2022 Independent Spirit Award: ‘The Lost Daughter’ is the top winner

March 6, 2022

“The Lost Daughter” director/writer/producer Maggie Gyllenhaal at the 27th annual Film Independent Spirit Awards in Santa Monica, California, on March 6, 2022. (Photo courtesy of IFC)

With three awards, including Best Feature, the Netflix drama “The Lost Daughter” was the top winner at the 27th annual Film Independent Spirit Awards, which were presented in Santa Monica, California, on March 6, 2022. Husband and wife Nick Offerman and Megan Mullally hosted the show, which was televised in the U.S. on IFC and streamed exclusively on AMC+. Members of Film Independent vote for the awards, which go to movies not released by major movie studios and have production budgets of less than $22.5 million.

“The Lost Daughter” (starring Olivia Colman, Dakota Johnson and Jessie Buckley) is about a middle-aged British woman (played by Colman) who goes on a vacation in Greece and becomes haunted by memories of how she mothered her daughters when her daughters were children. The movie is based on Elena Ferrante’s 2006 novel of the same name. “The Lost Daughter” screenwriter/director Maggie Gyllenhaal won the Spirit Award for Best Director and Best Screenplay.

A24’s stripper comedy/drama “Zola” went into the ceremony with the most nominations (seven) and ended up winning two Spirit Awards: Best Female Lead (for Taylour Paige) and Best Editing (for Joi McMillon).

Here is the complete list of nominees and winners for the 2022 Film Independent Spirit Awards:



BEST FEATURE (Award given to the producer. Executive Producers are not awarded.)

A Chiara
Producers: Jonas Carpignano, Paolo Carpignano, Jon Coplon, Ryan Zacarias

C’mon C’mon
Producers: Chelsea Barnard, Andrea Longacre-White, Lila Yacoub

The Lost Daughter*
Producers: Charles Dorfman, Maggie Gyllenhaal, Osnat Handelsman Keren, Talia Kleinhendler

The Novice
Producers: Ryan Hawkins, Kari Hollend, Steven Sims, Zack Zucker

Producers: Kara Baker, Dave Franco, Elizabeth Haggard, David Hinojosa, Vince Jolivette, Christine Vachon, Gia Walsh
BEST FIRST FEATURE (Award given to director and producer)

7 Days*
Director: Roshan Sethi
Producers: Liz Cardenas, Mel Eslyn

Director: Nicole Riegel
Producers: Adam Cobb, Rachel Gould, Katie Mcneill, Jamie Patricof, Christy Spitzer Thornton

Queen of Glory
Director: Nana Mensah
Producers: Baff Akoto, Anya Migdal, Kelley Robins Hicks, Jamund Washington

Test Pattern
Director/Producer: Shatara Michelle Ford
Producers: Pin-Chun Liu, Yu-Hao Su

Wild Indian
Director/Producer: Lyle Mitchell Corbine, Jr.
Producers: Thomas Mahoney, Eric Tavitian
JOHN CASSAVETES AWARD – Given to the best feature made for under $500,000 (Award given to the writer, director and producer. Executive Producers are not awarded.)

Writer/Director: Dash Shaw
Producers: Tyler Davidson, Kyle Martin, Jane Samborski, Bill Way

Writer/Director/Producer: Clint Bentley
Writer/Producer: Greg Kwedar
Producer: Nancy Schafer

Shiva Baby*
Writer/Director/Producer: Emma Seligman
Producers: Kieran Altmann, Katie Schiller, Lizzie Shapiro

Sweet Thing
Writer/Director: Alexandre Rockwell
Producers: Louis Anania, Haley Anderson, Kenan Baysal

This is Not a War Story
Writer/Director/Producer: Talia Lugacy
Producers: Noah Lang, Julian West

Janicza Bravo

Maggie Gyllenhaal*
The Lost Daughter

Lauren Hadaway
The Novice

Mike Mills
C’mon C’mon

Ninja Thyberg

Nikole Beckwith
Together Together

Janicza Bravo, Jeremy O. Harris

Maggie Gyllenhaal*
The Lost Daughter

Mike Mills
C’mon C’mon

Todd Stephens
Swan Song

Lyle Mitchell Corbine, Jr.
Wild Indian

Matt Fifer; Story by Sheldon D. Brown

Shatara Michelle Ford
Test Pattern

Fran Kranz

Michael Sarnoski; Story by Vanessa Block, Michael Sarnoski


Ante Cheng, Matthew Chuang
Blue Bayou

Lol Crawley
The Humans

Tim Curtin
A Chiara

Edu Grau*

Ari Wegner

Affonso Gonçalves
A Chiara

Ali Greer
The Nowhere Inn

Lauren Hadaway, Nathan Nugent
The Novice

Joi McMillon*

Enrico Natale
The Killing of Kenneth Chamberlain

Isabelle Fuhrman
The Novice

Brittany S. Hall
Test Pattern

Patti Harrison
Together Together

Taylour Paige*

Kali Reis
Catch the Fair One

Clifton Collins Jr.

Frankie Faison
The Killing of Kenneth Chamberlain

Michael Greyeyes
Wild Indian

Udo Kier
Swan Song

Simon Rex*
Red Rocket

Jessie Buckley
The Lost Daughter

Amy Forsyth
The Novice

Ruth Negga*

Revika Reustle

Suzanna Son
Red Rocket

Colman Domingo

Meeko Gattuso
Queen of Glory

Troy Kotsur*

Will Patton
Sweet Thing

Chaske Spencer
Wild Indian
ROBERT ALTMAN AWARD – Given to one film’s director, casting director and ensemble cast

Director: Fran Kranz
Casting Directors: Henry Russell Bergstein, Allison Estrin
Ensemble Cast: Kagen Albright, Reed Birney, Michelle N. Carter, Ann Dowd, Jason Isaacs, Martha Plimpton, Breeda Wool
BEST DOCUMENTARY (Award given to the director and producer)

Director/Producer: Jessica Kingdon
Producers: Kira Simon-Kennedy, Nathan Truesdell

Director: Jonas Poher Rasmussen
Producers: Monica Hellström, Signe Byrge Sørensen

In the Same Breath
Director/Producer: Nanfu Wang
Producers: Christopher Clements, Julie Goldman, Carolyn Hepburn, Jialing Zhang

Director: Robert Greene
Producers: Susan Bedusa, Bennett Elliott, Douglas Tirola

Summer Of Soul (…Or, When The Revolution Could Not Be Televised)*
Director: Ahmir “Questlove” Thompson
Producers: David Dinerstein, Robert Fyvolent, Joseph Patel

BEST INTERNATIONAL FILM (Award given to the director)

Compartment No. 6
Director: Juho Kuosmanen

Drive My Car*
Director: Ryusuke Hamaguchi

Parallel Mothers
Director: Pedro Almodóvar

Director: P S Vinothraj

Petite Maman
Director: Céline Sciamma

Prayers for the Stolen
Director: Tatiana Huezo
PRODUCERS AWARD – The Producers Award, now in its 24th year, honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality independent films.

Brad Becker-Parton

Pin-Chun Liu

Lizzie Shapiro*
SOMEONE TO WATCH AWARD – The Someone to Watch Award, now in its 27th year, recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition.

Alex Camilleri*
Director of Luzzu

Gillian Wallace Horvat
Director of I Blame Society

Michael Sarnoski
Director of Pig
TRUER THAN FICTION AWARD – The Truer Than Fiction Award, now in its 26th year, is presented to an emerging director of non-fiction features who has not yet received significant recognition.

Jessica Beshir*
Director of Faya Dayi

Debbie Lum
Director of Try Harder!

Angelo Madsen Minax
Director of North By Current


BEST NEW NON-SCRIPTED OR DOCUMENTARY SERIES (Award given to the Creator, Executive Producer, Co-Executive Producer)

Black and Missing*
Series By/Executive Producers: Soledad O’Brien, Geeta Gandbhir
Executive Producers: Jo Honig, Patrick Conway, Nancy Abraham, Lisa Heller, Sara Rodriguez

The Choe Show
Creator/Exec Producer: David Choe
Executive Producers: Matt Revelli, Christopher C. Chen, Hiro Murai, Nate Matteson

The Lady and The Dale
Executive Producers: Mark Duplass, Jay Duplass, Mel Eslyn, Allen Bain, Andre Gaines, Nick Cammilleri, Alana Carithers, Zackary Drucker, Nancy Abraham, Lisa Heller

Nuclear Family
Series By: Ry Russo-Young
Executive Producers: Liz Garbus, Julie Gaither, Jon Bardin, Leah Holzer, Peter Saraf, Alex Turtletaub, Jenny Raskin, Geralyn White Dreyfous, Lauren Haber, Maria Zuckerman, Christine Connor, Ryan Heller, Barbara Dobkin, Eric Dobkin, Andrea Van Beuren, Joe Landauer

Philly D.A.
Creators: Ted Passon, Yoni Brook, Nicole Salazar
Produced By: Josh Penn, Michael Gottwald
Executive Producers: Dawn Porter, Sally Jo Fifer, Lois Vossen, Ryan Chanatry, Gena Konstantinakos, Jeff Seelbach, Patty Quillin
Co-Executive Producers: Nion McEvoy, Leslie Berriman
BEST NEW SCRIPTED SERIES (Award given to the Creator, Executive Producer, Co-Executive Producer)

Creators/Executive Producers: Rafael Casal, Daveed Diggs
Executive Producers: Jess Wu Calder, Keith Calder, Ken Lee, Tim Palen, Emily Gerson Saines, Seith Mann

It’s a Sin
Executive Producers: Russell T Davies, Peter Hoar, Nicola Shindler

Reservation Dogs*
Creators/Executive Producers: Sterlin Harjo, Taika Waititi
Executive Producer: Garrett Basch

The Underground Railroad
Creator/Executive Producer: Barry Jenkins
Executive Producers: Adele Romanski, Mark Ceryak, Brad Pitt, Dede Gardner, Jeremy Kleiner, Colson Whitehead, Richard Heus, Jacqueline Hoyt

We Are Lady Parts
Creator: Nida Manzoor
Executive Producers: Tim Bevan, Eric Fellner, Surian Fletcher-Jones, Mark Freeland

Thuso Mbedu*
The Underground Railroad

Anjana Vasan
We Are Lady Parts

Jana Schmieding
Rutherford Falls

Jasmine Cephas Jones

Deborah Ayorinde
THEM: Covenant

Lee Jung-jae*
Squid Game

Olly Alexander
It’s a Sin

Michael Greyeyes
Rutherford Falls

Murray Bartlett
The White Lotus

Ashley Thomas
THEM: Covenant

Reservation Dogs
Ensemble Cast: Devery Jacobs, D’Pharaoh Woon-A-Tai, Lane Factor, Paulina Alexis, Sarah Podemski, Zahn McClarnon, Lil Mike, FunnyBone

Review: ‘Lucy and Desi,’ starring Lucille Ball and Desi Arnaz

March 4, 2022

by Carla Hay

Desi Arnaz and Lucille Ball in “Lucy and Desi” (Photo courtesy of Library of Congress/Amazon Content Services)

“Lucy and Desi”

Directed by Amy Poehler

Culture Representation: The documentary film “Lucy and Desi” features a predominantly white group of people (with a few Latinos), representing the middle-class and wealthy, discussing the lives and legacy of Lucille Ball and Desi Arnaz, the power couple who redefined television in the 1950s and 1960s.

Culture Clash: Ball and Arnaz broke barriers for women and Latinos in charge of TV productions, while the couple struggled with several marital issues that resulted in their divorce. 

Culture Audience: Besides obviously appealing to fans of “I Love Lucy” (the TV comedy series that made Ball and Arnaz household names), “Lucy and Desi” will appeal primarily to people interested in stores about celebrity couples or chronicles of TV history from the 1950s and 1960s.

Lucille Ball and Desi Arnaz in “Lucy and Desi” (Photo courtesy of Bettmann/Amazon Content Services)

The documentary “Lucy and Desi” plays it safe in telling the story of Lucille Ball and Desi Arnaz. However, the movie’s treasure trove of audio and video archives make it worth watching for anyone interested in TV history and this fascinating power couple. It’s perhaps fitting that “Lucy and Desi” was directed by Amy Poehler, a comedic actress whose life has some similarities to Ball’s, by becoming an executive producer in television and having a high-profile divorce from another comedic entertainer. “Lucy and Desi” had its world premiere at the 2022 Sundance Film Festival.

One of the biggest challenges that documentarians have when doing biographies of famous people is getting exclusive access, whether it’s access to certain interviews, places or archives. There’s often a non-monetary price to be paid when given that access: In exchange for that access, there’s usually an explicit or non-explicit agreement that the documentarians won’t put any scandalous “dirt” on the celebrity in the documentary. It might compromise the integrity of the documentary, depending on how “whitewashed” the documentary becomes.

“Lucy and Desi” puts just enough information about Ball and Arnaz’s behind-the-scenes problems to not be a complete “whitewash,” but the information is not new or insightful. Instead, the movie gives a lot of the narrative over to the eldest child of Ball and Arnaz: Lucie Arnaz Luckinbill, who gets the most screen time out of all the people interviewed for this documentary. Arnaz Luckinbill gives the impression that she never got over her parents’ divorce and that she wished that her parents had gotten back together.

Ball and Arnaz were married to each other from 1940 to 1960. Arnaz died in 1986, at the age of 69. Ball died in 1989, at the age of 77. At the time of their deaths, they were both married to their respective second spouses: Edith Hirsch (whom Arnaz married in 1963) and Gary Morton (whom Ball married in 1961). Even after their divorce, Ball and Arnaz continued to work together because they co-founded and shared Desilu Productions, which became one of the most powerful independent TV studios in Hollywood history.

In the beginning of the documentary, Arnaz Luckinbill comments on her family archives (audio, video and photos) that are featured in the documentary: “Underneath all of this painful stuff and disappointment, at the core it’s all about unconditional love. I find now that I’m much more forgiving when looking back on this. A lot of it is much clearer to me now.”

It’s worth noting that Arnaz Luckinbill opened up the family archives before when she produced the 1993 made-for-TV documentary “Lucy & Desi: A Home Movie,” which was televised in the U.S. on NBC. In that particular documentary, she and her brother Desi Arnaz Jr. reminisced about their parents while commenting on the footage shown in the film. At times, “Lucy & Desi: A Home Movie” resembles a family therapy session. Writer/director/former actor Laurence Luckinbill, who married Arnaz Luckinbill in 1980, was a writer of that documentary.

The Poehler-directed “Lucy and Desi” documentary opens up the film to commentaries from more people, but they do nothing but praise Ball and Arnaz. Carol Burnett says about Ball: “She was fearless in her comedy.” Bette Midler gushes about Ball: “You saw someone who was so beautiful, but she wasn’t afraid to look ugly, which we almost never saw women do.” Charo makes this statement about Arnaz: “He was the king of Latin music.”

Because Ball was the more famous person in this couple, her pre-fame personal story is told first. Die-hard fans will not learn anything new, but the documentary dutifully gives a summary of how Ball started her entertainment career in New York City, where she moved at the age of 14 to enroll in John Murray Anderson School for the Dramatic Arts and was expected to earn money for the family as a professional entertainer.

Born in Jamestown, New York, Ball came from a troubled family background. Her father Henry Durrell “Had” Ball died of typhoid fever when she was 3 years old. The family (including Lucille’s younger brother Fred Ball) moved around a lot in her childhood. By the time Lucille became a teenager, she had lived in New York state, New Jersey, Montana and Michigan.

