We know for Potter-heads across the nation the Academy Awards are a sore subject. Twi-hards have been left in the cold by the Academy on an even larger scale, not even scoring a single nomination over a four-film span. The Hunger Games has garnered comparisons to both Twilight and Harry Potter, but there are many factors that will separate it from the pack on Oscar night.

Keep in mind, we’re not predicting a Hunger Games sweep at next years Oscars. What follows are simply things to consider when forming your (super) early prediction list.

5)It’s Oscar-friendly

True, a March release date isn’t exactly Oscar-friendly (don’t forget, The Hurt Locker had an original March release date and Silence of the Lambs had a late February release), but the cast, director and subject matter are.

Jennifer Lawrence has already gained recognition with the Academy for her work in Winter’s Bone, and the Academy even approached her to read the nominees for this year’s awards. Whether or not the voting Academy thinks you’re a mensch goes a mile and a half towards Oscar gold, so having Lawrence leading the way in what has already been described as an Oscar-worthy role has put The Hunger Games on the Academy’s radar. Sure, past Oscar glory is no guarantee of future Oscar glory—the Harry Potter films are proof enough of that—but combined with the right source material, it can make all the difference on a nomination board.

This is a film that has chosen a tone (one that is heavily alluded to in the novels) and stuck with it. The Harry Potter films chose to be produced as popcorn films, which isn’t a bad thing since it helps to maintain a wider sense of appeal, but it impacts the level of artistry that the Academy usually looks for.

The Hunger Games film on the other hand is dark, serious, political and everything else that can be defined as Oscar bait. It has also been described as “intellectually challenging” by reviewers, and if there’s something the Academy likes to award, it’s those thinkin’ movies.

4)It has earned critical/audience acclaim

The film is barely out of the gate (at the time of the publication of this article, midnight is still a few hours away), and critics are already getting into the habit of calling The Hunger Games “the next big thing.” Fans of course have had the leg up on the world with this news, but they seem just as adamant to express their rabid enthusiasm for the film adaptation. Lucky fans that have already logged the film into their memory banks have claimed full satisfaction.

Again, Harry Potter is an excellent example of fan enthusiasm simply not being enough to sway the Academy’s opinion, but this is a different matter entirely. We, as fans, have to separate ourselves from our fandom kingdom and think about the general public. For non-readers, the Harry Potter series of films had the potential to be wildly confusing.

It takes a lot to please fans, general audiences and critics alike, but The Hunger Games seems to have located that sweet spot between pleasing the fans and creating a legitimately awesome experience. It has found a way to seem relevant to critics that only seem to enjoy “serious” fare and remain enjoyable to the casual watcher. It’s this tightrope walk between individual artistry and faithfulness to the source material that keeps it in the game.

3)It isn’t Harry Potter and it isn’t half a film
Yeah, those are some strong words up there, but I stand by them. Let me tell you why.

Before you mash your angry hands to the keyboard in a hateful fashion, consider this. Have you ever talked about Harry Potter to someone who has never read it? Have you ever been on the opposite end of that conversation?

The story of Harry Potter is expansive, complex, emotional and epic, but it hides under ridiculous words like “Hogwarts” and “Muggles.” Serious fans have probably forgotten how ridiculous those words sound, but to an outside audience that hasn’t taken the time to acclimate themselves to Harry’s world, words like those can be pretty polarizing.

In a few words, Harry Potter SOUNDS ridiculous, and having exposure to Harry’s world purely through the films is a poor substitute for the full experience. When it comes down to it, Harry Potter must seem like a strange phenomenon to the uninitiated. It’s hard to explain in a sentence without saying a word like “Voldemort” or “Horcruxes.”

The Hunger Games has a tight synopsis, has mass brutal appeal and has found a way to market itself in an attractive way without being overly obscene. Generally, it’s contained films like these that the Academy likes to bestow praise upon, and it will fare even better if the film ends up making more money than Deathly Hallows and Breaking Dawn combined.

It all just comes down to the idea that Harry Potter isn’t the basis on which all book-to-film movie franchises should be based. It was its own phenomenon with its own quirks, but it was ultimately its tone that moved Academy voters against it. This is a drastically different movie, and not only that, but it also doesn’t have a tacky “Part 2” glued onto the end of the title.

