The Flight of Gemma Hardy , by Margot Livesey. Publisher: Harper Collins (January, 2012). Literary fiction. Hardcover, 464 pp.

My mind was as grey and empty as the sky. Everything I wanted—love, a slice of toast, a warm bed, a job, my suitcase—was far, far out of reach.

When a writer decides to re-imagine or update one of the most beloved novels ever – Jane Eyre by Charlotte Bronte—she’d best possess a solid plan and be a quality writer. Margot Livesey, writer in residence at Emerson College, wrote The House on Fortune Street, Homework and Eva Moves the Furniture among other novels. Livesey sets the story of Gemma Hardy in mid-twentieth century Scotland. This enables Gemma to be much more outspoken and bold and aware of the possibilities despite her present station. Like Jane Eyre, Gemma Hardy faces many challenges throughout her early life before ending up as an Au Pair for a wealthy man’s niece on his country estate while he works in London. The Flight of Gemma Hardy is not nearly as gothic and dark as Jane Eyre.

Although born in Scotland, Gemma’s parents [her Scottish mother and Icelandic father] brought her back to Iceland where both parents met tragic deaths while Gemma was still at pre-school age. She finds herself in Scotland with her uncle, her mother’s brother, and his wife, two daughters and son. When her uncle dies, she’s made to feel like a servant and then shipped off to a boarding school as a working student. There she works long hours studying as much as she can and also doing kitchen duties among other chores. It’s quite miserable but Gemma prevails. She’s then hired by the mysterious and brooding Mr. Sinclair to be an au pair to his niece in an estate on the Orkney Islands.

Gemma makes mistakes and quick judgments based on her emotions, youth and inexperience. She and Mr. Sinclair fall for each other. This develops quickly and without the passion and conviction to make the reader feel that this pair aches when apart from each other. In Jane Eyre, the connection between Mr. Rochester and Jane simmers off the pages. Similar to Mr. Rochester, Mr. Sinclair reveals a secret to Gemma and it’s a confounding one. That’s it? I thought. Enough to send the girl running. Another surprise– everywhere Gemma goes someone helps her in an easy, trusting manner.

While a lengthy novel, The Flight of Gemma Hardy is not a demanding read. For the most part, I enjoyed reading about Gemma’s journey. She’s spirited and plucky and fearless. She values education and understands its necessity to advance in the world. Gemma remains open to learning about new places and ideas. She becomes very interested in her parents’ Iceland. So while some aspects of this updated version of Jane Eyre might fall short, it proves to be an engaging read with appealing character development.

Margot Livesey
The Flight of Gemma Hardy
Porter Square Books
February 1

Rachel Lloyd
Girls Like Us: Fighting for a World Where Girls are Not for Sale
Porter Square Books
February 6

Naomi Benaron
Running the Rift: A Novel
Harvard Book Store
February 6

Sebastian Seung
Connectome: How the Brain’s Wiring Makes Us Who We Are
Harvard Book Store
February

Adam Schwartz
A Stranger on the Planet [one of the best books I read last year-- my review]
Lucy Ferriss
The Lost Daughter
Newtonville Books
February 7

Dan Chaon
Stay Awake: stories
Brookline Booksmith
February 8

Claire Messud
Granta 118: Exit Strategies
Harvard Book Store
February 9

Sara J. Benincasa
Agorafabulous
Brookline Booksmith
February 22

Matthew Pearl
The Technologists
Porter Square Books
February 23

Adam Wilson
Flatscreen: A Novel
Harvard Book Store
February 24

Charlotte Silver
Charlotte Au Chocolat: Memories of a Restaurant Girlhood
Harvard Book Store
February 28

Jodi Picoult
Lone Wolf
Brookline Booksmith
Febuary 29

Natalie Dykstra
Clover Adams: A Gilded and Heartbreaking Life
Harvard Book Store
February 29

Who:
JJ Idt (guitar)
Nate Mickish (guitar)
Jenna Morrison (vocals)
Mike Overfield (bass)
Patrick Newbery (keyboards)
Roger Lewis (drums)

From: Omaha, Neb.

Discography:
Self-titled debut album out 21 March

Sound:
swirly. dreamy, dark. ambient pop.
Updated version of 90s bands Lush or Curve or Spiritualized.

