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Ripa’s husband and co-host Mark Consuelos backed her up: “Yeah, we thought she was Ariana Grande!” (Scroll down to watch the full open.)

Executive producer Michael Gelman said he was worried that Ripa’s transformation was almost too perfect: “At first I was like, ‘Oh, my goodness. Kelly looks so good that people are going to think that it’s the real thing and not a takeoff,” he said. “But then you could tell that it’s Kelly. Kelly and Mark both really hit it out of the park doing this. And our makeup and hair team and our producers, who edit that together with the green screens and special effects, it’s just huge.”

Added Ripa: “It’s extraordinary, and I don’t like to sing our own praises, but it is inspired. We really did outdo ourselves.”

“Live with Kelly and Mark” will once again go live on Monday, March 3 — the day after the Oscars — at 6 a.m. PT/9 a.m. ET from the Dolby Theatre on Hollywood, less than seven hours after the Oscars sign off at the venue. Guests will include Steve Aoki and Lil John supplying the music, while Jerry O’Connell will report for the show from the red carpet and Nikki Glaser will give her take on the awards show’s winners and losers.

“Jerry is returning to our red carpet to do our fashion stuff, which is, I don’t mind telling you is my favorite, because he is so bonkers and zany on the red carpet,” Ripa said of O’Connell, who was available to return to “Live” now that his competing program, “The Talk,” has come to an end. “He’s willing to say and do anything, and he’s got just such a great rapport with people.”

Gelman and team are also still saving room for any Oscar winners to drop by that morning. “It’s always iffy, because you don’t know who’s going to win,” he said. “And then people sometimes just want to go out and party. But we’ve had a pretty good track record over the years of getting people to show up the next morning. So we’ve left enough pad in the show that we can fit in any Oscar winners that we get.”

It’s a long 24 hours for the “Live” crew, as they’re taping the red carpet and interviews throughout Oscar Sunday — and then of course, backstage at the show Ripa and Consuelos are chatting with winners right after they collect their trophies.

“They are not focused and truly in the fifth dimension,” Ripa said. “Pulling people out of the fifth dimension and into a space where you’re interviewing them is my favorite job, because I can’t imagine what it would feel like. It’s got to feel surreal. We talk to people, and then will bump into them a month later, two months later and they have no memory of seeing us backstage.”

Added Consuelos: “They’re not in their bodies. You can see that they’ve had a different kind of experience. That’s always interesting, meeting the people backstage just after they’ve won the biggest award their life.”

At some time around midnight, the security switches and the Dolby becomes the “Live” production homebase. “At first we get the control room and the stage, so there’s all kinds of tweaking on which set pieces we’re going to use, and which ones we’re not,” Gelman said. “Putting that whole technical quagmire together is really a challenge for our tech team, but it pretty much goes off without a hitch.”

There’s very little sleep for the “Live” crew overnight. Gelman said he finally learned that he needed to take a few cat naps to stay sharp during the actual broadcast. “For a bunch of years, I got no sleep, or I dozed for half hour,” he said. But really, I found that my brain gets mushy, so I try to get two to three hours, if I can. After the Oscars end, we’ll have our production meeting and talk about, who have we been able to book for the next morning? Then we revamp the entire show at 11 o’clock at night. That’s when a lot of the work starts getting done, where they start editing the red carpet package piece, the fashion piece, the backstage winners piece.”

By Monday midmorning, it’s all over — and that’s when Consuelos gets to do the other thing he’s most looking forward to: “Getting our In N Out burger for the plane home,” he revealed.

Here’s two exclusive first looks at the behind the scenes production on this Monday’s “Wicked” parody set to air during the “Live with Kelly and Mark” post-Oscars edition:

And here is the full open:

The post ‘Live With Kelly and Mark’ Previews Post-Oscars Episode, Including Ambitious ‘Wicked’ Parody That Fooled Even Kelly Ripa’s Daughter (EXCLUSIVE) appeared first on Entertainment News Boom.

