Best Director used to drive the Best Picture race: in the 69 years of Oscar history where there were five Best Picture nominees, the top two categories matched 77% of the time (53/69). Now in the current era of the expanded Best Picture lineup, it doesn’t: since 2009, Picture and Director have agreed only 54% of the time (7/13). In other words, splits have occurred twice as often as before. So now, even if the director category is dominated by one name all the way through the season, it’s basically a coin flip on whether Best Picture agrees or not.
A director now can be celebrated even if voters don’t love their movie as much. The idea is that the more ambitious the film, the more divisive they tend to be. That isn’t always true, of course. But we do seem to be quite a long way from the year Tom Hooper won Best Director for The King’s Speech.
This year, there is are definitely two roads the Oscars and the film industry can take. One is to go bigger and the other is to continue down the road of more “niche” films. We used to call these “indies” – although that term no longer applies since almost every movie in the race tends to be an “indie.” The big studios are repped still but they don’t make up the majority of the offerings. Big studios are in the race this year, especially if you factor in their specialty divisions:
King Richard, Dune — Warner Bros
Belfast — Focus Features (Universal)
Nightmare Alley, The French Dispatch — Searchlight (Disney)
Licorice Pizza, House of Gucci, Cyrano, No Time to Die — MGM/UA Studios
Spider-Man: No Way Home — Sony
The Last Duel — 20th Century (Disney)
And the “independents”:
The Tragedy of Macbeth — A24
Spencer — Neon
And then of course there is new media nipping at their heels:
The Power of the Dog, Don’t Look Up, tick, tick…BOOM!, The Lost Daughter — Netflix
CODA — Apple
Being the Ricardos — Amazon
It’s harder to break the dominance of the bigger studios in the Oscar race provided they offer up movies Oscar voters like. If given the choice, they’d stick with studio fare, as it is (or was) their bread and butter. But the word “studio” has expanded now, there is no denying it. Netflix very nearly dominates this year’s Oscar race by presenting a slate of films Oscar voters can’t refuse.
The DGA will tell us which five films are the strongest heading into the Oscar race. We expect all five will also be on the PGA’s list, announced the same day.
The Directors Guild usually predicts what will be nominated for Best Picture. In the era of the expanded ballot, all but one got in for Best Picture — The Girl with the Dragon Tattoo remains the only exception. Prior to 2009, however, it was quite common for the DGA to name a movie that missed at the Oscars. We assume this means in an expanded ballot era they would have been nominated. This would include movies like:
Into the Wild
Dreamgirls
Memento
Almost Famous
Amistad
Since we’re getting all of our major guild nominations in one day, shockingly, by tomorrow we’ll know what the producers, editors, writers, and directors all liked. It should not be that hard to look at those results and get a very clear picture of what the Oscar race will look like because they’re all voting at the same time. That means there isn’t a lot of wiggle room in terms of influence unless something is snubbed and that makes news.
It looks like, at least from where we sit now, there are four locks for the DGA:
Jane Campion, The Power of the Dog
Kenneth Branagh, Belfast
Denis Villeneuve, Dune
Steven Spielberg, West Side Story
And then a fifth slot that seems to come down to:
Adam McKay, Don’t Look Up
Paul Thomas Anderson, Licorice Pizza
Guillermo del Toro, Nightmare Alley
Maggie Gyllenhaal, The Lost Daughter
Reinaldo Marcus Green, King Richard
It could go to any of these directors, though Gyllenhaal is a good bet for the DGA’s “first-time” director category, along with Rebecca Hall for Passing, Sian Heder for CODA, Leisl Tommy for Respect, Lin Manuel-Miranda for tick, tick…BOOM!, Fran Kranz for Mass.
If you go by the most popular movie, you have to land with either Don’t Look Up or King Richard, as both have gotten every major nomination and mention heading into the race.
Folding in SAG Ensemble
But then if you look at the SAG ensemble category, there is a pretty good chance the fifth slot will be from the SAG group. In general, two names cross categories — sometimes three, occasionally four. But one? That has happened only once in SAG/DGA history. That seems unlikely to me. That takes it down to:
Reinaldo Marcus Green, King Richard
Adam McKay, Don’t Look Up
Sian Heder, CODA
Ridley Scott, House of Gucci
Honestly, it could go either way, but I’m betting on McKay or Green. And I can’t decide between the two. Both films have the same cred heading into the race. McKay is more well-known in the industry overall and would be looking at his third consecutive nomination. Don’t Look Up is certainly a Hollywood activist movie. It is right in their wheelhouse. King Richard has Will Smith as the potential Best Actor winner. Honestly, Heder could sneak in there too. Two things drive the DGA nod: notoriety of the director (Don’t Look Up) and likability of the movie overall (King Richard).
