Cate Blanchett Stars as Phyllis Schlafly in 'Mrs. America'

This FX/Hulu miniseries is going to be streaming on Hulu April 15th. It’s bound to be well acted at least, even if the person Blanchett is playing makes me want to throw up so much I don’t know if I could stand to watch anything about her. It’s about the battle to ratify the Equal Rights Amendment in the 1970’s and the cast consists of Rose Byrne, Uzo Aduba, Sarah Paulson, Tracy Ullman, Elizabeth Banks and John Slattery. I may have to check it out.

'Sex Education' is Back for Season 2 on January 17th

Hey, that’s just next Friday, isn’t it? I think of the TV season now in terms of actual seasons- we’re well into winter, and new and returning shows are cropping up for the new year. This was a really good teen dramedy from 2019, so I’m looking forward to the second season.

'Fargo' Returns on April 19th With a Brand New Cast

Oh wow, I can’t WAIT for this. Fargo has had three outstanding seasons so far, and this one looks no different. A amazing cast (as always) is assembled for it, including Chris Rock, Jessie Buckley, Jason Schwartzman, Ben Whishaw and Timothy Olyphant (!). Is April here yet?

'Fleabag' and 'Succession' Win the Top TV Awards at the Golden Globes

I got a rather pathetic 6/11 on the TV side of the things at the Globes this year. Serves me right though. You can never really tell what the Globes are going to go for, although they did like Fleabag. But some of the better speeches of the night came from the TV side of the show, as Michelle Williams once again rocked it with her win for Fosse/Verdon and Patricia Arquette as well, urging people to vote and reminding them that all this is taking place basically in front of a background of global collapse. I also approve of the HFPA going for Succession- I just didn’t think it was trendy enough for them I guess.

2020 GOLDEN GLOBES TV WINNERS

• Drama Series: Succession

• Lead Actor in a Drama: Brian Cox, Succession

• Lead Actress in a Drama: Olivia Colman, The Crown

• Comedy Series: Fleabag

• Lead Actor in a Comedy: Ramy Youssef, Ramy

• Lead Actress in a Comedy: Phoebe Waller-Bridge, Fleabag

• Limited Series/TV Movie: Chernobyl

• Lead Actor in a Limited Series/TV Movie: Russell Crowe, The Loudest Voice

• Lead Actress in a Limited Series/TV Movie: Michelle Williams, Fosse/Verdon

• Supporting Actor: Stellan Skarsgard, Chernobyl

• Supporting Actress: Patricia Arquette, The Act

Michelle Williams took her time at the mic to plead with women to vote in their own self-interest, as men have done forever

Golden Globes TV Predictions

Okay, time for some TV predictions. These are a total crapshoot. The Globes aren’t trying to please or influence anyone, so they really do tend to just go for what they like here, and they almost always like the hot new show (that bodes well for The Morning Show, probably). Let’s do some guessing!

BEST TV SERIES- MUSICAL OR COMEDY

• Barry

• The Politician

• Fleabag

• The Kominsky Method

• The Marvelous Mrs. Maisel

Fleabag isn’t exactly new, but it’s definitely the hot thing right now, and I would expect that to win here for sure. They’ve also loved British shows in the past (they were the first to discover Ricky Gervais’s The Office, actually).

Winner: Fleabag

Alternate: The Marvelous Mrs. Maisel

Dark Horse: The Kominsky Method

BEST TV SERIES- DRAMA

• The Crown

• The Morning Show

• Succession

• Big Little Lies

• Killing Eve

Normally, I would think The Crown would take this after a successful third season, but…I have a pretty big feeling about The Morning Show here. The HFPA loves new shows. They just love them.

Winner: The Morning Show

Alternate: The Crown

Dark Horse: Succession

BEST ACTOR- DRAMA

• Brian Cox, Succession

• Tobias Menzies, The Crown

• Billy Porter, Pose

• Kit Harington, Game of Thrones

• Rami Malek, Mr. Robot

Billy Porter won the Emmy in September, but the Globes don’t give a shit about the Emmys. I think this is between Tobias Menzies and Brian Cox. You know, it could be Menzies but I’m honestly not sure that the role is showy or big enough. Brian Cox is so good and so dominant on Succession that I think even the HFPA won’t overlook him.

