5 Thoughts on the Wisconsin Supreme Court Elections

Well, it's Tuesday, and while we didn't have a primary last night, we did of course have a major election in Wisconsin (arguably the most important election this year, give or take the gubernatorial race in Virginia in November).  Given the turnout, a lot of Wisconsin voters thought so too, so let's dive into our Wednesday Morning Quarterbacking with my 5 thoughts on last night's race.

Judge Susan Crawford

1. Susan Crawford & Jill Underly Win

As you can imagine, the big headline last night was a major win for the Democrats, as Judge Susan Crawford held the blue majority in the Supreme Court while Democrats also reelected State Superintendent Jill Underly.  Crawford's win had been telegraphed if you looked at polling, and she pulled off an impressive victory (vote margins are still being ironed out, but as of this morning she was up by 10-points with 95% reported).  Wisconsin was the closest state in the nation this past November, with Donald Trump winning the state by less-than a point (the only state in the nation to be decided by such a thin margin), and so this is a rebuke of Donald Trump as much as it is a win for the Democrats.  Though this is a hold for the Democrats, it also solidifies a majority that the party achieved a few years ago after almost a decade of trying to regain the majority on the Court.

Judge Rebecca Bradley

2. The Republican Math Gets Harder for the Court

That majority is much stronger right now, and Republicans are about to have a mess in the Supreme Court.  It's hard to put into words how much the GOP needed a win here, but I'll give it a shot.  Wisconsin Supreme Court justices serve 10-year terms, but because there's 7 of them they are up most years, and those elections always take place in the Spring.  Though they are technically non-partisan, they are essentially D vs. R races at the end of the day.  The next Democrat up is Rebecca Dallet in 2028, but between then and now Republican incumbents Rebecca Bradley (in 2026) and Annette Ziegler (in 2027) will be up for reelection, and then again in 2029 Brian Hagedorn (the final Republican on the Court) is up for reelection.  In order to get a majority in 2028, the Republicans will need to win three consecutive elections, and to extend it, they'll need to win a fourth in 2029.  That's difficult math, particularly given that Bradley, specifically, will be up during a Trump midterm year (historically good for the Democrats), and is the most conservative member of the Court.  Incumbent justices almost always win, but Bradley would be the best way to test that given she's the biggest lightning rod on the Court (and it's possible we're in an era where these types of races function in the same way as partisan ones).  If the Democrats beat Bradley, the Republicans won't have a shot at getting a majority unless they win every race for the rest of the decade (Jill Karofsky is up in 2030, and they'd need to beat her as well).  This becomes a big deal because the Supreme Court has a big say in redistricting the past 20 years, and the state legislature (which was largely gerrymandered for much of the 2010's and until Janet Protasiewicz's win in 2023) will be redrawn with a much more liberal Court, potentially helping Democrats gain control beyond just the Court.

Rep. Derrick van Orden (R-WI)

3. Congressional Redistricting Comes into Focus

When the Democrats won the Supreme Court last cycle (in 2023) they redrew the state legislative seats, but it did not appear that they had time or the bandwidth to redraw the congressional seats (to be fair, given the veto override threat to Gov. Evers, redrawing the state legislature was more important, though given how close the House ended up, it's probable that had they redrawn the congressional map, the House would be 218R-217D right now).  But now, that math has changed.  Wisconsin is a difficult state to draw fairly, as it should have a 4R-4D congressional delegation, but most of the state's Democrats live in Milwaukee or Madison, meaning that you usually end up with 6R-2D, and those two Democratic districts are deep blue.  But if you wanted to, you could draw a map where Milwaukee & Madison are split in half, and have four relatively safe Harris seats.  This might not ultimately impact the House math in a fair way (similar to 2024 where NC GOP outdid Dems in Alabama & Louisiana finally getting fair maps, the Ohio GOP is certain to redraw, potentially imperiling Marcy Kaptur, Emilia Sykes and/or Greg Landsmann, so best bet it's probably a draw), but this would provide a counter as Ohio is near certain to happen.  Reps. Bryan Steil and Derrick van Orden seem the likeliest options given van Orden nearly lost already in 2024, and Steil is in the a seat bordering Milwaukee (which hosts a county, Racine, that Crawford managed to flip last cycle despite Kamala Harris losing it by 6-points in 2024).  I would imagine it'll be a top House Dems priority in the coming months to get new maps here.

Elon Musk

4. Elon Musk Feels the Pain

Elon Musk has been in the headlines behind a lot of the Trump administration's decisions over the past few weeks while Donald Trump has been off harassing the Kennedy Center & putting tariffs on penguins, and he has been behind-the-scenes in Wisconsin.  Musk donated $20 million to getting Republican Brad Schimel a victory, including giving away $1 million prizes to two GOP voters which feels like it violated a lot of ethics laws (and likely became grounds for a future lawsuit), and it didn't do him a lick of good.  Musk & Trump have both been sending signals that the billionaire could be leaving his perch in the White House soon (and certainly the stock market for Tesla could use less of a MAGA glare from Musk...though after today no one's stock is looking shiny).  But yesterday proved that while Trump might still be an asset on the campaign trail, Musk certainly is not...which gives the famously duplicitous Trump a way to stab-in-the-back when he needs to (no one lasts forever in Trump's circle...the guy's on his third wife for a reason).

Rep-Elect Randy Fine (R-FL)

5. Florida Proves It's Not a Fluke

Wisconsin was the headline last night, but it wasn't the only place where Republicans dramatically under-performed, as special elections to fill the seats left vacant by Matt Gaetz & Mike Waltz were also held, and they were perhaps even more brutal for the Republicans than Wisconsin was if you look at the numbers.  In the 6th district, where Republican Randy Fine was admonished last night by President Trump for how badly he did, he under-ran Trump by 16 points, an enormous gap, but not nearly as bad as Jimmy Patronis in the 1st, where he under-ran Trump by 22-points (Patronis lost Escambia County, home to Pensacola, a county that hasn't given a majority of its votes to a Democratic presidential candidate since John F. Kennedy in 1960).  It's worth noting that, with Rep. Elise Stefanik being forced to drop her bid to be UN Ambassador due to Trump's fears (which he said publicly) that her seat could go blue, that that risk was confirmed on Tuesday.  Had the Republicans under-ran in NY-21 (Stefanik's district) by as much as Patronis did, they would've lost the seat (and given that Stefanik's seat borders Canada & is disproportionately impacted by tariffs, that seems plausible).  The Republicans are now in a situation where seats that Trump won by 20-points are now at risk, an insane place to be given that if that uniformly happened, they'd have less than 150 seats in the next Congress compared to their current 220.

The Living Mystery Guests of What's My Line

Unlike the Academy Awards, we always care about Classical Hollywood on this blog (yes, I am never letting go of them skipping Mitzi Gaynor in the In Memoriam, and no, it is not something I need to get over), and one of the things that I like to do is make a point of celebrating those few figures that are still left from this era.  Film is a romance for me, and knowing there are people around from the great era of Hollywood (the 1930's to the 1950's) known as "Classical Hollywood" and the following era of the 1960's & 1970's known as "New Hollywood" is weirdly comforting...that that magic is still in the air somehow.

