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brian-in-finance · 2 years

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Why the Oscars Have Become Harder Than Ever to Predict

The Hollywood Reporter’s awards analyst takes a look at how the explosion of international members of the Academy, who are largely unrepresented in the guilds, has changed the calculus.

Until the #OscarsSoWhite controversy exploded in 2016 — when, for the second consecutive year, no non-white performers were nominated for acting Oscars — the Academy of Motion Picture Arts and Sciences was inviting roughly 300 people to become new members each year. Afterward, it welcomed considerably more diverse classes of 683 in 2016, 774 in 2017, 928 in 2018, 842 in 2019 and 819 in 2020, the year its “A2020” equity and inclusion goals were met, before returning to a more traditional 375 in 2021. In other words, 4,421 of the Academy’s approximately 9,400 current active members — or 47 percent — weren’t part of the organization just six years ago.

A byproduct of the Academy’s diversity push has been a huge increase in the number of its members who are based outside of America: up from 12 percent in 2015 to more than 25 percent, with 75 countries across six continents now represented. As a result of that — as much as, if not more so than, the Academy’s increase in diversity — I believe that the Oscars are now harder to predict, and that non-English-language films are more viable, than ever before.

The strongest hints about what the Academy will recognize with Oscar nominations and wins have long come from Hollywood’s guilds (e.g., SAG-AFTRA’s SAG Awards), trade associations (e.g., the Producers Guild of America’s PGA Awards) and honorary professional societies (e.g., the American Cinema Editors’ ACE Eddie Awards) because the majority of Academy members belonged to these organizations, too. But the same is true of very few filmmakers based abroad, which means that, these days, the tastes of one-quarter of Academy members aren’t accounted for when those groups weigh in, something that may explain the organizations’ recently spotty track record of “predicting” Academy behavior.

Moreover, many of the Academy’s international members are less deterred by subtitles than Americans, having grown accustomed to them by watching Hollywood’s English-language films. I suspect that this explains how Spanish-language Roma became only the 11th non-English-language film ever nominated for the best picture Oscar (and its two principal actresses received noms despite having been snubbed by the SAG Awards); how, a year later, Korean-language Parasite, became the 12th and the first ever to win that prize (the SAG Awards were the only precursor to honor it); and how, a year after that, Korean-language Minari became the 13th (and its scene-stealer Yuh-jung Youn became only the sixth winner for a performance given in a spoken language other than English).

International members also are considerably harder to reach through traditional Oscar campaigning than domestic members. Even before the pandemic halted in-person gatherings, no distributor had the resources to hold screenings or events in anywhere near 75 countries. And these members are obviously not going to commute past a Sunset Boulevard billboard or a Times Square subway station poster or make it to a talent-attended luncheon in New York or Q&A in Los Angeles.

The pandemic, of course, has shifted the equation. Academy members everywhere are interacting with one another less and relying more on critics to guide their decisions about which films to prioritize. Critics are generally more open to international fare than others, as demonstrated this season by the decisions of the L.A. Film Critics Association, the New York Film Critics Circle and the National Society of Film Critics to name Japan’s Drive My Car as 2021’s best film.

This season also is the first in which hard-copy screeners aren’t allowed to be sent to Academy members, which levels the playing field. Producing and sending DVDs to Academy members globally was expensive, sometimes costing as much as six figures, particularly when anti-piracy watermarks were required. As a result, many non-English-language films were sent only to select Academy branches (e.g., actors or writers), limiting their viability for best picture. Now, for a considerably lower fee of $12,500, any qualifying film can be uploaded to the Academy’s members-only streaming service. Right now, among the 157 titles listed under “best picture” on that platform are 10 of the 15 that were shortlisted for the best international feature Oscar and six others that weren’t.

So just because the SAG Awards didn’t nominate Parallel Mothers’ Penélope Cruz or The Worst Person in the World’s Renate Reinsve for best actress, the PGA Awards opted not to highlight Drive My Car and the DGA Awards will alomst certainly pass over A Hero’s Asghar Farhadi or The Hand of God’s Paolo Sorrentino, doesn’t mean that any of them should be counted out for the Oscars. For the Academy, it’s a whole new world.

Remember… many of the Academy’s international members are less deterred by subtitles than Americans, having grown accustomed to them by watching Hollywood’s English-language films.

#Tait rhymes with hat #Good times #BelfastMovie #The Hollywood Reporter #27 January 2022 #Belfast #Worldwide 2022 #Twitter

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ansheofthevalley · 4 years

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I know a lot of people are upset about Little Women not receiving more noms, especially a Best Director nom (which was totally deserved). And I know some are upset that Gerwig didn’t win Best Adapted Screenplay.

