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From \u003ca href=\"https://www.youtube.com/watch?v=aA0SQgw8070&t=85s\">coming-of-age awakenings\u003c/a> in \u003cem>Cruel Intentions \u003c/em>and preppie \u003ca href=\"https://www.youtube.com/watch?v=70sliBu8sE4\">mean-girling\u003c/a> in \u003cem>Legally Blonde\u003c/em> to playing a \u003ca href=\"https://www.youtube.com/watch?v=PM3s9XhRtOA\">sexy \u003cem>Heathers\u003c/em> step-mom\u003c/a> and a \u003ca href=\"https://www.youtube.com/watch?v=5TiejERgcBg\">young Kris Jenner\u003c/a> in \u003cem>The People Versus OJ Simpson, \u003c/em>Blair has proven herself equally adept at both comedy and drama, both of which have served her well over the last week.\u003c/p>\n\u003cp>Blair had remained largely unseen since October, when she revealed her multiple sclerosis diagnosis in a candid and moving Instagram post:\u003c/p>\n\u003cp>https://www.instagram.com/p/BpKjP_7FnWQ/?utm_source=ig_embed\u003c/p>\n\u003cp>Blair reemerged at \u003cem>Vanity Fair\u003c/em>'s Oscar party last Sunday in a flurry of beautiful, cape-waving drama so breathtaking, she made her cane look less like a necessity and more like a must-have accessory. She triumphed over both mobility issues and tears to serve up the inspiring look, much to the joy of both fans and the media at large:\u003c/p>\n\u003cp>https://twitter.com/jenbrea/status/1100035622100713472\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/bravemule/status/1100175089994252288\u003c/p>\n\u003cp>https://twitter.com/NBCNightlyNews/status/1100182386975928321\u003c/p>\n\u003cp>Then on Tuesday, Blair was interviewed by Robin Roberts for \u003cem>Good Morning America\u003c/em>, even though she was in the midst of dealing with spasmodic dysphonia, a symptom of her MS that prompts her speech to come out in staccato bursts, caused by involuntary movements in the larynx.\u003c/p>\n\u003cp>Despite this, Blair was in excellent spirits, displaying great humor about her own unsteadiness (\"Wouldn't it be funny if I fell in the pool?\"), the advice she received from a fellow actor (\"I've got Michael J. Fox's email now! I'm cooler than I thought!\"), and the difficult decision to get in front of a camera in her current state (\"No one has the energy to talk when they’re in the middle of a flare up, but I do, because \u003cem>I love a camera\u003c/em>!\")\u003c/p>\n\u003cp>Blair also revealed her struggles with pain management, exhaustion, parenting and not being \"taken seriously by doctors\" when she was desperately seeking a diagnosis. In the studio afterward, Roberts fought back tears talking about Blair's bravery, as well as the inspiring way the actress is handling her disease and finding ways to channel the lessons from it into new projects, including clothing design.\u003c/p>\n\u003cp>Blair is the latest celebrity to go public about fighting a chronic illness (\u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Lady Gaga and Selena Gomez\u003c/a> have recently spoken up about living with fibromyalgia and lupus respectively). In allowing herself to be vulnerable in public like this, she isn't just raising MS awareness on an international level, she's also inspiring other people dealing with the same disease. And for that, we salute her!\u003c/p>\n\u003cp>\u003cem>Watch the full interview: \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hsJOqH5BR3E\u003c/p>\n\n","blocks":[],"excerpt":"Selma Blair hitting the red carpet and 'GMA' while dealing with major symptoms of MS is badassery personified.","status":"publish","parent":0,"modified":1551218293,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":477},"headData":{"title":"On the Awe-Inspiring Bravery of Selma Blair | KQED","description":"Selma Blair hitting the red carpet and 'GMA' while dealing with major symptoms of MS is badassery personified.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"109679 https://ww2.kqed.org/pop/?p=109679","disqusUrl":"https://ww2.kqed.org/pop/2019/02/26/on-the-awe-inspiring-bravery-of-selma-blair/","disqusTitle":"On the Awe-Inspiring Bravery of Selma Blair","path":"/pop/109679/on-the-awe-inspiring-bravery-of-selma-blair","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Selma Blair has been an American treasure for so long now, a lot of us feel like we've grown up with her. From \u003ca href=\"https://www.youtube.com/watch?v=aA0SQgw8070&t=85s\">coming-of-age awakenings\u003c/a> in \u003cem>Cruel Intentions \u003c/em>and preppie \u003ca href=\"https://www.youtube.com/watch?v=70sliBu8sE4\">mean-girling\u003c/a> in \u003cem>Legally Blonde\u003c/em> to playing a \u003ca href=\"https://www.youtube.com/watch?v=PM3s9XhRtOA\">sexy \u003cem>Heathers\u003c/em> step-mom\u003c/a> and a \u003ca href=\"https://www.youtube.com/watch?v=5TiejERgcBg\">young Kris Jenner\u003c/a> in \u003cem>The People Versus OJ Simpson, \u003c/em>Blair has proven herself equally adept at both comedy and drama, both of which have served her well over the last week.\u003c/p>\n\u003cp>Blair had remained largely unseen since October, when she revealed her multiple sclerosis diagnosis in a candid and moving Instagram post:\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BpKjP_7FnWQ"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Blair reemerged at \u003cem>Vanity Fair\u003c/em>'s Oscar party last Sunday in a flurry of beautiful, cape-waving drama so breathtaking, she made her cane look less like a necessity and more like a must-have accessory. She triumphed over both mobility issues and tears to serve up the inspiring look, much to the joy of both fans and the media at large:\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1100035622100713472"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1100175089994252288"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1100182386975928321"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then on Tuesday, Blair was interviewed by Robin Roberts for \u003cem>Good Morning America\u003c/em>, even though she was in the midst of dealing with spasmodic dysphonia, a symptom of her MS that prompts her speech to come out in staccato bursts, caused by involuntary movements in the larynx.\u003c/p>\n\u003cp>Despite this, Blair was in excellent spirits, displaying great humor about her own unsteadiness (\"Wouldn't it be funny if I fell in the pool?\"), the advice she received from a fellow actor (\"I've got Michael J. Fox's email now! I'm cooler than I thought!\"), and the difficult decision to get in front of a camera in her current state (\"No one has the energy to talk when they’re in the middle of a flare up, but I do, because \u003cem>I love a camera\u003c/em>!\")\u003c/p>\n\u003cp>Blair also revealed her struggles with pain management, exhaustion, parenting and not being \"taken seriously by doctors\" when she was desperately seeking a diagnosis. In the studio afterward, Roberts fought back tears talking about Blair's bravery, as well as the inspiring way the actress is handling her disease and finding ways to channel the lessons from it into new projects, including clothing design.\u003c/p>\n\u003cp>Blair is the latest celebrity to go public about fighting a chronic illness (\u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Lady Gaga and Selena Gomez\u003c/a> have recently spoken up about living with fibromyalgia and lupus respectively). In allowing herself to be vulnerable in public like this, she isn't just raising MS awareness on an international level, she's also inspiring other people dealing with the same disease. And for that, we salute her!\u003c/p>\n\u003cp>\u003cem>Watch the full interview: \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hsJOqH5BR3E'\n title='//www.youtube.com/embed/hsJOqH5BR3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/109679/on-the-awe-inspiring-bravery-of-selma-blair","authors":["11242"],"categories":["pop_7","pop_51"],"tags":["pop_255","pop_3426","pop_3341","pop_3410","pop_211","pop_3481","pop_2798"],"featImg":"pop_109681","label":"pop"},"pop_105648":{"type":"posts","id":"pop_105648","meta":{"index":"posts_1591205157","site":"pop","id":"105648","score":null,"sort":[1551143755000]},"guestAuthors":[],"slug":"why-does-the-academy-keep-denying-glenn-close-an-oscar","title":"Why Does the Academy Keep Denying Glenn Close An Oscar?","publishDate":1551143755,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Remember the collective sigh of relief that greeted Leonardo DiCaprio's Best Actor Academy Award? Before 2016's Oscars had even started, everyone knew that \u003cem>of course\u003c/em> Leo would walk away with a gold statue that year. After all, it had been 22 years since his first nomination and the sixth time he'd been up for one.\u003c/p>\n\u003cp>So consider the predicament of living cinematic legend, Glenn Close, who has been nominated for an Academy Award seven times over a span of 37 years. (\u003cem>Thirty-freakin'-seven! \u003c/em>Some of you have been alive for less!) 2019 really felt that it would finally be her year, thanks to her blistering portrait of Joan Castleman in \u003cem>The Wife\u003c/em>, a woman coming to terms with a creative life sacrificed for the benefit of her husband. It wasn't just a perfect performance, it was perfect timing too. (A movie about a woman getting sidelined by a more famous man has #TimesUp written all over it.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d81IM0loH7o\u003c/p>\n\u003cp>\u003cem>W\u003c/em> Magazine's newsletter declared Close's Oscar chances this year as \"one of the surest bets of the night,\" while \u003ca href=\"https://www.newyorker.com/culture/culture-desk/glenn-close-grabs-the-limelight-in-the-wife\">\u003cem>The New Yorker\u003c/em>\u003c/a> pointed out:\u003c/p>\n\u003cblockquote>\u003cp>\"The release of \u003cem>The Wife\u003c/em> has come with chatter that Close may finally win an Oscar, after being nominated six times. There are several reasons for the Oscar talk, one being that publicists are working hard at it. (The “It’s her turn” narrative is time-tested.) But there’s also a sense that Close, like Joan Castleman, hasn’t been given her proper due.\"\u003c/p>\u003c/blockquote>\n\u003cp>It wasn't just a matter of PR. The critics adored Close's performance across the board. “One of the richest, most riveting and complicated performances of her career,” raved \u003ca href=\"https://www.hollywoodreporter.com/review/wife-review-1039862\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a>. \"The veteran actress is a marvel of twisty understatement here, delivering emotions that conceal as much as they reveal, and offering onion-like layers that invite repeat viewings,\" reported \u003ca href=\"https://variety.com/2017/film/reviews/toronto-film-review-the-wife-1202560848/\">\u003cem>Variety\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though both Glenn Close and Olivia Colman won Best Actress statues at this year's Golden Globes (Close in the \"Drama\" category, Colman in the \"Musical or Comedy\" one), Close losing the Oscar was still so unexpected, even Colman brought it up in her (ridiculously charming) acceptance speech. \"Glenn Close, you’ve been my idol for so long,\" she said. \"This is not how I wanted to it to be, and I think you’re amazing.”\u003c/p>\n\u003cp>Close was first nominated in 1982 for playing Robin Williams' mother in \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=rj7e6WvyClY\">The World According to Garp\u003c/a>, \u003c/em>which was especially award-worthy, given the fact that she was only four years older than him. The following year, she got a nom for \u003cem>The Big Chill\u003c/em>, but lost out to Linda Hunt. In '84, she was up for her role in \u003cem>The Natural\u003c/em> but lost to Peggy Ashcroft. In '87, despite Close's portrayal of the now-iconic Alex Forrest in \u003ca href=\"https://www.kqed.org/pop/105090/revisiting-fatal-attraction-in-the-age-of-metoo\">\u003cem>Fatal Attraction,\u003c/em>\u003c/a> it was Cher who took home the Oscar for \u003cem>Moonstruck. \u003c/em>In '88, her unforgettable role in \u003cem>Dangerous Liaisons\u003c/em> lost out to Jodie Foster in the groundbreaking \u003cem>The Accused\u003c/em>. Then, in 2012, Close didn't win for \u003cem>Albert Nobbs\u003c/em> because it was the same year Meryl Streep did her astounding Margaret Thatcher impersonation in \u003cem>The Iron Lady.\u003c/em>\u003c/p>\n\u003cp>Glenn Close has never lost an award to an actress that was anything less than stellar. But she also, quite transparently, is not getting the one accolade she is most deserving of either—and it's starting to feel a little conspiratorial. The only other actor to remain entirely Academy Award-less after seven nominations is Richard Burton.\u003c/p>\n\u003cp>As we all know, the Academy Awards has thrown Hollywood unexpected curveballs from the very beginning. Like when Judy Garland in \u003cem>A Star is Born\u003c/em> lost out to Grace Kelly in (does anyone remember this movie?) \u003cem>The Country Girl\u003c/em>. In 1975, Jack Nicholson in \u003cem>Chinatown\u003c/em> and Al Pacino in \u003cem>The Godfather Part II\u003c/em> were defeated by Art Carney in \u003cem>Harry and Tonto\u003c/em>. (I had to Google it.) And who could forget the controversy around Marisa Tomei winning Best Supporting Actress for \u003cem>My Cousin Vinny\u003c/em> in 1993?\u003c/p>\n\u003cp>In 1997, the favorite to win Best Supporting Actress was Lauren Bacall. She lost to Juliette Binoche who had starred in \u003cem>The English Patient\u003c/em>. Later, in her autobiography, \u003ca href=\"https://www.telegraph.co.uk/culture/books/3636702/The-truth-is-I-really-wanted-to-win-an-Oscar.html\">\u003cem>By Myself and Then Some\u003c/em>\u003c/a>, Bacall wrote: \"The truth is, I wanted to win. No matter how you try to rationalize it, to be nominated is fine—chosen by your peers, etc—but it's better to win.\" Bacall believed the reason for the loss was simple. \"It was the year of \u003cem>The English Patient\u003c/em>, a Miramax release, and Harvey Weinstein was known for being a master at pushing his movies... Harvey Weinstein had done it again. I felt so badly for my children. They were so upset for me... I felt very alone.\"\u003c/p>\n\u003cp>Asked about her own potential to win, back when \u003cem>The Wife\u003c/em> first came out, \u003ca href=\"https://www.etonline.com/glenn-close-on-never-winning-an-oscar-after-6-nominations-exclusive-108348\">Close told \u003cem>ET\u003c/em>\u003c/a>: \"It would be nice after 42 years! But, you know, I'm very sanguine about it. If it happens, great. It's not going to change my passion for what I do. But to be recognized with your peers is a very... It's pretty great.\" Her disappointment last night must have been too.\u003c/p>\n\u003cp>It's not the end of the world when very successful, lauded thespians don't get to go home with the statue they wanted. And of course, the Academy has far bigger issues to fix. (In 2018, after another #OscarsSoWhite social media campaign, the Academy invited almost a thousand \u003ca href=\"https://moguldom.com/150185/the-move-to-make-the-oscars-more-diverse-film-academy-invites-928-new-members/\">new members\u003c/a> in a push to introduce more diversity into its voting pool.) But Close had all of the most obvious elements necessary for a win this year, and it's hard to imagine her being able to conjure a storm this perfect again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In 2003, after eight Oscar nominations and zero wins, the inimitable Peter O'Toole finally got himself an Academy Award—an honorary one. \"Always a bridesmaid, never a bride, my foot!\" \u003ca href=\"https://www.youtube.com/watch?v=Wt564HJ_Irg\">he joyfully declared\u003c/a>. \"I have my very own Oscar now to be with me 'til death us do part.\" The Academy might want to consider giving one of those to Glenn Close one of these years. She's done more than enough to deserve one.\u003c/p>\n\n","blocks":[],"excerpt":"Glenn Close was supposed to win an Academy Award for 'The Wife' on Sunday. Instead, she lost out for the seventh time in 37 years.","status":"publish","parent":0,"modified":1551209106,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1077},"headData":{"title":"Why Does the Academy Keep Denying Glenn Close An Oscar? | KQED","description":"Glenn Close was supposed to win an Academy Award for 'The Wife' on Sunday. Instead, she lost out for the seventh time in 37 years.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"105648 https://ww2.kqed.org/pop/?p=105648","disqusUrl":"https://ww2.kqed.org/pop/2019/02/25/why-does-the-academy-keep-denying-glenn-close-an-oscar/","disqusTitle":"Why Does the Academy Keep Denying Glenn Close An Oscar?","path":"/pop/105648/why-does-the-academy-keep-denying-glenn-close-an-oscar","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember the collective sigh of relief that greeted Leonardo DiCaprio's Best Actor Academy Award? Before 2016's Oscars had even started, everyone knew that \u003cem>of course\u003c/em> Leo would walk away with a gold statue that year. After all, it had been 22 years since his first nomination and the sixth time he'd been up for one.\u003c/p>\n\u003cp>So consider the predicament of living cinematic legend, Glenn Close, who has been nominated for an Academy Award seven times over a span of 37 years. (\u003cem>Thirty-freakin'-seven! \u003c/em>Some of you have been alive for less!) 2019 really felt that it would finally be her year, thanks to her blistering portrait of Joan Castleman in \u003cem>The Wife\u003c/em>, a woman coming to terms with a creative life sacrificed for the benefit of her husband. It wasn't just a perfect performance, it was perfect timing too. (A movie about a woman getting sidelined by a more famous man has #TimesUp written all over it.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d81IM0loH7o'\n title='//www.youtube.com/embed/d81IM0loH7o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>W\u003c/em> Magazine's newsletter declared Close's Oscar chances this year as \"one of the surest bets of the night,\" while \u003ca href=\"https://www.newyorker.com/culture/culture-desk/glenn-close-grabs-the-limelight-in-the-wife\">\u003cem>The New Yorker\u003c/em>\u003c/a> pointed out:\u003c/p>\n\u003cblockquote>\u003cp>\"The release of \u003cem>The Wife\u003c/em> has come with chatter that Close may finally win an Oscar, after being nominated six times. There are several reasons for the Oscar talk, one being that publicists are working hard at it. (The “It’s her turn” narrative is time-tested.) But there’s also a sense that Close, like Joan Castleman, hasn’t been given her proper due.\"\u003c/p>\u003c/blockquote>\n\u003cp>It wasn't just a matter of PR. The critics adored Close's performance across the board. “One of the richest, most riveting and complicated performances of her career,” raved \u003ca href=\"https://www.hollywoodreporter.com/review/wife-review-1039862\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a>. \"The veteran actress is a marvel of twisty understatement here, delivering emotions that conceal as much as they reveal, and offering onion-like layers that invite repeat viewings,\" reported \u003ca href=\"https://variety.com/2017/film/reviews/toronto-film-review-the-wife-1202560848/\">\u003cem>Variety\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though both Glenn Close and Olivia Colman won Best Actress statues at this year's Golden Globes (Close in the \"Drama\" category, Colman in the \"Musical or Comedy\" one), Close losing the Oscar was still so unexpected, even Colman brought it up in her (ridiculously charming) acceptance speech. \"Glenn Close, you’ve been my idol for so long,\" she said. \"This is not how I wanted to it to be, and I think you’re amazing.”