So I thought it'd be fun to take a look at one of the quintessential television shows of the era that ended up frequently celebrating cinema stars of the time, What's My Line.  For those who are unfamiliar, What's My Line was a game show, initially released in 1950, that ran all the way until 1975, though the original run on CBS, when it was a primetime television show presented by war correspondent turned game show host John Charles Daly, is my favorite run of the program.  The show was a success in its day, winning Golden Globes for Best Series & Best TV Star (for Daly), and was a Top 30 Nielsen hit for about half of its run.  If you watch it today, you'll notice it's weirdly sophisticated, even for a TV show of the era.  Everyone is frequently referred to by their last name, perhaps an offshoot of the South African-born Daly's upbringing at a posh New England prep school, wore elaborate gowns and three-piece suits, and had impeccable manners (all of the men made a point of standing when greeting another guest, specifically a female guest, and everyone wished each other good night before the end of each episode).  The show featured a chic panel, including Random House publisher Bennett Cerf, gossip columnist Dorothy Kilgallen, actress Arlene Francis, and comedian Steve Allen, the creator of The Tonight Show.

On the show, the panel would guess people's occupations, frequently ones that were silly or novel, and if they didn't guess it, the contestant would get money, at most $50.  Every night, there was a "mystery guest" and this is where the cinema connection comes in.  The guests would wear blindfolds, and a mystery guest would come in, oftentimes to rapturous applause, and they'd have to guess who the recognizable person was, with them usually disguising their voices.  It is kind of madness how many famous people ended up being on the show (including three presidents: Gerald Ford, Jimmy Carter, & Ronald Reagan, all before they took office), but the movie stars are really the ticket for me.  You can see some of the few early TV appearances of headliners ranging from Bette Davis to Henry Fonda to Errol Flynn to Maureen O'Hara.  Doris Day made her TV debut on the program, and you can watch some of the funniest conversations imaginable with Danny Kaye, Groucho Marx, Tallulah Bankhead, Martin & Lewis, and Ernie Kovacs (my votes for the funniest Top 5, though it pains me to cut a clearly smitten Bennett Cerf flirting shamelessly with Rhonda Fleming).  It's a delight.  You need a pick-me-up, just start watching some of the original run.

The original run is key here.  The show originally went off of CBS in 1967, with the network wanting to move away completely from primetime game shows, with Daly himself serving as the final Mystery Guest.  That was 58 years ago, and so I was curious who was still alive who had, at one point, served as a Mystery Guest.  As you can see, everyone I just name-checked has passed, as have all of the major panelists, but surprisingly a robust number of Mystery Guests (the show was weekly, so it has almost 900 total episodes) are still with us.  Only counting Mystery Guests who were public figures and named on the show (contestants like, say, "Santa Claus" or the Von Trapp children, or relatives of the panelists, I'm not counting because it's too difficult to ascertain if they're still alive), there are 51 total Mystery Guests still living.  Let's take a look at them, huh?

Joey Heatherton

Cinema

Of the 51, nearly half of them were largely known for their work in movies, not super surprising given that CBS would've only really wanted stars of its own shows to be featured on the program (occasionally others were snuck in, though, which Daly relished by mentioning their networks in violation of the etiquette of the time, where you only mentioned your own network's name on your channel).  Only few of these were male movie stars, including Robert Wagner & George Hamilton, and then quite late in the run Warren Beatty & Michael Caine (very much a distinction between Old and New Hollywood there).  The remaining 20 film stars were actresses, and it's kind of interesting to see who did & didn't end up on the show.  For example, despite being guessed quite often, Marilyn Monroe never appeared on What's My Line, but many of her "rivals" of the era like Sheree North, Jayne Mansfield, and the still living Mamie van Doren did.  Van Doren is one of a number of ingenue stars who got into the series very early on in their careers, alongside Terry Moore, Jane Fonda, Nancy Kwan, Julie Newmar, Elizabeth Ashley, Jill St. John, Joey Heatherton, Hayley Mills, & Chris Noel (the fact that only Fonda graduated to proper icon status while the remainder didn't kind of makes this time capsule more fun-even fame is fleeting, and if you don't know one of those names, update your Letterboxd so you do!).  Other actresses who were slightly more established at the time included Kim Novak, Eva Marie Saint, Joanne Woodward (who appeared with her husband Paul Newman), Barrie Chase, Sophia Loren, Joan Collins, Shirley Jones, Carroll Baker, Geraldine Chaplin, and Ursula Andress.  We'll talk about this a bit more in a second, but the fact that so many of these were "sex symbols" does not feel like an accident; oftentimes some of the beautiful women would walk out to wolf whistles and shouts from the appreciative audience (so a classy show...with an asterisk).

Carol Burnett

Television

While film was the dominant place to find screen actors on the show, television stars oftentimes were featured.  The problem for us to find living television stars is that TV stars of that era were more often-than-not washed up film stars (we did a whole season of Saturdays with the Stars about this phenomenon if you search back on this blog), so they were usually older than what we'd expect now.  Going by what they were famous for at the time, only two actresses who were known for TV when they appeared are still alive: Carol Burnett, who would've been on the show for her work on The Garry Moore Show (as well as her Broadway success in Once Upon a Mattress), and Mia Farrow, who at the time had not yet made Rosemary's Baby and so would've been best-known to audiences then as the leading actress on the TV sudser Peyton Place (and as Frank Sinatra's then-wife).  Sinatra, it's worth noting, was a guest panelist that evening and was the one to identify his wife, though he never appeared as a Mystery Guest, likely due to his longstanding feud with Dorothy Kilgallen (he was only on the show after her death).

Music

Thanks to the teen idol fads of the era, the gender split on Music is actually much more equitable.  Given it was a stodgier show, it's kind of surprising that some of the biggest pop stars of the era went on the show, though, like Marilyn, Elvis Presley never made an appearance (and neither did The Beatles, though their manager Brian Epstein did appear).  In total 10 singers of the era appeared on the show as Mystery Guest and are still with us (five men & five women).  They range from hits with the teenybopper set like Paul Anka, Tommy Sands, Pat Boone, Connie Francis, & Fabian, to chicer, late-in-the-series acts like Nancy Sinatra & Diana Ross, to largely forgotten musicians now like Abbe Lane (a night-club singer noted for her rather shocking outfits) and Michael Stoller, best-known today for composing a number of hits for Elvis Presley including "Jailhouse Rock."

The "Legitimate" Theater

A running joke for my brother & I (my brother also loves this show) is that the panel would regularly ask "are you in the legitimate?" or "are you legitimate" to the guests, which sounds rude, but at the time meant that you were best-known as a stage performer.  The show was aired in Manhattan, so the panel was quite familiar with what was showing on Broadway (Kilgallen, being a gossip columnist, was the best guesser in large part because her following of celebrities meant that she knew who was in town and what shows were playing, but it appeared that everyone was a regular devotee of the performing arts).  Amongst the six living theatrical stars of the era feature three future Oscar-winners for Best Actress.  At the time, Julie Andrews, Barbra Streisand, & Liza Minnelli had yet to make their big-screen debuts (at least on their first appearances), but were sensations on the New York stage in shows like My Fair Lady, Funny Girl, & Flora the Red Menace.  Other stars include stage icons Pat Suzuki & Leslie Uggams and West Side Story leading woman Carol Lawrence.

Elaine May with Mike Nichols & John Daly

Comedy

Comedians, like TV stars, tend to gain fame a bit later in their careers, so we only have two comedians still with us from this era...and weirdly both would go on to be famous directors.  One of them, Woody Allen, actually holds the current record for most appearances on the original run of a living person, as he was a panelist multiple times in addition to being a mystery guest.  The second comedian is Elaine May.  May at the time was famous for her comedy duo with Mike Nichols, and appeared alongside Nichols (who, of course, would also become a great film director), in her Mystery Guest appearance.