Her mother Désirée Evelyn “DeDe” Ball married second husband Edward Peterson four years after the death of her first husband. When Lucille was a child, she and her brother sometimes lived with their mother’s parents and later Peterson’s parents. Not having a true sense of home security had profound effects on Lucille, but it also toughened her and prepared her for the harsh realities and erratic nature of showbiz.

Ball’s younger brother Fred says in an archival interview that his mother Dede was very “commanding and authoritative,” and that Lucille had those personality traits too. In 1927, when Lucille was 16, her maternal grandfather was sued when Fred’s girlfriend at the time accidentally shot and paralyzed a neighborhood boy. As the adult who was in charge of supervising Fred and his visiting girlfriend (who were both underage teenagers at the time), the grandfather was held liable for the shooting, and the family’s finances were destroyed.

Lucille’s relocation to New York City was partially motivated by her family expecting her showbiz earning to help the family financially. She became a showgirl (the documentary has an archival audio where she says she “was a dud” as a showgirl), then briefly a model (under the name Diane Belmont) and then a theater actress. She soon got an opportunity to be in movies and moved to Los Angeles. Lucille says in an archival interview: “I loved Hollywood. I had no thought of ever going back.”

But it wasn’t all glitz and glamour. For years, Lucille was stuck in bit parts or in forgettable supporting roles in mostly B-movies. Her first movie role was an uncredited part in 1933’s “Roman Scandals.” She studied acting under the tutelage of RKO Talent’s Lela Rogers, the influential manager/mother of actress/dancer Ginger Rogers. When the movie roles weren’t getting Lucille very far, she turned to doing radio serials. Her radio career set her on the path to the phenomenon of “I Love Lucy.”

Arnaz (who was born and raised in Santiago de Cuba, Cuba) came from a more privileged background than his future first wife. He was born into a multi-generational family of influential politicians and business executives, including having a maternal grandfather who was an executive at rum company Bacardi. But when the Cuban Revolution happened in 1933, when Arnaz was 14, his family lost their fortune.

He fled to Miami as a refugee and became a musician performing a mix of Latin music and big band music. He eventually led the Desi Arnaz Orchestra, which became a well-known music group in the United States. In 1939, Arnaz was cast as the star of the Broadway musical “Too Many Girls.” After “I Love Lucy” became a hit, Arnaz changed the name of his band to the Ricky Ricardo Orchestra, named after his Ricky Ricardo character on the show.

Arnaz and Lucille had something else in common besides their families losing their fortunes: They both had domineering mothers. Arnaz’s mother Dolores “Lolita” De Acha was as demanding of Lucille as she was of her son, according to a comment that Lucille makes in the documentary. After Arnaz and Lucille became rich and famous, they both took care of their respective mothers for the rest of their lives.

It’s already well-known that Lucille and Arnaz met on the set of the 1940 movie “Too Many Girls,” where Arnaz reprised his starring role from the Broadway show. The couple had a quickie courtship and eloped on November 30, 1940. Ten years later, Lucille was starring in and producing a comedy radio show called “My Favorite Husband,” which was loosely based on her marriage.

Television executives offered her a starring role in a TV series version of “My Favorite Husband,” and she accepted the offer on the condition that Arnaz play her husband on the show. It would be the first time that a Latino became a star in an American TV series. The show was called “I Love Lucy,” which had the couple portraying the characters of Lucy Ricardo and Ricky Ricardo. In the United States, “I Love Lucy” premiered on CBS on October 15, 1951. And the rest is history. (The documentary includes some footage from an unaired pilot episode of “I Love Lucy.”)

Not only did the couple star in “I Love Lucy,” but they were also executive producers of the show, at a time when it was rare for women and people of color to be executive producers of TV shows. Arnaz and Lucille also broke barriers for women and people of color in television when they co-founded Desilu Productions in 1950. In addition to producing all TV series starring Lucille Ball from 1950 to 1967 (the year that Desilu shuttered), Desilu produced a long list of hit shows in the 1950s and 1960s, including “Star Trek,” “The Untouchables,” “Mission: Impossible,” “Our Miss Brooks” and “The Ann Sothern Show.” “I Love Lucy” is credited with being the first TV series turn reruns/repeat episodes into a lucrative way to make money.

“I Love Lucy” famously became the first American scripted TV show to depict a woman’s pregnancy, at the insistence of the couple, because Lucille was pregnant in real life at the time with son Desi Arnaz Jr. Her childbirth was written into show, and the 1953 episode about the birth of Ricky Ricardo Jr., also known as Little Ricky, became a ratings bonanza. Arnaz Jr. played Little Ricky on “I Love Lucy,” until the show ended in 1957. Arnaz Jr. appears briefly in the “Lucy and Desi” documentary and makes this comment: “I was in the public eye before I could even communicate.”

Arnaz’s impact on Latino representation on American television cannot be underestimated. The documentary interviews Cuban playwright/professor Eduardo Machado, who remembers being a child in California’s San Fernando Valley and learning to speak English because he saw Arnaz on TV. Machado comments, “Desi brought sophistication where Latinos are hardly seen as sophisticated.” Spanish musician/band leader Xavier Cugat also comments on how influential Arnaz was in breaking barriers for Latinos in a white-dominated entertainment industry.

The role of women in positions of power on television also changed because of “I Love Lucy” and Desilu Productions. Emmy-winning TV showrunner/creator Norman Lear comments in the documentary: “‘I Love Lucy’ did a lot for helping Americans understand that just because a guy was male, that doesn’t mean he was the dominant character. Women could be the dominant character too.”

The documentary mentions Lucille’s reputation for being a tough taskmaster, but only puts a positive spin on it. National Comedy Center executive director Journey Gunderson comments, “There’s such a disparate focus on how hard-nosed she could be. But think about how many times she must’ve been ‘mansplained’ to on the set.”

National Comedy Center director of archives and research Lauren LaPlaca says about Lucille Ball’s legacy: “I don’t like when people call her work ‘effortless’ … She really built her success … It’s pretty clear that she had a scientific approach to what generates a laugh.”

The 2021 dramatic film “Being the Ricardos” (starring Nicole Kidman as Lucille Ball and Javier Bardem as Desi Arnaz, in Oscar-nominated performances) focused on a week in the life of the couple while dealing with three main issues that were in real life spread out over a period of years. “Being the Ricardos” includes the controversy over Lucille being branded a Communist in the media because she once filled out a voter registration form and listed herself as a member of the Communist Party. This controversy came during the U.S. government’s Communist witch hunt known as the Red Scare, which ruined the lives and careers of many people who were labeled Communists. “Being the Ricardos” also depicted the battles that the couple had with executives at CBS’s then-parent company Westinghouse and “I Love Lucy” chief sponsoring company Philip Morris about the pregnancy storyline. And the couple fought with each other over ongoing media reports that Arnaz was an unfaithful husband.

Another issue brought up in “Being the Ricardos,” which is a subplot in the movie, is the nature of the relationships between Lucille Ball, Desi Arnaz and their “I Love Lucy” co-stars Vivian Vance and William Frawley, who played the Ricardos’ best friends/neighbors Ethel Mertz and Fred Mertz. The “Lucy and Desi” documentary doesn’t dwell too much on any behind-the-scenes drama between these four stars. Gregg Oppenheimer, son of “I Love Lucy” head writer Jess Oppenheimer, repeats a well-known story that Vance thought that Frawley was too old to portray her husband, and Frawley (who was 22 years older than Vance) was offended when he found out that Vance felt that way. (In “Being the Ricardos,” Vance is played by Nina Arianda, while Frawley is played by J.K. Simmons, who received an Oscar nomination for his performance in the movie.)

“Lucy and Desi” avoids detailing any infidelity that contributed to the demise of the Ball/Arnaz marriage. And the Communist issue is barely given a mention, with Arnaz Luckinbill only making this comment how her parents dealt with the Communist controversy: “She was scared. My father took charge.” (In real life, the FBI cleared Lucille of suspicion of being a Communist when it was determined that she was never an active member of the Communist Party.) As for the pregnancy storyline, everyone knows who won that battle and how everything turned out.

What the documentary does detail is how the pressures of showbiz led to the breakdown of the marriage. Several people in the documentary, including Arnaz Luckinbill, describe it this way: Lucille wasn’t as interested in the business side of Desilu as Arnaz was, and he eventually scaled back on being a musician/actor to focus on running Desilu. However, because Lucille was more famous than he was, many people perceived Lucille as being more powerful, which caused jealousy and resentment from Arnaz, who also became an alcoholic and began spending less time with his family at home.

This alcohol addiction took a toll until Arnaz couldn’t really function in his job, and Lucille had to take over his duties at Desilu, which she resented because she didn’t really like the “office executive” parts of the job. Even though Arnaz’s productivity declined in the final years of Desilu, he’s praised in the documentary for being an underrated TV visionary who was able to bring out the best in people. David Daniels, son of original “I Love Lucy” director Marc Daniels, comments: “Desi was a collaborator in the supreme sense of the word—and that’s where you get the best stuff.”

Arnaz Luckinbill says of her parents’ troubled marriage: “He hurt her by his actions. She hurt him by her words.” According to the documentary, Arnaz was the one who wanted to end the marriage, but Lucille was the one who filed for divorce first. Arnaz Luckinbill comments, “The hard edge softened the minute they got divorced, but they did love one another.” She also shares a touching story of what happened when her parents talked for the last time when Arnaz was on his deathbed: They both said, “I love you” several times to each other during this last goodbye.

“Lucy and Desi” is capably directed and edited in a traditional documentary style. There’s nothing really substandard about the documentary, but it gives the impression that a lot more could have been in the movie but was left out because it would be unflattering to the Lucille Ball/Desi Arnaz legacy. For die-hard fans, the “Lucy and Desi” documentary can be considered entertaining but a tad redundant, considering the plethora of biographies in many formats that have exhaustively covered this legacy. “Lucy and Desi” is ultimately a tribute-styled summary that will only be truly revelatory to people who know little to nothing about this legendary couple who changed television forever.

Prime Video premiered “Lucy and Desi” on March 4, 2022.

Review: ‘After Yang,’ starring Colin Farrell, Jodie Turner-Smith, Malea Emma Tjandrawidjaja, Justin H. Min and Haley Lu Richardson

March 4, 2022

by Carla Hay

Colin Farrell, Jodie Turner-Smith, Malea Emma Tjandrawidjaja and Justin H. Min in “After Yang” (Photo courtesy of A24)

“After Yang”

Directed by Kogonada

Culture Representation: Taking place in an unnamed U.S. city, the sci-fi dramatic film “After Yang” has a racially diverse cast of characters (white, black, Latino and Asian) representing the working-class and middle-class.

Culture Clash: After a family’s android malfunctions and appears to be unfixable, the family’s patriarch goes on a quest to find out the origins of this robot.

Culture Audience: “After Yang” will appeal primarily to people who are interested in watching introspective movies about what life could be like in the future.

Justin H. Min and Haley Lu Richardson in “After Yang” (Photo courtesy of A24)

What happens when a family robot breaks down and apparently can’t be fixed? And what if that robot was such an integral part of this family, the family might be broken too if the robot can no longer be in their lives? Those are the questions posed in the thoughtful sci-fi drama “After Yang,” written and directed by Kogonada. The movie might be too slow-paced for some viewers, but it’s worth viewing for a contemplative story about how the need for emotional connections won’t change, no matter how much technology advances.

“After Yang” opens with a “selfie” family portrait in the home backyard of the Fleming family: Jake (played by Colin Farrell), Jake’s wife Kyra (played by Jodie Turner-Smith), their daughter Mika (played by Malea Emma Tjandrawidjaja) and their human-looking android Yang (played by Justin H. Min), who operates the camera before getting into the group photo. It seems like a happy family gathering, based on the smiles in the photo, but Jake and Kyra have grown emotionally distant from each other in their marriage.

Mika, who’s about 6 or 7 years old, seems oblivious to the tension in her parents’ relationship. Jake and Kyra adopted Mika as a baby from China. Yang is described as a “techno-sapien.” He was purchased to be a companion to Mika and so he could teach her about Chinese history and culture. Yang, who has a kind and patient personality, has known Mika since she was a baby. Yang is treated like a nanny and a family member.

“After Yang” takes place in an unnamed U.S. city in an unspecified future, when human-looking androids and human clones are fairly common. (“After Yang” was filmed primarily in New York state’s Rockland County.) All of the actors in “After Yang” keep their native accents, so the movie has a very cosmopolitan tone to it. Most of the cast members are American, but Farrell is Irish, Turner-Smith is British, and there are some other non-Americans who are in the cast.

Jake owns a tea shop, while Kyra works at an office job in an unnamed industry. The passion seems to have left their marriage, but Jake and Kyra are not on the verge of splitting up. These two spouses don’t have big arguments, but they just seem to barely tolerate each other.

Through various conversations between Jake and Kyra, viewers find out that her main complaint about him is that she doesn’t think he spends enough time with the family. Kyra tells Jake during one of their tension-filled conversations: “I just want us to be a team, a family.” An early scene in the movie shows Mika and Kyra at home eating dinner. Mika asks where Jake is, and Kyra tells her that he has to work late. However, Kyra puts a positive spin on Jake’s absence by saying that Jake being busy with customers means that his business is doing well.

Jake obliges Kyra’s request to spend more time with family, by participating with Kyra, Mika and Yang in a worldwide virtual dance-off competition that happens once a month. The dance-offs are based on the number of people in each group. For example, groups of four compete against each other, groups of three compete against each other, etc. Because this is a virtual competition, thousands of people can compete at the same time.

In this dance-off, groups go online and dance to the same song and are monitored by judges. The objective is for everyone in the group to dance in sync. Any group that has a member who dances out of sync is eliminated.

The movie’s opening credits play over a memorable montage sequence of the Fleming family and other four-member groups dancing in this contest. Some of the people in the other groups end up being supporting characters in this movie. Despite the Fleming family’s best efforts, someone in their group dances out of sync (Jake gets the blame), and they’re eliminated, but they seemed to have fun bonding over this shared activity.

Not long after the family participated in this dance-off, Yang malfunctions and shuts down. Because his exterior is made of human-like flesh, there’s a limited time to fix him before he will start decomposing. Jake and Kyra have different reactions to Yang’s shutdown. Jake wants to do everything he can to save Yang, because he knows how emotionally attached Mika is to Yang. Kyra is more reluctant to fix Yang, because of the expenses involved and because she thinks that Mika needs to learn about death.

Kyra also gripes to Jake that he should’ve bought Yang as a new android from a company called Brothers and Sisters, which is the main company that has the authority to sell new androids. Instead, Yang was purchased as a used android from a company called Second Siblings, a company that’s considered to be inferior to Brothers and Sisters. The place where Yang was purchased affects the ability to repair him quickly, because Yang’s warranty is with Second Siblings, not with Brothers and Sisters.

The Fleming family has a next-door neighbor named George (played by Clifton Collins Jr.), whom Jake thinks is a little weird and annoying. George notices that Jake is carrying Yang, so Jake tells George that Yang malfunctioned the night before. George mentions to Jake that he has a friend named Russ who does android repairs for a reasonable price. George advises Jake on what to do about Yang: “I wouldn’t take him back to Brothers and Sisters. They’re just going to try to get you to recycle him for a new model.”

When Jake goes to the place where he remembers Second Siblings was located, he’s dismayed to find out that the business has closed, and a fish aquarium store is now in its place. Mika is with him on this trip and is afraid of what will happen to Yang. To placate Mika’s worries, Jake buys her a pet fish from the shop.

Jake then goes to a repair shop called Quick Fix, where a repair consultant named Aaron (played by Brett Dier) tells Jake that he has two options: (1) recycle Yang and get a $1,000 discount toward a new android, or (2) turn Yang’s head and voice box into a virtual assistant, and the family can keep the rest of Yang’s salvaged parts. Jake decides to take neither option.

