Are Emmy voters about to gorge themselves on The Gorge?

This week, the Apple TV+ project jumped past Netflix’s Nonnas in Gold Derby’s Emmy predictions to climb into the fifth spot for Best TV Movie. That’s significant because the category will just have five nominees due to there only being 39 total submissions. The other four predicted nominees: Netflix’s Rebel Ridge, Disney +’s Out of My Mind, Peacock’s Bridget Jones: Mad About the Boy, and HBO’s Mountainhead.

For those unfamiliar with The Gorge, Scott Derrickson’s original sci-fi film stars Miles Teller as Levi Kane and Anya Taylor-Joy as Drasa, two elite snipers tasked with guarding opposite sides of a deep gorge, unaware of what mysteries lie below. Sigourney Weaver also stars as Bartholomew. Despite its middling 63 percent score at Rotten Tomatoes, TV critics hailed The Gorge for its successful mixing of genres, switching effortlessly between being an endearing romance and a high-octane thriller.

Richard Roeper (Chicago Sun-Times) wrote, “This is a great-looking movie with star-power leads, and not for a second is any of it even close to being plausible, and we’re just fine with that.” Brian Truitt (USA Today) called it a “Whitman’s Sampler of film genres with a delightfully sweet center that belies its freaky packaging.” And Jake Coyle (Associated Press) noted, “There is good preposterous and bad preposterous. The Gorge may find some believers on both sides of that gulf.”

Despite the film’s improved fifth-place position in Gold Derby’s Emmy predictions, its stars remain out of the money. Taylor-Joy is down in 16th place for Best Movie/Limited Series Actress, while Teller ranks 24th for Best Movie/Limited Actor. So, why the disconnect?

Recent Emmy history has been a wipeout for original telefilms, particularly in the acting categories, as the format has mostly been abandoned in favor of limited series. Over the past five years, only two performers have received Emmy nominations for appearing in traditional TV movies: Daniel Radcliffe for Weird: The Al Yankovic Story (2023) and Hugh Jackman for Bad Education (2020). Then there’s Tituss Burgess, who nabbed a supporting bid for his canceled show’s interactive follow-up film, Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend (2020).

Gold Derby’s Emmy predictions are based on the combined forecasts of more than 4,600 people (and counting), including experts we’ve polled from major media outlets, editors who cover awards year-round for this website, and the mass of users who make up our biggest predictions bloc. Track the Emmy predictions by exploring all of our charts and graphs, and sound off in our TV forum.

BEST TV MOVIE

PREDICTED NOMINEES

1. Rebel Ridge

2. Out of My Mind

3. Bridget Jones: Mad About the Boy

4. Mountainhead

5. The Gorge

POTENTIAL SPOILERS

Nonnas, Am I OK?, The Supremes at Earl’s All-You-Can-Eat, G20, Star Trek: Section 31, The Killer

With strong reviews and a massive marketing push from Apple, F1: The Movie seems to be speeding toward the finish line for first place at the weekend box office. But could the summer tentpole make a showing at the end of the year in the Oscar race?

The movie’s pedigree certainly suggests it could follow the route of another high-velocity hit of recent years. With Joseph Kosinski in the director’s chair and Jerry Bruckheimer producing, Top Gun: Maverick is an easy parallel to draw for how the Brad Pitt-led vehicle could make an impact in awards season.

But in which categories could it be competitive? The lightning in a bottle magic of Maverick seems to be missing from the reactions to F1 thus far, so Screenplay and Picture seem like a stretch at the moment. But with some familiar names below the line, several craft categories could definitely be within reach.

Editing

A three-time nominee, editor Stephen Mirrione previously won in the category for cutting Steven Soderbergh’s multi-thread drug epic, Traffic, back in 2001. Since then, he’s been the go-to editor for Alejandro Gonzalez Iñárritu, earning nominations for both Babel and The Revenant — in addition to working on the director’s Best Picture-winning Birdman.