Vonda Kay van Dyke

Beauty Queens & Models

You'll note that I haven't mentioned who was, chronologically, the first Mystery Guest in the history of What's My Line, and that's because we haven't gotten to her yet.  During the 1950's & 1960's, beauty pageants were a much bigger deal, and given that the show had a propensity for adoring "glamour girls" (the term of the era for a sexy, attractive young woman), it's not a surprise that a lot of the Mystery Guests ended up being beauty pageant winners.  This includes the earliest living Mystery Guest Lee Meriwether, who would go on to fame as an actress in Batman and Barnaby Jones, but was only known to the country when she appeared as a Mystery Guest as the then-reigning Miss America.  Two other Miss America's, Maria Fletcher & Vonda Kay van Dyke (who is, fun fact, the only Miss America to also be Miss Congeniality) appeared, as did two Miss Universe's (Carol Morris & Maria Fletcher).  The show also had two models.  While the concept of the "supermodel" didn't really exist until the late 1960's, one of the earliest supermodels was Jean Shrimpton who is (chronologically to the show) the last living Mystery Guest on the program, and before that Candice Bergen appeared with her father.  Bergen would of course become a major film & TV star, but honestly at the time was probably best known for being Charlie McCarthy's "kid sister" and a noted fashion figure & model, not yet having given her screen debut.

Is Pete Buttigieg Making a Mistake?

Sec. Pete Buttigieg (D-MI)

Last week former South Bend Mayor Pete Buttigieg (D-MI), who ran for president in 2020 (inexplicably beating multiple sitting US Senators to win the Iowa Caucuses), and then served as Secretary of Transportation during the Biden presidency, announced that he would forego a run for both the US Senate and Governorship of Michigan, both of which are now open during the 2026 midterms.  This was greeted by many, including yours truly, as a surprise.  Buttigieg's move to Michigan, despite what he said in the press (that he wanted to move closer to his husband's family), was always seen as a calculated move.  Buttigieg is a Democrat, and Indiana is a red state-moving to Michigan, a purple state with a long recent history of electing Democrats (despite going for Trump in 2024, every statewide office in the Wolverine State is blue), was a way for Buttigieg, who was criticized by many in his 2020 race for not having enough experience to be president, to gain elected experience and prove that he can translate his brand of polished, fact-based politics into a general election win in a crucial swing state.  That he wasn't invited is a surprise, and in my opinion (hence this article) needed some analysis.

To understand a bit about Buttigieg, we need to take a peek at his presidential loss in 2020.  Buttigieg took the country by storm as the antithesis of Donald Trump.  While Trump dealt with simplistic, oftentimes false arguments in his speeches, Buttigieg was engaging but always focused on results & the truth.  In many ways he more successfully navigated the "give me a plan" approach that other, more famous (at the start of the race) candidates like Amy Klobuchar & Elizabeth Warren attempted to base their campaigns upon.  But Buttigieg wasn't able to maintain his momentum, particularly given that he had virtually no cache with African-Americans, a huge voting bloc in Democratic Primaries, as they migrated to Joe Biden in South Carolina, and was out of the race before Super Tuesday, an early backer of Joe Biden (which paid off in a presidential cabinet position).

Buttigieg has done very little to calm those who worried that he lacked a broad base-of-support in 2020 in the remaining years.  He's noted for his steady appearance on cable news but has not done a significant amount of outreach to the African-American communities, which given the large Black vote around Detroit, was another reason I suspected he wanted to flex his muscles in the primary.  It's clear that he wants to run for president in 2028 and will go into that race with a larger name recognition than he did in 2020...but with the exact same deficits.  There are other likely candidates (Raphael Warnock, Gretchen Whitmer, Kamala Harris) who have stronger ties to Black voters and strong Black turnout in their previous elections, and unlike Buttigieg, they have a traditional launchpad to run for POTUS (which a low-level cabinet position is not).  Buttigieg, at only 43, has a lot of potential time to run for president coming ahead of him, but he can't really afford a second loss without being branded as a proper loser (ending his presidential ambitions forever).  There are candidates who have pulled off successful runs for president after multiple previous losses (Joe Biden being the most recent & obvious), but they did so with a lot more wins on a state-level than Buttigieg will have.  If he loses in 2028, he will do so with no safety net, and likely will be done with politics before he ever really had much significant power.

I think Buttigieg, if I was advising him, not running for the Senate is a mistake.  It looks to be a relatively good year for Democrats next year given economic and historical indicators, and being a US Senator would provide a significant back-up plan for Buttigieg.  He's the most famous person in the race, would raise the most money, and given Michigan doesn't have ranked-choice voting, in a multi-candidate race he'd leave the winner.  Not doing this is a pretty significant unforced error, one that will look more pronounced if/when he loses his next presidential bid...

...but it's almost certainly better for the Michigan Democratic Party, because they now have a chance to have a safer candidate run.  With Buttigieg out, it's looking like some combination of Rep. Haley Stevens, State Sen. Mallory McMorrow, Rep. Kristen McDonald Rivet, & Rep. Hilary Scholten will run and become the nominee in 2026; McMorrow, specifically, seems almost certain to run at this point.  These are better candidates.  They don't come with the carpetbagger label that Buttigieg would be tagged with, as they've all represented Michigan in government for years, and they're more natural retail politicians with no obvious presidential dreams (though being a senator could change that).  Buttigieg probably would've won next year, but the other women I just listed have a better chance, and as someone who cares more about a Democrat winning than a specific candidate winning, this is the right outcome for me.  Buttigieg getting a second chance (like Chuck Schumer, Kamala Harris, & Joe Biden in recent years) is not more important than the party winning a key Senate seat, and I'm glad he's out of the race.  I'm just stunned he's given up what might've been his best real shot at a presidential bid (albeit one in 2032 or 2036) to buy into his own hype in 2028.

My 2024 Oscar Ballot

Yesterday we tackled the 2024 Oscar Viewing Project, where I share all of the rankings I have for every feature-length, narrative category at the Oscars.  Today, though, it's my turn.  If you've been on the blog a while, you know that I do what I refer to as "My Ballot," the choices that I would've made if I had picked the Oscars in 2024.  As you'll see, 2024 was a year that I really got outside of Oscar's wheelhouse.  You can find all of the past My Ballots linked at the bottom of this page, but for only the second time in 27 years we've profiled (the other being 1931) none of the Best Actress contenders from the Oscars are cited this year for the My Ballot.  So you're going to see a lot of new names below.  A gentle reminder that I can't see every movie, and so if there's a title you're not seeing below that Oscar also ignored, double check with me before calling me out in the comments for not recognizing its genius, as that might be a future viewing for me!  With that, enjoy the choices Oscar should have made. 😉

Picture

The Brutalist

Challengers

Dune: Part Two

I Saw the TV Glow

My Old Ass

Nickel Boys

A Real Pain

The Seed of the Sacred Fig

We Live in Time

The Wild Robot

Gold: Sex, despite what Gen Z may think, is largely an endangered species at the movies right now, and even more so is forbidden romance.  And yet the center of Luca Guadagnino's masterpiece Challengers is just that-a sexy, romantic thriller of a love triangle, buoyed by some of today's hottest movie stars.

