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| Up in the air at gymnastics class |
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| Striking a pose at the park |
Saturday, February 04, 2012
eight is only a few weeks away
She's growing up so fast, so cute.
Friday, February 03, 2012
quirky girls — myth, real, endearing, or annoying?
You've seen them in the movies. The quirky girls, who wear mismatched prints in bright colors, hairdos that are always attractively unkempt, and have jobs that just manage to help them scrape by. Quirky girls have even been designated a trope. But do such girls really exist outside of a screenwriter's fantasies? Women are many-faceted, so we all have quirky girl elements in us, but levels of 100% quirk are usually pretty hard to find. But in movies and television the quirky girl is venerated and idealized.
Two celebrations of the quirky girl can be found in the film Happy-Go-Lucky and the sitcom New Girl. There are so many similarities between the girls in question that it makes one wonder how much the creators of New Girl's Jess borrowed from Mike Leigh's always sunny side up character of Poppy.
In Happy-Go-Lucky Poppy (Sally Hawkins) is a primary school teacher who always looks on the bright side of life. She can't help herself. Life gives her the giggles. Even when she is at the chiropractor's being manipulated for a painful back injury she is brimming over. She just can't help smiling or laughing. She tries to share her positive world view with everyone she meets. And like a magnet she seems drawn to people who could use a dose of happy — some of them depressed and even psychologically disturbed. Many of the subjects of her happiness pill also happen to be male.
Poppy is aggressively positive, but she is also quite sensitive to others' feelings. At times it seems she may even put herself at risk in order to help someone. She is always on the lookout for the good in people, whether they happen to be a young student bully, a homeless person, or her uptight driving instructor (played by a brilliant Eddie Marsan). She is 30 and single and wondering if she will always be that way, but she isn't torturing herself about it. She shares a flat with her acerbic best friend Zoe (Alexis Zegerman), who tries to talk her down from the clouds from time to time.
Poppy is also exhausting to watch. Some would find her absolutely maddening to be around. She is very childlike, eyes always wide open, just so thrilled to be alive. She has a very individual sense of style, reminiscent of a little girl at dress-up. Poppy may be an existentialist's nightmare, but Happy-Go-Lucky is a wonderful film. It is not manic, like its heroine. As Leigh has done before, he shows us regular people just living their lives and they are fascinating to watch. Although most of us can't or wouldn't want to be like quirky girl Poppy all the time, it might be nice to try to see the good side of things more often, to try to be as open to the world as she is.
One of the year's biggest television hits has been the Zooey Deschanel vehicle New Girl. Like Poppy, Jess is a quirky schoolteacher. After breaking up with her boyfriend she ends up sharing a large apartment with three male roommates — Nick (Jake Johnson), Schmidt (Max Greenfield) and Winston (Lamorne Morris). And also like Poppy, her unique take on things invariably helps the guys, cheers them up, or at the very least opens their eyes to the world of women. New Girl is a sitcom, so Jess is more overtly quirky, more goofy than Poppy, and the characters' problems don't cut quite so deeply as the loneliness and despair that hovers in the background of Happy-Go-Lucky. These two heroines can be annoying, as all that sunshine can get tiring after a while. But both Poppy and Jess are celebrations of women with personality.
Quirky girls in film and television are usually in their '20s and '30s. It easy to find such girls cute and adorkable. But the screen, big and small, usually shies away from such ladies when they hit their 40s and beyond. Or if they are portrayed, they have crossed over from quirky to wacky, eccentric, or full-on crazy. The middle-aged quirky woman is frequently styled with accessories like voluminous scarves, too much jewelry, and an outsized sex drive, a la Kathy Bates in About Schmidt. They become figures of fun, many steps past caricature.
Is that what we ladies have to look forward to as we age? That our personality quirks will become so outsized that we will cross over from arty fun girls to artistes who haunt adult education classes and wine parties? Actually that doesn't sound so bad. But it's not adorkable. The ladies depicted on the blog Advanced Style is a hint of the quirky girl's future. Women can continue to look fashion forward and fabulous. Individualism and style is not just for the young.
To return to my original question, do quirky girls really exist? Yes, they do. They may be idealized at times, or a little exaggerated. Quirky girls on film and television are an extreme version of what all gals are capable of — a particular style, quirky behavior, personality. We all may not be Poppys or Jesses, but we are all unique, and we should celebrate the quirk. And look what we have to look forward to — some very stylish golden years.
