Soundbyte: Elton John’s Thoughts on Chris Colfer

“When that boy Chris Colfer won from Glee and he made that little speech and it was very concise and he said, you know, about the bullying and things and I think that was the message I really loved.”Elton John on Chris Colfer’s Golden Globes speech

So this is what Colfer meant when Giuliana Rancic of E! asked him about people’s reaction to his Golden Globe speech. Ellen sent him flowers and Elton John gave him a Youtube message. Lovely.

You can watch the video here or below:

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Chris Colfer, Max Adler and Photogenic Compatibility

All right. Whatever doubts I had about Chris Colfer and Max Adler’s on-screen/on-camera compatibilities (and, by extension, Kurt Hummel and Dave Karofsky’s potential as a better-looking, more smashing hot couple than Kurt and Blaine)  just flew out of the window this morning and killed themselves on the pavement below that window, thanks to this picture from the 17th Annual Screen Actors Guild Awards.

(Photo credit: AP Photo, Daylife.com)

What’s funny about this picture is that Max Adler looks to be the neater one between the two. Chris Colfer looks more casual and laid back (and his tie looked a bit untidy) and less like the beautiful pale white ghost that he was at the Golden Globes. They’re both really sweet together and they seem to make each other look really good… or perhaps it’s just the suits. (I love how Adler chose something silver instead of black, by the way.) The last time I saw them posing for a picture together was in Halloween, while they were decked in their Halloween costumes, so that photo didn’t really inspire a lot of squee from a (now former) Kurtofsky non-believer. This photo, however…

All I’m saying is, there’s a selling point here. If the Glee producers were worried they wouldn’t be able to ‘market’ a pairing like Kurt Hummel and Dave Karofsky together, they would be wrong. Both Colfer and Adler are already great actors, but now that we know they look good standing side by side and posing as if this was a picture taken of their wedding 10 years into their characters’ future, they are now great actors whose image can be ‘sold’ to convince the audience that their pairing would work.

Or maybe that’s just me. Or maybe that’s just the suits. Whoever dressed these young men should be given a pat in the back and a handshake full of kudos.

The King’s Speech

I don’t know what is up with Colin Firth but he really has taken his acting to a whole new level in the past few years. I’ve always known he was a good actor because in all of his movies in the past, I’ve never seen him as Colin Firth. I’ve always seen him as… Mr. Darcy, Mark Darcy, Vermeer, Lord Henry Dashwood, Harry… all these different characters that have nothing to do with the real actor.

But then A Single Man came out and it was like he suddenly jumped to a whole new grade of acting excellence. He’s suddenly more refined, more finessed and more… just more. I can’t even explain it. He went from skilled to absolutely marvelous.

Is it because he chose better roles in better movies with better directors and better scripts? It could be.

Whatever the case may be, I have to say… it is so bloody hard to take my eyes off Mr. Firth as Bertie, or King George VI, in The King’s Speech. My eyes are trained on him all the time. He made it difficult for me to look away. I just wanted to keep looking at him, absorbing him, and never stop. I think I understand now why he’s getting all these accolades for the role: that role is not something just about anyone else can play. It hasto be Colin Firth. I tried picturing everyone from Rufus Sewell to Jason Isaacs to Daniel Craig and I failed to fit any of them in this role. If there’s anyone who could play King George VI with the stammer, it’s Colin Firth and Colin Firth only. Because even at his most stoic, Firth’s Bertie can evoke emotional responses from the audience.

Overall, the entire movie is artfully and thoughtfully crafted. It does what Never Let Me Go fails to do in terms of presentation: it doesn’t try too hard to look beautiful. Everything was ‘just right’. But as good as many aspects of the film are (including the costume and production design, art direction and set decoration, Alexander Desplat’s beautiful scores, the super fine performances of Helena Bonham Carter and Geoffrey Rush), its true star is obvious.

