2023 Genre-ary Sci-Fi DailyView

I was watching an episode of The Top 10 Show with John Rocha and Matt Knost and they were doing a list based on Sci-Fi movies. I realized as I watched that my knowledge of Sci-Fi movies was limited to the basic films that everyone has seen. So I came up with the idea to do a limited DailyView (much like the June Swoon from last year) by doing a different unseen Sci-Fi movie every day of January.

Then, I came up with my favorite pun of the year… Genre-ary (you know like January). I was really pleased with that. If this goes well, perhaps we can do this every January, but next time maybe we do comedy or Rom Coms or Horror or Westerns etc.

However, starting with Sci-Fi, I will be keeping the list of the films on this post.

2023 Genre-ary Sci-fi DailyView

January 1, 2023: Vesper (2022)

January 2, 2023: Dark City (1998)

January 3, 2023: Akira (1988)

January 4, 2023: Attack the Block (2011)

January 5, 2023: A Trip to the Moon (1902)

January 6, 2023: Them! (1954)

January 7, 2023: A.I. Artificial Intelligence (2001)

January 8, 2023: The Prestige (2006)

January 9, 2023: Explorers (1985)

January 10, 2023: Jimmy Neutron: Boy Genius (2001)

January 11, 2023: Slaughterhouse-Five (1972)

January 12, 2023: Stargate (1994)

January 13, 2023: The Stuff (1985)

January 14, 2023: I Think We’re Alone Now (2018)

January 15, 2023: Cloud Atlas (2012)

January 16, 2023: The Andromeda Strain (1971)

January 17, 2023: Barbarella (1968)

January 18, 2023: Prospect (2018)

January 19, 2023: Batteries Not Included (1987)

January 20, 2023: The Hidden (1987)

January 21, 2023: Journey to the Center of the Earth (1959)

………………………….. Mimic (1997)

January 22, 2023: Little Fish (2021)

January 23, 2023: Silent Running (1972)

January 24, 2023: Enemy Mine (1985)

January 25, 2023: Coherence (2013)

January 26, 2023: Fantastic Voyage (1966)

January 27, 2023: High Life (2018)

January 28, 2023: Repo Man (1984)

January 29, 2023: Brazil (1985)

…………………………… Space Cowboys (2000)

January 30, 2023: Box Room (2014)

January 31, 2023: Dark Star (1974)

2023 Month by Month

Starting last year, each month is highlighted in pictures for what was coming up. I enjoyed making the pics and I liked the aesthetic it brought to the home page, so I plan on continuing it into 2023.

January will be up first (of course).

January 2023

February 2023

Stan Lee 100th Birthday

Today would have been the 100th birthday to the one and only Stan Lee.

The EYG Hall of Famer brought me a lot of enjoyment and taught me more than you would know. His characters, in particular Spider-Man, mean more to me than I ever would have guessed.

There will never be another person like “The Man” Stan Lee.

So… in tribute to Stan’s 100th b-day, all I have to say is…



2023 Golden Globe Nominations

Best Motion Picture, Drama

“Avatar: The Way of Water” (20th Century Studios) 

“Elvis” (Warner Bros.) 

“The Fabelmans” (Universal Pictures) 

“Tár” (Focus Features) 

“Top Gun: Maverick” (Paramount Pictures)

Best Picture, Musical or Comedy

“Babylon” (Paramount Pictures) 

“The Banshees of Inisherin” (Searchlight Pictures) 

“Everything Everywhere All at Once” (A24) 

“Glass Onion: A Knives Out Mystery” (Netflix) 

“Triangle of Sadness” (Neon) 

Best Director, Motion Picture

James Cameron (“Avatar: The Way of Water”) 

Daniel Kwan, Daniel Scheinert (“Everything Everywhere All at Once”) 

Baz Luhrmann (“Elvis”) 

Martin McDonagh (“The Banshees of Inisherin”) 

Steven Spielberg (“The Fabelmans”)

Best Screenplay, Motion Picture

“Tár” (Focus Features) — Todd Field 

“Everything Everywhere All at Once” (A24) — Daniel Kwan, Daniel Scheinert 

“The Banshees of Inisherin” (Searchlight Pictures) — Martin McDonagh 

“Women Talking” (MGM/United Artists Releasing) — Sarah Polley 

“The Fabelmans” (Universal Pictures) — Steven Spielberg, Tony Kushner

Best Performance by an Actor in a Motion Picture, Drama

Austin Butler (“Elvis”) 

Brendan Fraser (“The Whale”) 

Hugh Jackman (“The Son”)

Bill Nighy (“Living”) 

Jeremy Pope (“The Inspection”) 

Best Performance by an Actress in a Motion Picture, Drama

Cate Blanchett (“Tár”) 

Olivia Colman (“Empire of Light”) 

Viola Davis (“The Woman King”) 

Ana de Armas (“Blonde”) 

Michelle Williams (“The Fabelmans”)  

Best Performance by an Actress in a Motion Picture, Musical or Comedy

Lesley Manville (“Mrs. Harris Goes to Paris”) 

Margot Robbie (“Babylon”) 

Anya Taylor-Joy (“The Menu”) 

Emma Thompson (“Good Luck to You, Leo Grande”) 

Michelle Yeoh (“Everything Everywhere All at Once”) 

Best Performance by an Actor in a Motion Picture, Musical or Comedy

Diego Calva (“Babylon”) 

Daniel Craig (“Glass Onion: A Knives Out Mystery”)

Adam Driver (“White Noise”) 

Colin Farrell (“The Banshees of Inisherin”) 

Ralph Fiennes (“The Menu”) 

Best Supporting Actor – Motion Picture

Brendan Gleeson (“The Banshees of Inisherin”) 

Barry Keoghan (“The Banshees of Inisherin”) 

Brad Pitt (“Babylon”)

Ke Huy Quan (“Everything Everywhere All at Once”) 

Eddie Redmayne (“The Good Nurse”)

Best Supporting Actress, Motion Picture

Angela Bassett (“Black Panther: Wakanda Forever”) 

Kerry Condon (“The Banshees of Inisherin”) 

Jamie Lee Curtis (“Everything Everywhere All at Once”) 

Dolly De Leon (“Triangle of Sadness”)

Carey Mulligan (“She Said”)

Best Television Series, Drama

“Better Call Saul” (AMC) 

“The Crown” (Netflix) 

“House of the Dragon” (HBO) 

“Ozark” (Netflix) 

“Severance” (Apple TV+) 

Best Television Series, Musical or Comedy

“Abbott Elementary” (ABC) 

“The Bear” (FX)

“Hacks” (HBO Max)

“Only Murders in the Building” (Hulu) 

“Wednesday” (Netflix) 

Best Performance by an Actor in a Television Series, Drama

Jeff Bridges (“The Old Man”) 

Kevin Costner (“Yellowstone”)

Diego Luna (“Andor”)

Bob Odenkirk (“Better Call Saul”)

Adam Scott (“Severance”)

Best Performance by an Actress in a Television Series, Drama

Emma D’Arcy (“House of the Dragon”) 

Laura Linney (“Ozark”) 

Imelda Staunton (“The Crown”)

Hilary Swank (“Alaska Daily”)

Zendaya (“Euphoria”)

Best Actress in a TV Series, Musical or Comedy

Quinta Brunson (“Abbott Elementary”) 

Kaley Cuoco (“The Flight Attendant”) 

Selena Gomez (“Only Murders in the Building”) 

Jenna Ortega (“Wednesday”) 

