I hear people bring this up inevitably on every post involving Huawei. "Help me get Google" etc. I've owned many types of phones, from Sony Xperia to OnePlus, etc. and none of them have come even close to the type of integrated environment that Huawei offers with all of their devices, and features that I wish I had on other phones before. Huawei is at least to me, a leader in innovation, and other Android-based companies look to it to see what they come up with next. I currently own a P30 Pro, P40 Pro, Nova 7 5g, Watch GT2 Pro, MatePad Pro and Matebook X Pro. Their integration is flawless. Having said that...
When I use my Nova 7 with no GMS, I notice no difference in what I'm able to do on a daily basis. The only Google app that I use on a "frequent" basis (only when I have to check traffic on my way somewhere) is Maps, and that was transferred via Phone Clone from my P30 Pro. I don't use Gmail, but if I was to use it, I like Huawei's e-mail client better anyways, and I am able to use my gmail there if I wanted too. I do not use Sheets, Docs, Photos, or anything else from Google witht the exception of YouTube, for which there is a much better alternative anyways in the form of YouTube vanced, which has no ads.
The few times I have setup smart devices with my Google Hub at home, the experience has been more frustrating that anything else, and I mostly just gave up on Google Assistant as a whole as a result of this. There are a ton of people on Reddit and the internet in general that seem to be in the same position regarding the google "dumb" assistant.
I just wonder, what in the heck does Google have to offer to people that claim that a device is unusable without Google services? To me the benefits outweigh the cons, and I am puzzled as to the negativity thrown at Huawei.
submitted by Recap Index: Spoilers Within
Hello once again everyone. I waited a few weeks to bring you this because there really wasn't a whole lot of concrete info to share outside of speculation and ongoing theories. Here's what we've got:
- Ana's Plan and Rasputin's Condition
- Interference Messages: White, Cusp, and Gift
- The Growth of a Silver Branch
- Another Weapon of Ruin and Malice
- The Nine's Realization on the Light and Dark
- More Information from Prophecy
- Speculation: Can the Emissary escape from the Nine?
- Speculation: Will there be another Speaker?
- Speculation The Long-Awaited Reunion
Disclaimer: You can find speculation sections towards the bottom and only a few minor spoilers. At this time, dialogue from Prophecy should no longer be considered spoiler content since Prophecy has been out for 5 weeks now and the alternative dialogue can be farmed just like the loot, even though the Emissary Whisperer triumph is still bugged. If you want to see how this season has been developing and what some of the more popular speculation has been, check out my
Week 1 and
Week 2 Lore Recaps. Without further ado, let's get into it.
Some Hints on Ana's Plan for Rasputin's Condition
After the Warmind was neutralized by the Pyramid on Io, Ana became frayed: strained. While Warsats were plummeting towards Mars' surface,
Jinju contained fragments of Rasputin in a Pillory Engram filled with Light. "Look at this," she says, indicating a jumble of sine waves in front of her. "Harmonic oscillations. What if, before the Darkness did... whatever it did to him, Rasputin initiated an emergency upload and—"
In terms of physics and mechanics, harmonic oscillation pertains to wave functions, or waveforms, in regards to the state of equilibrium and force. Rasputin fought the Darkness during the Collapse, so this time he came prepared and expected the worst.
"Big Red was too clever for it," she says. "I've detected a part of his signal cycling through the buffer. Problem is, I don't know how to get it out. Not much can safely hold a Warmind."
One major clue about Rasputin's future is mentioned during the Prophecy Dungeon.
Eris Morn: Ana's working on bringing the Warmind back online. Have faith.
Drifter: Yeah, well, the old man went down like a sack full'a Ghosts. Maybe Ana can find a sturdier case to put him in. Like a... vendor machine or something.
Eris Morn: The two of you think alike. Her plan might surprise you.
This section is free of speculation and spoilers, and I plan to keep it this way since I've already mentioned speculation and potential spoilers about Rasputin's condition back during Week 1.
Eris's Third, Fourth, & Fifth Deciphered Messages
The
third message Eris deciphers is called
"WHITE" and Eris unveils a message that the Guardian (VIP #2014) also heard when the Darkness first hijacked our Ghost:
"In Light, there is only death." Additionally, Eris says when first interpretation the message:
This construction is "white." Not like the color, but the absence of color. An indistinct void, overexposed sameness of a thing long dead. The white of bleached bone; of the Traveler.
Eris proposes that the Darkness came back to this system for us, the Guardians - the Traveler's legacy - and that we have an opportunity to harness the Darkness's offered power.
The
fourth message Eris deciphers is called
"CUSP" and interprets the Darkness's message as betrayal - that in order to gain salvation, we have to turn on the Traveler.
This word denotes the moment before a change - the "cusp," the brink - but it is a repetition of something that has already happened. A mistake from which no knowledge was gained. The Collapse, perhaps? Troubling...
The Pyramid is telling us that a Second Collapse is imminent and unavoidable - another paracausal clash - and it offers a path to salvation.
The
fifth message Eris deciphers is called
"GIFT" - the silver branch - and while this strikes fear in Eris, it also draws her closer. This gift will be the path - our growth - towards salvation.
Eris Morn: Interesting. This phrasing is directed at an equal. The message here is "gift." Something offered... in an outstretched hand.
Eris chooses to show her research to Zavala.
Zavala: The messages you've decrypted have proven invaluable. Now we know how our enemy thinks. Tell me: What if the Pyramids intend to exploit our curiosity?
Eris Morn: We wield their gift against them.
Zavala: And if it proved unwieldy?
Eris Morn: Then it will be surrendered to the Vanguard for containment.
Eris guides us to stabilizing and harnessing the power of this gift.