\u003c/p>\n\u003cp>Close was first nominated in 1982 for playing Robin Williams' mother in \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=rj7e6WvyClY\">The World According to Garp\u003c/a>, \u003c/em>which was especially award-worthy, given the fact that she was only four years older than him. The following year, she got a nom for \u003cem>The Big Chill\u003c/em>, but lost out to Linda Hunt. In '84, she was up for her role in \u003cem>The Natural\u003c/em> but lost to Peggy Ashcroft. In '87, despite Close's portrayal of the now-iconic Alex Forrest in \u003ca href=\"https://www.kqed.org/pop/105090/revisiting-fatal-attraction-in-the-age-of-metoo\">\u003cem>Fatal Attraction,\u003c/em>\u003c/a> it was Cher who took home the Oscar for \u003cem>Moonstruck. \u003c/em>In '88, her unforgettable role in \u003cem>Dangerous Liaisons\u003c/em> lost out to Jodie Foster in the groundbreaking \u003cem>The Accused\u003c/em>. Then, in 2012, Close didn't win for \u003cem>Albert Nobbs\u003c/em> because it was the same year Meryl Streep did her astounding Margaret Thatcher impersonation in \u003cem>The Iron Lady.\u003c/em>\u003c/p>\n\u003cp>Glenn Close has never lost an award to an actress that was anything less than stellar. But she also, quite transparently, is not getting the one accolade she is most deserving of either—and it's starting to feel a little conspiratorial. The only other actor to remain entirely Academy Award-less after seven nominations is Richard Burton.\u003c/p>\n\u003cp>As we all know, the Academy Awards has thrown Hollywood unexpected curveballs from the very beginning. Like when Judy Garland in \u003cem>A Star is Born\u003c/em> lost out to Grace Kelly in (does anyone remember this movie?) \u003cem>The Country Girl\u003c/em>. In 1975, Jack Nicholson in \u003cem>Chinatown\u003c/em> and Al Pacino in \u003cem>The Godfather Part II\u003c/em> were defeated by Art Carney in \u003cem>Harry and Tonto\u003c/em>. (I had to Google it.) And who could forget the controversy around Marisa Tomei winning Best Supporting Actress for \u003cem>My Cousin Vinny\u003c/em> in 1993?\u003c/p>\n\u003cp>In 1997, the favorite to win Best Supporting Actress was Lauren Bacall. She lost to Juliette Binoche who had starred in \u003cem>The English Patient\u003c/em>. Later, in her autobiography, \u003ca href=\"https://www.telegraph.co.uk/culture/books/3636702/The-truth-is-I-really-wanted-to-win-an-Oscar.html\">\u003cem>By Myself and Then Some\u003c/em>\u003c/a>, Bacall wrote: \"The truth is, I wanted to win. No matter how you try to rationalize it, to be nominated is fine—chosen by your peers, etc—but it's better to win.\" Bacall believed the reason for the loss was simple. \"It was the year of \u003cem>The English Patient\u003c/em>, a Miramax release, and Harvey Weinstein was known for being a master at pushing his movies... Harvey Weinstein had done it again. I felt so badly for my children. They were so upset for me... I felt very alone.\"\u003c/p>\n\u003cp>Asked about her own potential to win, back when \u003cem>The Wife\u003c/em> first came out, \u003ca href=\"https://www.etonline.com/glenn-close-on-never-winning-an-oscar-after-6-nominations-exclusive-108348\">Close told \u003cem>ET\u003c/em>\u003c/a>: \"It would be nice after 42 years! But, you know, I'm very sanguine about it. If it happens, great. It's not going to change my passion for what I do. But to be recognized with your peers is a very... It's pretty great.\" Her disappointment last night must have been too.\u003c/p>\n\u003cp>It's not the end of the world when very successful, lauded thespians don't get to go home with the statue they wanted. And of course, the Academy has far bigger issues to fix. (In 2018, after another #OscarsSoWhite social media campaign, the Academy invited almost a thousand \u003ca href=\"https://moguldom.com/150185/the-move-to-make-the-oscars-more-diverse-film-academy-invites-928-new-members/\">new members\u003c/a> in a push to introduce more diversity into its voting pool.) But Close had all of the most obvious elements necessary for a win this year, and it's hard to imagine her being able to conjure a storm this perfect again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2003, after eight Oscar nominations and zero wins, the inimitable Peter O'Toole finally got himself an Academy Award—an honorary one. \"Always a bridesmaid, never a bride, my foot!\" \u003ca href=\"https://www.youtube.com/watch?v=Wt564HJ_Irg\">he joyfully declared\u003c/a>. \"I have my very own Oscar now to be with me 'til death us do part.\" The Academy might want to consider giving one of those to Glenn Close one of these years. She's done more than enough to deserve one.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/105648/why-does-the-academy-keep-denying-glenn-close-an-oscar","authors":["11242"],"categories":["pop_51"],"tags":["pop_255","pop_3426","pop_3341","pop_3083","pop_211"],"featImg":"pop_109646","label":"pop"},"pop_109651":{"type":"posts","id":"pop_109651","meta":{"index":"posts_1591205157","site":"pop","id":"109651","score":null,"sort":[1551130695000]},"guestAuthors":[],"slug":"oscars-2019-what-trevor-noah-really-said-in-his-black-panther-joke","title":"Oscars 2019: What Trevor Noah Really Said in His 'Black Panther' Joke","publishDate":1551130695,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>While presenting the montage for best picture nominee \u003cem>Black Panther,\u003c/em> \u003cem>Daily Show \u003c/em>host Trevor Noah made a joke in Xhosa, a language spoken by millions in South Africa and in a few other African countries as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RjYsTQvOvDw\u003c/p>\n\u003cp>After noting that people all over the world shout out \"Wakanda forever\" to him—referring to the fictional African nation in the movie—Noah said: \"Growing up as a young boy in Wakanda, I would see King T'Challa flying over our village, and he would remind me of a great Xhosa phrase: '\u003cem>Abelungu abazi ubu ndiyaxoka,'\u003c/em> which means, 'In times like these, we are stronger when we fight together than when we try to fight apart.\"\u003c/p>\n\u003cp>The audience applauded.\u003c/p>\n\u003cp>What it really means: \"White people don't know I'm lying.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/makhondlovu/status/1099858181973524480\u003c/p>\n\u003cp>(In case you're wondering, Xhosa is pronounced with a click \u003ca href=\"https://www.youtube.com/watch?v=Trq_gIe1v04\">like this\u003c/a>.)\u003c/p>\n\u003cp>Many South Africans loved the inside joke, says Lihle Ninie Sasa, 24, a South African college student who lives in Cape Town and is a Xhosa speaker. \"We love Trevor. South Africans call him the 'national treasure,' \" she says. \"Using IsiXhosa [another way to refer to the language] at the Oscars was really cool.\"\u003c/p>\n\u003cp>There are some quibbles about his use of\u003ca href=\"https://www.npr.org/2016/11/22/503009220/trevor-noah-looks-back-on-childhood-in-the-shadow-of-a-giant-his-mom\"> African languages\u003c/a> in \u003ca href=\"https://www.youtube.com/watch?v=baEiWB2aM9Y\">his comedy bits\u003c/a>, though.\u003c/p>\n\u003cp>\"He knows that speaking in a language full of clicks and sounds that Westerners generally won't ever hear will evoke a sort of fascination. Some feel like he exploits this,\" writes Zanie Ferreira, 28, a corporate intelligence analyst from Cape Town, via Twitter direct message. She is a white South African and does not speak Xhosa.\u003c/p>\n\u003cp>But she thinks the Oscars joke worked: \"He knew only a small portion of people will get it. I think that's clever, and the reaction of the crowd was exactly what made it funny.\"\u003c/p>\n\u003cp>Ferreira likes that Noah represented her country at the largely Western event.\u003c/p>\n\u003cp>\"Diversity in nationalities [at the Oscars] is long overdue. Add in a foreign language, spoken ... in the global south, and that's pretty special,\" she says.\u003c/p>\n\u003cp>Noah's phrase even sparked a trending hashtag on social media in South Africa, \u003ca href=\"https://twitter.com/hashtag/KodwaAbayaziNdiyaXoka?src=hash\">\u003cstrong>#\u003c/strong>KodwaAbayaziNdiyaXoka\u003c/a>. It means \"but they don't know that I'm lying,\" says college student Sasa.\u003c/p>\n\u003cp>She is a participant in the meme. Her contribution? What she says to boys when they ask for her number.\u003c/p>\n\u003cp>https://twitter.com/Ninie_Sasa/status/1100039988236963841\u003c/p>\n\u003cp>Others joined in on the fun—sharing phrases that sound like one thing but actually mean something else.\u003c/p>\n\u003cp>https://twitter.com/CousamaO3/status/1100021912254799874\u003c/p>\n\u003cp>https://twitter.com/CousamaO3/status/1100005864537247744\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>P.S. King T'Challa really can't fly.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2019%3A+What+Trevor+Noah+Really+Said+In+His+%27Black+Panther%27+Joke+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"While introducing the montage for best picture at the Academy Awards, the South African comedian told a joke that you'd get only if you understood Xhosa.","status":"publish","parent":0,"modified":1551130695,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":465},"headData":{"title":"Oscars 2019: What Trevor Noah Really Said in His 'Black Panther' Joke | KQED","description":"While introducing the montage for best picture at the Academy Awards, the South African comedian told a joke that you'd get only if you understood Xhosa.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"109651 https://ww2.kqed.org/pop/?p=109651","disqusUrl":"https://ww2.kqed.org/pop/2019/02/25/oscars-2019-what-trevor-noah-really-said-in-his-black-panther-joke/","disqusTitle":"Oscars 2019: What Trevor Noah Really Said in His 'Black Panther' Joke","nprByline":"Malaka Gharib","nprStoryId":"697641452","nprApiLink":"http://api.npr.org/query?id=697641452&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/goatsandsoda/2019/02/25/697641452/oscars-2019-what-trevor-noah-really-said-in-his-black-panther-joke?ft=nprml&f=697641452","nprRetrievedStory":"1","nprPubDate":"Mon, 25 Feb 2019 16:00:00 -0500","nprStoryDate":"Mon, 25 Feb 2019 11:41:53 -0500","nprLastModifiedDate":"Mon, 25 Feb 2019 16:00:53 -0500","path":"/pop/109651/oscars-2019-what-trevor-noah-really-said-in-his-black-panther-joke","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While presenting the montage for best picture nominee \u003cem>Black Panther,\u003c/em> \u003cem>Daily Show \u003c/em>host Trevor Noah made a joke in Xhosa, a language spoken by millions in South Africa and in a few other African countries as well.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RjYsTQvOvDw'\n title='//www.youtube.com/embed/RjYsTQvOvDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After noting that people all over the world shout out \"Wakanda forever\" to him—referring to the fictional African nation in the movie—Noah said: \"Growing up as a young boy in Wakanda, I would see King T'Challa flying over our village, and he would remind me of a great Xhosa phrase: '\u003cem>Abelungu abazi ubu ndiyaxoka,'\u003c/em> which means, 'In times like these, we are stronger when we fight together than when we try to fight apart.\"\u003c/p>\n\u003cp>The audience applauded.\u003c/p>\n\u003cp>What it really means: \"White people don't know I'm lying.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1099858181973524480"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>(In case you're wondering, Xhosa is pronounced with a click \u003ca href=\"https://www.youtube.com/watch?v=Trq_gIe1v04\">like this\u003c/a>.)\u003c/p>\n\u003cp>Many South Africans loved the inside joke, says Lihle Ninie Sasa, 24, a South African college student who lives in Cape Town and is a Xhosa speaker. \"We love Trevor. South Africans call him the 'national treasure,' \" she says. \"Using IsiXhosa [another way to refer to the language] at the Oscars was really cool.\"\u003c/p>\n\u003cp>There are some quibbles about his use of\u003ca href=\"https://www.npr.org/2016/11/22/503009220/trevor-noah-looks-back-on-childhood-in-the-shadow-of-a-giant-his-mom\"> African languages\u003c/a> in \u003ca href=\"https://www.youtube.com/watch?v=baEiWB2aM9Y\">his comedy bits\u003c/a>, though.\u003c/p>\n\u003cp>\"He knows that speaking in a language full of clicks and sounds that Westerners generally won't ever hear will evoke a sort of fascination. Some feel like he exploits this,\" writes Zanie Ferreira, 28, a corporate intelligence analyst from Cape Town, via Twitter direct message. She is a white South African and does not speak Xhosa.\u003c/p>\n\u003cp>But she thinks the Oscars joke worked: \"He knew only a small portion of people will get it. I think that's clever, and the reaction of the crowd was exactly what made it funny.\"\u003c/p>\n\u003cp>Ferreira likes that Noah represented her country at the largely Western event.\u003c/p>\n\u003cp>\"Diversity in nationalities [at the Oscars] is long overdue. Add in a foreign language, spoken ... in the global south, and that's pretty special,\" she says.\u003c/p>\n\u003cp>Noah's phrase even sparked a trending hashtag on social media in South Africa, \u003ca href=\"https://twitter.com/hashtag/KodwaAbayaziNdiyaXoka?src=hash\">\u003cstrong>#\u003c/strong>KodwaAbayaziNdiyaXoka\u003c/a>. It means \"but they don't know that I'm lying,\" says college student Sasa.\u003c/p>\n\u003cp>She is a participant in the meme. Her contribution? What she says to boys when they ask for her number.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1100039988236963841"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Others joined in on the fun—sharing phrases that sound like one thing but actually mean something else.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1100021912254799874"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1100005864537247744"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>P.S. King T'Challa really can't fly.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2019%3A+What+Trevor+Noah+Really+Said+In+His+%27Black+Panther%27+Joke+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/109651/oscars-2019-what-trevor-noah-really-said-in-his-black-panther-joke","authors":["byline_pop_109651"],"categories":["pop_6","pop_51","pop_3"],"tags":["pop_255","pop_3426","pop_3152","pop_211","pop_2757"],"featImg":"pop_109653","label":"pop"},"pop_109639":{"type":"posts","id":"pop_109639","meta":{"index":"posts_1591205157","site":"pop","id":"109639","score":null,"sort":[1551070016000]},"guestAuthors":[],"slug":"oscars-2019-the-complete-list","title":"Oscars 2019: The Complete List","publishDate":1551070016,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cstrong>Updated at 11:36 p.m. EST\u003c/strong>\u003c/p>\n\u003cp>Director Peter Farrelly's \u003cem>Green Book\u003c/em>, about a black musician (played by Mahershala Ali) touring the segregated South with a white chauffeur (Viggo Mortensen), won the 2019 Oscar for best picture. The film also won for supporting actor (Ali) and original screenplay.\u003c/p>\n\u003cp>Below is the full list of Academy Award winners, marked in bold.\u003c/p>\n\u003cp>\u003cstrong>Best picture\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003cbr>\nBlack Panther\u003cbr>\nBohemian Rhapsody\u003cbr>\nThe Favourite\u003cbr>\n\u003c/em>\u003cstrong>\u003cem>*Green Book\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nRoma\u003cbr>\nA Star Is Born\u003cbr>\nVice\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Directing\u003c/strong>\u003c/p>\n\u003cp>Spike Lee (\u003cem>BlacKkKlansman\u003c/em>)\u003cbr>\nPaweł Pawlikowski (\u003cem>Cold War\u003c/em>)\u003cbr>\nYorgos Lanthimos (\u003cem>The Favourite\u003c/em>)\u003cbr>\n*\u003cstrong>Alfonso Cuarón (\u003c/strong>\u003cstrong>\u003cem>Roma\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nAdam McKay (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/p>\n\u003cp>Yalitza Aparicio (\u003cem>Roma\u003c/em>)\u003cbr>\nGlenn Close (\u003cem>The Wife\u003c/em>)\u003cbr>\n\u003cstrong>*Olivia Colman (\u003c/strong>\u003cstrong>\u003cem>The Favourite\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nLady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nMelissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/p>\n\u003cp>Christian Bale (\u003cem>Vice\u003c/em>)\u003cbr>\nBradley Cooper (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nWillem Dafoe (\u003cem>At Eternity's Gate\u003c/em>)\u003cbr>\n\u003cstrong>*Rami Malek (\u003c/strong>\u003cstrong>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nViggo Mortensen (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Amy Adams (\u003cem>Vice\u003c/em>)\u003cbr>\nMarina de Tavira (\u003cem>Roma\u003c/em>)\u003cbr>\n*\u003cstrong>Regina King (\u003c/strong>\u003cstrong>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nEmma Stone (\u003cem>The Favourite\u003c/em>)\u003cbr>\nRachel Weisz (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>*Mahershala Ali (\u003c/strong>\u003cstrong>\u003cem>Green Book\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nAdam Driver (\u003cem>BlacKkKlansman\u003c/em>)\u003cbr>\nSam Elliott (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nRichard E. Grant (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003cbr>\nSam Rockwell (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Incredibles 2\u003cbr>\nIsle Of Dogs\u003cbr>\nMirai\u003cbr>\nRalph Breaks The Internet\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Spider-Man: Into The Spider-Verse\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Cinematography\u003c/strong>\u003c/p>\n\u003cp>Łukasz Żal (\u003cem>Cold War\u003c/em>)\u003cbr>\nRobbie Ryan (\u003cem>The Favourite\u003c/em>)\u003cbr>\nCaleb Deschanel \u003cem>(Never Look Away)\u003cbr>\n*\u003c/em>\u003cstrong>Alfonso Cuarón\u003c/strong>\u003cstrong>\u003cem> (Roma)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Matthew Libatique \u003cem>(A Star Is Born)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Costume design\u003c/strong>\u003c/p>\n\u003cp>Mary Zophres \u003cem>(The Ballad Of Buster Scruggs)\u003cbr>\n*\u003c/em>\u003cstrong>Ruth Carter (\u003c/strong>\u003cstrong>\u003cem>Black Panther\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nSandy Powell (\u003cem>The Favourite\u003c/em>)\u003cbr>\nSandy Powell (\u003cem>Mary Poppins Returns\u003c/em>)\u003cbr>\nAlexandra Byrne \u003cem>(Mary Queen Of Scots)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>*Free Solo\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nHale County This Morning, This Evening\u003cbr>\nMinding The Gap\u003cbr>\nOf Fathers And Sons\u003cbr>\nRBG\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Sheep\u003cbr>\nEnd Game\u003cbr>\nLifeboat\u003cbr>\nA Night At The Garden\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Period. End of Sentence.