BUT... History was made. A non-english speaking film won Best Picture FOR THE FIRST TIME EVER. A non-english speaking director won Best Director for the third year in a row. A Māori jewish man won Best Adapted Screenplay. Hair Love won Best Animated Short. It was a GREAT year in terms of representation, especially for POC.

Is there still a long way to go? Yes. But progress is being made. Just because the progress is putting POC under the spotlight doesn't mean people are being underrepresented.

History was made when Moonlight won Best Picture, a film with an all-black ensemble that touches on love, abuse, homophobia and adiction.

History was made when Black Panther, a blockbuster that told the story of Black civilization untouched by colonialism, was nominated for SEVEN Academy Awards, including Best Picture. It made history when Ruth E. Carter won Best Costume Design and Hannah Beachler won Best Production Design (along with Jay Hart), making them the first African-Americans to win in those categories.

History was made when Roma, a non-english speaking film, was nominated for TEN Academy Awards (tying with The Favourite for most nominations), including Best Picture, Best Director, Best Actress in a Lead Role and Best Actress in a Supporting Role. Yalitza Aparicio became the first indigenous woman to be nominated in the Best Actress category. Alfonso Cuarón won Best Foreign Language Film, Best Cinematography and Best Director, making it the second time in a row that a mexican director wins Best Director (Guillermo Del Toro had win in that category the previous year for The Shape of Water).

That’s not to say that women and POC were overlooked this year when it comes to the principal categories. Like I said earlier, Gerwig was snubbed in the Best Director category. I say the same happened to Lulu Wang (The Farewell). In the acting categories, the most notable subs were those of Lupita Nyong’o, Awkwafina, Jennifer Lopez, Cheo Yeo-Jong and Park So-Dam.

I mean, Awkwafina won a Golden Globe for her performance in The Farewell and Cho Yeo-Jong and Park So-Dam (along with the whole cast of Parasite) won Best Ensemble at the SAG awards.

There’s still a long way to go. But the only way we’ll see true inclusion is if we fight for the inclusion of all, not just ours.

Support and celebrate projects made by black people

Support and celebrate projects made by asian people

Support and celebrate project made by latinx people

Support and celebrate projects made by people in the LGBTQ+ community

Support and celebrate projects made by women

It’s the only way in which we’ll see true inclusion in media. The more set of diverse voices we have in media, the better it will be in terms of representation.

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victormoranlive · 5 years

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IT'S GARRY MONDAY LUNATICS!!!This week in #GarryInRealLife (your academy member's least favorite #webcomic) we see what Garry thought about the #AcademyAwards giving #GreenBook #BestPicture & his overall view on #TheOscars. ENJOY!

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aquariumsoap · 5 years

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Bohemian Rhapsody is gonna sweep isn’t it

#either that or roma #the favourite and asib will be snubbed #same with blackkklansmen #oscars

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fantabulosabasket · 4 years

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On the generation divide within the Italian LGBT+ community, and its connection to Fascist persecution under Mussolini:

“Given...the renowned homophobic feelings of the Italian Communist Party members...it is not surprising that gay and lesbian victims of the fascist regime received very little mention after the war and in subsequent decades by historians. In addition, the series of Christian Democratic Party (DC)-led coalition governments that rules the country till the 1980s, did not foster any interest in gender, sexuality and homosexuality issues. So, while the Italian Jewish community efficiently organised an immediate collection of survivors’ memories and diligently reconstructed the repression it had suffered, keeping its memory alive, the history of other minorities who were persecuted by the regime, such as Roma people, Jehovah’s Witnesses, anarchists, pacifists, Protestants, gays and lesbians, remained untold.

...what emerged from the archives (n.b. in the 80s and 90s) and subsequent oral history interviews was disappointing for most in terms of content. Instead of the expected counter-balance to the ‘Grand Narrative of the Resistance’, there was no trace of heroic gestures, of fierce and brave opposition to the regime. The older generation of homosexuals had lived in the closet and had believed in discretion, sometimes hiding behind a respectable marriage. Even the words omosessuale and lesbica were often out of their dictionary and most of them, if male, referred to themselves using pejorative and insulting nouns such as frocio, ricchione, femminella, arruso. The few who accepted to be interviewed often did so only if total anonymity was guaranteed while most of them declined to talk. Their existence seemed to have been permanently scarred by the constant fear, humiliation and isolation they had endured during the Ventennio. In short, they represented everything the new generations of Italian queers, born after the war, stood against. The end-of-the-century queer motto ‘positive images, positive role models’ excluded these older generation people, perceived as supine victims who had continued living underground lives well after the dictatorship and had never taken part in any of the activists’ initiatives or civil rights campaigns in subsequent years. In turn, older LGBT people did not recognise themselves in the new coming-out generation’s values, they felt snubbed, misunderstood, negatively judged and withdrew. The generational gap, that had impaired chances of collecting first hand oral accounts, widened further.”