The Growth of a Silver Branch
Drifter discovers something
abnormal with the Prismatic Recaster's internal gravity and notices that its Dark energy is linked with Io:
the Guardian 'opens the way' to this link while contesting Savathûn's forces at the Cradle. Additionally, during Interference (Week 5), the Darkness offers a gift to the Guardian: a branch from the
Pyramid-influenced Tree of Silver Wings. With multiple Pyramids now encroaching Mars, Mercury, and Titan, Savathûn's forces are chasing the Pyramids. While visiting these Pyramids, the Guardian discovers fragments of Calcified Light - secured, hardened Light that cannot be changed. Also, the Calcified Light we find on our worlds is the inverse of Calcified Fragments from the Dreadnaught:
a fragment that burns lightbearers to the touch containing Taken energy. Ultimately, the Guardian opposes Savathûn's Marionettes while allowing the
branch to absorb their essence (Darkness) and stabilizes it with Calcified Light. Eris wants to unleash and exploit this tempered power by
feeding enemies consumed by Darkness to the branch through siphoned Void (gravity) energy. Through the re-purposing of Savathûn's twisted rituals, Eris contains the Pyramid's Gift into a engram: Eris calls its final shape
"a catalyst of change, and nothing it graces will ever remain the same."
Another Weapon of Ruin and Malice
Ruinous Effigy roughly translates to an
'image or representation of ruin and/or disaster'. This is displayed by its perk,
Transmutation: this weapon collapses victims into Void Transmutation spheres. This is a direct representation of the Winnower's purpose: culling the weak.
Also, Eris mentions that
"Touch of Malice serves as a blueprint for this weapon" and there's a striking familiarity between the two other than their cores being engulfed in Darkness.
Ruinous Effigy: As you grip it, a cold emptiness stings your fingers briefly before subsiding, barely noticed.
Touch of Malice: “You have claimed the Essence! Light as pure as yours… how it must have burned you to touch it. I… shall not have that problem."
Additionally, Touch of Malice would devour a Guardian's Light, while empowering the weapon itself.
Ruinous Effigy also feasts on the Guardian's Light. Zavala puts a hand on Banshee's shoulder, smiles, and gestures to the weapon. "Equipment that uses the wielder's Light is not unprecedented."
"It doesn't use it; it eats it. Thing's got an appetite. Works almost like, uh… a converter."
Unlike Touch of Malice, Ruinous Effigy is a weapon of Darkness and not a Weapon of Sorrow because it doesn't feast specifically on the Hive.
A Realization of the Nine's Prophecy
Since the last time we talked about Prophecy before many had entered the Dungeon, chatter on
raidsecrets and
DestinyLore were talking about how the Nine's Prophecy could be referring to the Pyramids' reshaping of our worlds. However, there's more to this.
This all started with our
conversation with the Nine: we asked
"What is the nature of the Darkness?" Drifter tells us that within "Nine Space" (IX Relams),
the Nine control reality: they control what we get to see. The Emissary conveys that the Nine believe that nothing changes with Light and Dark - that
death is intrinsic to their nature.
The Emissary shows Drifter two different worlds:
one engulfed in Darkness and the other blinded by Light. Drifter comes to the conclusion that while the Light and Dark are different,
they cause suffering and death - that their difference doesn't matter in the end. Additionally, some people have pointed out that even though the
Kell Echo is a representation of Dark energy within the IX Realms, the Kell Echo may portray
Eramis and
this is all we get to see of Eramis in the trailer. From
Bungie's website for Beyond Light, Eramis is called
the Kell of [House] Darkness and some believe that Prophecy is foreshadowing events to come in Beyond Light.
Alternatively, it has also been proposed that the Kell Echo is a representation of the termination of the Eliksni in the system if they aligned under the Darkness and is not meant to represent a sole character like Eramis. This may be foreshadowing the fate of the Fallen Empire on Europa while also extending the influenxe of the House of Light: the extinction of one Fallen perspective and the acceptance of another for their survival.
More Information from Prophecy
Now that some of the information has been discovered in-game, let's pour threw it. During our adventure in the XI Realms, the Emissary reveals two things:
Also, there's some other major story beats we learn from Prophecy:
Additionally, there are some other details we learn from Prophecy, while others are still being discovered and recorded atm):
Speculation: Can the Emissary escape from the Nine?
Previously, the Emissary (Orin) mentions this.
The Emissary: We cannot escape. We have tried. We have tried. The pull is too strong.
Now, this may pertain to the Nine trying to escape their space and achieve matter, but this may also pertain to Orin attempting to escape the Nine's grasp. The Emissary admits that while she chose to walk this path,
she regrets it. Also, the Emissary mentions in the Reckoning that
Xûr was a prototype for the Nine and that she was their next attempt at communication ... and then she mentions a future potential change:
The Emissary: In time, they may grow tired of me. They may make another prototype.
Before you can speak with the Emissary in the Wasteland, you need to complete an encounter called "ESCAPE" which houses a black box hovering in the room. This may possibly be a representation of Orin's imprisonment with the Wasteland being a representation of her escape. However, this could also just be an example of the Nine's escape from their realm, which could end with the release of their Emissary's full will.
One of the messages you can receive from the Emissary in the Wasteland (Prophecy) is this part of a particularly interesting message:
Orin: Guardian? Guardian, are you there? This is Orin of the Firebreak Order, of the Pilgrim Guard before that. I have forced a respite from the Nine. I repeat. This is not their Emissary. I've learned much from them.
This may be foreshadowing a future narrative/event that started during Season of the Drifter:
Aunor believes that Drifter can free Orin from the Nine. If Orin was able to severe her connection to the Nine, even if for a moment, it's a sign of hope that she can be freed from the Nine's grasp.
Speculation: Will there be another Speaker?