With Mika growing increasingly anxious about losing Yang, Jake decides to go to George’s friend Russ (played by Ritchie Coster) as a last resort. Russ tells Jake that he needs Jake’s permission to open Yang’s interior core. Opening this interior core is is an illegal thing to do, but Russ insists it’s the only way to figure out how Yang can be fixed. Yang is left at Russ’ repair shop for the time being.

Back at home, Jake and Kyra continue to disagree over what to do about Yang. Kyra also tells Jake: “Yang has been wonderful, and we’d miss him terribly, but we’ve been over-reliant on him. We bought Yang to connect [Mika] to her Chinese heritage, not to raise her.” Jake replies, “Yeah, but we spent a lot of money on Yang.”

Kyra says, “If we can’t fix Yang, we’re not going to buy another sibling for Mika. We can’t afford it anyway.” Kyra also says that she and Jake, not an android, should be responsible for teaching Mika about her Chinese heritage. Jake remains undeterred. His determination to save Yang leads him down unexpected paths and eventually on a quest to find out Yang’s origins.

Along the way, some other people play important roles in this story, including a Museum of Technology curator named Cleo (played by Sarita Choudhury) and a young female clone named Ada (played by Haley Lu Richardson), who has a connection to Yang. It’s enough to say that through a series of circumstances, Jake can access Yang’s memories by putting on special sunglasses. What Jake finds out changes his outlook on many things in life.

“After Yang” takes its time in unpeeling some of the layers in this story. There are several scenes of people staring off into space, as if they’re in deep thought. And although Jake is seen occasionally at work, he doesn’t seem to have any employees at his tea shop. It will make viewers wonder who’s operating Jake’s tea shop while he’s going around investigating the mystery of Yang, while Mika is sometimes along for the ride.

One of the biggest flaws in the movie is how Kyra is such an underdeveloped character. It will be hard for a lot of viewers to emotionally connect to Kyra, who comes across as cold and completely boring. Yang might be a robot, but he has more personality than Kyra does. And for all of Kyra’s complaining about Jake not spending enough time with the family, Jake is the one who ends up spending more time with Mika than Kyra does during the course of this story.

Only when Jake accesses Yang’s memories do viewers get to see a brief glimpse of Jake and Kyra in happier times, when they look like a real married couple. But for the vast majority of “After Yang,” there’s little to no chemistry between Farrell and Turner-Smith as these spouses. Even though they are portraying a married couple drifting apart, there’s nothing in the movie that shows why Jake and Kyra fell in love with each other in the first place.

“After Yang” also could have used more of the story to explore family issues when an adopted child is of a race that’s different from the adoptive parents. The only reference to any realistic challenges of interracial adoptions is a flashback scene where Mika confides in Yang about how some kids at her school told her that Jake and Kyra are not her real parents and asking him what it means to be Asian. Mika knows that she’s adopted, but she still seems a little hurt and confused over people thinking that Jake and Kyra aren’t her “real parents.” Yang then tells Mika about tree grafting as an analogy to adoption. It’s a very trite and simplistic way to deal with this issue.

Later in the movie, Kyra calls Jake while she’s at her job to ask Jake to pick up Mika from school because Mika got into a physical fight with another student. Mika was sent to the school principal’s office over this altercation, but the movie never shows Jake and/or Kyra interacting with anyone at the school about this problem or talking to Mika about it. It would be easy to assume that Mika might have gotten into the fight because of the adoption issue, but the movie never explains how Jake and Mika tried to resolve this problem.

Tjandrawidjaja is very good in the role of Mika, but her character was basically written to be just a cute and somewhat precocious kid. Instead, “After Yang” puts most of the emphasis on Jake as the person whose thoughts and feelings have the most importance in the story, since he’s the one who’s the most involved with and affected by finding out Yang’s origins. Farrell handles the character of Jake with a lot of care, but some viewers might grow tired of so many people in the movie having pained expressions on their faces without much action happening in the story.

The rest of the supporting cast members are perfectly fine in their roles. Min and Richardson do the best that they can with their Yang and Ada characters in the limited screen time that these characters have. When viewers see the connection between Yang and Ada, it will make a lot of people wish that there could’ve been an entire movie centered on Yang and Ada.

Kogonada brings a futuristic, dream-like style to the flashback sequences of Yang’s memories. These striking visuals are among the best aspects of “After Yang.” If viewers have the patience to watch this movie, the last third is the best and most meaningful part of the film. “After Yang” isn’t a groundbreaking sci-fi movie, but it offers a unique perspective of humanity when human clones and androids that look like humans co-exist with people.

A24 released “After Yang” in select U.S. cinemas on March 4, 2022, the same date that the move premiered on Showtime.

Review: ‘The Guilty’ (2021), starring Jake Gyllenhaal

March 3, 2022

by Carla Hay

Jake Gyllenhaal in “The Guilty” (Photo courtesy of Netflix)

“The Guilty” (2021)

Directed by Antoine Fuqua

Culture Representation: Taking place primarily in Los Angeles, the dramatic film “The Guilty” features a predominantly white cast of characters (with a few African Americans, Asians and Latinos) representing the middle-class.

Culture Clash: A police officer, who has been demoted to 911 operator duties, gets a harrowing phone call from a woman who says she’s in a vehicle and she’s been kidnapped, and the police officer breaks protocol to try to help her. 

Culture Audience: “The Guilty” will appeal primarily to people interested in thrillers that have many twists and turns, with some plot developments more believable than others.

Jake Gyllenhaal in “The Guilty” (photo by Glen Wilson/Netflix)

Gripping and tension-filled, “The Guilty” succeeds in creating a suspenseful story with good acting, even though some parts of the movie are hard to believe and seem too contrived. Unfolding in “real time,” it’s a story about an intense two-hour period in the life of a police officer while he’s on 911 emergency call operator duties. During the course of the story, he frantically tries to save an adult female caller who claims that her ex-husband has kidnapped her in a vehicle. “The Guilty” had its world premiere at the Toronto International Film Festival.

Directed by Antoine Fuqua and written by Nic Pizzolatto, “The Guilty” is a remake of the 2018 Danish film “The Guilty” (“Den Skyldige”), which was co-written and directed by Gustav Möller as Möller’s feature-film debut. By most accounts and critics’ reviews, the original Danish movie is better than the American version. However, the American version of “The Guilty” is still a satisfying thriller for anyone who can tolerate a movie where most of it is centered on a not-very-likable protagonist working as an emergency phone operator in a call center.

The American version of “The Guilty” adheres very close to the original story in the Danish version on “The Guilty.” There are some questionable things in the American version that might be more acceptable or overlooked in Denmark because of different laws and policies when it comes to emergency call operators and what cops can and cannot do while on duty. The American movie was filmed during the COVID-19 pandemic before a COVID-19 vaccine existed. Because almost the entire setting of the movie is a call center and consists of phone conversations, it turns out those were ideal conditions to film during a pre-vaccine COVID-19 pandemic.

In the American version of “The Guilty,” Joe Baylor (played by Jake Gyllenhaal) is a Los Angeles police officer who’s under a great deal of stress. Joe has been assigned 911 call operator duties because he’s been temporarily demoted. And he’s not happy about it. The reason for Joe’s demotion is revealed toward the end of the film. Joe has asthma and uses an inhaler. Not surprisingly, his asthmatic condition is aggravated by all the stress he goes through during the course of the story.

Even without this demotion, it’s obvious from the beginning of the film that Joe is someone with a short temper. When he gets a call from a bicycle rider who injured himself in an accident and has called 911 to request an ambulance, Joe scolds the injured person and tells him not to ride a bike when he’s drunk. And then Joe hangs up. Joe has no proof that the caller is intoxicated. His lack of empathy and the way he jumps to conclusions with anger are indications that he’s a “loose cannon.”

Adding to the stress level at the call center, a wildfire is raging in Los Angeles County, so there’s a shortage of emergency workers who can respond to calls that aren’t related to the fire. The 911 call center has TV monitors tuned into the local news to keep track of the wildfire situation. This wildfire is a plot development that was added to the American version of “The Guilty.”

Joe gets some other calls in the beginning of the movie that show how he’s ill-tempered and impatient with callers. When Joe talks to a male caller who’s having a panic attack, and the caller admits that he’s high on meth, Joe says he’ll send an ambulance as well as police to arrest him. The caller quickly hangs up.

Joe takes another call about a computer stolen from a rental car. He quickly determines that the caller whose computer was stolen was involved in a sex worker transaction that went wrong. Joe concludes that the sex worker probably stole the computer, so Joe is unsympathetic to the theft victim. Throughout the movie, viewers see that Joe cannot be an impartial phone operator and he acts like an investigative cop who reaches his own conclusions when he might not know all the facts.

The first big clue that Joe is involved in a high-profile matter is the movie’s opening scene, when he gets a call on his cell phone from a female Los Angeles Times reporter, who wants to interview him. Joe abruptly tells her that he has no comment, and he hangs up. People who work at call centers generally aren’t allowed to use their cell phones while they’re on duty in the call center, so it’s also the first sign that Joe thinks that the call center’s policies don’t really apply to him.

Joe’s sense of entitlement becomes even more apparent later in the story when Joe goes beyond what a 911 call operator is allowed to do, and he acts like a cop who wants to solve a case and be a hero rescuer. For example, emergency call centers, such as the one depicted in “The Guilty,” usually have a policy of using only the authorized, monitored phones to help a caller. But there’s a scene in the movie when Joe breaks this policy by sneaking off to an empty office room to make secret phone calls that can’t be recorded.

Joe is also standoffish or rude to any of the other 911 operators he interacts with, including a friendly co-worker named Manny (played by Adrian Martinez) and a supervisor named Riva (played by Becky Wu), who seems to just let Joe do what he wants because he’s a cop. The only time that Joe is shown being somewhat nice to his colleagues is when he wants a favor from someone. But even then, it’s only after he finds out that getting angry at them won’t help him get what he wants.

Even though he has a mostly dismissive attitude toward his work colleagues, there is one colleague whom Joe seems to care about: his cop partner Rick (voiced by Eli Goree), whom Joe later describes as his best friend. While Joe is at the call center, he calls his police supervisor Sgt. Bill Miller (voiced by Ethan Hawke) to ask how Rick is doing. What’s wrong with Rick that has gotten Joe so concerned about Rick’s well-being? That answer is also revealed toward the end of the movie.

It’s eventually shown that things aren’t going so well for Joe in his personal life. He’s been separated from his wife Jess (voiced by Gillian Zinser) for the past six months, and he doesn’t get to see their young daughter as often as he would like. Joe seems to want to get back together with Jess, but she’s very reluctant and seems to be fed up with him. During a phone call, Jess tells Joe that she won’t be there for his upcoming court appearance that’s happening the next morning.

Joe’s personal problems temporarily take a back seat when he becomes consumed with the kidnapping call. The female caller identifies herself as Emily Lighton (voiced by Riley Keough), and she says she’s been abducted by her ex-husband, who’s driving the two of them in a white van. Through some quick detective work of looking up the cell phone number that Emily is using, Joe finds out that the ex-husband is named Henry Fisher (voiced by Peter Sarsgaard), and Henry has a criminal record.

There’s an additional urgency to this phone call because Emily and Henry have two underage children who are home alone: a 6-year-old daughter named Abby (voiced by Christiana Montoya) and an infant son named Oliver. The biggest problem in locating Emily is that she doesn’t know the license plate number of the van, and she doesn’t know exactly where she is on the road because she says she can’t look out of any of the van’s windows. The rest of the movie is about Joe’s race-against-time in his efforts to save Emily. There are some twists and turns (some more shocking than others) that happen along the way.

“The Guilty” requires some suspension of disbelief when showing Joe as the only person who seems to care the most about finding this alleged kidnapping victim. However, the movie’s plot addition of the wildfire happening at the same time does make it plausible that emergency responders have to give priority to the fire at that time. There are some parts of the movie where Joe steps way over the line of police ethics to play judge and jury. But when more details about Joe’s personal problems are revealed, it’s actually consistent with his personality and past actions that he acts this way.

Gyllenhaal is the only actor seen on screen for most of the film, so his compelling performance is effective in depicting this anxiety-ridden situation. The voice actors in the cast also perform capably in their roles. The last 15 minutes of the movie cram in a lot of melodrama that might have some viewers rolling their eyes in disbelief. However, stranger things and more melodramatic things have happened in real life, so the movie isn’t completely far-fetched.

After it’s revealed why Joe is going to court, a few questions remain unanswered at the end of the movie, such as: “How or why was Joe allowed to work in law enforcement in this capacity, considering what he’s being accused of in court? And what kind of attorney (it’s presumed that Joe has an attorney) would allow a client to work in this high-stress environment the day before an important court appearance?”

There are some believable explanations, of course. Maybe the police department didn’t want to suspend Joe, for whatever reason, and demoted him instead. And maybe Joe is the type of stubborn person who wouldn’t take an attorney’s advice and thinks he could handle working in a stressful job the day before his court appearance.

As for how realistically “The Guilty” depicts 911 call centers and 911 phone operators, the podcast Real Crime Profile interviewed two real-life former 911 phone operators to get their perspectives of the American version of “The Guilty.” (Spoiler alert: This podcast episode discusses everything that happens in the movie.) These former 911 operators say that “The Guilty” is mostly accurate.

Fuqua (whose directorial credits include “Training Day” and “The Equalizer” movies) and Pizzolatto (the Emmy-nominated creator of HBO’s “True Detective” series) are very familiar with telling stories about law enforcement officers who operate outside the law to solve a case or to get what the cops want. “The Guilty” tells an intriguing story, but some viewers might be bored that most of the movie takes place in one location, and the on-camera action mostly centers on a series of phone calls. People who can appreciate “The Guilty” the most are those who use their imagination, because a lot of the terror is what’s not seen on screen.

Netflix released “The Guilty” in select U.S. cinemas on September 24, 2021. The movie premiered on Netflix on October 1, 2021.

Review: ‘Fresh’ (2022), starring Daisy Edgar-Jones and Sebastian Stan

March 1, 2022

by Carla Hay

Sebastian Stan and Daisy Edgar-Jones in “Fresh” (Photo courtesy of Searchlight Pictures/Hulu)

“Fresh” (2022)

Directed by Mimi Cave

Culture Representation: Taking place in an unnamed U.S. city, the horror film “Fresh” features a predominantly white cast of characters (with a few African Americans and Asians) representing the middle-class and wealthy.

Culture Clash: A woman in her 20s thinks that she’s dating her dream guy, but when he kidnaps her and holds her captive in an isolated house in the woods, she finds out that he has terrible secrets. 

Culture Audience: “Fresh” will appeal primarily to people interested in suspenseful “women in peril” movies with unusually ghastly surprises.

Jojo T. Gibbs in “Fresh” (Photo courtesy of Searchlight Pictures/Hulu)

The horror film “Fresh” is effectively terrifying and nauseating when the movie’s gruesome surprise is revealed. What will disturb many viewers the most is that it’s not just a contrived plot twist for a movie but something that could happen in real life. Because so much of what happens in “Fresh” is considered “spoiler information,” it’s best if viewers don’t know about this shocking plot development before seeing the movie. It’s enough to say that “Fresh” is definitely one of the more memorable horror movies that people can see in any given year.

“Fresh” had its world premiere at the 2022 Sundance Film Festival, so what happens in the movie was already leaked online by people who saw “Fresh” almost two months before the movie was set to premiere on Hulu in the United States. (Outside the U.S., “Fresh” is available on other Disney-owned streaming platforms.) Directed by Mimi Cave and written by Lauryn Kahn, “Fresh” has all the elements of what could have been a formulaic film about a young woman held captive by someone she thought was a “nice guy.” However, thanks to above-average performances from the cast members and a taut thriller of a story that’s well-directed, “Fresh” is anything but an ordinary horror film.

