Live Coverage | ‘Inside Amy Schumer’ Wins Best Variety Sketch Series

21 Sep 2015 | Author: | No comments yet »

Emmys 2015: Five things you should know about ‘Olive Kitteridge’.

Except for Jon Hamm, who finally scored for “Mad Men,” women owned the 2015 Emmys. Even though it’s possible you’ve never heard of it, now is when you should probably care and/or figure out how to watch. (Hey, Andy Samberg gave you his HBO Now password!) The gist: “Olive Kitteridge” is a four-hour, two-part HBO miniseries that aired last November on HBO.

Among its victories were Best Limited Series and awards for Best Actress (Frances McDormand), Best Actor (Richard Jenkins) and Supporting Actor (Bill Murray). From the surprising sweep by the female-driven “Olive Kitteridge” to Amy Schumer’s win for her Comedy Central sketch show and Viola Davis’ triumph, women just rocked TV’s biggest night.

Though he wasn’t at the ceremony, Bill Murray won the supporting actor trophy for the mini. “Making this movie, this four-hour movie, was really a — sort of a metaphysical, supernatural, transpersonal ‘dark night of the soul’ kind of experience,” director Lisa Cholodenko said in her acceptance speech. It’s based on Elizabeth Strout’s 2008 novel of the same name, which won the Pulitzer prize for fiction in 2009, and stars Frances McDormand as the title character. In October 2014, I remember watching the first half of the four-part miniseries at its New York City premiere, feeling the immediate emotional impact and leaving wanting to finish the back half as soon as I got home.

The novel is divided into 13 tales linked through Kitteridge, each from a different character’s perspective, as they try to make sense of life milestones such weddings, deaths and attractions to coworkers. We would love to do more and we would love for you all to start a social media campaign to do more.” “Olive Kitteridge” was also a winner at last week’s Creative Arts Emmys, taking home the awards for casting for a limited series or movie (which went to Laura Rosenthal and Carolyn Pickman) and for single camera picture editing for a limited series or movie (which went to Jeffrey M. Olive’s long marriage to Henry (“Six Feet Under’s” Richard Jenkins), the town pharmacist, seems built on the tired truism that opposites attract: Henry is ceaselessly sunny and happy to engage people in conversation; Olive’s moods border on the misanthropic.

She prefers to mutter under her breath or punctuate each sentence with an “Oh, for God’s sake!” She dishes out criticism and marks up tests with an apparent disregard for hurt feelings or empathy. “Well, ducky duck soup” is the best you’ll get out of her when you complain about life. You might recognize McDormand, who plays the acerbic title character Olive Kitteridge, as pregnant Minnesota police chief Margie Gunderson from the 1996 movie “Fargo.” Here she plays a stern middle school math teacher whose already tense marriage to the friendly pharmacist (Jenkins, familiar as Nathaniel Fisher on HBO’s “Six Feet Under”) is further tested after Olive’s father commits suicide. 4.

The movie attracted just over a million viewers on HBO during its debut, drawing about 559,000 viewers on its first night and 467,000 viewers on the second. Bill Murray, who took home the Best Supporting Actor Emmy, Limited Series for “Olive Kitteridge” – his first Emmy in 35 years – plays Jack Kennison, a local widower who bonds with Olive in shared grief and dark humor over suicide. 5. But even if it wasn’t the most-watched HBO original miniseries, critics loved it; Stuever praised the film’s ability to revel in negativity in a culture that relentlessly pushes positive thinking at all costs: “Olive Kitteridge,” then, is a miniseries for the rest of us — and it’s a gloriously thoughtful wallow in the subtle and sometimes even insecure ways that families and friends relate to one another. The star-studded supporting cast includes Zoe Kazan (“The Savages,” “Ruby Sparks”), Rosemarie DeWitt (“Rachel Getting Married,” “United States of Tara”), Cory Michael Smith (“Gotham”) and Ann Dowd (“The Leftovers,” “Philadelphia.”) You cannot win an Emmy for roles that are simply not there.” Just as impactful in its own way was the success of “Olive Kitteridge.” First, that miniseries’ six statuettes helped HBO somewhat compensate for “Game of Thrones” winning a boatload of awards for its weakest — and, some argue, most misogynistic — season yet.

Second, the “Olive Kitteridge” winners were a great bunch on non-cookie cutter folks, from writer Jane Anderson literally bouncing up the stage to star Frances McDormand’s memorable turns at the mike. Olive Kitteredge tells the poignantly sweet, acerbically funny and devastatingly tragic story of a seemingly placid New England town wrought with illicit affairs, crime and tragedy, told through the lens of Olive (Frances McDormand), whose wicked wit and harsh demeanor mask a warm but troubled heart and staunch moral center. If this all sounds a bit familiar, the film was nominated for three Golden Globe awards earlier this year, including acting nods for McDormand and Murray, along with a best TV movie or miniseries nom.

The story, which spans 25 years, focuses on her relationships with her husband, Henry, the good-hearted and kindly town pharmacist; their son, Christopher, who resents his mother’s approach to parenting; and other members of their community. And she gave the rare speech that can be quoted entirely in three lines: “My colleagues Jane [Anderson] and Lisa [Cholodenko] have already given the thank-yous that need to be said. It was just one thing after another: Regina King’s genuine shock at winning for her turn in “American Crime.” Uzo Aduba’s meltdown after winning for “Orange Is the New Black.” Amy Schumer managed to sneak in some good ones, obviously: “Let’s not forget what tonight is really about,” she said, presenting an award with Amy Poehler. “Celebrating hilarious women and letting the Internet weigh in on who looks the worst.” She’ll be hosting this baby soon enough. Coincidentally, both won in directing categories, which right there should teach the backwards movie industry a thing or two about women’s ability to step behind the camera. At the same time, the Colbert/Corden/Kimmel/Meyers etc. parade made it painfully obvious that late night remains a stronghold of straight white dudeness. (Could Andy Samberg and Seth Meyers’ tribute to daddy Lorne Michaels have been any more embarrassing?)

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