Ever since multiple theories about
the potential restoration of the Traveler and/or the growth of a second Traveler, there have also been conversations about the possibly of there being a New Speaker and some have pointed to
the Speaker's Mask being pieced back together being a subtle hint. However, there is much more substance to this theory.
Sometime during the Dark Age, the Traveler was drawn to a single member of Humanity -
a bright and attentive star - and began giving them visions: they interpreted these visions as "dreams."
During the life of the Last Speaker (the Speaker the Guardian later meets),
the Traveler mentions the emergence of 'another star blinking into existence' during the City Age. Some theories have pointed towards the lore entry's title being a clue - Growing - and that maybe the next Speaker was born in the City and is a child.
This is supported by
Chill of Winter:
"It's a coincidence." But she knew it wasn't. The torso, deliberately shaded with what, coal? Blackened on the bottom, just like what was in the sky until a few months ago.
"We both know it's not. Not after what he drew last week. And now this. One dead Traveler. One alive Traveler. Another Traveler for a head."
"What's the other one?" Jazla gestured at the well-formed sphere a few feet away. Hollowed out. Overgrown with vegetation that their son had obviously placed there. Neatly. Deliberately.
"That one… is why I think we need to talk to Lakshmi about him."
Speculation: The Long-Awaited Reunion
Before
Ana convinced Rasputin to let Guardians assist in reconnecting him to the Seraph Warsat Network, they were scouring the system for ways to assist the Last City and
one of their loose threads was hunting down the Deep Stone Crypt. This explicit mention couldn't be ignored: it was a sign.
When Beyond Light was revealed, we learned that we would travel to Europa and discover the Deep Stone Crypt. Alongside this, we learned that Eris and Drifter were called to Europa by the Exo Stranger. While the evidence is strong and many discussions have been had, we may finally get a public confirmation of the Exo Stranger's identity.
thank you for taking the time to piece together this message, friend. the time of our final conflict is drawing closer and you and ana have an important role to play in the events to come. so watch over her, guardian. i would have no life without ana or the exoprogram. i regret that we have become strangers, but we each have a path that we must walk. and, ironically, there never seems to be enough time. tell her, rasputin's first attempt was in the right location, but the wrong moment. look here: 43.549573, -73.544868
e
Rasputin may not know who the Exo Stranger is,
but he's confronted her before. If you'd like a detailed breakdown of all the lore pointing to who the Exo Stranger may be,
I got you. And now this brings us to the reunion:
(major speculation) the two Bray sisters could meet at the Deep Stone Crypt on Europa - the ideal place for Ana to take Rasputin's Fragments and the place where the Exo Stranger's timeline will converge to prevent a Second Collapse. Rasputin and the Guardian have always been a link between them.
A Final Note
There's more information to mention that is still being collected, analyzed, and poured through, so I'll leave you with some topics to speculate and analyze for yourself that's being passed around a bit or occurring in-game atm:
- Contact: The Continued Narrative on Titan
- Also, Lighthouses are seemingly being activated on Mercury in response to the Pyramid
- Asher, Sloane, and Vance's first entries from 'Book: Duress and Egress'
- Speculation - Rasputin's Investment: The Purpose of Kalki Golem
I will continue to do these narrative updates until the end of Season of Arrivals at the very least, but expect them every 2-3 weeks in order to me to properly research them and have a good work/ life/ reddit balance.
Several months ago, right after the last Academy Awards,
I posted a long, long, long list of possible contenders that had prospects to fight for the next Oscars. It was a time of hope, of looking forward, and of positivity.
Then, COVID-19 happened.
And now, we find ourselves in a year that may change the movie industry forever, with the lack of safety of theaters in times of a pandemic accelerating the switch of mainstream audiences to streaming and VOD. These are times where some people are beginning to wonder, even after they pushed the eligibility date for two more months, why the Academy doesn’t cancel next year’s Oscars. And in this rocky terrain, we lost many contenders. Fire up the Hunger Games cannons, because these are some casualties of the season (so far).
Launched to 2021: Annette, Benedetta, Deep Water, Dune, In the Heights, King Richard, Last Night in Soho, Memoria, Nightmare Alley, Passing, Red, White and Water, Raya and the Last Dragon, The Last Duel, The Power of the Dog, Tick, Tick… Boom!, West Side Story.
Unknown status / missing in action: After Yang, Blonde, Breaking News in Yuba County, C’mon C’mon, Next Goal Wins, Stillwater, The French Dispatch, The Humans, The Tragedy of Macbeth, The Eyes of Tammy Faye, Those Who Wish Me Dead.
But even if this year isn’t as loaded with clear awards candidates, there are plenty of movies that are already drawing buzz for an Oscar season that started brewing a month ago, with the kickoff of the Venice Film Festival, and will go on for six and a half more months, when the Academy Awards take place on April 25, 2021. It’s gonna be a long, weird and rocky season, which is gonna be great to see in terms of the narratives that are coming up.
-Ammonite (trailer): When people were betting on the likelier contenders of this year, many people pointed in the direction of Francis Lee’s period drama, with previous Best Actress winner Kate Winslet and constant nominee Saoirse Ronan. Going into the premiere at Toronto, people had their eyes set in this queer romance between a paleontologist and a young wife in the coasts of England during the 19th century. But then, some things happened. First, Winslet started her promotion of the movie by talking about her regret for working with Woody Allen and Roman Polanski that sounded unconvincing to the ominous Film Twitter. Then, another queer period drama, Mona Fastvold’s The World to Come, started to take the attention away at Venice. And finally, the movie premiered. The reaction? Cold. Critics came out mixed with the movie, with many of them comparing it negatively to last year’s Portrait of a Lady on Fire, and saying that it’s too dull and alienating. Does that mean that all is lost? Not exactly. While the movie (which, considering the genre, really needs critics' support to get into the Best Picture category) has been dismissed, the acting by Winslet and Ronan has been received positively. Now that so many other contenders have been dropping out of the year, they might get some room to campaign from a (social) distance.