Jean Smart (“Hacks”) 

Best Actor in a TV Series, Musical or Comedy

Donald Glover (“Atlanta”) 

Bill Hader (“Barry”) 

Steve Martin (“Only Murders in the Building”) 

Martin Short (“Only Murders in the Building”) 

Jeremy Allen White (“The Bear”) 

Best Supporting Actor, Television

John Lithgow (“The Old Man”) 

Jonathan Pryce (“The Crown”) 

John Turturro (“Severance”) 

Tyler James Williams (“Abbott Elementary”) 

Henry Winkler (“Barry”)

Best Supporting Actress, Television

Elizabeth Debicki (“The Crown”) 

Hannah Einbinder (“Hacks”) 

Julia Garner (“Ozark”) 

Janelle James (“Abbott Elementary”) 

Sheryl Lee Ralph (“Abbott Elementary”) 

Best Limited Series, Anthology Series or a Motion Picture made for Television

“Black Bird” (Apple TV+) 

“Monster: The Jeffrey Dahmer Story” (Netflix) 

“The Dropout” (Hulu) 

“Pam & Tommy” (Hulu) 

“The White Lotus” (HBO) 

Best Performance by an Actor, Limited Series, Anthology Series or Motion Picture made for Television

Taron Egerton (“Black Bird”) 

Colin Firth (“The Staircase”) 

Andrew Garfield (“Under the Banner of Heaven”) 

Evan Peters (“Monster: The Jeffrey Dahmer Story”) 

Sebastian Stan (“Pam & Tommy”) 

Best Performance by an Actress, Limited Series, Anthology Series or a Motion Picture made for Television

Jessica Chastain (“George and Tammy”) 

Julia Garner (“Inventing Anna”) 

Lily James (“Pam & Tommy”) 

Julia Roberts (“Gaslit”) 

Amanda Seyfried (“The Dropout”) 

Best Performance by an Actress in Supporting Role, Limited Series, Anthology Series or a Motion Picture made for Television

Jennifer Coolidge (“The White Lotus”) 

Claire Danes (“Fleishman Is in Trouble”) 

Daisy Edgar-Jones (“Under the Banner of Heaven”) 

Niecy Nash-Betts (“Monster: The Jeffrey Dahmer Story”) 

Aubrey Plaza (“The White Lotus”) 

Best Performance by an Actor in Supporting Role, Limited Series, Anthology Series or a Motion Picture made for Television

F. Murray Abraham (“The White Lotus”) 

Domhnall Gleeson (“The Patient”) 

Paul Walter Hauser (“Black Bird”) 

Richard Jenkins (“Monster: The Jeffrey Dahmer Story”) 

Seth Rogen (“Pam & Tommy”) 

Best Original Score, Motion Picture

“The Banshees of Inisherin” (Searchlight Pictures) — Carter Burwell

“Guillermo del Toro’s Pinocchio” (Netflix) — Alexandre Desplat 

“Women Talking” (MGM/United Artists Releasing) — Hildur Guðnadóttir 

“Babylon” (Paramount Pictures) — Justin Hurwitz 

“The Fabelmans” (Universal Pictures) — John Williams  

Best Picture, Non-English Language

“All Quiet on the Western Front” (Germany) 

“Argentina, 1985” (Argentina) 

“Close” (Belgium) 

“Decision to Leave” (South Korea) 

“RRR” (India) 

Best Original Song, Motion Picture

“Carolina” from “Where the Crawdads Sing” (Sony Pictures) — Taylor Swift 

“Ciao Papa” from “Guillermo del Toro’s Pinocchio” (Netflix) — Alexandre Desplat, Roeban Katz, Guillermo del Toro 

“Hold My Hand” from “Top Gun: Maverick” (Paramount Pictures) — Lady Gaga, BloodPop, Benjamin Rice

“Lift Me Up” from “Black Panther: Wakanda Forever” (Marvel Studios) — Tems, Ludwig Göransson, Rihanna, Ryan Coogler 

“Naatu Naatu” from “RRR” (Variance Films) — Kala Bhairava, M. M. Keeravani, Rahul Sipligunj 

Best Motion Picture, Animated

“Guillermo del Toro’s Pinocchio” (Netflix) 

“Inu-Oh” (GKIDS) 

“Marcel the Shell With Shoes On” (A24) 

“Puss in Boots: The Last Wish” (DreamWorks Animation) 

“Turning Red” (Pixar) 


Don’t Worry Darling

I was not expecting this from Don’t Worry Darling.

When the movie was in the theaters, there was such a backlash against it, I just never found myself interested in it. I had a mistaken idea that the movie was a love story, but, now that I have watched it on HBO Max, I realized that this was much more of a psychological drama with some sci-fi elements.

According to Rotten Tomatoes, “Alice (Florence Pugh) and Jack (Harry Styles) are lucky to be living in the idealized community of Victory, the experimental company town housing the men who work for the top-secret Victory Project and their families. The 1950’s societal optimism espoused by their CEO, Frank (Chris Pine)–equal parts corporate visionary and motivational life coach–anchors every aspect of daily life in the tight-knit desert utopia. While the husbands spend every day inside the Victory Project Headquarters, working on the “development of progressive materials,” their wives–including Frank’s elegant partner, Shelley–get to spend their time enjoying the beauty, luxury and debauchery of their community. Life is perfect, with every resident’s needs met by the company. All they ask in return is discretion and unquestioning commitment to the Victory cause. But when cracks in her idyllic life begin to appear, exposing flashes of something much more sinister lurking beneath the attractive façade, Alice can’t help questioning exactly what they’re doing in Victory, and why. Just how much is Alice willing to lose to expose what’s really going on in this paradise?

Okay, this is definitely a mix of The Stepford Wives, The Matrix, and The Truman Show. I think the movie wants there to be some connection to One Flew Over the Cuckoo’s Nest as well, but I do not think it works near as well.

I started out uncertain, but the film was interesting at the beginning, but it never really broke out of the basic genre tropes that we see in so many other movies. There was nothing that made this stand out from the pack.

Florence Pugh is a star. She is an outstanding actor whom has a bright future ahead of her. This performance is strong and probably the best part of the movie. Harry Styles was fine, but had a hard time matching the acting quality of Pugh. Chris Pine felt wasted as the enigmatic Frank.

The film looked good, with director Olivia Wilde doing a solid job of shooting it. It just feels as if the positives just do not add up enough to overcome the lackluster script.

I will say that I do not think that it is as bad as what I expected after hearing all the negative reviews. Don’t Worry Darling is watchable, but it is just nothing remarkable. It feels like a film that I will not remember in short order and, with as many intriguing themes that it attempts to cover, that is a shame.

2.5 stars

2022 Eisner Award Winners

The announcement of the winners of the annual Eisner Awards were revealed on Friday night at San Diego Comic Con.