“Dune: Part Two,” “Emilia Perez,” “Wicked,” “The Wild Robot” and “Saturday Night” won one award apiece at the 72nd annual Motion Picture Sound Editors Golden Reel Awards, Sunday at the Wilshire Ebell Theatre.

In the feature competition of the annual awards, “Dune: Part 2” topped the category for effects and foley: “Saturday Night” collected the trophy for dialogue and ADR; “Wicked,” for music editing; “Emila Perez,” for sound editing in an international feature; and “The Wild Robot,” for sound editing in an animated feature.

The results set up a competitive Oscar race in sound. “Dune: Part Two,” “Emilia Perez,” “Wicked” and “The Wild Robot,” along with “A Complete Unknown” are nominated for the Oscar in sound, which combines sound editing and mixing. On Saturday, the Cinema Audio Society, which represents sound mixing, weighed in, giving its top awards to “A Complete Unknown,” for a live-action feature; and “The Wild Robot,” for an animated feature. A week ago, “Dune: Part Two” collected the BAFTA in sound.

The Golden Reel Awards honor achievements in sound editing, sound design, music editing and foley artistry in film, television and gaming. TV category winners included “Ripley,” “Shogun,” “The Penguin” and “Only Murders in the Building.”

During the Patton Oswalt-hosted evening, supervising sound editor Greg Hedgepath (“Speed,” “Twister”) was honored with the Career Achievement Award and Kevin Costner received the Filmmaker Award.

“Sound still remains the single greatest contribution to film,” Costner said, accepting the award. “You’ve made it happen for your directors. You’ve made it happen for me when it didn’t seem possible, and your fingerprints have made the difference in scenes and in moments that will never be forgotten in film.”

He added, “what I want to say is that I have depended on you, and I have been better because of your skill and your desire.”

The MPSE invited firefighters to attend the gala as special guests with the audience honoring them for their heroic efforts during the recent L.A. wildfires. Fundraising efforts were also part of the event.

The list of winners follows:

Outstanding Achievement in Sound Editing – Broadcast Animation

Secret Level: “Warhammer 40,000: They Shall Know No Fear”

Amazon Prime

Supervising Sound Editors

Brad North MPSE

Matt Yocum MPSE

Sound Designers

Joseph Fraioli

Nolan McNaughton MPSE

Ryan Sullivan

Sound Effects Editors

Chris Battaglia MPSE

Harry Cohen MPSE

Foley Editors

Matt Manselle

Matt Telsey

Foley Artist

Brian Straub

Outstanding Achievement in Sound Editing – Broadcast Long Form Dialogue / ADR

Shōgun: “Ladies of the Willow World”

FX

Supervising Sound Editor

Brian J. Armstrong MPSE

Sound Editor

Damon Cohoon

Dialogue Editor

John Creed MPSE

ADR Editor

Ayako Yamauchi MPSE

Outstanding Achievement in Sound Editing – Broadcast Long Form Effects / Foley

Ripley: “III Sommerso”

Netflix

Supervising Sound Editor

Michael Feuser

Lawrence Zipf

Sound Designers

Bill R. Dean MPSE

Angelo Palazzo MPSE

Lawrence Zipf

Foley Editor

Igor Nikolic

Sound Effects Editors

David Forshee MPSE

Wyatt Sprague

Supervising Foley Editor

Matt Haasch

Foley Artists

Sandra Fox

Steve Hammond

Goro Koyama

Andy Malcolm

Jay Peck

Outstanding Achievement in Sound Editing – Broadcast Short Form

Earthsounds: “Australian Forests”