-Another Round (trailer): Speaking of TIFF premieres, a film that had a better time at the Canadian festival was the reunion between director Thomas Vinterberg and star Mads Mikkelsen, who reunited years after making the stirring drama The Hunt (not the one with Betty Gilpin carrying a bad political satire, the one about a Danish teacher wrongly accused of sexual abuse). This time, the material is lighter, being a dramedy about four teachers who decide to test out a theory about how people can live and work a little better if they increase the level of alcohol in their blood. Critics really liked the way the movie dealt with alcoholism, and Toronto audiences made it a runner up for the People’s Choice Award of the festival. In a year without so much exposure from other festivals, this Cannes 2020 selection could make a candidate for the Best International Film category.
-Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan (trailer): Surprise, new Borat film! While Sacha Baron Cohen made headlines several times this year because of stunts that people assumed were about a second season of Who is America?, the Internet was shocked when, in early September, it was confirmed that it was actually a very niiiiice return from the journalist character that made him famous, shot during quarantine. In a matter of weeks after the reveal, the sequel got sold to Amazon Prime and got a release date for October 23. Why so soon? Well, apparently the movie, which got him in trouble with Rudy Giuliani and other people, is about Borat taking his daughter on a road trip to give her as a bride to VP Mike Pence. Even if this movie doesn’t manage to achieve the feats of the 2006 movie (which got a Best Adapted Screenplay nomination, let’s remember), it will help Baron Cohen’s image a lot, because it will come a week after his big Oscar play.
-Cherry: While everybody knows them mostly because of their contributions to the MCU, directors Joe and Anthony Russo and actor Tom Holland are trying to branch out together. Now Apple has bought into their efforts, paying more than 40 million dollars to acquire their new crime drama, about the life of former Army medic Nico Walker, who started robbing banks after his days in Iraq left him with PTSD and a pill addiction. Will Holland manage this time to escape from the shadow of “oh, jeez, Mr. Stark” Spider-Man before Chaos Walking or the Uncharted movie come out? That’s a question for another day.
-Da 5 Bloods (trailer): Talk about timing. Merely days after the country was mobilized by the police brutality that continues to divide the United States, Spike Lee premiered his new war drama on Netflix. In a vibrant, disjointed but passionate portrait of four African American veterans who return to Vietnam to search for their fallen leader and some treasure, Lee struck gold yet again with his usual fans, even though the moving of the Oscar ceremony threatened to make it harder to remind Academy voters about this movie. However, with an astounding performance from Delroy Lindo (who is confirmed to be campaigned in the Best Actor category) and a supporting turn from Chadwick Boseman which got reframed with the news of his bravery in life and death, this has what it takes to fight for a spot in the Best Picture lineup.
-Everybody’s Talking About Jamie (trailer): When it became clear that quarantine wasn’t gonna be a breeze, the first movie in consideration wise enough to move a little further ahead in the calendar was this adaptation of the hit West End production about a gay British teenager who dreams of becoming a drag queen and get his family and schoolmates to accept his sexuality. With a release date on February 26, 20th Century Studios (man, it’s weird to not use Fox in that name) hopes to strike gold, with a cast that mixes young unknowns, familiar names (Sharon Horgan, Sarah Lancashire and my boy Ralph Ineson) and the previously nominated legend that is Richard E. Grant (who is playing a former drag queen named Loco Chanelle), now taking advantage of the move of other musicals like Annette, In The Heights and West Side Story. I mean, this has at the very least some Golden Globes nods in the bag.
-French Exit: Before its premiere as the closing film of the NYFF, many pundits were expecting this surreal comedy to be somewhat of a comeback for past Best Actress nominee Michelle Pfeiffer, who here plays a close to penniless widow who moves to Paris with her son (Lucas Hedges) and cat, who also happens to be her reincarnated husband (Tracy Letts). However, the first reactions for the film adaptation of the Patrick deWitt novel were all over the place, with some people feeling cold by the execution of the weirdness and others being won over. Still, everybody had good things to say about Michelle Pfeiffer’s performance, but after the mixed reception to the rest of Azazel Jacobs’ film she really would need a lot of critics support to get anywhere near the Best Actress category. With a release date on February 12, it seems that Sony Pictures Classics is skipping the critics awards, and the distributor has a couple of big competitors above this one.
-Good Joe Bell: Every year, there are movies with big stars that go to festivals full of hope for praises and awards. Some of them work and go on, others don’t and get forgotten about. Mark Wahlberg tried to remind people that he occasionally is a good actor with a true life drama where he plays a father who decides to walk across America to raise awareness about bullying after his son, tormented for being gay, commits suicide. The film by Reinaldo Marcus Green premiered at TIFF, and the reaction was… not great. Some critics defended it, but most saw it as a flawed, baity product starring a man with a history of hate. Still, it got bought by a distributor: Solstice Studios, a new player in the game which just released its first movie, Unhinged (yup, the one about Russell Crowe road raging). While they paid 20 million dollars for Good Joe Bell, it’s clear that this won’t get near the Oscar telecast.
-Hillbilly Elegy: While many movies this year have some level of anticipation, Film Twitter is bracing for this movie in the “is this gonna be the next Green Book?” way. Ron Howard’s adaptation of J.D. Vance’s memoir about his low income life in a poor rural community in Ohio has many fearing about the overuse of tropes involving what’s called white trash porn, but rarely, Netflix has kept silent about this release. Even though it has Oscar bridesmaids Glenn Close (7 nominations) and Amy Adams (6 nominations), the streamer has not even released a photo of the movie, which supposedly will come out in November. And if you want another bad omen,
take a look at the lower levels of this list by a familiar voice.