- Gabriella Romano, The Pathologisation of Homosexuality in Fascist Italy: The Case of ‘G’

#history of sexuality #lgbt+ history #queer history #italian history #20th century #homophobia tw #queer

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scottbcrowley2 · 5 years

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In snub of Netflix, AMC and Regal cinemas won’t show ‘Roma’ as part of Oscars showcases - Tue, 22 Jan 2019 PST

Two of the largest cinema chains in the U.S. won’t show Netflix’s “Roma” as part of their annual best-picture Oscars showcases, in a further sign that chilly relations haven’t thawed between major exhibitors and the streaming entertainment company. In snub of Netflix, AMC and Regal cinemas won’t show ‘Roma’ as part of Oscars showcases - Tue, 22 Jan 2019 PST

#Spokesman.com: Latest stories #In snub of Netflix #AMC and Regal cinemas won’t show ‘Roma’ as part o

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aion-rsa · 3 years

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Oscars 2021 Predictions and Analysis of Frontrunners

https://ift.tt/3s3HJE1

Perhaps the most surprising thing about the Oscars 2021 nominations is how unsurprising they were. There were course a handful of snubs, from One Night in Miami and Ma Rainey’s Black Bottom being left out of the Best Picture category to LaKeith Stanfield surprising awards watchers with a Best Supporting Actor nod thanks to Judas and the Black Messiah (displacing Chadwick Boseman from Da 5 Bloods). But by and large? Things proceeded the way prognosticators pretty much expected.

With the Academy of Motion Picture Arts and Sciences picks in, we can see that David Fincher’s Mank is the technical favorite with below the line voters, pushing the Netflix deconstruction of Golden Age Hollywood to eight nominations. These include major nods for Picture, Director and Best Actor (Gary Oldman) and Best Supporting Actress (Amanda Seyfried), but also a lot of technical recognition too in Cinematography, Production Design, Costume, and Makeup and Hairstyling.

Even so, the obvious frontrunner remains Chloé Zhao’s Nomadland, a beautiful film that turns the tragedy of the Great Recession into a bittersweet celebration of American Nomad culture. The Searchlight Pictures release garnered six nominations, including Zhao in the Best Director category and another for Best Picture. Zhao’s directing nod, alongside Emerald Fennell for Promising Young Woman, additionally made history with this being the first time two women were nominated in the Best Director category in the same year.

Meanwhile fans still mourning Chadwick Boseman’s tragic loss, as well as celebrating his tour de force final performance in Ma Rainey’s Black Bottom, can take some small comfort in the actor being the heavily favored contender in the Best Actor category.

In the end, things proceeded more or less as how the breathless awards race media class hoped it would. All of which raises an interesting question: Will there be any actual surprises then on Oscar night? Well… below is our best, and entirely too early, guess at what will win Best Picture and the other major categories. Be sure to check back here on Oscar night to remind us how wrong we were.

Just for clarity, nominees we want to win will be italicized while the ones we think will win will be bolded. When they’re one in the same, one contender will be italicized and bolded.

Best Picture

The Father Judas and the Black Messiah Mank Minari Nomadland Promising Young Woman Sound of Metal The Trial of the Chicago 7

I’m not sure I can think of a year with a more clear cut and inevitable frontrunner than Nomadland in 2021. There have been other years with dominant frontrunners—almost every year in fact—including several that go on to win, such as Green Book just two award seasons ago. However, there is almost always a counter-narrative that threatens the perceived frontrunner. Sometimes those whisper campaigns unseat the presumptive winner (see La La Land and 1917), and sometimes they don’t. But in the case of Chloé Zhao’s Nomadland there isn’t even a serious challenger.