Apple TV+

Supervising Sound Editor

Kate Hopkins

Sound Effect Editor

Tom Mercer

Foley Editor

Ellie Bowler

Foley Artist

Rory Joseph

Outstanding Achievement in Sound Editing – Feature Animation

The Wild Robot

Universal Pictures

Supervising Sound Editors

Brian Chumney

Leff Lefferts

Sound Designer

Randy Thom MPSE

Sound Effects Editors

David Farmer MPSE

David Hughes

Jamey Scott MPSE

Dialogue Editor

Rich Quinn

Foley Editors

Malcolm Fife

Dee Selby

Foley Artists

Ronni Brown

Jana Vance

Outstanding Achievement in Sound Editing – Feature Documentary

The Blue Angels

Amazon Prime

Supervising Sound Editor

Robert Stambler MPSE

Sound Effects Editor

Ryan “Sully” Sullivan

Dialogue Editor

Emma Present

Outstanding Achievement in Sound Editing –Feature International

Emilia Pérez

Netflix

Supervising Sound Editor

Aymeric Devoldère

Sound Designer

Cyril Holtz

Supervising Dialogue Editor

Hortense Bailly

Supervising ADR Editor

Carolina Santana

Foley Editor

Antoine Swertvaegher

Foley Artist

Gregory Vincent

Outstanding Achievement in Sound Editing – Feature Dialogue / ADR

Saturday Night
Columbia Pictures

Supervising Sound Editors

David Butler

Will Files MPSE

Lee Gilmore MPSE

Dialogue Editors

Helen Luttrell

Emma Present

Sound Editor

Matt Cloud

Outstanding Achievement in Sound Editing – Feature Effects / Foley

Dune: Part Two

Warner Bros. Pictures and Legendary Pictures

Supervising Sound Editor

Richard King

Sound Designers

Dave Whitehead MPSE

Michael Babcock

Lee Gilmore MPSE

Randy Torres

Sound Effects Editors

Brent Burge

Hayden Collow

Melanie Graham

Michael Mitchell

Jeff Sawyer

Matt Stutter MPSE

Chris Terhune

Supervising Foley Editor

Chris Flick

Foley Editor

Willard Overstreet

Foley Artists

John Cucci

Dan O’Connell

Outstanding Achievement in Sound Editing – Non-Theatrical Animation

Arcane: “The Dirt Under Your Nails”

Netflix

Supervising Sound Editors

Brad Beaumont MPSE

Eliot Connors MPSE

Sound Effects Editor

Stephen P. Robinson MPSE

Supervising Music Editor

Alexander Temple

Music Editors

Andrew Kierszenbaum

Sebastien Najand

Alex Seaver

Foley Editor

PJ Pascual

Foley Artists

John Cucci

Dan O’Connell

Outstanding Achievement in Sound Editing – Non-Theatrical Documentary

Apollo 13: Survival

Netflix

Supervising Sound Editor

Paul Darling

Sound Editor

Greg Gettens

Foley Editor

Olly Freemantle

Foley Artist

Rebecca Heathcote

Outstanding Achievement in Sound Editing – Non-theatrical Feature

Rebel Moon – Part Two: The Scargiver

Netflix

Supervising Sound Editors

Scott Hecker MPSE

Chuck Michael MPSE

Sound Effects Designers

Scott Hecker MPSE

Chuck Michael MPSE

Nick Interlandi

Bryan Jerden MPSE

Alexander Pugh MPSE

Andrew Vernon MPSE

Sound Effects Editors

Greg ten Bosch MPSE

Brad Sokol MPSE

Supervising Dialogue / ADR Editor

Jessie Anne Spence MPSE

Dialogue/ADR Editors

Michael Hertlein

Arielle McGrail

Byron Wilson

Supervising Foley Editor

Mark Pappas

Supervising Foley Artist

Gary Hecker MPSE

Foley Editor

Jeff Gross

Foley Artists

Michael Broomberg

Mike Horton

Outstanding Achievement in Music Editing – Broadcast Long Form

The Penguin: “Cent’Anni”

HBO Max

Supervising Music Editor

Ben Holiday

Music Editors

Chad Birmingham

Luke Dennis

Outstanding Achievement in Music Editing – Broadcast Short Form

Only Murders in the Building: “My Best Friend’s Wedding”