Two celebrations of the quirky girl can be found in the film Happy-Go-Lucky and the sitcom New Girl. There are so many similarities between the girls in question that it makes one wonder how much the creators of New Girl's Jess borrowed from Mike Leigh's always sunny side up character of Poppy.
 |
| Whenever I see your smiling face: Sally Hawkins as Poppy in Happy-Go-Lucky |
Poppy is aggressively positive, but she is also quite sensitive to others' feelings. At times it seems she may even put herself at risk in order to help someone. She is always on the lookout for the good in people, whether they happen to be a young student bully, a homeless person, or her uptight driving instructor (played by a brilliant Eddie Marsan). She is 30 and single and wondering if she will always be that way, but she isn't torturing herself about it. She shares a flat with her acerbic best friend Zoe (Alexis Zegerman), who tries to talk her down from the clouds from time to time.
Poppy is also exhausting to watch. Some would find her absolutely maddening to be around. She is very childlike, eyes always wide open, just so thrilled to be alive. She has a very individual sense of style, reminiscent of a little girl at dress-up. Poppy may be an existentialist's nightmare, but Happy-Go-Lucky is a wonderful film. It is not manic, like its heroine. As Leigh has done before, he shows us regular people just living their lives and they are fascinating to watch. Although most of us can't or wouldn't want to be like quirky girl Poppy all the time, it might be nice to try to see the good side of things more often, to try to be as open to the world as she is.
 |
| Adorkable Zooey Deschanel as Jess in New Girl |
Quirky girls in film and television are usually in their '20s and '30s. It easy to find such girls cute and adorkable. But the screen, big and small, usually shies away from such ladies when they hit their 40s and beyond. Or if they are portrayed, they have crossed over from quirky to wacky, eccentric, or full-on crazy. The middle-aged quirky woman is frequently styled with accessories like voluminous scarves, too much jewelry, and an outsized sex drive, a la Kathy Bates in About Schmidt. They become figures of fun, many steps past caricature.
Is that what we ladies have to look forward to as we age? That our personality quirks will become so outsized that we will cross over from arty fun girls to artistes who haunt adult education classes and wine parties? Actually that doesn't sound so bad. But it's not adorkable. The ladies depicted on the blog Advanced Style is a hint of the quirky girl's future. Women can continue to look fashion forward and fabulous. Individualism and style is not just for the young.
 |
| Photo by Ari Seth Cohen - Advanced Style |
Thursday, February 02, 2012
nostalgia in film, for film, is a hollywood staple
Some of the best films that came out last year had a common theme — nostalgia. Not only were these films set in bygone eras, but they shared an expressed yearning for the past, a nostalgia for older films.
Hugo is the ultimate love letter to the cinema, showcasing the work of the father of the movies, Georges Méliès. Director Martin Scorsese has never been more accessible. His affection for the subject matter clearly shows.
The Artist is a silent movie set in the golden age of Hollywood, during the transition from silents to talkies. It radiates charm and viewers can enjoy its nods to Fred and Ginger musicals and classic films like Singin' in the Rain and A Star is Born.
Midnight in Paris takes Owen Wilson to magical eras in the City of Light's past where he can rub shoulders with Ernest Hemingway, Salvador Dali, Zelda and F. Scott Fitzgerald and even the French Impressionists. But Woody Allen is also calling up the magic in classic Hollywood films like A Connecticut Yankee in King Arthur's Court and Time After Time, where the hero has an opportunity to trip through time and find romance in the past.
My Week with Marilyn is a movie about the making of a movie. The Muppets is set in the present, but its plot and its entire vibe hearkens back to the Muppet's first movie, which came out in 1979. The Adventures of Tintin is a boy's adventure that evoke film noir. Puss in Boots has its obvious roots in Zorro and other classic movie swashbucklers and Rango uses Hollywood westerns as its inspiration.
Not since the early '70s have so many movies been looking backward. So many films seemed to have an affection for the '30s — and the movies made in that era.
The Sting (1973) wears its love for '30s gangsters movies proudly and also pays homage to silent films with title cards. Depression-era America is also the setting for Peter Bogdonavich's Paper Moon (1973), which calls to mind The Grapes of Wrath. Bogdonavich took another nostalgic turn with Nickelodeon (1976), where he featured the birth of motion pictures.