Silver: Sequels, especially in the middle of a trilogy, are oftentimes hard to judge, but while other movies this year feel incomplete without their companion (cough Wicked), you cannot say that for Dune: Part Two, which abandons some of the more avant garde aspects of the original but in the process gives us stronger acting & still sublime visuals.

Bronze: Finishing out our top medalists is The Seed of the Sacred Fig, a movie smuggled out of its country because of its apt, shocking look at how an abusive marriage can serve (all too convincingly) as a metaphor for an abusive marriage.

Director

Brady Corbet, The Brutalist

Luca Guadagnino, Challengers

Mohammad Rasoulof, The Seed of the Sacred Fig

RaMell Ross, Nickel Boys

Denis Villeneuve, Dune: Part Two

Gold: Luca Guadagnino, seven years ago, gave us one of the quintessential screen romances, a fleeting escapade in the Italian countryside that would become one of my favorite movies (some days, it might honestly be my favorite movie).  Challengers, though, doesn't have that kind of romance-instead it has a competitiveness, about how even in love there are winners and losers...and people aren't fighting fair.

Silver: Denis Villeneuve's great trick in Dune: Part Two is that he doesn't give us the easy answers.  While the sequel is more literal than the first movie, he still crafts a vision of a man, one who looks like a hero, but it's hard not to wonder if there's a villainy underneath.

Bronze: While I cannot condone where we go in the second half of Brady Corbet's The Brutalist (I think it gets sloppy), the first half is 100% the best movie of 2024, and that is due in large part to the scale and ambition of its director, intent on making a classic even from the opening shot.

Actor

Adrien Brody, The Brutalist

Timothee Chalamet, Dune: Part Two

Kieran Culkin, A Real Pain

Andrew Garfield, We Live in Time

Josh O'Connor, Challengers

Gold: Josh O'Connor's Patrick isn't the hardest role in Challengers (our female lead gets that distinction), but it is the role that's most crucial to you buying into it.  He needs to be sexy, talented (but how talented...always a question), and enthralling in the way that only a guy with a giant red flag on his visage can be.  O'Connor, our most consistent new star, once again dominates here.

Silver: Twenty years after his shocking, gut-wrenching work in The Pianist (for which he won our Gold Medal), Adrien Brody proves that film to be no fluke.  The Brutalist is a look at the immigrant experience, the way that capitalism steals so much humanity from those that it steps on in the way of profit...it's a wonder there's anything left.

Bronze: In some ways, Kieran Culkin has been here before.  The intonations here are not much different than his greatest performance as Roman Roy.  But while Roman was a sarcastic, cruel man, his Benji is the opposite, carrying too much emotion and feeling too fully.  As we move through the film, we understand his limitations, and through Culkin's searing final scenes, we realize he does too.

Actress

Marianne Jean-Baptiste, Hard Truths

Julianne Moore, The Room Next Door

Florence Pugh, We Live in Time

Tilda Swinton, The Room Next Door

Zendaya, Challengers

Gold: The performance of the year (my choice for the best performance in any category) goes to movie star par excellence Zendaya.  Her work in Challengers is so natural, and so layered.  She's a character that puts her motives & motivations out in front of everyone, and yet is impossible to read (particularly when it comes to the two men in her world, and whether she really wants either of them).  One of the great portraits of ambition (and why we constantly try to pass it off as something else in women).

Silver: Marianne Jean-Baptiste takes the prickliness of anger, and the way that we are expected to feel so much, all the time, as both a metaphor and a literal interpretation-we all know someone like Pansy, struggling to understand why the world can't make sense.

Bronze: Tilda Swinton is our last isolated woman in this category, but while Zendaya & Marianne don't reach out, her Martha is desperate for company, clinging to a world that she both is ready to let go of...and not wanting to leave.  A really moving, frequently heartbreaking look at how death comes too soon for us all.

Supporting Actor

Jonathan Bailey, Wicked

Yura Borisov, Anora

Mike Faist, Challengers

Guy Pearce, The Brutalist

Drew Starkey, Queer

Gold: I mean, I can't leave the last leg of the triangle without plating it gold as well.  We are going with Mike Faist for the fifth consecutive Challengers trophy (spoiler alert: it will take nine gold medals in total so we're only at the halfway point).  His Art is the loosest of the three, focused on wanting to win in all aspects of life, but clearly having a preference of where he wants to go...even if no one will let him get there.

Silver: Jonathan Bailey, like Mike Faist, has spent the past couple of years ascending into the cinematic pantheon (our first true, openly gay male movie star), and given the opportunity, he decides to steal Wicked wholesale with his flirtatious, dancing Fiyero.

Bronze: Yura Borisov's Oscar nomination wasn't inevitable...it might not even have been on the page.  But he brings so much heart, comic timing, & (let's be honest) sex appeal to the role that he's the performance you carry away as you leave the movie theater with the film's complicated final act.

Supporting Actress

Joan Chen, Didi

Rebecca Ferguson, Dune: Part Two

Ariana Grande, Wicked

Aubrey Plaza, My Old Ass

Tilda Swinton, Problemista

Gold: I always feel the need to point out at least once in these articles that these are given in a vacuum (i.e. I only base it on the merits of the nominees' quality, not anything more).  Does a pop star who is giving her first major performance really need to win an Oscar, particularly given she's doing so in only half a film?  No, no she doesn't.  But that doesn't mean that Ariana Grande, using her mile-high range, ace comic skills, and weirdly good impersonation intonation (the borrowing from Kristin Chenoweth is well-chosen) isn't the best in this field.

Silver: Growing a lot of the mystery that she built in the initial film, Rebecca Ferguson takes Dune up a notch with this performance.  Think of the physicality of her work, particularly in the water drinking sequence, and the way she is constantly playing on multiple plains.  A consistently brilliant character actress gets her moment.

Bronze: Finishing this off, we have another bronze medal for the world class performer that is Tilda Swinton.  Problemista is a movie that was forgotten by many, but for those that saw it, it's hard not to think of Tilda's work as one of the year's highlights, so selfish & vibrant & specific of a certain type of (oblivious) privileged white lady.

Adapted Screenplay

Conclave

Dune: Part Two

Nickel Boys

Queer

The Wild Robot

Gold: I have read chunks of Frank Herbert's novel, and that what sprung forward from Dune is not a clunky, overwrought book (ooph I was not a fan), but instead a spry, generational bit of storytelling is due to the wizards behind the keyboard, not just the special effects crafting the visuals.

Silver: I have not, however, read Colson Whitehead's Pulitzer-Prize winning book Nickel Boys, but I can tell when a story is being told properly, and when it has difficult source material to mine into cinema.  The way that it approaches this, through a unique perspective...it is jaw-dropping that this wasn't an original plan for the movies.

Bronze: The nostalgia for a good old-fashioned 1990's-style thriller was clearly there for a picture like Conclave, but that shouldn't be the only reason that you favor a picture like this with praise.  A ticking clock mystery on top of a fascinating multi-character study, it's like watching high stakes chess until the final moments (even if you guess where it's going it's a thrill).

Original Screenplay

Challengers

Hard Truths

I Saw the TV Glow

A Real Pain

The Seed of the Sacred Fig

Gold: Sex is hard to write, and sex is as crucial to get right in Challengers as the tennis is.  We see shifting alliances, all characters who keep their true natures close to the vest (without ever needing someone to say "this is confusing")...that's a testament to a script that knows what it's doing.

