If nothing below suits your sensibilities, check out our guide to What You Should Watch On Streaming Right Now.
Schitt's Creek Comedy Central, Pop TV 8:00 p.m. — Fans of this cult-hit series should prepare to be wrecked as the sixth season winds down to an end. The good news is that beloved shows don't die in the streaming era, and Dan Levy is open to a reunion down the road. With self-isolation being the name of the game right now, this and the show's unintentional pandemic banger might truly end up being a collective viewing event.
Parasite Hulu, Wednesday — Alright, so this biting, social-class satire officially does not arrive on Hulu until midnight on Wednesday, but it's worth celebrating Bong Joon Ho's history-making masterpiece landing on a streaming service near you. The film received a hefty box-office bump after winning so many awards that the director apologized to Oscar engravers, so if you still haven't watched, shoot your shot now.
The Resident FOX, 8:00 p.m. — Derek's improvement falls into jeopardy when he suffers a severe complication, and Kit's afraid that this might be more evidence of Cain's cover-up.
The Conners ABC, 8:00 p.m. — Bev is spreading happiness through her finances and decides to fund Mark's coding camp tuition.
Bless This Mess ABC, 8:30 p.m. — Jacob's after-prom event sounds potentially dicey after Kay suggests that Rio and Mike step up as chaperones.
Empire FOX, 9:00 p.m. — Cookie and Lucious have Andre committed to a treatment facility following his breakdown. Meanwhile, Cookie's feeling guilty about Andre's whole situation and wonders how her own troubled history may have contributed.
For Life ABC, 10:00 p.m. — After Cassius put white supremacists in the hospital, Aaron comes to his defense, while Marie's having more feelings for Aaron.
The Last O.G. TBS, 10:30 p.m. — The third season begins for Tracy Morgan and Tiffany Haddish's show about an ex-con attempting to readjust to the world after a 15-year prison stint.
Conan — Guest TBA
The Tonight Show With Jimmy Fallon — Kerry Washington, Russell Wilson, Ciara
A Little Late With Lilly Singh — Adam Rodriguez, Kelsey Cook
The Daily Show With Trevor Noah — Noah's reporting live from his couch, and naturally, the subject of the night will be the ongoing pandemic and social distancing.
The 2006 Oscars will forever be remembered as the infamous ceremony where “Crash” beat “Brokeback Mountain” for Best Picture. Ang Lee’s groundbreaking gay romance was the critical favorite and it won three of the eight Oscars it was nominated for that year: Best Director, Best Adapted Screenplay, and Best Original Score. Headlining actors Heath Ledger and Jake Gyllenhaal both earned Oscar nominations for their performances. The actors were asked to present during the 2007 Oscars telecast, but Gyllenhaal revealed in a recent interview with Another Man magazine via NME that Ledger turned down the opportunity because it would mean making jokes at the expense of the gay “Brokeback” love story.
“I mean, I remember they wanted to do an opening for the Academy Awards that year that was sort of joking about it,” Gyllenhaal said. “And Heath refused. I was sort of at the time, 'Oh, okay... whatever.' I'm always like, ‘It's all in good fun.’ And Heath said, 'It's not a joke to me — I don't want to make any jokes about it.’”
Gyllenhaal, “That's the thing I loved about Heath. He would never joke. Someone wanted to make a joke about the story or whatever, he was like, 'No. This is about love. Like, that's it, man. Like, no.'”
Ledger was nominated in the Best Actor category but lost to “Capote” star Philip Seymour Hoffman. Gyllenhaal lost to George Clooney in “Syriana” for Best Supporting Actor. “Brokeback Mountain” marked the first Oscar nominations for both actors. Ledger would go on to be nominated and win his Oscar in the Best Supporting Actor race for his role as the Joker in Christopher Nolan’s “The Dark Knight.” Ledger received the Academy Award posthumously. “Brokeback” remains Gyllenhaal’s sole Oscar nomination to date.
Gyllenhaal has previously spoken about Ledger’s disdain for “Brokeback Mountain” jokes, but this is the first time the actor has revealed his late co-star turned down the Oscars. Gyllenhaal told “Today” in July 2019 that “Brokeback” marked a pivotal moment in his career. “It opened tons of doors,” he said. “It was crazy. It was amazing. It's defined my career in different ways. [But the film] is bigger than me...It has become not ours anymore. It's the world's.”
Read Gyllenhaal’s latest interview in its entirety on the Another Man website.
The “hidden man” is how editor Lee Smith sees himself in 1917. Not for a second did Smith want audiences paying attention to his cuts or tricks, but to instead immerse themselves in director Sam Mendes‘ World War I story, which is constructed to take place in one seemingly unbroken take. Despite the obvious technical wizardry and razzle-dazzle, they pulled it off. Audiences were caught up in the feeling and exhilaration of 1917, not the craft of 1917.
The war pic isn’t the first time Smith and Mendes collaborated. The two worked together on Spectre, which involved a long take that gave the editor and filmmaker some ideas of how to accomplish 1917. Outside of Smith’s collaborations with Mendes, he’s edited several Christopher Nolan films, Master and Commander: The Far Side of the World, and an underrated gem from the early 2000s, Buffalo Soldiers.
Recently, Smith spoke to us about his intense work on 1917, a few of the movie’s standout sequences, and doing what hasn’t been done before.
Congratulations on the movie. I think it’s an incredible accomplishment.
Thank you. I was definitely the hidden man on that one if I did my job correctly.
That’s what you always want anyway, right?
It’s impressive how you can admire the craft while watching it, but not in a way that makes the movie feel artificial.
That was the thing we always spoke about. The film itself had to be front and center. We never really wanted anyone thinking about how it was made while watching it because our leading thought was just making a great story with great performances. That’s what we were aiming for. As we started to test screen the movie, we realized we achieved that. A lot of people around us were talking about the technique before we started screening, so I’d go, “We gotta stop banging on about technique and make sure the movie works.” As soon as we started screening it, we realized everything is working and all the audience can do is talk about the film. That’s exactly what we wanted to do.
You were editing as they were filming and on the set often. Usually, you have so much time to decide on a take, so how intense was moving at that speed?
Yeah, you could say you’re flying by the seat of your pants. Every day I would watch the shoot the day before the shoot, which could run for two hours worth of material and 39 takes for big sequences. I’d have to talk to Sam in the morning. He’d tell me what he likes, I’d tell him what I like, and we’d ask each other why we liked certain takes. It was a fun conversation, but we had to make up our minds because they were setting up for the next shot.
Generally speaking, you want the shot you’re...