The King’s Speech is Colin Firth’s show. It’s the one unforgettable acting masterpiece of Mr. Firth’s that everyone should see… and then applaud.

The Green Hornet

Thanks to my good friends at Total Film Indonesia, I got to watch The Green Hornet on Tuesday evening on 3D and without paying.

Prior to watching it, I was told by some people to keep my expectations low (if I did that, I would like it) but keeping a low expectation with a director like Michel Gondry on the helm and actors like Christoph Waltz in it is pretty difficult to do. I walked into that movie with what I call  a ‘medium-level expectation’. As a result… I find the movie excellent and entertaining!

I guess the key to enjoying movies like this is to not take it too seriously. Of course, it’s not total trash, but it’s definitely not an intelligent thinky-thought film either. So, in the spirit of not taking things too seriously, I will post my Twitter review of the movie instead of doing an overly analytical observation on the movie.

mavieenlair I liked ‘The Green Hornet’. I was told to keep my expectations low and I’d like it. Well, my expectations weren’t low and I still liked it.
about 22 hours ago via web

mavieenlair Jay Chou’s bad English can be quite distracting at times but there’s such a cute chemistry between him and Seth Rogen. It’s just awesome.
about 22 hours ago via web

mavieenlair And the 3D? It’s… good. Goddammit. I didn’t want to say this… but it’s very good. It has to be said.
about 22 hours ago via web

mavieenlair Also, I nearly pissed my pants watching the scene between Christoph Waltz and James Franco in the beginning. Did I say hilarious? HILARIOUS!
about 22 hours ago via web

I also enjoyed Edward Furlong’s cameo very much. By the way, is Edward Furlong back to being cool again now? I mean, in CSI: NY he was really good (although in the end, I wanted to say, “JUST DIE ALREADY!”) If he is, I’m all for it. Hurrah for ’90s idols making comebacks!

In the end, I told my friend that it might just be one of my favorites this year. The movie helped me get  out of a depressive mood that I’ve been feeling in the past week, due to real life issues. It made me laugh hard enough to forget about my woes, so for that alone, I appreciate what the filmmakers were doing.

Besides, what can I say, I’m a sucker for bromance-on-screen. Rogen and Chou are really, really Holmes/Watson-y. It’s too cute.

Burlesque

I went from watching no movies at all for three weeks into the new year to watching 3 movies in 3 consecutive days. A movie a day… keeps the doctor away! That’s my new motto!

Seriously speaking, though, I had the chance to finally watch Burlesque. This movie is interestingly enough directed by a first-time director, Steven Antin, who has worked in other capacities in other movies before (including as an actor in one of my favorite classics, The Goonies),  and had Bojan Bazelli as director of photography. Bazelli worked in another movie musical previously, Adam Shankman’s Hairspray, one of my favorite movie musicals ever.  Now none of these names might be familiar to you – I’m sure everyone else is going all, “Cher! Christina Aguilera! Kristen Bell!” – but they are really the reason why I wanted to see the movie.

Admittedly, I had reservations about the quality of the script. Small town girl going to big city and makes a living out of dancing… that’s not exactly original, is it? Coyote Ugly did it. And even that one staring Mary Elizabeth Winstead did it. What was that one called? Make It Happen? Fresh ideas are really out of stock in Hollywood, aren’t they? Why would anyone want to see a repeat of those movies, despite one being repeated boasting an all-star ensemble cast, used to be beyond me. I would rather watch my The A-Team DVD many times over. Because if we’re going to watch something that is a repeat of something else, we might as well watch something that comes out of an old TV series we love. Also, I am not keen on watching former Twilight baddie, Cam Gigandet (he was the vamp who died in the first movie), in another movie for fear of seeing anything remotely Twifright-ish.

However, I love movie musicals too much to skip this one out. So I sucked it up, bought a ticket, went in, sat down and… I was wowed for two hours straight.