Winner: Brian Cox

Alternate: Tobias Menzies

Dark Horse: Rami Malek (interesting to see him make a comeback here with Mr. Robot’s last season)

BEST ACTRESS- DRAMA

• Jennifer Aniston, The Morning Show

• Olivia Colman, The Crown

• Jodie Comer, Killing Eve

• Nicole Kidman, Big Little Lies

• Reese Witherspoon, The Morning Show

Man, this is a tough one. Jodie Comer just won the Emmy, but again, see what I said about Billy Porter. Plus, Killing Eve is in its second season, so it’s already old news to the HFPA. Olivia Colman should take this, and they may want to give it to her but I have this feeling about Jennifer Aniston. They love her, they always have. And this is SO petty, but it’s very much like the Hollywood Foreign Press to want to award both her and ex-hubbie Brad Pitt with trophies on the same night. I’m not even kidding, there are Globes voters who would think like that when they’re checking off their ballots.

Winner: Jennifer Aniston

Alternate: Olivia Colman

Dark Horse: Jodie Comer

BEST ACTRESS- MUSICAL/COMEDY

• Rachel Brosnahan, The Marvelous Mrs. Maisel

• Kirsten Dunst, On Becoming a God in Central Florida

• Christina Applegate, Dead to Me

• Natasha Lyonne, Russian Doll

• Phoebe Waller-Bridge, Fleabag

I think this will go to Phoebe Waller-Bridge, whose show is likely to win comedy series. Only Rachel Brosnahan stars on another show that’s nominated there and she’s already won this twice I think.

Winner: Phoebe Waller-Bridge

Alternate: Rachel Brosnahan

Dark Horse: Natasha Lyonne

BEST ACTOR- MUSICAL/COMEDY

• Michael Douglas, The Kominsky Method

• Bill Hader, Barry

• Ben Platt, The Politician

• Paul Rudd, Living With Yourself

• Ramy Youssef, Ramy

Ummm…I’m gonna say Bill Hader. The Emmy winner thing doesn’t hurt him or help him, but Michael Douglas could easily take it too. I also don’t know how much they like this show The Politician, but that’s new, so it could surprise as well.

Winner: Bill Hader

Alternate: Michael Douglas

Dark Horse: Ben Platt

BEST LIMITED SERIES/TV MOVIE

• Loudest Voice

• Chernobyl

• Unbelievable

• Fosse/Verdon

• Catch 22

This one I’m pretty sure goes to Chernobyl, although I’d like to see Fosse/Verdon take it (I’ll have to settle for Michelle Williams winning). Unbelievable may have a chance too, the buzz is pretty high on that one.

Winner: Chernobyl

Alternate: Unbelievable

Dark Horse: Fosse/Verdon

BEST ACTOR IN A LIMITED SERIES/TV MOVIE

• Sam Rockwell, Fosse/Verdon

• Russell Crowe, The Loudest Voice

• Jared Harris, Chernobyl

• Christopher Abbot, Catch 22

• Sacha Baron Cohen, The Spy

Since they unforgivably snubbed Jharell Jerome for When They See Us, I’m really not sure who’s going to win this. It could be Jared Harris, but part of me wants to say Russell Crowe, as the big movie star name who physically transformed himself into Roger Ailes.

Winner: Russell Crowe

Alternate: Jared Harris

Dark Horse: Sam Rockwell

BEST ACTRESS IN A LIMITED SERIES/TV MOVIE

• Kaitlyn Dever, Unbelievable

• Joey King, The Act

• Helen Mirren, Catherine the Great

• Michelle Williams, Fosse/Verdon

• Merritt Wever, Unbelievable

I really don’t think Michelle Williams can be denied here, although it is the Globes and they might do something unexpected, like give it to the young Kaitlyn Dever. We’ll see.

Winner: Michelle Williams

Alternate: Kaitlyn Dever

Dark Horse: Helen Mirren

BEST TV SUPPORTING ACTOR

• Alan Arkin, The Kominsky Method

• Kieran Culkin, Succession

• Andrew Scott, Fleabag

• Stellan Skarsgard, Chernobyl

• Henry Winkler, Barry

Leaving aside their dumb, “best supporting actor in all of television” qualifier, could Andrew Scott maybe take this for Fleabag? I hope so. I would tend to lean towards Alan Arkin, but I’m gonna go with Andrew Scott because I really want him to win.