2)It’s culturally relevant

There are lots of potential meanings for the phrase “cultural relevance”, but from the moment that The Hunger Games was introduced, its themes have been deemed as alarmingly reminiscent of former science fiction that has since turned into science fact. We’ve even been sent several articles about how The Hunger Games is where the world is heading.

It’s pretty hard to ignore this cautionary tale about the dangers of totalitarian government, corruption, and societal voyeurism and critics have already taken notice. It’s a fresh and well-timed tale that will hit people directly in their brain box. When films do this, the Academy normally takes notice and at least gives further consideration simply for having the guts to take audiences there.

The Academy likes to reward studios for taking a chance, and there’s no doubt that Lionsgate took a chance on this brutal fight to the death. It is showing audiences something that’s hard to see, but everyone still wants to watch it.

It has that level of morbid intrigue that is usually reserved for horror films, but it has chosen to tell it in an intriguing post-modern political wasteland. Although Harry Potter had a lot to say on the subject of politics and corruption, The Hunger Games has taken it a step further by showing the aftermath of the end instead of how the end was narrowly avoided.

1)It works as a stand-alone film

We’ve discussed how Harry Potter suffered a confused adaptation process that began before the source material even ended, and it proved to have an unfortunate impact on the general movie watching public that hadn’t even held the books in their hands.

The difference here is that Harry Potter works best as a book series while The Hunger Games (as some critics have already suggested) was ripe for film adaptation. It’s visual, visceral, and even structured the exact same way that films are. Those that have read the book can agree that it reads like a very in-depth treatment for a film. One could actually even argue that the material is better suited for film, but then we would miss reading all of Katniss’s thoughts.

Director Gary Ross also ultimately made the decision to take a step away from the book series while developing the film. He took out things that didn’t work, added scenes that would help the overall clarity of the film, and made sure that The Hunger Games worked as a film rather than as a companion to the book. It’s ultimately this distinct and graceful medium shift that separates The Hunger Games from the pack and gives it a better chance of getting some golden love at the Oscars next year.

What do you think? Does The Hunger Games stand a chance at next year’s Oscars? Will it rack up that coveted Best Picture nomination? What other nominations could it score?

Doctor Who season 10 finally has an air date and not only that, so does the spin-off Class!

It’s time to celebrate because we finally know when we’ll see Peter Capaldi back in the T.A.R.D.I.S. as the Doctor! BBC America will premiere Doctor Who season 10 on Saturday, April 15 at 9/8c. Check out the brand new trailer promoting the series, narrated by the brand new companion, Bill:

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Doctor Who season 10 finally has an air date and not only that, so does the spin-off Class!

It’s time to celebrate because we finally know when we’ll see Peter Capaldi back in the T.A.R.D.I.S. as the Doctor! BBC America will premiere Doctor Who season 10 on Saturday, April 15 at 9/8c. Check out the brand new trailer promoting the series, narrated by the brand new companion, Bill:

No word on if the UK will be seeing the same air date but it’s more than likely they will since it’s been like that in years past.

This will be Peter Capaldi’s last season as the Doctor, along with Steven Moffat’s last season running the show. After this we’ll be seeing Chris Chibnall taking the reins with a clean slate, and we’re so curious about how the series will go. How will the Doctor regenerate? Will this be Bill’s first and last season on the show as well? Who’s going to be the next Doctor? We’ve got so many questions! But they’ll all be answered in due time… we hope.

And that’s not all! Fans in the UK have already had the chance to enjoy the brand new spin-off series, Class, and after Doctor Who premieres on April 15 Americans will finally witness it as well.

Set to air directly after Doctor Who at 10/9c, Class is helmed by award-winning YA writer and executive producer, Patrick Ness. The series follows a group of students at Coal Hill School as they deal aliens, invasions and awkward social dilemmas.

Having seen Class in its entirety we can tell you that it’s got the perfect Doctor Who vibe and should fit in perfectly after you watch the season 10 premiere. Although not everyone loved the premiere, the series as whole definitely grows on you. You’ll just have to check it out for yourself!

Are you excited for ‘Doctor Who’ season 10?

How to Get Away with Murder just dropped a bombshell as we found out the truth behind #WhoKilledWes. However, that reveal isn’t the only moment fans are buzzing about.

Obvious spoilers below.

1. Laurel’s emotional demand

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How to Get Away with Murder just dropped a bombshell as we found out the truth behind #WhoKilledWes. However, that reveal isn’t the only moment fans are buzzing about.

