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The move to HitFix has put us right at the center of some exciting developments on the film awards coverage side of things, and one of those elements was revealed yesterday. We've established a separate Awards Channel that will serve as your hub for all of HitFix's awards coverage, whether it's music, TV or film. We've got your Grammy, Emmy and Oscar fix.
In addition to circulating all of our content in this spectrum, the channel also offers the usual bells and whistles of HitFix: calendar reminders, links to our Contenders section, video interviews and more. There is also easy access to all of the site's festival coverage. So add a new bookmark!
As with most works of high-reaching ambition that critics can't quite agree on -- even those that like it -- "The Master" continues to inspire some of the knottiest film writing of the year. For her part, Stephanie Zacharek admires the film, but suggests a lot of her colleagues feel it's entitled to more thought and attention than it really is. She spins that into an observation of lofty, anti-mainstream festival titles in general: "There’s a danger in erecting false walls around different corners of the culture, of claiming some movies deserve our respect by virtue of who made them and of how they’re made, regardless of whether they arouse any passion in us." [The AV Club]
When is an Oscar Bait picture not an Oscar bait picture? Or, if it meets the qualifications of an Oscar Bait picture should it always be considered one?
On Monday, a colleague pointed out to me that the next Academy Awards were, to the day, five months away. Strangely, he said it in the panicked tone of someone on whom Christmas has too swiftly crept up, whereas all I could think of was how dauntingly far away it sounded. Five months is a long time to parse the possibility of a third consecutive Best Picture from the Weinstein stable, to debate Philip Seymour Hoffman’s category placement, and for Jeff Wells to denigrate Daniel Day-Lewis’s Abe Lincoln accent; this weekly column, meanwhile, will have mulled over more than enough unseen variables before the season is out. Welcome.
"X Factor" time!
Sorry I couldn't do my normal Eastern Time live-blog of the auditions, but I was fasting and atoning for me sins.
But now it's time for an evening of recapping, so let's get back to "X Factor" auditions, which seem to be lasting forever, just like the auditions on "The Voice." Between the two shows, we're up to 12 singing audition episodes and the 2012-2013 season is three nights old.
More after the break...
"The Neighbors" is one of this fall's new shows I didn't have the time (or heart) to review, though Fienberg and I discussed it at length on Monday's podcast. But I'm curious what those of you who tuned in tonight thought. Did the "aliens name themselves after famous athletes" running gag get old, or is "Dick Butkus" just inherently, eternally hilarious? Did you love the way the communication device's name has "poop" in it? Did you prefer the alien characters, the humans, or neither? And will you watch again, especially once it moves to 8:30?
Have at it.
Bring the hankies. Ellie Goulding’s new video for “I Know You Care” pulls on your heartstrings as Dakota Fanning stars as a terminally ill young woman.
[More after the jump...]
Apologies for the very late roundup today: I've been having substantial technical problems. We kick off with a look at an Oscar category that few pundits claim to have a bead on: the Best Animated Feature category. In the second consecutive year that Pixar doesn't have it all wrapped up, Glenn Whipp surveys a highly flexible field, and wonders if venerable parent company Disney couldn't reclaim its dominance of the medium and score a trio of nods: with Tim Burton's well-received "Frankenweenie" (the one to beat, from where I'm standing) and "Wreck-It Ralph" bracketing Pixar's generally liked-but-not-loved "Brave." Wouldn't it be fun to have a race in this category for a change? [LA Times]
Kelly Clarkson, Jason Aldean, Dierks Bentley and Little Big Town are the first performers confirmed to appear on the 46th Annual CMA Awards, which will air Nov. 1 on ABC.
Brad Paisley and Carrie Underwood will host for the fifth time, as the show airs live from Nashville’s Bridgestone Arena at 8 p.m. ET.
All of the announced performers will be vying for trophies come Nov. 1, including Aldean and Bentley, both of whom are up for three awards.