Hulu

Music Editor

Michah Liberman

Outstanding Achievement in Music Editing – Documentary

Music by John Williams

Disney+ 

Music Editors

Ramiro Belgardt

Christopher Barnett MPSE

Mike Matessino

Outstanding Achievement in Music Editing – Feature Motion Picture

Wicked

Universal Pictures

Supervising Music Editors

Jack Dolman

Catherine Wilson

Supervising Vocal Editor

Robin Baynton

Outstanding Achievement in Sound Editing – Game Dialogue / ADR

Call of Duty: Black Ops 6

Sledgehammer Games

Audio Directors

Jonathan Gosselin

Ian Mika

Jeremiah Sypult

Brian Tuey

Audio Leads

Collin Ayers

Darren Blondin

Scott Eckert

Jacob Harley

Supervising Sound Editor

Charles Deenen

Supervising Dialogue Editor

Robert Jackson

Senior Audio Artist

Ryan Garigliano

Dialogue Editors

Jessica Arkoff

Socrates Ayala

Kelli Baffoni

Terry Boyd

Roman Fusco

Cesar Marenco MPSE

Kevin Patel

Brandon Roos

Ruge Sun

Dani Turner

Rob Weiss

Maggie Wolf

Audio Artists

Justin Moreh

Darrell Tung

Outstanding Achievement in Music Editing – Game Music

Star Wars Outlaws

Audio Director

Simon Koudriavtsev 

Music Editor

Ola Strandh

Senior Music Designer

Erik Jacobsson

Music Supervisor

Manu Bachet

Scoring Editor

John Kurlander

Outstanding Achievement in Sound Editing – Game Effects / Foley

Call of Duty: Black Ops 6

Audio Directors

Adam Boyd MPSE

Trevor Bresaw

Jonathan Gosselin

Ian Mika

Jeremiah Sypult

Brian Tuey

Supervising Sound Editor

Charles Deenen

Lead Sound Designers

Collin Ayers

Jai Berger

Darren Blondin

John Drelick

Jacob Harley

Nick Martin

Kevin Sherwood

Sound Designers

Mark Camperell MPSE

Nick D’Amato

Tom David

James Evans

Daniel P. Francis MPSE

Luis Galdames MPSE

Nick Interlandi

Austin Krier MPSE

Jim Lecroy

James Miller

Garrett Montgomery MPSE

Josh Moore

Michael Newton

Dominik Ragančík

Jordan Ruhala

Matthew Schaff MPSE

Nick Spradlin

Darrell Tung

Bryan O. Watkins

Technical Sound Designers

Sunglae Park

William Wise III

Principal Audio Designer

Nick Tremblay

Expert Sound Designers

Andy Bayless

Cameron Britton

Scott Eckert

Expert Audio Designer

Dominique Voegele

Sound Effects Editors

Landen Belardes

Cadmus Blackwood

Tyler Windsor

Senior Audio Designer

Mathieu Denis

Senior Audio Artist

Corina Bello

Logan Byers

Ryan Garigliano

Jasmine Jia

James McCawley

Vadim Nuniyants

Tim Schlie

Lee Staples

Junior Audio Artists

Tommy Lee

Justin Moreh

Foley Editor 

Rustam Himadiiev

Foley Artist

Bogdan Zavarzin

Audio Directors

Adam Boyd MPSE

Trevor Bresaw

Ian Mika

Jeremiah Sypult

Brian Tuey

Outstanding Achievement in Sound Editing – Student Film (Verna Fields Award)

Songbirds

Savannah College of Art and Design

Supervising Sound Editor

Eugenio Mirafuentes

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The sound mixing teams behind “A Complete Unknown” and “The Wild Robot” won awards in the categories of live action feature and animated feature, respectively, at the 61st Cinema Audio Society Awards for sound mixing, held Saturday at the Beverly Hilton.

“A Complete Unknown” and “The Wild Robot,” along with “Dune: Part Two,” “Wicked” and “Emilia Perez” are nominated for the Oscar in sound, which combines mixing and sound editing. The Motion Picture Sound Editors will hand out its Golden Reel Awards on Sunday.

