Laurie Metcalf and John Lithgow Head to Broadway in ‘Hillary and Clinton’

Read on: TheWrapTheWrap.

Tony Award-winning actors Laurie Metcalf and John Lithgow are returning to Broadway next year in a behind-closed-doors play written by “A Dolls House Part 2” scribe Lucas Hnath titled “Hillary and Clinton.”

Scott Rudin, who’s producing the play, announced that it will be directed by two-time Tony Award winner Joe Mantello on Thursday.

“Hillary and Clinton” takes audiences behind closed doors in the state of New Hampshire during the early days of 2008, as a former First Lady named Hillary (Metcalf) is in a desperate bid to save her troubled campaign for president of the United States. Her husband, Bill (Lithgow), sees things one way; her campaign manager, Mark, sees things another, according to the statement announcing the play.

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“If any of this sounds familiar, don’t be fooled; in a universe of infinite possibilities, anything that can happen, will,” the statement reads.

Throughout the play, Lucas Hnath examines the politics of marriage, gender roles, and the limitations of experience and inevitability in this timely look at an American dynasty in crisis.

Previews for “Hillary and Clinton” will begin March 6, 2019, ahead of an official opening night on April 18, 2019. A theater for the show has yet to be announced.

“Hillary and Clinton” playwright Hnath received a 2017 Tony Award nomination for Best Play with “A Doll’s House, Part 2,” which was this year’s most produced play in America. And Metcalf has had a year full of accolades. She won the 2018 Tony as a featured actress for her roll in “Three Tall Women,” after winning in 2017 for her leading role in Hnath’s “A Doll’s House, Part 2.”

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Metcalf also garnered Oscar and Golden Globe nominations for her supporting role in Greta Gerwig’s “Lady Bird.” She picked up an Emmy nomination this year for “Roseanne” as well.

Lithgow, who wrapped up his one-man show “John Lithgow: Stories by Heart” this summer, won the best supporting actor Emmy in 2017 for his role as Winston Churchill in Netflix’s “The Crown.” He will play the late Roger Ailes in Annapurna’s upcoming untitled film about the sexual harassment scandal that put an end to the former Fox News chairman’s career.

The creative team on “Hillary and Clinton” includes Chloe Lamford (set design), Tony and Academy Award winner Ann Roth (costume design), and Tony Award winner Hugh Vanstone (lighting design).

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‘Thor: Ragnarok’ Surges to Top DVD, Blu-ray Disc Sales Charts

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Biggest Oscar Snubs and Surprises Include ‘Lady Bird,’ ‘This Is Me’

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Oscars: The Complete List of Winners and Nominees (Updating Live)

Read on: TheWrapTheWrap.

There are relatively few surprises so far on tonight’s Oscar telecast, as expected frontrunners Sam Rockwell (“Three Billboards Outside Ebbing, Missouri”) and Allison Janney (“I, Tonya”) won in the supporting acting categories.

The nominees for Best Picture tonight are “Call Me by Your Name,” “Darkest Hour,” “Dunkirk,” “Get Out,” “Lady Bird,” “Phantom Thread,” “The Post,” “The Shape of Water” and “Three Billboards Outside Ebbing, Missouri.

Check out all of Sunday’s nominees below. TheWrap is updating this list with the actual 2018 Academy Awards winners in real-time. (Winners will be bolded with an asterisk.)

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Best Supporting Actor
Willem Dafoe, “The Florida Project”
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri” *WINNER

Makeup and Hairstyling
“Darkest Hour” *WINNER

“Victoria and Abdul”

Costume Design
“Beauty and the Beast”
“Darkest Hour”
“Phantom Thread” *WINNER
“The Shape of Water”
“Victoria and Abdul”

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Best Documentary Feature
“Faces Places”
“Icarus” *WINNER
“Last Men in Aleppo”
“Abacus: Small Enough to Jail”
“Strong Island”

Sound Editing
“Baby Driver”
“Blade Runner 2049
“Dunkirk” *WINNER
“The Shape of Water”
“Star Wars: The Last Jedi”

Achievement in Sound Mixing
“Baby Driver”
“Blade Runner 2049” *WINNER
“The Shape of Water”
“Star Wars: The Last Jedi”

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Production Design
“Beauty and the Beast”
“Blade Runner 2049”
“Darkest Hour”
“The Shape of Water” *WINNER

Foreign Language
“A Fantastic Woman,” Chile *WINNER
“The Insult,” Lebanon
“Loveless,” Russia
“On Body and Soul,” Hungary
“The Square,” Sweden

Best Supporting Actress
Mary J Blige, “Mudbound”
Allison Janney, “I, Tonya” *WINNER
Lesley Manville, “Phantom Thread”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”

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Best Animated Short Film
“Dear Basketball”
“Garden Party”
“Negative Space”
“Revolting Rhymes”

