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phantomofthepairofdice · 3 years

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The Rosscars 2020

Wow. It’s that time of year again, only this time it’s different because it’s on a blog that no one will read! (hold for applause) Welcome to the first annual online publication for the Rosscars (hold for applause while the reader acknowledges how positively droll it is that I combined my name with “Oscars”). Who can forget such indelible Rosscar memories like when Steven Soderbergh surprised us all and won Best Director for Out of Sight or Bill Irwin’s beautiful speech upon winning Best Supporting Actor for Rachel Getting Married?! The Rosscars mean something different to everyone, but we all know that they mean quality choices made by a committee of one schmuck. This year’s Rosscars are bizarre because in an effort to be more like the Academy guidelines, film’s nominated have been released between January 1, 2020 and February 28, 2021. As usual, theatrical windows be damned, streamers are welcome. Of course, I have my gripes. I like categorizing movies by release year – specifically, when they become available to the plain old public like yours truly – not at festivals, limited runs in NYC and LA. Well, the Oscars are still weeks away and I feel like everybody wants to forget about last year and move onto this one that we’re already three months into - So here are my awards for the films, performers, and craftspeople that stood out in a pretty exceptional year for movies even though distribution was stranger than ever.

**A few caveats and guidelines to Rosscar newcomers (which I imagine is just a formality since we all know the Rosscars so well)**

The rules and categories are a little different around here. First, not every category is honored directly. That’s for a few reasons, chiefly that I don’t feel qualified to reward the technical categories properly – I suppose I should say that I feel less qualified to do so than the “above the line” categories. In keeping with the Academy standard, there are five nominees in each category, except for Best Picture, Best Non-Fiction/Documentary Feature, and Best Ensemble Cast which allow up to ten. Every category, save those three, will have the possibility of honorable mentions, because I want to highlight some things that just barely missed the cut. The narrowing down of a lot of these categories was awfully tough.

Nominees are listed alphabetically, and the winners are in bold and italics.

Also, it’s important to keep in mind that I couldn’t see everything (this isn’t a job and it’s still $20 to rent The Father, y’all) and that these are just the opinions of one (self-described) “bozo on the internet.” If you’re a reader and have different picks, feel free to share!

Special Commendations for some things that I want to recognize: • Ludwig Goransson for his Tenet score which is an absolute banger • The costumes of Emma. (Alexandra Byrne), Ma Rainey’s Black Bottom (Ann Roth), and Small Axe (Jaqueline Durran, Sinéad Kidao, and Lisa Duncan) all struck me as exceptional • Trent Reznor and Atticus Ross with their scores for both Soul and Mank. Crazy that Pixar is working with the guy who made “Closer” • The cinematography of Da 5 Bloods (Newton Thomas Sigel), First Cow (Christopher Blauvelt), Beanpole (Kseniya Sereda), and A White, White Day (Maria von Hausswolff)

The Rosscars red carpet was, as usual, a bizarre affair. People filed into the theater and it seemed like the only encounters were awkward ones. Vin Diesel showed up in character as Bloodshot, Aaron Sorkin started getting really verbose about what a lovely night it was, and it became clear that most of the celebrities in attendance didn’t read their invitations closely enough to realize that this was not, in fact, the Academy Awards.

Everyone’s seated, and the show is under way. After a medley about the nominees this year by Common and Seth McFarlane that was more corny but clever than it was funny, the first official category is here, and the presenter is none other than... Ross!

Best Supporting Actor:

1. Chadwick Boseman for Da 5 Bloods

2. Matthew Macfadyen for The Assistant

3. Jesse Plemmons for Judas and the Black Messiah

4. Paul Raci for Sound of Metal

5. Glynn Turman for Ma Rainey’s Black Bottom

Honorable Mentions:

• Lucas Hedges for Let Them All Talk

• Orion Lee for First Cow

• Bill Murray for On the Rocks

Best Supporting Actress:

1. Vanessa Bayer for Barb and Star Go to Vista Del Mar

2. Candice Bergen for Let Them All Talk

3. Gina Rodriguez for Kajillionaire

4. Amanda Seyfried for Mank

5. Yuon Yuh-jung for Minari

Honorable Mentions:

