Musician, mogul, throne-watcher, and Donda CEO Kanye West is finally returning to his roots as a filmmaker. According to the New York Observer, Ye is in the Middle East to shoot a follow-up short to “Runaway,” which, of course, was so good that it cured world hunger. This time, Yeezy has his sights set even higher, according to his reps:

“His reps seemed genuinely enthusiastic about creating a piece which highlights the culture accurately,” our source explained. “There’s a lot of preconceived notions and stereotypes about Emiratis and Qataris, which Westerners often play up. They discussed how Kanye is looking to bridge the cultural divide and break misconceptions.”

Yup, the film will indeed finally create peace between the West and the Middle East, so we have that to look forward to, along with Ye’s eventual Nobel Peace Prize (and subsequently shoving Philip Roth off the stage to demand the Nobel Prize for Literature should go to Haruki Murakami instead). Of course, its always possible that this is just a ruse to cover up the fact that Kanye is finally beginning work on The Jetsons movie, so more on this story as it develops.

Yes, after 9,000 months of campaigning and preliminary awards, today the Academy separated the contenders from the pretenders and announced who was up for Oscars. There were plenty of surprises, both pleasant and otherwise. Support for Terrance Malick’s masterpiece The Tree of Life was stronger than a lot of people expected, as the film garnered Best Picture and Director nods. Best Actor contained two surprises, as Gary Oldman’s soft spoken spy from Tinker Tailor Solider Spy and Demian Bashir’s illegal immigrant from A Better Life edged out expected frontrunners Leonardo DiCaprio and Michael Fassbender. Melissa McCarthy got a well-deserved nomination for Bridesmaids, but unfortunately Albert Brooks got ignored for his work in Drive. Oh and you guys will love this, 9/11 exploitation-fest Extremely Loud and Incredibly Close somehow got nominated for Best Picture. Predictions and analysis to come, but let’s all remember one thing: the Dean from Community is now an Oscar nominee.

A Year in Mooring

USA, 2011, 91 min., HDCam
Director: Chris Eyre
Producers: Kevin Reidy, Sally Jo Effenson
Writer: Peter Vanderwall
Cast: Ayelet Zurer, James Cromwell, Jon Tenney, Taylor Nichols, Josh Lucas

Synopsis: A successful businessman, attempting to escape his past, moves aboard a dilapidated boat in a remote harbor. Told over movements framed by the calendar year, the Young Mariner meets other harbor inhabitants with pasts of their own.

Inuk

France/Greenland, 2010, 90 min., HDCam
Director: Mike Magidson
Producers: Mike Magidson, Sylvie Barbe
Writers: Mike Magidson, Jean-Michel Huctin
Cast: Gaaba Petersen, Ole-Jorgen Hammeken

Synopsis: In Greenland’s capital, Nuuk, sixteen year-old Inuk lives a troubled life with his alcoholic mother and violent step-father. One morning, after pulling the half-frozen boy out of an abandoned car, the social services decide to send Inuk north to a children’s home on a tiny island in the middle of the arctic sea-ice. Shortly after arriving, Inuk meets Ikuma, a local polar bear hunter who has his own share of problems, and is asked to take Inuk on his annual seal-hunting trip. So when Inuk, the troubled boy from the city, joins Ikuma, the last great hunter of the North, on this epic dogsled journey, they will face much more than the bitter cold and fragile sea-ice.

Let Go

USA, 2011, 109 min., HDCam
Director: Brian Jett
Producer: Leif Lillihaugen
Writer: Brian Jett
Cast: Alexandera Holden, Amy Stiller, Brian Huskey, Catherine Reitman, David Denman, Dov Davidoff, Edward Asner, Gillian Jacobs, Johnny Pemberton, Kali Hawk, Kevin Hart, Kirk Fox, Maria Thayer, Rance Howard, Simon Helberg

Synopsis: A comedy that follows the intertwining stories of Walter Dishman, a melancholy parole officer struggling with the doldrums of married life, and three eccentric ex-convicts that were recently placed under his supervision. Using the afflictions of modern love as a common thread, the stories build to a poignant climax as each of the characters struggle to free themselves from both literal and figurative bonds.