Obvious spoilers below.

1. Laurel’s emotional demand

After confessing to both Michaela why Connor was at the house the night Wes died one of the many shocking reveals of the episode is made. “Connor might have killed Wes.” As it turns out, Connor showed up at the Keating home after responding to Annalise’s plea for them to all meet there. As he arrived he found signs of a struggle, and even more, Wes’s warm body in the basement.

Connor could smell gas, but still he persisted in trying to resuscitate Wes through CPR. For over a minute he cried and pounded on the dying boy’s chest until he heard a crack of bone, a fractured rib. He fears he might have punctured a lung. He fears he might have been the one to strike the deadly blow.

Once the confession is made the Keating crew reacts. Oliver pleads for understanding. Annalise reassures Connor that he didn’t do this. Bonnie tries to play mediator, keeping everyone calm. Finally Laurel, in a blindingly emotional rage, instructs Connor to go and kill himself. Saying such action will be the only good thing he will ever do with his life.

2. Annalise’s hidden voicemail

Connor and Oliver were adamant that nothing on the copy of Annalise’s phone was incriminated. Then why would she ask Oliver to erase it? Well when Connor is about to be arrested for Wes’ murder fans find out just what Annalise was so afraid of. he discloses to Denver the location of the copy, and Annalise comes forward with what she wanted to hide.

The night that Wes died he left her a voicemail, explaining ADA Atwood’s plan to take her down for the murder of Sam and Rebecca Stutter. His exact words are “I can’t let you go down for what I did.” He begs her to come home, to talk about it, to discuss their options. But he died before any arrangements could be made. In fact, he was taken down moments after the call was made.

What is truly shocking however isn’t the voicemail itself. The kicker is how Annalise uses the voicemail to pin it all on a new suspect to clear her own name. Wes. Out of context, the voicemail sounds like Wes is confessing to killing both Sam and Rebecca. Annalise is able to twist the story to make it look like Wes took his own life out of guilt. She tarnishes his reputation forever.

3. Oliver’s shocking request

After Connor answers the burner phone Denver used to stay in contact with Atwood throughout Wes’ death, he goes missing. He is caught by Denver and taken to a hidden location where he is held against his will.  While held, he is questioned about his involvement with Wes’ death. He is accused of murdering Sam. He is threatened to be held for more than the legal 48 hours.

Meanwhile, Oliver heightens to a frenzy. In a panicked state he obsesses about the whereabouts of his boyfriend. He brings up the severity of the situation almost every time his face shows up on our screens. While most (Laurel) believe that Connor has taken Wes’ immunity deal, Oliver remains convinced that Connor is in immediate danger.

He isn’t wrong. Connor is nearly arrested for the murder of Wes. Luckily, after the voicemail comes to light he is released. When he arrives home the two boys engage in a moment of passion, literally ripping the clothes off of each other. They talk about safety, moving to California, making babies, and loving each other forever. To Connor it’s all tied to the sex. To Oliver, however, it’s much more. He’s serious. He asks Connor to marry him.

4. Michaela’s oddly-timed confession

In the heat of everything going on Asher declares his love for Michaela. He calls this year the most awful of his life. He can’t let another moment go by without telling Michaela how he feels. As he spends a few tender moments showing Michaela his heart she pretends to hear Laurel from the other room. She effectively flees the situation.

Michaela doesn’t feel she can honestly answer that question. She doesn’t know. In fact, she doesn’t know if she has ever been in love. However, when it comes down to it, as Michaela has to pretend she wants to go home with Charles Mahoney she realizes something. She does love Asher. Or at least she thinks she does. That’s right, the girl who has always held her true intentions hidden deep inside finally opens up in a women’s public restroom, no less.

5. Wes’ murderer revealed

As the final episode of season 3 came to a close we felt pretty sure that the mysterious hitman was in cahoots with Denver. He never denied it, he almost seemed to confess as Annalise threatened to take him down. As she accused him of having a hand in Wes’ death in some way he seemed so guilty. It had to be him. The very last moments of the episode revealed a very different story, however.

As Laurel began to run down Charles Mahoney who awaited Michaela at a cab she ran into a similar face. Although, she and the audience had much different reasons for recognizing him. To her this man was Dominique, a family friend. To the audience he was the hitman who injected Wes with the lethal substance that took his life.

