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.
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.
We’re countering this Oscar year’s slow death of a thousand cuts by ripping the whole bandage off.
David Fincher’s Mank far and away led the nomination count.
Twenty-twenty was by no measure a business-as-usual year, so don’t expect our gripes to be either.
Parasite earned four awards, edging out 1917 for best picture.
A lot can change on a campaign trail in a matter of weeks, days even.
How could the essentially non-political 1917 not arrive as sweet solace in our cultural moment?
Given the academy’s long history and resurgent embrace of technical triumphs, we’re not holding our breath for an upset here.
The only thing louder than the vroom-vroom of James Mangold’s dad epic is the deafening chorus of “Best. Movie. Ever.”
One of the realities of the Oscar race is that you never want to peak too early.
Oscar has a long-standing history of using the screenplay awards for token gestures, especially toward writer-directors.
Oscar voters are suckers for scale, throwbacks, ostentation, and, above all, a sense of prestige.
The tea leaves are reading that it will be another win for middlebrow respectability.