Best Animated Feature Film
“The Boss Baby”
“The Breadwinner”
“Coco” *WINNER
“Loving, Vincent”

Achievement in Visual Effects
“Blade Runner 2049” *WINNER

“Guardians of the Galaxy Vol. 2”
“Kong: Skull Island”
“Star Wars: The Last Jedi”
“War for the Planet of the Apes”

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Film Editing
“Baby Driver”
“Dunkirk” *WINNER
“I, Tonya”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

Best Documentary Short Subject
“Edith + Eddie”
“Knife Skills”
“Traffic Stop”
“Heaven Is a Traffic Jam on the 405” *WINNER

Best Live Action Short
“The Eleven O’Clock”
“My Nephew Emmett”
“The Silent Child” *WINNER
“Watu Wote: All of Us”
“Dekalb Elementary”

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Best Adaptated Screenplay
“Call Me by Your Name”
“The Disaster Artist”
“Molly’s Game”

Best Original Screenplay
“The Big Sick”
“Get Out” *WINNER
“Lady Bird”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

“Blade Runner 2049” *WINNER

“Darkest Hour”
“The Shape of Water”

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Original Score
“Phantom Thread”
“The Shape of Water”
“Star Wars: The Last Jedi”
“Three Billboards Outside Ebbing, Missouri”

Original Song
“Mighty River,” “Mudbound”
“Mystery of Love,” “Call Me by Your Name”
“Remember Me,” “Coco”
“Stand Up for Something,” “Marshall”
“This Is Me,” “The Greatest Showman”

Best Director
“Dunkirk,” Christopher Nolan
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“Phantom Thread,” Paul Thomas Anderson
“The Shape of Water,” Guillermo del Toro

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Best Actor
Timothée Chalamet, “Call Me by Your Name”
Daniel Day Lewis, “Phantom Thread”
Daniel Kaluuya, “Get Out”
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”

Best Actress
Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Meryl Streep, “The Post”

Best Picture
“Call Me by Your Name”
“Darkest Hour”
“Get Out”
“Lady Bird”
“Phantom Thread”
“The Post”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

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There has never been an Oscars show with a race as wide-open as it is this year, with a remarkable five films heading to the Dolby Theatre with a real chance of winning the Academy Award for Best Picture.

And there has rarely been an Oscars in which the Best Picture race — in fact, all the races — are as overshadowed by outside events as they are this year.

As the 90th Academy Awards take place on Sunday evening, people will want to know how the show is going to address the seismic changes that are taking place in Hollywood in the wake of the Harvey Weinstein allegations and the rise of the #MeToo and #TimesUp movements.

They’ll want to know if the Academy is going to face the thorny issue of diversity in Hollywood, beyond congratulating themselves on nominating four black actors in a year that once had the potential to be a return of the #OscarsSoWhite controversy.

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They’ll want to know if host Jimmy Kimmel will get political, and whether his monologue will detour from movie jokes into slaps at Donald Trump.

Will the presenters and winners also speak out, venturing into subjects from sexual misconduct to gun control and turning the Oscars into a bigger, flashier version of January’s black-clad, explicitly political Golden Globe Awards?

Will presenters have the right envelopes when they walk on stage, and how will Warren Beatty and Faye Dunaway handle their second chance at giving out Best Picture in the wake of last year’s envelope disaster?

And then, after all that is settled, they’ll want to know if “The Shape of Water,” “Get Out” or “Three Billboards Outside Ebbing, Missouri” will win Best Picture, or if “Lady Bird” or “Dunkirk” could engineer an upset.

In an anniversary year that would normally be the basis for a celebratory Oscars, that’s the very real challenge facing show producers Michael De Luca and Jennifer Todd. They not only have to celebrate the movies and the nominees, they need to convince the audience that it’s OK to glorify the products of an industry that not only contained sexual predators but enabled them.

Before they can get us to rejoice in 90 years of Oscar history, they need to show us that the broken system of Hollywood is worth all the fuss.

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De Luca and Todd have already proven that they have good instincts and they know how to put on a terrific Oscars show: Last year’s ceremony, their first as producers, was about three hours and 45 minutes of sharp, entertaining and occasionally emotional entertainment.

But De Luca and Todd have also learned how easy it is for an Oscars show to be completely overshadowed by things over which they have no control: Last year’s show actually lasted for three hours and 49 minutes — and in those final few minutes, an inattentive PwC accountant gave Beatty the wrong envelope and caused a fiasco that immediately became the only thing that people remember about the show.

The producing duo had certainly earned the chance to do another show that wouldn’t be derailed by distractions — but then, in October, the first Harvey Weinstein stories launched the ultimate distraction, one that made many in Hollywood uncertain about whether any kind of celebration was appropriate.

