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Circuit Breaker Ep. 193: ‘Hamilton’ Reactions and Eligibility Factors

It’s a video podcast today to discuss the Disney+ drop of the Lin-Manuel Miranda hit musical…

circuit breaker extras hamilton podcast ep. 193

Screen Shot 2020 03 03 at 2.30.44 PM 1Welcome to the AwardsCircuit.com podcast, “Circuit Breaker! The Awards, & TV Podcast,” part of the CIRCUIT BREAKER MEDIA NETWORK. “Circuit Breaker” is a weekly podcast show with Podcast Host & website Editor/Owner Clayton Davis. With a team of panelists including Mark Johnson, Joey Magidson, and Karen Peterson, along with other special guests and contributors, we discuss movies, television, and all the award shows that need predicting.

New episodes of “Circuit Breaker” are released every Monday. The spin-off series “Circuit Breaker: The Extras” will be announced and scheduled via site announcements or on our social media platforms, so make sure to check back. Make sure to follow for more. All podcast episodes are produced and edited by Drew Griffith.

Follow the show on Twitter, Facebook, and Instagram at @Circuit_Pod, email us at podcast@awardscircuit.com and submit your comments and questions at the bottom of the episode.

On the episode’s agenda (recorded July 5, 2020):

  • It’s a video podcast today!!!
  • Talking about the reactions to “Hamilton” that dropped on Disney+ – what are the best and worst parts about it? Does it translate well to a living room screen?
  • In terms of its eligibility, does “Hamilton” fit the criteria for an Oscar nomination, and SHOULD it be considered? We debate.

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ABOUT AWARDS CIRCUIT

The Awards Circuit has been the premier entertainment and awards site since May 2008. It is owned and operated by Editor-in-Chief Clayton Davis. AC also staffs an eclectic group of writers, all from different walks of life, and all from different areas of the world.

Awards Circuit is committed to delivering unbiased news and awards coverage to both industry professionals and dedicated fans of film, television, music, and theatre. Our diverse team of writers provides an in-depth analysis of both American and international entertainment.

ABOUT CIRCUIT BREAKER MEDIA NETWORK:

Circuit Breaker: The Extras” is a spin-off from “Circuit Breaker! The Awards & TV Podcast,” a weekly podcast hosted by Clayton Davis, along with panelists including Mark Johnson, Joey Magidson, and Karen Peterson. Along with other special guests, they discuss movies, television, and all the award shows that need predicting. New episodes of “Circuit Breaker” are released every Monday. Episodes of “Circuit Breaker: The Extras” are announced and scheduled via site announcements or on our social media platforms. Make sure to follow for more. All podcast episodes are produced and edited by Drew Griffith. All media releases are under THE CIRCUIT BREAKER MEDIA NETWORK.

ABOUT CLAYTON DAVIS

Clayton Davis is the esteemed Editor and Owner of AwardsCircuit.com. Born in Bronx, NY, to a Puerto Rican mother and Black father, he’s been criticizing film and television for over a decade. Clayton is a member of the Broadcast Film Critics Association, where he votes and attends the kick-off to the awards season, the Critics’ Choice Awards. He’s also an active member of New York Film Critics Online, International Press Academy, Black Reel Awards and the Broadcast Television Journalists Association. Clayton has been quoted and appeared in various outlets, including The New York TimesCNN.com, Variety, Deadline, Los Angeles Times, Bloomberg Television, AOL, Huffington Post, Bloomberg Radio, The Wrap, Slash Film and The Hollywood Reporter.

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Written by Clayton Davis

Clayton Davis is the esteemed Editor and Owner of AwardsCircuit.com. Born in Bronx, NY to a Puerto Rican mother and Black father, he’s been criticizing film and television for over a decade. Clayton is a member of the Broadcast Film Critics Association where he votes and attends the kick off to the awards season, the Critics Choice Awards. He also founded the Latino Entertainment Journalists Association, the first Latino-based critics’ organization in the United States. He’s also an active member of the African-American Film Critics Association, New York Film Critics Online, International Press Academy, Black Reel Awards, and the Broadcast Television Journalists Association. Clayton has been quoted and appeared in various outlets that include The New York Times, CNN.com, Variety, Deadline, Los Angeles Times, FOX 5, Bloomberg Television, AOL, Huffington Post, Bloomberg Radio, The Wrap, Slash Film, and the Hollywood Reporter.

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  1. I am on the fence, but definitely leaning toward Mark’s side on this. It should not be eligible for Best Picture… or any acting… Oscars.

    After watching it three times, besides quality of the stage production and the camera work, it is still just a well documented stage play. If there was no audience and the camera’s had full access to the stage I think I may feel differently. Because they did not it never felt like a true “film” to me. There were no advanced camera moves and the editing was fairly basic since the stage direction essentially commanded where the cuts would be made.

    Plus, this was at the tail end of Miranda’s run. I do not believe they assembled everyone just to shoot this – the cast was still intact. Numerous stage shows from Phantom of the Opera, Jesus Christ Superstar, Bruce Springsteen’s one man show, Steve Martin/Martin Short’s stage show and many more have been captured on tape. It is a slippery slope. If you let this in then why not any of the above? Why not ANY production that has been recorded and distributed. You can’t use quality as the deciding factor since that is subjective.

    The script, songs, cast and general direction remained the same. This was a monumental stage achievement that was expertly filmed on tape. Not a proper film. I say ineligible.

    I would like to see Miranda try to create a true film version of the musical. He masterfully told it on stage, I think with the right team he could do the same as a film.

    • As I think about it more, the way the closeups capture the cast’s emotions and (spittle) intensifies them, making them more impactful than in a standard stage production. Since the editing/camera directs us around the very busy stage to the character we “should” be watching, the subtleties of their performances are captured allowing them to drive home the more poignant moments.

      Does this make it a “film?” I am not sure. But it certainly muddles my feelings.

  2. Cinephile Showdown (1990 Oscar nominees):

    The Grifters OR Wild at Heart
    Postcards from the Edge OR Pretty Woman
    Dick Tracy OR The Godfather Part III
    Misery OR Ghost
    Reversal of Fortune OR Awakenings
    The Hunt for Red October OR Total Recall
    Edward Scissorhands OR Home Alone
    Dances with Wolves OR Goodfellas

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