Cinematography

Top Gun: Maverick’s cinematopher, Claudio Miranda, made the leap over to F1 with Kosinksi. Miranda wasn’t nominated for the high-flying shots of Tom Cruise and company, but he is a previous winner, for his work on Ang Lee’s The Life of Pi. He was also nominated for Best Cinematography with The Curious Case of Benjamin Button.

Score

F1’s score is by Hans Zimmer. Heard of him? The 12-time nominee and two-time winner is another carry-over from Top Gun: Maverick. He most recently won in 2022, when his now-iconic howls from the Dune: Part 1 soundtrack took home Best Score. His first win came all the way back in 1995 for The Lion King.

Visual Effects

A previous nominee on behalf of Top Gun: Maverick, production visual effects supervisor Ryan Tudhope is among the VFX team on F1. A nomination in this category will likely come down to competition, as the end of the year will bring near-guaranteed heavy-hitters like Wicked: For Good and Avatar: Fire and Ash.

Sound

Maverick’s one Oscar win from its six nominations came in the Best Sound category. That film’s supervising sound editor and sound editor, Al Nelson, is the only member of that team to make the leap to F1. Still, with all of those revving engines, its difficult to imagine a tentpole release with more sound this year.

One of the most feverishly anticipated reunion concerts in rock history kicked off Friday evening at Principality Stadium, in Cardiff, Wales, when Oasis took the stage and began their first show in 16 years by breaking out 1995’s “Hello.” They then ripped into “Acquiesce” and “Morning Glory.”

The set then bounced between fan favorites (“Bring It On Down,” “Little By Little,” “Cast No Shadow”), and generational anthems (“Supersonic,” “Live Forever,” “Rock ‘n’ Roll Star.”) They closed out the night with “Don’t Look Back in Anger,” “Wonderwall,” and “Champagne Supernova.”

Oasis last performed in public on Aug. 22, 2009, at the V Festival in Weston Park, England. They were booked to play another festival in Paris one week later, but an angry Liam Gallagher lunged at Noel Gallagher backstage, with a guitar in his hand. “He started wielding it like an ax,” Liam said in 2015. “It was a real unnecessary violent act, and he’s swinging this guitar around, he nearly took my face off with it.”

“It’s with some sadness and great relief to tell you that I quit Oasis tonight,” Noel wrote in a statement to fans. “People will write and say what they like, but I simply could not go on working with Liam a day longer.”

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In the years that followed, the brothers toured and recorded in two competing camps. “I’d rather eat my own shit than be in a band with him again,” Liam told LA Weekly in 2011. “He’s a miserable little fuck, if you know what I mean.”

Liam’s position softened in the years that followed, but Noel remained adamant that it would never happen. “As funny as this sounds, Oasis sell as many records now per year as we did when we were together,” he said on the podcast Pub Talk in 2022. “We’re as popular now in the eyes of the people as we ever were. And I’m happy with it. If we got back together, there would be a circus — and there’s no point. Just leave it as it is.” Editor’s picks

But in 2024, rumors began swirling that the Gallagher brothers had finally patched things up, and were booking dates for a 2025 tour. “The guns have fallen silent,” the band said in a statement. “The stars have aligned. The great wait is over. Come see. It will not be televised.”

The brothers stopped speaking to the press after the tour was announced, and refused to even confirm who else would play in this new version of the band. But in March, a source leaked to NME that the group would consist of guitarists Gem Archer and Paul “Bonehead” Arthurs, bassist Andy Bell, and drummer Joey Waronker.

“NME tell me who your source pots are that keep giving you info about Oasis and I’ll give you an exclusive interview about up n coming Oasis tour,” Liam Gallagher tweeted out in response. “It’s not the lineup reveal I’m bothered about I’ll reveal that to you in a minute I’m more bothered about the line where it says a source close to the band and tour that really causes me a great deal of concern.”

