Oscars Review: Conan O’Brien Rocked His Hosting Debut, but the Telecast Felt Too Small for Hollywood’s Biggest Night

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Essentially, watching the Oscars is reminiscent of times past. Regardless of whether the broadcast is exceptional or just average (I seldom find the Oscars to be truly bad, given my love for entertainment), it creates a sense that Hollywood is the epicenter of everything. The Oscars symbolize quality intertwined with popularity, representing a balanced ground – at times, even showcasing artistic bravery. They embody an idealized image of Hollywood, serving as a reflection of the health of the film industry. The self-projected image of the industry is always strikingly evident during these events.

This year was truly exceptional for me as a cinema enthusiast. The film “Anora,” directed by Sean Baker, took the limelight with its epic comedy about a sex worker who swiftly marries a Russian oligarch’s son, and it was a sight to behold! It swept an impressive five out of six Oscar nominations, making a grand statement. What made this victory even more remarkable is that it echoed the vibe of the Independent Film Awards. By bestowing such a decisive win upon an independent film, the Oscars may be carving out a fresh identity for themselves as a niche awards ceremony, catering to a more intimate and authentic cinema experience, much like the Independent Film Awards.

The broadcast was skillfully and swiftly orchestrated, achieving its goals in numerous aspects. It was extravagantly designed, devoid of dull moments, and allowed the winners to unveil their identities, which is essentially the main attraction. The event kicked off grandly with a fanfare from “Wicked,” as Ariana Grande, donning a dress reminiscent of Schiaparelli’s companion piece to Dorothy’s ruby slippers, sang “Somewhere Over the Rainbow.” She was subsequently joined by Cynthia Erivo for an enchanting rendition of “Defying Gravity” that was so captivating, it seemed as if the number itself had risen above the ground.

Later on, Conan O’Brien made his appearance, and although I must admit that his style of self-referential skepticism has never appealed to me in terms of talk show humor, he excelled during his first hosting gig. He skillfully balanced wit and warmth, whether he was joking about “The Brutalist” (“I didn’t want it to end, and luckily it didn’t”), poking fun at the Karla Sofía Gascón situation in a way that eliminated any discomfort surrounding her presence, or commenting on how “Bob Dylan wanted to be here tonight, but not that much.” This was Conan at his sharpest, giving Jimmy Kimmel a good challenge. He engaged in a humorous verbal duel with Adam Sandler, who was sitting in the audience dressed casually for video game playing, and even performed a mock musical number, “I Won’t Waste Time,” which mimicked Oscar production numbers and hinted at a touch of the old Billy Crystal charm.

The show boasted several enjoyable elements: Mick Jagger’s appearance to announce the best song award, a witty sandworm puppet gag (initially at least), Conan’s humorous advertisement for “Cinemastreams” (a service for intoxicated youth to stream movies on a large screen…indoors!), and the comical banter between the hosts and L.A. firefighters during their tribute, making light of “Joker 2.” However, there were also some forgettable aspects, such as an unmemorable James Bond tribute (consisting of a montage, dance numbers, and three songs) and the less successful second sandworm joke.

However, the organization of the awards show incorporated the most advanced innovations from recent times, ensuring each category carried significance. Kieran Culkin, who clinched the Best Supporting Actor award for “A Real Pain,” set the stage by escalating a bet he’d made with his wife, as hinted in his Emmy acceptance speech. Now that he’s won an Oscar, he’s aiming for a fourth child. Initially, it seemed like the awards would distribute their recognition broadly. But the first clue that “Anora,” having won Best Original Screenplay, was destined for a grand evening emerged when Sean Baker, the film’s renowned director and editor, also took home the award for Best Editing (Baker usually edits his own films).

As ‘Anora’ continued to accumulate victories, the excitement in the Dolby Theater was palpable, while viewers at home might have wondered, ‘What film is this?’ The event featured several heartfelt speeches, such as the appeal for unity in the Middle East by the team of Palestinian and Israeli filmmakers who directed the best documentary winner, “No Other Land,” or a thoughtful plea from best actor winner Adrien Brody, who silenced the music after being cut off (using his status as a two-time Oscar winner to silence the music himself), urging everyone not to let hate fester.

Is it ever incorrect to prioritize quality over popularity? In theory, no, one might argue that it’s the correct decision. However, the 2025 Oscars seemed to send a different message than previous years. Instead of embracing mainstream Hollywood and its traditional elements, the show projected an image of an industry increasingly dominated by its international voting bloc. This new wave of movie taste didn’t seem to make room for popular choices like Demi Moore for her exceptional work in “The Substance” or Timothée Chalamet for his remarkable portrayal of Bob Dylan, which sparked a national conversation. If these Oscars were from a decade ago, Chalamet might have easily won. Instead, Brody’s raw, tormented performance in “The Brutalist,” much like the film itself, symbolizes artistic integrity. This seems to be the new standard at the Oscars.

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2025-03-03 08:47