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‘Shogun’ Wins Record-Breaking 14 Emmys at Creative Arts Ceremony, Jamie Lee Curtis Gets Her First 

Nestor Carbonell with the award for Outstanding Guest Actor in a Drama Series for "Shogun" attends night two of the Creative Arts Emmy Awards on Sunday, Sept. 8, 2024, in Los Angeles. (AP)
Nestor Carbonell with the award for Outstanding Guest Actor in a Drama Series for "Shogun" attends night two of the Creative Arts Emmy Awards on Sunday, Sept. 8, 2024, in Los Angeles. (AP)
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‘Shogun’ Wins Record-Breaking 14 Emmys at Creative Arts Ceremony, Jamie Lee Curtis Gets Her First 

Nestor Carbonell with the award for Outstanding Guest Actor in a Drama Series for "Shogun" attends night two of the Creative Arts Emmy Awards on Sunday, Sept. 8, 2024, in Los Angeles. (AP)
Nestor Carbonell with the award for Outstanding Guest Actor in a Drama Series for "Shogun" attends night two of the Creative Arts Emmy Awards on Sunday, Sept. 8, 2024, in Los Angeles. (AP)

“Shogun” won the most Emmys ever for a single season of a television series with 14 at the Creative Arts Emmy Awards on Sunday night, while “The Bear” won seven including best guest actress in a comedy series for Jamie Lee Curtis.

Presenters were saying “Shogun” all night at the Peacock Theater in Los Angeles on the second night of the two-night Creative Arts Emmys, where awards are handed out that don’t quite make the main Primetime Emmys ceremony. It broke the record of 13 set by the 2008 limited series “John Adams” before even reaching the Sept. 15 main Emmys ceremony, when it can pad its record with up to five more.

“Shogun," the FX series about political machinations in feudal Japan, won all but two of the possible 16 trophies it could have claimed on Sunday night, including Emmys for costumes, makeup, editing, stunts and cinematography, along with a best guest actor in a drama Emmy for Néstor Carbonell.

As he accepted, Carbonell thanked the crew, then marveled at how many of them were in the audience.

“You’re all here! You’re all nominated!” Carbonell said. “I love the team sport of this.”

Curtis was emotional on stage after winning her first Emmy 18 months after winning her first Oscar for “Everything Everywhere All at Once.”

“I’m the luckiest girl in the world,” Curtis said backstage. “I just never thought I would get to do work at this level of depth and complexity and intelligence. It’s been the thrill of my creative life these last couple of years.”

Asked if she could win a Grammy and a Tony to make it an EGOT, she said no way.

“I can't sing at all,” she said, “and I've never been on stage.”

The songwriting team of Benj Pasek and Justin Paul, however, did become the 20th and 21st members of the elite EGOT club when they won their first Emmy for a song they co-wrote for “Only Murders in the Building.” The duo had previously won an Oscar for “La La Land” and a Grammy and Tony for “Dear Evan Hansen.”

Curtis won for the season two “Bear” episode “Fishes," in which she played the mother of star Jeremy Allen White at a nightmare holiday family gathering. Jon Bernthal, who played White's big brother in the episode, won best guest actor in a comedy.

Michaela Coel won best guest actress in a comedy series for her appearance on “Mr. and Mrs. Smith.”

“Shogun” shook up the Emmys race when it switched from the limited series to the drama series category in May and led all nominees with 25 when nominations were announced in July.

It won so steadily that the few who beat it — it lost only in two music-composition categories — felt the need to comment on it.

“I didn’t write a speech, because there was no way I was beating ‘Shogun’ tonight,” said Siddharta Khosa, who won best music composition for a series for “Only Murders in the Building.”

When Eric Andŕe was asked only one question in the media room after winning his first Emmy for his performance on his self-titled talk show, he said, with fake exasperation, “Sorry I'm not on Shogun!”

Maya Rudolph and Angela Bassett were among the Creative Arts winners on Saturday night, which focused on reality and variety TV. Rudolph won her sixth career Emmy, for her voice-over work on the animated “Big Mouth.” Bassett won her first, for her narration of the National Geographic wildlife documentary series “Queens.”

Dan and Eugene Levy will host the Primetime Emmy Awards, also at the Peacock Theater, airing on ABC on Sept. 15.

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Movie Review: Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy 

US actor Michael Keaton arrives for the UK premiere of "Beetlejuice Beetlejuice" at the Cineworld Leicester Square in London, Britain, 29 August 2024. (EPA)
US actor Michael Keaton arrives for the UK premiere of "Beetlejuice Beetlejuice" at the Cineworld Leicester Square in London, Britain, 29 August 2024. (EPA)
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Movie Review: Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy 

US actor Michael Keaton arrives for the UK premiere of "Beetlejuice Beetlejuice" at the Cineworld Leicester Square in London, Britain, 29 August 2024. (EPA)
US actor Michael Keaton arrives for the UK premiere of "Beetlejuice Beetlejuice" at the Cineworld Leicester Square in London, Britain, 29 August 2024. (EPA)

“I have global entry!”

