Latest news with #CoralieFargeat
Yahoo
02-03-2025
- Entertainment
- Yahoo
'It Was Going To Be Accentuating Those Things We Prefer Everyone Not To See,' But Demi Moore Was Game For Those Viral The Substance Scenes Anyway
When you buy through links on our articles, Future and its syndication partners may earn a commission. Demi Moore's Golden Globe-winning turn in The Substance has redefined expectations, making waves in the 2025 awards season. The 2025 Oscar-nominated body horror film is packed with shocking transformations, but its most unsettling moment isn't about gore—it's about insecurity and self-doubt. The now-viral bathroom mirror scene has struck a nerve with audiences, and, during an interview, the G.I. Jane star explained why she embraced its raw intensity. It was during a chat with CBS Mornings that Demi Moore opened up about the raw vulnerability required to bring some of the harder emotional scenes to life. As explained in a clip from the interview, which was shared to the talk show's official Instagram account, the veteran actress admitted that she knew from the start that the work wouldn't be glamorous. The Ghost actress shared: I knew going in that not only was this not going to be glamorous, but it was going to be accentuating those things that we prefer for everybody not to see. But at the end of it, on the other side, my hope, and I feel the gift in it, was that in sharing that level of vulnerability, giving that permission, being allowing of it, was personally liberating and I hope, in some ways, has been so for others. When it comes to some of the roles they choose, actors put themselves in positions that require them to be vulnerable. It goes without saying that this was definitely the case for the lead actress of this acclaimed horror film. The A Few Good Men alum acknowledged how difficult the aforementioned scene was to film, describing the physical and emotional toll of doing multiple takes until her face was raw. She continued: Because I think we've also all been there—where you're just trying to make something a little bit better, and it only gets worse, to the point where it's completely defeating. And I think one of the things for me in that whole sequence is, the reality is, no matter what she tries to do on the outside, it wouldn't make it better, because the inside isn't OK. With The Substance now available on the streaming service Mubi, Demi Moore's fearless performance continues to generate serious awards buzz. With five Oscar nominations—an almost unheard-of feat for even the best horror movies—the film has cemented itself as a genre-defying force. But beyond its shocking body horror, which some critics dubbed "go until you gag," Coralie Fargeat's film strikes a deeply personal chord, forcing audiences to confront the same insecurities that consume Elisabeth. And at the heart of it all is Demi Moore's transformative performance, making every moment of psychological torment feel painfully honest. The now-iconic bathroom mirror scene is a masterclass in acting. It perfectly showcases the kind of emotional rawness that elevates The Substance beyond just another scary movie. It's an unsettling, deeply human moment that lingers long after the credits roll. For those ready to experience the film for themselves, The Substance is now available to stream from the comfort of home—just in time for the 97th Academy Awards, airing live on ABC this Sunday, March 2 at 7 p.m. ET/4 p.m. PT.