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nThe Favourite\u003cbr>\nGreen Book\u003cbr>\nVice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Capernaum \u003c/em>(Lebanon)\u003cbr>\n\u003cem>Cold War\u003c/em> (Poland)\u003cbr>\n\u003cem>Never Look Away\u003c/em> (Germany)\u003cbr>\n*\u003cstrong>\u003cem>Roma \u003c/em>\u003c/strong>\u003cstrong>(Mexico)\u003c/strong>\u003cbr>\n\u003cem>Shoplifters \u003c/em>(Japan)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>Göran Lundström and Pamela Goldammer\u003cem> (Border)\u003cbr>\n\u003c/em>Jenny Shircore, Marc Pilcher, and Jessica Brooks (\u003cem>Mary Queen Of Scots\u003c/em>)\u003cbr>\n*\u003cstrong>Greg Cannom, Kate Biscoe, and Patricia DeHaney (\u003c/strong>\u003cstrong>\u003cem>Vice\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>*Ludwig Göransson (\u003c/strong>\u003cstrong>\u003cem>Black Panther)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Terence Blanchard\u003cem> (BlacKkKlansman)\u003cbr>\n\u003c/em>Nicholas Britell \u003cem>(If Beale Street Could Talk)\u003cbr>\n\u003c/em>Alexandre Desplat\u003cem> (Isle of Dogs)\u003cbr>\n\u003c/em>Marc Shaiman \u003cem>(Mary Poppins Returns)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>\"When A Cowboy Trades His Spurs For Wings\" by David Rawlings and Gillian Welch (\u003cem>The Ballad Of Buster Scruggs\u003c/em>)\u003cbr>\n\"All The Stars\" by Mark Spears (aka Sounwave), Kendrick Lamar Duckworth and Anthony Tiffith, Anthony Tiffith and Solana Rowe (aka SZA) (\u003cem>Black Panther\u003c/em>)\u003cbr>\n\"The Place Where Lost Things Go\" by Marc Shaiman and Scott Wittman (\u003cem>Mary Poppins Returns\u003c/em>)\u003cbr>\n\"I'll Fight\" by Diane Warren (\u003cem>RBG\u003c/em>)\u003cbr>\n\u003cstrong>*\"Shallow\" by Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt (\u003c/strong>\u003cstrong>\u003cem>A Star Is Born\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>*Hannah Beachler and Jay Hart \u003c/strong>\u003cstrong>\u003cem>(Black Panther)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Fiona Crombie and Alice Felton \u003cem>(The Favourite)\u003cbr>\n\u003c/em>Nathan Crowley and Kathy Lucas \u003cem>(First Man)\u003cbr>\n\u003c/em>John Myhre and Gordon Sim \u003cem>(Mary Poppins Returns)\u003cbr>\n\u003c/em>Eugenio Caballero and Bárbara Enríquez \u003cem>(Roma)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Animal Behaviour\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nLate Afternoon\u003cbr>\nOne Small Step\u003cbr>\nWeekends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (live action)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Detainment\u003cbr>\nFauve\u003cbr>\nMarguerite\u003cbr>\nMother\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Skin\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>Ai-Ling Lee and Mildred Iatrou Morgan \u003cem>(First Man)\u003cbr>\n\u003c/em>Benjamin Burtt and Steve Boeddeker \u003cem>(Black Panther)\u003cbr>\n*\u003c/em>\u003cstrong>John Warhurst and Nina Hartstone \u003c/strong>\u003cstrong>\u003cem>(Bohemian Rhapsody)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Ethan Van der Ryn and Erik Aadahl \u003cem>(A Quiet Place)\u003cbr>\n\u003c/em>Sergio Díaz and Skip Lievsay \u003cem>(Roma)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nFirst Man\u003cbr>\nRoma\u003cbr>\nA Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>Dan DeLeeuw, Kelly Port, Russell Earl and Daniel Sudick\u003cem> (Avengers: Infinity War)\u003cbr>\n\u003c/em>Christopher Lawrence, Michael Eames, Theo Jones and Chris Corbould \u003cem>(Christopher Robin)\u003cbr>\n*\u003c/em>\u003cstrong>Paul Lambert, Ian Hunter, Tristan Myles and J.D. Schwalm \u003c/strong>\u003cstrong>\u003cem>(First Man)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Roger Guyett, Grady Cofer, Matthew Butler and David Shirk \u003cem>(Ready Player One)\u003cbr>\n\u003c/em>Rob Bredow, Patrick Tubach, Neal Scanlan and Dominic Tuohy \u003cem>(Solo: A Star Wars Story)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>Joel Coen and Ethan Coen \u003cem>(The Ballad Of Buster Scruggs)\u003cbr>\n*\u003c/em>\u003cstrong>Charlie Wachtel, David Rabinowitz, Kevin Willmott and Spike Lee \u003c/strong>\u003cstrong>\u003cem>(BlacKkKlansman)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Nicole Holofcener and Jeff Whitty \u003cem>(Can You Ever Forgive Me?)\u003cbr>\n\u003c/em>Barry Jenkins \u003cem>(If Beale Street Could Talk)\u003cbr>\n\u003c/em>Eric Roth and Bradley Cooper and Will Fetters \u003cem>(A Star Is Born)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deborah Davis and Tony McNamara \u003cem>(The Favourite)\u003cbr>\n\u003c/em>Paul Schrader \u003cem>(First Reformed)\u003cbr>\n*\u003c/em>\u003cstrong>Nick Vallelonga, Brian Currie, Peter Farrelly \u003c/strong>\u003cstrong>\u003cem>(Green Book)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Alfonso Cuarón \u003cem>(Roma)\u003cbr>\n\u003c/em>Adam McKay \u003cem>(Vice)\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2019%3A+The+Complete+List&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"'Green Book' took home the award for best picture at the 91st Academy Awards. See the complete list of winners, including the recipients for directing, best actor and best actress.","status":"publish","parent":0,"modified":1551070016,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":53,"wordCount":767},"headData":{"title":"Oscars 2019: The Complete List | KQED","description":"'Green Book' took home the award for best picture at the 91st Academy Awards. See the complete list of winners, including the recipients for directing, best actor and best actress.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"109639 https://ww2.kqed.org/pop/?p=109639","disqusUrl":"https://ww2.kqed.org/pop/2019/02/24/oscars-2019-the-complete-list/","disqusTitle":"Oscars 2019: The Complete List","nprImageCredit":"Kevin Winter","nprByline":"Patrick Jarenwattananon","nprImageAgency":"Getty Images","nprStoryId":"697170356","nprApiLink":"http://api.npr.org/query?id=697170356&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/02/24/697170356/oscars-2019-the-winners?ft=nprml&f=697170356","nprRetrievedStory":"1","nprPubDate":"Sun, 24 Feb 2019 23:37:00 -0500","nprStoryDate":"Sun, 24 Feb 2019 20:00:59 -0500","nprLastModifiedDate":"Sun, 24 Feb 2019 23:37:30 -0500","path":"/pop/109639/oscars-2019-the-complete-list","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 11:36 p.m. EST\u003c/strong>\u003c/p>\n\u003cp>Director Peter Farrelly's \u003cem>Green Book\u003c/em>, about a black musician (played by Mahershala Ali) touring the segregated South with a white chauffeur (Viggo Mortensen), won the 2019 Oscar for best picture. The film also won for supporting actor (Ali) and original screenplay.\u003c/p>\n\u003cp>Below is the full list of Academy Award winners, marked in bold.\u003c/p>\n\u003cp>\u003cstrong>Best picture\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003cbr>\nBlack Panther\u003cbr>\nBohemian Rhapsody\u003cbr>\nThe Favourite\u003cbr>\n\u003c/em>\u003cstrong>\u003cem>*Green Book\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nRoma\u003cbr>\nA Star Is Born\u003cbr>\nVice\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Directing\u003c/strong>\u003c/p>\n\u003cp>Spike Lee (\u003cem>BlacKkKlansman\u003c/em>)\u003cbr>\nPaweł Pawlikowski (\u003cem>Cold War\u003c/em>)\u003cbr>\nYorgos Lanthimos (\u003cem>The Favourite\u003c/em>)\u003cbr>\n*\u003cstrong>Alfonso Cuarón (\u003c/strong>\u003cstrong>\u003cem>Roma\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nAdam McKay (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/p>\n\u003cp>Yalitza Aparicio (\u003cem>Roma\u003c/em>)\u003cbr>\nGlenn Close (\u003cem>The Wife\u003c/em>)\u003cbr>\n\u003cstrong>*Olivia Colman (\u003c/strong>\u003cstrong>\u003cem>The Favourite\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nLady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nMelissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/p>\n\u003cp>Christian Bale (\u003cem>Vice\u003c/em>)\u003cbr>\nBradley Cooper (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nWillem Dafoe (\u003cem>At Eternity's Gate\u003c/em>)\u003cbr>\n\u003cstrong>*Rami Malek (\u003c/strong>\u003cstrong>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nViggo Mortensen (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Amy Adams (\u003cem>Vice\u003c/em>)\u003cbr>\nMarina de Tavira (\u003cem>Roma\u003c/em>)\u003cbr>\n*\u003cstrong>Regina King (\u003c/strong>\u003cstrong>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nEmma Stone (\u003cem>The Favourite\u003c/em>)\u003cbr>\nRachel Weisz (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>*Mahershala Ali (\u003c/strong>\u003cstrong>\u003cem>Green Book\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nAdam Driver (\u003cem>BlacKkKlansman\u003c/em>)\u003cbr>\nSam Elliott (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nRichard E. Grant (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003cbr>\nSam Rockwell (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Incredibles 2\u003cbr>\nIsle Of Dogs\u003cbr>\nMirai\u003cbr>\nRalph Breaks The Internet\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Spider-Man: Into The Spider-Verse\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Cinematography\u003c/strong>\u003c/p>\n\u003cp>Łukasz Żal (\u003cem>Cold War\u003c/em>)\u003cbr>\nRobbie Ryan (\u003cem>The Favourite\u003c/em>)\u003cbr>\nCaleb Deschanel \u003cem>(Never Look Away)\u003cbr>\n*\u003c/em>\u003cstrong>Alfonso Cuarón\u003c/strong>\u003cstrong>\u003cem> (Roma)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Matthew Libatique \u003cem>(A Star Is Born)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Costume design\u003c/strong>\u003c/p>\n\u003cp>Mary Zophres \u003cem>(The Ballad Of Buster Scruggs)\u003cbr>\n*\u003c/em>\u003cstrong>Ruth Carter (\u003c/strong>\u003cstrong>\u003cem>Black Panther\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nSandy Powell (\u003cem>The Favourite\u003c/em>)\u003cbr>\nSandy Powell (\u003cem>Mary Poppins Returns\u003c/em>)\u003cbr>\nAlexandra Byrne \u003cem>(Mary Queen Of Scots)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>*Free Solo\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nHale County This Morning, This Evening\u003cbr>\nMinding The Gap\u003cbr>\nOf Fathers And Sons\u003cbr>\nRBG\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Sheep\u003cbr>\nEnd Game\u003cbr>\nLifeboat\u003cbr>\nA Night At The Garden\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Period. End of Sentence.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nThe Favourite\u003cbr>\nGreen Book\u003cbr>\nVice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Capernaum \u003c/em>(Lebanon)\u003cbr>\n\u003cem>Cold War\u003c/em> (Poland)\u003cbr>\n\u003cem>Never Look Away\u003c/em> (Germany)\u003cbr>\n*\u003cstrong>\u003cem>Roma \u003c/em>\u003c/strong>\u003cstrong>(Mexico)\u003c/strong>\u003cbr>\n\u003cem>Shoplifters \u003c/em>(Japan)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>Göran Lundström and Pamela Goldammer\u003cem> (Border)\u003cbr>\n\u003c/em>Jenny Shircore, Marc Pilcher, and Jessica Brooks (\u003cem>Mary Queen Of Scots\u003c/em>)\u003cbr>\n*\u003cstrong>Greg Cannom, Kate Biscoe, and Patricia DeHaney (\u003c/strong>\u003cstrong>\u003cem>Vice\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>*Ludwig Göransson (\u003c/strong>\u003cstrong>\u003cem>Black Panther)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Terence Blanchard\u003cem> (BlacKkKlansman)\u003cbr>\n\u003c/em>Nicholas Britell \u003cem>(If Beale Street Could Talk)\u003cbr>\n\u003c/em>Alexandre Desplat\u003cem> (Isle of Dogs)\u003cbr>\n\u003c/em>Marc Shaiman \u003cem>(Mary Poppins Returns)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>\"When A Cowboy Trades His Spurs For Wings\" by David Rawlings and Gillian Welch (\u003cem>The Ballad Of Buster Scruggs\u003c/em>)\u003cbr>\n\"All The Stars\" by Mark Spears (aka Sounwave), Kendrick Lamar Duckworth and Anthony Tiffith, Anthony Tiffith and Solana Rowe (aka SZA) (\u003cem>Black Panther\u003c/em>)\u003cbr>\n\"The Place Where Lost Things Go\" by Marc Shaiman and Scott Wittman (\u003cem>Mary Poppins Returns\u003c/em>)\u003cbr>\n\"I'll Fight\" by Diane Warren (\u003cem>RBG\u003c/em>)\u003cbr>\n\u003cstrong>*\"Shallow\" by Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt (\u003c/strong>\u003cstrong>\u003cem>A Star Is Born\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>*Hannah Beachler and Jay Hart \u003c/strong>\u003cstrong>\u003cem>(Black Panther)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Fiona Crombie and Alice Felton \u003cem>(The Favourite)\u003cbr>\n\u003c/em>Nathan Crowley and Kathy Lucas \u003cem>(First Man)\u003cbr>\n\u003c/em>John Myhre and Gordon Sim \u003cem>(Mary Poppins Returns)\u003cbr>\n\u003c/em>Eugenio Caballero and Bárbara Enríquez \u003cem>(Roma)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Animal Behaviour\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nLate Afternoon\u003cbr>\nOne Small Step\u003cbr>\nWeekends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (live action)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Detainment\u003cbr>\nFauve\u003cbr>\nMarguerite\u003cbr>\nMother\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Skin\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>Ai-Ling Lee and Mildred Iatrou Morgan \u003cem>(First Man)\u003cbr>\n\u003c/em>Benjamin Burtt and Steve Boeddeker \u003cem>(Black Panther)\u003cbr>\n*\u003c/em>\u003cstrong>John Warhurst and Nina Hartstone \u003c/strong>\u003cstrong>\u003cem>(Bohemian Rhapsody)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Ethan Van der Ryn and Erik Aadahl \u003cem>(A Quiet Place)\u003cbr>\n\u003c/em>Sergio Díaz and Skip Lievsay \u003cem>(Roma)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nFirst Man\u003cbr>\nRoma\u003cbr>\nA Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>Dan DeLeeuw, Kelly Port, Russell Earl and Daniel Sudick\u003cem> (Avengers: Infinity War)\u003cbr>\n\u003c/em>Christopher Lawrence, Michael Eames, Theo Jones and Chris Corbould \u003cem>(Christopher Robin)\u003cbr>\n*\u003c/em>\u003cstrong>Paul Lambert, Ian Hunter, Tristan Myles and J.D. Schwalm \u003c/strong>\u003cstrong>\u003cem>(First Man)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Roger Guyett, Grady Cofer, Matthew Butler and David Shirk \u003cem>(Ready Player One)\u003cbr>\n\u003c/em>Rob Bredow, Patrick Tubach, Neal Scanlan and Dominic Tuohy \u003cem>(Solo: A Star Wars Story)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>Joel Coen and Ethan Coen \u003cem>(The Ballad Of Buster Scruggs)\u003cbr>\n*\u003c/em>\u003cstrong>Charlie Wachtel, David Rabinowitz, Kevin Willmott and Spike Lee \u003c/strong>\u003cstrong>\u003cem>(BlacKkKlansman)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Nicole Holofcener and Jeff Whitty \u003cem>(Can You Ever Forgive Me?)\u003cbr>\n\u003c/em>Barry Jenkins \u003cem>(If Beale Street Could Talk)\u003cbr>\n\u003c/em>Eric Roth and Bradley Cooper and Will Fetters \u003cem>(A Star Is Born)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deborah Davis and Tony McNamara \u003cem>(The Favourite)\u003cbr>\n\u003c/em>Paul Schrader \u003cem>(First Reformed)\u003cbr>\n*\u003c/em>\u003cstrong>Nick Vallelonga, Brian Currie, Peter Farrelly \u003c/strong>\u003cstrong>\u003cem>(Green Book)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Alfonso Cuarón \u003cem>(Roma)\u003cbr>\n\u003c/em>Adam McKay \u003cem>(Vice)\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2019%3A+The+Complete+List&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/109639/oscars-2019-the-complete-list","authors":["byline_pop_109639"],"categories":["pop_51","pop_4","pop_3"],"tags":["pop_255","pop_3426","pop_1450","pop_1105","pop_211"],"featImg":"pop_109640","label":"pop"},"pop_109503":{"type":"posts","id":"pop_109503","meta":{"index":"posts_1591205157","site":"pop","id":"109503","score":null,"sort":[1550520456000]},"guestAuthors":[],"slug":"2019-short-film-oscar-nominees-reviewed-live-action-and-documentary","title":"2019 Short Film Oscar Nominees, Reviewed: Live-Action And Documentary","publishDate":1550520456,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cstrong>Live-Action Short Films\u003c/strong>\u003c/p>\n\u003cp>If the theme of this year's \u003ca href=\"https://www.npr.org/2019/02/07/691627685/the-2019-animated-short-film-oscar-nominees-reviewed\">animated short\u003c/a> Oscar nominees was \"parenthood,\" the theme of 2019's live-action shorts is \"boys in trouble.\"\u003c/p>\n\u003cp>From a son of white supremacists to real-life child murderers, the young men in four out of five of this year's films plunge into a darkness where adults fear not tread. What can we learn about ourselves by watching so many loss-of-innocence stories? Let's find out. Here we break down all of the nominees, which may be currently playing as a showcase in a theater near you. Maybe don't bring the kids, though:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Detainment\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8eKZTtJGsi8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most controversial of the five nominees, \u003cem>Detainment\u003c/em> is a fact-based drama about two 10-year-old boys who kidnapped, tortured, and brutally murdered a two-year-old child in 1993 Liverpool. The \"James Bulger case,\" as it became known, shocked the United Kingdom and resulted in the two killers being tried and convicted as adults. Writer-director Vincent Lambe's drama, based on the real transcripts of the killers' interrogations, is largely set in the police stations where they confessed, focusing on their dawning realization that they have done something truly unforgivable.\u003c/p>\n\u003cp>Bulger's mother \u003ca href=\"https://www.nytimes.com/2019/01/25/movies/detainment-bulger-murder-oscars.html\">has called on Lambe\u003c/a> to withdraw \u003cem>Detainment\u003c/em> from the Oscars because he did not consult her before making the film, and an \u003ca href=\"https://www.change.org/p/the-oscars-stop-the-james-bulger-movie-from-being-shown-and-taken-off-the-oscars-short-list\">online petition\u003c/a> demanding the movie be pulled from the nominations has attracted more than 250,000 signatures. One wonders if the many signatories had any objections to British tabloids screaming lurid headlines about the case and its aftermath for decades. Compared to the media coverage, \u003cem>Detainment\u003c/em> is restrained and ruminative, with incredible performances from Ely Solan and Leon Hughes as the killers. Rather than portraying remorseless monsters, Solan and Hughes coat their lines in very childlike mixes of denial, outward aggression, and uncontrollable sorrow. The result is all the more stomach-churning for its recognizable humanity.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Fauve\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o-Pp03biqjw\u003c/p>\n\u003cp>In this French-Canadian production, two preteens are playing in an empty pit mine when their oblique power game spins out of control, as such things tend to do without adult supervision. Writer-director Jérémy Comte's visually breathtaking enigma is like \u003cem>Gerry\u003c/em> for the grade-school set. Callous grey mountains loom in every direction, making it impossible for the kids (played with mischievous gleams by Félix Grenier and Alexandre Perreault) to realize once they're in over their heads. \u003cem>Fauve\u003c/em> also touches on something deeper: the tendency of boisterous young men to weaponize sympathy in order to gain the upper hand in some deeper conflict.