Best Short Story

“Funeral in Foam,” by Casey Gilly and Raina Telgemeier, in You Died: An Anthology of the Afterlife (Iron Circus)

“Generations,” by Daniel Warren Johnson, in Superman: Red & Blue #5 (DC)

“I Wanna Be a Slob,” by Michael Kamison and Steven Arnold, in Too Tough to Die (Birdcage Bottom Books)

“Tap, Tap, Tap,” by Larry O’Neil and Jorge Fornés, in Green Arrow 80th Anniversary (DC)

“Trickster, Traitor, Dummy, Doll,” by Triple Dream (Mel Hilario, Katie Longua, and Lauren Davis), in The Nib Vol 9: Secrets (The Nib)

Best Single Issue/One-Shot (must be able to stand alone)

Marvel’s Voices: Identity #1, edited by Darren Shan (Marvel)

Mouse Guard: The Owlhen Caregiver and Other Tales, by David Petersen (BOOM!/Archaia)

Nightwing #87: “Get Grayson,” by Tom Taylor and Bruno Redondo (DC)

Wolvendaughter, by Ver (Quindrie Press)

Wonder Woman Historia: The Amazons, by Kelly Sue DeConnick and Phil Jimenez (DC)

Best Continuing Series (TIE)

Bitter Root, by David F. Walker, Chuck Brown, and Sanford Greene (Image)

The Department of Truth, by James Tynion IV and Martin Simmonds (Image)

Immortal Hulk, by Al Ewing, Joe Bennett, et al. (Marvel)

Nightwing, by Tom Taylor and Bruno Redondo (DC)

Something Is Killing the Children, by James Tynion IV and Werther Dell’Edera (BOOM! Studios)

Best Limited Series

Beta Ray Bill: Argent Star, by Daniel Warren Johnson (Marvel)

The Good Asian, by Pornsak Pichetshote and Alexandre Tefenkgi (Image)

Hocus Pocus, by Rik Worth and Jordan Collver, hocuspocuscomic.squarespace.com

The Many Deaths of Laila Starr, by Ram V and Filipe Andrade (BOOM! Studios)

Stray Dogs, by Tony Fleecs and Trish Forstner (Image)

Supergirl: Woman of Tomorrow, by Tom King and Bilquis Evely (DC)

Best New Series

The Human Target, by Tom King and Greg Smallwood (DC)

The Nice House on the Lake, by James Tynion IV and Álvaro Martínez Bueno (DC Black Label)

Not All Robots, by Mark Russell and Mike Deodato Jr. (AWA Upshot)

Radiant Black, by Kyle Higgins and Marcelo Costa (Image)

Ultramega, by James Harren (Image Skybound)

Best Publication for Early Readers (up to age 8)

Arlo & Pips #2: Join the Crow Crowd!, by Elise Gravel (HarperAlley)

Chibi Usagi: Attack of the Heebie Chibis, by Julie and Stan Sakai (IDW)

I Am Oprah Winfrey, by Brad Meltzer and Christopher Eliopoulos (Dial Books for Young Readers)

Monster Friends, by Kaeti Vandorn (Random House Graphic)

Tiny Tales: Shell Quest, by Steph Waldo (HarperAlley)

Best Publication for Kids (ages 9-12)

Allergic, by Megan Wagner Lloyd and Michelle Mee Nutter (Scholastic)

Four-Fisted Tales: Animals in Combat, by Ben Towle (Dead Reckoning)

Rainbow Bridge, by Steve Orlando, Steve Foxe, and Valentina Brancati (AfterShock)

Salt Magic, by Hope Larson and Rebecca Mock (Margaret Ferguson Books/Holiday House)

Saving Sorya: Chang and the Sun Bear, by Trang Nguyen and Jeet Zdung (Dial Books for Young Readers)

The Science of Surfing: A Surfside Girls Guide to the Ocean, by Kim Dwinell (Top Shelf)

Best Publication for Teens (ages 13-17)

Adora and the Distance, by Marc Bernardin and Ariela Kristantina (Comixology Originals)

Clockwork Curandera, vol. 1: The Witch Owl Parliament, by David Bowles and Raul the Third (Tu Books/Lee & Low Books)

The Legend of Auntie Po, by Shing Yin Khor (Kokila/Penguin Random House)

Strange Academy, by Skottie Young and Humberto Ramos (Marvel)

Wynd, by James Tynion IV and Michael Dialynas (BOOM! Box)

Best Humor Publication

Bubble, by Jordan Morris, Sarah Morgan, and Tony Cliff (First Second/Macmillan)

Cyclopedia Exotica, by Aminder Dhaliwal (Drawn & Quarterly)

Not All Robots, by Mark Russell and Mike Deodato Jr. (AWA Upshot)

The Scumbag, by Rick Remender and various (Image)

Thirsty Mermaids, by Kat Leyh (Gallery 13/Simon and Schuster)

Zom 100: Bucket List of the Dead, by Haro Aso and Kotaro Takata, translation by Nova Skipper (VIZ Media)

Best Anthology

Flash Forward: An Illustrated Guide to Possible (And Not So Possible) Tomorrows, by Rose Eveleth and various, edited by Laura Dozier (Abrams ComicArts)

My Only Child, by Wang Ning and various, edited by Wang Saili, translation by Emma Massara (LICAF/Fanfare Presents)

The Silver Coin, by Michael Walsh and various (Image)

Superman: Red & Blue, edited by Jamie S. Rich, Brittany Holzherr, and Diegs Lopez (DC)

You Died: An Anthology of the Afterlife, edited by Kel McDonald and Andrea Purcell (Iron Circus)

Best Reality-Based Work

The Black Panther Party: A Graphic History, by David F. Walker and Marcus Kwame Anderson (Ten Speed Press)

Hakim’s Odyssey, Book 1: From Syria to Turkey, by Fabien Toulmé, translation by Hannah Chute (Graphic Mundi/Penn State University Press)

Lugosi: The Rise and Fall of Hollywood’s Dracula, by Koren Shadmi (Humanoids)

Orwell, by Pierre Christin and Sébastien Verdier, translation by Edward Gauvin (SelfMadeHero)

Seek You: A Journey Through American Loneliness, by Kristen Radtke (Pantheon/Penguin Random House)

The Strange Death of Alex Raymond, by Dave Sim and Carson Grubaugh (Living the Line)

Best Graphic Memoir

Factory Summers, by Guy Delisle, translated by Helge Dascher and Rob Aspinall (Drawn & Quarterly)

Parenthesis, by Élodie Durand, translation by Edward Gauvin (Top Shelf)

Run: Book One, by John Lewis, Andrew Aydin, L. Fury, and Nate Powell (Abrams ComicArts)

Save It for Later: Promises, Parenthood, and the Urgency of Protest, by Nate Powell (Abrams ComicArts)

The Secret to Superhuman Strength, by Alison Bechdel (Mariner Books)

Best Graphic Album—New

Ballad For Sophie, by Filipe Melo and Juan Cavia, translation by Gabriela Soares (Top Shelf)

Destroy All Monsters (A Reckless Book), by Ed Brubaker and Sean Phillips (Image)

In., by Will McPhail (Mariner Books)

Meadowlark: A Coming-of-Age Crime Story, by Ethan Hawke and Greg Ruth (Grand Central Publishing)

Monsters, by Barry Windsor-Smith (Fantagraphics)

Best Graphic Album—Reprint

The Complete American Gods, by Neil Gaiman, P. Craig Russell, and Scott Hampton (Dark Horse)

Locke & Key: Keyhouse Compendium, by Joe Hill and Gabriel Rodríguez (IDW)

Middlewest: The Complete Tale, by Skottie Young and Jorge Corona (Image)

Rick and Morty vs Dungeons and Dragons Deluxe Edition, by Patrick Rothfuss, Jim Zub, and Troy Little (Oni)

The True Lives of the Fabulous Killjoys: California Deluxe Edition, by Gerard Way, Shaun Simon, and Becky Cloonan (Dark Horse)

Best Adaptation from Another Medium

After the Rain, by Nnedi Okorafor, adapted by John Jennings and David Brame (Megascope/Abrams ComicArts)

