Awards season is a time of anticipation, excitement, and, of course, a lot of awards. But amidst the glitz and glamour, there are also some notable misses, surprises, and trends that have emerged. Here's a breakdown of some of the highlights and lowlights from this year's awards season, with a healthy dose of personal commentary and analysis.
The Participation Trophy for Fruitless Footwork: 15-Minute Standing Ovations
Are European theater seats just that uncomfortable? Because each year, festival standing ovations get longer. At Venice, record applause for The Smashing Machine and The Testament of Ann Lee had guests leaving with numb palms and others with outsized expectations. Ovation-induced buzz helped make respective stars Dwayne Johnson and Amanda Seyfried early favorites... but they end this season empty-handed.
What makes this particularly fascinating is the contrast between the standing ovations and the actual awards. It's as if the audience is saying, 'We appreciate your effort, but we're not ready to give you an award just yet.' This raises a deeper question: How do we balance the need for recognition with the reality that some performances may not be ready for prime time?
Miss Uncongeniality: Nikki Glaser
Glaser’s expert emcee work during the most recent two Golden Globes telecasts was like a pair of defibrillator paddles that hilariously resurrected a show most of us were fine to let die on the table. Hopefully, the delay in confirming her 2027 return was because the Brink’s truck was stuck in traffic. She’s worth every discontinued penny.
In my opinion, Glaser's performance was a breath of fresh air in an otherwise stale awards show. Her unapologetic humor and sharp wit brought much-needed levity to the proceedings. What many people don't realize is that her success in this role is a testament to the power of authenticity. By being herself, she connected with the audience and made the show more memorable.
Hedge Lord: Paul Thomas Anderson
After releasing his celebrated sendup of police states, immigration raids and white supremacy in an America confronting all three, the One Battle After Another filmmaker deftly avoided discussing... any of that. But after nearly five press-shy months, when the frontrunner was finally cornered at BAFTA, the best he could muster was, “I’m not a politician, but I’m a filmmaker.” You’re also a writer, PTA, and we know you can do better than that.
From my perspective, Anderson's reluctance to engage with the political themes in his film is a missed opportunity. What this really suggests is that he may be more concerned with artistic expression than social commentary. This raises a deeper question: How do we balance the need for artistic freedom with the responsibility to address societal issues?
Trend That Needs to Rip: Dead Children
Granted, only one movie hinged on a kiddo kicking the bucket — let’s pour out a mug of ale for Hamnet, shalt we? — but some of these filmmakers are clearly working through stuff. From The Testament of Ann Lee and Train Dreams to If I Had Legs I’d Kick You and Sirat, dead, dying and jeopardized offspring were unavoidable this year. It’s time for a new trauma trope. Anything but dogs.
One thing that immediately stands out is the prevalence of dead children in films this year. While it's understandable that filmmakers may be exploring complex themes, it's also important to consider the impact of these stories on audiences. What this really suggests is that we need to be more mindful of the trauma tropes we use and how they affect viewers.
Brightest Future in Another Line of Work: Timothée Chalamet
Does CMO stand for Chalamet Marketing Offensive? Because our guy’s Marty Supreme performance is only eclipsed by his turn as pitchman. The 18-minute fake pitch meeting! The blimp! The Wheaties box! He made an art house film about a jerk who plays ping-pong the cinema event of the holidays. No star has worked harder to put butts in seats since Barbie.
In my opinion, Chalamet's performance in Marty Supreme is a testament to his versatility and talent. What makes this particularly fascinating is the contrast between his serious acting roles and his comedic turns. This raises a deeper question: How do we balance the need for artistic expression with the demand for commercial success?
Quickest Oscar Hopeful KO: Sydney Sweeney
After a summer spent airing out the stench of her weird denim campaign, her year was supposed to turn around with Christy — a gritty boxing biopic with all the trappings of a prestige play (read: a bad haircut). When the film was DOA, her awards campaign evaporated. But then The Housemaid nabbed nearly $400 million and got the producer-star a sequel. So, weep not for Sweeney.
What many people don't realize is that Sweeney's performance in The Housemaid was a turning point in her career. Her ability to transform herself and take on new challenges is a testament to her talent. This raises a deeper question: How do we support and celebrate the growth and evolution of actors and actresses?
Sophie's Choice Remake We Didn't See Coming: WBD vs. WBD
Call it an embarrassment of riches, but whew, boy, I do not envy Warner Bros. Motion Pictures chairs Mike De Luca and Pam Abdy. Best picture is all but guaranteed to go to One Battle After Another or Sinners, and they have to prep congratulatory remarks and pep talks for both Paul Thomas Anderson and Ryan Coogler. This must have been how Richard Williams felt watching Serena and Venus play each other.
From my perspective, the competition between WBD and WBD is a fascinating dynamic. What this really suggests is that the film industry is a complex and competitive landscape, where multiple players are vying for attention and success. This raises a deeper question: How do we navigate the challenges and opportunities of the film industry?
The AARP Honor for Tired Taste: The Academy’s Music Branch
This group’s conservative taste in the best original score race has gone from conspicuous to offensive. Nothing electronic has gotten the top prize since The Social Network. (And, no, Soul doesn’t count.) Last year’s Challengers omission was a faux pas, but Daniel Lopatin’s snub for Marty Supreme should be a debated at The Hague.
In my opinion, the Academy's Music Branch has a responsibility to represent the diverse and innovative sounds of contemporary music. What this really suggests is that we need to be more inclusive and open-minded in our awards and recognition processes. This raises a deeper question: How do we ensure that our awards and recognition processes are fair and equitable?
In conclusion, awards season is a time of celebration, reflection, and growth. By exploring the highlights and lowlights of this year's awards season, we can gain a deeper understanding of the film industry and its complexities. Let's continue to support and celebrate the talent and creativity that makes our industry so special.