The Great Gatsby (1974) is about the nostalgia of a past love, and is filmed to look like the classic '30s doomed romances featuring Joan Crawford. Cabaret (1972) is in a slightly more modern era, Weimar Germany, but it calls to mind classic movie musicals as well as war movies filmed in the late '30s, early '40s.
Chinatown (1974) is Roman Polanski's '70s take on film noir, with Jack Nicholson playing the ultimate beleaguered P.I., fascinated and double-crossed by a gorgeous dame (Faye Dunaway), in the long filmic tradition of Philip Marlowe and Sam Spade. Mel Brooks's Young Frankenstein (1974) is a true homage to the classic '30s horror films, characters, and actors. It's also still one of the funniest and beautiful-to-look-at moves ever made.
Is it because we are again in a recession that we would rather look back? When Hollywood looks back, it always seems to look back not just to another era, but on itself, its history. But its self-reflexive nature does make for some great films.
Hugo is the ultimate love letter to the cinema, showcasing the work of the father of the movies, Georges Méliès. Director Martin Scorsese has never been more accessible. His affection for the subject matter clearly shows.
The Artist is a silent movie set in the golden age of Hollywood, during the transition from silents to talkies. It radiates charm and viewers can enjoy its nods to Fred and Ginger musicals and classic films like Singin' in the Rain and A Star is Born.
Midnight in Paris takes Owen Wilson to magical eras in the City of Light's past where he can rub shoulders with Ernest Hemingway, Salvador Dali, Zelda and F. Scott Fitzgerald and even the French Impressionists. But Woody Allen is also calling up the magic in classic Hollywood films like A Connecticut Yankee in King Arthur's Court and Time After Time, where the hero has an opportunity to trip through time and find romance in the past.
My Week with Marilyn is a movie about the making of a movie. The Muppets is set in the present, but its plot and its entire vibe hearkens back to the Muppet's first movie, which came out in 1979. The Adventures of Tintin is a boy's adventure that evoke film noir. Puss in Boots has its obvious roots in Zorro and other classic movie swashbucklers and Rango uses Hollywood westerns as its inspiration.
Not since the early '70s have so many movies been looking backward. So many films seemed to have an affection for the '30s — and the movies made in that era.
The Sting (1973) wears its love for '30s gangsters movies proudly and also pays homage to silent films with title cards. Depression-era America is also the setting for Peter Bogdonavich's Paper Moon (1973), which calls to mind The Grapes of Wrath. Bogdonavich took another nostalgic turn with Nickelodeon (1976), where he featured the birth of motion pictures.
The Great Gatsby (1974) is about the nostalgia of a past love, and is filmed to look like the classic '30s doomed romances featuring Joan Crawford. Cabaret (1972) is in a slightly more modern era, Weimar Germany, but it calls to mind classic movie musicals as well as war movies filmed in the late '30s, early '40s.
Chinatown (1974) is Roman Polanski's '70s take on film noir, with Jack Nicholson playing the ultimate beleaguered P.I., fascinated and double-crossed by a gorgeous dame (Faye Dunaway), in the long filmic tradition of Philip Marlowe and Sam Spade. Mel Brooks's Young Frankenstein (1974) is a true homage to the classic '30s horror films, characters, and actors. It's also still one of the funniest and beautiful-to-look-at moves ever made.
Is it because we are again in a recession that we would rather look back? When Hollywood looks back, it always seems to look back not just to another era, but on itself, its history. But its self-reflexive nature does make for some great films.
Wednesday, February 01, 2012
oscar! oscar! oscar!
Most people haven't seen all of the nominees for this month's Oscars. But that shouldn't stop us all from having opinions about who was snubbed and who we think will win, right? I don't feel compelled to see everything out there in order to tune into the Oscars. It's mostly an opportunity to stargaze and play along with the worst and best dressed commentators.
The Oscar nominations may urge me to finally go see something I was on the fence about, like My Week with Marilyn. Alas, it is no longer in my local theater. But if Michelle Williams wins, it will no doubt return. The question is whether even then I will be able to get beyond my hesitation of seeing Marilyn impersonated, no matter how ably (and a mock Olivier, too).