Bubble by Jordan Morris, Sarah Morgan, and Tony Cliff (First Second/Macmillan)

Disney Cruella, adapted by Hachi Ishie (VIZ Media)

George Orwell’s 1984: The Graphic Novel, adapted by Fido Nesti (Mariner Books)

The Ragged Trousered Philanthropists, by Robert Tressell, adapted by Sophie and Scarlett Rickard (SelfMadeHero)

Best U.S. Edition of International Material

Ballad For Sophie, by Filipe Melo and Juan Cavia, translation by Gabriela Soares (Top Shelf)

Between Snow and Wolf, by Agnes Domergue and Helene Canac, translation by Maria Vahrenhorst (Magnetic)

Love: The Mastiff, by Frederic Brrémaud and Federico Bertolucci (Magnetic)

The Parakeet, by Espé, translation by Hannah Chute ((Graphic Mundi/Penn State University Press)

The Shadow of a Man, by Benoît Peeters and François Schuiten, translation by Stephen D. Smith (IDW)

Best U.S. Edition of International Material—Asia

Chainsaw Man, by Tatsuki Fujimoto, translation by Amanda Haley (VIZ Media)

Kaiju No. 8, by Naoya Matsumoto, translation by David Evelyn (VIZ Media)

Lovesickness: Junji Ito Story Collection, by Junji Ito, translation by Jocelyne Allen (VIZ Media)

Robo Sapiens: Tales of Tomorrow (Omnibus), by Toranosuke Shimada, translation by Adrienne Beck (Seven Seas)

Spy x Family, by Tatsuya Endo, translation by Casey Loe (VIZ Media)

Zom 100: Bucket List of the Dead, by Haro Aso and Kotaro Takata, translation by Nova Skipper (VIZ Media)

Best Archival Collection/Project—Strips (at least 20 years old)

Friday Foster: The Sunday Strips, by Jim Lawrence and Jorge Longarón, edited by Christopher Marlon, Rich Young, and Kevin Ketner (Ablaze)

Popeye: The E.C. Segar Sundays, vol. 1 by E.C. Segar, edited by Gary Groth and Conrad Groth (Fantagraphics)

Trots and Bonnie, by Shary Flenniken, edited by Norman Hathaway (New York Review Comics)

The Way of Zen, adapted and illustrated by C. C. Tsai, translated by Brian Bruya (Princeton University Press)

Best Archival Collection/Project—Comic Books (at least 20 Years Old)

EC Covers Artist’s Edition, edited by Scott Dunbier (IDW)

Farewell, Brindavoine, by Tardi, translation by Jenna Allen, edited by Conrad Groth (Fantagraphics)

Marvel Comics Library: Spider-Man vol. 1: 1962–1964, by Stan Lee and Steve Ditko, edidted by Steve Korté (TASCHEN)

Spain Rodriguez: My Life and Times, vol. 3, edited by Patrick Rosenkranz (Fantagraphics)

Steranko Nick Fury: Agent of S.H.I.E.L.D. Artisan Edition, edited by Scott Dunbier (IDW)

Uncle Scrooge: “Island in the Sky,” by Carl Barks, edited by J. Michael Catron (Fantagraphics)

Best Writer

Ed Brubaker, Destroy All Monsters, Friend of the Devil (Image)

Kelly Sue DeConnick, Wonder Woman Historia: The Amazons Book One (DC)

Filipe Melo, Ballad for Sophie (Top Shelf)

Ram V, The Many Deaths of Laila Starr (BOOM! Studios); The Swamp Thing (DC); Carnage: Black, White & Blood, Venom (Marvel)

James Tynion IV, House of Slaughter, Something Is Killing the Children, Wynd (BOOM! Studios); The Nice House on the Lake, The Joker, Batman, DC Pride 2021 (DC); The Department of Truth (Image); Blue BookRazorblades (Tiny Onion Studios)

Best Writer/Artist

Alison Bechdel, The Secret to Superhuman Strength (Mariner Books)

Junji Ito, Deserter: Junji Ito Story Collection, Lovesickness: Junji Ito Story Collection, Sensor (VIZ Media)

Daniel Warren Johnson, Superman: Red & Blue (DC); Beta Ray Bill (Marvel)

Will McPhail, In: A Graphic Novel (Mariner Books)

Barry Windsor-Smith, Monsters (Fantagraphics)

Best Penciller/Inker or Penciller/Inker Team

Filipe Andrade, The Many Deaths of Laila Starr (BOOM! Studios)

Phil Jimenez, Wonder Woman Historia: The Amazons (DC)

Bruno Redondo, Nightwing (DC)

Esad Ribic, Eternals (Marvel)

P. Craig Russell, Norse Mythology (Dark Horse)

Best Painter/Multimedia Artist (interior art)

Federico Bertolucci, Brindille, Love: The Mastiff (Magnetic)

John Bolton, Hell’s Flaw (Renegade Arts Entertainment)

Juan Cavia, Ballad for Sophie (Top Shelf)

Frank Pe, Little Nemo (Magnetic)

Ileana Surducan, The Lost Sunday (Pronoia AB)

Sana Takeda, Monstress (Image)

Best Cover Artist

Jen Bartel, Future State Immortal Wonder Woman #1 & 2, Wonder Woman Black & Gold #1, Wonder Woman 80th Anniversary (DC); Women’s History Month variant covers (Marvel)

David Mack, Norse Mythology (Dark Horse)

Bruno Redondo, Nightwing (DC)

Alex Ross, Black Panther, Captain America, Captain America/Iron Man #2, Immortal Hulk, Iron Man, The U.S. of The Marvels (Marvel)

Julian Totino Tedesco, Just Beyond: Monstrosity (BOOM!/KaBoom!); Dune: House Atreides (BOOM! Studios); Action Comics (DC); The Walking Dead Deluxe (Image Skybound)

Yoshi Yoshitani, I Am Not Starfire (DC); The Blue FlameGiga, Witchblood (Vault)

Best Coloring

Filipe Andrade/Inês Amaro, The Many Deaths of Laila Starr (BOOM! Studios)

Terry Dodson, Adventureman (Image Comics)

K. O’Neill, The Tea Dragon Tapestry (Oni)

Jacob Phillips, Destroy All Monsters, Friend of the Devil (Image)

Matt Wilson, Undiscovered Country (Image); Fire Power (Image Skybound); Eternals, Thor, Wolverine (Marvel); Jonna and the Unpossible Monsters (Oni)

Best Lettering

Wes Abbott, Future State, Nightwing, Suicide Squad, Wonder Woman Black & Gold (DC)

Clayton Cowles, The Amazons, Batman, Batman/Catwoman, Strange Adventures, Wonder Woman Historia (DC); Adventureman (Image); Daredevil, Eternals, King in Black, Strange Academy, Venom, X-Men Hickman, X-Men Duggan (Marvel)

Crank!, Jonna and the Unpossible Monsters, The Tea Dragon Tapestry (Oni); Money Shot (Vault)

Ed Dukeshire, Once & Future, Seven Secrets (BOOM Studios)

Barry Windsor-Smith, Monsters (Fantagraphics)

Best Comics-Related Periodical/Journalism

Alter Ego, edited by Roy Thomas (TwoMorrows)

The Columbus Scribbler, edited by Brian Canini, Jack Wallace, and Steve Steiner, columbusscribbler.com

Fanbase Press, edited by Barbra Dillon, fanbasepress.com

tcj.com, edited by Tucker Stone and Joe McCulloch (Fantagraphics)