Anyway, who knows. Flip a coin.
Our DGA predictions:
Kenneth Branagh, Belfast — Ryan Adams, Marshall Flores, Mark Johnson, Clarence Moye, Sasha Stone
Jane Campion, The Power of the Dog — Adams, Flores, Johnson, Moye, Stone
Guillermo del Toro, Nightmare Alley — Adams, Flores
Maggie Gyllenhaal, The Lost Daughter — Johnson
Adam McKay, Don’t Look Up — Moye
Steven Spielberg, West Side Story — Adams, Flores, Johnson, Moye, Stone
Denis Villeneuve, Dune — Adams, Flores, Johnson, Moye, Stone
Reinaldo Marcus Green, King Richard or Adam McKay, Don’t Look Up — Stone
And here are the charts:
Predict-oscar
Anderson
Branagh
Campion
Spielberg
Villanueva
Predict -DGA
Same as above except Coen over Branagh
My choices-
Almodovar
PT Anderson
Campion
Spielberg
Jaynes Samuel
1st Film
Lost Daughter
Passing
Pig
Mass
Shiva Baby
I written over numerous award season bout this film..but it prudent at a tim of uncertainty..and nature of incresingly adversarial world in cyberspace we live in…to be greateful as we all should be esp in these dark uncertain times..that we all have our view…as i stated before esp way this deflating awards season is panning out my issue is not who influence oscar but HOW they go about doing it…the idea of threats and intimidation and intolerance by the radical socialist left..to go wtih the radical racist far right (but i must emphjasise we should all be thankful that awards season has all but crushed far extreme right racism for that reason at average to me is why i still tune into awards season- more or less cos the -0 tolerance policy against extreme far right films which Hollywood thank G-d lrgely disowns from promoting thank heavens for that..
But the issue should never be diverse opinions..the issue is how certain online organisations and individual ‘actors’ take the far right ideology of abusing, make others feel inferior..impinge on others rights to have a contrary opinion to the group think.
It therefore baring in mind the radical extreme right voices have all but been quashed every awards seaoson esp since modernisation of Hollywood post 19sixtys… it is onus on radical far left..who actually failed to learn lessons of once past real time consequences of crushing dissenting voices..for the hypocrist of the far left presence that is rampant in awards season..a ratinale no less that Sasha and others incresingly becoming victim of their bitterness and bile and why? cos ppople like Sasha and other rational pple who believe their right think for themselves are slandered and smeared made an example of.
At the level therefore of sociological humilitation and level of public degradation verbally..the foul despicable behaviout of the radical far left voices that atm Hollywood too weak to take stand against those who dfo this intimidation, abuse of others rights for freedom of speech there is such a movement that once existed sadly still does..
That is of course then then rise of Fascist Germany, Hitler’s demented fuked in the head Nazis.
The behaviour and language i encountered online and from Sasha’s own testimony is proof radical left so ignorant of our previous hstory their eyes stubbornly glase over that they adapt whether they ever care admit it or not we should see right through this..some of mantra of Nazi groupthink simply as: ” you think different to us..then yuo are not like us..you inferior so you should be targeted with extreme prejudice”
The issue is not that awards season takes heed of the left issue is the left in parts is oblivious to toxic omni presence of the radical far left …
While i weary to compare directly a timeless all important..historically more relevant than ever in these times at time when antisemitism is n the rise..one group seek to humiliate and shame and expose others having different view..specifically ONLY in context of race hate ideology to which tempting for argument sake given the strong historical significance and shooting of Schindler’s List in black and white..poignantly, there could been tempration to gloss over race hate refernces..but then again if you wish to
do a film bout Holocaust credibly in demonstrating perils, horrors and need for future generations from time this most important and historically relevant film of all time how can you shy away from idea of examples of degradation, abuse and verbal humiliatiom? hence in the context specifically strictly only the instances in this film of Hitlers feral dog soldiers targeting, discriminating shaming pple verbally..in that context is it really anyt different to utterly disgusting behaviour goes on online that through AMPAS decisions to give unfettered licence to these extremes to have a presence in awards season?