At press time, Oasis were still onstage at Principality Stadium. The tour continues Saturday night at the same venue, and then heads all across the UK and Ireland for the next few weeks. A North American leg begins Aug. 24 in Toronto. The final show on the books is Nov. 23 in São Paulo, Brazil. Trending Stories Oasis Make a Mighty Return After 16 Years With Blowout U.K. Gig Trump Celebrates Fourth of July by Deporting Veterans and Their Families Watch Oasis Play ‘Wonderwall’ And ‘Live Forever’ At First Concert in 16 Years Bad Bunny Uses a Recording Mimicking Trump’s Voice to Deliver a Pro-Immigrant Message in ‘Nuevayol’ Video

Here is the complete opening night setlist:

“Hello”

“Acquiesce”

“Morning Glory”

“Some Might Say”

“Bring It On Down”

“Cigarettes & Alcohol”

“Fade Away”

“Supersonic”

“Roll With It”

“Talk Tonight”

“Half the World Away”

“Little by Little”

“D’You Know What I Mean?”

“Stand by Me”

“Cast No Shadow”

“Slide Away”

“Whatever”

“Live Forever”

“Rock ‘n’ Roll Star”

“The Masterplan”

“Don’t Look Back in Anger”

“Wonderwall”

“Champagne Supernova”

December 1969: The Rolling Stones are capping off their decade of triumph with a new album. It’s called Let It Bleed. The songs ooze doom, death, darkness, and destruction. Right from the start, it’s an album full of bad news, from the opening guitar shivers of “Gimme Shelter.” “That’s a kind of end-of-the-world song, really. It’s apocalypse; the whole record’s like that,” Mick Jagger told Jann S. Wenner in his 1995 Rolling Stone interview. “It’s a very rough, very violent era. The Vietnam War. Violence on the screens. Pillage and burning.”

Fifty years after it came out, Let It Bleed sounds timelier than ever. Amid all the chaos, the Stones made a masterpiece that holds up as the ultimate rock & roll album for bleak times, which is why it feels like the most 2019 album of 1969. Their darkest album, yet also their funniest — not to mention their greatest. They dropped Let It Bleed in the final days of a decade that didn’t turn out the way they or anyone else hoped. “You Can’t Always Get What You Want,” “Monkey Man,” “Midnight Rambler” — these are warning shots, serving notice that the Sixties’ dreams are about to cannonball into Brian Jones’ swimming pool, never to return alive.

The Stones spent the summer of 1969 making it with producer Jimmy Miller, starting in London but wrapping it up in L.A., where Mick and Keith Richards crashed at Stephen Stills’ Laurel Canyon mansion. It captures the L.A. moment Quentin Tarantino depicts in Once Upon a Time … in Hollywood, with lost souls roaming the streets. The Stones caught the sordid desperation in the air like nobody else. On the album, as in the movie, you never know when the wrong acid-dipped cigarette might explode into a late-night orgy of awaaay-we-go violence. And you never know when the guitars will turn into a flamethrower blast: The Fourteen Fists of Keith.

The Stones made Let It Bleed in a cloud of bad vibes — in other words, their comfort zone. It’s their Keith-iest album, the one where he plays nearly all the guitars. The drugs were getting deadlier. (As Keith told Rolling Stone in 1971, “Don’t take my example. Take Jimi Hendrix. Or not.”) The wars. The riots. The assassinations. It’s all just a shot away.

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The essential new 50th-Anniversary Limited Deluxe Edition tells the whole story of the album, with stereo and mono remixes that reveal new nuances in the music. The new version enhances the details, from Merry Clayton’s gospel screams in “Gimme Shelter” to Bill Wyman’s autoharp at the start of “Let It Bleed.” There’s also a reproduction of the original “Honky Tonk Women” single, plus an 80-page book with a David Fricke essay and previously unseen photos by Ethan Russell. But however you hear it, Let It Bleed never stops giving up fresh chills and surprises.