WomenWriteAboutComics.com, edited by Wendy Browne and Nola Pfau (WWAC)

Best Comics-Related Book

All of the Marvels, by Douglas Wolk (Penguin Press)

The Art of Thai Comics: A Century of Strips and Stripes, by Nicolas Verstappen (River Books)

Fantastic Four No. 1: Panel by Panel, by Stan Lee, Jack Kirby, Chip Kidd, and Geoff Spear (Abrams ComicArts)

Old Gods & New: A Companion to Jack Kirby’s Fourth World, by John Morrow, with Jon B. Cooke (TwoMorrows)

True Believer: The Rise and Fall of Stan Lee, by Abraham Riesman (Crown)

Best Academic/Scholarly Work

Comics and the Origins of Manga: A Revisionist History, by Eike Exner (Rutgers University Press)

The Life and Comics of Howard Cruse: Taking Risks in the Service of Truth, by Andrew J. Kunka (Rutgers University Press)

Mysterious Travelers: Steve Ditko and the Search for a New Liberal Identity, by Zack Kruse (University Press of Mississippi)

Pulp Empire: The Secret History of Comics Imperialism, by Paul S. Hirsch (University of Chicao Press)

Rebirth of the English Comic Strip: A Kaleidoscope, 1847–1870, by David Kunzle (University Press of Mississippi)

Best Publication Design

The Complete American Gods, designed by Ethan Kimberling (Dark Horse)

The Complete Life and Times of Scrooge McDuck Deluxe Edition, designed by Justin Allan-Spencer (Fantagraphics)

Crashpad, designed by Gary Panter and Justin Allan-Spencer (Fantagraphics)

Machine Gun Kelly’s Hotel Diablo, designed by Tyler Boss (Z2)

Marvel Comics Library: Spider-Man vol. 1: 1962–1964 (TASCHEN)

Popeye Vol. 1 by E.C. Segar, designed by Jacob Covey (Fantagraphics)

Best Webcomic

Batman: Wayne Family Adventures, by CRC Payne and StarBrite (DC/WEBTOON), https://www.webtoons.com/en/slice-of-life/batman-wayne-family-adventures/list?title_no=3180&page=1

Isle of Elsi, by Alec Longstreth, https://www.isleofelsi.com/comics/ioe6/page-259/

Lore Olympus, by Rachel Smythe (WEBTOON), https://www.webtoons.com/en/romance/lore-olympus/list?title_no=1320&page=1

Navillera: Like a Butterfly, by Hun and Jimmy, translation by Kristianna Lee (Tapas Medie/Kakao Entertainment), https://tapas.io/series/navillera-like-a-butterfly

Unmasked, by Breri and Nuitt (WebToon Factory/Europe Comics), https://www.webtoonfactory.com/en/serie/unmasked/

Best Digital Comic

Days of Sand, by Aimée de Jongh, translation by Christopher Bradley (Europe Comics)

Everyone Is Tulip, by Dave Baker and Nicole Goux, everyoneistulip.com

It’s Jeff, by Kelly Thompson and Gurihiru (Marvel)

Love After World Domination 1-3, by Hiroshi Noda and Takahiro Wakamatsu, translation by Steven LeCroy (Kodansha)

Snow Angels, by Jeff Lemire and Jock (Comixology Originals)

Will Eisner Hall of Fame Inductees for 2022:

Max Gaines, Mark Gruenwald, Marie Duval, Rosie O’Neil, Alex Nino, P. Craig Russell

The EYG 30 Days of…The June Swoon: Unseen Movies of 2021/DailyView Binge

It has been just over a month since the end of the DailyView, the 365 day binge where I watched a movie that I had never seen before that was made some time from 2020 or before. It started just as a summer activity in the summer of 2021 and then it expanded twice and went for a full year. This was a proud accomplishment for me here at EYG.

As the DailyView was coming to an end, I began planning some of the next projects for movie watching. One turned out to be the Do Over: The EYG Sunday Morning Revisit that has been running since May 1st. A second project was the Saturday Shorts, where I take a Saturday randomly through the year and watch a day full of short movies.

The third project that I created The EYG 30 Days of…The June Swoon: Unseen Movies of 2021/DailyView Binge. Yes, it is a gangly name, but it covered everything that I wanted. To be called The June Swoon for now on, I will be watching a movie released during the year 2021 that I have not seen yet on every day of June. I have a list of around 45-50 movies to watch that I did not watch during 2021. Some are very well known, some are Oscar winners or nominees, some are lesser known. All are from 2021. I may do more than one a day, but there will at least one every day for 30 days. It should be a fun activity.

I will record the names of the movies I watch here:

The EYG 30 Days of…The June Swoon: Unseen Movies of 2021/DailyView Binge

June 01, 2022: On the Trail of Bigfoot: The Discovery

June 02, 2022: Rumble

……………………… John and the Hole

June 03, 2022: Flee

June 04, 2022: Coming Home in the Dark

June 05, 2022: Barb and Star Go to Vista Del Mar

June 06, 2022: Summer of Soul

June 07, 2022: American Underdog

June 08, 2022: Vivo

June 09, 2022: The Humans

June 10, 2022: The Card Counter

June 11, 2022: Drive My Car

June 12, 2022: Censor

June 13, 2022: Annette

June 14, 2022: The Worst Person in the World

June 15, 2022: The Electrical Life of Louis Wain

June 16, 2022: The Protégé

June 17, 2022: Shiva Baby

June 18, 2022: Happily

June 19, 2022: Red Rocket

June 20, 2022: Encounter

June 21, 2022: Justice Society: World War II

June 22, 2022: Old Henry

June 23, 2022: Bo Burnham: Inside

June 24, 2022: Rita Moreno: Just a Girl Who Decided to Go For It

June 25, 2022: House of Gucci

June 26, 2022: Home Sweet Home Alone

June 27, 2022: Here Today

June 28, 2022: Best Sellers

June 29, 2022: Beckett

June 30, 2022: National Champions

Expectations and Privilege

An EYG Editorial

I went to watch Top Gun: Maverick today and I overheard something that got my mind to racing about one of the biggest problems in the world of fandom today and I wanted to write about it while the thoughts are fresh.

Top Gun: Maverick ended and I was sitting in my seat as most of the theater filled out. I was staying for several reasons. One, I like to see credits, at least for a bit because there are so many talented people who work hard on movies. Two, I was enjoying the score that was playing over the credits. Three, I was in no rush, and four, and probably the most important, I was hoping that the line at the restroom would be shorter at the end of the credits.

I was not the only person still in the theater, but I was not paying any attention to them as I was just enjoying the after thoughts of an excellent movie. The credits end and I hear the lady standing directly in the row behind me say, “There better be more.”

I thought, is she waiting for a post credit scene? It’s Top Gun: Maverick. There was never going to be a post credit scene on this movie. It’s not a comic book movie or a fantasy film of some sort.

When the film ended and there was, of course, no post credit scene, the lady started to leave and then said to the people who she was with, “They got us” and then she added “Bastards.”

I was shocked, but it put something immediately into focus, a problem that has been rearing its ugly head all the more over the last few years. This woman clearly had an expectation that there should be a post credit scene and then, when there was not one, she reacted with privilege that she had been cheated out of something.

Who told you or hinted at you that there might be a post credit scene at the end of Top Gun: Maverick? No one, anywhere. I could MAYBE understand this reaction if it were a Marvel or DC movie and there were no post credit scene because we have become accustomed to them being there. And they always have them. But Top Gun? That makes no sense.