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Marguerite\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XnHFm16V7Sg\u003c/p>\n\u003cp>The only nominee in which terrified little boys are neither seen nor heard is also the only one directed by a woman. \u003cem>Marguerite\u003c/em> is a quiet domestic drama about a terminally ill woman (Béatrice Picard) who reflects on a lost love as she bonds with her much younger caretaker (Sandrine Bisson). A smart script by writer-director Marianne Farley subtly considers changing social acceptance between the generations, and begins wading into some interesting territory about the limits of geriatric care. If the French-Canadian film is ultimately a bit too timid, it's still welcome to see a matter-of-fact approach to a story that would have been relegated to LGBT-themed festival sidebars only a few short years ago.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Mother\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HHwIjmFT_Mk\u003c/p>\n\u003cp>Don't forget to breathe when you watch this nail-biter of a thriller from Spanish writer-director Rodrigo Sorogoyen. Set entirely in one Madrid apartment, almost all of it in one take, the film follows a single mother who receives a distressing call from her young son while he's on a beach trip with his father a country away. Tension builds expertly in this tiny space, thanks to a powerhouse performance from Marta Nieto, who ramps up her own distress with every new twist until a few drips have become a burst pipe. Nieto taps into a deep, primal fear of being far away and powerless to help a loved one in danger.\u003c/p>\n\u003cp>Sorogoyen is currently prepping a feature film that builds off the short, which will be welcome news for anyone craving a more pat resolution. But something about \u003cem>Mother\u003c/em>'s incompleteness—and the mysterious role of Blanca Apilánez as Marta's own visiting mother—plunges this version deeper into a nightmare space, rendering it that much more difficult to shake off.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Skin\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o1JOhK71CLI\u003c/p>\n\u003cp>An American Neo-Nazi (\u003cem>Snowfall\u003c/em>'s Jonathan Tucker) gets his comeuppance in this shock drama that plays like one of those racial allegory sci-fi films from the 1970s and '80s, only without the camp factor. \u003cem>Skin\u003c/em> is partially liberated from its own facile twist by the performance of Jackson Robert Scott (\u003cem>It\u003c/em>) as the man's young son, who idolizes his dad but begins to feel the stirrings of a conscience as the true scope of his violent behavior comes into play. (The film's best conceit is that you don't even realize the dad's a racist until midway through.) The majority of the short is told from the child's perspective, capturing this contradictory mix of familial affection and extreme hatred for \"the other.\"\u003c/p>\n\u003cp>After he made this short, Israeli writer-director Guy Nattiv premiered a very different feature of the same name, a biopic of reformed white nationalist Bryon Widner, at last year's Toronto International Film Festival. It's tough to discuss the weird sourness of this \u003cem>Skin\u003c/em> without spoiling it, but it's telling that Nattiv's first attempt at a story about racism turned on cosmic retribution, while his follow-up focused on the far more difficult and painful task of personal growth.\u003c/p>\n\u003cp>\u003cstrong>Andrew Lapin's Predictions\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Will Win: \u003c/strong>\u003cem>Skin\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Should Win: \u003c/strong>\u003cem>Mother\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Documentary Short Films\u003c/strong>\u003c/p>\n\u003cp>Two stories of hate groups and three humanitarian organizations bookend this year's Oscar lineup of best documentary short films. But despite the heavy subject matter and longer average run-times, the films in this showcase (now playing in select theaters) are the strongest group of the three Oscar short film categories. Watching them all is an alternately sobering and uplifting experience. Here's our rundown of what awaits nonfiction lovers this year:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Black Sheep\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xVUT7AHyCHk\u003c/p>\n\u003cp>Filmmaker Cornelius Walker recounts his childhood growing up as the only black kid in the London suburb of Essex in this gripping biography from \u003cem>The Guardian\u003c/em> and writer-director Ed Perkins (\u003cem>Garnet's Gold\u003c/em>). In a mix of direct-to-camera interviews and chilling reenactments, Walker describes his strategic decision to survive among violently racist neighbors and classmates by trying to \"fit in\" with them as much as possible. He bleaches his skin; he wears white fashions; he uses contact lenses to give himself those long sought-after blue eyes. Lacking the means to stand tall against a tide of hate, Walker instead assimilated himself into it. The film's central irony is that Walker's family initially moved out of their multicultural London neighborhood because another young Nigerian immigrant was knifed to death in a stairwell. In trying to protect their son, Walker's parents may have damned him to a terrifying adolescence.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>End Game\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FgJD6ksdkWY\u003c/p>\n\u003cp>This Netflix film profiles a hospice and a palliative care center, which are not places where most of us want to spend our time. But \u003cem>End Game\u003c/em> is a tremendously moving examination of terminal illness and human mortality, gently urging its audience to confront one of the hardest questions we'll ever have to face: where, how, and in what condition we would like to die.\u003c/p>\n\u003cp>Granted extraordinary access to a handful of patients and their families in their final weeks, directors Rob Epstein and Jeffrey Friedman (\u003cem>Howl\u003c/em>) capture every agonizing moment of their subjects' decisions to discontinue medical treatment in an effort to make their remaining time as comfortable as possible. The film is anchored by B.J. Miller, M.D., the gregarious head of the Buddhist-inspired Zen Hospice Project in San Francisco, who asks his patients to \"have some sort of relationship with death.\" Miller's own brush with death as a college student resulted in the loss of three of his limbs, and he speaks movingly about needing to come to terms with his new reality in order to face his remaining time with distinction. It's a question we all must wrestle with, sooner or later, and \u003cem>End Game\u003c/em> makes a strong case for comfort and control over longevity.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Lifeboat\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Uvns1t8cUWk\u003c/p>\n\u003cp>In the choppy, uncertain waters of the Mediterranean, the German nonprofit Sea-Watch conducts rescue missions for the thousands of migrants sailing from North Africa to Europe in overcrowded, poorly constructed vessels. Director Skye Fitzgerald (\u003cem>50 Feet From Syria\u003c/em>) tags along to document the humanitarian crisis, profiling several rescued migrants as well as Jon Castle, a longtime captain on Greenpeace sea missions who turns up to aid in the rescues.\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em> avoids some of the traps of films like \u003cem>Fire at Sea\u003c/em>, another recently nominated documentary on the European migrant crisis, by getting to know both the migrants and the rescuers as people, not just symbols. It's certainly not without its grandstanding, but the film communicates the bleak prospects facing its subjects in cinematic language: for example, a long pan of a Sea-Watch worker slashing and setting fire to an emptied migrant boat to prevent human traffickers from reusing it. Fitzgerald also takes the time to paint a complete picture of the terrible options available to the displaced people, visiting the coast of Libya to show what happens to those who do not risk the journey.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>A Night at the Garden\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4MD16iUK4CQ\u003c/p>\n\u003cp>Bonds between Americans and Nazis share a much deeper, darker history than what the country saw in Charlottesville, a history that we forget at our own peril. The German-American Bund brought together thousands of Hitler-supporting patriots in the run-up to WWII, most infamously culminating in a 1939 \"pro-America rally\" at a packed Madison Square Garden. Flanked by stars, stripes, and swastikas, the Bund's \u003cem>führer\u003c/em>, Fritz Kuhn, recited the Pledge of Allegiance, then denounced the \"Jewish-controlled press\" and praised right-wing media demagogues like Father Charles Coughlin. The crowd of proud Americans gave \"seig heil\"s and cheered like mad.\u003c/p>\n\u003cp>In a scant six minutes of archival footage, director Marshall Curry delivers an emotional wallop. We see Kuhn whip his bloodthirsty audience into a frenzy of hate; we see a protester attempt to storm the stage before being restrained by police; we see uniformed Bund children onstage cheering the violence. Never leaving the rally, nor breaking the spell with any talking heads to assure us it's all over now, \u003cem>A Night at the Garden\u003c/em> blithely rejects the idea that we have moved on from our shared, horrific past.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Period. End of Sentence.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KocJP8dG1OA\u003c/p>\n\u003cp>The invention of a low-cost sanitary pad machine has sparked a women's health revolution in India, which is still fighting an uphill battle to educate both men and women on the topic of menstruation. But most of the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2013/10/14/230195875/menstrual-man-had-an-idea-to-help-indian-women\">media coverage\u003c/a> of this phenomenon, including last year's biopic \u003cem>Pad Man\u003c/em>, has focused on the machine's male inventor, Arunachalam Muruganantham. By contrast, \u003cem>Period. End of Sentence.\u003c/em> profiles the women who work the machine and endeavor to sell the pads in rural villages, seeking to improve not only the national hygiene but also their own independence.\u003c/p>\n\u003cp>Director Rayka Zehtabchi hews close to the inspirational-narrative playbook: one of her subjects is an aspiring police officer, so the film dutifully shows her in class and training alongside her male cohorts. She also captures moments that reveal how little her subjects know about feminine hygiene: schoolboys have no idea what a \"period\" is, while one young woman's uncle thinks they are making diapers. The Pad Project, the nonprofit backing the film, is working to install pad machines in new markets across the country; this movie should help to further its mission.\u003c/p>\n\u003cp>\u003cstrong>Andrew Lapin's Predictions\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Will Win: \u003c/strong>\u003cem>Lifeboat\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Should Win: \u003c/strong>All five nominees are worthy. But if I'm forced to choose, \u003cem>End Game\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=More+2019+Short+Film+Oscar+Nominees%2C+Reviewed%3A+Live-Action+And+Documentary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003cbr>\nThe original text of this story included the sentence: \"Perhaps they're just upset because their category was the only Shorts award to be cut from this year's live Oscars telecast.\" The line was cut to reflect the Academy's \u003ca href=\"https://www.npr.org/2019/02/15/695346185/academy-awards-live-broadcast-to-include-4-cinematography-categories-after-all\">reversal of this decision\u003c/a>. \u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Critic Andrew Lapin reviews the 10 short films nominated in the live-action and documentary categories.","status":"publish","parent":0,"modified":1550520456,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":2151},"headData":{"title":"2019 Short Film Oscar Nominees, Reviewed: Live-Action And Documentary | KQED","description":"Critic Andrew Lapin reviews the 10 short films nominated in the live-action and documentary categories.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"109503 https://ww2.kqed.org/pop/?p=109503","disqusUrl":"https://ww2.kqed.org/pop/2019/02/18/2019-short-film-oscar-nominees-reviewed-live-action-and-documentary/","disqusTitle":"2019 Short Film Oscar Nominees, Reviewed: Live-Action And Documentary","nprByline":"Andrew Lapin","nprImageAgency":"H264 Distribution ","nprStoryId":"694052046","nprApiLink":"http://api.npr.org/query?id=694052046&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/02/14/694052046/more-2019-short-film-oscar-nominees-reviewed-live-action-and-documentary?ft=nprml&f=694052046","nprRetrievedStory":"1","nprPubDate":"Thu, 14 Feb 2019 17:01:00 -0500","nprStoryDate":"Thu, 14 Feb 2019 17:01:21 -0500","nprLastModifiedDate":"Thu, 14 Feb 2019 17:01:21 -0500","path":"/pop/109503/2019-short-film-oscar-nominees-reviewed-live-action-and-documentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Live-Action Short Films\u003c/strong>\u003c/p>\n\u003cp>If the theme of this year's \u003ca href=\"https://www.npr.org/2019/02/07/691627685/the-2019-animated-short-film-oscar-nominees-reviewed\">animated short\u003c/a> Oscar nominees was \"parenthood,\" the theme of 2019's live-action shorts is \"boys in trouble.\"\u003c/p>\n\u003cp>From a son of white supremacists to real-life child murderers, the young men in four out of five of this year's films plunge into a darkness where adults fear not tread. What can we learn about ourselves by watching so many loss-of-innocence stories? Let's find out. Here we break down all of the nominees, which may be currently playing as a showcase in a theater near you. Maybe don't bring the kids, though:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Detainment\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8eKZTtJGsi8'\n title='//www.youtube.com/embed/8eKZTtJGsi8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most controversial of the five nominees, \u003cem>Detainment\u003c/em> is a fact-based drama about two 10-year-old boys who kidnapped, tortured, and brutally murdered a two-year-old child in 1993 Liverpool. The \"James Bulger case,\" as it became known, shocked the United Kingdom and resulted in the two killers being tried and convicted as adults. Writer-director Vincent Lambe's drama, based on the real transcripts of the killers' interrogations, is largely set in the police stations where they confessed, focusing on their dawning realization that they have done something truly unforgivable.\u003c/p>\n\u003cp>Bulger's mother \u003ca href=\"https://www.nytimes.com/2019/01/25/movies/detainment-bulger-murder-oscars.html\">has called on Lambe\u003c/a> to withdraw \u003cem>Detainment\u003c/em> from the Oscars because he did not consult her before making the film, and an \u003ca href=\"https://www.change.org/p/the-oscars-stop-the-james-bulger-movie-from-being-shown-and-taken-off-the-oscars-short-list\">online petition\u003c/a> demanding the movie be pulled from the nominations has attracted more than 250,000 signatures. One wonders if the many signatories had any objections to British tabloids screaming lurid headlines about the case and its aftermath for decades. Compared to the media coverage, \u003cem>Detainment\u003c/em> is restrained and ruminative, with incredible performances from Ely Solan and Leon Hughes as the killers. Rather than portraying remorseless monsters, Solan and Hughes coat their lines in very childlike mixes of denial, outward aggression, and uncontrollable sorrow. The result is all the more stomach-churning for its recognizable humanity.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Fauve\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o-Pp03biqjw'\n title='//www.youtube.com/embed/o-Pp03biqjw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this French-Canadian production, two preteens are playing in an empty pit mine when their oblique power game spins out of control, as such things tend to do without adult supervision. Writer-director Jérémy Comte's visually breathtaking enigma is like \u003cem>Gerry\u003c/em> for the grade-school set. Callous grey mountains loom in every direction, making it impossible for the kids (played with mischievous gleams by Félix Grenier and Alexandre Perreault) to realize once they're in over their heads. \u003cem>Fauve\u003c/em> also touches on something deeper: the tendency of boisterous young men to weaponize sympathy in order to gain the upper hand in some deeper conflict.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Marguerite\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XnHFm16V7Sg'\n title='//www.youtube.com/embed/XnHFm16V7Sg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The only nominee in which terrified little boys are neither seen nor heard is also the only one directed by a woman. \u003cem>Marguerite\u003c/em> is a quiet domestic drama about a terminally ill woman (Béatrice Picard) who reflects on a lost love as she bonds with her much younger caretaker (Sandrine Bisson). A smart script by writer-director Marianne Farley subtly considers changing social acceptance between the generations, and begins wading into some interesting territory about the limits of geriatric care. If the French-Canadian film is ultimately a bit too timid, it's still welcome to see a matter-of-fact approach to a story that would have been relegated to LGBT-themed festival sidebars only a few short years ago.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Mother\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HHwIjmFT_Mk'\n title='//www.youtube.com/embed/HHwIjmFT_Mk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Don't forget to breathe when you watch this nail-biter of a thriller from Spanish writer-director Rodrigo Sorogoyen. Set entirely in one Madrid apartment, almost all of it in one take, the film follows a single mother who receives a distressing call from her young son while he's on a beach trip with his father a country away. Tension builds expertly in this tiny space, thanks to a powerhouse performance from Marta Nieto, who ramps up her own distress with every new twist until a few drips have become a burst pipe. Nieto taps into a deep, primal fear of being far away and powerless to help a loved one in danger.\u003c/p>\n\u003cp>Sorogoyen is currently prepping a feature film that builds off the short, which will be welcome news for anyone craving a more pat resolution. But something about \u003cem>Mother\u003c/em>'s incompleteness—and the mysterious role of Blanca Apilánez as Marta's own visiting mother—plunges this version deeper into a nightmare space, rendering it that much more difficult to shake off.