Telegraph
01-03-2025
- Entertainment
- Telegraph
From The Substance to Emmanuelle: the empty promises of the ‘female gaze'
What constitutes 'feminist' filmmaking? From Coralie Fargeat's horror-satire The Substance (in which Demi Moore plays Elisabeth Sparkle, an over-the-hill superstar who dabbles in an experimental new treatment in order to regain her youth) to Halina Reijn's Babygirl (starring Nicole Kidman as a high-flying girlboss CEO who embarks on a passionate affair with her much younger intern) and Audrey Diwan's subversion of the sexploitation classic Emmanuelle, a new crop of films helmed by female directors are challenging audiences with primal explorations of female ageing, desire and insecurity. Yet these films have proved divisive within the female audiences they seek to empower. The Substance, which has earned Moore a Best Actress Oscar nod, has been criticised for turning an ageing female body into something worthy of terror. The way the camera objectifies Moore's co-star Margaret Qualley, who plays the 'younger, more beautiful, more perfect' version of Elisabeth, with lascivious close-ups of her poreless skin and skimpy outfits, has been accused of pandering to the 'male gaze'. Of course, this is sort of the point. It's a man that tells Elisabeth about The Substance in the first place – a detail director Coralie Fargeat didn't realise herself during writing the script, but one that makes sense as the injection turns consumers into 'the version [of yourself] that men want you to look like'. Fargeat's intentions are clear: to call out Hollywood's obsession with youth and beauty by making the audience complicit. But what exactly is achieved by replicating the means of oppression? In its grotesque finale, The Substance only punishes Elisabeth for her vanity, with hoards of onlookers laughing at her like Carrie White at her prom. There's a palpable rage at the heart of The Substance, but it's misdirected at women for taking part in vanity rituals, rather than the billion-dollar industries that push these insecurities and anxieties down our throats. Simply replicating the male gaze – a term coined by film theorist Laura Mulvey in her 1975 essay 'Visual Pleasure and Narrative Cinema' to describe how male artists have depicted women for centuries – can never dismantle it. How to tell women's stories that aren't undermined by violence against women is a recurring issue, even in critically-acclaimed films by female filmmakers. In 2021 Emerald Fennell bagged the Best Original Screenplay Oscar for Promising Young Woman, in which Cassie (Carey Mulligan) takes revenge against a group of men following the rape and suicide of her best friend. While the film sees Cassie achieve her aim, it culminates in her eventual death – female empowerment always comes at the price of a woman's life. Halina Reijn's Babygirl, starring Nicole Kidman, however, has no such issue. The film has an obvious 'female gaze' – a term coined in response to Mulvey's seminal essay – which is to say a camera that centres a woman's viewpoint, experience and desires authentically. In the decades since Mulvey's essay, the term 'female gaze' has gained popularity, spiking significantly around the release of Phoebe Waller-Bridge's Fleabag, which was praised for its abrasive, honest, unapologetic female lead. Similarly, Babygirl centres on Romy Mathis, a high-flying, self-made CEO (Kidman) who is shown to be unsatisfied with her marriage. The film opens on her faking an orgasm during sex with her husband – the reality for many women – and then secretly masturbating to BDSM pornography. When Romy embarks on an affair with her much younger intern Samuel (Harris Dickinson) the spark between them is instant, and the subsequent sex is awkward, playful and electrifying. In a much-discussed scene, Dickinson dances shirtless to George Michael's 'Father Figure' – a cheeky nod to the film's age gap role reversal, but also an endearing demonstration of what so many filmmakers seem to forget: sex should be fun above all else. Reijn centres Romy's pleasure and agency – yet the director herself claims she's not depicting the female gaze, but her own. Much of Babygirl comes from Reign's experiences (the notorious scene involving a glass of milk) or those of friends (Romy never orgasming with her husband). 