Take Me Home

USA, 2011, 97min, Blu-Ray
Director: Sam Jaeger
Producer: Michael Hobert, Jane Kelly Kosek
Writer: Sam Jaeger
Cast: Sam Jaeger, Amber Jaeger, Victor Garber, Cristine Rose, Lin Shaye

Synopsis: When Claire jumps in Thom’s beat-up cab in New York, neither realize that they have just begun a journey together of self-discovery that will have them crossing the United States in an effort to find home.

While countless tributes will be offered up by writers and critics more important and influential than myself, I can’t sit by and fail to comment on a band that has meant more to be than can be put into words. I was born in the mid-80s, and by then, Murmer and Reckoning had already made the band one of the most respected and beloved bands of the decade. Because of this, I quite literally grew up on the band. I very clearly remember the first time I heard them. Driving home one night as a kid, I was in the back, clamoring for my parents to put something on. My dad told me that we were going to listen to something he and my mom wanted to hear, and he put on a mix tape of R.E.M. songs. To call the moment transformative would be a stretch, but even as a kid, I instantly fell in love with the band. I may not have known what the hell “Losing My Religion” meant, but it was an incredibly catchy song that was impossible not to be drawn to.

Ferris Wheel on Fire:

• Side A -
• Oh Sister
• Ferris Wheel on Fire
• Home
• April 8th

• Side B -
• I Will Bury You In Time
• Engine
• A Baby For Pree/Glow Into You
• My Dream Girl Don’t Exist

Jeff Mangum Tour Dates:

09-07 Northampton, MA – Academy of Music Theatre
09-09 Cambridge, MA – Sanders Theatre at Harvard University
09-10 Boston, MA – Jordan Hall at New England Conservatory
09-26 Baltimore, MD – 2640 Space at St. John’s Church
09-27 Baltimore, MD – 2640 Space at St. John’s Church $
09-30 Asbury Park, NJ – Paramount Theatre (ATP)
10-02 Asbury Park, NJ – Paramount Theatre (ATP)
10-03 Asbury Park, NJ – Paramount Theatre (ATP) $
10-27 Woodstock, NY – Bearsville Theater (Woodstock Farm Animal Sanctuary Benefit)
10-29 New York, NY – Town Hall
11-06 Jersey City, NJ - Loew’s Theatre
11-30 Dublin, Ireland - Whelan’s
12-04 Minehead, England – ATP Curated by Jeff Magnum
12-08-09 London, England – Union Chapel

$ with a Hawk and a Hacksaw

BEST DRAMA SERIES

Boardwalk Empire
Dexter
Friday Night Lights
Game of Thrones
The Good Wife
Mad Men

Who Will Win: Mad Men. This is there year to break through the Breaking Bad wall. Boardwalk has a strong chance as well, but I think the boys at SCDP are going to be happy come Emmy night.

Who Should Win: Friday Night Lights. The final season of FNL was not its best (season 1 or 4), but was still very good, and getting a symbolic win in its last season would be great to see. Don’t hold your breath though.

Who Was Snubbed: Justified. Seriously, how was this show forgotten?

BEST COMEDY SERIES
Big Bang Theory
Glee
Modern Family
The Office
30 Rock
Parks and Recreation

Who Will Win: Too Close to Call. This is a really tight category, where any of these shows could take the statue, but…

Who Should Win: Parks and Recreation. Hands down the funniest show with the best cast. The show went nuts this year, with no weak episodes, and if it doesn’t win, I’ll go on a hunger strike (or probably just be mad for a few days).

Who Was Snubbed: Community. The show had a few brilliant episodes this season, including a few that were light on the wacky humor that helped build the shows fanbase, but heavy on tremendously done storytelling. A shame it didn’t get a nod.