Silver: The best asset in The Seed of the Sacred Fig is the slowly unfolding screenplay.  Told in a gigantic way, we get a sense of not just the metaphor but the claustrophobia of the picture, as these three women understand their world, and how much of it is predicated on the illusion of freedom, rather than the reality of it.

Bronze: Jesse Eisenberg's A Real Pain captures something we don't often see in the movies-a look at what keeps us in friendships that are long past their expiration date.  I love the way that he weaves in metaphors about loss & grief into a story about how aging causes both (and not always through death).

Animated Feature Film

Flow

Wallace & Gromit: Vengeance Most Fowl

The Wild Robot

Gold: A tight race, but I have to go with the movie that tugged on my heartstrings so much it also made it into the Best Picture field.  The Wild Robot gives us such grace and humanity, with fabulous vocal performances from Lupita Nyong'o, Kit Connor, & Pedro Pascal, and it's honestly about something-the way that we form unlikely bonds that shape what we believe we can do in this world.

Silver: Do you remember playing the game Myst as a kid?  The almost insanely immersive experience of that computer game, like nothing I'd ever witnessed before, was what it was like taking in Flow in a crowded (god bless people going to the movies) theater.  Lovely animation, but more so really just smart realism of what would happen in a world where humanity is abandoned.

Bronze: If I was giving away a prize for Best Villain this year, it would not be to Jeff Goldblum's Wizard or Austin Butler's balding Feyd-Rautha Harkonnen...it would be to the most dastardly Feathers McGraw, the scene-stealing genius behind yet another lovely outing with Wallace & Gromit.

Sound Mixing

Blitz

The Brutalist

Challengers

Dune: Part Two

I Saw the TV Glow

Gold: Blending in a song and music score so flawlessly you almost assume the characters can hear it as well, Challengers creates a pulsating experience in the way it approaches the audible tone of the picture, using building sounds to capture the growing tension between the three main characters.

Silver: Slipping through Hans Zimmer's score and the sands of Arrakis, Dune: Part Two is deliberate in the way that it uses tone in each scene, giving us the elevation of Paul alongside a growing urgency in the sound room.

Bronze: I Saw the TV Glow is a movie that doesn't feel like it warrants tech nominations.  In some ways, it's kind of intended to give us a 90's afternoon fantasy show pastiche.  But the sound work shows why that's so intentional-the way that the song score & dropped noises inform the plot...this is the rare movie where I cited the sound work in my Letterboxd review (for a reason).

Sound Editing

Blitz

Dune: Part Two

Flow

Furiosa: A Mad Max Saga

The Wild Robot

Gold: Oscar frequently confuses "more" with "best," but there are cases where the film with the most obvious sound effects also is the one that deserves the statue, and that's the case with our second go on Arrakis.  Dune's new crowd work & the growing importance of the sand worms underline how much what we hear is informing our experience in the picture.

Silver: Animated films can have some of the best work here (since nothing happening in an animated film is organic), and in picking between the two animated films cited here, I favored The Wild Robot, which has to incorporate not just nature & animals, but also the robotic gadgetry (that humanizes our inhuman title character).

Bronze: We'll finish up with the roving bandits & big, gigantic explosions of Furiosa, a film that builds upon the Mad Max world but doesn't abandon what made it so spectacular-the desert heat against these gigantic, maddening oil-rigged crashes.

(A quick note from John: I am aware that Oscar has combined the Sound categories for years now, but I view these as distinct art forms, and unlike when Oscar had them together, I am capable of not simply nominating the same 5 films, as is evidenced by only two overlapping pictures between Mixing & Editing.  For the curious who want a direct comparison, if I combined to one sound category I'd have gone with The Brutalist, Challengers (Silver), Dune: Part Two (Gold), I Saw the TV Glow (Bronze), & The Wild Robot as my nominees.)

Original Score

The Brutalist

Challengers

Conclave

Dune: Part Two

The Wild Robot

Gold: Daniel Blumberg finds a way to make The Brutalist's score a reflection of the buildings that Laszlo erects throughout the picture.  We get an elegant, sometimes conventional score that molds & shapes into modernist, industrial sounds.  Like Challengers (more in a second), you couldn't mistake this score anywhere else.

Silver: One of those nominations Oscar is going to forever regret not giving out, no film score quite encapsulates the picture it is conducting quite like Challengers.  Using what sounds like house music, it captures the frenetic energy of both tennis and sex, unrelenting right up until the final shot.

Bronze: I am not bound by Oscar's rules (and given that they nominated the almost exclusively pre-written music of Wicked, neither are they), and so I will include Dune amidst my nominees.  Like much of the movie, Hans Zimmer takes a bigger, larger, and more involved approach in giving us a build-up in the film's more traditional (than the first) narrative.

Original Song

"Claw Machine," I Saw the TV Glow

"Compress/Repress," Challengers

"I Always Wanted a Brother," Mufasa: The Lion King

"Kiss the Sky," The Wild Robot

"The Rider," The Lord of the Rings: The War of the Rohirrim

Gold: Listen, the movie itself is not that bad until you remember it's directed by Barry Jenkins, but it is kind of funny how, once you get out of the "this isn't the original" canopy of Mufasa, the songs are generally super fun.  This year is admittedly a weak year for Best Original Song (apologies to Lin-Manuel Miranda for tarnishing his third gold medal from me), but the best of the bunch is his bouncy, infectious "I Always Wanted a Brother."

Silver: Close behind it would be "Claw Machine" in the haunting I Saw the TV Glow.  This one works much better in the movie (Miranda's works anywhere which is why I ultimately picked it), and it was a close call between the two.  Proof that I can separate the category from the film, because lord knows I liked the silver medal film more...both really important & signature to their picture.

Bronze: While nothing else about The War of the Rohirrim lives up to the Peter Jackson sextet before it, the song at the end comes close.  A haunting, moving power ballad in the vein of Enya and Billy Boyd before it, "The Rider" tells the tale almost better than the movie itself.

Art Direction

Blitz

The Brutalist

Conclave

Dune: Part Two

The Room Next Door

Gold: I am not immune from that Oscar instinct of wanting to give a film a statue based on what its plot is, but it still has to be worthy.  That's the case with the cavernous sophistication of The Brutalist, which takes a fictional architect and has to find a way to make him a genius (on a relatively tight budget).  That the film succeeds is predicated on the ingenuity of the production design team.

Silver: Speaking of making cavernous inventive, we have Dune: Part Two, expanding the world of Arrakis.  I keep thinking of the cubed ceilings of the Fremen strongholds, or the gigantic picture windows of the Emperor's palace, the way that it feels carved for this world specifically.

Bronze: The Room Next Door takes a bizarre approach for a movie, as it tries to understand the death of a person who never made family work (even though, in this case, the person has a child to fit heteronormative expectations).  Instead, the production designers put at every corner of the picture books, movies, clothes, & music, of light and color, the personalities and enrichments that make life worth living (and worth missing).

Cinematography

Blitz

The Brutalist

Challengers

Dune: Part Two

Nickel Boys

Gold: The production team wasn't making The Brutalist mesmerizing on its own.  We also have the luminous camerawork, giving us unconventional angles and approaches that capture the unique perspectives of Laszlo's design.  One of the rare aspects of The Brutalist that continues to hold up just as well in the second half of the movie.

Silver: Dune: Part Two is not a similar movie to The Brutalist in terms of plot, but as I reflect on them both so often today (both are double-digit nominees in this write-up), I understand a lot of their power comes from their top notch tech teams approaching their work in the same way.  Here we once again need to build to something, with bigger and wider shots until we can see the whole world bow before Paul.