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Skin\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o1JOhK71CLI'\n title='//www.youtube.com/embed/o1JOhK71CLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An American Neo-Nazi (\u003cem>Snowfall\u003c/em>'s Jonathan Tucker) gets his comeuppance in this shock drama that plays like one of those racial allegory sci-fi films from the 1970s and '80s, only without the camp factor. \u003cem>Skin\u003c/em> is partially liberated from its own facile twist by the performance of Jackson Robert Scott (\u003cem>It\u003c/em>) as the man's young son, who idolizes his dad but begins to feel the stirrings of a conscience as the true scope of his violent behavior comes into play. (The film's best conceit is that you don't even realize the dad's a racist until midway through.) The majority of the short is told from the child's perspective, capturing this contradictory mix of familial affection and extreme hatred for \"the other.\"\u003c/p>\n\u003cp>After he made this short, Israeli writer-director Guy Nattiv premiered a very different feature of the same name, a biopic of reformed white nationalist Bryon Widner, at last year's Toronto International Film Festival. It's tough to discuss the weird sourness of this \u003cem>Skin\u003c/em> without spoiling it, but it's telling that Nattiv's first attempt at a story about racism turned on cosmic retribution, while his follow-up focused on the far more difficult and painful task of personal growth.\u003c/p>\n\u003cp>\u003cstrong>Andrew Lapin's Predictions\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Will Win: \u003c/strong>\u003cem>Skin\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Should Win: \u003c/strong>\u003cem>Mother\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Documentary Short Films\u003c/strong>\u003c/p>\n\u003cp>Two stories of hate groups and three humanitarian organizations bookend this year's Oscar lineup of best documentary short films. But despite the heavy subject matter and longer average run-times, the films in this showcase (now playing in select theaters) are the strongest group of the three Oscar short film categories. Watching them all is an alternately sobering and uplifting experience. Here's our rundown of what awaits nonfiction lovers this year:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Black Sheep\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xVUT7AHyCHk'\n title='//www.youtube.com/embed/xVUT7AHyCHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker Cornelius Walker recounts his childhood growing up as the only black kid in the London suburb of Essex in this gripping biography from \u003cem>The Guardian\u003c/em> and writer-director Ed Perkins (\u003cem>Garnet's Gold\u003c/em>). In a mix of direct-to-camera interviews and chilling reenactments, Walker describes his strategic decision to survive among violently racist neighbors and classmates by trying to \"fit in\" with them as much as possible. He bleaches his skin; he wears white fashions; he uses contact lenses to give himself those long sought-after blue eyes. Lacking the means to stand tall against a tide of hate, Walker instead assimilated himself into it. The film's central irony is that Walker's family initially moved out of their multicultural London neighborhood because another young Nigerian immigrant was knifed to death in a stairwell. In trying to protect their son, Walker's parents may have damned him to a terrifying adolescence.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>End Game\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FgJD6ksdkWY'\n title='//www.youtube.com/embed/FgJD6ksdkWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This Netflix film profiles a hospice and a palliative care center, which are not places where most of us want to spend our time. But \u003cem>End Game\u003c/em> is a tremendously moving examination of terminal illness and human mortality, gently urging its audience to confront one of the hardest questions we'll ever have to face: where, how, and in what condition we would like to die.\u003c/p>\n\u003cp>Granted extraordinary access to a handful of patients and their families in their final weeks, directors Rob Epstein and Jeffrey Friedman (\u003cem>Howl\u003c/em>) capture every agonizing moment of their subjects' decisions to discontinue medical treatment in an effort to make their remaining time as comfortable as possible. The film is anchored by B.J. Miller, M.D., the gregarious head of the Buddhist-inspired Zen Hospice Project in San Francisco, who asks his patients to \"have some sort of relationship with death.\" Miller's own brush with death as a college student resulted in the loss of three of his limbs, and he speaks movingly about needing to come to terms with his new reality in order to face his remaining time with distinction. It's a question we all must wrestle with, sooner or later, and \u003cem>End Game\u003c/em> makes a strong case for comfort and control over longevity.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Lifeboat\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Uvns1t8cUWk'\n title='//www.youtube.com/embed/Uvns1t8cUWk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the choppy, uncertain waters of the Mediterranean, the German nonprofit Sea-Watch conducts rescue missions for the thousands of migrants sailing from North Africa to Europe in overcrowded, poorly constructed vessels. Director Skye Fitzgerald (\u003cem>50 Feet From Syria\u003c/em>) tags along to document the humanitarian crisis, profiling several rescued migrants as well as Jon Castle, a longtime captain on Greenpeace sea missions who turns up to aid in the rescues.\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em> avoids some of the traps of films like \u003cem>Fire at Sea\u003c/em>, another recently nominated documentary on the European migrant crisis, by getting to know both the migrants and the rescuers as people, not just symbols. It's certainly not without its grandstanding, but the film communicates the bleak prospects facing its subjects in cinematic language: for example, a long pan of a Sea-Watch worker slashing and setting fire to an emptied migrant boat to prevent human traffickers from reusing it. Fitzgerald also takes the time to paint a complete picture of the terrible options available to the displaced people, visiting the coast of Libya to show what happens to those who do not risk the journey.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>A Night at the Garden\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4MD16iUK4CQ'\n title='//www.youtube.com/embed/4MD16iUK4CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bonds between Americans and Nazis share a much deeper, darker history than what the country saw in Charlottesville, a history that we forget at our own peril. The German-American Bund brought together thousands of Hitler-supporting patriots in the run-up to WWII, most infamously culminating in a 1939 \"pro-America rally\" at a packed Madison Square Garden. Flanked by stars, stripes, and swastikas, the Bund's \u003cem>führer\u003c/em>, Fritz Kuhn, recited the Pledge of Allegiance, then denounced the \"Jewish-controlled press\" and praised right-wing media demagogues like Father Charles Coughlin. The crowd of proud Americans gave \"seig heil\"s and cheered like mad.\u003c/p>\n\u003cp>In a scant six minutes of archival footage, director Marshall Curry delivers an emotional wallop. We see Kuhn whip his bloodthirsty audience into a frenzy of hate; we see a protester attempt to storm the stage before being restrained by police; we see uniformed Bund children onstage cheering the violence. Never leaving the rally, nor breaking the spell with any talking heads to assure us it's all over now, \u003cem>A Night at the Garden\u003c/em> blithely rejects the idea that we have moved on from our shared, horrific past.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Period. End of Sentence.\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KocJP8dG1OA'\n title='//www.youtube.com/embed/KocJP8dG1OA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The invention of a low-cost sanitary pad machine has sparked a women's health revolution in India, which is still fighting an uphill battle to educate both men and women on the topic of menstruation. But most of the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2013/10/14/230195875/menstrual-man-had-an-idea-to-help-indian-women\">media coverage\u003c/a> of this phenomenon, including last year's biopic \u003cem>Pad Man\u003c/em>, has focused on the machine's male inventor, Arunachalam Muruganantham. By contrast, \u003cem>Period. End of Sentence.\u003c/em> profiles the women who work the machine and endeavor to sell the pads in rural villages, seeking to improve not only the national hygiene but also their own independence.\u003c/p>\n\u003cp>Director Rayka Zehtabchi hews close to the inspirational-narrative playbook: one of her subjects is an aspiring police officer, so the film dutifully shows her in class and training alongside her male cohorts. She also captures moments that reveal how little her subjects know about feminine hygiene: schoolboys have no idea what a \"period\" is, while one young woman's uncle thinks they are making diapers. The Pad Project, the nonprofit backing the film, is working to install pad machines in new markets across the country; this movie should help to further its mission.\u003c/p>\n\u003cp>\u003cstrong>Andrew Lapin's Predictions\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Will Win: \u003c/strong>\u003cem>Lifeboat\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Should Win: \u003c/strong>All five nominees are worthy. But if I'm forced to choose, \u003cem>End Game\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=More+2019+Short+Film+Oscar+Nominees%2C+Reviewed%3A+Live-Action+And+Documentary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003cbr>\nThe original text of this story included the sentence: \"Perhaps they're just upset because their category was the only Shorts award to be cut from this year's live Oscars telecast.\" The line was cut to reflect the Academy's \u003ca href=\"https://www.npr.org/2019/02/15/695346185/academy-awards-live-broadcast-to-include-4-cinematography-categories-after-all\">reversal of this decision\u003c/a>. \u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/109503/2019-short-film-oscar-nominees-reviewed-live-action-and-documentary","authors":["byline_pop_109503"],"categories":["pop_51"],"tags":["pop_255","pop_3426","pop_49","pop_211"],"featImg":"pop_109506","label":"pop"},"pop_109260":{"type":"posts","id":"pop_109260","meta":{"index":"posts_1591205157","site":"pop","id":"109260","score":null,"sort":[1549580418000]},"guestAuthors":[],"slug":"the-2019-animated-short-film-oscar-nominees-reviewed","title":"The 2019 Animated Short Film Oscar Nominees, Reviewed","publishDate":1549580418,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Shorts come back in season every February, as the showcases of Oscar-nominated animated, live-action, and documentary short films make their way to theaters around the country. But this year, at least one line of shorts is committing a fashion \u003cem>faux pas\u003c/em>. Or maybe some animators just need a good hug from their loved ones: Four out of the five nominees for best animated short are about parents, children, and growing up.\u003c/p>\n\u003cp>Individually, none of these films represent an offense on the level of last year's winner \u003ca href=\"https://www.npr.org/2018/02/08/583987171/reviewed-this-years-5-oscar-nominated-animated-short-films\">\u003cem>Dear Basketball\u003c/em>.\u003c/a> But despite the obvious talents of the filmmakers on display, this crop of nominees—chosen from an initial list of \u003ca href=\"https://www.cartoonbrew.com/awards/2019-best-animated-short-film-oscar-a-list-of-qualified-films-in-the-category-exclusive-164563.html\">more than 70 qualifying films\u003c/a>—stings, because it reveals a limited view of the power of animation, not to mention the adaptability of the short form.\u003c/p>\n\u003cp>Still, even when these variations on a theme are slight, some raw filmmaking power still emerges. Let's try them all, one by one, as we watch our families age and twist along the bittersweet passage of time:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Animal Behavior\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9OH0TIXMfRo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only nominated film this year \u003cem>not\u003c/em> about parenthood is a deliciously dark Canadian comedy about a therapy group session for wild beasts. Led by an adorable pit bull in glasses who has successfully repressed his own urges to sniff other dogs' butts, the group includes a pig with a chocolate addiction; a bird with a traumatic past; and a praying mantis who can't stop killing and eating her boyfriends. But the road to recovery is upended by a new arrival who brings some, well, monkey business of his own.\u003c/p>\n\u003cp>Writer-directors David Fine and Alison Snowden (they're previous winners in this category for \u003cem>Bob's Birthday\u003c/em> in 1995) deliver lots of clever therapy gags. The sight of a room full of animals reacting to their own natural selves with horror befitting a human makes \u003cem>Animal Behavior\u003c/em> a great chew toy for the mind. Plus, the movie manages to be arch and morbid without being mean, a balancing act that usually takes years of therapy for most comedians.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bao\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g2zt45rpn4k\u003c/p>\n\u003cp>Pixar's annual entry in this category follows a Chinese woman who becomes mother to an adorable, anthropomorphic bao bun. Written and directed by Domee Shi (the first woman to direct a short film for the studio) and originally shown in theaters with \u003cem>Incredibles 2\u003c/em>, the pat seven-minute snack delivers on its concept in all the expected ways, and is carried over the finish line by the winning character design of the bao-child, who smushes his doughy little noggin trying to head-butt a soccer ball. It ain't \u003cem>Sanjay's Super Team\u003c/em> or \u003cem>One Man Band\u003c/em>, but \u003cem>Bao\u003c/em> is a decent late-period Pixar dumpling.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Late Afternoon\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TQ1sdso-d_g\u003c/p>\n\u003cp>A biscuit in a teacup becomes Proust's Madeleine for an elderly woman suffering from dementia, triggering her remembrance of things past in this abstract portrait from top-notch Irish studio Cartoon Saloon (who were also behind acclaimed features like \u003cem>The Breadwinner \u003c/em>and \u003cem>Song of the Sea\u003c/em>). This studio is particularly gifted at squeezing dollops of feeling from simple, pared-down settings and character designs, and writer-director Louise Bagnall smartly trusts this principle as her story leaps back and forth in time. Fionnula Flanagan does some lovely voice work as Emily, the woman who can't seem to place the strange person helping to pack up her things. Done in a hand-drawn style, the lush animation obscures a flat story but also helps the piece resonate for anyone who's ever struggled with elder care.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>One Small Step\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lWHJS17v2KU\u003c/p>\n\u003cp>To the Moon, young ones. Like \u003cem>First Man\u003c/em> in reverse, and very closely mirroring \u003cem>Bao\u003c/em>'s story beats, this weepie follows a little girl who dreams of outer space and her humble shoemaker father who supports her until he no longer can. Many time-lapse shots of breakfast tables to follow.\u003c/p>\n\u003cp>Upstart animation house Taiko Studios is fueling its rocket ship with the same Disney corn syrup its young production staff grew up on—just take a gander at the laughing child with the giant eyes, playing make-believe in a cardboard box. (Co-directors Andrew Chesworth and Bobby Pontillas are former Disney animators whose credits include \u003cem>Zootopia \u003c/em>and \u003cem>Big Hero 6\u003c/em>.) \u003cem>One Small Step\u003c/em> is a modest charmer with a clean CGI look that has the misfortune of being sandwiched between so many other sad-parent nominees. If you coo instead of rolling your eyes once it's revealed that the girl's name is Luna, you will love it.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Weekends\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DjRoz6F7VPY\u003c/p>\n\u003cp>The best of the four \"parent traps\" in the 2019 slate is this surreal Toronto-set indie following a little boy who cycles between his divorced parents every Friday-through-Monday. Drawing on his own childhood, writer-director Trevor Jimenez crafts a dark, confusing world of ping-ponging emotions, as the parents' urges to be their best selves around their son are undone by the arrival of new partners and new challenges. Disturbing imagery also abounds: a man with a half-lit candle for a face, a house entirely submerged underwater.\u003c/p>\n\u003cp>More nuanced and character-based than the other entries, \u003cem>Weekends\u003c/em> dwells on telling details like the mother's frazzled domestic life, the father's obsession with MTV and samurai swords, and the boy's struggles to adjust to different sleeping quarters. Jimenez captures the fractured, otherworldly nature of divorced life with aplomb and wisely eschews a cozy ending, instead letting the film's difficult psychology ruminate in our minds for many weekends to come.\u003c/p>\n\u003cp>\u003cstrong>Andrew Lapin's Picks:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Will Win: \u003c/strong>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Should Win: \u003c/strong>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2019+Animated+Short+Film+Oscar+Nominees%2C+Reviewed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Four of the five animated-short nominees this year are weepy tales of parent-child relationships.","status":"publish","parent":0,"modified":1549580418,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":989},"headData":{"title":"The 2019 Animated Short Film Oscar Nominees, Reviewed | KQED","description":"Four of the five animated-short nominees this year are weepy tales of parent-child relationships.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"109260 https://ww2.kqed.org/pop/?p=109260","disqusUrl":"https://ww2.kqed.org/pop/2019/02/07/the-2019-animated-short-film-oscar-nominees-reviewed/","disqusTitle":"The 2019 Animated Short Film Oscar Nominees, Reviewed","nprByline":"Andrew Lapin","nprImageAgency":"Pixar Studios ","nprStoryId":"691627685","nprApiLink":"http://api.npr.org/query?id=691627685&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/02/07/691627685/the-2019-animated-short-film-oscar-nominees-reviewed?ft=nprml&f=691627685","nprRetrievedStory":"1","nprPubDate":"Thu, 07 Feb 2019 17:01:00 -0500","nprStoryDate":"Thu, 07 Feb 2019 17:01:22 -0500","nprLastModifiedDate":"Thu, 07 Feb 2019 17:01:22 -0500","path":"/pop/109260/the-2019-animated-short-film-oscar-nominees-reviewed","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shorts come back in season every February, as the showcases of Oscar-nominated animated, live-action, and documentary short films make their way to theaters around the country. But this year, at least one line of shorts is committing a fashion \u003cem>faux pas\u003c/em>. Or maybe some animators just need a good hug from their loved ones: Four out of the five nominees for best animated short are about parents, children, and growing up.