'We're living under a patriarchy, and these are the tools that we get to play with,' she explained in an interview with Dazed Magazine. 'I love to create women characters that are not angels.' But while Babygirl attracted plenty of buzz and box office returns, its acclaim has been substantially less than that of The Substance, with Kidman snubbed by both the Baftas and the Oscars and detractors claiming that the film wasn't 'subversive enough'. Was it because, ultimately, Kidman's character seeks pleasure through being dominated, and humiliated, by a man? At what point can we separate the female gaze from internalised misogyny? Audrey Diwan's reimagining of Emmanuelle, the 1967 erotic novel of the same name by Emmanuelle Arsan, first adapted in 1975 and becoming one of the most influential erotic films of all time, has also been accused of not going far enough. The promise of a reimagining by Diwan – who won the Venice Film Festival's top honour in 2021 for her blistering adaptation of Annie Ernaux's memoir Happening – was exciting, but the finished film is chilly and uninspired, with more shots of Hong Kong's glittering skyscrapers than incisive sexual commentary. It's clear that Emmanuelle (played by Noémie Merlant) enjoys sex, but all the intimate scenes within the film feel devoid of passion and intimacy. When Emmanuelle develops an infatuation with another hotel guest, it should spark a game of erotic cat and mouse; instead it feels listless and stilted. It's clear that having female filmmakers behind the camera does not inherently make a film interesting or empowering for women. So what do we mean when we talk about 'feminist filmmaking' or 'female empowerment' in cinema? Trailblazing female filmmaker Agnès Varda argued that the very act of picking up a camera is a small revolution for a woman. 'The first feminist gesture is to say: 'Okay, they're looking at me. But I'm looking at them.' The act of deciding to look, of deciding that the world is not defined by how people see me, but how I see them,' said Agnès Varda in an interview for Marie Mandy's 2000 documentary Filming Desire: A Journey Through Women's Cinema. Varda, a pioneer of the French New Wave, directed Cléo from 5 to 7 in 1961, in which a young singer waits for the results of a biopsy which will reveal if she has cancer. The film is entirely told from Cléo's point of view, centering her perspective as she reckons with her own mortality. Similarly, One Sings, the Other Doesn't (1977) focuses on two young women who fall in and out of touch over the course of 14 years, grappling with the subject of abortion at a time when it was illegal in France. The film was criticised by French feminists for being 'being too nuanced, not anti‐men enough', but is widely accepted now as a landmark feature. Concurrently, Belgian filmmaker Chantal Akerman – whose 1975 film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles was named the greatest film of all time in Sight and Sound's decennial industry survey – pioneered a unique style of storytelling that centered women's stories through intimate depictions of domesticity. Within the three-hour Jeanne Dielman, much of the film is spent in the protagonist's kitchen, watching as she cooks and cleans. Here Akerman sought to challenge the 'hierarchy of images' within cinema that devalues domestic labour, yet she contested labels such as 'female filmmaker' being attributed to her, noting 'when people say there is a feminist film language, it is like saying there is only one way for women to express themselves'. Across the Atlantic, Cheryl Dunye's 1996 romantic comedy The Watermelon Woman centers a young black lesbian (played by Dunye) as she attempts to create a film about little-known 1930s actress Fae Richards (an amalgam of Black actresses forgotten throughout film history.) But perhaps the most remarkable recent reflection on the female gaze comes in Céline Sciamma's 2019 romantic drama, Portrait of a Lady on Fire, starring Noémie Merlant and Adèle Haenel as Marianne, a painter, and Héloïse, an aristocrat, who have a brief but passionate affair in 18th century France. Héloïse asks Marianne, while sitting for her portrait, 'If you look at me, who do I look at?'