In one final flashback we see Connor running past the hitman’s car as he talks on the phone. He confirms that the deed is done. Wes is dead. But he doesn’t relay this news to Denver. He is speaking with Laurel’s father. The orchestrator of this all.

What moment stood out to you most in the ‘How to Get Away with Murder’ season 3 finale?

I’ve noticed that a lot of television shows lately have focused on some form of mental health issues, and it’s making TV a whole lot better.

If you’ve watched a decent amount of TV lately you probably noticed this trend, and if you haven’t then you’re about to read about it. The more I watch TV the more I notice that a lot of shows have, in some way, brought up how people handle mental health issues like depression or anxiety. Either they have a character who faces it on a weekly or semi-weekly basis or an episode dedicated to someone handling it and I think it’s about damn time.

For the longest time Hollywood treated mental health disorders as some scary, horrible thing. It was all about straight-jackets and asylums and people never really understood how varied mental health disorders could be. Mental health problems are more than just schizophrenia and psychotic disorders, and finally I feel like Hollywood is beginning to go past the tip of that iceberg.

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I’ve noticed that a lot of television shows lately have focused on some form of mental health issues, and it’s making TV a whole lot better.

If you’ve watched a decent amount of TV lately you probably noticed this trend, and if you haven’t then you’re about to read about it. The more I watch TV the more I notice that a lot of shows have, in some way, brought up how people handle mental health issues like depression or anxiety. Either they have a character who faces it on a weekly or semi-weekly basis or an episode dedicated to someone handling it and I think it’s about damn time.

For the longest time Hollywood treated mental health disorders as some scary, horrible thing. It was all about straight-jackets and asylums and people never really understood how varied mental health disorders could be. Mental health problems are more than just schizophrenia and psychotic disorders, and finally I feel like Hollywood is beginning to go past the tip of that iceberg.

But that’s just it, we’ve only begun to explore mental health awareness in the proper way. With all of the shows on TV only a small number of them have started to explore this important subject. But the few that have? They’ve done a great job.

As much as I love TV I don’t watch everything so I’ve asked my Hypable co-workers to share with me their shows and how any of them highlight mental health awareness. These are all such great examples of how a television show can bring up awareness not for the sake of entertainment but rather because it’s important to show the world how mental health actually affects our lives.

‘The 100’


Jasper Jordan is a rare character in a post-apocalyptic work of fiction, because unlike most of his delinquent peers, he doesn’t have a near-superhuman ability to compartmentalise the traumas and keep fighting for his own and his friends’ survival.

Related: Jasper’s arc on The 100 is real, raw, and underrated

Where characters like Clarke, Bellamy, Monty and even Murphy get knocked down and get right back up again, Jasper isn’t able to do that. The ground was already well on its way to breaking him before he experienced the horrors of Mount Weather, and despite surviving it all, he hasn’t emerged stronger — his mind is giving out, and Jasper has no desire left to carry on. His self-destructive depression and suicidal tendencies were on full display in the season 3 finale, and although the writers decided to let him live (the original plan was for him to kill himself), his trauma hasn’t magically disappeared.

Jasper is a broken soul in an unforgiving world, and his pain is going to continue to define his character from here on out. –Selina Wilken

‘Bojack Horseman’


Every character on Bojack Horseman suffers from depression, and they all deal with it in different ways. Bojack is cruel and listless and blames everyone else for his problems, Mr.Peanutbutter hides his pain behind a smile and an upbeat personality.

Princess Carolyn loses herself in work and keeps her distance from other people emotionally to avoid being hurt again. Todd allows others to steer his life for him because he believes he’s too dumb and useless to make his own decisions. Every season hammers home why these characters behave the way that they behave, and it’s all wrapped up in a big metaphor about how we’re all just animals trying to survive. –Jimmy Bean

‘UnReal’


Probably one of the most evident and obvious shows that handle mental health, UnReal‘s main protagonist Rachel suffers from a lot of anxiety, depression and post traumatic stress disorder. If you watch just season one and half of season 2 you may not understand Rachel’s actions or why she suffers from PTSD, but in season 2, episode 7 it all becomes clear. Unlike the other shows, UnReal provides a great example for how to not handle depression. The actions of the characters are so abundantly harmful and deceitful that it’s easy to hate the characters and what they’re doing.