The Stones never planned it as a tombstone for the decade. They were just trying to crush out a record in time for their fall U.S. tour. For the tour’s climax, they announced a free show in San Francisco’s Golden Gate Park. What better place to top Woodstock and sum up the Sixties’ hopes and ideals— right down the street from Haight-Ashbury? But the dream was over. At the last minute, the concert got relocated to Altamont Speedway and turned into the Hells Angels bloodbath seen in the film Gimme Shelter. The Stones dropped Let It Bleed the day before Altamont. If they’d given another listen to their own album, they probably would have known better than to show up.

Brian Jones was no longer around to clutter up Keith’s action with dulcimers or marimbas; he plays on only a couple of songs, adding barely audible percussion. Tragically, Brian was finally falling apart after constant attacks from the London cops, who broke this butterfly on a wheel. In one typical bust, they claimed they found hash in his flat, hidden in a ball of blue wool. Brian’s courtroom defense was classic: He testified, “I’ve never had a ball of wool in me life. I don’t darn socks.”

But he could no longer function musically. He didn’t even play on “You Can’t Always Get What You Want” — he showed up at the studio, yet couldn’t be bothered to get up and plug in. As organist Al Kooper told Rolling Stone, “He was just sort of lying in the corner on his stomach, reading an article on botany.”

While making “Honky Tonk Women,” Jagger, Richards, and Charlie Watts drove straight from the studio to Brian’s house and officially axed him. The week “Honky Tonk Women” hit Number One, Brian died in his swimming pool. As Pete Townshend told Rolling Stone at the time, “Oh, a normal day for Brian.” “Honky Tonk Women” became the final Number One U.S. hit of a radio summer that began so cheerfully with “Aquarius/Let the Sun Shine In.” The late, great Nick Tosches described the shock of first hearing it, on an Avenue A bar jukebox: “It strutted its indolence, like one who nods off while fucking.”

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You can see Brian on the album cover, smiling on the cake even though he was already dead. You can also see his 20-year-old replacement, Mick Taylor, on the turntable a few inches under Brian. The Stones officially debuted Taylor at their July 6th free concert in London’s Hyde Park, which became a Brian memorial; butterflies were released into the air while Mick read Shelley’s poem “Adonais” to the crowd. They figured it would be easy to play the same kind of free show on the West Coast a few months later. But California wasn’t London, the Hell’s Angels weren’t butterflies, speed wasn’t grass, and December wasn’t July. By Altamont, the Age of Aquarius was already buried right next to Brian.

“Let It Bleed” remains the Stones’ funniest sex comedy: Mick tarts it up with his schoolgirl gasps over Keith’s slide guitar. The songs hit all kinds of emotional extremes: Keith’s ragged vocal on “You Got the Silver,” Mick’s high-lonesome blues in Robert Johnson’s “Love in Vain,” the aristocrat burlesque of “Live With Me.” But if anything sums up the mood, it’s the horror show “Midnight Rambler” — the blues epic where Mick rants about all the bad news coming for all December’s children. The song hit harder than ever this summer, as the 12-minute climax of the band’s U.S. stadium tour. Everybody got to know, because everybody got to go.

Famously, when they played Atlantic City in 1989, the Stones refused to go on when they found out the casino boss was at the gig. Keith pulled out a knife, slammed it on a table and declared, “One of us is leaving the building — either him or us.” The owner backed down and left. Thirty years (and a few bankruptcies) later, he’s now the president, playing “You Can’t Always Get What You Want” at campaign rallies. The names and details change, but every cop’s a criminal and all the sinners saints. That’s why Let It Bleed sounds so timely — no matter what disaster is going down, Mick sings like he saw it coming.

These days Let It Bleed might not have the same marquee value as Exile or Sticky Fingers, but it’s ripe for rediscovery. As Greil Marcus wrote in his original Rolling Stone review, it’s about “this era and the collapse of its bright and flimsy liberation.” In a way, the Stones save the scariest moment for the finale: “You Can’t Always Get What You Want.” This song has aged into such a beloved standard, it’s easy to sleep on how dark it is. (Especially since the London Bach Choir’s camp vocals make it seem more saccharine than it should.) But seeing the Stones play it onstage this summer, in a stripped-down four-man version, was a welcome reminder of the song’s hardcore spirit. It’s the same apocalypse as “Gimme Shelter,” but it’s the kind you have to keep living with when the song is over, constantly striving and failing to get what you want, face to face with the compromises and betrayals of everyday life. Fifty years later, that’s a story that never gets old. And that’s why Let It Bleed stubbornly refuses to fade into the past — like the Stones themselves.