My picks:
“Last Dirge”
“Misery Train”
“Fish Mountain”

"Limbs and Leaves"

PR: Riot Act Media

TOUR DATES

03.22.12 – Iowa City, IA @ The Mill (w/Cursive)
03.23.12 – Minneapolis, MN @ 400 Bar (w/Cursive)
03.24.12 – Madison, WI @ High Noon (w/Cursive)
03.25.12 – Chicago, IL @ Lincoln Hall (w/Cursive)
03.26.12 – Champaign, IL @ High Dive (w/Cursive)
03.27.12 – Ann Arbor, MI @ Blind Pig (w/Cursive)
03.28.12 – Pittsburgh, PA @ Mr. Smalls (w/Cursive)
03.29.12 – Cleveland, OH @ Grog Shop (w/Cursive)
03.30.12 – Buffalo, NY @ Mohawk (w/Cursive)
03.31.12 – Toronto, ONT @ Horseshoe Tavern (w/Cursive)

04.02.12 – Boston, MA @ Middle East (downstairs) (w/Cursive)
04.03.12 – New York, NY @ Bowery Ballroom (w/Cursive)
04.04.12 – New York, NY @ Bowery Ballroom (w/Cursive)
04.05.12 – Philadelphia, PA @ Union Transfer (w/Cursive)
04.06.12 – Washington, DC @ Black Cat (w/Cursive)
04.07.12 – Raleigh, NC @ King’s Baraade (w/Cursive)
04.08.12 – Atlanta, GA @ The Earl (w/Cursive)
04.09.12 – St. Augustine, FL @ Cafe’ Eleven (w/Cursive)
04.10.12 – Orlando, FL @ The Social (w/Cursive)
04.11.12 – Tallahassee, FL @ Club Downunder (w/Cursive)
04.13.12 – Houston, TX @ Fitzgerald’s (w/Cursive)
04.14.12 – Austin, TX @ Mohawk (w/Cursive)
04.15.12 – Dallas, TX @ Trees (w/Cursive)
04.17.12 – Memphis, TN @ Hi Tone (w/Cursive)
04.18.12 – Lexington, KY @ Cosmic Charlie’s (w/Cursive)
04.20.12 – St. Louis, MO @ Off Broadway (w/Cursive)
04.21.12 – Columbia, MO @ Mojo’s (w/Cursive)

Who:
Stephie Coplan (vocals/piano)
John F. Herbert (bass)
Shane Considine (drums)

From: NYC

Discography:

Debut EP out now

Sound: piano rock trio
Plucky, creative, dark yet upbeat
Voice reminds me a lot of Suzanne Vega

I interviewed Stephie recently.

Amy Steele (AS): You started playing classical piano at a young age. What did you like about it?

Stephie Coplan (SC): I did! I started playing when I was 8. I really loved playing Brahms, Ravel and Rachmaninoff – - to this day, they are my favorite composers. All three are incredible at expression emotion and telling a story without using lyrics. Chopin has a gorgeous piece called the Raindrop Prelude that mimics the sound of rain falling on a window pane as a constant backdrop throughout the piece – playing that piece as a little girl was the first time I ever thought about using music (as opposed to lyrics) as a way to tell stories. Rachmaninoff in particular tends to write very thunderous, emotional, brooding pieces. If anyone reading this has been to one of our live shows, they know how much I love banging on the keys, especially in the lower register. Rachmaninoff gave me a chance to do that at a very young age and I have him to thank for my 10-note hand span (although I have very large hands to begin with, like that girl from the “Seinfeld” episode with the “man hands”…what can I say, I’m blessed.)

AS: How did you transition from classical music to pop/rock?

SC: Broadway and show tunes were sort of the bridge. My mom was a theater major in college and when I started playing piano, I usually split my time practicing classical pieces that my teacher gave me with Broadway show tunes that my mom slipped on the piano stand (whoops…how did those get there?) I only listened to pop music from the 40s and 50s (the Rat Pack, Peggy Lee, Doris Day, etc.) until I was about 11 so I have an encyclopedic knowledge of music from that era. I discovered FM radio in fifth grade, which is when I heard my first Top 40 song (I think it was “Foolish Games” by Jewel) and three years later, started writing my own pop songs. I heard The Beatles for the first time when I was 14. Weird, right? It’s like I’m Amish or something.

AS: At Tufts what did you study?

SC: Philosophy. I only took two music classes, Contemporary Concert Music (John Cage, Steve Reich, Philip Glass, etc) and Psychology of Music. I played piano in the pit orchestra for a lot of our musicals, though.

AS: How did you develop a following in Boston?

