Connect with us

Blog

Interview: Kate Bornstein on Their Broadway Debut in Straight White Men

It’s clear that at 70, the trail-blazing author of the seminal work Gender Outlaw is still a formidable force to be reckoned with.

Published

on

Interview: Kate Bornstein on Their Broadway Debut in Straight White Men

When Kate Bornstein, self-described as a non-binary femme-identified trans person, talks about their remarkable life journey, it’s clear that at 70, the trail-blazing author of the seminal work Gender Outlaw and subject of the documentary Kate Bornstein Is a Queer and Pleasant Danger is still a formidable force to be reckoned with. Bornstein isn’t content on resting on their laurels as a pioneer in transgender rights and acceptance, acknowledging that positions they once held are always subject to reassessment. As the reader will learn from our interview, Bornstein, who’s debuting on Broadway in the new Second Stage production of Straight White Men, is uniquely positioned to broaden our vision on gender in a rapidly evolving world.

What is your preferred gender pronoun?

For many people it’s very important to be acknowledged for a hard-won identity. I’ve been blessed with living my weird identity for so long that I don’t mind anymore. Your editor will probably be upset if I say, “Whatever you want,” but I think it would be fun to alternate “they” or “them” and “she” or “her.” Those are the two sets of pronouns that give me the most tickle. But if we need to be consistent, “they” or “them” is great. It’s an accepted way of saying this person isn’t revealing any particular binary gender. If you insist on “he” or “him,” that tells me more about you than it does me. My own view on pronouns: Is it that we want to know a person’s pronoun or that we want to know a person’s gender? I think it’s the latter. I’m Kate Bornstein. I’m a non-binary femme-identified person. That says it.

What can you tell us about the play Straight White Men? That’s certainly not a title one would associate with you!

Young Jean Lee wanted to write this play about straight white men from the point of view of someone who wasn’t one. It’s a beautiful, well-crafted play about three grown sons visiting their dad on Christmas eve. She doesn’t make fun of straight white men. She holds them to task, but she isn’t mean. And because she’s so subtle, very few people got it. So she invented a device whereby the play is framed by a performance piece. There are now these two performers—Person in Charge #1 and Person in Charge #2—and wherever it’s been done since the play was revised, these two roles have been written for the performers playing those roles. In my case, I get to say, “Hey, I used to be a straight white man.” And then I say, “Well I tried. It didn’t work!” The other Person in Charge is played by Ty Defoe, a Native American trans man. So, we’re two trans people framing this show. Young takes two different forms of theater—performance art and traditional theater—and breaks a binary that as far as I know hasn’t been broken to this degree on Broadway.

Is the performance-art section based on your own words?

Advertisement


When you come into the theater, we’re there to greet you. Our job is to make you comfortable, so we talk with you. We think people will have questions and we’ll be adlibbing for about half an hour before the show. Then we climb up on to the stage and have an introductory moment and [for that] we have a script. The way we wanted to talk about the show was more like docents.

So we get to look at the straight white men in the play with an anthropological eye?

Yes, but not a straight white male gaze. There’s no mistake that [these characters] are the insiders, that they have power and that the pressure in the culture on everybody is to either be a straight white man or be like a straight white man. Or, if you can’t do either those, at least be liked by straight white men. If you can’t be any of those three, then you’re totally on the outside. We’re looking at a group of insiders in their natural habitat if you will. And they are good guys, they really are. Each of the four characters, they’re lovely. They’re as liberal as you could be. You wouldn’t expect this.

Tell me a little about the journey that’s brought you to the Broadway stage?

Acting is what I trained for back in college at Brown. I went to Brandeis graduate school for acting, but then my journey took a major detour when I joined the Church of Scientology before I graduated. These were the days when hippies were trying to save the world and this was the way I thought I could do it. Twelve years later I hadn’t saved the world and found out that L. Ron Hubbard was embezzling the money we were making for him and so I left.

