The Emmy Awards may have had a record number of diverse nominees, but that’s where the buck stopped when it came to voting for them. No people of color won any of the major acting categories, Net…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
The Emmy Awards may have had a record number of diverse nominees, but that’s where the buck stopped when it came to voting for them. No people of color won any of the major acting categories, Netflix dominated the awards, RuPaul and women directors made history and the TV Academy missed their final opportunity to reward the late Michael K. Williams.
In this special edition of Variety‘s video series “The Take,” presented by Apple TV Plus, senior correspondent Elizabeth Wagmeister and film awards editor Clayton Davis discuss their takes on the week’s biggest headlines.
The most significant moment of the Emmys came when the late Michael K. Williams (“Lovecraft Country”) lost the supporting actor in a drama category to Tobias Menzies (“The Crown”), who wasn’t present at the London viewing party where all the cast and crew accepted their awards. Presenter Kerry Washington had a pronounced reaction after reading the winner’s name.
Despite a record number of people of color being nominated in the major acting categories, none of them won, with series such as “The Crown,” “Hacks” and “Ted Lasso” winning big. There were some winners worth celebrating, including Michaela Coel becoming the first Black woman to win writing for a limited series in history and two women winning both the comedy and drama directing categories.
“Variety The Take,” presented by Apple TV Plus, is a weekly series that navigates the week’s top stories from the entertainment world, pop culture and media while providing expert analysis and exclusive insight on what’s buzzing in Hollywood. Filmed in Variety’s state-of-the-art studios in Los Angeles, new episodes are released weekly on Fridays on Variety.com, YouTube and social media.
Make sure to let us know…What’s your take?