-I’m Thinking of Ending Things (trailer): Speaking of Netflix, did you know that there is a new Charlie Kaufman there, right now? While his adaptation of the dark novel by Iain Reid, seemingly about a woman (Jessie Buckley) who is taken by her boyfriend (Jesse Plemons) to meet his parents (Toni Collette and David Thewlis), got the usual reception of confusion and praise that follows his movies, the release was followed for what befalls most of the Netflix original movies: a couple of days in the Top 10, and then it fell into the void. While Buckley and Plemons deliver great work in this demented, melancholic story, it’s hard to see this movie getting anything else than a Best Adapted Screenplay nomination for Charlie. And that’s a long shot.
-I’m Your Woman: Following the little seen but critically acclaimed Miss Stevens and Fast Color, Julia Hart started 2020 with a Disney+ adaptation of the YA book Stargirl, and now she follows it with a drama for Amazon that will have its world premiere as the opening film of the AFI fest on October 15. In this movie, Rachel Brosnahan hopes to translate her TV success with The Marvelous Mrs. Maisel to the big screen, playing a woman in the ‘70s that has to go on the run with her kid due to her husband’s crimes.
-Judas and the Black Messiah (trailer): Even if this doesn’t end up winning any awards, it has a real shot at being the best trailer of 2020. Formerly titled Jesus Was My Homeboy, this biographical drama by Shaka King tells the tale of two men: Fred Hampton (Kaluuya), an activist and Black Panther leader, and William O’Neal (Stanfield), the FBI agent sent to infiltrate the party and arrest him. While the trailer for this movie promised a release “only in theaters”, we shall see if Warner Bros backs down from that fight.
-Let Them All Talk: While we’re on the subject of Warner Bros, we have to mention what’s happening with HBO Max. While the start of the streaming service hasn’t been good (I mean, there are still people confused about that name) and it lead to some people assume will cause many firings, it has begun to make some buzzed titles on TV, like Close Enough, Raised by Wolves and the remains of the DC Universe failed streaming service. Now, to make a mark in the movie business, the streamer has a new Steven Soderbergh movie, a comedy that stars Meryl Streep as a celebrated author that takes her friends (Candice Bergen, Dianne Wiest) and her nephew (Lucas Hedges) in a cruise to find fun and come to terms with the past, while he flirts with a literary agent (Gemma Chan). While it doesn’t have a date yet, it’s confirmed to release in 2020, and at least we know that it can’t be worse than The Laundromat.
-Ma Rainey’s Black Bottom: While the expectations for the next film adaptation of an August Wilson acclaimed play were already high, the tragic death of Chadwick Boseman made this Netflix release one of the most anticipated movies of the season, considering this is his final movie. While past Supporting Actress winner Viola Davis takes the lead playing blues singer Ma Rainey in this tale of a heated recording session with her bandmates, her agent and her producer in 1927, Chadwick Boseman has a turn as the trumpeter Levee that was already being considered for awards, and now has even more people waiting to see. The thing is that one of the biggest competitions for Boseman this year will be Boseman himself, for his already acclaimed supporting turn on Da 5 Bloods, also released by Netflix. While the streamer will have to decide which of Chadwick’s performances will get the bigger campaign, this film by director George C. Wolfe has a cushy date set for December 18, and Viola is gunning hard for this movie to win.
-Mank (trailer): As you may have noticed by now, Netflix has a lot of plates spinning around this season, and this is the big one. After befriending the service with House of Cards and Mindhunter, David Fincher is going black and white to tackle a script by his late father Jack, about the making of the classic of classics, Citizen Kane. More specifically, the making of the script, with previous Oscar winner Gary Oldman playing the lead role of screenwriter Herman J. Mankiewicz, while accompanied by Amanda Seyfried, Lily Collins, Tuppence Middleton, Charles Dance and Tom Burke. After watching the first trailer of his satire of 1930’s Hollywood (that will release on streaming on December 4), it’s clear that this is gonna be catnip to old Academy voters, and it would be really hard for this to miss the Best Picture line up. Unless it’s a complete cinematic disaster, Mank is bank.
-Minari (trailer): While the last edition of Sundance took place in January, quarantine makes you feel like it took place two years ago. This year, the big winner of the Grand Jury Prize and the Audience Award in the US Dramatic Competition was a dramedy by Lee Isaac Chung, about a Korean family in the ‘80s who suddenly gets moved by their father (Steven Yeun) to Arkansas, to start a farm. Even though the reviews have been great, distributor A24 hasn’t really had a big, Oscar nominated hit for the last couple of years, and the COVID-19 crisis made them delay all their releases. But when we were ready to write this off, a new trailer for the movie came out, confirming that it’s in the game of this awards season. Maybe the pandemic will be of help to A24, considering that one of the reasons they haven’t had success is that they divided their attention into too many releases, and ended up getting not much. This time, they are betting all on Lee who, even if this doesn’t go anywhere, also has a new gig coming up as the director of the live action remake of Your Name.
-News of the World (sneak peek): So much of this year has felt like a game of chicken between a virus and movie studios. While many movies chose to skip this year altogether, Universal remains firm (for now) with its plans to open a wide movie on Christmas Day, with a Western that reunites Paul Greengrass and Tom Hanks in an enticing premise. In this drama based on Paulette Jiles’ novel, Hanks plays a traveling newsreader in the aftermath of the American Civil War, who is tasked with reuniting an orphaned girl with her living relatives. While the first sneak peek of the movie looks promising, the future is still in the air.