Winner: Andrew Scott

Alternate: Alan Arkin

Dark Horse: Kieran Culkin

BEST TV SUPPORTING ACTRESS

• Patricia Arquette, The Act

• Helena Bonham Carter, The Crown

• Toni Collette, Unbelievable

• Meryl Streep, Big Little Lies

• Emily Watson, Chernobyl

Hmmm. I think this is where they reward Unbelievable, a show they really did seem to like. But Meryl Streep is always possible too. As well as Patricia Arquette.

Winner: Toni Collette

Alternate: Patricia Arquette

Dark Horse: Meryl Streep

Top 10 Shows of the 2010's

Well, my top tens for 2019 are slightly delayed because I’m not quite done watching everything I wanted to watch this year (I’ve got two shows left), so look for that in January, but since we’re at the start of a new decade, I thought I could do my favorite shows of this last one. My only criteria for this is how much I loved the show at any point in time- so if for example it had two great early seasons and wasn’t as good after that, my level of love for those first few years may have been higher than any show I merely liked all the way through its run. So these are the ones I fell hard for and would probably watch again, at least the good parts.

1) THE END OF THE F***ING WORLD Season 1 (2017)

The perfect first season of this black comedy teen road romance is one for the ages

2) THE AMERICANS (2013-2018)

The slow burning story of Russian spies undercover in 1980’s America got deeper and deeper under your skin, and was a show about relationships and marriage as much as anything else

3) MAD MEN (2007-2015)

Mad Men started at the end of the last decade, but its simmering, atmospheric character driven episodes were excellent well into the 2010s

4) BREAKING BAD (2008-2013)

Breaking Bad also got its start at the end of the 2000s, but built to its climax, getting better and better every year all to the way to its explosive and inevitable series finale

5) JUSTIFIED (2010-2015)

Justified was such a fun show that had excellent characters, deliciously entertaining villains, the best dialogue on television, and mixed humor, violence and modern day western sensibilities with Elmore Leonard inspired writing

6) ORPHAN BLACK (2013-2017)

Orphan Black had its ups and downs, but the highs were so high, thanks to Tatiana Maslany’s unforgettable performance as multiple clones of herself- a show that mixed outrageous humor with high concept sci-fi/horror elements, and a terrific supporting cast for its wonder of a lead

7) OUTLANDER Seasons 1 & 2 (2014-2016)

The show goes on, and it may never be better than its first two seasons, but those seasons comprised one of the most romantic, sensual and passionate love stories on TV

8) CATASTROPHE (2015-2019)

Four seasons of hilarious and brutally unforgiving relationship comedy, thanks to Rob Delaney and Sharon Morgan’s acting and writing of a perfectly mismatched couple trying to make their way through a whirlwind romance and daily modern life as new parents

9) FARGO Seasons 1-3 (2014-2107)

Noah Hawley’s anthology series brought us three distinct and excellent seasons, all of a piece with each other and superbly acted, each with its own unique story and payoff

10) THE KNICK (2014-2015)

A show that was unjustly cut short, that followed the lives of doctors in turn of the century New York, all cleverly directed by Steven Soderbergh and dealing with modern issues as they would have been back then (drug use, abortion, racism, etc), without resorting to preachiness

Honorable Mentions: Happy Valley (2014-2016); Casual (2015-2018); The Returned (2012-2015); Rectify (2013-2016); Fleabag (2016-2019)

REVIEW: "The Mandalorian" Season 1

Two words: Baby Yoda. Do I even have to say anything else for this review? The mere creation of the most beloved character to come out of the Star Wars universe since the original trilogy is probably enough to justify this show existing (and it’s certainly enough for entire episodes to coast on, apparently). I’m not sure anything else about the series is even worth discussing, but let’s give it a shot anyway.

Created and produced (and usually written) by Jon Favreau, The Mandalorian is for once, a series set in the Star Wars world that doesn’t really have anything to do with Sith, Jedi and the Skywalkers. This is a good thing, since it frees up the material to deviate from mythology and lore (for the most part) and sets up a brand new protagonist who exists entirely apart from all that other stuff. He is a bounty hunter who has no name and whose face is covered by a helmet that makes him look like the Rocketeer. He resembles the Fetts of course, but there’s no apparent relation to them either, and he’s played by Pedro Pascal, who has an appealingly gravelly voice and does the stoic, alpha lead well enough. It’s kind of a take on the western, as our lone hero decides not to hand over a bounty one day, because it turns out to be the adorable baby Yoda, who also has no real name and exists in the form of an actual puppet- a doll that has enormously expressive eyes and coos baby noises even though he’s about 50 years old (in Yoda years, that’s an infant- remember, he died at 900). 