Soon after that I came to terms with what I had been living with all my life: that I am not a man. In those days, there weren’t many choices. You were a drag queen, a closeted cross-dresser, or a transsexual. I didn’t think I was fabulous enough to be a drag queen and a closeted cross-dressing route was just heartbreaking. So, I took a deep breath and moved for a sex change. Doctors told me, “Well, if you aren’t a man you have to be a woman.” Non-binary was not a word, let alone an option. So, I called myself a woman by default. I had been lying and pretending to be a man and acting like a man.

Advertisement


Then I discovered that I was repeating the same kind of behavior, only this time acting out as a woman. I had given up acting when I decided to go through the gender change, but this is when my theater stuff kicked back in for me and I wrote a play about that. This was the 1980s, the heyday of performance art and solo performance. Holly Hughes, Tim Miller, Karen Finley were out there. So, I started writing my own work and started acting again. But then the NEA was defunded by Jesse Helms and our venues dried up.

So, I cast around, wondering how I was going to pay the rent. I had been writing for the Bay Area Reporter, and that led to Gender Outlaw: On Men, Women, and the Rest of Us. I said I wrote it to pay the rent, but it didn’t. But because the book did well and was taught in colleges, I started to get hired as a speaker and a performer on college campuses. That paid my rent for years. But when the offer came through for Straight White Men, I thought I could put my college speaking on hold a little bit for Broadway!

Has your thinking about identity evolved over the past couple of decades?

I first wrote Gender Outlaw to explain the idea of my identity as not a man and not a woman. But my great joy is to walk through the room as a woman. We didn’t have any word for it back then, but my “gender expression” is woman. And that I wasn’t able to express in the first edition of the book. Also—I use today’s language for it—there were binary identified trans people and non-binary identified trans people. Because I was just staking out new territory, I made the big mistake of creating a new binary by saying non-binary is good and true and binary is bad and false. This laid in an enmity with binary-identified trans people which lasted 20 years.

That first edition of Gender Outlaw, while it was very eloquent about a non-binary identity, partially did so by putting down a binary identity. Thank goodness Vintage asked me if I would be interested in revising and updating the book. They thought it would be just a few words here and there. I said, “Please let me correct this,” and it became a lot more inclusionary. I think it will last another 25 years before it becomes cringe-worthy. I think I said in the first edition that I can’t wait ’til this just becomes history and people will go, “Wait, in the old days you mean there were only two genders? Really?”

And sure enough, here we are to the point where people who aren’t men and not women are performing on Broadway. Ty Defoe, Peppermint, and myself are on Broadway. Justin Vivian Bond was the first non-binary trans person on Broadway. It fills my heart. It makes me cry happy tears that I had the opportunity to say all this stuff 25 years ago and that now I’m able to benefit from having said it. I’m very, very lucky.

Advertisement


Why do you think knowing a person’s gender is important for people?

Straight White Men doesn’t address this directly, but it does address the fact that it’s the gender “man” who’s in charge. And it’s not just man, it’s straight man. And it’s not just straight man, it’s straight white man who’s in charge—who has got all the money, who has got all the power. So, gender becomes an indicator of “Have you got power? How am I supposed to react to you, power-wise? Am I supposed to bow to you, or am I expecting you to bow to me?”

There’s also a completely different way. There used to be this heteronormative imperative: If you said you were a woman it was assumed you were attracted to men, and if you said you were a man it was assumed you were attracted to women. When I went through my gender change in the 1980s, in order to qualify for surgery I had to say I was attracted to men, that I wanted to get married and that my regret was that I’d never be able to give birth. In fact, I saw two different doctors and they turned me down because I didn’t say that. I went to a third who said, “I can give you some depth here in your vagina,” and I said I didn’t need that. And then we went around and around. It was like a little vaudeville routine until he went, “Oh, yeah, you’re a lesbian, oh, okay!” But he was in the minority.