BEST DRAMA ACTOR

Timothy Olyphant, Justified
Steve Buscemi, Boardwalk Empire
Kyle Chandler, Friday Night Lights
Michael C. Hall, Dexter
Jon Hamm, Mad Men
Hugh Laurie, House

Who Will Win: Jon Hamm. It’s his year to hold the statue before Cranston comes back. And honestly, if you saw the episode “The Suitcase,” you’ll have no problem agreeing with me.

Who Should Win: Kyle Chandler. Like FNL in the Drama Series category, this would be symbolic, though Chandler was pitch perfect in his final season as Coach Taylor, and deserves it outright.

Who Was Snubbed: This category is surprisingly tight. Not much you can argue here.

BEST DRAMA ACTRESS
Connie Britton, Friday Night Lights
Julianna Margulies, The Good Wife
Kathy Bates, Harry’s Law
Mariska Hargitay, SVU
Mirelle Enos, The Killing
Elisabeth Moss, Mad Men

Who Will Win: Elisabeth Moss. If you saw Hamm in “The Suitcase,” you know Moss deserves an Emmy for her work too. She’s past due, and this will be her year.

Who Should Win: Connie Britton. If I had a vote, I’d vote for Moss, but Britton spent five years doing phenomenal work as Tammy Taylor, and it’s sad to see her come away from it all empty handed.

Who Was Snubbed: January Jones, Mad Men. I’m not the biggest January Jones fan, and Betty didn’t have much to do this season, but when she was on screen, the whole mood of the scene changed. Betty was fascinating to watch this year, thanks in large part to Jones.

BEST COMEDY ACTRESS
Edie Falco, Nurse Jackie
Tina Fey, 30 Rock
Laura Linney, The Big C
Melissa McCarthy, Mike & Molly
Martha Plimpton, Raising Hope
Amy Poehler, Parks & Recreation

Who Will Win: Amy Poehler. Tina Fey might surprise, but I think this is Poehler’s year. She was very good all season, and I think that will be hard to ignore.

Who Should Win: Amy Poehler. Seriously. She was great.

Who Was Snubbed: Alison Brie, Community. Annie is one of the sweeter, more fun characters on TV right now. Just watch her try and be someone else in the bar night episode, you’ll see what I mean.

BEST COMEDY ACTOR
Alec Baldwin, 30 Rock
Matt LeBlanc, Episodes
Jim Parsons, The Big Bang Theory
Steve Carell, The Office
Johnny Galecki, The Big Bang Theory
Louie C.K., Louie

Who Will Win: Steve Carell. He hasn’t won an Emmy yet for playing his most iconic roll, and this is the last chance. Voters won’t forget that.

Who Should Win: Louie C.K. It seems like an odd nomination, but it’s sort of Louie‘s consolation prize.

Who Was Snubbed: Joel McHale, Community. The longer he’s on Community, the better he’s getting.

OUTSTANDING SUPPORTING ACTOR, COMEDY
Chris Colfer, Glee
Jesse Tyler Ferguson, Modern Family
Ed O’Neill, Modern Family
Eric Stonestreet, Modern Family
Ty Burrell, Modern Family
Jon Cryer, Two and a Half Men

Who Will Win: Ty Burrell. It’s gotta be someone from Modern Family, and it might as well be the most consistently funny.

Who Should Win: If not Burrell, Eric Stonestreet. After Phil, Cam is among the funniest characters on TV.

Who Was Snubbed: A long list here, including Danny Pudi, Aziz Ansari, Nick Offerman, Rainn Wilson, all of whom did fantastic work this season on shows that were not Modern Family.

OUTSTANDING SUPPORTING ACTOR, DRAMA
Peter Dinklage, Game of Thrones
Josh Charles, The Good Wife
Alan Cumming, The Good Wife
Walton Goggins, Justified
John Slattery, Mad Men
Andre Braugher, Men of a Certain Age

Who Will Win: John Slattery. Like I said, it’s Mad Men’s year to break through the Breaking Bad wall.

Who Should Win: Walter Goggins or Peter Dinklage. Both were fantastic, but will certainly be forgotten come voting time.

Who Was Snubbed: Not to bring in more Mad Men, but the more the show has gone on the more I like Vincent Kartheiser as Pete, who has yet to get a nomination.