Additional CAS Award winners included “Shogun,” “The Bear,” “Masters of the Air” and “Music by John Williams.”

During the evening, production sound mixer Tod A. Maitland, who was also on the award-winning “A Complete Unknown” sound team, accepted the CAS Career Achievement Award, which was presented by Oliver Stone. Additional colleagues congratulated him in person or on video, including Steven Spielberg, Martin Scorsese, Robert De Niro and “Complete Unknown” helmer James Mangold.

Maitland remembered presenting the same award to his father, Dennis Maitland, 16 years ago, and then thanked his family, friends and colleagues. “The real draw of this business has always been the people, happenstance relationships that turn into lifelong bonds,” said Maitland, whose credits include “JFK,” “Born on the Fourth of July,” “The Irishman” and Spielberg’s “West Side Story.” “Where else do you have the opportunity to get to know some of the most interesting, creative, passionate, and, yes, exorbitantly paid individuals in the world? The longer you’re in the business, the more it becomes a part of your life. The film crew becomes your family.”

He talked about his love for music-based films, saying they “open the doors to a whole new opportunity of innovation, creativity, chance to explore new equipment, and, more importantly, as a sound mixer, to become a more integral part of the filmmaking team.”

In conclusion, Maitland warned the crowd of industry insiders: “Our world is changing faster than anyone could have ever imagined. We as sound professionals, need to focus on is maintaining the art and maintaining our place in the art. I believe this is more important than ever, and it has to be all of our missions.”

“Dune: Part Two” director Denis Villeneuve accepted the CAS Filmmaker Award, which was presented by the film’s rerecording mixer Ron Bartlett, composer Hans Zimmer and producer and his wife Tanya Lapointe. “Sound is at the heart of my cinematic creativity,” Villeneuve said, accepting the award, acknowledging the teams with whom he has worked.

A portion of the evening’s proceeds were donated to L.A. fire relief efforts, and CAS collected additional donations during the evening.

The complete list of winners follows:

MOTION PICTURES – LIVE ACTION

“A Complete Unknown”

Production Sound Mixer – Tod A. Maitland CAS

Re-Recording Mixer – Paul Massey CAS

Re-Recording Mixer – David Giammarco CAS

Scoring Mixer – Nick Baxter

ADR Mixer -David Betancourt

Foley Mixer – Kevin Schultz

MOTION PICTURES – ANIMATED

“The Wild Robot”

Original Dialogue Mixer – Ken Gombos

Re-Recording Mixer – Leff Lefferets

Re-Recording Mixer – Gary A. Rizzo CAS

Scoring Mixer – Alan Meyerson CAS

Foley Mixer – Richard Duarte

MOTION PICTURES – DOCUMENTARY

“Music by John Williams”

Production Mixer – Noah Alexander

Re-Recording Mixer – Christopher Barnett CAS

Re-Recording Mixer – Roy Waldspurger

NON-THEATRICAL MOTION PICTURES OR LIMITED SERIES

“Masters of the Air” – S01 E05 “Part Five”

Production Sound Mixer – Tim Fraser

Re-Recording Mixer – Michael Minkler CAS

Re-Recording Mixer – Duncan McRae

Re-Recording Mixer – Shane Stoneback

Scoring Mixer – Thor Fienberg

ADR Mixer – Sean Moher

Foley Mixer – Randy K. Singer CAS

TELEVISION SERIES – ONE HOUR

“Shōgun” – S01 E01 “Broken to the First”

Production Sound Mixer – Michael Williamson CAS

Re-Recording Mixer – Steve Pederson CAS

Re-Recording Mixer – Greg P. Russell CAS

ADR Mixer – Takashi Akaku

Foley Mixer – Arno Stephanian CAS

TELEVISION SERIES – HALF HOUR

“The Bear” – S03 E03 “Doors”

Production Sound Mixer – Scott D. Smith CAS

Re-Recording Mixer – Steve “Major” Giammaria CAS

ADR Mixer – Patrick Christensen

ADR Mixer – Kendall Barron

Foley Mixer – Ryan Collison

Foley Mixer – Conor Nagy

TELEVISION NON-FICTION, VARIETY or MUSIC – SERIES or SPECIALS

“Beatles ’64”

Re-Recording Mixer – Josh Berger
Re-Recording Mixer – Giles Martin

STUDENT RECOGNITION AWARD FINALISTS

Guillermo Moya, Full Sail University

The post ‘A Complete Unknown’, ‘The Wild Robot’ Win Cinema Audio Society Awards appeared first on Entertainment News Boom.