I can list all the reasons why this movie is silly, ranging from Christina Aguilera’s amateurish acting skills to the predictable plot and the plethora of cliché that exist in it and about whether or not this movie shows enough of the true art of Burlesque or just an imitation of it. But I’m not going to. It was too much fun to watch for me to complain loudly about it.

What I like, so very much, about this film is that it takes its time developing the story and the characters. Predictable results, yes. But at least Antin told that story in a sensible way that we could believe. The way Aguilera’s Ali and Gigandet’s Jack interact and build their relationship, the way Cher’s Tess and Stanley Tucci’s Sean go back and forth about their friendship in the present and in the past, the way Kristen Bell’s Nikki act like a self-absorbed diva and burst out in angry and jealous… they were shown as real humans from the way Antin spent his time properly filming these characters’ lives. In the end, once everything was said and done, you have a complete knowledge of who they are and you don’t wonder where they come from and where they will go. There’s a gratifying sense of fulfillment about these characters.

Just so you know, in that regard, this film is very similar to Robert Schwentke’s Red (the Golden Globe nominated based-on-comic movie starring Bruce Willis). Kudos to both directors for their ace storytelling methods.

But even more than that, Antin did indeed put a lot of thought into creating the musical numbers. Each and every one of them are stunning. The actresses and the dancers are gorgeous. From what I know of burlesque’s nature of “risqué but not sexual”, this movie definitely captured that spirit. One number – the name of the song escapes me but this was the one where Aguilera wears a curly blonde wig and a costume of pearls that got stripped down piece by piece – clearly displayed how dancing while shedding layers of your outfit did not equal a striptease. It was very classy, very well-executed and, admittedly, very fun and cheeky. And while I’m still not enamored by Aguilera’s overwhelmingly powerful vocal, I am impressed by the songs she wrote for this film. Without a doubt, the woman has talent and compared to the her fellow blondes, this girl is going to stick around for a while.

Out of all the actors, though, I am most impressed by three. First, Stanley Tucci. This man does not get enough praise–he is actually quite a genius. I just love seeing all of his antics in here. And, once again, I do admire a straight actor who can play a gay man to such perfection. He’s done it once in The Devil Wears Prada; he does it again here. If any young actor want to successfully play that kind of man? Point him out to Mr. Tucci, right away. Second, Kristen Bell. Apparently, what she had to do to convince me she could actually act was to become a brunette and play an alcoholic prima donna. She didn’t get enough scenes in the movie, as far as I’m concerned, and I hope she considers to continue dancing and keeping the black hair. I think I have a girl crush on her now. And third, of course, Gigandet. I am very sorry for underestimating him, I can admit I was wrong. He is, without a doubt, a very good actor. I couldn’t see traces of his other roles in this guyliner-wearing Jack persona and, for me, that’s a mark of excellent acting chops. I’m intrigued and I want to see him in more movies.

So in the end I realized that it’s not about “what the story is”. It’s about “how you tell the story”. By paying great attention to detail and gathering a crew of talented people, Antin managed to keep a story that has been told many times over fresh and fun to watch. While Burlesque is not going to win any acting award, it is still a film that shows a great amount of filmmaking excellence. I applaud Antin and his cast and crew for this achievement.

In case you couldn’t figure out what I’m trying to say… do watch this one. It’s, simply put, awesome.

Never Let Me Go

Never Let Me Go
Or how Alex Garland doesn’t let go of Kazuo Ishiguro’s spirit…

Before you watch Never Let Me Go, do take care and prepare yourself mentally to watch scenes that will tug at your heartstrings: when young Kathy (isobel Meikle-Small) inadvertently got slapped by young Tommy (Charlie Rowe); when Kathy witnessed Tommy’s first kiss with young Ruth (Ella Purnell); when the 18-year-old blonde sat on her bed, hugging a pillow while listening to fictional singer Judy Bridgewater singing “baby, never let me go“, as she overhears her friends Andrew Garfield and Keira Knightley) make love in the other room; when the adult Ruth was laid on an operating table, her body cut open, after completing her last donation; when Tommy’s eyes close for the final time, gazing at Kathy and seemingly saying ‘goodbye’ through that sad stare; and when Kathy asked to nobody, “How are we any different than the people whose lives we saved?”