So, for reasons of sexuality and for reasons of power, gender has been important. Not so much anymore for sexuality. But still for power. This play Straight White Men examines how very deep that goes and what it does to straight white men who think about it.

What’s coming up next for you?

I’m working on two books. I have the title and subtitle for one of them: Trans Just for the Fun of It: Compassionate Gender Strategies for a Divisive Age. But, honestly, it’s acting that I love. I’m involved with two other shows that are aimed at New York. They’re both in different stages of development.

Advertisement


There seems to be more of a call for trans actors. I think we’ve passed the age where we need Jeffrey Tambor to play us. More people are writing trans characters and writing them respectfully, with as much love and care as they would any other character. This is a change. It’s no longer all Silence of the Lambs. We’ve been through that phase and someone doing that today would be called out. So, we’ve entered a new phase and I’m just glad I’m alive to do it.

In 2012, when I found out that I needed chemo for my lung cancer, I didn’t have the money for it or that kind of insurance. My girlfriend and a dear friend put together one of the earliest crowd-sourcing campaigns and within a week people who knew me and people who didn’t know me raised $100,000. I went through two years of chemo and radiation and came out on the other side. My lung cancer and leukemia are both in remission. I owe each and every one of those people my life. And I’m dedicating my performance and my writing now to those people who helped me stay alive for this.

As an elder in the trans community, how do you see your role today?

My role today is, once again, informed by what I claim my identity to be. Chemo therapy basically poisoned my bones—and as you get older they collapse anyway. I was close to six feet tall and I came out of it five-foot-eight. You wouldn’t call that little, but in my mind I’m a lot littler than I used to be. And, certainly, I’m old. People tell me 70 is the new 50. No, 70 is the same old 70. Believe me, it is! So, I’m old. What I have always wanted to be is the gender that my mum modeled for me: a lady. My two favorite genders are gentleman and lady and I think neither has a damn thing to do with biology because they are just elegant ways of dealing with others. So, I aspire to lady and I’m little and I’m old. I’m a little old lady! This is how I define myself these days.

Well, usually little old ladies are helped across the street by others. In your case, you’ve been helping other people across their lives.

That’s very sweet of you to say that. People just think I’m a little old lady—maybe feisty because I have tattoos all over my arms. There’s an invisibility that frankly I’m grateful for. And here’s where there’s a difference between a non-binary identity and a gender queer identity. Gender queer is mixing it all up in both identity and expression. My identity isn’t man or woman and that’s why I overlap with gender queer, but I’m not gender queer. My expression, my great joy, is walking through the world like a little old lady. I don’t mix it up very much, but in this play I will. When I was asked what type of costuming I wanted, I said I’d like the audience to know that I’m non-binary. I said, “I’d like it to be reminiscent of some non-binary. Oh, I know, Bowie!” So, I’m pretty damn Bowie in this show! That’s very cool.

Advertisement


Straight White Men is now playing at the Hayes Theater.

Advertisement
Comments

Awards

2019 Oscar Nominations: The Favourite and Roma Lead Field, Bradley Cooper Snubbed for Director, & Cold War Surprises

Nominations for the 91st Academy Awards were announced today and The Favourite and Roma led the way.

Published

on

The Favourite
Photo: Fox Searchlight Pictures

Nominations for the 91st Academy Awards were announced Tuesday morning. Yorgos Lanthimos’s The Favourite and Alfonso Cuarón’s Roma led the nomination count with 10, followed by Adam McKay’s Vice and Bradley Cooper’s A Star Is Born with eight, Ryan Coogler’s Black Panther with seven, and Spike Lee’s BlacKkKlansman with six.