Here are my opinions about the lucky nominees, and my predictions about who might take home the little naked golden men statuettes on the 84th Academy Awards on Sunday, February 26. These are of course not all of the categories, just the ones that interested me. I bolded the nominees I think will win. But first, some glaring omissions:
Best Picture
The Artist - The shoo-in. It's adorable and upbeat, which is the only thing it has going against it, as the Academy tends to favor dramas with a capital "D." But it's a phenomenon and should still win.
The Descendants - I really like George Clooney. I'm sure he is a stand up guy. But for some reason I just can't get into him in he movies. He always seems a little too disconnected.
Extremely Loud & Incredibly Close - Seriously, why was this nominated? It just sounds awful to me.
The Help - A lot of people love this, but I can wait for it to hit cable.
Hugo - I loved this movie, and although it's the underdog, I would love it to win, like The Artist it is such a celebration of the cinema.
Midnight in Paris - This is the best Woody has done in a long time, and I'm glad it got a nomination.
Moneyball - A really nice film and deserving of a nomination, but probably not best picture.
The Tree of Life - I missed this in theaters, but am looking forward to seeing it, somehow.
War Horse - Stephen Spielberg is everywhere these days. Film, TV, you name it. I wish he wasn't. I'm sorry, but I do.
Actor In a Leading Role - I would love for Gary Oldman to win this. The Academy may surprise us, but I think (hope) it's going to be Pitt, not Clooney. Brad was excellent as Billy Bean and he also helped get the picture made. His biggest competition is Jean Dujardin, who was also wonderful. If he wins it, The Artist will probably sweep.
Demián Bichir, A Better Life
George Clooney, The Descendants
Jean Dujardin, The Artist
Gary Oldman, Tinker Tailor Soldier Spy
Brad Pitt, Moneyball
Actress In a Leading Role - I hope it's Michelle Williams, even though everyone is saying it should be Meryl. But I am against a movie that in any way celebrates Thatcher. And Meryl can suck it up. She'll get many more opportunities. Glenn Close may be brilliant in her cross-dressing film, but it's a vanity production that not many will want to see. But Viola Davis may be a surprise winner. Rooney is being honored for a great performance, but won't win.
Glenn Close, Albert Nobbs
Viola Davis, The Help
Rooney Mara, The Girl with the Dragon Tattoo
Meryl Streep, The Iron Lady
Michelle Williams, My Week With Marilyn
Actor In a Supporting Role - This had better be Christopher Plummer. Period.
Kenneth Branagh, My Week With Marilyn
Jonah Hill, Moneyball
Nick Nolte, Warrior
Christopher Plummer, Beginners
Max von Sydow, Extremely Loud & Incredibly Close
Actress In a Supporting Role - I would love the award to go to Melissa McCarthy. C'mon Academy, comedians are best actors, too. Bejo was adorable in The Artist, but it wasn't really an Oscar-worthy performance.
Bérénice Bejo, The Artist
Jessica Chastain, The Help
Melissa McCarthy, Bridesmaids
Janet McTeer, Albert Nobbs
Octavia Spencer, The Help
Animated Feature Film - I'm sure Rango will win, which was fun and beautiful to look at. I absolutely LOVE that Puss was nominated and am not upset that Tintin wasn't.
A Cat in Paris
Chico & Rita
Kung Fu Panda 2
Puss in Boots
Rango
Cinematography - I'm thinking Hugo will take home the prize, but this is one of the categories that The Tree of Life might win.
The Artist
The Girl With The Dragon Tattoo
Hugo
The Tree of Life
War Horse
Art Direction - Hugo will probably win. The sets of the train station and the recreations of Georges Méliès's films were amazing. The Academy doesn't seem to take Harry Potter seriously.
The Artist
Harry Potter and the Deathly Hallows Part 2
Hugo
Midnight in Paris
War Horse
Costume Design - The Artist will probably (and deservedy) win this one, too.
Anonymous
The Artist
Hugo
Jane Eyre
W.E.
Directing - This is not only the most accessible, but the best Scorsese film in quite a while.
The Artist, Michel Hazanavicius
The Descendants, Alexander Payne
Hugo, Martin Scorsese
Midnight in Paris, Woody Allen
The Tree of Life, Terrence Malick
Music (Original Score) - There has been a lot of controversy over the use of a part of Bernard Herrmann's score for Vertigo in The Artist, but it will still probably win.