The Guardian
25-02-2025
- Entertainment
- The Guardian
Why The Substance should win the best picture Oscar
Thinking about it, I wasn't sure which image disturbed me more: the one where an eyeball begets another eyeball and the two of them start jostling for prominence in the same socket hole?; or the one where one eyeball begets four other eyeballs and they, you know, start slamming into each other? On reflection, it's the first that's worse. As terrifying as the second may be, in a moment that sets off The Substance's super gross-out denouement, it is at least expected. Also, with four eyes (actually it could be six, or eight, it all happens so quickly) you can feel the body horror being ratcheted up to levels of preposterousness that take the edge off. The first instance, by contrast, is simple and pure; it jabs its fingers into your stomach and squeezes away until it takes physical effort to stop yourself from gagging. So, that's that. Ranked. And a little something I wanted to get out of the way before going further into why Coralie Fargeat's story of a middle-aged woman who will do anything to get a pert butt should win this year's best picture award. At least that's one way of interpreting the plot of this film. Another is that Demi Moore's Elisabeth Sparkle, the former Hollywood star turned Jane Fonda-esque dancercise queen, accepts an invitation to try a mysterious new treatment because she wants to prolong her career. Or, maybe, she is not sure what she wants at all and tries the substance just to do 'something'. In many reviews of the movie this lack of clarity has been pinned down as a weak spot. If The Substance is an allegory, what is it an allegory of, exactly? But liberating yourself from the quest for intentional meaning, I found, only made The Substance more compelling. I knew about The Substance many months before I watched it, because the chatter around it found its way into my social feeds. This is not common for me, largely because my social media diet of football analysis and political journalists means nothing original ever comes my way. But here it was, a movie that had not only had a clear visceral impact on its audience, but also led them to ponder on its meaning. Personally, I'm interested in the angle that says The Substance is a critique on consumer capitalism; the idea that a product can resolve the internal anguish that exists in all of us (or at least encourage it to form a homunculus that bursts from your spine). But I'm even more interested in a film that allows for such speculation at all. Fargeat said she wanted to 'explode the idea of beauty. To show the reality of who we really are and what we're made of', and that allows for a broader reflection on the human condition. The visual language helps this process along. From the opening shot of a cracked egg giving birth to a more perfect cracked egg, provocative images are contrived consistently and stick in your brain. The lifesize photo of Elisabeth in her exercise gear, hung in the heart of her apartment like a cross between a religious icon and a hunting trophy. Meanwhile, outside gazing in, an even bigger billboard tribute to Elisabeth's more perfect alter ego, Sue, bought and paid for by corporate America. The font and the legend of The Substance itself ('You stabilise every day') that comes over half-health supplement, half-chemical weapon. The corridor of red, patterned linoleum that is just demanding a torrent of blood be unleashed across it. The various pustules of differing colours. The breast in the middle of