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In many ways, these are the no-win Oscars: If the show spends too much time on #TimesUp and on political issues, people will complain that it is too political. If if doesn’t spend enough time on issues, people will complain that it’s ignoring the elephant in the room.

And Kimmel is facing the certain knowledge that every time a room full of entertainment industry folks gets together, their minds are not far from the fall of Weinstein and many others over the past five months — and while it would be weird to ignore that, the only way to joke about Weinstein is to be dark and vicious, not always the best fit for the Oscars.

Kimmel can’t really do what co-host John Mulaney did at Saturday’s Film Independent Spirit Awards, when he told a story of meeting Weinstein and hearing the mogul grumble that his TV productions got more attention than his films: “Forget ‘Pulp Fiction,’ my tombstone is gonna say “Project Runway,”‘ he told Mulaney.

“Ah, you don’t gotta worry any more, Harvey,” said Mulaney at the Spirit Awards. “It’s not gonna say ‘Project Runway.’ It’s gonna say ‘XXL unmarked grave.’”

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Still, Kimmel has proven himself adept at mixing comedy and commentary; while the optics might be better if the show had a female host this year, he’s certainly got the skill set to deal with what needs to be dealt with, give the audience permission to laugh and then let them move to celebrating movies.

And if he, De Luca and Todd walk that fine line successfully, they’ll lead the audience into a confounding Oscars. The four acting races seem like foregone conclusions — Gary Oldman, Frances McDormand, Sam Rockwell and Allison Janney are all but unstoppable — and categories like Best Director (Guillermo del Toro), Best Adapted Screenplay (“Call Me by Your Name”) and Best Animated Feature (“Coco”) are similarly locks.

But this is also a show that has the chance for some milestones: “Call Me by Your Name” screenwriter James Ivory (89 years, 270 days old) could become the oldest Oscar winner in history, unless “Faces Places” co-director Agnes Varda (89 years, 278 days) beats him to it. Roger Deakins could win his first cinematography Oscar in 14 nominations, or Diane Warren her first song Oscar in nine noms.

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And it’s a show with the wildest Best Picture race in memory. Guillermo del Toro’s romantic fantasy “The Shape of Water” leads all films with 13 nominations and he’ll certainly win Best Director, but picture and director have split four times in the last five years. “Get Out” could easily sneak in and win, buoyed by support from an Academy that is rapidly growing younger and more diverse — but it only has four total nominations, which would be the fewest for any winner since “Cavalcade” in 1933. “Three Billboards” might have enough support from the huge Actors Branch to eke out a win, but to do so it would have to become only the fourth film in 89 years to win even without a Best Director nomination.

“Dunkirk” and “Lady Bird” also have difficult but conceivable paths to victory — and while the earlier awards will give clues as to what might happen at the end of the night, we legitimately won’t know what’s going to win Best Picture until Beatty and Dunaway open that final envelope.

That ought to be enough for an exciting Oscar show all by itself. But, of course, this is a year that is going to bring much, much more than that, for better and for worse.

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We won’t know for sure what film is going to win the Academy Award for Best Picture until the final envelope is opened on Sunday night at the Dolby Theatre.

But attentive viewers should have a pretty good idea which film has the upper hand, because the first 23 categories to be handed out will be dropping plenty of clues.

At the beginning of the night, I’d say that five films have a chance to win. They are, in this approximate order of likelihood, “The Shape of Water,” “Get Out,” “Three Billboards Outside Ebbing, Missouri,” “Dunkirk” and “Lady Bird.”

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And as the show unreels over the next three hours plus, these categories will start to tell the story:

BEST SUPPORTING ACTOR: If Willem Dafoe beats the favored Sam Rockwell, the chances that “Three Billboards” can win Best Picture will take a big hit.

BEST SUPPORTING ACTRESS: If Laurie Metcalf beats front runner Allison Janney (“I, Tonya”), the Best Picture hopes for “Lady Bird” will get a definite boost.

BEST ORIGINAL SCREENPLAY: “Get Out,” “Lady Bird” and “Three Billboards” all need to win this. Whichever one does is still in the Best Picture game; the other two are in trouble. If “Shape of Water” wins, it’s over.

BEST FILM EDITING: “Dunkirk” will probably win — and if it doesn’t, its chances of scoring an upset Best Picture victory are probably dead. If “Three Billboards” wins, on the other hand, its chances of winning Best Picture will get a lot better.

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BEST CINEMATOGRAPHY, BEST FILM EDITING, BEST COSTUME DESIGN: “The Shape of Water” can increase its chances of winning Best Picture with upset wins in any of these categories.

BEST SOUND EDITING, BEST SOUND MIXING: If “The Shape of Water” wins one of these categories, it’s probably winning Best Picture. If it wins both of them, it’s definitely winning Best Picture.

BEST ORIGINAL SCORE: If “Dunkirk” beats “The Shape of Water” for original score, that’ll be a sign that it could do the same for picture.