The Adventures of Tintin, John Williams
The Artist, Ludovic Bource
Hugo, Howard Shore
Tinker Tailor Soldier Spy, Alberto Iglesias
War Horse, John Williams
Music (Original Song) - "Man or Muppet" was the highlight of The Muppets. I'm hoping Jason Segel and Walter perform it live. It must win.
"Man or Muppet" from The Muppets
“Real in Rio” from Rio
Visual Effects - The Apes will probably get this one, although Andy Serkis should have been in one of the acting categories. C'mon, already.
Harry Potter and the Deathly Hallows Part 2
Hugo
Real Steel
Rise of the Planet of the Apes
Transformers: Dark of the Moon
Writing (Adapted Screenplay) - I would really like Moneyball to win this one. Team Brad.
The Descendants
Hugo
The Ides of March
Moneyball
Tinker Tailor Soldier Spy
Writing (Original Screenplay) - It's hard going up against the Woodman, but I'd love the gals from Bridesmaids to take this one.
The Artist
Bridesmaids
Margin Call
Midnight in Paris
A Separation
Short Film (Animated) - The Fantastic Flying Books of Mr. Morris Lessmore is simply fantastic and should take the prize.
Dimanche/Sunday, Patrick Doyon
The Fantastic Flying Books of Mr. Morris Lessmore, William Joyce and Brandon Oldenburg
La Luna, Enrico Casarosa
A Morning Stroll, Grant Orchard and Sue Goffe
Wild Life, Amanda Forbis and Wendy Tilby
What do you think? Do you have very different predictions? Let me know in the comments.
Good luck to all of the nominees!
The Oscar nominations may urge me to finally go see something I was on the fence about, like My Week with Marilyn. Alas, it is no longer in my local theater. But if Michelle Williams wins, it will no doubt return. The question is whether even then I will be able to get beyond my hesitation of seeing Marilyn impersonated, no matter how ably (and a mock Olivier, too).
Here are my opinions about the lucky nominees, and my predictions about who might take home the little naked golden men statuettes on the 84th Academy Awards on Sunday, February 26. These are of course not all of the categories, just the ones that interested me. I bolded the nominees I think will win. But first, some glaring omissions:
- What about Alan Rickman as Snape in Harry Potter and the Deathly Hallows Part 2? Best or supporting, it doesn't matter. The man was fantastic and heartbreaking.
- I am not a big fan of Clint Eastwood the director, and apparently neither is the Academy, as Leonardo DiCaprio was overlooked for J. Edgar.
- Both Albert Brooks and Ryan Gosling were passed over for Drive (and Gosling as well for The Ides of March.)
- We will not be able to see Tilda Swinton's latest amazing fashion statement as she wasn't nominated for We Need to Talk About Kevin.
- Nothing for 50/50.
- When will the Academy recognize voice-over artists? How can you have an animation category and not one for the voice actors, who really get the audience into the seats. Johnny Depp and Antonio Banderas were both great as Rango and Puss in Boots.
- And what about our four-legged friends? The amazing Uggie from The Artist won a Palm Dog at the Cannes Film Festival. Why doesn't the Academy want to recognize him along with all the gaffers, and other technical awards?
Best Picture
The Artist - The shoo-in. It's adorable and upbeat, which is the only thing it has going against it, as the Academy tends to favor dramas with a capital "D." But it's a phenomenon and should still win.
The Descendants - I really like George Clooney. I'm sure he is a stand up guy. But for some reason I just can't get into him in he movies. He always seems a little too disconnected.
Extremely Loud & Incredibly Close - Seriously, why was this nominated? It just sounds awful to me.
The Help - A lot of people love this, but I can wait for it to hit cable.
Hugo - I loved this movie, and although it's the underdog, I would love it to win, like The Artist it is such a celebration of the cinema.
Midnight in Paris - This is the best Woody has done in a long time, and I'm glad it got a nomination.
Moneyball - A really nice film and deserving of a nomination, but probably not best picture.
The Tree of Life - I missed this in theaters, but am looking forward to seeing it, somehow.
War Horse - Stephen Spielberg is everywhere these days. Film, TV, you name it. I wish he wasn't. I'm sorry, but I do.
Actor In a Leading Role - I would love for Gary Oldman to win this. The Academy may surprise us, but I think (hope) it's going to be Pitt, not Clooney. Brad was excellent as Billy Bean and he also helped get the picture made. His biggest competition is Jean Dujardin, who was also wonderful. If he wins it, The Artist will probably sweep.
