Comical media images of women exploding provided outlets for spectators to laugh off the hazardous politics of everyday domesticity.
Like anyone who’s been covering what’s become, as the party line goes, “the closest Best Picture race in recent memory,” I’ve gone through many mental rewrites of this top-prize breakdown.
In the absence of a de facto Best Picture frontrunner, the Oscar here usually goes to the slickest contender.
It’s still no Drag Race, but the contest for costume design just got a little bit more interesting over the weekend.
It’s a good thing the Best Director category didn’t go the way of Best Picture to accommodate more nominees, because this year’s campaign has only ever been a three-man race even in its most competitive stages.
If there’s anything with even the slightest ability to nudge Cate Blanchett’s path to Oscar victory off course, it’s the seemingly endless Farrowgate scandal.
If this year’s Best Actor race is all about which nominee brandishes the most compelling story, then Christian Bale faces some mighty long odds.
To shove the elephant out of the room right off the bat, two actually relevant things are working against Woody Allen’s chances for a win here.
As was recently reported by the hive of Oscarologists over at Gold Derby, American Hustle has history on its side when it comes to the acting races.
If you ask me, though, it’s easily the most repellant of all 24 lineups, and one of the more shameful nominee crops in recent Academy history.
We come to it at last.
The most pleasant surprise of this awards season has been the widespread embrace of Her.
Sadly, unlike Tiny Fey and Amy Poehler, we can’t all get what we hope for.
Believe it or not, we know exactly what’s going to happen at Sunday’s Golden Globe Awards.
It’s practically blasphemous to discount Meryl Streep as a nominee.
Our ballot here will look much different from Oscar’s.
So who else gets screwed?
In a year replete with great trash, American Hustle is the crown princess of the bunch.
The international box office came to the rescue for numerous films and franchises, often counting for nearly three quarters of their worldwide gross.
Every year, countless audience-insulting ads arrive to support the theories of the doomsday crowd.