The movie’s protagonist is Noa (played by Daisy Edgar-Jones), who’s in her early-to-mid-20s, single, and looking for love, although she’s the first person to admit that she hates dating. Noa lives in an unnamed U.S. city that’s not on the East Coast, because on her first date with the man who will become her sadistic captor, Noa says that she’s originally from the East Coast. Noa is an only child. Her father is dead, and she’s estranged from her mother, whose whereabouts are unknown to Noa. This is information that she also tells on the first date with the man who will be her kidnapper.

Not much else is revealed in the movie about Noa’s life, except that she lives alone. Her sassy best friend (and apparently only friend) is named Mollie (played by Jojo T. Gibbs), who is openly queer or bisexual. Noa and Mollie met about seven years ago, when Noa moved to the area where they live now. Noa and Mollie also used to be co-workers, but it’s never revealed what Noa does for a living. Mollie currently works in an unspecified office job, where she’s seen using her computer to do some Internet sleuthing after Noa goes missing.

“Fresh” opens with a scene showing Noa on a bad date at a low-priced restaurant. It’s a casual date, so she’s wearing a sweater and jeans. Her date is a boorish egomaniac named Chad (played by Brett Dier), who gives Noa a sexist lecture about what she’s wearing on the date.

Chad tells Noa: “The women in our parents’ generation, they just cared more about how they dressed and how they looked. They were more into femininity. Nowadays, I feel like girls wear oversized everything, like it’s a blanket. I think you would look good in a dress—not that you don’t look good in a sweater.”

And to top off this date, Chad asks Noa for the leftovers on her plate, so that he can take this unfinished meal home with him. Needless to say, there’s no second date between Noa and Chad. When she tells him at the end of the date that she doesn’t think that they’re compatible, he calls her a “stuck-up bitch” before he walks away.

On a day after this bad date, Noa and Mollie are doing boxing exercises in a gym while Noa tells Mollie about this unpleasant dating experience. Mollie and Noa talk about a dating app called Puzzle Piece, but Noa has become cynical about online dating. Noa is also a homebody type, so going to bars or nightclubs to meet people isn’t really her thing. Mollie thinks that Noa is being too fearful and that Noa should take more risks when it comes to dating.

Noa is in a lovelorn state of mind when she goes shopping at a grocery store and she unexpectedly meets a handsome man named Steve (played by Sebastian Stan), who strikes up a conversation with her about grapes. Steve, who’s about 10 to 15 years older than Noa, has a somewhat awkward flirtation with her. She’s charmed by his apparent down-to-earth and self-deprecating nature, so when Steve asks for Noa’s phone number, she gives it to him without hesitation.

Steve doesn’t waste time in contacting Noa for a date. Their first date is at a mid-scale restaurant/bar. A bartender who works there is named Paul (played by Dayo Okeniyi), and he happens to be an ex-boyfriend of Mollie’s. During Noa’s first date with Steve, she tells Steve a little bit about her background, which is how he finds out that Noa lives alone and doesn’t have her parents in her life. Steve says that he’s a doctor who’s originally from Texas. “I work in reconstructive surgery,” he adds. Steve also mentions that his father is still alive, but his mother is dead.

When Steve mentions that he’s not on any social media, Noa says flirtatiously, “How am I supposed to stalk you now?” Steve quips, “You’ll just have to do it in person, the old-fashioned way.” At one point in the conversation, Noa blurts out to Steve: “I hate dating! People who believe in true love are fucking idiots!” With that comment, Noa reveals that she actually feels hurt and vulnerable when it comes to love. Steve is charming and attentive to Noa. He says all the right things and makes her feel attractive.

Although it’s not unusual for people to talk about their backgrounds on a first date, in hindsight, Noa could certainly be considered an ideal target for a kidnapper because of what she revealed to Steve on their first date: She lives alone, she’s an only child whose parents are not in her life, she doesn’t have a lot of close friends, and she doesn’t appear to have a job that requires her to work in-person with other people. It’s exactly the type of “profile” of someone who might not have a lot of people searching for that person if that person is kidnapped.

It isn’t long before Noa and Steve become lovers. Their relationship happens so quickly, Noa doesn’t have time to introduce Steve to Mollie, but she does tell Mollie about him. Soon after Noa and Steve have begun dating each other, he invites her to a weekend getaway at a place that Steve says will be a romantic surprise.

At this point, Noa and Steve have only known each other for about two weeks or less. It would be easy to judge and say that it’s too soon to go away for getaway trip with a lover you’ve known for less than two weeks. But there are plenty of real-life examples of couples who’ve moved in together after knowing each other for a very short period of time. “Fresh” realistically shows how easy it is for people to get caught up in quickie romances if the people in the relationship feel trust and have a mutual “connection” with each other.

Noa knows that things are moving very fast with Steve. Mollie expresses some concern too, but Noa sees no reason not to trust Steve, so she accepts his invitation to go on the trip, which they will take in Steve’s car. Steve tells her that they should spend the night at his place before they leave for their getaway destination in the morning. When Steve picks Noa up in his car to take her on this trip, she has no idea of what’s in store for her.

“Fresh” is yet another horror movie where the terror takes place in a remote wooded area. Steve’s getaway house is at a place called Cottage Grove. And because this is a horror movie, Noa soon finds out that she can’t get cell phone service in this isolated area. Not long after arriving at Cottage Grove, Steve hands Noa a drink. And the next thing that Noa knows, she has woken up alone in a room, with her right hand handcuffed to a bed.

Noa eventually finds out why Steve kidnapped her. The rest of the movie shows what Noa does to try to escape and if other people are involved in Steve’s sordid secret life. As this depraved kidnapper, Stan gives a chilling performance of someone with a “Jekyll and Hyde” personality. Edgar-Jones is equally riveting as the trapped heroine who has to use her wits to try to escape from this horrible situation.

“Fresh” also has another heroine: Noa’s best friend Mollie, who actively does everything she can to find Noa when Noa goes missing. Mollie doesn’t have a lot of information about Steve, so her search for Noa is very difficult during the period of time when adults can’t be declared missing with law enforcement until 48 hours after the missing people were last seen. “Fresh” shows a lot of cruelty, but the friendship between Noa and Mollie is really at the heart of the film.

And as gory and unsettling as “Fresh” can be, the movie has some dark satire that brings some twisted comedy to this otherwise very grim horror story. The movie uses 1980s pop hits, such as Animotion’s “Obsession” and Peter Cetera’s “Restless Heart,” in scenes to juxtapose this nostalgic pop music with the current torture that is being inflicted in those scenes. There’s also a memorable scene where Noa dances with Steve, in an effort to let his guard down and make him completely trust her. “Fresh” is Cave’s feature-film directorial debut. And even though there are some predictable elements to “Fresh,” it’s an impressive first feature film and an indication that Cave is a talented filmmaker to watch.

Hulu will premiere “Fresh” on March 4, 2022.

HBO Max debuts ‘The Beauty of Blackness,’ a documentary about Fashion Fair

March 1, 2022

Kelly Rowland is one of the people featured in the Fashion Fair documentary film “The Beauty of Blackness” (Photo by Rich Fury/Getty Images for VH1)

The following is a press release from HBO Max:

HBO Max has acquired “The Beauty of Blackness,” a documentary film directed by Tiffany Johnson and Kiana Moore. The film is available to stream now on HBO Max. The Beauty of Blackness” chronicles Fashion Fair, the first cosmetics brand created exclusively for Black women created in 1973 by Eunice Johnson, the co-founder of Ebony and Jet Magazines.

The film examines Fashion Fair’s rapid rise to icon status and how the brand surpassed cultural obstacles to overcome beauty standards that previously excluded people of color. Despite revolutionizing the beauty industry and becoming a household name for every Black and Brown woman in the 1970’s, the brand faced a rocky media landscape and encountered challenges due to emerging competitors.

The documentary follows the brand’s journey to present day where, amidst an evolving industry with a new focus on inclusivity, Fashion Fair Cosmetics has been revived under the helm of two entrepreneurs, Desiree Rogers and Cheryl Mayberry McKissack. 

“The Beauty of Blackness” features interviews with renowned experts, models, makeup artists, performers, and other prominent figures who have witnessed firsthand the evolution of the category and who are celebrating and continuing to redefine beauty standards for people of color.

The film was created in partnership with Vox Media, the story hunters at Epic, Sephora – working with its media and content partner, Digitas – and was co-directed by Tiffany Johnson (Black Monday, Dear White People and Twenties), and first-time director, Kiana Moore, VP of Content Production and Head of Vox Media’s Epic Digital.

“The Beauty of Blackness” will be featured as part of the Black Voices and Women’s History Month curated programming on HBO Max.      

2022 Screen Actors Guild Awards: ‘CODA,’ ‘Squid Game’ are the top winners

February 27, 2022

by Carla Hay

Apple TV+’s comedy/drama film “CODA” was the big movie winner at the 28th annual Screen Actors Guild (SAG) Awards, which were presented on February 27, 2022, at Barker Hangar in Santa Monica, California. TNT and TBS and the U.S. telecast of the ceremony. In the television categories, Netflix’s South Korean drama series “Squid Game” won the most prizes (three), while Apple TV+’s comedy series “Ted Lasso” won two SAG Awards.

“CODA” is about a Massachusetts teenage girl whose older brother and parents are deaf. She’s an aspiring singer who must decide if she will go to Berklee College of Music after graduating from high school, or if she will stay in her hometown to continue working in her family’s fishing business. The movie received the SAG Awards for Outstanding Performance by a Cast in a Motion Picture, while Troy Kotsur won the prize for Outstanding Performance by an Actor in a Supporting Role. Kotsur is the first deaf actor to win an individual SAG Award, while “CODA” is the first movie with deaf actors to win the prize for Outstanding Performance by a Cast in a Motion Picture. (Three of “CODA’s” six winning cast members are deaf.)

“Squid Game” is about a deadly game where the contestants were chosen based on sins they’ve committed. The show’s three SAG Awards in 2022 were Lee Jung-Jae for Outstanding Performance by a Male Actor in a Drama Series; Jung Ho Yeon for Outstanding Performance by a Female Actor in a Drama Series; and Outstanding Action Performance by a Stunt Ensemble in a Television Series. “Squid Game” is the first TV series from an Asian country and the first non-English-language TV series to win SAG Awards in the TV categories.

“Ted Lasso,” which is about an American soccer coach in England, won two SAG Awards in 2022: Outstanding Performance by an Ensemble in a Comedy Series, while “Ted Lasso” star Jason Sudeikis took the prize for Outstanding Performance by a Lead Actor in a Comedy Series.

Helen Mirren received the Life Achievement Award, a non-competitive prize whose annual recipient is announced several weeks before the SAG Awards ceremony takes place.

Presenters at the show included Benedict Cumberbatch, Jessica Chastain, Jung Ho-Yeon, Martin Short, Oscar Isaac, Salma Hayek Pinault, Selena Gomez, Kerry Washington, Tony Goldwyn, Reese Witherspoon, SAG-AFTRA president Fran Drescher, Hailee Steinfeld, Jeff Goldblum, Jesse PlemonsMaggie Gyllenhaal, Lisa Kudrow, Mira Sorvino, Tim McGraw, Faith Hill. Aunjanue Ellis, Caitríona Balfe, Cate Blanchett, Ciarán Hinds, Daniel Durant, Daveed Diggs, Demi Singleton, Emilia Jones, Jamie Dornan, Jared Leto, Jude Hill, Kate Winslet, Lady Gaga, Meryl Streep, Lin-Manuel Miranda, Leslie Odom Jr., Marlee Matlin, Rosario Dawson, Saniyya Sidney, “CODA” SAG Awards double-winner Kotsur, Tyler Perry, Vanessa Hudgens, Will Smith and SAG Award Ambassadors Alexandra Daddario and Ross Butler.

According to a SAG Awards press release: “Nominees chosen by their respective SAG Awards film and television nominating committees were announced on January 12, 2022. The two nominating panels—one for television and one for motion picture—were each composed of 2,500 randomly selected SAG-AFTRA members from across the United States. Final voting opened to 124,000 SAG-AFTRA members in good standing on January 19, 2022, and balloting closed at noon on February 25, 2022. Integrity Voting Systems, the Awards’ official election firm, sealed the results until they were announced live during the 28th Annual Screen Actors Guild Awards.” The 2022 SAG Awards eligibility period was March 1 to December 31, 2021.

Here is the complete list of nominees and winners for the 2022 Screen Actors Guild Awards:


Outstanding Performance by a Male Actor in a Leading Role
WILL SMITH / Richard Williams – “KING RICHARD”*
Outstanding Performance by a Female Actor in a Leading Role
LADY GAGA / Patrizia Reggiani – “HOUSE OF GUCCI”
Outstanding Performance by a Male Actor in a Supporting Role
TROY KOTSUR / Frank Rossi – “CODA”*
Outstanding Performance by a Female Actor in a Supporting Role
Outstanding Performance by a Cast in a Motion Picture
COLIN MORGAN / Billy Clanton
EUGENIO DERBEZ / Bernardo Villalobos
TROY KOTSUR / Frank Rossi
MARLEE MATLIN / Jackie Rossi

LEONARDO DiCAPRIO / Dr. Randall Mindy
JONAH HILL / Jason Orlean
ROB MORGAN / Dr. Teddy Oglethorpe
RON PERLMAN / Benedict Drask
TYLER PERRY / Jack Bremmer
MARK RYLANCE / Peter Isherwell
MERYL STREEP / President Orlean
ADAM DRIVER / Maurizio Gucci
LADY GAGA / Patrizia Reggiani
SALMA HAYEK / Pina Auriemma
JACK HUSTON / Domenico De Sole
JEREMY IRONS / Rodolfo Gucci
JARED LETO / Paolo Gucci
AL PACINO / Aldo Gucci
AUNJANUE ELLIS / Oracene “Brandi” Williams
SANIYYA SIDNEY / Venus Williams
DEMI SINGLETON / Serena Williams
WILL SMITH / Richard Williams
Outstanding Action Performance by a Stunt Ensemble in a Motion Picture

The Television Program Nominees are:

Outstanding Performance by a Male Actor in a Television Movie or Limited Series
MICHAEL KEATON / Dr. Samuel Finnix – “DOPESICK”*

Outstanding Performance by a Female Actor in a Television Movie or Limited Series

Outstanding Performance by a Male Actor in a Drama Series
LEE JUNG-JAE / Seong Gi-hun – “SQUID GAME”*

Outstanding Performance by a Female Actor in a Drama Series
JUNG HO-YEON / Kang Sae-byeok – “SQUID GAME”*

Outstanding Performance by a Male Actor in a Comedy Series

Outstanding Performance by a Female Actor in a Comedy Series
JEAN SMART / Deborah Vance – “HACKS”*
JUNO TEMPLE / Keeley Jones – “TED LASSO”

Outstanding Performance by an Ensemble in a Drama Series
ANN DOWD / Aunt Lydia Clements
O-T FAGBENLE / Luke Bankole
JOSEPH FIENNES / Commander Fred Waterford
SAM JAEGER / Mark Tuello
MAX MINGHELLA / Commander Nick Blaine
ELISABETH MOSS / June Osborne/Offred
YVONNE STRAHOVSKI / Serena Joy Waterford
BRADLEY WHITFORD / Commander Joseph Lawrence
SAMIRA WILEY / Moira Strand