Schindler’s List demonstrates a clarion call that regardless whether you far extreme right or far extreme left..exposing..shaming abusing and bullying and systemically targeting pple thinking voicing differnt ideology or viewpoint to your own is utterly reprehensible, should be condemned..and it well past time radical extreme left..no you cant stop extremes Academy and Guilds..but you can CHOOSE to ignore them sideline them minimise thyeir influence..
I wont get into everything over countless years bout historic relevance to Schindler’s List for there so many.. but what the film does show is trying to control everyone even let along on extremist side of things..can only go so far..you cannot stamp out idea of a moral conciounce..such as what Oskar Schindler found..you cannot buy a soul..or human beings sense of humility..it good within ..
People need to remember as history tells us..that it is not just the good guys that crushed the Germans they were crumbling from within in WWII in latter stages…Schindler was one of many profiteering wartime Germans who had influence knew how to work people get his way..that arrogance of Hitler’s pig troopers underestimated ..they thought Hitler’s way was final..absolute all on their side would conform..to his misguided fuked up ideology..but u can;’t control one’s desire to want to simply help those in need..ask ‘is this right;’ to start to question ‘ am i not meant for more than this in this world’? and ‘ why settle for profits when i can save people’s lives – not for myself but for those who suffer give them hope’…
Anti semitism is on the rise..and fact is it the radical extreme left through their attitudes and toxicity that are contributing to the expansion of antisemitism..through their trivialising and complacencyt of history..it only makes this years HOLOCAUST MEMORIAL DAY ALL THE MORE POIGNANT, POWERFUL AND RELEVANT THAN EVER AS IT DOES SPIELBERG’S TIMELESS MASTERPIECE FOR ALL TIME IN SCHINDLER’S LIST…
But it a timely lesson for awards season to start to reengage with moderate idea of civilisation not to curry favour with extreme influences througb leaning too much as they are on social media and streaming…it worth asking has true democracy been undermined by awards season decisions to pretend extreme left does not have omni presence in awards season?
Isn’t it time much like real life Schindler himself once did to find a decency, civility and humility to respect embrace artistic expressions which reflect diverse but moderate approaches to filmmaking?
The World united for a time post WWII maybe in these times it time for World to reunite..how can we do that when there a most menacing presence of abusers online that awards season pretends does not exist?
And anyone be damned if they think i exploiting Schindler’s List to make point of awards season i cannot emphasise enough…given my own personal family heritage stake in the entire Holocaust story..that ONYL in context of examples in most obvious ways that type of discirmination and humiliation and degradation and intimidation and threats…of behaviour of rogue radical left online..is imitation to limited defgree but still somewhat of beghaviour of raqdical far right extremists..
IT TIME FOR AMPAS STOP BEING POLITICAL AND START SHOWING SENSE OF HUMILITY AND CIVILITY..THAT ONLY WAY AMMPAS REGAIN LOT OF PPLES TRUST.. embracing films that espouse however as constantly year upon year upon year themes and ideas…that frankly reflect minority issue in today’s world..doing it occassionally ok but doing it almost every bloody awards season? how that just in our eyes?
I really wanted to do this post to Ryan Adams own incredibly well written tribute to Spielberg’s West Side Story miracle..let face it…it DOES TAKE A DARN MIRACLE to reinvent while showing utter most respect to one most influenctial musical masterpieces in original West Side Story of all time in Hollywood..just to do that//and to get nominated for his rendition of West Side Story is not only truly welcome..but it by far of what awards season has narrowly elected to focus on and of contenders they unjustifiably ommited..it is by far only slightly behind is King Richard as two leadsin most upifting, positive, energetic vibe type films of the year competing for oscar glory.
HOWEVER… TODAY I DRAW TO EVERYONE’S ATTENTION perhaps the reason why Spielberg won’t win best director no matter what masterpiece Spielberg’s West Side Story liikely is…
For ” if saying one is a victim to their own success” then indeed rightly or wrongly this applies to Spielberg more than any other filmmaker on the planet.
I convinced he overdue.BUT compared to heights of his cinematic milestone achievements..rewriting the rule book what can be put in film in way war/ action films realism and intensity can be shot which since been setting the standard for war films particularly in lasting masterpiece of Saving Private Ryan ..but then..there is even far superior most special, sacred and at same time forboding of apex of very summit and pinacle of filmmaking achievements..