Bronze: It takes a lot of guts to try and copy the storytelling and camerawork of Terrence Malick.  It takes brilliance, though, to actually succeed, and that's what happens in Nickel Boys, giving us a first-person look into the world of two young boys, all of it feeding into the similarities and differences that will spring forth & shape their lives.

Costume Design

The Brutalist

Challengers

Dune: Part Two

Furiosa: A Mad Max Saga

Wicked

Gold: Uncle!  There are a lot of things that I wish were better in the gigantic hit Wicked, but the Costumes...this is where I give in and just say "you get your kudos."  The green-and-pink motif could threaten to take over the film, but it doesn't, particularly in the way that Ariana Grande's Ozdust Ballroom has some touches of white.  Throw in everything Madame Morrible wears (that lavender dress!) and you understand the magic of this movie.

Silver: I am not one to turn down men's fashion when it comes to this category, and we get gorgeous black armor on Austin Butler to go with the hooded cape of Lea Seydoux and Florence Pugh's golden headdress in Dune.  Costumes inform the characters, and here they give us not just rank, but also which possess style.

Bronze: Oscar is generally oblivious to what contemporary costume design can bring to a movie, but thankfully I am not, certainly not when faced with all of the wonderful touches of Challengers.  The "I Told Ya" tee-shirt went viral, but it's everything (the sleeveless sexiness of Patrick's ensembles, the All-American boyish preppiness of Mike Faist's tennis polos and backward red hat, the transforming sophistication of Zendaya, deprived of her platform)...the movie gives great costume in every direction.

Film Editing

The Brutalist

Challengers

Dune: Part Two

Nickel Boys

The Seed of the Sacred Fig

Gold: One of my best friends in college used to complain that there were no good tennis movies because you couldn't make tennis look realistic onscreen.  Challengers is the first (for me) to do so, because it captures the hushed-voice elegance of the game...and has the smarts to counter it with a pacing that seems like every scene is placing one more lob over the net.

Silver: Sorry, another situation where we're following Challengers with Dune (they were my two favorite movies this year for a reason), but the work here, building up to gigantic scenes (ones that are given their time to breathe) doesn't feel (like so many other movies of this nature) like padding a thin novel, but instead are rich with back story, giving us a proper epic.

Bronze: Speaking of proper epics, The Brutalist takes unconventional, and frequently risky moves with its editing (that upside-down Statue of Liberty could look silly if the movie that follows doesn't work), but it pays off (especially in the first half) with a glorious look at the shattered American Dream.

Makeup & Hairstyling

Dune: Part Two

Furiosa: A Mad Max Saga

Gladiator II

Saturday Night

The Substance

Gold: Sequels are hard to gage in terms of tech categories, because some of what we've seen in Dune we can't really judge as it's already happened (Stellan Skarsgard, for example).  But we still have lots to work with, including the lettered face of Rebecca Ferguson, the balding sexiness of Austin Butler, and the subtle desert sand effects on the entire cast.  Details matter.

Silver: The showiest of the nominees here nearly won for me, and I suspect will have won for Oscar (I wrote this on February 18th, so I have no idea who is taking home the gold).  Horror movies so rarely win this prize, and The Substance is a gonzo example of why Oscar should be going to this genre for more of its nominees: iconic, haunting, and pushing forward so much of the plot, the makeup here is essential.

Bronze: I am not as much of a sucker for realism in my movies as Oscar is, but when it works, it works, and with Saturday Night, it very much works.  The transformation of these actors into the iconic looks of Chevy Chase, John Belushi, & Dan Ackroyd on the biggest night of SNL's history feels both plucked from a 1970's sketch show and with enough modernist flare (Dylan O'Brien's never looked sexier) to not feel like it's just a cosplay.

Visual Effects

Dune: Part Two

Furiosa: A Mad Max Saga

Kingdom of the Planet of the Apes

A Quiet Place: Day One

Twisters

Gold: Consistently one of my favorite categories, Visual Effects feels like a bit of a cheat in 2024, because, well, how are you going to beat Dune?  The sand worms, the giant vistas, the epic fights...even the crowd work in this movie is just on another level.  In an era where so many epics feel like they're in the shadow of past greats, Dune is forging a future that actually looks more fantastic.

Silver: We are now on our fourth nomination and third series medal since the reboot of Planet of the Apes (it has yet to miss since we saw this new iteration brought back in 2011), and in the Year of the Monkey (Better Man, Godzilla x Kong, Wicked, & Gladiator II also had their own primates to deal with), this is the one that felt beautiful, realistic, and like they had confidence in their CGI (Better Man fans who protest...please explain to me why the cinematography always got dark whenever Monkey Robbie shared the screen with an actual human & I might be more forgiving).

Bronze: Finishing this out is Furiosa, the one film of these five (which I really like-the category takes a steep drop after these five, but this quintet is very worthy of Oscar) to have a significant amount of practical effects, using George Miller's brand of fire & beauty in the beating desert sun.

Other My Oscar Ballots: 1931, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023

2024 Oscar Viewing Project

For the first time ever, I finished watching all of the Oscar Viewing Project nominees before the Oscars, a huge moment for me overall.  I didn't do my official year-end awards my brother, however, until this past weekend, so I am publishing both this AND the My Ballot weeks after I finished these (and am actually writing this before the Oscars so for the first time ever I am doing this without knowing whom Oscar actually picked).  As is tradition (we will not do our 20+ articles anymore, but I will be logging every completed OVP in one giant article here when I finish, hopefully on a monthly cadence for either an OVP or My Ballot going forward), here is the Top 10 of the domestic box office:

1. Inside Out 2

2. Deadpool & Wolverine

3. Wicked

4. Moana 2

5. Despicable Me 4

6. Beetlejuice Beetlejuice

7. Dune: Part Two

8. Twisters

9. Sonic the Hedgehog 3

10. Mufasa: The Lion King

Keeping with recent tradition, I saw virtually all of these, missing only Sonic 3 (is this good...I generally like Jim Carrey, so should I get caught up on these?).  In terms of box office I also missed Bad Boys: Ride or Die, It Ends With Us, and Venom: The Last Dance, but saw virtually every major awards contender (save for Lee with Kate Winslet...again, is it good?), including, of course, the Oscar nominees.  Let's look back on 2024, remembering a time when a Democrat was in the White House, when the President-Elect briefly faced justice for his crimes, and when we were all flipping for Simone Biles & the sexy nerd aesthetic of Stephen Nedoroscik.  And of course, let's remember the movies...

Note from John: When I did this series during the time when I wrote individual articles, and had this blog be a daily part of my life, I made a point of highlighting each nominee in my many write-ups.  While I will be writing these every time I complete a year (hopefully monthly going forward), I can't make that time commitment, either in terms of number of articles or in terms of giving each nominee their due with a mention.  I promise, though, that I have given each nominee their due under the confines of the specific category while making my rankings (and of course I've seen every single nominated picture), including giving higher rankings to movies I didn't like if the craft was better than ones I did like (Oscar should consider that).  Hopefully you enjoy the trimmed-down, but still devoted to the original concept version of the OVP we'll have going forward!