ELI BILDNER / Joel Rapkin
STEVE CARELL / Mitch Kessler
BILLY CRUDUP / Cory Ellison
MARK DUPLASS / Charlie “Chip” Black
VALERIA GOLINO / Paola Lambruschini
TARA KARSIAN / Gayle Berman
GRETA LEE / Stella Bak
JOE MARINELLI / Donny Spagnoli
RUAIRI O’CONNOR / Ty Fitzgerald
JOE PACHECO / Bart Daley
VICTORIA TATE / Rena Robinson
DESEAN K. TERRY / Daniel Henderson

HEO SUNG-TAE / Deok-su
JUN YOUNG-SOO / Game Operator Voice
JUNG HO-YEON / Kang Sae-byeok
LEE JUNG-JAE / Seong Gi-hun
OH YOUNG-SOO / Oh Il-nam
PARK HAE-SOO / Cho Sang-woo
WI HA-JUN / Hwang Jun-ho

BRIAN COX / Logan Roy
DAGMARA DOMINCZYK / Karolina Novotney
JIHAE / Berry Schneider
DASHA NEKRASOVA / Comfrey Pellits
DAVID RASCHE / Karl Muller
ALAN RUCK / Connor Roy
J. SMITH-CAMERON / Gerri Kellman
ZOË WINTERS / Kerry Castellabate

KELSEY ASBILLE / Monica Dutton
WES BENTLEY / Jamie Dutton
GIL BIRMINGHAM / Thomas Rainwater
HUGH DILLON / Sheriff Donnie Haskell
LUKE GRIMES / Kayce Dutton
COLE HAUSER / Rip Wheeler
WILL PATTON / Garrett Randle
PIPER PERABO / Summer Higgins
KELLY REILLY / Beth Dutton
JEFFERSON WHITE / Jimmy Hurdstrom

Outstanding Performance by an Ensemble in a Comedy Series
ELLE FANNING / Catherine
ADAM GODLEY / Archbishop
DOUGLAS HODGE / Velementov
GWILYM LEE / Grigor Dymov

ROSE ABDOO / Josefina
PAUL W. DOWNS / Jimmy Lusaque, Jr.
CHRIS McDONALD / Marty Ghilain
JEAN SMART / Deborah Vance
MEGAN STALTER / Kayla Schaeffer

SARAH BAKER / Mindy Kominsky
MICHAEL DOUGLAS / Sandy Kominsky

STEVE MARTIN / Charles-Haden Savage
MARTIN SHORT / Oliver Putnam

PHIL DUNSTER / Jamie Tartt
BRENDAN HUNT / Coach Beard
TOHEEB JIMOH / Sam Obisanya
NICK MOHAMMED / Nathan Shelley
/ Dr. Sharon Fieldstone
JEREMY SWIFT / Leslie Higgins
JUNO TEMPLE / Keeley Jones

Outstanding Action Performance by a Stunt Ensemble in a Television Series

2022 NAACP Image Awards: ‘The Harder They Fall,’ Jennifer Hudson, ‘Insecure,’ Jazmine Sullivan are the top winners

February 26, 2022

Regina King, Idris Elba and LaKeith Stanfield in “The Harder They Fall” (Photo courtesy of Netflix)

Netflix’s Western drama “The Harder They Fall” and Jennifer Hudson were the top winners at the 53rd NAACP Image Awards. Winners for most of the categories were announced over a five-day period, from February 21 to February 25, 2022. The rest of the winners were revealed during a live BET special, hosted by Anthony Anderson, on February 26, 2022. The ceremony was held at the Pasadena Civic Auditorium in Pasadena, California. Voting was open to the public on www.naacpimageawards.net. Internationally, the show will air on BET Africa at 20:00 CAT on February 27, 2022, followed by BET France on March 2 at 8:45 pm CEST. The show will also be available to watch on My5 and Sky On-Demand in the United Kingdom, beginning March 1, 2022.

“The Harder They Fall” won five of its 12 nominations: Outstanding Motion Picture; Outstanding Ensemble Cast in a Motion Picture; Outstanding Supporting Actress in a Motion Picture (for Regina King); Outstanding Breakthrough Creative (Motion Picture), for writer/director Jeymes Samuel; and Outstanding Soundtrack/Compilation Album. Hudson won the prizes of Entertainer of the Year and Outstanding Actress in a Motion Picture, for starring in the Aretha Franklin biopic “Respect.”

In the television categories, HBO’s “Insecure” won the most prizes (four) for the show’s final season: Outstanding Comedy Series; Outstanding Actress in a Comedy Series (for Issa Rae); Outstanding Supporting Actress in a Comedy Series (for Natasha Rothwell); and Outstanding Writing in a Comedy Series (for Issa Rae). In the music categories, Jazmine Sullivan was the top winner, with three NAACP Awards: Outstanding Album (for “Heaux Tales”); Outstanding Female Artist; and Outstanding Soul/R&B Song (for “Pick Up Your Feelings”).

Special (non-competitive awards) were also given in the following categories:

  • Humanitarian of the Year: Darnella Frazier
  • President’s Award: Prince Harry, Duke of Sussex and Meghan, Duchess of Sussex
  • Chairman’s Award: Samuel L. Jackson
  • Roy Wilkins Civil Rights Award: Mexican American Legislative Caucus, Texas House Democratic Caucus, Texas Legislative Black Caucus
  • Social Justice Impact Award: Nikole Hannah-Jones
  • Youth Activist of the Year: Channing Hill
  • Activist of the Year: Scot X. Esdaile
  • NAACP-Archewell Digital Civil Rights Award: Safiya Noble

Here is the complete list of winners of the 2022 NAAP Image Awards:


Entertainer of the Year
Jennifer Hudson*
Lil Nas X
Megan Thee Stallion
Regina King
Tiffany Haddish

Outstanding Motion Picture
“Judas and the Black Messiah” (Warner Bros. Pictures)
“King Richard” (Warner Bros. Pictures)
“Respect” (Metro Goldwyn Mayer Pictures/United Artists Releasing)
“The Harder They Fall” (Netflix)*
“The United States vs. Billie Holiday” (Hulu)

Outstanding Actor in a Motion Picture
Denzel Washington – “The Tragedy of Macbeth” (Apple TV+ / A24)
Jonathan Majors – “The Harder They Fall” (Netflix)
LaKeith Stanfield – “Judas and the Black Messiah” (Warner Bros. Pictures)
Mahershala Ali – “Swan Song” (Apple TV+)
Will Smith – “King Richard” (Warner Bros. Pictures)*

Outstanding Actress in a Motion Picture
Andra Day – “The United States vs. Billie Holiday” (Hulu)
Halle Berry – “Bruised” (Netflix)
Jennifer Hudson – “Respect” (Metro Goldwyn Mayer Pictures/United Artists Releasing)*
Tessa Thompson – “Passing” (Netflix)
Zendaya – “Malcolm & Marie” (Netflix)

Outstanding Supporting Actor in a Motion Picture
Algee Smith – “Judas and the Black Messiah” (Warner Bros. Pictures)
Daniel Kaluuya – “Judas and the Black Messiah” (Warner Bros. Pictures)*
Delroy Lindo – “The Harder They Fall” (Netflix)
Idris Elba – “The Harder They Fall” (Netflix)
LaKeith Stanfield – “The Harder They Fall” (Netflix)

Outstanding Supporting Actress in a Motion Picture
Aunjanue Ellis – “King Richard” (Warner Bros. Pictures)
Audra McDonald – “Respect” (Metro Goldwyn Mayer Pictures/United Artists Releasing)
Danielle Deadwyler – “The Harder They Fall” (Netflix)
Dominique Fishback – “Judas and the Black Messiah” (Warner Bros. Pictures)
Regina King – “The Harder They Fall” (Netflix)*

Outstanding Independent Motion Picture
“American Skin” (Vertical Entertainment)
“Bruised” (Netflix)
“CODA” (Apple TV+)*
“Test Pattern” (Kino Lorber)
“The Killing of Kenneth Chamberlain” (Gravitas Ventures)

Outstanding International Motion Picture
“7 Prisoners” (Netflix)*
“African America” (Netflix)
“Eyimofe (This is My Desire)” (Janus Films)
“Flee” (Neon / Participant)
“The Gravedigger’s Wife” (Orange Studio)

Outstanding Breakthrough Performance in a Motion Picture
Ariana DeBose – “West Side Story” (20th Century Studios)
Danny Boyd, Jr. – “Bruised” (Netflix)*
Jalon Christian – “A Journal for Jordan” (Columbia Pictures)
Lonnie Chavis – “The Water Man” (RLJE Films)
Sheila Atim – “Bruised” (Netflix)

Outstanding Ensemble Cast in a Motion Picture
“Coming 2 America” (Paramount Releasing/Amazon Studios)
“Judas and the Black Messiah” (Warner Bros. Pictures)
“King Richard” (Warner Bros. Pictures)
“Respect” (Metro Goldwyn Mayer Pictures/United Artists Releasing)
“The Harder They Fall” (Netflix)*

Outstanding Animated Motion Picture
“Encanto” (Walt Disney Studios)*
“Luca” (Walt Disney Studios)
“Raya and the Last Dragon” (Walt Disney Studios)
“Sing 2” (Universal Pictures)
“Vivo” (Netflix)

Outstanding Character Voice-Over Performance – Motion Picture
Andre Braugher – “Spirit Untamed” (Universal Pictures)
Awkwafina – “Raya and the Last Dragon” (Walt Disney Studios)
Brian Tyree Henry – “Vivo” (Netflix)
Eric André – “Sing 2” (Universal Pictures)
Letitia Wright – “Sing 2” (Universal Pictures)*

Outstanding Short-Form (Live Action)
“Aurinko in Adagio” (Universal Pictures)
“Blackout” (Netflix)
“The Ice Cream Stop” (Walt Disney Studios)
“These Final Hours” (Universal Pictures)
“When The Sun Sets (Lakutshon’ Ilanga)” (Universal Pictures)*

Outstanding Short-Form (Animated)
“Blush” (Apple TV+)
“Robin Robin” (Netflix)
“She Dreams at Sunrise” (Tribeca Studios, Procter & Gamble)
“Twenty Something” (Pixar Animation Studios)
“Us Again” (Walt Disney Animation Studios)*

Outstanding Breakthrough Creative (Motion Picture)
Ahmir “Questlove” Thompson – “Summer Of Soul (…Or, When The Revolution Could Not Be Televised)” (Searchlight Pictures / Hulu)
Jamila Wignot – “Ailey” (Neon)
Jeymes Samuel – “The Harder They Fall” (Netflix)*
Liesl Tommy – “Respect” (Metro Goldwyn Mayer Pictures/United Artists Releasing)
Rebecca Hall – “Passing” (Netflix)

Outstanding Comedy Series
“black-ish” (ABC)
“Harlem” (Amazon Studios)
“Insecure” (HBO)*
“Run the World” (Starz)
“The Upshaws” (Netflix)

Outstanding Actor in a Comedy Series
Anthony Anderson – “black-ish” (ABC)*
Cedric the Entertainer – “The Neighborhood” (CBS)
Don Cheadle – “Black Monday” (Showtime)
Elisha ‘EJ’ Williams – “The Wonder Years” (ABC)
Jay Ellis – “Insecure” (HBO)

Outstanding Actress in a Comedy Series
Issa Rae – “Insecure” (HBO)*
Loretta Devine – “Family Reunion” (Netflix)
Regina Hall – “Black Monday” (Showtime)
Tracee Ellis Ross – “black-ish” (ABC)
Yvonne Orji – “Insecure” (HBO)

Outstanding Supporting Actor in a Comedy Series
Andre Braugher – “Brooklyn Nine-Nine” (NBC)
Deon Cole – “black-ish” (ABC)*
Kenan Thompson – “Saturday Night Live” (NBC)
Kendrick Sampson – “Insecure” (HBO)
Laurence Fishburne – “black-ish” (ABC)

Outstanding Supporting Actress in a Comedy Series
Amanda Seales – “Insecure” (HBO)
Jenifer Lewis – “black-ish” (ABC)
Marsai Martin – “black-ish” (ABC)
Natasha Rothwell – “Insecure” (HBO)*
Wanda Sykes – “The Upshaws” (Netflix)

Outstanding Drama Series
“9-1-1” (FOX)
“All American” (The CW)
“Godfather of Harlem” (EPIX)
“Pose” (FX Network)
“Queen Sugar” (OWN: Oprah Winfrey Network)*

Outstanding Actor in a Drama Series
Billy Porter – “Pose” (FX Network)
Damson Idris – “Snowfall” (FX Network)
Forest Whitaker – “Godfather of Harlem” (EPIX)
Kofi Siriboe – “Queen Sugar” (OWN: Oprah Winfrey Network)
Sterling K. Brown – “This is Us” (NBC)*

Outstanding Actress in a Drama Series
Angela Bassett – “9-1-1” (FOX)*
Dawn-Lyen Gardner – “Queen Sugar” (OWN: Oprah Winfrey Network)
Octavia Spencer – “Truth Be Told” (Apple TV+)
Queen Latifah – “The Equalizer” (CBS)
Rutina Wesley – “Queen Sugar” (OWN: Oprah Winfrey Network)

Outstanding Supporting Actor in a Drama Series
Alex R. Hibbert – “The Chi” (Showtime)
Cliff “Method Man” Smith – “Power Book II: Ghost” (Starz)*
Daniel Ezra – “All American” (The CW)
Giancarlo Esposito – “Godfather of Harlem” (EPIX)
Joe Morton – “Our Kind of People” (FOX)

Outstanding Supporting Actress in a Drama Series
Alfre Woodard – “SEE” (Apple TV+)
Bianca Lawson – “Queen Sugar” (OWN: Oprah Winfrey Network)
Chandra Wilson – “Grey’s Anatomy” (ABC)
Mary J. Blige – “Power Book II: Ghost” (Starz)*
Susan Kelechi Watson – “This is Us” (NBC)

Outstanding Television Movie, Limited-Series or Dramatic Special
“Colin in Black & White” – (Netflix)*
“Genius: Aretha” – (National Geographic)
“Love Life” – (HBO Max)
“Robin Roberts Presents: Mahalia” – (Lifetime)
“The Underground Railroad” – (Amazon Studios)

Outstanding Actor in a Television Movie, Limited-Series or Dramatic Special
Anthony Mackie – “Solos” (Amazon Studios)
Jaden Michael – “Colin in Black & White” (Netflix)
Kevin Hart – “True Story” (Netflix)*
Wesley Snipes – “True Story” (Netflix)
William Jackson Harper – “Love Life” (HBO Max)

Outstanding Actress in a Television Movie, Limited-Series or Dramatic Special
Betty Gabriel – “Clickbait” (Netflix)
Cynthia Erivo – “Genius: Aretha” (National Geographic)
Danielle Brooks – “Robin Roberts Presents: Mahalia” (Lifetime)
Jodie Turner-Smith – “Anne Boleyn” (AMC+)
Taraji P. Henson – “Annie Live!” (NBC)*

Outstanding Supporting Actor in a Television Movie, Limited-Series or Dramatic Special
Courtney B. Vance – “Genius: Aretha” (National Geographic)*
Keith David – “Black as Night” (Amazon Studios)
Tituss Burgess – “Annie Live!” (NBC)
Will Catlett – “True Story” (Netflix)
William Jackson Harper – “The Underground Railroad” (Amazon Studios)

Outstanding Supporting Actress in a Television Movie, Limited-Series or Dramatic Special
Anika Noni Rose – “Maid” (Netflix)
Natasha Rothwell – “The White Lotus” (HBO)
Pauletta Washington – “Genius: Aretha” (National Geographic)
Regina Hall – “Nine Perfect Strangers” (Hulu)*
Sheila Atim – “The Underground Railroad” (Amazon Studios)