On one side are the resurgence narratives — like lead contenders Adrien Brody (“The Brutalist”) and Demi Moore (“The Substance”). They’re joined by supporting nominees Edward Norton (“A Complete Unknown”) and Zoe Saldaña (“Emilia Pérez”), who many feel are overdue for recognition. On the other side are Hollywood’s rising stars — the fresh faces poised to define the industry’s future. Think Timothée Chalamet and Mikey Madison in the lead races, with Kieran Culkin and Ariana Grande gaining traction in supporting roles.

Brody, now 51, became the youngest best actor Oscar winner for his tour de force performance in “The Pianist” (2002). But after that early triumph, his career took an uneven path, and he didn’t ride the momentum to further Oscar glory. Now, his critically acclaimed turn as architect László Tóth in Brady Corbet’s historical epic “The Brutalist” is the kind of second act Hollywood swoons for: the comeback.

Moore, 62, knows that storyline well. Despite a storied career that began with the Brat Pack and led to hits like “Ghost” (1990), she never landed in Oscar territory. Enter “The Substance,” where she plays an actress-turned-exercise guru in a meta role that mirrors her real-life trajectory (minus the fearsome monster at the end). Hollywood may have counted her out, but as recent Oscar wins for Brendan Fraser (“The Whale”) and Ke Huy Quan (“Everything Everywhere All at Once”) prove, the comeback narrative is one of the strongest an awards campaign arsenal can have.

Of course, the Oscars also love an up-and-comer, particularly one on the cusp of superstardom. Just ask Jennifer Lawrence, who won in 2013 for “Silver Linings Playbook” at 22, beating French screen legend Emmanuelle Riva (“Amour”), or then-32-year-old Eddie Redmayne, whose transformative turn in “The Theory of Everything” pushed him past veteran Michael Keaton (best picture winner “Birdman”) in 2015. Chalamet, who channels Bob Dylan in James Mangold’s “A Complete Unknown,” has already shown his range — from “Call Me by Your Name” (2017), which yielded his first Oscar nomination, to blockbuster franchise “Dune.” His career is the dream scenario for hopeful actors doggedly sending out self-tapes: indie cred, commercial success and now, a serious shot at awards glory. Worth noting: Even if Chalamet were to pull off a SAG win, with Oscar voting already closed, his chances of winning at the Dolby remain slim. Since the inception of the SAG Awards in 1994, only six actors have won the Oscar with SAG as their sole major precursor — and none of them were in lead actor. The exclusive club includes Susan Sarandon (“Dead Man Walking”), Robin Williams (“Good Will Hunting”), Michael Caine (“The Cider House Rules”), Halle Berry (“Monster’s Ball”), Morgan Freeman (“Million Dollar Baby”) and Jamie Lee Curtis (“Everything Everywhere All at Once”).

Meanwhile, Madison, Culkin and Grande represent different shades of rising Hollywood power. Madison’s electric performance in “Anora” is a true discovery, while Culkin (“A Real Pain”) is riding his post- “Succession” heat with a blended career in movies and TV. And Grande, better known as a pop star, could pull off a Jennifer Hudson-style win for “Wicked.”

SAG voters love a populist pick. Just look at ensemble winners with starry casts like “The Trial of the Chicago 7” (2020) or blockbusters like last year’s champ, “Oppenheimer” (2023). But every so often, SAG sets the stage for Oscar success even if voters aren’t familiar with the actors’ names — just ask “Parasite” (2019) and “CODA” (2022), both of which took home SAG’s ensemble award before winning best picture.