Cold War made a strong showing, with Pawel Pawlikowski claiming his first nomination for best director. Notably snubbed in the category was Bradley Cooper and Peter Farrelly, whose Green Book is considered the favorite to win best picture after its victory at the Producers Guild Awards. Elsewhere, Timothée Chalamet (Beautiful Boy) had to make way for Sam Elliott (A Star Is Born) in best supporting actor, while Willem Dafoe (At Eternity’s Gate) snagged a spot in the best actor race thought to be reserved for John David Washington (BlacKkKlansman).

See below for a full list of the nominations.

Best Picture
BlacKkKlansman
Black Panther
Bohemian Rhapsody
The Favourite
Green Book
Roma
A Star Is Born
Vice

Best Director
Alfonso Cuarón (Roma)
Yorgos Lanthimos (The Favourite)
Spike Lee (BlacKkKlansman)
Adam McKay (Vice)
Pawel Pawlikowski (Cold War)

Best Actress
Yalitza Aparicio (Roma)
Glenn Close (The Wife)
Olivia Colman (The Favourite)
Lady Gaga (A Star Is Born)
Melissa McCarthy (Can You Ever Forgive Me?)

Advertisement


Best Actor
Christian Bale (Vice)
Bradley Cooper (A Star Is Born)
Willem Dafoe (At Eternity’s Gate)
Rami Malek (Bohemian Rhapsody)
Viggo Mortensen (Green Book)

Best Actress in a Supporting Role
Amy Adams (Vice)
Marina de Tavira (Roma)
Regina King (If Beale Street Could Talk)
Emma Stone (The Favourite)
Rachel Weisz (The Favourite)

Best Actor in a Supporting Role
Mahershala Ali (Green Book)
Adam Driver (BlacKkKlansman)
Sam Elliott (A Star Is Born)
Richard E. Grant (Can You Ever Forgive Me?)
Sam Rockwell (Vice)

Best Costume Design
Mary Zophres, The Ballad of Buster Scruggs
Ruth E. Carter, Black Panther
Sandy Powell, The Favourite
Sandy Powell, Mary Poppins Returns
Alexandra Byrne, Mary Queen of Scots

Best Sound Editing
Black Panther
Bohemian Rhapsody
First Man
A Quiet Place
Roma

Best Sound Mixing
Black Panther
Bohemian Rhapsody
First Man
Roma
A Star Is Born

Advertisement


Best Animated Short
Animal Behaviour
Bao
Late Afternoon
One Small Step
Weekends

Best Live-Action Short
Detainment
Fauve
Marguerite
Mother
Skin

Best Film Editing
Barry Alexander Brown, BlacKkKlansman
John Ottman, Bohemian Rhapsody
Yorgos Mavropsaridis, The Favourite
Patrick J. Don Vito, Green Book
Hank Corwin, Vice

Best Original Score
Ludwig Goransson, Black Panther
Terence Blanchard, BlacKkKlansman
Nicholas Britell, If Beale Street Could Talk
Alexandre Desplat, Isle of Dogs
Marc Shaiman, Mary Poppins Returns

Best Documentary Feature
Free Solo
Hale County This Morning, This Evening
Minding the Gap
Of Fathers and Sons
RBG

Best Documentary Short Subject
Black Sheep
End Game
Lifeboat
A Night at the Garden
Period. End of Sentence.

Advertisement


Best Foreign-Language Film
Capernaum (Lebanon)
Cold War (Poland)
Never Look Away (Germany)
Roma (Mexico)
Shoplifters (Japan)

Best Production Design
Hannah Beachler and Jay Hart, Black Panther
Fiona Crombie and Alice Felton, The Favourite
Nathan Crowley and Kathy Lucas, First Man
John Myhre and Gordon Sim, Mary Poppins Returns
Eugenio Caballero and Barbara Enriquez, Roma

Best Visual Effects
Avengers: Infinity War
Christopher Robin
First Man
Ready Player One
Solo: A Star Wars Story

Best Cinematography
Robbie Ryan, The Favourite
Caleb Deschanel, Never Look Away
Alfonso Cuarón, Roma
Matty Libatique, A Star Is Born
Lukasz Zal, Cold War