• Jane Adams for She Dies Tomorrow

• Charin Alvarez for Saint Frances

• Talia Ryder for Never Rarely Sometimes Always

• Debra Winger for Kajillionaire

Everyone loves a montage. The audience gets comfortable in their seats as the video screens start to show a montage of some of the most famous moments from Hollywood’s most magical movies. Fred Astaire and Ginger Rogers waltz, gliding across a dance floor like two hovering angels. There’s a clip of Leo declaring himself king of the world in Titanic, the flying bicycles in ET, Bogart stares longingly into Bacall’s eyes, and then there’s some scene where Tom Cruise rides a motorcycle from 2010′s Knight and Day. The audience all seems confused how that last one got in there. The John Williams music swells as little Kevin McAllister screams when puts on aftershave. We see clips of Robert De Niro in Taxi Driver, Carrie Fisher’s Princess Leia embrace Harrison Ford’s Han Solo, Bruce Lee smoothly declares that boards don’t hit back and... wait... was that a clip from Michel Gondry’s Green Hornet with Seth Rogen? And that’s a clip from What Happens in Vegas... Bad Teacher... Vanilla Sky... Shrek 2... Any Given Sunday... Everyone is flummoxed. The last clip fades out and a sole editing credit appears: Cameron Diaz. The lights come up and there’s some applause, but mostly confused murmurs.

The ceremony has had a bit of a misstep, but nothing it can’t recover from, especially as the next category is announced over the PA, and it looks like the presenter is... Ross!

Best Ensemble Cast:

1. Bacurau

2. Da 5 Bloods

3. Kajillionaire

4. Let Them All Talk

5. Ma Rainey’s Black Bottom

6. Minari

7. Nomadland

8. Pieces of a Woman

9. Small Axe

Best Original Screenplay:

1. Danny Bilson and Paul Dameo & Spike Lee and Kevin Wilmott for Da 5 Bloods

2. Lee Isaac Chung for Minari

3. Brandon Cronenberg for Possessor

4. Sean Durkin for The Nest

5. Kleber Mendonça Filho and Juliano Dornelles for Bacurau

Honorable Mentions – a very difficult task to weed this down to five.

• Shaka King and Will Berson for Judas and the Black Messiah, from a story by Kenny and Keith Lucas

• Steve McQueen, Alastair Siddons, and Courttia Newland for Small Axe

• Kelly O'Sullivan for Saint Frances

• Thomas Vinterberg and Tobias Lindholm for Another Round

Best Actor:

1. Ben Affleck for The Way Back

2. Chadwick Boseman for Ma Rainey’s Black Bottom

3. Delroy Lindo for Da 5 Bloods

4. John Magaro for First Cow

5. Mads Mikkelsen for Another Round

Honorable Mentions:

• Riz Ahmed for Sound of Metal

• John Boyega for Small Axe

• Daniel Kaluuya for Judas and the Black Messiah

• Hugh Jackman for Bad Education

• Ingvar Eggert Sigurðsson for A White, White Day

We have a break in the action and it looks like Darius Rucker has showed up to perform what he would have nominated for Best Original Song. The crowd is absolutely furious as he starts playing a song that apparently was in Trial of the Chicago Seven. An ocean of sonorous boos and curses overtakes the the once docile crowd. The Rock just ripped his chair from out of the ground. Jane Lynch somehow smuggled in a civil war era flintlock pistol that she’s now pointing at the stage! Suddenly, the crowd unifies around what started as a confident chant of one lone audience member - John C Reilly. It’s growing... Ja Ja Ding Dong, Ja Ja Ding Dong, Ja Ja Ding Dong - it’s like the macabre circus performers from Tod Browning’s Freaks, but instead of chanting “Gooble Gobble” they’re clearly pining for Darius to change his tune to the silly and delightful jam from Eurovision Song Contest: The Story of Fire Saga. Darius, scared for his life, leaves the stage, but here come Will Ferrell and Rachel McAdams to deliver the goods. Busy Philips and Michelle Williams burst into tears. Tom Hanks nods in approval. A segment saved by brave artists placating a toxic group of fans... we’ve just witnessed a live version of the Snyder Cut, folks.