Alex Garland’s script literally took the thickly depressive/melancholic mood out of Kazuo Ishiguro’s book. The novel didn’t try to explain what cloning is and how and why it was performed in this society, so Garland didn’t explain it either. Garland’s Kathy, Ruth and Tommy are pretty much Ishiguro’s Kathy, Ruth and Tommy, who accepted their lot without question. This is disturbing because anyone in the audience with a common sense would want the trio to fight for their lives. But Garland, surprisingly, didn’t take the bait – he didn’t try to change their destinies and gave them the same beginning, middle and end that Ishiguro gave them. For the first time, in so many uncountable years, an adapted screenplay is able to translate perfectly the language of the book it came from to a perfect cinematic language.

Unfortunately, Garland’s bravery – let’s call it that – to go this way is not supported by a convincing filmmaking from director Mark Romanek’s part. Romanek seems overly deliberate in filming Never Let Me Go: the setting, cinematography, music and even lighting are too neat… so much that it appeared to be smugly yelling, “Hey, come on, give us an award!” There’s no originality or ‘heart’ from Romanek and not even Mulligan’s outstanding performance (which is infinitely more skilled than Garfield and Knightley’s) could stop the movie from being more sympathetic, friendlier and easier to embrace. Then again, perhaps that was what they wanted all along…

VERDICT Mulligan, Garfield & Knightley are the real reasons why this movie is a must-watch, but the flat story and the cold, clinical filmmaking won’t win any awards, both in the Oscar race and in the box office.

RECOMMENDED WATCH
THE REMAINS OF THE DAY (1993)
The first movie adaptation of Ishiguro’s novel, and the more successful one, from veteran James Ivory.

THE ISLAND (2005)
This Michael Bay cloning actioner is obnoxious as hell, but at least there is more color in this one.

CHILDREN OF MEN (2006)
Another adaptation of a dystopic novel, helmed by the great Alfonso
Cuarón with a smashing ensemble cast.

TALKING POINT
Mulligan is attached to two further adaptations of famous novels,The Great Gatsby (F. Scott Fitzgerald) and On Chesil Beach (Ian McEwan).

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An Indonesian language version of this review will appear in a future issue of Total Film Indonesia. Please buy the magazine to have a look at it.

Season Of The Witch

I finally watched my first movie of 2011 in the cinema and I’m glad to say that it was Season Of The Witch, starring Nicolas Cage, Stephen Campbell Moore, Robert Sheehan and Ron Perlman. Directed by Dominic Sena, this is a sword-and-sorcery fare that is reminiscent of Solomon Kane but with a bit more ‘American/Hollywood’ sensibilities.

Before watching this, there are already so many negative reactions for it and critics are putting this movie down… which is understandable. It’s not like the movie is anything epic and I’m quite sure everyone is wondering, “What the hell is Nic Cage doing now?” So I went into the cinema without any expectations at all, or a very low one at that, and was only hoping that I would be entertained enough so I could write an Abridged Script for it.

As soon as the movie started, though, I was immediately absorbed by it. The opening scene, with the witches hanging and drowning, and the priest getting killed before he could completely banish the demon, was exhilarating and frightening enough to captivate my attention. To be honest, the rest of the movie was not bad either. There was a good enough mix of talented actors, substantial dialogue (for once, Nic Cage didn’t try to sound smart or funny, which works quite nicely for him) and a thrilling plot to keep me on the edge of my seat throughout the film. What I liked from the plot especially was the way it didn’t try to be twisty or intelligent. It was linear, straightforward and honest.