The only person at fault here is you, by building up your own expectations about what you think should be there.

Doctor Strange in the Multiverse of Madness faced some of the same backlash, in my opinion. There had been so much speculation that the film would contain a hoard of cameos and that everything from the introduction of mutants to the arrival of Tom Cruise’s Superior Iron Man was going to happen in this movie, so some people were disappointed that the number of cameos were kept at a minimum and there were only a few multiverses included. The internet feeds all of this by taking any tiny news bit and writing articles that blow the info way out of proportion.

Now, to be fair, Marvel does a lot of this on purpose and they never outright reveal what is not going to happen. By trying to keep the surprises a surprise, they teach their audience to speculate about what could be connected. And they absolutely encourage this behavior with their Easter Eggs and including Patrick Stewart’s Professor Xavier in the trailers. If Professor X is there, and given away in the trailer, clearly there must be much more coming, and the fans are off to the races.

I will admit that I liked the movie better the second time around because my own expectations were removed and I was just able to watch it as a movie. I did not wonder every second if this is how the MCU was going to introduce the X-Men or when Hugh Jackman’s Wolverine was going to show up. I just enjoyed the film.

It is not just the movies either. I was at Comic World, my local comic shop, and discussing the Disney + series Moon Knight with another customer. He said that Marvel made a mistake and that he might have liked the show if they had made it like Moon Knight originally was, “Marvel’s Batman.” I wish I would have had time to continue that conversation because it highlights perfect the fact that fandom, at times, judges a movie or series by what they wanted it to be instead of watching it for what it is. This irritates me, though I understand it. I have done the same things before.

I remember when Sam Raimi’s Spider-Man came out and there was such an outrage about organic webs and no mechanical ones. I remember hating the idea and I even wrote something about how it damaged the character of Peter Parker, and then I saw the movie and it was fine. It didn’t bother me at all. However, if I had decided that I hated what they were trying to do and refused to watch the film, I would have missed out on some great Spidey movies (and Spider-Man 3).

My fervent wish for people in the internet community and for the lady at Cinemark today, don’t judge on expectations. You don’t deserve the filmmakers to do what you want. If there are no post credit scenes, just go home. These are pieces of art that the producers, directors, actors and all other creative arts individuals work hard on. Try not to judge it because of what is not there. If you watch a movie and you dislike it, that is absolutely fine. You have the right to like or dislike anything you want. Art is subjective. However, you have no right to say, “I think this should be included and because it is not there, I am mad.” Grow up. Deal with it.

DailyView Finished: April 29, 2021-April 28, 2022

365 days in a row. Complete!

After 365 consecutive days and 523 movies seen, today marks the end of the DailyView here at EYG. I will say that I am very proud of the accomplishment and, honestly, I can’t remember what it was like prior to the DailyView’s origin.

Inspired by several of the YouTube reactors who watched movies that they had never seen before, I wanted to do something like that for EYG. So I decided that my summer vacation from school in 2021 would be spent watching classic films that I had never seen before, to fill a few of those gas in my viewing. My thought was that it would be a fun summer activity until school started again.

I started making a list of movies to watch including some of those that were beloved such as Saving private Ryan, The Sound of Music, Apocalypse Now, Heat, Do The Right Thing- just to name a few. Films that a true cinephile would have seen.

As I started to put together the list, I was getting excited and I started to think about starting before the summer arrived. I had to think about whether or not this was a legit possibility with school still underway. I did not want to derail the binge because of a busy career. I decided that it was possible and so, taking a personal day on April 29, 2021, I began the EYG DailyView Spring/Summer Unseen Classic Binge about a month plus early.

Things went smoothly and soon I was in June and July watching a bunch of movies that I had never seen before. Not all of them were classics, mind you, but I was getting to those excellent films as well. As August was getting close, I began to weigh the possibility of extending the binge through the end of the year. I had pretty much decided that I was going to do this before I officially made the announcement.

There were challenges, including my responsibilities as student council leader, that might cause some issues, but I was determined to see it through. So any time I felt as if there was going to be an upcoming conflict, I was forced to really do some planning. A big help was the decision to use some Charlie Chaplin shorts on HBO Max as films on those days when the schedule may not permit a full film (without me staying up really late and compromising my classroom teaching.

As I got close to December, I was in a groove with the DailyView, never really having any major issues outside of a few scheduling items, that I started to think about the chance of extending the binge one more time, for 365 full days, which would mean the binge would continue until April 28, 2022.

I loved the idea and it felt right, so I made the decision to make one more adjustment to the DailyView.

Along the way, I had set some unofficial goals (although I never officially said they were goals, if I had not accomplished them I would have been disappointed). One was to make sure that I had at least one movie a year from the earliest year through 2020. I accomplished this with at least one movie from every year between 1915 to 2020.

The second goal I wanted to reach (unofficially) was I wanted to break the 500 movies watched barrier for the 365 days, and I did that as well, several weeks ago. I was guessing we would end up somewhere in the 520s for films seen, and, sure enough, we got to 523.

I had some internet problems during the 365 days. With so much of the binge depending on the streaming services, if the internet went out for any extended period of time, it could have ruined the DailyView. However, I had a plan. I knew I had some DVDs of films that I had never seen (There are still a few Studio Ghibli films that I have not seen despite having them all on DVD) and they would be my back up. It actually happened twice. The first time I watched The Rite, with Anthony Hopkins, which was terrible and a second time I watched The Tale of the Princess Kaguya from Studio Ghibli.

Although Disney + is my personal favorite streaming service (thanks to the Marvel shows basically), it was not the MVP of the streaming services for the DailyView. That would be HBO Max, which brought me a ton of films that I could use, including the Charlie Chaplin shorts that were so valuable. Second place would go to Amazon Prime, which would include a bunch of the “channels” such as Shudder, Paramount Plus, Showtime, Cinemax, Epix etc.). Then I would go with Disney + followed by Hulu, Roku, Peacock… wow I have a ton of streaming services.

The year with the most films included in the DailyView turned out to be 2020 with 22 movies. The group of Small Axe films helped put 2020 over the top. The second place year was 2006 with 20 and then third place is 2005 with 19. 2007 was next with 18. The decade of 2000-2009 had the most overall in the decade with 130 movies. 2010-2019 is the next largest number if films watched with 97. The least amount was, of course, 1915-1919 which had 10 films.

So, with that, the DailyView is officially closed. Will I ever do this again? Never say no, but if I were to do it again, there would need to be some kind of hook. I can’t just decide to do 365 again. Going to 366 does not make much sense. However, I do have some ideas going forward. The Do Over: Sunday Morning Revisit begins this Sunday, May 1st and will be a weekly event. At some point, I will schedule a Saturday Short day when I will watch a bunch of short films on a Saturday. Then, in June there will be the month-long daily binge of movies I missed from 2021. Some cool stuff still coming from EYG.

No movie tomorrow. It’s going to feel strange.

List of all the movies during the 365 day DailyView

Saturday Shorts

Coming soon. In the second half of 2022, there will be a few selected Saturdays that will be dedicated to shorts (live action, animation, docs etc.).

The shorts have been a great help on some of those packed full days during the DailyView where a Charlie Chaplin, a Laurel & Hardy, a DUST sci-fi film helped continue the daily commitment.

I’m going to watch a compilation of shorts during Saturdays. It won’t be every Saturday, of course, but selected ones.