Picture

1. Dune: Part Two

2. Nickel Boys

3. The Brutalist

4. I'm Still Here

5. Conclave

6. Anora

7. A Complete Unknown

8. Wicked

9. The Substance

10. Emilia Perez

The Lowdown: I'll start out by saying something that I suspect gets repeated in this article-I did not think that 2024 was a particularly impressive year for the movies.  In fact, I thought it was the dullest year for movies since 2020, a combination of slavish over-praise of the Oscar fare (which was largely middling more than grand), and many of the blockbusters being underwhelming.  That said, I do really admire the first 3 films on this list.  Dune is better than the original, even if it's not quite as non-descript, Nickel Boys is an experiment that largely works, and The Brutalist is truly perfect until the intermission card comes up.  The rest...well the order speaks for itself, and because Oscar can only focus on ten movies in a given year anymore...we'll get to them all more in detail below.

Director

1. Brady Corbet (The Brutalist)

2. Sean Baker (Anora)

3. Coralie Fargeat (The Substance)

4. James Mangold (A Complete Unknown)

5. Jacques Audiard (Emilia Perez)

The Lowdown: Without Denis Villeneuve, this contest becomes considerably easier.  Corbet botches the ending to The Brutalist, but that's more an issue with the writers and one key supporting actor than the direction, which is really the cornerstone of the movie.  He deserves the win, with Baker second over Fargeat because I think that his story feels easier to get off the rails (and also I liked Anora better than The Substance even though I'll own that Anora is more a writer's movie and The Substance is more a director's picture).  I still can't believe that James Mangold, after years of attempting the same route (middle-of-the-road AMPAS fare like Walk the Line, Girl Interrupted, & Ford v. Ferrari that has no directorial signature) managed to grab a nomination.

Actor

1. Adrien Brody (The Brutalist)

2. Timothee Chalamet (A Complete Unknown)

3. Ralph Fiennes (Conclave)

4. Sebastian Stan (The Apprentice)

5. Colman Domingo (Sing Sing)

The Lowdown: This is as good of a time as any to remind you of two things: 1) The OVP is made in a vacuum, so I do not consider whether someone has an Oscar or not when handing out trophies and 2) I have a My Ballot where I pick my own nominees, and in that I also decide in a vacuum who should win.  This isn't about career awards, so under those circumstances I have no problem handing Adrien Brody a second statue for his luminous work in The Brutalist even if in real-life I might have thrown a bone to the fine work of Chalamet and Fiennes, who are both still hunting for their first Oscar.  I don't think that Sebastian Stan's film choice would impact his ranking (A Different Man would also get him 4th, for the record), though I will admit I'm excited by this direction of his career, as I love a handsome man finding his inner character actor.

Actress

1. Fernanda Torres (I'm Still Here)

2. Mikey Madison (Anora)

3. Demi Moore (The Substance)

4. Cynthia Erivo (Wicked)

5. Karla Sofia Gascon (Emilia Perez)

The Lowdown: With or without the scandal, it's an easy call to put Gascon's performance in fifth.  Emilia Perez is a dreadful, cinematic abortion of a movie (virtually nothing redeemable in it...the worst nominee since Bohemian Rhapsody), and she is not up to snuff as the lead.  For the actual win, I'm going with Torres, whose quiet determination in I'm Still Here has the added bonus of a script that always knows where she's headed, which you cannot say for Madison's (solid) Anora.  Demi Moore's role in The Substance has a lot of fans, and while I think she's better than the movie (which badly overshoots its ending), she can't carry it through & makes Elizabeth too unknowable.

Supporting Actor

1. Yura Borisov (Anora)

2. Kieran Culkin (A Real Pain)

3. Guy Pearce (The Brutalist)

4. Jeremy Strong (The Apprentice)

5. Edward Norton (A Complete Unknown)

The Lowdown: This is a quick reminder that I will always dock a point for any actor who is obviously the lead but is committing category fraud to improve their Oscar chances.  If I was judging based on total performances, I might give it to Culkin's really strong work as a broken man filled with overflowing charisma, but under these rules, there's no way he takes out Borisov's sensitive, brooding security guard in Anora, a scene-stealing performance that makes the movie.  Guy Pearce is the only actor who seems capable of holding together The Brutalist in its back half, but I have him in third both because his competition is good (expect a few repeat names when we get to the My Ballots tomorrow), as well as because I don't think he lands the final moments of the picture quite well enough.  I didn't get what Strong or Norton were doing, and feel like this was a nomination for being showy more than being good.

Supporting Actress

1. Ariana Grande (Wicked)

2. Monica Barbaro (A Complete Unknown)

3. Isabella Rossellini (Conclave)

4. Felicity Jones (The Brutalist)

5. Zoe Saldana (Emilia Perez)

The Lowdown: Once again, Saldana loses a point because she's the lead (without that I think she is ahead of Jones given she at least understands the film's tone).  You could make an argument that Grande is also the lead, but because there's an argument I keep her in first, and honestly even without that I might keep her there due to a weak field.  Barbaro's Joan Baez looks the part, but I wanted a bit more of the ambition of someone who is more famous than Dylan having him usurp her throne, and the lack of resolve there shows how difficult a Dylan biopic was always going to be.  Grande's work is in her wheelhouse, and sometimes borders into parody of Kristin Chenoweth (who is the better actor), but she's so good it's hard to fault feeling indebted to the original.

Adapted Screenplay

1. Nickel Boys

2. Conclave

3. A Complete Unknown

4. Sing Sing

5. Emilia Perez

The Lowdown: I have not read Colson Whitehead's Pulitzer Prize-winning source material (though a copy of it is sitting behind me...the eternal nagging of the books on my shelf that I've never read continues to haunt my dreams), but what comes across on the film is spectacular.  A meditative, thoughtful look at how hard it is to beat the system, and how life can find a way...and a plot can find a way even as you mine Terrence Malick for inspiration.  Conclave would make a worthy winner as well, giving us a really scrumptious 1990's-style thriller that is virtually impossible to find in 2024.

Original Screenplay

1. A Real Pain

2. Anora

3. The Brutalist

4. The Substance

5. September 5

The Lowdown: Jesse Eisenberg's look at how we keep certain people in our lives and in our hearts years after they stop feeling like they fit into whom we became is really wonderful.  I know the focus is on grief, and the mourning that happens when we lose someone we can't replace, but that juxtaposed against the question mark of the friendship that's core to the film is really why this is something special.  Anora and The Brutalist both have wonderful sections, but they don't know how to inform key characters (specifically their female leads) and The Brutalist doesn't know how to make its ending work (which is not the case for Anora-that ending lands the film), so I can't seriously put them against A Real Pain in this field (Eisenberg wins handily).

Animated Feature Film

1. The Wild Robot

2. Flow

3. Wallace & Gromit: Vengeance Most Fowl

4. Memoir of a Snail

5. Inside Out 2

The Lowdown: It's become depressing how predictable this category is, with even the off-beat or independent films heavily telegraphed the entire season so there's no surprises on nomination morning.  One of many reasons why I wish this was only a three-wide like I'll do at tomorrow's My Ballot for 2024.  But taking that out of the equation, this is a solid list, particularly the top two which are completely different looks at how nature cannot endure the touch of humanity.  I went with The Wild Robot because I felt its story more, but either would make a worthy winner.  I will note, that in the first 19 years of this category, Disney/Pixar only got the #5 slot once (2002's Lilo and Stitch)...in the past five years it's gotten it 80% of the time.  This is not an appealing trend for the Mouse House.