OUTSTANDING SUPPORTING ACTRESS, COMEDY
Jane Lynch, Glee
Betty White, Hot in Cleveland
Julie Bowen, Modern Family
Sofia Vergara, Modern Family
Kristen Wiig, Saturday Night Live
Jane Krakowski, 30 Rock

Who Will Win: Kristen Wiig. This will be her anointment into stardom, much the same way Tina Fey (and hopefully Amy Pohler) got her first Emmy en route to a successful movie career. She deserves it too.

Who Should Win: Julie Bowen. Claire isn’t a likable character without her.

Who Was Snubbed: Rashida Jones, Parks and Recreation. Poor, beautiful Anne.

OUTSTANDING SUPPORTING ACTRESS, DRAMA
Archie Panjabi, The Good Wife
Kelly Macdonald, Boardwalk Empire
Christine Baranski, The Good Wife
Margo Martindale, Justified
Michelle Forbes, The Killing
Christina Hendricks, Mad Men

Who Will Win: Christina Hendricks. This is a really tight category full of deserving actresses, but she’ll have the Mad Men luck behind her.

Who Should Win: Margo Martindale. If you’ve watched Justified, you know why.

Who Was Snubbed: No one here. Fantastic group of actresses.

OUTSTANDING MINISERIES OR MOVIE
Cinema Verite
Downton Abbey
The Kennedys
Mildred Pierce
The Pillars of the Earth
Too Big to Fail

BEST VARIETY SERIES
The Colbert Report
Conan
The Daily Show with Jon Stewart
Late Night with Jimmy Fallon
Real Time with Bill Maher
Saturday Night Live

OUTSTANDING REALITY PROGRAM
Antiques Roadshow
Undercover Boss

OUTSTANDING REALITY COMPETITION
The Amazing Race
American Idol
So You Think You Can Dance
Top Chef

Studios, exhibitors and filmmakers are arguing about the future of the business, and whether people in coming years will be more likely to watch movies in theaters or in increasingly sophisticated home setups mimicking the quality, immediacy and, perhaps, cost, of today’s theatrical experience.

Last week, four studios — Sony Pictures Entertainment, 20th Century Fox, Universal Pictures, and Warner Brothers — took the first step in their arrangement with DirecTV to release films two months after their theatrical release.

The first premium on-demand offering came on Thursday, as DirecTV offered Sony’s “Just Go With It,” with Jennifer Aniston and Adam Sandler, for $30. Two dozen filmmakers, including James Cameron and Peter Jackson, fired back with an open letter criticizing the experiment as a threat to theaters.

I find this interesting for a number of reasons. As a cinephile, my first inclination is to side with the exhibitors and filmmakers who are arguing that the movie theater is a vital part of movies as an artform. It is disingenuous of studios to claim that this is anything other than an attempt to make more money by cutting theaters out of the process. Anyone who thinks that the move towards on-demand will stop with putting out movies two months after their theatrical release probably also thought that shutting down Napster would end music piracy. If nothing else, it is incredibly shitty to force theater owners to spend billions of dollars upgrading to digital 3D technology and then pull the rug out from under them by moving to on-demand distribution.

And yet, I don’t actually think I agree with the directors on this one. We live in a country and an economy governed by the ideas of a free market and a healthy competition and I think some healthy competition might be the best thing to improve an experience that is, quite frankly, not all that special at all anymore. Leaving aside the common complaints of too many commercials, obnoxious cell phone and baby wielding patrons, and the exorbitant prices, going to the movies is a frustratingly impersonal experience. Every theater near me has between 12 and 24 screens and the charm and warmth of a Wal-Mart. It is, frankly, an alienating experience; one that I am not willing to fight for and would be more than happy to abandon were a better opportunity to come along.

At first I was somewhat resistant to using on-demand to watch movies, but more and more, I’ve come around to it. Especially living in Charlotte, services like IFC On-Demand offer me movies that I would otherwise not have access to. It has broadened, not narrowed, the range of movies I can see (which seems obvious, but the open letter from the directors argues the opposite – that we need theaters to bring attention to “specialty films” – as if I even have the option of going to the theater to see movies like “Certified Copy” or “Super” if I wanted to). And I get a much more enjoyable experience watching a movie in my home.