the face. I can't think of many other movies I've watched recently that have so many memorable images. I can't think of one that's been so gleefully gory or in such bad taste. The former is a better argument for giving The Substance an Oscar, but the second would work too at a push: good art that is in bad taste? There are not many films like that on at the multiplex, and even less likely on a streamer. We can go on. The Substance has Moore giving a career-defining performance and Margaret Qualley an internet-breaking one. It has the impetus of history behind it, with the chance to become the first horror movie to win best picture (some people say that was The Silence of the Lambs, I would say no, that was a police procedural). It's also a movie for movie lovers, from The Shining references to the Lynchian distortion of physical space, and one that once again encourages the viewer to think: what does this remind me of? (I was transported back to the 90s, and Peter Jackson's Bad Taste on VHS). There are umpteen reasons to recommend this film for Hollywood's most important bauble, and it's possible to do so wholeheartedly thanks to the knowledge that, in reality, The Substance has no chance of winning at all. It's a trashy horror film that makes you want to puke, for God's sake, and – get this – it's even made by a woman! Still, it's the Academy's loss. The Substance will probably continue unaffected: bouncing around our various screens and inside our heads, pulling us up short. This meme of a movie has a life of its own.
Yahoo
16-02-2025
- Entertainment
- Yahoo
‘The Substance,' ‘Wicked' Top Make-Up Artists and Hair Stylists Guild Awards
'The Substance' and 'Wicked' were the big film winners at the 12th annual Make-Up Artists and Hair Stylists Guild Awards, taking two awards each at the ceremony that took place on Saturday evening in Los Angeles. Coralie Fargeat's body-horror film 'The Substance' won in the Best Contemporary Make-Up and Best Special Make-Up Effects categories, while 'Wicked' won for Best Period and/or Character Make-Up and Best Period and/or Character Hair Styling. 'The Last Showgirl' won in the last film category, Best Contemporary Hair Styling. Over the last 11 years of the MUAHS Awards, one of the winners has gone on to win the Academy Award for Best Makeup and Hairstyling nine times. Six of those times, the Oscar-winning film had taken home multiple MUAHS awards. (The Academy treats makeup and hairstyling as single words, while the guild hyphenates make-up and splits hair styling into two words.) The period make-up category has contained the most Oscar winners, seven, followed by special make-up effects with five, period hair styling with two and contemporary make-up and contemporary hair styling with one each. But twice in the last three years, with 'The Eyes of Tammy Faye' in 2022 and 'Poor Things' last year, the Oscar winner had been nominated for but had not won any MUAHS awards. This year, 'The Substance' and 'Wicked' are both nominated for Oscars, along with 'A Different Man,' 'Emilia Perez' and 'Nosferatu.' While 'A Different Man' and 'Emilia Perez' were nominated for MUAHS Awards, 'Nosferatu' was not. In the television categories, 'Saturday Night Live' dominated in the specials or live events categories, winning four awards. In the five TV series categories, no show won more than one, with single awards going to 'Emily in Paris,' 'Palm Royale,' 'The Penguin,' 'Abbott Elementary' and 'Bridgerton.' 