I was struck by that while thinking about this year's Best Actress race. I have bemoaned on this blog many times the near uniformity in the Academy's nominations compared to precursors in recent years (it's why we ended up with, for the first time since 2006, not a single person who qualified for our annual "No Globe, No SAG, No Problem!" article last year). However, we'll get to that problem in a few weeks once the SAG nominations have been announced. For today, I want to talk about something that Oscar has developed in this uniformity: good taste...and how it's costing us what would've been a certain Oscar nomination (and likely win) 15 years ago.
Starting in the mid-to-late 2000's, we began to see acting lineups that would always go to the same films. The Globes, SAG, and BAFTA were at one point a pretty strong indicator of what might be in the conversation, but they didn't end the conversation-new names showed up and Oscar would pick titles and stars that didn't win previously. But when the awards bodies began to sync, they also started to emulate other people, namely critics prizes and influential online predictors who became a circle of self-fulfilling prophecy. In the process, acting prizes that would've been long-shots a few years ago became real threats for nominations.
The Oscars do have a history of nominating acting performances from character actors and unknowns that might have otherwise gone unnoticed, at least since the 1970's. Some that come to mind include Emily Watson (Breaking the Waves), Isabelle Adjani (The Story of Adele H), and Massimo Troisi (Il Postino). But looking at the Best Actress field in 2025, this seems to be almost completely a list of performances that would've all been longshots years ago. Renate Reinsve is acting largely in Swedish, Jessie Buckley is in an introspective period drama, Rose Byrne plays in an uncomfortable black comedy, Amanda Seyfried in an unusual dramatic musical, and Tessa Thompson in a retelling of an Ibsen play. Even established stars like Jennifer Lawrence & Emma Stone are in complicated, sometimes hard-to-watch films from prickly auteur directors that would be a stretch ten years ago. The Best Actress field at the Oscars has historically been for crowdpleasers, for biopics and romances and uplifting dramas. It's also been historically for nominating either sturdy dramatic movie stars (like Bette Davis or Susan Sarandon), comeback vehicles for former glory, or for honoring Hollywood's newest "princess" (or reigning America's Sweetheart). I'm not bemoaning the change (because a good chunk of what I just said is sexist even if it's reality for the Academy), and some of these performances are really good (I've seen almost all of them). But in an era where the Oscars have lost their identity to precursors (and in the process kind of blended into an increasingly predictable pattern), it's weird that there's one performance this year that, 15-20 years ago, Oscar would've not just nominated, but would've been the frontrunner for the win: Kate Hudson in Song Sung Blue.
Hudson has every hallmark of an Oscar winner, and in some ways matches some of the recent trends even for the modern Oscars. She's playing a real-life person in a musical drama, and is getting a late-in-the-year release that won her a Golden Globe nomination. She is a former America's Sweetheart, something that at one point would win women like Sally Field, Julia Roberts, Sandra Bullock, & Reese Witherspoon their own statues and given how that phrase has largely gone out of style, she (along with Drew Barrymore and Jennifer Aniston) is one of the last actresses who may ever really carry that title (in a Hollywood desperate for nostalgia & turning back the clock, this can't be discounted). Which gets us to something that has been a trend in recent years: she's another movie star from the 1990's & early 2000's who is still acting, and who hasn't won an Oscar yet. In recent years we've seen the Academy fall for people of this era without a statue (Will Smith, Brendan Fraser, Robert Downey, Jr., & Demi Moore all fall into this bucket), and she'd be a solid bet as a result. The fact that her mother and stepfather are also iconic movie stars (her mom already has an Oscar), would just add another dimension to the prize.
So why does Hudson feel like an afterthought? Part of this is box office. In a different era, Song Sung Blue would be the kind of movie that would be a guaranteed crowdpleaser (83% on Rotten Tomatoes, a Christmas release, two movie star leads...something that would drive people to the theaters), but in this era where anything that isn't horror feels like a risky bet at the box office, there's no guarantee that the film's gross will be there. Box office, as ever, still matters with Oscar (if it wasn't a sleeper hit, The Substance would've had no chance last year...same with Sinners & Weapons this year), but the kinds of films that Oscar would normally gain permission to like (like, say, The Blind Side) because audiences demanded it aren't really a thing anymore, and that's impacted not just the Oscars, but other awards bodies as well. Anyone But You, for example is a terrible film...but given it's a romantic-comedy and made $220 million in an era where movies like it never make that kind of money, in the HFPA days Sydney Sweeney & Glen Powell both would've gotten Globe nominations. Hudson has a Globe nomination, but if you look at predictions sites, they seem to think she's an asterisk on this race rather than a more serious race for the win (or, quite frankly, even a nomination).
And they might be right. I could be Paul Muni in The Last Angry Man being furious about the loss of the ancient texts, ones that would've pointed to Hudson being a nominee, but do those texts still matter in an era where critics seem to inform Oscars more than genre or what is populist? It's entirely possible that me trying to look at this race from an historical angle (which would definitely say to include Hudson in your guesses) is foolish and I should focus on the nominees most likely to get stacks of precursor citations and buzz online...that might be the only correct way to predict the Oscars now. And I haven't seen Hudson in this film (it's not out yet in Minnesota, but I will over Christmas), but her missing might be a good thing-I really like Kate Hudson (she's gotten two My Ballot nominations on this site for a reason), but I don't know that this looks like my thing. So don't confuse this for me wishing she was in, but instead noting the passage of time and how the Oscars of my youth are very different than those of today, an era marked by far more consistency in good taste...and quite a bit more boredom in seeing who is included.