Best Makeup and Hairstyling
Border
Mary Queen of Scots
Vice

Best Animated Feature
Incredibles 2
Isle of Dogs
Mirai
Ralph Breaks the Internet
Spider-Man: Into the Spider-Verse

Advertisement


Best Adapted Screenplay
Bradley Cooper, Will Fetters, and Eric Roth, A Star Is Born
Joel Coen and Ethan Coen, The Ballad of Buster Scruggs
Spike Lee, David Rabinowitz, Charlie Wachtel and Kevin Willmott, BlacKkKlansman
Barry Jenkins, If Beale Street Could Talk
Nicole Holofcener and Jeff Whitty, Can You Ever Forgive Me?

Best Original Screenplay
Deborah Davis and Tony McNamara, The Favourite
Paul Schrader, First Reformed
Brian Hayes Currie, Peter Farrelly, and Nick Vallelonga, Green Book
Alfonso Cuarón, Roma
Adam McKay, Vice

Best Original Song
“All the Stars,” Black Panther
“I’ll Fight, RBG
“The Place Where Lost Things Go,” Mary Poppins Returns
“Shallow,” A Star Is Born
“When a Cowboy Trades His Spurs for Wings,” The Ballad of Buster Scruggs

Continue Reading

Blog

WATCH: Stylish Queer Short Film Stay Makes Its Online Premiere

Brandon Zuck’s sexy and stylish gay thriller Stay debuts for free online.

Published

on

Stay
Brandon Zuck

Writer-director Brandon Zuck’s sexy and stylish gay thriller Stay made its premiere on the film festival circuit back in 2013, but the L.A.-based filmmaker is finally debuting it for free online. The short film, which Zuck claims is loosely based on events from his past, follows Ash (Brandon Harris) and his ex-boyfriend, Jacks (Julian Brand), on a road trip to the Florida Keys where the pair get mixed up in a fatal drug deal.

“I think maybe I was holding onto the film because it’s such a part of me,” Zuck says about his decision to release Stay on YouTube, which has been criticized by queer creators and organizations like GLAAD for ever-changing content guidelines that appear to target content made by and for LGBT people.

“YouTube started age-restricting my other LGBT films and—to be totally honest—I got furious. YouTube is this faceless behemoth and there’s nothing someone like me can do to fight any of it directly. Really the only thing I could think of was just putting more queer content out there. And Stay was sitting right there on my desktop where it’s always been. So I just hit upload. And it got age-restricted. C’est la vie. Next.”

Watch Stay below:

Continue Reading

Awards

2019 Oscar Nomination Predictions

How has Oscar royally screwed things up this year? Let us count the ways.

Published

on

Walt Disney Studios Motion Pictures
Photo: Walt Disney Studios Motion Pictures

How has Oscar royally screwed things up this year? Let us count the ways. The hastily introduced and unceremoniously tabled (for now) “best popular film” Oscar. The impending commercial-break ghettoization of such categories as best cinematography and best film editing, but most certainly not best song and best animated feature. The abortive attempts to unveil Kevin Hart as the host not once, but twice, stymied by the online backlash over years-old anti-gay Twitter jokes and leading AMPAS to opt for George Glass as this year’s master of ceremonies. The strong-arming of its own membership to deter rank-and-file superstars from attending competing precursor award shows. If these end up being the last Oscars ever, and it’s starting to feel as though it should be, what a way to go out, right? Like the floating island of plastic in the Pacific, the cultural and political detritus of Oscar season has spread far beyond any previous rational estimates and will almost certainly outlive our functional presence on this planet. And really, when you think about it, what’s worse: The extinction of mankind or Bohemian Rhapsody winning the best picture Oscar? In that spirit, we press on.