This in part because Zhao made an extraordinary film which uncannily mixed documentarian filmmaking and its study of real-life American Nomads with narrative storytelling. It’s a trick Zhao has done several times before, including memorably with the Independent Spirit Award winner, The Rider. But here it is done with Oscar favorite in star Frances McDormand, and it draws attention to a whole culture of forgotten (white) Americans. Additionally, Nomadland is opening in a pandemic year where most of the more traditional awards contenders have vacated. The ones that haven’t are mostly being produced by Netflix, including The Trial of the Chicago 7 and Mank. The former might be a real contender for Best Picture under different circumstances, but the Academy is notoriously recalcitrant toward awarding Best Picture to Netflix originals and other streaming efforts. Just ask Roma for more.

Nomadland braved a small theatrical debut ahead of its premiere on Hulu, supporting the theatrical experience during COVID, while Chicago 7 was snubbed a Best Director nomination, suggesting there is some skepticism toward the film among a large wing of Academy voters. Mank, meanwhile, is an acquired taste that appeals to my personal sensibility. But it’s quite cold and less a love letter to the movie industry than a loving middle finger. That fact will probably hurt it in a number of categories, including Best Original Screenplay where it was snubbed today.

Best Director

Thomas Vinterberg, Another Round David Fincher, Mank Lee Isaac Chung, Minari Chloé Zhao, Nomadland Emerald Fennell, Promising Young Woman

While I would vote another way for Best Picture, I am totally onboard with seeing Zhao pick up the Best Director plaudit. Hers is an entirely unique cinematic voice that has successfully blurred the lines of how narrative filmmaking can be conveyed, and she’s done so while cultivating a great sense of empathy in Nomadland. The picture that finds beauty and resilience in a story that could’ve been a tragedy, memorializing the Americans left behind by the Great Recession.

Her groundbreaking techniques make her stand out in her field. Plus, Academy will be acutely self-conscious this year about the disappointing fact that only one other woman, Kathryn Bigelow, has won a Best Director Oscar. So be prepared for Zhao to make that two.

Best Actress

Viola Davis, Ma Rainey’s Black Bottom Andra Day, The United States vs. Billie Holiday Vanessa Kirby, Pieces of a Woman Frances McDormand, Nomadland Carey Mulligan, Promising Young Woman

Carey Mulligan is phenomenal in Emerald Fennell’s Promising Young Woman. Acerbic but devastating, guarded but vulnerable, and equal parts righteous and occasionally terrifying, she provides a multifaceted turn unlike anything else we’ve seen from the now twice-nominated actor. Previously she was recognized for her ingénue breakout in An Education, but now as an adult thespian, she’s a true revelation. That narrative will appeal to Academy voters, especially as they tend to favor younger actresses in the lead category. Frances McDormand is a famous exception to that rule, but McDormand has two Oscars already, and one is for Three Billboards Outside Ebbing, Missouri from only three years ago. Also Mulligan is much more keen on playing the awards season campaign game.

Admittedly, Andra Day won for Best Actress in a Drama at the Golden Globes … but the Globes are always going to be their own thing (ask Jodie Foster for more). And while Day is wonderful in The United States vs. Billie Holiday, that movie’s more meager quality is going to be an albatross.

Best Actor

Riz Ahmed, Sound of Metal Chadwick Boseman, Ma Rainey’s Black Bottom Anthony Hopkins, The Father Gary Oldman, Mank Steven Yeun, Minari

In his final performance, Chadwick Boseman is heartbreaking and utterly riveting. All strained bravado and barely masked desperation, his Levee is cool to a tragic fault in Ma Rainey’s Black Bottom. The film he occupies, based on the August Wilson play of the same name, enjoys its contrasts about Black artists navigating white dominated industries. But while Viola Davis’ charismatic turn is above the title, the B-side to her story as embodied by Levee is where the film’s ghosts wait. And they stayed with me long after the Netflix film ended.

Movies

How Chadwick Boseman Created His Final Performance in Ma Rainey’s Black Bottom

By Don Kaye

Movies

Promising Young Woman: Director Emerald Fennell Breaks Down the Ending

By Rosie Fletcher

Boseman deserves a posthumous Oscar for his turn—which would make him only the third performer to win one after Peter Finch for Network and Heath Ledger for The Dark Knight—and he’ll almost certainly get it on Oscar night.

Best Supporting Actress

Maria Bakalova, Borat Glenn Close, Hillbilly Eleg Olivia Colman, The Father Amanda Seyfried, Mank Youn, Yuh-jung, Minari

Conventional wisdom says Olivia Colman will win Best Supporting Actress for The Father. The Academy certainly likes her, having awarded her Best Actress two years ago for The Favourite, and the Academy also has a history of being more lenient on relative back-to-back Oscars in the Supporting category, unlike the historical precedents in the leading actor categories. However, I’m taken by the relative lack of consensus-building around Colman to date. Granted the Golden Globes denied Colman in favor of Jodie Foster, whose performance wasn’t even recognized by the Oscars this year. But the Critics Choice Awards also overlooked Colman while providing Maria Bakalova with a surprise win for Borat: Subsequent Moviefilm.

