And the Oscar Goes to … Sue

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Mikey Madison delivers a remarkable acting performance in an exceptional film that left Oscar voters exhilarated. The almost complete sweep of Anora’s six Oscar nominations is a fantastic achievement for independent filmmaking, with Sean Baker triumphing four times to champion the future of movie theaters. Despite this victory, I find myself disheartened as I conclude the Oscars, as Demi Moore came close to winning the Best Actress award, but ultimately lost it at the last moment.

The idea that a movie like “The Substance,” which initially seemed like a gruesome horror film at Cannes in May, might catapult Moore (a seasoned actor with a couple of Golden Globe nominations from the ’90s) to an Oscar nomination was considered highly unlikely. However, when the film was released in North America during the fall and emerged as Mubi’s highest-grossing movie, it became plausible. By January, it was clear that Coralie Fargeat’s film was resonating with organizations known for awarding statues, such as the Golden Globe Foundation, the Screen Actors Guild, and the Critics Choice Association.

2025’s Globe victory for Moore appeared to finalize the storyline: The Best Actress Oscar transitioned from a distant hope to an increasingly likely scenario. In her acceptance speech, she reflected, “Thirty years ago, a producer told me I was a popcorn actress, which ate away at me over time… I was at a low point when this extraordinary, daring, brave, out-of-the-box, absolutely crazy script titled The Substance landed on my desk. And the universe seemed to whisper, ‘You’re not finished.’

Eventually, the grand night of the Academy Awards arrived and passed, and it was the newcomer from a blockbuster film who emerged victorious, much like other newcomers from successful films often do. This win, however, seemed particularly poignant, if not harsh, as it highlighted Moore’s loss, despite the fact that his comeback story was never a certainty at the outset.

This year, I’ve found myself immersed in numerous films starring Demi Moore. The critical acclaim for the film “The Substance” at Cannes sparked an idea that had been brewing for a while – creating a podcast that traces her career journey. My interest isn’t just fueled by my love for puns, but also my obsession with ’90s middle-of-the-road cinema. Demi Moore embodied much of what we seem to yearn for from that era – a thriving mid-level film industry filled with watchable movies, some even great, others not so great, but all graced by genuine movie stars.

Demonstrating her star power, Moore graced numerous blockbusters such as “Ghost,” sharing the limelight with acting heavyweights like Jack Nicholson and Tom Cruise in “A Few Good Men,” and tackling complex cinematic explorations of sexuality in films like “Indecent Proposal” and “Striptease,” which earned her the title of highest-paid actress in Hollywood. A closer look at her early filmography reveals that she often shone brightly even in stories that didn’t offer much depth: from sexist comedies like “Blame It on Rio” to mixed Brat Pack productions, such as “St. Elmo’s Fire” and the intriguing “About Last Night,” to gritty noir films like “Mortal Thoughts.” Her most significant recognition came for her role in “Ghost,” a 1990 Best Picture nominee that won awards for its screenplay and Whoopi Goldberg’s remarkable supporting performance. Moore received a Golden Globe nod for her performance, which remains undervalued to this day, being built around a single, perfectly executed tear.

Over the years, the film industry and its media outlets haven’t always been sympathetic towards Meryl Streep. She’s just as likely to be criticized in secretive gossip about her behavior on set for supposedly being demanding or entitled, as she is praised for her acting performances. Yet, her contributions to productions such as Mortal Thoughts, where she stepped up as a producer when the director was changed, are often overlooked. Similarly, her resilience in dealing with sexist comments from Adrian Lyne and pushing herself physically to play a Navy lieutenant for G.I. Jane during the same period is seldom acknowledged. Despite her impressive talent, she hasn’t always been given the respect she deserves. A controversial 1991 article in Vanity Fair showcased Streep, pregnant and bare, alongside an article that cast aspersions on her simple salad choices and included unattributed criticisms from industry figures who suggested she was merely fortunate and well-married.

I’m curious about how many Academy members currently serving are from the early ’90s and if they experienced “The Substance,” a film that powerfully showcased the fear of being discarded as an actress. Interpreting an Oscar loss as a reflection of personal feelings is usually futile. An Oscar can be lost by just a handful of votes, not a significant difference between adoration and disdain. However, viewers don’t perceive the Oscars as mere ballots. Instead, they see them as the climax of a season-long narrative. Moore’s story, that of an A-List actress undervalued yet quietly staging a remarkable comeback, was the kind of narrative we hoped the Oscars would validate.

To put it simply, the story unfolding is just as much fantasy as Anora convinces herself when marrying her wealthy, negligent son. Sean Baker’s film has been the audience favorite since Cannes, and even though this awards season leaned towards more experimental or provocative films, Anora has become the standout, earning Best Actress an extension of its success. Hollywood is eager to launch its new generation of stars, and Madison, who is captivating and ready for casting now, took home the award. Moore, who’s been waiting over three decades to transition from a casual actress to Academy-worthy contender, must wait a while longer to see what she can accomplish with her next role – assuming there is one.

The true disappointment won’t lie in Moore losing this year’s Best Actress competition. The real letdown would be if Hollywood lacks the creativity to provide her with a deserving acting career after Substance.

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2025-03-03 10:54