The biggest snubs and surprises from the 2024 SAG Award nominations
At least one huge Succession player and one huge film were left out in the cold by the Screen Actors Guild
Film Features SAG
Julianne Moore and Charles Melton in May December, Jeremy Strong in Succession, Imelda Staunton in The Crown Image: Courtesy of Netflix, Courtesy of HBO
The SAG Awards unveiled their nominations this morning, honoring actors across film and television. While the lists were fairly predictable (and heavy on the awards-bait style biopics), there were still some pretty horrendous snubs and some (mostly pleasant) surprises. Voted on by the Screen Actors Guild to honor their colleagues, the SAG Awards are often considered somewhat of a bellwether for who we could see receive an Oscar nomination on January 23.
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As with sports all-star voting, whenever anyone says that a person or project has been snubbed for award consideration, you should be required to say who should be dropped from the list to make way for the person that was snubbed.
Counterpoint: Leo stepped so far out of his comfort zone that the role could’ve been played by lots of actors who better fit the part.
Thanks for the heads-up toward A Small Light. Added.
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With regard to Leo winning the Oscar and then returning to not winning again that’s not exactly uncommon. There have only been 44 actors to win an Oscar more than once (the majority of those having won two) and when you consider that there are about 20 acting nominees every year and the ceremony has been going on nearly a century that’s actually a pretty small pool of people. And that’s before taking in to consideration all the greats who never won at all.So Leo will be fine! He can cry in to $100 bills on a date with whatever 23 year old model he’s seeing.
In looking at the best lead actor nominees, the only one you could realistically substitute DiCaprio in for would be Colman Domingo in Rustin, and I don’t think the demands on the former for his Killers role were anywhere close. It was a decent performance, but there just wasn’t a whole lot of nuance involved in playing a pretty dumb criminal who didn’t really fool anyone. In contrast, while he’s not going to win, I thought this was probably DeNiro’s best performance in well over a decade.I finally speedwatched S5-6 of The Crown last weekend and while I skipped a lot of the Charles-Diana-Camilla and Wills-Kate stuff, from what I saw I don’t think SAG is off at all in dumping it into an ensemble nomination. The problem with Imelda Staunton isn’t that she’s bad in it, but that the direct comps from the previous seasons for her and everyone else are just brutal. The material being significantly weaker doesn’t help – an AI aged Claire Foy and Matt Smith wouldn’t have saved this – but the early season acting popped off the screen. This just sort of melted back into it to a generic English upper class drama, which was fine as an ensemble but nothing special.There were a few exceptions. I’d give the stunning Meg Bellamy props for what I could tolerate watching of that storyline; it’s startling she more or less walked in off the street and outshone the professionals she was up against in every scene. Blake Ritson as William’s Eton house master was small but memorable. And probably the single best individual performance was Lesley Manville’s in her Margaret-centered The Ritz, which while it still had some silly writing was perhaps the best episode of two mediocre seasons.
Elizabeth Debicki is definitely heavy on the Diana tropes in her performance, but from an acting perspective, I can see how it’s an impressive, well-crafter performance because she is seemingly so different in real life. I think it can fall into “a Diana impression is easy” when that isn’t as true. I really think Lesley Manville got the most letdown where there should have been much richer potential Margaret storytelling just based on what we actually know.
Yeah, I didn’t include Debicki largely because I skipped so much of the Diana storyline that I honestly didn’t feel I could make a judgement on her performance, much like Dominic West (whose work I’ve seen a lot more of.)I’d agree that compressing Margaret’s storyline mostly into a single episode was probably a mistake – but at least it made one that would not have been out of place when the show was in its peak years.As I’ve gone on about over and over, the show really did do its best work when it stayed relatively close to what we know happened. To me, one of the best S6 sequences involving that was Wills’ return to Eton partially because he’s discussed some of it. Unfortunately, following that up by making up fantasy with Philip and Charles so they could come up with a reconciliation episode kind of tanked it.
Totally fair – my Debicki comment was more of a “yes, and” then meant to be a negative against your comment. I also think a lot of what worked best was history many people are less familiar with. A lot of people didn’t know the ins and outs of the Margaret – Peter Townsend romance. One of the best episodes in my opinion was the Lord Altrincham/John Grigg episode that was built around a small, but impactful event that wasn’t necessarily common knowledge in 2019 or whatever year that episode aired especially outside the UK. The biggest hurdle for 5/6 was you’re also dealing with stuff that we just know and have seen over and over again
I didn’t think Elizabeth Debicki was that good as Princess Diana – it felt more like a really spot-on impression than genuine acting, because I walked away from the first half of The Crown’s final season thinking that Debicki really nailed some of Diana’s mannerisms but wasn’t very good at communicating any real sense of interiority to Diana. Although maybe that was a broader issue with the writing and directing on the show’s final season because I had similar thoughts about most of the cast this season. For Jeremy Strong, while I thought he was very good in the final season of Succession I don’t think that he was notably better than his castmates who approach their jobs with less “look at me, I’m an ACTOR!” intensity. It could just be that a lot of SAG voters have worked with actors like him before and have very little patience for his shtick.
Barry is a pretty crazy show. People are not sure which crazy moment you’re referring to with that wink and nod, okay?
While the Monk movie might have been cute and unserious, Tony Shaloub’s performance was fantastic, and dealt with some of the deepest and most serious stuff he’s done in that role. His “b-plot” running through the whole movie was surprisingly dark, but beautifully done. Especially the ending.
^this^
i didnt watch Monk after the first few seasons, but this movie was really good. i dont think they promoted it enough. i recommended it to my folks, who never watched the show, and they really liked it.the way they dealt with his suicidal thoughts was…refreshing?
This slideshow strongly suggests that only super serious material can render good acting performances while seemingly not mentioning the irony of saying that while also highlighting a show that is about fungus zombies of sorts.
I dunno, I think the mythology of Jeremy Strong was stronger than his performance as Kendall Roy. His delivery of dialogue rarely swayed further than what appeared to be a bewildered “Well, uhh, yeah, I, umm, well, you, yeah, uhh, uh-huh, right, yeah, umm, okay.”
Is that Umbridge The White on the far right of the header image?
As for my concern the Monk movie might have been cute. Tony Shalhoob’s performance was fantastic. He dealt with some of the deepest and most serious stuff he’s done in that role. His “b-plot” running through the whole movie was surprisingly dark, but beautifully done. Especially the ending.
but he’s the eldest boy!
While a lot about The Gilded Age is lighter than some of the other shows out there (though there was a whole thing about union breaking and just straight up shooting steel workers that was pretty serious), it is a very actorly show where a lot of well liked performers get to do a lot of capital A acting.