-Nomadland (trailer): While the world burns around Hollywood, Searchlight is betting big on Chloe Zhao’s new film. Using the strategy of taking the spotlight while the rest of the contenders is uncertain about how or when to be released, the indie drama began its journey at Venice, with critics raving about the story of a woman (two-time Oscar winner Frances McDormand) who, after losing everything in the Great Recession, embarks on a journey through the American West, living as a van-dwelling modern-day nomad. At the end of the fest, the movie won the coveted Golden Lion. To put that into perspective, the last three winners of the award were past Best Picture nominees The Shape of Water, Roma and Joker, with The Shape of Water (also distributed by Searchlight) also winning the big prize. After drawing critical acclaim following its virtual showing on TIFF and NYFF, Nomadland seems like the first lock in the Best Picture line up. Still, there are obstacles ahead. Will Zhao break the disappointment of the last few years, when deserving candidates for Best Director got blocked by the likes of Adam McKay and Todd Phillips? And will McDormand manage to get near a third Oscar, following a recent win for Three Billboards in Ebbing, Missouri? Time will tell.
-On the Rocks (trailer): While she hasn’t been near the Oscars for a while, Sofia Coppola is still a name that draws attention. This time, she opened the NYFF with a dramedy about a young mother (Rashida Jones) who reunites with her playboy father (Bill Murray, also reuniting with Sofia after Lost in Translation) on an adventure through New York to find out if her husband (Marlon Wayans) is cheating on her. The consensus seems to be that, while light and not near her best work, it’s still a fun and breezy movie, with a very good turn by Murray. While many would assume that this A24 production will disappear into the abyss when it releases on Apple TV+ on October 23, the dropping out of many candidates gives the movie a chance to, at least, fight for some Golden Globes.
-One Night in Miami (sneak peek): Following her recent Oscar and Emmy wins for If Beale Street Could Talk and Watchmen, Regina King is still striking hard, and this time, she’s doing it as a director. For her big screen debut as a filmmaker, she chose to adapt Kemp Powers’ play that dramatizes a real meeting on February 25, 1964, when Muhammad Ali (Eli Goree) followed an iconic win with a hangout session with Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr.) and Jim Brown (Aldis Hodge). Opening at Venice, the film received glowing reviews, with many praising King (even though some said that the movie doesn’t fully translate the play to the film medium) and the actors’ performances, especially Ben-Adir and Odom Jr. (who, it should be said, also wrote an original song for the end credits of the movie, which could help his Oscar chances). Amazon Prime is hoping that this is their big contender this year, with plans of a theatrical release on Christmas and a streaming release on January 15. Judging by the praise this got at festival season, it has a chance to go a long way.
-Over the Moon (trailer): In a year with not that many contenders for Best Animated Feature, Netflix is betting on a musical adventure directed by the legendary Glen Keane, a classic Disney animator who recently won an Oscar for Best Animated Short for co-directing Dear Basketball. While our expectations were lowered by the first trailer for the movie, centered around a Chinese girl who builds a rocket ship and blasts off to the Moon in hopes of meeting a legendary Goddess, it’s still safe to assume that it has a shot at being nominated for something. Netflix also hopes that
you like its big candidate for Best Original Song, which really, really sounds like a Disney ballad.
-Pieces of a Woman: While this year doesn’t have the amount of surprise contenders that a regular Oscar season usually has, we still have some movies that sneaked through festival season. The first one was the new, somber drama by Hungarian director Kornél Mundruczó, known for the doggy uprising pic White God, and the not-so-well-received sci-fi Jupiter’s Moon. This time, we follow a woman (Vanessa Kirby) whose life is torn apart after a home birth at the hands of a flustered midwife (Molly Parker) ends in tragedy, and then leads to a court battle that also makes her confront her husband (Shia LaBeouf) and her domineering mother (Ellen Burstyn). While the movie had mixed reactions, Kirby had plenty of raves in her direction, particularly concerning her performance during a 25-minute birth sequence that is said to be brutal. That brutality paid off, though, because Kirby ended up winning Best Actress at Venice, and Netflix bought the movie, which also has Martin Scorsese as an executive producer. If the Academy wants to crown a new face in the scene, Kirby is the one who will be targeted, following her acclaimed turn in The Crown and her supporting roles in blockbusters like Mission Impossible: Fallout and Hobbs & Shaw.
-Promising Young Woman (trailer): When theaters started to close because of the pandemic, Universal started the push of their movies going straight to VOD, with titles including Trolls World Tour and Never Rarely Sometimes Always. However, there was a title that was supposed to premiere in April, and then suddenly disappeared from existence. It was the directorial debut of actress Emerald Fennell, who wrote a black comedy with touches of a thriller, centered on a woman in her thirties (Carey Mulligan) whose bright future was derailed by a traumatic event, and who’s now looking for revenge. While the reaction to its premiere at Sundance wasn’t enough to consider a Best Picture run, the twisted performance by Mulligan earned her the best praise since the last time she was nominated for an Oscar, a decade ago for An Education. Now, Focus Features is planning to open the movie at Christmas, and are positioning Carey for a run at Best Actress.
-Rebecca (trailer): When the news came out saying that Ben Wheatley would adapt Daphne du Maurier’s psychological thriller novel for Netflix, many were shocked. Some people considered the chance that this was an awards play by the cult director, who is doing the same work that earned Alfred Hitchcock his only Best Picture win. But seeing the trailer for this new version, with Lily James playing the newly married young woman who finds herself battling the shadow of her husband's (Armie Hammer) dead first wife Rebecca, we have to wonder if there’s a point to the existence of this remake. We will find out if there’s any awards chances for this movie on October 21, when it releases on streaming. Let’s hope that Kristin Scott Thomas has something to play with as Mrs. Danvers.