International Feature Film

1. The Seed of the Sacred Fig (Germany)

2. Flow (Latvia)

3. I'm Still Here (Brazil)

4. The Girl with the Needle (Denmark)

5. Emilia Perez (France)

The Lowdown: As I said above, I wrote this before the Oscar ceremony, so I don't know any winners, and this is the category I'm most curious to see where it landed (it might not be the most shocking win, but it's the one I am trying to guess if the Emilia Perez buzz has died enough to allow for a different Best Picture nominee instead).  Really, though, this shouldn't be a contest.  While I admire I'm Still Here's look at how sins shouldn't necessarily be forgiven if they're heinous enough (and sure as hell shouldn't be forgotten), and the gorgeous computer game aesthetic of Flow, The Seed of the Sacred Fig was one of the best movies of 2024, full stop.  An engrossing look at fascism and the way that it strips away any shred of humanity you have...assuming you had much to begin with (because fascism also numbs you to such horror).

Sound

1. Dune: Part Two

2. The Wild Robot

3. A Complete Unknown

4. Wicked

5. Emilia Perez

The Lowdown: I still miss when the Sound categories were split in two, but honestly...I get why looking at this.  I will own that I am not giving these statues to the same movie, but it's hard to argue with Dune being the dominant choice here, its gorgeous elevation of the sounds of the deserts of Arrakis combined with new special effects and great crowd work.  Behind it are The Wild Robot (I love the nature sounds, combined with strong music & vocal work) and the concert recreations of A Complete Unknown.  Solid lineup overall, honestly, and I want to say that as most of it I don't repeat tomorrow-lots of good choices this year.

Score

1. The Brutalist

2. The Wild Robot

3. Conclave

4. Emilia Perez

5. Wicked

The Lowdown: This is the first of only two times that an Emilia Perez nomination isn't in last place (the next category is the other one), and there's a reason for that-the musical score of Wicked is lovely, but it's not original...I can't pinpoint anything in the score that isn't borrowing from Stephen Schwartz's fabulous Broadway composition, and so this nomination feels like a cheap way to up Schwartz's (and the film's) Oscar count, even if the actual score is better than Emilia Perez.  That said, the other three scores are all wonderful, and will show up tomorrow with my My Ballot, best of them being the atypical, confrontational work of The Brutalist.

Original Song

1. "Like a Bird" (Sing Sing)

2. "Never Too Late" (Elton John: Never Too Late)

3. "El Mal" (Emilia Perez)

4. "The Journey" (The Six Triple Eight)

5. "Mi Camino" (Emilia Perez)

The Lowdown: I do not think the music in Emilia Perez, even the lauded numbers like "Mi Camino" is any good.  The singing is not strong, the music feels too conversational, and the lyricism is dreadful (the best of the bunch, "La Vaginoplastia" is at least catchy and visually interesting).  That said, "El Mal's" problems are more so the way it's staged (bad lighting & dance direction) than it being a bad song.  Honestly, none of these are that good, both because 2024 wasn't a great year for film tunes, and because Oscar needed to get creative to come up with a decent lineup in a year where there weren't many good choices.  I picked "Like a Bird" because it's fitting to the film and doesn't feel as disposable as Elton John's "Never Too Late," a song that has his great vocals but feels like a cheap ending after hearing so many actual classics in the documentary.

Cinematography

1. The Brutalist

2. Dune: Part Two

3. Maria

4. Nosferatu

5. Emilia Perez

The Lowdown: We'll get into the Best Picture nominee that I can't believe didn't make this lineup tomorrow when we discuss the My Ballot, but for today let's all be thankful for the two deserved nominees that DID make it.  Between The Brutalist and Dune: Part Two, I'm favoring The Brutalist more so because it's truly inventive and it pays off...getting experimental with a movie can always be a risk, so when that risk pays off, you need to use it to break the tie, but both are sensational.  That Emilia Perez is nominated here, given that they literally couldn't even get the lighting cues right during the centerpiece musical number, is insanity to me-other than Best Actress, maybe the worst nomination from the film?

Costume Design

1. Wicked

2. Conclave

3. A Complete Unknown

4. Gladiator II

5. Nosferatu

The Lowdown: Best Cinematography is my favorite of the My Ballot lineups I pulled together, while Costume is unfortunately my least favorite.  That isn't meant as a slight to the winner here, Wicked, which I have made room for in tomorrow's My Ballot, but it is a sign that the costume work here wasn't as great as it could've been (I would've loved us to maybe stray a bit more from the pink-and-green motif, which is why one of my favorite costumes last year was Michelle Yeoh's celestial lilac-colored gown...but this is still great & Wicked's worthiest tech nomination).  Conclave's repeated costumes and twists on the cardinal outfit are a worthy runner-up, and lovingly-detailed.

Film Editing

1. The Brutalist

2. Conclave

3. Anora

4. Wicked

5. Emilia Perez

The Lowdown: The invisible art, film editing for me came down to the quick plot-pacing of Conclave, and then the avant garde approach of The Brutalist.  Of the two, I was most smitten with the sheer scale & confidence of The Brutalist, a movie that I liked better, and while I will quibble with the ending, I don't think you can blame that even a little bit on editing, as even in the worst scenes I was struck by how it kept pulling the viewers into the movie, cavernous in its approach.  The nomination for Wicked, given that it's only half a movie, feels odd & maybe the most confounding (and coattails-driven) citation in 2024.

Makeup & Hairstyling

1. The Substance

2. Wicked

3. A Different Man

4. Nosferatu

5. Emilia Perez

The Lowdown: Horror so rarely gets into this category (which is odd because An American Werewolf in London was the first film to win the statue), and given how quintessential makeup is to the success of the genre, it's kind of exciting to see its return (the last horror film to be cited was 2010's The Wolf Man).  But it's more exciting to be able to give it the crown because it's genuinely good.  Whatever issues I had with The Substance, the makeup wasn't one of them, giving us the ruthless destruction of poor Demi Moore's Elizabeth Sparkle, which is more impressive than the "borrowing from past experience" work in Wicked or the drawing a real-life comparison in A Different Man, which take the runners-up positions.

Production Design

1. The Brutalist

2. Dune: Part Two

3. Conclave

4. Nosferatu

5. Wicked

The Lowdown: In my opinion the best lineup that Oscar pulled together in 2024, none of these are stinkers, and while I won't copy this list verbatim to my My Ballot tomorrow, every one of these feels like an appropriate Oscar nominee.  I am not immune to the Oscar crutch of honoring a movie because it's about a specific production aspect, and indeed, the gorgeous work in The Brutalist (inexplicably on a $10 million budget) is hard to deny.  Dune: Part Two does a great job of expanding this world, and I was in awe of the (also weirdly inexpensive) palatial estates of Conclave, but I have to hand this one to the team from The Brutalist.

Visual Effects

1. Dune: Part Two

2. Kingdom of the Planet of the Apes

3. Better Man

4. Alien: Romulus

5. Wicked

The Lowdown: I grade these on a 5-star system, and I generally dock a star whenever a lead performance is in supporting or an end credits song with no presence otherwise in the movie is up, so as to even the playing field without sacrificing the nominee's chances entirely.  I think I will start to do that for movies that use dead actors without their permission (I don't care if the estate said yes...I still think it's morally repugnant).  Much of Alien: Romulus is gorgeous, and it would be higher-ranked (possibly in My Ballot territory) if they hadn't used Ian Holm the way they did (both uncanny valley and using a dead man in this way is gross).  Certainly above Better Man, which tried to cover its VFX budget with dark cinematography.  The Top 2 are indisputable-two of the most spectacular franchises around living up to their reputations once again.