Which brings us to the game changer: “Anora.” The cast is largely composed of Russian and Armenian actors, but if Sean Baker’s low-budget indie takes SAG’s top prize, history suggests the race is over, especially given its PGA and DGA victories. But watch out for “Wicked,” which leads the pack with five nods, tied for the most in history. Safe bet? “Wicked” wins at least one.

SAG could bring new faces to the stage, but let’s be honest — it isn’t the last word on Oscar season. Final Oscar voting closes on Feb. 18 — two days before SAG wraps — so while the winners can offer insight, they won’t hold direct influence. May the best actor win.

Kristen Bell will host the 31st annual Screen Actors Guild Awards, streaming live on Netflix on Feb. 23 at 5 p.m. PT.

The final SAG predictions in both film and television categories are below. The final Oscar predictions will be revealed next week.

See all Academy Award predictions

Variety Awards Circuit: Oscars

Cast in a Motion Picture

Will Win: “Wicked” (Universal Pictures)
Could Win: “Anora” (Neon); “Conclave” (Focus Features)
Should Have Been Nominated: “Saturday Night” (Sony Pictures)

Male Actor in a Leading Role

Will Win: Timothée Chalamet, “A Complete Unknown” (Searchlight Pictures)
Could Win: Ralph Fiennes, “Conclave” (Focus Features); Adrien Brody, “The Brutalist” (A24);
Should Have Been Nominated: Sebastian Stan, “A Different Man” (A24)

Female Actor in a Leading Role

Will Win: Demi Moore, “The Substance” (Mubi)
Could Win: Mikey Madison, “Anora” (Neon); Cynthia Erivo, “Wicked” (Universal Pictures)
Should Have Been Nominated: Fernanda Torres, “I’m Still Here” (Sony Pictures Classics)

Male Actor in a Supporting Role

Will Win: Kieran Culkin, “A Real Pain” (Searchlight Pictures)
Could Win: Edward Norton, “A Complete Unknown” (Searchlight Pictures); Yura Borisov, “Anora” (Neon)
Should Have Been Nominated: Brian Tyree Henry, “The Fire Inside” (Amazon MGM Studios)

Female Actor in a Supporting Role

Will Win: Zoe Saldaña, “Emilia Pérez” (Netflix)
Could Win: Ariana Grande, “Wicked” (Universal Pictures); Monica Barbaro, “A Complete Unknown” (Searchlight Pictures)
Should Have Been Nominated: Michele Austin, “Hard Truths” (Bleecker Street)

Stunt Ensemble in a Motion Picture

Will Win: “Deadpool & Wolverine” (Marvel Studios)
Could Win: “The Fall Guy” (Universal Pictures); “Wicked” (Universal Pictures)
Should Have Been Nominated: “Monkey Man” (Universal Pictures)

Ensemble in a Drama Series

Will Win: “Shōgun” (FX)
Could Win: “Slow Horses” (Apple TV+); “The Diplomat” (Netflix)
Should Have Been Nominated: “Fallout” (Prime Video)

Ensemble in a Comedy Series

Will Win: “Hacks” (HBO/Max)
Could Win: “Abbott Elementary” (ABC); “The Bear” (FX)
Should Have Been Nominated: “What We Do in the Shadows” (FX)

Male Actor in a Drama Series

Will Win: Hiroyuki Sanada, “Shōgun” (FX)
Could Win: Jeff Bridges, “The Old Man” (FX); Eddie Redmayne, “The Day of the Jackal” (Peacock)
Should Have Been Nominated: Jake Gyllenhaal, “Presumed Innocent” (Apple TV+)

Female Actor in a Drama Series

Will Win: Anna Sawai, “Shōgun” (FX)
Could Win: Kathy Bates, “Matlock” (CBS); Allison Janney, “The Diplomat” (Netflix)
Should Have Been Nominated: Maya Erskine, “Mr. and Mrs. Smith” (Prime Video)