There were scenes from the Crusades that could be interpreted as something political or religious or such nonsense like that… but to be honest? The sequence went by pretty quickly – too quickly, in fact, and in a PG-rated manner without an overdose of gore and violence, thus making Season Of The Witch a family-friendly offering – that I didn’t even have time to find any hidden heavy-handed message about anything in it. It was so low-key that this was clearly designed as a plot device and timeline setup by screenwriter Bragi F. Schut that I couldn’t even cynically say, “Ah, here we go again with the Crusades…”

Again, the movie’s strength is its simplicity. It didn’t try to be anything other than a source of entertainment that I couldn’t help but be entertained by it. Now this is not to say that the movie didn’t have any problems… there were, in fact, plenty of problems with it. The crude special effects, for one. It was as if the movie didn’t get any budget to make decent CGI screen things that I was wondering whether they’d skimp on it just to pay Nic Cage. The set design and costumes were rather underwhelming; for a period movie, oftentimes these would be one thing that helped salvage it from utter boredom, but Season couldn’t boast even this. Hair and make-up were slightly better but only by a thin margin (with the exception of Christopher Lee’s epic black plague prosthetics, though. That was pretty disgusting.) The action didn’t have that “Epic Movie” vibe that Solomon Kane had, so I once again wondered if they couldn’t get a good enough fighting choreographer… And, really, the American accent? I am pretty sure that would raise more than a few eyebrows.

Despite all that, however, the acting, the story and the theme of “faith” and “belief” were compelling enough to make me want to buy the DVD when it comes out. I also like the way we, as viewers, were made to question the truth of the witch’s so-called “witchiness”. Up to the halfway mark, we were still wondering, “Is she or is she not a witch?” And as it turned out, at the end of the movie, we find out that this was not about the witch at all. I have no idea if this is intentional or not, but I thought it was pretty damn clever.

I would even go as far as to say that this is one of the better Nicolas Cage movies, seeing as how he didn’t look like he was trying so hard to look cool. I was reminded, in fact, of how wonderful his performance was as Big Daddy in Kick-Ass. Here, as Behmen, Cage was in character all the time and managed to even convey that sense of heroism through his low-key acting. Yes, there were the occasional bad lines, but he managed it well and came out relatively unscathed from this story.

The one who truly stole the scene, though, was Cage’s co-star, the man who plays the priest Debelzaq. And while at first I failed to recognize who the actor behind the robes, the laughable haircut and the pathetic mustache was, it immediately came to me that this actor was in fact Stephen Campbell Moore.

Remember him?

If you guessed he was the young professor Irwin from The History Boys, then you are 100% correct.

But this man… this actor who so wowed me with how pathetically cowardly his Irwin in THB was impressed me so much in this movie. He was so subtle and yet at the same time convincing in his role as a priest who may or may not be evil, whose belief in God is absolute, and who stares at evil straight in the eye without flinching. Don’t even get me started on when he started uttering the prayers in Latin – who knew an ancient language could sound so sexy? Not even The Misfits‘ Robert Sheehan (who is obviously made to be the “dashing young hero” of the movie) can pronounce the words as convincingly as dear ol’ Stephen. You have to hand it to English theater actors: they really do know how to give Hollywood movie stars a run for their money.

This movie will definitely appeal to fans of the genre. It’s not as well made as some others but the talents alone are undeniable. Fans of British TV series will definitely be happy to see their favorite stars (Claire Foy from Being Human is also here as the witch girl) and the movie will hopefully serve as their doorway to bigger, better Hollywood movies, if they’re seeking for more popularity. I for one don’t need to see them anywhere else to be convinced of how amazing the actors are. They are easily my favorite part of Season Of The Witch.

Some will argue that this is not the best movie to start the year with but I personally am pretty satisfied with it. It’s an entertaining start to my life in the cinema this year. If any other movie can provide a talent half as good as Stephen Campbell Moore, it will already be a movie worth watching. And I do think that it can only get better from here.