'The Jennifer Hudson Show' won both awards in the daytime television categories. The show took place at the Fairmont Century Plaza and was hosted by Val Chmerkovskiy and Jenna Johnson. Also at the ceremony, Allison Janney was honored with the Distinguished Artisan Award. The Research Council of Makeup Artists (RCMA Makeup) received the Vanguard Award, while Lifetime Achievement Awards were given to make-up artist Todd McIntosh and hair stylist Peter Tothpal. The winners: FEATURE-LENGTH MOTION PICTUREBest Contemporary Make-Up: 'The Substance,' Stéphanie GuillonBest Period and/or Character Make-Up: 'Wicked,' Frances Hannon, Alice Jones, Nuria Mbomio, Johanna Nielsen, Branka VorkapicBest Special Make-Up Effects : 'The Substance,' Pierre-Olivier PersinBest Contemporary Hair Styling: 'The Last Showgirl,' Katy McClintock, Marc Boyle, Stephanie HobgoodBest Period and/or Character Hair Styling: 'Wicked,' Frances Hannon, Sarah Nuth, Sim Camps, Gabor Kerekes TELEVISION SERIES – LIMITED, MINISERIES OR MOVIE FOR TELEVISIONBest Contemporary Make-Up: 'Emily in Paris,' Aurelie Payen, Carole Nicolas, Fred Marin, Sarah Damen, Josephine BouchereauBest Period and/or Character Make-Up: 'Palm Royale,' Tricia Sawyer, Marissa Lafayette, Marie Del Prete, Simone Almekias-Siegl, Marja WebsterBest Special Make-Up Effects: 'The Penguin,' Mike Marino, Michael Fontaine, Crystal Jurado, Diana Y. Choi, Claire FlewinBest Contemporary Hair Styling: 'Abbott Elementary,' Moira Frazier, Dustin Osborne, Christina Joseph, Johnny Lomeli, LaLisa TurnerBest Period and/or Character Hair Styling: 'Bridgerton,' Erika Okvist, Farida Ghwedar, Emma Rigby TELEVISION SPECIAL, ONE HOUR OR MORE LIVE PROGRAM SERIESBest Contemporary Make-Up: 'Saturday Night Live,' Louie Zakarian, Amy Tagliamonti, Jason Milani, Young Bek, Daniela ZivkovicBest Period and/or Character Make-Up: 'Saturday Night Live,' Louie Zakarian, Amy Tagliamonti, Jason Milani, Craig Lindberg, Rachel PaganiBest Special Make-Up Effects: 'Saturday Night Live,' Louie Zakarian, Jason Milani, Brandon Grether, Amy Tagliamonti, Tom Denier Contemporary Hair Styling:' 'Dancing with the Stars,' Kimi Messina, Joe Matke, Marion Rogers, Amber Nicholle Maher, Florence WitherspoonBest Period and/or Character Hair Styling: 'Saturday Night Live,' Jodi Mancuso, Cara Hannah, Inga Thrasher, Joe Whitmeyer, Amanda Duffy Evans DAYTIME TELEVISIONBest Make-Up: 'The Jennifer Hudson Show,' Jen Fregozo, Adam BurrellBest Hair Styling: 'The Jennifer Hudson Show,' Robear Landeros, Albert Morrison CHILDREN AND TEEN TELEVISION PROGRAMMINGBest Make-Up: 'Danger Force,' Michael Johnston, Brad Look, Kevin Westmore, Kim Perrodin, Kato DeStefanBest Hair Styling: 'Avatar: The Last Airbender,' Julie McHaffie, Dianne Holme, Codey Blair, Sandi Hall COMMERCIALS & MUSIC VIDEOSBest Make-Up: 'Secret – Beetlejuice Beetlejuice: Lifesaver,' Scotia Boyd, Julie Hassett, Bianca AppiceBest Hair Styling: 'Secret – Beetlejuice Beetlejuice: Lifesaver,' Pavy Olivarez, Taylor Tanaka-Suitt THEATRICAL PRODUCTIONS (Live Stage)California Regional Live Theater Production: Make-Up and Hair Styling: 'LA Opera's Madame Butterfly,'Samantha Wiener, Maggie Clark, Brandi Strona, Nicole Rodrigues, Kelso MillettBroadway and International Live Theater Production: Make-Up and Hair Styling (New Award): 'The Great Gatsby' (Broadway),Kevin Thomas Garcia, Christine Hutcheson, Michael Duschl, Britt Griffith The post 'The Substance,' 'Wicked' Top Make-Up Artists and Hair Stylists Guild Awards appeared first on TheWrap.
Yahoo
16-02-2025
- Entertainment
- Yahoo
‘The Substance,' ‘Wicked,' and ‘The Last Showgirl' Win at the 2025 MUAHS Awards
'The Substance,' 'Wicked.' and 'The Last Showgirl' were the big winners at the 12th annual MUAHS Guild Awards, held at The Fairmont Century Plaza Hotel. The Make-Up Artists and Hair Stylists ceremony was also livestreamed on YouTube and Vimeo. The Oscar-nominated 'Wicked' and 'The Substance' won two awards apiece: Jon M. Chu's Oz musical took home period makeup and period hairstyling, while Coralie Fargeat's body horror satire grabbed contemporary makeup and special makeup effects. Gia Coppola's Vegas showgirl drama earned contemporary hairstyling. More from IndieWire At Last, 'Hundreds of Beavers' Is Ready to Rampage Through Theaters on 35MM All Hail, 'Make Me a Pizza': The Cult-Hit 'Proletariat Pizza Porno' Perfect for Watching on Valentine's Day It's an Oscar race between 'The Substance' and 'Wicked, with the former as the favorite for its amazing prosthetics for Oscar-nominated Demi Moore as the mutated Gollum and Moore and Margaret Qualley as the hideous