Precedent should still make me wary of picking Bakalova to win the award. After all, it’s a comedic performance which the Academy usually shies away from. However, this comedic turn was so good, it was able to expose Rudy Giuliani to be a creep with his hand down his pants in front of the world. That will appeal to Academy voters, especially after a year like 2020. Meanwhile my personal choice—Amanda Seyfried’s understated but wholly authentic restoration of Marion Davies’ image after Citizen Kane—may suffer from just a general apathy toward that film’s demeanor, at least from above the line voters. Her snub by her peers at the SAG Awards unfortunately speaks poorly of her chances.

Best Supporting Actor

Sacha Baron Cohen, The Trial of the Chicago 7 Daniel Kaluuya, Judas and the Black Messiah Leslie Odom Jr., One Night in Miami Paul Raci, Sound of Metal LaKeith Stanfield, Judas and the Black Messiah

Daniel Kaluuya’s performance in Judas and the Black Messiah is a sweltering achievement. With limited screen time—despite being the ostensible messiah of the film’s title—Kaluuya is searing as the Black Panther Party Chairman who created the Rainbow Coalition and was hounded to his death by the FBI through illegal means. I’m also partial to Sacha Baron Cohen’s turn in The Trial of the Chicago 7 where he showed a more sardonic range as a counterculture activist in the Windy City. But even I’ll concede his performance isn’t the one folks will probably be quoting for years to come.

Best Original Screenplay

Judas and the Black Messia Minari Promising Young Woman Sound of Metal The Trial of the Chicago 7

Traditionally the Screenplay categories are where Academy voters tend to recognize the more challenging outside-the-mainstream Best Picture nominees they don’t want to give the top prize to. Ergo, it’s a great place for Emerald Fennell to pick up an award for Promising Young Woman. The movie is too candy colored bleak and light hearted in its tragedies to garner enough Academy support in Best Picture, but its originality will be awarded here.

Best Adapted Screenplay

Borat 2 The Father Nomadland One Night in Miami The White Tiger

I suspect the love for Nomadland will continue in the Adapted Screenplay category with Zhao picking up another Oscar. While the screenplay is quite brilliant, I personally feel the movie’s greater achievement is in its visual storytelling and melding of real stories with a broader fictional narrative. Whereas Kemp Powers’ adaptation of his own play is magnificent. There is a fair criticism to be made that Powers couldn’t fully escape the stageniess of his original conceit about spending a night in a motel room with Malcolm X, Muhammad Ali, Sam Cooke, and Jim Brown. But the acute intelligence of his dialogue, and the way it cuts to the tensions of Black responsibility juxtaposed with soft American power, is as potent as it is finally exciting.

Best Cinematography

Judas and the Black Messiah Mank News of the World Nomadland The Trial of the Chicago 7

I suppose I’m predicting a sweep for Nomadland, which in some ways will be earned. In others it may not, such as if Sean Bobbitt’s cinematography in Judas and the Black Messiah.

Best Film Editing

The Father Nomadland Promising Young Woman Sound of Metal The Trial of the Chicago 7

Film editing should be the one category Aaron Sorkin’s The Trial of the Chicago 7 has locked up. With a breathless pace executed in nervy style by Alan Baumgarten, The Trial of the Chicago 7 makes dialogue exchanges out to be as exciting as any special effects-heavy set piece.

Best Costume Design

Emma. Mank Ma Rainey’s Black Bottom Mulan Pinocchio

I suspect Costumes will be one area where Ma Rainey’s Black Bottom receives some technical applause by the Academy. However, I think the pastel and historically accurate designs in Autumn de Wilde’s meticulously designed Emma. shouldn’t go overlooked.

Best Production Design

The Father Ma Rainey’s Black Bottom Mank News of the World Tenet

The amount of painstaking research and effort that went into so minutely recreating 1930s Hollywood in David Fincher’s Mank is undeniable. While I am expecting largely a shutout for my favorite film of last year, this will be one place where Mank will not go ignored.

Best Makeup and Hairstyling

Emma Hillbilly Elegy Ma Rainey’s Black Bottom Mank Pinocchio

Ma Rainey’s Black Bottom can win for Viola Davis’ immersive transformation into the Mother of the Blues alone.