Max Adler: Glee’s REAL Rising Star

I read the most wonderful interview with Glee‘s Max Adler (read the interview), who plays the bully David Karofsky – He Who Performed The Kiss That Broke The Glee Fandom And Launched A Thousand Ship Wars. The whole time I was reading that interview, I was literally grinning from ear to ear. Not just because there Adler is confirming that there is a good chance of him/Karofsky singing in the show and that there is a possibility that the new unreleased Lady Gaga song, Born This Way, will be used in relation to Karofsky. But also because he comes across as very charming and smart and funny and just plain lovely.

Now, when the “Kurtofsky” kiss happened in the show, I admit I was torn apart. I couldn’t deal with the fact that there was a possibility that Kurt might end up getting his bully as his boyfriend in the long run, especially after seeing how Darren Criss‘ Blaine seems like he’s a little too good to be true and there’s just no way Ryan Murphy, Ian Brennan and Brad Falchuk were going to make it easy for Kurt. But then I joined some communities, interacted with Kurtofsky fans, read fics, watched fanvids and fanmixes, read interviews by the cast and the creators until I literally had my opinion on this pairing turned upside down and I became a believer and supporter of it. Out of everything, it was Max Adler in particular that converted me into becoming a Karofsky fan.

Let’s get this point clear: Max Adler is not Dave Karofsky.

He is, in real life, a lot more superb human being than Dave Karofsky is. Adler is – as the interview article prefaced – a very polite and charming man. You only have to watch his interview (Youtube it! Seriously, there are so many awesome Adler videos out there) to know that there is not an ounce of the bully in the actor. Even at first glance, you can tell how different he is from Karofsky, simply from the fact that Adler never fails to smile in front of the camera, whereas Karofsky is never seen without his frown on the show. He’s the kind of man that makes you think, “This guy plays a bully? And pulls it off? Seriously? HOW?! He looks so nice.”

Not only that, in the episode where Karofsky threatened to kill Kurt if he ever told anyone about the kiss, you could see the character’s utter desperation at his situation. The same desperation that stole over his expression right after the kiss, when he leaned in for another one and Kurt pushed him away. And Adler played those scenes well. Brilliantly, even. In such brief moments, he was able to create memorable intensity in the scenes that are imprinted on the memory of every Glee fan and viewer for a long, long time. That is, let me tell you, not something every actor can achieve. Bad actors – movie stars without an ounce of acting skill in their bodies – can’t do that. Good actors can. And as far as I’m concerned, Adler is a good actor.

So that’s why I started supporting Karofsky. The actor makes me wish for more, bigger and better storyline for Karofsky in the show, so that in the future Adler can reap the benefits of playing this intriguing, complex character, because he clearly deserves a very bright future in the industry.

And why not? He’s certainly prepared to do it, to show another side of his character that is currently still buried under that letterman jacket of William McKinley High.

What are you drawing off of to play the part?
[As] far as [what I’m] drawing on, all these messages I’m getting and people that tell me their life stories, I’m learning a lot from them. And watching guys like Gareth [Thomas], you know, the rugby player who just came out and listening to him talk, and listening to Portia de Rossi talk and Ricky Martin. I just watch real life people, that literally said they prayed to God that they would be straight and the last thing that they wanted was to be gay, and I feel like that’s actually what Karofsky is going through. It’s the last thing that he wants, but it’s there so I kind of draw on real situations.

The “name-dropping” shows that he’s been doing his research. He’s also definitely aware of what actually goes on – the conflicts, the issues, the obstacles – in the lives of people who are either Karofsky, resemble him or know him in real life. Let’s not forget he’s straight and has a stunningly gorgeous girlfriend; any straight actor who is willing to go the extra mile to play a character that bats for the other team and plays it well gets an A+ in my book.

I’m pretty sure I’m in the minority about this, though. The whole world is still pretty much squealing over how hot and talented and amazing Darren Criss is. I admit that Criss is all that and more, but I quickly lost interest in him. Yes, he’s got a great voice and yes, he’s rather exotically sexy, but the more I watch him in interviews and see him in photos, the less excited I become. I just don’t think Criss has the possibility to surprise me anymore. Perhaps if he did another A Very Potter Musical-like parody, I would regain interest. For now, though, I’m quite done with him.