SC: I hung out at a lot of local music venues like TOAD, the Lizard Lounge and the Burren and became part of a very large group of songwriters. The music scene in Cambridge/Somerville is very supportive of newcomers – it’s a unique group of people and I miss them a lot now that I live in Hoboken.

AS: How did the group get together?

SC: Craigslist. The casual encounters section. No, just kidding. It was Craigslist, though. Craigslist is very hit-or-miss but the three of us ended up becoming best friends. I don’t think any of us remember that we actually met on the Internet – it feels like we met in a much more organic way because we get along so well and love playing together. They are the two best musicians in New York City and I can’t wait until we’re touring full-time so I can be around them all the time. (Famous last words…?)

AS: What is your songwriting process like?

SC: It’s different every time, but usually I noodle around on the piano until I find a few chords that I like. I try to write the hook first, and build the rest of the song around that. Sometimes I’ll invent a character in my head and write about that person, or I’ll look up people on Facebook who make me feel very strong emotions (like my ex or my best friend or whatever) and stare at their picture until lyrics come out. I guess everyone is going to unfriend me now.

AS: What inspires you to write songs?

SC: I really like wordplay. It’s so much fun. I’m most excited to write songs when I can make clever rhymes – I wrote a pretty shitty song once called “Is Anyone on the Internet Tonight?” about online dating. It was a terrible song but I rhymed “breakfast” with “Netflix” and “vegetarian” with “aquarium” and gave my reflection a high-five in the mirror because I was so proud of myself.

AS: Let’s talk about a few of the songs.

What’s the story behind “Take Me Back to the Suburbs?”

SC: I moved from Boston to Hoboken to work at a non-profit deep in the heart of Newark. About two weeks in to the new job, I was walking to the bus after work and a police officer stopped me and interrogated me on the street. I thought he was kidding at first, but it quickly became apparent that he thought I was a drug kingpin. Go ahead, laugh. I am a little oblivious when I walk around sometimes, and apparently I had walked right by a drug deal – definitely a “wrong place wrong time” scenario. He thought I was involved and searched my bag and ran a background check on me while I stood on the sidewalk crying hysterically in pink sunglasses and a corduroy jumper. I finally convinced him that I was not a drug lord – just a nerdy white girl from the suburbs. I asked him for a ride to the train station since he made me miss my bus, but he told me that I’d have to ride in his car with the drug dealers so I walked instead. When I got home, I wrote that song.

AS: “JERK” is a great single. Bold and provocative. How did you write this one?

SC: Thanks! It’s a true story – I was seeing a really hot guy who played a lot of mind games with me. He told me that he cared about me, but wouldn’t take me on a single date. He wouldn’t even buy me a cup of coffee. He just invited me to his fancy apartment to watch TV and hook up. It’s a story that’s all too common, unfortunately. I stayed in that “relationship” (if you can even call it that) for way too long but at least I learned an important lesson about dignity and self-respect. “JERK!” was originally a slow, bluesy striptease-y type song but ended up turning into a hate sex anthem when we went to the studio to record it.

AS: What influenced “Make You Mine?”

SC: Oh boy. That’s the most personal song on the EP, by far. It’s about a guy I was in love with for a very long time, someone I truly thought I was going to spend the rest of my life with. I found out that he cheated on me with two different people – he even flew 3000 miles to cheat on me with a girl in Portland, Oregon once (hence the Portland reference in the second verse). We broke up for about a year and saw other people while I sorted out my feelings. I wrote “Make You Mine” when I decided to take him back – it’s a song about finding the strength and resilience to forgive someone who has cheated on you and let them back into your heart. Predictably, he cheated on me again with someone else right after I took him back, so we broke up again. I haven’t talked to him in over a year, and don’t plan to ever again. Every time I play that song live, I am reminded that you can’t make someone love you, no matter how hard you try.

AS: What has happened since the video for Jerk went viral and caught the attention of many critics?

SC: “Viral” is a relative term! I guess it went viral on some level – I know a ton of people posted it and re-posted it on Facebook, Tumblr, Twitter, etc. We’ve been making a lot of new fans, which has been great. I love connecting with people from all over the country on Facebook. I love hearing that they can relate to the song. It makes me feel like I’ve done my job as a songwriter. The popularity of the video has caught the attention of a few internet and college stations around the country, which has been really exciting and surreal.

AS: Tell me what happened with Paul Driscoll and WFNX.