Best Original Score

Da 5 Bloods Mank Minari News of the World Soul

It stands to reason that Trent Reznor and Atticus Ross will pick up another Oscar for the score of Soul, which will also mark the first one for co-writer Jon Batiste. This would be a happy outcome, but if I’m honest the Emile Mosseri score of Minari touched me more.

Best Animated Feature Film

Onward Over the Moon A Shaun the Sheep Movie: Farmageddon Soul Wolfwalkers

It’s another open and shut year for Pixar thanks to Soul. There’s of course a case to be made for Wolfwalkers, which was a beautiful work of art that’s actually hand drawn. But it’s an open secret that most Academy voters (sadly) do not watch all the animated nominees, and pick solely from the Pixar/Disney catalog. And Soul really is one of the best Pixar films in quite a while so…

Best Visual Effects

Love and Monsters The Midnight Sky Mulan The One and Only Ivan Tenet

There is precedent for the Academy to award less than deserving films in this category simply because the winner is associated with a more popular movie in above the line categories. However, none of the above the line darlings were visual effects heavy this year, and for whatever you might think about Christopher Nolan’s Tenet, there is no denying its visual wizardry is astounding, from the stunt work that sees men bungie jumping upwards to having in-camera effects happening simultaneously in different time streams. So the movie that wanted to “save cinema” may not be entirely overlooked by the industry on Oscar night.

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wandaposting · 4 years

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Can you talk about the whitewashing controversy? I think it's a shame, but some people are acting like the people looking forward to WandaVision killed their dog lol.

They were originally white from 1964 until 1978/1979 where the Magneto connection was retconned in. Then from the late 1970s to 2014 their boilerplate backstory was that they were children of Erik/Max/Magnus/Magneto of 12 names (obv German/Jewish) and Magda Eisenhardt (usually Polska Sinti), and raised by Balkan (specifically fictional country Transia) Roma Django and Marya Maximoff with no discernible Jewish influences.

In 2014, during the height of Disney-Fox corporate childishness, it was once more retconned that Django and Marya were their birth parents, thus making them full Romani still with no discernible Jewish influences which is their current status quo.

It’s a messy situation stemming from their whiteness being carried over from the era where they were, in fact, generically white Europeans. It wasn’t until the late 1990s that George Perez revamped her design to give her the ample curls and “Transian” superhero costume, perhaps inspired by the recent release of The Hunchback of Notre Dame. The Transian costume didn’t last, though the hoop earrings have been known to reappear ever so often. Notice, of course, how they were still colored as white people.

Some people frequently point to this era for proof that Wanda has historical pre-2010s instances of being drawn with darker skin after all — well, no, that’s just the palette they used for white characters at the time.

That one Avengers vs X-Men: Infinite issue definitely looked promising at a glance, until you realize it was the lighting all along and the colorist made no effort to make her palette distinct from Tony’s and Hope’s.

Same goes for Olivier Coipel art. Same even goes for the gorgeous Daniel Acuna panels where she’s famously known for not looking pasty white, in the context of lighting and how every other (definitely white, not counting fanon and headcanon) character gets drawn and colored.

It really wasn’t until the era of modern Representation Matters (specifically those All New All Different 2015/2016 halcyon days) and a couple of conscientious artists like Kevin Wada decided to take a serious look at that Romani backstory, and present her as how she should really look. And that redesign was amazing. You can go into my archives and see 2015/2016 me fangirling over how 🔥🔥🔥 it was.

Unfortunately, this too did not last. The outfit is still (mostly) in use from artist to artist, but the darker skin and the distinct Roma features- not so much.

*And, before you get on my case about colorism, which has been an issue for Sunspot and Storm, that argument is less compelling here when Wanda is literally white in her initial appearance.

The whiteness is still very much entrenched in the Scarlet Witch brand. You can see this in all of her merchandise and every pre-MCU adaptation she’s ever had. Unlike Mickey Rooney’s Breakfast At Tiffany’s role or Emma Stone pretending to look like her last name could be Ng, none of these adaptations are perceived as embarrassing or dated transgressions. They are all Wanda, for better or for worse. (Update: In an anonymous ask I recently received, someone likened the 70s Romani inclusion and the 90s Perez and Busiek interpretation of her “Romani roots” to a bad case of cultural appropriation. I’m inclined to agree. They really did just retrofit a white character into culturally appropriating a real group of people so that they could give her that exotique “g*psy witch” aesthetic.)