The human leads aren’t too interesting, aside from the Mandalorian himself

Baby Yoda doesn’t speak or do much of anything, but the mere sight of him was enough to inspire a thousand memes. He’s so cute that he must be protected at all costs. That’s what you think when you see him and the show agrees with you, as “Mando” takes on that task and starts to wander around with the baby in tow, from planet to planet. That’s the premise of this show and that’s basically the execution too. Not every episode is gold. In fact, most of them aren’t. Any time spent with Mando and the history of his Mandalorian people is laugh out loud silly and there’s something about anything set in the Star Wars universe that feels inherently like a fan film, no matter how expensive this one looks. Pascal is solid, but the dialogue is flat out bad, and the characters who pop in and out of the show are thinly developed at best (despite all the amusing cameos from Jon Favreau’s celebrity pals). The episodes veer in length from 25-42 minutes, and it is so episodic that nothing seems to matter from one to the next, except of course, for Baby Yoda’s cuteness.

Can you really hang an entire show on this? I don’t think so, but the last couple of episodes finally start to improve in terms of story, as Gina Carano and Carl Weathers join Pascal to give him something resembling a supporting cast, and the stakes are raised with the introduction of Giancarlo Esposito’s bad guy determined to kidnap “the child” (Baby Yoda does display some uncontrolled Jedi mind powers that everyone wants). When the drama started to pick up I could finally feel some sort of investment creeping in, but boy does this show takes its time getting there. The truth of the matter is, I don’t care who Mando fights from one episode to the next, but I would definitely watch a half hour of him changing the baby’s diapers, singing him to sleep, and talking to him on the ship as his lone companion in the loneliness of space. Give me an episode of that and it’ll be worth a whole letter grade.

Grade: B-

A superstar is born- Disney can already hear the chimes of millions of cash registers in merchandise sales for this little guy

REVIEW: "Watchmen" Season 1

Watchmen is a big, ambitious, boldly radical take on Alan Moore’s landmark 1987 graphic novel, and one that for the most part, stays true to the spirit of that book. But it’s also a departure from it, kind of the inverse of certain themes, and for anyone who ever read and liked Watchmen, you will gain much from this sequel series…but it is not, I repeat, not for the uninitiated.

Let’s just say it upfront- you can’t watch this show at all if you haven’t read the book first. You will be entirely lost, have no idea what’s going on, and nothing will ever be explained to you (even I had trouble remembering a lot of the details, since it’s been a while, and this show does not even to attempt to catch you up). Some of that is unsurprising, since this is from Damon Lindelof, former showrunner of Lost and creator of The Leftovers- I once promised myself I would never again watch anything with that man’s name on it after Lost ended (one of my most despised viewing experiences of all time), but I did end up being happy I gave Watchmen a shot, especially since Lindelof insists that he will not be part of a second season in any way. Any Lindelof watcher knows he’s a fan of unexplained mysteries, unanswered questions, baffling visuals and occasionally striking imagery. There are elements of all of that in this series, but since he and his writers are working from a thick, detailed, meticulously explained source, it helps to keep things on track and you do get most of the answers to all that this first season brings up by the finale.

Moore’s graphic novel was an overtly political, angry take on superheroes who lived in an alternate present (1985 at the time), where Richard Nixon was in his third term, fascism rose all around us, and the Watchmen were a bunch of weird, violent, angry characters who split off into dark, conflicting personalities. The politics of that book were frankly muddled (perhaps due to Alan Moore being a Brit), and the show kind of flips it on its head, taking place thirty years later in an alternate 2019. Now Robert Redford has been president for decades, and the extreme right wing environment of Moore’s original Watchmen appears to be a kind of an extreme left. Redford’s government hands out reparations for African-Americans and a white supremacist backlash has sprouted up in the form of guys who wear the Rorschach masks and name their movement after the dead vigilante (he was a racist but Rorschach was also arguably the biggest icon of the original- like I said, muddled politics).