Jack Nicholson seems completely unfazed, giving a thumbs up to the camera and blowing a kiss to the next presenter. Coming to the stage is... Ross... again...

Best Actress:

1. Jessie Buckley for i’m thinking of ending things

2. Carrie Coon for The Nest

3. Han Ye-ri for Minari

4. Sidney Flanagan for Never Rarely Sometimes Always

5. Vasilisa Perelygina for Beanpole

Honorable Mentions – these cuts were especially painful

• Haley Bennet for Swallow

• Morfydd Clark for Saint Maud

• Frances McDormand for Nomadland

• Christin Milioti for Palm Springs

• Geraldine Viswanathan for Bad Education

Best Adapted Screenplay:

1. Charlie Kaufman for i'm thinking of ending things from Iain Reed's novel

2. Sarah Gubbins for Shirley from Susan Scarf Merrell's novel

3. Kelly Reichardt and John Raymond for First Cow

4. Simon Rich for American Pickle from his short story "Sell Out"

5. Mike Makowsky for Bad Education from Robert Kolker's "The Bad Superintendent"

Best Non-Fiction/Documentary Feature:

1. Boys State

2. Collective

3. David Byrne’s American Utopia

4. Dick Johnson is Dead

5. Feels Good Man

6. In & Of Itself

7. The Painter and the Thief

8. Time

Jimmy Fallon has come out on stage to do a bit about the pandemic and watching movies at home. People are just absolutely not having it. He tries not to laugh at his own jokes while doing what I guess is technically a pretty good impression of Dr. Fauci interviewing James Corden as Martin Scorsese (the less said of this impression, the better) on what is or isn’t cinema. The bit doesn’t track and Fallon is absolutely tanking. The producers cut away from the stage to spare the viewers at home from this monstrosity. We see crowd shots of Millie Bobby Brown shaking her head in dismay, Colin Firth is simultaneously grimacing and trying to stave off laughter, Cynthia Erivo is texting, and director Tom Hooper is taking notes for his next film. Corden yells, “Carpool Karaoke! Remember?!” Ron Howard has fainted. This thing is almost completely off the rails.

Coming back to the stage is the next presenter, a clearly embarrassed... Ross! He’s in a total flop sweat, but stumbles his way through a joke about how Fallon should try co-hosting the Oscars with James Franco sometime. There are scant chuckles throughout a crowd that mostly just wants to see who won and go home.

Best Director:

1. Christopher Nolan for Tenet

2. Spike Lee for Da 5 Bloods

3. Steve McQueen for Small Axe

4. Kelly Reichardt for First Cow

5. Chloé Zhao for Nomadland

Honorable Mentions:

• Kitty Green for The Assistant

• Eliza Hittman for Never Rarely Sometimes Always

• Charlie Kaufman for i'm thinking of ending things

• Thomas Vinterberg for Another Round

Best Picture

1. Bacurau

2. Barb and Star Go to Vista Del Mar

3. Da 5 Bloods

4. First Cow

5. i'm thinking of ending things

6. Judas and the Black Messiah

7. Never Rarely Sometimes Always

8. Nomadland

9. Small Axe

10. Tenet

Accepting the award for best picture is none other than Eve, the cow actor who played the titular First Cow! The audience is enamored with how graceful she looks in her cow gown, and her speech, though indecipherable, is likely simple, observational, and deeply profound for those who speak cow.

Wow, what a ceremony! Hearts were broken, property was damaged, dreams were fulfilled... blood was shed? Damn it, Meryl Streep came in and mugged Charlie Kaufman before absconding with the trophy. Oddly, she’s a previous winner, so the attack isn’t out of need for hardware. People are reading through articles about production on Adaptation for potential motives. Streep made time for a photo opportunity, but remains at large.