For Spielberg that came with his timeless..most improtant shockingly earth shatteringly devastatingly true story of none other than Schindler’s List.
When you are a filmmker that has already reached the summit..as he did with Schindler’s List hard to sustain that level and feat of cinematic mastery ey? But Spielberg raised the bar so phenomenally high for himself what constutes him in callibre and film type of what films giave him best director..that to Spielberg…and to Hollywood writ large..even a film like Minority Report, Catch me if you Can still regarded as simply outstanding achievement even if requirements for those films be amasing were not of summit peak requirements of filmaking ahcievements that particularly Schindler’s :List was.
When you rewrite the cinematic rulte book telling true shocking real life horror story with sould piecring heart wrenching, fulfilling dose of humility in shadow of the worst acts of bastardry commited in backdrop that is real life horror show that is The Holocaust..and when you show what really goes on carnage, the chaos the sacrifice so explicitly in theatre of greatest war in WWII most devastating and culturally transorming of all time..it kinda not unreasonably for Academy to go: ‘ right, Mr. Spielberg, 2 time best director winner for 2 most unforgetabble films ever made ESPECIALLY none more so than Schindler’s List’ we no doubt something even more challenging (hard believe i saying it but look at height of Spielbergs prior pinnacle cinematic achievement…u know?; and rightly or wrongly hence..but understandably having Spielberg not win the DGA i acccept that..but given he demonstrated jhe can turn films of moderate expectation like Minority Report or have courage his convictions to turn horror massacre of Munich in ‘Munich’ into a semi godfatherresque ala role reversal where good guys set up the malicious but necessary assasinations of Blkack September, or even moderate expectations of ‘ Catch me if you Can’ into one most popular and critically acclaimed old style old school caper films..Spielberg standrd for these films make them exceed critic and public expectations each performing at least very solidly at box office..well for any other filmmaker to do one those few films i mentioned..well they be storng chance to win the dga..but for Spielberg, DGA wont allow his to make the cut for dga nomination (except i think he did for ‘ Munich’ but i dont remember actuall)
Spielberg bar he exposed to himself in eyes of DGA means this masterpiece but not his best work…how can it be? beyond heights of Saving Private Ryan. and byond that the stratospheric memorable landmark most powerful drama for generaitons made in Schindler’s :List’? Make no mistake about it..the DGA will wait to amibitous, not before adaptted or better yet original new exciting ambitious vision/ story comes Spielbergs way..but gee i tell ya all right now..it rightfully impossible to forget between Saving Private Ryan and Schindler’s List..impressions on world evne to this day.. but it the latter film title here above all else that cannot be forgotten even amongst oscar voters existing ones who still active in AMPAS membership who indeed…will take extra care before rushing to embrace Spielberg ..
This is ‘JUST’ a mere adaptation a story that been brought to life on big screen before..outdoing a claassic? but can one see how even on basis Spielberg (likely) dont know till i persuade my dad see this remiaging update of West Side Story with me.. that dga and ampas voters be thinking (aww cmon this guy won rightfully best director for Saving Private Ryan and the MOST IMPORTANT MOVIE IN HOLLYWOOD HISTORY THAT SCHINDLER’S LIST are we really gonna believe now time for him to win 3rd DGA and a 3rd directing oscar?
I don’t think so but hey i most certainly will not complain i tell you now if Spielberg becomes first of big 5 filmmakers that modernised contributed revolutionising hollywood in modern era circa late 1970’s onwards…if he become first modern director to win 3 DGA;s and maybe 3 oscars? it inevitable he will but voters at both dga and ampas need to carefully decide– is Spielberg not capable doing something that hasnt been done before,? as per what i mentioned above..rather to win no matrter how superb it is for musical of same name and same setting?
He will win 3rd best director Spielberg more than any other filmmaker has reshaped and redefined what be achieved in film how to represent it..in both artistry and performances he got the msot out of actors, technical and arts crew to push seemingly complex stories and filmaking concepts to new heights within framework of films he has made.
i urge everyone now who has has not to read my follow up post it is bout my tribute we all should do to Spielberg’s greatest cinematic achievement one of greatest ever that of Schindler’s :List..