Male Actor in a Comedy Series

Will Win: Jeremy Allen White, “The Bear” (FX)
Could Win: Adam Brody, “Nobody Wants This” (Netflix); Ted Danson, “A Man on the Inside” (Netflix)
Should Have Been Nominated: Paul W. Downs, “Hacks” (HBO/Max)

Female Actor in a Comedy Series

Will Win: Jean Smart, “Hacks” (HBO/Max)
Could Win: Quinta Brunson, “Abbott Elementary” (ABC); Liza Colón-Zayas, “The Bear” (FX)
Should Have Been Nominated: Kathryn Hahn, “Agatha All Along” (Disney+)

Male Actor in a Television Movie or Limited Series

Will Win: Colin Farrell, “The Penguin” (HBO/Max)
Could Win: Andrew Scott, “Ripley” (Netflix); Richard Gadd, “Baby Reindeer” (Netflix)
Should Have Been Nominated: Josh Andres Rivera, “American Sports Story: Aaron Hernandez” (FX)

Female Actor in a Television Movie or Limited Series

Will Win: Jessica Gunning, “Baby Reindeer” (Netflix)
Could Win: Jodie Foster, “True Detective: Night Country” (HBO/Max); Cristin Milioti, “The Penguin” (HBO/Max)
Should Have Been Nominated: Sofía Vergara, “Griselda” (Netflix)

Stunt Ensemble in a Comedy or Drama Series

Will Win:
Could Win:
Should Have Been Nominated:

SAG Life Achievement Award

Jane Fonda

The post SAG Awards Winner Predictions: Timothée Chalamet, Demi Moore and More in Battle of Breakouts Vs. Veterans appeared first on Entertainment News Boom.

Colman Domingo, Pamela Anderson, Quinta Brunson, Ralph Fiennes and Zoe Saldaña are among the stars set to serve as presenters at this Sunday’s 31st annual SAG Awards, Variety has learned.

They’ll be joined by Ayo Edebiri, Drew Starkey, Edward Norton, Gillian Anderson, Jack Quaid, Jessica Williams, Jodie Foster, Joey King, Keri Russell, Kerry Washington, Kumail Nanjiani, Mark Eydelshteyn, Max Greenfield, Molly Shannon, Monica Barbaro and Zooey Deschanel, all of whom have also been tapped to present on the kudocast.

The SAG Life Achievement Award will be presented to Jane Fonda by Julia Louis-Dreyfus. Other presenters include Ariana Grande, Bowen Yang, Colin Farrell, Cynthia Erivo, David Duchovny, Elle Fanning, Fran Drescher, Harrison Ford, Isabella Rossellini, Jack Quaid, Jamie Lee Curtis, John Lithgow, Keke Palmer, Lily Gladstone, Lisa Kudrow, Marissa Bode, Michelle Yeoh, Mikey Madison, Millie Bobby Brown, Selena Gomez, Sergio Castellitto, Timothée Chalamet and Yura Borisov.

As previously announced, this year’s SAG Awards will be hosted by Kristen Bell, who was the first-ever host in the show’s history in 2018. The 31st SAG Awards will stream live on Netflix Sunday, Feb. 23, at 8 p.m. ET / 5 p.m. PT from the Shrine Auditorium & Expo Hall.

Leading the nominations on the film side is “Wicked,” with a record five nods. On the TV side, “Shōgun” has also received five nominations.

SAG Awards‘ Jon Brockett returns as executive producer, along with Silent House Productions’ Baz Halpin, Mark Bracco and Linda Gierahn.

Speaking recently to Variety, the show’s producers said they planned to recognize the recent fires that devastated portions of Los Angeles and surrounding areas. The SAG Awards was forced to cancel its live nominations announcement in January; instead, the nominations were unveiled via a press release.

“Los Angeles is the heart of the entertainment industry and a city that has always been defined by its resilience,” Brockett said. “We have a few things in store, including shining a light on the SAG-AFTRA Foundation and its ongoing support for artists in need.” 

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