\u003c/p>\n\u003cp>Individually, none of these films represent an offense on the level of last year's winner \u003ca href=\"https://www.npr.org/2018/02/08/583987171/reviewed-this-years-5-oscar-nominated-animated-short-films\">\u003cem>Dear Basketball\u003c/em>.\u003c/a> But despite the obvious talents of the filmmakers on display, this crop of nominees—chosen from an initial list of \u003ca href=\"https://www.cartoonbrew.com/awards/2019-best-animated-short-film-oscar-a-list-of-qualified-films-in-the-category-exclusive-164563.html\">more than 70 qualifying films\u003c/a>—stings, because it reveals a limited view of the power of animation, not to mention the adaptability of the short form.\u003c/p>\n\u003cp>Still, even when these variations on a theme are slight, some raw filmmaking power still emerges. Let's try them all, one by one, as we watch our families age and twist along the bittersweet passage of time:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Animal Behavior\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9OH0TIXMfRo'\n title='//www.youtube.com/embed/9OH0TIXMfRo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The only nominated film this year \u003cem>not\u003c/em> about parenthood is a deliciously dark Canadian comedy about a therapy group session for wild beasts. Led by an adorable pit bull in glasses who has successfully repressed his own urges to sniff other dogs' butts, the group includes a pig with a chocolate addiction; a bird with a traumatic past; and a praying mantis who can't stop killing and eating her boyfriends. But the road to recovery is upended by a new arrival who brings some, well, monkey business of his own.\u003c/p>\n\u003cp>Writer-directors David Fine and Alison Snowden (they're previous winners in this category for \u003cem>Bob's Birthday\u003c/em> in 1995) deliver lots of clever therapy gags. The sight of a room full of animals reacting to their own natural selves with horror befitting a human makes \u003cem>Animal Behavior\u003c/em> a great chew toy for the mind. Plus, the movie manages to be arch and morbid without being mean, a balancing act that usually takes years of therapy for most comedians.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bao\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g2zt45rpn4k'\n title='//www.youtube.com/embed/g2zt45rpn4k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pixar's annual entry in this category follows a Chinese woman who becomes mother to an adorable, anthropomorphic bao bun. Written and directed by Domee Shi (the first woman to direct a short film for the studio) and originally shown in theaters with \u003cem>Incredibles 2\u003c/em>, the pat seven-minute snack delivers on its concept in all the expected ways, and is carried over the finish line by the winning character design of the bao-child, who smushes his doughy little noggin trying to head-butt a soccer ball. It ain't \u003cem>Sanjay's Super Team\u003c/em> or \u003cem>One Man Band\u003c/em>, but \u003cem>Bao\u003c/em> is a decent late-period Pixar dumpling.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Late Afternoon\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TQ1sdso-d_g'\n title='//www.youtube.com/embed/TQ1sdso-d_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A biscuit in a teacup becomes Proust's Madeleine for an elderly woman suffering from dementia, triggering her remembrance of things past in this abstract portrait from top-notch Irish studio Cartoon Saloon (who were also behind acclaimed features like \u003cem>The Breadwinner \u003c/em>and \u003cem>Song of the Sea\u003c/em>). This studio is particularly gifted at squeezing dollops of feeling from simple, pared-down settings and character designs, and writer-director Louise Bagnall smartly trusts this principle as her story leaps back and forth in time. Fionnula Flanagan does some lovely voice work as Emily, the woman who can't seem to place the strange person helping to pack up her things. Done in a hand-drawn style, the lush animation obscures a flat story but also helps the piece resonate for anyone who's ever struggled with elder care.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>One Small Step\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lWHJS17v2KU'\n title='//www.youtube.com/embed/lWHJS17v2KU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To the Moon, young ones. Like \u003cem>First Man\u003c/em> in reverse, and very closely mirroring \u003cem>Bao\u003c/em>'s story beats, this weepie follows a little girl who dreams of outer space and her humble shoemaker father who supports her until he no longer can. Many time-lapse shots of breakfast tables to follow.\u003c/p>\n\u003cp>Upstart animation house Taiko Studios is fueling its rocket ship with the same Disney corn syrup its young production staff grew up on—just take a gander at the laughing child with the giant eyes, playing make-believe in a cardboard box. (Co-directors Andrew Chesworth and Bobby Pontillas are former Disney animators whose credits include \u003cem>Zootopia \u003c/em>and \u003cem>Big Hero 6\u003c/em>.) \u003cem>One Small Step\u003c/em> is a modest charmer with a clean CGI look that has the misfortune of being sandwiched between so many other sad-parent nominees. If you coo instead of rolling your eyes once it's revealed that the girl's name is Luna, you will love it.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Weekends\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DjRoz6F7VPY'\n title='//www.youtube.com/embed/DjRoz6F7VPY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The best of the four \"parent traps\" in the 2019 slate is this surreal Toronto-set indie following a little boy who cycles between his divorced parents every Friday-through-Monday. Drawing on his own childhood, writer-director Trevor Jimenez crafts a dark, confusing world of ping-ponging emotions, as the parents' urges to be their best selves around their son are undone by the arrival of new partners and new challenges. Disturbing imagery also abounds: a man with a half-lit candle for a face, a house entirely submerged underwater.\u003c/p>\n\u003cp>More nuanced and character-based than the other entries, \u003cem>Weekends\u003c/em> dwells on telling details like the mother's frazzled domestic life, the father's obsession with MTV and samurai swords, and the boy's struggles to adjust to different sleeping quarters. Jimenez captures the fractured, otherworldly nature of divorced life with aplomb and wisely eschews a cozy ending, instead letting the film's difficult psychology ruminate in our minds for many weekends to come.\u003c/p>\n\u003cp>\u003cstrong>Andrew Lapin's Picks:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Will Win: \u003c/strong>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Should Win: \u003c/strong>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2019+Animated+Short+Film+Oscar+Nominees%2C+Reviewed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/109260/the-2019-animated-short-film-oscar-nominees-reviewed","authors":["byline_pop_109260"],"categories":["pop_1537","pop_51"],"tags":["pop_255","pop_782","pop_3426","pop_211","pop_3447"],"featImg":"pop_109261","label":"pop"},"pop_107973":{"type":"posts","id":"pop_107973","meta":{"index":"posts_1591205157","site":"pop","id":"107973","score":null,"sort":[1544169831000]},"guestAuthors":[],"slug":"kevin-hart-bows-out-as-oscars-host-amid-backlash-over-past-tweets","title":"Kevin Hart Bows Out as Oscars Host Amid Backlash Over Past Tweets","publishDate":1544169831,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Just days after Kevin Hart \u003ca href=\"http://oscar.go.com/news/oscar-news/kevin-hart-announced-as-oscars-2019-host\">got the nod\u003c/a> to host the 91st Academy Awards ceremony, declaring it \"the opportunity of a life time,\" the comedian is relinquishing the microphone. Hart announced that he is stepping down, citing his series of years-old homophobic tweets that had recently resurfaced.\u003c/p>\n\u003cp>He made the decision because he did not \"want to be a distraction on a night that should be celebrated by so many amazing talented artists,\" Hart said in a \u003ca href=\"https://twitter.com/KevinHart4real/status/1070906075812118529\">pair of tweets\u003c/a>. \"I sincerely apologize to the LGBTQ community for my insensitive words from my past.\"\u003c/p>\n\u003cp>\"I'm sorry that I hurt people,\" \u003ca href=\"https://twitter.com/KevinHart4real/status/1070906121551007745\">he added\u003c/a>. \"I am evolving and want to continue to do so. My goal is to bring people together not tear us apart. Much love & appreciation to the Academy. I hope we can meet again.\"\u003c/p>\n\u003cp>https://twitter.com/KevinHart4real/status/1070906075812118529\u003c/p>\n\u003cp>https://twitter.com/KevinHart4real/status/1070906121551007745\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The announcement caps a roller coaster week for the film star and stand-up comic, who was first celebrating the high-profile gig just a couple of days ago.\u003c/p>\n\u003cp>\"I am blown away simply because this has been a goal on my list for a long time,\" he \u003ca href=\"https://www.instagram.com/p/Bq_Ig_EFiOx/\">said Tuesday afternoon\u003c/a>. \"To be able to join the legendary list of [hosts] that have graced that stage is unbelievable.\"\u003c/p>\n\u003cp>But that elation did not last long before it became laced with controversy.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theguardian.com/profile/benjamin-lee-film\">Benjamin Lee\u003c/a>, an editor at \u003cem>The Guardian\u003c/em>, immediately \u003ca href=\"https://twitter.com/benfraserlee/status/1070134637605867520\">expressed his disappointment\u003c/a> with the selection and soon pointed to a \u003ca href=\"https://twitter.com/benfraserlee/status/1070413541012893696\">cluster of old tweets\u003c/a> that had been directed harsh words toward the gay community.\u003c/p>\n\u003cp>\"Yo if my son comes home & try's 2 play with my daughters doll house I'm going 2 break it over his head & say n my voice 'stop that's gay,' \" reads one tweet that Hart posted in 2011.\u003c/p>\n\u003cp>That wasn't the only one. Other users \u003ca href=\"https://twitter.com/adambvary/status/1070451517092651008?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwgr%5E363937393b636f6e74726f6c&ref_url=https%3A%2F%2Fwww.buzzfeednews.com%2Farticle%2Fmichaelblackmon%2Fkevin-hart-homophobic-tweets-gay-oscars\">dredged up a number of posts\u003c/a> dating back nearly a decade, in which Hart spoke of gay people negatively and used an anti-gay slur.\u003c/p>\n\u003cp>\"Hart's obsession with making unfunny, disrespectful and inappropriate jokes about a community he has shown nothing but bile for along with a string of unrepentant responses to any criticism paints him as someone entirely undeserving of a spot on the Oscars stage,\" Lee \u003ca href=\"https://www.theguardian.com/film/2018/dec/05/oscars-host-kevin-hart-homophobia-is-no-laughing-matter\">argued Wednesday\u003c/a>.\u003c/p>\n\u003cp>The controversy only ballooned from there on social media, and by Thursday afternoon, Hart responded to it in two videos posted to his Instagram account.\u003c/p>\n\u003cp>\"My team calls me, 'Oh my God, Kevin, the world is upset about tweets you did years ago,' \" he said \u003ca href=\"https://www.instagram.com/p/BrEFNFalWgw/\">in the first\u003c/a>, rubbing his face in evident frustration. \"Guys, I'm almost 40 years old. If you don't believe that people change, grow, evolve as they get older, I don't know what to tell you.\"\u003c/p>\n\u003cp>In the second, \u003ca href=\"https://www.instagram.com/p/BrEjHFCFe83/\">posted just a few hours later\u003c/a>, he said he had gotten a call from the Academy of Motion Picture Arts and Sciences, the organization behind the Oscars, requesting that he apologize for his tweets.\u003c/p>\n\u003cp>\"I passed on the apology. The reason why I passed is that I've addressed this several times. This is not the first time this has come up. I've spoken on it. I've said where the rights and wrongs were. I've said who I am now versus who I was then,\" he said. \"I'm not going to continue to go back and tap into the days of old when I've moved on and I'm in a completely different space in my life.\"\u003c/p>\n\u003cp>\"I'm thankful and appreciative of the opportunity,\" he added. \"But if it goes away, no harm, no foul.\"\u003c/p>\n\u003cp>Shortly afterward, Hart announced he was stepping down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Academy did not immediately offer public comment on the situation. This year's Oscar nominees are expected to be announced on Jan. 22, while the ceremony is scheduled for Feb. 24.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kevin+Hart+Bows+Out+As+Oscars+Host+Amid+Backlash+Over+Past+Tweets&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"\"I'm sorry that I hurt people,\" the comic said, referring to anti-gay tweets he had posted years earlier. ","status":"publish","parent":0,"modified":1544170016,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":665},"headData":{"title":"Kevin Hart Bows Out as Oscars Host Amid Backlash Over Past Tweets | KQED","description":""I'm sorry that I hurt people," the comic said, referring to anti-gay tweets he had posted years earlier. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"107973 https://ww2.kqed.org/pop/?p=107973","disqusUrl":"https://ww2.kqed.org/pop/2018/12/07/kevin-hart-bows-out-as-oscars-host-amid-backlash-over-past-tweets/","disqusTitle":"Kevin Hart Bows Out as Oscars Host Amid Backlash Over Past Tweets","nprImageCredit":"Christopher Polk","nprByline":"Colin Dwyer","nprImageAgency":"Getty Images","nprStoryId":"674447464","nprApiLink":"http://api.npr.org/query?id=674447464&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/12/07/674447464/kevin-hart-bows-out-as-oscars-host-amid-backlash-over-past-tweets?ft=nprml&f=674447464","nprRetrievedStory":"1","nprPubDate":"Fri, 07 Dec 2018 02:15:00 -0500","nprStoryDate":"Fri, 07 Dec 2018 01:57:00 -0500","nprLastModifiedDate":"Fri, 07 Dec 2018 02:15:43 -0500","path":"/pop/107973/kevin-hart-bows-out-as-oscars-host-amid-backlash-over-past-tweets","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just days after Kevin Hart \u003ca href=\"http://oscar.go.com/news/oscar-news/kevin-hart-announced-as-oscars-2019-host\">got the nod\u003c/a> to host the 91st Academy Awards ceremony, declaring it \"the opportunity of a life time,\" the comedian is relinquishing the microphone. Hart announced that he is stepping down, citing his series of years-old homophobic tweets that had recently resurfaced.\u003c/p>\n\u003cp>He made the decision because he did not \"want to be a distraction on a night that should be celebrated by so many amazing talented artists,\" Hart said in a \u003ca href=\"https://twitter.com/KevinHart4real/status/1070906075812118529\">pair of tweets\u003c/a>. \"I sincerely apologize to the LGBTQ community for my insensitive words from my past.\"\u003c/p>\n\u003cp>\"I'm sorry that I hurt people,\" \u003ca href=\"https://twitter.com/KevinHart4real/status/1070906121551007745\">he added\u003c/a>. \"I am evolving and want to continue to do so. My goal is to bring people together not tear us apart. Much love & appreciation to the Academy. I hope we can meet again.\"\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1070906075812118529"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1070906121551007745"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The announcement caps a roller coaster week for the film star and stand-up comic, who was first celebrating the high-profile gig just a couple of days ago.\u003c/p>\n\u003cp>\"I am blown away simply because this has been a goal on my list for a long time,\" he \u003ca href=\"https://www.instagram.com/p/Bq_Ig_EFiOx/\">said Tuesday afternoon\u003c/a>. \"To be able to join the legendary list of [hosts] that have graced that stage is unbelievable.\"\u003c/p>\n\u003cp>But that elation did not last long before it became laced with controversy.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theguardian.com/profile/benjamin-lee-film\">Benjamin Lee\u003c/a>, an editor at \u003cem>The Guardian\u003c/em>, immediately \u003ca href=\"https://twitter.com/benfraserlee/status/1070134637605867520\">expressed his disappointment\u003c/a> with the selection and soon pointed to a \u003ca href=\"https://twitter.com/benfraserlee/status/1070413541012893696\">cluster of old tweets\u003c/a> that had been directed harsh words toward the gay community.\u003c/p>\n\u003cp>\"Yo if my son comes home & try's 2 play with my daughters doll house I'm going 2 break it over his head & say n my voice 'stop that's gay,' \" reads one tweet that Hart posted in 2011.\u003c/p>\n\u003cp>That wasn't the only one. Other users \u003ca href=\"https://twitter.com/adambvary/status/1070451517092651008?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwgr%5E363937393b636f6e74726f6c&ref_url=https%3A%2F%2Fwww.buzzfeednews.com%2Farticle%2Fmichaelblackmon%2Fkevin-hart-homophobic-tweets-gay-oscars\">dredged up a number of posts\u003c/a> dating back nearly a decade, in which Hart spoke of gay people negatively and used an anti-gay slur.\u003c/p>\n\u003cp>\"Hart's obsession with making unfunny, disrespectful and inappropriate jokes about a community he has shown nothing but bile for along with a string of unrepentant responses to any criticism paints him as someone entirely undeserving of a spot on the Oscars stage,\" Lee \u003ca href=\"https://www.theguardian.com/film/2018/dec/05/oscars-host-kevin-hart-homophobia-is-no-laughing-matter\">argued Wednesday\u003c/a>.\u003c/p>\n\u003cp>The controversy only ballooned from there on social media, and by Thursday afternoon, Hart responded to it in two videos posted to his Instagram account.\u003c/p>\n\u003cp>\"My team calls me, 'Oh my God, Kevin, the world is upset about tweets you did years ago,' \" he said \u003ca href=\"https://www.instagram.com/p/BrEFNFalWgw/\">in the first\u003c/a>, rubbing his face in evident frustration. \"Guys, I'm almost 40 years old. If you don't believe that people change, grow, evolve as they get older, I don't know what to tell you.\"\u003c/p>\n\u003cp>In the second, \u003ca href=\"https://www.instagram.com/p/BrEjHFCFe83/\">posted just a few hours later\u003c/a>, he said he had gotten a call from the Academy of Motion Picture Arts and Sciences, the organization behind the Oscars, requesting that he apologize for his tweets.\u003c/p>\n\u003cp>\"I passed on the apology. The reason why I passed is that I've addressed this several times. This is not the first time this has come up. I've spoken on it. I've said where the rights and wrongs were. I've said who I am now versus who I was then,\" he said. \"I'm not going to continue to go back and tap into the days of old when I've moved on and I'm in a completely different space in my life.\"\u003c/p>\n\u003cp>\"I'm thankful and appreciative of the opportunity,\" he added. \"But if it goes away, no harm, no foul.\"\u003c/p>\n\u003cp>Shortly afterward, Hart announced he was stepping down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Academy did not immediately offer public comment on the situation. This year's Oscar nominees are expected to be announced on Jan. 22, while the ceremony is scheduled for Feb. 24.