SC: The night we posted the video, a fan saw it on Facebook, tracked me down, and suggested that I send it to Paul at FNX. He said that Paul had a reputation for getting behind new music and that based on his taste, he would probably really like “JERK!” I sent Paul a message and told him that we had just put up a new single that a lot of people seemed to like, and that it would be awesome if he listened to it. I didn’t expect to hear back because getting radio play is typically much more complicated than just sending your song to a station. I was shocked when he wrote back in 15 minutes and said that he had listened to it three times in a row and wanted an MP3 immediately. I screamed like a wild animal, called Shane (since he is from Boston too and loves FNX as much as I do) and spazzed out like a pro.

AS: How are things different live than what people hear recorded?

SC: It’s not very different! We play more solos live, but other than that, I think we sound pretty close to the recordings. There was very little “studio magic” used on us – we just did a bunch of takes until we got everything right.

AS: What do you think makes a good song?

SC: GREAT question. I could talk about this for days. I think a good song makes you think, or makes you feel. I am personally always a fan of songs that tell very vivid stories or breathe life into characters – that’s why I’m such a huge fan of Fountains of Wayne, who are experts at that. If I can’t tell what a song is about, I get bored. I know some songwriters like to leave their songs open to interpretation but…I don’t know, I sort of think that’s bullshit. For me personally, anyway. I think if it’s not clear what you’re trying to say, then you haven’t said it very well. The songs that hit me the hardest are the ones that can get me to relate to them in very specific and meaningful ways – Taylor Swift, Amber Rubarth, and Alanis Morissette are particularly excellent songwriters in that regard, I think.

AS: What are the biggest challenges for musicians today?

SC: THERE ARE SO MANY. Where to begin? I think the biggest one is making a living. With the advent of digital piracy, CD sales are no longer a viable means of collecting income – CDs have really become more like a business card than anything else. It’s an honor every time someone buys one of our albums because I know it’s not just a five-dollar purchase – it’s a statement. They’re saying that they believe in us, and it means the world to me every time someone gives us their hard-earned money for something that they could just stream online for free. On the other hand, while the Internet has destroyed the music business in a lot of ways, it has also made it possible for artists like us to make hundreds of new fans and effortlessly keep in touch with them. Before e-mail lists, musicians had to send out postcards to their fans every time they had a gig coming up. The bigger their fan base got, the more expensive their postage became. At least we don’t have to worry about that anymore.

AS: As a woman do you run into unique challenges?

Actually, being a woman has given me a large advantage, I think. Alternative radio is heavily male-dominated so being a woman is an automatic easy way to stand out. That being said, I think because I’m a woman playing music in a historically male genre, people expect me to have a feminist “girl power” agenda, but I don’t. I’m not Alanis or Fiona or Tori. I’m not bruised or battered and I don’t really have anything to prove. I’m just honest, and I hope that people can, for the most part, separate my sexuality from my music when they listen to it.

AS: Your debut EP comes out soon and you’re going on tour. What goals do you have now?

SC: Yes, we’ll be hitting Hoboken on January 26, DC on February 4, and releasing our EP in Boston on February 18. Our goals for 2012 are to hopefully hear “JERK!” on more stations and be touring full-time by the end of the year. Wish us luck…

The Last Nude , by Ellis Avery. Publisher: Riverhead (January, 2011). Literary fiction. Hardcover, 320 pg.

The Last Nude transports the reader to 1920s Paris and the expat art world. It’s an impressive work of historical fiction as the place and the characters become so vivid and recognizable to the reader. This makes The Last Nude a book you are hesitant to put down. It’s immensely engrossing.

Above my desk I have a small framed print of Tamara de Lempicka’s “My Portrait,” in which she sits at the wheel of a bright green car in a gray hat, gray scarf and bright red lipstick. I also have “Saint Moritz”—a striking woman wearing a red and white turtleneck ski sweater. I’ve always been drawn to these art deco paintings. The colors, the attitude, the soft edges. All very appealing. So when I saw The Last Nude by Ellis Avery, I knew I had to read it. I wasn’t disappointed.

Avery’s descriptions of Paris are elegant and magical, yet also gritty. The reader should be enraptured by Paris. How can one not? It’s such an artistic, fashionable, beautiful city. I stayed in Paris for some time, many years ago and a novel as descriptive as this one brings everything right back to me in full color. It’s a true delight. Avery focuses on many ex-pats like Sylvia Beach, James Joyce, F. Scott Fitzgerald. Peripheral characters include the Seine and Sylvia Beach’s famed bookstore Shakespeare and Company.