Demián Bichir, A Better Life
George Clooney, The Descendants
Jean Dujardin, The Artist
Gary Oldman, Tinker Tailor Soldier Spy
Brad Pitt, Moneyball
Actress In a Leading Role - I hope it's Michelle Williams, even though everyone is saying it should be Meryl. But I am against a movie that in any way celebrates Thatcher. And Meryl can suck it up. She'll get many more opportunities. Glenn Close may be brilliant in her cross-dressing film, but it's a vanity production that not many will want to see. But Viola Davis may be a surprise winner. Rooney is being honored for a great performance, but won't win.
Glenn Close, Albert Nobbs
Viola Davis, The Help
Rooney Mara, The Girl with the Dragon Tattoo
Meryl Streep, The Iron Lady
Michelle Williams, My Week With Marilyn
Actor In a Supporting Role - This had better be Christopher Plummer. Period.
Kenneth Branagh, My Week With Marilyn
Jonah Hill, Moneyball
Nick Nolte, Warrior
Christopher Plummer, Beginners
Max von Sydow, Extremely Loud & Incredibly Close
Actress In a Supporting Role - I would love the award to go to Melissa McCarthy. C'mon Academy, comedians are best actors, too. Bejo was adorable in The Artist, but it wasn't really an Oscar-worthy performance.
Bérénice Bejo, The Artist
Jessica Chastain, The Help
Melissa McCarthy, Bridesmaids
Janet McTeer, Albert Nobbs
Octavia Spencer, The Help
Animated Feature Film - I'm sure Rango will win, which was fun and beautiful to look at. I absolutely LOVE that Puss was nominated and am not upset that Tintin wasn't.
A Cat in Paris
Chico & Rita
Kung Fu Panda 2
Puss in Boots
Rango
Cinematography - I'm thinking Hugo will take home the prize, but this is one of the categories that The Tree of Life might win.
The Artist
The Girl With The Dragon Tattoo
Hugo
The Tree of Life
War Horse
Art Direction - Hugo will probably win. The sets of the train station and the recreations of Georges Méliès's films were amazing. The Academy doesn't seem to take Harry Potter seriously.
The Artist
Harry Potter and the Deathly Hallows Part 2
Hugo
Midnight in Paris
War Horse
Costume Design - The Artist will probably (and deservedy) win this one, too.
Anonymous
The Artist
Hugo
Jane Eyre
W.E.
Directing - This is not only the most accessible, but the best Scorsese film in quite a while.
The Artist, Michel Hazanavicius
The Descendants, Alexander Payne
Hugo, Martin Scorsese
Midnight in Paris, Woody Allen
The Tree of Life, Terrence Malick
Music (Original Score) - There has been a lot of controversy over the use of a part of Bernard Herrmann's score for Vertigo in The Artist, but it will still probably win.
The Adventures of Tintin, John Williams
The Artist, Ludovic Bource
Hugo, Howard Shore
Tinker Tailor Soldier Spy, Alberto Iglesias
War Horse, John Williams
"Man or Muppet" from The Muppets
“Real in Rio” from Rio
Visual Effects - The Apes will probably get this one, although Andy Serkis should have been in one of the acting categories. C'mon, already.
Harry Potter and the Deathly Hallows Part 2
Hugo
Real Steel
Rise of the Planet of the Apes
Transformers: Dark of the Moon
Writing (Adapted Screenplay) - I would really like Moneyball to win this one. Team Brad.
The Descendants
Hugo
The Ides of March
Moneyball
Tinker Tailor Soldier Spy
Writing (Original Screenplay) - It's hard going up against the Woodman, but I'd love the gals from Bridesmaids to take this one.
The Artist
Bridesmaids
Margin Call
Midnight in Paris
A Separation
Short Film (Animated) - The Fantastic Flying Books of Mr. Morris Lessmore is simply fantastic and should take the prize.
Dimanche/Sunday, Patrick Doyon
The Fantastic Flying Books of Mr. Morris Lessmore, William Joyce and Brandon Oldenburg
La Luna, Enrico Casarosa
A Morning Stroll, Grant Orchard and Sue Goffe
Wild Life, Amanda Forbis and Wendy Tilby
What do you think? Do you have very different predictions? Let me know in the comments.
Good luck to all of the nominees!
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