Now, does that sound like a funny line? Of course it doesn’t. Whatever in the history of mankind and airport lines could be funny about global entry?

But put it in the mouth of comedy goddess Catherine O’Hara, and place it in the singularly inventive world of Tim Burton and that wacky afterlife waiting room from “Beetlejuice,” and it may become the one blessed time in your life you'll ever guffaw about global entry.

It likely won't be the only thing you'll guffaw about. Burton is back — and, more significantly, he is BACK — with “Beetlejuice Beetlejuice,” 36 years after the original. And for once, the question “Why a sequel?” is moot.

Not because we know the answer. (Do we?) But, who cares? It’s funny. It may even make you feel better about, well, death, though not “death death.” And Michael Keaton somehow looks exactly the same as he did in 1988 (to be fair, it helps that his character was already dead.)

Returning to his tale of Keaton's ghostly, fiendish “bio-exorcist,” director Burton brings back much of the team behind the original, including, alongside O’Hara and Keaton, the still-lovely Winona Ryder as Lydia the Goth Girl (also, Bob the shrunken-head guy).

And we've gained Justin Theroux, Monica Bellucci, Willem Dafoe, and for the younger generation, Jenna Ortega, who, as a relatively normal figure, serves as an appealing anchor, her story moving the plot along.

Speaking of plot: if you didn’t see the original, not to worry. It all gets explained (as much as it should be) in time. We begin in Winter River, Connecticut, still home to Lydia Deetz (Ryder), who came as a teenager with batty stepmom Delia and dad Charles, only to learn her new house was haunted by the recently deceased Adam and Barbara (Alec Baldwin and Geena Davis, alas not back).

Lydia looks much the same — dressed all in black, with spiky bangs and pale skin — but is now a widowed mother, a psychic mediator, and host of a cheesy reality show, “Ghost House,” in which she sees ghosts and asks, “Can the living and the dead co-exist?”

But one day she sees something in the audience that scares her: visions of Beetlejuice, who wrought havoc when she was a teen and who, when we last left him, was wasting away in the afterlife waiting room (apparently, HE did not have global entry.)

Waiting just off set to comfort Lydia after this terrifying vision is her manager and boyfriend, Rory (Theroux), who has a little ponytail almost as smarmy as himself.

Lydia then gets a concerning message from Delia (O’Hara), an artist of questionable talent and unquestionable ego, who’s mounting a gallery show in which she herself is the canvas. There, Delia tells Lydia that she’s lost Charles. “Is he divorcing you?” gasps Lydia. “What a horrible thought!” replies Delia. “No, he’s dead.” (Such lines are catnip for O’Hara, a genius of comic timing).

Lydia calls her daughter, Astrid (Ortega), at boarding school. Astrid lists Lydia in her contacts as “Alleged Mom,” which tells you much of what you need to know about their fraught relationship.

But let’s pause this account of the living, because we also have to catch you up on the dead. Down where Beetlejuice is stuck, where the dead live — but not the “dead dead” —- Delores, Beetlejuice’s ex-wife, has escaped from the crates (emphasis on plural) in which her body has resided. Watching the glamorous Bellucci literally staple herself together is just one of the glorious creative moments Burton and crew give us here. Alas, Delores doesn't have much else to do, but this is rather spectacular.

We're approaching spoiler territory, so let’s just say that things really get complicated when Astrid goes home to Winter River for her father’s funeral. There, she watches as Mom accepts a marriage proposal from smarmy Rory. Racing off to escape, Astrid runs into a cute young guy reading Dostoyevsky.

A relationship begins, one that will lead to unexpected mayhem. Let’s just say Lydia will need to call upon — gasp! — Beetlejuice, who will exact a fearsome price for his services, as he is wont to do.

And he appears none too soon. Keaton, in his white caked makeup and blackened eyes and hair that looks like he is perpetually sticking his hand into a plug in the wall, slips remarkably smoothly into his old role. “The juice is loose,” as he likes to say.

But you know who’s also got the juice flowing? Burton. It’s his inimitable energy that infuses this movie — a joyously rendered sequel that sometimes makes sense, and sometimes doesn’t, but just keeps rollicking. Among the ridiculous delights along the way: A “soul train” in the afterlife, which is not only literally a train of souls, but a replica of the variety show “Soul Train,” with people in Afros dancing their way to wherever they are going.

And if we don't have the lip-synced “Day-O (The Banana Boat Song)” from the original, we do have a lip-synced “MacArthur Park,” the Donna Summer version. “Someone left the cake out in the rain,” go the ridiculous words of the disco classic. “I don’t think that I can take it, ’cause it took so long to bake it, and I’ll never have that recipe again.”

In the Burtonian spirit, let's just say it took a long time to bake it, yes, but the director has recovered the recipe — at least enough to make us smile, chortle, even guffaw, for 104 minutes. And we can be happy with that.