The Last Nude imagines an affair between Tamara de Lempicka and one of her models– the one who sat for “The Dream” and “Beautiful Rafaela.” She’s a young woman of 17, recently arrived in Paris, naive to the ways of the art world and the excessiveness of the 1920s as well. Tamara seduces Rafaela and Rafaela falls quickly and intensely in love with Tamara. Of course artists can be selfish and cruel but Rafaela gives her whole heart before learning about Tamara’s shortcomings. This is a novel about the roaring, stylish 20s, art, survival, love and betrayal.

I marveled as I pulled the brown dress over my head. Sleek fashion plate, focused artist, resplendent lover, competent mother: I had seen four Tamaras in two days.

When Tamara finds Rafaela she’s turning tricks and surviving by any means necessary—in most cases trading her body for dinners, food, gifts. She’s a stunning young woman but also naïve and impressionable. She admires Tamara’s independence [or seemingly so because later we find out that Tamara, as most artists of the time, had a benefactor], talent and sexual freedom. Rafaela quickly becomes obsessed with Tamara and believes they’re in a mutually exclusive relationship. But it’s the twenties and Tamara is an artist. Who is Tamara really? Rafaela doesn’t find this out until later.

The Last Nude resonates with and enthusiastic first love and the reality of supporting oneself as an artist. In imagining the liaison between artist and muse, Ellis Avery crafts an engulfing novel. She makes life in the 1920s pop from the pages.

purchase at Amazon: The Last Nude

Who:
David Best (lead vocals and guitar)
Steve Lewis (synths, beats, programming and backing vocals)
Matt Hainsby (bass guitar and backing vocals)
Lee Adams (drums)

From: Brighton, UK

Discography:
Ventriloquizzing (2011)
Lightbulbs (2008)
Transparent Things (2006)
Electro Karaoke in the Negative Style (2003)

Sound: trance-dance beats, dark & quirky vocals;
Chemical Brothers crossed with Peter Murphy or Love and Rockets

My picks:
“Minestrone”
“Taiwanese Roots”
“Cat Got Your Tongue”

PR: Tell All Your Friends PR

Website

TOUR DATES

01 19 12 Brooklyn / Glasslands
01 20 12 Philadelphia / Johnny Brenda’s
01 21 12 New York / Mercury Lounge
01 22 12 Allston / Great Scott
01 23 12 Montreal / La Sala Rosa
01 24 12 Toronto / Wrong Bar
01 25 12 Chicago / Lincoln Hall
01 26 12 Vancouver / Electric Owl
01 27 12 Seattle / Neumos
01 28 12 Portland / Mississippi Studios
01 30 12 San Francisco / The Independent
01 31 12 San Diego / Casbah
02 02 12 Los Angeles / The Echo

one of my favorite bands goes on tour this spring.

TOUR DATES

4/10/12 – DENVER, CO @ ELLIE CAULKINS OPERA HOUSE
4/11/12 – OMAHA, NE @ OMAHA MUSIC HALL
4/13/12 – LOUISVILLE, KY @ LOUISVILLE PALACE
4/14/12 – GRAND RAPIDS, MI @ COVENANT FINE ARTS CENTER
4/15/12 – MILWAUKEE, WI @ RIVERSIDE THEATRE
4/16/12 – CHICAGO, IL @ CHICAGO THEATRE
4/19/12 – TORONTO, ON @ MASSEY HALL
4/20/12 – MONTREAL, QC @ ST. JEAN BAPTISTE CHURCH
4/21/12 – BOSTON, MA @ CITI PERFORMING ARTS CENTER
4/23/12 – PROVIDENCE, RI @ VETERANS MEMORIAL AUDITORIUM
4/24/12 – BUFFALO, NY @ KLEINHANS MUSIC HALL
4/25/12 – UPPER DARBY, PA @ TOWER THEATRE
4/27/12 – NEW YORK, NY @ BEACON THEATRE
4/30/12 – NORTH BETHESDA, MD @ STRATHMORE
5/1/12 – KNOXVILLE, TN @ TENNESSEE THEATRE
5/3/12 – DALLAS, TX @ MCFARLIN MEMORIAL AUDITORIUM
5/4/12 – AUSTIN, TX @ ACL LIVE AT THE MOODY THEATER
5/6/12 – MESA, AZ @ MESA ARTS CENTER – IKEDA THEATER
5/7/12 – LOS ANGELES, CA @ WALT DISNEY CONCERT HALL
5/8/12 – OAKLAND, CA @ FOX THEATER
5/11/12 – PORTLAND, OR @ ARLENE SCHNITZER CONCERT HALL
5/13/12 – SEATTLE, WA @ THE PARAMOUNT THEATRE

Death Cab for Cutie website

Appetite for Reduction , by Isa Chandra Moskowitz. Publisher: Da Capo Press/ Lifelong Books (January 2012). Cooking/Diet. Paperback, 290 pg.