-Respect (trailer): Every year, there’s one or two actors who announce to the world “I want an Oscar” and campaign like their lives depended on it. Last time, it was Taron Egerton (accompanied by Elton John, who actually ended up winning another Oscar). This year, it is the turn of Jennifer Hudson, who is playing Aretha Franklin in a biopic directed by first timer Liesl Tommy, and who’s hoping that this attempt at awards ends up more like Dreamgirls than like Cats. She has been doing announcement trailers (a year in advance), quarantine tributes, award show tributes, and every possible thing to get the industry to notice that she’s playing Aretha. Hey, Rami Malek and Renee Zellweger did it in the last few years, why can’t she. With a release date of January 15, Hudson wants that gold.
-Soul (trailer): Disney may be the studio that suffered the biggest hit because of the pandemic. Their parks are a loss, most of their big productions had to stop because of quarantine, and theaters in many parts of the world are closed. After the failure of Tenet for Warner Bros. and the experiment of the mouse house of charging people 30 dollars to see Mulan (which didn’t work at all), many wondered if Disney was gonna delay the new production by Pixar, written and directed by Pete Docter, who brought Oscar gold to his home with Up and Inside Out. The movie, which centers on a teacher (Jamie Foxx) who dreams of becoming a jazz musician and, just as he’s about to get his big break, ends up getting into an accident that separates his soul from his body, had a lot of promise, but the speculation of lost money was also a concern. Finally, Disney decided to release the movie on Christmas, but only on Disney Plus, causing another failure for theaters, but assuring that Disney at least can get more subscribers to its streaming service. And the movie? Well, it just premiered at the London Film Festival, and the critics are saying it’s Pixar at its best, with praises going from the look, to the script by co-director Kemp Powers (who also wrote the play of One Night in Miami, so he has many chances for a nod), to the score by Trent Reznor, Atticus Ross and Jon Batiste. That means that it’s already a top contender to win Best Animated Feature, and this may not be the only category in which the movie is gonna get nominated.
-Supernova (trailer): If there’s a theme this year in terms of Oscar contenders, it might be dementia. One of the examples of this is a small road movie directed by Hairy Macqueen, which premiered to good reviews at the San Sebastian festival. This drama centers on a trip taken by Sam (Colin Firth) and Tusker (Stanley Tucci), partners for 20 years, who travel across England reuniting with friends and family, because Tusker was diagnosed with early onset dementia. While usually the big awards role is usually the one of the person who suffers the illnesses, some reviewers are calling Firth’s work as the supporting companion some of the best of his career. With Bleecker Street buying the rights for a US release, this is a little film that could still make some moves.
-Tenet (trailer): For the first five months of quarantine, the big narrative in the world of film was “Christopher Nolan is gonna save cinemas”. But after postponing the release of the mind bending actioner for months on end, creating big demands and expectations to theater owners, and finally releasing as the sacrificial lamb of Hollywood, Warner Bros ended up seeing the opposite effect. Even though Tom Cruise loved to be back at the movies, critics didn’t share enough excitement to make a spy movie that goes backwards worth the possibility of dying of coronavirus. The audiences didn’t show up as much, and those who did attend, mostly complained about the sound mixing and the plot. After all the sacrifice, it’s highly unlikely that Tenet goes beyond technical awards. Let’s start the “Travis Scott for Best Original Song” campaign now, before it’s too late.
-The Boys in the Band (trailer): The Ryan Murphy blank check for Netflix has been interesting to follow. On the one hand, we have his new TV shows, which go from not existing (The Politician), to alternate movie history that doesn’t know how alternate history works (Hollywood), to a challenge of how much TV will you stomach if Sarah Paulson and other middle aged actresses are campy in it (Ratched). And now, we are seeing his producing hand over the movie side, which starts with the new film adaptation of the cult play from 1968, which was already a movie in 1970 and recently jumped to Broadway in 2018. The cast from the recent Broadway production (which includes Jim Parsons, Zachary Quinto, Matt Bomer and Andrew Rannells) stars in Joe Mantello’s movie, telling the story of a group of gay friends in pre-Stonewall New York who reunite for a birthday party and end up revealing a lot of open wounds. While this movie got good reviews from critics, it kinda disappeared without a sound after beginning to stream on Netflix at the end of September. Unless the service wants to campaign for Golden Globes, this film is lost in the algorithm.
-The Devil All the Time (trailer): Another September release on Netflix was the new psychological thriller by Antonio Campos (Simon Killer, Christine) who didn’t manage to continue his streak of intense and terrifying character dramas with his messy adaptation of the dark novel by Donald Ray Pollock. Wasting a cast that includes Tom Holland, Sebastian Stan, Robert Pattinson, Mia Wasikowska, Eliza Scanlen, Bill Skarsgard, Jason Clarke and Riley Keough, this twisted period piece managed to stay for a while in the Top 10, but the reactions from critics were mixed, and audiences were busy asking what was happening with Pattinson’s Southern accent (which with The King makes two years in a row, baby). The many prognosticators who had hopes for an awards play moved on a while ago.
-The Father (trailer): It’s safe to say at this point that Anthony Hopkins is a lock for a Best Actor nomination at the next Oscars. After its premiere in Sundance, every prognosticator pointed in his direction, and for the next few months he swept praise for his harrowing portrayal of an old man grappling with his age as he develops dementia, causing pain to his beleaguered daughter (recent winner Olivia Colman, who also got praised). Sony Pictures Classics will make Florian Zeller’s adaptation of his acclaimed play its big contender of the season, using Hopkins (who this year got a nom for The Two Popes) as a starter to also get Colman, Zeller and the movie nominated.
-The Human Voice (trailer): And speaking of Sony Pictures Classics, it’s almost safe to say that they have another Oscar in the bag this year. That’s because they just bought Pedro Almodóvar’s short film, his English-speaking debut that is an adaptation of the play by Jean Cocteau. In his version (that was acclaimed by critics after premiering in Venice), Tilda Swinton plays the woman waiting at the end of a phone, expecting to hear from his ex-lover who abandoned her. Considering how the competition for Best Live Action Short Film has become somewhat lacking in the last few years (I mean, have you seen Skin), this should be an easy award to win, especially considering how beloved Almodóvar is in the Academy, which nominated him this year for the great Pain and Glory.