The same goes for Overstreet. At the beginning of Season 2, everyone talked about him. But then he came on to the show and proved how blandly boring cute guys with a typical boyband voice and blonde hair are. Now, he hardly ever features in any of the topic that matters about Glee (“Sam & Quinn are going to break up!” I yawned at that. “The new Lady Gaga song will involve Max, Darren and Chris!” I happy danced from the kitchen to my room and back.) So, I’m quite done with him too… not that I ever began to fangirl over him.

I’m not quite done, however, with Adler. I feel like this man has a lot more potentials that we haven’t discovered yet. From now on, he can only get better with his performances. And yes, Ryan Murphy & Co., please give Adler a chance to sing – this guy likes Sinatra and Bublé and thinks that crooner-type songs suit him – so that we may have the complete and undeniable proof of how wonderfully talented he is.

(Besides, can you really imagine in your head a guy who looks like Dave Karofsky singing Sinatra, albeit in the shower at the boys’ locker room? I certainly can’t. That’s why, I really want the singing to happen; just so my mind will be put to rest.)

I am not going to prolong this… sickeningly gushing entry of the virtues of Max Adler as an actor. I just want to wish him the best of luck (and another Happy Birthday greeting, as he celebrated his 25th earlier this Monday) for the future. Adler wants longevity in his showbiz career; if he is given the chance, does well in it and stay true to himself, I’m pretty sure he will be around for a good long while. Congratulations, Mr. Adler. I can’t wait to see more of you.

Chris Colfer: The Beginning of the Beginning

The 68th Annual Golden Globes was today and I had fun watching the show. I made no secret that I watch it mainly to look at the eye candies like James Franco, Johnny Depp, Christian Bale, Colin Firth, Emma Stone and the likes. I don’t actually care about the movies – and most of the actors and actresses – nominated.

But I do have one person among the nominees for whom I’m rooting and wishing from the bottom of my heart would win the category he was nominated in, Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television. That person is, of course, Glee‘s Chris Colfer.

It’s really hard for me not to root for Chris when the guy has caught my attention since the first time he appeared on FOX’s hit TV show. Of course back in the first few episodes of Season 1, I used to call him Kurt “The Cute Little Twink” Hummel. A bit derogatory, yes, but I couldn’t really help myself, seeing as he didn’t have a storyline. It was funny seeing Amber Riley’s Mercedes throw a rock at his car’s front window because she thought he had the hots for Rachel Berry (when instead he was looking at the hunky Finn Hudson) but that was really it. I thought, “Oh, he’s just going to be this token gay character on TV that’s there for comic relief and not much else.”

That’s why I was so shocked to see how much he had grown when he performed Madonna & Justin Timberlake’s 4 Minutes in the Madonna tribute episode in the last half of Season 1. I’d taken a long hiatus from watching Glee at that point (I stopped at Episode 3 and continued later after the Madonna episode) so I had no idea how much Kurt Hummel – and by extension, Chris Colfer – had grown. Not only was he taller and sexier, he was also even more badass. So I backtracked and watched the awesome start of Kurt Hummel’s storyline that began with a Single Ladies choreography, a father-son interaction with Mike O’Malley, and an issue of accepting his sexuality on the show.

The moment I saw him dancing that silly little Beyonce dance on the football field and nabbed the position of a kicker because of it? I became a fan. I thought, “Wow, this kid has chops.”

Throughout Season 1,  I was by turns humored and saddened by Kurt’s story. Chris Colfer is such a genius that he can make me cry just by wibbling his lips on screen at something mean someone said. A lot of people complained about how creepy Kurt was in his attempt to get closer to Finn by matchmaking their parents, but I just couldn’t find fault with the character. Of course, later on I realized, I wasn’t as in love with the character (because even though I was in Team Kurt all the way, yeah, I thought he was a little bit too pushy) as I am with the actor.

