Drag Race RuCap: Time to play the "Snatch Game"

Alyssa and this talking buttplug were more entertaining than some of the season 17 queens.

CLÁUDIO ALVES: Last week, we had the “Let’s Get Sea Sickening” ball. This week, the season 17 girls face another classic RuPaul’s Drag Race challenge in the form of Snatch Game. Sadly, the results weren’t as strong across the board, even if the cast stayed clear of an outright disaster à la season 14. And even if, in an unprecedented move, someone was told they bombed the thing and still placed on top. Madness, Rigga Morris, favoritism the house down boots. No wonder they invited Alyssa Edwards to guest-star! That said, this was still a fun hour of reality TV. These bitches keep bringing the drama and old-school messiness, keeping the whole thing feeling more alive and vital than it has in years.

Do you agree, or do you feel that I, like Suzie Toot, have been possessed by Joella’s delusional spirit? Do we need to call the exorcist? 

NICK TAYLOR: I can’t believe Joella turned out to be the physical manifestation of season 17’s vibes. The girls are clearly talented, but even beyond sheer artistry, they have the indefatigable sense of their own supremacy that makes competitive reality TV so good. This doesn’t translate into being good at competing, but they know how to make a spectacle of themselves, and we love that...

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Weekend Awards Wrap-Up: From the Vatican to Vegas

by Cláudio Alves

Mikey Madison crashes into the Best Actress race thanks to BAFTA.

Last weekend marked the rapid ascendance of Anora as the Oscar Best Picture frontrunner. This past week's guilds honors haven't dispelled that notion, though BAFTAs might have, with Conclave taking the top prize from the British Academy. Will the race come down between a doomed Vegas wedding and a Vatican election, or will another contender rise with SAG next Sunday? From social media controversies to precursor disharmony, his season has been uncommonly chaotic and I, for one, am loving this sense of unpredictability. As much as we like to presume otherwise, this isn't a numbers game and stats exist to be broken. So let's break them…

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Split Decision: “Dune: Part Two”

In the Split Decision series, two of our writers face off on an Oscar-nominated movie one loves and the other doesn't. Today, Cláudio Alves and Lynn Lee discuss Dune: Part Two...

CLÁUDIO ALVES: As far as the Best Picture Oscar race is concerned, sequels are quite the rarity. Early year releases are even rarer. Yet, Dune: Part Two made it into the Academy's top ten, scoring four additional nominations - Cinematography, Production Design, Visual Effects, and Sound. Sure, by this metric, it pales in comparison to Part One, with its double-digit nods and six wins. But it's still a remarkable achievement. To be honest, I had a much better time with the sequel than with its predecessor. Part of it concerns a better grasp of what Villeneuve is doing in his adaptation of Frank Herbert's magnum opus, observing people as grains of sand in the winds of an imagined history rather than as characters. It's about the tragedy of going beyond personhood and the labor of building mythos and monuments, which results in a cold, mural-like cinematic experience that feels more coherent than its first chapter made it seem. In its alienation, I saw a purpose I didn't find in 2021.

I gather you had a different experience, Lynn. How does Dune: Part Two compare to Part One in your book?

LYNN LEE: It's funny, Cláudio - I completely agree with your assessment of what Part Two is doing, only to have the exact opposite response! To be clear, I don't hate or even dislike the film.  Quite the contrary.  I admire Villeneuve's craftsmanship and commitment to his (and I think Herbert's, though I haven't read the books) vision of Dune as ur-myth.  However, its coldness...what can I say?...left me cold.  Its alienation alienated me…

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Oscar Volleys: “Wicked” is the one to beat in Best Costume Design

The Oscar Volleys are back for some post-nomination talks. Tonight, Cláudio Alves and Nick Taylor discuss Best Costume Design...

WICKED | © Universal Pictures

CLÁUDIO: Let me repeat an exercise of Oscar volleys past and dream up an outfit that combines the year's Best Costume Design nominees - Melissa McCarthy and Brian Tyree Henry style. You can picture me in ecclesiastical garb like the blasphemous queen I am, adorned with Denzel Washington's bling from Gladiator II. Over my shoulders, there's Count Orlok's furry robe - after a thorough dry cleaning - and Bob Dylan's stylish 60s shades hide my eyes from mere mortals. And then, I'll pull up those Catholic skirts and reveal the Fiyero boots because Jonathan Bailey can't have all the fun. He's free to try to come and get them back. Please do, Johnny!

What about you, dear Nick? What's your outfit like?

NICK: That’s a ravishing question. We start with Elphaba’s iconic black hat. Sewn into Tazewell’s architectural embellishments would be various prizes from my victories in the gladiator ring like arrowheads and human bones, or maybe the gold-leaf crown would be the rim of the hat. We gotta wear one of Joan Baez’s floral-patterned dresses - the deep blue number might be fun, and I bet she was wearing some really comfy shoes. For Conclave, keep it simple and classy with Sister Agnes’ cross, maybe have some robes in the back in case it’s cold.  I’m struggling what to do for Nosferatu, because I also want Orlok’s coat, and because so many of Ellen’s outfits don’t really make sense on top of what I’ve already selected. Maybe I’ll weave her sad lilies into my hair? The vibe is very “Pagan Sarah Carpenter”, but I’m for it…

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Split Decision: "A Real Pain"

Split Decision returns to TFE. In this series two of our writers face off on a movie one loves and the other doesn't. Today, Eric Blume and Cláudio Alves discuss the season's Supporting Actor frontrunner and Original Screenplay nominee, A Real Pain...

ERIC BLUME: I'm thrilled to discuss one of my very favorite movies of the year, A Real Pain, with you.  I think Jesse Eisenberg made a major film with huge ideas, packed in a tight, 90-minute breezy package:  something we almost *never* see nowadays.  I think it's thematically rich, briskly paced, surprising, and most interesting, light and deep at the same time.  Where do you stand on the picture? 

CLÁUDIO ALVES: While I like A Real Pain, I wouldn't call it a major film by any metric, shape, or form…

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