I could go on ad infinitum about all of these nominees and winners themselves and why they did or didn’t make the cut, but that’d be better served in a different piece. For now, my thoughts on most of these can be found on the Best of 2020 write-up and over on my Letterboxd. And, as always, these awards can be revoked and redistributed at will, so don’t get too cozy with that statue, Danny Bilson!

On behalf of the RAOGL (Rosscars Association of One Guy at a Laptop), thanks for reading, and stay tuned as we’re establishing a tip line for anyone has seen Ms. Streep or her stolen valor Rosscar. We’ll see you next year. Keep watching movies, and keep arbitrarily quantifying them in terms of subjective quality!

#awards #movies #film #Rosscars

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bambamramfan · 7 years

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Just Language

Neil uses the term Lacanthropy to describe “The transformation, under the influence of the full moon, of a dubious psychological theory into a dubious social theory via a dubious linguistic theory.”

Which is a fair assessment of the bad opinion most well-read people hold of the works of psychoanalyst Jaques Lacan (@raggedjackscarlet ‘s interest non-withstanding.) Lacan had some bold, un-tested theories of the mind, after all. But what he, and the other mid-century French existentialists, was really obsessed with was “semiotics” which was sort of like linguistics but was more about “how symbols worked.”

Language was a system of symbols that worked, whether you understood what the word meant correctly, or believed in it or not. It was separated from your mind and intent, and yet, words certainly have a life of their own that is coherent and sensical. They fit into a broader system, one which the speaker may be utterly unaware of.

And since we don’t have access to each other’s inner minds, all of society can best be understood as the emergent effects from this substrate of language.

In modern parlance, we would talk about how memes can spread across twitter, independent of whether you are RTing them ironically or seriously or double-reverse-ironically, the meme doesn’t care it just spreads under a logic of its own. Then CNN reports on the meme and how many times it’s been RT’d or mutated and asks “what does it all mean?” Words are just more fundamental memes that way.

This means we are not interested in what the word means, what a dictionary says about a word or what we think when we say it, but about how it functions. What does the word do.

When I was young my father advised me to avoid the word “just” when talking about myself. Look at these two sentences:

I was trying to help.

I was just trying to help.

They mean pretty much the same thing. But the function of the second sentence serves to limit the conversation to my intent, delineating it as the only relevant thing. (Common parlance would be that it’s “defensive language”.)

The literal meaning of the word “just” does not capture what is going on here. But neither does appealing to the intent of the speaker, accusing them of some cowardice or malice based on how they used the word. They probably meant it innocently, or just do not consciously parse every single word for how it will come off.

What matters is what the word has done to the conversation, attempting to limit its scope, and positioning any resistance to limitation as a conflict now. That was the function of the word.

I did not take the simple advice and never use the word just from then on, but rather whenever I am about to say “just” I think for a second. Do I really mean that? What is the difference in effect between the first sentence and the second sentence, and which do I prefer?

This is what it means to study how a word functions, independent of the intent of the speaker. Or as the anti-crit crowd says “Death of the Author”. The broader system of how all these words (and symbols and memes) function is semiotics.

People from all over the political spectrum continue to use the term “SJW” despite it’s extremely insulting origins (and vague boundaries) because, well, it delineates a group that’s useful to delineate, and the usefulness of the word is more important to the semiotic system than the purity of its definition.

Or you might have heard the quip about ideological debate: arguments are like soldiers - you don’t stab them in the back. This acknowledges that it doesn’t really matter whether an argument is true or ethical, just whether it is serving the function, of helping attack the other side.

Let’s look at insults for a minute.

Most of you read the twitter post and tumblr commentary when some transactivist threatened Caitlyn Jenner that if she continued to support Donald Trump, activists would go back to calling her “Bruce.”

It was mean. And also a little boggling. Doesn’t the activist, as part of social justice doctrine absolutely believe that Caitlyn Jenner is a woman? Isn’t that the exact belief system they are fighting for? Unless you have some really weird epistemology where anyone who votes for Trump is definitionally male, the insult seems only to invoke “if you do not support the cause, we will not support your gender identity.”