What can I say? I’m a sucker for guys who look good, can sing, can dance and can act really well. Basically, his talent was so palpable, it was hard to miss his shine. Before Theatricality even aired, I was already campaigning for him to get a Golden Globe or an Emmy or whatever.

Because any guy who could sing like this deserves an award for just being able to pull it off.

We all know how much further Kurt’s storyline grew in Season 2 with Grilled Cheesus (ep. 3), Never Been Kissed (ep. 6) and Furt (ep. 8). Through it all, whether Colfer is portraying Kurt as an atheist whose father is in the brink of mortality, a teenage boy who is bullied and gets his first kiss stolen by his bully, eye flirting with another boy in prep school uniform, or trying to teach his former crush/future stepbrother dancing, he always does it with such class and skill that it’s hard to believe that:

1. He’s only 20 years old.
2. This character is his first professional TV gig.
3. He came from small town America and used to be bullied.

People can hate Kurt Hummel all they want (although I would ask these haters why. Kurt Hummel is one of the most brilliantly written characters in television today. He is original, he is phenomenal, he is multi-dimensional, he is human and real and he is, on top of all, interesting.) But I would be upset if anyone hated Chris Colfer. This young man deserves only love and even more love for being the brilliant person that he is. He oozes intelligence in each of his interview, which is rare for an actor his age, and his maturity shines through in everything he says, be it on Twitter, or in any of the videos he appears in. Not only that, he sounds genuinely humble and down-to-earth, and strikes me as someone who takes his craft seriously. This is S-E-X-Y with all capital letters and of the highest level.

To wow us even further, this 20-year-old Clovis, California native is going to write his own movie. If that doesn’t convince people that he’s in this biz for the long run, I don’t know what will.

Sure, only time will tell if he’s going to screw up his future, but right now – with the way he’s working and behaving – he looks more and more likely to be following Natalie Portman’s footsteps instead of Lindsay Lohan. I like to believe that Glee‘s creator Ryan Murphy, whom Colfer calls in his “fairy godfather”, and his cronies will help guide and shape Colfer’s career.

I always likened Colfer to Harry Potter star Daniel Radcliffe, who started in the showbiz at an even younger age than Colfer. Radcliffe grew up in an environment where there are a lot of positive adult influences. Colfer is not much different. Judging from the lovely words his fellow cast members and other actors who are Colfer’s senior in Hollywood (like Jesse Tyler Ferguson of Modern Family) have to say about him, I gather that Colfer will continue to grow with wonderful influences in his career and achieve something very significant.

For now, though, Colfer can bask in the joy and pride of winning his first ever Golden Globe. I congratulate him for keeping calm and collected, even managing to churn out a beautiful speech, which is not something even the majority of adult winners at this year’s Golden Globes could say, despite looking like he was about to pass out when his name was announced as the winner.

“But most importantly to all the amazing kids that watch our show and the kids that our show celebrates – who are constantly told “NO” by the people in their environments, by bullies at school that they can’t be who they are or have what they want because of who they are. Well, screw that, kids!”

(Very well said, Mr. Colfer. Well said, indeed.)

He can enjoy the well-deserved attention for a little while… at least until the SAG Awards roll around at the end of the month, where it remains to be seen whether he can win anything again or not. (I am rooting for him again, naturally.) He can also focus on playing Kurt Hummel, whom I’ve heard will have major scenes to do in the next couple of episodes when Glee returns from their hiatus, for now and not worry whether he will still be popular at the end of the year (because I’m sure he will). The future is far… he still has a long road ahead of him. It’s not going to be easy for him but at least he’s taken several firm steps in the right direction.

Congratulations, Chris Colfer. I love you as an actor and I think I could love you even more as a person. Keep up the good work; your fans will be behind you all the way. Television has never been the same since you came on it – that’s how much you rock.