Outstanding News/Information (Series or Special)
“Blood on Black Wall Street: The Legacy of the Tulsa Massacre” (NBC)
“NBC Nightly News With Lester Holt” (NBC)
“Soul of a Nation” (ABC)
“The Reidout” (MSNBC)*
“Unsung” (TV One)

Outstanding Talk Series
“Desus & Mero” (Showtime)
“Hart to Heart” (Peacock)
“Red Table Talk” (Facebook Watch)*
“Tamron Hall” (Syndicated)
“The Real” (Syndicated)

Outstanding Reality Program, Reality Competition or Game Show (Series)
“Celebrity Family Feud” (ABC)
“Iyanla: Fix My Life” (OWN: Oprah Winfrey Network)
“Sweet Life: Los Angeles” (HBO Max)
“The Voice” (NBC)
“Wild ‘n Out” (VH1)*

Outstanding Variety Show (Series or Special)
“A Black Lady Sketch Show” (HBO)
“BET Awards 2021” (BET)
“Dave Chappelle: The Closer” (Netflix)
“Savage X Fenty Show Vol. 3” (Amazon Studios)
“The Daily Show With Trevor Noah” (Comedy Central)*

Outstanding Children’s Program
“Ada Twist, Scientist” (Netflix)
“Family Reunion” (Netflix)*

“Karma’s World” (Netflix)
“Raven’s Home” (Disney Channel)
“Waffles + Mochi” (Netflix)

Outstanding Performance by a Youth (Series, Special, Television Movie or Limited-Series)
Alayah “Lay Lay” High – “That Girl Lay Lay” (Nickelodeon)
Celina Smith – “Annie Live!” (NBC)
Elisha ‘EJ’ Williams – “The Wonder Years” (ABC)
Eris Baker – “This Is Us” (NBC)
Miles Brown – “black-ish” (ABC)*

Outstanding Host in a Talk or News/Information (Series or Special) – Individual or Ensemble
Joy Reid – “The Reidout” (MSNBC)
Daniel “Desus Nice” Baker, Joel “The Kid Mero” Martinez – “Desus & Mero” (Showtime)
Garcelle Beauvais, Adrienne Houghton, Loni Love, Jeannie Mai Jenkins – “The Real” (Syndicated)
Jada Pinkett Smith, Adrienne Banfield-Norris, Willow Smith – “Red Table Talk” (Facebook Watch)*
LeBron James – “The Shop: Uninterrupted” (HBO)

Outstanding Host in a Reality/Reality Competition, Game Show or Variety (Series or Special) – Individual or Ensemble
Alfonso Ribeiro – “America’s Funniest Home Videos” (ABC)
Amber Ruffin – “The Amber Ruffin Show” (Peacock)
Cedric the Entertainer – “73rd Annual Primetime Emmy Awards” (CBS)
Iyanla Vanzant – “Iyanla: Fix My Life” (OWN: Oprah Winfrey Network)
Trevor Noah – “The Daily Show With Trevor Noah” (Comedy Central)*

Outstanding Guest Performance
Alani “La La” Anthony – “The Chi” (Showtime)
Christina Elmore – “Insecure” (HBO)
Daniel Kaluuya – “Saturday Night Live” (NBC)
Erika Alexander – “Run the World” (Starz)
Maya Rudolph – “Saturday Night Live” (NBC)*

Outstanding Animated Series
“Big Mouth” (Netflix)
“Peanut Headz: Black History Toonz” (Kweli TV)
“Super Sema” (YouTube Originals)
“We The People” (Netflix)*
“Yasuke” (Netflix)

Outstanding Character Voice-Over Performance (Television)
Angela Bassett – “Malika: The Lion Queen” (FOX)
Billy Porter – “Fairfax” (Amazon Studios)
Chris “Ludacris” Bridges – “Karma’s World” (Netflix)
Cree Summer – “Rugrats” (Nickelodeon)*
Keke Palmer – “Big Mouth” (Netflix)

Outstanding Short Form Series – Comedy or Drama
“Between the Scenes – The Daily Show” (Comedy Central)
“Dark Humor” (Comedy Central / YouTube)
“Della Mae (AspireTV)
“The Disney Launchpad: Shorts Incubator” (Disney+)
“Two Sides: Unfaithful” (Snapchat)

Outstanding Short Form Series or Special – Reality/Nonfiction
“Life By The Horns” (Snapchat)
“Memory Builds The Monument” (Fifth Ward CRC)
“Widen the Screen: 8:46 Films” (BET)
“Through Our Eyes: Shelter” (HBO Max)
“Lynching Postcards: Token of a Great Day” (Paramount+)*

Outstanding Breakthrough Creative (Television)
Angel Kristi Williams – “Colin in Black & White” (Netflix)
Cierra Glaude – “Queen Sugar” (OWN: Oprah Winfrey Network)
Deborah Riley Draper – “The Legacy of Black Wall Street” (OWN: Oprah Winfrey Network)
Halcyon Person – “Karma’s World” (Netflix)
Quyen Tran – “Maid” (Netflix)

Outstanding New Artist
Cynthia Erivo – “Ch. 1 Vs. 1” (Verve Records / UMG Recordings)
Jimmie Allen – “Bettie James Gold Edition” (BBR Music Group)
Saweetie – “Best Friend featuring Doja Cat” (ICY / Warner Records)*
Tems – “If Orange Was A Place” (RCA Records / Since ’93)
Zoe Wees – “Girls Like Us” (Capitol Records)

Outstanding Male Artist
Anthony Hamilton – “Love Is The New Black” (My Music Box LLC / BMG)*
Drake – “Way 2 Sexy” (Republic Records)
Givēon – “Heartbreak Anniversary” (Epic Records)
J. Cole – “The Off-Season” (Dreamville / Roc Nation)
Lil Nas X – “Montero (Call Me By Your Name)” (Columbia Records)

Outstanding Female Artist
H.E.R. – “Back of My Mind” (RCA Records / MBK Entertainment)
Ari Lennox – “Pressure” (Dreamville / Interscope Records)
Beyoncé – “Be Alive” (Columbia Records / Parkwood)
Chlöe – “Have Mercy” (Columbia Records / Parkwood)
Jazmine Sullivan – “Heaux Tales” (RCA Records)*

Outstanding Gospel/Christian Album
“Anthems & Glory” – Todd Dulaney (MNRK Music Group)
“Believe For It” – CeCe Winans (Pure Springs Gospel / Fair Trade Services / Red Alliance Media)
“Jonny x Mali: Live in L.A.” – Jonathan McReynolds and Mali Music (Life Room Label LLC / K Approved Enterprises. Inc.)
“Overcomer” – Tamela Mann (Tillymann Music Group)*
“Power” – Jason McGee & The Choir (My Block, Inc.)

Outstanding International Song
“Essence” – Wizkid featuring Tems and Justin Bieber (RCA Records / Starboy / Sony Music International)*
“Peru” – Fireboy DML (YBNL Nation / Empire)
“Somebody’s Son” – Tiwa Savage featuring Brandy (Motown)
“Touch It” – KiDi (Lynx Entertainment / MadeInENY / Empire)
“Understand” – Omah Lay (The KeyQaad / Sire Records)

Outstanding Music Video/Visual Album
“Best Friend” – Saweetie featuring Doja Cat (ICY / Warner Records)
“Essence” – Wizkid featuring Tems (RCA Records / Starboy / Sony Music International)*
“Fye Fye” – Tobe Nwigwe featuring Fat Nwigwe (Tobe Nwigwe, LLC)
“Have Mercy” – Chlöe (Columbia Records / Parkwood)
“Leave The Door Open” – Silk Sonic (Atlantic / Aftermath)

Outstanding Album
“An Evening With Silk Sonic” – Silk Sonic (Atlantic / Aftermath)
“Back of My Mind” – H.E.R. (RCA Records / MBK Entertainment)
“Certified Lover Boy” – Drake (Republic Records)
“Heaux Tales” – Jazmine Sullivan (RCA Records)*
“When It’s All Said and Done… Take Time” – Givēon (Epic Records)

Outstanding Soundtrack/Compilation Album
“Coming 2 America (Amazon Original Motion Picture Soundtrack)” – Eddie Murphy, Craig Brewer, Kevin Misher, Randy Spendlove, Jeff Harleston, Brittney Ramsdell (Def Jam Recordings)
“Judas and the Black Messiah (Original Motion Picture Soundtrack)” – Mark Isham and Craig Harris (WaterTower Music)
“Respect (Original Motion Picture Soundtrack)” – Jason Michael Webb and Stephen Bray (Epic Records)
“The Harder They Fall (The Motion Picture Soundtrack)” – JAY-Z and Jeymes Samuel (Geneva Club / Roc Nation Records, LLC)*
“The United States vs. Billie Holiday (Music from the Motion Picture)” – Salaam Remi, Andra Day, Raphael Saadiq, Warren “E” Felder, Downtown Trevor Brown (Warner Records)

Outstanding Gospel/Christian Song
“Believe For It” – CeCe Winans (Pure Springs Gospel / Fair Trade Services / Red Alliance Media)
“Help Me” – Tamela Mann featuring The Fellas (Tillymann Music Group)*
“Hold Us Together (Hope Mix)” – H.E.R. and Tauren Wells (RCA Records / Sony Music)
“Overcome 2021” – Kirk Franklin (Fo Yo Soul / RCA Records )
“Time for Reparations” – Sounds of Blackness (Sounds of Blackness / Atomic K Records)

Outstanding Jazz Album – Instrumental
“Forever…Jaz” – Jazmin Ghent (Independent Artist)
“Love Languages” – Nathan Mitchell (ENM Music Group)
“Somewhere Different” – Brandee Younger (Impulse! Records)
“Sounds from the Ancestors” – Kenny Garrett (Mack Avenue Music Group)*
“The Magic of Now” – Orrin Evans (Smoke Sessions Records)

Outstanding Jazz Album – Vocal
“Dear Love” – Jazzmeia Horn and Her Noble Force (Empress Legacy Records)
“Generations” – The Baylor Project (Be A Light)*
“Ledisi Sings Nina” – Ledisi (Listen Back Entertainment / BMG)
“Let There Be Love” – Freda Payne (Alain Franke Records)
“SALSWING!” – Rubén Blades y Roberto Delgado & Orquesta (Rubén Blades Productions)

Outstanding Soul/R&B Song
“Damage” – H.E.R. (RCA Records / MBK Entertainment)
“Be Alive” – Beyoncé (Columbia Records / Parkwood)
“Have Mercy” – Chlöe (Columbia Records / Parkwood)
“Leave The Door Open” – Silk Sonic (Atlantic / Aftermath)
“Pick Up Your Feelings” – Jazmine Sullivan (RCA Records)*

Outstanding Hip Hop/Rap Song
“Best Friend” – Saweetie featuring Doja Cat (ICY / Warner Records)
“Fye Fye” – Tobe Nwigwe featuring Fat Nwigwe (Tobe Nwigwe, LLC)*
“Industry Baby” – Lil Nas X featuring Jack Harlow (Columbia Records)
“My Life (with 21 Savage and Morray)” – J. Cole (Dreamville / Roc Nation)
“Way 2 Sexy” – Drake (Republic Records)

Outstanding Duo, Group or Collaboration (Traditional)
Anthony Hamilton featuring Jennifer Hudson – “Superstar” (My Music Box LLC / BMG)
Chlöe x Halle – “Georgia on My Mind” (Columbia Records / Parkwood)
Jazmine Sullivan featuring H.E.R. – “Girl Like Me” (RCA Records)
Leela James featuring Anthony Hamilton – “Complicated (Remix)” (SheSangz Music, Inc. / BMG)
Silk Sonic – “Leave the Door Open” (Atlantic / Aftermath)*

Outstanding Duo, Group or Collaboration (Contemporary)
Chris Brown featuring Young Thug, Future, Lil Durk and Latto – “Go Crazy (Remix)” (RCA Records)
Doja Cat featuring SZA – “Kiss Me More” (RCA Records / Kemosabe Records)
Drake featuring Future & Young Thug – “Way 2 Sexy” (Republic Records)
H.E.R. featuring Chris Brown – “Come Through” (RCA Records / MBK Entertainment)
Tobe Nwigwe featuring Fat Nwigwe – “Fye Fye” (Tobe Nwigwe, LLC)*

Outstanding Documentary (Film)
“Attica” (Showtime)
“Barbara Lee: Speaking Truth to Power” (Greenwich Entertainment)*
“My Name Is Pauli Murray” (Amazon Studios)
“Summer of Soul (…Or, When the Revolution Could Not Be Televised)” (Searchlight Pictures / Hulu)
“Tina” (HBO Documentary Films)

Outstanding Documentary (Television)
“1971: The Year That Music Changed Everything” (Apple TV+)
“American Masters: How It Feels to Be Free” (PBS)
“Blood Brothers: Malcolm X & Muhammad Ali” (Netflix)
“High on the Hog: How African American Cuisine Transformed America” (Netflix)*
“Insecure” Documentary (HBO)

Outstanding Writing in a Comedy Series
Ashley Nicole Black – “Ted Lasso” – “Do the Right-est Thing” (Apple TV+)
Issa Rae – “Insecure” -“Everything’s Gonna Be, Okay?!” (HBO)*
Leann Bowen – “Ted Lasso” – “Lavender” (Apple TV+)
Maya Erskine – “Pen15” – “Blue in Green” (Hulu)
Temi Wilkey – “Sex Education” – “Episode #3.6” (Netflix)

Outstanding Writing in a Drama Series
Aurin Squire – “Evil” – “C Is For Cop” (Paramount+)
Davita Scarlett – “The Good Fight” – “And the Firm Had Two Partners…” (Paramount+)*
Malcolm Spellman – “The Falcon and the Winter Soldier” – “New World Order” (Disney+)
Nkechi Okoro Carroll – “All American” – “Homecoming” (The CW)
Steven Canals, Janet Mock, Our Lady J, Brad Falchuk, Ryan Murphy – “Pose” – “Series Finale” (FX Network)

Outstanding Writing in a Television Movie or Special
Abdul Williams – “Salt-N-Pepa” (Lifetime Movie Network)*
Mario Miscione, Marcella Ochoa – “Madres” (Amazon Studios)
Monique N. Matthew – “A Holiday in Harlem” (Hallmark Channel)
Sameer Gardezi – “Hot Mess Holiday” (Comedy Central)
Sherman Payne – “Black as Night” (Amazon Studios)

Outstanding Writing in a Motion Picture
Janicza Bravo, Jeremy O. Harris – “Zola” (A24)
Jeymes Samuel, Boaz Yakin – “The Harder They Fall” (Netflix)
Shaka King, Will Berson, Kenny Lucas, Keith Lucas – “Judas and the Black Messiah” (Warner Bros. Pictures)*
Virgil Williams – “A Journal for Jordan” (Columbia Pictures)
Win Rosenfeld, Nia DaCosta, Jordan Peele – “Candyman” (Universal Pictures)

Outstanding Directing in a Comedy Series
Bashir Salahuddin, Diallo Riddle – “South Side” – “Tornado” (HBO Max)*
Melina Matsoukas – “Insecure” – “Reunited, Okay?!” (HBO)
Neema Barnette – “Harlem – “Once Upon a Time in Harlem” (Amazon Studios)
Prentice Penny – “Insecure” – “Everything’s Gonna Be, Okay?!” (HBO)
Tiffany Johnson – “Black Monday” – “Eight!” (Showtime)