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kevin+Hart+Bows+Out+As+Oscars+Host+Amid+Backlash+Over+Past+Tweets&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/107973/kevin-hart-bows-out-as-oscars-host-amid-backlash-over-past-tweets","authors":["byline_pop_107973"],"categories":["pop_51"],"tags":["pop_255","pop_3044","pop_3174","pop_211"],"featImg":"pop_107974","label":"pop"},"pop_102274":{"type":"posts","id":"pop_102274","meta":{"index":"posts_1591205157","site":"pop","id":"102274","score":null,"sort":[1519816936000]},"guestAuthors":[],"slug":"oscarssoyesterday-are-awards-shows-still-relevant","title":"#OscarsSoYesterday: Are Awards Shows Still Relevant?","publishDate":1519816936,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp style=\"text-align: center\">The Oscars are right around the corner, so we're gabbing about our faves...\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/timothy-chamalet-gif.gif\">\u003cimg class=\"aligncenter size-full wp-image-102283\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/timothy-chamalet-gif.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">...and a certain actor we are rooting against....\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/i-want-him-to-be-eaten-by-a-lion-hate.gif\">\u003cimg class=\"aligncenter size-full wp-image-102147\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/i-want-him-to-be-eaten-by-a-lion-hate.gif\" alt=\"\" width=\"400\" height=\"212\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">...and whether the impact of awards shows is over.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/drop-award.gif\">\u003cimg class=\"aligncenter size-full wp-image-102284\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/drop-award.gif\" alt=\"\" width=\"319\" height=\"161\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">We're also taking a look at parallels between the Cold War and today, and giving drag names to Russia and the U.S.A.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/russian-drag-queen-katya.gif\">\u003cimg class=\"aligncenter size-full wp-image-102285\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/russian-drag-queen-katya.gif\" alt=\"\" width=\"268\" height=\"350\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">And questioning whether \u003cem>Titanic\u003c/em> was actually a subversive queer masterpiece.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/publizity-wait-whet-gif.gif\">\u003cimg class=\"aligncenter size-full wp-image-44499\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/publizity-wait-whet-gif.gif\" alt=\"\" width=\"500\" height=\"280\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">Listen to hear all about it:\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/thecooler/2018/02/Oscars2018.mp3\" title=\"#OscarsSoYesterday: Are Awards Shows Still Relevant?\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/no-oscars-1200x675.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\" rel=\"noopener\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>!\u003c/p>\n\n","blocks":[],"excerpt":"Also, we hand out drag names to Russia and America (because why not?) and question whether 'Titanic' is secretly a queer film.","status":"publish","parent":0,"modified":1537384385,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":134},"headData":{"title":"#OscarsSoYesterday: Are Awards Shows Still Relevant? | KQED","description":"Also, we hand out drag names to Russia and America (because why not?) and question whether 'Titanic' is secretly a queer film.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"102274 https://ww2.kqed.org/pop/?p=102274","disqusUrl":"https://ww2.kqed.org/pop/2018/02/28/oscarssoyesterday-are-awards-shows-still-relevant/","disqusTitle":"#OscarsSoYesterday: Are Awards Shows Still Relevant?","audioTrackLength":2320,"path":"/pop/102274/oscarssoyesterday-are-awards-shows-still-relevant","audioUrl":"https://www.kqed.org/.stream/anon/radio/thecooler/2018/02/Oscars2018.mp3","audioDuration":2380000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"text-align: center\">The Oscars are right around the corner, so we're gabbing about our faves...\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/timothy-chamalet-gif.gif\">\u003cimg class=\"aligncenter size-full wp-image-102283\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/timothy-chamalet-gif.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">...and a certain actor we are rooting against....\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/i-want-him-to-be-eaten-by-a-lion-hate.gif\">\u003cimg class=\"aligncenter size-full wp-image-102147\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/i-want-him-to-be-eaten-by-a-lion-hate.gif\" alt=\"\" width=\"400\" height=\"212\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">...and whether the impact of awards shows is over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/drop-award.gif\">\u003cimg class=\"aligncenter size-full wp-image-102284\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/drop-award.gif\" alt=\"\" width=\"319\" height=\"161\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">We're also taking a look at parallels between the Cold War and today, and giving drag names to Russia and the U.S.A.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/russian-drag-queen-katya.gif\">\u003cimg class=\"aligncenter size-full wp-image-102285\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/russian-drag-queen-katya.gif\" alt=\"\" width=\"268\" height=\"350\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">And questioning whether \u003cem>Titanic\u003c/em> was actually a subversive queer masterpiece.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/publizity-wait-whet-gif.gif\">\u003cimg class=\"aligncenter size-full wp-image-44499\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/publizity-wait-whet-gif.gif\" alt=\"\" width=\"500\" height=\"280\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">Listen to hear all about it:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"program":"The Cooler","image":"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/no-oscars-1200x675.jpg","label":"src=\"https://www.kqed.org/.stream/anon/radio/thecooler/2018/02/Oscars2018.mp3\" title=\"#OscarsSoYesterday: Are Awards Shows Still Relevant?\""},"numeric":["src=\"https://www.kqed.org/.stream/anon/radio/thecooler/2018/02/Oscars2018.mp3\" title=\"#OscarsSoYesterday:","Are","Awards","Shows","Still","Relevant?\""]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\" rel=\"noopener\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/102274/oscarssoyesterday-are-awards-shows-still-relevant","authors":["27"],"categories":["pop_2793"],"tags":["pop_255","pop_49","pop_211","pop_2859"],"featImg":"pop_102282","label":"pop"},"pop_98676":{"type":"posts","id":"pop_98676","meta":{"index":"posts_1591205157","site":"pop","id":"98676","score":null,"sort":[1516736644000]},"guestAuthors":[],"slug":"everything-you-need-to-know-about-this-years-oscar-nominations","title":"Everything You Need To Know About This Year's Oscar Nominations","publishDate":1516736644,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>The nominations for the 90th Academy Awards were announced Tuesday morning \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/01/23/578602536/watch-live-2018-oscar-nominations\">by a dapper, genial Andy Serkis and the always-intoxicating Tiffany Haddish\u003c/a>.\u003c/p>\n\u003cp>Serkis became famous for motion-capture performances in films like\u003cem> The Lord Of The Rings \u003c/em>films and the new take on \u003cem>Planet Of The Apes\u003c/em>. Haddish hit big in \u003cem>Girls Trip \u003c/em>this year and has earned countless admirers for being joyfully herself at every opportunity.\u003c/p>\n\u003cp>And while the nominees they announced weren't exactly unexpected given what we already knew – big showings for \u003ca href=\"http://www.imdb.com/title/tt5580390/?ref_=nv_sr_1\">\u003cem>The Shape Of Water\u003c/em>\u003c/a>, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5013056/?ref_=fn_al_tt_1\">Dunkirk\u003c/a> \u003c/em>and \u003ca href=\"http://www.imdb.com/title/tt5027774/?ref_=fn_al_tt_1\">\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>\u003c/a> — they had enough freshness and enough room for new voices that they didn't feel rote. Agree or disagree, they didn't simply represent a full list of the films and the performances that sounded the most \"Oscars-y\" from the directors and writers who had been nominated before.\u003c/p>\n\u003cp>For best picture, sure, two World War II dramas (\u003cem>Dunkirk \u003c/em>and \u003ca href=\"http://www.imdb.com/title/tt4555426/?ref_=fn_al_tt_1\">\u003cem>Darkest Hour\u003c/em>\u003c/a>) seem pretty obvious, and \u003ca href=\"http://www.imdb.com/title/tt6294822/?ref_=fn_al_tt_1\">\u003cem>The Post \u003c/em>\u003c/a>is a Steven Spielberg period piece. Guillermo del Toro making a beautiful fable like \u003cem>The Shape Of Water \u003c/em>is in an Oscars sweet spot, as is Paul Thomas Anderson's luscious but chilly \u003ca href=\"http://www.imdb.com/title/tt5776858/?ref_=fn_al_tt_1\">\u003cem>Phantom Thread \u003c/em>\u003c/a>and Martin McDonagh's \u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>. \u003ca href=\"http://www.imdb.com/title/tt5726616/?ref_=nv_sr_1\">\u003cem>Call Me By Your Name\u003c/em>\u003c/a>, a gentle love story with a James Ivory screenplay, is not too much of a reach.\u003c/p>\n\u003cp>But first-time feature director Greta Gerwig's \u003ca href=\"http://www.imdb.com/title/tt4925292/?ref_=fn_al_tt_1\">\u003cem>Lady Bird\u003c/em>\u003c/a>, a talky coming-of-age film with as much comedy in its DNA as drama? Jordan Peele's searing horror-comedy \u003ca href=\"http://www.imdb.com/title/tt5052448/?ref_=fn_al_tt_1\">\u003cem>Get Out\u003c/em>\u003c/a>? Neither of those necessarily felt genetically engineered to win Oscars, to compete for best picture or to bring new directors and new actors to the very tip-top of the ceremony where Hollywood, more than anything, tells a story about what it thinks it is.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gerwig and Peele join del Toro, Anderson and Christopher Nolan (who directed \u003cem>Dunkirk\u003c/em>) in the best director race, making it a fresher category than usual. Daniel Kaluuya, whose single traumatized tear became the image of \u003cem>Get Out\u003c/em>, seemed at one point in recent months like he might be slipping out of the best actor category, but then he slipped right back in — albeit in a tough race against Gary Oldman in \u003cem>Darkest Hour\u003c/em>, Timothée Chalamet in \u003cem>Call Me By Your Name\u003c/em>, Daniel Day-Lewis in \u003cem>Phantom Thread\u003c/em> and Denzel Washington in \u003ca href=\"http://www.imdb.com/title/tt6000478/?ref_=fn_al_tt_1\">\u003cem>Roman J. Israel, Esq. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>But no first, no for-real \u003cem>first\u003c/em>, feels quite as big as Rachel Morrison's nomination for cinematography for \u003ca href=\"http://www.imdb.com/title/tt2396589/?ref_=fn_al_tt_1\">\u003cem>Mudbound\u003c/em>\u003c/a>. Hard as it is to believe, no woman has ever been nominated in the category before. Directed by Dee Rees,\u003cem> Mudbound \u003c/em>did well for itself all around on nomination day: Its screenplay was nominated, as were an original song and supporting actress work by Mary J. Blige.\u003c/p>\n\u003cp>Even more than usual, films not nominated for Best Picture wiggled into the screenplay categories: \u003ca href=\"http://www.imdb.com/title/tt3521126/?ref_=fn_al_tt_1\">\u003cem>The Disaster Artist\u003c/em>\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt4209788/?ref_=nv_sr_1\">\u003cem>Molly's Game\u003c/em>,\u003c/a> \u003cem>Mudbound \u003c/em>and \u003ca href=\"http://www.imdb.com/title/tt3315342/?ref_=fn_al_tt_1\">\u003cem>Logan \u003c/em>\u003c/a>for adapted screenplay, and \u003ca href=\"http://www.imdb.com/title/tt5462602/?ref_=fn_al_tt_1\">\u003cem>The Big Sick\u003c/em>\u003c/a> for original screenplay. In the end, there are 10 screenplay nominations and nine best picture nominations, but only five overlap.\u003c/p>\n\u003cp>People will take exception to what was nominated, and especially what wasn't: It would have been lovely to see more affection for Sean Baker's beautiful \u003ca href=\"http://www.imdb.com/title/tt5649144/?ref_=nv_sr_1\">\u003cem>The Florida Project\u003c/em>\u003c/a>, which earned only a nod for its most famous actor, Willem Dafoe. It would have been nice to see more nominees from \u003cem>Get Out\u003c/em>, which runs on several terrific performances besides Kaluuya's.\u003c/p>\n\u003cp>Power in Hollywood doesn't just shift; it must be shifted. If it is to support more new voices, and more kinds of voices, it must hand them power. Oscar nominations don't really \"matter\" in the sense that the best films are often not nominated. But whether they should or not, nominations give people juice for a certain period of time; they raise profiles. They attract attention. And by honoring people like Peele and Gerwig and Kaluuya and Morrison, the Oscar nominations found some new recipients for the power that putting the distinction \"Academy Award nominee\" after one's name confers.\u003c/p>\n\u003cp>\u003cstrong>Complete list of nominees:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best picture\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Call Me By Your Name\u003c/em>\u003c/p>\n\u003cp>\u003cem>Darkest Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>Dunkirk\u003c/em>\u003c/p>\n\u003cp>\u003cem>Get Out\u003c/em>\u003c/p>\n\u003cp>\u003cem>Lady Bird\u003c/em>\u003c/p>\n\u003cp>\u003cem>Phantom Thread\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Post\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Shape Of Water\u003c/em>\u003c/p>\n\u003cp>\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing\u003c/strong>\u003c/p>\n\u003cp>Christopher Nolan (\u003cem>Dunkirk\u003c/em>)\u003c/p>\n\u003cp>Jordan Peele (\u003cem>Get Out\u003c/em>)\u003c/p>\n\u003cp>Greta Gerwig (\u003cem>Lady Bird\u003c/em>)\u003c/p>\n\u003cp>Paul Thomas Anderson (\u003cem>Phantom Thread\u003c/em>)\u003c/p>\n\u003cp>Guillermo Del Toro (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/p>\n\u003cp>Sally Hawkins (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>Frances McDormand (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>Margot Robbie (\u003cem>I, Tonya\u003c/em>)\u003c/p>\n\u003cp>Saoirse Ronan (\u003cem>Lady Bird\u003c/em>)\u003c/p>\n\u003cp>Meryl Streep (\u003cem>The Post\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a leading role \u003c/strong>\u003c/p>\n\u003cp>Timothée Chalamet (\u003cem>Call Me By Your Name\u003c/em>)\u003c/p>\n\u003cp>Daniel Day-Lewis (\u003cem>Phantom Thread\u003c/em>)\u003c/p>\n\u003cp>Daniel Kaluuya (\u003cem>Get Out\u003c/em>)\u003c/p>\n\u003cp>Gary Oldman (\u003cem>Darkest Hour\u003c/em>)\u003c/p>\n\u003cp>Denzel Washington \u003cem>(Roman J. Israel, Esq.\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>Emily V. Gordon and Kumail Nanjiani (\u003cem>The Big Sick\u003c/em>)\u003c/p>\n\u003cp>Jordan Peele (\u003cem>Get Out\u003c/em>)\u003c/p>\n\u003cp>Greta Gerwig (\u003cem>Lady Bird\u003c/em>)\u003c/p>\n\u003cp>Screenplay by Guillermo Del Toro and Vanessa Taylor; story by Guillermo Del Toro (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>Martin McDonagh (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>James Ivory (\u003cem>Call Me By Your Name\u003c/em>)\u003c/p>\n\u003cp>Scott Neustadter and Michael H. Weber (\u003cem>The Disaster Artist\u003c/em>)\u003c/p>\n\u003cp>Screenplay by Scott Frank, James Mangold and Michael Green; story by James Mangold (\u003cem>Logan\u003c/em>)\u003c/p>\n\u003cp>Aaron Sorkin (\u003cem>Molly's Game\u003c/em>)\u003c/p>\n\u003cp>Screenplay by Virgil Williams and Dee Rees (\u003cem>Mudbound\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Boss Baby\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Breadwinner\u003c/em>\u003c/p>\n\u003cp>\u003cem>Coco\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ferdinand\u003c/em>\u003c/p>\n\u003cp>\u003cem>Loving Vincent\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>\"Mighty River\" by Mary J. Blige, Raphael Saadiq and Taura Stinson (\u003cem>Mudbound\u003c/em>)\u003c/p>\n\u003cp>\"Mystery of Love\" by Sufjan Stevens (\u003cem>Call Me By Your Name\u003c/em>)\u003c/p>\n\u003cp>\"Remember Me\" by Kristen Anderson-Lopez and Robert Lopez (\u003cem>Coco\u003c/em>)\u003c/p>\n\u003cp>\"Stand Up for Something\" by Diane Warren and Lonnie R. Lynn (aka Common) (\u003cem>Marshall\u003c/em>)\u003c/p>\n\u003cp>\"This is Me\" by Benj Pasek and Justin Paul (\u003cem>The Greatest Showman\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Abacus: Small Enough To Jail\u003c/em>\u003c/p>\n\u003cp>\u003cem>Faces Places\u003c/em>\u003c/p>\n\u003cp>\u003cem>Icarus\u003c/em>\u003c/p>\n\u003cp>\u003cem>Last Men In Aleppo\u003c/em>\u003c/p>\n\u003cp>\u003cem>Strong Island\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Edith + Eddie\u003c/em>\u003c/p>\n\u003cp>\u003cem>Heaven Is A Traffic Jam On The 405\u003c/em>\u003c/p>\n\u003cp>\u003cem>Heroin(e)\u003c/em>\u003c/p>\n\u003cp>\u003cem>Knife Skills\u003c/em>\u003c/p>\n\u003cp>\u003cem>Traffic Stop\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Fantastic Woman\u003c/em> (Chile)\u003c/p>\n\u003cp>\u003cem>The Insult \u003c/em>(Lebanon)\u003c/p>\n\u003cp>\u003cem>Loveless \u003c/em>(Russia)\u003c/p>\n\u003cp>\u003cem>On Body And Soul \u003c/em>(Hungary)\u003c/p>\n\u003cp>\u003cem>The Square \u003c/em>(Sweden)\u003c/p>\n\u003cp>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Willem Dafoe (\u003cem>The Florida Project\u003c/em>)\u003c/p>\n\u003cp>Woody Harrelson (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>Richard Jenkins (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>Christopher Plummer (\u003cem>All The Money In The World\u003c/em>)\u003c/p>\n\u003cp>Sam Rockwell (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Mary J. Blige (\u003cem>Mudbound\u003c/em>)\u003c/p>\n\u003cp>Allison Janney (\u003cem>I, Tonya\u003c/em>)\u003c/p>\n\u003cp>Lesley Manville (\u003cem>Phantom Thread\u003c/em>)\u003c/p>\n\u003cp>Laurie Metcalf (\u003cem>Lady Bird\u003c/em>)\u003c/p>\n\u003cp>Octavia Spencer (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>Kazuhiro Tsuji, David Malinowski and Lucy Sibbick (\u003cem>Darkest Hour\u003c/em>)\u003c/p>\n\u003cp>Daniel Phillips and Lou Sheppard (\u003cem>Victoria & Abdul\u003c/em>)\u003c/p>\n\u003cp>Arjen Tuiten (\u003cem>Wonder\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>Paul Machliss and Jonathan Amos (\u003cem>Baby Driver\u003c/em>)\u003c/p>\n\u003cp>Lee Smith (\u003cem>Dunkirk\u003c/em>)\u003c/p>\n\u003cp>Tatiana S. Riegel (\u003cem>I, Tonya\u003c/em>)\u003c/p>\n\u003cp>Sidney Wolinsky (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>Jon Gregory (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>John Nelson, Gerd Nefzer, Paul Lambert and Richard R. Hoover (\u003cem>Blade Runner 2049\u003c/em>)\u003c/p>\n\u003cp>Christopher Townsend, Guy Williams, Jonathan Fawkner and Dan Sudick (\u003cem>Guardians Of The Galaxy Vol. 2\u003c/em>)\u003c/p>\n\u003cp>Stephen Rosenbaum, Jeff White, Scott Benza