Superhero action through the lens of America’s racist past, present and future

In response to this terrorist group the new vigilantes are now cops themselves, who wear masks and have superhero secret identities- our hero in this series is Angela Abar, aka Sister Knight, a cop in Oklahoma and played with tremendous confidence and fierce urgency by Regina King. Tim Blake Nelson is another standout as a fellow cop “Looking Glass” (his mirror mask is pretty cool). There are returning characters from the original series too, as Laurie Blake (formerly the Silk Spectre II) now shows up as an FBI agent who hates vigilantes, and Jean Smart takes on her wonderfully sardonic and jaded character with outright glee. Jeremy Irons is Adrian Veidt/Ozymandias, whose entire subplot takes place aside and apart from the main action at first but is eventually tied back in, and then there’s the whole question of what happened to Dr. Manhattan, the godlike being who could rule all if he wanted to, but fled for Mars at the end of the graphic novel.

That’s it for spoilers about the comic book material, but safe to say any questions regarding these characters are all eventually answered. But the thing that makes Watchmen special is its take on race. Despite its overtly political messaging, the original Watchmen had no direct racial conflict in its pages at all. This new series is entirely about American racism. That’s not even an exaggeration. It’s an exploration and look back at the history of it (it opens with the Tulsa massacre of 1921), up through this “alternate” present that feels a whole lot closer to current reality. It’s also a twist on Watchmen through an overtly racial lense, with revelations and surprises that change the history of the superheroes and work as a commentary on racism in the genre as a whole. It’s a fascinating examination through a light that probably never would have even occurred to Alan Moore to think about. I was with Watchmen through all of this for the most part, but towards the end of the series they started to lose me with some twists on the character of Dr. Manhattan that struck me as off limits and too far gone from the source material to accept. Moore has disassociated himself from anything having to do with any adaptations of his work, so this couldn’t really be canon anyway, but the amount of easter eggs and details filling the screen to purposely make this story a sequel to that one really wants you to think of it as such, and the stuff in the last couple of episodes took me out of it. The hardened, political messaging in this show made it difficult enough to remember sometimes that it’s still a comic book at all, and the veering back to Jeremy Irons’ Ozymandias shenanigans after an hour spent on lynch mobs and racism in America is jarring as it is. Messing around with Dr. Manhattan is a bridge too far for me.

Still, most of Watchmen is enthralling and I’d recommend it to anyone who loves the original. The acting is impeccable and the storytelling is mesmerizing and imaginative in each individual episode. That’s more than enough to make it one of the best shows of the year.

Grade: A-

Regina King is tough as nails as the badass Sister Knight

REVIEW: "The Crown" Season 3

For anyone who was at all worried The Crown would go downhill after recasting the award winning ensemble that led the series for two seasons, you have nothing to be concerned about. The show has an eye for casting like few others, and less than two minutes in the presence of Olivia Colman’s Queen Elizabeth, Tobias Menzies’ Prince Philip, Helena Bonham Carter’s Princess Margaret and Josh O’Connor’s Prince Charles shows us the royal family is in good hands.

Season 3 jumps to the early 1960’s, where Harold Wilson (Jason Watkins) has just been elected Prime Minister of the UK and the Elizabeth is headed into middle age. The show follows the formula it always has, an exploration of historical events of the time period and how the royals dealt with them, while occasionally taking on the personal lives and important markers of some of the biggest scandals they faced (like Margaret’s divorce and affair with a 24-year-old, or Lord Mountbatten’s behind the scenes plotting of a coup to overthrow the Prime Minister). Olivia Colman steps into the shoes of Claire Foy so superbly you almost don’t notice- it’s as if Colman was born to play the role, and her higher voice even matches the cadence of the real Queen’s more closely. She faces down a mining tragedy this season and brings Philip’s long exiled mother, Princess Alice, to England for her final days, while dealing with increasing turmoil in the love lives of her now grown older children. As always, Elizabeth remains her sturdy, unemotional, unflinching self, always having to be pushed to modernize the crown in even the smallest ways while adhering to tradition as often as possible.