Monstro. Transformations usually win Oscars and this is the standout. The other three Oscar nominees are 'A Different Man,' 'Nosferatu,' and 'Emilia Pérez.' TV winners included 'The Penguin,' 'Palm Royale, 'Bridgerton,' 'Emily in Paris,' 'Palm Royale,' and 'Abbott Elementary.' As previously announced, Todd McIntosh, Emmy-winning make-up artist ('Buffy the Vampire Slayer' and 'Memoirs of a Geisha') and Peter Tothpal, award-winning hair stylist ('Guardians of the Galaxy Vol. 3' and 'Terminator 3: Rise of the Machines') received Lifetime Achievement Awards for makeup and hairstyling, respectively. The Distinguished Artisan Award went to actress Allison Janney ('Palm Royale'). The Vanguard Award was bestowed upon the Research Council of Makeup Artists (RCMA Makeup). The full list of winners is below: FEATURE-LENGTH MOTION PICTURE: Best Contemporary Make-Up 'The Substance'Stéphanie Guillon Best Period and/or Character Make-Up 'Wicked'Frances Hannon, Alice Jones, Nuria Mbomio, Johanna Nielsen, Branka Vorkapic Best Special Make-Up Effects 'The Substance'Pierre-Olivier Persin Best Contemporary Hair Styling 'The Last Showgirl'Katy McClintock, Marc Boyle, Stephanie Hobgood Best Period and/or Character Hair Styling 'Wicked'Frances Hannon, Sarah Nuth, Sim Camps, Gabor Kerekes TELEVISION SERIES – LIMITED, MINISERIES OR MOVIE FOR TELEVISION: Best Contemporary Make-Up 'Emily in Paris' (Netflix)Aurelie Payen, Carole Nicolas, Fred Marin, Sarah Damen, Josephine Bouchereau Best Period and/or Character Make-Up 'Palm Royale' (Apple TV +)Tricia Sawyer, Marissa Lafayette, Marie Del Prete, Simone Almekias-Siegl, Marja Webster Best Special Make-Up Effects 'The Penguin' (HBO Max)Mike Marino, Michael Fontaine, Crystal Jurado, Diana Y. Choi, Claire Flewin Best Contemporary Hair Styling 'Abbott Elementary' (ABC)Moira Frazier, Dustin Osborne, Christina Joseph, Johnny Lomeli, LaLisa Turner Best Period and/or Character Hair Styling 'Bridgerton' (Netflix)Erika Okvist, Farida Ghwedar, Emma Rigby TELEVISION SPECIAL, ONE HOUR OR MORE LIVE PROGRAM SERIES: Best Contemporary Make-Up 'Saturday Night Live' (NBC)Louie Zakarian, Amy Tagliamonti, Jason Milani, Young Bek, Daniela Zivkovic Best Period and/or Character Make-Up 'Saturday Night Live' (NBC)Louie Zakarian, Amy Tagliamonti, Jason Milani, Craig Lindberg, Rachel Pagani Best Special Make-Up Effects 'Saturday Night Live' (NBC)Louie Zakarian, Jason Milani, Brandon Grether, Amy Tagliamonti, Tom Denier Jr. Best Contemporary Hair Styling 'Dancing with the Stars' (ABC, Disney)Kimi Messina, Joe Matke, Marion Rogers, Amber Nicholle Maher, Florence Witherspoon Best Period and/or Character Hair Styling 'Saturday Night Live' (NBC)Jodi Mancuso, Cara Hannah, Inga Thrasher, Joe Whitmeyer, Amanda Duffy Evans DAYTIME TELEVISION: Best Make-Up 'The Jennifer Hudson Show' (Fox)Jen Fregozo, Adam Burrell Best Hair Styling 'The Jennifer Hudson Show' (Fox)Robear Landeros, Albert Morrison CHILDREN AND TEEN TELEVISION PROGRAMMING: Best Make-Up 'Danger Force ' (Nickelodeon)Michael Johnston, Brad Look, Kevin Westmore, Kim Perrodin, Kato DeStefan Best Hair Styling 'Avatar: The Last Airbender' (Netflix)Julie McHaffie, Dianne Holme, Codey Blair, Sandi Hall COMMERCIALS & MUSIC VIDEOS: Best Make-Up 'Secret – Beetlejuice Beetlejuice: Lifesaver'Scotia Boyd, Julie Hassett, Bianca Appice Best Hair Styling 'Secret – Beetlejuice Beetlejuice: Lifesaver'Pavy Olivarez, Taylor Tanaka-Suitt THEATRICAL PRODUCTIONS (Live Stage): California Regional Live Theater Production: Make-Up and Hair Styling 'LA Opera's Madame Butterfly'Samantha Wiener, Maggie Clark, Brandi Strona, Nicole Rodrigues, Kelso Millett Broadway and International Live Theater Production: Make-Up and Hair Styling (New Award) 'The Great Gatsby' (Broadway)Kevin Thomas Garcia, Christine Hutcheson, Michael Duschl, Britt Griffith Best of IndieWire 2023 Emmy Predictions: Who Will Win at the Primetime Emmy Awards? 2023 Emmy Predictions: Outstanding Documentary or Nonfiction Special 2023 Emmy Predictions: Outstanding Documentary or Nonfiction Series
