse. By the time Dev and Parker arrive at the place where Wes lives, the movie takes some very ludicrous twists and turns until the very end. The story’s big “reveal” is truly an insult to viewers. Everything about “Wes Schlagenhauf Is Dying” looks like an amateurish skit that could have been a very short film but instead was elongated into a feature film that’s just a waste of everyone’s time.
UPDATE: Gravitas Ventures will release “Wes Is Dying” (formerly titled “Wes Schlagenhauf Is Dying” on digital and VOD on April 9, 2024.
