Below is an excellent little article from on what may be the most vulnerable of the potential best picture nominees. I agree with his analysis except that I think it’s a pretty gone conclusion, even before now, that The Last Station and The Lovely Bones weren’t going to make it. Invictus is a hard call because everybody seems to buy into the myth that Eastwood always gets a nomination when in actuality he doesn’t. The list doesn’t include Up, which is vulnerable if people decide to only nominate it in the animation category. Nine is a hard call because I suspect that when an audience sees it, they like it; the problem is that they’re having a hard time getting an audience to see it; but that’s what screeners are for. In addition, I think Weinstein is part of this and the lesson is never count Weinstein out.

Log Lines for One Act Plays

The plays that are highlighted can be accessed from this site. To locate a copy of the play, please click on the title.
A COLD COMING WE HAD OF IT. (2M, 1M or F). It’s a blizzard and John and Dave are stuck at a train station waiting and waiting and waiting. And the bag lady that wanders in doesn’t help matters any. But the blizzard does more than trap them. It provides them (to quote the Chicago Reader) “an opportu­nity to bicker, cajole, deceive, joke, cry, wheedle, and otherwise negotiate their way into an understanding” of their relationship as we discover why Dave is really so upset and where John really was the night before.

FILM NOIR. (5M, 3F). Based on the brooding, dark films of the forties and fifties that made Humphrey Bogart and Joan Bennett stars, Film Noir finds Fred Nirdlinger trapped in a grim world with little hope of happiness. In a desperate attempt to escape into a brighter world, he has an affair with a younger woman with a mysterious life.

GENTLE READER. (3M). Two friends have a weekly lunch until a chance disagreement shows just how fragile relationships can be.

IT’S ONLY FUCHSIA IF YOU’RE A GOD DAMN FAG. (2M). Azzie and Bayard are having an affair. Azzie wants Bayard to leave his lover. Bayard likes things the way they are. Caution: nudity and sexual content.

A LITTLE LEAR AND LAUNDRY. (3M). One day Cordell learns something of the truth of the line from King Lear, “Like flies to wanton boys are we to the gods, they slap us in their fun”, when he runs across Larry in a laundromat. Larry, along with his lover, Reggie, owns the most successful bar in town, along with other various properties, and never has to cook, clean or, Cordell notes, do laundry if he doesn’t want to. So what is he doing here and why is Reggie so upset when he shows up looking for his lover? The answer is not at all what Cordell expects.

THE MOMENT I WAKE UP. (2M). A man has an unusual encounter with a man who claims that his “brain is shrinking”.

THE PAST REMEMBERED. (4M). Two ex-lovers, betrayed and betrayer, meet. But who has the upper hand now?

THE SCREAM. (3M, 1F). At first it seems like a typical afternoon at the National Institute of Art for professor Daed Avrams, his wife Sarah and their son Zak. But it takes a decidedly bizarre turn when Terry Barnard, an ex-student of the Professor’s, forces himself into their midst. The professor distrusts him and for some mysterious reason Zak hates him. His wife, however, welcomes him with open arms. And relationships that were slowly breaking apart, finally reach a point of no return.

THE VENERY OF LARKS. (2M). Two gay seminary students, Paul and Stephen, work out one morning while drilling each other for finals. They also dish, discuss a sick friend, size up men, and play a game. However, it is obvious that something is amiss for Stephen had disappeared with no warning for a few days to visit family and has just as suddenly returned demanding Paul meet him at the gym. By the end of the play, the word “finals” begins to take on a decidedly ironic meaning and Paul has to make some important decisions about his life and what it means to be in seminary.

THE WAY OF THE WORLD. (2M, 3 others which can be M or F). Two young men make life miserable for a series of elevator passengers until unexpected events take over.