Oasis have announced three additional shows as part of their highly-anticipated 2025 reunion tour. The concerts include Manchester’s Heaton Park, London’s Wembley Stadium, and Edinburgh’s Murrayfield Stadium.

“Due to unprecedented demand, three new U.K. dates will be added to Oasis Live ‘25,” the band wrote on Twitter this morning, reminding fans that tickets go on sale Saturday, Aug. 31 at 9 a.m. BST.

Due to unprecedented demand, three new UK dates will be added to Oasis Live ‘25 🔥

🎸Heaton Park – July 16th

🎸Wembley – July 30th

🎸Edinburgh – August 12th

Tickets on go on sale this Saturday, 31st August at 9am BST: https://t.co/EtNuE2Hx6b pic.twitter.com/nLgnBtkQhL — Oasis (@oasis) August 29, 2024

Earlier this week, brothers Liam and Noel Gallagher confirmed they were putting aside their long-held differences to bring Oasis back together fifteen years after their breakup. The group announced the Oasis Live ’25 tour early Tuesday morning with tour dates in the U.K. and Ireland (details on North American shows yet to be announced).

“The guns have fallen silent,” the band said in a statement. “The stars have aligned. The great wait is over. Come see. It will not be televised.”

Oasis will perform in Cardiff, Manchester, London, Edinburgh, and Dublin in the summer of 2025. A press release noted that these are their only shows in Europe in 2025 and that “plans are underway for Oasis Live ’25 to go to other continents outside of Europe later next year.”

The band officially confirmed the reunion after a weekend of rumors and social media speculation (that just happened to coincide with the 2024 Reading Festival — which Oasis headlined 24 years ago in 2000 — and the 30th anniversary of their debut album Definitely Maybe). Reports started to emerge that the Gallaghers had settled their 15-year feud and would announce a series of 2025 gigs in the U.K.

Tickets for Oasis Live ’25 will be available on Ticketmaster, Gigs and Tours, and See Tickets. Dublin tickets will be available from 8 a.m. local time the same day on Ticketmaster. Trending Stories Oasis Make a Mighty Return After 16 Years With Blowout U.K. Gig Trump Celebrates Fourth of July by Deporting Veterans and Their Families Watch Oasis Play ‘Wonderwall’ And ‘Live Forever’ At First Concert in 16 Years Bad Bunny Uses a Recording Mimicking Trump’s Voice to Deliver a Pro-Immigrant Message in ‘Nuevayol’ Video

Oasis Live ’25 Tour Dates

July 4, 2025 – Cardiff, Principality Stadium

July 5, 2025 – Cardiff, Principality Stadium

July 11, 2025 – Manchester, Heaton Park

July 12, 2025 – Manchester, Heaton Park

July 16, 2024 – Manchester, Heaton Park (new date)

July 19, 2025 – Manchester, Heaton Park

July 20, 2025 – Manchester, Heaton Park

July 25, 2025 – London, Wembley Stadium

July 26, 2025 – London, Wembley Stadium

July 30, 2025 – London, Wembley Stadium (new date)

August 2, 2025 – London, Wembley Stadium

August 3, 2025 – London, Wembley Stadium

August 8, 2025 – Edinburgh, Scottish Gas Murrayfield Stadium

August 9, 2025 – Edinburgh, Scottish Gas Murrayfield Stadium

August 12, 2025 – Edinburgh, Scottish Gas Murrayfield Stadium (new date)

August 16, 2025 – Dublin, Croke Park

August 17, 2025 – Dublin, Croke Park