As a factual belief, it is a complete hash. But as a threat, it’s pretty clear. And certainly as something that hurts Caitlyn, it’s utterly plausible “Your self-respect as a woman is always conditional on our political support for you. You’re not independently and authentically a woman.”

This is all extremely effective even if it’s completely non-credible that the speaker believe it. Even when the listener considers it factually untrue with zero doubt. What matters is “what the insult is doing.” There are fears we have, and the insult is touching on them to create pain and panic.

More prosaically, anyone reading this should not believe that being overweight is an accurate measurement of their moral character, worth as a human being, or virtues in any other field. We all just know this, and don’t think someone is bad because they are fat.

And yet, if you have a friend who is overweight (or just not the magazine cover image of thin), even a friend who knows everyone in their social group doesn’t judge based on weight… holy shit is insulting them over their weight devastating. Maybe you would do it ironically, or maybe you’re really drunk, maybe they misheard a word you said (you meant phat!), who fucking knows. It doesn’t really matter what you meant by it, or what you really believe… you have channeled the threat of the Big Other judging them into this insult.

This is true for most offensive insults: racial stereotypes, accusations of being a sexist, your lack of intelligence, your pretentiousness, a slur about your sexual orientation. We get upset at them from the enemy, we get upset at them from a stranger, we get upset at them from a friend for whom we have overwhelming evidence that they do not believe this.

(And even if they do believe this, why is the insult so bad? It’s much better to get the toxic belief out in the open and deal with it, than to let it lurk. And why would a second insult be bad after that, once we know they disdain us? Instead we strongly want them to keep insults to zero or a minimum. Because the function of the insult, ie a social attack from the Other, has not changed.)

And it’s important to note that even if in individual conversations an insult’s power may be limited and dismissed as not particularly upsetting, on the internet people like clicking on the posts about witty insults or passionate denunciations of them. So the insults get shared. And once they are leaping across the reblogs and hate-shares then they have an independent, one-dimensional life of their own.

(Mein Gott, am I tired of well-intentioned critics like Freddie deBoer agonizing over how every liberal only makes simplistic or navel-gazing arguments. No, people make all sorts of arguments, including thoughtful ones, or factually-rigorous ones, or just compassionate ones. What gets shared are the simplistic in-jokes and denunciations. The problem is not the people, it’s the system their words are evolving in. If there were not capitalistic pressure for outrage and glib quips, then @theunitofcaring would be most popular blogger on the planet after all.)

***

So for instance, the eternal debate about whether some liberal is “racist towards white people.” The denotation of racism is pretty clear about this (and it’s weird of a movement that insists it is fighting privilege and classism, to so often fall back on “well you should know this is what academics mean by that word.”)

(Or if we are coming from the other direction, liberals who say you are racist for discussing whether it’s okay to wear certain costumes on Halloween, or because you’re a low level admin for a company that has an all white boardroom, or because you made an awkward television ad.)

And yet, if we are talking about the word racism does, it’s function is to refer to a system whereby the powerful simplifies and denigrates the minority. “Racist” is usefully pointing to someone who defends this system.

Our attitude towards “a black person who says all white people dance funny” or “that bro with dreadlocks” is simply not the same as it is towards Jeff Sessions or Jefferson Davis. The word racist best functions as a rallying cry against gross defenders of the racial hegemony.

When you see these words as more building blocks in the system of language (and less, reflections on what the speakers internally mean) then it’s easy to see how they form a web that has certain patterns and rules.

Exiling someone with the argument “We don’t support racists” is of course non-sensical as a factual statement based on any thoughtful definition of the words involved. You could attack that argument from a dozen angles after all -- but it’s a very effective meme at silencing debate, isn’t it? No one publicly really wants to be on the other side of that argument (at least, no one polite.)

Similarly, all the problems the rationalist community has had with terms like virtue signalling and motte-bailey. They do define relevant concepts. But the use of such terms is “a phrase to dismiss whatever someone just said without interrogating its truth.” And so even though there are correct definitions for the terms, bigger blogs have just stopped or banned using them altogether, because they just end conversation.

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