My dream nominees:
Jane Campion
Pablo Larraín
Paul Thomas Anderson
Julia Ducournau
Guillermo del Toro
But it will probably be:
PTA
Branagh
Spielberg
Campion
Villeneuve
It amazes me that Macbeth isn’t getting more play. It was the best movie I watched last year.
My hunch: Campion, Coen, Del Toro, Spielberg, Villeneuve. BELFAST peaked too early but could possibly knock out MACBETH.
Even at DGA you think he (Branagh) could miss?! Wow… There’s just about no way…
I get that DGA’s chauvinism could put Hamaguchi out of the conversation.
But if Mckay passes over PTA the awards race relevance deserve to definitely rest in peace forever and ever.
I don’t understand why people would predict PTA for DGA. He has gotten in there once and once only
I wasn’t talking about predictions, but about quality.
I could see McKay getting in for The Big Dhort and Vice, but I can’t see him getting in Don’t Look Up. Especially when there’s so many better options this year.
“But then if you look at the SAG ensemble category, there is a pretty good chance the fifth slot will be from the SAG group. In general, two names cross categories — sometimes three, occasionally four. But one? That has happened only once in SAG/DGA history.” actually never happend that only one film was in common between SAG and DGA. Always was two o more
Caught up with TTOM. A terrific film & made me update my top 10 for the year, it’s #4. Coen deserves DGA nom.
Looks absolutely stunning. Every scene offered a feast for the eyes.
Why the hell is Hunter not in the conversation for supporting; she was extraordinary.
The only negative was the jarring American accents in some of the cast as it’s set it Scotland. I thought McDormand was fantastic despite this. She should be nommed. Washington seemed miscast at the start but grew into the role. Not nomination worthy.
Even having studied Macbeth many years ago, I still struggled with the dialogue. Had me wondering what a reimagining with modern English would look like.
I don’t understand why people criticize American accents in historical films. Speaking with a modern Scottish accent wouldn’t be authentic, either. The actual Macbeth spoke either Gaelic or Middle English, neither of which would be intelligible to most Brits. You’re suspending disbelief either way.
I agree that Washington seemed stiff in the first few scenes. It’s weird that he’s getting so much more attention than the rest of the cast.
It was pretty but felt hollow. I barely understood a lick of it.
felt very style over substance – even if it is was The Bard!
I don’t understand why people criticize American accents in historical films. Speaking with a modern Scottish accent wouldn’t be authentic, either. The actual Macbeth spoke either Gaelic or Middle English, neither of which would be intelligible to most Brits. You’re suspending disbelief either way.
I agree that Washington seemed stiff in the first few scenes. It’s weird that he’s getting so much more attention than the rest of the cast.
Hunter is the stand out. It’s weird to set the film in Scotland & have half Scottish half American accents, sorry.
yeh the accents jarred me. Hunter was the standout – perhaps as I had never heard or seen her before. Amazing physicality on screen and what she did with it in a handful of minutes.
That style of acting is her calling card on the UK stage. Apparently she did a really wild reimagining of Lear.
It’s not meant to be Scottish history, the theme is more important
Case in point, the Tiffany paradox. The name Tiffany is ancient, dating at least to the Middle Ages. Unfortunately authors of works set in this period can’t use it because no one would believe Tiffany was a medieval name
Not sure where to post this: AACTA winners announced TPOTD took Picture, Actor and Supporting Actor. Weird miss for Campion in Director in a bit of a spread the wealth list. TPOTD 3 & BTR with 2 the multiple winners. Belfast underperformed & won for Dench in supporting, also a weird choice.
BEST FILM
THE POWER OF THE DOG
LEAD ACTOR
Benedict Cumberbatch – THE POWER OF THE DOG
LEAD ACTRESS
Nicole Kidman – BEING THE RICARDOS
SUPPORTING ACTOR
Kodi Smit-McPhee – THE POWER OF THE DOG
SUPPORTING ACTRESS
Judi Dench – BELFAST
BEST DIRECTOR
DUNE – Denis Villeneuve
BEST SCREENPLAY
BEING THE RICARDOS – Aaron Sorkin
Huge upset for Dune, and at the perfect time. Of all the places in the world where Campion would figure to have home region advantage, she *loses* to Villeneuve in her backyard. Can Dune slide through if there’s a TPOTD/Belfast split in BP? Yeah, pipe dream-a-palooza, but one can dream.