Outstanding Directing in a Drama Series
Anthony Hemingway – “Genius: Aretha” – “Respect” (National Geographic)
Barry Jenkins – “The Underground Railroad” – “Indiana Winter” (Amazon Studios)*
Carl Seaton – “Snowfall” – “Fight or Flight” (FX Network)
Carl Seaton – “Godfather of Harlem” – “The Bonanno Split” (EPIX)
Hanelle Culpepper – “True Story” – “Like Cain Did Abel” (Netflix)

Outstanding Directing in a Television Movie or Special
Jaffar Mahmood – “Hot Mess Holiday” (Comedy Central)
Kenny Leon – “Robin Roberts Presents: Mahalia” (Lifetime)*
Mario Van Peebles – “Salt-N-Pepa” (Lifetime)
Maritte Lee Go – “Black as Night” (Amazon Studios)
Veronica Rodriguez – “Let’s Get Merried” (VH1)

Outstanding Directing in a Motion Picture
Denzel Washington – “A Journal for Jordan” (Columbia Pictures)
Jeymes Samuel – “The Harder They Fall” (Netflix)
Lin-Manuel Miranda – “tick tick…BOOM!” (Netflix)
Reinaldo Marcus Green – “King Richard” (Warner Bros. Pictures)
Shaka King – “Judas and the Black Messiah” (Warner Bros. Pictures)*

Outstanding Directing in a Documentary (Television or Motion Picture)
Andre Gaines – “The One and Only Dick Gregory” (Showtime)
Dawn Porter – “Rise Again: Tulsa and the Red Summer” (National Geographic)
Sam Pollard – “MLK/FBI” (IFC Films)
Samantha Knowles, Yoruba Richen, Geeta Gandbhir, Nadia Hallgren – “Black and Missing” (HBO)*
Spike Lee – “NYC Epicenters 9/11➔2021½” (HBO Max)

Outstanding Literary Work – Fiction
“Harlem Shuffle” – Colson Whitehead (Penguin Random House)
“Libertie” – Kaitlyn Greenidge (Algonquin Books)
“Long Division” – Kiese Laymon (Simon & Schuster)*
“The Man Who Lived Underground” – Richard Wright (Library of America)
“The Perishing” – Natashia Deón (Counterpoint Press)

Outstanding Literary Work – Nonfiction
“Dance Theatre of Harlem” – Judy Tyrus, Paul Novosel (Kensington)
“Just As I Am” – Cicely Tyson (Amistad)*
“My Remarkable Journey” – Katherine Johnson (Amistad)
“Renegades: Born in the USA” – Barack Obama, Bruce Springsteen (Penguin Random House)
“The 1619 Project: A New Origin Story” – Nikole Hannah-Jones (Penguin Random House)*

Outstanding Literary Work – Debut Author
“Just As I Am” – Cicely Tyson (Amistad)*
“My Remarkable Journey” – Katherine Johnson (Amistad)
“Other Black Girl: A Novel” – Zakiya Dalila Harris (Simon & Schuster)
“The Love Songs of W.E.B. Du Bois” – Honorée Fanonne Jeffers (HarperCollins Publishers)
“Wake: The Hidden History of Women-Led Slave Revolts” – Rebecca Hall (Simon & Schuster)

Outstanding Literary Work – Biography/Autobiography
“Just As I Am” – Cicely Tyson (Amistad)
“Unbound: My Story of Liberation and the Birth of the Me Too Movement” – Tarana Burke (Macmillan / Flatiron Books)
“Unprotected: A Memoir” – Billy Porter (Abrams Press)
“Until I Am Free” – Keisha Blain (Beacon Press)
“Will” – Will Smith (Penguin Random House)*

Outstanding Literary Work – Instructional
“Diversity Is Not Enough: A Roadmap to Recruit, Develop and Promote Black Leaders in America” – Keith Wyche (Kandelle Publishing)
“Feeding the Soul (Because It’s My Business)” – Tabitha Brown (HarperCollins Publishers)*
“Permission to Dream” – Chris Gardner (Amistad)
“Teaching Black History to White People” – Leonard N. Moore (University of Texas Press)
“The Conversation: How Seeking and Speaking the Truth About Racism Can Radically Transform Individuals and Organizations” – Robert Livingston (Penguin Random House)

Outstanding Literary Work – Poetry
“Perfect Black” – Crystal Wilkinson (University Press of Kentucky)*
“Playlist for the Apocalypse” – Rita Dove (W. W. Norton & Company)
“Such Color: New and Selected Poems” – Tracy K. Smith (Graywolf Press)
“The Wild Fox of Yemen” – Threa Almontaser (Graywolf Press)
“What Water Knows: Poems” – Jacqueline Jones LaMon (Northwestern University Press)

Outstanding Literary Work – Children
“Black Ballerinas: My Journey to Our Legacy” – Misty Copeland (Aladdin)
“Change Sings” – Amanda Gorman, Loren Long (Penguin Young Readers)
“Stacey’s Extraordinary Words” – Stacey Abrams, Kitt Thomas (HarperCollins)*
“Time for Bed, Old House” – Janet Costa Bates, A.G. Ford (Candlewick Press)
“When Langston Dances” – Kaija Langley, Keith Mallett (S&S Books for Young Readers)

Outstanding Literary Work – Youth/Teens
“Ace of Spades” – Faridah Àbíké-Íyímídé (Feiwel & Friends / Macmillan)*
“Happily Ever Afters” – Elise Bryant (HarperCollins)
“The Cost of Knowing” – Brittney Morris (Simon and Schuster Books for Young Readers)
“When You Look Like Us” – Pamela N. Harris (HarperCollins)
“Wings of Ebony” – J. Elle (S&S Books for Young Readers)

Outstanding News and Information Podcast
“After the Uprising: The Death of Danyé Dion Jones”
“Blindspot: Tulsa Burning”*
“Into America”

Outstanding Lifestyle/Self-Help Podcast
“Checking In With Michelle Williams”
“The Homecoming Podcast With Dr. Thema”
“The SonRise Project Podcast”
“Two Funny Mamas: Sherri Shepherd & Kym Whitley”*
“Under Construction w/ Tamar Braxton”

Outstanding Society and Culture Podcast
“Beyond the Scenes – The Daily Show”
“Jemele Hill Is Unbothered”*
“Professional Troublemaker”
“Questlove Supreme”
“Super Soul Podcast”

Outstanding Arts and Entertainment Podcast
“Club Shay Shay Podcast With Shannon Sharpe”
“Jemele Hill Is Unbothered”*
“Questlove Supreme”
“Reasonably Shady”
“The History of Sketch Comedy With Keegan-Michael Key”

Social Media Personality of the Year Nominees
@Euniquejg – Eunique Jones GIbson
@KevOnStage – Kevin Fredericks
@Laronhinesofficial – Laron Hines*
@_Lyneezy – Lanae Vanee
@Terrellgrice – Terrell Grice

Review: ‘No Exit,’ starring Havana Rose Liu, Dennis Haysbert, Dale Dickey, Danny Ramirez, David Rysdahl and Mila Harris

February 25, 2022

by Carla Hay

Havana Rose Liu in “No Exit” (Photo by Kirsty Griffin/20th Century Studios/Hulu)

“No Exit” (2022)

Directed by Damien Power

Culture Representation: Taking place in California, the dramatic film “No Exit” features a racially diverse group of characters (white, Asian, African American and Latino) representing the working-class and middle-class.

Culture Clash: During a blizzard that has caused road blockages and closures, a young woman finds herself trapped in a visitor center shelter with four strangers, when she finds out that a van owned by one of the strangers has a kidnapped girl inside.

Culture Audience: “No Exit” will appeal mainly to people who like any suspense thriller, no matter how idiotic the plot gets.

Havana Rose Liu in “No Exit” (Photo by Kirsty Griffin/20th Century Studios/Hulu)

“No Exit” is an apt description for how this mystery thriller gets trapped in its own stupidity. It starts off suspenseful and then it takes a steep nosedive into illogical nonsense. There’s a long stretch of the film, which takes place during a snow blizzard, where the criminal element in the movie frantically struggles to get access to a car to make an escape. Meanwhile, the filmmakers are expecting viewers to forget that the entire point of the movie is that all the movie’s characters who are trapped in the blizzard know that the blizzard has caused the roads to blocked, with police guarding the roadblocks, and an escape isn’t really possible.

It’s not spoiler information to reveal that “No Exit” is about a serious crime that’s been committed, and whoever has committed this crime is in a small group of people at a visitor center shelter during this blizzard. The movie’s protagonist decides she’s going to be a one-woman police force to solve the mystery and get justice for this crime. Directed by Damien Power, “No Exit” was written by Andrew Barrer and Gabriel Ferrari. The movie’s screenplay is based on Taylor Adams’ 2017 novel of the same name. Even though some of the cast members give good performances, the entire movie has a flawed premise that’s poorly executed in the last half of the film.

“No Exit” begins with protagonist Darby (played by Havana Rose Liu) looking bored and emotionally disconnected in a drug rehab center somewhere in California. (“No Exit” was actually filmed in New Zealand.) Darby is in her early 20s, and she’s in court-ordered rehab for a crime that is not mentioned in the movie. Through conversations in the movie, it’s revealed that Darby has been in rehab or tried to get clean and sober seven times already in her life.

During a rehab group meeting, Darby is told that she has an emergency phone call. When she takes the call, she finds out from her uncle Joe (voiced by David Chen) that her widowed mother has had a brain aneurysm and is in a hospital in Utah. Darby’s mother is scheduled to get a brain operation, but it’s a risky procedure. The medical diagnosis is that Darby’s mother might not have much longer to live.

Darby is estranged from the two family members who know her the best: her mother and Darby’s older sister Devon. And despite Darby’s pleas to make a phone call for this emergency, she’s denied this request by her rehab group leader Dr. Bill Fletcher (played by James Gaylyn) because it’s the rehab center’s rule that patients can’t make outgoing phone calls. Any incoming phone call for a patient has to be an emergency, and the call is monitored by the rehab center staff.

But this obstacle isn’t enough to stop Darby. She borrows a cell phone that was snuck in by another rehab patient, whose name is Jade (played by Nomi Cohen). Jade and Darby don’t like each other, but Jade reluctantly agrees to let Darby use her phone because Darby threatens to tell the rehab officials that Jade broke the rules by sneaking in a cell phone.

Darby uses the phone to call Devon (played by Lisa Zhang), who tells Darby in no uncertain terms that she’s doesn’t want Darby to contact her or visit their mother. Darby says she’s going to find a way to visit. Devon abruptly and angrily tells Darby, “I don’t have time for your bullshit. Don’t call me back!”

This rejection still doesn’t stop Darby. In broad daylight, she sneaks out of the rehab center to steal the car of an orderly named Mike (played by Nick Davies), nicknamed Mikey, who seemed to take pleasure in denying Darby any phone privileges. Darby has also stolen Jade’s phone. Darby’s plan is to take the stolen car and drive to Utah to see her mother. But this trip comes at a very bad time because she isn’t on the road for long when a blizzard hits while she’s in California’s Sierra Nevada Mountains.

One of the first things that Darby found in Mike’s car was a small packet of cocaine hidden in the driver’s window shade. The movie plays guessing games with viewers over whether or not Darby will relapse by using this cocaine. Darby describes her drug addiction as being willing to do any drug that comes her way.

During this blizzard, Darby gets text messages from Devon that say, “Mom doesn’t want you here.” “You’ll only make it worse.” “Don’t come.” Darby is still undeterred. She pulls over on a road to get some sleep, and she has a nightmare that people outside the car are trying to get her. She wakes up to a state trooper named Ron Hill (played by Benedict Wall), who finds out why she’s traveling during a blizzard.

He tells Darby that the only road leading to Utah is closed, and she has one of two choices: She can either reverse and go back to where she came from, or she can stay at a visitor’s center a few hundred yards away. The center is being used as a temporary shelter during the storm. The trooper also mentions that some other travelers are already at the shelter.

Darby decides to go to the shelter. Inside, there are four other strangers. Ed (played by Dennis Haysbert) is a former U.S. Marine who served in Operation Desert Storm. Ed’s wife is Sandi (played by Dale Dickey), a former nurse who met Ed when she was working at a Veterans Administration hospital. This middle-aged couple is traveling to Reno, Nevada, to do some gambling. Rose and Ed are immediately friendly and welcoming to Darby.

The other two people in the shelter are men in their 20s: Lars (played by David Rysdahl) is introverted and eccentric. He’s the type of person who talks to himself out loud when other people are around. Ash (played by Danny Ramirez) is talkative and a little flirtatious with Darby. He can also be crude and insensitive. Darby and the other four people in the shelter make small talk as they get to know each other.

No one in the shelter can get any cell phone service or WiFi service because of the blizzard and because of where they are in this remote mountain area. Still, Darby occasionally goes outside the shelter near the parking lot to see if her phone can pick up a signal. It’s during one of her trips outdoors when Darby is alarmed to see a hand and noises coming from a van parked outside.

She goes inside the van and finds a kidnapped girl, who’s about 9 or 10 years old. The girl is bound and gagged and desperate to escape. However, Darby knows that she can’t use her phone to get help, so she tells the girl that she will help her, but she has to be patient. Darby later finds out that the girl’s name is Jay (played by Mila Harris), as well as more things about who Jay is and why she was kidnapped.

Feeling trapped and helpless, Darby goes back into the shelter and acts like nothing is wrong, in order to figure out who’s the driver of the van. Before she went back into the shelter, Darby noticed that the van has Nevada license plates. The rest of the movie is a ridiculous cat-and-mouse game where Darby tries to solve the mystery and get help for the kidnapped girl without getting caught by whoever is responsible for the abduction. It’s this second half of the movie that unveils some twists and turns, with each becoming more ludicrous as times goes on.

“No Exit” has so many bad decisions, not just with the characters, but also with how the filmmakers staged everything to look so phony in the latter half of the movie. As the flawed hero Darby, Liu does her best to try to make everything in this moronic film believable, but the movie completely buries any credibility with some of the stupid plot twists, just like the blizzard in this movie buries things in the snow. The rest of the cast members are fairly solid in their roles, except for Ramirez, whose performance becomes campier as the story devolves into an irredeemable mess. You know a movie is bad when it’s called “No Exit,” but everything that happens in the last half of the movie is as if the reason for this movie’s title doesn’t exist.

Hulu premiered “No Exit” on February 25, 2022.

2022 Critics Choice Super Awards: ‘Shang-Chi and the Legend of the Ten Rings,’ ‘Spider-Man: No Way Home,’ ‘Evil’ and ‘Midnight Mass’ are the top nominees

February 22, 2022

The following is a press release from the Critics Choice Association:

The Critics Choice Association (CCA) announced today the nominees for the 2nd Annual Critics Choice Super Awards, honoring the most popular, fan-obsessed genres across both television and movies, including Superhero, Science Fiction/Fantasy, Horror, and Action. Winners will be revealed on Thursday, March 17, 2022.

“Shang-Chi and the Legend of the Ten Rings” and “Spider-Man: No Way Home” lead this year’s film nominations, with five nods apiece including Best Superhero Movie. Both Tony Leung and Simu Liu garnered Best Actor in a Superhero Movie nods for their performances in “Shang-Chi and the Legend of the Ten Rings,” while Michelle Yeoh is up for Best Actress in a Superhero Movie, and Tony Leung could also take home the award for Best Villain in a Movie. The cast of “Spider-Man: No Way Home” also earned top acting nods, with both Tom Holland and Andrew Garfield recognized with Best Actor in a Superhero Movie nominations. Additionally, Zendaya is up for Best Actress in a Superhero Movie, and Willem Dafoe could take home the trophy for Best Villain in a Movie.