Josh O’Connor gives us an uncanny, sympathetic Prince Charles

This remains an issue for Margaret of course, who Bonham-Carter plays as her usual partygoing, unhappy self, taking over from Vanessa Kirby during the years her marriage to Tony Snowden was falling apart, although Margaret plays a more minor role this year than in previous seasons. Tobias Menzies is dead on as the cantankerous Philip, now settled in his wife’s shadow but still facing the ongoing problems wrestling with his own significance (and his mother). The real discovery this season is Josh O’Connor’s Prince Charles, now a twenty something and played to perfectly awkward pitch by an actor who resembles him to an eery degree. The episode where he is sent to Wales and must learn the language and history of the country is one of the best of the season, exposing the longtime conflict between him and his oppressive family at the very beginning of his public role. The hints of the Camila/Diana scandals are also here, but still to come, as Diana herself is introduced next season (I cannot wait).

The Crown is for royal watchers (and history lovers), a fine and luxuriously fulfilling treat, filled with politics and scandal, and palaces and carriages, somehow without letting you forget about the irreconcilable conflict of the royals’ very existence as modern life continues to evolve. Do the British people need a monarchy? Why do they continue to want it and hate it, and love to hate it at the same time? Creator Peter Morgan knows all of this and remains fascinated by the history of it, as do we. It remains an utterly absorbing, splendidly acted and rendered drama, consistent in tone and touch like few manage to be as series age. I have a feeling this one will not run into that problem. 

Grade: A

The new cast steps seamlessly into the shoes of the old one

'The Crown' 'Fleabag' and 'The Morning Show' Get SAG TV Nominations

I don’t care much about the SAG TV noms, but at least they nominated Jharrel Jerome, who must also win for When They See Us (I still can’t believe the Globes ignored him yesterday). I expect Fleabag to dominate in comedy of course (although SAG does tend to prefer veteran winners over the new, so maybe not), and I’m not sure about drama right now. Maybe The Crown? It’s a new cast, but now a veteran show, so that could be the sweet spot for them. I bet Olivia Colman wins (even thought I still think Jodie Comer should take every acting award for this season). I guess Game of Thrones could take it for its last year though.

2019 SAG TV Nominations

Outstanding Performance by a Male Actor in a Television Movie or Miniseries:
Mahershala Ali (“True Detective”)
Russell Crowe (“The Loudest Voice”)
Jared Harris (“Chernobyl”)
Jharrel Jerome (“When They See Us”)
Sam Rockwell (“Fosse/Verdon”)

Outstanding Performance by a Female Actor in a Television Movie or Miniseries:
Patricia Arquette (“The Act”)
Toni Collette (“Unbelievable”)
Joey King (“The Act”)
Emily Watson (“Chernobyl”)
Michelle Williams (“Fosse/Verdon”)

Outstanding Performance by a Male Actor in a Drama Series:
Sterling K. Brown (“This Is Us”)
Steve Carell (“The Morning Show”)
Billy Crudup (“The Morning Show”)
Peter Dinklage (“Game of Thrones”)
David Harbour (“Stranger Things”)

Outstanding Performance by a Female Actor in a Drama Series:
Jennifer Aniston (“The Morning Show”)
Helena Bonham Carter (“The Crown”)
Olivia Colman (“The Crown”)
Jodie Comer (“Killing Eve”)
Elisabeth Moss (“The Handmaid’s Tale”)

Outstanding Performance by a Male Actor in a Comedy Series:
Alan Arkin (“The Kominsky Method”)
Michael Douglas (“The Kominsky Method”)
Bill Hader (“Barry”)
Andrew Scott (“Fleabag”)
Tony Shalhoub (“The Marvelous Mrs. Maisel”)

Outstanding Performance by a Female Actor in a Comedy Series:
Cristina Applegate (“Dead to Me”)
Alex Borstein (“The Marvelous Mrs. Maisel”)
Rachel Brosnahan (“The Marvelous Mrs. Maisel”)
Catherine O’Hara (“Schitt’s Creek”)
Phoebe Waller-Bridge (“Fleabag”)

Outstanding Performance by an Ensemble in a Drama Series:
“Big Little Lies” (HBO)
“The Crown” (Netflix)
“Game of Thrones” (HBO)
“The Handmaid’s Tale” (Hulu)
“Stranger Things” (Netflix)

Outstanding Performance by an Ensemble in a Comedy Series:
“Barry” (HBO)
“Fleabag” (Amazon)
“The Kominsky Method”
“The Marvelous Mrs. Maisel” (Amazon)
“Schitt’s Creek” (CBC Television)

I haven’t mentioned her in a while, but I do believe Michelle Williams will continue to clean up in her category, taking the Globe and SAG for Fosse/Verdon