Picture

Vice

There will be plenty of time, too much time, to go deep on the many ways Green Book reveals the flawed soul of your average, aged white liberal in America circa 2019. For now, let’s just admit that it’s as sure a nominee as The Favourite, Roma, and A Star Is Born. (There’s snackable irony in the fact that a movie called The Front Runner became very much not an Oscar front runner in a year that doesn’t appear to have a solid front runner.) And even though few seem to be predicting it for an actual win here, Spike Lee’s BlacKkKlansman has an almost spotless precursor track record, showing up almost across the board among the guilds. Predicting this category would’ve been easy enough when Oscar limited it to five films, but it’s strangely almost as easy this year to see where the line will cut off between five and 10. Adam McKay’s Vice may be without shame, but you don’t have to strain hard to see how people could mistake it for the film of the moment. Bohemian Rhapsody is certainly lacking in merit, but, much like our comrade in chief, Oscar has never been more desperate for people to like and respect him, and a hit is a hit. Except when it’s a Marvel movie, which is why Black Panther stands precariously on the category’s line of cutoff, despite the rabid enthusiasm from certain corners that will likely be enough to push it through.

Will Be Nominated: BlacKkKlansman, Black Panther, Bohemian Rhapsody, The Favourite, Green Book, Roma, A Star Is Born, and Vice

Closest Runners-Up: If Beale Street Could Talk and A Quiet Place

Should Be Nominated: BlacKkKlansman, Burning, First Reformed, Let the Sunshine In, and Zama

Best Director

Yorgos Lanthimos

Everyone can agree that Bohemian Rhapsody will be one of the best picture contenders that doesn’t get a corresponding best director nomination, but virtually all the other nominees we’re predicting have a shot. Including Peter-flashing Farrelly, whose predictably unsubtle work on Green Book (or, Don and Dumber) netted him a widely derided DGA nomination. The outrage over Farrelly’s presence there took some of the heat off Vice’s Adam McKay, but if any DGA contender is going to swap out in favor of Yorgos Lanthimos (for BAFTA favorite The Favourite), it seems likely to be McKay. As Mark Harris has pointed out, Green Book is cruising through this awards season in a lane of its own, a persistently well-liked, well-meaning, unchallenging throwback whose defiant fans are clearly in a fighting mood.

Advertisement


Will Be Nominated: Bradley Cooper (A Star Is Born), Alfonso Cuarón (Roma), Peter Farrelly (Green Book), Yorgos Lanthimos (The Favourite), and Spike Lee (BlacKkKlansman)

Closest Runners-Up: Ryan Coogler (Black Panther), Barry Jenkins (If Beale Street Could Talk), and Adam McKay (Vice)

Should Be Nominated: Lee Chang-dong (Burning), Claire Denis (Let the Sunshine In), Spike Lee (BlacKkKlansman), Lucrecia Martel (Zama), and Paul Schrader (First Reformed)

Best Actress

Yalitza Aparicio

Had Fox Searchlight reversed their category-fraud strategizing and flipped The Favourite’s Olivia Coleman into supporting and Rachel Weisz and Emma Stone into lead, the five best actress slots would arguably have been locked down weeks, if not months, ago, unless Fox’s bet-hedging intuits some form of industry resistance to double female-led propositions. As it stands, there are four locks that hardly need mention and a slew of candidates on basically equal footing. Hereditary’s Toni Collette has become shrieking awards show junkies’ cause célèbre this year, though she actually has the critic awards haul to back them up, having won more of the regional prizes than anyone else. The same demographic backing Collette gave up hope long ago on Viola Davis being able to survive the Widows collapse, and yet there by the grace of BAFTA does she live on to fight another round. Elsie Fisher’s palpable awkwardness in Eighth Grade and winning awkwardness navigating the Hollywood circuit have earned her an almost protective backing. But we’re going out on a limb and calling it for the rapturously received Roma’s Yalitza Aparicio. Voters could, like us, find it not a particularly great performance and still parlay their good will for her into a nomination that’s there for the taking.

