The common refrain this season has been one of despair, of theatrical death by dearth.
Whatever they do next, we hope that Daniels keeps it real.
We’re having a lot of déjà vu this year.
When in doubt, go with the star of the biopic.
Second verse, same as the first.
This awards season, the swag we received from studios could have filled a small warehouse.
Babylon is progressively feeling like a “circle the wagons” moment for a Hollywood.
Well, now, this is awkward.
What does it say that the last five rounds have been won by latex-assisted actorly transformations into real-life notables?
The meticulousness of one film’s technical proficiency is the stuff of Oscar glory.
Every year the Oscar race blessedly gives us a few free spaces.
Sometimes there’s nothing more powerful in a documentary than having the receipts.
Two indisputable trends come to a head in this year’s Oscar race for production design.
Ke Huy Quan proves his winning hand by holding out hope through his character’s pain.
Only one short here gets to have its My Octopus Teacher cake and eat it too.
Self-reinforcement can start in different ways, such as a roomful of laughter.
We begin, as we always do, with the categories that are actually fun to predict.
There’s every reason to expect Oscar to keep on Oscaring as it’s always done.
Let’s hope Broadway’s most racially diverse season will be capped by a ceremony that fully celebrates that sea change.
Even if this isn’t actually The End of Movies As We Know It, it’s unmistakably The End of Peak Oscar.
It’s once again AMPAS’s moment to show what side of history they want to be on.