and Mike Meinardus (\u003cem>Kong: Skull Island\u003c/em>)\u003c/p>\n\u003cp>Ben Morris, Mike Mulholland, Neal Scanlan and Chris Corbould (\u003cem>Star Wars: The Last Jedi\u003c/em>)\u003c/p>\n\u003cp>Joe Letteri, Daniel Barrett, Dan Lemmon and Joel Whist (\u003cem>War For The Planet Of The Apes\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>Hans Zimmer (\u003cem>Dunkirk\u003c/em>)\u003c/p>\n\u003cp>Jonny Greenwood (\u003cem>Phantom Thread\u003c/em>)\u003c/p>\n\u003cp>Alexandre Desplat (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>John Williams (\u003cem>Star Wars: The Last Jedi\u003c/em>)\u003c/p>\n\u003cp>Carter Burwell (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Short film (live action) \u003c/strong>\u003c/p>\n\u003cp>\u003cem>DeKalb Elementary\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Eleven O'Clock\u003c/em>\u003c/p>\n\u003cp>\u003cem>My Nephew Emmett\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Silent Child\u003c/em>\u003c/p>\n\u003cp>\u003cem>Watu Wote/All Of Us\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Dear Basketball\u003c/em>\u003c/p>\n\u003cp>\u003cem>Garden Party\u003c/em>\u003c/p>\n\u003cp>\u003cem>Lou\u003c/em>\u003c/p>\n\u003cp>\u003cem>Negative Space\u003c/em>\u003c/p>\n\u003cp>\u003cem>Revolting Rhymes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing \u003c/strong>\u003c/p>\n\u003cp>Julian Slater, Tim Cavagin and Mary H. Ellis (\u003cem>Baby Driver\u003c/em>)\u003c/p>\n\u003cp>Ron Bartless, Doug Hemphill and Mac Ruth (\u003cem>Blade Runner 2049\u003c/em>)\u003c/p>\n\u003cp>Mark Weingarten, Gregg Landaker and Gary A. Rizzo (\u003cem>Dunkirk\u003c/em>)\u003c/p>\n\u003cp>Christian Cooke, Brad Zoern and Glen Gauthier (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>David Parker, Michael Semanick, Ren Klyce and Stuart Wilson (\u003cem>Star Wars: The Last Jedi\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>Julian Slater \u003cem>(Baby Driver)\u003c/em>\u003c/p>\n\u003cp>Mark Mangini and Theo Green (\u003cem>Blade Runner 2049\u003c/em>)\u003c/p>\n\u003cp>Richard King and Alex Gibson (\u003cem>Dunkirk\u003c/em>)\u003c/p>\n\u003cp>Nathan Robitaille and Nelson Ferreira (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>Matthew Wood and Ren Klyce (\u003cem>Star Wars: The Last Jedi\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Costume design\u003c/strong>\u003c/p>\n\u003cp>Jacqueline Durran (\u003cem>Beauty And The Beast\u003c/em>)\u003c/p>\n\u003cp>Jacqueline Durran (\u003cem>Darkest Hour\u003c/em>)\u003c/p>\n\u003cp>Mark Bridges (\u003cem>Phantom Thread\u003c/em>)\u003c/p>\n\u003cp>Luis Sequeira (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>Consolata Boyle (\u003cem>Victoria & Abdul\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Cinematography\u003c/strong>\u003c/p>\n\u003cp>Roger Deakins (\u003cem>Blade Runner 2049)\u003c/em>\u003c/p>\n\u003cp>Bruno Delbonnel (\u003cem>Darkest Hour)\u003c/em>\u003c/p>\n\u003cp>Hoyte Van Hoytema (\u003cem>Dunkirk)\u003c/em>\u003c/p>\n\u003cp>Rachel Morrison (\u003cem>Mudbound\u003c/em>)\u003c/p>\n\u003cp>Dan Lausten (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>Sarah Greenwood and Katie Spencer (\u003cem>Beauty And The Beast\u003c/em>)\u003c/p>\n\u003cp>Dennis Gassner and Alessandra Querzola (\u003cem>Blade Runner 2049\u003c/em>)\u003c/p>\n\u003cp>Sarah Greenwood and Katie Spencer (\u003cem>Darkest Hour\u003c/em>)\u003c/p>\n\u003cp>Nathan Crowley and Gary Fettis (\u003cem>Dunkirk\u003c/em>)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Paul Denham Austerberry, Shane Vieau and Jeff Melvin (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shape+Of+Water%2C%27+%27Dunkirk%27+And+%27Three+Billboards%27+Lead+Oscar+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"This year's noms include some new voices, including the first woman ever nominated for cinematography.","status":"publish","parent":0,"modified":1516736644,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":159,"wordCount":1485},"headData":{"title":"Everything You Need To Know About This Year's Oscar Nominations | KQED","description":"This year's noms include some new voices, including the first woman ever nominated for cinematography.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"98676 https://ww2.kqed.org/pop/?p=98676","disqusUrl":"https://ww2.kqed.org/pop/2018/01/23/everything-you-need-to-know-about-this-years-oscar-nominations/","disqusTitle":"Everything You Need To Know About This Year's Oscar Nominations","nprImageCredit":"Christopher Polk","nprByline":"Linda Holmes","nprImageAgency":"Getty Images","nprStoryId":"579102656","nprApiLink":"http://api.npr.org/query?id=579102656&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/monkeysee/2018/01/23/579102656/oscars-2018-the-complete-list-of-nominees?ft=nprml&f=579102656","nprRetrievedStory":"1","nprPubDate":"Tue, 23 Jan 2018 12:14:00 -0500","nprStoryDate":"Tue, 23 Jan 2018 08:36:00 -0500","nprLastModifiedDate":"Tue, 23 Jan 2018 12:14:54 -0500","path":"/pop/98676/everything-you-need-to-know-about-this-years-oscar-nominations","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nominations for the 90th Academy Awards were announced Tuesday morning \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/01/23/578602536/watch-live-2018-oscar-nominations\">by a dapper, genial Andy Serkis and the always-intoxicating Tiffany Haddish\u003c/a>.\u003c/p>\n\u003cp>Serkis became famous for motion-capture performances in films like\u003cem> The Lord Of The Rings \u003c/em>films and the new take on \u003cem>Planet Of The Apes\u003c/em>. Haddish hit big in \u003cem>Girls Trip \u003c/em>this year and has earned countless admirers for being joyfully herself at every opportunity.\u003c/p>\n\u003cp>And while the nominees they announced weren't exactly unexpected given what we already knew – big showings for \u003ca href=\"http://www.imdb.com/title/tt5580390/?ref_=nv_sr_1\">\u003cem>The Shape Of Water\u003c/em>\u003c/a>, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5013056/?ref_=fn_al_tt_1\">Dunkirk\u003c/a> \u003c/em>and \u003ca href=\"http://www.imdb.com/title/tt5027774/?ref_=fn_al_tt_1\">\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>\u003c/a> — they had enough freshness and enough room for new voices that they didn't feel rote. Agree or disagree, they didn't simply represent a full list of the films and the performances that sounded the most \"Oscars-y\" from the directors and writers who had been nominated before.\u003c/p>\n\u003cp>For best picture, sure, two World War II dramas (\u003cem>Dunkirk \u003c/em>and \u003ca href=\"http://www.imdb.com/title/tt4555426/?ref_=fn_al_tt_1\">\u003cem>Darkest Hour\u003c/em>\u003c/a>) seem pretty obvious, and \u003ca href=\"http://www.imdb.com/title/tt6294822/?ref_=fn_al_tt_1\">\u003cem>The Post \u003c/em>\u003c/a>is a Steven Spielberg period piece. Guillermo del Toro making a beautiful fable like \u003cem>The Shape Of Water \u003c/em>is in an Oscars sweet spot, as is Paul Thomas Anderson's luscious but chilly \u003ca href=\"http://www.imdb.com/title/tt5776858/?ref_=fn_al_tt_1\">\u003cem>Phantom Thread \u003c/em>\u003c/a>and Martin McDonagh's \u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>. \u003ca href=\"http://www.imdb.com/title/tt5726616/?ref_=nv_sr_1\">\u003cem>Call Me By Your Name\u003c/em>\u003c/a>, a gentle love story with a James Ivory screenplay, is not too much of a reach.\u003c/p>\n\u003cp>But first-time feature director Greta Gerwig's \u003ca href=\"http://www.imdb.com/title/tt4925292/?ref_=fn_al_tt_1\">\u003cem>Lady Bird\u003c/em>\u003c/a>, a talky coming-of-age film with as much comedy in its DNA as drama? Jordan Peele's searing horror-comedy \u003ca href=\"http://www.imdb.com/title/tt5052448/?ref_=fn_al_tt_1\">\u003cem>Get Out\u003c/em>\u003c/a>? Neither of those necessarily felt genetically engineered to win Oscars, to compete for best picture or to bring new directors and new actors to the very tip-top of the ceremony where Hollywood, more than anything, tells a story about what it thinks it is.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gerwig and Peele join del Toro, Anderson and Christopher Nolan (who directed \u003cem>Dunkirk\u003c/em>) in the best director race, making it a fresher category than usual. Daniel Kaluuya, whose single traumatized tear became the image of \u003cem>Get Out\u003c/em>, seemed at one point in recent months like he might be slipping out of the best actor category, but then he slipped right back in — albeit in a tough race against Gary Oldman in \u003cem>Darkest Hour\u003c/em>, Timothée Chalamet in \u003cem>Call Me By Your Name\u003c/em>, Daniel Day-Lewis in \u003cem>Phantom Thread\u003c/em> and Denzel Washington in \u003ca href=\"http://www.imdb.com/title/tt6000478/?ref_=fn_al_tt_1\">\u003cem>Roman J. Israel, Esq. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>But no first, no for-real \u003cem>first\u003c/em>, feels quite as big as Rachel Morrison's nomination for cinematography for \u003ca href=\"http://www.imdb.com/title/tt2396589/?ref_=fn_al_tt_1\">\u003cem>Mudbound\u003c/em>\u003c/a>. Hard as it is to believe, no woman has ever been nominated in the category before. Directed by Dee Rees,\u003cem> Mudbound \u003c/em>did well for itself all around on nomination day: Its screenplay was nominated, as were an original song and supporting actress work by Mary J. Blige.\u003c/p>\n\u003cp>Even more than usual, films not nominated for Best Picture wiggled into the screenplay categories: \u003ca href=\"http://www.imdb.com/title/tt3521126/?ref_=fn_al_tt_1\">\u003cem>The Disaster Artist\u003c/em>\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt4209788/?ref_=nv_sr_1\">\u003cem>Molly's Game\u003c/em>,\u003c/a> \u003cem>Mudbound \u003c/em>and \u003ca href=\"http://www.imdb.com/title/tt3315342/?ref_=fn_al_tt_1\">\u003cem>Logan \u003c/em>\u003c/a>for adapted screenplay, and \u003ca href=\"http://www.imdb.com/title/tt5462602/?ref_=fn_al_tt_1\">\u003cem>The Big Sick\u003c/em>\u003c/a> for original screenplay. In the end, there are 10 screenplay nominations and nine best picture nominations, but only five overlap.\u003c/p>\n\u003cp>People will take exception to what was nominated, and especially what wasn't: It would have been lovely to see more affection for Sean Baker's beautiful \u003ca href=\"http://www.imdb.com/title/tt5649144/?ref_=nv_sr_1\">\u003cem>The Florida Project\u003c/em>\u003c/a>, which earned only a nod for its most famous actor, Willem Dafoe. It would have been nice to see more nominees from \u003cem>Get Out\u003c/em>, which runs on several terrific performances besides Kaluuya's.\u003c/p>\n\u003cp>Power in Hollywood doesn't just shift; it must be shifted. If it is to support more new voices, and more kinds of voices, it must hand them power. Oscar nominations don't really \"matter\" in the sense that the best films are often not nominated. But whether they should or not, nominations give people juice for a certain period of time; they raise profiles. They attract attention. And by honoring people like Peele and Gerwig and Kaluuya and Morrison, the Oscar nominations found some new recipients for the power that putting the distinction \"Academy Award nominee\" after one's name confers.\u003c/p>\n\u003cp>\u003cstrong>Complete list of nominees:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best picture\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Call Me By Your Name\u003c/em>\u003c/p>\n\u003cp>\u003cem>Darkest Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>Dunkirk\u003c/em>\u003c/p>\n\u003cp>\u003cem>Get Out\u003c/em>\u003c/p>\n\u003cp>\u003cem>Lady Bird\u003c/em>\u003c/p>\n\u003cp>\u003cem>Phantom Thread\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Post\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Shape Of Water\u003c/em>\u003c/p>\n\u003cp>\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing\u003c/strong>\u003c/p>\n\u003cp>Christopher Nolan (\u003cem>Dunkirk\u003c/em>)\u003c/p>\n\u003cp>Jordan Peele (\u003cem>Get Out\u003c/em>)\u003c/p>\n\u003cp>Greta Gerwig (\u003cem>Lady Bird\u003c/em>)\u003c/p>\n\u003cp>Paul Thomas Anderson (\u003cem>Phantom Thread\u003c/em>)\u003c/p>\n\u003cp>Guillermo Del Toro (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/p>\n\u003cp>Sally Hawkins (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>Frances McDormand (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>Margot Robbie (\u003cem>I, Tonya\u003c/em>)\u003c/p>\n\u003cp>Saoirse Ronan (\u003cem>Lady Bird\u003c/em>)\u003c/p>\n\u003cp>Meryl Streep (\u003cem>The Post\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a leading role \u003c/strong>\u003c/p>\n\u003cp>Timothée Chalamet (\u003cem>Call Me By Your Name\u003c/em>)\u003c/p>\n\u003cp>Daniel Day-Lewis (\u003cem>Phantom Thread\u003c/em>)\u003c/p>\n\u003cp>Daniel Kaluuya (\u003cem>Get Out\u003c/em>)\u003c/p>\n\u003cp>Gary Oldman (\u003cem>Darkest Hour\u003c/em>)\u003c/p>\n\u003cp>Denzel Washington \u003cem>(Roman J. Israel, Esq.\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>Emily V. Gordon and Kumail Nanjiani (\u003cem>The Big Sick\u003c/em>)\u003c/p>\n\u003cp>Jordan Peele (\u003cem>Get Out\u003c/em>)\u003c/p>\n\u003cp>Greta Gerwig (\u003cem>Lady Bird\u003c/em>)\u003c/p>\n\u003cp>Screenplay by Guillermo Del Toro and Vanessa Taylor; story by Guillermo Del Toro (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>Martin McDonagh (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>James Ivory (\u003cem>Call Me By Your Name\u003c/em>)\u003c/p>\n\u003cp>Scott Neustadter and Michael H. Weber (\u003cem>The Disaster Artist\u003c/em>)\u003c/p>\n\u003cp>Screenplay by Scott Frank, James Mangold and Michael Green; story by James Mangold (\u003cem>Logan\u003c/em>)\u003c/p>\n\u003cp>Aaron Sorkin (\u003cem>Molly's Game\u003c/em>)\u003c/p>\n\u003cp>Screenplay by Virgil Williams and Dee Rees (\u003cem>Mudbound\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Boss Baby\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Breadwinner\u003c/em>\u003c/p>\n\u003cp>\u003cem>Coco\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ferdinand\u003c/em>\u003c/p>\n\u003cp>\u003cem>Loving Vincent\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>\"Mighty River\" by Mary J. Blige, Raphael Saadiq and Taura Stinson (\u003cem>Mudbound\u003c/em>)\u003c/p>\n\u003cp>\"Mystery of Love\" by Sufjan Stevens (\u003cem>Call Me By Your Name\u003c/em>)\u003c/p>\n\u003cp>\"Remember Me\" by Kristen Anderson-Lopez and Robert Lopez (\u003cem>Coco\u003c/em>)\u003c/p>\n\u003cp>\"Stand Up for Something\" by Diane Warren and Lonnie R. Lynn (aka Common) (\u003cem>Marshall\u003c/em>)\u003c/p>\n\u003cp>\"This is Me\" by Benj Pasek and Justin Paul (\u003cem>The Greatest Showman\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Abacus: Small Enough To Jail\u003c/em>\u003c/p>\n\u003cp>\u003cem>Faces Places\u003c/em>\u003c/p>\n\u003cp>\u003cem>Icarus\u003c/em>\u003c/p>\n\u003cp>\u003cem>Last Men In Aleppo\u003c/em>\u003c/p>\n\u003cp>\u003cem>Strong Island\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Edith + Eddie\u003c/em>\u003c/p>\n\u003cp>\u003cem>Heaven Is A Traffic Jam On The 405\u003c/em>\u003c/p>\n\u003cp>\u003cem>Heroin(e)\u003c/em>\u003c/p>\n\u003cp>\u003cem>Knife Skills\u003c/em>\u003c/p>\n\u003cp>\u003cem>Traffic Stop\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Fantastic Woman\u003c/em> (Chile)\u003c/p>\n\u003cp>\u003cem>The Insult \u003c/em>(Lebanon)\u003c/p>\n\u003cp>\u003cem>Loveless \u003c/em>(Russia)\u003c/p>\n\u003cp>\u003cem>On Body And Soul \u003c/em>(Hungary)\u003c/p>\n\u003cp>\u003cem>The Square \u003c/em>(Sweden)\u003c/p>\n\u003cp>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Willem Dafoe (\u003cem>The Florida Project\u003c/em>)\u003c/p>\n\u003cp>Woody Harrelson (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>Richard Jenkins (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>Christopher Plummer (\u003cem>All The Money In The World\u003c/em>)\u003c/p>\n\u003cp>Sam Rockwell (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Mary J. Blige (\u003cem>Mudbound\u003c/em>)\u003c/p>\n\u003cp>Allison Janney (\u003cem>I, Tonya\u003c/em>)\u003c/p>\n\u003cp>Lesley Manville (\u003cem>Phantom Thread\u003c/em>)\u003c/p>\n\u003cp>Laurie Metcalf (\u003cem>Lady Bird\u003c/em>)\u003c/p>\n\u003cp>Octavia Spencer (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>Kazuhiro Tsuji, David Malinowski and Lucy Sibbick (\u003cem>Darkest Hour\u003c/em>)\u003c/p>\n\u003cp>Daniel Phillips and Lou Sheppard (\u003cem>Victoria & Abdul\u003c/em>)\u003c/p>\n\u003cp>Arjen Tuiten (\u003cem>Wonder\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>Paul Machliss and Jonathan Amos (\u003cem>Baby Driver\u003c/em>)\u003c/p>\n\u003cp>Lee Smith (\u003cem>Dunkirk\u003c/em>)\u003c/p>\n\u003cp>Tatiana S. Riegel (\u003cem>I, Tonya\u003c/em>)\u003c/p>\n\u003cp>Sidney Wolinsky (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>Jon Gregory (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>John Nelson, Gerd Nefzer, Paul Lambert and Richard R. Hoover (\u003cem>Blade Runner 2049\u003c/em>)\u003c/p>\n\u003cp>Christopher Townsend, Guy Williams, Jonathan Fawkner and Dan Sudick (\u003cem>Guardians Of The Galaxy Vol. 2\u003c/em>)\u003c/p>\n\u003cp>Stephen Rosenbaum, Jeff White, Scott Benza and Mike Meinardus (\u003cem>Kong: Skull Island\u003c/em>)\u003c/p>\n\u003cp>Ben Morris, Mike Mulholland, Neal Scanlan and Chris Corbould (\u003cem>Star Wars: The Last Jedi\u003c/em>)\u003c/p>\n\u003cp>Joe Letteri, Daniel Barrett, Dan Lemmon and Joel Whist (\u003cem>War For The Planet Of The Apes\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>Hans Zimmer (\u003cem>Dunkirk\u003c/em>)\u003c/p>\n\u003cp>Jonny Greenwood (\u003cem>Phantom Thread\u003c/em>)\u003c/p>\n\u003cp>Alexandre Desplat (\u003cem>The Shape Of Water\u003c/em>)\u003c/p>\n\u003cp>John Williams (\u003cem>Star Wars: The Last Jedi\u003c/em>)\u003c/p>\n\u003cp>Carter Burwell (\u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Short film (live action) \u003c/strong>\u003c/p>\n\u003cp>\u003cem>DeKalb Elementary\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Eleven O'Clock\u003c/em>\u003c/p>\n\u003cp>\u003cem>My Nephew Emmett\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Silent Child\u003c/em>\u003c/p>\n\u003cp>\u003cem>Watu Wote/All Of Us\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Dear Basketball\u003c/em>\u003c/p>\n\u003cp>\u003cem>Garden Party\u003c/em>\u003c/p>\n\u003cp>\u003cem>Lou\u003c/em>\u003c/p>\n\u003cp>\u003cem>Negative Space\u003c/em>\u003c/p>\n\u003cp>\u003cem>Revolting Rhymes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing \u003c/strong>\u003c/p>\n\u003cp>Julian Slater, Tim Cavagin and Mary H. Ellis (\u003cem>Baby Driver\u003c/em>)\u003c/p>\n\u003cp>Ron Bartless, Doug Hemphill and Mac Ruth (\u003cem>Blade Runner 2049\u003c/em>)\u003c/p>\n\u003cp>Mark Weingarten, Gregg Landaker and Gary A. 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To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shape+Of+Water%2C%27+%27Dunkirk%27+And+%27Three+Billboards%27+Lead+Oscar+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/98676/everything-you-need-to-know-about-this-years-oscar-nominations","authors":["byline_pop_98676"],"categories":["pop_51"],"tags":["pop_255","pop_211"],"featImg":"pop_98677","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. 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