The answer is not to stop on-demand home viewing right now (although by charging $30 for movies like Just Go With It, the studios may take care of that themselves). The answer is to evolve, like the business had to do in the 1950s with the invention of television. Places like the Alamo Drafthouse have found a way to make people WANT to go to the movies again (interestingly, one way they’ve done so is by showing a lot of movies that aren’t new studio releases, which is a topic for whole other blog post) and they’re doing quite well for themselves. Like the music industry and the publishing industry, movie theaters find themselves in a time of transition, dealing with a new technology they don’t quite understand. Some will be able to adapt successfully and survive and some won’t. But one thing they can’t do is stop people from wanting and obtaining new technology. Going to the movies used to be an event, the places where they used to be shown were called palaces. Now going to my local AMC or Regal theater has all the appeal and glamour of a trip to Applebee’s. Offer a superior product and people will come.

Parenthood

What started out as a chaotic, melodramatic show, Parenthood has become one of the best ensemble dramas on TV. It’s no coincidence that its gotten better as executive producer Jason Katims wrapped up Friday Night Lights, and any fan of the football drama that isn’t watching Parenthood needs to do so immediately. That aside, the strong ratings opposite CBS’ popular The Good Wife and the critical acclaim (rare for an NBC drama in recent years) will probably come back for a third season, even though there hasn’t been a renewal yet.

Cancellation Scale: 8

House

Surprised to see this one on here? The show hasn’t been renewed yet as FOX and the show’s studio, NBC Universal are haggling over contracts, but the long running show has ratings to back it up. Ultimately the biggest issue for TV fans is whether or not House will still be quality entertainment for another season or two. I love the cranky doctor as much as the next guy, but after seven seasons, the jokes are stale and the insane medical crisises aren’t exciting. House will be back, rest assured, but maybe its time to start thinking about pulling the plug.

Cancellation Scale: 10

Mr. Sunshine

For a show that most people didn’t like at first, it has steadily improved as its become less and less reliant on Matthew Perry making sour faces and brought the excellent supporting cast into the spotlight a bit more. The show has been ABC’s best new comedy, despite airing opposite American Idol and frequently after low rated Modern Family reruns. This isn’t a perfect show, but there’s potential, especially if its paired with Cougar Town, which shares a similar quirky vibe. If ABC finds something better, it’ll get the axe, but if not, expect to see it on the lineup in the fall.

Cancellation Scale: 5

The Chicago Code

Shawn Ryan had a rough fall with Terriers, and his cop drama on FOX hasn’t exactly done stellar this spring. Still, the show has been slowly getting stronger and has been up against lighter, popular comedies on CBS, and FOX really needs it. The network has had a rough stretch when it comes to new dramas in the past few years, and their two popular franchises in the genre, House and Bones have lost the shine they had a few years ago. It wouldn’t be uncharacteristic of the network to drop The Chicago Code and start fresh in the fall with four new dramas, but the prevailing notion is that unless something better comes along, you’ll hear more ridiculous statements about the White Sox being better than the Cubs.

Cancellation Scale: 6

Perfect Couples/Outsourced

To be clear, Perfect Couples isn’t a good show, but Outsourced is atrocious. The former should be cancelled because it isn’t fresh or entertaining enough to watch week to week, and the latter has spent an entire television season insulting smart viewers and the entire nation of India with jokes about diarrhea and culture clashes. The two shows are the weak links in NBC’s three hour comedy block, but they aren’t necessarily signs that the experiment failed. 10:00 is a good spot for 30 Rock, and renewals for Community and Parks and Recreation have proven they work in their time slots. This is ultimately an issue of quality instead of quantity, but NBC will probably run for cover and put an hour long show back in at 10. Despite this fact, it’ll be nice to get rid of Outsourced and barely noticeable that we’ll be rid of Perfect Couples.

Cancellation Scale: 1