There will be shorts that I have seen before included. It will be ones that I have not done a write up on. This will include the EYG Hall of Famer “What’s Opera, Doc” or the Marvel One Shots.

Lists of Shorts:

May 14, 2022

The Consultant (2011)

A Funny Thing Happened on the Way to Thor’s Hammer (2011)

Item 47 (2012)

Agent Carter (2013)

All Hail the King (2014)

Team Thor Part 1 (2016)

Team Thor Part 2 (2017)

Team Darryl (2018)

What’s Opera Doc? (1957)

Two Strangers Who Meet Five Times (2017)

Grandma (2021)

West Bank Story (2005)

Ghosts of Sugar Land (2019)

If Anything Happens I Love You (2020)

Audible (2021)

The Gunfighter (2014)

The Simpsons: The Good, The Bart and the Loki (2021)

Teddy (2019)

Don’t Look Away (2017)

Close Your Eyes (2022)

Do Over: EYG Sunday Morning Revisit

After the DailyView ends on April 28th, I have a couple of ideas of what is next. One of them will begin on Sunday, May 1st. Every Sunday for the foreseeable future, starting on May 1st, I am going to be doing what I am calling “Do Over.”

Sunday mornings are always a good time for a laid back enjoyment of a movie. There are rare occurrences when I would not be just sitting around watching TV or YouTube on a Sunday morning. So for every week on Sunday morning, I will be picking out a movie that I have seen once before and found it lacking in some manner. Then, I will revisit the film, seeing if my original opinion holds up or if I have changed my thoughts.

This has happened several times over the years. When I watched Se7en in the theater, I was not a fan. Just a few years ago, I rewatched Se7en and found it considerably more engaging and enthralling than I had that first time. Fargo is another excellent example. I did not like Fargo when I first saw it on video, but I went back to it around the time of the FX TV series and found that I had misjudged Fargo the first time.

Now, just because I didn’t like a movie, doesn’t mean that I will give it a Do Over. Movie 43 was a film I saw once and I absolutely hated it. It is not a film that I feel has aged well and I want no part of watching it again. Typically, this will be movies that other people have positive opinions about.

This is where I will keep the running tally of movies of the Do Over. I am not sure how long the Do Over will run, but I have several films on the list so I guess we’ll see.


Sunday, May 1, 2022: Blade 2 (2002)

Sunday, May 8, 2022: Sleepless in Seattle (1993)

Sunday, May 15, 2022: The Golden Compass (2007)

Sunday, May 22, 2022: 21 Jump Street (2012)

Sunday, May 29, 2022: Wall-E (2008)

Sunday, June 5, 2022: Interview with the Vampire (1994)

Sunday, June 12, 2022: No Country for Old Men (2007)

Sunday, June 19, 2022: Valkyrie (2008)

Sunday, June 26, 2022: Men in Black II (2002)

Sunday, July 3, 2022: Clerks (1994)

Sunday, July 10, 2022: Clerks 2 (2006)

Sunday, July 17, 2022: Robin Hood: Men in Tights (1993)

Sunday, July 24, 2022: The Village (2004)

2022 Oscar Nominated Shorts -Live Action & Animated

The Academy Awards are tomorrow night and I spent some time today watching the shorts that have been nominated in the categories of Live Action and Animated. I went to the theater to see the Shorts.TV program of the Live Action. In past years, they had both the Live Action and Animation together, but that was not how the show went tonight. So when I got home, I went online searching for the animation shorts to watch. I found four of the five, with Boxballet being the only one that I couldn’t find.

So I am going to rank these in each category from my most to least favorite, I will then say which one I think will take the Oscar. I am starting with my favorite in each category.

Live Action

#1. Please Hold. This futuristic satire focused on the police/law enforcement system if automated, using drones and AIs. The film can be frustrating as we are seeing everything through the eyes of Mateo (Erick Lopez) after he is arrested for a crime that he has no idea about, and none of the automatic technology will inform him why he was arrested. There is a racial profiling beat to the story as well. One more step until our AI masters are in control.

#2. The Long Goodbye. This features an amazing performance from Riz Ahmed as his character’s family is arrested and/or murdered by the racist and Islamophobic police in London. The short begins slowly, but the last half is as powerful and crushing as you will find with Ahmed ending it with a monologue of lyrics from his 2020 album of the same name.

#3. On My Mind. A sad, apparently homeless man enters a bar for some whiskey and wants to sing Always on My Mind by Elvis Presley on the Karaoke machine. He wants to sing the song for his love. This is an emotional short that, I don’t mind saying, had me tear up a bit.

#4. Ala Kachuu- Take and Run This is the longest of the shorts at 31 minutes, but it uses its time well. It is a tragic story of a young girl who is just starting her life, taking a test for a scholarship, when she is kidnapped and taken to be married to a man she never met before. This is something that does go on and is accepted by the families. It is a horrific situation, including how the women are expected to be wives to these men. The first half was a little slow for my taste, but the lead performance by Alina Turdumamatova is sensational.

#5. The Dress. Anna Dieduszycka plays Julka, a woman of short stature who worked at a hotel as a chamber maid. The film is about the desire of Julka to find someone to love, but finding out that there is a lot of pain and hatred directed toward her. This short is certainly tragic and difficult to watch at times. Anna Dieduszycka is tremendous in the short.

All five of these shorts were excellent. Any of them could easily wind up winning the Oscar tomorrow night. My guess (and it is only a guess) is that it is going to The Long Goodbye mainly because of Riz Ahmed. My second choice is The Dress because of the situation that Anna Dieduszycka finds herself in. I would be surprised if the other three were to win. I think it is down to these two.


As I mentioned, I was unable to see Boxballet so it is automatically #5 on the list. Three of the remaining four animation shorts are weird and downright inappropriate for kids. The topics involve sex, violence, nudity, animal cruelty and more. My eyes bulged out a couple of times while watching these.

#1. Affair of the Art. This was my favorite one. It was art from the New Yorker and it told the story of a woman who loved to draw and her family who had other obsessive compulsions. It was laugh out loud funny and shocked into silence at the same time.

#2. Robin Robin. This one was on Netflix and is the sole animated short that is safe for a family to watch together. Robin is a bird that has been raised with a family of mice and she is not a very good mouse. There is a good message of finding your own way in the world and it includes Gillian Anderson voicing a particularly evil cat.

#3. Bestia. This one is quite warped. This short followed the life of a Chilean secret police agent and her dog, which does not sound that bad… but… honestly, there were some intimate moments between the woman and her dog… and I do mean intimate. There is violence and nudity and bestiality. No words or dialogue in this short. Just some disturbing imagery.

#4. The Windshield Wiper. Another one with some hugely adult themes going on, The Windshield Wiper may be the most visually stunning of the animated shorts. The narrative is very disjointed as the short is a series of vignettes that explore the concept of love. It would be a very progressive animation short if it wins.

If the Academy is looking for something different, the The Windshield Wiper is taking this Oscar. If the topics scare them away (certainly a possibility) then you will see Robin Robin take the statue. Even though I was not a huge fan of The windshield Wiper, there is little debate that this short is the most original, most groundbreaking animation of the year.

Now watch, they’ll give it to Boxballet.