Some people will counter with: Well, just because she’s been whitewashed before doesn’t mean it’s okay for her to be whitewashed now. And that all of this is a result of systematic racism and is gross and everyone who supports it is part of the problem.

Well, sure, but all those versions are part of the tapestry that make up her character. You can take a revisionist’s paintbrush to try and make that tapestry align more with your ideals, but at that point she becomes more your own personalized creation than what she actually is. There’s absolutely nothing wrong with stubbornly supporting a personalized, idealized take on a character, but all of that other content isn’t suddenly going to lose its fan following and vanish from the mainstream.

And the specifics of how the Romani elements were included in her backstory kind of actually were shadowed by this blissfully ignorant 1970s American kind of racism. The “g*psy witch” trope most of all. And the kind of ignorance that permeates in presenting that sort of character as levitating criss-crossed over her bed while reading tarot cards surrounded by candles all mystic-like.

If you can recall any of this or perhaps the one George Perez era panel where she’s screaming to Pietro about how “my father was a kind g*psy man named Django,” or how she’s casually written into referring to herself and her family as that slur over and over again, you can recall that 99% of Marvel Writers’ other sparse attempts at reminding audiences that Scarlet Witch and Quicksilver are, indeed, Roma made them out to be blindly romanticized caricatures that I suppose creatives behind adaptations would prefer not to tackle.

I don’t have a solution for the people who are hurt by this, and for the people who expect and demand for Wanda to become a vehicle for authentic Roma storytelling— something she’s never really been before, aside from a few shaky glimpses in the Robinson run. It’s not my place to tell them what to do or think, and I definitely wouldn’t tell them to stop being upset.

Different people feel strongly about different things. I don’t expect I’ll be seeing Mulan in theaters due to its pandering to China’s very problematic government with their literal concentration camps, but I don’t expect everyone to have the same feelings as I do, or hold it against them if they don’t. It’s a movie. I’m personally not comfortable supporting it, but who made me the God of Consumer Morality?

That’s the thing with MCU Wanda and with WandaVision or every other verse or artwork where Wanda is Still White. A mass snub of it isn’t happening with or without my help. If you’re excited for it, stay excited for it (with an understanding of why some may be upset)! If the thought of it breaks you out into hives, I’m very sorry to hear that (and I’m also impressed you got this far), hope you can focus on the things you enjoy instead.

#answered #anonymous #scarlet witch #wanda maximoff #wandavision #this calls again for proper caps and punctuation y'all #yeah this one's from my drafts since i wasn't even sure if i should touch it again #but here i stand let's go

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aliveandfullofjoy · 4 years

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Oscar Trivia 2020

Loving the Oscars is a disease but I’m in too deep to stop now!

Among Parasite’s record-breaking achievements today, it is the first time South Korea has ever been nominated in International Feature (formerly called Foreign Language Film). Similarly, it is the first Korean film to compete in Best Picture, Director, Screenplay, Production Design, and Film Editing. If it wins (fingers crossed), it will be the first non-English language film to ever win Best Picture. If Bong wins Director, he’ll be the second person to win for a non-English language film, after Alfonso Cuarón won last year for Roma. Parasite is the twelfth non-English language film nominated for Best Picture.

This is the first time ever that four movies received 10 or more nominations.

Including his uncredited appearance in American Hustle (2013) and his performances in both Joker and The Irishman this year, Robert De Niro now holds the record of Oscar-nominated actor with most appearances in Best Picture nominees. In addition to the aforementioned films, De Niro has also appeared in The Godfather, Part II (1974), Taxi Driver (1976), The Deer Hunter (1978), Raging Bull (1980), The Mission (1986), Awakenings (1990), Goodfellas (1990), and Silver Linings Playbook (2012), for a whopping eleven Best Picture nominees on his résumé.

For the third year in a row, somebody has been nominated in an acting category and in the Best Song category. After 2017′s Mary J. Blige (Mudbound) and 2018′s Lady Gaga (A Star is Born), 2019′s addition to this exclusive club is Cynthia Erivo (Harriet).

Joker is the third highest grossing Best Picture nominee of the 2010s, behind only Toy Story 3 (2010) and American Sniper (2014).

Honeyland is the first movie to be nominated in both International Feature and Documentary Feature.

With her nominations for Marriage Story and Jojo Rabbit, Scarlett Johansson has become the twelfth actor to receive two acting nominations in one year. The others in this group: Fay Bainter (1938), Teresa Wright (1942), Barry Fitzgerald (1944), Jessica Lange (1982), Sigourney Weaver (1988), Al Pacino (1992), Holly Hunter (1993), Emma Thompson (1993), Julianne Moore (2002), Jamie Foxx (2004), and Cate Blanchett (2007).