Will Be Nominated: Yalitza Aparicio (Roma), Glenn Close (The Wife), Olivia Colman (The Favourite), Lady Gaga (A Star Is Born), and Melissa McCarthy (Can You Ever Forgive Me?)

Closest Runners-Up: Toni Collette (Hereditary), Viola Davis (Widows), and Elsie Fisher (Eighth Grade)

Advertisement


Should Be Nominated: Juliette Binoche (Let the Sunshine In), Toni Collette (Hereditary), Olivia Colman (The Favourite), Regina Hall (Support the Girls), and Melissa McCarthy (Can You Ever Forgive Me?)

Actor

John David Washington

Take Toni Collette’s trophies thus far in the competition and double them. And then add a few more. That’s the magnitude of endorsements backing First Reformed’s Ethan Hawke. And his trajectory has the clear markings of an almost overqualified performance that, like Naomi Watts’s in Mulholland Drive, cinephiles decades from now will wonder how Oscar snubbed. If Pastor Ernst Toller and Sasha Stone are right and God is indeed watching us all and cares what the Academy Awards do, Hawke’s nomination will come at the expense of John David Washington, whose strength in the precursors thus far (SAG and Globe-nominated) is maybe the most notable bellwether of BlacKkKlansman’s overall strength. Because, as with the best actress category, the other four slots are basically preordained. Unlike with best actress, the bench of also-rans appears to be one solitary soul. A fitting place for Paul Schrader’s man against the world.

Will Be Nominated: Christian Bale (Vice), Bradley Cooper (A Star Is Born), Rami Malek (Bohemian Rhapsody), Viggo Mortensen (Green Book), and John David Washington (BlacKkKlansman)

Closest Runners-Up: Ethan Hawke (First Reformed)

Should Be Nominated: Yoo Ah-in (Burning), Ben Foster (Leave No Trace), Ethan Hawke (First Reformed), Meinhard Neumann (Western), and John David Washington (BlacKkKlansman)

Supporting Actress

Emily Blunt

Every Oscar prognosticator worth their bragging rights has spent the last couple weeks conspicuously rubbing their hands together about Regina King’s chances. The all-or-nothing volley that’s seen her sweep the critics’ awards and win the Golden Globe, and at the same time not even get nominations from within the industry—she was left off the ballot by both SAG and the BAFTAs—are narrative disruptions among a class that lives for narratives and dies of incorrect predictions. But despite the kvetching, King is as safe as anyone for a nomination in this category. It doesn’t hurt that, outside the pair of lead actresses from The Favourite, almost everyone else in the running this year feels like a 7th- or 8th-place also-ran. Except maybe Widows’s Elizabeth Debicki, whose fervent fans probably number just enough to land her…in 7th or 8th place. Vice’s Amy Adams is set to reach the Glenn Close club with her sixth Oscar nomination, and if she’d only managed to sustain the same loopy energy she brings to Lynne Cheney’s campaign-trail promise to keep her bra on, she’d deserve it. Which leaves a slot for supportive housewives Claire Foy, Nicole Kidman, and Emily Blunt. Even before the collapse of Mary Poppins Returns, we preferred Blunt’s chances in A Quiet Place.

Advertisement


Will Be Nominated: Amy Adams (Vice), Emily Blunt (A Quiet Place), Regina King (If Beale Street Could Talk), Emma Stone (The Favourite), and Rachel Weisz (The Favourite)

Closest Runners-Up: Claire Foy (First Man), Nicole Kidman (Boy Erased), and Margot Robbie (Mary, Queen of Scots)

Should Be Nominated: Sakura Ando (Shoplifters), Zoe Kazan (The Ballad of Buster Scruggs), Regina King (If Beale Street Could Talk), Rachel McAdams (Disobedience), and Haley Lu Richardson (Support the Girls)

