Da Bears or ‘The Bear’? Shocking Showdown This Sunday!

With fourteen seismic activities of 4 or higher on the Richter scale this year alone, it’s reminiscent of that hilarious breakfast scenario in Steve Martin’s “L.A. Story”. In it, Victoria Tenant, experiencing her first earthquake, shows clear signs of panic while everyone else at the restaurant continues their meal undisturbed. When asked about the quake’s intensity, Martin nonchalantly responds, “I’d give it a 4.”

I’m Glenn Whipp, a columnist for the Los Angeles Times and the host of The Envelope’s Friday newsletter. Did you feel the tremor yesterday? I didn’t. I mean … it was only a 4. Now, let’s move on to the news of the week.

Last-Minute Emmy Predictions before Sunday Night’s Ceremony

Over the past few years, the Emmys have been more or less predictable.

Looking back at the previous ceremony, which was delayed a few months due to the writers’ and actors’ strikes and finally took place in January, it was apparent that only three shows dominated — “Succession,” “The Bear,” and “Beef.” They swept the Emmys for series, writing, and directing in their respective categories, and their cast members bagged eight out of the 12 acting awards. Although the winners were mostly deserving, it resulted in a show almost entirely lacking in suspense, unless you were concerned that Matty Matheson might faint onstage during the extended kiss Ebon Moss-Bachrach gave him after “The Bear” won best comedy series.

This year, if you’ve been following “Shōgun,” “The Bear,” and “Baby Reindeer,” you’re pretty much covered. If not, Caleb Williams, our old pal from USC, will be leading the Bears against the Texans on “Sunday Night Football.” I doubt I’ll be the only one multitasking with multiple screens that evening.

Below are my final predictions for the 76th Primetime Emmys on Sunday, which will be broadcast at 5 p.m. Pacific on ABC. (Extra prediction: the Texans will win by 7 points.)

Now that the Autumn Film Festivals have Ended, is there an Oscar Frontrunner?

At this time last year, “Barbie” and “Oppenheimer” were basking in glory for reviving cinema. We spent the summer entranced by Celine Song’s poignant love tale “Past Lives” while Cannes and other fall film festivals introduced us to movies like “Killers of the Flower Moon,” “The Zone of Interest,” “Poor Things,” “Maestro,” “The Holdovers,” “Anatomy of a Fall,” and “American Fiction.”

These ten films turned out to be the strongest group of best picture Oscar nominees since the academy expanded the category in 2009. With a mix of critical favorites, crowd-pleasers, and a plethora of potential Halloween costumes, this batch was unparalleled and is unlikely to be replicated anytime soon.

Fast forward to 2024, the two films that have recently captivated audiences at Cannes and other fall film festivals are Jacques Audiard’s “Emilia Pérez,” a melodramatic musical about a Mexican drug lord contemplating a gender transition, and Sean Baker’s “Anora,” a generous yet zany tale of a Brooklyn sex worker who impulsively marries a young Russian oligarch’s son. Both films premiered at Cannes earlier this year, with “Anora” winning the festival’s top award, the Palme d’Or.

Baker admitted at Cannes that his film isn’t exactly mainstream, thereby succinctly summarizing the mood of the upcoming awards season in just six words.

Judging by the large crowds waiting outside theaters to watch “Anora” at Telluride, Baker may have been underselling his film. Hundreds were unable to get in, a stark and pleasing contrast to the divisive reception of Baker’s previous film, “Red Rocket,” two years ago at the same festival.

Does this signify a change in audience preferences towards more experimental cinema? We’re about to find out as we step into an Oscar season that seems as unpredictable as any in recent years, dominated by international filmmakers, indie films, and potentially, Ridley Scott’s “Gladiator II.”

How unpredictable is it? Check out my column where I discuss the films that performed the best and worst at recent festivals. Right now, the year seems a bit lackluster, but there’s still time for a turnaround. The good news: Gaga will have time to tour instead of campaigning for an Oscar.

Times Team Attends TIFF

Our team has finished their last serving of poutine and returned from Canada, where they watched dozens of films and interacted with the creators and stars of this year’s Toronto Film Festival.

They experienced plenty of exceptional work, including Meredith Blake’s discussion on why the new Amy Adams film “Nightbitch” shouldn’t be mansplained, along with numerous video interviews at the Los Angeles Times Studios at RBC House, including a chat with the cast of the acclaimed Spanish-language French musical crime comedy drama (yes, it’s a mouthful) “Emilia Pérez” about the film’s making. Mark, Meredith, and Matt Brennan also shared their festival favorites, including “Eden,” the most twisted film Ron Howard has made so far, which I’m eager to watch.

I’ll catch up with you again Monday after the Emmys.