Oscar Nominations 2022

Belfast (Laura Berwick, Kenneth Branagh, Becca Kovacik and Tamar Thomas, Producers)
CODA (Philippe Rousselet, Fabrice Gianfermi and Patrick Wachsberger, Producers)
Don’t Look Up (Adam McKay and Kevin Messick, Producers)
Drive My Car (Teruhisa Yamamoto, Producer)
Dune (Mary Parent, Denis Villeneuve and Cale Boyter, Producers)
King Richard (Tim White, Trevor White and Will Smith, Producers)
Licorice Pizza (Sara Murphy, Adam Somner and Paul Thomas Anderson, Producers)
Nightmare Alley (Guillermo del Toro, J. Miles Dale and Bradley Cooper, Producers)
The Power of the Dog (Jane Campion, Tanya Seghatchian, Emile
Sherman, Iain Canning and Roger Frappier, Producers)
West Side Story (Steven Spielberg and Kristie Macosko Krieger, Producers)

Paul Thomas Anderson (Licorice Pizza)
Kenneth Branagh (Belfast)
Jane Campion (The Power of the Dog)
Ryûsuke Hamaguchi (Drive My Car)
Steven Spielberg (West Side Story)

Jessica Chastain (The Eyes of Tammy Faye)
Olivia Colman (The Lost Daughter)
Penélope Cruz (Parallel Mothers)
Nicole Kidman (Being the Ricardos)
Kristen Stewart (Spencer)

Javier Bardem (Being the Ricardos)
Benedict Cumberbatch (The Power of the Dog)
Andrew Garfield (Tick, Tick … Boom!)
Will Smith (King Richard)
Denzel Washington (The Tragedy of Macbeth)

Jessie Buckley (The Lost Daughter)
Ariana DeBose (West Side Story)
Judi Dench (Belfast)
Kirsten Dunst (The Power of the Dog)
Aunjanue Ellis (King Richard)

Ciarán Hinds (Belfast)
Troy Kotsur (CODA)
Jesse Plemons (The Power of the Dog)
J.K. Simmons (Being the Ricardos)
Kodi Smit-McPhee (The Power of the Dog)

Cruella (Jenny Beavan)
Cyrano (Massimo Cantini Parrini and Jacqueline Durran)
Dune (Jacqueline West and Robert Morgan)
Nightmare Alley (Luis Sequeira)
West Side Story (Paul Tazewell)

Belfast (Denise Yarde, Simon Chase, James Mather and Niv Adiri)
Dune (Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett)
No Time to Die (Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor)
The Power of the Dog (Richard Flynn, Robert Mackenzie and Tara Webb)
West Side Story (Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy)

Don’t Look Up (Nicholas Britell)
Dune (Hans Zimmer)
Encanto (Germaine Franco)
Parallel Mothers (Alberto Iglesias)
The Power of the Dog (Jonny Greenwood)

CODA (screenplay by Siân Heder)
Drive My Car (screenplay by Ryusuke Hamaguchi, Takamasa
Dune (screenplay by Jon Spaihts and Denis Villeneuve
and Eric Roth)
The Lost Daughter (written by Maggie Gyllenhaal)
The Power of the Dog (written by Jane Campion)

Belfast (written by Kenneth Branagh)
Don’t Look Up (screenplay by Adam McKay; story by Adam McKay & David Sirota)
King Richard (written by Zach Baylin)
Licorice Pizza (written by Paul Thomas Anderson)
The Worst Person in the World (written by Eskil Vogt, Joachim Trier)

Affairs of the Art (Joanna Quinn and Les Mills)
Bestia (Hugo Covarrubias and Tevo Díaz)
Boxballet (Anton Dyakov)
Robin Robin (Dan Ojari and Mikey Please)
The Windshield Wiper (Alberto Mielgo and Leo Sanchez)

Ala Kachuu — Take and Run (Maria Brendle and Nadine Lüchinger)
The Dress (Tadeusz Lysiak and Maciej Ślesicki)
The Long Goodbye (Aneil Karia and Riz Ahmed)
On My Mind (Martin Strange-Hansen and Kim Magnusson)
Please Hold (K.D. Dávila and Levin Menekse)

Don’t Look Up (Hank Corwin)
Dune (Joe Walker)
King Richard (Pamela Martin)
The Power of the Dog (Peter Sciberras)
Tick, Tick … Boom! (Myron Kerstein and Andrew Weisblum)

Coming 2 America (Mike Marino, Stacey Morris and Carla Farmer)
Cruella (Nadia Stacey, Naomi Donne and Julia Vernon)
Dune (Donald Mowat, Love Larson and Eva von Bahr)
The Eyes of Tammy Faye (Linda Dowds, Stephanie Ingram and Justin Raleigh)
House of Gucci (Göran Lundström, Anna Carin Lock and Frederic Aspiras)

Encanto (Jared Bush, Byron Howard, Yvett Merino and Clark Spencer)
Flee (Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie)
Luca (Enrico Casarosa and Andrea Warren)
The Mitchells vs. the Machines (Mike Rianda, Phil Lord, Christopher Miller and Kurt Albrecht)
Raya and the Last Dragon (Don Hall, Carlos López Estrada, Osnat Shurer
and Peter Del Vecho)

Ascension (Jessica Kingdon, Kira Simon-Kennedy and Nathan Truesdell)
Attica (Stanley Nelson and Traci A. Curry)
Flee (Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sorensen and Charlotte De La Gournerie)
Summer of Soul (Ahmir “Questlove” Thompson, Joseph Patel, Robert Fyvolent and David Dinerstein)
Writing With Fire (Rintu Thomas and Sushmit Ghosh)

Audible (Matt Ogens and Geoff McLean)
Lead Me Home (Pedro Kos and Jon Shenk)
The Queen of Basketball (Ben Proudfoot)
Three Songs for Benazir (Elizabeth Mirzaei and Gulistan Mirzaei)
When We Were Bullies (Jay Rosenblatt)

“Be Alive” — music and lyrics by DIXSON and Beyoncé Knowles-Carter (King Richard)
“Dos Oruguitas” — music and lyrics by Lin-Manuel Miranda (Encanto)
“Down to Joy” — music and lyrics by Van Morrison (Belfast)
“No Time to Die” — music and lyrics by Billie Eilish and Finneas
O’Connell (No Time to Die)
“Somehow You Do” — music and lyrics by Diane Warren (Four Good Days)

Dune (Greig Fraser)
Nightmare Alley (Dan Laustsen)
The Power of the Dog (Ari Wegner)
The Tragedy of Macbeth (Bruno Delbonnel)
West Side Story (Janusz Kaminski)

Drive My Car (Japan)
Flee (Denmark)
The Hand of God (Italy)
Lunana: A Yak in the Classroom (Bhutan)
The Worst Person in the World (Norway)

Dune (production design: Patrice Vermette; set decoration: Zsuzsanna Sipos)
Nightmare Alley (production design: Tamara Deverell; set decoration: Shane Vieau)
The Power of the Dog (production design: Grant Major; set decoration: Amber Richards)
The Tragedy of Macbeth (production design: Stefan Dechant; set decoration: Nancy Haigh)
West Side Story (production design: Adam Stockhausen; set decoration: Rena DeAngelo)

Dune (Paul Lambert, Tristan Myles, Brian Connor and
Gerd Nefzer)
Free Guy (Swen Gillberg, Bryan Grill, Nikos Kalaitzidis and
Dan Sudick)
No Time to Die (Charlie Noble, Joel Green, Jonathan Fawkner and Chris Corbould)
Shang-Chi and the Legend of the Ten Rings (Christopher Townsend, Joe Farrell, Sean Noel Walker and Dan Oliver)
Spider-Man: No Way Home (Kelly Port, Chris Waegner, Scott Edelstein and Dan Sudick)