Supporting Actor

Timothée Chalamet

The same people who’re curiously doubting Regina King’s nomination chances seem awfully assured that Sam Elliott’s moist-eyed, clearly canonical backing-the-truck-up scene in A Star Is Born assures him not only a nomination but probably the win. Elliott missed nominations with both the Golden Globes and BAFTA, and it was hard not to notice just how enthusiasm for A Star Is Born seemed to be cooling during the same period Oscar ballots were in circulation. Right around the same time, it started becoming apparent that BlacKkKlansman is a stronger draw than anyone thought, which means Adam Driver (who everyone was already predicting for a nod) won’t have to suffer the representationally awkward fate of being the film’s only nominee. Otherwise, the category appears to favor previously awarded actors (Mahershala Ali and Sam Rockwell) or should have been previously awarded actors (Chalamet). Leaving Michael B. Jordan to remain a should have been previously nominated actor.

Will Be Nominated: Mahershala Ali (Green Book), Timothée Chalamet (Beautiful Boy), Adam Driver (BlacKkKlansman), Richard E. Grant (Can You Ever Forgive Me?), and Sam Rockwell (Vice)

Closest Runners-Up: Sam Elliott (A Star Is Born) and Michael B. Jordan (Black Panther)

Advertisement


Should Be Nominated: Timothée Chalamet (Beautiful Boy), Adam Driver (BlacKkKlansman), Hugh Grant (Paddington 2); Richard E. Grant (Can You Ever Forgive Me?), and Steven Yeun (Burning)

Adapted Screenplay

Can You Ever Forgive Me?

Get beyond the best picture hopefuls BlacKkKlansman and If Beale Street Could Talk, which seem deservedly locked, and A Star Is Born, which is even more deservedly iffy, and you’ll see the screenwriters’ branch deciding just how seriously to take themselves this year, and whether they’re feeling like spiritually reliving the moments that found them nominating Bridesmaids and Logan. If so, then expect Crazy Rich Asians and Black Panther to factor in here. If they most definitely don’t feel frisky, then maybe the foursquare First Man has a shot at reversing its overall downward trajectory. If they’re seeking that “just right” middle ground, then Can You Ever Forgive Me? and The Death of Stalin are in.

Will Be Nominated: BlacKkKlansman, Can You Ever Forgive Me?, The Death of Stalin, If Beale Street Could Talk, and A Star Is Born

Closest Runners-Up: Black Panther, Crazy Rich Asians, and First Man

Should Be Nominated: BlacKkKlansman, First Man, Leave No Trace, The Grief of Others, and We the Animals

Original Screenplay

First Reformed

It’s not unusual for some of the year’s most acclaimed movies whose strength isn’t necessarily in their scripts to get nominated only in the screenwriting categories. First Reformed, which even some of its fiercest defenders admit can sometimes feel a bit like Paul Schrader’s “It’s Still Rock and Roll to Me” greatest-hits package, stands to be another of them. But it’ll be a close call, given the number of other equally vanguard options they’ll be weighing it against, like Sorry to Bother You, which arguably feels more urgently in the moment in form, Eighth Grade, which is more empathetically post-#MeToo, and even Cold War, which had a surprisingly strong showing with BAFTA. Given the quartet of assured best picture contenders in the mix, First Reformed is going to have to hold off all of them.

Advertisement


Will Be Nominated: The Favourite, First Reformed, Green Book, Roma, and Vice

Closest Runners-Up: Cold War, Eighth Grade, and Sorry to Bother You

Should Be Nominated: The Ballad of Buster Scruggs, Bodied, First Reformed, Sorry to Bother You, and Western

Continue Reading
Advertisement

Donate

Slant is reaching more readers than ever, but as online advertising continues to evolve, independently operated publications like ours have struggled to adapt. We're committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a Slant patron:

Patreon

You can also make a donation via PayPal.

Newsletter

Giveaways

Advertisement

Trending