-The Life Ahead: While we’re talking about legends, it’s time to talk about Sophia Loren. 16 years after her last leading role in a movie, the Italian icon returns with a drama that was bought by Netflix, who plans to campaign for her as Best Actress and for the movie in the Best International Film category. Directed by Edoardo Ponti (who is also Sophia’s son), this movie centers on a Holocaust survivor who takes in a 12-year-old boy who recently robbed her, in a contemporary adaptation of Romain Gary’s novel The Life Before Us. Netflix has set a date for November 13 to release this movie, and the campaign seems to be about the narrative of seeing Loren winning another Oscar 60 years after she won her first one for Two Women, by Vittorio De Sica.
-The Midnight Sky: Based on the novel Good Morning, Midnight, this collaboration between George Clooney and Netflix is once again making us ask one thing. Are we gonna get the director Clooney of Good Night and Good Luck, or are we gonna get the director Clooney of Leatherheads, The Ides of March, The Monuments Men and Suburbicon? Let’s hope he breaks his streak of blandness with this sci-fi story, which makes us think a little bit of Gravity: A lonely scientist in the Arctic (Clooney) races to stop a group of astronauts led by Felicity Jones from returning to a devastated Earth. With a release set for December, we have to hope that this is more than some Top 10 filler that will evaporate from existence in a week’s time.
-The Prom: In probably the biggest blank check of the Ryan Murphy deal with Netflix, this musical he’ll direct is based on the Tony-nominated show about a group of Broadway losers (Meryl Streep, Nicole Kidman, Andrew Rannells and James “boo” Corden) who try to find a viral story to get back in the spotlight, and end up going to a town in Indiana to help a lesbian high school student who has been banned from bringing her girlfriend to the prom. While it’s clear that this December 11 release is gonna sweep the Golden Globes, the emptiness of this year compared to others could clear the way for some Oscar nominations, including Meryl and the obligatory original song added to a preexisting musical for easy clout.
-The Trial of the Chicago 7 (trailer): When it was announced that Paramount was selling Aaron Sorkin’s new movie to Netflix, some people saw it as a studio dumping a failed awards vehicle to be forgotten. However, the excuse that Sorkin wanted to release this movie before the US presidential elections seems to be true, because critics really enjoyed his old school courtroom drama, centered around the trial on counter cultural activists in the late ‘60s. Everybody praised uniformly the huge cast, that includes Sacha Baron Cohen, Eddie Redmayne, Yahya Abdul-Mateen II, Jeremy Strong, Joseph Gordon-Levitt, Frank Langella, William Hurt, Michael Keaton and Mark Rylance, which guarantees a SAG awards nomination (but makes it difficult to decide which actors will actually get nominated for Oscars). With a reaction that brings to mind the days of A Few Good Men and is the best reception he got since his Oscar winning script for The Social Network, the film faces a couple of hurdles. First of all, it got positioned as the frontrunner in the Best Picture race by some people, which instantly puts a target on its back. Then, we have to consider that the movie releases on Netflix this Friday, October 16, which makes it the first big contender this year to face the world, and which in these times of lockdown will probably make the reception to Marriage Story and The Irishman from last year look like a walk in the park. I mean, there are some people who aren’t swayed by Sorkin,
and for good reason.
-The United States vs. Billie Holiday: While Paramount was quick to hand The Trial of the Chicago 7 to Netflix, there’s another movie that the studio kept to play in the upcoming awards season. This biographical drama follows the life of another famous musician, Billie Holiday (Andra Day), and we see the journey of her career in jazz as she is targeted by the Federal Department of Narcotics with an undercover sting operation led by Federal Agent Jimmy Fletcher (Trevante Rhodes), with whom she had a tumultuous affair. While the movie counts with a screenplay credit by Pulitzer winner Suzan-Lori Parks, the big question mark is the film’s director, Lee Daniels, who hit it big with Precious and then had results that were disastrous (The Paperboy) or financially successful, but not awards-wise (Lee Daniels’ The Butler). However, Paramount trusts in this movie, and with a release date on February 12, they want to make a splash.
-Wolfwalkers (trailer): While the attempts by Apple TV+ to establish themselves as a player in the TV world go from trainwrecks (See) to forgettable (The Morning Show) to eventually great (see Ted Lasso, everybody, this is not a joke), their plans to make a name in the film business have something to do with this year’s Oscars. While Cherry can come or go, they have a solid contender for the Best Feature Documentary with Boys State, but their big dog this year is the new movie by Cartoon Saloon, an Irish studio responsible for the acclaimed The Secret of Kells, The Song of the Sea, and The Breadwinner, all of which were nominated for Best Animated Feature. This time, Tomm Moore and Ross Stewart direct a story about a young apprentice hunter who journeys with her father to Ireland to help wipe out the last wolf pack. But everything changes when she befriends a free-spirited girl from a mysterious tribe rumored to transform into wolves by night. After getting critically acclaimed following its premiere at TIFF, this is a surefire contender for this year’s Best Animated Feature category, and Apple is gonna parade it before its streaming release on December 11. Also, while you watch that, you could watch a couple of episodes of Ted Lasso, too. It’s a really good show, it’s all I’m saying.
Anyways, that’s all the news from the last few months of festivals. No matter what happens next, this is gonna be a long, long, long race.
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![[FNV] The Guide on How to get The Best LOD Possible with mods](https://a.thumbs.redditmedia.com/rGNjvq9zzfiAnx7HtuitG903RV653dZZ_MG4yKDa8P0.jpg "[FNV] The Guide on How to get The Best LOD Possible with mods")