BEST ACTOR: If Daniel Kaluuya somehow scores an upset victory over Gary Oldman, look for “Get Out” to win Best Picture.

BEST DIRECTOR: If anybody other than Guillermo del Toro wins, “The Shape of Water” will lose Best Picture. But to what?

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Look, everybody knows at this point that you haven’t really made it until you’ve got one of those fancy cinematic universes, filled to the brim with cameos and after-credit scenes and wiki pages keeping meticulous track of the status of Samuel L. Jackson’s eye patch. So who can blame Greta Gerwig—currently nominated…

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Oscar Season Surprise: ‘Lady Bird,’ ‘Get Out’ Have Won More Best Picture Awards Than ‘The Shape of Water’

Read on: TheWrapTheWrap.

By the time the red carpet starts getting set up on Hollywood Blvd. for this Sunday’s Academy Awards, it’s pretty clear which nominees are the critics’ darlings and which ones have the best chance of getting recognized by the Academy voters.

But this year’s Best Picture race is very, very different. While our annual survey of over 40 guild and critics awards shows clear favorites for the acting and directing categories, the picks for the top prize have been spread out across multiple contenders. As TheWrap’s awards guru Steve Pond has noted, this is the most unpredictable Best Picture race in recent memory with a field that could see a horror movie, a directorial debut, or a sci-fi romance claim victory at the end of Oscar Sunday.

So far, the critics have favor “Get Out” and “Lady Bird,” the two films made by the debuting directors in this year’s race, Jordan Peele and Greta Grewig. Each of those films has 10 Best Picture wins, with the “Lady Bird” tally including the Golden Globe for Best Comedy.

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Behind them are Fox Searchlight’s entrants in the Oscar race, “Three Billboards Outside Ebbing, Missouri,” and “The Shape of Water,” both with six wins each. But while “Get Out” and “Lady Bird” got their wins mostly from critics, these two pictures picked up major guild victories. “Three Billboards” won Best Drama at the Golden Globes and the top prize at the BAFTAs, while “The Shape of Water” won the top prize at the Producers Guild Awards.

In last year’s awards survey, “Moonlight” and “La La Land” each a total of 34 Best Picture wins heading into the big night, more than the top four in this year’s poll combined. “Call Me By Your Name,” “Dunkirk,” “Phantom Thread,” “The Post” and even the snubbed A24 film “The Florida Project” showed up on this year’s tally.

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In the individual races, the picture is more clear. Guillermo Del Toro is widely expected to win Best Director this Sunday after winning the top prize at the Directors Guild Awards, an award that has gone to the eventual Oscar winner for 13 of the last 14 years. And he’s picked up a total of 13 directing prizes this season, more than any other contender

However, critics did show a lot for “Lady Bird” writer-director Greta Gerwig (eight awards), while Jordan Peele (“Get Out”) was recognized by many critics circles who offered awards for first-time filmmakers.

It’s a similar case for the Best Actor competition, where Timothée Chalamet’s quiet but emotional performance in “Call Me by Your Name” earned some critical love with 10 wins, but Gary Oldman remains the clear favorite with 16.

Oldman’s performance as Winston Churchill in “Darkest Hour” has earned him the SAG Award, Golden Globe, and BAFTA for Best Actor, and with those wins, Oscar Sunday is expected by prognosticators to be a coronation for an actor who wrapped up this race months ago.

Similarly, Frances McDormand is expected to win the Best Actress competition for her angry performance as Mildred Hayes in “Three Billboards.” Like Oldman, she pulled off the SAG/BAFTA/Globe treble, making her the favorite.

However, the critics really love Sally Hawkins’ performance as a mute in “The Shape of Water,” pushing her to a tie with McDormand in our tally at 14 pre-Oscar prizes. Hawkins won honors from the National Society of Film Critics, as well as critics circles in Boston, Dallas, Houston, and Los Angeles. Saoirse Ronan, who won a Golden Globe for her “Lady Bird” role, was in third with nine wins.

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The same split between the critics and the awards that predict the Oscars can be seen in the supporting categories. Sam Rockwell, the favorite to win Best Supporting Actor for his hotly debated performance as the racist Officer Dixon in “Three Billboards,” has picked up a total of 14 prizes so far.

However, “The Florida Project” star Willem Dafoe has actually picked up more prizes this season — 20, including critics circle victories in Boston, Chicago, Austin and New York.

Finally, in Best Supporting Actress, Allison Janey won the SAG, BAFTA, and Globe by playing Tonya Harding’s horrific mother LaVona in “I, Tonya,” but it is Laurie Metcalf and her performance opposite Saoirse Ronan in “Lady Bird” that has been the critics’ overwhelming pick.

Metcalf has outscored Janney 26 wins to 11, including honors by the NSFC.

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