This year, I found myself among the many who defied expectations when it comes to watching the Oscars. Despite a slight dip in viewership overall, the show managed to draw in 3% more viewers, reaching a 3.92 rating among adults aged 18-49 – the highest it’s been for this group in two years. It also … Read more
This week, focus shifts to Stacey Rusch as Eddie Osefo discloses to his wife and later the entire cast that TJ alleged on camera that he was paid to be part of Housewives, with Stacey allegedly behind in payments. The ensuing drama is captivating, with Andy Cohen’s expression fluctuating from amusement to bewilderment to worry as Stacey persists in denying both the claim that she paid him and TJ’s assertion. Ashley, eager to join the gossip, presses for a look at the phone footage. Stacey’s polished broadcast accent stumbles repeatedly as she struggles to find a suitable response, eventually pointing out (reasonably) that everyone doubted TJ all year, so it seems illogical to believe him now.
17th nomination for Warren would solidify her status as the most nominated person in Oscars history without a victory, surpassing sound mixer Greg P. Russell in a complex tie. (Russell’s 17th nomination was withdrawn due to allegations of rule-breaking in Academy campaigning, a predicament that might push someone to such actions.) However, it doesn’t guarantee a win the following year – especially if she competes against potential hit songs from the original Wicked.
As a film enthusiast, it’s hard to overlook the Academy Awards, regardless of one’s personal feelings towards them. They serve as a chronicle of cinematic history, albeit an imperfect one. Peering through the lens of Best Picture winners, you can trace the ebb and flow of trends, gaining a rough understanding of what was highly regarded in films for each year and observing the evolution of these trends over time. For example, the victory of Around the World in 80 Days appears to be a pendulum swing back from the gritty realism of earlier winners such as On the Waterfront and Marty.
In simpler terms, the “Severance” episode titled “Chikhai Bardo” is multifaceted. It’s a heartfelt tale of a couple struggling with time and distance. It breaks traditional storytelling conventions by not following a chronological sequence. It’s set during Christmas and shares many similarities with an outstanding television production, “The Constant,” an episode from the fourth season of “Lost,” which is often praised as one of the best in that series known for its complex mythology. While the creator of “Severance,” Dan Erickson, did not confirm whether “The Constant” influenced “Chikhai Bardo,” the resemblances are striking enough to warrant a comparison and possibly provide insights into where “Severance” is headed next. Interestingly, “The Constant” first aired on ABC on February 28, 2008, and “Chikhai Bardo” was released on Apple TV+ on the same date, February 28, 2025.
All titles are listed by season premiere date, with the most recent releases up top.
Every year, from late August until around late February or early March, there’s intense competition in Hollywood to win an 8.5-pound gold trophy. Despite the abundance of awards ceremonies, the Oscars continue to be the most prestigious prize. Winning Best Picture secures filmmakers and actors a prominent place in cinema history. However, it also means that many people will criticize your movie as not being as remarkable as they believe it should have lost to another movie they felt was more deserving.
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.
However, the nominations weren’t the only factor causing uncertainty about the movie Anora. One Academy member shared their thoughts: “It’s a bit too explicit for Best Picture.” They were referring to the Academy itself, expressing that despite its liberal reputation, its members tend to have quite conservative preferences when it comes to sexual content. A comedy-drama set in a strip club, directed by someone who had never been recognized by the Oscars before, and with modest box office success? Even for fans of Anora, it was hard not to view it as an underdog, a film that might win a screenplay award but wasn’t seriously considered for the top Oscar.
The opening of the 97th Academy Awards had a theme reminiscent of The Wizard of Oz/Wicked, using the phrase “there’s no place like home.” To establish this connection, visuals from The Wizard of Oz, such as Dorothy’s ruby slippers, and audio clips of Judy Garland saying the iconic line, were used. Ariana Grande started off by singing “Over the Rainbow” in a dress similar to Dorothy’s ruby slippers, followed by Cynthia Erivo singing “Home” from The Wiz, both performances setting the stage for their later joint performance of “Defying Gravity” from Wicked. The entire segment was well-executed and left many viewers with tears and goosebumps, a feeling known as tearbumps. It was undoubtedly an impressive start to the evening’s events.