I love Isa. I use Vegan with a Vengeance and Veganimicon all the time. I follow her on twitter and read the recipes she posts on her website Post-Punk Kitchen. When I heard she’d written Appetite for Reduction, I knew I’d want to make some of the recipes part of my vegan diet. The cookbook contains 125 low-fat vegan recipes—salads, soups, chili & stews, veggies, side dishes, pasta, beans, tofu & tempeh.

Isa writes:
“Low-fat cookbooks can be a war zone for women. I wanted to create something fun and positive, something that would empower you in the produce aisle and give you a reason to sport that cute vintage apron. I want you to love your kitchen, love yourself, and, yeah, maybe to love tofu just a little bit, too.”

In using any of Isa’s cookbooks, I feel like she’s right by my side as I chop veggies or make soup. Appetite for Reduction features conversational language, side bar tips [cooking/shopping/basic food information], nutritional guides, nutritional tips and simple yet tasty recipes. I’m looking forward to trying many recipes in Appetite for Reduction.

Here are the recipes I tried:

Everyday Chickpea-Quinoa salad– delicious and easy. Makes a huge amount. Excellent mix of textures and flavors. Will absolutely make this again

Caulipots—a super yummy, quick and nutritious half-half cauliflower-potato mash. glorious comfort food without feeling to full or guilty.

Chili-Lime-Rubbed Tofu—relatively easy. Very tasty. I’ve actually never baked tofu. I just buy it at Whole Foods. So this is good. Perhaps a bit too much lime juice tangy when I expected more chili burn.

purchase at Amazon: Appetite for Reduction: 125 Fast and Filling Low-Fat Vegan Recipes

MOTION PICTURES

– Picture, Drama: “The Descendants.”

– Picture, Musical or Comedy: “The Artist.”

– Actor, Drama: George Clooney, “The Descendants.”

– Actress, Drama: Meryl Streep, “The Iron Lady.”

– Director: Martin Scorsese, “Hugo.”

– Actor, Musical or Comedy: Jean Dujardin, “The Artist.”

– Actress, Musical or Comedy: Michelle Williams, “My Week With Marilyn.”

– Supporting Actor: Christopher Plummer, “Beginners.”

– Supporting Actress: Octavia Spencer, “The Help.”

– Foreign Language: “A Separation.”

– Animated Film: “The Adventures of Tintin.”

– Screenplay: Woody Allen, “Midnight in Paris.”

– Original Score: Ludovic Bource, “The Artist.”

– Original Song: “Masterpiece” (music and lyrics by Madonna, Julie Frost, Jimmy Harry), “W.E.”

TELEVISION

– Series, Drama: “Homeland,” Showtime.

– Series, Musical or Comedy: “Modern Family,” ABC.

– Actor, Drama: Kelsey Grammer, “Boss.”

– Actress, Drama: Claire Danes, “Homeland.”

– Actress, Musical or Comedy: Laura Dern, “Enlightened.”

– Actor, Musical or Comedy: Matt LeBlanc, “Episodes.”

– Miniseries or Movie: “Downton Abbey (Masterpiece),” PBS.

– Actress, Miniseries or Movie: Kate Winslet, “Mildred Pierce.”

– Actor, Miniseries or Movie: Idris Elba, “Luther.”

– Supporting Actress, Series, Miniseries or Movie: Jessica Lange, “American Horror Story.”

– Supporting Actor, Series, Miniseries or Movie: Peter Dinklage, “Game of Thrones.”

looks I liked:

Ariel Winter from Modern Family
–love it all. the style, the texture, the color.

Calista Flockhart and Harrison Ford

svelte and talented Claire Danes [who won for Homeland]

stunning Dianna Agron of Glee in this bold dress

Elizabeth McGovern [Downton Abbey won]

Evan Rachel Wood from Mildred Pierce

such a stunning color on Viola Davis [The Help]

could Gerard Butler be an more handsome?

gorgeous Sofia Vargas of Modern Family

uber-magnificent Helen Mirren

always lovely Kate Beckinsale

vibrant Paula Patton

Nicole Kidman

Reese Witherspoon

Julianne Moore and Laura Dern

Salma Hayak