Yeah pipe dream-a-palooza for sure but I’d rather a TPOTD/Villeneuve split than a Belfast/Campion one.
Especially since Campion is all but guaranteed screenplay.
Never known how many are on the panels for these awards. There has always been a mystery around it. I used to think it was just Geoffrey Rush (when he was el presidente) and Cate Blanchett sitting around decidiing.
They certainly don’t allow the general membership any involvement in the Internationals. I reckon it is a very small judging panel. Yes weird omission, especially as they clearly loved the movie and are usually quite parochial in their choices. Maybe Jane is not popular with some of the upper echelons of AACTA.
More likely they wanted to award Dune & it was the only other spot they could
Really? seems odd. I think it’s a low number of people voting and easy for an outcome that is unexpected. They aren’t a reliable pre-cursor (i have a love-hate with my own guild)
No AACTA reaction?
Sian Heder is not a first-time director. CODA is her second feature. Her first was Tallulah.
The passive-aggressive “Give Spidey 8 Best Picture too” campaign has begun.
“The idea is that the more ambitious the film, the more divisive they tend to be. That isn’t always true, of course. But we do seem to be quite a long way from the year Tom Hooper won Best Director for The King’s Speech.”
Parasite and Nomadland were neither divisive or particularly difficult films to understand. Wonder what the common element between the two Oscar winning directors might be not to be cited as exceptions to that hard fast rule? Hmmmmmmm.
God, if there is a God, please don’t let Adam McKay get in here
If he does, his spot on Oscar morning goes to Hamaguchi
Yeah I’ll believe that when I see it
Hamaguchi checks the Director’s Branch surprise pick box but we’ll see.
If Haeneke can get in, so can Hamaguchi.
But Amour was a big Oscar contender. In fact, it was contending everywhere. That was a much more accessible film with a much bigger names in Haneke and Riva. I think it could happen, but it’s difficult year with many big name directors in contention.
Be careful, God may nominate Ridley Scott for House of Gucci instead 😉
I’d be okay with that
the lesser of two evils, that’s for sure lol
I can see Scott getting in, but for The Last Duel.
If I had to pick one of his movies for this year it would certainly be it
Well, even the worst of Ridley Scott films are better than the best Adam McKay films, with one or two exceptions.
better him for DLU than Gyllenhaal for The Lost Doll. That movie was big fat nothing. Fine direction but yeah. At least DLU was entertaining and got people talking.
No,, just no. A BP nomination is the most the film deserves.
Lost Doll doesn’t deserve any nomination. That it’s in contention to win Adapted is the most ridiculous thing ever.
My choices
Branagh
Sian Heder
Villeneuve
Campion
Cari Fukanaga
Not sure where to post this: AACTA winners announced TPOTD took Picture, Actor and Supporting Actor. Weird miss for Campion in Director in a bit of a spread the wealth list. TPOTD 3 & BTR with 2 the multiple winners. Belfast underperformed & won for Dench in supporting, also a weird choice.
BEST FILM
THE POWER OF THE DOG
LEAD ACTOR
Benedict Cumberbatch – THE POWER OF THE DOG
LEAD ACTRESS
Nicole Kidman – BEING THE RICARDOS
SUPPORTING ACTOR
Kodi Smit-McPhee – THE POWER OF THE DOG
SUPPORTING ACTRESS
Judi Dench – BELFAST
BEST DIRECTOR
DUNE – Denis Villeneuve
BEST SCREENPLAY
BEING THE RICARDOS – Aaron Sorkin
King Richard doesn’t feel like a Director’s movie to me. Would love to see CODA pop here but also less of a director’s movie. It’s got to be McKay or Del Toro but hoping for the latter.
Be really surprised to see KR here. It has performed poorly with the guilds.
The Lost Daughter is gonna get DGA (first time) PGA and WGA tomorrow and get a Best Picture Oscar nomination similar to Winters Bone, An Education, Kids Are All Right with picture, actress, screenplay.
I thought it was a snooze outside of Coleman being routinely excellent.
I can appreciate the fact that it was well-written and purposefully directed while also admitting it bored me to tears outside of Colman
I was shockingly not bored but it was such a pointless story with no one to like. Buckley went on my nerves. I don’t know what she was trying to do with the character but she came off more as a ditz than a mom who needed to breathe. I didn’t feel that her Leda and Colman Leda were the same character even if you give Colman’s time to grow.