So I know the Oscars are never a ‘fun’ show to watch. They’re always overlong and tedious and full of bad jokes and filler. But man, this year just felt so tedious, the way they did it. Which is weird, because I was into Soderbergh being one of the producers and loved how they set it up at the beginning. It started off so relaxed and seemed like it was gonna be something different and fun. Everyone hanging out at a cocktail hour beforehand outside and then going into that room and trying to do a different type of ceremony…
Then we had those overlong presenter intros that took way too long and didn’t translate as well in person as they maybe seemed when they thought them up. And then it felt almost like they were rushing through stuff rather than focusing on the right parts of the night. Somehow they avoided filler until right near the end, when they did that one bit with Glenn Close (which I didn’t hate, just because I know they have to do stuff to go viral nowadays, but you’d think they’d have done it an hour earlier, and not when we were all looking at the time like, “Okay, let’s wrap this up, guys”).
And then there was that ending, where you had three hours of Black presenters and Black winners and Black music, and an Asian woman winning and all sorts of diversity… and then the two older white people won to end the night. Honestly, how fitting. How ironically fitting, the Academy trying to go, “Look at us! We’ve changed!” and then the older white contingency still going, “…not so fast.”
It was the absolute perfect unintentional metaphor to end that ceremony, especially after you take into account how truly meaningless a lot of this is anyway. (more…)
Once more, unto the breach, dear friends.
It’s Oscar night, and we all know what that means: I get all analytical about what’s gonna win (and why) and nobody cares and only reads the picks. It’s okay. I don’t take it personally.
The goal this year has been brevity… so here’s my pick for Best Animated Short.
I really have tried to skip the rigamarole though, given all we’ve gone through this past year. I’m still gonna give you all the information you need to pick a ballot. I’m just gonna do it as succinctly as I can. Of course, last year I said that and still wrote 30,000 words. So we’ll see how it goes. (more…)
Today is Best Original Screenplay, a category I wanted to wait on the BAFTAs to go over, just in case they decided to go against how the tide in this one was already going.
In the end, we’ve got a pretty straightforward one, and it’s pretty clear which choice is gonna win and who’s gonna win if that one doesn’t. You really couldn’t ask for better help than that.
So here’s what this one looks like: (more…)
The WGA handed out awards last night. This will help us figure out what’s gonna win the Screenplay awards.
At this point, given the protracted season, we kinda know what’s most likely to win, but this is definitely a big help. Once BAFTA announces in a few weeks we’ll know for sure. But this is the one you definitely wanna see those top contenders win.
Though here, the presumptive Adapted winner wasn’t eligible, so it’s really just a matter of what they gave it to instead to see what people are gonna consider the red herring vote come Oscar night.
Let’s see what they went with: (more…)
The WGA nominations were announced today. And this is our main help in the Screenplay categories, with only BAFTA still to come (and the other primary help in the category).
Of note for the WGA, before I even look at what got nominated — they’re the one guild that routinely has major contenders (and even winners) not nominated because they require nominees to be guild members. So a lot of stuff is rendered ineligible this year. Which, for our purposes, includes: Ammonite, The Assistant, Emma, The Father, Mank, Minari, Nomadland, Onward, Pieces of a Woman and Soul.
So, just from that alone, I see five potential (and even probable) nominees not eligible here, which means you’re gonna get a lot of extra nominees that may not actually have a chance in the end, which is why stuff like BAFTA and BFCA is so important. Because usually the Screenplay categories only have about six or seven major contenders (maybe you get to eight in a strong year) and you can usually reason your way through most of it fairly easily. So it’ll be interesting to see what the WGA used to fill in those gaps and how any red herrings get thrown into the mix that people will get baited on.
So, knowing all that, here are your WGA nominations for this year: (more…)