“Evil” and “Midnight Mass” tied for the most television nominations, with each earning six nods including Best Horror Series. Mike Colter and Aasif Mandvi from “Evil” garnered nominations for Best Actor in a Horror Series, while Katja Herbers and Christine Lahti are vying for Best Actress in a Horror Series, and Michael Emerson earned a nod for Best Villain in a Series. Meanwhile, “Midnight Mass” also has two actors, Zach Gilford and Hamish Linklater, competing in the category of Best Actor in a Horror Series. Both Kate Siegel and Samantha Sloyan are up for Best Actress in a Horror Series, and Sloyan was also nominated for Best Villain in a Series.

The full list of nominees can be found below.

Follow the Critics Choice Super Awards on Twitter and Instagram @CriticsChoice and on Facebook/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 525 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: CriticsChoice.



  • Gunpowder Milkshake
  • The Harder They Fall
  • The Last Duel
  • Nobody
  • No Time to Die
  • Wrath of Man


  • Daniel Craig – No Time to Die
  • Dwayne Johnson – Jungle Cruise
  • Jonathan Majors – The Harder They Fall
  • Mads Mikkelsen – Riders of Justice
  • Liam Neeson – The Ice Road
  • Bob Odenkirk – Nobody


  • Jodie Comer – The Last Duel
  • Ana de Armas – No Time to Die
  • Karen Gillan – Gunpowder Milkshake
  • Regina King – The Harder They Fall
  • Lashana Lynch – No Time to Die
  • Maggie Q – The Protégé


  • Black Widow
  • Eternals
  • Shang-Chi and the Legend of the Ten Rings
  • Spider-Man: No Way Home
  • The Suicide Squad
  • Zack Snyder’s Justice League


  • John Cena – The Suicide Squad
  • Idris Elba – The Suicide Squad
  • Andrew Garfield – Spider-Man: No Way Home
  • Tom Holland – Spider-Man: No Way Home
  • Tony Leung – Shang-Chi and the Legend of the Ten Rings
  • Simu Liu – Shang-Chi and the Legend of the Ten Rings


  • Gal Gadot – Zack Snyder’s Justice League
  • Scarlett Johansson – Black Widow
  • Florence Pugh – Black Widow
  • Margot Robbie – The Suicide Squad
  • Michelle Yeoh – Shang-Chi and the Legend of the Ten Rings
  • Zendaya – Spider-Man: No Way Home


  • Candyman
  • Last Night in Soho
  • Malignant
  • The Night House
  • A Quiet Place Part II
  • Titane


  • Yahya Abdul-Mateen II – Candyman
  • Nicolas Cage – Willy’s Wonderland
  • Dave Davis – The Vigil
  • Vincent Lindon – Titane
  • Cillian Murphy – A Quiet Place Part II
  • Sam Richardson – Werewolves Within


  • Barbara Crampton – Jakob’s Wife
  • Rebecca Hall – The Night House
  • Anya-Taylor Joy – Last Night in Soho
  • Thomasin McKenzie – Last Night in Soho
  • Agathe Rousselle – Titane
  • Millicent Simmonds – A Quiet Place Part II


  • Don’t Look Up
  • Dune
  • Free Guy
  • The Green Knight
  • The Mitchells vs. the Machines
  • Swan Song


  • Mahershala Ali – Swan Song
  • Timothée Chalamet – Dune
  • Leonardo DiCaprio – Don’t Look Up
  • Tom Hanks – Finch
  • Dev Patel – The Green Knight
  • Ryan Reynolds – Free Guy


  • Cate Blanchett – Don’t Look Up
  • Jodie Comer – Free Guy
  • Rebecca Ferguson – Dune
  • Mckenna Grace – Ghostbusters: Afterlife
  • Jennifer Lawrence – Don’t Look Up
  • Alicia Vikander – The Green Knight


  • Ben Affleck – The Last Duel
  • Willem Dafoe – Spider-Man: No Way Home
  • Idris Elba – The Harder They Fall
  • Tony Leung – Shang-Chi and the Legend of the Ten Rings
  • Marina Mazepa (performer) & Ray Chase (voice) – Malignant
  • Tony Todd – Candyman

* Superhero categories also include Comic Book and Video Game Inspired Movies


A Quiet Place Part II – 3

Best Horror Movie

Best Actor in a Horror Movie – Cillian Murphy

Best Actress in a Horror Movie – Millicent Simmonds

Black Widow – 3

Best Superhero Movie

Best Actress in a Superhero Movie – Scarlett Johansson

Best Actress in a Superhero Movie – Florence Pugh

Candyman – 3

Best Horror Movie

Best Actor in a Horror Movie – Yahya Abdul-Mateen II

Best Villain in a Movie – Tony Todd

Don’t Look Up – 4

Best Science Fiction/Fantasy Movie

Best Actor in a Science Fiction/Fantasy Movie – Leonardo DiCaprio

Best Actress in a Science Fiction/Fantasy Movie – Cate Blanchett

Best Actress in a Science Fiction/Fantasy Movie – Jennifer Lawrence

Dune – 3

Best Science Fiction/Fantasy Movie

Best Actor in a Science Fiction/Fantasy Movie – Timothée Chalamet

Best Actress in a Science Fiction/Fantasy Movie – Rebecca Ferguson

Eternals – 1

Best Superhero Movie

Finch – 1

Best Actor in a Science Fiction/Fantasy Movie – Tom Hanks

Free Guy – 3

Best Science Fiction/Fantasy Movie

Best Actor in a Science Fiction/Fantasy Movie – Ryan Reynolds

Best Actress in a Science Fiction/Fantasy Movie – Jodie Comer

Ghostbusters: Afterlife – 1

Best Actress in a Science Fiction/Fantasy Movie – Mckenna Grace

Gunpowder Milkshake – 2

Best Action Movie

Best Actress in an Action Movie – Karen Gillan

Jakob’s Wife – 1

Best Actress in a Horror Movie – Barbara Crampton

Jungle Cruise – 1

Best Actor in an Action Movie – Dwayne Johnson

Last Night in Soho – 3

Best Horror Movie

Best Actress in a Horror Movie – Anya-Taylor Joy

Best Actress in a Horror Movie – Thomasin McKenzie

Malignant – 2

Best Horror Movie

Best Villain in a Movie – Marina Mazepa (performer) & Ray Chase (voice)

No Time to Die – 4

Best Action Movie

Best Actor in an Action Movie – Daniel Craig

Best Actress in an Action Movie – Ana de Armas

Best Actress in an Action Movie – Lashana Lynch

Nobody – 2

Best Action Movie

Best Actor in an Action Movie – Bob Odenkirk

Riders of Justice – 1

Best Actor in an Action Movie – Mads Mikkelsen

Shang-Chi and the Legend of the Ten Rings – 5

Best Superhero Movie

Best Actor in a Superhero Movie – Tony Leung

Best Actor in a Superhero Movie – Simu Liu

Best Actress in a Superhero Movie – Michelle Yeoh

Best Villain in a Movie – Tony Leung

Spider-Man: No Way Home – 5

Best Superhero Movie

Best Actor in a Superhero Movie – Andrew Garfield

Best Actor in a Superhero Movie – Tom Holland

Best Actress in a Superhero Movie – Zendaya

Best Villain in a Movie – Willem Dafoe

Swan Song – 2

Best Science Fiction/Fantasy Movie

Best Actor in a Science Fiction/Fantasy Movie – Mahershala Ali

The Green Knight – 3

Best Science Fiction/Fantasy Movie

Best Actor in a Science Fiction/Fantasy Movie – Dev Patel

Best Actress in a Science Fiction/Fantasy Movie – Alicia Vikander

The Harder They Fall – 4

Best Action Movie

Best Actor in an Action Movie – Jonathan Majors

Best Actress in an Action Movie – Regina King

Best Villain in a Movie – Idris Elba

The Ice Road – 1

Best Actor in an Action Movie – Liam Neeson

The Last Duel – 3

Best Action Movie

Best Actress in an Action Movie – Jodie Comer

Best Villain in a Movie – Ben Affleck

The Mitchells vs. the Machines – 1

Best Science Fiction/Fantasy Movie

The Night House – 2

Best Horror Movie

Best Actress in a Horror Movie – Rebecca Hall

The Protégé – 1

Best Actress in an Action Movie – Maggie Q

The Suicide Squad – 4

Best Superhero Movie

Best Actor in a Superhero Movie – John Cena

Best Actor in a Superhero Movie – Idris Elba

Best Actress in a Superhero Movie – Margot Robbie

The Vigil – 1

Best Actor in a Horror Movie – Dave Davis

Titane – 3

Best Horror Movie

Best Actor in a Horror Movie – Vincent Lindon

Best Actress in a Horror Movie – Agathe Rousselle

Werewolves Within – 1

Best Actor in a Horror Movie – Sam Richardson

Willy’s Wonderland – 1

Best Actor in a Horror Movie – Nicolas Cage

Wrath of Man – 1

Best Action Movie

Zack Snyder’s Justice League – 2

Best Superhero Movie

Best Actress in a Superhero Movie – Gal Gadot




Cobra Ka


Kung Fu


Squid Game


Mike Faist – Panic

Lee Jung-jae – Squid Game

Alexander Ludwig – Heels

Ralph Macchio – Cobra Kai

Omar Sy – Lupin

William Zabka – Cobra Kai


Angela Bassett – 9-1-1

Kim Joo-ryoung – Squid Game

HoYeon Jung – Squid Game

Queen Latifah – The Equalizer

Olivia Liang – Kung Fu

Mary McCormack – Heels


Doom Patrol




Superman & Lois



Paul Bettany – WandaVision

Tom Ellis – Lucifer

Brendan Fraser – Doom Patrol

Tom Hiddleston – Loki

Tyler Hoechlin – Superman & Lois

Anthony Mackie – The Falcon and the Winter Soldier


Sophia Di Martino – Loki

Kathryn Hahn – WandaVision

Javicia Leslie – Batwoman

Gugu Mbatha-Raw – Loki

Elizabeth Olsen – WandaVision

Hailee Steinfeld – Hawkeye



Dr. Death


Midnight Mass




Adrien Brody – Chapelwaite

Mike Colter – Evil

Zach Gilford – Midnight Mass

Rupert Grint – Servant

Hamish Linklater – Midnight Mass

Aasif Mandvi – Evil


Lauren Ambrose – Servant

Katja Herbers – Evil

Christine Lahti – Evil

Melanie Lynskey – Yellowjackets

Kate Siegel – Midnight Mass

Samantha Sloyan – Midnight Mass



Resident Alien


Star Trek: Discovery

Station Eleven

The Witcher


Henry Cavill – The Witcher

Daveed Diggs – Snowpiercer

Matthew Goode – A Discovery of Witches

Jared Harris – Foundation

Lee Pace – Foundation

Alan Tudyk – Resident Alien


Mackenzie Davis – Station Eleven

Laura Donnelly – The Nevers

Sonequa Martin-Green – Star Trek: Discovery

Teresa Palmer – A Discovery of Witches

Jodie Whittaker – Doctor Who

Alison Wright – Snowpiercer


Vincent D’Onofrio – Hawkeye

Michael Emerson – Evil

Kathryn Hahn – WandaVision

Joshua Jackson – Dr. Death

Jonathan Majors – Loki

Samantha Sloyan – Midnight Mass

* Superhero categories also include Comic Book and Video Game Inspired Series


9-1-1 – 2

Best Action Series

Best Actress in an Action Series – Angela Bassett

A Discovery of Witches – 2

Best Actor in a Science Fiction/Fantasy Series – Matthew Goode

Best Actress in a Science Fiction/Fantasy Series – Teresa Palmer

Batwoman – 1

Best Actress in a Superhero Series – Javicia Leslie

Chapelwaite – 1

Best Actor in a Horror Series – Adrien Brody

Chucky – 1

Best Horror Series

Cobra Kai – 3

Best Action Series

Best Actor in an Action Series – Ralph Macchio

Best Actor in an Action Series – William Zabka

Doctor Who – 1

Best Actress in a Science Fiction/Fantasy Series – Jodie Whittaker

Doom Patrol – 2

Best Superhero Series

Best Actor in a Superhero Series – Brendan Fraser

Dr. Death – 2

Best Horror Series

Best Villain in a Series – Joshua Jackson

Evil – 6

Best Horror Series

Best Actor in a Horror Series – Mike Colter

Best Actor in a Horror Series – Aasif Mandvi

Best Actress in a Horror Series – Katja Herbers

Best Actress in a Horror Series – Christine Lahti

Best Villain in a Series – Michael Emerson

Foundation – 3

Best Science Fiction/Fantasy Series

Best Actor in a Science Fiction/Fantasy Series – Jared Harris

Best Actor in a Science Fiction/Fantasy Series – Lee Pace

Hawkeye – 3

Best Superhero Series

Best Actress in a Superhero Series – Hailee Steinfeld

Best Villain in a Series – Vincent D’Onofrio

Heels – 3

Best Action Series

Best Actor in an Action Series – Alexander Ludwig

Best Actress in an Action Series – Mary McCormack

Kung Fu – 2

Best Action Series

Best Actress in an Action Series – Olivia Liang

Loki – 5

Best Superhero Series

Best Actor in a Superhero Series – Tom Hiddleston

Best Actress in a Superhero Series – Sophia Di Martino

Best Actress in a Superhero Series – Gugu Mbatha-Raw

Best Villain in a Series – Jonathan Majors

Lucifer – 2

Best Superhero Series

Best Actor in a Superhero Series – Tom Ellis

Lupin – 2

Best Action Series 

Best Actor in an Action Series – Omar Sy

Midnight Mass – 6

Best Horror Series

Best Actor in a Horror Series – Zach Gilford

Best Actor in a Horror Series – Hamish Linklater

Best Actress in a Horror Series – Kate Siegel

Best Actress in a Horror Series – Samantha Sloyan

Best Villain in a Series – Samantha Sloyan

Panic – 1

Best Actor in an Action Series – Mike Faist

Resident Alien – 2

Best Science Fiction/Fantasy Series

Best Actor in a Science Fiction/Fantasy Series – Alan Tudyk

Servant – 3

Best Horror Series

Best Actor in a Horror Series – Rupert Grint

Best Actress in a Horror Series – Lauren Ambrose

Snowpiercer – 3

Best Science Fiction/Fantasy Series

Best Actor in a Science Fiction/Fantasy Series – Daveed Diggs

Best Actress in a Science Fiction/Fantasy Series – Alison Wright

Squid Game – 4

Best Action Series

Best Actor in an Action Series – Lee Jung-jae

Best Actress in an Action Series – Kim Joo-ryoung

Best Actress in an Action Series – HoYeon Jung

Star Trek: Discovery – 2

Best Science Fiction/Fantasy Series

Best Actress in a Science Fiction/Fantasy Series – Sonequa Martin-Green

Station Eleven – 2

Best Science Fiction/Fantasy Series

Best Actress in a Science Fiction/Fantasy Series – Mackenzie Davis

Superman & Lois – 2

Best Superhero Series

Best Actor in a Superhero Series – Tyler Hoechlin

The Equalizer – 1

Best Actress in an Action Series – Queen Latifah

The Falcon and the Winter Soldier – 1

Best Actor in a Superhero Series – Anthony Mackie

The Nevers – 1

Best Actress in a Science Fiction/Fantasy Series – Laura Donnelly

The Witcher – 2

Best Science Fiction/Fantasy Series

Best Actor in a Science Fiction/Fantasy Series – Henry Cavill

WandaVision – 5

Best Superhero Series

Best Actor in a Superhero Series – Paul Bettany

Best Actress in a Superhero Series – Kathryn Hahn

Best Actress in a Superhero Series – Elizabeth Olsen

Best Villain in a Series – Kathryn Hahn

Yellowjackets – 2

Best Horror Series

Best Actress in a Horror Series – Melanie Lynskey

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