It’s hard to discuss without spoilers, but it’s not hard to see how Rachel suffers from these mental health conditions. The poor woman is surrounded by people who try to help her by helping themselves, leaving her to handle her depression and anxiety alone, and it provides a clear picture for how to not support your friends. The best thing this show does is displaying how important it is to take a look at the people around you and make sure you’re keeping them there for the right reasons.

As morally corrupt as the show and its characters are it’s a realistic portrayal of how harmful denying and not treating your depression and anxiety can be. –Tariq Kyle

‘Teen Wolf’


Stiles anxiety has been threaded subtly through Teen Wolf, with just a few instances where it has made it to the forefront of the plot. In one case, Stiles has a panic attack when he’s learned his father has been taken in season 3. Since he lost his mother has a young child, his father is really the only family he has left. Stiles has always been overprotective of his dad — making sure he’s eating healthy and taking care of himself. When he has a panic attack, Lydia finds a way to calm him down, but she doesn’t try to cure him.

Stiles’ anxiety is as much a part of history as anything else, and it returns to enhance the plot of the show in season 5 when Stiles is worried about what will happen to his friendship with Scott after high school. It drives Stiles to attempt to keep everyone together, but when that all falls apart, he must confront his fears and accept that life doesn’t always work out the way you want it to. By the time season 6A finishes up, Stiles has overcome this particular trigger, but again, that does not mean he’s been cured of his anxiety. Teen Wolf knows that a mental illness like anxiety is not something you just get over; it’s something you constantly have to work through. –Karen Rought

‘The Magicians’

‘The Magicians’

The biggest driving force in The Magicians actually isn’t magic, but rather depression. It’s made all too clear in season 1 when Elliot explains to Quentin, “magic doesn’t come from talent, it comes from pain.” Author Lev Grossman has discussed this parallel several times, explaining that his own depression was the inspiration for the series.

Grossman explains, “when I was really struggling with depression, I would lie in bed every day, and I couldn’t get up. And I would watch people doing these normal things, going to their jobs and having their relationships, and I would think, I could never do that. And it felt like they were doing magic. And when I started to get better, and I started getting up, and I started doing all these normal things, I felt like I was a magician.”

And what’s particularly great about The Magicians is how each character handles their own depression and anxiety in their own way. Some, like Quentin, are sheepish and quiet about it. Others, like Elliot or Margo, put up a facade of strength and nonchalant-ness that they seldom put down for others. The show is incredibly unique in how it handles mental health, and it’s a great representation of how today’s adults are dealing with it in their own way. –Tariq Kyle

‘Survivor’


While scripted shows are improving leaps and bounds in their portrayals of mental illness, Survivor has always been happy to show real people overcoming real obstacles, including anxiety disorders and phobias that do not lend themselves to being marooned on an island for a month or more. This past season on Survivor brought us three very different, but inspiring storylines about people overcoming anxiety and such to do extremely well in a game that has overwhelmed some of its strongest participants.

David, who works as a TV writer when he’s not marooning himself on television, walked into the game looking like the type of person that is usually the first person voted off. He appeared weak, paranoid, and was afraid of nearly everything on the island (a scene in which he is scared to hold a stick bug stands out in my brain). As he grew comfortable with his surroundings, he managed to harness his weaknesses and use them in his own favor. He also bonded with another of our inspiring survivors, Ken.

Ken suffered from a stutter as a kid, and has social anxiety thanks to years of bullying and teasing. Ken not only learned to bond with David, but throughout the game managed to make friends and trusted allies despite his anxiety.

Last, but certainly never least is Hannah. Hannah, like David, walked onto the island looking like the type of person that gets voted off this show in the first few episodes. Her lowest point was definitely when she had an anxiety attack from just watching an immunity challenge in progress. She was sitting on the sidelines and suddenly started hyperventilating and her hands seized up. She went on to form solid alliances and maneuver her way into the final three.

Survivor allowed viewers to watch as these three unlikely people made their way through one of the toughest social experiments in play today. Their struggles are real and tough, and they’ve put themselves in circumstances most of us couldn’t dream of subjecting ourselves to, but each came out stronger, more assured in who they are, and aware that their anxiety does not define them. –Kristen Kranz

How do you feel depression and anxiety are being represented on TV?

Don’t forget, you’re not alone. Give a call to the National Suicide Hotline (1-800-273-8255) or text them by texting START to 741-741