Pain and Glory is Spain’s first nomination in International Feature since The Sea Inside (2004). This breaks the country’s 15-year drought in the category.

There seems to be a lot of double dipping this year. Five actors appeared in two Best Picture nominees -- Scarlett Johansson, Laura Dern, Robert De Niro, Al Pacino, and Tracy Letts -- and multiple people received two nominations, including Scarlett Johansson, Randy Newman, Noah Baumbach, Sam Mendes, Bong Joon-ho, David Heyman, and Emma Tillinger Koskoff.

1917 marks Colin Firth’s fourth appearance in a Best Picture nominee. The other three (The English Patient, Shakespeare in Love, and The King’s Speech) won, which could very well bode well for the film.

Saoirse Ronan (Little Women) is the second actress to receive four nominations by the age of 25. The first was Jennifer Lawrence.

With his ninth nomination, Martin Scorsese (The Irishman) now has the second most number of nominations for Best Director in Oscar history, behind only William Wyler (who racked up an astonishing 12 nominations over 29 years). Also, at 77 years old, he is the third oldest Best Director nominee in history, behind 78-year-old Charles Crichton (A Fish Called Wanda, 1988) and 79-year-old John Huston (Prizzi’s Honor, 1985).

With her nomination for Jojo Rabbit, Mayes C. Rubeo is the first Mexican person nominated for Best Costume Design.

With Toy Story 4′s nomination for “I Can’t Let You Throw Yourself Away,” this marks the fourth time a Toy Story film has been nominated in Best Song -- a perfect record for the series. The only song that has won is “We Belong Together” from Toy Story 3 (2010).

Don’t quote me on this but I’m 99% sure Taika Waititi is the first indigenous (Maori) person to receive an Oscar nomination for writing.

Just as in 2012, all of the nominees for Best Supporting Actor are previous Oscar winners: Tom Hanks won Best Actor in 1993 and 1994 for Philadelphia and Forrest Gump respectively; Anthony Hopkins won Best Actor in 1991 for The Silence of the Lambs; Al Pacino won Best Actor in 1992 for Scent of a Woman; Joe Pesci won Best Supporting Actor in 1990 for Goodfellas; and Brad Pitt won Best Picture in 2013 for 12 Years a Slave. Four of these five actors are celebrating their first Oscar nomination in several years, too: this is Hanks’ first nomination in 19 years, Hopkins’ first in 22 years, Pacino’s first in 27 years, and Pesci’s first in 29 years.

Antonio Banderas (Pain and Glory) is the first entirely non-English language performance to be nominated in Best Actor since Javier Bardem’s nomination for Biutiful in 2010.

Uncut Gems is the first film to win Best Director at the New York Film Critics Circle (NYFCC) to be shut out of the Oscars entirely since 1989.

If Joaquin Phoenix wins Best Actor (which he almost definitely will), he will be the fourth person born in Puerto Rico to win an Oscar, after José Ferrer, Rita Moreno, and Benicio del Toro. Additionally, the character of the Joker will be the second ever to win multiple Oscars (Heath Ledger previously won Best Supporting Actor in 2008 for playing the role in The Dark Knight), joining The Godfather’s Vito Corleone (which nabbed Oscars for Marlon Brando and Robert De Niro -- the latter of whom co-stars with Phoenix in Joker).

How to Train Your Dragon is the most successful franchise in the history of the Best Animated Feature category. No other series has had all of its films nominated since the inception of the category in 2001.

This is the first time since 2008 that both winners of the Golden Globe Comedy/Musical acting awards were snubbed at the Oscars (last time it was Colin Farrell for In Bruges and Sally Hawkins for Happy-Go-Lucky; this time it’s Taron Egerton for Rocketman and Awkwafina for The Farewell).

If 1917 wins Best Picture, it will tie with Argo (2012) and Gigi (1958) as the shortest title for a Best Picture winner.

Tom Hanks now joins the group of actors nominated in four different decades.

Jonathan Pryce (The Two Popes) is now the twelfth villain/henchman from the James Bond series to be nominated for an Oscar, joining the likes of Lotte Lenya, Robert Shaw, Telly Savalas, Christopher Walken, Benicio del Toro, Javier Bardem, Christoph Waltz, Rami Malek, Rosamund Pike, Klaus Maria Brandauer, and Max von Sydow.

#oscar trivia #awards season 2020 #oscars

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